Little Richard

Little Richard

Richard Wayne Penniman, known professionally as Little Richard, left an indelible mark on music and culture for seven decades. Recognized as the "Architect of Rock and Roll," his influential career spanned from the mid-1950s. With charismatic showmanship, frenetic piano playing, and powerful raspy vocals, he laid the foundation for rock and roll. Little Richard's innovative emotive vocalizations and uptempo rhythmic music played a pivotal role in shaping various genres, including soul and funk. His profound influence extended across musical landscapes, touching artists from rock to hip hop, leaving an enduring impact on rhythm and blues for generations.


"Tutti Frutti" (1955), a hallmark in Little Richard's career, quickly soared to success, transcending into the pop charts of both the United States and the United Kingdom. The subsequent hit single, "Long Tall Sally" (1956), claimed the No. 1 spot on the Billboard Rhythm and Blues Best-Sellers chart, initiating a string of fifteen more hits in less than three years. After a hiatus where Richard embraced born-again Christianity, concert promoter Don Arden convinced him to tour Europe in 1962. Notably, during this period, the Beatles served as the opening act for Richard on certain tour dates.


Richard received numerous accolades and recognitions. His induction into the Rock and Roll Hall of Fame occurred in 1986, marking him as part of the inaugural group of inductees. The Songwriters Hall of Fame also welcomed him. Lifetime Achievement Awards from The Recording Academy and the Rhythm and Blues Foundation further underscored his impact. In 2015, he was honored with a Rhapsody & Rhythm Award by the National Museum of African American Music. "Tutti Frutti" gained additional recognition in 2010 when it was included in the National Recording Registry of the Library of Congress, acknowledging that his "unique vocalizing over the irresistible beat announced a new era in music."


Born in Macon, Georgia, on December 5, 1932, Richard Wayne Penniman was the third of twelve children to Leva Mae and Charles "Bud" Penniman. His father, a church deacon and brick mason, also ran a bootlegged moonshine business and owned the Tip In Inn nightclub. Leva Mae was a member of Macon's New Hope Baptist Church. Originally intended to be named "Ricardo," a mistake led to the name "Richard." Raised in Macon's Pleasant Hill neighborhood, Richard, nicknamed "Lil' Richard" due to his small frame, displayed mischievous behavior and a penchant for pranks. Despite a slight leg deformity from birth complications, he embraced singing and piano lessons early on, enduring mockery for his distinctive gait and effeminate appearance.


Growing up in a deeply religious family, Richard's upbringing involved various affiliations with A.M.E., Baptist, and Pentecostal churches, with some family members becoming ministers. His fondest memories were of the charismatic worship and live music in the Pentecostal churches. He recalled the neighborhood's constant gospel singing during segregation as a way to maintain a positive outlook amid poverty and prejudice. Richard noted that people sang to feel a connection with God and to alleviate their trials. Possessing a powerful singing voice, he often changed keys upwards, earning him the childhood nickname "War Hawk." His exuberant singing once led to a church prohibition for being too loud, solidifying his childhood nickname. Richard's penchant for making music extended to using household items like tin cans and pots as makeshift instruments, a habit that occasionally annoyed the neighbors.


Little Richard's early musical influences centered around gospel performers like Brother Joe May, Sister Rosetta Tharpe, Mahalia Jackson, and Marion Williams. Brother Joe May, known as "the Thunderbolt of the Middle West" for his remarkable vocal range, inspired Richard's desire to become a preacher. He attributed one of his distinctive hollers to the Clara Ward Singers. Richard's education took place at Macon's Hudson High School, where he was an underwhelming student. Despite his academic performance, he engaged in musical pursuits and learned to play the alto saxophone, eventually joining the school's marching band in the fifth grade. During high school, he secured a part-time job at Macon City Auditorium, working for local concert promoter Clint Brantley. Richard sold Coca-Cola to audiences attending concerts by star performers like Cab Calloway, Lucky Millinder, and his personal favorite, Sister Rosetta Tharpe.


In October 1947, at the age of fourteen, Little Richard had a transformative encounter with Sister Rosetta Tharpe at the Macon City Auditorium. Tharpe overheard him singing her songs and invited him to open her show. Following the performance, Tharpe paid him, sparking Richard's aspiration to become a professional performer. He credited Ike Turner's piano introduction on "Rocket 88" as a significant influence on his piano style. Starting in 1949, Richard joined Doctor Nubillo's traveling show, where he adopted the distinctive style of wearing turbans and capes, inspired by Nubillo's captivating stage presence. Nubillo, who carried a black stick and showcased a peculiar exhibit he called 'the devil's child,' predicted that Richard would achieve fame.


Before entering the tenth grade, in 1949, Little Richard made a significant move by leaving his family home to join Hudson's Medicine Show. His performance of Louis Jordan's "Caldonia" marked a pivotal moment in his musical journey. Richard noted that this was the first secular R&B song he learned, as his family strictly prohibited playing R&B music, considering it "devil music." Jordan's influence on Little Richard is evident, with the iconic whoop sound on Jordan's "Caldonia" resembling the vocal tone that Richard would later adopt, along with the distinctive Jordan-style pencil-thin mustache.


During this period, Richard embraced a flamboyant stage persona, including performing in drag under the name "Princess LaVonne." In 1950, he joined Buster Brown's Orchestra, where he was christened "Little Richard" by Brown. Engaging in the minstrel show circuit, Richard, both in and out of drag, participated in vaudeville acts for various performers. Having settled in Atlanta, he immersed himself in rhythm and blues, attending clubs like the Harlem Theater and the Royal Peacock, where he witnessed the captivating performances of artists like Roy Brown and Billy Wright. Influenced by their flashy showmanship, especially Wright's flamboyant style, Richard decided to pursue a career as a rhythm-and-blues singer. Building a friendship with Wright, he learned the art of entertainment and adopted a glamorous image, including a pompadour hairdo, flashy attire, and pancake makeup, inspired by Wright's distinctive look.


