# xmcd
#
# Track frame offsets: 
#        182
#        29602
#        47285
#        71807
#        87940
#        100935
#        122012
#        134202
#        145297
#
# Disc length: 2185 seconds
#
# Revision: 3
# Processed by: cddbd v1.5.2PL0 Copyright (c) Steve Scherf et al.
# Submitted via: ExactAudioCopy v0.90b4
#
DISCID=84088709
DTITLE=Stephen Stills / Live
DYEAR=1975
DGENRE=Rock
TTITLE0=Wooden Ships
TTITLE1=Four Days Gone
TTITLE2=Jet Set(Sigh) + Rocky Mountain Way + Jet Set(Sigh)
TTITLE3=Special Care
TTITLE4=Change Partners
TTITLE5=Crossroads + You Can't Catch Me
TTITLE6=Everybody's Talkin' At Me
TTITLE7=4 + 20
TTITLE8=Word Game
EXTD=Originally Released November 1975\nCD Edition Released April 21, 
EXTD=1992\n\nAMG EXPERT REVIEW: This live record features Stephen Stil
EXTD=ls with a great voice that may be a bit weary but is, perhaps, ev
EXTD=en more emotional and personal. Separated into an acoustic side a
EXTD=nd an electric side, Stills triumphs during both sets. The electr
EXTD=ic side is highlighted by the tight "Wooden Ships," while the aco
EXTD=ustic side shines with "Change Partners" and a frenetic version o
EXTD=f "Crossroads."  -- Zachary Curd\n\n\nAMAZON.COM CUSTOMER REVIEW\n
EXTD="Four Days Gone" and you'll still be listening to Stephen live!!,
EXTD= June 18, 2007 \nBy  Craig Fenton "Craig The Airplane Man" (Airpl
EXTD=aneville, New Jersey)\nAs the author of the Jefferson Airplane bo
EXTD=ok "Take Me To A Circus Tent" and a former radio disc-jockey, I a
EXTD=m often asked to write and or discuss various recordings from the
EXTD= 60's and 70's. \n\nA great artist always seems to have one relea
EXTD=se if not more that has slipped through the cracks. Stephen Still
EXTD=s "Live" (March 8 and 9 of 1974) is missing from too many CSN and
EXTD= sometimes Y fans collections. \n\nMaybe it is because the tradem
EXTD=ark Stills harmonies aren't the featured attribute of the recordi
EXTD=ng. At the front of the line is the terrific guitar playing of Do
EXTD=nnie Dacus (Chicago, Roger McGuinn, and Billy Joel) with the pure
EXTD= emotion of Still's stage energy and song content. \n\nThe album 
EXTD=was split into an acoustic side and an electric. "Wooden Ships" i
EXTD=s outstanding from the electric portion and representing the acou
EXTD=stic selections in fantastic fashion is "Everybody's Talkin At Me
EXTD=." Stills is superlative in the inclusion of the cover tunes "Roc
EXTD=ky Mountain Way" (Put on the map by Joe Walsh, although he did no
EXTD=t write it), "Crossroads" (From blues great Robert Johnson, made 
EXTD=famous by the legendary Cream version), "You Can't Catch Me" (A C
EXTD=huck Berry classic that John Lennon did a 5 star version on his "
EXTD=Rock & Roll" album), and "Everybody's Talkin At Me" (Although wri
EXTD=tten by folk great Freddie Neil, the signature version is from Ha
EXTD=rry Nilsson). \n\nStills rendition of the Freddie Neil compositio
EXTD=n is one of the finest covers ever. The joy and heartfelt fondnes
EXTD=s for the song is evident in every word. \n\nYes, he did go back 
EXTD=to the vaults and unlock Buffalo Springfield material for us! \n\n
EXTD=In case this has been gathering dust in your vinyl collection, an
EXTD= upgrade to CD would do wonders. If you haven't experienced the p
EXTD=leasure of this effort, no time is better than now! \n\nEnjoy the
EXTD= music and be well, \nCraig Fenton \nAuthor of the Jefferson Airp
EXTD=lane book "Take Me To A Circus Tent" \n\n\nAMAZON.COM CUSTOMER RE
EXTD=VIEW\nDEFINITELY ONE OF THE BEST LIVE ALBUMS BE STEPHEN STILLS, D
EXTD=ecember 24, 2004 \nBy  TIM LUCERO "THE PSYCHODELIC ROCK" (Huntsvi
EXTD=lle, Alabama United States)\nThe musicians from STEPHENS STILLS s
EXTD=olo band in 1974 display excellent musical skills. The sound of J
EXTD=ERRY AIELLO's HAMMOND organ sounds a whole lot like ELP's KEITH E
EXTD=MERSON, KENNY PASSARELLI plays excellent bass guitar, and the per
EXTD=cussion lineup of JOE LALA (congos) from MANNASSAS and RUSS KUNKE
EXTD=L (drums) really rock and roll. Most importantly, the highlight o
EXTD=f Stephen's solo band is the then unknown and probably now forgot
EXTD=ten guitarist DONNIE DACUS (later of Chicago) who guitar riffs bl
EXTD=ow NEIL YOUNG off the stage. WOODEN SHIPS is a outstanding beginn
EXTD=er for this album; furthermore, it outdoes the CSN's studio versi
