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Classic Oldies VideosClassic OldiesMusician. Born in Lubbock, Texas, by junior high school he had turned his attention to the guitar, and formed a western duo with his friend Bob Montgomery. Gaining popularity in the Lubbock area, during the mid 1950’s they opened for the likes of Bill Haley, Elvis, and Marty Robbins. In 1956 he signed a contract with Decca Records, and recorded a number of songs. Through 1957 and 1958 he released a number of records, and began to sing as well. It was then that he formed a band known as “The Crickets”.Buddy HollyEarly life Charles Hardin Holley was born in Lubbock, Texas toLawrence Odell and Ella Pauline (Drake) Holley on LaborDay, 1936. The Holleys were a musical family, and as aboy Holley learned to play piano, guitar, and violin. Hissinging won him a talent contest at age five. Holly wasalways called Buddy by his family. In 1949, he made arecording of Hank Snow’s “My Two Timin’ Woman” on awire recorder “borrowed” by a friend who worked in amusic shop, his first known recording.Also that year, he met Bob Montgomery at HutchinsonJunior High School. They shared an interest in music andteamed up as “Buddy and Bob”. Initially influenced bybluegrass music, they sang harmony duets at local clubsand high school talent shows. Hutchinson Junior HighSchool now has a mural honoring him, and Lubbock HighSchool also honors the late musician. Holly sang in theLubbock High School Choir.The Crickets Holly saw Elvis Presley sing in Lubbock in 1955 andbegan to incorporate a rockabilly style into his music,which gradually evolved into rock music. On October 15,he opened on the same bill with Presley in Lubbock,catching the eye of a Nashville talent scout.Holly’stransition to rock continued when he opened for Bill Haley& His Comets at a local show organized by EddieCrandall, the manager for Marty Robbins.Following this performance, Decca Records signed him toa contract in February 1956, misspelling his name as”Holly”. He adopted it for his professional career. Hollyformed his own band, which would later be called theCrickets. It consisted of Holly (lead guitar and vocalist),Niki Sullivan (guitar), Joe B. Mauldin (bass), and JerryAllison (drums).They went to Nashville for three recording sessions withproducer Owen Bradley.However, he chafed under arestrictive atmosphere that allowed him little input.Amongthe tracks he recorded was an early version of “That’ll BeThe Day”, which took its title from a line that John Wayne’scharacter says repeatedly in the 1956 film, The Searchers.(This initial version of the song played more slowly andabout half an octave higher than the later hit version.)Decca chose to release two singles, “Blue Days, BlackNights” and “Modern Don Juan”, which failed to make animpression. On January 22, 1957, Decca informed Hollythat his contract would not be renewed,insisting howeverthat he could not record the same songs for anyone elsefor five years. Norman Petty Recording Studios in Clovis, NewMexicoHolly then hired Norman Petty as manager, and theband began recording at Petty’s studios in Clovis, NewMexico. Petty contacted music publishers and labels, andBrunswick Records, a subsidiary of Decca, signed theCrickets on March 19, 1957. Holly signed as a solo artistwith another Decca subsidiary, Coral Records. This puthim in the unusual position of having two recordingcontracts at the same time.On May 27, “That’ll Be The Day” was released as a single,credited to the Crickets to try to bypass Decca’s claimedlegal rights. When the song became a hit, Decca decidednot to press its claim. “That’ll Be the Day” topped the US”Best Sellers in Stores” chart on September 23 and wasthe UK Singles Chart for three weeks in November. TheCrickets performed “That’ll Be the Day” and “Peggy Sue”,on The Ed Sullivan Show on December 1.Holly managed to bridge the racial divide that markedrock n’ roll. While Elvis made black music moreacceptable to white audiences, Holly won over an all-black audience when the Crickets were booked at NewYork’s Apollo Theater for August 16–22, 1956. Unlike theimmediate response shown in the 1978 movie The BuddyHolly Story, it actually took several performances for theaudience to warm to him. In August 1957, the Crickets werethe only white performers on a national tour.As Holly was signed as both a solo artist and as part of theCrickets, two debut albums were released: The “Chirping”Crickets on November 27, 1957 and Buddy Holly onFebruary 20, 1958.