He actually performed a more "quintessential" vocal take on the Brunswick version, almost like between the two, he had perfected the various inflections that he would surely employ for the 1957 sessions. The Brunswick version doesn't have the same "Prominent Slapback Echo" nor as much "Hillbilly" in the Vocal like this has. Another interesting thing about this earlier take is his Guitar playing.... He seemed to already know how he wanted the song to be arranged, but on this take, he plays a bit more and again, it seems as though he went through the same process that helped to transform the Vocal... There's absolutely no question as to his utter brilliance as a Songwriter, Producer and Musician. This was the 50s, no boutique amplifiers, no pedals, no custom strings, no stereo although he did record overdubs.... Just a Stratocaster and a Fender Amp.... Amazing!
@herbert9241 The Brunswick "hit" version is the better version OBVIOUSLY! The band sounds great, but way too high for him! Re-recording it was a good call!
i really like the guitar playing on this version recorded in 1956 and this in Buddy Holly playing lead guitar i always thought it was Sonny Curtis playing lead but in a recent interview with Sonny he said Buddy played all the lead guitar on this song while he played rhythm guitar............
Also covered by The Everly Brothers, and of course, Linda. I put a live performance by her and this in my EB playlist with theirs. Thanks for uploading this version.
25 February 1957, At Norman Petty's studio in Clovis, New Mexico, Buddy Holly and the Crickets recorded the hit version of "That'll Be The Day" and also "I'm Lookin' For Someone To Love." Larry Welborn played bass on the session, not Joe Mauldin. Niki Sullivan, June Clark, Gary and Ramona Tollet provided background vocals. Holly's first recording of the song, on which he was backed by Sonny Curtis, Don Guess, and Jerry Allison, came during an Owen Bradley-produced session in Nashville seven months earlier. Released on the Decca label and credited to Buddy Holly and the Three Tunes, it failed to chart.
Thanks for uploading and sharing.. first time hearing this sounds great. Interesting guitar intro start. Buddy's voice sounding great, great sounding 3 piece.
Of all the places I heard this it was on our shuttle bus out of the Bahamas on the radio. I was legitimately confused when I couldn't seem to find it anywhere on RUclips and thought that this was the main released version. Guess I was wrong, now I love this version over the Brunswick version simply because I heard this one first and like the way it sounds.
I agree that the Nashville mob had no idea how to record rock n roll; I have heard it said a few times that Buddy didn't like this version as it was pitched to high foe him; not that he couldn't deal with it, showing what a master of his class he was.
When I first heard this original version I was surprised that it sounded pretty close to the re-recorded hit version. I was expecting to hear something radically different.
I think that saying that "Nashville did not know how to record rock n roll" is actually false and unfair: Johnny Burnette and the Rock n roll trio recorded at the very same location and the rest is history... However Buddy Holly was probably not ready for the über structured environment of Nashville studios, and they were not accustomed to a young fellow who KNEW EXACTLY what he wanted and what he did not want his music to sound like. As much as some people will spend pages criticizing Norman Petty, the man gave Buddy all the artistic "space" he needed, and therefore, it reflected on his production. Reminds me of the Beatles version of "How do you do it" (do a quick search) that was recorded by the group at the request of EMI/George Martin who, at first, did not entirely trust their own repertoire. It sounds "boring" and "stiff" when compared to Gerry and the Pacemakers' version: they needed artistic freedom and they finally got it , with the results we know (they went on to record "Please please me". I LOVE Buddy's songs from the Nashville sessions, but when compared to the similar repertoire he recorded as acetates at Clovis, you can already feel the difference: "Baby won't you come out tonight" is the very type of song that he played in Nashville, but the raw energy of that song, recorded at Norman Petty's studio quite illustrates what I mean.
An even more pertinent example is Be-Bop-A-Lula by Gene Vincent. It was recorded in the same studio, 79 days prior to That'll Be The Day. When Holly went into the studio for this session, Vincent's song had just moved into the Top 10 of the Billboard Hot 100 chart, so everybody was well aware that the studio had the tools and ability to create a hit. Difference was that Vincent was being produced by Ken Nelson for Capitol Records, while Holly was being produced by Paul Cohen for Decca records. Both were in charge of their respective C&W divisions but Capitol was more serious in finding a response to Elvis Presley and Nelson more willing to let Vincent and his Blue Caps display their chops. Cohen on the other hand was more interested in his C&W artists and less comfortable stepping outside traditional studio regimen. After all, Decca had Bill Haley and His Comets, successfully being produced by Milt Gabler up north in NYC. This is not to say that Cohen couldn't produce rock 'n rock and Bradley's session men couldn't rock out. Roy Hall's extant records prove that. However, like Holly, Hall had a relatively short tenure at Decca and produced no hits. When it came to backing his acts, Cohen was more comfortable with traditional C&W and spent much more time and money promoting them.
