Podcasts about blue days

Joy Division "Dead Souls" We Are Parasols "Body Horror' - Body Horror https://nomovementrecords.com/we-are-parasols Golden Shoals "Jimmy Beam Ain't My Friend" www.goldenshoals.com Krashkarma "Voodoo Devil Drum" www.krashkarma.com Hologramme "Unfold" SOLEDAD opus 32 no.1, https://www.hologramme.mu/ Surprise Chef 'Spiky Boi" - Friendship www.bigcrownrecords.com Brokof "Postcard Of Rome" Blind Spot On The Bright Side Of Life www.brokof.net Crowes Pasture "The Night We Met" - Don't Blink https://crowespastureduo.com/ ********************* Mississippi McDonald "The Devil Wants Repayment" - Heavy State Lovin' Blues https://mississippimacdonald.com/ Danielle Miraglia "Pick Up The Gun" - Bright Shining Stars www.daniellem.com Katie Dahl "Jericho" - Seven Stones https://katiedahlmusic.com/ Claudia Schmidt "Broken Glass" - Reimagining www.claudiaschmidt.com Tom Paxton & John McCutcheon "Invisibe Man" - Together www.folkmusic.com Joselyn & Don "Wayfarer's Son" - Soar https://joselynanddon.com/ Michele Hannan & One Blue Night "Blue Days & Lonely Nights" www.onebluenight.com Terry Klein "Blue Hill Bay" - Leave The Light On https://terrykleinmusic.com Slaid Cleaves "Nature's Darker Laws" - Together Through Th Dark www.slaidcleaves.com Ed Sweeney with Cathy Clasper-Torch "Bury Me Not On The Lone Prairie" - A Sunday Drive https://edsweeneymusic.com/ Closing music: Lou Reed "Halloween Parade" - New York Daniel Johnston "Grievances" - Songs Of Pain Running time: 4 hours, 42 minutes --- Send in a voice message: https://podcasters.spotify.com/pod/show/radiocblue/message Support this podcast: https://podcasters.spotify.com/pod/show/radiocblue/support

HOUR 2: Did the refs rob McDermott's squad? Your best audio of the day in Sound Check. Can anyone beat the Huskies?

The Weekend Is HERE!  Welcome to Friday! Ten days left till Halloween. The Music Authority LIVE STREAM Show & Podcast...listen, like, comment, download, share, repeat…heard daily on Podchaser, Deezer, Amazon Music, Audible, Listen Notes, Google Podcast Manager, Mixcloud, Player FM, Stitcher, Tune In, Podcast Addict, Cast Box, Radio Public, and Pocket Cast, and APPLE iTunes!  Follow the show on TWITTER JimPrell@TMusicAuthority!  Please, are you listening? Please, are you sharing the show & podcast?  Please, has a show & podcast mention been placed into your social media?  How does and can one listen in? Let me list the ways...*Listen LIVE here - https://fastcast4u.com/player/jamprell/ *Podcast - https://themusicauthority.transistor.fm/   The Music Authority LIVE STREAM Show & Podcast!  Special Recorded Network Shows, too!  Different than my daily show! *Radio Candy Radio Monday Wednesday, & Friday 7PM ET, 4PM PT*Rockin' The KOR Tuesday, Wednesday, and Thursday at 7PM UK time, 2PM ET, 11AM PT  www.koradio.rocks*Pop Radio UK Friday, Saturday, & Sunday 6PM UK, 1PM ET, 10AM PT!  October 21, 2022, Friday, act one…Orbis 2.0 - TMA SHOW OPEN THEMEMagic Eight Ball - 01 Falling In Love's Like A Vampire [Richest Men In The World]@Mark A. James - Sleeping All Alone [Temper]@Young Francis - 81 - Julia (Hey Julia) [Songs We Learned In Sunday School] (Ice Cream Man Power Pop and More)The Syracuse Penetrators - If You Have GhostsThe Midnight Callers - Jealous Guy [Jem Records Celebrates John Lennon] (Jem Records)@The New York Dolls - Plenty Of MusicChris Church - I Can Feel The Echo [Limitations Of Source Tape]Kiwi Jr. - 10 Wicked Witches [Football Money]The Midnight Callers - Use Me [Red Letter Glow] (Jem Records)The Cool Whips - 11 The Man I Never Was [Goodies]Chuck Oney - One Night Romance [Shimmering Hearts – EP] (@Four Play Records)@Gymnasium - 09 A Special Chair [Hansen's Pop n Rock 22 Album] (Red on Red Records)Carol Martini - Halloween Is At The Door (Bongo Boy Records)The Pop Machine - 04 Jealousy [In Hollywood - Jack Lee Sessions]Seasurfer - 07- Blue Days (feat. @Elena Alice Fossi) [The Dreampop Days]Doug Powell - Lime Street [More]@The Hudson Brothers - Song For Stephanie

After a difficult high leverage series against the division rival Blue Jays, Jimmy talks you (and mostly himself) off the ledge and how to process the Orioles' future moving forward.

