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Up Close with Sonny Curtis
The World’s Best Known, Unknown Songwriter
Few high-profile artists from the '50s have experienced the monetary success that Sonny Curtis has in reference to the art of composing and performing. Not only is Curtis a superb guitarist and member of the legendary Crickets, but he has written a number of prolific hits, most notably Bobby Fuller's "I Fought the Law" and the Everly Brothers' "Walk Right Back." Although these and other exceptional credits have not earned Curtis household name status, historically, a large number of those '50s and '60s artists who have, never achieved the financial rewards expected from mainstream name recognition.
Says Sonny, "I've been very lucky to spend my life doing what I love. I've had a very rewarding career and I'm eternally grateful to any fan or person who, by liking my music, helped me make it happen."
Leading Buddy Holly historian, Bill Griggs said it best about Sonny's impressive achievements:
"Sonny Curtis is without a doubt one of West Texas's treasures. He has written and registered so many songs. He told me that he has more than 550 songs available for use through the publishers. So many other artists have recorded a Sonny Curtis song with the general public not knowing it was his song, that I've nicknamed him 'The World's Best Known, Unknown Songwriter.' (I asked him if it was OK to state this in public and Sonny was very happy with it.)"
With pride, The Lance Monthly presents an intriguing interview with the great Sonny Curtis.
[Lance Monthly] Sonny, where and when were you born and what was your birth name? Did you grow up in the country or a neighborhood?
Sonny Curtis I was born May 9, 1937, on my dad's farm, seven miles southeast of Meadow, Texas. When I was three years old, we moved into Meadow, which had a population of about 400; [it was] very much like the country, but I guess you could call it a neighborhood.
My folks didn't name me when I was born. I was born during the depression and my folks, who lived in a dugout built by my father, acquired the services of Dr. M. E. Jacobson to assist in the delivery. Dr. Jacobson was a physician in Brownfield, the county seat of Terry County, about eight miles southwest of our farm.
According to my birth certificate, I was born at 4:40 AM. Upon my arrival, the good doctor asked my mom and dad what name they wanted on my birth certificate; well, my folks had not picked out a name. I imagine the Doctor was rather tired and maybe a little loose as well, so he suggested that, in a couple of weeks, they visit the courthouse in Brownfield and register a name for me. Well, they never did.
Twenty years later, I was signing a songwriter's contract with Peer International Corp. in New York City. Their law firm wanted to see my birth certificate (don't ask me why). They had it sent up from Austin, Texas, and where my name should have been, it read, "Un-named, Baby Curtis." Well, their law firm adamantly insisted that I have a name.
When I got back home, I went to the courthouse in Brownfield and for $2.00, I officially named myself. At the age of twenty, I became Sonny Curtis, legally.
[Lance Monthly] What was it like growing up with your birth family? Did they give you a ton of chores to do?
Sonny Curtis My mom and dad were great. They always supported me in anything I wanted to do. There was an incredible feeling of freedom in those days. We didn't lock our doors at night and I could roam the streets without fear of being kidnapped. In the summer, the whole family (my mom and dad and six kids) would take bedding and go out in the yard and sleep under the stars where it was cool. It's one of the happiest times I remember.
I had great old buddies that lived down the street and I bonded with them. Old buddies with whom I am still great friends to this day. At the time, I thought I had too many chores, but, looking back, I think my older brothers and sisters took most of the heat in that department.
[Lance Monthly] Were there other aspiring musicians in your family aside from yourself?
Sonny Curtis My two older brothers, Pete and Dean, were my role models. Pete played guitar and Dean played the fiddle. We were Bluegrass fans. They taught me to pick and taught me about life. Because of them, I think I'm a better person and a better musician. I idolize them to this day.
[Lance Monthly] What kind of music did you like before rock 'n' roll made its presence, and who were your favorite artists?
