Monday, 13 April 2009

Lucky Tubb and The Modern Day Troubadours - Damn The Luck


Lucky Tubb is the great nephew of the legendary honky tonk singer, Ernest Tubb. Ernest was one of the biggest stars in country music history who amassed no fewer than 82 hits between 1944 and 1979. Poor ol’ Lucky is going to enjoy about 82 hits fewer than that, not because he’s bad, in fact he’s good, very good, but he suffers from the modern day syndrome of being too country. Let’s be honest, his Uncle Ernie would be laughed out of Nashville nowadays with his chiselled looks and un-CMT vocals delivery.

The fact that Lucky won’t be the darling of the Nashville scene, will no doubt suit him fine. He comes from the Wayne Hancock, Hank III school of hillbilly, happy to tour the bye-roads of small town America in the tradition of the likes of Tubb and Bill Monroe. The other thing to consider is that he isn’t just making a living as an uncle Ernest tribute singer, Lucky Tubb is very much his own man. He’s lived a troublesome life and has his own story to tell. He’s toured as opening act for Dwight Yoakam, Ray Price and Hank III but on this listening, I think he’s gonna be the headliner pretty soon.

Damn the Luck is Tubb’s second album, following Generations, six long years ago. This latest release was recorded live in the studio in just one day! The Modern Day Troubadours are Tubb on vocals and rhythm guitar, Natalie Page Monson on fiddle and harmony vocals, Jericho Renshaw on lead guitar, Casey Gill on slap bass and Steve England on pedal steel, dobro and mandolin.

The album evokes the sounds and smells of lost highway juke joints, ala Wayne Hancock but without that bloody trumpet, that seems to get more and more airplay. What I love about this album is that you can’t see the seams between the songs written 50 years ago and the ones written today. Lucky himself wrote six of the eleven songs, and there’s a quartet of vintage family numbers. Not Ernest, but his Uncle Douglas who wrote three of them between 1952 and 1956, and another relative, Ronnie Wade wrote one in 1957.

As soon as the album kicks off with Used Up Love I just knew I was going to love it. Huntsville sees him in prison (he actually spent 5 years behind bars, including time in Huntsville) where “some Mexican wants to make me his wife – but I don’t think so”. You’ll enjoy the lyrics and you’ll drool over Renshaw’s gittar. Bakersfield pays tribute to the sound that put the city on the map with Renshaw and England taking top honours again.

I could hear a bit of Chet Atkins in Renshaw’s picking on The World Is A Monster which along with Sweet Mental Revenge sees country music’s infamous dark side come to the fore. It ain’t all neon signs and parties with hillbilly gals in denim shorts and cowboy boots.

I love the chugging rhythm of Keeping Time, with it’s Drifting Cowboys lonesome sound and some great honky tonk vocals from Tubb. It’s Your Wagon is fine up-tempo hillbilly with The Modern Day Troubadours showing what a fine country band they are – Casey Gill’s bass driving the whole thing along.

Honky Tonkin’ isn’t the Hank Williams classic, but is an enjoyable slab of hillbilly with Gill again sounding right on the money - “Got my baby by my side, and Bob Wills on the box”. There’s more hot picking on Annie Don’t Work No More with Renshaw’s rocking guitar and the backing vocals giving it a real rockabilly feel. The way he signs “rrrrrrock” is superb. The CD closes with the title track, a honky tonker which along withy Annie, is the highlight of a fabulous album.

The only youTube clip I could find is the one below, and although it only runs for about a minute it gives a glimpse of what they sound like live.





Saturday, 11 April 2009

Arlie Duff


Arleigh Elton Duff was born on 28th March 1924, in Jack's Branch near Warren, Texas. Originally nicknamed “Pee Wee” Duff, he was an All-State basketball player his senior year. Later, he served his country in the US Navy for three years during World War II. After his discharge, He continued his education and earned a Bachelor of Science degree as well as a Master of Arts in Education degree from Stephen F. Austin State College in Nacogdoches, TX. While attending college, he continued his basketball prowess, being named to the All-Conference team while being captain of the varsity team.

However, it was his music career for which he was to leave his mark. He strated off as a songwriter before recorded with his Western Cherokees for Starday in 1952. Midway through the next year he went to number 7 in the country charts with the BMI award winning single, "Y'All Come". he originally cut is as the theme tune for the Houston Hometown Jamboree, berfore it bust wide open. He was unable to follow up this hit. Arlie married Nancy White after an 18 day courtship on October 10, 1954, during the Louisiana Hayride, with best man Red Foley singing "I love You Truly" and "Every Step of the Way" to the couple. The ushers for the bridegroom included no less than Hawkshaw Hawkins, Porter Wagoner, Billy Walker and Tommy Sosebee. I had a couplew of tossers fromm work and a cousin - that's life.

Most readers of this Blog will be forever in love with Decca for cutting his stab at rockabilly, Alligator Come Across. It sounds a lot like the early rocking catalogue of George Jones. It's a bibs and overalls stomper with heaps of steel and rocking country guitar. The parody of Elvis halfway through is a classic, but all too brief moment of madness. The fiddle solo adds another loveable layer.

He spent years as a DJ in Colorado and Texas. He wrote Ernest Tubb's last solo hit, "Another Story", which went to number 16 in the country charts in 1966. Also "It's The Little Things", a # 1 C&W hit for Sonny James in 1967. In 1983 he published his autobiography, "Y'All Come" (Austin : Eakin Press), now out of print. Sadly, Arlie passed away on July 4, 1996.

Among the artists to cover were Bing Crosby (!), Patti Page, Bill Monroe, Bobby Bare, Faron Young, George Jones, Buck Owens, Glen Campbell, Porter Wagon and Little Jimmy Dickens.


DISCOGRAPHY

Decca

Rec. No. Side Song Title
29243 A Courtin' In The Rain
29243 B She's A Housewife That's All
29428 A I Dreamed Of A Hillbilly Heaven
29428 B Lie Detector
29589 A Take It Easy On Me
29589 B Pass The Plate Of Happiness Around
29866 A Home Boy
29866 B Oh How I Cried
29987 A So Close And Yet So Far
29987 B Alligator Come Across
302 A What A Way To Die
302 B You've Done It Again

Salvo


Rec. No. Side Song Title
2861 A In The Big Woods
2861 B Croppo Le Blanc

Smartt

Rec. No. Side Song Title
1001/1002 A Send Me An Angel
1001/1002 B You're The One For Me
1003/1004 A A Dark Night, A Lonely Street
1003/1004 B Mama, You've Had Your Day

Starday

Rec. No. Side Song Title
104 A You All Come
104 B Poor Ole Teacher
106 B Stuck In-A-Mud Hole
127 A When The Saint’s Go Marching In
127 B Country Singin' (Alongside The Road)
132 A Let Me Be Your Salty Dog
132 B Back To The Country
176 A Fifteen Cent's A Sop
176 B Courtin's Here To Stay
302 A What A Way To Die
302 B You've Done It Right

Vince Mira - Cash Cabin Sessions (Lucky Rebel Records)



Track listing: Cold Hearted Woman, Blistered, Lonely Heart, Closer, I Was the Train, Ring of Fire, I Walk the Line (Spanish), Ring of Fire (Spanish)

I hadn’t heard of Vince Mire until recently, when I was blown away by his debut album, Cash Cabin Sessions on Lucky Rebel Records. He’s apparently making a big stir in the States, having already appeared on national tv on the Ellen DeGeneres Show and Good Morning America. Audiences seem to be captivated by such a young guy being so good at doing Johnny Cash you’d swear he was at least twenty years older. While it might have proven a good gimmick to get him some attention, there’s more substance to him than just that. His original songs are great and he’s not so much a JC impersonator, he’s more of a JC interpreter.

Vince Mira was born in Los Angles but raised in San Antonio, Texas. A couple of year ago he was playing for tips in Seattle's Pike Place Market where he was discovered by entertainment producer Chris Snell, owner of Seattle night club, the Can Can. Like a man with a badly broken neck, he’s never looked back. Next came the tv exposure before finally getting signed to a recording contract. Due to his Hispanic roots, he’s been given the wonderful nickname, "Juanny Cash".

