It's an excellent piece Robert, and I can't help wondering how successful they could have been if they had worked with a better producer. They were reputedly unhappy that their powerful live performance was never properly captured.
Thank you, Adam. I know they were displeased with the first album - recorded too quickly, Stills and Young thought the stereo mix was lousy, etc. I think the closest they captured the wild energy of them live was the extended version of 'Bluebird' released in 1973 and never reissued on CD and not available for streaming.
Overall, I think Stills, Furay and Young quickly outgrew the band. They were destined to be short-lived, in my opinion.
Bruce Palmer's one solo album, The Cycle is Complete, is also deserving of rediscovery: It's close to a psychedelic acid-folk masterpiece. Very noodle-y, if you like that sort of thing (and I do). A track named "Alpha-Omega-Apocalypse" takes up an entire side.....
Great piece, Robert. I love the extended, 9-min, fuzzed-out version of 'Bluebird' included on the 1973 S/T double LP comp on Atco Records. It's absolutely breathtaking and builds on an already wonderful tune and takes it into a full-throttle, pedal to the medal fuzz jam, showcasing how great of a guitarist Stills was/is. For me, that double LP is the greatest collection of Buffalo Springfield tunes.
I've passed it when crate digging and foolishly so - it's the only way you can find the extended version of 'Bluebird' and approximates how they played it live.
You're doing good work. I'm not as convinced of the lasting merit of Poco, however. Maybe do a Poco retrospective! I can't help connecting to Loggins and Messina, a huge mistake in my opinion. Short funny story: I went to see Al DiMeola in the late seventies opening up for L & M. Can you imagine a more bifurcated audience? The place absolutely emptied out after DiMeola finished. L & M had the hit of course, but nobody, and I mean nobody was there to see them. The epitome of bad programming.
Thanks so much - I personally can't imagine walking out on a double-bill like that, if only as a sign of respect but indeed, two very different artists there.
Great post, Robert. I think your assertion that group identity is secondary or superfluous to what the individual members wanted to do is right on.
Every song sounds like it's from a different group! I didn't realize that until I read your text and listened to the selections. There is no group sound or identity, as you say.
It's almost as if they each got to choose their own game (genre/style) and they took turns supporting one another doing that thing. Although, as you also say, there was a lot of competition and some members dominated. There are so many groups where I think this same scenario would have happened except that a member or two were completely dominant (e.g. the Beatles where George and Ringo couldn't get their stuff played).
Anyway, I'm linking to this post of yours tomorrow, as I have a post on "For What It's Worth" coming out and think my readers may enjoy reading your take on the group. Synchronicity!
The first album by the group is truly a group effort. The second is kind of but not really - however much it can be said to be a Buffalo Springfield album, it is, to my ears, a masterpiece - dauntingly good.
The Beatles is a good comparison and it's clear that neither Stills nor Young nor Furay had any interest taking a backseat like Harrison, especially.
I saw them in 1967 at West Point believe it or not, on a tour with the Beach Boys and the Soul Survivors. B. Springfield had to follow the Soul Survivors who had just blown the roof off the WP fieldhouse. Their chiming, charming country rock didn't go down well after the Philly soul of the Survivors.
A great piece I think you hit it pretty dead on. For me I probably followed Young the longest. Poco did some nice material but seemed kind of sporadic. I enjoyed some of the material when Paul Cotton left the Illinois Speed Press project and joined. I never thought much of Stills as a solo. He was okay with the Springfield and in CSNY.
Great piece. When I listen to "Expecting to Fly" or "Broken Arrow" my jaw drops: some guys in their 20's were doing THIS in the 60's? How far we've fallen.
To jump on the soapbox for a second, though: "For What It's Worth" is by far the worst thing they ever did. The fact that that was their biggest hit just shows how far ahead of their time they really were.
Both of those songs are stunning, especially 'Expecting to Fly' - hearing that for the first time was a head Turner, for sure.
'For What It's Worth' is a good song that I've probably heard too many times by now. The Staple Singers' cover is tremendous and I also have a soft spot for Public Enemy's 'He Got Game' which samples the Buffalo Springfield and features Stills too. That all being said, to use the song as shorthand for the band misses the plot.
Really enjoyed this one — and excellent point about "Go and Say Goodbye" being on the same wavelength as Mike Nesmith, as that one has always sounded to me like an alternate-universe Monkees track.
I LOVED Buffalo Springfield (and POCO) and I thought I knew a lot about their history but his article really increased my knowledge ten fold. Thank you very much. Well done. They were so much more that "For What It's Worth"
What a remarkable band. They drew the building blocks of their sound from both the past and (their) present and, either directly or indirectly, would be responsible for much of the music which came to shape the future.
Awesome history lesson, Robert. As usual, I learned plenty I didn't know before. Thanks for the enlightenment.
It is, as always, my pleasure.
It's an excellent piece Robert, and I can't help wondering how successful they could have been if they had worked with a better producer. They were reputedly unhappy that their powerful live performance was never properly captured.
Thank you, Adam. I know they were displeased with the first album - recorded too quickly, Stills and Young thought the stereo mix was lousy, etc. I think the closest they captured the wild energy of them live was the extended version of 'Bluebird' released in 1973 and never reissued on CD and not available for streaming.
Overall, I think Stills, Furay and Young quickly outgrew the band. They were destined to be short-lived, in my opinion.
