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Crosby, Stills & Nash (album)
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Crosby, Stills & Nash
Studio album by Crosby, Stills & Nash
Released
May 29, 1969
Recorded
February–March, 1969
Studio
Wally Heider's Studio III
Los Angeles, CA
Genre
Folk rock, soft rock, blues rock, jazz rock
Length
40:52
Label
Atlantic
Producer
Crosby, Stills & Nash
Crosby, Stills & Nash chronology
Crosby, Stills & Nash
(1969) Déjà Vu
(1970)
Singles from Crosby, Stills & Nash
"Marrakesh Express"
Released: 1969
"Suite: Judy Blue Eyes"
Released: September 1969
Crosby, Stills & Nash is the first album by Crosby, Stills & Nash, released in 1969 on the Atlantic Records label. It spawned two Top 40 hit singles, "Marrakesh Express" and "Suite: Judy Blue Eyes," which peaked respectively at #28 the week of August 23, 1969, and at #21 the week of December 6, 1969, on the Billboard Hot 100 singles chart. The album itself peaked at #6 on the Billboard Top Pop Albums chart. It was certified four times platinum by the RIAA for sales of over 4,200,000.[1]
Contents
1 History
2 Cover
3 Release and reception
3.1 Grammy Awards
4 Track listing
5 Personnel
6 Charts
7 References
History[edit]
The album was a very strong debut for the band, instantly lifting them to stardom. Along with the Byrds' Sweetheart of the Rodeo and The Band's Music from Big Pink of the previous year, it helped initiate a sea change in popular music away from the ruling late sixties aesthetic of bands playing blues-based rock music on loud guitars. Crosby, Stills & Nash presented a new wrinkle in building upon rock's roots, utilizing folk, blues, and even jazz without specifically sounding like mere duplication. Not only blending voices, the three meshed their differing strengths, David Crosby for social commentary and atmospheric mood pieces, Stephen Stills for his diverse musical skills and for folding folk and country elements subtly into complex rock structures, and Graham Nash for his radio-friendly pop melodies, to create an amalgam of broad appeal. The album features some of their best known songs: "Helplessly Hoping", "Long Time Gone" (a response to the assassination of Robert F. Kennedy), "Suite: Judy Blue Eyes" (composed for Judy Collins) and "Wooden Ships" (co-written with Paul Kantner of Jefferson Airplane).
Stills dominated the recording of the album. Apart from drums, handled by Dallas Taylor, he played nearly all of the instruments on the album. Nash played acoustic guitar on two tracks and Crosby rhythm guitar on a few. Stills played all the bass, organ, and lead guitar parts, as well as acoustic guitar on his own songs.[2] "The other guys won't be offended when I say that one was my baby, and I kind of had the tracks in my head," Stills said.[3]
David Crosby bristled over the plan for "Long Time Gone" as he thought he should at least play rhythm guitar on his own song. Stills convinced him to go home for a while and when he returned Crosby was won over by the music track that Stills and Taylor had recorded.[4] In a more recent interview, Crosby contradicted his earlier statement, stating that he had played guitar on the track.[5]
The group performed songs from the album at the Woodstock Festival in August 1969. In late 1969 the group appeared on the Tom Jones TV show and performed "Long Time Gone" with Tom Jones sharing vocals.
This album proved very influential on many levels to the dominant popular music scene in America for much of the 1970s. The success of the album generated gravitas for the group within the industry, and galvanized interest in signing like acts, many of whom came under management and representation by the CSN team of Elliot Roberts and David Geffen. Strong sales, combined with the group's emphasis on personal confession in its writing, paved the way for the success of the singer-songwriter movement of the early seventies. Their utilization of personal events in their material without resorting to subterfuge, their talents in vocal harmony, their cultivation of painstaking studio craft, as well as the Laurel Canyon ethos that surrounded the group and their associates, established an aesthetic for a number of acts that came to define the "California" sound of the ensuing decade, including the Eagles, Jackson Browne, post-1974 Fleetwood Mac, and others.
The album has been issued on compact disc three times: mastered by Barry Diament at Atlantic Studios in the mid-1980s;[6] remastered by Joe Gastwirt at Ocean View Digital and reissued on August 16, 1994; reissued again by Rhino Records as an expanded edition using the HDCD process on January 24, 2006. On December 6, 2011, a gold compact disc edition of the album was released on the Audio Fidelity label.
