BUFFALO SPRINGFIELD: LAST TIME AROUND (1968)
1) On The Way Home; 2) It's So
Hard To Wait; 3) Pretty Girl Why; 4) Four Days Gone; 5) Carefree Country Day;
6) Special Days; 7) The Hour Of Not Quite Rain; 8) Questions; 9) I Am A Child;
10) Merry-Go-Round; 11) Uno Mundo; 12) Kind Woman.
Of the three Buffalo Springfield records, this
one always gets the cold shoulder — for objective reasons: like Cream's Goodbye a year later, it was released
due to contractual obligations already a few months after the band had split,
it consisted of various odds-and-ends recorded over a year-long period, and it
did not even have a single track where all of the band members would be playing
together. Clearly, this is an album that cannot be as strong as its
predecessors — and this is the decision towards which most listeners are biased
even before putting it on.
But if Last
Time Around does not and cannot work as a «coherent» group album (and
neither did Again, for that matter),
it does not mean, either, that all these songs were not written and recorded
at a time when all the songwriters
involved (even Richie Furay!) were maturing or even reaching their creative
peaks. In just one more year, Stills would be a respectable and visionary
member of Crosby, Stills & Nash; Young would be issuing the first of his
numerous solo classics; and even those first Poco albums weren't all that bad,
when you lower your expectations.
With maybe one or two questionable exceptions,
all the songs here are at least good — hooky, meaningful, nicely produced — and
at least a few are classics for the ages. And even if the principal
songwriters are pulling on the blanket in different directions, it's not as if
these directions are completely incompatible: had it been so, there'd be no way
that Stills and Young would still regularly get together later, as parts of
CSN&Y or of the Stills-Young band. Heck, even the sole contribution by the
latecoming new member, Jim Messina, who briefly replaced Bruce Palmer on bass,
is nonchalantly nice — not to mention that it would very soon be rewritten by
Ray Davies as ʽHolidayʼ, although they both probably caught the tune from some
pre-war vaudeville.
Anyway, speaking of individualities, Young is
really underrepresented here, with just two solo songs to his name — of which
ʽOn The Way Homeʼ is a fairly soft, innocent folk-pop ditty sung by Furay and
dominated by falsetto group harmonies that sound more Beach Boys than Neil
Young; and ʽI Am A Childʼ is an early Neil classic that would soon become a stage
favorite, a very simple little ditty that probably earns our love by how well
the chorus matches its basic catchiness and simplicity — a song written,
indeed, from a child's point of view, but, in the grand tradition of «baffling
the grown-up», ending up asking some unanswerable question or other (in this
case, "what is the color when black is burned?", and no, the song was
recorded two months prior to Martin Luther King's assassination, if you're
looking for some political metaphor here). I mean, ol' Neil can be a very boring gentleman on acoustic guitar
and harmonica when he plays those things for too long, but these two and a half
minutes — so sweet, so charming, worth all of Harvest for me if you need a hyperbolical comment.
Of the five Stills numbers, I would want to
single out ʽFour Days Goneʼ, which already gives you the perfectly accomplished
Steve Stills of Crosby, Stills & Nash — a country waltz with nervous
tension a-plenty and that fabulous desperation strain in Steve's voice that gets
through to you even if he's singing so quietly, never having to strain his
vocal chords; and ʽSpecial Daysʼ, with a great guitar tone that shows how much
the man has matured as a psychedelic rock'n'roll player from the early days of
romantic folk-rock. ʽUno Mundoʼ, bringing in a Latin beat and a rather hammy
lyrical attempt to marry all the world's continents to each other, seems like a
misfire to me, but an amusing one — as an anthem, it may not be nearly as
immoral as ʽLove The One You're Withʼ, but the "uno mundo, uno
mundo..." harmonies should probably have been left to somebody more
authentic, like Santana.
Probably the weirdest number here, however, is
ʽThe Hour Of Not Quite Rainʼ, an art-pop song with baroque orchestration
written by Furay around a poem by Micki Callen as the result of a radio contest
on a Los Angeles station («send us your words and Buffalo Springfield will
write a song to them because that is absolutely what they're here for, folks»).
Amazingly, it sounds real good, with an atmosphere of some deep autumnal
mystery generated by the cello-and-brass-heavy orchestration and by Furay's
slow, high-pitched, slightly somnambulant, if not altogether drugged-out,
vocals. Despite being written «on order» and not featuring the input of any
band member other than Furay, it somehow ends up in the same class as
ʽExpecting To Flyʼ — melancholic light classical psychedelia with a bit of a
shivery edge to it.
In short, I would recommend not to regard the
record as an auxiliary odds-and-ends package, nor to see it as a
less-than-perfect swan song — in reality, «Buffalo Springfield» were almost
always more of a mixture of interests than a band united by a single purpose,
and should be seen as the first chronological chapter of a long saga, or
perhaps an important prologue to the continuing story of Stills, Young, and
their buddies from the Byrds and the Hollies (now these were actually real bands, whose stories were vastly different
from CSN&Y and did not end with Crosby's and Nash's departures). And in
that context, Last Time Around is
really more of a See You Soon, Folks
thing — not the sound of something crashing and dying, but the sound of
something better beginning. And, of course, it gets a thumbs up.
George, it's 'Special Care', not 'Special Days'.
ReplyDeleteWhat about Kind Woman?? Oh well, I will content myself with the fact that you now refer to Neil's early albums as "classics". Great review as always. You've inspired me to revisit this one, as I'd never paid enough attention to it before.
ReplyDeleteThis comment has been removed by a blog administrator.
ReplyDeleteFirst, I have to say that “Carefree County Day” is NOT a real BS track. If producer Messina had let Furay sing it, it might have sounded legit. However, it’s clearly Messina hoping to bring him in some songwriting royalties on the group’s back. "The Hour of Not Quite Rain" fits in very well with “Expecting to Fly” and “Broken Arrow”, but Furay’s other tracks are dismissible.
ReplyDeleteSo, the album is once again carried by Stills and Young. However, the real Neil only comes through on “I Am a Child”. Between those horns and Furay’s lead vocal, “On the Way Home” doesn’t sound like Neil at all, but it’s still a really good song. Neil wouldn’t reclaim the song until his live versions.
As for Stills, “Special Care” and “Four Days Gone” would become part of his live solo sets. “Uno Mundo” is the first of many of Stills’ Latin tunes, only marred by that corny Herb Alpert type trumpet. “Questions” is my favorite. I didn’t hear it until after I had heard CSN’s “Carry On”, so I was a bit mind boggled.
In a way, it’s too bad the group couldn’t continue, because their peaks were great.