Jerry Lee Lewis

Last Man Standing: The Duets (Artists First)

Twenty-one gun salutes don’t normally take half a decade to execute, but Last Man Standing acquits duet as a four-letter word. The Everlys go AWOL, but dual-vocal patent holder George Jones ambles along prior to Pancho (Willie) and after Lefty (Merle). “Evening Gown,” Jagger’s signature solo standard, wouldn’t have missed its self-conscious designer, but Richards’ howling harmonies on “That Kind of Fool” all but call time 13 shots early. “Honky Tonk Woman” shacks up with Kid Rock, and Toby Keith’s tall, deep, “Ol’ Glory” waves if not through eternity then through its two tricolor minutes. B.B. King leaves word via Lucille, Lewis’ boyish vocal blissfully solo, while Clapton ignites “Trouble in Mind.” Buddy Guy powers down “Hadacol Boogie,” and Jimmy Page snarls “Rock and Roll.” On Springsteen’s “Pink Cadillac” and the Band’s “Twilight,” ol’ Jerry Lee leaves crimson streaks on the ivory. Kristofferson’s “The Pilgrim” pays its respects last, the outlaw bent, but unbowed. Killer.

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This article appears in November 10 • 2006.

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San Francisco native Raoul Hernandez crossed the border into Texas on July 2, 1992, and began writing about music for the Chronicle that fall, debuting with an album review of Keith Richards’ Main Offender. By virtue of local show previews – first “Recommendeds,” now calendar picks – his writing’s appeared in almost every issue since 1993.