Well, I think I got that from my grandmother, who read me, she's the one who developed my taste for books and everything. She'd read to me for hours when I was a little baby and as I grew up and got older. And she would always do it in a manner that made it more like storytelling than reading. Come alive. Yes, she made it come alive. She just made it wonderful. And I've never forgotten that. She taught me what common sense was. And, you know, I think if it hadn't been for her, I probably wouldn't be anything near what I've... What a great gift she gave. Yeah, yeah, that's true. You just never know. When you have a child, you never know what's going to happen, you know. Well... I've discovered that children are just waiting for somebody to teach them. And they'll learn anything that you want to teach them as long as you do it in the right way and don't try to overload them. It's almost uncanny what they're capable of, isn't it? Oh, they're capable of so much more than people think. I know parents who won't, you know, teach their... or even try to teach their children certain things because they're not old enough. I've never heard of anything so ridiculous in my mind. When are you old enough? Right. I mean... Every moment. Every moment you're old enough. I'll tell you, with my boys, we started reading a poem a day. And like, I think this was like fourth grade. Within a month, they had it memorized. And they might write a Paul Revere, real long poems. Uh-huh. And I never told them they had to memorize it. We just read it once a day. Yeah. And they just pick it up. It's just, I guess, sixth grade is about when they peak on that. Sure. They're just like little sponges and it's just there. Yeah. And you can always memorize things you like much quicker and better than you can things that you don't like. Yeah. And poetry's a good thing to have a love for, just like reading. That's another thing I always want them to love, you know? Yeah. So, anyway, well, I'll let you go. I just wanted you to know I sure do enjoy this. Well, I'm glad that you do, Rita. And tell Pooh what's the mail. Okay. Well, she does that anyway. I can't wait to get your letters. Great. She called you her pen pal. Yeah, we have so much fun with that. And I got Allison something that I'm going to send her because I thought I wanted to give her something. I know she's a little, little, too little to know when it's coming in the mail yet. Yeah. But there's a little surprise coming to her, too. So, it's something she'll have fun with. I know she will, too. Oh, yeah. She is a lot of fun. Both the girls are comedians, you know? You should see Allison when she visits me in the studio. Usually, I'll put the earphones on her head and she'll dance. She just dances around the studio with the earphones on her head. John got a kick out of her going, Dad, Dad, looking for you everywhere. He still talks about things. And she is so cute. The way she looks around like looking for you. Yeah, she follows me around like a little puppy. You're right. I mean, she is really, she has a funny sense of humor about her. She certainly does. She's so little, but she really does. She just bubbles with it. Yeah. And she likes to read. Guess what she's doing now? Is she reading, really? No, she's not reading. But here's what she's doing. She'll find a book. Uh-huh. Anywhere in the house. If she's playing or something and she finds a book, she will bring the book to me and she will not stop pestering me until I pick her up and read that book to her. And so we begin again. And so we begin again. All over again. And it's wonderful. Oh, that's great. And she loves it. She sits there with this rapt attention and this wonderful happy look on her face. Yeah. As I read to her. And I can tell she's going to be just like Pooh. That's where it all started. With Pooh, I'm sure, it's about the same age. Well, even sooner. Even sooner. Just as soon as you can. It's a good thing to do with a minute. Sure. Yeah, that's wonderful. Yeah, that's great. Well, I'll be here listening. Okay, I've got to get my gas mask. I smell another batch of plastic. We'll give everyone our love. Okay. Good night. Bye-bye. Kiss the boys. Okay, I will. Don't make them cry. Bye-bye. Good night, Reva. My friend, Reva. Back to Buddy Holly. Back to back. So are we ours. Let's go back. What they said, Reva. What they said to you. I was into you. They are moving on with that. You know, I love you, Reva. You're such a nice lady. I love you. I love you. Bet what they said to you. They are going to be jeezers. Let's go back to you. Yeah. I love you. Take your back. What they said to you. What they said to you. The Alice'sologie. Thank you. Thank you. Thank you. Wait till you hear this next one, folks. Those New York people had Buddy Holly singing everything you can think of. Wait till the sunshine derry. Wait till the sunshine derry. Wait till the sunshine derry. Wait till the sunshine derry. Wait till the sunshine. And the sunshine derry. Wait till the sunshine derry. To do was you? To do was you? Oh it's just again a point. Everyone is a good person. The To do the To and the The Within SARAN Asian Andasten And Iyt Well folks, I've got cauliflower ears and I've got to take a little trip to the johns. So there's... There's not going to be any pitter-patter between the next two, whatever you call them. I'll be back when I'm back. You're so old and you're so old. It's together here. I love you, bro. I love you, bro. You may be a bit more than what you call them. I'm here. I'm here. I'm here. You may be a bit more than what you call them. I'll be back. I'll be back. I'm here. I'm here. I'm here. I love you, bro. I'll be back. Yeah, I'm going to reach you right. Yeah, I'm going to reach you right. Yeah, I'm going to reach you right. Yeah, I'm going to reach you right. Yeah, I'm going to reach you right. Yeah, I'm going to reach you right. Yeah, I'm going to reach you right. Yeah, I'm going to reach you right. Yeah, I'm going to reach you right. Yeah, I'm going to reach you right. I'm going to get Annie a job cooking plastic at Smokey Joe's Cafe. I told you they had him doing everything. I told you they had him doing everything. I told you they had him doing everything. I told you they had him doing everything. I told you they had him doing everything. Why do we call it the John, folks? Why not the Henry or the George? Well, well, well, I don't know either. This is the Voice of Freedom. The Voice of Freedom The Voice of Freedom You're listening to a special broadcast of the Hour of the Time on a coast-to-coast broadcast of the Worldwide Freedom Radio Network. I goofed that up. Well, anyway, here she comes. It's the Pooh. This is my daddy's station. I'm Pooh. Classic radio like you always wished it could be. 101.1 FM. Eager. Thank you, my dear. Oh, boy. She'd be very angry with me if she thought I had miscued her announcement. And that's exactly what I had done. Well, folks, let's go back to New York