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BABY I DONT CARE One of several recordings by Buddy and the .pdf


									'BABY I DON'T CARE'
Recorded December 1957 at Norman Petty Recording Studios, Clovis, New Mexico
Personnel: Buddy Holly (guitar, vocals), Jerry Allison (cardboard box percussion), Joe B.
Mauldin (double bass), C.W. Kendall Jr (piano)
         One of several recordings by Buddy and the boys which weren't
self-composed, but were contemporary material that they liked. Most
readers will remember Elvis singing this number at a poolside party in one
of his best films, Jailhouse Rock, and the track was included on the million-
selling EP of the same name.
         It was one of two numbers from the prodigious Leiber & Stoller
songbook that Buddy recorded, the other being 'Smokey Joe's Café', one of
the Apartment Tape tracks. This songwriting team penned many of Elvis'
best songs: 'Baby I Don't Care' was a particular favourite of their pal, Eddie
Cochran, so it was natural enough for Buddy to include it when they were
rooting around for stuff to complete the Buddy Holly album.
         Initially mistitled 'You're So Square (Baby I Don't Care)', Buddy's
version is superb, and all the more impressive when one remembers that
Jerry Allison's drumming was performed on a stout cardboard box.
(Interestingly, unlike Elvis, Holly makes no mention of 'hot rod races' in
his reading of the song. One can only speculate why it was omitted.) It
became a surprise double-sided UK hit in 1961 when, coupled with 'Valley
of Tears', it reached No.12.
         In 1984, the Picks overdubbed backing vocals onto this recording
        Another obscure name from the annals of West Texas music. In
1958, Call dubbed vocals onto 'Little Cowboy' and 'If I Had Known' using a
backing track laid down by Buddy Holly (acoustic guitar), Jerry Allison
(drums), Vi Petty (piano) and George Atwood (bass). Neither of these has
been issued, although Lloyd lip-synched to 'Little Cowboy' at the 1987
Norman & Vi Petty Music Festival (see CLOVIS). In June 1958 Homer
Tankersley added his vocals to 'If I Had Known' and this was duly issued on
Petty's Nor-Va-Jak label. Never a full-time musician, Call spent much of
his working life as a school administrator in Portales, New Mexico.

        Born in Arkansas in 1936, Glen Campbell is one of those artists
whose achievements are never-ending. He was a member of the Champs
('Tequila'), the emergent Beach Boys, and even backed Gene Vincent on a
Challenge album in the mid-'60s. (David Gates, Dash Crofts and Jimmy
Seals were also in the band at that last Vincent session – quite a stellar line-
up.) And, if a surfing record was being cut (eg the Hondells), chances are
he was involved there too.
        Even so, it's still a surprise to discover that, for a short while, he
was also a Cricket, albeit only in the recording studio. Most famously, he
played on their 1962 British Top 10 hit, 'Don't Ever Change'. He also did
frequent session work with Jerry Naylor.
        Glen has gone on to enjoy an incredible career peppered with gold
records and other prestigious industry awards, but the abiding image these
days is of a kilted Campbell playing the bagpipes as the finale to his stage

        A legendary bass-slapping rockabilly star from the '50s, Ray Campi
was born in New York City in 1934, but moved to the Deep South as a
child. Although not a name you'll find in the standard book of hit singles,
he's nevertheless spent a lifetime in and around the music business while
moonlighting in well over thirty outside jobs. An occasional visitor to
Britain from the rockabilly revival days of the '70s onwards, he has also
recorded for a variety of minor record labels including Ronny Weiser's
Rollin' Rock imprint and is deservedly in the Rockabilly Hall of Fame.
        Campi was one of the first artists to pitch in with a tribute disc in
the wake of the '59 plane crash. Within days of 3 February, he recorded the
self-penned 'The Man I Met (A Tribute To The Big Bopper)', while the flip,
'Ballad of Donna and Peggy Sue', was dedicated to the other two stars. The
single came out on Pappy Daily's D label, which also released 'Gold
Records In The Snow' by Bennie Barnes. Unlike Tommy Dee's maudlin
'Three Stars' (see DEATH DISCS), neither of these releases made the national
charts. Ironically, Campi had corresponded with Holly and spoken to him
on the phone, but they never got the chance to meet. He later recorded at
Clovis, although nothing from these sessions was issued.

         A figure on the edge of the Buddy Holly story, Tinker Carlen is the
epitome of a good ole Texas boy. He was a contemporary of Holly's at
school and ran around Lubbock with him and others during the early '50s.
He's also known to have briefly jammed with him (Bill Griggs has
published a picture of Buddy and Tinker together), but was never in any of
Holly's groups.
         In 1983, Carlen got together with Larry Holley and put out a single
on the latter's Cloud 9 label: the evocatively titled 'Looking For The
Hi-D-Ho' b/w a duet with Sherry Holly of 'Raining In My Heart'.
         Still living in Lubbock, Tinker recently published a memoir of his
life in 1950s Lubbock with the rather fanciful title of Tinker Carlen: An
Original Cricket. He's mentioned here with much affection, but the
consensus must surely be that he wasn't ever officially a Cricket, although
no-one would wish to deny him his time in the sun.

       A small town in New Mexico, about 150 miles from Clovis,
Carlsbad is mostly famous for its huge bat caves. It was also the place
where, on 2 March 1957, the Crickets made their very first stage appearance
under their new name. For several years rumours persisted that Bobby
Peeples had taped the show, but like so many others it came to nothing.
         See also RUMOURS.
         The United Kingdom incorporates the historic kingdoms of
Scotland and England, the principality of Wales and the province of
Northern Ireland – meaning, rather pedantically, that the Crickets didn't get
to visit many parts of the UK at all! Looking at the itinerary, every stop
during March 1958 was at an English venue, the exception being the
penultimate gig at the Capitol Cinema in Cardiff, Wales. However the
group did appear on a couple of nationally networked TV shows during
their stay, so most of the population got the chance to see them, if only as
flickering images on their screens.
         Shows were scheduled from 1 to 25 March inclusive with no rest
days, and it must have been a punishing experience for the Texans! But the
trio still managed to fit in several interviews, meeting up with musical
journalists such as Keith Goodwin from the NME, visit the Austin car plant
in Longbridge, stroll around the university grounds in Cambridge, and
otherwise fill every waking hour taking in the new sights and sounds. It
was certainly a far cry from West Texas and, at that point, only their second
overseas visit (they had just returned from Australia the month before).
         The complete troupe that toiled around Britain included many more
acts in addition to the headliners. Des O'Connor, then on his way to the top
of the show business tree, was the comic and compère: the man who really
held the show together and befriended the group. The remainder comprised
the Tanner Sisters, a well-known vocal duo, but not a chart act, and Gary
Miller, who'd had a string of British hits, the latest of which, 'The Story of
My Life', was still in the charts when the tour kicked off. Underpinning the
bill were Ronnie Keene & His Orchestra, who got to do their own spot
during the first half. And we mustn't forget Norman and Vi Petty, who
accompanied the Crickets and took care of the logistics, so that the boys
could concentrate on the performing.
         On stage, the Crickets included many songs they hadn't recorded,
such as 'Tutti Frutti' and Be-Bop-A-Lula', and also threw in the occasional
         The above is the sketchiest of outlines. However, Jim Carr of Holly
International has published the definitive account of the whole tour (see
Selected Bibliography).

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