The Beatles - Between The Lines

The Beatles - Between The Lines

(a soniclovenoize reimagining)

Side A:
1.  Let ‘Em In
2.  Crackerbox Palace
3.  Silly Love Songs
4.  Cookin’ In The Kitchen of Love
5.  Warm and Beautiful

Side B:
6.  See Yourself
7.  San Ferry Anne
8.  Beautiful Girl/Dear One
9.  Beware My Love
10. Tennessee

Hey folks.  Sorry about my absence…  A mix of being busy at work, a break-up, depression, etc etc etc.  I’ll try to “get back up on the horse” and drop some soniclovenoize reconstructions and reimaginings, starting with one that I think will be fairly unexpected and possibly exciting
for some (and loathed by others!).  I know long ago I said I would never do this, but during the pandemic (I had assembled this in November 2020, actually) I buckled down and made some Albums That Never Were I never expected to!  And you know what?  I actually really liked this one!  

If you couldn’t figure it out by the tracklist, this is an album “re-imagining” that postulates “What if The Beatles never broke up?” and is a part of my previous series of similar albums, including Instant Karma!, Imagine Clouds Dripping, Living In The Material World, Band On The Run, Goodnight Vienna and Skywriting By Word of Mouth.  This theoretical album– called Between The Lines (the tentative title of Lennon’s follow-up to Rock and Roll that was scrapped after being domesticated in 1975)-- encompasses The Beatles solo material spanning 1975 and 1976, and would have been theoretically released in fall 1976.  

As with my previous Beatles 70s Albums, I will adhere to three rules, although there are some slight modifications for these albums that follow Lennon’s real-life domestication and retirement:
1)  One album is represented per year, culled from tracks each Beatle recorded that year; this rule is revised so that one album spans two years instead of one.  Not only will this accommodate a lack of new material from some of the Beatles during this time, it will also force the outcome to be of better quality.  
2)  Generally speaking, to include five Lennon songs, five McCartney songs, three Harrison songs and one Ringo song; this rule is revised to presume that Lennon largely retired from The Beatles, occasionally contributing as a studio musician but leaving most of the heavy lifting for
Paul and George.   
3)  The chosen songs must be Beatle-esque in nature; we will attempt to avoid the idiosyncratic musical tangents each Beatle pursued in the 70s and vie for the solo songs that would have been most likely recorded by The Beatles (i.e. not vetoed by the rest of the band).
4)  The songs must flow together and make a unified album that shares a specific tone.

Between The Lines collects the highlights from Paul’s Wings at the Speed of Sound, George’s Thirty-Three and a Third, Ringo’s Rotogravure and, well, the six solo Lennon demos that date from his early Dakota era, approximately simultaneous to the aforementioned albums.  Both sides of the  re-imagining are edited to be two continuous sides of music.  The cover is taken from a Miro painting that somehow evokes the feel of this curious little album.  

Side A begins with my own unique edit of “Let ‘Em In”, which replicates the very rare original radio edit, only released as a promo disc; this is significant because that is the version I grew up listening to on the radio, and it is otherwise lost to time–and the unnecessarily long and repetitive album version.  This is followed by George’s classic “Crackerbox Palace”, which seems to somehow fit seamlessly before “Silly Love Songs”; like “Let ‘Em In”, this is my own unique ‘single edit’ since the song is likewise unnecessarily long.  Next is Ringo’s token song, written by John, “Cookin’ In The Kitchen of Love”, with the side closing with Paul’s ballad “Warm and Beautiful.”   Side B begins with George’s “See Yourself”, followed by Paul’s “San Ferry Anne”.  Next is a massive Paul-esque medley of George’s “Beautiful Girl” and Paul’s “Beware My Love”, using a brief bit of George’s “Dear One” to bridge the songs.  I couldn’t not have a John song, so concluding is the voice of our old friend: my own custom edit of “Tennessee”; although a Lennon home demo would sound drastically different from Paul & George ‘s studio output at this time, I believe this song works here as a closing piano solo.  