City. Maria remembers. Remember. When Buddy recorded those tapes in our apartment, he would just go over and over and over the songs with his guitar. Then maybe he'd go over them again on the piano until he had them sounding right. Only then, when he had it all together, would he tape them. The piano was at my aunt's apartment, so we'd walk over to my aunt's house so he could try the songs out there. Of all the songs he did at that time, the one I liked best was Stay Close to Me. Buddy did record that song on one of the tapes he made at home, but I guess it got lost somewhere. We also had some other tapes that were pretty funny. Me and Buddy singing together, like when I was trying to teach him to sing things like Marina Elena in Spanish. But I think they got lost, too. We had fun, but we had to work, too. And one of the things we were going to do was to work together. I was going to become involved with Buddy's career, to be his promotion manager, if you like, because we felt there was a lot that needed to be done in that direction. And with the help of my aunt, who of course was in the business, we were going to spend a lot more time on that sort of thing. Meanwhile, Buddy worked on his songs, and he often asked me what I thought of a particular song and the way he had done it. I remember once, he was working on a song, and I did something that was distracting. Maybe I made some noise, and Buddy suddenly got up and exploded. I'll be back directly, and stomped out and took a walk to cool off. Then he came back and went to work again. In December 1958, Buddy asked Waylon Jennings to come up to New York to see what they could do about getting Waylon's record of Joel Blonde released, which they had recorded in Clovis a couple of months earlier. Waylon was planning to take time off from his job as a DJ at Lubbock's KLLL, and spend some time with Buddy and Maria in the spring. However, Holly decided to go on tour and began looking for musicians to take the place of the crickets. Maria Elena says, I remember Buddy called Waylon and asked him to go on tour and play bass guitar. So Waylon came up and stayed with us for a few days before they went off, and then Tommy Alsop and Charlie Bunch came too. We put them up in our living room, and a couple of days before they left, they rehearsed and did some tapes too, but I don't know what happened to the recordings. It's funny, you know. I haven't seen Waylon or Tommy since then, although Waylon has always kept me informed of what he was doing. Before leaving for the Winter Dance Party tour, Holly had arranged to meet Dick Jacobs, who had produced his last session in New York. They met for lunch at the Blair House Restaurant, together with Marty Sulkin, at the time vice president of DECA and choral records. The three spent some time discussing Buddy's future plans as far as choral was concerned. Everything was very satisfactory, says Jacobs. There was really no need to make any changes, just to continue to produce the right kind of sound. It doesn't matter anymore. Had just been released, but it was too early to tell what was going to happen to it, and, of course, Buddy left some demo tapes with me of some of his new songs for me to listen to. The same tapes that we later added the rhythm section to, and we discussed his future plans. He was very eager to be going on the road again and was looking forward to it, and that was the last time I ever saw him. Although Maria had toured with Buddy previously, she didn't travel with him on the winter dance party, but decided to stay in New York. The tour didn't particularly sound like fun, since the Midwestern states they would be visiting were notoriously cold at that time of year, and a further complication was that Maria was pregnant. She lost the baby after Holly's death. Holly's enthusiasm to get on the road again probably evaporated pretty quickly when he and the other musicians discovered that the buses they were using to travel between dates had no effective heaters, and the weather was bitter cold. There were the usual problems of getting enough sleep while traveling the long distances between appearances, and halfway through the tour, Buddy told Maria during a phone call that he'd be glad to get back to New York. A few days later came the stark announcement from UPI. Clear Lake, Iowa, three of the nation's top rock and roll singing stars, Richie Valens, J.P., the Big Bopper Richardson, and Buddy Holly, died today with their pilot in the crash of a chartered plane. An immediate and hardly surprising result of the publicity surrounding Holly's death was the sudden success of It Doesn't Matter Anymore. The record had been moving slowly, but by mid-March, it was in the top 20 in America and Britain, becoming Holly's biggest hit for nearly a year. Dick Jacobs remembers the reaction at Coral once everyone had got over the initial shock. He had been a major artist for us, and the immediate question from the bosses upstairs was, what are we going to do for future Buddy Holly material? Fortunately, we had the demo tapes Buddy had left with me, and some others that Maria Elena had, so we decided to go into the studio and write arrangements around these things. We hired Jack Hanson and assigned him to the job of overdubbing a good rock rhythm section and local studio singers. We were trying to imitate the crickets. It was a terribly hard job, because when Buddy laid down those demos, he never had any idea in his mind that this was going to be done. So some of the songs were incomplete, and we had to spend a lot of time getting them right. We even had to get special permission from the musicians' union in New York, since at the time, overdubbing was expressly forbidden by them. Jack Hanson helped me with the editing, splicing, and overdubbing, and he did a fantastic job on the tapes. But it was not easy. The way we worked was, we would put Buddy's tape on one machine, then the musicians, piano, bass drums, and electric guitar. They would all sit with earphones on, and we would play the original tape, and they would fit their playing to match it. Once we had the rhythm section down, we would add the vocal group, doing their part. But since this was another overdub, this was before the days of 8 and 16 track machines. We would lose another generation every time. So the quality of those finished records was not what we would call superior first grade, as we are able to get today. Actually, it was strange that these things got done this way, because New York rock and roll was a very manufactured thing. You had a three-hour session with charts, and everything was conducted from the stand, whereas what Buddy and the Crickets had been doing was based upon enthusiasm. Critics of the overdubbed records may well feel that enthusiasm was just what was missing. But the success of these recordings, particularly in England, was sufficient to encourage Coral to look around for further recordings with which to continue the flow