I'm changing all those changes and listen to the difference. I should have recorded all those things I said I'd keep on my heart changing all those changes that I made at the highland peace. Wow! That's a big difference folks. Now you can hear what made Buddy Holly famous. This is the Buddy Holly style. I changed all the changes that I made when I left you Because I made no changes when I thought you were true But now with all I found my gone and nothing I used to play your part in the night of my dream I didn't stop at the leave. I just let you learn Out of here, and now I know you're young I am finding you anywhere I should have written a little hollow And I could have seen the night In the hollow sea That I may have seen I should have written a little hollow And I could have seen the night From this point out, folks, you'll hear his music become more sophisticated Much more popular And he soared straight to the top of the cuts And the waves that come there around Oh, I'll never see the day When you say, why? I know I'm not gonna be the day When you say, why? I know he's not gonna be the most right I'll never see the day When you say, why? When I'm a star, I'll be right When you take my heart, I'll be right When you make my face, I'll be right When I'm a star, I'll be right When I'm a star, I'll be right When you shut up not, I'll be right Don't go forever, I'll be right You can't hold me back You'll go away back someday I'll be right When you make my face, I'll be right When you make my face, I'll be right You know what love I call, happy day When I wear happy day Ooh, ooh, happy day Ooh, ooh, happy day Ooh, ooh, happy day Technically, that was a bad song, and the pitch was way too high for Buddy's voice. But the rest... is history. I want you To be with you You've left to go To act Oh, oh, oh, Oh, my, my, my, my Please say You will be mine You are the one And this, ladies and gentlemen, was the first manifestation of that stuttering, strolling, chakra, chakra, chakrimmolo that later was to appear in Peggy Sue and bring Buddy Holly, probably the greatest group of fans that any rock and roll star has ever had. I am the queen, baby, baby, you will be my kind. You are the one I have always. You are mine to have and to love. No one could have for more time. To go to the world, although my mind has been flying, we say you will be my kind. And now one of Gary Bourgeois's favorites coming up. And check it out. And now one of Gary Bourgeois's favorites coming up. And now one of Gary Bourgeois's favorites coming up. And now one of Gary Bourgeois's favorites coming up. And now one of Gary Bourgeois's favorites coming up. And now one of Gary Bourgeois's favorites coming up. Gary Bourgeois's favorites coming up. ZEGod Well, for all of us As we find it is As you find a way to be Yeah, I'm young and I'm free As you find a way to be Yeah, I'm young and I'm free As you find a way to be Oh, the fun young girl that you so die The way they laugh, the way they sing Make my heart go The way they laugh, the way they sing Make my heart go The way I have Make my heart go The way they sing The way they sing Only on Classic Radio the way you always wished it could be, 101.1 Eager. That's right. Buddy Holly. I love you. With a lovely Into a lovely I'll послед in Jealousy Thank you for Ad montan I've fallen With God With someone new To just love With you Well, because I love you I love you My God, my dear needs I love you I love you I want you to live I love you I love you Well, because you love me I love you I love you Forever I love you And you love me And you've got I love you I love you With you And With someone new To go To Love With you These next three cuts, ladies and gentlemen, were made on 15 November 1956 in Bradley's Barn in Nashville, Tennessee. I love you I love you I love you I love you Well, I'll walk through the rhythm in the blues tonight We're off to everything's gonna be alright Cause tonight, we're gonna walk through the rhythm in the blues Well, I got a little gal called, Olivey, Olivey, come from Memphis, Memphis, Tennessee. The band's darauf to stay And tonight, we know Doggy Temple,alleyarten, habitats, mallet island in the blues tonight So you know The songs from the cooperations Don't be holding a孤"... I love you We're gonna rock to the reason and the blues. You can hear him clearly continuing to develop that famous Buddy Holly sound that was to manifest itself at its peak later in Peggy Sue. We're gonna rock to the reason and the blues. We're gonna rock to the reason and the blues. We're gonna rock to the reason and the blues. I'm gonna shout, let holla and the geeks at night. I'm gonna shake it just a little in the middle of the night. Yeah, tonight we're gonna rock to rock around with holla beans, holla holla beans. Well, hey, Mr. Cop, look out tonight. He's