So sit back and imagine, if you will, an alternate timeline…
Although The Beatles went on an indefinite hiatus following the short 1974 tour for their hit album Goodnight Vienna, all four remained friendly, although not musically active with each other.  Paul took the opportunity to perform a solo tour (featuring wife Linda and his old friend Denny Lane as accompaniment) playing stripped down selections of his Beatles favorites from the last fifteen years.  George released a solo album Extra Texture, which had a lukewarm response despite featuring a moderate hit “You” (a duet with Ronnie Spector of The Ronnettes).  Ringo continued acting, building his filmography to include the role as The Pope in Listztomania, the voice of God in Monty Python and The Holy Grail and Uncle Ernie in the film adaptation of The Who’s Tommy.  John chose to stay home with his wife Yoko Ono and newborn Sean.  But the release of The Beatles’ Live at Madison Square Garden in late 1975 renewed some interest in the group continuing as a studio band, much like their late-60s era.  

Gradually, three of the four Beatles found themselves in each other's periphery and began plotting a new album, to be begun in early 1976.  John was only able to casually commit to the album, as he was no longer interested in living the rock star life.  While making only scant appearances on rhythm guitar and some backing vocals (although he distinctly took the lead for Ringo’s contribution to the album), a question emerged in the fans’ collective mind: is it really a Beatles album without John?  Regardless, a Paul-and-George -driven quartet released Between The Lines in October 1976, promoted only with a handful of live television  performances.  Most notable was their performance of “Let ‘Em In” on Saturday Night Live, in which Chevy Chase guested on a marching-band snare, prompting John Lennon to lead the entire show’s cast in a march outside and around Rockefeller Plaza.  

The moderate success of the double A-side single of “Silly Love Songs” and “Crackerbox Palace” encouraged the group to plan a follow-up in this short-lived and strange era of the band, and broad talks were made to reconvene in a year or so to see what the trio (and hopefully quartet) could muster…  

 

Sources used:
Paul McCartney & Wings - Wings at The Speed of Sound (2014 Remaster)
George Harrison - The Dark Horse Years 1976-1992
John Lennon - Between The Lines (2006 bootleg)
Ringo Starr - Ringo's Rotogravure (2009 Rhino Remaster)


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*md5, artwork and tracknotes included

Bob Dylan - Renaldo & Clara Soundtrack

Bob Dylan – Renaldo and Clara Soundtrack

(soniclovenoize reconstruction)

Side A:

1. When I Paint My Masterpiece

2. Isis

3. A Hard Rain’s a-Gonna Fall

4. It Ain’t Me Babe

5. It Takes A Lot To Laugh, It Takes a Train To Cry

6. Romance in Durango

Side B:

7. One More Cup of Coffee (Valley Below)

8. Sara

9. Never Let Me Go

10. Tangled Up In Blue

11. Just Like a Woman

12. Knockin’ On Heaven’s Door

Happy Year’s Eve-- only 12 hours to go, depending on your time zone! Let’s end this garbage year with the third of a trilogy of famous live albums that never were, in remembrance of the recently deceased concept of live music. This is a reconstruction of the theoretical soundtrack to the unreleased 1978 Bob Dylan film Renaldo & Clara, which contained vignettes and live footage recorded on the first leg of the Rolling Thunder Revue in 1975. Sourced primarily from the Rolling Thunder Revue boxset, this reconstruction presents how a single-disc soundtrack to the film could have been presented, featuring solely the live performances of Dylan and his band. All songs have been volume adjusted for cohesiveness, presented in film order and structured as two continuous sides of a musical performance.

Following his 1970’s renaissance—jumpstarted by the critically acclaimed Blood on the Tracks album—Dylan longed for one of the things he never had: a stable backing band. Hanging out in 1975 at New York nightclub/coffeehouse/music venue The Other End, Dylan took note of Patti Smith’s backing band and desired to form one of his own for Blood On The Tracks’ follow-up. Working with playwright Jacques Levy (another patron of The Other End), Dylan had crafted an album’s worth of new material worthy to follow Blood on The Tracks, albeit less personal and decidedly more cinematic. Recruiting bassist Rob Stoner & drummer Howard Wyeth from The Other End and violinist Scarlet Rivera literally on a street corner, Dylan had the core of his band in place. With the addition of budding songstress Emmylou Harris on backing vocals and a series of session musicians to round out the ensemble, recording sessions for the Desire album commenced in July 1975. At first chaotic with too many musicians chiming into Dylan’s newer—and longer—songs, Stoner suggested stripping the band to the aforementioned core; by the end of the month, they had the majority of the album in the can.

