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PREMESSA: LA SUPERIORITA’ DELLA MUSICA SU VINILE E’ ANCOR OGGI SANCITA, NOTORIA ED EVIDENTE. NON TANTO DA UN PUNTO DI VISTA DI RESA, QUALITA’ E PULIZIA DEL SUONO, TANTOMENO DA QUELLO DEL RIMPIANTO RETROSPETTIVO E NOSTALGICO , MA SOPRATTUTTO DA QUELLO PIU’ PALPABILE ED INOPPUGNABILE DELL’ ESSENZA, DELL’ ANIMA E DELLA SUBLIMAZIONE CREATIVA. IL DISCO IN VINILE HA PULSAZIONE ARTISTICA, PASSIONE ARMONICA E SPLENDORE GRAFICO , E’ PIACEVOLE DA OSSERVARE E DA TENERE IN MANO, RISPLENDE, PROFUMA E VIBRA DI VITA, DI EMOZIONE E  DI SENSIBILITA’. E’ TUTTO QUELLO CHE NON E’ E NON POTRA’ MAI ESSERE IL CD, CHE AL CONTRARIO E’ SOLO UN OGGETTO MERAMENTE COMMERCIALE, POVERO, ARIDO, CINICO, STERILE ED ORWELLIANO,  UNA DEGENERAZIONE INDUSTRIALE SCHIZOFRENICA E NECROFILA, LA DESOLANTE SOLUZIONE FINALE DELL’ AVIDITA’ DEL MERCATO E DELL’ ARROGANZA DEI DISCOGRAFICI .

GRAHAM NASH
wild tales

Disco LP 33 giri , 1973,   Atlantic , SD 7288 , USA, first pressing

BUONISSIME CONDIZIONI, vinyl ex++ , cover ex, piccolo taglio orizzontale (1 cm.) nell’ angolo superiore sinistro / short cut in the high left tip , piccoli segni a biro nel tracklisting di retrocopertina / little pencil marks beside tracklisting on back sleeve.

Wild Tales is a 1973 album by Graham Nash. All songs that appear on this album were written by Graham Nash.
Wild Tales è un album di Graham Nash uscito per la Atlantic/Wea nel 1973. Tutti i brani dell’album sono stati scritti dallo stesso Nash.

• Etichetta:  Atlantic
• Catalogo: SD 7288
• Matrici:  ST-A-733003 – E  /  ST-A-733004 – F
• Data di pubblicazione: 1973

• Supporto:vinile 33 giri
• Tipo audio: stereo
• Dimensioni: 30 cm.
• Facciate: 2
• textured sleeve / cover in cartoncino telato, green-white-red label,  original inner sleeve with lyrics

Track listing

1. Wild Tales – 2:18
2. Hey You (Looking At The Moon) – 2:14
3. Prison Song – 3:10
4. You’ll Never Be The Same – 2:48
5. And So It Goes – 4:48
6. Grave Concern – 2:45
7. Oh! Camil (The Winter Soldier) – 2:51
8. I Miss You – 3:04
9. On The Line – 2:35
10. Another Sleep Song – 4:43

Personnel

• Graham Nash: acoustic guitar (4,7), electric rhythm guitar (1,2,6), electric piano (3,10), piano (8,9), harmonica (3,7,9), vocals
• Johnny Barbata: drums (1,2,3,4,5,6,9,10)
• Joel Bernstein: acoustic guitar (2,10)
• David Crosby: vocals (3,5,9)
• Tim Drummond: bass
• Harry Halex: electric piano (5), acoustic guitar (9)
• Stanley Johnston: voice montage (6)
• Ben Keith: pedal steel guitar (2,4,5,9), dobro (10)
• David Lindley: electric slide guitar (1,6), mandolin (3)
• David Mason: twelve-string guitar (7)
• Joni Mitchell: vocal (10)
• Joe Yankee: acoustic piano (5)

Contrary to the title, Nash’s second solo
album offers no wild tales but instead delivers retrospective
observations in a restrained country-rock style. Nash, who not long ago
produced David Blue to maximum advantage, is overly modest in producing
himself. Wild Tales is reflective without being poetic; its
spirit is one of post-Woodstock enervation. Nash’s finest past
achievement was “Lady of the Islands,” a gentle evocation of erotic
enchantment. The less impressive “Teach Your Children” and “Chicago”
were at least effective social commentaries, given the rhetoric of
their time.

They are all preferable to Nash’s newest material, which shows him uninterested in dealing with Seventies realities.

Nash’s
philosophy seems to be a blase fatalism that can be boiled down to a
few catch phrases: “Take it as it comes/You will find a way/To get
there” (“Wild Tales”); “Music gets you high/Everybody grows/And so it
goes” (“And So It Goes”).

