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Buddy Holly: the 100 most inspiring musicians of all time

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Buddy Holly: the 100 most inspiring musicians of all time

American singer and songwriter Charles Hardin Holley, professionally known as Buddy Holly, (b. Sept. 7, 1936, Lubbock, Texas, U.S.—d. Feb. 3, 1959, near Clear Lake, Iowa) produced some of the most distinctive and influential work in rock music.

Buddy Holly (the e was dropped from his last name—probably accidentally—on his first record contract) was the youngest of four children in a family of devout Baptists in the West Texas town of Lubbock, and gospel music was an important part of his life from an early age. A good student possessed of infectious personal charm, Holly was declared “King of the Sixth Grade” by his classmates.

He became seriously interested in music at about age 12 and pursued it with remarkable natural ability. The African American rhythm and blues that Holly heard on the radio had a tremendous impact on him, as it did on countless other white teenagers in the racially segregated United States of the 1950s. Already well versed in country music, bluegrass, and gospel and a seasoned performer by age 16, he became a rhythm-and-blues devotee.

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By 1955, after hearing Elvis Presley, Holly was a full-time rock and roller. Late that year, he bought a Fender Stratocaster electric guitar and developed a style of playing featuring ringing major chords that became his
trademark. In 1956, he signed with Decca Records’ Nashville, Tennessee, division, but the records he made for them were uneven in quality, and most sold poorly.

In 1957, Buddy Holly and his new group, the Crickets (Niki Sullivan on second guitar and background vocals, Joe B. Mauldin on bass, and the great Jerry Allison on drums), began their association with independent producer Norman Petty at his studio in Clovis, New Mexico. Together they created a series of recordings that display an emotional intimacy and sense of detail that set them apart from other 1950s rock and roll. As a team, they threw away the rule book and let their imaginations loose.

Unlike most independent rock-and-roll producers of the time, Petty did not own any cheap equipment. He wanted his recordings to sound classy and expensive, but he also loved to experiment and had a deep bag of sonic tricks. The Crickets’ records feature unusual microphone placement
techniques, imaginative echo chamber effects, and overdubbing, a process that in the 1950s meant superimposing one recording on another. While crafting tracks such as “Not Fade Away,” “Peggy Sue,” “Listen to Me,” and “Everyday,” Holly and the Crickets camped out at Petty’s studio for days at a time, using it as a combination laboratory and playground.

They were the first rock and rollers to approach the recording process in this manner. When the Crickets’ first single, “That’ll Be the Day,” was released in 1957, their label, Brunswick, did nothing to promote it. Nevertheless, the record had an irrepressible spirit, and by year’s end it became an international multimillion-seller. Soon after, Holly became a star and an icon.

Holly and the Crickets’ association with Petty (who, serving as their manager, songwriting partner, and publisher, owned their recordings) was far from all beneficial, however. According to virtually all accounts, Petty collected the Crickets’ royalty checks and kept the money. By 1959, the hit records tapered off, and Holly was living in New York with his new bride. Estranged from the Crickets and broke, he was also contemplating legal action against Petty. This left him little choice but to participate in the doomed “Winter Dance Party of 1959” tour through the frozen Midwest,
during which he and coheadliners Ritchie Valens and the Big Bopper (J.P. Richardson) were killed in a plane crash.

The music of Buddy Holly and the Crickets, their innovative use of the studio, and the fact that they wrote most of their songs themselves made them the single most important influence on the Beatles, who knew every Holly record backward and forward. In 1986 Holly was inducted into the Rock and Roll Hall of Fame, and in 1996 he was honored by the National Academy of Recording Arts and Sciences with a lifetime achievement award.

Buddy Holly Greatest Hits TOP 20 BEST SONGS

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Interview with Joep Beving (Feb. 7, 2020)

Table of Contents
  • Interview with Joep Beving
    • Did your relationship to music change when it became your job rather than your hobby? 
    • You’ve been described as one of the most listened to living pianists in the world, which is amazing. 
    • Someone said that your music’s quite similar to Keith Jarrett’s…
    • Do you mind how other people perceive or describe your music?
    • Whose music would you say has influenced your style? 
    • Who are your favourite composers?
    • What’s your opinion on the ‘classical chillout’ trend that’s growing in popularity?
  • Joep Beving’s sheet music is available for download from our Library.
  • Ab Ovo

Interview with Joep Beving

Joep Beving is a Dutch composer and pianist who has been described by The Guardian as a “one-man recording phenomenon”. His journey is the stuff of dreams, going from “kitchen composer to Spotify star” virtually overnight. After self-releasing his debut album Solipsism, Beving went on to see his contemplative piano pieces streamed more than 85 million times, and has since given up his day job to compose and perform full time.

