Little richard in Oldies Music

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"Shag on Down by the Union Hall" (03/19/1996) Oldies Richard, Little, Specialty RecordsPersonnel: Little Richard (vocals, piano); William "Frosty" Pyles, Edgar Blanchard, Roy Montrell, Nathaniel Douglas, Dewey Terry, Adolph Jacobs (guitar); Clarence Ford (tenor & baritone saxophones); Lee Allen, Wilbert Smith, Grady Gaines, Clifford Burks (tenor saxophone); Alvin "Red" Tyler, Jewell Grant, Samuel Parker (baritone saxophone); Huey Smith, Edward Frank (piano); Frank Fields, Lloyd Lambert, Olsie Richard Robinson, Ralph W. "Chuck" Hamilton, James E. Bond, Jr. (bass); Earl Palmer, Oscar Moore, Earl Palmer, Charles Connor, Jesse John Sailes (drums); The Robins (background vocals). Producers: Art Rupe, Bumps Blackwell, Little Richard. Compilation Producer: Billy Vera. Recorded between 1955 and 1964. Includes liner notes by Billy Vera. Digitally remastered by Kirk Felton (1996, Fantasy Studios, Berkeley, California). For those who want more classic Little Richard than a greatest-hits collection but aren't devoted enough to spring for the expensive box sets, this is an excellent anthology of 24 of his best lesser-known tracks. Most of it dates from his classic era at Specialty (1955-57), with alternate takes of a lot of his hits and some decent B-sides; there are also a few songs that he cut for the label during his 1964 comeback, including the minor hit "Bama Lama Bama Loo." ~ Richie Unterberger

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"Tutti Frutti [Columbia River]" (09/04/2001) Oldies Richard, Little, Columbia River Entertainment Group

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"The Best of Little Richard: The Vee Jay Years" (04/04/2006) Oldies Richard, Little, MetroDating from the early 1960s, after Little Richard had reemerged from his self-imposed gospel music exile and signed with the black-owned Chicago label Vee-Jay (which had also briefly been the Beatles' American label), this best-of features re-recordings of his early rock & roll hits like "Tutti Frutti" and "The Girl Can't Help It," as well as more soulful songs like "I Don't Know What You've Got But It's Got Me" and "Without Love (There Is Nothing)."

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"The Very Best of Little Richard [Cleopatra]" (04/25/2000) Oldies Richard, Little, CleopatraIncludes liner notes by Skip Heller. These are not the original Specialty recordings that made Little Richard famous as rock's original wildman; rather, they're late '70s stereo remakes of uncertain provenance (there are no musician or producer credits here). In any case, if you're looking for modern versions of these songs, you could do a lot worse. Whoever the musicians are, they've got that '50s New Orleans r&b groove down cold, particular the annonymous drummer and sax player, who do superb recreations of Lee Allen and Earl Palmer, Richard's original back up. The star himself is in excellent voice, if not quite as, er, out there as in his youth.

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"Rockin' and Rollin' with Little Richard" (06/11/2001) Oldies Richard, Little, Delta DistributionLiner Note Authors: Tim Branom; Sophia T. Fields. On this ten-track, 25-minute budget compilation, Little Richard presents reasonably faithful re-recordings of his hits "Lucille," "Long Tall Sally," "Keep A Knockin'" (aka "Keep on Knockin'"), and "Good Golly, Miss Molly," plus "She's Got It" and a cover of "Hound Dog." "Groovy Little Susie" is a song in the style of the hits, written by John Marascalco, co-author of "Good Golly, Miss Molly." "I'm Trampin'" is one of Little Richard's gospel recordings, sung in a voice that will be unrecognizable to most fans. "Going Home Tomorrow" is a blues, and "Funky Dish Rag" is a funky organ instrumental. The album should contain a disclaimer alerting potential buyers that these are not the original recordings of the hits. ~ William Ruhlmann

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"Little Richard & Roy Orbison" (01/06/2004) Oldies Richard, Little, Phantom Import DistributionSelected early material from each artist. Contains Little Richard's first recordings, made in 1951 and 1952. (Reissued in 1990.) ~ William Ruhlmann A compilation of rare and early works by Roy Orbison and Little Richard that makes odd bedfellows of two extremely dissimilar performers, borne out of the necessity of cleaning out old vault material to capitalize on the CD reissue explosion. The first eight tracks belong to Little Richard, who won a recording contract with RCA after winning a talent contest in Atlanta. These sides, cut in 1951 and 1952, show barely a hint of his later wildness, owing far more to the jump blues R&B of Roy Brown and others. Orbison's seven songs were cut in the late '50s, between his rockabilly days at Sun and his ascent to stardom on Monument. You can hear tentative explorations of the soaring romanticism that he'd find his niche with in 1960, but the material is basic, weak, typical late-'50s teen fodder, courtesy of Roy himself and noted songwriters John Loudermilk, Boudleaux Bryant, and Felice Bryant. The yearning "Seems To Me" (written by Boudleaux, who would write many fine hits for Orbison and the Everly Brothers) is the only track which begins to even approximate his future glory. This cheese'n'chalk compilation is only recommended to those wishing to glean historical insight into these giants' beginnings, though it may well be that the Little Richard fanatic isn't necessarily a Roy Orbison devotee (and vice versa). ~ Richie Unterberger

