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Graham Nash is one of the most durable musical figures to have emerged from the 1960s, both as a supporting musician and a star in his own right, and a key figure in both the British Invasion and the '70s singer/songwriter era that followed. As a harmony singer and sometime lead singer with the Hollies and Crosby, Stills, Nash & Young, his voice is among the most familiar in two distinct eras and schools of rock music. Graham Nash was born in Manchester, England, and his musical future was determined on the day in 1947 when he met Allan Clarke, the new boy in his class at school. They became friends and it turned out that one of the interests that they shared was music. They both sang in choir and in the mid-'50s began playing and singing together as a skiffle duo called the Two Teens. A little later on, they were known as the Levins and, still later, after their acquisition of Guytone guitars, as the Guytones. At one point, after rock & roll was established and it seemed like sibling acts such as the Everly Brothers were the coming thing, they billed themselves as Ricky and Dane Young (Allan was Ricky, and Graham was Dane).
It was while they were playing a gig as members of the Fourtones that Clarke and Nash were approached by a group called the Deltas and were invited to join them. With a few lineup changes over the next few months, the Deltas became the nucleus for the Hollies, the new group featuring Clarke on lead vocals, Nash on rhythm guitar and vocals, Eric Haydock on bass, Vic Steele (soon replaced by Tony Hicks) on lead guitar, and Don Rathbone on drums. It was soon after the Hollies got together that Nash abandoned the rhythm guitar (though he made a good show of "playing" one on-stage). The group's live sound didn't require the second guitar and Nash's lack of contribution there was more than made up for by his contributions as a singer (and, on-stage, his ability to tease girls in the audience) from the very beginning and, slightly later, as a songwriter.
Following the EMI audition in April of 1963, they released their debut single, a cover of the Coasters' "(Ain't That) Just like Me," backed with "Hey What's Wrong With Me," on the Parlophone label. Eventually, it rose to number 25, a modest but respectable first showing behind the group's driving beat and the unusually strong harmony singing, of which Nash's voice was a key component. The group followed this up with another Coasters cover, "Searchin'," with the B-side, "Whole World Over," a Clarke/Nash original. This record did decidedly better, eventually peaking at number 12. The group's next single, "Stay," a cover of the Maurice Williams & the Zodiacs American hit, rose to number eight in England.
The Hollies' fourth single, "Just One Look," made it to number two in England and brushed the American charts at number 98, their first tiny success in the United States. The group's fifth single, "We're Through," was their first original A-side, written by Clarke, Hicks, and Nash under their new collective pseudonym of "L. Ransford." During the summer of 1965, the Clarke/Hicks/Nash songwriting team had become strong enough to justify interest from Dick James, the most prominent publisher of rock & roll songs in England. They were signed to a contract by Dick James Music and given their own publishing imprint, Gralto Music (for GRaham, ALlan, and TOny). This era heralded a series of great original hits for the group, including "Stop Stop Stop," "Pay You Back With Interest," "On a Carousel," "Carrie Anne," "King Midas in Reverse," "Dear Eloise," and "Jennifer Eccles," as well as numerous album tracks of extraordinary beauty.
The years 1966 through 1968 saw Clarke, Hicks, and Nash become one of the strongest songwriting teams in English rock, capable of holding their own against the likes of John Lennon and Paul McCartney, and Mick Jagger and Keith Richards. Their album For Certain Because reflected this prolificacy and quality, made up of all original songs, including Nash's "Clown," a far more personal song than he'd ever contributed to the group before and one that was clearly marked as a "Nash" song in style, more than a "Hollies" number. Originals such as "Stop Stop Stop," which reached the number two spot in England and number seven in America, and "On a Carousel," which got to number four in England and number 11 in America, earned them the freedom to experiment with their songs, especially their album tracks. This coincided with the group availing themselves of the new forms of musical and extra-musical indulgences that London offered in the spring before the Summer of Love.
