
Crosby’s impish smile and twinkling eyes, once described by Joni Mitchell as “star sapphires,” perfectly captured his playful spirit.
The music of the folk-rock icon, who passed away on January 18 after battling a long illness, was an integral part of an echo that can still be heard in the work of today’s artists.
Singer-songwriter and guitarist David Crosby, known as a piloting force behind the folk-rock movement of the 1960s and ’70s, has died at the age of 81. Details on the cause of his death, which occurred on Wednesday, January 18, have not been disclosed to the media, but his wife Jan Dance has stated that he had been battling a “long illness.” He’s survived by Dance, their son Django, and his children of previous relationships: son James Raymond, and daughters Erika and Donovan Crosby. (He was also the biological father of Melissa Etheridge and Julie Cypher’s two children, Beckett Cypher, who passed in 2020, and Bailey Jean Cypher.)
Crosby, Stills, Nash & Young - Almost Cut My Hair
Crosby, a founding member of the Byrds and supergroup Crosby, Stills, Nash & Young, was defined by his unmistakable, timeless—and preternaturally physically enduring—voice, which, combined with his songwriting, shone through the throngs of his talented contemporaries to make him an icon. Often pictured with a coy, impish smile, he was characterized by his incorrigibility, perseverance, and brazen outspokenness on politics as well as his personal opinions. Inducted into the Rock & Roll Hall of Fame twice—as a member of the Byrds and Crosby, Stills & Nash (the group’s original iteration)—he helped mold his era’s musical zeitgeist into something that demanded longevity, and in doing so contributed to forging the grammar that continues to be spoken by today’s folk artists.
As a child, Crosby had a reputation for being a bit of a rebellious loner with a distrust of authority. At 16, his older brother Ethan gave him his first guitar. Ethan also shared with him a love for ’50s jazz, and Crosby became enraptured by artists like Chet Baker, Dave Brubeck, and Erroll Garner. Indifferent to the ubiquitous strains of Elvis and nascent rock ’n’ roll, he was drawn instead to the music of the Everly Brothers, whose “All I Have to Do Is Dream” was one of the first pop tunes to leave a lasting impression on him. Later in his youth, after dropping out of his drama studies at Santa Barbara City College, he moved to New York City’s Greenwich Village—the beating heart of the early-’60s folk scene—where he soon became connected to Jim McGuinn (who later changed his name to Roger).
The Byrds formed in 1964, with a sound driven by McGuinn’s jangly 12-string guitar and Crosby’s harmonies and rhythm playing. They released their seminal cover of Bob Dylan’s “Mr. Tambourine Man” on their debut album of the same name in ’65. By the following year, their cover of Pete Seeger’s “Turn! Turn! Turn!” was among the three biggest singles on the charts (the others were the Rolling Stones’ “Satisfaction” and the Beatles’ “Yesterday”). On their third album, Fifth Dimension, Crosby's writing contributions—including his personal composition, “What’s Happening?!?!,” and co-writing credits on songs such as “Eight Miles High”—pointed the group in a psychedelic direction (along with the McGuinn-penned title track).
The acoustic guitarist was inimitable in his songwriting, which blended innately with the voices of Stephen Stills, Graham Nash, and Neil Young.
Photo by Frank White
But as Crosby comments in the 2019 documentary, David Crosby: Remember My Name, “It’s not always a positive thing when you win early and win young.” Tension between McGuinn and Crosby had been intensifying over the years, and by the time of their performance at the inaugural Monterey Pop Festival in ’67, McGuinn had grown to see Crosby as insufferable. “[I was] not easy. Big ego. No brains,” Crosby admits. His vocal endorsement of political conspiracies on stage during their performance only fanned the flames between the two men, and later that year McGuinn and bassist Chris Hillman fired Crosby from the band.
That year still proved to be a busy one for Crosby. He helped Joni Mitchell get signed to a record label and produced her first record. He also joined Buffalo Springfield for a brief stint before they broke up in ’68. Crosby and Buffalo Springfield’s Stephen Stills suddenly both found themselves unemployed and began jamming together. They were joined shortly thereafter by Graham Nash of English pop group the Hollies.
