Buffalo Springfield may have been short-lived as a band, but their impact on music is eternal. Emerging from the vibrant California music scene of the 1960s, this legendary group, featuring talents like Neil Young, Stephen Stills, and Richie Furay, became a cornerstone of the folk-rock movement. Their sound effortlessly blended poignant lyrics, intricate harmonies, and innovative instrumentation, creating songs that have stood the test of time.
From politically charged anthems to soul-stirring ballads, Buffalo Springfield’s music captured the spirit of an era while remaining universally relatable. Tracks like “For What It’s Worth” became rallying cries for social change, while other hidden gems showcased the band’s raw artistry. Whether you’re a lifelong fan or a curious newcomer, their catalog is a treasure trove of melodies that evoke nostalgia, inspiration, and pure musical joy.
In this article, we’ll dive into the top 10 most popular Buffalo Springfield songs of all time. Each track tells a story, offering a glimpse into the genius of a band that redefined the boundaries of rock and folk. So, grab your headphones and get ready for a journey through the timeless music of Buffalo Springfield!
1. For What It’s Worth (1966)
Released in late 1966, “For What It’s Worth” became Buffalo Springfield’s defining anthem, capturing the restless undercurrent of a generation in flux. Written by Stephen Stills in response to the Sunset Strip curfew riots in Los Angeles, the song’s origins are rooted in a specific moment of protest—but its message has long since transcended its time and place. From the eerie, slow-burning guitar riff to the soft, almost haunting percussion, the track creates a soundscape that feels both urgent and restrained. Stills’ voice carries a tone of reflection rather than confrontation, making it more powerful in its subtlety. Lines like “There’s something happening here / What it is ain’t exactly clear” have become some of the most iconic in American protest music—simple, yet universally resonant. While it wasn’t originally intended as a protest anthem, it quickly found itself at the center of anti-war and civil rights movements, adopted by countless listeners seeking a voice that mirrored their discontent. What gives “For What It’s Worth” its timeless appeal is how it speaks to the feeling of tension in the air—the sense that change is on the horizon, even if no one knows exactly what’s coming next. It remains essential listening over half a century later.
2. Mr. Soul (1967)
“Mr. Soul,” released in 1967 on the Buffalo Springfield Again album, is one of Neil Young’s most enigmatic and biting compositions—a song born out of personal turmoil and industry fatigue. Young wrote the song after a brief hospitalization due to an epileptic seizure, and its lyrics reflect a deep sense of alienation, self-examination, and disillusionment. From the opening line—“I was down on a frown when the messenger brought me a letter”—it’s clear this isn’t your typical rock song. The tone is cryptic, the mood unsettled, and the fuzzy, distorted guitar riff echoes that emotional turbulence. The music walks the line between garage rock grit and psychedelic weirdness, giving listeners a preview of the raw, unpolished energy that would later define Young’s solo work and influence genres like grunge and alternative rock. There’s a cool detachment in Young’s voice, but beneath that lies a sincere questioning of fame, identity, and the changing cultural landscape of the late ’60s. “Mr. Soul” feels like a moment of clarity in the chaos—a brutally honest reflection wrapped in poetic ambiguity. It’s a song that not only pushed boundaries for Buffalo Springfield but also pointed the way forward for Young’s fearless creative path.
3. Bluebird (1967)
“Bluebird,” another standout from the 1967 album Buffalo Springfield Again, is a dazzling display of the band’s range and creative ambition. Clocking in at over four minutes, it’s not just a song—it’s a journey, starting with Stephen Stills’ intricate fingerpicked acoustic guitar and evolving into a full-blown electric jam. The track blends folk-rock tenderness with bursts of blues and psychedelia, all anchored by the dynamic interplay between Stills and Neil Young, who trade off guitar licks with palpable chemistry. Lyrically, “Bluebird” flutters between themes of freedom, love, and longing, echoing the restless spirit of the 1960s. Its layered harmonies, driving rhythm, and instrumental exploration made it a fan favorite, especially in live performances where the band would often stretch the song into a lengthy improvisational piece. This willingness to break from standard song structure and embrace musical experimentation placed Buffalo Springfield in a category of their own—somewhere between folk tradition and rock innovation. “Bluebird” isn’t just a track; it’s a declaration of artistic freedom. It captured a moment in time when music wasn’t just about hits—it was about pushing the envelope and seeing where the sound could take you.
