Random mumblings and mundom ramblings on music (mostly), and whatever else pops into my mind . . .
[The files attached here are for review only, and should be deleted after two weeks. If you like the bands, go buy the albums . . . like I did!] . . .
And yes - EVERYTHING posted here is still available!
In the mid-2000s, a small British label called Planet
Clique, specializing in dance music, released a series of remix EPs of classic
B-52's hits, mostly on vinyl. The label was an offshoot of Manhattan
Clique, maintained by founders Philip Larsen and Chris Smith, collectively
referred to by the moniker "MHC".
From
their website:
One
of the most enduring and well-respected remix teams of the last decade,
Manhattan Clique have worked with some of the biggest names in pop and dance
music, delivering over 200 dance/crossover remixes to date for all the world's
major labels and many independents. Highlights include Katy Perry, Charli
XCX, Emeli Sandé, Lady Gaga, DJ Fresh, Ellie Goulding, Nicole Scherzinger,
Britney Spears, Carly Rae Jepsen, Example, Wretch 32 and many more.
Manhattan Clique remixes regularly reside in the upper reaches of dance, club
and pop charts in the UK, US and across Europe.
Their remix edits are also hugely popular with radio stations, gaining support
on BBC Radio 1, Kiss and Capital in the UK,
and across a large number of radio stations in the US. The team are also well
known in the blogging world, picking up regular plaudits from leading music
bloggers such as Popjustice, Perez Hilton and Arjan Writes.
Manhattan Clique have also worked with some of the biggest artists in Europe;
from Germany's Frida Gold, Norway's Ida Maria, Holland's Esmée Denters,
Russia's Valeriya to French megastar Mylene Farmer. Her duet with Moby,
"Slipping Away" was Manhattan
Clique's first #1 production, as well as Moby's first and only #1
single, spending several weeks at the top of the French singles chart in
2006.
Outside Manhattan
Clique, Philip Larsen has additionally won a Grammy award for his mix work on
Kylie Minogue’s "Come Into My World". Chris Smith runs the PR
and marketing company Renegade Music, based in London, who consult for a wide
variety of new and established UK
and international talent.
Their remix EP of songs from Whammy! came
out in 2005, followed by their Mesopotamia
remixes the following year and their reimagining of songs from Wild Planet
the year after. All in all, I found these modified songs to be mostly
interesting and enjoyable, and a welcome addition to the overall B-52's catalog.
Took me forever to find these discs... and as
usual, I'm happy to share them with my fellow Bee-Fives fans.
So here, for your enjoyment and perusal, is the Whammy!
- 2005 Remix EP, the Mesopotamia - 2006 Remix EP, and the Wild
Planet - 2007 Remix EP, released in limited
editions by Planet Clique in the years indicated. Enjoy, and as always,
let me know what you think.
Please use the email
link below to contact me, and I will reply with the download link(s) ASAP:
On this date fifty years ago, the short-lived supergroup Blind Faith played its debut concert (and as it turned out, their ONLY live appearance on English soil) on a scorching hot day in London's Hyde Park. Less than three months later, after a 30+-date worldwide tour that ended in Hawaii, the band (comprised of co-lead vocalists keyboardist Steve Winwood (ex-Spencer Davis Group and Traffic) and guitarist Eric Clapton (ex-Bluesbreakers, Yardbirds and Cream), along with drummer Ginger Baker (ex-Cream) and bassist Ric Grech (ex-Family)) called it a day, leaving behind only one
artifact, their eponymous 1969 album release (with its controversial cover), to mark their passing.
The rapid rise and fall of Blind Faith was the result of wild hype, overblown expectations, and corporate/managerial greed destroying what started out as an informal jam session/get-together between old friends. I would usually go into the details, whys and wherefores of this story of rock 'n' roll misfortune in my own long-winded and inimitable (ha) way... but it appears I won't have to. Writer Johnny Black penned the definitive version of this chronicle for MOJO magazine back in July 1996 - a link to his article is provided here.
So, instead of my blathering on and on regarding the circumstances that led up to this historic day in rock history a half-century ago, how about if I let you all see the performance for yourself? Here's London Hyde Park 1969, the official video album by the band at their free concert on that day, the full 45-minute show with band member interviews dispersed throughout. Despite the brevity of the performance, this is still a classic, and worth viewing.
Enjoy London Hyde Park 1969, released on DVD in 2005 and burned to .mp4 format off of my personal copy. And as always, let me know what you think.
Please use the email link below to contact me, and I will reply with the download link(s) ASAP:
Only Buddy Holly's
dust rests here
with all his
youthful dreams
just some remnants
of the fifties
from a plane burst
at the seams.
Oh Lord, how that
aircraft tumbled
nose to tail,
and tail to nose,
how those boys
last prayer's were mumbled
then they screamed
at fate's cruel blows.
leaving broken bodies
scattered
all across the
once white snow,
east of nowhere long ago...
Buddy Holly would have turned eighty-two today.
Almost sixty years gone now... and Charles Hardin Holley's legacy and influence in rock - and in music as a whole - remains unassailable to this day. Every major artist that has since followed in his wake - The Rolling Stones, Bob Dylan, Eric Clapton, Elton John, Bruce Springsteen, The Clash, and of course The Beatles - and every major rock movement - the British Invasion, surf rock, the folk-rock explosion, punk, alternative - owes a large part of their very existence to this unassuming yet brilliant and driven young man from Lubbock, Texas.
I think of all the rock pioneers and icons who left this world well before their time (Bobby Fuller, Otis Redding, Jimi Hendrix, Janis Joplin, Kurt Cobain, Jeff Buckley, and many, many more (unfortunately)), Buddy Holly was the one with the most unrealized potential. I mean, heck, just consider this: the guy went from relatively simplistic teenybopper stuff like "That'll Be The Day" and "Maybe Baby"... to complex, melodic and thoughtful songs like "Well... All Right" and "True Love Ways"... in little over two years of active recording. Personally, I find the rate and level of the evolution of his art and musical sophistication astonishing - rivaled only by that of The Beatles (admitted Holly disciples) during their seven years as recording artists. And yet there were four of them - while he sometimes worked with songwriting partners, Buddy was essentially a solo artist.
Holly had dreams and ambitions far beyond just being a rock singer. Many of the frustrations in his early career stemmed from his lack of creative control over his music (a circumstance that contributed to his break from his first band, The Crickets, in 1958). More and more, he began managing his own musical direction, taking tentative steps into Latin-influnced sounds ("Take Your Time") and easy listening ("True Love Ways", "Moondreams"). Holly also began producing music, arranging sessions for his Lubbock friend Waylon Jennings and for his young 'discovery' Lou Giordano.
And still, Buddy yearned to do more on the production side. Late in 1958, he'd purchased land back in Texas and had drawn up plans for his own recording studio, and had already signed on many of his musician friends as staff (it was rumored that, once he got back off the Winter Dance Party tour in early 1959, one of the first artists he planned on recording at his new facility would have been Ritchie Valens...). And his music ambitions kept on expanding. He dreamed of recording with R&B giant Ray Charles (even at one point going out to California to seek him out - unfortunately, Charles was away on tour; can you IMAGINE what that collaboration would have been like?) and gospel great Mahalia Jackson.
In short, as great as he was even in the late 1950s, Buddy Holly was nowhere near reaching the height of his powers. I sometimes think about what could have happened had he not boarded that Iowa plane in February 1959 - more spectacular songs from him; forays into folk and country; playing with Dylan; collaborating with The Stones; even producing The Beatles! I am convinced that Holly would have remained a force in music for decades to come, and if he was still alive today, he'd be celebrated as the singular "elder statesman of rock".
But alas, none of that was destined to be. What a loss to music, and to the world.
On that tragic day
the music died
when the world
forever was denied
what could have been,
great songs unwritten
such promise in
a blizzard smitten
time stole what still
can't be forgiven,
three stars who still
had so much living
all vanished when their
plane was stricken,
leaving flesh remains,
torn and frostbitten.
But what will truly
be their legacy,
lies in the songs
that musically
still have us
humming them daily,
when radio stations
dust off tracks
that hold the gold....
today's songs lack,
then sadly we'll
go drifting back
not to Buddy's tomb,
but to his tunes.
The compilation offered here, The Complete Buddy Holly, was assembled by the Purple Chick collective of music fans in 2005. Here's a concise description of this offering, taken from the online magazine Big O Worldwide:
...Its comprehensiveness [of this set] rivals the official MCA 6-LP box set, The Complete Buddy Holly, first released in 1981 and long out-of-print. The MCA set has never been issued on CD.
