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Little Richard The Explosive Little Richard! (2-LP)

The Explosive Little Richard! (2-LP)
 
 
Star Rating (4)

Artikel-Nr.: BAF218028

Gewicht in Kg: 0,350

 

Sofort versandfertig, Lieferzeit** 1-3 Werktage

29,95 € *
 
 
 
 
 

Little Richard: The Explosive Little Richard! (2-LP)

Video von Little Richard - The Explosive Little Richard! (2-LP)

2-LP-180g Set (gatefold sleeve) - Rock 'n' Roll, Soul - 17 tracks - ca. 48 min. - LP1: 33.33rpm - LP2: 45rpm • Little Richards Comeback-Album, ergänzt um etliche Aufnahmen, die es zuvor nicht auf Vinyl gab.
• Seine wildesten Einspielungen seit den Tagen seiner größten Hits in den Fünfzigerjahren; vielleicht die beste LP, die er je aufgenommen hat.
• Sowohl Lemmy von Motörhead als auch John Lennon von den Beatles haben ihn als den größten Rock ’n’ Roller aller Zeiten bezeichnet.
• Äußerst wichtiges Album, ein Klassiker des Northern Soul, ursprünglich Anfang 1967 auf OKeh Records veröffentlicht.
• Enthält die Hymne des Northern Soul, I Don't Wanna Discuss It, später von Rod Stewart gecovert.
• Enthält Get Down And Get With It, später ein riesiger Glam-Rock-Erfolg für Slade.
• Produziert von Larry Williams und Johnny Guitar Watson.
• DeLuxe-Doppelalbum mit Klapphülle, neuen Linernotes und erstmals veröffentlichten Fotos.
• Hervorragende Soundqualität Dank sorgfältigem Remastering für diese 180-Gramm Vinylausgabe.
• Das original LP-Album plus einer Bonus-LP (30cm), die auf 45 U/M spielt und Outtakes sowie zuvor nur auf Singles veröffentlichte Titel und eine Session aus London enthält, die allesamt erstmals als Vinyl-LP veröffentlicht werden.


Little Richard gilt als extrem wilder und durchgeknallter Rock & Roll-Musiker. Mit ‚The Explosive Little Richard’ erschien Anfang 1967 sein Comeback-Album, seine erste LP auf dem Label des wiederbelebten Columbia-Ablegers OKeh Records. Die Produktion von Larry Williams und Johnny ‚Guitar’ Watson liefert ein Spiegelbild des seinerzeit angesagten Soul-Sounds. Little Richard hatte sich auf einen Vollgas-Trip durch die Welt des Northern Soul begeben und einige der besten Soul-Hymnen jener Tage wie I Don’t Want To Discuss It, Money und Get Down And Get With It aufgenommen. Bear Familys Doppelalbum enthält das original Vinylalbum (Seite A und B) und liefert zusätzlich auf einer zweiten 30cm-LP, die mit 45 U/M abgespielt wird, zuvor auf Vinyl unveröffentlichte Outtakes, eine Ende 1966 in London aufgezeichnete Session sowie Titel, die zuvor lediglich auf Singles bzw. auf einer CD-Neuauflage aus dem Jahr 2004 veröffentlicht waren. Nie zuvor gezeigte Fotos und neue Linernotes des Soulexperten Bill Dahl aus Chicago runden diese hervorragende und „höchst explosive“ Vinyl-Veröffentlichung ab.

2-LP-180g Set (gatefold sleeve) - Rock 'n' Roll, Soul - 17 tracks - ca. 48 min. - LP1: 33.33rpm - LP2: 45rpm


 

Songs

Wird geladen...

 

Artikeleigenschaften von Little Richard: The Explosive Little Richard! (2-LP)

  • Interpret: Little Richard

  • Albumtitel: The Explosive Little Richard! (2-LP)

  • Artikelart LP

  • Genre Rock 'n' Roll

  • Label BEAR FAMILY

  • Preiscode BAF2
  • SubGenre Rock - Rock'n'Roll

  • EAN: 5397102180286

  • Gewicht in Kg: 0.350
 
 

Interpreten-Beschreibung "Little Richard"

Little Richard

Rock 'n' roll fully exploded into the American consciousness in 1955. With his immortal proclamation "A-wop-bop-a-loo-mop, a-lop-bam-boom," Little Richard placed himself at its epicenter, his seismic impact akin to that of an atomic bomb.

