Sold Date: December 8, 2014
Start Date: December 1, 2014
Final Price: £485.77 (GBP)
Bid Count: 13
Seller Feedback: 3847
Buyer Feedback: 176

"Speak out, out against the madness,
You gotta speak your mind.... if you dare."
DAVID CROSBY

"Find the cost of freedom, buried in the ground,
  Mother Earth will swallow you, lay your body down."
  STEPHEN STILLS

"A man's a man, who looks a man right between the eyes."
  GRAHAM NASH
  "Southern Man better keep your head,
  Don't forget what the good book said,
  Southern changes are gonna come at last,
Now your crosses are burning fast.
  I heard screaming and bullwhips cracking,
How long, how long.....?"
NEIL YOUNG.
CROSBY, STILLS, NASH & YOUNG: "Four Way Street" DOUBLE LP, FIRST UK PRESSING RECORDS, 22nd MAY 1971.
  The actual release date of this double LP set was nine months later in January, 1972, this is the rarer very first issue only,
  UK 'EJDay' gatefold cover, also printed before the 22nd May, 1971, complete with a red & white 'Atlantic' /'Kinney Records'
  sticker inside, top right.  This was all tied into when 'Kinney Records' were taking over 'Atlantic' and 'Reprise' etc. during
  1971 and were in the long process of completely re-designing the red & maroon labels to green and orange, plus introducing
  new 'K' prefix catalogue numbers.   Certainly not unique to "Four Way Street" but for almost the entire Atlantic catalogue for
  albums released during mid-1970 to 1971, because the Kinney re-designed label colours and the 'K' prefix catalogue number
  versions were being prepared.   Often named on ebay as 'transitional' albums but that is incorrect because the records inside
  the stickered covers were always first pressings on the red & maroon labels.   The most common is another 1971 Atlantic label
  album, "Led Zeppelin 4" or "Four Symbols," they were in very low numbers due to being uneconomical to justify the expense of
  printing different cover with the new  catalogue numbers, let alone including all the, 'Stereo records playing on mono equipment'
  instructions.  It was very complicated and the question rises, why start so early when the existing covers and record labels were
  perfectly matched with the original red & maroon catalogue numbers?   There is only one logical conclusion, I believe these were
  held as 'in-house' record company copies exactly like 'Factory Samples', just labelling the covers created the same scenario, only
  the were intended to be sold in record shops....if not immediately.  It's difficult to not concentrate on the whole picture, but
   company policies affect individual items, so for albums like "Four Way Street" & , "Led Zeppelin 4" they were made during 1971
  and released in relatively early 1972, when the new Kinney re-designs were ready for distribution.  I always base opinions on
  factual evidence and two mint records like these permit positive conclusions to be drawn, not just original to the eight month
   period "Four Way Street" was available on the red & maroon labels, as the maitrix for all four sides demonstrate with three of
the sides ending with '-1',  these are the very first pressings made. I will give them in full next, the first pressings also had
a very unusual format for a Polydor double album, instead of the individual record's maitrix ends having  'A - 1 / -B - 1', this
  double album were indexed with 'A, B, C & D. '  Obtaining conclusive dating for the actual pressing date as the earliest possible
and regardless of the  May,1972 release, this 'in house' first pressing has dated inner sleeves to provide and confirm that. In the
past I have found date inner's to current 1972, but from long experience, the inner sleeves have been most from November,1972
and that is the coded date on my own original very first pressing.

Both inner are conclusively the original's the records were placed into at the point the album being pressed, as opposed to the
album being released in 1972.  One inner has  '971' and the other '1171' , made in September and November 1971, once again the
November month and the other was made only eight weeks earlier and logically, the later month simply had to current to the records
being pressed and inserted.  By definition alone, only Mint vinyl can be regarded as being in the initial inner sleeves, even if
the records were separated from the covers for record shop purposes, they remained in the original inner and often had the title
and the catalogue number hand written on them.  The historical significance of record shop and even record company stickers and
written indexing is always really important, an album's original items are often misunderstood or misinterpreted. All records are
  individualistic and this is as unique a first pressing of "Four Way Street" I have ever seen, this is rare enough on the short
lived, about to be replaced red & maroon labels and once only played, Mint very first pressed records, in a superb, genuinely
Excellent+++ UK 'E J Day' gatefold cover, is major enough without needing additional rare sticker to increase the individuality.


RED & MAROON ATLANTIC LABEL: SET NUMBER: ATLANTIC DELUXE 2657 004
 
  MAITRIX FOR ALL FOUR SIDES;
  RECORD 1:  2400 132   A  ▽ 1    1  /   2400 132   B  ▽ 2    1
  RECORD 2:  2400 133   C  ▽ 1     1 /   2400 133   D  ▽ 1    1
  The above shows this is the very first UK pressing made.


ORIGINAL ATLANTIC/POLYDOR INNER SLEEVES, AS  DETAILED,THEIR ACTUAL PRINTING IS DATED WITH SEPTEMBER
AND NOVEMBER, 1971 ON THE  FRONT BOTTOM RIGHT CORNERS.  
  I Included close up pictures of both dates in a compiled single picture, I had to delete so many pictures to get down to a basic
12, even the Kinney sticker had to go, but can be clearly seen in the picture of the inside of the gatefold cover.  Shame though,
because underneath is the 'EJDay' credit, so a large picture was taken to include the surrounding text, never mind all has been
carefully detailed in text and the pictures shown are more than adequate for the key details and the superb condition's.
BOTH ARE IN UNSPLIT, BARELY AGED, ONCE USED,  MINT- CONDITION.
 
  FOLD-OUT COLOUR LYRICS INSERT, OPENED OUT IT MEASURES, 24" x 12", ONCE AGAIN FIRST ISSUE ONLY ITEMS
BECOME PART OF THE OVERALL PICTURE,  ONLY THESE FIRST PRESSINGS HAVE THE ORIGINAL CATALOGUE NUMBER,
'2657 004' & 'Printed In England' ON THE LYRIC INSERT, WHEN KINNEY COMPLETED THE TAKE-OVER, THEY
CHANGED THE PRINTING ON ON THE COVER & INSERT, WHICH NATURALLY HAD '2657 004' CATALOGUE NUMBERS.
  THAT WAS WHY I BELIEVE THE 'In -House' OR RETAINED RECORD COMPANY SCENARIO, WAS FOR EXAMPLES TO BE
HELD AND REFERRED TO FOR PREPARATION OF RE-PRINTING THE INSERTS AND COVERS.

