This thread is or should be a discussion about the 1995 Vigatone release "What You Been A-Missing"...

"What You Been A-Missing" was, as you are probably aware, an unauthorized "bootleg" collection of Buddy's apartment tapes and other materials in their pure, undubbed, original format, sold as a 4 CD set, as I recall.

However, the Vigatone label was busted out of existence for bootlegging, and you now rarely see copies of "What You Been A-Missing" anywhere (that includes eBay). Occasionally you'll see the set traded between fans on various other Buddy Holly websites, which makes it "double-bootlegged" material, I suppose.

Anybody have any comments on the collection "What You Been A-Missing"?

This message has been edited. Last edited by: Charles Austin,

I've heard selected tracks from the multi disc set, including Rip It Up (supposedly he's talking about sounding like chipmunks on the end of the track, but I habe yet to truly believe it), the first version of Bo Diddley (surprising I like that one and not the one that was released), The Golden Rocket (Gary Dale) Mona (that song should have been released) Oh Boy (undubbed and live on the Sullivan show-Wow) and Leave My Woman Alone (double wow-why can't I get those sounds to come out of my acoustic guitar?

The tracks you've mentioned there are just the tip of an iceberg. The 4 CD set is awesome in its scope of demos, out-takes, radio jingles, interviews, etc... It may be useful to some BH fans out there to know exactly what is contained on What You Been A-Missin', if for no other reason than to compare against your own collections.

If you'll permit me to suck up some bandwidth, I'll present for your consideration the contents of What You Been A-Missin'. Please note that track names appear BELOW the locations and dates of those recordings:

What You Been A-Missin' (bootleg multi-disk)

Disc 1 - Lost And Found Home Recordings

1949, Lubbock, TX
1. My Two Timin' Woman (1:28)
Buddy, just 13 years old Home Recordings - 1952, Lubbock, TX
2. I'll Just Pretend (2:17)
3. Take These Shackles From My Heart (1:47)
Home Recordings - 1953, Lubbock, TX
4. Footprints In The Snow (1:19)
Nesman Studios, Wichita Falls, TX 1954-55
5. Gotta Get You Near Me Blues (1:54)
KDAV Studios, Lubbock, TX 1954-1955
6. You And I Are Through (2:06)
7. Memories (2:19)
Nesman Studios, Wichita Falls, TX June 7, 1955
8. Baby Let's Play House (2:28)
9. Down The Line (2:26)
10. Baby Won't You Come Out Tonight (1:55)
11. I Guess I Was Just A Fool (2:16)
12. Don't Come Back Knockin' (2:00)
13. Love Me (1:55)
Bradley's Barn Studio, Nashville, TN January 26, 1956
14. Love Me [Take 10] (2:23)
15. Don't Come Back Knockin' (2:13)
Norman Petty Studios, Clovis, NM January - April, 1956
16. Because I Love You (2:38)
17. It's Not My Fault (1:19)
18. Rock-A-Bye Rock (2:21)
Bradley's Barn Studio, Nashville, TN July 22, 1956
19. Rock Around With Ollie Vee [False Start/Take 8] (2:38)
20. I'm Changin' All Those Changes [Take 4] (2:16)
21. That'll Be The Day [Take 19] (2:31)
22. Girl On My Mind [Take 3] (2:22)
23. Ting-A-Ling [Take 7] (2:42)
Bradley's Barn Studio, Nashville, TN November 15, 1956
24. Rock Around With Ollie Vee [Take 12] (2:22)
25. You Are My One Desire [False start/Take 3] (2:32)
Venture Studio, Lubbock, TX December, 1956
26. Gone [Take 1] (1:02)
27. Gone [Take 2] (1:11)
28. Have You Ever Been Lonely [Take 1] (1:21)
29. Have You Ever Been Lonely [Take 2] (0:28)
30. Have You Ever Been Lonely [Take 3] (0:50)
31. Brown Eyed Handsome Man (2:06)
32. Good Rockin' Tonight (1:55)
33. Rip It Up (1:27)
34. Blue Monday (1:57)
35. Honkey Tonk (3:27)

Disc 2 - Let's Go!