Sonny Curtis As I mentioned earlier, I was a bluegrass fan. I started loving bluegrass music when Lester Flatt and Earl Scruggs were still with Bill Monroe and the Bluegrass Boys in the late forties. My uncles, The Mayfield Brothers (Herb, Smokey and Edd), a very popular local (Lubbock, Texas) bluegrass band, had a huge influence on me. Edd Mayfield, who was also a great rodeo cowboy specializing in calf roping, sang and played guitar with Bill Monroe in the fifties. He was a terrific musician. I tried to be like him. What better hero can you have when you're a kid? - A cowboy who's a Bluegrass picker.
My tastes were also rather eclectic. When I was about fifteen, I became enthralled with Chet Atkins. I spent a great deal of time trying to pick like him. I never quite made it, but it was a worthy pursuit and I have a lot to show for it. I also liked Carl Smith, Ernest Tubb, Autry Inman, and Cole Porter, just to name a few.
[Lance Monthly] During your youth and before you picked up the guitar, what did you do to entertain yourself in your spare time?
Sonny Curtis I was consumed by baseball. I was convinced that I would make it to the major leagues and that, probably, no one was more talented, or worthy, than I. I used to wile away the hours in the back yard with a sawed-off broomstick, hitting rocks across the alley. Ralph Kiner, of the Pittsburgh Pirates, was my favorite star. In the late forties, he came close to breaking Babe Ruth's home-run record. He only missed by three or four. Just think . . . three or four more homers and he would have been famous instead of just being remembered by me. But he was something else and I still cherish the memory.
Then one day, Olan Finley, a southpaw and still one of my dearest friends, wound up and threw a pitch that hit me in the jaw and changed my life. I started to think that pickin' a guitar might not be as dangerous. Truth is, I had a talent for pickin' and I didn't have that much of a talent for baseball, and pickin' is sacred to me. A baseball upside my jaw from Olan's arm is not really what inspired me to choose a career in music. I can't imagine living my life any other way.
[Lance Monthly] Sonny, I was also enormously impressed with Chet Atkins' style of playing rhythm with his thumb, and lead with his fingers, simultaneously. I could never master it, but one of my original lead guitarists in my vintage group, The Knights, could. So, do you recall your first guitar and how you received it? In addition, what guitars did you employ later on in your music career and what do you prefer today and why?
Sonny Curtis I agree. Chet Atkins was a great challenge. He had a major impact on me as a guitar player. I could slow our phonograph player down to half speed, which was a great help when I was trying to learn his licks. When I wasn't slamming rocks across the alley, I was trying to pick like Chet. He did great things for my ear.
When I was about six years old, my folks bought a couple of guitars for my older brother and sister. They were really cheap. One was a Melody King (sounds like Sears) and the other was a Kaye. My three sisters weren't very interested, but my two older brothers seemed to be intrigued. It helped that our uncles, The Mayfield Brothers, were always around, picking and singing and showing them things. Before long, there was a fiddle and music was emanating from every nook and cranny of our house.
As for acoustic guitars, I've always favored the D-28 Martin in a live situation. A D-18 records better. Taylor Guitars did a limited edition of 100 guitars for Nanci Griffith a few years back. She gave me one, and it is my acoustic of choice these days.
As for electric, I play a Fender Stratocaster. It's a re-issue of a 1954 model, like the one I played on those early Holly records on Decca and it serves me well. You ask why I like it? A couple of reasons: 1. You can get a variety of sounds by simply moving the toggle switch (in mid-song, if necessary), and 2. Since it is a solid body, it does not have a tendency to feed back, which means you can turn it up and blow the back end out of a building if you want to.
[Lance Monthly] How old were you when you became serious about playing professionally?
Sonny Curtis When I was in the sixth or seventh grade (eleven or twelve years old, maybe), my brothers and I used to play the KSEL Jamboree at Sled Allen's Arena in Lubbock on Saturday nights. I was impressed at the time by the aura that seemed to surround "show biz." I suppose that anybody at that age, and I was certainly no exception, would be a little puffed up by even the smallest amount of public adulation. I used up a lot of daydreams on what I would wear on stage, what my band would wear, how we would work the mic, etc.
However, I think what really did it for me was when I entered the very first Lion's Club Talent Contest in Brownfield when I was a freshman in high school. I did the Flatt and Scruggs version of "Little Jimmy Brown, The Newsboy" and I really had it down. After I won that night, I thought, this is for me.