The insert is a like the music, a beautiful item, the full lyrics and the album credits are set on a picture of a road and the sky.
  It's rarely found untorn and uncreased, this is in outstanding condition with unfaded  colours.  I was very impressed to find
  this totally flat  without any creases, and to still have the original 1971 stiffness to hold and read while hearing the music.
   This has an individual picture taken in full sunlight, with nothing hidden under a cover's edge or placed in shadowy corners.
  THE INSERT IS IN UNUSED, UNWORN CONDITION, JUST A GENTLE RECORD IMPRESSION, BOTH  COMPARTMENTS
OF THE GATEFOLD CONTAINED A RECORD.  A TEXTURED INSERT IN 1971 - 1972 AND THAT CAUSED THE MAJORITY
TO DISCOLOUR, ONLY THE OUTSIDE HAS THE SLIGHTEST AGEING,THE INSERT IS IN NEAR MINT CONDITION.

VERY RARE FIRST UK ISSUE, "E J Day" PRINTED, GATEFOLD COVER, MOST FIRST UK PRESSINGS WERE USA PRINTED
COVERS, HERE WE GO AGAIN, AN ATLANTIC  STICKER WAS ADDED WITH THE UK CATALOGUE NUMBER.  AS THE FIRST
ISSUE COVER, BOTH  INSIDE PANELS ARE TEXTURED, SO THE ACTUAL INSIDE FACING OUT TOWARDS THE RECORD IS
A WHITE COLOUR, NOT NATURAL CARDBOARD LIKE THE EXTERNAL IN FACING PANEL.
These first issue "E J Day" gatefold's suffered from grainy ink that started to fade as soon as you bought them, as early as
  in 1971.  A sympton of the early 1970's when a change was made from laminated to matt covers by many record companies
here after the 1960's decade's recent demise.   Even for rare Mint condition records like these, the problem was the ink, it
took perfectly to Atlantic's soft textured sleeves, like "Crosby Stills & Nash" etc. but not matt types.  Not necessarily from
excessive use or handling, although that only compounded and made the situation even worse.  Another prime example of a
poorly printed matt gatefold is Sandy Denny's "The North Star Grassman And The Raven", which was also released in 1971.
That was a singe album in a gatefold cover, holding two records "Four Way Street" was always going to have ring wear of
some degree.  Amazingly there is no ring wear on the front or back, only a fraction of storage and standing traits in terms of
the extensiveness, this is way, way above average condition as a look round ebay will confirm, in saying that, first pressings of
"Four Way Street" are rare enough on these original red and maroon labels, to find many copies for sale.
A SUPERBLY SOLID AND SOUND COVER WITH A SUPERB SPINE, AMAZINGLY ALL THE WHITE AND PALE BLUE OUTLINED
  TITLES AND THE CATALOGUE NUMBER ETC. ARE UNWORN AND 100%  PERFECTLY CLEAR.   I WILL DETAIL THIS IN FULL
BELOW, ALL THE DETAILS DISCUSSED HERE ARE SHOWN IN REVEALING PICTURES.
UNDER THE CIRCUMSTANCES, THIS SUPERB GREAT COVER IS SEVERELY GRADED AS EXCELLENT+++ CONDITION.


ONLY PLAYED ONCE, THERE IS EVEN SUBSTANTIAL WAFER THIN VINYL SHAVINGS IN 'RECORD 2's' SPINDLE HOLE.
BOTH RECORDS ARE IN TOTALLY UNMARKED, AS NEW MINT CONDITION, THE SOUND QUALITY IS SIMPLY STUNNING!
HOWEVER SOFTLY THE MANY ACOUSTIC PERFORMANCES WERE PERFORMED, THERE IS NO SURFACE SOUND OR ANY
SOUND IRRITANTS OVER THE WHOLE FOUR SIDES.
SIDE 1
"Suite; Judy Blue Eyes"
"On The Way Home"
"Teach Your Children Well"
"Triad"
"The Lee Shore"
"Chicago"

SIDE 2
"Right Between The Eyes"
"Cowgirl In The Sand"
"Don't Let It Bring You Down"
"49 Bye-Byes / America's Children"
"Love The One You're With"

SIDE 3
"Pre-Road Downs" (
"Long Time Gone"
"Southern Man" (Extended 13 minutes version!)

SIDE 4
"Ohio"
"Carry On" (13 minutes version.)
"Find The Cost Of Freedom"

David Crosby - vocals & guitar
  Stephen Stills - vocals, guitar & keyboards
Graham Nash - vocals, guitar & keyboards
Neil Young - vocals, guitar, harmonica & keyboards
 
