The title weeper's a cut above the rest, but new producer Eddie Kilroy doesn't push Jerry Lee the way Bones Howe did on Jerry Lee Lewis. B+įirst time he was trying, second time he wasn't, third time he gets lucky, from a "Folsom Prison Blues" that far outgrooves groove numbers like last time's "Rockin' Jerry Lee" to the magnificently over-the-hill "Thirty-Nine and Holding" to various generic throwaways about his mama and his pianner and his tomcat ways. Best tune: Bob Dylan's "Rita Mae," the simple rock and roll ditty Dylan's always wanted to write. Think of it as autumnal rock and roll-undiminished tempos under fadeaway phrasing.
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In which Bones Howe and some crack studio pros spend four days getting a hot album out of the Killer, his first since the 1973 London sessions (and more consistent, too). The nadir is the lachrymose "Middle Age Crazy," about a forty-year-old "trying to prove that he still can." Forty-year-old Jerry Lee takes that one at about half the tempo of his manic "Sweet Georgia Brown," which together with "Chantilly Lace" proves that he still can. Jerry Kennedy, formerly a model of restraint, throws on choruses, strings, horns, flutes. Even at his so-called best he parodies himself, and his delight in his own insincerity seems narrow, joyless. The Best of Jerry Lee Lewis Volume II ĭecadence, decadence. And you've gotta hear Rory Gallagher take Elmore James's part on "Whole Lotta Shakin'." B+ But the impersonality of the no-gaffe two-disc supersession encourages his habit of expressing compassion and pain without any show of conviction. The hardest-rocking Lewis album in years and the best London-meets-the-legend promotion since Howlin' Wolf's is amazingly consistent and authoritative-Lewis's patented hick cool always provides its satisfactions. Consequences of cutting in Nashville include a dippy chorus and the most egocentric version of "Walk a Mile in My Shoes" since the world began. Is Jerry Lee essaying a rock and roll revival because the country market is drying up for him or because he's never abandoned his dreams of world conquest? Only on "Don't Be Cruel" and "Chantilly Lace" does he sound triumphant, so it must be the former, which would be the only reason for him to cut this in Nashville anyway. But Jerry Lee throws Jerry Lee away a lot easier than I do. Very fast, very arrogant, and I suppose very dispensable. Hall's "Ballad of Forty Dollars," and climaxes with "Flip, Flop and Fly," originated by Joe Turner in the rhythm and blues field of music. Unlike The Greatest Live Show on Earth, a rock and roll set, this concentrates on "the country and western field of music." Jerry Lee runs through a few hits, calls upon Linda Gail for a couple of numbers, barely notices Tom T. So though sheer talent insures that his reading of such great songs as "Another Place Another Time" and "She Even Woke Me Up to Say Goodbye" will be definitive, he doesn't sound at home goody-goodying "To Make Love Sweeter for You." Nor are all of his throwaways as startlingly on top of it as "One Has My Name (The Other Has My Heart)." And it's only when he can repent of his sins from the luxurious slime of the pit-on "What's Made Milwaukee Famous" and "She Still Comes Around"-that he comes completely into his own. He's a country artist out of geography and simple pique at rock's scared-shitless powers-that-be-it was the inadequacy of country's moralism, after all, that drove him to rockabilly. His drive, his timing, his offhand vocal power, his unmistakable boogie-plus piano, and his absolute confidence in the face of the void make Jerry Lee the quintessential rock and roller.
The Jerry Lee Lewis Anthology: All Killer No Filler! **.
The Best of Jerry Lee Lewis Featuring 39 and Holding B.The Best of Jerry Lee Lewis Volume II B.Live at the International, Las Vegas B.
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