“Whatever sound Crosby, Stills & Nash has was born in 40 seconds,” Nash said in 2013. Their self-titled debut was released in 1969, and featured Crosby’s “Guinnevere,” as well as the first song he wrote with Stills, “Wooden Ships.” Its introduction of the three singer-songwriter-guitarists’ converging talents, gilded by their gently interwoven harmonies and Crosby’s alternate tunings, emblazoned a new face onto the already flourishing folk landscape. On Crosby’s invitation, Neil Young—another former member of Buffalo Springfield, who had two solo records to his name—was soon after added to the trio, and CSN became CSNY. Their second-ever performance was at Woodstock later that year, where a candid Stills told the audience, “We’re scared shitless.”
[Crosby, Stills & Nash’s] introduction of the three singer-songwriter-guitarists’ converging talents, gilded by their gently interwoven harmonies and Crosby’s alternate tunings, emblazoned a new face onto the already flourishing folk landscape.
Their first album as a quartet, Déjà Vu, shot to the top of the charts (to date, it has sold over 7 million copies). It’s rounded out by two of Crosby’s compositions, the counterculture anthem “Almost Cut My Hair” and the jazz-imbued title track.
I have memories of where I’ve been when listening to many of the albums that have left as indelible an imprint on me as Déjà Vu, but unlike almost any other one I can think of, I remember exactly when and where I was when I first heard it. (I then quickly set “Carry On” to be my morning alarm, and was thusly woken up to the lyrics, “One morning, I woke up.…” for at least a year.) As a former music teacher, I’ve also had the privilege of witnessing the awe on young students’ faces when I’ve shared with them “Almost Cut My Hair,” where Crosby leads with a restrained yet angry rawness to his voice, sans harmonies.
But in late 1969, the death of Crosby’s longtime girlfriend Christine Hinton sent him spiraling into cocaine and heroin addiction, the former of which had been developing throughout his career. A little over a year later, Crosby released his debut solo album, If I Could Only Remember My Name, to mixed reviews, Meanwhile, CSNY didn’t record another studio album together until 1977. Then, in the early ’80s, he was convicted of bringing cocaine and a loaded pistol into a Dallas nightclub. He ran from the law for two years before serving five months in prison—four of them in solitary confinement.
His time spent in prison, which sobered him up from hard drugs, renewed Crosby’s resolve as a songwriter. He released two more solo records, 1989’s Oh Yes I Can and 1993’s Thousand Roads, and in the ’90s, was united with his son, pianist James Raymond—who had been given up for adoption 30 years prior—and guitarist Jeff Pevar to form the tongue-in-cheek-named CPR. CSNY became CSN again for a few more releases, then reformed as a quartet with 1999’s Looking Forward. They continued to perform until their disbandment in 2015, but, by then, their relationships had become fraught, and the split felt long overdue.
Early on his career, Crosby developed a reputation not just for his vocal harmonies, but for his adventurous alternate tunings.
Photo by Steve Kalinsky
In 2014, Crosby returned for what became the most prolific period of his solo career with Croz, which, as his first work in this vein in 21 years, made the Top 40. He put out four more albums over the next seven years. 2018’s Here If You Listen was recorded with Michael League, Becca Stevens, and Michelle Willis, and his final release, 2021’s For Free, was named after his cover of Mitchell’s song, ”Real Good for Free.“
I have memories of where I’ve been when listening to many of the albums that have left as indelible an imprint on me as Déjà Vu, but unlike almost any other one I can think of, I remember exactly when and where I was when I first heard it.
Following the announcement of Crosby’s death, Nash posted a statement on social media, saying “[Crosby’s] harmonic sensibilities were nothing short of genius. The glue that held us together as our vocals soared, like Icarus, towards the sun. I am deeply saddened at his passing and shall miss him beyond measure.”
Young, from whom Crosby had become estranged in 2014, commented, “Crosby was a very supportive friend in my early life, as we bit off big pieces of our experience together. David was the catalyst of many things.… I remember the best times!”