[13] His singles “Peggy Sue” and “OhBoy!” reached the top ten on both the United States andUnited Kingdom charts. Buddy Holly and the Cricketstoured Australia in January 1958, and the UK in March.Their third and final album, That’ll Be the Day, was puttogether from early recordings and was released in April.Marriage In June 1958, he met Maria Elena Santiago, who wasworking as a receptionist for Murray Deutch, an executiveat Peer-Southern Music, a New York music publisher.Holly managed to have Santiago invited to a luncheon atHoward Johnson’s, thanks to Deutch’s secretary, JoHarper. He asked her to have dinner with him that night atP. J. Clarke’s. Holly proposed marriage to her on their veryfirst date. “While we were having dinner, he got up andcame back with his hands behind his back. He brought outa red rose and said, “This is for you. Would you marryme?” He went to her guardian’s house the next morning toget her approval. Santiago at first thought he was kidding,but they married in Lubbock on August 15, 1958, less thantwo months later.[15] “I’d never had a boyfriend in my life.I’d never been on a date before. But when I saw Buddy, itwas like magic. We had something special: love at firstsight,” she told the Lubbock Avalanche-Journal on whatwould have been their 50th wedding anniversary.[16] Thenewlyweds honeymooned in Acapulco.Maria Elena traveled on tours, doing everything from thelaundry to equipment setup to ensure the group got paid.Although Holly had already begun to becomedisillusioned with Norman Petty before meeting his bride, itwas through Maria Elena and her aunt Provi, who was thehead of Latin American music at Peer Southern, that hebegan to fully realize what was going on with his manager,who was paying the band’s royalties into his owncompany’s account.Holly wrote the song “True Love Ways” about hisrelationship with his young wife. It was recorded in herpresence on October 21, 1958 at Decca’s Pythian Temple,with Dick Jacob, Coral-Brunswick’s new head of Artists &Repertoire, serving as both producer and conductor of theeighteen-piece orchestra, which included members of theNew York Symphony Orchestra, NBC Television’s houseorchestra and Abraham “Boomie” Richman, formerly ofBenny Goodman’s band.It was not until Holly died that many fans became aware ofhis marriage.Holly in New York The ambitious Holly became increasingly interested in theNew York music/recording/publishing scene, while hisbandmates wanted to go back home to Lubbock. As aresult, the group split up in late 1958. The Hollys settled inat Greenwich Village, New York, in the new Brevoortapartment block at 9th Street and Fifth Avenue. It was herethat he recorded the series of acoustic songs, including”Crying, Waiting, Hoping” and “What to Do”, known as the”Apartment Tapes”, which were released after his death.The Hollys frequented many of New York’s music venues,including The Village Gate, Blue Note, Village Vanguard,and Johnny Johnson’s. Maria Elena reported that Buddywas keen to learn finger-style flamenco guitar and wouldoften visit her aunt’s home to play the piano there. Hewanted to develop collaborations between soul singersand rock ‘n’ roll, hoping to make an album with RayCharles and gospel legend Mahalia Jackson. He alsohad ambitions to work in film, like Elvis Presley and EddieCochran, and registered for acting classes with LeeStrasburg’s Actors’ Studio, where the likes of MarlonBrando and James Dean had trained.However, he was still having trouble getting his royaltiesfrom Petty, so he hired the noted lawyer Harold Orensteinat the recommendation of his friends, the Everly Brothers,who had engaged Orenstein following their own disputeswith their manager Wesley Rose. Yet, with the money stillbeing withheld by Petty and with rent due, Buddy wasforced to go back on the road.Death Holly’s headstone in the City of Lubbock CemeteryMainarticle: The Day the Music Died Buddy was offered the Winter Dance Party by the GACagency, a three-week tour across the Midwest opening onJanuary 23, 1959, with other notable performers such asDion and the Belmonts, Ritchie Valens, and J. P. “The BigBopper” Richardson. He assembled a backing bandconsisting of Tommy Allsup (guitar), Waylon Jennings(bass) and Carl Bunch (drums) and billed as The Crickets.The tour turned out to be a miserable ordeal for theperformers, who were subjected to long overnight travel ina bus plagued with a faulty heating system in -25°F (-32°C)temperatures. The bus also broke down several timesbetween stops. Following a performance at the SurfBallroom in Clear Lake, Iowa on February 2, 1959, Hollychartered a small airplane to take him to the next stop onthe tour. He, Valens, Richardson, and the pilot were killeden route to Moorhead, Minnesota, when