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Infected Mushroom: Making Psy

Jerry Lee Lewis: 'Whole Lotta Shakin' Goin' On'
Classic Tracks
Production
By Richard Buskin Published June 2011

Jerry Lee Lewis's raucous piano playing is the stu of rock & roll legend, but
his discovery and signing to Sun Records was the result of aseries of lucky
chances. Engineer Jack Clement tells usthe story...

In this article...
While The Boss Is Away...
Jack Clement
Rock & Roll Piano
The Sun Sound
Jerry Lee's 'Crazy Arms'
One Take Wonder
After Sun
The 'Million Dollar Quartet'
Rattle & Hum

Jerry Lee Lewis performing in the 1957 lm

Jamboree.
Photo: Redferns

There is nothing conceptually better than rock & roll, John Lennon told Jann Wenner in an
interview for Rolling Stone magazine. "No group, be it Beatles, Dylan or Stones, have ever
improved on 'Whole Lotta Shakin'' formy money.

Lennon was 16 when, sometime in 1957, he rst heard Jerry Lee Lewis's groundbreaking
rendition of the number that had originally been recorded by rhythm and blues belter Big
Maybelle acouple of years earlier. Rockabilly pianist Roy Hall who, under the pseudonym of
Sunny David, wrote 'Whole Lotta Shakin' Goin' On' with black musician Dave Williams also
recorded his own version, before Lewis inspired ageneration of teens by injecting the song
with his inimitable brand of boogiewoogie, country, gospel and R&Binfused hell re.

Released in May 1957, the single rose to number eight in the UK, reached number three on
what was then known as the Billboard Top 100, and became an R&B and country charttopper.
In the process, it launched the career of the pianopounding, rocketfuelled wildman whose
manic, overtly sexual live performances provoked parental nightmares. As it happens, the
selfdescribed "Killer only enjoyed four Top 20 hits before the scandal of his marriage to
a13yearold cousin brought the successes to ascreeching halt. Yet, courtesy of awideranging
career that has now spanned seven decades and comprised an impressive body of work,
Lewis's legend has remained intact, and the tale of how he rst came to prominence is, like the
man himself, quite unique.

While The Boss Is Away...

Sun Studio, originally known as
Memphis Recording Service, is now
atourist attraction and, once again,
arecording studio.

Born in Ferriday, Louisiana, on September 29th, 1935, Jerry Lee Lewis displayed musical talent
from ayoung age. After his parents mortgaged their farm to buy him aStark upright piano, he
developed his style by watching the boogiewoogie playing of his older cousin Carl McVoy, and
listening to the sounds of the black artists who performed at alocal juke joint named Haney's
Big House, owned by his uncle Lee Calhoun. When Jerry Lee's mother enrolled him in the
Texasbased Southwest Bible Institute, so that he could dedicate his talents to the Lord, the
amboyantly dexterous yet uncontrollable kid was immediately expelled for ripping his way
through aboogiewoogie rendition of 'MyGod Is Real', and thereafter he plied his trade in
clubs around Ferriday, as wellasinNatchez, Mississippi, and Nashville, Tennessee.

In 1955, at around the same time that Lewis failed an audition to perform at the Grand Ole
Opry, he was told by unimpressed Nashville record company execs that he should switch to the
guitar. As usual, he didn't listen. Instead, impressed by the output of the tiny Memphis
Recording Service that was owned and operated by Sam Phillips the man who had already Readers' Ads
discovered Howlin' Wolf, Elvis Presley, Johnny Cash and Carl Perkins Lewis decided to see if
he, too, could bene t from the production skills and career guidance of the Sun Records label VIEW ALL ADS CREATE FREE AD
owner. As luck would have it, Phillips wasn't in town when Jerry Lee and his father, Elmo,
travelled to Memphis in November 1956, yet the story surrounding their trip has become part
of rock &roll folklore.

