Pianists From The United States

"I had heard so much about the audience reaction that I thought there must be some exaggeration. But it was all true. He drove the whole house into a complete frenzy. There's no single phrase to describe his hold on the audience. I couldn't believe the power of Little Richard on stage. He was amazing. Chuck Berry is my favorite, along with Bo (Diddley), but nobody could beat Little Richard's stage act. Little Richard is the originator and my first idol."

"I never thought I'd ever meet Little Richard. He was my idol at school. The first song I ever sang in public was 'Long Tall Sally,' at a Butlins holiday camp talent competition! I love his voice and I always wanted to sing like him."

"I call my music the healing music … It makes the blind feel that they can see, the lame feel that they can walk, the deaf and dumb that they can hear and talk."

"Little Richard was not only a giant but a pioneer of the so-called Rock 'n' Roll music industry. He had such a unique voice and style that no one else has matched it... Rock 'n' Soul is here to stay!"

"Richard opened the door. He brought the races together. When I first went on the road there were many segregated audiences. With Richard, although they still had the audiences segregated in the building, they were there TOGETHER. And most times before the end of the night, they would all be mixed together. Up until then, the audiences were either all black or all white and no one else could come in. His records weren't boy-meets-girl-girl-meets-boy things, they were FUN records, all fun. And they had a lot to say sociologically in our country and the world. The shot was fired here and heard around the world." "When Richard opened his mouth, man, everyone could enjoy it. He's got a voice that would make 'em jump up and down... that's the first time I ever saw spotlights and flicker lights used at a concert show. It had all been used in show business but he brought it into our world."

"...I loved him, man. He had to push, push, push for everything and I don’t think there was one popular entertainer– from Elvis onwards – who he didn’t affect. I really don’t think he knew how much people were affected by him, but that was probably a good thing. It made him who he was. He was still the guy who took all the ingredients of rock’n’roll, prepared the meal and served it up, who still had that passion for being himself to the end – for letting himself go free."

"...Little Richard had that confidence because of the toughness of his early life. He used to talk about how his dad [a deacon who ran a nightclub] used to treat him [his father disapproved of his sexuality and beat him] and how he kept his head up. He was torn between rock’n’roll and the gospel all his life and he talked about that too – it affected him a lot and it was a battle that couldn’t be won..."

"...The idea of being gay was never, ever discussed in the black world at that time. It had to happen on such a low-key level – believe me, the idea of being found out was really scary. But Little Richard didn’t care and what I picked up from him early on, a black, gay man, was the freedom he took for himself. No one gave him that right. He just took it. He did just what he needed to do to be who he wanted to be..."

"First putting the funk in the rock and roll beat."

"Chuck Berry's "duck walk," Presley's bumps and grinds, Jerry Lee Lewis's wanton destruction of pianos, Little Richard's bizarre stage theatrics. As part of the counter-discourse of early rock 'n' roll, such practices not only assaulted high culture but also brought sexual display into the public realm, which is finally the same thing, for it is the body … That is excluded by the dominant course of mid-century modernism."

"James Brown, Ray Charles, Jackie Wilson, Chuck Berry and Little Richard - I think they had strong influences on a lot of people, because these were the guys who really got rock'n'roll going. I like to start with the origin of things, because once it gets along it changes. It's so interesting to see how it really was in the beginning."

"The first Rock 'n' Roll record I listened to was 'The Girl Can't Help It,' by Little Richard."

"Little Richard - he was the first one that really got to me. Little Richard and, of course, Elvis Presley. I don't know if it was because of James Brown and Little Richard, I always preferred a high energy vocal, a hard full-force vocal. I liked Little Richard better than Elvis, and I liked James Brown better than the Beatles...but the Miracles were a heavy influence on me, too...[though] I always preferred the more energized vocals."

"Well I'd certainly have to have a tip of the hat to Little Richard. I'd say it's sort of a composite guy, because obviously I love Wilson Pickett, and there are a few guys who have that sort of high, edgy thing, Little Richard being the best and the most famous. Wilson even screamed in tune. My voice came out a certain way and I've learned to be that way."

"I was a little kid when I heard Little Richard. He was playing piano and singing that song," recalls Green before breaking into the opening lines of Richard's "Jenny, Jenny." Even then, he continues, "I knew he was a classic, one-of-a-kind. I never heard (anyone) with that kind of enthusiasm."

"Thank you all very much, especially the rock 'n' rollers, an' Little Richard there [pointing to him] - it was all his fault really."

"Little Richard is the Architect of Rock and Roll."

"He was the biggest of them all. And he knew it. ...he wanted everyone to call him 'King Richard'.... He had the biggest, flashiest and with all the best looking players. He also had the greatest parties in his hotel rooms. At least, that's what I was told. They wouldn't let me in, because I was underage." Etta also mentions her first meeting with James Brown, in Macon, Georgia, where this young Dancer/Boxer/Gospel Singer had befriended Little Richard. "He used to carry around an old tattered napkin with him, because Little Richard had written the words, 'Please, Please, Please' on it and James was determined to make a song out of it."

"I wanna introduce a man that started a kind of music that set the pace for a lot of what's happening today. Ladies and gentlemen, if you don't mind, here is my man, bless his little sweet heart, ladies and gentlemen, Mr. Little Richard!""

"I woke up this mornin', Lucille was not in sight, I asked my friends about her but all their lips was tight, Lucille, please come back where you belong, I've been good to you baby, please don't lead me along."

"Well, long tall Sally, she's built for speed, She's got everything that uncle John need. Oh baby, yes baby, woo baby, havin' me some fun tonight."

