JERRY LEE, EDDIE NOACK & a Rockabilly Concert to Remember
JERRY LEE LEWIS Southern Roots (Bear Family BCD 17312 BH)
Disc One: Meat
Man; When A Man Loves A Woman; Hold On l’m Coming; Just A Little Bit;
Born To Be A Loser; Haunted House; Blueberry Hill; The Revolutionary
Man; Big Blue Diamonds; That Old Bourbon Street Church; Silver Threads
Among The Gold; Hold On I’m Coming (fast version); Take Your Time; All
Over Hell And Half Of Georgia; I Sure Miss Those Good Old Times; Raining
In My Heart; Honey Hush; Cry; Margie
Man; When A Man Loves A Woman; Hold On l’m Coming; Just A Little Bit;
Born To Be A Loser; Haunted House; Blueberry Hill; The Revolutionary
Man; Big Blue Diamonds; That Old Bourbon Street Church; Silver Threads
Among The Gold; Hold On I’m Coming (fast version); Take Your Time; All
Over Hell And Half Of Georgia; I Sure Miss Those Good Old Times; Raining
In My Heart; Honey Hush; Cry; Margie
Disc Two: Cry
(alternative 1); Studio Chatter #1; Cry (alternative 2); Studio Chatter
#2; Margie (alternative 1); Margie (alternative 2); Studio Chatter #3;
Silver Threads Among The Gold (alternative 1); Silver Threads Among The
Gold (alternative 2); Born To Be A Loser; Studio Chatter #4; When A Man
Loves A Woman (alternative 1); Studio Chatter #5; When A Man Loves A
Woman (alternative 2); Meat Man (vocal/piano mix); Raining In My Heart
(vocal/piano mix); Studio Chatter #6 – Creedence & Cajuns; I Sure
Miss Those Good Old Times (alternative 1); I Sure Miss Those Good Old
Times (alternative 2); Studio Chatter #8 – Polk Salad Annie.
(alternative 1); Studio Chatter #1; Cry (alternative 2); Studio Chatter
#2; Margie (alternative 1); Margie (alternative 2); Studio Chatter #3;
Silver Threads Among The Gold (alternative 1); Silver Threads Among The
Gold (alternative 2); Born To Be A Loser; Studio Chatter #4; When A Man
Loves A Woman (alternative 1); Studio Chatter #5; When A Man Loves A
Woman (alternative 2); Meat Man (vocal/piano mix); Raining In My Heart
(vocal/piano mix); Studio Chatter #6 – Creedence & Cajuns; I Sure
Miss Those Good Old Times (alternative 1); I Sure Miss Those Good Old
Times (alternative 2); Studio Chatter #8 – Polk Salad Annie.
Originally released in 1974, and receiving mixed reviews and poor sales, “Southern Roots” came at a time in Jerry Lee Lewis’ career was at a crossroads, having been through rockabilly, rock ‘n’ roll and, most recently, country music. So after several different musical directions and producers, Huey Meaux
entered the picture and three days of recording led to the creation of
“Southern Roots” – a 10 track offering, running 34 minutes, with Mack Vickery’s Meat Man
being the unlikely item that was most worthy of single release.
Nevertheless, it spite of poor sales, the recordings gained cult status
and now, after almost 40 years, it’s reassessment time with the release
of the complete recording session containing undubbed masters and studio
chatter.
entered the picture and three days of recording led to the creation of
“Southern Roots” – a 10 track offering, running 34 minutes, with Mack Vickery’s Meat Man
being the unlikely item that was most worthy of single release.
Nevertheless, it spite of poor sales, the recordings gained cult status
and now, after almost 40 years, it’s reassessment time with the release
of the complete recording session containing undubbed masters and studio
chatter.
Although nine masters are supposedly lost, enterprising Bear Family
has brought them to record buyers’ attention thanks to Meaux’ two track
tape machine (fed directly from Jerry Lee’s vocal and piano mikes)
running throughout the session. These include Raining In my Heart, I Sure Miss Those Good Old Times, Cry, Margie and Silver Threads Among The Gold along with alternative mixes and entertaining studio chatter between Meaux and Lewis, providing the listener with a “fly on the wall” experience. One-time rocker Hank Davis
provides the detailed booklet notes about Jerry Lee’s career prior to
the recording and the session itself, with particular reference to the Percy Sledge song When A Man Loves A Woman, here
transformed from pop into high preaching, spiritual realms. This is how
the album was destined to be heard and adds another notch to The
Killer’s incomparable reputation.
has brought them to record buyers’ attention thanks to Meaux’ two track
tape machine (fed directly from Jerry Lee’s vocal and piano mikes)
running throughout the session. These include Raining In my Heart, I Sure Miss Those Good Old Times, Cry, Margie and Silver Threads Among The Gold along with alternative mixes and entertaining studio chatter between Meaux and Lewis, providing the listener with a “fly on the wall” experience. One-time rocker Hank Davis
provides the detailed booklet notes about Jerry Lee’s career prior to
the recording and the session itself, with particular reference to the Percy Sledge song When A Man Loves A Woman, here
transformed from pop into high preaching, spiritual realms. This is how
the album was destined to be heard and adds another notch to The
Killer’s incomparable reputation.