Born in Lubbock, Texas, on September 7, 1936, Charles Hardin  Holley (he later dropped the "e"), after both grandfathers    the fourth child of Lawrence Odell "L.O." Holley and Ella Pauline Drake.    older siblings were Larry, Travis, and Patricia Lou.    nicknamed Buddy from a young age, and it stuck with him throughout his life.    Oddly enough, the newspaper announcement claimed that Buddy was actually a little girl. “A daughter weighing 8.5 lbs”, the Lubbock evening journal wrote. He was also only 6.5 pounds. And a boy. Buddy's family was mainly of English and Welsh descent and had some native American ancestry. During the Great Depression, the Holleys frequently moved residences within Lubbock; 17 in all.    His father changed jobs several times.    The Holley family were a musical household.  Except for Buddy's father, all family members could play an instrument or sing. His older brothers frequently entered local talent shows, and one time, his brothers signed up and Buddy wanted to play violin with them. However, Buddy couldn't play the violin.  Not wanting to break little Buddy's heart, his older brothers greased up the strings so it wouldn't make a sound. Buddy started singing his heart out and the three ended up winning the contest!  When WWII started, the U.S. government called his brothers into service. His brother Larry brought back a guitar he bought from a shipmate, and that guitar set Buddy's off. At 11 years old, Buddy started taking piano lessons.  Nine months later, he quit piano lessons and switched to guitar after seeing a classmate playing and singing on the school bus.    His parents initially bought him a steel guitar, but Buddy insisted he wanted a guitar like his brothers. They bought him a guitar, a gold top Gibson acoustic, from a pawn shop, and his brother Travis taught him to play it.  By 15, Buddy was proficient on guitar, banjo, and mandolin. During his early childhood, Holley was influenced by Hank Williams, Jimmie Rodgers, Hank Snow, Bob Wills, and the Carter Family.  He started writing songs and working with his childhood friend Bob Montgomery. The two jammed together, practicing songs by the Louvin Brothers and Johnnie & Jack. They frequently listened to Grand Ole Opry's radio programs on WSM, Louisiana Hayride on KWKH (which they once drove 600 miles to okay just to be turned away), and Big D Jamboree.  If you're not familiar with the Grand Ol Opry, it's a weekly American country music stage concert in Nashville, Tennessee, founded on November 28, 1925, by George D. Hay as a one-hour radio "barn dance" on Clearchannel's WSM, which first hit the airwaves on October 5, 1925. Its the longest-running radio broadcast in U.S. history.    At the same time he was practicing with Bob, Holley played with other musicians he met in high school, including Sonny Curtis and Jerry Allison.    In 1952 Holley and Jack Neal participated as a duo billed as "Buddy and Jack" in a talent contest on a local television show.    After Neal left, he was replaced by his buddy Bob, and they were billed as "Buddy and Bob." By the mid-'50s, Buddy & Bob played their style of music called "western and bop ."    Holley was influenced by late-night radio stations that played the blues and rhythm and blues. Holley would sit in his car with Sonny Curtis and tune to distant “black” radio stations that could only be received at night when bigger stations turned off local transmissions.    Holley then changed his music by blending his earlier country and western influence with Rhythm and Blues. After seeing the legendary Elvis perform, Holly decided to pursue his career in music full-time once he graduated high school. By mid-1955, Buddy & Bob, who already worked with an upright bass player (played by Larry Welborn), added drummer Jerry Allison to their lineup. After seeing Elvis Presley performing live in Lubbock, who Pappy Dave Stone of KDAV booked, Buddy really wanted to get after it. In February, he opened for Elvis at the Fair Park Coliseum, in April at the Cotton Club, then again in June at the Coliseum. Elvis significantly influenced the group to turn more towards Rock n Roll. Buddy and the king became friends, with Buddy even driving Elvis around when he was in town. Eventually, Bob Montgomery, who leaned toward a traditional country sound, left the group, though they continued writing and composing songs together. Holly kept pushing his music toward a straight-ahead rock & roll sound, working with Allison, Welborn, and other local musicians, including his pal and guitarist Sonny Curtis and bassist Don Guess. In October, Holly was booked as the opener for Bill Haley & His Comets (Rock Around the Clock), to be seen by Nashville scout Eddie Crandall. Obviously impressed, Eddie Crandall talked Grand Ole Opry manager Jim Denny into finding a recording contract for Holley. Pappy Stone sent Denny a demo tape, which Denny forwarded to Paul Cohen. Cohen signed the band to Decca Records in February 1956.    In the contract, Decca accidentally misspelled Holley's surname as "Holly," From that point forward, he was known as "Buddy Holly." On January 26, 1956, Holly went to his first professional recording session with producer Owen Bradley. He was a part of two more sessions in Nashville.    the producer selected the session musicians and arrangements, Holly became frustrated by his lack of creative control. In April 1956, Decca released "Blue Days, Black Nights" as a single and "Love Me" on the B-side.    "B-sides" were secondary songs that were sent out with single records. They were usually just added to have something on the flip side. Later they became songs that bands would either not release or wait to release.  Jim Denny added Holly on tour as the opening act for Faron Young. While on this tour, they were promoted as "Buddy Holly and the Two Tones." Decca then called them "Buddy Holly and the Three Tunes." The label released Holly's second single, "Modern Don Juan," along with "You Are My One Desire."    Unfortunately, neither one of these singles tickled anyone's fancy. On January 22, 1957, Decca informed Holly that they wouldn't re-sign him and insisted he could not record the same songs for anyone else for five years. The same shit happened to Universal and me. A couple of classics, like "Midnight Shift" and "Rock Around with Ollie Vee," did come out of those Decca sessions, but nothing issued at the time went anywhere. It looked as though Holly had missed his shot at stardom.  Holly was disappointed with his time with Decca. inspired by Buddy Knox's "Party Doll" and Jimmy Bowen's "I'm Stickin' with You" he decided to visit Norman Petty, who produced and promoted both of those successful records.    Buddy, Jerry Allison, bassist Joe B. Mauldin, and rhythm guitarist Niki Sullivan pulled together and headed to Petty's studio in Clovis, New Mexico. The group recorded a demo of the now-classic, "That'll Be the Day," which they had previously recorded in Nashville. Now rockin' that lead guitar, Holly finally achieved the sound he wanted. They got the song nailed down and recorded. Along with Petty's help, the group got it picked up by Murray Deutsch, a publishing associate of Petty's, and Murray got it to Bob Thiele, an executive at Coral Records. Thiele loved it. Ironically, Coral Records was a subsidiary of Decca, the company Holly had signed with before. On a side note, a subsidiary is a smaller label under the major label's umbrella. For instance, Universal signed my band to Republic, a subsidiary of Universal Music that dealt primarily with rock genres, like Godsmack. Norman Petty saw the potential in Buddy and became his manager. He sent the record to Brunswick Records in New York City. Thiele saw the record as a potential hit, but there were some significant hurdles to overcome before it could be released.  According to author Philip Norman, in his book Rave On, Thiele would only get the most reluctant support from his record company. Decca had lucked out in 1954 when they'd signed Bill Haley & His Comets and saw their "Rock Around the Clock" top the charts. Still, very few of those in charge at Decca had a natural feel or appreciation for Rock & Roll, let alone any idea of where it might be heading or whether the label could (or should) follow it down that road. Also, remember that although Buddy had been dropped by Decca the year before, the contract that Holly signed explicitly forbade him from re-recording anything he had recorded for them, released or not, for five years. However, Coral was a subsidiary of Decca, and Decca's Nashville office could hold up the release and possibly even haul Holly into court.  "That'll Be the Day" was issued in May of 1957 mainly as an indulgence to Thiele, to "humor" him. The record was put out on the Brunswick label, more of jazz and R&B label, and credited to the Crickets. The group chose this name to prevent the suits at Decca -- and more importantly, Decca's Nashville office -- from finding out that this new release was from the guy they had just dropped. The name “The Crickets” was inspired by a band that Buddy and his group followed, called “the Spiders” and they initially thought about calling themselves “The Beetles”, with two E's, but Buddy said he was afraid people would want to “squash them.” So, they picked “The Crickets.” Petty also became the group's manager and producer, signing the Crickets, identified as Allison, Sullivan, and Mauldin, to a contract. Unfortunately, Holly wasn't listed as a member in the original document to keep his involvement with "That'll Be the Day" a secret. This ruse would later become the source of severe legal and financial problems for Buddy.    The song shot to #1 on the national charts that summer. But, of course, Decca knew Holly was in the band by then. So, with Thiele's persuasion and realizing they had a hit on their hands, the company agreed to release Holly from the five-year restriction on his old contract. This release left him free to sign any recording contract he wanted. While sorting out the ins and outs of Holly's legal situation, Thiele knew that Buddy was far more than a one-hit-wonder and that he could potentially write more and different types of hits. So, 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, all thanks to Thiele's ingenious strategy to get the most out of Buddy and his abilities. By releasing two separate bodies of work, the Crickets could keep rockin' while allowing its apparent leader and "star" to break out on his own.    Petty, whose name seems fitting as we go through this, acted as their manager and producer. He handed out writing credits at random, gifting Niki Sullivan and Joe B. Mauldin (and himself) the co-authorship of the song, "I'm Gonna Love You Too," while leaving Holly's name off of "Peggy Sue." at first. The song title, “Peggy Sue” was named after Buddy's biggest fan. Petty usually added his own name to the credit line, something the managers and producers who wanted a more significant piece of the pie did back in the '50s. To be somewhat fair, Petty made some suggestions, which were vital in shaping certain Holly songs. However, he didn't contribute as much as all of his credits allow us to believe. Some confusion over songwriting was exacerbated by problems stemming from Holly's contracts in 1956. Petty had his own publishing company, Nor Va Jak Music, and Buddy signed a contract to publish his new songs. However, Holly had signed an exclusive agreement with another company the year before. To reduce his profile as a songwriter until a settlement could be made with Petty and convince the other publisher that they weren't losing too much in any compensation, buddy copyrighted many of his new songs under the pseudonym "Charles Hardin." So many names!   The dual recording contracts allowed Holly to record a crazy amount of songs during his short-lived 18 months of fame. Meanwhile, his band -- billed as Buddy Holly & the Crickets -- became one of the top attractions of the time. Holly was the frontman, singing lead and playing lead guitar, which was unusual for the era, and writing or co-writing many of their songs. But the Crickets were also a great band, creating a big and exciting sound (which is lost to history, aside from some live recordings from their 1958 British tour). Allison was a drummer ahead of his time and contributed to the songwriting more often than his colleagues, and Joe B. Mauldin and Niki Sullivan provided a solid rhythm section.   The group relied on originals for their singles, making them unique and 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 limping along the lines it had followed since the '20s. Songwriting was a specialized profession set on the publishing side of the industry and not connected to performing and recording. A performer might write a song or, even more rarely, like Duke Ellington (It Don't Mean A Thing), count composition among his key talents; however, this was generally left to the experts. Any rock & roller wanting to write songs would also have to get past the image of Elvis. He was set to become a millionaire at the young age of 22. He never wrote his songs, and the few songwriting credits he had resulted from business arrangements rather than writing anything.   Buddy Holly & the Crickets changed that seriously by hitting number one with a song they'd written and then reaching the Top Ten with originals like "Oh, Boy" and "Peggy Sue," They were regularly charging up the charts based on their songwriting. This ability wasn't appreciated by the public at the time and wouldn't be noticed widely until the '70s. Still, thousands of aspiring musicians, including John Lennon and Paul McCartney, from some unknown band called "The Beatles," took note of their success, and some of them decided to try and tried to be like Buddy. Also unknown at the time, Holly and his crew changed the primary industry method of recording, which was to bring the artist into the label's studio, working on their timetable. If an artist were highly successful, they got a blank check in the studio, and any union rules were thrown out, but that was rare and only happened to the highest bar of musicians. Buddy Holly & the Crickets, however, did their thing, starting with "That'll Be the Day," in Clovis, New Mexico, at Petty's studio. They took their time and experimented until they got the sound they were looking for. No union told them when to stop or start their work, and they delivered terrific records; not to mention, they were albums that sounded different than anything out there. The results changed the history of rock music. The group worked out a new sound that gave shape to the next wave of rock & Roll. Most definitely influenced was British rock & Roll and the British Invasion beat, with the lead and rhythm guitars working together to create a fuller, more complex 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 took rock & roll's range and sophistication and pushed it without abandoning its excitement and, most importantly, it's fun. Holly and the band weren't afraid to push the envelope and try new things, even on their singles. "Peggy Sue" used changes in volume and timbre on the guitar that was usually only used in instrumental albums. "Words of Love" was one of the earliest examples of double-tracked vocals in rock & Roll, and the Beatles would jump on that train the following decade. Buddy Holly & the Crickets were extremely popular in America. Still, in England, they were even more significant; their impact was compared to Elvis and, in some ways, was even bigger. This success was because they toured England; Elvis didn't. They spent a month there in 1958, playing a list of shows that were still talked about 30 years later. It also had to do with their sound and Holly's persona on stage. The group's heavy use of rhythm guitar fit right in with the sound of skiffle music, a mix of blues, folk, country, and jazz elements that most of the younger British were introduced to playing music and their first taste of rock & Roll. Also, Holly looked a lot less likely a rock & roll star than Elvis. He was tall, skinny, and wore glasses; he looked like an ordinary dude who was good at music. Part of Buddy's appeal as a rock star was how he didn't look like one. He inspired tens of thousands of British teenagers who couldn't compare themselves to Elvis or Gene Vincent. (Be Bop A Lula) In the '50s, British guitarist Hank Marvin of the Shadows owed his look and that he wore his glasses proudly on-stage to Holly, and it was brought into the '70s by Elvis Costello.  Buddy may have played several different kinds of guitars but, he was specifically responsible for popularizing the Fender Stratocaster, especially in England. For many wannabe rock & rollers in the UK, Holly's 1958 tour was the first chance they'd had to see or hear this iconic guitar in action, and it quickly became the guitar of choice for anyone wanting to be a guitarist in England. In fact, Marvin is said to have had the first Stratocaster ever brought into England.   The Crickets became a trio with Sullivan dipping out in late 1957, right after the group's appearance on The Ed Sullivan Show, but a lot more would transpire over the next year or so. The group consolidated its success with the release of two L.P.s, The Chirping Crickets, and Buddy Holly. They had two successful international tours and performed more in the United States. Holly had also started to have different ideas and aspirations than Allison and Mauldin. They never thought of leaving Texas as their home, and they continued to base their lives there, while Buddy wanted to be in New York, not just to do business but to live. His marriage to Maria Elena Santiago, a receptionist in Murray Deutsch's office, made the decision to move to New York that much easier. By this time, Holly's music had become more sophisticated and complex, and he passed off the lead guitar duties in the studio to session player Tommy Alsup. He had done several recordings in New York using session musicians such as King Curtis. It was around this time that the band started to see a slight decline in sales. Singles such as "Heartbeat" didn't sell nearly as well as the 45s of 1957 that had rolled out of stores. It's said that Buddy might even have advanced further than most of the band's audience was willing to accept in late 1958. Critics believe that the song "Well...All Right" was years ahead of its time.   Buddy split with the group -- and Petty -- in 1958. This departure left him free to chase some of those newer sounds, which also left him low on funds. In the course of the split, it became clear to Holly and everyone else that Petty had been fudging the numbers and probably taken a lot of the group's income for himself. Unfortunately, there was almost no way of proving his theft because he never seemed to finish his "accounting" of the money owed to anyone. His books were ultimately found to be so screwed up that when he came up with various low five-figure settlements to the folks he robbed, they took it.   Holly vacationed with his wife in Lubbock, TX, and hung out in Waylin Jennings's radio station in December 1958. With no money coming in from Petty, Holly decided to earn some quick cash by signing to play the Midwest's Winter Dance Party package tour. For the start of the Winter Dance Party tour, he assembled a band consisting of Waylon Jennings (on bass), Tommy Allsup (on guitar), and Carl Bunch (on drums). Holly and Jennings left for New York City, arriving on January 15, 1959. Jennings stayed at Holly's apartment by Washington Square Park on the days before a meeting scheduled at the headquarters of the General Artists Corporation, the folks who organized the tour. They then traveled by train to Chicago to meet up with the rest of the band. The Winter Dance Party tour began in Milwaukee, Wisconsin, on January 23, 1959. The amount of travel involved created problems because whoever booked the tour dates didn't consider the distance between venues. On top of the scheduling conflicts, the unheated tour buses broke down twice in the freezing weather. In addition, Holly's drummer Carl Bunch was hospitalized for frostbite to his toes while aboard the bus, so Buddy looked for different transportation.  Buddy actually sat in on drums for the local bands while Richie Valenz played drums for Buddy.    On February 2, before their appearance in Clear Lake, Iowa, Holly chartered a four-seat Beechcraft Bonanza airplane for Jennings, Allsup, and himself, from Dwyer Flying Service in Mason City, Iowa, for $108.  Holly wanted to leave after the performance at the Surf Ballroom in Clear Lake and fly to their next venue, in Moorhead, Minnesota, through Fargo, North Dakota. This plan would allow them time to rest, wash their clothes and avoid being on that crappy bus. The Clear Lake Show ended just before midnight, and Allsup agreed to flip a coin for the seat with Richie Valens. Valens called heads, and when he won, he reportedly said, "That's the first time I've ever won anything in my life" On a side note, Allsup later opened a restaurant in Fort Worth, Texas called Heads Up, in memory of this statement. Waylon Jennings voluntarily gave up his seat to J. P. Richardson (the Big Bopper), who had the flu and complained that the tour bus was too cold and uncomfortable for a man of his stature. When Buddy heard Waylon wouldn't be flying with him, he jokingly said, “I hope your old bus freezes up!” Then Waylon responded, “well, I hope your old plane crashes!” The last thing he would ever say to his friend. Roger Peterson, the pilot and only 21, took off in pretty nasty weather, although he wasn't certified to fly by instruments alone, failing an instrument test the year before. He was a big fan of Buddy's and didn't want to disappoint, so he called a more seasoned pilot to fly the trio to their destination. “I'm more of a Lawrence Welk fan.”  Sadly, shortly after 12:55 am on February 3, 1959, Holly, Valens, Richardson, and Peterson were killed instantly when the plane crashed into a frozen cornfield five miles northwest of Mason City, Iowa, airport shortly after takeoff. Buddy was in the front, next to the pilot. He loved flying and had been taking flying lessons. The three musicians were ejected from the plane upon impact, suffering severe head and chest injuries. Holly was 22 years old.   Holly's funeral was held on February 7, 1959, at the Tabernacle Baptist Church in Lubbock, TX. It was officiated by Ben D. Johnson, who married the Hollys' just months earlier. Jerry Allison, Joe B. Mauldin, Niki Sullivan, Bob Montgomery, and Sonny Curtis were pallbearers. Some sources say that Phil Everly, the one half of The Everly Brothers, was also the pallbearer, but he said at one time that he attended the funeral but was not a pallbearer. In addition, Waylon Jennings was unable to participate because of his commitment to the still-touring Winter Dance Party. Holly's body was buried in the City of Lubbock Cemetery, in the city's eastern part. His headstone has the correct spelling of his last name (Holley) and a carving of his Fender Stratocaster guitar. His wife, María Elena, had to see the first reports of her husband's death on T.V. She claimed she suffered a miscarriage the following day. Holly's mother, who heard the news on the radio in Lubbock, Texas, screamed and collapsed. Because of Elena's miscarriage, the authorities implemented a policy against announcing victims' names until the families were informed. As a result, Mary did not attend the funeral and has never visited the gravesite. 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 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."    The accident wasn't considered a significant piece of news at the time, although sad. Most news outlets were run by out-of-touch older men and didn't think rock & Roll was anything more than to be exploited to sell newspapers or grab viewing audiences. However, Holly was clean-cut and scandal-free, and with the news of his recent marriage, the story contained more misery than other music stars of the period. For the teens of the time, it was their first glimpse of a public tragedy like this, and the news was heartbreaking. Radio station D.J.s were also traumatized. The accident and sudden way it happened, along with Holly and Valens being just 22 and 17, made it even worse. Hank Williams Sr had died at 29, but he was a drug user and heavy drinker, causing some to believe his young death was inevitable. The blues guitarist Johnny Ace had passed in 1954 while backstage at a show. However, that tragedy came at his hand in a game of Russian roulette. Holly's death was different, almost more personal to the public.     Buddy left behind dozens of unfinished recordings — solo transcriptions of his new compositions, informal jam sessions with bandmates, and tapes with songs intended for other musicians. Buddy recorded his last six original songs in his apartment in late 1958 and were his most recent recordings. In June 1959, Coral Records overdubbed two of the songs with backing vocals by the Ray Charles Singers and hired guns to emulate the Crickets sound. Since his death, the finished tracks became the first singles, "Peggy Sue Got Married"/"Crying, Waiting, Hoping." The new release was a success, and the fans and industry wanted more. As a result, all six songs were included in The Buddy Holly Story, Vol. 2 in 1960 using the other Holly demos and the same studio personnel. The demand for Holly records was so great, and Holly had recorded so many tracks that his record label could release new Holly albums and singles for the next ten years. Norman Petty, the alleged swindler, produced most of these new songs, using unreleased studio masters, alternative takes, audition tapes, and even amateur recordings (a few from 1954 with recorded with low-quality vocals). The final Buddy Holly album, "Giant," was released in 1969 with the single, "Love Is Strange," taking the lead.   These posthumous records did well in the U.S. but actually charted in England. New recordings of his music, like the Rolling Stones' rendition of "Not Fade Away" and the Beatles' rendition of "Words of Love," kept Buddy's name and music in the hearts and ears of a new generation of listeners. In the States, the struggle was a little more challenging. The rock & roll wave was constantly morphing, with new sounds, bands, and listeners continuously emerging, and the general public gradually forgot about Buddy and his short-lived legacy. Holly was a largely forgotten figure in his own country by the end of the '60s, except among older fans (then in their twenties) and hardcore oldies listeners. Things began to shift toward the end of the '60s with the start of the oldies boom. Holly's music was, of course, a part of this movement. But, as people listened, they also learned about the man behind the music. Even the highly respected rock zine Rolling Stone went out of its way to remind people who Buddy was. His posing images from 1957 and 1958, wearing his glasses, a jacket, and smiling, looked like a figure from another age. The way he died also set him apart from some of the deaths of rockers like Brian Jones, Jimi Hendrix, Janis Joplin, and Jim Morrison, musicians who, at the time, overindulged in the rock in roll lifestyle. Holly was different. He was eternally innocent in all aspects of his life. Don McLean, a relatively unknown singer/songwriter, who proudly considered himself a Buddy Holly fan, wrote and released a song called "American Pie," in 1971, catapulting him into the musical ethos. Although listeners assumed McLean wrote the song about President Kennedy, he let it be known publicly that he meant February 3, 1959, the day Holly died. Maclean was a holly fan and his death devastated him when he was only 11. The song's popularity led to Holly suddenly getting more press exposure than he'd ever had the chance to enjoy in his lifetime.     The tragic plane accident launched a few careers in the years after. Bobby Vee became a star when his band took over Holly's spot on the Winter Dance Party tour.  Holly's final single, "It Doesn't Matter Anymore," hit the British charts in the wake of his death and rose to number one. Two years after the event, producer Joe Meek and singer Mike Berry got together to make "Tribute to Buddy Holly," a memorial single. But, unfortunately, rumor has it that Meek never entirely got over Holly's death, and he killed himself on the anniversary of the plane accident.   The Rock and Roll Hall of Fame included Holly among its first class in 1986. Upon his induction, the Hall of Fame basked about the large quantity of material he produced during his short musical career. Saying, "He made a major and lasting impact on popular music ." Calling him an "innovator" for writing his own material, experimenting with double-tracking, and using orchestration. He was also revered for having "pioneered and popularized" the use of two guitars, bass, and drums by rock bands. He was also inducted into the Songwriters Hall of Fame in 1986, saying his contributions "changed the face of Rock' n' Roll." Along with Petty, Holly developed techniques like overdubbing and reverb and other innovative instrumentation. As a result, according to the Songwriters Hall of Fame, Holly became "one of the most influential pioneers of rock and roll" who had a "lasting influence" on genre performers of the 1960s.   Paul McCartney bought the rights to Buddy Holly's entire song catalog on July 1, 1976.   Lubbock TX's Walk of Fame has a statue honoring Buddy of him rocking his Fender, which Grant Speed sculpted in 1980. There are other memorials to Buddy Holly, including a street named in his honor and the Buddy Holly Center, which contains a museum of memorabilia and fine arts gallery. The Center is located on Crickets Avenue, one street east of Buddy Holly Avenue.  There was a musical about Buddy. Buddy: The Buddy Holly Story, a “pioneering jukebox musical which worked his familiar hits into a narrative,” debuted in the West End in 1989. It ran until 2008, where it also appeared on Broadway, as well as in Australia and Germany, not to mention touring companies in the U.K. and U.S.   In 1994 "Buddy Holly" became a massive hit from the band Weezer, paying homage to the fallen rocker and is still played on the radio and whenever MTV decides to play videos on one of their side stations. Again, in ‘94, Holly's style also showed up in Quentin Tarantino's abstract and groundbreaking film Pulp Fiction, which featured Steve Buscemi playing a waiter impersonating Buddy.   In 1997, Buddy received the Lifetime Achievement Award from the National Academy of Recording Arts and Sciences. He was inducted into the Iowa Rock 'n' Roll Hall of Fame in 2000, as well. In 2010, Grant Speed's statue of Buddy and his guitar was taken down for repairs, and construction of a new Walk of Fame began. On May 9, 2011, the City of Lubbock held a ribbon-cutting ceremony for the Buddy and Maria Elena Holly Plaza, the new home of the statue and the Walk of Fame. The same year, on why would be Buddy's 75th birthday, a star with his name was placed on the Hollywood Walk of Fame.   There were two tribute albums released in 2011: Verve Forecast's Listen to Me: Buddy Holly,  featuring Stevie Nicks, Brian Wilson, and Ringo Starr plus 13 other artists, and Fantasy/Concord's Rave on Buddy Holly, which had tracks from Paul McCartney, Patti Smith, the Black Keys, and Nick Lowe, among others.  Pat DiNizio of the Smithereens released his own Holly tribute album in 2009. Universal released True Love Ways, an album where original Holly recordings were overdubbed by the Royal Philharmonic Orchestra in 2018, just in time for Christmas. That album debuted at number 10 on the U.K. charts. Groundbreaking was held on April 20, 2017, to construct a new performing arts center in Lubbock, TX, dubbed the Buddy Holly Hall of Performing Arts and Sciences, a $153 million project in downtown Lubbock completed in 2020 located at 1300 Mac Davis Lane.   Recently, on May 5, 2019, an article on gearnews.com had a pretty cool story, if it's true.   The famous Fender Stratocaster played and owned by Buddy Holly that disappeared after his death in 1959 has been found, according to a new video documentary called "The '54".   Gill Matthews is an Australian drummer, producer, and collector of old Fender guitars. According to the documentary, he may have stumbled upon Buddy Holly's legendary guitar. The film is The '54 and tells the history of one particular 1954 Fender Stratocaster Gil purchased two decades after the plane crash that claimed Buddy's life. Experts cited in the film say there is a good chance that the guitar in Matthews' possession is indeed Buddy Holly's actual original '54 Fender Stratocaster. If this is true, it is possibly one of the most significant finds in guitar history. You can watch the video at gearnews.com and see all the evidence presented during the film.     Sources: A biography on allmusic.com written by Bruce Eder was the main source of information here with other info coming from the following Rave on: The Biography of Buddy Holly written by Phillip Norman   Buddy Holly : Rest In Peace by Don Mclean "Why Buddy Holly will never fade away" an article on The Telegraph website written by Phillip Norman   Various other articles were used and tidbits taken from wikipedia.   And Adam Moody   Consider becoming a producer of the show. www.accidentaldads.com www.iconsandoutlaws.com       

