A song....

[IndyCarzGo]

Couldn't sleep last night for dreams....


A Veteran’s Song
    
The bars are crowded with wasted youth
You just went, you didn’t know the truth
You don’t know that kid when you look back
You remember the music, paint it black

You had a brother in the movement and he burned his card
He’s got a job in the white house, ain’t life hard
You came back a hero on a stolen horse
You say you don’t fit in, you can’t stay the course

I may be right, don’t care if I’m wrong
It’s a veteran’s song
I may be right, don’t care if I’m wrong
It’s a veteran’s song

The band paraded playing oh gung ho
Your country needs you, you’ve got to go
When you came over they said soldier go back
When you came home they put you on the rack

Between agent orange and the jungle and fear
You’re just surviving to get out of here
You smoke some more herb and you keep your head down
Could be your number is on the next round.


(mccafferty, sweet, charlton, agnew)
Publishing copyright: m.a.c.s. music
Copyright 1986 nazareth (dunfermline) ltd., dunfermline

[AfterShock]

There's something happening here
What it is ain't exactly clear
There's a man with a gun over there
Telling me I got to beware

I think it's time we stop, children, what's that sound
Everybody look what's going down

The battle lines being drawn
Nobody's right if everybody's wrong
Young people speaking their minds
Getting so much resistance from behind

I think it's time we stop, hey, what's that sound
Everybody look what's going down

What a field day for the heat
A thousand people in the street
Singing songs and carrying signs
Mostly say, hooray for our side

It's time we stop, hey, what's that sound
Everybody look what's going down
Stop, hey, what's that sound
Everybody look what's going down

Paranoia strikes the heat
Into your heart it will creep
It starts when you're always afraid
You step out of line, the man come and take you away

We better stop, hey, what's that sound
Everybody look whats going down
Stop, hey, what's that sound
Everybody look what's going down
Stop, now what's that sound
Everybody look what's going down
Stop, children, what's that sound
Everybody look what's going down

Stephen Stills -- 1966

BUFFALO SPRINGFIELD

[IndyCarzGo]

Southern Cross Lyrics

Artist: Crosby Stills & Nash
 

Got out of town on a boat
Goin' to Southern islands.
Sailing a reach
Before a followin' sea.
She was makin' for the trades
On the outside,
And the downhill run
To Papeete.
Off the wind on this heading
Lie the Marquesas.
We got eighty feet of the waterline.
Nicely making way.
In a noisy bar in Avalon
I tried to call you.
But on a midnight watch I realized
Why twice you ran away.

Chorus
Think about how many times
I have fallen
Spirits are using me
larger voices callin'.
What heaven brought you and me
Cannot be forgotten.
I have been around the world,
Lookin' for that woman/girl,
Who knows love can endure.
And you know it will.
And you know it will.

When you see the Southern Cross
For the first time
You understand now
Why you came this way
'Cause the truth you might be runnin' from
Is so small.
But it's as big as the promise
The promise of a comin' day.
So I'm sailing for tomorrow
My dreams are a dyin'.
And my love is an anchor tied to you
Tied with a silver chain.
I have my ship
And all her flags are a flyin'
She is all that I have left
And music is her name.

Chorus
Think about how many times
I have fallen
Spirits are using me
larger voices callin'.
What heaven brought you and me
Cannot be forgotten.
I have been around the world,
Lookin' for that woma/girl,
Who knows love can endure.
And you know it will.
And you know it will.

So we cheated and we lied
And we tested
And we never failed to fail
It was the easiest thing to do.
You will survive being bested.
Somebody fine
Will come along
Make me forget about loving you.
At the Southern Cross.

[AfterShock]

Stephen Stills 1966

For What It's Worth

There's something happening here
What it is ain't exactly clear
There's a man with a gun over there
Telling me I got to beware

I think it's time we stop, children, what's that sound
Everybody look what's going down

OHIO

Neil Young remembers,
"It's still hard to believe I had to write this song. It's ironic that I capitalized on the death of these American students. Probably the most important lesson ever learned at an American place of learning. David Crosby cried after this take."

Tin soldiers and Nixon coming
We're finally on our own.
This summer I hear the drumming
Four dead in Ohio.

Flip to side "B" --
Find The Cost Of Freedom

Recorded in about 15 minutes.

