Inspiration hit me over the course of this weekend to share with friends and/or readers alike the many splendors of the golden age of American Popular music. The era of this golden age is rather lengthy (more than three decades; to be defined more precisely at a later time), and thus what becomes truly vexing is where to begin. Then again, if one were to continuously vacillate over the myriads of delectable options, one would never decide on a starting point to begin with, and no articles on this marvelous subject would be written.
So, to borrow a decision-making technique in the business management world known as “satisficing,” I’ll go with an example that is as good as any. It has been a great weekend for yours truly, largely defined by an occasion — without going into excessive detail — that has left me in the best of moods. It is only therefore fitting that we first take a look and a listen at the designated song below. Moreover, the record in question turned 60 years old earlier this year, thus further augmenting the appropriateness of the occasion.
The chosen song in question is “I’ve Got the World on a String” by Frank Sinatra. Ol’ Blue Eyes made a smash debut with this tune in light of his recent switch from Columbia to Capitol Records in 1953. Recorded in April of that year, it set the upbeat tone for Sinatra’s body of work with Capitol for the next eight years. The song itself was already 21 years old at the time, written by the notable duo of Harold Arlen and Ted Koehler in 1932 (they would also write a number of other timeless tunes in the Great American Songbook, including, for example, “Stormy Weather“). Louis Armstrong produced a wonderful version of it the following year (1933), and in subsequent years would be covered by Lee Wiley (1940), Louis Prima (1957), Ella Fitzgerald and Jo Stafford (both 1960), Diana Krall (1995), Barry Manilow (1998), and even Celine Dion (2004) and Michael Buble (2007).
But Frank Sinatra’s 1953 version clearly stands out above all others. Behold, listen to, and appreciate the record that set the tone for arguably the best era of the body of work for the Voice of the Century!
Editor’s update: This article was originally written in 2012 in honor of Little Richard’s 80th birthday.
Today marks the 85th birthday of Richard Wayne Penniman, a.k.a., Little Richard, one of the most important of Rock n’ Roll’s “Founding Fathers,” and arguably the real king of the genre. “The cat with the ten-inch crew cut” was rocking and rolling at the very beginning of the music, and kept on rocking long after others hung it up or had softened into balladeers. But he was also a great innovator, coming up with rhythms that spoke to the essence of the genre, using the funkiest of saxophone backings than others, played the piano more frantically than others, and combined it all with over-the-top, gospel-style singing, along with wails and moans. It all added up to the hardest rocking and rolling of the era when the music was born.
Born in Macon, Ga., on Dec. 5, 1932, Richard had been performing on stage since his early teens in 1945, but started recording in earnest as early as 1951, the same year that Ike Turner’s band recorded what most historians consider to be the first Rock and Roll song in “Rocket 88.” LR started making an impact in the Rhythm and Blues charts with “Get Rich Quick” that same year. The tune clearly has the influential finger prints of R&B pioneers such as Roy Brown, and Richard seems to be channeling him to an extent on this and other tracks he cut around the same time. The following year, 1952, he showed that he could cut strong, moderate tempo songs with his R&B hit “Rice, Red Beans and Turnip Greens.” He took things to a higher level in 1953 with “Little Richard’s Boogie,” using a percussion instrument that nobody would associate with a Little Richard song, as none other than Johnny Otis (of “Hand Jive” fame, 1958) himself played the vibraphone on that track. Fans who already know Richard’s more familiar tunes can easily sense the direction he was taking in developing his music in terms of the rhythmic pattern.
And what a pattern! Little Richard took inspiration from the sound of trains that he heard thundering by him as a child and molded that idea into a unique 2-2 time, boogie-woogie tempo that helped him drill down to the very essence of Rock ‘n’ Roll itself as the music and its era exploded onto the scene by the middle of the 1950s. Indeed, by September of 1955, he joined Arthur Rupe’s Specialty label, and really began to fully hit his stride. Not even 23 years old yet, he cut a hit in “Tutti Fruitti” that year, and thus helped demonstrate that the new era in youthful music was not just a flash in the pan, and it set the template for many other hard-charging hits to follow. Even today, “Tutti Fruitti” ranks as a great pre-game hit at football stadiums to enliven the crowd, as well as to psyche players up before taking the field of battle.
While it reached #2 on the R&B charts in 1955 (and was also covered by Elvis and Pat Boone[!]), what “Tutti Fruitti” also did was help open the floodgates for many other awesome Little Richard records to soon follow – 17 hits in three years, to be more exact. A good bulk of those hits came the following year in 1956, including “Slippin’ and Slidin’”, “Rip it Up,” “The Girl Can’t Help It,” “She’s Got It,” “Ready Teddy,” “Heeby-Jeebies,” “All Around the World” and even “Lucille.”