EDDIE NOACK Psycho (Bear Family BCD 17204 AH)
Psycho;
Invisible Stripes; Delores; Beer Drinkin‘ Blues; House On A Mountain;
Stolen Rose; Cotton Mill; The End Of The Line; Barbara Joy; Sleeping
Like A Baby (With A Bottle in My Mouth); Too Hot To Handle; Tell Her; Chaperoned By A Memory; We Are The Lonely one; The Fall-Out
(Keeps On Hurting); Think Of Her Now; When The Bright Lights Grow Dim;
You Can’t Keep A (Good Man Down); Two Bright Lights; Prisoner Of War.
Invisible Stripes; Delores; Beer Drinkin‘ Blues; House On A Mountain;
Stolen Rose; Cotton Mill; The End Of The Line; Barbara Joy; Sleeping
Like A Baby (With A Bottle in My Mouth); Too Hot To Handle; Tell Her; Chaperoned By A Memory; We Are The Lonely one; The Fall-Out
(Keeps On Hurting); Think Of Her Now; When The Bright Lights Grow Dim;
You Can’t Keep A (Good Man Down); Two Bright Lights; Prisoner Of War.
Following on the heels of Bear Family’s Eddie Noack three cd collection Gentlemen Prefer Blondes (BCD 17142 CH), this much overlooked, country singer now has a cd centred around Psycho, the song that earned him a cult reputation and regarded as the “darkest of all country records”. This 24 track set, with appropriately lurid cover and booklet illustrations (by Reinhard Kleist), brings together Noack’s recordings for the K-Ark and Allstar
labels during the period 1962-69, though none completely matching up to
the black humour sensationalism of the title track, the closest being Dolores, Invisible Stripes and The End Of The Line.
labels during the period 1962-69, though none completely matching up to
the black humour sensationalism of the title track, the closest being Dolores, Invisible Stripes and The End Of The Line.
Although Eddie Noack
might be an unfamiliar name to many country fans, he was a Nashville
artist who dedicated his life to country music which he regarded as “the only true American music.”
Hailing from Houston, Texas, he moved to Nashville primarily as a
songwriter and, over the years, had many of his compositions covered by
top artists, his biggest success being These Hands, recorded by Hank Snow and Johnny Cash
among many others. The greater number of songs in this cd are his
originals, several possessing a sense of irony placed within a genuine
country context. But Psycho was not a Noack original but penned by Leon Payne, light years away from his classic I Love You Because.
might be an unfamiliar name to many country fans, he was a Nashville
artist who dedicated his life to country music which he regarded as “the only true American music.”
Hailing from Houston, Texas, he moved to Nashville primarily as a
songwriter and, over the years, had many of his compositions covered by
top artists, his biggest success being These Hands, recorded by Hank Snow and Johnny Cash
among many others. The greater number of songs in this cd are his
originals, several possessing a sense of irony placed within a genuine
country context. But Psycho was not a Noack original but penned by Leon Payne, light years away from his classic I Love You Because.
Allstar and K-Ark had
the reputation as “vanity” labels (alternatively known as “custom”
labels, mainly existing for those who paid to be recorded) though Noack
didn’t fall under category. The material here comprised both revivals
and new songs, with some several titles later covered by chart artists like Johnny Cash (Cotton Mill) and George Jones (Barbara Joy). Sadly, within a highly competitive business, Noack never received the recognition he deserved. Now, thanks to Bear Family, his music is now being reassessed, with Andrew Brown’s
booklet notes well detailing his career during the 1960s as well as
providing valuable information on the labels and people he worked with.
There’s also photographs and a discography.
the reputation as “vanity” labels (alternatively known as “custom”
labels, mainly existing for those who paid to be recorded) though Noack
didn’t fall under category. The material here comprised both revivals
and new songs, with some several titles later covered by chart artists like Johnny Cash (Cotton Mill) and George Jones (Barbara Joy). Sadly, within a highly competitive business, Noack never received the recognition he deserved. Now, thanks to Bear Family, his music is now being reassessed, with Andrew Brown’s
booklet notes well detailing his career during the 1960s as well as
providing valuable information on the labels and people he worked with.
There’s also photographs and a discography.
VARIOUS ARTISTS Four Legends of Rock ‘n’ Roll (Bear Family BCD 17328 AH)
WARREN SMITH: Ubangi
Stomp; Rock ‘n’ Roll Ruby; Blue Suede Shoes; l’m Moving On; limitation
Of Grand Ole Opry stars (Hank Snow: l’m Moving On/Red Foley & Kitty
Wells: One By One/Johnny Cash: Folsom Prison Blues/Elvis: Baby Let’s
Play House); Ubangi Stomp (encore).