Venture Studio, Lubbock, TX November/Early December, 1956
1. Blue Suede Shoes (1:51)
2. Shake, Rattle And Roll (1:33)
3. Bo Diddley (2:14)
4. I Ain't Got No Home (1:56)
5. Holly Hop (1:34)
Norman Petty Studios, Clovis, NM March 12, 1957
6. Bo Diddley (2:21)
Norman Petty Studios, Clovis, NM March 13, 1957
7. Last Night (1:53)
8. Maybe Baby (1:56)
Norman Petty Studios, Clovis, NM April 8, 1957
9. Words Of Love (1:30)
10. Not Fade Away (2:20)
Norman Petty Studios, Clovis, NM June 29 - July 1, 1957
11. Peggy Sue (2:29)
12. Jingle For Bob Thiele (0:32)
13. Jingle For Murray Deutch (0:32)
14. Oh Boy! (2:05)
15. Send Me Some Loving (2:40)
16. It's Too Late (2:29)
Norman Petty Studios, Clovis, NM December, 1957
17. Mona [Rehearsal] (2:04)
18. Mona [Take 1] (1:15)
19. Mona [Take 2] (2:34)
20. Mona [False Start/Take 3] (2:45)
Bell Sound Studios, New York, NY January 25-26, 1958
21. That's My Desire [Take 1] (0:39)
22. That's My Desire [Take 2] (1:21)
23. That's My Desire [Take 3] (2:25)
Norman Petty Studios, Clovis, NM February 14, 1958
24. Take Your Time [Take 1] (0:29)
25. Take Your Time [Take 2] (1:08)
26. Take Your Time [Take 3] (1:56)
27. Fool's Paradise [Take 1] (2:27)
28. Fool's Paradise [Take 2] (2:29)
29. Fool's Paradise [Take 3] (2:28)
30. Think It Over [Take 1] (0:17)
31. Think It Over [Take 2] (1:26)
32. Think It Over [Take 3] (1:47)
33. Think It Over [Take 4] (1:49)
34. Think It Over [Take 5] (1:48)
Norman Petty Studios, Clovis, NM May 25, 1958
35. Lonesome Tears (1:44)
Coral Records Studios, New York, NY June 19, 1958 [8 PM -10 PM]
36. Now We're One (2:19)
Norman Petty Studios, Clovis, NM Late July - Mid-August, 1958
37. Love's Made A Fool Of You (2:06)
Radio Station KLLL, Lubbock, TX September 1, 1958
38. Jingle For Radio Station KLLL [Take 1] (0:28)
39. Jingle For Radio Station KLLL [Take 2] (0:24)
Radio Station WACK, Newark, NJ 1958
40. Promo For Radio Station WACK (0:10)
Radio Station KSYD, Wichita Falls, TX 1958
41. Promo For Radio Station KSYD (0:06)

Disc 3 - In New York

Coral Records Studios, New York, NY October 21, 1958
1. Raining In My Heart (2:59)
2. Moondreams (2:49)
Apartment 3B, The Brevoort, New York, NY December 3, 1958
3. That's What They Say (1:12)
4. What To Do (1:54)
Apartment 3B, The Brevoort, New York, NY December 5, 1958
5. Peggy Sue Got Married (1:47)
Apartment 3B, The Brevoort, New York, NY December 8, 1958
6. That Makes It Tough (2:14)
Apartment 3B, The Brevoort, New York, NY December 14, 1958
7. Crying, Waiting, Hoping (1:48)
Apartment 3B, The Brevoort, New York, NY December 17, 1958
8. Learning The Game (1:31)
Radio Station KLLL, Lubbock, TX December 27, 1958
9. You're The One (1:31)
Apartment 3B, The Brevoort, New York, NY January 1 - 22, 1959
10. Wait 'Til The Sun Shines Nellie (1:13)
11. Slippin' And Slidin' [Take 1] (3:07)
12. Slippin' And Slidin' [Take 2] (3:32)
13. Slippin' And Slidin' [Take 3] (3:32)
14. Drown In My Own Tears/M. Elena/Dearest (5:16)
15. Dearest (1:51)
16. Love Is Strange (1:40)
17. Smokey Joe's Cafe (2:11)
18. Leave My Woman Alone (1:20)
Radio Station KGLO, Mason City, IA February 3, 1959
19. Newscast About Plane Crash (0:51)
Radio Station WNOE, New Orleans, LA February 3, 1959
20. Newscast About Plane Crash (0:23)
Radio Station KLLL, Lubbock, TX February 3, 1959
21. Newscast About Plane Crash (0:37)
Buddy Holly Interviews (Dates Noted)
22. Interview With Red Robinson [10.23.57] (3:04)
23. Interview With Dale Lowery [1.31.58] (1:35)
24. Interview With Pat Barton [1.31.58] (2:52)
25. Interview With Alan Freed [9.23.58] (1:53)
26. Interview With Dick Clark [10.28.58] (1:55)
CBS Television Studios, New York, NY January 29, 1958
27. That'll Be The Day (1:48)
28. Peggy Sue (1:56)
29. Interview With Ed Sullivan (0:36)
CBS Television Studios, New York, NY January 29, 1958
30. Oh Boy! (2:08)
Live At The London Palladium, London March 2, 1958
31. That'll Be The Day (2:11)
32. Peggy Sue (1:56)
33. Oh Boy! (2:06)
Unknown Location And Date
34. Norman Petty Defends Himself (0:28)
Lubbock, TX 1964
35. A Message To The Dutch Buddy Holly Fan From Ella And Lawrence Holley (1:22)

