Buffalo Springfield may have only been together for a brief period in the 1960s, but their impact on the music world remains nothing short of legendary. Known for their masterful blend of folk, rock, and country influences, this iconic band became a cornerstone of the California sound and a defining voice of a generation. With a lineup that included future music heavyweights like Neil Young, Stephen Stills, and Richie Furay, Buffalo Springfield’s music captured the spirit of the turbulent 1960s, delivering both poignant social commentary and unforgettable melodies.
From their politically charged anthems to their soul-stirring ballads, Buffalo Springfield produced a catalog of songs that resonate just as powerfully today as they did over half a century ago. Their music not only defined the counterculture movement but also paved the way for the folk-rock and country-rock genres that would dominate the charts in the years to come.
In this article, we’ll dive into the top 10 most popular Buffalo Springfield songs of all time—tracks that continue to inspire new generations of listeners. Whether you’re a lifelong fan or just discovering their music, get ready to revisit the timeless sounds of one of rock’s most influential bands. Let the journey begin!
1. For What It’s Worth (1967)
“For What It’s Worth” isn’t just a song—it’s a moment frozen in time. Released in 1967, Buffalo Springfield’s most iconic track was sparked by real-life events: the Sunset Strip curfew riots in Los Angeles. But what began as a local protest song quickly became a universal anthem for an entire generation questioning authority and craving change. Stephen Stills’ haunting lyrics, “Stop, children, what’s that sound? Everybody look what’s going down,” have echoed across decades, resonating through protests, movements, and civil unrest. The song’s minimal arrangement—featuring a steady, almost ominous guitar line—underscores its message perfectly. There’s a quiet urgency in the delivery, like a warning disguised as a lullaby. What makes “For What It’s Worth” so enduring isn’t just its historical relevance, but the fact that its themes—miscommunication, unrest, the power of youth—still ring true. It’s been covered, sampled, and referenced endlessly, yet it remains raw and powerful in its original form. Buffalo Springfield may have had a brief lifespan as a band, but this track alone earned them a permanent place in the fabric of American music history.
2. Mr. Soul (1967)
“Mr. Soul” is Neil Young at his sharpest and most introspective, channeling the turbulence of sudden fame into something gritty and electric. Released in 1967 on Buffalo Springfield Again, this track feels like a direct transmission from Young’s restless mind. Written after an anxiety-inducing epileptic episode and growing discomfort with fame, the lyrics are cryptic yet deeply revealing. Lines like “She said, ‘You’re strange, but don’t change’” speak to the alienation that can come with being thrust into the spotlight. Musically, “Mr. Soul” is a thunderous blend of rock and fuzz, with Young’s signature distorted guitar tone cutting through like a warning siren. It feels urgent, edgy, and slightly unhinged—in the best way. The song bridges folk and rock with a biting intensity, laying the groundwork for much of Young’s future solo work. Despite Buffalo Springfield being known for harmony-driven, more accessible songs, “Mr. Soul” stands out as something darker and more personal. It’s not just a song—it’s a snapshot of Young grappling with identity, celebrity, and artistic integrity, wrapped in a raw and unforgettable performance.
3. Bluebird (1967)
“Bluebird” is a shining example of Buffalo Springfield’s range, blending folk, rock, and blues into something complex yet effortlessly fluid. Released in 1967, this Stephen Stills-led track is a musical journey in itself. It starts off gently, with intricate acoustic picking and poetic, introspective lyrics that feel almost like a private journal entry. But then it shifts—soaring electric guitar lines, bursts of energy, and a sense of musical exploration that feels spontaneous yet tightly crafted. Stills’ interplay between acoustic and electric guitars is dazzling, showing off his technical skill without ever feeling showy. Lyrically, “Bluebird” deals with themes of love, loss, and hope, though much of it is open to interpretation, adding to its mystique. The track builds in waves, creating an emotional arc that mimics the ebb and flow of a relationship. What makes “Bluebird” so special is how it refuses to stay in one lane—it’s as much a showcase of songwriting as it is musicianship. It’s dramatic, heartfelt, and beautifully chaotic—a reminder that Buffalo Springfield wasn’t afraid to take risks, even within the confines of a three-minute song.
4. Expecting to Fly (1967)
“Expecting to Fly” is one of Buffalo Springfield’s most hauntingly beautiful moments, though in many ways it’s more of a Neil Young solo piece than a full-band effort. Released in 1967, this track was recorded with a lush orchestral arrangement under the guidance of producer Jack Nitzsche, giving it a cinematic quality that sets it apart from the band’s folk-rock roots. From the very first notes, the song drifts into a dreamlike space, with sweeping strings, soft piano, and Young’s fragile, almost ghostly vocals painting a picture of heartbreak and longing. The lyrics—subtle and poetic—touch on the fading embers of a relationship, capturing the ache of love slipping away. It’s quiet but emotionally expansive, like watching memories dissolve in slow motion. “Expecting to Fly” feels deeply personal, and its atmospheric production only enhances its emotional weight. It marked a significant step for Young as a songwriter and arranger, foreshadowing the deeply introspective and ambitious music he would go on to create in his solo career. This isn’t just a breakup song—it’s a sorrowful lullaby for a love that’s already gone.
5. Rock and Roll Woman (1967)
“Rock and Roll Woman” is Buffalo Springfield’s smooth, sun-soaked ode to the mystique and magnetism of the women behind the music scene. Released in 1967, this Stephen Stills composition feels breezy and laid-back on the surface, but there’s a sophistication lurking just underneath. Stills wrote the song while the band was hanging out with members of The Byrds and the emerging Laurel Canyon crowd, and you can feel that California influence all over the track. It’s layered with tight vocal harmonies, shimmering guitars, and a laid-back groove that captures the spirit of the West Coast in the late ’60s. Lyrically, it’s both admiring and enigmatic, as if the titular “rock and roll woman” is both muse and mystery. There’s speculation that David Crosby (of The Byrds and Crosby, Stills & Nash fame) contributed to the song’s harmonies, and that inter-band creative exchange gives it a loose, collaborative energy. “Rock and Roll Woman” stands as a celebration—not just of a person, but of a cultural moment. It’s charming, cool, and effortlessly catchy, a reminder of how this band could blend style and substance so seamlessly.
