RARE BUDDY HOLLY & 3 TUNES That'll Be The Day 45 RPM ORIGINAL DECCA 9-30434 HTF

$

181

* * *   Up For Bids is * * *

ONE (1)

EXTREMELY RARE

ORIGINAL 1956

(in it's original Decca Records Sleeve)

45-RPM RECORDING OF

The Legendary musician and singer

BUDDY HOLLY

&

The Three Tunes

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The Decca Records Release

"That'll Be The Day"

This version is

EXTREMELY RARE

(Read the story below)

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(Information compiled from Wikipedia and Mix Magazine)

Buddy Holly's hit song, "That'll Be The Day" had its genesis from a trip to the movies by Holly, Jerry Allison and Sonny Curtis in June 1956. The John Wayne film "The Searchers" was playing. Wayne's frequently-used, world-weary catchphrase, "That'll be the day" inspired the young musicians.

(The following, Courtesy of Mix Magazine)

In the winter of 1956/57, Buddy Holly was an artist in transition. After being discovered by talent scout Eddie Crandall in the fall of 1955 and signed to Decca Records in Nashville, by late 1956 Holly found himself without a hit and without a contract. Prior to this, Holly had had three separate recording sessions for Decca between January and November 1956 with legendary country music producer Owen Bradley at his Quonset Hut studio on 16th Avenue in Nashville.

For Holly’s first Decca session, he was told to put down his guitar and concentrate on his vocal, and his band was filled out with Nashville session men. His first single, “Blue Days, Black Nights,” garnered some positive reviews, but it didn’t sell. On his second visit to Nashville in July 1956, Holly insisted on playing guitar and singing. He also insisted on having members of his band back him and on recording original material. It was during this session that a master take of “That’ll Be the Day” was recorded. When the Decca executives heard the fruits of this session, they were unimpressed—so much so that, according to drummer Jerry Allison, one of the execs proclaimed that “That’ll Be the Day” was the worst song he’d ever heard. “The people in Nashville didn’t like it at all, which hurt my feelings, of course,” says Allison more than 50 years later.

While Holly was going through his trials and tribulations with Decca, another development was under way: Musician/composer Norman Petty had set up a recording studio in Clovis, New Mexico, a small town just west of Holly’s hometown of Lubbock, Texas. Petty financed his studio with royalties he had earned from his trio’s hit recording of the Duke Ellington song “Mood Indigo.” At first, the studio was intended to be for private use, but word quickly spread and it became a hot spot for recording local talent.

While still signed to Decca, Holly decided to record some demos in Clovis with Petty. Holly was in search of his sound and perhaps a more comfortable place to record. His first attempts were a seven-song session of mostly original songs in the spring of 1956, followed by a session of two cover songs that winter. At this point, Petty shied away from further developing Holly’s music—possibly because of Holly’s recording contract with Decca or because Petty didn’t feel that the material that Holly brought to the sessions was strong enough. Either way, by the time Holly showed up for a third demo session on February 24, 1957, both of those circumstances had changed.

Petty had suggested that Holly get some more original songs and a band together. When they were well-rehearsed, he should come back and cut a demo that they could pitch to record companies. After being released from his contract with Decca in December ’56, Holly was determined not to fail; he had developed strong ties to many musicians in Lubbock, and by the time of the “That’ll Be the Day” session with Petty, he had put together a cohesive group. On the session were longtime friend and bass player, Larry Welborn, and guitarist Niki Sullivan, who also sang backing vocals for Holly with husband-and-wife team Gary and Ramona Tollett. Holding it all together on drums was Allison, Holly’s best friend and co-writer of “That’ll Be the Day.”

The first version recorded at legendary country music producer Owen Bradley's own studio, Quonset Hut studio on 16th Avenue in Nashville, Also known as Bradley's Barn, on July 22, 1956. 

The second recorded version of this song was recorded eight months later, at the Norman Petty studios in Clovis, New Mexico, on February 25, 1957, and issued on Decca's Brunswick label three months later.

Because Holly had signed a recording contract with Decca, he was contractually prohibited from re-recording any of the songs recorded during the 1956 Nashville sessions for five years, even if Decca never released them. To dodge this, producer Norman Petty credited the Crickets as the artist on this new recording of "That'll Be the Day" to shield Buddy from possible legal action. Ironically, Brunswick Records was a subsidiary of Decca Records. Once the cat was out of the bag, Decca re-signed Holly to another of its subsidiaries,Coral Records, so he ended up with two recording contracts. His group efforts would be issued by Brunswick, and his solo recordings would be on Coral.

The re-recorded version of "That'll Be the Day" was released by Brunswick Records on May 27, 1957, and is featured on the debut album by the Crickets, (The "Chirping" Crickets, which was issued on November 27, 1957. The song is considered a classic in the rock and roll genre and is listed at #39 on Rolling Stone's  list of The 500 Greatest Songs of All Time.

The version recorded at Owen Bradley's, Quonset Hut studio in Nashville (aka, Bradley's Barn) was released as the B-side to "Rock Around With Ollie Vee", credited to Buddy Holly, on 2 September 1957 (Decca D30434) and can be found on the 1958 album 'That'll Be The Day'.

Musicians:

(July 22, 1956 at Bradley's Barn, Owen Bradley's, Quonset Hut studio in Nashville)

• Buddy Holly - vocals, guitar
• Sonny Curtis - guitar
• Don Guess - bass
• Jerry Allison - drums

Take a listen to the actual song...listen to the difference between this ORIGINAL recording and what has become the "Standard" recording.  Pretty amazing.

                          http://www.youtube.com/watch?v=roje3bVZ27k

I love the simplicity of the original recording.  Great to hear the two versions.

I almost hate to sell it, but I have to.  Someone who appreciates this piece of history, please give this Vintage...classic hit a great home, please!

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I'm not a record collector, so I dare not try to rate this recording. 

I have played it once to listen for skips, etc. 

No skips, it crackles while playing, like dirty,

but didn't try to clean it. 

The Vinyl is very clean and has a slight scratches on the "Decca" logo, but very clean.  The scan has a weird odd streaking above the Decca and on the opposite side as well, but isn't on the record...must be the scanner glass.

It's in Great shape.

I will even refund if it's not to your standards.

(same record needs to be returned at buyers expense for full refund)

That's how confident I am that you'll like it's condition.

This is a must collectible for any Music or Buddy Holly enthusiast.

A truly rare recording and a true piece of recording history.

If you have any questions regarding any of my auctions,
please feel free to email me
and I'll try to response as quickly as possible.

Thanks for looking.

 

Happy Bidding

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 This 45rpm is Decca Records #9-30434.