She's got it

from Wikipedia, the free encyclopedia
She's got it
Cover
Little Richard
publication October 1, 1956
length 2:26
Genre (s) Rock and roll
text John Marascalco
music Richard Penniman
Publisher (s) Venice Music
Label Specialty Records
album Here's Little Richard

She's Got It 's a rock 'n' roll - Song of Little Richard in 1956. The piece is based on Little Richard's previously unpublished composition I Got It to the John Marascalco for use in the film not The Girl Can Help It wrote a new text. The song structure with the alternation of verse and chorus over a twelve-bar blues makes the song a prototype of the genre.

Little Richard reached the R&B charts of Billboard Magazine with the single on Specialty Records and in 1957 the British Top 30 on London Records. During his career, Little Richard played She's Got It again for Vee-Jay Records and K-tel . The song was re-released nationally and internationally on different sound carrier formats, as was the original version I Got It from 1960 .

She's Got It was written by the British Johnny Guitar and Paul Murphy and by the San-Marine Little Tony , in Germany by Jimmy and the Rackets , by the Australians Col Joye and Johnny Cooper , by the Danish band The Beefeaters and by the Finns Rock-Jerry and Seppo Hovi covered. In 1976 Brian Protheroe played the song and in 1978 the American band The Poppees . A French version Elle est mordue by the band Les Forbans has been available since 1981, followed by an Italian adaptation by Adriano Celentano in 1986 . The later cover artists Sleepy LaBeef , Mike Smith , The Brandos and The Tremors , however, played the early version I Got It .

Emergence

Little Richards I Got It on Specialty 681

After the great chart success of his first two singles Tutti Frutti in late 1955 and Long Tall Sally in early 1956 for the Californian independent label Specialty Records, Little Richard went to New Orleans on May 9, 1956 for another session with the studio band in Cosimo Matassa's J&M studio . On April 13th of that year, the label boss Art Rupe had the copyright for Little Richard's own composition I Got It registered with the Library of Congress for the specialty publisher Venice Music. Under the direction of his producer Bumps Blackwell , Little Richard played alongside I Got It , accompanied by Edgar Blanchard and Ernest McLean on guitars, Frank Fields on bass, Lee Allen on tenor saxophone, Alvin Tyler on baritone saxophone and Earl Palmer on drums with the later hits Rip It Up , Ready Teddy and Heeby-Jeebies are three compositions by the songwriter John Marascalco . Of the at least nine takes of I Got It , at least three have been preserved, but unlike the other recordings in the session, they were not released soon.

That summer, Little Richard was touring with his live band The Upsetters when an offer was received from 20th Century Fox for a cameo in Frank Tashlin's film The Girl Can't Help It . The script called for Little Richard to appear with a band in a club, while artist agent Tom Miller, played by Tom Ewell , asks the singer Jerri Jordan, played by Jayne Mansfield , to go to the ladies' room and the club owner, Lucas, played by George Givot , to show. The selection of songs fell on Ready Teddy and I Got It , which, however, had to be adapted as a soundtrack to Mansfield's path through the club. Art Rupe therefore commissioned John Marascalco with a new text for the piece now entitled She's Got It and ordered Little Richard to do a new recording in New Orleans.

With Rip It Up and Ready Teddy on specialty 579 just the third hit single was Little Richard in a row in the charts, which the self-confidence of the extrovert singer increased compared to his label. So he refused to record again in New Orleans with Matassa's studio band, because he considered his up-setters to be musically equal. Art Rupe and Bumps Blackwell tried to convince him otherwise, but he threatened a breach of contract if his wishes were not met. The producers finally agreed.

