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Feb. 3, 1997 - Bill Cooper
59:56
Buddy Holly Special #2
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Time Text
And now you get to hear another cut of I'm Changing All Those Changes and listen to the
difference.
Wow!
That's a big difference, folks.
Now you can hear what made Buddy Holly famous.
This is the Buddy Holly Style.
I sing all the things that I made when I left you.
Because I made no change when I thought you were true.
But now that I've found that all is not true.
I'm gonna love you, I do, don't say a word, just love you.
I love you.
I love you.
I just let it get out of hand.
Now I'm all alone.
I am fighting to make a way.
I should have written a letter to all the guys that I meet.
My heart is always loving you.
I should carry a little heart of eggs.
From this point out, folks, you'll hear his music become more sophisticated, much more
popular, and he soars straight to the top of the charts.
He's got a lot of fans, and he's got a lot of fans.
He's got a lot of fans.
He's got a lot of fans.
Well, you say, when you say, mama, you say, when you say, mama, you say, mama, she's an orphan like mama, you say.
Well, I know, well, when you shout a word, shout a loud and hard, don't forget where the words come from.
You can't hold it back, you can't hold it back from that, I'll be you, I'll be the same when you say mama, I'll be the
same, when you say mama, you say, mama, she's an orphan like mama, you say.
Well, I'll be the same, whoo-hoo, I'll be the same, whoo-hoo, I'll be the same, whoo-hoo, I'll be the same.
Technically, that was a bad song, and the pitch was way too high for Buddy's voice, but the rest is history.
Oh, good health, come on my mind.
I love you with all my heart.
With you I want to be.
With all my heart, heart, heart, heart, heart, heart.
With you, I want to be.
I want you to, to, to be.
You've got to know her to act.
Oh, oh, oh, oh, oh.
With all my heart, heart, heart, heart, heart, heart, heart.
With you, I want to be.
You are the one.
And this, ladies and gentlemen, was the first manifestation of that stuttering, strolling, cha-cha, cha-cha, cha-cha,
tremolo that later was to appear in Peggy Sue and bring Buddy
Holly, probably the greatest group of fans that any.
rock and roll stars ever had.
I'm in pain, you'll be mine.
You're the one I'm in love with.
You're mine to have and to love.
You're the one I could have for more.
You're the one I need to do more.
You're all I want, my love, my sunshine.
We'll stay here, we'll be together.
And now, one of Gary Bourgeois' favorites coming up. And check it out.
I need goodbyes to drive me wild.
I'm just a poor young boy.
I need goodbyes to drive me wild.
I'm just a poor young boy.
And I need goodbyes to drive me wild.
The wind is blowing cold and holding me inside.
make me laugh the way we sing make my heart go tingle ring the way we laugh the way we sing make my heart go tingle
rings, ooo ahh ahhh. Make make make my heart go tingle rings. Tingle rings, tingle rings, tingle rings, tingle
rings, tingle rings.
Make my heart go tingle rings, ooo ahh ahhh.
Make my heart go tingle rings, ooo ahh ahhh.
Oh, I don't know.
Mm-hmm.
I do fine with me.
Yeah, I'm young and I'm free.
I do fine with me.
Yeah, I'm young and I'm free.
Yeah, I'm fine with me.
Gonna find a gal like you tonight.
The way they laugh, the way they sing, makes my heart go ding-a-ling.
The way they laugh, the way they sing, makes my heart go ding-a-ling.
The way I laugh and they sing, makes my heart go ding-a-ling.
Ding-a-ling, ding-a-ling, ding-a-ling, ding-a-ling, ding-a-ling.
Only on Classic Radio, the way you always wished it could be, 101.1 Eager.
101.1 Eager The Great Buddy Holly
It's you baby, oh Oh, don't let the sun set tonight.
No one listens to the music.
Take a look around you.
Who is this person?
Who is this person?
She's from an island.
you My darling, my dearest, my love.
