w the This is my daddy's station. I'm Pooh, classic radio like you always wished it could be, 101.1 FM, eager. I'm Pooh. I'm Pooh. I'm Pooh. I'm Pooh. I'm Pooh. I'm Pooh. I'm Pooh. I'm Pooh. I'm Pooh. I'm Pooh. I'm Pooh. I'm Pooh. I'm Pooh. I'm Pooh. I'm Pooh. I'm Pooh. I'm Pooh. Won't you come to my house back at home Take my baby from the way home Love that photo where you stand Of your house you don't get Cody here you go to black and Make a pretty baby a Sunday hat Cody here you go to lingo Make a pretty baby a Sunday hat Oh I Could say I Did Hey Yeah Yeah Yeah This is the Voice of Freedom. This is the Voice of Freedom. This is the Voice of Freedom. This is the Voice of Freedom. This is my daddy's station. I'm Pooh. Classic radio like you always wished it could be. 101.1 FM. Eager. We now return you to our special presentation of the Hour of the Time. The Hour of the Time. Once and out of the Hour, please the Hour of the Time. Once and out of the Time. The Hour of the Time. The Hour of the Time. The Hour of the Time. The Hour of the Time. The Hour of the Time. The Hour of the Time. The Hour of the Time. Welcome back, folks, to our very special memorial broadcast of the plane crash that occurred on February the 3rd, 1959, in which not only the pilot, but Richie Valens, J.P. the Big Bopper Richardson, and Buddy Holly met there very early and, of course, premature deaths. Don't miss one single moment of tonight's broadcast. It's going to go to the wee hour. And we're going to play every single record that Buddy Holly ever cut. And we're going to be telling you everything that's known about his life. But don't forget. Don't forget Richie Valens and J.P. Richardson. The only reason we're not doing their cuts is because we don't have them. And I'm going to rock away. Oh, you're going to rock away. I heard you came to the man who's coming on. And I think you're going to be like me. And I think you're going to be like me. And I think you're going to be like me. And I think you're going to be like me. And I think you're going to be like me. Somebody's out there asking, What's so important about this music that it has to take away from the normal purpose of the hour of the turn? Well, folks, it's because it's American music. Pure American music. It didn't come from somewhere else. It came out of the tradition of black rhythm and blues. If you're a black American and you really think, If you really think for one moment that you have never contributed to anything, As a people to this country, you're wrong. Almost all modern American music came, ladies and gentlemen, from black music. And if you think black music is African, you're wrong. I've been to Africa. And you don't hear anything like it in Africa or anywhere else. But even if you don't see nothing like it in Africa or anywhere else then your life's better. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. I don't know. Yes, folks, what you're listening to was called the bop back then. It's not swing. But I just tried it. Although I have to do it slow, I can still do it. I don't know. And I do... I just tried it. I don't know. Thank you. Thank you. If you listen closely here, folks, you'll hear some of that tempo problem that Buddy Holly was famous for. Made other musicians angry. Some of them couldn't play with Buddy Holly because of it. I remember it also caused some toes to get stepped on on the dance floor. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. And now, here's Elvis Holley. Uh, he's Buddy Presley. Or something like that. 2007, have an unknown princess, my new Saint Willy. And that's his Including, the^^ COLÓB. 3 W 왜 manage Ay SAID I've heard my house, I've heard my car, I've heard my little little blue jar, I've heard my little blue jar, I've heard anything that you want to do with my mom, I'll honey, little one, you know, you're getting a little bit more than you, you know, you're getting a little bit more than you, you know. Well, come on for the money, for the joy, for me to get her ready now, come on, come on, come on, come on, come on, come on, come on, come on. Ah, this next one started it all, folks, when Bill Haley and the Comets did shake, rattle, and roll. Well, get out in that kitchen and rattle those parts of the band Get out in that kitchen and rattle those parts of the band Well, I know the black people, I know the blue Well, get out in that kitchen and rattle those parts of the band There is a decent name, baby, King James Dalee, and radio Well, get out in that kitchen and rattle those parts of the band Cause I know the black people in the Copper Valley I'm the only way