Stephen Stills -1975 Stills

1975 Stills

As Crosby wandered about as El Dopo, Nash took photos of himself, and Young set about betraying all ala Jean Genet, Stills got himself together, must have swallowed some pride and produced a CD that was, is and remains a sobering account of one's life. More rocking than Dylan's "Blood On The Tracks," this effort laid it out as finely as anything he would ever do what it meant to live one's life with careful reflection.
All the songs here are extraordinary, and his tendency towards excess seeps out only with "Love Story", and that suits the song just fine.
Ringo is along for the ride here, Donnie Dacus proves to be an excellent foil for Stills, and nods to Neil in the form of the best version ever of "New Mama" round out an album that begins on a great song "Turn Back the Pages" moves through the brilliant "Favourite Changes" and fulfills everything Stills was capable of.
CSN was in free fall. Stills seemed to have nowhere to go with the dissolution of Stills-Young, and faced with this precipice, summoned forth all of his strengths. His guitar playing, particularly his otherwise annoying wah-wah, was at its very best. His voice was terrific, and perhaps this is really his highwater mark as a solo artist. 



Stephen Stills- Illegal Stills

Illegal Stills

This is the finest album Donnie Dacus ever made. Unfortunately it's suppose to be a Stephen Stills album, and as such it is only mediocre. So the value of the album lies somewhere between
those two standards.

 

Dacus' contributions to the work are extensive, and in some respects exemplary. He collaborates with Stills in composing four songs, and writes another with Stills' wife, Veronique Sanson. It's to his credit that three of these numbers, `Midnight In Paris', `Closer To You', and `Soldier', are some of the better compositions on the disc. Dacus, formerly of the band Spirit, also contrbutes lead and background vocals and fine guitar work.

He is a worthy protege and second guitar foil for Stills. But one wonders why such a talented and accomplished artist such as Stills even needed a protege. Part of the answer lies in Stephen's
declining output as a composer. In his biography `Shakey", Neil Young notes that he resisted overtures from Stills, David Crosby and Graham Nash during their 1974 tour to release a second
CSNY disc simply because the others were not generating any new material. He states that he "couldn't believe they were finished". While none of them were "finished", in retrospect it
is clear that Neil recognized their diminishing output, especially in comparison to his own.  In addition, it seems Stephen lost his grip on the folk, country, and blues based rock, as well as the wah-pedal trademark guitar sound that he had parlayed into so much success. "Illegal" is dominated by the power-pop sound more suited to Dacus, who would go on to play in power-pop groups such as Chicago and Badfinger in the late 1970's and early 1980's, while Stephen joined forces again with Crosby and Nash for 2 successful albums and a couple even less successful than `Illegal' attempts to resurrect his solo career. `Illegal' only features one classic Stills tune, `Buyin' Time', an indictment of the failed economic policies of Richard Nixon and Gerald Ford. Stills began performing the song
in mid-1975 as an acoustic number, but this studio version really rocks the Casbah. His cover of Young's `The Loner' is also a hot tune, but was bound to pale in comparison to Young's pristine version. The closer, `Circlin', was first performed on the brief Stills-Young Band tour in the summer
of 1976, and is an upbeat, interesting number. `Soldier' is a gutsy protest song in the aftermath of Vietnam. Stills offers his requisite Latin-hued number in `No Me Neigas', but it is only a shadow of other Latino songs from Stills such as `Cuban Bluegrass'. `Stateline Blues' seems to lack the grit, and as Stills himself said in `Bluesman', "the blues is pain, the way men cry, like tired rain...", to be
considered a `true' blues song. It is a fun song about gambling, though Stills did a better take on the same topic with 1970's `Black Queen'. `Ring Of Love' is filler, a song Stills himself describes in the liner notes as one "Donnie pulled...out of his past". Shouldn't be part  of a Stills CD.

