Tag Archives: Jerry Lee Lewis

Jerry Lee Lewis – Live At Third Man Records


Live At Third Man Records is the Killer’s first full concert release album in the 21st Century. Picked and produced by Jack White, of The White Stripes, the album is one of a series where the famous guitarist has worked with legends including rockabilly pioneer, Wanda Jackson. For this gig a specially selected band was put together. Jerry Lee’s producer Jim Keltner drummed and his long-time guitarist, Kenny Lovelace, led the band. The line-up is completed by Steve Cropper on guitar and Jack Lawrence on bass.

The album is representative of a regular Jerry Lee Lewis show from almost any point post-2005. I think this fact is a mixed bag. Firstly, I’m glad that there is a documented record of a ‘regular’ 21st century gig but it obviously misses the excitement of something new and rare. Perhaps there was space for a double-album, this record and something with some prepped songs in, like “Mean Old Man” or “A Couple More Years”. This however would rely on The Killer putting the prep work in, something he’s not famed for!

The sound of the album for me is mixed. The overall sound is very strong, clean and clear – something that is always a positive for a live record, this doesn’t sound like a posh bootleg. However, at times, unless Jerry was bashing the top notes, the piano got lost – especially in some of his more intricate playing in songs like “Before The Night Is Over”. The overall band sound is very tight; Jim Keltner supplies a great rhythm for Jerry to work over and this is well supplemented by the rest of the band.

Track List

Down The Line  – Following a short intro, this rock’n’roll classic kicks the gig off. The track is a moderately fast pace and the age of Jerry does show on the vocals without them being weak. The piano solos may not fall into the ‘inspired’ category but it neat and sharp none-the-less, no missed notes here. Both Steve Cropper and Kenny Lovelace supply solid guitar solos and fills. The band here is tight and sharp and Jerry’s performance outshines that of the Killer Piano DVD.

Georgia On My Mind – Barely space for a breath before Jerry kicks into this Ray Charles classic. Cropper fills in some classy licks throughout this track as Kenny sticks largely to chord strumming until his solo. In his singing Jerry seems to shape the longer notes better than I’ve heard on some other recent recordings, they’re neither cut dead short nor extended till he runs out of breath.

Drinking Wine, Spo-dee-O-dee – This song is ironically caught out by the neat little riff that Jerry brings it in with. The riff itself is classy but it sets the song off at a pedestrian pace that it never recovers from. Some of the piano is lost a little in the mid-range notes during the solo. This song is one of the weakest on the album with nothing really lifting it from its middle-of-the-road nature.

Before The Night Is Over – could have come from any gig from 2006 onwards. Nether-the-less, the Killer puts out a solid performance on this one. The more complex beat in this track shows Keltner off to his best; the only downside here is that Jerry’s tight, fast piano solo sounds a bit muddy in the mix.

Why You Been Gone So Long? – An undoubted highlight from the album and the subject of TMR’s promo video. The track kicks off at a fair pace with both the piano solos and guitar solo, supplied by Steve Cropper, being tight and sharp. Cropper’s contribution here, after Kenny nods him in, is a real highlight of the track.

I Wish I Was Eighteen Again – The second slow song on the album after “Georgia”. The melody of this track starkly reveals the age in Lewis’ voice but, given the lyrics of the song, this isn’t necessarily too much of a problem. Like “Georgia”, this track lacks any sort of a solo.

Sweet Little Sixteen – One of the stronger rockers on the album, Jerry kicks this track off at a good pace and keeps it going throughout. Already in the gig, his voice seems weaker than it did on the earlier tracks – perhaps part of the reason that his gigs now rarely tip over the 45 minute mark. Both the piano and guitar solos are the classic expected but both are played well.

You Belong To Me – This classic cut has been a regular throughout Jerry’s career and is one of the decreasing repertoire that the Killer stills keeps access to. As ever on this track, Kenny’s solo is a real highlight; other than little of note here – not because the track is badly played but because it is played very often.

She Even Woke Me Up To Say Goodbye – One of only three ‘hits’ that features in the album. This rendering of the 1970 classic again could have come from any good gig from about 2005 onwards – a good rendering though and, once again, Jerry’s voice holds up well.

Mexicali Rose – This song has become one of the strongest in Jerry’s recent years repertoire and its another stand-out item on this album. I think pace is so vital to many of Jerry’s songs and the pace is not only good here but it doesn’t lead to any missed notes the piano solo. Overall a great rendering of this track which isn’t spoiled by a guitar duel which, when listening back to a gig, just leads to a messy overall sound.