If you follow any ‘Chilled Classical’ or ‘Ambient Relaxation’ playlists, you will have heard his music even if you’re not familiar with his name. The deluxe version of his latest album, Henosis, comes out this week and I had the pleasure of chatting with him while he was over in London for a few brief hours.

joep beving sheet music
Did your relationship to music change when it became your job rather than your hobby? 

It definitely changed. I never saw myself as an artist… I felt it on the inside, but I never dared to see myself that way, let alone as a composer. It has very much intensified my relationship with music and I’m just extremely thankful for it. I have to take myself seriously now, which is still sometimes difficult, but it’s exciting and the only thing I can really do is work hard to write music and and hopefully create things that people appreciate, and at the same time be absolutely open and honest about what’s behind it. 

Having gained so many followers and listeners so quickly must be quite mind-blowing.

Yeah, that is mind-blowing, although it’s very easy to put in the right perspective because that insane amount comes from one very influential playlist that I have had the luck of being featured in.

You’ve been described as one of the most listened to living pianists in the world, which is amazing. 

That’s ridiculous. There are many more that deserve the credit in what used to be a niche of solo piano music, but is now a bit bigger: Jóhann Jóhannsson,Max Richter, Niels Hausgaard, Nils Frahm… It’s a very good thing but it’s also a very scary thing. I can see why some marketing people would want to use that to get people’s attention but it creates a lot of negative energy. 

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You’ve said that while your music uses a “classical vocabulary”, it’s aimed more at a pop audience, and you’ve also performed in jazz festivals around the world. How do you classify your music? Do you see it fitting into the evolving classical canon?

No, not at all. My writing is completely free of rules. What I try to do is just get myself out of the equation and just accept what comes out and feels right. I want to see if I can create or establish a connection to others, so I try to find something universal. I often follow a pop structure (AABA) and my music has similarities with ambient music because of the sound, the vibrations and the tempo. It has a little bit to do with electronic music, mostly where electronic means minimal classical. It’s much more in that vein than in the classical vein but it obviously does borrow from the classical vocabulary and if you look at John Cage, for example, who’s rightly considered a very great American composer – he had a phase of doing some recordings that were intentionally mood-based, using music for a specific mental purpose. 

Someone said that your music’s quite similar to Keith Jarrett’s…

That’s a huge compliment. It’s funny you mention him because Keith Jarrett was one of the first musicians who showed me that music can just be without the genre. If you classify Keith Jarrett you say ECM because that’s cross-genre – it’s not classical, it’s not jazz per se, it’s somewhere else. If I can have just a little bit of Keith Jarrett in me, that would be phenomenal.

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Do you mind how other people perceive or describe your music?

No. Every description has its ripple effect, its consequence, and if I would be in the business of trying to control that I would be wasting my time. The moment that it prohibits you from being heard in the first place, then it’s an issue. Once you have the luxury of an audience, then it doesn’t matter. It’s easy for me to say because I have the audience first. If it was the other way around I would probably have a different opinion.

Whose music would you say has influenced your style? 

Bill Evans, Keith Jarrett, Philip Glass, Arvo Pärt, Chopin, Satie, Radiohead, Mahler, and anything late romantic.

Who are your favourite composers?

Scriabin, Prokofiev (mostly the 3rd Piano Concerto), Mahler, Brahms’ piano music, Arvo Pärt, Peteris Vasks, Tigran Hamasyan.

What’s your opinion on the ‘classical chillout’ trend that’s growing in popularity?

I think it’s great. On the one side of the continuum, we have the massage saloon version, which is obviously kitsch and too far down the road. And then the area that we’re talking about, which you could say Satie is part of, or Cage. If that has a beneficial effect on people in their franticness, or fighting anxiety or insomnia, then that’s absolutely amazing. The other part is the deeper side of serious music that can have a very important effect on how you feel and how you look at life. If you embrace that dark side, and you’re not scared of it, it’s a great way of overcoming a lot of anxieties and issues.

Joep Beving’s sheet music is available for download from our Library.

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