Legends of Rock’n’Roll

Gran Finale from Legends of Rock’n’Roll concert at Rome in 1989. Performing together for the eternity we have: Jerry Lee Lewis, Bo Diddley, Little Richard, Fats Domino, B.B. King, Ray Charles and James Brown.

Little Richard - Hound Dog

"Hound Dog" is a twelve-bar blues written by Jerry Leiber and Mike Stoller and originally recorded by Willie Mae "Big Mama" Thornton in 1952. Other early versions illustrate the differences among blues, country, and rock and roll in the mid-1950s. The 1956 remake by Elvis Presley is the best-known version; it is his version that is No. 19 on Rolling Stone's list of The 500 Greatest Songs of All Time.

Little Richard - Whole Lotta Shakin' Going On

Little Richard (vocals, piano; born December 5, 1932)

He claims to be “the architect of rock and roll,” and history would seem to bear out Little Richard’s boast. More than any other performer - save, perhaps, Elvis Presley, Little Richard blew the lid off the Fifties, laying the foundation for rock and roll with his explosive music and charismatic persona. On record, he made spine-tingling rock and roll. His frantically charged piano playing and raspy, shouted vocals on such classics as “Tutti Frutti,” “Long Tall Sally” and “Good Golly, Miss Molly” defined the dynamic sound of rock and roll. Onstage, he’d deliver wild, piano-pounding epistles while costumed in sequined vests, mascara, lipstick, and a pompadour that shook with every thundering beat. His road band, the Upsetters, has been credited by James Brown and others with first putting the funk in the rock and roll beat.

In a 1990 interview, Little Richard offered this explanation for the birth of rock: “I would say that boogie-woogie and rhythm & blues mixed is rock and roll.” His frenzied approach to music was fueled by a genuinely outrageous personality. He was born Richard Penniman during the Depression in Macon, Georgia, one of twelve children who grew up in poverty in the Deep South. As a youngster, he soaked up music - blues, country, gospel, vaudeville - which was part of the fabric of life in the black community. He learned to play piano from an equally flamboyant character named Esquerita (who also recorded rock and roll early on for Capitol Records).

Little Richard first recorded in a bluesy vein in 1951, but it was his tenure at Specialty Records beginning in 1955 that made his mark as a rock and roll architect. Working at Cosimo Matassa’s now-legendary J&M Studio in New Orleans with producer Robert “Bumps” Blackwell and some of the Crescent City’s finest musicians, Little Richard laid down a stunning succession of rock and roll sides over the next several years, including “Rip It Up,” “Slippin’ and Slidin’,” “Lucille,” “Jenny Jenny” and “Keep a Knockin’,” in addition to the songs previously mentioned. He also appeared in rock and roll-themed movies such as Don’t Knock the Rock and The Girl Can’t Help It (both from 1956).

The bubble burst in late 1957 when, succumbing to the rigors of fame and personal conflicts engendered by his religious upbringing, Little Richard abruptly abandoned rock and roll to enroll in Bible college. However, he was lured back by the British Invasion in 1964, regaining his popularity as a concert performer and a living embodiment of the music’s roots in the Fifties. He has launched successful comebacks in every decade since and remains an active performer and icon - and an inimitable reminder of the joyful frenzy that galvanized rock and roll into being more than forty years ago.

Little Richard-Good Golly Miss Molly

Little Richard (vocals, piano; born December 5, 1932)

He claims to be “the architect of rock and roll,” and history would seem to bear out Little Richard’s boast. More than any other performer - save, perhaps, Elvis Presley, Little Richard blew the lid off the Fifties, laying the foundation for rock and roll with his explosive music and charismatic persona. On record, he made spine-tingling rock and roll. His frantically charged piano playing and raspy, shouted vocals on such classics as “Tutti Frutti,” “Long Tall Sally” and “Good Golly, Miss Molly” defined the dynamic sound of rock and roll. Onstage, he’d deliver wild, piano-pounding epistles while costumed in sequined vests, mascara, lipstick, and a pompadour that shook with every thundering beat. His road band, the Upsetters, has been credited by James Brown and others with first putting the funk in the rock and roll beat.

In a 1990 interview, Little Richard offered this explanation for the birth of rock: “I would say that boogie-woogie and rhythm & blues mixed is rock and roll.” His frenzied approach to music was fueled by a genuinely outrageous personality. He was born Richard Penniman during the Depression in Macon, Georgia, one of twelve children who grew up in poverty in the Deep South. As a youngster, he soaked up music - blues, country, gospel, vaudeville - which was part of the fabric of life in the black community. He learned to play piano from an equally flamboyant character named Esquerita (who also recorded rock and roll early on for Capitol Records).

