One's disappointment with the album is heightened by the absurdity of its pretensions. C, S, N and Y could probably do the best version of "Sweet Adeline" in recorded history. In both this song and the next one, "Everybody I Love You," Young's voice is absorbed in the major key barbershop harmonizing of the other singers. Steve Stills' "4+20" conjures up some quiet enigmas, but with such tepid questions at stake, who really cares? Neil Young's "Country Girl" continues his tradition of massive production numbers which includes the masterful "Broken Arrow" and "Down By The River." But compared to his earlier work, the piece is sadly undistinguished. "Our House" by Graham Nash is a flyweight ditty with nothing to say and makes this clear through its simpering melody. David Crosby's "Deja Vu" has little or no tune and fails totally to capture the eerie feeling that accompanies a real deja vu experience. But are there any truly first rate songs here? If there are, I don't hear them. Here we have a splendid showcase of all the Crosby, Stills, Nash, and Young strong points - precision playing, glittering harmonies, a relaxed but forceful rhythm, and impeccable twelve-string guitars. It's still too sweet, too soothing, too perfect, and too good to be true. Unfortunately, little of this influence carried over into the recording sessions for Déjà Vu. Despite Young's formidable job on many of the cuts, the basic sound hasn't changed a whit. Young's voice, guitar, compositions and stage presence added elements of darkness and mystery to songs which had previously dripped a kind of saccharine sweetness. Live performances of the group suggested that this had happened. Along with many other people, I had hoped that the addition of Neil Young to Crosby, Stills, and Nash would give their music the guts and substance which the first album lacked.
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