The session was scheduled for September 6, 1956 at the Master Recorders studio in Los Angeles . The Upsetters consisted of Nathaniel Douglas on guitar, Olsie Robinson on bass, Clifford Burks, Wilbert Smith and Grady Gaines on tenor saxophones, Jewell Grant on baritone saxophone and Charles Connor on drums. Marascalco joined the session and recalled: “I had never seen Richard work in the studio, even though he had already recorded several of my songs. I asked Bumps if I could come over and he said okay. They played She's Got It and a few other songs. Bumps usually had the studio band completely under control, but in this particular session Richard took over the helm. (…) Mr. Rupe and Bumps were there, but I don't remember Bumps giving instructions or comments except: 'You said I Got It again , Richard. Stop!' Art Rupe just sat back and said, 'Yeah, that's good!' or 'Add a little more of this or that.' Richard asked for it and it was his session. ”In addition to two takes of the original version of I Got It , at least two takes of the revised She's Got It were recorded. The copyright for the new version was only registered eleven days later on September 17th under Richard's maiden names Penniman and Marascalco. The film celebrated its cinema premiere on December 1, 1956.

Musical structure

Like many rock 'n' roll pieces, She's Got It is based on the twelve-bar blues : Four bars of tonic are followed by two bars of subdominant and again two bars of tonic. The scheme comes to a close with two more bars on the tonic over one bar each of dominant and subdominant. The song repeats the scheme ten times, with the stanzas falling on the first four bars of tonic and the chorus taking bars five to twelve. The stanzas are presented as stop times, that is, the drums only accentuate the first beat of the bars, while the other instruments are silent and the percussive function of the voice when the text is shouted out comes into its own: the singer brings each stanza in this way 13 to 23 syllables in four bars below. On the third and fourth bars he imitates a bass run known from boogie-woogie in the melody . The singer keeps the dynamics to the chorus, but leaves the saxophones room for polyphonic riffs that respond according to the principle of call and response . Little Richard's vocal trademark, the high, falsetto-like “Whoooo!” Inspired by the gospel singer Marion Williams , stands out prominently in the transition from the seventh to the eighth bar.

{\ key f \ major \ tempo 4 = 176 \ autoBeamOff << {% Voice "1" f''4 ^ "F" d''8 f''8 ~ f''4 r4 | f''4 ^ "F" d''8 f''8 ~ f''4 r4 | f'4 ^ "F" a'4 c''4 d''8 es''8 ~ | es''4 ^ "F" d''8 c''8 ~ c''4 c''4 | d''8 ^ "B" f''8 ~ f''4 r2 | r4 ^ "B" bes''8 bes''8 ~ bes''8 bes''8 bes''4 | as``4 ^ "F" f``4 r4 f '' '4 ~ | f '' '2 ^ "F" g''8 g''8 g''4 | g``4 ^ "C" c''4 r2 | r4 ^ "B" as''8 as''8 as''8 as''8 as''4 | f``2 ^ "F" r2 | r1 ^ "F" | } \ addlyrics {\ set stanza = # "2." Big blue eyes, | long black hair. | Dimp - led cheeks and | "she's" no square. "She's" | got it. | Ooh ba - by, "she's" | got it. | Whooo! Ba - by, "she's" | got it - | I "can't" do with | out here. } \\ {% Voice "2" <fac '> 1 | <fac '> 1 | <fac '> 1 | r1 | <f bes d> 1 | <f bes d> 1 | <fac> 1 | <fac> 1 | <gc e> 1 | <f bes d> 1 | <fac> 1 | r1 | } >>}

(Music quote from Little Richards She's Got It on Specialty 584; Music: Richard Penniman; Text: John Marascalco)

The sequence of the song across the ten schemes provides for an abrupt start without an instrumental intro . The first stanza is extended by four bars of tonic, it is particularly rich in words and still leaves out the boogie-woogie melody. This is followed by verses two to four, each with a refrain. The tenor saxophone solves the fifth and sixth schemes and is supported by a triplet hammering piano. After the fifth and sixth stanzas on the seventh and eighth twelve-bars, the ninth scheme is followed by an improvisation by the singer based on the text of the title and chorus . The last scheme is again dominated by piano and saxophone solo, but fades out towards the end.

content

The first text of I Got It was penned by Little Richard, who used childhood memories from his hometown Macon , Georgia. It is a kind of "street vendor song", the protagonist of which sings about a little man who calls out the names of various dishes on the street. He quotes the saying “It ain't what you do, it's the way that you do it. It ain't what you eat, it's the way that you chew it "(German: It's not about what you do, but how you do it. It's not about what you eat, but how you chew it . ) .

