Ella Fitzgerald & Louis Armstrong – Ella And Louis Again (Album Review)

Released in 1957, Ella And Louis Again is the follow-up to the wildly successful Ella & Louis released a year prior; a release that was unapologetically intended to milk the chemistry of Ella Fitzgerald & Louis Armstrong. As a result, it sounds a little rushed, with a little less polish than its predecessor, but that isn’t to say that it’s a bad release but it does demonstrate just how extraordinary Ella & Louis really is.

As a double album with a considerably longer runtime than its predecessor, Ella And Louis Again brings the core musicians (sans Buddy Rich; Louie Bellson on drums) back for a second outing but is interesting in that it breaks with the formula of the original for seven songs are solo vocal performances; four from Armstrong and three from Fitzgerald. Naturally, these songs are so impressive that most listeners won’t blink an eye but an argument could be made that an album sans the solo recordings would have been a far better, and more concise, follow-up. Yes, dear reader, you can have too much of a good thing and while the song selection is solid, they’re not as stellar as those selected for Ella & Louis. It is important to note that upon release, the album was also made available as Volume One and Volume Two thereby reducing the runtime of each part to that of a traditional album.

The cover art for Ella And Louis Again is adequate but the original is iconic. Textual elements weren’t needed the first time around, for the master musicians told their story by merely sharing the same space. Disappointingly, the album artwork for Ella And Louis Again is both unimaginative and unappealing while simultaneously showing a disconnect between Fitzgerald and Armstrong. Whether intentional or not, it does mimic the disconnect within the music whereby a considerable number of tunes are solo efforts and those that are duets are, in many cases, inferior to that heard on their debut outing.

As it pertains to sonic quality, Ella And Louis Again doesn’t come close to the impressive audio experience of Ella & Louis; an Apple Digital Master with both high-resolution offerings and a Dolby Atmos mix. Ella And Louis Again is derived from the standard CD reissue and on its own, this isn’t too much of an issue but if you decide to listen to this album immediately after the first, you’ll be in for a shock. The difference is, pardon the term, night and day. The mastering is adequate but it isn’t the final word in sound quality as it relates to this particular release. What you’ll experience is a clinical reproduction that needs a drop in the treble and a boost in the mid and bass regions to sound its best.

While I may have various complaints, Ella And Louis Again is an excellent album in its own right that is arguably only dwarfed by the breathtaking Ella & Louis.

Don’t Be That Way isn’t the strongest opening. It’s a lovely song but it lacks the wow factor that was needed to launch an album such as this. Frank Sinatra’s rendition, however, has a little more swing and is, therefore, more appealing.

Makin’ Whoopee, however, would have been the quintessential lead-off track despite it being a solo Armstrong performance. It’s fun, witty, and has the same playful feel that I adored on Ella & Louis. Although, it has often been marred with controversy, surrounding the story arc, relating to the entrapment of men for makin’ whoopee.

Unpacking the lyrics you can definitely see the issue but the use of euphemisms throughout brings a smile to my face every time I hear it; in the same way as Chuck Berry’s cover of My Ding-A-Ling does. Perhaps, I never grew up, but who doesn’t find the word whoopee to be hilarious? As for the controversy, let’s just say that it doesn’t bother me, as I see the humour in it, but I can also understand why some may find it offensive.

Reflecting on the other covers of Makin’ Whoopee, Frank Sinatra’s is lovely, as is Shirley Horn's, but perhaps most interesting is that Ella Fitzgerald recorded the tune in 1958; a slightly different but lovely rendition! None, however, are quite as good as Armstrong’s interpretation, although The Ben Webster Quintet came awfully close on Soulville.

They All Laughed has a killer hook and is one of the best tracks on the album, despite its slow start. It does amaze me, however, that They All Laughed hasn’t been covered more in the modern era, or even reinterpreted with contemporary zeitgeists in mind for George Gershwin’s tune, as so many of his were, is timeless.

Fred Astaire’s original is magnificent as is Oscar Peterson’s interpretation.

Comes Love is magnificent and is one of the best jazz standards ever written and recorded. As a Fitzgerald solo outing, it’s perfect and while it’s been covered extensively, few come close to this particular recording. Although, Vince Jones' and Joni Mitchell's interpretations come close.

Autumn In New York is a beautiful slow-tempo jazz number. This recording is particularly unique as Autumn In New York is seldom performed as a duet. Some may subsequently lament Armstrong’s gritty vocal, for it is a little contrasty to the smooth jazz musical backing and Fitzgerald’s silky tones, but it works surprisingly well. Plus, Armstrong’s trumpeting is other-worldly.