See
http://www.thrasherswheat.org/fot/ohio.htm

[IndyCarzGo]

Actually SAW the Southern Cross on the way back from Vietnam.... Also saw the Northern Lights...On a NATO flight mission from the USS America in the Arctic Circle..... Man... as my eye-talian friend Big  Looie would say....

"Almost froze my collonies off...temp was maen 45 below zero...wind chill minus 68!!"

It was worth it though...it was a sight i will NEVER forget!!!

[IndyCarzGo]

Box Of Rain

Look out of any window, any morning, any evening, any day.
Maybe the sun is shining, birds are singing,
No rain is falling from a heavy sky.
What do you want me to do, to do for you to see you through?
For this is all a dream we dreamed one afternoon, long ago.

Walk out of any doorway, feel your way, feel your way like the day before.
Maybe youll find direction,
Around some corner where its been waiting to meet you.
What do you want me to do, to watch for you while you are sleeping?
The please dont be surprised when you find me dreaming too.

Look into any eyes you find by you, you can see clear to another day,
Maybe been seen before, through other eyes on other days while going home.
What do you want me to do, to do for you to see you through?
Its all a dream we dreamed one afternoon, long ago.

Walk into splintered sunlight,
Inch your way through dead dreams to another land.
Maybe youre tired and broken,
Your tongue is twisted with words half spoken and thoughts unclear

What do you want me to do, to do for you to see you through?
A box of rain will ease the pain, and love will see you through.

Just a box of rain, wind and water,
Sun and shower, wind and rain,
In and out the window like a moth before a flame.

And its just a box of rain, I dont know who put it there,
Believe it if you need it, or leave it if you dare.

And its just a box of rain, or a ribbon for your hair;
Such a long long time to be gone, and a short time to be there.

[IndyCarzGo]

BTW do you remember what Steve Stills was refering to when he wrote that song?

[AfterShock]

BTW do you remember what Steve Stills was refering to when he wrote that song?

....................................... ....................................... ......................................

OHIO?

Yup.
As a result of an article in the May 15, 1970 issue in Time Magazine.

Allison Krause,..........age 19 -- from 110 yards
Jeffery Miller, ...........age 20 -- from 90 yards
Sandra Scheuer, ...... age 20 -- from 130 yards
William Schroeder, ....age 19 -- from 130 yards

Shot to death by National Guard members on May 4, 1970 at
Kent State University, Ohio.

Thirteen seconds of firing into the crowd, ......................................

Four students dead
One paralized and
Eight others wounded.

The Isleys also did a cover of OHIO, although they deviated from the original opening line, "Tin soldiers and Nixon coming" to, "Tin soldiers with guns they're coming".

Neil Young captured the rage and anger in the original, the Isleys captured the fear of a government violently turn against it's own people.

Or, did you mean another song? 

[nascarbabe2U]

Great songs guys........2 of my favorites........BUFFALO SPRINGFIELD & CSN.

Thanks for the URL Shocky, I bookmarked it.

That brought me to a song I thought fitting. Sheesh where was I during the 60's.....a toddler I guess

Peace Train

by Cat Stevens

Now I've been happy lately, thinking about the good things to come
And I believe it could be, something good has begun

Oh I've been smiling lately, dreaming about the world as one
And I believe it could be, some day it's going to come

Cause out on the edge of darkness, there rides a peace train
Oh peace train take this country, come take me home again

Now I've been smiling lately, thinking about the good things to come
And I believe it could be, something good has begun

Oh peace train sounding louder
Glide on the peace train
Come on now peace train
Yes, peace train holy roller

Everyone jump upon the peace train
Come on now peace train

Get your bags together, go bring your good friends too
Cause it's getting nearer, it soon will be with you

Now come and join the living, it's not so far from you
And it's getting nearer, soon it will all be true

Now I've been crying lately, thinking about the world as it is
Why must we go on hating, why can't we live in bliss

Cause out on the edge of darkness, there rides a peace train
Oh peace train take this country, come take me home again

[IndyCarzGo]

Great songs guys........2 of my favorites........BUFFALO SPRINGFIELD & CSN.