"Itook possibly the rst vacation that I'd ever had in my life when I, my wife and our two young
sons went to Daytona, Florida, for aweek, Sam Phillips recalled when Iinterviewed him in
1998. "Jerry Lee Lewis had been trying to see me, and while Iwas away, he and his father had
apparently sold eggs to buy gasoline to come up here. You might think, 'Man, was anybody that
poor in the '50s?' Well,they were.

Indeed, the Lewises funded their Memphis visit by selling 13 dozen eggs to Nelson's
supermarket in Ferriday.

"At that time, to earn aliving, Jerry Lee was performing in anightclub and playing the piano
with his right hand and the drum
drums with his left, con rms Phillips' thenassistant Jack Clement
who, after Lewis rst walked into the building at 706Union Avenue, was informed by
o ceassistant Sally Wilbourn, "There's aguy here who says he plays the piano likeChet On the same subject
Atkins.
Infected Mushroom: Making Psytrance
This was quite aboast, since Atkins' claim to fame was on the guitar. June 2017
CLASSIC TRACKS: Primal Scream Come Together
"Isaid, 'Really?' Clement recalls. "'I've got to hear that.' So Jerry Lee came into the studio and June 2017
played 'Wildwood Flower' on this little spinet, and he sounded like Chet Atkins playing the Inside Track: Disneys Beauty And The Beast
piano! When Iasked him, 'Do you sing?' he said, 'Yeah,' so Isaid, 'Well, sing something,' and as June 2017
soon as he did, Imade atape of it. He was singing these country songs by George Jones Mix Rescue: Balazs Daniel Boogie Woogie Trio
May 2017
'Seasons of My Heart' and 'Window Up Above' and Ireally liked what he was doing. The tape
Pre-production
Imade had four or ve songs, and there wasn't any rock & roll, so Itold him, 'We don't do
May 2017
much country around here. We're in the rock & roll business. You ought to go home and work
up some rock & roll numbers...'
Latest Videos

Jack Clement
 Infected Mushroom: Making Psytrance
Uploaded 4 weeks 8 hours ago
The live room at Sun Studio today.
Photo: Sun Studio

Born in Whitehaven, Tennessee, on April 5th, 1931, Jack Henderson Clement was, like Jerry Lee
Lewis, musically active from an early age; in his case, as asinger and, eventually, asongwriter
and guitarist. After earning good money performing in hillbilly clubs around Washington DC
during his 1948'52 stint in the United States Marine Corps, Clement pursued aparttime
career as amusician while earning extra cash as adance instructor and driving alaundry truck.
Then, in 1955, while attending Memphis State University, he performed aChristmas Eve gig at
afriend's club in Arkansas. That same friend, Slim Wallace, drove him home, accompanied by
Mrs Wallace and another woman who, deemed to be drunk and disorderly during astop at
adiner, ended up being arrested and thrown in jail, along with her sober defender, Mr Audio Director Adele Cutting on Game Sound at ACM
Clement. Still, this would have afortunate outcome. Uploaded 1 month 4 days ago

"Slim and Iwanted to form our own label, Fernwood Records, and during my spare time Iwas
building astudio in his garage, Clement recalls. "Anyway, he hung around to get me out of jail
on Christmas Day, and since there wasn't much public transportation we decided to hitchhike.
Out on the highway, we were picked up by this guy named Billy Lee Riley. He was arockabilly
artist, and after Itold him that Slim and Iwere getting into the record business, we rehearsed
some of Billy's songs in Slim's garage. It didn't have good enough equipment to make aproper
record, so Iwound up producing 'Trouble Bound' and 'Think Before You Go' at the studio of the
WMPS radio station.

Clement subsequently took the tape of this session to the Memphis Recording Service for
mastering, and when he returned afew days later, he ran into Sam Phillips who, impressed by Connect with Music Makers. Music Expo expands to 3 cities
what he had heard, told him he'd like to release Riley's tracks on Sun Records and that he'd in 2017
Uploaded 1 month 1 week ago
also like to o er Clement ajob. Hardly enamoured with his current parttime work at alocal
hardware store, Clement accepted, and on June 15th, 1956, he became Sam Phillips' assistant.

