Little Richard

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风格: #摇滚　#山区乡村摇滚　#布鲁斯
地区: United States of America 美国

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二十世纪五十年代的摇滚乐坛上，恐怕没有哪一个人能发出Little Richard的那种极富刺激性的高颤声音了。Little Richard以他机致的嗓音和怪异的性格文明于乐坛，是摇滚音乐史上杰出的音乐家。

1935年12月5日，Richard Wayne Penniman出生在美国乔治尼亚州麦肯的一个牧师家庭中，Richard的童年一波三折，并不是很快乐，在他15岁的时候，他被麦肯的一个白人家庭收养，开始学习钢琴，并且在Tich Tock的指导下参加了亚特兰大的一次音乐比赛，并首次采用Little Richard的名字，这次的成功，使他有幸加盟RCA唱片公司。

最初的道路并不怎么好走，录制的两首单曲都没有什么影响，直到195年，Richard同特别唱唱片公司签约，幸运才慢慢降临。这一年，他同新奥尔良的制作人Robert Blackwell一起录制了一些歌曲，其中《突提—福鲁提》在第二年2月推出之后，马上就冲击到了排行榜地17位，唱片的销量达300多万张。5月，他的《长高突起》也排到了榜上第13位。而这两首歌都经过流行歌星Rat Boone的翻唱，在榜上取得了更好的名次。同年，Richard还参加了电影《不要敲击那石》的拍摄，并在8月份推出一张新歌单曲《猛烈上升》，列排行榜17位。

1957年，Richard的歌唱事业渐渐如日中天，他拍摄了《摇滚先生》和《女孩不能帮助他》两部电影，在无数歌迷为他欢呼的时候，大批影迷有为他倾倒。4月和7月，《露西尔》和《珍尼·珍尼》分别名列排行榜27位和14位。但是，让人异想不到的是，同年10月，Richard在澳大利亚的一次巡演中宣布退出摇滚乐坛，并且在重反美国录制完《继续敲击》和《天哪，茉莉小姐》等歌曲后进入Oakwqqd Theological学院，象他的父母一样正式成为一名牧师。

在60年代初期，Richard录制了许多福音诗音带，以至于以后的几十年中，他仍然经常在音乐与宗教之间徘徊。62年，Richard宣布重反乐坛，翌年，他又在英国巡演中与Beatles乐队结成深厚的友谊。重反舞台的Richard仍然风采不逊，在64年推出的单曲《Bama Lama Bama Loo》，也上榜名次不错。80年代，Richard在摇滚乐坛上的声望仍然很高，他的歌曲《Great Gosh A’Mighty （It's a Matter of Time）》和电影《Down And Out In Beverly Hills》都有着不错的成绩。同时，他还参与一些其他乐队及个人的专辑录音，获得了音乐界的好评，并在86年收入了《摇滚名人录》。

驰骋摇滚乐坛四十几年，Little Richard用他天才的歌唱和奇异的外表吸引着百万的乐迷们，他是真正的摇滚先锋，他的音乐为摇滚乐史上增添了一道亮丽的风景线。

One of the original rock & roll greats, Little Richard merged the fire of gospel with New Orleans R&B, pounding the piano and wailing with gleeful abandon. While numerous other R&B greats of the early '50s had been moving in a similar direction, none of them matched the sheer electricity of Richard's vocals. With his bullet-speed deliveries, ecstatic trills, and the overjoyed force of personality in his singing, he was crucial in upping the voltage from high-powered R&B into the similar, yet different, guise of rock & roll. Although he was only a hitmaker for a couple of years or so, his influence upon both the soul and British Invasion stars of the 1960s was vast, and his early hits remain core classics of the rock repertoire.