His first album is produced by John Carter Cash, the son of Johnny and June. Mira had the privilege of recording it at the Cash Cabin (built by Johnny Cash) in Nashville, Tennessee. The first thing that strikes you is the amazing voice he has for someone so young. He was fifteen when he laid down these tracks! Another highlight is the quality of the band the great sound that John CC has created. Jamie Hartford is hotter than a Vernon Presley cheque and David Roe is about the best in the business, having slapped the bass for Dwight Yoakam and Johnny Cash himself.

The album blasts into live with Cold Hearted Woman, with Hartford playing pure Sun Records rockabilly guitar and Mira proving that he ain’t just a JC soundalike. The ballad Lonely Heart sounds like CMT hit fodder, while there’s an Irish folk quality to Closer. I Was The Train is nothing short of brilliant. A tribute to Johnny and Hank Williams that stands up there with Rodney Crowell’s Walk The Line Revisited or Alan Jackson’s Mignight In Montgomery. High praise indeed, but truly justified.

There’s a handful of Cash covers, and they all work well. Blistered is a stunning version of JC’s much underrated uptempo country bopper. Female backing vocals add the icing on the cake – and what a cake it is. Ring of Fire is good but perhaps he’d have been better doing something like obvious. That’s why Blistered worked so well. The album closes with Spanish versions of Ring Of Fire and I Walk The Line, both of which should find a massive market in pockets of the States. I hope this CD sells by the bucket-load and that Miraa and JCC get to work together on the follow-up.





Friday, 10 April 2009

The Boy in Black

Little John & Pleasant Hill Band - Folsom Prison Blues

As the old heroes die off you always wonder where the next generation will come from to keep our music alive. I still think of Dwight Yoakam as the next generation and he must be in his 50's now. Fear not for the music of Johnny Cash because today i've seen two acts that play Johnny Cash muisic, and between them they've probably got a total age of 22. I'll be reviewing Vince Mira later who aim's to take his music to the top. Here though is some little fella from, I assume, Pleasant Hill, wherever that is, who at the moment must be thinking more about when he's going to lose his milk teeth more than what fame awaits him on Music Row. What a talent he looks though, dig his picking on the solo. From December 2008, here's Little John & the Pleasant Hill Band. Take it away, John....





Thursday, 9 April 2009

50th Anniversary - Billy Fury - Don't Knock Upon My Door

Billy Fury - Margo (Don't Go)/Don't Knock Upon My Door (Decca F 11128)

Fifty years ago today, Britain's finest Billy Fury recorded his second single, the killer double-sider, Margo (Don't Go) / Don't Knock Upon My Door. Billy was the cream of the UK's rock 'n' rollers and the b-side was perhaps his best rocker. It's the perfect mix for a 1950's single, a ballad on the girlies side and something for the gents, on the flip. Producer Jack Good and musical director Harry Robinson would have known this and probably felt that with Billy's look and stage presence, a ballad would probably sell better as his audience was going to be predominantly female. Margo was a natural follow-up to his debut single, Maybe Tomorrow (backed with Gonna Type A Letter) which had just crept into the top 20. Margo was another beautifully sung plea for love, which amazingly only just managed to break into the top 30. I remember my old art teacher used to talk about Billy Fury to me because she knew I was a fan. I suppose the fact that I was painting Eddie Cochran whilst everyone else was painting flowers and overfilled fruit bowls might have been a clue. She was from Liverpool and she reckoned she was in school with Margo - not interesting but there you go.

Billy's self-penned Sound of Fury album is quite rightly regarded as a classic and whereas the songs there have a Sun records rockabilly feel with the guitar and slap bass, Don't Knock Upon My Door is pure rock 'n' roll. From the guitar intro to the stop-start drumming, it's a great vehicle for Billy's legendary stage act. If I was being ultra critical I would like to hear the piano solo replaced by a slash of guitar but otherwise this is a fabulous record. The two tracks were also released as an EP which collated the first two singles,a nd is very collectable these days.

Below is a clip from Oh Boy where the up-and-coming youngester Billy Fury performs the song to a national audience. This was the Uk equivalent to Elvis' perfomances on the Dorsey Brothers show or Ed Sullivan.





Tuesday, 7 April 2009

youTube - Stray Cats-Bring it Back Again/Runaway Boys

From an outdoor concer in Kaivari, Finland on 4.6.1989. The two songs are split by a short black and white interview with Slim Jim who looks so cool, and so young and tells the guy that this reunion was for the long term. He said that the magic they have as a band keeps bringing them back together. Let's hope it does in the future.

The concert footage is high quality, obviously done for television. I'd love to see the whole show as the camera angles are in-their-face and the trio sound superb. There's a boppin' country fell to Bring it Back Again, especially in Brian Setzer's guitar. It's a wondeful version that gives the issued single a run for it's money. There's a neo-rockabilly edge to Runaway Boys and it might just be my ears, but it sounds slightly slower than I'm used to. A great clip, that's the best seven minutes I've spent today.





RIP - Jeff Spencer (Memphis Rockabilly Band)

I've been meaning to do a tribute to the great Jeff Spencer who passed away recently. Jeff was the lead singer of the Memphis Rockabilly Band. I first became aware of them in the 80's when I picked up the Bop´n Roll Party album on Big Beat (I think). Thye had a great rockin' sound and although I find the bands name a bit corny, their music is brilliant. Below is a clip from the 1982 Bop´n Roll Party tv show which also featured Jack Scott, Sonny Fisher and Crazy Cavan.





Rockin' Song of the Week - Number 53

Johnny Burnette and the Rock 'n' Roll Trio - Tear It Up (live)
Wins LP 1010 / Hydra BCK 27110

I'm not sure what the world record is for using the word legend in one sentence but you could slip the world into so many places in the following. This live track comes from the Johnny Burnette Trio, from the Paramount Theatre in New York in the summer of 1956 with an introduction from the mc, Alan Freed. His show band play alongside the trio, among their ranks, Panama Francis, Big Al Sears and Sam "The Man" Taylor. Anyone who doubted Paul Burlison's ability will be blown away by his playing, including a pepped up intro. I can only imagine what it must have been like to be there, as JB and his southern boys gave the Big Apple kids a taste of manic southern rockabilly. The sound quality is excellent, but not clear enough to hear much from the brass department! Who needs sax when the Trio can play like this. The screaming girls and the storming beat make this more exciting than Coral managed to capture. A breathtaking performance.

Sunday, 5 April 2009

Battle of the Song No. 2 - You’ve Got Love

Johnny "Peanuts" Wilson – Brunswick 55039
Marty Wilde - (Wilde About Marty LP), Philips BBL 7342
Crickets – (Chirping Crickets LP), Brunswick 54038

The songwriter credits for You’ve Got Love go to Roy Orbison, Norman Petty and Johnny Wilson. I suspect that Norman Petty used as much ink in the process as Sheriff Tex Davis did in “writing” Be Bop A Lula. I think it’s fair to say that the song comes from the other two, The Big O and Peanuts. Anyway, it’s an easy going rock ‘n’ roll song that just oozes West Texas.

So contender number one is the songwriter himself, Johnny "Peanuts" Wilson. He’s sort of an unsung hero of rock ‘n’ roll and one who could have become a hero on the European rockabilly revival scene if he were still alive. Peanuts was born Johnny Ancil Wilson on 29 November 1935 in Riversville, West Virginia but grew up in Odessa, Texas. He joined Roy Orbison's Teen Kings in January 1956 and in doing so became a part of rockabilly folklore. The band included Billy Pat Ellis on drums, Jack Kennelly on bass and James Morrow on guitar and mandolin. Peanuts played rhythm guitar while Orbison was obviously the singer (not a bad one as I recall!!) and an underrated lead guitarist. They cut the now legendary Ooby Dooby and Rockhouse among others.

