The End You're listening to the Worldwide Freedom Radio Network, with studios in Eager, Arizona, broadcasting on satellite GE1, transponder 7, 7.56 audio, and over 700 FM stations across the nation and around the world. This is my daddy's station. I'm Pooh, Plastic Radio, like you always wished it could be, 101.1 FM, eager. Thank you, sir. The End Hello everybody, you're listening to the Hour of the Time. I'm William Cooper. Today is a famous day in history, depending on who you are, of course. Some people would not regard it as such. So I'm going to take exactly three calls to see if someone else besides us knows exactly what happened on this day that is important to a lot of people, including me. And whoever, if one of our three callers can guess what today is famous for, they will win a free book of my choosing. It's my choice. You don't get to pick. But you will get a free book. And what you'll need to do is if you're the winner, we'll get your name and then all you have to do is send us a postcard with your address on it because I don't want to give your address on the air we will send you a book you'll be happy with it, I guarantee it so the number is 520-333-4578 and we're going to start the three calls right now we're only going to take three calls if you know what today is famous for and there are a couple of people whom we've talked to today who know the answer to this. If you're one of those couple of people, don't bother calling because as soon as I recognize your voice, we're going to hang up on you. This is for people whom we have not discussed anything with today about this broadcast. This broadcast is also going to go over time. If you're an affiliate station or if you're listening on satellite, this broadcast will not end at the normal time. It will go over time until it is finished. And that may mean preempting some later programming, which will, of course, be made up for at some other time. So the number is 520-333-4578. If you have the answer, if you know what this day, what happened on this day in history, then give me a call right now. We're not going to wait around for you to make up your mind or look in the World Almanac. We're going to start the clock ticking right now, and we're going to wait exactly five minutes to take these three calls. And after that time, we're going to go on with the broadcast and tell you what happened on this day, and you won't win a book. So if you'd like to take a chance, excuse me, folks, I've got a little fog in my throat. If you'd like to take a chance on winning a free book, give me a call. Good evening. You're on the air. Hi, Bill. Hello. I'm Sharon. I live in Ohio. Hi, Sharon. What's this day famous for? Supposedly, the income tax law was ratified, but it was not. Sorry, Sharon. You missed. George Washington. I mean, Wilson died today. Nope. That's not it either. Okay. Thanks. Sorry. Nice try. And thanks for calling. Bye. 520-333-4578. That's one call. We're only going to take two more. So if you want to get your call in, you better do it right now before somebody beats you out. Good evening, you're on the air. Good evening. Hello. Turn off your radio. Turn off your radio. Oh, okay. I can't turn it off. Yeah, it's off. Okay, what's this day famous for? I believe it's the Federal Reserve Act. Nope. Nope. Try one more guess. I thought it was either Federal Reserve or income tax. Well, it may be, but that's not what this broadcast is about today. Okay, sir. Well, I admire your efforts, sir, and thank you. Thank you for calling, and thank you for trying. 520-333-4578. You're all going to kick yourself when you're here, and it's going to be a good broadcast for those of you who want to listen to it in its entirety. We're going to go beyond our normal time. That means for you listeners on shortwave, you're going to miss a good portion of the later part of this broadcast. Good evening. You're on the air. Hi, Bill. What happened to the deal with the Templars, was it? Nope. Oh, well. You're caller number three. Want to try one more time? Oh, I'd have no idea. No idea whatsoever? No, not right. I'm sure when you mention it, I'll kick myself. Okay. Well, maybe this will jog your memory. Hello, baby. Yeah, this is the Big Bubba's beer. Oh, sweet man. Do I want? Will I want? Oh, baby, you know what I like. Chantilly lady and a pretty face and a bonnet hairline. Singing loud, wiggling the walls and wiggling the talk. Make the world around There ain't nothing in the world Like a big-eyed girl That make me act so funny Make me spend my money Make me feel real loose Like a long-necked goose Like a girl Oh, baby, that's the one I like What's that, baby? But But But Oh, honey But Oh, baby, you know what I like A chantilly lady That pretty lady That a funny tale Hangin' down A wiggle in the walk And a wiggle in the song Oh, hey, ain't the world Go round, round, round Ain't nothin' in the world Like a big-eyed girl Make me act so funny Make me spend my money Make me feel real loose Like a lone-neck goose Like a girl I'll be able to know for what I like. What's that, honey? Take me up at eight. And don't be late. But baby, I ain't got no money, honey. Oh, all right, honey. You know what I like. San Billy Lace had a pretty face. On