BUFFALO SPRINGFIELD: AGAIN (1967)
1) Mr. Soul; 2) A Child's
Claim To Fame; 3) Everydays; 4) Expecting To Fly; 5) Bluebird; 6) Hung Upside
Down; 7) Sad Memory; 8) Good Time Boy; 9) Rock & Roll Woman; 10) Broken
Arrow.
Even though the title of this second album
would seem to imply that this record is a logical heir to the first one, it
really isn't. Three young lads cut their songwriting teeth in 1966 (although at
least one of them — Furay — was denied dental help), helping each other out
where necessary. By 1967, the three young lads in question were ready to
understand how utterly different they were from each other, but professional
and historical ties still bound them together, and so, instead of three solo
albums, Fate got them to get together again and make a single one. So they kind
of jumped from their Rubber Soul
period into their Abbey Road stage
in one blink — quite a dazzling case of acceleration, if you ask me.
The actual sessions for Again were stretched out across the entire first half of 1967, and
did not always include all the band members assembled together: Young was
frequently absent because he did not care all that much, bass player Bruce
Palmer cared a lot but was also frequently absent because of his drug bust, and
session players came and went at random whenever some of the regulars dropped
out of the picture. In other words, the whole thing was rather messy, but then
«messy» was sort of good in 1967, when great ideas sprang out of chaos and
«work schedules» were considered detrimental to groundbreaking art anyway.
The one member of the band here who sounds as
if he wouldn't mind working on a schedule is Furay, who finally gets a chance
to contribute three of his own songs — and they are proto-Poco: nice, sweet,
inoffensive country-pop/rock — melodic, derivative, sentimental, perfectly
listenable but not all that exciting. ʽA Child's Claim To Fameʼ has some sweet
dobro lines added by James Burton, but could have been written and recorded by
just about any mediocre Nashville team. ʽSad Memoryʼ is an acoustic folk
ballad, somewhere in between the Everleys and James Taylor, which Young tries
to make more distinctive by playing some electric lines in the background,
muffled and disguised to sound like a soft jazzy sax solo — too quiet to draw
attention, though. ʽGood Time Boyʼ is the most upbeat number of the three, and
drummer Dewey Martin gets to sing on it, either because they didn't want him to
feel left out, or because they thought he had a sufficiently rowdy voice to
make it rougher. However, his attempts to generate a «good time» atmosphere and
bring it closer to James Brown's R&B stylistics (with chaotic-ecstatic "sock
it to me now!"s and "lay it on me now!"s) are laughable, to put
it mildly, and the whole thing, at best, can qualify as a humorous / parodic
number. (Another Beatles analogy here — they use up their drummer much like the
Fab Four used up theirs. Drummers are funny, you know).
Stills gets the largest share of songs here,
and they already establish his classic solo/CSN style: not too hard, not too
soft folk- and country-rock with a creative/psychedelic twist. Arguably the
oddest track of the four is ʽEverydaysʼ, where he combines a nightclub
lounge-jazz atmosphere with harsh feedback hum that accompanies all the verses
— assuming that the feedback is provided by Neil, this marks the first Young
experiment with guitar noise captured on record, and it is sort of ironic that
it had to happen on a Stills-penned jazz number! The most ambitious number out
of all four, though, is probably ʽBluebirdʼ, which really puts that «rock» in
«folk-rock», with battling acoustic and electric guitars, falsetto harmonies in
the bridge alternating with brashly-boldly delivered verse vocals, an
instrumental section where psychedelic drone meets folk dance and even a little
bit of drum'n'bass, and an unexpectedly soft coda where the distorted electric
guitar is kicked out of the house by a banjo — you can read all sorts of
symbolism into it, but we here will just accept this as an unpredictable
randomized adventure.
The biggest artistic breakthrough,
nevertheless, belongs to Young, whose three tunes here have all acquired
classic status, and raised the Buffalo Springfield benchmark high enough to be
able to compete with 1967's first-graders. ʽMr. Soulʼ rocks harder than
anything else on the album, and not so much because its main riff represents
but a minor variation on ʽSatisfactionʼ, but because this is where we get to
know the classic Neil Young style of guitar playing — the piercing distorted
guitar tones, the jagged, slightly dissonant solos, the relentless
ear-pummeling that forces the listener to take notice. It's a short song, with
no sign yet of the earth-shattering guitar jams that Neil would soon be
associated with, but it's a fairly truthful sign of things to come. And also,
somehow I get the feeling that the song may
have been at least a subconscious influence on ʽJumpin' Jack Flashʼ: couldn't
we hear echoes of "I was raised by the praise of a fan who said I upset
her", played to the riff of ʽSatisfactionʼ, in "I was raised by a
toothless bearded hag", played to the near-equal riff of ʽJumpin' Jack Flashʼ?
