1) Jerry Lee Lewis and his pumpin' piano. I
loved him as a kid and lip-synched his vocals and used our old green
couch as the pumpin' piano. He was as big as the King at one time. But
after his marriage to his his second cousin, twice removed ( whatever
that is ), the Killer was thrust immediately into a downward spiral.
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We were cuttin’ the song, workin’ pretty hard at it for a while, and I
felt like we oughta get off of it, try somethin’ else for a spell. I
left the control room, walked into the studio. Van Eaton, one of ‘em,
piped up and said, “Hey, Jerry, why don’t you do that thing you did the
other night?”
That song, which Lewis often performed to great audience response, was “Whole Lotta Shakin’ Goin’ On.” Clement says the track was recorded in one take.
So
all I did was walk back into the control room and turn on the machine.
We didn’t run it down or nothin’. The mike balance, our four or five
mikes, was the same. I just simply turned on the machine, mixed it on
the fly. We didn’t even play it back at that point. We played it back
later. Once we got to playin’ it back, we played it again and again.
Loved it.
Ben Manilla writes that Lewis said he knew that one take was enough.
I
remember it very distinctly. I cut the song, “Whole Lotta Shakin' Goin'
On.” Was cut the first time. I knew it was a hit when I cut it. Sam
Phillips thought it was gonna be too risqué, it couldn't make it. If
that's risqué, well, I'm sorry.
In 1970, John Lennon told Jann Wenner,
“There is nothing conceptually better than rock and roll. No group, be
it Beatles, Dylan or Stones have ever improved on 'Whole Lot of Shaking'
for my money.” Bruce Eder writes that Roy Hall’s version, recorded in September 1955, had its own appeal.
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