his tail, hanging down A wiggling a walk and a wiggling so long Make the world go round Ain't a nobody in the world like a big-eyed girl That make me act so fun, make me feel fun When I sit and feel real loose Like a long neck goose and like a goat Oh, baby, that's the one I like! And that was The Big Bopper with Chantilly Lace. And this might also jog your memory. You are me, I am you, you are me, I love myself, oh God, you are me, I am you, you are me, I am you, you are me, I am you, you are me, I am you, you are me, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I am you, I'm a wonder and hope to love my dear God bless you, God bless you. Oh, I'm here to live, I'm here to live, I'm here to live, I'm here to live, I'm here to live, I'm here to live, I'm here to live, I'm here to live, I'm here to live, I'm here to live, I'm here to live, I'm here to live, I'm here to live, I'm here to live, I'm here to live, I'm here to live, I'm here to live, I'm here to live, I'm here to live, I'm here to live, I'm here to live, I'm here to live, I'm here to live, I'm here to live, I'm here to live, I'm here to live, I'm here to live, I'm here to live, I'm here to live, I'm here to live, I'm here to live, I'm here to live, I'm here to live, I'm here to live, I'm here to live, I'm here to live, I'm here to live Let him go to me Oh, God Oh, God Oh, God I wonder how many of you listening fell in love listening to that last musical selection. I'm going to let Wolfman Jack introduce you to the last subject and the main subject of today's broadcast. Who's those guys in the Wolfman, California? This is Joe in Little Rock, way down the valley. You come from there around California? Yeah, long distance. My, my, my. Listen, Matt, what time entertainment you got there, Kyle? All we got is you. That'll be the day. The late great buddy, Holly, and the Wolfman Jack. So. I'll be getting your money too Well, you know you love me, baby Until you tell me, baby, that someday Well, I'll do the world out of you today When you say goodbye, you're here to be the day When you make me cry, you're just gonna leave You know it's a life, oh That'll be the day when I die Well, that'll be the day when you say goodbye Yeah, that'll be the day when you make me cry You said you're gonna live You know it's a life all, it's gotta be the day When I die, well, when you get shot at dawn You shot at your heart, so think whatever part that I leave You say that hold me, hang me, and held me boldly And that someday, well, I'll be you Well, that'll be the day when you say goodbye That'll be the day when you pray, you cry I used to say you don't need, you know it's a light, cause that'll be the day. When I die, well, that'll be the day. That'll be the day. That'll be the day. That'll be the day. On February the 3rd, 1959, ladies and gentlemen, a small plane piloted by Roger Peterson and carrying as passengers J.P. Richardson, also known as the Big Bopper, Richie Valens and Charles Buddy Holly took off from Clear Lake, Iowa and shortly after crashed killing all aboard. I'm going to read you an article from the Clear Lake, Iowa Mirror Reporter published on February the 5th, 1959. It's volume 90 Issue number two. The headline is Death of Singers Here Shocks Nation, Rock and Rollers, Pilot, Die in Tragic Plane Crash. There was no fearful omen of tragedy Monday night when 1,100 teenagers and their parents packed the surf ballroom in Clear Lake for a gala rock and roll dance. featured were four nationally known entertainers, Buddy Holly in the Crickets, The Big Bopper, Richie Valens, and Dion in the Belmonts. The entertainers were full of pep, reacting joyously to the big crowd of young people. The Big Bopper, J.P. Richardson, who wrote the hit song Chantilly Lace, and Richie Valens, author of several top hits, playfully Indian wrestled backstage between acts. Two hours after the dance, three of the four singers were dead, along with the pilot who was flying them to Fargo, North Dakota, for another appearance. Their broken bodies were found in and around the wreckage of the light plane they had charted after the dance Monday night. Dead were the pilot Roger Peterson, 21, of Clear Lake, Charles Buddy Holly, 22, of Lubbock, Texas, Richie Valens, real name Richard Valenzuela, 17, of Los Angeles, California, J.P. The Big Bopper Richardson, 28, of Beaumont, Texas. Word of their death when the plane was found Tuesday morning in a snow-covered field six miles north of the airport focused nationwide attention on Clear Lake. The three singers are considered among the top rock and roll artists in the United States, and their recordings are currently on the best-selling list, some over the million mark. The fatal crash occurred on the Albert Jewell Farm in a pasture about a half mile west of the farmhouse. The plane, a beachcraft bonanza chartered from the Dwyer Flying Service, took off about 1 a.m. from the airport with the three men after they were taken to the airport by Carol Anderson, surf manager, his wife and son, Tommy. It is believed to have crashed shortly thereafter into the field on the jewel farm. Wreckage of the plane was discovered by Jerry Dwyer about 9.30 a.m. Tuesday. He had received no reports from the plane