Sadly the band and Orbison split on December 14, 1956, with the Teen Kings going back to West Texas. On May 26, 1957, Peanuts had his first solo session, at Norman Petty's studio in Clovis, New Mexico. With the remnants of the Teen Kings (plus the rumoured appearance of Roy Orbison on lead guitar) and the addition of the vocal group that Petty was using at the time, the Roses, they cut Cast Iron Arm and You've Got Love. Cast Iron Arm is now acknowledged, rightfully, as a classic, and was chosen as the a-side of Brunswick 55039.

You Got Love swings along with the beauty that seemed to come so easy to the Texas rockers of the time. It could have been sung by any Texan from Buddy Knox to Sid King. The Roses and Peanuts work in perfect harmony and the Teen Kings rock and sway – it’s a stunning piece of work that is so of it’s time and place. If you heard this for the first time, you would probably be able to guess that it was from the Norman Petty stable circa ’57/58. The best place to hear this and a handful of other Wilson rockers is on the Ace Records CD, "West Texas Bop". Highlights include the rockers I’ve Had It, My Heartbeat and Wilson's version of Orbison’s Paper Boy. He had some success as a country writer over the years but died in September 1980 of a heart attack, denying him a chance to enthral rockers across the Atlantic who bopping away to Cast Iron Arm.


It’s over the water we go for contender number 2. Cast Iron Arm and You’ve Got Love were released in the UK as Coral Q 72302 in 1957. which brings us along to contender number 2. By this time, London boy Reg Patterson was making his way as Marty Wilde. From mid 1958 to the end of 1959, Wilde was one of the leading British rock and rollers, appearing regularly on the tv shows, Oh Boy!, Boy Meets Girl and the 6.5 Special. Following a handful of hit singles, his label, Philips, got Wilde and his band, the Wildcats to cover a slew of American singles. The resulting album, Wilde About Marty came out in August 1959 and is an underrated album. It might not be up there with Bill Fury’s self-penned Sound of Fury, but it was the next best thing. The Wildcats were a quality outfit, about the best the UK could offer outside of Cliff’s Shadows. Big Jim Sullivan was no mean lead guitarist and Brian "Licorice" Locking on bass and Brian Bennett on drums, would eventually end up in the Shadows.

The album features some well known covers like Dream Lover, Splish Splash and Mean Woman Blues as well as a few lessor known including You’ve Got Love. Marty may have heard it on the b-side of the Peanuts Wilson, Coral single, but more likely via Buddy Holly and the Crickets. Either way, they laid down a great version. Sullivan replicated the Teen Kings guitar intro and Marty has the high, youthful voice that fits the song to a tee. His voice doesn’t really get the recognition it deserves. It’s slightly nasal which gives it something different and he never seems to be struggling to reach a note. There’s a touch of teen angst in the mix as well which never hurt with the songs he was cutting. He’s a quality act who is still performing to this day. The best place to pick up Marty’s version is the CD which pairs Wilde About Marty with it’s follow-up LP, Showcase.

Finally we have the Crickets version from their wonderful debut album, The “Chirping” Crickets. Buddy Holly and the Crickets had just broken through nationally with That’ll Be The Day and Brunswick were looking to capitalise with an album. Buddy was apeolific writer but at such short notice and with the constant touring, the guys needed a couple of numbers to complete the album. Touring schedules dictated that the only possible time at the end of September 1957, for Petty and the Crickets to get together was in Oklahoma. Petty bought his recording equipment to the Tinker US Airforce Base outside Oklahoma City for a session that yielded four songs, among them, Maybe Baby and You’ve Got Love.

The Orbison/Petty/Wilson song was an obvious choice. It had Buddy’s sound all over it, it was a strong ditty and good ol’ Norm could help himself to some more cash as co-writer (cough, cough) of the song. Holly’s guitar is crisp and the solo rings like a bell. The guitar work is better than Wilson’s but the backing vocals from the Picks seem a bit square compared to the Roses.

I love the song, and think all three versions are excellent but the winner for me, and not because he wrote it, or because the flip side is one of my wife’s favourite songs, is Johnny Peanuts Wilson.

Friday, 3 April 2009

Elvis is Everywhere No. 2 - Eddie Murphy

Elvis has always been easy material for comedians since the begining with Bob Hope springing to mind. Some jokes are funny and much as I love Elvis, you gotta laugh. I get a bit pissed off with cheap shot comedians though - I've even seen fat guys taking the piss out of Elvis eating hamburgers. This clip of Eddie Murphy from Delerious is pretty funny though. Check out how he does Elvis walking around stage - brilliant. The fart gag is a bit childish though.





Wednesday, 1 April 2009

The Vargas Brothers – Rockin’ Blues


The Vargas Brothers – Rockin’ Blues
Wild Records

Track List: Done Gone/Lend Me Your Comb/Cutting Class/Love Charms/Hello Baby/Should We Tell Him/Wiggle Walkin' Baby/Leaving You/More and More/Hooked On You/Cry, Cry, Cry/I'm Ready (alt.)/Cry, Baby, Cry/Rockin' Blues/More & More (Spanish Version)

I think this is the Vargas Brothers second album, but it’s my introduction to this duo from Huntington Park, California, and I must say, they blew my mind. They also play as the Lonely Blue Boys but as they Vargas Brothers they play, no holds barred rockabilly.

The Vargas Brothers are Alex and Ernie Vargas, who share the vocals and play rhythm guitar and bass. They are driven along by Jose ''Watts'' Rodriguez on some blistering guitar and Jeff Gerow on drums.

The CD kicks off with a pair of fabulous covers. They do George & Earl’s Done Gone full justice, with great vocals and Joe Rodriguez laying down his marker for what follows - a CD chock full of explosive lead guitar. I don’t think I’ve ever said this before, but all I can say about Rodriguez’s guitar solo is, eat your heart out Carl. It’s a brilliant cover that will rock your socks off. Their cover of Ray Stanley’s Love Charms manages to recreate some of the atmospheric sound that made the original such a unique song. Bob Luman’s Hello Baby is phenomenal with Omar Romero taking over on lead guitar and the smoothness of the Everly’s Should We Tell Him is retained and augmented by more firecracker guitar. It sounds like the Everly’s backed by Ricky Nelson’s prime-time backing band.

Their own songs manage to maintain the high standard. Cutting Class is a rocking duet with shithot guitar, blah, blah, blah. I’m sure you’re getting the message here. Wiggle Walkin' Baby is blinding, reminding me of Red Hot ‘n’ Blue at their best. What a song, surely destined for hit status in the rockin’ clubs. Hooked On You is pure 50’s rockabilly as is I’m Ready which is relentless and another “must hear” number. The title track, Rockin’ Blues does what it says on the tin.

More And More suits them to a tee, and it’s great to hear this in something other than flat vocals!! Only joking, I love Webb, but his voice was voice was squarer than most people’s swimming pools – not his own though. JC’s Cry Cry Cry is a strong cover that will please rockabillies of all persuasions. A Spanish version of More And More rounds off the set.

I love this album, and would happily to say this is the best modern album I’ve heard for ages. If there is to be a place for rockabilly in the forthcoming decades, then bands and albums like this will play a big role in keeping youngsters interested. A stunning release.

Tuesday, 31 March 2009

On this week 50 years ago - Coasters

On March 26, 1959, the Coasters recorded the superb double-header, Along Came Jones and That Is Rock & Roll. It was released two months later (Atco 6141) and went to number nine on the US charts.

Personnel: Carl Gardner, Billy Guy, Will "Dub" Jones, Cornell Gunter (vocals), Mike Stoller (piano, temple blocks), Alan Hanlon and Tony Mottola (guitars), George Barnes (banjo), Wendell Marshall (bass), King Curtis (tenor sax), Gary Chester (drums). Producers: Jerry Leiber and Mike Stoller.

Along Came Jones was the perfect vehicle for the Coasters as a group and Leiber and Stoller as writers. It's a comedy western tale which I didn't realise until a few minutes ago was based on a 1945 cowboy film starring Gary Cooper and Loretta Young. A youTube clip of the original trailor is attached below. That Is Rock & Roll was sensationally covered by Shakin' Stevens - see the link below.



















