It used to be easier to pretend that an album was its own perfectly self-contained artifact. The great records certainly feel that way. But albums are more permeable than solid, their motivations, executions and inspirations informed by, and often stolen from, their peers and forbearers. It all sounds awfully formal, but it's not. It's the very nature of music — of art, even. The Six Degrees features examine the relationships between classic records and five… more »
"Mercy," growls Roy Orbison as the snare drum pounds cadence and a figured guitar spins the curvatures of "Oh, Pretty Woman." We know the feeling: walkin 'down the street, confronted with a vision of loveliness that reveals all possibilities in that fabled at-first-sight, if only she'd look our way, and we hers. In the instant eyes meet, Roy Orbison sings. What do I see? He knows the song is as much about the toll exacted,… more »
Of all rock's family tendrils, rockabilly is the one that keeps re-boppin', sporting a revival every decade or so, its coming-of-age kicks allowing each new offspring to roll its own. Guitar-heavy, emphasizing Wild Ones rebellion ("whaddya got?") and sonic dazzle (heavy on the reverb and chest vibrato), it raves and paves garage-punk (The Seeds to Damned), shockabilly (The Cramps and Chadbourne), new-wave (Stray Cats and Dire Straits), waggle-wobble (Jon Spencer and Boss Hog), Nirvana and… more »
When Buddy Holly & the Crickets broke through nationally in 1957, they were marketed by Decca Records as two different acts whose records were released on two different Decca subsidiaries — Brunswick for Crickets records, Coral for Holly records. But there was no real musical distinction between the two, except perhaps that the “Crickets” sides had more prominent backup vocals. Nevertheless, coming three months after The “Chirping” Crickets, this was the debut album credited to Buddy Holly. It featured Holly’s Top Ten single “Peggy Sue” plus several songs that have turned out to be standards: “I’m Gonna Love You Too,” “Listen to Me,” “Everyday,” “Words of Love,” and “Rave On.” The rest of the 12 tracks weren’t as distinctive, though Holly’s takes on such rock & roll hits as “Ready Teddy” and “You’re So Square (Baby I Don’t Care)” provide an interesting contrast with the more familiar versions by Elvis Presley. This was the final new album featuring Holly to be released during his lifetime. Every subsequent album was an archival or posthumous collection. [In 2004 Universal reissued the album with a trio of bonus tracks.] – William Ruhlmann