of Buddy Holly releases. In fact, legal problems prevented the company from releasing any further unissued material until 1962, by which time Norman Petty had regained control of any tapes that had been discovered, and he began to overdub these recordings, as well as those that had been prepared for release by Dick Jacobs. With tapes and demo discs being unearthed by Holly's Record Company, Family, and Friends, a steady flow of releases was kept up from then until 1965, and the last recordings to be overdubbed were finally released in 1969, ten years after Holly's death. The selections that you're hearing tonight were originally recorded as demo tapes, all except You're the One, were recorded in Holly's apartment in New York with simple guitar backing. And when I talk about the ones you're hearing tonight, I'm really talking about the ones you just heard, and the ones you're going to hear in this next session coming up. These were the same original tapes that were later overdubbed in Clovis, New Mexico, and they appear on this set that's coming up. All of these overdubbed recordings were made in stereo, except Peggy Sue Got Married and Crying, Waiting, Hoping. And many are released in stereo for the first time when this album was made, ladies and gentlemen. And there aren't many of them left in existence. I've got to tell you. And I got one. So, here we go. Mickey and Sylvia, Buddy Holly ain't. And this first one, Love is Strange, was on Mickey and Sylvia. Big hit. Love is Strange, Love is Strange, I don't see people, they estado watching. What's new here with you? Given all the things, happy to hear you. Never want to listen. Remember his voice, Thank you. I'll see you next time. Once you get in, get in all the things, all people can't do, never want to be, and many people can't understand, no, no, they don't love you. Once you get in, get in all the things, all people can't do, never want to be, and many people can't do. Once you get in, get in all the things, all people can't do. Once you get in, get in all the things, all people can't do. Once you get in, get in all the things, all people can't do. Well, you could sure tell that that was an overdub. I mean, talk about loss of generation quality. But it's still an American treasure. I'm sitting at a slide, I'm sitting at a slide. Been told a long time ago. Been told a long time ago. Been told a long time ago. Been told a long time ago. Been told a long time ago. Been told a long time ago. The Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Ho, ho. Where am I? You heard this a little bit earlier, folks. Crying, waiting, hoping. Crying, waiting, hoping. You'll come back. I just can't see the key of my mind. Crying, waiting, hoping. You'll come back. You're the one I love. Nothing about the wall of time. I'm so proud of my mind. I'm so proud of my mind. I see these people falling all our lives. Waiting. I feel so weak. I know it's wrong. It's a crime. Waiting. Hoping you'll come back. You'll come back. Maybe someday soon. We'll change every you be mine. I see these people falling all night long. We'll wait. I feel so weak. I'm so proud of my mind. I know it's wrong. I can't see them all our lives. I know it's wrong. I know it's wrong. I'm waiting. Waiting. I'm waiting. I see these people falling all night long. I'm waiting. I'm waiting. I'm waiting for you. I can't see them all your life. I know it's wrong. I know it's wrong. I'm waiting. Waiting. Hoping. You'll come back. Maybe someday soon. You'll change every you be mine. Crying. Waiting. I'm waiting. I'm waiting for you Coming up later, ladies and gentlemen, are some interviews with Buddy Holly conducted by Ed Sullivan, Alan Freed, and Dick Clark. And you certainly don't want to miss those. Now that she doesn't want me That's what comes to me What you think What you think Keep from being lonely Water lonely What you do Record points And all about these And all Who do you say Who wants to see Nothing's sad or what to do I knew my heart is shaking But still not feeling What to do Little What to do Look at your gifts And I win Every time I'm sad So do you show the ropes to see How they can't be sad Oh, what do you do? I know my heart ain't sure Still not knowing What do you do? That makes the time Oh, so sad When you feel You don't know That makes the time Oh, so sad Oh, so sad You say don't fall No more You more Will follow me For ever Oh, I know If a rosary Cannot come see All those Prinsure Just when you're Shed and scared I know I know I know I know You never see And I know I know I know I know I know I know I know I know You never see Where can't you sold You never see People You never see I know I know You never see You never see That's what I know It was You never see If he loves You never see Stand by, folks, for the third or maybe even the fourth time that Peggy Sue got married tonight. I just heard a little girl, no friend. I don't think that it's true. I'll just keep that up to you. If you don't believe I understand. You know, I told a girl that you'd like to hear every song. This is what I heard. Of course, the story could be wrong. She's a woman. I've been to you. She's wearing a band of gold. Peggy Sue got married not long ago. I've been to you. I've been to you. I've been to you since that lav is listening. This is what I heard. Of course, the story could be wrong. She's the one that I've been told Cause she's where the band of gold Peggy Phil got married not long ago Peggy Phil got married not long ago Coming up in just a little while, some rare Buddy Holly that you've never, nobody, nobody heard before, unreleased. Stuff, stuff that you don't ever want to miss. I'm pulling it out of my, my rare closet. I got a lot of that. There comes a time for everybody That's what they tell me, that's what they say I shouldn't hear them say a word of when that time will be I only know that what they say has not come to me I just keep waiting and love will come to me That's what they tell me, that's what they say There comes a time for everybody There comes a time for everybody That's what they tell me, that's what they say There comes a time for everybody There comes a time for everybody That's what they tell me, that's what they say I didn't hear them say a word of when that time will be I only know that what they say has not come to me I just keep waiting and love will come to me That's what they tell me, that's what they say Back to back Buddy Holly till the wee hours of the morning Recognizing and memorializing All of his prolific and fantastic work American music at his very best on the way they say Deaf women speak andamento You say these are the experts And the words they laugh In the words they laugh To make sure they laugh They laugh at韟� they laugh When they laugh atdin' And they're not afraid Maybe they was afraid But the words they laugh Only of their гens it sleep Werech hooging, we're measuring, we're measuring first전ælla, We're measuring in half to 9 millinedmeats, And