4. Expecting to Fly (1967)
“Expecting to Fly” is one of the most hauntingly beautiful songs in Buffalo Springfield’s catalog—and it feels unlike anything else the band recorded. Written and sung by Neil Young, the track first appeared on Buffalo Springfield Again in 1967, and it immediately set itself apart through its lush orchestration and dreamlike atmosphere. Backed by a sweeping arrangement from legendary producer Jack Nitzsche, the song features strings, woodwinds, and subtle percussion, creating a cinematic soundscape that elevates the emotional intensity of Young’s fragile, almost whisper-like vocals. The lyrics unfold like a surreal breakup letter, touching on themes of disillusionment and emotional detachment. “Expecting to Fly” isn’t a traditional rock song—it’s a meditation, a slow drift through memory and melancholy. The absence of other band members on the track (it was essentially a Young solo recording) further emphasizes its deeply personal tone. Despite—or perhaps because of—its divergence from the band’s typical sound, “Expecting to Fly” remains one of their most revered tracks. It showcases Young’s growing prowess as a songwriter and hints at the introspective, emotionally raw music he would go on to create in his solo career. It’s a stunning, bittersweet piece of art.
5. Rock and Roll Woman (1967)
“Rock and Roll Woman,” another gem from Buffalo Springfield Again, is a breezy, upbeat track that captures both the spirit of the 1960s and the essence of Stephen Stills’ songwriting. With its jangly guitar riffs and shimmering vocal harmonies, the song pays homage to the free-spirited women of the era—muses of a musical and cultural revolution. Stills sings with admiration and subtle curiosity, crafting a portrait of a woman who is both mysterious and magnetic, living by her own rules. The rhythm is laid-back but catchy, and the blending of acoustic and electric guitars gives the track a rich, textured feel. There’s a lightness to the melody that makes it instantly accessible, while the lyrics carry an undercurrent of yearning and fascination. Beyond its surface charm, “Rock and Roll Woman” also hints at the internal dynamics of the band—there are stories that David Crosby (of the Byrds and later Crosby, Stills & Nash) may have contributed to the song, reflecting the collaborative, cross-pollinated scene in which Buffalo Springfield thrived. It’s a song that celebrates creativity, independence, and the magic of musical connection, capturing the optimistic pulse of a changing era.
6. On the Way Home (1968)
“On the Way Home” opens Last Time Around, Buffalo Springfield’s final album, and it feels like both a beginning and an end. Written by Neil Young but sung by Richie Furay, the track carries an upbeat, almost celebratory tone that contrasts with the bittersweet undertone of a band nearing its breakup. The melody is warm and welcoming, with rich harmonies, a strong brass section, and a structure that feels rooted in classic American pop-rock. Lyrically, the song deals with themes of reflection, self-discovery, and change—fitting for a band that was experiencing creative tension and preparing to part ways. “When the dream came, I held my breath with my eyes closed,” Furay sings, capturing the hopeful confusion of moving on while looking back. The song’s polished production and gentle optimism make it one of the more accessible tracks in the band’s catalog, showing that even in their final moments, Buffalo Springfield could craft music that felt timeless. “On the Way Home” is more than just a sendoff—it’s a nod to the road ahead, hinting at the individual journeys each member would take, from Neil Young’s iconic solo career to Richie Furay’s future in country-rock with Poco.
