The Margate Music Man

Jerry Lee Lewis - The Originals versus The Re-Cuts!

2010-09-20T23:00:00.008+01:00

Jerry Lee Lewis has often re-recorded songs that he first recorded earlier during his 54-year professional career, with some of these being far superior & others most definitely inferior. I’ve attempted below to list 100 of the more notable of these, though it’s not quite a definitive list. I generally avoided (a) ‘live’ recordings (particularly the 1964 ‘Live At The Star Club, Hamburg’ album where he blows away every studio version), except in a handful of cases where the song was only recorded in the studio once, (b) recordings that only circulate unofficially or via bootlegs, & (c) alternate takes from the same sessions. Also I haven’t included ‘All Night Long’: Jerry recorded songs under that title in both 1957 & 1968, but these are actually two completely different songs (likewise some people confuse ‘As Long As I Live’ from 1960 with ‘As Long As We Live’ from 1977). I’ve also listed the “winning” version of each song, though this is of course just my personal opinion, & you can gladly tell me your opinion in the comments section. So sit back & enjoy, & if you own these recordings yourself perhaps this article will inspire you to take another listen…

1. A Picture From Life’s Other Side (1970 versus 1974)

In December 1970 Jerry cut a 6-song session in Memphis (probably with his road band at the time), none of which was released until the late 80s. Amongst these was an uptempo version of this song. In 1974 he recorded a slower version (in ¾ “waltz” time) during the final session for the mediocre ‘I-40 Country’ album. None of these versions really did the song justice though, with my favourite being a stunning 7-minute performance from a Rotterdam 1981 radio broadcast, which is sadly unavailable officially.

Winner: 1974

2. Bad Moon Rising (1973 versus 2010)

When running through this song at the 1973 London sessions, bassist Chas Hodges (of future Chas & Dave fame) started singing a harmony vocal. Jerry liked this, & asked for him to be given a microphone, resulting in the only duet on the 1973 ‘The Session’ double album (despite the presence of such luminaries as Alvin Lee, Peter Frampton, Rory Gallagher & Albert Lee). He re-recorded the song for his latest album ‘Mean Old Man’ with the song’s composer John Fogerty singing harmony, but the fact that Jerry was forced to sing it in a lower key, didn’t play piano & John Fogerty was quite obviously not in the studio with him all contribute to this being less than impressive.

Winner: 1973

3. Be-Bop-A-Lula (1962 versus 1973)

Often unfairly criticised by 50s rock & roll fans, Jerry’s 1962 recording is a slowed down & more bluesy performance than Gene Vincent’s fine original, though it wasn’t released until 1970 (on the Sun International album ‘Monsters’). At the 1973 London sessions he & the band emphasised the blues feel even further, recording an over-long slowed down dirge that quite rightly wasn’t released until years later.

Winner: 1962

4. Before The Night Is Over (1977 versus 2004 versus 2006)

The 1977 cut (released on his final Mercury album ‘Keeps Rockin’’ the following year) is probably the closest Jerry ever came to cutting a disco record! Perhaps a bit dated sounding now, I think it works quite well. Although I don’t know of a live version from before 1983, by the time Jerry re-recorded it in 2004 (released 2006) for his ‘Last Man Standing’ album (with a guitar overdub by none other than B.B. King) he was performing the song at most shows, even introducing the song as “From our new album…”. I like it alot, though there's been some studio "trickery" (the backing track has been speeded up a semi-tone). ‘Last Man Standing’ was sold by various download sites with exclusive bonus tracks, & of the 9 available tracks 3 were genuine studio outtakes from the album, though the other 6 were just quick live-in-the-studio run-throughs with his band, including this song. The playing is fine, but Jerry’s voice sounds extremely rough & quivery (he has rarely ever sounded good ‘live’ after 2004 unfortunately).

Winner: 2004

5. Big Blon’ Baby (1958 versus 1971)

Released as the B-side to the classic ‘Lovin’ Up A Storm’ in early 1959, the song (with it’s “jumping jehosaphat” tag) was an obvious attempt at writing another ‘Great Balls Of Fire’ (as was the A-side), & would’ve no doubt been a commercial success if his career wasn’t in tatters at the time. The 1971 re-cut (the only real rocker on the ‘Would You Take Another Chance On Me’ album) is hotter, faster & wilder, but also somehow lacks the charm of the earlier cut.

Winner: 1958

6. Big Boss Man (1965 versus 1973)

Probably inspired by Charlie Rich’s version from a couple of years earlier, this leftover from a 1965 recording session in New York was one of the better recordings on the patchy ‘Memphis Beat’ album the following year. The 1973 London recording is slower & heavier with a full-on “blues-rock” backing, but both vocals & piano lack the loose playfulness of the earlier cut.

Winner: 1965

7. Born To Lose (1956 versus 1969)

Recorded at his very first proper recording session on November 14th 1956 (the same session that produced both sides of his first single), this superb mid-tempo country performance wasn’t released until 18 years later on the U.K. Phonogram ‘Rockin’ & Free’ LP. The 1969 re-cut from the album ‘Country Music Hall Of Fame Hits Vol. 1’ is slower & more refined, but beautifully sung & played. It’s a very difficult choice, but if push comes to shove then I think the Sun cut has the edge…

Winner: 1956

8. Break Up (1958 versus 1963)

Apart from the rush-released “comedy” record ‘The Return Of Jerry Lee’ (with ‘Lewis Boogie’ wasted as a B-side), this was Jerry’s first A-side since the big scandal over his marriage almost ended his career. A top-notch Charlie Rich composition, it deserved to do so much better commercially. The 1963 re-cut (from his debut Smash album ‘Golden Hits’) is a bit more driving, & would probably have the edge if it wasn’t for the over-production.

Winner: 1958

9. Breathless (1958 versus 1963 versus 1988)

His classic 4th single, this was Jerry’s 3rd biggest U.S. hit, & in the U.K. it tied with ‘Whole Lotta Shakin’ Goin’ On’ as his 2nd biggest hit (the biggest being ‘Great Balls Of Fire’ of course). Despite, this he’s rarely performed the song ‘live’ even during the 60s (he’s said on more than one occasion that he hates the song). The 1963 re-cut (for ‘Golden Hits’) has far more drive & enthusiasm, & is in my opinion superior despite having too many musicians & backing singers behind him. He re-recorded several of his early hits again in late 1988 for the ‘Great Balls Of Fire!’ movie & soundtrack album the following year, & did a surprisingly good job on most songs including this.

Winner: 1963

10. C.C. Rider (1960 versus 1961 versus 1972)

Based on Chuck Willis’ hit version (though the song dates back much further), the 1960 cut is a tough mid-tempo performance with some strong saxophone & slightly hoarse (but perfect for this) vocals from Jerry. This didn’t see the light of day until the 1969 ‘Rockin’, Rhythm & Blues’ album, while the 1961 version (equally fine if it wasn’t for some annoying middle-of-the-road backing vocals) had to wait until Charly’s 1983 ‘The Sun Years’ ground-breaking 12-album box-set. The 1972 version from the fabulous (but curiously overlooked today) ‘The Killer Rocks On’ album includes one of Kenny Lovelace’s finest ever fiddle solos, a solo that he recreated on stage for years – until Jerry decided in 1989 that he didn’t want the fiddle in his stage act any more.

Winner: 1972

Jerry Lee Lewis' first album from 1958. 8 of the 12 songs would later be re-recorded either 'live' or in the studio.

11. Cold Cold Heart (1957 versus 1961 versus 1969)

Surprisingly for a ‘50s Sun recording, the 1957 version is the slowest. It’s not bad, but it’s perhaps a bit too plodding, & Jerry’s ‘50s Sun country recordings at 706 Union Avenue usually worked better with a bit more bounce. The classic 1961 cut is far superior though, & (as the flip side to the pop-rock ‘It Won’t Happen With Me’) was even a top 30 U.S. country hit during the otherwise barren early 60s era. The 1969 version from ‘Country Music Hall Of Fame Hits Vol. 2’ is quite similar, except Jerry plays around with the vocal melody a little more.

Winner: 1961

12. Corrine Corrina (1965 versus 1977)

From probably his greatest ever album (certainly his greatest studio rock & roll album) ‘The Return Of Rock’, the 1965 cut has a very expressive vocal & some fabulous pounding piano. The 1977 cut could never top this, but it’s still more than worthwhile, with great piano & fiddle solos, & should’ve been issued on the ‘Keeps Rockin’’ album (it’s far superior to ‘Blue Suede Shoes’) instead of remaining in the vaults for nearly a decade.

Winner: 1965

13. Crawdad Song (1957 versus 1975)

The frantic 1957 cut (first released on the ‘Olde Tyme Country Music’ album in 1970) has a real party atmosphere with screams & yelps in the background, reminiscent of some of Gene Vincent’s early sides. The 1975 version is very different, with a slow & bluesy “High Heel Sneakers” beat & prominent harmonica, though both versions are great in their own way. Whenever Jerry’s very occasionally performed the song ‘live’ (such as on the 1987 ‘Live In Italy’ album, & at London’s 100 Club as recent as 2008) he usually chooses a tempo somewhere between the two studio versions.

Winner: 1957

14. Crazy Arms (1956 versus 1963 versus 1965 versus 1988)

The A side of Jerry’s very first single (& a minor regional U.S. hit), he also recorded a couple of playful “solo” (without a band) versions during the first couple of years at Sun. This was re-cut for ‘Golden Hits’ in 1963, & then again in 1965 (with an uptempo saxophone-led arrangement) for the ‘Country Songs For City Folks’ LP. It was cut yet again in 1988 for the ‘Great Balls Of Fire!’ movie & soundtrack album: most issues featured an overdubbed duet vocal by Dennis Quaid, though some releases (both official & bootleg) include the undubbed version.

Winner: 1956

15. Don’t Be Cruel (1958 versus 1972)

Riding high on the success of his biggest two hits in early 1958, Jerry went into the studio with his road band J.W. Brown on bass & Russell Smith on drums (there was no guitarist) & cut a session of mostly Elvis Presley hits. They all remained in the vaults until at least the late 60s with the exception of this song, which was the opening track on his first album ‘Jerry Lee Lewis’ the following year. The 1972 cut from ‘The Killer Rocks On’ (coincidentally also the opening song) is faster with some great piano & a much bigger band, including a string section (recorded live in the studio!). I know that many purists hate this arrangement, but…

Winner: 1972

16. Don’t Let Go (1965 versus 1979)

Although this Roy Hamilton song was perhaps one of the weaker cuts on the 1965 ‘The Return Of Rock’ album, it still rocks along very nicely indeed. So, any later re-cuts are hardly going to be an improvement, right? Wrong! The 1979 opening cut from Jerry’s first Elektra album ‘Jerry Lee Lewis’ absolutely blows it away, from the “1,2,3,4” count-in onwards, with James Burton’s stinging guitar, Hal Blaine’s tight drumming & The Ron Hicklin Singers’ backing vocals perfectly complimenting his performance.

Winner: 1979

17. Don’t Touch Me (1986 versus 1987)

In late 1986 Jerry cut an album with his road band at the time (Kenny Lovelace, Bob Moore & Buddy Harmon plus possibly a 2nd guitarist). Released as ‘Rocket’ in just a few countries 2 years later, many of the songs featured The Jordanaires mixed far too loudly, & this otherwise very good country performance is no exception. The following year Jerry cut a long session for Hank Cochran alone at a keyboard; released in 1995 as ‘At Hank Cochran’s’ (possibly as a widely available bootleg, I’ve never been entirely sure of how "official" this release was), for many songs he used a very cheap sounding portable keyboard rather than a piano, & some extremely cheesy & inappropriate backing was overdubbed onto most of the songs. The 1987 version of this song is at least listenable though (fortunately he played piano instead of the cheap keyboard here).
Another song that is on both ‘Rocket’ & ‘At Hank Cochran’s’ is ‘Beautiful Dreamer’, but as the latter version is a rough run-through alone at the piano (where he stops & talks halfway through) I don’t really regard it as a proper take.

Winner: 1986

18. Down The Line (1958 versus 1963 versus 1973)

Although only released as a B-side (of ‘Breathless’), the song gained legendary status amongst fans during the early 60s due to the fact that Jerry more often than not opened his shows with the song (I’ve only listed the studio versions here but for the ultimate rock ‘n’ roll experience check out the 1964 ‘Live At The Star Club, Hamburg’ version [actually not included on the original album though it’s on the Bear Family CD re-issue]). The 1963 ‘Golden Hits’ re-cut has a very different arrangement from the mid-tempo Sun cut, performed at a much faster tempo that’s closer to the Roy Orbison original. The 1973 version from ‘The Session’ would be a strong contender for the ultimate studio cut if it wasn’t for the way Jerry’s voice “goes” at one point (I cringe every time I hear that part).

Winner: 1958

19. Drinkin’ Wine Spo-Dee-O-Dee (1957 versus 1958 versus 1963 versus 1973)

A long-time favourite of Jerry’s (legend has it that this was the first non-religious song he ever performed in public way back in circa 1949), & every version is great in it’s own way. The first version from 1957 has a very memorable piano intro (I wish he’d recreate it ‘live’) though due to the subject matter (getting paralytic drunk) it had to wait until the 1970 ‘Monsters’ album before it was released. The 1958 version (actually 2 takes) wasn’t released until the 1983 ‘The Sun Years’ box-set, & the 1963 Smash cut was one of the highlights of the 1966 ‘Memphis Beat’ LP. Lastly, the 1973 cut from ‘The Session’ was also released as a single (times had changed since 1957), deservedly reaching the U.S. pop top 40. The song is still more often than not part of Jerry's stage show today.

Winner: 1957

20. End Of The Road (1956 versus 1963)

From his very first Sun session in November 1956, this was released as the B-side to his first single ‘Crazy Arms’ a couple of weeks later. Although Jerry did a “solo” performance at the end of the famed Million Dollar Quartet session (on December 4th 1956), there’s only been one released studio re-cut & that was for the 1963 ‘Golden Hits’ album (he also cut an interesting version of the song for Elektra in 1980 but this remains unreleased).

Winner: 1956

Golden Hits from 1963. All 12 songs were previously recorded for Sun during 1956-1958.

21. Flip, Flop & Fly (1965 versus 1970)

Another song from 1965’s ‘The Return Of Rock’, this has some interesting chord changes thrown into the chorus (though the guitar riff is a little annoying). The 1970 version is a ‘live’ recording from the ‘Live At The International Hotel, Las Vegas’ LP. The only rock & roll song on the original album, it’s not a particularly good choice (although it closes the album, it was actually the opening song from one of the recorded concerts).

Winner: 1965

22. Fools Like Me (1958 versus 1963)

Recorded in late April 1958 & released (with a male vocal group overdub) a few weeks later as the B-side to Jerry’s 5th Sun single ‘High School Confidential’, this is one of his most memorable early ballads. The 1963 ‘Golden Hits’ re-cut features a much fuller band complete with a string section, & this treatment suits the song perfectly, as do the girly backing singers.

Winner: 1963

23. Forever Forgiving (1974 versus 1982)

From the 1975 ‘Boogie Woogie Country Man’ album, this is a fine Mack Vickery-penned country ballad. Perhaps surprisingly, of the 24 released songs from the patchy 1982-1984 MCA era (two 10-track albums + a handful of outtakes) there was only one remake, & that was this song. From the ‘My Fingers Do The Talkin’’ LP, this is performed at a slightly slower tempo & probably has the edge due to the clearer vocals (he was having voice problems during 1974-1975).

Winner: 1982

24. Good Rockin’ Tonight (1958 versus 1962)

Both attempts at the Roy Brown (via Elvis Presley) classic were recorded for Sun, & both were deemed not worthy of release at the time. The 1958 cut is the wildest, & even features a snatch of ‘Whole Lotta Shakin’ Goin’ On’, but wasn’t issued until 1983 on ‘The Sun Years’ box-set. The 1962 cut is much slower & more laid-back, but features a tremendous vocal performance from Jerry (one of his best). This first saw the light of day via the 1969 ‘Rockin’, Rhythm & Blues’ LP.

Winner: 1962

25. Goodnight Irene (1957 versus 1975)

Recorded probably during the spring of 1957 before he had any big hits, it was overdubbed with a vocal group for Jerry’s first album ‘Jerry Lee Lewis’ the following year. This is performed very respectfully at a slow tempo (though one of the alternate takes from the session is partly rocked-up), unlike the far sprightly 1975 re-cut for the 'Odd Man In' album. Unfortunately the latter is marred by a rather distracting 2nd vocal in the background, which “bled” into the piano microphone prior to him doing a vocal overdub.

Winner: 1958

26. Gotta Travel On (1969 versus 1994)

In 1969 Jerry recorded a full album of enjoyable duets with his sister Linda Gail Lewis, with this song being one of the highlights of the resulting 'Together' album. The re-cut from the ‘Youngblood’ album (which would be a strong candidate for his best album since 1980 if it wasn’t for the mushy production) is quite similar except that it’s performed without Linda Gail. Fine though it is, it sounds a little empty to these ears after years of being used to the duet.

Winner: 1969

27. Great Balls Of Fire (1957 versus 1963 versus 1975 versus 1988)

Jerry’s biggest & most famous hit, though personally it’s always been far from a favourite of mine. It’s incredible to believe that there are only two instruments on the Sun single cut; just piano & drums (no bass or guitar), unlike the 1963 ‘Golden Hits’ re-cut which features at least 3 times as many people, & is probably the weakest of all the re-cuts on this album. The 1975 version is very different, being given a sort of “ragtime” treatment! This (probably wisely) wasn’t deemed releasable at the time & wasn’t issued until the late 80s. Lastly but by no means least is the “movie” version, for the 1989 ‘Great Balls Of Fire!’ movie & soundtrack album. This is nearly twice as long as the original, & features much inspired piano playing, as well as a guitar solo.

Winner: 1988

28. Hello Josephine (1961 versus 1962)

Only two albums were issued during Jerry’s 1956-1963 stay at Sun, ‘Jerry Lee Lewis’ in 1958 & ‘Jerry Lee’s Greatest’ in late 1961, the latter of which featured this song, driven along by some very fine sax playing from Johnny ‘Ace’ Cannon. For some reason Jerry recorded the song again 12 months later, this time with some fine guitar work by Roland Janes (or was it Scotty Moore?) replacing Johnny’s sax, though this wasn’t issued until the 1969 ‘Rockin’, Rhythm & Blues’ album (a 3rd version was cut at a session a week after the 2nd one, but this sounds like little more than a rough session warm-up so isn't included in this analysis). It’s difficult to choose between the two, though the 1962 cut features a more expressive vocal.

Winner: 1962

29. High Powered Woman (1961 versus 1962)

Two very different recordings of this song were recorded at Sun, though none were released until well into the ‘70s. The 1961 version features a ‘Whole Lotta Shakin’ Goin’ On’ intro & some very fine saxophone, & wasn’t released until the Sun International ‘Golden Rock ‘n’ Roll’ collection in 1977. The 1962 cut features a strong Ray Charles influence right down to the ‘What’d I Say’ inspired intro, though at around 1 minute & 43 seconds it’s even shorter than the 2 minute version from a year earlier.

Winner: 1962

30. High School Confidential (1958 versus 1963 versus 1988)

His classic 5th single, & the title track from the movie of the same name which features Jerry & his band performing the song over the opening & closing credits. Although it was 25 years before we knew it, Sam Phillips spliced the ending from a different take onto the original release (the unspliced take was finally issued on ‘The Sun Years’ box-set in 1983). Like several of his hits, this song was re-cut both for 1963’s ‘Golden Hits’ & the 1989 (recorded 1988) ‘Great Balls Of Fire!’ movie soundtrack album. Incidentally there’s also an instrumental version of the song on ‘The Session’ from 1973, but this does NOT feature Jerry.

Winner: 1958

The Return Of Rock from 1965, possibly the greatest studio rock & roll album ever made. 6 of the 12 songs are available as different versions elsewhere (& that's the late Alex Chilton dancing on the cover by the way!).

31. Honey Hush (1957 versus 1973 versus 1974)

This must be the unluckiest song in Jerry’s repertoire, as all three versions didn’t see the light of day until many years later (a further cut for Elektra in 1980 hasn’t been released at all!). A Big Joe Turner jump-blues tune, lyrics such as “If you don’t leave me alone I’ll knock you down with a base-ball bat” were hardly suitable for the ‘50s pop charts. Nevertheless, all cuts sound inspired. The 1957 version wasn’t released until the 1970 ‘Monsters’ album, while the 1973 ‘Southern Roots’ outtake (with none other than Carl Perkins on guitar) wasn’t released until the late 80s, the same as the ‘Boogie Woogie Country Man’ reject from the following year. All three are more than worthy versions.

Winner: 1957

32. Hound Dog (1958 versus 1960)

Jerry recorded this twice for Sun, both of which remained in the can for many years (like far too many other Sun recordings). The 1958 cut is from an April 1958 session of mostly Elvis covers, though this one doesn’t work quite as well as ‘Don’t Be Cruel’ or ‘Jailhouse Rock’. It was first issued on ‘Rockin’ & Free’ in 1974. The 1960 cut is far more bluesy, & owes as much to Big Mama Thornton’s original as it does to Elvis Presley’s more famous cover. Despite it’s quality, this had to wait until the ‘Don’t Drop It’ album in 1988 for a release (the song is also on both of Jerry’s 1964 ‘live’ albums).

Winner: 1960

33. House Of Blue Lights (1975 versus 1986 versus 1994)

A song that dates back to the 40s, it’s a little surprising that Jerry didn’t first tackle this at Sun. Instead he waited until the 1975 ‘Odd Man In’ sessions & cut a more than acceptable take on the song that’s certainly no worse than anything else on the album, but despite this it remained unreleased until the late 80s. The 1986 ‘Rocket’ version (released 1988) could almost be an alternate take of the 1975 cut, & they even both include a snatch of ‘Lewis Boogie’ (fortunately The Jordanaires sat this one out). For 1995’s ‘Youngblood’ album (recorded the previous year) producer Andy Paley went for a full 40s swing feel, similar to what Brian Setzer does with his orchestra. As with ‘Honey Hush’, all three versions are more than acceptable.

Winner: 1986

34. How’s My Ex Treating You (1962 versus 1966)

A superb bluesy modern (for 1962) country song, this features a tremendous opening riff similar to Sam Cooke’s ‘Bring It On Home To Me’ by J.W. Brown on his bass (though a weaker alternate take from the same session doesn’t feature this). Released as the B-side to ‘Sweet Little Sixteen’ in the same year, this was a minor hit in it’s own right in some territories, including Fort Worth in Texas; so when Jerry cut the live album ‘By Request (More Of The Greatest Live Show On Earth)’ there in 1966 the song was greeted with cheers.

Winner: 1966

35. I Can’t Help It / You Can’t Help It (1957 versus 1960)

Jerry cut several Hank Williams classics at Sun (& quite a few for other labels), including this heartfelt performance from 1957. For several years only available on an early 70s bootleg, it was finally made available officially on Charly’s 1977 ‘Nuggets Volume Two’ compilation. At one of his final Sun sessions at 706 Union Avenue in January 1960 Jerry cut several speeded up takes, altering the lyrics from ‘I Can’t Help It (If I’m Still In Love With You)’ to ‘You Can’t Help It (If You’re Still In Love With Me)’! An interesting (& egotistical) experiment, they didn’t see the light of day until the late 80s.

Winner: 1957

36. I Don’t Want To Be Lonely Tonight (1974 versus 2006)

A catchy pop-rocker, this was first recorded during the London sessions of January 1973: unfortunately this take was not issued & is now lost, but he cut it again in 1974 & it was released on ‘Odd Man In’ the following year. The 2006 version is one of those live-in-the-studio download-only bonus tracks that are very good instrumentally but ropey vocally.

Winner: 1974

37. I Forgot To Remember To Forget (1957 versus 1961)

Several takes of this song were attempted during a September 1957 session, though none of them are totally successful, with Jerry & the band attempting to find the right key, rhythm & tempo. All takes remained unissued until at least the 80s. Far superior is the February 1961 version, recorded in Nashville at the same session that produced the hit versions of ‘What’d I Say’ & ‘Cold Cold Heart’. Surprisingly this wasn’t released until 1974, via Charly's 'Rare Jerry Lee Lewis Volume 2' compilation. Incidentally, this has never been issued in true stereo on CD, though it was available on the Sun International ‘Roots’ LP in 1981 (but not the CD reissue!).

Winner: 1961

38. I Get The Blues When It Rains (1960 versus 1969)

In an attempt to get Jerry some much-needed air-play, Sam Phillips in 1960 came up with the idea of releasing an instrumental single by Jerry under the name ‘The Hawk’, releasing it on the Phillips International label. The ruse failed miserably, but ‘I Get The Blues When It Rains’ was the B-side of the single (the A-side was the old Glen Miller hit ‘In The Mood’). A vocal version (albeit with a long instrumental passage) was finally recorded for the ‘Country Music Hall Of Fame Hits Vol. 2’ album in 1969.

Winner: 1969

39. I Love You Because (1957 versus 1961 versus 1969)

The 1957 version is performed at a very slow & plodding tempo, though it’s not without its charm & features some nice piano. This remained unissued until the 1983 ‘The Sun Years’ box-set. Far better is the faster 1961 version (though the backing singers are a bit annoying), first released on ‘Original Golden Hits Volume Three’ in 1971. Lastly is the beautiful 1969 version, released on ‘Country Music Hall Of Fame Hits Vol. 1’.

Winner: 1961

40. I’ll Fly Away (1970 versus 1981)

Although Jerry has recorded quite a few gospel songs throughout his career, he’s only issued one complete studio album of gospel music, & that was ‘In Loving Memories (The Jerry Lee Lewis Gospel Album)’ in 1970. Most of the songs on this were slow to mid paced, all sung with a passion that can thrill even a confirmed non-believer like myself, but the one frantic uptempo (I guess ‘rockin’’ is the wrong word) song is ‘I’ll Fly Away’. Produced by Jerry Lee Lewis & Linda Gail Lewis & with a superb mix (check out how loud & clear the piano is on this album) this is unbeatable. During Jerry’s 1981 European Tour he ended up jamming with Carl Perkins most nights, & on two occasions they both joined their old friend Johnny Cash & his band. The 1st time was in Rotterdam (available on a bootleg) & the 2nd time was in Stuttgart, where the highlights were issued as ‘Survivors’ the following year, including a loose but enjoyable mid-tempo jam on this song.

Winner: 1970

The Session from 1973, Jerry's first "all star" album. Fortunately most of the guests didn't sing though! Well over half the songs on the album are available in earlier or later versions.

41. I’ll Make It All Up To You (1958 versus 1963)

A beautiful Charlie Rich ballad, this was recorded at Jerry’s first recording session following the big scandal over his marriage to Myra, & was released as the B-side to ‘Break Up’ (also a Charlie Rich song & also recorded at this session). Unusually the piano on this is played by the song’s composer instead of Jerry: long-term fans (such as Chas Hodges of ‘Chas & Dave’ fame) always knew this due to the fact that the song is performed in “Eb”, not a key he plays in. The 1963 recut is a little faster & a little higher (key of “G”), & this time most definitely features The Killer himself on piano.

Winner: 1963

42. I’ll Sail My Ship Alone (1958 versus 1966)

Originally recorded & written by Moon Mullican (an early Jerry Lee Lewis inspiration), the Sun cut (& several alternate takes) feature an unnecessary saxophone honking away but it is otherwise a very good mid-tempo country-rock performance. Jerry recorded the song again for his 1966 live album ‘By Request (More Of The Greatest Live Show On Earth)’, this time with his road band including some tremendous drumming from the legendary Morris ‘Tarp’ Tarrant (a drummer who taught not one but two Lewis family members how to play the drums!).

Winner: 1966

43. I’m On Fire (1964 versus 1988)

Although no doubt sounding a bit “retro” even in 1964, this is a first-rate rock & roll song that deserved to do better when released as a single that year. In early 1989 I was one of 500 “extras” during the London concert scene in the movie ‘Great Balls Of Fire!’ (being paid £25 to heckle Dennis Quaid was easy money!), & when there I was surprised to hear a Sun-styled re-cut of the song being mimed to by Quaid, not least because the scene was set in 1958 & the song wasn’t recorded until 6 years later! Although the vocal isn’t quite as hot as the 1964 single, the less cluttered backing suits this song perfectly.

Winner: 1988

44. I Sure Miss Those Good Old Times (1973 versus 1976)

Written by the late great Mack Vickery (perhaps the finest writer of Lewis songs during the 70s & 80s), the 1973 version is a drunken ramble with a curious mixture of horns & steel guitar amongst the backing. Recorded at the ‘Southern Roots’ sessions, the decision not to release this was probably a correct one for a change, & it didn’t see the light of day until 1987. Far more restrained & sober-sounding was the 1976 version for the apt-named ‘Country Class’ album.

Winner: 1976

45. It All Depends (Who Will Buy The Wine) (1957 versus 1979)

Recorded in 1957 & (along with 3 other songs) overdubbed in April 1958 with a male vocal chorus for inclusion on Jerry’s first album, this is one of his finest early country-pop ballads. The 1979 re-cut (released under the alternate title ‘Who Will Buy The Wine’ on the mostly brilliant ‘When Two Worlds Collide’ album the following year) is given the full Nashville treatment of fiddle, steel guitar, strings & girly backing vocals. Despite (or because of) this, it’s a more than worthy remake. However, for some reason I find Jerry’s more “innocent” younger vocals more appealing on this particular song.

Winner: 1957

46. It’ll Be Me (1957 versus 1957)

This song has the distinction of being the very first to be issued in two different versions (unless we include the extremely rare ‘Jamboree’ movie soundtrack album which featured an alternate version of ‘Great Balls Of Fire’). The faster & superior version was issued as the flip of Jerry’s 2nd single ‘Whole Lotta Shakin’ Goin’ On’, while a quite different slower alternate version from a later session was issued the following year on his 1958 debut album ‘Jerry Lee Lewis’. I’ve always thought it a little strange that this wasn’t re-recorded for ‘Golden Hits’ in 1963, as all A & B sides of his first 5 Sun singles (plus his 7th Sun single) were cut with the exception of this song.

Winner: 1957 (1st version)

47. Jailhouse Rock (1958 versus 1986)

Recorded at the same early 1958 session as several other Presley titles, this would’ve made an ideal track for Jerry’s first album but had to wait until the 1970 Sun International ‘Monsters’ album for release instead. The 1986 re-cut (released on ‘Rocket’ 2 years later) isn’t bad, but The Jordanaires water things down considerable (even Elvis had the sense not to use them on this song!).

Winner: 1958

48. Jambalaya (On The Bayou) (1958 versus 1969)

A Hank Williams classic, the 1958 cut is a superb modern (for 1958) mid-paced rock & roll performance, & deservedly was included on Jerry’s first album that year. The 1969 version is given a drastic makeover, with rearranged chords & melody. Performed much faster than the earlier version, it is also notable for some outstanding fiddle playing from Kenny Lovelace (check out the live version on the ‘Live At The International Hotel, Las Vegas’ album from the following year too).

Winner: 1969

49. Jealous Heart (1970 versus 1977)

First recorded at a 1970 session in Memphis (none of which was released until over 15 years later), this song unusually features Jerry playing an electric piano. He re-cut the song in 1977, & this time it was released within a few months on the excellent ‘Country Memories’ album.

Winner: 1977

50. Jerry Lee’s Rock & Roll Revival Show (1976 versus 1987)

The 1976 ‘Country Class’ album has always been one of my very favourites though without a doubt the weakest song is the only rocker: this one. One of those contrived songs which mentions many other (better) rock & roll songs in the lyrics, this lacks drive & commitment (he cut a similarly contrived song called ‘The Fifties’ at the same session which thankfully stayed in the can for a decade). I have close to a thousand live concerts of Jerry Lee Lewis in my collection, but the only ‘live’ version of this song I can recall is from a concert in Rome in 1987. Songs from this concert & a concert in Milan the night before were released on the ‘Live In Italy’ album, which to be honest sounds no better than an average bootleg recording. The ‘live’ version does at least have a bit more drive than the earlier studio cut, but it still comes second best due to the ropey sound.

Winner: 1976

Jerry's debut Elektra album from 1979. Rightly regarded as one of his finest albums by fans & critics alike, this featured 2 songs previously recorded for Smash in the '60s (though another song was re-recorded for Jerry's latest album 'Mean Old Man').

51. Johnny B. Goode (1958 versus 1963 versus 1973)

Jerry first recorded a brilliant version of this solo (without a band) in May of 1958, though this probably was never intended for release (it wasn’t issued until Charly’s ‘The Sun Years’ box-set 25 years later). He recorded the song again 2 months later with a band, & although this isn’t a bad version, it’s marred by some sloppy “stops & starts” & wasn’t made available until 1969’s excellent ‘Rockin’, Rhythm & Blues’ compilation. The 1963 cut is from the ‘Golden Hits’ sessions in September of that year, & was issued on ‘The Return Of Rock’ 2 years later. Again it isn’t bad, but it’s still probably the low-light of the album, lacking the fire of the other Chuck Berry revivals ‘Roll Over Beethoven’ & ‘Maybelline’. Lastly is the 1973 version from ‘The Session’, recorded in London with various UK “rock” luminaries. Mostly I’m not so keen on the re-cuts on this album as I find them a bit overblown & bombastic, but in this case the treatment worked perfectly, with The Killer sounding genuinely inspired.