Sarah is a plucky girl reporter!  Lyle is a hot war correspondent who's also a news anchor I guess?  (Maybe he's a far more uncool Morley Safer?) Anyway he isn't a print journalist but he's decided he's going to restart the weekly newspaper on Compostela, a Caribbean island that we might as well call Smasrshbuda.  She wants the job!  He's incredibly inappropriate and she takes it anyway!  It's 1981!  He has a terrible mustache and looks exactly like that guy from The Young and the Restless that Sara keeps calling Vincent!  (Courtney is screaming.)  It's Blue Days at Sea by Anne Weale, Harlequin #444! This is an interesting little book because - okay, remember back to our NINTH episode which was TWO YEARS AGO omg when we covered Adam and Eva by Sandra Kitt?  We were so young then. That was the first Harlequin by an African American author featuring a Black couple.  I read when we were working on that one that there was a stealth Black Harlequin earlier, that was written with no physical description of the couple's skin tonesl and that even the original cover is racially ambiguous.  And it turns out that that's true, and that it's this book, and y'all it is weird.  They're actually both British, and most of the people on the island are Afro-Caribbean.  But I'd assumed that to pull this off it would have to be a setting where the race of the two leads isn't necessarily so relevant that it feels odd that it's not mentioned.  HA.  HA.  These people are constantly in situations where they're naturally talking about race and where their conversations would be different depending on their backgrounds, experiences with institutional racism, cultural upbringing - everything!  On the one hand it's pretty bold - it's always talking about the consequences of colonialism in the Caribbean, about racism, about interracial relationships - but then it's kind of tone deaf that Anne Weale, who's white, thought she had the cultural competence to write this.  So that's a major content warning. BUT that's all!  For the low low price of this $5 used Harlequin paperback you also get: a sex pest on the mantel in Act 1 that goes off in Act 3! Labor law violations innumerable! A really awful 1981 guy! Fat shaming and diet culture that just kind of sneak up on you every so often! Sexual assault and really awful failures to support her afterwards! I am probably forgetting something!

Protea netball goal shooter Lenize Potgieter has played internationally for over 8 years, earning 39 caps for South Africa and playing in the professional netball leagues around the world.  At 1.88cm tall, she is both a strong physical and motivation presence on the court, which has earned her Most Valuable Player at many international tournaments. Playing for the Adelaide Thunderbirds, she woke up on her birthday last year thinking "this was not the plan for my life...how did I get here".  So began a mental health journey that made her re-examine what she thought to be important in life, where she was heading in the future and ultimately how she thought of herself and her identity as 'Lenize the netball player'. Thank you Lenize for sharing your story with such honesty and vulnerability as you hope to help others know that it is okay not to be okay sometimes, and that they are so much more than an athlete. 

Hola, os damos la bienvenida a ERA Magazine, el podcast que presenta grupos femeninos de la música independiente española. Hoy hablamos de nuevo con Mariuca García-Lomas, 50% de Northwest, grupo al que ya entrevistamos en este podcast y que como Mariuk ha editado ya su segundo disco. Blue Days es su título, y en él recoge las canciones que compuso en 2020, una cada mes, conforme aprendía a tocar la guitarra. El resultado, 16 temas (12 oficiales y 4 secretas) que hablan de la creatividad, el amor y la soledad, y que para Mariuk son las mejores que ha escrito en su vida. Vais a comprobar que así es. Antes de escuchar este programa, os quiero recordar que podéis colaborar con ERA Magazine, y ayudarnos a conocer muchos más grupos femeninos de música independiente de nuestro país. Es muy sencillo, entras en eramagazine.fm/donacion y a través de PayPal o tarjeta de crédito puedes donar lo que consideres oportuno. Cualquier cantidad será bienvenida y reinvertida en la realización de las entrevistas de este podcast. Mariuk nos presentó las siguientes canciones: "Son". "Hunger". "The Frog". "Blue". Con esta canción nos despedimos por hoy. También te quiero recomendar si eres un autor o autora que puedes escuchar el podcast Autoría, que hago junto a Ainara LeGardon, música y especialista en propiedad intelectual y que puedes encontrar en legardon.net/autoria. En este programa, contestamos a las preguntas que la audiencia nos hace llegar a través de legardon.net/contacto. Así que si tienes alguna duda sobre derechos de autoría y propiedad intelectual, ya sabes dónde encontrar las respuestas.

In 2018, Ciaran Mulligan sold his company, Blue Insurance for a reported €70 million. The entrepreneur is now a serial investor & adventurer!  On today's episode, we learn how he built Blue by not following convention and Ciaran reveals the strategies that disrupted an entire industry. We discover the investments he's been making since and why a random conversation plunged him deep into the crypto world. Visit my partner Sage: https://bit.ly/3rIhmEx

A new MP3 sermon from Emmanuel Baptist Church is now available on SermonAudio with the following details: Title: The Blue Days Speaker: Larry Tomlinson Broadcaster: Emmanuel Baptist Church Event: Sunday Service Date: 12/26/2021 Bible: Ezra 3:10-13 Length: 75 min.

A new MP3 sermon from Emmanuel Baptist Church is now available on SermonAudio with the following details: Title: The Blue Days Speaker: Larry Tomlinson Broadcaster: Emmanuel Baptist Church Event: Sunday Service Date: 12/26/2021 Bible: Ezra 3:10-13 Length: 75 min.

On this episode of the podcast we head just outside of L.A and join our Co Producer Mitch! He is going to share with you his interview with Glider Pilot Howie Bohl, Howie comes from a long line of aviators starting with his great grandfather who started flying in the 1920s with the Army ROTC and eventually flying for United Airlines. His Grandfather was also an Airline pilot as well as his father. Howie started flying at age 13 in gliders and soloed on his 14th Birthday. He then started flying Powered and soloed at 16. He later became a tow pilot and continued to fly gliders and then he himself started flying with the airlines. Howie has flown all over the world and not just for the Airlines but also in gliders. Today he shares with us some of those adventures. Also on the podcast today Sergio the Soaring Master is back with some advice on Blue Days! All that and more now on soaring The Sky! www.soaringthesky.com  www.patreon.com/soaringthesky  

In this episode, we look at the second album by the quintessential British band who were not so big in the native country, the Moody Blues' Days of Future Passed. This band and album has a pretty fascinating history and it makes prodigious use of a new electronic keyboard originally intended for use at parties: the Mellotron. Find out more about how this album was made and how a rhythm and blues band became an art rock pioneer in just a few months.