since it departed, and he began the search in another plane Tuesday morning. The craft first scraped the ground at a spot in the middle of the field, breaking off one wing and other parts of the plane. It then bounced and skidded about 200 yards further to the northwest, scattering wreckage and debris along the way until it piled into a wire fence along the north end of the pasture. The plane was completely demolished in the crash, but did not burn. The bodies of the three entertainers were thrown from the plane, two of them lying a short distance to the south of the plane, and the third was thrown over the fence about 20 feet into the next field. The body of the pilot was entangled amid the wreckage of the main part of the plane. Ambulances took the victims to the Ward and Wilcox funeral homes in Clearlake. An investigation was launched by the Civil Aeronautics Administration after the crash to determine its cause. Jerry Dwyer, operator of the flying service, could give no reason stating that the plane was in good condition and that Mr. Peterson was a competent pilot. Indications pointed to the fact that the plane touched the ground at a low angle, skidding along the field instead of plunging steeply into the ground. The only mark at the place where it first hit was a furrow scraped out by a wing tip. Civil Aeronautics Administration investigators arrived in Clearlake later Tuesday and remained overnight. Guards were posted at the scene throughout the day and through Wednesday night to keep the wreckage intact for the investigation. The major significance of loss of the three artists to the music world was indicated by the immediate requests of national press associations for full coverage. Requests also have been received from Life magazine for pictures. Other members of the troupe who appeared at the surf Monday night were traveling to Fargo by chartered bus. Ironically, Buddy Holly had told KRIB disc jockey Bob Hale at the surf that he didn't want to take a chance in the bus since it had broken down while traveling from Green Bay, Wisconsin to Clear Lake the day before. The three, therefore, decided to charter the plane and take care of advance arrangements in Fargo Tuesday. Valens, who only last year was a high school student at San Fernando, California, had just finished his first movie, and his song Donna sold more than a million records. Richardson, known as the Big Bopper, won nationwide fame for the song Chantilly Lace, which he wrote some months ago. Buddy Holly, singing star of the Crickets, has made eight records, two of which Peggy Sue and That'll Be the Day, sold over a million and a half copies. His newest record just released is It Doesn't Matter Anymore. Roger Peterson, the pilot, was born May 24, 1931 at, looks like Alta, the son of Arthur and Pearl Kramer Peterson. He graduated from Fairview Consolidated School in 1954, attending Ross Aviation School at Tulsa, Oklahoma, and was employed by the Graham Flying Service at Sioux City before coming to Clear Lake about a year ago. He was a member of the Redeemer Lutheran Church at Ventura and of the Clear Lake Junior Chamber of Commerce. Mr. Peterson and D. Ann Lentz were married September 14, 1958, in Alta and had resided in Clear Lake since their marriage in one of the Armsbury cottages on North Shore Drive. Besides his wife, he is survived by his parents, two brothers, Ronald and Robert, one sister Janet, his grandmother, Mrs. Elmer A. Peterson of Sioux Rapids. Funeral services were held at 2 p.m. Thursday, today, at the Redeemer Lutheran Church, with the Rev. E. H. Widman officiating. Services also will be held at 2 p.m. Friday at St. Paul's Lutheran Church at Alka, with burial to be in the Storm Lake Memorial Cemetery. Arrangements in Clear Lake were through the Wilcox Funeral Home. The body of J.P. Richardson was taken by Air Wednesday to Beaumont, Texas for funeral service. He was born October 24, 1930, and is survived by his wife, Adrienne, and a daughter, Deborah, who are in New Orleans. Mrs. Richardson also is expecting another child. Arrangements here were through the Ward Funeral Home. The body of Richie Valens was scheduled to be taken by Rail Wednesday to San Fernando, California for funeral services. Richard Valenzuela was born May 13, 1941, to Mr. and Mrs. Joseph Valenzuela. He is survived by his mother, Concepcion Reyes, of Pequena, California. Arrangements for Mr. Valenz were completed through the Ward Funeral Home. The body of Charles Buddy Holly, who was born September 7, 1936, was taken by plane Wednesday afternoon to Lubbock, Texas, for funeral services. arrangements here also were completed through the Wilcox Funeral Home. Ladies and gentlemen, the world lost three very good entertainers. Buddy Holly has reached the status of cult hero. And believe me, there is no better term for that. We have here in this studio every recording that Buddy Holly ever made. And today, if the creek don't rise, we're going to play every single one of them. We may take a break at 7 p.m. Mountain Standard Time in order to allow the Jackie Petru broadcast to go on the air. Normally, we would preempt her broadcast for this special network presentation. However, tonight she is going to be picked up by a