In his revision, John Marascalco had to stage the film singer Jerri Jordan instead of the “little man with the goat cart”, which, according to Stuart Colman, gave him the words “you can see her in a“ strongly provocative ”and“ tongue-clapping ”manner every day, strolling up and down the way, looking so pretty and this is what I say: She's got it “(German roughly: you can see her strolling up and down the street every day. She looks so good that I can only say: It has that certain something! ) also succeeded. The description "big blue eyes, long black hair" (German: big blue eyes, long black hair ) of the blonde actress Jayne Mansfield remained incorrect in Marascalco's text. In She's Got It Gert Raeithel only hears Little Richard's enthusiasm for his girlfriend's “shapely hips”.

Publications

She's Got It was released on October 1, 1956 together with Heeby-Jeebies on the single Specialty 584 in 78 and 45 format. The single was reissued several times. Country-specific editions appeared in Canada on Regency 538, in Belgium on Ronnex 1188, in the Netherlands on Artone 24034 and 24149 and in South Africa on London Records . For the British edition on London Records 8382 She's Got It was coupled with the title song of the film The Girl Can't Help It, also interpreted by Little Richard , in March 1957 . This edition was also published for 78 and 45 revolutions. London Records also used this combination of songs for German, Italian, French and Swedish editions. In Brazil, She's Got It was paired with the Ready Teddy previously shown in the film on London LA-155 for 78 revs. In Norway, Decca Records took over the sale of the record. The song was in March 1957 on the first EP Little Richards with the title Here's Little Richard Vol. 1 under the number Specialty SEP-400, which was released in Belgium by Moonglow Records . A British EP called Little Richard and His Band was released in February 1957, making it the first ever British edition of the title. The Swedish EP Golden Hits - Vol. 3 was released as Sonet SXP-6074. Little Richard's first album Here's Little Richard , in which the song found its way, was also released in March 1957 under the number 100 and in June under the number 2100. There are British, Australian, French, Italian, Japanese, Dutch and South African editions of this album before, the publication of which dragged on into the 1970s. The album is now considered a milestone in rock history and is repeatedly reissued in various formats. 1968 appeared for the first time by delaying the fadeout by 12 seconds longer version of the piece on the specialty album Little Richard's 17 Grooviest Hits .

Bootleg LP from Redita Records with an alternative track from I Got It

In the fall of 1957, Little Richard temporarily ended his career as a rock 'n' roll musician and studied theology. Specialty Records gradually released previously withheld recordings, including I Got It together with Baby on Specialty 681 in January 1960. This single was also marketed internationally, primarily as London HL-U 9065 in Great Britain, Germany, Denmark, Italy and in the Netherlands. The EP Richard Rules by the British-Swedish branch of Specialty Records has an unusual format, which couples I Got It on the A side for 45 revolutions per minute and three other songs on the B side for 33 revolutions per minute. In 1972 a compilation by the same company came out in Great Britain under the title Rock Hard Rock Heavy , for which there is a Spanish counterpart on Discophon Records and an Italian on Sonet. Another album from the German branch of Metronome Records called King of Rock Vol. 2 from 1975 also contained I Got It . The Dutch bootleg The Rare or Rare Recordings on Redita RLP-101 brought alternative takes from the archives of Specialty Records to the audience for the first time in 1972. One of those two takes of I Got It was selected for this , which had been recorded together with the Upsetters on September 9, 1956 in Los Angeles during the preparation of the new recording. All received versions were officially released in 1989 on the 6-CD box The Specialty Sessions from Ace Records .