I LOVE this version, actually, I prefer almost all of his DECCA recordings. But then again, if he had went with DECCA, he wouldn't be the same, so I'm still glad he changed record company :P
I prefer the Brunswick version; even his voice sounds strange here... (not for the echo, is the voice...). It seems that he still had not found his vocal style.
This sounds a bit dead. It sounds like Bradley, et al. didn't "get it." Holly had his eye -- and ears -- on rock `n roll, while Bradley was thinking Nashville sound. Holly sounds like his heart isn't in it; perhaps Bradley directed on him on how to sing some of this. I'm guessing it was not a good mix of personalities between Bradley and Holly.
This is the early version of the song that Decca only released after Buddy Holly's death along with other recordings he made there. Buddy was screwed over by the producer. (proof: Holly recorded the telephone conversation with the slime-ball producer who hated rock & roll.) Since Decca wouldn't release the songs, Buddy was trying to get permission to re-record some of the songs on another label and if you listen to the the conversation, you can hear how this anus-juice douchebag stone-walled Buddy. This AJD producer and record company's behaviour was probably the most notorious and blatant example of the people who massively profited by the death of Buddy Holly (Holley).
![UCF Professor Richard Quinn accuses class of cheating [Original]](http://i.ytimg.com/vi/rbzJTTDO9f4/mqdefault.jpg)
love this version the best! that echo rockabilly sound!!! love it!
Same here, brother.
I LOVE BOTH VERSIONS!
He actually performed a more "quintessential" vocal take on the Brunswick version, almost like between the two, he had perfected the various inflections that he would surely employ for the 1957 sessions. The Brunswick version doesn't have the same "Prominent Slapback Echo" nor as much "Hillbilly" in the Vocal like this has. Another interesting thing about this earlier take is his Guitar playing.... He seemed to already know how he wanted the song to be arranged, but on this take, he plays a bit more and again, it seems as though he went through the same process that helped to transform the Vocal... There's absolutely no question as to his utter brilliance as a Songwriter, Producer and Musician. This was the 50s, no boutique amplifiers, no pedals, no custom strings, no stereo although he did record overdubs.... Just a Stratocaster and a Fender Amp.... Amazing!
Good, thoughtful synopsis. The hillbilly quotient is what does it for me. This version is mountain dew, the latter version is bottled pop.
@herbert9241 The Brunswick "hit" version is the better version OBVIOUSLY! The band sounds great, but way too high for him! Re-recording it was a good call!
i really like the guitar playing on this version recorded in 1956 and this in Buddy Holly playing lead guitar i always thought it was Sonny Curtis playing lead but in a recent interview with Sonny he said Buddy played all the lead guitar on this song while he played rhythm guitar............
NOPE! This is most likely Grady Martin. He's credited on the session.
Also covered by The Everly Brothers, and of course, Linda. I put a live performance by her and this in my EB playlist with theirs. Thanks for uploading this version.
25 February 1957, At Norman Petty's studio in Clovis, New Mexico, Buddy Holly and the Crickets recorded the hit version of "That'll Be The Day" and also "I'm Lookin' For Someone To Love." Larry Welborn played bass on the session, not Joe Mauldin. Niki Sullivan, June Clark, Gary and Ramona Tollet provided background vocals.
Holly's first recording of the song, on which he was backed by Sonny Curtis, Don Guess, and Jerry Allison, came during an Owen Bradley-produced session in Nashville seven months earlier. Released on the Decca label and credited to Buddy Holly and the Three Tunes, it failed to chart.
Thanks for uploading and sharing.. first time hearing this sounds great. Interesting guitar intro start. Buddy's voice sounding great, great sounding 3 piece.
*That'll Be The Day (Original Demo from 1956)* 🎸❤️💯
Of all the places I heard this it was on our shuttle bus out of the Bahamas on the radio. I was legitimately confused when I couldn't seem to find it anywhere on RUclips and thought that this was the main released version. Guess I was wrong, now I love this version over the Brunswick version simply because I heard this one first and like the way it sounds.
I agree that the Nashville mob had no idea how to record rock n roll; I have heard it said a few times that Buddy didn't like this version as it was pitched to high foe him; not that he couldn't deal with it, showing what a master of his class he was.
Man they had IT
XCOM Declassified The Bureau.
Not bad for a song that was not used.Thanks MaximRecoil!
