AmericanMusic ProducerMusicianBuddy Holly

Norman Petty

Norman Petty (1927-1984) was an American musician and record producer pivotal in early rock and roll, notably producing Buddy Holly at his Norman Petty Studios in Clovis, New Mexico.

1. Overview

Norman Petty (May 25, 1927 - August 15, 1984) was a pivotal figure in early rock and roll, renowned as an American musician, record producer, publisher, and radio station owner. Achieving initial success with his own ensemble, the Norman Petty Trio, his most enduring legacy stemmed from the establishment of Norman Petty Studios in Clovis, New Mexico. There, he engineered and produced numerous hit records for influential artists, most notably Buddy Holly. While his collaboration with Holly significantly shaped the sound of early rock and roll, their partnership was also characterized by notable controversies regarding songwriting credits and royalty payments, leading to a complex assessment of his business practices. Petty's entrepreneurial spirit extended beyond music production, including ventures in theater and radio broadcasting. Despite facing posthumous scrutiny over his financial dealings, defenders argue he operated within the challenging and often opaque industry norms of the 1950s. Today, Petty is remembered for his innovative production techniques and for the preservation of his studio, which continues to serve as a significant historical site in music.

2. Early Life and Career Beginnings

Norman Petty's early life and musical beginnings laid the foundation for his influential career in the music industry.

2.1. Birth, Childhood, and Education

Norman Petty was born on May 25, 1927, in the small town of Clovis, New Mexico. He developed an early aptitude for music, beginning to play the piano at a young age. During his time in high school, Petty became a regular performer on a 15-minute local radio show, showcasing his musical talents. After graduating in 1945, he was drafted into the United States Air Force. Upon his return from service, he married his high-school sweetheart, Violet Ann Brady, on June 20, 1948. The couple briefly resided in Dallas, Texas, where Petty gained experience working as a part-time engineer at a local recording studio. Eventually, they decided to move back to their hometown of Clovis.

2.2. Formation and Success of the Norman Petty Trio

Back in Clovis, Norman Petty, along with his wife Vi (who served as vocalist), and guitarist Jack Vaughn, formed the Norman Petty Trio. The trio quickly found local success with their independent debut release of the song "Mood Indigo". This local success led to a significant recording contract with RCA Records. Their recording of "Mood Indigo" went on to sell half a million copies, and in recognition of their burgeoning talent, they were voted the Most Promising Instrumental Group of 1954 by Cashbox magazine. The trio continued their success when their song "Almost Paradise" reached number 18 on the charts in 1957. This achievement earned Petty his first BMI writers' award. "Almost Paradise" was also covered by various artists, with Roger Williams' version achieving the best sales.

3. Norman Petty Studios and Production Activities

Norman Petty's vision for a cutting-edge recording facility in Clovis, New Mexico, became a cornerstone of his legacy, enabling him to make significant contributions as a record producer for numerous artists.

3.1. Studio Establishment and Early Productions

Despite the ongoing success of his own musical group, Norman Petty began the ambitious construction of his recording studio in Clovis in late 1954. The new facility, which was completed in mid-1957 following the success of "Almost Paradise", was considered state-of-the-art for its time. It was estimated to have cost around 100.00 K USD in 1954. Throughout his life, Petty maintained strong religious convictions, remaining a member of the Central Baptist Church in Clovis. He famously advised all of his acts to carry a Bible with them on tour and strictly prohibited alcohol, cigarettes, and even swearing within the studio complex.

From his original 7th Street studio, Petty produced not only songs for his own Norman Petty Trio but also numerous singles, several of which became hits, for various West Texas musicians. These artists included Roy Orbison, Buddy Knox, Waylon Jennings, Charlie "Sugartime" Phillips, Sonny West, Carolyn Hester, Johnny "Peanuts" Wilson, Billy Walker, and Terry Noland. In the 1960s, Petty's studio continued to be a hub for successful recordings, producing notable hits such as "Sugar Shack" and "Bottle of Wine" by Jimmy Gilmer and the Fireballs, and "Wheels" by The String-A-Longs. Due to his track record with instrumental groups, Petty became a highly reputable producer within that genre, making his Clovis Studio one of the premier "go-to" facilities for the distinctive guitar instrumental and surf music sound in the early 1960s. Other notable musicians who visited the studio during the 1960s included The Champs (featuring future members of Seals & Crofts and Glen Campbell), J. D. Souther (& The Cinders), Johnny Duncan, and Eddie Reeves.