But one tune that stands out above all others that year was his inimitable “Long Tall Sally.” That recording exemplified the freight-train effect rhythm that Richard gradually crafted to perfection, and in so doing, achieved the holy grail of Rock ‘n’ Roll. Giving the sax solo an extra eight bars certainly did not hurt, either!
One can hear that defining tune prominently played during the helicopter scene in the Arnold Schwartzenegger movie “Predator” from 1987.
To be sure, Little Richard did not save his recording energies for only “Tutti Fruitti” in 1955. That same year yielded some other gems, including one of the hardest-rocking tunes he ever cut in “Hey-Hey-Hey-Hey,” though that record was not released until 1958. Same thing goes for “True Fine Mama,” a true, hard-core gem, where Little Richard augmented the funkiness level with a call-and-response vocal backing; recorded in ’55, but not released until ’58.
The year 1957 was also a strong one for Richard, in that “Send Me Some Lovin’” (the flip side to Lucille, and a good example of his ballad capabilities) charted, but he also had hits with “Jenny Jenny,” – one his most vocally energetic hits of them all, which is saying something! – “Miss Ann,” and one of the hardest rockers he ever did in “Keep A-Knockin.” Those who doubt the early influence of the swing era on rock ‘n’ roll from later decades clearly overlook that Louis Jordan had a hit with the same song – albeit a more comparatively sedate version! – in 1939. If that were not enough, 1958 also yield two more marvelous, rocking holy grails, such as “Ooh My Soul,” and the ever-timeless “Good Golly Miss Molly”
Richard’s hits on the charts started to wane not because he lost his recording energy, as so many of his contemporaries eventually did, but rather he was making major transitions in his life of the spiritual nature. In 1958, he enrolled in a theological seminary and soon started recording gospel music instead of rock ‘n’ roll, though by 1962 he made the return back to secular music, and even started touring in England that year, where his records were still selling well. A fine example of how he still maintained his energy that decade can be seen in this 1964 live performance of “Lucille” in that county (it is arguably a better version than the original 1956 recording):
Little Richard’s influence and legacy spread far and wide throughout the popular music world. Otis Redding claimed that he entered the music business because of him. The Beatles cited him as an influence in general; Paul McCartney idolized him while still in high school, and wanted to learn to sing like him. Mick Jagger of the Rolling Stones also referred to LR as his “first idol.” Jimi Hendrix actually recorded with Little Richard in 1964 and ’65. George Harrison, Keith Richards, Bob Seger, David Bowie, Elton John, Freddy Mercury, Rod Stewart, band AC/DC, and even Michael Jackson have claimed LR as a primary influence to some varying extent. One can hear his influence in popular recordings of later years on one’s own. Surely one can recognize, for example the direct influence that the opening drum riff on “Keep A-Knockin” has on the ever-famous opening drum riff on Led Zeppelin’s “Rock and Roll.”
Over the past 30 years, Little Richard has appeared on TV and in films as an actor as well as in dozens of soundtracks. Even within the past few years, Richard has still managed to remain in the spotlight, having appeared in a Geico commercial, as well as one for Zaxby’s.
But as good as it is to casually remain in the spotlight, these recent examples must not obscure his real cultural contribution as being one the greatest standard-bearers Rock ‘n’ Roll has even known. His unmatchable energy in his recordings and on the stage, along with his everlasting legacy of some of Rock ‘n’ Rolls greatest, most timeless, most energetic records demonstrate time and again that Little Richard is, and ever shall be, in a class by himself. Happy 80th birthday, your majesty!
For those who don’t know me, I am known — unofficially! — by family and friends alike as “The Music Professor,” and have been called upon from time to time to offer my consultations as to what sort of tunes would be appropriate for certain occasions, etc. In any event, a little over a year ago, a friend of mine from a previous job got ahold me via Facebook and was looking to expand his musical library by getting into “classical” music, but he said he was intimidated by all the choices out there. No doubt many an unsuspecting soul has been in his exact shoes, and given all the options out there for “classical” music, this is entirely understood.
What I therefore set out to do with this and other installments is to give you, the beginner to this mega-genre, the break-down of what’s out there, and also to share with you some examples of certain areas of composition, not to mention what I consider to be some of the choicest pieces ever written.
Let us start with a few basics: what is considered “classical” is actually a hodgepodge of three genres, Baroque, Classical and Romantic. Keep in mind that these periods are not necessarily just musical, but whole artistic periods encompassing architecture, painting, sculpture, and literature. There are definite painting styles, for example, that can be discerned during these three periods of time. Moreover, one thing that defined the Baroque period aside from its wonderful music was the Rococo architecture.
