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Feb. 3, 1997 - Bill Cooper
01:51:00
Buddy Holly Special #4
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Time Text
Thank you for watching.
I think you put a lot of mood into what you read.
Well, I think I got that from my grandmother who read me.
She's the one who developed my My taste for books and everything.
She'd read to me for hours when I was a little baby and as I grew up and got older.
She would always do it in a manner that made it more like storytelling than reading.
Come alive.
Yes, she made it come alive.
She just made it wonderful.
I've never forgotten that.
She taught me what common sense was.
I think if it hadn't been for her I probably wouldn't be anything near what I've What a great gift she gave me.
Yeah, yeah, that's true.
You just never know when you have a child.
You never know what's going to happen, you know.
With the little things you do in life, you just never know where it'll go someday.
I've discovered that children are just waiting for somebody to teach them.
And they'll learn anything that you want to teach them as long as you do it in the right way and don't try to To overload them.
It's almost uncanny what they're capable of, isn't it?
Oh, they're capable of so much more than people think.
I know parents who won't, you know, teach their, or even try to teach their children certain things because they're not old enough.
I never heard of anything so ridiculous in my mind.
When are you old enough?
Right.
I mean... Every moment.
Every moment you're old enough.
I'll tell you, with my boys, we started reading a poem a day.
And like I think this is a like 4th grade.
Within a month they had it memorized and they went and read a Paul Revere real long poem.
Uh huh.
And I never told them they had to memorize it.
We just read it once a day.
Yeah.
And they just pick it up.
It's just I guess 6th grade is about when they peak on that.
Sure.
There's just like little sponges and it's just there.
Yeah.
And you can always memorize things you like much quicker and better than you can things that you don't like.
Yeah.
And poetry's a good thing to have a love for, just like reading.
That's another thing I always want them to love, you know?
Yeah.
So, anyway, well, I'll let you go.
I just wanted you to know I sure do enjoy this.
Well, I'm glad that you do, Rita.
And tell Pooh what's the mail.
Okay.
Well, she does that anyway.
I said that.
She can't wait to get your letters.
That's great.
She called you her pen pal.
Yeah, we have so much fun with that.
And I got Allison something that I'm going to send her because I thought I wanted to give her something.
I know she's a little too little to know what's coming in the mail yet, but there's a little surprise coming to her too.
She is a lot of fun.
Both the girls are comedians.
You should see Allison when she visits me in the studio.
Usually I'll put the earphones on her head and she'll dance.
She just dances around the studio with the earphones on her head.
John got a kick out of her going dah, dah, looking for you everywhere.
He still talks about these and she is so cute the way she looks around like looking for you.
Yeah she follows me around like a little puppy.
You're right.
I mean she is really she has a funny sense of humor about her.
She certainly does.
She's so little but she really does.
And she likes to read.
Guess what she's doing now?
Is she reading really?
No, she's not reading, but here's what she's doing.
She'll find a book anywhere in the house.
If she's playing or something and she finds a book, she will bring the book to me and she will not stop pestering me until I pick her up and read that book to her.
And so we begin again.
And so we begin again.
All over again and it's wonderful.
Oh, that's great.
And she loves it.
She sits there with this rapt attention and this wonderful happy look on her face.
As I read to her and I can tell she's going to be just like Pooh.
That's where it all started with Pooh.
I'm sure it's about the same age.
Well, even sooner.
Even sooner.
Just as soon as you can.
It's a good thing to do with the minute.
Sure.
Yeah, that's wonderful.
Yeah, that's great.
Well, I'll be here listening.
Okay, I've got to get my gas mask.
I smell a little batch of plastic.
We'll give everyone our love.
Okay.
Good night.
Bye-bye.
Kiss the boys.
Okay, I will.
Don't make them cry.
Bye-bye.
Good night, Reba.
My friend, Reba.
Back to Buddy Holly.
Back to back.
To the wee hours.
You know, I love you, Reba.
You know I love you, Retha.
You're such a nice lady.
Come on baby, you've been waiting now, and I've come too fast for you to change yourself.
You've been dusting away the preached promises of rebellion.
If you don't have wings, then what great skill is there to destroy religion?
I can see through you, and I can see that you're not a wimp at all.
I've come to know that what they say about love is always true.
You just keep waiting and love will come your way.
Wait till you hear this next one, folks.
both new york people are bloody hard thing everything you can think of
on the
the the
Well folks, I've got cauliflower ears and I've got to take a little trip to the john, so there's not going to be any pitter
patter between the next two... whatever you call them.
I'll be back when I'm back.
Thanks for watching.
Please don't ever be a never-saving heart.
you. You've done your own, and it's all so bold. Yes, we get it, yeah.
I love to grow old with you, dear.
I love to grow old with you.
You may be a bit lost to what you see, dear.
You see me, dear.
It's like a dream, it's like a dream You need to change, you need to change
You need to change, you need to change You need to change, you need to change
You need to change, you need to change You need to change, you need to change
You need to change, you need to change I, I love you, I love you dear
I'm going to miss you right here and here I'm going to miss you right here and here
I'm going to miss you right here and here www.mooji.org
www.mooji.org © 2012 Mooji Media Ltd. All Rights Reserved.
I'm gonna be your champagne I'm gonna be your champagne
One day when I will be Your smoky champagne
You'll be sitting there With your smoky champagne
And we can walk in together And I have never seen before
Having so much fun With my smoky champagne
And please, can you please Sit right down next to me
When you were mine With my smoky champagne
A chill was running down my line With my smoky champagne
I just met you, kiddo Smiling in my heart
And here we're playing In your smoky champagne
This is me, kiddo And she belongs to smoky juice
And from the first time you were gone I've always watched you so far
If that was to come true I'd never seen such a fire
I'm gonna sing this song to you, baby, so you can feel me.
me.
Just by the call of your phone With my champagne
You're beautiful, you're beautiful And here I am now
With your smoky champagne So I'm gonna sing this song to you, baby, so you can feel
I'd rather eat that T-Bone, than come into the sexy Jersey,
and take my T-Bone, baby.
I'd smoke it, wish that I had.
I wish my ass off, that smoking Joe's a crazy fool.
I'd smoke it, wish that I had.
I'd smoke it, wish that I had.
Ha ha, listen to this.
I'm going to get Annie a job cooking plastic at Smokey Joe's Cafe.
Ha ha, listen to this.
I told you they had him doing everything.
I'm going to get Annie a job cooking plastic at Smokey Joe's Cafe.
Why do we call it the Jarn, folks?
Why not the Henry or the George?
Well, well, well, I don't know either.
This is the Voice of Freedom.
