When I think of Little Richard I think of that voice. When Little Richard passed in 2020 he was one of the last fifties pioneers left. His influence passed through generations from Bob Dylan, The Beatles, Jimi Hendrix, James Brown, to Lemmy from Motorhead.
He released this song in 1957 and it peaked at #10 on the Billboard 100, #2 on the Billboard R&B, and #11 in the UK. The song was written by Little Richard and Enotris Johnson.
Jenny, Jenny featured the great New Orleans sidemen Lee Allen and Alvin “Red” Tyler on horns, plus Earl Palmer, later described by Richard as “probably the greatest session drummer of all time.” Production was by Otis “Bumps” Blackwell.
The guy knew how to put on a show. Richard’s producer Bumps Blackwell said that he saw him break piano strings on multiple occasions by hitting the keys so hard.
In the US, he had four chart singles and six chart songs, because two of them had flipsides that qualified in their own right. As rock’n’roll spread on the other side of the Atlantic, Richard was successful there too.
He worked with some of the best musicians and also met the Beatles in Hamburg and they opened up for him in Liverpool. One of the last times they opened for anyone. Jimi Hendrix, James Brown, and Billy Preston were all backing musicians for Little Richard early in their careers.
In 1957, at the height of his career… he left the music business to pursue a life as a minister. As a child, he wanted to be part of the church, so as an adult he enrolled in Oakwood Theological College in Huntsville, Alabama. During his studies there, the British Invasion took over the musical landscape and Little Richard returned to rock ‘n roll. In 1970, he earned a BA in Theological Studies at Oakwood and became an ordained minister in the Seventh Day Adventist Church.
An ordained minister, Richard officiated weddings for Stevie Van Zandt (1982), Demi Moore and Bruce Willis (1987), Cyndi Lauper (1991), and Tom Petty (2001). He also showed up on the soap operas One Life To Live and The Young and The Restless to preside over weddings.
Mick Jagger: “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.”
Bob Dylan:He was my shining star and guiding light back when I was only a little boy. His was the original spirit that moved me to do everything I would do.
Jenny, Jenny
Jenny Jenny Jenny, won’t you come along with me,
Jenny Jenny, ooh, Jenny Jenny,
Jenny Jenny Jenny, won’t you come along with me,
Jenny Jenny, ooh, Jenny Jenny,
You know that I love, we could live so happily,
Jenny Jenny, ooh, Jenny Jenny.
Spinnin’ spinnin’ spinnin’, spinnin’ like a spinnin’ top,
Spinnin’ spinnin’, ooh, spinnin’ spinnin’,
Spinnin’ spinnin’ spinnin’, spinnin’ like a spinnin’ top,
Spinnin’ spinnin’, ooh, spinnin’ spinnin’,
Crazy little partner, you ought to see us reel and rock,
Jenny Jenny, ooh, Jenny Jenny.
Jenny Jenny Jenny, you know that you’re my girl,
Jenny Jenny, ooh, Jenny Jenny,
Jenny Jenny Jenny, you know that you’re my girl,
Jenny Jenny, ooh, Jenny Jenny,
You know that I’ll need, I’ll buy you diamond rings and pearl,
Jenny Jenny, ooh, Jenny Jenny.
Ready, set, go man go, I got a girl that I love so.
What else do we need to have a great rock and roll song? Not exactly Shakespeare but Shakespeare couldn’t write Gonna kick off my shoes, roll up my faded jeans, Grab my rock ‘n’ roll baby, pour on the steam. The song was written by John Marascalco and Robert Blackwell with probable help from Little Richard. Most Little Richard songs are like a shot of adrenaline…this one is no different.
This was originally a B-side to Rip It Up. Little Richard claimed to have helped write this song but he said he didn’t have the business sense at that time to demand credit. He said: “They brought me the words and I made up the melody, and at the time I didn’t have sense enough to claim so much money, because I really made them hits. I didn’t get the money, but I still have the freedom.”
The song peaked at #44 on the Billboard 100 and #8 on the R&B charts.
The song is about a girl who wants sex… a ready teddy. Like most of Little Richard’s songs, this contains a lot of innuendoes but most people were too busy listening to the music to notice or didn’t get the reference. If sex had a voice…it would be Little Richard.
