Chords for INTERVIEW: Jim Messina On The Troubled Buffalo Springfield of 1968
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Start Jamming...
Jim Messina on the drama of working with a troubled band like Buffalo Springfield.
I'm John Bowden from Rock History Music.
When people talk about Jim Messina, most people jump to Loggins and Messina.
That was his most
successful stint as a musician and producer, but he was also a founding member of the band Poco,
produced their first two studio albums and their first live album.
And as the band Buffalo
Springfield, which featured Stephen Stills and Neil Young, was falling apart, he was there to
produce their last album.
I asked Jim Messina about being in that precarious situation with a
band full of drama.
Well, that was the third and last Buffalo Springfield album.
Yes.
And I'm trying
to imagine what was going through your mind.
Were you nervous?
No, I was nervous because I was
committed.
You know, I mean, at this point I'd left my job at working at Sunset Sound.
I was
under their employee, you know, I was making a paycheck and I was committed to seeing this album
through.
I made a commitment to On the Dirt Again.
I made a commitment to myself.
That's just who I am.
But I had hoped that maybe this album would be the album that would make the difference between
keeping this group together or whether it would break up.
But little did I know, it was always on
the verge of breaking up.
This was just one more, you know, door that opened and closed in that
process.
But yeah, there were a lot of trepidations.
I was working hard, very hard to get this done,
keep it alive.
And then when it came out and the reviews were so fantastic, I thought, great, well,
maybe this is what it's going to take to keep these guys together.
But I think Neil always had
a sense that he wanted to do something else.
I don't think Steven was that way.
I think Steven
would have been happy with the Springfield if everybody else would have been there with it.
But
it was hard.
You know, Dewey was, when you look back at Dewey's playing, like on Bluebird, I mean,
who else could have done that?
Right.
It was just so raw, but so natural and so great and so different.
But, you know, Dewey had his personality disorders, as we all do.
And they didn't quite,
you know, always work with those guys.
You know, he liked to drink and some of the other guys didn't.
Some guys liked to smoke and the others were teetotalers.
You know, it was, I don't think
these guys would have picked each other for friends if they were just looking for friends.
But from a musical standpoint, it was a really interesting, eclectic of musicians.
And so
it was bound to, you know, to take a fork in the road.
But out of that fork came, you know,
Poco, Crosby, Stills, Nash, and of course, Neal's stuff and Loggins and Messina and the Eagles and
every other thing that you can possibly imagine.
In the 70s, I used to like when, before Bonnie
Raitt was big, she was known as, you know, a prestige artist, a raccooner, people before they
would sell records, a record company, like Asylum, they would have artists.
And every label had a
record company.
And I'm glad the label is richer for having that artist on there, even though
they may never sell, but they add a certain depth to a label.
And that's what I miss, I think, the
most.
Because, I mean, you have the internet now, so you can find your own versions of that.
But I used to like that.
That showed good faith to me.
Well, it shows good taste.
Right?
I mean, not everybody likes, you know, caviar, but it does taste good.
[A] Yeah.
Jim Messina is doing shows all throughout the year, right up until November.
Go to jimmessina.com.
We'll have part three of our interview with the great Jim Messina coming up next week.
I'm John
Bowden.
Make sure you comment on our video, subscribe to our channel and share our videos.
This is Rock History Music.
[E] [Em] [G] [D]
[A] [Em] [E]
[G]
I'm John Bowden from Rock History Music.
When people talk about Jim Messina, most people jump to Loggins and Messina.
That was his most
successful stint as a musician and producer, but he was also a founding member of the band Poco,
produced their first two studio albums and their first live album.
And as the band Buffalo
Springfield, which featured Stephen Stills and Neil Young, was falling apart, he was there to
produce their last album.
I asked Jim Messina about being in that precarious situation with a
band full of drama.
Well, that was the third and last Buffalo Springfield album.
Yes.
And I'm trying
to imagine what was going through your mind.
Were you nervous?
No, I was nervous because I was
committed.
You know, I mean, at this point I'd left my job at working at Sunset Sound.
I was
under their employee, you know, I was making a paycheck and I was committed to seeing this album
through.
I made a commitment to On the Dirt Again.
I made a commitment to myself.
That's just who I am.
But I had hoped that maybe this album would be the album that would make the difference between
keeping this group together or whether it would break up.
But little did I know, it was always on
the verge of breaking up.