Calvin "Fuzzy" Samuels - bass guitar
Johnny Barbata - drums  
 
Recorded Live On Tour, Between 2nd June - 5th July, 1970, In New York, Chicago And Los Angeles.
  Produced By David Crosby, Stephen Stills, Graham Nash & Neil Young.
With Neil Young installed with the original 1969 Crosby, Stills & Nash line-up, they now had the finest musicians and songwriters
  pooling their collective talent, a scenario you could only dream about happening.  Stills & Young re-united the Buffalo Springfield
  years of 1968 / 1968, together with former Byrds David Crosby and representing Britain, ex-Hollies Graham Nash, they produced
a very special musical chemistry and created truly astounding music. All four were past masters of recording studios, having just
recently been the leading lights in psychedelia, as live performers there was an electricity on stage  just bristling with nervous
energy,a culmination of four enigmatic musical genius'. I was fortunate to see them during the 1970's, whether it was acoustic or
electric music, you were hanging onto every note played and sung, no other band ever had such fiercely strong minds and about as
  independent individuals you could find in an era full of them. To have recorded them live in mid-1970 when they were at their most
volatile, was to capture the biting intensity being expressed with 'hearts on sleeves' emotions taking music to heights unattainable
  in the sterility of recording studios.   Their 1970 "Déja Vu" album certainly came close to capturing that, but record making skills
slightly distilled the combustive if not a volcanic edge to the musical chemistry, an air of unpredictability hung over the four
fiery characters, versions of songs on any given night always had a potential to take on a unique persona.  I could have written
  the same for Neil Young as a solo artist or with Crazy Horse, but onstage with Stephen Stills again and added intensive presence
  of Crosby & Nash in 1970, was potentially an explosive mixture even when performing with acoustic instruments!  I wrote all the
complex pressing details in a hopefully easily followed format, it was happening daily up in an era of constantly fluctuating
record company changes in America and Britain.  Written from personal experience and  knowledge to the best of my ability, but
that pales into insignificance when hearing this astonishing band from Mint first pressing!  After playing all four sides, the last
thing I wanted to do was write about stickers, pressing dates and catalogue numbers,I am relieved to now move onto one of the
world's most intensive, gripping, entertaining, completely absorbing, live albums every performed and recorded.  Side 4 alone is
an astonishing, emotionally stirring listening experience... then the other three sides are just as powerful and overwhelming.
I set ridiculously high audio demands on these first pressings, only because how perfectly they were mastered and pressed in the
UK, so I can rarely sell "Four Way Street", but when I do, stand back for absolutely staggering sound quality. Be it Neil Young's
solo, acoustic "Cowgirl In The Sand" and  "Don't Let It Bring You Down" of biting intensity, or Stephen Still's truly inspired,
magnificent, gospel, acoustic  solo performance of "49 Bye-Byes / America's Children", you will not believe the perfect audio
clarity on every note sung and played.


The double album had every version from that month long tour scrutinised before being selected, all four were credited for record
  production.  They were all such extremely dedicated individuals, they once ended up walking out of a recording studio because of
an argument over......just one note in one song!  I doubt very much if they could settle on which version to include on this album,
as I have understood it, Graham Nash compiled "Four Way Street" and the other three still had a strong say in what you now hear.
  There was far more to those four than just being supremely gifted songwriters and  musicians, they carried the torch lit in the late
60's, the idealism and commitment of the four individuals was unwavering and the word 'compromise' was not in their vocabulary.
  The sheer intensity of that was the very catalyst that produced the songs and lyrics, perfectly encapsulated on the 1970 "Déja Vu"
  debut album, but as a live band in this 'out on the edge' period, they had an intensity so thick you could cut it  with a knife.  I rarely
  find a first UK pressing in the only condition I will consider to be worthy of the music, so this will be a long description as I intend to
cover all four sides, for anyone with a busy life, apart from needing this album even more, all the basic details and more, are found
above in my main headings.
 
  This live set recorded during the summer of 1970 should be hailed as the most remarkable ever recorded, as a live double album
"Four Way Street" stands alone.  That cutting edge  to their impassioned performances is best illustrated by two Neil Young songs,
  "Southern Man" and "Ohio".  "Southern Man" as a solo studio version bit deeply into racism in America's troubled South, but their
staggering performances on this album was played with a chilling ferocity.  The dual lead guitar playing between Neil Young and
Stephen Stills was a feature of Buffalo Springfield, re-united after less than two years, they blazed away with such a breathtaking
  intensity, the song and lyrics went into another dimension.  The fierce commitment and solidarity from all the band on the racism
issue, produced the ultimate version,  I collect live bootlegs and speak from experience of hearing many live renditions, in fact,
Neil Young actually stopped playing "Southern Man" during his  solo tours for years because he was worried it might inflame riots
  and people in the audience would get hurt.  Even as I write in December,2014, those riots in America have not abated, few songs
  have ever taken essential social issues onto such a level in front of an audience, I better leave discussing "Ohio" yet and wait
  until describing the whole album and deal with the finite UK release details, I'd much rather get straight to the music, all in
  good time though.

The UK release fell inside the Atlantic label still having 60's red and maroon colours, today most still playable records are on
  the green and orange Atlantic label, they first appeared in March,1972 and ran through the rest of the 70's decade and beyond.
The original catalogue was designated before 'Kinney Records' took over Atlantic's catalogue and connected labels like Reprise if
  not all of them, Polydor relinquished Atlantic etc. but retained their own red label, subsidiaries like Track were unaffected.
The early 70's was an era of huge changes and companies like EMI, had begun their's in late 1969 and a period of alteration was
needed to make such drastic change, to back catalogues and the present or the current releases and of course all future issues.
A massive shift in label designs and colours took time and for the Kinney /Atlantic design changes, 'a period of transition' would
take until the middle of the 1972  before so many related Kinney labels settled into having logo's etc.   The most obvious artists
to be affected are always the biggest selling, in 1970 Led Zeppelin were the UK's biggest band, all of their albums were only ever
Atlantic/ Kinney related, even when 'Swan Song' was formed.  Economics always took priority and in this the earliest period, the
cover for "Led Zeppelin 4" was needlessly given the same Sticker format as I have shown in my pictures, to see how hectic this all
was you have to stop and reconsider how crazy that was!  The "Led Zeppelin 4" gatefold cover did not have the artists name, album
title, track listing, catalogue number or even a record company printed anywhere on the cover!   Yet a sticker was prepared with
the new 'K' pre-fix catalogue to add to a few covers with the original first pressing red & maroon records inside, that alone tells
  the systematic method required to change such a vast catalogue and obviously currently selling albums in 1971 were given the
fullest priority, which explains why a few very first pressed records in a first issue UK 'EJDay' cover were held for 8- 9 months
by Atlantic, needlessly adding a sticker, (to the inside, where it could not be seen!) placed records into latest/original inner's
and sent the album out for sale among the orange and green label re-issues. I give personally arrived at opinions that will be as
close to the actual events anyone could get, but trying to solve events that happened that far back in time and especially when it
  was condensed into a matter of just months since the May 1971 release of "Four Way Street", is educated guess work only.  I can
  instantly visually and audibly recogonise first pressing records and covers though, my job is finding the 40 year old originals
  in top condition.    I will always use my first hand experience of buying records like this  as issued and my constant buying and
  selling them ever since to at least shine a light on often contradictory patterns that emerge. Inside I really want to just yell out
  "These records have staggering sound quality and the cover is superb!", but a more rational approach means laying out all the
  facts in front of prospective buyers.
 
