Post by RINGO on Sept 25, 2019 5:37:29 GMT
Charles Hardin Holley (7 September 1936 - 3 February 1959)
Associated Acts: The Crickets (1956 - 1958)
Vocal Range: E♭2 - F♯5
{Vocal Summary}Buddy Holly came into the popular music scene a struggling country singer, and he exited as one of rock & roll's most prominent figures and a pivotal cog in the genre's appreciation among mass audiences. Holly's slight Southern drawl was the peppy antidote to Elvis's sensuality, and for as conservative of a singer as he was, his country twang and various hiccup-y vocal affectations inspired the likes of young musicians such as John Lennon. This isn't to say that Holly was a technical marvel by any stretch, but he could pull off the occasional up-tempo rock number with appropriate strength and gusto when called upon. His smooth tone on his ballads defines his appeal, though, and it is fair to wonder what sort of success Holly might have had as a Cliff Richard-like pop singer had his career not ended so prematurely. Either way, the body of work he's left us with is still more than respectable.
Written by RINGO.
Written by RINGO.
{Album Ranges}The Crickets:
The "Chirping" Crickets (1957): B2 - F♯4
Solo:
Buddy Holly (1958): A2 - G4
That'll Be the Day (1958): A2 - F4 - B4
The "Chirping" Crickets (1957): B2 - F♯4
Solo:
Buddy Holly (1958): A2 - G4
That'll Be the Day (1958): A2 - F4 - B4
Significant High Notes:
F♯5 ("Ain't Got No Home")
E♭5 ("Ain't Got No Home")
B4 ("That'll Be the Day" 1956 version)
A4 ("Early in the Morning", "Girl on My Mind")
G♯4 ("Slippin' and Slidin'" fast version, "That Makes It Tough")
G4 ("Early in the Morning", "Ready Teddy")
F♯4 ("Ain't Got No Home", "Blue Suede Shoes", "It's Too Late", "Listen to Me", "Lonesome Tears", "Love's Made a Fool of You", "Oh, Boy!", "Rip It Up", "Shake, Rattle and Roll", "That'll Be the Day" 1957 version, "Ting-A-Ling")
F4 ("Because I Love You", "Don't Come Back Knockin'", "Early in the Morning", "Good Rockin' Tonight", "I Guess I Was Just a Fool" undubbed version, "I'm Gonna Set My Foot Down", "Moonlight Baby", "Rock-A-Bye Rock", "That'll Be the Day" 1956 version)
E4 ("Baby Let's Play House", "Baby Won't You Come Out Tonight", "Blue Monday", "Door to My Heart", "Fool's Paradise", "Girl on My Mind", "Gotta Get You Near Me Blues", "Heartbeat", "I Guess I Was Just a Fool", "I'm Gonna Love You Too", "It's Not My Fault", "It's Too Late", "Last Night", "Listen to Me", "Little Baby", "Love Me", "Love's Made a Fool of You", "Modern Don Juan", "Mona", "Not Fade Away", "Now We're One", "Oh, Boy!", "Rave On!", "Ready Teddy", "Reminiscing", "Rock Around with Ollie Vee", "Rock Me My Baby", "Send Me Some Lovin'", "Take Your Time", "Think It Over", "Ting-A-Ling", "You've Got Love")
E♭4 ("Down the Line", "Shake, Rattle and Roll", "Slippin' and Slidin'" fast version, "Soft Place in My Heart", "True Love Ways", "You're So Square (Baby I Don't Care)")
D4 ("Because I Love You", "Blue Days, Black Nights", "Blue Monday", "Bo Diddley", "Everyday", "Gone", "Heartbeat", "Look at Me", "Peggy Sue", "Smokey Joe's Cafe", "Tell Me How", "That'll Be the Day" 1956 version, "That's My Desire", "Words of Love", "You've Got Love")
Significant Low Notes:
