Little Richard The Formative Years 1951-53
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- Released: October 15, 1997
- Originally Released: 1999
- Label: Bear Family Records
- 1.Get Rich Quick
- 2.Why Did You Leave Me
- 3.Taxi Blues
- 4.Every Hour
- 5.I Brought It All on Myself
- 6.Thinkin' About My Mother
- 7.Ain't Nothin' Happenin'
- 8.Please Have Mercy on Me
- 9.Get Rich Quick (Alternative)
- 10.Thinkin' About My Mother
- 11.I Brought It All on Myself
- 12.Please Have Mercy on Me
- 13.Little Richard Boogie
- 14.Directly From My Heart
- 15.I Love My Baby
- 16.Maybe I'm Right
- 17.Ain't That Good News
- 18.Fool at the Wheel
- 19.Rice, Red Beans and Turnip Greens
- 21.Directly From My Heart
- 22.I Love My Baby
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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