EXTD=on, CSNY's live version from WOODSTOCK, and any other live versio
EXTD=n as well. I love DONNIE intro lead guitar at the beginning of th
EXTD=is song, the middle of the song, and the dual lead guitar of STEP
EXTD=HEN and DONNIE at the end of the song. The arrangement of this ve
EXTD=rsion sounds a whole lot more balanced. The 2-part harmony vocals
EXTD= of STEPHEN and DONNIE give the song a better balance as well; th
EXTD=ere is also the occasional high-pitch harmony vocal of KENNY. FOU
EXTD=R DAYS GONE is a great ballad with STEPHEN on the piano, along wi
EXTD=th JERRY's organ riffs and definitely DONNIE's lead guitar. The m
EXTD=elody of JET SET and JOE WALSH's ROCKY MOUNTAIN WAY is killer wit
EXTD=h STEPHEN's lead guitar and DONNIE'S slide guitar, SPECIAL CARE i
EXTD=s a excellent rocker with trading lead guitars. CHANGE PARTNERS i
EXTD=s a outstanding acoustic ballad, and STEPHEN plays some outstandi
EXTD=ng riffs on the melody CROSSROADS and YOU CAN'T CATCH ME. The oth
EXTD=er songs are great too. I was so amazed when I heard this cd. I c
EXTD=an not and will not understand will DONNIE became so unpopular; a
EXTD=dditionally, STEPHEN should have brought him into the reformation
EXTD= of CSN in 1976 as the perfect replacement for NEIL YOUNG through
EXTD=tout the remainder of the 70s, 80s, 90S to this day. It also woul
EXTD=d have save him from a lot of trouble with CHICAGO. Furthermore, 
EXTD=when I listen to DONNIE's guitar riffs on this album, I hear the 
EXTD=style of LED ZEPPELIN's JIMMY PAGE and the sound BAD COMPANY's MI
EXTD=CK RALPHS at the same time. \n\n\nAMAZON.COM CUSTOMER REVIEW\nA G
EXTD=reat Live Album, November 29, 2003 \nReviewer: A music fan\nI oft
EXTD=en worry about live albums. They are often contractual obligation
EXTD= fodder tossed into the marketplace by an artist who is ready to 
EXTD=move to a new label. In fact, Stills was apparently set to move t
EXTD=o Columbia from Atlantic. However, this album stands as one of th
EXTD=e best live discs from its era. It features great singing and pla
EXTD=ying. And, it was also noteworthy for dividing the set into unplu
EXTD=gged and electric portions. This is a wonderful live disc. \n\n\n
EXTD=AMAZON.COM CUSTOMER REVIEW\na timepiece, October 30, 2003 \nBy  D
EXTD=. Schmittdiel (Clinton Twp., MI)\nIn 1974, after completing a sum
EXTD=mer tour with David Crosby, Graham Nash and Neil Young, Stephen S
EXTD=tills launched a solo tour which stopped in my home town of Detro
EXTD=it in March. I was fortunate to see a sterling, dynamic performan
EXTD=ce at the largest Masonic Temple in North America, an old and orn
EXTD=ate venue, from a front row balcony seat. Stills was at his peak,
EXTD= and he put together what had to be one of the hardest rocking ba
EXTD=nds of his career, the sort of band Crazy Horse has always been f
EXTD=or Neil Young. \nThis unnamed band, and the recording master, see
EXTD=m intent on highlighting the impressive lead guitar interplays be
EXTD=tween Stills and Donnie Dacus, who would play a major role on a l
EXTD=ater studio album by Stephen, 'Illegal Stills'. For the most part
EXTD=, Stills contributes a psychedelic wah-wah, at times in rhythm gu
EXTD=itar mode, while Dacus rips off one sterling solo after another. 
EXTD=Jerry Aiello's keyboards and Russ Kunkel's drums resound loud and
EXTD= clear as well through the high decibel mix. A bit muted are Kenn
EXTD=y Passarelli's bass (I suppose something had to yield the right-o
EXTD=f-way), and especially Joe Lala's percussion, better suited to th
EXTD=e more tempered sounds of Manassas. Stills handles virtually all 
EXTD=the vocals, although Dacus and Passarelli occasionally add some s
EXTD=urprisingly harmonious harmonies.\n\nThe real magic of this live 
EXTD=performance, recorded over two nights at Chicago's Auditorium The
EXTD=atre, lies in the song selection. By this point in his career, St
EXTD=ills had an impressive catalog to select from, and his choices ar
EXTD=e an eclectic mix of his own best work, coupled with some impress
EXTD=ive covers. Of the 11 songs featured, 4 were penned by other arti
EXTD=sts.\n\nThe album is divided between an electric and acoustic set
EXTD=. On the CD, the opening number is a scorching version of 'Wooden
EXTD= Ships', the Crosby-Stills composition from the first CSN album. 