Of the other renditions, Frank Sinatra’s is arguably the best while Diana Krall’s is a lovely up-to-date interpretation.

Let’s Do It (Let’s Fall In Love) is Louis Armstrong at his very best. The intonations in his vocal get me every time; magnificent! While this disappointingly wasn’t one of their duets, Fitzgerald did record a beautiful rendition of the song herself.

Stompin’ At The Savoy is a great toe-tapper that I would have loved to have heard performed live in any out-of-the-way jazz club in the 50s. The nostalgia, even though I never lived it, is strong when you listen to this jazz masterpiece and if you too would like to experience an incredible live recording look no further than Fitzgerald’s performance from the Chicago Opera House with the Oscar Peterson Trio.

Of the other available performances, Judy Garland’s is magnificent while Art Pepper’s is a stunning instrumental.

I Won’t Dance has a terrible opening but thankfully once Armstrong enters the mix, things start to pick up. I’d go as far as suggesting that Fitzgerald’s solo, recorded in 1961, is significantly better than this duet. Nevertheless, it isn’t one of the better songs on Ella And Louis Again but there are other excellent interpretations to listen to, such as Fred Astaire’s early recording, even if it isn’t as emotive as Frank Sinatra's. For modern renditions, look no further than Jane Monheit and Michael Bublé’s recording and check out the exceptional music video for Willie Nelson and Diana Krall’s interpretation.

Gee, Baby, Ain’t I Good To You? is a great tune and it’s wonderful to hear Armstrong’s trumpet again. Unlike the continuous inclusion throughout Ella & Louis, Armstrong’s magical trumpeting is only featured on six of the nineteen songs found on this release so it’s an audible pleasure when it appears in the mix.

Other notable renditions include the original from the Nat King Cole Trio, Diana Krall’s dedication to Nat King Cole, and Dr. John’s unpretentious recording on Afterglow. Dizzy Gillespie’s instrumental, while a little shrill, is also magnificent, as is Count Basie’s performance.

Let’s Call The Whole Thing Off is a masterpiece!

While I can’t think of a better interpretation, you may thoroughly enjoy Fred Astaire’s recording and Bing Crosby’s duet with Rosemary Clooney. Fitzgerald’s solo performance from Ella Fitzgerald Sings the George and Ira Gershwin Song Book is sung in a similar manner to the duet but I’ve got to be honest and say that I miss Armstrong when listening to this version.

These Foolish Things (Remind Me Of You), as a Fitzgerald solo recording, is flawless. Her vocal prowess is perfectly suited to the style and no one has done it better. In my opinion, this is Ella’s song. Although, Nat “King” Cole’s interpretation is magnificent as is Aaron Neville’s soulful rendition.

I’ve Got My Love To Keep Me Warm is a great tune but the sequencing shifts too much from These Foolish Things (Remind Me Of You) thereby creating a jolt to the senses; an aspect that wasn’t present on Ella & Louis. Fitzgerald would record I’ve Got My Love To Keep Me Warm a year later for Ella Fitzgerald Sings the Irving Berlin Song Book; a solid recording but nowhere near the duet found on Ella And Louis Again.

Willow Weep For Me is a solid Armstrong solo. While you’ll thoroughly enjoy listening to it, I’d suggest that it isn’t a song that you’ll seek out on its own. Wes Montgomery’s masterpiece, however, is well worth tracking down.

I’m Puttin’ All My Eggs In One Basket is an upbeat tune that is simply fun. They don’t make music like this anymore; an adage, yes, but one that rings true when you listen to a classic recording such as this. Armstrong did record the song in 1936 and while it’s lovely, I’m so glad it was rerecorded for this release for it’s an improvement over the original, particularly as it relates to the duet style. Fitzgerald also rerecorded it as a solo in 1958 and it's a little smoother than that on Ella And Louis Again, thereby making it a must-listen. Fred Astaire’s interpretation is also worthy of your time if you haven’t previously heard it.

A Fine Romance continues the lighthearted style. If only all tunes, particularly modern music, were this carefree? It’s not that I dislike modern recordings, many are exceptional, but when you go back and listen to this type of music you find there’s something special, often innocent, and excitingly memorable; elements that are sadly missing from many modern releases.

Fitzgerald rerecorded the tune for her album, Ella Fitzgerald Sings the Jerome Kern Song Book in 1963; it’s lovely but something is missing. Yes, dear reader, I feel it works better as a duet. That said, Kiri Te Kanawa knocks her solo out of the park.