My resolution does not change year to year…Let's ROCK!  I WILL NOT BE LIKE ANY OTHER SHOW YOU'VE LISTENED TO!  Like, Download, Comment, Share, Repeat.  Lame-stream radio...Variety...I do not think they TRULY know the meaning of the word!  That's why I do what I do here...Rockin' The KOR!  The Music Authority LIVE STREAM Show & Podcast bringing Power Pop, Rock, Soul, Rhythm & Blues to anyone and everyone who wants to expand their rock and roll radio knowledge!  Shows NOW on Google Podcast Manager, Mixcloud, PlayerFM, Stitcher, Tune In, Podcast Addict, Cast Box, Radio Public, Pocket Cast, Apple iTunes Podcasts!!  Please! Follow me on Twitter JimPrell@TMusicAuthority  The Music Authority LIVE STREAM Show & Podcast!    https://fastcast4u.com/player/jamprell/    The Podcast can also be heard here - https://themusicauthority.transistor.fm/   Rocking The KOR!  www.koradio.rocks 7PM UK, 2PM ET, 11AM PT Tuesday, Wednesday and Thursday with a SPECIALLY recorded hour!   Let the bands know you heard me playing their music here ROCKIN' The KOR!!  Show 134!!Super 8 – TMA Show OpenRichard Turgeon - 17 Lost and Found [The California Collection]Famous Groupies - 12_Coney Island Lily [Rehearsing The Multiverse]Suburban Urchins - 06 Watching The Walls [Born In The Suburbs]The Stan Laurels - 06 Of Love, Wine, And Song [There Is No Light Without The Dark] (Big Stir Records)The Young Hasselhoffs - 27 - I'm Not That Bad [If it Ain't Tasty it Ain't Melted... The Melted Records Years] (Rum Bar Records)The William Loveday Intention - Blud Under the Bridge [Blud Under The Bridge] (Damaged Goods Records)Nolan Voide - The Music Authority Jingle65 MPH - The Moth & The Flame [LP4]Ballzy Tomorrow - 12 Cheri [Action Now- 20-20 Re-Envisioned] (Futureman Records) (Big Stir Records)The Explorer's Club - 7. Walk On By [Rarities Volume 1] (Goldstar Recordings)The Va Va VooDoos - Back To The Rodeo [Apocalypse WoW!]Vanilla - Let's Start Over Again [Limerence] (Charlatan Record Cartel)Dave Caruso - Atomic Smile [Radiophonic Supersonic]SoulBird - The Music Authority JingleFarrington - 13 Robots & Rayguns _ Life Is A Stereo [Saturday In Nowhereland]Jeremy - Spirit In The Sky [Living The Dream (Jam Records)Seasurfer - 07- Blue Days (feat. Elena Alice Fossi) [The Dreampop Days]Bootchy Temple - Can't Tell [In Consummated Bloom]Terry Draper – Armchair Travelers [(Not All Who Wander Are) Lost]

A QUIET day working inside the house. Had to turn the heat on as inside was 64 degrees when we woke up. Our low for tonight dropping to 37! So glad I got Lori a Sherpa Blanket for her birthday! Big enough to cover the entire bed! The Music Authority LIVE STREAM Show & Podcast...listen, like, comment, download, share, repeat daily on Google Podcast Manager, Mixcloud, Player FM, Stitcher, Tune In, Podcast Addict, Cast Box, Radio Public, and Pocket Cast, and APPLE iTunes! AND NOW ON MORNINGS IN CANADA!  https://s1.citrus3.com:2000/public/HCRRadio Hamilton Co-Op Radio! Follow the show on TWITTER JimPrell@TMusicAuthority! Are you listening? How does and can one listen in? Let me list the ways...Listen LIVE here - https://fastcast4u.com/player/jamprell/ Podcast recorded here - https://themusicauthority.transistor.fm/ Take a moment and share this post! Share it! Share it!! Share It!!! SHARED! The Music Authority LIVE STREAM Show & Podcast! Please check out my shows special recorded hour, Tuesday, Wednesday and Thursday at 7PM UK time, 2PM ET, 11AM PT Now Rocking The KOR! www.koradio.rocks ALSO! Hear a completely different recorded hour of Power Pop, Rock, Soul, Rhythm & Blues...NO TWO LIVE SHOWS THE SAME, Friday, Saturday and Sunday on Pop Radio UK 6PM UK, 1PM ET, 10AM PT! December 8, 2020, Tuesday, opening set…Orbis Max - TMA SHOW OPEN THEMEBerk-Lehane - An Irishman For Christmas (Red On Red Records)Dave Caruso - Heaven Minus Love [Radiophonic Supersonic]Farrington - 14 The Switchblade Symphony [Saturday In Nowhere Land]Lisa Mychols & Super 8 – Jingle Bells [Very Merry Variations of Jingle Bells] (popgarden.bandcamp.com and that it is for charity for Access Charter School in Orlando)Surf katz - Space Dust [Surf katz II]Jeremy - Can't Buy A Thrill [Living The Dream] (Jam Records)Seasurfer - 07- Blue Days (feat. Elena Alice Fossi) [The Dreampop Days] (Reptile Music)Seasurfer - 04 - Tears & Happiness [Zombies] (Reptile Music)Ken Sharp - Jingle Bells [Very Merry Variations of Jingle Bells] (popgarden.bandcamp.com and that it is for charity for Access Charter School in Orlando)The Vapour Trails - 10 Why Wonder Why [Golden Sunshine] (Futureman Records)Terry Draper - A Walk In The Park [(Not All Who Wander Are) Lost] (Magnetalane Music Limited)Classic Ruins - Forget About It [Forget About It] (Rum Bar Records)Eric Peter Schwarz - 05 Ramen, Peanut Butter, PBR [Mustard On My Sexy Dress]The Mommyheads - 02 Help Me [You're Not a Dream]Fernando Perdomo - Jingle Bells [Very Merry Variations of Jingle Bells] (popgarden.bandcamp.com and that it is for charity for Access Charter School in Orlando)Rich Williams - Dust And Dreams [The Art Of The Empty Room]Paul Yoon - 6. Losing My Mind [Paul Yoon]Brian Bringelson - 11 Up The Wall [Desperate Days] (Futureman Records)Cliff Hillis - Let's Pretend [Life Gets Strange - EP]Muck And The Mires - Act Fast [Greetings From Muckingham Palace] (Rum Bar Records)

The trial and error that is Meds. Also being properly evaluated and diagnosed. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app--- Send in a voice message: https://anchor.fm/dancingwithmydemons69/messageSupport this podcast: https://anchor.fm/dancingwithmydemons69/support Support the show (https://www.paypal.com/paypalme/my/profile)

Deep Blue (Days of Wonder): Spiele-Podcast Nr. 387 - Großartiges Material, aber wie ist das Spiel?