their planecrashed soon after taking off from nearby Mason City in theearly morning hours of February 3. Don McLean referred toit as “The Day the Music Died” in his song “American Pie”.Holly’s funeral was held on February 7, 1959, at theTabernacle Baptist Church in Lubbock.The service wasperformed by Ben D. Johnson, who had presided at theHollys’ wedding just months earlier. The pallbearers wereJerry Allison, Joe B. Mauldin, Niki Sullivan, BobMontgomery, Sonny Curtis and Phil Everly. WaylonJennings was unable to attend due to his commitment tothe still touring Winter Dance Party. The body was interredin the City of Lubbock Cemetery in the eastern part of thecity. Holly’s headstone carries the correct spelling of hissurname (Holley) and a carving of his Fender Stratocasterguitar.Holly’s pregnant wife became a widow after barely sixmonths of marriage and miscarried soon after. MaríaElena Holly did not attend the funeral and has nevervisited the grave site. She later told the Avalanche-Journal: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 withme, but he had scheduled that tour. It was the only time Iwasn’t with him. And I blame myself because I know that, ifonly I had gone along, Buddy never would have gotten intothat airplane.Style Holly’s music was sophisticated for its day, including theuse of instruments considered novel for rock and roll, suchas the celesta (heard on “Everyday”). Holly was aninfluential lead and rhythm guitarist, notably on songs suchas “Peggy Sue” and “Not Fade Away”. While Holly couldpump out boy-loves-girl songs with the best of hiscontemporaries, other songs featured more sophisticatedlyrics and more complex harmonies and melodies thanhad previously appeared in the genre.Many of his songs feature a unique vocal “hiccup”technique, a glottal stop, to emphasize certain words inany given song, especially the rockers. Other singers(such as Elvis) have used a similar technique, though lessobviously and consistently. Examples of this can be foundat the start of the raucous “Rave On!”: “Weh-eh-ell, the littlethings you say and do, make me want to be with you-ou…”;in “That’ll Be the Day”: “Well, you give me all your lovin’and your -turtle dovin’…”; and in “Peggy Sue”: “I love youPeggy Sue – with a love so rare and tr-ue …”.Influence Buddy Holly statue on the Lubbock Walk of FameHolly setthe template for the standard rock and roll band: twoguitars, bass, and drums. He was also one of the first in thegenre to write, produce, and perform his own songs.Contrary to popular belief, teenagers John Lennon andPaul McCartney did not attend a Holly concert, althoughthey watched his TV appearance on Sunday Night at theLondon Palladium; Tony Bramwell, a school friend ofMcCartney and George Harrison, did. Bramwell met Holly,and freely shared his records with all three. Lennon andMcCartney later cited Holly as a primary influence.(Theirband’s name, The Beatles, was chosen partly in homageto Holly’s Crickets.) The Beatles did a cover version of”Words of Love” that was a close reproduction of Holly’sversion, released on 1964’s Beatles for Sale. During theJanuary 1969 sessions for the Let It Be album, the Beatlesplayed a slow impromptu version of “Mailman, Bring MeNo More Blues” — although not written by Holly, it waspopularized by him — with Lennon mimicking Holly’s vocalstyle; the recording was eventually released in the mid-1990s on Anthology 3. Paul McCartney’s band Wingsrecorded their version of “Love is Strange” on their firstalbum Wild Life. In addition, John Lennon recorded acover version of “Peggy Sue” on his 1975 album Rock ‘n’Roll. McCartney owns the publishing rights to Holly’s songcatalogue.A 17-year-old Bob Dylan attended the January 31, 1959show, two nights before Holly’s death. Dylan referred tothis in his 1998 Grammy acceptance speech for his Timeout of Mind being named Album of the Year:And I just want to say that when I was sixteen or seventeenyears old, I went to see Buddy Holly play at DuluthNational Guard Armory and I was three feet away fromhim…and he LOOKED at me. And I just have some sort offeeling that he was — I don’t know how or why — but I knowhe was with us all the time we were making this record insome kind of way. The Holly mural on 19th Street in LubbockKeith Richardsattended one of Holly’s performances, where he heard”Not Fade Away” for the first time. The Rolling Stones hadan early hit covering the song.In an August 24, 1978 Rolling Stone interview, BruceSpringsteen told Dave Marsh, “I play Buddy Holly everynight before I go on; that keeps me honest.”Various rock and roll histories have asserted that thesinging group