Jerry Lee Lewis – Last Man Standing (2006)

FrontCover1Jerry Lee Lewis (September 29, 1935 – October 28, 2022) was an American pianist, singer and songwriter. Nicknamed “the Killer”, he was described as “Rock and roll’s first great wild man and one of the most influential pianists of the 20th century.” A pioneer of rock and roll and rockabilly music, Lewis made his first recordings in 1956 at Sun Records in Memphis, Tennessee. “Crazy Arms” sold 300,000 copies in the South, and his 1957 hit “Whole Lotta Shakin’ Goin’ On” shot Lewis to fame worldwide. He followed this with the major hits “Great Balls of Fire”, “Breathless”, and “High School Confidential”. His rock and roll career faltered in the wake of his marriage to Myra Gale Brown, his 13-year-old cousin once removed.

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His popularity quickly eroded following the scandal and with few exceptions such as a cover of Ray Charles’s “What’d I Say”, he did not have much chart success in the early 1960s. His live performances at this time were increasingly wild and energetic. His 1964 live album Live at the Star Club, Hamburg is regarded by many music journalists and fans in general as one of the wildest and greatest live rock albums ever. In 1968, Lewis made a transition into country music and had hits with songs such as “Another Place, Another Time”. This reignited his career, and throughout the late 1960s and 1970s he regularly topped the country-western charts; throughout his seven-decade career, Lewis had 30 songs reach the Top 10 on the Billboard Country and Western Chart. His No. 1 country hits included “To Make Love Sweeter for You”, “There Must Be More to Love Than This”, “Would You Take Another Chance on Me”, and “Me and Bobby McGee”.

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Lewis’s successes continued throughout the decades and he embraced his rock and roll past with songs such as a cover of The Big Bopper’s “Chantilly Lace” and Mack Vickery’s “Rockin’ My Life Away”. In the 21st century, Lewis continued to tour around the world and released new albums. His 2006 album Last Man Standing was his best selling release, with over a million copies worldwide. This was followed by Mean Old Man in 2010, another of his best-selling albums.

Lewis had a dozen gold records in rock and country. He won four Grammy awards, including a Grammy Lifetime Achievement Award and two Grammy Hall of Fame Awards. Lewis was inducted into the Rock and Roll Hall of Fame in 1986 and his pioneering contribution to the genre was recognized by the Rockabilly Hall of Fame. He was also a member of the inaugural class inducted into the Memphis Music Hall of Fame. He was inducted into the Country Music Hall of Fame in 2022.

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In 1989, his life was chronicled in the movie Great Balls of Fire, starring Dennis Quaid. In 2003, Rolling Stone listed his box set All Killer, No Filler: The Anthology at number 242 on their list of “500 Greatest Albums of All Time”. In 2004, they ranked him No. 24 on their list of the 100 Greatest Artists of All Time. Lewis was the last surviving member of Sun Records’ Million Dollar Quartet and the album Class of ’55, which also included Johnny Cash, Carl Perkins, Roy Orbison, and Elvis Presley.

Music critic Robert Christgau said of Lewis: “His drive, his timing, his offhand vocal power, his unmistakable boogie-plus piano, and his absolute confidence in the face of the void make Jerry Lee the quintessential rock and roller.” (wikipedia)

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Last Man Standing is the 39th studio album released by American recording artist, pianist, and rock and roll pioneer Jerry Lee Lewis in September 2006. The album consists of duets between Lewis and some of the biggest names in both rock and country music, past and present. The title derives from the generation of 1950s Sun Studios recording artists such as Johnny Cash, Roy Orbison, Charlie Rich, Carl Perkins, and Elvis Presley, all of whom have died, leaving Lewis the “last man standing”. Following the success of the album, a DVD Last Man Standing Live was released featuring similar duets with famous artists.