So to sum this examination of Atlantic's take-over by Kinney Records, this record is without any question the very first pressed,
"Four Way Street" is most commonly found on the green & orange Atlantic label re-issues, then there's the condition of the vinyl
  to consider, I mentioned twin electric lead guitars before, there was also a wealth of beautiful acoustic numbers on the album
  as well. As the very first pressing made the maitrix details are given above in my headings, all four sides are without the usual
  deep scratches and heavy use, there are no marks at all, not even any near invisible handling or playing signs, all 17 tracks have
  stunning, perfect sound quality, including on the most delicate of the acoustic songs. 

  First pressings on the maroon & red labels were issued with the vast majority in USA made covers, this has the very rare 'E J Day'
  UK printed cover.  Cover switching is on an epidemic scale, because of how the covers wore as prematurely as 1971, I know that
from my own cover!  First issue covers are now really poor, with split edges and the spines split in tatters, because they were not
  laminated and holding two heavyweight records.  As Atlantic changed catalogue numbers only months later, only first issues have
the Set number, '2657 004' on the spine and back cover's top right corner, unfortunately few spines still have any printing left,
  let alone  top surface paper the titles etc. were printed on.
 

  This cover has a near perfect, unworn spine so even the catalogue number is as clear as the day it was made,  printed also on the
  back's top right corner, but very close to to the spine's corner, so often worn away.  Once again this cover's front and back are
  unworn and scuffed, the red printing is perfectly clear, when grading covers I include vital features which is why my grading is
  harsh but realistic.

The LP came with a superb 24" x 12" colour insert with the full lyrics, essential to the double album because there is not a track
  listing on the gatefold cover, only on the insert. When trying to pick a few representative lyrics from all four composers to type
  above my headings, I was so spoilt for choice, which really does emphasise how inspired every song performed was. This is the
  rarer first UK printed insert and in superb Near Mint condition.   Both the USA & UK printed inserts managed to miss off the first
  track on the album, omitting the title but there were no lyrics to "Suite; Judy Blue Eyes," the track may only be 24 seconds long
  but it was printed on the label.
 
All four labels are in pristine, unblemished condition, two stunning looking 38 years old heavyweight, deep, grooved records, I
  played all four sides earlier and the sound  quality is absolute perfection, that of unworn, Mint very first UK pressings.  Surface
  sound is not an issue even on the most delicate acoustic tracks, it might not be possible to describe every single track, but I am
  very determined to cover them all and will need to make a real effort to cut back on extravagant lengths for individual songs, it
will be very difficult to do for this magnificent set of live recording's.


  The recordings were from the Filmore East, New York, during June 1970, and the Chicago Auditorium, July 1970 & the Forum L.A.
  also in July 1970.  Two different venues, but the compiling and editing was made so skilfully and expertly, there is not a sense
  of discernible breaks between any of the tracks.  To be expected with Crosby, Stills, Nash & Young as the record producers, just
  imagine how it must have been for the sound engineer Bill Halverson, with those four sound perfectionists breathing down his
  his neck!
 
Side 1 has as close to silent run-in grooves as vinyl gets, in fact, why mess around, there's complete silence even as the slowly
  faded in first track gradually reaches full volume.  As the whole album or all the four sides, have the same smooth running gaps,
  there will be no point in constantly writing that for every  track, an unworn immaculate pressing will be a joy to describe! That
  faded-in intro for acoustic guitars is normally a cue for excessive crackles on virtually every pressing I have heard but as the
  volume gradually rises there's not even a suggestion of even any surface sound on the intro. I named it an intro but a small part
  of "Suite: Judy Blue Eyes" was edited at the end of the performance, so there's just the vocalised "doo-do-de-doo" twenty four
  seconds section.  The sound quality is ultra powerful and ultra clear and clean, Graham Nash introduces Neil Young to rapturous
  applause as the band throw their full weight behind Neil's sublime "On The Way Home," Young sings those classic opening lyrics,
  "When the dream came, I held my breath with my eyes closed," backed by acoustic guitars only, the harmonised vocals to Neil's
lead are stunning.  So is the very first made stereo mix and this awesome audio perfection on such an exposed to noise track, but
I can't even tell these beautiful sounds are being made by a 40 year old record.  An amazing pressing, totally unworn and like
brand new is unbelievable.  I am not happy about not going into more details for such a loved song, or such a wonderful CSN&Y
performance of it, but it has to be done.   After the applause dies away, the quietly played acoustic intro is immaculately clean,
now the delightful vocal harmonies begins for one of "Déja Vu's" most endearing songs,"Teach Your Children," one of Graham's
finest  ever melodies with really profound lyrics.  As very young parents in the early 70's this track was a real inspiration to us,
taken as just a beautiful melody it makes fantastic listening.  The acoustic guitars are played very differently to those heard on
the studio recording, they have extra flourish and flair, the intensity I wrote about is found on these gentle acoustic folk style
tracks as much as the electric ones. The sharpness of those acoustic guitars is incredible, the way every note rings out, is the
very sound of a 1971 mint unworn first pressing. The sound of the vocals becomes just as essential on these acoustic songs and
they are just as perfectly defined.  There's a lovely moment when Graham Nash breaks into laughter singing, he quickly recovers
to complete the line.  David Crosby then spends a minute or two talking to the audience, his tone is very soft and even with this
  record's massive power, you have to listen closely, he explains how difficult it sometimes is singing certain songs and even here
there is not the barest suggestion of surface sound.  I'm not wasting time over ultra faint static, with virtually none anyway!
Then along to a single acoustic guitar, David sings the awesome "Triad" solo. A song written during his time in the Byrds but the
band felt was to controversial to release, about a three way relationship, he wants one lady to accept a second woman in a triad
arrangement.  Controversial in 1967 and 1971, the melody is sheer beauty and to hear it played with just his magnificent voice
and a lone guitar, is a really riveting experience.  I must apologise for constantly saying how staggering this sound quality is
and in particular for this deeply emotionally moving performance, it's near impossible to find this without very irritating noise
on any decade's pressings. This is simply breathtaking audio and I cannot stress enough enough just how awesome both record's
sound reproduction actually is.  Dave Crosby stays in the spotlight for the really gentle start to "The Lee Shore," this also defies
such fragile sounds are coming from vinyl, he's not far away from whispering the first verse but still no surface sound to break
the magical spell cast by the really stunningly beautiful song.  Graham adds some wonderfully subtle vocal harmonies, now the
volume grows with the sheer intensity of David's vocal delivery, what a voice!   The harmonies near to the end are just glorious,
the audience remained transfixed by the beauty of their two voices and a lone guitar, they errupt at the end though!   Next up is
Graham Nash's superb "Chicago," performed accompanied by only a piano with the other's delicate vocal harmonies joining him
on the chorus, this is an outstanding track.  The melodies on this first side more than stood being performed acoustically, with
such magnificent vocals from this 'band of bands,' who needs a bank of instruments?  The intimacy that brings to these beautiful
songs transcends even the superb studio versions, in view of such delicate acoustic tracks, this has been a staggering playing
side. The average condition original vinyl totally ruins this fantastic first acoustic side, sound grading becomes essential and
  Record 1 of "Four Way Street" demands this highest possible level of sound reproduction.  Put another way, no crackles, clicks,
pops or in fact anything beyond beautiful sounds created by the artists, because that was how Polydor pressed the first red and
maroon label records.