The better songs depart from the
familiar Crosby, Stills and Nash preoccupations. “You’ll Never Be the
Same,” a sweet country weeper, is a competent execution of Nashville
conventions. “Oh! Camil (The Winter Soldier),” a cryptic inquiry into
the mind of a soldier returning from war, has as its appeal a
straightforward folk melody given an early Dylan type of arrangement.
What might have been the album’s best song, “On The Line,” questions
the value of stardom and material reward. But the question is posed
rhetorically: “Don’t the wind blow cold/When you’re hanging your
soul/On the line.” Nash apparently isn’t going to hang his soul on the
line any more. He’s a good musician and a nice-sounding guy who’s
either very tired or very content.

	March 28, 1974 by Lorraine Alterman New York-In the living room of a moss-green suite at the Plaza Hotel, Graham Nash sits at the piano with a harmonica braced around his neck, working on a new song that he can’t get out of his head. It’s a busman’s holiday for Graham who has come from his home in San Francisco to see old friend Joni Mitchell’s two New York concerts and visit a few art galleries. Coincidentally, Stephen Stills was in New York for his own concert and Nash planned to stick around for that. Graham is getting his own band together for a major solo tour in April that includes a performance at Avery Fisher Hall at Lincoln Center. Though Nash and David Crosby have been gigging around together, Graham feels now to do his own concerts. “I always dig singing with David,” Graham explained in his still very north-of-England accent. “There’s something about David’s music and about the man that I truly love and I will always sing with him. This time, however, the next tour I’m doing is going to be a Graham Nash tour. I need to take a step into who it is that I am or who it is that I’m going to be because ever since the Hollies and then Crosby Stills Nash and Young. I’ve always been with a band. I never really knew they were coming to see me or the others. Recently, I went out with my acoustic guitar totally alone and was able to move the people. It was thrilling for me to realize that, and it fills a space in me that has made me much more reasonable to deal with. I have a much calmer outlook on things because now I don’t have that insecurity.” And with the honesty that seems to be a Nash characteristic, he added: “The insecurity has probably moved to another area.” Inevitably there was that question about whether CSNY will be getting together again. “The only thing that I can say,” Graham reported, “is that we’re still talking about it and at least we’re not killing each other. What broke CSNY up was totally stupid, infantile, ego problems. And what’ll bring it together is good music. A couple of times last year we tried it and it nearly worked. A couple of times that fuckin’ spark was there. ‘Oh boy! Here it is! I can feel it coming! Everybody playing together.’ And then it sort of fell apart alittle because four people have different commitments……. “There was a time last summer when we had and album that was so good. We hadn’t been in the studio. We’d only rehearsed the tunes. But dig this… the last five minutes of sunlight in Hawaii at the end of the time the four of us were there together, I got a Hasselblad, stuck it in the sand, guessed the exposure, composed it and ran into the picture. That was the cover – fucking beautiful! When all those magic things fall right into place, then you know what the music’s going to be like. The music is great. But it got dissipated, fractionated. It fell apart; it flew apart. Graham, whose, blue eyes flashed with intensity when he spoke, sounded sorry about the failure. In fact, several of the songs on Wild Tales, his latest LP recorded in the 16 track studio he built in his house, were intended for the groups album. He pointed out: “It was horrible knowing that you had 20 gigantically beautiful poems and noone wanted to publish them. I wanted to communicate, so when it wasn’t happening with the other four, I went right down into my basement and made my album.” Nowadays protesting the sorry state of the society in songs isn’t necesarrily a strong selling point. But as an artist Graham feels obligated to express things that perhaps his audience would like to say, but can’t. On Wild Tales, “Oh Camil (The Winter Soldier)” tells the story of Scott Camil, an American gung-ho soldier, a Vietnam War hero, who eventually became a leader in the Vietnam Vets Against the War, Graham had done a benefit in Detroit for the VVAW which raised money to make the film, “Winter Soldier” in which Graham saw the story of Scott Camil. “Prison Song,” Graham said, “could only have been in a minor key so I bought a C-minor harmonica and just started playing. That’s how it started, and then I had the verse about my father who went to jail for a bullshit reason way back in England. He bought a camera from a friend of his at work and used it for amateur photography to take zoo shots, giraffe’s and all that. The police came to where he worked and said “We know the camera’s been stolen. Who sold it to you?” My father said, ‘I’m not going to tell you’ and so he went to jail for a year for a $50. dollar camera. “Now to a man who is totally straight from the north of England, a man who’s worked hard all of his life to bring up his kids, it killed him. Literally…. he died. He couldn’t live with himself, with the fact that maybe his neighbors would be looking at him weird. His honor and dignity would have been broken. What I know now when I see fucking Agnew, who you could buy for $5000., the vice president of the US, and my father fucking died because some bullshit judge tried to make an example of him. That was the 1st verse I wrote that four years ago and I couldn’t finish the rest of the song. I had no data or information for the second half until a friend was busted for dope and that gave me the rest of it. Often Nash’s songs contain sharp visual images. and he calls himself a “see-er” who expresses what he observes in photography and drawing as well as songs. The involvement in making a print and writing a song is the same to him. “If you’re working on a print, spending three hours on it, nothing else exists except the image that you’re working with ,” he pointed out. “It’s the same with a song. I’m writing a song about my mother now and there’s nothing else in my head except my mother. Mothers are the best people in the world and sometimes they’re not. There’s the pain of trying to communicate and realizing that I live in a totally different world than she does.” Graham’s mother, who rarely leaves her native Manchester, had just spent three months with Graham in San Francisco. “My mother was saying, ‘You’re always talking about the government. You’re always talking about Nixon. You’re always first to the TV to turn the news on.’ She doesn’t understand that. She says that I can’t change anything. “And he explained, “that was my main theme. I was trying to explain to her that it didn’t really matter if I could change anything. I’m changing it in me. That’s where it all starts from — changes in me. If anybody else wants to get changed by it, that’s up to them. Next to a vase of red roses on the piano was a sheet of paper with “Broken Rose”, written on it. Graham smiled when asked what it meant. He explained: “It’s a note for myself. Just before I came to New York I had a monster fight with David Crosby…. a musical fight, a musical question. I mean we fight all the time. If you love someone, how can you not fight with them occasionally and it was nothing important, nothing that would stop our musical relationship. But it got me pissed at him and I had been going through these changes for about a week since this argument went down. I sat at the piano yesterday just spacing out, playing a melody, thinking about it. It’s like you go into it. You just put yourself into a place where it comes in. I mean I swear to God it’s not me that’s writing them sometimes because sometimes I can’t remember after it happens. It’s like you get into a meditative state and before you know it, it’s over and all of a sudden you’ve got words on paper and melody in your head. “So that’s what I was doing, I was in that state and my friend Bob Sterne, who is our soundman, sent me some roses. I mean that’s the sort of crew we have. They sent me a bunch of roses saying welcome to New York and this other friend of mine said, ‘Oh look at this, a broken rose. ‘ And it was just the essence of what I was feeling about David and I said, ‘That’s it.’ And I just wrote it down and put it on the piano. That is just that simple. But that is how simply it happens. There may never be a song called “Broken Rose”. I don’t know. But if there ever is, you’ll know where it came from.

