Nash sees through young eyes

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of weeks of re­hearsals for the Crosby, Stills and Nash tour and we were all smil­ing,’’ he says.

‘‘I re­mem­ber think­ing ‘Holy shit! It’s been over 40 years, just with this band. In our case, it’s only (about) the mu­sic.

‘‘We long ago de­cided the mu­sic was far more im­por­tant than our per­sonal re­la­tion­ships – it will last longer.’’

And now, Nash seems closer to Crosby and Stills than ever. He cred­its work­ing on their re­spec­tive boxed sets for the fresh per­spec­tive he has gained.

He teamed with pho­tog­ra­pher Joel Bern­stein to com­plete his own and Crosby’s boxed sets and is in the midst of cre­at­ing one of Stills’ ca­reer.

‘‘It is in­tensely fo­cused work be­cause I am do­ing it for his­tory. I did David’s be­cause I wanted the world to see what a bril­liant mu­si­cian this kid is,’’ he says.

‘‘My part­ners are bril­liant mu­si­cians, no ques­tion about it. One of the things I loved about do­ing the boxed sets is I re-fell in love with why I love these two blokes,’’ he says.

He re­mem­bers the mo­ment his re­newed love af­fair be­gan.

Nash was work­ing on Crosby’s ret­ro­spec­tive and found tapes of the orig­i­nal record­ings of Cow­boy Movie, which fea­tured on his de­but solo record If I Could Only Re­mem­ber My Name. Crosby wanted to use the third take. But Nash re­calls Neil Young play­ing on the fourth take.

‘‘Neil al­ways told Crosby that he used the wrong take. What I de­cided to do for David’s boxed set was move Neil’s gui­tar from take four to take three. It was at that mo­ment I re­alised, ‘Boy, my friends are weird but I love ’em’,’’ he says.

Crosby, Stills and Nash play the By­ron Bay Blues­fest’s Cross­roads Stage on Good Fri­day at 10.30pm.

Crosby, Stills and Nash.

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