to die I'm the only way to die And you know I'm the only way to die Well, I'm the only way to die I'm the only way to die I'm the only way to die I'm the only way to die Ain't got no home I ain't got no home I ain't got no home This was made very famous later by Clarence Frogman Henry I've got a boy And a love to die I've been watching the world And I've been watching the world I'm the only way to die I ain't got no home Ohoo I ain't got no home You ain't got no home I ain't gotta lo one You ain't got no home You ain't got no hope You ain't got no home You ain't gonna have no home You ain't got no home Thank you. Thank you. Thank you. Oh, got Carl Afgato's dancing with Allison. Thank you. Thank you. Thank you. Thank you. Oh, come on, baby. Let's play house. Thank you. Thank you. Thank you. Thank you. Come on, baby, I'm the hot boy Well, you let go to the cottage You let go to the cottage You may have a few chatted lights But don't you be your buddy Baby, come on, baby Come on, baby, come on Come on, baby, I'm the hot boy When I'm feeling one thing, baby I don't want you to know Come on back and leave a little girl We can mess with a little girl now Come on, baby Come on, baby Come on, baby, I'm the hot boy Come on, baby Come on, baby Come on, baby Come on, baby Come on, baby Come on, baby, baby Come on, baby Come on, baby Come on, babyerry I'll be in love. Hey, baby, I don't know what you're saying, but I never see you dead, love girl, and the Jesus, mother, and the name of my baby, I don't know what you're saying, but I never see you dead, love girl, and the love you're saying, and the love you're saying, and the love you're saying, and the love you're saying, and the love you're saying, and the love you're saying, and the love you're saying, Well, folks, if you just tuned in, this is a special presentation of the Worldwide Freedom Radio Network in the hour of the time, it is in memoriam of the deaths of Richie Valens, the Big Bopper, whose real name was J.P. Richardson, a very well-known disc jockey in the state of Texas, and, of course, Buddy Holly, whose real name was Charles. Buddy was the nickname. Both Gone and Have You Ever Been Lonely were songs Buddy recorded at home. His parents' home in Lubbock, Texas, had a room at the back of the house where he and Jerry Allison would rehearse for hours on end. Mrs. Holly remembered. Boy, does Mrs. Holly remember. And you'd remember, too, if you had a bunch of teenagers in some room in your house, banging on drums and singing and twanging on guitars, day after day after day. She said Jerry's drums sat in our living room for the longest time. They were almost part of the furniture, but we never minded Buddy practicing at our house with his friends. He was trying to be a success, so, of course, we were all for him. I remember him recording, Have You Ever Been Lonely? At the end of the song, you can hear him call me to come into the room and listen. Or maybe he was calling for a glass of water. You remember, folks, you just heard it just a little while ago. And I echoed his call. Mom! And, you know, you don't get that kind of stuff from real studio recordings. Nicky Sullivan, who also joined Buddy's group later in 1956, remembers sitting in on such a session on a winter evening that year. He said, Buddy was having one of those jam sessions, and I was invited through a friend who had a wire recorder, the forerunner of the tape recorder. He was going over to make a wire recording of Buddy and Jerry and asked if I wanted to go along. And he said, Bring your guitar, because Buddy may let you play. So we got over there and just kicked a few songs around. And that really was the beginning of the crickets, as we became later. Ah, Connie, don't juggle those records. You ever see somebody juggle long playing 33 and a third RPM records? Well, I just did. And it almost gave me a heart attack, because these are irreplaceable, ladies and gentlemen. And I mean irreplaceable. Can't find them anymore. If you can, I'll tell you what, if you can, you better grab them. Because not only are they rare, but they're valuable, and they're a valuable part of American musical history. Some of the rehearsals were put on tape. For example, tracks 3 and 10 that you just heard during this last session here were probably recorded in one session either at the Holly's home or Buddy's brother Larry's garage. It seems likely that Buddy and Jerry prepared the tape in order to demonstrate to booking agents what they could do, since none of the songs apart from Holly's hop is original, the tape being a cross-section of the popular songs of the day. Holly