You're the one I want to be with me, I love you.
And I hope that you will love me too.
Love me, I love you.
I don't have to let it die, let the sun shine.
I can go on for a few miles, raise my hands and hands, with someone new, together, to last. Ooh, ooh. Well,
because I love you, I love you, my darling, my dear, dear.
I love you, I love you, you're the one I want to be with.
I love you, I love you, and I hope that you love me back You are my brother, Lord
You're so sweet And this is just a song for you
We have a chance, and we come on you To go live with you
These next three cuts, ladies and gentlemen, were made on 15 November 1956
in Bradley's Barn in Nashville, Tennessee.
Woo!
Well, we're rockin' to the rhythm in the blues tonight.
We're rockin' everything's gonna be all right.
So tonight, we're gonna rock to the rhythm in the blues.
Well, I got a little gal called Olive-E.
Olive-E comes from Memphis, Memphis Tennessee.
And tonight, we're gonna rock around with Olive-E.
Holla Holla Beats Holla Holla Beats Holla Beats, yes you're gonna turn me right tonight
You're gonna wear my blue suede shoes tonight And tonight, we're gonna rock and rock and roll with Holla
Beats Holla Holla Beats, we're gonna rock to the rhythm and the
blues tonight We're gonna rock and everything's gonna be alright
And tonight, we're gonna rock to the rhythm and the blues Hey!
You can hear him clearly continuing to develop that famous Buddy Holly sound
You can hear him clearly continuing to develop that famous Buddy Holly sound that was to
that was to manifest itself at his feet later in Peggy Sue.
manifest itself at his feet later in Peggy Sue.
He's a great guy.
He's a great guy.
Oh, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, Modern Don Juan, he wasn't.
But a rock and roll star, he was.
For being in love.
I've never been in love with a person.
I'm their only one.
Yes, they have a modern dungeon Well, he thought I won't take part in anything
And I could be changed But I won't hold it to make a fight
Well, he thinks I'm just angry in her light Oh, I never know
I never, never, never know Buddy Holly.
I'm William Cooper, and this is the Hour of the Sun on the World Wide Freedom Radio Network.
And tell me what is the modern dogma?
Oh, I love her so I never, ever let her go
I'm in love for a million dollars Oh, they say I am their only one
They say I'm the modern dogma Oh, I love her so
It's Monday Night!
It's a beautiful day in Eager, Arizona, and everybody in the world is listening to the Hour of the Times.
You are my world, desire. You set my heart on fire.
Your eyes, your lips, and your smile.
And you'll smile They make my life so worthwhile
You'll never know Oh, how much I love you. If you will be my own, I will be
yours. Or if I was, dear, I'd be yours.
You set my heart on fire You'll never know how much I love you
You'll never know how much I love you If you will be my own, I will be too
Two hearts I once denied You should my heart deny
You should my heart deny to every girl named Donna.
Made every boy want one of those.
Ricky Valens.
and because of the song is the reason why a lot of people on this earth today
talk about baby moves and because of the song is the reason why a lot of people
I am down, down underneath.
This is me, if I ever lose myself.
talk about baby moves and because of the song is the reason why a lot of people
If I love myself, then there's all I'll ever be.
talk about baby moves Talk about baby moves!
And baby moves, what a great dance it is.
Now that you're gone, I'm feeling all alone.
All by myself, with you under the handle.
Oh, my dearest, what a lovely day.
When you're gone, I'm feeling so strong.
I know I'm not alone.
I'm sure I'll find a way.
Oh, I know I'm not alone.
I never doubted, I never doubted anything.
This is me, I never will say.
Cause I love myself, with all my heart.
And baby moves, is what it is to me.
Oh, my dearest, what a lovely day.
When that song played at the Soxhops, folks, the dance floor filled up so fast that if you weren't
standing there already, you didn't get to dance.
Thanks.
We're all ready.
.