Norman Petty Recording Studios in Clovis, New Mexico.
Norman Petty Recording Studios in Clovis, New Mexico.

3.2. Work with Buddy Holly

Norman Petty played a pivotal role as the producer and first manager for Buddy Holly from 1956 through 1958. The majority of Holly's studio recordings during this period were produced at Petty's Clovis studio, with the remainder being recorded at Bell Sound Studios in New York City. Petty's initial impression of Holly was of someone "ultra-eager to succeed," whom he considered a "diamond in the rough" despite an unimpressive physical appearance. He recalled that businessmen in Clovis questioned his interest in a "hillbilly like Holly."

After Holly's song "That'll Be the Day" began to gain traction in July 1957, Holly formally asked Petty to serve as the band's personal manager. Despite this, Petty never signed a formal management contract with either Buddy Holly or The Crickets, which technically left them free to depart at any time.

However, the collaboration between Petty and Holly became a source of significant controversy, particularly concerning songwriting credits and royalty payments. Petty often added his name to the songwriting credits of songs he produced. While this practice was considered dubious by some, it was not uncommon in the music industry during that era, and other sources suggest it has become a standard practice in some genres today. Petty, an innovative producer, typically charged a fixed fee per recording session rather than the standard hourly rate. To compensate for his financial risks and acknowledge his creative contributions to the songs, Petty was often credited as a co-writer, and the songs were published by his music publishing company, Nor-Va-Jak Music. Proponents of Petty's actions argued that he deserved greater compensation for his efforts, particularly given that Holly and The Crickets had not produced any hits before recording with him in his studio. Larry Holly, Buddy's brother, even acknowledged that Norman was responsible for "getting Buddy out" into the music world.

Despite these arguments, Petty was also accused of withholding royalty payments from Holly. Holly eventually discovered that the band's recording royalties had been deposited under Petty's name rather than their own. In the 1950s, record royalties were often very low, sometimes as little as one cent per side on records sold for between sixty-nine and eighty-nine cents. Petty acknowledged that significant sums were due but consistently stressed the slowness with which record companies paid out artist royalties.

By 1958, after "Rave On!" and "It's So Easy!" experienced disappointing sales, Holly grew resentful of Petty's control. Holly and his new wife, Maria Elena Santiago, visited Petty at the studio to end their partnership and demand his unpaid royalties. Santiago, who insisted Holly organize his finances before their marriage, recounted that Petty explicitly told Holly, "I don't want to sit around all the time, waiting for handouts from Norman Petty." She further alleged that Petty attempted to break up their relationship, calling her a "whorish kind of woman" who had "slept with all kinds of other men." She claimed Holly was enraged by these comments and wished to leave Petty immediately. Petty's own recollection of the meeting presented a more amicable split, stating that Maria Elena was the primary speaker and felt he "had not done enough to exploit Buddy" as an artist, and that the world "did not know enough about Buddy Holly." He maintained that there was no musical rift between them. Following the split, the remaining members of The Crickets, Joe B. Mauldin and Jerry Allison, chose to remain with Petty.

After Holly's tragic death, Petty was entrusted by the Holly family with the task of overdubbing unfinished Holly recordings and demos. This resulted in further chart success for Holly's music, particularly overseas. In 1999, Holly's widow, Maria Elena, along with Holly's siblings, filed a lawsuit against MCA Inc. alleging that Petty had "conspired with MCA to defraud the Holly heirs." An extensive audit ultimately determined that MCA owed the Petty estate and the Holly heirs a combined 251.33 K USD in additional royalties.

3.3. Other Notable Production Activities

Beyond his pivotal work with Buddy Holly, Norman Petty produced a wide array of other notable musicians and groups. He was instrumental in the careers of several Canadian recording artists, including Wes Dakus and the Rebels, Barry Allen, Gainsborough Gallery, and the Happy Feeling, all of whom achieved chart success in their home country. Petty's production reach extended internationally; he produced sessions in England for artists such as Brian Poole & The Tremeloes and Buddy Britten, and in Belgium for Roman Reed, Merino Costa, and The Pebbles, among others. Throughout the 1950s and 1960s, recordings produced by Petty, encompassing various musical styles, were released by virtually every major record label in the United States and Canada, achieving numerous regional successes.

4. Other Business Ventures

Norman Petty's entrepreneurial spirit extended beyond the music studio, encompassing significant investments in other media industries.