  Episode sixty-one of A History of Rock Music in Five Hundred Songs looks at “That’ll Be the Day” by The Crickets. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Rudolph the Red-Nosed Reindeer” by Gene Autry —-more—- Before I get to the resources and transcript, a quick apology. This one is up many hours later than normal, almost a full day. I’ve been dealing with a combination of health issues, technical problems, and family commitments, any two of which would still have allowed me to get this up on time, but which in combination made it impossible. Errata I say in here that Larry Welborn lent Holly a thousand dollars. That money was actually lent Holly by his brother, also called Larry. I also at one point say “That’ll Be the Day” was co-written by Joe Allison. I meant Jerry Allison, of course — Joe Allison was also a Texan songwriter, but had no involvement in that song.   Resources   I’ve used two biographies for the bulk of the information here — Buddy Holly: Learning the Game, by Spencer Leigh, and Rave On: The Biography of Buddy Holly by Philip Norman.  There are many collections of Buddy Holly’s work available, but many of them are very shoddy, with instrumental overdubs recorded over demos after his death. The best compilation I am aware of is The Memorial Collection, which contains almost everything he issued in his life, as he issued it (for some reason two cover versions are missing) along with the undubbed acoustic recordings that were messed with and released after his death. A lot of the early recordings with Bob, Larry, and/or Sonny that I reference in this episode are included in Down The Line: Rarities, a companion set to the Memorial Collection. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript And so, far later in the story than many people might have been expecting, we finally come to Buddy Holly, the last of the great fifties rockers to appear in our story. Nowadays, Holly gets counted as a pioneer of rock and roll, but in fact he didn’t turn up until the genre had become fairly well established in the charts. Which is not to say that he wasn’t important or innovative, just that he was one of the greats of the second wave — from a twenty-first-century perspective, Buddy Holly looks like one of the people who were there when rock and roll was invented, but by the time he had his first hit, Bill Haley, Carl Perkins, and Gene Vincent had all had all their major chart hits, and were on their way down and out. Little Richard was still touring, but he’d already recorded his last rock and roll record of the fifties, and while Fats Domino was still making hit records, most of the ones he’s remembered by, the ones that changed music, had already been released. But Holly was arguably the most important figure of this second wave, someone who, more than any other figure of the mid-fifties, seems at least in retrospect to point the way forward to what rock music would become in the decade after. So today we’re going to look at the story of how the first really successful rock group started. Because while these days, “That’ll Be The Day” is generally just credited to “Buddy Holly”, at the time the record came out, it didn’t have any artist name on it other than that of the band that made it, The Crickets: [Excerpt: The Crickets, “That’ll Be the Day”] Charles Hardin Holley grew up in Lubbock, Texas, a town in the middle of nowhere that has produced more than its fair share of famous musicians. Other than Buddy Holly, the two most famous people from Lubbock are probably Waylon Jennings, who briefly played in Holly’s band in 1959 before going on to his own major successes, and Mac Davis, who wrote several hits for Elvis before going on to become a country singer of some note himself. Holly grew up with music. His elder brothers performed as a country duo in much the same style as the Louvin Brothers, and there’s a recording of Holly singing the old country song, “Two Timin’ Woman”, in 1949, when he was twelve, before his voice had even broken: [Excerpt: Charles Holley, “Two Timin’ Woman”] By his mid-teens, he was performing as “Buddy and Bob” with a friend, Bob Montgomery, playing pure country and western music, with Buddy on the mandolin while Bob played guitar: [Excerpt: Buddy and Bob, “Footprints in the Snow”] He would also appear on the radio with another friend, Jack Neal, as “Buddy and Jack”. Some early recordings of that duo survive as well, with Jack singing while Buddy played guitar: [Excerpt: Buddy and Jack, “I Saw the Moon Crying Last Night”] When Jack Neal, who was a few years older than Buddy, got married and decided he didn’t have time for the radio any more, the Buddy and Jack Show became the Buddy and Bob Show. Around this time, Buddy met another person who would become important both to him and the Crickets, Sonny Curtis. Curtis was only a teenager, like him, but he had already made an impression in the music world. When he was only sixteen, he had written a song, “Someday”, that was recorded by the country star Webb Pierce: [Excerpt: Webb Pierce, “Someday”] Buddy, too, was an aspiring songwriter. A typical early example of his songwriting was one he wrote in collaboration with his friend Scotty Turner, “My Baby’s Coming Home”. The song wasn’t recorded at the time, but a few years later a demo version of it was cut by a young singer called Harry Nilsson: [Excerpt: Harry Nilsson, “My Baby’s Coming Home”] But it wasn’t until he saw Elvis live in 1955 that Buddy Holly knew he didn’t want to do anything other than become a rock and roll star. When Elvis came to town, the promoter of Elvis’ show was a friend of Buddy and Bob, and so he added them to the bill. They became friendly enough that every time Elvis passed through town — which he did often in those early years of his career — they would all hang out together. Bob Montgomery used to reminisce about going to the cinema with Elvis to watch Gentlemen Prefer Blondes, and Elvis getting bored with the film half an hour in, and leaving with the rest of the group. After seeing Elvis, Buddy almost immediately stepped up his musical plans. He had already been recording demos with Bob and Sonny Curtis, usually with Bob on vocals: [Excerpt: Buddy and Bob, “I Gambled My Heart”] The bass player on that song, Larry Welborn, believed in Buddy’s talents, and lent him a thousand dollars — a *massive* amount of money in 1955 — so he could buy himself a Fender Stratocaster, an amp, and a stage suit. Holly’s friend Joe B. Mauldin said of the Strat that it was the first instrument he’d ever seen with a gear shift. He was referring there to the tremelo arm on the guitar — a recent innovation that had only been brought in that year. Buddy kept playing guitar with various combinations of his friends. For example Sonny Curtis cut six songs in 1955, backed by Buddy on guitar, Larry Wellborn on bass, and Jerry Allison on drums: [Excerpt: Sonny Curtis, “Because You Love Me”] Curtis would later talk about how as soon as Elvis came along, he and Buddy immediately switched their musical style. While it was Buddy who owned the electric guitar, he would borrow Curtis’ Martin acoustic and try to play and sing like Elvis, while Curtis in turn would borrow Buddy’s Strat and play Scotty Moore’s guitar licks. Buddy was slowly becoming the most popular rock and roll singer in that part of Texas — though he had an ongoing rivalry with Roy Orbison, who was from a hundred miles away in Wink but was the only serious competition around for the best local rock and roller.  But while Buddy was slowly building up a reputation in the local area, he couldn’t yet find a way to break out and have success on a wider stage. Elvis had told him that the Louisiana Hayride would definitely have him on at Elvis’ recommendation, but when he and Sonny Curtis drove to Shreveport, the radio station told them that it wasn’t up to Elvis who got on their show and who didn’t, and they had to drive back to Texas from Louisiana without getting on the radio. This kind of thing just kept happening. Buddy and Bob and Sonny and Larry and Jerry were recording constantly, in various combinations, and were making more friends in the local music community, like Waylon Jennings, but nothing was happening with the recordings. You can hear on some of them, though, exactly what Sonny Curtis meant when he said that they were trying to sound like Elvis and Scotty Moore: [Excerpt: Buddy Holly, “Don’t Come Back Knockin'”] These songs were  the recordings that got Buddy a contract with Decca Records in Nashville, which was, at the time, one of the biggest record labels in the country. And not only did he get signed to Decca, but Buddy also got a songwriting contract with Cedarwood Music, the publishing company that was jointly owned by Jim Denny, the man in charge of the bookings for the Grand Ole Opry, and Webb Pierce, one of the biggest country music stars of the period. So it must have seemed in January 1956 as if Buddy Holly was about to become a massive rock and roll star. That first Decca recording session took place in Owen Bradley’s studio, and featured Sonny Curtis on guitar, and a friend called Don Guess on bass. The session was rounded out by two of the regular musicians that Bradley used on his sessions — Grady Martin on rhythm guitar, so Buddy didn’t have to sing and play at the same time, and Doug Kirkham on drums. The songs they cut at that initial session consisted of two of the songs they’d already demoed, “Don’t Come Back Knockin'” and “Love Me”, plus “Blue Days, Black Nights”, a song written by Ben Hall, a friend of Buddy’s from Lubbock. But it was the fourth song that was clearly intended to be the hit. We’ve talked before about the Annie songs, but that was back in March, so I’ll give you a brief refresher here, and if you want more detail, go and listen to episode twenty-two, on “The Wallflower”, which I’ll link in the show notes. Back in 1954, Hank Ballard and the Midnighters had recorded a song called “Work With Me Annie”, a song which had been, for the time, relatively sexually explicit, though it sounds like nothing now: [Excerpt: Hank Ballard and the Midnighters, “Work With Me Annie”] That song had started up a whole series of answer records. The Midnighters recorded a couple themselves, like “Annie Had a Baby”: [Excerpt: Hank Ballard and the Midnighters, “Annie Had a Baby”] Most famously there was Etta James’ “The Wallflower”: [Excerpt: Etta James, “The Wallflower”] But there were dozens more songs about Annie — there was “Annie Met Henry”, “Annie Pulled a Hum-Bug”, even “Annie Kicked the Bucket”: [excerpt: the Nu Tones, “Annie Kicked the Bucket”] And the fourth song that Buddy recorded at this first Decca session, “Midnight Shift”, was intended to be another in the Annie series. It was written by Luke McDaniel, a country singer who had gone rockabilly, and who recorded some unissued sides for Sun, like “My Baby Don’t Rock”: [Excerpt: Luke McDaniel, “My Baby Don’t Rock”] Jim Denny had suggested “Midnight Shift” for Buddy — though it seems a strange choice for commercial success, as it’s rather obviously about a sex worker: [Excerpt: Buddy Holly, “Midnight Shift”] Perhaps the label had second thoughts, as “Blue Days, Black Nights” was eventually chosen as the single, rather than “Midnight Shift”. When the paperwork for it came through for Buddy to sign, he discovered that they’d misspelled his name. He was born Charles Holley — h-o-l-l-e-y — but the paperwork spelled it h-o-l-l-y. As he was told they needed it back in a hurry, he signed it, and from then on he was Buddy Holly without the e. For the rest of 1956 Buddy continued recording with Owen Bradley for Decca, and kept having little success. Bradley became ever more disillusioned with Holly, while Paul Cohen, the executive at Decca who had signed Holly, at one point was telling his friends “Buddy Holly is the biggest no talent I have ever worked with.” One of the songs that he recorded during that time, but which wasn’t released, was one that Owen Bradley described as “the worst song I’ve ever heard”. It had been written by Holly and Joe Allison after they’d been to see the John Wayne film The Searchers — a film which later gave the name to a band from Liverpool who would become hugely influential. Holly and Allison had seen the film several times, and they kept finding themselves making fun of the way that Wayne said one particular line: [Excerpt: The Searchers, John Wayne saying “That’ll Be The Day”] They took that phrase and turned it into the title of a song. Unfortunately, the first recording of it wasn’t all that great — Buddy had been told by Webb Pierce that the way to have a hit single was to sing in a high voice, and so he sang the song far out of his normal range: [Excerpt: Buddy Holly, “That’ll Be The Day”] Around this time, Sonny Curtis stopped working with Holly. Owen Bradley didn’t like his guitar playing and wanted Holly to record with the session musicians he used with everyone else, while Curtis got an offer to play guitar for Slim Whitman, who at the time was about the biggest star in country music. So as 1956 drew to a close, Buddy Holly was without his longtime guitarist, signed to a record company that didn’t know what to do with him, and failing to realise his musical ambitions. This is when Norman Petty entered the story. Petty was a former musician, who had performed crude experiments in overdubbing in the late forties, copying Les Paul and Mary Ford, though in a much less sophisticated manner. One of his singles, a version of Duke Ellington’s “Mood Indigo”, had actually been a minor hit: [Excerpt: The Norman Petty Trio, “Mood Indigo”] He’d gone into the recording studio business, and charged bands sixty dollars to record two songs in his studio — or, if he thought the songs had commercial potential, he’d waive the charge if they gave him the publishing and a co-writing credit. Petty had become interested in rockabilly after having recorded Roy Orbison and the Teen Kings’ first single — the version of “Ooby Dooby” that was quickly deleted: [Excerpt: Roy Orbison and the Teen Kings, “Ooby Dooby”, Je_Wel Records version] When he heard Sam Phillips’ remake of the song, he became intrigued by the possibilities that echo offered, and started to build his own echo chamber — something that would eventually be completed with the help of Buddy Holly and Buddy’s father and brother. Petty recorded another rockabilly group, Buddy Knox and the Rhythm Orchids, on a song, “Party Doll”, that went to number one: [Excerpt: Buddy Knox and the Rhythm Orchids, “Party Doll”] When the Rhythm Orchids passed through Lubbock, they told Buddy about Norman Petty’s studio, and Buddy went there to cut some demos. Petty was impressed by Holly — though he was more impressed by Sonny Curtis, who was still with Buddy for those demo sessions — and when his contract with Decca expired, Petty and Holly agreed to work together. But they had a problem. Buddy’s contract with Decca said that even though they’d only released two singles by him, and hadn’t bothered to release any of the other songs he’d recorded during the year he was signed to them, he couldn’t rerecord anything he’d recorded for them for another five years. Buddy tried to get Paul Cohen to waive that clause in the contract, and Cohen said no. Holly asked if he could speak to Milt Gabler instead — he was sure that Gabler would agree. But Cohen explained to him that Gabler was only a vice president, and that he worked for Cohen. There was no way that Buddy Holly could put out a record of any of the songs he had recorded in 1956. So Norman Petty, who had been secretly recording the conversation, suggested a way round the problem. They could take those songs, and still have Holly sing them, but put them out as by a group, rather than a solo singer. It wouldn’t be Buddy Holly releasing the records, it would be the group. But what should they call the group? Buddy and Jerry Allison both really liked New Orleans R&B — they loved Fats Domino, and the other people that Dave Bartholomew worked with — and they particularly liked a song that Bartholomew had co-written for a group called the Spiders: [Excerpt: The Spiders, “Witchcraft”] So they decided that they wanted a name that was something like the Spiders. At first they considered “the Beetles”, but decided that that was too creepy — people would want to squish them. So they settled on The Crickets. And so the version of “That’ll Be The Day” that Buddy, Larry, Jerry, and Niki Sullivan had recorded with Norman Petty producing was going to be released as by the Crickets, and Buddy Holly’s name was going to be left off anything that the heads at Decca might see. Amusingly, the record ended up released by Decca anyway — or at least by a subsidiary of Decca. Norman Petty shopped the demos they’d made around different labels, and eventually he took them to Bob Thiele. Thiele had had a similar career to Milt Gabler — he’d started out as a musician, then he’d formed his own speciality jazz label, Signature, and had produced records like Coleman Hawkins’ “The Man I Love”: [Excerpt: Coleman Hawkins, “The Man I Love”] Like Gabler, he had been taken on by Decca, which of all the major labels was the only one that really understood the way that the music business was changing. He’d been put in charge of two labels owned by Decca — Coral, which was being used mostly for insipid white cover versions of black acts, and Brunswick, which was where he released rockabilly tracks by Johnny Burnette and the Rock and Roll Trio. The Crickets were clearly a Brunswick group, and so “That’ll Be the Day” was going to be released on Brunswick — and the contract was sent to Jerry Allison, not Buddy Holly. Holly’s name wasn’t mentioned at first, in case Thiele decided to mention it to his bosses and the whole thing was blown. Norman Petty had assumed that what they’d recorded so far was just going to be a demo, but Thiele said that no, he thought what they had was fine as it was, and put this out: [Excerpt: The Crickets, “That’ll Be The Day”] But the Crickets had still not properly finalised their lineup. The core of Holly and Allison was there — the two of them had been playing together for years — and Niki Sullivan would be OK on rhythm guitar, but they needed a permanent bass player. They eventually settled on Joe B. Mauldin, who had played with a group called The Four Teens that had also featured Larry Welborn. Joe B. had sat in on a gig with the other three, and they’d been impressed with his bass playing.  Before “That’ll Be the Day” was released, they were already in the studio cutting more songs. One was a song that had originally been written by Holly’s mother, though she refused to take credit for it — she was a fundamentalist Southern Baptist, and rock and roll was the Devil’s music. She was just about okay with her son playing it, but she wasn’t going to get herself involved in that. So Buddy took his mother’s song and turned it into this: [Excerpt: The Crickets, “Maybe Baby”] And at the same time, they also made an agreement that Holly could record solo material for Coral. That would actually be recorded by the same people who were making the Crickets’ records, but since he was coming up with so many new songs, they might as well use them to get twice as much material out — there was no prohibition, after all, on him recording new songs under his own name, just the ones he’d recorded in 1956. And they were recording a ludicrous amount of material. “That’ll Be The Day” still hadn’t been released, and they already had their next single in the bag, and were recording Buddy’s first solo single. That song was based on “Love is Strange” by Mickey and Sylvia, a favourite of Holly’s: [Excerpt: Mickey and Sylvia, “Love is Strange”] Holly took that basic musical concept and turned it into “Words of Love”: [Excerpt: Buddy Holly, “Words of Love”] That wasn’t a hit for Holly, but even before his version was released, the Diamonds, who usually made a habit of recording tracks originally recorded by black artists, released a cover version, which went to number thirteen: [Excerpt: The Diamonds, “Words of Love”] The Crickets were essentially spending every second they could in Petty’s studio. They were also doing session work, playing on records by Jim Robinson, Jack Huddle, Hal Goodson, Fred Crawford, and more. In the early months of 1957, they recorded dozens upon dozens of songs, which would continue being released for years afterwards. For example, just two days after “That’ll Be the Day” was finally released, at the end of May, they went into the studio and cut another song they had patterned after Bo Diddley, who had co-written “Love is Strange”,  as a Crickets side: [Excerpt: The Crickets, “Not Fade Away”] and, on the same day, a Holly solo side: [Excerpt: Buddy Holly, “Every Day”] All these songs were written by Holly and Allison, sometimes with Mauldin helping, but the songwriting credits didn’t really match that. Sometimes one or other name would get missed off the credits, sometimes Holly would be credited by his middle name, Hardin, instead of his surname, and almost always Norman Petty would end up with his name on the songwriting credits. They weren’t that bothered about credit, for the moment — there was always another song where the last one came from, and they were piling up songs far faster than they could release them. Indeed, only a month after the “Not Fade Away” and “Every Day” session, they were back in the studio yet again, recording another song, which Buddy had originally intended to name after his niece, Cindy Lou. Jerry, on the other hand, thought the song would be better if it was about his girlfriend. And you’ll be able to find out what happened after they decided between Cindy Lou and Peggy Sue in a few weeks’ time…

