The following is a review of all recordings released by Buddy Holly between 1956 and 1969. 1) Lubbock, Texas: Western And Bop _________________________________________________________________ Every artist goes through phases: Picasso had his Blue Period, Ernst his Oneiric Period, and Buddy Holly had his Garage Band Period. While roughly half of the songs The Great Myopic One recorded in Clovis between 1954 and '56 were Buddy-Bob-and-Larry counry ballads, the others were rock tunes of a character guaranteed to burn the ears of every square within listening distance. These songs, cut in garage band trademark one-track mono, are about three things: rockin', dancin', and lovin' (not necessarily in that order) and are characterized by mostly unintelligible vocals and enough raw energy to light up Lubbock for a year. Young Buddy probably sweated off ten pounds recording "Good Rockin' Tonight." Brown-Eyed Handsome Man Recorded: 1956 (Clovis) First released: February 1963 (Reminiscing, Coral Records) In this classic Chuck Berry tune Our Hero relates the many exploits of mythical Brown-Eyed Handsome Men throughout the ages, which include winning a baseball game and being arrested for unemployment. Contains the famous "Tequila" chord segment. Bo Diddley Recorded: 1956 (Clovis) First released: February 1963 (Reminiscing, Coral Records) Bo Diddley implements his animal-trapping skills in order to appease his girlfriend, who remains unsatisfied. If you can understand all of the words, collect $200 and pass Go. Shake, Rattle, and Roll Recorded: 1956 (Clovis) First released: May 1964 (Showcase, Coral Records) Bill Haley: "You wear those dresses with your hair done up so nice..." Buddy Holly: "You wear those dresses that the sun comes shining through..." And they said he was a NICE boy... Baby It's Love Written by: Buddy Holly and Bob Montgomery Recorded: 1954 or '55 (Clovis)First released: June 1965, UK (Holly In The Hills, Coral Records) Buddy and Bob are beset by symptoms of lovesickness straight from a Tex Avery cartoon--at least, until they actually marry the girl of their desires. After that, it's all pretty much downhill. Good Rockin' Tonight Recorded: 1956 (Clovis) First released: January 1969 (Giant, Coral Records) Dancing = sex. Am I wrong? Baby Let's Play House Recorded : 1955 (Clovis) First released: January 1965 (Holly In The Hills, Coral Records) Skips the dancing, goes straight for the sex. Have You Ever Been Lonely Recorded: 1955 or '56 (Clovis) First released: January 1969 (Giant, Coral Records) What on earth is Buddy saying at the very end of this song? Could it be "mother"?... "Yoda"?... "Rosebud"??? Rip It Up Recorded: 1956 (Clovis) First released: May 1964 (Showcase, Coral Records) This little ditty eulogizing the glories of Saturday night contains some prodigious use of the pentatonic, as well as Buddy doing a pretty decent howlin' Wolfman Jack impression. But are they going to rip it up at a "ball" or at a "bar" tonight? Images of wild-west saloon destruction (with Our Hero swinging from the chandeliers and breaking chairs over guys' heads) spring to mind. Honky Tonk Recorded: 1956 (Clovis) First released: May 1964 (Showcase, Coral Records) Instrumental with occasional garbled, intriguing verbal interjections. At the beginning Buddy says something that sounds like "kitty" (?) and later belts out, "Aaaiiy." But oh, what guitar playing! The way to a man's heart may be through his stomach, but the way to mine runs directly through E flat major. Gone Recorded: 1955 or '56 (Clovis) First released: May 1964 (Showcase, Coral Records) Now you're gone. The sun, the moon, the stars in the sky Know the reason why I cry. I'm all alone. I know I'm wrong, Now you're gone. A beautiful and touching song. Its shortness and simplicity of instrumentation and vocal style give an honesty to the feelings described which is almost painful. Blue Suede Shoes Recorded: 1956 (Clovis) First released: May 1964 (Showcase, Coral Records) Well you can burn my house, Steal my car, Drink my liquor from an old fruit jar, Do anything that you wanna do, But uh, uh honey lay offa my shoes! ...if only everyone were this easy to please! Soft Place In My Heart Writtten by: Bob Montgomery Recorded: 1955 (Clovis) First released: January 1965 (Holly In The Hills, Coral) A great two-step song. Slightly off-key and out of rhythm--you can almost smell the Lone Star Beer. Complete with Hank Williams steel guitar riffs accentuating the end of each stanza. You And I Are Through Written by: Bob Montgomery Recorded: 1954 or '55 (Clovis) First released: January 1965 (Holly In The Hills, Coral) Unlike most of Our Hero's swearin'-off-love songs, I get the feeling he really means it this time: You love me But I just don't care It doesn't get any clearer than that! Gotta Get You Near Me Blues Written by: Bob Montgomery Recorded: 1954 or '55 (Clovis) First released: January 1965 (Holly In The Hills, Coral Records) The lead singer of this piece is actually a guy named Bob, but