Happy American Thanksgiving and a special hello to my family and extended family living in the US. I have a lot of favorite songs I do admit and with Buddy Holly it is hard to pick just one. His original song “Heartbeat” was credited to Buddy’s highschool friend, bandmate and his first writing partner, Bob Montgomery. While I can’t provide any concrete evidence, I feel Buddy also played a large part in the writing as it was from a time when the two worked very closely together and it is so similar to some of Holly’s other songs such as “Words of Love” that Buddy had recorded earlier. To take nothing away from Bob who recorded an unreleased demo of the song with Norman Petty (who would take a song credit) and he wrote other songs such as “Misty Blue” and a song for Patsy Cline, but it was Buddy that moved on to greater things. Buddy was known to be generous with songwriting credits. Part of the reason Bruce Springsteen used to (maybe he still does) listen to Buddy Holly before going on stage was a reminder to “keep it simple” and this song is a perfect example. Straightforward lyrics and vocals with a great accompaniment gives us this beautiful little song.
I did say it was hard to pick just one! “True Love Ways” was written by Holly and recorded on October 21, 1958. Written for his soon to be wife, Maria Elena Santiago it is another simple but beautiful song. It was one of the last songs Buddy recorded but never performed and it was released after his death in March of 1960.
The Beatles loved to cover Buddy Holly songs during live performances. On the album Beatles For Sale, released in 1964 (UK only) they covered Carl Perkins, Chuck Berry, Little Richard, Dr. Feeelgood and (as noted above) Buddy Holly’s song “Words of Love”. Very few artists could write and sing Rock and Roll Ballads like Buddy Holly.
Thanks for reading, so many more great covers of Buddy Holly songs but that’s the end of Holly Days! Next we move on to Happy Holidays and first featuring the extraordinary Billie Holiday.
The Rolling Stones covered this song in 1964 and in reaching #3 it gave them their first top 10 in the UK and it became their first charted single in the US at #48. Released in 1957 it was not a hit for Holly and it appeared on the B side of “Oh Boy” that had reached #10 on Billboard. “Oh Boy” as did almost all of Buddy Holly’s songs charted better in the UK reaching #3, hence the the flip side (Not Fade Away) also gained some popularity and came to the attention of Mick and Keith who worked on the arrangement themselves. The original was written by Buddy Holly and draws inspiration from the great Bo Diddley beat. Drummer Jerry Allison used a cardboard box instead of drums to get that distinctive sound ala “Party Doll” (1957) by fellow Texan Buddy Knox, who was also recorded (April 1956) by Norman Petty at his studio in Clovis.
The Rolling Stones had been touring with Bo Diddley in the UK so this cover of Buddy Holly served as a tribute to both of the artists. I have to say they nailed it. This would be the second cover version as The Bobby Fuller (who covered the Crickets “I Fought the Law”) did it first in 1962. It has since become the most covered Buddy Holly song with over 140 versions. A live performance by Bo Diddley himself appears on the 20th Anniversary of Rock and Roll album from 1976. Other notable covers include Tanya Tucker and Stephen Stills both from 1978 and the Lolitas in 1989. Rock icons Rush released a version of this song in 1973, it was their first single and it charted at #88 in Canada. For a great many artists this is a stage favorite such as Bruce Springsteen and Los Lobos. The Grateful Dead played this song frequently during live performances but I could not find a studio version. If you have a chance to check out this clip of a Celebrity Ensemble doing the song on Austin City Limits, it’s worth it just hear Sheryl Crow and Bonnie Raitt.
“Peggy Sue” is instantly recognizable as a Buddy Holly song and currently there are at least 91 versions. There are many songs that have had great covers recorded, this it not one of them. There is a somewhat exploitive cover version, I think anyway, with a bit of an offensive drum mix billed as Bobby Vee Meets The Crickets from 1962. I have a lot of respect for Lou Reed but he did an awful version for the Holly Tribute album. A much more palatable tribute comes from John Lennon in 1975.