Great Balls Of Fire – The sign that the end is nigh. This is the short, ‘Sun’, version of the track. performed well and loved by the crowd. The ‘whoop’ from the crowd shows that its the hits, naturally, that the crowd know and love.

Whole Lotta Shakin’ Goin On – ‘If you like that one, you’re gonna lurv this one!’ and so into “Whole Lotta Shakin” we go. The song is as you’d expect really, classic solos abound, both on piano and guitar, and the crowd love it. These two songs are the first where you really notice the crowd as part of the gig. Cue finger wiggling, smashed top keys, a cheer and all that’s left is time for Kenny’s thanks for ‘the guys on the sound and the lights’. Before you know it, it’s all over!

Overall I must return to how I kicked this review off. This could be almost any gig from 2005 onwards and this both the pro and con of the album. The performances are strong, Jerry comfortably outplays and outsings his live performances from “Killer Piano” but we know tracks off-by-heart, with the only nuances being the solos of Steve Cropper rather than Buck. This perhaps opens the debate on how well served Jerry would be by a stronger band and by varied setlists for tours. However this is being written in a time where its quite possible that Jerry will never again grace a stage. Be thankful for what you’ve got and enjoy this solid, if unspectacular rock’n’roll feast.

Jerry Lee Lewis -Live At Third Man Records- 7/10


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Jerry Lee Lewis cancels all concert dates

Jerry Lee Lewis has been forced to cancel all of his currently booked dates, stretching up to July 2012, due to injures suffered in a fall at his Natchez home. Some gigs have been cancelled with refunds made available and some have had a personnel change with fellow rockers Chuck Berry and Little Richard being drafted in.

If you have tickets for a forthcoming Jerry Lee Lewis concert contact the venue.

We wish The Killer all the best and look forward to news of him back rockin’, rollin’ and shakin’ soon!

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What does 2012 hold?

I thought in this post I would ponder what 2012 holds for some of the bands and individuals that I’ve followed over the course of the year. These are in no particular order so feel free to browse through and comment your opinions and predications.

Status Quo

The mighty Quo had an eventful 2011 with the release of the critically acclaimed album Quid Pro Quo. Reaching the top 10 in the UK and having a run of singles making the BBC Radio 2 A-playlist marks a significant success for the British group.

The clamour round the band seems to suggest that 2012 could be just as notable for the band as it celebrates its 50th year (in various forms) and 35 years since the release of the iconic Rockin’ All Over The World. A film, entitled Hello Quo is planned for release for Autumn 2012. This film, involving all the original members of the band, known as ‘The Frantic Four’, has given rise to the rumour that a series of reunion gigs involving John Coglan and Alan Lancaster could be taking place across the course of the year. When asked whether this likely to happen, current bassist, John ‘Rhino’ Edwards said he did know something about it but wouldn’t say what he knew! This possible event is sure to keep the appetite of Quo fans whetted through 2012.

Brian Setzer / Lee Rocker / Slim Jim Phantom

In the year 2011 Brian Setzer released his first all-instrumental album: Setzer Goes Instru-Mental!. This was supported by the Rockabilly Riot tour that covered Europe and the US, with fellow Stray Cat, Slim Jim Phantom, in tow. Lee Rocker made his mark on broadway in 2011, playing as part of the cast of Million Doller Quartet for a select series of shows.

Lee Rocker has announced two albums for 2012. The first is a debut to CD of his 1985 album, Phantom, Rocker & Slick. The second is a new release entitled Night Train To Memphis.  This could be the long-mentioned Rocker record of rockabilly classics and his own stamped versions of some of the Stray Cats cuts. This album, containing ‘Twenty-Flight Rock’ and ‘Night Train To Memphis’ is slated for release in Feb. 2012.

Brian Setzer has announced that his next album will be recorded with the Rockabilly Riot Squad, with some tracks possible including the double rhythm section that marked the conclusion of the gigs. Whether this will be completed in 2012 or include Slim Jim Phantom we are yet to see.

Duane Eddy

With the release of his first album in 25 years, Road Trip, Duane Eddy seems set to hit the big time on the rockabilly music scene again. Working with Richard Hawley, 2012 promises a UK tour for Eddy, in support of his Sheffield inspired and recorded album of 2011. Although dates are yet to be confirmed we look forward to see Duane following on from his handful of UK dates from the festival season of 2011.