during the bridge a youthful (but instantly recognizable) Buddy-voice emerges from behind the fiddle to wail something about bein' far away from the one that you love. Door To My Heart Writtten by: Bob Montgomery Recorded: 1954 or '55 (Clovis) First released: January 1965 (Holly In The Hills, Coral Records) Flower Of My Heart Writtten by: Bob Montgomery and Don Guess Recorded: 1954 or '55 (Clovis) First released: January 1965 (Holly In The Hills, Coral Records) I Gambled My Heart Writtten by: Buddy Holly and Bob Montgomery Recorded: 1954 or '55 (Clovis) First released: January 1965 (Holly In The Hills, Coral Records) Lots of things rhyme with "heart." Memories Writtten by: Bob Montgomery Recorded: 1954 or '55 (Clovis) First released: June 1965, UK (Holly In The Hills, Coral Records) You left me alone with memories. I tried to endure your endless cheatin', I loved you with my heart's every beatin'. But my hopes are gone like wind through the trees 'Cause you left me alone with memories. I tried forgetting what you meant to me But now I realize I'm all alone. In my mind I really know that you are gone, But my foolish heart refuses to see 'Cause you left me alone with memories. Our Hero experiences the Fifties versions of codependence and denial, but refuses to join a twelve-step program and lives unhappily ever after. Down The Line Written by: Buddy Holly and Bob Montgomery Recorded: 1955 (Clovis) First released: January 1965 (Holly In The Hills, Coral Records) "My baby is fast, my feet are slow, I gotta go"...taken out ofcontext, this is damn interesting. Queen Of The Ballroom Written by: Don Guess Recorded: 1954 or '55 (Clovis) First released: June 1965, UK (Holly In The Hills, Coral Records) Someone thought it would be cool to have a song in which the fiddle repeatedly plays "E-B-E-B-E-B-E-B" over and over AND OVER AND OVER again until you wish that the damn ambulance would turn off its siren already. Blue Monday Recorded: 1956 (Clovis) First released: January 1969 (Giant, Coral Records) Blue monday, oh, how I hate blue monday! Got to work like a slave all day Then comes tuesday, oh, hard tuesday. I'm so tired I ain't got time to play. Wednesday I (something that sounds like "got to feed my cow") My gal calls, gotta tell her that I'm out Thursday's a hard working day, And friday I get my pay. Things haven't changed much since 1956--Monday still sucks. Ain't Got No Home Recorded: 1956 (Clovis) First released: January 1969 (Giant, Coral Records) Buddy makes a lousy Girl, but he's a pretty good Frog. Holly Hop Written by: Buddy Holly Recorded: 1956 (Clovis) First released: January 1969 (Giant, Coral Records) Listen closely and you'll hear The Big B. H. telling everyone to mambo, a la Lenny Bernstein conducting the "West Side Story" overture. Also the name of a particularly troublesome spaceship drive in a Red Dwarf episode. Coincidence? I DON'T THINK SO... 2) Nashville, Tennessee: Changing All Those Changes _________________________________________________________________ Although I love all of Buddy Holly's songs, the ones he recorded in Nashville have always been my favorites. At this point his music still heavily bore the mark of rock-and-roll's parents, blues and country. Also, in 1956, young Buddy was still not quite established as a star. These tunes were cut pre-Crickets, pre-marriage, pre-record contract, and he sounds a little lean and a little hungry. Blue Days-Black Nights Recorded: 1/26/56 First released: 4/16/56 (Decca Records) Buddy Holly's first release shows a clear indication of the young singer's talent, and he was proud enough of it to hand-tool the title into his homemade leather guitar cover (also decorated with his name, initials, and little eighth note and guitar silhouettes). This song is tightly constructed, with a clever guitar solo and Buddy's distinctive vocal style clearly evident--and there's such a lonely quality to his tale of blue days and black nights that you just can't help but feel sorry for him. Love Me Written by: Buddy Holly and ? Parrish Recorded: 1/26/56 First released: 4/16/56 (flip side to Blue Days, Black Nights, Decca Records) The following are the complete words to Love Me: Love me, love me, love me, love me, love me, love me, love me, love me, love me, love me, love me, love me, love me, love me, love me, love me, love me, love me, love me, Just kidding. The phrases "if you love me" and "if you really love me" also appear in the song, presumably for variety. I'm Gonna Set My Foot Down Written by: Buddy Holly Recorded: 1956 First released: February 1963 (Reminiscing, Coral Records) Unlike the somewhat resigned Midnight Shift, here Buddy has no doubts about his ability to straighten out his cheatin' wench of a girlfriend. In fact, he seems to be looking forward to the challenge. The best thing about this song, though, are the images conjured up by the lyrics: Well, you tell me this and you tell me that, How come your dog bites me instead of that other cat? I just can't help but see