E3 ("Baby Let's Play House", "Baby Won't You Come Out Tonight", "Blue Days, Black Nights", "Come Back Baby", "I Guess I Was Just a Fool", "I'm Changin' All Those Changes", "I'm Looking for Someone to Love", "It's Not My Fault", "It's So Easy", "It's Too Late", "Lonesome Tears", "Love Is Strange", "Love Me", "Mailman, Bring Me No More Blues", "Modern Don Juan", "Mona", "Not Fade Away", "Peggy Sue", "Reminiscing", "Rock Around with Ollie Vee", "Rock Me My Baby", "Send Me Some Lovin'", "Soft Place in My Heart", "That'll Be the Day" 1957 version, "Think It Over", "Ting-A-Ling", "You've Got Love")
E♭3 ("Crying, Waiting, Hoping", "Everyday", "I'll Just Pretend", "Learning the Game", "Memories", "Peggy Sue Got Married", "Shake, Rattle and Roll", "That Makes It Tough", "That's What They Say", "Wait Till the Sun Shines, Nellie")
D3 ("Because I Love You", "Blue Monday", "Bo Diddley", "Brown Eyed Handsome Man", "Come Back Baby", "Don't Come Back Knockin'", "An Empty Cup (And a Broken Date)", "Gone", "Have You Ever Been Lonely (Have You Ever Been Blue)", "It Doesn't Matter Anymore", "Raining in My Heart", "Take Your Time", "Tell Me How", "You Are My One Desire")
C♯3 ("Good Rockin' Tonight", "I Guess I Was Just a Fool", "I'm Gonna Love You Too', "Listen to Me", "Love Me", "Peggy Sue Got Married", "Smokey Joe's Cafe", "Well...All Right", "You and I Are Through", "You're the One")
C3 ("Dearest", "Early in the Morning", "Fool's Paradise", "Footprints in the Snow", "Moondreams", "Moonlight Baby", "Now We're One", "That's My Desire", "Valley of Tears", "What to Do")
B2 ("Baby Won't You Come Out Tonight", "Gone", "It's Not My Fault", "It's Too Late", "Last Night", "Listen to Me", "Lonesome Tears", "Mona", "Reminiscing", "Slippin' and Slidin'" slow version, "You're So Square (Baby I Don't Care)")
B♭2 ("Baby It's Love", "Memories", "Queen of the Ballroom", "True Love Ways", "Valley of Tears")
A2 ("Gone", "Listen to Me", "Peggy Sue", "Smokey Joe's Cafe", "Words of Love", "You Are My One Desire")
G♯2 ("Memories")
G2 ("Dearest")
E♭2 ("Ain't Got No Home")
{Questionable Notes}A5 ("Oh, Boy!" [1])
G5 ("Ready Teddy" [3], "Ting-A-Ling" [1])
F♯5 ("Rip It Up" [1])
D5 ("That'll Be the Day" 1956 version [1])
B♭4 ("Blue Suede Shoes" [1])
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[1] marks yelps and short trills in high range or anacrusis and short dips in low range.
[2] marks notes of questionable identity that cannot be confirmed to be the singer in question.
[3] marks non-melodic notes that don't have a significant enough pitch to warrant inclusion.
[4] marks notes that possess uncertain pitch or have been pitch-shifted.
[5] marks notes that do not fit the previous criteria but are not of a substantial enough quality to warrant counting towards the singer's range.
G5 ("Ready Teddy" [3], "Ting-A-Ling" [1])
F♯5 ("Rip It Up" [1])
D5 ("That'll Be the Day" 1956 version [1])
B♭4 ("Blue Suede Shoes" [1])
.......................................................
[1] marks yelps and short trills in high range or anacrusis and short dips in low range.
[2] marks notes of questionable identity that cannot be confirmed to be the singer in question.
[3] marks non-melodic notes that don't have a significant enough pitch to warrant inclusion.
[4] marks notes that possess uncertain pitch or have been pitch-shifted.
[5] marks notes that do not fit the previous criteria but are not of a substantial enough quality to warrant counting towards the singer's range.
.......................................................
Blue marks falsetto or whistle notes.
Underlines mark notes that are obscured in the song mix.
Italics mark non-melodic notes.
Boldface marks notes that are considered to be particularly notable examples of this person's vocal capabilities.