Search - Little Richard :: Legend in Rock N Roll

1955 to 1957 Richard

Phil S. | USA | 04/16/2008

(5 out of 5 stars)

"This CD might be considered a kind of "sampler" of the mind-blowing European box set from Ace in 1989, "The Little Richard Sessions", as it contains alot material unreleased until that date. We have a combo of familiar pressings, plus "rehearsals" which to this reviewer are promos, warm-ups, outtakes, or alternates. To wit:



Track #1: Baby, from the "Tutti Frutti" session; a remake of a demo sent to Art Rupe in early '55. It's a jazz-inflected medium tempo, shuffle. Although it's suggested that LR played piano on only one track at the first Specialty session, I wouldn't be surprised if here is one of at least three - it's got that triple-time lick we all love. This tune of course was recut in January of 1966 as "Baby, Don't You Want A Man Like Me?", for Modern Records. [Ace would be the label at this point to reissue that track, and others.].



#2: Tutti Frutti. Fairly dry-echo pressing.



#3: Slippin' and Slidin' (Peepin' and Hidin'). Same dry-echo pressing of classic B-side. Completely unique in his catalogue, using the 3 note bass pattern (musicians correct me if I'm wrong) popular in the '50s with tunes like "Witchcraft" by the Spiders or "Shake, Rattle, and Roll" by Big Joe Turner.



#4: Kansas City. Most definitely *not* the modest Richard hit of 1959 [which to me is not the Leiber & Stoller tune]. Unreleased until 1970, this really is a modified version of the L & S tune. Faster beat than the aforementioned LR side.



#5: Long Tall Sally (the Thing). Appears to be the original version produced by Bumps Blackwell and rejected by the co. If it had been released in this form as the follow up to Tutti Frutti, Richard's next gig would be a return to the Greyhound Bus Station, a decidedly non-musical venue. (Unless they put Slippin'... on the A-side, then we got another million-seller with a "fun" b-side going nowhere). It's a relaxed jump-blues, more R & B looking back to risque blues of an earlier time. You might enjoy the low-key, low-pitch approach, though, which brings out some interesting emanations from that amazing voice-box.



#6: Miss Ann. Actually, version 2, the B-side of Jenny, Jenny. Like Slippin', unique to the catalogue. Lyrically more R & B, but instrumenatlly all R & R, which that progressive, chocked guitar stroke, and the punching horns. Great key for the King.



#7: She's My Star (Rehearsal). Could be considered the first version of the 1961, "He's My Star", of course in the non-secular tradition. Here Richard goes "doo-wop", with all the good and all that goes with it, meaning an out-of-tune chorus and guitar. Richard triumphs vocally on this wonderful, soulful composition. I would put it in the "demo" catagory, and from 1953, not 1955.



#8: Wonderin'. First version, from TF session. Much stronger than the version used on the Fabulous Little Richard album in 1959. This track was unreleased until 1970.



#9: The Most I Can Offer (Just My Heart). written by the author of "Oh Why" and so many other gems, R. Scott. When it first came out, after gathering vaultdust for 3 years, a specialty staffer - probably Mr. sonny Buono - overdubbed a bubble-gum chorus. It sounded ok, but lost in the generational transfer was that trademark triplet piano and the subtelty of the horns. Richard does his whisper to a scream thing...sensationally.



#10: Ready Teddy. i consider this an outtake. A very exciting one with alot of voice. Possibly the first true R & R number ever recorded, here it is more "hillbilly".



#11: Hey-Hey-Hey-Hey (Goin' Back To Birmingham). One of Little Richard's greatest recordings - totally delirious, though well structured and sophisticated rockin' R & B, this one, to me, was a true "lost" classic, as it jumped in the back seat of Miss Molly's vehicle and took a ride to rock and Roll Heaven. Listen to the triple-time guitars - and then reference the Beatles' All My Loving. Don't look at me like that. I can't believe someone decided to *fade* thsi number. the whole take is still here, but what a mistake. In fact, I would recommend sticking with the original pressing. Like switching from a safe, smooth slide into third base, to a stand up with mincing steps.



#12: Rip It Up. Nice wet-echo, if you will, pressing of LR's third consecutive chartbuster. He would do even more exciting vesions later in his career, this number strangely subdued, relaxed - not for the average musicia but for this genius. Could have used a taste more "pop" and drive, but it is what it is: a stone Classic for the ages.



#13: Lucille. Here it is. A number which still defies description and along with Long Tall sally, possibly his most influential recording. So many of his contemporaries tried it...did well with it...but never "made it their own". Said to hve been based somewhat musically on a Ruth Brown song and lyrically on a Clyde McPhatter song.



#14: Hound Dog (Rehearsal). If you love the lower-key, lower pitch approach, this one's nice. Must have been recorded not long after Elvis' hit the airwaves, as the arrangement is very similiar. "Rehearsal" - not to me - a warm-up, baby.



#15: Shake a Hand. The great, inspirational number, sans bubble-gum chorus added much later. You might miss the ladies in spots, but this pressing, first appearing in 1989 (!) brings out the *music*. Said to be a McCartney favorite.



#16: She's Got It. Wet-echo. Great uptempo jump-blues-based R & R wit the most original downbeat voacl intro. in history, we all know and dig it from that terrific R & R movie, The Girl Can't Help It. [Was a quick rewrite of an earlier song, I Got It, which had fallen by the wayside on its' way to a release in early 1956).



#17: Good Golly, Miss Molly. Well, he never sings it the same twice, and here it is, actually version #2 - yes, the greatest Rock and Roll record ever recorded, released, and rereleased; and re-recorded; and re-re-recorded. The original version can be/should be heard any time of day.

A brilliant arrangement which features the man at his vocal and instrumental top. Strange that at times, later, he seemed to play it in a distracted way in concert. Although there are reports of live versions from 1969 and 1970 also made history. The top of the art form, right here. (One of the better Vee-Jay recuts, as well).



#18: Ooh! My Soul. A leftover from the Keep-A Knockin' session, this is the original 45rpm version, not the long Specialty version which came out in the '80s. He rerecorded this tune at the Whole Lotta Shakin' Goin' On session, later in '57. Sounds like they adjusted th pitch upward, unnecessarily. Wet-echo.



#19; Whole Lotta Shakin' Goin' On (Rehearsal). "Rrehearsal" - I *don't* think. It's the same pressing heard on The Fabulous Little Richard album, with extra piano sounds at the beginning and ending. Too bad the 2/4 drums of Charles "Keep A-Knockin' Connor are so far back in the mix.



No liners. I listened on headphones, not sure about full power and presence, but this CD is head and shoulders above most of similiar packages."