Jerry Lee Lewis

2012 promises a European tour and new live record for The Killer. The tour currently takes in Bucharest, Paris and Cannes in June. The record is called Live At Third Man Records. The album, produced by White Stripes guitarist, Jack White, is to be released. It is only available on vinyl to those that were there to begin with but will be released on CD later in the year.

This is a general cover-all of action I know is upcoming for some of the rock rockabilly groups I like. I’m sure others will have a busy year – I’d be stunned if there wasn’t more from Imelda May (with the re release of No Turning Back)  and Roger Taylor, of Queen, has already claimed he has a busy year in store. Brian May is set to hit the road once again with Kerry Ellis. If you know some more please feel free to add it in!

One To Watch –  As a final note I thought I’d add that I found Jamie N Commons on the BBC Sound of 2012 website (http://www.bbc.co.uk/music/soundof/2012/artists/jamiencommons/#p00m9nsc). With an interesting, late-Johnny Cash-esque sound shown in his track ‘The Preacher’, he could be one to watch in 2012.

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Jerry Lee Lewis – Last Man Standing

My next review is going to be of Mean Old Man‘s predecessor: Last Man Standing. This album was largely financed by the Jerry Lee fan Steve Bing and produced by Jimmy Rip. Marking Jerry’s first released recording since Youngblood in 1995, the album, recorded over approx. six years, finished as duets album, with a range of artists appearing on the album, either contemporaries of Jerry Lee or later generations influenced by him. The album was released in 2006 and coincided with Jerry’s 71st birthday.

Last Man Standing

The fervour in Jerry’s fanbase was large prior to the album’s release. The album excited fans as it was the first time Jerry had had a record release in over ten years and also ignited something of an upsurge in Jerry’s career, marked from the European tour in 2004 with Chuck Berry onwards.

When the album was eventually released, the fan reaction was largely positive. Jerry sounded healthy, happy and bold on the album, possibly even superior to his ability to perform live at that stage. This was an effect created by the fact that some of the cuts on the album had been in the can for up to five years before the album had been released. The reaction in the media was mixed, some critics were in favour of the album, helped by an admiration that Jerry was going at all! Others however had already felt that Jerry was past it and the album represented an empty echo of his past glories.

The overall sound of the album is very strong, as producer Jimmy Rip said, ‘On every track the vocals are loud, the piano is loud’. A duets album this may be but no track allows you to forget who is commanding what is going on. The performances on the album are also strong in my opinion. Helped by the fact that many of the recordings were of a Jerry five years younger than the release, he comes across strongly, he’s clearly enjoying recording the album and banter is left on the end of many of the tracks to emphasise this point. Some of the duets were overdubbed onto pre-recorded tracks by Jerry, but these are mostly guitar solos, for example on Before The Night Is Over and Trouble In Mind, but many of them had Jerry in the studio with the guest artist and so this lends a live feel to the tracks. The shame in the album taking so long to release was that it’s trend had already been set by 2006 despite the recording starting before other similar albums, such as Genius Loves Company and some may argue that Jerry couldn’t publicise the album as well as it deserved as he could no longer match what he’s recorded. I’ll now move on to a track-by-track view before concluding.

Track List

Rock’n’Roll (Feat, Jimmy Page) – A blistering opening track and a good representation of the album. The choice of track is adventurous but good – I’m sure that, prior to the cut, not many would have recommended Jerry Lee taking on Led Zeppelin! However Jerry puts in a strong rocking performance, the vocals have  bit of echo added to help strengthen them and the piano is pounding throughout. As shown up by the sample released before the album came out, Page’s contribution is an overdub but I consider this less of an issue with guitar solos then I would added vocals.

Before The Night Is Over (Feat. B.B. King) – My bias might come out here – this is one of my all time favourite songs! I think Jerry really excelled on this track. For this re-cut the killer is cocky and confident, ‘I’ll bet you by the morning I’ll be the only one you’re thinking of!’. Jerry is again front and centre of the track and B.B. King adds a nice, overdubbed solo. I love the mid-tempo beat of this track and the lyrics of the song, perfectly delivered by JLL. The solo is also cracking, an all-round superb track for me!

Pink Cadillac (Feat. Bruce Springsteen) – Another strong mid-temp rocker. The was one of the first tracks recorded on the album with Bruce and Jerry together in the studio. Jerry relegates Bruce to backing vocals on his own track and for me the only thing lacking on this track is a rocking piano solo to complete a killer performance.

Evening Gown (Feat. Mick Jagger) – A track from one of Mick’s solo album Wandering Spirit. This is a country flavoured performance and Jerry and Mick trade blows well. Ronnie Wood also puts in some subtle, but appropriate, pedal steel throughout.

