CROSBY, STILLS & NASH - CSN (1977) Analogue Productions / Atlantic 75 45rpm Reissue, (2025)

I remember distinctly the day this record arrived in the shops. It was 1977, and I worked at a record store in the local mall. I was still in high school and had been fully immersed in Crosby Stills & Nash’s debut album and its follow-up Deja Vu. My first recollection of hearing “The Boat Album” was in that store, and my best friend and I marvelled at how much better it sounded than either of its predecessors. It had been almost seven years since the release of Deja Vu, and things had changed quite a bit since the end of the Woodstock era. Not only had these three artists grown individually, each releasing excellent solo material in the intervening years, but recording technology had moved on as well. CSN has a sophisticated pop sound, carefully polished arrangements, and a superb collection of songs that show off the remarkable harmonies that the trio was famous for. The addition of several brilliant studio musicians, and top-flight engineering made it one of the best-sounding albums of its time.

The auditioning of three key pressings of CSN took place on a new addition to my system, the beautiful Perpetuum Ebner PE 6060 Turntable, outfitted with an Ortofon Quintet Black Moving Coil Cartridge. My review of this remarkable front end will appear in the pages of Audiophilia in June of 2025. On hand was the original US pressing, the 2017 Rhino cut by Chris Bellman, and the new Analogue Productions Atlantic 75 release, which was cut at 45rpm by Chris Bellman, pressed at Quality Record Pressing, and housed in an elaborate pebble grain textured gatefold jacket with a tipped in photograph. The presentation of the jacket is top-notch.

While it was easy to hear why I felt the original pressing was a standout back in its day, it had strong competition from the 2017 cut by Bellman. In general terms, the original cut had a bit more extension on top, while the Bellman was slightly rolled off most attractively. The Bellman also had a warmer tonal balance with excellent low-end weight. Vocal harmonies were a bit clearer and the whole record was improved in my opinion. It felt more integrated musically, was a joy to listen to, and had me immediately searching Discogs for a copy. Alas, they aren't cheap anymore. It wasn't that I thought the Analogue Productions wouldn't equal or surpass it, it was that for this album, I’d like both a 33 and a 45 in my collection. I felt strongly that the Rhino cut by Bellman may be the best 33rpm edition.

Chris Bellman.

On a Crosby, Stills & Nash album, vocal quality should be outstanding. This was not always the case on the debut and to a lesser extent on Deja Vu. Here, each lead vocal is clear and distinct, but it is the quality of the harmonies that set this album apart. While all the pressings I heard conveyed the improvement in how these voices are rendered, the Analogue Productions pressing did so in a spectacular fashion. When background harmony sections occur, each of these distinctly different voices is clearly heard, while dovetailing together beautifully.

This vocal clarity and separation was striking in the lead-off track written by David Crosby, “Shadow Captain.” Drums, acoustic piano, and bass work beautifully together, propelling the song with a realistic dynamic range. Some tasty slide guitar fills out the sonic picture. Also of note is the beautiful quiet interlude during the lyric “shadow captain, of a charcoal ship.” Some light conga taps add a lovely touch and sense of space to the music in this section.

The Steven Stills penned track “See The Changes,” shows off the sound of just acoustic guitar and voices. The vocals are arrayed across the stage beautifully. The guitar sound is vivid, warm, and detailed. Notice the length of the decay as the group ends with the lyric “father away”

The sound of the acoustic piano is superb on the Graham Nash song “Carried Away.” Nash’s lead vocal is clear, pure, and beautifully set against the background harmonies. There's a short harmonica solo that is well-balanced and never grating. Listen for the two realistic bass drum hits that appear in the left channel. The last line, “the stars in your ears, twinkled and shone, soon you’ll be gone” is a goosebump moment among many. It was difficult for me to not get emotional during this song.

Wait till you hear the Latin groove of the next track, Stills’ “Fair Game.” Fabulous drums, percussion and congas, and a unique guitar solo highlight this track. There's a sense of real music-making that's palpable here and it's evident all over this album.

Crosby’s beautiful “Anything At All” never fails to raise the hair on the back of my neck. It’s particularly effective on this Analogue Productions masterpiece.

There are more riches to follow, and one is another gorgeous Nash composition called “Cathedral”

Stunning, lifelike piano and a string section highlight this song, which boasts some striking imagery, and a fine lead vocal.

Stills’ “Dark Star” is a highlight of the second disc. His voice is clear, and present, with just the right amount of grit. The groove is infectious, with congas, drums, bass, electric piano, and organ moving the elegant song along beautifully. Note that the organ is subtle and balanced, unlike its sound on the earlier albums. The mixing here is superb.

“Just a Song Before I Go” reminds me of how far Nash had come as a songwriter. It’s another highlight on an album that's full of them. The last line is particularly vivid and effective. “Travelling twice the speed of sound, it’s easy to get burned” will leave you stunned.

Still’s “Run From Tears” hearkens back to the harder sound of Deja Vu, with some searing electric guitar work from Stills. His vocal is wonderful here as well, and a thrill to hear in such fidelity.

“Cold Rain” is another jewel from Nash, the piano and strings giving this simple song a magical touch.

Perhaps my favourite on the second disc is Crosby’s “In My Dreams.” Beautiful acoustic guitar, drums, and bass move the song, but it's the wide open space and vocals that steal the show. One of the very best cuts on the album.

I tend to end the listening sessions there because the sequencing of the next cut jars you out of your seat. “I Give You Give Blind” is a great tune on its own of course, and ends the album on a high note despite the positioning on the record.

While both of Bellman’s cuts are excellent, they will appeal to different listeners. The 33rpm Rhino is beautiful and a bit softer in the way it comes across. It’s slightly laid back in its approach.

The Analogue Productions Atlantic 75 reissue is bigger and more vivid and brings out more dynamic range and clarity, but never at the expense of musical flow and beauty. The sound quality is truly excellent, and the luxurious presentation is befitting of an album of this stature. This is a magical edition of this record that is highly recommended!

Analogue Productions (Atlantic 75 Series). No financial affiliation.