SHG: Jerry Lee Lewis: "Great Balls of Fire"

Jerry Lee Lewis: “Great Balls of Fire”
Entered the chart on: 12/2/1957
Peaked on: 1/6/1957
Weeks at #2: 4
Song at #1: “At the Hop” by Danny & the Juniors

We were in full-on Golden Age of Rock & Roll here. Just look at that Top 2! Controversial, crazy rockabilly singer/pianist Jerry Lee Lewis should need no introduction, but in case you do...



Yes, this perhaps misses a bit without the visual of Jerry standing behind the piano and banging on the keys. Think a white, hillbilly version of Little Richard and you’re close to Jerry’s appeal.

I think this might be the first song I’ve covered that is unequivocally about sex. Sure, “Blueberry Hill” is a wistful reminiscence of a past romance that was clearly consummated, but it wasn’t just about sex. Listening to Jerry’s urgent, wailing, trembling delivery makes the lyrical content clear as Canadian water. This song is about a woman that makes him horny.

We’re looking at it through a veil of nostalgia now, but compare this to the Billy Vaughn, Joni James and Four Lads tunes we’ve covered, and think of how appalled the old guard must have been to have this crazy hillbilly screaming lyrics with obvious sexual undertones. And to have their kids go crazy for it, and shove it up to the top of the charts.

They must have been delighted to tear him down after even his fan base turned on him when it was discovered he had married his underaged cousin. He’d reinvent himself as a country singer a decade later, but the damage had been done.

Rating: 5

SHG: Bill Justis: "Raunchy"

Bill Justis: “Raunchy”
Entered the chart on: 11/18/1957
Peaked on: 12/16/1957
Weeks at #2: 1 week
Song at #1: “April Love” by Pat Boone

Man, there sure were a lot more instrumentals on the charts back in the 50s. I have to wonder what changed between now and then to wipe the instrumental almost completely off the face of the pop music charts. My hypothesis is that it’s another victim of the change to music being a visual medium in the wake of MTV and the rise of music video. Unless you have a group of sexy bikini babes playing, nobody’s interested in instrumental music these days. And that’s a shame.

Here we have what I assume is another rockabilly number, considering sax player Bill Justis was the musical director for Sun Records. Also featuring Sid Manker on guitar, so Joel Whitburn informs me. I expect this to actually be raunchy, so don’t let me down guys:



Some of that rubber-band-y guitar I associate with Duane Eddy on this. I get the feeling he probably listened to this. The sax seems to be an alto, as it’s a really trebly and high-pitched melody line. Sid Manker’s guitar is the highlight of this for me, he has a nice chord-heavy guitar solo in the middle. I wonder if Robert Fripp was inspired by this for his guitar solo on King Crimson’s “A Sailor’s Tale.”

It’s all right. I’m not in love with this tune, it’s a tad repetitive, but the excellent guitar work keeps it chugging along, and there’s an unexpected piano solo about two-thirds of the way through that’s rather nice.

Oh, and I see that Billy Vaughn covered this. [covers mouth and snorts with derisive laughter]

Rating: 3

SHG: Carl Perkins: "Blue Suede Shoes"

Carl Perkins: “Blue Suede Shoes”
Entered the chart on: 3/10/1956
Peaked on: 4/7/1956
Weeks at #2: 4 weeks
Song at #1: “The Poor People of Paris” by Les Baxter

Hey! The first song I’ve actually heard before doing this! I’m excited to refresh my memory of this one, so let’s get started.



And yes, the first real rock & roll number. Though this is by a white artist, it does not qualify as “whitewashing.” For you see, the “sophisticates” objections to rock & roll weren’t only racial. There was an element of class snobbery there as well. Perkins hails from Tennessee, and can’t hide his rural Southern accent, nor does he attempt to. It seems disenfranchised folks of all races excelled at rock & roll.

This is, of course, a Sun Records production courtesy of the legendary Sam Phillips. He was the man responsible for giving Elvis Presley his start. Elvis, of course, was quick to cover this song and made it his own (indeed, I originally heard Elvis’ version and heavily associate the song with him). But while Elvis certainly does a credible (read: excellent) version of this, Carl just owns it! As he ought to, it’s his song! (Trivia time: that’s Perkins’ brothers Jay and Clayton on rhythm guitar and bass.)

Considering I just got done reviewing a Four Lads tune, I can only imagine how this raw, ragged, stripped-down thing (it’s just guitar, bass and drums) must have sounded in comparison. This was really something very, very different.

No wonder the old guard were scared.

Rating: 5