Winner: 1973

52. Last Cheater’s Waltz (1977 versus 2006)

A beautiful song recorded in ¾ “waltz” time (of course), this was issued on Jerry’s final album with Mercury while still with the label, 1978's 'Keeps Rockin''. It’s a pity it wasn’t released as a single as it would’ve no doubt been a big country hit, & indeed T.G. Sheppard reached number one in the U.S. Billboard country charts with the song in 1979. The 2006 version is one of several songs that was only made available as an exclusive download “bonus” track, & it’s a more than worthwhile remake. Sung in a lower key (there were some pretty high notes on the original) & with prominent harmonies by renowned session singers Bernard Fowler & Stacy Michelle, this song perfectly suits Jerry’s older voice. Incidentally, I was lucky enough to witness the only known ‘live’ version of the song back in 1983 at a concert in Cardiff when the song was requested by someone in the audience (up until the end of the 80s Jerry had a repertoire of literally 100’s of songs that he could seemingly play at the drop of a hat; nowadays there’s probably no more than about 20 songs that he could play perfectly in concert without rehearsal, something he’s far too lazy to do).

Winner: 1977

53. Last Letter (1970 versus 1977)

As with a couple of other songs featured here, this was first attempted at a December 1970 session with Jerry’s road band, & remained in the vaults until the late 80s. Unusually this features a double-tracked harmony vocal by Jerry, & it’s one of his finest duets! The 1977 version from the ‘Keeps Rockin’’ sessions is excellent too, but this too remained unreleased until the late 80s (there were enough top quality leftovers from 1976-1977 to compile a further album after he left the label if Mercury wanted to). It’s tough to choose a favourite, but the novelty of hearing Jerry harmonising with himself gives the earlier version the edge I think.

Winner: 1970

54. Let’s Talk About Us (1959 versus 1968)

Recorded in June 1959 (though some inferior run-throughs were also recorded 3 months earlier), this was released as a single later that year. A very good pop-rocker that is notable for it’s brilliant piano intro, the single is marred by some very insipid overdubbed female backing vocals (I’m not as anti-backing singers as many fans but in this case they were very bad!). The 1969 cut lacks the piano intro (why?), but is otherwise probably superior, & was issued as the one token rock & roll song on the otherwise all country ‘She Still Comes Around’ LP.

Winner: 1968

55. Life’s Railway To Heaven (1977 versus 2010)

Although Jerry had performed the song ‘live’ many years earlier (it’s featured on a fascinating live Memphis gospel recording from 1970, an album that wasn’t issued until the late 80s), it wasn’t until 1977 that he first cut it in the studio. Yet another ‘Keeps Rockin’’ reject that is the equal of anything on the album, this was first issued in 1986 on the Dutch ‘30th Anniversary Album’. Jerry cut the song again circa 2005 during (or possibly just after) the ‘Last Man Standing’ sessions. Rejected at the time, it was overdubbed several years later by Solomon Burke & released on Jerry’s latest album ‘Mean Old Man’. Although Jerry sounds OK (but not outstanding), there’s a very obvious splice or overdub a couple of lines into the song (much of ‘Mean Old Man’ sounds a little amateurishly recorded compared to Jimmy Rip’s sparking production on ‘Last Man Standing’) & Solomon Burke’s grunts & groans are truly dreadful, totally ruining what could’ve been a reasonable track.

Winner: 1977

56. Long Tall Sally (1964 versus 1964)

All songs listed in this blog post feature at least one studio recording – except this one, as both of these are ‘live’ concert recordings [no complete studio recordings of Jerry performing ‘Long Tall Sally’ are available, though a snippet was included as part of the ‘Rock Medley’ on ‘The Session’ in 1973, & it was performed in it's entirety on BBC radio’s ‘Top Gear’ programme in 1964]. In April of 1964 Jerry cut what is often regarded as the wildest rock & roll album of all time, ‘Live At The Star Club, Hamburg’. Backed by The Nashville Teens, his voice never quite sounded this wild before or after (for more on this ground-breaking & influential album check out Joe Bonomo’s excellent book ‘Lost & Found’). He recorded the song again in Birmingham, Alabama for another live album 3 months later, released as ‘The Greatest Live Show On Earth’. Backed by his own band this time, it’s nowhere near as well recorded as the Hamburg show (at times his vocals almost get lost in the mix), but this particular song is even more energetic than the earlier version.

Winner: 1964 (2nd version!)

57. Lucille (1977 versus 1986)

The Little Richard classic & not the insipid Kenny Rogers hit, Jerry was never going to top the original (I’ve never been too keen on his versions myself, despite some often excellent piano playing). Nevertheless this was released on the ‘Keeps Rockin’’ album in 1977. The 1986 version is quite similar, but probably has the edge due to a looser vocal & less cluttered backing. This was made available via the ‘Rocket’ album 2 years later.

Winner: 1986

58. Mathilda (1965 versus 1986)

Recorded at the inspired ‘The Return Of Rock’ sessions in 1965, this is a superb bluesy-pop song, & was first issued the following year on the ‘Memphis Beat’ album. Probably the only reason it was rejected initially is because it is a little similar to ‘Got You On My Mind’ on the same album (Jerry got both the songs via Cookie & The Cupcakes). The 1986 version (released on ‘Rocket’ 2 years later) is performed much slower & gentler, & has The Jordanaires singing along high in the mix. It’s OK, but certainly doesn’t compare to the earlier version.

Winner: 1965

59. Meat Man (1973 versus 1986)

A very risqué Mack Vickery-penned rocker, this was first recorded for ‘Southern Roots’ in 1973 with full Memphis soul backing (horns, soulful girly chorus, etc). Released as a single the following year, it didn’t stand a chance of becoming a hit. The 1986 version is more stripped down, sounding closer to the live versions he occasionally did around this time. I think I’d prefer this if it weren’t for the very annoying double-tracked “ad-libs” during Buddy Harmon’s drums intro. In recent years Jerry seems to have become a bit embarrassed by this song & the even more risqué ‘Big Legged Woman’, refusing any requests to play the songs.

Winner: 1973

60. Mexicali Rose (1960 versus 1987 versus 2006)

While scratching around for potential hit material at a January 1960 Sun session, Jerry thought it would be a good idea to cut a version of Gene Autry’s ‘Mexicali Rose’, splitting the tempo between slow for the 1st half & rocked-up for the 2nd half. Sam Phillips (probably rightly) remained unconvinced, but this is still wonderful music. The fast part (only) was issued on ‘Rockin’ & Free’ in 1974, while the complete uncut performance (slow & fast) was released on the Zu-Zazz ‘Keep Your Hand Off Of It!’ album of early 60s Sun outtakes in 1987. It was also in 1987 that Jerry attempted the song in the studio again, but unfortunately this time he recorded it without a band on a cheap (Casio?) keyboard; & even more unfortunately this was then overdubbed with some truly dreadful instrumentation. This was released on the mostly unlistenable ‘At Hank Cochran’s’ CD in 1995 for those that really need to hear it, but it really is only for sad completists (like myself!). Far better is the 2006 ‘Last Man Standing’ download-only bonus cut. Rocked-up all the way, this live-in-the-studio performance with his road band would be a strong contender for the ultimate version if it wasn’t for the trembling & croaky vocals (sadly Jerry’s voice has usually sounded very ropey during the past few years, & I personally am of the opinion that his 70th birthday in September 2005 would’ve been a good time to hang up those rock & roll shoes).

Winner: 1960

Despite what it says on the cover, these songs were recorded in 1986 (though the photo is from 1973!). Half of the album is available in other versions.

61. Middle Age Crazy (1977 versus 2010)

A very slow pop-country ballad that was unlike anything he’d recorded prior to 1977, this was released on the ‘Country Memories’ album the same year, as well as on a single where it (deservedly) became a giant country hit. Performed regularly in concert for the next decade or so but very rarely since then, I’ve always thought of it as one of the very few Jerry Lee Lewis songs that sounds far better in the studio than in concert. When I heard that he’d re-cut the song with Tim McGraw for the ‘Mean Old Man’ album I really didn’t expect much, but I was pleasantly surprised: although I still think the original has the edge, this comes very close, & is certainly one of the best duets on the album (the fact that Tim McGraw was actually in the studio with Jerry probably helps, unlike nearly all the other recent duets). A strong candidate for his best re-cut of the last 20 years.

Winner: 1977

62. Miss The Mississippi & You (1994 versus 2005)

Jimmie Rodgers had always been one of Jerry’s heroes, & he’d recorded memorable versions of several of his songs in the past (‘Waiting For A Train’, ‘Mother, The Queen Of My Heart’, ‘Carolina Sunshine Girl’), & this beautiful recording for the ‘Youngblood’ album was one of it’s highlights, with particularly impressive piano work. Even in 1994 this must’ve been a struggle to sing (he did very well), & when he attempted the only known live concert version a year later he aborted it halfway through. So whatever prompted Jerry to record it again solo at the piano (without a band) during the ‘Last Man Standing’ sessions is a mystery, as he often strays badly out of tune & out of time. Wisely unreleased at the time, it was (unbelievably) dug out for the 2010 ‘Mean Old Man’ album, being used as the closing track on the 18-track “deluxe” version. Never before as the saying “From the sublime to the ridiculous” been so apt.

Winner: 1994

63. Money (1961 versus 2010)

Later popularised by The Beatles, Jerry saw the potential of this Barrett Strong song a couple of years prior to their version. Recorded in September 1961 & released on his 2nd album ‘Jerry Lee’s Greatest’ at the end of that year, this is backed by powerful tom-tom drums, shrill horns & female backing vocals (it’s sometimes difficult to tell where the horns end & the backing singers begin). In stripped-down form this was a 60’s live favourite (check out the powerful version from Hamburg 1964 as well as the weaker version from Fort Worth 1966). The 2010 cut is Jerry’s most recently-released recording, being a bonus track on an exclusive edition of ‘Mean Old Man’ sold at the Million Dollar Quartet stage show in New York during mid September of this year. It’s possibly the most recently recorded too, as it certainly wasn’t amongst the bulk of “raw” ‘Mean Old Man’ recordings from late 2008 & early 2009, nor is there any record of it being recorded during any of the ‘Last Man Standing’ sessions during 2002-2005. Whenever it was recorded, the playing, the inspiration & the production is better than pretty much anything on the main album (& even the vocals aren’t too bad), though the one down-side is the over-dubbed duet vocal by Levi Kreis, the guy who plays Jerry in the stage show (it’s OK, but I would’ve preferred to hear Jerry singing this on his own).

Winner: 1961

64. Mother, The Queen Of My Heart (1971 versus 1987)

It’s difficult to imagine Jerry doing any bad versions of country songs during his initial chart “comeback” in 1968-1971, but this particular performance is even better than most of the others. A beautiful Jimmie Rogers song, Jerry’s own mother was desperately ill with cancer at the time he recorded this (she died a few weeks later), so his singing is particularly heartfelt & poignant. The song was released on the outstanding ‘Touching Home’ album that year. It’s impossible to imagine any re-cut topping this, but when it’s from the dreaded 1987 Hank Cochran sessions it stands no chance! Actually this isn’t quite as dreadful as many of the other songs from the session (available on the 1995 ‘At Hank Cochran’s’ CD); at least he’s playing a real piano this time, & the band overdubs are minimal. Jerry’s timing is a little out at times though, & his attempts at doing a Jimmie Rogers “yodelling” singing style are laughable.

Winner: 1971

65. My Blue Heaven (1959 versus 1961 versus 1969)

No doubt inspired by Fats Domino’s hit at the time, Jerry cut 4 fast takes of this old Gene Autry song in early 1959. The best of these was first issued on Sun International’s ‘Olde Tyme Country Music’ album in 1969, with the others issued during the 80s. He made a 2nd attempt at the song 2 years in a slower “cocktail” style, but none of them saw the light of day until the late 80s. These all pale into insignificance compared to the truly stunning 1969 cut (& check out those extra lyrics during the intro). Recorded at the productive ‘Country Music Hall Of Fame’ sessions in February 1969 where he recorded two albums in two days, it’s a mystery why this wasn’t released at the time (though when Jerry heard it again in 1987 he claimed there was a mistake during the piano solo). Instead it was issued on Bear Family’s ‘The Killer: 1969-1972’ box-set in 1986.

Winner: 1969

66. No Headstone On My Grave (1973 versus 2006)

A Charlie Rich blues song, this had been a semi-regular in Jerry’s stage show for at least 9 months prior to him recording it in London in January 1973, so he was very comfortable & familiar with it by then. Performed split tempo (unlike Charlie Rich’s original which was performed slow all the way through), it is still performed regularly today. The 2006 recording is another one of those live-in-the-studio download-only ‘Last Man Standing’ bonus tracks. Some great piano & backing, but marred once again by the rough vocals.

Winner: 1973

67. One Of Them Old Things (1987 versus 1994)

During March 1987 Jerry cut a superb 7-song session for producer Eddie Kilroy, which could’ve been part of one of the finest albums of his career: instead it was never released. Nevertheless, Jerry was enthusiastic enough about the songs to perform most of them during his European Tour the following month (a far cry from the past 20 years when he’s rarely bothered learning new songs whether they’re released or not). Recorded live in Milan, the issued 1987 cut was released on the ‘Live In Italy’ CD in 1988 (though NOT on the vinyl version the previous year). Sounding like little more than an average-quality bootleg, I was surprised when chatting to Jerry in 1989 that he actually classed this as an “official” album: I asked him when the song was going to be issued (referring to the unreleased studio cut), & he replied that it HAD been issued but the band didn’t know it properly so he wasn’t satisfied with it. He must’ve remembered this 5 years later during a 1994 recording session for Sire, as he cut the song again, & this time it was released on ‘Youngblood’ the following year.

Winner: 1994

68. Release Me (1958 versus 1968 versus 2010)

The Sun cut from late 1958 (or possibly early 1959 as no-one seems sure of the exact date) is a mid-tempo rock & roll treatment with a heavy drumbeat. It’s been suggested that Jerry doesn’t play piano on this, but it certainly sounds like him to me. This was first released on the UK ‘Rockin’ & Free’ compilation in 1974 (a superb collection of 22 previously unissued Sun cuts that seems to be almost forgotten by fans now). The preferable version for me is the stunning performance recorded for the ‘She Still Comes Around’ album in 1968 [some people may have noticed by now that I’m slightly biased towards this era; indeed my “creative peak” years for Jerry would probably cover the decade from 1961 to 1971, a time when he seemed almost incapable of making a bad recording or doing a sub-standard concert]. A re-cut for his new album ‘Mean Old Man’ can only come 2nd or 3rd best, but it is one of the more palatable tracks on the album, with Gillian Welch’s (very obviously) overdubbed duet vocal working quite well.

Winner: 1968

69. Rockin’ Jerry Lee (1966 versus 1979)

Backed by his excellent road band at the time (the soon-to-be Christened ‘The Memphis Beats’), the 1966 version was cut during the sessions for the ‘Memphis Beat’ LP but wasn’t released at the time. For years only available on a Dutch bootleg, it was finally issued on Bear Family’s ‘The Killer: 1963-1968’ box-set in 1986. The 1979 rerecording is faster & wilder, but as well as lacking the charm (& vocal clarity) of the earlier version it is all-but-ruined by some truly awful girly backing vocals. It was released on the otherwise superb ‘When Two Worlds Collide’ album early the next year, an album that (like the follow-up ‘Killer Country’) has criminally never been issued on CD.

Winner: 1966

70. Rockin’ My Life Away (1979 versus 2009)

A great Mack Vickery song, the 1979 version is one of the greatest studio recordings of all time. Crisply recorded with a backing band that includes James Burton & Hal Blaine, Jerry performs the song with real commitment, tearing through the verses & punctuating them with 3 imaginative piano solos (one of them double-length), as well as a tight but perfect 12-bar guitar solo from Mr Burton. Released on his debut Elektra album that year, the song has quite rightly been a mainstay of Jerry’s stage act ever since. In comparison the recent re-cut is extremely poor. Released over a year ahead of the main album, this was first issued via the 5-song ‘Mean Old Man’ download “EP” in the summer of 2009 (along with the title track & three other remakes), this (a) is over a minute shorter & (like much of the album) has a murky mix, (b) features a truly appalling vocal from Jerry’s worst ever duet partner Kid Rock, (c) has just one brief uninspired 12-bar piano solo, & (d) features a 24-bar guitar solo (twice as long as Jerry’s piano solo) from guest guitarist Slash, who proves that he’s no James Burton. Why such a poor version was released is beyond me, but I believe Jerry’s daughter Phoebe Lewis deserves at least some of the blame: she has a producer credit for the album, & no family member (especially one who considers every note he plays to be the work of a genius) is going to push him as hard as outside producers like Andy Paley did in 1994 & Jimmy Rip did in 2002-2005. Unbelievably being pushed as the main track during the recent U.S. promotional tour of TV shows, anyone who thinks this is great either hasn’t heard or has forgotten the 1979 original.

Winner: 1979

The re-makes for the 1989 movie featuring Dennis Quaid were surprisingly good (unlike the actual movie!).

71. Roll Over Beethoven (1965 versus 1969 versus 2005)

Recorded in Nashville during January 1965, this is a truly magnificent performance (The Beatles had recently helped re-popularise the song so perhaps this inspired him to give it his very best?). A real highlight of ‘The Return Of Rock’ later that year, an album that very rarely has a dud moment anyway. The 1969 version is a duet with Jerry’s sister Linda Gail Lewis that was released on their only album together, appropriately entitled ‘Together’, & released in 1969. Although it’s never been a favourite of mine (I tend to prefer their more countrified duets), this was released as a single & even became a minor U.S. pop hit. Towards the end of the lengthy ‘Last Man Standing’ sessions in 2005 Jerry did a live-in-the-studio session with Ringo Starr. A duet of ‘Sweet Little Sixteen’ was released on that album, but this outtake (which features both Ringo & Jim Keltner on drums but no duet vocal) was dug out 5 years later for the ‘Mean Old Man’ album, where it stands out as having a production sparkle (courtesy of Jimmy Rip) that is lacking from the rest of the album. Though not a patch on the 1965 cut it’s still surprisingly good, perhaps only marred by the drums being mixed a little too loudly.

Winner: 1965

72. Seasons Of My Heart (1963 versus 1965)

The 1963 version is the first recorded duet between Jerry & Linda Gail Lewis, who Sam Phillips signed to Sun in an attempt to persuade Jerry to stay with the label when his contract came up for renewal a few months later (it didn’t work, as he still left the label for a 15 year association with Smash / Mercury). Released as a flop single shortly afterwards (as the B-side to ‘Teenage Letter’), Linda was only 15 at the time & sounds very inexperienced & nervous. Jerry re-cut the song a couple of years later for his ‘Country Songs For City Folks’ album, & although he inadvisably used a harpsichord instead of a proper piano, it is still preferable due to the lack of Linda’s harmony vocals.

Winner: 1965

73. Sexy Ways (1958 versus 1965)

Although Jerry attempted the song at two different sessions during 1958, he never actually sung “Sexy Ways”: during his first attempt in January he changed the lyrics to “Cool Cool Ways”, & then in April this became “Carrying On”. Both are impressive, but none of them were released until a couple of compilations in 1974. By 1965 the world had changed a little & he finally felt brave enough to record the proper lyrics: with a superb drums & cymbals intro (probably by Buddy Harmon) this inspired performance was one of the many highlights of ‘The Return Of Rock’ later that year.

Winner: 1965

74. Silver Threads (Amongst The Gold) (1957 versus 1973)

One of the many songs recorded during his early months at Sun that wasn’t released until many years later, this is a beautiful version of an old country song. It was first released on Sun International’s ‘Sunday Down South’ in 1970, an album of mostly gospel songs shared with Sun outtakes by Johnny Cash. The re-cut is given a mid-temp ‘High Heel Sneakers’ beat, & backed by instruments that include horns & steel guitar, an interesting experiment that didn’t quite work. Recorded during the sessions for ‘Southern Roots’, this was finally released in 1987 on Bear Family’s ‘The Killer: 1973-1977’ box-set.

Winner: 1957

75. Singing The Blues (1957 versus 1973)

The 1957 version is typical of his early Sun recordings, with superb “pumping” piano & a youthful energetic feel. It wouldn’t have sounded out of place on an early album, & no doubt would’ve been released if Sam Phillips had released more of them (only two albums were released during Jerry’s 1956-1963 Sun period, & one of those was a semi “hits” collection), but instead had to wait until Sun International’s ‘Monsters’ collection in 1970. The 1973 version is taken at a more sedate pace, & is notable for some superb slide bottle-neck guitar. Recorded at the all-star London sessions, it somehow wasn’t included on ‘The Session’, & had to wait until Bear Family’s ‘The Complete Session Volume Two’ album in 1986. Personally I’ve always found ‘The Session’ a little overrated, but this is one of the more enjoyable recordings from those January ’73 sessions.

Winner: 1973

76. Sixty Minute Man (1957 versus 1973)

Although considered far too risqué to be released at the time, the 1957 Sun cut is a tremendous recording with a very inspired & flamboyant vocal & superb piano playing (not forgetting the contributions from guitarist Roland Janes & drummer James Van Eaton, two very important elements of most of his 50s recordings). Even Sun International during their prolific 1969-1971 releases somehow overlooked this track, & instead it had to wait until the 1974 UK ‘Rockin’ & Free’ collection. The 1973 cut isn’t bad, but lacks the energy of the earlier version, & at over 3 & ½ minutes (almost exactly twice the length of the 1957 cut) it’s a little over-long.

Winner: 1957

77. Slippin’ Around (1958 versus 1968)

Recorded at the same session that produced the single cut of ‘High School Confidential’, the 1958 version is performed as a blues song (despite it’s country origins). This first saw the light of day on the Dutch ‘Collector’s Edition’ album in 1974 (many younger fans probably don’t appreciate how difficult it was to collect all of Jerry’s released Sun recordings prior to the ‘80s box-sets!). While the 1968 version is far less adventurous musically, it’s a beautiful version. Initially released as the B-side to ‘She Still Comes Around (To Love What’s Left Of Me)’ that year, it made it’s album debut 2 years later on ‘The Best Of Jerry Lee Lewis’.

Winner: 1968

78. Someday (You’ll Want Me To Want You) (1958 versus 1971)

Unusually recorded with his road drummer at the time Russell Smith instead of the usual Jimmy Van Eaton (also with his father-in-law J.W. Brown on bass), this wasn’t released until Charly’s ‘Jerry Lee Lewis & His Pumpin’ Piano’ album in 1974, the first of three 16-song albums they released that year. It’s not bad, but Jerry’s more mature vocals on the 1971 cut blows it away. Recorded during the ‘Would You Take Another Chance On Me’ sessions, it wasn’t released at the time (despite being the equal or better than anything else on the album), instead being issued on the Dutch ‘The Mercury Sessions’ album in 1985. Jerry Lee Lewis at his vocal peak.

Winner: 1971

79. Sweet Little Sixteen (1961 versus 1962 versus 1977 versus 2005)

Backed by a band that includes Ace Cannon’s honking sax & drummer Gene Chrisman (who incidentally also played drums on the 1982 ‘My Fingers Do The Talkin’’ album), it’s surprisingly that Sam Phillips didn’t see the potential of this great version. 12 months later he cut another 4 takes, of which the slowest of these was selected as a single soon afterwards. Though the tempo drags a bit, it has a great vocal & a memorable bass guitar intro from session man R.W. McGhee. The fastest alternate take from this session was chosen for the ‘Rockin’, Rhythm & Blues’ album in 1969, while the other two takes weren’t released until the late 80s / early 90s. The 1977 version would potentially be the ultimate cut if it weren’t for the backing vocalists’ “oohs” & “ahhs”, but this was still one of the stronger tracks on his final Mercury album, 1978’s ‘Keeps Rockin’’. The 2005 version is a duet with Ringo Starr, & although he isn’t the greatest of singers, he’s perfect for this (as is his drumming style). The fact that they were actually in the studio together at the time makes this one of the most enjoyable & spontaneous-sounding tracks on the 2006 ‘Last Man Standing’ album.

Winner: 1961

80. Swinging Doors (1966 versus 2009)

A great Merle Haggard song, this was recorded during the 1966 ‘Memphis Beat’ sessions, & was released - with a strings overdub - 5 years later on the ‘Would You Take Another Chance On Me’ album (it was finally released without strings by Bear Family in the late 80s though personally I think the strings work very well here). The 2009 version is a duet with the song’s composer, but both Merle’s & Jerry’s voices are now a mere shadow of their former selves (& I also miss the fancy chord “turnaround” that Jerry incorporated into the 1966 version). This was initially released on the ‘Mean Old Man’ (so-called) “EP” in 2009, & on the album of the same name a year later.

Winner: 1966

1995's 'Youngblood', a strong contender for his finest album of the past 30 years if it wasn't for the horrible mono mixing. Only 3 of the 14 songs were remakes, not too bad for a latter-day Jerry Lee Lewis album (another song from this has been re-recorded for Jerry's latest album).

81. That Kind Of Fool (1975 versus 2006)

Released on that year’s ‘Odd Man In’ album, Jerry’s whisky-soaked voice perfectly suits this song about loss & regret, & is enhanced by some of Kenny Lovelace’s finest ever fiddle playing (god, how I miss hearing him playing fiddle on stage!). The re-cut for 2006’s ‘Last Man Standing’ would come very close to matching this if it wasn’t for Keith Richard’s vocal & guitar overdub (he can’t sing & his guitar is mixed too loud!).

Winner: 1975

82. That Lucky Old Sun (1957 versus 1988)

Both of these are just Jerry alone at the piano (no backing musicians). Not released at the time, the stunning 1957 cut was first issued on the Charly LP ‘Rare Jerry Lee Lewis Volume 2’ in 1974. It’s hard to imagine him topping this, but he did just that during the 1988 re-cut for the ‘Great Balls Of Fire!’ movie soundtrack album, with his world-weary voice being far more suited to the song. Over 4 & ½ minutes (compared to just over 3 minutes in 1957) of pure heaven!

Winner: 1988

83. There Stands The Glass (1968 versus 1984)

This Webb Pierce classic had been performed occasionally on stage for years (I’ve a couple of performances from poor quality tapes recorded in New Jersey in 1962), but it wasn’t until his country “comeback” in 1968 that he recorded this for the ‘She Still Comes Around’ LP. In 1984 Jerry recorded the album ‘Four Legends’ with Webb Pierce himself, as well as Mel Tillis & Faron Young. Released the following year as a TV advertised mail-order only album, this simply produced traditional country album was like a breath of fresh air after the over-produced MCA albums, but sadly very few people heard it. ‘There Stands The Glass’ was included as part of a medley with other songs performed by Webb, Mel & Faron.

Winner: 1968

84. Trouble In Mind (1973 versus 2006)

The 1973 version was recorded in London, & released on ‘The Session’ later that year. A blues song running at nearly 6 minutes & with dual pianos (the other player being Tony Ashton of ‘Ashton, Gardner & Dyke’ fame), I’ve always found it a bit self-indulgent myself. The 2006 re-cut on ‘Last Man Standing’ (a couple of minutes shorter & featuring Eric Clapton on guitar), is perhaps less inventive musically, but I prefer this myself. A 3rd version was included as a download-only ‘Last Man Standing’ bonus track, but this live-in-the-studio performance with his road band is marred by extremely rough vocals.

Winner: 2006 (with Eric Clapton)

85. Waiting For A Train (1962 versus 1969)

Jerry actually recorded at least 5 takes of this song at different sessions in 1962: In June of that year 2 takes were recorded, featuring the expected guitars, bass & drums plus Shirley Sisk on the organ. The slightly faster version was released first: mistitled ‘All Around The Watertank’ it was issued on ‘Olde Tyme Country Music’ in 1970, with the slower version appearing on the UK album ‘Good Rockin’ Tonite’ 9 years later (the faster version was also released as single – backed by the dirty blues ‘Big Legged Woman’ of all songs - & was a top 20 US country hit). In September of 1962 he tackled the song another 3 times, this time without Shirley Sisk’s organ but with Boots Randolph’s saxophone! One of these takes was apparently issued on a Sun International single by mistake in the early 70s (though this didn't seem to be common knowledge amongst fans until well into the '80s), with the other takes released on various CDs during the ‘80s. Lastly, he recorded the song again for the ‘She Even Woke Me Up To Say Goodbye’ album in 1969. Backed by a very tasteful & unobtrusive string section, once again (to my ears) a late 60s Smash recording blows away all the earlier versions.

Winner: 1969

86. Wedding Bells (1963 versus 1976)

As well as re-recording many of his biggest 1957-1958 hits, the September 1963 ‘Golden Hits’ sessions included about 10 songs that were used for other projects (both singles & albums) over the next few years, with this one being dug out for the under-rated ‘Soul My Way’ album in 1967. It didn’t really fit in with the theme of the album but is still a more than worthwhile version of the Hank Williams classic (despite the somewhat over-powering guitar riff). In 1976 (with his voice sounding newly rejuvenated following nasal surgery) he re-cut the song for ‘Country Class’, possibly his greatest post-1971 country album.

Winner: 1963

87. What’d I Say (1960 versus 1961 versus 1973)

Jerry recorded this song 3 times (at 3 different studios) within the space of 13 months while at Sun: at one of his final 706 Union Avenue sessions in January 1960; Sam Phillips Memphis studio across town at Madison Avenue in June 1960; & at the brand new Phillips studio in Nashville in February 1961. The January 1960 versions (2 takes) weren’t released for many years & indeed appear to have been “lost” until the end of the 80s when they were issued on Zu-Zazz’s ‘Don’t Drop It!’ in 1988 & the various artists ‘Sun Into The Sixties’ box-set in 1989. Both are perfectly acceptable spontaneous-sounding versions. The June 1960 version was initially released on the 1979 ‘Duets’ album as a faked duet with Orion (a.k.a. Elvis sound-a-like Jimmy Ellis). A raucous version with saxophone & raw vocals, it was finally issued undubbed on ‘The Sun Years’ box-set in 1983. The 1961 version was released as a tight-sounding single weeks later, reaching number 30 in the U.S. pop charts & number 10 in the UK; the backing singers prove that they’re no substitute for Ray Charles’ Raelettes, but nevertheless this was a well-deserved hit, something that very rarely happened in the decade following the 1958 debacle. A ‘live’ favourite for many years (though very rarely performed these days), the song was a natural for the album of (mostly) rock & roll standards recorded in London in January 1973. Released on ‘The Session’ that year, it is unfortunately overlong & self-indulgent, as several songs at those sessions were.

Winner: 1961

88. What’s Made Milwaukee Famous (1968 versus 2006)

Recorded during sessions for his first true country album in May 1968, this was released as a big country hit single soon afterwards, as well as on the ‘Another Place, Another Time’ album. Rightly regarded as a classic, Rod Stewart recorded it & had a big hit with the song in 1972, so he was a natural choice as a duet partner when the song was re-cut “solo” (without a backing band) for the ‘Last Man Standing’ album. Unfortunately he’s overdub sounds less than great here (as do Jerry’s own vocals), probably due to the fact that the key Jerry plays it in is a little too low for him. An interesting idea, but it didn’t really work.

Winner: 1968

89. Who Will The Next Fool Be (1964 versus 1979)

Although Jerry claims that nobody has influenced his musical style (much less after he started his own career), during much of the ‘60s his vocals showed a black gospel / soul influence that wasn’t there earlier. Probably influenced by Ray Charles & Jackie Wilson (two artists he often praised at the time), he never sounded quite as soulful as on the 1964 ‘live’ version of this song from ‘The Greatest Live Show On Earth’ album. By the time he recorded the song in the studio in 1979 he was no longer singing quite that way (he couldn’t have done so he’d tried due to his aged voice), but this is still an inspired & truly heartfelt version. Criticised by some as over-long, it comes within a whisker of surpassing the original.

Winner: 1964

90. Whole Lotta Shakin’ Goin’ On (1957 versus 1962 versus 1963 versus 1973 versus 1988)

Jerry has often claimed that his biggest hits were recorded in one take, & although it’s definitely not true of ‘Great Balls Of Fire’, ‘Breathless’ & ‘High School Confidential’ it’s at least partly true with this song. Prior to recording the hit version (probably several weeks earlier though exact dates are lost) he quickly ran-through 4 takes of the song: although these are perfectly OK, they lack the passion of the well-known version & weren’t released at the time (the first released version from this session was on ‘The Sun Years’ box-set in 1983, with other takes following over the next few years). The single (his 2nd single following ‘Crazy Arms’) changed his life of course, launching his career & becoming one of the most revered (& covered) rock & roll songs of all time. By 1962 his career was pretty much washed-up, & in an attempt to cash-in on the then-current “twist” craze he recorded 2 takes as ‘Whole Lotta Twistin’ Goin’ On’. Unfortunately not released at the time (a shame as the song might’ve been a hit all over again), it was first issued on Charly’s ‘Jerry Lee Lewis & His Pumpin’ Piano’ in 1974, with the very similar alternate take appearing on the U.S. ‘Golden Rock ‘n Roll’ album 3 years later. The 1963 re-cut for ‘Golden Hits’ has a very similar “twist” beat to the 1962 versions, & would be a candidate for the best cut if it wasn’t for the over-production. In 1973 he cut the song again for ‘The Session’, a modern (for the time) “rock” treatment that works well apart from the unfortunate faded-in intro, & in 1988 he recorded it once again for the ‘Great Balls Of Fire!’ movie & soundtrack album, again a more than creditable version. My favourite might surprise a few people…

Winner: 1962

Despite a slightly mixed response from fans, 'Last Man Standing' in 2006 quickly became the biggest selling album of The Killer's career. Although just 5 of the 21 songs on the main album are remakes, 8 of the 9 download-only bonus cuts were of previously recorded songs.

