Customer Reviews

Live

5 star:		(13)
4 star:		(4)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

In 1974, after completing a summer tour with David Crosby, Graham Nash and Neil Young, Stephen Stills launched a solo tour which stopped in my home town of Detroit in March. I was fortunate to see a sterling, dynamic performance at the largest Masonic Temple in North America, an old and ornate venue, from a front row balcony seat. Stills was at his peak, and he put together what had to be one of the hardest rocking bands of his career, the sort of band Crazy Horse has always been for Neil Young.

This unnamed band, and the recording master, seem intent on highlighting the impressive lead guitar interplays between Stills and Donnie Dacus, who would play a major role on a later studio album by Stephen, 'Illegal Stills'. For the most part, Stills contributes a psychedelic wah-wah, at times in rhythm guitar mode, while Dacus rips off one sterling solo after another. Jerry Aiello's keyboards and Russ Kunkel's drums resound loud and clear as well through the high decibel mix. A bit muted are Kenny Passarelli's bass (I suppose something had to yield the right-of-way), and especially Joe Lala's percussion, better suited to the more tempered sounds of Manassas. Stills handles virtually all the vocals, although Dacus and Passarelli occasionally add some surprisingly harmonious harmonies.

The real magic of this live performance, recorded over two nights at Chicago's Auditorium Theatre, lies in the song selection. By this point in his career, Stills had an impressive catalog to select from, and his choices are an eclectic mix of his own best work, coupled with some impressive covers. Of the 11 songs featured, 4 were penned by other artists.

The album is divided between an electric and acoustic set. On the CD, the opening number is a scorching version of 'Wooden Ships', the Crosby-Stills composition from the first CSN album. The only drawback to this arrangement is that Stills handles all the vocals, blurring the dramatic verbal interplay between the two warring soldiers featured in the opening lyrics. Nonetheless, the hard-driving spin Stills puts on this take has always sounded to me like the 'right way' to play 'Wooden Ships'. Despite some brief audible feedback on the lyrics early on, this may be the best rendition of 'Wooden Ships' ever put on record.

Two Buffalo Springfield compositions are included, the timely (considering the year, 1974, was in the immediate aftermath of the Vietnam era) 'Four Days Gone', which paints a sympathetic portrait of a draft evader, with Stills sitting in on piano. This song represents the only respite in a burning electric set. A raucous rendition of 'Special Care' concludes the electric set in a highly frentic mood, and this is the only time Lala's vibrant percussion can be seriously appreciated.

Inserted between these Springalo Toones is the centerpiece of the electric set, a chest pounding medley of the Joe Walsh masterpiece, 'Rocky Mountain Way', and the blues-rock Manassas number, 'Jet Set'. Stills and the band segue seamlessly between the two numbers, which adapt to an amazingly complementary musical structure. The only drawback here is a muddy attempt by Stills to replicate Walsh's deft use of the voicebox on Barnstorm's studio version of 'Rocky Mountain Way'.

The acoustic side is just as artistically rendered and eclectic as the powered side. 'Change Partners', from Stills second solo album, is a beautiful opening selection. The set ends with a somewhat predictable choice from the same album, 'Word Game'. Sandwiched between are '4+20', a crowd favorite, again from the debut CSN LP, and 3 unusual covers. First up is another medley, mixing the classic, up-tempo blues of 'Crossroads' with Chuck Berry's barreling 'You Can't Catch Me'. This robust medley is followed by the completely unpredictable choice of Fred Neil's hit, 'Everybody's Talking At Me'. Unlike the electric set, where Stills all but takes a backseat to Dacus, the acoustic numbers feature some of the finest guitar work Stills has ever put on record, no small accomplishment.

Inspiration is dripping from these performances, and the recording is remarkably clean, especially the acoustic set. Indeed, it is hard to imagine a rock audience showing enough discipline today to actually allow an uninterrupted performance of acoustic music such as we have here.

So in a number of ways this brief slice of Live Stills serves as a timepiece reminding us of 'what was', both in our own lives, and in the career of a remarkable musician. And give the dearth of live material from his most productive years, this CD is a 'must-have' for fans of Stephen Stills.

I often worry about live albums. They are often contractual obligation fodder tossed into the marketplace by an artist who is ready to move to a new label. In fact, Stills was apparently set to move to Columbia from Atlantic. However, this album stands as one of the best live discs from its era. It features great singing and playing. And, it was also noteworthy for dividing the set into unplugged and electric portions. This is a wonderful live disc.

