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The music Never Died 2xCd Set

The music Never Died 2xCd Set



The music Never Died 2xCd Set

 

The Day the Music Died


A tangled mass of metal with a wing and landing gear wheel barely recognizable, on a snowy field

The wreckage of the Bonanza at the crash site

Accident

Date February 3, 1959

Summary Crashed following loss of control in near-IMC

Site Near Clear Lake, Iowa, U.S.

43°13′13.3″N 93°22′53.1″WCoordinates: 43°13′13.3″N 93°22′53.1″W

Aircraft

Aircraft type Beechcraft Bonanza

Operator Dwyer Flying Service,

Mason City, Iowa, U.S.

Registration N3794N

Flight origin Mason City Municipal Airport, Iowa, U.S.

Destination Hector Airport, North Dakota, U.S.

Passengers 3

Crew 1

Fatalities 4

Survivors 0

The Day the Music Died is located in the United StatesThe Day the Music Died

Location in the United States

On February 3, 1959, American rock and roll musicians Buddy Holly, Ritchie Valens, and "The Big Bopper" J. P. Richardson were killed in a plane crash near Clear Lake, Iowa, together with pilot Roger Peterson. The event later became known as "The Day the Music Died" after singer-songwriter Don McLean referred to it as such in his 1971 song "American Pie".


At the time, Holly and his band, consisting of Waylon Jennings, Tommy Allsup, and Carl Bunch, were playing on the "Winter Dance Party" tour across the Midwest. Rising artists Valens, Richardson, and Dion and the Belmonts had joined the tour as well. The long journeys between venues on board the cold, uncomfortable tour buses adversely affected the performers, with cases of flu and even frostbite.


After stopping at Clear Lake to perform, and frustrated by such conditions, Holly chose to charter a plane to reach their next venue in Moorhead, Minnesota. Richardson, suffering from flu, swapped places with Jennings, taking his seat on the plane, while Allsup lost his seat to Valens on a coin toss. Soon after takeoff, late at night and in poor, wintry weather conditions, the pilot lost control of the light aircraft, a Beechcraft Bonanza, which subsequently crashed into a cornfield, killing all four on board.


The event has since been mentioned in several songs and films. Various monuments have been erected at the crash site and in Clear Lake, where an annual memorial concert is also held at the Surf Ballroom, the venue that hosted the artists' last performances.




Background

In November 1958, Buddy Holly terminated his association with The Crickets. According to Paul Anka, Holly realized he needed to go back on tour again for two reasons: he needed cash because the Crickets' manager Norman Petty had apparently stolen money from him, and he wanted to raise funds to move to New York City to live with his new wife, María Elena Holly, who was pregnant. Holly signed up with General Artists Corporation (GAC) because "he knew they were planning a British tour and he wanted to be in on that".


For the start of the "Winter Dance Party" tour, Holly assembled a band consisting of Waylon Jennings (bass), Tommy Allsup (guitar), and Carl Bunch (drums), with the opening vocals of Frankie Sardo. The tour was set to cover 24 Midwestern cities in as many days—there were no off days. New hit artist Ritchie Valens, "The Big Bopper" J. P. Richardson, and Dion DiMucci (and his band The Belmonts) joined the tour to promote their recordings and make an extra profit.



Winter Dance Party Tour schedule, 1959

The 1959 tour began in Milwaukee, Wisconsin, on January 23, with the performance in Clear Lake, Iowa, on February 2 being the eleventh of the 24 scheduled events. The amount of travel required soon became a serious problem. The distances between venues had not been properly considered when the performances were scheduled. Instead of systematically circling around the Midwest through a series of venues in close proximity to one another, the tour erratically meandered back and forth across the region, with distances between some tour stops exceeding 400 miles (640 km). As there were no off days, the bands had to travel most of each day, frequently for 10 to 12 hours in freezing mid-winter temperatures. Most of the Interstate Highway System had not yet been built, so the routes between tour stops required far more driving time on narrow two-lane rural highways than on modern expressways. GAC, the organization that booked the tour, later received considerable criticism for their seemingly total disregard for the conditions they forced the touring musicians to endure:


They didn't care. It was like they threw darts at a map ... The tour from hell—that's what they named it—and it's not a bad name.


— Buddy Holly historian Bill Griggs

The entire company of musicians traveled together in one bus, although the buses used for the tour were wholly inadequate, breaking down and being replaced frequently. Griggs estimates that five separate buses were used in the first eleven days of the tour—"reconditioned school buses, not good enough for school kids". The artists themselves were responsible for loading and unloading equipment at each stop, as no road crew assisted them. Adding to the disarray, the buses were not equipped for the harsh weather, which consisted of waist-deep snow in several areas and varying temperatures from 20 °F (−7 °C) to as low as −36 °F (−38 °C). One bus had a heating system that malfunctioned shortly after the tour began, in Appleton, Wisconsin.


Later, Richardson and Valens began experiencing flu-like symptoms and drummer Bunch was hospitalized for severely frostbitten feet, after the tour bus stalled in the middle of the highway in subzero temperatures near Ironwood, Michigan. The musicians replaced that bus with another school bus and kept traveling. After Bunch was hospitalized, Carlo Mastrangelo of The Belmonts took over the drumming duties. When Dion and The Belmonts were performing, the drum seat was taken by either Valens or Holly. As Holly's group had been the backing band for all of the acts, Holly, Valens, and DiMucci took turns playing drums for each other at the performances in Green Bay, Wisconsin, and Clear Lake, Iowa.


On Monday, February 2, the tour arrived in Clear Lake, west of Mason City, having driven 350 miles (560 km) from the previous day's concert in Green Bay. The town in northern Iowa had not been a scheduled stop; tour promoters hoped to fill the open date and called the manager of the local Surf Ballroom, Carroll Anderson (1920–2006), and offered him the show. Anderson accepted and they set the show for that night. By the time Holly arrived at the venue that evening, he was frustrated with the ongoing problems with the bus. The next scheduled destination after Clear Lake was Moorhead, Minnesota, a 365-mile (590 km) drive north-northwest—and, as a reflection of the poor quality of the tour planning, a journey that would have taken them directly back through the two towns they had already played within the last week. No let-up after that was in sight, as the following day after having traveled from Iowa to Minnesota, they were scheduled to travel right back to Iowa, specifically almost directly south to Sioux City, a 325-mile (520 km) trip.


Holly chartered a plane to fly himself and his band to Fargo, North Dakota, which is adjacent to Moorhead. The rest of the party would have picked him up in Moorhead, saving him the journey in the bus and leaving him time to get some rest. Their gig in Moorhead was to have been a radio performance at the station KFGO with disk jockey Charlie Boone.


Flight arrangements


A V-tailed Bonanza similar to N3794N, the accident aircraft

Anderson called Hubert Jerry Dwyer (1930–2016), owner of the Dwyer Flying Service in Mason City, to charter the plane to fly to Fargo's Hector Airport, the closest one to Moorhead.[ Flight arrangements were made with Roger Peterson, a 21-year-old local pilot described as a "young married man who built his life around flying".


The flying service charged a fee of $36 per passenger for the flight on the 1947 single-engined, V-tailed Beechcraft 35 Bonanza (registration N3794N[), which seated three passengers and the pilot. A popular misconception, originating from Don McLean's song about the crash, was that the plane was called American Pie; no record exists of any name ever having been given to N3794N.


The most widely accepted version of events was that Richardson had contracted the flu during the tour and asked Jennings for his seat on the plane. When Holly learned that Jennings was not going to fly, he said in jest: "Well, I hope your ol' bus freezes up." Jennings responded: "Well, I hope your ol' plane crashes", a humorous but ill-fated response that haunted him for the rest of his life. Valens, who once had a fear of flying, asked Allsup for his seat on the plane. The two agreed to toss a coin to decide. Bob Hale, a disc jockey with Mason City's KRIB-AM, was emceeing the concert that night and flipped the coin in the ballroom's side-stage room shortly before the musicians departed for the airport. Valens won the coin toss for the seat on the flight. Valens is apocryphally said to have remarked, "That's the first time I've ever won anything in my life."


