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CLEANING OUT SOME CLASSIC ROCK LP'S. SOME FROM THRIFT STORES, SOME FROM LIBRARY'S MY RADIO FRIENDS HAVE SOLD OR GIVEN ME, SOME FROM THE NETWORK I WAS AT.

ARTIST: LEFTY FRIZZELL (MISPELT “FRIZZEL” ON THE CUE SHEET) AND SHELLEY WEST.

TITLE- “LIVE FROM GILLEY'S”

TRACK LISTING-SEE PHOTOS & BELOW:

YEAR OF RELEASE- AIR DATE 12/25-26/1982 CHRISTMAS WEEKEND.

LABEL- WESTWOOD ONE RECORDS

CAT.#: LG 82-52

RECORD CONDITION: THE RECORD IS IN EX/EX- CONDITION, NICE SHINEY BLACK LUSTER. NO MARKS OR SCRATCHES,BOTH LABELS IN EXCELLENT CONDITION. NO AUDIO BETWEEN TRACKS. THERE IS VERY LIGHT BACKGROUND SURFACE SOUND I HEARD ON THE LEAD IN GROOVES, BUT THE AUDIO IS GREAT, THE SONGS & NARRATION ASLO GREAT.

JACKET CONDITION: IS IN NM/NM- CONDITION. SUPER CLEAN STRAIGHT EDGES, CLEAN STRONG CORNERS, NO WRITING, BENDS, CREASES ETC. GENERIC WHITE RECORD JACKET WITH THE CUE SHEET TAPED ON THE FRONT, WHICH IS CLEAN, NO WRITING ON IT.

MORE INFO : THIS RECORD IS CURRENTLY OUT OF PRINT. THIS RECORD WAS NEVER SOLD TO THE GENERAL PUBLIC. HOSTED BY MY COLLEAGUE AND NEW INDUCTEE IN THE THE COUNTRY RADIO HALL OF FAME, JIM DUNCAN. INCLUDES ONE OFF LIVE SONGS, ALSO MICKEY GILLEY HIMSELF DOES A CAMEO. INCLUDES ORIGINAL NATIONAL COMMERCIALS OF THAT YEAR, DEC. OF 1982. PRINTED ON THE LABLES IS “NOT FOR SALE-LICENSED FOR BROADCAST USE ONLY”.

ARTIST INFO: THERE WAS A SERIES OF WHAT ARE NOW HARD TO FIND CD'S FROM THE SERIES OF SHOWS, HERE'S A REVIEW THAT GIVES SOM BACKGROUND AND ALSO A HISTORY OF THE CLUB

Live At Gilley's Series (Smith Music Group, 1999)

Various Artists

Reviewed by Joel Bernstein

This series includes:

• Live At Gilley's: Bellamy Brothers

• Live At Gilley's: Bobby Bare

• Live At Gilley's: Carl Perkins

• Live At Gilley's: Freddy Fender

• Live At Gilley's: Jerry Lee Lewis

• Live At Gilley's: Johnny Lee

• Live At Gilley's: Johnny Paycheck

• Live At Gilley's: Mickey Gilley

Once designated as ""the world's largest nightclub"" by the Guinness Book Of World Records, and turned into an international icon by the movie ""Urban Cowboy,"" Gilley's is now just a memory. The Houston area club burned down in 1989, but Mickey Gilley - in a dispute with the club's co-owner - had removed all of the tapes recorded over the years so they were saved. The material being released stems from the radio series ""Live At Gilley's,"" syndicated from 1980-1988. They were recorded on 24-tracks, so the sound quality is excellent.

These releases cover a wide range of styles, with two rock 'n' roll discs (Jerry Lee Lewis and Carl Perkins), three pop-country (Gilley, Johnny Lee and The Bellamys), and three hard country (Bobby Bare, Freddy Fender and Johnny Paycheck).

The lengths also vary considerably - if these are all complete radio broadcasts either some shows were divided between two acts or some of these discs are heavily edited. While most have 12 tracks, Paycheck's has 20 and Perkins' 19. There are reasonably informative liner notes which give the recording date but no musician credits. If you want to know who's playing you'd better listen closely and hope the name gets mentioned - some are and some are not.

When it comes to putting out live recordings, there are two schools of thought. One is to recreate the concert experience as closely as possible - in other words leave in everything except that which would be clearly boring, such as a two-minute tuning up between songs. The other school is to edit out everything but the music. The latter camp dictated the contents of these discs. If you want to hear these people talking, you'd better hope they talk over the opening and closing notes, because anything else is gone. Some post-song comments are cut practically in mid-sentence as the music ends. For the less talkative acts like Gilley and Lee, this also means most of the applause is cut off. In fact, some of these ""concerts"" end so quietly, you'll be sitting there wondering whether someone just pulled the plug on your CD player. Editing out between-songs patter is one thing, but it doesn't feel like a real concert without at least an outro (that is, a ""good night"" or some such from the performer) People who like live albums or concerts as a way of learning about an artist's personality will be disappointed in that aspect on most of these discs. Bare does so much talking over music that you get a good flavor for what a charismatic performer he is, and Lewis doesn't have to talk for his charisma to come across. However, some of these discs feel less like a concert experience then a studio album with dubbed in applause (and often not much of that.)