The Hollies were named in homage toBuddy Holly. According to the band’s website, althoughthe group admired Holly (and years later produced analbum covering some of his songs), their name wasinspired primarily by the sprigs of holly in evidence aroundChristmas of 1962.Discography Main article: Buddy Holly discography Buddy Holly released only three albums in his lifetime.Nonetheless, he recorded so prolifically that CoralRecords was able to release brand-new albums andsingles for 10 years after his death, although the technicalquality was very mixed, some being studio quality andothers home recordings. Holly’s simple demonstrationrecordings were overdubbed by studio musicians to bringthem up to then-commercial standards. The best of theseoverdubbed records is often considered to be the firstposthumous single, the 1959 coupling of “Peggy Sue GotMarried” and “Crying, Waiting, Hoping”, produced by JackHansen, with added backing vocals by the Ray CharlesSingers in simulation of an authentic Crickets record.[citation needed] “Crying, Waiting, Hoping” was actuallysupposed to be the “A” side of the 45, with the backupgroup effectively echoing Buddy’s call-and-responsevocal. The Hansen session, in which Holly’s last sixoriginal compositions were overdubbed, was issued onthe 1960 Coral LP The Buddy Holly Story, Vol. 2. But thebest “posthumous” records were the studio recordings,which included “Wishing” and “Reminiscing”.Buddy Holly continued to be promoted and sold as an”active” artist, and his records had a loyal following,especially in Europe. The demand for unissued Hollymaterial was so great that Norman Petty resorted tooverdubbing whatever he could find: alternate takes ofstudio recordings, originally rejected masters, “Crying,Waiting, Hoping” and the other five 1959 tracks (addingnew surf-guitar arrangements), and even Holly’s amateurdemos from 1954 (where the low-fidelity vocals are oftenmuffled behind the new orchestrations). The last newBuddy Holly album was Giant (featuring the single “Love IsStrange”), issued in 1969. Between the 1959–60 JackHansen overdubs, the 1960s Norman Petty overdubs,various alternate takes, and Holly’s undubbed originals,collectors can often choose from multiple versions of thesame song.The Picks’ overdubs In February 1984, MCA mastering engineer Steve Hoffmansent what are known as safety copies of several BuddyHolly master recordings to John Pickering of The Pickswho took them to Sound Masters studios in Houston,Texas. There, the reunited group overdubbed their newvocal parts onto at least 60 recordings, and sent themback to Hoffman at MCA. The general consensus seemsto be that, under Hoffman’s influence, MCA would haveissued these “new” recordings as an album, perhaps tocommemorate the 25th year since Holly’s passing. Thishowever, was not to be.Not long afterwards, Hoffman was fired by MCA, for,among other things, stealing master tapes of Hollymaterial and attempting to sell them to parties such as theNorman Petty estate. A short time later, a raid producedthe stolen tapes, which were returned to MCA. With theseplans having fallen through, Pickering decided to takematters into his own hands and release them himself.These recordings slowly made their way to the public onprivately pressed albums like The Original Chirping Soundand Buddy Holly Not Fade Away. In 1992, Pickeringapproached Viceroy Records to arrange a deal for majornationwide distribution of these overdubbed recordings,who hit a brick wall when MCA made it clear that Pickeringdid not have proper legal clearance to release suchrecordings. Andy McKaie, an MCA executive, has statedthat Pickering has never bothered to ask for licensing onthe songs. To this day, budget labels release theserecordings despite the fact that they are, depending onhow one looks at it, bootlegs or pirates.In popular culture The Buddy Holly Center, a small museum located inLubbock Film and musical depictions Holly’s life story inspired a Hollywood biographical film,The Buddy Holly Story. Star Gary Busey received anomination for Academy Award for Best Actor for hisportrayal of Holly. The movie was widely criticized by therock community and Holly’s friends and family for itsinaccuracies. This led Paul McCartney to produce andhost his own tribute to Holly in 1985, titled The Real BuddyHolly Story. This video includes interviews with KeithRichards, Phil and Don Everly, Sonny Curtis, Jerry Allison,Holly’s family, and McCartney himself, among others.In 1987, Marshall Crenshaw portrayed Buddy Holly in themovie La Bamba. He is featured performing at the SurfBallroom and boarding the doomed airplane with