In contradiction to the testimony of Allsup and Jennings, Dion has since said that Holly approached him along with Valens and Richardson to join the flight, not Holly's bandmates. In a 2009 interview, Dion said that Holly called him, Valens, and Richardson into a vacant dressing room during Sardo's performance and said, "I've chartered a plane, we're the guys making the money [we should be the ones flying ahead]...the only problem is there are only two available seats." According to Dion, it was Valens, not Richardson, who had fallen ill, so Valens and Dion flipped a coin for the seat. In his interview, no mention is made of Jennings or Allsup being invited on the plane. Dion said he won the toss, but ultimately decided that since the $36 fare (equivalent to $320 in 2020) equaled the monthly rent his parents paid for his childhood apartment, he could not justify the indulgence.


Take-off and crash

After the show ended, Anderson drove Holly, Valens, and Richardson to nearby Mason City Municipal Airport, whose elevation is 1,214 feet (370 m) AMSL. The weather at the time of departure was reported as light snow, a ceiling of 3,000 feet (900 m) AMSL with sky obscured, visibility six miles (10 km), and winds from 20 to 30 mph (32 to 48 km/h). Although deteriorating weather was reported along the planned route, the weather briefings Peterson received failed to relay the information.



Mason City and Clear Lake, Iowa

The plane took off normally from runway 17 (today's runway 18) at 12:55 am CST on Tuesday, February 3. Dwyer witnessed the southbound take-off from a platform outside the control tower. He was able to clearly see the aircraft's tail light for most of the brief flight, which started with an initial 180 degree left turn to pass east of the airport, climbing to approximately 800 feet (240 m) AGL. After an additional left turn to a northwesterly heading, the tail light was then observed gradually descending until it disappeared. Around 1:00 am, when Peterson failed to make the expected radio contact, repeated attempts to establish communication were made, at Dwyer's request, by the radio operator, but they were all unsuccessful.


Later that morning, Dwyer, having heard no word from Peterson since his departure, took off in another airplane to retrace Peterson's planned route. Within minutes, at around 9:35 am, he spotted the wreckage less than six miles (10 km) northwest of the airport. The sheriff's office, alerted by Dwyer, dispatched Deputy Bill McGill, who drove to the crash site, a cornfield belonging to Albert Juhl.


The Bonanza had impacted terrain at high speed, estimated to have been around 170 mph (270 km/h), banked steeply to the right and in a nose-down attitude. The right wing tip had struck the ground first, sending the aircraft cartwheeling across the frozen field for 540 feet (160 m), before coming to rest against a wire fence at the edge of Juhl's property. The bodies of Holly and Valens had been ejected from the fuselage and lay near the plane's wreckage. Richardson's body had been thrown over the fence and into the cornfield of Juhl's neighbor Oscar Moffett, while Peterson's body was entangled in the wreckage. With the rest of the entourage en route to Minnesota, Anderson, who had driven the party to the airport and witnessed the plane's takeoff, had to identify the bodies of the musicians. County coroner Ralph Smiley certified that all four victims died instantly, citing the cause of death as "gross trauma to brain" for the three artists and "brain damage" for the pilot.


Aftermath

María Elena Holly learned of her husband's death via a television news report. A widow after only six months of marriage, she suffered a miscarriage shortly after, reportedly due to "psychological trauma". Holly's mother, on hearing the news on the radio at home in Lubbock, Texas, screamed and collapsed. Within months of Holly's death, official protocols developed with the goal of ensuring the names of victims of traumatic incidents are not released by authorities until after their families have been notified were implemented.


Despite the tragedy, the "Winter Dance Party" tour continued. Fifteen-year-old Bobby Vee was given the task of filling in for Holly at the next scheduled performance in Moorhead, in part because he "knew all the words to all the songs".Jennings and Allsup carried on for two more weeks, with Jennings taking Holly's place as lead singer.


Meanwhile, funerals for the victims were held individually. Holly and Richardson were buried in Texas, Valens in California, and Peterson in Iowa.[28] Holly's widow, María Elena, did not attend the funeral. She later said in an interview: "In a way, I blame myself. I was not feeling well when he left. I was two weeks pregnant, and I wanted Buddy to stay with me, but he had scheduled that tour. It was the only time I wasn't with him. And I blame myself because I know that, if only I had gone along, Buddy never would have gotten into that airplane."


Official investigation

The official investigation was carried out by the Civil Aeronautics Board (CAB, precursor to the NTSB). It emerged that Peterson had over four years of flying experience, of which one was with Dwyer Flying Service, and had accumulated 711 flying hours, of which 128 were on Bonanzas. He had also logged 52 hours of instrument flight training, although he had passed only his written examination, and was not yet qualified to operate in weather that required flying solely by reference to instruments. Peterson and Dwyer Flying Service itself were certified to operate only under visual flight rules, which essentially require that the pilot must be able to see where he is going. However, on the night of the accident, visual flight would have been virtually impossible due to the low clouds, the lack of a visible horizon, and the absence of ground lights over the sparsely populated area. Furthermore, Peterson, who had failed an instrument checkride nine months before the accident, had received his instrument training on airplanes equipped with a conventional artificial horizon as a source of aircraft attitude information, while N3794N was equipped with an older-type Sperry F3 attitude gyroscope. Crucially, the two types of instruments display the same aircraft pitch attitude information in graphically opposite ways. Another contributing factor was the "seriously inadequate" weather briefing provided to Peterson, which "failed to even mention adverse flying conditions which should have been highlighted". The CAB concluded that the probable cause of the accident was "the pilot's unwise decision" to attempt a flight that required skills he did not have.


Subsequent investigations

On March 6, 2007, in Beaumont, Texas, Richardson's body was exhumed for reburial. This was due to the Recorded Texas Historic Landmark being awarded to the Big Bopper's original grave site, where a bronze statue would subsequently be erected. Forest Lawn cemetery did not allow above-ground monuments at that specific site, and Richardson's body was moved at the cemetery's expense to a more suitable area. As the body was to be placed in a new casket while above ground, the musician's son, Jay Perry Richardson, took the opportunity to have his father's body re-examined to verify the original coroner's findings and asked forensic anthropologist William M. Bass to carry out the procedure. A longstanding rumor surrounding the accident, which this re-examination sought to confirm or dispel, asserted that an accidental firearm discharge took place on board the aircraft and caused the crash. Another longstanding theory[clarification needed] surmised that Richardson initially survived the crash and subsequently crawled out of the wreckage in search of help before succumbing to his injuries, prompted by the fact that his body was found farther from the plane than the other victims. Bass and his team took several X-rays of Richardson's body and eventually concluded that the musician had indeed died instantly from extensive, unsurvivable fractures to virtually every bone in his body. No traces of lead were found from any bullet, nor any indication that he had been shot. Coroner Smiley's original 1959 report was, therefore, confirmed as accurate.


In March 2015, the National Transportation Safety Board (NTSB) received a request to reopen the investigation into the accident. The request was made by L. J. Coon, a retired pilot from New England who felt that the conclusion of the 1959 investigation was inaccurate. Coon suspected a possible failure of the right ruddervator, or a problem with the fuel system, as well as possible improper weight distribution. Coon also argued that Peterson may have tried to land the plane and that his efforts should be recognized. The NTSB declined the request in April 2015, saying that the evidence presented by Coon was insufficient to merit the reconsideration of the original findings.


Legacy


Monument in front of the Surf Ballroom in Clear Lake, Iowa

A sculpture consisting of two white posts holding a black spectacles frame in Buddy Holly's characteristic style

Signpost east of the crash site replicating Holly's signature glasses

Notification of victims' families

Following the miscarriage suffered by Holly's wife and the circumstances in which she was informed of his death, a policy was later adopted by authorities not to disclose victims' names until after their families have been informed.