This song was covered by a lot of artists including Buddy Holly, The Tornados, Elvis Presley, Tony Sheridan, and others. Elvis did this song on one of his Ed Sullivan appearances.
My dad told me about Little Richard before I ever heard him. He said he had the biggest voice he ever heard. He talked about a song called Long Tall Sally. I first heard it…it blew me away. Such a raw emotional power in that voice. He would take us to the edge of the cliff and then at the last minute pull us back.
His voice was one of a kind…
Ready Teddy
Ready, set, go man go
I got a girl that I love so
I’m ready, ready, ready teddy
I’m ready, ready, ready teddy
I’m ready, ready, ready teddy
I’m ready, ready, ready to a rock ‘n’ roll
Going to the corner, pick up my sweetie pie
She’s my rock ‘n’ roll baby, she’s the apple of my eye
I’m ready, ready, ready teddy
I’m ready, ready, ready teddy
I’m ready, ready, ready teddy
I’m ready, ready, ready to a rock ‘n’ roll
All the flat-top cats and the dungaree dolls
Are headed for the gym to the sock hop ball
The joint is really jumpin’, the cats are going wild
The music really sends me, I dig that crazy style
I’m ready, ready, ready teddy
I’m ready, ready, ready teddy
I’m ready, ready, ready teddy
I’m ready, ready, ready to a rock ‘n’ roll
Going to the corner, pick up my sweetie pie
She’s my rock ‘n’ roll baby, she’s the apple of my eye
I’m ready, ready, ready teddy
I’m ready, ready, ready teddy
I’m ready, ready, ready teddy
I’m ready, ready, ready to a rock ‘n’ roll
All the flat-top cats and the dungaree dolls
Are headed for the gym to the sock hop ball
The joint is really jumpin’, the cats are going wild
The music really sends me, I dig that crazy style
I’m ready, ready, ready teddy
I’m ready, ready, ready teddy
I’m ready, ready, ready teddy
I’m ready, ready, ready to a rock ‘n’ roll
Gonna kick off my shoes, roll up my faded jeans
Grab my rock ‘n’ roll baby, pour on the steam
I shuffle to the left, I shuffle to the right
Gonna rock ‘n’ roll to the early, early night
I’m ready, ready, ready teddy
I’m ready, ready, ready teddy
I’m ready, ready, ready teddy
I’m ready, ready, ready to a rock ‘n’ roll
I first heard this through the Beatles, but nobody beats Little Richard (Richard Penniman) for this kind of raving song. The Beatles played on the same bill with Richard in Hamburg and Liverpool before they were nationally known. They got to know Billy Preston because he was Richard’s keyboard player.
My dad told me about Little Richard before I ever heard him. He said he had the largest voice he ever heard. He talked about a song called Long Tall Sally. I first heard it…it blew me away. Such a raw emotional power in that voice. He would take us to the edge of the cliff and then at the last-minute pull us back.
So was there a real Long Tall Sally? Yes, there was but she was not a cross-dresser as sometimes reported. Little Richard has said that Sally was a friend of the family who was always drinking whiskey…she would claim to have a cold and would drink hot toddies all day.
He described her as tall and not attractive, with just two teeth and cockeyed. She was having an affair with John, who was married to Mary, who they called “Short Fat Fanny.” John and Mary would get in fights on the weekends, and when he saw her coming, he would duck back into a little alley to avoid her. His voice was one of a kind…and I mean one of a kind. He could sing anything. Richard wrote this while working as a dishwasher at a Greyhound bus station in Macon, Georgia. He also wrote Tutti Frutti and Good Golly Miss Molly while working there. He had help with the song…Enotris Johnson and Robert Blackwell are also listed as the writers.
Long Tall Sally peaked at #6 in the Hot 100 and #1 in the R&B Charts in 1956.
Richard’s producer, Bumps Blackwell, had him record the vocal exceptionally fast in an effort to thwart Pat Boone. Boone’s version of “Tutti Frutti” sold better than Little Richard’s, so Blackwell tried to make it very difficult for Boone to copy. He had Richard work on the line “duck back down the alley” over and over until he could sing it very fast. He figured Boone could never match Richard’s vocal dexterity.
