Little Richard (born December 5, 1932) recording artist, singer-songwriter and actor.

Little Richard

Little Richard, nome d'arte di Richard Wayne Penniman (Macon, 5 dicembre 1932), è un cantautore statunitense, si fa chiamare anche The Original King of Rock and Roll ("Il vero re del Rock and Roll"). Figura di grande influenza sulla storia della musica e sulla cultura popolare del XX secolo, i suoi lavori più celebrati appartengono soprattutto agli anni cinquanta, periodo nel quale, grazie a un sound ritmato e veloce unito a una interpretazione vocale innovativa e a un look decadente, fu uno dei musicisti che aiutò il genere del rock and roll a nascere e a diffondersi, diventando uno dei primi rockers a impersonare lo stile trasgressivo e oltraggioso del genere.
La sua musica ha avuto un profondo impatto su generi come il soul e il funk e influenzò numerosi cantanti e musicisti dall'epoca rock al rap. Questa importanza ha portato Little Richard a essere stato più volte onorato da varie istituzioni: è stato inserito nella Rock and Roll Hall of Fame, nella Songwriter Hall of Fame, e ha ottenuto svariati riconoscimenti. La sua canzone Tutti Frutti fu inserita nel 2010 nella Biblioteca del Congresso per il suo "sound ritmato e irresistibile, sposato a un'interpretazione vocale unica, che annunciò una nuova era per la storia della musica".

Biografia

Little Richard è un pioniere dei primi sviluppi del rock and roll. L'inizio della sua carriera discografica, negli anni cinquanta, è caratterizzato dalla mescolanza di elementi del blues e del rhythm and blues, con forti influenze gospel.

Inizi

Richard Wayne Penniman nacque a Macon, in Georgia, terzo di dodici figli nati da Charles "Bud" Penniman Sr. e sua moglie Leva Mae Stewart. Richard crebbe in una famiglia molto religiosa nella quale la musica era parte integrante delle loro vite; infatti la famiglia si esibiva come gruppo canoro in varie chiese locali con il nome d'arte "The Penniman Singers". I suoi parenti lo soprannominarono "War Hawk" a causa della sua potente voce stridente e acuta. All'età di dieci anni, ispirato dalla figura di Brother Joe May, un cantante evangelista conosciuto come "The Thunderbolt of the West" ("Il fulmine del West"), Penniman decise di voler diventare un prete da grande.
Abitando in un quartiere nero; Richard alle volte aveva qualche contatto con persone di razza bianca ma, a causa della segregazione razziale, non poteva oltrepassare il confine dove abitavano i bianchi. Giunto alle scuole superiori, Penniman suonava il sassofono nella banda della scuola. Ben presto perse interesse nello studio e iniziò a esibirsi in diversi spettacoli amatoriali.

Anni cinquanta: Rock 'n' Roll & successo

Penniman iniziò la sua carriera di registrazione il 16 ottobre 1951 imitando lo stile influenzato dalla musica gospel di artisti della fine degli anni quaranta come Billy Wright, ma non raggiunse il successo fino al 1955, quando, sotto la guida dell'esperto produttore Robert "Bumps" Blackwell, iniziò a registrare in uno stile che aveva utilizzato per anni durante le esibizioni dal vivo, e che consisteva in ritmi veloci, percussioni forti, un suono funky del sassofono, un cantato gospel sopra le righe, grida, spasmi e gemiti, accompagnati a una combinazione di musica boogie-woogie e rhythm and blues.
Nell'ottobre 1951, Penniman aveva ottenuto un contratto con la RCA Camden, ma ben presto fu colpito da un grave lutto. Infatti, suo padre venne ucciso da un colpo di pistola mentre lui si stava esibendo in un locale il 12 gennaio 1952. Due anni dopo la tragedia, passò a incidere per la Peacock Records Richard pubblicò regolarmente dischi nel periodo 1951–54, ma nessuno di essi si rivelò un successo. Dopo sole due sedute di registrazione con la Peacock nel 1953, Penniman, insoddisfatto dell'andamento della sua carriera solista, formò un gruppo musicale R&B dal nome "The Upsetters".
La band era composta dal batterista di New Orleans Charles "Chuck" Connors e da due sassofonisti, incluso Wilbert "Lee Diamond" Smith. Nel 1955, al gruppo si aggiunsero altri due sassofonisti, Clifford "Gene" Burks e Grady Gaines, che presto si guadagnò il ruolo di leader, insieme a Olsie "Baysee" Robinson al basso, e a Nathaniel "Buster" Douglas alla chitarra. Richard Penniman inviò una demo alla Specialty Records nel 1955, e partecipò a una sessione di registrazione a New Orleans, in una pausa della quale cominciò a cantare Tutti Frutti, una canzone riproposta negli anni a seguire da molti artisti, tra i quali Elvis Presley, la cui versione del 1956 è rimasta celebre.
Questo brano, con parti trascinanti di batteria, sassofono e pianoforte, un beat veloce e testi ripuliti, è, con Lucille, il più famoso tra quelli composti da Little Richard, che negli anni successivi registrò numerosi altri successi, tra cui Long Tall Sally, Slippin' and Slidin, Jenny, Jenny e Good Golly, Miss Molly. Altri brani conosciuti, sia scritti che interpretati da lui sono Don't Deceive Me, Devil With a Blue Dress on, Keep a Knockin', Rip It Up, Land of Thousand Lands e You Know You Make Me Wanna Shout. Penniman, insieme alla sua band, iniziò a girare in lungo e in largo tutti gli Stati Uniti suonando i suoi successi negli stadi e nelle sale concerto delle principali città del Paese.
Durante le sue esibizioni, le persone di colore si mischiavano con i bianchi, le razze si univano, tutto questo in un periodo nel quale in America ancora vigevano leggi razziali severe indicanti che nei luoghi di pubblica aggregazione (inclusi i concerti) dovevano esserci zone separate riservate ai "bianchi" e ai "neri". Invece il pubblico di Richard, iniziava ad assistere al concerto effettivamente diviso in zone separate, ma il più delle volte, mentre il concerto proseguiva, piano piano le razze si mischiavano insieme. Associazioni razziste del Sud degli Stati Uniti, come la "North Alabama White Citizens Council" (Consiglio dei cittadini bianchi del Nord dell'Alabama), protestarono vivacemente mandando in onda spot in Tv, che mettevano in guardia la popolazione affermando che "il Rock n Roll è parte di un complotto comunista per danneggiare i valori morali della gioventù americana. È pieno di riferimenti sessuali, immorale e...avvicina le persone di razze diverse le une alle altre".
Il successo di Little Richard era comunque così trascinante, che persino nel sud dove il segregazionismo razziale imperava, i pregiudizi verso gli artisti di colore che si esibivano in locali per bianchi andarono lentamente scemando sempre più. Non solo la sua musica o il fatto che fosse un nero scandalizzava i benpensanti dell'epoca, ma anche il suo spregiudicato look composto da abiti sgargianti, colorati, esagerati, la sua celebre pettinatura imbrillantinata e il trucco sugli occhi che gli davano un'aureola di pericolosa "lascivia", inedita per un cantante degli anni cinquanta.

Conversione al Cristianesimo

Raggiunto finalmente il successo, Little Richard lasciò il music business improvvisamente nel 1957, a metà di un tour australiano, per entrare in un'università cristiana nell'Alabama e intraprendere la carriera di predicatore. In questo periodo pubblicò solo qualche brano gospel nei primi anni sessanta, mentre la Speciality Records pubblicò alcuni suoi nuovi brani basati su registrazioni del passato.

Anni sessanta: Il ritorno sulle scene

Nel 1962, Little Richard tornò sulla scena con un tour nel Regno Unito, ricevuto con entusiasmo e con il supporto di Rolling Stones e Beatles, suoi fan da tempo. Il 1º marzo 1964, Little Richard reclutò il giovane Jimi Hendrix come nuovo membro della sua band, Hendrix iniziò a vestirsi come lui e a farsi crescere i baffi proprio come li portava Penniman. Hendrix andò in tour con Penniman e suonò in circa una dozzina di tracce per la Vee Jay Records tra la primavera del 1964 e il 1965 prima di lasciare il gruppo. Tre singoli, inclusa una reinterpretazione di Whole Lotta Shakin' Goin' On, entrarono in classifica riscuotendo un successo contenuto.
Nel 1966 e nel 1967, Penniman registrò due album di musica soul per la Okeh Records, insieme al suo vecchio amico degli anni cinquanta, Larry Williams, come produttore, e con Johnny Guitar Watson alla chitarra. Il primo disco produsse il singolo di successo Poor Dog. Nell'agosto 1967, il secondo album, che consisteva in una raccolta di esibizioni in concerto all'Okeh Club, riportò Penniman nella classifica dei 200 album più venduti d'America stilata da Billboard, dopo circa dieci anni di assenza. Questo periodo di rinnovato successo rifece cascare Penniman nello stile di vita pieno di orge bisessuali e stravizi che lo aveva portato a convertirsi al fondamentalismo cristiano sul finire degli anni cinquanta, inoltre iniziò ad abusare pesantemente di cocaina.
Con l'emergere del movimento Black Power alla fine del decennio, Penniman fu "caldamente" consigliato di esibirsi strettamente per un pubblico di soli neri. Egli rifiutò perché non voleva vietare a nessuno la possibilità di assistere a un suo spettacolo. per tutto il resto del decennio, rimase una figura di spicco nel music business, facendo frequenti concerti negli Stati Uniti e in Europa, come anche in Messico e in Canada.

Anni settanta: declino e rinascita

Penniman continuò a vivere "pericolosamente" per gran parte degli anni settanta e sviluppò dipendenze da diversi tipi di droga. Nel frattempo, lui e suo fratello fondarono la loro propria compagnia, la Bud Hole Incorporated. Nel 1977, Penniman arrivò a un punto di non ritorno. Due suoi cari amici, un fratello e un nipote che amava come un figlio, morirono, e lui quasi rischiò di essere ucciso dal suo vecchio amico Larry Williams, che, mentre era in crisi d'astinenza, gli puntò una pistola contro minacciando di ucciderlo se non gli avesse dato del denaro per la droga.
In quello che Richard ricorda come il momento più terrorizzante di tutta la sua vita, Penniman si ricordò di avere un po' di contanti in tasca e prontamente li diede a Williams, che quindi lo lasciò andare. Dopo questo brutto episodio e i lutti subiti, Penniman decise di cambiare definitivamente stile di vita e tornò all'evangelismo cristiano. Lasciò contemporaneamente anche le scene, dichiarando che non era possibile conciliare una carriera da rockstar con la volontà di servire il Signore.

