Buddy Holly
Charles Hardin Holley was born on September 7, 1936, in [[Lubbock, Texas|Lubbock]], Texas, to Lawrence Odell and Ella Pauline (Drake) Holley. In Philip Norman's biography it is stated that his mother's family claimed to be descended from the English navigator [[Francis Drake]].
Holly was always called "Buddy" by his family because he was so nice to everyone. Buddy was the youngest of three siblings, and brothers Larry and Travis taught him to play a variety of instruments, including the guitar, four-string banjo and lap steel guitar. At the age of five, his young voice and exuberance won him a talent contest singing a then-popular song, "Have You Ever Gone Sailing (Down the River of Memories)." In 1949, still retaining his soprano, he recorded a bluesy solo rendering of [[Hank Snow]]'s "My Two Timin' Woman" on a [[wire recorder]] borrowed by a friend who worked in a music shop.
In 1952, he met [[Bob Montgomery (musician)|Bob Montgomery]] at Hutchinson Junior High School. They shared an interest in music, and teamed up as "Buddy and Bob". Initially influenced by [[bluegrass music|bluegrass]], they sang harmony duets at local clubs and high school talent shows. The duo performed on a local radio station [[KDAV]] Sunday broadcast that made them a top local act. Hutchinson Junior High School now has a mural honoring Holly, and [[Lubbock High School]], where he sang in the school choir, also honors the late musician.
That'll Be The Day
Holly saw [[Elvis Presley]] sing in Lubbock in 1955, and began to incorporate a [[rockabilly]] style, similar to the [[Sun Records]] sound, which had a strong rhythm acoustic and slap bass.On October 15, 1955, Holly, along with Bob Montgomery and Larry Welborn, opened the bill for Presley in Lubbock, catching the eye of a [[Nashville]] talent scout. Holly's transition to rock continued when he opened for [[Bill Haley & His Comets]] at a local show organized by Eddie Crandall, the manager for [[Marty Robbins]]
Following this performance, [[Decca Records]] signed him to a contract in February 1956, misspelling his name as "Holly".He thereafter adopted the misspelled name for his professional career. Holly formed his own band, later to be called [[The Crickets]], consisting of Holly (lead guitar and vocals), [[Niki Sullivan]] (guitar), [[Joe B. Mauldin]] (bass), and [[Jerry Allison]] (drums). They went to Nashville for three recording sessions with producer [[Owen Bradley]]. However, Holly chafed under a restrictive atmosphere that allowed him little input Among the tracks he recorded was an early version of "[[That'll Be The Day]]", which took its title from a line that [[John Wayne]]'s character says repeatedly in the 1956 film ''[[The Searchers (film)|The Searchers]]''. (This initial version of the song played more slowly and about half an octave higher than the later hit version.) Decca released two singles, "Blue Days, Black Nights" and "Modern Don Juan", that failed to make an impression. On January 22, 1957, Decca informed Holly his contract would not be renewed, insisting, however, that he could not record the same songs for anyone else for five years.Holly recorded his February 28, 1957 phone call with Decca, and the recording has survived: .
Blue Days Black Nights
Holly then hired [[Norman Petty]] as manager, and the band began recording at Petty's studios in [[Clovis, New Mexico|Clovis]], New Mexico. Petty contacted music publishers and labels, and [[Brunswick Records]], a subsidiary of Decca, signed the Crickets on March 19, 1957. Holly signed as a solo artist with another Decca subsidiary, [[Coral Records]]. This put him in the unusual position of having two recording contracts at the same time.
On May 27, 1957, "That'll Be The Day" was released as a single, credited to the Crickets to try to bypass Decca's claimed legal rights. When the song became a hit, Decca decided not to press its claim. "That'll Be the Day" topped the ''Billboard'' [[Number-one hits of 1957 (United States)|US "Best Sellers in Stores"]] chart on September 23, and was on the [[List of number-one singles from the 1950s (UK)|UK Singles Chart]] for three weeks in November. The Crickets performed "That'll Be the Day" and "[[Peggy Sue (song)|Peggy Sue]]" on ''[[The Ed Sullivan Show]]'' on December 1.They also sang "Peggy Sue" on ''[[The Arthur Murray Party]]'' on December 29 and were given a polite introduction by [[Kathryn Murray]]. The [[kinescopes]] of these programs are the only record of their 1957 television appearances.
