The University Press (Beaumont, Tex.), Vol. 27, No. 8, Ed. 1 Wednesday, September 29, 1976 Page: 4 of 8
eight pages : ill. ; page 16 x 12 in.View a full description of this newspaper.
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Revolver
Record reviews
I 1
by Randy Fuller
1 L
Stephen Stills and Neil Young have
long been two of my favorite musicians
to emerge from the Sixties. Since the
beginning with Buffalo Springfield,
through Crosby, Stills, Nash and Young
and during their somewhat erratic solo
careers, I have remained a loyal fan,
always eagerly awaiting the next
release by either of them.
But in recent years, Stills and Young
have really not been at their best while
performing solo. Young seemed to
need the interaction with Crazy Horse
to reach the high level he had achieved
with CSN&Y, and Stills hadn’t really
been able to recapture the old spirit he
lost after the first Manassas LP. Many
thought that to ceunite these two talents
would bring the magic back, and when
it was announced that they had record-
ed an album together, I began making
a nuisance of myself at the corner
record store.
Well, it’s finally out. This time they
call their unit the Stills-Young Band,
and their record is Long May You Run.
What it amounts to is a two-for-one deal
of sorts: a Stills album and a Young
album all on one record. The author-
ship of the nine songs is divided almost
equally with Young penning five and
Stills four.
The songs on side one are smooth and
mellpw while side two is a bit grittier.
On the mellow side, Young’s title track
and Stills’ "Make Love To You” are
standouts, and Stills’ "12/8 Blues (All
The Same)” on side two is his best con-
tribution in quite spme time.
Young’s tunes all remind one
strongly of his past work, especially
Harvest and On The Beach,and “Let It
Shine” sounds like it was meant for
Zuma. But the four Stills compositions
sound as if they could have come from
one' of his last two records. Not that
they’re so bad) it’s just that working
with Young didn't seem to change him
as much as some had hoped.
Long May You Run is a very tight
package, altogether, and it’s guaran-
teed to please all Stills-Young fans and
last us until the next release from either
one of them.
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UNIVERSITY PRESS September 29,1976®4
Silent man says much
Keith Berger is truly a magician. He
takes empty space and from no where
builds a wall. He juggles invisible balls
until they can actually be seen. And he
can keep a roomful of people so well un-
der his spell that not even they can
break his silence.
Berger was on campus last Thursday
and Friday. He held a workshop Thur-
sday in the theatre. He showed up on
campus Friday and attracted quite a
crowd. Then he performed to a capacity
crowd Friday night in the Ballroom.
His pieces were sometimes funny,
sometimes sad, sometimes even
slightly frightening. He exchanged
hearts with a woman in the audience
but had to return hers to her because it
was too heavy.
After his performance, he loudly an-
nounced, "I can talk!” He then an-
swered any questions that the audience
had to ask. Berger says that he exer-
cises seven to eight hours each day
when he can.
“I try to make people feel without words. There are certain
vibrations that go beyond words.”
“I am a tragic man. I think that in all comedy there must be a little
tragedy and in all tragedy, some comedy.”
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To prepare for a per-
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Photos by Robin Barrow'
and Danny Simar
Text by Cindy Williams
2909 West Loop South
Houston, Texas
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Daniels, Cheryl. The University Press (Beaumont, Tex.), Vol. 27, No. 8, Ed. 1 Wednesday, September 29, 1976, newspaper, September 29, 1976; Beaumont, Texas. (https://texashistory.unt.edu/ark:/67531/metapth500245/m1/4/?q=Lamar+University: accessed June 4, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; crediting Lamar University.