by Todd LeopoldCNN - 02-02-09
(CNN) -- The facts are these: Just after 1 a.m. February 3, 1959, a three-passenger Beechcraft Bonanza went down about five miles northwest of Mason City Municipal Airport, near Clear Lake, Iowa. The plane crash took the lives of the pilot, Roger Peterson, and three musicians: Charles Hardin Holley, better known as Buddy Holly, 22; Ritchie Valens (originally Valenzuela), 17; and J.P. "The Big Bopper" Richardson, 28.
It has become famous, in Don McLean's "American Pie" formulation, as "the day the music died."
The event has echoed through rock 'n' roll history for 50 years, representing, if not the end of rock 'n' roll itself, the close of an era, the end of the first bloom of rock anarchy and innovation.
"It was like a curtain coming down," said Terry Stewart, president of the Rock and Roll Hall of Fame and Museum, which is co-hosting a series of events in Clear Lake for the anniversary, including classes putting the event in historical context.
As they have for decades, visitors have been making the pilgrimage to the resort town about 110 miles north of Des Moines. On Monday night, the 50th anniversary of the trio's deaths, the city's Surf Ballroom and Museum will host a huge concert in conjunction with the Rock Hall.
Expected are luminaries including Graham Nash, whose 1960s British band was named for Holly; the Smithereens' Pat DiNizio, who wrote the song "Maria Elena" for Holly's widow; Los Lobos, who followed in the Hispanic-rock tradition begun by Valens; Texans Delbert McClinton and Joe Ely; and Tommy Allsup, who was a Holly sideman at the show 50 years ago. "The vision [for the Monday show] has always been that we go back to the roots," said Laurie Lietz, the Surf's executive director. "There were so many who were influenced by [the trio]. So the tribute concert is really a tribute to each individual."
The Surf, which was refurbished in 1995 by a local family (it's now run by a foundation), includes the original stage, the telephone where Holly and Valens placed their last calls, guitars, photographs and a green room with hundreds of autographs.
They all pay tribute to the last show for three men.
Holly, Valens and Richardson were part of the Winter Dance Party, a ramshackle tour that had started in Milwaukee, Wisconsin, and headed to small cities in Minnesota and Iowa.
The tour, which also included Dion and the Belmonts and members of Holly's backing band, had lumbered along in subfreezing temperatures in unheated buses; two days earlier, one bus had stalled out on a lonely Wisconsin road. By the time the group reached Clear Lake, Holly in particular was ready to bolt.
"Buddy was very determined when he wanted something," said his widow, Maria Elena Holly, of her "otherwise laid-back" husband of six months. He booked the plane to fly to Fargo, North Dakota, where he planned to rest up and do laundry in advance of the group's next concert in Moorhead, Minnesota, across the state line.
Fargo native Bobby Vee, who remembers the tragedy vividly, acknowledges that he owes his career to the event. The then-high school sophomore named Robert Velline had come home for lunch and heard a local DJ talking about the Moorhead show.
"I had a ticket for the show. I was a huge Buddy Holly fan and a huge rock 'n' roll fan," he recalled, adding that a major rock 'n' roll concert in the area was a rarity. "As I got closer into the kitchen ... [my mother and brother] were talking about this plane crash that had taken place. I couldn't put it all together."
But the promoter had decided to go on with the show and invited local bands to participate. Vee was in a garage band, and a friend suggested that they participate. The band, so loose it didn't even have a name, got on the bill. At the end of the night, a local booking agent approached them, and the Shadows (a name Vee came up with as they waited offstage) entered the music business.
Vee's hits eventually included 1961's "Take Good Care of My Baby" and 1967's "Come Back When You Grow Up."
"It changed my life," Vee said. "I was a 15-year-old. I'd never experienced that kind of tragedy. I wasn't there to start a career -- I didn't know what a career was -- I was just there to help out, because that's what people do when there's a problem."
Rock critic Dave Marsh also remembers hearing about the crash.
"I went to the door of our little house in Pontiac, Michigan, and I picked up the newspaper, and ... it was the first thing I saw: Three rock 'n' roll guys dying in a plane crash," he says. "I was 9, but I had an aunt who was just seven years older than me and a mother who was an Elvis fan and who watched 'American Bandstand' every day. So I was aware. ... It was something to deal with, people that young dying."
But, indicating the lack of esteem for rock 'n' roll at the time, it wasn't a major national news story. The New York Times put a plane crash on its February 4 front page, but it was an American Airlines flight that had crashed near LaGuardia Airport. The Clear Lake tragedy was on page 66. The same was true for other major newspapers."[Holly] really wasn't known to the older generation," said "Austin City Limits" executive producer and Holly aficionado Terry Lickona. "Even in his hometown [of Lubbock, Texas], they were embarrassed by him."