Cover[edit]
On the cover the members are, left to right, Nash, Stills, and Crosby, for no particular reason, the reverse of the order of the album title. The photo was taken by their friend and photographer Henry Diltz before they came up with a name for the group. They found an abandoned house with an old, battered sofa outside, located at 815 Palm Avenue, West Hollywood, across from the Santa Palm car wash that they thought would be a perfect fit for their image. A few days later they decided on the name "Crosby, Stills, and Nash". To prevent confusion, they went back to the house a day or so later to re-shoot the cover in the correct order, but when they got there they found the house had been reduced to a pile of timber.[7]
Dallas Taylor can be seen looking through the window of the door on the rear of the sleeve.[8] In the expanded edition, however, he is absent. The original vinyl LP was released in a gatefold sleeve that depicted the band members in large fur parkas with a sunset in the background on the gatefold (shot in Big Bear, California[9]), as well as the iconic cover art. A long folded page inside displayed the album credits, lyrics, track listing, as well as a quasi-psychedelic pencil drawing.
Release and reception[edit]
Professional ratings
Review scores
Source
Rating
AllMusic [10]
The Rolling Stone Album Guide [11]
The Village Voice B+[12]
In a contemporary review, Rolling Stone critic Barry Franklin called Crosby, Stills & Nash "an eminently playable record" and "especially satisfying work", finding the songwriting and vocal harmonies particularly exceptional.[13] Robert Christgau was less enthusiastic in The New York Times, finding the record too apollonian for his tastes: "[Crosby, Stills & Nash] is as perfect as has been expected. But it also demonstrates the dangers of perfection: the wildness that should liberate great rock is so well-controlled that when it appears (as on Nash's excellent 'Pre-Road Downs') it seems to have been inserted just to prove the music is rock: the only exception is Crosby's wailing vocal on 'Long Time Gone.'"[14] In his capsule-review column for The Village Voice, he jokingly said the vocal saves the album from "a special castrati award".[12]
In a retrospective review, Jason Akeny of AllMusic believed some of the songs' themes "haven't dated well" but "the harmonies are absolutely timeless, and the best material remains rock-solid".[10] In 2003, Rolling Stone ranked Crosby, Stills & Nash number 262 on their list of the 500 greatest albums of all time.[15]
Jefferson Airplane guitarist Paul Kantner was finally credited as co-composer of "Wooden Ships" on the expanded edition reissue, something long acknowledged on his group's version of the song from their Volunteers album, released the same year.[16] David Crosby singing an excerpt of "Come On in My Kitchen" between "Long Time Gone" and "49 Bye-Byes" was left off the 2006 expanded reissue at the request of the late Robert Johnson's estate.[citation needed]
Grammy Awards[edit]
Year
Nominee/work
Award
Result
1970 Crosby, Stills & Nash (performer) Best New Artist Won
Track listing[edit]
Side one
No.
Title
Writer(s)
Lead vocals
Length
1. "Suite: Judy Blue Eyes" Stephen Stills Stills 7:25
2. "Marrakesh Express" Graham Nash Nash 2:39
3. "Guinnevere" David Crosby Crosby with Nash 4:40
4. "You Don't Have to Cry" Stephen Stills Stills with Crosby & Nash 2:45
5. "Pre-Road Downs" Graham Nash Nash 2:56
Side two
No.
Title
Writer(s)
Lead vocals
Length
1. "Wooden Ships" David Crosby, Paul Kantner, Stephen Stills Crosby with Stills 5:29
2. "Lady of the Island" Graham Nash Nash 2:39
3. "Helplessly Hoping" Stephen Stills Stills with Crosby & Nash 2:41
4. "Long Time Gone" David Crosby Crosby with Stills 4:17
5. "49 Bye-Byes" Stephen Stills Stills 5:16
2006 bonus tracks
No.
Title
Writer(s)
Notes
Length
11. "Do for the Others" Stephen Stills Stills and Nash demo 2:49
12. "Song with No Words (Tree with No Leaves)" David Crosby Crosby and Nash 3:18
13. "Everybody's Talkin'" Fred Neil Stills with Crosby and Nash on harmonies 3:14
14. "Teach Your Children" Graham Nash Nash and Crosby demo 3:14
Personnel[edit]
David Crosby – vocals; guitars on "Guinevere"; rhythm guitar on "Wooden Ships" and "Long Time Gone"[17]
Stephen Stills – vocals, guitars, bass, keyboards, percussion all tracks except "Guinevere" and "Lady of the Island"
Graham Nash – vocals; rhythm guitar on "Marrakesh Express" and "Pre-Road Downs"; acoustic guitar on "Lady of the Island"
Dallas Taylor – drums on "Pre-Road Downs," "Wooden Ships," "Long Time Gone," and "49 Bye-Byes"
Jim Gordon – drums on "Marrakesh Express"[18]
Cass Elliot – backing vocals on "Pre-Road Downs"[19]
Production
Crosby, Stills & Nash – producers
Bill Halverson – engineer
Gary Burden – art direction, design
Henry Diltz – photography
David Geffen – direction
Ahmet Ertegün – spiritual guidance
Barry Diament – mastering, initial compact disc issue
Joe Gastwirt – mastering, 1994 compact disc reissue
Raymond Foye – liner notes, 2006 reissue
Charts[edit]
Album – Billboard (North America)[20]
Year
Chart
Position
1969 Black Albums 35
Pop Albums 6
Singles – Billboard (North America)[20]
Year
Single
Chart
Position
1969 "Marrakesh Express" Hot 100 28
"Suite: Judy Blue Eyes" Hot 100 21
References[edit]
Jump up ^ "RIAA – Soundscan". Greasylake. Retrieved 23 December 2015.
