There is a wonderful paragraph 63 in the rules of the Internet: any character must have a version of the opposite sex. It has not spared the rock and roll galaxy either, because Jerry Lee Lewis’s piano killer has a quite gloriously singing and harpsichord playing sister Linda. Most recently, she, along with Skinny Jim Fentom and her own son-in-law Danny B. Harvey, released a new album with the pretentious name Rockabilly Queen. Today we will consider how true this statement is.
First, a little history: Linda Gayle Lewis, Jerry Lee’s sister, began her musical career in the late sixties, but became most active towards the end of the twentieth century. Like her brother, Linda is a singing pianist, although she only sets the pianos on fire on the cover of this album: everything is much more restrained and decent. I recommend reading her-and-her-brother’s version of the Jackson song from the 1969 album Together.
If you need to give the most comprehensive description of Linda’s work, then she is, perhaps, rockabilly-in-law, an honored national artist. In the recording world, the real line-up with Jim and Danny debuted last year at A Tribute To Jerry Lee Lewis. What happened to her in the same team with the pretty hooligan guys this time?
The album has a very nice juicy and expensive sound. Cleopatra Records obviously didn’t skimp on the device! I can literally feel the expensive chains of vintage appliances warming up the sound signals to the temperature of a home fireplace. I am especially pleased with how the completely modern guitar sound is woven into the mix. The rhythm section is pleasantly crackling with fireplace logs, creating a cozy space in any place. No sexism, but I preferred listening to this record in the kitchen while cooking a family dinner. Let’s analyze each track more thoroughly, as is our custom.
Funeral of Love, a nod to another rockabilly monarch, Wanda Jackson, immediately reveals all the strengths of the record. Slim Jim’s laconic and powerful breaks and Danny B’s juicy and prickly cuts, as well as wonderful backing vocals, make this version one of my favorites. Perfect for those who didn’t understand Wanda’s chainsaw vocals. Linda is much softer.
Baby, Please Don’t Go – Linda keeps coming in with trumps. A version of this standard with an emphasis on rock is very good. The guitar continues to add salt and pepper, the double bass slaps off the standard, without going into a psycho-madness. The keyboard accompaniment demonstrates the same sensitivity, and Jim’s hi-hat in this piece gives an amazing accent.
Friday’s Child gives you a break from the action movies with quite traditional blues, with somewhat unusual harmonies. The curious effects on the voice immerse you in a somewhat psychedelic mood.
Train Kept A-Rollin’ – maybe I’m just not a fan of this standard, but I don’t see anything frankly remarkable here. A couple of rhythmic melisms from Jim brighten up the picture, but I’d rather wait for the next train.…
Trains to Flipsville! There’s no alternative, it’s time to finish the cigarette butts with the toes of your shoes, after drinking two hundred twice. The opening reef, with its characteristic otherworldly rolling, awakens the inner Wednesday Addams in everyone.
In contrast to the track about Shchelkograd, I Knew That You Were Leaving makes you rather sit down on the rubble, and, with a rustic longing in your eyes, nostalgic for the old days.
Unfortunately, Diggin’ My Way Out of Hell doesn’t get you off the ground at all. Digging out of hell, in my opinion, is more energetic and evil. Somewhere in the middle of the song, after the first keyboard solo, the right fuse seems to appear, but I want more! However, I have a clinical stage of psychobilly of the brain, maybe that’s the point.
On Eeny Meeny Miny Moe, the gang finally comes to life, while maintaining restraint and some kind of age-related kindness. What else can you expect from a song based on a children’s rhyme?! Although the guitar, drums, and even the piano are quite adult-like here.
I can say about the same thing about the next Bang Bang song. Linda seems to be putting all her guys and herself off in order to stay within the bounds of decency. The song itself is pretty bland, but the solo performances give you a light while the kids don’t see it. It’s like this is the first time Linda has allowed herself to be properly salted, and… she’s getting better at the accompaniment.
Seven Long Years seems to last for the entire specified period, but it’s a very traditional shuffle and I’m fiercely rocked by Jim’s drums. Moreover, there is one specific working drum.
Don’t Give No Lip awakens the familiar foot movements again. There are a couple of interesting moves in Dani’s solo. Well, that’s about it.
Boogie Woogie Throwdown closes this decent party. The album is trying to loop: the backups are returning, the mysterious special effects, the solos are quite bright again, but not too much. Perfect for dancing. Yes, you can and should dance to it.
And if this was really the end, I would say that this is not a bad album, but only the first three tracks are really good in it. If it wasn’t for the bonuses!
Imagine that your wild party, which started very cheerfully, loses its fervor and becomes, of course, glorious, but a little boring. And then, when there is no hope left for a fierce carouse, the metaphorical Stasyan rushes in with absolutely wild statements.
Track number one of the damn dozen brings Bill Haley himself down from rock’n’roll heaven! And now it’s very cool and conceptual. See You Later Alligator! Next, The Lion Sleeps Tonight strikes with an even more mysterious experiment. Here the fact itself is surprising, and the execution of this joke is excellent.
Then it’s even more fun: the Christmas song I Want a Hippopotamus for Christmas, first performed by ten-year-old Gal Peavy (I hope my name transcription is correct) back in 1953. But the album was released in the summer!
There is also an instrumental version of Diggin’ My Way Out of Hell, literally karaoke, and another version of the same song, which I could not find any differences from the main album version.
So we have a good album of famous artists. It does not tear the soul and eardrums, but it does not seek to do so either. You’d better get yourself another piece of turkey. I’ll add the first three tracks to my playlists. Let the rest play in the background on the radio.
Linda is indeed the queen of rockabilly, but it is an exclusively constitutional monarchy with no particular pretensions. Her kingdom is small and hospitable. In this kingdom, they like to have decent parties for the whole family in the living room or in the backyard, depending on the season.
And I’ll finally mention the hippopotamus in the room: this is the first rockabilly album cover made by neurone in my memory! It remains to see the cover in the style of postcards from Viber and celebrate Cucumber Day in Austin, Texas.
Of course, the album is great, because all the guys have been involved in this music all their lives and give out a high class in the performing and in recording.
Though Linda is a good musician, primarily because of her older brother JLL, a great musician and an unsurpassed artist.
You can’t ask her, as in the case of Dave Alvin, “how’s your brother?” except to say, “He sent his regards!”
And the title is inappropriate, because she is primarily a country singer. In the early years of rockabilly, she was still too young to act. In the 60s and 70s, rockabilly was not in high esteem in the States, everyone played country music.
I don’t remember her taking part in the 80s and 2000s revival, I listened to all the iconic albums. In the 2000s, Imelda May and Marlene Perez appeared. Wanda Jackson presented Imelda as her successor, but she took off the crown after parting with Darrel: https://thistown.rocks/imelda-may-11-past-the-hour-2021/
Wanda is closer to me with her insane screams in her youth and even with her cracked vocals in her old age. And also “she taught Elvis how to kiss properly”)) And Marlene doesn’t make big statements or claim sky-high titles.
The LGL group can be called “Mother-in-law, Danny and Slim Jim”, but I like Danny’s collaboration in the form of a duet with Anna-Marie much more, not to mention the amazing Headcat.