nash_songs

Graham Nash – Songs for Beginners

More of the Music of Graham Nash

  • This vintage pressing boasts very good Hot Stamper sound on both sides
  • We guarantee there is more space, richness, presence, and performance energy on this copy than others you’ve heard or you get your money back – it’s as simple as that
  • Arguably the best of the solo CSN albums and a founding member of our Top 100 Rock and Pop List
  • 4 1/2 stars: “From the soaring “I Used to Be a King” through the gossamer “Simple Man” to the wah-wah-laden “Military Madness,” the record is filled with gorgeous melodies, flawless singing, and lyrical complexities that hold up decades later.”

When you hear Chicago here you will not believe how cinematic the sound is! It’s everything we love about analog and then some.

Most of the credit must go to the team of recording engineers, led here by the esteemed Bill Halverson, the man behind all of the Crosby Stills Nash and Young albums. Nash was clearly influenced by his work with his gifted bandmates, proving with this album that he can hold his own with the best of the best. Some songs (We Can Change The World, Be Yourself) are grandly scaled productions with the kind of studio polish that would make Supertramp envious. For me, a big speaker guy with a penchant for giving the old volume knob an extra click or two, it just doesn’t get any better.

Others (Sleep Song, Wounded Bird) are quiet and intimate. Their subtlety is highlighted by the big productions surrounding them. This is the rare album in which every aspect of the production, from the arrangements to the final mix, serves to bring out the best qualities in the songs, regardless of scale. (more…)

What Track Here Would Be Right at Home on David Crosby’s First Album?

Hot Stamper Pressings of the Music of Graham Nash Available Now

Our last shootout for this album took place in 2021. I wish we could keep the record in stock but finding the right stampers these days is not easy.

Still, as a favorite album of mine, I listen to the album regularly, just not on vinyl. Both the standard CD and the cassette I have sound right to me, sounding very much like the original record.

Recently I was playing the album and heard a song that sounded an awful lot like it might have been produced by the same team that recorded David Crosby’s first album, If Only I Could Remember My Name.

If you’re up for it, listen to the Crosby, then play the Nash and see if you can spot it. Feel free to leave your impressions in the comments section below.

Digging Deeper

Songs for Beginners is one of those albums that made me want to dig deeper into audio. After every improvement I managed to make to the system, Songs for Beginners would be one of the records that I would play (at very high volume) to see what changes I had brought about.

All the best changes — the ones I kept — always made the album sound better than I had last heard it. Over the course of decades the sound became amazingly good, a true Demo Disc that belonged in the company of Tea for the Tillerman or Dark Side of the Moon.

Back in the 70s and the 80s, not so much later as I had found plenty of other tough test discs by then, it helped me dramatically improve the playback quality of my system, which, to be honest, had a very long way to go, although I sure didn’t know that at the time. I thought it sounded great.

Early on in the history of our track by track breakdowns, written in order to aid listeners in testing their stereos and the other copies of the record they might own, we did a breakdown for the album which you can read here.

If you can’t find a nice original, whatever you do, don’t buy the awful Classic Records pressing of the album. They ruined it.

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Song for Beginners Was Remixed and Ruined on Classic Records

Hot Stamper Pressings of the Music of Graham Nash Available Now

Sonic Grade: D

I’ve listened to Nash’s first solo outing countless times over the last thirty years, even more than Crosby, Stills and Nash’s first album. As I was listening to the Classic pressing, I recall thinking “Wow, I don’t remember that sound being there; this version is so much better I can hear things I never heard before!”

Well, owners of this album (all five of you) will certainly hear things you never heard before, because some of the tracks on this album have been remixed and some of the instruments re-recorded. How about them apples.

Both the snare and the kick drum on some songs are clearly too “modern” sounding for anything recorded in 1971. For Pete’s sake, they’d be right at home on Nevermind.

Sometimes the vocal tracks are different—probably alternate takes I would think, as Graham obviously can’t sing like he did thirty years ago to even attempt a re-recording.

As you can imagine, remastering a well-known title and creating a new sound for it is a huge bête noire for us here at Better Records. This Classic Records release is like nails on a blackboard to me now.