Disc 4 - Buddy For Others

Sonny Curtis - Nesman Recording Studios June 7, 1955
1. Because You Love Me (1:52)
2. I'll Miss My Heart (2:22)
Gary Dale - Norman Petty Studios March 1, 1957
3. Go Boy Go (2:33)
4. The Golden Rocket (2:17)
5. Gone (2:10)
6. I Overlooked An Orchid (2:41)
Jim Robinson - Norman Petty Studios March/April, 1957
7. Whole Lotta Lovin' [Take 1] (2:10)
8. Whole Lotta Lovin' [Take 2] (2:08)
9. Whole Lotta Lovin' [Take 3] (2:08)
10. It's A Wonderful Feeling (2:28)
Jack Huddle - Norman Petty Studios March/April, 1957
11. Starlight (2:08)
12. Believe Me (2:31)
Fred Crawford - Norman Petty Studios July 14, 1957
13. By The Mission Wall (2:33)
Gary Dale - Norman Petty Studios July 14, 1957
14. Look To The Future (1:54)
15. Honey Honey (2:34)
Charlie Phillips - Norman Pety Studios July 1957
16. Sugartime (2:16)
The Norman Petty Trio - Norman Petty Studios July 20-22, 1957
17. Moondreams (0:51)
Tick Tucker - Norman Petty Studios August, 1957
18. Don't Do This To Me [Take 1] (2:23)
19. Don't Do This To Me [Take 1] (2:23)
20. Patty Baby (2:12)
Ivan [AKA Jerry Allison] - Norman Petty Studios February 19, 1958
21. Real Wild Child [Take 1] (2:21)
22. Real Wild Child [Take 2] (2:21)
23. Oh You Beautiful Doll [Take 1] (1:18)
24. Oh You Beautiful Doll [Take 2] (1:18)
25. Oh You Beautiful Doll [Take 3] (1:17)
Waylon Jennings - Norman Petty Studios September 10, 1958
26. Jole Blon (1:52)
27. When Sin Stops [Take 1] (2:13)
28. When Sin Stops [Take 2] (2:07)
The Nighthawks - Norman Petty Studios 1958
29. When Sin Stops (2:07)
Lou Giordano - Beltone Recording Studio, New York, NY September 30, 1958
30. Stay Close To Me (1:56)
31. Don't Cha Know (1:48)
Sonny West - Unknown Location - 1957
32. Oh Boy! (2:04)

Glad I got that straightened out.

This message has been edited. Last edited by: Charles Austin,

I think I've heard every single Buddy song listed above, and some of the songs that he produced for others, though in that category there's more that I haven't heard than I have heard. Anyways, what I'm missing out on is the different takes, and false starts. Sadly, I think that that's where it's possible to get the best ideas of how he feels about his music. I know that during the false starts of Mona (and there are many) he's asking about echo, asking Jerry to start again, all sorts of stuff. For someone who had had no musical training, or professional training, anyway, he sure knew what he was doing. I'm not sure what song it was at the beginning of, but on the Real Buddy Holly Story, he's telling J.I. how to play the drums during a certain part of the song.
The one track-what's Norman defending himself against? Before or after Buddy's death? Because if it's after, I can surely imagine, but before Buddy died?......