I'm going to be talking about the voice of freedom.
Oop, I goofed that up.
Well, anyway, here she comes.
It's the Pooh.
This is my daddy's station.
I'm cute.
Classic radio like you always wished it could be.
101.1 FM.
Eager.
Thank you, my dear.
Oh boy.
She'd be very angry with me if she thought I had miscued her announcement.
And that's exactly what I had done.
Well, folks.
Let's go back to New York City.
Maria remembers.
When Buddy recorded those tapes in our apartment, he would just go over and over and over the songs with his guitar.
Then maybe he'd go over them again on the piano until he had them sounding right.
Only then, when he had it all together, would he tape them.
The piano was at my aunt's apartment, so we'd walk over to my aunt's house so he could try the songs out there.
Of all the songs he did at that time, the one I liked best was Stay Close to Me.
Buddy did record that song on one of the tapes he made at home, but I guess it got lost somewhere.
We also had some other tapes that were pretty funny, me and Buddy singing together, like when I was trying to teach him to sing things like Marina Elena in Spanish, but I think they got lost too.
We had fun, but we had to work, too, and one of the things we were going to do was to work together.
I was going to become involved with Buddy's career, to be his promotion manager, if you like, because we felt there was a lot that needed to be done in that direction.
And with the help of my aunt, who, of course, was in the business, we were going to spend a lot more time on that sort of thing.
Meanwhile, Buddy worked on his songs and he often asked me what I thought of a particular song and the way he had done it.
I remember once he was working on a song and I did something that was distracting.
Maybe I made some noise and Buddy suddenly got up and exploded.
I'll be back directly and stomped out and took a walk to cool off.
Then he came back and went to work again.
In December 1958, Buddy asked Waylon Jennings to come up to New York to see what they could do about getting Waylon's record of Joe Blahn released, which they had recorded in Clovis a couple of months earlier.
Waylon was planning to take time off from his job as a DJ at Lubbock's K.L.L.L.
and spend some time with Buddy and Maria in the spring.
However, Holly decided to go on tour and began looking for musicians to take the place of the Crickets.
Maria Elena says, I remember Buddy called Waylon and asked him to go on tour and play bass guitar.
So Waylon came up and stayed with us for a few days before they went off, and then Tommy Alsup and Charlie Bunch came too.
We put them up in our living room, and a couple of days before they left they rehearsed and did some tapes too, but I don't know what happened to the recordings.
It's funny, you know, I haven't seen Waylon or Tommy since then, although Waylon has always kept me informed of what he was doing.
Before leaving for the Winter Dance Party tour, Holly had arranged to meet Dick Jacobs, who had produced his last session in New York.
They met for lunch at the Blair House Restaurant together with Marty Sulkin, at the time Vice President of Decca and Choral Records.
The three spent some time discussing Buddy's future plans as far as choral was concerned.
Everything was very satisfactory, says Jacobs.
There was really no need to make any changes, just to continue to produce the right kind of sound.
It doesn't matter anymore.
Had just been released, but it was too early to tell what was going to happen to it, and, of course, Buddy left some demo tapes with me of some of his new songs for me to listen to.
The same tapes that we later added the rhythm section to, and we discussed his future plans.
He was very eager to be going on the road again, and was looking forward to it.
And that was the last time I ever saw him.
Although Maria had toured with Buddy previously, she didn't travel with him on the Winter Dance Party, but decided to stay in New York.
The tour didn't particularly sound like fun, since the Midwestern states they would be visiting were notoriously cold at that time of year, and a further complication was that Maria was pregnant.
She lost the baby after Holly's death.
Holly's enthusiasm to get on the road again probably evaporated pretty quickly when he and the other musicians discovered that the buses they were using to travel between dates had no effective heaters, and the weather was bitter cold.
There were the usual problems of getting enough sleep while traveling the long distances between appearances, and halfway through the tour, Buddy told Maria during a phone call that he'd be glad to get back to New York.
A few days later came the stark announcement from UPI.
Clear Lake, Iowa, three of the nation's top rock and roll singing stars, Richie Valens, J.P.
the Big Bopper Richardson, and Buddy Holly, died today with their pilot in the crash of a chartered plane.
An immediate and hardly surprising result of the publicity surrounding Holly's death was the sudden success of It Doesn't Matter Anymore.
The record had been moving slowly, but by mid-March, it was in the top 20 in America and Britain, becoming Holly's bigger hit for nearly a year.
Dick Jacobs remembered the reaction at Coral once everyone had got over the initial shock.
He had been a major artist for us, and the immediate question from the bosses upstairs was, what are we going to do for future Buddy Holly material?
Fortunately, we had the demo tapes Buddy had left with me and some others that Maria Elena had, so we decided to go into the studio and write arrangements around these things.
We hired Jack Hansen and assigned him to the job of overdubbing a good rock rhythm section and local studio singers.
We were trying to imitate the crickets.
It was a terribly hard job.
Because when Buddy laid down those demos, he never had any idea in his mind that this was going to be done.
So some of the songs were incomplete, and we had to spend a lot of time getting them right.
We even had to get special permission from the Musicians Union in New York, since at the time, overdubbing was expressly forbidden by them.
Jack Hanson helped me with the editing, splicing, and overdubbing, and he did a fantastic job on the tapes.
But it was not easy.
The way we worked was we would put Buddy's tape on one machine, then the musicians.
Piano, bass drums, and electric guitar.
They would all sit with earphones on, and we would play the original tape, and they would fit their playing to match it.
Once we had the rhythm section down, we would add the vocal group doing their part.
But since this was another overdub, this was before the days of 8 and 16 track machines.
We would lose another generation every time.
So the quality of those finished records was not what we would call superior first grade as we are able to get today.
Actually, it was strange that these things got done this way because New York rock and roll was a very manufactured thing.
You had a three-hour session with charts and everything was conducted from the stand, whereas what Buddy and the Crickets had been doing was based upon enthusiasm.
Critics of the overdubbed records may well feel that enthusiasm was just what was missing.
But the success of these recordings, particularly in England, was sufficient to encourage Corll to look around for further recordings with which to continue the flow of Buddy Holly releases.
In fact, legal problems prevented the company from releasing any further unissued material until 1962.
By which time Norman Petty had regained control of any tapes that had been discovered, and he began to overdub these recordings as well as those that had been prepared for release by Dick Jacobs.
With tapes and demo discs being unearthed by Holly's record company, family, and friends, a steady flow of releases was kept up from then until 1965, and the last recordings to be overdubbed were finally released in 1969, ten years after Holly's death.
The selections that you're hearing tonight were originally recorded as demo tapes, All except, you're the one, were recorded in Holly's apartment in New York with simple guitar backing.