The trio's deaths coincided with a period of dark events in rock 'n' roll history, including Elvis Presley's induction into the Army, Jerry Lee Lewis' blacklisting, the record industry payola scandals and Chuck Berry's Mann Act conviction, not to mention the rise of manufactured teen idols such as Frankie Avalon and Fabian.
Partly thanks to McLean's lingering phrase, the ensuing years have been painted as a rock Dark Ages, rescued only by the Beatles' arrival in 1964 at the vanguard of the British Invasion.
Marsh says that canard, which he has refuted in "The Book of Rock Lists" and "The Heart of Rock and Soul," should be laid to rest once and for all.
"I think what happened was that people weren't paying attention themselves and assumed no one else was, either," he said. "I think it's also a way that glorifies the lack of stars [compared to rock's early days]. That was missing. ... I don't think Roy Orbison had quite the same stature."
Which doesn't mean that the music of Orbison, Phil Spector, early Motown or Gary U.S. Bonds deserves to be overlooked, he added: "The quality of the music is undeniable." What would have happened to the trio in that era is, of course, impossible to know. Valens, celebrated in the movie "La Bamba," was just starting his career and may have produced more hits; Richardson, a former DJ and radio program director who shot some rudimentary music videos, had shrewd entrepreneurial instincts.
And then there's Holly, with his songwriting talent, his arranging abilities (he did the strings on "It Doesn't Matter Anymore," his last single) and sheer knowledge of music.
Maria Elena Holly, who watches over his legacy, says Buddy had big plans: He wanted to do albums with Ray Charles and Mahalia Jackson; he wanted to try film music; he wanted to do music publishing.
"He was a multitasker in every way," she said. Monday, he and the others will simply be remembered at the ballroom where it's always February 2, 1959, and they're putting on another great show.
"When I come to these things, I don't think about [that] this is the last time I talked to him was from here. I think, I'm meeting the fans who have kept his memory alive," said Maria Elena Holly, who admits to getting "a little bit teary" when she hears "True Love Ways."
"And that's really what Buddy wanted to happen with his music: He wanted people to enjoy the music, to listen to it and make them happy," she said. "And when I think of it that way, I think at least his dream came true."
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Elvis Presley, Buddy Holly, Joe Ely, and the Cotton Club
by Johnny Hughes,
January 2009
Elvis Presley was leaning a against his pink, 1954 Cadillac in front of Lubbock's historic Cotton Club. The small crowd were mesmerized by his great looks, cockiness, and charisma. He put on quite a show, doing nearly all the talking. Elvis bragged about his sexual conquests, using language you didn't hear around women. He said he'd been a truck driver six months earlier. Now he could have a new woman in each town. He told a story about being caught having sex in his back seat. An angry husband grabbed his wife by the ankles and pulled her out from under Elvis. I doubted that.
Earlier, at the Fair Park Coliseum, Elvis had signed girl's breasts, arms, foreheads, bras, and panties. No one had ever seen anything like it. We had met Elvis' first manager, Bob Neal, bass player, Bill Black, and guitarist Scotty Moore. They wanted us to bring some beer out to the Cotton Club. So we did. My meeting with Bob Neal in 1955 was to have great meaning in my future. I was 15.
The old scandal rag, Confidential, had a story about Elvis at the Cotton Club and the Fair Park Coliseum. It had a picture of the Cotton Club and told of Elvis' unique approach to autographing female body parts. It said he had taken two girls to Mackenzie Park for a tryst in his Cadillac.
Elvis did several shows in Lubbock during his first year on the road, in 1955. When he first came here, he made $75. His appearance in 1956 paid $4000. When he arrived in Lubbock, Bob Neal was his manager. By the end of the year, Colonel Tom Parker had taken over. Elvis played the Fair Park Coliseum for its opening on Jan. 6th, with a package show. When he played the Fair Park again, Feb. 13th, it was memorable. Colonel Tom Parker and Bob Neal were there. Buddy Holly and Bob Montgomery were on the bill. Waylon Jennings was there. Elvis was 19. Buddy was 18.
Elvis' early shows in Lubbock were:
Jan 6th 1955, Fair Park Coliseum. Feb 13th. Fair Park, Cotton Club April 29 Cotton Club June 3: Johnson Connelly Pontiac with Buddy Holly, Fair Park October 11: Fair Park October 15: Cotton Club, April 10, 1956: Fair Park. Elvis probably played the Cotton Club on all of his Lubbock dates. He also spent time with Buddy Holly on all his Lubbock visits.