Anni ottanta, novanta e oltre

Penniman continuò a evangelizzare le folle in circa 250 occasioni durante la prima metà degli anni ottanta, alle volte in piccole chiese, altre in auditori da 21.000 posti. Le sue prediche vertevano principalmente sulla necessità dell'eguaglianza tra le razze e il redimere dai peccati la propria anima grazie all'amore del Signore, prendendo spunto dal suo rinnegato passato da alcolizzato, drogato e omosessuale. Quindi si riconciliò con il mondo della musica, tornando a esibirsi in concerto, indicando di aver compreso che era possibile servire Dio anche attraverso la musica, rendendo felici le persone.
Nel 1985 cameo in Miami Vice (ep. 2x4).
Nel 1986 Penniman fece una comparsata nel film Su e giù per Beverly Hills, ricevendo buone recensioni per la sua prova di attore. Nel 1988, apparve sull'album tributo Folkways: A Vision Shared (per il brano The Rock Island Line, affiancato dai Fishbone) ed eseguì la canzone portante della colonna sonora del film I gemelli insieme a Philip Bailey. Recitò anche un sermone e cantò il coro di sottofondo nella versione live estesa del brano degli U2 e di B.B. King When Love Comes to Town del 1989. Penniman rimase attivo per tutti gli anni novanta, facendo della apparizioni, di tanto in tanto, in televisione, concerti, videoclip musicali, spot, film, e registrando nuovi brani.
Nel 1990, registrò un frammento di parlato rap per la canzone Elvis Is Dead dei Living Colour (featuring Maceo Parker al sax) e in seguito suonò il brano insieme al gruppo dal vivo in TV. Da quel momento Little Richard ha avuto una carriera periodica nel cinema, pubblicando occasionalmente nuove opere e mantenendo il suo status come pioniere del rock and roll.

Lascito artistico

Penniman ha influenzato lo sviluppo di diversi generi musicali di primo piano nel ventesimo secolo ed è stato anche importante nella formazione di altri celebri artisti. James Brown, che riteneva Penniman il suo "idolo", affermò che egli era stato il primo a mischiare il funk con il rock and roll negli anni cinquanta. Otis Redding riteneva che Penniman avesse contribuito significativamente allo sviluppo della musica soul. Penniman è stato citato come fonte primaria di ispirazione da numerosi altri artisti di successo. Nel 1989, Ray Charles lo presentò durante il "The Legends of Rock n Roll concert", definendolo "un uomo che diede inizio a un genere di musica che gettò le basi per molto di quello che venne in seguito".
Bo Diddley disse che "Little Richard era un genio dello show business unico nel suo genere, e che aveva influenzato molte persone nel music business". Paul McCartney ha confessato di aver sempre idolatrato Penniman quando andava a scuola da ragazzo, e che avrebbe voluto saper cantare come lui. Mick Jagger definì Penniman "il creatore" e "il suo primo idolo". Durante gli anni scolastici, Bob Dylan dichiarava spesso che la sua ambizione più grande sarebbe stata quella di entrare a far parte del gruppo musicale di Little Richard. Nel 1966, Jimi Hendrix avrebbe detto: «Voglio riuscire a fare con la mia chitarra quello che Little Richard fa con la sua voce». Bob Seger, John Fogerty, David Bowie, Bon Scott, Angus Young, Freddie Mercury, e Rod Stewart sono alcuni degli altri artisti che hanno citato Penniman come loro influenza primaria.

Discografia

Singoli

• 1955 Tutti Frutti R&B #2(9)
• 1956 Long Tall Sally R&B #1(8)
• 1956 Slippin' And Slidin' R&B #2(2)
• 1956 Rip It Up R&B #1(2)
• 1956 Ready Teddy R&B #3
• 1956 She's Got It R&B #9
• 1956 Heebie-Jeebies R&B #7
• 1956 The Girl Can't Help It R&B #7
• 1957 All Around The World R&B #13
• 1957 Lucille R&B #1(2)
• 1957 Send Me Some Lovin' R&B #3
• 1957 Jenny, Jenny R&B #2(2)
• 1957 Miss Ann R&B #4
• 1957 Keep A-Knockin' R&B #2(1)
• 1958 Good Golly Miss Molly R&B #4
• 1958 Ooh! My Soul R&B #15
• 1958 True Fine Mama R&B #16
• 1958 Baby Face R&B #12
• 1959 Shake A Hand R&B #14

Filmografia

• Gangster cerca moglie (The Girl Can't Help It), regia di Frank Tashlin (1956)
• Don't Knock the Rock (1956)
• Mister Rock and Roll (1957)
• Catalina Caper (alias Never Steal Anything Wet, 1967)
• Little Richard: Live at the Toronto Peace Festival (1969)
• The London Rock & Roll Show (1972)
• Jimi Hendrix (1973)
• Su e giù per Beverly Hills (Down and Out in Beverly Hills), regia di Paul Mazursky (1986)
• Hail! Hail! Rock 'n' Roll (1987)
• Goddess of Love (1988)
• Purple People Eater (1988)
• Scene di lotta di classe a Beverly Hills (1989) (non accreditato)
• Bill & Ted's Excellent Adventures (1990) (voce) (cartone animato Hanna-Barbera)
• Mother Goose Rock 'n' Rhyme (1990)
• Pezzi duri... e mosci (1992)
• Sunset Heat (1992)
• Buona fortuna Mr. Stone (1993)
• Last Action Hero - L'ultimo grande eroe (Last Action Hero), regia di John McTiernan (1993) - cameo
• Chairman Of The Board (1998)
• Why Do Fools Fall In Love (1998)
• Mystery, Alaska (1999)
• The Trumpet of the Swan (2001) (voce)
• James Brown: The Man, The Music, & The Message (2008)

Premi e riconoscimenti

• Nel 1956, Cashbox premiò Penniman con il Cashbox Triple Crown Award per il suo secondo singolo Long Tall Sally.
• Nel 1984, "Little Richard" Penniman è stato introdotto nella Georgia Music Hall of Fame.
• Nel 1986, Penniman è stato uno dei primi musicisti a essere introdotto nella Rock and Roll Hall of Fame.
• Nel 1990, ha ricevuto la sua stella personale sulla Hollywood Walk of Fame.
• Nel 1993, ricevette un premio Grammy speciale alla carriera dalla National Academy of Recording Arts and Sciences.
• Nel 1994, è stato il quarto artista (dopo Ray Charles, Aretha Franklin e James Brown) a essere premiato con un premio speciale dalla Rhythm and Blues Foundation.
• Nel 1995, ricevette due chiavi della città di Providence, Rhode Island; una di queste gli fu consegnata personalmente sul palco dal sindaco Vincent "Buddy" Cianci.
• Nel 1997, ha ricevuto il premio al merito dall'American Music Award.
• Il 14 maggio 2002, Little Richard è stato onorato come una delle prime leggende BMI durante la cinquantesima cerimonia BMI Pop Awards.
• Nel 2002, ha ricevuto il premio NAACP Image Award - Hall of Fame Award per essersi "distinto non solo come genio musicale, ma anche come unico e innovativo showman".
• Nel 2003, è stato introdotto nella Songwriters Hall of Fame.
• Nel 2004, Rolling Stone lo ha posizionato all'ottavo posto nella classifica dei 100 migliori artisti di ogni tempo.
• Nel 2006, è stato introdotto nella Hall of Fame delle leggende dell'Apollo Theater, insieme a Ella Fitzgerald e Gladys Knight & the Pips.
• Nel 2007, il suo successo del 1955 Tutti Frutti si classificò alla prima posizione nella classifica dei 100 dischi che hanno cambiato il mondo redatta dalla rivista Mojo.
• Nel 2008, Penniman è stato introdotto nella Music City Walk of Fame.
• Nel 2009, è stato formalmente introdotto nella Louisiana Music Hall of Fame.
• Nel 2009, è stato introdotto nella Hit Parade Hall of Fame.
• Nel 2010 la Biblioteca del Congresso degli Stati Uniti ha iscritto nei suoi registri la sua canzone Tutti Frutti come brano musicale da conservare per i posteri.

 1967

Richard Wayne Penniman (born December 5, 1932), known as Little Richard, is an American recording artist, singer-songwriter and actor.
An influential figure in popular music and culture for seven decades, Little Richard's most celebrated work dates from the mid-1950s, when his dynamic music and charismatic showmanship laid the foundation for rock and roll. His music also played a key role in the formation of other popular music genres, including soul and funk. Little Richard influenced numerous singers and musicians across musical genres from rock to hip hop; his music helped shape rhythm and blues for generations to come, and his performances and headline-making thrust his career right into the mix of American popular music.
Little Richard has been honored by many institutions. He was inducted into the Rock and Roll Hall of Fame as part of its first group of inductees in 1986. He was also inducted into the Songwriters Hall of Fame. He is the recipient of a Lifetime Achievement Award from the Recording Academy and a Lifetime Achievement Award from the Rhythm and Blues Foundation. Little Richard's "Tutti Frutti" (1955) was included in the National Recording Registry of the Library of Congress in 2010, which stated that his "unique vocalizing over the irresistible beat announced a new era in music." In 2015, the National Museum of African American Music honored Little Richard with a Rhapsody & Rhythm Award for his pivotal role in the formation of popular music genres and in helping to shatter the color line on the music charts, changing American culture significantly.

Early life

Little Richard was born Richard Wayne Penniman on December 5, 1932, in Macon, Georgia. He was the third of twelve children of Leva Mae (née Stewart) and Charles "Bud" Penniman. His father was a church deacon who sold bootlegged moonshine on the side and owned a nightclub, the Tip In Inn. His mother was a member of Macon's New Hope Baptist Church. Initially, Little Richard's first name was supposed to have been "Ricardo" but an error resulted in "Richard" instead. The Penniman children were raised in a neighborhood of Macon called Pleasant Hill. In childhood, he was nicknamed "Lil' Richard" by his family, because of his small and skinny frame. A mischievous child who played pranks on neighbors, Little Richard began singing in church at a young age. Possibly as a result of complications at birth, Little Richard had a slight deformity that left one of his legs shorter than the other. This produced an unusual gait; he was mocked for his allegedly effeminate appearance.
Little Richard's family was very religious, joining various A.M.E., Baptist and Pentecostal churches, with some family members becoming ministers. Little Richard enjoyed the Pentecostal churches the most, because of their charismatic worship and live music. He later recalled that people in his neighborhood during segregation sang gospel songs throughout the day to keep a positive outlook, because "there was so much poverty, so much prejudice in those days". He had observed that people sang "to feel their connection with God" and to wash their trials and burdens away. Gifted with a loud singing voice, Little Richard recalled that he was "always changing the key upwards" and that they once stopped him from singing in church for "screaming and hollering" so loud, earning him the nickname "War Hawk".
Little Richard's initial musical influences were gospel performers such as Brother Joe May, Sister Rosetta Tharpe, Mahalia Jackson and Marion Williams. May, who as a singing evangelist was known as "the Thunderbolt of the Middle West" because of his phenomenal range and vocal power, inspired the boy to become a preacher. Little Richard attended Macon's Hudson High School, where he was a below-average student. His musical talent, however, was recognized there when he learned to play the alto saxophone. His mother recalled how Richard was "always musical" and that when he was young, he would always "beat on the steps of the house, and on tin cans and pots and pans, or whatever", while singing. She also recalled that Richard was so quick at learning to play the saxophone, that he was allowed to play with the school's marching band immediately. While in high school, Little Richard obtained a part-time job at Macon City Auditorium for local secular and gospel concert promoter Clint Brantley. Little Richard sold Coca-Cola to crowds during concerts of star performers of the day, such as Cab Calloway, Lucky Millinder and his favorite singer, Sister Rosetta Tharpe.