Graham William Nash (Blackpool, 2 febbraio 1942) è un cantante, compositore e fotografo inglese.

Carriera musicale

Alla fine degli anni ’60 è uno membri principali del gruppo pop–rock The Hollies,
all’epoca fra i più conosciuti del panorama musicale inglese.
Nonostante fosse l’autore di gran parte dei brani della band, raramente
ne fu anche cantante.

Nel 1968, dopo un viaggio negli USA, iniziò in compagnia di David Crosby un’esperienza con le droghe. Successivamente lasciò gli Hollies per formare con Crosby e Stills un nuovo gruppo che inizialmente fu un trio e successivamente, con l’apporto di Neil Young, si trasformò nel quartetto CSN&Y, uno dei più apprezzati gruppi del panorama pop mondiale.

Graham Nash, soprannominato dai compagni di gruppo Willy fu
descritto come il collante che teneva unita la loro fragile alleanza.
Una prova ne è l’aiuto spassionato dato da Nash al suo amico Crosby
quando quest’ultimo fu sopraffatto dalla dipendenza da droga.

La carriera solista di Graham Nash è stata spesso interrota da riunioni col supergruppo;
nelle opere soliste di Nash si denota, comunque, un amore per la
melodia e le ballate, ed anche nelle sperimentazioni più orientate al Jazz o all’elettronica, Nash non si allontana da uno stile tipicamente pop.

La militanza politica di Nash si accentua dopo l’incontro con Crosby
e Stills, e fra i suoi brani di quel periodo spiccano i temi legati
all’antimilitarismo (Military Madness) ed al sociale (Chicago -We Can Change the World e Immigration Man cantata in duo con David Crosby). Nash prese la cittadinanza statunitense il 14 agosto del 1978.

Nel 1979, Nash è stato fra i fondatori di Musicians United for Safe Energy; nel 2005 ha collaborato con i norvegesi A-ha per le canzoni Over the Treetops e Cosy Prisons.

Nel 2006 Nash ha collaborato con David Gilmour e David Crosby nella title track del terzo album solista di Gilmour, On an Island, che raggiunse il numero 1 nelle classifiche inglesi.

