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41 of 44 people found the following review helpful:
4.0 out of 5 stars
back with a vengence, August 14, 2005
Stephen Stills aficionados will certainly have to give 'Man Alive' some time to settle in, but as with most of the previous reviews offered (this apparently being one of the first Amazon.com reviews on the US release, the remainder tendered for the earlier UK release), the early returns lay kudos all over this one, and I pretty much intend to do the same. While this review may one day demand a rewrite, let's give it a once over.
It's been fourteen long years since Stephen gave us a solo release, and 1991's 'Stills Alone' was certainly restrained in production and investment relative to 'Man Alive'. 'Man Alive' sounds lovingly, painstakingly nurtured. You really have to go back to 1984's 'Right By You' and Stephen's 1970's solo discs to find a comparable work. Nevertheless, 'Man Alive' does offer songs that are reminiscient of 'Stills Alone' ('Hearts Gate', in particular, sounds like it could be an outtake from those sessions, as does 'Piece of Me'), 'Right By You' (the steady rocker 'Wounded World' being a kissing cousin of 'No Problem'), and Booker T's 'Ole Man Trouble', a staple on recent tours, sounding like a knock off of 'Myth of Sisyphus' from 1975's 'Stills' early on.
Then there are those numbers that sound better than you hoped they would ('Spanish Suite'), or just like you always imagined they could ('Round the Bend'). A live performance of 'Spanish Suite' from the Greek Theatre in Berkeley has circulated as a bootleg since 1978 (must be where I heard it), but this stunning studio version featuring Herbie Hancock's virtuoso jazz piano adds a perfect complement to a truly classic Stills acoustic track. 'Round the Bend', on the other hand, finally captures Stephen and Neil Young jamming together on a studio track on a level comparable to their exchanges on 'Carry On' and 'Southern Man' from the 'Four Way Street' discs.
Then there are the moments that are new, even for a veteran like Stephen. 'Around Us' makes use of a trio of female backing vocalists that lend a sound to the track that Stills hasn't approached since his first solo disc in 1970 applied the wall of sound concept to 'Love the One You're With' and 'Sit Yourself Down'. Stills' is in smoother voice on this disc than he has been in years, but his gruff delivery stands in stern contrast to these breathy, feminine background voices. It's a great new sound for Stephen. Aside from 'Round the Bend', Neil Young is most prominent on a duet with Stephen titled 'Different Man', sounding a bit like the Soggy Bottom Boys belting out 'Man of Constant Sorrow'. 'Acadienne' draws on Creole influences, and while 'Beaucoup Yumbo' from 1978's 'Thoroughfare Gap' may have been Stills' first Cajun diversion, I'm venturing a guess that the lively 'Acadienne' is the first Stills tune to feature an accordion! 'Feed the People' advances the gospel of peace and Third World concern through an engaging style of chant.
Another exceptional tune from the disc is the opener 'Ain't It Always', which is broken from the same mold as the opener from 'Stills Alone', 'Isn't It So', being every bit as engaging, and twice as vibrant. 'Isn't It So' was catchy enough to be adopted as the theme song for the 'Second Noah' television series, and 'Ain't It Always' possesses similar pop sensibilities. 'I Don't Get It' rounds out the twelve tracks and 58 minute running time of the disc, a standard Stills blues shuffle with a gritty edge, focused on relational confusion and miscommunication.
The personnel is all over the board for this set. Stephen draws from his past studio and road bands for bassist George 'Chocolate' Perry, journeyman guitarist George Terry, Joe Vitale and Russ Kunkel on percussion, and Mike Finnigan on keyboards and vocals. Gerald Johnson, whose bass work I've been enjoying on Steve Miller's 1970's releases, is featured on four tracks. In addition to Neil Young and Herbie Hancock, Graham Nash contributes vocals on 3 tracks. Stephen "Many Hands" is busy on everything from keys to piano to bass to lead guitar to backing vocals for his own lead vocals in a spirit going back to his first album with Crosby and Nash.