Music career

Beginnings (1947–1955)

On October 27, 1947, Sister Rosetta Tharpe heard 14-year-old Little Richard singing two of her gospel recordings before her concert at Macon City Auditorium. Tharpe was so impressed that she invited him to sing onstage during the concert. Clint Brantley recalled that Little Richard approached him before the show, announcing that Tharpe was allowing him to open the show. Brantley, as the promoter, told him he could not. However, when the curtain lifted, Little Richard began to sing and surprised Brantley with his vocal ability. The crowd cheered, and Tharpe paid him for his performance. Little Richard was hooked on performing for a living after that. He began singing with traveling shows that came through town and was losing interest in school. He would sing to draw people to the local town prophet and spiritualist, Doctor Nubilio, who wore a turban and a colorful cape, carried a black stick and exhibited something he called "the devil's child" – the dried-up body of a baby with claw feet like a bird and horns on its head. Nubilio told Little Richard that he was "gonna be famous" but that he would have to "go where the grass is greener." Because of problems at home and school and associations in the community, Little Richard left and joined Dr. Hudson's Medicine Show in 1948, performing "Caldonia". Little Richard recalled the song was the first secular R&B song he learned, since his family had strict rules against playing R&B music, which they considered "devil music." Little Richard soon joined his first musical band, Buster Brown's Orchestra. While performing with the band, he began using the name Little Richard. After his tenure with the band ended in 1950, Little Richard began performing for various vaudeville groups, including Sugarfoot Sam from Alabam, the Tidy Jolly Steppers, the King Brothers Circus and Broadway Follies, earning a reputation as a drag performer. About this time, Little Richard began listening more to R&B and frequented Atlanta clubs, where he witnessed Roy Brown and Billy Wright. Heavily influenced by Wright's flamboyant persona and showmanship, Little Richard began performing as a solo artist on the Chitlin Circuit. Little Richard gained notoriety for high-energy onstage antics during live performances. He eventually befriended Wright during an Atlanta performance in 1950. In 1951, Wright put Little Richard in contact with his manager, Zenas Sears, a local deejay. Sears recorded Little Richard at his station, backed by Wright's band. The recordings led to a contract that year with RCA Victor. Little Richard recorded a total of eight sides for RCA Victor, including the blues ballad, "Every Hour," which became his first single and a hit in Georgia. The release of "Every Hour" improved his relationship with his father, who began regularly playing the song on his nightclub jukebox. After its release, Little Richard fronted Perry Welch and His Orchestra, playing at clubs and army bases for $100 a week. Little Richard learned how to play boogie-woogie piano from teenage musician Esquerita around this time. Little Richard left RCA Victor in February 1952 after his records failed to catch on. That same month, Little Richard's father was killed by his best friend after a confrontation outside his club. Little Richard, struggling with poverty, settled for work as a dishwasher for Greyhound Lines and hired Clint Brantley as his manager. He formed a band called the Tempo Toppers that year and began to perform as part of blues package tours in clubs across the south, such as Club Tijuana in New Orleans and Club Matinee in Houston. With the Tempo Toppers, Little Richard signed with Don Robey's Peacock Records in February 1953, recording eight sides, including four with Johnny Otis and his band that were unreleased at the time. Little Richard had a contentious relationship with Robey and soon found himself disenchanted with the record business and with his group, leaving Peacock and disbanding the Tempo Toppers. That same year, Little Richard formed a hard-driving R&B band, the Upsetters, which included drummer Charles Connor and saxophonist Wilbert "Lee Diamond" Smith and toured under Brantley's management. The Upsetters began to tour successfully, even without a bass player, forcing drummer Connor to thump "real hard" on his bass drum in order to get a "bass fiddle effect."
At the suggestion of Lloyd Price, Little Richard sent a two-song demo to Price's label, Specialty Records, in February 1955. Time passed before Little Richard got a call to record for the label. Art Rupe, owner of Specialty Records, loaned Little Richard money to buy out his Peacock contract and set him up to work with producer Robert "Bumps" Blackwell. Upon hearing the demo, Blackwell felt Little Richard was Specialty's answer to Ray Charles. Little Richard told Blackwell he preferred the sound of Fats Domino. As a result, Little Richard began recording at Cosimo Matassa's J&M Studios in New Orleans that September, recording there with several of Domino's session musicians, including drummer Earl Palmer and saxophonist Lee Allen. The initial cuts failed to produce anything that would inspire huge sales, and Little Richard and his producer took a break at a club called the Dew Drop Inn. While there, Little Richard performed a risqué song he had improvised from his days on the club circuit called "Tutti Frutti". The song's a cappella introduction was based on a drum rhythm Little Richard had devised. Blackwell felt the song had hit potential and hired songwriter Dorothy LaBostrie to replace some of Little Richard's sexual lyrics with less controversial words. Recorded in three takes in September 1955, "Tutti Frutti" was released as a single in November.

Initial success and conversion (1955–1961)

A lot of songs I sang to crowds first to watch their reaction. That's how I knew they'd hit.

Little Richard

"Tutti Frutti" became an instant hit, reaching No. 2 on Billboard magazine's Rhythm and Blues Best-Sellers chart and crossing over to the pop charts in both the United States and overseas in the United Kingdom. It reached No. 17 on the Billboard Top 100 in America and No. 29 on the British singles chart, eventually selling a million copies.
Little Richard's next hit single, "Long Tall Sally" (1956), became his first to reach No. 1 on the R&B chart and the first to reach the top ten of the pop charts in both America and Britain. Like "Tutti Frutti", it sold over a million copies. Following his success, Little Richard built up his backup band, The Upsetters, with the addition of saxophonists Clifford "Gene" Burks and leader Grady Gaines, bassist Olsie "Baysee" Robinson and guitarist Nathaniel "Buster" Douglas. Little Richard began performing on package tours across the United States, often appearing last, where he would steal the show. Art Rupe described the differences between Little Richard and a similar hitmaker of the early rock and roll period by stating that, while "the similarities between Little Richard and Fats Domino for recording purposes were close", Little Richard would sometimes stand up at the piano while he was recording and that onstage, where Domino was "plodding, very slow", Little Richard was "very dynamic, completely uninhibited, unpredictable, wild. So the band took on the ambience of the vocalist."
During a period of racial tension in the United States, Little Richard attracted mixed-race audiences at a time when public places were divided into "white" and "colored" domains. H.B. Barnum later explained that Little Richard "opened the door. He brought the races together". Prior to Little Richard, audiences in musical shows were either "all black or all white and no one else could come in." Little Richard's success enabled audiences of both races to enter the building, albeit still segregated (e.g. blacks on the balcony and whites on the main floor). By the end of Little Richard's performances, however, the audiences would come together to dance. Despite broadcasts on TV from local supremacist groups such as the North Alabama White Citizens Council warning that rock and roll "brings the races together," Little Richard's popularity was helping to shatter the myth that black performers could not successfully perform at "white-only venues," especially in the South where racism was most overt.
Little Richard's show, according to Barnum, was the first rock and roll show to use spotlights and flicker lights, which had been a show business tradition, accentuating Little Richard's innovative use of colorful capes, blouse shirts, makeup and suits studded with multi-colored precious stones and sequins. Little Richard's onstage antics often included running on and off the stage, lifting his leg while playing his piano, and jumping up and down onstage and atop the piano, bringing audiences into a frenzy.
Fans reacted in similar and sometimes extreme ways. During Little Richard's show at Baltimore's Royal Theatre in June 1956, several fans had to be restrained from jumping off the balcony. Cops stopped the show twice to prevent fans who had rushed the stage from ripping souvenirs off of Little Richard. During the same show, a woman threw a pair of her undergarments onstage at Little Richard, leading other female fans to repeat the action.
Little Richard had nine hits in the US in 1956 and five in Britain, with recordings such as "Slippin' and Slidin'", "Rip It Up", "Ready Teddy", "The Girl Can't Help It" and "Lucille". Most of Little Richard's earlier hits inspired covers by the likes of Pat Boone, Elvis Presley and Bill Haley. Described as having "electrifying movie-star looks", Little Richard accepted brief roles in movies such as Don't Knock the Rock, Mister Rock and Roll and The Girl Can't Help It. His success continued in 1957 with international hits such as "Jenny, Jenny" and "Keep A-Knockin'". Little Richard scored further hit singles such as "Good Golly, Miss Molly", eventually scoring 18 hit singles in less than three years.
Little Richard's success made him a millionaire and, in late 1956, he settled in Los Angeles, purchasing a mansion in a wealthy section of the city, where he lived next door to boxer Joe Louis. In May 1957, Specialty Records released Little Richard's first album, which contained six single recordings that had already been hits on the charts. Here's Little Richard, which reached No. 13 on the Billboard Top LPs chart, then a rare feat for a rock and roll artist.
In October 1957, Little Richard embarked on a package tour in Australia with Gene Vincent and Eddie Cochran. During the middle of the tour, he shocked the public by announcing his decision to follow a life in the ministry. Little Richard later explained that during a flight from Melbourne to Sydney that he had seen the plane's red hot engines and felt angels were holding it up. During the Sydney performance, Little Richard saw a bright red fireball flying across the sky above him and was deeply shaken. He took the event, later revealed as the launching of the first artificial Earth satellite Sputnik 1, as a sign from God to repent from performing secular music and his wild lifestyle and enter the ministry. Returning to the states ten days early, Little Richard later learned that his original return flight had crashed into the Pacific Ocean solidifying his belief he was doing as God wanted. After a performance at the Apollo Theater and a recording session with Specialty later that month, Little Richard enrolled at Oakwood College in Huntsville, Alabama, to study theology. Fueling his decision to leave the music business was Little Richard's feeling that he hadn't received proper remuneration from Specialty. Upon ending his contract with Specialty in 1959, Little Richard reluctantly agreed to relinquish any royalties for his material. In 1958, he formed the Little Richard Evangelistic Team, traveling across the country to preach. A month after his conversion, while speaking at an evangelical convention in November 1957, Little Richard met Ernestine Campbell, a secretary from Washington, D.C. He married her on July 11, 1959.
Around this time, Little Richard began recording gospel for George Goldner's End Records, traveling to New York City to record 19 traditional gospel tunes (one a new song written by Maybelle Jackson called "I'm Quitting Show Business "), yielding a couple of singles and a barrage of low-budget albums. He signed with Mercury Records and had some chart success with songs such as "He's Not Just a Soldier" and "He Got What He Wanted", which reached the top 40 in the UK.
Childhood heroine Mahalia Jackson acknowledged his gospel efforts after hearing him sing in the early 1960s at Mount Moriah Baptist Church in Los Angeles. After working with Little Richard on the Mercury album King of the Gospel Singers, Quincy Jones remarked in 1984 that his performance in the studio impressed him more than any other artist with whom he had worked.

Return to secular music (1962–1979)

I heard so much about the audience reaction, I thought there must be some exaggeration. But it was all true. He drove the whole house into a complete frenzy ... I couldn't believe the power of Little Richard onstage. He was amazing.

