Sold Date: November 11, 2016
Start Date: November 4, 2016
Final Price: £88.40 (GBP)
Bid Count: 4
Seller Feedback: 4304
Buyer Feedback: 227

"BROKEN ARROW"  (Neil Young, 1967)

The lights turned on and the curtain fell down,
And when it was over it felt like a dream.
They stood at the stage door and begged for a scream,
The agents had paid for the black limousine,
That waited outside in the rain.
Did you see them, did you see them?
Did you see them in the river?
They were there to wave to you.
Could you tell that the empty quivered,
Brown skinned Indian on the banks,
That were crowded and narrow,
Held a broken arrow?

Eighteen years of American dream,
He saw that his brother had sworn on the wall.
He hung up his eyelids and ran down the hall,
His mother had told him a trip was a fall
And don't mention babies at all.
Did you see him, did you see him?
Did you see him in the river?
He were there to wave to you.
Could you tell that the empty quivered,
Brown skinned Indian on the banks,
That were crowded and narrow,
Held a broken arrow?

The streets were lined for the wedding parade,
The Queen wore the white gloves, the county of song,
The black covered caisson her horses had drawn,
Protected her King from the sun rays of dawn.
They married for peace and were gone.
Did you see them, did you see them?
Did you see them in the river?
They were there to wave to you.
Could you tell that the empty quivered,
Brown skinned Indian on the banks
That were crowded and narrow,
Held a broken arrow?
BUFFALO SPRINGFIELD: "Buffalo Springfield Again" UK LP, PRESSED IN 1976 BY CBS, ORIGINALLY ISSUED
IN NOVEMBER, 1967 IN THE USA  AND JANUARY, 1968 IN THE UK.   I WILL GIVE THE PRESSING SEQUENCE
IN THE MAIN DESCRIPTION, THIS RECORD WAS PRESSED ON THE GREEN AND ORANGE ATLANTIC LABEL
WHEN 'WEA' INTRODUCED THEIR CIRCLED 'W' LOGO AT 2 O'CLOCK ON THE LABEL RIMS.  THIS WAS AN
EXTREMELY SMALL PRESSING BATCH, SO SMALL THERE WAS NO INDEXING AND VERY UNUSUALLY, CBS
JUST LEFT THE HAND WRITTEN UK MASTERING MADE DURING THE MAITRIX AND THE UK STUDIO LOGO,
THAT WAS MACHINE STAMPED.


GREEN AND ORANGE ATLANTIC LABEL: K 40014
 
MAITRIX: K + 40014 + A   /   K + 40014 + B
The first and only pressing made In 1976 or the rest of the decade, in fact, it was the last UK pressing before German imports
As noted above, the above does not have any end digits and the most basic mastering maitrix with unique '+' symbols separating
the letters from the digits.  Normally CBS machine stamped their version of the above at 12 o'clock in the run-out grooves, as
found on the 1972 first green & orange label pressing, with the new 'Kinney Records' revised 'K 40014' catalogue number:

'K 40014  A1   /  K 40014  B1'

Having bought an unplayed 1970's collection recently, I have been continuously describing the ever changing USA & UK record
company take overs and label text changes.   First 'Kinney Records' taking over the whole Warner Brothers Records and then the
'WEA' introduction, maybe appearing to be confusing, but on the contrary, it makes dating the late 1960's - 1970's pressings very
easy if you know when the changes happened.  In spite of getting this far, I will still have to give the two late 1960's  pressings of
Buffalo Springfield's magnificent second album.

ALSO MACHINE STAMPED IN THE RUN-OUT GROOVES, THE FAMOUS UK 'Strawberry' LOGO GUARANTEES MASTERING
OPF THE HIGHEST POSSIBLE STANDARDS.   ESTABLISHED BY 10 CC, THE LIKES OF LED ZEPPELIN USED THEIR
STUDIO FOR THEIR ALBUMS, NAMED AFTER THE BEATLES' "Strawberry Fields Forever" SINGLE, IT HAD TO BE THE
FINEST SOUND FOR TRANSFERRING MASTER TAPES ONTO VINYL.   THE MAITRIX WAS HAND SCRIBED AND LEFT
AS THE INDEXING BY CBS.


