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Jerry Lee Lewis Old Time Religion

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1-CD DigiPac (4-plated) with comprehensive booklet, 20 tracks, playing time 65:16 minutes.... more

Jerry Lee Lewis: Old Time Religion

1-CD DigiPac (4-plated) with comprehensive booklet, 20 tracks, playing time 65:16 minutes.

Originally unissued live recordings from 1970. The best gospel recordings of Jerry Lee Lewis' career. A rare glimpse of the preacher he might have been. 20 well-known gospel standards including
Peace In The Valley, Precious Memories and Amazing Grace. Jerry Lee Lewis' music at its best: Forget the content and listen to the passion.

At his core, Jerry Lee Lewis has always been a gospel singer. His earliest and best records have revealed that passion, even when he was singing about women and lovin'. Jerry Lee Lewis' famous religious debate with Sam Phillips took place at the recording session for Great Balls Of Fire. His musical life has always been a tug of war between God and the Devil.

The truth is, these may be the best gospel recordings Jerry Lee Lewis ever made in his long career. 'I believe in that old time religion!', he shouts, and proceeds to show us why, with a little spontaneous preaching and testifying between selections. Thankfully, the tape was rolling. These barely documented recordings from December, 1970 were made three days after he renounced worldly music. They reveal Jerry Lee Lewis working with his road band on the stage of a small church out on Highway 41 in Memphis. There are humorous moments too, as when Jerry Lee Lewis flogs his latest LP to the congregation ('You need the album and we need the money'). But in the end, nobody at his record company knew what to do with these tapes and they were originally unissued. Thanks to Bear Family, the music receives the treatment it should have some 40 years ago. Accompanying notes by Sun historian Hank Davis examine the music and document the events in Jerry Lee Lewis' life that led to these recordings on this particular Sunday morning.

As we all know, Jerry Lee Lewis was back to singing worldly music within months. But these recordings were made at a magic moment. They are indispensible to any Jerry Lee Lewis fan. Forget their subject matter and listen to his passion. That's what Jerry Lee Lewis' best music has always been about.

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Lewis, Jerry Lee - Old Time Religion CD 1
01 Looking For A City
02 I'm Longing For Home
03 Life's Railway To Heaven
04 Someone To Care
05 If We Never Meet Again/I'm Gonna Meet You In
06 Down The Sawdust Trail
07 There'll Be Peace In The Valley
08 Precious Memories
09 The Old Rugged Cross
10 It Will Be Worth It All When We See Jesus
11 I Know That Jesus Will Be There
12 I'm In The Gloryland Way
13 Tomorrow May Mean Goodbye
14 Amazing Grace
15 On The Jericho Road
16 I'll Fly Away
17 My God Is Real
18 When Jesus Beckons Me Home
19 I Won't Have To Cross Jordan Alone
20 Keep On The Firing Line
Jerry Lee Lewis rocks. Well, of course he does. "I come out feet first and been jumpin'... more
"Jerry Lee Lewis"

Jerry Lee Lewis rocks.

Well, of course he does. "I come out feet first and been jumpin' ever since," he has told interviewers for many years. He has been rocking for as long as most of us can remember, and now his face is a personal geography that speaks of the toll that rock 'n' roll can exact.

Rock 'n' roll music and the rock 'n' roll lifestyle; Jerry Lee has done as much as anyone to define both. The miles, the wives, the hits, the pills. He has lived and sung without compromise. Surely no one has damned the torpedoes more often, and lived to tell. He saw his career rise meteorically, plummet meteorically, and rise again.

True talent cannot be denied. "Other people," says Jerry, "they practice and they practice. These fingers of mine, they got brains in 'em. You don't TELL them what to do - THEY do it." There are but four stylists in music, he'll tell you: Jimmie Rodgers, Al Jolson, Hank Williams, and himself. It was a foregone conclusion that Jerry Lee Lewis would be a charter inductee to the Rock 'n' Roll Hall of Fame.

 

Jerry Lee Lewis & Sam Phillips

Fifty years ago as of this writing, Jerry Lee Lewis and his father, Elmo, drove up from Ferriday, Louisiana to see Mister Sam Phillips at Sun Records. Jerry Lee was sure that Phillips would understand him. He'd been turned away in Nashville, yet Phillips would see his potential. They were destined to come together: Lewis the former divinity student tortured by an unfathomable religion, and Phillips the former mortician's assistant who had persuaded unlettered country folk to give up their dead. Jerry Lee's indomitable mother, Mamie, had stopped him from listening to records because she didn't want him to sound like anyone else. Every day, Jerry Lee would pound the old Starck upright, slowly discovering something that was truly his.

