Hello I just joined your channel and I am glad that I did. My father's friend Dan Trammel who started the Fireballs knew Buddy and anyone connected with him.
I have a real copy of Jole Blon/When Sin Stops. Its in rough shape, but I'm just glad to have it at all. I also purchased a copy of Stay Close To Me/Don't Cha Know to replace my bootleg one. It hasnt arrived yet, but I look forward to it.
This was neat to hear. On one of the bios about Buddy, I had heard an acquaintance say if Buddy had lived, he would have his own studio as he was full of ideas. How many great musicians would have come out of that studio and how would the rock world be different?
Buddy had started making plans to build a house for his parents alongside a studio in Lubbock for his new Record Label Prism Records, with Publishing company involved (Taupe) and also planned to open a record pressing plant in Lubbock too, he involved Norman Petty, Ray Rush and some others to be involved, as he started producing other artists in 58, and wanted to work with Ray Charles, Rithchie Valens and no doubt, many others. He was 22 and had all these plans.. He was taking acting lessons too, and had professional photos done with a view to getting into the movies. As he worked with Dick Jacobs in the New York sessions with strings, I believe Buddy would have also scored for movies too. That remarkable young man was stopped in his tracks. Sadly for us all. But he lives on in us and in the music he did manage to create :-)
@@thecricketssoundproject Well he went on that last tour as a favor to Irvin Feld who owned General Artists Corporation which organized it. I think Buddy Holly wanted to keep in Feld's good graces with an eye to the future. Remember, Buddy had already angered some very important people in the music industry. Owen Bradley, Paul Cohen, Ed Sullivan, Dick Clark, Manny Greenfield, and Morris Levy. Sadly, if the plane crash hadn't stopped him, I think the industry would have. Besides, Buddy's good friend Eddie Cochran tried to get him in movies but was unsuccessful. Also, Norman Petty kept turning down the bit parts that the Allan Freed movies kept offering. I don't think the producers thought that Buddy Holly was good looking enough to be a movie star.
@@ianarchibald1423 Buddy didn't anger them purposley, he stood up to them in relation to his music. I'd do the same. They were assholes. The music biz was then and still is now, full of assholes. Good on the artists who stand up for themselves. Had he lived, Buddy Holly would not have needed any of those mentioned, they're merely chalk marks along a pathway, he was aiming big. Own label, own Publishing Co own Vinyl Pressing Plant, Producing new talent, and taking acting lessons, with new PR photos done by Bruno in NY. Along with this and he was learning more musical styles in New York (flamenco guitar, jazz as heard in coffee places), and plans to duet/work with other known artists, he would have gone into scoring for Film, having worked with Dick Jacobs and the orchestral sessions/players. Buddy Holly would have been a Tour de Force and not needed any of those shysters.
@@thecricketssoundproject I completely understand why they disliked him, and I absolutely agree with you. However, yes they were assholes, but they were very powerful assholes. I'm not sure if Buddy alone could have defeated them all and succeeded like he would have wanted to. I think they would have stood in his way and tried to sabotage him. That's all I'm saying.
@@ianarchibald1423 I read a story (we've all heard them before over the years) that certain people in the music biz knew how talented Buddy was and knew about his plans to produce, set up label/publishing/pressing plant and that they were scared of that happening, more competition, so they took him out. The story was on Google, "The Mob Killed Buddy Holly" - been lots of stories as you know Ian, but Buddy was making a lot of plans, and had just finished working in orchestral sessions with Dick Jacobs in NY. 22 yrs old !!! I am absolutely certain he would have gone onto scoring for film as well as producing artists and running his label/publishing companies. Ray Ruff and Norman were lined up to be involved in them, as was Snuff Garrett and some others. HAve you heard the telephone recording of Buddy speaking to Paul Cohen?, about him wanting Decca to release the NAshville cuts (songs) ? Buddy was very forthright and dealt with it professionally, he was only 22 and dealing with a top Record Exec (another asshole).The recording was on TH-cam but keeps being taken off. I have a copy of it. I bet Buddy ruffled quite a few feathers, he was a smart kid, and didn't take BS from anyone. Once his projects were off the ground, I believe he would have been a major player in the music industry, and would have expanded his staffing etc.
