Buffalo Springfield

Buffalo Springfield-Buffalo Springfield-24-88-WEB-FLAC-REMASTERED-2016-OBZEN
FLAC (tracks) 24 bit/88,2 kHz | Time – 00:33:38 minutes | 391 MB | Genre: Progressive Rock
Studio Masters, Official Digital Download | Front Cover

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Buffalo Springfield-Buffalo Springfield Again-24-88-WEB-FLAC-REMASTERED-2010-OBZEN
FLAC (tracks) 24 bit/88,2 kHz | Time – 00:34:06 minutes | 667 MB | Genre: Progressive Rock
Studio Masters, Official Digital Download | Front Cover

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Buffalo Springfield – What’s That Sound? Complete Albums Collection (2018)
FLAC (tracks) 24 bit/192 kHz | Time – 02:49:33 minutes | 6,36 GB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Rhino Atlantic

A ‘Complete Albums Collection’ box set of Canadian-American rock band Buffalo Springfield output will be released on vinyl and CD at the end of June.
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Buffalo Springfield – Buffalo Springfield Again (1967/2016)
FLAC (tracks) 24 bit/88,2 kHz | Time – 34:06 minutes | 670 MB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Rhino Atlantic

Due in part to personnel problems which saw Bruce Palmer and Neil Young in and out of the group, Buffalo Springfield’s second album did not have as unified an approach as their debut. Yet it doesn’t suffer for that in the least — indeed, the group continued to make major strides in both their songwriting and arranging, and this record stands as their greatest triumph. Stephen Stills’ “Bluebird” and “Rock & Roll Woman” were masterful folk-rockers that should have been big hits (although they did manage to become small ones); his lesser-known contributions “Hung Upside Down” and the jazz-flavored “Everydays” were also first-rate. Young contributed the Rolling Stones-derived “Mr. Soul,” as well as the brilliant “Expecting to Fly” and “Broken Arrow,” both of which employed lush psychedelic textures and brooding, surrealistic lyrics that stretched rock conventions to their breaking point. Richie Furay (who had not written any of the songs on the debut) takes tentative songwriting steps with three compositions, although only “A Child’s Claim to Fame,” with its memorable dobro hooks by James Burton, meets the standards of the material by Stills and Young; the cut also anticipates the country-rock direction of Furay’s post-Springfield band, Poco. Although a slightly uneven record that did not feature the entire band on several cuts, the high points were so high and plentiful that its classic status cannot be denied. –AllMusic Review by Richie Unterberger
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Buffalo Springfield – Buffalo Springfield (2001/2021)
FLAC (tracks) 24 bit/88,2 kHz | Time – 04:14:52 minutes | 3,58 GB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Rhino Atlantic

Buffalo Springfield were a Canadian–American rock band formed in Los Angeles by three Canadians (Neil Young, Bruce Palmer, Dewey Martin) and two Americans (Stephen Stills, Richie Furay). The group, widely known for the song “For What It’s Worth”, released three albums and several singles from 1966–1968. Their music combined elements of folk music and country music with British Invasion and psychedelic rock influences. They were, as were The Byrds, key to the early development of folk rock. The band took their name from a steamroller parked outside their house.
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Buffalo Springfield – Buffalo Springfield (1966/2016)
FLAC (tracks) 24 bit/88,2 kHz | Time – 33:38 minutes | 395 MB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Rhino Atlantic

Buffalo Springfield is the self-titled debut album by folk rock band Buffalo Springfield, released in late 1966. It was originally released in both mono and stereo versions as Atco (SD) 33-200, but when the single “For What It’s Worth” became a hit, the album was re-released as Atco (SD) 33-200A adding it but dropping “Baby Don’t Scold Me”. “Baby Don’t Scold Me” has never been reissued in stereo: all CD releases feature only the mono mix.
The album was produced by the group’s managers, Charles Greene and Brian Stone, each of whom had minimal experience as a record producer, and the band was generally unhappy with the sound of the album and felt that it didn’t reflect the intensity of their live shows. The band asked Atco for time to re-record the album, but the label, not wanting to miss the Christmas holiday season, insisted that the record be released as it was. However, the label did give Stills and Young permission to personally mix the mono version of the LP themselves, and the Buffalo Springfield have long insisted that their mono version was superior to the stereo version.
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