Hello again! Another Sunday Session, and this one is a big one. Today we’re covering one of the most important bands of the late 60s California scene: Buffalo Springfield, with a full career-spanning pack pulling from all three of their albums!
Buffalo Springfield existed for exactly two years – 1966 to 1968 – released three albums, and then fell apart. In that time they helped shape the folk rock movement, pushed it toward country rock territory, played electric shows full of jams, created one eternal anti-war hit (“For What It’s Worth” – official DLC of course) and launched several careers that would go on to define the next decade of music. The band formed in Los Angeles in 1966 after a chance encounter in a traffic jam on Sunset Strip between Stephen Stills and Richie Furay (veterans of the Greenwich Village folk scene) and Neil Young and Bruce Palmer (Canadians who had driven across the country). Drummer Dewey Martin joined shortly after, and within weeks they were headlining the Whisky a Go Go.
What makes Buffalo Springfield so interesting – and what makes this pack so varied – is that they had three distinct songwriters operating simultaneously. This was primarily Neil Young’s introduction to the world before his solo career took off. Stills was more experienced, more rock-oriented, and of course would soon form Crosby, Stills & Nash (which Young will also join in the future). And Furay brought a country warmth that would become his main legacy with Poco. So let’s go!
From the debut, Buffalo Springfield (1966):
An absolute classic record with many great songs. “Sit Down, I Think I Love You” is a Stills-penned slice of jangly, bright-eyed pop. “Nowadays Clancy Can’t Even Sing” was the band’s debut single, a beautiful engimatic song written by Young but sung by Furay. “Flying on the Ground Is Wrong” (previously released) is another Young/Furay combination — Young writing, Furay singing – and one of my favourite ever Neil Young songs. “Do I Have to Come Right Out and Say It” is a sweet song with a beautiful melody. And “Out of My Mind” closes out the debut selection with one of Young’s most most emotional performances of the whole era – this time singing himself!
From Buffalo Springfield Again (1967):
The album kicks off with “Mr. Soul” (previously released) – Young at his most wired and frenetic, built on a riff that nods to the Stones and turned into something very Neil. “A Child’s Claim to Fame” is Furay’s country’ instinct in full bloom’s bit – a gentle acoustic number that pointed directly toward Poco. “Bluebird” is the Stills showpiece: an ambitious jam that moves through several distinct sections and shows what this band could do at full stretch. And it’s a crazy guitar track! “Rock & Roll Woman” is looser and more playful, with harmonies that practically preview what CSNY would do two years later.
From Last Time Around (1968):
By the time this album was recorded the band was essentially already finished – sessions were scattered, and the record was compiled and sequenced by Jim Messina after the breakup. It’s a patchwork, but a beautiful one. “On the Way Home” is one of Young’s most beautiful songs from this era, one he’d keep playing live for decades – here in a great full band arrangement (lead vocal again by Furay). “Pretty Girl Why” is a bossa-nova influenced, slightly melancholy Stills track that tends to get overlooked. “I Am a Child” is classic Young: simple, disarming and beautiful. “Questions” is Stills rocking hard and it’s a classic track. And “Kind Woman” (previously released) closes everything out with Furay’s sweetest country ballad – a fitting final note for the band.
That’s it for today! Tune in next Sunday for the final Sunday Session of this round! And this time we have, a golden voice that aged like fine wine… two shows, 30 years apart.