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"Gold" (08/20/1998) Oldies Richard, Little, Retro Records (UK)

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"Whole Lotta Shakin' [Legend]" (08/19/2000) Oldies Richard, Little, Delta DistributionIncludes liner notes by Sophia T. Fields. These are not the original Specialty recordings that made Little Richard famous as rock's original wildman; rather, they're late-'70s stereo remakes of uncertain provenance (there are no musician or producer credits here). In any case, if you're looking for modern versions of these songs, you could do a lot worse. Whoever the musicians are, they've got that '50s New Orleans r&b groove down cold, particular the drummer and sax player, who do superb recreations of Lee Allen and Earl Palmer, Richard's original sidemen. The star himself is in excellent voice, if not quite as unhinged as he was in his youth.

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"Shakin' & Screamin' with Little Richard" (02/26/2002) Oldies Richard, Little, Delta DistributionLiner Note Authors: Tim Branom; Sophia T. Fields. On this ten-track, 24-minute budget compilation, Little Richard presents reasonably faithful re-recordings of his hits "Tutti-Frutti," "Jenny, Jenny," "Rip It Up," "Ready Teddy," and "Ooh! My Soul," plus typically enthusiastic covers of '50s rock & roll hits "Whole Lotta Shakin'," "Short Fat Fannie," and "Lawdy Miss Clawdy," and R&B treatments of the early-'50s hits "Goodnight Irene" (associated with folk group the Weavers) and "Why Don't You Love Me" (written and introduced by country star Hank Williams). The album should contain a disclaimer alerting potential buyers that these are not the original recordings of the hits. ~ William Ruhlmann

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"Little Richard [ARC]" (02/22/2000) Oldies Richard, Little, The Magic CollectionPersonnel includes: Little Richard (vocals, piano).

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"Golden Rockin Hits" (05/23/2006) Oldies Richard, Little, CBUJ Distribution

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"Rocking With the Georgia Peach" (08/13/2002) Oldies Richard, Little, Snapper

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"Ooh! My Soul" (02/21/2005) Oldies Richard, Little, Charly Records (UK)OOH MY SOUL collects 28 tracks from Little Richard's Vee-Jay sessions. Many of these cuts feature a young guitarist by the name of Jimi Hendrix.

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"The Formative Years 1951-53" (10/15/1997) Oldies Richard, Little, Bear Family (Germany)Personnel includes: Little Richard (vocals, piano); Wesley Jackson, Eddie Lee Williams, Pete Lewis (guitar); Albert Dobbins, Carlos Bermudaz (alto saxophone); Fred Jackson (tenor saxophone); J. Hudson (baritone saxophone); Raymond Taylor (trumpet, trombone, piano, organ); Willie Mays, Don Johnson (trumpet); Willie Wilson, George Washington (trombone); J. Wimby, Devonia Williams (piano); Johnny Otis (vibraphone); George Holloway, Jr., Albert Winston (bass); Donald J. Clark, Mildred Taylor, Leard "Kansas City" Bell (drums); Billy Brooks, Barry Lee Gilmore, Jimmy Swann (background vocals). Producers: Steve Sholes, Don Robey. Re-issue producer: Richard Weize. Recorded in Atlanta, Georgia & Houston, Texas between 1951 & 1953. Includes liner notes by Rick Coleman. These are the earliest recordings of Richard Penniman (aka Little Richard, aka the Georgia Peach, aka the Greatest) and they show an artist still very much, as the title has it, in a formative stage. At this point, Richard was groping toward his own style and the rock and roll to come; at various times here he sounds - eerily - like blues shouter Roy Brown ("Get Rich Quick") or - equally eerily - Fats Domino ("Every Hour," recorded in 1951, before Domino had really developed his own sound). Other highlights include tracks cut for Peacock Records, including "Always," featuring the Tempo Toppers, his hot stage band (with a woman drummer, no less) and the concluding "Little Richard's Boogie," a jump blues that is a pretty clear signpost toward the future.