Just curious.
Neil's other two contributions are not rockers
at all, but rather grand romantic epics, on a surprisingly grand scale that
was probably imposed on him by the overall romantic ambitiousness of the times,
since his early solo records have almost nothing resembling ʽExpecting To Flyʼ
and ʽBroken Arrowʼ (well, maybe the self-titled debut does, a little bit). You
could, in fact, treat them as two separated movements of a single conceptual
piece — «The Arrow That Expected To Fly But Couldn't Because It Was Broken» or
something. The first movement is what they sometimes like to call a «Euroart
song», one that the Moody Blues and the Zombies would probably appreciate; the
second is multi-part in itself, playing out like a mini-spectacle (with a goofy
self-quotation-mode reprisal of ʽMr. Soulʼ leading into "the lights turned
on and the curtain fell down" introduction) with half-metaphorical,
half-nonsensical lyrics that seem to
be dealing with disillusionment, disenchantment, and depression. But really,
I'm just writing this because 99% of Neil's songs deal with disillusionment,
disenchantment, and depression, and remembering this always comes in handy when
trying to decipher the cryptic verbal imagery of his early years.
I think that these songs still hold up after
all these years, despite their youthful maximalism and rather naïve grandiosity
— the vocal melodies are lovely and
challenging, what with all those unpredictable time signature changes inside
the verses of ʽBroken Arrowʼ; and those who have a problem with the sharpness
and shrillness of Young's whiny voice on his stripped down solo albums will
probably wonder why he would so rarely, if ever, resort to smoothing them out
with the psychedelic echo effects on ʽExpecting To Flyʼ that retain all the
tenderness of his voice while at the same time masking the «grating» overtones.
On the other hand, neither of these songs is «typical» Neil Young — they're
«Summer-of-Love Neil Young», recorded in that really strange year when you
could extract a common musical invariant from John Lennon, Mick Jagger, Neil
Young, and Ted Nugent, so it might be argued that these are just early experiments
with different voices, and that the music is not endowed with true Young
spirit, whatever that be.
On an amusing note, you could argue that the
logical sequel to Buffalo Springfield
Again is Pink Floyd's Dark Side Of
The Moon — picking up exactly where the former left off. But apart from the
odd link between the coda of ʽBroken Arrowʼ and the beginning of ʽSpeak To Meʼ,
there would be little to further that analogy: Again has no concept, no big masterplan, and is really just an
exercise in survival of three differently attuned songwriters in the newly
discovered limitless waters of the post-Sgt.
Pepper era. An inconsistent mix of pretty secure mediocrity with flawed,
insecure greatness, it deserves its thumbs up a-plenty, but you can already see here
who's aiming for the buffalo and who's pining for Springfield.
Great review, as always.
ReplyDeleteThat cover is such a hodge-podge. Like a primary school art project. What, are the Buffalo Springfield supposed to be the gods overlooking the mountain? Does that make Stills Jupiter and Young Uranus?
ReplyDeleteThis record is a masterpiece. It's been one of my absolute favs since I was 17. "Expecting to Fly" is the most beautiful song Young ever wrote, and "Broken Arrow" almost manages to top that beauty while simultaneously injecting a dizzying dose of strangeness in the process. Essential listening.
ReplyDeleteYes, what they lost in band cohesion they gained in song quality. I agree that “Good Time Boy” is the weakest track. Letting Dewey play Ringo to Neil-Stephen-Richie’s John-Paul-George was not a good idea. “Sad Memory” should have been titled “No Memory. I can never remember it after it plays. I actually heard Yes’s cover of “Everydays” before I heard the original. I thought it was boring because their performance was boring. It’s actually boring because the original started out boring.
ReplyDeleteThe rest is great, though. “A Child's Claim to Fame” is simply charming. “Expecting to Fly” is absolutely gorgeous. “Broken Arrow” actually worked when Neil would later perform it live on only an acoustic guitar, but the 1967 production tricks take it to another level. The rest of the songs are much more intense than anything on the first album. “Rock and Roll Woman” introduces, among other things, the Hammond organ that would become an underrated element of some of his CSN and early solo work. (Their touring mates The Beach Boys would briefly add the song to their live sets, with Carl Wilson singing the lead vocals). The contrast between Richie’s lead vocal on the verses and Steve’s on the chorus of “Hung Upside Down” adds to the song’s tension. Neil would never improve on the original “Mr. Soul” live. He’d later slow down the tempo too much. The fast pace is needed to put across the track’s anger and confusion.
So, I guess I’d rate this one higher than the first. If the last one was their “Rubber Soul”, then this is their “Revolver”.