If you are a fan of Holly then you may know there was some debate about the origins of the song. There is little doubt the song was initially written by Buddy and the title was Cindy Lou, named after Buddy’s niece. I read in the Gary James interview that Jerry Allison recalls there was a “Cindy” song out at that time so Buddy changed it to “Peggy Sue” the name of Jerry’s old girlfriend and soon to be ex-wife. Allison said they came up with the rest of the song while driving around in Buddys car.
I have also seen accounts that it was Peggy Sue all along or that Allison had pressured Buddy to change the name to impress Peggy Sue Gerron as a favour to Jerry. I also read and I’ve heard Allison say that Norman Petty, perhaps kiddingly threaten Jerry they would change it back to Cindy Lou if he didn’t nail his snare drum piece on the next take as he was tasked with some tricky paradiddies (complex drum rudiments). Apparently and also with some debate, the credits on the record went to Jerry Allison and Norman Petty with Buddy Holly added at the last minute, another tale there as well. Whatever the story, it’s one great song, it reached #3 on Billboard, #4 in Canada and #6 in the UK.
Some may believe The Buddy Holly Story movie version of how The Crickets got their name. The whole cricket in the garage thing at Buddy’s home in the early days, the scene is fiction. The name came about after the Decca recordings which is about two years later than any playing they did in Buddy’s parents garage. When working with Norman Petty in his Clovis, New Mexico studio, Buddy wanted to record “That’ll Be the Day”. The song was one of the unreleased records that Buddy did with Decca in Nashville. That first session took place July 22, 1956 with Buddy, Don Guess, Sonny Curtis and Jerry Allison. And formally credited to Buddy Holly and the Three Tunes and Decca released this after the song became a hit.
Long story short, and there are several different recollections but basically they needed to release the new version under a different name in an attempt to avoid issues with Buddy’s old Decca contract that was still in place. So Nikki Sullivan, Buddy and Jerry Allison got together and, based on an R&B group named The Spiders, they sifted through an Encyclopedia looking for names. They briefly considered the Beetles but as we know they settled on the more ‘musical’ insect.
In another part of the movie, the scene were the DJ locked himself in the studio and played Buddy’s “That’ll Be The Day” over and over was completely made up and this never happened.
“That’ll Be The Day” was written by Jerry Allison and Buddy Holly with a song credit taken by Norman Petty for the reworked hit version. Released as a single by The Crickets on May 27, 1957. It’s not a surprise that his biggest hit and only Billboard #1 is also one of his songs with the most cover versions. Recorded over 110 times.
“That’ll Be The Day” was released by Linda Ronstadt in August of 1976 and the single would reach #11 on the Billboard Hot 100. It was Ronstadt’s fifth top 40 single in two years, all of them cover songs.
The precursor to The Beatles, The Quarryman would record this song July 15, 1958. It was not officially released until 1995 on Anthology 1.
I am starting something new, it will be a short take on cover songs with more frequent posts. Beginning with Buddy Holly songs, moving to Billie Holiday and finishing the year with Holiday and Christmas songs. While Canada held Thanksgiving Day on October 10, Americans will celebrate on November 24. So with this upcoming official start to the Season, along with my recent post on Buddy, and please pardon the pun, but the Holly/Holiday was just too much to resist!
Buddy in his short career released 36 original songs and 27 covers. Of those amazing originals, (for me this is going back some years now) I was surprised to learn that “Rave On” is not one of them. It was co-written and recorded by Sonny West, who was also managed and produced by Norman Petty. West released it in February of 1958, it did not chart. Buddy was the first to cover it and the first time he himself covered someone’s song. So later in 1958 he changed it up just a bit (for the better), leading to a #37 hit in the US and #5 in the UK. This would go on to be covered more than 80 times, mostly in the style of Buddy Holly.