Heavily steeped in gospel music while growing up in Georgia, when Little Richard began recording in the early '50s he played unexceptional jump blues/R&B that owed a lot to his early inspirations Billy Wright and Roy Brown. In 1955, at Lloyd Price's suggestion, Richard sent a demo tape to Specialty Records, who were impressed enough to sign him and arrange a session for him in New Orleans. That session, however, didn't get off the ground until Richard began fooling around with a slightly obscene ditty during a break. With slightly cleaned-up lyrics, "Tutti Frutti" was the record that gave birth to Little Richard as he is now known — the gleeful "woo!"s, the furious piano playing, the sax-driven, pedal-to-the-metal rhythm section. It was also his first hit, although, ridiculous as it now seems, Pat Boone's cover version outdid Richard's on the hit parade.

Boone would also try to cover Richard's next hit, "Long Tall Sally," but by that time it was evident that audiences black and white much preferred the real deal. In 1956 and 1957, Richard reeled off a string of classic hits — "Long Tall Sally," "Slippin' and "Slidin'," "Jenny, Jenny," "Keep a Knockin'," "Good Golly, Miss Molly," "The Girl Can't Help It" — that remain the foundation of his fame. While Richard's inimitable mania was the key to his best records, he also owed a lot of his success to the gutsy playing of ace New Orleans session players like Lee Allen (tenor sax), Alvin Tyler (baritone sax), and especially Earl Palmer (drummer), who usually accompanied the singer in both New Orleans and Los Angeles studios. Richard's unforgettable appearances in early rock & roll movies, especially The Girl Can't Help It, also did a lot to spread the rock & roll gospel to the masses.

Richard was at the height of his commercial and artistic powers when he suddenly quit the business during an Australian tour in late 1957, enrolling in a Bible college in Alabama shortly after returning to the States. Richard had actually been feeling the call of religion for a while before his announcement, but it was nonetheless a shock to both his fans and the music industry. Specialty drew on unreleased sessions for a few more hard-rocking singles in the late '50s, but Richard virtually vanished from the public eye for a few years. When he did return to recording, it was as a gospel singer, cutting a few little-heard sacred sides for End, Mercury, and Atlantic in the early '60s.

By 1962, though, Richard had returned to rock & roll, touring Britain to an enthusiastic reception. Among the groups that supported him on those jaunts were the Rolling Stones and the Beatles, whose vocals (Paul McCartney's especially) took a lot of inspiration from Richard's. In 1964, the Beatles cut a knockout version of "Long Tall Sally," with McCartney on lead, that may have even outdone the original. It's been speculated that the success of the Beatles, and other British Invaders who idolized Richard, finally prompted the singer into making a full-scale comeback as an unapologetic rock & roller. Hooking up with Specialty once again, he had a small hit in 1964 with "Bama Lama Bama Loo." These and other sides were respectable efforts in the mold of his classic '50s sides, but tastes had changed too much for Richard to climb the charts again. He spent the rest of the '60s in a continual unsuccessful comeback, recording for Vee-Jay (accompanied on some sides by Jimi Hendrix, who was briefly in Richard's band), OKeh, and Modern (for whom he even tried recording in Memphis with Stax session musicians).

It was the rock & roll revival of the late '60s and early '70s, though, that really saved Richard's career, enabling him to play on the nostalgia circuit with great success (though he had a small hit, "Freedom Blues," in 1970). He had always been a flamboyant performer, brandishing a six-inch pompadour and mascara, and constant entertaining appearances on television talk shows seemed to ensure his continuing success as a living legend. Yet by the late '70s, he'd returned to the church again. Somewhat predictably, he eased back into rock and show business by the mid-'80s. Since then, he's maintained his profile with a role in Down and Out in Beverly Hills (the movie's soundtrack also returned him to the charts, this time with "Great Gosh a-Mighty") and guest appearances on soundtracks, compilations, and children's rock records. At this point it's safe to assume that he never will get that much-hungered-for comeback hit, but he remains one of rock & roll's most colorful icons, still capable of turning on the charm and charisma in his infrequent appearances in the limelight.

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Little Richard 小理查德

艺人介绍

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最新简评（共194条）

Little Richard　小理查德