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| posted on 10/25/2010 at 06:10 PM|
Here's an 11 minute medley from last night for those who didn't get enough in that other clip I posted.
Don't let the sounds of your own wheels
Drive you crazy
Lighten up while you still can
Don't even try to understand
Just find a place to take your stand
And TAKE IT EASY
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| posted on 10/26/2010 at 10:42 AM|
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| posted on 10/26/2010 at 11:49 AM|
|Thanks. The full show is now up on the Traders Den|
The difference between stupidity and genius is that genius has its limits. Albert Einstein
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| posted on 10/26/2010 at 03:26 PM|
|Thanxs for the post.|
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| posted on 10/30/2010 at 07:15 AM|
|Here's audio of the 10-23-10 show - it might not be up long...|
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| posted on 10/30/2010 at 02:28 PM|
|Thanks for sharing these Rob. |
"Come on down to the Mermaid Cafe and I will buy you a bottle of wine, and we'll laugh and toast to nothing and smash our empty glasses down..."
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| posted on 10/30/2010 at 02:29 PM|
|I have a FLAC vine of both nights in the vine section|
It was fun while it lasted
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| posted on 10/31/2010 at 04:51 AM|
|Ah, the bring back memories. From six days ago. At Shoreline.|
The remarkable thing about Buffalo Springfield was that Buffalo
Springfield sounded just like Buffalo Springfield. Not like Stephen
Stills, not like Neil Young, but just like … Buffalo Springfield …
which meant that Richie Furay’s radio-friendly lead vocals took center
stage from the outset.
Stills and Young flanked him, and seemed to be genuinely enjoying
reenacting their Beatlemania-era harmonies.
Which was all the more remarkable given that this incarnation of the
band featured all-wooden front-men. Only Bruce Palmer stunt-double
Rick Rojas sported an electric axe. The front-line of Stills, Furay,
and Young all confined themselves to acoustic guitars.
Stills swapped out his guitars as the trademark Springfield open
tunings demanded. One even sported a rather prominent “Stephen Stills”
inlay on the fretboard.
Young, on the other hand, pretty much stuck for the most part with
same black composite hex-pickup acoustic he’d been given by Daniel
Lanois, the one featured on the acoustic Le Noise numbers as well. He
did do one turn at the piano.
And, he was wearing one of those classic tan leather fringed jackets,
like the one on er, the Everyone Knows This is Nowhere cover.
Stills, in his dotage, on the other hand, appears to have opted for a
Virginia Country Gentleman look, in a dapper light colored suit and
bright blue tie. The look fits his trademark chin-beard. I gather he's
had some health problems, maybe he figures he wants to dress the way
he'd want to be buried these days.
Come to think of it, I think this was the first time I'd ever actually
seen him, let along Furay.
Was BS ever a suit and tie band?
The sound was at once the same trademark major-seventh chord seasoned
arrangements and open tunings that made 'em distinctive in the old
The musical highlights have been widely discussed, I Am a Child was superb.
For What's its Worth was anything but the sloppy trainwreck that I'd
come to expect from Still's in the seventies and eighties. Still's
once meandering vocals loped along with the lazy bluesy arrangement
that clicked nicely.
The musical highlight had to be the all-wooden jam in Bluebird though.
I didn't know a wooden band could play like that.
The closer, Mr. Soul was about as faithful to the Springfield original
as wood would allow.
Thank You, We're Buffalo Springfield, said Young. And they were