Customer Reviews

Man Alive

5 star:		(30)
4 star:		(17)
3 star:		(3)
2 star:		(1)
1 star:		(2)

 

 

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.

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.

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.

I must admit that I haven't been this excited about a new CD being released for many years, and Stephen Stills' emergence from a 14 year CSN/Y exile doesn't disappoint. I suppose Stephen's diminished, but not obliterated, capacity as a lead singer precludes a solo tour to promote this disc, but there is certainly enough new material here, and literally scores of compositions from his past releases, to justify one.

'Man Alive' isn't a perfect disc by any means, but it possesses a heapin' helpin' of downhome ethnic hospitality, an eleven minute 'Suite' that stands toe-to-toe and eye-to-eye with Stephen's more famous 'Suite' (for Judy Blue Eyes), and plenty of blues and pop fare to suitably round-out the nearly one-hour running time.

The more I listen to the CD, the more impressed I am by five or six stand-out tracks. The set opens with the sort of vibrant pop that Stephen has often chosen to open his solo discs with (consider that 'Love the One You're With', 'Change Partners', 'Turn Back the Pages', and 'Buyin' Time' opened his first four solo efforts from the 1970's, and 'Isn't It So' grabbed the pole position on 1991's 'Stills Alone'), the rip snortin' 'Ain't It Always'. Lots of sharp guitar chops and catchy lyrics on that one. Two tracks later we're treated to Stephen's homage to his friendship and creative relationship with Neil Young on 'Round the Bend'. Fittingly, it is a raw and bruising rock and roll romp, with Neil and Stephen finally trading lead guitar runs like everyone had hoped they would when the Stills-Young Band recorded and toured together in 1976. Several other tracks, most notably the blues standard 'Ole Man Trouble', which Stephen has been honing to perfection on the road, the quirky Cajun sounds of 'Acadeinne', featuring Mike Finnigan on, of all things, an accordion, and a smooth romantic pop excursion in 'Around Us', featuring a breathy trio of female back-up vocalists, glisten as well. If you're into the 'Stills Alone' blues sound, 'Heart's Gate', 'Different Man' (an acoustic duet, again with Neil), and 'Piece Of Me' will satisfy, while 'Wounded World' (one of three songs featuring Graham Nash on backing vocals) and a revisited 'Drivin' Thunder' (first offered on 1990's CSNY reunion disc 'American Dream') offer more gritty, full-throttle rock. 'Feed the People' has a Jimmy Buffett sound, chanting the virtues of peace and concern for the masses captive to poverty.

But the piece de resistance of 'Man Alive' is the unanticipated release of a buried Stills gem, 'Spanish Suite'. What a crying shame that the state of popular music today means that many, many people will never experience this classic Stills track, recorded in the late 1970's and topped with a tantalizing coda from jazz legend Herbie Hancock. When 'Suite: Judy Blue Eyes' was released in 1968 it became a staple of underground FM radio, and an edited version climbed the charts on AM Top-40 stations. I suppose this track may only get its due if an artistically aware 'American Idol' contestant is wise enough to attempt a cover of it. 'Spanish Suite', like 'Suite: Judy Blue Eyes', is divided into three (or four) discernable segments. While Stephen does not subtitle these divisions, they begin with a verse sung in Spanish, which is then repeated in English, opening with a haunting summary of the gist of the track, "There comes a time, when love becomes a trial, and some they will survive, and some they will fail...". This segment is followed by the compelling, more energized and grippingly emotional "I gave up on you" middle section. This segment is a monument to Still's skills as a lyricist, every bit a match for 'Suite: Judy...', or anything else Stephen has penned. It is nothing short of incredible, jarring the heart and mind with its evocative retelling of love lost. The coda is brilliant as well, with Stephen and Herbie Hancock trading instrumental variations on the theme. It was a stroke of genius for Stephen to draw Hancock into the mix, as his jazz instincts produce an improvisation that adds one more layer onto a work that, at that point, had already achieved the stature of masterpiece. 'Spanish Suite' is one of the great works of art any rock artist has penned or performed. Why Stephen kept this beauty under wraps for so long is a compelling question, and I'm sure one Stephen will be addressing in the months to come.

'Spanish Suite' renders 'Man Alive' an essential purchase for any Still's collector, and that one song is a must-hear for anyone interested in the last 45 years of rock history. There is plenty else to appreciate and enjoy on the disc, making it Still's finest effort since 1975's 'Stills', in my opinion. The liner notes are sparse, offering a few photographs and credits to the musicians, but sadly omitting the lyrics to this fine collection, perhaps the only oversight by Stills in managing production of the disc along with Joe Vitale. This will do nicely for now, Stephen, but since I may not have another 14 years left, could you step up production on the next one?