This is fascinating information that I had never heard before! Please never forget that this channel is important!!! The loss of Buddy is one of the most significant and tragic losses in the history of music. He would still be alive and vital today.. People like you are essential to keeping his spirit alive and his music in our ears. My heart aches every single time I think of what could have been. Please keep going with this channel. Even if only sporadically. I hope you do something with Listen To Me, Crying, Waiting, Hoping, Rave On, Dearest, Learning the Game and etc etc etc. RIP Buddy. #buddyhollylives
Awe thank you Izzi, that means a lot. Yep, oh what would have been. I believe he would have gone int Film Score etc, as he was taking acting lessons with a view to appearing in movies. He was with Dick Jacobs/Orchestra, so that would have had a serious impact on his aims, and orchestral/strings were and still are a major facet of film scoring. He was into other genres too, learning some flamemco guitar, listening to jazz in cafes etc in NY. What a loss indeed. More videos coming for the channel soon and a new website, which will have info on all the people involved in Buddy/The Crickets story. His official website is appalling, in fact, its off line. www.buddyholly.com has been taken off line. Shocking disregard for his music, life and legacy. More coming soon here and thanks once again 🙂
@@thecricketssoundproject I often wonder what would’ve become of him in the 60s. The popularity of folk rock. The rise of the Beatles. Drug culture. Vietnam. I never consider that he could’ve done movies. It sounds perhaps dramatic, but this man may have seriously altered the course of the world if he had lived. His contributions would have been seismic. It’s strange to say, but it’s seriously has a very strong effect on me. I play his music on the piano and the songbook I have for some stupid reason puts pictures of his crash site in between the songs and… My word. Just so very sad. I listened to that phone call between him and the record company guy who refuses to give him the rights to his songs and buddy just sounds so kind and in control of himself. Such a gentleman. Such a beautiful, talented man. Ugh. ❤️❤️
@@izzirf Yep. Sad. We forget he was only 22 yrs old. Initiated his own Record Label, started producing other artists, started his own Publishing Co, had plans to open up a Vinyl Pressing plant in Lubbock. The list goes on. He would have been a seriously big player in the music if not film industries. He was 22 and had plans
I've often wondered that too, there are certainly tapes with demos on them, which were never released. Im sure David Bing has interviews with Buddy's mother, Mrs Holley and she recalls tapes being in someone's possession. David has a TH-cam channel with the interviews on it
With the exception of Stay Close To Me, ALL these cuts are terrible. I say that as a Holly fan. Giordano's bland vocal is probably one of the reasons why he never made it. Also, Jole Blon is only made tolerable due to King Curtis' sax play. Jennings is singing jibberish as he didn't know the French lyrics. Now the musicianship, the playing, if you take out all the vocals isn't that bad. Otherwise, there is nothing for posterity here, unless one is related to the performers.
Spoken like a consumer. Missing the point Ian. Those sessions were Buddy's first attempt at producing artists signed to his own label. If Buddy signed them, he had good reason. Also, when endeavouring on any creative project, it's not as refined as it would be 6 months/a year into any project, ergo, you get better at it and more discerning as you go along. By they way, Buddy & Waylon came up with the lyrics for Jole Blon, yes, as they didn't know the french lyrics. Stay Close To Me was a song, as you know, written by Buddy, but not recorded by him, so he was trying his talents at writing for other artists. These young men were talented, but they were young and were gaining more and more experience as they went along. They weren't perfect. Fans of Buddy Holly would appreciate the projects for what they were, music business efforts/development. Buddy had good reason to start with Waylon & Lou. Nothing wrong with that or them in my book,
@@thecricketssoundproject No, nothing wrong, Buddy was right about Waylon. Perhaps I just wished they hadn't picked such a cheesy song for him to record (When Sin Stops). To be honest, I think Norman "Lawrence Welk" Petty had a lot of say in what was recorded. Then again, it was HIS studio.