That brought me to a song I thought fitting. Sheesh where was I during the 60's.....a tolder I guess

Peace Train

by Cat Stevens

Now I've been happy lately, thinking about the good things to come
And I believe it could be, something good has begun

Oh I've been smiling lately, dreaming about the world as one
And I believe it could be, some day it's going to come

Cause out on the edge of darkness, there rides a peace train
Oh peace train take this country, come take me home again

Now I've been smiling lately, thinking about the good things to come
And I believe it could be, something good has begun

Oh peace train sounding louder
Glide on the peace train
Come on now peace train
Yes, peace train holy roller

Everyone jump upon the peace train
Come on now peace train

Get your bags together, go bring your good friends too
Cause it's getting nearer, it soon will be with you

Now come and join the living, it's not so far from you
And it's getting nearer, soon it will all be true

Now I've been crying lately, thinking about the world as it is
Why must we go on hating, why can't we live in bliss

Cause out on the edge of darkness, there rides a peace train
Oh peace train take this country, come take me home again

Yes... But now that Cat Stevens is Joseff Islam.... People seem to forget those words.... wonder why?

Here's another of his best...and my faveorites...used to get played on the show a lot!!!

Were Do The Children Play?

Well I think it's fine, building jumbo planes.
Or taking a ride on a cosmic train.
Switch on summer from a slot machine.
Yes, get what you want to if you want, 'cause you can get anything.

I know we've come a long way,
We're changing day to day,
But tell me, where do the children play?

Well you roll on roads over fresh green grass.
For your lorry loads pumping petrol gas.
And you make them long, and you make them tough.
But they just go on and on, and it seems that you can't get off.

Oh, I know we've come a long way,
We're changing day to day,
But tell me, where do the children play?

Well you've cracked the sky, scrapers fill the air.
But will you keep on building higher
'til there's no more room up there?
Will you make us laugh, will you make us cry?
Will you tell us when to live, will you tell us when to die?

I know we've come a long way,
We're changing day to day,
But tell me, where do the children play?

[IndyCarzGo]

....................................... ....................................... ......................................

OHIO?

Yup.
As a result of an article in the May 15, 1970 issue in Time Magazine.

Allison Krause,..........age 19 -- from 110 yards
Jeffery Miller, ...........age 20 -- from 90 yards
Sandra Scheuer, ...... age 20 -- from 130 yards
William Schroeder, ....age 19 -- from 130 yards

Shot to death by National Guard members on May 4, 1970 at
Kent State University, Ohio.

Thirteen seconds of firing into the crowd, ......................................

Four students dead
One paralized and
Eight others wounded.

The Isleys also did a cover of OHIO, although they deviated from the original opening line, "Tin soldiers and Nixon coming" to, "Tin soldiers with guns they're coming".

Neil Young captured the rage and anger in the original, the Isleys captured the fear of a government violently turn against it's own people.

Or, did you mean another song? 

No...I was refering to "For What It's Worth".....

BTW Allison was from NY as were others of the dead.... Does anyone remember Jackson State? No song ever written about THAT ONE.... wonder why?

"Again, where the people are absolute rulers of the land,
they rejoice in having a reserve of youthful citizens,
while a king counts this a hostile element
and seeks to slay the leading ones,
all such as he deems discreet,
for he feareth for his power."

--from the Greek tragedy, THE SUPPLIANTS,
by Euripedes

[AfterShock]

OH!
For What It's Worth

As I understand, it's an anti-war protest song and a call to citizens to wake up and smell the coffee burnin'.

Hey now, what's that sound
Everybody look what's going down.

Remember,

You Can Get ANYthing You Want At
Alice's Restaurant ---
'Ceptin' Alice.

Sit on the "Group W bench". (with the father rapers)

I Just Want To Ride My Motorcycle

........on one side of the mountain road ----------
was a mountain.
On the other side,
there was nothing.
Luckily, I didn't hit the mountain, -----------
I went over the side.

On the way down, I composed this song, ....................

I don't wanna tickle
I just wanna ride my motor syckle
I don't wanna cry
I just wanna ride my motor-cy ----- kull.

Arlo Guthrie

Cat Stevens?
Oh yeah!
Big favorite of mine.

