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Jerry Lee Lewis In The Beginning & I Can't Seem To Say Goodbye (2-LP, 180gram Vinyl)

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ALTERNATIVE VERSIONS - FIRST TIME ON VINYL 1-LP, 180 gram Vinyl-LP, 14 tracks, Total...more

Jerry Lee Lewis: In The Beginning & I Can't Seem To Say Goodbye (2-LP, 180gram Vinyl)

ALTERNATIVE VERSIONS - FIRST TIME ON VINYL

1-LP, 180 gram Vinyl-LP, 14 tracks, Total playing time approx. 33:10 minutes.
1-LP, 180 gram Vinyl-LP, 14 tracks, Total playing time approx. 32:25 minutes.


  • NEW to LP – never released before 12'' vinyl albums!
  • For the first time in more than a generation: two entirely new vinyl Jerry Lee Lewis Sun LPs to celebrate!
  • A total of 28 stunningly different recordings, never been pressed onto vinyl before!
  • Containing different versions of songs such as It’ll be Me, Put Me Down, and Good Golly Miss Molly.
  • Plus ’alternates’ of his million selling rock hits from the ’50s.
  • Plus the top ten Sun International ’country comeback’ releases from the ’60s.
  • Perfectly mastered for vinyl reproduction.
  • Liner notes by Jerry Lee Lewis expert, Andrew McRae.
At a glance, most of the individual titles on this LP will be recognised instantly by anyone who has a working knowledge of the early years of Jerry Lee Lewis's recording career. But this new 'Bear Family' collection is far from being just another re-issue package comprising arbitrarily chosen tracks; despite the familiarity of the songs, the fact is that not one of the performances to be heard on this LP has been pressed onto vinyl before now.

Moreover, all but two of these selections had never been published in any format until the release, in late 2015, of Jerry Lee Lewis At Sun Records — The Collected Works: What The Hell Else Do You Need? 'Bear Family's' comprehensive 18 disc assemblage of Lewis's entire recorded output from November 1956 to August 1963. Whilst no new titles as such were to be found amongst the scores of unreleased tapes featured on that compendium, in many instances Jerry Lee's interpretation of the material was shown to be very different to anything released previously. The variety is exemplified here in a delightful, jocular 'third version' of 'It'll Be Me' into which he introduces a totally different, recurring motif, and in an early reading of 'High School Confidential', the arrangement of which bears little comparison to the 'master' and any directly related outtakes. Similarly, the very distinctive approach employed on a reconfiguration of 'Put Me Down' represents a major stylistic departure from the recording issued in 1958 on Lewis's debut LP. And although it might be said that a degree of experimentation is characteristic of many of the takes featured on this LP, not least in respect of a novel introduction to 'Break Up' which owes not a little to a contemporary instrumental chart hit, The Champs' 'Tequila', in most cases the results are just as successful and compelling as the finished articles.

Thus, whilst the titles themselves hark back to Lewis's earliest recording days in the 'Sun' studio at 706 Union Avenue in Memphis, this album has not been designed to encourage listeners simply to turn full circle to the dawn of his long career; rather, it is very much more a case of reminding them of how Lewis was the master of re-invention and could so effortlessly interpret the songwriter's art in a number of different ways. It may have been sixty years in the making, but this 'prequel' Jerry Lee Lewis LP, 'In The Beginning...' is surely worth the wait! 



ALTERNATIVE VERSIONS - FIRST TIME ON VINYL

1-LP, 180 gram Vinyl-LP, 14 tracks, Total playing time approx. 32:25 minutes.