Overall, 'Man Alive' has a blues-lite feel to it, but it's far too diverse to be pigeonholed. This disc has considerable potential to grow on a person, and may outdo some of Stephen's late-1970's releases such as 'Illegal Stills' and 'Thoroughfare Gap'. The only suggestions I would have had for Stephen in looking at the final product would be including the lyrics in the liner notes, and finding some outlets for his long-neglected wah-pedal guitar skills. Nevertheless, this CD is a must for Stephen's fans. It will be interesting to see if it generates significant interest from critics and those outside of Stills' base. It's deserving.
Hopefully, with 'Man Alive' completed, Stephen might find time to revisit his archives as Neil Young did in creating a box set for Buffalo Springfield. There is a compelling audio and video recording of the first Manassas concert that many, including the band's steel guitarist Al Perkins, would like to see released, as well as video and audio tracks of Stephen's legendary 1979 performances in Cuba. There is a thirst for such nuggets that Stills will hopefully be addressing soon. In the meantime, thanks for this one, Stephen.
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13 of 14 people found the following review helpful:
5.0 out of 5 stars
Long Time Comin', July 20, 2005
But well worth the Wait! Stephen Stills has hit the mark with this new offering. The CD opens up with a new tune that carries shades of his first LP. Throughout the Disc Stills has compiled a collection of songs that run the table with tastes of Manassas, Stills early solo works and CSN influences. Stephen hasn't forgotten his blues roots either with songs like "old Man Trouble" and the excellent "piece of me". My favorite has to be the hard rockin "Round the Bend" with Neil Young and Stephen Stills going back and forth on the electric guitars. The last song is pulled from the archives.Spanish Suite is a 11 minute coda from the 70's that should have made it on the CSN box set. It's been 14 years since Stephen Stills last Solo CD. Let's hope we don't have to wait that long for his next offering.
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33 of 41 people found the following review helpful:
4.0 out of 5 stars
One of Stills' best, August 11, 2005
I've heard it said that this was the CD Stills has been trying to make since Buffalo Springfield fell apart. And that's about right. Were it not for the ravages of an excessive life that have shredded his vocal chords, this might be absolutely Stills' best. No matter, the songs here showcase all of Stills' protean talents: consummate and tasty guitar player, stylistice songwriter and brilliant instrumentalist. The songs are well produced and show the sides of Stills that are his best: rock 'n roller, acoustic bluesman, r & b enthusiast and spanish guitarist. As I mentioned his voice has not held up that well, but it sounds better on this disc certainly than STILLS ALONE.
His songwriting hasn't been this good in more than a decade. Joe Vitale assisted on the production chores, so there is a clarity to Stills' playing, even electric rock, and a balance among the instruments and voices that has not been present since the Columbia album, STILLS.
The songs, but for one, are terrific. "Driving Thunder", a Stills-Young collaboration about a car race is stupid. Songs about cars are stupid period. Songs about cars that take left turns for 2 hours are moronic. John Hiatt's only dud is the homage to Dale Earnhardt. Songs about race car drivers bugger the entire theory of evolution. Sure, if there is a wortthy metaphor lurking, perhaps there is some redeeming value, but no one will remember George Harrison for "Faster."
That said, from "Isn't It Always" through the incredible "Spanish Suite", Stills brings his A material to the table and delivers the goods. He renders a moving take on Booker T's "Ole Man Trouble," a wonderful paeon to his friendship with Neil Young in "Round the Bend", a fine collaboration with Nash on "Wounded World." Real standouts are the world music chant "Feed the People," featuring a superlative baritone harmony from George Perry, and the acoustic blues workout, "Different Man," with Stills and Ol Shakey turning in as nuanced a performance as either of them has ever delivered on the blues. You'd almost never guess they were white. The best is saved for last. "Spanish Suite" is not only the best song Stills has ever written, it's very likely the best song any of the four of them have ever written. Even if the rest of the album were like THOROUGHFARE GAP or RIGHT BY YOU, this tune would rescue the whole effort. It is powerful stuff about the loss of belief in someone you used to love, and Stills hits all the points bulls eye. His spanish guitar playing is a revelation, and however he did it, his voice sounds as good as it did on the very first solo album. This song is an absolute triumph.
This is a great record by Stills. I would never have guesssed he still had it in him, so let's hope there is some fire left to fuel a great CSN CD next time out.
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