Songs for Beginners
is
Graham Nash
's solo debut apart from
Crosby, Stills, Nash & Young
. Released in 1971, it is a collection of songs that reflect change, transition, and starting over. The set was recorded in both Los Angeles and San Francisco, in the immediate aftermath of
Nash
's traumatic breakup with
Joni Mitchell
. Unlike the colorful dynamism of
Stephen Stills
' eponymous debut recording, or the acid-drenched cosmic cowboy spaciness of
David Crosby
's
If I Could Only Remember My Name
,
's album is by contrast a much more humble and direct offering. It is a true, mostly introspective songwriter's album full of beautifully performed and wonderfully recorded songs that reflect transition, movement, the desire to look backward and forward simultaneously. Like the aforementioned offering, this one is star-studded in its choice of players and singers:
Crosby
Chris Ethridge
Jerry Garcia
Rita Coolidge
Clydie King
Venetta Fields
Dave Mason
Neil Young
(under the pseudonym "Joe Yankee"),
David Lindley
Bobby Keys
Phil Lesh
Dallas Taylor
, and drummer
John Barbata
reflect some of the personnel on this heady yet humble session. The album is bookended by two of
's best-known tunes, the anthemic
"Military Madness"
that remains timeless in the 21st century, and
"Chicago,"
that doesn't. That said, they are among the weakest songs here -- which reveals what a solid collection it is. Unlike many recordings birthed from personal angst,
's engages in no self pity; instead, he focuses on the craft of songwriting itself. Despite its personal darkness,
"Better Days,"
with its swirling piano and pronounced bassline, is also an actual paean to self-determination and perseverance, the logic being that there were better days in the past, so there must be better ones in the future as well.
"I Used to Be a King,"
with
Garcia
on a gorgeous pedal steel and
Lesh
on bass, is a direct, mature response to
"King Midas in Reverse,"
a song
wrote and recorded with
the Hollies
.
"Simple Man,"
with its sparse melody and strings and a fine backing vocal from
Coolidge
, was written on the afternoon of the breakup with
Mitchell
. The violin-cello backdrop to
's piano is particularly effective and makes this one of his most memorable songs. The parlor room country waltz that commences
"Man in the Mirror,"
features
's steel,
Young
's piano, ex-
Flying Burrito Brother
Ethridge
Barbata
; it shifts keys, tempo, and feel about a third of the way in with a very long bridge that transforms the song's sentiment as well. Ultimately,
is the strongest of
's solo efforts (outside of his work with
). ~ Thom Jurek