"I got a gal, named Sue, she knows just what to do, I got a gal, named Sue, she knows just what to do. She rocks to the East, she rocks to the West, She is the gal that I love best. Tutti frutti, oh rutti."

"Wop-bop-a-loo-mop alop-bom-bom! Tutti frutti, oh rutti Tutti frutti, woo! Tutti frutti, oh rutti Tutti frutti, oh rutti Tutti frutti, oh rutti Awop-bop-a-loo-mop alop-bom-bom!"

"I am the innovator. I am the creator. I am the emancipator. I am the architect of rock 'n' roll!"

"I appreciate being picked one of the top 100 performers, but who is number one and who is number two doesn't matter to me anymore. Because it won't be who I think it should be. The Rolling Stones started with me, but they're going to always be in front of me. The Beatles started with me — at the Star Club in Hamburg, Germany, before they ever made an album — but they're going to always be in front of me. James Brown, Jimi Hendrix — these people started with me. I fed them, I talked to them, and they're going to always be in front of me."

"Bob Dylan is my brother. I love him same as Bobby Darin [deceased] is my baby. I feel Bob Dylan is my blood brother. I believe if I didn't have a place to stay, Bob Dylan would buy me a house. He sat by my bed; he didn't move for hours. I was in pain that medicine couldn't stop. My tongue was cut out, leg all tore up, bladder punctured. I was supposed to be dead. Six feet under. God resurrected me; that's the reason I have to tell the world about it."

"There's something I prefer not saying, I will say this. I'm a believer in the God of Abraham, Isaac and Jacob. I believe the seventh-day Sabbath is God's way. I believe we should eat kosher. I was invited to a party night before last. Rod Stewart's. I didn't go, because I open the Sabbath on Friday."

"His rhythm is the only one I can sing my songs to."

"A lot of songs I sang to crowds to get their reaction. That's how I knew they'd hit."

"Well, you know I used to play piano for the church. You know that spiritual, 'Give Me that Old Time Religion', most churches just say, [sings] "Give me that old time religion" but I did, [sings] "Give me that old time, talkin' 'bout religion," you know I put that little thing in it you know, I always did have that thing but I didn't know what to do with the thing I had. So the style has always been with me... I always had my little thing I wanted to let the world hear, you know."

"I came from a family where my people didn't like rhythm and blues. Bing Crosby - "Pennies from Heaven" - Ella Fitzgerald, was all I heard."

"The Beatles are just a phenomenon; everything that the people say they are, they are. They're great. ... Their music is just melodious."

"People do their best satirical work when they’re young. I’m not interested in saying only the nasty. My mind doesn’t run that way anymore. I don’t know if the times are changing or I am."

"I’ve always kind of considered him the J. D. Salinger of demented music."

"Lehrer is that rarest of beasts a performer who was never seduced by the roar of the crowd and who rejected show business well before it had a chance to do the same to him. His concert tours were brief and motivated either by a desire to visit a new place (such as Australia, in 1960) or to test and polish material for a recording."

"Mr. Lehrer's muse is not fettered by such inhibiting factors as taste."

"Lehrer was able to express and to expose, in humorous verse and lilting music, some of the most powerful dangers of the second half of the century … Many of the causes of which Lehrer sang became, three decades later, part of the main creative impulse of mankind."

"The best musical satirist of the 20th Century."

"Dear Mr. Lehrer:"

"You can make fun with Saddam Hussein jokes … but you can't make fun of, say, the concentration camps. I think my target was not so much evil, but benign stupidity people doing stupid things without realising or, instead, thinking they were doing good."

"The audience usually has to be with you, I'm afraid. I always regarded myself as not even preaching to the converted, I was titillating the converted. The audiences like to think that satire is doing something. But, in fact, it is mostly to leave themselves satisfied. Satisfied rather than angry, which is what they should be."

"One of the problems I see with these comics on television, particularly cable television, is, since you can say anything in terms of sex and scatological references and so on, therefore, you should do it. So they all limit themselves to these subjects and this vocabulary. My objection is that it is a lack of articulateness … Irreverence is easy, but what is hard is wit. Wit is what these comedians lack."

"The real issues I don't think most people touch. The Clinton jokes are all about Monica Lewinsky and all that stuff and not about the important things, like the fact that he wouldn't ban landmines."

"Things are much more complicated. Feminism versus pornography, for example. There are a lot of feminists who think it is bad, but others think it's good. I have become, you might call it mature — I would call it senile — and I can see both sides. But you can't write a satirical song with 'but on the other hand' in it, or 'however'. It's got to be one-sided."

"I'm not tempted to write a song about George W. Bush. I couldn't figure out what sort of song I would write. That's the problem: I don't want to satirise George Bush and his puppeteers, I want to vaporise them. … And that's not funny. … OK, well, if I say that, I might get a shock laugh, but it's not really satire."

"People are stupider than anybody."

"I think the people who say we need satire often mean, "We need satire of them, not of us.""

"I remember when Richard Pryor said something about how in South Africa, all the black people should pick up guns and kill all the white people, and they went right on with the interview, and nobody stopped him on that. "Oh good old Richard, what a card." As long as you're billed as a comedian, I guess you can say anything."

"I don't appreciate poetry--I don't mind admitting that now, I don't understand poetry. We studied it in high school and college, but they never told us why it was good. I got A's on all the exams--"Hail to thee blithe spirit, bird thou never wert"-- what the hell does that mean? I have no idea."

"I really don't consider myself a performer by temperament."