Page 7, The Cougar Cry, November 26, 1975
CROSBY AND NASH: A TALENTED TWOSOME
David Crosby and Graham Nash—
“Wind on the Water” (ABC Records
ABCD-902) Good news for Crosby,
Stills, Nash, and Young fans! The
better half of that famed super
group, David “the Fat Bald One”,
Crosby and Graham “Willie” Nash,
have a new album on ABC Records.
As a long time follower of these
guys, I can honestly say that this
album is even better than their first
joint album of 1971. David Crosby,
walrus-mustachioed ex-Byrd and
perhaps the best male tenor singer
in all of pop music, whose wife had
a baby girl recently, and Graham
Nash — a thin Englishman and ex
member of The Hollies pop group,
are a talented twosome who go to
gether like fish and chips.
Joined by The Section (Danny
Kootch - guitar, Craig Doerge -
keyboards, Leland Sklar - bass, and
Russ Kunkel - drums), Carole King
on keyboards, James Taylor on ac
oustic guitar on two cuts, Jackson
Browne, David Lindley on slide gui
tars, Joel Bernstein on acoustic gui
tars, Levon Helm o£ The Band on
drums, and others, Crosby and Nash
come across with some very finely
produced music and very imagin
ative lyrics. The first track on the
album, “Carry Me” by Crosby is
the duo’s current single. Having al
ready heard a live version of this
song on an underground album of
C.S.N.Y.’s 1974 tour, I can’t help
but say it sounds twice as good here.
However, the most engaging cut on
the album is the concluding track
“To the Last Whale” consisting of
an instrumental/vocal harmony
track called “A Critical Mass” by
Crosby and “Wind on the Water”
by Nash, the album’s title cut. This
song is an ode to the whales which
are now on the brink of extinction.
Crosby, who owns a yacht and sails
the Caribbean, seems to have an ob
session with songs about the sea and
sailing, and this number comes a-
cross as a masterpiece.
Sandwiched in between these
two sensational cuts are four num
bers by Crosby, five songs by Nash,
and one collaboration — “Naked in
the Rain,” on which Crosby seems
to be getting back to the same feel
ings expressed on his solo album of
1971—“If I Could Only Remember
My Name”. The best number by
Nash is “Cowboy of Dreams” a
countryish tune which is typical of
him. (He wrote “Teach Your Child
ren,” didn’t he?) Crosby’s “Bitter
sweet” and “Homeward Through
the Haze” also smack of his solo al
bum and are very engaging indeed.
Nash gets down on some heavier
rock of the same style as C.S.N.&Y.
on “Mama Lion,” “Love Work
Out,” and “Fieldworker,” featuring
the “electric guitar corps”—Crosby,
Nash, and Danny Kootch. Crosby
and Kootch also play “warpath
guitars” on Nash’s “Love Work
Out.” Crosby’s “Low Down Pay
ment” is also a really interesting cut
which reflects a dreamy mood. A-
bout the only lackluster cut is
Nash’s “Take the Money and Run,”
mainly because of its odd tempo
and weak lyrics.
This album is a work of art and
well worth the vinyl it was pressed
on. It’s a refreshing thought that
half of C.S.N.&Y. are still coming
up with good music. As Neil Young’s
latest album “Tonight’s the Night”
is perhaps his worst one, and
Stephen Stills’ “Stills” on Columbia
is only a shadow of his work with
the Manassas band and by no means
a return to former glory, it’s nice to
know that “Willie” and “the Fat,
Bald One” are still full of creative
energy. Highly recommended.
—Ron Wishon
Free Movies
i
Dec. 2 — The Noose Hangs
High
Dec. 9 — Start the Revolution
Without Me
These movies will be shown in
the Teaching Auditorium at 1
P.M. and in Room 209 at 7 P.M.
on the dates above. Sponsored by
±6 Student Government Associ
ation.
I
THE LITTLE FOXES
Lillian Heilman’s “The Little
Foxes” was chosen by the College
Theater for the fall production dir
ected by Bud Mayes. Written in
1939, “The Little Foxes” is a
realistic study of a family’s relent
less greed associated with the intro
duction of industr\ to the new
South.
In a preface to a collection of
four of her plays, Lillian Heilman
wrote: “I am a moral writer, often
too moral a writer, and I cannot
avoid, it seems, that last summing
up.”
In “The Little Foxes”, the moral
is made quite clear when a servant
makes the observation: “There are
people who eat the earth and eat all
the people on it like in the Bible
with the locusts. Then there are
people who stand around and watch
them eat it. Sometimes I think it
ain’t right to stand and watch them
do it.”
Although the playwright is too
melodramatic and violent in her
approach to drama, she succeeds by
her own craftsmanship. Her char
acters are well drawn, and they
serve to demonstrate the author’s
point of view. Regina Giddens and
her brothers, Ben and Oscar
Hubbard, are all greedy, overly am
bitious, bemoaning the fact that
they lack an aristocratic back
ground. In their quest for wealth,
the three will resort to theft, mur
der, inhumanity, even the destruc
tion of the human spirit.
Such a cruel greed and a growing
degeneracy of the Hubbard family
are presented in a dramatic juxta
position with Birdie’s tender and
simplistic nature, Horace Giddon’s
refusal to participate in such
roguerv during his remaining days,
and Regina’s daughter, Alexandra’s,
coming awareness of the family’s
downfall.
Regina Criddens was played by
Karen Wheeling. Having followed
her performances with the College
Theater, I was impressed with her
experimentation, which at times en
hanced her performance and at
others, distracted from it.
Charles Redmond’s portrayal of
Ben Hubbard, the shrewd calculat
ing businessman lacking the graces
of the Southern gentleman, showed
flashes of very fine acting. Oscar
Hubbard, played by a newcomer to
the Theater, Archie Miller, was an
interesting piece of work.
I have always enjoyed Richard
Cardwell’s work. As the ailing
Horace Giddens and husband to
Regina, he qui(‘tly and beautifully
played up the dramatic contrast be
tween the two.
Birdie, as played by Judy Green,
might have possessed more depth
of character; but, nevertheless, it
was a good performance. A nice
character sketch was done by
Freddie Johnson as William
Marshall.
Other actors were Terry Callihan
and Mike Elledge, who successfully
played the younger generation
Hubbard and Giddon, and Vickje
Reins and Harrison Barnes, who
aptly played the servant roles.
On the whole, the production
was very good. Very unlike the
spring and summer productions,
“The Little Foxes” is a more de
manding play, both in character
interpretation and in acting ability.
-Ann Moffett