After an unsatisfactory comeback with Specialty Records in 1964, Little Richard changed the record company frequently in the following years. In December 1964 he was under contract with Vee-Jay Records and played his greatest hits, including She's Got It , under the direction of R. Parker in Los Angeles with an unknown backing band . The recordings appeared under the title Little Richard's Greatest Hits on the LP Vee-Jay 1124 and on Exodus 319. Fontana Records was responsible for Great Britain and the Netherlands, while other British editions and a German publication were released by Joy Records . The album was also released in Australia on Philips and RCA Camden . All tracks on the album were released in three single series on the Vee-Jay subsidiary Oldies Records and on Buddah Records . For She's Got It , the B-side behind The Girl Can't Help It and record number 196 was chosen. The Vee-Jay catalog also experienced a worldwide distribution through numerous new publications on budget labels .

In 1976, Litte Richard signed a contract with SJ Productions and, under the direction of Stan Shulman and David Thompson, went to the Audio Media Studio in Nashville, Tennessee, where engineers Jack Jackson and Paul Whitehead once again recorded his greatest specialty hits with the support of studio musicians. Jackson personally took over the bass, Eddie Bayres the drums, Paul Worley the guitar, Dennis Burnside the keyboards and Don Jackson the saxophone. The 20 songs from the lavish session were released on the K-tel label as the album Little Richard Live! / 20 great hits . According to the information on the cover, Little Richard played in front of an audience, but nothing can be heard in the recording. The album was released from 1977 under various titles in Australia, Canada, the Netherlands, France, Brazil, America, Great Britain, Germany and Japan.

Cover versions

Cover versions

She's got it

Foreign language adaptations

I got it

The first cover version of the piece was a one and a half minute British production: Liverpool's Johnny Guitar and Paul Murphy played She's Got It in early 1957, just as the piece was on the English market. The demo recording , which is only accompanied by acoustic guitars, adopts the rhythm, melody and harmony of the original, but shows creative handling of the text being listened to. The recording only appeared in 2002 on the sampler Unearthed Merseybeat. Vol. 1 of the Viper label .

In 1959 the San Marinese musician Little Tony released the two Little Richard pieces She's Got It and Lucille on Durium 6526. The recordings were also released on EP and LP in Italy, France and Germany under the artist name “Little Tony and His Brothers”. The Briton Jim Duncombe was active and successful with his rock 'n' roll band Jimmy and the Rackets , especially in Germany in the early 1960s . For their own production of a self-titled album, the rackets played on February 25, 1964 - with Duncombe on guitar and microphone, Lawrence Spector on bass, Barry Jeffers on piano and Reginald Washington on drums - in Ludwigsburg's Bauer recording studio with the support of sound engineer Kurt Rapp in three and a half hours 13 tracks. Among them was a version of She's Got It , which was released together with My Soul as the A-side on single. My Soul reached number seven on the German media control charts . The album Jimmy and the Rackets was released by Deutsche Austrophon on their Elite Special label under the number SOLP 30 039.

In 1964 the title found its way into the repertoire of Australian rock 'n' roll artists. In July of that year Festival Records released She’s Got It behind Just a Little Too Much as the b-side of the single FK-683 by singer Col Joye . Three years later, the Australian label In Records released the single IN-S-2507 by Johnny Cooper , which came out again on the split EP The “In” Crowd and was coupled with titles by The Pink Finks and Little Gulliver .