91. Why You Been Gone So Long (1982 versus 2006)

An excellent Mickey Newbury-penned pop-rocker, this was first recorded for Jerry’s first MCA album, 1982’s ‘Why You Been Gone So Long’. Although the album in it’s original form (like the follow-up ‘I Am What I Am’) has never been issued on CD in it’s original form, this track & a similar alternate take were included on Ace’s ‘Honky Tonk Rock & Roll Piano Man’ CD in 1991. Having the distinction of being the only song from the MCA era that’s still regularly performed ‘live’ today, Jerry re-cut the song as a duet with session singer Stacy Michelle for the ‘Last Man Standing’ project. Not released on the album proper, this was only made available as an exclusive download-only track. Despite not being quite as good as the original, this interesting Cajun-style arrangement (complete with accordion) deserves to be more widely heard, & would’ve been ideal for the current ‘Mean Old Man’ album.

Winner: 1982

92. Wild One (Real Wild Child) (1958 versus 1988)

Jerry must’ve found this song while touring Australia at the beginning of 1958 (his first overseas tour), as it was originally recorded by Australian rocker Johnny O’Keefe & was a big hit in his homeland. Recorded at Sun in April of that year, this would’ve made a great A-side but instead remained unheard until the ‘Rockin’ & Free’ collection in 1974 (with a slightly different alternate take appearing on ‘Jerry Lee Lewis & His Pumpin’ Piano’ a few months later). The producers of the ‘Great Balls Of Fire!’ movie (perhaps inspired by Iggy Pop’s 1986 hit record version) must’ve seen the potential of this too, as they persuaded Jerry to re-record the song for the soundtrack album, & excellent it is too.

Winner: 1958

93. Wild Side Of Life (1959 versus 1965)

Recorded at Sam Phillips brand new studio on Madison Avenue in late 1959 or early 1960 (his first ever session to be recorded in stereo), this superb version of the Hank Thompson classic is notable for some brilliant sax playing from Martin Willis. Not released at the time, this was first issued on the obscure U.S. Power Pak label’s 1974 ‘From The Vaults Of Sun’ collection. Jerry re-cut the song during the 1965 sessions for ‘The Return Of Rock’ album, though as it didn’t really fit on that album it was issued on his next one towards the end of the year, ‘Country Songs For City Folks’. Great though this is, the memorable saxophone on the earlier version makes that one the winner for me.

Winner: 1959

94. Will The Circle Be Unbroken (1959 versus 2010)

The 1959 take is a heartfelt & very respectful version of the well-known religious song. Not released at the time, it was the highlight of the ‘Sunday Down South’ album in 1970. The recent re-cut unusually features Jerry playing guitar (which probably explains why it’s in the key of “E”) & is performed with an interesting mid-paced rhythm. Unfortunately the Mavis Staples overdub almost obliterates Jerry’s vocal, & during the last 40 seconds or so he isn’t heard at all while she carries on wailing. Combined with the absence of piano, this almost makes Jerry sound like a guest on a Mavis Staples record rather than the other way round (this would never have happened if Jimmy Rip had produced it, as he always made sure that Jerry was the most prominent vocalist & musician on every song). With a piano overdub & without Ms Staples (& perhaps with a decent ending) this could’ve been a great cut…

Winner: 1959

95. You Are My Sunshine (1957 versus 2009)

Another “standard”, Jerry cut two superb (but similar) takes during his early months at Sun, both performed fairly fast & with the trademark “pumping” piano much in evidence. One take was issued on ‘Olde Tyme Country Music’ in 1970, while the alternate take was first issued on ‘The Sun Years’ in 1983. The re-cut is performed much slower, the prominent harmonica gives it a similar feel to his 1975 ‘Odd Man In’ album & for once the overdubbed duet vocal (by Sheryl Crow) probably genuinely enhances what was a more than OK track beforehand. Released on the ‘Mean Old Man’ EP in 2009 & again on the album of the same name this year, it’s an undoubted highlight of both the EP & the album.

Winner: 1957

96. You Belong To Me (1969 versus 2006)

The beautiful 1969 version was taped during those productive 2 days that produced both volumes of ‘The Country Music Hall Of Fame Hits’ LPs, though it wasn’t released until the 1976 ‘Country Class’ album (it’s a credit to his rejuvenated vocals on the album that few people suspected at the time that this particular song was recorded 7 years earlier). The 2006 re-cut is one of those live-in-the-studio download-only ‘Last Man Standing’ bonus cuts; beautifully played but raggedly sung.

Winner: 1969

97. You Can Have Her (1972 versus 2009)

A great Roy Hamilton song, the 1972 cut features one of Jerry’s most impressive vocals (check out some of those high notes) as well as great piano, & even the strings work well here. A 2009 re-cut with no piano & a monotone vocal was never going to be as good, though it’s given an interesting rockabilly-style arrangement with some great picking from both James Burton & Eric Clapton, as well as harmony vocals by the latter. For once the backing musicians far overshadow Jerry’s own contribution.

Winner: 1972

98. You Win Again (1957 versus 1963)

Jerry actually recorded this at two 1957 Sun sessions; initially he taped three inappropriate fast takes, & then a few weeks later cut the more well-known slower version. The fast takes stayed in the can for over a quarter of a century, with the first of these being issued on ‘The Sun Years’ box-set in 1983, while the slower cut (with a tasteful male vocal group overdub) was issued as the B-side to ‘Great Balls Of Fire’ (in the UK it was even issued as an A-side in it’s own right but sadly sold poorly). The 1963 re-cut reinstates the final verse that Jerry didn’t sing on the Sun single, & the fuller backing (including girly singers & strings) perfectly suits the material.

Winner: 1963

99. You’re The Only Star (In My Blue Heaven) (1956 versus 1957 versus 1958)

An obvious early favourite of Jerry’s, this was recorded at three separate sessions during the first couple of years of his career (four if you include the playful run-through at the end of the Million Dollar Quartet session), though none were released until years after he left the label. The 1956 version (actually 2 takes) was taped at his very first professional session (along with both sides of his first single & ‘Born To Lose’). Sounding a little hesitant compared to later versions, this wasn’t released until the ground-breaking ‘The Sun Years’ vinyl box-set in 1983. Much better (& faster) is the 1957 version, first released on ‘Olde Tyme Country Music’ in 1970, unlike the 1958 version (which features a couple of additional musicians to the earlier takes) which again wasn’t released until ‘The Sun Years’ in 1983.

Winner: 1957

100. Your Cheatin’ Heart (1958 versus 1960 versus 1963 versus 1975)

The Hank Williams country standard of course, though only 1 of the 4 recorded studio versions is actually performed country style. Both the Sun versions are rocked up, with the later cut being the fastest yet most polished. The 1958 version was released on ‘Monsters’ in 1970, while the 1960 version had to wait until ‘Keep Your Hands Off Of It!’ in 1970. The 1963 cut on the ‘Golden Hits’ album is the most countrified version, albeit with backing that includes horns (thankfully not too high in the mix). Lastly is the unique 1975 version from ‘Odd Man In’, with it’s ‘Whole Lotta Shakin’’-styled intro, harmonica & croaky vocals. In 2006 Jerry taped an official DVD called ‘Last Man Standing Live’ which included a duet with Norah Jones on this song (as well as ‘Crazy Arms’), something that would’ve fit perfectly into the current ‘Mean Old Man’ album.

Winner: 1963

The disappointing follow-up to 'Last Man Standing', Jerry's latest album features far too many inferior remakes (11 songs out of 18) & poorly-dubbed guest duets.

Do you agree or disagree with my choices? Comments, corrections & criticisms are welcomed, though please keep things civil...

Linda Gail Lewis: Sessionography & Discography, 1960 - 2010

2010-06-13T21:50:00.010+01:00

Linda Gail Lewis is much more than just the younger sister of Jerry Lee Lewis: a talented singer, songwriter & musician in her own right, she has recorded & toured with such musicians as Van Morrison, James Burton, Billy Bremner, Chas & Dave, Kenneth Lovelace (Jerry's band leader since 1967 & one-time husband of Linda), Travis Wammack, Scotty Moore, Stuart Coleman, Albert Lee, Stephen Ackles & Andy Lee Lang, as well as her brother of course, & her talented daughters MaryJean & Annie.

To celebrate a remarkable 50 years since Linda’s first recordings, Pierre Pennone & myself have compiled a full sessionography of Linda’s many sessions both issued & unissued over the years, as well as a discography. None of these would’ve been possible without Bo Berglind’s pioneering research in ‘Fire-Ball Mail’ in 1975, Mark Potter’s exhaustive (though several years out of date) discography on Linda Gail Lewis’ official website, ‘Now Dig This’ magazine (particularly issue 283), Clinton Heylin's Van Morrison biography 'Can you feel the silence?', The Jerry Lee Lewis Unofficial Fan Forum, & the various Jerry Lee Lewis fan-club magazines over the years.

Additional thanks to the following for their reminiscences, research, scans & recordings: Stephen Ackles, Peter Molecz, Gunilla Larsson, Piet Versteijnen, Tony Papard, Martin Bates, Per Kallin, Barrie Gamblin, Tony Houlton, MaryJean Ferguson, Daniel White & Thomas Rund. Lastly, this would not be possible without Linda Gail Lewis herself: not only for the music, but for always taking the time to chat to her friends & fans, & answer what are often the most trivial questions about her past.

PART 1 – 1960-1977

Linda's career has very much been in two parts: 1960 - 1977, & 1986 - now. The latter part has been far more interesting (more on that later), but, after an aborted session in 1960, she released a string of singles, two albums (one solo, one with her brother) + various other tracks from 1963 to 1974, & (from 1967 onwards) was often featured as part of Jerry Lee Lewis' concerts, both as a warm-up act & backing vocalist.

1) SUN STUDIO, 639 Madison Avenue. Memphis – 13 Dec. 1960

A Good Golly Miss Molly (Marascalco/Blackwell) - unissued/lost
B Love’s Made A Fool Of Me - unissued/lost

Linda Gail Lewis (vcl) Frankie Jean Lewis (vcl) Jerry Lee Lewis (pno) Roland Janes (l.gtr) Scotty Moore (r.gtr) Jay W. Brown (bs) Stan Kesler (st.gtr –A) James Van Eaton (dms)

2) SUN STUDIO, 639 Madison Avenue, Memphis – 11 Mar. 1963 – Producer : Scotty Moore

001 (U-490) Seasons of My Heart* (G. Jones/Edwards) - Sun 384 Apr.1963 London HAS8323 1967
002 C.C. Rider (Chuck Willis) - Bear BCD16609 2002
003 (U-492) Sittin’ and Thinkin’ (Charlie Rich) - Charly CD Box-1 1989
004 (U-491) Nothin’ Shakin’ (But The Leaves) - CR-300007 Jun.1975

Linda Gail Lewis(vcl duet), *Jerry Lee Lewis (vcl duet/pno) Scotty Moore (l.gtr) George Webb (r.gtr) Morris Tarrant (dms) Luke Wright (t.sax) William Ray Felts(org)

The first ever release to feature Linda Gail Lewis, a duet with her brother Jerry Lee Lewis on George Jones' 'Seasons Of My Heart'.

3) FRED FOSTER’s STUDIO, 7th Avenue, Nashville - 1964

005 (12478) Break Up The Party (Dan Penn/Rick Hall) - ABC 10636 Mar.1965 JukeBox8265101 2005
006 (12479) Small Red Diary (Mar Axton/F. Reeves) - ABC 10636 Mar.1965 JukeBox8265101 2005
Why Do I Cry - unissued
How Much Should I Let My Heart Go - unissued

Linda Gail Lewis(vcl), Jerry Reed (gtr), Harold Bradley (gtr), Bob Moore (bass), Buddy Harman (dms) + unknown (pno) on 12479.

4) RCA STUDIO, 800 Hawkins Street, Nashville – 1 Sept. 1965 – Producer: Shelby Singleton

007 (33632) North To Alaska (T. Franks) - SRS67071 Dec.1965
008 (33638) Baby (You Got What It Takes) (Otis/Stein) - Smash 2006 Oct.1965 Mercury134204(FR) Feb.1969

Linda Gail Lewis(vcl duet), Jerry Lee Lewis (vcl duet, pno), prob. Jerry Kennedy (gtr), prob. Buddy Harman (dms), others unknown

5) Unknown studio, Los Angeles – 1967 – Producer: Bobby Boyd, Arranger: Bill Justis

009 (115868) Jim Dandy (L. Chase) - Columbia 43964 Feb.1967
010 (115869) Who Will Be The Next One (S. Stover) - Columbia 43964 Feb.1967
Until Then - unissued
Love What You Got - unissued

Linda Gail Lewis(vcl), others unknown

6) COLUMBIA STUDIO, 804 16th Ave. South, Nashville – 16 Apr. 1968 – Producer: Jerry Kennedy

011 (41123) We Live In Two Different Worlds(Fred Rose) - Smash 2220 May 1969 SRS 67104 May 1968 SRS67126 Jul. 1969

Linda Gail Lewis(vcl duet), Jerry lee Lewis (vcl duet, pno), Harold Bradley, Ray Edenton, Jerry Kennedy (gtr), Lloyd Green (steel gtr), Kenneth Lovelace (fiddle), Joseph Zinkan (bass), Jerry Carrigan (dms)

7) COLUMBIA STUDIO, 804 16th Ave. South, Nashville – 1968 – Producer: Jerry Kennedy

012 (43006) Turn Back the Hands of Time (L.G. Lewis) - Smash 2193 Nov.1968 SRS67119 Jun.1969
013 (43007) Good (Glenn Sutton/Billy Sherril) - Smash 2193 Nov.1968 SRS67119 Jun.1969
014 (43008) Then We Said Goodbye(LG Lewis/Harrelson) - Smash 2211 Mar.1969 SRS67119 Jun.1969
015 (43009) T-H-E E-N-D (Glenn Sutton) - Smash 2211 Mar.1969 SRS67119 Jun.1969

Linda Gail Lewis(vcl), Hargus ‘Pig’ Robbins(pno), others unknown

8) COLUMBIA STUDIO, 804 16th Ave. South, Nashville – 18 Feb. 1969 – Producer: Jerry Kennedy

016 (43098) Don't Let Me Cross Over (Penny Jay) - Smash 2220 May 1969 SRS67119/67126 Jun.1969
017 (43099) Southside Soul Society Chapter No. 1 (B.Lindsay) - Smash 2240 Aug.1969 SRS67119 Jun.1969
018 (43100) He's Loved Me Much Too Much(LG Lewis/Harrelson) - Smash2240 Aug.1969 SRS67119 Jun.1969 Mercury 73343 Nov.1972

Linda Gail Lewis(vcl), Jerry Lee Lewis (vcl duet on 43098), Hargus ‘Pig’ Robbins (pno), Fred Carter, Ray Edenton, Jerry Kennedy (gtr), Pete Drake (steel gtr), Kenneth Lovelace (fiddle), Bob Moore (bass), Buddy Harman (dms)

9) COLUMBIA STUDIO, 804 16th Ave. South, Nashville – 1969 – Producer: Jerry Kennedy

019 Paper Roses (J. Torre/F. Spielman) - Mercury 73245 Oct.1971 SRS67119 Jun.1969
020 Send Me The Pillow You Dream On (H.Locklin) - SRS67119 Jun.1969
021 Hey Good Lookin’ (H.Williams) - SRS67119 Jun.1969
022 I Can’t Help It (If I’m Still In Love With You) (H.Williams) - SRS67119 Jun.1969

Linda Gail Lewis(vcl), others unknown

Three sides of Linda's debut solo album 'The Two Sides of Linda Gail Lewis': The front & back covers of the most common 'orange' version & the scarcer 'green' front cover.

10) COLUMBIA STUDIO, 804 16th Ave. South, Nashville – 16 Apr. 1969 – Producer: Jerry Kennedy

023 (43123) Jackson (Billy Ed Wheeler/Gabby Rodgers) - SRS67117/67126 May 1969
024 (45124) Sweet Thang (Nat Stuckey) - SRS67118/67126 May 1969

Linda Gail Lewis(vcl duet), Jerry Lee Lewis (vcl duet, pno), Jerry Kennedy (gtr), Hargus ‘Pig’ Robbins (organ), Kenneth Lovelace (fiddle), others unknown

11) MONUMENT STUDIO, 114 17th Ave. South, Nashville – 13 Jun. 1969 – Producer: Jerry Kennedy

025 (45438) Gotta Travel On (P.Clayton/L. Ehrlich/T.Six) - SRS67126 Jul.1969
026 (45439) Milwaukee Here I Come (L. Fikes) - SRS67126 Jul.1969
027 (45440) Cryin’ Time (Buck Owens) - SRS67126 Jul.1969
028 (45441) Roll Over Beethoven (Chuck Berry) - Smash 2254 Dec.1969 SRS67126 Jul.1969
029 (45442) Secret Places (LG Lewis/Harrelson/Lovelace) - Smash 2254 Dec.1969 SRS67126 Jul.1969
030 (45443) Don’t Take It Out On Me(LG Lewis/Lovelace) - SRS67126 Jul.1969
031 (45434) Earth Up Above* (D. Murray) - SRS67126 Jul.1969

Linda Gail Lewis(vcl duet), Jerry Lee Lewis (vcl duet, pno), Harold Bradley, Jerry Kennedy (gtr), Bob Moore (bass), Buddy Harman (drums), Hargus ‘Pig’ Robbins (organ), Kenneth Lovelace (fiddle)

Jerry & Linda's one & only duet album. Note the advertisement for 'The Two Sides Of Linda Gail Lewis' which features another variation of the album sleeve, though this was only for advertising purposes & was never actually issued in this form.

12) MERCURY STUDIO, 1512 Hawkins St., Nashville – 1970 – Producer: Jerry Kennedy

032 (45533) My Heart Was The Last One To Know (Kristofferson/Silverstein) - Smash 2261 Apr.1970
033 (45534) Louisiana (L.G. Lewis/Harrelson/Lovelace) - Mercury 73316 Aug.1972
034 (45536) Gather ‘Round Children (L.G. Lewis/Harrelson) - Smash 2261 Apr.1970

Linda Gail Lewis(vcl), Hargus ‘Pig’ Robbins (pno), others unknown

13) LIVE AT THE INTERNATIONAL HOTEL, Las Vegas – 22nd-23rd May 1970 – Producers: Jerry Kennedy, Roy Dea

035 I’m Movin’ On* (Hank Snow) - BFX15228 1986
036 Jackson* (Billy Ed Wheeler/Gabby Rodgers) - BFX15228 1986
037 (47117) When You Wore A Tulip* (P.Wenrich/J. Mahoney) - SR 61278 Aug.1970
038 Got You On My Mind Again* (version 1) (Stan Kessler) - BFX15228 1986
039 (47118) Take These Chains From My Heart (version 1) (Hy Heath/Fred Rose) - SR 61278 Aug.1970 040
What’d I Say* (Ray Charles) - BFX15228 1986
Down The Line* - unissued
I Wish You Love (version 1) - unissued
I Wish You Love (version 2) - unissued
Johnny B. Goode - unissued
Silver Threads & Golden Needles (version 1) - unissued
Silver Threads & Golden Needles (version 2) - unissued
Got You On My Mind Again* (version 2) - unissued
Got You On My Mind Again* (version 3) - unissued
Got You On My Mind Again* (version 4) - unissued
Take These Chains From My Heart (version 2) - unissued
Roll Over Beethoven* - unissued

Linda Gail Lewis (vcl), Jerry Lee Lewis (vcl duet*, pno), Ken Lovelace (gtr, fiddle), Buck Hutcheson (gtr), Ed Debruhl (bass), Ned Davis (steel gtr), Morris Tarrant (drums), Jerry Lee Lewis Jr (tambourine)

14) MERCURY STUDIO, 1512 Hawkins St., Nashville – 16 Jul. 1970 – Producer: Jerry Kennedy

041 (47131) What Is Love (LG Lewis/Harrelson) - Mercury 73113 Oct.1970
(47132) Lovin’ Up A Storm (Black/Arnold) - unissued
042 (47133) Before The Snow Flies (version 1) - Mercury 73113 Oct.1970
Before The Snow Flies (version 2) - unissued
Before The Snow Flies (version 3) - unissued

Linda Gail Lewis(vcl), Jerry Lee Lewis (acoustic gtr & vcl on 47133), Harold Bradley, Ray Edenton, Buck Hutcheson, Jerry ‘Chip Young’ Stembridge (gtr), Ned Davies (steel gtr), Bob Moore (bass), Buddy Harman (drums), Hargus ‘Pig’ Robbins (pno), Kenneth Lovelace (fiddle)

15) MERCURY STUDIO, 1512 Hawkins St., Nashville – 5-6 Oct. 1970 – Producer: Jerry Kennedy

043 (47191) Cheater Pretend (Bill Taylor/LaVerne Thomas) - Bear BFX15228 1986
044 (47193) Handwriting On The Wall (N. Hopson) - Mercury 73303 Jul.1972 Mercury (UK) 6338 496 1975
045 (47200) I Know That Jesus Will Be There (L.G. Lewis/Harrelson) - SR 61318 Jan.1971

Linda Gail Lewis(vcl duet), Jerry Lee Lewis (vcl duet, pno), Harold Bradley, Ray Edenton, Buck Hutcheson, Jerry ‘Chip Young’ Stembridge (gtr), Ned Davies

Jerry & Linda's most successful single, reaching number 9 on the Billboard Country Charts in the summer of 1969.

16) ARDENT STUDIO, Memphis – 22 Jul. 1971 – Producer: Jud Phillips

046 (48552) Working Girl (L.G. Lewis/Harrelson) - Mercury 73245 Oct.1971
Storm Before The Calm - unissued
Carryin’ On - unissued

Linda Gail Lewis (vcl), Buddy Church, Sandy Rhodes (gtr), Ed Debruhl (bass), Larry Estes (drums), unknown (pno)

17) MERCURY STUDIO, 1512 Hawkins St., Nashville – 31 May 1972 – Producer: Roy Dea

047 (49814) Smile Somebody Loves You (T. Austin) - Mercury 73316 Aug.1972 JukeBox8265101 2005
048 (49815) Me And Jesus* (Tom T. Hall) - Mercury 73303 Jul.1972 Mercury (UK) 6338 496 1975
049 (49816) Ivory Tower (Snow) - Mercury 73343 Nov.1972 JukeBox8265101 2005

Linda Gail Lewis(vcl), Jerry Lee Lewis (*vcl duet, *pno), Harold Bradley, Ray Edenton, Jerry Kennedy, Jerry ‘Chip Young’ Stembridge (gtr), Pete Drake (steel gtr), Bob Moore (bass), Jerry Carrigan (drums), Hargus ‘Pig’ Robbins (pno, organ on 49815), Kenneth Lovelace (fiddle)

18) SAM PHILLIPS STUDIO, Madison Avenue, Memphis – Dec. 1973 – Producer: Charlie Chalmers

050 (51185) I Wanna Be A Sensuous Woman (LG Lewis/Worthington) - Mercury 73463 Jan.1974
051 (51186) I Should Not Have Fallen In Love With You (LG Lewis/Worthington) - Mercury 73463 Jan.1974

Linda Gail Lewis (vcl) others unknown

19) Unknown studio – 1974 – Producer: unknown

The Joy And Love You Bring (a.k.a. Love Of All Seasons) - unissued
(When You Need) A Lover And A Friend - unissued

Unknown sessions in the 1960’s (source: Mark Potter)

I'm Redeemed (Duet with Jimmy Swaggart) - unissued 1965
Take It Slow - unissued 1966
Distant Drums - unissued 1969
Pledging My Love - (duet with Jerry Lee) unissued 1960's

Despite the "Smash" label & the superb sound, this 2005 CD appears to be a bootleg. Nevertheless it's the best place to find much of Linda's early solo material.

Another bootleg, this includes the few remaining early solo recordings that are missing from 'The Early Sides of Linda Gail Lewis', as well as duets & live TV performances.

PART 2 – 1986-2010

In 1977 (following a European tour with her brother) Linda Gail Lewis decided to retire from public life to concentrate on raising a family; it wasn't until nine years later in the spring of 1986 when she returned, initially to resume touring with her brother. This lasted until the summer of 1987 when she quit due to (alledged) disagreements between her & Jerry's (then) wife Kerrie. This is when Linda decided to re-invent herself: she'd known how to bang out a few chords on the piano for years (& indeed played piano during her warm-up sets on the 1977 European tour), but now she started learning how to play boogie-inpired rock & roll like her brother, & did so remarkably quickly, as by 1988 she was on the road playing this style, & a couple of years later back in the studio making full-length albums, something she's done with great regularity ever since. This all culminated in a lenthy tour with Shakin' Stevens in 1999, & then a duet album & world tour with Van Morrison in 2000 / 2001, bringing her some of the widest exposure of her career. Sadly the latter partnership ended in acrimony, but she's continued recording & performing in a wide variety of styles, including 50s rock & roll, country, pop, soul, bluegrass, rock & even modern 'dance' music.

20) Unknown studio – 1986 – Producer: unknown

I'll Take the Memories - unissued
Ain't We Got Love - unissued
You're Playing with a Heartache - unissued
Sweet Lover - unissued

Linda Gail Lewis(vcl), others unknown

21) LIVE AT ROLLING STONE CLUB, MILANO, ITALY – 7 April 1987

052 Rollin’ In My Sweet Baby’s Arms (duet with Ken Lovelace) - Green Line 3307 1987
053 Jackson * - Green Line 3307 1987

Linda Gail Lewis(vcl), Jerry Lee Lewis (*vcl duet, *pno), Ken Lovelace (gtr), Moetta Stewart (keyboard), Danny Harrison (drums), Joel Shumaker (gtr), Duke Faglier (bass)

The 1987 vinyl & 1988 CD editions of 'Live in Italy', which featured her final official recording with Jerry Lee Lewis.

22) Unknown studio – 1987 – Producer: probably Maury O’Rourk

054 Oh Boy - Rose175 1987

Linda Gail Lewis(vcl), band OFB with Maury O’Rourk (duet vcl)

Released on 10" vinyl in 1987 & on CD the following year, this featured Linda's first issued studio recording in 13 years.

23) EASLEY RECORDING STUDIO, Memphis – 1990 – Producer: Maury O’Rourk

055 I Can Help (Billy Swan) - Rose238 Dec.1990
056 We Were Both Wrong 5B. Murray) - Rose238 Dec.1990
057 Cry One More Time (Wolf Dustman) - Rose238 Dec.1990
058 They Called It Rock (N. Lowe/D. Edmunds) - Rose238 Dec.1990
059 Clean Cut Kid (Bob Dylan) - Rose238 Dec.1990
060 A.I On The Jukebox (D. Edmunds/W. Birch) - Rose238 Dec.1990
061 Suddenly Single (Butch Hornsby) - Rose238 Dec.1990
062 Tongue and Cheek (D. Gillespie) - Rose238 Dec.1990
063 I Feel So Bad (Tample/Johnson) - Rose238 Dec.1990
064 Las Vegas (duet with Maury O’Rourk) (with faked audience overdub) - Rose238 Dec.1990

Linda Gail Lewis (vcl, pno), Buddy Church, Doug Easley, Alex Greene, Maury O’Rourk (gtr), James Eddie Campbell (lap steel, dobro, gtr), Ray Gann (bass), Fred Norman, Doug Garrison (drums), Alex Greene (organ), Jim Spake (sax), Mary Jean McCall (harmony vcl)

Linda's first album in 22 years & the first to feature her playing piano as well as singing (it was also her final album to be released on vinyl, as well as CD).

24) Unknown studio – 1990 – Producer: Robert Stefanow

065 Do You Know (Linda Gail Lewis) - Lewis cassette Sept.1991
FoxCDFX-1010 Jun.1992
066 He Loved Me Much Too Much (Linda Gail Lewis) - Lewis cassette Sept.1991
FoxCDFX-1010 Jun.1992
067 Travelin’ Band (John Fogerty) - Lewis cassette Sept.1991
068 Wait Till I Get You In My Dreams (version 1) - Lewis cassette Sept.1991
FoxCDFX-1010 Jun.1992
069 Hang Up My Rock’n’roll Shoes (Chuck Willis) - Lewis cassette Sept.1991
FoxCDFX-1010 Jun.1992
070 I’ll Take Memphis (Linda Gail Lewis) - Lewis cassette Sept.1991
FoxCDFX-1010 Jun.1992
071 Hey Lady (Denise Lasalle) - Lewis cassette Sept.1991
FoxCDFX-1010 Jun.1992
072 I Know What You’ve Been Up To (version 1) - Lewis cassette Sept.1991
FoxCDFX-1010 Jun.1992
073 Are You Breaking A Heart Over Me - Lewis cassette Sept.1991
FoxCDFX-1010 Jun.1992
074 I Ain’t Ready To Grow Up - Lewis cassette Sept.1991
FoxCDFX-1010 Jun. 992

Linda Gail Lewis (vcl, pno), Doug Mc Minn (gtr, drums), Joel Shumaker, Don Singleton, Steve McGraw (gtr), Ray Gann, Rome McMinn (bass), Fred Norman (drums), Mary jean (back up vcl) (see FBM 29/2)

25) Unknown studio – 1991 – Producer: Eddie Kilroy

Great Big Crush - unissued
Suddenly Single - unissued
One Of Them Old Things - unissued
Cheap Shoes - unissued

Linda Gail Lewis (vcl, pno), others unknown (see FBM 29/1)

The cassette-only release 'Do You Know' was later issued on CD as 'I'll Take Memphis', but lost 'Travelin' Band' & gained three duets with Stephen Ackles in the process.

26) LIVE AT ROYAL NAVAL CLUB, IN PLAISTOW, LONDON – 3 July 1991 – Producer: Neil Turner

075 Let’s Have A Party - DeepElem2001 Oct.1991
076 Kansas City - DeepElem2001 Oct.1991
077 Mean Woman Blues - DeepElem2001 Oct.1991
078 Nothin’ Shakin’ - DeepElem2001 Oct.1991
079 Black Cadillac - DeepElem2001 Oct.1991
080 Big Boss Man - DeepElem2001 Oct.1991
081 Roll Over Beethoven - DeepElem2001 Oct.1991
082 I’ll Take Memphis - DeepElem2001 Oct.1991
083 Mean Mean Man - DeepElem2001 Oct.1991
084 What’d I Say - DeepElem2001 Oct.1991
085 Great Big Crush - DeepElem2001 Oct.1991
086 Rip It Up - DeepElem2001 Oct.1991
087 I’m Ready - DeepElem2001 Oct.1991
088 Long Tall Sally - DeepElem2001 Oct.1991
089 The Blues Is Alright - DeepElem2001 Oct.1991
090 Whole Lotta Shakin’ Goin’ On - DeepElem2001 Oct.1991
091 Shake Rattle and Roll - DeepElem2001 Oct.1991
Down The Line - unissued
Tongue and Cheek - unissued
Great Balls Of Fire - unissued

Linda Gail Lewis (vcl, pno), Sonny West (lead gtr), Charlie Lankester (rhythm gtr), David Konig (bass), Ian Bowerman (drums) (see FBM 28/6)

27) Unknown studio, U.K. – November 1991 – Producer: Nils Solgberg

Ooby Dooby - unissued
C.C. Rider - unissued
Hey Lady - unissued
Lovin’ Up A Storm - unissued
As Long As I Am Moving - unissued
Somebody Touch Me - unissued
Mama, He Treats Your Daughter Mean - unissued
Boppin’ The Blues - unissued
Night Train To Memphis - unissued
Flip, Flop And Fly - unissued
One Sided Love Affair - unissued
It’ll Be Me - unissued
Money - unissued
Baby What You Want Me To Do - unissued
Will The Circle Be Unbroken - unissued

Linda Gail Lewis (vcl, pno), Steve West (gtr), David Konig (bass), Ian Bowerman (drums) (Note: some songs subsequently received piano overdubs by Geraint Watkins & Neil Turner) (see FBM 29/4, 29/5)

Recorded on her debut U.K. solo tour in 1991, 'Rockin' With Linda' is a good representation of her stage show at the time. A studio album was cut with many of the same musicians a few months later, but this remains unissued.