Mick Jagger

In 1962, concert promoter Don Arden persuaded Little Richard to tour Europe after telling him his records were still selling well there. Arden booked him as the headline artist, with Sam Cooke second on the bill. Little Richard, thinking it was a gospel tour, performed gospel material at the first show and received a tepid response (Cooke did not open that show, as he was delayed in arriving). After Cooke opened the second show, with vigorous applause from the crowd, Little Richard and his organist Billy Preston warmed up in darkness before launching into "Long Tall Sally", resulting in hysterical responses. Little Richard's shows received similar responses wherever he performed, including a show at Mansfield's Granada Theatre, which closed early after fans rushed the stage. Wanting to capitalize on these headline-grabbing performances, Brian Epstein, the manager of the Beatles, asked Little Richard and Arden to allow his newly recorded band to open for Little Richard on some tour dates, to which they agreed. The first show for which the Beatles opened was at New Brighton's Tower Ballroom that October. The following month they, along with Swedish singer Jerry Williams and his band The Violents, opened for Little Richard at the Star-Club in Hamburg. During this time, Little Richard advised the group on how to perform his songs and taught Paul McCartney his distinctive vocalizations. Back in the U.S., Little Richard recorded six rock and roll songs with the Upsetters for Little Star Records, under the name "World Famous Upsetters", allowing him to keep his options open in the ministry.
Little Richard returned to the UK the following fall, invited by the promoter to rescue a sagging Everly Brothers/Bo Diddley /Rolling Stones tour . The Rolling Stones became Richard's opening act.
At the end of that tour, he starred in his own special, The Little Richard Spectacular, for Granada Television. The special became a ratings success and was rebroadcast twice, after over 60,000 fan letters had been received. Footage of the special was shown around the world, highlighting the frenzy associated with rock and roll. In 1964, Little Richard returned briefly to Specialty and recorded five songs, including the charted single, "Bama Lama Bama Loo", which reached the top 20 in the UK but only number 82 in the US. Later that year, he signed with Vee-Jay Records and issued the album Little Richard Is Back. The album failed to catch on domestically, despite a televised performance of the single "Whole Lotta Shakin' Goin' On" on Shindig! that drew wild responses from audience members. By September 1964, Jimi Hendrix, known to Richard as Maurice James, had joined the Upsetters band, as a full member. In December, Jimi and some '50s band members joined Richard in New York for a session of remakes. The most successful collaboration between Little Richard and Hendrix came in the following year, also in New York, when Hendrix, Billy Preston, and Little Richard recorded the soul ballad "I Don't Know What You've Got (But It's Got Me)", which became a number 12 R&B hit. Little Richard and Hendrix clashed over tardiness, wardrobe and Hendrix's stage antics, and as a result, in July 1965, Little Richard's brother Robert fired Hendrix. That same year, Little Richard attempted to set up his own record label but only cut two unreleased tracks. Instead he signed with Modern Records, which resulted in a very agreeable string of rock and soul singles but yielded just one chart-maker, "Do You Feel It?". He left that label in early 1966 for Okeh Records. Okeh paired Little Richard musically with his friend from the mid-1950s, Larry Williams, who produced two albums for him in 1966 and 1967; the first being a studio album, The Explosive Little Richard, which generated the modest hit singles "Poor Dog" and "Commandments of Love", plus an acclaimed non charter, "(You're My Girl) I don't want to Discuss It", fully contemporary in the upbeat Motown style, later covered by Delaney and Bonnie, Rhinoceros, and Rod Stewart ; and the second, Little Richard's Greatest Hits: Recorded Live!, decried by the man himself but which returned him to the pop album charts for the first time in ten years and also hit number 28 on the Hot R&B LPs chart. Williams also acted as the music director for Little Richard's live performances at the Okeh Club in Los Angeles amid the Okeh period, during which time the demand for Little Richard's appearances increased greatly. Leaving Okeh in late 1967, Little Richard briefly recorded with Brunswick but left shortly after his final session.
Little Richard struggled when he returned to secular music in the 1960s. He often complained to producers in the 1960s that he felt unappreciated as producers pushed him towards a horn-oriented Motown sound and felt he wasn't treated with appropriate respect. Little Richard often performed in dingy clubs and lounges with little support from his label. Little Richard adapted a wilder flamboyant and androgynous image that, while a hit with club audiences, was a problem for labels attempting to promote him to conservative R&B buyers. Angered by his decision to "backslide" from his ministry, clergymen in the South forced radio disk jockeys to ignore Little Richard's work. His insistence on performing in front of mixed audiences prevented him from receiving radio time in the areas of Los Angeles affected by the Watts riots. Despite recording and public relations struggles, according to his Songwriters Hall of Fame biography, he had sold over 32 million records worldwide by 1968. Focusing on live performances rather than recordings at the end of the 1960s, Little Richard found success with performances in casinos, resorts, and rock and roll festivals in Las Vegas, Los Angeles, Boston, Detroit, and New York City. His biggest TV showcase in years came from Vancouver, Canada in 1968, the rock show "Where it's At!" allowing him the opportunity to introduce his new back up band, The Crown Jewels, and perform seven songs and announce the release of a new contemporary Soul song, "Can I Count On You?" Little Richard returned to the national spotlight in 1969 as a performer at the Atlantic City Pop Festival, where he stole the show from top performers such as Janis Joplin; he did the same to headliner John Lennon at the Toronto Pop Festival. These successes brought Little Richard to talk shows such as the Tonight Show Starring Johnny Carson and the Dick Cavett Show, making him a major celebrity again.
Little Richard signed with Reprise Records in 1970, releasing the album The Rill Thing, which included the chart-making singles "Freedom Blues" and "Greenwood, Mississippi". His follow-ups for Reprise failed to produce similar success, and he spent much of the decade performing as a guest instrumentalist and vocalist on sessions with rockers such as Delaney and Bonnie, Joey Covington and Joe Walsh. The sessions for Canned Heat's "Rockin' with the King" (1972) and Bachman-Turner Overdrive's "Take It Like a Man" (1976) resulted in chart successes. Little Richard and three of his brothers formed a management company, Bud Hole Incorporated, around this time. In 1973, Richard made a spectacular contribution to the critically acclaimed documentary "Let The Good Times Roll", and he was given a full album side in a two-disc soundtrack album from the film, which charted. Leaving Reprise, that same year, he charted for independent labels, including Green Mountain Records, for which he recorded "In the Middle of the Night"; the proceeds were donated to victims charity of tornadoes that had caused damage in 12 states. In 1976, the Mainstream Records single "Call My Name" was distributed by Motown but never got past regional hit status. That same year, Little Richard re-recorded 18 of his classic hits in Nashville for K-Tel Records, in high tech. stereo recreations, with a single featuring new versions of "Good Golly Miss Molly" and "Rip It Up" reaching the UK singles chart. Following over five years of drug and alcohol abuse and a string of recent personal tragedies, Little Richard quit rock and roll music again in 1977 and returned to evangelism, releasing one gospel album, God's Beautiful City, in 1979.

Comeback (1984–1999)

In 1984, Little Richard filed a $112 million lawsuit against Specialty Records; Art Rupe and his publishing company, Venice Music; and ATV Music for not paying royalties to him after he left the label in 1959. The suit was settled out of court in 1986. According to some reports, Michael Jackson gave Little Richard monetary compensation from his work when he co-owned (with Sony-ATV) songs by the Beatles and Little Richard. In 1985, Charles White released Little Richard's authorized biography, Quasar of Rock: The Life and Times of Little Richard, which returned Little Richard to the spotlight. Little Richard returned to show business in what Rolling Stone would refer to as a "formidable comeback" following the book's release.
Reconciling his roles as evangelist and rock and roll musician for the first time, Little Richard stated that the genre could be used for good or evil. After accepting a role in the film Down and Out in Beverly Hills, Little Richard and Billy Preston penned the faith-based rock and roll song "Great Gosh A'Mighty" for its soundtrack. Little Richard won critical acclaim for his film role, and the song found success on the American and British charts. The hit led to the release of the album Lifetime Friend (1986) on Warner Bros. Records, with songs deemed "messages in rhythm", including a gospel rap track. In addition to a version of "Great Gosh A'Mighty", cut in England, the album featured two singles that charted in the UK, "Somebody's Comin'" and "Operator". Little Richard spent much of the rest of the decade as a guest on TV shows and appearing in films, winning new fans with what was referred to as his "unique comedic timing". In 1989, Little Richard provided rhythmic preaching and background vocals on the extended live version of the U2–B.B. King hit "When Love Comes to Town". That same year, Little Richard returned to singing his classic hits following a performance of "Lucille" at an AIDS benefit concert.
In 1990, Little Richard contributed a spoken-word rap on Living Colour's hit song, "Elvis Is Dead", from their album Time's Up. The following year, he was one of the featured performers on the hit single and video "Voices That Care" that was produced to help boost the morale of U.S. troops involved in Operation Desert Storm. He also recorded a rock and roll version of "The Itsy Bitsy Spider" that year that led to a deal with Disney Records, resulting in the release of a hit 1992 children's album, Shake It All About.
In 1994, Little Richard sang the theme song to the award-winning PBS Kids and TLC animated television series The Magic School Bus based on the book series created by Joanna Cole and Bruce Degen and published by Scholastic Corporation. He also opened Wrestlemania X on March 20th that year with a rendition of "America the Beautiful".
Throughout the 1990s, Little Richard performed around the world and appeared on TV, film, and tracks with other artists, including Jon Bon Jovi, Elton John and Solomon Burke. In 1992 he released his final album, Little Richard Meets Masayoshi Takanaka featuring members of Richard's then current touring band.

Later years (2000–present)

In 2000, Little Richard's life was dramatized for the biographical film Little Richard, which focused on his early years, including his heyday, his religious conversion and his return to secular music in the early 1960s. Little Richard was played by Leon, who earned an NAACP Image Award nomination for his performance in this role. In 2002, Little Richard contributed to the Johnny Cash tribute album, Kindred Spirits: A Tribute to the Songs of Johnny Cash. In 2006, Little Richard was featured in a popular advertisement for the GEICO brand. A 2005 recording of his duet vocals with Jerry Lee Lewis on a cover of the Beatles' "I Saw Her Standing There" was included on Lewis's 2006 album, Last Man Standing. The same year, Little Richard was a guest judge on the TV series Celebrity Duets. Little Richard and Lewis performed alongside John Fogerty at the 2008 Grammy Awards in a tribute to the two artists considered to be cornerstones of rock and roll by the NARAS. That same year, Little Richard appeared on radio host Don Imus' benefit album for sick children, The Imus Ranch Record. In June 2010, Little Richard recorded a gospel track for an upcoming tribute album to songwriting legend Dottie Rambo. In 2009, Little Richard was Inducted into The Louisiana Music Hall Of Fame in a concert in New Orleans, attended by Fats Domino.
Towards the end of the first decade of the new millennium, Rolling Stone reported that Little Richard remained "one of the most recognized and quotable celebrities in the world." Throughout the decade, he kept up a stringent touring schedule, performing primarily in the United States and Europe. However, sciatic nerve pain in his left leg and then replacement of the involved hip began affecting the frequency of his performances by 2010. Despite his health problems, Little Richard continued to receive critical acclaim for his performances. Rolling Stone reported that at a performance at the Howard Theater in Washington, D.C., in June 2012, Little Richard was "still full of fire, still a master showman, his voice still loaded with deep gospel and raunchy power." Little Richard performed a full 90-minute show at the Pensacola Interstate Fair in Pensacola, Florida, in October 2012, at the age of 79, and headlined at the Orleans Hotel in Las Vegas during Viva Las Vegas Rockabilly Weekend in March 2013.
In 2014, actor Brandon Mychal Smith won critical acclaim for his portrayal of Little Richard in the James Brown biographical drama film Get on Up. Mick Jagger co-produced the motion picture. In June 2015, Little Richard appeared before a paying audience, clad in sparkly boots and a brightly colored jacket at the Wildhorse Saloon in Nashville to receive the Rhapsody & Rhythm Award from and raise funds for the National Museum of African American Music. It was reported that he charmed the crowd by reminiscing about his early days working in Nashville nightclubs. In May 2016, the National Museum of African American Music issued a press release indicating that Little Richard was one of the key artists and music industry leaders that attended its 3rd annual Celebration of Legends Luncheon in Nashville honoring Shirley Caesar, Kenny Gamble and Leon Huff with Rhapsody & Rhythm Awards. In 2016, a new CD was released on Hitman Records, "California (I'm Comin')" with released and previously unreleased material from the 1970s, including an a capella version of his 1975 single release, "Try To Help Your Brother". On September 6, 2017, Richard participated in a long television interview, for the Christian Three Angels Broadcasting Network, dressed conservatively and unrecognizable from his stage personae.