In the mid-1960s there were numerous beat groups in Scandinavia that adopted the repertoire of their American role models. The She's Got It version of the Danish group The Beefeaters with Søren "Bøf" Seirup on bass and microphone, Lars Kofoed and Carl Parling on rhythm guitar, Jimmy "Biller" Sardorf on solo guitar and Niels Kjær Mortensen on drums Released together with recordings by unknown bands on an EP of the Beat Records Club series under the number BRC 1003. Finnish artist Rock-Jerry recorded She's Got It in 1974 for his album I'm in Love Again , which was released on Finnlevy SFLP 9552. The title was also released with an additional author mention of the arranger and pianist Kaj Westerlund on the single of the Finnish Decca under the number SD 5804. Besides Rock Jerry and Westerlund, Antero Jakoila and Nono Söderberg played on guitars, Pentti Mutikainen on bass, Aimo Hakala on drums and Sakari Kukko and Tapio Tuominen on saxophones. In the same year, Seppo Hovi , who also came from Finland, presented his debut album, a music cassette with rock 'n' roll pieces, which he arranged for the Hammond organ .

On his album Leave Him to Heaven, based on the musical of the same name from 1976, the British singer and actor Brian Protheroe combined many rock 'n' roll classics, including the Little Richard pieces as a medley alongside Rock Around the Clock and Rockin 'Robin Tutti Frutti , The Girl Can't Help It as well as She's Got It and the further composition Marascalcos Ready Teddy . The record was released by Chrysalis Records under the number CHR-1118. In 1978 the American band The Poppees covered the song for the B-side of their second and final single behind Jealousy . The recording took place in the Sundragon Studios in New York under the direction of producers Cyril Jordan and Greg Shaw. Arthur Alexander and Bobby Dee played the guitars, Jet Harris sat on the drums and Pat Lorenzo took over the bass. The single was released by Bomp Records under the number 106 in the distribution of Visa Records . A German edition was launched as Line 6.14383.

  • Guitar / Murphy

  • Little Tony & his Brothers

  • Col Joye

  • The rackets

  • Johnny Cooper

  • The Beefeaters

  • Poppees

The French rockabilly band Les Forbans released their debut album Le rock des copains on Polydor 2393 289 in 1981 , which contains She's Got It with a French text by Jacques Barsamian under the title Elle est mordue . Albert Kassabi played as singer, Patrick Papain on keys, Christophe Camilotte and Jean-Louis Bergerin on guitars, Dominique Lupo on bass and Michel Papain on drums. In 1986 an instrumental version with the Italian title Mi scade ("[The time] is up!") Followed on Adriano Celentano's album I miei americani 2 on his own label, Clan Celentano. Celentano and Miki Del Prete contributed the arrangement .

  • Les Forbanes

  • Adriano Celentano

In addition to She's Got It , the first version of the piece, I Got It , was covered by various interpreters. In 1980 Sleepy LaBeef recorded a rockabilly album and set I Got It as the first track. The album, which was titled after the saying from the lyrics of Little Richard It Ain't What You Eat (It's the Way How You Chew It) , was released on Rounder Records . Mike Smith followed in 1990 with his album It's Only Rock 'n' Roll on Mooncrest Records , which also includes Little Richard's second film song The Girl Can't Help It . The American band The Brandos played a concert on the Loreley open-air stage in 1999 in the series WDR Rockpalast and released it under the title Live at Loreley . The live album was released on the band's own label Haunted Field Music under the number HF120299 and contained Little Richards I Got It as the final track . The neo-rockabilly band The Tremors also put I Got It at the end of their 2009 Brain Drain album Demon Boogie Fever , which was recorded with Jimmy Tremor on microphone and guitar, Slim Perkins on double bass and Stretch Armstrong on drums.

Importance, Criticism, and Success

Although She's Got It is not one of Little Richard's most successful hits, he took the piece into his live repertoire and played it over the years at concerts. The song structure with the division of verse and verse into four and eight bars of the twelve-bar blues scheme can be traced back to Tampa Red and Georgia Toms It’s Tight Like That from 1928 and even further to Papa Charlie Jackson’s Shake That Thing from 1925. She's Got It is "one of the clearest examples of the twelve-bar verse-chorus structure in Little Richard's repertoire," which, according to Larry Birnbaum's analysis, makes the song a "prototypical rock song". When comparing the two versions of the song, Birnbaum also notes that the recording of the studio band in New Orleans rocks much “harder” than that of the upsetters from Los Angeles.