[Lance Monthly] What was the name of your first band, what genre was its specialty, and what were your typical venues? Do you recall the names of the musicians and did the band make any recordings?
Sonny Curtis The first band I was associated with (other than with my two brothers) was with Buddy Holly and Bob Montgomery. At first, we played country and bluegrass. We played at car lots, grocery store parking lots, teen parties, Bob's garage (with no audience), fair booster tours, and anywhere else people wanted to hear some music, and some places they didn't. Some of the musicians were J. I. Allison, Joe B. Mauldin, Don Guess, Jack Neal, Larry Welborn, Weldon Myrick, etc. After Elvis came through town in 1955, Buddy, Don Guess, and I started playing rock and roll. We had EP down to a gnat's bristle. We could do just about everything he could except attract girls. We made quite a few recordings. Most of them are available on the album, Holly in the Hills.
[Lance Monthly] What high school did you attend, and was your style of dress more of a western look or of the typical teenage fashion of the day?
Sonny Curtis I attended Meadow High School in Meadow, Texas. [In] my senior year, I moved to Slaton and graduated from Slaton High School in 1955. As for the style of dress, the typical teenage fashion of the day was western. They (the school officials) weren't that hung up about a dress code. Levis and casual were pretty well the norm, [but] we were required to be neat and clean. If we (the boys) would have shown up in something like shorts and sandals (which we didn't know about in those days), we would have been laughed out of town. Girls used to wear peddle pushers (gee, I haven't used those words in a long time) and it was very acceptable, as I recall.
[Lance Monthly] When and under what circumstances were you enticed to play rock 'n' roll?
Sonny Curtis As I said earlier, Elvis turned our heads around. Then we started listening to everything in that genre. I used to spend the night with Buddy and we would go out to the car at midnight and listen to Stan's Record Rack out of Shreveport. He would play everything: Lonnie Johnson, Ray Charles, Bill Haley, Little Richard, etc. It was mighty enlightening.
[Lance Monthly] Sonny, I read somewhere that you worked in a Lubbock music store. Is this the same store in which Clyde Hankins was employed? He moved to Albuquerque in the late '50s and went to work for Riedling Music. He sold me my first electric guitar (1959 Telecaster) and I took some lessons from him. What do you remember about Clyde?
Sonny Curtis I worked at Adair Music Company in Lubbock for about a year in '56 and early '57. Clyde Hankins had been my guitar teacher and he got me that job. I can't say enough good things about Clyde. He is a magnificent guitar player and a great teacher. We did some power hangin' out when I was at Adair's. It was under his tutelage that my music reading skills developed and improved significantly.
With his guidance, my picking ability progressed by leaps and bounds. He also opened a brand new world to me; he introduced me to jazz and classical guitar. He made me understand that if I learned to play jazz, I wouldn't forget how to play bluegrass. Through him, I learned that knowledge and practice will win the day. Looking back, I'm amazed at all the things he taught me. Crossing paths with him was one of the luckiest things that ever happened to me.
[Lance Monthly] I used a Strat in the early '60s, but I finally settled on a Jazzmaster as I prefer a mellower tone than that of a crunchy sound. Have you ever used a Jazzmaster in any recordings or performances?
Sonny Curtis Leo Fender gave us (The Crickets) some instruments for the "Bobby Vee Meets The Crickets" tour of England in 1962. J.I. chose a Jazzmaster and I, a Stratocaster. I didn't like that Jazzmaster very well and I don't remember why. I'm a Strat guy, I guess. I never recorded with a Jazzmaster.
[Lance Monthly] When Norman Petty kicked off the guitar-rock instrumental craze in the late '50s and early '60s with The String-A-Longs and The Fireballs, did that inspire you to jump on the instrumental bandwagon?