Like the official LP box set, Purple Chick cover the same ground but offer the extras of alternates, demos, home recordings, live performances and radio spots that MCA decided to overlook. In general, what you get are Holly’s Nashville sessions with his friend Bob Montgomery that later was posthumously released as Holly In The Hills [1965], the demos for Decca, the Clovis recordings, the first sessions with Norman Petty in 1957 and the sessions that resulted in the three albums released in his lifetime.
Holly’s final demos, often called the Apartment Tapes, are also here. These were first overdubbed by Norman Petty using a Texas band called The Fireballs when new Holly material was needed.
The extra mile Purple Chick have taken are to assemble sessions produced by Buddy Holly for his friends including Sonny Curtis, Waylon Jennings, Carolyn Hester and Harry Nilsson and also those on which he played in [Buddy For Others Pt 1 and 2]. There are also two CDs worth of songs from Holly’s record collection, we presume to give the listener an idea of what influenced Holly. There is also a disc of interviews with Buddy Holly that includes various newscasts about the plane crash.
And as an added bonus, there's an eleventh disc full of video recordings of and about Buddy Holly - basically every important existing video featuring him.
Here's the entire Purple Chick set lineup, noting songs and sources; I've included some notes from the original Purple Chick release (marked as such below):
2: I 'll Just Pretend (Martin)
3: Take These Shackles From My Heart (King-Stewart)
- c. 1952: Home Recording, 3315, 36th Street, Lubbock, Texas; Bob Montgomery (poss. Jack Neal): lead vocal, guitar; Buddy Holly: second vocal, mandolin
4: Footprints In The Snow (Jones)
- c:1953: (Prob.) Home Recording, 3315, 36th Street, Lubbock, Texas; Bob Montgomery: lead vocal, guitar; Buddy Holly: vocal, guitar
5: Gotta Get You Near Me Blues+ (Montgomery)
6: Flower Of My Heart* (Montgomery-Guess)
7: Door To My Heart* (Montgomery)
8: I Gambled My Heart+ (Holly-Montgomery)
9: Soft Place In My Heart+ (Montgomery)
10: Gotta Get You Near Me Blues+ (Montgomery)
- c. late 1954/April 1955: Nesman Recording Studio - Wichita Falls, Texas; Bob Montgomery: lead vocal, acoustic guitar; Buddy Holly: duet vocal, electric lead guitar; Sonny Curtis: fiddle; Larry Welborn: bass on *; Don Guess: steel guitar on *, bass on +; 6-10: plus overdubs: 6 October, 1963 - The Fireballs: (George Tomsco: guitar, Stan Lark: bass; Keith McCormack: rhythm guitar; Lyn Bailey: bass; Doug Roberts: drums)
11: You And I Are Through* (Montgomery)
12: Memories (Montgomery)
13: You And I Are Through* (Montgomery)
14: Baby It's Love (Bob Montgomery-Ella Holley)
15: Memories (Montgomery)
16: Queen Of The Ballroom (Don Guess)
- August, 1955: KDAV Studio - Lubbock, Texas; Bob Montgomery: lead vocal, acoustic guitar; Buddy Holly: duet vocal, second lead guitar; Sonny Curtis: fiddle, lead guitar on *; Don Guess: bass; 13-16: plus overdubs: 26 June 1964 - The Fireballs: (George Tomsco: guitar; Keith McCormack: rhythm guitar; Stan Lark or Lyn Bailey: bass; Doug Roberts or Eric Budd: drums)
17: Baby Let's Play House (Gunter)
18: Down The Line (Holly-Montgomery)
19: Baby Let's Play House (Gunter)
20: Down The Line (Holly-Montgomery)
- Mid 1955: Nesman Recording Studio - Wichita Falls, Texas; Buddy Holly: lead vocal, acoustic guitar; Bob Montgomery: vocal and guitar on *; Sonny Curtis: lead guitar; Larry Welborn: bass; Jerry Allison: drums; 19-20: plus overdubs: June 1964 - The Fireballs: (George Tomsco: guitar; Keith McCormack: rhythm guitar; Stan Lark: bass; Doug Roberts or Eric Budd: drums)
21: Moonlight Baby (Holly) (aka Baby Won't You Come Out Tonight)
22:1 Guess I Was A Fool (Holly)
23: Don't Come Back Knockin' (Holly-Parrish)
24: Love Me (Holly-Parrish)
- 7 December, 1955: Nesman Recording Studio - Wichita Falls, Texas; Buddy Holly: vocal, guitar; Sonny Curtis: lead guitar; Don Guess: bass; Jerry Allison: drums (These acetates were sent to Decca in response to a telegram from Eddie Crandall to Dave Stone)
25: Love Me (Holly-Parrish) (Take 10)
26: Don't Come Back Knockin' (Holly-Parrish)
27: Midnight Shift (Lee-Ainsworth)
28: Blue Days, Black Nights (Hall)
- 26 January, 1956: Bradley's Barn Studio - Music Row, Nashville, Tennessee (Owen Bradley: producer); Buddy Holly: vocal; Sonny Curtis: lead guitar; Grady Martin: rhythm guitar; Don Guess: bass; Doug Kirkham: percussion
29: Baby Won't You Come Out Tonight+ (Holly)
30: I Guess I Was Just A Fool+ ~Holly)
31: It's Not My Fault (Hall-Myrick)
32: I'm Gonna Set My Foot Down*+ (Holly)
33: Changin' All Those Changes*+ (Holly)
34: Rock-A-Bye Rock+ (Holly)
35: Because I Love You+ (Holly)
- February-April, 1956: Norman Petty Studios - 1313 West 7th Street Clovis, New Mexico; Buddy Holly: vocal, guitar; Sonny Curtis: guitar, lead guitar on *; Don Guess: bass; Jerry Allison: drums on +
Volume Two
1: Baby Won't You Come Out Tonight (Holly)
2: Because I Love You (Holly)
3: Changin' All Those Changes (Holly)
4: I 'm Gonna Set My Foot Down (Holly)
5: It's Not My Fault (Hall-Myrick)
6: Rock-A-Bye Rock (Holly)
- Feb-Apr 1956 session from disc 1 plus overdubs: 14 November 1962 - The Fireballs: (George Tomsco: guitar; Keith McCormack: guitar; Stan Lark: bass; Doug Roberts or Eric Budd: drums)
7: Rock Around With Ollie Vee (Curtis) (fragment)
8: Rock Around With Ollie Vee (Curtis) (take 8)
9: I'm Changin' All Those Changes* (Holly) (take 3 fragment)
10: I'm Changin' All Those Changes* (Holly) (take 4)
11: That'll Be The Day (Alllson-Holly-Petty) (take 19)
12: Girl On My Mind (Guess) (take 3)
13: Ting-A-Ling (Nugetre) (take 7)
- 22 July, 1956: Bradley's Barn Studio - Music Row, Nashville, Tennessee (Owen Bradley: producer); Buddy Holly: vocal, guitar; Sonny Curtis: guitar, lead on *; Don Guess: bass; Jerry Allison: drums
14: Rock Around With Ollie Vee (Curtis) (take 12)
15: Modern Don Juan (Guess-Neil) (take 76 [sic])
16: You're My One Desire (Guess) (false start)
17: You're My One Desire (Guess) (take 2)
- 15 Nov, 1956: Bradley's Barn Studio - Music Row, Nashville, Tennessee (Owen Bradley: producer); Buddy Holly: vocal; Harold Bradley: guitar; Grady Martin: guitar; Don Guess: bass; Floyd Cramer: piano; Farris Coursey: drums; E.R. "Dutch" McMillin: saxophone
18: Gone (Rogers) (version one)
19: Gone (Rogers) (version two)
20: Gone (Rogers) (version three)
21: Have You Ever Been Lonely (De Rose-Brown) (version one)
22: Have You Ever Been Lonely (De Rose-Brown) (version two)
23: Have You Ever Been Lonely (De Rose Brown) (version three)
24: Have You Ever Been Lonely (De Rose-Brown) (version four)
25: Brown-Eyed Handsome Man (Berry)
26: Good Rockin' Tonight (Brown)
27: Rip It Up (Marascalco-Blackwell)
28: Blue Monday (Bartholomew-Domino)
29: Honky Tonk (Doggett-Shepard-Butler-Scott)
30: Blue Suede Shoes (Perkins)
31: Shake, Rattle and Roll (Calhoun)
32: Bo Diddley (McDaniel)
33: Ain't Got No Home (Henry)
34: Holly Hop (Holley)
35: Gone (Rogers) (version three)
36: Rip It Up (Marascalco-Blackwell)
37: Honky Tonk (Doggett-Shepard-Butler-Scott)
38: Blue Suede Shoes (Perkins)
39: Shake, Rattle and Roll (Calhoun)
40: Have You Ever Been Lonely (De Rose-Brown) (version one)
41: Good Rockin' Tonight (Brown)
42: Blue Monday (Bartholomew-Domino)
43: Ain't Got No Home (Henry)
44: Holly Hop (Holley)
- November-December, 1956: (Poss.) Home Recording - 1926, 19th Street, Lubbock, Texas; Buddy Holly: vocal, guitar; Jerry Allison: drums and vocals; (Poss.) Don Guess: bass; 35-39: plus overdubs: 10/11 October, 1963 - The Fireballs: (George Tomsco: guitar; Keith McCormack: rhythm guitar; Stan Lark: bass; Doug Roberts: drums); Vi Petty: piano; 40-44: plus overdubs: 22 August, 1968 - The Fireballs: (George Tomsco: guitar; Keith McCormack: rhythm guitar; Lyn Bailey or Stan Lark: bass; Doug Roberts: drums)
Original Purple Chick notes: "Space here to tell you a little about this collection. Over a year in the making, we snagged everything we could find from numerous sources, including What You Been A Missin' and The Music Never Died. One thing we didn't include was any of the "Picks" vocal overdubs from the 1980s, frankly because we think they suck. You can find them on all manner of budget CDs. But you really don't want to. Tracks making their CD debut include the 7" versions of "Wait Til The Sun Shines Nellie", "Look At Me" and "Mailman...", and the 50s and 60s stereo mixes on Disc Nine. As well as our new, previously unavailable stereo mixes, we managed to dig out one or two exclusives: "Take These Shackles..." on disc one is not only upgraded in sound, but appears without skips for the first time! Also making their bootleg debut (we think) are the BBC "Maybe Baby" and Florida "That'll Be The Day" fragments and the first version of "That's What They Say". We're not sure whether the Hightime fragment is lip-synched or sung live to the record, but it debuts here all the same. We did minimal work on the source material if it warranted it - mostly de-clicking and speed-correction. Also, we fixed the tape glitch on the Palladium "Oh Boy" and combined two different sources of "My Two-Timin Woman" to get the longest version in best quality. When speed-corrected the Vigotone "Last Night" and "Send Me Some Lovin'" turn out not to be alternate takes, just undubbed."