R&R Hall of Fame inductee Stephen Stills delivers a solid set of songs, from salty rock 'n roll to heartfelt blues ballads to his best vocals in years in covering "Ole Man Trouble' and a stirring 11 minute suite with an outstanding acoustic guitar performance. There's a bit of everything here, perhaps explaining why when transferring the CD to my i-Tunes it labeled the album's genre as "classical." But, be warned - if you're looking for that sometimes tepid, soft-rock with high harmonies of the CSN variety, go elsewhere. This is Stills being Stills. My 10-year old son, a hip-hop fan, said that "Drivin' Thunder" is 'really tight.' A CD that can gel with father and son is pretty rare these days. Stills scores on this one.

I couldn't wait for an early summer release so just bought this CD from Amazon.com in England. Five days from an on line order to my CD player for $21.68 out the door. For the Still's "purest" or not this is a GREAT CD with lots of contributors who's names we recognize from prior albums. As you listen to the songs on this CD it's like taking a musical journey back visiting the different styles of music Stephen has incorporated. My only complaint is too often Stephen's vocals get smothered by the music, but I'm working with 56 year old ears, so I wish they'd have included a lyric sheet as he's often done. I could do with less Finnigan too. However I find I'm replaying songs over and over again especially AROUND US and the songs that follow. SPANISH SUITE is quite a finish but since it's over eleven minutes it'll never get radio play but then as you can tell I'm really dating myself. Would I recommend this CD ...... without hesitation. I just wish tickets had been tucked in for his next concert.

This collection has a certain raw honesty about it that's touching in a way that so many over produced new releases can never hope to be. Stills isn't a young man any more, and his voice sounds well worn too, like a favorite pair of jeans. But such a voice gives the songs (a nice blend of everything from cajun to blues to rock) a welcome reality. "Spanish Suite" of course, provides the contrasting reminiscence of how it used to be. An all together beautiful and fine piece of work.

This is the best effort by Stephen Stills since "Manassas". There is a great blend of acoustic based folk (Hearts Gate), Blues (Wounded World), Cajun (Acadienne), Caribbean (Feed the People), and nice rockers such 'Round the Bend' with old pal Neil Young lending a hand on guitar. It's also good to hear CSN
stalwart Graham Nash lending some song writing assistance and background harmony.

Stills was sounding sort of contrived and desultory on the previous CSNY outings ("American Dream" and "Looking Forward"), but he's now got a second wind from somewhere. The quality of the songs on this cd are right up there with "Suite Judy Blue Eyes", "Carry On", "It Doesn't Matter", "So Begins the Task", etc. Overall this is a quality cd of good song writing and execution by a lengendary singer/song writer and guitarist.

After listening to the CD several times and adjusting playlists, I think Stills has produced a very good effort here. I've been a Stills fan since I was a kid. There's a certain soul to his songs I haven't found elsewhere. Very intense, very personal, well structured musically. Makes me think he could have been a great punk musician in a different life.

Many of the songs on Man Alive! continue to create this emotion. From the initial beats of Ain't It Always, the music hooked me again. Yes, the vocals have faded quite a bit. But in this CD Stills gives us his best solo CD since Manassas.

Rocking beats that get you up and moving. Nice pop songs you sing along to. Woodstock nation. A tender ballad. Bues blues blues. Front-porch crooning from two old fogies. A nice taste of Cajun country. And a Latin effort that pushes the musical envelope.

What other artist creates music like that, and does it with the soul that is Stills? Not all of it works -- thank goodness for digital playlists -- but enough of it does that listening to this music puts a smile on your face. And these days, that's saying a lot.

My playlist: Ain't It Always, Feed the People, Hearts Gate, Round the Bend, Around Us, Ole Man Trouble, Different Man, Drivin' Thunder, Acadienne, Spanish Suite.

This is Stephen's first cd in 13 years and it is far superior to alot of his older cds (illegal Stills) and far superior to any CSN&Y or CSN effort since the late eighties. This is almost matches his first cd in songwriting and playing. A bit folk,blues, cajun country,cuban jazz/blues. The real highlight is Spanish Suite almost 11 1/2 minutes long, other greats are Ole man Trouble, Hearts Gate, Round the Bend. Hell it's all great I just wish he would return to more active writing so we would'nt have to wait so long. His voice is still in fine form and his guitar playing is always excellent. I caught Stephen live about 10 years ago with my wife and she love seeing and hearing him better than the Stones. I won't say he is better but besides Springsteen,Stones and U2 he is one of the best to catch live. For guitarist and want to be guitarist try pick on Stills and see how difficult it is. He ranks up there with Jeff Beck , Al de Meola,SRV. Forget Clapton .