1956 and the charts are full of Perry Como, Dean Martin, Max Bygraves, Alma Cogan. Elsewhere something which sounds it is from a different planet is released...
The Bo Diddley song came out in March 1956. Elvis's only single before that was Heartbreak Hotel. Buddy and the Everlys didn't release a single until 1957. Elvis and Bo were ahead of the curve. PS Of course Chuck had recorded this in 1955.
Buddy Holly opened for Elvis a number of times in '56 - don't recall where exactly, but likely Texas somewhere. Local radio stations where playing BH & Everly stuff in the Southern States also. As were Jerry Lee and Little Richard entering the annals of "new R & R" that year. A very fertile year. Not just Bo & Berry. All of the above, in a short time window made their mark by influencing many afterwards.
Was on about when records were released which is when most people first heard of them. They weren't playing Buddy and Everlys stuff on the radio stations in the Southern States in 1956 as they didn't make any records until 1957. Buddy only opened for Elvis once and that was in 1955 in Buddy's home town. They became friendly and had some time out on the town after the show. They kept in touch but never met again. Must have beenn reat being young in the Southern USA back then (if you were white that is) and hearing all this new stuff over the airwaves. Not to mention the blues stuff that was about that most whites ignored in those days. And gospel groups like the Soul Stirrers.
"On January 26, 1956, Holly attended his first formal recording session, which was produced by Owen Bradley.[15] He attended two more sessions in Nashville, but with the producer selecting the session musicians and arrangements, Holly became increasingly frustrated by his lack of creative control.[13] In April 1956, Decca released "Blue Days, Black Nights" as a single, with "Love Me" on the B-side. Denny included Holly on a tour as the opening act for Faron Young. During the tour, they were promoted as "Buddy Holly and the Two Tones," while later Decca called them "Buddy Holly and the Three Tunes." [13] The label later released Holly's second single "Modern Don Juan," backed with "You Are My One Desire." Neither single made an impression. On January 22, 1957, Decca informed Holly his contract would not be renewed, but insisted he could not record the same songs for anyone else for five years.[16]" The Crickets (1956–1957)[edit] please log in to view this image Buddy Holly and the Crickets in 1957 (top to bottom: Allison, Holly and Mauldin) Holly was unhappy with the results of his time with Decca; he was inspired by the success of Buddy Knox's "Party Doll" and Jimmy Bowen's "I'm Stickin' with You", and visited Norman Petty, who had produced and promoted both records. Together with Allison, bassist Joe B. Mauldin, and rhythm guitarist Niki Sullivan, he went to Petty's studio in Clovis, New Mexico. The group recorded a demo of "That'll Be the Day", a song they had previously recorded in Nashville. Now playing lead guitar, Holly achieved the sound he desired. Petty became his manager and sent the record to Brunswick Records in New York City. Holly, still under contract with Decca, could not release the record under his name, so a band name was used; Allison proposed the name "Crickets". Brunswick gave Holly a basic agreement to release "That'll Be the Day", leaving him with both artistic control and financial responsibility for future recordings.[17] Impressed with the demo, the label's executives released it without recording a new version. "I'm Looking for Someone to Love" was the B-side; the single was credited to the Crickets. Petty and Holly later learned that Brunswick was a subsidiary of Decca, which legally cleared future recordings under the name Buddy Holly. Recordings credited to the Crickets would be released on Brunswick, while the recordings under Holly's name were released on another subsidiary label, Coral Records. Holly concurrently held a recording contract with both labels.[18]
What kinda chords you using Kempton? Straightforward stuff that a rhythm guitarist can strum away at or heavy duty augCmaj7 stuff(in which case I'm ****ed)
So, Blue Days Black Nights wasn't recorded before the Bo Diddley record which was released in March 1956. Buddy Holly didn't do openings for Elvis in 1956. He opened for him once in 1955, before he formed a group. Johnny Cash and Carl Perkins were on the same bill. This is a clip from a documentary which included it, the first moving footage of Elvis.
My point was there were many others emerging (and recording) other than Bo Diddley and those others you mentioned in '56, all of whom were "Rock & Rollers"/blues-rock-country derivitives. As I say, 'twas a fertile year for "new sounds". Can't remember which hour of which day they "made their mark", but I think at the time ('56) I was aware of them through my father's mates in the merch. First disk I ever owned was Paul Anka's "Diana', brought from the States by one of dad's seafaring buddies. '57 I think it was? We didn't even have a record player at the time !
Just the easy stuff. The fact is I haven't played guitar in maybe a year. I wasn't actually playing Bo Diddley tunes, just playing in his general style.
Bit too early for me ..... but I did see him there with his band U-boat. Free 'U-boat' t shirts. Thought they were going to make it big. But, as he says, "U-boat sank without at trace" unfortunately.
Yes, 1957. For a long time that was the third highest selling single after White Christmas and Rock Around The Clock.
Oh I realise that , just about the only time I ever see any police in Hull is at City games they must love the overtime for standing around chatting to each other
