Sir John Coan wrote:toomanyhatz wrote:Sir John Coan wrote:Neil Young's solo career so overshadows Buffalo Springfield's in every way it's almost unfair to compare him against the others.
You sell them short, John, you always have. That was a hell of a band. That's when Stills was a monster talent as well. Sure Young has a lot to do with them being special, but vice-versa. Top rhythm section too.
I wouldn't dispute any of that, but Young's career has shown infinitely more diversity, ambition, and fascination than that band. If we're talking about relative successes - comparing solo careers against those of the bands they came out of - I think you'd be hard pressed to find a starker contrast. BS were hardly the Velvets, were they?
toomanyhatz wrote:Buffalo Springfield Again is the very essence of diversity, ambition and fascination. It's where Stills and Young discovered that they could push each other to heights of guitar inspiration. Some of Young's greatest career achievements- "Expecting to Fly" and "Mr. Soul"- are right here. Stills' "Bluebird" and "Hung Upside Down" compare favorably with the best of that first Moby Grape album. They weren't the Velvets, no, but remember they lasted barely two years and the Velvets lasted five. They did pretty damn well for three albums, including one that wasn't finished. I urge you to re-listen to all their work, but particularly BSA. OK, there's a certain amount of proto-California country-rock that's more my taste (and Balboa's) than yours. But if Neil Young had retired at the end of it, and Stills dropped the ball afterwards as much as- well, he did, it would still be looked on as a classic record.
I think calling it anything other than a classic record sells it short. I think it's right up there with the first Moby Grape record, which it's actually quite similar to. I think this is Stephen Stills' peak as a songwriter. And I think Neil has his first truly great ones. I think it's one of the best records ever. I don't think it has a bad track on it.
1. "Mr. Soul" (Young) – 2:35
* Original recording January 9, 1967, Atlantic Studios, New York, New York. Additional recording April 4, 1967. Lead vocal: Neil Young. Backing vocal and guitar: Richie Furay. (Stills absent.)
2. "A Child's Claim to Fame" (Furay) – 2:09
* Recorded June 21, 1967, Columbia Recording Studios, Los Angeles, California. Lead vocal: Richie Furay. Dobro: James Burton.
3. "Everydays" (Stills) – 2:38
* Recorded March 15, Gold Star Studios, Los Angeles, California. Lead vocal: Stephen Stills. Bass: Jim Fielder. (Bruce Palmer absent.)
4. "Expecting to Fly" (Young) – 3:39
* Recorded May 6, 1967, Sunset Sound, Los Angeles, California. Lead vocal: Neil Young. Arrangement: Jack Nitzsche. (Rest of group absent.)
5. "Bluebird" (Stills) – 4:28
* Recorded starting April 4, 1967, Sunset Sound, Los Angeles, California. Lead vocal: Stephen Stills. Bass: Bobby West. Banjo: Charlie Chin. (Bruce Palmer absent).
6. "Hung Upside Down" (Stills) – 3:24
* Recorded June 30 & September 1-5, 1967, Columbia Recording Studios & Sunset Sound, Los Angeles, California. Lead vocal: Richie Furay (verses), Stephen Stills (choruses).
7. "Sad Memory" (Furay) – 3:00
* Recorded September 5, 1967, Sunset Sound, Los Angeles, California. Lead vocal: Richie Furay. Electric lead guitar: Neil Young. Acoustic guitar: Richie Furay. (Stills, Palmer, and drummer Dewey Martin absent.)
8. "Good Time Boy" (Furay) – 2:11
* Recorded August 1967, Sunset Sound, Los Angeles, California. Lead vocal: Dewey Martin. Reports differ on whether drummer Martin actually played drums on this track, or whether it was played entirely by session musicians, including the Soul Train horns.
9. "Rock & Roll Woman" (Stills/Crosby[uncredited]) – 2:44
* Recorded June 22-August 8, 1967, Sunset Sound, Los Angeles, California. Lead vocal: Stephen Stills. Background vocal: David Crosby (disputed; he is, however, an uncredited co-writer of the melody.) Guitar: Doug Hastings.
10. "Broken Arrow" (Young) – 6:13
* Recorded August 25 & September 5-18, 1967, Columbia Recording Studios & Sunset Sound, Los Angeles, California. Lead vocal: Neil Young. (Rest of group absent.) Piano, organ: Don Randi. Guitar: Chris Sarns. Backing vocal: Richie Furay (overdubbed).
OK, it's very much like the White Album in that it's each of them working separately rather than as a band, but I think similarly they were all bursting forth with ideas, and the diversity and range of the record is damned impressive.
Am I looking at it through rose-colored lenses, or is it as brilliant as I think it is?