couple of new affiliates, and we certainly do not want her to miss out on that opportunity. So, at 7 p.m. Mountain Standard Time, we may take a break for one hour and come back and pick up where we left off and complete this special tribute to Richie Valens, J.P. Richardson, also known as the Big Bopper, and of course, Charles Buddy Holly. Since we don't have a tremendous collection of Richie Valens and J.P. Richardson, we will concentrate and honor them all by playing every single recording that Buddy Holly ever made in his entire career. And all of you who think that you've heard all of the records that Buddy Holly made, you're in for a big surprise, because this young man was prolific. He was prolific, ladies and gentlemen. He started off playing country and western. His first recordings were country and western. He then moved on to what then was known as the bop. And then finally to rock and roll. He was truly an individual. He did not take advice well. He knew how he was supposed to sound. And by golly, he made sure that that's exactly the way that he did sound. We hope that you all enjoy this special presentation. And we hope that you will not forget. forget Richie Valens, J.P., the Big Bopper, Richardson, or Buddy Holly. For they have truly lent to all of us a lot of joy, an awful lot of some of the most wonderful music that has ever been written, produced, and recorded in the United States of America. This is the first record that Buddy Holly ever recorded in his life. It's called, ladies and gentlemen, I've Got to Get You Near Me Blues. and I think you're going to find out that your conception of who Buddy Holly was is going to change this evening we'll be interrupting with comment and an awful lot about the life and times of Buddy Holly I got to stop getting married. So I don't know if you need me. You don't think you're sick. I got to stop getting married. And forever I get married. But I see you all. When you come for a favor of the love that you love. So I don't think you need me. You don't think you're sick. I got to stop getting married. I don't know if you're sick. I don't know if you're sick. I don't know if you're sick. I don't know if you're sick. I don't know if you're sick. Thank you. I love you, I love you, I love you I don't know if you're a man And that was followed by Soft Grace In My Heart I gotta call I'll see you in my circle And the grief that's gone from on to let me I guess you know, dear I love that's always Not only, ladies and gentlemen, will you get to know Buddy Holly better this afternoon, you're going to get to know Bill Cooper a lot better than you ever thought that you did. Well, you never would have dreamed I'd do something like this. But then you don't know that I was a disc jockey at the age of 16 for the Armed Forces Radio Network in Tokyo, Japan. Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh But if you stop, you will be back again. But I'll come back here, and I'll no longer be true. I've got a soft place in my heart, my dream for you. On the band, or I should say in the band, that you're listening to, ladies and gentlemen, at this time, was Buddy Holly, who did all of the vocals, lead guitar. And Bob Montgomery did some of the vocals, played the guitar. Sonny Curtis on the fiddle. Probably Don Guess on the bass. The exact person is unknown, but Don Guess played an awful lot with Buddy Holly when he was on his home turf. There's an unknown steel guitar player. Nobody's ever been able to find out who exactly that was on Soft Place in My Heart, Door to My Heart, and Flower of My Heart. And these were mostly recorded in Newman Recording Studios in Wichita Falls, Texas, from 1954 through 1955. Additional accompaniment was by the Fireballs, added by Norman Petty, Clovis, New Mexico, in 1964. Some of these that you're going to hear initially in this broadcast were recorded at KDAV in Lovett, Texas in 1954 or sometime in 1955. The exact dates are not really known. Come on, buddy. Open up the door to my heart. The end of the day is the end of the day. I thought you would endure, and stay down with me When I opened the door, you and your son Now you've got my heart, my love and my pride But the Lord you're my home, you're your self-aware Flower of my heart is next. Wouldn't you know that if you opened the door to your heart, you'd burn the flower? Thank you. I know that I'll worry it over you But I'll never wait If you're in love and true Please come back to me, my darling For I can't live while we're apart Come back, come back to me, my darling For the world is a flower of art To me, to me, to me To me, to me, to me To me, to me To me, to me, to me To me, to me, to me To me, to me To me, to me To me, to me, to me To me, to me To me, to me I'm saddening on my way over you But I'll never leave me if you're loving me Please come back to me, my darling For I dare if I will come Come back, come back to me, my darling For you are the flower of my heart Well, found the flower, opened the door, what do you call that? Baby, it's love! It's a bad dog and living One in all, certain kids Then my heart was all And it was low, it was low I've been so many touching my arms One eye to learn, I'll fall in time Then my heart's like five And