Memorials

A memorial service for Peterson was held at Redeemer Lutheran Church in Ventura, Iowa, on February 5. A funeral was held the next day at St. Paul Lutheran Church in his hometown of Alta; Peterson was buried in Buena Vista Memorial Cemetery in nearby Storm Lake.


Films

The accident is mentioned in the biographical film The Buddy Holly Story (1978).

The run-up to the accident and its aftermath are also depicted in the Ritchie Valens biopic La Bamba (1987).

Memorial concerts

Fans of Holly, Valens, and Richardson have been gathering for annual memorial concerts at the Surf Ballroom in Clear Lake since 1979. The fiftieth anniversary concert took place on February 2, 2009, with Delbert McClinton, Joe Ely, Wanda Jackson, Los Lobos, Chris Montez, Bobby Vee, Graham Nash, Peter and Gordon, Tommy Allsup, and a house band featuring Chuck Leavell, James "Hutch" Hutchinson, Bobby Keys, and Kenny Aronoff. Jay Perry Richardson, the son of the Big Bopper, was among the participating artists, and Bob Hale was the master of ceremonies, as he was at the 1959 concert.


Monuments


Memorial at crash site, 2003

In June 1988, a 4-foot (1.2 m) tall granite memorial bearing the names of Peterson and the three entertainers was dedicated outside the Surf Ballroom with Peterson's widow, parents, and sister in attendance; the event marked the first time that the families of Holly, Richardson, Valens, and Peterson had gathered together.


In 1989, Ken Paquette, a Wisconsin fan of the 1950s era, made a stainless-steel monument that depicts a guitar and a set of three records bearing the names of the three performers killed in the accident. The monument is on private farmland, about 1⁄4 mi (400 m) west of the intersection of 315th Street and Gull Avenue, five miles (8 km) north of Clear Lake. At that intersection, a large plasma-cut steel set of Wayfarer-style glasses, similar to those Holly wore, marks the access point to the crash site.


Paquette also created a similar stainless-steel monument to the three musicians located outside the Riverside Ballroom in Green Bay, Wisconsin, where Holly, Richardson, and Valens played their penultimate show on February 1. This second memorial was unveiled on July 17, 2003. In February 2009, a further memorial made by Paquette for Peterson was unveiled at the crash site.


Roads

A road originating near the Surf Ballroom, extending north and passing to the west of the crash site, is now known as Buddy Holly Place.


Songs


"American Pie"

The song "American Pie" dubbed the accident "The Day The Music Died"

Problems playing this file? See media help.

Tommy Dee recorded "Three Stars" (1959), commemorating the musicians.

In 1961, Mike Berry recorded "Tribute to Buddy Holly", which describes the night of the flight. It reached number 24 on the UK Singles Chart and was notoriously banned by the BBC for being "too morbid".

Don McLean, a fan of Buddy Holly, later addressed the accident in his song "American Pie" (1971), dubbing it "the Day the Music Died", which for McLean symbolized the "loss of innocence" of the early rock-and-roll generation.

In 1978, Waylon Jennings briefly added his own memories of the incident onto his song "A Long Time Ago", from the album I've Always Been Crazy. He sings the lines "Don’t ask me who I gave my seat to on that plane, I think you already know, I told you that a long time ago."

Dion recorded "Hug My Radiator" which references the "broken-down bus" and the chilling cold the performers experienced on the tour. The song does not directly reference the three performers who died, but Dion has said, in interviews, that the song is a memory of the tour and that he also almost got on the airplane that crashed, but it was too expensive.


Fiction

Howard Waldrop's short story "Save a Place in the Lifeboat for Me" (collected in Howard Who?) describes a fictional attempt by a sextet of famous slapstick characters to prevent the accident from occurring.



Tracklist


Nashville Sessions & Demos

1-1 Down The Line

1-2 Baby Let's Play House

1-3 Love Me

1-4 Don't Come Back Knockin'

1-5 Midnight Shift

1-6 Blue Days, Black Nights

1-7 Baby Won't You Come Out Tonight ?

1-8 I Guess I Was Just A Fool

1-9 It's Not My Fault

1-10 I'm Gonna Set My Foot Down

1-11 I'm Changing All Those Changes (clovis demo)

1-12 Rock-a-bye Rock

1-13 Because I Love You

1-14 Rock Around With Ollie Vee (version 1)

1-15 I'm Changing All Those Changes

1-16 That'll Be The Day (version 1)

1-17 Girl On My Mind

1-18 Ting-a-ling

1-19 Rock Around With Ollie Vee (version 2)

1-20 Modern Don Juan

1-21 You Are My One Desire

1-22 Have You Ever Been Lonely ?

1-23 Gone

1-24 Honky Tonk

1-25 Blue Monday

1-26 Good Rockin' Tonight

1-27 Blue Suede Shoes

1-28 Shake, Rattle & Roll

1-29 Ain't Got No Home

1-30 Rip It Up

1-31 Holly Hop

1-32 Brown-Eyed Handsome Man

1-33 Bo Diddley

The Glory Years

2-1 That'll Be The Day (version 2)

2-2 I'm Looking For Someone To Love

2-3 Last Night

2-4 Words Of Love

2-5 Mailman, Bring Me No More Blues

2-6 Not Fade Away

2-7 Everyday

2-8 Tell Me How

2-9 Ready Teddy

2-10 Valley Of Tears

2-11 Oh Boy!

2-12 Listen To Me

2-13 I'm Gonna Love You Too

2-14 Peggy Sue

2-15 It's Too Late

2-16 Send Me Some Loving

2-17 You've Got Love

2-18 Maybe Baby

2-19 An Empty Cup

2-20 Rock Me My Baby

2-21 Little Baby

2-22 Baby I Don't Care

2-23 Look At Me

2-24 Rave On

2-25 Well ... All Right

2-26 Take Your Time

2-27 Fools's Paradise

2-28 Think It Over

2-29 It's So Easy

2-30 Lonesome Tears

2-31 Heartbeat

2-32 Early In The Morning

2-33 Now We're One


Enjoy

The music Never Died 2xCd Set

🥇

The Crickets - Well... All Right (The Crickets Collection) 1992-3

The Crickets -  Well... All Right (The Crickets Collection) 1992-3


The Crickets were a group with two careers, one that lasted less than a year-and-a-half, and another that continued for decades. Originally formed by singer and guitarist Buddy Holly, drummer Jerry Allison, and bassist Joe B. Mauldin, the Crickets went from being Holly's backing musicians to a self-contained band when they re-recorded a song that Holly had already cut under his own name to avoid violating an earlier contract. The Crickets went on to a successful run of hits with Holly -- including "Maybe Baby," "Not Fade Away," and "That'll Be the Day" -- until his death in 1959. After that, the Crickets, joined by guitarist Sonny Curtis, went on to a long run recording on their own as well as backing other artists, most notably Bobby Vee and the Everly Brothers. Their first post-Holly album, In Style with the Crickets, included the original version of Curtis' song "I Fought the Law," but by the mid-'70s, they had walked away from recording and primarily performed live, especially after the 1978 film The Buddy Holly Story revived interest in their former frontman. The Crickets came back in 1988 with T Shirt, which was produced in part by longtime fan Paul McCartney, and 2004's The Crickets & Their Buddies found them covering their classics with help from Eric Clapton, Waylon Jennings, John Prine, Graham Nash, and many more.
The "Crickets" started out as a ruse. In 1956, Buddy Holly signed a contract with Decca Records, but after two sessions in Nashville, no one was happy with the results, and Holly and Decca parted ways. After finding a more sympathetic producer in Norman Petty, Holly, Jerry Allison, and Joe B. Mauldin decamped to Petty's studio in Clovis, New Mexico, and, among other things, cut a new version of one of Holly's Decca efforts, "That'll Be the Day." Coral Records was interested in Holly's Clovis recordings, but the terms of the Decca contract meant he couldn't re-record "That'll Be the Day" under his own name, so the new version was credited to the Crickets. The Crickets' "That'll Be the Day" became a Number One hit in 1957, and for the next 15 months, there were records by the Crickets and records by Buddy Holly -- which were virtually interchangeable -- and on-stage they were billed as Buddy Holly & the Crickets. By the end of 1958, however, the references to "Buddy Holly & the Crickets" were becoming valid in the worst possible way. Holly's shifting and expanding musical interests, coupled with his move to New York and marriage to Maria Elena Santiago, and the differing relationships that the three had with Petty, who was now their manager, led to a split between Holly and his bandmates in the months immediately prior to Holly's death in a plane crash on February 3, 1959.

