Four-disc monument to the Killer, containing no filler… What with one thing and another, it took the Grand Ole Opry a while to invite Jerry Lee Lewis to make his debut. Sixteen years, in fact, from his first hits (“Whole Lotta Shakin’ Going On”, “Great Balls Of Fire” ) to finally ushering the Killer onto the stage of Nashville’s Ryman auditorium in January 1973. The high temple of the country music establishment had their reasons for hesitating. Lewis was not known for family-friendly behaviour, unless one counts as such already having three families by this point – one, to the detriment of his box office, with a cousin he’d wed when she was thirteen. But he’d grown up, surely. He was pushing 40. He’d married for a fourth time, to someone old enough to vote. And he was reinventing himself as a proper country singer – he’d had hits with versions of Kris Kristofferson’s “Me & Bobby McGee”, Jimmie Rodgers’ “Waiting For A Train” and Ray Griff’s “Who’s Gonna Play This Old Piano?”. The Opry prepared to formally welcome the black sheep to the fold.
…The breadth, depth, and height of the sound stage presented by the multi-channel "surround" mix delivers an enormous portion of the experience of a live performance of a splendid orchestra, with splendid soloists in a splendid hall. You really are "surrounded" by the ambient signature of the Atlanta concert hall. Orff's percussive writing, as well as the innovative writing for winds and the large chorus is wonderfully captured with huge impact. I can ask for nothing more!