hop is little more than a warm-up number or jam between Holly and Allison. And although the overdupping has obscured their playing somewhat, it's a good illustration of Jerry Allison's comments on how he and Buddy began playing together. He said, Buddy's guitar playing influenced my drumming more than anything else. I haven't played with anyone. I guess he's trying to say that he hadn't played with anyone since that I could play with as well. Because I learned to play drums with what Buddy played. We played together so much because we used to just sit around and rehearse for no reason just to be played. In many cases, the other tracks on the side of the album that you just heard, ladies and gentlemen, were obscured by attempts to make them sound like studio rather than garage tapes. But if you listen close, you can tell the difference. You see, the energy can still be heard and it's easy to imagine Holly and Allison carrying a show on their own as they often did in Lubbock when they lacked a bassist or rhythm guitarist. But you see, they were playing around and you do things different when you're playing around than you do in a studio when you're trying to make a hit record. And so, that shows it comes out. A large part of their early repertoire came from listening to the radio but not to Lubbock stations as Jerry Allison explains. He said, we were into all the black music like Clyde McFatter, the Drifters and Ray Charles. This came about partly because a cousin of Buddy's had told me, there's really a good station from Shreveport every night at 1030 and you should listen to that. And they were playing all that stuff. Shreveport is about a thousand miles from Lubbock so it was sort of hard to tune into. There was only a very small percentage of people in Lubbock who were going to any trouble like this to listen to rock and roll or rhythm and blues music. And in that day, like today, KOMA in Oklahoma City played all of the best rock and roll which they now are known for as the Oldies station. And you can hear it for a thousand miles in every direction on a clear, cool night. Rhythm and blues music. People were just listening to what was being played on the radio locally in Lubbock, which was pop and country. we liked all of the other stuff that you could only hear by sitting sometimes for hours at your radio and tuning in to those far away places that none of them had ever been to. Also, folks, a lot of people didn't want to be into rhythm and blues and things like music as they called it. They looked down on that. And country music too. But I gotcha tell ya, I gotcha tell ya, folks, I just gotcha tell ya that Buddy Holly and the Crickets were really into it. If the western and bop style recordings Buddy Holly was making as demos in 1956 sound at odds, heard on records, they only served to illustrate how much he was misunderstood by those who were supposed to be guiding his recording career. Buddy knew what he wanted. I mean, he knew what he wanted. But he was to become increasingly aware that those who had been more successful in the recording field than he did not necessarily know or care about how to get that sound on record. Don't go away, folks, because you're going to hear every, every recording that Buddy Holly ever made in his entire life. Tonight. Right here on the Worldwide Freedom Radio Network and 101.1 FM, Eager, Arizona, and over 700 FM stations across the nation and around the world. And WRMI, Worldwide, Shortwave Radio. At least for another 24 minutes on WRMI, Worldwide, Shortwave Radio. As Wolfman Jack would say, all right, great Buddy holler. I never did this before. I never did this before. I never did this before you know how it's going. Aaron. OK? Let something say, I'm going to turn you around, I'll find out if I don't stop, just let you run. Then I'm right, I'm going to make you a little bit better. Oh, God, you're so ready to be late. Oh, if you tell me this, if you tell me that, if you don't fight me and tell me that I can't. Oh, if you tell me that I can't. I'm going to turn you around, baby. You say you do. Baby, Won't You Come Out Tonight was recorded in Clovis, New Mexico, sometime in 1956. Oh, baby, won't you come out tonight? Oh, you're so ready to be late. I'm going to turn you around, you're so ready to be late. Oh, you're so ready to be late. Oh, you're so ready to be late. Well, baby, won't you come out tonight? Oh, you're so ready to be late. Oh, you're so ready to be late. Oh, you're so ready to be late. You're so ready to be late. Oh, you're so ready to be late. Classic radio like you always wished it could be. 101.1 Eager. 