Volume Three
1: Brown-Eyed Handsome Man (Berry)
2: Bo Diddley (McDaniel)
3: Brown-Eyed Handsome Man (Berry)
4: Bo Diddley (McDaniel)
- December 1956-January 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar; Larry Welborn: bass; Jerry Allison: drums; unknown: guitar; 3-4: plus overdubs: 22 August, 1968 - The Fireballs: (George Tomsco: guitar; Keith McCormack: rhythm guitar; Stan Lark: bass; Doug Roberts or Eric Budd: drums)
5: I'm Looking For Someone To Love (Holly-Petty)
6: That'll Be The Day (Allison-Holly-Petty)
- 25 February, 1957: Norman Petty Studios -1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar; Larry Welborn: bass; Jerry Allison: drums; Niki Sullivan, Gary Tollett and Ramona Tollett: backing vocals
7: Last Night (Petty-Mauldin)
8: Maybe Baby* (Holly-Petty)
9: Words Of Love (Holly)
10: Last Night+ (Petty-Mauldin)
11: Maybe Baby* (Holly-Petty)
- 12 March, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico;Buddy Holly: vocal, guitar, Joe B. Mauldin: bass; Jerry Allison: drums; Niki Sullivan: second vocal*; The Picks (Bill Pickering, John Pickering, Bob Latham) backing vocals on + (dubbed 12-14 Oct '57); 11: plus overdubs: 15 March, 1966 - The Fireballs: (see above - Doug Roberts: drums)
12 Words Of Love* (Holly)
13: Mailman Bring Me No More Blues+ (Roberts-Katz-Clayton)
14: Mailman Bring Me No More Blues+ ((Roberts-Katz-Clayton)
- 8 April, 1957 Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal (double-tracked on *), guitar (double-tracked on *); Jerry Allison: drums; Joe B. Mauldin: bass; Vi Petty: piano on +; 14: plus echo overdub for 7": October 1961: Decca Record Co., Ltd., 254 Belsize Road, London, England
15: Not Fade Away (Hardin-Petty) (incomplete alternate)
16: Not Fade Away+ (Hardin-Petty)
17: Everyday* (Hardin-Petty)
- 29 May, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar; Jerry Allison: cardboard-box (knee slapping on *); (Prob.) Joe B. Mauldin: bass; Vi Petty: celeste on *; Buddy Holly, Jerry Allison, Niki Sullivan: overdubbed vocals on +
18: Ready Teddy* (Blackwell-Marascalco)
19: Valley Of Tears# (Domino-Bartolomew)
20: Tell Me How+ (Hardin-Allison-Petty)
- May-July, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar; Niki Sullivan: guitar on * and +; Joe B. Mauldin: bass; Jerry Allison: drums; Vi Petty: piano on * and #; Norman Petty: organ on #; The Picks (Bill Pickering, John Pickering, Bob Latham) backing vocals on + (dubbed 12-14 Oct '57)
21: Peggy Sue (Holly-Allison-Petty) (alternate)
22: Peggy Sue (Holly-Allison-Petty)
23: Listen To Me* (Hardin-Petty)
24: That'll Be The Day - for Bob Thiele (Holly-Allison)
25: That'll Be The Day - for Murray Deutch (Holly-Allison)
26: That'll Be The Day - for Bill Randall (Holly-Allison)
27: Oh Boy (West-Tilghman-Petty)
28: Oh Boy+ (West-Tilghman-Petty)
- 30 June, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar (double-tracked v & g on *), Joe B. Mauldin: bass; Jerry Allison: drums; The Picks (Bill Pickering, John Pickering, Bob Latham) backing vocals on + (dubbed 19 August '57)
29: I'm Gonna Love You Too (Mauldin-Petty-Sullivan)
- 1 July, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: double-tracked vocal, guitar; Joe B. Mauldin bass; Jerry Allison: drums; Cricket: chirp
30: Send Me Some Loving (Marascalco-Price)
31: It's Too Late (Willis)
32: Send Me Some Loving+ (Marascalco-Price)
33: It's Too Late+ (Willis)
- 20 July, 1957: Norman Petty Studios -1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar; Joe B. Mauldin: bass; Jerry Allison: drums; The Picks (Bill Pickering, John Pickering, Bob Latham) backing vocals on + (dubbed 12-14 Oct '57)
34: Am Empty Cup+ (Petty-Orbison)
35: Rock Me My Baby+ (Long-Heather)
36: You've Got Love+ (Wilson-Orbison-Petty)
37: Maybe Baby+ (Holly-Petty)
- 28-29 September, 1957: The Officers Club Lounge - Tinker U.S. Air Force Base, Oklahoma City, OK; Buddy Holly: vocal, guitar, Niki Sullivan: guitar, Joe B. Mauldin: bass, Jerry Allison: drums; The Picks (Bill Pickering, John Pickering, Bob Latham) backing vocals on + (dubbed 12-14 Oct '57)
38: That'll Be The Day (Holly-Allison-Petty) (fragment)
- 22 October, 1957: KPTV Hightime, Portland Oregon; Buddy Holly: mimed (double-tracked?) vocal; Joe B. Mauldin and Jerry Allison: mimed vocal
39: That'll Be The Day (Holly-Allison-Petty)
40: Peggy Sue (Holly-Allison-Petty)
41: Interview with Ed Sullivan
- 1 December, 1957: Ed Sullivan Show, CBS Television Studios, New York City, New York; Buddy Holly: vocal, guitar; Joe B. Mauldin: bass; Jerry Allison: drums; Niki Sullivan: guitar
Volume Four
1: Little Baby (Holly-Petty-Kendall)
2: (You're So Square) Baby I Don't Care (Leiber-Stoller)
3: Look At Me (Holly-Petty-Allison)
4: Look At Me (Holly-Petty-Allison)
- 7 December, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar; Joe B. Mauldin; bass, Jerry Allison: drums; C.W. Kendall Jr.: piano; 4: plus echo overdub for 7: October 1961: Decca Record Co. Ltd. 254 Belsize Road London England
- December, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar; Jerry Allison: drums; guitar at beginning
9: Peggy Sue (Holly-Allison-Petty)
- 29 December, 1957: Arthur Murray Dance Party, TV Show - New York City, New York; Buddy Holly: vocal, guitar; Joe B. Mauldin: bass; Jerry Allison: drums
10: Rave On (West-Tilghman-Petty) (take 3)
11: That's My Desire (Kresa-Loveday) (rehearsal)
12: That's My Desire (Kresa-l.oveday) (take I - false start)