RitchieValens and The Big Bopper. Crenshaw’s version of”Crying, Waiting, Hoping” is featured on the La Bambaoriginal motion picture soundtrack. Steve Buscemi playeda Buddy Holly imitator/waiter in Pulp Fiction (1994).Currently in preproduction (scheduled for 2010) is a filmversion of Bradley Denton’s 1991 sci-fi novel Buddy HollyIs Alive and Well on Ganymede, starring Jon Heder ofNapoleon Dynamite fame—not as Buddy (that role is stillopen) but as the protagonist Oliver Vale.There were also successful Broadway and West Endmusicals documenting his career. Buddy – The BuddyHolly Story ran in the West End for 13 years. This wasfollowed by a tour and return to the West End on August 3,2007.Buddy appeared briefly in an episode of the BBC’s ‘YoungOnes’ when he crashed through the ceiling of the flat andplayed his guitar while suspended upside down in histangled parachute strings.Songs Don McLean’s popular 1971 ballad American Pie isinspired by Holly and the day of the plane crash. The American Pie album is dedicated to Holly. Weezer wrote a song titled Buddy Holly. Alvin Stardust wrote a song called I Feel Like Buddy Holly. Swedish band Gyllene Tider (pre-Roxette) recorded thesong Ska vi älska, så ska vi älska till Buddy Holly (“If We’llMake Love We’ll Make Love to Buddy Holly”) in 1979. Buddy is featured on the 7″ label. Nirvana’s music video for the song In Bloom pays tribute toBuddy with frontman Kurt Cobain parodying his style andexpression. In the Red Hot Chili Peppers’ music video for DaniCalifornia, the band takes on several sub genres of Rock,Buddy is one of the first to be represented. The Buddy Holly statue in Lubbock, TX is referred to in theDixie Chicks song Lubbock or Leave It (Taking the LongWay, 2006) with the lyrics: International airport… as I’m getting out I laugh to myself’cause this is the only place, where as you’re getting on theplane you see Buddy Holly’s face. I hear they hate me nowjust like they hated you, maybe when I’m dead and goneI’m gonna get a statue too.Novels Buddy has appeared as a fictional character in severalnovels. Bradley Denton’s Buddy Holly is Alive and Well onGanymede, won the John W. Campbell Memorial Awardfor Best Science Fiction Novel in 1992. He was referred toas a character in P.F. Kluge’s Eddie and the Cruisers(1980) and showed up in an alternate time stream in ‘TheSecond Coming of Buddy Holley’ chapter in EdwardBryant’s 1988 Wild Cards Volume V: Down and Dirty–anoriginal Bantam Books paperback. The plane crashappeared in The Day the Music Died (Carroll & Graf,1999), the first of Ed Gorman’s rock ‘n’ roll mystery novels.In Terry Pratchett’s Soul Music, the pioneer of what iseasily recognized as rock and roll is a musician fromLlamedos named Imp y Celyn, or Buddy Holly.Monuments Fan monument in a private cornfield at the site of theairplane crash, near Clear Lake, IowaDowntown Lubbockhas a “walk of fame” with plaques to various area artistssuch as Glenna Goodacre, Mac Davis, Maines BrothersBand, and Waylon Jennings, with a life-size statue ofBuddy by sculptor Grant Speed (1980) playing his Fenderguitar as its centerpiece. Downtown Lubbock also featuresBuddy Holly Avenue and the Buddy Holly Center, which isa museum dedicated to Texas art and music.In 1988, Ken Paquette, a Wisconsin fan of the 1950s,erected a stainless steel monument at the site of theairplane crash, depicting a steel guitar and a set of threerecords bearing the names of each of the threeperformers. It is located on private farmland approximatelyfive miles north of Clear Lake. He also created a similarstainless steel monument to the three musicians at theRiverside Ballroom in Green Bay. That memorial wasunveiled on July 17, 2003Buddy Holly’s previous home in Lubbock is still standing. Itis a private residence and not open for tours.

Birth: Sep. 7, 1936 Lubbock Lubbock County Texas, USA Death: Feb. 3, 1959 Cerro Gordo County Iowa, USA The group toured extensively in both the United States and England, producing such hits as “Peggy Sue”, “Oh Boy”, and “Rave On”. In late 1958 the group had a falling out with Buddy Holly and he went on tour by himself. On February 2, 1959, he joined entertainers Ritchie Valens and J.P. “The Big Bopper” Richardson. They had just finished an appearance at the Surf Ballroom in Clear Lake, Iowa. The doomed trio took off from Mason City, traveling to Fargo, North Dakota, as it was the nearest airport to their next concert location in Moorhead, Minnesota. The plane took off early on the morning of February 3rd in a snow storm and crashed minutes after take-off killing all on board

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