You Don’t Have To Go (Feat. Neil Young) – A blues number and one of only two performed as a duet to promote the album. Another good track, it helps to show the strength of Jerry’s versatility and both the piano and guitar solos are strong.

Twilight (Feat. Robbie Robbertson) – A modern feeling track. I think this steps outside of Jerry’s typical sounds and in some ways that’s a strength as it adds to the variety on the album. I think this would have made a good single and, with some good promotion behind it, could have been something of  a chart success for Jerry.

Travellin’ Band (Feat. John Fogerty) – A breakneck speed run of the CCR classic! JF kicks this off at a fantastic pace and Jerry matches him throughout! A real rocker where both artists are clearly having fun, the only downside of the speed is the limit it places on Jerry’s piano playing, there’s not much of a solo to write home about here.

That Kind of Fool (Feat. Keith Richards) – A re-cut of a track from earlier in Jerry’s career. A track I like with a good contribution from the Rolling Stones’ guitarist. I also like the track having Jerry’s trademarks in, such as referring to himself by name, something largely missing from Mean Old Man.

Sweet Little Sixteen (Feat. Ringo Starr) – This is a track Jerry has recorded several times in career, going right back to his sun days. This track has a strong, live feel and you can really feel that Ringo and Jerry are in the studio together. The live feel is borne out by Jerry’s live solo being played and Ken’s trademark guitar solo.

Just Bummin’ Around (Feat. Merle Haggard) – A really laid-back track kicks off with Jerry asking what key the song should be in! This has a real old-time country vibe going, contributed by two of country’s elder living statesmen. Although Jerry’s voice breaks on a few notes, the performance is good and matches well the easy-going nature of the lyrics.

Honky-Tonk Woman (Feat. Kid Rock) – One of the more controversial of Jerry’s musical guests. This is a unique run-through of the Stones classic. This is the only track to have live shot video made and shows in brief the recording process of Jerry and Rock laying down a base track with the band, then going back to sharpen up touches, such as the vocals, a process perhaps Mean Old Man may have benefited from.

What’s Made Milwaukee Famous (Feat. Rod Stewart) – One of the most famous guests to appear on the album. This is a piano and vocals only track and was, according to both Jerry in the intro and Jimmy Rip, a special request of Stewart. Throughout the track Rod takes the chance to pay tribute to Jerry with lines such as ‘every time I start to leave they play another Jerry Lee song’.

Don’t Be Ashamed Of Your Age (Feat. George Jones) – One of the handful of tracks on the album where Jerry is the younger! A fast paced, fun, country piece; both the artists are clearly enjoying both the track and each other’s company. Apparently the jokes told around the track are worthy of an album of their own according to producer Jimmy Rip!

A Couple Of Years (Feat. Willie Nelson) – One of Jerry’s favourites on the album, this is a slow, soulful, reflective number talking about a love with a difference of age. A very touching subject for Jerry and something that he seems bound to carry no matter how many years pass.

Ol’ Glory (Feat. Toby Keith) – One of my two less favoured tracks on the album. It shows Jerry’s and Keith’s national pride but, perhaps because I’m not American, it doesn’t do much for me. The performance is ok but an over-done echo seems to be left on the voices.

Trouble In Mind (Feat. Eric Clapton) – Another superb track on the album. A strong blues number with Jerry holding the vocals all the way and Clapton’s guitar added as an overdub at a later date. For me this is a brilliant recording and beats the 1973 Session version, in part because there is only the one piano here!

I Saw Her Standing There (Feat. Little Richard) – A strong run-through of a Beatles classic with two of rock’n’roll’s instigators sharing the mike. This is a rocking take, it’s  a shame that Richard’s vocals aren’t quite what they once were but it’s good fun no less and impressive that the guest is happy to allow Jerry to be front and centre.

Lost Highway (Feat. Delaney Bramlett) – Another personal favourite. This track was picked after Jerry declined recording Hank Williams Angel of Death. I really like the journey feel added to this track and the slightly different sound to Jerry’s traditional country style.

Hadacol Boogie (Feat. Buddy Guy) – A real boogie-woogie feeling track here with one the Blues’ classic guitar players. Jerry performs well and Guy contributes well with some nice supporting guitar licks and vocal back-ups. The piano is strong on this track.

