After all, love has never been to you, but I still can't overlook you, I'm gonna do my best to hurt you. After all, baby, and I'm gonna use gonna save, miss me, use gonna save, kill me, use gonna save, love me, cause I'm gonna love you. Ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah, ah. It's gonna happen something, it's gonna keep things fire away. It's gonna make sure you're loving me, cause I'm gonna love you. It's gonna tell me anything, it's gonna make my heart sing. Gonna hear those bells ring Cause I'm gonna love you too After all Another time I took you But I still can't overlook you I'm gonna do my best To love you After all it's been done You're gonna save Miss me You're gonna feel Kiss me You're gonna feel Love me Cause I'm gonna love you I'm gonna love you I'm gonna love you Ah, you're listening to the best and all That Buddy Holly ever recorded during his career I'm gonna tell you how it's gonna be Are you gonna give your love to me Cause I'm gonna love you Nightly You know my love And I'll take it away You know my love And I'll take it away My love is bigger than the Cadillac I'll try to show you You're driving me bad Your love You're driving me You gotta be real For you to know just how I feel Love for real Not fade away Classic radio Like you always wished it could be 101.1.1 FM Eager I'm gonna tell you how it's gonna be I'm gonna tell you how it's gonna be I'm gonna tell you how it's gonna be You're gonna give your love to me You're gonna give your love to me I love you like it more than one day Love is love and I'll take it away Love is love and I'll take it away Well folks we're not even halfway through What do you think about that? I mean we've got a long time to go A lot of hours still ahead of us We're going to take a break in about 35 minutes So that you can hear The Jackie Petrou program And we would have preempted that broadcast tonight But she is making her debut On a couple of new affiliates And we certainly Don't want to lose out on that It's important not only for Jackie Petrou But for the Worldwide Freedom Radio Network After his contract with DECA in Nashville Had lapsed in late 1956 Buddy Holly and Jerry Allison Continued to develop their musical partnership And it was during the ensuing months That the two perfected the fusion Which was later to be The backbone of all of the cricket's activities Jerry Allison Buddy's guitar playing Influenced my drumming more than anything I learned to play drums With what Buddy played We played together so much Because we used to just sit around And rehearse for no reason Just to be playing I knew how he was going to play it And he knew how I was going to play He and I used to play dances Not even a bass player And he would play chord lead He wouldn't play just single string things Like was normal That was the most different thing About the whole Buddy Holly and the crickets thing What Buddy played on the guitar We had to fill up all the holes in the music It was during these few months That Holly and Allison Taped many of their practice sessions Either at the Holly's home Or in Larry Holly's garage And of course They played many large dates as well Soon Holly and Allison Determined to make another demo Of That'll Be The Day In the hope of interesting One of the major record companies Including possibly Roulette Records In New York Jerry Allison said this Buddy Knox had Party Doll That was doing great And we said Well, how come he can do it And we can't do it We finally got involved With Buddy Knox's guitar player's sister Who lived in Lubbock She called us And wanted us to play on some demos Because she said I'm going to send these records to Roulette And we said Well, hey We'll cut some And you send them to Roulette for us In fact Buddy Knox's hit Party Doll Was made in the studio Owned by Norman Petty About a hundred miles away In Clovis, New Mexico And so it was to Clovis That on February the 25th, 1957 Holly, Allison Together with bassist Larry Wellborn And friend Nicky Sullivan Went to record a demo of That'll Be The Day Holly had already worked out A new arrangement for the song Which now was to include Background vocals In an attempt to give it A more polished sound Than the earlier version Made in Nashville The normal Petty trio Had already had several Successful singles Cut in Petty's own studio Most notably Moon Indigo With his wife Vi On vocals And Almost Paradise We didn't build the studio For other people We built it to record Our own trio But later After other people Discovered There was such a studio With excellent equipment In Clovis They started coming in Unlike Later Cricket's recordings When background vocals Were added later That'll Be The Day Was recorded All at the same time Remembers Larry Welber We had worked on That'll Be The Day For a long time Along with Those singers But even when we Went up to Clovis It seems to me Like we spent hours on it Just recording it Over and over Buddy had worked out The arrangement Ahead of time But Norman Petty Had us run through it Again And again Trying to make sure It was