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Pan American Buffalo Springfield

Pan American Buffalo Springfield

April 11, 1966
Pan American Buffalo Springfield
Buffalo Springfield (photo from https://rockhallows.wordpress.com/2011/04/21/the-troubadour/) Top L – R: Stephen Stills, Bruce Palmer, and Rich Fury. Bottom L – R: Neil Young and Dewey Martin.

Used to play
in a rock ‘n’ roll band,
But they broke up.
We were young and we were wild,
It ate us up.

Neil Young, Buffalo Springfield Again

Singular Comet

Some bands are like comets. They streak brightly but briefly across our musical horizon, leaving behind great memories.

On April 11, 1966, the short-lived Buffalo Springfield made their live debut at The Troubadour in Hollywood, California.

They would release three albums:

  • Buffalo Springfield (1966)
  • Buffalo Springfield Again (1967)
  • Last Time Around (1968)

And then they were gone.

Pan American Buffalo Springfield

Beginnings

The first incarnation of the Buffalo Springfield was an international mix: Richie Furay (Ohio) (vocals, guitar), Dewey Martin (Texas) (drums); Bruce Palmer (Ontario) (bass); Stephen Stills (Texas) (vocals, guitar); and Neil Young  (Manitoba) (vocals, guitar)

Stills had first met Neil Young in Canada while Stills was touring there. Bruce Palmer was also from Canada and met Young there. Richie Fury and Stills met in Los Angeles. And when the four of them formed a band they added Dewey Martin.

Their first single was “Go and Say Goodbye” with “Nowadays Clancy Can’t Even Sing” as the B-side, but radio DJs preferred Clancy and that became the minor hit on the west coast.

Pan American Buffalo Springfield

Nowadays Clancy…

All Music describes Clancy, written by Neil Young, as “a kaleidoscope of emotions and feelings of rejection and alienation that touches nerves in anyone who listens. Young has written 100 other songs that are probably “better” than this, but he’s never written anything else quite like it.”

Clancy was the first song I heard by Springfield. I fell in love with it, but it haunted me because I didn’t even know who it was or the title. When WOR-FM first changed to a rock format they had DJ contract issues and it simply played songs unannounced.

Two years later when I went away to college and had to leave my girlfriend behind, I left her a note to open when she got home from leaving me at the airport. It simply read “I miss you now,” a line I’d borrowed from the Springfield’s “On the Way Home.

Pan American Buffalo Springfield

Buffalo Springfield departs

Despite its great music, the members often had poor chemistry. The government deported Bruce Palmer for drug possession. Neil Young left for artistic issues. Fill-in members came and went.

The band played its last gig at the Long Beach Arena on May 5, 1968. They played with Country Joe & Fish, Canned Heat, Smokestack Lightnin’,  and The Hook.

Pan American Buffalo Springfield

Buffalo Springfield branches out

Of course members went on to great things. Stephen Still to Crosby, Stills, and Nash (and occasionally Young). Neil Young to a still successful solo career with nearly as many variations as David Bowie. Furay and Jim Messina (a late Springfield member) were founding members of Poco.

Furay later joined J.D. Souther and Chris Hillman to form the Souther-Hillman-Furay Band, and Messina teamed with Kenny Loggins in Loggins & Messina.

In other words, the Buffalo Springfield members have  made a lot of great music beside what they first offered.

On  May 6, 1997, the Rock and Roll Hall of Fame inducted them in the first ceremony held at the Rock and Roll Museum in Cleveland.

On November 24, 2010, the Buffalo Springfield got back together at the Bridge School Benefit Concert 2010. Original members Neil Young, Richie Furay, and Steven Stills with Rick Rosas on bass and Joe Vitale on drums

NYC Bans Folk Music

NYC Bans Folk Music

Anniversary of the “Beatnik Riot”
April 9,  1961
NYC Bans Folk Music
New York Mirror headline
NYC Bans Folk Music

World Power Anomie

After World War II, many young adults, disenchanted with the horrors and atrocities of two global wars less than 25 years apart, broke away from prevailing cultural mores. They sought out an anti-conformist  life style that isolated them from what they saw as a morally corrupt society.

Some found that isolation with those whom American society had already segregated. Some found it in the arts.

Jack Kerouac referred to himself and those like him as part of a Beat Generation. (NY Times magazine article). His use carried with it the notion of being tired, but Kerouac mixed in the ideas of “upbeat”, and “beatific.”

NYC Bans Folk Music

Cold War

On October 4, 1957, the Soviet Union successfully launched the first satellite, Sputnik. The Cold War had increasingly heated in the late 1950s. Growing up as a Boomer meant learning to hate, to distrust, and be anti-anything associated with the USSR.  Catholics prayed for its conversion after every Sunday Mass.

The arms race continued. Sputnik launched the space race, in many ways an offshoot of that arms race.

What better way to label a disenchanted group, the Beats, a group that mainstream citizens and media saw as un-American? Associate them with Communism.

NYC Bans Folk Music

Beatniks

On April 2, 1958, Herb Caen of the San Francisco Chronicle wrote, “Look magazine, preparing a picture spread on S.F.’s Beat Generation (oh, no, not AGAIN!), hosted a party in a No. Beach house for 50 Beatniks, and by the time word got around the sour grapevine, over 250 bearded cats and kits were on hand, slopping up Mike Cowles’ free booze. They’re only Beat, y’know, when it comes to work . . . “

Thus the Beats became Beatniks. It was not a compliment.

Some Beats loved jazz. Some Beats loved folk music. Both sometimes played outside with friends in NYC’s Greenwich Village, particularly Washington Square Park, busking or simply entertaining themselves.