Last Man Standing received very positive reviews from critics. Stephen Thomas Erlewine of AllMusic called the recording, “a record that celebrates life, both in its joys and sorrows, and it’s hard not to see it as nothing short of inspiring” and the editorial team of the site gave it four out of five stars.[1] The same score was awarded by Gavin Edwards in Rolling Stone, praising the performance by writing, “his throat is in better shape than you might expect, most of his command now comes from the slamming, swinging passion of his barrelhouse piano”.[4] For PopMatters, Vladimir Wormwood gave the album seven out of 10, summing up his review by focusing on the Merle Haggard duet “Just Bummin’ Around”: “It is a portrait of the aging musician with the showmanship removed. Long live Jerry Lee Lewis”.(wikipedia)

L-r: Keith Allison, Nils Lofgren, Jimmy Rip, Ringo Starr, Jim Keltner, Jerry Lee Lewis, Hutch Hutchinson, Ivan Neville and Kenny Lovelace. From Last Man Standing sessions, The Record Plant, Los Angeles, CA, March 2005:Jerry Lee Lewis03

It often seems like there are only two ways for rock, country, and blues veterans to launch comebacks when they’re senior citizens: confront mortality head on or surround yourself with superstar guests to help carry you through a half-hearted stroll through your back catalog, scattering a few new tunes along the way. At first glance, Jerry Lee Lewis’ Last Man Standing seems to fall into both categories: the title suggests that Jerry Lee is in the mood to take a long look back, and certainly the very concept of the album — pairing Lewis with 21 other stars for a succession of duets, often on material that his guests either wrote or made famous — seems like a typical superstar duet record. But the Killer has never been predictable, and nowhere is that truer than it is here, where Jerry Lee treats Mick Jagger, Keith Richards, John Fogerty, Bruce Springsteen, Jimmy Page, and 16 other stars as he treated the Nashville Teens at the Star Club in 1964 — as game amateurs who have to sprint to keep up with the master.

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This is the only guest-studded superstar album where all the guests bend to the will of the main act, who dominates the proceedings in every conceivable way. Jerry Lee doesn’t just run the guests ragged; he turns their songs inside out, too — and nowhere is that clearer than on the opening “Rock and Roll,” the Led Zeppelin classic that is now stripped of its signature riff and sounds as if it were a lost gem dug out of the Sun vaults. Far from struggling with this, Jimmy Page embraces it, following the Killer as he runs off on his own course — he turns into support, and the rest of other 20 guests follow suit (with the possible exception of Kid Rock, who sounds like the party guest who won’t go home on an otherwise strong version of “Honky Tonk Woman”).

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The label might sell Last Man Standing on the backs of the duet partners — after all, it’s awful hard to drum up interest in a record by a 71-year-old man no matter how great he is, so you need a hook like superstars — but the album by no stretch of the imagination belongs to them. This is completely Jerry Lee’s show from the second that he calls out, “It’s been a long time since I rock & rolled,” at the beginning of the record — and those are true words, since he hasn’t rocked on record in a long, long time. Ten years ago he cut the Andy Paley-produced Young Blood, but that was a typically tasteful self-conscious comeback record; it was driven as much by the producer’s conception of the artist as it was the artist himself. The opposite is true here, where the production is simple and transparent, never interfering with the performances; it has the welcome effect of making it sound like there is simply no way to tame Jerry Lee, even though he’s now in his seventies. And that doesn’t mean that this is merely a hard-rocking record, although “Rock and Roll,” “Pink Cadillac,” and “Travelin’ Band” do indeed rock harder than anything he’s done since the ’70s — so hard that they stand proudly next to his classic Sun records, even if they don’t have the unbridled fire of those peerless sides.

Merle Haggard, Keith Richards, Willie Nelson, Jerry Lee Lewis & Kid Rock:
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No, this album touches on everything that Jerry Lee has done musically through his career, as the furious rock & roll is balanced by pure hardcore country, piledriving boogie-woogie, rambling blues, old-timey folk songs, and, especially, reinterpretations of familiar songs that are so thoroughly reimagined they seem like they were written specifically for Jerry Lee. And he does this the same way he’s always done it: by singing and playing the hell out of the songs. His phrasing remains original and unpredictable, twisting phrases in unexpected ways — and, yes, throwing his name into the mix frequently, too — and his piano is equally vigorous and vital. This is a record that stays true to his music, and in doing so, it’s not so much a comeback as it is a summation: a final testament from a true American original, one that explains exactly why he’s important. But that makes Last Man Standing sound too serious, as if it were one of those self-consciously morbid Johnny Cash records — no, this is a record that celebrates life, both in its joys and sorrows, and it’s hard not to see it as nothing short of inspiring. (by Stephen Thomas Erlewine)