Jump up ^ "STEPHEN STILLS (MUSIC HISTORY)".
Jump up ^ David Wild, Crosby, Stills and Nash booklet, 2006 release, 6.
Jump up ^ "Stills played the bass, the organ, the guitar. Dallas played the drums. And it's excellent! It has a wonderful feel to it. When we came back and heard the playback, I just sat there, stunned." David Crosby and Carl Gottlieb, Long Time Gone: The Autobiography of David Crosby. Da Capo Press, 150.
Jump up ^ "Interview: David Crosby on History and Harmonies - Fretboard Journal". 25 April 2013.
Jump up ^ CSN Remaster or Original CD – SH Forums.
Jump up ^ "FAQ Crosby, Still & Nash and Neil Young, CSNY". Archived from the original on 2000-03-02. Retrieved 2011-09-30.
Jump up ^ "FAQ Crosby, Still & Nash and Neil Young, CSNY". Archived from the original on 2000-03-02. Retrieved 2013-10-15.
Jump up ^ Crosby, Stills & Nash: The Biography By Dave Zimmer, Henry Diltz. Da Capo Press. 2008.
^ Jump up to: a b Ankeny, Jason. "Crosby, Stills & Nash". Allmusic. Retrieved 8 May 2013.
Jump up ^ Brackett, Nathan; Hoard, Christian, eds. (2004). The New Rolling Stone Album Guide (4th ed.). Simon & Schuster. p. 201. ISBN 0-7432-0169-8.
^ Jump up to: a b Christgau, Robert (July 31, 1969). "Consumer Guide (2)". The Village Voice. Retrieved June 26, 2016.
Jump up ^ Franklin, Barry (26 July 1969). "Records". Rolling Stone. San Francisco: Straight Arrow Publishers, Inc. (38): 36.
Jump up ^ Christgau, Robert (June 8, 1969). "The Byrds Have Flown--But Not Far". The New York Times. Retrieved August 11, 2018.
Jump up ^ Levy, Joe; Steven Van Zandt (2006) [2005]. "262 | Crosby, Stills and Nash – Crosby, Stills and Nash". Rolling Stone's 500 Greatest Albums of All Time (3rd ed.). London: Turnaround. ISBN 1-932958-61-4. OCLC 70672814. Archived from the original on 2012-01-19. CS1 maint: BOT: original-url status unknown (link)
Jump up ^ David Crosby: "Paul called me up and said that he was having this major duke-out with this horrible guy who was managing the band, and he was freezing everything their names were on. ‘He might injunct the release of your record,’ he told me. So we didn’t put Paul’s name on it for a while. In later versions, we made it very certain that he wrote it with us." http://www.davidcrosby.com/news/2012/09/interview-david-crosby-talks-crosby-stills-nashs-debut-album-track-track
Jump up ^ "Interview: David Crosby on History and Harmonies - Fretboard Journal". 25 April 2013.
Jump up ^ "CSN Box Set Tracklist".
Jump up ^ "Interview: David Crosby talks Crosby, Stills & Nash's debut album track-by-track".
^ Jump up to: a b "Crosby, Stills & Nash: Awards". Allmusic. Retrieved 12 May 2013.
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Chord (geometry)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
A chord of a circle is a straight line segment whose endpoints both lie on the circle. A secant line, or just secant, is the infinite line extension of a chord. More generally, a chord is a line segment joining two points on any curve, for instance an ellipse. A chord that passes through a circle's center point is the circle's diameter. Every diameter is a chord, but not every chord is a diameter.
The word chord is from the Latin chorda meaning bowstring.
The red segment BX is a chord
(as is the diameter segment AB).
Contents
[hide]
1 Chords of a circle
2 Chords of an ellipse
3 Chords in trigonometry
4 See also
5 References
6 Further reading
7 External links
Chords of a circle[edit]
Main article: Circle § Chord
Among properties of chords of a circle are the following:
Chords are equidistant from the center if and only if their lengths are equal.
A chord that passes through the center of a circle is called a diameter, and is the longest chord.
If the line extensions (secant lines) of chords AB and CD intersect at a point P, then their lengths satisfy AP·PB = CP·PD (power of a point theorem).
The area that a circular chord "cuts off" is called a circular segment.