why don't You live the stare of this G ainsizetellaooooop? The 10-person smile, that it is wrong. Grin for your contact, we've arrived at the bottom the floor. Somebody called on the other line and wanted to know which was it that I danced with Jackie Petrou to. Well, I tell you, folks, it had to be. Wait till the sun shines, Billy. I mean, Jackie. And it was a good dance. We danced all. We waltzed through the universe. The rare William Cooper playing the rare Buddy Holly. Dancing with the rare Jackie Petrou. On the rare Worldwide Freedom Radio Network. And you're listening on a rare low-power FM broadcast affiliate or satellite. Which would be solar storms are also getting rare. Smelling rare plastic. No, I'm sorry. That's well done. I'm sorry. That's well done. I see. Love on top of this mountain breathing this rare atmosphere. Up on top of this mountain breathing this rare atmosphere. The phones are still open, folks. I'm going to keep them open. So if you feel like calling, just call. If you don't, that's okay. I know it's late. Everybody's probably laid back. If that's okay, so am I. If you want to call, it's 520-333-4578. Just pick up the phone. Put your little finger on those little buttons and listen to this. Peep-peep-peep-peep-peep-peep-peep-peep. All right. Well, we got through that okay. Folks, the rest of the music that you're going to hear tonight is really a treat. Because it's never been released on record. It is stuff that you normally would never hear. And, of course, you know, a lot of this stuff most people would really never have heard if they had not been listening to this broadcast. Or if they're not into music like I and some others are that collect these things. And we collect them because, you know, music is the language of the soul, I believe. Along with love, of course. And I've always been terribly addicted to anything that can reach inside and touch my soul, so to speak. And so music is extremely important to me. Has been all my life. And I guess will be all the rest of my life. What you're going to be hearing here soon is a collection of recordings which have either been unavailable on record for many years or which have never been released before. And, you know, you've been listening to this music. You've heard several of these tunes and songs repeated. But believe me, ladies and gentlemen, I have never repeated the same cut of music. All of these are completely separate recordings that you've been hearing all night long. And you're going to hear some, again, coming up that you've already heard. But these are rare, unreleased, never heard before. By your ears, I can guarantee you. And for those of you who are tuned, you will notice the differences every time you hear a new cut. Whether it's the same music sung by the same people or not. I promise you I would play every recording that Buddy Holly ever made in his life. And except for those that nobody has ever been able to find, that's exactly what I'm doing. Because I have every one of them. No one has a Buddy Holly cut that I don't have and that you're not hearing tonight. You see, if it's existing, I have it. And that is the veritas of the matter. So, you're hearing all of this probably for the first time for most of you. Maybe some of you have heard it before. It's a mixture of demonstration tapes. And I'm talking about what's coming up. Live performances. And interviews. Rare interviews. By Buddy Holly and the Crickets. Plus, there's several studio masters. By other artists that Buddy was trying to help in their careers just before his death in February of 1959. That you're going to hear coming up. Some of it's been available before. But only with the posthumous addition of complete backings by studio musicians. To make what were only demonstration tapes sound like commercial releases. And you won't hear that here. You're going to hear the original cuts like Buddy made them. A week or so before leaving for the Winter Dance Party tour. Buddy put on tape in his New York apartment some of his last compositions, which he had just completed and was planning to record himself. He had also spent some time experimenting on tape with some of his favorite songs made famous by other artists, which he might also possibly record. And if he had not died, I have no doubt that he probably would have. Although the recordings were not intended for issue in the form they were made, they were taped on a portable professional machine, which Norman Petty had sold to Buddy the previous year. Norman Petty remembers. Buddy had a very fine recorder in his possession, which incidentally was the recorder I had recorded some of his hits on. He decided to buy a recorder and asked, would I buy him one? So I said, well, it'll cost you X number of dollars. And he said, well, why don't you buy the new one and give me this one? And I said, well, because this is the old one. And Buddy replied, well, I know, but that's the one all of my hits have been recorded on. Although Holly had none of Petty's sophisticated studio electronics, the tapes were considered of good enough quality for release once proper studio backings had been added by Quirrell Records. Opinions as to just exactly what was commercial in the late 50s and early 60s differed a lot from attitudes today. And it is not difficult to see why it was thought necessary to add complete backings to these demonstration tapes before releasing them. You see, what was okay for recording back then, nobody would touch with a 10-foot pole today, folks. However, some of the overdubbing undertaken in 1959 and 1960 was particularly insensitive to what were obviously Holly's own original intentions. And several years later, Norman Petty added fresh backings to the original tapes. However, ladies and gentlemen, it is indisputable that the original, undubbed tapes constitute some of Holly's finest recordings. And for that reason, I'm going to play several of those for you tonight. And I hope that you enjoy them as much as I'm going to. You're the one was recorded in December 1958 in the studio of KLLL Station in Lubbock, Texas, where Holly was a frequent visitor when he was home. The song was written by Holly, Waylon Jennings, a local DJ and a friend, and Ray Slim Corbin, one of the station's owners, during one such visit over the Christmas holiday of 1958. And the three of them taped the song immediately after they had composed it. Jennings and Corbin can be heard clapping in time as Holly sings and plays. Unfortunately, he was to meet his untimely death just a few days over two months later. Real Wild Child and Oh You Beautiful Doll, featuring Jerry Allison on lead vocal, were released as a single in August of 1958, under Allison's middle name, Ivan. The A-side was a product of the Crickets Australian Tour the previous February, and was written and originally recorded by Australian star Johnny O'Keefe. I was going to try and do it like James Cagney, recalled Allison, but that didn't work. Wherever his vocal style comes from, it was a small American hit in October of the same year. Folks, listen carefully to these, because you're never, ever in your entire life going to hear them again. That's how rare they are. That's how rare they are. That's how rare they are. Oh, we think I'm never nothing but a child. Done got a gift to your jive. Slippin' and a-slidin', creepin' and a-hidin'. I want to be your fool no more. Slippin' and a-hidin' and a-hidin' and a-hidin'. You better surrender. Oh, my Linda, she's a starlit cinder. You know you better surrender. Slippin' and a-slidin', creepin' and a-hidin'. I want to be your fool no more. Oh, I slipin' and a-slidin', creepin' and a-hidin'. Been told a long time, time ago. Oh, oh, oh. Slippin' and a-slidin', creepin' and a-hidin'. I've been told a long time ago. Oh, oh, oh, oh, oh. I've been told, baby, you've been told. I want to be your fool no more. 