They opened their first US concert with Roll Over Beethoven which was on their second US album and With The Beatles in the UK. ![]() I imagine Chuck benefitted considerably prior to the Come Together lawsuit via the Mop Haired Minstrels versions of Roll Over Beethoven and Rock and Roll Music. ![]() I've certainly bought hundreds of records by the artists that influenced The Beatles / Stones etc.I suspect I'm not alone on this board for doing that (and then moaning about the vinyl quality and mastering ). raised awareness of many of their influences among their fans and others. The Beatles, Stones, Animals, Yardbirds et al. Probably safe to assume he didn't donate it to humanitarian causes.Īll the British Invasion acts were playing Chuck's music and other "class of 55" artists songs. I'm not sure I want to know what Larry Williams did with the extra money and recognition raised through Slow Down, Bad Boy and Dizzy Miss Lizzy. Given the combined sales of those 2 LP's alone, can you imagine how decent Chuck's royalty statement at the end of 1964 was ? Probably more than enough to completely upgrade his CCTV, buy a few boxes of tissues and pay a pick-up band to mangle his us change. Buddy's jumping all over the place.Ĭlick to expand.I imagine Chuck benefitted considerably prior to the Come Together lawsuit via the Mop Haired Minstrels versions of Roll Over Beethoven and Rock and Roll Music. The Mop Tops progress was far more linear in it's evolution. ![]() I am struggling to think of any act from the mid 50s to mid 60s who released such a diverse number of styles over consecutive singles. That's a very diverse run of singles and that's not factoring in his Crickets singles. His UK singles as Buddy Holly were Peggy Sue (late 57), Listen To Me (Feb 58), Rave On (June 58), Early In The Morning (aug 58), Heartbeat (Jan 59) and It Doesn't Matter Anymore (Feb 59). He seems to have had a massive musical thirst and ambition uncommon in his contemporaries. I'm sure he would have used that kind of approach again in some way and I can also imagine he saw the session as a tremendous learning opportunity both as a performer and in terms of seeing / hearing the arrangements in action close up. Would we all all be thinking that he was abandoning rock n roll to move in a gospel direction ? The strings session was just one session. His current UK release at that time was Early In The Morning / Now We're One. Like I said, the guy shifted styles so much in a very short space of time. I tend to think it would have just been another string to his bow so to speak. I sometimes think the idea held by many that he was moving in an MOR type direction with strings could be a bit of a mis-read. But there were a lot of '50s rocker/R&B/country acts who had popular careers in the '60s - Elvis, Ray Charles, and in country, Johnny Cash, Jerry Lee Lewis (who had 14 top-ten country hits in the late '60s and early '70s), but they went through periods of being kind of cool, uncool and cool again.Ĭlick to expand.Thanks. ![]() I'm not sure he, or any first gen rocker, would ever have been an easy marketing sell to fans of "counter-culture" style '60s rock, at least through the mid '60s, at the end of the '60s the beginnings of the "oldies" boom would have caught up with him again like it caught up with Elvis and others. It's also easy to imagine him making music that would have fit in in the '60s with popular Bakersfield-sound country acts like Merle Haggard or Buck Owens, or country/rock/pop like the records Glenn Campbell, Jimmy Webb and Al De Lory did together, which of course were very popular sounds and styles in the '60s. The music he made in the early '60s might very well have have fit in better than, and felt less old fashioned than, the music his peers among early rock and rollers might have made. Who knows? But Holly was more of a pop-country singer-songwriter type than some of his first gen rock peers.
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