Monday, 30 March 2009

Kingcats – Back on Track


Kingcats – Back on Track
Foot Tapping FT069

Track listing: Lucky Night, I Don’t Care If You Love Me, Don’t Come Knockin’, Sea Cruise, If You Only Knew, I’m Counting On You, I Ain’t Givin’ Up, A Mess of Blues, Break Up, Your True Love, I Got Stung, Milk Train Boogie.

I was so impressed with the Bill Crittenden CD that I had to look into the Kingcats to get more of that voice. I know Back On Track has been out for about a year but most of the stuff I review here has been out for 50 odd years, so what the hell. In woman terms, this album ain’t old enough to be a MILF!!

The Kingcats are the afore-mentioned Crittenden on rhythm guitar and vocals (and what vocals they are), Gabriel Allen on lead guitar, Calvis Kush on bass, Kevin Bulford on drums and Rusty Lupton (who sounds like an Elvis movie character) on piano.

A quarter of the dozen songs are originals, including the great opener Lucky Night, a rocker with a couple of piano solos. Don’t Come Knockin’ is a groovy slowie and the CD closer, Milk Train Boogie is piano boogie instrumental. Surprisingly, there’s a couple of lessor known Raul Malo numbers, I Don’t Care If You Love Me, a tasty slab of melodabilly that gives Brittenden plenty of scope to play with the lyrics. If You Only Knew is a piano driven bopper that the Mavericks once excelled at.

The 50’s covers are mainly Memphis based, although we start down in New Orleans for Frankie Ford’s Sea Cruise, which is given a rockabilly treatment which I didn’t like on first hearing, but sounds more hypnotic with each subsequent listen. Ben Hewitt’s I Ain’t Givin’ Up Nothin’ is more laid back than the original and reminded me a bit of James Intveld.

There’s a trio of Elvis covers, with I’m Counting On You being a beautiful version that confirms the quality of Crittenden’s voice. A Mess of Blues (love the understated bass) and a sterling I Got Stung don’t exactly let the team down either. Break Up moves along nicely and the guitar and vocals are top notch, producing a great version that would make Charlie Rich and Ray Smith proud. Ditto, Your True Love which would have had the approval of the Perkins boys.

I love this guy, he’s my new Paul Ansell.

Rockabilly Pride


I was driving home earlier listening to the BBC Radio 2 documentary from a couple of years ago, When Rockabilly Ruled The Waves, OK. I've played it a few times before, but there was something this time that made me feel different. Normally I wonder when, or if, rockabilly will ever become this popular again, and lament it's apparent slow death. This time though, I didn't worry about the future, I just felt proud that I was into rockabilly. I write this site because I love the music and want to do my bit to keep it alive. I admire the record label owners and promoters who put their money where their mouth is, and I marvel at the musicians who play for little reward. I haven't got the dosh or the location to run a label and I can't play an instrument, so all I can do is write about the music I love. About a hundred odd people visit the page everyday, and while that isn't exactly going to cause a musical revolution, I enjoy it and if anyone reads a review that leads to them buying a CD or going to see a band live, then great. As Darrel Higham says in the documentary, you feel so passionately for the music, you just want it to stay alive.

Saturday, 28 March 2009

Lux Interior - a belated RIP

I never got around to paying tribute to the great Cramps frontman Lux Interior when he passed a few weeks ago. He was a legend, and will go down as the greatest showman on the psychobilly scene. With wife and guitarist Poison Ivy they were the deadly duo who left crowds breatless with thirty years of rockabilly mayhem around the globe.

This clip is taken from the old Channel 4 programme, The Tube - one of the best UK shows for featuring a bit of rockabilly and psychobilly.

What a wild ride. Rest in peace Lux.





Elvis Is Everywhere No.1 - Banana & Peanut Butter Elvis Beer


I've been thinking about brewing my own beer for a while and just Googled for a banana beer home brew. I couldn't believe that the first site I saw was my some guy in California who'd just brewed his own creation, the Banana & Peanut Butter Elvis beer.

If you like a beer and think that one with a hint of Elvis is right up your street, click here to visit the forum.

Friday, 27 March 2009

"Hellfire" - 1982 article in Penthouse by Nick Tosches

It was 3 o'clock in the morning and the master bedroom of Graceland was still. Elvis Presley lay in his blue cotton pajamas dreaming. It was the same old dream. He walked through Tupelo in the late afternoon on a summer's day, toward the home of the virgin Evangeline. He was smiling as he turned a corner and entered a street where lush hackberry trees swallowed the sun. There was the house of her father, where she waited, wrapped in that magic, unholy thing from her mama's bottom drawer. He felt a chill. He was naked. Pleasance became dread, and he flushed with panic. He would retreat across town, where his mother was not dead and there fetch his clothes. If he hurried, there was time. He took a shortcut through a backyard he recognized, but was soon lost, running scared in a strange, unfriendly place, until he came to a meadow like none he had ever seen, and afternoon became night and the meadow became endless and he screamed.

The telephone at his bedside was ringing. It was one of the boys downstairs calling to tell the Boss there was trouble. The Graceland security guard had watched nervously as the 1976 Lincoln Continental sped up the gravel driveway and struck the gate. "I want to see Elvis," the driver shouted, with a voice as harsh as the clang of chrome and wrought iron that preceded it. "You just tell him the Killer's here." The guard recognized him as Jerry Lee Lewis and told him that Elvis did not want to be disturbed. This displeased Jerry Lee. He pulled out a .38 derringer, and his eyes, which were already partly closed, tightened with a further wrath. "Git on that damn house phone and call him! Who the hell does that sonofabitch think he is? Doesn't wanna be disturbed! He ain't no goddam better'n anybody else." Jerry Lee spat in disgust and then commenced yelling anew. He did not relent, and the guard went to the phone. "Elvis says call the cops" the boy at the house told the guard. Jerry Lee howled and waved his pistol toward the manor. The guard did as he was told, and a patrol car arrived in less than a minute.

The officer peered into the Lincoln and saw that Jerry had the Derringer pressed against the door panel with his left knee. He pulled the door open, and the gun fell. He picked it up and found that it was loaded. "I'll have your fuckin' job, boy," Jerry Lee hissed. The officer drew him from the car, frisked him, and locked his wrists. More patrol cars came, and Jerry Lee was taken away. Riding slowly, against his will, the prisoner glared into the slow river of dark night, wondering what had gone wrong. The thought came to him, and just as quickly fled, that there were no Breathalysers in Old Testament days. This must mean something. He thought about singing a song, the old one about meeting in the morning; but he didn't. Then at last he grinned and shook his head, for he knew that the cold, brilliant handcuffs would not long contain him.

By the end of July 1957, the record "Whole Lotta Shakin' Goin' On" had sold about 100,000 copies. Then it ran into trouble. Many people feared the song and its singer. Even some who liked Elvis damned Jerry Lee Lewis, as lascivious and evil. Mothers smelled his awful presence in the laundry of their daughters and preachers stood before their flocks and railed against him and his sinful song. Slowly, radio stations began to ban the record and it was heard less and less. Judd Phillips, the Sun Records promotion man, took Jerry Lee to New York and arranged for him to audition for Steve Allen. Impressed by Jerry's combination of musical virtuosity and audacious showmanship, Steve Allen eagerly agreed to have the young man perform on his NBC-TV program the following Sunday night. "The Steve Allen Show" of July 28 opened with a skit by Shelley Winters and Anthony Franciosa in which Franciosa re-enacted his marriage proposal to Winters.

The show grew duller as the hour passed. With less than five minutes left to the show, Jerry Lee was given his signal. He sat at the big piano and looked sideways at the camera, eyeballed it the way he looked at those girls in that Arkansas beer joint, and then began to rake the keys and howl about the shaking that was going on. He rose, still pounding, and he kicked the piano stool back. He played some high notes with the heel of his shoe. Then he stopped and looked at the camera sideways again. Neither he nor Steve Allen had ever heard louder applause.