13: That's My Desire (Kresa-Loveday) (take 2 breakdown)
14: That's My Desire (Kresa-l.oveday) (take 3)
15: That s My Desire+ (Kresa-Loveday) (take 3)
- 25 January, 1958: Bell Sound Studios - 237 W. 54th Street, New York City, New York; Buddy Holly: vocal; Joe B. Mauldin: bass; Jerry Allison: drums; Norman Petty: piano; Al Caiola: lead guitar; Donald Arnone: rhythm guitar; The Jivetones: (William Marine, Robert Bollinger, Robert Harter, Abby Hoffer, Merrill Ostaus): backing vocals; 15: plus overdubs: 15 March 1966 - The Fireballs: (George Tomsco: guitar; Keith McCormack: rhythm guitar; Stan Lark: bass; Doug Roberts: drums)
16: Oh Boy (West-Tilghman-Petty)
- 26 January, 1958: Ed Sullivan Show, CBS Television Studios, New York City, New York; Buddy Holly: vocal, guitar; Joe B. Mauldin: bass; Jerry Allison: drums
17: Well... All Right (Holly-Allison-Petty-Mauldin)
- 12 February, 1958: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar; Joe B. Mauldin: bass; Jerry Allison: cymbals
18: Take Your Time* (Holly-Petty) (take I breakdown)
19: Take Your Time* (Holly-Petty) (take 2 - breakdown)
20: Take Your Time* (Holly-Peity) (take 3)
21: Take Your Time* (Holly-Pelty) (take 4)
22: Fool's Paradise (Leglaire-Petty-l.insley) (take 1)
23: Fool's Paradise (Leglaire-Petty-Linsley) (take 2)
24: Fool's Paradise (I.eglaire-Petty-Linsley) (take 3)
25: Think It Over (Holly-Petty-Allison) (take 1 - false start)
26: Think It Over (Holly-Petty-Allison) (take 2 - false start)
27: Think It Over (Holly-Petty-Allison) (take 3)
28: Think It Over (Holly-Petty-Allison) (take 4)
29: Think It Over (Holly-Petty-Allison) (take 5)
30: Fool's Paradise+ (Leglaire-Petty-Linsley) (take 3)
31: Think It Over+ (Holly-Petty- Allison) (take 5)
- 14 February, 1958: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar; Joe B. Mauldin: bass; Jerry Allison: drums, cardboard-box on *; Norman Petty: organ on *- plus The Roses (Robert Linville, Ray Rush, David Bigham) backing vocals on +; Vi Petty: piano on + (overdubbed: 19 February, 1958)
32: That'll Be The Day* (Allison-Holly-Petty) (fragment)
33: Everyday* (Hardin-Petty) (fragment)
34: Drown In My Own Tears+ (fragment)
35: Hallelujah, I Love Her So + (Charles) (Glover) (fragment)
- 24 February, 1958: "Big Gold Record Stars Show" - Dade County Auditorium, Miami, Florida; Buddy Holly: vocal, guitar; Joe B. Mauldin: bass on *; Jerry Allison: drums on *; Jerry Lee Lewis: piano and vocal on +
36: That'll Be The Day (Allison-Holly-Petty)
37: Peggy Sue (Holly-Allison-Petty)
38: Oh Boy (West-Tilghman-Petty)
- 2 March, 1958: The London Palladium - Argyle Street, London, England; Buddy Holly: vocal, guitar; Joe B. Mauldin: bass; Jerry Allison: drums
39: Maybe Baby (Holly-Petty) (fragment)
- 14 March,1958: BBC Television studios - Lime Grove, London, England; Buddy Holly: vocal, guitar; Joe B. Mauldin: bass; Jerry Allison: drums
- 25 May, 1958: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar; Tommy Allsup: lead guitar; Joe B. Mauldin: bass on +; Jerry Allison: drums on +; George Atwood: bass on *; plus The Roses (Robert Linville, Ray Rush, David Bigham): backing vocals on + (overdubbed: 27 May, 1958)
43: Love's Made A Fool Of You (Holly-Montgomery)
44: Wishing (Holly-Montgomery)
45: Love's Made A Fool Of You+ (Holly-Montgomery)
46: Wishing ++ (Holly-Montgomery)
- 2 June, 1958: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: double-tracked vocal, guitar; Tommy Allsup: lead guitar; George Atwood: bass; Bo Clarke: drums - 45-46: plus overdubs: January 7, 1964 - handclaps on +; 1963 guitar overdubs on ++
Volume Five
1: Early In The Morning (Darin-Harris)
2: Now We're One (Darin) (fragment)
3: Now We're One (Darin)
- 19 June, 1958: Coral Records Studios - The Pythian Temple, 80th Street, New York City, New York; Buddy Holly: vocal; George Barnes: lead guitar; Al Chernet: acoustic guitar; Sanford Bloch: bass; Ernest Hayes: piano; David "Panama" Francis: drums; Philip Kraus: drums; Sam Taylor: alto saxophone; Helen Way Singers: (Helen Way, Harriett Young, Maeretha Stewart, Theresa Merritt): backing vocals
6: Come Back Baby (Petty-Nell)
7: Reminiscing (Curtis) (Buddy wrote this, but gave King Curtis the credit for flying down to the session)
8: Reminiscing + (Curtis)
- 10 September, 19S8: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: vocal, guitar; Joe B. Mauldin: bass; Jerry Allison: drums; Curtis "King Curtis" Ousley: saxophone; 8: plus overdubs: 14 November, 1962 - The Fireballs: (George Tomsco: guitar; Keith McCormack: rhythm guitar; Stan Lark: bass; Eric Budd: drums)
9: True Love Ways (Holly-Petty) (stereo)
10: It Doesn't Matter Anymore (Anka) (stereo)
11: Raining In My Heart (B & F Bryant) (stereo)
12: Moondreams (Petty) (stereo)
13: True Love Ways (Holly-Petty) (mono)
14: It Doesn't Matter Anymore (Anka) (mono)
15: Raining In My Heart (B & F Bryant) (mono)
16: Moondreams (Petty) (mono)
- 21 October, 1958: Coral Records Studios - Pythian Temple, 80th Street, New York City, New York; Buddy Holly: vocal; Al Caiola: acoustic guitar; Sanford Bloch: bass; Ernest Hayes: piano; Doris Johnson: harp; Clifford Leeman: drums; Abraham Richman: tenor saxophone; Sylvan Shulman, Leo Kruczek, Leonard Posner, Irving Spice, Ray Free, Herbert Bourne, Julius Held, Paul Winter: violin, David Schwartz Howard Kay: viola, Maurice Brown, Maurice Bialkin: cello; 9-12 Mixed for stereo 1979. Alternate stereo mixes of 9, 10 and 11 from 1959 and 1967 on Disc Nine.