NYC Bans Folk Music

Newbold Morris

Despite the First Amendment’s guarantee of free speech, on March 28, 1961, NYC Park Commissioner Newbold Morris notified his staff to limit permits issued for musical performances in Washington Square to “legitimate” artistic groups. He also asked the police to issue summonses to guitarists, bongo drummers, and folk singers who did not have permits.

On April 9, 1961 Greenwich Village folk song fans battled the police for two hours in Washington Square. Police arrested ten demonstrators. Several persons, including three policemen, were hurt.

From the Greenwich Village Society for Historic Preservation siteThe protest was arranged by Izzy Young, head of the Folklore Center on MacDougal Street.  A group of protestors who sat in the fountain singing “We Shall Not be Moved” was attacked by police with billy clubs.  Another group sang the Star Spangled Banner, thinking police would not attack such a display of patriotism- they were wrong.

NYC Bans Folk Music
Dan Drasin’s 1961 film, Sunday, captured the April 9, 1961, conflict between New York City folk musicians and police that came to be known as the Beatnik Riot.
NYC Bans Folk Music

Here is that film

NYC Bans Folk Music

Continued support for ban

Two days later NYC Mayor Robert F Wagner, announced his support of the ban.

On April 20, 1961 the  Community Planning Board voted to uphold Park Commissioner Newbold Morris’ ban against folk-singing in Washington Square Park.

On April 30, 1961 police arrested William French, a student, at another demonstration by folk-music fans in Washington Square Park. That arrest nearly set off a riot. It also raised charges of police brutality.

NYC Bans Folk Music

State Supreme Court

On May 4, 1961 NYC’s ban against folk singing in Washington Square Park was upheld by the State Supreme Court.

On May 7, 1961, singers marched back into Washington Square Park and sang for the first time in four weeks without hindrance from the police. They sang a capella. They had discovered that Park Department ordinances require a permit only for “minstrelsy” – singing with instruments, but not for unaccompanied song.

On May 12, 1961 NYC Mayor Wagner announced that folk singing, with instrumental accompaniment, would be permitted in Washington Square “on a controlled basis.”

On June 5, 1961 a grand jury cleared William French of charges associated with the April 30 Washington  Square demonstration.

NYC Bans Folk Music

Appellate Division decision

And on July 6, 1961, the Appellate Division of the NY State Supreme Court unanimously reversed a lower court decision that had supported the city’s former ban on folk singing in Washington Square.

Community displeasure with those seen as outsiders and disruptive was not new and continued. Eight years later in Wallkill, NY, a group of community leaders succeeded in keeping out a group that sought to play their music. That event, of course, was called the Woodstock Music and Art Fair.

Reference >>> NPR report on Washington Square folk music ban

NYC Bans Folk Music

Willie May Thornton Hound Dog

Willie May Thornton Hound Dog

Released  March 1953

“Big Mama Thornton”

December 11, 1926 – July 25, 1984
…and Sam Phillips’ answer to it
Willie May Thornton Hound Dog
the label of the 78 rpm “Hound Dog”

Willie Mae “Big Mama” Thornton was 26 when Peacock Records released Hound Dog in March (or February) 1953.  Written by Jerry Leiber and Mike Stoller in 1952, it spent seven weeks at number one on the Billboard R&B charts and sold almost two million copies. Big Mama saw very little of that money.

Willie May Thornton Hound Dog
78 rpm of Rufus Thomas’s Bear Cat

If imitation is the highest form of flattery, then Sam Phillips, the young record maker and founder of Sun Records in Memphis, flattered Hound Dog by writing “Bear Cat.” He knew Rufus Thomas and decided he’d be the ideal person to sing the song.

Willie May Thornton Hound Dog
Rufus Thomas as a DJ at WDIA in Memphis

Click below to hear “Bear Cat”:

Willie May Thornton Hound Dog

Bear Cat

Though Rufus Thomas wasn’t familiar with the term, where Phillips grew up in Alabama, a bear cat was “the meanest goddamn woman in the world.

Thomas and Phillips knew they had not come close to the superior “Hound Dog” but were satisfied with the results and released it on March 22,  just a few weeks after the release of “Hound Dog.” Even the full title told you what you could obviously hear: “‘Bear Cat’ (The Answer to Hound Dog)”

“Bear Cat” was an immediate hit. The first in Sun Records young but turbulent history.

Willie May Thornton Hound Dog

Answer songs

“Answer songs” were very popular and Sam Phillips innocently didn’t realize he had struck a hornet nest of problems by releasing the song without permission from Lion Musical Publishing Company which held the rights to “Hound Dog.”

Sam Phillips ended up writing a check to Lion and gave up all claims to the publishing.

 “Bear Cat” eventually reached #3 on the R & B charts and did not leave the charts until June.

Willie May Thornton Hound Dog

Hound Dog

Of course, three years later a young white singer named Elvis and his cover of “Hound Dog” would forever displace Thornton’s version.

Ironically, Big Mama would write (in 1961) and release (in 1968) a song (“Ball and Chain”) that would be taken by another young singer.

I highly recommended book about early rock and roll and Sam Phillips: Sam Phillips, the Man Who Invented Rock and Roll by Peter Guralnick.  

The subtitle of the song is “How One Man Discovered Howlin’ Wolf, Ike Turner, Jerry Lee Lewis, Johnny Cash, and Elvis Presley, and How His Tiny Label, Sun Records of Memphis, Revolutionized the World.”

Willie May Thornton Hound Dog