As much as I don’t like Pat Boone’s covers of Little Richards songs…they did help Richard get royalties as the writer.
Long Tall Sally
Gonna tell Aunt Mary ’bout Uncle John He claim he has the misery but he’s havin’ a lot of fun Oh baby, yeah baby, woo Havin’ me some fun tonight, yeah
Well long, tall Sally She’s built for speed, she got Everything that Uncle John need, oh baby Yeah baby, woo baby Havin’ me some fun tonight, yeah
Well, I saw Uncle John with long tall Sally He saw Aunt Mary comin’ and he ducked back in the alley oh baby Yeah baby, woo baby Havin’ me some fun tonight, yeah, ow
Well, long, tall Sally She’s built for speed, she got Everything that Uncle John need, oh baby Yeah baby, woo baby Havin’ me some fun tonight, yeah
Well, I saw Uncle John with bald-head Sally He saw Aunt Mary comin’ and he ducked back in the alley, oh, baby Yeah baby, woo, baby Havin’ me some fun tonight, yeah
We gonna have some fun tonight We gonna have some fun tonight, woo Have some fun tonight, everything’s all right Have some fun, have me some fun tonight
Greetings on this Sunday Morning…Pure poetry! What a voice! This song is like a shot of adrenaline. If Little Richard came out today…what kind of music would he sing?
Little Richard wrote this song in 1955 when he was working as a dishwasher at a Greyhound bus station in his hometown of Macon, Georgia.
Little Richard’s real name was Richard Wayne Penniman and was born in Macon, Georgia. He was one of twelve children… “Little Richard” was his childhood nickname, and even though he was not a little adult (almost 6 feet tall), he kept the name. His family listened to singers like Bing Crosby and Ella Fitzgerald. Richard couldn’t find any music he liked, so he created it.
This was Little Richard’s first hit, but his success was far from instant. His first recordings were in 1952 for RCA Records, and were failures. He moved to Peacock Records the next year and released some singles with the Johnny Otis Trio backing him up.
Richard’s break came when the singer Lloyd Price played a show in Macon, Georgia, and Richard, who was selling drinks at the gig, went to the dressing room and played Price “Tutti Frutti” on the piano.
The song peaked at #18 in the US, #2 in the R&B Charts, and #29 in the UK in 1955.
This song was a huge influence on many future rock stars, but it had special significance for David Bowie, as it was the first rock song he heard. Bowie’s father, who ran a London music hall, brought the record home when David was 9 years old.
Bowie said: “My heart nearly burst with excitement,” “I had heard God.”
Little Richard:“I couldn’t talk back to my boss man. He would bring all these pots back for me to wash, and one day I said, ‘I’ve got to do something to stop this man bringing back all these pots to me to wash,’ and I said, ‘Awap bop a lup bop a wop bam boom, take ’em out!’ and that’s what I meant at the time. And so I wrote ‘Tutti Frutti’ in the kitchen, I wrote ‘Good Golly Miss Molly’ in the kitchen, I wrote ‘Long Tall Sally’ in that kitchen.”
Little Richard:“My greatest achievement would have to be ‘Tutti Frutti.’ It took me out of the kitchen – I was a dishwasher at the Greyhound bus station, making $10 a week working 12 hours a day, and ‘Tutti Frutti’ was a blessin’ and a lesson. I thank God for ‘Tutti Frutti’.”
From Songfacts
Richard says that “Awap bop a lup bop a wop bam boom” was kind of his catch phrase, something he would reply to folks who asked him how he was doing.
Long before Richard recorded this, he performed it at his shows as “Tutti Frutti, Good Booty.” It was a very raucous and sexual song and was considered too suggestive for white audiences, so it was cleaned up considerably when he recorded it for Specialty Records. The chorus was changed to “Tutti Frutti, aw Rudi,” and these original lyrics were replaced:
If it’s tight, it’s alright
If it’s greasy, it makes it easy
Some sources have claimed that Richard also sang “A good God damn” instead of “a wop bam boom,” but according to the notes in the 2012 reissue of the album, Richard (who later became a minister) never took the Lord’s name in vain and never sang that lyric. Price encouraged Richard to send a tape to Specialty Records, so he sent them a demo of two songs he recorded in February 1955 with his group The Upsetters: “Baby” and “All Night Long.” Specialty owner Art Rupe was unimpressed, but Richard kept calling and sending letters.