The very next day, "Whole Lotta Shakin' Goin' On" began to rise anew and nothing, not preachers, not mothers, could contain it. At the end of August, the record held the no.1 positions on the C&W and R&B charts - only Elvis before Jerry Lee had a single top both charts. Then it rose to the top of the pop charts. By summer's end the record had sold well over a million copies. Jerry Lee returned in a Cadillac of triumph to Ferriday, the small Louisiana town of his birth. He embraced his father, Elmo Kidd, and his mother, Mary Ethel, and his sisters, Linda Gail, who was ten and very tall, and Frankie Jean, who was almost thirteen and already married. He embraced Uncle Lee Calhoun, the patriarch of the parish; and Lee, who was in his sixties but still riding a horse daily across his many acres of black land, smiled at Jerry Lee and told him that he had done good. The old man was right: Jerry had done good. Less than a year ago, no one outside of Concordia Parish had known who he was. Now his fame was second only to that of Elvis. Less than a year ago, he had been poor. Now he was making more than five thousand dollars a week. He had everything, it seemed. Everything except Myra Gale Brown.

Born in 1935, the son of a Louisiana tenant farmer, Jerry Lee had grown up torn between the Devil and the Holy Ghost. Most of his kin were in the Assembly of God, a Pentecostal sect whose members spoke in unknown tongues. As a teenager he himself had planned to enter the ministry and toward this end had studied briefly at a Pentecostal Bible institute in Texas. But the Holy Spirit had never been able to hold him for long.

Before he was old enough to buy a drink, he had been pumping the Devil's boogie in saloons of Natchez, which lay across the Mississippi River from his Louisiana home. The Devil had also lured him at an early age into the thraldom of female flesh. He had married for the first time when he was sixteen.

Without divorcing his first wife, he married again the following year. This marriage had produced two sons. One of these, Jerry Lee, Jr., was now almost three; the other, Ronnie Guy, not quite two, was and would ever be declared by Jerry Lee to be no son of his but rather the bastard stain of his wife's adultery.

Now there was Myra Gale. She was his 13-year-old cousin and he was in love with her. On Sept 4, he filed for a divorce from his wife, Jane and moved into the Memphis home of his aunt and uncle, Lois and J. W. Brown, Myra's parents.

Jerry Lee's next record, "Great Balls of Fire," released on November 3, became the biggest hit in the history of Sun Records. His fame and his purse grew greater and greater, and fate seemed to be a faithful bride at his feet. Imperiously, he refused to precede any other act on stage.

On the afternoon of May 13 a Memphis judge divorced Jerry Lee and his wife, Jane. Jerry Lee sat quietly in the courtroom. He did not contest the alimony judgment, nor did he mention that he had secretly married his thirteen-year-old cousin, Myra Gale, the previous December. The world was still unaware of that marriage when Jerry Lee arrived in London on the night of May 22 to commence a thirty-seven-day concert tour of Great Britain.

Judd Phillips at Sun Records had advised Jerry Lee against bringing Myra to England with him, but Jerry Lee had spurned that advice. Reporters and photographers set upon them when they stepped arm-in-arm from the plane at London. They asked who she was, this smiling little girl in tight black slacks and a black-and-white jumper. 'This," said Jerry Lee, "is my wife." The reporters wanted to know how old she was. "15" said Jerry Lee. The reporters wanted to know how long they had been married. 'We were married two months ago, and we're very happy," said Jerry. The reporters asked Myra if she didn't think that 15 was too young an age at which to be married, "Oh, no, not at all," Myra said. "Age doesn't matter back home. You can marry at 10 if you can find a husband." Then the flashing lights blinded her and she clung to Jerry. They escaped the newsmen and were driven in limousines to the Westbury Hotel in Mayfair, where they checked into Room 127.

The next day, Jerry Lee was shown a copy of the London Daily Herald. There was a large photo, taken at the airport the night before, of Jerry Lee and Myra Gale embracing, and in bold black letters the words "'ROCK' STAR'S WIFE IS 15 And It's His Third Marriage!" That same day, across the sea, Sam Phillips, the president of Sun Records, picked up a copy of the Memphis Press-Scimitar and inhaled slowly through his nostrils. The headline was: JERRY LEE LEWIS WEDS. After receiving news of the marriage from London, a Memphis reporter had done some digging, and now, in the Press-Scimitar, it was revealed that the marriage took place "almost exactly five months before Lewis was divorced from his second wife," and that "Myra's birth certificate reveals that she was born on July11, 1944."

Jerry and Myra were driven on Saturday night, May 24, to the Regal Edmonton, for the first show. 2000 teenagers sat in a murmurous anticipation so perfect that it seemed orchestrated. The lights dimmed and there he was in a shocking pink suit with sequined lapels and a black ribbon-tie. He was beholding the audience while they beheld him from behind a blind of applause. He felt power then loosened the grasp of his eyes and turned towards Myra in the wing. He raked the keys of the big piano and howled of the fire, and the audience, receiving the Devil's message was no longer murmurous but wild with sound, or silent, according to the bent of their souls. Jerry gave them little more than 10 minutes. "He treats his audience with an attitude bordering on contempt," one British reporter wrote a few days later and the teenagers; those who had been loud with excitement, those who had been silent, began to jeer and hiss as the curtain fell. Someone started to sing 'God Save the Queen," and others joined in amid the jeering and hissing. Finally the curtain rose, and Jerry Lee gave them more, gave it to them hard and frenzied and unrelenting, as a man who lay lustful and betrayed upon a hated wife; and then he left the stage.


On the following morning, Sunday, May 25, the Daily Sketch said hat Jerry Lee 'throws together everything that is bad in rock n roll. Drooling at the piano, Lewis moans, grunts, wails, and sneezes so close to the microphone that he might be eating it." Said the front-page editorial in the newspaper. The People was more hostile, calling for all teenage subjects of the crown to boycott Jerry's concerts and thus 'show that even rock and roll hasn't entirely robbed them of their sanity." The editorial also urged the home secretary to have Jerry Lee deported from the United Kingdom. Jerry Lee and Myra were driven that Sunday to the Kilburn State Theatre; for the second show of the tour. On the following day, the Herald reported that only 1000 of the theater's 4000 seats were filled, adding that, "Those who stayed away missed nothing."

On Monday an editorial in the London Evening Star said 'that, "Lewis should not be allowed to parade his charms before British teen-agers. He should be deported at once. He is an undesirable alien." Later that night, Jerry Lee performed at the Granada Theatre in Tooting, where he was met by cries of "Cradle robber!"

He was scheduled to appear the following night at the Odeon in Birmingham. But that morning the British agent Leslie Grade, who had booked the tour, met behind closed doors with the President of Rank which owned the theaters that Jerry had been booked into for the rest of the tour. After the meeting Grade announced that the tour had been cancelled. At 2:15 that Tuesday afternoon, Jerry and Myra Gale left the Westbury Hotel through a side door. Limousines carried them to the airport, where photographers and reporters were waiting. Leading Myra Gale past them, Jerry Lee picked up a paper at the airport newsstand and glanced at the headline, which proclaimed that France's new premier had averted civil war. "Who's this De Gaulle guy?" he said loudly as the newsmen caught up with him. "He seems to have gone over bigger than us."

As the Pan American clipper headed toward ldlewild Airport, the United Kingdom celebrated the success of its exorcism. Under the headline BABY-SNATCHER QUITS, the London Daily Herald reported in its Wednesday' edition, "The Jerry Lee Lewis circus flew sadly out of London last night." Upon landing at Idlewiid on Wednesday morning, May 28, Jerry Lee found that what awaited him was almost as bad as what he had left behind. As the crowd of reporters rushed toward him, Myra ran into a private waiting room. Photographers flooded Jerry Lee's vision with their white flashing. A reporter from the Daily News asked Jerry Lee if he didn't think it was a bit odd for a man to marry a thirteen-year-old girl. "You can write this down," Jerry Lee said, raising his voice. "She's a woman." He and Myra Gale boarded a Capital Airlines plane, and they were back home in Memphis a few minutes after two in the afternoon.