Because you couldn't find a spot to step onto.
Remember Sox Hops?
I'm talking to everybody that's over 40, folks.
I don't know if they have sock ops anymore.
We used to have this big glass ball on the roof of the gym.
Every gym had one.
And the coach would always be there to make darn sure that nobody stepped on his basketball court with shoes on.
That's why they called them sock ops.
They were always held in the gym.
Around the basketball court floor there were tables and chairs to sit on, and everybody danced bare feet or in their socks.
It was a great time to be young.
And my little comment about the baby boom really wasn't true about that era.
You see, when I went to Junior high school and high school, I never knew a girl who got pregnant out of wedlock, and I never knew a girl who got married before she graduated.
And I'm not exaggerating, ladies and gentlemen, that's how much things have changed to our great shame.
By 1955, Buddy Holly and Bob Montgomery, with bassist Larry Welborn, were incorporating more rock and roll into their act, and they were drawing in particular from the style and actual repertoire of Elvis Presley, whose first records on the Sun label were starting to sell well in and around the South.
Buddy Holly and Montgomery—their calling card described their music as Western and bop—were already Well-known in and around Lubbock, Texas, and they broadcast regularly on radio station KDAV.
Owner Dave Stone and one of the station's announcers, High Pockets Duncan, were responsible for promoting many shows in Lubbock, and Holly and Montgomery appeared regularly as local talents supporting artists such as Hank Thompson, Marty Robbins, Ferlin Husky, Webb Pierce, all big attractions at the time.
And, of course, the King, Elvis Presley, who was just getting started.
On October 14, 1955, KDAB booked Bill Haley into Lubbock on a show which also included Jimmy Rogers, Snow, Hank Snow's son, and Buddy, Bob, and Larry.
Nashville booking agent Eddie Crandall was traveling with the show and was impressed with Holley's act.
By this time, Holly was performing a mixture of country material on which he doubled with Bob Montgomery with some rock and roll songs which he sang alone.
Crandall saw Holly again several weeks later when the group opened the show for Marty Robbins, whom Crandall managed and was again impressed.
In December, he wrote to Dave Stone at KDAV, Dave, I'm very confident I can do something as far as getting Buddy Holly a recording contract.
Marty Robbins also thinks Buddy has what it takes, so all we can do is try.
And the very next day a telegram arrived at KDAB addressed to Stone.
The message from Crandall read, Have Buddy Holly cut four original songs on acetate.
Don't change his style at all.
Get these to me as soon as possible.
Airmail special.
Well, folks, history has obscured exactly which four songs Holly cut in response to the telegram.
But it is probable that two of them were Love Me and Don't Come Back Knockin', though not the versions that you just heard.
Both were co-written by Holly and a local Lubbock girl, Sue Parrish.
Crandall played the acetate discs to Jim Denny, an important figure in Nashville who had previously booked acts for the Grand Ole Opry radio show and who had recently set up his own song publishing company.
The result was an offer, and the offer resulted in history.
Decca Records wanted to record Buddy Holly.
Paul Cohen wanted him to sign with his label, but as the company was looking for solo artists and not duos, Bob Montgomery was not included in the offer.
Although Holly was reluctant to accept the deal that excluded Montgomery, he was persuaded that he should buy Montgomery himself, and the first sessions were set up.
Holly had no trouble in forming a band to take with him to record in Nashville.
Sonny Curtis, who had played fiddle with Holly on many country sessions and live dates, was
an excellent guitarist who was able to play in the same style as Scotty Moore had done
on Elvis Presley's early discs, which Holly greatly admired.
Larry Welburn, like Montgomery, dropped out because he was still in school and too young
to travel to Nashville, so his place was taken by Don Guess, one of Holly's school contemporaries
who had played with him from time to time.
Larry would have added Jerry Allison, a long-standing friend and an excellent drummer, to the lineup,
but Allison, too, was still in school and unable to make the trip.