And when I talk about the ones you're hearing tonight, I'm really talking about the ones you just heard and the ones you're going to hear in this next session coming up.
These were the same original tapes that were later overdubbed in Clovis, New Mexico, and they appear on this set that's coming up.
All of these overdubbed recordings were made in stereo, except Peggy Sue Got Married and Crying, Waiting, Hoping.
And many are released in stereo for the first time when this album was made, ladies and gentlemen.
And there aren't many of them left in existence, I gotta tell you.
And I got one.
So, here we go.
Mickey and Sylvia, Buddy Holly Inc.
And this first one, Love is Strange, was on Mickey and Sylvia.
big hit.
Love is insane.
It's not as simple as a party.
Sleeper, you sleep in the party.
Once you're clear, get on your feet.
Happy to be friends with you, and you won't be sad.
Sleeper, you sleep in the party.
Once you're clear, get on your feet.
Happy to be friends with you, and you won't be sad.
Sleeper, you sleep in the party.
Sleeper, you sleep in the party.
And I'm not going to be a fool to tell you that I'm not going to be a fool to tell you
that I'm not going to be a fool to tell you that I'm not going to be a fool to tell you
Have you ever cared to think of all the things you say?
Have you ever been the person you don't understand?
No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, Well, you could sure tell that that was an overdub.
I mean, talk about loss of generation quality, but it's still an American treasure.
Slippin' and a-slidin', Weepin' and a-sidin',
Been cold a long time ago.
Slippin' and a-slidin', Weepin' and a-sidin',
Been cold a long time ago.
I've been cold, Baby, you've been bold,
I've been cold, Baby, you've been bold.
Oh, you've been cold, Been cold a long time,
I've been cold, Baby, you've been cold.
Oh, you've been cold, Been cold a long time,
I've been cold, Baby, you've been cold.
Slippin' and a-slidin', Weepin' and a-sidin',
I won't see you, No, see you no more.
www.LRCgenerator.com It's true, it's true, it's true, it's true, it's true, it's
true, it's true, it's true, it's true, it's true, it's true.
I've found my way, I've found my way, I've found my way.
Oh, my angel, see the stars in the, you know you better surrender.
Oh, my angel, see the stars in the, you know you better surrender.
Skipping and sliding, deep in and out of the ocean, oh, my angel.
Oh, a long time ago, the world was skipping and sliding, deep in and out of the ocean, oh, my angel.
Baby, you can go now, to your blue moon.
Oh, my angel, see the stars in the, you know you better surrender.
Remember, ladies and gentlemen, that what you're listening to are overdubbed demo tapes.
So any degradation in quality, don't blame it on Buddy, because he wasn't just learning the game.
I've had a thrill from a love that's so sweet.
I've got a girl, but I love her so too Please don't you love her like you do
When you love her and she doesn't love you You're on your last day
When you love her and she doesn't love you You're all done and the game is over
When she's had her easy game and she's really lost When you've done nothing or nothing but you're staying up
Feeling so sad and you're all alone and blue That's when the world is a game
So sad and you're all alone and blue That's when the world is a game
When she's had her easy game Since when was she blind that she forgot what she's capable of?
She lives to scare all of us.
That's what murder is to me.
When she said that lucky people want to live alone Then he found that the stars are for some reason lost
He was a star and you're all on your own That's when the love begins
That's when the love begins That's when the love begins
Ho, ho. Where am I?
You heard this a little bit earlier, folks.
You heard this a little bit earlier, folks.
Crying, waiting, hoping.
You come back, I just can't sleep.
Let you see all my mind.
Crying, waiting, hoping.
You come back, you'll be one I lose.
Nothing about this wall of time.
Crying, I see you speak with all and all I know.
Waiting, I feel so beneath you.
I know it's wrong, you keep on crying.
Waiting, hoping, you come back.
Waiting, hoping, you come back.
You come back, maybe someday, and we'll change that little thing of mine.
I used to be the boy in love and love was weak.
you Oh, oh, oh.
I know it's not the time to wait for things to come back to fix.
Someday something will change and set you right.
I'm waiting for the season.
That's what hurts me.
What to do?
What to do to keep from being lonely?
What to do?
I keep on feeling lonely, what a lonely, what a dream Forever once alone, I'm left behind
I go to the sun, who wants to see how things settle What to do, I know my heart is shaking
I still not knowing, what to do Through the years, I know how things have been
I go to the sun, who wants to see how things settle What to do, I know my heart is shaking
I still not knowing, what to do What to do, I know my heart is shaking
Plastic Radio, like you always wished it could be.
101.1 FM.
101.1 FM. Eager.
That makes the time. Oh so silent.
Makes me feel. Oh.
I. Oh.
You say don't say much. No more.
No more. Will follow me.
Oh, I know that dreams cannot come true.
I'll see you in the afternoon All those precious things we shared together
I know that I can't remember you And I feel so good.
I'm so good.
And that's the way it goes, I'm so done.
And I'm still waiting, don't look at me.
That's the way it goes, oh, oh, oh.
You say don't give up on me no more.
Oh, oh, oh.
Stand by folks for the third or maybe even the fourth time that Peggy Sue got married tonight.
Oh, oh, oh.
No, no, no, you can't say that I told you so.
I just heard you in the crowd a while ago.
I don't say that it's true.
So just keep that opinion to yourself, if you don't believe the heart mistake.
You just told a girl that music is a jimmy-do song.
This is what I heard.
Of course, the story could be wrong.
See, I'll tell you.
This is where the band up goes.
a band of ghosts, making you think you're marrying a lost ghost.
It's a long story.
It's a long story.
you This is what I heard, of course the story took me long.
She said, I'll get to her, cause she's wearing a band of gold.
the uh... coming up in just a little while from where everybody
heard that you've never. Nobody. Nobody heard before.
Unreleased!
Stuff, stuff that you don't ever want to miss.
I'm pulling it out of my, my rare closet.
I got a lot of that.
There comes a time for everything, but That's what they tell me.
That's what they say.
I shouldn't give a damn.
They don't care at all.
When that time will be.
I'll be going.
That's what they say.
It's not time to walk away.
You just keep waiting.
And you just keep waiting, and your love will come your way What can you tell me that you're so afraid to say?
Peace.
And there comes a time for every device When the true love will come to us
And there comes a time for every device That's what they tell me, that's what they say
I didn't hear them say a word of when that time will be.
I only know that what they say is not something for me.
I only know that what they tell you has not come before me.
You just look away and see that love will come your way.
That's what they tell me, that's what they tell me. That's what they tell me.