This was just one more, you know, door that opened and closed in that
process.
But yeah, there were a lot of trepidations.
I was working hard, very hard to get this done,
keep it alive.
And then when it came out and the reviews were so fantastic, I thought, great, well,
maybe this is what it's going to take to keep these guys together.
But I think Neil always had
a sense that he wanted to do something else.
I don't think Steven was that way.
I think Steven
would have been happy with the Springfield if everybody else would have been there with it.
But
it was hard.
You know, Dewey was, when you look back at Dewey's playing, like on Bluebird, I mean,
who else could have done that?
Right.
It was just so raw, but so natural and so great and so different.
But, you know, Dewey had his personality disorders, as we all do.
And they didn't quite,
you know, always work with those guys.
You know, he liked to drink and some of the other guys didn't.
Some guys liked to smoke and the others were teetotalers.
You know, it was, I don't think
these guys would have picked each other for friends if they were just looking for friends.
But from a musical standpoint, it was a really interesting, eclectic of musicians.
And so
it was bound to, you know, to take a fork in the road.
But out of that fork came, you know,
Poco, Crosby, Stills, Nash, and of course, Neal's stuff and Loggins and Messina and the Eagles and
every other thing that you can possibly imagine.
In the 70s, I used to like when, before Bonnie
Raitt was big, she was known as, you know, a prestige artist, a raccooner, people before they
would sell records, a record company, like Asylum, they would have artists.
And every label had a
record company.
And I'm glad the label is richer for having that artist on there, even though
they may never sell, but they add a certain depth to a label.
And that's what I miss, I think, the
most.
Because, I mean, you have the internet now, so you can find your own versions of that.
But I used to like that.
That showed good faith to me.
Well, it shows good taste.
Right?
I mean, not everybody likes, you know, caviar, but it does taste good.
[A] Yeah.
Jim Messina is doing shows all throughout the year, right up until November.
Go to jimmessina.com.
We'll have part three of our interview with the great Jim Messina coming up next week.
I'm John
Bowden.
Make sure you comment on our video, subscribe to our channel and share our videos.
This is Rock History Music.
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Key:
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Jim Messina on the drama of working with a troubled band like Buffalo Springfield.
I'm John Bowden from Rock History Music. _ _
When people talk about Jim Messina, most people jump to Loggins and Messina.
That was his most
successful stint as a musician and producer, but he was also a founding member of the band Poco,
produced their first two studio albums and their first live album.
And as the band Buffalo
Springfield, which featured Stephen Stills and Neil Young, was falling apart, he was there to
produce their last album.
I asked Jim Messina about being in that precarious situation with a
band full of drama.
Well, that was the third and last Buffalo Springfield album.
Yes.
And I'm trying
to imagine what was going through your mind.
Were you nervous?
No, I was nervous because I was
committed.
You know, I mean, at this point I'd left my job at working at Sunset Sound.
I was
under their employee, you know, I was making a paycheck and I was committed to seeing this album
through.
I made a commitment to On the Dirt Again.
I made a commitment to myself.
That's just who I am.
But I had hoped that maybe this album would be the album that would make the difference between
keeping this group together or whether it would break up.
But little did I know, it was always on
the verge of breaking up.
This was just one more, _ _ you know, door that opened and closed in that
_ process.
But yeah, there were a lot of trepidations.
I was working hard, very hard to get this done,
keep it alive.
And then when it came out and the reviews were so fantastic, I thought, great, well,
maybe this is what it's going to take to keep these guys together. _
_ But I think Neil always had
a sense that he wanted to do something else.
_ I don't think Steven was that way.
I think Steven
would have been happy with the Springfield if everybody else would have been there with it.
But
it was hard.
You know, Dewey was, when you look back at Dewey's playing, like on Bluebird, I mean,
who else could have done that?
Right.
It was just so raw, but so natural and so great and so different.
But, you know, Dewey had his personality disorders, as we all do.
And they didn't quite,
you know, always work with those guys.
You know, he liked to drink and some of the other guys didn't.
Some guys liked to smoke and the others were teetotalers.
You know, it was, I don't think
these guys would have picked each other for friends if they were just looking for friends.
But from a musical standpoint, it was a really interesting, eclectic of musicians.
And so _ _
it was bound to, you know, to take a fork in the road.
But out of that fork came, you know,
Poco, Crosby, Stills, Nash, and of course, Neal's stuff and Loggins and Messina and the Eagles and
every other thing that you can possibly imagine.
