Condition: Used
Buddy Holly - The Great Buddy Holly.
Label: Vocalion
USA Original
Record is VG++
Cover has 1 inch handwriting and corner and ringwear
Date: 1975.
Track Listing:
You Are My One Desire
Blue Days-Black Nights
Modern Don Juan
Rock Around with Ollie Vee
Girl On My Mind
That'll Be the Day
Love Me
I'm Changing All Those Changes
Don't Come Back Knockin'
Midnight Shift
Buddy Holly IS Rock N' Roll. Look at what he did with Chuch Berry's Brown Eyed Handsome Man? If there was no Buddy Holly artists like Frank Zappa would have been making strictly orchestral music.
Buddy Holly And The Crickets - That'll Be The Day (1957)
As a record buyer I've sort of followed the strange wandering persistance of "The Great Buddy Holly" over the years, so for anyone who has ever wondered about it...
(1) Holly made these tracks in Nashville, mostly with Lubbuck musicians Jerry Allson, Sonny Curtis, and Larry Welborn. Holly/Allison co-wrote `That'll Be the Day' and initially recorded it at that time.
(2) Decca dropped Holly's contract after two failed singles and shelved everything else. Holly and Allison strongly believed in `That'll Be the Day', but Decca declined to release another single -- and Holly was forbidden by contract to re-record his Decca session material elsewhere for two years.
(3) Holly and Allison re-recorded `That'll be the Day' at Norman Petty's studio in Clovis, New Mexico. They evaded the Decca prohibition by releasing it under the name "The Crickets" on Brunswick. (Joe B. Mauldin and Nikki Sullivan were quickly recruited to fill out the quartet, but had not participated in this first recording or its flip side.)
(4) The Brunswick release took off in late summer of 1957. Nashville hastily issued its version by "Buddy Holly" as a Decca single. For probably the only time in music history, an artist was up against his own cover on the charts. The Crickets on Brunswick beat out Buddy Holly on Decca (and still another cover by the Ravens) to achieve a million seller.
(5) Decca released the rest of Holly's Nashville sessions as the album "Buddy Holly - That'll Be the Day" the following year. Its cover photo of Holly is cropped from a group shot of the Crickets and pasted over a painting of Southwest desert. This album fared little better than their single, and languished in the Decca catalogue as a special order item.
While the Nashville sessions are every bit what other reviewers here say of them, they are not "typical" Holly and not the recordings that made him famous. They are totally different in style and content from his work as a major star on Brunswick/Coral. These tracks are a valuable part of his legacy, but only when labeled as what they are - pre-stardom 1956 Nashville sessions.
The LP contains Rockabilly classics such as 'Blue Days-Black Nights' 'Rock Around With Ollie Vee' and 'Midnight Shift' and is worth the cost for these tracks alone.
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