Back to back Buddy Holly till the wee hours of the morning, recognizing and memorializing all of his prolific,
fantastic work.
American music at its very best.
This is the most beautiful thing I've ever heard.
I've ever seen.
This is the sound of a voice.
And it's one so low.
It's the sweetest piece of music.
Yeah, I love to walk this music.
Yeah, I love to go all over it.
This is the most necessary thing.
This is the sound of my life.
This is the music that I love.
Somebody called on the other line and wanted to know which was it that I danced with Jackie Petru to.
Well, I tell you folks, it had to be Wait Till the Sun Shines, Billy.
I mean, Jackie.
And it was a good dance.
We dance all.
We waltz through the universe.
The rare William Cooper playing the rare Buddy Holly.
Thank you.
Dancing with the rare Jackie Patrouille.
On the rare worldwide Freedom Radio Network.
And you're listening on the rare low power FM broadcast affiliate.
Or satellite.
which, uh, with the solar storm, are also getting rare.
Smelling rare plastic.
That's pretty good.
No, I'm sorry, that's welded.
I feel like a factory in the street, and there's music in my ear.
And I want you to go where you're the one, that fills me, go where you're the one.
I can't let you go where you're the one.
I'm on top of this mountain, breathing this rare atmosphere.
And I'm causing my blues, you're the one.
You're the one I don't wanna lose.
You're the one that I'd always choose.
You're the one that's meant for me.
You're the one that I'm thinking of.
You're the one that I'll always love.
You're the one that I'm committing to.
The phones are still open, folks, and I'm going to keep them open, so if you feel like calling, just call.
If you don't, that's okay.
I know it's late.
Everybody's probably laid back.
But that's okay, so am I. If you want to call us, 520-333-4578.
Just pick up the phone, put your little finger on those little buttons, and listen to this.
Peep-peep-poop-poop, peep-poop-peep-poop.
Alright.
Well, we got through that OK.
Folks, the rest of the music that you're going to hear tonight is really a treat because it's never been released on record.
It is stuff that you normally would never hear.
And of course, you know, a lot of this stuff, most people would really never have heard if they had not been listening to this broadcast or if they're not into Music is the language of the soul, I believe, along with love, of course.
And we collect them because, you know, music is the language of the soul, I believe, along
with love, of course.
And I've always been terribly addicted to anything that can reach inside and touch my
soul, so to speak.
And so, music is extremely important to me.
Has been all my life.
And I guess will be all the rest of my life.
What you're going to be hearing here soon is a collection of recordings Which have either been unavailable on record for many years or which have never been released before.
And you know, you've been listening to this music, you've heard several of these tunes and songs repeated.
But believe me, ladies and gentlemen, I have never repeated the same cut of music.
All of these are completely separate recordings that you've been hearing all night long.
And you're going to hear some again coming up that you've already heard.
But these are rare, unreleased, never heard before.
By your ears, I can guarantee you.
And for those of you who are tuned, you will notice the differences every time you hear a new cut, whether it's the same music sung by the same people or not.
I promise you I would play every recording that Buddy Holly ever made.
In his life.
And except for those that nobody has ever been able to find, that's exactly what I'm doing because I have every one of them.
No one has a Buddy Holly cup that I don't have and that you're not hearing tonight.
You see, if it's existing, I have it.
And that is the veritas of the matter.
You're hearing all of this probably for the first time, for most of you.
Maybe some of you have heard it before.
It's a mixture of demonstration tapes, and I'm talking about what's coming up.
Live performances and interviews, rare interviews, by Buddy Holly and the Crickets.
Plus, there's several studio masters by other artists that Buddy was trying to help in their careers just before his death in February of 1959 that you're going to hear coming up.
Some of it's been available before, but only with the posthumous addition of complete backings by studio musicians to make what were only demonstration tapes sound like commercial releases, and you won't hear that here.
You're going to hear the original cuts like Buddy made them.
A week or so before leaving for the Winter Dance Party tour, Buddy put on tape in his New York apartment some of his last compositions, which he had just completed and was planning to record himself.
He had also spent some time experimenting on tape with some of his favorite songs made famous by other artists which he might also possibly record.
And if he had not died, I have no doubt that he probably would have.
Although the recordings were not intended for issue in the form they were made, They were taped on a portable professional machine which Norman Petty had sold to Buddy the previous year.
Norman Petty remembers Buddy had a very fine recorder in his possession, which incidentally was the recorder I had recorded some of his hits on.
He decided to buy a recorder and asked, would I buy him one?
So I said, well, it'll cost you X number of dollars.
And he said, well, why don't you buy the new one and give me this one?
And I said, well, cause this is the old one.
And Buddy replied, well, I know, but that's the one all of my hits have been recorded on.
Although Holly had none of Petty's sophisticated studio electronics, the tapes were considered of good enough quality for release once proper studio backings had been added by Quirrel Records.
Opinions As to just exactly what was commercial in the late fifties and early sixties differed a lot from attitudes today, and it is not difficult to see why it was thought necessary to add complete backings to these demonstration tapes before releasing them.
You see, what was okay for recording back then, nobody would touch with a ten-foot pole today, folks.
Some of the overdubbing undertaken in 1959 and 1960 was particularly insensitive to what were obviously Holly's own original intentions, and several years later, Norman Petty added fresh backings to the original tapes.
However, ladies and gentlemen, it is indisputable that the original, undubbed tapes constitute some of Holly's finest recordings, and for that reason, I'm going to play several of those for you tonight.
And I hope that you enjoy them as much as I'm going to.
You're the One was recorded in December 1958 in the studio of K.L.L.L.
Station in Lubbock, Texas, where Hawley was a frequent visitor when he was home.
The song was written by Holly, Waylon Jennings, a local DJ and a friend, and Ray Slim Corbin, one of the station's owners, during one such visit over the Christmas holiday of 1958, and the three of them taped the song immediately after they had composed it.
Jennings and Corbin can be heard clapping in time as Holly sings and plays.
Unfortunately, he was to meet his untimely death just a few days over two months later.
Real Wild Child and Oh, You Beautiful Doll, featuring Jerry Allison on lead vocal, were released as a single in August of 1958 under Allison's middle name, Ivan.
The A-side was a product of the Crickets Australian Tour the previous February and was written and originally recorded by Australian star Johnny O'Keefe.
I was going to try and do it like James Cagney, recalled Allison, but that didn't work.
Wherever his vocal style comes from, it was a small American hit in October of the same year.
Folks, listen carefully to these, because you're never, ever in your entire life going to hear them again.
That's how rare they are.
Slippin' and a-slidin', keepin' and a-hidin',
been told a long time ago.
