He was born in Lubbock, Texas, to a musical family during the Great Depression, and learned to play guitar and sing alongside his siblings. His style was influenced by gospel music, country music, and rhythm and blues acts, and he performed in Lubbock with his friends from high school. He made his first appearance on local television in 1952, and the following year he formed the group "Buddy and Bob" with his friend Bob Montgomery. In 1955, after opening for Elvis Presley, he decided to pursue a career in music. He opened for Presley three times that year; his band's style shifted from country and western to entirely rock and roll. In October that year, when he opened for Bill Haley & His Comets, he was spotted by Nashville scout Eddie Crandall, who helped him get a contract with Decca Records.
Holly's recording sessions at Decca were produced by Owen Bradley. Unhappy with Bradley's control in the studio and with the sound he achieved there, he went to producer Norman Petty in Clovis, New Mexico, and recorded a demo of "That'll Be the Day", among other songs. Petty became the band's manager and sent the demo to Brunswick Records, which released it as a single credited to "The Crickets", which became the name of Holly's band. In September 1957, as the band toured, "That'll Be the Day" topped the US "Best Sellers in Stores" chart and the UK Singles Chart. Its success was followed in October by another major hit, "Peggy Sue".
The album Chirping Crickets, released in November 1957, reached number five on the UK Albums Chart. Holly made his second appearance on The Ed Sullivan Show in January 1958 and soon after, toured Australia and then the UK. In early 1959, he assembled a new band, consisting of future country music star Waylon Jennings (bass), famed session musician Tommy Allsup (guitar), and Carl Bunch (drums), and embarked on a tour of the midwestern U.S. After a show in Clear Lake, Iowa, he chartered an airplane to travel to his next show, in Moorhead, Minnesota. Soon after takeoff, the plane crashed, killing him, Ritchie Valens, The Big Bopper, and pilot Roger Peterson in a tragedy later referred to by Don McLean as "The Day the Music Died".
During his short career, Holly wrote, recorded, and produced his own material. He is often regarded as the artist who defined the traditional rock-and-roll lineup of two guitars, bass, and drums. He was a major influence on later popular music artists, including Bob Dylan, The Beatles, The Rolling Stones, Eric Clapton, Weezer, and Elton John. He was among the first artists inducted into the Rock and Roll Hall of Fame, in 1986. Rolling Stone magazine ranked him number 13 in its list of "100 Greatest Artists".
Honey Honey
Buddy Holly Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
In a Georgia cotton field
Honey hush
Come in this house, stop all that yackety yack
Come in this house, stop all that yackety yack
Come fix my supper, don't want no talkin' back
Well, you keep on jabberin', you talk about this and that
I got news for you baby, you ain't nothin' but an alley cat
Turn off the waterworks, baby, they don't move me no more
Turn off the waterworks, baby, they don't move me no more
When I leave this time, I ain't comin' back no more
Honey hush
Come in this house, stop all that yackety yack
Come in here woman, stop all that yackety yack
Don't make me noivous [nervous], 'cause I'm holdin' a baseball bat
Singin' hi-yo, hi-yo silver
Hi-yo, hi-yo silver
Hi-yo, hi-yo silver
Hi-yo, hi-yo silver
Hi-yo, hi-yo silver
Hi-yo silver away!
In Buddy Holly's song "Honey Honey," the lyrics convey a sense of frustration and annoyance towards a talkative and argumentative partner. The phrase "Ah, let 'em roll like a big wheel in a Georgia cotton field, Honey hush" expresses the desire for the partner to calm down and stop causing unnecessary conflict. It suggests that the singer wants peace and harmony, comparing it to the gentle rolling motion of a wheel in a cotton field. The use of "Honey hush" emphasizes the plea for silence and tranquility.
The subsequent lines "Come in this house, stop all that yackety yack. Come fix my supper, don't want no talkin' back" further emphasize the singer's desire for the partner to be more submissive and obedient. It represents a traditional gender role, with the singer expecting the partner to serve and please them without questioning or arguing.
The following stanza reflects the singer's frustration with the continuous chattering and the lack of substance in the partner's conversation. The line "Well, you keep on jabberin', you talk about this and that. I got news for you, baby, you ain't nothin' but an alley cat" suggests a diminishing opinion of the partner's character. The term "jabberin'" implies empty or meaningless talk, and comparing the partner to an alley cat implies a lack of sophistication and respect.