"If the Arkansas cops hadn't put me injail on Christmas Eve, Iwould have nevermet Billy Riley
and landed ajob withSun Records, says Clement, while adding, "Fate sometimes has
awonderful way of intervening.

Rock & Roll Piano

One of Sun Studio's Ampex tape

recorders.

After Phillips requested something more upbeat to pair with 'Trouble Bound', Clement
recorded Riley's 'Rock With Me Baby' for the Bside of the single releasedthat September. Then
he worked with another new discovery by the name ofRoy Orbison.
"Sam was burned out on this engineering stu , Clement remarks. "He had been doing it for
years, so he hired me as his assistant and pretty soon he was letting me work with Carl Perkins,
Johnny Cash and all the rest of them.

Nevertheless, when Clement played Phillips the tape of Jerry Lee Lewis performing country
standards, following the studio owner's return from his Florida vacation, it piqued his interest.

"Ireally was looking for an artist who could be alead piano player and hopefully avocalist, too,
and damn if Jerry Lee Lewis wasn't like that, Phillips recalled. "Ireally do think that the guitar is
the greatest instrument on the planet, but there were so many guitarists by that time that
Iwanted apiano. So, when Iheard this demo of JerryLee Lewis, Isaid, 'Where is that cat? Get
ahold of him and get him in here! Iwant to talk to him.'

Jack Clement picks up the story: "Jerry Lee's phone number was on the back of the box of tape,
but one day he just walked in with his daddy and Isaid, 'Well, I've been meaning to call you.'
This was on aMonday, and Itold him that if he could come back on Thursday we'd cut some
tracks. When Thursday arrived, Sam Phillips had gone to the annual Disc Jockey Convention in
Nashville, so Itook charge of the session. Jerry Lee played me this song he had written called
'End Of The Road', and Iliked it. Then he had arocking version of the old Gene Autry country
song 'You're The Only Star In My Blue Heaven', and he sat down at the piano and played the
heck out of that in awhole di erent way. Isaid, 'That's great.' So, we cut 'End Of The Road', and
just as we were about to quit Iasked him, 'Do you know 'Crazy Arms'?' That song had been out
for quite a while.

Recorded by Ray Price and released in May 1956, 'Crazy Arms' had topped the Billboard
country music chart the following month and remained there for 20 weeks.

"Jerry Lee said, 'I know alittle of it,' Clement continues, "so Isaid, 'Well, let's do it.' I'd been
messing with that little old spinet piano, putting thumb tacks on the hammers that made it
sound awhole lot di erent, especially the way Jerry Lee Lewis played it. Iwasn't the rst one to
do that, but Ifound out that if Ipulled o the piano'spanel down below and stuck amic under
there instead of miking it from the top, it sounded really good. That's the sound you hear on all
of his big hits. It was abig day when he nally got asmall concert piano, but most of the stu
was done on the little old spinet. He could play the heck out of that thing.

Clement can't recall the microphone that he used to record the piano, but he says "we had
some Shure and ElectroVoice mics; nothing fancy. One day, we got three new RCA 77s, and for
us that was abig deal.

The Sun Sound

Jack Clement (left) and Sam Phillips in the 1990s.

By 1956, the Memphis Recording Service control room housed an RCA 76D radio console, with
inputs and outputs coupled through transformers to provide the Sun label's trademark warm
sound. And then there were the two Ampex 350 tape decks one the master, the other
rackmounted via which the famous slapback echo was achieved by bouncing the signal
from one machine to the other, with asplitsecond delay.

"The board had rotary pots and allowed us to use six mics at once, says Jack Clement. "If we
wanted echo, we'd have to use another pot with another mic on it. Well, next to the console
Ihad alittle side panel with six knobs on it, and that meant Icould get echo on all six
microphones with just that one mic. We could run the tape at 7.5 inches per second or 15;
Iusually ran it at 15 so there wasn't such along delay.

