When I got back into collecting music a few years ago, after a hiatus that was born from the flexibility of the MP3 era, The “Chirping” Crickets was one of the first albums that I wanted to pick up. However, at the time, it had been out of print for years and it would subsequently take European grey labels, such as WaxTime, to re-issue this as well as many other classics. When I class WaxTime as a grey label, it is because their releases are not officially sanctioned by the record labels but are instead re-issues of albums that have gone beyond the time limitations of copyright in particular regions of the world. Subsequently, these records are not always mastered or pressed from the highest quality masters but from consumer-grade releases such as high-resolution digital downloads or CD. In this particular case, it sounds as though The “Chirping” Crickets album has been pressed from a CD release. That isn’t to say that it’s bad, but there are elements where the pressing is a little shrill, particularly noticeable in Buddy Holly’s vocal. Yes, this is an old recording, but it should arguably be a little smoother. Nevertheless, the record and associated mastering is musical and I find myself thoroughly enjoying the album from start to finish. 

The record cover is nicely reproduced and I’ve always considered the cutout look, see hairline, to be hilarious. The rear cover is completely different, from any prior releases, with the reproduction of original liner notes as well as an additional blurb that will likely appeal to fans of Holly and The Crickets. To be quite honest, I’m rather impressed with the rear cover on this release for it is compelling to hold as I listen to the album. It’s presented nicely, going a little further than some of the official re-issues. Additionally, the inner sleeve is an archival anti-static sleeve that ensures dust and static is kept to an absolute minimum. Collectors will attest that these sleeves are hard to come by as re-issues are often delivered in the most hideous inner sleeves, regardless of price. It is therefore refreshing to see a secondary label go above and beyond for music lovers. 

The vinyl itself is beautifully silent and has a generous heft to it with a blackness that can only be rivalled by a black hole. The only limitation of this release is the digital source. I do not doubt that if WaxTime were presented with a better master, this would be off-the-charts good, rather than enjoyably adequate.

This particular reissue also included 4 Bonus Tracks that were absent from the original release and they’re, in my opinion, value-added additions. Nevertheless, for the purists out there, you’d be well-advised to consider the favourably reviewed 2016 Analogue Productions re-issue which has the original track listing or the Apple Digital Master available on Apple Music.

SIDE ONE

Oh, Boy! is a great toe-tapping song to get the album started and sets the tone for the entire record. 

Not Fade Away has always been a favourite of mine. The lyrical delivery and musical pauses make this tune truly great. The Rolling Stones covered this song and made it their own in a rendition that pays homage to the original while amplifying it and ensuring that it remains one of the greatest songs from the era. 

You’ve Got Love has a creamy smoothness that I simply adore and is exactly what I think of when I think of the 50s sound. 

Maybe Baby is a song that I can’t help but sing along to. Sensational! It has also been covered extensively with The Hollies’ recording being a valiant re-styling effort that stands out from the crowd, due in part to its slower pop-driven tempo. 

It’s Too Late is a thoroughly enjoyable ballad; one that I would have loved to have heard Elvis Presley record. Nevertheless, this Chuck Willis song is superbly covered and if you haven’t checked out the original, you should because it is excellent in its own right. Roy Orbison’s recording of It’s Too Late is simply magical while Otis Redding’s rendition is simply adequate and Derek & The Dominos’ rendition is similarly assigned. Of course, if you’re interested in interesting cross-overs, Kanye West sampled It’s Too Late for Gone as heard on Late Registration and it works remarkably well.  

Tell Me How is an incredibly addictive upbeat track. If there is one criticism, it is merely that it is too short. Of course, that is also one of its strengths but if you’re like me you’ll want to drop the needle on Tell Me How again. In one way, we can be thankful that digital music, specifically streaming music, has made such a feat much more convenient. 

Blue Days, Black Nights is the first bonus track available on this particular version. It’s a great song, but I’d be lying if I said that it didn’t change the flow of the album. Nevertheless, I love it, so it is a value-added bonus.

Rock Around The Ollie Vee is the second bonus track and is excellent and another song that I would have loved to hear Elvis cover. 

SIDE TWO

That’ll Be The Day needs no introduction, fanfare, or explanation, suffice to say that it is timeless Buddy Holly & The Crickets. So timeless in-fact that it could be suggested That’ll Be The Day was a song that was an original element of the launching of The Beatles as it was the first song recorded by The Quarrymen; the band that would ultimately morph into The Beatles. Linda Ronstadt also covered the song in a country-pop rock styling that is different, yet similar, to the original but it is Foghat’s rendition from 1974’s Energized that I really enjoy as they took the song, reinterpreted it, and made it their own while paying homage to the original. 

I’m Looking For Someone To Love is perfectly tracked following That’ll Be The Day and while it isn’t as superb as the aforementioned song, it is thoroughly enjoyable.

An Empty Cup (And A Broken Date) is a killer 50s barbershop-styled ballad. They don’t make them like this anymore!

Send Me Some Lovin’ continues the style of An Empty Cup (And A Broken Date) but isn’t nearly as impressive. It is, however, a solid B-side originally recorded superbly by Little Richard. As a rock and roll standard, it has been covered rather extensively by the likes of Sam Cooke, Otis Redding, Dean Martin, and the incomparable John Lennon. All the aforementioned artists covered Send Me Some Lovin’ wonderfully with many matching, if not exceeding, the brilliance of the original Little Richard recording and The Cricket’s interpretation. 

Last Night is a great song, although I’ve often felt it is a little eerie, in a similar vein to Santo & Johnny’s haunting Sleepwalk; a song I adore despite the musical style. 

Rock Me Baby is one of my favourite songs from The “Chirping” Crickets. The rhythm is perfect and while not the final song on this reissue, as the closer on the original album release, it most certainly encourages the listener to play the album again. 

Don’t Come Back Knockin’ is a solid addition with a toe-tapping beat. 

I’m Changing All Those Changes is a great bonus closing track that encourages me to spin the album again and I don’t know about you, dear reader, but the guitar plucking on I’m Changing All Those Changes, while not necessarily perfect, is sublime.

Overall, The “Chirping” Crickets is a landmark album that should most certainly be in every music lover’s collection. Purists will undoubtedly love the original tracking but those wanting more will likely welcome the additional four songs that have been included on this reissue. As for me, I can appreciate either but if I am to be completely honest, I lean a little on the purist side and while I can understand WaxTime expanding the re-issue to set itself apart from other releases, I like my vinyl to consist of the original tracking and consider digital releases to be the perfect opportunity to include additional recordings.