But some Dylanologists suggest Desire was a means to an end, with the goal being touring again with a band of his own. That fall, the core of Dylan, Stoner, Wyeth and Rivera were enhanced by guitarists Mick Ronson, T Bone Burnett and Steven Soles, multi-instrumentalist David Mansfield and percussionist Luther Rix. Another The Other End recruit, Ronee Blakley, came aboard to fill Emmylou Harris’s position, who was not able to tour due to her own career and session work. After returning to the studio to record a less libelous version of “Hurricane," the ragtag group hit the road with a pair of Halloween shows at the War Memorial Auditorium in Plymouth, MA. But this was no ordinary rock concert; joining was a star-studded musical cast to create an old-time music revue, including Joan Baez, Roger McGuinn, Bob Neuwirth, Ramblin Jack Elliott and Joni Mitchell, each getting a slice of the spotlight before Dylan's headline. Even Allen Ginsburg tagged along to open the show with some poetry!

Another guest that tagged along was filmmaker Howard Alk. He was no stranger to filming Dylan on the road, having also been the cameraman behind Don’t Look Back and Eat The Document. This time there was (in theory) an actual script co-written by Dylan and director Sam Shepard, although live footage of the tour would eventually be juxtaposed in the film. But by “script”, we mean more of a conceptual outline, as Dylan and Shepard would more encourage the actors—band members entourage of the Rolling Thunder Revue—to improvise scenes while on tour.

What exactly were these scenes? Many of the tour members themselves did not know, but simply went along with Dylan because, well, he was Dylan! The ringleader himself was cast as the protagonist Renaldo and his soon-to-be ex-wife Sara Dylan, the sad eyed lady of the Lowlands herself, as Clara. Completing a love triangle was The Woman in White, played by Dylan’s former flame Joan Baez. It is generally assumed that the trio and the surrounding characters were somehow acting out the stories of the songs, or at least the underlying emotions of the songs. Additionally, the songs themselves seemed to create a vague narrative for the trio’s love triangle, based on the song order as presented in the final film. Throughout, Dylan wore whiteface makeup, and sometimes a mask; he insisted the meaning of it was in the lyrics of the songs.

If none of this makes any sense, there was at least one amazing constant: the live performances themselves. Dylan daringly stocked his set with Desire tracks, months before the album was even released. The performances were energetic, intense and intimate, ranging from the proto-punk “Isis” to the gentle “Oh Sister.” Likewise, Dylan and his backing band—dubbed Guam—also presented updated versions of Dylan staples such as “It Ain’t Me Babe” and “A Hard Rain’s a-Gonna Fall” that made his The Band-backed Before The Flood seem like yacht rock. Furthermore, Dylan was mostly free from guitar duties due to the triple guitar attack of Ronson, Burnett and Soles. Urged on by Patti Smith, Dylan used his new-found bodily freedom to act out the lyrics, flailing his arms and motioning his hands as extensions of his lyrical prowess.

After a Fall and Winter of essentially one of the most powerful stage shows Dylan had presented, this first leg of the Rolling Thunder Revue ended at Madison Square Garden on December 8th, and the band earned a rest. Reconvening in April 1976 for a second leg of the tour, Guam had a slight face lift after the exit of Blakley and Rix, replaced by Donna Weiss and Gary Burke, respectively. Likewise, the setlist received a significant face lift as well, drawing more on amped-up and Desire-ified versions of Dylan’s back catalog. While well-intended, this second leg of the Rolling Thunder Revue was dynamic and it was obvious the concept—and band itself—was losing steam. The tour concluded in May, building to a live performance filmed and recorded for an NBC television special and released that September as the ragged live album Hard Rain, both of which were not well-received.

Doing as he would after his 1966 tour, Dylan retired to his home studio to personally edit the footage shot while on tour to try and make a film out of it himself. What Dylan came up with was Renaldo & Clara, a surreal four-hour film: part live concert, part documentary, part improvised drama... understood only by Dylan himself. With a limited release in January 1978, Renaldo & Clara received unanimous negative praise, resulting in the limited release to end after only two weeks. Later that year, Dylan offered a more concise two-hour edit of the film, exorcising much of the ambiguous dramatic vignettes and focusing on the stellar live performances. This did not save the film, as this edit, too, was critically panned and never saw an official release beyond a few broadcasts and theater showings. It seemed that Renaldo & Clara suffered a same fate as 1967’s Eat The Document: an amazing document of Dylan’s live accomplishments, confusingly edited as an experimental film, critically panned and stuffed in the vault, surviving only on bootleg reels and VHS tapes.