Billy Wright, impressed by Richard's singing, introduced him to Zenas Sears, a local DJ who recorded Richard with Wright's band. These recordings secured him a contract with RCA Victor in that year. Richard's debut single, the blues ballad "Every Hour," gained popularity in Georgia and marked the beginning of his success. The song's release even improved his relationship with his father, who began playing it regularly in his nightclub. Subsequently, Richard fronted Perry Welch and His Orchestra, performing at clubs and army bases for $100 a week. However, his tenure with RCA Victor ended in February 1952 due to lackluster chart performance, as the recordings received minimal promotion despite appearing in Billboard ads.


Following his father's death in 1952, Little Richard found success with RCA Victor's reissue of his recordings on the budget RCA Camden label. Despite the initial lack of chart success, these reissued recordings gained attention. During this period, Clint Brantley took on the role of managing Richard's career. He moved to Houston, where he formed a band called the Tempo Toppers and performed in blues package tours across Southern clubs. In February 1953, Richard signed with Don Robey's Peacock Records and recorded eight sides, including four with Johnny Otis and his band. Despite his growing reputation for high-energy performances, none of his Peacock singles charted. Monetary disputes with Robey led to a scuffle, during which Robey knocked him out.


Disillusioned with the record business, Little Richard returned to Macon in 1954 and took a job as a dishwasher for Greyhound Lines due to financial struggles. While in Macon, he encountered Esquerita, whose flamboyant persona and dynamic piano style significantly influenced Richard. In the same year, he disbanded the Tempo Toppers and formed a more energetic rhythm and blues band, the Upsetters. The band, managed by Clint Brantley, included drummer Charles Connor and saxophonist Wilbert "Lee Diamond" Smith. Despite lacking a bassist, the Upsetters toured successfully, and drummer Connor adapted to create a "bass fiddle effect." In 1954, Richard joined a Southern tour with Little Johnny Taylor.


Upon Lloyd Price's suggestion, Little Richard sent a demo to Specialty Records in February 1955, and after months of waiting, he received a call in September. Specialty owner Art Rupe loaned Richard money to buy out his Peacock contract, and he began working with producer Robert "Bumps" Blackwell. Initially seen as Specialty's answer to Ray Charles, Richard expressed a preference for Fats Domino's sound. Blackwell sent him to New Orleans, where he recorded at Cosimo Matassa's J&M Studios with Domino's session musicians. The recordings that day, featuring musicians like drummer Earl Palmer and saxophonist Lee Allen, initially lacked inspiration, though Blackwell saw promise.


Feeling frustrated, Robert "Bumps" Blackwell and Little Richard decided to unwind at the Dew Drop Inn nightclub. There, Richard spontaneously performed a risqué blues song titled "Tutti Frutti." Blackwell sensed its hit potential but found the lyrics too explicit. He hired songwriter Dorothy LaBostrie to revise the lyrics, toning down the sexual content. Recorded in three takes in September 1955, the sanitized "Tutti Frutti" was released as a single that November. It quickly became a hit, reaching No. 2 on Billboard's Rhythm and Blues Best-Sellers chart and crossing over to the pop charts in the U.S. and the U.K. It reached No. 21 on the Billboard Top 100 in America and No. 29 on the British singles chart, ultimately selling a million copies.


After the success of "Tutti Frutti," Little Richard's next hit single, "Long Tall Sally" (1956), topped the R&B chart and reached number thirteen on the Top 100, also making the top ten in the UK. Similar to "Tutti Frutti," it sold over a million copies. Richard expanded his backup band, The Upsetters, adding saxophonists Clifford "Gene" Burks and leader Grady Gaines, bassist Olsie "Baysee" Robinson, and guitarist Nathaniel "Buster" Douglas. Richard's energetic stage presence, with antics like lifting his leg while playing the piano, climbing on top of it, and throwing souvenirs to the audience, set him apart. He incorporated flamboyant outfits, capes, and sequins into his performances. Richard explained that his flamboyance was aimed at dispelling racial stereotypes, emphasizing his focus on the music.


Little Richard's performances, typical of early rock and roll shows, defied racial segregation in public spaces. In package tours alongside artists like Fats Domino and Chuck Berry, he attracted integrated audiences, albeit in segregated settings. For example, blacks would sit in the balcony, and whites on the main floor. Despite regional supremacist groups attempting to discourage mixed-race gatherings, Richard's music and lively performances facilitated unity and dancing among diverse audiences. His popularity played a role in challenging the notion that black artists couldn't succeed in racially exclusive venues, particularly in the overtly racist Southern states.

References

1.  Eagle, Bob; LeBlanc, Eric S. (2013). Blues – A Regional Experience. Santa Barbara: Praeger Publishers. p. 275. ISBN 978-0313344237.
2. a b c Weiner, Tim (May 9, 2020). "Little Richard, Flamboyant Wild Man of Rock 'n' Roll, Dies at 87". The New York Times. Archived from the original on May 17, 2020. Retrieved May 9, 2020.
3. a b Kirby 2009, p. 30.
4. a b White 2003, p. 21.
5. a b White 2003, p. 3.
6. ^ White 2003, pp. 4–5.
7. ^ Otfinoski 2010, p. 144.
8. ^ White 2003, p. 7.
9. ^ White 2003, p. 6.
10. a b c White 2003, pp. 16–17.
11. ^ White 2003, pp. 7–9.
12. ^ White 2003, p. 8.
13. a b c White 2003, p. 16.
14. a b White 2003, p. 18.
15. ^ White 2003, pp. 15–17.
16. ^ Ryan 2004, p. 77.