The gamecock. (Columbia, S.C.) 1908-2006, July 26, 1976, Page Page 6, Image 6
Stills, Vou
bring bac
^ A*
HI ^ lin)
By Tom Shealy
and Marty Galloway
Steven Stills and Neil Young, two Buffaloes from th
around the stage for two-and-a-half hours playing
Tuesday night taking the audience back to the (
4 A. ? 1 1IT 1 - A - - *
pruiesis anu wooosiock.
They did all of their old "hits" like "Love the Oi
"The Loner," "Helpless" and "Cowgirl In The Si
performed separate solo spots, with Young doing "I
and a few new songs he said he "wrote last night," a
such goodies as "Helplessly Hoping," "Crossroad
Byes."
l neir selections were superb and brought the audit
level on several occasions. But the most significa
concert was there is nothing new that can be said aboi
Two figureheads from the sixties, continuing
reputation they made for themselves, played music t
for those of us who lived through it. The songs wh
greatest audience response were the older ones, part
rr _ 1 _ n * * *
ouiiaio springneia aays.
Personally, we enjoyed the concert immensely! It
we have attended in many moons where we didn't <
our watches to see when the assault would be over. A
that our arses fell asleep during the performance.
In fact, we found ourselves actually excited during
track of the real world listening to the music Tuesdaj
we were reliving those feelings experienced the fin
Stills and Young's music; it was the fulfillment of I
dream.
But looking at Stills standing on stage like a fath<
coach giving his team instructions, we couldn't he
saddened. Sad because this concert showed that for
including Stills and Young, it's all over. We are all g
away from the rock and roll fantasy that enabled i
those trying years of the '60s.
But all we really asked for from these two men u
entertainment and that is what they gave us. We c
music to return us to the carefree good old days,
evenine of finelv-olaved sones rnnpinu frnm "Mr Sr
?-/ f S ?/ ~ " O" ~ 0"*"0 ~ ~ w-?.
Man." It was a pleasant and enjoyable experience, v
music created in the 1960's can live on in the 1970
excitement and vitality.
From our standpoint we feel that Ian Anderson has
the situation: "Too old to rock and roll, too young
nothing left for us to do today except go to concer
Young's and look back fondly on our rock and roll me
iiwy ip yriduppuilllll
B U 1 9HIIL
II., L'U I -i
i?y iuiii cuitruitry gUlian
display
I get it now, this alburn is a joke, right? ployinj
That's why there's laughing at the since j
beginning! This is just a little something still r<
thrown together to meet the RCA gimmi
deadline; a teaser to make us yearn for the "Cri
really good stuff, isn't it guys? It's not? with i
You mean this is it? hoon
r*
It seems to be the accepted practice in merci;
the music business these days for groups which
to find a successful musical formula and The 'I
utilize it for a few albums to assure public "Don'l
prominence for a while. They lock famili
themselves into a rut and produce music vocals
which becomes predictable from album to gradu;
album. This pleases the listener who is Gra<
happy with this particular form but the oh
disappoints those hoping for fresh, new songs,
creations. in the
The Jefferson Starship has slid into this her a
widely travelled rut with SPITFIRE. It wailin;
will please the new-generation fans who "Switc
made RED OCTOPUS a success, because "Ai (i<
it's the same type of music. For those the (
awaiting new. different material, better doodlii
luck next time. a moo
Of the nine songs, three are arranged in For
the basic, rock format: a couple of "Ozyrr
rhoruses, a guitar break and a final windh
chorus. This structure leaves lead SUNFi
e Sixties, roamed ;l
excellent music KflSnS^^^H&H
lays anti-war
le You're With,"
md." They each HBhh j[
Sugar Mountain" BS3BBIiW5l!jB ' ' M "..
nd Stills offering ^ ' ; * 1 j ,
s ana Jtsye
mce to a frenzied > *"
nt aspect of the ^
it it.