Ill Wind is the final Fitzgerald solo performance, on Ella And Louis Again, and as beautiful as she performs it, I prefer Frank Sinatra’s recording from In The Wee Small Hours. Additionally, The Ben Webster Quintet recorded a masterful rendition on Soulville.

Love Is Here To Stay is perfect jazz club material and while it’s been covered considerably, it’s amazing that so many modern jazz musicians have overlooked it.

Is Fitzgerald and Armstrong’s interpretation the best version of the song? Yes and no!

When you have Sinatra performing it masterfully on Songs For Swingin’ Lovers, I simply don’t feel Fitzgerald and Armstrong matched his recording.

I Get A Kick Out Of You, Cole Porter’s opus, is the final Armstrong solo and what a performance it is. Yes, Sinatra recorded the song but in this case, as much as I love his rendition, Armstrong knocks it out of the park. Michael Bublé’s 2018 recording, from Love, is a solid modern take but is arguably too similar to Sinatra’s to set them adequately apart. Interestingly, Fitzgerald did record I Get A Kick Out Of You on Ella Fitzgerald Sings the Cole Porter Song Book from 1956; it’s magnificent and one can only wonder why it wasn’t performed as a duet on Ella And Louis Again.

Another notable recording is Rod Stewart’s from Fly Me to the Moon... The Great American Songbook, Vol. V.

Learnin’ The Blues is a great closer, especially with Armstrong’s trumpeting, but it is ultimately Fitzgerald’s gorgeous vocal that makes me want to play the album again. Frank Sinatra’s recording is one of the best, as is Willie Nelson’s from That’s Life, but the mix of Fitzgerald and Armstrong offers listeners something special that the solo recordings can’t give us; a rustic and simultaneously smooth rendition that can only be achieved due to the different, but complementary, styles of Fitzgerald and Armstrong.

While Ella And Louis Again can never live up to, or surpass, the brilliance of Ella & Louis it should not be ignored for if the former were a five-star release then this follow-up would be a four-star album; an excellent musical experience by anyone’s standards.

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Ella Fitzgerald & Louis Armstrong – Ella And Louis (Album Review)

Few albums are quite as revered as Ella Fitzgerald and Louis Armstrong’s Ella and Louis; a masterpiece if there ever was one. Recorded in 1956 at Capitol Studios, Ella and Louis is not only one of the greatest jazz albums ever recorded but one that will appeal to easy listening and swing lovers alike. Of course, and this is a subjective opinion, Ella and Louis is so beautiful that it will engage the soul of all music lovers. It’s a timeless classic!

As one of jazz’s landmark releases, Ella and Louis has naturally been released on just about every format available and was recently re-issued as a Dolby Atmos mix on Apple Music. While I was fortunate to have owned the HFPA (High Fidelity Pure Audio) Blu-ray release the Atmos mix on Apple Music is otherworldly. Yes, the Atmos mix is a lossy source and has been constructed from the original mono mix but the placement of players, vocals, and the listener in the soundstage is astonishingly good. Seriously, I’ve no idea who undertook this mix but they are a master of their craft. While you won’t be swept away as much as with other surround sound mixes, that take full advantage of the technology, this particular stream is immersive and proves that even mono recordings can benefit from upgraded Atmos mixes if the white-glove treatment is taken to ensure it sounds its very best. While all Atmos releases are not made equally, and some simply sound bad, this stream is so good that I question if I need to seek out the well-regarded Verve/Ume/Acoustic Sounds vinyl reissue. A strange argument, yes, but with limited funds, I must choose only the very best versions of the albums I love. This is one of them, of course, but as the stream, an Apple Digital Master, simply sounds right then perhaps it is time to be satisfied with what I have access to rather than constantly wanting more.

While Fitzgerald and Armstrong may be the main focus of this release, Ella and Louis wouldn’t have been so successful if it were not for the magnificent Oscar Peterson, Herb Ellis, Ray Brown, and Buddy Rich that laid the musical bed for Fitzgerald and Armstrong to shine. Armstrong’s trumpeting similarly soars as the band plays unobtrusively; a brilliant collaboration for Peterson et al are amongst the greatest jazz musicians in history and to take a backseat shows great humbleness. Similarly, one must acknowledge Verve founder and Producer Norman Granz’s song selection for there has rarely been a better sequencing in history. Without his guidance, Ella and Louis would have been a very different album.

Ella and Louis wasn’t the first time the two collaborated, nor would it be their last for the Verve trilogy of albums including this one, Ella and Louis Again (1957), and Porgy and Bess (1959) are amongst the finest ever recorded. It’s an odd pairing as you’ve got Fitzgerald with her delicately smooth vocal competing with Armstrong’s gravelly diction, yet the combination is a duet lover’s dream come true.