Thinking that it might placate the press Jerry decided to remarry Myra in a ceremony of impeccable legality. On the weekend after returning to Memphis he and Myra Gale drove south to Ferriday. They filled out a marriage license at the parish courthouse in Vidalia. Since Jerry's last Louisiana marriage, 6 years before, something had been added to the license form, and Jerry Lee filled this new thing out quickly 'and audaciously: "Relation of Bride to Groom: NONE" The press would not relent. Newsweek reported the more lurid details of Jerry's expulsion from England, juxtaposing the report with the news that Pat Boone had recently graduated from Columbia University magna cum laude. In the New York Herald Tribune, columnist Hy Gardner remarked that "the Jerry Lee Lewises are going to have an addition to the family. He bought her a new doll."

The summer passed, but trouble did not. Elvis, whose kingship Jerry had dreamed to usurp, sailed in khaki to Germany. Before departing, a reporter at the Brooklyn Army Terminal asked Elvis how he felt about what had befallen Jerry. "He's a great artist," Elvis said 'I'd rather not talk about his marriage, except that if he really loves her, I guess it's all right." Not long after arriving in Germany, Elvis met and fell in love with a fourteen-year-old girl named Priscilla Beaulieu. He eventually brought her to live with him at Graceland, keeping her, carefully, quietly, waiting till 1967 to marry her without taint.

By the time that Elvis sailed for Germany Myra Gale knew that she was pregnant. On the morning of February 27, 1959, she gave birth to a 7 pound boy. Jerry decided to name this son Steve Allen Lewis, in honour of one of the few decent men he had met outside of Concordia Parish. Soon Jerry moved his family into a new home in the Coro Lake section of Memphis. It was a ranch-style house with a swimming pool. Jerry liked to sit by the pool and not smile and not think. It was only a matter of time till he would once again be on top. He would sit there and know that, and he would clench and unclench his fist.

He rested a hand upon the cold porcelain urinal steadying himself. He was somewhere in Minneapolis. It was Easter Sunday '62. All was not well. Since that ruinous summer in 58 there had been no more big hits, no more big paychecks. But still he pumped onward roaming the country in a Cadillac, howling of the fire and of the shaking, seeking his own salvation. He was no longer the contender to the throne of the kingdom of rock 'n' roll. Things were different now. Elvis reigned in solitude, no longer performing in public, withdrawing into a mystery commensurate with his sovereignty. Rock 'n' roll itself had changed. It was soft and weak. At times it seemed to Jerry that only he himself was rocking on, burning true after all these years.

But his fame had dwindled, and so had his purse. He had once played for thousands of dollars a night; now he played for hundreds. He continued to make records for Sun, but Sun itself was barely there anymore. Yes, it seemed to Jerry Lee as he flushed the urinal and raised his head; yes, it had become strange and unreal, all of it.

900 miles away, in Memphis, as dusk settled on that Sunday of resurrection, Myra sat at the kitchen table making a grocery list. Little Steve Allen Lewis, who had turned three in February, pulled at her skirt for attention. She reached out and rubbed his blond crew cut. She finished the list and looked at the clock. It was 6:40; there was still time to get to the store. Then she noticed that Stevie was gone. She searched the house calling his name and the farther she searched and did not find him, the faster and harder her heart beat beneath her breast. She ran to her neighbour and in terror she asked him to search the pool. In about five feet of water near a little ladder at the edge of the pool, the neighbour met a horrible, gently drifting weight. He raised it and laid it on the concrete patio. Myra felt something that she had never know to exist, and she came apart in shock.

He had always been strict with Myra Gale. Since adolescence, she had been shaped like soft clay within his hands. Jerry Lee dictated what clothes Myra wore and he dictated these clothes according to the precepts of the Pentecostal church. He did not allow her to wear makeup or to cut her hair. He told her which records she might listen to, which TV to watch, which books to read. Once he had caught her with a paperback copy of Tobacco Road, the 1932 best seller in which an older man marries a 12 year-old girl. He tore the book from her and censured her mightily. Myra who knew little of the world, simply believed that all marriages were like her own, and she bent her knee in diffident fealty. Still, he smelled sinfulness in her.

Women had thrown themselves on him for years. Wherever he went, it seemed, cheap-perfumed things parted, lithe and yielding as the wind-blown Mississippi reeds of his boyhood; had parted first to receive whatever scrap of garish, stinking fame and glory they might, then later to receive the grotesque wraith of that fame and glory. Every time he disgorged himself in the mouth of whoredom, he cursed all women for what they had, to him, shown themselves to be. He turned on his wife, unable to see or to believe that she could be any different from the rest. He accused her of adultery, and he struck her.

Now a demon, or demons, inspired him to make accusations of a new sort. He began to imply that little Stevie's death was a heavenly punishment for Myra's sins. In the past, Myra had obeyed her husband's command that she attend church regularly (though he attended rarely). His new accusation brought a chill to Myra's teenage soul, and she ran to the Holy Spirit for comfort, praying no longer in mere obedience but in heartfelt need. A preacher at the Church of God on Highway 61 told her that the Holy Spirit could return the dead to life. For two years following this revelation, she besought the Holy Ghost to breathe miraculous life into her dead son, to wrench him from beneath the dirt and deliver him into her arms. She took to the pulpit and declared her love for the Almighty, as her husband all the while condemned her for her blasphemous hypocrisy. When she was 20 and the Holy Ghost had given her no sign, she unclasped her hands, cut her hair, and wept.

Jerry's contract with Sun expired on Sept 6,1963. Two weeks later he signed a modest deal with Smash, the new, subsidiary of Mercury Records. He recorded prolifically but could not recapture what had been wrested from him in that fateful May of 1958. Hardly anyone outside of Concordia Parish knew if he was dead or alive.

He had drunk and taken pills since he was a teenager, pumping piano in the Natchez honky-tonks, but he allowed neither the liquor nor the pills to reign over him. Since the death of his son, however, he had grown more extreme, and whiskey and drugs were fast becoming as important a part of his life as God and music. The booze and the pills stirred the hell within him.

At times he withdrew into his own shadow, brooding on all manner of things: abominable, unutterable and worse. At times he stalked and ranted in proud and foul omnipotence, commanding those about him as Belial his minions. He was the Killer, damned to be, for as long as there were good and evil to be torn between in agony. He would sit backstage in a thousand dank nightclubs, and he would know this, and he would swallow more pills and wash them down with three fingers more of whiskey, and he would know it even more. He would walk like a man to the stage, with his cigar in one hand and with his drink in the other, and he would then pound the piano and sing his sinful songs, night after night, year after year.

By the end of 1967, the record company had all but given up on Jerry and they planned to let his contract expire without renewal the following year. But on the cold, gray afternoon of Jan 9, 1968, in Nashville, Jerry Lee recorded a song called 'Another Place, Another Time." It was a straight country lament about booze, broads and loneliness, but the way he sang it, it seemed to contain all the sadness in the world. The record hit the country charts in the first week of March, and it rose till it was a Top Ten country hit. It stayed on the country charts for more than four months, and it crossed over to the pop charts. For the first time in ten long years, Jerry Lee Lewis's voice was heard throughout the South and the land beyond.

He narrowed his eyes and watched that returned whore, errant fame, raise her skirt, and he felt her belly warm to his, and he threw back his head and he roared as he had never roared before. The hits kept coming. As '69 began, Jerry Lee was the hottest country singer in the south making more money than he ever had. And he had done something he had not intended to do. He had stirred Elvis from seclusion. Since '65 there had been no Top 10 pop hits for Elvis, no Top Ten country singles. Fewer and fewer people were buying his albums or paying to see his movies. In the summer months of '68, Jerry's voice had once again come to be heard throughout the South, Elvis had gone into the NBC studio in Burbank and taped a television special. Broadcast on December 3, the one-hour show, Elvis, effectively revived his career and his confidence. In July '69 he performed in concert for the first time in almost 8 years, at the International Hotel Las Vegas, bringing an end to his retreat from the public and renewing in Jerry's heart the desire to wrest the throne of that kingdom that now, in 1969, no longer was but behind the uncalm eyes of these two unusual 34 year-old men who lived in opposite parts of Memphis, Tennessee.