Peggy Sue
Holly helped win over an all-black audience to rock and roll/rockabilly when the Crickets were booked at New York's [[Apollo Theater]] for August 16–22, 1957. Unlike the immediate acceptance shown in the 1978 movie ''[[The Buddy Holly Story]]'', it actually took several performances for the audience to warm up to him. In August 1957, the Crickets were the only white performers on a national tour including black neighborhood theaters.
As Holly was signed both as a solo artist and a member of the Crickets, two debut albums were released: ''[[The "Chirping" Crickets]]'' on November 27, 1957 and ''[[Buddy Holly (album)|Buddy Holly]]'' on February 20, 1958. His singles "Peggy Sue" and "[[Oh, Boy! (song)|Oh Boy!]]", with backing vocals later dubbed on by [[The Picks]], reached the top ten of United States and United Kingdom charts. Buddy Holly and the Crickets toured Australia in January 1958 and the UK in March. Their third and final album, ''[[That'll Be the Day (album)|That'll Be the Day]]'', was put together from early recordings and was released in April.
In the liner notes to ''Buddy Holly: The Definitive Collection'', Billy Altman notes that "Peggy Sue" was originally written as "Cindy Lou" (after Holly's niece), but Holly changed it prior to recording as a tip of the hat to Crickets drummer Jerry Allison's girlfriend, Peggy Sue Gerron. Allison wanted the song to be named after Gerron to make up for a recent fight. The two later married.
Holly wrote "[[True Love Ways]]" about his relationship with his wife, [[María Elena Holly|Maria Elena]]. It was recorded in her presence on October 21, 1958, at Decca's Pythian Temple, with Dick Jacob, [[Coral-Brunswick]]'s new head of [[A&R|Artists and Repertoire]], serving as both producer and conductor of the 18-piece orchestra, which included members of the [[New York Symphony Orchestra]], NBC Television's house orchestra and [[Boomie Richman|Abraham "Boomie" Richman]], formerly of [[Benny Goodman]]'s band.
MidNight Shift
The ambitious Holly became increasingly interested in the New York music/recording/publishing scene, while his band mates wanted to go back home to Lubbock.{{Citation needed|date=October 2010}} As a result, the group split up in late 1958. The Hollys settled in Apartment 4H of the Brevoort Apartments located at 11 Fifth Avenue in [[Greenwich Village]]. Here he recorded the series of acoustic songs, including "[[Crying, Waiting, Hoping]]" and "What to Do," known as the "Apartment Tapes," which were released after his death.
The Hollys frequented many of New York's music venues, including [[The Village Gate]], Blue Note, [[Village Vanguard]], and Johnny Johnson's.{{Citation needed|date=October 2010}} Maria Elena reported Buddy was keen to learn finger-style flamenco guitar, and would often visit her aunt's home to play the piano there.{{Citation needed|date=October 2010}} He wanted to develop collaborations between soul singers and rock 'n' roll, hoping to make an album with [[Ray Charles]] and gospel legend [[Mahalia Jackson]]. He also had ambitions to work in film, like [[Elvis Presley]] and [[Eddie Cochran]], and registered for acting classes with Lee Strasburg's [[Actors' Studio]], where the likes of [[Marlon Brando]] and [[James Dean]] had trained.
Crying , waiting, Hoping
According to Billy Altman's liner notes to the Geffen/Universal compilation, ''Buddy Holly: The Definitive Collection'', in addition to "True Love Ways", during the October 1958 sessions at Decca's Pythian Temple, Holly also recorded two other songs, "It Doesn't Matter Anymore" and "Raining In My Heart." The songs were firsts for Holly, not only in the use of orchestral backing players, but also the tracks were his first stereo recordings. They were also to be his last formal [[recording studio]] sessions.
Although Holly had already begun to become disillusioned with Norman Petty before meeting Maria Elena, it was through her and her aunt Provi, the head of Latin American music at Peer-Southern, that he began to fully realize what was going on with his manager, who was paying the band's royalties into his own company's account. Holly was having trouble getting his royalties from Petty, so he hired the noted lawyer Harold Orenstein at the recommendation of his friends the [[Everly Brothers]], who had engaged Orenstein following disputes with their own manager, Wesley Rose. Yet, with the money still being withheld by Petty and with rent due, Buddy was forced to go back on the road.