If you are not a fan of Stephen Stills individually,this recording will not convert you.If you are,however,this compilation of electric and solo acoustic performances
will bring you many hours of enjoyment.
The highlights of this disk are the full band,electric tracks
(Wooden Ships,Four Days Gone,and a sort of odd choice to
cover Joe Walsh's Rocky Mountain Way)
We forget that in addition to being a very talented singer/songwriter that Mr Stills can really wail on that guitar!
Here he uses the opportunity that he does not get on the
CSN&Y studio recordings to do extended electric guitar solos,and they are a delight.
His singing and his overall performance are in fine form here,and his backup band is his usual crop of the best
studio musicians available at the time.
As previously stated--an excellent showcase for an excellent
musician doing what he does best.

I waited in line for two hours to get second row seats in an old gym at the Univ. of Fla. in the late '70s(the student gov. geeks got the front row seats). Stills performed this album with minumal backup (I remember 2 others for the electric, a base & drums, and he was solo for the acustic). For the accustic he was surrounded by at least 10 different guitars. He looked a bit raged (and maybe hung over), but gave one of the best shows I've seen. This album is just right on for the concert experience. Flaws and all it is perfect. I waited years for this to come out on CD, and after not hearing it for years it is as sweet as I remember. The accustic side is the best Stills on record. Don't skip it.

this is a nice collection of Stills playing live, a no-frills CD-packaging of the popular 70's album. the first half (Side 1) is electric, the second (side 2) is accoustic. Give SS kudos for an interesting set list, this isn't just a re-hash of hits. Well worth having.

I have been an SS fan since my old man turned me on to him,(late 80's). You cannot touch the guitar work on Crossroads/You Can't Catch Me. This is SS at his non-electrical best. No wonder he and Hendrix were collaborators/friends. This album is worth the price for this song only. Buy it and if you don't think so, send me nasty e-mails.

P.S.

Word Game is really good too.

I just bought this album, my Dad used to have it on vinyl and recommended I get it since I enjoyed 'CSN' so much. This record is AMAZING. Stills is an immensely underated guitarest. Both acoustic and electric sides are fantastic. Indeed, I think some versions of songs are better than the originals including:
-Wooden Ships: this is such a powerful version, what a way to kick off the album
-Four Days Gone: this song really gets you into the mind of a draft dodger, much more than the Buffalo Springfield original. Stills sings with a real passion in his voice in this one and, needless to say, organ and guitar solos are great.
Rocky Mountain Way is as good as Joe Walsh's, the acoustic version of Change Partners is a nice change, Everybody's Talkin is great as well. Hell, this whole cd is great! If you like good rock & roll, or want to hear music when the lyrics meant something.

As the author of the Jefferson Airplane book "Take Me To A Circus Tent" and a former radio disc-jockey, I am often asked to write and or discuss various recordings from the 60's and 70's.

A great artist always seems to have one release if not more that has slipped through the cracks. Stephen Stills "Live" (March 8 and 9 of 1974) is missing from too many CSN and sometimes Y fans collections.

Maybe it is because the trademark Stills harmonies aren't the featured attribute of the recording. At the front of the line is the terrific guitar playing of Donnie Dacus (Chicago, Roger McGuinn, and Billy Joel) with the pure emotion of Still's stage energy and song content.

The album was split into an acoustic side and an electric. "Wooden Ships" is outstanding from the electric portion and representing the acoustic selections in fantastic fashion is "Everybody's Talkin At Me." Stills is superlative in the inclusion of the cover tunes "Rocky Mountain Way" (Put on the map by Joe Walsh, although he did not write it), "Crossroads" (From blues great Robert Johnson, made famous by the legendary Cream version), "You Can't Catch Me" (A Chuck Berry classic that John Lennon did a 5 star version on his "Rock & Roll" album), and "Everybody's Talkin At Me" (Although written by folk great Freddie Neil, the signature version is from Harry Nilsson).

Stills rendition of the Freddie Neil composition is one of the finest covers ever. The joy and heartfelt fondness for the song is evident in every word.

Yes, he did go back to the vaults and unlock Buffalo Springfield material for us!

In case this has been gathering dust in your vinyl collection, an upgrade to CD would do wonders. If you haven't experienced the pleasure of this effort, no time is better than now!

Enjoy the music and be well,
Craig Fenton
Author of the Jefferson Airplane book "Take Me To A Circus Tent"

anyone who thinks that clapton was the only great white man to play the blues has never heard stephen stills play "crossroads."

This is truly a treat. Gentle music, exceptional guitar playing and extraordinary lyrics are the prime ingredients for quality music. (Quality being in the mind of the beholder, but this is just such a treat). The guitar work on 4 + 20 remains nonpareil and the classic "Wooden Ships" is as powerful today as it was when it was first released. Each song on this collection is more proof positive of the purist approach so readily identifiable in Stephen Stills' work.

I honestly wish I could rate this one even more stars. Just listen to this and settle back for some great music.