As I remember, says Sonny Curtis, we left for Nashville in a bit of a hurry.
Buddy was driving a new Oldsmobile then.
There was Don Guess and Buddy and me, and we strapped Don's bass to the top of the car.
It was a long trip, and on the way back we were practically broke.
I remember we stopped at an Aunt's of Buddy's in East Texas so we could get a decent meal.
The first session was on January the 26th, 1956 and took place in a studio known as Bradley's Barn on what was then 16th Avenue South.
It was one of the very few independent studios in Nashville at the time and was conveniently across the street from Jim Denny's Cedarwood Music offices.
On this first session, Although Curtis and guests were allowed to play, Holly was replaced on rhythm guitar by Grady Martin, a well-respected session musician, in order to allow Holly to concentrate on his own vocal performance and to allow Martin to supply a strong and dominant rhythm, as there was no drummer on this session.
The four titles made were Love Me, Don't Come Back Knockin', Midnight Shift, and Blue Days, Black Nights.
Several weeks later, on April 16th, Holly's first single was released, Blue Days, Black Nights, and on the flip side, Love Me.
Although the record didn't make the charts, it was not a complete flop, and it was even released in Britain in July.
At the time, Holly wrote to an agent.
They said my record was very popular around Washington, D.C.
and through Missouri, And both Sonny Curtis and Jerry Allison remember their excitement on seeing the record on a jukebox later the same year when they returned to Nashville for their second session.
Gene Vincent, who had recently cut Bebop Aluma in the same studio that Holly was using, once told how he first met Holly.
I went back to the hotel and there was this fella sitting there in the lobby who came up to me and said, Excuse me, can I get your autograph?
Have I seen you someplace before?"
And he said, Yeah, my name's Buddy Holly.
He had a record out then called Blue Days, Black Nights.
It was a fabulous record.
The lack of success discouraged Holly a bit, but the release did help him to get work further afield.
from Lubbock, that is, in the southeastern states with artists such as Sonny James and
Farron Young, both big stars at the time, and it was on such tours that he began to
acquire a stage presence necessary for a budding rock and roll star.
The second session, in Nashville, on July 22nd, was musically a more successful affair,
partly because of drummer Jerry Allison's presence.
Both Rock Around with Ollie V, Trackworm Side 2, and Tingling are regarded as some of Holly's finest work of the period.
While this session also produced an early version of That'll Be the Day, Holly and Allison had written this last song around a catchphrase John Wayne had used in the film The Searchers, and later in a remade version.
The song was to be Holly's Very first hit.
However, all five songs cut in July remained unissued for the time being, and according to Sonny Curtis, the session almost never took place at all.
Don Guess had no bass and had arranged to borrow one, but as Sonny remembers, we were going to use somebody's bass, but when we arrived at the session, it wasn't there.
It was up at WSM, and we had to go up there real quick and get that base, or we weren't
going to get to record that day or ever again, as a matter of fact.
Jerry reckons he, meaning Owen Bradley, wanted to go water-skiing, and he gave us twenty
minutes to round up that base.
By all accounts, Holly got on well with Owen Bradley and Jim Denny, but Paul Cohen, the
label chief, was dubious of Holly's talent.
He once called Holly, the biggest no-talent I have ever worked with, which may help explain
why nothing from the July session was issued.
No doubt the age gap was a hindrance, for Holly and the group had no one in Nashville to relate to.
As Jerry Allison remembers, back on those dates, I don't even remember which guy was Paul Cohen, and which guy was Owen Bradley, or who the engineers were.
It was like they were the biggies and we were just dips.
We didn't groove with them or anything.
We were sort of just afraid of them.
Sonny Curtis said, in Nashville we just stayed at the motel and didn't hang around with anybody.
Just sort of hung with ourselves or hung up at Marty Robbins' office and chased chicks.
Holly and Allison were particularly pleased with their composition of That'll Be the Day.
