Stephen’s son rejoins musical fold with solid pop melodies. It takes courage to follow the musical career path of a cultural-icon parent. But when Mom’s a French superstar and Dad’s a two-time Rock and Roll Hall of Famer, it’s almost unavoidable. Chris Stills showed promise with 1998’s 100 Year Thing, but his follow-up, which was well-received in Europe, ?oundered when label V2 restructured its U.S. operations. Regaining momentum has been di?cult for Stills, but he’s still worthy of attention. This self-titled album contains no existential revelations and no anthems for the ages, but there are sentiments you’ll appreciate and pop melodies with tightly clasping charms (especially “Sweet California”). Pleasantries like the insistently percussive “Fool for Love,” the rock ’n’ soul of “Say My Last Goodbye,” and Stills’ dad-inspired harmonies on “Golden Hour,” plus his solid instrumental skills, Je? Buckley-meets-Rufus Wainwright falsetto and Sting/Police/Beatles in?uences (“Story of a Dying Man” could be titled “Fool on the Hill: Chapter 2”) should earn him a second chance.
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