17: That's What They Say (Holly) (version I - incomplete)
18: That's What They Say (Holly) (version 2)
19: What To Do (Holly)
20: Peggy Sue Got Married (Holly)
21: That Makes It Tough (Holly)
22: Crying, Waiting, Hoping (Holly)
23: Learning The Game (Holly)
- 3 December, 1958 (17-19); S December, 1958 (20); 8 December, 1958 (21); 14 December, 1958; (22); 17 December, 1958 (23): Apartment 4-H, The Brevoort, 8th Street, New York City, New York; Buddy Holly: vocal, acoustic guitar
24: You're The One (Holly-Jennings-Corbin)
- 27 December, 19S8: Radio KLLL. - Lubbock, Texas; Buddy Holly: vocal, guitar; Waylon Jennings: handclapping; Ray "Slim" Corbin: handclapping
25: Wait 'Til The Sun Shines Nellie* (Sterling-Von Tilzer)
26: Slippin' And Slidin'* (Penniman-Bocage-Collins-Smith) (Slow version # 1)
27: Slippin' And Slidin'* (Penniman-Bocage-Collins-Smith) (slow version # 3)
28: Slippin' And Slidin' (Penniman-Bocage-Collins-Snulh) (slow version # 2)
29: Slippin' And Slidin' (Penniman-Bocage-Collins-Smith) (fast version)
30: Drown In My Own Tears (Glover) (fragment)
31: Maria Elena
32: Dearest (McDaniel-Polk-Baker) (version 1 - incomplete)
33: Dearest (McDaniel-Polk-Baker) (version 2)
34: Love Is Strange (Smith-Baker)
35: Smokey Joe's Cafe (Leiber-Stoller)
36: Smokey Joe's Cafe (Leiber-Stoller) (unedited)
37: Buddy's Guitar (Holly) (aka I Know I'll Have The Blues Again aka Leave My Woman Alone)
- 1-20 January, 1959: Apartment 4-H, The Brevoort,8th Street, New York City, New York; Buddy Holly: vocal, acoustic guitar, electric guitar on *
38: Slippin' And Slidin'* (Penniman-Bocage-Collins-Smith) (sped-up version # 1)
39: Slippin' And Slidin'* (Penniman-Bocage-Collins-Smith) (sped-up version # 3)
40: Slippin' And Slidin' (Penniman-Bocage-Collins-Smith) (sped-up version # 2)
- 1-20 January, 1959: Apartment 4-H, The Brevoort, 8th Street, New York City, New York; Buddy Holly: vocal, acoustic guitar, electric guitar on * [Buddy deliberately recorded these songs at a slow tempo, with the tape running at half-speed (71/2 i.p.s. versus 15 i.p.s.) so they would sound like The Chipmunks when played back!]
Volume Six
1: Peggy Sue Got Married (Holly)
2: Crying, Waiting, Hoping (Holly)
- overdubbed 30 June, 1959: Coral Records Studio A, New York City, New York; Andrew Ackers: piano; David 'Panama' Francis: drums; Sandford Block: bass; The Ray Charles Singers: backing vocals; C. John "Jack" Hansen: producer
3: That's What They Say (Holly) (take 2)
4: What To Do (Holly)
5: Learning The Game (Holly)
6: That Makes It Tough (Holly)
- overdubbed 1 January, 1960: Coral Records Studlo A, New York City, New York; Andrew Ackers: piano; David 'Panama' Francis: drums; Sandford Block: bass; The Ray Charles Singers: backing vocals; C tohn "Jack" Hansen: producer; Mixed for stereo in 1979. Alternate stereo mixes of 4 and 5 from 1967 are on Disc Nine of this set.
7: What To Do (Holly)
8: Peggy Sue Got Married (Holly)
9: Crying, Waiting, Hoping (Holly)
10: That Makes It Tough (Holly)
11: That's What They Say (Holly) (version 2)
12: Learning The Game (Holly)
- overdubbed June 1962-December 1963: Norman Petty Studios - 1313 West 7th Street, Clovis, NM; The Fireballs: (George Tomsco: guitar; Keith McCormack: rhythm guitar; Stan Lark: bass; Doug Roberts or Eric Budd: drums); Norman Petty: producer
13: You're The One (Holly-Jennings-Corbin)
- overdubbed June 1962-December 1963: Norman Petty Studios - 1313 West 7th Street, Clovis, NM; The Fireballs: (George Tomsco: guitar; Jimmy Glimer: rhythm guitar; Stan Lark: bass; Doug Roberts: drums); Norman Petty: Onedeoline, Producer
14: Umm, Oh Yeah (Dearest) (McDaniel-Polk-Baker) (version 2)
15: Slippin' And Slidin' (Penniman-Bocage-Collins-Smith) (slow version #2)
- overdubbed 1962-1963: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; The Fireballs: (George Tomsco: guitar; Keith McCormack: rhythm guitar; Stan Lark: bass; Doug Roberts or Eric Budd: drums); Norman Petty: producer
16: Wait 'Til The Sun Shines Nellie (Sterling-Von Tilzer) (single version)
17: Wait 'Til The Sun Shines Nellie (Sterling-Von Tilzer) (album version with additional overdubbing)
- overdubbed 29 October 1962: Norman Petty Studios -1313 West 7th Street, Clovis, New Mexico; The Fireballs: (George Tomsco: guitar; Keith McCormack: rhythm guitar; Stan Lark: bass; Doug Roberts or Eric Budd: drums); poss. Vi Petty, George Tomsco, Homer Tankersley: backing vocals; Norman Petty: producer
18: Love Is Strange+ (Smith-Baker)
19: Slippin ' And Slidin ' (Penniman-Bocage-Collins-Smith) (fast version)
20: Dearest* (McDaniel-Polk-Baker) (version 2)
21: Smokey Joe's Cafe* (Leiber-Stoller)
- overdubbed 1968: Norman Petty Studios -1313 West 7th Street, Clovis, New Mexico; The Fireballs: (George Tomsco: guitar; Keith McCormack: rhythm guitar; Stan Lark: bass; Doug Roberts: drums); Norman Petty: Onedeoline on +; poss. Vi Petty, Barbara Tomsco, George Tomsco, Homer Tankersley: backing vocals on *; Norman Petty: producer
22: Peggy Sue Got Married (Holly)
- overdubbed 1995, Abbey Road Studios, London, England; The Hollies: (Allan Clarke, Graham Nash, Tony Hicks: vocals; Tony Hicks: rhythm and lead guitar; Bobby Elliott: drums; Ian Parker: keyboards; Ray Stiles: bass; Alan Coates: percusslon)
23: Got To Get You Near Me Blues (Montgomery)
24: Memories (Montgomery)
25: Baby Let's Play House (Gunter)
26: Last Night (Petty-Mauldin)
27: Oh Boy (West-Tilghman-Petty)
28: Send Me Some Loving (Marascalco-Price)
29: It's Too Late (Willis)
30: That's My Desire (Kresa-Loveday)
31: Fool's Paradise (Leglaire-Petty-Linsley)
32: Think It Over (Holly-Petty-Allison)
33: Love's Made A Fool Of You (Holly-Montgomery)
34: Wishing (Holly-Montgomery)
- True stereo versions - For The First Time Anywhere!! Created by Purple Chick synchronizing the dubbed and undubbed versions that appear earlier on this set.(Undubbed versions are panned mostly left, the dubbed versions mostly right.)