The result of their split was a separate existence for the Crickets. Jerry Allison became the de facto leader of the group, and they were soon a quartet, with Sonny Curtis on guitar and Earl Sinks as lead singer. In 1959, still managed and produced by Norman Petty, they recorded "Love's Made a Fool of You" backed with "Someone, Someone," which failed to chart. Their next serious assault on the charts -- a version of Curtis' "I Fought the Law" cut for Coral Records -- vanished without a trace in 1959, and their rendition of "More Than I Can Say" also failed to find an audience for them, though it did wonders for Bobby Vee (and, by extension, for Curtis as its composer). They recorded a handful of singles for Coral Records, and later signed to Liberty Records with Jerry Naylor in the lead singer spot (sometimes switching off with Curtis), in addition to recording with Buddy Holly soundalike Bobby Vee.

The group recorded for Liberty for four years, from 1961 through 1965, even doing their versions of several Beatles songs, but apart from a pair of minor hits, "My Little Girl" and "Please Don't Ever Change," were unable to generate any enthusiasm. One of Naylor's successors, David Box, died in a plane crash in 1964. They did find some lingering success in England, where they headlined shows as well as serving as a backing band for the Everly Brothers, and the group even managed to appear in two jukebox movies on either side of the Atlantic, Just for Fun (1963) in England (doing "My Little Girl" and "Teardrops Feel Like Rain") and The Girls on the Beach (1965) in America (doing "La Bamba"). By the end of the '60s, Mauldin had left music while Allison was singing lead; he and Curtis were also working as session musicians, and Curtis scored a huge success at the dawn of the '70s as the composer of "Love Is All Around," the theme song for The Mary Tyler Moore Show.

Too Much Monday MorningAllison and Curtis were the core of the group in the early '70s, mostly working as a touring act rather than a recording outfit, though new records did appear on various labels, including Mercury and MCA. In the wake of the revival of interest in Holly's music at the end of the '70s, thanks in part to the 1978 movie The Buddy Holly Story, the Crickets re-formed on a steady basis, with Joe B. Mauldin returning to the lineup after more than a decade out of music. In 1986, Curtis left the fold to re-establish himself as a solo performer, and was replaced by Gordon Payne on vocals. In 1988, they recorded the single "T-Shirt," produced by noted fan Paul McCartney, which became a minor hit and led to the release of an LP of the same name from Epic Records. The British label Carlton Records issued Too Much Monday Morning in 1996, which included guest vocals from Texas country-folk artist Nanci Griffith. In 2004, the Crickets released The Crickets & their Buddies, in which they re-recorded a number of their Holly-era hits with notable guest stars, among them Eric Clapton, John Prine, Rodney Crowell, Graham Nash, Bobby Vee, and Waylon Jennings (whose contribution was recorded shortly before his death). After the death of Joe B. Mauldin in 2015 and the advancing age of the other Crickets, the band faded away from both recording and live work, but a steady flow of archival reissues and the group's induction into the Rock & Roll Hall of Fame in 2012 kept their music and memory alive. In 2018, the British Not Now label issued The Crickets Story, which collected the group's complete recordings from 1957 to 1962

The Crickets -  Well... All Right (The Crickets Collection) 1992-3



The Late Great Buddy Holly EP (1960)

The Late Great Buddy Holly EP (1960)



The Late Great Buddy Holly EP (1960)


Charles Hardin Holley (September 7, 1936 – February 3, 1959), known professionally as Buddy Holly, was an American musician and singer-songwriter who was a central and pioneering figure of mid-1950s rock and roll. He was born in Lubbock, Texas, to a musical family during the Great Depression, and learned to play guitar and sing alongside his siblings. His style was influenced by gospel music, country music, and rhythm and blues acts, which he performed in Lubbock with his friends from high school.

He made his first appearance on local television in 1952, and the following year he formed the group "Buddy and Bob" with his friend Bob Montgomery. In 1955, after opening for Elvis Presley, he decided to pursue a career in music. He opened for Presley three times that year; his band's style shifted from country and western to entirely rock and roll. In October that year, when he opened for Bill Haley & His Comets, he was spotted by Nashville scout Eddie Crandall, who helped him get a contract with Decca Records.

Holly's recording sessions at Decca were produced by Owen Bradley, who had become famous for producing orchestrated country hits for stars like Patsy Cline. Unhappy with Bradley's musical style and control in the studio, Holly went to producer Norman Petty in Clovis, New Mexico, and recorded a demo of "That'll Be the Day", among other songs. Petty became the band's manager and sent the demo to Brunswick Records, which released it as a single credited to "The Crickets", which became the name of Holly's band. In September 1957, as the band toured, "That'll Be the Day" topped the US and UK singles charts. Its success was followed in October by another major hit, "Peggy Sue".

The album Chirping Crickets, released in November 1957, reached number five on the UK Albums Chart. Holly made his second appearance on The Ed Sullivan Show in January 1958 and soon after, toured Australia and then the UK. In early 1959, he assembled a new band, consisting of future country music star Waylon Jennings (bass), famed session musician Tommy Allsup (guitar), and Carl Bunch (drums), and embarked on a tour of the midwestern U.S. After a show in Clear Lake, Iowa, he chartered an airplane to travel to his next show, in Moorhead, Minnesota. Soon after takeoff, the plane crashed, killing Holly, Ritchie Valens, The Big Bopper, and pilot Roger Peterson in a tragedy later referred to by Don McLean as "The Day the Music Died".

During his short career, Holly wrote and recorded songs. He is often regarded as the artist who defined the traditional rock-and-roll lineup of two guitars, bass, and drums. He was a major influence on later popular music artists, including Bob Dylan, The Beatles, The Rolling Stones, Eric Clapton, and Elton John. He was among the first artists inducted into the Rock and Roll Hall of Fame, in 1986. Rolling Stone magazine ranked him number 13 in its list of "100 Greatest Artists".

Buddy Holly ‎– The Late Great Buddy Holly
Label:
Coral ‎– FEP 2044
Format:
Vinyl, 7", EP, Tri Centre 
Country:
UK
Released:
Feb 1960
Genre:
Rock, Pop
Style:
Rock & Roll
Tracklist
A1 Look At Me
A2 Ready Teddy
B1 Mailman, Bring Me No More Blues
B2 Words Of Love

Enjoy.



Buddy Holly - The Music Didn't Die

Buddy Holly  - The Music Didn't Die


Buddy Holly is perhaps the most anomalous legend of '50s rock & roll -- he had his share of hits, and he achieved major rock & roll stardom, but his importance transcends any sales figures or even the particulars of any one song (or group of songs) that he wrote or recorded. Holly was unique, his legendary status and his impact on popular music all the more extraordinary for having been achieved in barely 18 months. Among his rivals, Bill Haley was there first and established rock & roll music; Elvis Presley objectified the sexuality implicit in the music, selling hundreds of millions of records in the process, and defined one aspect of the youth and charisma needed for stardom; and Chuck Berry defined the music's roots in blues along with some of the finer points of its sexuality, and its youthful orientation (and, in the process, intermixed all of these elements). Holly's influence was just as far-reaching as these others, if far more subtle and more distinctly musical in nature. In a career lasting from the spring of 1957 until the winter of 1958-1959 -- less time than Elvis had at the top before the army took him (and less time, in fact, than Elvis spent in the army) -- Holly became the single most influential creative force in early rock & roll.