trying to put a stop to me tonight. Yeah, tonight we're gonna rock to rock around with holla beans, holla holla. Yeah, we're gonna rock to the reason and the blues tonight. Rock is everything gonna be alright. And tonight we're gonna rock to the reason and the blues. Hey! We're gonna rock to the reason and the blues tonight. We can't rock to the reason and the blues tonight. We're gonna rock to the reason and the blues. Modern Don Juan, he wasn't. But a rock and roll star, he was. And I love the man in love. But a love, I say, I'm the only one. They say I'm a mother, no more. Well, I need both of them, I'm the only one. And I've got her and she changed me to the world. But I want only to make her mine. Well, you think I'm just hanging in her life. Oh, I love the soul. I never, never, never told. Buddy Holly. I'm William Cooper. This is the hour of the time. On the Worldwide Freedom Radio Network. I'm the only one. They say I'm a mother and God. Oh, I love her so. I never, never told. I never, never told. I'm a known for me, I love her. I'm a known for me, I love her. But oh, baby. Oh, baby. I am the only one. They say I'm a mother and God. Oh, I love her. I'm a known for me, I love her. I'm a known for me, I love her. It's Monday night. It's a beautiful day in Eager, Arizona. And everybody in the world is listening to the hour of the time. You are my world. You are my world. You are my world. You set my heart on fire. I They make my life so worthwhile You never know how much I love you If you will be my home, I will be here Part of my own desire You set my heart on fire You never know how much I love you If you will be my home, I will be here You are my one, give you life You set my heart on fire This next one you're going to hear, ladies and gentlemen, is the best thing that ever happened to every girl named Gunna. Made every boy want one of those. Richie Valens. And, because of this song, is the reason why a lot of people are on this earth today. Talk about baby blues. Talk about baby blues. I am down, don't believe, so I can't believe, but I am in your face, but I love my death, and I love my life, and I can't believe, but I can't believe, but I can't believe, but I can't believe, and I am and down, don't believe, so I can't believe, but I can't believe, but I can't believe, but I can't believe, so I can't believe, but I can't believe, but I can't believe, but I can't believe, but I can't believe, but I can't believe, but I can't believe, but I can't believe, I don't know what I do I don't know what I do I don't know what I do I don't know what I do I don't know what I do I don't know what I do we used to have this big glass ball on the roof of the gym every gym had one and the coach would always be there to make darn sure that nobody steps on his basketball court with shoes on that's why they called them sock-offs they were always held in the gym around the basketball court floor there were tables and chairs to sit on, and everybody danced bare feet or in their socks. It was a great time to be young. And my little comment about the baby boom really wasn't true about that era. You see, when I went to junior high school and high school, I never knew a girl who got pregnant out of wedlock. And I never knew a girl who got married before she graduated. And I'm not exaggerating, ladies and gentlemen, that's how much things have changed to our great shame. By 1955, Buddy Holly and Bob Montgomery, with bassist Larry Welburn, were incorporating more rock and roll into their act. And they were drawing in particular from the style and actual repertoire of Elvis Presley, whose first records on the Sun label were starting to sell well in and around the South. Buddy Holly and Montgomery, their calling card described their music as western and bop, were already well-known in and around Lubbock, Texas, and they broadcast regularly on radio station KDAV. Owner Dave Stone and one of the station's announcers, High Pockets Duncan, were responsible for promoting many shows in Lubbock. And Holly and Montgomery appeared regularly as local talent supporting artists such as Hank Thompson, Marty Robbins, Furlan Husky, Webb Pierce, all big attractions at the time. And, of course, the King Elvis Presley, who was just getting started. On October 14, 1955, KDAV booked Bill Haley into Lubbock on a show which also included Jimmy Rogers, Snow, Hank Snow's son, and Buddy Bob and Larry. Nashville booking agent Eddie Crandall was traveling with the show and was impressed with Holly's act. By this time, Holly was performing a mixture of country material on which he doubled with Bob Montgomery with some rock and roll songs which he sang alone. Crandall saw Holly again several weeks later when the group opened the show for Marty Robbins, whom Crandall managed, and was again impressed. In