4.1. Ownership of Theaters and Radio Stations

In 1960, Norman Petty expanded his business interests by purchasing the Mesa Theater, located on Main Street in Clovis. His foray into media ownership continued in 1963 when he launched the FM radio station KTQM. Initially an easy-listening station, KTQM later shifted its format to country-and-western music, before finally adopting a top-40 rock format in 1968. Recognizing the local appeal of the country genre, Petty applied for an additional station license and, in 1971, established the AM radio station KWKA 680, which broadcast country-and-western music. Petty actively managed both radio stations until 1979. These stations were later sold by Curry County Broadcasting to Zia Broadcasting in 2010.

5. Later Life and Death

Norman Petty's final years were spent in Texas, where he eventually succumbed to illness.

5.1. Final Years and Passing

Norman Petty died on August 15, 1984, in Lubbock, Texas. His cause of death was leukemia. Later that same year, in 1984, he was posthumously honored as the Clovis Citizen of the Year. His wife, Vi Petty, passed away several years later in March 1992.

6. Legacy and Assessment

Norman Petty's legacy is characterized by his significant contributions to early rock and roll, ongoing debates surrounding his business practices, and enduring posthumous recognition.

6.1. Historical Assessment of Songwriting Credits

The assessment of Norman Petty's songwriting credits, particularly those related to Buddy Holly, remains a subject of critical discussion. Petty's reputation as "arguably the No. 1 villain in the Buddy Holly story" has been widely circulated. However, authors like Frank Blanas argue that this reputation has been exaggerated. Blanas contends that Petty aimed to elevate royalty rates to ensure shared profits among all involved parties, fostering a "win or lose together" mentality that was intended to benefit everyone. However, Blanas suggests Petty did not anticipate the rampant issues within the industry, such as record bootlegging, abuse of promotional freebies, payola, and slush funds, which ultimately consumed royalties.

The context of the 1950s record business is crucial to understanding these practices. Many figures in the industry at the time, including key middlemen between retailers and independent producers like Petty, were often associated with organized crime, racketeering, and money laundering. As a small, independent music businessman, Petty was often at their mercy, similar to the exploited artists themselves. This suggests that while Petty's actions might appear questionable in isolation, they occurred within a broader ecosystem where unethical practices were common, especially when dealing with artists, and particularly with black artists, a practice exemplified by figures like Irving Mills and Morris Levy.

6.2. Posthumous Honors and Commemorations

Norman Petty has received numerous posthumous honors and commemorations that celebrate his life and contributions to music and his community. In 1984, shortly after his death, he was posthumously named the Clovis Citizen of the Year. His wife, Vi Petty, played a key role in establishing the "Norman and Vi Petty Music Festival" in Clovis, which ran from 1987 to 1997. This festival celebrated the music produced at the Clovis studio and featured many artists who had recorded there, as well as other popular hitmakers. After a brief hiatus, Robert Linville restarted the festivals from 1998 until his death in 2001. The event later evolved into "The Clovis Music Festival," which is held annually in September.

In April 2011, both Norman and Vi Petty were recognized with the "Outstanding Graduate Accomplishment Award" by the Clovis Municipal Schools Foundation and Alumni Association. Norman, a graduate of the class of 1945, and Vi, a graduate of the class of 1946, received these awards for their achievements in their respective fields of business. Recipients are chosen based on their strength of character and citizenship, serving as role models for current students of Clovis High School. The commemorative plaques were initially given to Vi's relative, Nick Brady, who subsequently transferred them to Kenneth Broad of the Petty estate for display during studio tours.

6.3. Continuing Influence and Preservation

The influence of Norman Petty's work continues through various initiatives and the preservation of his historic studio. The book The King of Clovis, authored by Frank Blanas, was published in 2014, offering a detailed account of Petty's life and impact.

In 2016, Petty's original Nor-Va-Jak record label was revived as "Nor-Va-Jak Music" with the authorization of Norman Petty Studios. The purpose of this revival was to reissue Petty's productions that had not previously been available in digital formats. Many of Petty's productions had earlier been issued on CD in the United Kingdom by Ace Records. The original 7th Street Studio, Norman Petty's legendary recording facility, remains open for public tours by appointment. It is widely regarded as the world's most authentic vintage recording studio, continuing to attract musicians and fans interested in the history of rock and roll.

NorVaJak Music, Inc. in Clovis, New Mexico.
NorVaJak Music, Inc. in Clovis, New Mexico.