_ _ In the 70s, I used to like when, before Bonnie
Raitt was big, she was known as, you know, a prestige artist, a raccooner, people before they
would sell records, a record company, like Asylum, _ they would have artists.
And every label had _ _ _ _ _ a
record company.
And I'm glad the label is richer for having that artist on there, even though
they may never sell, but they add a certain depth to a label.
And that's what I miss, I think, the
most.
Because, I mean, you have the internet now, so you can find your own versions of that.
_ But I used to like that.
That showed good faith to me.
Well, it shows good taste. _ _
Right?
I mean, not everybody likes, you know, caviar, but it does taste good.
_ [A] Yeah.
Jim Messina is doing shows all throughout the year, right up until November.
Go to jimmessina.com.
We'll have part three of our interview with the great Jim Messina coming up next week.
I'm John
Bowden.
Make sure you comment on our video, subscribe to our channel and share our videos.
This is Rock History Music.
_ [E] _ _ [Em] _ _ _ _ [G] _ _ _ _ _ [D] _ _ _
_ _ [A] _ _ [Em] _ _ _ [E] _
_ [G] _ _ _ _ _ _ _
I'm John Bowden from Rock History Music. _ _
When people talk about Jim Messina, most people jump to Loggins and Messina.
That was his most
successful stint as a musician and producer, but he was also a founding member of the band Poco,
produced their first two studio albums and their first live album.
And as the band Buffalo
Springfield, which featured Stephen Stills and Neil Young, was falling apart, he was there to
produce their last album.
I asked Jim Messina about being in that precarious situation with a
band full of drama.
Well, that was the third and last Buffalo Springfield album.
Yes.
And I'm trying
to imagine what was going through your mind.
Were you nervous?
No, I was nervous because I was
committed.
You know, I mean, at this point I'd left my job at working at Sunset Sound.
I was
under their employee, you know, I was making a paycheck and I was committed to seeing this album
through.
I made a commitment to On the Dirt Again.
I made a commitment to myself.
That's just who I am.
But I had hoped that maybe this album would be the album that would make the difference between
keeping this group together or whether it would break up.
But little did I know, it was always on
the verge of breaking up.
This was just one more, _ _ you know, door that opened and closed in that
_ process.
But yeah, there were a lot of trepidations.
I was working hard, very hard to get this done,
keep it alive.
And then when it came out and the reviews were so fantastic, I thought, great, well,
maybe this is what it's going to take to keep these guys together. _
_ But I think Neil always had
a sense that he wanted to do something else.
_ I don't think Steven was that way.
I think Steven
would have been happy with the Springfield if everybody else would have been there with it.
But
it was hard.
You know, Dewey was, when you look back at Dewey's playing, like on Bluebird, I mean,
who else could have done that?
Right.
It was just so raw, but so natural and so great and so different.
But, you know, Dewey had his personality disorders, as we all do.
And they didn't quite,
you know, always work with those guys.
You know, he liked to drink and some of the other guys didn't.
Some guys liked to smoke and the others were teetotalers.
You know, it was, I don't think
these guys would have picked each other for friends if they were just looking for friends.
But from a musical standpoint, it was a really interesting, eclectic of musicians.
And so _ _
it was bound to, you know, to take a fork in the road.
But out of that fork came, you know,
Poco, Crosby, Stills, Nash, and of course, Neal's stuff and Loggins and Messina and the Eagles and
every other thing that you can possibly imagine.
_ _ In the 70s, I used to like when, before Bonnie
Raitt was big, she was known as, you know, a prestige artist, a raccooner, people before they
would sell records, a record company, like Asylum, _ they would have artists.
And every label had _ _ _ _ _ a
record company.
And I'm glad the label is richer for having that artist on there, even though
they may never sell, but they add a certain depth to a label.
And that's what I miss, I think, the
most.
Because, I mean, you have the internet now, so you can find your own versions of that.
_ But I used to like that.
That showed good faith to me.
Well, it shows good taste. _ _
Right?
I mean, not everybody likes, you know, caviar, but it does taste good.
_ [A] Yeah.
Jim Messina is doing shows all throughout the year, right up until November.
Go to jimmessina.com.
We'll have part three of our interview with the great Jim Messina coming up next week.
I'm John
Bowden.
Make sure you comment on our video, subscribe to our channel and share our videos.
This is Rock History Music.
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