Yep, I've heard all of this material, myself, although not the multiple takes on a few songs and some of the radio jingles.

I agree, the false starts and out-takes have always fascinated me most... That's a side of Buddy that remains unfortunately hidden from the spotlight---the way he created music is often described on paper, but most listeners only ever hear the "finished" work. To me, watching and listening to a song being built from the ground up is like magic---the "finished" version is just the icing on the cake.

The various radio station jingles sound fun, too. As for the Norman Petty "defense" tape, I'm sure that he's defending his butchering Buddy's demo tracks. Norman was an opportunistic hack, in my opinion, who lucked into working with Buddy Holly and realized that Buddy was the goose that laid the golden egg---forget the Crickets. Look at the way Petty actually tried to take credit for writing Buddy's original songs.

Obviously though, it seemed that Norman thought that if he could keep the Crickets in Texas, then he could keep Buddy in Texas too, though that didn't happen. Because while it seemed like he often didn't give them a second thought, well, when Buddy announced him and the Crickets were leaving Norm, well, he made the Crickets his best friends in a hurry.
It annoys me that Jerry and Joe B. have never seemed to have a very strong voice about what should happen to Buddy's music, though they refused to touch the Apartement Tapes, (maybe that's when their voice was silenced, after that refusal) which is when Norm brought in another group. Probably the only bright side to how Norm took advantage of Buddy and his music is that this was happening to all rock and rollers. Still happens today, though I'm not sure to what extent.
Mona is an excellent example of how Buddy "built a song up from the ground." He plays the tempo up a bit, then down, throws a couple different chords in there, and is playing around with the echo too. That's probably the best example that will ever be available to us to showcase Buddy's performance in the studio, not just on the radio.

Well, yes, I blame Norman Petty for much of what went wrong with the Crickets---but Jerry and Joe B. were responsible for making some bad decisions, too.

I understand that the boys were still wet behind the ears, and they probably placed a lot more trust in Petty's "professionalism" than they should have... Strange, although Buddy was basically a kid himself, he was still professional enough to know when a producer was taking advantage of him, meaning he was wise beyond his years in show business.

When the showdown over money and work schedules came, Jerry & Joe had the option of trusting Norman's professionalism (a web of lies) or Buddy's professionalism (pure instinct), as I read it. And they chose poorly.

It still kinda irks me to see The Crickets receiving so much adoration decades later, when it was they who gave up on Buddy, not the other way 'round.

As I've stated elsewhere in these boards, Buddy was a hardheaded go-getter when it came to business---and, while he didn't always make the best decisions, he sure as hell learned fast from his mistakes.

Too bad the same can't be said for The Crickets.

Personally, I think that the Crickets deserve all the adoration that they do get. Again, when I say the Crickets, I mean the real ones, Jerry Allison, Joe B. Maudlin, Niki Sullivan, and even Sonny Curtis. Joe B. has been quoted as saying that it wasn't that Buddy Holly and the Crickets broke up, Buddy Holly and the Crickets quit performing together. Just a more professional way of putting it, I guess.
Buddy was the oldest of them, remember that. Older than Jerry by three years and older than Joe B. by four years. And I guess that factor reared its head in the end, though previously the boys' friendship had always overridden it before.
You're right, that Buddy never gave up on his bandmates, and they probably did disappoint him when their decision was made. As much fun as it is blaming it all on Norm Petty because his is the most obvious, the boys were growing up too. Jerry and Buddy were married now, wanting to be with their wives rather than each other. And Buddy was showing maturity, maybe more than his years. His bandmates weren't, and the lack of money for Buddy was probably talking. It is quite a tangled web. They would have gone nowhere if Norm Petty hadn't let four boys from Texas have their way in the studio, but look at where that got them. Bootleg box sets, and all but the rock and rollers have forgotten Buddy, and the Crickets.

quote:

---

Originally posted by Charles Austin:
_Disc 1 - Lost And Found Home Recordings - 1949, Lubbock, TX_
1. My Two Timin' Woman (1:28) - Buddy, just 13 years old Home Recordings - 1952, Lubbock, TX

---

When I first heard this song, I thought I had downloaded the wrong song, or that someone had labeled it wrong. Surely this couldn't be Buddy, even though critics of his whole recording career say that he sounds like a woman on this tape. Surprised that he didn't destroy it, like he is reportedly to have destroyed a cover of Elvis' I Forgot to Remember to Forget. Then I started listening to it again, and what came to my attention was the guitar work. And that's what convinced me that though it didn't sound like Buddy, it surely was, because of the guitar work.