The group, with Nash as the most enthusiastic participant, all took part in that psychedelic season, and it began to show. The Hollies decided to try their hand at psychedelic music in June of 1967 with a new song, largely written by Nash, called "King Midas in Reverse." The Hollies' most elaborate recorded work to date, "Midas" was filled with all manner of sound effects and surprising timbres and a festive mood that made it one of the most cheerful pieces of psychedelia ever issued. Nash thought enough of it that he even performed it years later, on-stage, with Crosby, Stills, Nash & Young. The song failed to become a major hit, however, reaching only number 18 at home and number 51 in the U.S. Its failure pointed to a problem with the group's sound and image -- and the audience that they'd cultivated -- that would ultimately drive Nash from their ranks.
The Hollies had a pop/rock image and an audience that only desired Top 40 rock. The best and most ambitious work that Nash and the others were producing, especially on their albums, was going largely unheard. The Butterfly album, released in November of 1967, was a case in point, an array of myriad psychedelic, trippy, spacy sounds and songs. Nash's "Postcard" was proof that less is more, a driving love song with a bunch of memorable hooks, gently harmonized and featuring a stripped-down sound, little more than acoustic guitar, drums, and bass with a few sound effects; "Butterfly" itself was the most sublimely beautiful record that Nash ever recorded with the Hollies, a song of lost love and fading beauty, embellished with flutes, a string section, and horns that recalled the opening section of "Lucy in the Sky with Diamonds." Nash's enthusiasm for the changes taking place in the music scene was matched by his appreciation of the druggy diversions of the era. Where he was eager to experiment with whatever was the chemical of fashion at the time, the other Hollies preferred a pint at the local pub. "It was one big party," remembered Clarke. "Graham was much more into all of it."
Nash was also becoming closer, personally and musically, to a couple of California-based musicians, David Crosby and Stephen Stills, whose acquaintance he'd made while the Hollies were touring America. He'd met Crosby at a Mamas & Papas recording session, and first sang with them in either Cass Elliot's or Joni Mitchell's home (nobody can quite agree), and the grouping of their voices seemed a natural. By July of 1968, he'd played with Stills and Crosby in a jam at the latter's California home. The next month, the three of them were in England, where Nash prepared his exit from the Hollies. The Hollies had given him room for his own songs ever since "Fifi the Flea" back in 1965, and during 1968, they'd tried to record Nash's "Marrakesh Express" during sessions for a never-finished album. "Graham had reached a point," explained Clarke, "where he wanted separate credit for the songs that he wrote, instead of having everything credited to Clarke, Hicks, and Nash."
Finally, in November of 1968, it was announced that Graham Nash was leaving the Hollies. His final project with the band was an obligatory appearance at a benefit concert at the London Palladium in December of 1968. By the middle of that month, he was in New York cutting the original version of "You Don't Have to Cry" with Stills and Crosby. As early as the summer of 1968, maneuvering had begun to get Nash out of his contract -- through the Hollies -- with Epic/Columbia Records. A trade was worked out by agent David Geffen, wherein Nash was released from Columbia, while Richie Furay of Buffalo Springfield was released from his Atlantic contract with that group, and each was traded to the other's label so that Furay could become part of Poco.
Nash moved to California and began rehearsing and recording with Crosby and Stills. The resulting self-titled album, with Nash singing, Crosby singing and strumming, and Stills singing and (along with Dallas Taylor) playing most of the instruments, was recorded in the spring of 1969 and released that June. It never placed higher than number six on the American charts, but Crosby, Stills & Nash stayed on the charts for more than two years and sold more than two million copies. The second half of 1969 saw a rise to stardom for Nash, as for Stills and Crosby, and their eventual new partner, Neil Young. Each one of them, and the collective quartet, was suddenly part of a rock hierarchy occupied by the likes of Bob Dylan and individual members of the Beatles.
