Jerry Lee Lewis
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Songs:
1. Drinkin´ Wine Spo-Dee-O-Dee
2. Music To The Man
3. Baby What You Want Me To Do
4. Bad Moon Rising
5. Sea Cruise
6. Jukebox
7. No Headstone On My Grave
8. Big Boss Man
9. Pledging My Love
10. Memphis, Tennessee
11. Trouble In Mind
12. Johnny B. Goode
13. High School Confidential (instrumental)
14. Early Morning Rain
15. Whole Lotta Shakin´ Goin´ On
16. Sixty Minute Man
17. Down The Line
18. What´d I Say
19. Rock´n´Roll Medley
- Good Golly Miss Molly
- Long Tall Sally
- Jenny, Jenny
- Tutti Frutti
- Whole Lotta Shakin´ Goin´ On
Jerry Lee nahm die LP in der Zeit vom 8. bis 11. Januar 1973 in den Londoner Advision Studios auf.
Eine Besonderheit stellen die Mitwirkenden Musiker da. Es waren dies unter anderem Peter Frampton, Rory Gallagher, Tony Ashton, Andy Brown, Delaney Bramlett, B.J. Cole, Drew Croon, Matthew Fisher, Pete Gavin, Albert Lee und Chas Hodges.
The Session, as the album was called, worked in spite of everything and everyone; there was much additional worthy material that did not make it onto the double album. In chronological age, only a few years separated the Killer and the British. For instance, Jerry Lee is only thirteen months older than Rolling Stones bassist Bill Wyman. However, there were many generational and geographical differences between Jerry Lee's entourage and British rock stars like Albert Lee and Peter Frampton. For all the rules his music broke, Jerry Lee was fundamentally conservative on issues like how long a man's hair should be. British rock stars in the early seventies were uptight as well, but regarding different matters. That, combined with chemicals in the air and the arrogance one would expect of young millionaires, insured that no one asked for anyone else's phone number after the four days of sessions concluded.
Nevertheless, with the noted Head, Hands, and Feet rhythm section playing the essential rhythm parts to which the superstars would not stoop, The Session rocked, often hard. Fifteen years after Jerry Lee first recorded it, he finally cut a raucous "Drinkin' Wine Spo-Dee-o-Dee" that came out as a single. A sandpapery Jerry Lee sounded as though he had drunk too much wine on the ole spo-dee-o-dee and he did not care who was in the room with him. Directing solos, Jerry Lee said, "Take it, son." He did not bother to learn anyone's name. When he warned "think about it" at the end of almost every take, no one did.
Distance can create tension, and tension is an essential ingredient and great rock and roll. Take the one song Jerry Lee had come to London prepared to record, Charlie Rich's dark blues "No Headstone on My Grave." Perhaps because the song was written by a like-minded pianist, an absorbed Jerry Lee was comfortable leading the band through its bloody charges and changes. Because Jerry Lee did not come to London armed with any more material and there was only a limited amount of studio time slotted for the supergroup, Jerry Lee and the Brits had to come to a quick understanding regarding what songs they all knew.
They tried the Rolling Stones's "(I Can't Get No) Satisfaction," but Jerry Lee could not bring himself to sing the verse about the girl having her period. Inevitably the lack of planning turned the set toward early rock-and-roll songs, like Chuck Berry's "Memphis, Tennessee" (complete with a yodel) and a steamy "Johnny B. Goode." Also rocked-up was Jerry Lee's own "High School Confidential," pointlessly done as an instrumental (listeners were forgiven for thinking they were waiting for the jam to end and the song proper to begin) and a shaky "Whole Lotta Shakin' Going On" salvaged only by Rory Gallagher's sublime slide guitar (Gallagher was the only Brit outside the rhythm section who had a consistent handle on the material) and a harsh ending worthy of the Killer.
Some other early rockers were enlivened: "Sixty Minute Man," "Down the Line," "What'd I Say," and a medley comprising "Good Golly Miss Molly," "Long Tall Sally," "Jenny, Jenny," "Tutti Frutti," and "Whole Lotta Shakin' Going On" that danced like the climax to a live show. But the pick of these remakes, one that remained unreleased for more than a decade, came from an unlikely source, Gene Vincent. His signature tune, "Be Bop a Lula," which Jerry Lee had successfully covered years previously, got the ride of its life. In Vincent's hands, "Be Bop a Lula" was a persuasive little rockabilly song, a celebration of his sweetheart led by the nonsense-syllable chorus.
Jerry Lee surpassed the Vincent version by the time he had completed his ten-second portentous piano introduction, and he stretched the song until it was unrecognizable as anything but what he had imagined at the moment. The stylist with his own ideas triumphed. He approached "Be Bop a Lula" as a dirty blues that he hung onto for a glorious seven minutes and eighteen seconds. This was a loose jam with purpose, Jerry Lee's voice howling and scatting, his fingers crawling up and down his piano. After all, the most successful Jerry Lee sessions were those in which the Killer was relaxed, but not too relaxed. "This mother must be nine years long!" he shouted. And then he went on some more. This was fabulous. Perhaps in 1973 Jerry Lee had to travel far away from Nashville to work up such a sweat in the studio.
Folgende Songs entstanden ebenfalls an diesen vier Tagen:
I Don´t Want To Be Lonely Tonight (lost)
Let´s Get Back To Rock´n´Roll (lost)
North To Alaska (incomplete)
Goldmine In The Sky
Singin´ The Blues
Satisfaction
Waterloo (lost)
Be Bop A Lula
Dungaree Doll
I Can´t Give You Anything But Love, Baby
Indiana (incomplete)
So Hunky, leg los!
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Ha...!!
Ich habe diese Doppel-LP erst seit ca. einem halben Jahr. Hab ich für'n Appel und'n Ei in Amsterdam gekauft. Allein schon das Doppel-Ausfalt-Cover mit den ausgestanzten Teilen... Saucool! Musik gefällt mir auch sehr. Ziemlich harter Rock'n'Roll...
Aber, dass das die meistverkaufte Jerry-Lee-LP sein soll.... Das hätte ich nicht gedacht!
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Muss ich nachhören...Erstmal eine prinzipielle Frage: Ist bei Deinen Boxen das lange Interview auch in beiden Fällen identisch?
Besonders cool finde ich, daß er von sich ständig in der 3.Person redet und dem Interviewer ständig erklärt, daß er der Größte ist und niemand an ihn rankommt!
Ich persönlich liebe gerade das Schlechte und Verdorbene am Killer, ich finde seine Egozentrik und bodenlose Arroganz geil - auf manche dürfte es abstoßend wirken...
Jaja... das kenne ich...
haha...Was anderes... hast du die?:
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Macht mir jedesmal ne Gänsehaut. Echt!
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