The music itself will delight fans. Even though some were well past their commercial prime when these recordings were made, the only ones who seems noticeably aged are Perkins, whose voice had significantly deepened by this point. Some discs are pretty much collections of the artist's biggest hits - notably Gilley and Lee - but others mix in a bunch of covers as well. Perkins and Lewis mix their own rockabilly hits in with other people's, Perkins also does one original, ""Texas Blue Jeans"" which, according to the liner notes, has never appeared on any other recording. Paycheck does some Haggard and Jones as well as ""Rollin' In My Sweet Baby's Arms,"" while Fender includes ""Whiskey River,"" ""I Can't Stop Loving You"" and the surprising choice of ""Six Days On The Road."" with only 5 of his 12 tracks being his own hits.

Most live albums are geared primarily to hard-core fans of an artist, and those people will likely overlook, or maybe even prefer, the frequent lack of actual concert ambiance in order to get the high-quality music that the Gilley's discs contain.

HERE'S MORE HISTORY OF THE CLUB

GILLEY'S.Gilley's was a nightclub located in Pasadena, Texas, from 1970 to 1990. The club, owned by Sherwood Cryer, had been previously called Shelly's. Cryer decided to reopen it in 1970 under the name Gilley's, with budding musician Mickey Gilley as partner. Gilley, who grew up in Ferriday, Louisiana, with cousins Jerry Lee Lewis and Jimmy Swaggart, wanted to call the club the "Den of Sin," but Sherwood insisted on naming it Gilley's, since Mickey Gilley himself was to be the headlining act.

Gilley's launched Mickey Gilley's career, for the club was an instant success. It filled to capacity nightly soon after the opening. It had a shooting gallery, showers for truckers, a rodeo arena with mechanical bulls, pool tables, punching bags, and a dance floor big enough for thousands. It had a 6,000-person capacity and was listed in the Guinness Book of World Records as the world's largest honky-tonk. Gilley's was open seven days a week, from 10 A.M. to 2 A.M. Its motto was "We Doze but We Never Close." Dramatic economic growth occurred along the Texas Gulf Coast in the late 1970s, especially in Houston. Many residents of Pasadena worked in the Houston-area petrochemical plants, and they used Gilley's as a place to socialize.

Loretta Lynn, Emmylou Harris, and Roseanne Cash all played at Gilley's, along with many other famous country artists. Most performances were recorded live and archived, and the nightly shows were broadcast weekly on radio from 1977 to 1989. Live from Gilley's was carried nationally by more than 500 stations. Thanks to Armed Forces Radio, the show was also broadcast around the globe.

In 1978 Aaron Latham published "The Ballad of the Urban Cowboy: America's Search for True Grit" in the September 12 issue of Esquire magazine. Cryer had urged Latham to write this article, based on Latham's experiences at Gilley's, in hopes that a movie would be made of the story. The movie Urban Cowboy began filming in 1979. Most of the movie was filmed inside Gilley's. It starred John Travolta and Debra Winger as the characters Bud and Sissy, who meet at Gilley's, marry, separate, and then reunite.

Gator Conley, a regular at Gilley's, was considered the best dancer and mechanical bull rider; the director used him frequently throughout the movie. Conley stated, "A lot of people say the movie made Gilley's, but actually it was the other way around." Urban Cowboy, a box office hit, brought Gilley's into American pop culture and made the club one of Houston's main tourist draws. Even after the fad passed, Gilley's continued to draw crowds. The Academy of Country Music awarded Gilley's the title "best nightclub of the year" in 1984.

Eventually Mickey Gilley became frustrated because he believed that Cryer failed to maintain the place and present quality acts. Cryer refused to make major renovations over the years, and fans were complaining of dirty restrooms and a bad parking lot, among other problems. Gilley, who thought this reflected poorly on his name, sued to gain control of the club in 1988, claiming that Cryer had been keeping profits. The jury awarded Gilley the club and forced Cryer to pay Gilley $17 million. Cryer had to give up much of his real estate to pay the debt.

The club operated under Gilley briefly after the lawsuit, until the judge ordered it closed in 1989 due to loss of profits. Gilley rescued the tapes of the live shows before a suspicious fire burned the club down in 1990. The Pasadena school district has owned the lot since 1992. In the early 2000s the property was still mired in tax liens, unpaid taxes amounted to more than the property was worth, and PISD was searching for a buyer. In November 2005 all remaining structures, including the rodeo arena, were demolished to clear the site for the construction of a middle school. The restored Gilley's sign can be seen about a mile away at the Cowboy Ranch restaurant.

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