His persistence paid off and Rupe finally sent his producer Bumps Blackwell to New Orleans, where on September 13 and 14, they recorded the nine songs that would comprise the Here’s Little Richard album. “Tutti Frutti” was released as a single and became a breakout hit, which Richard found out when the record company called him in Georgia to explain. They flew him to Hollywood and had him record follow-up singles “Long Tall Sally” and “Slippin’ and Slidin’.”
This was the last song recorded for the album, and it barely made it. The first eight tracks Richard put down were blues numbers which weren’t wowing his producer Bumps Blackwell, who took a break and brought Richard to a local bar called the Dew Drop Inn. Richard, feeling more relaxed with an audience to play for, sat down at a piano in the bar and started playing his live favorite “Tutti Frutti.” This got Blackwell’s attention, and he insisted that Richard record the song.
Of course, the original racy lyrics about “good booty” had to be replaced, and Little Richard had no particular talent for writing words that would match his melody yet mollify a white audience. This task fell to Dorothy LaBostrie, who Blackwell described as “a girl who kept hanging around the studio to sell songs.” She was on hand because Richard recorded her song “I’m Just A Lonely Guy” earlier that day. With time running out in the session, an embarrassed Richard sang her the raunchy lyrics, looking at the wall while he did so. LaBostrie left and came back with the sanitized lyrics with just 15 minutes of studio time remaining. They quickly recorded the song, getting it right on the third take with two minutes to spare. Dorothy LaBostrie earned what became a very lucrative writing credit for her efforts.
This song introduced Little Richard’s famous “Whooooo,” and also a big “Aaaaaaahhh” scream which he sings just before the tenor sax solo performed by Lee Allen. Richard’s scream had a practical purpose: to let Allen know when to start playing. They were recording on just three tracks, so overdubbing the horns wasn’t a practical option.
You can also hear Richard’s classic line in this song, “A wop bop a lu bop, a wop bam boom!” He felt you could express your emotions without singing actual words. He would also put a little something extra into the words he sang, which he called “that thing.” It was something he learned playing piano and singing in church, and it was a style that would influence the next generation of rock music.
This is one of the most famous songs of all time, making #43 on Rolling Stone magazine’s list of the 500 Greatest Songs, but it was not a huge hit, going to #2 on the R&B charts and reaching just #17 on the Hot 100.
Pat Boone fared better with his 1956 cover, taking it to #12. Boone had a long career doing sanitized covers of songs by black artists, and he also covered Richard’s “Long Tall Sally.” Many listeners at the time only knew the song through Boone, so Little Richard’s promotional materials often labeled him “Original ‘Tutti Frutti’ Man.”
Boone changed some of the lyrics, so “Boy you don’t know what she’s doing to me” became “Pretty little Susie is the girl for me.”
“The kids didn’t care – they didn’t know,” he said in a Songfacts interview. Boone went on to explain that Little Richard was grateful for the exposure, as he introduced the song to a white audience.
Like “Long Tall Sally,” this song was covered by Elvis. Little Richard once said, “Elvis may be the King of Rock and Roll, but I am the Queen.”
Little Richard did not invent the name “Tutti Frutti”; it was a popular flavor of ice cream. The phrase is Italian for “All Fruits,” and the ice cream had little bits of candied fruit mixed in. In 1938, the Jazz duo Slim Gaillard and Slam Stewart, who recorded as Slim And Slam, released a popular song called “Tutti Frutti,” which was about the ice cream. Little Richard’s was a completely different song.