clarity Record 1, Side 2, has more silent run-in grooves before David Crosby says,"This is a song you have not heard of Graham Nash's."
A great build up for him, but Graham Nash manages to mess up the intro, after much laughter and fun between David and Graham,
  "Right Between The Eyes" gets underway.  Just an acoustic guitar and Graham's vocal backed by Crosby's soft harmonies, these
  lyrics are so true, "A man's a man who, looks a man right between the eyes." After that chorus the beautifully vocalised harmony
  between them is sublime.  The audio perfection remains unaffected by turning over the record, after the long applause dies away,
acoustic guitar chords signal a rise in the intensity, the intro to Neil Young's stunning "Cowgirl In The Sand." I am struggling for
the right words to describe this much loved song, the acoustic guitars play powerfully during the second verse, when Neil places
  a far stronger emphasis on the lyrics.  To think it was only exactly one year prior to the live recording, May,1969 was when Neil
first performed "Cowgirl In The Sand" on "Everybody Knows This Is Nowhere," his second solo Reprise album, then into CSN&Y.
  The guitars have a real to life sound, Neil's voice is in razor sharp, cutting sound and when Neil Young is in this intensive mood        
  he's awe inspiring to listen to, his ability to perform with an acoustic guitar is legendary today, back in 1970 he was one of the
most unique of all folk artists, plugged in or not!  Neil stays on stage for a very early rendition of one of his saddest but also most
uplifting compositions, the brilliant "Don't Let It Bring You Down."  His acoustic guitar plays the distinctive intro as he sings it
with a burning intensity, a fragile voice but one that carries such force, the lyrics are just as superb as the tension created by
his simple lone guitar.  I'm still amazed to hear yet another totally exposed performance to vinyl's possibility of surface noise,
playing with the clarity and cleanness that goes way beyond my expectations when I first saw these gleaming records. Too often
looks deceive, but not this time.  I'm unhappy about having to leave describing this in full, I've had to forget about detailing the
  staggering true stereo mix as well.  Neil then introduces the next performer to take the stage by saying this:
"A friend of mine I've known longer than anyone I've ever known, we've had our ups and downs but we're still playing together...
Stephen Stills."  Stephen plays a piano and performs his beautiful "49 Bye-Byes" solo, a quiet and moving version, then in total
  contrast he hits a strong r&b rhythm on his piano, bringing in the audience to clap the rhythm with him.  He's so fired up here,
then "America's Children" begins with Stills improvising a rant against the destruction of the American dream.  He pours scorn
on Richard Nixon and Spiro Agnew, a very brave thing to do in an America still under the iron grip of one of the world's worst
war mongering administrations in the 20th century.  You need to know the awful climate in 1970 to appreciate Stills' stance,
the audience certainly knew how Stills was putting his head on the chopping block, they go wild at the end. The most astonishing
part of listening to "Four Way Street" is you become very aware of how individualistic these four musicians are, such a fiercely
independent set of  personalities, it's pure magic when they play and sing together. To finish this second side what better than
a song about  peace and love, "The eagle flys with the dove," can only mean another era defining statement begun back in 1966
in Buffalo Springfield, the superb "Love The One You're With."  The band join him and a flurry of acoustic guitars punch out the
  fast flowing rhythm.  Stephen Stills sings this with a genuine passion, backed him are Graham Nash and David Crosby's equally
impassioned vocal harmonies and what fantastic sound quality!  The stereo has the acoustic guitars in total channel separation,
this now ends the acoustic first record's set in real style I can't praise the audio highly enough,  just stunning to hear, however
high anyone's audio standards are, this record will meet and even surpass them, that perfect!   I may be cautious about grading
cardboard for covers but I will shout it from the rooftops when I am being blown away by awesome sounding records!