Slippin' and a-slidin', keepin' and a-hidin', been told a long time ago.
I've been told, baby you've been bold I won't be your fool no more
Old Dick's a neither, nothing but a child I done got help to your job.
Old Greek or neither, nothing but a child.
You've done got a gift to your job.
I'm slipping and sliding, creeping in the hide, now I want to be your fool no more.
Oh.....
Hmm Hmmm Hmmmm Hmmmm
Hmmmm Hmmmm
Hmm Hmmm Huhmm Hmmmm
Oh my Linda She's a solid cinder
in there.
You know you better surrender.
Oh, my Linda, she's a starlet's tender.
You know you better surrender.
Slippin' and slidin', beepin' And hiding I won't be your fool no more.
Slippin' and a-slidin', peepin' and a-hidin', been told a long time ago.
Slippin' and a-slidin', peepin' and a-hidin', been told a long time ago.
I've been told, baby, you've been bowed out.
The old fool no more.
So we can be friends in Christ.
You know, what can you say when you hear something like that?
Can you imagine?
Buddy Hogg, seated at his couch with a tape recorder on a coffee table in January of 1959.
Just one month before he died.
and I'll see you next time.
Dearest, oh, you're the nearest to my heart.
We don't ever give, never say we'll part.
You scowl, and you are so bold.
Just together, yeah, our love will blow up.
Yeah, our love will blow up.
You may be a million miles away.
You can hear me when you hear me say, I love you, I love you.
Come home.
Keep me from this sleepless night.
Try my luck again.
Yeah, I'm going to reach you right.
I'm going to reach you tonight.
Buddy Holly's rendition of Mickey and Sylvia's big hit, Love is Strange.
And it is a little strange hearing it done by Buddy Holly.
but nevertheless everybody loved this and apparently so did buddy hall
love is strange Once you get it, mmmm...
You're in an awful fix.
After you've had it.
Never want to quit.
Many people don't understand.
No, no.
They think loving is money in the hand.
Your sweet love is better than a kiss.
When you leave me, sweet kisses I miss you.
♪ And now folks, you're going to hear once again, Peggy Sue
Get Married.
Please don't tell.
No, no, no.
Don't tell that I told you so.
I just heard a rumor from a friend.
I don't say that it's true.
I'll just leave that up to you.
If you don't believe, I'll understand.
You recall a girl that's been in nearly every song.
This is what I heard.
Of course the story could be wrong.
She's the one I've been told.
Well, she's wearing a band of gold.
Peggy still got married not long ago You recall the girl that's been in every, every song
Was this what I heard?
Of course the story could be wrong.
She's the one I've been told, cause she's wearing a band of gold.
Peggy Sue got married not long ago.
Peggy Sue got married not long ago.
You can hear the hiss on the tape from the recorder that he was using.
And even though it was supposed to be a professional recorder, that was a common occurrence on any tape recorder.
at that time one of the biggest improvements in recording art was when they were able to
get rid of the tapest and the tape was able to be used for the first time. So,
that was a big improvement. And, you know, it was a big improvement. And, you know, I think
that's what we're going to do.
All those precious things we shared together.
Time goes by, I still remember you.
And that makes it tough.
Oh, so tough.
When you tell me you don't love me That makes it tough, oh so tough
When you say you don't care for me no more That makes it tough, oh so tough
All that you've heard, plus the next one, were recorded in Holly's apartment in New York City in January 1959.
And it's just Buddy Holly, on vocal, with his own acoustic guitar, nobody else.
Hearts that are broken and love that's untrue These go with learning the game When you love her and she doesn't love you, you're only learning the game.
When she says that you're the only one she'll ever love, then you find that you are not the one she's thinking of.
Feeling so sad and you're all alone and blue That's when you're learning the game
🎵 When she said that you're the only one she'll ever love
Didn't you find that you are not the one she's thinking of?
Feeling so sad and you're all alone and blue That's when you're learning the game
That's when you're learning the game you.
On this next cut, folks, listen for Waylon Jennings and Ray Slim Corbin's hand claps.
Recorded at KLLL Radio Station, Lubbock, December 1958.
I don't want to lose you.
You're the one that I always use.
You're the one that's meant for me.
You're the one that I'm thinking of.
You're the one that I always love.
You're the one sent from heaven above.
You're the one that I'm in for.
Sometimes you make me feel so bad, you make me cry deep in my heart.
I feel like an actor in a play, who doesn't set the bar.
You're the one, and I want you to know, you're the one that thrills me so.
You're the one I can't let you go.
You're the one who had to live for me.
Sometimes you make me feel so bad.
You make me cry deep in my heart.
I feel like an actor in a play that doesn't fit the part.
You're the one.
And I want you to know.
You're the one.
That fills me so.
I can't let you go, you're the one, I can't let you go, you're the one that's meant for
me.
On this next one, ladies and gentlemen, it's Jerry Ivan Allison on vocal and Buddy Holland
on this next one ladies and gentlemen it's a very i've been out of the local
buddy holland lately guitar
plays lead guitar.
and i'm
the And that's it.
Thank you.
Wild, wild, wild.
Who do you think I am?
I'm a wild one.
Gonna tell my friends, gonna tell them all that I'm a wild one
Wild, wild child Yeah, yeah, yeah, I'm a wild one
Wild, wild child Gonna break me, gonna keep me moving wild
Gonna keep a screamin', baby, I'm a real wild child Wild, wild child
Wild, wild child Wild, wild child
I'm a real wild one and I like my fun In the world gone crazy, everything seems crazy.
I'm a wild one.
Wild, wild child.
I'm a wild one.
Wild, wild child.
Gonna break loose.
Gonna keep a-movin' wild.
Gonna keep a clean baby.
I'm a real wild child 🎵
I'm a bad boy, I'm a real wild child I'm a bad boy, I'm a sore girl
And why, cause I'm a wild one Wild, wild, wild
Yeah, yeah, I'm a wild one Wild, wild, wild
Don't worry, I'm gonna keep on living wild Gonna keep on playing the game
I'm a real wild child One of them white men
I'm a wild child You love me, but you're a real piece of shit.
Nothing to say about that guy.
And this next one, oh, you beautiful doll.
Same thing.
Buddy Holly.
buddy hollywood guitar jerry ivan allison vocal ...
...
Oh, you're beautiful now, you're great, you're beautiful now.
I wanna be the love that you give me, how, how, how, how, how beautiful you are.
You thought I was fooling you when I said you never heard these before.
I guarantee you, you never have and you never will again, unless you taped this broadcast tonight.
And I imagine some of you have.
And that's good.
And for those that you didn't, well, we've got the tapes here that you can order.