The Baroque period is considered from 1600-1750, though most Baroque stuff you’re likely to run across is usually no earlier than 1680 unless you’re listening to something composed by Henry Purcell or, even earlier, Claudio Monteverdi. To be clear, most of the more recognized Baroque compositions are, with some notable exceptions, were written between 1700 and 1750.
Then there’s the Classical epoch, which is considered to start in 1750, though it’s end time is debated to be between 1800 and 1820 (I say about 1810). The Romantic period takes up the rest of the 19th Century up until 1900. Do the math, you have 300 years of composed music called “classical,” yet only about 60 years (give or take) of that are truly Classical.
What’s the difference between the three? Basically, the Baroque music is very elaborate and cerebral: it’s therefore my favorite of the three! It’s also the most highly cultured of the three. Put in some good Baroque music, and it’s instant ornate Rococo time — the very height of cultured erudition of modern man.
Classical’s aim is to strike the perfect balance between the cerebral and the emotional. Still very highly cultured, hardly out of place in a Rococo setting, and always a pleasure to listen to.
Romantic is almost all emotional: I find it boring, with some exceptions. Others love it and pay little heed to the Baroque (i.e., the cerebral) side of the mega-genre. But that is fine: such is why there is a diversity of ice cream flavors — some prefer vanilla, others chocolate, others strawberry, and so on. To each his own!
Johann Sebastian Bach is my favorite composer: VERY Baroque. He lived from 1685-1750, and though not the first composer by a long shot, he’s considered the “Father of Composers.” There’s hardly an equal. Other good Baroque composers include Georg Friedrich Handel (that’s pronouced “HEN-dle”), Antonio Vivaldi, Arcangelo Corelli, the aforementioned Purcell, Johann Pachelbel (whose “Canon,” written in 1680, is universally recognized), and many others.
The two classical composers who stand out above anybody else are, of course, Wolfgang Amadeus Mozart and Franz Josef Haydn. I love both of them — can’t go wrong with either, particularly Mozart, the “Prodigy from Salzburg,” who is quite possibly the greatest composer of all time.
Ludwig Van Beethoven is considered to have started the Romantic period, though his early stuff is very Classical. His later stuff is quite distinct from his early stuff — clearly early Romantic, but his Symphonies are still quite paletable. I like his 6th Symphony the best, but his 7th isn’t bad, and his 5th and 9th are ever-famous. When you get into composers like Tchaikovsky, you’re talking late Romantic (he wrote his Nutcracker Suite in 1892, fyi). Perhaps the best example of the middle part of the Romantic period would be the works of Richard Wagner.
The recommended compositions could fill a book, but for Baroque stuff, I like most things done by Trevor Pinnock’s English Concert ensemble (they use period instruments — can’t beat that!). Meanwhile, Sir Neville Marriner does excellent Mozart renditions. For hard-core period instrument purists, one cannot do any better than compositions performed by Christopher Hogwood and the Academy of Ancient Music (don’t let the title fool you — Baroque and Classical are their specialties).
For Vivaldi, check out his “Four Seasons.” His “Spring” concerto will no doubt be familiar.
Handel, of course, had his “Messiah” (first written in 1741 — late Baroque), but he’s got many other great compositions under his belt, namely his “Water Music.”
I’ve never heard a bad piece by Haydn — great stuff. Try some of his later Symphonies, namely in the 80 thru 100 range.
With Mozart, again, where does one begin? I LOVE his Symphonies, especially his 25th and 29th. I’ve got all 41 that he composed on my Tunes. Check out some of his overtures to his operas, namely the one to “Figaro” and to “The Magic Flute.” Of course, don’t forget “Eine Kleine Nachtmusik.” Sir Neville Marriner’s Academy of St. Martin-in-the-Fields does a fine rendition of it, as well as anything else Mozart.
If you have sampled any of this music already, the contrast between the Baroque and the true Classical should be immediately evident, what with the heavier polyphony (in Greek, that basically means “many sounds”) in the former and the lighter polyphony of the latter. Another big thing worth noticing is that Baroque pieces usually used a harpsichord to provide that they called the “basso continuo,” but they gradually de-emphasized that during the Classical epoch.
Then there’s Bach (saving the best for last!). Start with his Brandenburg Concertos (again, Trevor Pinnock does a solid job with these). He wrote six of them. My personal favorites are No’s 2 and 5, though the dear reader would no doubt find No. 3 to be familiar.
Also great is his Violin Concerto No. 2 in E (listen to the first and third movements — the latter was featured in “The Patriot”). He wrote tons of concerti like that. Needless to say, there is plenty more to be heard and discussed about the the wonderful music of J.S. Bach.
Subsequent primer installments in the weeks and months to come will look into more specialized areas of the music in a little more depth. Until then, this should at least help you start to know and understand a few things.
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