Little Richard, "I Don't Want To Discuss It" c/w "Hurry Sundown," OKeh 4-7271 (rel. 1/1967)
Richard Penniman didn't like the recordings he made for OKeh Records. As a fan and listener, I say, with all due respect, you're wrong on this one, Little Richard.
The OKeh recordings moved Richard's style into the soul age of Black music and he worked with Larry Williams, his former chart rival when the two were at Specialty Records in the 1950s. Williams had great instincts about where Black music was headed, and his productions gave Penniman an ideal stage to refresh his career.
Perhaps it was an ego war. Both men had strong ideas about music, and few rock 'n' roll performers had a larger sense of self than Penniman. Williams wrote much of Richard's OKeh material and it suited the singer well. In a 1983 interview, Richard vented at length: "Larry Williams was the worst producer in the world. He wanted me to copy Motown and I was no Motown artist...the OKeh stuff didn't sell at all because OKeh was an R'n'B label - a Black label. I should have recorded on the Epic label, because I'm not primarily a Black artist. It would have done a lot better."
The OKeh recordings moved Richard's style into the soul age of Black music and he worked with Larry Williams, his former chart rival when the two were at Specialty Records in the 1950s. Williams had great instincts about where Black music was headed, and his productions gave Penniman an ideal stage to refresh his career.
Perhaps it was an ego war. Both men had strong ideas about music, and few rock 'n' roll performers had a larger sense of self than Penniman. Williams wrote much of Richard's OKeh material and it suited the singer well. In a 1983 interview, Richard vented at length: "Larry Williams was the worst producer in the world. He wanted me to copy Motown and I was no Motown artist...the OKeh stuff didn't sell at all because OKeh was an R'n'B label - a Black label. I should have recorded on the Epic label, because I'm not primarily a Black artist. It would have done a lot better."
The truth is that since Columbia Records handled the publicity and promotion of all their labels, it wouldn't have mattered; the label was still clueless about how to market Black music. They entrusted OKeh to a group of Chicago producers, arrangers and talent coordinators, and still seemed to believe that the Black market was insignificant and that it would take care of itself. They could have ballyhooed Richard's new material onto the pop charts alongside the Motown hits he so resented; they didn't bother. Small wonder that major performers like Aretha Franklin left the company for more sympathetic grounds.
All this said, let's get to the record--Richard's third OKeh release. "I Don't Want to Discuss It" was an utter chart failure but the UK soul club crowd seized it as their own and made it a dancefloor anthem. Penned by Beth Beatty, Ernie Shelby, and Dick Cooper. who would soon provide Three Dog Night with a hit with their song "Nobody," it's a powerful piece of high-speed showy soul with a pop flavor. Little Richard is the rare artist who can sing anything and bring out something of value. The song isn't as strong as other OKeh-era material, but his performance is commanding. The overall sound is closer to Stax Records than Motown, but Penniman was fast and loose with facts and given to hot takes.
This has a great mix and would've sounded fine blurting from a car radio.
This has a great mix and would've sounded fine blurting from a car radio.
Cash Box enthuses about the excellent rendition of a movie theme song--a non-LP track that gives this 1967 single some additional cache.
"Hurry Sundown" is the theme tune to Otto Preminger's Southern Gothic melodrama that touches on a number of sensitive topics and exploits them for shock value. Little Richard's engrossing rendition of the title track suggests the non-existant John Waters-directed version that would make for far better viewing. In the real film, set in post-war America, Michael Caine plays a racist, two-timing draft dodger (remind you of someone?) (hint: he's orange) and chews the scenery alongside Jane Fonda, Faye Dunaway (in her debut role) and others, including sitcom stalwarts Jim Backus and Robert Reed.
The film was a legendary bomb, and an embarrassment to all parties concerned. None of this was yet evident with Penniman performed this atmospheric, gritty take on the Hugo Montenegro melody, with lyrics by Buddy Kaye. It's by far the best souvenir of a heavy-handed sprawling mess of a film; again, if only John Waters could have made it!
The film was a legendary bomb, and an embarrassment to all parties concerned. None of this was yet evident with Penniman performed this atmospheric, gritty take on the Hugo Montenegro melody, with lyrics by Buddy Kaye. It's by far the best souvenir of a heavy-handed sprawling mess of a film; again, if only John Waters could have made it!
We'll hear from Little Richard soon; I've acquired some of his earliest recordings and will slot them in here when time permits.
Tomorrow: A "Stand By Me" you've never heard before, via a 1960 Epic Records pop r&b platter by Gregory Carroll.
Two great performances! Reading his history on Wikipedia, I wonder if Lil' Richard at this time became too big for his britches, thinking his early fame made him something special. Seems like he was constantly shooting himself in the foot. I think people and music had moved on. Still, his voice and delivery is great on both these songs. I've not ever seen "Hurry Sundown"—looks like a pip. Michael Caine and John Phillip Law affecting southern accents. Hoo boy!
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