According to Sam Phillips, the 'Sun Sound' was as much about sparse instrumentation as it was
about his pioneering use of slapback echo.
"The human ear doesn't like hearing something that is aurally so di erent to the point of being
strange, he explained. "It likes something di erent so far as the total con uence of the sound
and the song and how it's done. Iknew that people had heard records on jukeboxes in live little
restaurants and dives, and what Itried to do with that type of echo and the sparse
instrumentation was to make the sound not too foreign to the average ear. The acoustics of
the room were good, but miking has an awful lot to do with the nished product. Of course,
everything at that time was monaural, and I'm big on miking and I'm big on using the right mic,
although Icouldn't buy real expensive microphones.

These remarks tie in with Jack Clement's own observations about the audio qualities of the
studio.

"Sam used to say, 'This room's got asound,' and Ithought he was full of youknowwhat, but
Ilater realised this was true, Clement says. "It has leakage, but it's good leakage. It doesn't
sound o mic; it just lls up the sound, and the room isn't big enough for there to be too much
echo. It was avery simple setup and it worked. We were always talking about constructing an
echo chamber out back, but Sam didn't own that building, he was renting it. So, even though he
knew how to build one, we never did do it.

"One time, Sam accidentally put aCarl Perkins album on the echo machine that we would leave
running every time we'd record. Well, Icame in there to record something, turned the machine
on and erased the entire album! Sam didn't complain, because he knew it was his fault that
album, consisting of singles and Bsides, had taken several months to produce and we didn't
have any safety copies, but Idon't think it was that good anyway...

Jerry Lee's 'Crazy Arms'

The 'Million Dollar' quartet. From left to right: Jerry

Lee Lewis, Carl Perkins, Elvis Presley and Johnny
Cash.
Photo: Michael Ochs Archives

For the 'Crazy Arms' session, guitarist Roland Janes was recruited, along with drum
drummer JM Van
Eaton. At one point, while Janes was in the bathroom, Billy Lee Riley walked in and picked up
Janes' guitar, so Janes then played an upright bass. However, since Riley only played achord at
the very end of the song and Janes wasn't near amicrophone, the only instruments that can
really be heard on the nished record are the piano and drum
drums. JW Brown was Jerry Lee's bass
player on the road, but Lewis's solid left hand on the keyboard made the bass super uous in
the studio.

"Sam came back over the weekend and on the Monday Iplayed him 'Crazy Arms', Clement
continues. "Well, before we even got to the singing, he told me to stop the machine and he
said, 'Now, Ican sell that!' as if to say, 'You young whippersnapper, you've nally done
something Ilike!'

"Iwas just blown away, Phillips recalled in 1998. "The guy was di erent... The expression, the
way he played that piano and how you could just feel that evangelical thing about him man,
was Ilooking for that, and there it was!

"Sam made adisc in the control room and took it down to [local radio DJ] Dewey Phillips that
night, Clement adds. "Dewey played it and people responded to it, they loved it. By the
following Thursday, it was in the stores, and it did very well for arecord by anew artist.

'Crazy Arms' was released on December 1st, 1956. It wasn't ahit, but it sold respectably and for
several weeks after its release Jerry Lee Lewis took work wherever he could nd it, both on the
road and in the studio. This often consisted of backing Carl Perkins and Johnny Cash, while
developing the onstage persona for which he would become famous/infamous unable to
dance around with aguitar, he would kick away his piano bench, slam the keys with hisfeet
and, when said piano was big enough to support him, burn o more unbridled energy by
standing on its lid and gyrating to the music. He made damned sure he was atough act to
follow. (Just askChuck Berry, who once had to walk onstage after Jerry Lee nished his set by
setting his piano on re.)

One Take Wonder

In Nashville back in 1955, Lewis had played at the Musicians' Hideaway bar owned by Roy Hall,
and it was after hearing Hall perform 'Whole Lotta Shakin' Goin' On' that The Killer adapted and
incorporated the number into his own live act. Now fastforward to February 1957, and aSun
session that commenced with Jerry Lee and the boys working on one of Jack Clement's own
compositions, 'It'll Be Me'.