Little Richard recorded this at J&M Studios in New Orleans, which was the only place to record in the city for many years. Opened in the late ’40s, Ray Charles, Sam Cooke and Jerry Lee Lewis recorded there as well. It has since become a laundromat. >>
Huey “Piano” Smith played the piano on the first eight songs during the session that produced this album, but he didn’t have time to learn “Tutti Frutti” so Richard played it himself. The drummer on the session was Earl Palmer, who later moved to Los Angeles and became one of the most prolific drummers of all time, playing on songs by the Righteous Brothers, Elvis Costello, B.B. King and hundreds of others. On this song, Palmer had no rehearsal and Richard was pounding out a rock rhythm on the piano.
Palmer later explained, “The only reason I started playing what they come to call a Rock and Roll beat was came from trying to match Richard’s right hand – with Richard pounding the piano wih all ten fingers, you couldn’t so very well go against that. I did at first – on ‘Tutti Frutti you can hear me playing a shuffle. Listening to it now, it’s easy to hear I should have been playing that rock beat.” (From Backbeat: Earl Palmer’s Story.)
Buchanan & Goodman sampled this in their 1956 novelty hit, “The Flying Saucer.”
Charles Connor, Little Richard’s drummer in the 1950s and 60s told Uncut magazine the rock ‘n’ roll star took his “Awap bop a lup bop a wop bam boom” catch phrase from his drums. “Richard called me about a month and a half before he passed, and we talked for a long time,” Connor added. “He said, ‘Charles, thanks for helping me create my style of singing.’ He called us the architects of rock and roll, but I said I was the bricklayer, laying the foundation of the rhythm for him.”
On Queen’s last tour with Freddie Mercury (in 1986), they included this song in their setlist along with another ’50s favorite, “Hello Mary Lou” by Ricky Nelson.
Tutti Frutti
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 But 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 ooo 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!
Little Richard passed away yesterday at 87 years old…he was one of the last fifties pioneers left. His influence passed through generations from Bob Dylan, The Beatles, Jimi Hendrix, James Brown, to Lemmy from Motorhead.
I’ve read interviews from so many artists saying how he influenced them. Bob Dylan started on Little Richard in Minnesota as a teenager and I’ve read where Lemmy was a giant fan. Richard touched many generations.
My dad told me about Little Richard before I ever heard him. He said he had the biggest voice he ever heard. He talked about a song called Long Tall Sally. I first heard it…it blew me away. Such a raw emotional power in that voice. He would take us to the edge of the cliff and then at the last minute pull us back.
His voice was one of a kind…and I mean one of a kind. He could sing anything.
Bob Dylan:I just heard the news about Little Richard and I’m so grieved. He was my shining star and guiding light back when I was only a little boy. His was the original spirit that moved me to do everything I would do.
Keith Richards:So sad to hear that my old friend Little Richard has passed. There will never be another!!! He was the true spirit of Rock’n Roll!
Rip It Up
A songwriter named Johnny Marascalco wrote this song, which was released as Little Richard’s third single. Marascalco while he was sitting in a cotton field waiting for a friend to get out of church so they could hunt rabbits. A later weekend, he heard Little Richard’s “Long Tall Sally” and decided that he could write similar songs.
Little Richard’s producer Bumps Blackwell (who has a co-writing credit on this one as well) bought both “Rip It Up” and another Marascalco song, “Ready Teddy,” which was released as the B-side of the single. The two songs were recorded at J&M Studios in New Orleans on May 9, 1956.
The song peaked at #1 in the R&B Charts, #27 in the Billboard Charts, #30 in the UK, and #30 in Canada in 1956.