Volume Seven
1: I Saw The Moon Cry Last Night (Neal) - Jack Neal
2: I Hear The Lord Callin' For Me (Neal) - Jack Neal
- c. 10 November 1953: Radio KDAV - 6602 Quirt Avenue, Lubbock, Texas; Jack Neal: vocal, guitar; Buddy Holly: guitar
3: All From Loving You* Hall) - Ben Hall
4: Rose Of Monterey+ (Hall) - Ben Hall
- c. 1955: Radio KSEL, Lubbock, Texas(*); Radio KDAV - 6602 Quirt Avenue, Lubbock, Texas(+); Ben Hall: vocal; Buddy: guitar; Sonny Curtis: fiddle; Weldon Myrick: steel guitar; Dena Hall: bass
5: Because You Love Me (Curtis) - Sonny Curtis
6: I'll Miss My Heart (Inman) - Sonny Curtis
7: Queen Of The Ballroom (Guess) - Sonny Curtis
8: This Bottle (Curtis) - Sonny Curtis
9: Dallas Boogie (Curtis) - Sonny Curtis
10: One In A Million (Curtis) - Sonny Curtis
- 7 June 1955: (Prob.) Nesman Recording Studio - Wichita Falls, Texas; Sonny Curtis: vocal; Buddy Holly: guitar; Larry Welborn: bass; Jerry Allison: drums
1l: Go Boy Go* (Wilson) - Gary Dale
12: Gone* (Rogers) - Gary Dale
13: Go Boy Go+ (Wilson) - Gary Dale
14: Gone+ (Rogers) - Gary Dale
15: The Golden Rocket+ (Snow) - Gary Dale
16: 1 Overlooked An Orchid+ (Story-Smith-Lyn) - Gary Dale
- 21 February, 1957: Radio KDAV - Lubbock Texas (*); 1 March, 1957: Norman Petty Studios -13i3 West 7th Street, Clovis, New Mexico (+); Gary Dale Tollett: vocal; Buddy Holly: guitar; 3erry Allison: drums; Ramona Tollett, June Clark, Niki Sullivan: backing vocals
17: A Whole Lot Of Lovin' (Huddle-Petty-Robinson) (take I ) - Jim Robinson
18: A Whole Lot Of Lovin' (Huddle-Petty-Robinson) (take 2) - Jim Robinson
19: A Whole Lot Of Lovin' (Huddle-Petty-Robinson) (take 3) - Jim Robinson
20: A Whole Lot Of Lovin'+ (Huddle-Petty-Robinson) (take 3) - Jim Robinson
21: It's A Wonderful Feeling* (Huddle-Petty-Robinson) - Jim Robinson
- 28 April, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Jim Robinson: vocal; Buddy Holly: guitar; Jerry Allison: cardboard-box percussion, drums on *; Vi Petty: piano on *; (Poss.) Joe B. Mauldin: bass; The Bowman Brothers: backing vocals on *, plus The Roses (Robert Linville, Ray Rush, David Bigham) backing vocals on + (dubbing date unknown)
22 Starlight (Huddle-Petty-Robinson) - Jack Huddle
23: Believe Me* (Petty-Robinson) - Jack Huddle
- 28 April, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Jack Huddle: vocal; Buddy Holly: lead guitar; Jerry Allison: drums; (Poss.) Joe B. Mauldin: bass; The Bowman Brothers: backing vocal on *; Vi Petty: piano on *
24: By The Mission Wall (Cline) - Fred Crawford
- April-June, 1957 (or 14 July, 1957): Norman Petty Studios - 1313 West 7th Street, Clovis, NM; Fred Crawford: vocal; Buddy Holly: guitar; 3erry Allison: drums; (Poss.) Joe B. Mauldin- bass; (Poss.) Norman Petty: organ; (Poss.) The Bowman Brothers: backing vocals
25: A Man From Texas (Russell-Petty-Dougherty)- Jim Robinson
- 24 June, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Jim Robinson: vocal; Buddy Holly: guitar; (Poss.) George Atwood: bass; Unknown: drums; Vi Petty: piano; The Picks: backing vocals (overdubbed mid-August, 1957)
26: Broken Promises (Davis) - Sherry Davis
27: Humble Heart* (Davis) - Sherry Davis
- prob. 12 July, 1957: Norman Petty Studios -1313 West 7th Street, Clovis, New Mexico; Sherry Davis: vocal; Buddy Holly: lead guitar; Jack Vaughn: rhythm guitar; Jerry Allison: drums; Unknown: bass; The Picks: backing vocals; Gene Medley: backing vocals on *
28: Look To The Future* (Petty-Sullivan) - Gary Dale
29: Honey Honey (Tollett) - Gary Dale
- 14 July, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Gary Dale Tollett: vocal, guitar on *; Buddy Holly: guitar; 3erry Allison: drums; (Poss.) Joe B. Mauldin: bass; Ramona Tollett: backing vocal; The Picks: backing vocals (overdubbed mid-Aug.1957)
30: Sugartime (Phillips-Echols) (version 1) - Charlie Phillips
31: Sugartime (Phillips-Echols) (version 2) - Charlie Phillips
32: One Faded Rose* (Echols-Baggett-Phillips) (version 1) - Charlie Phillips
33: One Faded Rose* (Echols-Baggett-Phillips) (version 2) - Charlie Phillips
- July 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Charlie Phillips: vocal; Buddy Holly: lead guitar, harmony vocal on *; Jack Vaughn: acoustic guitar; Jerry Allison: drums; Jimmy Blakely: steel guitar; George Atwood: bass
More original Purple Chick notes: "Discs Seven and Eight compile all circulating sessions featuring Buddy as a side musician and/or producer, plus songs Buddy wrote that he never recorded, with others finishing the compositions posthumously. Others exist, and may yet escape ( "I Sent You Roses" by Jerry Engler is due to be released later in 2005). Some tracks, which erroneously appeared on previous compilations, have been excluded:
Buddy shared a session with Billly Walker on 12 March, 1957, but does not feature on Billy's recordings.
"When Sin Stops" by The Nighthawks (Hamilton 50006), on the Vigotone set does not feature Buddy.
Similarly, "Oh Boy!" on the Vigotone Set is by Billy And The Glens (Jaro 77006), not Sonny West.
The contemptible "Ni**er Hatin' Me" was recorded in the late 60s(!) by Johnny Rebel (C. J. Trahan)."
Volume Eight
1: Moondreams (Petty) (album version) - The Norman Petty Trio
2: Moondreams* (Petty) (single version) - The Norman Petty Trio
3: Moondreams+ (Petty) (alternate version) - The Norman Petty Trio
- 20-22 July, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Buddy Holly: acoustic guitar; Norman Petty: organ; Vi Petty: piano; Mike Mitchell: percussion; Unknown: bass; The Picks: overdubbed vocals on *; The Roses: overdubbed vocals on + (1 and 2 are the same version, but 3 is a different recording/take entirely.)
4: Don't Do Me This Way (Tucker) - Rick Tucker
5: Patty Baby (Baker-Tucker) - Rick Tucker
- 25 August, 1957: Norman Petty Studios -1313 West 7th Street, Clovis, New Mexico; Rick Tucker: vocal, poss. guitar; Buddy Holly: lead guitar or (Poss.) Roy Orbison: lead guitar; (Poss.) Bo Clarke: drums; (Poss.) Don Guess: bass; Bill Pickering and Bob Lapham: backing vocal
6: Don't Do Me This Way (Tucker) Rick Tucker
- 12 September, 1957: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Rick Tucker: vocal; Buddy Holly: acoustic guitar or (Poss.) Rick Tucker: acoustic guitar; Vi Petty: piano; (Poss.) Bo Clarke: drums; (Poss.) Don Guess: bass; The Picks: backing vocals
7: Real Wild Child (O'Keefe-Greenan-Owens) (take 1)- Ivan
8: Real Wild Child* (O'Keefe-Greenan-Owens) (take 2) - Ivan
9: Oh, You Beautiful Doll (Brown-Ayer) (take 1) - Ivan
10: Oh, You Beautiful Doll (Brown-Ayer) (take 2) - Ivan
11: Oh, You Beautiful Doll+ (Brown-Ayer) (take 2) - Ivan
- 19 February, 1958: Norman Petty Studios - i313 West 7th Street, Clovis New Mexico; Jerry "Ivan" Allison: vocal, overdubbed drumsticks on +; Buddy Holly: guitar, overdubbed lead guitar, backing vocal on *, Joe B. Mauldin: bass, backing vocal on *; Bo Clarke: drums, backing vocal on *; Norman Petty: overdubbed water-filled wine glasses on +
12: Scarlet Ribbons (Siegal-Danzig) - Carolyn Hester
13: Wreck Of The Old '97* (traditional) - Carolyn Hester
- 1958: Norman Petty Studio - 1313 West 7th Street, Clovis, New Mexico; Carolyn Hester: vocal; Buddy Holly: guitar; George Atwood: bass (*); Jerry Allison: percussion (*)
14: What A' You Gonna Do (Engler) - Jerry Engler
- 7 September, 1958: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Jerry Engler: vocal; Buddy Holly: guitar, bells; George Atwood: bass; Bo Clarke: drums
15: When Sin Stops (Venable) (take I - instrumental) - Waylon Jennings
16: When Sin Stops (Venable) (take 2 - instrumental) - Waylon Jennings
17: When Sin Stops (Venable) (take 3 - instrumental) - Waylon Jennings
18: When Sin Stops (Venable) (take 4 - vocal) - Waylon Jennings
19: When Sin Stops (Venable) (take 5 - vocal) - Waylon Jennings
20: When Sin Stops (Venable) (take 6 - vocal) - Waylon Jennings
21: When Sin Stops+ (Venable) (take 2) - Waylon Jennings
22: Jole Blon (Choates-York) - Waylon Jennings
- 10 September, 1958: Norman Petty Studios - 1313 West 7th Street, Clovis, New Mexico; Waylon Jennings: vocal; Buddy Holly: guitar; George Atwood: bass; Bo Clarke: drums; Curtis "King Curtis" Ousley: tenor saxophone; The Roses backing vocals overdubbed on +