it was low, it was low So though if you do that Life someday should be free Life my heart lands low Faster, faster, faster Seven days away Just a plan, one week Buddy Holly was often criticized, ladies and gentlemen, for having a deep problem. Now, he didn't see it that way, but this is one example where you can see the tempo speed up and slow down. Sometimes it seems to get ahead of the vocalist. I'm going to go. And, you know, any love affair always brings with it a batch of... Memories. I love you in my heart's every dream Now my hopes are gone like friends through the stream But you've left me alone this memory I know that it may seem to you that I don't really care But someday when you're all alone and memories are back, you know you've left me alone with memories. I try forgetting what you made for me For now I realize when I'm alone In my mind I really know that you are gone But my foolish heart refuses to see That's why you left me alone with memories I know that it may seem to you that I don't really care But someday when you're all alone and memories are left You'll know you left me alone with memories And those memories are going to send them downtown to the Queen of the Ballroom Oh, I remember the Queen of the Ballroom I think every man when he's young remembers the Queen of the Ballroom You're the Queen of the Ballroom You're in every mansion When I look upon you I fill me with your charms You have all the things I have to keep with your love Your love to wish And I will love you Forever and always May I have you May I have it back now? I know you're looking for fun, not romance You're the queen of the ballroom And I love you more and more The queen of the ballroom Queen of the ballroom Oh, yeah. Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh And wouldn't you know, as soon as he met the queen of the ballroom, he had to gamble his heart. There ain't the way it always goes. Every mother knows. The End I am the Lord at all, I am the Lord at all, I am the Lord at all, I am the Lord at all, I am the Lord at all, I am the Lord at all, I am the Lord at all, The world is a world of love I've never let you fall I've never let you fall So thanks that they're through Oh Lord, you can see me so healthy I've never tried and I lost you Now I've been my life only farther And of course, once you've gambled your heart, now you and I are through. But, Tony, we just started. We're through. Oh, no. I'm going to go find Peggy soon. You love me but I just don't care if I'm in the world, I'll get at you, that's how You said if you were to leave me, you were gonna let me be, but now I find you. I love you for something new, but you said I'd never do without you and I Love you in my heart and love you in great things Let's try to think about all things, love your strangers with me You love me, but I just don't care about you, but I'll be there and you and I Love you in my heart and love you in great things I'm giving my body and love to everything. But it seems my body so much is ready to bring. You and me, but I just don't care about how you love, how you love, how you love, how you love. And you and I don't care. You and I don't care. Okay, I can take a hint. I'm gone. Now you're gone. The sun will be this time to start Don't believe why I'm not crying And I'm all alone And I know I'm torn And I'm tired of me Oh, what I feel for the life I'm missing, the love I'm missing, I know I'm alone, I'm alone. Now you're done Well, singing like that. Have you ever been lonely? Have you ever been lonely? Have you ever been lonely? This has never lost the love, just as I have been. It's me I'm a god, it's me for the days I've been. It's me I've been, it's me I've been. Be a little positive, please, grab me a little heart. How can I go to the end of the night, while I'm in the fire? Mother. Mother. Mother. Mother, I'm moving on down the line, Mom. Won't be home for a long, long time. Thank you. Thank you. Well, folks, when Buddy Holly and Bob Montgomery began recording demos in 1954, the thought that their efforts might end up on a commercial record probably never even entered their heads. They were, after all, only intending to send tapes and acetate dubs to record companies and agents who might, if they were lucky, invite them to record professionally. All the recordings that you're listening to right now were made as demonstration tapes, and would no doubt most probably have remained unheard by other than a few people had it not been for the demand for previously unreleased recordings in the years following Buddy Holly's death. In many cases, the recordings were made on domestic equipment, and those that were made in professional studios often only survived as doves, which after many claims began to show signs of wear. In 1961, Holly's manager, Norman Petty, began collecting these tapes and dubs from various sources, including Buddy Holly's family, friends, and business associates. Bob Montgomery had kept copies of the demos he had made with Buddy, and further tapes came from High Pockets Duncan, a Lubbock disc jockey who played a considerable part in getting Buddy and Bob started professionally. Most of these tapes were then overdubbed by musicians under Norman Petty's direction