Press - ddicted to noise Australia
“What The Hell Else Do You Need?”
“Pretty fly for a white guy,” I summarized Jerry Lee Lewis most of my life—but always at the tail end of my summation of those Rock And Roll Grandaddies. Elvis was Elvis, I would say, and that needed no further explanation. Roy Orbison had the voice. Bo Diddley had the humor. Hank Williams had the desperation. Chuck Berry had the storytelling. And Little Richard, Lord save us, Little Richard sounded like a locomotive getting ready to run us over. And Jerry Lee had something. Just not quite that much something.
This is 18 CDs later, I surrender. This is everything Jerry Lee cut before his original Sun contract ran out in 1963. Listening to the man and company build a song, take by take, examining options and wincing at bloopers, the man egan to take wavery shape over my file cabinet.
I have, in fairness, never listened to 18 CDs from any of the others above. But I surfaced hearing a man with most of Little Richard’s ferocity, a man who sang surer than Williams, wider and deeper than Diddley, much looser than Berry, with an uncanny knack for song to beat Orbison. Elvis? Elvis remains Elvis. But Elvis sung starchy by 1963. Jerry Lee had of course ruined his career; if you’re reading this I bet you know how. But the frightening fullness of humanity, everything a man can be, remains.
Press Archive - Jerry Lee Lewis At Sun Records: The Collected Works - Rock Classic Italia
LAST MAN STANDING: This was the title of one of the most significant records by Ferriday's artist, Louisiana, released about ten years ago. He proclaimed in a brazen way like the Killer, this is the name that already, as a rage, they drowned him because of his reckless and overpowering character, he was the only survivor of that generation of pioneers who, in the 50s