There are interesting comments included from Stills on the makings and origins of each song, as well as lyrics. While `Illegal' is certainly a departure from the formula that made Stills one of the premier artists in rock from 1966 to 1976, it contains enough quality material to be considered essential to Stills fans. For the more casual listener, there are many Stephen Stills releases that would be a more desirable purchase, especially the first Manassas CD, his first solo album, and his early collaborations with Crosby, Nash and Young. 

Stephen Stills

Stephen Stills

Stephen Arthur Stills (born January 3, 1945) is an American guitarist and singer/songwriter best known for his work with Buffalo Springfield and Crosby, Stills & Nash (and Young). He has performed on a professional level in several other bands as well as maintaining a solo career at the same time. Stills was ranked #28 in Rolling Stone Magazine's 2003 list of "The 100 Greatest Guitarists of All Time". Stills became the first person to be inducted twice on the same night into the Rock and Roll Hall of Fame for his work with CSN and Buffalo Springfield.

uring the disintegration of Buffalo Springfield, Stills played on the Super Session album with Al Kooper, and joined up with David Crosby, who had recently been ejected from The Byrds in the autumn of 1967. At a party in the Laurel Canyon neighborhood, according to various sources either at the home of Cass Elliott or Joni Mitchell, Graham Nash joined in a rendition by Crosby and Stills of the latter's "You Don't Have to Cry," this leading to the formation of Crosby, Stills & Nash. Several of Stills' songs, including "Suite: Judy Blue Eyes" and "You Don't Have To Cry" on the debut album were inspired by his on-again-off-again relationship with singer Judy Collins. In a 1971 interview in Rolling Stone the interviewer noted "so many of your songs seem to be about Judy Collins." Stills replied, "Well, there are three things men can do with women: love them, suffer for them, or turn them into literature. I've had my share of success and failure at all three.

During a Manassas tour in France, Stills met and married his first wife singer-songwriter Véronique Sanson. Stills has since divorced and remarried twice; his third wife is Kristen Hathoway.

Stills' son, Justin Stills, was critically injured at age 26 snowboarding on Mt Charleston just outside Las Vegas in 1997. An episode of Discovery Health's documentary series Trauma: Life in the ER featured his treatment and recovery. Another son, Henry, has been diagnosed with Asperger syndrome, and is profiled in the 2007 documentary Autism: The Musical. His son Chris and daughter Jennifer are both recording artists. His youngest son, Oliver Ragland, was born in 2004 and named in honor of Neil Young, whose maternal family name is Ragland.

Like all four members of CSNY, Stills has long been involved in liberal causes and politics. In 2000, Stills served as a member of the Democratic credentials committee from Florida during the Democratic National Convention, and was an actual delegate in previous years.
Stills performing with his band at the Wilbur Theater in Boston, Massachusetts on October 23, 2011.

The comic book series Scott Pilgrim features a character by the name of Stephen Stills, referred to as "The Talent" by the band he shares with the titular character. The character also plays an acoustic guitar and sings, and is often portrayed wearing the kind of western shirts that Stills has as standard wardrobe. The series also has a reference to Stills' collaborator Neil Young in the character of Young Neil.

Buffalo Springfield

Buffalo Springfield

Buffalo Springfield is a North American folk rock band renowned both for its music and as a springboard for the careers of Neil Young, Stephen Stills, Richie Furay and Jim Messina. Among the first wave of North American bands to become popular in the wake of the British invasion, the group combined rock, folk, and country music into a sound all its own. Its million-selling song "For What It's Worth" became a political anthem for the turbulent late 1960s.

Formed in April 1966, Buffalo Springfield was plagued by infighting, drug-related arrests, and line-up changes that led to the group's disbanding after just two years. Three albums were released under its name, but many demos, studio outtakes and live recordings remained and were issued in the decades that followed.

Despite the band's short tenure and limited output it was one of the most influential of its era, earning Rock and Roll Hall of Fame recognition and spawning fellow Hall honorees Crosby, Stills, Nash & Young and Poco, as well as popular acts Loggins and Messina and Crazy Horse.