It's not like he was alone in the vanguard of the primordial rock 'n' roll movement. Fats Domino crossed over to the pop airwaves with his Creole-inflected charmer Ain't It A Shame and Chuck Berry duck-walked to the head of the pack with his blazing Maybellene a few months before Richard's Tutti-Frutti crashed the R&B charts in late November of that historic year. Bill Haley & His Comets had already weighed in with the hard-hitting Rock Around The Clock, and Elvis had something going in Memphis that the world would very soon take enraptured notice of.

But none of those groundbreakers, seminal as they were, packed the same molten heat that Richard Penniman unleashed anytime he ventured near a microphone. His banshee screams were primal, his savage piano attack lethal, his energy levels stratospheric. Little Richard was the ultimate embodiment of rock 'n' roll, dangerous and a tad exotic and utterly without constraint. No wonder conservative Caucasian parents, secure until then in the bland, 'Your Hit Parade'-dominated sounds of the Eisenhower era, were scared out of their wits. Here was a figurehead whose crazed wails could shake teenagers' souls down to the very core.

Perhaps most amazing of all, Richard's principal legacy--the earthshattering smashes he made for Art Rupe's Los Angeles-based Specialty Records—was committed to tape in less than two years. In the autumn of '57, he renounced rock 'n' roll altogether after deciding the launch of the Russian satellite Sputnik signaled the impending end of the world. Thankfully, that bold prediction didn't come to pass, and Richard returned to rocking pursuits in years to come.

Richard Penniman hailed from a huge family. Born December 5, 1932 in Macon, Georgia, he was a mischievous lad. But he also sang gospel as a child, initially in an aggregation called the Tiny Tots as well as his family's group, the Penniman Singers. He found divine inspiration in the singing of sanctified stars Mahalia Jackson, Sister Rosetta Tharpe, and Brother Joe May. At 14 he hooked up with Dr. Hudson's Medicine Show, a barnstorming troupe anything but sacred in content. There Richard belted Louis Jordan's Caldonia to rouse the onlookers. That led to a position as front man for B. Brown's orchestra, crooning pop fare. There was even a stint in a traveling minstrel show where he performed in a dress.

While working in a Georgia outfit known as the Broadway Follies, Penniman made his way to Atlanta, teeming with R&B joints up and down Auburn Avenue. Chuck Willis, Titus Turner, Tommy Brown, Clyde 'Blow Top' Lynn, Melvin Smith, and Zilla Mays were among the young performers on the Atlanta circuit. So was flamboyant singer Billy Wright, a direct influence on Richard vocally as well as in his presentation (Penniman even started using the same pancake makeup that Wright favored). Billy was only six-and-a-half months older than Richard but had gotten started a little quicker; he was 17 when he scored his first hits for Savoy Records in 1949.

Wright hooked Penniman up with WGST deejay Zenas Sears, fast becoming an R&B institution over the Atlanta airwaves. Sears was instrumental in connecting the 18-year-old singer with RCA Victor. On October 16, 1951, A&R man Steve Sholes—later Elvis' producer at RCA—met Richard at WGST to supervise his debut session (recording studios were in short supply down south). He was backed by a septet of Atlanta sessioneers led by trumpeter Roy Mays, Zilla's brother; Roy had previously played behind Richard at Bailey's 81 Theater on Decatur Street.

The first song Little Richard ever laid on tape was the rip-roaring Get Rich Quick, written by none other than erudite jazz critic Leonard Feather. With Julius Wimby punching the 88s (Richard hadn't seriously taken up the piano yet) and tenor saxist Fred Jackson, soon a stalwart of Willis' outfit, stepping up for a lusty three-chorus solo, Richard sounds very young but suitably enthusiastic, and the whole thing swings like crazy.