Sonny Curtis I had been on the instrumental bandwagon for a pretty good while by the time the String-A-Longs and the Fireballs came along. I used to play things like "The Poor People Of Paris," "Chinatown," "Mr. Sandman," etc. (a deep bow to Chet, obviously) at high school assembly programs, Lions Club and Rotary Club luncheons and where ever else I might be performing. My emphasis was on singing and accompanying myself, but I took being an instrumentalist very seriously.
[Lance Monthly] I'm sure, in your high-profile music travels, you've run into the Ventures. Did you like this group's instrumental style, especially that of lead guitarist, Nokie Edwards? In addition, what's your overall take on the surf-instro craze of the early '60s?
Sonny Curtis The only one of the Ventures I knew was Mel Taylor, their drummer. When I first met him, he was the drummer at the Palomino Club in North Hollywood. My old pal, Glen D. Hardin, was playing piano there in the same band.
The Ventures recorded some nice stuff; however, my personal tastes (in the instrumental arena, that is) leaned heavily toward Chet Atkins, Johnny Smith, George Van Eps, Andres Segovia and their ilk. "Walk, Don't Run" was a great song and Johnny Smith, who wrote it, had a terrific version on an album entitled Moods, on Royal Roost. Chet had a wonderful record of it, as well. After savoring those great renditions, the Ventures version, a few years later, failed to interest me. Of course, The Ventures outsold Johnny and Chet by about ten zillion, so I guess they were doing something right. As for my take on the surf-instro craze of the '60s, I guess I was around, but my mind was somewhere else.
[Lance Monthly] Ellis Amburn's Holly bio states that you opened for Elvis Presley in 1955 at the Cotton Club in Lubbock. How did that come about, who were the other musicians, and can you describe the event to the best of your knowledge
Sonny Curtis We opened for Elvis at the Fair Park Coliseum in Lubbock; not the Cotton Club. The musicians (in our band) were Buddy Holly, Jerry Allison, Don Guess and me. Actually, some photos exist of that night.
In those days, some of the stars that played FPC would go out to the Cotton Club after the show and sometimes, they would perform, as Elvis did that night. We, of course, always followed them out there, but we didn't pick, at least, not the night I'm talking about. I'm sure they wouldn't have let us near the stage with the likes of Elvis comin' on.
I can't remember any of the other acts that night. Elvis came to Lubbock four times in those early days. Some of the acts that were on the same shows with him at various times were Hank Snow, Martha Carson, Billy Walker, Jimmy and Johnny, etc. Johnny Cash was on one of those shows because I remember being backstage with Scotty Moore and Luther Perkins while they showed one another licks from the various songs they had recorded.
[Lance Monthly] One of the Sonny Curtis Internet biographies stated that you wrote "I Fought the Law" in 1958 while sitting on your couch, "watching the sun bake the dusty ground . . ." and you did it under an hour. What inspired you to write the music and words to this million-seller? Was it a sudden impulse or had you been running it through your mind prior to applying the finishing touches?
Sonny Curtis There's not a lot to say about the writing of "I Fought the Law." It was in the spring of 1958 and the statement that I was "sitting on my couch watching the sun bake the dusty ground" sounds a lot more romantic than it was. Believe me, there's nothing romantic about watching the sun bake the dusty ground out in West Texas.
In those days, I used to pick my guitar and try to write songs in my spare time and it was on a hot and windy afternoon that I wrote, "I Fought The Law." There was no particular inspiration; I was just sort of using what I call the "hunt and peck" system. It only took maybe half an hour. I wrote it as a country song, but when we (Crickets) went to New York to record the album, "In Style with The Crickets," I transcribed it (with the help of J.I.) to a rock and roll song.
[Lance Monthly] You rejoined The Crickets shortly before Buddy Holly's tragic death and later played lead guitar for the Everly Brothers. I understand that this was short-lived as you were drafted in the Army and spent 18 months in France. Could you elaborate on this relationship for our readers, including the writing of the Everly Brothers smash hit, "Walk Right Back?" (I might add that this song is at the top of my list for all-time favorites.)
Sonny Curtis When Buddy moved to New York in the summer of '58, I got back with The Crickets. In September of '59, The Everly Bros. invited J.I., Joe B. and me to be their backing group. We toured the U.S., England, and Australia.
