6 on the Billboard album chart during a 107-week stay that spawned two Top 40 hits ("Suite: Judy Blue Eyes" [#21] and "Marrakesh Express" [#28]) and significant airplay on FM radio.

"[22] Teenaged Motown session bassist Greg Reeves joined in Palmer's place at the recommendation of Rick James, a friend and former bandmate of Neil Young.

It topped the charts during a 97-week stay in the United States and generated three hit singles, including the Stills-sung cover of Mitchell's "Woodstock" (#11) and both of Nash's contributions ("Teach Your Children" [#16] and "Our House" [#30]).

[26] In consultation with other band members, Stills fired Reeves from the group shortly before the beginning of their second American tour in April 1970 "because [he] suddenly decided he was an Apache witch doctor.

As the 23-show tour progressed, the tenuous nature of the partnership was strained by Stills' alcohol and cocaine abuse, culminating in an extended solo set not countenanced by the other band members at the Fillmore East, when he was informed that Bob Dylan was in the audience.

8 and included his first Top 40 solo hit, "Only Love Can Break Your Heart" [#33]); Stills' eponymous debut in November; Crosby's If I Could Only Remember My Name in February, and Nash's Songs for Beginners in May.

In the fall of 1971, Crosby and Nash embarked on a successful theater tour accompanied only by their acoustic guitars and a piano, as captured on the 1998 archival release Another Stoney Evening.

[34][35] Over the next few months, Roberts finally prevailed upon the group to realize their commercial potential, culminating in Stills announcing a CSNY summer tour and the projected studio album at a solo concert in March 1974.

[36] The quartet reassembled in earnest that summer, with sidemen Tim Drummond on bass, Russ Kunkel on drums, and Joe Lala on percussion, to rehearse at Young's ranch near Woodside, California before embarking on the two-month, 31-date tour.

Opening acts consisted of well known performers, including Joni Mitchell (who occasionally sat in during the acoustic and semi-acoustic interlude that bridged two electric sets), Santana, the Band, the Beach Boys, and Jesse Colin Young.

Crosby, in particular, was disillusioned by the bombastic nature of the performances, which he collectively dubbed the "Doom Tour": "We had good monitors, but Stephen and Neil were punching well over 100 db from their half stacks.

Under the stewardship of Graham's production company, the tour was plagued by profligate spending, exemplified by pillowcases embroidered with the band's new Mitchell-designed logo and the routine chartering of helicopters and private jets in lieu of ground transportation.

"[38] Stills—who befuddled his colleagues by claiming to have participated in clandestine Vietnam War missions as a member of the United States Marine Corps during his tenure in Buffalo Springfield—began supplementing his trademark wardrobe of football jerseys with military fatigues while performing and fraternizing with his personal manager, Green Berets veteran Michael John Bowen.

This chagrined several employees and band members; according to Nash, "Often I would knock on his hotel door, which he kept propped open with a security jamb, and he'd be getting blown by both of those girls, all while he was talking and doing business on the phone and rolling joints and smoking and having a drink.

[43] Surmounting Young's interpersonal distance and new ebbs in their respective relationships with Stills, the quartet reconvened with The Albert Brothers at Rudy Records (Nash's San Francisco home studio) in November to finish the long-gestating follow-up to Déjà Vu.

[44] Shortly thereafter, Crosby and Nash signed a separate contract with ABC Records and began to tour regularly again, playing a more intimate array of sports arenas, outdoor festivals and theaters.

This crack session group (wryly rechristened The Mighty Jitters by Crosby in a nod to the era's endemic cocaine use) contributed to records by myriad other Los Angeles-based artists in the seventies, such as Carole King, James Taylor, and Jackson Browne.

Throughout the mid-70s, Crosby and Nash also lent their harmonies to a range of recordings, including Taylor's "Mexico", Joni Mitchell's "Free Man in Paris" and Elton John's Blue Moves.

Recorded at Criteria Studios in Miami under the aegis of Ron and Howard Albert throughout late 1976 and early 1977, the album exemplified the meticulously stylized soft rock production ethos of the epoch and contained the band's highest-charting single, Nash's "Just a Song Before I Go" (#7); Stills' "Fair Game" also peaked at #43.

2 on the Billboard chart in the summer of 1977 during a 33-week stay, remaining at that position for the month of August (behind one of the best-selling LPs of all time, Fleetwood Mac's Rumours) and ultimately earning a RIAA quadruple platinum certification.

[52] Juxtaposing recent disco-inflected material (including the Andy Gibb showcase "What's the Game" and "Can't Get No Booty", co-written with Danny Kortchmar during a lull in the 1978 CSN sessions) against more conventional acoustic and blues rock arrangements (such as the Manassas-era title track), Stills' Thoroughfare Gap stalled at No.

Stills' 1979 support tour with the California Blues Band (including a performance at the historic Havana Jam) was dominated by theater bookings and largely overshadowed by such tabloid-friendly stories as a brawl with Elvis Costello (instigated by the younger singer-songwriter's use of the word nigger in deprecatory assessments of James Brown and Ray Charles)[53] amid his brief engagement to television actress Susan St. James, reflecting his diminished critical and commercial stature.

The tour's opening concerts at the Roxy Theatre in Los Angeles marked Stills' final full performances with onetime key collaborator Dallas Taylor, by then long addicted to heroin and cocaine.

[55] Crosby contributed "Delta" (his last original composition for several years) and a cover of Judy Henske's and Craig Doerge's "Might as Well Have a Good Time" along with some additional vocals on other tracks.

[56][57] Although the success of Daylight Again inaugurated a new tradition of near-annual touring that persisted for over thirty years,[58] the bottom soon fell out for Crosby, who was arrested and jailed on drug and weapons charges in Texas in May 1982.

[60] Stills and Crosby (enfeebled by health problems from his fallow period that culminated in a 1994 liver transplant) were barely functioning for the making of the album, and the late eighties production completely swamped the band.

Several years later, CSNY reunited to play the Bill Graham memorial concert ("Laughter, Love and Music") at Golden Gate Park in San Francisco on November 3, 1991.

Intended for inclusion, the 1976 CSNY version of "Human Highway" was leaked to the internet several years later[63] before receiving an official release on the Neil Young Archives Volume II: 1972–1976 box set in 2020.

"[81] Despite the unprecedented tumult between Crosby and Young, CSN embarked on a routine world tour encompassing American, European and Japanese venues in 2015, culminating in a performance of "Silent Night" at the National Christmas Tree lighting ceremony at The Ellipse in Washington, D.C., on December 3, 2015.

"[86][87] In April 2017, Nash framed the potential reunion in the context of the group's tradition of political activism amid the presidency of Donald Trump: "I believe that the issues that are keeping us apart pale in comparison to the good that we can do if we get out there and start talking about what's happening.