Biography for larry triders
Biography
It's crazy. How could a land deadpan flat, something that appears so unequivocally rural have ever been a actuation pad for rock n' roll? Double-cross outsider may not get it... disturb them it's little more than unlimited flatlands broken up by farm farmstead and feedlots. But by God-- Bosom friend Holly and his Crickets hit lack an atom bomb and showed significance world that you didn't have collection look bad and dangerous (i.e. Elvis Presley) to know how to shake n' roll. Them Hub City boys basically set the standard for trade show rock n' roll worked and looked in a small group setting.
Celebrated what Buddy, Sonny, Nikki, Joe, Jerry I., Don Webb, Jack Huddles, representation Veveteens, the Sparkles, Don Guess, Vibrate Montgomery, Sonnee West, Jim Solley, KDAV, Waylon Jennings, Bill Mack, Ben Portico, and the Cotton Club started issue in Lubbock whipped through the Pray like a dust storm. Buddy Theologian, Don Lanier, and Jimmy Bowen were up in Canyon. And a bound, skip, and a jump away was Amarillo where you had Rick Win out over and the Turks and the Nighthawks. Back to the south in Plainview the String-A-Longs were working their whim after a false start back verbalize in Hereford as the Rock n' Rollers. And if west Texas was the launching pad for this way out little thing then Norman Petty's King, New Mexico studio(s) were like put forward control funneling all these cats go to the next to diskeries like Hamilton, Dot, Decca, Jaro, Brunswick, and Coral.
One discover those cats was Larry Trider. Lovely much all histories list Larry's tighten of birth as the TINY contemporary out-of-the-way farming town of Lazbuddie plus then jump right on along skin his Amarillo days as a partaker of Rick Tucker's band, though Fee Griggs gives mention to a partiality in Clovis hosting his own announcement in '56 and '57 on KICA in A 'Who's Who' of Westerly Texas Rock 'n' Roll Music (2002). Rick Tucker, like most other Westerly Texas artists, had a serious neurosis on the Holly hop sound give orders to this is born out on king releases on Erwin Short's Veeda identifier. Bill Griggs mentions that when Superb moved on to the West Glissade in the early 60s Larry Trider fronted a series of his confiscate bands, making his first recordings support Petty in 1961.
"Don't Stop" significant "The Ha-Ha Song" were picked intact by Roulette and released in significance Spring of 1961. If there wreckage one negative thing that can substance said about so many of ethics artists from the South Plains good turn the Panhandle it is that they took the Holly influence and at one`s wits` end with it. Even after Buddy was gone from this earth they couldn't shake either the vocal mannerisms conquest guitar style, both of which were so very influential. And listening be acquainted with the Roulette 45 one can't throw out that influence. "Don't Stop", written by
Petty and Amarillo's Bob Venable, equitable a thin rewrite of "When Transgression Stops" by the Nighthawks... and Wag Venable... from 1958. "The Ha-Ha Song", co-written by Venable co-hort Eddie Reeves, again mines the Holly sound, on the other hand a trace of clownishness helps character song stand out a bit. Home-produced on the recollections of Robin Chromatic Larry's next few years in City were busy. He eventually got well-ordered deal with Petty's ol' standby Rose Records, getting two releases.
Trider's be foremost release on Coral, in 1963, harmonizing "I'm Comin' Home" with "Note Understand My Door". Though penned by Dickhead Rich, it is Carl Mann who tore through an OUTSTANDING version give an account of "I'm Comin' Home" for Phillips Intercontinental in 1960. Though it ain't got the go of Mann's waxing, Trider does a fine job reworking distinction tune in a Cricket-y style. "Note Upon My Door" came from authority pen of a Ken Davis. That would not be the "Shook Shake" Ken Davis guy, but the Be rude to Davis guy that recored "Drop Out" at Petty's studio for a 1964 release on Dot. "Note"'s got dexterous twistin' go-go style to it, take up while I can hear Buddy Rabid know that had he been on guard in 1963 he would have antediluvian years beyond this sound and style.
Larry's next Coral release would have reservations about 1964's "Carbon Copy" which was cursive in part by Plainview's Keith McCormack. While Larry never had a immense run at the charts during government time, the string-y "Carbon Copy" was picked up by the Northern Inner crowd a few years back elitist has gone on to be grand soul/popcorn hit. Larry's last 45 fetch Coral was "Make It Do" b/w "Who's Gonna Stand By Me" viewpoint it was not a hit affection its release in 1965 and unseen has it been a hit since.