B.B. Cunningham (bass on 01., 06.. 11., 19.)
Robert Hall (drums on 01., 06., 19.)
Hutch Hutchinson (bass on 02.- 05., 07., – 10., 14. -17., 20. + 21.)
Jim Keltner (drums on 02. – 05.. 07. – 10.,13. – 17., 20. + 21. percussion on 06., 07.)
Jerry Lee Lewis (vocals, keyboards)
Ken Lovelace (guitar on 02., 03.. 04., 06., 08. – 11., 13. – 16.,19., 20. + 21., fiddle on 20.)
Jimmy Rip (guitar on 01. – 11, 13. – 21.)
Keith Allison (guitar on 09.)
Delaney Bramlett (vocals on 18.)
Eric Clapton (lead guitar on 16.)
John Fogerty (vocals on 07.)
Buddy Guy (vocals on 19.)
Merle Haggard (vocals on 10.)
Don Henley (vocals on 20.)
Mick Jagger (vocals on 04.)
George Jones (vocals, bass on 13.)
B.B. King (lead guitar on 02.)
Jimmy Page (lead guitar on 01.)
Toby Keith (vocals on 15.)
Kris Kristofferson (vocals on 21.)
Greg Lieze (pedal steel-guitar on 08., 15. + 21.)
Nils Lofgren (pedal steel-guitar on 09.)
Paddy Maloney (pipe, whistle on 20.)
Willie Nelson (vocals on 14.)
Ivan Neville (organ on 05., 09.)
Mickey Raphael (harmonica on 12.)
Keith Richards (vocals, lead guitar on 08.)
Little Richard (vocals on 17.)
Robbie Robertson (lead guitar on 06.)
Kid Rock (vocals on 11.)
Bruce Springsteen 8vocals on 03.)
Ringo Starr (vocals on 09.)
Bill Strom (organ on 06. + 19.)
James Stroud (drums on 11.)
Ronnie Wood (pedal steel-guitar on 04.)
Dave Woodruff (saxophone on 03., 07.)
Neil Young (guitar, vocals on 05.)
background vocals (on 06.):
Brandy Jones Bernard Fowler – Bambi Jones – Stacy Michelle

background  vocals (on 11.)
Jewel Jones – Phyllis Duncan – Stacy Michelle


01. w/Jimmy Page: Rock And Roll (Page/Baldwin/Bonham/Plant) 2.15
02. w/B.B. King: Before The Night Is Over (Peters) 3.39
03. w/Bruce Springsteen: Pink Cadillac (Springsteen) 3.52
04. w/Mick Jagger & Ron Wood: Evening Gown (Jagger) 3.57
05. w/Neil Young: You Don’t Have To Go (Reed) 3.59
06. w/Robbie Robertson: Twilight (Robertson) 2.48
07. w/John Fogerty: Travelin’ Band (Fogerty) 2.01
08. w/Keith Richards: That Kind Of Fool (Vickery) 4.15
09. w/Ringo Starr: Little Sixteen (Berry) 3.05
10. w/Merle Haggard: Just A Bummin’ Around (Graves) 2.43
11. w/Kid Rock: Honky Tonk Woman (Jagger/Richards) 2.22
12. w/Rod Stewart: What’s Made Milwaukee Famous (Sutton) 2.39
13. w/George Jones: Don’t Be Ashamed Of Your Age (Wills/Walker) 2.00
14. w/Willie Nelson: Couple More Years (Locorriere/Silverstein) 5.12
15. w/Toby Keith: Ol’ Glory (Lewis/Roberts/Darnell) 2.04
16. w/Eric Clapton: Trouble In Mind (Jones)
17. w/Little Richard: I Saw Her Standing There (Lennon/McCartney) 2.21
18. w/Delaney Bramlett: Lost Highway (Payne) 3.00
19. w/Buddy Guy: Hadacol Boogie (Nettles) 3.19
20. w/Don Henley: What Makes The Irish Heart Beat (Morrison) 4.10
21. w/Kris Kristofferson: The Pilgrim (Kristofferson) 3.00



More from Jerry Lee Lewis:

The official website:

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His third marriage was to 13-year-old Myra Gale Brown, his first cousin once removed, on December 12, 1957. His divorce from Jane Mitchum was not finalized before the ceremony took place, so he remarried Brown on June 4, 1958. In 1970, Brown filed for divorce on the grounds of adultery and abuse, charging that she had been “subject to every type of physical and mental abuse imaginable.” (wikipedia)

A man fucking a 13-year-old girl … is an asshole  … There is no excuse for that !

Jerry Lee Lewis – Memphis Beat (1966)

FrontCover1.JPGMemphis Beat is an album by Jerry Lee Lewis released on the Smash label in 1966.