Although Nash barely played on the debut CSN album, apart from guitar on "Marrakesh Express" and "Lady of the Island," his voice was everywhere on that LP, his high nasal harmony singing adding distinctive twang to the group's vocal sound, and he occasionally sang a lead vocal part. "Marrakesh Express," which the Hollies had never finished, finally saw the light of day as a CSN single that got to number 28 in America and number 17 in England. These were relatively modest showings, especially compared with the success of the group's album, but "Marrakesh Express" got AM airplay at a time when this still mattered; for the younger, less serious portion of the listening public, that single became the song most identified with the group and it "sold" the album to casual listeners in huge numbers. "Marrakesh Express" was also performed by the group at their second (and most famous) gig, the Woodstock festival in August of 1969. To the Crosby, Stills, Nash & Young album Déjà Vu, which followed, Nash contributed "Teach Your Children," which is arguably the most fondly remembered song associated with the group.
Crosby, Stills, Nash & Young lasted long enough as a performing unit for one major national tour and a live follow-up album before the members went their separate ways. Nash emerged from the chaos of the quartet's demise as a star in his own right and found a major audience for his music. Despite the fact that he had seemingly used his best compositions with the trio and quartet, he emerged in July of 1971 with Songs for Beginners, a beautifully wrought solo album resplendent in personal lyrics ("I Used to Be a King"), topical political subject matter ("Chicago," "Military Madness"), and an easygoing folk-like sound, but all of it played with sufficient wattage to hold its own on AM radio. The album reached number 15 in America and number 13 in England, with the single release of "Chicago" rising to number 35. The real centerpiece of the album, however, was "I Used to Be a King," which showed Nash as a sensitive singer/songwriter, indulging in a little self-pity (a necessary component in the field) and offering some clever wordplay that even managed to recall the Hollies number "King Midas in Reverse."
In December of 1971, Nash embarked on a tour of Europe with David Crosby, which proved not only financially successful but a comfortable artistic experience for the two musicians and resulted in the recording of the Graham Nash/David Crosby LP for Atlantic Records, released in May of 1972. Graham Nash/David Crosby reached number four on the U.S. charts; it deserved the success, but it was also probably helped by the fact that the United States was in the midst of a bitter presidential election season, dominated by the issues of the Vietnam War and the presidency of Richard Nixon. Nash seemed to sum up the mood of the spring of 1972 with his single off the album, "Immigration Man," probably the most cheerful and catchy song about paranoia ever written and which reached number 36. Later that year, he also joined Neil Young for a one-off single together, "War Song," that reached number 61.
In 1974, Nash cut a second solo album, Wild Tales, which was a far more dour and downbeat record than Songs for Beginners, and got a mixed reception from critics and the public. Part of the reason for its downbeat mood, lost on most listeners, was the fact that the album had been done in the wake of the murder of Nash's girlfriend, Amy Gossage. After Wild Tales, Nash began devoting most of his musical attention to working with David Crosby and the two somehow managed to get out of their Atlantic Records contracts and signed as a duo with ABC Records. They released two very successful studio albums, Wind on the Water (1975) and Whistling Down the Wire (1976), plus a live LP and a greatest hits package over the next four years. In the midst of Crosby & Nash's various recording projects and tours, there were periodic reunions of CSNY in its various guises, Crosby, Stills, Nash & Young toured in 1974, and Crosby, Stills & Nash recorded an album in 1977, but nobody, in or out of the group, expected these to be long-term reunions. By the end of the 1970s, Nash's partnership with Crosby was also on hiatus, principally due to the latter's substance abuse problems; Crosby, by his own admission, had hardly been drug-free since his teens, but at the end of the 1970s, it was affecting his music. As a result, an album that was supposed to be a Crosby & Nash release ended up as Graham Nash's Earth & Sky, released in February of 1980.
Earth & Sky was a thematic continuation of the topical songs that Nash had done with Crosby throughout the mid-'70s. He soon found, however, that the 1980s were a different, much more cynical time. The album was received negatively in the press and sold far more poorly than either of his prior solo LPs or his work with Crosby, peaking at number 117. Nash was much more successful in his participation in various antinuclear events and benefits during this period, including a September 1979 concert featuring such luminaries as Bruce Springsteen, that was filmed and recorded and later released as No Nukes. The album featured Nash performing a stunning version of "Cathedral," a song that he'd debuted on the 1977 Crosby, Stills & Nash reunion album. In 1982, he also joined Stephen Stills and David Crosby for a CSN reunion album, Daylight Again, which yielded a modest hit single in the form of Nash's "Wasted on the Way."