ORIGINAL CBS / ATLANTIC PLAIN WHITE, DIE-CUT CENTRE INNER SLEEVE WITH CURVED CORNERS,
  UNUSED, UNSPLIT AND BARELY EVEN AGED IN MINT- CONDITION.


  UK PRINTED 1976 GLOSSY COATED FRONT & BACK 'ATCO COVER,' WITH 'K  40014' PRINTED ABOVE THE BACK
TOP RIGHT CORNER'S ATCO LOGO AND USA CATALOGUE NUMBER, AND ON THE SPINE.
For some unknown reason 'X' was printed after the catalogue number on the back top right corner and not on the spine or the
labels.  Unused and perfectly stored, there is no real wear to detail, just the slightest possible standing in storage traits for
40 years.   A record impression and a few related edge lines, but no fading to the deeply tones colours on the wonderful front
artwork, the same is true for the extensive green colour printing, beautifully written by the band in 1967.   Ageing is at such a
minimum, I hesitated to include that for a 40 year old cover.
THE COVER IS IN NEAR MINT CONDITION.


THE IMMACULATE LABELS DO NOT HAVE ANY SPINDLE ALIGNMENT TRACES, THERE ARE NO MARKS ON THE
AS NEW RECORD, TOTALLY UNMARKED, IN UNPLAYED MINT CONDITION.
SIDE 1:
"Mr. Soul" (Neil Young)
"A Child's Claim To Fame" (Richie Furay)
"Everydays" (Stephen Stills
"Expecting To Fly" (Neil Young)
"Bluebird" (Stephen Stills)

SIDE 2
"Hung Upside Down" (Stephen Stills)
"Sad Memory" (Richie Furay)
"Good Time Boy" (Richie Furay)
"Rock & Roll Woman"(Stephen Stills)
"Broken Arrow" (Neil Young)


Stephen Stills - vocals, organ, lead & rhythm guitars, piano & keyboards
Neil Young - vocals, lead & rhythm guitars
Richie Furay - vocals & rhythm guitar
Bruce Palmer - bass & vocals
Dewey Martin - drums & vocals


RecordedJanuary - September, 1967, Los Angeles, California
Produced By Ahmet Ertegun, Richie Furay, Jack Nitzsche, Stephen Stills & Neil Young
I often feel that just by typing the track listing of true masterpiece albums, leaves nothing else to say, every track on "Again"
  is essential and worth hearing them individually, Neil Young's three compositions were indeed of genius stature, what an album!
  Buffalo Springfield's formation in 1966 was fated to only last for nineteen months, but by 1968 and in under two years they had
  produced such incredible music, they had an immense impact on the late 1960's decade.  Yet managed that without the commercial
  success most of the the individuals would go on to achieve after the band had broken  up, two certain ex-members would then have
  a massive influence over the coming decades musically, even raising their voices against wars still raging in the 21st century.
  Where were are today's musicians, when their elevated position in the media could and should be demanding an end to such lunacy?
  Immediately following Buffalo Springfield, the real impact was on the 1970's decade, their short duration was always dependent
  on very fiery personality clashes between founders Neil Young and Stephen Stills.   A battle of wills would continue until the
  current day, if not quite as volatile,  that was also the musical catalyst that contributed to and made Buffalo Springfield such
  a force at the heart of psychedelia, also a factor that inspired their individual solo albums and Crosby, Stills, Nash and Young
into making intensive timeless, deep and meaningful music. The above lyrics to Neil Young's six minute long epic "Broken Arrow,"
perfectly captured that biting intensity within Buffalo Springfield, for a definitive anthem of the 1960's decade,Stephen Still's
"For What It's Worth" illustrates how two songwriting genius' provided the majority of their material.  That was was on the 1966
debut album as well as a single, out of the ten tracks on this monumental second album, Richie Furay's songwriting talent now
contributed three of the inspired songs,  the remaining seven song's composers alternated between Stills ad Young.  The strange
thing was Buffalo Springfield never had one single or one album in the UK charts and even in America, although the 60's were very
much a singles orientated era, Buffalo Springfield's one and only US hit 45,"For What it's Worth" was right at the very beginning
their recording careers.  Even forcing the debut album's tracks altered to include "For What it's Worth," a non-commercial band
who's influence on other musicians in the USA and UK, was centred around one successful single and three low selling albums,
the music was a fantastic mixture of West Coast psychedelia, folk, country, blues, rock and even soul / r&b.The three influential
album's real strengths were based on exceptional musicianship, but most of all outstanding songs written by three totally unique,
  distinctive songwriters and guitarists, Neil Young, Stephen Stills & Richie Furary.  Earlier with that trio and contributing to those
remarkable songs, their self titled debut and "Again" had Dewey Martin's drums and vocals, plus Neil Young's fellow Canadian,
Bruce Palmer, who provided the bass guitar.