Little Richard first recorded in a bluesy vein in 1951, but it was his tenure at Specialty Records beginning in 1955 that made his mark as a rock and roll architect. Working at Cosimo Matassa’s now-legendary J&M Studio in New Orleans with producer Robert “Bumps” Blackwell and some of the Crescent City’s finest musicians, Little Richard laid down a stunning succession of rock and roll sides over the next several years, including “Rip It Up,” “Slippin’ and Slidin’,” “Lucille,” “Jenny Jenny” and “Keep a Knockin’,” in addition to the songs previously mentioned. He also appeared in rock and roll-themed movies such as Don’t Knock the Rock and The Girl Can’t Help It (both from 1956).

The bubble burst in late 1957 when, succumbing to the rigors of fame and personal conflicts engendered by his religious upbringing, Little Richard abruptly abandoned rock and roll to enroll in Bible college. However, he was lured back by the British Invasion in 1964, regaining his popularity as a concert performer and a living embodiment of the music’s roots in the Fifties. He has launched successful comebacks in every decade since and remains an active performer and icon - and an inimitable reminder of the joyful frenzy that galvanized rock and roll into being more than forty years ago.

Little Richard - Lucille

Little Richard (vocals, piano; born December 5, 1932)

He claims to be “the architect of rock and roll,” and history would seem to bear out Little Richard’s boast. More than any other performer - save, perhaps, Elvis Presley, Little Richard blew the lid off the Fifties, laying the foundation for rock and roll with his explosive music and charismatic persona. On record, he made spine-tingling rock and roll. His frantically charged piano playing and raspy, shouted vocals on such classics as “Tutti Frutti,” “Long Tall Sally” and “Good Golly, Miss Molly” defined the dynamic sound of rock and roll. Onstage, he’d deliver wild, piano-pounding epistles while costumed in sequined vests, mascara, lipstick, and a pompadour that shook with every thundering beat. His road band, the Upsetters, has been credited by James Brown and others with first putting the funk in the rock and roll beat.

In a 1990 interview, Little Richard offered this explanation for the birth of rock: “I would say that boogie-woogie and rhythm & blues mixed is rock and roll.” His frenzied approach to music was fueled by a genuinely outrageous personality. He was born Richard Penniman during the Depression in Macon, Georgia, one of twelve children who grew up in poverty in the Deep South. As a youngster, he soaked up music - blues, country, gospel, vaudeville - which was part of the fabric of life in the black community. He learned to play piano from an equally flamboyant character named Esquerita (who also recorded rock and roll early on for Capitol Records).

Little Richard first recorded in a bluesy vein in 1951, but it was his tenure at Specialty Records beginning in 1955 that made his mark as a rock and roll architect. Working at Cosimo Matassa’s now-legendary J&M Studio in New Orleans with producer Robert “Bumps” Blackwell and some of the Crescent City’s finest musicians, Little Richard laid down a stunning succession of rock and roll sides over the next several years, including “Rip It Up,” “Slippin’ and Slidin’,” “Lucille,” “Jenny Jenny” and “Keep a Knockin’,” in addition to the songs previously mentioned. He also appeared in rock and roll-themed movies such as Don’t Knock the Rock and The Girl Can’t Help It (both from 1956).

The bubble burst in late 1957 when, succumbing to the rigors of fame and personal conflicts engendered by his religious upbringing, Little Richard abruptly abandoned rock and roll to enroll in Bible college. However, he was lured back by the British Invasion in 1964, regaining his popularity as a concert performer and a living embodiment of the music’s roots in the Fifties. He has launched successful comebacks in every decade since and remains an active performer and icon - and an inimitable reminder of the joyful frenzy that galvanized rock and roll into being more than forty years ago.

Little Richard - Tutti Frutti

Little Richard (vocals, piano; born December 5, 1932)

He claims to be “the architect of rock and roll,” and history would seem to bear out Little Richard’s boast. More than any other performer - save, perhaps, Elvis Presley, Little Richard blew the lid off the Fifties, laying the foundation for rock and roll with his explosive music and charismatic persona. On record, he made spine-tingling rock and roll. His frantically charged piano playing and raspy, shouted vocals on such classics as “Tutti Frutti,” “Long Tall Sally” and “Good Golly, Miss Molly” defined the dynamic sound of rock and roll. Onstage, he’d deliver wild, piano-pounding epistles while costumed in sequined vests, mascara, lipstick, and a pompadour that shook with every thundering beat. His road band, the Upsetters, has been credited by James Brown and others with first putting the funk in the rock and roll beat.