But that wasn’t quite the end of Renaldo & Clara; released in 2002 as The Bootleg Series Volume 5: Bob Dylan Live, The Rolling Thunder Revue, a number of the performances featured in Renaldo & Clara eventually saw the light of day. A much more enthralling document of the tour and righting the wrong of Hard Rain, fans ‘desired’ more footage from the first leg of the tour. In 2019, famed director Martin Scorsese reedited the original footage from 1975 into a completely new documentary, Rolling Thunder: A Bob Dylan Story by Martin Scorsese. Finally, fans were able to see remastered and crystal-clear performances from the legendary first leg of The Rolling Thunder Revue, thanks to Scorsese’s curation. But, in true Dylan form, not all in the documentary was what it appeared to be, as several interviewees and narrative events raised numerous eyebrows. To coincide with the film, Dylan released a 14-disc box set containing all six of the professionally-recorded shows on the 1975 tour, two discs of rehearsals and an additional disc of live rarities from the era. But what about the actual presumptive soundtrack to Renaldo & Clara? Can it be salvaged?

Using mostly the mixes found on the Rolling Thunder box set, we are able to easily create a Renaldo & Clara soundtrack. Since the contents of the actual film are an overwhelming mess and honestly a taxing listen, we will limit this soundtrack album to a single-disc of only the featured Dylan performances—essentially, the only reason anyone would want to watch Renaldo & Clara in the first place! We will also sequence the performances in the order in which they were featured in the film and crossfade the performances to create two continuous performances in each side of the record. The resulting album is essentially the very best of the best of Dylan’s live tours, what I believe would have been actually released in 1978 had the film not been canned. When paired with the rougher document of the 1976 leg of the tour, Hard Rain, you have a pretty great document of this era, as there is no song-overlap between the two albums.

Side A opens with the very first performance from the very first concert of the tour: “When I Paint My Masterpiece” from 10/25/75, taken from the bootleg Plymouth Rock, but EQd to match the sound of the version in Wolfgang’s Vault (presumably sourced from the superior master tape). Next is the fantastic “Isis” from 12/4/75; although featured on Masterpieces and recently on Side Tracks, I chose the new mix found on the Rolling Thunder box for coherency purposes. The electric stomp of “A Hard Rain’s a-Gonna Fall” also from 12/4/75 and the exquisite “It Ain’t Me Babe” from 11/20/75 follows, with the 11/21/75 “It Takes a Lot To Laugh” afterwards. The side concludes with “Romance in Durango” from 12/4/75; note that although we are using the mix from the Rolling Thunder box, I have edited out the second-to-last verse in which Dylan made a vocal flub, as it was heard in the actual film and originally released on Masterpieces. Side B starts with “One More Cup of Coffee”, “Sara” and “Never Let Me Go”, all from 12/4/75. Dylan’s superbly intimate “Tangled Up in Blue” from 11/21/75 is next, with the album ending with a pair of tracks from 11/20/75, “Just Like a Woman” and “Knockin on Heaven’s Door.” 

Sources used:

Plymouth Rock (bootleg, 1997 Colosseum Records)

The Rolling Thunder Review: The 1975 Recordings (2019 Columbia Records)

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* md5 files, track notes and artwork included

Neil Young - Homegrown

Neil Young – Homegrown

(soniclovenoize reconstruction)

Side A:

1.  Homegrown

2.  Little Wing

3.  The Old Homestead

4.  Love is a Rose

5.  Love Art Blues

Side B:

6.  Star of Bethlehem

7.  Give Me Strength

8.  Deep Forbidden Lake

9.  Pardon My Heart

10.  White Line

Happy Valentine’s Day!  What better way to celebrate this day of romance than with an album all about the loss of love and its effects thereafter!  This is a reconstruction of the unreleased Neil Young album Homegrown, the subdued and acoustic album primarily about Young’s separation from his wife Carrie Snodgress.  Originally meant to be released in 1975 as the proper follow-up to On The Beach, it was shelved in favor of the more electric and immediate Tonight’s The Night, never to see the light of day.  Since most of the recordings reported to have been featured on Homegrown are not available to listeners, this reconstruction attempts to compile all available songs that were at least recorded during the Homegrown sessions in order to present an approximate facsimile of what Homegrown could have sounded like; luckily there is just enough to make a ten-song album.  All songs have been volume-adjusted for continuity and album cohesion.