I don't know what the price is, but you can call Annie sometime tomorrow, during the day, and find out.
Her number is 520-333.
5-6-9-8.
That's 5-2-0-3-3-3-5-6-9-8.
She'll be happy to give you a price on those.
I have no idea what it's going to be, and not even going to venture a guess.
That's her bailiwick, not mine.
Well, you know, on a couple of those that you just heard, Waylon Jennings was in there.
In fact, one, Waylon Jennings and Rayson Corbin We're clapping their hands, and I'm sure you could hear that.
That was recorded during a broadcast at KLLL radio station in Lubbock in December of 1958.
Waylon Jennings did quite a bit with Buddy Holly.
Went on tour with him.
At the time, Waylon Jennings wasn't a real big star, but he has become a big star since then.
And part of the reason that he was able to become a big star was the help that Buddy Holly gave him.
He gave him a lot of help.
Buddy Holly first worked with Waylon Jennings in 1958 when Jennings was working in the Lubbock area as a DJ and performer.
These two had known each other on and off since the Buddy and Bob days, and Holly offered to help Waylon Jennings get started on a recording career.
It was already arranging for King Curtis, whom he admired for his great saxophone playing on many of the Coaster's hits, to fly from New York to Clovis to play on one of his own sessions.
After Holly had cut two tracks of his own, Reminiscing and Come Back Baby, Waylon cut two tracks, Joe Blonde and When Sin Stops, which Holly played on and produced.
Waylon Jennings remembers I got to know Buddy very well, and in fact knew him for six or seven years before I ever went to work for him.
When the family moved to Lubbock, and while I was a disc jockey there, I became his protege.
He produced the first record I ever had, paid for it and everything, on the Brunswick label.
Buddy flew in King Curtis, the sax player, to my first session, and we did one record, Joel Blom, the Harry Chokes Cajun classic.
We sat down and copied the words like we thought they sounded, and we did it with a rock and roll beat.
A lot of people who heard the result got a lot of laughs out of it.
John Goldrosen summed up the situation, and so on the chosen day, a rhythm and blues saxophonist, a national rock and roll star, and an aspiring country and western singer Combined forces to record a Cajun waltz with a West Texas rockabilly beat and lyrics that were now meaningless in any language.
Stay Close to Me is one of the very few songs that Holly wrote, but which he never recorded, even as a demo.
He had met Lou Giordano in late 1958 in New York and arranged a contract for him with Brunswick Records.
With himself and Phil Everly as co-producers.
Holly wrote one side of the disc and Phil Everly wrote the other, and it is likely that both played on the session which took place in New York in late 1958.
The remaining items that you're going to hear tonight are from interviews and television appearances that Holly and the Crickets made during the brief 18 months that Holly was a star.
The first is a brief interview made backstage at the Municipal Auditorium in Topeka, Kansas, when the crickets appeared there during the second half of the first major tour they were booked on.
That'll be the day had already started to come down the charts.
Peggy Sue was already selling well and was due to enter the charts the next week, and, oh boy, had been released the day before.
Holly and the Crickets made two appearances on the Ed Sullivan Show, a networked variety show featuring comedians, jugglers, and other similar variety acts, as well as pop and rock performers.
The Crickets' first appearance on the show was in fact their first television appearance, and took place on December 1, 1957.
Although Holly looked a little ill at ease during the show, his performance was good despite a poor sound balance.
The third interview dates from October 2, 1958, during Holly's solo appearance on the late Alan Freed's weekly hour-long television program called The Big Beat, during which he mimed to It's So Easy and chatted with Freed about their past tours together.
Freed is generally credited with having coined the phrase, Rock and Roll, and did more than any other disc jockey to promote it on a national scale.
During 1957 and 1958, Holly and Freed had become good friends when they worked together on tours and on the shows.
Freed presented at the Paramount Theater in New York City.
The interview with Dick Clark was the last Cricket's television appearance before they parted company and was on October 28, 1958, on American Bandstand, during which Holly mimed to Heartbeat And the whole group mimed to, It's So Easy.
They had just come off the 1958 Biggest Show of Stars Tour, which had included other rock stars, such as Bobby Darin, Jack Scott, Bobby Freeman in the coasters, as well as up-and-coming teen idols, such as Frankie Avalon, Dion in the Belmonts, and Jimmy Clinton.
During the tour, Holly traveled from venue to venue by car with Maria, whom he had married a couple of months earlier.
While Jerry and Joe went in a station wagon with some of the other artists.
Despite the apparent fun during the conversation, the imminent split must have added a little sadness to the appearance.
As is the case elsewhere in the music that you're going to be hearing, the studio masters are copied straight from the original tapes.
And the sound quality, ladies and gentlemen, reflects this.
Several of the other tapes have naturally deteriorated over the twenty years that passed since they were made, but they have been carefully prepared in the studio so that their quality is at its best.
It has been much more than twenty years since then.
We are confident that listeners will find the whole of this upcoming set of music a fascinating insight into Buddy Holly the person And I sincerely hope that the rare items here add a further
dimension to the career of one of rock music's most original and innovative performers.
A real American artist.
I'm here at Saturday Cove communities, and quite for'st we've been
trying to arrange them where.
There are certain spirits for some people in right this
to get something but alright else
Oh, it's a light bearer It's a light that's slipping down Oh, it's a light bearer It's a light that's slipping down
Oh, it's a light bearer It's a light that's slipping down Oh, ha, ha.
That's the easiest of the songs.
Got that in Monaco.
God knows there's a world for one to play with you, dear ♪
That was Waylon Jennings on vocal, Buddy Holly on electric guitar.
♪ Don't stop, please don't stop And it's the same arrangement when Sims stop.
Well, my fever gets higher than a hundred and four.
Every time you walk through my door.
You thrill me, honey.
You fill me with desire.
Lady, don't you start.
Don't stop pulling my blouse.
Don't stop pulling those lies.
It's not right.
Don't stop, stop, stop, stop, stop, stop.
You can live with this bottle of wine.
Don't stop, stop, stop, stop, stop, stop, stop.
Don't stop, don't stop.
Don't stop, don't stop, baby, don't stop.
Baby, baby, baby, don't stop.
I love you, honey, I'm a sailor man.
I love you if things are going all right.
I love you, honey, I need you all the time.
I need you all the time Your lips are so good to for me
Your lips are all I think of It's not right, I know it's a sin
To win since I've been king I'm sorry
When I opened my door and I was invited in Where we left off, that's where we'll begin
Little honey, that's what I've been waiting for I'm waiting for
A better time to start Your love is all that I needed
I've grown in mercy, I beg to believe it It's not right, I know it's a sin
But when till I arrive When till I arrive
When things are complicated Coming up, Lou Geardiner on vocal,
Buddy Holly and Phil Everly on rhythm guitar.