   After the January,1968 issue of "Buffalo Springfield Again," they recorded a fourth album,"Last Time Around" later in that same
and final year.   A 'missing' third LP, "Stampede," was left unreleased in 1967 and would very soon become a legendary bootleg,
  it was around that time, in May, 1967 that Young and Stills clashed (again!)  Neil Young left the band and took off to England to
  work with Jack Nitzsche and Andrew Oldham.  There was of course a very strong connection with the Rolling Stones from that
  pair and it coincided with the Stones no longer being produced by Andrew Oldham, Neil Young on the Immediate label? It could
  have happened, even more amazing in 1967, David Crosby was still with the Byrds and he temporarily joined Buffalo Springfield
  as a guest vocalist for live gigs. The effect of that when Roger McGuinn found out, contributed to David Crosby's own personality
  clash with McGuinn coming to a head, leading to him leaving the Byrds in 1967, a tangled web indeed! If anyone missed all of this
  happening, CSN & Young had an extraordinary history even before they had even formed!  Neil Young returned into the fold and
  the tracks were recorded that became the aptly titled final album "Last Time Around," by then Bruce Palmer was no longer in the
  band and was replaced by Jim Messina.  Jim Messina and Richie Furay would later form the bands 'Loggins & Messina' and 'Poco.'
  In May 1968, after their final gig in Long Beach, Los Angeles, all the internal unrest finally led to Buffalo Springfield breaking up
  with everyone going their separate ways... for now!
 
  The January, 1968 first UK pressings were on the maroon & red Atlantic labels, then like Otis Redding's records, next onto the UK
Atco label in 1969.  Once into the early 1970's, in 1972 the first green and orange pressing of "Buffalo Springfield Again" with
the Kinney Records revised catalogue number.    This 1976 pressing was the last UK pressing and so few copies were made due to
the low demand, this short history comes to an end, the German imports make up  the majority of vinyl pressings around today.
This album is literally bulging with the most stunning music, every track is a major one and the rarity of an unplayed, 40 year
old record means I must and will offer this unplayed by myself.   I will conclude description this with a brief mention of the
deeply beautiful Neil Young composition,"Expecting to Fly," an absolutely stunning masterpiece.  If anyone has yet to hear this
  tremendous track, the actual song title is suggesting a stoned, floaty, dreamy scene, which is exactly how it was sung by Neil
  and instrumentally arranged that way as well.  This is not really Buffalo Springfield but a solo Neil Young recording, a taste of
  the future and all of those magnificent Reprise albums, because Neil Young is the the only member of the band on the recording.
  A glorious melody from 1967, with a Jack Nitzsch production and orchestral arrangement to melt the heart and soothe away any
  tensions of coping with life.  Neil played an acoustic guitar, the vocals were simply devastating, I have mentioned the mastering at
  "Strawberry" and I know what a fantastic pressing this was, the strings have a wonderful combination of psychedelia tinged with
  a heavenly, angelic quality, a timeless quality that perfectly captured the late 1960's.
  {Roy}
    R & M RECORDS.

