The Crickets were drummer Jerry Allison and bassist Joe B. Mauldin. Both musicians quit backing Holly shortly before his death, although a reunion was planned.
The Crickets continued to record on their own with guitarist Sonny Curtis and vocalist Earl Sinks. The band got its name while recording with Holly. An actual cricket had made its way into the sound proofing of the studio, which was discovered by the band when they played back what they had recorded.
In 1988, The Crickets (Allison, Mauldin, and Gordon Payne) received a good amount of airplay with their single "T-Shirt," produced by lifelong Holly fan and former Beatle, Paul McCartney.
BuddyHolly is perhaps the most anomalous legend of '50s rock & roll -- he had his share of hits, and he achieved major rock & roll stardom, but his importance transcends any sales figures or even the particulars of any one song (or group of songs) that he wrote or recorded.
Holly's record label continued to release posthumous albums of his work for years after his death, beginning with The BuddyHolly Story in early 1959, and they even repackaged the 1956 Decca sides several times over under various titles (the mid-'70s British LP The Nashville Sessions is the best of the vinyl editions).
BuddyHolly was born Charles Hardin Holley in Lubbock, Texas to Lawrence Odell Holley and Ella Pauline Drake.
A very large obstacle loomed in the path of their plans, however: Buddy's contract with Decca prohibited him from rerecording any of the material from his Decca sessions for a period of five years, and this prohibition included the song "That'll Be the Day" (even though Decca had declined to issue it on a record).
Buddy and his bandmates (J.I. Allison and Niki Sullivan) were left to come up with a suitable name, and inspired by the Spiders (one of Buddy's favorite rhythm-and-blues groups), they started flipping through the "Insects" section of an encyclopedia at J.I. Allison's house.
When Buddy and the Crickets recorded the song "I'm Gonna Love You Too," a real cricket that had made its way into the recording studio did let loose with a chirp that was captured in the song's fade-out; since the sound fit the rhythm of the tune quite nicely, it was left on the tape.
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