"It just wasn't jiving at that time, Clement recalls, "so Iwent into the studio and said, 'Why don't
we get o this for a while and do something else?' That's when Jerry's bass player [JW Brown],
who was also his rst cousin and would soon become his fatherinlaw, said, 'Hey, Jerry, do that
thing we've been doing on the road which everybody likes so much.' Jerry said, 'OK,' so Iturned
the tape machine on and he did 'Whole Lotta Shakin' Goin' On' in one take. No dry run,
nothing. That was the rst time Iever heard it.

During an era when most studios' modus operandi was to record three or four tracks in as
many hours, no such time constraints were enforced at Sam Phillips' facility.

"The musicians weren't quick enough to work that way, Clement says. "These were often guys
who hadn't made records before. But they were good. The thing about Jerry Lee is that you
could give him apiano and an audience of one or more people and he would give you the
whole show. That's what was so great about him.

As performed by Lewis, acatchy but fairly standard R&B number was transformed into just
under three minutes of rock & roll magic. OK, so he only sang asmall portion of the 'Whole
Lotta Shakin'' lyrics, but the power of his playing and suggestiveness of his vocal delivery were
nothing short of transformative, culminating in the sedate yet leering spoken passage
"shake it, baby, shake it, all you gotta do honey is kinda stand in one spot, wiggle around just
alittle bit... that is followed by the rousing nale and closing glissando.

"Iknew it was ahit when Icut it, Lewis would later say. "Sam Phillips thought it was going to be
too risqu, it couldn't make it. If that's risqu, well, I'm sorry.

Evidently, Phillips quickly warmed up to the number and, certain of its sales potential, poured
all of his resources into its marketing. He wasn't disappointed, especially when, in October
1957, Jerry Lee Lewis followed 'Whole Lotta Shakin'' with aneven bigger and more
lascivious hit. 'Great Balls Of Fire', which he performed in the rock & roll lm Jamboree,went
all the way to number one in the UK while reaching number two in the US. Again,
JackClementwas sitting behind the console, as he was for Lewis's other major successes,
'Breathless' and 'High School Con dential'.

"He performed 'Great Balls Of Fire' on the new piano and it took several sessions to get it right,
Clement recalls. "We knew it was ahit, so we kept messing with it until we got what we wanted.
Still, it was pretty straightforward and working with Jerry was usually fun. He had agood sense
of humour and Iloved his playing. It was unique.

After Sun
During his three years producing and engineering songs for Sun Records, Jack Clement also
loved working with Johnny Cash, who recorded several of Clement's songs, including the hits
'Ballad Of ATeenage Queen', 'Guess Things Happen That Way' and 'The One On The Right Is
OnThe Left'.

"He liked my songs and he liked my guitar playing, says Clement, who arranged the horns on
Cash's 1964 hit 'RingOf Fire'. "Iplayed rhythm guitar on alot of his stu , and on 'Big River'
Iplayedguitar and abass drum at the sametime... Iworked with him right up untilhe died,
playing guitar and Dobro. Hewas always my favourite and we became dear friends.

After leaving the Sun studio in 1959, Jack Clement worked alongside Chet Atkins as aproducer
for RCA in Nashville and became amajor gure on that city's music scene, launching at
various times his own publishing company, record label and its rst 16track studio.
Nicknamed 'Cowboy' Jack while working with country artists Allen Reynolds and Dickey Lee
"We were clowning around, calling each other 'Cowboy', and for some reason my name stuck.
Isuppose everybody needs atitle and 'Colonel' was already taken Clement has produced
greats such as Louis Armstrong, Waylon Jennings, Charlie Rich, George Jones and Charley Pride,
and written songs recorded by anyone from Garth Brooks, Cli Richard, Gram Parsons and
Tom Jones to Ramblin' Jack Elliot, Emmylou Harris, Dolly Parton and John Prine.