perfect However Perfect it was Roulette turned The record down Thinking it too similar To those of Buddy Knox And Jimmy Bowen And it was only then That Petty stepped in And offered to help By playing the tapes To contacts He had established Through his own success In New York After another rejection From Mitch Miller At Columbia Petty finally got a release From Bob Thea Then running the Brunswick And Choral labels Ironically Subsidiaries Of Decca Records Who not a year previously Had terminated Holly's contract Success was still A far off hope And between the recording Of this new version Of That'll Be The Day And its release In the last week of May Holly, Allison, Sullivan And Joe B. Malden Continued to rehearse Play live dates And make more recordings With Norman Petty The cricket's first live date Which was before the release Of That'll Be The Day Was in Carlsbad, New Mexico Nicky Sullivan Remembers it vividly Norman got us a booking In Carlsbad At the VFW Hall On the strength Of Buddy's Decca recordings Nobody went to Carlsbad As an entertainer So the place was packed When we got there The place was packed With kids Until we looked upstairs And it was all adults We felt really ill at ease Because this was our First performance publicly But we went out And performed For a good three hours And we had the place Rockin' You couldn't have heard Joe B. And Carls We had muted instruments So Jerry and Buddy Really carried the show Regardless The show must have Been a success For the group Made front page Headlines The next day The headlines Said this Buddy Holly And the crickets Break up Carlsbad Not bad For a young country boy From Lubbock, Texas Even if it was Carlsbad, New Mexico Joe Malden Also has fond memories Of the event Too Buddy and Jerry Came by one day They had a job In Carlsbad To play a dance And they needed A bass player For that night And so I accepted The job And on the way back Buddy asked me If I wanted to play Regular with it He said We've cut a record Called That'll be the day And it's gonna be A stone hit In fact Although it took Thirteen long weeks From the day They recorded That'll be the day To the day It was issued It was a further Ten weeks Before the record Showed in the bottom Reaches of the American top 100 It did, however Allow the group To stockpile If unintentionally Enough material For future use Norman Petty Buddy was in the studio All the time I was recording Other people At the time too But it would have Suited him fine If I'd just dropped Everything And just recorded Buddy He would have been there 24 hours a day Buddy's brother Larry Holly says Everything Buddy did He did with a sense Of urgency That he wasn't Going to have A lot of time He didn't slow down At all I think it was because He was doing What he wanted To do More than anything In this world Jerry Allison We just sort of Hung around We could record Anytime we wanted It wasn't a thing Where you go in For three hours And quit Because we could Record for five minutes If we wanted to Then knock off For three hours And then record more The first titles To be cut in Clovis After That'll Be the Day I'm looking for Someone to love Were last night And a demo Of Maybe Baby Recorded on 12th March And a couple of weeks After Joe Malden Had joined the group Next came Words of Love The first recording On which Holly double tracked His voice and guitar And as Jerry remembers Buddy had two guitar parts Worked out Before we even Started to record that I don't know how He got the idea But he planned To do it that way According to John Goldrosen Holly pretty Holly petty And the crickets Spent at least Six hours On the tin Working out the Overdubbing By a process Of trial and error Trying to achieve The balance and sound Holly wanted And by all accounts The sun was rising Before the session Was over Fortunately Petty's studio Had a small area In an adjacent room Where the boys Could rest or sleep After a particularly Long recording session And of course This saved them The inconvenience Of the long ride Back to Lubbock When things were Going well Nicky I remember Words of Love That was tough I finally went to Sleep on the couch About four in the morning I think they finished It after that That session Went from Eight in the morning Till about six or seven The following morning Jerry's calendar For 1957 Indicates that One session That started On June 29th Did not end Until the early hours Of July the first However The approach Seems to have worked For it was this Marathon That produced Not only Both sides Of Holly's Third solo single Listen to me And I'm gonna love you too But also The Cricket's Second smash hit Oh boy And probably Holly's Most remembered Release under His own name Entitled Peggy Sue There is no doubt That Peggy Sue Rates as possibly Holly's Greatest recording And the way This track Was recorded Is probably Typical of Most Clovis Sessions Originally known As Cindy Lou After Holly's Young niece It had a slower Tempo And a Latin beat Far removed From the final Master Nicky Sullivan Said But it didn't Sound right With