Buddy Holly was the boffo popular teenager of all time around Lubbock. The town loved him! He had his own radio show on Pappy Dave Stone's KDAV, first with Jack Neal, later with Bob Montgomery in his early teens. KDAV was the first all-country station in America. Buddy fronted Bill Haley, Marty Robbins, and groups that traveled through. Stone was an early mentor. Buddy first met Waylon Jennings at KDAV. Disk jockeys there included Waylon, Roger Miller, Bill Mack, later America's most famous country DJ, and country comedian Don Bowman. Bowman and Miller became the best known writers of funny country songs.
All these singer-songwriters recorded there, did live remotes with jingles, and wrote songs. Elvis went to KDAV to sing live and record the Clover's "Fool, Fool Fool" and Big Joe Turner's "Shake Rattle and Roll" on acetates. This radio station in now KRFE, 580 a.m., located at 66th and MLK, owned by Wade Wilkes. They welcome visitors. It has to be the only place that Elvis, Buddy, Waylon, and Bill Mack all recorded. Johnny Cash sang live there. Waylon and Buddy became great friends through radio. Ben Hall, another KDAV disc jockey and songwriter, filmed in color at the Fair Park Coliseum. This video shows Johnny Cash, Carl Perkins, Elvis, Buddy and his friends.
Wade's dad, Big Ed Wilkes, owner of KDAV, managed country comedian, Jerry Clower, on MCA Records. He sent Joe Ely's demo tape to MCA. Bob Livingston also sent one of the tapes I gave him to MCA. This led to a contract. Pappy Dave Stone, the first owner of KDAV, helped Buddy get his record contract with Decca/MCA.
Another disc jockey at KDAV was Arlie Duff. He wrote the country classic, "Y'all Come." It has been recorded by nineteen well-known artists, including Bing Crosby. When Waylon Jennings and Don Bowman were hired by the Corbin brothers, Slim, Sky, and Larry, of KLLL, Buddy started to hang around there. They all did jingles, sang live, wrote songs, and recorded. Niki Sullivan, one of the original Crickets, was also a singing DJ at KLLL. Sky Corbin has an excellent book about this radio era and the intense competition between KLLL and KDAV. All the DJs had mottos. Sky Corbin's was "lover, fighter, wild horse rider, and a purty fair windmill man."
Don Bowman's motto was "come a foggin' cowboy." He'd make fun of the sponsors and get fired. We played poker together. He'd take breaks in the poker game to sing funny songs. I played poker with Buddy Holly before and after he got famous. He was incredibly polite and never had the big head. The nation only knew Buddy Holly for less than two years. He was the most famous guy around Lubbock from the age of fourteen.
Niki Sullivan, an original Cricket, and I had a singing duo as children. We cut little acetates in 1948. We also appeared several times on Bob Nash's kid talent show on KFYO. This was at the Tech Theatre. Buddy Holly and Charlene Hancock, Tommy's wife, also appeared on this show. Larry Holley, Buddy's brother, financed his early career, buying him a guitar and whatever else he needed. Buddy recorded twenty acetates at KDAV from 1953 until 1957. He also did a lot of recording at KLLL. Larry Holley said Niki was the most talented Cricket except Buddy. All of Buddy's band mates and all of Joe Ely's band mates were musicians as children.
Buddy and Elvis met at the Cotton Club. Buddy taught Elvis the lyrics to the Drifter's "Money Honey". After that, Buddy met Elvis on each of his Lubbock visits. I think Elvis went to the Cotton Club on every Lubbock appearance. When Elvis played a show at the Johnson Connelly Pontiac showroom, Mac Davis was there. I was too.
The last time Elvis played the Fair Park Coliseum on April 10,1956, he was as famous as it gets. Buddy Holly, Sonny Curtis, Jerry Allison, and Don Guess were a front act. They did two shows and played for over 10,000 people. Those wonderful I.G. Holmes photos, taken at several locations, usually show Buddy and his pals with Elvis. Lubbock had a population of 80,000 at the time. Elvis was still signing everything put in front of him. Not many people could have signing women as a hobby.
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Many of the acetates recorded at KLLL and KDAV by Buddy and others were later released, many as bootlegs. When Buddy Holly recorded four songs at KDAV, the demo got him his first record contract. It wasn't just Lubbock radio that so supportive of Buddy Holly. The City of Lubbock hired him to play at teenage dances. He appeared at Lubbock High School assemblies and many other places in town.
Everyone in Lubbock cheered Buddy Holly on with his career. The newspaper reports were always positive. At one teenage gig, maybe at the Glassarama, there was only a small crowd. Some of us were doing the "dirty bop." The Lubbock Avalanche-Journal had photos the next day showing people with their eyes covered with a black strip. Sonny Curtis mentions that in his song, "The Real Buddy Holly Story." When Buddy Holly and the Crickets were on the Ed Sullivan show, the newspaper featured that. The whole town watched.