Ollie Vee
The Day the Music Died
Holly was offered a spot in the Winter Dance Party, a three-week tour across the Midwest opening on January 23, 1959, by the GAC agency,{{Citation needed|date=October 2010}} with other notable performers such as [[Dion and the Belmonts]], [[Ritchie Valens]], and [[The Big Bopper|J. P. "The Big Bopper" Richardson]]. He assembled a backing band consisting of [[Tommy Allsup]] (guitar), [[Waylon Jennings]] (bass) and [[Carl Bunch]] (drums), and billed as The Crickets.{{Citation needed|date=October 2010}}
Following a performance at the [[Surf Ballroom]] in [[Clear Lake, Iowa]], on February 2, 1959, Holly chartered a small airplane to take him to the next stop on the tour. Holly, Valens, Richardson and the pilot were killed en route to Moorhead, Minnesota, when their plane crashed soon after taking off from nearby [[Mason City, Iowa|Mason City]] in the early morning hours of February 3. Bandmate [[Waylon Jennings]] had given up his seat on the plane, causing Holly to jokingly tell Jennings, "I hope your ol' bus freezes up!" Jennings shot back facetiously, "Well, I hope your ol' plane crashes!" It was a statement that would haunt Jennings for decades.
True Love Ways
Holly's funeral was held on February 7, 1959, at the Tabernacle Baptist Church in Lubbock. The service was officiated by Ben D. Johnson, who had presided at the Hollys' wedding just months earlier. The pallbearers were [[Jerry Allison]], [[Joe B. Mauldin]], [[Niki Sullivan]], [[Bob Montgomery (musician)|Bob Montgomery]], [[Sonny Curtis]] and [[Phil Everly]]. Waylon Jennings was unable to attend due to his commitment to the still-touring Winter Dance Party. Holly's body was interred in the City of Lubbock Cemetery in the eastern part of the city. His headstone carries the correct spelling of his surname (Holley) and a carving of his [[Fender Stratocaster]] guitar.
Holly's pregnant wife, a widow after barely six months of marriage, miscarried soon after, ending that part of the Holly family tree. The miscarriage was reportedly due to “[[psychological trauma]]”. Because of this incident, authorities found it necessary, in the months following, to implement a policy against announcing victims’ names until after families had first been informed.[[María Elena Holly]] did not attend the funeral, and has never visited the gravesite. She later told the ''Avalanche-Journal'':
In a way, I blame myself. I was not feeling well when he left. I was two weeks pregnant, and I wanted Buddy to stay with me, but he had scheduled that tour. It was the only time I wasn't with him. And I blame myself because I know that, if only I had gone along, Buddy never would have gotten into that airplane.
The first song to commemorate the musicians was “Three Stars” by Eddie Cochran. This song was recorded just a single day after the disaster occurred. Twelve years later, in 1971, [[Don McLean]] released his single, "[[American Pie (song)|American Pie]]”, to commemorate Buddy Holly’s death and further accentuate the loss of the United States’ innocence. Don McLean’s song began the reference to the tragedy as "The Day the Music Died".
| Date & Source | Label & Number | Title & "As By" Name | ||
| 1956/Apr. 21 Bb c&w rev. |
Decca (N.Y.) 9-29854 |    Love Me — Buddy Holly |
||
| Blue Days--Black Nights — Buddy Holly |
||||