When asked by producer Cameron Crowe in Remember My Name if, given the choice, he would take the gift of a (more) fulfilling family life but have to sacrifice his music, Crosby at first paused. He then answered, “That’s no world for me. It’s the only thing I can contribute, the only place I can help.” That, hopefully, is how he will be remembered.
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Well-designed pickups. Extremely comfortable contours. Smooth, playable neck.
Middle position could use a bit more mids. Price could scare off some.
$2,999
Ernie Ball Music Man StingRay II
A surprise 6-string collaboration with Cory Wong moves effortlessly between ’70s George Benson and Blink-182 tones.
Announced at the 2025 NAMM show, Cory Wong’s new collaboration with Ernie Ball Music Man scratched an itch—namely, the itch for a humbucker-loaded guitar that could appease Wong’s rock-and-R&B alter ego and serve as complement to his signature Fender Strat. Inspiration came from no further than a bandmate’s namesake instrument. Vulfpeck bassist Joe Dart has a line of signature model EBMM basses, one of which uses the classic StingRay bass body profile. So, when Wong went looking for something distinctive, he wondered if EBMM could create a 6-string guitar using the classic StingRay bass body and headstock profile.
Double the Fun
Wong is, by his own admission, a single-coil devotee. That’s where the core of his sound lives and it feels like home to him. However, Wong is as inspired by classic Earth, Wind & Fire tones and the pop-punk of the early ’90s as he is by Prince and the Minneapolis funk that he grew up with. The StingRay II is a guitar that can cover all those bases.
Ernie Ball has a history of designing fast-feeling, comfortable necks. And I can’t remember ever struggling to move around an EBMM fretboard. The roasted maple C-shaped neck here is slightly thicker in profile than I expected, but still very comfortable. (I must also mention that the back of the neck has a dazzling, almost holographic look to the grain that morphs in the light). By any measure, the StingRay II’s curves seemed designed for comfort and speed. Now, let’s talk about those pickups.Hot or Not?
A few years ago EBMM introduced a line of HT (heat-treated) pickups. The pickups are built with technology the company used to develop their Cobalt and M-Series strings. A fair amount of the process is shrouded in secrecy and must be taken on faith, but EBMM says treating elements of the pickup with heat increases clarity and dynamic response.
To find out for myself, I plugged the StingRay II into a Fender Vibroverb, Mesa/Boogie Mark VII, and a Neural DSP Quad Cortex (Wong’s preferred live rig). Right away, it was easy to hear the tight low end and warm highs. Often, I feel like the low end from neck humbuckers can feel too loose or lack definition. Neither was the case here. The HT pickup is beautifully balanced with a bounce that’s rich with ES-335 vibes. Clean tones are punchy and bright—especially with the Vibroverb—and dirty tones have more room for air. Individual notes were clear and articulate, too.
Any guitar associated with Wong needs a strong middle-position or combined pickup tone, and the StingRay II delivers. I never felt any significant signal loss in the blended signal from the two humbuckers, even if I could use a bit more midrange presence in the voicing. The midrange gap is nothing an EQ or Tube Screamer couldn’t fix, though. And not surprisingly, very Strat-like sounds were easy to achieve for having less midrange bump.
Knowing Wong’s love for ’90s alt-rock, I expected the bridge pickup to have real bite, and it does, demonstrating exceptional dynamic range and exceptional high-end response that never approached shrill. Nearly every type of distortion and overdrive I threw at it sounded great, but especially anything with a scooped-mid flavor and plenty of low end.
The Verdict
By any measure, the StingRay II is a top-notch, professional instrument. The fit and finish are immaculate and the feel of the neck makes me wonder if EBMM stashes some kind of secret sandpaper, because I don’t think I’ve ever felt a smoother, more playable neck. Kudos are also due to EBMM and Wong for finding an instrument that can move between ’70s George Benson tones and the hammering power chords of ’90s Blink-182. Admittedly, the nearly $3K price could give some players pause, but considering the overall quality of the instrument, it’s not out of line. Wong’s involvement and search for distinct sounds makes the StingRay II more than a tired redux of a classic model—an admirable accomplishment considering EBMM’s long and storied history.