Thank you.
you you
Stay close to me, give me your heart Then you will see, we will never part
I will come and go, stronger You'll find I'll love you all the same
Tell me your dreams, we'll never be the same You'll love me if I'm with you
Days will come and go, stronger You'll find I'll love you all the same
Tell me your dreams, we'll never be the same You'll love me if I'm with you
Thanks for watching!
So by the way, Buddy Holly wrote both of these.
Stay close to me and don't you move.
It makes me wonder why.
You ask me oh so often.
I have to tell you a lie.
Don't you know?
I love you so.
Everywhere you show.
Everywhere I go.
Don't you know?
I love you so.
Everywhere you show.
Everywhere I go.
I said I love you over a million times.
And if I don't do anything, I'll soon go out of my mind.
Don't you know, I love you so?
This way we show, everywhere I go.
Don't you know, I love you so?
I love you so, and the pain it shows, everywhere I go.
Must I always tell you that I'm not fine?
I've heard the prayers I've known, dear, you're my one and only.
Don't you know, I love you so, everywhere you show, everywhere I go.
Don't you know, I love you so, and the pain it shows, everywhere I go.
Don't you know, I love you so, and the pain it shows, everywhere I go.
I got a love for you, don't you know?
I love you so, I'm gonna show you I feel like you
♪♪♪ Coming up backstage at the Municipal Auditorium,
Topeka, Kansas, 5 November 1957.
Well, we have three records going right now, and of course the first one, that'll be today.
That's the first one we made.
And then we have a new one out by the Crickets called Oh Boy and Not Fade Away.
And then there's one out, it's the same group, but it's under my name.
I don't know why they did it that way, but it's the one out under my name called Peggy Sue and Every Day.
Well, Joe Mauldin, he plays bass, and Jerry Allison plays drums.
The other one, Nicky Sullivan, is not here right at the moment.
He's out in the state.
This is from the Ed Sullivan show.
Now I have my little guns left right there because now coming out here, four citizens of the sovereign state of Texas.
And they tell me that we behave up here in the north.
Over Christmas, Texas is on a permit to come back and use.
Is that right, fellas?
Here from Lubbock, Texas, they're crickets with one of their hit records.
december first nineteen fifty seven and
i will do
the the
the We will say it, when you say goodbye again.
That'll be the day when you make me cry.
You say you're gonna leave, you know it's a lie, cause that'll be the day when I die.
Well, that'll be the day.
That'll be the day.
you And now, from Lubbock, Texas, for all the youngsters of the country, we bring back the crickets.
Now, Texas boys, do it.
If you do, Peggy Lou, then you know why I feel good about Peggy, my Peggy Lou.
Oh well I love you gal, yes I love you Peggy Lou.
Oh, I'll fly high, yes I will, I will, Peggy Sue My Peggy Sue
Oh, I love you, darling, I love you, Peggy Sue Peggy Sue, Peggy Sue
Oh, well, I love you, gal, yes, I need you to stay true.
you I love you, pretty soon, when I love your attitude.
Oh, baby, my Peggy.
Well, I love you, gal, I want you to take it through.
I'm Peggy doo doo doo doo doo doo doo doo doo Well I love you gal, I want you Peggy doo doo
Well I love you gal and I want you Peggy doo Ronnie Hollins, Ronnie
Ronnie, come back here Ronnie asked you a question
How old are all of you fellas?
Well, there's two 18, one 20, and I'm 21.
Where do you come from?
Lubbock, Texas?
Lubbock, Texas, yes.
You go to school down there?
Well, we did until we got out of high school, finally.
Right after high school, you started playing together?
Yes, sir, that's right.
A big hit right from the start, or has it been sort of a...
Long.
Well, we've had a few rough times, I guess you'd say, but we've been real lucky to get it this quick.
Well, Texas, nice to have you up here.
Thank you.
Have a very nice time for these Texas guys.
Buddy Holly is now interviewed by Alan Freed, WNEW TV.
The one and only Buddy Holly!
Buddy Holly!
New York City, 2nd October, 1958.
Buddy Holly!
Hey, Buddy.
Hi, Alan.
How are you?
Fine.
Good to see you, old buddy, again.
Uh, where are the other fellows?
They're running around somewhere, Alan.
They are?
Uh-huh.
Gee, last time I saw you, I guess I haven't seen you since our tour, have I?
About, uh, April, wasn't it?
I think somewhere around there.
It was, uh-huh.
Yes, it has been.
What have you been doing and where have you been?
Well, we haven't been working all summer, Alan.
We've just been kind of loafing and taking it easy and, uh, running around some, enjoying the, uh, what we hadn't enjoyed for the whole year previous.
You know, all the work going on.
Oh, I worked hard that year.
So, uh, we're getting ready to start in some new work now.
You going on tour again?
I think so, uh-huh.
Buddy, we had a lot of fun.
We did a lot of flying.
Yeah, we sure did.
You know, I was just in the town the other day in Cincinnati.
You remember when we landed there and the helicopter had crashed that day that we got in there?
That's right.
And we took the ride in there from the airport.
It reminded me of when we landed.
Buddy, we played, I think we rode every kind of airplane there was.
Imagine.
We sure did.
Those DC-3s were really something.
Oh, boy, oh, boy.
Without the seat belts, we would have been right through the cockpit.
Sure.
Buddy, we had a lot of fun together, and I hope we're going to have a lot of fun together in the future, too, because you're just a wonderful guy.
Say hello to Joe.
Okay.
Joe Bias.
This is Joe.
Joe Bias.
Joe Bias.
Uh-huh.
Because he's always... Jack Cook over there.
...the fellow with the bass fiddle.
And we call him Joe Bias because he always was saying, buy us a Coke.
Buy us a candy bar.
Well, we had a lot of fun together, and Buddy, let's get together soon.
And thank you so much for being with us all the time.
Thank you, Alan.
Thank you.
This is great.
I'm Holly and as you know, this brand new Runs With Record is so easy and a wonderful
record it is.
Now it's time for state identification.
We'll be back with part two of the interview.
This interview is conducted by Dick Clark, WABC-TV, Philadelphia, 28 October, 1988.
Larry, how can I put it?
I haven't formulated it and put it together in my own mind.
What I want to say is that a man who creates songs, performs them, has a great deal to do with the activities of our music world.
And he's still a very young man, and a successful one at that.
A choral recording star whom you met last Saturday, singing Heartbeat.
Ladies and gentlemen, Mr. Buddy Holly!