My lifetime's love of music and records began at a very young age, the arrival of the Beatles and the 1960's decade
  in general had a very profound effect. It was only natural to bring all my first hand experience of collecting vinyl
  into becoming a professional record seller.  Nearly thirty years ago we entered into the wonderful atmosphere
of record fairs with the highest possible standards set. When the Internet became the world's new market place for
  vinyl, in 2001 it was time to join ebay. Those standards were rigidly adhered to as they will always continue to be,
the basics of honesty and integrity were very much part of the era the music I love originated in, so here is our friendly
and very efficient service we are proud to provide;

EVERY RECORD IS FULLY PLAYED AND COMES WITH A 'NO ARGUMENT' MONEY BACK GUARANTEE.
  I USE GOOD OLD COMMON SENSE AS WELL AS A GLOBALLY ACCEPTED GRADING TERMINOLOGY
  FROM THE U.K. "RECORD COLLECTOR PRICE GUIDE" BOOK.
THERE IT CLEARLY STATES "Sound Quality" AFFECTS EVERY GRADING LEVEL AND THAT IS THE ONE
AND ONLY POSSIBLE WAY TO ACCURATELY GRADE RECORDS. i.e. COMBINING A STRICT VISUAL
INSPECTION WITH VERY CLOSELY LISTENING TO EVERY SECOND, UNLESS PERHAPS IN THE CASE
OF GENUINELY UNPLAYED VINYL.  EVEN THEN WE STILL TAKE FULL RESPONSIBILITY FOR A RECORD
WHEN A CUSTOMER RECEIVES EITHER A SEALED OR AN UNPLAYED RECORD.
 

  We take 100% responsibility after an item has been posted and offer our fullest support in the event of any problems.
"There Are No Problems, Only Solutions" (John Lennon)
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FROM 'V.G.' ( VERY GOOD), TO THE ULTIMATE 'MINT' CONDITION.


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We have kept all our charges at the same level for years now, but due to the Post Office's new price increases, regretfully we
will have to increase the cost of LP's, however, singles will remain unchanged.  Ebay were aware of that happening and have
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our UK First Class, Recorded Delivery cost for albums up to the value of £46.  A temporary reduction this week means we can
now post LP's for £5, but who knows how long before the Post Office return to £7?

For LP's valued above £46, the cost will be £9, we are unhappy about either increase but our high standard of packaging has meant
in 13 years of ebay trading, there has not been one record damaged, we are determined to maintain that in the present and future.

IN THE UK RECORDS UP TO THE VALUE OF £46 WILL BE SENT RECORDED DELIVERY, OVER £46 WILL BE
SENT SPECIAL DELIVERY.
  FOR THE REST OF THE WORLD ALL RECORDS WILL BE SENT VIA 'INTERNATIONAL SIGNED FOR.'

POSTAGE  COST FOR LP's
UK: UP TO VALUE OF £46, FIRST CLASS RECORDED DELIVERY  £5.00
UK: OVER VALUE OF £46, FULLY INSURED SPECIAL DELIVERY £9.00


EUROPE: FULLY INSURED VIA INTERNATIONAL SIGNED FOR  £15.00


USA,JAPAN & REST OF THE WORLD FULLY INSURED VIA INTERNATIONAL SIGNED FOR £20.00


POSTAGE COST FOR EP's & 7"
UK: UP TO THE VALUE OF £46 FIRST CLASS RECORDED DELIVERY £3.00
UK: OVER THE VALUE OF £46 FULLY INSURED SPECIAL DELIVERY £6.00
EUROPE: AIR MAIL VIA INTERNATIONAL SIGNED FOR £10.00
USA, JAPAN ETC. AIRMAIL VIA INTERNATIONAL SIGNED FOR £12.00


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