Although the recording was in too high a key for Holly to be comfortable with it, Mickey Sullivan explains, Webb Pierce had said to Buddy, if you want to be a hit, sing high.
And he sang extremely high, completely out of pitch.
It was above his voice range, and he knew it.
But he wasn't happy with it.
Jerry Allison said, It seems like Owen Bradley said that was the worst song you'd ever heard, and Sonny Curtis had this to say about the whole thing.
Yeah, all the engineers thought that was the worst one, which technically it was, but there was this one kid there who swept up the studio, I think, and we got that kid out in the alley and said, Hey, which one did you like?
And he said, Man, I like That'll Be the Day.
And we said, Yeah, you're so right.
On the next and final session in November, Holly was accompanied not by his own group, but by session musicians.
One of the three songs recorded was a remake of an earlier title from the July session.
Ironically, it was not That'll Be the Day.
They remade, but rock around with Ollie V. Yet despite the added talent of Boots Randolph on saxophone and Grady Martin on lead guitar, the session was comparatively fruitless.
A second single was issued at Christmas, coupling modern Don Juan with You Are My One Desire, and that record also had no success.
The origins of the remaining tracks are not certain, but it seems more than likely that they were recorded privately by Holley in Norman Petty's studio in Clovis, New Mexico, during the early months of 1956.
Particularly in the case of Rock Around... Nope.
in the case of I'm Going to Set My Foot Down and Rock-a-Bye Rock, as demos to send to Nashville
for submission for future sessions. These demos remained unissued until several years
after Holly's death, when they were released in stereo with added accompaniment overdubbed
by the Fireballs under the supervision of Norman Petty.
There are various theories, ladies and gentlemen, as to why Holly's first commercial
recordings were unsuccessful.
I mean, you've been listening to them since the beginning of this broadcast today.
This is hot stuff.
There is no doubt that after his early success around Lubbock and his subsequent signing by one of the country's major labels, who after all were having success with Billy Haley, Hollywood's disappointed not to have made it.
In some cases, he may have rubbed people the wrong way, as Jerry Allison suggests.
He always knew what he wanted, and if somebody didn't do it like he wanted it done, there would be conflict.
You see, Buddy was never meek, and Don Guest substantiated He said Buddy was very temperamental at times.
He definitely wanted his own way.
Mr. Denny and his wife had a lot to do with holding Buddy down as far as temper was concerned in sessions.
The facts of the matter are, however, that the ingredients were wrong.
You see, Holly's group was first class and Sonny Curtis remembers how flattered he was that on the first session he was allowed to play lead guitar while Grady Martin, a top session player, played only rhythm.
But nobody really knew what to do with Holly.
Sonny Curtis remembered nobody messed with us at all, told us how they wanted it to sound.
They just turned on the mics and let us go.
They weren't really into rock and roll and they didn't know what to do.
They knew it was happening, and they just wanted a rock and roll artist, and they didn't have a clue as to how rock and roll should sound, because everything in Nashville was still basically country.
Owen Bradley, one of the industry's most respected producers, admits, I'll tell you what happened.
Paul Cohen and I felt we should record him country, but Paul said, Just call our regular guys and do country.
We'd go in to record him, but Buddy had a feeling to go in a different direction.
He heard a different drummer.
Referring to the later recording of That'll Be the Day, he confesses, I don't know whether Decca dropped him or not, but he turned up with us on Brunswick, which was a subsidiary of Decca.
This time he was doing it the way he heard it, and this is the way it should have been done in the beginning.
It was good to see that happen.
He proved he was right, but see, we had no real experience doing what I call rock.
That was sort of a disaster, I guess, and then he left.
Well, whatever the reasons, ladies and gentlemen, Hawley undoubtedly learned a lot from his experiences in Nashville.