Personal life

Relationships and family

Around 1956, Little Richard became involved with Audrey Robinson, a college student, originally from Savannah, Georgia. According to the singer, he invited other men to have sexual encounters with her in groups and once invited Buddy Holly to have sex with her; Robinson denied those claims. After Richard's religious conversion, the two friends lost contact. Robinson later became a stripper using the name Lee Angel. After reconnecting with Richard in the 1960s, Robinson feared being close to Richard again, due to their contrasting lifestyles. Robinson and Little Richard have remained close friends.
Little Richard met his only wife, Ernestine Harvin, at an evangelical rally in October 1957. They began dating that year and wed on July 12, 1959 in California. According to Harvin, she and Little Richard initially enjoyed a happy marriage with "normal" sexual relations. Harvin claimed when the marriage ended in divorce in 1963, it was due to Little Richard's celebrity status, noting that it had made life difficult for her. Little Richard claimed the marriage fell apart due to his being a neglectful husband and his sexuality. Richard claimed that neither Robinson nor Harvin thought he was gay because he was "such a pumper in those days". While married, in 1962, Little Richard adopted a one-year-old boy, Danny Jones, from a late church associate. Little Richard and his son remain close, with Jones often acting as one of his bodyguards. Ernestine later married Mcdonald Campbell in Santa Barbara, California on March 23, 1975.

Sexual orientation

Little Richard stated that as a child, he only played with girls and felt feminine, which was the source of jokes and homophobic ridicule at his expense. Caught wearing his mother's makeup and wardrobe at times, he was brutally punished by his father. He began having sexual encounters with boys by his teen years and also occasionally had sex with older women. Because of his effeminate mannerisms, his father kicked him out of their family home at 15. As Richard later explained in 2010, "my daddy put me out of the house. He said he wanted seven boys, and I had spoiled it, because I was gay." He first became involved in voyeurism in his early twenties, when a female friend would drive him around and pick up men who would allow him to watch them have sex in the backseat of cars. He was once arrested after a gas station attendant in Macon reported sexual activity in a car occupied by Little Richard and a couple. Cited on a sexual misconduct charge, he spent three days in jail and was temporarily banned from performing in Macon, Georgia.
During the early 1950s, Little Richard had appeared as a drag performer in various burlesque shows. By the time he entered the Chitlin' Circuit, he began using makeup regularly, influenced by Billy Wright, who recommended his brand of makeup to him, Pancake 31. Later, as he began experiencing success in the mid-1950s, he made members of his band use makeup as a means to gain entry into white clubs during performances. He later told a columnist, "I wore the make-up so that white men wouldn't think I was after the white girls. It made things easier for me, plus it was colorful too." In 2000, Richard told Jet magazine, "I figure if being called a sissy would make me famous, let them say what they want to." Though he was gay, Little Richard recalled female fans sending him naked photos and their phone numbers.
While attending Oakwood College, Richard recalled a male student exposed himself to him. After the incident was reported to the student's father, Little Richard withdrew from the college. In 1962, he was again arrested after he was caught spying on men urinating at men's toilets at a Trailways bus station in Long Beach, California. Richard returned to participating in sexual orgies after his return to secular music in the 1960s. In 1984, while he claimed homosexuality was "unnatural" and "contagious", he would tell Charles White that he was "omnisexual" after he was asked about his sex life. In 1995, Little Richard told Penthouse that he always knew he was gay, saying "I've been gay all my life". In 2007, Mojo Magazine referred to Little Richard as "bisexual".

Drug use

Little Richard was a heavy alcohol user and cigarette smoker during the mid-1960s. By 1972, he was using cocaine, developing an addiction to the drug. He later lamented during that period, "They should have called me lil Cocaine, I was sniffing so much of that stuff!" During this period, he developed a concurrent addiction to heroin and also used marijuana and PCP. "I lost my reasoning," he would later recall. He said of his cocaine addiction that he did whatever he could to use cocaine. Little Richard admitted that his addiction to cocaine and heroin was costing him as much as $1,000 a day. In 1977, longtime friend Larry Williams once showed up with a gun and threatened to kill Little Richard for failing to pay his drug debt. Little Richard later mentioned that this was the most fearful moment of his life because Williams's own drug addiction made him wildly unpredictable. Little Richard did, however, also acknowledge that he and Williams were "very close friends" and when reminiscing of the drug-fueled clash, he recalled thinking "I knew he loved me – I hoped he did." Within that same year, Little Richard had several devastating personal experiences, including his brother Tony's death of a heart attack, the accidental shooting of his nephew that he loved like a son, and the murder of two close personal friends – one a valet at "the heroin man's house." The combination of these experiences convinced Little Richard to give up drugs including alcohol, along with rock and roll, and return to the ministry.

Religion

Little Richard's family had deep evangelical (Baptist and African Methodist Episcopal Church (AME)) Christian roots, including two uncles and a grandfather who were preachers. Little Richard also took part in Macon's Pentecostal churches, which were his favorites mainly due to their music, charismatic praise, dancing in the Holy Spirit and speaking in tongues. At age 10, influenced by Pentecostalism, Little Richard would go around saying he was a faith healer, singing gospel music to people who were feeling sick and touching them. He later recalled that they would often indicate that they felt better after he prayed for them and would sometimes give him money. Little Richard had aspirations of being a preacher due to the influence of singing evangelist Brother Joe May.
After he was born again in 1957, Little Richard enrolled at Oakwood College in Huntsville, Alabama, a mostly black Seventh-day Adventist college, to study theology. Little Richard returned to secular music in the early 1960s. He was eventually ordained a minister in 1970, and again resumed evangelical activities in 1977. Little Richard represented Memorial Bibles International and sold their Black Heritage Bible, which highlighted the Book's many black characters. As a preacher, Little Richard evangelized in small churches and packed auditoriums of 20,000 or more. His preaching focused on uniting the races and bringing lost souls to repentance through God's love. In 1984, Little Richard's mother, Leva Mae, died following a period of illness. Only a few months prior to her death, Little Richard promised her that he would remain a Christian.
During the 1980s and 1990s, Little Richard officiated at celebrity weddings. In 2006, Little Richard wedded twenty couples who won a contest in one ceremony. The musician used his experience and knowledge as a minister and elder statesman of rock and roll to preach at funerals of musical friends such as Wilson Pickett and Ike Turner. At a benefit concert in 2009 to raise funds to help rebuild children's playgrounds destroyed by Hurricane Katrina, Little Richard asked guest of honor Fats Domino to pray with him and others. His assistants handed out inspirational booklets at the concert—a common practice at Little Richard's shows. He somberly told a Howard Theatre, Washington, D.C. audience in June 2012, "I know this is not Church, but get close to the Lord. The world is getting close to the end. Get close to the Lord." In 2013, Little Richard elaborated on his spiritual philosophies, stating "God talked to me the other night. He said He's getting ready to come. The world's getting ready to end and He's coming, wrapped in flames of fire with a rainbow around his throne." Rolling Stone reported his apocalyptic prophesies generated snickers from some audience members as well as cheers of support. Little Richard responded by stating: "When I talk to you about [Jesus], I'm not playing. I'm almost 81 years old. Without God, I wouldn't be here."
In 2017, he came back to the Seventh-day Adventist Church and was rebaptized. 3ABN interviewed Little Richard, and later he shared his personal testimony at 3ABN Fall Camp Meeting 2017.

Health problems

In October 1985, Little Richard returned to the United States from England, where he had finished recording his album Lifetime Friend, to film a guest spot on the show, Miami Vice. Following the taping, he accidentally crashed his sports car into a telephone pole in West Hollywood, California. He suffered a broken right leg, broken ribs and head and facial injuries. His recovery from the accident took several months. His accident prevented him from being able to attend the inaugural Rock and Roll Hall of Fame ceremony in January 1986 where he was one of several inductees. He instead supplied a recorded message.
In 2007, Little Richard was having problems walking due to sciatica in his left leg, requiring him to use crutches. In November 2009, he entered a hospital to have replacement surgery on his left hip. Despite returning to performance the following year, Little Richard's problems with his hip continued and he has since been brought onstage by wheelchair. He has told fans that his surgery has his hip "breaking inside" and refuses to have further work on it.^{[citation needed]}
On September 30, 2014, he revealed to CeeLo Green at a Recording Academy fundraiser that he had suffered a heart attack at his home the week prior and stated he used aspirin and had his son turn the air conditioner on, which his doctor confirmed had saved his life. Little Richard stated, "Jesus had something for me. He brought me through".
On April 28, 2016, Little Richard's friend, Bootsy Collins, stated on his Facebook page that, "he is not in the best of health so I ask all the Funkateers to lift him up." Reports subsequently began being published on the internet stating that Little Richard was in grave health and that his family were gathering at his bedside. On May 3, 2016, Rolling Stone reported that Little Richard and his lawyer provided a health information update in which Richard stated, "not only is my family not gathering around me because I'm ill, but I'm still singing. I don't perform like I used to, but I have my singing voice, I walk around, I had hip surgery a while ago but I'm healthy.'" His lawyer also reported: "He's 83. I don't know how many 83-year-olds still get up and rock it out every week, but in light of the rumors, I wanted to tell you that he's vivacious and conversant about a ton of different things and he's still very active in a daily routine."

Legacy

Music

He claims to be "the architect of rock and roll", and history would seem to bear out Little Richard's boast. More than any other performer – save, perhaps, Elvis Presley, Little Richard blew the lid off the Fifties, laying the foundation for rock and roll with his explosive music and charismatic persona. On record, he made spine-tingling rock and roll. His frantically charged piano playing and raspy, shouted vocals on such classics as "Tutti Frutti", "Long Tall Sally" and "Good Golly, Miss Molly" defined the dynamic sound of rock and roll.