Amid his musical activism and work with Stills and Crosby, Nash's career took a totally unexpected turn in 1983 when he got back together for a one-off British television appearance with his old bandmates the Hollies. This proved sufficiently comfortable for all concerned so that two year later, Nash and the Hollies reunited for an album, What Goes Around, and a concert tour of the United States. In 1986, Nash released a new solo album, Innocent Eyes, which proved a critical and commercial disaster, dominated by synthesizers and drum machines that simply didn't work on his songs. Since the mid-'80s, he has performed with Crosby and recorded and toured as part of Crosby, Stills & Nash and Crosby, Stills, Nash & Young. Graham Nash has long been regarded as one of the more genial musical personalities of the late '60s and one of the healthier survivors of the era, with none of the personal demons that have afflicted David Crosby. Indeed, Crosby has given Nash much credit for assistance in his successful battle against drug addiction. His best compositions, including "Teach Your Children" and "Marrakesh Express," are among the most evocative of the cheerful idealism of the 1960s, and are among the most popular songs of their era.
Wikipedia:For the quiz show champion, see Graham Nash (Countdown).
Graham William Nash, OBE (born 2 February 1942) is a British singer-songwriter known for his light tenor voice and for his songwriting contributions with the British pop group The Hollies, and with the folk-rock super group Crosby, Stills, Nash & Young. A dual citizen of the United Kingdom and United States, Nash became an American citizen on 14 August 1978.
Nash is a photography collector and a published photographer. He was inducted to the Rock and Roll Hall of Fame as a member of Crosby, Stills & Nash in 1997 and as a member of The Hollies in 2010.
Nash was appointed an Officer of the Order of the British Empire (OBE) in the 2010 Birthday Honours List for services to music and to charity.
Nash holds four honorary doctorates, including one in Music from the University of Salford in 2011. and his latest Doctorate in Fine Arts from Lesley University in Cambridge, Massachusetts."Joni Mitchell, Carly Simon And The Men They Chewed Up And Spat Out - Sabotage Times Sabotage Times". Sabotagetimes.com. 2012-01-02. Retrieved 2014-06-11. "The Rock and Roll Hall of Fame and Museum". Rockhall.com. Retrieved 20 October 2011. "Rock and Roll Hall of Fame: Inductees". Rockhall.com. Retrieved 20 October 2011. The London Gazette: . 12 June 2010. "University of Salford Manchester – "Son of Salford" Graham Nash receives honorary degree". Salford.ac.uk. Retrieved 17 April 2012. editor. "Graham Nash awarded honorary Doctorate in Fine Arts". Retrieved 22 May 2013.
Nash was born in Blackpool, Lancashire, England, in 1942, his mother having been evacuated there from the Nashes' hometown of Salford, Lancashire because of the Second World War. The family subsequently returned to Salford, where Graham grew up. In the early 1960s he co-founded The Hollies, one of the UK's most successful pop groups, with schoolfriend Allan Clarke. Credited on the first album as "Group Leader", he occasionally took a lead vocal. Nash was featured vocally on "Just One Look" in 1964, and sang his first lead vocal on the original Hollies song "To You My Love" on the band's second album In The Hollies Style (1964). He then progressed to often singing featured bridge vocals on Hollies recordings; "So Lonely", "I've Been Wrong", "Pay You Back With Interest". Also by 1966 Nash was providing a few solo lead vocals on Hollies albums & then from 1967 also on B-sides to singles, notably "On a Carousel" and "Carrie Anne".
Nash encouraged The Hollies to write their own songs, initially with Clarke, then with Clarke and guitarist Tony Hicks. From 1964 to mid-1966 they wrote under the alias L. Ransford. Their own names were credited on songs from "Stop Stop Stop" from October 1966 onwards.