  Record 2, Side 1, has the same smooth and totally silent run-in grooves, percussion is the first sound heard and a Graham Nash
composition,"Pre-Road Downs" starts the electric set off.  The sheer power of this first pressing does not involve any volume
differences between the acoustic and the electric songs, something I do find very annoying about the way CD's are mastered.
  Record 1 was amazingly loud considering there were so many fragile, gentle acoustic instruments backed tracks. On the debut
1969 "Crosby Stills & Nash LP," Stills played an organ on this track, this is purely performed with electric guitars, a bass and
drums, almost like a warm up for the sensational sounds we are now fast heading towards on the second and third track of this
amazing third side.  A fast tempo song about the band preparing to go on tour, telling of the non stop round of travelling and the
hotels,  great lyrics include "The time approaches, hotels and midnight coaches, be sure to hide the roaches."  The next song has
  Stills playing the organ, Neil Young starts to unwind with some smouldering blues guitar, he adopts the lead guitarist position on
Crosby's intensive "Long Time Gone."  The word 'intensive' was cropping up constantly on the first LP, this track has tremendous
  atmospheric's but I must concentrate on making it all the way to the end of Side 4.  So no time for my usual meandering's, the
music was mightily powerful in 1970, such fantastic stereo panning like this cannot be ignored.  Neil Young's stunning guitar is
from the right speaker, Stills organ from the left but for the individual solo's they change channels. The backing vocals include
Neil but he's well into his lead guitar playing, David is in incredible vocal form. Sound reports have to be a little similar but
I'm delighted to say everything continues to be in flawless sound quality, I have to keep this record's description as minimal as
possible though but I'm failing dismally!  Now we enter the moment when this group of friends tighten even closer together and
  lay down a simply awesome version of a song I was drooling over in my introduction, "Southern Man" and all thirteen minutes of
  of it's mind blowing duration!  In the early 1970's a great deal of fuss was made about progressive music and not many included
CSN&Young in that category, but Stills and Young were after all one of America's West Coast, most psychedelic respected bands
between 1966 and 1968.  Add in the former Byrds and Hollies musicians, let them all loose on this song with an emotive subject
they cared passionately about and stand back!  Neil Young and Stephen Stills indeed step back into the Buffalo Springfield days
of compelling guitar duels. An ultimate damnation of the racial situation when the term 'rednecks' translated as "Klu Klux Klan."
The stereo panning here is just mind blowing, no good looking for it on the re-issues, this is unique to the 1971 first pressing.
  Even before I describe the simply scintillating guitars here, I must say you can clearly hear from Neil Young's voice singing the
  stinging lyrics, he's in one of those very emotional and deeply intensive moods. I'm sure Neil Young fans don't need any further
  comments on that from me, especially in 1970.   Neil Young's guitar is panned exclusively from the left, with Stephen Stills' on
the right. At several points Neil plays an improvised blues lick, immediately answered by Stills from the right, they just build
and build their performances, literally bouncing off and pushing each other to their very limits and then beyond even that. Until
the dramatic tension they create a  real storm, but not 'like a hurricane' just yet to explode into it's full fury, boiling point
is now ever closer. The drums and bass are right up there with the incredible guitars, they still increase the blistering blues,
  then an explosive section!   Everything now takes off into a furious section with Stills and Young playing out of their skins! Neil
  Young would be spending the next decades fulfilling his genius on lead electric with Crazy Horse and on the frequent returns to
CSN&Y, but this performance was the ultimate expression of his outrage at racism.   Collecting CSN&Y bootlegs with other live
versions of "Southern Man" figured highly in tape trading I got into during the earliest part of the 1970's, but you always come
back to "Four Way Street" to hear how that pair of old friends, who were so often bickering like children, rocked each other to a
  standstill with one of the greatest ever extravaganza's of guitar soloing.  Followed by the intro's chord changes and back to the
vocals for a really stinging  final verse, with all their voices passionately enforcing the lyrics. Often viewed as an acoustic folk
band, they were untouchable in that mode, but in reality, CSN & Y were an awesome electric rock  combo, more than capable of
blowing away any of the heaviest rock bands bar none.  Live performances are always the most revealing of all for musicianship
  and "Four Way Street" captured them playing staggering electric music.  If I was compiling an ultimate various artists live album
  it would have to open up with this white hot "Southern Man."  The massive power of this monumental live performance is simply
devastating, from a mint first pressing mastered at maximum volume, the impact is unbelievable!  Not forgetting they all produced
the records and as loudly as they are mastered, there is not a hint of any of the distortion the vast majority of the originals now
suffer from.