@@ianarchibald1423 I agree partially, but I guess as he was starting out in his new creative projects, he was willing to give some young un's a chance, he knew opportunities dont come knocking for a lot of folk. Buddy was a very smart/clever young fella, at 22, he had his Music Biz head on. He was under represented, I genuinely feel Norman held back on acting parts as he wanted the best for the lads, but Norman was also busy with so many things, perhaps he could have relenquished the Managers role or handed that over to someone they both could agree on. Petty gave those young guys so much, he had contacts, the recording knowlege, music biz inside knowledge etc and Publishing insight too (hence the name The Crickets, to avoid legalities with Buddy's name on That'll Be The Day). I think that had Buddy progressed, he would be more discerning about songs and artists, whilst giving younger artists a chance.Its a fine line. I think they chose Jole Blon for good reasons, but perhaps now, thinking back, it wasn't a good starting point. It got them started I guess, on their respective creative journey.
@@thecricketssoundproject I think I've read that at first Petty didn't want to be their manager, but they talked him into it. I actually liked Jole Blon, I just wished they could have learned the right lyrics. It was the flip side that I thought was corny. FWIW, I think he should have had Waylon record Stay Close to Me.
Nice upload.
Buddy Holly foi uma inspiração do quanto pode se elevar o espirito humano na arte musical, em um meio já praticamente estabelecido. Great Holly !
Hello I just joined your channel and I am glad that I did. My father's friend Dan Trammel who started the Fireballs knew Buddy and anyone connected with him.
Fireballs video coming Mark. That's amazing, your father knew him, was he from Clovis ? I've spoke to George Tomsco before, via email. Nice fella
I wish Buddy and Waylon couldve finished "When You Are Lonely" and "More And More" together.
I have a real copy of Jole Blon/When Sin Stops. Its in rough shape, but I'm just glad to have it at all. I also purchased a copy of Stay Close To Me/Don't Cha Know to replace my bootleg one. It hasnt arrived yet, but I look forward to it.
Excellent ! hang onto them too, gems ! David Box's TH-cam channel is great, one for the hardcore fans. I'll post link below
www.youtube.com/@MemoryRolling/videos
These Waylon Jennings sessions were recorded when Buddy Holly brought King Curtis to Clovis to play sax on Holly’s “Reminiscing” session.
Correct. Come Back Baby, Reminiscing, When Sin Stops & Jole Blon recorded. Sept 58.
WAS SO GLAD WAYLON WASNT IN THAT PLANE. BUT SO UNHAPPY THAT BUDDY RITCHIE AND THE BOPPER WERE. ALSO THE PILOT. 😢😢😢😢
This was neat to hear. On one of the bios about Buddy, I had heard an acquaintance say if Buddy had lived, he would have his own studio as he was full of ideas. How many great musicians would have come out of that studio and how would the rock world be different?
Buddy had started making plans to build a house for his parents alongside a studio in Lubbock for his new Record Label Prism Records, with Publishing company involved (Taupe) and also planned to open a record pressing plant in Lubbock too, he involved Norman Petty, Ray Rush and some others to be involved, as he started producing other artists in 58, and wanted to work with Ray Charles, Rithchie Valens and no doubt, many others. He was 22 and had all these plans.. He was taking acting lessons too, and had professional photos done with a view to getting into the movies. As he worked with Dick Jacobs in the New York sessions with strings, I believe Buddy would have also scored for movies too. That remarkable young man was stopped in his tracks. Sadly for us all. But he lives on in us and in the music he did manage to create :-)
@@thecricketssoundproject Well he went on that last tour as a favor to Irvin Feld who owned General Artists Corporation which organized it. I think Buddy Holly wanted to keep in Feld's good graces with an eye to the future. Remember, Buddy had already angered some very important people in the music industry. Owen Bradley, Paul Cohen, Ed Sullivan, Dick Clark, Manny Greenfield, and Morris Levy. Sadly, if the plane crash hadn't stopped him, I think the industry would have. Besides, Buddy's good friend Eddie Cochran tried to get him in movies but was unsuccessful. Also, Norman Petty kept turning down the bit parts that the Allan Freed movies kept offering. I don't think the producers thought that Buddy Holly was good looking enough to be a movie star.
