Crosby, Stills, Nash & Young’s live performance history prior to 4 Way Street was, to put it mildly, checkered. Bootleg albums like Wooden Nickel and Live at the Forum were marred by poor production and, more critically, subpar performances from the band itself. Their appearance at Woodstock, heavily documented across two albums, was widely considered a low point in live recording history. Based on this track record, the idea of CSN&Y releasing a live concert album seemed questionable, akin to the Monkees venturing into the live arena. Their studio albums were one thing, but capturing their magic on stage appeared to be a different story altogether.
However, against these low expectations, 4 Way Street emerges as a genuinely compelling live album. A key factor in its success is the band’s ability to perform in the same key, a basic element that eluded them in previous live outings. Where their earlier live attempts stumbled was in trying to replicate the intricate, studio-perfected three-part harmonies that defined their studio albums. 4 Way Street, in contrast, largely shifts focus, acting as a platform to showcase the individual talents of each member through solo material. While moments of their signature group harmonies remain – tracks like “Long Time Gone,” “Pre-Road Downs,” and “Carry On” – these are admittedly still somewhat rough around the edges in their live renditions. Yet, even in these instances, there are redeeming qualities. “Carry On,” for example, becomes a vehicle for extended and electrifying guitar interplay between Stills and Young, injecting raw energy into the performance.
The dynamic between Neil Young and Stephen Stills is particularly potent throughout 4 Way Street. Their synergy is palpable on the extended rendition of Young’s “Southern Man,” clocking in at over 13 minutes. Here, they engage in a series of blistering guitar exchanges, reminiscent of the captivating guitar work Young shared with Danny Whitten on the original (After The Gold Rush) version. Beyond the electric fireworks, Neil Young also presents a beautifully reimagined “Cowgirl In The Sand.” Stripped down to just Young and his acoustic guitar, it becomes a strikingly different, yet equally exquisite, interpretation compared to the Crazy Horse recording. Further acoustic solo performances from Young include tender renditions of “Don’t Let It Bring You Down” (also from Gold Rush) and a nostalgic nod to his Buffalo Springfield days with “On The Way Home.” Even “Ohio,” their politically charged single, sounds no worse live than its studio counterpart, arguably because the song’s power lies primarily in its message.
Around the time of Deja Vu‘s release, criticisms were leveled at Crosby, Stills, Nash & Young, specifically targeting David Crosby’s vocal abilities and Graham Nash’s songwriting. 4 Way Street provides a strong counter-argument to both of these points. Crosby, despite critiques of his solo work, delivers two exceptional performances on this album. Notably, “Triad,” a song that played a significant role in Crosby’s departure from The Byrds, is featured here. His rendition of “The Lee Shore” is another highlight, a haunting and precious gem. While “Long Time Gone” might be somewhat flawed in this live version, the issue isn’t Crosby’s voice itself, but rather the inherent difficulty of the song – and others like “Suite: Judy Blue Eyes” – which strain the group’s live performance capabilities.
Graham Nash’s songwriting, often described as lightweight, is defended by the album’s context. His songs are unpretentious and generally pleasant. The main criticism against Nash’s contributions on previous albums was their overly saccharine and slick production, sometimes reaching a point of cloying sweetness. However, on 4 Way Street, Nash’s “Right Between The Eyes” stands out as a highlight, and “Teach Your Children” becomes one of the rare instances on the record where the entire group harmonizes effectively without faltering. Interestingly, this version of “Teach Your Children” lacks Jerry Garcia’s steel guitar but features a skillful mandolin accompaniment.
If songwriting criticisms are to be directed within CSN&Y, Stephen Stills might be a more pertinent target on 4 Way Street. Stills transitions from “49 Bye-Byes” into a contemporary iteration of his Buffalo Springfield-era anthem “For What It’s Worth,” now titled “America’s Children.” This piece comes across as patronizing and unnecessary, described in the liner notes as a “poem” seemingly intended to elevate the political awareness of their audience, the “children.” Stills’ “Love the One You’re With” had already faced criticism for being disrespectful to women. However, its implications extend beyond gender, arguably insulting to human dignity in general. The only positive aspect of this live version is that, without the dated background chorus and contrived arrangement, it sounds marginally better than the studio recording on his solo album.
The rhythm section for this CSN&Y iteration, Johnny Barbara on drums and Calvin Samuels on bass, deliver competent if unremarkable performances. 4 Way Street ultimately highlights both the strengths and limitations of Crosby, Stills, Nash & Young as a collective. However, as individual performers of undeniable talent, their decision on 4 Way Street to largely operate within their own spaces results in what is arguably their finest album to date.
