Recording
The recording session took place on February 10, 1956 at J&M Studio in New Orleans, the legendary studio owned by Cosimo Matassa on the corner of Rampart and Dumaine where Fats Domino and many other New Orleans luminaries recorded. "Tutti Frutti", as well as many other Little Richard sides, was also recorded there.
The backing was provided by the house top session men: Edgar Blanchard (guitar), Frank Fields (bass), Lee Allen (tenor sax), Alvin "Red" Tyler (baritone sax) and Earl Palmer (drums), plus Little Richard on vocals and piano. Blackwell was the producer.
The music was a fast uptempo number with Little Richard's hammering, boogie piano. Richard plays staccato eighth notes while Palmer plays a fast shuffle. The shuffle was the most common rhythm and blues beat; Richard added the eighth notes, much less common in that time, although now standard for rock music. Together this created an ambiguity in the ride rhythm—known to musicians as playing in the crack—that came to characterize New Orleans rock and roll. In typical Little Richard style, he sang in the key of F, in a raw, aggressive, exhilarating style with lyrics being about self-centered fun.
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- Well, Long Tall Sally,
- She's built for speed,
- She's got everything that Uncle John needs.
Although the lyrics are lightweight, Little Richard's style triumphs over content and provides a wonderful vehicle for his enthusiastic exhibitionism.
Read more about this topic: Long Tall Sally
Famous quotes containing the word recording:
“Self-expression is not enough; experiment is not enough; the recording of special moments or cases is not enough. All of the arts have broken faith or lost connection with their origin and function. They have ceased to be concerned with the legitimate and permanent material of art.”
—Jane Heap (c. 1880–1964)
“He shall not die, by G—, cried my uncle Toby.
MThe ACCUSING SPIRIT which flew up to heaven’s chancery with the oath, blush’d as he gave it in;—and the RECORDING ANGEL as he wrote it down, dropp’d a tear upon the word, and blotted it out for ever.”
—Laurence Sterne (1713–1768)
“I didn’t have to think up so much as a comma or a semicolon; it was all given, straight from the celestial recording room. Weary, I would beg for a break, an intermission, time enough, let’s say, to go to the toilet or take a breath of fresh air on the balcony. Nothing doing!”
—Henry Miller (1891–1980)