to the
hat was nostalgic
lich received the
lcuiariy trom the
was the first one
:ontinually check
nd we didn't find ^
the show. We lost
night, and found The mood was appreciation ai
;t time we heard the capacity crowd happy for ;
he rock and roll
HI mil I 11 III I IBHIWHIMIIHWHHHIIB1B lll.fTrMTWl
>r figure or head
lp but feel a bit f
us, the old folks,
rowing older and
is to get through
as an evening of
an't expect their
rhey gave us an fifTTTTiTiii
?ul" to "Southern 8W BAkAi A
Inch proved that * HHIflllll"flSF 8
s with the same USB HS H ^
; best summed up
to die." There is
ts like Stills and
mories. V
's#
t runs oar
st
Craig Chaquico in the open, And for son
fing his limited talents. He is em- drummer Jol
I the same progressions he has used "Big City." Ii
fining the group; no new variations, Ethridge anc
ilying heavily on standard guitar L A. GETAV
cks like fuzz and distortion. drummer on
lisin' " is tho wnrct r?f 'mtim.
.w v..v .. wv vy. VIIV till W, CI O Clll U UlllUi
inbelievably corny lyrics ("beep, doesn't real!
yea!"), and reeking of com- worst thing
ilism. "Dance With The Dragon," barrassing a
sounds like a continuation of "Ride drummer,
"iger" from DRAGON FLY, and The comm<
Let It Rain," both exhibit the lively Love,
ar Slick-Balin-Kantnfir chnrus it mnnHoH lib
. Both songs start with a rock beat, disco guitar,
illy fading to a slow tempo ending. lyrics. (If ar
:e Slick's voice, synonymous with does, which i
1 Airplane, is up front on only two dealing with
"Hot Water," an up-tempo number Your Love"
same vein as "Devil's Den," allows and in a rare
chance to utilize her distinctive, her.
j ;ihilitv f;in<s h;iv#? ornu/n tn Iiwm "<t Ph<irl?
-y ?^ f->* " " " ,w *w ? ^ v -?V . v/ncil H
hblade" is this album's version of song and ha:
irimasu," the only difference being Halin. It haj
leparted Papa John Creech's tempo chang
igs on fiddle have been replaced by as "Caroline
g. appeal, the k
a hit of nostalgia there's Balin's sty!
landias" which is similar to the his absence f
ilown, synthesizer-influenced was reason
GHTKH DRAGON F
^1
;-^j^v ^^nwPA. HVJWTA 4* ^Bt
^ w E3til-v
bp.>j^
II - 1 I B
I mr em
id enthusiasm for the Stills-Young Band as
112 hours.
The Gamecoc
I I '
m illMBi
ound pH
y
ie bizarre reason someone let |
in Barbata do lead vocals on 1
[ was written in 1971 by Chris
1 Joel Scott Hill during the
VAY sessions. Barbata was
i.iv "jv V I. um. YYUOll I IIOICVJ
on the original version. It
y matter because it's the
on the album, an emttempt
at rock and roll by a
OCTOPl
ercial traits roll on in "Ixwe beautifu
" My sister heard it and said But af
e Barry White to her, with the his proj
sugary strings and let's-do-it various
iyone knows AM music she would g
s an indication of what we're The e
here.) She also said "With stagnan
was identical to "Miracles," with a c
; instance I must agree with saving li
the Slic
s" is without a doubt, the best for the t<
s to have been arranged by going to
> the layered structure and success
es common to his songs such Whatc
v" It has flowing, mellow disappoi
ind that absorbs the listener. Star ship,
le was greatly missed during the rel<
rom the group and his return materia
to rejoice. His one song on rehashe
LY and his work on RKD albums.
Bite 1*z??W iSiiSA'
K -? v . jWy^vMBMyBB
SfiS
Photo by Humblt
they kept
1
k
KAM*
^
JS caused me to imagine what a
l solo album he could do if he tried,
ter hearing SPITFIRE I'm afraid
ect would be nothing more than
versions of "Miracles," which
row tiresome after a while.
ntire group seems to have gone
t, writing basically simple songs
ommercial appeal. Balin could be
lis best songs for a solo album and
K-ivantner split could be reasons
me of this record. Perhaps they're
coast for a while and live off of the
they have recently attained.
iver the reason, 1 can't help but be
inted with SPITFIRE. Jefferson
i contains too much talent to allow
i?ase of this kind of mediocre
! They are capable of more than
ii versions of songs from previous