28) EASLEY RECORDING STUDIO, Memphis – March 1992 – Producer: Tommy Cathey

092 You Make It Easy To Believe - IceHouse 1995
093 Not A Night Goes By - IceHouse 1995
094 Saving The Best For Last - IceHouse 1995
095 Your Love Is So Cold I’m Turning Blue - IceHouse 1995
096 You Just Said An Heartful - IceHouse 1995

Linda Gail Lewis (vcl, pno), Jack Holder, Greg Reding, Buddy Davis (gtr), Tommy Cathey, David Smith (bass), Tony Thomas, Greg Redding, Kent Noland, Hal Butler (keyboards), Ned Davies (steel gtr), Stylz Bitchly, Greg Morrow (drums) (see FBM 29/5, 29/6, 30/1)

29) SAM PHILLIPS RECORDING STUDIO, Memphis – 1992 – Producer: Jerry Phillips (engineer: Roland Janes)

097 Love Makes The Difference (version 1) - Bellmark74513 1995 IceHouse 1995
098 There’s Got To Be An Easier Way - IceHouse 1995
099 After Tonight - IceHouse 1995
100 Rockin’ Blues - IceHouse 1995
101 I'd Rather Stay Home And Rock 'n' Roll (version 1) - Bellmark74513 1995 IceHouse 1995 SIRE 31063-2 Mar.1999
Too Wild unissued (see FBM 30/3)

Linda Gail Lewis (vcl, pno), Travis Wammack, Roland Janes (gtr), Greg Reding, Chalmers Davids (keyboards), Travis Wammack Jr (drums) (see FBM 30/3)

30) AMBIENCE STUDIO, Oslo, Norway – 18 May 1992 – Producer: Stephen Ackles

102 Sexy Ways (duet) - FoxCDFX-1010 Jun.1992
103 Earth Up Above (duet) - FoxCDFX-1010 Jun.1992
104 Sweet Thang (duet) - FoxCDFX-1010 Jun.1992

Linda Gail Lewis (duet vcl), Stephen Ackles (duet vocal, pno), The Memphis News (Are Asvatne – drums, Lars Nygaard – bass, Hans Uleberg (gtr), Geir Sundstøl (gtr, steel gtr, mandolin, harmonica) (See FBM 29/6)

Although recorded during 1992, 'Love Makes A Difference' (a collection of mostly modern country-pop) wasn't released until 1995, her only album release during the years 1993-1998.

31) Unknown studio, Memphis – 1992 – Producer: Jim Isbell

105 You’re The One (duet) (L.G. Lewis) - Columbia472407 Oct.1992

Linda Gail Lewis (duet vcl), Stephen Ackles (duet vocal), Glen D. Hardin (pno), James Burton (gtr), Kenny Lovelace (fiddle), Joel Shumaker (bass), Jim Isbell (drums) (see FBM 30/1)

32) TON ART RECORDING STUDIO – 1995-1997 (mixed in Sept. 1997) – Producer: Andy Lee Lang

106 Boogie Woogie Country Man (duet) - BMB CD109 703 1997

Linda Gail Lewis (vcl, pno), Andy Lee Lang (vcl, pno), other musicians (drums: Herwig Wagner, Michael Strasser, Andi Weiss, Jimmy Redhead, Andi Wagner - bass: Franz Rebenstiener, Freddy Poke, Gerhard Strauhs, Peter Strutzenberger, - Guitar: Michael Höglinger, Ulli Winter, Gordon Scott) (see FBM 35/4)

Stephen Ackles' 'Hey You!' & the Andy Lee Lang albums 'Duets' & 'Together' all feature fine duets with Linda that are exclusive to those releases.

33) MASTERLINK STUDIO and IMAGINE STUDIO, Nashville – 1998 – Producer: Stuart Coleman

107 Here Ever After (Tim Krekel) - SIRE 31063-2 Mar.1999
Ten35 1011 2002
108 I’m Still Shakin’ - SIRE 31063-2 Mar.1999
109 Relentless (duet with Jeff Bates) (Smokey Robinson/J.K. Jones) - SIRE 31063-2 Mar.1999 Ten35 1011 2002
110 Never Wear Mascara (When You Love A Married Man) (H. Wangford) - SIRE 31063-2 Mar.1999 Ten35 1011 2002
111 The Dark End Of The Street (Dan Penn/Chips Moman) - SIRE 31063-2 Mar.1999
Ten35 1011 2002
112 Something Beautiful - SIRE 31063-2 Mar.1999
113 1-2-3 I’m in Love Again - SIRE 31063-2 Mar.1999
114 Love Makes The Difference (version 2) - SIRE 31063-2 Mar.1999
115 This Long And Lonely Night (L.G. Lewis/Mark Potter/Eddie Braddock) - SIRE 31063-2 Mar.1999 Ten35 1011 2002
116 Moore Or Les (Mark Potter/Felicia Lemmons) - SIRE 31063-2 Mar.1999
Ten35 1011 2002
117 Baby I Want You (L.G. Lewis/Mark Potter) - SIRE 31063-2 Mar.1999
Ten35 1011 2002
118 Turn Off The TV - SIRE 31063-2 Mar.1999
119 Dancin’ Round And Round (Adam Mitchell) - SIRE 31063-2 Mar.1999
Ten35 1011 2002
Wait Till I Get In Your Dreams (version2) - unissued
I Know What You’ve Been Up To (version 2) - unissued

Linda Gail Lewis (vcl, pno), Steve Turner (drums), Stuart Coleman (bass), Eric Heatherly, Richard Bennett (gtr), Martin Young (acoustic gtr), Mike Daly (steel gtr), Denis Page (keyboards) (see FBM 35/6, 36/5, NDT 194, 233)

34) Unknown studio, Nashville – Lewis 3 demo session for Warner – 1999 – Producer: unknown

120 Absence Makes The Heart Go Wander (Lewis 3) - Castle CMQ912 May 2004
121 What Did You Want From Me (Lewis 3) - Castle CMQ912 May 2004
122 Just Say It (Lewis 3) - Castle CMQ912 May 2004
123 Bring It On (Lewis 3) - Castle CMQ912 May 2004
124 You Got The Car (Lewis 3) - Castle CMQ912 May 2004
125 Last Hard Bible (Lewis 3) - Castle CMQ912 May 2004
One Step Forward (And Two Steps In Love) (Lewis 3) - unissued
One Step Forward (And Two Steps In Love) (LGL solo) - unissued
Gotta Get A Night Life - unissued
We Don’t Need To Be Forever - unissued

Linda Gail Lewis (vcl), Mary jean McCall (vcl), Annie Dolan (vcl), others unknown (see FBM 40/5, NDT 253)

A superb collection of pop, country & modern rock & roll songs, the Stuart Coleman produced 'Linda Gail Lewis' album from 1999 is undoubtedly her finest in my opinion. Many of the songs from this were later reissued as 'bonus' tracks on 'Out Of The Shadows'.

35) THE WOOL HALL STUDIO, Bath, England – 11-13 April 2000 – Producer: Van Morrison

126 Let's Talk About Us (Otis Blackwell) - Virgin 72438 Sept.2000 Virgin7243 Sept.2000
127 You Win Again (Hank Williams) - Virgin7243 Sept.2000
128 Jambalaya (Hank Williams) - Virgin7243 Sept.2000
129 Crazy Arms (Ralph Mooney/Chuck Seals) - Virgin7243 Sept.2000
130 Old Black Joe (Foster) - Virgin7243 Sept.2000
131 No Way Pedro (with Van Morrison) - Virgin7243 Sept.2000
132 Real Gone Lover (Dave Bartholomew/Ruth Duran) - Virgin7243 Sept.2000
Be Bop A Lula - unissued
John Henry - unissued
Sit Down Baby - unissued
Not Working For You - unissued

Linda Gail Lewis (vcl, pno), Van Morrison (duet vcl, gtr), Paul Godden (steel gtr), Lee Goodall (sax), The Red Hot Pokers: Ned Edwards (gtr, mandolin), Peter Hurley (bass), Colin Griffin (drums).

36) THE WOOL HALL STUDIO, Bath, England – Early June 2000 – Producer: Van Morrison

133 A Shot Of Rhythm & Blues (Terry Thompson) - Virgin7243 Sept.2000
134 Why Don’t You Love Me (Hank Williams) - Virgin7243 Sept.2000
135 Cadillac (Ellias McDaniel) - Virgin7243 Sept.2000
136 Baby (You’ve Got What It Takes) (Otis/Stein) - Virgin7243 Sept.2000
Sticks and Stones - unissued

Linda Gail Lewis (vcl, pno), Van Morrison (duet vcl, gtr), Paul Godden (steel gtr), Lee Goodall (sax), The Red Hot Pokers: Ned Edwards (gtr, mandolin), Peter Hurley (bass), Colin Griffin (drums).

37) THE WOOL HALL STUDIO, Bath, England – June or July 2000 – Producer: Van Morrison

137 Boogie Chillen (John Lee Hooker) - Virgin7243 Sept.2000
138 Singing The Blues - Virgin 72438 Sept.2000
139 Think Twice Before You Go (A. Smith) - Virgin7243 Sept.2000

Linda Gail Lewis (vcl, pno), Van Morrison (duet vcl, gtr), Paul Godden (steel gtr), Lee Goodall (sax), The Red Hot Pokers: Ned Edwards (gtr, mandolin), Peter Hurley (bass), Colin Griffin (drums).

38) THE WOOL HALL STUDIO, Bath, England – October 3 to early November 2000 – Producer: Van Morrison

Choppin Wood - unissued
Hey Mr DJ - unissued
The Beauty Of Days Gone By - unissued
Down The Road - unissued
Princess Of Darkness - unissued
Just Like Greta - unissued
For A While - unissued
Mama Don’t Allow - unissued
Meet Me In The Indian Summer - unissued
All Work And No Play - unissued

Linda Gail Lewis (vcl, pno), Van Morrison (duet vcl, gtr), The Red Hot Pokers: Ned Edwards (gtr, mandolin), Peter Hurley (bass), Colin Griffin (drums). Note: some of these songs were issued by Van Morrison without Linda Gail’s contribution.

'You Win Again' was almost certainly the best-selling recording Linda's ever been involved in, though it got a very mixed reaction from both Van's & Linda's fans on release. The 'Let's Talk About Us' CD single also included 'Singing The Blues', a song not available on the album. Van, Linda & The Red Hot Pokers recorded a follow-up album later in the year, but most of this remains unissued (& those songs that were issued had Linda's contributions mixed out).

39) LIVE AT FESTHALLE, Basel, Switzerland – December 17, 2000 (bootleg)

140 Here Ever After - Pig CD258-2 2001
141 Never Wear Mascara - Pig CD258-2 2001
142 At The Dark End Of The Street - Pig CD258-2 2001
143 Good Morning Blues* - Pig CD258-2 2001
144 Old Black Joe* - Pig CD258-2 2001
145 Think Twice Before You Go* - Pig CD258-2 2001
146 Fire In The Belly* - Pig CD258-2 2001
147 Naked In The Jungle* - Pig CD258-2 2001
148 In The Afternoon* - Pig CD258-2 2001
149 Real Gone Lover* - Pig CD258-2 2001
150 Domino* - Pig CD258-2 2001
151 Outskirts Of Town / Long Distance Call* - Pig CD258-2 2001
152 Muleskinner Blues* - Pig CD258-2 2001
153 Back On Top* - Pig CD258-2 2001
154 Moondance* - Pig CD258-2 2001
155 Brown Eyed Girl* - Pig CD258-2 2001
156 Bright Side Of The Road* - Pig CD258-2 2001
157 Help Me* - Pig CD258-2 2001
158 Rock Medley* - Pig CD258-2 2001
159 Have I Told You Lately* - Pig CD258-2 2001

Linda Gail Lewis (vcl, duet vcl, pno), Van Morrison (vcl,*), The Red Hot Pokers: Ned Edwards (gtr, mandolin), Peter Hurley (bass), Colin Griffin (drums); Candy Dulfer (sax), unknown (horns).

Released on bootleg only, this double CD features a FM stereo radio broadcast of a concert in Basel, Switzerland.

40) BISMEAUX STUDIO, Austin TX – April-May 2001 – Producer: Eric Paul & Mark Potter

160 Baby, I'm In Love (L.G. Lewis/Mark Potter) - Lantasi 2002 Grapevine(Ireland) Jan.2002 Ten35 1011 Jul.2002
161 Everything I Need (L.G. Lewis) - Grapevine(Ireland) Jan.2002 Ten35 1011 Jul.2002
162 Love So Real (L.G. Lewis) (2001 version) - Grapevine(Ireland) Jan.2002 Ten35 1011 Jul.2002
163 The Sweetest Love (L.G. Lewis) - Grapevine(Ireland) Jan.2002 Ten35 1011 Jul.2002
164 What A Beautiful Day (L.G. Lewis) - Grapevine(Ireland) Jan.2002 Ten35 1011 Jul.2002
165 Out Of The Shadows (L.G. Lewis) - Grapevine(Ireland) Jan.2002 Ten35 1011 Jul.2002
166 Treat Me Like A Lady (Eddie Lee Cornelius) - Grapevine(Ireland) Jan.2002 Ten35 1011 Jul.2002
167 Life Without You ((L.G. Lewis) - Grapevine(Ireland) Jan.2002 Ten35 1011 Jul.2002
168 Paradise To Me (L.G. Lewis) - Grapevine(Ireland) Jan.2002 Ten35 1011 Jul.2002
169 I'd Rather Stay Home And Rock 'n' Roll (version 2) (J.Phillips) - Lantasi 2002 Grapevine(Ireland) Jan.2002 Ten35 1011 Jul.2002

Linda Gail Lewis (vcl, pno), Riley Osbourne (keyboards), Barry Smith (drums), Larry Cheney (gtr), Rosco Beck (bass), plus horns. (see FBM 38/6, NDT 233)

Three versions of 'Out Of The Shadows': The Irish issue from 2002, the UK issue from 2002 (which was actually issued on two different labels) & the belated U.S. issue from 2004. An interesting hybrid of country & Stax soul, most of these songs were written by Linda & were inspired by her time with Van Morrison. Confusingly, all three releases feature different track lists.

41) SOUTH WEST STUDIO, U.K. – 2001 – Producer: unknown

170 Whole Lotta Shakin’ Goin’ On - Rockville RV 002 Dec.2001
171 Ready To Fall In Love (Bring It On) - Rockville RV 002 Dec.2001
172 I’m On Fire - Rockville RV 002 Dec.2001
173 End Of The Road - Rockville RV 002 Dec.2001
174 Will You Still Love Me Tomorrow - Rockville RV 002 Dec.2001
175 Whirlwind - Rockville RV 002 Dec.2001
176 Let’s Have A Party - Rockville RV 002 Dec.2001
177 Rip It Up - Rockville RV 002 Dec.2001
178 Great Balls Of Fire - Rockville RV 002 Dec.2001
179 What’d I Say - Rockville RV 002 Dec.2001

Linda Gail Lewis (vcl, pno), The Firebirds (guitar & vocals Jim Plummer - drums & vocals Jason Bryant - bass & vocals Richie Lorriman) (see NDT 226). This is probably a bootleg album issued without Linda Gail’s authorisation.

An album that sounds more like studio run-throughs than a finished product, this album was mastered from a DAT tape & released without Linda's permission (when a fan presented her with a copy to autograph a few years back she said "It's a bootleg! I'll sign it, but it's a bootleg!"). The album also features several songs by The Firebirds that do not feature Linda.

42) Stig Lindell studio, Töcksfors, Sweden – 2001 – Producer: Stig Lindell

These Are The Days (V. Morrison) - unissued
180 Have I Told You Lately (That I Love You) (V. Morrison) * - CD single (SW) 2003

Linda Gail Lewis (vcl, pno), Emil Sigfridsson (*overdub duet vcl), other musicians unknown.

43) SONIC WEST STUDIO, U.K. – 1995-2001 (mixed March 2001) – Producer: unknown

181 Telephone Baby - CD 21001.001 2001

Linda Gail Lewis (vcl), Andy lee Lang (vcl, pno), others unknown

44) SOUND SERVICES, HEREFORD, U.K. – 2001 - Engineered by Dave Wood

182 Rhythm Rockin' Blues - CRCD07 2001
183 Wolverton Mountain - CRCD07 2001
184 The Feeling Of Love - CRCD07 2001
185 Lizzy Beth - CRCD07 2001
186 I Go Ape - CRCD07 2001
187 Crazy Moon* - CRCD07 2001
188 Ooh Sugar! - CRCD07 2001
189 I'm Gone - CRCD07 2001

Crazy Cavan & The Rhythm Rockers: Cavan Grogan (vcl), Lyndon Needs (lead gtr), Terry Walley (rhythm gtr)*, Steve (Vance) Vincent (bass), Mike Coffey (drums), plus Linda Gail Lewis (pno)

Another British rock 'n' roll revival group to feature Linda's talents, though this one was issued with her full blessing! She only plays piano on this album though & is not heard vocally.

Initially recorded solo with Emil Sigfridsson's vocal added later, this was also issued on the 2004 U.S. edition of 'Out Of The Shadows'. Although one of her finest ever vocal performances, the unissued 'These Are The Days' from the same session is even better.

45) BRIER BANK STUDIO,Penarth, Sth Wales – 2-4 April 2003 – Producer: Ray Thompson & Mick Keen

190 Strange Things Happening Everyday - LGL 00711 May 2003 Castle CMQ912 May 2004
191 You Can Have My Husband (version 1) - LGL 00711 May 2003 Castle CMQ912 May 2004
192 Old Black Joe - LGL 00711 May 2003 Castle CMQ912 May 2004
193Goody Goody - LGL 00711 May 2003 Castle CMQ912 May 2004
194 Where Could I Go But To The Lord - LGL 00711 May 2003 Castle CMQ912 May 2004
195 I’m On The Loose - LGL 00711 May 2003 Castle CMQ912 May 2004
196 Fools Like Me - LGL 00711 May 2003 Castle CMQ912 May 2004
197 Old Time Rock’n’roll - LGL 00711 May 2003 Castle CMQ912 May 2004
198 Boppin’ The Blues - LGL 00711 May 2003 Castle CMQ912 May 2004
199 Hillbilly Rock - LGL 00711 May 2003 Castle CMQ912 May 2004
200 In The Boogie Woogie Country Mood - LGL 00711 May 2003 Castle CMQ912 May 2004
201 Am I To Be The One - LGL 00711 May 2003 Castle CMQ912 May 2004

Linda Gail Lewis (vcl, pno), Paul White (gtr), Ray Thompson (bass, drums + duet vocal “Am I To Be The One”), Paul Godden (steel gtr), Lee Goodall (sax) (see FBM 40/5, NDT 243 and 253)

The 2003 Ray Thompson-produced sessions were initially issued as 'Rock 'n' Roll' on Linda's own label, first with a rather plain cover & then with a photo of her on the front. Finally these were reissued as 'Boogie Woogie Country Gal' with the edition of six previously unissued bonus tracks from 1999 that were recorded with her daughters MaryJean & Annie & issued as 'The Lewis 3'.

46) SOUND CONTROL STUDIO, Skutskär, Sweden – 2004 – Producer: Micke Finell

202 Lie And Deny (L.G. Lewis) - Lantasi 71177(SW) May 2005
203 Let’s Talk About Us* - Lantasi 71177 May 2005
204 We’re Just Friends** - Lantasi 71177 May 2005
205 The Blues Is Allright - Lantasi 71177 May 2005
206 I Wish This Car Was A Train - Lantasi 71177 May 2005
207 Don’t Stop Now - Lantasi 71177 May 2005
208 You Win Again Lantasi 71177 May 2005
209 Wait And See Lantasi 71177 May 2005
210 What A High What A Low Lantasi 71177 May 2005
211 Whole Lotta Shakin’ Goin’ On Lantasi 71177 May 2005
212 You Can Have My Husband (version 2) Lantasi 71177 May 2005
213 Real Wild Child Lantasi 71177 May 2005
214 Smokey Joe’s Lantasi 71177 May 2005
215 Crazy Arms Lantasi 71177 May 2005
216 Rip It Up Lantasi 71177 May 2005

Linda Gail Lewis (vcl, pno), Albert Lee (vocals & gtr*/gtr only**), Billy Bremner (gtr), Sven Zetterberg (gtr), Kenneth Skoglund (gtr), Tord Eriksson (gtr), Tobbe Fall (gtr), Gerry Hogan (pedal steel), Mickey Finell (sax, backing vcls), Mike Watson (bass, gtr, backing vcls), Ingemar Drunker (drums) (see NDT 267)

The Rockarounds are a group of musicians featuring members of top Swedish band The Refreshments, who are inspired more by Chuck Berry via Dave Edmunds than Sun legends like Jerry Lee Lewis. Together with British luminaries such Albert Lee & Billy Bremner, the results are sometimes workmanlike but occasionally inspired.

47) BRIER BANK STUDIO,Penarth, South Wales – 4-5 April 2004 – Producer: Ray Thompson

217 Don’t Leave Her Lonely Too Long (Lewis 3) (Kastas/Marty Stuart) - Ame Dane (DK) Mar.2005 Castle CMQ 1269 Jan.2006
218 Little Bit Lonesome (Lewis 3) (Kasey Chambers) - Ame Dane (DK) Mar.2005 Castle CMQ 1269 Jan.2006
219 I’ve Got A Quartet In My Pocket (Lewis 3) (Jake Kelly/Billy Yates) - Ame Dane (DK) Mar.2005 Castle CMQ 1269 Jan.2006
220 Johnny B. Goode (Lewis 3 (Chuck Berry) - Ame Dane (DK) Mar.2005 Castle CMQ 1269 Jan.2006
221 I Didn’t Know (Love Felt That Way) (Lewis 3) (Shane Stockton/Mark Wright)* - Ame Dane (DK) Mar.2005 Castle CMQ 1269 Jan.2006
222 Movin’ Out (Lewis 3) (Ray Thompson) - Ame Dane (DK) Mar.2005
Castle CMQ 1269 Jan.2006
223 Fading Fast (Lewis 3) (John Leventhal/Kelly Willis) - Ame Dane (DK) Mar.2005
Castle CMQ 1269 Jan.2006
224 But I Do (Lewis 3) (Tibby Edwards) - Ame Dane (DK) Mar.2005
Castle CMQ 1269 Jan.2006
225 Got A Feeling for Ya (Lewis 3) (Dan Penn/Chuck Prophet) - Ame Dane (DK) Mar.2005 Castle CMQ 1269 Jan.2006
226 A Perfect World (Lewis 3) (Kate Campbell) - Ame Dane (DK) Mar.2005
Castle CMQ 1269 Jan.2006
227 Mansion Over The Hilltop (Lewis 3) (Ira F. Standphill) - Ame Dane (DK) Mar.2005 Castle CMQ 1269 Jan.2006
228 Jealousy (Lewis 3) (Claire Lynch/Irene Kelly) - Ame Dane (DK) Mar.2005
Castle CMQ 1269 Jan.2006
229 Studio banter - Ame Dane (DK) Mar.2005
230 Forever Has Come To An End (Lewis 3) (Julie Miller) - Ame Dane (DK) Mar.2005
Castle CMQ 1269 Jan.2006
231 Break Up (Lewis 3) - Castle CMQ 1269 Jan.2006
232 Movin’ Out (Lewis 3) alternative version) - Castle CMQ 1269 Jan.2006

Linda Gail Lewis (vcl, pno), Mary Jean McCall (vcl), Annie Dolan (vcl), Ray Thompson (gtr, ukelele, bass, drums), Quality Thompson (harmonica), John Lewis (gtr*) (see NDT 267)

The bonus tracks by 'The Lewis 3' tagged onto the 'Boogie Woogie Country Gal' CD raised enough interest for them to record a whole album, resulting in something refreshingly different (Linda didn't even play piano on most songs, & they all featured 3-part harmonies). First of all this was only issued in Denmark, but eventually Castle Music released it in the UK with a new cover & a couple of outtakes from the sessions.

48) Unknown studio, Sweden – 2005 – Producer: Mickey Finell

233 From Memphis To Sweden (L.G. Lewis/Eddie Braddock) - Lantasi 71188(SW) Sep.2005
234 Who’s That Guy - Lantasi 71188 Sep.2005
235 So Good - Lantasi 71188 Sep.2005
236 Honky Tonk Boogie Gal - Lantasi 71188 Sep.2005
237 I’m Burned Out- Lantasi 71188 Sep.2005
238 Me And The Boys In The Band (duet with Jerry Williams) - Lantasi 71188 Sep.2005
239 A Ray Of Hope - Lantasi 71188 Sep.2005
240 Call Me Soon - Lantasi 71188 Sep.2005
241 Forgiver (She’s A Painter) - Lantasi 71188 Sep.2005
242 It Looks Live Love To Me - Lantasi 71188 Sep.2005
243 That Much - Lantasi 71188 Sep.2005
244 She’s In My Dreams - Lantasi 71188 Sep.2005
245 They Were Rocking - Lantasi 71188 Sep.2005
246 I Never Knew What Misery Was (L.G. Lewis) - Lantasi 71188 Sep.2005
247 At Last - Lantasi 71188 Sep.2005

Linda Gail Lewis (vcl, pno), The Rockarounds: Mickey Finell (sax), Billy Bremner (gtr), Mike Watson (bass), Ingemar Drunker (drums) (see FBM 43/2)

49) Unknown studio – 2005 – Producer: unknown

248 I’m On Fire - Bonnier Music 2005

Linda Gail Lewis (vcl, pno), others unknown

Another enjoyable though perhaps slightly samey album of 'modern' rock (& roll) recorded with Swedish & British musicians The Rockarounds.

50) CHAPKIN STUDIO, SAN DIEGO CA – December 2005 and February 2006 – Producer: Paul Diffin

249 I Don’t Want To Be Lonely Tonight (Baker Knight) - Benlin 0711 Sept.2006
250 Love So Real (L.G. Lewis) (2006 version) - Benlin 0711 Sept.2006
251 Slow Down Brother (Fred Rose/Hy Heath) - Benlin 0711 Sept.2006
252 Weary Blues Goodbye (Don Daniels/Robert L. Perry) - Benlin 0711 Sept.2006
253 I Wonder In Whose Arms (You Are Tonight) (Chas Hodges/Dave Peacock) - Benlin 0711 Sept.2006
254 Hungry Hill (Jackie Lee Cochran) - Benlin 0711 Sept.2006
255 Love Me The Way I Want To Be Loved (L.G. Lewis/Mark Potter) - Benlin 0711 Sept.2006
256 Hey, Hey Memories (Derek Dupree) - Benlin 0711 Sept.2006
257 Lonely Heart (Carl Perkins) - Benlin 0711 Sept.2006
258 Just A Little Talk With Jesus (Cleavant Derricks) - Benlin 0711 Sept.2006
259 88 Friends (Rip Masters) - Benlin 0711 Sept.2006
260 Big Black Cadillac (Mickey Jupp) - Benlin 0711 Sept.2006
261 I Forgot More Than You’ll Never Know (Cecil Null)* - Benlin 0711 Sept.2006
262 That Much (Eva Eastwood)* - Benlin 0711 Sept.2006

Linda Gail Lewis (vcl, pno), Annie Dolan (duet vcl*), Alex Watts (gtr), Jerome Van Gasteren (gtr), Mike Wolfe (gtr), Rip Carson (gtr), ‘Rollin’ Jimmy (acoustic gtr), Tim Cook (steel gtr), Paul Diffin (bass), ‘Memphis’ Ed Reeves (drums). (see FBM 44/1, NDT 283)

'Hungry Hill' was a return to authentic-sounding '50's styled rock 'n' roll, & was also her first U.S. recorded album since 'Out Of The Shadows'. The album includes a couple of duets with daughter Annie Marie, though these are missing from the download-only 'Dazed & Confused' which is otherwise the same album with songs in a different running order.

51) BAYOU RECORDING STUDIO – Nashville – April 2006 - Producer: Ray Thompson, Rune Braeck

263 Away In A Manger (Lewis 3) (Traditional) - Benlin 0712 Nov. 2006
264 Rudolph The Red-Nosed Reindeer (Lewis 3) (John Marks) - Benlin 0712 Nov. 2006
265 Silver Bells (Lewis 3) (Jay Livingstone/R. Evans) - Benlin 0712 Nov. 2006
266 Rockin’ Around The Christmas Tree (John D. Marks) - Benlin 0712 Nov. 2006
267 White Christmas (Lewis 3) (Irving Berlin) - Benlin 0712 Nov. 2006
268 Silent Night (Lewis 3) (Traditional) - Benlin 0712 Nov. 2006
269 Jingle Bell Rock (Lewis 3) (J. Beal/J. Boothe) - Benlin 0712 Nov. 2006
270 Blue Christmas (Lewis 3) (Billy Hayes/Jay Johnson) - Benlin 0712 Nov. 2006
271 Let It Snow (Lewis 3) (J. Syne/Sammy Cohn) - Benlin 0712 Nov. 2006
272 Winter Wonderland (Lewis 3) (Felix Bernard/Dick Smith) - Benlin 0712 Nov. 2006
273 Have Yourself A Merry Little Christmas (Lewis 3) (Ralph Blone/Hugh Martin) - -Benlin 0712 Nov. 2006
274 Who Ever Thinks About Santa (Linda Gail solo) (Eva Eastwood) - Benlin 0712 Nov. 2006
275 Make Somebody Happy This Christmas (Linda Gail solo) (Dan Penn/Bobby Emmons) - Benlin 0712 Nov. 2006

Linda Gail Lewis (vcl, pno), Annie Dolan (vcl), Mary jean Mc Call (vcl), Rune Braek (gtr, pno on “Who Ever Thinks About Santa”), Bobby Emmons (pno on “Make Somebody Happy This Christmas”), Ray Thompson (bass, drums), Tore Morten Andreassen (gtr) (see FBM 44/3, NDT 285)

With the continued interest in The Lewis 3's 'Perfect World' it was someone's "inspired" idea to record a Christmas album... Actually the results are more palatable than expected, though perhaps a little too cutesy at times. Unfortunately it received minimum promotion though, as by this time MaryJean had made up her mind to concentrate on a solo career (she's since released three fine albums, including one of duets with acclaimed U.K. country singer Jonny Williams that features a certain Peter Checksfield guesting on guitar & bass!).

52) LIVE AT PRAT BONREPAUX FESTIVAL, FRANCE – August 18, 2007 - Producer: Jacky Chalard

276 T. Shuffle (Band warm-up and intro) - Big Beat BBR093 Nov.2007
277 Boogie Woogie Country Girl (Troy Seals) - Big Beat BBR093 Nov.2007
278 Roll Over Beethoven (Chuck Berry) - Big Beat BBR093 Nov.2007
279 Weary Blues Goodbye (Don Daniels/Robert L. Perry) - Big Beat BBR093 Nov.2007
280 Love So Real (L.G. Lewis) - Big Beat BBR093 Nov.2007
281 One Night (Bartholomew/King) - Big Beat BBR093 Nov.2007
282 Let’s Have A Party (Robinson) - Big Beat BBR093 Nov.2007
283 Blue Suede Shoes (Carl Perkins) - Big Beat BBR093 Nov.2007
284 Jambalaya (Hank Williams) - Big Beat BBR093 Nov.2007
285 Old Black Joe (Stephen Foster) - Big Beat BBR093 Nov.2007
286 Shake Rattle And Roll (Charles Calhoun) - Big Beat BBR093 Nov.2007
287 Blue Moon Of Kentucky (Bill Monroe) - Big Beat BBR093 Nov.2007
288 All Shook Up (Blackwell/Presley) - Big Beat BBR093 Nov.2007
289 Rockin’ My Life Away (Mack Vickery) - Big Beat BBR093 Nov.2007
290 High School Confidential (Ron Hargraves) - Big Beat BBR093 Nov.2007
291 Whole Lotta Shakin’ Goin’ On (D. Williams/S. David) - Big Beat BBR093 Nov.2007
292 Great Balls Of Fire (Blackwell/Hammer) - Big Beat BBR093 Nov.2007
293 Johnny B. Goode (Chuck Berry) - Big Beat BBR093 Nov.2007
294 Good Golly Miss Molly (Blackwell/Marascalco) - Big Beat BBR093 Nov.2007
295 Night Train To Memphis (Hughes/Bradley/Smith) - Big Beat BBR093 Nov.2007
296 One-sided Love Affair (Bill Campbell) - Big Beat BBR093 Nov.2007
297 Long Tall Sally (Johnson/Penniman/Blackwell) - Big Beat BBR093 Nov.2007
T. Shuffle (Band closing) - Big Beat BBR093 Nov.2007

Linda Gail Lewis (vcl, pno), Thierry Lecoz (ld gtr), Alain Neau (rhythm gtr), Didier Marty (sax), Jeannot Cirillo (drums), Jacky Chalard (bass)

Also released as an official DVD, this is a prettty good representation of her current stage show, though personally I'd much rather she concentrated more on her own songs rather than so many Jerry Lee Lewis-related songs & rock 'n' roll standards.