Born in Lubbock, TX, on September 7, 1936, Charles Hardin "Buddy" Holley (he later dropped the "e") was the youngest of four children. A natural musician from a musical family, he was proficient on guitar, banjo, and mandolin by age 15 and was working as part of a duo with his boyhood friend Bob Montgomery, with whom he had also started writing songs. By the mid-'50s, Buddy & Bob, as they billed themselves, were playing what they called "western and bop"; Holly, in particular, was listening to a lot of blues and R&B and finding it compatible with country music. He was among those young Southern men who heard and saw Elvis perform in the days when the latter was signed to Sam Phillips' Sun Records -- indeed, Buddy & Bob played as an opening act for Elvis when he played the area around Lubbock in early 1955, and Holly saw the future direction of his life and career.

By mid-1955, Buddy & Bob, who already worked with an upright bass (played by Larry Welborn), had added drummer Jerry Allison to their lineup. They'd also cut some sides that would have qualified as rock & roll, though no label was interested at that particular time. Eventually Montgomery, who leaned toward more of a traditional country sound, left the performing partnership, though they continued to compose songs together. Holly kept pushing his music toward a straight-ahead rock & roll sound, working with Allison, Welborn, and assorted other local musicians, including guitarist Sonny Curtis and bassist Don Guess. It was with the latter two that Holly cut his first official recording session in January of 1956 in Nashville for Decca Records. They found out, however, that there was a lot more to playing and cutting rock & roll than met the eye; the results of this and a follow-up session in July were alternately either a little too tame and a little too far to the country side of the mix or were too raw. Some good music and a pair of near classics, "Midnight Shift" and "Rock Around With Ollie Vee," did come out of those Decca sessions, but nothing issued at the time went anywhere. At the time, it looked as though Holly had missed his shot at stardom.

Fate intervened in the guise of Norman Petty, a musician-turned-producer based in Clovis, NM, who had an ear for the new music and what made it sound good, especially over the radio, to the kids. Petty had a studio where he charged by the song instead of by the hour, and Holly and company had already begun working there in the late spring of 1956. After Decca's rejection, Holly and his band, which now included Niki Sullivan on rhythm guitar, threw themselves into what Petty regarded as the most promising songs they had, until they worked out a tight, tough version of one of the failed originals that Holly had cut in Nashville, entitled "That'll Be the Day." The title and lyrical phrase, lifted from a line that John Wayne was always quoting in the John Ford movie The Searchers, had staying power, and the group built on it. They got the song nailed and recorded, and with Petty's help, got it picked up by Murray Deutsch, a publishing associate of Petty's who, in turn, got it to Bob Thiele, an executive at Coral Records, who liked it. Ironically, Coral was a subsidiary of Decca, the same company to which Holly had previously been signed.

Thiele saw the record as potential hit, but there were some major hurdles to overcome before it could actually get released. For starters, according to author Philip Norman in his book Rave On, Thiele would get only the most begrudging support from his record company. Decca had lucked out in 1954 when, at Milt Gabler's urging, they'd signed Bill Haley & His Comets and subsequently saw his "Rock Around the Clock" top the charts, but very few of those in charge at Decca had a real feel or appreciation for rock & roll or any sense of where it might be heading, or whether the label could (or should) follow it there. For another, although he had been dropped by Decca Records the previous year, the contract that Holly had signed prohibited him from re-recording anything that he had cut for Decca, regardless of whether it had been released or not, for five years; though Coral Records was a subsidiary of Decca, there was every chance that Decca's Nashville office could hold up the release and might even haul Holly into court. Amid all of these possibilities, good and bad, Welborn, who had played on "That'll Be the Day," was replaced on bass by Joe B. Mauldin.

"That'll Be the Day" was issued in May of 1957 mostly as an indulgence to Thiele, to "humor" him, according to Norman. The record was put out on the Brunswick label, which was oriented more toward jazz and R&B, and credited to the Crickets, a group name picked as a dodge to prevent any of the powers-that-were at Decca -- and especially Decca's Nashville office -- from having too easy a time figuring out that the singer was the same artist that they'd dropped the year before. Petty also became the group's manager as well as their producer, signing the Crickets -- identified as Allison, Sullivan, and Mauldin -- to a contract. Holly wasn't listed as a member in the original document, in order to hide his involvement with "That'll Be the Day," but this omission would later become the source of serious legal and financial problems for him.

When the smoke cleared, the song shot to the top spot on the national charts that summer. Of course, Decca knew Holly's identity by then; with Thiele's persuasion and the reality of a serious hit in their midst, the company agreed to release Holly from the five-year restriction on his old contract, leaving him free to sign any recording contract he wanted. In the midst of sorting out the particulars of Holly's legal situation, Thiele discovered that he had someone on his hands who was potentially a good deal more than a one-hit wonder -- there were potentially more and different kinds of potential hits to come from him. When all was said and done, Holly found himself with two recording contracts, one with Brunswick as a member of the Crickets and the other with Coral Records as Buddy Holly, which was part of Thiele's strategy to get the most out of Holly's talent. By releasing two separate bodies of work, he could keep the group intact while giving room for its obvious leader and "star" to break out on his own.

There was actually little difference in the two sets of recordings for most of his career, in terms of how they were done or who played on them, except possibly that the harder, straight-ahead rock & roll songs, and the ones with backing vocals, tended to be credited to the Crickets. The confusion surrounding the Buddy Holly/Crickets dual identity was nothing, however, compared to the morass that constituted the songwriting credits on their work.

It's now clear that Petty, acting as their manager and producer, parceled out writing credits at random, gifting Niki Sullivan and Joe B. Mauldin (and himself) the co-authorship of "I'm Gonna Love You Too," while initially leaving Holly's name off of "Peggy Sue." Petty usually added his name to the credit line as well, a common practice in the 1950s for managers and producers who wanted a bigger piece of the action. In fairness, it should be said that Petty did make suggestions, some of them key, in shaping certain of Holly's songs, but he almost certainly didn't contribute to the extent that the shared credits would lead one to believe. Some of the public's confusion over songwriting was heightened by complications ensuing from another of the contracts that Holly had signed in 1956. Petty had his own publishing company, Nor Va Jak Music, and had a contract with Holly to publish all of his new songs; but the prior year, Holly had signed an exclusive contract with another company -- eventually a settlement and release from the old contract might be sorted out, but in order to reduce his profile as a songwriter until that happened, and to convince the other publisher that they weren't losing too much in any settlement, he copyrighted many of his new songs under the pseudonym "Charles Hardin."

The dual recording contracts made it possible for Holly to record an extraordinary number of sides in the course of his 18 months of fame. Meanwhile, the group -- billed as Buddy Holly & the Crickets -- became one of the top attractions of rock & roll's classic years, putting on shows that were as exciting and well played as any in the business. Holly was the frontman, singing lead and playing lead guitar -- itself an unusual combination -- as well as writing or co-writing many of their songs. But the Crickets were also a totally enveloping performing unit, generating a big and exciting sound (which, apart from some live recordings from their 1958 British tour, is lost to history). Allison was a very inventive drummer and contributed to the songwriting bit more often than his colleagues, and Joe B. Mauldin and Niki Sullivan provided a solid rhythm section.