the cha-cha Beat It had no class Then Jerry said Let's put my Girl's name to it Which was Peggy Sue But that was Hard to do Until Buddy Said to Jerry Why don't you Put paradiddles To it Which is A drummer's Beat That they use When they are Taking lessons With these changes The group Ran through The song But Allison's Drums Were far Too loud And were Spoiling the Sound balance So for this Session Jerry was Moved out Into the Lobby of The studio From there Teddy ran The microphone Wires through The echo Chamber And achieved The in and Out echo Effect of the Drums By manually Raising and Lowering the Volume And amount Of echo In time With the music To give the Recording Its unique And hypnotic Sound There was One other Problem Holly's Now legendary Guitar break In the middle Required him To flick the Pickup switch On his guitar Which he could Not accomplish Without stopping Playing Which would have Interrupted the Flow of the song Sullivan remembers How they did it I was in the Same room Playing rhythm Guitar The same exact Part along With Buddy And it wasn't Coming out On the tape Buddy couldn't Switch from Rhythm to Lead fast Enough without Breaking rhythm He couldn't Get his hand To the switch Fast enough And it Showed up On tape So we Stopped And redid It with Me pushing The switch On Buddy's Guitar On the next Take We did it It couldn't Have been More than Twenty Minutes Norman Petty's Recollection Confirms the Speed with Which Peggy Sue was Finally Recorded We had Been working For a couple Of days On various Cuts And I Think the Boys were Going to Put me On because They knew I was Tired So Buddy Said Let's Record some More I don't Want to Go to Bed So I Said Okay So at About 5.30 That morning Buddy Said Let's Write a Song About Jerry's Girlfriend It was About 5.30 That morning And I Think about 9.30 We had The Completed Master So it Really Was a Quick Thing And as Jerry Allison Says We were All Pretty Flipped Out About That One We Said Man That's Weird That's Different It Sounds Good The Flip Side Of Peggy Sue Was Every Day And as Norman Petty Recalls Was More Time Consuming Than Usual Every Day Took Us And Hit The Recorder So it Made It A Little Bit Time Consuming The Recording Is Also Unusual From The Point Of View Of Jerry Allison's Performance While Holly Was Demonstrating The Song During The Run Through Jerry Started To Join In Improvising By Slapping His Knees And The Sound Appealed To Holly So the Only Drumming On The Recording Is Jerry Allison Slapping His Knees This Leisurely Pace In Clovis Was To Change Noticeably When That'll Be The Day Started To Climb The Charts And Climb It Did And Thereafter Many Sessions Were Cut Out Of Clovis Either In New York Or Even On The Road During The Hectic Touring Schedule That The Crickets Now Undertook During August Of 1957 The Group Undertook Their First Touring Engagements Culminating In A Week Long Stint At The Paramount Theater In Brooklyn The Tour Included A Week At The Apollo Theater Which By 1957 Presented Almost Exclusively Black Artists For Ironically The Promoters Of The Tour Had Name After Appearances On The Alan Freed TV Show And The Paramount Dates Along With Other Artists Such As Larry Williams Little Richard The Dell Vikings And The Moonglows All Black Artists The Group Embarked On A Grueling 80 Day Tour Culminating On December The 1st In An Appearance On The Ed Sullivan Show After A Short Break And A Visit Back To Lubbock The Crickets Were Career For The Alan Freed Christmas Holiday Shows At The Paramount Theater New York Sharing Billing With Fats Domino The Everly Brothers Danny And The Juniors And Paul Anka This Heavy Schedule Was To Continue Until May Of The Next Year 1958 With Breaks Only For A Few Days Rest Or In Instances When White Artists Were Forbidden To Appear On The Same Shows As Black On Week Recalled Nicky Sullivan We Hit The Mason Dixon Line And It Was A Whole New Ball Game There Were 116 Of Us On Tour Both Black And White And The Biggest Problem We Had Was Going Into New Orleans Out Of Atlanta At The County Line We Were Met By Two Patrol Cars And They Forced The Buses Off The Road And They In Forced Us That In New Orleans There Is No Way That Blacks And Whites Are Going To Appear On The Same Program So They Put All The Blacks On One Bus That 96 People And They Put All The Whites On The Other Bus That 20 People And From There We Were Escorted Into Town The Blacks Were Taken To One Hotel The Whites Were Taken To Another And Then We Were In Formed We Could Not Appear On The Same Show It Was During This Enforced Break On The Road That The Crickets And Petty Took Advantage Of The Situation And Met Up In Oklahoma City Where Their Touring Schedules Coincided To Record Several Titles To Complete An Album Required To Capitalize On The Success That Will Be The Day Was Having Norman Petty At The Time My Trio Were Playing Oklahoma City And Buddy Had Two Days Off So He Stopped By And We Recorded Major Soundtracks In One Corner Of The Officers Club One Night And Buddy Continued On The Road And I Took The Tape Back And Added The Background