There is orchestra strings on the track of Moondreams, so you mean to say that that was all overdubbed later? Not to sound contradictory or anything, because I know you're just copying down what the box must say, yet I surely remember reading somewhere that Norman had specially asked Buddy to record Moondreams because it was a song that the Norman Petty trio had recorded, and obviously, Norm felt that if Buddy recorded it, maybe it would bring some recognition back to the song, yet Buddy didn't want to bother with recording it. For some reason, I think it was on Peggy Sue's website I read that. And wasn't You're the One recorded at the radio station that Waylon Jennings was working at the time? Mind you, the material is all bootlegged, do I expect all the information to be correct to the letter?
Confused.

Actually, when I cut and pasted that huge column of text into the message, I think it lost some hard carriage returns, which staggered the descriptions. For example, where it says...

1. Raining In My Heart (2:59)
2. Moondreams (2:49) Apartment 3B, The Brevoort, New York, NY December 3, 1958
3. That's What They Say (1:12)

...it should properly read...

1. Raining In My Heart (2:59)
2. Moondreams (2:49)
Apartment 3B, The Brevoort, New York, NY December 3, 1958
3. That's What They Say (1:12)

...so the description applies to the selection beneath it. I realized there was a problem earlier, when I noticed the Lou Giordano entry was not only misspelled but was also on the wrong line. Giordano's description, of course, applies to "Stay Close to Me," immediately under it. Give me a bit to sort it out and I'll edit the big post.

Does anyone know anything about the lawsuits lately, and whether or not we're ever going to get a official Buddy Holly box set with everything that we have been missing?

According to several people who definitely know (but whose names I'm not going to provide here for reasons that will become apparent), the truly complete Buddy Holly boxed collection may never materialize.

The person who holds virtually all the Buddy Holly licensing rights has repeatedly thwarted attempts to release certain BH materials and new compilations.

As I understand it, there's a lot of stuff out there that we haven't heard, such as interview tapes and acetate discs owned by private individuals who have tried to publish them before, but who have faced legal action by the individual mentioned above.

I know, this all sounds very abstract, but I'm not going to name names or point fingers in any direction. Let's just say that there are stubborn and shortsighted parties involved who care more about their piece of the pie than about bringing Buddy's music to longtime fans and new audiences.

This message has been edited. Last edited by: Charles Austin,

I heard that just before Norm Petty became seriously ill with lukemia that he had found some tapes in his tape vault that Buddy had recorded, but for some reason or another, they had been forgotten about. There were plans to make the tapes available, but as I said, he then became seriously ill and plans fell through. It frustrates me so: Buddy Holly made rock and roll as we know it today. You'd think that the certain parties who had known Buddy would want to keep at least his music alive for a very long time to come, and would be fighting heart and soul. If I understand whose names you're not naming, it seems to be the opposite, sadly.

I just found a version of Peggy Sue off the album What You Been A-Missin, and it seems a bit different than the one we are all so familiar with. Not only does Buddy not hiccup as much, rather slurring the holds on words, and only hiccuping more towards the end, I also wonder if this is the take that Buddy discovered that he couldn't flip fast enough from rhythm guitar to lead guitar, because the solo has something different in it, I don't know what it is, but I believe that the chords are different. At the beginning of the solo there's what I would call a chord crash, assuming this is the version where Buddy discovered he couldn't switch fast enough, I think he tries to, can't do, and just goes on a rhythm solo, but throughout the solo he's trying to flip, and keeps failing. The end of the solo is also a bit different, like the whole solo is, but hard to explain.. Also at the beggining you can also hear J.I. tapping his foot pedal, counting Buddy in.

Buddy fail? Omg was this a cover? Theres nothing Buddy Holly couldnt do with that Strat, and although I dont think I've heard this version, I find it a little hard to believe that Buddy was struggling...