Can’t We Be Friends? is a beautiful opening track that sets the tempo for the album. Not too fast and certainly not too slow, thereby allowing the listener to settle in and relax with some smooth jazz-inspired music. Plus, Armstrong’s closing vocal element is simply magnificent far outperforming Frank Sinatra’s rendition from In The We Small Hours. Linda Ronstadt, however, delivers a silky performance on Lush Life; a rendition that doesn’t outperform this masterpiece but is notable in the same manner as Seth MacFarlane’s version from Once In A While is.

Isn’t This A Lovely Day? may shift the tempo to the slower side of the scale but the transition is fluid and the overarching style is so similar that you really don’t notice the shift for it feels natural. One of the most notable aspects of this tune is the subtle musical backing, particularly underneath Armstrong’s husky vocal. It’s a stunning contrast that is a pleasure to listen to. Then you have Fitzgerald’s silky tones that fuse with Armstrong's magnificent trumpet solo; a solo that will send you into a level of sonic shock if you’ve got a very revealing system for it rises above every other aspect of the music.

Of the other recordings of this classic tune, Fred Astaire’s various recordings are thoroughly enjoyable while others, such as those recorded by Tony Bennett, Diana Krall, and Seth MacFarlane are too overproduced for my liking. Bennett’s rendition, however, grows on you the more you listen to it.

Moonlight In Vermont is a magnificent tune and as much as I adore this rendition I’m smitten with Frank Sinatra’s version from Come Fly With Me. That said, Sinatra didn’t have Armstrong’s trumpeting which arguably takes Moonlight In Vermont to another level entirely. Willie Nelson, however, had Mickey Raphael’s harmonica to play against on Stardust; a brilliant reimagining of this classic tune. Other notable renditions include that from Billie Holiday, Chet Baker and the Gerry Mulligan Quartet, and Seth MacFarlane.

They Can’t Take That Away From Me is a fun toe-tapping tune with a mix of glee and melancholy. I adore this style of music whereby the lyrics tell a literal story, very clearly and unobstructed, for it becomes memorable; perhaps as memorable as the nostalgia the lyrics imply. While I love Frank Sinatra’s rendition from Songs For Young Lovers it pales in comparison to this recording. Diana Krall’s interpretation from Love Scenes, however, is simply magnificent. If you’re after an instrumental version, may I suggest Oscar Peterson’s recording from Pastel Moods.

Under A Blanket Of Blue is a masterpiece and one of my favourite songs from the album. Its romantic undertones are unmistakable and as with most of the songs from the era, and those preceding the recording, literal intent was far more paramount than in the modern era where interpretation is often subjective and often different from the intended meaning. Should you prefer an instrumental of this classic tune, Ben Webster’s rendition is incredible.

Tenderly is one song that if your system is overly revealing in the treble range, you may find Armstrong’s trumpeting to be mildly irritating for it is presented far louder in the mix than it probably should be. This is present on both the stereo and Atmos mix of the album but dropping the volume down a little will generally address that problem. Overall, Tenderly is a solid track but it’s also the weakest on the album. Of the other available renditions, Duke Ellington and His Orchestra performed it beautifully while Nat “King” Cole’s recording is also worth a listen.

A Foggy Day is the second Gershwin masterpiece featured on Ella and Louis; the first being They Can’t Take That Away From Me. Sinatra’s recording on Songs For Young Lovers is fantastic, as is Billie Holiday’s interpretation from Songs for Distingué Lovers, but neither come close to the perfection that is heard on this recording. Michael Bublé’s modernisation is also thoroughly enjoyable.

Stars Fell On Alabama, as with the other songs on Ella and Louis, is a spectacular jazz standard. The intertwining vocals of Fitzgerald and Armstrong are the highlight here as one is harmonic while the other is delivering the actual lyric. It’s magnificent!

Of the numerous recordings of Stars Fell On Alabama, some worthy versions that you should check out include recordings from Frank Sinatra, Billie Holiday, Doris Day, and Stan Getz.

Cheek To Cheek is an absolute favourite of mine. One of the best songs ever written; thank you Irving Berlin! The Fitzgerald/Armstrong collaboration is timeless and is the very best rendition ever recorded. Other notable recordings have been made by Andrea Bocelli and Veronica Berti and Frank Sinatra.

The Nearness Of You highlights Fitzgerald’s vocal prowess. What an amazing vocalist! Armstrong is no slouch on The Nearness Of You either, but when I think of this song it is Fitzgerald that I hear. Other incredible renditions of this classic tune include those recorded by Glenn Miller and His Orchestra, Rod Stewart, Barbra Streisand, and Willie Nelson.