Nothing from the session made anything resembling a national impression, but local airplay was sufficient to send Richard on the road as front man for bassist Percy Welch's band. That didn't stop the young singer from engaging in other nocturnal activities. While hanging around Macon's Greyhound bus station one night, Richard encountered a personage even more flamboyant than he. This lad called himself Esquerita and was willing to show Richard how to beat the living hell out of a piano.

Despite losing his father in a senseless shooting incident at the elder Penniman's Tip In Inn, Richard persevered, though RCA dropped him after none of his four singles did appreciable business (he'd done a second session at WGST in January of '52). Times got hard for the Penniman family after its patriarch was murdered, forcing Richard to take a job washing dishes at the bus station. But powerful Macon promoter Clint Brantley rescued him from a dreary, soapy fate. Soon Richard was gigging at the prestigious New Era Club in Nashville.

A group called the Deuces of Rhythm rolled into the New Era one night and caught Richard's act. They were led by Raymond Taylor, gifted with the unusual ability to play trumpet, trombone, piano, and organ two at a time, and his drumming wife Mildred. The end result was Richard joining them as a member of a new vocal group, the Tempo Toppers. After a lengthy engagement at New Orleans' Club Tiajuana, the outfit moved on to the Club Matinee in Houston. There the Tempo Toppers were heard by Don Robey, the owner of Peacock Records. He did a session with them in February of 1953.

Minuscule sales figures befell the Tempo Toppers' pair of Peacock singles, and tough guy Robey beat Richard up one day in his office to boot. But there was an encore date in the offing for Richard, who split from the group and spent some time back in Macon before returning to Houston. Johnny Otis, one of the hottest bandleaders on the R&B scene thanks to his string of early '50s hits for Savoy, had been knocked out when he first saw the effeminate young singer at the Matinee and was in charge of the session. Otis had come aboard Peacock in 1952 and led the band on Big Mama Thornton's '53 R&B chart-topper Hound Dog, a landmark moment.

Otis' own horn-fueled orchestra sat behind Richard for his October 5, 1953, Peacock session at Bill Holford's ACA Studios in Houston. The last thing they laid on tape that day was the aptly titled houserocker Little Richard's Boogie. No shrinking violet, Richard happily introduces himself on the first stanza, the band adding hearty vocal call-and-response after that. After a muscular sax break that could be the work of James Von Streeter, Otis grabs 12 bars for his own vibes. Although Devonia Williams is officially credited as pianist for the track, that cascading run near the fade sounds a lot like what Richard would soon be up to at Specialty. Peacock wouldn't get around to releasing the exciting track until early 1956, when Richard was the hottest thing around thanks to Tutti-Frutti.

Little Richard Little Richard - Rocks
Read more at: https://www.bear-family.com/little-richard-little-richard-rocks.html
Copyright © Bear Family Records

 
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Von: BF Press 2016-09-20 09:20:53

A Must!

The Arts Desk, 18.09.2016 "The Explosive Little Richard! was great, and this a great way to hear it. At around £25, it’s priced about the same as an original in fair shape but the bonus album and pin-sharp mastering make it a must."

 
Von: BF Press 2016-09-07 12:49:40

Original non-album tracks

Essential Daily Briefing, 09.02.16 "This release also includes tracks Little Richard cut during a UK tour which saw him at Abbey Road, where, backed by top session men including homegrown guitar hero Big Jim Sullivan, he cut a stomping and superior version of a Bobby Marchan song “Get Down With It”, later appropriated by Slade. Still, this handsome reissue with a vinyl LP accompanied by a bonus 12in 45RPM album containing original non-album tracks and outtakes, shows us what could have been.

 
Von: BF Presse 2016-08-28 11:09:32

Exzellent

Rolling Stone 9/16 "Exzellent gefertigtes Reissue mit Outakes auf einer Extraplatte."

 
Von: BF Presse 2016-07-22 17:23:51

Granaten-Ausgrabung

Good Times 4/16 "Das ist mal wieder so eine Granaten-Ausgrabung von Bear Family. Das von Larry Williams und Johnny Guitar Watson produzierte Klassewerk hat Bear Family nun perfekt in knackigem Stereo restauriert und zu allem Überfluss noch mit einem gescheiten Begleittext und vor allem mit einer schnellaufenden weiteren 30-Zentimeter-LP angereichert."

 
 
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