  Episode sixty-one of A History of Rock Music in Five Hundred Songs looks at “That’ll Be the Day” by The Crickets. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Rudolph the Red-Nosed Reindeer” by Gene Autry —-more—- Before I get to the resources and transcript, a quick apology. This one is up many hours later than normal, almost a full day. I’ve been dealing with a combination of health issues, technical problems, and family commitments, any two of which would still have allowed me to get this up on time, but which in combination made it impossible. Errata I say in here that Larry Welborn lent Holly a thousand dollars. That money was actually lent Holly by his brother, also called Larry. I also at one point say “That’ll Be the Day” was co-written by Joe Allison. I meant Jerry Allison, of course — Joe Allison was also a Texan songwriter, but had no involvement in that song.   Resources   I’ve used two biographies for the bulk of the information here — Buddy Holly: Learning the Game, by Spencer Leigh, and Rave On: The Biography of Buddy Holly by Philip Norman.  There are many collections of Buddy Holly’s work available, but many of them are very shoddy, with instrumental overdubs recorded over demos after his death. The best compilation I am aware of is The Memorial Collection, which contains almost everything he issued in his life, as he issued it (for some reason two cover versions are missing) along with the undubbed acoustic recordings that were messed with and released after his death. A lot of the early recordings with Bob, Larry, and/or Sonny that I reference in this episode are included in Down The Line: Rarities, a companion set to the Memorial Collection. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript And so, far later in the story than many people might have been expecting, we finally come to Buddy Holly, the last of the great fifties rockers to appear in our story. Nowadays, Holly gets counted as a pioneer of rock and roll, but in fact he didn’t turn up until the genre had become fairly well established in the charts. Which is not to say that he wasn’t important or innovative, just that he was one of the greats of the second wave — from a twenty-first-century perspective, Buddy Holly looks like one of the people who were there when rock and roll was invented, but by the time he had his first hit, Bill Haley, Carl Perkins, and Gene Vincent had all had all their major chart hits, and were on their way down and out. Little Richard was still touring, but he’d already recorded his last rock and roll record of the fifties, and while Fats Domino was still making hit records, most of the ones he’s remembered by, the ones that changed music, had already been released. But Holly was arguably the most important figure of this second wave, someone who, more than any other figure of the mid-fifties, seems at least in retrospect to point the way forward to what rock music would become in the decade after. So today we’re going to look at the story of how the first really successful rock group started. Because while these days, “That’ll Be The Day” is generally just credited to “Buddy Holly”, at the time the record came out, it didn’t have any artist name on it other than that of the band that made it, The Crickets: [Excerpt: The Crickets, “That’ll Be the Day”] Charles Hardin Holley grew up in Lubbock, Texas, a town in the middle of nowhere that has produced more than its fair share of famous musicians. Other than Buddy Holly, the two most famous people from Lubbock are probably Waylon Jennings, who briefly played in Holly’s band in 1959 before going on to his own major successes, and Mac Davis, who wrote several hits for Elvis before going on to become a country singer of some note himself. Holly grew up with music. His elder brothers performed as a country duo in much the same style as the Louvin Brothers, and there’s a recording of Holly singing the old country song, “Two Timin’ Woman”, in 1949, when he was twelve, before his voice had even broken: [Excerpt: Charles Holley, “Two Timin’ Woman”] By his mid-teens, he was performing as “Buddy and Bob” with a friend, Bob Montgomery, playing pure country and western music, with Buddy on the mandolin while Bob played guitar: [Excerpt: Buddy and Bob, “Footprints in the Snow”] He would also appear on the radio with another friend, Jack Neal, as “Buddy and Jack”. Some early recordings of that duo survive as well, with Jack singing while Buddy played guitar: [Excerpt: Buddy and Jack, “I Saw the Moon Crying Last Night”] When Jack Neal, who was a few years older than Buddy, got married and decided he didn’t have time for the radio any more, the Buddy and Jack Show became the Buddy and Bob Show. Around this time, Buddy met another person who would become important both to him and the Crickets, Sonny Curtis. Curtis was only a teenager, like him, but he had already made an impression in the music world. When he was only sixteen, he had written a song, “Someday”, that was recorded by the country star Webb Pierce: [Excerpt: Webb Pierce, “Someday”] Buddy, too, was an aspiring songwriter. A typical early example of his songwriting was one he wrote in collaboration with his friend Scotty Turner, “My Baby’s Coming Home”. The song wasn’t recorded at the time, but a few years later a demo version of it was cut by a young singer called Harry Nilsson: [Excerpt: Harry Nilsson, “My Baby’s Coming Home”] But it wasn’t until he saw Elvis live in 1955 that Buddy Holly knew he didn’t want to do anything other than become a rock and roll star. When Elvis came to town, the promoter of Elvis’ show was a friend of Buddy and Bob, and so he added them to the bill. They became friendly enough that every time Elvis passed through town — which he did often in those early years of his career — they would all hang out together. Bob Montgomery used to reminisce about going to the cinema with Elvis to watch Gentlemen Prefer Blondes, and Elvis getting bored with the film half an hour in, and leaving with the rest of the group. After seeing Elvis, Buddy almost immediately stepped up his musical plans. He had already been recording demos with Bob and Sonny Curtis, usually with Bob on vocals: [Excerpt: Buddy and Bob, “I Gambled My Heart”] The bass player on that song, Larry Welborn, believed in Buddy’s talents, and lent him a thousand dollars — a *massive* amount of money in 1955 — so he could buy himself a Fender Stratocaster, an amp, and a stage suit. Holly’s friend Joe B. Mauldin said of the Strat that it was the first instrument he’d ever seen with a gear shift. He was referring there to the tremelo arm on the guitar — a recent innovation that had only been brought in that year. Buddy kept playing guitar with various combinations of his friends. For example Sonny Curtis cut six songs in 1955, backed by Buddy on guitar, Larry Wellborn on bass, and Jerry Allison on drums: [Excerpt: Sonny Curtis, “Because You Love Me”] Curtis would later talk about how as soon as Elvis came along, he and Buddy immediately switched their musical style. While it was Buddy who owned the electric guitar, he would borrow Curtis’ Martin acoustic and try to play and sing like Elvis, while Curtis in turn would borrow Buddy’s Strat and play Scotty Moore’s guitar licks. Buddy was slowly becoming the most popular rock and roll singer in that part of Texas — though he had an ongoing rivalry with Roy Orbison, who was from a hundred miles away in Wink but was the only serious competition around for the best local rock and roller.  But while Buddy was slowly building up a reputation in the local area, he couldn’t yet find a way to break out and have success on a wider stage. Elvis had told him that the Louisiana Hayride would definitely have him on at Elvis’ recommendation, but when he and Sonny Curtis drove to Shreveport, the radio station told them that it wasn’t up to Elvis who got on their show and who didn’t, and they had to drive back to Texas from Louisiana without getting on the radio. This kind of thing just kept happening. Buddy and Bob and Sonny and Larry and Jerry were recording constantly, in various combinations, and were making more friends in the local music community, like Waylon Jennings, but nothing was happening with the recordings. You can hear on some of them, though, exactly what Sonny Curtis meant when he said that they were trying to sound like Elvis and Scotty Moore: [Excerpt: Buddy Holly, “Don’t Come Back Knockin'”] These songs were  the recordings that got Buddy a contract with Decca Records in Nashville, which was, at the time, one of the biggest record labels in the country. And not only did he get signed to Decca, but Buddy also got a songwriting contract with Cedarwood Music, the publishing company that was jointly owned by Jim Denny, the man in charge of the bookings for the Grand Ole Opry, and Webb Pierce, one of the biggest country music stars of the period. So it must have seemed in January 1956 as if Buddy Holly was about to become a massive rock and roll star. That first Decca recording session took place in Owen Bradley’s studio, and featured Sonny Curtis on guitar, and a friend called Don Guess on bass. The session was rounded out by two of the regular musicians that Bradley used on his sessions — Grady Martin on rhythm guitar, so Buddy didn’t have to sing and play at the same time, and Doug Kirkham on drums. The songs they cut at that initial session consisted of two of the songs they’d already demoed, “Don’t Come Back Knockin'” and “Love Me”, plus “Blue Days, Black Nights”, a song written by Ben Hall, a friend of Buddy’s from Lubbock. But it was the fourth song that was clearly intended to be the hit. We’ve talked before about the Annie songs, but that was back in March, so I’ll give you a brief refresher here, and if you want more detail, go and listen to episode twenty-two, on “The Wallflower”, which I’ll link in the show notes. Back in 1954, Hank Ballard and the Midnighters had recorded a song called “Work With Me Annie”, a song which had been, for the time, relatively sexually explicit, though it sounds like nothing now: [Excerpt: Hank Ballard and the Midnighters, “Work With Me Annie”] That song had started up a whole series of answer records. The Midnighters recorded a couple themselves, like “Annie Had a Baby”: [Excerpt: Hank Ballard and the Midnighters, “Annie Had a Baby”] Most famously there was Etta James’ “The Wallflower”: [Excerpt: Etta James, “The Wallflower”] But there were dozens more songs about Annie — there was “Annie Met Henry”, “Annie Pulled a Hum-Bug”, even “Annie Kicked the Bucket”: [excerpt: the Nu Tones, “Annie Kicked the Bucket”] And the fourth song that Buddy recorded at this first Decca session, “Midnight Shift”, was intended to be another in the Annie series. It was written by Luke McDaniel, a country singer who had gone rockabilly, and who recorded some unissued sides for Sun, like “My Baby Don’t Rock”: [Excerpt: Luke McDaniel, “My Baby Don’t Rock”] Jim Denny had suggested “Midnight Shift” for Buddy — though it seems a strange choice for commercial success, as it’s rather obviously about a sex worker: [Excerpt: Buddy Holly, “Midnight Shift”] Perhaps the label had second thoughts, as “Blue Days, Black Nights” was eventually chosen as the single, rather than “Midnight Shift”. When the paperwork for it came through for Buddy to sign, he discovered that they’d misspelled his name. He was born Charles Holley — h-o-l-l-e-y — but the paperwork spelled it h-o-l-l-y. As he was told they needed it back in a hurry, he signed it, and from then on he was Buddy Holly without the e. For the rest of 1956 Buddy continued recording with Owen Bradley for Decca, and kept having little success. Bradley became ever more disillusioned with Holly, while Paul Cohen, the executive at Decca who had signed Holly, at one point was telling his friends “Buddy Holly is the biggest no talent I have ever worked with.” One of the songs that he recorded during that time, but which wasn’t released, was one that Owen Bradley described as “the worst song I’ve ever heard”. It had been written by Holly and Joe Allison after they’d been to see the John Wayne film The Searchers — a film which later gave the name to a band from Liverpool who would become hugely influential. Holly and Allison had seen the film several times, and they kept finding themselves making fun of the way that Wayne said one particular line: [Excerpt: The Searchers, John Wayne saying “That’ll Be The Day”] They took that phrase and turned it into the title of a song. Unfortunately, the first recording of it wasn’t all that great — Buddy had been told by Webb Pierce that the way to have a hit single was to sing in a high voice, and so he sang the song far out of his normal range: [Excerpt: Buddy Holly, “That’ll Be The Day”] Around this time, Sonny Curtis stopped working with Holly. Owen Bradley didn’t like his guitar playing and wanted Holly to record with the session musicians he used with everyone else, while Curtis got an offer to play guitar for Slim Whitman, who at the time was about the biggest star in country music. So as 1956 drew to a close, Buddy Holly was without his longtime guitarist, signed to a record company that didn’t know what to do with him, and failing to realise his musical ambitions. This is when Norman Petty entered the story. Petty was a former musician, who had performed crude experiments in overdubbing in the late forties, copying Les Paul and Mary Ford, though in a much less sophisticated manner. One of his singles, a version of Duke Ellington’s “Mood Indigo”, had actually been a minor hit: [Excerpt: The Norman Petty Trio, “Mood Indigo”] He’d gone into the recording studio business, and charged bands sixty dollars to record two songs in his studio — or, if he thought the songs had commercial potential, he’d waive the charge if they gave him the publishing and a co-writing credit. Petty had become interested in rockabilly after having recorded Roy Orbison and the Teen Kings’ first single — the version of “Ooby Dooby” that was quickly deleted: [Excerpt: Roy Orbison and the Teen Kings, “Ooby Dooby”, Je_Wel Records version] When he heard Sam Phillips’ remake of the song, he became intrigued by the possibilities that echo offered, and started to build his own echo chamber — something that would eventually be completed with the help of Buddy Holly and Buddy’s father and brother. Petty recorded another rockabilly group, Buddy Knox and the Rhythm Orchids, on a song, “Party Doll”, that went to number one: [Excerpt: Buddy Knox and the Rhythm Orchids, “Party Doll”] When the Rhythm Orchids passed through Lubbock, they told Buddy about Norman Petty’s studio, and Buddy went there to cut some demos. Petty was impressed by Holly — though he was more impressed by Sonny Curtis, who was still with Buddy for those demo sessions — and when his contract with Decca expired, Petty and Holly agreed to work together. But they had a problem. Buddy’s contract with Decca said that even though they’d only released two singles by him, and hadn’t bothered to release any of the other songs he’d recorded during the year he was signed to them, he couldn’t rerecord anything he’d recorded for them for another five years. Buddy tried to get Paul Cohen to waive that clause in the contract, and Cohen said no. Holly asked if he could speak to Milt Gabler instead — he was sure that Gabler would agree. But Cohen explained to him that Gabler was only a vice president, and that he worked for Cohen. There was no way that Buddy Holly could put out a record of any of the songs he had recorded in 1956. So Norman Petty, who had been secretly recording the conversation, suggested a way round the problem. They could take those songs, and still have Holly sing them, but put them out as by a group, rather than a solo singer. It wouldn’t be Buddy Holly releasing the records, it would be the group. But what should they call the group? Buddy and Jerry Allison both really liked New Orleans R&B — they loved Fats Domino, and the other people that Dave Bartholomew worked with — and they particularly liked a song that Bartholomew had co-written for a group called the Spiders: [Excerpt: The Spiders, “Witchcraft”] So they decided that they wanted a name that was something like the Spiders. At first they considered “the Beetles”, but decided that that was too creepy — people would want to squish them. So they settled on The Crickets. And so the version of “That’ll Be The Day” that Buddy, Larry, Jerry, and Niki Sullivan had recorded with Norman Petty producing was going to be released as by the Crickets, and Buddy Holly’s name was going to be left off anything that the heads at Decca might see. Amusingly, the record ended up released by Decca anyway — or at least by a subsidiary of Decca. Norman Petty shopped the demos they’d made around different labels, and eventually he took them to Bob Thiele. Thiele had had a similar career to Milt Gabler — he’d started out as a musician, then he’d formed his own speciality jazz label, Signature, and had produced records like Coleman Hawkins’ “The Man I Love”: [Excerpt: Coleman Hawkins, “The Man I Love”] Like Gabler, he had been taken on by Decca, which of all the major labels was the only one that really understood the way that the music business was changing. He’d been put in charge of two labels owned by Decca — Coral, which was being used mostly for insipid white cover versions of black acts, and Brunswick, which was where he released rockabilly tracks by Johnny Burnette and the Rock and Roll Trio. The Crickets were clearly a Brunswick group, and so “That’ll Be the Day” was going to be released on Brunswick — and the contract was sent to Jerry Allison, not Buddy Holly. Holly’s name wasn’t mentioned at first, in case Thiele decided to mention it to his bosses and the whole thing was blown. Norman Petty had assumed that what they’d recorded so far was just going to be a demo, but Thiele said that no, he thought what they had was fine as it was, and put this out: [Excerpt: The Crickets, “That’ll Be The Day”] But the Crickets had still not properly finalised their lineup. The core of Holly and Allison was there — the two of them had been playing together for years — and Niki Sullivan would be OK on rhythm guitar, but they needed a permanent bass player. They eventually settled on Joe B. Mauldin, who had played with a group called The Four Teens that had also featured Larry Welborn. Joe B. had sat in on a gig with the other three, and they’d been impressed with his bass playing.  Before “That’ll Be the Day” was released, they were already in the studio cutting more songs. One was a song that had originally been written by Holly’s mother, though she refused to take credit for it — she was a fundamentalist Southern Baptist, and rock and roll was the Devil’s music. She was just about okay with her son playing it, but she wasn’t going to get herself involved in that. So Buddy took his mother’s song and turned it into this: [Excerpt: The Crickets, “Maybe Baby”] And at the same time, they also made an agreement that Holly could record solo material for Coral. That would actually be recorded by the same people who were making the Crickets’ records, but since he was coming up with so many new songs, they might as well use them to get twice as much material out — there was no prohibition, after all, on him recording new songs under his own name, just the ones he’d recorded in 1956. And they were recording a ludicrous amount of material. “That’ll Be The Day” still hadn’t been released, and they already had their next single in the bag, and were recording Buddy’s first solo single. That song was based on “Love is Strange” by Mickey and Sylvia, a favourite of Holly’s: [Excerpt: Mickey and Sylvia, “Love is Strange”] Holly took that basic musical concept and turned it into “Words of Love”: [Excerpt: Buddy Holly, “Words of Love”] That wasn’t a hit for Holly, but even before his version was released, the Diamonds, who usually made a habit of recording tracks originally recorded by black artists, released a cover version, which went to number thirteen: [Excerpt: The Diamonds, “Words of Love”] The Crickets were essentially spending every second they could in Petty’s studio. They were also doing session work, playing on records by Jim Robinson, Jack Huddle, Hal Goodson, Fred Crawford, and more. In the early months of 1957, they recorded dozens upon dozens of songs, which would continue being released for years afterwards. For example, just two days after “That’ll Be the Day” was finally released, at the end of May, they went into the studio and cut another song they had patterned after Bo Diddley, who had co-written “Love is Strange”,  as a Crickets side: [Excerpt: The Crickets, “Not Fade Away”] and, on the same day, a Holly solo side: [Excerpt: Buddy Holly, “Every Day”] All these songs were written by Holly and Allison, sometimes with Mauldin helping, but the songwriting credits didn’t really match that. Sometimes one or other name would get missed off the credits, sometimes Holly would be credited by his middle name, Hardin, instead of his surname, and almost always Norman Petty would end up with his name on the songwriting credits. They weren’t that bothered about credit, for the moment — there was always another song where the last one came from, and they were piling up songs far faster than they could release them. Indeed, only a month after the “Not Fade Away” and “Every Day” session, they were back in the studio yet again, recording another song, which Buddy had originally intended to name after his niece, Cindy Lou. Jerry, on the other hand, thought the song would be better if it was about his girlfriend. And you’ll be able to find out what happened after they decided between Cindy Lou and Peggy Sue in a few weeks’ time…