101.1 Eager. 101.1 Eager. 101.1 Eager. 101.1 Eager. 101.1 Eager. Now, folks, if you listen carefully to this cut, you can hear the style that ultimately was to make Buddy Holly and the Crickets famous. So famous, ladies and gentlemen, that people love him to this day. I do. I do. I do. And now we have Rock to Buy a Rock. Like pulling teeth sometimes. But she's getting the hang of it, folks. And she's enjoying herself. She likes it. I do. But where does it dance in here? You dance out there. You draw to your face. And you watch it. I try to catch you at my relationships. Youommt alone. I'm going to run, I'm going to run, I'm going to run, I'm going to run. William Cherry 나오�es Alexiestar Alexiappa I love you more and more When you got the car on my side For all you love, for all you love For all you love, for all you love Well, but only you can hit the floor I'm telling you again like a horse For all you love, for all you love It's a, oh, oh, oh There's no, oh, oh, oh And it's not my fault Yes, it is He just brings it on me Oh, yes, it is It's not my fault I didn't do it Buddy Holly did it It's not my fault But future love You can't see I should have known I could never With your faith in I know I can't hold your heart With just a way to stand I'm just a fool And you're broken In a heart Each one is falling down And I can't hold the bar I can't hold the bar I can't do one of those songs To be free It's not my fault If you're talking to me If everybody knew, ladies and gentlemen, just exactly how much fun this is Nobody would ever pay a DJ ever again in the future of the world They'd all starve to death But they'd have a lot of fun doing it Just think how skinny Rush would have been You know, he was a DJ A DJ Now he sits on half his brain And doesn't have all the fun that he used to have But he's got more money And I guess I guess because I didn't pursue that career I was just a fool I guess Sometimes I could forget you Even try this to take my day And we'd never met Oh, he's right He can't deny The feeling of your heart Oh, he's right He can't deny He can't deny A true love And he's left over I guess that I was just a fool Don't know Oh, he's right He can't deny Oh, he's right I know And he's right In the beginning But he starts to try Just to try But And even if he's recovery I'm just thinking So he's� United And he's right When he starts open And I guess he's worse You know, he's both And he's expecting And him You know, he came to And he's a good You know, my father Thank you He now I get this style of old love and tears Even though I know my love will never do Oh, you try, you can't deny The feeling behind your heart Oh, you try, you can't deny The true love when it's so hard I get that I want to do so good This is My Daddy's station On to classic radio like you always wished it to be 101.1 FM, Igor Well, love me Love me Love me Oh, baby, love me Well, if you love me, honey Really, let me know Oh, baby, let me know Never let me go Oh, love me, love me, love me Well, I'm hoping you did Oh, baby, love me, love me, love me So, if you love me I love you Well, love me, never leave me Oh, you'll make me cry If you really love me Then you'll keep my eyes dry Love me, love me, love me Well, I'm hoping you did Oh, baby, love me, love me, love me So, if you love me I love you Oh, let me know Now, let me go Oh, baby, love me Well, love me Love me Oh, baby, love me Oh, baby, love me Baby, love me, too Well, if you love me, honey All the night and day Then you'll love me, love me All my life I pray Love me, love me, love me Well, I'm hoping you did Oh, baby, love me, love me, love me Oh, baby, I love you Well, love me, never leave me Oh, you'll make me cry If you really love me Then you'll keep my eyes dry Love me, love me, love me Well, I'm hoping you did Oh, baby, love me, love me, love me Oh, baby, love me, love me I love you Well, love me Love me Oh, baby, love me Oh, baby, love me Baby, love me, baby Hey, if you miss any portion Of this broadcast, folks Don't come back knocking on my door Because I'm not going to do it again Well, I found you all over And it may be blue Like a town of gas You want some love that's new Don't come back knocking And my heart closed doors Or I will be home Don't call a knock no more Well, when you went away Left me all alone While you played around I waited at home Don't come back knocking And my heart closed doors Or I will be home Don't call a knock no more You had all the hard work I'll be very old You weren't satisfied Now I'll go all alone I'll come back knocking And my heart closed doors Or I will be home Don't call