WHAT NYMITH SAYS
Surprisingly, rock and roll lost its legs shortly after jumping on stage. All the big names appeared in 1955 and 56, released legendary singles, and began cobbling albums together around them, running a race that had less to do with getting somewhere and more to do with outlasting the competition. And as the pool of talent shrank rock and roll began to look more and more like the flash in the pan that Bill Haley's arrival predicted it would be. I do not think it entirely a coincidence that one year after the American public rejected Johnny Burnette and the Rock and Roll Trio, we got the début records of two of the lightest and softest acts in the business: Ricky Nelson and Buddy Holly. As the saying goes: "we get the rock and roll we deserve" (that is how the saying goes, right?). Here these two unapologetic wimps announced themselves and the public embraced them. Hey, Johnny Burnette even wrote for Ricky Nelson!
However, there was an important difference between the two latecomers on the scene. Ricky Nelson gave birth to the horrifying genre of the teen idol, the direct effects of which echo down to the present day. Buddy Holly gave us something very different; although his début record with his band The Crickets is fundamentally flawed by production decisions of the era, I still believe it to be the most important rock record of 1957. Right here is where pop-rock was invented and the cornerstone was laid. Take a listen to the minor track 'Tell Me How' for an example. There are bright "la-la-las" and "aaaahhhs," an inconsequentially innocent love lyric, "strum" given precedence over any attempts at "rock" and a subtle shift in tone to give the chorus a small amount of drama. What does that sound like a blueprint for? The Beatles' early career. Simplistic and de-clawed as it may be, it is still exciting to hear this change.
There also wasn't much of a legacy for Buddy if he didn't adopt this style because the man couldn't make it as a rocker. Lead-in track 'Oh Boy!' makes that abundantly clear as he tries without success to appear aggressive and commanding. It's not a bad ditty but it is painfully generic and unconvincing. In comparison, 'Not Fade Away' is a glorious invention as Holly takes the Bo Diddley beat and removes the machismo, creating a contemplative and hypnotic love song that's too confident to be sung by the boy next door yet without a trace of the demanding bad boy persona that Elvis codified. Buddy also sings it in a subtle new way, with the standard rockabilly hiccup slowed down and cooled off. This is something new.
Unfortunately for the album, only one other song hits that level of brilliance - the stone cold classic 'That'll be the Day' which I personally rank on a short list of genius pop melodies. This one gets to the heart of pop music's appeal: the simplicity, the familiarity, and the immediate emotional response. I had only heard the song once or twice before I heard The Chirping Crickets and yet when it started up I felt as if I had actually grown up with this song the way I did with The Beatles and I could only play it over and over again, smiling. THAT is pop perfection. Go listen to it.
And now... we come to The Picks. The Picks were a family vocal group from New Mexico who producer Norman Petty decided would make a great addition to the Crickets' sound. Back then, it might have appeared a viable move - Holly wasn't a legend and pop-rock was so newly minted that having a barbershop trio running scales in the background wouldn't have been seen as a weird choice (some of the same decisions were made for singing legend Patsy Cline's début record that same year). In hindsight, these production choices were terrible. 'Maybe Baby' is a sweet little tune underneath the "Aah-AAH-for-me's." Notably The Picks were not overdubbed onto either of the aforementioned classics.
There are also too many slow doo-wop numbers, always a struggle for me. You have to have grown up with this stuff to get its impact, I think. First there's 'It's Too Late' with its dramatic pauses and lines like "it's a weak man who cries." The chorus is better, as it's at least curious to hear Buddy show off his singing skills as he howls at the mike. Everything else on the album is upbeat from there, saving three more of these dirges to close out the record. 'An Empty Cup (and a Broken Date)' and 'Send Me Some Lovin' just do nothing for me. However, in fairness I would love to hear the Pickless versions, as when I momentarily tune out the overdubs the songs always improve. 'Last Night' is actually rather cute, with The Picks more subdued in the background, but I had to listen to it by itself to understand that, as on the album it just represents the last oxygen leaving the room.
Two classics that are available on any Buddy Holly Best Of, some cute inconsequential pop-rockers and some badly produced doo-wop: well, it's a mixed bag. Historically important (we'll see the development of his style as we continue through the project) and filled with the good vibes that made people fall in love with Holly but I'm thinking that anyone who needs an introduction to his art would be better off with the Best Of.
If you want a musical education there are certain records you absolutely must listen to. This is one but it's not a great record. For a lot of older folks this album is a sacred cow and I certainly wouldn't want anyone to slag off a record I formed an attachment to at an early age.
I actually managed 56 years, 46 of which being rather keen on music without ever hearing this album. I had heard the hits and tried my best to avoid ever hearing them again. Not a Buddy Holly fan going into this, not a Buddy Holly fan coming out. Listening to a very famous album for the first time, just for this review project. In the context of all the music we've been listening to from the 1950s this album seems a bit mundane but I can't listen to it with 1950s ears. I can't listen to it with teenage ears in the 1950s. I can only try to imagine and take it in on it's own merits in 2016.
The songs? A handful of catchy songs, a few real downers, one great guitar solo and some otherwise nice guitar playing. The music feels a bit under-developed to me and obviously interfered with by an interfering producer. It had potential.
What did you like about it Ticharu? ANYTHING???
Yes actually! Buddy Holly had a unique way of singing which thankfully wasn't copied much. I liked that. It's quirky and that very quirkiness kicked the door wide open for quirky oddballs. Buddy Holly inspired loads of people. He changed the course of pop music. Buddy Holly was great and maybe the next time I hear something by him I won't be so quick to turn it off.
COVER CRITIQUE; The innocent charisma-less charm of a bunch of straight A high schoolers. What can I say? It's a terrible photograph, taken in direct sun to make the boys squint at the camera. Making geeks look cool takes skill this photographer did not have. One star. Nymith
I can't find anything positive to say... Ticharu