  Episode sixty-one of A History of Rock Music in Five Hundred Songs looks at "That'll Be the Day" by The Crickets. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Rudolph the Red-Nosed Reindeer" by Gene Autry ----more---- Before I get to the resources and transcript, a quick apology. This one is up many hours later than normal, almost a full day. I've been dealing with a combination of health issues, technical problems, and family commitments, any two of which would still have allowed me to get this up on time, but which in combination made it impossible. Errata I say in here that Larry Welborn lent Holly a thousand dollars. That money was actually lent Holly by his brother, also called Larry. I also at one point say "That'll Be the Day" was co-written by Joe Allison. I meant Jerry Allison, of course -- Joe Allison was also a Texan songwriter, but had no involvement in that song.   Resources   I've used two biographies for the bulk of the information here -- Buddy Holly: Learning the Game, by Spencer Leigh, and Rave On: The Biography of Buddy Holly by Philip Norman.  There are many collections of Buddy Holly's work available, but many of them are very shoddy, with instrumental overdubs recorded over demos after his death. The best compilation I am aware of is The Memorial Collection, which contains almost everything he issued in his life, as he issued it (for some reason two cover versions are missing) along with the undubbed acoustic recordings that were messed with and released after his death. A lot of the early recordings with Bob, Larry, and/or Sonny that I reference in this episode are included in Down The Line: Rarities, a companion set to the Memorial Collection. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript And so, far later in the story than many people might have been expecting, we finally come to Buddy Holly, the last of the great fifties rockers to appear in our story. Nowadays, Holly gets counted as a pioneer of rock and roll, but in fact he didn't turn up until the genre had become fairly well established in the charts. Which is not to say that he wasn't important or innovative, just that he was one of the greats of the second wave -- from a twenty-first-century perspective, Buddy Holly looks like one of the people who were there when rock and roll was invented, but by the time he had his first hit, Bill Haley, Carl Perkins, and Gene Vincent had all had all their major chart hits, and were on their way down and out. Little Richard was still touring, but he'd already recorded his last rock and roll record of the fifties, and while Fats Domino was still making hit records, most of the ones he's remembered by, the ones that changed music, had already been released. But Holly was arguably the most important figure of this second wave, someone who, more than any other figure of the mid-fifties, seems at least in retrospect to point the way forward to what rock music would become in the decade after. So today we're going to look at the story of how the first really successful rock group started. Because while these days, "That'll Be The Day" is generally just credited to "Buddy Holly", at the time the record came out, it didn't have any artist name on it other than that of the band that made it, The Crickets: [Excerpt: The Crickets, "That'll Be the Day"] Charles Hardin Holley grew up in Lubbock, Texas, a town in the middle of nowhere that has produced more than its fair share of famous musicians. Other than Buddy Holly, the two most famous people from Lubbock are probably Waylon Jennings, who briefly played in Holly's band in 1959 before going on to his own major successes, and Mac Davis, who wrote several hits for Elvis before going on to become a country singer of some note himself. Holly grew up with music. His elder brothers performed as a country duo in much the same style as the Louvin Brothers, and there's a recording of Holly singing the old country song, "Two Timin' Woman", in 1949, when he was twelve, before his voice had even broken: [Excerpt: Charles Holley, "Two Timin' Woman"] By his mid-teens, he was performing as "Buddy and Bob" with a friend, Bob Montgomery, playing pure country and western music, with Buddy on the mandolin while Bob played guitar: [Excerpt: Buddy and Bob, "Footprints in the Snow"] He would also appear on the radio with another friend, Jack Neal, as "Buddy and Jack". Some early recordings of that duo survive as well, with Jack singing while Buddy played guitar: [Excerpt: Buddy and Jack, "I Saw the Moon Crying Last Night"] When Jack Neal, who was a few years older than Buddy, got married and decided he didn't have time for the radio any more, the Buddy and Jack Show became the Buddy and Bob Show. Around this time, Buddy met another person who would become important both to him and the Crickets, Sonny Curtis. Curtis was only a teenager, like him, but he had already made an impression in the music world. When he was only sixteen, he had written a song, "Someday", that was recorded by the country star Webb Pierce: [Excerpt: Webb Pierce, "Someday"] Buddy, too, was an aspiring songwriter. A typical early example of his songwriting was one he wrote in collaboration with his friend Scotty Turner, "My Baby's Coming Home". The song wasn't recorded at the time, but a few years later a demo version of it was cut by a young singer called Harry Nilsson: [Excerpt: Harry Nilsson, "My Baby's Coming Home"] But it wasn't until he saw Elvis live in 1955 that Buddy Holly knew he didn't want to do anything other than become a rock and roll star. When Elvis came to town, the promoter of Elvis' show was a friend of Buddy and Bob, and so he added them to the bill. They became friendly enough that every time Elvis passed through town -- which he did often in those early years of his career -- they would all hang out together. Bob Montgomery used to reminisce about going to the cinema with Elvis to watch Gentlemen Prefer Blondes, and Elvis getting bored with the film half an hour in, and leaving with the rest of the group. After seeing Elvis, Buddy almost immediately stepped up his musical plans. He had already been recording demos with Bob and Sonny Curtis, usually with Bob on vocals: [Excerpt: Buddy and Bob, "I Gambled My Heart"] The bass player on that song, Larry Welborn, believed in Buddy's talents, and lent him a thousand dollars -- a *massive* amount of money in 1955 -- so he could buy himself a Fender Stratocaster, an amp, and a stage suit. Holly's friend Joe B. Mauldin said of the Strat that it was the first instrument he'd ever seen with a gear shift. He was referring there to the tremelo arm on the guitar -- a recent innovation that had only been brought in that year. Buddy kept playing guitar with various combinations of his friends. For example Sonny Curtis cut six songs in 1955, backed by Buddy on guitar, Larry Wellborn on bass, and Jerry Allison on drums: [Excerpt: Sonny Curtis, "Because You Love Me"] Curtis would later talk about how as soon as Elvis came along, he and Buddy immediately switched their musical style. While it was Buddy who owned the electric guitar, he would borrow Curtis' Martin acoustic and try to play and sing like Elvis, while Curtis in turn would borrow Buddy's Strat and play Scotty Moore's guitar licks. Buddy was slowly becoming the most popular rock and roll singer in that part of Texas -- though he had an ongoing rivalry with Roy Orbison, who was from a hundred miles away in Wink but was the only serious competition around for the best local rock and roller.  But while Buddy was slowly building up a reputation in the local area, he couldn't yet find a way to break out and have success on a wider stage. Elvis had told him that the Louisiana Hayride would definitely have him on at Elvis' recommendation, but when he and Sonny Curtis drove to Shreveport, the radio station told them that it wasn't up to Elvis who got on their show and who didn't, and they had to drive back to Texas from Louisiana without getting on the radio. This kind of thing just kept happening. Buddy and Bob and Sonny and Larry and Jerry were recording constantly, in various combinations, and were making more friends in the local music community, like Waylon Jennings, but nothing was happening with the recordings. You can hear on some of them, though, exactly what Sonny Curtis meant when he said that they were trying to sound like Elvis and Scotty Moore: [Excerpt: Buddy Holly, "Don't Come Back Knockin'"] These songs were  the recordings that got Buddy a contract with Decca Records in Nashville, which was, at the time, one of the biggest record labels in the country. And not only did he get signed to Decca, but Buddy also got a songwriting contract with Cedarwood Music, the publishing company that was jointly owned by Jim Denny, the man in charge of the bookings for the Grand Ole Opry, and Webb Pierce, one of the biggest country music stars of the period. So it must have seemed in January 1956 as if Buddy Holly was about to become a massive rock and roll star. That first Decca recording session took place in Owen Bradley's studio, and featured Sonny Curtis on guitar, and a friend called Don Guess on bass. The session was rounded out by two of the regular musicians that Bradley used on his sessions -- Grady Martin on rhythm guitar, so Buddy didn't have to sing and play at the same time, and Doug Kirkham on drums. The songs they cut at that initial session consisted of two of the songs they'd already demoed, "Don't Come Back Knockin'" and "Love Me", plus "Blue Days, Black Nights", a song written by Ben Hall, a friend of Buddy's from Lubbock. But it was the fourth song that was clearly intended to be the hit. We've talked before about the Annie songs, but that was back in March, so I'll give you a brief refresher here, and if you want more detail, go and listen to episode twenty-two, on "The Wallflower", which I'll link in the show notes. Back in 1954, Hank Ballard and the Midnighters had recorded a song called "Work With Me Annie", a song which had been, for the time, relatively sexually explicit, though it sounds like nothing now: [Excerpt: Hank Ballard and the Midnighters, "Work With Me Annie"] That song had started up a whole series of answer records. The Midnighters recorded a couple themselves, like "Annie Had a Baby": [Excerpt: Hank Ballard and the Midnighters, "Annie Had a Baby"] Most famously there was Etta James' "The Wallflower": [Excerpt: Etta James, "The Wallflower"] But there were dozens more songs about Annie -- there was "Annie Met Henry", "Annie Pulled a Hum-Bug", even "Annie Kicked the Bucket": [excerpt: the Nu Tones, "Annie Kicked the Bucket"] And the fourth song that Buddy recorded at this first Decca session, "Midnight Shift", was intended to be another in the Annie series. It was written by Luke McDaniel, a country singer who had gone rockabilly, and who recorded some unissued sides for Sun, like "My Baby Don't Rock": [Excerpt: Luke McDaniel, "My Baby Don't Rock"] Jim Denny had suggested "Midnight Shift" for Buddy -- though it seems a strange choice for commercial success, as it's rather obviously about a sex worker: [Excerpt: Buddy Holly, "Midnight Shift"] Perhaps the label had second thoughts, as "Blue Days, Black Nights" was eventually chosen as the single, rather than "Midnight Shift". When the paperwork for it came through for Buddy to sign, he discovered that they'd misspelled his name. He was born Charles Holley -- h-o-l-l-e-y -- but the paperwork spelled it h-o-l-l-y. As he was told they needed it back in a hurry, he signed it, and from then on he was Buddy Holly without the e. For the rest of 1956 Buddy continued recording with Owen Bradley for Decca, and kept having little success. Bradley became ever more disillusioned with Holly, while Paul Cohen, the executive at Decca who had signed Holly, at one point was telling his friends "Buddy Holly is the biggest no talent I have ever worked with." One of the songs that he recorded during that time, but which wasn't released, was one that Owen Bradley described as "the worst song I've ever heard". It had been written by Holly and Joe Allison after they'd been to see the John Wayne film The Searchers -- a film which later gave the name to a band from Liverpool who would become hugely influential. Holly and Allison had seen the film several times, and they kept finding themselves making fun of the way that Wayne said one particular line: [Excerpt: The Searchers, John Wayne saying "That'll Be The Day"] They took that phrase and turned it into the title of a song. Unfortunately, the first recording of it wasn't all that great -- Buddy had been told by Webb Pierce that the way to have a hit single was to sing in a high voice, and so he sang the song far out of his normal range: [Excerpt: Buddy Holly, "That'll Be The Day"] Around this time, Sonny Curtis stopped working with Holly. Owen Bradley didn't like his guitar playing and wanted Holly to record with the session musicians he used with everyone else, while Curtis got an offer to play guitar for Slim Whitman, who at the time was about the biggest star in country music. So as 1956 drew to a close, Buddy Holly was without his longtime guitarist, signed to a record company that didn't know what to do with him, and failing to realise his musical ambitions. This is when Norman Petty entered the story. Petty was a former musician, who had performed crude experiments in overdubbing in the late forties, copying Les Paul and Mary Ford, though in a much less sophisticated manner. One of his singles, a version of Duke Ellington's "Mood Indigo", had actually been a minor hit: [Excerpt: The Norman Petty Trio, "Mood Indigo"] He'd gone into the recording studio business, and charged bands sixty dollars to record two songs in his studio -- or, if he thought the songs had commercial potential, he'd waive the charge if they gave him the publishing and a co-writing credit. Petty had become interested in rockabilly after having recorded Roy Orbison and the Teen Kings' first single -- the version of "Ooby Dooby" that was quickly deleted: [Excerpt: Roy Orbison and the Teen Kings, "Ooby Dooby", Je_Wel Records version] When he heard Sam Phillips' remake of the song, he became intrigued by the possibilities that echo offered, and started to build his own echo chamber -- something that would eventually be completed with the help of Buddy Holly and Buddy's father and brother. Petty recorded another rockabilly group, Buddy Knox and the Rhythm Orchids, on a song, "Party Doll", that went to number one: [Excerpt: Buddy Knox and the Rhythm Orchids, "Party Doll"] When the Rhythm Orchids passed through Lubbock, they told Buddy about Norman Petty's studio, and Buddy went there to cut some demos. Petty was impressed by Holly -- though he was more impressed by Sonny Curtis, who was still with Buddy for those demo sessions -- and when his contract with Decca expired, Petty and Holly agreed to work together. But they had a problem. Buddy's contract with Decca said that even though they'd only released two singles by him, and hadn't bothered to release any of the other songs he'd recorded during the year he was signed to them, he couldn't rerecord anything he'd recorded for them for another five years. Buddy tried to get Paul Cohen to waive that clause in the contract, and Cohen said no. Holly asked if he could speak to Milt Gabler instead -- he was sure that Gabler would agree. But Cohen explained to him that Gabler was only a vice president, and that he worked for Cohen. There was no way that Buddy Holly could put out a record of any of the songs he had recorded in 1956. So Norman Petty, who had been secretly recording the conversation, suggested a way round the problem. They could take those songs, and still have Holly sing them, but put them out as by a group, rather than a solo singer. It wouldn't be Buddy Holly releasing the records, it would be the group. But what should they call the group? Buddy and Jerry Allison both really liked New Orleans R&B -- they loved Fats Domino, and the other people that Dave Bartholomew worked with -- and they particularly liked a song that Bartholomew had co-written for a group called the Spiders: [Excerpt: The Spiders, "Witchcraft"] So they decided that they wanted a name that was something like the Spiders. At first they considered "the Beetles", but decided that that was too creepy -- people would want to squish them. So they settled on The Crickets. And so the version of "That'll Be The Day" that Buddy, Larry, Jerry, and Niki Sullivan had recorded with Norman Petty producing was going to be released as by the Crickets, and Buddy Holly's name was going to be left off anything that the heads at Decca might see. Amusingly, the record ended up released by Decca anyway -- or at least by a subsidiary of Decca. Norman Petty shopped the demos they'd made around different labels, and eventually he took them to Bob Thiele. Thiele had had a similar career to Milt Gabler -- he'd started out as a musician, then he'd formed his own speciality jazz label, Signature, and had produced records like Coleman Hawkins' "The Man I Love": [Excerpt: Coleman Hawkins, "The Man I Love"] Like Gabler, he had been taken on by Decca, which of all the major labels was the only one that really understood the way that the music business was changing. He'd been put in charge of two labels owned by Decca -- Coral, which was being used mostly for insipid white cover versions of black acts, and Brunswick, which was where he released rockabilly tracks by Johnny Burnette and the Rock and Roll Trio. The Crickets were clearly a Brunswick group, and so "That'll Be the Day" was going to be released on Brunswick -- and the contract was sent to Jerry Allison, not Buddy Holly. Holly's name wasn't mentioned at first, in case Thiele decided to mention it to his bosses and the whole thing was blown. Norman Petty had assumed that what they'd recorded so far was just going to be a demo, but Thiele said that no, he thought what they had was fine as it was, and put this out: [Excerpt: The Crickets, "That'll Be The Day"] But the Crickets had still not properly finalised their lineup. The core of Holly and Allison was there -- the two of them had been playing together for years -- and Niki Sullivan would be OK on rhythm guitar, but they needed a permanent bass player. They eventually settled on Joe B. Mauldin, who had played with a group called The Four Teens that had also featured Larry Welborn. Joe B. had sat in on a gig with the other three, and they'd been impressed with his bass playing.  Before "That'll Be the Day" was released, they were already in the studio cutting more songs. One was a song that had originally been written by Holly's mother, though she refused to take credit for it -- she was a fundamentalist Southern Baptist, and rock and roll was the Devil's music. She was just about okay with her son playing it, but she wasn't going to get herself involved in that. So Buddy took his mother's song and turned it into this: [Excerpt: The Crickets, "Maybe Baby"] And at the same time, they also made an agreement that Holly could record solo material for Coral. That would actually be recorded by the same people who were making the Crickets' records, but since he was coming up with so many new songs, they might as well use them to get twice as much material out -- there was no prohibition, after all, on him recording new songs under his own name, just the ones he'd recorded in 1956. And they were recording a ludicrous amount of material. "That'll Be The Day" still hadn't been released, and they already had their next single in the bag, and were recording Buddy's first solo single. That song was based on "Love is Strange" by Mickey and Sylvia, a favourite of Holly's: [Excerpt: Mickey and Sylvia, "Love is Strange"] Holly took that basic musical concept and turned it into "Words of Love": [Excerpt: Buddy Holly, "Words of Love"] That wasn't a hit for Holly, but even before his version was released, the Diamonds, who usually made a habit of recording tracks originally recorded by black artists, released a cover version, which went to number thirteen: [Excerpt: The Diamonds, "Words of Love"] The Crickets were essentially spending every second they could in Petty's studio. They were also doing session work, playing on records by Jim Robinson, Jack Huddle, Hal Goodson, Fred Crawford, and more. In the early months of 1957, they recorded dozens upon dozens of songs, which would continue being released for years afterwards. For example, just two days after "That'll Be the Day" was finally released, at the end of May, they went into the studio and cut another song they had patterned after Bo Diddley, who had co-written "Love is Strange",  as a Crickets side: [Excerpt: The Crickets, "Not Fade Away"] and, on the same day, a Holly solo side: [Excerpt: Buddy Holly, "Every Day"] All these songs were written by Holly and Allison, sometimes with Mauldin helping, but the songwriting credits didn't really match that. Sometimes one or other name would get missed off the credits, sometimes Holly would be credited by his middle name, Hardin, instead of his surname, and almost always Norman Petty would end up with his name on the songwriting credits. They weren't that bothered about credit, for the moment -- there was always another song where the last one came from, and they were piling up songs far faster than they could release them. Indeed, only a month after the "Not Fade Away" and "Every Day" session, they were back in the studio yet again, recording another song, which Buddy had originally intended to name after his niece, Cindy Lou. Jerry, on the other hand, thought the song would be better if it was about his girlfriend. And you'll be able to find out what happened after they decided between Cindy Lou and Peggy Sue in a few weeks' time...