23: Stay Close To Me (Holly) (false start) - Lou Giordano
24: Stay Close To Me (Holly) (take 4) - Lou Giordano
25: Don't Cha Know* (Everly) - Lou Giordano
- 30 September, 1958: Beltone Recording Studio, New York City, New York; Lou Giordano: vocal; Buddy Holly: guitar; Phil Everly: guitar; Unknown: bass guitar; Unknown: drums; Buddy Holly, Joey Villa, Phil Everly: falsetto vocals on *
26: More And More (Jennings) - Waylon Jennings
27: When You Are Lonely (Jennings) - Waylon Jennings
28: My Best Friend (My Baby's Coming Home) (Holly-Turner-Nilsson)
29: My Baby's Coming Home (Holly-Turner-Nilsson)
- May, 1962: American Studios, Hollywood, California; Harry Nilsson: vocal; Scotty Turner: guitar, production; 29: plus overdubs: 1994 Nashville Tennessee - Michael Blaustone: drums; Steve Bryant: guitar; James A. Wilson: bass; Troy Lancaster: guitar; Scotty Turner: guitar; Woody Wright: guitar
30: I Know I'll Have The Blues Again (Holly-Mackey) - Whitesidewalls
- c. 1980: Cookhouse Recording Studios - 2541 Nicollet Avenue, Minneapolis, Minnesota; Pat Brown: guitar, drums, vocal; Karl Ausland: guitar, vocal; Dan Melford: bass, vocal; Jeff Schmahl, guitar, keyboards, vocal; Dave Swanson: sax, vocal; Dale Menten: piano
31: Monetta (Holly-Curtis) - Sonny Curtis
- September, 1990: BBC Radio Merseyside, Liverpool, England; Sonny Curtis: guitar, vocal
32: A Whole Lot Of Lovin' (Huddle-Petty-Robinson) - Jim Robinson
33: Moondreams (Petty) - The Norman Petty Trio
34: Moondreams (Petty) - The Norman Petty Trio
35: Oh, You Beautiful Doll (Brown-Ayer) - Ivan
36: When Sin Stops (Venable) (take 2) - Waylon Jennings
- True stereo versions - For The First Time Anywhere!! Created by Purple Chick
21: Big Bopper Winter Dance Party promo
22: Ritchie Valens Winter Dance Party promo
23: Buddy Holly Winter Dance Party promo
- 1958/1959: unknown locations
24: Newscast about the plane crash
25: WNOE Newscast about the plane crash
26: Newscast about the plane crash
27: A Message To The Dutch Buddy Holly Fan Club From Ella And Lawrence Holley
28: Norman Petty Defends Himself
- unknown dates: unknown locations
29: Raining In My Heart (alternate stereo mix from 1959)
30: True Love Ways (alternate stereo mix from 1967)
31: It Doesn't Matter Anymore (alternate stereo mix from 1967)
32: What To Do (alternate stereo mix from 1967)
33: Learning The Game (alternate stereo mix from 1967)
34: Not Fade Away ('complete' alternate take with no backing vocals - outfake by Purple Chick)
35: Peggy Sue Got Married (Jack Hansen's overdubs in stereo for the first time - by Purple Chick)
36: Crying Waiting Hoping (Jack Hansen's overdubs in stereo for the first time - by Purple Chick)
- Various odds and ends that there wasn't room for on the other discs.
37: Wait Til The Sun Shines Nellie (Sterling-Von Tilzer) - Bing Crosby
38: Slippin' and Slidin (Penniman-Bocage-Collins-Smith) - Little Richard
39: Dearest (McDaniel-Polk-Baker) - Mickey and Sylvia
40: Love Is Strange (Smith-Baker) - Mickey and Sylvia
41: Smokey Joe's Cafe (Leiber-Stoller) - The Robins
42: Leave My Woman Alone (Charles) - Ray Charles
- (supposedly Buddy's Guitar from the Apartment Demos is based upon this)
Continued from Disc 10 - "Buddy's Record Collection"
Volume Ten
1: My Two Timin' Woman (Snow) - Hank Snow
2: I'll Just Pretend (Martin) - Flatt and Scruggs and the Stanley Brothers
3: Take These Shackles From My Heart (King-Stewart) - Pee Wee King
4: Footprints In The Snow (Jones) - Bill Monroe and his Bluegrass Boys
5: Baby, Let's Play House ((,Gunter) - Elvis Presley, Scotty and Bill
6: Blue Days, Black Nights (Hall) - Ben Hall, Weldon Myrick, Dena Hall
7: I Forgot To Remember To Forget (Kesler-Feathers) - Elvis Presley, Scotty and Bill
(the sole acetate of Buddy's version was scratched at Buddy's request to prevent its airplay competing with his first Decca single )
8: Ting A Ling (Nugetre) - The Clovers
9: Gone (Rogers) - Ferlin Husky
10: Have You Ever Been Lonely (De Rose-Brown) - Ernest Tubb
11: Brown-Eyed Handsome Man (Berry) - Chuck Berry
12: Good Rockin' Tonight (Brown) - Elvis Presley
13: Rip It Up (Marascalco-Blackwell) - Little Richard
14: Blue Monday (Bartholomew-Domino) - Fats Domino
15: Honky Tonk (Part 1) (Doggett-Shepard-Butler-Scott) - Bill Doggett
16: Blue Suede Shoes (Perkins) - Elvis Presley
17: Shake Rattle and Roll (Calhoun) - Elvis Presley
18: Bo Diddley (McDaniel) - Bo Diddley
19: Ain't Got No Home (Henry) - Clarence "Frogman" Henry
20: Ready Teddy (Blackwell-Marascalco) - Little Richard
21: Valley Of Tears (Domino-Bartholomew) - Fats Domino
22: All Of My Love (Oh Boy) (West-Tilghman) - Sonny West
23: Send Me Some Lovin' (Marascalco-Price) - Little Richard
24: It's Too Late (Willis) - Chuck Willis
25: An Empty Cup (Petty-Orbison) - Roy Orbison and the Teen Kings
26: (You're So Square) Baby I Don't Care (Leiber-Stoller) - Elvis Presley
27: Mona (McDaniel) - Bo Diddley
28: Rave On (West-Tilghman-Petty) - Sonny West
29: That's My Desire (Kresa-l.oveday) - Frankie Laine
30: Drown In My Own Tears ((Charles) - Ray Charles
31: Hallelujah! I Love Her So (Glover) - Ray Charles
32: Early In The Morning (Darin-Harris) - Bobby Darin
33: Now We're One (Darin) - Bobby Darin
DVD
1. Elvis comes to Lubbock*
- c. 10-26 April, 1956
2. That'll Be The Day (fragment)
- High Time - 22 October, 1957
3. Oklahoma City*
- c. 28-29 October, 1957
4. That'll Be The Day/Peggy Sue/Interview
- Ed Sullivan Show - 1 December, 1957
5. Peggy Sue
- Arthur Murray Dance Party - 29 December, 1957
6. Oh Boy
- Ed Sullivan Show - 26 January, 1958
7. Australia/UK tour*
- February/March, 1958
8. Oh Boy (montage)
- London Palladium - 2 March, 1958
9. Live In England*
- March, 1958
10. Maybe Baby (montage fragment)
- BBC TV - 14 March, 1958
11. Live In Michigan*
- 5 April, 1958
12. New bikes in Lubbock*
- c. May, 1958
13. Clear Lake
- 3 February, 1959
BONUS TRACKS
14. Peggy Sue (music video - alternate edit)
- Arthur Murray Dance Party - 29 December, 1957
15. That'll Be The Day (news report)
- High Time - 22 October, 1957
(* = home movie)
In honor of the life and legacy of the immortal Buddy Holly, I proudly offer to you all on his birthday Purple Chick's The Complete Buddy Holly from 2005. Spare a minute or two today to remember this great artist... enjoy, and as always, let me know what you think.
And somewhere deep
within his crypt,
what still remains
of youthful lips,
will bend for just
a little while,
in a long lost memory
of his smile.
---Special acknowledgement and thanks to the poet "Artis", courtesy of AllPoetry.com.
Please note that the music offering in this post has been retired, replaced by a new, improved and expanded Complete Buddy HollyPurple Chick set; go to this post to request a download of this replacement compilation.
Today marks the 20th anniversary of the infamous on-stage set-to between members of The Fall at Brownies in Lower Manhattan on the tail end of their American tour that year... the fight that led to the immediate and permanent departure of longtime band stalwarts Steve Hanley, Karl Burns and Tommy Crooks and forever changed the direction of the group. From YouTube, here's the video of the entire shambolic set, with band leader Mark E. Smith instigating the situation approximately 25 minutes into the hour-long gig - it quickly deteriorates from there:
The spring 1998 U.S. tour of The Fall started out on a bad note. For some reason or another, drummer Karl Burns and guitarist Tommy Crooks missed the transatlantic flight from Manchester to the States - a situation that, of course, drove Smith into a towering rage even before the plane got off the ground in England. The two showed up in New York later that day, but that didn't improve Smith's attitude.
Another major point of tension/contention centered around the itinerary - it was scheduled to be a week-long campaign and then some, beginning in New York and moving on to venues up and down the U.S. East Coast from Boston to Washington DC, with shows practically every night. But bizarrely, the group was only booked to stay in New York City hotels. Why?