Buddy, nice to see you again.
You know, actually, I think we're going to get more time to talk today than we got last Saturday.
Well, that'll be fine.
It's kind of a screaming day.
You know, I got tangled up in my introduction to you, because I know of some of the things you've done, but I don't know all of your activities.
How many songs have you written?
I couldn't really say that now.
It'd take me a few minutes to think back.
I can't think of how many there were, but I guess all together it's been about 15 or 20.
Really, that many?
How old are you, by the way?
22.
That's a lot of writing in a short length of time.
Tell me about the formation of the Crickets.
Let's bring the Crickets on, the fellows who work with you.
Okey-dokey.
Well, ladies and gentlemen, the rest of you.
Buddy Holly on the Crickets.
The first one here is Jerry Allison.
Jerry, nice to see you.
And he's the drummer for the Crickets, and then Joe Marlin, the bass player.
Nice to see you.
How long has this operation been going on?
About a year and a half, maybe a couple of years now.
You know, I remember very well, I would say the first thing, it was the first thing I knew about that you did.
That'll be the day.
Was it the first record you ever made?
Well, actually it was.
It was a group of the Crickets.
It was our first one.
This is highly unusual.
Did any of you have a hand in the writing?
I did.
I did.
What'd you write?
All of it or part of it?
Just half of it.
A bigger half and a smaller half.
All righty, fair enough.
Gee, I'd love to do that with you someday, but you've got such a great new style that let's keep up with the times and do the thing called It's So Easy, okay?
Ladies and gentlemen, Buddy Holly and the Crickets, It's So Easy!
Let's sing.
It's so easy to fall in love.
It's so easy to fall in love.
Guitar solo.
People tell me love's a fool.
So here I go, breaking all of the rules.
It seems so easy, seems so easy, seems so easy.
Oh, so tell me, tell me, tell me.
It seems so easy, seems so easy, seems so easy.
Will you just learn to smile?
It's so easy to fall in love.
It's so easy to fall in love.
Guitar solo.
It's so easy to fall in love.
It's so easy to fall in love.
Look into your heart and see what your love for this little heart will be.
I'm gonna be a king someday, King someday, King someday, Ooh, the devil ain't here, devil, devil ain't here,
Yeah, the king someday, King someday, King someday, King someday, will you come back and knock on my door?
It's so easy to fall in love.
It's so easy to fall in love.
♪♪ ♪ With a little victory, victory, victory, victory,
victory, victory. ♪ ♪ But don't forget, don't forget, don't forget, don't
forget, victory, victory, victory, victory. ♪ ♪ Who will be? You can learn how. We are the group of
victory to fall in love. Victory to fall in love. ♪ ♪♪
We have not as yet talked to you.
Let's find out, are you going back to Lubbock, Texas, or where's home now?
Well, home is in Lubbock, Texas, and I'll be going back as soon as I can get a plane to New York.
Does that hold true of everybody, buddy?
No, I've got my car up here, Dick, and I'm going to have to think about a three-day journey getting there.
And you, sir?
I don't know.
He's going to thumb.
Does this happen very often?
Do you not always travel together?
Well, it's just according to the circumstances.
We just got off of a 17-day tour.
And I had my car on the tour, and the boys had a station wagon that some of the other group went home in, and so naturally they're having to fly it in, because I'll let them ride with me.
I figure, all right?
Gentlemen, the autograph table is over there, if we can join you there, okay?
Thank you so much.
The Crickets and Buddy Holly, Buddy Holly and the Crickets.
Thank you so much.
They'll be at the autograph table if you'd like to stop over.
And that's it, ladies and gentlemen.
That's all there is.
And I mean that sincerely.
That's every single cut on record that's known to exist of Buddy Holly in his short career.
As short it was.
Can you imagine that just during those very few short years Buddy Holly and the Crickets produced all of those fantastic recordings.
Some recording artists have gone for 10, 15, 20 years and not produced as much.
Now, granted, most of the recordings that you heard in this broadcast today, you never heard before in your life.
A lot of them never became hits.
Some of them were never put on record for sale.
But nevertheless, Buddy Holly wrote, produced, recorded, sang, played guitar, electric and acoustic, rhythm, lead, and on February 3, 1959, his life was brought to an end when a pilot inexperienced in flying on instruments took off with Buddy Holly, J.P.
Richardson, known as the Big Bopper, Richie Valens, whose real name was Richard Valenzuela, and flew into some pretty bad weather.
The plane crashed.
The pilot and all on board were killed.
It was truly a great loss for the American music profession For rock and roll, for all of the fans of Buddy Holly, all of us who remember his great music, and folks, it was a great loss for America.
For his music and Buddy Holly himself were truly American and the greatest traditions of all of the greatest that this country has ever produced.
Can you imagine?
He did all that when he was just barely a man.
In fact, some would argue that he was still a boy.
Obvious that he was reared well.
Thank you.
He had a vision.
He had a sound.
He had a beat.
He put it all together.
He didn't listen to anybody.
And he made it work.
And that's how everybody who's ever been great, not just in this country, but in the history of the world, have done it.
They follow the beat of a different drum.
They follow their heart, their dreams.
They follow a love, if you will.
And some, myself included, would say that they were on a quest.
A quest for their own kind of truth.
A quest for a life that meant something to them.
And that's how men and women become great.
Never by imitation.
Never by doing what the crowd expects you to do or wants you to do, men and women become great by following their heart, by marching to the beat of that different drummer.
They make a difference wherever they go, with whomever they interact, and the life that Whether or not they ever become famous makes its mark upon the world and upon all those with whom they come in contact.
Those are the people who really make a difference.
Those are the people whom we all always remember.
Those are the people who make this world work.
Those are the great inventors, the great aviators, the great pioneers, great industrialists, great artists, great grandmothers and grandfathers, great parents, and great writers.
Ladies and gentlemen, I hope you have enjoyed yesterday's broadcast going into the wee hours, and it is the wee hours now.
I'm looking at the clock on the studio wall.
It is 12.02 Mountain Standard Time in Eager, Arizona, and this broadcast has played itself to an ending.
I want to thank all of you who have stuck it out and listened to this memorial commemoration of the music of these three young men, and in specific, Buddy Holly, the great Buddy Holly.
And as Wolfman Jack would have said it, the late great Buddy Holly.
Good night, folks.
God bless each and every single one of you.
The Voice of Freedom.
Our own.
Thank you.
This is my daddy's station.
I'm through.
Classic radio like you always wished it could be.
101.1 FM, Eager.
We now return you to All Oldies Most of the Time.
Ah, classic radio, like you always wished it could be.
101.1 FM, Eager.
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