Clement's list of credits goes on and on, and he is still working today, sometimes at the
commercial facility that he once owned and also in his 24track, Pro Toolsequipped home
studio. Nevertheless, his discovery of Jerry Lee Lewis is still one of his greatest achievements,
and this includes his production of 'Whole Lotta Shakin' Goin' On' which, in 2005, was selected
by the United States' Library of Congress for its National Recording Registry.

"My favourite years were the ones working at Sun, Jack Clement concludes. "It was just
abunch of crazy people getting in there and doing crazy stu and selling millions of records.

The 'Million Dollar Quartet'

Three days after recording 'Crazy Arms', Jerry Lee Lewis was back in the studio, earning
extra money playing piano on aCarl Perkins session that produced the classics
'Matchbox' and 'Your True Love'. As the session was winding down, who should drop by
but Elvis Presley, who had departed Sun for RCA just over ayear earlier and was, by now,
the biggest star on the planet. After listening to that day's recordings, Elvis started
jamming with Carl and Jerry Lee; quick o the mark, Sam Phillips immediately contacted
Memphis Press Scimitar reporter Robert Johnson so that he could photograph and write
about the impromptu session, and he also called and invited Johnny Cash to join the
proceedings. Cash would leave soon after the photos of the 'Million Dollar Quartet' had
been taken, but the other three stuck around and spent the next couple of hours
indulging their love of country, gospel, and thencontemporary pop songs.

"Sam had been running the board for the Carl Perkins session, but he left after the
photos were taken, Jack Clement recalls. "So Isat at the board and turned up acouple of
knobs, and Icould hear them all gossiping and jamming in there. Iremember standing
up and saying, 'I'd be remiss if Ididn't record this,' so Istuck atape on, moved around
afew mics that were already on stands in the studio, and captured everything for the
next hourandahalf to two hours. We had 30minute tapes, andevery time I'd get close
to the end Iwould put another one on and just let it roll. No one complained about this
they could see it running and although I'd get the tapes out every once in awhile,
Idon't think Sam listened to them all the way through. No one thought they were
important, but later on they somehow got bootlegged and then they wereturned into
alegitimate record which is now the basis ofaBroadwayshow! On at least one or two
occasions, Sam said something along the lines of 'There's gonna come atime when alot
of these songs we're working with nowadays will be in Broadway plays and movies,' and
he was right.

Rattle & Hum

In 1987, Jack Clement was asked if he would like to record "a major rock & roll group at
the recently reopened Sun Studio in Memphis. As he recalls the conversation:

"Isaid, 'Are we going to use the 12track Akai?' and the guy told me, 'Yeah, that's what is
there now.' Isaid, 'Well, Idon't think you can a ord me.' Of course, the Akai was OK, but
it wasn't as good as using a24track machine. Anyway, Ihadn't been told who the group
was, and when the guy said it was U2, Istill hadn't heard of them. Idon't listen to the
radio all that much all Ilisten to now is satellite radio. So, Isaid, 'I'll think about it,' and
walked out of my o ce down the hall, where Iran into aguy who worked there and
asked, 'You ever heard of aband called U2?' He said, 'Oh yeah, they're the biggest rock &
roll group in the world!' When Itold him they wanted me to work with them, he said, 'Do
it!' So, Idid, and it was alot of fun.

The result was part of the 1988 Rattle & Hum album: 'Angel Of Harlem', "When Love
Comes to Town with BB King, and 'Love Rescue Me' with backing vocals by Bob Dylan, in
addition to the Woody Guthrie song 'Jesus Christ' which appeared on atribute album to
the late, great folk artist. The sessions comprised Clement's rst time at the Sun facility in
many years, and it was then that he nally appreciated its acoustics.

"By then, Ihad built several studios, and so Iunderstood what makes it sound real good,
he says. "All that good leakage makes it sound live. The room is just the right size; about
18 feet wide by 24 feet long, with afairly high, arched and vshaped ceiling, and
 acoustictiled walls. Here was afullout, modernday rock band and they loved working
there. So did I.

Published June 2011

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