No doubt the idea was Graham’s but it was a very bad one indeed. (If you can get hold of the original unadulterated CD, I highly recommend it. The sound is excellent.)

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Graham Nash and Better Days – The Best Reason to Get Deeper into Audio

Hot Stamper Pressings of the Music of Graham Nash Available Now

This is one of the records that convinced me that I should enthusiastically and actively pursue high quality home audio. I realized pretty early on that I needed to devote the time, energy and money into improving my system so that I could play records like Songs for Beginners better and figure out how to get them to sound more like live music.

I had such irrepressibly deep feelings while listening to the album that I knew I had to do everything in my power to get it to sound as good as I possibly could.

Songs for Beginners is an album that made me want to become a better listener.

And the song that really did it for me on the album was Better Days.

I was originally thinking of calling this commentary “Why I Became an Audiophile,” but I quickly realized that being an audiophile — a lover of sound — doesn’t necessarily involve buying lots of expensive audio equipment or endlessly searching out recordings with the highest fidelity.

No, being an audiophile simply means you love good sound.

Where you find it — at clubs, at home, in the concert hall or the car — should make no difference to anyone.

Songs for Beginners couldn’t make me an audiophile; I already was one. It did, however, make me a more dedicated audio enthusiast. It’s precisely the kind of record that rewards the 40 50 plus years I’ve put into this hobby, trying to get it and hundreds, now thousands, of other wonderful records to sound their best.

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Songs for Beginners – Greatest “Copy” Ever

Hot Stamper Pressings of the Music of Graham Nash Available Now

WHOA! We’ve paired up two FOUR PLUS sides to create this stunning 2-pack with mindblowing Demo Quality sound for the whole album. These A++++ sides will show you just how amazing it can sound: super full-bodied, rich, warm and natural. 

Please note that we award this very special grade so rarely that we don’t even have a graphic to represent it in our sonic grade box. The scale usually only goes to three pluses, but these two sides went up to four!

  • Our lengthy commentary entitled outliers and out-of-this-world sound talks about how rare these kinds of pressings are and how to go about finding them.
  • We no longer give Four Pluses out as a matter of policy, but that doesn’t mean we don’t come across records that deserve them from time to time.
  • Nowadays we most often place them under the general heading of breakthrough pressings. These are records that, out of the blue, revealed to us sound of such high quality that it dramatically changed our appreciation of the recording itself.
  • We found ourselves asking “Who knew?” Perhaps a better question would have been “how high is up?”

This is an incredible recording, and on a copy like this the sound is truly stunning. When you hear Chicago here you will not believe how CINEMATIC the sound is! It’s everything we love about ANALOG, and then some.

Most of the credit must go to the team of recording engineers, led here by the esteemed Bill Halverson, the man behind all of the Crosby, Stills, Nash and Young albums. Nash was clearly influenced by his work with his gifted bandmates, proving with this album that he can hold his own with the best of the best.

Some songs (We Can Change The World, Be Yourself) are grandly scaled productions with the kind of studio polish that would make Supertramp envious. For me, a big speaker guy with a penchant for giving the old volume knob an extra click or two, it just doesn’t get any better than this. (more…)

Listening in Depth to Songs for Beginners

Hot Stamper Pressings of the Music of Graham Nash Available Now

Presenting another entry in our extensive listening in depth series with advice on what to listen for as you critically evaluate your copy of Songs for Beginners. Here are some albums currently on our site with similar Track by Track breakdowns.

This is one helluva well recorded album. Most of the credit must go to the team of recording engineers, led here by the esteemed Bill Halverson, the man behind all of the Crosby Stills Nash and Young albums. Nash was clearly influenced by his work with his gifted bandmates, proving with this album that he can hold his own with the best of the best.

Some songs (We Can Change The World, Be Yourself) are grandly scaled productions with the kind of studio polish that would make Supertramp envious. For me, a big speaker guy with a penchant for giving the old volume knob an extra click or two, it just doesn’t get any better.

Others (Sleep Song, Wounded Bird) are quiet and intimate. Their subtlely is highlighted by the big productions surrounding them. This is that rare album in which every aspect of the production, from the arrangements to the final mix, serves to bring out the best qualities in the songs, regardless of scale.