| 1956/Dec. 29 Bb c&w rev. |
Decca (N.Y.) 9-30166 | Modern Don Juan — Buddy Holly |
||
 You Are My One Desire — Buddy Holly |
||||
| 1957/June 24 Bb pop rev. |
Coral (N.Y.) 9-61852 | Mailman, Bring Me No More Blues — Buddy Holly |
||
| Words Of Love — Buddy Holly |
||||
| 1957/Aug. 19 Bb pop rev. |
Decca (N.Y.) 9-30434 | Rock Around With Ollie Vee — Buddy Holly |
||
| That'll Be The Day — Buddy Holly And The Three Tunes |
||||
| 1957/Sept. 30 Bb pop rev. |
Coral (N.Y.) 9-61885 | Peggy Sue — Buddy Holly |
||
| Everyday — Buddy Holly |
||||
Decca (N.Y.) ED2575  That'll Be The Day [mono] |
 That'll Be The Day — Buddy Holly And The Three Tunes |
|||
| You Are My One Desire — Buddy Holly |
||||
| Blue Days--Black Nights — Buddy Holly And The Three Tunes |
||||
| Ting-A-Ling — Buddy Holly |
||||
| 1958/Jan. 6 Bb pop rev. |
Decca (N.Y.) 9-30543 | Love Me — Buddy Holly |
||
| You Are My One Desire — Buddy Holly |
||||
| 1958/Feb. 3 Bb pop rev. |
Coral (N.Y.) 9-61947 | I'm Gonna Love You Too — Buddy Holly |
||
| Listen To Me — Buddy Holly |
||||
| Coral (N.Y.) EC81169 Listen To Me [ep] |
Listen To Me — Buddy Holly |
|||
| Peggy Sue — Buddy Holly |
||||
| I'm Gonna Love You Too — Buddy Holly |
||||
| Everyday — Buddy Holly |
||||
| 1958/Apr. 21 Bb pop rev. |
Coral (N.Y.) 9-61985 | Rave On — Buddy Holly |
||
| Take Your Time — Buddy Holly |
||||
| 1958/June 23 Bb pop rev. |
Decca (N.Y.) 9-30650 | Ting-A-Ling — Buddy Holly And The Three Tunes |
||
| Girl On My Mind — Buddy Holly And The Three Tunes |
||||
| 1958/June 30 Bb pop rev. |
Coral (N.Y.) 9-62006 | Early In The Morning — Buddy Holly With Chorus And Orchestra Directed By Dick Jacobs |
||
| Now We're One — Buddy Holly With Chorus And Orchestra Directed By Dick Jacobs |
||||
| 1958/Oct. 27 Bb pop rev. |
Coral (N.Y.) 9-62051 | Well ... All Right — Buddy Holly |
||
| Heartbeat — Buddy Holly |
||||
| 1959/Jan. 19 Bb pop rev. |
Coral (N.Y.) 9-62074 |  It Doesn't Matter Anymore — Buddy Holly With Chorus And Orchestra Directed By Dick Jacobs |
||
| Raining In My Heart — Buddy Holly With Chorus And Orchestra Directed By Dick Jacobs |
||||
| Coral (N.Y.) EC-81182 The Buddy Holly Story [mono] |
Early In The Morning — Buddy Holly |
|||
| Heartbeat — Buddy Holly |
||||
| It Doesn't Matter Anymore — Buddy Holly With Chorus And Orchestra Directed By Dick Jacobs |
||||
| Raining In My Heart — Buddy Holly |
||||
| 1959/Aug. 3 Bb pop rev. |
Coral (N.Y.) 9-62134 | Peggy Sue Got Married — Buddy Holly |
||
| Crying, Waiting, Hoping — Buddy Holly |
||||
| 1960/June 13 Bb pop rev. |
Coral (N.Y.) 9-62210 |
That Makes It Tough — Buddy Holly |
||
| True Love Ways — Buddy Holly |
||||
| 1961/July (Bb est.) |
Coral (Que.) 62283 | You're So Square (Baby I Don't Care) — Buddy Holly |
||
| Valley Of Tears — Buddy Holly |
||||
| Coral (N.Y.) EC-81191 Peggy Sue Got Married [mono] |
Peggy Sue Got Married — Buddy Holly With Chorus And Orchestra Directed By Jack Hansen |
|||
| Crying, Waiting, Hoping — Buddy Holly |
||||
| Learning The Game — Buddy Holly With Chorus And Orchestra Directed By Jack Hansen |
||||
| That Makes It Tough — Buddy Holly |
||||
| 1962/Aug. 18 Bb pop rev. |
Coral (N.Y.) 62329 | Reminiscing — Buddy Holly |
||
| Wait Till The Sun Shines Nellie — Buddy Holly |
||||
| 1963/Mar. 30 Bb pop rev. |
Coral (N.Y.) 62352 | Bo Diddley — Buddy Holly |
||