Veterans Day and Remembrance Day November 11, 2022
In Canada, England and the Commonwealth, Remembrance Day was created to observe the end of WWI and remember those who sacrificed their lives and also to those that gave service. Since that time it has come to mark military service throughout our history, and those giving us the peace and prosperity we now enjoy. In the United States it is called Veterans Day and similarly those who served and sacrificed in the military are remembered and honoured. We of course must not forget the others who suffered, sacrificed and supported the military in other ways, least of all the parents and families.Read More »
There’s a limited series due out December 4 about this dynamic duo of Country Music Superstars. Based on what I know about the time the two spent together, if done right the audience is in for a wild ride. If you watch this trailer it appears to be just that, this pair was full of magic and major league madness.
Both Tammy Wynette and George Jones are legends in County Music and as solo artists. Together they made music like few others could. Have a listen to “Golden Ring” a song they performed together after a tumultuous divorce.
They had several other great songs together but their individual fame, fortune and lifestyle created a clash for the ages.
Watch the above clip of “We’re Gonna Hold On” and you can see the chemistry that made the pair irresistibly captivating.
As much as they wanted “to go together” fans wanted it too. Some things are just not meant to last, but what a legacy.
Leading up to the anniversary of the death of Buddy Holly (February 3) I will be presenting a three part series. The second part should appear in late November or early December and the last in late January. I believe the new biopic titled Clear Lake will be released at some point in this timeline though I can’t seem to find out where or when. Recently, I did a post on Rockabilly and as I was also working on Buddy Holly, I left him out. I noticed while doing my research that his name does always get included in that conversation. Rock and Roll yes, but not always Rockabilly. It does appear in Holly’s Wikipedia page and he was inducted into the Rockabilly Hall of Fame (unfortunately the organization and website has fallen into disrepair). While it is true he emulated this traditional style when he used the guitar, drums and double bass ensemble, but in some ways he was different. First and foremost geographically, being from Texas his influences were unlike most of the Rockabilly/Rock and Roll artists in the 50’s, this I think would give his music a fresh and unique feel. In Texas at that time there was the popular Tex-Mex style, more formally called Tejano music, which is a fusion of Northern Mexican and American sounds. Most certainly Country music, his first love so to speak, was very popular and Bob Wills is legendary for his Texas Swing, literally a sub genre he created. The Blues legends Blind Lemon Jefferson and T. Bone Walker were very well known and Big Mama Thornton’s career took off with her move to Houston in 1948. Need I remind you that it was in San Antonio and Dallas where Robert Johnson made his legendary recordings in 1937 and 1938. This is just a sampling of what was going on in the vibrant and diverse Texas music scene in the 1930’s through to the early 50’s.
Not that Buddy would have listened to all of these artists. At home his musical family sang and listened to Gospel Music as well, but certainly his key influences at a young age led him to Country. A genre which (largely for White folks) was the most popular music in Lubbock, Texas and across much of the American South, not to mention that it had spread elsewhere. However, his biggest turning point came with one Elvis Presley. Buddy had seen Elvis perform at least a few times in Lubbock and area and thus began his transformation. Buddy and his highschool chum Bob Montgomery (Buddy and Bobby) along with Larry Welborn performed on the opening ticket for Elvis on October 15, 1955 at the Fair Park Coliseum in Lubbock, the night before they had done the same for Bill Haley and His Comets. So, as Elvis went from a Ballad Singer to Rockabilly/Rock and Roll, Buddy followed him by moving from Country, as did Bill Haley for that matter. Now, Buddy did not look or move like Elvis but he understood the beat, the appeal of the music, and he was, as it turns out a natural.
Holly has long been a favorite of mine, even though he was killed in a plane crash on February 3, 1959 which was five days before I was born. The fact that he died at age 22, aside from the tragedy itself also taking the lives of 28 year old J. P. Richardson (the Big Bopper), Ritchie Valens who was just 17 and the 21 year old Pilot, Roger Peterson, it took away all the music he would have created. We know the theme of Don Mclean’s epic “American Pie”, his references to “the day the music died” and there is some truth to that line. Holly was an established artist and the younger Ritchie Valens was a rising star in Rock and Roll. We will never know what may have happen to popular music had these two survived, but I do know their legacy has created an immeasurable influence. Paul McCartney, John Lennon, Bob Dylan, Graham Nash, Mick Jagger, Keith Richards and others all cite Buddy for his songwriting skills, his guitar playing and his unique voice.