The fact that the group relied on originals for their singles made them unique and put them years ahead of their time. In 1957-1958, songwriting wasn't considered a skill essential to a career in rock & roll; the music business was still patterned along the lines that it had followed since the '20s, with songwriting a specialized profession organized on the publishing side of the industry, separate from performing and recording. Once in a while, a performer might write a song or, much more rarely, as in the case of a Duke Ellington, count composition among his key talents, but generally this was an activity left to the experts. Any rock & roller with the inclination to write songs would also have to get past the image of Elvis, who stood to become a millionaire at age 22 and never wrote songs (the few "Presley" songwriting credits were the result of business arrangements rather than any creative activity on his part).

Buddy Holly & the Crickets changed that in a serious way by hitting number one with a song that they'd written and then reaching the Top Ten with originals like "Oh, Boy" and "Peggy Sue," and
 regularly charging up the charts on behalf of their own songwriting. This attribute wasn't appreciated by the public at the time, and wouldn't be noticed widely until the 1970s, but thousands of aspiring musicians, including John Lennon and Paul McCartney, took note of the fact, and some of them decided to try and emulate Holly.
Buddy Holly  - The Music Didn't Die



Less obvious at the time, Holly and company also broke up the established record industry method of recording, which was to bring the artist into the label's own studio, working on a timetable dictated by corporate policy and union rules. If an artist were extremely successful -- à la Sinatra or Elvis, or later on, the Beatles -- they got a blank check in the studio and any union rules were smoothed over, but that was a rare privilege, available only to the most elite of musicians. Buddy Holly & the Crickets, by contrast, did their work, beginning with "That'll Be the Day," in Clovis, NM, at Petty's studio. They took their time, they experimented until they got the sound they wanted, and no union told them when to stop or start their work, and they delivered great records; what's more, they were records that didn't sound like anyone else's, anywhere.

The results were particularly telling on the history of rock music. The group worked out a sound that gave shape to the next wave of rock & roll and, especially, to early British rock & roll and the subsequent British Invasion beat, with the lead and rhythm guitars closely interlocked to create a fuller, harder sound. On songs such as "Not Fade Away,""Everyday," "Listen to Me," "Oh Boy!," "Peggy Sue," "Maybe Baby,""Rave On," "Heartbeat," and "It's So Easy," Holly advanced rock & roll's range and sophistication without abandoning its fundamental joy and excitement. Holly and the band weren't afraid to experiment even on their singles, so that "Peggy Sue" made use of the kind of changes in volume and timbre on the guitar that were usually reserved for instrumental records; similarly, "Words of Love" was one of the earliest successful examples of double-tracked vocals in rock & roll, which the Beatles, in particular, would embrace in the ensuing decade.

Buddy Holly & the Crickets were very popular in America, but in England they were even bigger, their impact serious rivaling that of Elvis and, in some ways, even exceeding it. This was due, in part, to the fact that they actually toured England -- they spent a month there in 1958, playing a series of shows that were still being written about 30 years later -- which was something that Elvis never did. But it also had to do with their sound and Holly's stage persona. The group's heavy use of rhythm guitar slotted right in with the sound of skiffle music, a mix of blues, folk, country, and jazz elements that constituted most of British youth's introduction to playing music and their way into rock & roll. Additionally, although he cut an exciting figure on-stage, Holly looked a lot less likely a rock & roll star than Elvis -- tall, lanky, and bespectacled, he looked like an ordinary guy who simply played and sang well, and part of his appeal as a rock & roll star was rooted in how unlikely he looked in that role. He provided inspiration -- and a way into the music -- for tens of thousands of British teenagers who also couldn't imagine themselves rivals to Elvis or Gene Vincent in the dark and dangerous department.

At least one star British guitarist of the late '50s, Hank Marvin of the Shadows, owed his look (and the fact that he wore his glasses proudly on stage) to Holly, and his look can be seen being propagated into the 1970s by Elvis Costello. Additionally, although he played several different kinds of guitar, Holly was specifically responsible for popularizing -- some would say elevating to mystical, even magical status -- the Fender Stratocaster, especially in England. For a lot of would-be rock & rollers on the Sceptered Isle, Holly's 1958 tour was the first chance they'd had to see or hear the instrument in action, and it quickly became the guitar of choice for anyone aspiring to stardom as an axeman in England. (Indeed, Marvin, inspired by Holly, later had what is reputed to be the first Stratocaster ever brought into England.)

The "Chirping" Crickets The Crickets were reduced to a trio with the departure of Sullivan in late 1957, following the group's appearance on The Ed Sullivan Show, but that was almost the least of the changes that would ensue over the following year. The group consolidated its success with the release of two LPs, The Chirping Crickets and Buddy Holly, and did two very successful international tours as well as more performing in the United States. Holly had already developed aspirations and interests that diverged somewhat from those of Allison and Mauldin. The thought apparently had never occurred to either of them of giving up Texas as their home, and they continued to base their lives there, while Holly was increasingly drawn to New York, not just as a place to do business, but also to live. His romance with and marriage to Maria Elena Santiago, a receptionist in Murray Deutsch's office, only made the decision to move to New York easier.
By this time, Holly's music had grown in sophistication and complexity to the point where he had relinquished the lead guitar duties in the studio to session player Tommy Alsup, and he had done a number of recordings in New York utilizing session musicians such as King Curtis. It was during this period that his and the group's sales had slackened somewhat. The singles such as "Heartbeat" didn't sell nearly as well as the 45s of 1957 had rolled out of stores. He might even have advanced farther than a big chunk of the group's audience was prepared to accept in late 1958. "Well...All Right," for example, was years ahead of its time as a song and a recording.
Buddy Holly  - The Music Didn't Die

Holly's split with the group -- and Petty -- in the fall of 1958 left him free to pursue some of those newer sounds, but it also left him short of cash resources. In the course of ending the association, it became clear to Holly and everyone else that Petty had manipulated the numbers and likely taken an enormous slice of the group's income for himself, though there was to prove almost no way of establishing this because he never seemed to finish his "accounting" of the moneys due to anyone, and his books were ultimately found to be in such disarray that when he came up with various low five-figure settlements to those involved, they were glad to get what they got.

With a new wife -- who was pregnant -- and no settlement coming in from Petty, Holly decided to earn some quick money by signing to play the Winter Dance Party package tour of the Midwest. It was on that tour that Holly, Ritchie Valens, and J.P. "Big Bopper" Richardson were killed in a plane crash, on February 3, 1959.

The crash was considered a piece of grim but not terribly significant news at the time. Most news organizations, run by men who'd come of age in the 1930s or 1940s, didn't take rock & roll very seriously, except to the degree that it could be exploited to sell newspapers or build viewing audiences. Holly's clean-cut image and scandal-free life, coupled with the news of his recent marriage, did give the story more poignancy than it otherwise might have had and probably got him treated more respectfully than would have been the case with other music stars of the period.

For teenagers of the period, it was the first public tragedy of its kind. No white rock & roller of any significance had ever died before, forget three of them, and the news was devastating. Radio station disc jockeys were also shaken -- for a lot of people involved in rock & roll music on any level, Holly's death may well have been the first time that they woke up the next day wishing and hoping that the previous day's news had all been a dream.

The suddenness and the whole accidental nature of the event, coupled with the ages of Holly and Valens -- 22 and 17, respectively -- made it even harder to take. Hank Williams had died at 29, but with his drinking and drug use he had always seemed on the fast track to the grave to almost anyone who knew him and even to a lot of fans; Johnny Ace had died in 1954 backstage at a show, but that was also by his own hand, in a game of Russian roulette. The emotional resonances of this event was totally different in every way possible from those tragedies.

