Buckley and lyricist/friend Beckett wrote dozens of songs, some that appeared on Tim's debut album, "Tim Buckley". "Buzzin' Fly" was written during this period and was featured on "Happy Sad", his 1969 LP. Buckley's college career at Fullerton College lasted two weeks in 1965. After dropping out of college, Buckley dedicated himself fully to music and playing L.A. folk clubs. During the summer of 1965, he played regularly at a club co-founded by Dan Gordon. He played Orange County coffeehouses such as the White Room in Buena Park and the Monday-night hootenannies at the Los Angeles Troubadour. That year, "Cheetah Magazine" deemed Buckley one of "The Orange County Three", along with Steve Noonan and Jackson Browne. In February 1966, following a gig at It's Boss, the Mothers of Invention's drummer Jimmy Carl Black recommended Buckley to the Mothers' manager, Herb Cohen. Cohen saw potential in Tim and landed him an extended gig at the Nite Owl Cafe in Greenwich Village. Buckley's girlfriend, Jainie Goldstein, drove him to New York. While living in the Bowery with Jainie, Buckley ran into Lee Underwood and asked him to play guitar for him. The two became lifelong friends and collaborators. Under Cohen's management, Buckley recorded a six-song demo acetate disc which he sent to Elektra records owner Jac Holzman, who offered him a recording contract. In August 1966, Buckley recorded his self-titled debut album in three days in Los Angeles. He was often unhappy with his albums after they were recorded and described his debut album as "like Disneyland". The record featured Buckley and a band of Underwood and Orange County friends. Underwood's mix of jazz and country improvisation on a Telecaster guitar became a distinctive part of Buckley's early sound. Jac Holzman and Paul Rothchild's production and Jack Nitzsche's string arrangements cemented the record's mid—60s sound. The album's folk-rock style was typical of the time, although many people, including Underwood, felt the strings by Nitzsche "did not enhance its musical quality." Critics took note of Buckley's distinctive voice and tuneful compositions. Underwood considered the record to be "a first effort, naive, stiff, quaky and innocent [but] a ticket into the marketplace". Holzman expressed similar sentiments and thought Buckley wasn't comfortable in his own musical skin.