December, he wrote to Dave Stone at KDAV, Dave, I'm very confident I can do something as far as getting Buddy Holly a recording contract. Marty Robbins also thinks Buddy has what it takes, so all we can do is try. In the very next day, a telegram arrived at KDAV addressed to Stone. The message from Crandall read, Have Buddy Holly cut four original songs on acetate. Don't change his style at all. Get these to me as soon as possible airmail special. Well, folks, history has obscured exactly which four songs Holly cut in response to the telegram, but it is probable that two of them were Love Me and Don't Come Back Knockin', though not the versions that you just heard. Both were co-written by Holly and a local Lubbock girl, Sue Parrish. Crandall played the acetate discs to Jim Denny, an important figure in Nashville who had previously booked acts for the Grand Ole Opry radio show and who had recently set up his own song publishing company. The result was an offer, and the offer resulted in history. GECA Records wanted to record Buddy Holly. Paul Cohen wanted him to sign with his label, but as the company was looking for solo artists and not duos, Bob Montgomery was not included in the offer. Although Holly was reluctant to accept the deal that excluded Montgomery, he was persuaded that he should buy Montgomery himself and the first sessions were set up. Holly had no trouble in forming a band to take with him to record in Nashville. Sonny Curtis, who had played fiddle with Holly on many country sessions and live dates, was an excellent guitarist who was able to play in the same style as Scotty Moore had done on Elvis Presley's early discs, which Holly greatly admired. Larry Welburn, like Montgomery, dropped out because he was still in school and too young to travel to Nashville. So his place was taken by Don Guess, one of Holly's school contemporaries who had played with him from time to time. Holly would have added Jerry Allison, a long-standing friend and an excellent drummer to the lineup, but Allison, too, was still in school and unable to make the trip. As I remember, says Sonny Curtis, we left for Nashville in a bit of a hurry. Buddy was driving a new Oldsmobile then. There was Don Guess and Buddy and me, and we strapped Don's bass to the top of the car. It was a long trip, and on the way back we were practically broke. I remember we stopped at an Ant's of Buddy's in East Texas so we could get a decent meal. The first session was on January the 26th, 1956 and took place in a studio known as Bradley's Barn on what was then 16th Avenue South. It was one of the very few independent studios in Nashville at the time and was conveniently across the street from Jim Denny's Cedarwood Music Offices. On this first session, although Curtis and Guess were allowed to play, Holly was replaced on rhythm guitar by Grady Martin, a well-respected session musician, in order to allow Holly to concentrate on his own vocal performance and to allow Martin to supply a strong and dominant rhythm as there was no drummer on this session. The four titles made were Love Me, Don't Come Back Knockin', Midnight Shift, and Blue Day's Black Nights. Several weeks later, on April 16th, Holly's first single was released, Blue Day's Black Nights, and on the flip side, Love Me. Although the record didn't make the charts, it was not a complete flop, and it was even released in Britain in July. At the time, Holly wrote to an agent, They said my record was very popular around Washington, D.C. and through Missouri, and both Sonny Curtis and Jerry Allison remember their excitement on seeing the record on a jukebox later the same year when they returned to Nashville for their second session. Gene Vincent, who had recently cut Bebop-A-Luma in the same studio that Holly was using, once told how he first met Holly. I went back to the hotel, and there was this fella sitting there in the lobby who came up to me and said, Excuse me, can I get your autograph? And I said, Haven't I seen you someplace before? And he said, Yeah, my name's buddy Holly. He had a record out then called Blue Day's Black Nights. It was a fabulous record. The lack of success discouraged Holly a bit, but the release did help him to get work further afield. From Lubbock, that is. In the southeastern states with artists such as Sonny James and Farron Young, both big stars at the time, and it was on such tours that he began to acquire a stage presence necessary for a budding rock and roll star. The second session in Nashville on July 22nd was musically a more successful affair, partly because of drummer Jerry Allison's presence. Both Rock Around with Holly V, Track One, Side Two, and Tingaling are regarded as some of Holly's finest work of the period. While this session also produced an early version of That'll Be the Day, Holly and Allison had