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"Get Down with It: The Okeh Sessions" (02/24/2004) Oldies Richard, Little, Legacy RecordingsProducers: Larry Williams, Norman Hurricane Smith. Compilation producer: Jeff Magid. Recorded between 1966 & 1967. Includes liner notes by Charles White. Personnel: Little Richard (vocals, piano); Johnny "Guitar" Watson (guitar). Liner Note Author: Charles White. Recording information: Columbia Recording Studio "D", Hollywood, CA (02/05/1966-05/17/1967); EMI Abbey Road Studios, London, England (02/05/1966-05/17/1967). Arranger: Arthur Wright. While Little Richard Penniman is well known for his Specialty, Mercury, Veejay, and Modern recordings (though many of the sides on the latter two labels were merely redos of his Specialty hits), he is little celebrated for these wonderful sides recorded for Okeh in 1966 and 1967. The Little Richard on these sessions is a seasoned R&B singer whose feet are deeply rooted in modern-era Southern soul. That said, there are a few traces of Motown that creep in as well -- despite the fact that the material was all recorded in Hollywood. For Okeh, Little Richard recorded devastatingly fine versions of "Function at the Junction," "I Don't Want to Discuss It," Berry Gordy's "M-O-N-E-Y," "Poor Dog," "Hurry Sundown," and Sam Cooke's "Well All Right" to mention a few. To help him pull it all off -- this was seen as a last-ditch survival effort for the singer -- Little Richard's sidemen for these dates include Johnny "Guitar" Watson, Larry Williams, Eddie Fletcher, and Glen Willings -- a crack studio band if there ever was one. In sum, the Okeh material yielded one fine, 11-track album in The Explosive Little Richard released in 1967, and three issued B-sides for its singles. Appearing on this CD for the very first time are three leftover tracks that include smoking raw versions of Fats Domino's "Rocking Chair" and Leiber & Stoller's "Hound Dog." For those who are contemplating a Little Richard CD, the Specialty sides should come first because they contain the original versions of his classics. For those who already have that material, this set is an excellent addition to the Penniman shelf. There isn't a loser in the bunch, and these performances are truly inspired, burning from start to finish; they are startling even today. In addition to the great music, soul expert Charles White's liner notes are thorough and authoritative and offer the same kind of exuberance Penniman put into these performances. ~ Thom Jurek

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"The Best of the Vee-Jay Years, Vol. 1" (03/14/2006) Oldies Richard, Little, Collectables RecordsDigitally remastered by Walter DeVenne. This is the first of two volumes devoted to the recordings Little Richard made for Vee Jay in the mid-'60s, many of which were re-recordings of his classic Specialty sides. The remakes aren't particularly interesting except for Little Richard's attempts to update them with loud drums and hysterical performances. The newer material veers toward soul rather than rock & roll, but still sounds pretty retro for its time. More noteworthy are the bizarre interpretations of "Memories Are Made of This" (a number one hit for Dean Martin) and Hank Williams' "Why Don't You Love Me." Volume one includes Little Richard's lone Vee Jay hit, the soulful "I Don't Know What You've Got but It's Got Me." ~ Greg Adams

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"The Formative Years 1951-53" (09/01/1989) Oldies Richard, Little, Bear Family (Germany)Personnel includes: Little Richard (vocals, piano); Wesley Jackson, Eddie Lee Williams, Pete Lewis (guitar); Albert Dobbins, Carlos Bermudaz (alto saxophone); Fred Jackson (tenor saxophone); J. Hudson (baritone saxophone); Raymond Taylor (trumpet, trombone, piano, organ); Willie Mays, Don Johnson (trumpet); Willie Wilson, George Washington (trombone); J. Wimby, Devonia Williams (piano); Johnny Otis (vibraphone); George Holloway, Jr., Albert Winston (bass); Donald J. Clark, Mildred Taylor, Leard "Kansas City" Bell (drums); Billy Brooks, Barry Lee Gilmore, Jimmy Swann (background vocals). Producers: Steve Sholes, Don Robey. Re-issue producer: Richard Weize. Recorded in Atlanta, Georgia & Houston, Texas between 1951 & 1953. Includes liner notes by Rick Coleman. These are the earliest recordings of Richard Penniman (aka Little Richard, aka the Georgia Peach, aka the Greatest) and they show an artist still very much, as the title has it, in a formative stage. At this point, Richard was groping toward his own style and the rock and roll to come; at various times here he sounds - eerily - like blues shouter Roy Brown ("Get Rich Quick") or - equally eerily - Fats Domino ("Every Hour," recorded in 1951, before Domino had really developed his own sound). Other highlights include tracks cut for Peacock Records, including "Always," featuring the Tempo Toppers, his hot stage band (with a woman drummer, no less) and the concluding "Little Richard's Boogie," a jump blues that is a pretty clear signpost toward the future.

starting at

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