Voices In Echo In New Mexico Nicky Sullivan Remembers The Event Clearly We Did Four Sides There Maybe Baby Was The Biggest Thing To Come Out Of That Session With Him Most Of The Remaining Tracks Were Recorded In Clovis Between May And July 1957 Mainly To Complete Either Of The Only Two Albums Ever Released During Holly's Own Lifetime The Chirping Crickets And Buddy Holly It Was To Complete The Ladder That A Rather Hurried Morning Session In New York Was Set Up Immediately Before Departing For Tours Of Hawaii Australia And Later Great Britain The Place On The Morning Of January The 26 1958 The Group Were To Appear On The Ed Sullivan Show In The Afternoon And The Song Scheduled For Cutting Was Rave On It Had Previously Been Recorded Unsuccessfully By One Of Its Original Composers Sonny West But As Roman Petty Says It Was A Real Hillbilly Number Brought To Me By Sonny West And Bill Tideman I Was Playing I Rather Like That Melody But It Is A Real Hillbilly Thing So I Said Would You Like To Do It If We Changed The Lyrics So Buddy Said Sure As This Was Not A Clovis Session And It Rather Hurried When It That The Opportunity For Recording The Background Voices Later Was Lost And The Recording Was All Done Together In Only A Couple Of Takes Despite The Celebrated And Successful Recordings As A Young Man Ladies And Gentlemen I Lived In Midwest City Oklahoma My Father Was An Air Force Officer Stationed At Tinker Air Force Base I Remember That Recording Session Ladies And Gentlemen It Was The 27th And 28th Of September 1957 At The Officers Club On Tinker Air Force Base Near Oklahoma City I Was In The Audience Now You're Going To Hear Some Of The Same Exact Music That I Heard And Saw Performed By Buddy Hollett And The Griffiths So Sit Back Relax And Enjoy We've Got A Long Time To Go People các Knowər Loan I'm going to the corner to become a sweetheart She's a lucky old baby, she's an apple of my heart Ready, ready, ready, ready, ready Ready, ready, ready, ready Ready, ready, ready, ready, ready Ready, ready, ready to rock and roll I'm going to fall off my shoes, I'm going to love my fatty jeans There's a rock and roll baby coming on the same Shuffle to the left, the sharp, or to the right Go to rock and roll to the twilight night Ready, ready, ready, ready, ready Ready, ready, ready, ready, ready Ready, ready, ready, ready, ready, ready, ready, ready, ready Ready, ready, ready, ready Ready, ready, ready Oh boy Oh boy All of my love, all of my kisses You don't know what you've been a missin' Oh boy, oh boy, when you're with me Oh boy, oh boy The whole world can say that you Are what I missin' for me Oh boy All of my life I've been a waitin' Tonight there'll be no hesitation Oh boy, oh boy When you're with me Oh boy All of my love, all of my love All of my kisses You don't know what you've been a missin' Oh boy, oh boy When you're with me, oh boy Oh boy, oh boy All of my love, all of my love All of my kisses All of my love, all of my kisses You don't know what you've been a missin' Oh boy, oh boy When you're with me, oh boy All of my love, all of my love All of my love, all of my kisses Oh boy, oh boy All of my love, all of my kisses You don't know what you've been a missin' Oh boy, oh boy When you're with me, oh boy Oh boy, oh boy The whole world can say that you Oh boy, oh boy All of my love, all of my kisses You don't know what you've been a missin' Oh boy, oh boy When you're with me, oh boy Oh boy, oh boy Oh boy, In my life I've been waitin' Tonight'd there be no way, there's a big no... Oh boy, oh boy I've been waiting, oh boy And you can hear my heart your pardon And a little bit of love "'Unt Literally<|en|> All of my love, all of my love My love, all of my kisses, you don't know what you've been missing, oh boy, oh boy, when you're with me, oh boy, oh boy, the world's great at you, oh boy, oh boy. February 3rd, 1959, Buddy Holly died in a plane crash along with the Big Bopper and Ritchie Valens. This is a memorial broadcast that will go until we play every recording that Buddy Holly ever did in his entire short life. Thank you. Thank you. Thank you. Thank you. I was in the audience, ladies and gentlemen, with a young girl named Beverly Beard, who I was deeply in love with. And this record was recorded. Maybe, baby, I'll have you. Maybe, baby, you'll be privileged. Maybe, baby, I'll have you. Maybe, baby, I'll have you. Maybe, baby, I'll have you. Maybe, baby, I'll have you. It's funny, honey, you don't care. You never listen to my friends. Maybe, baby, you will love me someday. Well, you are the one that makes me. Well, you are the one that makes me glad. And you are the one that makes me sad. Maybe someday you won't leave. Well, I'll be there. Well, you are the one that makes me sad. Well, you are the one that makes me sad. I'm the one that makes me sad. And you are the one that makes me sad. And you are the one that makes me sad. Oh, you are the one that makes me glad, and the other one that makes me sad, when someday you only will, I'll be there. Maybe, baby, I'll have you. Maybe, baby, you'll be true. Maybe, baby, I'll