6. On the Way Home (1968)
Released in 1968, “On the Way Home” is a gorgeous Neil Young-penned ballad that perfectly balances warmth with wistfulness. Sung by Richie Furay, the song takes on a smooth, melodic quality that contrasts with some of Young’s moodier vocals, giving it a sense of openness and accessibility. The arrangement is rich without being overwhelming—layers of harmonies, tasteful horns, and a folk-rock rhythm that gently carries the song forward. Lyrically, it reflects on change, growth, and the emotional tug of leaving something behind while moving toward something unknown. “You are what you are,” Furay sings, encapsulating the mix of self-acceptance and hopeful longing that runs through the track. Though it was released during the band’s final chapter, it doesn’t sound like a farewell—it sounds like a journey. “On the Way Home” is one of those songs that sneaks up on you emotionally. It’s not flashy or complex, but it lingers long after it ends, evoking that universal feeling of reflection during life’s transitions. For a band often associated with conflict and what-could-have-beens, this song offers a moment of clarity and grace.
7. Sit Down I Think I Love You (1966)
“Sit Down I Think I Love You” is Buffalo Springfield at their most charming and pop-friendly. Released in 1966 and written by Stephen Stills, this track captures the spirit of youthful infatuation with a bouncy rhythm and upbeat energy that’s impossible not to tap your foot to. There’s a kind of innocent urgency in the lyrics—Stills is laying it all on the line, telling someone he’s falling fast, and wants to make sure they know before the moment passes. Musically, it’s tight and clean, with jangly guitars, crisp harmonies, and a cheerful vibe that perfectly matches the song’s giddy sentiment. It’s not trying to be profound—it’s simply honest, playful, and catchy as hell. Though not as well-known as some of the band’s other hits, “Sit Down I Think I Love You” remains a gem of their early catalog, and it even found success when covered by The Mojo Men later on. It’s a snapshot of the mid-’60s sound—sunny, fresh, and full of possibility. This is the kind of song that makes you smile without really trying.
8. Nowadays Clancy Can’t Even Sing (1966)
“Nowadays Clancy Can’t Even Sing” marked one of Neil Young’s earliest songwriting statements with Buffalo Springfield, and it’s a deep, introspective gem. Released in 1966, the song explores feelings of alienation, insecurity, and creative frustration, wrapped in poetic lyrics and an almost mystical aura. The name “Clancy” becomes a metaphor for the sensitive artist, misunderstood and dismissed by the world. Richie Furay handles lead vocals on this track, lending it a smoothness that contrasts beautifully with the more fragmented, questioning tone of Young’s words. Musically, the song is complex and textured, featuring layered harmonies, melancholic chord progressions, and a slow, contemplative pace that stands out from the more upbeat pop of the time. “Nowadays Clancy Can’t Even Sing” doesn’t hit you all at once—it unfolds slowly, like a rainy-day thought you can’t quite shake. It’s deeply personal and a little cryptic, which makes it all the more intriguing. For many fans, it was their first glimpse into Neil Young’s unique voice as a writer—one that would go on to influence generations. This song doesn’t just stand up—it lingers, challenging you to listen a little closer.
9. Go and Say Goodbye (1966)
“Go and Say Goodbye” is Buffalo Springfield’s toe-tapping take on folk-rock with a country twist. Written by Stephen Stills and released in 1966, it’s an upbeat track that masks heartbreak with a bright melody and a brisk tempo. Right from the first chord, the song moves like a train on a sunny afternoon, full of energy and forward motion. Lyrically, it tells a familiar story—of accepting the end of a relationship and encouraging someone to move on with grace. But rather than dwelling in sadness, it leans into resilience. “Don’t look for me, I’m not gonna be there,” the narrator sings—not bitterly, but with quiet confidence. There’s a refreshing lack of drama here. Musically, it’s full of warm harmonies, jangly guitars, and a rhythm that makes it perfect for a country-rock crossover. It’s not one of the band’s biggest hits, but it stands out as a moment where their sound expands and experiments. “Go and Say Goodbye” is proof that even when they were telling stories of goodbye, Buffalo Springfield made them sound like beginnings.
10. Kind Woman (1968)
“Kind Woman” is Richie Furay’s heartfelt love letter, and it serves as a gentle, soulful farewell on Buffalo Springfield’s swan song album, Last Time Around (1968). Written for his future wife, the song carries a warmth and sincerity that’s instantly disarming. From the very first chord, you know you’re in the presence of something deeply personal. The melody is soft and country-tinged, with subtle piano flourishes and smooth harmonies that feel like a comforting embrace. Furay’s voice is tender and filled with genuine emotion, singing lines like “Kind woman, won’t you love me tonight?” with the vulnerability of someone truly in love. Musically, it leans toward the country-rock sound that would later define Furay’s work with Poco, hinting at the musical directions each member of Buffalo Springfield would eventually pursue. What sets “Kind Woman” apart is its simplicity—it doesn’t reach for grandeur, it just is, and in that honesty, it shines. As the final note of a band known for its inner tension and creative brilliance, “Kind Woman” feels like a peaceful resolution—a quiet, graceful goodbye wrapped in gratitude and love.
Edward Tomlin is a frequent contributor to Singers Room. Since 2005, Singersroom has been the voice of R&B around the world. Connect with us via social media below.