Stomp; Rock ‘n’ Roll Ruby; Blue Suede Shoes; l’m Moving On; limitation
Of Grand Ole Opry stars (Hank Snow: l’m Moving On/Red Foley & Kitty
Wells: One By One/Johnny Cash: Folsom Prison Blues/Elvis: Baby Let’s
Play House); Ubangi Stomp (encore).
BUDDY KNOX: Intro;
Rock Your Little Baby To Sleep; Lovey Dovey; l Think |’m Gonna Kill
Myself; Buddy Holly Medley (That’ll Be The Day/Oh Boy/Peggy Sue/That’ll
Be The Day); Hula Love; Maybellene; Party Doll.
Rock Your Little Baby To Sleep; Lovey Dovey; l Think |’m Gonna Kill
Myself; Buddy Holly Medley (That’ll Be The Day/Oh Boy/Peggy Sue/That’ll
Be The Day); Hula Love; Maybellene; Party Doll.
CHARLIE FEATHERS: Everybody’s
Lovin’ My Baby; One Hand Loose; Tongue Tied Jill; I Forgot To Remember
To Forget; Bottle To The Baby; Wedding Gown Of White; Peepin’ Eyes; Good
Rockin’ Tonight.
Lovin’ My Baby; One Hand Loose; Tongue Tied Jill; I Forgot To Remember
To Forget; Bottle To The Baby; Wedding Gown Of White; Peepin’ Eyes; Good
Rockin’ Tonight.
JACK SCOTT: My Baby’s Gone; Leroy; Goodbye Baby; Geraldine; The Way I Walk; Go Wild Little Sadie; My True Love; Midgie.
Recorded at the Rainbow Theatre, London (Saturday April 30 and Sunday May 1, 1977), it was billed as the “Sun Sound Show”, although only Charlie Feathers and Warren Smith
had connections with the famed Memphis studio. The show did, however,
provide a unique opportunity to see a quartet of American artists who
weren’t big enough to draw large audiences in their own right and came
in the wake of a blossoming British interest in rockabilly, created by
such as Sun Records’ reissues and the 1976 chart success of Hank Mizell’s Jungle Rock.
had connections with the famed Memphis studio. The show did, however,
provide a unique opportunity to see a quartet of American artists who
weren’t big enough to draw large audiences in their own right and came
in the wake of a blossoming British interest in rockabilly, created by
such as Sun Records’ reissues and the 1976 chart success of Hank Mizell’s Jungle Rock.
Promoted by longtime rock ‘n’ roll enthusiast Graham Wood, the artists were accompanied by a musicians assembled by Britain’s Dave Travis, collectively known as Bad River,
although Scott and Feathers did bring their own lead guitarists. For
the audience, the evening was a dream that came true when Warren Smith
was the first to take the stage, receiving a standing ovation before
even singing a single note, and presenting a set that comprised rock
standards and country music impressions. Besides his UK chart hit Party Doll, Buddy Knox’ set also included Maybelline and Hula Love, alongside a medley associated with another Buddy, Holly. The “real deal” rockabilly Charlie Feathers
had probably never played such a large venue before and, sadly, nerves
apparently got the better of him though any signs are hard to hear. Jack Scott concluded the evening and, with My True Love and The Way I Walk among the UK hits to his name, proved himself the star of the show with an electrifying performance.
although Scott and Feathers did bring their own lead guitarists. For
the audience, the evening was a dream that came true when Warren Smith
was the first to take the stage, receiving a standing ovation before
even singing a single note, and presenting a set that comprised rock
standards and country music impressions. Besides his UK chart hit Party Doll, Buddy Knox’ set also included Maybelline and Hula Love, alongside a medley associated with another Buddy, Holly. The “real deal” rockabilly Charlie Feathers
had probably never played such a large venue before and, sadly, nerves
apparently got the better of him though any signs are hard to hear. Jack Scott concluded the evening and, with My True Love and The Way I Walk among the UK hits to his name, proved himself the star of the show with an electrifying performance.
British rockabilly historian Ian Wallis
recalls details of this landmark rockabilly concert, alongside other
relevant information, in the accompanying full colour 30 page booklet,
complete with photographs and a reprint of an unsympathetic concert
review from ‘70s pop columnist Chas DeWhalley, possibly not on
the rockabilly wavelength! The booklet ends with further show
information and tour reminiscences from participating musician Dave Travis, concluding with the fact that Charlie Feathers arrived in England, and left, with a shotgun in his luggage – and nobody asked any questions!
recalls details of this landmark rockabilly concert, alongside other
relevant information, in the accompanying full colour 30 page booklet,
complete with photographs and a reprint of an unsympathetic concert
review from ‘70s pop columnist Chas DeWhalley, possibly not on
the rockabilly wavelength! The booklet ends with further show
information and tour reminiscences from participating musician Dave Travis, concluding with the fact that Charlie Feathers arrived in England, and left, with a shotgun in his luggage – and nobody asked any questions!