have you for me. Maybe, baby, I'll have you for me. Oh, what a rush that is, folks. I was only 13 years old at the time. Wow. How can I love you when you're away? How can I love you when you're away? Oh, Cindy, you're taking me a picture when you're taking my tears. I'm not taking my tears, my tears, my tears. So I can hold it. I can hold it. I can hold it. I can hold it. I can hold it. You're running anywhere, Can't you send me your kiss? Send me all your थ I can see your red eyes, I need you, I need you, I need you, I need you, so much, I need you, my days are so long, my nights are so blue. I'm near and I'm lonely, I'm waiting for you, can't you send me your kisses? I can see your eyes, I can see your eyes, I need you, I need you, my days are so lonely, I need you so much My days are so lonely My nights are so blue I'm here and I'm lonely I'm waiting for you I'm waiting for you Buddy Holly had a style and a sound all of his own that's never been duplicated by anyone before or since. Little baby, baby me Little baby, baby me In my heart you are the one Look around and have you return Oh, oh, oh, oh, you'll be my little baby And baby me Little baby, can you see What your love is going to be me Can you see love in my eyes Love that leaves me full of sight Oh, oh, oh, you'll be my little baby And baby me Don't touch that dime Classic radio like you've always wished it could be 101.1 Eager Little baby, baby me Little baby, baby me Maybe I will baby you With a barge of love for you Oh, oh, oh, oh, you'll be my little baby And baby me Ah, coming up dinner time for some of you But bring it in Listen to this broadcast and take your time Take your time I can't wait For all the love I know will be mine Please take your time Take your time I will dream Though it's late Heartstrings will sing like a string of swine If you take your time Take your time And take mine too I have time to spend Take your time Go with me through Time till all I'm in Take your time I can't wait I can't wait For all the love I know will be mine If you take your time Take your time Take mine too I have time to spend Take your time Go with me through Time till all I'm in Take your time I can't wait For all the love I know will be mine If you take your time They need you to return Please stay tuned at the top of the hour for the Jackie Petru program Immediately followed by a continuation of this memorial broadcast Honoring the work of Richie Valens The Big Bopper And of course, the great Buddy Holly We're going to play every record that Buddy Holly ever made in his entire career Don't miss a single second of it The way you stand at home at night The way you stand at night The Ray-Bone is a great feeling I know it's got to be the thing you say I know it's been a great feeling I know it's been a great feeling For the Ray-Bone is a great feeling I know it's been a great feeling I know it's been a great feeling But you're a great feeling If you're a love for me I'm a great boy The Ray-Bone is a great feeling Tell me it's not to be lonely Tell me it's been a great feeling If you love me only The Ray-Bone is a great feeling If you love me only The Ray-Bone is a great feeling And I know it's got to be a feeling I'm so glad that you're in the future love I am the red one, the red one, and the red one. Help me, help me, not to be lonely. Help me, you love me only. Help me, help me, help me, help me, help me. Well, ladies and gentlemen, it's getting close to that time. This has been a memorable afternoon. You got to hear little Allison's voice debut on the radio. And she was in here earlier, dancing with her poppy. We are honoring the work and achievement of Richie Valens, the Big Bopper, and the great Buddy Holland, who died altogether in a plane crash on February the 3rd, 1959. After leaving a small town, Clear Lake, in Iowa, on the way to South Dakota, where they were going to do another date. South Dakota or North Dakota, I forgot which. Right now we've got to do this. You're going, coming up, is the Jackie Petrou program. Which, immediately following, we will continue this memorial broadcast of the Hour of the Time on the Worldwide Freedom Radio Network. Make sure that you don't miss Jackie Petrou. And make double sure that you're back in front of your radio when it's time for us to reserve. This is the Voice of Freedom. The Voice of Freedom The Voice of Freedom The Voice of Freedom The Voice of Freedom The Voice of Freedom The Voice of Freedom The Voice of Freedom The Voice of Freedom The Voice of Freedom 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, classic radio like you always wished it could be. 101.1 FM, Eager. Stay tuned, ladies and gentlemen, for the Jackie Petrou program. Mr. Sandman, bring me a dream. Make her complexion, blood peaches and cream. Give her two lips like roses and proverbs. And tell me that my lonesome nights are over. And that I'm so low. Don't have nobody to call my own. Please turn on your magic feet. Mr. Sandman, bring me a dream.來oram, am I! Come on! To be like, hear your paycheck. Come on! Okay. Okay.