After spending the previous five years as the driving force of folk-rock ground-breakers Buffalo Springfield, doing the heavy-lifting in super group Crosby, Stills and Nash, then with Neil on board being midwife to the ‘Deja Vu‘ sessions, there is little doubt 25-year-old Stephen Stills had earned the right to record a solo album – the only imponderable being could he harness his diverse influences and wide-ranging writing style into a cohesive whole.
Released at a moment when he was not only one of the most inventive guitarists around but also a songwriter of great flair and originality, ‘STEPHEN STILLS‘ (November 1970) shows him in such sparkling form it casts a shadow over every album he had yet been involved with.
Drawing on all of his creative nuances, while at the same time extending an already broad repertoire, Stills conjures an eclectic mix of electric and acoustic blues, soul, rock, gospel and funk – weaved into an accomplished entity that barely wastes a second.
Free from the constraints of working within a group, he revels in self-employment to such an extent it begs the question of why he felt the need to be a third (sometimes quarter) of a charismatic, if conflicted band – or, given the treasure trove of songs at his disposal, had not become a Ray Davies/Robbie Robertson figure as the prime source of outstanding material.
Either way, calling the shots gave Stills license to explore all avenues, with each journey a worthwhile trip.
Before completing summer obligations alongside Crosby, Nash and Young, the quartet becoming increasingly fractious with each other as the US tour to promote ‘Deja Vu‘ wound to a close, Stills, with loyal producer/engineer Bill Halverson in tow decamped to England in order to record.
Studio time had been booked at Island Studios in London, but before playing a note Stills purchased Brookfield House, a 15th century Surrey property from Ringo Starr, the transaction leading to the drummer guesting on two tracks for the ensuing album.
If involvement of a Beatle came down to chance, then participation of guitar wizards Jimi Hendrix and Eric Clapton was by design – Clapton making good on a promise made in Los Angeles, while the collaboration with Hendrix was envisaged as the first step toward an album he and Stills proposed making together. These intentions, however, ended when Hendrix died in September, a grief-stricken Stills, back in California by this time, instructing Atlantic Records the sleeve credits for ‘Stephen Stills‘ be amended to read: ‘Dedicated to James Marshall Hendrix‘.
In the spring of 1970 Stills had set about laying down tracks written in a dizzying array of styles, recording the basic structures at Island before returning to the Record Plant and Wally Heider studio in LA for overdubs, where the male/female background vocals would also be added.
This approach serves him well, exemplified by the buoyancy of opening cut ‘Love The One You’re With‘. The acoustic guitar flourishes may be reminiscent of ‘Pinball Wizard,’ but the rest is uniquely Stills – a personal cornucopia of guitars, organ and steel drum, supported by CSNY bassist Fuzzy Samuels (making the first of several appearances) and the rattling congas of Jeff Whittaker.
When the tape was back in LA, an all-star vocal ensemble of John Sebastian, Priscilla Jones and her sister Rita Coolidge (with whom Stills was romantically linked before she dumped him for Nash), make their mark. Talking of which Crosby and Nash are along to add their voices, the soaring background refrains bearing an unmissable similarity to ‘Suite: Judy Blue Eyes.’
With hooks and grooves aplenty, it became an effortless hit single, the Isley Brothers, Aretha Franklin and Luther Vandross (among others) all cutting a version in the years ahead as it became his most covered song.
The external decoration is then stripped back on ‘Do For The Others.’ Stills alone provides instrumentation and harmonies for an affecting piece dealing with a love affair in ruins. As such a perfect vehicle for CSN, it loses nothing in not being a trio performance, Stills delivering a superb lead vocal (he sings well throughout) while doing a commendable job with parts his erstwhile partners would have handled – Nash and the situation with Coolidge, perhaps, alluded to in the line ‘and he lies singin’ harmony.’
For ‘Church’ (Part of Someone) he assembles a London studio choir in order to present the song with its full gospel connotations, Stills leading the chorus from piano and organ. While the lyric pleads for understanding within a relationship, (‘babe‘ and ‘girl‘ inflections point it toward Coolidge rather than CSNY), the melody progressions would be reworked for ‘Sugar Babe,’ a standout cut from ‘Stephen Stills II‘ of the following year.
The electric guitar sparks finally begin to fly on ‘Old Times Good Times.’ Remaining at the organ as Hendrix cuts loose, the ensemble playing – also encompassing strident congas – is of suitably high order and matched by a snappy lyric ruing missed opportunities by the Buffalo Springfield, ‘California, rock and roll dream/Got too high and we blew our whole scene.’
With ‘Go Back Home‘ it is exit Jimi and enter Eric (‘Stephen Stills‘ the only album on which both appear), Clapton arriving for a near six-minute electric blues workout, he and Stills trading guitar licks of remarkable dexterity.
Yet all through they maintain a discipline that allows the background singers (Cass Elliot joining the cast for this cut) room to add another dimension on a song already bursting with vitality.
The same support vocalists, including Crosby and Nash, appear on side two opener ‘Sit Yourself Down‘ a touching personal memo on the need to reflect and assess where his journey has so far led. Framing the song with excellent guitar and keyboard work, at this point the dark-haired Coolidge (‘me and the raven we make our way,’) is still a romantic preoccupation.