Ernie Ball Music Man StingRay II Cory Wong Signature Electric Guitar - Charcoal Blue with Rosewood Fingerboard
StingRay II Cory Wong - Charcoal BlueThe Melvins' Buzz Osborne joins the party to talk about how he helped Kurt Cobain find the right sounds.
Growing up in the small town of Montesano, Washington, Kurt Cobain turned to his older pal Buzz Osborne for musical direction. So on this episode, we’re talking with the Melvins leader about their friendship, from taking Cobain to see Black Flag in ’84 to their shared guitar journey and how they both thought about gear. And in case you’ve heard otherwise, Kurt was never a Melvins roadie!
Osborne’s latest project is Thunderball from Melvins 1983, something of a side trajectory for the band, which harkens back to this time in Osborne’s life. We dig into that and how it all relates and much more.
In challenging times, sometimes elemental music, like the late Jessie Mae Hemphill’s raucous Mississippi hill country blues, is the best salve. It reminds us of what’s truly essential––musically, culturally, and emotionally. And provides a restorative and safe place, where we can open up, listen, and experience without judgement. And smile.
I’ve been prowling the backroads, juke joints, urban canyons, and VFW halls for more than 40 years, in search of the rawest, most powerful and authentic American music. And among the many things I’ve learned is that what’s more interesting than the music itself is the people who make it.
One of the most interesting people I’ve met is the late Jessie Mae Hemphill. By the time my wife, Laurie Hoffma, and I met Jessie Mae, on a visit to her trailer in Senatobia, Mississippi, she’d had a stroke and retired from performing, but we’d been fortunate to see her years before at the New Orleans Jazz & Heritage festival, where she brought a blues style that was like quiet thunder, rumbling with portent and joy and ache, and all the other stuff that makes us human, sung to her own droning, rocking accompaniment on an old Gibson ES-120T.
To say she was from a musical family is an understatement. Her grandfather, Sid, was twice recorded by Alan Lomax for the Library of Congress. While Sid played fiddle, banjo, guitar, harmonica, keyboards, and more, he was best known as the leader of a fife-and-drum band that made music that spilled directly from Africa’s main artery. Sid was Jessie Mae’s teacher, and she learned well. In fact, you can see her leading her own fife-and-drum group in Robert Mugge’s wonderful documentary Deep Blues(with the late musician and journalist Robert Palmer as on-screen narrator), where she also performs a mournful-but-hypnotic song about betrayal—solo, on guitar—in Junior Kimbrough’s juke joint.
That movie, a 1982 episode of Mr. Rogers’ Neighborhood (on YouTube) where she appears as part of Othar Turner’s Gravel Springs fife-and-drum band, and worldwide festival appearances are as close as Jessie Mae ever got to fame, although that was enough to make her important and influential to Bonnie Raitt, Cat Power, and others. And she made two exceptional albums during her lifetime: 1981’s She-Wolf and 1990’s Feelin’ Good. If you’re unfamiliar with North Mississippi blues, their sound will be a revelation. The style, as Jessie Mae essayed it, is a droning, hypnotic joy that bumps along like a freight train full of happily rattling box cars populated by carefree hobos. Often the songs ride on one chord, but that chord is the only one that’s needed to put the music’s joy and conviction across. Feelin’ Good, in particular, is essential Jessie Mae. Even the songs about heartbreak, like “Go Back To Your Used To Be” and “Shame on You,” have a propulsion dappled with little bends and other 6-string inflections that wrap the listener in a hypnotic web. Listening to Feelin’ Good, it’s easy to disappear in the music and to have all your troubles vanish as well—for at least as long as its 14 songs last.“She made it clear that she had a gun—a .44 with a pearl handle that took up the entire length of her handbag.”
The challenge I’ve long issued to people unfamiliar with Jessie Mae’s music is: “Listen to Feelin’ Good and then tell me if you’re not feeling happier, more cheerful, and relaxed.” It truly does, as the old cliché would have it, make your backbone slip and your troubles along with it. Especially uptempo songs like the scrappy title track and the charging “Streamline Train.” There’s also an appealing live 1984 performance of the latter on YouTube, with Jessie Mae decked out in leopard-print pants and vest, playing a tambourine wedged onto her left high-heel shoe––one of her stylish signatures.