For the American literature professor David Kirby, the film version that follows the cautiously staged Ready Teddy is particularly important : "With Little Richard's next number, rock 'n' roll loses its irrelevance and hits the heart of bourgeois culture." Kirby leads to this From: “As soon as [Mansfield] dangles and Little Richard yells and hammers, the categories get mixed up: Sex is sold both visually and musically, and the same goes for freedom as well as simple, raw power. Both the song and the girl convey that there is more to life than cotton dresses, romantic ballads, and a suburban home. Jerri Jordan has it, just like Little Richard has it, and you can have it too. ”For Billy Vera , too, this was a key scene in pop history when Little Richard“ lifted his right leg in a phallic salute to the piano keys while his saxophonist played showed an interlude that should remain the compulsory program for every rock 'n' roll saxophone unit for the next sixty years and beyond. ”Stuart Colman attests to the text writer Marascalco that he did a good job under the given time pressure: “There aren't many songwriters out there with the skills to rewrite someone else's composition, but that's exactly what happened when John [Marascalco] Little Richard rewrote the previously unreleased I Got It to She's Got It .” Because of its intended use in the film However, the "incentive to do so couldn't have been greater."

Chart positions
Explanation of the data
Singles
She's got it
  R&BTemplate: Infobox chart placements / maintenance / country wrong 9 10/27/1956 (5 weeks)
  UK 15th 03/09/1957 (9 weeks)

On October 6, 1956, Billboard magazine reviewed the single and stated: “Richard's shouting style brings out two strong numbers with a fat beat and exciting accompaniment, using the same formula that made him top of the charts with previous releases catapulted. Heeby-Jeebies is a driving number with a fast-paced, fiery text that increases to ecstasy. The back with clever lyrics has a similarly powerful effect. ”A week later, the magazine advertised the record as“ Best Buy ”, which didn't fail to have an impact: She's Got It got a placement on October 20th in the regional charts of St. Louis, the song reached two of the three parallel national R&B charts in 1956 in the following weeks. The top placements were number nine for DJs and number 15 for sales. Total remained She's Got It five weeks in the R & B charts without the crossover came in the pop market. In the R&B jukebox charts, Heeby-Jeebies was just the other side of the record, which also attracted attention with a 50th place in the competing pop hit lists of Cashbox magazine . Paul MacPhail based his criticism on this when he wrote: “Both songs were wild, pounding [...] rock 'n' rollers. It was wise of Specialty to take the front from an earlier session in New Orleans because the B-side recorded with his live band on his last session in Los Angeles failed to take off. ”Little Richard then accepted the studio -Recording with the Upsetters didn't work as expected, so the next sessions could take place in New Orleans again. In Great Britain, She's Got It entered the UK Top 30 for the first time on March 9, 1957 and stayed there (with one interruption) for a total of nine weeks until June 1. The highest ranking was a 15th place.

All of the covers of She's Got It and I Got It missed the charts. James E. Perone identified the demo version of Johnny Guitar and Paul Murphy as possibly the first rock 'n' roll recording from Liverpool , the stylistic range of which he describes as follows: “The acoustic sound goes hand in hand with the scratched ones Patterns that would not be out of place in country or rockabilly to create a fascinating mixture: The performance contains elements of white American country / rockabilly and black American rhythm and blues, but with the original peculiarities of the skiffles. ”The hookline“ She's got it, oh baby, she's got it ”found its way into the song Venus by the Dutch band Shocking Blue in 1969 .