a knock no more All that's good and knock And my heart closed doors And my heart closed doors And I will be home To never know through love Or courage to hold Don't come back knocking And my heart closed doors Or I will be home Don't call a knock no more I hope you're all ready Because this is a broadcast That's probably going to go into The Midnight Sheriff's Well, if you see old Annie Better give her a little Well, Annie's been working On a midnight shift If Annie could have Oh, no! Her head Stings them lips A bright, bright red Where's that? There is that It feels high Start saying I feel In the middle of the night Listen, a friend Give her a little Well, Annie's been working On a midnight shift If she acts a little funny Seems a little funny All this time I never knew Well, Annie's been working That he wants to use the car Never explains What he wants this far Brother That it ain't no air Because Annie's been working On a midnight shift Oh, no! Honey, I thought that was Your husband John Working on a midnight shift Oh, no! If you got a good mama That's staying at home You better enjoy it Because it won't last long When you think Everything's all right You start slipping round In the middle of the night Brother That it ain't no air Well, Annie's been working On a midnight shift Oh, Annie, that's why I've been having those blue days and black nights Blue days and black nights Blue days and black nights Blue days keep on falling for you, dear Now you're gone Blue days and black nights My heart keeps on calling for you, dear And you alone Memories of you make me sorry I gave you reason to doubt me But now you're gone And I am left here all alone With the blue memories I think of you Blue days and black nights I am rahs and black nights You're up And you're running My heart keeps on feeling You're running Blue days and black nights You're running Blue days and black nights All today Bye bye Bye bye Bye bye Bye bye Bye bye grey絶 Force Woo Thank you Big day outside Hill See sur事 Hey yan bee Sociade Pick up Thank youham Yoga Head chain Blue days, black nights, I didn't realize I would miss you, glory I did. And now, somehow, I know I will pay for the times I have made you blue. Memories of you made me sorry. I gave you reason to doubt me. But now you're gone, and I am left here all alone with the blue memories I think of you. Ah, don't forget the other ones in this memorial broadcast. JP. That was premature, folks. JP, the Big Bopper, Richardson, and Richie Valens. His real name was Richie Valenzuela. And there's been a movie made about Buddy Holly's life and also about Richie Valenzuela's life. Richie Valens to most of you. But nobody's so far touched the Big Bopper. Who got his start as a DJ in Texas. Very popular DJ, I might add. And rose to the very tip-top of the charts when he wrote and sang a song called Chantilly Lace. Well, we are leaving WRMI, Worldwide Shortwave Radio folks. So we've got to do this. This is the voice of freedom. The End The End The End The End The End The End The End The End The End The End The End The End The End The End The End The End The End The End Oh, oh, oh. Oh, Miss Allison is making her presence known in the studio right at this present time. You can hear her, ladies and gentlemen. A while ago she was in here dancing, and now I saw her run in here out the corner of my eye, chased by her mother, and refuses to be removed from the studio. And that was what the squeals were all about. That's okay. She's my daughter. I love her, and she can stay here as long as she wants. Right, baby? Ha, ha, ha. Ah, she gives me that look with those big, big, big eyes. Whoa. Now you can stay, but you've got to control the yelling. Hi. Hi. Welcome back, folks, to this memorial broadcast honoring the careers and accomplishments of J.P., the Big Bopper Richardson, Richie Valens, and, of course, Buddy Holly. And, by golly, that was a miscue, because that's not what I wanted at all. I thought I had it. But here we go. Anyway, we can't forget these other people just because we're playing all of the music that was written and performed. Hello, baby. Yeah, this is the Big Bopper speaking. My buddy, how are you? Oh, you sweet man. Do I want? Will I want? Oh, baby, you know what I like. Chantilly lace and a pretty face and a holy nail hanging down. Oh, baby. Easier an awesome one. Hey. Thank you. Will I want? Oh, baby. Sophie's all so happy. I don't want. I don't want. See you next week. I can't see you next week. Go be ahead. See you next week. Okay. Thank you. See you back. See you next week. Try to see you next week. Beautiful girl. See you next week.