7. I Am a Child (1968)
“I Am a Child,” featured on Last Time Around, is a deceptively simple yet deeply resonant song penned and sung by Neil Young. Clocking in at just under three minutes, it strips away the layers of electric guitars and psychedelia in favor of a tender acoustic arrangement and heartfelt lyrics. Young’s voice is soft, almost vulnerable, as he delivers a meditation on innocence, trust, and identity. “I am a child, I’ll last a while,” he sings, and in those few words, he captures the essence of growing up—its curiosity, its confusion, and its clarity. The song walks a delicate line between childlike wonder and mature introspection, speaking to anyone who’s ever felt the push and pull between naivety and awareness. Musically, the track is sparse but effective; gentle guitar picking and subtle harmonica provide just enough backdrop to let the lyrics breathe. It’s the kind of song that doesn’t need to shout to be heard. Instead, it invites you to listen closely and reflect. “I Am a Child” stands as one of Buffalo Springfield’s most emotionally honest moments, and it’s a shining example of Neil Young’s gift for turning quiet observations into powerful songs.
8. Go and Say Goodbye (1966)
“Go and Say Goodbye,” from Buffalo Springfield’s self-titled 1966 debut, is a twangy, upbeat tune that showcases the band’s country-rock roots long before the genre had a name. Written by Stephen Stills, the song opens with a bright, jangly guitar riff and a confident rhythm that practically begs you to tap your foot. It’s a breakup song, but not a bitter one—instead, it’s full of clarity and resolution. The narrator encourages his ex-lover to move on, even offering a surprising bit of kindness: “You better go now, go while you can / If you’re going, go with a smile.” That kind of emotional maturity, paired with the song’s breezy tone, makes it refreshing in its honesty. The harmonies are tight and warm, and the arrangement has just enough country flair to give it a unique identity within the band’s wider rock-folk-psychedelic palette. “Go and Say Goodbye” might not have the same emotional weight as some of their later, more introspective songs, but it’s a great example of Buffalo Springfield’s early charm and versatility. It’s simple, catchy, and deeply human—a song that understands how to let go without regret.
9. Sit Down I Think I Love You (1966)
“Sit Down I Think I Love You” captures a snapshot of youthful infatuation, blending pop sensibility with folk-rock charm. Written by Stephen Stills and featured on the band’s 1966 debut album, the song is sweet without being saccharine, light-hearted yet sincere. The melody is bright and upbeat, carried by a chiming guitar and sunny harmonies that make it feel effortlessly catchy. Lyrically, the song expresses the spontaneous, almost impulsive nature of falling for someone—the kind of attraction that feels immediate and overwhelming. “Sit down, I think I love you / Anyway, I’d like to try,” Stills sings, and it’s that tentative hopefulness that gives the song its heart. There’s an innocence to it that stands in contrast to the heavier social themes explored in later tracks like “For What It’s Worth.” This is Buffalo Springfield in their early days—youthful, melodic, and brimming with optimism. The song became popular enough to be covered by The Mojo Men, whose version charted higher than the original. Still, there’s something uniquely sincere about Buffalo Springfield’s rendition, and it remains a charming piece of 1960s pop-rock history that continues to resonate with anyone who’s experienced love at first thought.
10. Kind Woman (1968)
“Kind Woman” is a gentle, heartfelt ballad that brings Last Time Around to a graceful close. Written and sung by Richie Furay, the song serves as a love letter to his wife, Nancy, and stands out for its sincerity and warmth. It’s also a significant precursor to the country-rock sound that Furay would fully embrace with Poco. The piano-driven melody is soft and unhurried, with subtle pedal steel guitar adding a distinctly country flavor. Furay’s vocals are tender and genuine, delivering lines like “Kind woman, won’t you love me tonight?” with a vulnerability that’s instantly endearing. While much of Last Time Around feels like a band winding down, “Kind Woman” is filled with hope and emotional clarity. It doesn’t try to be complex or groundbreaking—it simply speaks from the heart, and that’s what makes it so powerful. The song also acts as a quiet farewell, not only to the band but to a moment in time when music was shifting from the psychedelic experimentation of the late ’60s into more grounded, roots-inspired territory. “Kind Woman” is a beautiful ending note for Buffalo Springfield, and a signpost for the musical paths that lay ahead for Furay and his bandmates.
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.