53) LIVE UNKNOWN PLACE – 2007 – Producer: unknown

298 Boogie Woogie Country Girl (Troy Seals) - Collecting (download) 2007
299 Let’s Talk About Us (Otis Blackwell) - Collecting (download) 2007
300 Crazy Arms (Ralph Mooney / Charles Seals) - Collecting (download) 2007
301 Break Up (Charlie Rich) - Collecting (download) 2007
302 Rockin’ My Life Away (Mack Vickery) - Collecting (download) 2007
303 Jambalaya (Hank Williams) - Collecting (download) 2007
304 Let’s Have A Party (Robinson) - Collecting (download) 2007
305 Blue Moon Of Kentucky (Monroe) - Collecting (download) 2007
306 Whole Lotta Shakin’ Goin’ On (D. Williams/S. David) - Collecting (download) 2007
307 Dig That Boogie - Collecting (download) 2007
308 Good Golly Miss Molly (Blackwell/Marascalco) - Collecting (download) 2007
309 Shake Rattle And Roll (Charles Calhoun) - Collecting (download) 2007
310 All Shook Up (Blackwell/Presley) - Collecting (download) 2007
311 Blue Suede Shoes (Carl Perkins) - Collecting (download) 2007
312 High School Confidential (Ron Hargraves) - Collecting (download) 2007
313 Great Balls Of Fire (Blackwell/Hammer) - Collecting (download) 2007
314 Johnny B. Goode (Chuck Berry) - Collecting (download) 2007
315 Old Black Joe (Stephen Foster) - Collecting (download) 2007
316 Roll Over Beethoven (Chuck Berry) - Collecting (download) 2007
317 Long Tall Sally (Johnson/Penniman/Blackwell) - Collecting (download) 2007
318 When The Saints Go Marching In (traditional) - Collecting (download) 2007

Linda Gail Lewis (vcl, pno), Bob Fish (gtr), others unknown. Note: this album is only available as a download.

Another live album, though this one is rather mysterious as it's only available as an internet download with the very minimum of information (& check out the mis-spelt title!). As I got mine from Amazon I assume it's a legitimate release though, & it's certainly no worse than 'Live In France'.

54) SOUND CONTROL STUDIO, Skuskar, Sweden – 2007 – Producer: Micke Finell

319 You Were Always There (A. Anderson) - Ball&Chain BCR001 2007
320 Old Fashion Christmas (L.G. Lewis/Micke Finell) - Ball&Chain BCR001 2007
321 Pour Me (A. Anderson) - Ball&Chain BCR001 2007
322 Who Loves You (G. Watkins) - Ball&Chain BCR001 2007
323 Rockin' With Santa (L.G. Lewis/Micke Finell) - Ball&Chain BCR001 2007

Linda Gail Lewis (vcl, pno), The Rockarounds: Micke Finell (sax, gtr), Tobbe Fall (gtr), Mike Watson (bass), Ingemar Dunker (drums).

55) LIVE AT BERGSMANNEN, HOFORS, SWEDEN – 2007 – Producer: Micke Finell

324 Boogie Woogie Country Girl (D. Pomus/ R. Ashby) - Ball&Chain BCR001 2007
325 Whole Lotta Shakin' Going On (D. Williams/S. David) - Ball&Chain BCR001 2007
326 We're Just Friends (J. Arnell) - Ball&Chain BCR001 2007
327 Jambalaya (Hank Williams) - Ball&Chain BCR001 2007
328 Real Wild Child (O’Keefe) - Ball&Chain BCR001 2007
329 Together Again (Buck Owens) - Ball&Chain BCR001 2007
330 Let's Have A Party (M. Robinson) - Ball&Chain BCR001 2007
331 Old Time Rock´n´Roll (G. Jackson/T. Jones) - Ball&Chain BCR001 2007
332 The Blues Is Alright (M. Campbell) - Ball&Chain BCR001 2007
333 Roll Over Beethoven (Chuck Berry) - Ball&Chain BCR001 2007

Linda Gail Lewis (vcl, pno), The Rockarounds: Micke Finell (sax, gtr), Tobbe Fall (gtr), Mike Watson (bass), Ingemar Dunker (drums).

This was released with almost no publicity (very few fans even in Sweden seem aware of it's existence), which is a shame as it's probably the strongest of her three albums with The Rockarounds. Part studio & part live, the five studio tracks are more than acceptable (despite a couple of self-composed Christmas songs), & the ten live tracks absolutely blow away all her previous live releases both in performance & sound quality.

56) Unknown studio, U.K. – 2008 – Producer: unknown

334 Chances (with group High Contrast) - Hospicolor 2008

Linda Gail Lewis (keyboards, vcl), High Contrast

Now, here's something completely different! This is a modern 'dance' track featuring a repetitive "sample" of Linda's vocal & piano playing. When I first heard it I assumed this had been made without Linda's assistance, so I was even more surprised to learn that she actually went into the studio to record her part. It's unlikely to win her many new fans but full cudos for attempting something so left field.

57) CHAPKIN STUDIO, SAN DIEGO, CA – 2008/2009 – Producer: Paul Diffin

335 I Just Don´t Understand - Real CD1955 2010
336 Silver Threads And Golden Needles* - Real CD1955 2010
337 I´ve Forgotten More Than You´ll Ever Know - Real CD1955 2010
338 That´s What Cha´Gotta Do* - Real CD1955 2010
339 Should I Ever Love Again - Real CD1955 2010
340 Blues Keep Calling - Real CD1955 2010
341 The Weather Man* - Real CD1955 2010
342 No One But You - Real CD1955 2010
343 Walking The Floor Over You - Real CD1955 2010

Annie Marie Dolan (vcl), Linda Gail Lewis (pno & backing vcl), Paul Diffin (bass), ‘Memphis’ Ed Reeves (drums), Jerome Van Gaseren & Jimmy Rip Carson (guitars), Tim ‘Steelbone’ Cook (pedal steel, horns) + Chas & Dave (guests dubbed vcl and acoustic guitar on tracks *)

58) SOUND CONTROL STUDIO, SKUSKAR, SWEDEN – 2009 – Producer: Joakim Arnell

344 Cut To The Chase - Real CD1955 2010
345 Dark And Lonely Road - Real CD1955 2010
346 Burn On Love Fire - Real CD1955 2010
347 Can't Be Together, Can't Be Apart - Real CD1955 2010
348 Heart To Heart Real CD1955 - 2010
349 Keep Your Hands Off Of It - Real CD1955 2010

Annie Marie Dolan (vcl), Linda Gail Lewis (pno, backing vcl), Joakim Arnell (bass, acoustic guitar, duet vcl), Jonas Goransson (guitar, mandolin, banjo), Mats Forsberg (drums), Micke Finell (sax).

While Linda's oldest daughter MaryJean has been carving a solo career for herself, her other daughter Annie Marie has been doing the same, albeit with Linda's full help both in the studio & on the road. The result is this enjoyable debut, which not only features Linda's last recordings to date but also (bizarrely) what will probably be the final time Chas & Dave record together!

L to R: Annie Marie, Peter Checksfield, MaryJean, Linda Gail Lewis in London, 2004 (photo: Barrie Gamblin)

ALBUMS: Part One, 1963 - 1974 Recordings.

SRS67071: LP – JERRY LEE LEWIS, COUNTRY SONGS FOR CITY FOLKS – Smash (USA) - Dec.1965
London HAS8323: LP – JERRY LEE LEWIS, BREATHLESS – London (U.K.) - 1967
SRS 67104: LP – JERRY LEE LEWIS, ANOTHER PLACE ANOTHER TIME – Smash (USA) - May 1968
SRS67117: LP – JERRY LEE LEWIS, SINGS THE COUNTRY MUSIC HALL OF FAME HITS VOLUME 1 - Smash (USA) - May 1969
SRS67118: LP – JERRY LEE LEWIS, SINGS THE COUNTRY MUSIC HALL OF FAME HITS VOLUME 2 - Smash (USA) - May 1969
SRS67119: LP – THE TWO SIDES OF LINDA GAIL LEWIS – Smash (USA) - Jun.1969
SRS67126: LP – JERRY LEE LEWIS & LINDA GAIL LEWIS, TOGETHER – Smash (USA) – Jul.1969
Mercury134204: LP – JERRY LEE LEWIS, I’M ON FIRE – Mercury (France) - Feb.1969
SR 61278: LP – JERRY LEE LEWIS, LIVE AT THE INTERNATIONAL HOTEL – Mercury (USA) -Aug.1970
SR 61318: LP – JERRY LEE LEWIS, IN LOVING MEMORIES – Mercury (USA) - Jan.1971
CR-300007: LP – JERRY LEE LEWIS, 16 SONGS NEVER RELEASED BEFORE – Charly (France) - Jun.1975
Mercury (UK) 6338 496: LP – FAN CLUB CHOICE – Mercury (U.K.) - 1975
BFX15228: LP – JERRY LEE LEWIS, THE KILLER 1969-1972 (11 LP BOX) – Bear Family (Germany) – 1986
Charly CD Box-1: CD – JERRY LEE LEWIS, THE SUN YEARS (8 CD BOX) - Charly (U.K.) – 1989
Bear BCD16609: CD – VARIOUS ARTISTS, MEMPHIS BELLES-THE WOMEN OF SUN RECORDS (6 CD BOX) – Bear Family (Germany) – 2002
SRSCD 67119 - THE EARLY SIDES OF LINDA GAIL LEWIS (bootleg – fake Smash Records) (2005)
JukeBox 82665101: CD – EARLY ROCKING COUNTRY DAYS (bootleg) – JukeBox (EEC) - 2005

ALBUMS: Part Two, 1987 - 2010 Recordings.

Green Line 3307: LP – JERRY LEE LEWIS, LIVE IN ITALY – Green Line (Italy) – 1987
Rose175: Double 10” – VARIOUS ARTISTS, EVERYDAY IS A HOLLY DAY – New Rose (France) - 1987
Rose238: CD - INTERNATIONAL AFFAIR – New Rose (France) -Dec.1990
DeepElem2001: CD – ROCKIN’ WITH LINDA (LIVE) – Deep Elem (U.K.) - Oct.1991
Lewis Cassette: Cassette tape – DO YOU KNOW – Lewis (USA) – Sept.1991
FoxCDFX-1010: CD – I'LL TAKE MEMPHIS – Fox Records (USA) - Jun.1992
Columbia472407: CD – STEPHEN ACKLES, HEY YOU – Columbia (Norway) - Oct.1992
IceHouse: CD – LOVE MAKES THE DIFFERENCE – Icehouse Records (USA) – 1995
BMB CD109 703: CD – ANDY LEE LANG, DUETS – Gabriel Music (Austria) - 1997
SIRE 31063-2: CD – LINDA GAIL LEWIS – Sire Records (USA) - Mar.1999
Virgin7243: CD – VAN MORRISON & LINDA GAIL LEWIS, YOU WIN AGAIN – Virgin (U.K.) - Sep.2000
Swingin’ Pig CD 252 (bootleg): VAN MORRISON & LINDA GAIL LEWIS, THINK TWICE BEFORE YOU GO - 2001
CD 21001.001: CD – ANDY LEE LANG, TOGETHER – Gabriel Music (Austria) – 2001
CRCD07 – CRAZY CAVAN & THE RHYTHM ROCKERS, RHYTHM ROCKING BLUES (U.K.) - 2001
Rockville RV 002: CD – LINDA GAIL LEWIS & THE FIREBIRDS – Rockville (EEC) - Dec.2001
Grapevine: CD – OUT OF THE SHADOWS – Grapevine (Ireland) - Jan.2002
Ten35 1011: CD – OUT OF THE SHADOWS – Lantasi/Ten 35 Records (U.K.) – Jul.2002
LGL 00711: CD – LINDA GAIL LEWIS-ROCK AND ROLL – LGL Records (USA) - May 2003
Castle CMQ912: CD – BOOGIE WOOGIE COUNTRY GAL – Castle Records (U.K.) - May 2004
Lantasi 71177: CD – LIE AND DENY – Lantasi (U.K.) - May 2005
Ame Dane: CD – LEWIS 3, PERFECT WORLD – Ame Dane Records (Denmark) - Mar.2005
Castle CMQ 1269: CD – LEWIS 3, PERFECT WORLD – Castle Records (U.K.) - Jan.2006
Lantasi 71188: CD – ME AND THE BOYS IN THE BAND – Lantasi (U.K.) - Sep.2005
Bonnier Music: CD – VARIOUS ARTISTS, U.S. ROCK-BACK ON TRACK – Bonnier (USA) - 2005
Benlin 0711: CD – HUNGRY HILL – Benlin Records (USA) - Sep.2006
Benlin 0712: CD – LEWIS 3, MERRY CHRISTMAS FROM NASHVILLE – Benlin Records - Nov. 2006
Big Beat BBR093: CD – THE QUEEN OF ROCK & ROLL LIVE IN FRANCE – Big Beat Records (France) - Nov.2007
Collecting (download): CD – JABALAYA – Collecting (Internet download only) – 2007
Ball&Chain BCR001: CD – YOU WERE THERE – Ball & Chain (USA) – 2007
Hospicolor: CD – HIGH CONTRAST FEATURING LINDA GAIL LEWIS: TOUGH GUYS DON’T DANCE – Hopsicolor (U.K.) – 2008
Real CD1955 – ANNIE MARIE DOLAN, HEART TO HEART – (Sweden) - 2010

The Hollies: The Nash Years, 1963 - 1968

2009-11-13T20:28:00.005Z

With the media's continued obsession with The Beatles & (to a lesser extent) Elvis Presley & The Rolling Stones, people tend to overlook other artists from the 50s & 60's. I love those acts too (hence my blog posts on them), but my main purpose of starting this blog was to profile other equally great acts that are all too often ignored. I've already posted lenthy articles on Jerry Lee Lewis, Cliff Richard & The Dave Clark Five, & another of my very favourites are The Hollies.

My own interest in The Hollies started at a very young age. I was born in 1963, & when I was a toddler my parents had a reel-to-reel tape recorder on which they'd tape songs from the radio. The Hollies' 'We're Through' was amongst these, & I can still recall thinking how cool the song was even at that age. Gradually over the years I got to know all of their big hits, thanks both to radio & a "hits" collection which I managed to persuade my mum to give me in the late 70s.

In the early 80s I saw a copy of their 1967 'Evolution' album at a record fair, & as it was cheap (& I liked the cover) I decided to buy it. When I got home I couldn't believe it; why wasn't this album as well-known & highly-praised as The Beatles' 'Revolver' or The Rolling Stones' 'Aftermath'?! Soon afterwards I bought their 1966 album 'For Certain Because', followed over the next year or two by the reissues of all their Graham Nash-era 60s albums, being constantly surprised & thrilled along the way.

I've divided this feature into four sections: The U.K. Singles; The U.K. Albums; Other Recordings; & The Hollies on Film & Video.

Part One - The U.K. Singles:

Please note that none of the U.K. singles from this period originally came in picture sleeves, but to make things more interesting I've used overseas sleeves (for singles, EPs, etc) to illustrate each release (& my apologies for the poor quality of some of these!). I've given singles (both sides) as well as albums my usual marks out of 5.

(Aint That) Just Like Me / Hey What's Wrong With Me (Parlophone R5030, May 1963) # 25

Their first single (& one of only two to feature original drummer Don Rathbone), (Ain't That) Just Like Me is an enthusiastic cover of a song originally recorded by The Coasters & also covered by The Searchers. The uptempo B side is particularly notable for the speedy guitar picking by Tony Hicks & the strong bass playing by Eric Haydock. A very good debut. 4 / 4

Searchin' / Whole World Over (Parlophone R5052, August 1963) # 12

For their second single they chose another (superior) song by The Coasters, though good as it is, it can't compare to the great original. The gentler B side is notable for some fine harmonica from Allan. 4 / 4

Alternate versions: Searchin' was recorded at two sessions prior to the single take, but these weren't deemed sufficiently good enough for release at the time. An alternate version was inadvertently released on 1988 budget CD 'The Hollies' (the first CD I ever owned) though I don't know whether or not this is from any of the earlier sessions.

Stay / Now's The Time (Parlophone R5077, November 1963) # 8

Now with Bobby Elliott on drums (though the B side is from an earlier session & features Don Rathbone), this is a speeded up version of the Maurice Williams & The Zodiacs classic. Again I prefer the more laid-back original (the fast tempo doesn't really suit this song) though this was strong enough to earn the band their first top 10 U.K. hit. The B side was written by Allan Clarke & Graham Nash & was the first band composition to be released, & was also mimed to in a movie called 'It's All Over Town' (this must've been filmed before the single's release as it features Don on drums, one of only two known surviving clips to feature him). 4 / 4

Just One Look / Keep Off Of That Friend Of Mine (Parlophone R5104, February 1964) # 2

Originally recorded (& co-written) by American R&B singer Doris Troy, this was the record that propelled The Hollies into the big league, up there with the most successful other beat groups. The faster B side was (unusually) written by Tony Hicks & Bobby Elliott. 5 / 4

Here I Go Again / Baby That's All (Parlophone R5137, May 1964) # 4

With a similar style & tempo to the previous single, the A side is another memorable & commercial song with great three-part harmonies, as is the gentler B side. This time both songs were written by outside writers. 5 / 4

We're Through / Come On Back (Parlophone R5178, September 1964) # 7

A change of style this time, with a bluesy acoustic guitar riff & a superb moody vocal sung mostly without harmonies by Allan. The B side has a melody that would be recycled to better effect as Stop! Stop! Stop! a couple of years later. Both songs were written by Clarke-Hicks-Nash under the pseudonym "L. Ransford" as it was easier to fit on record labels! It wouldn't be until late 1966 that they actually started listing Clarke-Hicks-Nash as composers. 5 / 4

Alternate versions: A week before recording the single take, the band cut a more restrained "unplugged bossa nova" version of We're Through. Equally as good as the single though perhaps not as commercial, this was finally issued on the 1997 'The Hollies At Abbey Road, 1963-1966' CD. They also cut a French language version of the song in 1966 but this remains unreleased.

Yes I Will / Nobody (Parlophone R5232, January 1965) # 9

Because We're Through was (albeit slightly) less successful than the previous two singles they reverted back to outside writers again for all A sides until late 1966 (with self composed material on B sides), though as it happens Yes I Will was even less successful. A nice enough song, but it just doesn't have the same immediate impact as most of their other '60's singles & perhaps wasn't the best choice for an A side. The tougher B side is a "L. Ransford" composition. Incidentally those pre-fab four The Monkees recorded Yes I Will as "I'll Be True To You" for their first album in 1966. 4 / 4

Alternate versions: A quite different earlier version of Yes I Will was accidentally released in 1968 on the stereo (only) 'The Hollies' Greatest' LP.

I'm Alive / You Know He Did (Parlophone R5287, May 1965) # 1

A far better song than the previous single & with excellent tremolo guitar from Tony, this was The Hollies' only U.K. number one apart from the 1988 re-issue of He Ain't Heavy, He's My Brother, knocking Elvis Presley's 'Crying In The Chapel' from the top spot. You Know He Did is another group compostion & is reminiscent of The Kingsmen's 'Louie Louie'. 5 / 4

Alternate versions: A French language version of You Know He Did was cut in early 1966, but this remains unreleased.

Look Through Any Window / So Lonely (Parlophone R5322, August 1965) # 4

Co-written by professional songwriter (& future 10cc man) Graham Gouldman & with a memorable jangling guitar riff, this was another well-deserved big hit. The self-composed flip side is at least equally good, far too good to be hidden away on a B side! 5 / 5

Alternate versions: A French language version of Look Through Any Window was recorded in 1966 & (unlike their other French recordings) this was released on the 'Rarities' album in 1988. A less polished demo version of So Lonely was released on 'The Long Road Home' box-set in 2003.

If I Needed Someone / I've Got A Way Of My Own (Parlophone R5392, December 1965) # 20

By late 1965 pretty much all the first wave of Liverpool & Manchester groups (with one obvious exception) were struggling chartwise, & with this release The Hollies must've thought that their chart career was over too! Their producer Ron Richards apparantly played them a demo of George Harrison's If I Needed Someone & they were assured that The Beatles weren't going to release it. Unfortunately 'Rubber Soul' (containing this song) was released on the same day as The Hollies' single, & with George publicly very critical, it effectively killed it. That said, it's not a bad recording, & they probably did the best they could with what in all honesty isn't a great song (imagine what they could've done with 'Taxman' in 1966 or even 'Don't Bother Me' in 1963!). Far superior is I've Got A Way Of My Own with it's Dylan-ish harmonica & really soaring harmonies. 4 / 5

I Can't Let Go / Running Through The Night (Parlophone R5409, February 1966) # 2

The final single to feature original bassist Eric Haydock, this superb Chip Taylor song (almost) restored the group back to the top of the charts, with everyone involved no doubt breathing a huge sigh of relief! It was even publicly praised by a Beatle this time with Paul McCartney comparing Graham's high harmony to a trumpet (at least I think it was praise!). The B side can best be described as uptempo country, with some of their best ever harmonies. 5 / 4

Bus Stop / Don't Run And Hide (Parlophone R5469, June 1966) # 5

Also recorded by Herman's Hermits, this is another fine Graham Gouldman song, & became The Hollies' first top ten U.S. hit as well as a smash hit in many other countries around the world. The B side is by "L. Ransford", though after this all group compositions would be credited under their real names. 5 / 4

This was the first single to feature new bassist (& pianist) Bernie Calvert, though John Paul Jones played on the B side.

After The Fox / The Fox-Trot (Not by The Hollies) (U. Artists UP1152, September 1966) Did NOT Chart

From the movie of the same name, this Burt Bacharach & Hal David composition features The Hollies with Peter Sellers. Whilst entertaining enough, I can't imagine the group were too concerned when it failed to chart. 3

Jack Bruce played bass on this single.

Stop! Stop! Stop! / It's You (Parlophone R5508, October 1966) # 2

Apparantly inspired by a real-life incident involving Tony, this very commercial number with electric banjo accompaniment was another deserved big hit, & has remained a concert favourite ever since. The B side is just as good, & both songs are Clarke-Hicks-Nash compositions (as would be all U.K. Hollies singles for the next 18 months or so) & both are featured on 'For Certain Because'. 5 / 5

Alternate versions: A version of Stop! Stop! Stop! with a longer instrumental break was released on 'The Long Road Home' box-set in 2003.

On A Carousel / All The World Is Love (Parlophone R5562, February 1967) # 4

Graham Nash had sung lead vocals on several album tracks prior to this, but On A Carousel featured his first solo lead vocal on an A side, albeit just for the opening bars. The B side is their first psychedelic pop song (though there'd be many more over the coming year), & new boy Bernie really makes his presence felt on this one with his imaginative bass lines. Incidentally all of The Hollies' singles are readily available in stereo mixes (many mixed in stereo for the first time during the '90s), but the stereo All The World Is Love seems to be harder to locate than all the others & is apparantly only available on a scarce German release. 5 / 5

Carrie-Anne / Signs That Will Never Change (Parlophone R5602, May 1967) # 3

Their most adventurous single to date, yet Carrie-Anne with it's steel drums (& Allan, Graham & Tony all taking turns singing verses) still remains intantly commercial & memorable. Although there's no record of an earlier recording by The Hollies, Signs That Will Never Change was recorded several months earlier (along with seven other Hollies compositions) by The Everly Brothers for their 'Two Yanks In England' album. 5 / 4

King Midas In Reverse / Everything Is Sunshine (Parlophone R5637, September 1967) # 18

Their first relative failure in quite some time, it was clearly an error of judgment releasing this as an A side despite it's obvious quality (a bit like The Beatles releasing A Day In The Life as an A side). There were certainly more instantly commercial songs on Butterfly that they could've used instead, such as Dear Eloise, released as a single in many other countries. Everything Is Sunshine is a rather twee Graham Nash song, typical of his compositions at the time. 5 / 4

Jennifer Eccles / Open Up Your Eyes (Parlophone R5680, March 1968) # 7

After the relative failure of the previous single the band played it safe & went for a simple & overtly commercial bubblegum pop sound. It's not that bad really, & they weren't the only act to simplify things during this period (The Beatles did the same with Lady Madonna), but Graham Nash was appalled, & no doubt this was a contributory factor to him deciding to leave the group later in the year. Again (as with Carrie-Anne) all three singers take turns singing lead vocals on the superior B side which combines The Hollies' twin obsessions of schoolgirls & banjos! 4 / 5

Listen To Me / Do The Best You Can (Parlophone R5733, September 1968) # 11

Their first A side to be written by outside composers (with the exception of After The Fox) in three years, this lacked the sense of adventure of their best recordings. As with their previous single the B side is better, & was indeed an A side in it's own right in many territories (which is probably why the foreign sleeve above for Listen To Me features an alternative B side!). 4 / 5

Part Two - The U.K. Albums:

Stay With The Hollies (Parlophone PMC 1220 / PCS 3054, January 1964) # 2

Talking 'Bout You / Mr Moonlight / You Better Move On / Lucille / Baby Don't Cry / Memphis /Stay / Rockin' Robin / Whatcha Gonna Do 'Bout It / Do You Love Me / It's Only Make-Believe / What Kind Of Girl Are You / Little Lover / Candy Man

The Hollies' first album is pretty typical of the era: stage favourites very quickly recorded (largely over two sessions) & based around a hit single. While it compares unfavourably to The Beatles' first album Please Please Me, it's certainly no worse than early albums by Gerry & The Pacemakers, The Searchers & Billy J. Kramer with The Dakotas. The biggest problem is that many of the songs are over-familier, with several being covered in greater style by others such as Arthur Alexander's You Better Move On (The Rolling Stones), Dr Feelgood & The Interns' Mr Moonlight (The Beatles), The Contours' Do You Love Me (The Dave Clark Five & Brian Poole & The Tremeloes) & Chuck Berry's Memphis (everyone!). Having said that there are some very fine performances, including Bobby Day's Rockin' Robin (later revived by Michael Jackson), The Everly Brothers' What Kind Of Girl Are You, Roy Orbison's Candy Man (also covered by Brian Poole & The Tremeloes) & the only group original on the album Little Lover (actually a lefover from the earlier sessions with Don Rathbone on drums). Apart from "hits" compilations, this was the biggest hit album of the group's career. 3 out of 5

Alternate versions: An earlier alternate version of Talking 'Bout You was supposedly recorded several months earlier & released on their second EP 'Just One Look', but as far as I can tell the only difference is that Graham's rather shrill harmony vocal is mixed louder.

In The Hollies Style (Parlophone PMC 1235, November 1964) Did NOT Chart

Nitty Gritty - Something's Got A Hold On Me (Medley) / Don't You Know / To You My Love / It's In Her Kiss / Time For Love / What Kind Of Boy / Too Much Monkey Business / I Thought Of You Last Night / Please Don't Feel Too Bad / Come On Home / You'll Be Mine / Set Me Free

With no less than seven "L. Ransford" songs this is a tremendous leap forward since last time, & while none of the originals are quite up to the standard of their singles they're certainly all more than acceptable, particularly Time For Love, Please Don't Feel So Bad, You'll Be Mine & the frantic rhythm 'n' blues of Set Me Free. Of the covers, the powerful medley of Shirley Ellis' Nitty Gritty / Etta James' Something's Got A Hold On Me & Betty Everett's It's In Her Kiss (later revived by Cher under it's original title The Shoop Shoop Song [It's In His Kiss]) are obvious highlights, though the worse track on the album is I Thought Of You Last Night with it's painfully out of tune acoustic guitar(s). Mysteriously this album apparantly failed to chart! 4 out of 5

The Hollies (Parlophone PMC 1261, September 1965) # 8

Very Last Day / You Must Believe Me / Put Yourself In My Place / Down The Line / That's My Desire / Too Many People / Lawdy Miss Clawdy / When I Come Home To You / Fortune Teller /So Lonely / I've Been Wrong / Mickey's Monkey

Despite having less group compositions than the previous album (only 5 this time), every one of them is a big leap forward & far superior to what most of the fast-fading Merseybeat groups were churning out. In particular Put Yourself In My Place, Too Many People & So Lonely are as good as anything anyone else was releasing at the time (& that includes The Beatles!). The stand out covers include Peter, Paul & Mary's Very Last Day (The Hollies' version was a giant hit in Sweden & other countries), The Impressions' You Must Believe Me (also covered by The Spencer Davis Group), & The Miracles' Mickey's Monkey with some great drumming by Bobby. I nearly gave this album 5 out of 5, though a couple of unneccesary (but still competent) covers such as Lloyd Price's Lawdy Miss Clawdy & Jerry Lee Lewis' Down The Line slightly let things down. 4 out of 5

Alternate versions: Fortune Teller was first recorded with Don Rathbone on drums in 1963, but this remains unreleased, as does a version of You Must Believe Me that was cut a few months prior to the released take. See also Look Through Any Window / So Lonely single!

Would You Believe (Parlophone PMC 7008 / PCS 7008, June 1966) # 16

I Take What I Want / Hard, Hard Year / That's How Strong My Love Is / Sweet Little Sixteen / Oriental Sadness / I Am A Rock / Take Your Time / Don't You Even Care / Fifi The Flea / Stewball / I've Got A Way Of My Own / I Can't Let Go

There were only 4 group compositions this time, but Hard, Hard Year (with a distorted guitar solo that's been compared to The Jesus & Mary Chain!), Oriental Sadness, Fifi The Flea & I've Got A Way Of My Own are all absolutely top notch. Some of the stand-out covers this time include Sam & Dave's I Take What I Want, Simon & Garfunkel's I Am A Rock, Buddy Holly's Take Your Time & Peter, Paul & Mary's Stewball. Even Chuck Berry's Sweet Little Sixteen is an inspired performance (check out the guitar & drumming during the solo!). Their first truly great (as opposed to very good) album. 5 out of 5

Alternate versions: A French language version of Stewball was also recorded but remains unreleased, while Take Your Time was re-recorded in far inferior style for the 1980 'Buddy Holly' album.

For Certain Because (Parlophone PMC 7011 / PCS 7011, October 1966) # 23

What's Wrong With The Way I Live / Pay You Back With Interest / Tell Me To My Face / Clown / Suspicious Look In Your Eyes / It's You / High Classed / Peculiar Situation / What Went Wrong / Crusader / Don't Even Think About Changing / Stop! Stop! Stop!

Comprised entirely of Clarke-Hicks-Nash songs, this album is every match for Rubber Soul (much as I think that The Beatles are over-praised there's no doubting that they were usually at least 6 months ahead of everyone else!). Notable songs include Pay You Back With Interest (with it's reverberating piano), Tell Me To My Face (also a small hit for Keith & later revived by Dan Fogelberg), the sad (in the old sense of the word) Clown, the mature lyrics of Peculiar Situation, the smash hit Stop! Stop! Stop! & the orchestrated High Classed. If I've any criticism it's that there's no real rockers this time, but otherwise this is almost flawless throughout. 5 out of 5

Alternate versions: See Stop! Stop! Stop! / It's You single!

Evolution (Parlophone PMC 7022 / PCS 7022, June 1967) # 13

Then The Heartaches Begin / Stop Right There / Water On The Brain / Lullaby To Tim / Have You Ever Loved Somebody / You Need Love / Rain On The Window / Heading For A Fall / Ye Olde Toffee Shoppe / When Your Light's Turned On / Leave Me / The Games We Play

Generally much tougher than the previous album but at the same time even further away from the beat music of 1963-1964, this is very much The Hollies' Revolver. Undoubtedly my favourite album by The Hollies & one of my favourite albums by anybody, it's difficult to choose just a few highlights but here goes; Then The Heartaches Begin (with stinging guitar licks from Tony), Water On The Brain (is that a tabla?), Have You Ever Loved Somebody (a small hit for both The Searchers & Paul & Barry Ryan), Heading For A Fall (with instrumentation that includes both harpsichord & sitar), the quasi-Elizabethan Ye Olde Toffee Shoppe & the instantly commercial The Games We Play (which would've made a great single). The one track that many people don't like is Lullaby For Tim with it's strange "wobbly" vocal sound from Graham but even that somehow fits perfectly on this great, great album. Incidentally Bobby was seriously ill during most of the sessions for this album so most of the songs feature drumming by Mitch Mitchell, Clem Cattini & Dougie Wright. 5 out of 5

Alternate versions: The group recorded Have You Ever Loved Somebody at no less than three previous sessions during 1966, but all of these versions remain unreleased.

Butterfly (Parlophone PMC 7039 / PCS 7039, October 1967) Did NOT Chart

Dear Eloise / Away Away Away / Maker / Pegasus / Would You Believe / Wishyouawish / Postcard / Charlie And Fred / Try It / Elevated Observations? / Step Inside / Butterfly

If the previous two albums were The Hollies' equivalents of The Beatles' Rubber Soul & Revolver then this is very much their...Magical Mystery Tour! Such is the occasional hit-and-miss nature of the material. There are some wonderful tracks though, particularly Dear Eloise (a hit single in several countries), Try It (a successful combination of trademark soaring Hollies harmonies with way-out psychedelic effects), Step Inside (probably the most commercial song on the album) & Butterfly (a beautiful orchestrated ballad with typically daft 1967 summer of love lyrics). The problem with a couple of the other songs is that they're over-reliant on droning riffs & weird effects (with even weirder lyrics). Fine for The Pink Floyd, but songs like Maker & Elevated Observations aren't really suited to The Hollies (& the less said about Tony's Pegasus the better). The public tended to agree too, with both the album & King Midas In Reverse selling relatively poorly. 4 out of 5

Alternate versions: An early version of Charlie And Fred was attempted during the 'Evolution' sessions but remains unreleased. Allan Clarke re-recorded an epic version of Would You Believe for his 1973 solo album 'Headroom', released under the title 'Would You Believe (Revisited)'.