EXTD=The only drawback to this arrangement is that Stills handles all 
EXTD=the vocals, blurring the dramatic verbal interplay between the tw
EXTD=o warring soldiers featured in the opening lyrics. Nonetheless, t
EXTD=he hard-driving spin Stills puts on this take has always sounded 
EXTD=to me like the 'right way' to play 'Wooden Ships'. Despite some b
EXTD=rief audible feedback on the lyrics early on, this may be the bes
EXTD=t rendition of 'Wooden Ships' ever put on record. \n\nTwo Buffalo
EXTD= Springfield compositions are included, the timely (considering t
EXTD=he year, 1974, was in the immediate aftermath of the Vietnam era)
EXTD= 'Four Days Gone', which paints a sympathetic portrait of a draft
EXTD= evader, with Stills sitting in on piano. This song represents th
EXTD=e only respite in a burning electric set. A raucous rendition of 
EXTD='Special Care' concludes the electric set in a highly frentic moo
EXTD=d, and this is the only time Lala's vibrant percussion can be ser
EXTD=iously appreciated.\n\nInserted between these Springalo Toones is
EXTD= the centerpiece of the electric set, a chest pounding medley of 
EXTD=the Joe Walsh masterpiece, 'Rocky Mountain Way', and the blues-ro
EXTD=ck Manassas number, 'Jet Set'. Stills and the band segue seamless
EXTD=ly between the two numbers, which adapt to an amazingly complemen
EXTD=tary musical structure. The only drawback here is a muddy attempt
EXTD= by Stills to replicate Walsh's deft use of the voicebox on Barns
EXTD=torm's studio version of 'Rocky Mountain Way'.\n\nThe acoustic si
EXTD=de is just as artistically rendered and eclectic as the powered s
EXTD=ide. 'Change Partners', from Stills second solo album, is a beaut
EXTD=iful opening selection. The set ends with a somewhat predictable 
EXTD=choice from the same album, 'Word Game'. Sandwiched between are '
EXTD=4+20', a crowd favorite, again from the debut CSN LP, and 3 unusu
EXTD=al covers. First up is another medley, mixing the classic, up-tem
EXTD=po blues of 'Crossroads' with Chuck Berry's barreling 'You Can't 
EXTD=Catch Me'. This robust medley is followed by the completely unpre
EXTD=dictable choice of Fred Neil's hit, 'Everybody's Talking At Me'. 
EXTD=Unlike the electric set, where Stills all but takes a backseat to
EXTD= Dacus, the acoustic numbers feature some of the finest guitar wo
EXTD=rk Stills has ever put on record, no small accomplishment.\n\nIns
EXTD=piration is dripping from these performances, and the recording i
EXTD=s remarkably clean, especially the acoustic set. Indeed, it is ha
EXTD=rd to imagine a rock audience showing enough discipline today to 
EXTD=actually allow an uninterrupted performance of acoustic music suc
EXTD=h as we have here. \n\nSo in a number of ways this brief slice of
EXTD= Live Stills serves as a timepiece reminding us of 'what was', bo
EXTD=th in our own lives, and in the career of a remarkable musician. 
EXTD=And give the dearth of live material from his most productive yea
EXTD=rs, this CD is a 'must-have' for fans of Stephen Stills. \n\n\nAM
EXTD=AZON.COM CUSTOMER REVIEW\nFor Stills' Fans Only, October 17, 1998
EXTD= \nBy  Bill B at billb@neta.com (Phoenix, Az)\nThis is an album t
EXTD=hat received poor reviews when it was released. For the most part
EXTD= I agree. It doesn't begin to capture the energy that Stills disp
EXTD=lays during his concerts. In addition, the recording mix (at leas
EXTD=t on the original LP) was mediocre. The vocals are too weak, and 
EXTD=certain instruments, especially the keyboards, are too pronounced
EXTD=. I also think the tempo of many of the songs is too quick which 
EXTD=gives them a 'rushed' feel. Nonetheless, this recording does prov
EXTD=ide a glimpse of a performer, who at his best, is as good as anyo
EXTD=ne in the business. \n\n\nHalf.com Details \n\nAlbum Notes\nPerso
EXTD=nnel: Stephen Stills, Donnie Dacus (vocals, guitar); Jerry Aiello
EXTD= (keyboards); Kenny Passarelli (bass, background vocals); Russ Ku
EXTD=nkel (drums); Joe Lala (percussion).\n\nRecorded live at at the A
EXTD=uditorium Theatre, Chicago, Illinois on March 8 & 9, 1974.
EXTT0=
EXTT1=
EXTT2=
EXTT3=
EXTT4=
EXTT5=
EXTT6=
EXTT7=
EXTT8=
PLAYORDER=
