Everyone knows the lightning strike of Little Richard’s 1950s hits. 'Tutti Frutti' and 'Good Golly, Miss Molly' didn't just define rock and roll; they were rock and roll. But that explosion of genius is only the first chapter of a wild career.
The Fabulous Little Richard (1959)
This isn't
a cohesive album in the modern sense but a collection of outtakes Specialty Records released after Richard famously quit rock for religion. What makes it fascinating is the sound of a legend in transition. While it contains rockers, much of the album showcases his deep roots in blues and R&B. Slower, more soulful tracks like 'Lonesome and Blue' reveal a vocal depth often overshadowed by his frantic hits. It’s the sound of the architect before he blew the walls out, and includes his influential medley of 'Kansas City/Hey-Hey-Hey-Hey', which The Beatles would later cover note-for-note.
The King of the Gospel Singers (1962)
After renouncing the 'devil's music', Richard dedicated himself to gospel, and this album is the stunning result. Produced by a young Quincy Jones, the record is a powerful testament to his faith and vocal prowess. Free from the constraints of three-minute rock singles, Richard’s voice soars on tracks like 'He's Not Just a Soldier' and 'Joy, Joy, Joy'. It’s a crucial detour that proves his electrifying energy wasn't a performance trick; it was a fundamental part of his soul, whether he was singing for Saturday night or Sunday morning. This album, Richard later said, is what 'really put me back in business'.
Little Richard Is Back (1964)
Lured back to secular music after touring Europe, Richard returned with a vengeance. This album for Vee-Jay Records saw him re-recording his classics with updated arrangements and, most notably, featured a young guitarist named Jimi Hendrix on tracks like 'I Don't Know What You've Got (But It's Got Me)'. While re-recording hits can be a mixed bag, these versions are full of verve, with different syncopations and a raw power that proves his 50s fire was anything but extinguished. It’s the sound of a master reclaiming his throne.
The Rill Thing (1970)
By 1970, the rock landscape had changed, and so had Richard. Ditching the pompadour for a new decade's style, he went to Muscle Shoals and cut a swampy, funk-infused record that stands as one of his greatest comeback statements. He trades his frantic piano pounding for deep, soulful grooves on tracks like 'Freedom Blues' and the Creedence-esque 'Greenwood, Mississippi'. The centerpiece is the stunning ten-minute instrumental title track, a raw, improvised funk jam that proves his genius extended far beyond his voice. This is a mature, confident Richard still innovating and having a blast.
The Second Coming (1972)
If 'The Rill Thing' was the raw comeback, 'The Second Coming' was the polished, ambitious followup. Reuniting with his 1950s producer Robert 'Bumps' Blackwell, Richard brought together session legends from his early days and the 70s rock scene, including saxophonist Lee Allen and drummer Earl Palmer. The result is a bold, funky, and impeccably played album. From the raucous opener 'Mockingbird Sally' to the New Orleans-flavored 'Second Line', the record is a masterclass in rock and soul. It's an oftenoverlooked gem that captures Richard at a creative peak.
Lifetime Friend (1986)
After another period away from the spotlight, an appearance in the film 'Down and Out in Beverly Hills' sparked a latecareer revival. This album cleverly merged his rock and gospel impulses, using rock and roll to preach a message of faith. The lead single, 'Great Gosh A’Mighty', cowritten with Billy Preston, was a Top 40 hit that recaptured the boogiewoogie energy of his classic sides. Featuring 80s production and even a rap verse, the album is a fascinating document of Richard adapting his eternal sound to a new era, proving once and for all that he was a true original.