What Makes The Irish Heart Beat (Feat. Don Henley) – One of my other less favoured tracks on the album. The addition of the pipes etc just don’t suit Jerry, but then I’m not a fan of his strings or female backing singers on previous albums! Also I think the lyrics are very poorly picked, I may be wrong but I can’t imagine Jerry feels any attachment to the Irish Troubles, I wonder if he even knew what he singing about.

The Pilgrim (Feat, Kris Kristofferson) – The original title for the album and displayed on a US late-night chat show. Both Jimmy and Jerry felt the lyrics were ideal for him. Jerry apparently had trouble arranging the track for piano so he said that guitars could take it in but the piano would take it out. Jerry poignantly finishes the album by speaking the chorus in his now unique slurred, southern drawl.

Overall this album is one of my all time favourites. Prior to 2004 I didn’t know that any of the original rocker’s were still working let alone still recording. I remember fervently  watching the now (sadly) departed Jerry Lee Lewis Start Page for details of the album as they emerged and I was not disappointed when it arrived. I feel the album shows a much fuller image of the range of Jerry Lee than Mean Old Man as it includes the cock-sure, confident lovin’ Jerry Lee but, on reflection, it may be that the man has changed since those first recording session almost ten years ago.

Jerry Lee Lewis –Last Man Standing 8/10

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Jerry Lee Lewis – Mean Old Man

I thought I’d kick off here with a review of the most recent album I’ve purchased: Jerry Lee Lewis’ Mean Old Man. Released in September 2010 in the US and October 2010 elsewhere the album was recorded the intervening years since the release of Last Man Standing in 2006 and marks the 75th birthday of the Killer!

For those that don’t know, Jerry Lee Lewis is an American singer/pianist and is most famous for his late 1950’s hits: Whole Lotta Shakin’ and Great Balls of Fire. His career has tracked a rocky road since then but he is now one of the few (if not the only) original rock’n’roll star to still be recording and releasing in the 21st century!

Mean Old Man

Since the release of the four track ep this album has been controversial amongst the Lewis faithful. There are many who love the new album and defend it to hilt but on the other side there are those who claim that Lewis is too old, just going through the motions and is muddied by the duets.

I fall somewhere in the middle. When I first heard the four tracks on the ep I’ve got to admit I was a tad disappointed. Three out of the four tracks were recuts of songs Jerry had recorded earlier in his career and (unlike Before The Night Is Over) didn’t need re-recording imho! The sound is patchy – Jerry’s vocals are clear for the most part across the album but in places, such as the chorus on Sweet Virginia, support is brought in to beef up the sound. Sound-wise, I have one real complaint regarding the album – the piano. Many of the tracks do not feature piano at all, and where it does appear its often murky and pitches in and out – even in solos e.g. Roll Over Beethoven. The performances are varied, some such as I Really Don’t Want To Know still have a sense of genuine emotion about them, others, such as Here Comes That Rainbow Again, sound comparatively flat to my ears. The choice of material is again patchy in my view, some, such as Mean Old Man, were inspired choices and Jerry really shines, others like Sunday Morning Coming Down must have sounded like great ideas at the time but fail to deliver, and then there are the re-cuts: at least half of the 20 released tracks (including bonuses). I’ll now go on to review the songs on the album before finishing off with a score out of 10.

Track List

Mean Old Man (Feat. Ronnie Wood) – A brilliant single and superb opener for the album. This track has attitude in abundance in both the lyrics and the performance. There’s no piano on this track but Jerry’s commanding vocal performance more than makes up for it. The piano version performed a few times in 2008 was also superb and its a real shame this was not used more to promote the album in September. My only request would be to cut Kris Kristofferson’s baby talk off the end!

Rockin’ My Life Away (Feat. Kid Rock and Slash) – One of the tracks that first made it out on the four-track ep. It’s an acceptable version and you can’t fault Kid Rock for enthusiasm and energy. However it inevitably can’t live up to the cuts by a younger, stronger Jerry Lee.

Dead Flowers (Feat. Mick Jagger) – The first of the two Stones country cuts. The performance here is pretty good and Mick gives some good strengthening to the vocal in the choruses. I do wonder if the lyrics about needles and spoons really suit Jerry though! No piano here.

Middle Age Crazy (Feat. Tim McGraw and Jon Brion) – The next of the unnecessary re-cuts for me. The performance here isn’t bad in isolation, the piano features throughout and McGraw seems to find mileage in the song. However, like Rockin’ My Life Away, I don’t think it adds anything at all to the original cut.

You Can Have Her (Feat. Eric Clapton and James Burton) – A pretty good cut. Its a shame that there is no piano on this track but both Clapton and Burton ensure that there is plenty going on on guitar! Clapton also supplies some backing vocals in the choruses. A lively, rockabilly-feeling, track.