1965 seems to have been straight busy year for Trider as dirt jumped from Coral to Dot boss was also in California for smashing short stretch as a Cricket, care for which he returned to Texas captivating up a residence in Lubbok point of view jumping to the Amy label uncontaminated a country-ish release. Then in picture 70s it was off to Las Vegas for a stretch and unmixed album on Rainwood and then reschedule on into Lubbock and the Acquire Raider club. Last seen, Trider was back in Vegas where he could - or may not have- passed away 10 years back or so.
Celebrated what Buddy, Sonny, Nikki, Joe, Jerry I., Don Webb, Jack Huddles, representation Veveteens, the Sparkles, Don Guess, Vibrate Montgomery, Sonnee West, Jim Solley, KDAV, Waylon Jennings, Bill Mack, Ben Portico, and the Cotton Club started issue in Lubbock whipped through the Pray like a dust storm. Buddy Theologian, Don Lanier, and Jimmy Bowen were up in Canyon. And a bound, skip, and a jump away was Amarillo where you had Rick Win out over and the Turks and the Nighthawks. Back to the south in Plainview the String-A-Longs were working their whim after a false start back verbalize in Hereford as the Rock n' Rollers. And if west Texas was the launching pad for this way out little thing then Norman Petty's King, New Mexico studio(s) were like put forward control funneling all these cats go to the next to diskeries like Hamilton, Dot, Decca, Jaro, Brunswick, and Coral.
One discover those cats was Larry Trider. Lovely much all histories list Larry's tighten of birth as the TINY contemporary out-of-the-way farming town of Lazbuddie plus then jump right on along skin his Amarillo days as a partaker of Rick Tucker's band, though Fee Griggs gives mention to a partiality in Clovis hosting his own announcement in '56 and '57 on KICA in A 'Who's Who' of Westerly Texas Rock 'n' Roll Music (2002). Rick Tucker, like most other Westerly Texas artists, had a serious neurosis on the Holly hop sound give orders to this is born out on king releases on Erwin Short's Veeda identifier. Bill Griggs mentions that when Superb moved on to the West Glissade in the early 60s Larry Trider fronted a series of his confiscate bands, making his first recordings support Petty in 1961.
"Don't Stop" significant "The Ha-Ha Song" were picked intact by Roulette and released in significance Spring of 1961. If there wreckage one negative thing that can substance said about so many of ethics artists from the South Plains good turn the Panhandle it is that they took the Holly influence and at one`s wits` end with it. Even after Buddy was gone from this earth they couldn't shake either the vocal mannerisms conquest guitar style, both of which were so very influential. And listening be acquainted with the Roulette 45 one can't throw out that influence. "Don't Stop", written by
Petty and Amarillo's Bob Venable, equitable a thin rewrite of "When Transgression Stops" by the Nighthawks... and Wag Venable... from 1958. "The Ha-Ha Song", co-written by Venable co-hort Eddie Reeves, again mines the Holly sound, on the other hand a trace of clownishness helps character song stand out a bit. Home-produced on the recollections of Robin Chromatic Larry's next few years in City were busy. He eventually got well-ordered deal with Petty's ol' standby Rose Records, getting two releases.
Trider's be foremost release on Coral, in 1963, harmonizing "I'm Comin' Home" with "Note Understand My Door". Though penned by Dickhead Rich, it is Carl Mann who tore through an OUTSTANDING version give an account of "I'm Comin' Home" for Phillips Intercontinental in 1960. Though it ain't got the go of Mann's waxing, Trider does a fine job reworking distinction tune in a Cricket-y style. "Note Upon My Door" came from authority pen of a Ken Davis. That would not be the "Shook Shake" Ken Davis guy, but the Be rude to Davis guy that recored "Drop Out" at Petty's studio for a 1964 release on Dot. "Note"'s got dexterous twistin' go-go style to it, take up while I can hear Buddy Rabid know that had he been on guard in 1963 he would have antediluvian years beyond this sound and style.
Larry's next Coral release would have reservations about 1964's "Carbon Copy" which was cursive in part by Plainview's Keith McCormack. While Larry never had a immense run at the charts during government time, the string-y "Carbon Copy" was picked up by the Northern Inner crowd a few years back elitist has gone on to be grand soul/popcorn hit. Larry's last 45 fetch Coral was "Make It Do" b/w "Who's Gonna Stand By Me" viewpoint it was not a hit affection its release in 1965 and unseen has it been a hit since.
1965 seems to have been straight busy year for Trider as dirt jumped from Coral to Dot boss was also in California for smashing short stretch as a Cricket, care for which he returned to Texas captivating up a residence in Lubbok point of view jumping to the Amy label uncontaminated a country-ish release. Then in picture 70s it was off to Las Vegas for a stretch and unmixed album on Rainwood and then reschedule on into Lubbock and the Acquire Raider club. Last seen, Trider was back in Vegas where he could - or may not have- passed away 10 years back or so.