VINTAGE 2000 CROSBY STILLS NASH & YOUNG CONCERT SHIRT Awesome CSN&Y shirt! Shirt is a 2-sided print. No holes. Light spot near the front graphic (see picts).  Primo indeed. A picture is worth a thousand words - so check them out! SIZE: ADULT XL FITS LIKE A LARGE MEASURES: 22 X 25 INCHES MATERIAL: 100% WHITE COTTON (PRESHRUNK) MADE BY ANVIL CONDITION: GENTLY USED - EXCELLENT VINTAGE CONDITION Crosby, Stills, & Nash, also Crosby, Stills, Nash, & Young when including occasional fourth member Neil Young, are a folk rock/rock supergroup. They are commonly referred to by their initials CSN or CSNY. They are noted for their intricate vocal harmonies, often tumultuous interpersonal relationships, political activism, and lasting influence on music and culture. Initially formed by the trio of David Crosby, Stephen Stills and Graham Nash, the genesis of the group lies in two 1960s rock bands, The Byrds and The Hollies, and the demise of a third, Buffalo Springfield. Friction existed between David Crosby and his bandmates in the Byrds, and Crosby was dismissed from the Byrds in the fall of 1967. By early 1968, Buffalo Springfield had also disintegrated over personal issues, and after aiding in putting together the band’s final album, Stephen Stills found himself unemployed by the summer. He and Crosby began meeting informally and jamming, the results of one encounter in Florida on Crosby’s schooner being the song “Wooden Ships,” composed in collaboration with another guest, Paul Kantner. Graham Nash had been introduced to Crosby when the Byrds had toured the UK in 1966, and when the Hollies ventured to California in 1968, Nash resumed his acquaintance with Crosby. At a party, Nash asked Stills and Crosby to repeat their performance of a new song by Stills, “You Don't Have To Cry,” with Nash improvising a second harmony part. The vocals gelled, and the three realized that they had a unique vocal chemistry. Creatively frustrated with the Hollies, Nash decided to quit and throw his lot in with Crosby and Stills. After failing an audition with the Beatles' Apple Records, they were signed to Atlantic Records by Ahmet Ertegün, who had been a fan of the Springfield and disappointed by that band's demise. From the outset, given their respective band histories, the trio decided not to be locked into a group structure, using their surnames as identification to ensure independence and a guarantee against the band simply continuing without one of them, as had both the Byrds and the Hollies after the departures of Crosby and Nash. Their record contract with Atlantic reflected this, positioning CSN with a unique flexibility unheard of for an untested group. The trio also picked up a unique management team in Elliot Roberts and David Geffen, who had engineered their situation with Atlantic and would help to consolidate clout for the group in the industry. Roberts kept the band focused and dealt with egos, while Geffen handled the business deals, since, in Crosby’s words, they needed a shark and Geffen was it. Roberts and Geffen would play key roles in securing the band’s success during the early years. When it was announced that the band was forming, they ran into a slight contractual problem. Nash was already signed to Epic Records, the North American distributor of records by the Hollies, while Crosby and Stills were signed to Atlantic. In order to resolve this problem, Geffen engineered a deal whereby Nash was essentially traded to Atlantic for the rights to Richie Furay's band Poco; Furay was signed to Atlantic as a result of his membership in Buffalo Springfield. The trio's first album, Crosby, Stills, & Nash, was released in May of 1969 and was an immediate hit, spawning two Top 40 hit singles and receiving key airplay on the new FM radio format. With the exception of drummer Dallas Taylor, Stills had handled the lion's share of the instrumental parts himself. It was a testament to his talent, but left the band in need of additional personnel to be able to tour, now a necessity given the debut album’s commercial impact. Retaining Taylor, the band decided initially to hire a keyboard player, Stills at one point approaching Steve Winwood, who declined. Atlantic label head Ahmet Ertegün suggested Canadian singer/songwriter Neil Young, also managed by Elliot Roberts, as a fairly obvious choice. Initial reservations were held by Stills and Nash, Stills owing to his history with Young in Buffalo Springfield, Nash due to his personal unfamiliarity with Young. But after several meetings, the trio expanded to a quartet with Young a full partner, the name duly changed law firm-style. The terms of the contract allowed Young full freedom to maintain a parallel career with his new back-up band, Crazy Horse. With Young on board, the restructured group went on tour in the late summer of 1969 through the following January. Their second gig was a baptism-by-fire at the Woodstock Festival; CSNY's recording of the Joni Mitchell song memorializing Woodstock would later become a hit and the recording most associated with the festival. By contrast, little mention is made of the group's subsequent appearance at Altamont, CSNY having escaped mostly unscathed from the fallout of that debacle. Great anticipation had built for the newly-expanded supergroup, and their first album with Young, Déjà Vu, arrived in stores in March of 1970 to zealous enthusiasm, topping the charts and generating three hit singles. Déjà Vu was also the first release on the Atlantic Records SD-7200 "superstar" line, created by the label for its highest-profile artists; the subsequent solo albums by Crosby, Stills, and Nash would also be the next releases in this series. Young and Crosby were staying at a house near San Francisco when reports of the Kent State shootings arrived, inspiring Young to write his protest classic "Ohio," recorded and rush-released weeks later and providing another Top 20 hit for the group. However, the deliberately tenuous nature of the partnership was strained by its success, and the group imploded after their tour in the summer of 1970. Concert recordings from that tour would end up on another chart-topper, the 1971 double album Four Way Street, but the group would never completely recapture momentum as years would pass between subsequent trio and quartet recordings.

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