Jessie Mae was a complex person, caught between the old-school dilemma of playing “the Devil’s music” and yearning for a spiritual life, sweet as pecan pie with extra molasses but quick to turn mean at any perceived slight. She also spent much of her later years in poverty, in a small trailer with a hole in the floor where mice and other critters got in. And she was as mistrustful of strangers as she was warm once she accepted you into her heart. But watch your step before she did. On our first visit to her home, she made it clear that she had a gun—a .44 with a pearl handle that took up the entire length of her handbag and would make Dirty Harry envious.
Happily, she took us into her heart and we took her into ours, helping as much as we could and talking often. She was inspiring, and I wrote a song about her, and even got to perform it for her in her trailer, which was just a little terrifying, since I knew she would not hold back her criticism if she didn't like it. Instead, she giggled like a kid and blushed, and asked if I’d write one more verse about the artifacts she’d gathered while touring around the world.
Jessie Mae died in 2006, at age 82, and, as happens when every great folk artist dies, we lost many songs and stories, and the wisdom of her experience. But you can still get a whiff of all that––if you listen to Feelin’ Good.
Intermediate
Intermediate
How David Gilmour masterully employs target notes to make his solos sing.
When I was an undergraduate jazz performance major struggling to get a handle on bebop improvisation, I remember my professor Dave LaLama admonishing me, “If you think playing over the fast tunes is hard, wait until you try playing over the ballads. What Dr. Lalama was trying to impart was that playing fast scales over fast changes could get you by, but playing melodically over slow tempos, when your note choices are much more exposed, would really test how well you could create meaningful phrases.
Although getting past the “this scale works over these chords” approach to improvisation generally requires hours of shedding, aiming for particular target notes (specific notes over specific chords) is an optimum strategy to maximize your practice time. In the realm of rock guitar, I can think of no greater master of the melodic target note technique while playing ballads than David Gilmour.
For the unfamiliar few, Gilmour was first enlisted by fledgling psychedelic rockers Pink Floyd in 1967, when original guitarist/vocalist Syd Barrett began having drug-induced struggles with mental health. The band experimented with various artistic approaches for several years before refining them into a cohesive “art rock” sound by the early ’70s. The result was an unbroken streak of classic, genre-defining conceptual albums that included Meddle, The Dark Side of the Moon, Wish You Were Here, Animals, and The Wall. Although bassist/vocalist Roger Waters assumed the role of de facto bandleader and primary songwriter, Gilmour was a significant contributor who was praised for his soulful singing and expertly phrased lead playing that seemed to magically rework pedestrian blues phrases into sublimely evocative melodies. His focus on musicality over excessive displays of technique made him a musician’s musician of sorts and earned him a stellar reputation in guitar circles. When Roger Waters left Pink Floyd in the mid ’80s, Gilmour surprised many by calmly assuming the leadership mantle, leading the band through another decade of chart-topping albums and stadium tours. Although Pink Floyd are not officially broken up (keyboardist and founding member Richard Wright died in 2008 while Gilmour and drummer Nick Mason joined forces with Ukrainian singer Andriy Khlyvnyuk on the one-off single “Hey Hey Rise Up” in 2022), Gilmour has mostly spent the last few decades concentrating on his solo career. His latest release, Luck and Strange, features his wife, novelist Polly Sampson, as primary lyricist and daughter Romany Gilmour as vocalist on several tracks. His recent tour filled arenas around the world.
Let’s take a page from Gilmour’s hallowed playbook and see how incorporating a few well-chosen target notes can give our playing more melody and structure.
For the sake of simplicity, all the examples use the Gm/Bb major pentatonic scale forms. In my experience as a teacher, I find that most students can get a pretty solid handle on the root-position, Form-I minor pentatonic scale but struggle to incorporate the other four shapes while playing lead. One suggestion I give them is to work on playing the scales from the top notes down and focus on the four highest strings only. I believe this is a more logical and useful approach to incorporating these forms into your vocabulary. Try playing through Ex. 1, Ex. 2, Ex. 3, and Ex. 4, which are based on the top-down approach of the Form I, Form II, Form IV, and Form I (up an octave) shapes respectively.