A few careers were actually launched in the wake of the tragedy. Bobby Vee leaped to stardom when he and his band took over Holly's spot on the tour. In America, however, something of a pall fell over rock & roll music -- its sound was muted by Holly's death and Elvis' military service, and this darkness didn't fully lift for years. In England, the reaction was much more concentrated and pronounced -- Holly's final single, "It Doesn't Matter Anymore," rose to number one on the British charts in the wake of his death, and it seemed as though the new generation of English rock & rollers and their audiences wouldn't let Holly's music or spirit die. Two years after the event, producer Joe Meek and singer Mike Berry combined to make "Tribute to Buddy Holly," a memorial single that sounded like the man himself reborn and still brings smiles and chills to listeners who know it; it is said that Meek never entirely got over Holly's death, and he did kill himself on the anniversary. On the less extreme front, players from Lennon, McCartney, and Keith Richards on down all found themselves influenced by Holly's music, songs, and playing. Groups like the Searchers -- taking their name from the same Wayne movie whence the phrase "that'll be the day" had been lifted -- sounded a lot like the Crickets and had a handful of his songs in their repertory when they cut their earliest sides, and it wasn't just the hits that they knew, but album cuts as well. Other bands, like a Manchester-spawned outfit fronted by Allan Clarke, Graham Nash, and Tony Hicks began a four-decade career by taking the name the Hollies.
Buddy Holly  - The Music Didn't Die

Holly's record label continued to release posthumous albums of his work for years after his death, beginning with The Buddy Holly Story in early 1959, and they even repackaged the 1956 Decca sides several times over under various titles (the mid-'70s British LP The Nashville Sessions is the best of the vinyl editions). The company also engaged Petty to take various Holly demos and early country-flavored sides done by Buddy & Bob and dub new instruments and backing voices, principally using a band called the Fireballs. Those releases, including the albums Reminiscing and Showcase, did moderately well in America, but in England they actually charted. New recordings of his music, including the Rolling Stones' bone-shaking rendition of "Not Fade Away" -- taking it back to its Bo Diddley-inspired roots -- and the Beatles gorgeous rendition of "Words of Love" helped keep Holly's name alive before a new generation of listeners. In America, it was more of an uphill struggle to spread the word -- rock & roll, like most American popular culture, was always regarded as more easily disposable, and as a new generation of teenagers and new musical phenomena came along, the public did gradually forget. By the end of the 1960s, except among older fans (now in their twenties) and hardcore oldies listeners, Holly was a largely forgotten figure in his own country.
The tide began to turn at the very tail-end of the 1960s, with the beginning of the oldies boom. Holly's music figured in it, of course, and as people listened they also heard about the man behind it -- even Rolling Stone magazine, then the arbiter of taste for the counterculture, went out of its way to remind people of who Holly was. His image constituted a haunting figure, frozen forever in poses from 1957 and 1958, bespectacled, wearing a jacket and smiling; he looked like (and was) a figure from another age. The nature of his death, in an air crash, also set him apart from some of the then-recent deaths of contemporary rock stars such as Brian Jones, Jimi Hendrix, Janis Joplin, and Jim Morrison -- they'd all pushed life right to the edge, till it broke, where Holly stood there seemingly eternally innocent, both personally and in terms of the times in which he'd lived.

Then, in 1971, a little-known singer/songwriter named Don McLean, who counted himself a Holly fan, rose to international stardom behind a song called "American Pie," whose narrative structure was hooked around "the day the music died." After disposing of the erroneous notion that he was referring to President Kennedy, McLean made it clear that he meant February 3, 1959, and Holly. Coverage of "American Pie"'s popularity and lyrics as it soared to the top of the charts inevitably led to mentions of Holly, who was suddenly getting more exposure in the national press than he'd ever enjoyed in his lifetime.

His music had never disappeared -- even the Grateful Dead performed "Not Fade Away" in concert -- and now there was a song that seemed to give millions of people a series of personal and musical reference points into which to place the man. Until "American Pie," most Americans equated November 22, 1963, the day of President Kennedy's murder, with the loss of national innocence and an opening of an era of shared grief. McLean pushed the reference point back to February 3, 1959, on a purely personal basis, and an astonishingly large number of listeners accepted it.

In 1975, McCartney's MPL Communications bought Holly's publishing catalog from a near-bankrupt Petty. To some, the sale was Petty's final act of theft -- having robbed Holly and his widow blind in settling the account of what was owed him as a performer, he was profiting one last time from his perfidy. The truth is that it was a godsend to Maria Elena Holly and the Holly family in Lubbock; amid the events of the years and decades that followed, MPL was able to sell and exploit those songs in ways that Petty in Clovis, NM, never could have, and earn hundreds of thousands of dollars for them that Petty never would have. And with McCartney -- a Holly fan from the age of 15, and probably the most successful fan Holly ever had -- as publisher, they were paid every cent they had coming.

The Great Buddy Holly [MCA] Amid the growing interest in Holly's music, the record industry was very slow to respond, at least in America. At the end of the 1960s, there were exactly two Holly LPs available domestically, The Great Buddy Holly, consisting of the 1956 Decca sides, which hardly represented his best or most important work, and the even more dispensable Giant album, consisting of overdubbed demos and outtakes. British audiences got access to more and better parts of his catalog first, and a collection, 20 Golden Greats, actually topped the charts over there in 1978, in conjunction with the release of the movie The Buddy Holly Story, starring Gary Busey in the title role. It was a romanticized and very simplified account of the man's life and career, and slighted the contributions of the other members of the Crickets -- and never even mentioned Petty -- but it got some of the essentials right and made Busey into a star and Holly into a household name.
From the Original Master Tapes In 1979, Holly became the first rock & roll star to be the subject of a career-spanning box set, ambitiously (and inaccurately) called The Complete Buddy Holly. Initially released in England and Germany, it later appeared in America, but it only seemed to whet hardcore fans' appetites for more -- two or three Holly bootlegs were circulating in the early '80s, including one that offered a handful of songs from the group's 1958 British tour. In a rare bold move, mostly courtesy of producer Steve Hoffman, MCA Records in 1983 issued For the First Time Anywhere, a selection of raw, undubbed masters of original Holly recordings that had previously only been available with extra instruments added on -- it was followed by From the Original Master Tapes, the first attempt to put together a Holly compilation with upgraded sound quality. Those titles and The Great Buddy Holly were the earliest of Holly's official CD releases, though they were soon followed by Buddy Holly and The Chirping Crickets. In 1986, the BBC aired The Real Buddy Holly Story, a documentary produced by McCartney as a counteractive to the Busey movie, which covered all of the areas ignored by the inaccuracies of the movie and responded to them. There have followed stage musicals and plays, upgraded and audiophile reissues of his work, and tribute albums, all continuing to flow out at a steady pace more than 50 years after Holly's death.

Buddy Holly  - The Music Didn't Die

Buddy Holly & The Crickets - The ''Chirping'' Crickets (1957)

Buddy Holly & The Crickets - The ''Chirping'' Crickets (1957)

The debut album by the Crickets and the only one featuring Buddy Holly released during his lifetime, The "Chirping" Crickets contains the group's number one single "That'll Be the Day" and its Top Ten hit "Oh, Boy!." Other Crickets classics include "Not Fade Away," "Maybe Baby," and "I'm Looking for Someone to Love." The rest of the 12 tracks are not up to the standard set by those five, but those five are among the best rock & roll songs of the 1950s or ever, making this one of the most significant album debuts in rock & roll history, ranking with Elvis Presley and Meet the Beatles.

Buddy Holly & The Crickets - The ''Chirping'' Crickets (1957)

The Crickets - Still in Style

The Crickets - Still in Style


The "Crickets" started out as pure fiction -- the name a ruse used by Buddy Holly, Jerry Allison, and Joe B. Mauldin to avoid the provisions of a 1956 contract that Holly had signed with Decca Records, that would have prevented the release of their then-new recording of "That'll Be the Day" on the Brunswick label. The name stuck, and for the next 15 months, there were records by the Crickets and records by Buddy Holly -- which were virtually interchangeable -- and they were billed as Buddy Holly & the Crickets. By the end of 1958, however, the references to "Buddy Holly and the Crickets" were becoming valid in the worst possible way -- Holly's shifting and expanding musical interests, coupled with his move to New York and marriage to Maria Elena Santiago, and the differing relationships that the three had with their manager, Norman Petty, led to a split between Holly and his bandmates in the months immediately prior to Holly's death in a plane crash on February 3, 1959.