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. You don't know me or me or me because I'm told you. You know, what can you say when you hear something like that? Can you imagine Buddy Holly seated at his couch with a tape recorder on a coffee table in January of 1959, just one month before he died? Dearest, glory of the nearest to my heart Please don't ever hear, ever say we'll part You stole, and you were so bold Just together hear, I'll be the most proud of you My love will grow up, yeah, my love will grow up You may be a merry-mout of what you say You really hear me, yeah, when you hear me say I am, I am, I am I love you Come home, keep me from this sleepless night Try my love again, yeah, I'm going to reach to the right Yeah, I'm going to reach to the right Buddy Holly's rendition of Mickey and Sylvia's big hit Love is Strange And it is A little strange hearing it done by Buddy Holly But nevertheless, everybody loved this And apparently so did Buddy Holly Love is Strange And once you get it You're in an awful fix After you've had it Never wanna quit Many people Don't understand me No, no They think loving is money in the hand Your sweet loving is better than a kiss And now folks, you're gonna hear once again And now, folks, you're going to hear once again, Peggy Sue Get Married. Please don't tell, no, no, no, don't say that I told you so. I just heard a rumor from a friend. I don't say that it's true. I'll just leave that up to you. If you don't believe, I'll understand. You recall a girl that's been in early every song. This is what I heard. Of course, the story could be wrong. She's the one I've been told. Well, she's wearing a band of gold. Peggy Sue Got Married not long ago. You recall a girl that's been in early every song. This is what I heard. Of course, the story could be wrong. She's the one I've been told. Well, she's wearing a band of gold. Peggy Sue Got Married not long ago. Oh, but he's still got married not long ago. You can hear the hiss on the tape from the recorder that he was using. And even though it was supposed to be a professional recorder, that was a common occurrence on any tape recorder at that time. One of the biggest improvements in recording art was when they were able to get rid of the tape hiss. And when you say you don't care for me no more. Oh, I know my dreams cannot come true. All those precious things we shared together. Time goes by, I still remember you. Time goes by, I still remember you. Time goes by, I still remember you. And it's just Buddy Holly on vocal with his own acoustic guitar. Nobody else. Hearts that are broken and love that's untrue. These go with learning the game. When you love her and she doesn't love you. You're only learning the game. When she says that you're the only one she'll ever love. When you find that you are not the one she's thinking of. Feeling so sad and you're all alone and blue. That's when you're learning the game. That's when you're learning the game. And it's just Buddy Holly on vocal with his own acoustic guitar. And it's the only one you've learned and she doesn't love it. When she says that you're the only one she'll ever love, then you find that you are not the one she's thinking of. Feeling so sad and you're all alone and blue. That's when you're learning the game. That's when you're learning the game. On this next cut, folks, listen for Waylon Jennings and Ray Slim Corbin's hand claps. Recorded at KLLL radio station, Lubbock, December 1958. I don't want to lose, you're the one that I always use. You're the one that's meant for me. You're the one that I'm thinking of. You're the one that I always love. You're the one sent from heaven above. You're the one that's meant for me. Sometimes you make me feel so bad. You make me cry deep in my heart. I feel like an actor in a play who doesn't set the part. You're the one and I want you to go. You're the one that's meant for me. You're the one that tells me so. You're the one that tells me so. You're the one I can't let you go. You're the one that's meant for me. Sometimes you make me feel so bad. You make me cry deep in my heart. I feel like an actor in a play Who doesn't fit so far You're the one And I want you to go You're the one That fills me through You're the one I can't let you go You're the one that's meant for me On this next one, ladies and gentlemen, it's Jerry Ivan Allison on vocal and Buddy Holland. He plays lead guitar. I'm a wild one I'm a wild one I'm a wild one I'm gonna break loose I'm gonna keep a little wild I'm gonna keep a clean baby I'm a real wild kind I'm gonna keep a clean baby I'm gonna keep a clean baby I'm a real wild one I'm a real wild one I'm gonna need all my friends I'm gonna need all my friends I'm gonna tell my friends I'm gonna tell them all I'm a wild one I'm a real wild one I'm a wild one. I'm a wild one. I'm a wild one. Nothing to tell you about that guy. And this next one, Oh You Beautiful Dolls. Same thing. Buddy Holly. Buddy Holly on lead guitar. Jerry Ivan Allison, vocal. I'm a wild one. I'm a wild one. I'm a wild one. I'm a wild one. I'm a wild one. I feel you. Oh, oh, oh, oh, oh. You beautiful. Joe. Ah, see? You thought I was fooling you when I said you never heard these before. I guarantee you, you never have and you never will again unless you taped this broadcast tonight. And I imagine some of you have. And that's good. And for those that you didn't, well, we've got the tapes here that you can order. I don't know what the price is, but you can call Annie sometime tomorrow during the day and find out. Her number is 520-333-5698. That's 520-333-5698. She'll be happy to give you a price on those. I have no idea what it's going to be. And not even going to venture a guess. That's her bailiwick, not mine. Well, you know, on a couple of those that you just heard, Waylon Jennings was in there. In fact, one, Waylon Jennings and Ray Slim Corbin were clapping their hands. And I'm sure you could hear that. That was recorded during a broadcast at KLLL radio station in Lubbock in December of 1958. And Waylon