| True Love Ways — Buddy Holly With Chorus And Orchestra Directed By Dick Jacobs |
||||
| Coral (N.Y.) EC81193 Brown Eyed Handsome Man [mono] |
Brown Eyed Handsome Man — Buddy Holly |
|||
| Wishing — Buddy Holly |
||||
| Bo Diddley — Buddy Holly |
||||
| True Love Ways — Buddy Holly |
||||
| 1963/July 27 Bb pop rev. |
Coral (N.Y.) 62369 | Brown-Eyed Handsome Man — Buddy Holly |
||
| Wishing — Buddy Holly |
||||
| 1964/Jan. 4 Bb pop rev. |
Coral (N.Y.) 62390 | Rock Around With Ollie Vee — Buddy Holly |
||
| I'm Gonna Love You Too — Buddy Holly |
||||
| 1965/Apr. (Bb est.) |
Coral (N.Y.) 62448 | Slippin' And Slidin' — Buddy Holly |
||
| What To Do — Buddy Holly |
||||
| 1966-67 (Bb est.) |
Coral (N.Y.) 62554 | Rave On — Buddy Holly |
||
| Early In The Morning — Buddy Holly |
||||
| 1967 (Bb est.) |
Coral (N.Y.) 62558 |
You're The One — Buddy Holly |
||
| Love Is Strange — Buddy Holly |
||||
| Original LPs | ||||
| 1958 | Coral (N.Y.) CRL57210 Buddy Holly [mono] |
I'm Gonna Love You Too — Buddy Holly |
||
| Peggy Sue — Buddy Holly |
||||
| Look At Me — Buddy Holly |
||||
| Listen To Me — Buddy Holly |
||||
| Valley Of Tears — Buddy Holly |
||||
| Ready Teddy — Buddy Holly |
||||
| Everyday — Buddy Holly |
||||
| Mailman, Bring Me No More Blues — Buddy Holly |
||||
| Words Of Love — Buddy Holly |
||||
| You're So Square (Baby, I Don't Care) — Buddy Holly |
||||
| Rave On — Buddy Holly |
||||
| Little Baby — Buddy Holly |
||||
| 1958/May 5 Bb Aud. |
Decca (N.Y.) DL-8707 That'll Be The Day [mono] |
You Are My One Desire — Buddy Holly |
||
| Blue Days--Black Nights — Buddy Holly |
||||
| Modern Don Juan — Buddy Holly |
||||
| Rock Around With Ollie Vee — Buddy Holly With The Three Tunes |
||||
| Ting-A-Ling — Buddy Holly With The Three Tunes |
||||
| Girl On My Mind — Buddy Holly With The Three Tunes |
||||
| That'll Be The Day — Buddy Holly With The Three Tunes |
||||
| Love Me — Buddy Holly |
||||
| I'm Changing All Those Changes — Buddy Holly With The Three Tunes |
||||
| Don't Come Back Knockin' — Buddy Holly |
||||
| Midnight Shift — Buddy Holly |
||||
| 1959 | Coral (N.Y.) CRL-57279 The Buddy Holly Story [mono] |
Raining In My Heart — Buddy Holly |
||
| Early In The Morning — Buddy Holly |
||||
| Peggy Sue — Buddy Holly |
||||
| Maybe Baby — Buddy Holly |
||||
| Everyday — Buddy Holly |
||||
| Rave On — Buddy Holly |
||||
| That'll Be The Day — Buddy Holly |
||||
| Heartbeat — Buddy Holly |
||||
| Think It Over — Buddy Holly |
||||
| Oh! Boy — Buddy Holly |
||||
| It's So Easy — Buddy Holly |
||||
| It Doesn't Matter Anymore — Buddy Holly |
||||
| 1959 | Coral (N.Y.) CRL-757279 The Buddy Holly Story [sim. stereo] |
Raining In My Heart [rechan. vers.] — Buddy Holly |
||
| Early In The Morning [rechan. vers.] — Buddy Holly |
||||
| Peggy Sue [rechan. vers.] — Buddy Holly |
||||
| Maybe Baby [rechan. vers.] — Buddy Holly |
||||
| Everyday [rechan. vers.] — Buddy Holly |
||||
| Rave On [rechan. vers.] — Buddy Holly |
||||
| That'll Be The Day [rechan. vers.] — Buddy Holly |
||||
| Heartbeat [rechan. vers.] — Buddy Holly |
||||
| Think It Over [rechan. vers.] — Buddy Holly |
||||
| Oh! Boy [rechan. vers.] — Buddy Holly |
||||
| It's So Easy [rechan. vers.] — Buddy Holly |
||||
| It Doesn't Matter Anymore [rechan. vers.] — Buddy Holly |
||||
| 1960/May 2 Bb Aud. |
Coral (N.Y.) CRL-57326 The Buddy Holly Story, Vol. 2 [mono] |