written this last song around a catchphrase John Wayne had used in the film The Searchers, and later, in a remade version, the song was to be Holly's very first hit. However, all five songs cut in July remained unissued for the time being, and according to Sonny Curtis, the session almost never took place at all. Don Guess had no bass and had arranged to borrow one. But as Sonny remembers, we were going to use somebody's bass, but when we arrived at the session, it wasn't there. It was up at WSM, and we had to go up there real quick and get that bass, or we weren't going to get to record that day, or ever again, as a matter of fact. Jerry reckons he, meaning Owen Bradley, wanted to go water skiing, and he gave us 20 minutes to round up that bass. By all accounts, Holly got on well with Owen Bradley and Jim Denny, but Paul Cohen, the label chief, was dubious of Holly's talent. He once called Holly, The Biggest No Talent I Have Ever Worked With, which may help explain why nothing from the July session was issued. No doubt, the age gap was a hindrance, for Holly and the group had no one in Nashville to relate to. As Jerry Allison remembers, back on those dates, I don't even remember which guy was Paul Cohen, and which guy was Owen Bradley, or who the engineers were. It was like they were the biggies, and we were just dips. We didn't groove with them or anything. We were sort of just afraid of them. Sonny Curtis said, In Nashville, we just stayed at the motel and didn't hang around with anybody. Just sort of hung with ourselves, or hung up at Marty Robbins' office and chased chicks. Holly and Allison were particularly pleased with their composition of That'll Be The Day, although the recording was in too high a key for Holly to be comfortable with it. Mickey Sullivan explains, Webb Pierce had said to Buddy, If you want to be a hit, sing high. And he sang extremely high, completely out of pitch. It was above his voice range, and he knew it. But he wasn't happy with it. Jerry Allison said, It seems like Owen Bradley said, That was the worst song you'd ever heard. And Sonny Curtis had this to say about the whole thing. Yeah, all the engineers thought that was the worst one. Which technically it was. But there was this one kid there, who swept up the studio, I think. And we got that kid out in the alley and said, Hey, which one did you like? And he said, Man, I like That'll Be The Day. And we said, Yeah, you're so right. On the next and final session in November, Holly was accompanied not by his own group, but by session musicians. One of the three songs recorded was a remake of an earlier title from the July session. Ironically, it was not That'll Be The Day. They remade, but Rock Around With Ollie V. Yet despite the added talent of Boots Randolph on saxophone and Grady Martin on lead guitar, the session was comparatively fruitless. A second single was issued at Christmas, coupling Modern Don Juan with You Are My One Desire. And that record also had no success. The origins of the remaining tracks are not certain, but it seems more than likely that they were recorded privately by Holly in Norman Petty's studio in Clovis, New Mexico, during the early months of 1956, particularly in the case of Rock Around... Nope. In the case of I'm Going to Set My Foot Down in Rock by Rock, as demos to send to Nashville for submission for future sessions. These demos remained unissued until several years after Holly's death, when they were released in stereo with added accompaniment overdubbed by the fireballs under the supervision of Norman Petty. There are various theories, ladies and gentlemen, as to why Holly's first commercial recordings were unsuccessful. I mean, you've been listening to them since the beginning of this broadcast today. This is hot stuff. There is no doubt that after his early success around Lubbock and his subsequent signing by one of the country's major labels, who after all were having success with Billy Haley, Holly was disappointed not to have made it. In some cases, he may have rubbed people the wrong way, as Jerry Allison suggests. He always knew what he wanted, and if somebody didn't do it like he wanted it done, there would be conflict. You see, Buddy was never meek, and Don Guest substantiated it. He said Buddy was very temperamental at times. He definitely wanted his own way. Mr. Denny and his wife had a lot to do with holding Buddy down as far as temper was concerned in sessions. The facts of the matter are, however, that the ingredients were wrong. You see, Holly's group was first class, and Sonny Curtis remembers how flattered he was that on the first session he was allowed to play lead guitar while Grady Martin, a top session player, played only rhythm. But nobody really knew what to do with Holly. Sonny Curtis remembered nobody messed with us at