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Various - Everyday Is A Holly Day 2LP (10``LP)
€25,00Quick View”Hieno Holly tribuutti. Every Day Is a Holly Day features 22 tracks compiled by French record executive Patrick Mathe to commemorate the 30th anniversary of the passing of Buddy Holly. It is a tremendous success with just about every act delivering the goods. Red River’s ”Rave On” moves like a sensitive Ramones — if there ever was such a thing — following ”Words of Love” from Shoes, a cascading Flamin’ Groovies-ish ’60s pop offering. Elliott Murphy with Modern Lover Ernie Brooks does a nice ”Everyday” while Willie ”Loco” Alexander wonderfully distorts ”Baby Won’t You Come Out Tonight.” It’s great to hear Frank Rowe and the Classic Ruins give a Bobby Fuller Four rendition of ”Love’s Made a Fool of You” to the world along with Box Top Alex Chilton producing Lolitas’ ”Not Fade Away.” Tav Falco’s Panther Burns, Chris Bailey from the Saints, session guitarist extraordinaire Chris Spedding on a great ”It’s So Easy,” the Slickee Boys, and others may be reverent in their approach, but they also inject a lot of fun into the tribute. So many flavors in this mix add a new dimension to Holly’s music, making the sounds easily accessible for those who have had little or no exposure to Buddy’s genius. Effective and very worthwhile. :~ Joe Viglione
Great tribute album; melds rock ’n’ roll, rockabilly and punk — and makes it work.
There have been three great periods in rock music, in my opinion: 1955-1959, 1964-1969, and the 1980s. In the first, rock ’n’ roll exploded onto the scene and upset the pop music applecart. In the second, inaugurated by the British Invasion, rock both reflected and helped drive the era’s cultural changes. In the third, rock artists melded the creativity and experimentation that marked the Sixties with the (dare I say it?) fun that characterized the Fifties, musically speaking.
I would go so far as to say that rock from the 1980s has more in common with rock ’n’ roll from the 1950s than with anything else before or since. The 1980s mostly added studio sophistication and MTV to a music that seemed fresh and edgy again following the uninspired and uninspiring decade of disco and ”classic” rock.
Fittingly, the best tribute album to 1950s rock ’n’ roll great Buddy Holly was made in the 1980s. Everyday Is A Holly Day was released in 1989 to coincide with the 30th anniversary of Holly’s death. The artists who contributed to it capture the essence of Holly’s musical appeal while adding to it the wonderful punk sensibility of the Eighties.
Buddy Holly (born Charles Hardin Holley) was one of the top four or five rock ’n’ rollers of the Fifties. In this pantheon I include Little Richard, Chuck Berry, Elvis Presley, Jerry Lee Lewis (arguably), and Holly. Holly came from Lubbock, Texas, where from an early age he sang and played first country music, then ”western bop,” a style that he and a friend developed. He began making records in 1956, and with his group, the Crickets — and later, as a solo artist — scored a string of hits starting in mid-1957. On Feb. 3, 1959, while on tour, he died at age 22 in a plane crash near Mason City, Iowa. This was ”the day the music died,” to quote the Don McLean song, ”American Pie.”
Holly’s singing and playing style was distinctive. () your head one way and it sounds like straight-out rock ’n’ roll; ()* it the other way and it is unadulturated rockabilly, sounding more like the Everly Brothers or Rick Nelson than Little Richard or Chuck Berry. Holly’s voice, and in particular his phrasing, is the bridge. By and large not a shouter, he hiccuped his way through his most famous songs, and this trademark vocal oddity provides the nervous edge that lifts his work out of the realm of ”mere” rockabilly.
Then there were the songs themselves. In his too-short career, Holly studio-recorded some 50 tunes, many written by himself, and almost all of them built around a simple but powerful hook: ”Maybe Baby,” ”That’ll Be the Day” (inspired by a phrase repeate”