Rip It Up
‘Cause it’s Saturday night and I just got paid Fool about my money don’t try to save My heart says go, go Have a time ’cause it’s Saturday night And I’m feelin’ fine
I’m gonna rock it up I’m gonna rip it up I’m gonna shake it up I’m gonna ball it up I’m gonna ride it out And ball tonight
I got a date and I won’t be late Pick her up in my ’88’ Shag it on down to the union hall When the music starts jumpin’ I’ll have a ball
I’m gonna rock it up I’m gonna rip it up I’m gonna shake it up I’m gonna ball it up I’m gonna ride it out And ball tonight
Along about 10 I’ll be flying high Rocking on out into the sky I don’t care if I spend my gold ‘Cause tonight I’m gonna be one happy soul
I’m gonna rock it up I’m gonna rip it up I’m gonna shake it up I’m gonna ball it up I’m gonna ride it out And ball tonight, aw
Well it’s Saturday night and I just got paid Fool about my money don’t try to save My heart says go, go Have a time ’cause it’s Saturday night And I’m feelin’ fine
I’m gonna rock it up I’m gonna rip it up I’m gonna shake it up I’m gonna ball it up I’m gonna ride it out And ball tonight
Along about 10 I’ll be flying high Rocking on out into the sky I don’t care if I spend my gold ‘Cause tonight I’m gonna be one happy soul
I’m gonna rock it up I’m gonna rip it up I’m gonna shake it up I’m gonna ball it up I’m gonna ride it out And ball tonight
Since I posted Paul McCartney’s Concert for Kampuchea yesterday I thought I would concentrate on the festival John Lennon popped up at in 1969… The Toronto Rock and Roll Revival. Unlike Kampuchea which was spread out on multiple days and nights, this festival was held on one day September 13, 1969.
John Lennon and the Plastic Ono Band just played fifties songs plus John’s new song that Beatles rejected…Cold Turkey. The reason for the fifties’ songs was because the band had limited time to rehearse and they wanted to do songs they all knew.
It was a great festival lineup but it’s remembered mostly by John Lennon’s participation. The Doors were the headliners and John only agreed to do it
The concert was conceived by promoters John Brower and Ken Walker with financial backing from Eaton’s department store but stymied by poor ticket sales, the venture began to lose support. The festival was almost canceled but Brower called Apple Records in the UK to ask John Lennon to emcee the concert. Lennon agreed to appear on the condition he would be allowed to perform.
The Lennons flew in from England with a makeshift band that included Eric Clapton, Klaus Voormann, Alan White, and Yoko. They arrived at the backstage area at about 10 p.m, while Cat Mother and the All Night Newsboys were singing Good Old Rock ‘n’ Roll to an audience of about 20,000.
Lennon was quoted as saying “I threw up for hours until I went on” because it had been three years since he played live in a concert setting. The band went on and did a good job…ragged but it was a hastily assembled band with only a rehearsal on the plane ride and backstage.
John Lennon:“The ridiculous thing was that I didn’t know any of the lyrics. When we did Money and Dizzy, I just made up the words as I went along. The band was bashing it out like hell behind me. Yoko came on stage with us, but she wasn’t going to do her bit until we’d done our five songs….Then after Money there was a stop, and I turned to Eric and said, ‘What’s next?’ He didn’t know either, so I just screamed out ‘C’mon!’ and started into something else.”
Little Richard: “I remember the show that people were throwing bottles at Yoko Ono. They were throwing everything at her. Finally, she had to run off the stage. Oh, boy, it was very bad.”
John Lennon:And we tried to put it out on Capitol, and Capitol didn’t want to put it out. They said, ‘This is garbage; we’re not going to put it out with her screaming on one side and you doing this sort of live stuff. And they just refused to put it out. But we finally persuaded them that, you know, people might buy this. Of course it went gold the next day.”
John Lennon and Yoko’s setlist
Blue Suede Shoes.
Money (That’s What I Want)
Dizzy Miss Lizzy.
Yer Blues.
Cold Turkey.
Give Peace a Chance.
Don’t Worry Kyoko (Mummy’s Only Looking for Her Hand in the Snow)
Little Richard isn’t just a singer he is a force of nature. I think he would have been successful now or any decade. He is one of the best singers I’ve heard in rock and roll. His voice is brash, intense, rough, soulful, and magical. He takes you to the edge of the cliff and when you think he will go over he pulls it back.
The song peaked at #1 on the Billboard R&B chart, #21 on the US pop chart, and #10 on the UK charts.
Little Richard wrote this song. This was released at a time when Richard was hot…he sold millions of records in 1956 and 1957. His songs were also very successful for other artists, who sometimes outsold him with his own songs.
“Lucille” was covered by The Everly Brothers, who matched Richard’s #21 peak position on the charts with their version in 1960. Waylon Jennings had a #1 Country hit when he recorded this on his 1983 album It’s Only Rock and Roll, and other artists to cover the song include Van Halen, Deep Purple, Johnny Winter, Bill Haley & His Comets, Otis Redding, AC/DC and The Hollies.