Fame continued to hold her skirts high for Jerry Lee throughout '70. His concert price eventually rose to $10,000 a night. He bought his own plane, a DC-3, and hired his own pilot to fly him from city to city, fortune to fortune, night to night. But it was not meant to last. The Devil's joke had just begun. Not long after Jerry's 35th birthday, Myra and he decided that it would be financially wise to make her the legal owner of their home at 5042 East Shore Drive, Memphis. On Oct 21 they signed a document that rendered Myra the landlord and Jerry the tenant of their home. After signing the papers, Jerry departed for a tour of Australia. He didn't know Myra had hired detectives to gather evidence of his sins.While Jerry was in Australia, Myra filed for divorce. Her bill of complaint accused Jerry of various infidelities. She stated that since '64 she had 'been subject to every type of physical and mental abuse imaginable," and that on several occasions Jerry had threatened to 'hire people to throw complainant in the river and to throw acid in her face." She said he "drinks constantly." Shelby County deputies served Jerry Lee with the divorce papers as he stepped from a plane. He stared at the papers, shook his head and swore.

He was still suffering from his loss of Myra Gale when he learned on the day after Easter '71, that his dear mother had slipped into darkness and had been taken to Concordia Parish Hospital. She died there the following week, at the stroke of midnight, April 21, taking with her a piece of her son.

In the first dark hours of April 23, the day after Jerry Lee laid his mother beneath the dirt, a cruel windstorm swept through Memphis. Jerry's Douglas DC-3 was moored at a private airport on Democrat Road. The Hecate wind took that DC3 and hurled it across the ramp, smashing it against a parked Cessna. Jerry went out and bought a bigger plane, a Convair 640 turbojet with twenty-six seats and a full bar. Three weeks later, on May 12, the divorce became final. A judge awarded Myra the house near Coro Lake, $175,000 tax-free, and two Mark Ill Lincoln Continentals. On-September 3, four months after the divorce, Myra married Peter Malito, one of the private detectives that she had hired to investigate Jerry Lee.

A month later Jerry Lee was sued by a woman who claimed that he had verbally and physically assaulted her during his performance at the El Captain supper club in Memphis. She complained that he had insulted her over the pa system, that he had thrown a hardbound book at her, twisted her arm, and tried to drag her across the electric organ he was playing.

On the following Thursday, October 7, Jerry Lee married a pregnant twenty-nine-year-old Memphis divorcée named Jaren Elizabeth Gunn Pate. They separated two weeks later, reconciled, separated again, reconciled. In the spring of 1973, he bought a second plane, a Cessna 340, and a new home, a fifteen-room manor on a thirty-acre tract in De Soto County, Miss. But his wealth had begun again to dwindle. The country hits became smaller and smaller, and none of them crossed to the pop charts. The $10,000 bookings became fewer and fewer. And the night began to wear the scent of sulphur.

It was August 26th '73 and Jerry and his band had just flown to Memphis from a show in NY. They had landed at 1am and Jerry wanted to roar. "We were real wired up and raving around" recalled drummer Tarp Tarrant."We had been in several joints and Jerry had almost gotten in a fight in every place.We finally went down to Overton Square to TGI Friday's. We had just sat down and they were playing Jerry's records. At the table next to ours were two couples from Arkansas. The men were giants and their old ladies were hogs. After a while the men went to the restroom. At that time one of the ladies said 'I hate this Jerry Lee Lewis shit they're playing'. The Killer just turned around and said "Fuck you, you old redneck whore!' and turned back around. "About 2 minutes later a man tapped Jerry on the shoulder and said 'Are you Jerry Lee?' The Killer said 'the one and only.' The man hit him and broke his nose. We were so stoned we didn't think it was broken. I told Jerry to let me take him to the doctor but he said 'Hell, no, I'm rockin'! Besides, ain't nobody can hurt the Killer.' "9 hours passed, and we had gone to several after-hours joints. By this time Jerry's nose was swollen up real big and he let us take him to Baptist Hospital. He just laughed and said, 'One more battle scar won't matter none.' He was laid up in the hospital for a week."

Jerry Lee had given his son, Junior, the jeep for his nineteenth birthday. Now, eleven days later, November 13, Junior fitted a tow-bar to the rear of the jeep and drove from Memphis to De Soto County, Mississippi, to fetch another car, a Ford XL, from a repair shop. He was driving back along Holly Springs Road, near Hernando, at about eight-thirty that evening. He turned. The Ford that he was towing swerved round and hit the abutment of a bridge; It jack-knifed and overturned the jeep. He was pronounced dead at 9:24pm. Jerry Lee claimed the body of his son, and he had the hospital people put it in a rubber sack. He took the sack to his plane, and he laid it in the aisle, and he told his pilot to steer south, toward Ferriday.

On December 3, three weeks after Jerry Lee had laid his son beneath the ground, his wife, Jaren, filed a Circuit Court suit seeking separate maintenance and child support. She accused Jerry Lee of cruel and inhuman treatment and said that he and she had recently separated again. A month later, on January 7,1974, his bass player, Hawk Hawkins, and his steel-guitarist, Charlie Owens, quit and filed suit against him for $8,000 in back salaries. In October the Capaert Investment Corporation filed suit against him for $100,838 he owed in payments on the Convair turbojet he had bought three years before.

On March 11, 1975, he performed at Bad Bob's in Memphis. He began arguing with a girl at the club and ended up taking a fiddle bow to her. Claiming she had been "brutally and savagely attacked," the girl filed against him seeking $100,000 in damages. A judge eventually fined him $25 for striking the complainant, then fined the complainant $15 dollars for breaking the bow. On April 11, Jaren filed for divorce, claiming that Jerry had threatened her with bodily harm.

He came upon Elvis in Las Vegas and said "You don't know what you're doin'. You're just Col.Parker's puppet." "Well," said Elvis "If I'm so dumb and you're so smart, how is it that I'm playin' the main room and you're playin' the lounge?"

On September 29 '76, Jerry's 41st birthday, his bass player, Butch Owens visited Jerry and Jaren at the Memphis house where Jaren resided. He brought a copy of Jerry's new album "Country Class". The two men sat drinking and talking while Jaren watched TV in the living room. Jerry pulled out a .357 magnum and pointed it toward Owens. "Look down the barrel of this," he said. Then he aimed the gun to the right of Owens and said, "I'm gonna shoot that Coca-Cola bottle over there or my name ain't Jerry Lee Lewis." There was gunfire. Owens clutched 2 bleeding holes in his chest and staggered into the living room. Jaren yelled at him for bleeding on her new white carpet. Owens was taken to St. Joseph Hospital where he underwent emergency surgery. Jerry was charged with shooting a firearm within the city limits, a misdemeanour.

At nine in the morning on November 22, he steered his $46,000 Rolls-Royce onto Powell Road and kept steering into the turn as if it had never happened. The Rolls flipped over into a ditch. He crawled out. The police took him to jail. He registered zero on the intoximeter, but, according to police chief H. Goforth, "His tongue seemed thick. His eyes were bloodshot, and he was kind of unsteady on his feet." Ten hours after Jerry Lee was released from jail, he drove to Graceland, to the two-leaved gate. He waved his pistol and he cursed the night.

It was August 16, 1977, and Elvis was dead, facedown on his bathroom floor. A thunderstorm crossed Tennessee that afternoon. Two days later, police officers stood in solemnity along Elvis Presley Boulevard and saluted as the white Cadillac hearse rolled slowly by. They, the Killer's persecutors, saluted.