Chords of an ellipse[edit]
The midpoints of a set of parallel chords of an ellipse are collinear.[1]
Chords in trigonometry[edit]
Chords were used extensively in the early development of trigonometry. The first known trigonometric table, compiled by Hipparchus, tabulated the value of the chord function for every 7.5 degrees. In the second century AD, Ptolemy of Alexandria compiled a more extensive table of chords in his book on astronomy, giving the value of the chord for angles ranging from 1/2 degree to 180 degrees by increments of half a degree. The circle was of diameter 120, and the chord lengths are accurate to two base-60 digits after the integer part.
The chord function is defined geometrically as shown in the picture. The chord of an angle is the length of the chord between two points on a unit circle separated by that angle. The chord function can be related to the modern sine function, by taking one of the points to be (1,0), and the other point to be (cos θ, sin θ), and then using the Pythagorean theorem to calculate the chord length:
c r d θ = ( 1 − cos  θ ) 2 + sin 2  θ = 2 − 2 cos  θ = 2 sin  ( θ 2 ) . {\displaystyle \mathrm {crd} \ \theta ={\sqrt {(1-\cos \theta )^{2}+\sin ^{2}\theta }}={\sqrt {2-2\cos \theta }}=2\sin \left({\frac {\theta }{2}}\right).}
The last step uses the half-angle formula. Much as modern trigonometry is built on the sine function, ancient trigonometry was built on the chord function. Hipparchus is purported to have written a twelve volume work on chords, all now lost, so presumably a great deal was known about them. The chord function satisfies many identities analogous to well-known modern ones:
Name
Sine-based
Chord-based
Pythagorean sin 2  θ + cos 2  θ = 1 {\displaystyle \sin ^{2}\theta +\cos ^{2}\theta =1\,} c r d 2 θ + c r d 2 ( 180 ∘ − θ ) = 4 {\displaystyle \mathrm {crd} ^{2}\theta +\mathrm {crd} ^{2}(180^{\circ }-\theta )=4\,}
Half-angle sin  θ 2 = ± 1 − cos  θ 2 {\displaystyle \sin {\frac {\theta }{2}}=\pm {\sqrt {\frac {1-\cos \theta }{2}}}\,} c r d θ 2 = ± 2 − c r d ( 180 ∘ − θ ) {\displaystyle \mathrm {crd} \ {\frac {\theta }{2}}=\pm {\sqrt {2-\mathrm {crd} (180^{\circ }-\theta )}}\,}
Apothem (a) c = 2 r 2 − a 2 {\displaystyle c=2{\sqrt {r^{2}-a^{2}}}} c = D 2 − 4 a 2 {\displaystyle c={\sqrt {D^{2}-4a^{2}}}}
Angle (θ) c = 2 r sin  ( θ 2 ) {\displaystyle c=2r\sin \left({\frac {\theta }{2}}\right)} c = D 2 c r d θ {\displaystyle c={\frac {D}{2}}\mathrm {crd} \ \theta }
The inverse function exists as well:
acrd  ( y ) = 2 arcsin  ( y 2 ) {\displaystyle \operatorname {acrd} (y)=2\arcsin \left({\frac {y}{2}}\right)\,} [2]
See also[edit]
Circular segment - the part of the sector that remains after removing the triangle formed by the center of the circle and the two endpoints of the circular arc on the boundary.
Scale of chords
Ptolemy's table of chords
Holditch's theorem, for a chord rotating in a convex closed curve
Circle graph
Exsecant and excosecant
Versine and haversine
References[edit]
Jump up ^ Chakerian, G. D. (1979). "7". In Honsberger, R. A Distorted View of Geometry. Mathematical Plums. Washington, DC, USA: Mathematical Association of America. p. 147.
Jump up ^ Simpson, David G. (2001-11-08). "AUXTRIG" (FORTRAN-90 source code). Greenbelt, Maryland, USA: NASA Goddard Space Flight Center. Retrieved 2015-10-26.
Further reading[edit]
Hawking, Stephen William, ed. (2002). On the Shoulders of Giants: The Great Works of Physics and Astronomy. Philadelphia, USA: Running Press. ISBN 0-7624-1698-X. LCCN 2002100441. Retrieved 2017-07-31.
Stávek, Jiří (2017-03-10) [2017-02-26]. "On the Hidden Beauty of Trigonometric Functions". Applied Physics Research. Prague, CZ: Canadian Center of Science and Education. 9 (2): 57–64. ISSN 1916-9639. doi:10.5539/apr.v9n2p57. ISSN 1916-9647. Archived from the original on 2017-07-31. Retrieved 2017-07-31. [1]
External links[edit]
Wikimedia Commons has media related to Chord (geometry).
History of Trigonometry Outline
Trigonometric functions, focusing on history
Chord (of a circle) With interactive animation
Retrieved from "https://en.wikipedia.org/w/index.php?title=Chord_(geometry)&oldid=793249091"
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