Buddy cursing his way down some chick's front walk, trying to shake a chihuahua off of his ankle. Baby Won't You Come Out Tonight Written by: Buddy Holly Recorded: 1956 First released: February 1963 (Reminiscing, Coral Records) In this Buffalo Gals update Our Hero spends several minutes trying to convince his girl to come out and go dancing (and gets to say "Go, baby" a couple of hundred times). But by the authoritative way he sings the last verse, you understand that she never really had any power to resist. Changing All Those Changes Written by: Buddy Holly Recorded: 1956 (Nashville) First released: February 1963 (Reminiscing, Coral Records) Buddy makes a rare public apology for behaving like a schmuck, in hopes of winning back the recently departed object of his affections. But who couldn't forgive him when he starts out with such an endearing vocal stutter? Rock-A-Bye Rock Written by: Buddy Holly Recorded: 1956 (Nashville) First released: February 1963 (Reminiscing, Coral Records) In the language of rock-and-roll, dancing and love have always been inseparable concepts (recall the line in Don McLean's American Pie that goes, Well I know that you're in love with him, 'Cause I saw you dancing in the gym...) Here Buddy Holly unearths the real truth about this relationship--it is the music itself and his girl's equal appreciation of it that ties them together: Well get out on the floor, And hold my hand so tight, I love you more and more When you dance with all your might. Dancing is not only a symbol of their romance but of their love of rock-and-roll, which to them is really the same thing. I Guess I Was Just A Fool Written by: Buddy Holly Recorded: 1956 (Nashville) First released: May 1964 (Showcase, Coral Records) Buddy Holly had a knack for composing strangely epigrammatic titles which seem to imbue many of his songs with a weird fortune-cookie wisdom: It Doesn't Matter Anymore, That's What They Say, What To Do, and (my personal favorite) Love Is Strange. However, this one wins the grand prize. Don't Come Back Knockin' Written by: Buddy Holly, ? Parrish Recorded: 1/26/56 (Nashville) First released: November 1975, UK (The Buddy Holly Story, World Records) I like the way Our Hero describes his girlfriend's particular brand of unfaithfulness: Like a talent scout You want some love that's new... Girl On My Mind Written by: Don Guess Recorded: 7/22/56 First released: 6/23/58 (Decca Records) Buddy attempts to do a slow-tempo Voice Thing in this sock-hop ballad, but just ends up sounding asthmatic. Ting-A-Ling Recorded: 7/22/56 (Nashville) First released: 6/23/58 (flip side to Girl On My Mind, Decca Records) I'm just a poor young boy And these girls 'bout to drive me wild, The way they rock and roll and hold me Ain't no jive. The way they laugh, the way they sing... The way they sing? Huh? Where exactly is the setting for this song--some demented USO? Were there a lot of hot back-up babes hanging around the Nashville studios in those days? It's Not My Fault Recorded: 1956 (Nashville) First released: April 1963 (Reminiscing, Coral Records) An anthem for the '90s if I've ever heard one! Because I Love You Written by: Buddy Holly Recorded: 1956 (Nashville) First released: February 1963 (Reminiscing, Coral Records) Love Victim Buddy puts in another appearance here, making an emotionally exhausting soliloquy to his perhaps-lost love. Even the instrumentals have a slightly draggy quality that makes them sound as if they required a Herculean effort to play. But I always cringe when he gets to the line, "I'd rather die..." Modern Don Juan Written by: Don Guess and ? Neil Recorded: 11/15/56 First released: 12/24/56 (Decca Records) I have to admit, the idea of Buddy as a twentieth-century Lothario is pretty amusing. Hey, I've always been attracted to guys with really big glasses, haven't you? You Are My One Desire Written by: Don Guess Recorded: 11/15/56 First released: 12/24/56 (flip side to Modern Don Juan, Decca Records) Like James Earl Jones as the gum-chewing police detective in The Ambulance, Our Hero does the best he can with bad material. IMHO (and with apologies to the venerable Don Guess), the words to this song sound as if they were written by the same computer responsible for that lousy Houston Oilers fight song (that hasn't stopped me from listening to it about a thousand times, though). Midnight Shift Recorded: 1/25/56 First released: April 1958 (That'll Be The Day, Decca Records) If she acts a little funny, Seems a little strange, Starts spending your money On brand-new things, Tells you that she wants to use the car, Never explains what she wants it for... This song is not really anthemic in the sense of Well...All Right. But in wearily chronicling the infidelities of Annies everywhere, Buddy has joined forces with every other mistreated guy throughout history to try and warn his brothers about the perils of bad wimmin. Rock Around With Ollie Vee Written by: Sonny Curtis Recorded: 7/22/56; 11/15/56 First released: 9/2/57 