Neil Young has always been a man on the edge, a troubadour who embraced his inner-turmoil.  This was a characteristic that informed his music and ensured a long-lasting artistic integrity.  Presented with mainstream success that outshined his previous musical outlets with several hits from his 1972 album Harvest, Neil Young choose to intentionally follow-up the album’s commercial acoustics with more abrasive and difficult material to challenge his newly horizoned audience.  The subsequent albums were called “The Ditch Trilogy”, formed by 1973’s Time Fades Away, 1974’s On The Beach and 1975’s Tonight’s The Night.  All three projects shared the theme of loss and how Young dealt with it emotionally, as Young lost three of his closest confidants in the course of making the albums.  But “The Ditch Trilogy” is a misnomer, as it should have been the Ditch Tetralogy: the fourth and final recorded project during Young’s turbulent 1972-1975 era remained in his vault, as it not only was too personal, but the sound of the album was too reminiscent of Harvest, the album he strove to shy away from.  Regardless, it is the quintessential Ditch album, the final word of that era, although it was never actually heard. 

After being fired from Crazy Horse years earlier, Young had given guitarist Danny Whitten a second chance with a rhythm guitar spot in his backing band The Stray Gators for the upcoming Harvest Tour.  Unable to perform competently due to his rampant alcoholism and heroin addiction, Young fired Whitten a second time.  Within 24 hours, Whitten was dead, overdosed on alcohol and Valium.  The effect on Young was immense, as he felt he was responsible for Whitten’s death.  The initial outcome was Time Fades Away, recorded live on the subsequent tour, mere months after Whitten’s death.  The sloppy sound of anguish and denial—an artist in mourning with an inebriated backing band—Young has since regretted the album, possibly due to the sound quality of the album, recorded live by very early digital technology.  Time Fades Away exists solely as a document of this troubled time in Young’s career, which was only strengthened by an additional subtext of the tour: Young was growing apart from his wife Carrie Snodgress, the muse of his Harvest.  The freedoms of a rock star’s wife did not seem to gel with the pressures of a grieving and overbooked rock star, and the two became distant.

A brief interlude from the turmoil occurred as a hopeful writing and recording session with a reunited Crosby, Stills, Nash & Young in mid-1973, resulting in the genesis of the Human Highway project (which was also reconstructed on this author’s blog).  Unfortunately, a second casualty temporarily ceased the project, as Neil Young and CSNY’s long-time roadie Bruce Berry overdosed on heroin, a habit that was introduced to him by none other than Danny Whitten.  Leaving Crosby, Stills and Nash to their own battling egos, Young recorded possibly the rawest and most anguished recording of the 1970s, Tonight’s The Night, between August and September.  A painful ode to both Whitten and Berry, the album was perhaps too raw and Young sat on the completed recording for the remainder of the year while road-testing the material, toying with the mixing and sequence, finding the best way to release the album.  This cathartic tour for a soon-to-be-released record became a stereotype for rock band excess, and as Snodgress later recollected, was the beginning of the end of her marriage with Young. 

With a more-or-less completed album in his back pocket and a slew of even newer songs, Young returned to the studio in February 1974 and recorded the third of his Ditch Trilogy, On The Beach.  While more refined than the previous Ditch albums, anguish still loomed over the songs while still soaked by the drug excess of the previous year’s tour.  With Young both emotionally and physically absent, the lonely and hungry eye of the rock star’s wife looked in other directions; surely he had taken other lovers while on the road, why couldn’t Carrie?  As the album was being released, Young's realization that Snodgress had been cheating on him unleashed a flurry of new songs about their disintegrating relationship and the break-up of their family.  Young was given a surprise opportunity to road-test his new material with a re-reunited CSN&Y, on a much-hyped national tour through the rest of 1974 that the band later called “The Doom Tour”.  During rehearsals for the tour, Young recorded one of his new laments, “Pardon My Heart”, as well as an acoustic backstage duet with The Band’s Robbie Robertson on another of his new compositions “White Line”. 