Had the recordings been hits—only two singles were ever released at the time—then Holly might have been forced, like so many other rock and roll stars, to stick to the formula that brought him that success and to remain in a musical environment that discouraged change.
as luck was to have it, success was nearer his home in Lubbock than Nashville. For
Hawley, convinced that that'll be the day, had hit potential, decided to try things another
way, and within weeks of his last Nashville session, was planning to make the hundred-mile
journey from Lubbock to Clovis, New Mexico, to the studio owned by Norman
Petty.
This is the Hour of the Touch.
I'm William Cooper, and the star is Buddy Hollis.
Well, that'll be the day, when she says goodbye.
Yeah, that'll be the day, when she says goodbye.
Girl, it's okay, though, you know she'll like it.
Oh, that'll be the day, when I die.
Well, she said, oh, she loves me, baby.
She said, oh, she loves me.
Oh, she said, oh, she loves me, baby.
Oh, she said, oh, she loves me, baby.
And don't you tell me maybe that someday we'll all be free.
Well, that'll be the day when you say goodbye.
Well, that'll be the day when you make me cry.
The place you're gonna leave.
You know it's the last call.
Well that'll be the day when I die Well that'll be the day when they say goodbye
Yeah, that'll be the day, when you say goodbye.
I swear you're gonna be the one, you know it's for my cause.
That'll be the day, when I die a rare life.
When you get shot in the dark, and shot, it hurts your heart.
So kiss whatever part I leave you.
You take me home to Kenya, and earn me gold, and we met some day.
Well, I'll be there, well, that'll be the day.
When you say goodbye again, that'll be the day.
When you say goodbye, you say you're gonna leave.
You know it's what I call, that'll be the day.
When I die, well, that'll be the day.
the day. Oh yes ladies and gentlemen and that was the day because that song made Buddy Holler.
I'm a little bit someone to love. I'm a little bit someone to love. Where does it
not heal? I don't care if I'm a little too long in love.
We played the field all day long And then I found out I was wrong
Well I'm a little bit drunk once in a while I'm a little bit drunk once in a while
Well it's not you, I don't care Cause I'm a little bit drunk once in a while
I'm a little bit drunk once in a while Caught myself singing a beautiful song
In love with me and in love with you Well I'm a little bit drunk once in a while
I'm a little bit drunk once in a while Well it's not you, I don't care
Cause I'm a little bit drunk once in a while Drunk man, street talk, push and lift
There you are Well I'm a little bit drunk once in a while
I'm a little bit drunk once in a while Well it's not you, I don't care
Cause I'm a little bit drunk once in a while I'm a little bit drunk once in a while
Oh, I almost didn't make it back.
Ah, the next one.
Last Night.
But it wasn't.
Last night as I watched the stars from my window, I prayed, Lord of love, to guide and protect you.
Though I'm not what it meant, I still love you somehow.
That's my only prayer for you.
I have a prayer for you.
Last night as I gazed through the mist in my eyes, I wanted you dear to hold you so near.
But silence tells me you didn't hear my plea.
But silence tells me you didn't hear my plea.
I miss you so much since you left me.
I miss you so much since you left me.
My heart aches apart since you left me.
My heart aches apart since you left me.
Although I'm not in love with you.
This is the Voice of Freedom.
One, two, three, four, five, six, seven, eight.
I miss you so much since you left me.
My heart aches apart since you left me.
This is the Voice of Freedom.
I miss you so much since you left me.
This is the Voice of Freedom.
I miss you so much since you left me.
the the
the This is my daddy's station.
I'm Pooh, classic radio like you always wished it could be.
101.1 FM, Igor.
Nice call, Igor.
Raise the power of your soul.
Light the power of your soul.
Light the power of your soul.
so I'm
I'm William Cooper.
Ladies and gentlemen, this is a special memorial presentation honoring three of this nation's greatest rock and roll stars.
J.P.
Richardson, also known as the Big Bopper.
Richie Valenzuela, whose professional name was Richie Valens.
Charles Holley, whom we all know as the Great Buddy Holley.
