Southern Roots -Digi- Collector's Edition, Double CD, Original recording remastered
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2-CD DigiPak (6-plated) with 32-page booklet, 39 tracks. Playing time approx. 124 mns.
The legendary 1974 sessions form the Trans Maximus Studios in Memphis, Tennessee featuring Jerry Lee Lewis - voc/piano, backed by Stax studio catts and members of the Blues Brothers band, and Booker T. & The MGs (Steve Cropper - guitar, Donald 'Duck' Dunn - bass, Al Jackson Jr. - drums), Carl Perkins - guitar, Tony Joe White - guitar, The Memphis Horns, a.m.o.
At long last here are the original session tapes that produced Jerry Lee Lewis' 1974 'Southern Roots' LP. Produced by Huey Meaux, a fellow Louisiana wildman, the final results reveal what happens when two fiery, free-spirited forces lock horns in the studio.
Meaux had just gotten out of prison and had a reputation you wouldn't want in your family tree. Separately, Meaux and Lewis each spelled trouble in a big way and could be impossible to work with. Together? God knows what would happen. The results could be an utter disaster or a stroke of genius. As Meaux later observed, "I knew Jerry and I would fight, but in the end we'd come out with the record. We fought, but we delivered."
For three days in September, 1973 Jerry Lee Lewis and Huey Meaux went at it, and each other. Listen as Jerry Lee is turned loose in the studio by a producer who did try to rein in Jerry's ego. In fact, Meaux did everything he could to feed it. That ego is nowhere more evident than on Jerry's version of the Percy Sledge 1966 hit, When A Man Loves A Woman, which Jerry turns into a sermon on war between the sexes.
Jerry and Huey cut mostly southern music - soul, country, R&B and a touch of swamp pop. They even included a surprisingly impassioned version of Johnny Ray's 1952 hit record, Cry.
Little did we know t...
Top Customer Reviews
People will, justifiably, feel that Huey Meaux wasn't the most salubrious of people, and that his personal life was deplorable. Yes, that's true, but he also got the last great album, with the exception of 1979's Elektra album, Jerry Lee Lewis, out of the Killer, and for that we should be thankful.
The sleeve notes state that the Killer was starting to sound just a little bored with being swamped in strings, and that Nashville was stultifying the Killer. A little bit of perspective is required, I think, and we need to look at previous years. In 1970, the Killer recorded a Live @ Church gospel album, which was never released: his mother was dying, and Myra, his third wife, had left him for the last time. In 1971, Dallas Frazier and Al Owens wrote a stone-cold Killer classic in Touching Home. There were strings on the Touching Home album, but When He Walks On You was also a great single. Mercury must have thought that the Killer and strings would make an excellent format, and sure enough, he had another huge country hit with Would You Take Another Chance on Me, a Foster / Rice tune centred on the breakdown of his marriage to Myra.
However, in 1972, Jerry Lee decided to rock again, totally transforming Me and Bobby McGhee into a 190 mph rocker. Likewise, he revived Chantilly Lace to stunning effect, and Lonely Weekends too. However, these rockers also had a plethora of strings and backing vocalists. The Killer also cut some string-heavy country numbers, such as Think About It Darlin', Who's Gonna Play This Old Piano, and No Traffic Out of Abilene, but the urge to rock again remained.Read more ›