Released on 55 years ago this week, ‘Crosby Stills and Nash’ brought together guys whose average work shames most rock composers. Then they upped the ante.

Stephen Stills’ only platinum song performance wasn’t on Buffalo Springfield’s “For What It’s Worth,” nor his own “Love the One You’re With.”

Mike Bloomfield, Al Kooper and Stephen Stills’ wildly improvisational ‘Super Session’ arrived 55 years ago this month. They don’t make them like this anymore.

Billy Porter has released a new version of Stephen Stills’ classic “For What It’s Worth,” a Vietnam-era protest song that never feels dated. It’s predictably stirring.

Chicago got in their own way once again, as Donnie Dacus’s vocals marred an otherwise enjoyable song.

Stephen Stills finds the fountain of youth by going back to one of his original muses, Judy Collins, who co-headlines on ‘Everybody Knows.’

You have to wonder why Manassas went under so many people’s radar, especially with the gap left by the breakup of Crosby Stills Nash and Young in 1970.

The ‘Pierced Arrow’ advance track “Virtual World” exemplifies everything that’s right about the Rides: a comfortable confidence that can only come from stellar musicians with nothing left to prove.

The Band is revealed in all of its muscular, almost (but never completely) out-of-control on-stage glory — bolstered, in a meeting of musical worlds, by these stabbing horn charts from Allen Toussaint. You May Also Like: Jethro Tull Road Stories: Call this one, ‘Menstrual in the Gallery’ Jethro Tull –Read More

Even the disintigration of a long-hoped-for Beach Boys reunion hasn’t stopped Brian Wilson’s third-act creative resurgence. Ask Al Jardine, a childhood friend and long-time bandmate You May Also Like: Brian Wilson’s No Pier Pressure was almost a Beach Boys album: ‘I changed my mind’ Brian Wilson + Blondie Chaplin andRead More