Born December 5, 1932, in Macon, Georgia, the third of twelve children, Richard grew up dirt-poor in the segregated South. His father Charles “Bud” Penniman was a church deacon by Sunday and a bootlegger by night; his mother Leva Mae was devout. One leg shorter than the other, nicknamed “Lil’ Richard” and mercilessly bullied, he found refuge in the Pentecostal church, banging on pots and pans and singing so loud the preacher once told him to shut up during service.

At 14 he was already hustling: selling Coca-Cola at the Macon City Auditorium, performing drag as “Princess LaVonne” in medicine shows, and soaking up gospel giants like Sister Rosetta Tharpe and Mahalia Jackson. By 1951 he’d won a talent contest in Atlanta and cut his first sides for RCA Victor – polite jump-blues that went nowhere. The world wasn’t ready.

Everything detonated when Richard walked into Cosimo Matassa’s J&M Studio in New Orleans on September 14, 1955. The session was flat until, during a break, he jumped on the piano and tore into a filthy, obscene version of “Tutti Frutti.” Producer Bumps Blackwell freaked out, called lyricist Dorothy LaBostrie, and fifteen minutes later the cleaned-up but still nuclear “A-wop-bop-a-loo-bop-a-lop-bam-boom!” was born.

What followed was the greatest two-year run in rock history:

• “Tutti Frutti” (1955) – instant No. 2 R&B hit, covered by Elvis and Pat Boone the same year.
• “Long Tall Sally” (1956) – so fast Pat Boone couldn’t keep up.
• “Rip It Up,” “Lucille,” “Jenny Jenny,” “Keep A-Knockin’,” “Good Golly Miss Molly” – every single a detonation of falsetto screams, pounding piano, and Lee Allen’s sax from hell.
• Here’s Little Richard (1957) – the first true rock ‘n’ roll album, now in the Library of Congress.

Richard’s band, The Upsetters, featured monsters like drummer Charles Connor and guitarist Jimi Hendrix (briefly, in 1964–65). Onstage he wore pancake makeup, pencil moustache, six-inch pompadour, and sequined suits, climbing on the piano, throwing clothes into the crowd, and leaving teenage girls (and boys) in hysterics. He was the first true rock ‘n’ roll wild man.

In October 1957, at the peak of fame, Richard saw a fireball in the sky (actually Sputnik) and took it as a sign. He threw a $10,000 ring into Sydney Harbour, enrolled in Bible college, and quit rock ‘n’ roll to become a minister. The next decade was chaos: gospel albums, preaching, then sudden returns to sequins and sin.

He came out as gay in the 1950s, then renounced it, then embraced it again. He married Ernestine Harvin (1962–64), adopted a son Danny, and later lived openly with partners while still preaching. “I am the originator, the emancipator, the architect, and also omnisexual,” he declared in 1995. The contradictions were the point.

The 1960s and 70s saw glorious returns: the 1964 tour with The Beatles (who opened for him and worshipped him), Jimi Hendrix as his guitarist, explosive European packages with the Rolling Stones. In 1969 he played the Atlantic City Pop Festival and Toronto Rock ‘n’ Roll Revival, proving the voice was still supersonic.

The 1980s brought the final coronation: induction into the very first class of the Rock and Roll Hall of Fame (1986), a Grammy Lifetime Achievement Award (1993), and the unforgettable scene in 1988 when he presented at the Grammys and shouted, “I have never received nothing! Y’all ain’t never gave me no Grammy, and I been singing for years! I am the architect of rock ‘n’ roll!”

He was right.

On May 9, 2020, at age 87, Little Richard died at his Tennessee home from bone cancer. His last public words were classic: “I’m not dead yet!”

Without Little Richard there is no:

• James Brown (who stole his entire stage act)
• Otis Redding
• Prince (who worshipped him)
• Paul McCartney (learned to scream “Woooo!” from “Long Tall Sally”)
• Jimi Hendrix (learned showmanship in the Upsetters)
• David Bowie, Mick Jagger, Freddie Mercury, Elton John – every flamboyant frontman owes him royalties

The Beatles, the Stones, Led Zeppelin, AC/DC, and every garage band that ever plugged in owe their existence to the Georgia Peach who screamed the blues into the atomic age.

He wasn’t just influential. He was the big bang.

Happy 93rd, King and Queen of Rock ‘n’ Roll.

Shut up – the architect is still speaking.

And we’re still listening.

The good thing about this song, they know how to make it catchy from the beginning until the end other than many bands these days they may do like a catchy verse or a chorus, instead, these dudes provided a 4:20 rock anthem. When you check the track you won’t have a doubt for a second for their experience and ability to master such a rock spirit. SuperMonkey is a high-profile artist, guitarist, singer, producer, and record label owner from Pittsburgh, PA.

After releasing the 7th successful album he settled on this trio p[erforming originals and covers for icons like The Beatles, Prince, and Led Zeppelin. In addition, while listening to such a solo and tight rhythm, I was very curious and I didn’t get surprised when I got the answer when he shared the stage with many acts like members of Guns N’ Roses, Samantha Fish, White Denim, Quiet Riot, Fuel, Ace Frehley, The Fixx, The Biters, and Robin Trower, so what we can say this is an incredible experience of many years to create such an epic rock anthem in 2021. Feel ‘Elisa Bonita’ below! 😉