On June 14, 1960, I was inducted into the Army. I already had the lick for "Walk Right Back," then one Sunday afternoon in Fort Ord, CA, where I was stationed, I wrote one verse of the song. On a weekend pass to L.A., I sang it to Don and Phil. They said they would record it if I would write another verse. On my leave between Fort Ord and Fort Gordon, Georgia, I wrote another verse and sent it to them, but they had already recorded the song. They just sang the same verse twice. It was released the day I arrived in France for an eighteen-month tour of duty. After I got out of the army, I played with the Everly Bros. (while playing simultaneously with The Crickets) for about two years.
[Lance Monthly] So what is the second verse to "Walk Right Back?"
Sonny Curtis Second verse to "Walk Right Back":
These eyes of mine that gave you loving glances once before
Changed to shades of cloudy grey
I want so very much to see you, just like before
I've gotta know you're comin' back to stay
Please believe me when I say it's great to hear from you
But there's a lot of things a letter just can't say, oh me
Walk right back, etc.
[Lance Monthly] After your discharge from the Army, you settled into the big city life of Los Angeles. No doubt, you wanted to be close to the high-profile labels, promoters, arrangers, and producers for which this city is famous. How tough was it for you to get established there? Was there, at first, a lot of promises but no action, and was there any time in which you wanted to just throw in the towel and try your skills somewhere else?
Sonny Curtis "Walk Right Back" and "More Than I Can Say" were hits while I was in the army, so when I got out, I could actually afford a place to live. I moved directly to L.A. to pick with The Crickets. I don't remember it being that tough. The Crickets had a pretty good name and we booked out a lot. I started writing pretty seriously. I had a hit with "A Fool Never Learns" [released] by Andy Williams and then "I Fought the Law" came along. J.I. and I were also having pretty good luck with our publishing company, Cricket Music.
By that stage in my career, the words "throw in the towel" were not in my lexicon.
[Lance Monthly] Did you do any studio work for any nationally known artists during your time in L.A.?
Sonny Curtis Although I wasn't trying to make it as a studio musician, I did a lot of recording sessions. The main reason is that I always thought it was a sin to turn down work. I recorded with The Everly Brothers, naturally, Bobby Vee, Walter Brennan, Nancy Sinatra, Liza Minnelli, Tex Ritter, The Lennon Sisters, etc.
[Lance Monthly] A number of sound-studio owners, producers, and promoters such as Norman Petty, Allan Freed, and Dick Clark were instrumental in getting a portion of the writers' credits on music to which they did not contribute. Did that ever happen to you?
Sonny Curtis When I was nineteen, I wrote a song [that] was recorded by a huge country star of that period. He informed me that he would release it on record if I would give him 50% of my writer's royalties and split the credits with him. At the time, I was hungry. Not only did I need money, I also needed recognition. So, I did it. I don't know if it was necessary, but I thought it was. I'd probably do it again, under the same circumstances. Two things bothered me, though: One, I could have used the full portion of [the] money because I was broke and every penny counted. But what bugged me most was that he put his name in front of mine on the record. It made me feel rather irrelevant. Anyway, I'm okay with it now. Things happen for a reason in life and the lesson I learned was probably worth what it cost me. Later on, I did a couple or three funky deals, but it was strictly business and I went in with my eyes wide open. Therefore, I don't tell stories of those episodes grudgingly. Once, I wrote a song for a "B" side and split it four ways between the artist, producer, arranger, and myself. The "A" side was kind of a guaranteed million seller and a fourth of that, at that time, was $2,500. I thought, "Not bad for an afternoon's work." However, I finally decided to make myself unavailable for those sort of arrangements. It smacks of prostitution and I came to the conclusion that I would rather come down on the side of integrity. When I write a song, I want it to be for something more than just the money. I want to write a good song. You may tell yourself it's good and rationalize your self-esteem, but when the quality of the songs starts to suffer, it's over.
[Lance Monthly] While you were stationed in France, did you put together a group by drawing on the talents of the military personal or did you perform solo at various venues?