—Rock and Roll Hall of Fame

Little Richard's music and performance style had a pivotal effect on the shape of the sound and style of popular music genres of the 20th century. As a rock and roll pioneer, Little Richard embodied its spirit more flamboyantly than any other performer. Little Richard's raspy shouting style gave the genre one of its most identifiable and influential vocal sounds and his fusion of boogie-woogie, New Orleans R&B and gospel music blazed its rhythmic trail.
Combining elements of boogie, gospel, and blues, Little Richard introduced several of rock music's most characteristic musical features, including its loud volume and vocal style emphasizing power, and its distinctive beat and rhythm. He departed from boogie-woogie's shuffle rhythm and introduced a new distinctive rock beat, where the beat division is even at all tempos. He reinforced the new rock rhythm with a two-handed approach, playing patterns with his right hand, with the rhythm typically popping out in the piano's high register. His new rhythm, which he introduced with "Tutti Frutti" (1955), became the basis for the standard rock beat, which was later consolidated by Chuck Berry. "Lucille" (1957) foreshadowed the rhythmic feel of 1960s classic rock in several ways, including its heavy bassline, slower tempo, strong rock beat played by the entire band, and verse–chorus form similar to blues.
Little Richard's voice was able to generate croons, wails, and screams unprecedented in popular music. He was cited by two of soul music's pioneers, Otis Redding and Sam Cooke, as contributing to that genre's early development. Redding stated that most of his music was patterned after Little Richard's, referring to Little Richard's 1953 recording "Directly From My Heart To You" as the personification of soul, and that he had "done a lot for [him] and [his] soul brothers in the music business." Cooke said in 1962 that Little Richard had done "so much for our music". Cooke had a top 40 hit in 1963 with his cover of Little Richard's soulful 1956 hit 'Send Me Some Loving'.
James Brown said that Little Richard and the Upsetters, including drummer Charles "Chuck" Connor, were "the first to put the funk in rhythm", with a biographer stating that their music "spark[ed] the musical transition from fifties rock and roll to sixties funk".
Little Richard's hits of the mid-1950s, such as "Tutti Frutti", "Long Tall Sally", "Keep A-Knockin'" and "Good Golly Miss Molly", were generally characterized by playful lyrics with sexually suggestive connotations. AllMusic writer Richie Unterberger stated that Little Richard "merged the fire of gospel with New Orleans R&B, pounding the piano and wailing with gleeful abandon", and that while "other R&B greats of the early 1950s had been moving in a similar direction, none of them matched the sheer electricity of Richard's vocals. With his high speed deliveries, ecstatic trills, and the overjoyed force of personality in his singing, he was crucial in upping the voltage from high-powered R&B into the similar, yet different, guise of rock and roll." Due to his innovative music and style, he's often widely acknowledged as the "architect of rock and roll".
Ray Charles introduced him at a concert in 1988 as "a man that started a kind of music that set the pace for a lot of what's happening today." Rock and roll pioneer Bo Diddley called Little Richard "one of a kind" and "a show business genius" that "influenced so many in the music business". Little Richard's contemporaries, including Elvis Presley, Buddy Holly, Bill Haley, Jerry Lee Lewis, The Everly Brothers, Gene Vincent and Eddie Cochran, all recorded covers of Little Richard's works. Taken by Little Richard's music and style, and personally covering four of Little Richard's tunes on his own two breakthrough albums in 1956, Presley told Little Richard in 1969 that his music was an inspiration to him and that he was "the greatest". Pat Boone noted in 1984, "no one person has been more imitated than Little Richard". As they wrote about Little Richard for their Man of the Year – Legend category in 2010, GQ magazine stated that Little Richard "is, without question, the boldest and most influential of the founding fathers of rock'n'roll". R&B pioneer Johnny Otis stated that "Little Richard is twice as valid artistically and important historically as Elvis Presley, the Beatles, and the Rolling Stones put together."

Society

In addition to his musical style, Little Richard was cited as one of the first crossover black artists, reaching audiences of all races. His music and concerts broke the color line, drawing blacks and whites together despite attempts to sustain segregation. As H.B. Barnum explained in Quasar of Rock, Little Richard "opened the door. He brought the races together."  Barnum described Little Richard's music as not being "boy-meets-girl-girl-meets-boy things, they were fun records, all fun. And they had a lot to say sociologically in our country and the world." Barnum also stated that Little Richard's "charisma was a whole new thing to the music business", explaining that "he would burst onto the stage from anywhere, and you wouldn't be able to hear anything but the roar of the audience. He might come out and walk on the piano. He might go out into the audience." Barnum also stated that Little Richard was innovative in that he would wear colorful capes, blouse shirts, makeup and suits studded with multi-colored precious stones and sequins, and that he also brought flickering stage lighting from his show business experience into performance venues where rock and roll artists performed.^[177] In 2015, the National Museum of African American Music honored Penniman for helping to shatter the color line on the music charts changing American culture forever.

Influence

Little Richard influenced generations of performers across musical genres. James Brown and Otis Redding both idolized Little Richard. Brown allegedly came up with the Famous Flames debut hit, "Please, Please, Please", after Little Richard had written the words on a napkin. Redding started his professional career with Little Richard's band, The Upsetters. He first entered a talent show performing Little Richard's "Heeby Jeebies", winning for 15 consecutive weeks. Ike Turner claimed most of Tina Turner's early vocal delivery was based on Little Richard, something Little Richard himself reiterated in the foreword of Turner's biography, King of Rhythm. Bob Dylan first performed covers of Little Richard's songs on piano in high school with his rock and roll group, the Golden Chords; in 1959 when leaving school, he wrote in his yearbook under "Ambition": "to join Little Richard". Jimi Hendrix was influenced in appearance (clothing and hairstyle/mustache) and sound by Little Richard. He was quoted in 1966 saying, "I want to do with my guitar what Little Richard does with his voice." Others influenced by Little Richard early on in their lives included Bob Seger and John Fogerty. Michael Jackson admitted that Little Richard had been a huge influence on him prior to Off the Wall. Rock critics noted similarities between Prince's androgynous look, music and vocal style to Little Richard's.
The origins of Cliff Richard's name change from Harry Webb was seen as a partial tribute to his musical hero Little Richard and singer Rick Richards. Several members of The Beatles were heavily influenced by Little Richard, including Paul McCartney and George Harrison. McCartney idolized Little Richard in school and later used Little Richard's recordings as inspiration for his uptempo rockers, such as "I'm Down.". "Long Tall Sally" was the first song McCartney performed in public. McCartney would later state, "I could do Little Richard's voice, which is a wild, hoarse, screaming thing. It's like an out-of-body experience. You have to leave your current sensibilities and go about a foot above your head to sing it." During the Beatles' Rock and Roll Hall of Fame induction, Harrison commented, "thank you all very much, especially the rock 'n' rollers, an' Little Richard there, if it wasn't for (gesturing to Little Richard), it was all his fault, really." Upon hearing Little Richard's "Long Tall Sally" in 1956, John Lennon later commented that he was so impressed that he "couldn't speak". Rolling Stones members Mick Jagger and Keith Richards were also profoundly influenced by Little Richard, with Jagger citing him as his introduction to R&B music and referring to him as "the originator and my first idol". Little Richard was an early vocal influence on Rod Stewart. David Bowie called Little Richard his "inspiration" stating upon listening to "Tutti Frutti" that he "heard God".
After opening for him with his band Bluesology, pianist Reginald Dwight was inspired to be a "rock and roll piano player", later changing his name to Elton John. Farrokh Bulsara performed covers of Little Richard's songs as a teen, before finding fame as Freddie Mercury, frontman for Queen. Little Richard was referred to as Lou Reed's rock and roll hero, deriving inspiration from "the soulful, primal force" of the sound made by Little Richard and his saxophonist on "Long Tall Sally." Reed later stated, "I don't know why and I don't care, but I wanted to go to wherever that sound was and make a life." Patti Smith said, "To me, Little Richard was a person that was able to focus a certain physical, anarchistic, and spiritual energy into a form which we call rock 'n' roll ... I understood it as something that had to do with my future. When I was a little girl, Santa Claus didn't turn me on. Easter Bunny didn't turn me on. God turned me on. Little Richard turned me on." The music of Deep Purple and Motörhead was also heavily influenced by Little Richard, as well as that of AC/DC. The latter's early lead vocalist and co-songwriter Bon Scott idolized Little Richard and aspired to sing like him, it's lead guitarist and co-songwriter Angus Young was first inspired to play guitar after listening to Little Richard's music, and rhythm guitarist and co-writer Malcolm Young derived his signature sound from playing his guitar like Little Richard's piano. Later performers such as Mystikal, André "André 3000" Benjamin of Outkast and Bruno Mars were cited by critics as having emulated Little Richard's style in their own works. Mystikal's rap vocal delivery was compared to Little Richard's. André 3000's vocals in Outkast's hit, "Hey Ya!", were compared to an "indie rock Little Richard". Bruno Mars admitted Little Richard was one of his earliest influences. Mars' song, "Runaway Baby" from his album, Doo-Wops & Hooligans was cited by The New York Times as "channeling Little Richard". Prior to his passing in 2017, Audioslave's and Soundgarden's frontman Chris Cornell traced his musical influences back to Little Richard via The Beatles.

Awards and honors

Little Richard received the Cashbox Triple Crown Award for "Long Tall Sally" in 1956. In 1984, he was inducted into the Georgia Music Hall of Fame. He was inducted to the Rock and Roll Hall of Fame in 1986, being a member of the initial class of inductees chosen for that honor. In 1990, he received a star on the Hollywood Walk of Fame. He received the Lifetime Achievement Award from the Rhythm and Blues Foundation in 1994. In 1993, he received the Grammy Lifetime Achievement Award. In 1997, he was given the American Music Award of Merit. In 2002, along with Chuck Berry and Bo Diddley, Little Richard was honored as one of the first group of BMI icons at the 50th Annual BMI Pop Awards. That same year, he was inducted into the NAACP Image Award Hall of Fame. A year later, he was inducted into the Songwriters Hall of Fame. In 2006, he was inducted into the Apollo Theater Hall of Fame. Four years afterwards, he received a plaque on the theater's Walk of Fame. In 2008, he received a star at Nashville's Music City Walk of Fame. In 2009, he was inducted to the Louisiana Music Hall of Fame. The UK issue of GQ named him its Man of the Year in its Legend category in 2010.
Little Richard appeared in person to receive an honorary degree from his hometown's Mercer University on May 11, 2013. The day before the doctorate of humanities degree was to be bestowed upon him, the mayor of Macon announced that one of Little Richard's childhood homes, an historic site, will be moved to a rejuvenated section of that city's Pleasant Hill district. It will be restored and named the Little Richard Penniman – Pleasant Hill Resource House, a meeting place where local history and artifacts will be displayed as provided by residents. Penniman was inducted into the Blues Hall of Fame on May 7, 2015. On June 6, 2015, Penniman was inducted into the Rhythm and Blues Music Hall of Fame On June 19, 2015, the National Museum of African American Music honored Penniman with the Rhapsody & Rhythm Award for his key role in the formation of popular music genres, influencing singers and musicians across genres from Rock to Hip-Hop, and helping to shatter the color line on the music charts changing American culture forever.
In 2010, Time Magazine listed 'Here's Little Richard' as one of the 100 Greatest and Most Influential Album of All Time. Included in numerous Rolling Stone lists, Little Richard's Here's Little Richard was ranked fifty on the magazine's list of the 500 Greatest Albums of All Time. He was ranked eighth on its list of the 100 Greatest Artists of All Time. Rolling Stone listed three of Little Richard's recordings, "The Girl Can't Help It", "Long Tall Sally" and "Tutti Frutti", on their 500 Greatest Songs of All Time. Two of the latter songs and "Good Golly, Miss Molly" were listed on the Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. The Grammy Hall of Fame inducted several of Little Richard's recordings including "Tutti Frutti", "Lucille", "Long Tall Sally" and Here's Little Richard. In 2007, an eclectic panel of renowned recording artists voted "Tutti Frutti" number one on Mojo's The Top 100 Records That Changed The World, hailing the recording as "the sound of the birth of rock and roll." In April 2012, Rolling Stone magazine declared that the song "still has the most inspired rock lyric on record." The same recording was inducted to the Library of Congress' National Recording Registry in 2010, with the library claiming the "unique vocalizing over the irresistible beat announced a new era in music".