And if I ever lose my mouth
All my teeth, north and south
For if I ever lose my mouth,.....................
I won't have to smile no more.

and

How can I tell you that I love you
I love you
But I can't think of right words to say

Where ever I am girl, I'm always
Always thinking of you
But I can't think of right words to say.
Right words to say.

Sang that song in Patti's ear many times.
Usually with the same results.

Do Not Disturb.

(Never should have let Patti get away.)

[nascarbabe2U]

Isn't it funny how simple Words, names, places and faces can cut like a laser creating the fine line bewteen love & hate........I think what happen to him and his daughter was nothing but pure BS.

Ya know Shocky it's never too late. All great things come to those who wait.....thats why I'm still sittin here waiting.

Here's a song for you!

Now that I've lost everything to you
You say you wanna start something new
And it's breakin' my heart you're leavin'
Baby, I'm grievin'
But if you wanna leave, take good care
Hope you have a lot of nice things to wear
But then a lot of nice things turn bad out there

Oh, baby, baby, it's a wild world
It's hard to get by just upon a smile
Oh, baby, baby, it's a wild world
I'll always remember you like a child, girl

You know I've seen a lot of what the world can do
And it's breakin' my heart in two
Because I never wanna see you a sad, girl
Don't be a bad girl
But if you wanna leave, take good care
Hope you make a lot of nice friends out there
But just remember there's a lot of bad and beware

Baby, I love you
But if you wanna leave, take good care
Hope you make a lot of nice friends out there
But just remember there's a lot of bad and beware
 

[IndyCarzGo]

OH!
For What It's Worth

As I understand, it's an anti-war protest song and a call to citizens to wake up and smell the coffee burnin'.

Hey now, what's that sound
Everybody look what's going down.

Remember,

You Can Get ANYthing You Want At
Alice's Restaurant ---
'Ceptin' Alice.

Sit on the "Group W bench". (with the father rapers)

I Just Want To Ride My Motorcycle

........on one side of the mountain road ----------
was a mountain.
On the other side,
there was nothing.
Luckily, I didn't hit the mountain, -----------
I went over the side.

On the way down, I composed this song, ....................

I don't wanna tickle
I just wanna ride my motor syckle
I don't wanna cry
I just wanna ride my motor-cy ----- kull.

Arlo Guthrie

Cat Stevens?
Oh yeah!
Big favorite of mine.

And if I ever lose my mouth
All my teeth, north and south
For if I ever lose my mouth,.....................
I won't have to smile no more.

and

How can I tell you that I love you
I love you
But I can't think of right words to say

Where ever I am girl, I'm always
Always thinking of you
But I can't think of right words to say.
Right words to say.

Sang that song in Patti's ear many times.
Usually with the same results.

Do Not Disturb.

(Never should have let Patti get away.)

Surprised ya didn't know.... Happened around your neck of the woods in 1966...Sunset Strip Riots...Here's an article for ya...On Buffalo Springfield and a recent box set release... BYW.. I hung out with the  Father Rapers, too...

Yessir, Officer Obie I cannot tell a lie...I put that envelope under that garbage!!!



American Buffalo
GENE SANTORO

Somethin's happenin' here
What it is ain't exactly clear.
      --Buffalo Springfield

Unstable chemistry can cause spectacular effects--that's one way to think of Buffalo Springfield. Another is to consider the band an American musical smorgasbord (though it had three Canadians in it), descended from the Whitmanian ideal to be vast and multitude-containing, and from the self-invented musical yawps of folks like Harry Partch. Yet another is to see it as a pivotal pop avatar, with direct spinoffs like Crosby, Stills, Nash & Young and Poco, and a big impact on every major rock band of the past thirty-five years, from the Band to the Eagles to the Police.

It was a smaller world in 1966; the few narrow byways off mainstream culture, whether jazz or the folk revival or political satire or Beat poetry, all eventually intersected. Which brings us to that fabled day when five folk-revival refugees connected. Richie Furay and Stephen Stills pulled up behind Neil Young's 1953 Pontiac hearse with Ontario plates in a traffic jam on the Sunset Strip. Furay and Stills had been part of a nine-member New York City outfit called the Au Go-Go Singers. Young had met Furay in New York and taught him a surreal song, "Nowadays Clancy Can't Even Sing." Stills, who'd grown up everywhere from Illinois to Central America, first met Young on tour in Canada; the two had decided to try to work together then, but Young split, so the day was postponed until LA gridlock brought them together. Stills had come to LA to audition for the Monkees; he failed because of bad teeth. Young had come looking for Stills. In the hearse with Young was fellow Canadian folkie Bruce Palmer. They agreed to form a band virtually on the spot, and went to pick up Dewey Martin, who played drums. Thus was born, in the best mythic rock and roll manner, Buffalo Springfield, one of the period's best garage bands.