And so we're playing every single record that Buddy Holly ever cut during his entire career tonight.
Most of these records, most of you have never heard, and would never have heard had this broadcast never taken place.
And I hope you're enjoying it, because I certainly am.
Now, without any further ado, let's get back to the music, because that's really what it's all about.
My heart ain't the part that you left me.
Though I'm not what it's now, I still love you somehow.
That's my only prayer for you Last night, last night
Oh, okay, maybe they know.
me where are we oh okay maybe this is one of the greats folks
Oh Well, it's all the horses that make me mad, and it's all the horses that make me glad.
I'll be there with everything, baby, baby, I'll ask for everything, baby, baby, I'll ask for everything.
I'll be there with everything, baby, baby, I'll ask for everything, baby, baby, I'll ask for everything.
When I get there, you are the one that leads me ahead, and you are the one that leads me ahead, and we come face to
face.
I'll be there with everything, baby, baby, I'll ask for everything, baby, baby, I'll ask for everything.
Baby, baby, I'll ask for everything.
Well, you can tell, I guess, that that's not the one that became the big hit.
You're going to hear earlier versions of all of the biggest Buddy Holly records right here on 101.1 FM, Eager, and the Worldwide Freedom Radio Network.
Call me close and tell me how you feel.
Tell me love is real.
Words of love, written of empty.
Words of love, break the silence in me, I think I love you.
I think I love you.
I think I love you.
Let me hear you say the words I want to hear.
I need to hear you hear.
And here it is, folks, the one you've been waiting for.
Baby blue, baby blue, you know why I feel blue today?
I'm the baby blue, baby blue.
Oh, well, look at your little lovely baby blue.
Paid to do, paid to do Oh how my heart can't push it on again
I'm not paid to do For the love, yeah, in the love
Paid to do Paid to do, paid to do
Paid to do, paid to do I'm not paid to do
For the love, yeah, in the love Paid to do
I love you, paid to do With a love so real, yeah, so real
I'm not paid to do I said to the love, yeah, I want you
Paid to do Paid to do
I love you, paid to do I said to the love, yeah, I want you
Paid to do I said to the love, yeah, I want you
Paid to do I said to the love
I'm so sorry, baby, baby, baby, baby, baby, baby, baby, oh baby
My baby Oh, I love you, darling, I need you, baby
I love you, baby, with a love so rare and new, oh baby I can't believe it, oh, I love you, darling
I want you to take me to the beach.
Oh, I love you, girl, I know you do.
There really was a Peggy Sue, ladies and gentlemen, and she was around every day.
Every day.
It's getting closer, going faster than a roller coaster.
At least for a while.
Love like yours will surely come my way.
Every day.
It's getting faster, everyone can go on and that's a love like yours will surely come
my way.
Every day.
Things a little longer, every way.
Love's a little stronger.
Come what may.
Do you ever long for true love from me?
Every day it's getting closer.
Going faster than a roller coaster.
Love like you will surely come my way.
Hey, hey, hey.
Every day seems a little longer.
Every way loves a little stronger.
Come what may, do you ever long for true love from me?
Every day is a-gettin' closer, goin' faster than a roller coaster.
Love like yours will surely come my way.
Hey, hey, hey, hey.
Love like yours will easily come my way.
Hi, hi.
That made Buddy Holly rich as a young man.
If a country boy from Lubbock, Texas can be a great rock and roll star,
and if I can be a DJ on this radio broadcast, ladies and gentlemen,
and if you've all got the same size brain and the same opportunities,
just think what you can do.
Bring me love for the good, wonderland, it's all I need.
course nobody wants you to know that.
Only one flat line Don't make
She's no longer mine Picture a mailman
That will do for some time Cry like never before
So hard, couldn't cry no more She's a mailman
Get away from my love She's my girlfriend
.
Well, man, put me no more blood.
What you bring me is all I can need.
Oh, boy.
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