Despite their popularity, Buffalo Springfield was never a major commercial success. "For What It’s Worth" was a significant hit and the group's legend grew stronger after the breakup, increasing with the later successes of its members.

Stills went on to form Crosby, Stills & Nash with David Crosby of The Byrds and Graham Nash of The Hollies in 1968. Young launched a solo career, but in 1969 also reunited with Stills in Crosby, Stills, Nash & Young, which saw the beginning of his sporadic relationship with that trio. Furay and Messina were founding members of Poco. Furay joined J.D. Souther and Chris Hillman to form the Souther-Hillman-Furay Band, and Messina teamed with Kenny Loggins in Loggins & Messina.

Stephen Stills-Man Alive

Man Alive

Stephen Stills aficionados will certainly have to give 'Man Alive' some time to settle in, ,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.

Stephen Stills-Thoroughfare Gap

Thoroughfare Gap

Thoroughfare Gap," probably Stills' least essential album, but which sounds better now than it did in 1978. (Compared to most current music, just about anything from 30 years ago sounds better.) At any rate, "Stills" (1975) and "Illegal Stills" (1976)can stand with the man's more well-known efforts, both arguably superior to either "Stephen Stills 2" or "Down the Road." As for the shortcomings mentioned in another review, the first 10 seconds of "First Things First" are also missing on the CD issued by Columbia, so BGO can't be blamed for that. Regarding sound quality, compare the Columbia CD of "Illegal Stills" with the new version and it's obvious the audio has been upgraded. Maybe not dramatically, but it's nice to have the "bottom" restored without having to boost the bass control on one's receiver. The liner notes are interesting, though flawed ("Love the One You're With" and "Sit Yourself Down" are NOT on "Stephen Stills 2.") All in all, an essential release for any fan of Stephen Stills. The Title song is a favortite of mine, reminds me of summer.

Stephen Stills-Turning back the pages

Turning Back the pages

As a long time fan , I will say this for this package ...it is a good grouping . However , this was his era of injesting of substances to an extreme and his productivity and his creative muse were not up to par with the earlier material he came up with . The second Manassas disc is the beginning of his downfall .... you MUST be a fan to appreciate this disc . This is NOT the best of Stephen ...it's good ... not best .When playing 'Live', his fire was on and the record label saying/asking - "do this , it's trendy" button was turned off ...me I wish that the Live in Amsterdam Manassas show would be released , or a set of the 1974 CSN&Y live (I can go on with other ideas for material )this is just filler until Neil can say okay to releasing older stuff , and/or Stephen can put out a crackerjack blues disc of new material .
There are also lots of songs that are in demo or unfinished form from the 1970 to 1980 decade ...what about that ???
This is CBS trying to sell plastic , it is of little cost to make this .
I'll buy this ,(and my husband will thank me for it ) only because it contains the better (and that is being kind) material from 'Thoroughfare Gap'. It will round out the Stills collection for me .
Try Stills 1 (aka Love the One You're With ) , and the double Manassas for the real 'solo' Stephen Stills .

Stephen Stills - Stills 2

Stills 2

Stephen Stills 2 is shocking to me for a couple reasons. One, it's not really a folk-rock album like it's often tagged as, and two, it's *drastically* different from the debut. On Stephen Stills' first album, it was all about the gospel and blues arrangements. Here? It's more about implementing a variety of things.

"Change Partners" has a country vibe thanks to the guitar work, but truth be told it's more like a lively and upbeat pop song, and a darn good one at that. Extremely catchy verse and chorus. It's a winner. A CLEAR winner. "Nothin' to Do But Today" is very different, so begins the diversity I was telling you about. I love this song just as much as the opener, but it's mainly the funky rhythm and catchy vocals that carry the entire song. It doesn't NEED anything else either. Now the next song titled "Fishes & Scorpions" includes the kind of vocal melody that I always wanted Stephen Stills to implement because this kind of enchantingly beautiful vocal style just feels so natural for his voice. The guitar solo is borderline space rock, which is surprising. Strange song, but a highlight. Seriously, these first three songs are *awesome*.