I actually made Side 4, silence from the run-in grooves and even more importantly,  absolutely no surface sound as this Side now
opens to Neil Young's chilling electric guitar intro to an equal level of intensity for the astounding "Ohio." "Southern Man" would
  be most band's tour de force and it was for their sustained length of the performance, but if that was devastating for an emotional
  content, the stakes now double up!   For this my description length concerns become irrelevant to the magnitude of the song itself
  and an awesome delivery, "Ohio" alone was why I was  determined to include this entire album so I must detail the background.
   An event had spontaneously triggered this song's writing and release as a single, a volatile reaction to the horrific incident only
  one month before this 1970 American tour. Neil Young was sitting in his home watching his TV in the previous May, when graphic
  scenes were shown of the peacefully protesting young students being shot down in a hail of bullets by heavily armed troops.
  The then President, Richard Nixon, was obsessed with the war in Vietnam and any voices raised in protest were no longer being
  tolerated, orders to open fire on unarmed young civilians sounds unbelievable now, but it happened.  There were four deaths at
  Kent State University, Ohio, filmed and beamed onto your TV, we also watched that same horrifying newsreels in England.  Neil
  Young was so shocked and angry, that very night he urgently wrote "Ohio."  The urgency was more than just writing the song and
  the next day C.S.N&Y recorded "Ohio" and released it as a single only.  Such genuine heartfelt empathy from artists is rare, only
  a handful of them were prepared to raise a voice in anger, spurned by many in the States in 1970 but the other band that stood up
  to be counted were the Beach Boys on their "Surf's Up" LP, check out "Student Demonstration Time" if you haven't heard the track.
   This live recording was made just after the victims funerals, it was so full of red raw emotions, this is still really overpowering
  to hear even all these years later.  Emotions and music are inseparable, unless it's just junk chart fodder, Neil's guitar riff intro
   powers out in just astonishing power, the bass, drums and two guitars play with an aggressive force, not the gentle and wistful
   feel of the majority of the first LP's set, anger felt at a senseless slaughter of unarmed innocents was still burning strongly.
     That reaction is very much the reason the instruments were played with a ferocity, Stephen Stills and Young's long term musical
   partnership can very clearly be heard by how their electric guitars combine with such solidarity.  Neil Young's finger pointing
   at "Tin soldiers and Nixon's coming" scathing vocal, has an extraordinary backing from the other three vocalists. They take the
   single's ending of a repeatedly sung, "Four dead in Ohio, how many more??" and produce staggering vocals, but not as harmonies.
    Crosby is beside himself with outrage, his normally gentle voice is full of fire and a vocal power rarely heard. It feels trivial
even saying the sound quality is stunning & perfect in view of the heartfelt sentiments and the sheer intensity of the performance.
      I really must only briefly mention the last two tracks now, without any drop in this highly charged atmosphere, they next play the
   simply staggering 13 minutes long, extended version of yet another major song from the just released "Déja Vu" album,"Carry On".
      I sincerely believe this double album is among the most absorbing audio experiences you could listen to, nobody could distance
   themselves from musical genius' expressing their emotions with a commitment and intensity so real, the music just sweeps you
   along with them.  At this rate I will list this around midnight, I am definitely getting there now!  Stephen Stills' magnificent
   composition is sung with the same burning passion,David Crosby's contribution to Stills lead vocal is immense. During an acapella
section, "Carry on, love is coming to us all", there's no surface sound at all, Nash's high harmony is in superbly clear sound.
   Stills and Young turn to their their guitars to express the emotionally charged song's instrumental segment, yet another duel of
   fantastic sounds, they take turns at playing the riff rhythm, while the other expands on the musical theme, now they create mind
   blowing sounds together.  The stereo separation on their guitars is awesome, the sound is as perfect as anything I've ever heard
   from any record.  The final guitars section hits a level of such intensive music it doesn't seem possible to have soared so high,
  I would love to 'carry on' with this track, but onto the last, literally amazing track, "Find The Cost Of Freedom." A Stills song
  that mirrored Neil Young's "Ohio," it was also recorded at the same time and issued as the B-side to that single. A song of equal
emotional content, another cry for civil liberty and freedom, being sung this time with a very sad gentleness and compassion.
   "Find The Cost Of Freedom" begins with such beautiful acoustic guitars playing the stunning, haunting  melody, Neil Young and
  Stephen were not exactly found wanting when together they returned to their folk roots on acoustic guiars.  The stereo panning
  is magnificent, separating those wonderful acoustic guitarists who by now are in state of grace. The vocal harmonies are simply
  breathtaking, sung totally acapella after the guitars tail off for them.  When CSN &Y sing in such tight knit harmonies, nothing
  can touch the resulting sound, oh yes, the audio is staggering, there is no surface sound or static even during the unaccompanied
  vocals, if anyone asked me for the toughest song to find without any noise from first pressings, "Find The Cost Of Freedom" is it.
   A short track, but this leaves a very long lasting impression, those final vocal notes just soar, I cannot think of a better way of
  finishing one of my most enjoyable descriptions, than ending this as I began it, with Stephen Stills inspired lyrics he sang these
  as a dedication to the victims and families of the Ohio University tragedy:
"Find the cost of freedom, buried in the ground,
Mother Earth will swallow you, lay your body down".
To now describe a gatefold cover feels meaningless and trivial after experiencing music and vocals of true greatness, this should
  end with the profound lyrics I just typed.
    I broke the spell by carefully putting the records away safely, concentration soon returns you to reality, so does filling in ebay's
  listing form!  What category do you place an album in with the most beautiful melodic acoustic music & glorious vocal harmonies,
  but also with the heaviest devastating rock you could wish to hear?
 
  The fairly dark picture outside artwork extends over the spine onto the back of the gatefold, with only the merest hint of grainy
  areas on the front & back, all of the colours are superb and they are remarkably bright on the lighter ones, the ink did not take
  kindly to 'rubbing' and once again that is minor for this particular cover.  With only minimal rubbing and still with the original
  1971 rigidity and 'starchy' solidity, this is a really superb cover, the  picture part on the spine is totally unworn, very rare
  for a first made gatefold.  The spine is in absolutely amazing condition, including the unworn perfectly clear titles, only the
  extreme tips or the left side corners have the very slightest possible rubbing, far too minor to highlight.
 
  Just some light storage and mild ageing with a couple of edge lines running next to and over the spine, naturally formed from
  two record's internal positions. This really is is exceptional, because these first issues are usually extremely badly worn and
  battered, as I said earlier, way above the average condition.
 
  Although unlaminated, the top paper surface has a sheen finish that offered some protection over the decades, so the outside is
  in remarkable condition with the colours unfaded and vividly bright.  The sheer quality and very thick cardboard of a first issue
  has prevented severe impressions from the heavyweight records, with only the lightest rubbing to the outside possible for the
now 40 years years of age.  A beautiful cover, the corners are all square shaped, the front and back  are not that far away
from naming near perfect, certainly up there with the best  I have ever seen. The left side corners/spine tips are near perfect
  with that very light rubbing only.
 
  Both  opening sides are straight and crisp and unworn due to the lack of constantly removing and  replacing the records.
   The top and the bottom edges are sound and strong with just light wear.

  Unlike the re-issue's covers, the inside of the gatefold has a black and white picture of the band ina dressing room, strangely
  taken from behind a clothes hanger that acts to frame Nash & Crosby's heads.  On later re-issues, the insert  was dropped and
  the lyrics were printed inside, replacing the picture. The paper is soft and textured like felt, this is in outstanding condition,
  for once the inside of the spine's raised rib is totally unworn & unsplit, reflecting the outside spine's exceptional condition.
The beauty of gatefold covers becomes lost when you have to worry about extending the damage to spines by daring to open
  them!  This has perfect hinging, my grading of Excellent+++ is starting to look over harsh after writing this description but I
  think it correct to apply strict terms of grading, even if I can't help finding it ridiculous, knowing how poorly individual album
  cover wore over all the decades.
 
BR>  A long description that exceeded my intentions, more like a labour of love, I started this Sunday and have now spent one and a
  halfdays on the album, no more than such a major and fantastic double LP deserved.
   {Roy}
  R & M RECORDS.

