![]() ![]() They found out, however, that there was a lot more to playing and cutting rock &roll than met the eye the results of this and a follow-up It was with the latter two that Holly cut his first official recordingsession in January of 1956 in Nashville for Decca Pushing his music toward a straight-ahead rock & roll sound, working with Allison, Welborn, and assorted otherlocal musicians, including guitarist Leaned toward more of a traditional country sound, left the performing partnership, though they continued to composesongs together. They'd also cut some sides that would have qualified as rock & roll, though no label was interested at that particular time. Played as an opening act for Elvis when he played the area around Lubbock in early 1955, andHolly saw the future direction of his life and career.īy mid-1955, Buddy & Bob, who already worked with an upright bass (played by Larry Welborn), had added drummer Jerry Allison to theirlineup. Young Southern men who heard and saw Elvis perform in the days when the latter was signed to SamPhillips' Sun Records - indeed, Buddy & Bob By the mid-'50s, Buddy & Bob, as they billed themselves,were playing what theyĬalled "western and bop" Holly, in particular, was listening to a lot of blues and R&B and finding it compatible withcountry music. Musician from a musical family, he was proficient on guitar, banjo, and mandolin by age 15 and was working as part of a duo with hisboyhood friendīob Montgomery, with whom he had also started writing songs. Single most influential creative force in early rock & roll.īorn in Lubbock, TX, on September 7, 1936, Charles Hardin "Buddy" Holley (he later dropped the "e") was the youngest of four children. In a career lasting from the spring of 1957 until the winter ofġ958-1959 - less time than Elvis had at the top before the army tookhim (and less time, in fact, than Elvis spent in the army) - Holly became the ![]() ![]() Holly's influence was just asįar-reaching as these others, if far more subtle and more distinctly musical innature. Some of the finer points of its sexuality, and its youthful orientation (and, in the process,intermixed all of these elements). The process, and defined one aspect of the youth and charisma needed for stardom and ChuckBerry defined the music's roots in blues along with Was there first and established rock & roll music Elvis Presley objectified the sexuality implicit in the music,selling hundreds of millions of records in Was there first and established rock & roll music Elvis Presley objectified the sexuality implicit in the music,selling hundreds of millions of rec. Legendary status and his impact on popular music all the more extraordinary for having been achieved in barely 18 months.Among his rivals, Bill Haley Importance transcends any sales figures or even the particulars of any one song (or group of songs) that he wrote or recorded. Besides Roe (who has two obscure cuts in addition to "Sheila"), other names to watch for here are Bobby Fuller, with both sides of his first locally pressed 45 (different than the versions on his Tapes reissue), and one David Box, who was briefly the lead singer for the Crickets after Holly died.Buddy Holly is perhaps the most anomalous legend of '50s rock & roll - he had his share of hits, and he achieved major rock & roll stardom,but his As sub- Buddy Holly attempts go, this anthology is much more successful - and much more enjoyable listening - than the efforts during the same era by the Holly-less Crickets. Sometimes the similarity is close enough to tell exactly what song they have in mind to evoke, be it "Peggy Sue" (used more than once), "Everyday," or something else. Not only that, you get several different attempted angles on cornering the Holly sound: rockabilly raveups, sweet orchestrated ballads, easygoing three-chord guitar tunes. Of course, this is not a substitute for listening to Buddy himself, but in the spirit of digging the Knickerbockers' superb Beatle knockoff "Lies," this is a nifty sampling of the best Holly imitations, from such never-weres as Bobby Jamesons, Marty Evans, Royce Clark, and Ray Ruff. With the exception of Tommy Roe's number one hit (and "Peggy Sue" ripoff) "Sheila," these are all taken from excruciatingly rare 45s on tiny labels. An intriguing compilation of 16 Buddy Holly soundalike singles, circa 1959-1963. ![]()
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