Its members had very different voices and their harmonies blended richly; they could be edgy or gentle. Their songwriting was strikingly diverse, their individual musicianship adept and adaptable. Their music ran the gamut from the raunchiest rock to the trippiest, from cutting-edge to banal; it was frequently powered by soul-music bass and beats, and constantly stirred in soul, country, blues, gospel, jazz, raga, Latin--you name it. Between 1966 and 1968 they held together, as periodic pot busts banished bassist Palmer back to Canada, and ego blowups between Stills and Young escalated and sent Young packing for part of 1967; they were arguably the most important rock band in America, even with only one significant hit. Then in May 1968, after yet another pot bust in Topanga Canyon with Eric Clapton and the financial collapse of a Southern tour after Martin Luther King's assassination, Buffalo Springfield disintegrated.
Which brings us to Buffalo Springfield (Rhino/Atco), a prosaically titled four-CD set that, for better and worse, captures the band's kaleidoscopic range. They could be blandly commercial. On their first album, Beatlesy efforts like "Sit Down I Think I Love You" and "Do I Have to Come Right Out and Say It," with earache-inducing harmonies right out of the British Moppet Handbook, inadvertently highlight meatier material. For when the Sunset Strip riots hit in 1966 as the LAPD cracked down on Pandora's Box, a teen rock club, Stills penned the group's only AM hit, "For What It's Worth"; when it made the charts, it was inserted into the hastily revamped first album.

The song marked a new sound: ominous, with its identifying riff of two single reverb-dripping guitar notes over rumbling bass, its vaguely threatened and threatening lyrics, its stark yet sweet harmonies. (It's also inevitably popped up in contemporary film and ad soundtracks.) That filed the band forever under "folk-rock," although it's hard, listening back, to imagine why.

Live, the Springfield's shows were renowned for their volume and violence, as guitarists Young and Stills dueled and thrashed for power--a stage-bound parable of the group's inner workings, perhaps, but also a fabulous generator of sonic ideas. Young's experimentalism and lunges into feedback were complemented by Stills's sweeter melodic turns--though they could, and often did, switch roles at the drop of a beat. Furay's rhythm guitar nestled between the athletic, r&b-meets-McCartney bass of Bruce Palmer and the shape-shifting drumwork of Dewey Martin. They made awesome homemade improvisations.

The boxed set's second disc gives glimpses of those, via previously unreleased jams. "Kahuna Sunset" is a hippie fantasy, an updated surf-guitar lilt that left-turns into a raga-inspired jam. (Not to worry that raga is a complex form demanding discipline and knowledge: Ravi Shankar, discipled by the Beatles and John Coltrane, was the moment's international-music icon. And thousands of teen guitar players, fascinated by the altered sounds that would flower most fully in Jimi Hendrix, wanted to sound like a sitar doing modal runs.) It closes with Young's Yardbird-influenced rave-up style, though his attack is almost diametrically opposed to Yardbird guitarist Jeff Beck's: Young frets slowly with his left hand and with his right picks feverishly.

On "Buffalo Stomp," guitars wind in and out until the jam revs into squalls of feedback against a backdrop of interwoven solos--rock Dixieland. Among the players is Skip Spence on kazoo; he was Jefferson Airplane's first drummer and would soon co-found Moby Grape, a multivocalist guitar army from San Francisco's Flower Power era, much like Buffalo Springfield itself. And pieces like "Bluebird," a guitar-stuffed four-minute mini-suite on disc, would open into mammoth jams onstage.
In the studio, Buffalo Springfield grazed even more widely. They could unchain their pop imaginations and their record collections and run wild across an American landscape that had recently been opened wide by Bob Dylan and the Beatles.