My lifetime's love of music and records began at a very young age, the arrival of the Beatles and the 1960's decade
  in general had a very profound effect. It was only natural to bring all my first hand experience of collecting vinyl
  into becoming a professional record seller.  Over twenty years ago now we entered into the wonderful atmosphere
of record fairs with the highest possible standards set. When the Internet became the world's new market place for
  vinyl, in 2001 it was time to join ebay. Those standards were rigidly adhered to as they will always continue to be,
the basics of honesty and integrity were very much part of the era the music I love originated in, so here is our friendly
and very efficient service we are proud to provide;

EVERY RECORD IS FULLY PLAYED AND COMES WITH A 'NO ARGUMENT' MONEY BACK GUARANTEE.
  I USE GOOD OLD COMMON SENSE AS WELL AS A GLOBALLY ACCEPTED GRADING TERMINOLOGY
  FROM THE U.K. "RECORD COLLECTOR PRICE GUIDE" BOOK.
THERE IT CLEARLY STATES "Sound Quality" AFFECTS EVERY GRADING LEVEL AND THAT IS THE ONE
AND ONLY POSSIBLE WAY TO ACCURATELY GRADE RECORDS. i.e. COMBINING A STRICT VISUAL
INSPECTION WITH VERY CLOSELY LISTENING TO EVERY SECOND, UNLESS PERHAPS IN THE CASE
OF GENUINELY UNPLAYED VINYL.  EVEN THEN WE STILL TAKE FULL RESPONSIBILITY FOR A RECORD
WHEN A CUSTOMER RECEIVES EITHER A SEALED OR AN UNPLAYED RECORD.
 

MY DESCRIPTIONS WILL ALWAYS BE 100% HONEST AND TOTALLY ACCURATE ON ALL GRADINGS
FROM 'V.G.' ( VERY GOOD), TO THE ULTIMATE 'MINT' CONDITION.


ANY QUESTIONS ON OUR ITEMS ARE WELCOMED AND WILL BE PROMPTLY REPLIED TO.
 

WE ARE FULLY EXPERIENCED AT SHIPPING WORLDWIDE AND NO EFFORT IS SPARED TO PROTECT
RECORDS AND COVERS ETC.  WE WELCOME BIDDERS FROM ANY COUNTRY IN THE WORLD.

ALL RECORDS ARE REMOVED FROM THEIR SLEEVES AND PLACED INTO NEW PROTECTIVE CARD
SLEEVES AND THEN PLACED INTO NEW, HEAVYWEIGHT PLASTIC OUTER SLEEVES.
THE GREATEST ATTENTION IS PAID TO MAKING THE PACKAGING EXTREMELY STRONG & SECURE.
EVERY POSSIBLE EFFORT IS MADE TO ENSURE A SAFE DELIVERY AND WE ONLY USE THE VERY BEST
QUALITY PACKAGING MATERIALS, THE COST OF THE ITEM IS IMMATERIAL, EVERY RECORD IS
TREATED EXACTLY THE SAME.

WE DO NOT TREAT POSTAGE AS A MONEY MAKING PROJECT, POSTAGE IS LESS THAN COST, USING
ONLY PROFESSIONALLY PACKED BOXES WITH SUBSTANTIAL PROTECTIVE PACKAGING THAT DOES
WEIGH A LITTLE EXTRA.

UNDER PAYPAL & EBAY'S GUIDELINES, ALL RECORDS WILL BE SENT VIA A FULLY INSURED TRACKABLE
SERVICE.


We have kept all our charges at the same level for years now, but due to the Post Office's new price increases, regretfully we
will have to increase the cost of LP's, however, singles will remain unchanged.  Ebay were aware of that happening and have
  increased their minimum postal cost for LP's to £7.00, that figure has been enforced by the UK Post Office and it will become
our UK First Class, Recorded Delivery cost for albums up to the value of £46.  A temporary reduction this week means we can
now post LP's for £5, but who knows how long before the Post Office return to £7?

For LP's valued above £46, the cost will be £9, we are unhappy about either increase but our high standard of packaging has meant
in 13 years of ebay trading, there has not been one record damaged, we are determined to maintain that in the present and future.

IN THE UK RECORDS UP TO THE VALUE OF £46 WILL BE SENT RECORDED DELIVERY, OVER £46 WILL BE
SENT SPECIAL DELIVERY.
  FOR THE REST OF THE WORLD ALL RECORDS WILL BE SENT VIA 'INTERNATIONAL SIGNED FOR.'

POSTAGE  COST FOR LP's
UK: UP TO VALUE OF £46, FIRST CLASS RECORDED DELIVERY  £5.00
UK: OVER VALUE OF £46, FULLY INSURED SPECIAL DELIVERY £9.00


EUROPE: FULLY INSURED VIA INTERNATIONAL SIGNED FOR  £15.00


USA,JAPAN & REST OF THE WORLD FULLY INSURED VIA INTERNATIONAL SIGNED FOR £20.00


POSTAGE COST FOR EP's & 7"
UK: UP TO THE VALUE OF £46 FIRST CLASS RECORDED DELIVERY £3.00
UK: OVER THE VALUE OF £46 FULLY INSURED SPECIAL DELIVERY £6.00
EUROPE: AIR MAIL VIA INTERNATIONAL SIGNED FOR £10.00
USA, JAPAN ETC. AIRMAIL VIA INTERNATIONAL SIGNED FOR £12.00


PAYMENT DETAILS.

WE WILL SEND ALL WINNING BIDDERS AN INVOICE WITH THE FULL PAYMENT AND POSTAL DETAILS,
AS NEAR TO THE AUCTION ENDING AS POSSIBLE.

OUR AIM IS TO MAKE YOUR PURCHASE SMOOTH AND TROUBLE FREE.


FOR UK BUYERS;

WE ACCEPT:  PAYPAL, CHEQUES, POSTAL ORDERS & BANK WIRES.


FOR OVERSEAS BUYERS;

WE ACCEPT:  PAYPAL, INTERNATIONAL MONEY ORDERS IN POUNDS STERLING ONLY.
OR BANK TO BANK WIRE TRANSFERS.

WE WILL NOT MAKE FALSE STATEMENTS ON CUSTOMS DECLARATION FORMS AND WILL ALWAYS
CONDUCT ALL OF OUR BUSINESS WITH TOTAL HONESTY.
AS MUCH AS WE SYMPATHISE WITH THE WAY SOME COUNTRIES CHARGE SUCH HEAVY IMPORT
DUTIES, WE WILL NOT LIE.


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