Yeah, the first time that the boys tried Peggy Sue the way that J.I. wanted it, there was a switch on Buddy's Strat that he couldn't switch fast enough to go from rhythm guitar to lead guitar in time for that solo. What they ended up doing finally was that Niki knelt at Buddy's side, and flipped the switch at Buddy's signal (A nod from Buddy.) The reason I think this is one of the first tries is just because the solo sounds a bit different. It's not like he failed, it's more that what he was trying to do, the Strat wasn't built for. It probably had something to do with what chord he was playing just before he switched, he couldn't get his fingers around the guitar fast enough. If it makes you feel any better in knowing that Buddy didn't fail, we'll say that it wasn't Buddy's fault for not being able to flip from rhythm to lead fast enough, it was whoever designed the Strat.

Has anyone else heard the first version of Baby won't You Come Out Tonight? I can hear someone talking over Buddy singing, but I don't know if it's a producer in the control box or if someone overdubbed it later.
Love Me with the studio intro?! Buddy sounds so close, it's like he just recorded it yesterday. I think he's talking about Joe B keeping the mic close to his bass, cause Buddy says something about he having trouble keeping right into it, he (Joe B) keeps having to turn around this way. Most studio tapes that have Buddy talking have him sound so far away, and you can rarely hear what the producer says in reply, but oh, on this tape, he sounds so close.

I just realized that there is only one Buddy Holly song that I have never heard, and that is one song that has also never been mentionned on this board: Baby It's Love. Has anyone else heard this song? Maybe I heard a clip of it somewhere, because I have the feeling it's a Bo Diddely beat, a Not Fade Away beat.
Well, technically speaking, I haven't heard every single Buddy song, because there's a lot of outtakes and stuff I haven't heard, but yeah. Except for Baby It's Love, I have heard at least one version of every single Holly song.

"Baby, It's Love" is from Buddy's pre-rock & roll days, when he was teamed with Bob Montgomery. It's definitely a faster Western Swing tune, complete with fiddle and hand-clapping. One of the better Buddy & Bob tunes.

quote:

Originally posted by buddy_blue:
Has anyone else heard the first version of Baby won't You Come Out Tonight? I can hear someone talking over Buddy singing, but I don't know if it's a producer in the control box or if someone overdubbed it later.

That talking in the background are fans chatting about the song, as Ella Holley (Buddy's mom) plays the demo for them on her turntable. This is one of those hardcore bootlegs I spoke of earlier---it was recorded right in Mrs. Holley's living room without her knowledge, by a fan with a tape recorder in his backpack. Bill Griggs says he even knows who the culprit was.

This was a pretty cold trick to pull on Mrs. Holley, who would gladly let fans listen to Buddy's demo discs on demand, as long as they didn't try to record them. What's really sad about this is that Mrs. Holley didn't realize that many of the demos were on acetate---acetate records are, like, ten times more fragile than vinyl records---so, everytime she played the discs for Buddy's fans, she was destroying them.

The Holly family also let fans play Buddy's Strat when it was in their possesion....if I was offered a chance like that, I don't know if I could take it. I mean, to look at it out of the glass box it's in now would be a wonderful chance, but I don't know if I could actually play it, not just because I'm only a so-so guitarist, but also because that's Buddy Holly's guitar. The Buddy Holly's guitar. I don't think I could.

quote:

Originally posted by crazy_for_buddy:
Buddy fail? Omg was this a cover? Theres nothing Buddy Holly couldnt do with that Strat, and although I dont think I've heard this version, I find it a little hard to believe that Buddy was struggling...

Actually, I found another version of Brown-Eyed Handsome Man, it's basically the same words and everything, but it's obviousslt not a take that Buddy was happy with, and here's why. He loses his place when he sings "Aroundin'third, he was a-headin'for home" he loses his place and starts to mumble, and all you catch is a-headin' for home. I mention this for two reasons. Buddy Holly was not a quitter. He lost his place, but he didn't back away from the mic, asking for another take. He was this far into the song, he might as well go all the way. And, of course, this just goes to show that the Buddy Holly Story is wrong yet again, as when Buddy loses his place in his music when Maria Elena walks in, he stops all and gets out of there. However, I think this was an okay liberty to take with Buddy's personality, as it shows how impulsive he was with Maria Elena.

This message has been edited. Last edited by: buddy_blue,

That verse in Brown Eyed Handsome Man is about baseball. Goes like this:

Two-three's the count, and nobody on,
He hit a high-fly into the stands,
A-roundin' third, he was a-headin' for home
It was a brown-eyed handsome man