Sonny Curtis While I was stationed in France, I was in a small combo with some friends at the base, but we mostly just played for our own entertainment. We rarely did any shows. I did quite a lot of solo performing. I was given permission to tour with a variety show once and we played every military installation in France. Another time, I got a part in a play that went all over France. That was when I decided I didn't want to be an actor.
[Lance Monthly] When did you meet Louise? Was it love at first sight? How well do you think she has adapted to the life of a high-profile musician and composer?
Sonny Curtis I met Louise in the early part of 1968. She and Joanie Allison (J.I.'s wife) are from the same place in Wisconsin and had been in the same class since the third grade. She came out to visit her sister, who was teaching in L.A. Louise was one of those girls who took the song seriously and actually wore some flowers in her hair when she arrived. I liked that. Maybe it was love at first sight. We certainly had a deep feeling for each other right away. Louise has adapted very well. She doesn't like the road, but otherwise, she is helpful and supportive.
[Lance Monthly] Don Piestrup became a song writing companion of yours throughout the '70s. How did your relationship begin with him and what encouraged you to begin writing jingles for radio and T.V.?
Sonny Curtis Don Piestrup was producing a commercial for Lumberjack Syrup, a regional brand up in the Northwest. He wanted a singer with a country flavor and had tried several others, but wasn't satisfied. I had a friend at the recording studio who put him onto me. I got the account and afterward, Don asked me to team up with him on some things.
Don is a brilliant composer, arranger and musician. I worked with him for five years and it was one of the happiest periods of my life. Writing jingles is very lucrative, but hangin' out with Don was the real reward. He is not only the jolliest of fellows and a joy to be around, he is a treasure trove of musical knowledge and he imparted a great deal of that knowledge to me. Those days were a piece o' cake.
[Lance Monthly] Of all the members of the Crickets, you seem to have the closest music relationship with J.I. Allison. Could you elaborate on this for our readers?
Sonny Curtis J.I. and I were kids when we started pickin' together. We've written songs together, published songs together, recorded songs together, gone fishin', built bookcases, punched cows, baled hay, and, well, you name it. We've gotten mad at each other and gotten over it, [have] gotten mad at each other again and gotten over it again. We've driven down the road a million miles goin' to the gig. We always tried to get there on time and do the best we knew how. We've been walkin' on stage together for nearly fifty years. He's like my brother. What else can I say?
[Lance Monthly] What are your thoughts about the "Buddy Holly Story" released in 1979 in that most of the principals, who were responsible for Holly's breakout success, didn't receive a mention? And, in your opinion, why was this motion picture devoid of these important individuals?
Sonny Curtis I think whoever was in control of making the "Buddy Holly Story" took an excessive amount of license. I have no idea why people who make movies do such things. Perhaps in some cases, they don't care to expend the time, energy and money to get the real story. Maybe they have limited funds; that's always a major consideration. Perhaps the truth is not as important as whether they think it will play well in Peoria. But movies should be for entertainment and if you were entertained, that's good. If you rely on movies for your history, though, you're being led down the garden path most of the time. Whatever the deal was, I think the audience was the main loser. In my opinion, the real "Buddy Holly Story" would have been a better movie.
[Lance Monthly] Sonny, for our readers who are interested in the business of writing jingles, can you provide some details as to how a composer is paid?
Sonny Curtis That was a long time ago. I don't know how it works now, but in those days, the ad agency representing the client paid us. It was pretty simple. You would be approached about a project, write a song, maybe adjust it a little to satisfy the client, then make the presentation. If you won the deal, you were paid well. If you didn't, you might get a little bit to help with demo costs, or, perhaps a big "thank you" and a promise to be called for something in the future. Piece O' Cake, Don Piestrup's music service, dealt with all that.
[Lance Monthly] One of your Internet bios states that because of your frustration with the Gary Busey movie, you wrote and recorded "The Real Buddy Holly Story" in 1979 for Electra. Can you elaborate on this production?