"Sugar Babe" has a super positive message in the lush and cheesy lyrics, and that's only a minor distraction (even though I COULD complain about the chorus sounding lazily written, but... it's memorable so I'll leave it alone). The lyrics about the turtles though... UGH! Too much cheese, haha! "Know You Got to Run" has a banjo in the intro, *again* featuring more diverse songwriting arrangements, and the atmosphere contains a subtle western vibe (western as in, cowboys and ghost towns!) Everything about the song is pretty basic, but it's not bad. Bad would be what happened on Manassas.

"Open Street" is the most diversely written song here. I feel confident about this. A bouncy verse melody with a gospel-like atmosphere. Yes the gospel influence from Stills' first album is back again! The handclaps are a nice addition, but... I'm just getting started explaining what makes this song much different from the other ones! The brass section is sort of unnecessary, but it's short at least, however the most surprising part is the piano jam. It's awkward because it sounds off in a few spots, and yet, it's melodic so I don't care. I truly can't say whether it's an unprofessional way of playing the piano or not. I just don't know. In that respect, this song reminds me of David Bowie's "Aladdin Sane". The bongos at the end are a nice finishing touch.

"Singin' Call" is a mellow country-ish song reminiscent of Crosby, Stills & Nash, and the atmosphere is lovely. "Word Game" is the most "What the heck is THIS?" moment on the entire album. It's nothing but a straight forward folk song with extremely angry and forceful lyrics pertaining to... I believe pertaining to a variety of things such as the homeless, and a direct stab at those who are quick to make judgements on other people. Even though the song is based around the acoustic guitar and the melody is delivered in a fairly simplistic way, the focus here is most definitely on the lyrics. It's hard to keep up with them (especially near the end when Stephen Stills just goes totally nuts) but this proves without a doubt that Steven Stills is a fantastic lyric writer.

"Ecology Song" is the albums weak point. It's too brass-heavy and the additional vocals in between the main verse feel clumsily slapped together. It's growing on me though. The lyrics are pretty enjoyable and honest. "Marianne" is some kind of throwback to the 50's with a SPLENDID and very catchy vocal melody. I really don't know if this is a cover song or what. I *think* it is, but whoever did the original, I haven't a clue. The album finishes on a wonderful note with "Bluebird Revisted". This song has the best vocal melody on the entire album, and feels like an exciting folk song to me. Awesome.

Stephen Stills 2 is incredible. A must own. 

Stephen Stills- 1st Solo

Stephen Stills

Although if compared to his feuding amigos I would not rate Stephen Still first solo recording the best of all four, there's nothing here that could not be considered absolutely impeccable.
Furthermore, as musical breadth goes, this album show unequivocally Stills' capacity and deep understanding of what Rock was becoming and practically every well it drunk from.
And everything it's realized perfectly, the soaring chorus and sweeping organ of "Love The One You're With;" the Gospel beauty of "Church" and "To A Flame;" "Old Times Good Times," where Stills trades licks with Hendrix himself; the horns launching "Cherokee" into its own outer space, the sensuous cadence of "Sit Yourself Down;" the tequila-soaked blues of "Black Queen;" the quiet folk of wisdom of "We Are Not Helpless" ...
Well, you definitely get the picture. This is Stills' solo masterpiece, a work of such greatness that made his follow-up solo recordings -very good albums indeed- impossible to match it. Perhaps Manassas' debut is the only other album Stills put out -then as a band leader again- that can be compared to this one.
This is an album that belongs in any serious Rock worshipper's CD collection, not because of its possible historical significance nor any prior sentimental attachment to those times, but exclusively on the strength of its musical content, as relevant and soulful today as thirty-odd years ago.

