|
STILLS YOUNG RADIO PROMO - MP3 *HERE*
August 1976
Phonograph Record (Newspaper)
"The Most Authentic Since Springfield Days"
The Spectrum-Philadelphia PA
By Michael Tearson
Bi-centennial. Philadelphia. End of June. So, understandably there
were those occasional very annoying explosives catapulted hither
and yon. A gift from one tier to another, Red Devil victims notwithstanding,
this crowd was a very casual, squeaky-clean, Tuesday-nite bunch
a Philly thrill seekers. This was, be aware, the opening of the
exalted Stills/Young reunion tour.
***
From the dark stage came the opening chords of "Love the One You're
With," the spotlight hit Stills, and there he was, just like he
described himself in "My Favorite Set of Changes" - "The kid with
the big white guitar." Next Young stepped into the light, joining
in the chorus for some tentative harmony. Clad in perma pressed
patched Levi's, hair trimmed short to 1964 length, Young seemed
fresh, healthy - he was even clean shaven.
Young's "The Loner" followed, Stills singing the first verse,
Neil the second, with an equally impressive trading off of guitar
licks. Then symbolically, they clasped hands strongly - the tour
was on.
There had always been a complimentary contrast between Stills
and Young, seeing them perform together makes this very clear.
While Stills uses lots of guitar notes and glides randomly on
vocals, Young is curt, rifle like and precise in his guitar work.
"This is dedicated to my car," announced Young, introducing "Long
May You Run," a country influenced title and one of the shows
few new songs. It signaled a brief transitional country-flavored
segue in the set which ultimately led to the most authentic version
of "For What It's Worth" since Springfield days. Stills' political
diatribe stopped mercifully short of the pits reached in the songs
CSNY interpretation. A surprisingly overt burst of audience recognition
must've encouraged Stills to deliver a more worthy vocal treatment
than thought possible and, impossibly, the words meant more this
time. The night's first standing-ovation followed.
Stills performed an extended guitar solo during his "Black Queen,"
which evolved into a celebrated Stills/Young guitar-dueled "Southern
Man." The Stills/Young (STILLS) back up band Joe Lala (percussion),
Joe Vitale (drums), George "Chocolate" Perry (bass) and Jerry
Aiello (keyboards) - contributed as much fervor, energy and noise
in general during "Southern Man's" guitar war. It was both logical
and necessary that the band take five (or whatever the proper
adult-dosage is these days), at this time.
The inevitable acoustic penance followed a brief intermission.
"On the Way Home," the show's second and last Springfield keepsake,
led-off the segment. "After the Goldrush," featuring a solemn
and sad Young, alone - forever alone - on piano (very Dory Previn),
was certainly the set's emotional and aesthetic zenith. The second
standing-ovation followed.
Then the band returned for the finale: "Buying Time," (from Illegal
Stills) / "Cowgirl in the Sand." The night's third standing-ovation
followed. Stills/Young obliged with he anticipated encore, "Suite:
Judy Blues Eyes."
The reunion has goaded the most honest performances I've seen
either of them deliver in years, honest. They're obviously enjoying
one-another's company/talents once again. Based in this Philadelphia
opening, the Stills Young Tour is one of the summer's main events.
|
