Buddy Holly

Charles Hardin Holley, known professionally as Buddy Holly, was an American musician and singer-songwriter who was a central and pioneering figure of mid-1950s rock and roll. He was born in Lubbock, Texas, to a musical family during the Great Depression, and learned to play guitar and sing alongside his siblings. His style was influenced by gospel music, country music, and rhythm and blues acts, which he performed in Lubbock with his friends from high school.
He made his first appearance on local television in 1952, and the following year he formed the group "Buddy and Bob" with his friend Bob Montgomery. In 1955, after opening for Elvis Presley, he decided to pursue a career in music. He opened for Presley three times that year; his band's style shifted from country and western to entirely rock and roll. In October that year, when he opened for Bill Haley & His Comets, he was spotted by Nashville scout Eddie Crandall, who helped him get a contract with Decca Records.
Holly's recording sessions at Decca were produced by Owen Bradley, who had become famous for producing orchestrated country hits for stars like Patsy Cline.

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When Sin Stops100 Classics - Malt Shop Memories2:10
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Jole BlonSurf Rock1:55
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Peggy SueTrue Love Ways2:32
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Words Of LoveTrue Love Ways2:15
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HeartbeatHeartbeat2:13
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True Love WaysTrue Love Ways3:47
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Oh BoyTrue Love Ways2:09
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EverydayTrue Love Ways2:17
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That'll Be The DayTrue Love Ways2:19
This disc is an interesting pairing, combining the contents of two LPs from opposite ends of the efforts to tap into Buddy Holly's catalog. That'll Be the Day, released in April of 1958, was Decca Records' first attempt to give a boost to the available Buddy Holly material, assembling 11 of the songs that he'd cut for the label during his four unsuccessful Nashville sessions of 1956 into an LP, issued one month after the Buddy Holly album was issued; Remember, released in 1971, was the last posthumous compilation of Holly's work assembled by British MCA, gathering together the last of his officially released singles, B-sides, and more. Curiously, it is the first 11 songs here, from That'll Be the Day -- which is usually dismissed by critics as not sufficiently representative of Holly's real sound -- that make this CD an important release, very close to essential listening. Those tracks, though a fair distance from the music that made Holly famous, are good, solid, occasionally inspired rock & roll, with a decided rockabilly and country flavor; they're as instructive about how the producers at the major labels -- in this case, Owen Bradley and his assistants at Decca's Nashville studio -- and young artists like Holly, without a lot of studio time under his belt, were finding their way around rock & roll recording. Those 11 sides, which never sounded better than they do here, make this CD a must-own release for anyone with more than the most casual interest in Holly's work or in early rock & roll; if the alternate take of "Rock Around With Ollie Vee" were here, the CD would be perfect as a document of its subject and period. The later songs, from Remember, are better crafted and more sophisticated, as well as encompassing some of Holly's best songs, including "Learning the Game" and "Peggy Sue Got Married," but those are all available elsewhere, and as the context of their inclusion on Remembering was mere happenstance, they're nothing more than handy bonus tracks here -- rather more impressive among those later cuts is "Real Wild Child," a frantically paced rockabilly number credited to Ivan and sung by Crickets drummer Jerry Allison, featuring Holly on guitar and backing vocals. The annotation is surprisingly sketchy concerning That'll Be the Day, concentrating far more on Holly's life story, and the original notes from Remember tell listeners more about that album's contents than do the new notes for the CD.
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