The miserable CSNY tour ended that fall, and in November Young went into Quadrafonic Sound Studios in Nashville to capture the heartbroken ballads he had written about Snodgress, including “Star of Bethlehem” and “Frozen Man”.  Temporarily returning home to his ranch, Young found Carrie with her lover and he kicked her out; it was officially over.  After this heart-crushing break from the recording sessions, Young returned to Quadrafonic in December, tracking a number of bleak yet razor-sharp songs of romantic despair that seemed to balance between western-tinged, full-band renditions and solo acoustic performances, some also tracked at his home studio Broken Arrow.  Songs recorded during these sessions include: “Separate Ways”, “Love is a Rose”, “Love Art Blues”, “Homefires”, “The Old Homestead”, “Deep Forbidden Lake”, “Homegrown”, “We Don’t Smoke It”, “Vacancy”, “Try” and “Give Me Strength.”  In January 1975, final recordings for this new project, now called Homegrown, were tracked in LA at The Village Recorder, including “Little Wing”, “Kansas”, “Mexico” and “Florida.”  The exact tracklist of Homegrown was never published but it is believed to include any number of the aforementioned 17 songs from the Quadrafonic, Broken Arrow and Village Recorder sessions, as well as “Pardon My Heart” and “White Line” recorded during The Doom Tour. 

While Young was uncertain about releasing Homegrown because of its brutal honesty (he even claimed he couldn’t sit through the entire album), the label was excited for Young’s return to a more delicate sound after his recent abrasive albums.  In typical Neil Young fashion, that was never to be.  In the oft-repeated story, Young previewed Homegrown to a party of friends; after the album finished, the rough cut of Tonight’s The Night—still unreleased from 1973's work—played afterwards.  More impressed by the later work, The Band bassist Rick Danko suggested to release Tonight’s The Night instead of Homegrown.  And that is exactly what Young did that June of 1975 and Homegrown as it’s completed album has never been heard outside a select few.  

Only a handful of the various songs from the Homegrown sessions have been released over the years, wetting fan’s appetites for what was purported to be Neil Young’s strongest and most emotionally vulnerable album.  Many have tried to reconstruct Homegrown, but the truth is that not only do we not know the official tracklist, but less than half of the material is even available to us officially or even unofficially!  Young himself only recently performed some of the material live for the first time, in recent decades.  In an effort to retain the best possible soundquality and historical accuracy, my reconstruction of Homegrown will focus only on recordings dating from the mid 1970s, as well as only studio or soundboard recordings.  With this criteria, that reduces the number of available songs to ten, which luckily is enough to make a complete album.  While not precisely the mythical Homegrown, this could be viewed as an approximation culled from the Homegrown sessions, what the album might have sounded like.

The album begins with the title track, “Homegrown”.  For the actual unreleased album, the recording would have been more downbeat and probably Western; since that recording is unavailable, we’ll use the Crazy Horse re-recording dating from November 1975, from the album American Stars n Bars.  Next is the delicate “Little Wing” and majestic “The Old Homestead”, both taken from Hawks and Doves.  Somber “Love is a Rose” from Decade follows, with Side A concluding with “Love Art Blues”; while the unheard Homegrown album version was probably a solo acoustic recording, here we will use the slick full-band Crosby, Stills, Nash & Young live recording from CSNY 1974.  Side B opens with “Star of Bethlehem” from American Stars n Bars.  The studio “Give Me Strength” allegedly sounded much like the eerie “Will To Love”; since unavailable, we will use a live recording from 1976, taken from the GF Rust Chrome Dreams bootleg.  Following is the exquisite “Pardon My Heart” from Zuma and “Deep Forbidden Lake” from Decades.  The Homegrown album version of “White Line” would have been an acoustic duo with Robbie Robertson; since unavailable, we will end the album as it began, with the Crazy Horse re-recording from November 1975, taken from the GF Rush Chrome Dreams bootleg.  

Sources Used:

Neil Young - American Stars n Bars (2003 Reprise CD remaster)

Neil Young – Chrome Dreams (bootleg, 2008 Godfather Records)

Neil Young – Decade (original CD pressing)

Neil Young – Hawks and Doves (2003 Reprise Recerds CD remaster)

Neil Young – Zuma (1993 CD remaster)

Crosby, Stills, Nash & Young – CSNY 1974 (2014 CD box set)

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