The recording is of course superb throughout, in the best tradition of Crosby Stills and Nash’s classic early albums: transparent, smooth and sweet vocals, with loads of midrange magic ; deep punchy bass; lovely extension on the top to capture the shimmer of the cymbals and harmonic trails of the acoustic guitars; with the whole balanced superbly by one of our all-time heroes, Glyn Johns.

Side One

Better Days

This easily qualifies as the best test track for side one. It starts out with a soft, intimate vocal from Nash — the more intimate the sound here, the better. The hot stamper copies have an immediacy and a presence that is breathtaking.

Listen also for the sound of the piano. If the piano sounds full and rich, yet clear and not at all smeared, you are off to a very good start. On the best copies you can follow the chords behind the lead instruments throughout the song. The piano easily gets lost on most copies. On the truly transparent pressings you can always hear what the piano player is doing, how his contribution is aiding the material overall, even when its far in the background. That’s what a Hot Stamper gives you: the chance to appreciate every instrument as it works it way through the song.

Ah, but what really separates the men from the boys is the double-tracked vocal (one Nash clearly singing out of each speaker or course!), starting with “Now that you know it’s nowhere… What’s to stop you coming home?” On the killer copies he gets very loud but never for a moment does his voice cross the line into hardess or shrillness. To borrow a phrase from those days, his voice stays natural, even when he’s pushing hard. That’s the emotional peak of the song. The last thing you want is for the sound to be aggressive and call attention to itself.

Most copies will have you wincing by this point if you are at any sort of serious level on this track. Only one original stamper gets his voice right on side one. (No reissue or import or heavy vinyl version I’ve ever heard is even competitive with the best originals, so don’t waste your money.)

The bass clarinet solo (I always thought it was a tenor sax!) almost never sounds right unless you have an especially magical copy. It’s usually hard sounding. Leaner copies tend to make it sound thin. Thick and opaque or just plain rolled off copies make it sound dull.

And last but not least, you need well defined deep bass. There’s plenty of it on this album, stuff well under 30 cycles — it really rumbles the room. There’s an organ playing way down deep underneath this track from early on; a startling effect is created when it suddenly comes to a stop. The more startled you are the better. It’s one of the most powerful audio phenomena I’ve ever experienced, further proof that this album is truly an engineering 

Side Two

Chicago / We Can Change the World

The two last songs here are wedded together, the latter being the chorus of the former. Let me tell you folks: this is ANALOG MAGIC AT ITS BEST. You will never hear a CD sound like this if you live to be a hundred. The midrange is so rich and sweet it makes 99% of all the recordings you’ve ever heard pale in comparison.

The more the individual voices can be heard, free of even the slightest trace of grit or grain, the better the copy. The sound is nothing short of GLORIOUS. This song is Demo Disc material. It rivals Anything on Any Super Disc List compiled by Anybody, and that includes me!

The famous female backup singers here are on scores if not hundreds of albums from the era. Some of the very same girls’ voices can clearly be heard on Pretzel Logic and Aja, to name just a couple of albums we’ve played to death around here. See if you can pick them out of the throng.

One last thing: listen for the organ at the beginning of the song. It should be really punchy with tons of solid low end; it drives the beat like crazy. It’s so funky I’m surprised nobody’s sampled it yet. Maybe they have. How the hell would I know? I don’t listen to that shizzle.

N versus C, S, and Y

In fact, the sound of this album is so good in so many ways, it prompted me to ask the question: Are any of the other albums by Nash’s bandmates as well recorded? Albums by CSN and/or Y, not a chance. They’re well-recorded, don’t get me wrong, but this one is in another league altogether.

Surveying the complete output of all the members would be time consuming, so I’ll cut to the chase. The short answer is three: David Crosby’s If Only I Could Remember My Name, the clear winner of this comparison, followed by two of Neil Young’s: After the Gold Rush and Zuma. Each of them has its own “sound” which is detailed on the site in their respective Hot Stamper listings.

Add Graham Nash’s debut to the list and you have a quartet of recordings that put to shame practically anything from the era. Which is really saying something; the late ’60s to mid-’70s is when all the best modern pop recordings were made, in my audiophile opinion (IMAO).