In a 1990 interview, Little Richard offered this explanation for the birth of rock: “I would say that boogie-woogie and rhythm & blues mixed is rock and roll.” His frenzied approach to music was fueled by a genuinely outrageous personality. He was born Richard Penniman during the Depression in Macon, Georgia, one of twelve children who grew up in poverty in the Deep South. As a youngster, he soaked up music - blues, country, gospel, vaudeville - which was part of the fabric of life in the black community. He learned to play piano from an equally flamboyant character named Esquerita (who also recorded rock and roll early on for Capitol Records).

Little Richard first recorded in a bluesy vein in 1951, but it was his tenure at Specialty Records beginning in 1955 that made his mark as a rock and roll architect. Working at Cosimo Matassa’s now-legendary J&M Studio in New Orleans with producer Robert “Bumps” Blackwell and some of the Crescent City’s finest musicians, Little Richard laid down a stunning succession of rock and roll sides over the next several years, including “Rip It Up,” “Slippin’ and Slidin’,” “Lucille,” “Jenny Jenny” and “Keep a Knockin’,” in addition to the songs previously mentioned. He also appeared in rock and roll-themed movies such as Don’t Knock the Rock and The Girl Can’t Help It (both from 1956).

The bubble burst in late 1957 when, succumbing to the rigors of fame and personal conflicts engendered by his religious upbringing, Little Richard abruptly abandoned rock and roll to enroll in Bible college. However, he was lured back by the British Invasion in 1964, regaining his popularity as a concert performer and a living embodiment of the music’s roots in the Fifties. He has launched successful comebacks in every decade since and remains an active performer and icon - and an inimitable reminder of the joyful frenzy that galvanized rock and roll into being more than forty years ago.

Little Richard - Long Tall Sally

Little Richard (vocals, piano; born December 5, 1932)

He claims to be “the architect of rock and roll,” and history would seem to bear out Little Richard’s boast. More than any other performer - save, perhaps, Elvis Presley, Little Richard blew the lid off the Fifties, laying the foundation for rock and roll with his explosive music and charismatic persona. On record, he made spine-tingling rock and roll. His frantically charged piano playing and raspy, shouted vocals on such classics as “Tutti Frutti,” “Long Tall Sally” and “Good Golly, Miss Molly” defined the dynamic sound of rock and roll. Onstage, he’d deliver wild, piano-pounding epistles while costumed in sequined vests, mascara, lipstick, and a pompadour that shook with every thundering beat. His road band, the Upsetters, has been credited by James Brown and others with first putting the funk in the rock and roll beat.

In a 1990 interview, Little Richard offered this explanation for the birth of rock: “I would say that boogie-woogie and rhythm & blues mixed is rock and roll.” His frenzied approach to music was fueled by a genuinely outrageous personality. He was born Richard Penniman during the Depression in Macon, Georgia, one of twelve children who grew up in poverty in the Deep South. As a youngster, he soaked up music - blues, country, gospel, vaudeville - which was part of the fabric of life in the black community. He learned to play piano from an equally flamboyant character named Esquerita (who also recorded rock and roll early on for Capitol Records).

Little Richard first recorded in a bluesy vein in 1951, but it was his tenure at Specialty Records beginning in 1955 that made his mark as a rock and roll architect. Working at Cosimo Matassa’s now-legendary J&M Studio in New Orleans with producer Robert “Bumps” Blackwell and some of the Crescent City’s finest musicians, Little Richard laid down a stunning succession of rock and roll sides over the next several years, including “Rip It Up,” “Slippin’ and Slidin’,” “Lucille,” “Jenny Jenny” and “Keep a Knockin’,” in addition to the songs previously mentioned. He also appeared in rock and roll-themed movies such as Don’t Knock the Rock and The Girl Can’t Help It (both from 1956).

The bubble burst in late 1957 when, succumbing to the rigors of fame and personal conflicts engendered by his religious upbringing, Little Richard abruptly abandoned rock and roll to enroll in Bible college. However, he was lured back by the British Invasion in 1964, regaining his popularity as a concert performer and a living embodiment of the music’s roots in the Fifties. He has launched successful comebacks in every decade since and remains an active performer and icon - and an inimitable reminder of the joyful frenzy that galvanized rock and roll into being more than forty years ago.

Dia Mundial do Rock - 13/07/2011

Neste Dia Mundial do Rock nossa homenagem!!!
Our tribute in the World Rock Day!!
Nuestra homenaje en el Día Mundial del Rock!!