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May 30, 2023It’s an inspired performance. Stills is in fine form, vocally, on guitar, banjo (a searing “Know You’ve Got to Run,” a precursor to Déjà Vu’s “Everybody I Love You”) and even pounding the piano for a ragged but committed mash-up of “49 Bye Byes” and the Buffalo Springfield’s “For What It’s Worth.”
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May 30, 2023Live At Berkeley 1971 powers through it all – relentless, often overwrought, often brilliant, too. [Jun 2023, p.99]
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Jun 23, 2023In total, it’s a wonderful summation of where Stills was in 1971 and the depth and breadth of his talent onstage.
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UncutMay 30, 2023Stills is dynamic vocally and instrumentally throughout, but the underutilised talent pool makes this document of what was incongruously dubbed The Memphis Horns Tour and odd curio that exemplifies the wigged-out extravagance of the era. [Jun 2023, p.49]
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Classic Rock MagazineMay 30, 2023Sublime harmonies rule on You Don't Have TO Cry and The Lee Shor, both featuring guest Daid Crosby. But once the Memphis horns kick in during the show's second half, Stills seems to be fighting for pace, resulting in an overwrought For What It's Worth and Bluebird Revisited. [Jul 2023, p.92]