Little Richard: “I don’t know what inspired me to write it, it may have been the rhythm.” Certainly, the lyrics serve the rhythm, with the nonsensical first line “Lucille, won’t you do your sister’s will” scanning to the beat.
From Songfacts
This song began as a ballad Richard wrote called “Directly From My Heart to You,” which he recorded as a member of The Johnny Otis band in 1955. “Directly From My Heart to You” was released by Peacock Records as a B-side, and when Little Richard recorded for Specialty Records in September 1955, he tried recording the song for his first album. It didn’t make the cut, but Richard’s career took off, and when he needed another single in 1957, he revived the song, but gave it the sound that made him a star, speeding up the tempo considerably.
The lyrics were completely rewritten, and Richard went to a common theme for his hits: a girl’s name. If Lucille was based on a real woman who broke Richard’s heart, he isn’t saying. If there was a real Lucille, it would probably be either Richard’s (female) lover Lee Angel, or his mentor Steve Reeder Jr., who performed under the name Esquerita. Little Richard hasn’t kept a lot of secrets, so it’s more likely that he did make up Lucille. His next single was also named after a girl: “Jenny, Jenny.”
In a 1999 interview with Mojo magazine, Richard explained: “The effects and rhythms you hear on my songs, I got ’em from the trains that passed by my house. Like ‘Lucille’ came from a train – Dadas-dada-dada-dada, I got that from the train.”
Other popular Lucille’s in music: B.B. King’s guitar is named Lucille, and Kenny Rogers had a hit with different song with the same title in 1977 – his is the one that goes, “You picked a fine time to leave me Lucille…”
The Everly Brothers 1960 version broke new ground but using several guitarists on the track all at once. Recorded in Nashville and arranged by Don Everly, that sound later appeared on Roy Orbison’s hit “(Oh) Pretty Woman.”
In 1993, Little Richard sang this on Sesame Street as “Rosita,” in tribute to the blue monster of the same name.
Lucille
Lucille, won’t you do your sister’s will? Oh, Lucille, won’t you do your sister’s will? Well, you ran away and left, I love you still.
Lucille, please, come back where you belong. Oh, Lucille, please, come back where you belong. I been good to you, baby, please, don’t leave me alone.
Lucille, baby, satisfy my heart. Oh, Lucille, baby, satisfy my heart. I slaved for you, baby, and gave you such a wonderful start.
I woke up this morning, Lucille was not in sight. I asked her 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.
No one has a voice like Little Richard. His voice would have worked in any generation. He has one of the most primal aggressive voices I’ve ever heard. He sings these rockers great but he also can sing ballads.
Little Richard recorded this song in 1956 and it was released in 1958. The song peaked at #10 in the charts and #4 in the R&B Charts in 1958… as well as #8 in the UK.
The song is ranked #94 on the Rolling Stone magazine’s list of the 500 Greatest Songs of All Time. Good Golly, Miss Molly was written by John Marascalco and Robert “Bumps” Blackwell.
From Songfacts
The title was taken from the pet phrase of one of Little Richard’s favorite DJ’s, Jimmy Pennick. Musically, the song was inspired by the sax player Jackie Brenston, famous for singing lead and playing with Ike Turner on the song “Rocket 88.”
Like most of Little Richard’s songs, this contains a lot of innuendo (“sure like to ball”) but most people were too busy listening to the music to notice, or didn’t get the reference. At the time, the most common meaning for “balling” was dancing; only later did it became a popular euphemism for oral sex. The term later took on a new meaning when it came describe a lavish and extravagant lifestyle, with these guys flashing their cash known as “ballers.”
This song was a huge influence on many musicians in the early years of rock and roll. Speaking with Songfacts, Roger Reale, who was in the group Rue Morgue with Mick Ronson, said: “It’s revolutionary, rebellious and celebratory all in one, starting with that rolling piano intro, before moving into a totally unique vocal performance. I had never heard such a direct, crazed, almost otherworldly vocal before in my life.”
