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Jerry Lee Lewis: Last Man Standing

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Jerry Lee Lewis and Jimmy Page perform "Rock and Roll"

The title of this disc is a reference to the famous photo of the Million Dollar Quartet—Elvis Presley, Carl Perkins, Johnny Cash and Jerry Lee Lewis—who formed by chance on December 4, 1956 at Sun Studios and recorded a loose jam of mainly gospel and spiritual music. These four are like the Mount Rushmore of rock and roll, and it’s puzzling to think that Jerry Lee Lewis would outlive the rest, considering his full-throttle approach to life. But then, none of these guys were what you’d call “straight edge.” Now they’re all gone but Lewis. Fifty years later, listening to this star-studded collection of 21 new duets with performers who began their careers in the ’50s, ’60s, ’70s, ’80s, ’90s and ’00s, you can’t help but marvel at the undiminished power of his unique piano style—equally at home on ballads like Robbie Robertson’s poignant “Twilight” as on John Fogerty’s “Travellin’ Band,” which is performed at breakneck speed. On the bouncy “Just Bummin’ Around,” where he pairs with Merle Haggard, you can sense the glee these two legends share covering the old Dean Martin hit. A self-taught player who fused R&B with boogie-woogie, gospel and country-western to create a pumping, rhythmic style that is the template for all great rock-and-roll piano, the Killer has eerily maintained his golden touch on the ivories to such an extent that you begin to suspect some kind of Faustian, Robert Johnson-like deal had been struck years ago. But Lewis, the cousin of sinning preacher Jimmy Swaggart and country bar owner/performer Mickey Gilley, has freely admitted to playing the devil’s music ever since he was expelled from Southwestern Assemblies of God Bible School for performing, at 15, a boogie-woogie version of “My God Is Real.” So if there are dark, supernatural forces at work, it wouldn’t really be news. But beyond his remarkable ability on the keyboard, what also stands out here is his signature vocal delivery. Always confident, spontaneous and natural, what he lacks in range he makes up for with rhythmic intensity. His phrasing, like his playing, is still filled with staccato runs, slides and soulful wailing that have characterized his sound for over 50 years. After his very early hits, Lewis’ career quickly imploded when he, at 23, brought his third bride, a 13-year-old second cousin (twice removed) named Myra, to England in 1958. The tour ended after three shows and the outrage followed him back to the US—where his ascendant stardom flickered in a spasm of headlines before crashing into an endless string of one-nighters in whatever joints would risk his unpredictable behavior and legendary temper. He was not heard from again on the national level until he began recording some classic country tunes in the late ’60s—represented here by “What Made Milwaukee Famous,” a duet with Rod Stewart. Last Man Standing is a lovable tribute from performers who’ve been marked by this hurricane-force entertainer from Ferriday, Louisiana—names like Bruce Springsteen (“Pink Cadillac”), BB King (“Before the Night Is Over”), Kris Kristofferson (“The Pilgrim”), Willie Nelson (“Couple More Years”), Mick Jagger and Ron Wood (“Evening Gown”), Keith Richards (“That Kind of Fool”), Eric Clapton (“Trouble in Mind”), Buddy Guy (“Hadachol Boogie”) and Neil Young (“You Don’t Have to Go”). Also getting into the act are Kid Rock (“Honky Tonk Women”) and everybody’s favorite jingoist, Toby Keith (“Ol’ Glory”). Jimmy Page, Ringo Starr, Little Richard and Delaney Bramlett all offer fun, charismatic appearances. George Jones—an old bull of an artist who similarly made his share of headlines fueled by booze and firearms—provides a real gem with the Cindy Walker classic western swing number “Don’t Be Ashamed of Your Age.” Unexpectedly, one of the best duets comes courtesy of Don Henley, who pairs with Lewis on Van Morrison’s “What Makes the Irish Heart Beat.” Complete with penny whistle, this sentimental air sounds like a salute to the land Lewis called home for a few years in the early ’90s, while sorting out a famous disagreement with the IRS. Released on the artist’s 71st birthday, this record could have been a tired rehash of Lewis’ early hits. Instead, it comes as a surprisingly limber display of new songs and deep cuts from one of the true founding fathers of rock and roll, a wild American voice who makes any song instantly his own and whose fingers, when applied to the piano keys, still possess the Midas touch.