In 1965 Nash with Allan Clarke & guitarist Tony Hicks formed Gralto Music Ltd, a publishing company who handled their own songs and later signed the young Reg Dwight (aka 'Elton John' – who played piano & organ on Hollies 1969 and 1970 recordings).
§Songwriting and activism
Nash was pivotal in the forging of a sound and lyrics, often writing the verses on Clarke, Hicks & Nash songs. However, Nash also composed songs by himself under the 'team banner' (like Lennon & McCartney), for example, 'Fifi The Flea' (1966), 'Clown' (1966), 'Stop Right There', 'Everything is Sunshine' (1967). The Butterfly album included several of his songs that had less group participation and exhibited more of a singer-songwriter approach. He was disappointed when this new style did not register with the their audience, especially "King Midas in Reverse" (Nash and producer Ron Richards clashed over this song because Richards believed it was 'too complex' to work as a hit single).
Nash initially met both David Crosby and Stephen Stills in 1966 among a group of American musician friends during a Hollies US tour. In 1968, after a further visit to the US, he was introduced by mutual friend Cass Elliott to David Crosby in Laurel Canyon, Los Angeles. Nash left The Hollies to form a new group with Crosby and Stephen Stills. A trio at first, Crosby, Stills & Nash later became a quartet with Neil Young: Crosby, Stills, Nash & Young (CSNY). With them, Nash went on to even greater worldwide success, penning many of CSN's most commercial hit singles such as 'Marrakesh Express' (1969 – written earlier and initially cut in unfinished form by The Hollies back in 1968), 'Just A Song Before I Go' (1977) and later 'Wasted on the Way' (1982). Both Nash's 'Our House' and 'Teach Your Children' (CSNY recordings from the album Deja Vu in 1970) have become well known items used in both TV commercials and films. Nash, nicknamed 'Willy' by his band mates in CSNY, has been described as the glue that keeps their often fragile alliances together. A mark of this is the loyalty and support Nash showed to his best friend, Crosby, during Crosby's well-documented period of drug addiction ending in the mid-1980s. Nash's solo career has often been shelved in favour of reunions on stage and in the studio with either Crosby and Stills or Crosby, Stills and Young. In addition, Nash briefly rejoined The Hollies in 1983 (to mark their 20th anniversary) to record two albums, What Goes Around and Reunion. His own solo work shows a love of melody and ballads. His solo recordings have experimented with jazz and electronic percussion but tend not to stray too far from a pop format with well-defined hook lines.
Nash became very politically active after moving to California to join with David Crosby and Stephen Stills, as reflected in Nash's songs 'Military Madness' and 'Chicago (We Can Change the World)'. His song 'Immigration Man', Crosby and Nash's biggest hit as a duo (see below), arose from a tiff he had with a US Customs official while trying to enter the country.
In 1972, Nash teamed with Crosby, the two continuing as a successful recording and performing duo until the more or less permanent reformation with Stills for the CSN album of 1977. The pair reunited for another Crosby & Nash studio album in 2004, and a legitimate release of music from a 1970s Crosby-Nash tour as on a widely circulated bootleg appeared in 1998.
In 1979, Nash co-founded Musicians United for Safe Energy.
In 1993 Nash again reunited with The Hollies to record a new version of 'Peggy Sue Got Married' that featured lead vocal by Buddy Holly (taken from an 'alternate' version of the song given to Nash by Holly's widow Maria Eleana Holly) – this 'Buddy Holly & The Hollies' recording opened the Not Fade Away tribute album to Holly by various artists.
In 2005, Nash collaborated with Norwegian musicians A-ha on the songs 'Over the Treetops' (penned by Paul Waaktaar-Savoy) and 'Cosy Prisons' (penned by Magne Furuholmen) for the Analogue recording. In 2006, Nash worked with David Gilmour and David Crosby on the title track of David Gilmour's third solo album, On an Island. In March 2006, the album was released and quickly reached No. 1 on the UK charts. Nash and Crosby subsequently toured the UK with Gilmour, singing backup on 'On an Island', 'The Blue', 'Shine on You Crazy Diamond', and 'Find the Cost of Freedom'.