Buddy was fighting with his manager Norman Petty over money before he died. They were totally estranged. Larry Holley told me that Norman said to Buddy, "I'll see you dead before you get a penny." A few weeks later, Buddy was dead. When Buddy Holly died in a plane crash, it was headline news in the Lubbock Avalanche-Journal. Over 1000 people attended the funeral on February 7, 1959. Buddy was only twenty-two years old. His widow, Maria Elena Holly, was too upset to attend. The pall bearers were all songwriters and musicians that had played with Buddy: Niki Sullivan, Jerry Allison, Joe B. Mauldin, Sonny Curtis, Bob Montgomery, and Phil Everly. Elvis was in the Army. He had Colonel Tom send a large wreath of yellow roses.
In 1976, I was managing the Joe Ely Band. They had recorded an as-yet -to-be-released album for MCA Records. I was in Nashville to meet with the MCA execs. They wanted Joe to get a booking contract and mentioned some unheard of two-man shops. Bob Neal, Elvis' first manager, had great success in talent managing and booking. He sold his agency to the William Morris Agency, the biggest booking agency in the world, and stayed on as president of the Nashville branch.
I called the William Morris Agency and explained to the secretary that I did indeed know Bob Neal, as we had met at the Cotton Club in Lubbock, Texas when he was Elvis' manager. He came right on the phone. I told him the Joe Ely Band played mostly the Cotton Club. He said that after loading up to leave there one night, a cowboy called Elvis over to his car and knocked him down. Elvis was in a rage. He made them drive all over Lubbock checking every open place, as they looked for the guy. Bob Neal invited me to come right over.
Bob Neal played that, now classic, demo tape from Caldwell Studios and offered a booking contract. We agreed on a big music city strategy: Los Angeles, New York, Nashville, London, and Austin. Bob drove me back to MCA and they could not believe our good fortune. The man had been instrumental in the careers of Elvis, Carl Perkins, Johnny Cash, Roy Orbison, Johnny Rodriguez, and many others. The William Morris Agency sent the Joe Ely Band coast to coast and to Europe, first to front Merle Haggard, then on a second trip to front the Clash. The original Joe Ely Band were Lloyd Maines, Natalie's father, steel guitar, Jesse Taylor, electric guitar, Steve Keeton, drums, and Gregg Wright, bass. Ponty Bone, on accordion, joined a little later. The band did the shows and the recording. The recorded tunes were originals from Joe Ely, Butch Hancock, and Jimmie Dale Gilmore.
However, some of the William Morris bookings led to zig zag travel over long distances to so-called listening clubs. When I complained to Bob Neal, he'd recall the 300 dates Elvis played back in 1955. Four guys in Elvis' pink Cadillac. When Buddy made some money, he bought a pink Cadillac. Joe Ely bought a pristine, 1957 pink Cadillac that was much nicer than either of their pink Cadillacs.
When I'd hear from Bob Neal, it was very good news, especially the fantastic, uniformly-rave, album and performance reviews from newspapers and magazines everywhere. Time Magazine devoted a full page to Joe Ely. The earliest big rock critic to praise Joe Ely was Joe Nick Patoski, author of the definitive and critically-acclaimed Willie Nelson: An Epic Life. After one year, MCA was in turmoil. Big stars were leaving or filing lawsuits. We were told they might not re-new the option to make a second record. MCA regularly fired everyone we liked. Bob Neal thought the band should go to Los Angeles for a one-nighter.
He booked the Joe Ely Band into the best known club on the West Coast, the Palomino, owned by his dear pal, Tommy Thomas. We alerted other record companies. They drove back and forth to L.A. in a Dodge Van to play only one night. Robert Hilburn, the top rock critic for the Los Angeles Times, came with his date, Linda Ronstadt.
The Joe Ely Band loved to play music. They started on time, took short breaks, and played until someone made them stop. Robert Hilburn wrote that Ely could be, "the most important male singer to emerge in country music since the mid-60s crop of Waylon Jennings, Merle Haggard, and Willie Nelson." The long review with pictures took up the whole fine arts section of the biggest newspaper in the country. Hilburn praised each of the band individually. He was blown away when they just kept playing when the lights came on at closing time. After that, several major record companies were interested.
The last time I saw Bob Neal was at the Old Waldorf in San Francisco on February 22, 1979. Little Pete, a black drarf who was always around Stubb's Bar-B-Q, was traveling with the band. To open the show, Little Pete came out and announced, "Lubbock, Texas produces the Joe Ely Band!" Then he jumped off the elevated stage and Bo Billingsley, the giant roady, caught him. Bob Neal, the old showman that had seen it all, just loved that.
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This comment originally appears on www.virtualubbock.com Anyone may make copies of this one article or post it on any web site. Thanks to Chris Oglesby and Larry Holley.
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