Discography

Studio albums

• Here's Little Richard (1957)
• Little Richard (1958)
• The Fabulous Little Richard (1958)
• Pray Along with Little Richard (1960)
• Pray Along with Little Richard (Vol 2) (1960)
• The King of the Gospel Singers (1962)
• Little Richard Is Back (And There's A Whole Lotta Shakin' Goin' On!) (1964)
• Little Richard's Greatest Hits (1965)
• The Incredible Little Richard Sings His Greatest Hits - Live! (1967)
• The Wild and Frantic Little Richard (1967)
• The Explosive Little Richard (1967)
• Little Richard's Greatest Hits: Recorded Live! (1967)
• The Rill Thing (1970)
• Mr. Big (1971)
• King of Rock and Roll (1971)
• Friends From The Beginning - Jimi Hendrix and Little Richard (1972)
• Southern Child (1972) unreleased
• Second Coming (1972)
• Right Now! (1974)
• Talkin' 'bout Soul (1974)
• Little Richard Live (1976)
• God's Beautiful City (1979)
• Going All The Way with Little Richard (1979)
• Lifetime Friend (1986)
• Shake It All About (1992)
• Little Richard Meets Masayoshi Takanaka (1992)
• California (I'm Comin') Little Richard and his 1975 Touring Band others (2016)

Filmography

• The Girl Can't Help It (1956), lip-syncing the title number (different version from record), "Ready Teddy" and "She's Got It"
• Don't Knock the Rock (1956), lip-syncing "Long Tall Sally" and "Tutti Frutti"
• Mister Rock and Roll (1957), lip-syncing "Lucille" and "Keep A-Knockin'", on original prints
• Catalina Caper (aka Never Steal Anything Wet, 1967), Richard lip-syncs an original tune, "Scuba Party", still unreleased on record by 2013.
• Little Richard: Live at the Toronto Peace Festival (1969) – released on DVD in 2009 by Shout! Factory
• The London Rock & Roll Show (1973), performing "Lucille", "Rip It Up", "Good Golly Miss Molly", "Tutti Frutti", "I Believe" [a capella, a few lines], and "Jenny Jenny"
• Jimi Hendrix (1973)
• Down and Out in Beverly Hills (1986), co-starred as Orvis Goodnight and performed the production number, "Great Gosh A-Mighty"
• Hail! Hail! Rock 'n' Roll TV Documentary (1987)
• Goddess of Love Made For TV Movie (1988)
• Purple People Eater (1988)
• Scenes from the Class Struggle in Beverly Hills (1989) (uncredited)
• Bill & Ted's Excellent Adventures (1990) (voice)
• Mother Goose Rock 'n' Rhyme (1990)
• Columbo - S10E3 "Columbo and the Murder of a Rock Star" (1991) (Cameo)
• The Naked Truth (1992)
• Sunset Heat (aka Midnight Heat) (1992)
• James Brown: The Man, The Message, The Music TV Documentary (1992)
• The Pickle (1993)
• Last Action Hero (1993)
• Full House (1994) (Cameo) - Episode: Too Little Richard Too Late
• Baywatch (1995) as Maurice in Episode: The Runaways
• The Drew Carey Show (1997) (cameo) - Episode: Drewstock
• Why Do Fools Fall in Love (1998)
• Mystery Alaska (1999)
• The Trumpet of the Swan (2001) (voice)

the concert/documentary motion picture "Let the Good Times Roll" which features performances and behind-the-scenes candid footage of Little Richard, Chuck Berry, Bo Diddley, Fats Domino, Bill Haley, the Five Satins, the Shirelles, Chubby Checker, and Danny and the Juniors.(1973)

Quotes

• I call my music the healing music… It makes the blind feel that they can see, the lame feel that they can walk, the deaf and dumb that they can hear and talk.
  • Pop Chronicles: Show 5 - Hail, Hail, Rock 'n' Roll: The rock revolution gets underway. (Part 1), interview recorded 1.2.1968.

• The average person, when they see a black man, they would say "Man, he got soul cos' his color." But I disagree with that. I think that God would be a very selfish God if He gave all the soul to one race. He lets his rain fall on the red flowers, the green flowers, the blue flowers; the good, the bad, no races, so He lets His blessings fall on all races. So I think that there are types of souls, like there are different types of cars. But they're all cars. You know, I think that, when a white guy sing[s], if he have soul, that don't mean that he had to copy no negro to get it. I believe if he feels, when one sings from the heart and it reaches another heart, that's soul.
  • Remarks on the question: can a white man sing soul music?. Pop Chronicles: Show 15 - The Soul Reformation I: A symposium on soul, interview recorded 1.2.1968.

• I came from a family where my people didn't like rhythm and blues. Bing Crosby - "Pennies from Heaven" - Ella Fitzgerald, was all I heard.
  • quoted in Hamm (1979). Yesterdays, p. 391.
    • Middleton, Richard (1990/2002). Studying Popular Music. Philadelphia: Open University Press. ISBN 0335152759.

• Well, you know I used to play piano for the church. You know that spiritual, 'Give Me that Old Time Religion', most churches just say, [sings] "Give me that old time religion" but I did, [sings] "Give me that old time, talkin' 'bout religion," you know I put that little thing in it you know, I always did have that thing but I didn't know what to do with the thing I had. So the style has always been with me... I always had my little thing I wanted to let the world hear, you know.
  • When asked what inspired him to write 'Tutti Frutti' amd where the style came from, in The Rolling Stone Interviews: 1967-1980 (1989) edited by Peter Herbst, p. 91.

• A lot of songs I sang to crowds to get their reaction. That's how I knew they'd hit.
  • quoted from Tutti Frutti, p. 75
  • White, Charles (2003). The Life and Times of Little Richard: The Authorized Biography. Omnibus Press. ISBN 0306805529.
  
  

  Song lyrics

  Here's Little Richard (1957)

• A-wop-bop-a-loo-mop-a-wop-bam-boom!
  • Tutti Frutti, written by Richard Penniman, Dorothy LaBostrie, and Joe Lubin.

• I got a gal, named Sue, she knows just what to do,
  I got a gal, named Sue, she knows just what to do.
  She rocks to the East, she rocks to the West,
  She is the gal that I love best.
  Tutti frutti, oh rutti.
  • Tutti Frutti.

• Well, long tall Sally, she's built for speed,
  She's got everything that uncle John need.
  Oh baby, yes baby, woo baby, havin' me some fun tonight.
  • Long Tall Sally, written by Enotris Johnson, Robert Blackwell, and Richard Penniman.

Little Richard (1958)

• I woke up this mornin', Lucille was not in sight,
  I asked my friends about her but all their lips was tight,
  Lucille, please come back where you belong,
  I've been good to you baby, please don't lead me along.
  • Lucille, written by Albert Collins and Richard Penniman.

Others

• His rhythm is the only one I can sing my songs to.
  • On Chuck Berry, 

• There's something I prefer not saying, I will say this. I'm a believer in the God of Abraham, Isaac and Jacob. I believe the seventh-day Sabbath is God's way. I believe we should eat kosher. I was invited to a party night before last. Rod Stewart's. I didn't go, because I open the Sabbath on Friday.
  • When John Waters asked him, Are you Jewish now? .

• Bob Dylan is my brother. I love him same as Bobby Darin [deceased] is my baby. I feel Bob Dylan is my blood brother. I believe if I didn't have a place to stay, Bob Dylan would buy me a house. He sat by my bed; he didn't move for hours. I was in pain that medicine couldn't stop. My tongue was cut out, leg all tore up, bladder punctured. I was supposed to be dead. Six feet under. God resurrected me; that's the reason I have to tell the world about it.
  • When John Waters met Little Richard.

• I appreciate being picked one of the top 100 performers, but who is number one and who is number two doesn't matter to me anymore. Because it won't be who I think it should be. The Rolling Stones started with me, but they're going to always be in front of me. The Beatles started with me — at the Star Club in Hamburg, Germany, before they ever made an album — but they're going to always be in front of me. James Brown, Jimi Hendrix — these people started with me. I fed them, I talked to them, and they're going to always be in front of me.
  • On Rolling Stone list on 100 Greatest Artists, 100 Greatest Artists | Little Richard | Rolling Stone

Quotes about Little Richard

• I wanna introduce a man that started a kind of music that set the pace for a lot of what's happening today. Ladies and gentlemen, if you don't mind, here is my man, bless his little sweet heart, ladies and gentlemen, Mr. Little Richard!"
  • Ray Charles (1989), August 29, 2008 (2008-08-29). Little Richard - Great Gosh A'mighty. YouTube. Retrieved on 2009-08-10., Legends of Rock n Roll concert in Rome, Italy.

• He was the biggest of them all. And he knew it. ...he wanted everyone to call him 'King Richard'.... He had the biggest, flashiest and with all the best looking players. He also had the greatest parties in his hotel rooms. At least, that's what I was told. They wouldn't let me in, because I was underage." Etta also mentions her first meeting with James Brown, in Macon, Georgia, where this young Dancer/Boxer/Gospel Singer had befriended Little Richard. "He used to carry around an old tattered napkin with him, because Little Richard had written the words, 'Please, Please, Please' on it and James was determined to make a song out of it.
  • Etta James, Merlis, Bob $ Seay, David. (1997), from the foreword by Etta James. "Heart and Soul: A Celebration of Black Music Style in America, 1930-1975." New York: Stewart, Tubori and Chang, 1997.

• Little Richard is the Architect of Rock and Roll.
  • Wilson Pickett, as recalled by Wilson's brother Max Pickett at Wilson's funeral. Blog Archive » To Whom Does Wilson Pickett Belong?. Cool Stretch Of Highway (2006-02-06). Retrieved on 2009-08-10.

• Thank you all very much, especially the rock 'n' rollers, an' Little Richard there [pointing to him] - it was all his fault really.
  • George Harrison (1988), accepting induction on behalf of the Beatles into the Rock and Roll Hall of Fame. ^{[citation needed]}

• I was a little kid when I heard Little Richard. He was playing piano and singing that song," recalls Green before breaking into the opening lines of Richard's "Jenny, Jenny." Even then, he continues, "I knew he was a classic, one-of-a-kind. I never heard (anyone) with that kind of enthusiasm.
  • Al Green ^{[citation needed]}

• Well I'd certainly have to have a tip of the hat to Little Richard. I'd say it's sort of a composite guy, because obviously I love Wilson Pickett, and there are a few guys who have that sort of high, edgy thing, Little Richard being the best and the most famous. Wilson even screamed in tune. My voice came out a certain way and I've learned to be that way.
  • John Fogerty (1988) John Fogerty. Psych.mcgill.ca. Retrieved on 2009-08-10.