Nash is part of the No Nukes group which is against the expansion of nuclear power. In 2007 the group recorded a music video of a new version of the Buffalo Springfield song 'For What It's Worth'.David Crosby and Nash playing Occupy Wall Street, November 2011
In addition to his political songs Nash has written many songs on other themes he cares about such as of nature and ecology – beginning with The Hollies' 'Signs That Will Never Change' (first recorded by The Everly Brothers in 1966) – later CSNY's 'Clear Blue Skies', plus anti-nuclear waste dumping ('Barrel of Pain'), anti-war ('Soldiers of Peace'), and social issues ('Prison Song').
Nash appeared on the season 7 finale of American Idol singing 'Teach Your Children' with Brooke White.
In 2010 Nash was inducted a second time to the Rock and Roll Hall of Fame, this time as a member of The Hollies. He received an OBE 'for services to music and charitable activities', becoming an Officer of the Order of the British Empire in the Diplomatic and Overseas Division of the Queen's Birthday Honours List on 12 June 2010. Nash received the title of George Eastman Honorary Scholar at the George Eastman House on 22 January 2011, in Rochester, New York.
Nash contributed a cover of 'Raining in My Heart' to the 2011 tribute album Rave on Buddy Holly.""For What It's Worth," No Nukes Reunite After Thirty Years". Nukefree.org. Retrieved 20 October 2011. "Musicians Act to Stop New Atomic Reactors". Nirs.org. Retrieved 20 October 2011. Cite error: The named reference Rockhall.com was invoked but never defined (see the help page). Cite error: The named reference http was invoked but never defined (see the help page).
Interested in photography as a child, Nash began to collect photographs in the early 1970s. Having acquired more than a thousand prints by 1976, Nash hired Graham Howe as his photography curator. In 1978 through 1984 a touring exhibition of selections from the Graham Nash Collection toured to more than a dozen museums world wide. Nash decided to sell his 2,000 print collection through Sotheby's auction house in 1990 where it set an auction record for the highest grossing sale of a single private collection of photography.
In 2010 21st Editions published a monograph titled "Love, Graham Nash" which includes facsimiles of his lyrics paired with signed photographs by Graham Nash and printed by Nash Editions.Beth Gates-Warren, editor, Photographs from the Collection of Graham Nash, Sotheby's, New York, 25 April 1990
§Early digital fine art printing
In the late 1980s Nash began to experiment with digital images of his photography on Macintosh computers with the assistance of R. Mac Holbert who at that time was the tour manager for Crosby, Stills, and Nash as well as handling computer/technical matters for the band. Nash ran into the problem common with all personal computers running graphics software during that period: he could create very sophisticated detailed images on the computer, but there was no output device (computer printer) capable of reproducing what he saw on the computer screen. Nash and Holbert initially experimented with early commercial printers that were then becoming available and printed many images on the large format Fujix inkjet printers at UCLA's JetGraphix digital output center. When Fuji decided to stop supporting the printers, John Bilotta, who was running JetGraphix, recommended that Nash and Holbert look into the Iris printer, a new large format continuous-tone inkjet printer built for prepress proofing by IRIS Graphics, Inc. Through IRIS Graphics national sales rep Steve Boulter, Nash also met programmer David Coons, a color engineer for Disney, who was already using the IRIS printer there to print images from Disney's new digital animation system.
Coons worked off hours at Disney to produce large images of 16 of Nash's photographic portraits on arches watercolor paper using Disney's in-house model 3024 IRIS printer for an 24 April 1990 show at Simon Lowinsky gallery. Since most of the original negatives and prints had been lost in shipment to a book publisher, Coons had to scan contact sheets and enhance the images so they could be printed in large format. He used software he had written to output the photographic images to the IRIS printer, a machine designed to work with proprietary prepress computer systems.