Part Three - Other Recordings (Released & Unreleased):

In addition to the many alternate versions mentioned above, a number of recordings from this period weren't originally issued in the U.K. on singles or albums. Below is an attempt to list all these, though I have not mentioned the many mono & stereo mixes that are sometimes very different from each other (perhaps someone else can let me know the more significant of these?).

1963.

The early sessions featuring Don Rathbone included an additional two songs that aren't mentioned elsewhere in this blog post: a fine rockin' version of Zip-A-Dee-Doo-Dah (which I personally prefer to both of their first two A-sides) was first released on 85 budget compilation 'The Hollies', while the less impressive uptempo waltz I Understand was released on the '30th Anniversary Collection' in 1993.

In addition to Stay, Bobby Elliott's debut session with the group produced an excellent version of The Coasters' Poison Ivy, & I suspect that the only reason they decided not to release it at the time is because they'd already recorded & released two songs by The Coasters as A sides. Whatever, it was first released in 1978 on the Australian only 'The Hollies' LP, & an alternate take was released on 'The Hollies At Abbey Road, 1963-1966' in 1997.

The late 1963 sessions for 'Stay With The Hollies' produced just one outtake in Cry Me A River, but this remains unreleased.

1964.

During 1964-1966 The Hollies released seven EPs in the U.K., & the first of these (simply titled 'The Hollies') featured two exclusive & excellent beat songs in When I'm Not There & What Kind Of Love.

The summer sessions for 'In The Hollies Style' also produced Party Line & It's Raining Teardrops, both of which remain unreleased.

The first session for 'The Hollies' in November included Larry Williams' R&B standard She Said Yeah which was released for the first time on 'The Long Road Home' box-set in 2003, & Cry Now which remains in the can.

1965.

The superb bluesy Honey And Wine was released for the first time on the groups sixth EP 'I'm Alive', though an earlier recording remains unreleased.

During April the group cut a three-song demo session in New York's Bell Studios (their first recordings outside of EMI's Abbey Road studios). The tapes are lost but fortunately Bobby kept acetates, & from these they were released on 'The Long Road Home' box-set in 2003. Listen Here To Me & Bring Back Your Love To Me are both excellent & would've made superb album tracks at the time (the 3rd song from the session was an early attempt at So Lonely & is mentioned elsewhere).

Bobby Day's Little Bitty Pretty One (also recorded by The Dave Clark Five) is a fine outtake from the session that produced Look Through Any Window, & was first released on the 1985 'The Hollies' compilation. They really should've released two albums instead of just one in 1965 (as they did in 1964, 1966, 1967 & 1969), such was the wealth of great material they were recording at the time.

She Gives Me Everything I Want was recorded at the same September session as Stewball & features both Allen & Graham taking turns on lead vocals, an experiment that works surprisingly well. This was first released on the '30th Anniversary Collection' in 1993.

In late September they cut another three song demo session in New York, this time at the Roulette Records studio. Now That You're Gone & Stay Away remain unreleased, but I Can't Get Nowhere With You is absolutely superb, possibly my favourite Hollies outtake! Why this very commercial sounding song wasn't released is beyond me (it would certainly have made a far better A side than If I Needed Someone). Again this was first released on the '30th Anniversary Collection' in 1993.

Finally from 1965 is the haunting You In My Arms featuring a typically great moody vocal from Allan on the verses & a contrasting upbeat vocal from Graham on the middle-eight (or perhaps the 'release' rather than middle-eight is a better description). Recorded at the same session as I've Got A Way Of My Own, yet again this was released on 1993's '30th Anniversary Collection'.

1966.

As with most U.K. groups of the 60s (The Beatles & The Rolling Stones included), The Hollies' albums were often recompiled & renamed for the U.S. market. The 1966 'Beat Group' album was one of these, & included one song not released in the U.K. at the time, an unusual uptempo arrangement (based on Herb Albert's version) of A Taste Of Honey. From the same session is an early version of Like Every Time Before. This remains unreleased, but they gave the song to The Everly Brothers in late 1966, & also re-recorded (& released) the song themselves in 1968.

1967.

In early 1967 The Hollies appeared at the prestigious San Remo Song Festival, & Non Prego Per Me / Devi Aver Fiducia In Me was the Italian-only single for the event.

Sadly for a group who had such a good reputation as a 'live' band (comfirmed by surviving footage), only four concert recordings from this era have been officially released, & three of them come from an early 1967 Swedish radio broadcast: The Four Tops' Reach Out I'll Be There, Too Much Monkey Business & Stop! Stop! Stop! were all released on 'The Long Road Home' box-set in 2003. I've an audio with several more songs (including a version of Sam & Dave's You Don't Know Like I Know), & while the mix could be better this is still a fascinating glimpse of their live prowess at the time.

Two early outtakes from the 'Evolution' sessions are Green Eyes & You Know Me Babe but these remain unreleased. The very next day Bobby was too ill to make the session (Mitch Mitchell from The Jimi Hendrix Experience played on it instead), so perhaps these were aborted as Bobby was feeling under the weather?

An 'Evolution' outtake that was eventually released is Graham Gouldman's Schoolgirl. Remarkably this wasn't finished at the time, so Tony Hicks overdubbed a lead guitar part on it for the 1998 release 'The Hollies At Abbey Road, 1967-1970'.

We're Alive & Kill Me Quick were featured on the soundtrack for an obscure Italian movie called 'Fai in Fretta ad Uccidermi... Ho Freddo!', & released as a single in that country. Fine though they are, they sound like typical 1965 Hollies songs, quite different to the other more experimental songs they were recording at the time.

The only 'Butterfly' outtake is Ashes To Ashes but this remains unreleased.

1968.

The Hollies sadly released no album of new material in 1968, but several fascinating songs were recorded for an aborted project. One song that was released at the time is the beautiful Wings. This was first released in late 1969 on the various artists charity LP 'No One's Gonna Change Our World' (most famous for the first release of The Beatles' Across The Universe). Wings was re-recorded with Terry Sylvester in 1970, but that version remains unreleased. Relax & Tomorrow When It Comes continue the psychedelic pop sound of the 'Butterfly' album, with the former having a phasing effect on Graham's lead vocal. Both remained unreleased until the 1988 'Rarities' collection.

You Were A Pretty Little Girl remains unreleased, as does Marrakesh Express, one of the key songs that Graham took with him to the U.S.A. when he formed Crosby, Stills & Nash a few months later, though apparantly this is little more than a rough backing track with no vocals & is deemed unworthy of release.

In May of 1968 EMI finally taped The Hollies live in concert, at the Lewisham Odeon in London. The results weren't released at the time, & only The Times They Are A-Changin' has been released since, on the 1988 'Rarities' album. The song was re-recorded in the studio (without Graham) a few months later, but that version can't compare with the brilliance of the 'live' cut, & it's a travesty that the full concert is still in the can.

Like Every Time Before is a song The Hollies previously recorded in 1966. That version remains unreleased, but the 1968 cut was released as the German B side to Do The Best You Can.

Another Hollies song that Graham recorded with Crosby, Stills & Nash is the superb Man With No Expression, a song that looks forward to the more 'mature' style that both bands would pursue a little later on. This was first released on the '30th Anniversary Collection' in 1993. CS&N's version (with the alternate title Horses Through A Rainstorm) was recorded in 1969 but also remained unreleased for many years, finally being issued on a 1991 box-set. Fine though this is, it pales in comparison to The Hollies' recording.

Survival Of The Fittest was re-recorded in 1970 & released on the 'Confessions Of The Mind' album, but the 1968 Nash version remains unreleased.

The persistent myth over the years is that Graham left The Hollies because he didn't want to record Bob Dylan songs. The truth is a little more complicated than that though, & certainly he had no problem with recording Blowin' In The Wind, nor performing this & other Dylan songs both on TV & in concert at the time. The song was overdubbed with Terry Sylvester's harmony vocal for the 1969 'Hollies Sing Dylan' album, but the original Nash version was released as a single in some European countries while he was still with the band in 1968.

The band recorded & released (in the U.S.A. only) a version of A Taste Of Honey in 1966; the 1968 re-recording has an identical arrangement except this time it is accompanied by a large orchestra. It remained in the can until the 2003 'The Long Road Home' box-set.

Part Four - The Hollies on Film & Video:

Since the early 80s I've been collecting The Hollies on video & DVD, & below is a full list of the Nash-era footage that I've found to date. Of course this list is expanding all the time as "new" material surfaces, & it is therefore only a rough guide to what's out there (& if anyone has material that is not listed then please get in touch!).

Little Lover (Promo Film, 1963)

Now’s The Time ('It’s All Over Town' movie, 1963)

Just One Look ('Top Of The Pops', 1964)

Rockin’ Robin’ / Just One Look ('The NME Poll Winners Concert', 1964)

Here I Go Again / Baby That’s All ('Swinging UK', 1964)

Interview with Graham (Dutch TV, 1964)

Just One Look / Too Much Monkey Business / I’m Alive / Look Through Any Window ('Shindig', 1964 /1965)

Yes I Will / Look Through Any Window ('Hullabaloo', 1965)

Look Through Any Window ('Sunday Night At The New London Palladium', 1965)

I’m Alive / Look Through Any Window / Interview with band (Holland, 1966)

Bus Stop (Top Of The Pops, 1966)

Look Through Any Window /Interview with Graham / The Very Last Day / I Can’t Let Go ('Beat Club', 1966)

Intro / I’ve Got A Way Of My Own /The Very Last Day / Stop! Stop! Stop! / Interview with Graham & Allan / I Can’t Let Go ('Popside' Promo Films, 1966)

After The Fox (opening credits for movie [no on screen appearance by The Hollies], 1966)

On A Carousel (EMI Studios, 1967)

Bus Stop / Stop! Stop! Stop! / On A Carousel ('Beat Beat Beat', 1967)

Bus Stop / Interview / The Times They Are A-Changin’ ('Inside Pop: The Rock Revolution', 1967)

Have You Ever Loved Somebody (French TV, 1967)

Carrie-Anne (Promo Film, 1967)

Carrie-Anne / Dear Eloise ('The Smothers Brothers Comedy Hour', 1967)

On A Carousel / Butterfly / Dear Eloise ('The Mike Douglas Show', 1967)

Dear Eloise (Promo Film 1, 1967)

Dear Eloise / Jennifer Eccles / Wings ('Popside' Promo Films, 1968)

Jennifer Eccles (Dutch Promo Film, 1968)

Jennifer Eccles (‘in car’ Promo Film, 1968)

Jennifer Eccles (Hollywood Palace, 1968)

Jennifer Eccles (Beat Club, 1968)

Blowing In The Wind / Stewball /Louisiana Man ('The Bobbie Gentry Show', 1968)

Stewball / On A Carousel / Dang Me / The Very Last Day / Do The Best You Can /
A Taste Of Honey / Jennifer Eccles / Carrie-Anne (Live in Yugoslavia, 1968)

Listen To Me (Promo Film, 1968)

Listen To Me (rehearsal for unknown TV show, 1968)

Blowing In The Wind / Do The Best You Can /Listen To Me (Belgian TV Promo Films, 1968)

Do The Best You Can / Listen To Me / Blowing In The Wind ('Beat Club', 1968)

(I also have LOTS of later footage on The Hollies!)

When I bought 'For Certain Because' in the early '80s, I also came home with their 1975 'Another Night' album: this put me off from further investigating any post-Nash material for many years, as I was so disappointed with it. It's grown on me slightly since & I've gone onto discover some very great later Hollies music (particularly during the 1969-1974 era), as well as some bad & lots of mediocre stuff. But all of this will be covered here in greater detail at a future date!

Paul McCartney: The U.K. Singles, 1971 to 2007

2009-10-12T23:42:00.051+01:00

It's difficult to think of another major artist whose work has been as inconsistent as the post-Beatles career of Paul McCartney, someone whose music has varied from the awe-inspiring to the downright embarrassing to the truly forgettable. But, unlike The Beatles, the many gems that are from his solo career (both with & without his Wings) tend not to be widely heard. So here is a review of every U.K. single release to date, both solo, with Wings, & with various duet partners.

Note: Most of the picture sleeves featured here from 1979 onwards are from the U.K. editions (though very occasionally I've substituted them for foreign editions or I've shown the rear of the sleeves), but prior to that many singles in this country came without picture sleeves or they were rather uninspiring, so I've mostly used artwork from other countries. I've also given my usual marks out of 5 for each song, as well as listed their peak UK chart positions...

Another Day / Oh Woman Oh Why (February 1971) UK # 2

Perhaps surprisingly Paul didn't release any singles from his 1970 solo debut album 'McCartney' (despite at least two very strong songs in 'Maybe I'm Amazed' & 'Every Night'), but waited until early 1971 to release this non-album single instead. The A-side is a catchy enough song though I prefer the tough bluesy B-side which would've fit perfectly on The Beatles' 'White Album' or 'Let It Be' & features one of Macca's greatest ever vocal performances. It is hidden gems like this that make collecting Paul's post-Beatles material more than worthwhile! Incidentally the single was kept from reaching the top of the charts by Mungo Jerry's 'Baby Jump'. 4 / 5

Back Seat Of My Car / Heart Of The Country (August 1971) UK # 39

One of the best songs from perhaps Paul's most intriguing album 'Ram', this deserved to do much better chart-wise (maybe everyone bought the album instead?). The acoustic B-side is another memorable song. 5 / 4

Give Ireland Back To The Irish / Give Ireland Back To The Irish ("Version") (February 1972) UK # 16

Paul & Linda had by now formed the first incarnation of Wings, & their debut single as a group was due to be 'Love Is Strange' b/w 'I Am Your Singer' (both from the mostly weak 'Wild Life' album), but Paul was so incensed by the "Bloody Sunday" massacre in Ireland that he quickly wrote, recorded & released this instead. Banned by the BBC, this remains Paul's one & only truly political single. The B-side was an instrumental version of the same song. 4 / 3

Mary Had A Little Lamb / Little Woman Love (May 1972) UK # 9

Perhaps as a reaction to the BBC banning his previous single, this time he released what was virtually a nursery rhyme! While not without it's charm, the New Orleans inspired B-side is better. 3 / 4

Hi Hi Hi / C Moon (December 1972) UK # 5

Another banned A-side, this time because of the sex-inspired lyrics...or were they about drugs? Whatever, it's an excellent rocker with superb slide guitar. Because of the ban many DJ's played the white reggae B-side instead, which while remaining popular with fans I've always found a bit daft myself. 5 / 3

My Love / The Mess (March 1973) UK # 9

The undoubted highlight of the 'Red Rose Speedway' album, this beautiful ballad remains one of his most enduring. The more rockin' B-side was recorded live in Holland during their 1973 European Tour, & remains the only officially released recording of the song. 5 / 4

Live And Let Die / I Lie Around (June 1973) UK # 9

Recorded for the James Bond movie of the same name, this superb song saw Paul back with George Martin for the first time since the break-up of The Beatles, & it has remained a live concert favourite ever since. The B-side features Denny Laine singing lead vocals (for the first & last time on a Wings single) & is far less memorable. 5 / 3

Helen Wheels / Country Dreamer (October 1973) UK # 12

A slightly silly but commercial rocker (about his jeep!) this appeared on the U.S.-only edition of the superb 'Band On The Run' album. The B-side is a more gentle acoustic number & one of his better non-album B-sides. 4 / 4

Jet / Let Me Roll It (February 1974) UK # 7

Although I've never quite understood what the song is actually about, 'Jet' is a great song from a very fine album. The B-side has guitar that is reminiscent of John Lennon's work with The Plastic Ono Band & is another top-notch number. 5 / 5

Band On The Run / Zoo Gang (June 1974) UK # 3

After the success of the previous single Paul gave in & released the title track of the album, rightly regarded as one of his greatest ever compositions. The B-side is an instrumental theme tune for a kid's TV series at the time. 5 / 3

Walking In The Park With Eloise / Bridge On The River Suite (October 1974) Did NOT Chart

Not officially a Paul McCartney (or Wings) single, this was recorded by Paul & the band in Nashville with the assistance of Chet Atkins & Floyd Cramer & released under the name 'The Country Hams'. Both songs are instrumentals, with the A-side being a 20s-style swing number written by Paul's dad & the B-side a slower & bluesier song. 4 / 3

Juniors Farm / Sally G (October 1974) UK # 16

A superb mid-tempo song in the same vein as 'Get Back', this was recorded in Nashville, as was the country B-side. The A-side was promoted by a performance on 'Top Of The Pops' though Paul wouldn't perform on the show again until 1987. 5 / 4

Listen To What The Man Said / Love In Song (May 1975) UK # 6

Recorded in New Orleans & from Wings' latest album 'Venus And Mars', this is yet another very strong single. The B-side is a haunting ballad & is also from the album. 5 / 3

Letting Go / You Gave Me The Answer (September 1975) UK # 41

The A-side while a tough mid-tempo song perhaps wasn't commercial enough for a single, hence the low chart placing, while the B-side is a Fred Astaire tribute / parody, sort of a 'Honey Pie' part two. 4 / 4

Venus And Mars/Rock Show / Magneto and Titanium Man (November 1975) Did NOT Chart

The A-side features a drastically-edited version of a medley from 'Venus And Mars' (& the opening song during the concerts on their 1975-1976 World Tour), though perhaps the B-side (about two comic strip characters) would've been a better choice. Sadly this was Paul's first U.K. single to fail to chart. 4 / 4

Silly Love Songs / Cook Of The House (April 1976) UK # 2

Back with a new (nearly) chart-topping single & a new album (the very patchy 'Wings At The Speed Of Sound'), this was criticised at the time for being "disco" but despite or because of this it's a great catchy dance tune. The B-side was the only released Wings song to feature Linda McCartney on lead vocals...thankfully! 5 / 2

Let 'em In / Beware My Love (July 1976) UK # 2

Again from 'Wings At The Speed Of Sound', this very catchy piano-led song (also successfully covered by U.S. soul singer Billy Paul) is another very classy single, as is the passionately-sung B-side (though the live version is even better!). 5 / 5

Maybe I'm Amazed / Soily (February 1977) UK # 28

Finally released as a single, though this is a 1976 live recording from the epic 'Wings At The Speed Of Sound' 3 LP set rather than the 1970 studio cut, as is the superb 'Soily', used as the final encore during shows on their 1975-1976 World Tour. 5 / 5

Mull Of Kintyre / Girls School (November 1977) UK # 1

A sing-a-long acoustic waltz with bagpipes, this hardly deserved to become the best-selling U.K. single of all time within weeks of it's release, but that's exactly what happened (the single would hold this record until 'Band Aid' with 'Do They Know It's Christmas?' in 1984). I suspect that it's not so fondly loved by Paul himself though judging by how few live performances he's done of the song, or perhaps it's just hard to recreate the song live without bagpipes? This single was actually a double A-side, with the rocker 'Girls School' being the preferred side in the USA. 4 / 4

With A Little Luck / Backwards Traveller/Cuff Link (April 1978) UK # 5

The current album at the time 'London Town' had few really good songs though this relaxed pop number is one of the better ones, unlike the forgettable B-sides. 4 / 3 / 3

I've Had Enough / Deliver Your Children (June 1978) UK # 42

A very mediocre rocker on the A-side though with a superior mid-tempo acoustic song (with very good harmonies) on the B-side. 3 / 4

London Town / I'm Carrying (August 1978) UK # 60

Although not the greatest song he's ever written, I've always had a bit of a soft spot for the A-side. The flip is another very mediocre & forgettable song. 4 / 3

Goodnight Tonight / Daytime Nightime Suffering (March 1979) UK # 5

At last a top-notch A-side again, this is a return to the disco-funk sound of 'Silly Love Songs' though it's a great song in it's own right. Linda often referred to the B-side as one of her favourite Paul McCartney songs & although I wouldn't go quite that far it still deserves to be more widely known. This was also released as Paul's first 12" single, with the A-side being an extended remix. 5 / 4

Old Siam Sir / Spin It On (June 1979) UK # 35

Paul has often criticised (or at least dismissed) the final Wings album 'Back To The Egg' from which these songs are taken, though to my ears it was his strongest album since 'Band On The Run'. Several songs seem to have a post-punk feel to them, especially these two (check out the storming B-side!). An underserved relative flop. 5 / 5

Getting Closer / Baby's Request (August 1979) UK # 60

Two more songs from 'Back To The Egg', the A-side isn't the strongest of songs on the album (though it's OK), far better is the 20s-styled B-side. This was the final single to feature Wings on an A-side. 4 / 5

Wonderful Christmastime / Rudolph The Red-Nosed Reggae (November 1979) UK # 6

One of Paul's more annoying songs, & one which we have to put up with every year! The B-side is a reggae instrumental of the popular Christmas song. Incidentally although Wings appear in the promotional video, the song is actually credited to Paul McCartney & doesn't feature any other Wings members. 3 / 3

Coming Up / Coming Up (Live)/Lunchbox/Odd Sox (April 1980) (UK # 2)

Although Wings hadn't officially disbanded yet, in 1980 Paul released 'McCartney II', his first true solo album in ten years, & this catchy funk-pop number was the obvious choice for a single. The live version on the B-side actually features Wings & was recorded live in Glasgow on their final tour in December 1979, while 'Lunchbox / Odd Sox' (actually one song) is an interesting instrumental outtake from the 'Venus And Mars' sessions & features the Wings line-up of that era. 5 / 4 / 4

Waterfalls / Check My Machine (June 1980) UK # 9

Another song later dismissed by Paul, this beautiful ballad remains one of his very finest. Which is more than can be said for the off-the-wall B-side! 5 / 2

Temporary Secretary / Secret Friend (September 1980) Did NOT Chart

Only released as a limited edition 12" single (hence the reason it didn't chart) this is actually a very commercial-sounding song with "modern" (at the time!) electronic effects. The non-album B-side has similar effects but the end result is sub-Gary Numan & far less successful. 4 / 2

Ebony And Ivory / Rainclouds (12" also includes Ebony And Ivory [Solo Version]) (March 1982) UK # 1

Although only 18 months seperated 'McCartney II' & 'Tug Of War', two major things happened during that time, namely the official disbanding of Wings & the death of John Lennon. No doubt prompted by both of these, Paul took far more care with the recording of his next album 'Tug Of War', bringing back George Martin to produce. He was actually so prolific at the time that he cut over half of the follow-up album 'Pipes Of Peace' at the same sessions. For better or worse though many of these had a typical 80's polish to them, lacking spontaniety & "soul" for the sake of "perfection", & 'Ebony And Ivory' (both with & without Stevie Wonder) is typical of this. The non-album 'Rainclouds' was co-written by Denny Laine so is probably an older song, & it's not bad either. 4 / 4

Take It Away / I'll Give You A Ring (12" also includes Dress Me Up As A Robber) (June 1982) UK # 15

The A-side while an OK semi-rocker lacks the drive of old, & far better is 'I'll Give You A Ring', a song which dates back to the early 70s but hadn't been released (or recorded?) until now. 'Dress Me Up As A Robber' is the sort of bland & souless song Michael Jackson was recording at the time. 4 / 5 / 3

Tug Of War / Get It (September 1982) UK # 53

Although still with that typical 80s lush production, 'Tug Of War' is a strong enough song & performance to overcome this, & is one of the highlights of the album of the same name, while the B-side is a fun duet with rockabilly legend Carl Perkins. 5 / 4

The Girl Is Mine / Can't Get Out Of The Rain (B-side does not feature Paul McCartney) (October 1982) UK # 8

A very mediocre duet with Michael Jackson that is taken from Michael's highly successful 'Thriller' album. 3

Say Say Say / Ode To A Koala Bear (12" also includes Say Say Say [Intrumental]) (October 1983) UK # 2

Although more sprightly & catchy than the previous single, this first single from the 'Pipes Of Peace' album is another very bland duet with Michael Jackson that certainly didn't deserve it's high chart placing. The extended & instrumental versions on the 12" are more of the same, & the best thing about the non-album 'Ode To A Koala Bear' is it's title. 3 / 3

Pipes Of Peace / So Bad (December 1983) UK # 1

Although perhaps more memorable for the promotional video (like many 80s records!), this is pretty good in a slick 80's kinda way, as is the falsetto sung B-side. A third single from the album 'The Man' b/w 'Blackpool' was planned & given a catalogue number but was never released. 4 / 4

No More Lonely Nights (Ballad) / No More Lonely Nights (Playout Version) (12" includes Extended version, Ballad version and Silly Love Songs) (September 1984) UK # 2

From the album & movie 'Give My Regards To Broad Street', this very classy ballad (with a great Dave Gilmour guitar solo) is one of his better singles of the '80's. The 'playout version' is a very different uptempo dance arrangement, & 'Silly Love Songs' is a re-recording with '80's production. Many different remixes of 'No More Lonely Nights' are also available on various releases. The movie re-cuts of 'Ballroom Dancing' b/w 'Wanderlust' were planned as a follow-up single but the release was scrapped when the movie didn't do as well as expected. 5 / 4 / 4

We All Stand Together / We All Stand Together (Humming Version) (November 1984) UK # 3

While fine in the context of the animated short movie that these are taken from, releasing them as a single did Macca's diminishing street-cred no good at all (the U.S.A. was lucky enough to be spared this single). 3 / 3

Spies Like Us / My Carnival (12" includes four different mixes) (November 1985) UK # 13

Written & recorded specially for the (flop) movie of the same name, Paul at last uses his raw rock 'n' roll voice again for the first time since 1979 though unfortunately the song isn't up to much. More interesting is the B-side 'My Carnival', actually a Wings 'Venus And Mars' outtake (I first bought this song on a muffled bootleg circa 1981 so this release was very much welcomed by me at the time!). 3 / 4

Press / It's Not True (12" includes Press [Dub] and Hanglide, 10" includes Press [Bevans/Forward mix]) (July 1986) UK # 25

For the 'Press To Play' album Paul collaborated with Ten C.C.'s Eric Stewart who co-wrote several of the songs, but to my ears the results were mostly less than inspiring & with a horrible brittle '80's production. 'Press' was the first single & one of the better songs from the album but that's not saying much, though the B-sides were worse. 3 / 2 / 2

Pretty Little Head / Write Away (12" includes Angry) (October 1986) Did NOT Chart

Paul's worse ever A-side? Could well be, & it was a deserved flop, as were the B-sides. 2 / 2 / 2

Only Love Remains / Tough On A Tightrope (12" includes Talk More Talk) (December 1986) UK # 34

Not a bad song, though again it was a relative flop despite Paul performing it at the time on both 'The Tube' & 'The Royal Variety Show'. Again the B-sides aren't up to much. 4 / 3 / 2

Once Upon A Long Ago / Back On My Feet (12" (version a) includes Midnight Special and Don't Get Around Much Anymore, 12" (version b) includes Lawdy Miss Clawdy and Kansas City) (November 1987) UK # 10

Another very mediocre combination, though at least it just about restored Paul to the top 10. Much better are the rock 'n' roll covers on the 12" singles, from the album 'Choba B CCCP' which was initially only released in the U.S.S.R.. 3 /3 /4 /4 /4 /4

My Brave Face / Flying To My Home (12" includes I'm Gonna Be A Wheel Someday and Ain't That A Shame) May 1989 UK # 18

After the relatively poor selling (& critically slammed) 'Press To Play' Paul evidently needed to make a few changes, so he wrote some songs with Elvis Costello, formed a "proper" band & went on tour for the first time in 10 years. The resulting album 'Flowers In The Dirt' is one of his better ones, a combination of modern recording techniques & traditional pop songs that mostly works well. The A-side of the first single from the album 'My Brave Face' has Beatle-esque harmonies & jangly 12-string guitar though at the same time sounds modern, & certainly deserved to do better in the charts. 'Flying To My Home' is one of the weaker songs from the album, though the two rock 'n' roll covers (both Fats Domino songs & again both from the 'Choba B CCCP' album) are excellent, in particular his inspired version of 'Ain't That A Shame'. 5 / 3 / 4 / 5

This One / The First Stone (12" includes I Wanna Cry and I'm In Love Again) (July 1989) UK # 18

Another Beatle-esque song that deserved to do better, I personally think this has the edge over 'My Brave Face'. While 'The First Stone' is nothing special, 'I Wanna Cry' is a superb slow blues song that deserves to be more widely known & 'I'm In Love Again' is another fine Fats Domino revival from the 'Choba B CCCP' album. 5 / 3 / 5 / 4

Figure Of Eight / Ou Est Le Soleil? (November 1989) UK # 42

Although perhaps not as instantly commercial & catchy as the previous two singles, 'Figure Of Eight' is still a memorable song & it made a great show opener during the 1989-1990 World Tour. But not everything Paul touched turned to gold during this period, as the B-side is undoubtedly the worse song he's ever "wrote" (I'd barely even call it a song)...& beware of several remixes of the song released as bonus tracks! 4 / 1

Put It There / Mama's Little Girl (12" includes Same Time Next Year) (February 1990) UK # 32

The fourth & final single from 'Flowers In The Dirt', this simple but effective acoustic song deserved to do much better. Nearly as good is the similarly-styled 'Mama's Little Girl', a Wings outtake probably dating from as far back as the 1972 'Red Rose Speedway' sessions, though 'Same Time Next Year' is less memorable. 5 / 4 / 3

Birthday / Good Day Sunshine (12" includes P.S. Love Me Do and Let 'Em In) (October 1990) UK # 29

These were all recorded at various location on Paul's 1989-1990 World Tour: 'Birthday' rocks as hard as The Beatles version though is marred slightly by hoarse vocals; 'Good Day Sunshine' sounds as good as ever; 'P.S. Love Me Do' is an updated medley of 'Love Me Do' & 'P.S. I Love You' which doesn't really work for me; & 'Let 'Em In' while very good doesn't quite match the Wings versions. 4 / 5 / 3 / 4

All My Trials / C Moon (12" includes Mull of Kintyre and Put It There, CD single includes Lennon Medley) (December 1990) UK # 35

Again all recorded live during the recent World Tour, 'All My Trials' is a new (to Paul) song & a passionate version of an old folk-blues standard; 'C Moon' sounds as good or as bad as it ever did depending on your point of view; 'Mull Of Kintyre' is one of the few live performances of the song (& the only one during this tour); 'Put It There' adds a snippet of 'Hello Goodbye' to the studio arrangement; & 'Lennon Medley' is a glorious & heartfelt medley of 'Strawberry Fields Forever', 'Help!' & 'Give Peace A Chance' that was recorded live in Liverpool. 4 / 3 / 5 / 5

Hope Of Deliverance / Long Leather Coat (CD includes Big Boys Bickering and Kicked Around No More, 12" includes remixes of Deliverance only) (December 1992) UK # 18

1993's 'Off The Ground' album pretty much repeated the same formula as 'Flowers In The Dirt', with almost the same band (only the drummer had changed), some similar Beatle-esque songs & another World Tour. The simple but catchy 'Hope Of Deliverance' was the first single from the album, though none of the B-sides / extra tracks appeared on it. The rockin' 'Long Leather Coat' & the more laid-back 'Big Boys Bickering' are both quite memorable, though 'Kicked Around No More' is less so & the 'Deliverance' dance remixes only include brief excerpts of 'Hope Of Deliverance' & don't appeal to me at all. 4 / 4 / 4 / 3 / 2

C'mon People / I Can't Imagine (1st CD single includes Deliverance mixes, 2nd CD single includes Keep Coming Back To Love and Down To The River) (February 1993) UK # 41

The majestic 'C'mon People' (the 2nd single from 'Off The Ground') deserved to become one of Macca's big anthems but did surprisingly badly in the charts despite a 'Top Of The Pops' appearance & a superb promotional video directed by Kevin Godley. All of the other songs listed here didn't originally appear on the album, & most of them are forgettable (& thoses dreaded 'Deliverance' remixes surface again), but the exception is the mid tempo countryish 'Down To The River' which has a John Fogerty feel about it. 5 / 3 / 2 / 3 / 4

Young Boy / Looking For You (CD single includes Broomstick) (April 1997) UK # 19

There was a four year gap between the release of 'Off The Ground' & 'Flaming Pie' (from which this is the first single). In some ways it was back to the 1980-1987 era in that Paul didn't have a regular band & didn't go on tour to promote the album, but generally the material is far better than during those years, thanks to some of his most Beatle-esque music to date, & a general relaxed "organic" feel. Perhaps not the strongest of songs, 'Young Boy' is still pleasant enough. Equally as impressive are the non-album extra tracks, both being blues-based. Also included on the CD singles were excerpts from Paul's U.S.-only 'Oobu Joobu' radio series. 4 / 4 / 4

The World Tonight / Used To Be Bad (CD single includes Really Love You) (July 1997) UK # 23

Even better than the previous single, this double-tracked "Paul duet" deserved to do much better in the charts. Again the additional songs are blues-based, with 'Used To Be Bad' being a tough 12-bar duet with Steve Miller. The CD single also includes more 'Oobu Joobu'. 5 / 4 / 4

Beautiful Night / Love Come Tumbling Down (CD single includes Same Love) (December 1997) UK # 25

