King of Rock N Roll
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King Of Rock And Roll
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|Audio CD, June 21, 2011||
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For his influence alone, Richard qualifies as one of the all-time greats. His falsetto whoops and unhinged shrieks have inspired generations of rockers, most notably the Beatles. Ditto for his taste in makeup and outrageously hued clothes (David Bowie, anyone?). And as for his lyrics, well, it's hard to hear 'Good golly, Miss Molly sure like to ball' and not think of another guy who's followed Richard's lascivious lead, Prince. Yet in the end, what really makes Little Richard an immortal is the sheer sonic force of those supercharged singles.
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Bought this in vinyl when the album came out in the 70's......and its still a favorite.
ABSOLUTELY THE KING OF ROCK AND ROLL!!!
Midnight Special alone is worth the price of admission!
Great to have it on CD,
further, and it must be said, how in the world could a great Producer and a Great Singer offer throw away versions of great songs? no bottom, no drive on too many cuts.
having said all that...buy this album. There are 4-5 tracks, including the '50s styled title tune and a new, contemporary piece called "Green Power" when all the above is quickly forgiven: he proves instantaneously he is the greatest rock and roll singer in history.
No acoustic piano heard at all; obstrusive lady chorus getting in Richards' way and in the way of the band. On the few tracks where they are properly mixed, however, they sound fine.
Great title tune which was played like a single at the time - in the mood and structure of many '50s reflections, it coulda/shoulda been released as a 45 rpm...then Little Richard would have had another Top 40 hit for himself.
As great as were the brassy, bass-heavy arrangements of The Rill Thing, Barnum's production update doesn't work. Richard's belting vocals sound out-of-time against the flaccid, near-disco arrangements of "Joy to the World" and "Brown Sugar." Better are the funky, hyperventilating reinterpretation of "Dancing in the Street" and the soul shout of "Midnight Special," though here again the early `70s backing vocals are dated. Richard's original "In the Name" is sung in a compelling croon, and "I'm So Lonesome I Could Cry" works well in its Stax-styled arrangement.
The album's closing cover of Creedence Clearwater Revival's "Born on the Bayou" fits, but it reveals more about Richard's impact on John Fogerty than it provides an opportunity to create something new. Richard sounds engaged, but his producer wasn't able to craft a compelling showcase for his vocals, nor help him select material that offered the best vehicles for interpretation. After the electric jolt forward of The Rill Thing, this album is disappointing for its lack of new vision. [©2009 hyperbolium dot com]
KEEP A KNOCKIN' '64
JENNY, JENNY '64
TUTTI FRUTTI '55
RIP IT UP '56
THE GIRL CAN'T HELP IT '56 [original 45rpm version]
GOOD GOLLY MISS MOLLY '56
BABY FACE '56
CHERRY RED '64
GROOVY LITTLE SUZY '64 [original short version]
MONEY HONEY '64 [original short mono version]
SEND ME SOME LOVIN' '64
HOUND DOG '64 [original short mono version]
Good notes by Mac Randall (but Mac...Richard was born in 1935?).