Graham William Nash (born 2 February 1942) is an British-American singer-songwriter known for his light tenor vocals and for his songwriting contributions with the British pop group The Hollies, and with the American folk-rock band Crosby, Stills, Nash & Young. Nash is a photography collector and a published photographer.

Music career

• 1942: Graham Nash was born in Blackpool, Lancashire, England. He spent his childhood in Salford, a working class city nearby Manchester, where he attended state schools.

• 1960s: Nash became a founding member of The Hollies, one of the pop
  groups from the UK associated with the “British Invasion”. Using his
  keen sense of social poetry, often writing in collaboration with Allan Clarke, Nash contributed to many of the band’s songs. He shaped the group’s artistic direction on the albums Evolution, and Butterfly. Nash endeavoured to bring the then nascent hippie aesthetic to The Hollies sound. However, it failed to register with the group’s traditional audience in England and throughout the rest of Europe.

• 1968: During a visit to the US Nash finds himself in Laurel Canyon with Mama Cass Elliot, David Crosby and Stephen Stills. Nash begins to explore recreational drug use and soon leaves The Hollies to form a new group with David Crosby and Stephen Stills. Crosby, Stills & Nash are quickly joined by Neil Young to form Crosby, Stills, Nash & Young (CSNY).

• 1969: August, CSNY play the Woodstock Festival.

• 1970: CSNY define the Woodstock era as part of the TV documentary on the Woodstock festival with their rendition of Woodstock written by Joni Mitchell.

Nash becomes politically active after moving to San Francisco. Along
with others like Pete Seeger, Joan Baez, and Bob Dylan, Nash presses
for social change with his lyrics of outrage: Military Madness and Chicago (We Can Change the World). His songs resonate because they derive from shared experience: Immigration Man.

• 1971: Nash teams with Crosby as a recording and performing duo.

• 1977: Nash and Crosby reunite with Stills as CSN.

• 1978: Nash becomes a citizen of the United States of America on August 14.

• 1979: Nash co-founds Musicians United for Safe Energy.

• 2005: Nash collaborates with Norwegian musicians a-ha on the songs Over the Treetop (penned by Paul Waaktaar-Savoy) and “Cosy Prisons” (penned by Magne Furuholmen) for the Analogue recording.

• 2006: Nash works with David Gilmour and David Crosby on the title track of David Gilmour’s third solo album, On an Island.
  In March 2006, the album is released and quickly reaches #1 on the UK
  charts. Nash and Crosby subsequently tour the UK with Gilmour, singing
  backup on On an Island, The Blue, Shine On You Crazy Diamond, and “Find the Cost of Freedom”.

• 2007: Nash works with No Nukes group against the expansion of nuclear power. Nash and partners contribute a new music video version of the Buffalo Springfield song For What It’s Worth.

• 2008: Nash appears on the season 7 finale of American Idol singing Teach Your Children with Brooke White.

Photography career

Interested in photography as a child, Nash begins to collect
photographs in the 1970s. He searches for images that reveal the human
condition. The sale of his massive collection in 1990 by Sotheby’s becomes a milestone in the auction market for fine-art photography. Proceeds of the auction sale provide the financial means to found Nash Editions, the first ever digital fine-art printing atelier.

In the late 1980s, Nash begins to experiment with the early digital
printers then becoming available through commercial printing bureaus in
Los Angeles and San Francisco. Creating a true black and white print
proves difficult. None of the printers are very successful although the
IRIS Graphics 3047 printer shows promise because it can print on fine art papers. Nash meets programmer David Coons
through friend Steve Boulter of IRIS Graphics. With image management
software written by David Coons and using a custom scanner designed and
assembled by David Coons, David Coons and Graham Nash develop methods
to adapt the IRIS printer for the fine-arts printing of black-and-white
photographs on archival-paper substrates.

1989: The system that was to form the basis of Nash Editions was first tested in 1989 by Sally Larsen to produced her Transformer ink jet print series, one of which is now in the permanent collection of the New York Metropolitan Museum of Art. These very first IRIS prints made with David Coons’ software were printed by him on one of Walt Disney Studio’s IRIS Graphics IRIS 3047 printers.

1990: Graham Nash shows his own photography at Parco Stores in Tokyo. The Parco show entitled Sunlight on Silver
is a series of celebrity portraits by Nash which are reconstructed by
David Coons from a proof sheet. This Parco show is the first exhibition
ever of digitally produced fine art. The show travelled throughout
Japan and was seen by thousands. . Subsequently, Nash has exhibited his photographs at the Museum of Photographic Arts in San Diego and elsewhere.

In 2005, Nash donates an IRIS Graphics 3047 printer and Nash Editions ephemera to the National Museum of American History, a Smithsonian Institution.