Individual evidence

  1. ↑ a b c d Valeri Orlov: Little Richard. All rock 'n' roll and blues rock studio recordings. In: Little Richard. The Quasar of Rock. Retrieved September 4, 2013 .
  2. ^ Public Catalog. In: Library of Congress. Retrieved September 3, 2013 .
  3. ↑ David Kirby: Little Richard. The Birth of Rock 'n' Roll . 1st edition. Continuum, New York 2009, ISBN 978-0-8264-2965-0 , All around the World, pp. 176 ff . (American English).
  4. ^ A b c Charles White: The Life and Times of Little Richard. The Authorized Biography . Omnibus Press, London et al. 2003, ISBN 0-7119-9761-6 , Tutti Frutti, p. 74 f . (First edition: 1984).
  5. ^ Charles White: The Life and Times of Little Richard. The Authorized Biography . Omnibus Press, London et al. 2003, ISBN 0-7119-9761-6 , Tutti Frutti, p. 75 (First edition: 1984, original quote: "I had never seen Richard work in the studio, though he'd already recorded several of my songs. I asked Bumps if I could go along to the session, and he said okay. They were doing 'She's Got It' and a couple of other songs. Bumps had been in complete control of the Studio Band. But at this particular session Richard was the whole show. […] Mr. Rupe and Bumps were there, but I don't remember Bumps conducting or suggesting, apart from saying; 'You said' I Got It 'again, Richard. Stop.' Art Rupe just kinda sat back and said 'Yeah, that's good' or, 'Get a little more of that in or a little more of that. 'Richard had demanded , and it was his session. ").
  6. ^ Public Catalog. In: Library of Congress. Retrieved September 3, 2013 .
  7. ↑ a b c d e f g Larry Birnbaum: Before Elvis. The Prehistory of Rock 'n' Roll . 1st edition. Scarecrow Press, Lanham / Toronto / Plymouth 2013, ISBN 978-0-8108-8638-4 , Good Rockin 'Tonight, pp. 337 .
  8. ^ Charles White: The Life and Times of Little Richard. The Authorized Biography . Omnibus Press, London et al. 2003, ISBN 0-7119-9761-6 , The Georgia Peach, pp. 17th f . (First edition: 1984).
  9. ↑ a b c Stuart Colman: The Killer Quillers. John Marascalco . In: Trevor Cajiao (Ed.): Now Dig This . No. 362 . Bensham, Gateshead, Tyne & Wear May 2013, pp. 13-16 (English, original quote: “Not too much tunesmiths are capable of rewriting the lyrics to someone else's work, but […] that's exactly what happened when John turned Little Richard's as-yet-unreleased 'I Got It' into 'She's Got It '. The incentive couldn't have been greater, because the song was destinated to be used on the soundtrack of' The Girl Can't Help It '. ").
  10. ^ Gert Raeithel: Only you. The American love song . In: Mercury . tape 670 . Klett-Cotta, Stuttgart 2005, p. 131-139 .
  11. ↑ a b c d e f g John Garodkin: Little Richard Special . 2nd Edition. Mjoelner Edition, Praestoe 1984, ISBN 87-87721-14-7 , Specialty Records, pp. 23-66 .
  12. ↑ John Garodkin: Little Richard Special . 2nd Edition. Mjoelner Edition, Praestoe 1984, ISBN 87-87721-14-7 , Vee-Jay Records, pp. 83-104 .
  13. ↑ John Garodkin: Little Richard Special . 2nd Edition. Mjoelner Edition, Praestoe 1984, ISBN 87-87721-14-7 , SJ Productions, pp. 149-153 .
  14. ↑ a b James E. Perone: Mods, Rockers, and the Music of the British Invasion . Greenwood Publishing Group, Westport 2009, ISBN 978-0-275-99860-8 , Skiffle and 1950s Teen Idols and Rockers, pp. 11 f . (English, original quote: The acoustic sound, along with strumming patterns that would not be out of place in country or rockabilly, make for a fascinating mix: the performance includes elements of white American country / rocakybilly and black American R&B, but with a homemade skiffle quality. ).
