CSN&Y – Carry On

Crosby, Stills, Nash, and Young were making their second album…the 1970  Déjà Vu and Graham Nash realized something was wrong. He told Stephin Stills they needed another song like Suite: Judy Blue Eyes on this album. Stills was listening, he went back to his hotel room and put together two unfinished songs, and came up with another suite…Carry On. 

He took the song back to Graham Nash and he could not believe it. They had the song the album needed. 

The album was hard to make because of the state that David Crosby was in. His girlfriend at the time, Christine Hinton, was taking their cat to the Vet and died in a car crash. Graham and others have said that Crosby was never the same after that accident. It started his slide into harder drugs that would end up with jail time and his liver replaced. 

“Carry On” has the distinction of appearing on three different US #1 albums. It was first released on Déjà Vu, which hit the top spot on May 16, 1970. Then it appeared on the CSN&Y live album 4 Way Street, #1 on May 15, 1971. Finally, it showed up on the compilation So Far, the #1 album on November 2, 1974.

The second part of the song is taken from Questions, a song Stills wrote for his band Buffalo Springfield. 

Stephen Stills:  “I went back to my room in this horrifying hotel and the next morning I knocked on Graham’s door and said, ‘OK, how’s this?’ And I played him ‘Carry On’ and he went nuts. So we got everybody together in the studio and recorded it.”

Graham Nash: After that tragedy, we somehow continued to make Déjà Vu, but David often wound up in tears in the studio. Drugs helped him mourn—or so he thought—but, of course, they only made things worse. He was inconsolable, falling apart. The love and sunshine that was in the first Crosby, Stills & Nash album had disappeared from Déjà Vu because, in one way or another, we were all tormented, all miserable, all coked out of our minds.

Drummer Dallas Taylor: “The song was written in the middle of the Deja Vu sessions, when Nash told Stephen they still didn’t have an opener for the album. It was something of a message to the group, since it had become a real struggle to keep the band together at that point. Stephen combined two unfinished songs and stuck them onto a jam we’d had out in the studio a few nights before, me on drums and Stephen on a Hammond B-3 organ. As the track begins I’m playing bass drums and high hat, and Graham is playing congas. Then we go into a 6/8 groove, which is rather obscure – Stephen loved to change gears that way. The sessions would go on all night, sometimes three or four days non-stop. The thing I loved about the studio was you could never tell if it was day or night, and we hid all the clocks so no one knew what time it was.”

Carry On

One morning I woke up and I knew
You were really gone
A new day, a new way, and new eyes
To see the dawn.
Go your way, I’ll go mine and
Carry on

The sky is clearing and the night
Has cried enough
The sun, he come, the world
To soften up
Rejoice, rejoice, we have no choice but
To carry on

The fortunes of fables are able
To sing the song
Now witness the quickness with which
We get along
To sing the blues you’ve got to live the dues and
Carry on

Carry on
Love is coming
Love is coming to us all

Where are you going now my love?
Where will you be tomorrow?
Will you bring me happiness?
Will you bring me sorrow?
Oh, the questions of a thousand dreams
What you do and what you see
Lover can you talk to me?

Girl when I was on my own
Chasing you down
What was it made you run?
Trying your best just to get around.
The questions of a thousand dreams
What you do and what you see
Lover can you talk to me?

Crosby, Stills, Nash, and Young – Teach Your Children

This song was climbing in the charts in the top twenty when it was pulled. It was pulled because of the Kent State shootings and Neil Young wrote Ohio and CSN&Y wanted it released as soon as possible. Teach Your Children probably would have peaked in the top ten if not pulled.

The song peaked at #16 in the Billboard 100, #8 in Canada, and #19 in New Zealand in 1970.

Graham wrote this song while he was still playing with the Hollies but he never recorded it with them. He played it to Stephen Stills and Stills suggested a country arrangement which turned it into a hit.

Jerry Garcia performs the pedal steel guitar part of this track. He had been playing steel guitar for only a short period of time. Crosby told Nash he should ask Jerry to play steel guitar on the song. Garcia played on this song and Crosby, Stills, Nash, and Young worked with the Grateful Dead on harmonies for their acoustic albums Workingman’s Dead and American Beauty.

I would say it worked out well for both bands. Jerry told Graham Nash who wrote the song that he made a mistake but Graham wanted that take.

It was on the album  Déjà Vu which peaked at #1 in the Billboard 100, Canada and #5 in the UK.

Graham Nash: I’d heard Jerry had just started playing pedal-steel guitar and asked if he would add a pedal track to my song. After the first take, I said, “Thanks, Jerry, you’re done.” “No, no,” he protested, “I fucked up that part when we go right into the chorus. Can I do another?”“Absolutely, do it,” I told him, “but I’m never going to use it. The first one was exactly what I wanted.”

And, of course, his pedal steel was one of the defining elements in that recording.

From Songfacts

Graham Nash wrote this song. The lyrics deal with the often difficult relationship he had with his father, who spent time in prison.

 Graham Nash (from the liner notes of their 1991 boxed set): “The idea is that you write something so personal that every single person on the planet can relate to it. Once it’s there on vinyl it unfolds, outwards, so that it applies to almost any situation. ‘Teach’ started out as a slightly funky English folk song but Stephen (Stills) put a country beat to it and turned it into a hit record.”

Deja Vu was the first album the band recorded with Neil Young, but Young did not play on this.