The guest for episode 344 is a talented musician/singer/songwriter and part of the band "De La Noche" from the 503 Ivan Howard! Things talked about in this episode were living in Oregon, pursuing music, finding a style, working remotely, The new album "Blue Days, Black Nights", going on tour, Oregon schools and gig horror stories.

Depressive Episodes.

A little over two years ago, Richfield experienced one of its darkest days. As Jonathan O’Shaughnessy was walking home from the Red, White and Blue Days street dance he was shot and killed. To this day, the perpetrator of this heinous act has not been brought to justice. As a city, we thought it would be appropriate to celebrate Jonathan’s life in an episode of the podcast. For the twenty-eighth episode of the That’s Rich(field) Podcast, we sit down with Jonathan’s mother and father to discuss their son’s life, how the Richfield community has supported them in the aftermath of his death, and the nonprofit organization they founded to keep his memory alive.

The Fourth of July is all about freedom, fun and fireworks. Thankfully, Minnesota residents can get all those things in one place, Richfield, by attending Red, White and Blue Days from July 2-4. The event has a family night, car show, street dance, live music from JT and the Gunslingers, parade…and of course, fireworks. Personally, we think it is the best three-day party in Minnesota. Four our twenty-seventh episode of the That's Rich(field) Podcast we sit down with Red, White and Blue Days chairperson Heather Lenke to discuss the new events added to the three-day itinerary and some of the old favorites.

Eden Hazard is on his way to Real Madrid, leaving huge boots to be filled at Chelsea. Maurizio Sarri is also on his way to Juventus. The coincidence? It's all happening during a transfer window where the Blues are enduring an embargo. Should the transfer ban stand, what's next for the Abrahmovic's Blues?

Tracklist Stay Connected 090 01 Garteh Emery – Call The Arms (Cosmic Gate remix) 02 Oliver Smith - Over You 03 Attila Syah & Enzo – Yorkesia 04 Ruben de Ronde & Joel Lewis – Madrigal 05 Matisse & Sadko – Saga 06 Hardwell - Bella Ciao 07 EXIS – Kashmir 08 Super 8 & Tab - Let It Go 09 Andrew Bayer - Immortal Lover 10 Super 8 & TAB – Blockchain 11 Rene Ablaze & Jam Da Bass - From Dusk Till Down 12 Henry dark - Blue Days & Black Nights 13 Rank 1 - LED There Be Light (Cosmic Gate Remix) 14 Andrew rayel & David Gravell - Trance Reborn (Mark Sixma remix) 15 John Cristian - The Trip 16 Radion 6 – Surrender 17 Daxon – Blackcard 18 Andrew Rayel - Moments (Whiyout remix)

Show fourteen takes us deep underground to DIY producers all over the world. Most of the songs are less than a week old at time of production. Our featured artists is from a small town in Maine and has an impressive collection of over 200 sounds on Soundcloud. Much of the work is experimental but no less inspiring. Featuring: ∞ / яyce / ∞ Soundcloud: @lordsacrobat twitter.com/____who__ hr67steps.wixsite.com/website s/o: @frenchboiclub Curated and hosted by @linix6 00:00 golfi. By mora. @morabeats 01:40 Afternoon by Paul Wilbury @paulwilbury off BLUE DAYS beattape 02:35 Iinterlink V2 by ∞ / яyce / ∞ @lordsacrobat 05:46 D E R I S O R Y by PERCSSN @pbandjake 08:43 No Wait A.m. by ∞ / яyce / ∞ @lordsacrobat 11:09 Arrival // Shahly x Nauuda by Shahly @shahly 14:00 MARINE THOTS - Twox & UberArsenal by UberArsenal @uberarsenal 16:54 cucumber by ₪ jetson @highimjetson 18:17 [200] Follower by solarwick @solarwick 19:32 Get Gone by VaughnVibes @vaughnvibes 22:30 Shoutout fxsion by ItsLucid @itslucid2 54:27 ежим бога - by ∞ / яyce / ∞ @lordsacrobat 25:42 Loop Attic V by ∞ / яyce / ∞ @lordsacrobat 28:12 Children Of The Corn OPEN COLLAB by @∞ / яyce / ∞ @lordsacrobat 29:36 Учиться И Расти by @∞ / яyce / ∞ @lordsacrobat 30:55 Связанные Ячейки by @∞ / яyce / ∞ @lordsacrobat 34:32 Rise (feat. K, Le Maestro) by Singularis @singularismusic 37:29 STAY by FATE @beatsbyfate from @gravitylabel 39:30 Flip It And Reverse It w/ Ace Lagda by JR JARRIS @jrjarris 42:47 sngfrmyfthr - JS&RB Outtakes.#1 by Paul Wilbury @paulwilbury 44:58 SWISHERS FULL OF DAT DANK by paranoid @yungxan999 48:24 NATURAL W/ OGEE-T by $MAZZ. @smazzbeat 50:54 ＴｅｍｐｌｅＯｆＴｈｅＴｒｉｌｌ『feat. Lord Sesshomaru』By Aye G @ayegbeats 53:08 PHONK FEVER W/NAMZZO. by $MAZZ. @smazzbeat 55:43 CHASING ON THE STREETS by SKANK MANE @djskank666 58:26 IT AINT SAFE by SKANK MANE @djskank666 1:01:37 Cave Critters by Makuda. @makuda

The fourth episode of Blue Days, our documentary podcast series remembering the 1996/97 season 20 years on, recalls in detail the extraordinary FA Cup fourth round tie against Liverpool. With Ruud Gullit’s side struggling for the consistency required to challenge at the very top of the table, it was apparent the only realistic chance of silverware would be the FA Cup. The club’s only previous success in the competition had come 27 long years earlier. At half-time in the glamour fourth round fixture it didn’t look like Chelsea’s hopes of ending that barren run would be realised anytime soon. What followed was arguably the most dramatic 45 minutes Stamford Bridge has ever seen, and in the latest podcast we delve back in time to remember what it took to turn things around against the then league leaders. There are words from 11 players involved as well as the boss, Ruud Gullit, and a those taking it all in from the stands.

This episode's playlist: • 28 Degrees (3:29) by Damon Fowler, from Devil Got His Way (2011); available from Blind Pig Records and iTunes. Visit this page at the Blind Pig Records site for the most up-to-date information. • Back In Style (3:27) by Joss Stone, a digital single released by Stoned-Records.com and available from iTunes. Visit JossStone.com and Stoned-Records.com for more information. Many thanks to AirplayDirect. • Rough And Ready (5:18) and Walking Blues (5:17) by The Geoff Everett Band, from Adult Show (2010); available from the products page at the band's website. Visit TheGeoffEverettBand.co.uk for more information. • My Love Is Your Love (4:14) by Gregg Allman, from Low Country Blues (2011); available from the store at his site, Rounder Records and iTunes. Visit GreggAllman.com for more information. Many thanks to AirplayDirect • Living With The Pain (3:31) by Mojo Collins & Triple Threat, from Get Around 2 It (2010); available from the store at Mojo's site and iTunes. Visit MojoCollins.com for more information. • The Trip's The Thing (4:28) by Neil Harnett, from Somewhere (2009); available from Indiepool.com, Amazon and iTunes. Visit NeilHarnett.com for more information. • Leavin' Town Blues (3:02) by Chris Dair, from Crossroads to Freedom (2010); available from the store at his site and iTunes. Visit ChrisDairMusic.net for more information. • Walking To Chicago (5:11) by Reverend Raven & The Chain Smokin' Altar Boys, from Shake Your Boogie (2010); available from CD Baby and iTunes. Visit ReverendRaven.com for more information. • Cat Squirrel (4:52) by The Fabulous Thunderbirds, from Fabulous Thunderbirds (2009); available from the store at their site. Visit FabulousThunderbirds.com for more information. The music you hear on Murphy's Saloon comes to you courtesy of the artists and their labels. In addition, one of the following fine organizations may have provided assistance as an intermediary: IODA PROMONET, AirplayDirect, RadioSubmit or Music Alley.

Primer podcast de las 24 horas de Kafelog 024 con Pep Ortuño, creador de Fotomurcia, editor de No puedo creer, poseedor de un iPhone y, si se deja convencer, futuro podcaster. Música de 2AM, tema Blue Days. --- Send in a voice message: https://anchor.fm/kafelog/message