When British rockers invaded the United States in 1964, they peddled reworked American r&b, rockabilly and other pop to American kids tired of saccharine hits by voiceless commercial fabrications named Bobby and Fabian--forerunners of today's teenypop idols. The Brits were especially good at recycling r&b hits by black artists, often invisible on the white-dominated pop charts of the time, into guitar-powered pop with Everly Brothers vocals. Far from the land where these forms were born, British kids heard them as a release from the boredom of homemade UK folk-revival offshoots like skiffle; they became building blocks to be played with as much as styles to be mimicked. It was the same energy that had led 1950s blue-collar Southern kids to refashion r&b and country into rockabilly in their back yards.

Eclectic, populist, postmodern--choose what terms you like--this was key to the 1960s transition of rock and roll into rock. The guitar, portable and cheap, made music-making widely available; garage bands were the ubiquitous result. As electric amplifiers became smaller and cheaper, even basement-bound guitarists could experiment with sound shaping--punching holes in a speaker to get fuzztone, loosening tubes for distortion, rolling the volume pots for violin effects. Early effects boxes for plugging into the signal chain started to appear. It was like getting a do-it-yourself art kit.

It was also an extension of America's postwar cultural renaissance. Whitman's heirs--jazz artists, the Beats, the Abstract Expressionists, the folk revivalists--all shared a romantic, if sometimes romantically cynical, critique of that hangover from the Great Depression and World War II, the gray-flannel 1950s. As counterweight they re-emphasized the value of play, long recognized as one of art's core cultural values; influenced by jazz improvisation and the civil rights movement, they revamped play into an artistic and a moral code. The subcultures of black America were valued even when they were misunderstood.

The romantic notion of authentic popular culture--a folk culture where there is minimal mediation between artists and audience--is an elusive grail. In modern commercial pop culture, that polarity is always in flux, but the folkie notion was a potent one during the 1960s. It was ironic that Bob Dylan, in a characteristic paradox, translated that model into both artistic and commercial success; inevitably, he was accused of selling out. And yet, armed with his nonvoice and limited guitar skills and panoramic musical taste and rapidly growing imagination, he personified the folk revival's longing for a popular hero who would forge a new sound and, incidentally, a new sense of community.
He had plenty to play with: Postwar America was full of new musical syntheses. Both jazz and folk musicians were interested in music from Africa and India, the Caribbean and Asia, for instance, as well as African-American gospel and blues. Thanks to the likes of Dylan and the Beatles, this legacy energized garage bands, crackling across the Anglo-American world, where forming a band became something countless thousands of kids did. Think of garage bands as the inheritors of the 1950s folk-revival aesthetic, and as the precursors of hip-hop: the street-level site where the reassimilation of pop culture becomes a feedback loop. In that sense, Buffalo Springfield was one of rock's ultimate garage bands.

Naming themselves after a logo Stills spotted on a steamroller, they were late for the party that was already cresting toward the Summer of Love and Woodstock, but they quickly made up for lost time and joined the central cast. Soul music was their touchstone; it wasn't just an accident that they recorded for Atlantic Records, a big indie label that made its fame by recording black artists from Joe Turner to Solomon Burke. And in the mid-1960s, soul music ruled the dance floors of America. The Rascals and the Righteous Brothers lifted blue-eyed soul into artistic and commercial payoff. Even whitebread folk-rockers like the Byrds were, thanks to Gram Parsons, countrifying soul hits like "You Don't Miss Your Water."
Neil Young, by contrast, wrote "Mr. Soul," a fierce attack on celebrity (including his own) and the record biz; his wispy vibrato rode with metalloid and country guitars over thundering Four Tops-style bass. He also wrote "Burned": "Been burned," he yelps, "and with both feet on the ground," a characteristic verbal incongruity backed by musical incongruity. Chugging Motown bass and honky-tonk piano share center soundstage: The piano takes a just-enough-out-of-tune solo, followed by Hawaiian-flavored slide guitar, which downshifts into a Beatles-knockoff rideout. This was the band's second single.