  • NEW to LP – never released before 12'' vinyl albums!
  • For the first time in more than a generation: two entirely new vinyl Jerry Lee Lewis Sun LPs to celebrate!
  • A total of 28 stunningly different recordings, never been pressed onto vinyl before!
  • Containing different versions of songs such as It’ll be Me, Put Me Down, and Good Golly Miss Molly.
  • Plus ’alternates’ of his million selling rock hits from the ’50s.
  • Plus the top ten Sun International ’country comeback’ releases from the ’60s.
  • Perfectly mastered for vinyl reproduction.
  • Liner notes by Jerry Lee Lewis expert, Andrew McRae.
The concluding three tracks on this album, 'One Minute Past Eternity', 'Invitation To Your Party' and 'I Can't Seem To Say Goodbye', are representative of what was arguably the most productive single day that Jerry Lee Lewis ever spent in a recording studio, namely 28th August 1963. The casual observer might, with good reason, actually think of this time as being somewhere about the low-point of a decade during which Jerry Lee appeared to be very much stuck in the music industry doldrums. Between his precipitous fall from grace in May 1958 and his no less impressive 'country comeback' some ten years later, very little of lasting significance, with the notable exception of a pair of stunning 'live' LPs, appeared to have been achieved on his part in the record business. Nonetheless, it was on that late summer day in 1963, the last occasion upon which Lewis would perform under contract to 'Sun Records', these three major country music hits, all of them destined to be top ten records, were cut in Memphis. It will be apparent to discerning listeners, however, that these tapes are not the actual hit recordings first heard courtesy of the opportunistic Shelby Singleton and his new 'Sun International' label in 1969 and 1970. In like manner with the companion 'Bear Family' LP 'In The Beginning': which relates to Jerry Lee's first three years at 'Sun Records', every track on this album is new to vinyl; 
nothing here has been released in this format before, and all bar three of the tracks were first published as recently as 2015 on 'bear Family's 18 disc collection, 'Jerry Lee Lewis At Sun Records — The Collected Works: What The Hell Else Do You Need?' 

Prior to the August 1963 denouement, Jerry Lee's tireless yet increasingly fruitless attempt to craft a hit record of equal eminence to his landmark 1957/58 hits, be it in the 'new' Sun studio at 639 Madison Avenue, Memphis, or in the Phillips studio in Nashville, witnessed him covering a remarkable variety of songs. The panoply of failed endeavour is reflected broadly on this new LP, ranging as it does from the revival of material originally performed by talents as diverse as Hoagy Carmichael, Jimmie Rodgers, Hank Williams, Little Richard and Chuck Berry, to titles which originated in the nineteenth century 'minstrel' tradition. 
But it was by virtue of an unheralded trio of 'country-pop' numbers, initially dismissed as being unworthy of a contemporary release, that commercial success would eventually be found. The party at SUN might indeed be over, but Jerry Lee was by no means ready to say good-bye. 

Article properties:Jerry Lee Lewis: In The Beginning & I Can't Seem To Say Goodbye (2-LP, 180gram Vinyl)

  • Interpret: Jerry Lee Lewis

  • Album titlle: In The Beginning & I Can't Seem To Say Goodbye (2-LP, 180gram Vinyl)

  • Genre Rock'n'Roll

  • Label Bear Family Records

  • Geschwindigkeit 33 U/min
  • Vinyl record size LP (12 Inch)
  • Record Grading Mint (M)
  • Sleeve Grading Mint (M)
  • Vinyl weight 180g Vinyl
  • Artikelart LP

  • EAN: 2500006515198

  • weight in Kg 0.5
Jerry Lee Lewis Jerry Lee Lewis - Obituary  The Pumping Piano Man will rock the... more
"Jerry Lee Lewis"

Jerry Lee Lewis

Jerry Lee Lewis - Obituary 

The Pumping Piano Man will rock the house no more.

Jerry Lee Lewis, whose youthful wildhair ways defined rock and roll as indelibly as his leering, lascivious vocals and thundering skills on the 88s, died October 28, 2022 at the age of 87. Against all odds, he was one of the last legends standing from the days when Sam Phillips built an astonishing talent roster for his Sun Records. When Lewis appeared on his doorstep in 1956, determined to show the folks in charge precisely what he could do to a defenseless piano, the Memphis label had already bid adieu to Elvis and was riding high thanks to Carl Perkins, Roy Orbison, Johnny Cash, and a posse of other raucous rockabillies. 