The third & final single from 'Flaming Pie', 'Beautiful Night' was first recorded in 1986 but that version remains unreleased, & instead this is a brand new recording featuring Ringo Starr on drums (& backing vocals) & assistance from George Martin. The song is slightly reminiscent of 'Only Love Remains' from 1986 (perhaps that's why it wasn't released at the time?) though is a stronger song. The extra tracks are a little weaker this time though & have a slick production similar to his early '80s work. Yet again more of 'Oobu Joobu' was also released on the CD single. 5 / 3 / 3

Fluid (The Fireman) (September 1998) Did NOT Chart

As well as his regular albums, Paul has so far released three albums (in 1993, 1998 & 2008) of mostly ambient instrumental music as 'The Fireman', though this is the only single release so far apart from another later single featuring a remix of the same song. Personally I find this type of music rather boring though I guess it is pleasant enough. Far more appealing to me is the artwork! The name of the woman featured is Julie Lewis, & the photo was taken by photographer & former model Bunny Yeager some time in the 70s or possibly the late 60s. Go to my Naked In Thanet blog to see an uncensored version of this photo plus an outtake from the same session! The photo deserves 5, but as it's the music I'm judging... 3

No Other Baby / Fabulous (CD single also includes Brown-Eyed Handsome Man) (November 1999) UK # 42

Following the sad death of his wife Linda McCartney, Paul returned to the studio to cut his 2nd album of rock 'n' roll covers. Backed by such musicians as Mick Green, Dave Gilmour, Pete Wingfield, Geraint Watkins & Ian Paice, the results were even better than 1987's 'Choba B CCCP', with Paul's vocals & playing full of passion & drive. 'No Other Baby' is the most obscure song on the album (Paul learnt it via The Vipers Skiffle Group), more well known are Charlie Gracie's 'Fabulous' & Chuck Berry's 'Brown-Eyed Handsome Man' (here given a cajun feel with accordian). 5 / 5 / 4

From A Lover To A Friend / Riding Into Jaipur (October 2001) UK # 45

Freedom / From A Lover To A Friend (November 2001) Did NOT Chart

The only releases from his poor selling (at least in this country) 'Driving Rain' album, these were issued in quick succession. 'From A Lover To A Friend' b/w 'Riding Into Jaipur' was issued on 29th October 2001, & then just a week later on 5th November 2001 'Freedom' b/w 'From A Lover To A Friend' was rush released with all profits going to the families of the New York fireman & police lost in the 9 /11 terrorist attacks. 'From A Lover To A Friend' is a rather nondescript piano-based ballad that could easily have been recorded in the early 80s (though Paul's vocals show their age here), & 'Riding Into Jaipur' has an interesting Eastern feel though it's not much of a song. As for 'Freedom'... I really have mixed feelings over this one, as there's no doubt that this is a very sincere reaction to 9 /11, but at the same time it's a long way from The Beatles' usual "Love & Peace" message (the song was cruelly dubbed "Give War A Chance" by some fans!). Paul pretty much disowns the 'Driving Rain' album these days as many of the songs were inspired by his time with Heather Mills, later Mrs McCartney... 3 / 3 / 3

Tropic Island Hum / We All Stand Together (September 2004) UK # 21

20 years after the release of 'We All Stand Together' Paul released 'Tropic Island Hum', also the title of his latest animated feature. The song & the feature are actually good fun in the traditional Walt Disney mode. 4 / 3

Fine Line / Growing Up Falling Down (CD single features Comfort Of Love) (August 2005) UK # 20

The first single from 'Chaos And Creation In The Backyard', this mid-tempo song has an early Wings feel about it, though the droning acoustic B-side is nothing special. The CD single featured a different 2nd track 'Comfort Of Love', which again reminds me of Wings. 4 / 3 / 4

Jenny Wren / Summer of '59 (CD single features I Want You To Fly) (November 2005) UK # 22

The 2nd single from the album, the beautiful acoustic 'Jenny Wren' is almost a 'Blackbird' part two though in my opinion it's an even better song, proof that Macca can still come up with the goods when he wants to. 'Summer Of '59' sounds like a rough demo (an uptempo rocker with electric guitar but no drums) though has it's charms, as does the interesting extra track on the CD single 'I Want You To Fly'. 5 /4 /4

Dance Tonight / Nod Your Head (Sly Dunbar Remix) (June 2007) UK # 26

Just 21 months after the back-to-form 'Chaos And Creation In The Backyard' Paul released another strong album, 'Memory Almost Full', & this is the first single from that album. 'Dance Tonight' is a catchy song with mandolin (or is it a ukelele?), & was actually featured on both sides of the limited edition 7" single, with 'Nod Your Head' only being the 2nd track on the CD single. The version on the album is an inspired rocker (though marred by daft lyrics), but the version featured here is an awful remix, hence the low rating... 4 / 2

Ever Present Past / House Of Wax [live] (CD Single features Only Mama Knows [live] and Dance Tonight [live]) (November 2007) UK # 85

A mediocre rocker with laid-back vocals, far better are the live versions of other songs from 'Memory Almost Full' that are featured on the B-side & on the CD single. 3 / 4 / 4 / 4

The Dave Clark Five: The U.S. Singles, 1963 - 1973

2009-10-04T10:45:00.045+01:00

London's The Dave Clark Five were the first act to seriously rival the Merseybeat groups spear-headed by The Beatles, Gerry And The Pacemakers & The Searchers in the early sixties, with 'Glad All Over' replacing 'I Want To Hold You Hand' at the number one spot in the U.K. charts in January 1964. Soon afterwards the group concentrated their efforts mostly in the U.S.A., where they toured heavily & appeared regularly on major TV shows including more appearances on 'The Ed Sullivan Show' than any other act, & achieving twenty-four Top 100 'Billboard' chart hits over the next few years. For this article I'm concentrating on their U.S. rather than U.K. singles for two reasons: they released far more records in the U.S.A. during their 1964-1967 commercial peak than they did in the U.K. (often including songs not released elsewhere) ; and many of these singles featured exclusive picture sleeves which (where possible) I've featured in this post, though I've substituted other sleeves when none were issued for U.S. singles.

I Walk The Line / First Love (Rust 5078, 1964)

Prior to signing with Columbia in the U.K. & Epic in the U.S.A. the band released three flop singles on the budget Ember & Piccadilly labels in the U.K., & these were also released in the U.S.A. on other minor labels. This first U.S. single was actually their second U.K. single though the sides were flipped, with the slower 'First Love' being the U.K. A-side. Both this & Johnny Cash's 'I Walk the Line' are performed as Duane Eddy-style instrumentals (though there are some background vocals on the A-side) & are nothing special at all. Note: this single was possibly also issued earlier on Laurie 3188, though it seems that no-one has ever seen a copy. 3 / 3

Chaquita / In Your Heart (Jubilee 5476, 1964)

The group's debut U.K. single, 'Chaquita' is a blatant re-rewrite of The Champs' classic 'Tequila' though there's some excellent saxophone, & 'In Your Heart' starts as a pretty good instrumental until some very dodgy vocals enter about halfway through. 3 / 3

Glad All Over / I Know You (Epic 9656, February 1964) (USA # 6 / UK # 1)

Their first major hit both in the U.K. & the U.S. & one of the greatest records ever made! This sound would be the template for most of their singles over the next year or so though there would be some exceptions as we shall see. The stomping 'I Know You' is nearly as good & could've made a pretty decent A-side too. In the U.K. their first single on Columbia (& 4th single in total) was 'Mullberry Bush' (backed by an inferior re-cut of 'Chaquita') but it wasn't a hit & remained unissued in the states. 5 / 4

Bits And Pieces / All Of The Time (Epic 9671, April 1964) (USA # 4 / UK # 2)

Even more raucous than the previous hit, 'Bits & Pieces' was banned from many venues as people were apparently causing too much damage with their stomping feet (& they weren't alone either; I was 15 months old when this was released & my family can recall that I used to stomp around the front room [lounge] to it, obviously loving The Dave Clark Five even then!). The melodic B-side is notable for it's unusual guitar sound. 5 / 4

I Knew It All The Time / That's What I Said (Congress 212, April 1964) (USA # 53)

Another single from their pre-Columbia & Epic days, this was first issued in the U.S.A. in 1963 but was then re-issued (with a picture sleeve) after 'Glad All Over' was a hit. Sung by Mike Smith in an uncomfortable-sounding baritone, part of the melody would later be used to far greater effect in 'Catch Us If You Can'. The B-side is a re-write of The Big Bopper's 'Chantilly Lace' & features uncharacteristic female backing vocals. 3 / 3

Do You Love Me / Chaquita (Epic 9678, May 1964) (USA # 11 / UK # 30)

A minor hit in the U.K. due to Brian Poole & The Tremeloes' rival version (The Contours' original didn't do anything in the U.K.), this is my favourite version of the song despite the lack of a 'slow' intro as featured on other versions. The B-side in the U.K. was 'Doo Dah' but unfortunately that was no improvement over 'Chaquita'. 5 / 3

Can't You See That She's Mine / No Time To Lose (Epic 9692, June 1964) (USA # 4 / UK # 10)

Another excellent uptempo song though this one is more straight 50's-styled rock 'n' roll albeit with very '60's organ. The B-side is a bit too close to 'Twist And Shout' for comfort but is otherwise an inspired performance (apparently they actually recorded 'Twist And Shout' & then rewrote the lyrics but used the same backing track when they found out that Brian Poole & The Tremeloes were releasing it as a single!). Incredibly the superb 'Because' was thrown away as the U.K. B-side. 5 / 4

Because / Theme Without A Name (Epic 9704, August 1964) (USA # 3)

Possibly their greatest slower song, this is apparently Dave's favourite Dave Clark Five song. The B-side is a pretty guitar instrumental (backed by strings) very reminiscent of 'Ringo's Theme' also known as 'This Boy'. Instead of this great single the U.K. got the far more mediocre 'Thinking Of You Baby' backed with 'Whenever You're Around' (both of these songs were featured in the movie 'Get Yourself A College Girl', also known as 'The Swinging Set'). 5 / 4

Everybody Knows (I Still Love You) / Ol' Sol (Epic 9792, October 1964) (USA # 15 / UK # 37)

Not to be confused with the similarly-titled 1967 single, this is a very good mid-paced song though it's not quite as memorable as 'Because'. The U.S. B-side is a mid-paced rhythm 'n' blues instrumental that could almost be mistaken for The Yardbirds if it wasn't for Mike keep shouting 'Ol Sol', while the U.K. B-side was 'Say You Want Me' which sounds a bit like 'Anyway You Want It', their next U.S. single. 4 / 4

Anyway You Want It / Crying Over You (Epic 9739, November 1964) (USA # 14 / UK # 25)

Perhaps the pinnacle of their early "stomping" hits, this sounds as if it was recorded from the back of a cavern (or perhaps The Cavern!), such is the reverb. The B-side is a slow romantic ballad, & for once both the U.K. & U.S. flips were identical. 5 / 4

Come Home / Your Turn To Cry (Epic 9763, February 1964) (USA # 23 / UK # 16)

Their first really slow A-side ('Because' & 'Everybody Knows (I Still Love You)' were more mid-paced), this starts with just bass & drums with other instrumentation added as the song progresses, an imaginative arrangement of a strong song. The B-side (again the same in the U.K. as in the U.S.) is pretty good though perhaps a bit too similar to 'Because'. 5 / 4

Reelin' And Rockin' / I'm Thinking (Epic 9786, April 1965) (USA # 23 / UK # 24)

A wild version of the Chuck Berry classic, & proof that The Dave Clark Five could re-create genuine '50's rock 'n' roll better than almost any of their Beat Group contemporaries. 'I'm Thinking' is a powerfully-performed mid-paced song that was strong enough to be an A-side, while in the U.K. we got a very good version of Bobby Day's 'Little Bitty Pretty One' as the B-side. 5 / 5

I Like It Like That / Hurting Inside (Epic 9811, June 1965) (USA # 7)

Not issued as a single in the U.K., this is a raucous version of the Chris Kenner song (also recorded by Jerry Lee Lewis in 1979), whilst the mid-tempo B-side is a stunning ballad that I could easily imagine Paul McCartney singing circa 'A Hard Day's Night'. 5 / 5

Catch Us If You Can / On The Move (Epic 9833, August 1965) (USA # 4 / UK # 5)

The title track from their entertaining movie (which was retitled 'Having A Wild Weekend' in the U.S.A.), this was a move away from the more raucous earlier hits, & superb it is too. Dave Clark recalls his contemporaries at the time asking how they got that smooth harmonica sound (perhaps they speeded the backing track up?). The B-side is a moody instrumental (one of their best), this time with superb saxophone, & was also used on the U.K. flip side. 5 / 4

Over And Over / I'll Be Yours (My Love) (Epic 9863, November 1965) (USA # 1 / UK # 45)

Although this was their biggest U.S. hit, I've always found their version of Bobby Day's 'Over And Over' a little corny myself (it sounds almost like something Bill Haley would've sung). The flip side (same in the U.K. & U.S.) is another slow ballad, though more soul than pop this time. 4 / 4

At The Scene / I Miss You (Epic 9882, February 1966) (USA # 18)

Another single not released in the U.K., the A-side is notable for some great drumming (apparantly by session man Bobby Graham) & Mike's vocals at their most raucous, while the B-side (featuring a rare Denis Payton lead vocal) again reminds me of 'This Boy' (or is it 'Yes It Is'?) but with it's excellent harmonies it is still more than worthwhile. 4 / 4

Try Too Hard / All Night Long (Epic 10004, April 1966) (USA # 12)

A bit more experimental than most of their singles up until this point, 'Try Too Hard' has a memorable guitar & piano intro & is one of their more interesting songs. The B-side is an absolutely manic instrumental with a Bo Diddley rhythm, really excellent. Sadly this combination of A & B-side was their first U.K. single since March 1963 that failed to chart, probably because they weren't in the country to promote it at the time. 5 / 5

Look Before You Leap / Please Tell Me Why (Epic 10031, June 1966) (USA # 28 / UK # 50)

Despite 'Look Before You Leap' being the official A-side, it was actually 'Please Tell Me Why' which charted (when released in the U.K. this was actually the A-side). Both are very good mid-paced songs but 'Please Tell Me Why' with it's 3 / 4 (waltz) timing is probably the stronger side. Their popularity in the U.S.A. was starting to wane a little by now in favour of groups like Herman's Hermits (& soon) The Monkees, hence the lower chart placing. 4 / 4

Satisfied With You / Don't Let Me Down (Epic 10053, August 1966) (USA # 50)

A real change of direction here, with the A-side being almost a country song with restrained vocals, harmonica & honky-tonk piano. The B-side has nothing to do with The Beatles but is instead a '50's styled rock 'n' roll song with pounding piano. An under-rated single that wasn't released back in their homeland. 4 / 5

Nineteen Days / Sitting Here Baby (Epic 10053, October 1966) (USA # 48)

'Nineteen Days' is my personal favourite Dave Clark Five track! Powerful falsetto laden vocals, guitar that Keith Richards would've been proud of & fantastic rock drumming from session man Bobby Graham, my only criticism is that it's too short. 'Sitting Here Baby' is very different, sounding like the kind of song George Formby would've sung. Perhaps it was inspired by Herman's Hermits giant U.S. hit 'Mrs Brown You've Got A Lovely Daughter' though it's superior to that. The B-side in the U.K. was the more rocking 'I Need Love', but despite this the single failed to chart. 5 / 4

I've Got To Have A Reason / Good Time Woman (Epic 10114, January 1967) (USA # 44)

Another U.S. only single, the A-side isn't a bad song but it sounds a little too much like the superior 'Catch Us If You Can' to be an out & out classic, while 'Good Time Woman' is a fast breezy number with honking sax & a strong bass line. 4 / 4

You Got What It Takes / Doctor Rhythm (Epic 10144, April 1967) (USA # 7 / UK # 28)

Their last big U.S. hit, this enthusiasticly performed Marv Johnson song (later a big U.K. hit for Showaddywaddy) is backed by a brass section to good effect, though I prefer the R&B / soul 'Doctor Rhythm'. The B-side in the U.K. was 'Sitting Here Baby', already released on an earlier single stateside. 4 / 4

You Must Have Been A Beautiful Baby / Man In The Pin Striped Suit (Epic 10179, June 1967) (USA # 35)

Again backed by brass, this is a rauciously sung song with 'old time' chord changes (I could easily imagine Chas & Dave including this in one of their sing-a-long medleys!). Personally I find the end result strangely unpalatable, though the U.K. A-side 'Tabatha Twitchit' was worse. 'Man In The Pin Stripped Suit' (the B-side to both singles) is quite catchy & commercial. 3 / 4

A Little Bit Now / You Don't Play Me Around (Epic 10209, August 1967) (USA # 67)

Yet again with heavy brass backing, this is a far better uptempo soul-pop song, which also features distorted guitar & soulful female backing vocals. The soul influence continues on the superbly-sung slower B-side. Incidentally whoever compiled the Dave Clark Five discography on Wikipedia forgot to include this U.S. only single! 4 / 4

Red And Blue / Concentration Baby (Epic 10244, November 1967) (USA # 89)

A superb ballad backed by strings & brass & with a restrained Mike Smith vocal, again this fine single wasn't issued back home. 'Concentration Baby' has a strong soul Otis Redding / Sam & Dave influence & is another good song wasted as a B-side. 5 / 4

Everybody Knows / Inside And Out (Epic 10265, November 1967) (USA # 43 / UK # 2)

With ever-decreasing record sales in the U.S. they now started concentrating their efforts more on the U.K. again, with dramatic results! A fine gentle ballad sung by guitarist Lenny Davidson (it suited his voice better than Mike Smith's) & backed by a full orchestra & female backing vocals, this was the group's final (minor) U.S. chart entry yet it propelled the group nearly back to the top of the U.K. charts, & they would continue having U.K. hits (off & on) for the next three years. The B-side 'Inside And Out' can best be described as pop-psych, with oriental-sounding guitar, a Lennon-esque vocal from Mike Smith (think 'I Am The Walrus') & swirling violins. The U.K. had 'Concentration Baby' as the flip instead. 5 / 5

Please Stay / Forget (Epic 10325, May 1968)

A slowed-down & very soulful version of a song originally recorded by The Drifters (& recently revived by Duffy) though the strings tend to overpower things a little towards the end. The B-side 'Forget' must surely be an older previously unreleased recording (maybe they did forget!). A pretty good song, but it is a typical Dave Clark Five 1964-1965 B-side that must've sounded very dated in 1968. This wasn't released in the U.K. where they chose 'No One Can Break A Heart Like You' (backed with 'You Don't Want My Lovin''), an inferior 'Everybody Knows' soundalike again sung by Lenny Davidson. 4 / 4

The Red Balloon / Maze Of Love (Epic 10325, September 1968) (UK # 7)

'The Red Balloon' is a catchy but lightweight pop song with a rare Dave Clark lead vocal & sounds more like Herman's Hermits than The Dave Clark Five. Despite or because of this it became a big U.K. hit. 'Maze Of Love' is a psychedelic rock song, similar to what The Pretty Things were doing at the time on 'S.F. Sorrow', though the opening guitar riff is a little reminiscent of 'Sgt Pepper's Lonely Heart's Club Band'. If they'd released A-sides like this & 'Inside And Out' at the time instead of lightweight pop songs then they might've been taken a bit more seriously by the music critics. Both U.S. & U.K. releases featured the same two songs, but after this the two were rarely the same, with far more singles released in their homeland. I won't list all the U.K.-only releases from this point on, but you can see here for more details. 4 / 5

Paradise (Is Half As Nice) / 34-06 (Epic 10476, March 1969)

A slightly re-titled version of the U.K. smash hit by Amen Corner, this is performed faster & with full orchestral backing though is inferior in my opinion. '34-06' is a slow ballad with a soaring vocal by Mike Smith. This song was issued in the U.K. a few months later as the flip side to the memorable 'Put A Little Love In Your Heart', but the 'Paradise (Is Half As Nice)' remained a U.S.-only single, no bad thing for once. 3 / 4

If Somebody Loves You / Best Day's Work (Epic 10509, March 1969)

Again not released in the U.K., this is an orchestrated breezy pop song with female backing vocals & would've perfectly suited Andy Williams. A poor choice for the group. Far, far better is 'Best Day's Work', a song with distorted guitar & heavy drums that is performed at medium pace throughout except in the faster instrumental section. One of the better later Dave Clark Five recordings. 3 / 5

Bring It On Home To Me / Darling, I Love You (Epic 10547, November 1969)

The third U.S. single in a row not to be released in the U.K. (though we were getting plenty of alternative singles of varying quality), this is a gospelised version of the Sam Cooke classic that was also recorded by The Animals, Little Richard & John Lennon amongst many others. Here it is performed slower, with churchy organ, passionate Mike Smith vocals & a soulful female vocal group that was probably led by Madeline Bell. 'Darling I Love You' isn't a great song but the strong arrangement & vocals (similar to the A-side) raise the song well above mediocrity. 5 / 4

Here Comes Summer / Five By Five (Epic 10635, February 1970) (UK # 44)

A Beach Boys type update of the old Jerry Keller song with good harmonies & country-ish guitar, this deserved to do much better chart wise. 'Five By Five' is one of their best instrumentals with organ, tom-tom drums & distorted guitar though the song was at least three years old by this point (the U.K. single had 'Break Down And Cry' on the flip instead). 4 / 5

Good Old Rock 'n' Roll Medley / One Night / Lawdy Miss Clawdy (Epic 10684, June 1970) (UK # 7)

1968-1969 saw a big revival of interest in '50's rock 'n' roll in the U.K. with records like Bill Haley's 'Rock Around The Clock' becoming hits again as well as groups like The Beatles & The Rolling Stones recording more rootsy music. The Dave Clark Five were always good at this type of music, so they belatedly recorded a couple of U.K. singles featuring medleys of '50's classics, 'Good Old Rock 'n' Roll' & 'More Good Old Rock 'n' Roll' (the latter actually being recorded by Dave Clark & Friends rather than the full DC5). Confusingly, the U.S. 'Good Old Rock 'n' Roll' single is in fact the U.K. 'More Good Old Rock 'n' Roll', & this is backed by two more revivals. While they don't quite match the originals they are still more than worthy efforts. 4 /4 /4

Southern Man / If You Wanna See Me Cry (Epic 10704, January 1971)

The Dave Clark Five announced their break-up in August 1970, though Dave Clark & Mike Smith continued to record with various session men (& women) until 1973 to complete their ten year contract, with most of these records credited to 'Dave Clark And Friends'. These tended to sound far more contemporary though perhaps more anonymous too. The first single under this new arrangement both in the U.S. & U.K. was this one. A Neil Young song, this features lots of percussion & heavy distorted guitar, & while the end result doesn't really sound like The Dave Clark Five (apart from Mike Smith's distinctive vocals) full kudos to them for trying something different & adventurous. 'If You Wanna See Me Cry' is a bluesy mid-tempo song with good piano & guitar. 4 / 4

Won't You Be My Lady / Into Your Life (Epic 10768, August 1971)

Again issued in the U.S. & U.K., this is a mid tempo guitar boogie song, a sort of poppier version of Canned Heat. Again it sounds nothing like The Dave Clark Five but the music is good. The flip is slower & less memorable but features some nice guitar. 4 / 3

Rub It In / I'm Sorry Baby (Epic 10894, July 1972)

After 'Won't You Be My Baby' the group (or duo) released a further five singles in the U.K., but only this one (the third U.K. single) was released in the U.S. & became their final single state side. 'Rub It In' is (I think) a song about being given a massage though judging by some of the noises Mike Smith is making she must've been giving him a few "extras"! 'I'm Sorry Baby' is completely different, sounding like a Fred Astaire song complete with tap dancing, two very interesting choices for a single to say the least. 4 / 4

Elvis Presley At The Movies: The Soundtracks & The Posters

2009-10-02T11:02:00.014+01:00

Elvis famously made a long succession of movies, with each of them having progressively worse soundtracks - or did they? I've challenged myself to find at least two half-decent songs from every movie (with the exception of 'Charro!' which only featured the title track over the credits), & I discovered quite a few hidden gems. This post has also given me the opportunity to feature photos of the many wonderful posters used to promote the movies at the time (click on images to enlarge!)...

Love Me Tender (1956)

Best songs: Love Me Tender, Poor Boy

Loving You (1957)

Best songs: Got A Lot O' Livin' To Do, Party, Lonesome Cowboy, Mean Woman Blues, Loving You.

Jailhouse Rock (1957)

Best songs: Young And Beautiful, I Want To Be Free, Treat Me Nice, Jailhouse Rock, (You're So Square) Baby I Don't Care.

King Creole (1958)

Best songs: Crawfish, Trouble, Dixieland Rock, New Orleans, King Creole, Don't Ask Me Why

G.I. Blues (1960)

Best songs: What's She Really Like, G.I. Blues, Frankfort Special, Shoppin' Around, Tonight Is So Right For Love, Wooden Heart, Pocketful Of Rainbows

Flaming Star (1960)

Best songs: Flaming Star, A Cane And A High Starched Collar

Wild In The Country (1961)

Best songs: Wild In The Country, I Slipped I Stumbled I Fell

Blue Hawaii (1961)

Best songs: Blue Hawaii, No More, Can't Help Falling In Love, Rock-A-Hula Baby, Hawaiian Wedding Song

Follow That Dream (1962)

Best songs: What A Wonderful Life, Follow That Dream, Angel

Kid Galahad (1962)

Best songs: King Of The Whole Wide World, Riding The Rainbow, I Got Lucky

Girls! Girls! Girls! (1962)

Best songs: Girls! Girls! Girls!, I Don't Wanna Be Tied, Return To Sender

It Happened At The World's Fair (1962)

Best songs: Beyond The Bend, One Broken Heart For Sale

Fun In Acapulco (1963)

Best songs: I Think I'm Gonna Like It Here, Bossa Nova Baby, You Can't Say No In Acapulco

Kissin' Cousins (1964)

Best songs: Catchin' On Fast , Once Is Enough, Kissin' Cousins (2)

Viva Las Vegas (1964)

Best songs: Viva Las Vegas, C'mon Everybody, What'd I Say

Roustabout (1964)

Best songs: Roustabout, Wheels On My Heels, Little Egypt

Girl Happy (1965)

Best songs: Girl Happy, Puppet On A String

Tickle Me (1965)

Best songs: Long Lonely Highway, It Feels So Right, Dirty Dirty Feeling, Slowly But Surely

Harum Scarum (1965)

Best songs: Harem Holiday, Shake That Tambourine, Hey Little Girl

Frankie And Johnny (1966)

Best songs: What Every Woman Lives For, Frankie And Johnny, Hard Luck

Paradise, Hawaiian Style (1966)

Best songs: Paradise Hawaiian Style, Scratch My Back (Then I'll Scratch Yours), A Dog's Life

Spinout (1966)

Best songs: Stop Look And Listen, I'll Be Back

Easy Come, Easy Go (1967)

Best songs: Easy Come Easy Go, Sing You Children

Double Trouble (1967)

Best songs: Long Legged Girl (With The Short Dress On), City By Night

Clambake (1967)

Best songs: Clambake, You Don't Know Me, How Can You Lose What You Never Had

Stay Away, Joe (1968)

Best songs: Stay Away, All I Needed Was The Rain

Speedway (1968)

Best songs: Let Yourself Go, Your Time Hasn't Come Yet Baby

Live A Little, Love A Little (1968)

Best songs: Edge Of Reality, A Little Less Conversation

Charro! (1968)

Best song: Charro

The Trouble With Girls (1969)

Best songs: Swing Down Sweet Chariot, Clean Up Your Own Backyard

Change Of Habit (1969)

Best songs: Change Of Habit, Rubberneckin'

Elvis: That's The Way It Is (1970)

Best songs: Mystery Train / Tiger Man, Patch It Up, Little Sister / Get Back, Polk Salad Annie

Elvis On Tour (1972)

Best songs: Seperate Ways, Never Been To Spain, I Got A Woman / Amen, Memories

The Rolling Stones: Unreleased Recordings, 1962 – 1967

2009-10-01T23:26:00.006+01:00

Despite still being one of the world’s most popular musical acts, there has never been an official release of studio outtakes with the exception of the 1975 ‘Metamorphosis’ collection (largely made up of Mick & Keith songwriter demos that didn’t even feature the other Stones), nor has there been a collection of their BBC radio performances. There are some signs that this is beginning to change though: perhaps as the group realise that their archive recordings sell better than their new albums they’re now authorising expanded reissues of albums like ‘Get Yer Ya-Yas Out’ & ‘Exile On Main Street’.

My personal favourite Rolling Stones era are those first few years from their rhythm ‘n’ blues origins in 1963 up until early 1967’s vastly under-rated ‘Between The Buttons’ (& prior to their flirtation with psychedelia on ‘Their Satanic Majesties Request’). Below I’ve attempted to compile a list of 50 of the more fascinating unreleased gems from these years, songs that would make a very worthwhile first volume if they ever decide to release a series of ‘Anthology’- type double CDs. Note that I’ve pretty much only listed songs that I’ve heard in their entirety; not any of the several demos that are just available on bootlegs as short snippets, nor any of the other rumoured unreleased material that has yet to surface even unofficially…

1. You Can’t Judge A book By The Cover
(Curly Clayton Sound Studio, London, 27th October 1962)

Mick, Keith & future Pretty Thing Dick Taylor taped some rough home demos together in either late 1961 or early 1962, but this was the first time that the embryonic The Rolling Stones entered a studio. It wasn’t quite the full line-up yet, as the band members at this time were Mick Jagger, Keith Richards, Brian Jones, Ian Stewart on piano, Dick Taylor on bass & Tony Chapman on drums. Two other songs were also recorded (‘Soon Forgotten’ & ‘Close Together’), but so far only about a minute or so of Bo Diddley’s ‘You Can’t Judge A Book By The Cover’ has surfaced via a scratchy acetate that was broadcast on radio in the late ‘80’s. The instrumentation is murky & indistinct, but Mick Jagger is clearly recognisable with his trademark Thames-meets-Mississippi vocals.

2. Diddley Daddy
3. Roadrunner
4. Bright Lights Big City
5. I Want To Be Loved
6. Baby What’s Wrong
(IBC Studios, London, 11th March 1963)

The first time the full classic line-up plus Ian Stewart (then still officially a member) recorded together, this historic session has circulated in fine quality via bootlegs for decades. Surprisingly there’s no Chuck Berry songs yet, though their main other early heroes (Bo Diddley, Jimmy Reed & Muddy Waters) are well-represented. Fairly well recorded for the time though lacking in bass, the most dominant musicians here are Ian Stewart & (on harmonica) Brian Jones, with Keith’s guitar generally taking a secondary role. ‘Diddley Daddy’ & ‘Bright Lights Bright City’ are particularly good & even ‘I Want To Be Loved’ (re-recorded a few months later for the B-side of their first single ‘Come On’) is very authentic-sounding.

7. Come On
8. Memphis Tennessee
9. Roll Over Beethoven
(23rd September 1963: UK radio (BBC) 'Saturday Club') (Broadcast 26th October)

By this time they’d officially become a 5-piece (though Ian Stewart would continue recording & occasionally performing with them right up until his death in 1985) & they had released their first single ‘Come On’, which thanks to several high profile TV appearances had become a small hit. Here they perform the song at a slightly slower speed & it doesn’t have the corny key change that’s on the single (instead it features a short guitar solo) so is probably superior. The other two songs are also by Chuck Berry of course, & while they went on to record better versions of his songs these still remain more than OK. All three songs circulate in fabulous quality thanks to an early eighties BBC rebroadcast, though the other two songs from this session (‘Money’ & ‘Talkin’ ‘bout You’) haven’t resurfaced yet, nor have the three songs performed by the late great Bo Diddley himself & backed by Brian, Bill & Charlie that day.

10. Go Home Girl
(14th November 1963: De Lane Lea Studios, London)

Recorded at a session that produced a couple of songs for their first EP, this is a fine version of a one of Arthur Alexander’s lesser-known songs (they also recorded his ‘You Better Move On’ for the EP so that is probably why this song remained in the vaults). Backing vocals (probably by Bill & Brian) are a little wobbly & off key but this only adds to the song’s charm!

11. It Should Be You
12. Leave Me Alone
(20th - 21st November 1963: Regent Sound Studios, London)

With manager Andrew Loog Oldham’s encouragement, Mick & Keith began writing songs with other artists in mind, though most of their early compositions were derivative “Mersey style” pop that had little to do with their rhythm ‘n’ blues roots. Soon Mick & Keith would record elaborate demos with various session men, but here they utilise the full Rolling Stones line-up. ‘It Should Be You’ is a medium paced song that was reputedly the first that Mick & Keith wrote & was released as an unsuccessful single by the late George Bean, while ‘Leave Me Alone’ is a faster song dominated by Ian Stewart’s piano. Several other demos were made at this two-day session but they remain largely unheard.

13. My Only Girl
(20th November 1963: Regent Sound Studios, London)

Another songwriters demo that featured the entire group, but this one was a success. They’d recently become friends with American singer Gene Pitney who (after changing the melody a little) recorded the song as ‘That Girl Belongs To Yesterday’; released as a single it reached number 7 in the UK charts (or ‘Hit Parade’ as it was called then), therefore becoming the first commercially successful Jagger-Richards composition.