Jennings did quite a bit with Buddy Holly. Went on tour with him. And, you know, at the time, Waylon Jennings wasn't a real big star. But he has become a big star since then. And part of the reason that he was able to become a big star was the help that Buddy Holly gave him. He gave him a lot of help. Buddy Holly first worked with Waylon Jennings in 1958 when Jennings was working in the Lubbock area as a DJ and performer. These two had known each other on and off since the Buddy and Bob days. And Holly offered to help Waylon Jennings get started on a recording career. He was already arranging for King Curtis, whom he admired for his great saxophone playing on many of the Coasters hits, to fly from New York to Clovis to play on one of his own sessions. After Holly had cut two tracks of his own, reminiscing in Comeback Baby, Waylon cut two tracks, Joel Blonde and Win Sin Stops, which Holly played on and produced. Waylon Jennings remembers, I got to know Buddy very well and in fact knew him for six or seven years before I ever went to work for him. When the family moved to Lubbock and while I was a disc jockey there, I became his protege. He produced the first record I ever had. Paid for it and everything on the Brunswick label. Buddy flew in King Curtis, the sax player, to my first session and we did one record. Joel Blonde, the Harry Chotes Cajun classic. We sat down and copied the words like we thought they sounded and we did it with a rock and roll beat. A lot of people who heard the result got a lot of laughs out of it. John Goldrosen summed up the situation. And so on the chosen day, a rhythm and blues saxophonist, a national rock and roll star, and an aspiring country and western singer combined forces to record a Cajun waltz with a West Texas rockabilly beat and lyrics that were now meaningless in any language. Stay Close to Me is one of the very few songs that Holly wrote, but which he never recorded, even as a demo. He had met Lou Giordano in late 1958 in New York and arranged a contract for him with Brunswick Records, with himself and Phil Everly as co-producers. Holly wrote one side of the disc and Phil Everly wrote the other, and it is likely that both played on the session which took place in New York in late 1958. The remaining items that you're going to hear tonight are from interviews and television appearances that Holly and the Crickets made during the brief 18 months that Holly was a star. The first is a brief interview made backstage at the Municipal Auditorium in Topeka, Kansas, when the Crickets appeared there during the second half of the first major tour they were booked on. That'll be the day that already started to come down the charts. Peggy Sue was already selling well and was due to enter the charts the next week, and oh boy had been released the day before. Holly and the Crickets made two appearances on the Ed Sullivan Show, a networked variety show featuring comedians, jugglers, and other similar variety acts, as well as pop and rock performers. The Crickets' first appeared on the show was in fact their first television appearance, and took place on December the 1st in 1957. Although Holly looked a little ill at ease during the show, his performance was good despite a poor sound balance. The third interview dates from October the 2nd, 1958, during Holly's solo appearance on the late Alan Freed's weekly hour-long television program called The Big Beat, during which he mimed to It's So Easy and chatted with Freed about their past tours together. Freed is generally credited with having coined the phrase, rock and roll, and did more than any other disc jockey to promote it on a national scale. During 1957 and 1958, Holly and Freed had become good friends when they worked together on tours and on the shows. Freed presented at the Paramount Theater in New York City. The interview with Dick Clark was the last Crickets television appearance before they parted company and was on October the 28th, 1958, on American Bandstand, during which Holly mimed to Heartbeat, and the whole group mimed to It's So Easy. They had just come off the 1958 Biggest Show of Stars tour, which had included other rock stars, such as Bobby Darin, Jack Scott, Bobby Freeman in the coasters, as well as up-and-coming teen idols, such as Frankie Avalon, Dion in the Belmonts, and Jimmy Clinton. During the tour, Holly traveled from venue to venue by car with Maria, whom he had married a couple of months earlier, while Jerry and Joe went in a station wagon with some of the other artists. Despite the apparent fun during the conversation, the imminent split must have added a little sadness to the appearance. As is the case elsewhere in the music that you're going to be hearing, the studio masters are copied straight from the original tapes. And the sound quality, ladies and gentlemen, reflects this. Several of the other tapes have naturally deteriorated over the 20 years that passed since they were made, but they have been carefully prepared in the studio so that their quality is at its best. It has been much more than 20 years since then. We are confident that listeners will find the whole of this upcoming set of music a fascinating insight into Buddy Holly the person. And I sincerely hope that the rare items here add a further dimension to the career of one of rock music's most original and innovative performers, a real American artist. who's the most differences who are the most interesting andwriting Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Don't stop, don't stop, don't stop, drivey drivey drivey don't stop I love you honey on the day and night, I love you if things are wrong or right I love you honey, I need you all of mine Don't drive, don't stop, don't be all I'm so good for you Your lips are all I think, it's not right I know it's a sin The wind's in my own hands Well, let's open the door and I'll walk right in Where we left off, that's where we'll begin Little honey, that's what I've been waiting for The wind's in my own hands, I'm so good for you Your love is what I need it Oh mercy, I beg them to lead it It's not right, I know it's a sin When things are wrong again When things are wrong again When things are wrong again Coming up, Lou Gerdano on vocal, Buddy Holly and Phil Everly on rhythm guitar Stay close to me Give me your heart They will see We will never come They will come and go Oh, sorry You'll find my love in the world I'll search for you Tell me you're nice When you're with me You'll find my love in the world You'll find my love in the world You'll find my love in the world And a heart I'll search for you And a heart I'll search for you You'll find my love in the world Day will come and go Oh, it's repeats sound If you find a love with words In me Tell me you're mine When you reach me That it will live in my wife Same arrangement, ladies and gentlemen, in the next one entitled Don't You Know. By the way, Buddy Holly wrote both of these. Stay close to me and Don't You