Search - Stephen Stills :: Manassas

How do you two?

running_man | Chesterfield Twp., MI | 07/04/2005

(5 out of 5 stars)

"Ever since The Beatles released their groundbreaking 'White Album', the phenomenon of the double-LP has been an intriguing one. Some of these productions are replete with long-winded instumental performances, such as The Allman Brother's 'Eat a Peach', or the best selling double-live of all time, 'Frampton Comes Alive'. Others represent a true tour de force, such as The Rolling Stones' 'Exile On Main Street', or George Harrisons' 'All Things Must Pass'. Stephen Stills 1972 double-LP, 'Manassas', joins the stellar company of the latter category.



This masterpiece of composition and performance rests on the diversity of Stills' musical influences. The album is loosely divided into 4 musical genres, yet the opening side, titled 'The Raven', ranges from hard rock to latin rock to powered blues to romantic ballad, and as such nearly defies being categorized. The songs in 'The Raven' are presented as a suite, akin to the opening sides of The Beatles 'Abbey Road', or much of The Who's 'Tommy', and the quality of the music holds its own in comparison with these other, much heralded accomplishments.



Side two is titled 'The Wilderness', and features a decided country atmosphere. Side three is titled 'Consider', offering a bounty of gentle folk sounds with introspective, intimate lyrics. Side four is titled 'Rock & Roll Is Here To Stay', and as such requires no deep description. As Harrison would say, someone has given Stephen a wah-wah, and he hands it a grueling workout.



Each side of the album contains at least one song which would have to be considered a masterwork. On side one, the plaintive ballad 'Both of Us (Bound To Lose)' does everything but cry for you. On side two, perhaps the most alluring song Stills has ever recorded, 'So Begins the Task', finds center stage. The soft melencholy strains of the acoustic and steel guitars, and the tear-laden lyrics of this song course through the air like the wings of an angel. Side three opens with another plaintive folk song, originally written by Rick Roberts and Chris Hillman, but seriously overhauled by Stills, 'It Doesn't Matter'. And side four features the epic rock song, 'The Treasure'.



Interspersed are numbers representing the best Stills has ever produced in any vernacular. His hard rock leanings are indulged in 'Song of Love', 'Rock & Roll Crazies', 'Anyway', 'What To Do', and 'Right Now'. His blues prowess is delivered in 'Jet Set' and 'Blues Man'. Stills latino influences are given their due on 'Cuban Bluegrass', and he even offers an appealing, pioneering endeavor on the moog synthesizer in 'Move Around'. His acoustic folk skills are displayed on 'Colorado', 'Fallen Eagle', 'Johnny's Garden', 'Jesus Gave Love Away For Free', and 'How Far'. There is virtually no filler on either of these albums.



Stills supporting cast deserve much acclaim for the opus that is 'Manassas'. Dallas Taylor (drums) and Calvin "Fuzzy" Samuels (bass) joined Stills in previous ventures with David Crosby and Graham Nash, and offer an able rhythm section. The real standouts backing Stills, however, are Joe Lala laying down a latin-tinged beat through a variety of percussion instruments, and Al Perkins offering scintillating steel guitar solos and background for songs such as 'Hide It So Deep' and 'The Treasure'. Chris Hillman rides along on rhythm guitar, and together with Perkins contributes haromonies that, at times, complement Stills gruff vocal delivery even better than Crosby or Nash ever did.



If there is to be a criticism of this production, it is that the performance of these songs, at times, feels a bit formulaic. Stills is known to be a perfectionist, and in the recording studio this may lead to a stunted feeling that was overcome when the band performed live. In 2000 Pioneer Artists released live studio performances by the band in their genesis. This video, titled 'Live At Musikladen', reveals how much more heartfelt and personal some of these songs can become, especially offerings such as 'It Doesn't Matter', 'Hide It So Deep', and even 'The Treasure'. Clearly, however, the complexity of mixing the stylings of a seven piece band and an occasional fiddler at times requires fiddling around a bit in the studio.



If you enjoy the more visible and commercial work Stills has offered in the past, such as 'Suite: Judy Blue Eyes' and 'Love the One You're With', do yourself a favor: purchase this CD and savor the true depth and breadth of a modern day troubador.





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