Sonny Curtis I had participated in a T.V. documentary about Buddy and when it came out, Jimmy Bowen, head of Elektra, wanted me to record "The Real Buddy Holly Story" for immediate release. I went in the studio late one night at the end of another session and joined what I think are some of the best session players Nashville ever produced. They were Joe Osborn, Bobby Thompson, Reggie Young, Larrie Londin, Larry Knechtel and David Briggs. I sat on a stool in the middle of all those guys; Larrie counted it off and away we went. We got it on the first take. We did it again, but everyone agreed that the first one had more excitement and felt better.
To touch briefly on the movie, I didn't think it was very accurate. Gary Busey is a fine actor and has done a lot of good work. Maybe he didn't research Buddy enough to play him well. Anyway, as far as I'm concerned, he missed the mark. I think he did a pretty good Chuck Berry, though. I do recognize that, because of my personal connection to Buddy, it's only natural for me to be a little more discerning.
[Lance Monthly] When you wrote and sang the theme song for the Mary Tyler Moore Show ("Love is all Around") in the early '70s, how long did it take you to complete it and what inspired you to come up with the overall concept? Now that it's in syndication, I imagine that the royalties keep on coming, right?
Sonny Curtis My old friend, Doug Gilmore, who worked for the Williams & Price Agency, Mary Tyler Moore's agent, called me one morning about 11:00 and told me about the show. He asked if I was interested in writing a theme song. I was. He came by my house during the lunch hour and dropped off a format about four pages long, describing the show in general terms. There was so little information that I didn't have a lot to inspire me, which was probably lucky. I was able to write a song without nonessential allusions to the shows nuances and other stuff that might have bogged me down. It took me roughly two hours to write the song.
When I was finished, Doug sent me to see James L. Brooks, an executive producer of the show. He liked the song and we started the process. It all happened in one afternoon.
Yes, the show is still in syndication and I still receive royalties. The song has been very good to me.
[Lance Monthly] Of all the songs you've written and licensed, which one has been the most profitable for you?
Sonny Curtis "I Fought the Law."
[Lance Monthly] Have you ever written songs specifically for other artists, or were they originally composed by you, for you and eventually covered by others?
Sonny Curtis I have written songs especially for other artists. However, I prefer not to be bound by such constraints. I like to let my mind be free to do whatever I want.
[Lance Monthly] How much credit can you give Norman Petty in the launching of your music career and had your relationship with him always been to your satisfaction?
Sonny Curtis Norman Petty left this earth and went on to his reward long ago. I'd prefer not to say too much about him because he is not here to give us his side. I will say that my dealings with him provided me with a useful lesson and I'm so very happy that it was a lesson I learned early in my life. I also think it is safe to say that if he had been responsible for launching my career, I fear it would never have been launched. Let me think, though. He helped me get signed to BMI, which was a good thing. Also, he was married to Vi, a wonderful person and about as nice as they come.
[Lance Monthly] Was your interest in moving to Nashville in 1976 to be closer to the country and western music scene for which the city is most famous? No doubt, you've been very successful in this music genre as well.
Sonny Curtis It's no secret that I have always had a soft spot for country music. I used to fly from L.A. to Nashville to work on various projects with old friends like Bob Montgomery and Bobby Russell. I really enjoyed working with both of them. However, leaving L.A. for Nashville was more of a move back to the land than anything else. L.A. got too big, too smoggy and, for my part, not the right environment to raise a child. Louise and I wanted to raise our daughter, who was a year old, in more of a small-town, down-home environment. J.I. moved first, I was next and Joe B. followed soon afterward. I never regretted the change, but L.A. will always be a part of me. California is a great place.
[Lance Monthly] I understand that you and Louise are living on a large farm in Nashville. Do you farm for profit and, if so, how active are you in the business?
Sonny Curtis I had just over a hundred acres and raised cattle and hay, etc. By the time I bought equipment and kept it up, fertilized and bought extra feed for the cows, I generally lost money. Although I enjoyed it, it did start to interfere with my music endeavors. Also, we lived too far out. It took an hour to get to music row and, though I didn't go in every day, I went often enough (sometimes twice a day) that it got tiresome. When our daughter went to college, we decided to move closer to Nashville. We sold the farm, bought five acres, and built another house. We're still in the country, but we're closer to everything, and we love it.