Who is Ollie Vee, and why is it necessary to bribe a cop in order to take her out? Is she in jail? Hideously underage?...Now do you understand why the protagonist in Bradley Denton's wonderfully weird novel, Buddy Holly is Alive and Well on Ganymede, is named Oliver Vale? There are two versions of this song. One has a great sax ride, both make you wish you'd known Ollie Vee, whoever the hell she was. Lisa Saunders Boffa (bholly@polysci.umass.edu) 3) Clovis, New Mexico: Buddy Holly & The Crickets _________________________________________________________________ These tunes, recorded by the Crickets in Clovis in 1957, are little gems which illustrate the genius of writer and producer Norman Petty. If Phil Spector's trademark style was the "wall of sound," Norm Petty's is best described as a sound vacuum. He knew exactly what the essential instrumental and vocal components of a song were and managed to eliminate everything superfluous which would only detract from the piece. The end results were tracks of simplicity and stunning clarity: when Buddy sings, it sounds as if he's standing right behind you (heck, you can almost see the studio if you close your eyes). Oh Boy! Recorded: 6/29/57 First released: 10/27/57 (Brunswick Records) Highest Billboard chart position: 10 A few years ago, a record club offered a CD titled (no kidding) "The Copulatin' Blues Compact Disc." It featured as cover art a cartoon man with eager eyes and a wide-open mouth, in which the words "Oh Boy" were inscribed in glowing white letters. 'Nuff said. That'll Be The Day Written by: Jerry Allison, Buddy Holly, and Norman Petty Recorded: 7/22/56; 2/25/57 First released: 5/27/57 (Brunswick Records) Highest Billboad chart position: 3 As everyone knows, the title of this song is taken from the movie The Searchers starring John Wayne. The Duke repeats this phrase ad nauseum while looking for some ever-elusive evil Indians who have kidnapped Natalie Wood. "So, Uncle Ethan, are you gonna give up now?" "That'll be the day!" As with Uncle Ethan himself, Buddy's great appeal in this song is his abundance of attitude. There is another, more bluesy recording of this tune (at one point, Buddy yells out, "Yes, you know it!") but I do not know if it was released B.C. (Before Crash) or only as a track on The Complete Buddy Holly. I'm Lookin' For Someone To Love Written by: Buddy Holly and Norman Petty Recorded: 2/25/57 First released: 5/27/57 (flip side to That'll Be The Day, Brunswick Records) Contains one of the weirdest verses in pre-psychidelic rock 'n' roll: Drunk man Streetcar Foot slips (THUD) There you are. Well, I'm a lookin' for someone to love... If I didn't know that this was in here because it was a favorite saying of Buddy Holly's mother, I would have guessed that Our Hero had bumped off his cheatin' ex-girlfriend (no wonder he's lookin' for someone...) Last Night Written by: Norman Petty and Jerry Allison Recorded: 3/12/57 First released: March 1958, UK (The Chirping Crickets, Coral Records) 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 plea. I missed you so much Since you left me. My heart ached apart Since you left me. Though I'm not wanted now, I still love you somehow... The saga of Buddy as Love Victim continues. Maybe Baby Written by: Buddy Holly and Norman Petty Recorded: 9/27/57; 3/12/57 First released: 2/12/58 (Brunswick Records) Highest Billboard chart position: 18 Listen to the standard version (unfortunately co-opted by scum-sucking Yuppies for a stupid tire commercial--or was it diapers?), then listen to the other recording of this song (mixed in 1966), a guitar-twangin', foot-stompin', syncopated good time in which the lyrics definitely take a back seat to the rhythm. Chances are you'll like the second one better (how many of you prefer the Sid Vicious version of "My Way" from Sid and Nancy to Frank Sinatra's?) Peggy Sue Written by: Buddy Holly, Jerry Allison, and Norman Petty Recorded: 6/29/57 First released: 9/20/57 (Coral Records) Highest Billboard chart position: 3 Although undoubtedly one of his best, I've always secretly hated this song--why should Peggy Sue have all the luck? Actually, the original title (and words) to this song were "Cindy Lou", in reference to Buddy Holly's baby niece. However, Jerry Allison suggested a lyric change in honor of his girlfriend, Peggy Sue, and the rest is history. Now she's even more famous than Sharona. Everyday Recorded: 5/27/57 First released: 9/20/57 (flip side to Peggy Sue, Coral Records) Tunes like this one are what give me the misguided impression that life was uncomplicated and pleasant during the '50s. No hidden agenda, no wah-wah pedals, no embarrassing sexual overtones--just a nice song about the feelings of a nice boy for his object d'affection. Sometimes, less is more. Mailman Bring Me No More Blues Recorded: 4/8/57 First released: 6/20/57 (flip side to Words Of Love, Coral Records) Yesss! This is the song in which Our Hero perfects the Hiccuping / Sighing / Gasping Voice Thing, which