When I first heard this original version I was surprised that it sounded pretty close to the re-recorded hit version. I was expecting to hear something radically different.
The beginning is different.Listen again. Just saying.
the best.....
The faster version is better, but I like the echo effect on this one.
I like the echo effects enough to like this version better.
THIS IS STILL GOOD
This version has a different feel to it
I think that saying that "Nashville did not know how to record rock n roll" is actually false and unfair: Johnny Burnette and the Rock n roll trio recorded at the very same location and the rest is history... However Buddy Holly was probably not ready for the über structured environment of Nashville studios, and they were not accustomed to a young fellow who KNEW EXACTLY what he wanted and what he did not want his music to sound like. As much as some people will spend pages criticizing Norman Petty, the man gave Buddy all the artistic "space" he needed, and therefore, it reflected on his production. Reminds me of the Beatles version of "How do you do it" (do a quick search) that was recorded by the group at the request of EMI/George Martin who, at first, did not entirely trust their own repertoire. It sounds "boring" and "stiff" when compared to Gerry and the Pacemakers' version: they needed artistic freedom and they finally got it , with the results we know (they went on to record "Please please me". I LOVE Buddy's songs from the Nashville sessions, but when compared to the similar repertoire he recorded as acetates at Clovis, you can already feel the difference: "Baby won't you come out tonight" is the very type of song that he played in Nashville, but the raw energy of that song, recorded at Norman Petty's studio quite illustrates what I mean.
The forced (unreleased) "cover" imposed to the Beatles, as a comparison
ruclips.net/video/D6RTrNLrrv4/видео.html
An even more pertinent example is Be-Bop-A-Lula by Gene Vincent. It was recorded in the same studio, 79 days prior to That'll Be The Day. When Holly went into the studio for this session, Vincent's song had just moved into the Top 10 of the Billboard Hot 100 chart, so everybody was well aware that the studio had the tools and ability to create a hit.
Difference was that Vincent was being produced by Ken Nelson for Capitol Records, while Holly was being produced by Paul Cohen for Decca records. Both were in charge of their respective C&W divisions but Capitol was more serious in finding a response to Elvis Presley and Nelson more willing to let Vincent and his Blue Caps display their chops. Cohen on the other hand was more interested in his C&W artists and less comfortable stepping outside traditional studio regimen. After all, Decca had Bill Haley and His Comets, successfully being produced by Milt Gabler up north in NYC.
This is not to say that Cohen couldn't produce rock 'n rock and Bradley's session men couldn't rock out. Roy Hall's extant records prove that. However, like Holly, Hall had a relatively short tenure at Decca and produced no hits. When it came to backing his acts, Cohen was more comfortable with traditional C&W and spent much more time and money promoting them.
I can clearly heard the bass lead while wearing my air phones
This is the version that is on the Decca album entitled "That'll Be The Day".
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I prefer this version I think
I actually like this version than the version that was a hit.
It has a rawness that the other version lacks.
@@FiendishPickle - Indeed, this is rockabilly.
@@FiendishPickleThe hit version lacks NOTHING! It's a masterpiece!
DECCA 9-30434 - 12th AUGUST 1957
I LOVE this version, actually, I prefer almost all of his DECCA recordings. But then again, if he had went with DECCA, he wouldn't be the same, so I'm still glad he changed record company :P
こっちが好き
I prefer the Brunswick version; even his voice sounds strange here... (not for the echo, is the voice...). It seems that he still had not found his vocal style.
No, they had him sing high.Check out the Autobiography. ;-)
Coral Version..?
say what you like, this ain't bad rockabilly at all....
This sounds a bit dead. It sounds like Bradley, et al. didn't "get it." Holly had his eye -- and ears -- on rock `n roll, while Bradley was thinking Nashville sound. Holly sounds like his heart isn't in it; perhaps Bradley directed on him on how to sing some of this. I'm guessing it was not a good mix of personalities between Bradley and Holly.
I like the other version better.
This is the early version of the song that Decca only released after Buddy Holly's death along with other recordings he made there. Buddy was screwed over by the producer. (proof: Holly recorded the telephone conversation with the slime-ball producer who hated rock & roll.) Since Decca wouldn't release the songs, Buddy was trying to get permission to re-record some of the songs on another label and if you listen to the the conversation, you can hear how this anus-juice douchebag stone-walled Buddy.
This AJD producer and record company's behaviour was probably the most notorious and blatant example of the people who massively profited by the death of Buddy Holly (Holley).
Gonna be honest, I don't like this version. His voice is too whiny and the instruments sound unenthusiastic.
Sounds nasally and whiny. No wonder Holly hated this version.