Apart from having a hit career of their own, the Fireballs were also involved in Norman Petty's attempts to add backings to the rough demo tapes Holly had left behind after his death. Initially, backings had been put to these by Decca - backings which it is generally agreed, were pretty disastrous. Norman set to work, and for my money, the results cannot be faulted, though many Holly purists have been loud in their criticisms, I asked Norman for his views on this . .

"As years go by, I have been criticised for doing what I did, but I would not have done any differently than I did at the time. I still feel that what we did added rather than subtracted from the overall sound of Buddy, and after all Buddy too always wanted the best and most exciting sound possible to be in the finished product. This was my priority when Buddy was alive, and equally so after he died. It was very time-consuming but I never minded that . . . as far as I was concerned, it was a labour of love".

Norman Petty shrugs off criticisms directed against himself, but will brook no criticism of Buddy Holly or indeed of any singer or individual associated with his studios. My attempts to get him to compare the various singers with whom he has worked, were politely but firmly brushed aside . . .

"Each artist has his own individuality, and thus his unique contribution to music. It would be unfair to rate one against the other in view of this".

As the seventies approached, the studio in Clovis moved with the times with plans for becoming one of the first studios in the world to go 46-track. I asked Norman if he ever wished for the simplicity of the fifties.

"Sometimes. The simplicity and indeed the feeling of being unique, were of course very enjoyable, as were the people we were associated with then. Again, when you did something different in those days, it was more noticeable and more outstanding, Of course, living was far less complicated then too! However, multi-tracking has certainly added many new and exciting possibilities, as well as problems! I wouldn't want to change the times, but it is nice to think back over the great times all of us who were part of musical history had".



Norman Petty has been involved with so many hit recordings, and has been the man behind so many recording innovations, that it is often easy to forget that he ranks as one of the most successful songwriters of the last twenty years. I asked him for advice for our readers - advice which he is probably more qualified to give than most songwriters since he has seen the business from all sides - as a writer, a producer, a recording artist, and a music publisher. His advice is well worth noting . . .

"First, he honest with yourself in self-criticism of your ideas. You must believe that what you are doing is different and good, and that it will evoke memories or active thinking in the mind of your listener . . . will bring to life the fact that music is a great denominator in every person's life.

Next, the best possible presentation is important, including both your best ideas and a good sound. Probably most people listen for good and different ideas than for good sound, but having both helps. Don't forget connections . . , they are very important to the writer . . . knowing as many artists as possible, being able to communicate with responsible people in music publishing, in recording, in artist representation . . . and you also need patience, but coupled with confidence in yourself.

When you have selected a publisher you feel will do the best job for you - give the publisher a chance to work for you. If he is the right publisher and if he believes in you and your song, you will have little need to prod ctivity on your behalf. After all, the publisher agrees to accept your work because he feels that it will be successful and make money for a long time to come; accordingly the sooner it starts to make money, the happier he will be.

But above all - keep writing and practising your craft.

Copyright Jim Liddane: All Rights Reserved: Printed By Permission.

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