after thirty-eight years still has the ability to drive women crazy. It was worth the price of the boxed CD set just to hear Buddy sing, "she wrote me...only one sad line, ah ah ahn...uh!" Words of Love Written by: Buddy Holly Recorded: 4/8/57 First released: 6/20/57 (Coral Records) Hold me close and Tell me how you feel Tell me love is real Words of love you Whisper soft and true Darling, I love you Let me hear you say The words I want to hear Darling, when you're near Words of love you Whisper soft and true Darling, I love you One of the best. This song has a guitar melody so essential that it might as well be part of the lyrics. During the pause between verses, the guitar continues playing--and it seems as if the guitar is repeating the same request, just not with words. Also, Buddy singing with himself produces a very soothing and almost hypnotic effect, as if he's subliminally telling us to eat more Rice Krispies or vote Republican or something. Listen To Me Recorded: 6/29/57 First released: 2/5/58 (flip side to I'm Gonna Love You Too, Coral Records) Ever watch a movie and have the eerie feeling that one of the actors is looking right at YOU? Not at the camera or even the fat guy two seats over, but at you and you alone? In the middle of this song, when Buddy speaks the words, "Listen to me...listen...listen...listen to me...," I have to stop mysef from replying, "I am!" Interestingly, after issuing this commandment, Our Hero fades back and lets his guitar do the talking. This song seems bigger-than-life for that reason: we are all listening to Buddy Holly's guitar, which represents the voice of rock 'n' roll: Listen to me, Hear what I say. Ultimately, who is wooing the girl here? The boy or the music? Perhaps the latter is more exciting. I'm Gonna Love You Too Written by: Joe Mauldin, Niki Sullivan, and Norman Petty Recorded: 6/29/57 First released: 2/5/58 (Coral Records) At the very end of this song, a fifth cricket (this time of the insect variety) can be heard chirping inside an amplifier somewhere...in perfect rhythm! They should've signed him. Not Fade Away Recorded: 5/27/57 First released: 10/27/57 (flip side to Oh Boy, Brunswick Records) This is an interesting song. Cool guitar riffs by The Great Myopic One, backup vocals consisting of the word "bop" repeated over and over again like some strange rock-and-roll mantra. But would someone please explain "My love is bigger than a Cadillac?" Ready Teddy Recorded: 1957 First released: March 1958 (Buddy Holly, Coral Records) Like the identity of Miss Ollie Vee, this is one of those cryptic things that bug the hell out of me. At night I lie awake wondering...who is Teddy? Obviously, he's a guy whose name rhymes with "ready", and some Sominex is probably in order here. Tell Me How Written by: ? Hardin, Jerry Allison, and Norman Petty Recorded: 1957 First released: 2/12/58 (flip side to Maybe Baby, Brunswick Records) Play this song to any person. If they don't at least tap their toes, they are clinically dead. Buddy's excellent guitar solo in Tell Me How is the musical equivalent of John Travolta's Saturday Night Fever strut. Send Me Some Lovin' Recorded:1957 First released: November 1957 (The Crirping Crickets, Brunswick Records) Another Voice Thing song. The verbal pelvic thrust Buddy adds to the words, "I can feel-UH! their touch..." would make Elvis blush. Take Your Time Written by: Buddy Holly and Norman Petty Recorded: 2/58 First released: 4/20/58 (flip side to Rave On, Coral Records) The song that aspiring roller-rink organists study everywhere. People say the reason Buddy Holly was able to pull off wearing the Specs To Top All Specs on stage is because he was a very confident, self-assured person. In Take Your Time, he definitely shows this side of his personality. Take your time, I can wait, For all the love I know will be mine If you take your time. Little Baby Written by: Buddy Holly, Norman Petty, and Joe Kendall Recorded: 1957 First released: March 1958 (Buddy Holly, Coral Records) A similar attitude pervades Little Baby: In my heart you are the one, Look around and have your fun... However, Our Hero has a seemingly schizophrenic personality when it comes to male-female relationships. In a number of songs (for example, An Empty Cup) he emerges as a definite Love Victim, and in others (Love's Made A Fool Of You) he apparently has no control whatsoever over his fate. The average person can more likely relate to this confusing mix of emotions than, say, Surfer Girl...I think this is part of Buddy's appeal. Rave On Recorded: 1/26/58 First released: 4/20/58 (Coral Records) Highest Billboard chart position: 39 A recent question on the rec.music.oldies newsgroup was, "Which song has the most memorable opening?" Rave On is my nomination-- like a true Texan, Buddy manages to draw out his initial "well" into no less than seven syllables. Al Ross, the square narrator of NBC Records' "Music To Buy Time By" album, was not so enthralled: ...This first little gem features one