‘To A Flame‘ sees Ringo join the party, laying down a typically solid platform on which Stills builds a gorgeous piano ballad layered with sympathetic strings and horns.
It is tempting to suggest the song has Neil Young incantations (not sounding out of place on say ‘After The Gold Rush‘) although that would be doing the composer a disservice, being a fine song in its own right – the closing line ‘It’s like saying goodbye to Paris for the first time,’ full of ironic resonance as two years later Stills would meet first wife Veronique Sansom in the French capital.
Taking the demeanour of acoustic bluesman for ‘Black Queen‘ the song came about after a tequila drinking session at Island Studios with Eric Clapton, which left the Englishman barely able to stand – hence Stills performs the song solo and records it one take. Explaining the background of ‘Black Queen‘ to journalist Allan MacDougall, he remarked:
‘Eric was going to pass out in the studio, so got someone to drive him home while he was still able to reach the car. I stumbled into the studio and that’s what came out. The vocal quality is arrrgh. It sounds like a saw. It hurt physically to sing like that, but sure sounds neat.’
To these ears it sounds raw rather than neat – the performance on the album sleeve described: ‘Courtesy of Jose Cuervo Gold Label Tequila.’
Stills gives the pot another stir with ‘Cherokee,’ Sydney George contributing saxophone and flute solos over a blaring horn section, counterpointed by Stills on guitar and Booker T. Jones at the organ.
The lyrics find Stills in philosophical mood, ‘my fortunes mean nothing, I never cared about fame,’ another ‘raven‘ reference and allusions to ‘lady from Tennessee,’ leaving no doubt as to where his affections lay.
Ringo re-enters the fray for the closing ‘We Are Not Helpless,’ Stills reprising his ‘Captain Manyhands‘ role from the CSN debut set, overdubbing electric and acoustic guitars, keyboards and bass. Once more the background chorus proves effective (Crosby and Nash again present), as things come to an uplifting conclusion.
Often considered, incorrectly as it happens, a reply to Neil’s mournful ‘Helpless‘ contribution on ‘Deja Vu,’ Stills writes from a broader perspective than the homeland lament penned by Young – the closing couplet, ‘the new order is upon us now, it is the children they have the wisdom to be free/All are strangers, all are friends, all are brothers,’ almost a counter-culture manifesto for the decade that lay ahead.
In terms of artistic merit ‘Stephen Stills‘ manages to eclipse ‘Crosby, Stills and Nash‘ and ‘Deja Vu‘ while giving ‘After The Gold Rush‘ a run for its money. Indeed, Stills had the gratification of being lauded by Messrs Harrison and Jagger – old buddy Neil labelling him a ‘genius‘ as the album simultaneously occupied high places in the US and UK charts.
Praise, however, was not so forthcoming from a section of the music press, their misgivings apparently based on his superstar status and perceived arrogance on the part of an artist aware of just how talented he was. With ‘Stephen Stills II‘ (1971) a few stuck it to him on the grounds of inconsistency, although the same critical voices were thrown into a quandary by his brilliant ‘Manassas‘ double-album of 1972 – Stills leading the excellent band he assembled to an undisputed triumph of innovation and diversity.
Despite reluctance to bestow acclaim on Stills during his late-60s/early-70s purple patch, ‘Stephen Stills‘ showed up at number 70 in a 1975 New Musical Express poll of the 200 greatest albums ever made.
As Stills’ creative fortunes went into decline so his auspicious debut dropped off the radar of renown, only to make a welcome and deserved reappearance as its 50-year milestone approached – a placing of 129 on a contemporary list of the top 500 entirely befitting an album of great depth and virtuosity.
‘STEPHEN STILLS‘ (Released November 16 1970):
Love The One You’re With/Do For The Others/Church (Part of Someone)/Old Times Good Times/Go Back Home/Sit Yourself Down/To A Flame/Black Queen/Cherokee/We Are Not Helpless;
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NEIL SAMBROOK is the author of ‘MONTY’S DOUBLE‘ – an acclaimed thriller now available in paperback and as an Amazon Kindle book.
Nice review. I never saw Stephen Stills as a better album than Crosby Stills and Nash, but I guess it’s possible. It is a solid solo effort, though and as good as Neil’s After the Gold Rush. I’ve always enjoyed everything I’ve heard from Stephen Stills over the years. I think he’s under-rated.
Hello Thom – good to hear from you, hope you well;
As much as I admire the Crosby, Stills & Nash debut record, for many years have felt ‘Stephen Stills’ betters it by virtue of sheer consistency from track to track.
Through his 1969-75 purple patch, Stills was an artist of some pedigree, ‘Stephen Stills’ and ‘Manassas’ are both virtually flawless, ‘Stills II’ and the 1975 ‘Stills’ each have some fine moments and as a writer, guitarist and singer he is rarely less than effective.
While his standards drop noticeably post 1978 – top notch songs now few and far between – if nothing else it does serve as reminder just how creative he was as the 70s began to unfold.
Thanks again for taking the time to get in touch – much appreciated.
By the way – I would agree with you in regard to ‘Stephen Stills’ and ‘After The Gold Rush’!!
Regards
Neil