A little boogie woogie, a little gospel, a little Hank Williams, and a little beerjoint blues. The Lewises lived in Ferriday, Louisiana, and Jerry Lee was born there on September 29, 1935. Six months after his cousin, Jimmy Swaggart. He was twenty-one when he arrived in Memphis. Telling the people at Sun Records that he played piano like Chet Atkins. Sam Phillips encouraged him to write songs, but the only tangible result was the B-side of his first record, End Of The Road.

Phillips copyrighted it without realizing that it had been loosely adapted from Ballard McDonald and James Handley's 1922 song At The End Of The Road. The only other song from Jerry Lee's pen on this collection is the monumentally egotistical Lewis Boogie. For Jerry, about Jerry, and by Jerry.  

 

SUN Records

Very quickly, Sam Phillips saw that, unlike Johnny Cash, Jerry Lee Lewis would interpret rather than write. He would reveal himself to us through the words of others. Phillips also understood that he must let Lewis plunder the musical reliquary in his head before encouraging him to return to the one song out of ten or twenty that held promise.

That's how Whole Lotta Shakin' Goin' On came to be recorded. Jerry Lee had probably heard Roy Hall play it at an after-hours club in Nashville (Hall claimed to be the mysterious co-writer 'Sunny David' although that seems very unlikely).

In the opening four bars, Jerry Lee Lewis and Sam Phillips made the piano into a percussion instrument. In feeding the signal back upon itself at just the right increment of tape delay. Phillips fattened the sound to the point that the record throbs with its own hypnotic life by the time J. M. Van Eaton's drums come in.

 

Jerry Lee's first hit

Van Eaton is exactly where he needs to be: it's textbook stuff, and Van Eaton wrote the textbook. In the two or so years that Jerry Lee had been fooling with Shakin', he had refashioned it in his image. Stripping away the opening couplet and inserting a half-spoken segment before storming back to close with a triumphant glissando. Wondrous and imperishable. It became Jerry Lee's second record and first hit. The record was pegging out half-way up the charts when Jerry made his first networked television appearance on 'The Steve Allen Show'. It was a landmark date in the history of rock 'n' roll; Sunday July 28, 1957.

He hammered the piano, eyes fixed above with messianic intensity. He glared at the camera with wild-eyed fury. "Whose barn? MAH barn!" Shakin' resumed its upward movement, eventually peaking at #3. The entertainment business realized that Jerry Lee was an up-and-coming act and he was offered a cameo movie appearance. It's a testament to his genius that he took a slight song manufactured for an equally slight movie, 'Jamboree,'and transformed it into one of the era's classics.

That song, of course, was Great Balls Of Fire. Carl Perkins and the movie's other stars had already turned it down, but it became Jerry Lee's defining moment. His biggest pop hit. Some claim to hear a rhythm guitar, but it's essentially Jerry Lee Lewis and drummer J. M. Van Eaton. If there's a third instrument, it's Sam Phillips' reverberation, adding depth and presence.

Great Balls Of Fire

Two New York-based R&B songwriters, Otis Blackwell and Jack Hammer, had written Great Balls Of Fire and were offered a chance at the follow-up. Blackwell came up with Breathless while Hammer presented Milkshake Mademoiselle. Blackwell got the nod, and Milkshake Mademoiselle was left for wideeyed European researchers to find some fifteen years later. Blackwell's submission was yet another 'exclamation' song, and Sam Phillips engineered a promotional tie-in between television.

Host Dick Clark and Beechnut chewing gum in which kids could send in 50 cents and five Beechnut wrappers to receive a 'free' autographed copy of Breathless. Everyone at Sun's tiny operation, including lesser artists, were put to work autographing and mailing Jerry Lee's records. The television appearances jump-started the single, and it eventually rose to #7. Jerry Lee's last Top 20 hit was the title song for another quickie exploitation movie, 'High School Confidential'. Starring Mamie Van Doren (whose website has to be visited to be believed).

It was supposed to be an exposé of the high school drug problem. (yes there was a high school drug problem in 1958) The song was written by Ron Hargrave, a struggling MGM recording artist and protégé of Lou Costello (Hargrave can be seen in Abbott & Costello's last movie, 'Dance With Me Henry'). Try as he might, Hargrave couldn't quite work the title into the song, and had to surrender half of his writer's share to Jerry Lee. In the movie, Jerry performed the song on the back of a flatbed truck. It was released just as he left for a tour of England in May 1958.

Excerpt from BCD16396 - Jerry Lee Lewis Jerry Lee Lewis -

Jerry Rocks Read more at: https://www.bear-family.de/lewis-jerry-lee-jerry-lee-lewis-jerry-rocks.html

Copyright © Bear Family Records

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Customer evaluation for "Old Time Religion"
15 Aug 2014

Die \andere\" Seite des Killers.
Super eingefangene Stimmung von Jerry Lee"

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