In which The Hollies get more serious than usual with an almost-hit about a man who, everything golden thing he touches, he destroys, which rather confuses the original myth about the king with the golden touch who ended up starving to death, because who can digest golden bread, or stew, or porridge for that matter? But it’s still a hell of a strong song. Welcome to psychedelic England, 1967, where there was at least as much confusion as colour in the magical breeze. As it was, Graham Nash (who wrote King Midas) would soon be splitting from the band, taking off to America and all manner of future glory as a serious rock artist, while the rest stayed home and mostly stayed pop, with a few golden moments to come, but nothing like what they’d once known.
“The original version of Crosby Stills Nash + Young‘s Carry On is entirely okay. It makes its point. The revolution may have peaked but, man, we’re still on the edge something beautiful, man, so nothing else to do but carry on, man, to peace love and understanding, man. Live however, captured on 1971’s 4 Way Street, you actually believe it. Love is coming for us all. War shall be forever banned. Richard Nixon will not be re-elected in a year’s time by the single biggest landslide in history, America will not keep mucking around in Vietnam for four more bloody years. It’s the jamming, of course. Neil Young and Steve Stills facing off (with rhythm section Fuzzy Samuels and Johnny Barbata in strong support) riding the wave to heaven’s gate itself, leaving the original song far behind for at least ten minutes. Meanwhile in a hotel in Las Vegas, Hunter Thompson is glimpsing through ancient eyes what he’d come to call the high water mark. These things are not unconnected.” (Philip Random)
“It’s 1970, there’s a new decade on the world, and with the Beatles officially broken up, there’s no more important band on the planet than Crosby Stills Nash + Young. At least that’s what Rog thought (boyfriend of my best friend’s big sister), who actually read Rolling Stone magazine and stuff like that. Their album of the moment was Déjà Vu and I guess eleven year old me liked some of it (the hits mostly). But the title track eluded me. Too smooth, I guess, and complicated. But jump ahead a few years, maybe halfway through high school, and it finally got me – so much happening in terms of shades and harmonies and changes, the music itself like a restless, living creature. Marijuana was involved.” (Philip Random)