all, told us how they wanted it to sound. They just turned on the mics and let us go. They weren't really into rock and roll, and they didn't know what to do. They knew it was happening, and they just wanted a rock and roll artist, and they didn't have a clue as to how rock and roll should sound, because everything in Nashville was still basically country. Owen Bradley, one of the industry's most respected producers, admits, I'll tell you what happened. Paul Cohen and I felt we should record him country, but Paul said, Look, just call our regular guys and do country. We'd go in to record him, but Buddy had a feeling to go in a different direction. He heard a different drummer. Referring to the later recording of That'll Be the Day, he confesses, I don't know whether Decca dropped him or not, but he turned up with us on Brunswick, which was a subsidiary of Decca. This time he was doing it the way he heard it, and this is the way it should have been done in the beginning. It was good to see that happen. He proved he was right, but see, we had no real experience doing what I call rock. That was sort of a disaster, I guess, and then he laughed. Well, whatever the reasons, ladies and gentlemen, Holly undoubtedly learned a lot from his experiences in Nashville. Had the recordings been hits, only two singles were ever released at the time, then Holly might have been forced, like so many other rock and roll stars, to stick to the formula that brought him that success and to remain in a musical environment that discouraged change. As luck was to have it, success was near his home in Lubbock, than Nashville. For Holly, convinced that that'll be the day, had hit potential, decided to try things another way, and within weeks of his last Nashville session, was planning to make the hundred-mile journey, from Lubbock to Clovis, New Mexico, to the studio owned by Norman Petty. Make sure, ladies and gentlemen, that you don't touch that dial, because you're not going to hear any broadcast like this, anywhere else in the world. This is the hour of the talk. I'm William Cukor, and the star is Buddy Hollis. Well, that'll be the day, when you're crazy by it, that'll be the day, when you make me cry, you burn so yellow, you know it's a light, oh, that'll be the day, when I die, where you keep the call, you know the tension, the burden of it, how are you talking, and your money through, well, you know you love me, baby, and you tell me, maybe that someday, well, I'll leave the world, that'll be the day, when you say goodbye, well, that'll be the day, when you make me cry, you say you don't leave, you know it's a light, oh, that'll be the day, when I die. well, that'll be the day, when you say goodbye, that'll be the day, when you make me cry, you say you don't leave, you know it's a light, oh, that'll be the day, when I die, well, when you get shotty-shot, shotty-shot, that's your heart, so it's whatever part, that I leave, you say you hold me, and you say you don't leave, and that someday, well, I'll be the world, that'll be the day, when you say goodbye, that'll be the day, when you make me cry, you say you don't leave, you know it's a light, oh, that'll be the day, when I die, well, that'll be the day, oh, that'll be the day, oh, that'll be the day, oh, that'll be the day, oh, that'll be the day, oh, yes, ladies and gentlemen, and that was the day, because that song made Buddy Holly. I'll be playing it home, waiting for you to, just walk in, cause you say, well, I'm looking for someone to love, I'm looking for someone to love, well, that you're not here, but I don't care, so I'm looking for someone to love, playing the field, all day long, since I found out, I was looking for someone to love, I'm looking for someone to love, well, that's not here, but I don't care, cause I'm looking for someone to love, I'm looking for someone to love, calling myself, making of you, cause you gave love with me, and love with you, well, I'm looking for someone to love, just looking for someone to love, well, that's not here, but I don't care, cause I'm looking for someone to love, I'm looking for someone to love, well, I'm looking for someone to love, drum man, street talk, push the lip, there you are, well, I'm looking for someone to love, I'm a collapses. I almost didn't make it back. Ah, the next one, Last Night. But it wasn't. Last night as I watched the stars from my window, I prayed, Lord of God, to guide and protect you. Though I'm not holding now, I still love you somehow. That's my only plan for you. Last night as I gazed through the mist in my eyes, I wanted you here to hold you so near. But silence tells me, you didn't hear my feet. I missed you so much since you left me. My heart aches apart since you left me. Though I'm not holding now. This is the Voice of Freedom. Here we go. Thank you. Thank you. And over 700 FM stations across the nation and around the world. This is my daddy's station. I'm Pooh. Classic radio like you always wished it could be. 101.1 FM. Eager. 