Missionaria Protectiva

        Rock ’n’ roll was well established in the 1950s – Ike Turner, Chuck Berry, and Little Richard all had hits – but white audiences had largely rejected it. Buddy Holly presented blues, rock ’n’ roll, and country licks in a package the ‘suits’ would put on American television.       Regardless of the questionable values of the marketing machine, Holly and his Stratocaster were immediately popular. Iconic even. His strummed open chords on [1957 single] Peggy Sue were easy to play, embodying the “I can do that!” spirit of early rock ’n’ roll.       And his lasting influence? The Beatles’ name was a deliberate nod to Holly’s band The Crickets, as they and hundreds more sought to imitate him. Holly tragically died only two years later, aged 22, having changed music history in his short time on earth. BUDDY HOLLY & The CRICKETS 20 Golden Greats MCA,1978 https://www.sendspace.com/file/y6j04f

         Multi-instrumentalist Chris Stainton has been a major presence on the British music scene since joining  Joe Cocker 's backing group,  the Grease Band , in 1966. Although he wasn't a part of the classic lineup of the free-standing version of that group, his longtime association with  Cocker  during the latter's prime years made him very much in demand as a player, mostly on keyboards but also on the bass.        When  Cocker  abandoned  the Grease Band , owing to personal and management considerations, Stainton remained with him and was part of the legendary  Mad Dogs & Englishmen   tour, memorialized in articles, on a triple-LP album, and in a documentary film. By that time, however, he'd also established himself as a top session musician, and had appeared on albums and singles by  Spooky Tooth ,  the Who ,  Leon Russell , et al., in addition to rejoining  the Grea...

        Dave Mattacks is a great and versatile player who’s done prog along with many other styles. Though best-known for his long service in  Fairport Convention , Mattacks has been the ultimate songwriter’s drummer, able to work with the world’s best and figure out exactly what every song calls for. In terms of prog credentials, he’s got a year with Jethro Tull, played on a few Camel   tracks and sessions with Gary Brooker and Phil Manzanera and more surprisingly he played on Bill Nelson’s Red Noise’s groundbreaking bit of prog-punk futurism,  Sound-on-Sound . FAIRPORT CONVENTION Babbacombe Lee Island,1971 https://www.sendspace.com/file/xf3vqy