Ex. 1
Ex. 2
Ex. 3
Ex. 4
Once you’ve gotten a handle on the scales, try playing Ex. 5, which is loosely based on the extended introduction to Pink Floyd’s “Shine On You Crazy Diamond.” We begin by soloing over a static Gm chord for four measures. As target notes, I’ve chosen the root and 5th of the G minor chord ( the notes G and D, respectively). In the first measure, we’re starting in a minor pentatonic Form I with a bend up to the root of the Gm chord. A flurry of notes on beat 4 sets us up for the bend to the D in the second measure. The D note is again targeted in measure three—this time up an octave via a shift into the minor pentatonic Form II shape. Measure four aims for the G tonic up an octave, but ends with a bend that targets a C—the root of the IVm (Cm) chord in the final measure. By focusing on target notes and connecting them with embellishing licks, your lead lines will have a much better sense of direction and melodic narrative. Also, by only targeting the root and 5th of the chord, the target note approach will be easily transferrable to songs in a G blues context (G pentatonic minor over a G major or G dominant tonality).
Ex. 5
A further exploration of this approach, Ex. 6 begins with a two-beat pickup that resolves to the scale tonic G. This time however, the G isn’t serving as the root of the Im chord. Instead, it’s the 5th of Cm—the IVm chord. Employing the root of the pentatonic scale as the fifth of the IVm chord is a textbook Gilmour-ism and you can hear him use it to good effect on the extended intro to “Echoes” from Live in Gdansk. When approaching the C on beat 2 of the second full measure, bend up from the Bb on the 6th fret of the 1st string then slide up to the C on the 8th fret without releasing the bend or picking again. In the final measure, I’ve introduced two Db notes, which serve as the b5 “blue note” of the scale and provide melodically compelling passing tones on the way to the G target note on beat 4.
Ex. 6
Exclusively positioned in the Form-IV G minor pentatonic shape, Ex. 7 is based on a bluesy lick over the I chord in the first and third measures that alternately targets a resolution to the root of the IV chord (C ) and the root of the V chord (D7#9) in the second and fourth measures. Being able to resolve your lead phrases to the roots of the I, IV, and V chords on the fly is an essential skill ace improvisers like Gilmour have mastered.
Ex. 7
Now let’s turn our attention to the Bb major pentatonic scale, which is the relative major of G minor. Play through the Form I and Form II shapes detailed in Ex. 8 and Ex. 9 below. You’ll see I’ve added an Eb to the scale (technically making them hexatonic scales). This allows us a bit more melodic freedom and—most importantly—gives us the root note of the IV chord.
Ex. 8
Ex. 9
Channeling the melodic mojo of Gilmour’s lead jaunts on Pink Floyd’s “Mother” and “Comfortably Numb,” Ex. 10 targets chord tones from the I, IV, and V (Bb, Eb, and F) chords.
The muted-string rake in first measure helps “sting” the F note, which is the 5th of the Bb. Measure two targets a G note which is the 3rd of the Eb. This same chord/target note pairing is repeated in the third and fourth measures, although the G is now down an octave. For the F and Eb chords of measures five and six, I’ve mirrored a favorite Gilmour go-to: bending up to the 3rd of a chord then releasing and resolving to the root (an A resolving to an F for the F chord and a G resolving to an Eb for the Eb chord.) The final measure follows a melodic run down the Bb scale that ultimately resolves on the tonic. Be sure to pay attention to the intonation of all your bends, especially the half-step bend on the first beat of measure seven.
As a takeaway from this lesson, let’s strive to “Be Like Dave” and pay closer attention to target notes when soloing. Identify the roots of all the chords you’re playing over in your scales and aim for them as the beginning and/or ending notes of your phrases. Think of these target notes as support beams that will provide structure to your lead lines and ultimately make them more melodically compelling.