of the rocking immortals, a real talent by the name of Buddy Holly. (plays disk) What'd he say? What? That was Buddy Holly with mood music for stealing hub caps. You've Got Love Written by: ? Wilson, Roy Orbison, and Norman Petty Recorded: 9/27/57 First released: November 1957 (The Chirping Crickets, Brunswick Records) It was only recently that I realized many of the Buddy Holly songs I've been admiring for years were actually written by some of my other favorite rock-and-rollers! This has only made me like these songs even more. I can easily hear ole Roy yodeling his way through this one, but not to worry--Buddy does him proud. Valley of Tears Recorded: 1957 First released: March 1958 (Buddy Holly, Coral Records) The Lubbock version of Heartbreak Hotel. Rock Me My Baby Recorded: 9/27/57 First released: November 1957 (The Chirping Crickets, Brunswick Records) Bizarre, ultimately enjoyable attempt to combine a nursery rhyme ("Hickory Dickory Dock") with lyrics about...dancing? (See "Good Rockin' Tonight") 4) Clovis, New Mexico-And On To New York _________________________________________________________________ Love, love, love...that's what these songs are about. A veritable Baskin-Robbins of amore in all of its pleasing and, more frequently, painful forms. Unrequited Love: Wishing Written by: Buddy Holly and Bob Montgomery Recorded: 1958 First released: 7/29/63 (flip side to Brown Eyed Handsome Man, Coral Records) This Everly-esque ditty has a beautiful guitar solo by the Big B.H. soothing enough to be used as a Valium substitute. Moondreams Written by: Norman Petty Recorded: 10/21/58 First released: March 1960 (The Buddy Holly Story, Volume 2, Coral Records) Nocturnal fantasies accentuated with trademark Anka muted tremolo violins. Contains the line, "Love can be our destination," which would make a great Southwest Airlines commercial. Lost Love: It Doesn't Matter Anymore Written by: Paul Anka Recorded: 10/21/58 First released: 1/5/59 (Coral Records) Highest Billboard chart position: 13 It is an eery coincidence that the final song released before Buddy Holly's death (and the one that would make its way up the charts in the following weeks) would be named It Doesn't Matter Anymore. Although more of a ballad than a dance party tune, is probably the most rockin' of the Buddy Holly songs featuring a string section. Somehow it's just not possible to achieve true garage-band splendor with violins (although the finale of Tchiakovsky's fourth symphony comes pretty close). Lonesome Tears Written by: Buddy Holly Recorded: 1958 First released: 9/12/58 (flip side to It's So Easy, Brunswick Records) Perhaps unwilling to descend all the way into true doo-wop pathos, the Great Myopic One hides some pretty serious pickin' underneath the vocals to this song. Come Back Baby Written by: Norman Petty and ? Neil Recorded: 9/58 First released: May 1964 (Showcase, Coral Records) Although Buddy cuts a pretty pathetic figure here (crying all night, waiting by the phone), this song has a cheerfully bouncy sax solo that makes it seem like he's getting ready to go out dancing or something. It's Too Late Recorded: 1957 First released: November 1957 (The Chirping Crickets, Brunswick Records) The absolute finality of the opening line of the bluesy It's Too Late is pure pop-tops and teardrops: It's too late, She's gone. However, after wailing his way through a Hank Williams tear-jerker of a chorus ("She's GONE! Yeaaah, she's gone!"), Our Hero optimistically crawls back to his object of affection for some more emotional abuse, begging her to ...tell me It's not too late. Some people never learn, do they? Raining In My Heart Written by: B. & F. Bryant Recorded: 10/21/58 First released: 1/5/59 (flip side to It Doesn't Matter Anymore, Coral Records) Take away the vocals and trap set from the perkily orchestrated Raining In My Heart, and you'll have the string score to the first movement of a late Haydn symphony. Wronged Love: Reminiscing Written by: Sonny Curtis Recorded: 12/58 First released: 8/20/62 (Coral Records) Buddy wastes no time getting down to business here, beginning with one of the classic rock-and-roll rhymes: I'm just sitting here Reminiscing, Wondering who you've been kissing. Another cool thing about this song is its use of a saxophone as a back-up singer substitute. The conversation that takes place between Buddy and the sax renders him sort of a Doctor Doolittle of reed instruments. An Empty Cup Written by: Norman Petty and Roy Orbison Recorded: 9/27/57 First released: November 1957 (The Chirping Crickets, Brunswick Records) Our Hero, stood up at the drive-in, delivers a soliloquy in which he compares his lost love to an empty glass of soda: Just like this Coke, My love has gone. I've hit the bottom. Now I'm all alone. Only a bunch of Southerners could fully understand the connection between obsessive love and soft drink addiction. This song perfectly expresses my feelings upon drinking the last of the Dr. Pepper. Early In The Morning Written