[Lance Monthly] How active are you today in touring and writing and in what music projects are you presently involved?
Sonny Curtis I still tour with the Crickets and I do some songwriter shows occasionally. The Crickets just finished an album in which some of our friends did some of our songs. It includes performances by Nanci Griffith, Eric Clapton, Vince Neal, Graham Nash, Waylon Jennings, etc. The Crickets and I did a tribute album to Waylon ("Lonesome, On'ry and Mean").
[Lance Monthly] What's your overall impression of Buddy Holly and his music skills and would you say that he was a close friend of yours? Did he play a big part in your writing and performance skills during that time? In addition, if he had lived, do you think that he and Norman Petty would have patched up their differences?
Sonny Curtis I appreciate Buddy's music skills and talent more now than I did back then. When I was starting out, concerned mostly with my own career, I think I tended to take his talent for granted. It's not that I didn't realize that he was really good, it was just something I didn't think about a lot. Through 20/20 hindsight, I am amazed at his incredible drive and commitment, the freshness of his style, the astounding amount of music he pumped into the system in such a short period of time and the tremendous legacy he left. I'm quite proud that I knew him and I'm certain that my own career has been enriched by the fact that I was associated with him. He and I were good friends, but after he made it real big, we weren't that close. We sort of drifted in two different directions. I have no idea whether or not he and Norman would have patched up their differences.
[Lance Monthly] Much of the rock tunes of today lack melodies, verses, and bridges and, in my opinion, could hardly be classified as reasonably good song writing efforts. What are your thoughts on this?
Sonny Curtis I think it's all too common for one generation to be critical of the music of another. I can remember when I was getting started, older guys would say, "all that stuff sounds the same." I was at a party a few years ago when a fellow, not that much older than I, said, "all our troubles started with the Beatles." WHAT? Is he so out of touch that he doesn't realize what a magnificent gift to the world the Beatles were? Wow! I think, with all due respect, on this question, I'll keep my opinion to myself.
[Lance Monthly] During the philosophical hippie days of the late '60s and '70s, did you in any way get caught up in that life style? In addition, when the British Invasion nailed the U.S. in 1964, it changed rock 'n' roll in a huge way. Were you unhappy about this invasion?
Sonny Curtis I was a bit of a hippie. I grew my hair long, had a beard and wore bell-bottoms and beads. I was busy, though. I was writing, touring, playing sessions and trying to build a career. I was not unhappy about the British Invasion. In fact, I thought it was a good thing. It created store traffic all over the world, and a worldwide audience for our songs. Also, a great many of those groups, i.e., the Beatles and the Hollies, were Buddy Holly and Crickets fans so we fared pretty well during that period. The British have always been very nice to us.
[Lance Monthly] Do you and Louise have children and, if so, have any aspired to become professional musicians?
Sonny Curtis We have a daughter, Sarah. She is married and lives in Chicago. She is a teacher.
[Lance Monthly] Are there any modern mainstream-rock artists of today that interest you?
Sonny Curtis I can't say I have a burning desire to turn on my radio and listen to any modern mainstream-rock groups. Just like a lot of other older guys, I'm pretty average. I like to listen to Aretha, the Beatles, The Stones, Crosby, Stills and Nash, Marvin Gaye, etc. Am I an old fud, or what?
[Lance Monthly] Sonny, thank you very much for spending your valuable time with me and for providing such well-written replies. I give you an A-plus in your English skills. I know you have a ton of admiring fans. What are your final thoughts to them and of the future of rock 'n' roll?
Sonny Curtis I've been very lucky to spend my life doing what I love. I've had a very rewarding career and I'm eternally grateful to any fan or person who, by liking my music, helped me make it happen. I think the future of rock 'n roll will be just fine. There always have been, and I think, always will be, those who like to pick and those who like to listen. Both pickers and listeners have my deepest respect, support and admiration. I admire and envy anyone who is able, whether pickin' or listening, to kick back and bask in the luxury of some good sounds.
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