• Little Richard - he was the first one that really got to me. Little Richard and, of course, Elvis Presley. I don't know if it was because of James Brown and Little Richard, I always preferred a high energy vocal, a hard full-force vocal. I liked Little Richard better than Elvis, and I liked James Brown better than the Beatles...but the Miracles were a heavy influence on me, too...[though] I always preferred the more energized vocals.
  • Bob Seger Influences. Seger File. Retrieved on 2009-08-10. (1981).

• The first Rock 'n' Roll record I listened to was 'The Girl Can't Help It,' by Little Richard.
  • Rod Stewart Austin Scaggs (2003-10-07). As Time Goes By: Rod Stewart. Rolling Stone. Retrieved on 2009-08-10.

• James Brown, Ray Charles, Jackie Wilson, Chuck Berry and Little Richard - I think they had strong influences on a lot of people, because these were the guys who really got rock'n'roll going. I like to start with the origin of things, because once it gets along it changes. It's so interesting to see how it really was in the beginning.
  • Michael Jackson (http://www.guardian.co.uk/music/2009/jun/28/michael-jackson-interview).

• Chuck Berry's "duck walk," Presley's bumps and grinds, Jerry Lee Lewis's wanton destruction of pianos, Little Richard's bizarre stage theatrics. As part of the counter-discourse of early rock 'n' roll, such practices not only assaulted high culture but also brought sexual display into the public realm, which is finally the same thing, for it is the body … That is excluded by the dominant course of mid-century modernism.
  • Bruce Tucker, The Power of Black Music: Interpreting Its History from Africa to the United States, p - 179.

• First putting the funk in the rock and roll beat.
  • James Brown, TriQuarterly 130, p-130.

The Life and Times of Little Richard: The Authorized Biography (2003)

White, Charles (2003), The Life and Times of Little Richard: The Authorized Biography. Omnibus Press.

• Richard opened the door. He brought the races together. When I first went on the road their were many segregated audiences. With Richard, although they still had the audiences segregated in the building, they were there TOGETHER. And most times before the end of the night, they would all be mixed together. Up until then, the audiences were either all black or all white and no one else could come in. His records weren't boy-meets-girl-girl-meets-boy things, they were FUN records, all fun. And they had a lot to say sociologically in our country and the world. The shot was fired here and heard around the world." "When Richard opened his mouth, man, everyone could enjoy it. He's got a voice that would make 'em jump up and down... that's the first time I ever saw spotlights and flicker lights used at a concert show. It had all been used in show business but he brought it into our world.
  • H. B. Barnum, p. 68-69.

• Little Richard was not only a giant but a pioneer of the so-called Rock 'n' Roll music industry. He had such a unique voice and style that no one else has matched it... Rock 'n' Soul is here to stay!
  • Quincy Jones, p. 103.

• I never thought I'd ever meet Little Richard. He was my idol at school. The first song I ever sang in public was 'Long Tall Sally,' at a Butlins holiday camp talent competition! I love his voice and I always wanted to sing like him.
  • Paul McCartney, p. 114-115.

• I had heard so much about the audience reaction that I thought there must be some exaggeration. But it was all true. He drove the whole house into a complete frenzy. There's no single phrase to describe his hold on the audience. I couldn't believe the power of Little Richard on stage. He was amazing. Chuck Berry is my favorite, along with Bo (Diddley), but nobody could beat Little Richard's stage act. Little Richard is the originator and my first idol.
  • Mick Jagger, p. 119-120.

• The most exciting moment of my life was appearing on the same stage as Little Richard.
  • Keith Richards, p. 120.

• I want to do with my guitar what Little Richard does with his voice.
  • Jimi Hendrix (1966), p. 125-128, 131-132, 163, 228.

• Elvis was bigger than religion in my life. Then this boy at school said he'd got this record by somebody called Little Richard who was better than Elvis. We used to go to this boys house after school and listen to Elvis on 78s: we'd buy five ciggies loose and some chips and go along. The new record was Little Richard's 'Long Tall Sally'. When I heard it, it was so great I couldn't speak. You know how you are torn. I didn't want to leave Elvis but this was so much better. We all looked at each other. I didn't want to say anything against Elvis, even in my mind. How could they both be happening in my life? And then someone said, "It's a nigger singing." I didn't know negroes sang. So Elvis was white and Little Richard was black. This was a great relief. "Thank you God," I said. "There is a difference between them." But I though about it for days at school, of the labels on the records of Elvis and Little Richard. One was yellow and the other was blue, and I thought of the yellow against the blue.
  • John Lennon, p. 225.

• Little Richard is the beginning of Rock 'n' Roll.
  • Smokey Robinson, p. 226.

• Little Richard was a one-of-a-kind show business genius. He influenced so many people in the business.
  • Bo Diddley, p. 226.

• I love Little Richard. He is a great entertainer and he has done so much for our music.
  • Sam Cooke, p. 226.

• Little Richard's records were the best Rock 'n' Roll records.
  • Elton John, p. 226.

• After hearing Little Richard on record, I bought a saxaphone and came into the music business. Little Richard was my inspiration.
  • David Bowie, p. 226.

• In the spiritual poll of Rock n Roll, Little Richard is a tried and true original. Since his beginning, all have picked up from his style and from his music, from the early Beatles to Mick Jagger today. At one time it was all Little Richard's original raving craving thing.
  • Wolfman Jack, p. 227.

• Little Richard is a great originator. He was right there at the start, a thrilling performer.
  • Chuck Berry, p. 227.

• Little Richard is twice as valid artistically and important historically as Elvis Presley, the Beatles, and the Rolling Stones put together.
  • John Otis, p. 227.

• Little Richard represented what I wanted to be. He was, and still is, my idol.
  • Don Covay, p. 227.

• Once you have seen this man you know instantly that you have seen the greatest Rock n Roll legend of our time.
  • Dick Clark, p. 227.

• He is the King of Rock 'n' Roll.
  • Johnny "Guitar" Watson, p. 227.

• Richard is an original, and the songs he's written and the songs he's done and made famous are just one of a kind."
  • Phil Everly, p. 228.

• Little Richard, man, was the god! I grew up on Little Richard in the rocking 50's.
  • Marty Balin of Jefferson Airplane and Jefferson Starship, p. 228.

• The first 45 I ever played was by Little Richard. Even today, I constantly listen to Little Richard.
  • Ry Cooder, p. 228.

• There would have been no DEEP PURPLE if there had been no Little Richard.
  • Jon Lord of Deep Purple, p. 228.

• When I was in high school I wanted to be like Little Richard.
  • Paul Simon, p. 228.

• If it hadn't been for Little Richard, I would not be here. I entered the music business because of Richard - he is my inspiration. I used to sing like Little Richard, his Rock 'n' Roll stuff, you know. Richard has soul, too. My present music has a lot of him in it.
  • Otis Redding, p. 229.

• No one person has been imitated more than Little Richard.
  • Pat Boone, p. 229.

Little Richard - Tutti Frutti - YouTube

https://www.youtube.com/watch?v=F13JNjpNW6c

Testo

Wop bop a loo bop a lop bom bom!

Tutti frutti, oh rootie
Tutti frutti, oh rootie
Tutti frutti, oh rootie
Tutti frutti, oh rootie
Tutti frutti, oh rootie
Wop bop a loo bop a lop ba ba!

I got a gal, named Sue, she knows just what to do
I got a gal, named Sue, she knows just what to do
She rock to the East, she rock to the West
She is the gal that I love best

Tutti frutti, oh rootie
Tutti frutti, oh rootie, ooh
Tutti frutti, oh rootie
Tutti frutti, oh rootie
Tutti frutti, oh rootie
Wop bop a loo bop a lop bom bom!

I got a gal, named Daisy, she almost drives me crazy
Got a gal, named Daisy, she almost drives me crazy
She knows how to love me, yes indeed
Boy you don't know what she do to me

Tutti frutti, oh rootie
Tutti frutti, oh rootie, ooh
Tutti frutti, oh rootie
Tutti frutti, oh rootie
Tutti frutti, oh rootie
Wop bop a loo bop!

Oh tutti frutti, oh rootie
Tutti frutti, oh rootie, ooh
Tutti frutti, oh rootie
Tutti frutti, oh rootie
Tutti frutti, oh rootie
Wop bop a loo bop a lop bom bom!

I got a gal, named Daisy, she almost drive me crazy
Got a gal, named Daisy, she almost drive me crazy
She knows how to love me, yes indeed,
Boy you don't know what she do to me

Tutti frutti, oh rootie
Tutti frutti, oh rootie
Tutti frutti, oh rootie
Tutti frutti, oh rootie
Tutti frutti, oh rootie
Wop bop a loo bop a lop bam boom!

Songwriters: Dorothy Labostrie / Joe Lubin / Richard Penniman

Tutti Fruitti lyrics © Sony/ATV Music Publishing LLC, Warner/Chappell Music, Inc

Little Richard - Long Tall Sally - YouTube

https://www.youtube.com/watch?v=eFFgbc5Vcbw

Little Richard - Good Golly, Miss Molly - YouTube

https://www.youtube.com/watch?v=lQ6akiGRcL8

 

Lyrics

Good golly Miss Molly, sure like to ball.
Good golly, Miss Molly, sure like to ball.
When you're rockin' and a rollin' can't hear your momma call.

Good golly Miss Molly, sure like to ball.
Good golly, Miss Molly, sure like to ball.
When you're rockin' and a rollin' can't hear your momma call.

From the early, early mornin' till the early, early night
You can see miss Molly rockin' at the house of blue light.
Good golly, miss Molly, sure like to ball.
When you're rockin' and a rollin' can't hear your momma call.

I am going to the corner, gonna buy a diamond ring.
When she hugs me and kiss me make me ting-a-ling-a-ling
Good golly, Miss Molly, sure like to ball.
When you're rockin' and a rollin' can't hear your momma call.

Good golly Miss Molly, sure like to ball.
Good golly, Miss Molly, sure like to ball.
When you're rockin' and a rollin' can't hear your momma call.

Songwriters: John S. Marascalco / Robert Alexander Blackwell

Good Golly Miss Molly lyrics © Peermusic Publishing

Little Richard - Lucille (1957) [Long Version, High Quality Sound ...

https://www.youtube.com/watch?v=u0Ujb6lJ_mM

 

Lyrics

Lucille, you won't do your sister's will?
Oh, Lucille, you won't do your sister's will?
You ran off and married, but I love you still.

Lucille, please, come back where you belong.
Lucille, please, come back where you belong.
I been good to you, baby, please, don't leave me alone.

I woke up this morning, Lucille was not in sight.
I asked my friends about her but all their lips were tight.
Lucille, please, come back where you belong.
I been good to you, baby, please, don't leave me alone, whoa

I woke up this morning, Lucille was not in sight.
I asked my friends about her but all their lips were tight.
Lucille, please, come back where you belong.
I been good to you, baby, please, don't leave me alone.

Lucille, baby, satisfy my heart.
Lucille, baby, satisfy my heart.
I played for it, baby, and gave you such a wonderful start.

Lucille lyrics © EMI Music Publishing, Sony/ATV Music Publishing LLC

Little Richard-The Girl Can't Help It/Lyrics - YouTube

https://www.youtube.com/watch?v=qTxZqAmaVeA