@@ianarchibald1423 Buddy didn't anger them purposley, he stood up to them in relation to his music. I'd do the same. They were assholes. The music biz was then and still is now, full of assholes. Good on the artists who stand up for themselves. Had he lived, Buddy Holly would not have needed any of those mentioned, they're merely chalk marks along a pathway, he was aiming big. Own label, own Publishing Co own Vinyl Pressing Plant, Producing new talent, and taking acting lessons, with new PR photos done by Bruno in NY. Along with this and he was learning more musical styles in New York (flamenco guitar, jazz as heard in coffee places), and plans to duet/work with other known artists, he would have gone into scoring for Film, having worked with Dick Jacobs and the orchestral sessions/players. Buddy Holly would have been a Tour de Force and not needed any of those shysters.
@@thecricketssoundproject I completely understand why they disliked him, and I absolutely agree with you. However, yes they were assholes, but they were very powerful assholes. I'm not sure if Buddy alone could have defeated them all and succeeded like he would have wanted to. I think they would have stood in his way and tried to sabotage him. That's all I'm saying.
@@ianarchibald1423 I read a story (we've all heard them before over the years) that certain people in the music biz knew how talented Buddy was and knew about his plans to produce, set up label/publishing/pressing plant and that they were scared of that happening, more competition, so they took him out. The story was on Google, "The Mob Killed Buddy Holly" - been lots of stories as you know Ian, but Buddy was making a lot of plans, and had just finished working in orchestral sessions with Dick Jacobs in NY. 22 yrs old !!! I am absolutely certain he would have gone onto scoring for film as well as producing artists and running his label/publishing companies. Ray Ruff and Norman were lined up to be involved in them, as was Snuff Garrett and some others. HAve you heard the telephone recording of Buddy speaking to Paul Cohen?, about him wanting Decca to release the NAshville cuts (songs) ? Buddy was very forthright and dealt with it professionally, he was only 22 and dealing with a top Record Exec (another asshole).The recording was on TH-cam but keeps being taken off. I have a copy of it. I bet Buddy ruffled quite a few feathers, he was a smart kid, and didn't take BS from anyone. Once his projects were off the ground, I believe he would have been a major player in the music industry, and would have expanded his staffing etc.
This is fascinating information that I had never heard before! Please never forget that this channel is important!!! The loss of Buddy is one of the most significant and tragic losses in the history of music. He would still be alive and vital today.. People like you are essential to keeping his spirit alive and his music in our ears. My heart aches every single time I think of what could have been. Please keep going with this channel. Even if only sporadically. I hope you do something with Listen To Me, Crying, Waiting, Hoping, Rave On, Dearest, Learning the Game and etc etc etc. RIP Buddy. #buddyhollylives
Awe thank you Izzi, that means a lot. Yep, oh what would have been. I believe he would have gone int Film Score etc, as he was taking acting lessons with a view to appearing in movies. He was with Dick Jacobs/Orchestra, so that would have had a serious impact on his aims, and orchestral/strings were and still are a major facet of film scoring. He was into other genres too, learning some flamemco guitar, listening to jazz in cafes etc in NY. What a loss indeed. More videos coming for the channel soon and a new website, which will have info on all the people involved in Buddy/The Crickets story. His official website is appalling, in fact, its off line. www.buddyholly.com has been taken off line. Shocking disregard for his music, life and legacy. More coming soon here and thanks once again 🙂
@@thecricketssoundproject I often wonder what would’ve become of him in the 60s. The popularity of folk rock. The rise of the Beatles. Drug culture. Vietnam. I never consider that he could’ve done movies. It sounds perhaps dramatic, but this man may have seriously altered the course of the world if he had lived. His contributions would have been seismic. It’s strange to say, but it’s seriously has a very strong effect on me. I play his music on the piano and the songbook I have for some stupid reason puts pictures of his crash site in between the songs and… My word. Just so very sad. I listened to that phone call between him and the record company guy who refuses to give him the rights to his songs and buddy just sounds so kind and in control of himself. Such a gentleman. Such a beautiful, talented man. Ugh. ❤️❤️
@@izzirf Yep. Sad. We forget he was only 22 yrs old. Initiated his own Record Label, started producing other artists, started his own Publishing Co, had plans to open up a Vinyl Pressing plant in Lubbock. The list goes on. He would have been a seriously big player in the music if not film industries. He was 22 and had plans
Would be really good if we could find that Buddy had recorded Stay Close to Me, he recorded everything else he wrote ,I wonder if his wife as it.