According to the 2019 book Crosby, Stills, Nash & Young, Nash wrote the song while under the influence of hash. He taught it to the rest of the band in one day in the studio.

In Laurel Canyon: The Inside Story of Rock and Roll’s Legendary Neighborhood, Graham Nash is quoted as saying, “When I wrote ‘Teach Your Children’ and ‘Our House,’ we didn’t know what we were doing. ‘This sounds pretty fun, we can sing this, let’s do it!’ And then all of a sudden people are singing it back to me forty years later.”

An updated version with a new arrangement was used in a 1985 TV commercial for the Apple II computer. Bill Siddons, then manager for CSNY, told BAM magazine: “The whole idea of the spot was to show how to prepare your kids for the modern world, which is part of what ‘Teach Your Children’ is about.”

Shortly after writing this, Nash visited an art gallery and saw two photographs that crystallized the meaning of the song: Diane Arbus’ “Child with Toy Hand Grenade in Central Park” and Arnold Newman’s portrait of German industrialist Alfried Krupp. The singer told the news website Truthdig: “I put the ‘Hand Grenade’ photograph next to a picture of Krupp, who was the German arms magnate whose company was probably responsible for millions of deaths. It was an eerie photograph, a portrait, and the lighting is weird and his eyes are dark – a great image. And looking at them together I began to realize that what I’d just written [‘Teach Your Children’] was actually true, that if we don’t start teaching our children a better way of dealing with each other we’re f–ked and humanity itself is in great danger.”

At the end of The Office episode “Take Your Daughter To Work Day” (2006), Michael and Dwight perform this for the staff and their kids.

Teach Your Children

You who are on the road
Must have a code that you can live by
And so become yourself
Because the past is just a good-bye.
Teach your children well,
Their father’s hell did slowly go by,
And feed them on your dreams
The one they picks, the one you’ll know by.
Don’t you ever ask them why, if they told you, you will cry,
So just look at them and sigh
And know they love you.

And you, of tender years,
Can’t know the fears that your elders grew by,
And so please help them with your youth,
They seek the truth before they can die.

Teach your parents well,
Their children’s hell will slowly go by,
And feed them on your dreams
The one they picks, the one you’ll know by.

Don’t you ever ask them why, if they told you, you will cry,
So just look at them and sigh and know they love you.

Crosby, Stills, Nash, and Young – Our House

Our House…that is where most of us are today and for days to come. Here is a ballad that Graham Nash wrote for the Déjà Vu album. The first album to include Crosby, Stills, Nash, AND Young.

Graham Nash wrote this sentimental tune about his relationship living with Joni Mitchell in a cottage in LA’s Laurel Canyon around 1969. Mitchell and Nash were a romantic couple during the period in which Joni wrote the songs for Ladies Of The Canyon which, like Deja Vu, was released in 1970.

Our house peaked at #30 in the Billboard 100, #13 in Canada, and #19 in New Zealand in 1970.

Graham Nash: It was one of those gray cloudy days in Los Angeles that foreshadows the spring. When we got back and put our stuff down, I said, “I’ll light a fire”—she had an open fireplace with a stash of wood in the back—“why don’t you put some flowers in that vase you just bought. It’ll look beautiful. It’s kind of a bleak day. It’ll bring some more color into the room.” Then I stopped. I thought: Whoa! That’s a delicious moment. How many couples have been there: You light a fire, I’ll cook dinner. I thought that in the ordinariness of the moment there might be a profoundly simple statement. So Joni went out into the garden to gather ferns and leaves and a couple flowers to put in the vase. That meant she wasn’t at the piano—but I was! And within the hour, the song “Our House” was finished.

 

From Songfacts

Biographer Dave Zimmer shared what Graham Nash told him about the song in the 2007 CSNY Historian’s interview: “He once told me: ‘The time that Joni and I were living together was really interesting because I had left my band [The Hollies] successfully, I had left my country [England] successfully, I had been accepted here [Los Angeles, California], and I was feeling great. And Joni was feeling great, too; she had started to realize who she was and the fantastic work she was doing. She was painting and designing her second album cover, doing that self-portrait. And I remember being totally in awe of her. She’d go and make some supper and come down and we’d be eating, then she’d all of a sudden space out, go to the piano … to see her sit down and write ‘Rainy Night House’ and all those other things was just mind blowing.'” 

According to Graham Nash’s biography Wild Tales, a famous line in this song had a very specific inspiration. He and Joni Mitchell went to an antiques store and she picked out a vase. When they got home, Nash said, “I’ll light the fire while you place the flowers in the vase that you bought today.” He stopped dead in his tracks and went immediately to the piano.

In the earliest live performances of the song, Nash would introduce it as being “about my woman.” He never used Mitchell’s name, though.

This was used in ’80s TV spots for Eckrich sausage and the Pacific Bell telephone company.

Our House

I’ll light the fire, you place the flowers in the vase that you bought today
Staring at the fire for hours and hours while I listen to you
Play your love songs all night long for me, only for me

Come to me now and rest your head for just five minutes, everything is good
Such a cozy room, the windows are illuminated by the evening
Sunshine through them, fiery gems for you, only for you

Our house is a very, very fine house with two cats in the yard, life used to be so hard,
Now everything is easy ’cause of you and our la, la, la…

Our house is a very, very fine house with two cats in the yard, life used to be so hard,
Now everything is easy ’cause of you and our

I’ll light the fire, while you place the flowers in the vase that you bought today