You Are My Sunshine (Feat. Sheryl Crow and Jon Brion) – When this track first appeared on the ep I wasn’t particularly keen on it. However, it has grown on me ever since! It’s a strong performance from both Lewis and Crow and probably has some of the best piano on the album – you can really hear Jerry’s left hand boogie-ing during the solo.

Hold You In My Heart (Feat. Shelby Lynne) – One of the slower country tracks on the album. It’s fairly good and the piano features well throughout. Other than the ‘ooohs’ in the background, I’m not really sure what Lynne is doing to make this track a duet!

Swinging Doors (Feat. Merle Haggard and James Burton) – Like many of the recuts, this track again shows the weakness in Jerry’s voice and possibly piano playing compared with the man from yester-year. However, both Haggard and Lewis seem to be enjoying the cut and its a fair performance. Its nice to hear Haggard paying tribute to Jerry in the track.

Roll Over Beethoven (Feat. Ringo Starr, John Mayer and Jon Brion) – This track originated as an impromptu while Lewis and Starr were recording for Last Man Standing. It’s a rocking performance and representative of the way Jerry plays the track live. The guitars are overdubbed onto the track and feature strongly without. The piano solo is good but seems to vanish in the middle.

Sweet Virginia (Feat. Keith Richards) – To my ears one the strongest tracks on the album. Jerry’s vocal performance is a little clouded with a chorus being present for most of the track. However, the performance is positive and I find the song to be generally uplifting. It also features Ken Lovelace on fiddle, a rare sound these days!

Railroad To Heaven (Feat. Solomon Burke) – A strong track which I feel is spoilt by Burke’s overdubbed vocal. I don’t blame Burke though because I get the impression he was asked to dub onto what was already a complete track laid down by Jerry and so struggled to find any space to perform.

Bad Moon Rising (Feat. John Fogerty) – To my ears the worst track on the album. Lewis’ performance is slow and uninspired – some of the words are barely intelligible; he is largely drowned out throughout by Fogerty struggling to give the track a lift. No Piano here.

Please Release Me (Feat. Gillian Welch) – A fair performance by both Lewis and Welch. The guitar is clearly Ken Lovelace and receives a name check for his solo. A good track but the vocal duet style used makes a little too country for me – just my taste!

Whiskey River (Feat. Willie Nelson) – Another good cut. Its lively and right from Jerry running his hands up the keyboard to start the track, it has a live feel throughout. Lewis and Nelson duet well and the latter supplies a nice solo on what’s left of his guitar!

I Really Don’t Want To Know (Feat. Gillian Welch) – Possibly the best slow cut on the album. Jerry’s performance is strong and he conveys the emotion of the song well. Welch makes a good contribution without overshadowing the main man.

Sunday Morning Coming Down – A fair performance. In isolation its not bad but the comparisons are inevitable. I would have preferred Jerry to be piano to really help make the track his own.

Will The Circle Be Unbroken (Feat. Mavis Staples, Robbie Robertson and Nils Lofgren) – Another re-cut. Once again, the track in isolation is ok but I wouldn’t say and Jerry makes the most of the song. A real shame that he’s not on piano for this one as he’s played it so many times and it could really do with a piano solo.

Miss The Mississippi And You – A track left over from Last Man Standing. A piano and voice only re-cut of the track originally released on Young Blood in 1995. A pretty good performance, although not that different to the 1995 version.

Bonus: Here Comes That Rainbow Again (Feat. Shelby Lynne) – On this track Jerry sings the first verse and Lynne the second. Possibly a bit fast in tempo but a pretty good performance throughout. I would have preferred for it to be a solo cut and to hear sing both verses because for me the song is about the story and I would like to hear Jerry tell it all.

Bonus: Money (Feat. Levi Krauss) – A cut especially for the Broadway musical Million Dollar Quartet sees Jerry duetting with the man responsible for playing him on stage! A superb cut, the tempo and the piano are both good and Krauss certainly seems to be enjoying trading blows with the Killer himself!

Overall I think the album is strong. Sure, its not the Jerry Lee of twenty or thirty years ago but I think its a huge testament to the man that he’s still pounding the keys well over fifty years since his first hit! I think the selection could be improved with the addition of some of mid-tempo rockers that shined so well on Last Man Standing in order to bring out the cockier side of Jerry’s character but overall a strong and varied album nonetheless.

Jerry Lee Lewis – Mean Old Man: 7/10


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