With its demos and remixed and finished tracks, Buffalo Springfield amply demonstrates how explosive and creative the band's chemistry could be. It leaves a curious fan wanting more when a more casual fan has had more than enough. In me, it inspires a list of highlights:
Two Young demos of early interior dreamscapes--the painfully ethereal "Out of My Mind" and vulnerable "Flying on the Ground Is Wrong." The tight-wound Stills-Furay harmonies and beautiful acoustic simplicity on the demo for "Baby Don't Scold Me," ultimately released as a mix of stiff Supremes' drumbeats, reverb and psychedelic guitar raunch that overshadowed the bittersweet lyrics. "Nowadays Clancy Can't Even Sing," an early Young art-rocker with twining guitars, opaque lyrics and a time-signature shift that highlights Furay's unpleasantly blocky phrasing. The massed-guitar country-rock and Miles Standish love triangle of "Go and Say Goodbye." The r&b goodtime feel of Stills's "Hot Dusty Roads," with its heavily treated guitar solo and whimsical genre twist: "I don't tell no tales about no hot dusty roads/I'm a city boy and I stay at home." The Zombies-ish jazz-bossa inflections of "Pretty Girl Why," and the walking bass and jazzy modal drone of "Everydays," cut more than a year before Miles Davis's Bitches Brew. The guitar-orchestra suite called "Bluebird." The drippy psychedelic orchestration and Moody Blues-like choir on "Expecting to Fly." The vocal handoff, straight out of two-tenor gospel groups, on "Hung Upside Down," where Furay's soulful lead yields the chorus to Still's raunchy wails. The gently stinging ironies of "A Child's Claim to Fame," underlined by hired hand James Burton's dobro solo. (Burton played guitar with Ricky Nelson, Elvis Presley and Gram Parsons.) The galloping drive and stinging guitar lines of "Rock and Roll Woman" that leave you feeling like you've just danced with a truck. The Dylan-modeled imagery and phrasing of Young's demos like "The Rent Is Always Due." The art-house melodrama and Sgt. Pepper orchestration of "Broken Arrow." The dark blues of Stills's husky musings and piano on the demo for "Four Days Gone." The punk flipping the bird to convention of "Special Care," where Stills plays all the instruments but drums.

That last cut is from Last Time Around, which was recorded over nearly a year; as time wore on, the band was disintegrating, as the Beatles did during the White Album. Stills and Young started producing their own sessions; Stills sang and played nearly all the parts on cuts like "Questions," here a biting soul-rocker with blues-drenched vocals, later cutely rearranged as a harmony piece for Crosby, Stills & Nash.
Young was out of the Springfield when they appeared at Monterey Pop, the June 1967 fete launching the Summer of Love. He was back for the Topanga Canyon bust. His bandmates would recombine: latter-day bassist/engineer Jim Messina with Richie Furay in Poco; Stills with the Byrds' David Crosby and later Young again. They'd all pursue solo careers: Young most spectacularly, Stills with solo projects and co-op ventures like "Super Session," which joined him with Mike Bloomfield and Al Kooper. Meantime, Buffalo Springfield became a legend.

Is the boxed set an effective representation of the legend? Well, it's got the same middle-finger whimsy the group itself had: The booklet, perhaps as a tipoff to its sensibility, opens with a Wallace Stevens-inspired page titled "Various Accounts of Their Meeting in Hollywood." And it's taken ten years to put together because of the same old egos. It's definitely worth complaining that the twenty-six duplicated album cuts could have been replaced by additional rarities.

The booklet's sometimes hard-to-read design, a postmodern swirl of artfully collaged documents and pictures, leaves misinterpretation rampant, though the one-page historical essay by Pete Long is fact-packed. The fan's-eye view by Ken Viola jumps disconcertingly around the booklet. The discographical annotation is complete but could use explication. And there's a complete tour schedule, which ends with Buffalo Springfield opening for the Beach Boys and Strawberry Alarm Clock on the last 1968 tour. It's worth recalling that at just about the same time, Jimi Hendrix was opening a tour for the Monkees.

[IndyCarzGo]

Almost forgot...

I will be front row center on August 22.. for... CROSBY, STILLS NASH & YOUNG!

Will take tons of pics and post a bunch here... The venue is right on the  Atlantic Ocean...On the bay side! A place called Zach's Bay..see the pics below for an idea of just how neat this place really is! In fact, if ya have a boat and get there early enough, you can anchor in the bay and enjoy the music... No boat....WAHHHHHHHH!
But we will have a blast anyway!!!