Well, back during the 1993 American tour in support of the then-recently released The Infotainment Scan, when there was (then) plenty of label cash to throw around, The Fall were provided suites at the ultra-swank Gramercy Park Hotel for
a week. Smith took a particular liking to this style of living while on tour in the States, so much so that for The Fall's return visit to the States in 1994, he insisted upon staying there again, and made the hotel his central point of operations during their East Coast concerts. As a consequence, the band would play venues hundreds of miles away from the city, only to pack up their gear each night and be bused back to Manhattan... arriving back at the Gramercy Park often in the wee hours to stumble exhaustedly into their opulent beds for a couple of hours of sleep, before having to load up and be out on the highway again later in the day. Needless to say, this was not an ideal situation for anyone in the group (other than Smith, I suppose). Fortunately, there were only three or four East Coast dates on that tour, before The Fall headed to venues in the Midwest and West, so the band members sucked it up for that short period.
During this 1998 U.S. jaunt, Smith once again booked a room at the Gramercy Park for himself and his girlfriend, keyboardist Julia Nagle - an expense the group/label frankly could hardly afford at the time due to some serious tax issues they were facing back home [full disclosure - I've stayed at the Gramercy Park Hotel a couple of times myself in the past; believe me, cheap it ain't...]. The rest of the band was ensconced across town at the decidedly more downmarket Quality Hotel East Side (apparently, the concern with economy and on-tour penny-pinching during this period didn't apply to Smith personally...). As with the 1994 visit, The Fall's gigs (all in the Northeast U.S.) were arranged as before, with the group returning to New York each night to ensure that Mark got to spend as much time as possible wallowing in the hotel's grandeur. But there were twice as many East Coast shows on this tour than there were in 1994. It was inevitable that fatigue and bad feelings would begin to set in among band members.
And then, Smith queered the deal almost immediately upon arriving in America, before the first note at the first show was even played. Obviously still in a rage regarding Burns' and Crooks' tardiness, Smith proceeded to trash his hotel room practically the minute he walked into it - breaking lamps, telephones and furniture - and was thrown out of the Gramercy Park within an hour of arriving. The main "justification" for making those long back-and-forth bus trips to and from places like Boston and Philadelphia was thereby removed... but it was far too late to arrange for lodging closer to the tour stops, and the transportation contract couldn't be cancelled. Smith and Nagle were forced to stay at - and return each night to - the same ramshackle Manhattan Quality Inn with the rest of the band... a situation that did nothing to improve the attitudes of any of the involved parties.
The first couple of shows on the tour (at Coney Island High in New York, The Loop Lounge in Passaic, NJ and The Middle East in Cambridge, MA) reportedly went well, with no overt outbursts or out-of-the-ordinary aggression noted from Smith towards his bandmates (although it was noted in a couple of news outlets that Smith appeared to be sporting a black eye during the New York gigs - who knows if those reports was accurate, and if so, the source and circumstances behind that shiner). But as the tour went on, with weariness increasing and tempers shortening, things began to quickly deteriorate.
Apparently, the first overt conflict occurred during their gig at The Trocadero in Philadelphia on April 4th. From Steve Hanley's 2014 book The Big Midweek detailing his life as a member of The Fall:
"During the gig [specifically, during the band's rendition of "Jungle Rock"] [Mark] tries to push me aside so he can fuck with my amp. It is the first time he has laid a finger on it in years. He's lurching towards it, trying to grasp hold of the knobs like on those machines at the fair that never picks up a toy, no matter how much money you put in and no matter how much the child cries. I push him out of the way with the end of my bass and turn my back. ...I finish the song and walk off, to be joined shortly after by Tommy and Karl, leaving [Mark] with nothing else to do but sing "Everybody But Myself" all by himself."
The three commandeered the tour bus and returned immediately with most of the band equipment to New York, leaving Smith and Nagle in Philly to fend for themselves. To exacerbate an already bad situation, upon their return to Manhattan, the bus was broken into overnight and a large quantity of the group's instruments (including Nagle's cherished keyboards) were stolen. The band got through their next gig, a show on Sunday, April 5th at The Black Cat in DC, with borrowed equipment... but the tension and bad blood within and between the group members was palpable.
All of which led up to the Brownies debacle on Tuesday, April 7th. I won't go into further details regarding that gig; If you're a Fall fan, I'm sure you already know more than enough about it - if not, I refer you to the video above. The site Dangerous Minds has a superb summary of the circumstances behind the fight - check it out here. And of course, the "cherry on top" of that night, with the Fall kaput and the rest of the U.S. tour cancelled, was the after-gig arrest of Smith at the Quality Hotel in the small hours of that following morning, allegedly for assaulting Nagle back in their room... an ignominious end to a tumultuous period.
I've already provided my impressions and opinions on the immediate and long-term impact of the Brownies altercation on the future history of The Fall - no need to reiterate my thoughts here. This post is more concerned with heretofore unavailable/hard-to-find music from the pre-brawl period (mostly) that I happen to have in my possession.
The set provided here (another long unavailable offering from the defunct Symphony Of Ghosts website) appears to be a re-release of/upgrade to 2004's Unreleased Radio Sessions '81-'99 two-disc bootleg - another boot set that I acquired from God knows where (perhaps the old Young Moss Tongue site) many moons ago. Both compilations have almost the exact same contents, although the overall track list is different; here's the lineup, with sources listed (if known):
Disc 1:
01 Lay Of The Land (David 'Kid' Jansen Session 02-19-1984)
02 God Box (David 'Kid' Jansen Session 02-19-1984)
03 Oh Brother (David 'Kid' Jansen Session 02-19-1984)
04 C.R.E.E.P. (David 'Kid' Jansen Session 02-19-1984)
05 Stephen Song (Janice Long Session 1 09-09-1984)
06 No Bulbs (Janice Long Session 1 09-09-1984)
07 Draygo's Guilt (Janice Long Session 1 09-09-1984)
08 Slang King (Janice Long Session 1 09-09-1984)
09 Copped It (Saturday BBC Live 09-29-1984)
10 Elves (Saturday BBC Live 09-29-1984)
11 Fortress / Marquis Cha Cha (Saturday BBC Live 09-29-1984)
12 Interview (Saturday BBC Live 09-29-1984)
Disc 2:
01 Frenz (Janice Long Session 2 05-19-1987)
02 Get A Hotel (Janice Long Session 2 05-19-1987)
03 Ghost In My House (Janice Long Session 2 05-19-1987)
04 Haf Found Bormann (Janice Long Session 2 05-19-1987)
05 In These Times (Piccadilly Radio Session 02-25-1988)
06 Carry Bag Man (Piccadilly Radio Session 02-25-1988)
07 Cab It Up (Piccadilly Radio Session 02-25-1988)
08 Oswald Defense Lawyer (Piccadilly Radio Session 02-25-1988)
09 Glam Racket (Mark Goodier Session 05-17-1993)
10 War (Mark Goodier Session 05-17-1993)
11 15 Ways (Mark Goodier Session 05-17-1993)
12 A Past Gone Mad (Mark Goodier Session 05-17-1993)
Disc 3:
01 Fit & Working Again (Dutch Session 05-17-1981)
02 Fantastic Life (Dutch Session 05-17-1981)
03 New Face In Hell (Dutch Session 05-17-1981)
04 Shake Off (XFM Session 04-15-1999)
05 F'oldin Money (XFM Session 04-15-1999)
06 Jet Boy (XFM Session 04-15-1999)
07 Touch Sensitive (XFM Session 04-15-1999)
08 Antidotes (XFM Session 04-15-1999)
09 10 Houses Of Eve (XFM Session 04-15-1999)
10 Inevitable (XFM Session 04-15-1999)
11 This Perfect Day (XFM Session 04-15-1999)
This just goes to show that John Peel wasn't the be-all and end-all of Fall live sessions; the band did extensive and superb work with a number of radio hosts, both influential and obscure. This set collects the best of their work from that period.
So for your listening pleasure, here's The Fall's On The Wireless (Non-Peel Radio Sessions), a three-disc bootleg made available in the summer of 2005. Enjoy this offering, with the hope that it brightens this dark day in Fall history for you! And as always, let me know what you think.
Please use the email link below to contact me, and I will reply with the download link(s) ASAP:
[10 Apr 2018 (p.m.) - Quick note: OK - repaired the previously posted files (at least most of them...) - these should be good to go now. If you have any issues with these tune files, let me know upon receipt - thanks.]
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