  15. ↑ Gèrard Lambert: Little Tony. In: Rocky 52. Retrieved April 15, 2014 (French).
  16. ↑ Jimmy Duncombe: 1964-1966. In: Jimmy & The Rackets. Retrieved September 4, 2013 .
  17. ↑ FK-683. In: 45cat. Retrieved December 10, 2014 .
  18. ↑ The In Crowd. In: 45cat. Retrieved December 10, 2014 .
  19. ↑ Beefeaters. In: Dans Rock. Pigtråd and Beat 1958-1968. Retrieved February 4, 2016 (Danish).
  20. ↑ Rock Jerry. Archived from the original on April 4, 2012 ; accessed on May 9, 2016 .
  21. ^ Brian Protheroe - Leave Him To Heaven . In: Discogs, accessed July 3, 2020.
  22. ↑ Poppees. Jealousy. She's got it . Bomp Records, Burbank, California 1978 (details on the picture sleeve of the single).
  23. ↑ Les Forbans: Le rock des copains . Polydor Records, 1981 (Liner Notes).
  24. ↑ Sleepy LaBeef. It Ain't What You Eat (It's the Way How You Chew It). In: Allmusic. Retrieved September 11, 2013 .
  25. ↑ Mike Smith: It's Only Rock 'n Roll. In: Allmusic. Retrieved September 11, 2013 .
  26. ^ Brandos, The - Live at Loreley. In: Discogs. Retrieved September 11, 2013 .
  27. ↑ Demon Boogie Fever, The Tremors. In: BlackCat Rockabilly Europe. Retrieved September 11, 2013 .
  28. ↑ a b Larry Birnbaum: Before Elvis. The Prehistory of Rock 'n' Roll . 1st edition. Scarecrow Press, Lanham / Toronto / Plymouth 2013, ISBN 978-0-8108-8638-4 , A Dash of Hokum, pp. 105 .
  29. ↑ David Kirby: Little Richard. The Birth of Rock 'n' Roll . 1st edition. Continuum, New York 2009, ISBN 978-0-8264-2965-0 , All around the World, pp. 177 f . (American English, original quote: “But with Little Richard's next number, rock 'n' roll loses its irrelevance and steps right into the heart of square culture. […] As she shimmies and Richard yells and pounds, the categories get confused. Sex is being sold both visually and musically, but so is freedom as well as pure raw power. Both song and girl say there's more to life than cotton frocks and romantic ballads and a house in the suburbs. Jerry Jordan's got it, and so does Little Richard, and you can have it, too. ").
  30. ↑ Billy Vera: Rip It Up. The Specialty Records Story . BMG, Berlin, Los Angeles 2019, p. XI.
  31. ^ Joel Whitburn: Hot R&B Songs. Billboard 1942-2010 , 6th Edition, Record Research Inc., Menomonee Falls 2010, p. 401.
  32. ↑ a b Dafydd Ress, Barry Lazell, Roger Osborne: 40 Years Of NME Charts , Boxtree Ltd., London 1992, p. 45ff.
  33. ↑ Review Spotlight On… In: The Billboard , 1956-10-06, p. 52. Original quote: “Richard, in his shoutin 'style, belts two potent tunes with the big beat and exciting background, thus keeping the same formula that previously shot him to the top of the charts. 'Heeby-Jeebies' is a driving tune with rapid-fire lyrics that works up to a frenzy. Flip with smart lyrics creates a similarly powerful effect. "
  34. ↑ This Week's R&B Best Buy In: The Billboard , 1956-10-13, p. 52.
  35. ^ A b Paul MacPhail: Little Richard: The Originator of Rock . Self-published, 2008, p. 16 (Original quote: "Both songs were wild, pounding double-headed rock 'n' rollers. Specialty was wise to pull the lead side from an earlier New Orleans session, because the 'B' side, recorded at his last Los Angeles session with his road band, failed to break it and make it. ").
  36. ^ Augustus Welby: Ten rock'n'roll standards originally performed by Little Richard . In: Tone Deaf. May 10, 2020, accessed June 1, 2020.
This article was added to the list of excellent articles on April 14, 2015 in this version .