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This album of covers brims with intensely organic and engaging moments, breathing new life into songs that could've just hung out like tired old windbags.
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UncutLewis' piano still sounds as urgent and uncontained as it did whrn rock'n'roll was invented on it, and his insouciant snarl remains thrillingly feral. [Nov 2010, p.93]
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Do too many cooks spoil this classic rock 'n' roll concoction? Hell, no.
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The sessions don't sound patchy or cobbled together. There's a unity in terms of performing equality, coupled with an unbeatable repertoire.
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Jerry Lee Lewis, who turns 75 at the end of this month and demonstrates that he's still eminently capable of pumping those 88 black and white keys.
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He sounds old, all right, but in the best way: This is the voice of a man who has seen, and done, it all.
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As with most feature-heavy albums, some of the duets fall flat....Still, there is some real magic to be had on Mean Old Man.
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With each track designed as a showcase for the featured guest, Mean Old Man winds up playing a little like a collection of moments but it's hard to complain when the moments prove that you can still be vigorous and vital at the age of 74.
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The album, which comes in 10- and 18-track editions, sounds better on paper than in reality. But there is the odd moment-such as "Railroad to Heaven," with Solomon Burke at his God-fearing best-that rises above its creditable but decidedly rote surroundings.
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Mean Old Man may be a fundamentally lazy album, but it works in the right places, making sharp choices and offering a mostly agreeable experience.
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Q MagazineNot a lot of thought has gone into changing the formula. [Nov 2010, p.111]