Manassas- Down the Road

Down the road

..for Most Unfairly Maligned Recording of 1973... Stephen Stills and Manassas, 'Down The Road'!!! This is a solid album by SS and the boys... no need to call it anything less than fine. In fact, many of the songs on 'Down The Road' have counterparts on the predecessor to this album, the highly regarded 'Manassas' double-LP. 'So Many Times' readily brings to mind 'Hide It So Deep'; 'Remember the Americans' is reminiscient of 'Fallen Eagle', both being fiddle-fied side two openers; 'Business On the Street' resembles 'Don't Look At My Shadow', both being country-fied side closers; and 'Pensamiento' is a bouncy Latin number ala 'Cuban Bluegrass'. Both albums open with hard-rocking protest numbers. Perhaps people perceive the 'mimicking' as a conscious attempt to (less than successfully) clone the formula for the original Manassas LP's, but I think Stills was too far along as a musician at this point to need that. Besides, Stills' clones are more obvious, such as transplanting 'Questions' to 'Carry On' on the 'Deja Vu' LP, or revisiting 'Bluebird' via 'Bluebird Revisited'. Maybe this is just their style...?

If you want to measure 'Down The Road' against 'Manassas', and many people do, there is an upside for each. The upside for 'Down The Road' is that it rocks harder than the first Manassas double-LP. 'Isn't It About Time' lashes out first, really cracking the whip. 'Down The Road', 'City Junkies' (aka "When I Was a Young Man" Part One and Part Two), 'Rolling My Stone' and 'Lies' continue the scourge. The upside for 'Manassas' are the three classic love ballads that 'Down The Road' has no answer for: 'Both Of Us', 'So Begins the Task', and 'It Doesn't Matter'. Stills offers two Latin-influenced numbers in their stead, 'Pensamiento' and 'Guaguanco de Vero'. 'Pensamiento' is the better of the two songs, and though lyrics are included, you'll be needing an interpreter.
True to the era, there is plenty 'anti-ism' to be had on 'Down The Road'. 'Isn't It About Time' puts war-mongers in their place every bit as well as 'Song of Love' put down war itself on the first Manassas album. 'Down The Road', 'City Junkies', and 'Rollin' My Stone' indict drug and alcohol abuse, while at the same time implicitly acknowledging their allure (kind of like a more sincere Bill Clinton saying, "I inhaled, a lot, but wish I hadn't..."). Be sure to check out the comical partied-out background singers on 'Down the Road', and the driving slide guitar. Stills is given credit for a slide in the liner notes, and I'm betting this is it (although Joe Walsh is also credited with playing slide somewhere on the CD). And Chris Hillman's 'Lies' is a robust swipe at superficial love.

Stephen Stills-Alone

Stephen Stills -Alone

I discovered this album almost by accident, I had heard "Treetop Flyer" and was intrigued enough to want to find out more about it. I was familiar with Stills' material from the CSNY days, but hadn't heard much of his work beyond that. I must admit I was pleasantly surprised by this album.

"Stills Alone" is just that. Simply Stills on vocals and guitar. A collection of well written songs featuring Stills' skillful guitar work, along with a few covers.

That being said, the production is not perfect. And Stills's voice sounds strained on some of the higher notes on a couple tracks. But I think these slight imperfections actually give the album character, as if you were listing to a live performance.

Some purists may scoff at Stills' guitar tone on this album. It is unusual for an acoustic sound...but in my opinion it gives the album a unique, if sometimes even "eerie" sound.

My only complaint is that the album is pretty short.

My personal favorites are "The Right Girl", "Treetop Flyer", and the outstanding "Blind Fiddler Medley". But this is the sort of album that you feel compelled to listen to from start to finish every time you take it out.

Since this has been out of print for so long, they are expensive. It was alot to pay for a CD, but I wanted one that badly. I am very glad to add this rare gem to my collection.