I've often wondered that too, there are certainly tapes with demos on them, which were never released. Im sure David Bing has interviews with Buddy's mother, Mrs Holley and she recalls tapes being in someone's possession. David has a TH-cam channel with the interviews on it
"Byng" here's the video interview th-cam.com/video/hQOpSKhsQ-w/w-d-xo.html
Interesting ,will have a look at that. Thank you@@thecricketssoundproject
Mike Berry did quite a good version of "Stay close to me" many moons ago.
He did indeed. Rollercoaster Records have the albums www.rollercoasterrecords.com/berry-mike-tribute-to-buddy-holly-hallmark-302512
With the exception of Stay Close To Me, ALL these cuts are terrible. I say that as a Holly fan. Giordano's bland vocal is probably one of the reasons why he never made it. Also, Jole Blon is only made tolerable due to King Curtis' sax play. Jennings is singing jibberish as he didn't know the French lyrics. Now the musicianship, the playing, if you take out all the vocals isn't that bad. Otherwise, there is nothing for posterity here, unless one is related to the performers.
Spoken like a consumer. Missing the point Ian. Those sessions were Buddy's first attempt at producing artists signed to his own label. If Buddy signed them, he had good reason. Also, when endeavouring on any creative project, it's not as refined as it would be 6 months/a year into any project, ergo, you get better at it and more discerning as you go along. By they way, Buddy & Waylon came up with the lyrics for Jole Blon, yes, as they didn't know the french lyrics. Stay Close To Me was a song, as you know, written by Buddy, but not recorded by him, so he was trying his talents at writing for other artists. These young men were talented, but they were young and were gaining more and more experience as they went along. They weren't perfect. Fans of Buddy Holly would appreciate the projects for what they were, music business efforts/development. Buddy had good reason to start with Waylon & Lou. Nothing wrong with that or them in my book,
@@thecricketssoundproject No, nothing wrong, Buddy was right about Waylon. Perhaps I just wished they hadn't picked such a cheesy song for him to record (When Sin Stops). To be honest, I think Norman "Lawrence Welk" Petty had a lot of say in what was recorded. Then again, it was HIS studio.
@@ianarchibald1423 I agree partially, but I guess as he was starting out in his new creative projects, he was willing to give some young un's a chance, he knew opportunities dont come knocking for a lot of folk. Buddy was a very smart/clever young fella, at 22, he had his Music Biz head on. He was under represented, I genuinely feel Norman held back on acting parts as he wanted the best for the lads, but Norman was also busy with so many things, perhaps he could have relenquished the Managers role or handed that over to someone they both could agree on. Petty gave those young guys so much, he had contacts, the recording knowlege, music biz inside knowledge etc and Publishing insight too (hence the name The Crickets, to avoid legalities with Buddy's name on That'll Be The Day). I think that had Buddy progressed, he would be more discerning about songs and artists, whilst giving younger artists a chance.Its a fine line. I think they chose Jole Blon for good reasons, but perhaps now, thinking back, it wasn't a good starting point. It got them started I guess, on their respective creative journey.
@@thecricketssoundproject I think I've read that at first Petty didn't want to be their manager, but they talked him into it. I actually liked Jole Blon, I just wished they could have learned the right lyrics. It was the flip side that I thought was corny. FWIW, I think he should have had Waylon record Stay Close to Me.