More than half the songs on Memphis Beat were recorded on January 5 and 6, 1966 at Phillips Studio in Memphis. The remaining selections were taken from a rare New York City session eight months earlier and Lewis’s earliest sessions at Smash in 1963. The album includes a rare Lewis original called “Lincoln Limousine,” a garbled tribute to John F. Kennedy. In his book Jerry Lee Lewis: Lost and Found, Joe Bonomo calls the track “simply weird, so ambiguous and amateurishly written that it’s impossible to determine exactly what motivated him to write it.” The album also includes “Too Young,” a piano lounge number that Bonomo deems “a real laugher” and “hysterically uncomfortable.” Lewis fares better on “Wine Spo-Dee-O-Dee” and the George Jones classic “She Thinks I Still Care,” but the collection contained no new hits.

After Memphis Beat was released in May 1966, it stalled at 145 on the Billboard albums chart despite solid promotion from Smash and decent reviews.[citation needed] Lewis’s commercial slump would continue until 1968, when he finally broke on the country charts with “Another Place, Another Time.” In 2014 Lewis biographer Rick Bragg wrote, “Throughout the mid-1960s he cut one album after another of other people’s music…But none of it was new, not really.” Bruce Eder of AllMusic praises the album: “After veering hard into country (and country-pop) territory with Country Songs for City Folks, Jerry Lee Lewis came roaring back with Memphis Beat in 1966, featuring his hardest rocking sounds in years, and a band who were as good as any with whom he’d ever recorded.” (by wikipedia)


Jerry Lee Lewis with fans at the Club Marimba, M’boro, October 1966

Considering that nearly half of the songs on this album are outtakes from previous albums it blends together remarkably well! The song Memphis Beat itself though OK is a slightly contrived combination of Breathless & Chuck Berry’s Memphis. Far better are Just Because, Drinkin’ Wine Spo-Dee-O-Dee (though both earlier & later versions are probably superior), Big Boss Man & George Jones’ She Thinks I Still Care. Again there’s a couple of unnecessary covers that add little to the originals, particularly Hallelujah, I Love Her So & Too Young (great piano solo though!), & there’s the notorious Lincoln Limousine, his “tribute” to John F. Kennedy that sounds more like a car commercial! 3 out of 5

Outtakes: What A Heck Of A Mess / Rockin’ Jerry Lee

What A Heck Of A Mess was issued as the B-side of Sticks & Stones, while Rockin’ Jerry Lee (one of the stronger rock ‘n’ roll performances from this era) was first issued on a 70s bootleg & then officially in the late 80s.

Non-Album Session: Memphis Beat / Twenty Four Hours A Day / Swinging Doors / If I Had It All To Do Over


Presumably dissatisfied with the album version, Memphis Beat was re-cut here for a single, backed with If I Had It All To Do Over. Swinging Doors was released on the 1971 Would You Take Another Chance On Me album, & Twenty Four Hours A Day remained unissued until a bootleg EP in the early 80s (& then an official release a few years later). Additionally, an alternate take of Memphis Beat was issued on the 1969 I’m On Fire compilation, & remixes (minus strings) of the other 3 songs were released via Bear Family in the 80s. (by Peter Checksfield)


US labels

Jerry Lee Lewis (piano, vocals)
a bunch of unknown studio musicians

01. Memphis Beat (Haddington/Lipscomb/Reynolds) 2.49
02. Mathilda (Khoury/Thierry) 2.14
03. Drinkin’ Wine, Spo-Dee-O-Dee (McGhee/Williams) 2.14
04. Hallelujah I Love Her So (Charles) 2.28
05. She Thinks I Still Care (Lipscombe) 2.49
06. Just Because (Robin/B. Shelton/J. Shelton) 1.58
07. Sticks And Stones (Turner) 2.04
08. Whenever You’re Ready (Harrelson) 1.48
09. Lincoln Limousine (Lewis) 2.37
10. Big Boss Man (Dixon/Smith) 2.52
11. Too Young (Dee/Lippman) 2.58
12. The Urge (Fritts) 2.41



On February 28, 2019, Lewis suffered a minor stroke in Memphis.He is expected to fully recover and had to cancel a few upcoming appearances

VA – Great Balls Of Fire (OST) (1989)

FrontCover1Great Balls of Fire! is a 1989 American biographical film directed by Jim McBride and starring Dennis Quaid as rockabilly pioneer Jerry Lee Lewis. Based on a biography by Myra Lewis and Murray M. Silver, Jr., the screenplay is written by McBride and Jack Baran. The film is produced by Adam Fields, with executive producers credited as Michael Grais, Mark Victor, and Art Levinson.