by: Bobby Darin and ? Harris Recorded: 6/19/58 First released: 7/5/58 (Coral Records) Highest Billboard chart position: 31 A truly rockin' song. The Great Myopic One covers a vocal range of at least two octaves while confidently telling his departing love that she will "miss him...early in the morning...one of these days" (you can almost picture the triumphal middle-finger salute at the departing cab). I'd give my right arm to see this performed live: Buddy doing his vocal acrobatics with the Beehive Brigade in tow, the sax player whipping things into an even greater frenzy with his awesome solo. It must have been a hell of a ride. Fulfilled Love: True Love Ways Written by: Buddy Holly and Norman Petty Recorded: 10/21/58 First released: March 1960 (The Buddy Holly Story, Volume 2, Coral Records) True Love Ways is arranged so lushly (saxophone, harp, trap set, and not one but two string sections) that it sounds like it was recorded underwater. It's a great song to listen to as you're trying to go to sleep--sweet dreams are virtually guaranteed. Now We're One Written by: Bobby Darin Recorded: 6/19/58 First released: 7/5/58 (flip side to Early In The Morning, Coral Records) Highest Billboard chart position: 31 An interesting choice to back Early In The Morning (perhaps a happier alternate reality?), this little ditty features female backup singers. I've always wondered if Buddy's Beehive Brigade was a couple of squeeky-clean June Cleaver lookalikes--this is a pretty squeeky-clean song--or a group of sexy Motownettes with big hair and floor-length fitted satin dresses. I hope it was the latter! Seriously, this song gives me the willies. Was life so anal retentive in the '50s that holding hands was scandalous? That's My Desire Recorded: 1/26/58 First released: 5/20/56, UK (flip side to Maybe Baby, Coral Records) A hideous mental image springs to mind: Buddy (wearing turtleneck and wide-lapel jacket) in a cheap Italian restaurant with red checkered tablecloths and wine-bottle candles, dancing slowly with someone he refers to as Cherie while drinking Chianti and being serenaded by a bad violinist (playing Csardas, no doubt). It's sort of like trying to picture Donald Trump at a livestock auction. Heartbeat Written by: Bob Montgomery and Norman Petty Recorded: 1958 First released: 11/5/58 (Coral Records) Who else but the Great Myopic One could make a guitar solo composed entirely of major thirds sound exciting? It's So Easy Written by: Buddy Holly and Norman Petty Recorded: 1958 First released: 9/12/58 (Brunswick Records) Highest Billboard chart position: 82 The true genius of It's So Easy lies in the construction of the central guitar solo. Buddy incorporates a repeating whole-step (B-A) pattern into his ride, but each time plays it at a slightly different position in the song's rhythmic structure. This sort of distorts the perception of the downbeat in a really cool way. Well...All Right Written by: Buddy Holly, Jerry Allison, Norman Petty, and Joe Mauldin Recorded: 2/58 First released: 11/5/58 (flip side to Heartbeat, Coral Records) Despite its noncommital title, the anthemic Well...All Right sums up the response of an entire generation to its disapproving elders. Well...all right, so I'm going steady It's all right when people say That those foolish kids can't be ready For the love that comes their way. Well all right, well all right, We will live and love with all our might. Well all right, well all right, Our lifetime love will be all right. Neurotic (?) Love Look At Me Written by: Buddy Holly, Jerry Allison, and Norman Petty Recorded: 1957 First released: March 1958 (Buddy Holly, Coral Records) One of three songs recorded with piano rides instead of the usual sax or guitar (the others are Think It Over and Fool's Paradise). It seems Our Hero has finally gotten a little tired of keeping his playgirl Significant Other in line. Think It Over Written by: Buddy Holly, Jerry Allison, and Norman Petty Recorded: 2/58 First released: 5/27/58 (Brunswick Records) Highest Billboard chart position: 27 This is a complex song in term of the feelings involved. When Buddy pleads with his girlfriend to Think it over, what you just said, Think it over in your pretty little head. Are you sure that I'm not the one? Is your love real or only fun? Think it over, think it over The lonely heart grows cold and old. Is he talking about his heart or hers? Fool's Paradise Recorded: 2/58 First released: 5/27/58 (flip side to Think It Over, Brunswick Records) Another entry in the She Done Me Wrong category, this song again emphasizes the relationship between the concepts falling in love and fool. Do I sense a trend here? The Black Hole of Love Love's Made A Fool Of You Written by: Buddy Holly and Bob Montgomery Recorded: 1958 First released: May 1964 (Showcase, Coral Records) Highest Billboard chart position: 13 A recurring theme in many Buddy Holly songs is the idea that love can make otherwise normal guys act like complete doofballs. Seemingly helpless, Our