Pianist-singer behind “Tutti Frutti,” “Good Golly Miss Molly” and “Long Tall Sally” set the template that a generation of musicians would follow
By David Brown | RollingStone | May 8, 2020
Little Richard, a founding father of rock and roll whose fervent shrieks, flamboyant garb, and joyful, gender-bending persona embodied the spirit and sound of that new art form, died Saturday. He was 87. The musician’s son, Danny Penniman, confirmed the pioneer’s death to Rolling Stone, but said the cause of death was unknown.
Starting with “Tutti Frutti” in 1956, Little Richard cut a series of unstoppable hits – “Long Tall Sally” and “Rip It Up” that same year, “Lucille” in 1957, and “Good Golly Miss Molly” in 1958 – driven by his simple, pumping piano, gospel-influenced vocal exclamations and sexually charged (often gibberish) lyrics. “I heard Little Richard and Jerry Lee Lewis, and that was it,” Elton John told Rolling Stone in 1973. “I didn’t ever want to be anything else. I’m more of a Little Richard stylist than a Jerry Lee Lewis, I think. Jerry Lee is a very intricate piano player and very skillful, but Little Richard is more of a pounder.”
Although he never hit the top 10 again after 1958, Little Richard’s influence was massive. The Beatles recorded several of his songs, including “Long Tall Sally,” and Paul McCartney’s singing on those tracks – and the Beatles’ own “I’m Down” – paid tribute to Little Richard’s shredded-throat style. His songs became part of the rock and roll canon, covered over the decades by everyone from the Everly Brothers, the Kinks, and Creedence Clearwater Revival to Elvis Costello and the Scorpions.
Little Richard’s stage persona – his pompadours, androgynous makeup and glass-bead shirts – also set the standard for rock and roll showmanship; Prince, to cite one obvious example, owed a sizable debt to the musician. “Prince is the Little Richard of his generation,” Richard told Joan Rivers in 1989 before looking at the camera and addressing Prince. “I was wearing purple before you was wearing it!”
Born Richard Wayne Penniman on December 5th, 1932, in Macon, Georgia, he was one of 12 children and grew up around uncles who were preachers. “I was born in the slums. My daddy sold whiskey, bootleg whiskey,” he told Rolling Stone in 1970. Although he sang in a nearby church, his father Bud wasn’t supportive of his son’s music and accused him of being gay, resulting in Penniman leaving home at 13 and moving in with a white family in Macon. But music stayed with him: One of his boyhood friends was Otis Redding, and Penniman heard R&B, blues and country while working at a concession stand at the Macon City Auditorium.
After performing at the Tick Tock Club in Macon and winning a local talent show, Penniman landed his first record deal, with RCA, in 1951. (He became “Little Richard” when he about 15 years old, when the R&B and blues worlds were filled with acts like Little Esther and Little Milton; he had also grown tired with people mispronouncing his last name as “Penny-man.”) He learned his distinctive piano style from Esquerita, a South Carolina singer and pianist who also wore his hair in a high black pompadour.
For the next five years, Little Richard’s career advanced only fitfully; fairly tame, conventional singles he cut for RCA and other labels didn’t chart. “When I first came along, I never heard any rock & roll,” he told Rolling Stone in 1990. “When I started singing [rock & roll], I sang it a long time before I presented it to the public because I was afraid they wouldn’t like it. I never heard nobody do it, and I was scared.”
By 1956, he was washing dishes at the Greyhound bus station in Macon (a job he had first taken a few years earlier after his father was murdered and Little Richard had to support his family). By then, only one track he’d cut, “Little Richard’s Boogie,” hinted at the musical tornado to come. “I put that little thing in it,” he