"How did you react to Elvis Presley's death?" the man from the country music magazine asked him. "I was glad. Just another one out a the way. I mean, Elvis this, Elvis that. What the shit did Elvis ever do except take dope that I couldn't git ahold of? That's very discouraging, anybody that had that much power to git ahold of that much dope. All I did was drink whisky. "Elvis. That sonofabitch died on dope. His heart was twice the size as normal. That's how much dope he took. I'm tellin' you what he done. He was a dope addict. I am an alcoholic."

On December 14-15, 1977, he went into the studio and cut fifteen songs. These were the last records he would make for Mercury. Soon he would have a new label, Elektra. It didn't matter, except for the advance.

At one in the afternoon, February 23, 1978, Jerry Lee was rushed to the emergency room of Baptist Hospital, suffering from respiratory distress. Soon after he arrived, reports flooded the Memphis newspapers and television stations. Jerry Lee Lewis, these reports said, was dead.

On February 27, 1979, Internal Revenue agents converged upon Jerry Lee's Nesbit home. They confiscated his cars, his guns, his stereo equipment, and his furniture. "I don't think they'll ever bring my stuff back," Jerry Lee told a Memphis reporter. "And I don't care if they don't. I'll go out and git me some more."

He filed for a divorce from Jaren in the spring of '79, claiming that he and she had "not cohabitated as husband and wife since October 21 '71." On June 8, Jaren filed a counter suit charging him with "cruel and inhuman treatment, adultery, habitual drunkenness and habitual use of drugs." A week later Jerry sat onstage at the Palomino Club in Hollywood. He looked into the eyes of his audience and said, "Elvis killed himself over a broad. It took 5 of 'em to put me in the shape I'm in today." Backstage after the show a writer tried to interview him. "You've been married 5 times: Do you know any more about women now than you did the first time you got married?" "Yeah. Pussy is pussy."

On September 11, after Jerry Lee's repeated failure to appear in court, a US District Court Judge in Memphis ordered the absent and defaulted defendant and his estranged wife, Jaren, to pay $125,000 in damages to Butch Owens, who, three Septembers ago had been told by his employer to "look down the barrel of this." 7 days later, IRS agents returned to his ranch in Nesbit to claim more of his worldly possessions. After leaving the ranch, the agents reported to the county sheriff that quantities of controlled substances were to be found secreted in Jerry Lee's home. He was arrested at noon the next day. Wearing a silk ascot and smoking a corncob pipe, he told a reporter from the Associated Press that the bust was a set-up.

On January 15, 1980, Dr. George Nichopoulos sat before the Board of Medical Examiners in the Memphis City Council Chambers, defending himself against charges that he had prescribed massive doses of addictive drugs to Elvis and several other patients. Listed among them was Jerry Lee. The white-haired doctor told the board that Jerry was a drug addict and he had been hospitalised for his addiction on at least 3 occasions since '77. He said Jerry customarily took eight to ten capsules of amphetamine before every performance. 'He was getting them off the streets," Nichopoulos said. "I was trying to control what he was taking, trying to limit what he was taking, until we could get him off the pills and show him that he could perform without them." A few days later, after deliberating for fifty minutes, the board found Dr. Nichopoulos guilty as charged.

Not long after his 45th birthday, Jerry read in the paper that the IRS had auctioned off all the worldly goods, cars, guns and jewels that they had seized. He read that the money from the auction did not equal his debt and the IRS wanted more. It was Cleveland or Toledo or wherever, it was dark and raining hard. He turned on the television but found nothing but static. The static took on a strange, dreamlike clarity. He began to see a swarm of vile insects: These were the principal demons, loosed from the brass vessel of Solomon. He shut off the TV. His heart beat fast, and he trembled. Turn on the lights, he told himself. But to get to the wall switch he must pass a mirror. He would turn his face away as he passed it; yes, that was it. But he was 45, he told himself, and he must be strong not weak. Jerry Lee Lewis spat out his unclean fear and took hold of himself, and he walked directly toward the mirror. But there was a furious beast in that mirror, and it devoured him.

My thanks to Jerry Lee Lewis fanatic and a personal friend of the Killer, Graham Knight.

Thursday, 26 March 2009

Gary Bennett - "Inside and Out" DVD


Everyone remembers Gary Bennett as co-frontman of retro country BR549. Along with Chuck Mead they sang the hillbilly songs that had BR549 touted as the next big thing. In fairness they were big, but not on the Garth Brooks level that us real country fans hoped for. Bennett left the band in 2001 and stepped away from the music scene until 2006, and it's that journey that this CD focuses on. Directed by former BR549er Smilin' Jay McDowell, for his Nashville based company, Vintage Flick Productions, the DVD features live footage together with a bonus feature looking at the making of GB's Human Condition album.

The live concert was filmed in Nashville in May of 2006, and features a selection from the then current album, Human Condition together with a few numbers from the BR549 years. The band is excellent with Milan Miller on guitar and harmony vocals, Jimmy Lester on drums and the great Mark Winchester (Planet Rockers/Brian Setzer) on bass. Special guest for the show was Donnie Herron, professor of the fiddle, mandolin, steel guitar and just about anything that makes a sound. It was the first time they'd played together since the parting of the ways in 2001.

The concert kicks off with Human Condition before moving into the great brisque hillbilly number That’s What I’m here For with it’s 50’s country feel that suits Bennett to a tee. Miller plays some tasty licks and it’s the kind of number that stood BR549 from the crowd. GB’s sounds soooo country on Headin’ Home with it’s 60’s California sound. Ain’t Getting’ No Younger is introduced as the first song he wrote after moving to Nashville, and it shows his massive talent as both a writer and singer. Listen to that voice on Ship In A Bottle and tell me that Nashville can do without stars like this – Big & Rich might live up to their names but they aren’t fit to tune GB’s guitar.

The Ship isn’t my favourite song but it sees Donnie Herron join the band, and his haunting fiddle adds a neat edge to the song. Better Than This is much more like it. The BR549 years are acknowledged with the foot-tapping, While You Were Gone and an brilliant version of their biggie, Even If It’s Wrong.

The bonus documentary on the DVD includes footage from the 2005 recording sessions, interviews, rare BR549 footage, photographs, demo recordings and some home videos. It's all fascinating stuff and you get a real sense of what a great, charming bloke Gary Bennett is.

Nowadays, he's back playing on Nashville's legendary Lower Broadway, at the Full Moon Saloon on Wednesday nights. He's re-formed The McNeills with his nephew Jason Capps. They originally formed the band in Portland, Oregon back in 1991. The street is thriving and he's more than happy to be back there. "It's really changed down there," Gary says of the downtown tourist district. "There are way more good bands than there were when we were down there. People clamour to it now, and it's exciting. That street deserves that level of popularity. This is the most excited I’ve felt about going out and playing live in a long time. We are gonna have a lot of fun! We'll stick to mainly original songs, with a cover thrown in here and there.”

So what you have here is a wonderful DVD that pays homage to a great talent – one that still has more to offer. Hopefully a new album won’t be too far away.

Rockin' Song of the Week - Number 52


Hot Rockin' - One More Star (Foot Tapping Records)


Hot Rockin' front man Porky is a legend. Larger than life, he has a wonderful voice that although at times can sound a bit flat, it has a delightful soulfulness. As readers of my page will know, I loved his version of the early 60's Elvis song, Angel, which was so much better than the original. A song I've been playing to death lately comes from an earlier album, One More Star, a tribute to Britain's finest, Billy Fury. The lyrics incorporate some of his song titles to a backing that at times sounds like Fury's Cross My Heart. Guitarist Chris Finn should take some credit for some apt picking that echoes the early 60's era. A heartfelt tribute that is one of the best of this type, up there with Carl Perkins' EP Express and the Stray Cats' Gene And Eddie.


Recommended downloads: No Heart To Spare, Suzie's Got A New Hairdo, the western flavoured Lowdown in El Paso and a pepped up version of Jack Scott's My True Love.

Sunday, 22 March 2009

Apologies and sad news

Sorry folks, I'm gonna be away until Thursday with work.

My thoughts go to my buddy and fellow Jerry Lee nut Phil Davies who sadly lost his mum yesterday. Play a JLL for him and keep him in your thoughts.