The lyrics take a more assertive and slightly threatening tone with the lines "Turn off the waterworks, baby, they don't move me no more. When I leave this time, I ain't comin' back no more" indicating that the singer has reached a breaking point and is ready to leave the relationship. The singer declares a newfound immunity to emotional manipulation and vows to walk away for good. This shift in tone demonstrates the singer's growing resolve to assert their own needs and stand up against the partner's behavior.
The repetition of the phrase "Honey hush" and the inclusion of the lines "Don't make me nervous, 'cause I'm holding a baseball bat" further emphasize the singer's demand for silence and obedience. It brings an element of threat, suggesting that the singer is willing to use force to achieve the desired tranquility. The inclusion of the chorus "Singin' hi-yo, hi-yo silver" is unrelated to the rest of the lyrics, serving as a musical interlude rather than contributing to the song's meaning.
Overall, "Honey Honey" portrays a character who grows increasingly frustrated with a talkative and argumentative partner and desires peace and quiet. It speaks to the importance of communication and understanding in relationships and explores themes of power dynamics and the breaking point in emotional tolerance.
Line by Line Meaning
Ah let 'em roll like a big wheel
Allow things to progress and unfold smoothly, just like a large wheel turning
In a Georgia cotton field
In a setting reminiscent of a Southern cotton field in Georgia
Honey hush
Requesting for silence and calmness
Come in this house, stop all that yackety yack
Enter the house and cease unnecessary and idle chatter
Come fix my supper, don't want no talkin' back
Prepare my meal without any arguments or talking back
Well, you keep on jabberin', you talk about this and that
Despite your continuous babbling about various topics
I got news for you baby, you ain't nothin' but an alley cat
Let me enlighten you, dear, you are nothing more than a troublesome and mischievous person
Turn off the waterworks, baby, they don't move me no more
Stop crying and attempting to manipulate me emotionally, your tears no longer have an effect on me
When I leave this time, I ain't comin' back no more
Once I depart this time, I will not return again
Come in here woman, stop all that yackety yack
Enter this place, my dear, and cease unnecessary and idle chatter
Don't make me nervous, 'cause I'm holdin' a baseball bat
Avoid making me anxious or apprehensive, as I am currently in possession of a baseball bat
Singin' hi-yo, hi-yo silver
Expressing jubilation or excitement with the exclamation 'hi-yo, hi-yo silver'
Hi-yo, hi-yo silver
Continuing the expression of joy or enthusiasm with 'hi-yo, hi-yo silver'
Hi-yo, hi-yo silver
Reiterating the exclamation of happiness or enthusiasm with 'hi-yo, hi-yo silver'
Hi-yo, hi-yo silver
Continuing the joyful exclamation with 'hi-yo, hi-yo silver'
Hi-yo, hi-yo silver
Reiterating the expression of delight or enthusiasm with 'hi-yo, hi-yo silver'
Hi-yo silver away!
Expressing a departure or journey with enthusiasm, using the phrase 'hi-yo silver away!'
Lyrics © O/B/O APRA AMCOS
Written by: J. MAYO WILLIAMS
Lyrics Licensed & Provided by LyricFind
David Acaster
Great playing Pete. I met Gary Tollett in 2006 at the CMF. Loved his version of The Golden Rocket. Thanks for the lesson. Buddy was quite a Session Man!
The Crickets Sound Project
Many thanks David. Gary was a lovely man, he and John Pickering agreed to sing BV's on my album I planned, back in 2009 or so. It never came to fruition then they both passed away. Sad loss. Gary's song should have been a hit in my opinion, superb song/rocker and Buddy's performance on it was the best. Golden Rocket great too. Im envious you got to meet him ! I've met Tommy Allsup.
David Acaster
@The Crickets Sound Project Thanks Pete and I too met Tommy having stayed in the same hotels during the CMF. Saw him and Johnny Rogers play The Cavern one time. Tommy was a real Gent and a prodigious guitar player!
shoknifeman2 mikado
I prefer Gary's "Go boy Go" although, Buddy really does a great job on this song
The Crickets Sound Project
Yep, love that one too. Both great songs. Gary was a lovely man, his wife Ramona is too.. Gary had provisionally agreed to sing backing vocals (as did John Pickering, The Picks) on my planned album back in 2009/10, sadly it never came to fruition, but Gary and John both were up for it. Lovely guys. Gary should have had a great music career, he was a superb writer/singer.
Ruder CR
Are you playing on video? if yes, then you are good at shooting further, I believe in
The Crickets Sound Project
Yes, Im playing in the videos. Im a guitarist of 37 years. Shooting further ?
Ruder CR
You play great, keep going
The Crickets Sound Project
@Ruder CR Ahh lol many thanks, very kind of you :-)