Hero is sucked in over his own objections to a romantic black hole from which there is no escape: Love's made a fool of you, You do anything it wants you to... Interestingly, Buddy doesn't seem to lay any blame on women for turning his mind into Spam. He seems to regard it as a particularly stupid (but completely necessary) male evil. You're So Square Written by: Jerry Leiber and Mike Stoller Recorded: 12/57 First released: March 1958 (Buddy Holly, Coral Records) This song about Our Hero's hopeless attraction to a Lawrence Welkie is sort of ironic because after all ole Buddy, with his Bible Belt upbringing, was a bit of a square himself (in the words of Oliver Vale, he..."was the kind of boy who would offer to change your tire on a lonely stretch of road"). But that's why I love him. 5) New York, N.Y.: Planning For The Future _________________________________________________________________ The songs from this period are a far cry from the Buddy Holly of Lubbock and Clovis. Was it success, or perhaps marriage that settled him down at the ripe old age of twenty-two? He sounds so...satisfied. Perhaps it is only fair that Our Hero was allowed to achieve a sort of musical middle age, because he sure as hell didn't get one in real life. Adieu, sweet Odysseus... That's What They Say Written by: Buddy Holly Recorded: 1/59 First released: March 1960 (The Buddy Holly Story, Volume 2, Coral Records) There comes a time for everybody When true love will come your way 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 true for me. You just keep waiting And love will come your way That's what they tell me, that's what they say. I still can't decide if this song is depressing or not. Love Is Strange Recorded: 1/59 First released: January 1969 (Giant, Coral Records) At first listen this tune sounds a lot like Dearest, but there's a catchy little guitar line hidden beneath the overeager violins and slightly flat synthesizer. Smokey Joe's Cafe Recorded: 1/59 First released: January 1969 (Giant, Coral Records) Urban legend about a hapless diner patron who rubs knees with the wrong girl and is nearly dispatched with a cooking knife: "Eat up all your beans, boy, and clear right on out!" Slippin' & Slidin' Recorded: 1/59 First released: February 1963 (Reminiscing, Coral Records) Slippin' and Slidin' are fine, but peepin' and hidin' are probably things best left unadvertised. Learning The Game Written by: Buddy Holly Recorded: 1/59 First released: March 1960 (The Buddy Holly Story, Volume 2, Coral Records) Hearts that are broken and love that's untrue, These go with learning the game. When you love her but she doesn't love you, You're only learning the game. 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... Geez, after listening to this I have no desire whatsoever to learn the game...I think I'll just have a root canal instead. Crying, Waiting, Hoping Written by: Buddy Holly Recorded: 1/59 First released: 7/20/59 (flip side to Peggy Sue Got Married, Coral Records) A cool song--The Big B. H. delivers both a great guitar solo and nice vocals. But it makes you just wanna grab him by the shoulders of that stupid striped jacket and yell, "BUDDY! SHE'S GONE! GET A LIFE!" You're The One Written by: Buddy Holly, Waylon Jennings, and ? Corbin Recorded: 12/58 First released: May 1964 (Showcase, Coral Records) Primordial synthesized strings show off their ability to play slow major scales. What To Do Written by: Buddy Holly Recorded: 1/59 First released: March 1960 (The Buddy Holly Story, Volume 2, Coral Records) Record hops, soda shops, walks to school--wasn't The Great Myopic One a little old for this kind of stuff? In truth I've never paid much attention to the words to this song, because each time it comes on I'm instantly mesmerized by THE VOICE. Correct me if I'm wrong, ladies, but I say Ole Blue Eyes has nothing on my Buddy. That Makes It Tough Written by: Buddy Holly Recorded: 1/59 First released: March 1960 (The Buddy Holly Story, Volume 2, Coral Records) Da doo da de doo...Buddy is backed by the greatest, most sympathetic group of guys since Diner. And you know a song's gonna rock when it starts out with a five-seven chord. Peggy Sue Got Married Written by: Buddy Holly Recorded: 1/59 First released: 7/20/59 There is an epic narrative quality about the story of what happens to Peggy Sue that, along with the classic guitar ride, imbues this song with the quality of a treasured rock-and-roll fable. Dearest Recorded: 1/59 First released:12/13/63, UK (Coral Records) The sugar content of this song is such that it should bear a warning label for diabetics. Otherwise it's ok. Wait 'Til The Sun Shines Nellie Recorded: 1/59 First released: 8/20/62 (flip side to Reminiscing, Coral Records) For some reason Buddy decided to record this old favorite in the key of A flat, seriously botching my efforts to play along with him on guitar. But he imbues it with such a bouncy tempo that you JUST GOTTA DANCE! Lisa Saunders Boffa (bholly@polysci.umass.edu)