Peggy Sue Got Married — Buddy Holly |
||
| Well All Right — Buddy Holly |
||||
| What To Do — Buddy Holly |
||||
| That Makes It Tough — Buddy Holly |
||||
| Now We're One — Buddy Holly |
||||
| Take Your Time — Buddy Holly |
||||
| Crying, Waiting, Hoping — Buddy Holly |
||||
| True Love Ways — Buddy Holly |
||||
| Learning The Game — Buddy Holly |
||||
| Little Baby — Buddy Holly |
||||
| Moondreams — Buddy Holly |
||||
| That's What They Say — Buddy Holly |
||||
| 1963 | Coral (N.Y.) CRL-57426 Reminiscing [mono] |
Reminiscing — Buddy Holly |
||
| Slippin' And Slidin' — Buddy Holly |
||||
| Bo Diddley — Buddy Holly |
||||
| Wait Till The Sun Shines Nellie — Buddy Holly |
||||
| Baby, Won't You Come Out Tonight — Buddy Holly |
||||
| Brown-Eyed Handsome Man — Buddy Holly |
||||
| Because I Love You — Buddy Holly |
||||
| It's Not My Fault — Buddy Holly |
||||
| I'm Gonna Set My Foot Down — Buddy Holly |
||||
| Changing All Those Changes — Buddy Holly |
||||
| Rock-A-Bye Rock — Buddy Holly |
||||
| 1963 | Coral (N.Y.) CRL-757426 Reminiscing [sim. stereo] |
Reminiscing [rechan. vers.] — Buddy Holly |
||
| Slippin' And Slidin' [rechan. vers.] — Buddy Holly |
||||
| Bo Diddley [rechan. vers.] — Buddy Holly |
||||
| Wait Till The Sun Shines Nellie [rechan. vers.] — Buddy Holly |
||||
| Baby, Won't You Come Out Tonight [rechan. vers.] — Buddy Holly |
||||
| Brown-Eyed Handsome Man [rechan. vers.] — Buddy Holly |
||||
| Because I Love You [rechan. vers.] — Buddy Holly |
||||
| It's Not My Fault [rechan. vers.] — Buddy Holly |
||||
| I'm Gonna Set My Foot Down [rechan. vers.] — Buddy Holly |
||||
| Changing All Those Changes [rechan. vers.] — Buddy Holly |
||||
| Rock-A-Bye Rock [rechan. vers.] — Buddy Holly |
||||
| 1964 | Coral (N.Y.) CRL-57450 Showcase [mono] |
Shake Rattle And Roll — Buddy Holly |
||
| Rock Around With Ollie Vee — Buddy Holly |
||||
| Honky Tonk – (instr.) — Buddy Holly |
||||
| I Guess I Was Just A Fool — Buddy Holly |
||||
| Umm Oh Yeah — Buddy Holly |
||||
| You're The One — Buddy Holly |
||||
| Blue Suede Shoes — Buddy Holly |
||||
| Come Back Baby — Buddy Holly |
||||
| Rip It Up — Buddy Holly |
||||
| Love's Made A Fool Of You — Buddy Holly |
||||
| Gone — Buddy Holly |
||||
| Girl On My Mind — Buddy Holly |
||||
| 1964 | Coral (N.Y.) CRL-757450 Showcase [sim. stereo] |
Shake Rattle And Roll [rechan. vers.] — Buddy Holly |
||
| Rock Around With Ollie Vee [rechan. vers.] — Buddy Holly |
||||
| Honky Tonk [rechan. vers.] — Buddy Holly |
||||
| I Guess I Was Just A Fool [rechan. vers.] — Buddy Holly |
||||
| Umm Oh Yeah [rechan. vers.] — Buddy Holly |
||||
| You're The One [rechan. vers.] — Buddy Holly |
||||
| Blue Suede Shoes [rechan. vers.] — Buddy Holly |
||||
| Come Back Baby [rechan. vers.] — Buddy Holly |
||||
| Rip It Up [rechan. vers.] — Buddy Holly |
||||
| Love's Made A Fool Of You [rechan. vers.] — Buddy Holly |
||||
| Gone [rechan. vers.] — Buddy Holly |
||||
| Girl On My Mind [rechan. vers.] — Buddy Holly |
||||
| [LP track] | Down The Line — Buddy Holly |
|||
| Live Performances | ||||
| [live recording] | Peggy Sue [live vers.] — Buddy Holly |
|||
| Unissued Tracks | ||||
| [unissued] uniss. | Baby Won't You Come Out Tonight — Buddy Holly |
|||
| Rock Around With Ollie Vee [alt. vers.] — Buddy Holly |
||||
No comments:
Post a Comment