in an attempt to make them more acceptable for the commercial market. Unfortunately, no one thought to use the musicians who had accompanied Buddy during his career, and the results were varied in their degree of success. The recordings on this broadcast were overdubbed at various times between 1962 and 1968. the musicians being members of the Fireballs, a group who achieved some considerable success on their own account throughout the 1960s. You just heard Buddy and Bob's attempts to come to terms with the country and western market in the early 50s. Most of the tracks were recorded in their hometown of Lubbock and at Messman Recording Studios in Wichita Falls, Texas. The Lubbock demos were made at KDAV, a radio station, which offered local musicians a chance to perform live on the Sunday party, an afternoon program hosted by, yep, you guessed it, High Pockets Duncan. He said, quote, Those boys were pretty enthusiastic about playing to an audience. And he remembers, And I could see they had something. Now a lot of the kids that came down to the station had talent, but the big thing about Buddy and Bob, and Buddy in particular, was their determination to get out and get going. Apart from being a DJ, High Pockets took care of booking better-known artists into local venues like the Cotton Club, at the time Lubbock's most successful country dance hall. Artists like Marty Robbins, Ferlin Husky, and Porter Wagoner all played the Cotton Club, and Buddy and Bob tried their hardest each time to convince High Pockets that he should have them on the show as a supporting act. In many cases, he was able to favor them. They didn't earn much money, but the boys were happy to be on the same stage as the artists they idolized. Later, KDAV in high pockets booked Elvis Presley, at the time just getting started on Sun Records, into the club, and Buddy and Bob went along. Buddy talked to Elvis and later reported to Duncan that he was, quote, a real nice, friendly fellow, end quote. The next day, Buddy and Bob appeared with Elvis in a show to mark the opening of the local Pontiac dealer's showroom. And it wasn't long before Presley began to have a definite influence on Holly's singing, to the extent that his performance on the next Sunday party show included several of Presley's songs. Drummer Jerry Allison had become friendly with Buddy Holly during 1955, but at the time had few opportunities to play in the band that by now included Larry Welburn on bass. Jerry explained, When I started out with them, they had a group that was really just a duo in junior high school. That was the first time I saw them play, and they were strictly country music then. Then the band got bigger. I joined, and they got a steel guitar player. Then Sonny Curtis began playing fiddle with them. We started putting in a few rock and roll songs, but still playing mostly country. Then later, it became all rock and roll, or bop as we called it. with a little country flavor. And folks, when I first went to junior high school, the bop was the big cream. Most of you listening don't even know what I'm talking about, but you're going to hear some bop in just a few moments. Jerry goes on to say, Then Elvis came along, and we did every record he had out. Then when he came to Lubbock, he didn't have a drummer. So the group went back to being just Buddy and Bob with Larry playing bass. Buddy didn't want drums, because Elvis didn't have drums. So I just hung out and didn't play. Then, one day Elvis came through again, and he had drums. So we started having drums again. Folks, by the time Buddy and Bob had left high school, they had seriously begun to consider the chances of getting on a record label. With this in mind, they made several demo recordings, which came close in style to Elvis' son recordings. Sid King, at that time a popular rockabilly singer from Dallas, Texas, had met Holly a couple of times, and remembers hearing the demos he had made in Dallas, among them, Baby Let's Play House, titled, I Want to Play House, in error on previous releases, and Down the Line. We were recording then for Columbia, and Buddy thought we were a big deal. Like when we went to Lubbock, he'd come up to the bandstand at the Cotton Club, and he'd want to sit in with us. So we let him, but at that time, he was on an Elvis Presley kick. Everything he did was Elvis. He'd sound exactly like him, even on the doves he made. Sid also remembers Buddy's enthusiasm. Like the time he suggested the group come up to Dallas, where Sid was pretty sure of getting them on the Big D Jamboree, which was the biggest country show in the area. You couldn't say something like that to Buddy because he'd be there the next day. And that's kind of what happened. He didn't call us or anything. He just drove all the way down to Dallas on the Friday. And we were due to go on on the Saturday. He didn't get paid or anything, but they let him go on. But he did real well during his Presley bit. At the time, Buddy and Bob were less concerned with making money than with getting in front of an audience. Sid was later booked to appear at a club in Wichita Falls and had mentioned the place to Buddy, not knowing that the promoter had a reputation of not paying his artists.