April In Paris is a gorgeous closer that will leave you not only satiated but contemplatively willing to play Ella and Louis again for it is a true masterpiece. Other excellent renditions you may be interested in include those recorded by Frank Sinatra and Doris Day.

The adage that they don’t make music like this anymore certainly rings true for Ella and Louis is amongst the very best music ever recorded. While their other two Verve Records collaborative releases are a bonus for lovers of Ella and Louis, there’s something special about this first outing that was never replicated on those additional recordings thereby making Ella and Louis a must for any music collection.

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Frank Sinatra – In The Wee Small Hours (Album Review)

Widely regarded as a masterpiece, In The Wee Small Hours is one of the smoothest Sinatra albums while simultaneously being one of the most depressing. Its moodiness is arguably it’s appeal but I generally prefer Sinatra’s more upbeat recordings, similar to those heard on Come Fly With Me. That isn’t to suggest that In The Wee Small Hours isn’t an incredible album, just that you’ll get the most value out of the album when listening in a reflective mood. 

While I’ve often considered picking up a copy on vinyl, the somber nature of the recording has always deterred me and, subsequently, when I choose to enjoy In The Wee Small Hours, I turn to streaming services and to be completely honest, while I know vinyl aficionados will lament this opinion, the Apple Music stream, an Apple Digital Master, sounds absolutely stunning. The Apple Music edition is smooth and warm, albeit not as warm as vinyl would be, but for a lossy digital presentation, most people, myself included, would need nothing more than this release as it really is that good. 

In The Wee Small Hours Of The Morning is a delicately beautiful opening song and sets the tone for the entire album. Somber, yes, but delightful! 

Mood Indigo is a gorgeous easy listening tune that I could listen to on repeat indefinitely. They simply don’t make music like this anymore, do they? Few interpretations live up to Sinatra’s recording, or Duke Ellington’s original, but Vince Jones’ interpretation is one rendition that I encourage you to check out.

Glad To Be Unhappy works well within the album structure, but Glad To Be Unhappy simply doesn’t have a sonic element that will hook you in and become memorable. It really is, pure filler!

I Get Along Without You Very Well is an astonishingly good track. Over the years it’s become one of my favourite jazz standards. As with Mood Indigo, Vince Jones performs the song masterfully with a little more upbeat tempo than Sinatra and who can forget Diana Krall’s gorgeous interpretation on The Look Of Love?

Deep In A Dream is an adequate album track, but it’s nothing to write home about. 

I See Your Face Before Me flows beautifully from Deep In A Dream and is a lovely song in its own right.

Can’t We Be Friends? Is a great song; I love it! However, I consider the Ella Fitzgerald & Louis Armstrong rendition to be the gold standard. 

When Your Lover Has Gone is somewhat lacklustre as there is a little too much brooding to be heard and while Sinatra performs it well, it simply isn’t a standout song. 

What Is This Thing Called Love? has a gorgeous musical backing and is a lovely song.  

Last Night When We Were Young is another song that works well within the sequencing of the album, but it’s another tune that simply doesn’t stand out and become memorable. 

I’ll Be Around isn’t a bad song at all. Not a standout by any means, but enjoyable nonetheless.

Ill Wind is an interesting song. I like it, but I can’t tell you why. Is it the song title? Sinatra’s vocal styling? The musical element that is prominent throughout? Perhaps it is none, or all of the above, yet Ill Wind remains a favourite of mine and sometimes we don’t need a reason for liking something, do we? 

It Never Entered My Mind is a lovely song, but simply isn’t memorable and makes me question why an album, with so many non-standout tracks, receives such reverence.

Dancing On The Ceiling is a little off-beat, but the musicality is compelling as is Sinatra’s vocal presentation. 

I’ll Never Be The Same is a beautiful song. 

This Love Of Mine closes out the album nicely but In The Wee Small Hours is one record that I rarely find myself listening to on repeat, for I prefer a more positive musical outlook. 

In The Wee Small Hours may not be at the top of my list when it comes to Sinatra albums that I want to sit down and listen to in a relaxing setting, but I can’t deny that it has its appeal and that based on my mood, my interest in this album shifts accordingly. Is it an essential album? Well, no! I feel it is overrated and while lovely in places fails to be as compelling as albums such as Come Fly With Me, Swing Easy!, or Ol’ Blue Eyes Is Back.

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The Crickets – The "Chirping" Crickets (Album Review)

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. 

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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. 

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