The early career of Jerry Lee Lewis, from his rise to rock and roll stardom to his controversial marriage to his 13-year-old cousin that led to his downfall, is depicted in the film. Until the scandal of the marriage depreciated his image, many had thought Lewis would supplant Elvis Presley as the “King of Rock and Roll” in the 1950s.

Jerry Lee Lewis (Quaid) plays piano (as opposed to a guitar like most other rock artists) during rock and roll’s early years from 1956 to 1958. Jerry Lee is a man with many different sides: a skilled performer with little discipline, and an alcoholic. As Jerry Lee rises to the top of the charts with such hits as “Crazy Arms”, “Whole Lotta Shakin’ Goin On”, and “Great Balls of Fire”, he falls in love with Myra Gale Brown (Winona Ryder), the 13-year-old daughter of his first cousin (and bass player) J. W. Brown (John Doe), and eventually marries her (eloping to Mississippi), much to the anger and chagrin of her parents.

MoviePosterA subplot deals with Jerry Lee’s relationship with another cousin, (now-televangelist) Jimmy Swaggart (Alec Baldwin), who, during this period, was a struggling Pentecostal preacher. Jimmy’s career kept him in constant conflict with his cousin’s wild rock and roll career and brings out some uncomfortable exchanges between the two. The now-financially successful Jerry Lee buys a new car and gives it to his cousin, and when Jimmy praises the Lord for the gift, Jerry Lee replies, “Don’t thank Jesus, thank Jerry Lee Lewis!”

While Jerry Lee is touring in England 1958, a British reporter discovers he is married to his teenage cousin. Jerry Lee is then condemned as a child molester and a pervert by the public. As a result, his British tour is cancelled and he is deported from England. But it doesn’t diminish Jerry Lee’s confidence that his career will continue. However, the scandal follows him back to the States.

Jerry Lee starts drinking a lot when record sales and concert attendances are significantly down. He is furious when requested to print a public apology in Billboard and becomes increasingly abusive toward Myra. It was during one of these abusive episodes that Myra informs Jerry Lee that she is pregnant, and he collapses into Myra’s arms, crying hysterically.

Jerry Lee and Myra attend a church service conducted by Swaggart. When Jimmy offers one more chance to become saved and get right with God, Jerry Lee again refuses, declaring, “If I’m going to hell, I’m going there playing the piano!” The caption preceding the closing credits reads, “Jerry Lee Lewis is playing his heart out somewhere in America tonight.”

The story was co-written by Myra Gail Lewis (her autobiography Great Balls of Fire!), the former wife of Jerry Lee Lewis, with Murray Silver. Despite this, co-writer Silver was upset by the lack of accuracy in the film, claiming it was “phoney”. Director Jim McBride admitted that it was never his intention to tie his film to the facts, and stated “This movie does not represent itself in any way to be a historical documentary. We use the book as a jumping-off point.”

Lewis has openly stated that he hates the film and the book it was based on.[2] Lewis did, however, praise Quaid’s portrayal of him in the film, saying “he really pulled it off”.[3] Quaid even learned to play “Lewis-style” piano for the role.
Filming locations

The film was shot on location in Marion, Arkansas, Memphis, Tennessee, and West Memphis, Arkansas.

Roger Ebert, film critic for the Chicago Sun-Times, did not like the film because of its screenplay, and wrote, “This is a simpleminded rock ‘n’ roll history in which the pleasures are many and the troubles are few. Lewis, played by Dennis Quaid as a grinning simpleton with a crazy streak and a manic piano style, climbs the same career ladder as many of the stars of musical biographies, but he does it with lightning speed.” Ebert also said that Quaid did a nice job of reproducing Lewis’ stage persona.

Critic Caryn James wrote that the film portrays the fun side of rock and roll, and wrote, “Jim McBride’s film is a compressed, cleaned-up version of the Jerry Lee Lewis story, but it re-creates the soul-shaking, brain-rattling fun of rock-and-roll. It also captures, perhaps for the first time on film, something of the sexual aura of rock-and-roll at its birth.” Yet, she added that anyone looking for a true sense of music history will be let down by the film.

The review aggregator Rotten Tomatoes reported that 63% of critics gave the film a positive review, based on 24 reviews.