Know. You ask me, I love you, it makes me wonder why. You ask me, oh, so often, I love you, tell you why. Don't you know, I love you, though. You ask me, oh, so often, I love you, though. I love you, though. And the play we show everywhere I go. Plus, I always tell you when I'm the one who's in me. Of all the girls I've known, dear, you're the one for me. Don't you know, I love you, though. It's play we show everywhere I go. Don't you know, I love you, though. And the play we show everywhere I go. Don't you know, I love you, though. And the play we show everywhere I go. Don't you know, I love you, though. And the play we show everywhere I go. And the play we show everywhere I go. And the play we show everywhere I go. Don't you know, I love you, though. And the play we show everywhere I go. Don't you know, I love you, though. Don't you know, I love you, though. And the play we show everywhere I go. Don't you know. Don't you know. Don't you know. Don't you know. Don't you know. Coming up backstage at the Municipal Auditorium, Topeka, Kansas, 5 November, 1957. Well, we have three records going right now. And, of course, the first one was That'll Be the Day. The first one was that one. And then we have a new one out by the crickets called Old Boy and Not Fade Away. And then there's one out. It's the same group, but it's under my name. I don't know why they did it that way, but they put one out under my name called Peggy Sue and Every Day. Well, Joe Malden, he plays bass, and Jerry Allison plays drums. And the gentleman, Nicky Sullivan, is not here right at the moment. He's out on the stage. This is from the Ed Sullivan Show. I have a lot of drums left right there because now coming out here, four citizens of the sovereign state of Texas. And they tell me that we'll behave up here in the north. Over Christmas, Texas is going to permit us to come back to the union. Is that right, fellas? Here from Lubbock, Texas, they're crickets with one of their hit records. December 1, 1957. That'll be the day. Say goodbye, yeah. That'll be the day. When you make me cry, you say you're gonna leave. You know it's a lie, cause that'll be the day. When I die, well, you keep me on. You know the tension. Little, little, little, little, little, little. All you love, you keep me on. You keep me on. You keep me on. Money, too. Well, you know you love me, baby. But will you tell me maybe that someday will I be the world. That'll be the day. When you say goodbye, yeah. That'll be the day. When you make me cry, you say you're gonna leave. You know it's a lie, cause 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 say you're gonna leave. You know it's a lie, 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. Now from Lubbock, Texas, for all the else to the country, we bring back the crickets. Now, Texas boys, do it. If you do take it through, then you know why I feel good about taking my take it through. Well, I love you, gal. Yes, I love you. Take it through. Take it through. Take it through. Take it through. Take it through. Take it through. I love you. Well I love you gal, yes I need you to, Peggy Do I love you, Peggy Do When I love so very good Oh Peggy Do My Peggy Do Well I love you gal, I want you Peggy Do Well I love you gal and I want you Peggy Do I want you to ask me a question How old are you fellas? Well there's 218, 120 and 121 Where do you come from, Lubbock, Texas? Lubbock, Texas, yes Did you go to school down there? Well we did until we got out of high school finally Right after high school you started playing together? Yes sir, that's right Did they get right from the starters or been sort of a long? Well we've had a few rough times I guess you'd say But we've been real lucky again at this point Well Texas nice to have you up here Thank you I have a very nice time for these Texas guys Buddy Holly is now interviewed by Alan Free WNEW TV The one and only Buddy Holly Buddy Holly New York City, 2nd October 1958 Buddy Holly Hey Buddy Hi Alan How are you? Fine Good to see you old Buddy again Where are the other fellas? They're running around somewhere They are? Uh huh Gee last time I saw I guess I haven't seen you since I've seen you About April wasn't it? I think somewhere around Yes it has been What have you been doing and where have you been? Well we haven't been working all summer Alan We've just been kind of loping and taking it easy And running around some Enjoying the uh What we hadn't enjoyed for the whole year previous You know all the work going on Oh boy you worked hard that year So uh we're getting ready to start in some new work now You going on tour again? And uh thanks so uh huh Buddy uh we had a lot of fun We did a lot of flying Yeah we did You know I was just in the town the other day In Cincinnati you remember when we landed there And uh the helicopter had crashed that day that we got in there That's right And uh we took the ride in up in the airport It reminded me of when we landed Buddy we played I think we rode every kind of airplane there Imagine We sure did Those DC-3s were really something Oh boy oh boy Without the feet We'd have been right through the top Buddy we had a lot of fun together And I hope we're going to have a lot of fun together In the future too Because you're just a wonderful guy And say hello to Joe Okay Joe Byers Joe Byers Joe Byers Joe Byers Because he's always a joke Over there Joe Joe The other great The fellow with the bass fiddle And uh we call him Joe Byers Because he always was saying Buy it to Coke Mm-hmm Buy it to candy bar Well we had a lot of fun together And buddy let's get together soon And thank you so much for being with us Thank you It's been my pleasure Thank you Thank you This interview is conducted by Dick Clark WABC TV Philadelphia 28 October 1958 Very uh how can I put it You know I haven't formulated it in Put it together in my own mind What I want to say is A man who creates songs Performs them Has a great deal to do with the Activities of our music world And he's still a very young man And a successful one at that A choral recording star Whom you met last Saturday Singing heartbeat Ladies and gentlemen Mr. Buddy Holly Buddy Let's see again Well actually I think we're going to get more time to talk today Than we got last Saturday Well that'll be fine It's kind of a screaming day You know I got tangled up in my introduction to you Because I know of some of the things you've done But I don't know all of your activities How many songs have you written? Uh I couldn't really say that I think it could take me a few minutes to think back And uh think of how many there were But I guess all together it's been about 15 or 20 Really that many? How old are you well? 22 That's a lot of writing in the short length of time Tell me about the formation of the crickets Let's let's bring the crickets on The fellows who work with you Okie dokie Well uh ladies and gentlemen The rest of the group Buddy Holly on the crickets The first one here is uh Jerry Allison