This is a review of the currently unavailable mono version of the legendary L.A. band's second album, "Buffalo Springfield Again", as well as a plea for its long overdue re-release. Shortly after its December 1967 issue, the record industry did away with mono mixes for LPs altogether, with singles to follow several years later. Given the recent resurgence in mono, due in no small part to the Beatles' mono box in 2009, the timing couldn't be better
Buffalo Springfield's 1966 debut has been available in a dual mono/stereo version since 1997, as group members claim the effort they put into the mono mix and their non-inclusion on the rush stereo mix made it by far the superior listen. Even a cursory listen to the mono version of their second album reveals the usual sonic delights mono mixes afford: more compression, making for a tougher, punchier sound; an overall increase in bass level (and when that bass player is the late Bruce Palmer [on most tracks], it can't be loud enough); and different levels on some crucial musical embellishments that sometimes got lost or were left out altogether in what were then largely indifferent stereo mixes. If ever there was an argument for listening to 60s recordings in their original mono mixes, this is it. Here follow several songs from "Buffalo Springfield Again" with differences worth noting:
Mr. Soul - Unlike the mono single released earlier in 1967, this is the same take that appeared on the stereo LP, but with far better overall levels and especially clear guitar solos. There's also a small feedback coda at the end of the solo as the third verse begins.
Everydays - The sustained feedback note that runs throughout the song sounds even more foreboding, and the piano is much louder, adding more punctuation to the percussion track.
Hung Upside Down - Dewey Martin's drums have an additional hi-hat smack not heard on the stereo, Steve's scat vocalizing in the chorus and during the middle-eight sections is louder, and the two separate guitar parts melded into one track miraculously appear far more defined.
Rock'n'Roll Woman - Having Stephen Stills and Richie Furay's soaring harmonies come out of both speakers elevates this already gorgeous song into the territory of the divine. Dewey's drums really cut through, and Stills' Hammond organ stabs are overall much more well-balanced. There's also an audible yelp from Stills just before the second-half of the middle eight which rachets up the excitement level considerably, and a very loud stacatto guitar squelch that melds with the last electric piano note at the song's conclusion. A masterclass in mixing for AM radio.
One can only hope that Universal, the surviving members of the band, or both will realize that a double-disc mono/stereo reissue, along with the usual extras (single versions, demos, alternate mixes, etc.) would be very well received in this climate of improved fidelity. Even a 180-gram mono vinyl version would be a start. And, for God's sake, if you're going to release a Deluxe Edition, include the twelve-minute version of "Bluebird" (the extended version featured on 1973's "Buffalo Springfield" compilation is a nine-minute edit).
This mix is only currently available on ebay at exorbitant prices or on Torrents that net the band and record company absolutely nothing, and that's a shame. Material of this calibre deserves nothing less than a re-release taken with the utmost care and attention to detail.
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