Little Richard’s publisher sued Creedence Clearwater Revival over their song “Travelin’ Band,” which they claimed lifted from “Molly.” A settlement was reached with Creedence giving up some of their royalties.
Good Golly, Miss Molly
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 When I caught 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.
Momma, poppa told me: “Son, you better watch your step.” If I knew poppa’s momma’s, have to watch my poppa myself. 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.
I am going to the corner, gonna buy a diamond ring. Would you pardon me kiss 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.
This documentary starts off in 1986 with Chuck Berry reminiscing about the Cosmopolitan Club where he played in the earlier days.
The film is centered around Chuck Berry’s 60th birthday and Keith Richards assembling an All-Star Band to support Chuck in concert. Chuck had been touring since the 60s by traveling town to town and playing with any pickup band he found…all he brought was his guitar. He would get paid with cash in a paper bag in many places. That was his motivation more than playing with a good band. Chuck could be very sloppy playing live.
Chuck could also be difficult, to say the least. Keith was determined that Chuck was going to be backed by a great band for this concert… Chuck was Keith’s idol but Chuck seemed to want to give Keith as much trouble as possible. Richards says in the documentary that Chuck was the only man that hit him that he didn’t hit back. During the rehearsals for the song “Carol”, you can feel the tension in the air between the two.
Seeing Keith’s reaction to Chuck at times is worth the price of admission and I’m glad Keith was persistent and patient and got this done. It’s great footage of Chuck playing his classics.
The concert at the Fox Theatre ended up a success. Chuck sounded great and so did the band.
During the documentary, there are some great comments by Little Richard, Bo Diddley, Bruce Springsteen, Jerry Lee Lewis, Willie Dixon and more.
Little Richard, Bo Diddley, and Chuck have a very interesting conversation about how hard it was to get played on the radio because of being African American in the 50s. They also talk about payola and Alan Freed.
The band was incredible… Keith Richards, Robert Cray, the great Johnnie Johnson (Chuck’s original piano player), Steve Jordan, Bobby Keys, Chuck Leavell and Eric Clapton guests on a few songs.
Some of the artists that came on and sang were Etta James, Linda Ronstadt, and Julian Lennon.
Chuck was a complicated man but he was a poet as well. I can’t recommend this documentary enough. If you are a music fan you should like it. Chuck Berry may have influenced Rock and Roll more than anyone else…
My favorite story is from Bruce Springsteen. Bruce and the E Street Band volunteered to back up Chuck Berry for a show in the early seventies. Being Chuck’s temporarily pickup band must have been nerve-wracking for musicians. Chuck didn’t tell them what songs he was playing or what key…this is Bruce’s quote “About five minutes before the show was timed to start, the back door opens and he comes in. He’s by himself. He’s got a guitar case, and that was it,” Springsteen said. “[I said] ‘Chuck, what songs are we going to do?’ He says, ‘Well, we’re going to do some Chuck Berry songs.’ That was all he said!”
Below is the video…not extremely clear but watchable.
A voice that won’t quit. Richard Wayne Penniman… better known as Little Richard would be great in any era. Of all of his peers, he could belt a song out better than any other.
In the 50’s he was public enemy number one to many parents. Pat Boone would cover his songs and those are the recordings the parents would buy their kids…while the kids would sneak and buy the real Richard records and keep them hidden while their parents were around…
Others tried to imitate it but no one came close. Paul McCartney would try but didn’t have the rawness that Richard had/has… He was flamboyant, to say the least, and commanded a stage.
In 1957 at the peak of his career he retired to the ministry and gospel music only… that lasted a while but in 1962 he came back to Rock and Roll and toured Europe. The Beatles were really big fans of Richard and they opened some shows for him in 1962. His keyboard player was a young Billy Preston.
Little Richard songs just jump off of the recording right at you.
You can hear his influence on The Stones, The Beatles, James Brown, Elvis and his androgynous influence with Freddy Mercury, Elton John, and David Bowie.
I’ve always seen Little Richard as the hard rock of the fifties. The songs are raw as you can get and in your face.
Black people lived right by the railroad tracks, and the train would shake their houses at night. I would hear it as a boy, and I thought: I’m gonna make a song that sounds like that. Little Richard
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