Still, Jerry Lee would captivate Sam—and the world--like no other, despite suffering monumental damage from a 1958 scandal involving his precocious child bride (who also happened to be his cousin) that would have ended any other performer’s career permanently. Jerry Lee, like Old Man River, just kept on rolling along, regenerating his popularity first with the rock and roll crowd and then veering into the country field with tremendous success. Long after he achieved senior citizen status (who would have ever foreseen that happening to the hard-living Lewis?), the Killer insisted on rocking as hard as his health would allow.

Born September 29, 1935 in Ferriday, Louisiana, Lewis grew up with a pair of piano-playing cousins, Mickey Gilley (who followed in Jerry Lee’s rocking footsteps) and future evangelist Jimmy Swaggart. Lewis cited country greats Jimmie Rodgers and Hank Williams as primary influences, along with a little bit of Al Jolson and some of the sweaty blues that he snuck into hear at Haney’s Big House, Ferriday’s top black juke joint. He mostly refused to admit to any pianists as role models, although his 88s-playing cousin Carl McVoy impressed him. So did sightless piano wizard Paul Whitehead when the two played together in Natchez circa 1952. A brief stint at a Texas bible college ended when Jerry Lee transformed My God Is Real into a heathenous boogie, but gospel music always remained close to his heart. 

Lewis honed his act in clubs from Natchez to Nashville prior to the auspicious trip to Memphis that landed Lewis his audition with Sun producer Jack Clement. Jack was impressed, and before long he rolled tape when Jerry Lee launched into his hot-rodded treatment of Ray Price’s recent country hit Crazy Arms. Sun pressed it up, and Lewis was on the musical map. Phillips knew he’d found someone truly special, and let tape roll whenever Jerry Lee found his way to 706 Union Avenue to pump Phillips’ studio piano. One of the many disparate songs Lewis waxed for Sun was the rip-roaring Whole Lot Of Shakin’ Going On, already waxed elsewhere by fellow piano man Roy Hall and mountainous blues belter Big Maybelle. Jerry Lee tightened up his rafter-rattling version during a long night at the Twin Gables in Blytheville, Arkansas. Then he cut it for Sun with guitarist Roland Janes, drummer J.M. Van Eaton, and Jerry Lee’s cousin, J.W. Brown, on electric bass.  

Issued as his encore single, Whole Lot Of Shakin’ was an across-the-board juggernaut during the summer of 1957. Lewis was suddenly starring on network television, headlining star-studded package shows, and raising hell wherever he went, playing pianos with his feet, kicking their benches, standing atop them and tearing them apart with the sheer ferocity of his performances. Things escalated to a fever pitch with his next Sun single, the flammable Otis Blackwell-penned smash Great Balls Of Fire. Lewis went right back to Blackwell for Breathless, another major hit. High School Confidential, the title song to the movie of the same name (in which Lewis memorably appeared on a flatbed truck under the opening credits), was on its way to similar blockbuster status when news hit of his betrothal to his 13-year-old cousin Myra Gail, bassist Brown’s daughter. Jerry Lee was instantly toxic, his career in tatters. 

Slowly but surely, he came back. Sam never gave up on him, continuing to issue a stream of Lewis platters until Jerry exited the fading label in 1963 to sign with Mercury’s Smash subsidiary. At first, Jerry Lee continued relentlessly rocking, but in ’68 he switched to country music and proved every bit as sensational as he was a decade earlier in the rock arena, posting an avalanche of hits and completing his comeback. Lewis would alternate between rock and country in decades to come, ferociously stoking his own outsized legend with seven wives, a 1989 movie based rather loosely on his life, and enough insane antics both offstage and on to fill the pages of several highly entertaining biographies. Bear Family has compiled a series of lavish boxed sets over the years covering much of the Killer’s amazing career.

No pianist ever rocked a boogie-woogie with more single-minded panache than the Killer. He was truly one of a kind.       --Bill Dahl

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