A Nostalgic, Heartbreak Anthem of Defiance and Moving On
Ah, the music of Buddy Holly. It carries with it a sweet, yet profoundly sad echo, especially when we talk about his final recordings. Few songs from that era resonate with such a beautiful, tragic irony as “It Doesn’t Matter Anymore”. This soaring, string-laden pop ballad, penned by none other than the remarkably talented teenage idol Paul Anka, stands as a shimmering testament to Holly’s evolving artistry, and tragically, became a cornerstone of his posthumous legend.
The single, paired with the equally lovely “Raining in My Heart” on the B-side, was released in January 1959 on the Coral label—a mere month before that fateful plane crash in an Iowan cornfield on “The Day the Music Died,” February 3, 1959. Its chart performance is inextricably linked to this devastating event, becoming a bittersweet sensation. In the United States, it reached Number 13 on the Billboard Hot 100, marking Holly’s last US Top 20 hit. Across the pond, the reception was even more significant: “It Doesn’t Matter Anymore” climbed all the way to Number 1 on the UK Singles Chart in April 1959 and stayed there for three weeks. This made it a historic record—the first posthumous Number 1 single in UK chart history. It also topped the charts in Canada and Ireland and peaked at Number 2 in Australia, cementing its status as a global phenomenon born from tragedy.
The story behind this song adds another layer to its poignant legacy. Buddy Holly, ever the innovator, was looking to branch out from his signature rockabilly sound with The Crickets. He was inspired by the lush orchestral arrangements he’d heard in songs like Paul Anka’s own “You Are My Destiny.” Anka, who had befriended Holly on tour, wrote “It Doesn’t Matter Anymore” specifically for him. The recording session, known as “The String Sessions,” took place in mid-October 1958 at Decca’s New York studio. It was a departure for Holly, who was backed not by his usual band, but by an 18-piece orchestra under the direction of Dick Jacobs. Holly reportedly nailed the track on his first take, a testament to his innate musicality, despite the new, sophisticated sound. This shift to a more polished, orchestrated pop style suggests a tantalizing, heartbreaking glimpse into the musical direction Holly might have taken had he lived.
In its essence, “It Doesn’t Matter Anymore” is a declaration of emotional freedom after a painful breakup. The lyrics speak to a broken heart that has finally, defiantly, decided to move on: “There’s no use in me a-cryin’, I’ve done everything and now I’m sick of tryin’, I’ve thrown away my nights, And wasted all my days over you.” It’s the sound of a young man finding his strength, shrugging off the sorrow, and asserting that his former flame is, quite simply, irrelevant now: “You go your way and, I’ll go mine, Now and forever till the end of time, I’ll find, Somebody new and baby, We’ll say we’re through, And you won’t matter anymore.”
But for those of us who remember, this message of finality and indifference takes on a profound, unbearable double meaning given the circumstances of its release. The title, in particular, carries a tragic irony—a sentiment that the young Paul Anka recognized himself. In an act of profound respect and generosity, Anka donated his composer’s royalties from the song to Holly’s widow, Maria Elena, acknowledging its heartbreaking significance and ensuring it would help look after his friend’s family.
To listen to “It Doesn’t Matter Anymore” today is to be swept up in the bright, youthful optimism of the music while simultaneously feeling the shadow of the tragedy that followed. It is a song that doesn’t just chronicle a personal heartbreak; it marks a cultural one, an indelible sonic artifact from the very edge of an era that was prematurely silenced. It reminds us of a time when the music felt so new, so vital, and yet so fragile.