Jerry nice to see you And uh he's the drummer for the crickets And then Joe Malden The bass player Nice to see you How long has this operation been going on? About a year and a half Nearly close to two years now You know I remember very well I would say the first thing That was the first thing I knew about that you did That'll be the day Was it the first record you ever made? Well actually it was It was the group of the crickets It was our first one This is highly unusual Did any of you have a hand in the writing? I did What'd you write? All of it or part of it? No just half of it Bigger of half And all of it All righty Fair enough Gee I'd love to do that with you someday But you've got such a great Great new style That let's keep up with the times And do the thing called It's so easy Ok? Thanks Ladies and gentlemen Buddy Holly and the crickets It's so easy It's so easy To fall in love It's so easy To fall in love People tell me love is for food So here I go Breaking all of the rules It seems so easy It seems so easy It seems so cool It's all gone easy It's all gone easy It's all gone easy It seems so easy It's all gone easy It's all gone easy It's all gone easy Well you're concerned My heart has learned It's so easy To fall in love It's so easy To fall in love It's all gone easy I love you It's so easy To fall in love It's all gone easy They're going to get esto It's so easy It's all gone easy It's so old It's all gone easy To fall in love It's all gone 52 It's all gone easy To fall in love When it's fuckin' It's all gone easy It's all gonechange Well you can learn in my heart now It's so easy to fall in love It's so easy to fall in love Well it's so easy It's so easy It seems so easy It seems so easy It seems so easy Well you can learn in my heart now It's so easy to fall in love It's so easy to fall in love You always use a lot of pressure That sounds good with all guns like that They're all, they're all, they're all They're all good All righty We have not as yet talked to you Let's find out whether, are you going back to Lubbock, Texas Or where is home now? Well home is in Lubbock, Texas And I'll be going back just as soon as I can get a plane I'm going back to New York Does that hold true of everybody, buddy? No, I've got my car up here, Dick And I'm going to have to take about a three-day journey getting there And you, sir? I don't know He's going to thump Does this happen very often? Do you not always travel together? Well, it's just according to the circumstances We just got off of a 17-day tour And I had my car on the tour And the boys had a station wagon that some of the other group went home in And so naturally they're having to fly it in Because I'll let them ride with me I figure, all right? Gentlemen, the autograph table is over there if we can join you there, okay? Thank you so much The crickets and Buddy Holly Buddy Holly and the crickets Thank you so much They'll be at the autograph table if you'd like to stop over And that's it, ladies and gentlemen That's all there is And I mean that sincerely That's every single cut on record that's known to exist of Buddy Holly In his short career In his short career In his short career In his short career In his short career In his short career Can you imagine That just during Those very few short years Buddy Holly and the crickets Produced all Of those fantastic recordings Some recording artists Have gone for 10, 15, 20 years And not produced as much Now, granted Most of the recordings that you heard In this broadcast today You never heard before in your life A lot of them never became hits Some of them were never put on record for sale But nevertheless Buddy Holly Wrote Produced Recorded Sing Played Guitar Electric And acoustic Rhythm Lead And on February the 3rd 1959 His life was brought to an end When the pilot Inexperienced in flying On instruments Took off with Buddy Holly J.P. Richardson Known as the Big Bopper Richie Valens Whose real name was Richard Valenzuela And flew into Some pretty bad weather The plane crashed The pilot and all on board Were killed It was truly A great loss For the American Music profession For rock and roll For all of the fans of Buddy Holly All of us who remember his great music And folks, it was a great loss For America For his music And Buddy Holly himself For his music And Buddy Holly himself Were truly American And the greatest traditions Of all of the greatest That this country has ever produced Can you imagine He did all that when he was Just barely A man In fact, some would argue that he was still a boy Polite Obvious that he was Reared well He had a vision He had a sound He had a beat He put it all together He didn't listen to anybody And he made it work And that's how everybody Who Ever been great Not just in this country But in the history of the world Have done it They follow The beat of a different drum They follow their heart Their dream They follow a love If you will And some, myself included Would say that they were on a quest A quest for their own kind of truth A quest For a life That meant something To them And that's how men and women become great Never by imitation Never by doing what the crowd Expects you to do Or wants you to do Men and women Become great by following their heart By marching to the beat Of that different drummer They make a difference Wherever they go With whomever they interact And the life that they live Whether or not they ever become famous Makes its mark Upon the world And upon all those With whom they come in contact Those are the people Who really Make a difference Those are the people Whom we all Always remember Those are the people Who make this world work Those are the great inventors The great aviators The great pioneers The great pioneers Great industrialists Great artists Great grandmothers and grandfathers Great parents Great writers Great writers Great writers Great writers Great writers Great writers Great writers Ladies and gentlemen I hope you have enjoyed Today's Or I should say Yesterday's Broadcast Going into the wee hours And it is the wee hours now I'm looking at the clock On the studio wall It is 12.02 Mountain Standard Time In Eager, Arizona And This broadcast Has played itself To an ending I want to thank all of you Who have stuck it out And listened To this Memorial Commemoration Of the music Of these three young men And in specific Buddy Holly And as Wolfman Jack would have said it The late great Buddy Holly Good night folks God bless each And every single one of you This is The Voice of Freedom The Learning The waves Thank you. Thank you. 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 Poop. Classic radio like you always wished it could be. 101.1 FM. Eager. We now return you to all oldies most of the time. Ah, classic radio like you always wished it could be. 101.1 FM. Eager. We're doing so long. And wouldn't it be like to live together? In the kind of world where we belong. You know we're gonna make it. . . . . Thank you.