The music on these grooves-timeless and era-defining performances- “Word Game,” “Love The One You’re With,” “Sugar Babe,” “Cherokee,” among others, hasn’t aged a day since they were captured on tape. Guesting on both nights of these recordings was David Crosby, singing on his own nautical classic “The Lee Shore,” and the Stills-penned “You Don’t Have To Cry,” a Crosby, Stills & Nash favorite. In addition to The Memphis Horns, Stills is backed by a loyal cast of friends, including his usual steady rhythm section-drummer Dallas Taylor and bassist Calvin “Fuzzy” Samuels-along with keyboardist Paul Harris, guitarist Steve Fromholz, and percussionist Joe Lala. In many ways, these Northern California shows in Berkeley sound as if Stills is leaving it all on the stage during a hometown gig. This 3,500-seat venue made this one of the most unique and intimate stops on the tour that included his iconic concert at New York’s Madison Square Garden. This previously unissued live album, with performances hand-picked by Stills from his personal archives, was recorded on August 20 at The Berkeley Community Theater. Fans who were lucky enough to catch his historic debut trek, dubbed “The Memphis Horns Tour,” were treated to the balladeer, the raving troubadour, the acoustic bluesman, the soul driver, and by far the most passionate music maker offering his goods across the better auditoriums and arenas that summer. Following the June 1971 release of his second solo album, Stephen Stills 2, he announced his first solo tour designed to showcase all aspects of the ever-growing artist. The amount of music pouring out of this man could’ve fueled a half-dozen bands. Stephen Stills is an unyielding force of nature. Nick Sanborn (of Sylvan Esso) produced Henry St., which includes contributions from Ryan Gustafson (of The Dead Tongues) on guitar, lap steel and ukulele, TJ Maiani on drums, CJ Camerieri (of Bon Iver) on trumpet and French horn, Phil Cook on piano and organ, Rob Moose (of Bon Iver, yMusic) on strings and Adam Schatz on saxophone. “My entire career I’ve been a DIY person––mostly fueled by the feeling that I didn’t know what I was doing, so I’d just do everything myself.” But now, longing for the energy that’s only released when creating together with others, Matsson invited his friends to come and play. notably marks the first time he recorded an album in a band setting. Now, Matsson returns as The Tallest Man on Earth with Henry St., his sixth studio album following 2012’s There’s No Leaving Now, full of “vivid imagery, clever turns-of-phrase, and devastating, world-weary observations” (Under The Radar) and 2015’s Dark Bird Is A Home, his “most personal record. Matsson is a guitar-slinger rooted in folk, and his songs are troubadour ballads at heart.” Having spent much of the last decade touring around the world as The Tallest Man on Earth, Matsson has captivated audiences using, as The New York Times describes, “every inch of his long guitar cord to roam the stage: darting around, crouching, stretching, hip-twitching, perching briefly and jittering away.Mr. Kristian Matsson has never remained in one place for very long. The Day The Country Died įrom The Cradle To The Grave I Don’t Know A Thing About Love: The Songs of Harlen Howard Red Moon In Venus įoreground Music Īurora Įnemy of the World: Re-Recorded Bob Marley - Tuff Gong Jamaica Pressings.Top 301 Best Sellers Of All Time (2019).
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