In July 1990 Graham Nash purchased an IRIS Graphics 3047 inkjet printer for $126,000 and set it up in a small carriage house in Manhattan Beach, California near Los Angeles. David Coons and Steve Boulter used it to print an even larger November 1990 show of Nash's work for Parco Stores in Tokyo. The show entitled Sunlight on Silver was a series of 35 celebrity portraits by Nash which were 3 feet by 4 feet in an edition of 50 prints per image, a total of 1,750 images. Subsequently, Nash exhibited his photographs at the Museum of Photographic Arts in San Diego and elsewhere.
In 1991 Graham Nash agreed to fund Mac Holbert to start a fine art digital based printing company using the IRIS Graphics 3047 printer sitting in Nash's Manhattan Beach, California carriage house. Holbert retired as road manager for Crosby, Stills, and Nash so that he could run the company. It opened its doors on 1 July 1991 with the name of Nash Editions Ltd. Early employees included David Coons, John Bilotta, and a serigraphic print maker named Jack Duganne. They worked to further adapt the IRIS printer to fine art printing, experimenting with ink sets to try to overcome the fast-fading nature of IRIS prints, and even going as far as sawing off part of the print heads so they could be moved back to clear thicker printing paper stocks (voiding the $126,000 machine's warranty). Nash and Holbert decided to call their fine art prints "digigraph" although Jack Duganne coined the name "Giclée" for these type of prints. The company is still in operation and currently uses Epson based large format printers.
In 2005, Nash donated the original IRIS Graphics 3047 printer and Nash Editions ephemera to the National Museum of American History, a Smithsonian Institution."Nash Editions: Fine Art Printing on the Digital Frontier, by Garrett White". Digitaljournalist.org. Retrieved 20 October 2011. "Digital Fine-Art Printing Comes of Age (Adapted from Chapter 1 of Harald Johnson's book, Mastering Digital Printing, Second Edition, Thomson Course Technology PTR, 2005, ISBN 1-59200-431-8.)". stansherer.com. Retrieved 20 October 2011. Harald Johnson, "Mastering Digital Printing", Thompson Course Technology, 2002, ISBN 1-929685-65-3 "Nash Editions: Fine Art Printing on the Digital Frontier, by Garrett White". digitaljournalist.org. Retrieved 20 October 2011. Masayoshi Yamada, Graham Nash Photographs: Sunlight on Silver, Parco Co. Ltd, Tokyo, 1990 Garrat White, Eye to Eye: Photographs by Graham Nash, Steidl, 2004 ISBN 3-88243-960-2 "The Center for Photographic Art, Interview, Mac Holbert, September 2004". photography.org. Retrieved 20 October 2011. '''Mastering Digital Printing''' By Harald Johnson, Page 11. Books.google.com. Retrieved 20 October 2011.
Nash married his second wife Susan Sennett in 1977. The couple has three children: Jackson; Will and Nile. The family lives in California, and has homes in Encino, Manhattan Beach, Sherman Oaks, and Van Nuys. They also have an apartment in New York, and a house on Kauai, Hawaii. (Encino house sold in 2010 )
Nash released an autobiographical memoir in September 2013 entitled Wild Tales: A Rock & Roll Life, published by Crown Publishing. Photographs that he took during his career are on display as an art collection at the San Francisco Art Exchange. In interviews pertaining to both the memoir and art exhibit he mentions the impact of Joni Mitchell, whom he lived with for two years after he left his first wife, Rosie. He also had a short-term relationship with Rita Coolidge."An Audience With… Graham Nash". Uncut.co.uk. Retrieved 2014-06-11. Lewis, Randy. "Articles about Graham Nash - Los Angeles Times". Articles.latimes.com. Retrieved 2014-06-11. Italie, Hillel (20 September 2013). "Graham Nash: Rock star's memoir recalls the early days of his career". Edmonton Journal and the Associated Press (Edmonton, Canada: Canda.com). Retrieved 21 September 2013. Aidin, Vaziri (20 September 2013). "Folk rocker Graham Nash strums 'charmed life' tune". San Francisco Chronicle online (SF Gate). (San Francisco: Hearst Newspapers). Retrieved 21 September 2013. James, Endrst (16 September 2013). "Graham Nash recalls big dreams and 'Wild Tales'". USA Today (Gannet). Retrieved 21 September 2013.