Legendary Little Richard Part nine
Here’s some information about Little Richard, called Legendary Little Richard Part nine, with a new album, please enjoy.
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 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 “sparked 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 ’50s 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, 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.”
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. 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.