1.1 FM. 1.1 FM. 1.1 FM. It's moving,Ooh. The blue. phenocyn. Wolves are sky. política. It's moving. It's moving. It's moving. And moving. And moving. And moving. And moving. The End You're listening to the Hour of the Time. I'm William Cooper. Ladies and gentlemen, this is a special memorial presentation honoring three of this nation's greatest rock and roll stars. J.P. Richardson, also known as the Big Bopper. Richie Valenzuela, whose professional name was Richie Valenz. Charles Holley, whom we all know as the great Buddy Holley. And so we're playing every single record that Buddy Holley ever cut during his entire career tonight. Most of these records, most of you have never heard and would never have heard had this broadcast never taken place. And I hope you're enjoying it because I certainly am. Now, without any further ado, let's get back to the music because that's really what it's all about. My heart is apart since you left me. Though I'm not what it's not, I feel love you somehow. That's my only prayer for you. Last night, last night, last night, last night I finally told you. Tell me, where are we? Oh, okay. Maybe they do. This is one of the greats, folks. Maybe they do. But what they do? I need to see them장 nieten qu revolution또ям. There's all the hell that I tried that scene to see. But with Messier City about me it says, but actually what I had to say there's always a place where, because they exist, but you feel like happy to make sure they are making sure that they define them. Or aren't going to come to realize I have to say thank you. See here we hear you. Where You become non бел full of gold Where You become non Stephanie, Yes please Are there only One Captain or drop And yet, I said Wait were Terri Baby, baby, I'll have you. Baby, baby, you'll be real. Baby, baby, I'll have you far. Baby, baby, I'll have you far. Well, you can tell, I guess, that that's not the one that became the big hit. You're going to hear earlier versions of all of the biggest Buddy Holly records right here on 101.1 FM, Eager, and the Worldwide Freedom Radio Network. Hold me close and tell me how you feel. Tell me love is real. Words of love to me.ировать of them too. I would, I'd love you. Mmm. Mmm. Thank you. Thank you. Thank you. And here it is, folks, the one you've been waiting for. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. I love you, girl, and I need you, baby, baby I love you, baby, baby, baby With a lot of relatives, baby I love you, baby, baby I love you, girl, and I want you, baby, baby I love you, baby, baby, I love you, baby, baby I love you, baby, baby, baby I'll take you, well I love you girl and I need you to take you I love you, I'll take you, with a love so let it go, okay I'll take you, well I love you girl and I want you to take you I love you girl and I want you to take you, I'll take you, I'll take you, I'll take you There really was a Peggy Sue, ladies and gentlemen, and she was around every day Every day, it's getting closer, it's going faster than a roller coaster At least for a while Love like yours will surely come my way Hey, hey, hey Every day, it's getting faster, everyone can go unmask her Love like yours will surely come my way Hey, hey, hey Every day, things a little longer Every way, love's a little stronger Come what may, do you ever long for True love from me Every day, it's getting closer Going faster than a roller coaster Love like yours will surely come my way Hey, hey, hey To keep you the circ mos Every day, things a little longer Every way, love's a little stronger, come what may, do you ever long for true love from me? Every day, it's getting closer, going faster than a roller coaster, love like yours will surely come my way. Hey, hey, hey, love like yours will surely come my way. Hey, hey, hey. That made Buddy Holly rich as a young man. If a country boy from Lubbock, Texas can be a great rock and roll star, and if I can be a DJ on this radio broadcast, ladies and gentlemen, and if you've all got the same size brain and the same opportunities, just think what you can do. Bring me home for the blue, what a blue letter is all I need to do. Of course, nobody wants you to know that. Only once that night Cause they, she's no longer time It's her mailman that'll do for some time To cry like never before So hard, couldn't cry no more She's a mailman She's a mailman Away from my door Mailman Bring me no more blisters Mailman Bring me no more blisters What's up here Is all I can see Oh, boy. Well, see what happens when you listen to me, folks. I feel nectar He I feel like Thurberry Look underp tears Sing the whole Thing It's always funny. I Class Time