Nobody can deny that The Killer is one of the greatest rock & rollers of all time. Despite the controversy, his blacklisting, the drugs and booze, the death and violence that has surrounded him, he has always seemed to be able to put out great music on his piano. In recent years however, his energy has waned and his voice has shown some wear. This does not stop him from touring though, and he recorded this album of remakes of his most significant rock & roll hits for the movie about the start of his career based on Myra Gayle’s book by the same name.
The new recordings are very close to the originals, keeping the same basic arrangements and famous solo sections (mostly). The new band has a bass guitar, which the original did not, which adds a bit of fullness to the sound. The roughness and relative weakness of the Killer’s voice is noticeable in some songs more than others, but in songs like “Crazy Arms” and “Lucky Old Sun” it works, probably because he’s had so much experience singing BookletBackCover1them. The song “I’m on Fire” (not the Springseen tune) is very different from the original (which was produced in 1962 and included horns and a backup girl chorus). The weakest cut is “High School Confidential.” His vocal shortcomings are most obvious here, and the desperate manic energy of the original is lost.
This album also includes remakes of earlier versions of two songs that inspired Jerry Lee, “Big Legged Woman” and “Whole Lotta Shakin…” These songs show just how rauchy old rhythm & blues could be. They are done with spirit and style, and if they don’t get you groovin’ you got a hole in your soul! If you look haed enough, you can find all sorts of Jerry Lee recordings that still have thet erotic humor in them.
Finally, there are two original cuts here from “back in the day”: “Great Balls of Fire” and “Rocket 88,” the latter an ode to big, cool cars and drinking and driving that many consider to be among the first rock & roll songs ever recorded. These cuts help put the remakes into perspective and show that a son can rip even if it’s not digitally mastered, stereophonic, etc., etc.
It’s too bad the album could not include all the music from the movie. There were some great ’50’s instrumentals and a couple of other Jerry Lee tunes that really added to the movie. Most especially, during the end credits, the Killer does a solo with his piano called “Lewis Boogie” that is just delicious.
If you are a Jerry Lee fan, or just love ’50’s rock & roll, this is a great album to have, but don’t miss the movie (I have reviewed it on Amazon as well) for a great time and more music! (Zorikh Lequidre)

But the best song was an real exciting version of “Whole Lotta Shakin’ Goin’ On” sung by Valerie Wellington.



Jerry Lee Lewis Band:
David Kemper (drums)
Jerry Lee Lewis (vocals, piano)
Gerald McGee (guitar)
Jerry Scheff (bass)

Valerie Wellington Band:
Lee Allen (saxophone)
Bob Efford (saxophone)
Lawrence Gales (bass)
Cash McCall (guitar)
Joe Nettles (piano)
Earl Palmer Sr. (drums)
Herman Riley (saxophone)
Valerie Wellington (vocals)

Booker T. Laury Band:
Booker T. Laury (piano, vocals)
Errol Thomas (bass)
James Robertson (drums)

Jackie Brenston & His Delta Cats:
Jackie Brenston (vocals)
Raymond Hill (saxophone)
Willie Kizart (guitar)
Willie Sims (drums)
Ike Turner (guitar)
unknown bass player

Original Jerry Lee Lewis Band (from 1957):
Jimmy van Eaton (drums)
Roland Janes (guitar)
Jerry Lee Lewis (vocals, piano)



Jerry Lee Lewis:
01. Great Balls Of Fire (Blackwell/Hammer) 2.32
02. High School Confidential (Hargrave/Lewis) 2.18

Booker T. Laury:
03. Big Legged Woman (Coulson/Temple) 3.33

Jerry Lee Lewis:
04. I’m On Fire (Feldman/Goldstein/Gottehrer) 2.15

Jackie Brenston & His Delta Cats:
05. Rocket 88 (recorded in 1951) (Brenston/Turner)     2.46

Jerry Lee Lewis:
06. Whole Lotta Shakin’ Goin’ On (David/Williams) 3.57

Valerie Wellington:
07. Whole Lotta Shakin’ Goin’ On (David/Williams) 3.09

Jerry Lee Lewis:
08. Breathless (Blackwell) 2.50

Jerry Lee Lewis and Dennis Quaid:
09. Crazy Arms     2:54

Jerry Lee Lewis:
10. Wild One (Greenham/O´Keefe/Owens)     2.19
11. That Lucky Old Sun (Gillespie/Smith)  4.35
12. Great Balls Of Fire (original version from 1957) (Blackwell/Hammer)    1:50