Spotlight on Buddy Holly

By Riff

When talking about musical genius, people tend to think of names such as Mozart, Beethoven or perhaps other classical artists and composers. If forced to look at rock music, it is generally names such as Elvis, Eric Clapton or John Lennon that get mentioned, possibly even Michael Jackson. The very uninformed may even mention the Gallagher brothers.

Sadly, these days, only a relatively few people are likely to mention a man who died tragically young at the tender age of just twenty-two. It is, however, Buddy Holly who was arguably the giant upon whose shoulders artists such as the Beatles, Rolling Stones, and many many more stand upon.

Born Charles Hardin Holley in Lubbock, Texas, Buddy's professional career lasted a mere 18 months, from the summer of 1957 until his death , alongside fellow artists J.P. "The Big Bopper" Richardson and Richie Valenz, in a plane crash in February 1959 in Clear Lake, Iowa.

Ironically although he had a number of hits, he never quite managed to achieve the recognition he deserved during his life. His career had slowed down somewhat, towards the end and this is one reason that caused him to be on the road. However, contrary to many opinions Holly was still making a decent enough living, and had some new tunes to promote. Thus he went back on tour with "The Winter Dance Party", with tragic consequences.

Buddy Holly is synonymous with his group "The Crickets" (in turn directly inspiring the name of "The Beatles" some three years after his death) although they never recorded as "Buddy Holly and the Crickets." Originally they were simply "The Crickets" signed initially to the Decca label and then Brunswick, a Decca subsidiary, but Holly was also offered a solo contract with Coral records at the same time, giving him the unusual distinction of having two contracts, both with subsidiary companies of the same record label.

Norman Petty was Holly's manager and often producer in the early days, recording the group in his Clovis, New Mexico studios, but allegations of Petty's defrauding the band took their toll and Buddy and Petty parted ways. Holly married and moved to New York - where Holly's musical style changed dramatically from the rock 'n' roll of That'll be the Day and Peggy Sue - two of his biggest hits, to a more melodious and mature sound reflected in tracks such as True Love Ways and Moondreams and of course It Doesn't Matter Any More. Whatever the allegations surrounding Petty, Holly would not hear ill of Petty and it there is evidence to support the contention that it was the record company, rather than Petty, that withheld monies due to Holly, but he was by no means a pauper at the time of his death and had lavished presents on his family over the Christmas of 1958.

For such a short career, Holly was surprisingly prolific. His catalogue contains over 100 original tunes, many of which he penned himself or co-wrote with friends and colleagues, writing music and lyrics. His recording legacy more than covers his entire career, ranging from his earliest country recordings with school friend Bob Montgomery in a pairing known as "Buddy and Bob" in 1956, right up to home recordings made in the final few weeks of his life in his New York apartment.

The quantity of music Holly created during his life is overshadowed by the quality. He brought us some standards that are still as strong today as they were over fifty years ago; That'll be the Day, Peggy Sue, Heartbeat & Oh Boy are still hugely popular today and have impacted on so many artists, including the Who, the Rolling Stones and Neil Diamond. Holly established the classic "rock'n' roll" band template: two guitars, bass & drums - something that's been aped incessantly ever since from the Shadows to the Beatles to the Kings of Leon. Even Holly's guitar of choice, the Fender Stratocaster is still remains hugely popular today, arguably because of Holly's success.

Holly's distinct image has also been copied down the years, consciously and subliminally - his classic "geek" look, curly hair and eyeglasses is hardly a typical rock 'n' roll look and yet the glasses are now iconic, just ask Hank Marvin, Roy Orbison and Elvis Costello. He made "nerds" cool in a highly unexpected way. One interesting point is most of his TV appearances feature him in a tux and bow tie, something almost unheard of for a rocker, even back in the 50s. This is another part of his charm and success: By looking "ordinary" he made rock 'n' roll accessible to everyone who could strum a guitar, where his contemporaries such as Elvis, needed smouldering good looks and double jointed hips, or a huge band backing him, in the case of Bill Haley & The Comets. He demonstrated that rock n roll was not simply about image, it was about talent - he showed the way when it was almost impossible to break through without being "manufactured" by the record labels.