Getting back to Rockabilly, Holly and his band The Crickets were key figures in the genre, but not with every song and certainly not his later solo material. Holly’s early attempts as mentioned were in the Country Music genre that included appearances on Lubbock Radio and local venues. But his connection to Rockabilly did not come as it did for most that had roots in Hillbilly music nor was he from Appalachia or any of the states most connected to the genre. His first (home and never released) recording was in 1949 at age 12 or 13 and he chose “My Two Timin’ Woman” written and recorded by an artist that was gaining popularity in Country Music, Hank Snow (1948). If you follow the story of Elvis Presley and as depicted in the recent Elvis movie he really started his career opening for the (albeit briefly) better known Hank Snow. Just as an aside, Elvis also covered three of Hank’s original songs, the most popular being “(Now and Then, There’s) A Fool Such as I” with The Jordanaires in 1959 and Snow’s breakout hit from 1950, “I’m Moving On”, he recorded in 1969. Pardon the tangent, and I won’t steal my own thunder for a future post by expanding on the significance of Hank Snow, but anyone having an influence on both Elvis Presley and Buddy Holly deserves a mention. Those sneaky Canadians!
Buddy, while still just in high school would cut eleven demo songs recorded at KDAV in Lubbock. Among those were songs written by his first songwriting partner, Bob Montgomery. However for his move to Rock and Roll/Rockabilly, we can say that technically all the tools were there, including the core instrumentation setup of his band who were originally just Buddy on guitar, Jerry Allison on Drums and Nikki Sullivan on Bass. The first Buddy Holly Album was released in 1957 and was titled The “Chirping” Crickets. As Nikki would soon leave the band to go back to school (but occasionally return) he was replaced by Joe B Mauldin on Double Bass. It was these four who are pictured on the first album cover. However it was not Buddy Holly and The Crickets for most of his time as a recording artist.
More so as time went on, there was not any cohesion to the musicians, other than Buddy himself. On several records you will see the bass (whether the stand-up double bass or the electric guitar) players; Sullivan, Maudlin and Welborn credited together or separately, this in part is due to the re-recording of the earlier Decca Records songs and production decisions among other things. You can find the unreleased Decca songs as well as more unedited (undubbed) Holly recordings, and even telephone calls and commercials on Youtube. As we all have experienced “going down the rabbit hole” there is an interesting bit of trivia I just picked up. One song in his first string of hits “Maybe Baby” (#18 in 1957) was recorded at the Tinker’s Officers’ Club on Tinker Air Force Base in Oklahoma. Apparently Buddy liked the acoustics in the room, how he even knew about the place I don’t know. The song would be finished at the Petty Studio in Clovis, New Mexico. Most will know that Holly’s days with Decca Records were frustrating as they failed to see his value. Ironically, Norman Petty would have him sign with Coral Records and record under the Brunswick label which was a subsidiary owned by Decca. The Executives were not fooled for long, but hey, they were making lots of money at this point so they didn’t care. In another twist of fate a Buddy Holly and The Crickets inspired band named The Beatles would record a demo for Decca in 1961 and they were rejected as well… so sometimes you never learn. I will hold there and work on completing Part 2.
A while back I sort of debunked “One Hit Wonders” lists in my “One Hit Wonders (Not!)” post as there were so many songs that just don’t qualify. So I thought I’d share a list of songs that are truly “one and done” hit songs. Once again following the definition laid out by music journalist Wayne Jancik “an act that has won a position on The Billboard (Hot 100) Top 40 record chart just once.” This from the ‘The Billboard Book of One-Hit Wonders’ (1998).Read More »