![]() Reeves has alleged that the "bass hook" of one of his songs was appropriated by Stills for the main riff of " Carry On." Heeding the advice of James, he demurred from pursuing the issue after receiving a profit point on Déjà Vu. Following Reeves's termination, Young defied his bandmates and continued to collaborate with Reeves. We'll sing any song if it's great, but not just because it happens to be written by our bass player." Dallas Taylor (who seldom fraternized with Reeves and was dismissed from the group a month later at the instigation of Neil Young) later noted that while Reeves and Stills did not get along, Reeves and Young were good friends. He could play bass imaginatively, but he has to be predictable as well," while Reeves also wanted to sing some of his songs during CSN&Y shows, which Stills thought was "ludicrous, only because the songs weren't great. In consultation with other band members, Stephen Stills fired Reeves from the group in April 1970 "because suddenly decided he was an Apache witch doctor." Stills further opined that Reeves "freaked too much on the bass and no one could keep up because did not play one rhythm the same. to this day I don't how Graham and David knew where Rick and I lived. From the first time jamming with me, they would not let me leave. ![]() I asked Rick James "Aren't you coming, too?" He said "They want you to come alone." I went back to the house, grabbed my Fender Precision Bass guitar and Gibson acoustic guitar, climbed into the limousine and never came back to Rick's house again. They asked Rick James who I was and Rick came, got me and brought me out front to the limousine that Graham Nash and David Crosby were in and asked me in front of them, would I mind going with them to jam. from the pool I saw them knock on the door, and Rick yelled for me. Reeves was living with mentor Rick James in Los Angeles when he was recruited for CSNY:ĭavid and Graham drove up to the apartment where we lived on Olive Drive at the time. Reeves recorded and toured with Crosby, Stills, Nash & Young from August 1969 to January 1970 and is credited on the cover of their 1970 Déjà Vu album he appears with the group in the concert documentary Celebration at Big Sur (filmed in September 1969) and in contemporaneous television appearances on This Is Tom Jones and The Music Scene. Reeves stated that his most notable performance for the company was the bass part (overdubbed in Los Angeles) of " No Matter What Sign You Are," the final song recorded by Diana Ross with The Supremes. During this period, Reeves was also mentored by other Motown musicians, including Rick James (who concurrently played alongside Reeves in Salt 'n' Pepa, a Los Angeles rock group formed from the remnants of Merryweather) and James Jamerson. During the recording session for The Temptations' " Cloud Nine," Reeves was apprehensive about his bass playing and switched to tambourine at the behest of producer Norman Whitfield, his recruiter and main benefactor at Motown. By 1968, however, Reeves was employed as a session bassist at Motown. Reeves had been scouted as a session musician at the age of 12 by Motown Records and Chess Records, though his mother "would not hear of" him playing professionally at that age. While Reeves acknowledged having a fake ID and being "very young" while with CSNY, Rolling Stone stated his age as 19 in a December 1969 article. In an interview, bandmate Dallas Taylor spoke of a rumor that Reeves was as young as 15 years old when he joined CSNY. Reeves grew up in Warren, Ohio, and graduated from Warren Western Reserve High School in 1968. He is best known for playing bass on Crosby, Stills, Nash & Young's album Déjà Vu (1970). The product of hundreds of hours in the studio, the multi-platinum Déjà Vu boasts marvellously eclectic arrangements and immaculate harmonies, and has been cited by the likes of Rolling Stone and VH1 as one of the greatest albums of all time.Gregory Allen Reeves (born 1949 or 1950) is an American bass guitarist. Teach Your Children, Our House and Woodstock each became Top 40 hits, but tracks like Young’s Helpless, Crosby’s Almost Cut My Hair and the Stills-Young-penned Everybody I Love You are equally distinctive. Déjà Vu did not disappoint the group upped the ante with the addition of Neil Young to the line-up and with four strong songwriters and a pair of fiery guitarists now in the fold, sparks flew. The first album from David Crosby, Stephen Stills and Graham Nash set a remarkable standard both for artistic quality and commercial success, and expectations for a follow-up were high. ![]() We’re looking back to Crosby, Stills, Nash and Young’s classic 1970 album Déjà Vu – the band's first with Neil Young on board and one of the greatest class rock albums of all time. Photo by Gijsbert Hanekroot/Redferns/Getty Images. ![]()
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