The death of David Crosby not only left a large void in the world of 1960s icons, but now makes any reunion of CSN or CSN&Y impossible. Crosby had been estranged from his mates in those two groups, so the chance of any of the reunions happening even if Cros was still with us was unlikely. He of course was also a member of The Byrds and teamed with Graham Nash as a duo act. While Crosby has left us, his other three mates in CSNY remain quite active and each has recent releases.
Stephen Stills, along with being in CSN and CSN&Y, was a member of the Buffalo Springfield with Neil Young, recorded one album with him as the Stills-Young Band, was a founding member of Manassas with Chris Hillman (of The Byrds) and worked on many other projects, including the one-off Super Sessions album with Al Kooper and Mike Bloomfield, released in 1968. He has also had a stellar solo career, including some true classics in the early 1970s.
This double live album captures Stills at a peak time for him as a solo artist, after he released his second solo album, Stephen Stills 2 in 1971. Featuring solo and group performances, this new live album was recorded at the Berkeley Community Theatre in August of 1971 and features the complete show of the second night of a two-night stand.
Nearly the entire first three sides are comprised of just Stills on guitar and vocals, with a few songs featuring piano and vocals. Few artists of that period could so forcefully command a stage singing their own songs with the backing of just one instrument. These are truly transcendent performances.
Along with solo material, there are songs from his group work, including two where he is joined by David Crosby. He is joined by a full band, including members of CSNY’s backing band as well as members of Manassas and the Memphis Horns. While he was very much part of the ’60s and ’70s acoustic and electric rock scene, Stills infused many other elements into his music. An early progenitor of Latin rock, and a purveyor of blues and gospel, he also adds a decidedly jazz feel on some tracks here. It’s interesting that he enlists such a large and accomplished group, but they contribute on quite a bit less than half the concert.
The fidelity on these vinyl albums is superb and has a rich, warm feel that reminds one of the great sound quality of albums he was part of in the late ’60s and early ’70s.
It’s been seven years since Graham Nash has released a solo studio album, but it was worth the wait. Known for his collaborations with David Crosby, Stephen Stills, and Neil Young, along with being a founding member of the Hollies, Nash hasn’t released many solo albums, but when he does, they are equal to or better than many of his collaborative works. His Wild Tales is one of the classic albums of the early ’70s.
This new album finds Nash in a sometime reflective mood, but the songs also point to someone very much in love with love and life. There is a sly edge to some of the songs, particularly on the opening “Right Now,” that Nash pulls off with minimal backing. There are also tracks, such as the instrumental “Pastoral,” “In A Dream,” and “I Watched It All Come Down,” with a mostly understated orchestral backing used to excellent effect.
He continues to be a political chronicler, as with the broadside “Golden Idols,” which references the MAGA cult and the January 6th insurrection. “Stars and Stripes” and “It Feels Like Home” already sound like classics. The most endearing track on the album is the tribute to Buddy Holly, “Buddy’s Back,” which features his main partner in The Hollies, Allan Clarke, on vocals. Even after all these years Nash sings a song of almost childlike wonder on “A Better Life.”
While the music here is distinctly Graham Nash, it’s entirely new. This doesn’t sound like the album of someone winding down his career, but rather of one revving it up. This is music for right now.
This is yet another Neil Young album that at one time had been scheduled to be released but was postponed to make way for the release of a different album. It is a Neil Young Archive release and is only the fourth album to come out of the Special Release series.
These selections from two concerts were taken from Young’s 1976 tour in support of his studio album Zuma. Side one was recorded on March 31, 1971, and features Young solo and acoustic at the Hammerstein Odeon in London. Side two is from March 10 and 11, 1971, at the Nippon Budokan Hall in Tokyo, Japan, and features Young and Crazy Horse.
Side one is a classic collection of five songs from some of Young’s best-loved ’70s material including “The Old Laughing Lady,” the title cut from After the Gold Rush and “Old Man.” Side two is a full, electric side of Young and the Horse in all their glory. At this period the music isn’t ragged and the songs are quite compact and concise with little of the noisy feedback and long jams that characterize some of Young and the Horse’s later live music, although “Cortez the Killer” does clock in at nearly eight minutes. Along with that song, “Cowgirl in the Sand” is one of the more well-known tracks. “Lotta Love” seems like an interesting choice, as it is one of Young’s more accessible songs and not really associated with his Crazy Horse side.
The vinyl package is a gatefold with an insert and was mastered from the original analog tapes by Chris Belman at Bernie Grundman Mastering in Los Angeles. Surprisingly, the vinyl is only 140 grams and comes in a die-cut paper sleeve. As one can expect, the sound is excellent, although the Crazy Horse side sounds a little thin in spots.
It’s interesting that only five acoustic and five electric tracks are included here, as these shows in London and Tokyo were each nearly 20-song sets. Nonetheless, this is another archival release that Neil Young fans will want to have as part of their collection.
GRADED ON A CURVE:
Stephen Stills, Stephen Stills – Live At Berkeley 1971
A
Graham Nash, Now
B
Neil Young with Crazy Horse, Odeon Budokan
B+