Bruce Palmer's one solo album, The Cycle is Complete, is also deserving of rediscovery: It's close to a psychedelic acid-folk masterpiece. Very noodle-y, if you like that sort of thing (and I do). A track named "Alpha-Omega-Apocalypse" takes up an entire side.....
It's one of a kind - absolutely no mind paid to making it commercial or ear-friendly. Love 'The Calm Before the Storm' - very eerie.
Great piece, Robert. I love the extended, 9-min, fuzzed-out version of 'Bluebird' included on the 1973 S/T double LP comp on Atco Records. It's absolutely breathtaking and builds on an already wonderful tune and takes it into a full-throttle, pedal to the medal fuzz jam, showcasing how great of a guitarist Stills was/is. For me, that double LP is the greatest collection of Buffalo Springfield tunes.
I've passed it when crate digging and foolishly so - it's the only way you can find the extended version of 'Bluebird' and approximates how they played it live.
It's pretty easy to find and often found for no more than $20. I think I paid $12 for mine, and it is in excellent condition.
Next time I see it, it's coming home with me.
Super group in retrospect. It was the launching pad for future noteworthy careers. Thanks for the overview as always.
Thank you - appreciate the kind words.
You're doing good work. I'm not as convinced of the lasting merit of Poco, however. Maybe do a Poco retrospective! I can't help connecting to Loggins and Messina, a huge mistake in my opinion. Short funny story: I went to see Al DiMeola in the late seventies opening up for L & M. Can you imagine a more bifurcated audience? The place absolutely emptied out after DiMeola finished. L & M had the hit of course, but nobody, and I mean nobody was there to see them. The epitome of bad programming.
Thanks so much - I personally can't imagine walking out on a double-bill like that, if only as a sign of respect but indeed, two very different artists there.
Great post, Robert. I think your assertion that group identity is secondary or superfluous to what the individual members wanted to do is right on.
Every song sounds like it's from a different group! I didn't realize that until I read your text and listened to the selections. There is no group sound or identity, as you say.
It's almost as if they each got to choose their own game (genre/style) and they took turns supporting one another doing that thing. Although, as you also say, there was a lot of competition and some members dominated. There are so many groups where I think this same scenario would have happened except that a member or two were completely dominant (e.g. the Beatles where George and Ringo couldn't get their stuff played).
Anyway, I'm linking to this post of yours tomorrow, as I have a post on "For What It's Worth" coming out and think my readers may enjoy reading your take on the group. Synchronicity!
Oh awesome - thanks, Ellen - appreciate this.
The first album by the group is truly a group effort. The second is kind of but not really - however much it can be said to be a Buffalo Springfield album, it is, to my ears, a masterpiece - dauntingly good.
The Beatles is a good comparison and it's clear that neither Stills nor Young nor Furay had any interest taking a backseat like Harrison, especially.
I saw them in 1967 at West Point believe it or not, on a tour with the Beach Boys and the Soul Survivors. B. Springfield had to follow the Soul Survivors who had just blown the roof off the WP fieldhouse. Their chiming, charming country rock didn't go down well after the Philly soul of the Survivors.
That's a big shift there - 'Expressway to Your Heart' is a fantastic cut - need to hear more from the Soul Survivors.
A great piece I think you hit it pretty dead on. For me I probably followed Young the longest. Poco did some nice material but seemed kind of sporadic. I enjoyed some of the material when Paul Cotton left the Illinois Speed Press project and joined. I never thought much of Stills as a solo. He was okay with the Springfield and in CSNY.
Thanks for the kind words. I know Young's work the most too. I should know about Poco and Stills' solo work.
Great piece. When I listen to "Expecting to Fly" or "Broken Arrow" my jaw drops: some guys in their 20's were doing THIS in the 60's? How far we've fallen.
To jump on the soapbox for a second, though: "For What It's Worth" is by far the worst thing they ever did. The fact that that was their biggest hit just shows how far ahead of their time they really were.
Both of those songs are stunning, especially 'Expecting to Fly' - hearing that for the first time was a head Turner, for sure.
'For What It's Worth' is a good song that I've probably heard too many times by now. The Staple Singers' cover is tremendous and I also have a soft spot for Public Enemy's 'He Got Game' which samples the Buffalo Springfield and features Stills too. That all being said, to use the song as shorthand for the band misses the plot.
I'd never heard that cover. Definitely improves the song!
Love their version - Mavis and Pops, and the rest of the fam hit it out the park.
Great piece Robert. These albums bring back lots of good memories.
Thank you, Marco.
Really enjoyed this one — and excellent point about "Go and Say Goodbye" being on the same wavelength as Mike Nesmith, as that one has always sounded to me like an alternate-universe Monkees track.
It sure does - 'Pay the Price' from the first album always feel like it could have been written by Nesmith.
Great piece. Any friend of the Buffalo Springfield is a friend of mine.
Love them - I think the second album, in particular, is a masterpiece.
I LOVED Buffalo Springfield (and POCO) and I thought I knew a lot about their history but his article really increased my knowledge ten fold. Thank you very much. Well done. They were so much more that "For What It's Worth"
Thank you, Marcia - glad you liked the essay.
What a remarkable band. They drew the building blocks of their sound from both the past and (their) present and, either directly or indirectly, would be responsible for much of the music which came to shape the future.
This is very well said about the importance of Buffalo Springfield.