14. Not Fade Away
(10th January 1964: Regent Sound Studios, London)

Surprisingly few alternate versions of released songs from the early years have surfaced so far, but this is one of them. Probably recorded at an earlier session than the single take, this lacks the rhythmic maracas of that version but is compensated by Brian’s harmonica fills.

15. Ain’t That Lovin’ You Baby
(3rd February 1964: UK radio (BBC) 'Saturday Club') (Broadcast 8th February)

There is some disagreement over the source & date of this & it may be from a Radio Luxemburg broadcast instead of ‘Saturday Club’, but it’s an unpolished romp through the Jimmy Reed song that’s most notable for Bill’s prominent bass line.

16. Spector And Pitney Came Too
17. Andrew’s Blues
(4th February 1964: Regent Sound Studios, London)

During sessions to complete the recording of their first album both Gene Pitney & his friend Phil Spector dropped in, apparently at the invitation of Andrew Loog Oldham. ‘Spector And Pitney Came Too’ (also known as ‘Mr. Spector And Mr. Pitney Came Too’) is a raving instrumental, similar to (but superior than) ‘Now I’ve Got A Witness. ‘Andrew’s Blues’ (also known as ‘Fuckin’ Andrew’ & ‘Song For Andrew’) is a pornographic improvisation around a similar rhythm regarding the supposed sexual exploits of Andrew Loog Oldham! With vocals by both Phil Spector & Mick this is great fun but of course was unreleasable in 1964.

18. Wake Up In The Morning
(6th February 1964: Pye Studios, London)

In early 1964 The Rolling Stones were approached by Kellogg’s to record the music for a Rice Krispies TV ad (for which they were paid £400), & the result was this 30-secong ditty featuring Mick’s singing & Brian’s harmonica playing. The ad still exists on film incidentally, with two different versions (I have these on DVD).

19. As Time Goes By
(11th March 1964: De Lane Lea Studios, London)

Another songwriters demo that went on to become a big success, though this time featuring just Mick & Keith with various session men (including Big Jim Sullivan on guitar). With a little more work & a change of title to avoid confusion with the 1931 Dooley Wilson song of the same name (as featured in the movie ‘Casablanca’) the song became ‘As Tears Go By’, & was successfully recorded first by Marianne Faithfull & then (in October 1965) by The Rolling Stones themselves, who released it as a U.S. single where it reached number 1 in the charts.

20. Route 66
21. Cops & Robbers
22. You Better Move On
23. Mona (I Need You Baby)
(19th March 1964: UK radio (BBC) 'Blues In Rhythm'. Camden Theatre, London) (broadcast 9th May)

I’ve generally avoided including too many concert or ‘live’ recordings but a handful are essential & this is one of them. The show was recorded for an ‘experimental’ stereo broadcast, but in those days stereo radio didn’t exist so to get around this they broadcast one channel on the radio & the other on TV! Fortunately the entire show has been rebroadcast since on stereo FM radio, so circulates in amazing quality. The guitars could be a bit louder (& those dodgy backing vocals by Bill & Brian are still there) but otherwise these are all fabulous performances with minimal audience noise. Of particular interest is Bo Diddley’s amusing blues ‘Cops & Robbers’ featuring Mick & Brian (the latter on harmonica) at their best.

24. Beautiful Delilah
(13th April 1964: UK radio (BBC) 'Saturday Club') (Broadcast 18th April)

Another radio recording of a song they never officially recorded, this is a popular Chuck Berry song that was also covered by The Kinks. Another radio version (this time recorded in front of an audience) also circulates.

25. Stewed And Keefed
26. Down In The Bottom
27. High Heel Sneakers
28. Reelin’ And Rockin’
29. Tell Me Baby
(10-11th June 1964: Chess Studios, Chicago)

During their first U.S. tour the group visited & recorded at the legendary Chess studios, the place where much of the music that first influenced them was also recorded. Clearly inspired, they recorded at least 15 songs within two days, including the big hits ‘It’s All Over Now’ & ‘Time Is On My Side’, & these 5 superb outtakes. ‘Stewed And Keefed’ is a slow blues instrumental featuring mostly Ian Stewart & Keith Richards, & is also known as ‘Brian’s Blues’ due to the fact that he missed this session because of illness. ‘Down In The Bottom’ is an absolutely belting version of the Howlin’ Wolf classic & remains one of the group’s very finest recordings, while ‘Tell Me Baby’ (also known as ‘How Many Times’) is a fine version of a Big Bill Broonzy song. Perhaps less essential are their versions of Tommy Tucker’s R&B standard ‘High Heel Sneakers’ (also recorded by Jerry Lee Lewis a few weeks later) & Chuck’s ‘Reelin’ & Rockin’ which is re-interpretated here as a medium-paced blues, but these are hardly embarrassments either. BBC radio versions of both ‘Down In The Bottom’ & ‘High Heel Sneakers’ also circulate unofficially.

30. Some Things Just Stick In Your Mind
(Late June - early July 1964: Regent Sound Studios or Decca Studios, London)

Also released on ‘Metamorphosis’, this is a superior early mix of a demo recorded by Mick & Keith for singer Vashti & featuring various session musicians including Big Jim Sullivan, Jimmy Page & Andy White. There’s no steel guitar on this version, & superior mixes are also available of several other demos that were later issued on ‘Metamorphosis’.

31. Crackin’ Up
(17th July 1964: UK radio (BBC) 'Top Gear') (Broadcast 23rd July)

Another BBC recording, a nice relaxed version of Bo Diddley’s ‘Crackin’ Up’ featuring a superb drawling lead vocal from Mick & soulful harmonies by Keith Richards who was by now gaining confidence as a singer & starting to replace Bill & Brian both on records & in concert. The Rolling Stones eventually recorded an officially released version at a live concert in Toronto in 1977 & this very different reggae-tinged version was released on the ‘Love You Love’ double album.

32. Heart Of Stone
(Late July 1964: Regent Sound Studios, London)

Again an alternative mix (without steel guitar & with a longer fade-out) of a track later released on ‘Metamorphosis’. Recorded & released a few months later by the full Rolling Stones line-up, only Mick Jagger plus various session men are featured here (Keith later admitted that he copied Jimmy Page’s guitar solo almost note-for-note for The Rolling Stones version).

33. Blue Turns To Grey
(Late August - early September 1964: Regent Sound Studios or Decca Studios, London.)

A demo featuring just Mick & Keith plus more session men, this was given to The Mighty Avengers who copied the arrangement almost note-for-note. The full Rolling Stones line-up re-recorded the song a year later & it was first released on the U.S.-only ‘December’s Children’ LP. Cliff Richard (with The Shadows) probably cut the ultimate version though, & it was his version that became a U.K. hit single.

34. We Were Falling In Love
(Late September 1964: Regent Sound Studios, London)

One of Mick & Keith’s final ‘Mersey’ style pop songs, this demo is at least recorded with the full Rolling Stones line-up. The circulating bootleg is taken from a rather crackly acetate.

35. Goodbye Girl
36. Key To The Highway
37. Mercy Mercy
(8th November 1964: Chess Studios, Chicago)

During their 2nd U.S. tour (& their first really successful one) they again spent a couple of days at the Chess studios in Chicago, though the results weren’t quite as consistent as before. ‘Goodbye Girl’ (also known as ‘Get Back To The One You Love’) is a rare Bill Wyman composition sung by Mick, & although it’s no ‘Satisfaction’ it’s still a pretty good rhythm ‘n’ blues-pop song. ‘Key To The Highway’ is the Muddy Waters song & sounds more like a ‘jam’ than an attempt at a polished take, & ‘Mercy Mercy’ is a faster but weaker early version of a song that they’d later re-cut.

38. Crawdad
(18th April 1965: L'Olympia, Paris)

The Rolling Stones performed at the famed Paris Olympia yearly during 1964-1967 with all of their performances being broadcast on the radio, & while the 1964 broadcast seems ‘lost’, the recordings from 1965, 1966 (2 shows) & 1967 still exist & remain amongst the very few complete recordings of concerts from the Brian Jones era. For their encore at the 1965 show they performed an incredible lengthy version of Bo Diddley’s ‘Crawdad’ (also known as ‘Hey Crawdaddy’ though Bo’s song is actually based on an older song whose origins seem to be lost), with Mick alternatively bringing the song down to an almost whisper and then shouting & whooping his way through it.

39. Oh Baby (We Got A Good Thing Goin’)
40. Fannie Mae
(20th August 1965: UK radio (BBC) 'Saturday Club') (Broadcast 18th September)

By now they had pretty much out-grown doing BBC radio shows, so on 20th August 1965 they taped their final 7 songs which were to be broadcast over two shows in the coming weeks. ‘Oh Baby (We Got A Good Thing Goin’)’ is a storming version that puts the Decca version to shame, & Buster Brown’s ‘Fannie Mae’ is a fine rhythm ‘n’ blues performance of a song they never officially recorded.

41. Looking Tired
(6th September 1965: RCA Studios, Hollywood)

Often cited as an ‘Aftermath’ outtake, this was actually taped during the closing sessions for the ‘Out Of Our Heads’ LP. A relaxed bluesy Jagger-Richards song, it would certainly have fit quite comfortably on ‘Aftermath’.

42. 19th Nervous Breakdown
(Early December 1965: RCA Studios, Hollywood)

This uses the same backing track as the released take but features an earlier vocal, which is a bit more hesitant-sounding than the great single version.

43. Mother’s Little Helper
(28th July 1966: Honolulu International Center, Hawaii)

Taken from a radio broadcast, not only was this their last U.S. tour, it was also their last U.S. show to feature Brian Jones. This is the only known surviving ‘live’ version of ‘Mother’s Little Helper’, & although the vocals are a little ragged & the mix could be better it is still a worthwhile performance.

44. All Sold Out
(Early August 1966: RCA Studios, Hollywood)

Several fascinating & crystal clear backing tracks (without vocals) have surfaced from around this time. Other songs include ‘Paint It Black’, ‘Ruby Tuesday’ & ‘Yesterday’s Papers’, but I’ve chosen ‘All Sold Out’ as it is about a minute longer than the released vocal version.

45. Have You Seen Your Mother Baby
(Late August - early September 1966: IBC Studios, London.)

A very different arrangement & mix, this has no guitar & brass intro, but instead starts with Mick’s vocals, as well as featuring more prominent guitar throughout. Keith has said in the past that he thought they released the wrong mix & I would imagine that he’d find this one far more preferable. Also available is a backing track of the single arrangement with no lead vocals.

46. Sometimes Happy Sometimes Blue
47. Get Yourself Together
(November 1966: Olympic Sound Studios or Pye Studios, London.)

The ‘Between The Buttons’ sessions were started in the USA in August-September & then continued back in the UK for most of November though other material was recorded also. ‘Sometimes Happy Sometimes Blue’ is clearly an unfinished composition with Keith just occasionally singing lines & showing the rest of the band the chord changes, but with more work this would become ‘Dandelion’, released as the flip side to ‘We Love You’ in the summer of ’67. ‘Get Yourself Together’ (also known variously as ‘I Can See It’, ‘I’ll Feel A Whole Lot Better’ & ‘Can’t Believe It’) is a real lost classic, probably the greatest unreleased song The Rolling Stones have ever recorded! Not to be confused with The Small Faces song of the same name, this is a driving rock (& roll) song with a catchy guitar riff & could’ve been one of the highlights of ‘Between The Buttons’ if released. Also available is an earlier run-through from the August-September sessions as well as a backing track with no vocals.

48. It’s All Over Now
(22nd January 1967: UK TV (ATV) 'Sunday Night At The London Palladium'.)

Although it seems incredible now, during late 1966 & early 1967 The Rolling Stones’ popularity appeared to be on the wane, with lower record sales & less-than-guaranteed full houses at their bigger concerts (perhaps even more remarkably now, the same thing was happening to The Beatles!). So to boost sales of their new single ‘Let’s Spend The Night Together’ / ‘Ruby Tuesday’ they performed these songs on the family entertainment show ‘Sunday Night At The London Palladium', as well as ‘Connection’ (from their new album) & a radical re-working of their earlier hit ‘It’s All Over Now’. Using live vocals plus a pre-recorded backing track (taped at Olympic Studios a few days earlier), the arrangement is very reminiscent of the unreleased ‘Get Yourself Together’. Unfortunately footage of the show no longer exists & the audio I’ve heard is only fair quality, but hopefully a better recording still exists somewhere.

49. Get Off Of My Cloud – Yesterday’s Papers
50. Goin’ Home – (I Can’t Get No) Satisfaction
(11th April 1967: L'Olympia, Paris)

Unlike The Beatles who retired from touring in August 1966, The Rolling Stones followed their summer 1966 USA tour with an autumn 1966 UK tour & then a European tour in the spring of 1967, their final tour to feature Brian Jones. As well as most of the expected hits from the previous two years they also performed the above two medleys at all shows on the tour. ‘Get Off Of My Cloud’ starts off similar to the speed-fuelled ‘Got Live If You Want It’ version, but then goes into a very different version of ‘Yesterday’s Papers’ that’s performed in a much higher key than the studio recording, similar to Chris Farlowe’s Jagger-produced single of the song. A few minutes of ‘Goin’ Home’ with some really excellent harmonica from Brian Jones segues into a full-length ‘(I Can’t Get No) Satisfaction’, which, while Keith is playing the usual riff, features some (barely) controlled Hendrix-styled guitar feedback from Brian!

Just a few days after this show, at The Hague in Holland on the 15th April, Brian played his last full show with the band, & apart from two songs at the May 1968 N.M.E. Poll Winners concert it would be the last time he ever set foot on a concert stage.

Chas & Dave: The Classic Albums & Beyond!

2009-09-30T01:14:00.014+01:00

I first heard Chas & Dave back in ’78 when they had their first (minor) hit with ‘Strummin’. At the time I thought of them as being very similar to other cockney post-punk acts such as Ian Dury, Squeeze & The Street Band (remember ‘Toast’?); it was only a little later (after Courage started featuring their songs in TV ads) that they really got their more homely knees-up image. By 1981 (while still in my teens) I bought all of their original LPs, & eagerly awaited any new releases over the next few years.

Below I’ve attempted to review all of their original albums, though I’ve generally omitted (a) Compilations, (b) Live Albums (with one notable exception), & (c) Their many sing-a-long collections of medleys. I’ve included both albums made before they started calling themselves Chas & Dave though, as well as Chas’ recent albums without Dave.

Country Pie (1971)

I'm Coming Home / Grits Ain't Groceries / End Of The Road / Spell It Out For Me / Swinging Doors / I'll Sail My Ship Alone / Country Pie / They'll Never Take Her Love From Me / How Many Times / If You Wanna Be My Woman / Hillbilly Music / Right String Baby But The Wrong Yo Yo

A mostly Jerry Lee Lewis-inspired rock ‘n’ roll & country album, this was recorded in one afternoon for a budget label, & features just Chas, Dave & drummer Micky Burt – a line-up that would last for 38 years! Pretty much all the vocals are by Chas, & the many highlights include Jerry Lee’s ‘End Of The Road’, Hank Williams’ moving ‘They’ll Never Take Her Love From Me’, an Appalachian mountain arrangement of ‘Hillbilly Fever’, & Piano Red’s ‘Right String But The Wrong Yo-Yo’. A very enjoyable collection, but also a bit anonymous-sounding, hence the less than top marks: this was before Chas started singing with his own accent, so this album could be by pretty much any competent Jerry Lee Lewis impersonator. 3 / 5

Oily Rags (1974)

Come Up And See Me Anytime / Boiled Beef And Carrots / Time To Kill / Baby Doll / Holy Cow / Silver Dollar / Mailman Bring Me No More Blues / Barefoot Days / Jody And The Kid / Country Boy Picker

By now Chas (who again dominates this set) was almost using his own accent, though without the exaggerated cockney of later years. A mixture of original material & covers, this still barely sounds like the Chas & Dave of later years though: almost every song is performed very slow, with only the closing ‘Country Boy Picker’ reaching medium-pace, & guitars tend to dominate far more than piano. Perhaps most bizarre is ‘Boiled Beef And Carrots’, which instead of being the expected knees-up is performed as a slow country song complete with steel guitar! In fact the whole album is more feet-up than knees-up. Incidentally the name ‘Oily Rags’ derives from cockney rhyming slang for ‘fags’ (“but fags as in snout, not poofters” as Chas later put it!). 3 / 5

Country Pie & Oily Rags on CD

Both of these albums are available in their entirety on Country Pies, Black Claws, & Oily Rags (2007), a CD which also features two songs recorded in 1971 by Chas, Dave & friends under the name ‘Black Claw’ (boogie-blues-rock, far closer to Canned Heat than Chas & Dave) + two fascinating early Chas & Dave demos ‘Clive Of India’ & ‘Mama & Papa Jazz’ (more on those below) which are also featured on the CD re-issue of One Fing ‘n’ Annuver.

One Fing ‘n’ Annuver (1975)

Ponders End Allotments Club / Better get Your Shoes On / Dry Party / Ballad Of The Rich / Deceived / One Fing 'N' Annuver / It's So Very Hard / Woortcha / I Am A Rocker / Old Time Song / Old Dog And Me

Their first album as Chas & Dave, they were now starting write songs about the places & experiences they knew best. Despite this, the album isn’t quite ‘rockney’ yet, that mix of early rock ‘n’ roll (particularly Fats Domino & Jerry Lee), boogie-woogie, country music & English music hall for which they’d soon be famous. Part of the problem is the instrumentation; instead of the sparse later recordings here we have several session players with brass, strings, guitars, dobro, etc, & even the drumming doesn’t sound like Micky on most songs (he was only featured as one of at least two session drummers on this album, not becoming Chas & Dave’s permanent drummer until two years later). There’s some excellent songs though, ‘Ponder’s End Allotments Club’, ‘I Am A Rocker’ (still occasionally performed today), ‘Better Get Your Shoes On’ (played here mid-tempo & backed by a string section), & most famously of all, ‘Woortcha’, an early version of ‘Gertcha’, though at this point it was performed at a far more sedate pace & featured dated ‘70’s wah-wah guitar. 3 / 5

One Fing ‘n’ Annuver on CD:

I have an earlier (1997) reissue, which features slightly different bonus tracks, but the most recent reissue (2003) features bonus tracks Scruffy Old Cow (an early B-side), Lazy Cow (another early B-side), Gambler (not originally released), If I Could Only Play Like That (demo), Mama & Papa Jazz (demo), Clive Of India (demo), Tacky Toppers (previously unreleased demo) & Strummin' (previously unreleased demo). ‘Scruffy Old Cow’ is a laid-back acoustic version, very different from the later live version; ‘Lazy Cow’ (as well as ‘I Can Make It’, only on the 1997 reissue) are big-production in-yer-face rock ‘n’ roll very reminiscent of what Roy Wood was doing with his group Wizzard at the time; 'Gambler' is laid-back country-rock; ‘If I Could Only Play Like That’ is an uptempo rag-time songs with amusing lyrics about Jerry Lee Lewis, & like the mid-paced ‘Mama & Papa Jazz’ are far more palatable than most of the original album with their stripped-down production; & the unique fast acoustic guitar song ‘Clive Of India’ remained unreleased at the time (according to Chas) simply because it didn’t fit with the other material. The demos of ‘Tacky Toppers’ & ‘Strummin’’ aren’t featured on the 1997 CD so they remain unheard by me.

Rockney (1977)

That's What It's All About / Big Fat Rat / Strummin' / Love & Days Gone By / Punchy & The Willer Warbler / Massage Parlour / Billy Tyler / Edmonton Green / I'm In Trouble / Sling Your Hook

This is more like it…at last they’ve pretty much done away with all the excess instrumentation, & they’re now very much Chas AND Dave as Dave’s vocals are featured pretty much equally throughout. The songs were also getting stronger, in particular their first hit ‘Strummin’’, the fast rag-time ‘Big Fat Rat’, long-time live favourite ‘I’m In Trouble’, & ‘Massage Parlour’ whose melody would be used again (at least in part for) ‘Margate’ a few years later. Perhaps best of all though is ‘Edmonton Green’, a slow ballad backed by brass (which fits perfectly this time) which still moves me to tears every time I hear it. 4 / 5

Don’t Give A Monkeys (1979)

Gertcha / Rabbit / The Banging In Your Head / The Sideboard Song (Got My Beer In The Sideboard Here) / What A Miserable Saturday Night / Pay Up And Look Big / Lunatic Asylum / Who'd Ya Think You're Talking To? / Scruffy Old Cow / I'm A Rocker

They were now reaching their peak as songwriters, a peak that would last for the next few years. Part studio (first five songs) & part live, just look at those first four songs; ‘Gertcha’, ‘Rabbit’ & ‘The Sideboard Song’ are still amongst their most famous, and ‘Banging In Your Head’ is also still being performed today. The live songs (side two of the LP) were all recorded at London’s Abbey Road studios in front of an invited audience & capture Chas & Dave at their most exuberant. ‘Pay Up & Look Big’ is a pounding rocker, as are the live versions of ‘Scruffy Old Cow’ & ‘I’m A Rocker’, while ‘Lunatic Asylum’ & ‘Who'd Ya Think You're Talking To’ are amongst their most humorous songs. 5 / 5

Live At Abbey Road (1981)

I Am A Rocker / Gertcha / So Surprising / Scruffy Old Cow / Send Me Some Lovin' / Better Get Your Shoes On / Big Fat Rat / Breathless / Rufus Rastus / Shotgun Boogie / Sea Cruise

Two years after they were taped & after Chas & Dave had left the label to start their own ‘Rockney’ records, E.M.I. dusted off the tapes & released this album. Although repeating two songs from ‘Don’t Give A Monkeys’ this is a tremendous album that captured them just prior to hitting the big time. Curiously ‘Gertcha’ is still performed here at the slower pace though it’s much more powerful than the studio ‘Woortcha’; both ‘Better Get Your Shoes On’ & ‘Big Fat Rat’ are far rockier than the studio versions; & even old rock ‘n’ roll songs are by this point performed with a London accent. My only criticism is that the album tends to fizzle out slightly towards the end (not a problem with the expanded CD reissue), so I’ve just given it a little less than full marks. 4 / 5

It was during this period that ‘Courage’ beers first noticed them & started using their music in commercials, something that greatly helped to push the duo into the big league. For better or worse this led them to feature their musical talents in other projects, including commercially successful collaborations with Tottenham Hotspur football team (which are of little appeal to someone like myself who loathes football) & 1981’s ‘Christmas Jamboree Bag’, the first of many lucratively successful similar albums. I bought this album at the time, but apart from a few live tracks on side two I think I only played it once in it’s entirety.

Rockney / Don’t Give A Monkeys / Live At Abbey Road on CD:

All of these are available on the 2-CD set The Very Best Of Chas & Dave (The EMI Years) (2005), along with the following bonus tracks: ‘Sunday’ & ‘It’s Only The B-Side’ (both B-sides from 1979); ‘12th Street Rag’, ‘Our Old Lodger’, ‘Sunshine Of Your Smile’, ‘When My Dreamboat Comes Home’, ‘Great Balls Of Fire’ & ‘Strummin’’ (all live at Abbey Road); ‘The Sideboard Song’ (alternate take); & last & definitely least, truly awful recent dance remixes of both ‘The Sideboard Song’ & ‘Gertcha’.

Mustn’t Grumble (1982)

Poor Old Mr. Woogie / Bored Stiff / Don't Anyone Speak English? / Turn That Noise Down / Beer Belly / Behave Yourself / Ain’t No Pleasing You / I Miss Ya Girl / Lonnie D. / Wallop / Rabbit

The first Chas & Dave album that I bought as soon as it was in the shops, I played it constantly for months afterwards, & it still remains amongst my all-time favourite albums by anyone. ‘Ain’t No Pleasing You’ remains their biggest hit of course, & most casual fans will be more than familiar with ‘Poor Old Mr Woogie’, ‘Wallop’, ‘Beer Belly’ & ‘Rabbit’ (here in a slightly faster re-recording). It’s amongst the lesser-known songs where the real brilliance of this album lie though: the cockney-funk of ‘Turn That Noise Down’; the strange boogie-woogie riff & time-signatures of ‘Behave Yourself’; the tongue-twisting tribute to Lonnie Donegan in ‘Lonnie D’; the light reggae rhythm of 'I Miss You Girl'; & the lamenting of Americanisms creeping into our language in ‘Don’t Anyone Speak English’. But every song on this album remains very memorable! 5 / 5

Job Lot (1983)

That Old Piano / That's What I Like / London Girls / Give It Some Stick, Mick / No-Body / Flying (instrumental) / Margate / Mustn't Grumble / Word From Anne / Stop Dreaming / Give It Gavotte / Wish I Could Write A Love Song

I’ve always thought that the previous album has a slight edge due to some of the more adventurous lesser-known songs, but this is probably a more commercial album & again is brilliant throughout. Amongst the most famous songs from this album are ‘Margate’; the best song Fats Domino never wrote ‘That Old Piano’ (& also recorded in fine style by Domino-clone Clarence ‘Frogman’ Henry); ‘London Girls’, a sort of cockney answer to The Beach Boys’ ‘California Girls’; & ‘That’s What I Like’ with the mentions of Little Richard & (of course) Jerry Lee. Also on this album are some of their most tender ballads, in particular ‘Nobody’, the instrumental ‘Flying’ (later re-recorded with lyrics) & ‘Wish I Could Write A Love Song’. 5 / 5

Mustn’t Grumble & Job Lot on CD:

These are both available on the single-CD Mustn't Grumble / Job Lot re-issue (2005), sadly there’s no bonus tracks this time though.

Well Pleased (1984)

There In Your Eyes / They Kept On Rocking / Did I Feel A Fool / Snakes Eyes Bert / Where Am I Gonna Find Ya? / I Wonder In Whose Arms / Jumpin' The Lights / I'm Going Back / Harry Was A Champion / One O' Them Days / Brother-in-Law

A slight change of direction on this album, with New Orleans-type brass added to several songs, & a slight downplay of the cockney word play of the last few albums. ‘There In Your Eyes’ is another Domino-esque ballad, this type with great brass (Chas & Dave actually toured with a brass section for a while during the mid-late ‘80’s); ‘They Kept On Rockin’’ is (as expected) a rock ‘n’ roll song, mentioning Little Richard, Jerry Lee, Fats Domino, Chuck Berry & Gene Vincent amongst others; & the superb ‘I Wonder In Whose Arms’ is probably as close as Chas & Dave have got to writing a standard (The Crickets, Joe Brown & Jerry Lee’s sister Linda Gail Lewis are amongst those who’ve recorded it). Also memorable are ‘Where Am I Gonna Find Ya’ (I could almost imagine Laurel & Hardy singing this), ‘Jumpin’ The Lights’ (with Chas singing from a woman’s point of view) & the epic ‘Snake Eyes Bert’. Only a couple of less memorable songs earn this album a little less than full marks. 4 / 5

Flying (1987)

England / Punchinello / Sunday / Darlin' I Don't Care / The Diddlum Song / Flying / Exhibition Rag / I Can Get Along Without You / That Telephone Thing / Back In The Soul Days / Miss You All The Time

I must confess that I’d never even heard this album until very recently when I was searching online for CD reissues to replace my worn-out vinyl. I’m not sure why I missed it the first time round: perhaps it was because my interest was waning slightly due to all the sing-a-longs over-shadowing their own material, or maybe I saw the title & assumed that it was a compilation of previously issued material (also I moved from London to Herne Bay in 1985, so it’s possible that I just didn’t see it in record shops). Anyway, it’s mostly yet again excellent! Biggest surprise is the opening ‘England’ with its calypso beat & steel drums (& it works too!), though there’re several other highlights: ‘Sunday’ is a superior re-cut of an old B-side, this time with sympathetic brass, ‘Punchinello’ is about a mythical historical character (later ‘Punch’ as in ‘Punch & Judy’); ‘Flying’ is a beautiful vocal version of an older song; ‘I Can Get Along Without You’ is another Laurel & Hardy-type song; & ‘The Diddlum Song’ is a catchy number that’s still performed today. 4 / 5

Well Pleased & Flying on CD:

All the songs from these albums are featured on the From Tottenham To Tennessee double-CD (2006). In addition (as well as most of their usual hits) there’s a few other songs that weren’t featured on any of their original albums: ‘In Sickness & In Health’ (1985 A-side), ‘Halley's Comet’, ‘Snooker Loopy’ (both 1986 A-sides), ‘When Days Were Long (But Far Too Short)’ & ‘Yesterday’s News’ (both sides of their final single to feature new material, 1991).

Sadly, ‘Flying’ was Chas & Dave’s final album of new self-composed material, though honourable mention should be given to a couple of other albums. Never Too Old To Rock ‘n’ Roll (2000) is an album I came across on amazon.co.uk whilst searching for Chas & Dave CD reissues. Strangely not mentioned on either their official website or Wikipedia, this appears to be a US-only release, & features mostly old ‘50’s rock ‘n’ roll covers. Also recommended is the 2005 Greatest Hits collection, which (despite it’s title) actually features seven new recordings made at Abbey Road studios in August of that year. Just check out the musicianship on ‘Somebody Stole My Girl’, ‘12th Street Rag’ & the re-cuts of ‘Poor Old Mr Woogie’ & ‘I Wonder In Whose Arms’, three of the greatest musicians on the planet at the top of their game (what a shame that a full album wasn’t made at this time & with this sound!).

Chas & J.I. (2008)

Lover Please / Here In My Heart / Darlin’ C’mon / Before I Grow Too Old / Lotta Lovin ‘ / Billy Tyler / I Don’t Mind / Honolulu Baby / Tell Me How / Real Wild Child / Till I Waltz Again With You / One Mint Julep / She Belongs To Me / Wear My Ring

Although Dave only dropped out of touring (following the sad death of his wife Sue) in July of this year & officially announced his retirement last week, my guess is that his enthusiasm has been diminishing for some time. Chas has (occasionally) been performing with his own trio for several years now; has written a book on Chas & Dave; and released two interesting albums without his partner, of which this is the first. The “J.I.” in the title is actually the legendary drummer from The Crickets Jerry (Ivan) Allison, though in effect this is a Chas Hodges solo album as J.I. only sings lead vocals during part of one song. This is a fine album though, made with a very homely “organic” feel that perfectly suits the material. Highlights include the ‘50’s rock ‘n’ roll of ‘Darlin’ C’mon’, ‘Real Wild Child’ (which also features J.I. on lead vocals), Bob Dylan’s ‘She Belongs To Me’, Buddy Holly’s ‘Tell Me How’, Gene Vincent’s ‘Lotta Lovin’’, & a revival of Chas & Dave’s own ‘Billy Tyler’. 4 / 5

Chas Hodges (2009)

Didn't Wanna Do It In The First Place / No Set List / I'm Outta Here / The Ghost Is Laid / In Among The Sweet Things / Skinny Cats / Don't Want No Truck / Poor Man Down / Hungarian Rhapsody Rock / Making Up For Lost Time / Nobody's Gonna Pine / She's Turnin' Monkey On Me / Last Kiss

This curiously low-key album actually sounds like a collection of home-recorded demos rather than a finished album, with often very rudimentary backing, in particular the bass & drums. Maybe Chas went out of his way to prevent this from sounding like Chas & Dave? There’re a handful of excellent new songs though: ‘Nobody’s Gonna Pine’ & ‘No Set List’ (with it’s mandolin) are great skiffle tracks that Lonnie D would’ve been proud of; ‘She’s Turnin’ Monkey On Me’ sounds like a lost early Chas & Dave classic; & ‘Hungarian Rhapsody Rock’ is the studio version of a recent live favourite (surely that is not Micky Burt on drums though?). I’m very curious to hear what any future solo albums will be like, but this is a slightly disappointing debut. 3 / 5

As a postscript I saw Chas (without Dave) a couple of weeks ago at The Winter Gardens in Margate, a great evening despite the fact that I was actually working (I’m a doorman there). He played two very entertaining & energetic sets, the 1st featuring mostly Jerry Lee Lewis songs (including less obvious numbers such as ‘I’ll Make It All Up To You’ & ‘What’s Made Milwaukee Famous') whilst telling anecdotes about Jerry Lee over the years, & the 2nd set featuring mostly Chas & Dave classics. Some worked better without Dave than others; songs like ‘That Old Piano’, ‘I Wonder In Whose Arms You Are Tonight’ & ‘Ain’t No Pleasing You’ sounded as passionate as always, but other songs (in particular ‘London Girls’) really needed some harmonies (the new guy Darren whilst an excellent bass player remains almost silent vocally), & anthems like ‘Gertcha’, ‘Rabbit’ & ‘The Sideboard Song’ were played much too fast though Chas coped extremely well singing these all by himself.

Briefly before the show & for a little longer afterwards I chatted to Chas (though I’d also met him both with & without Dave a couple of times previously back in the ‘80’s & ‘90’s). During his ‘Jerry Lee’ set that night he mentioned how he’d backed Jerry while with ‘The Outlaws’ back in 1963; for forty years there were thought to be no surviving recordings from that tour, but then a few years back I managed to find someone who had 3 songs from a Paris ’63 radio broadcast, so I sent a copy to mine & Chas’ mutual friend Terry Adams. Chas was very surprised when it turned out that the doorman he was chatting to had supplied this tape! A great guy, long may he continue to entertain us.

Chas 'n' Pete: backstage at The N.E.C. in Birmingham, 6th December 1992.