The Crickets - Still in Style


The result of their split was a separate existence for the Crickets. Jerry Allison became de facto leader of the group, and they were soon a quartet again, with Sonny Curtis on guitar and Earl Sinks as lead singer. In 1959, still managed and produced by Norman Petty, they recorded "Love's Made a Fool of You" backed with "Someone, Someone," which failed to chart. Their next serious assault on the charts -- a version of Curtis' "I Fought the Law" cut for Coral Records -- vanished without a trace in 1959, and their rendition of "More Than I Can Say" also failed to find an audience for them, though it did wonders for Bobby Vee and, by extension, for Curtis as its composer. They recorded a handful of singles for Coral Records, and later signed to Liberty Records with Jerry Naylor in the lead singer spot (sometimes switching off with Sonny Curtis), in addition to recording with Buddy Holly soundalike Bobby Vee.

The group recorded for Liberty for four years, from 1961 through 1965, even doing their versions of several Beatles songs, but apart from a pair of minor hits, "My Little Girl" and "Please Don't Ever Change," were unable to generate any enthusiasm. One of Naylor's successors, David Box, died in a plane crash in 1964. They did find some lingering success in England, and the group even managed to appear in two jukebox movies on either side of the Atlantic, Just for Fun (1963) in England (doing "My Little Girl" and "Teardrops Feel Like Rain") and The Girls on the Beach (1965) in America (doing "La Bamba"), but by the end of the '60s, Mauldin had left music while Allison was singing lead; he and Curtis were also working as session musicians, and Curtis scored a huge success at the dawn of the '70s as the composer of the theme song for The Mary Tyler Moore Show.

Allison and Curtis were the core of the group in the early 1970's, mostly working as a touring act rather than a recording outfit, though new records did appear on various labels, including Mercury and MCA. In the wake of the revival of interest in Holly's music at the end of the '70s, the Crickets re-formed on a steady basis, with Joe B. Mauldin returning to the lineup after more than a decade out of music. In 1986, Curtis left the fold to re-establish himself as a solo performer, and was replaced by Gordon Payne on vocals. In 1988, they recorded the single "T-Shirt," produced by longtime fan Paul McCartney, which became a minor hit and led to the release of an LP of the same name from Epic Records -- their presence in record stores, however, is usually restricted to the Buddy Holly period and their early-'60s history.

The Crickets – Still In Style

Label:Bear Family Records ?– BCD 15599, Bear Family Records ?– BCD 15599 AH
Format:CD, Compilation 
Country:Germany
Released:1992

The Crickets - Still in Style



Terry Noland - To Terry Noland From Buddy Holly

Terry Noland - To Terry Noland From Buddy Holly
Terry Noland - To Terry Noland From Buddy Holly (SILVER RECORDS - LIMITED EDITION)

Terry Noland - To Terry Noland From Buddy Holly
 Of the assorted Texas rockabillies who plied their wares in Norman Petty's Clovis, NM, studio, the least heralded is Terry Noland. Much of this has to do with Noland jumping ship early in the ball game from Petty's direction to head to New York City with teen stardom waiting in the wings. He cut sides there with Tonight Show musical director Milton DeLugg swinging the baton and little else, jumping from the back-to-back West Texas rockabilly sound of "Ten Little Women" and the title cut to lightweight pop fluff like "Puppy Love," "Teenage Teardrops," and "Let Me Be Your Hero." That Noland (real name Terry Noland Church) adapted well to this watered-down approach -- even writing the majority of pop confections -- has certainly diminished his rockabilly credentials in the eyes of most hardcore collectors. This is regrettable, simply because Noland laid down some incredible sides during his quest for the diamond ring and the solid gold Cadillac. As is the case with many before and after him, his best stuff is also his earliest. But after jumping ship from Petty's Clovis rockabilly operation, his sound and style became increasingly watered down. After a few more singles and an album that went nowhere, Noland hung up his guitar. Returning back to Texas, he started dabbling in real estate, eventually moving to Oklahoma and becoming the largest and most successful land developer in that state.

Terry Noland - To Terry Noland From Buddy Holly


The Crickets - I Fought The Law





The "Crickets" started out as pure fiction -- the name a ruse used by Buddy Holly, Jerry Allison, and Joe B. Mauldin to avoid the provisions of a 1956 contract that Holly had signed with Decca Records, that would have prevented the release of their then-new recording of "That'll Be the Day" on the Brunswick label. The name stuck, and for the next 15 months, there were records by the Crickets and records by Buddy Holly -- which were virtually interchangeable -- and they were billed as Buddy Holly & The Crickets. By the end of 1958, however, the references to "Buddy Holly and the Crickets" were becoming valid in the worst possible way -- Holly's shifting and expanding musical interests, coupled with his move to New York and marriage to Maria Elena Santiago, and the differing relationships that the three had with their manager, Norman Petty, led to a split between Holly and his bandmates in the months immediately prior to Holly's death in a plane crash on February 3, 1959.

The result of their split was a separate existence for the Crickets. Jerry Allison became de facto leader of the group, and they were soon a quartet again, with Sonny Curtis on guitar and Earl Sinks as lead singer. In 1959, still managed and produced by Norman Petty, they recorded "Love's Made a Fool of You" backed with "Someone, Someone," which failed to chart. Their next serious assault on the charts -- a version of Curtis' "I Fought the Law" cut for Coral Records -- vanished without a trace in 1959, and their rendition of "More Than I Can Say" also failed to find an audience for them, though it did wonders for Bobby Vee and, by extension, for Curtis as its composer. They recorded a handful of singles for Coral Records, and later signed to Liberty Records with Jerry Naylor in the lead singer spot (sometimes switching off with Sonny Curtis), in addition to recording with Buddy Holly soundalike Bobby Vee.

The group recorded for Liberty for four years, from 1961 through 1965, even doing their versions of several Beatles songs, but apart from a pair of minor hits, "My Little Girl" and "Please Don't Ever Change," were unable to generate any enthusiasm. One of Naylor's successors, David Box, died in a plane crash in 1964. They did find some lingering success in England, and the group even managed to appear in two jukebox movies on either side of the Atlantic, Just for Fun (1963) in England (doing "My Little Girl" and "Teardrops Feel Like Rain") and The Girls on the Beach (1965) in America (doing "La Bamba"), but by the end of the '60s, Mauldin had left music while Allison was singing lead; he and Curtis were also working as session musicians, and Curtis scored a huge success at the dawn of the '70s as the composer of the theme song for The Mary Tyler Moore Show.

Allison and Curtis were the core of the group in the early 1970's, mostly working as a touring act rather than a recording outfit, though new records did appear on various labels, including Mercury and MCA. In the wake of the revival of interest in Holly's music at the end of the '70s, the Crickets re-formed on a steady basis, with Joe B. Mauldin returning to the lineup after more than a decade out of music. In 1986, Curtis left the fold to re-establish himself as a solo performer, and was replaced by Gordon Payne on vocals. In 1988, they recorded the single "T-Shirt," produced by longtime fan Paul McCartney, which became a minor hit and led to the release of an LP of the same name from Epic Records -- their presence in record stores, however, is usually restricted to the Buddy Holly period and their early-'60s history.


"I Fought the Law" is a song written by Sonny Curtis of the Crickets and became popularized by a remake by the Bobby Fuller Four, which went on to become a top-ten hit for the band in 1966 and was also recorded by the Clash in 1979. The Bobby Fuller Four version of this song was ranked No. 175 on the Rolling Stone list of The 500 Greatest Songs of All Time in 2004, and the same year was named one of the 500 "Songs that Shaped Rock" by the Rock and Roll Hall of Fame.
The Crickets-I Fought The Law (2011Jasmine )

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