1 	–Little Richard & Jimi Hendrix - Whole Lotta Shakin' 	2:55
2 	–Little Richard & Jimi Hendrix - Good Night Irene 	2:45
3 	–Jimi Hendrix - Keep A Knockin' 	3:17
4 	–Little Richard & Jimi Hendrix - Goin' Home Tomorrow 	3:15
5 	–Little Richard - Belle Stars 	2:50
6 	–Jimi Hendrix - Tutti Frutti 	2:52
7 	–Little Richard & Jimi Hendrix - Lawdy Miss Claudie 	2:25
8 	–Jimi Hendrix - Lucille 	2:52
9 	–Little Richard & Jimi Hendrix - Hound Dog 	2:20
10 	–Little Richard & Jimi Hendrix - Money Honey 	2:25
11 	–Little Richard - Funky Dish Rag 	3:10
12	-Little Richard - Why Don't You Love Me	3:13

Little Richard - vocals, piano
Jimi Hendrix - guitar
Dewey Terry - guitar
Don Harris - bass
(unknown) - drums 

There are only two instances of Jimi Hendrix performing with Little Richard known to exist on tape. There's the Vee Jay single "I Don't What You Got, .Pts. 1 & 2" produced by Bumps Blackwell, and a live performance at Revere Beach, MA, of Little Richard in concert with Jimi Hendrix on guitar, recorded by the legendary mastering engineer and disc jockey "Little" Walter DeVenne. According to very reputable sources, this Alfa release, Friends from the Beginning, is totally bogus. There's Aki Tomita's illustrations of Hendrix and Penniman on the front and back cover, there are ridiculous liner notes that are almost as absurd as the ones producer Johnny Brantley etched on the back of Jimi Hendrix and Lonnie Youngblood: Two Great Experiences Together (an album reportedly containing a couple of actual songs with Hendrix and tracks that feature a Hendrix sound-alike to fill out the disc), and there's the music. The album claims to be produced by Bumps Blackwell and Little Richard, but most likely is not. The version of "Tutti Frutti" which ends side one sounds like a simple guitar lesson being played over a quick studio session with vintage '60s ambience. Where a true "bootleg" album contains rare performances that fans treasure and a "counterfeit" is usually an identical reproduction of a legit album by unscrupulous individuals, fraudulent recordings like Friends from the Beginning serve no purpose but to confuse the public and harm the reputations of the artists whose names appear on these travesties. It is a deception. There is no Jimi Hendrix on this record. This album says it is a 1965 release, and it actually credits most of the songwriting to Little Richard and Jimi Hendrix. This is of value to fans only as a bizarre artifact from an industry where the artist and the public are both being cheated. Author John McDermott from the official Experience Hendrix company has written Hendrix: Setting the Record Straight on Warner Books to help clear situations like this up. Such a book is very necessary for an artist whose catalog is rife with items like Friends from the Beginning; it is suggested you spend your money on the book rather than this pathetic album. ---Joe Viglione, AllMusic Review

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A1 	Tutti Frutti 	2:25
A2 	True Fine Mama 	2:43
A3 	Can't Believe You Wanna Leave 	2:26
A4 	Ready Teddy 	1:51
A5 	Baby 	2:02
A6 	Slippin' And Slidin' 	2:44
B1 	Long Tall Sally 	2:07
B2 	Miss Ann 	2:16
B3 	Oh Why? 	2:05
B4 	Rip It Up 	2:20
B5 	Jenny Jenny 	2:02
B6 	She's Got It 	2:08

Little Richard And His Band

Little Richard had been making records for four years before he rolled into Cosimo Matassa's J&M Studio in New Orleans and cut the epochal "Tutti Frutti" in the fall of 1955, but everything else he'd done -- and much of what others had recorded -- faded into insignificance when Richard wailed "A wop bop a loo mop a lomp bomp bomp" and kicked off one of the first great wailers in rock history. In retrospect, Little Richard's style doesn't seem so strikingly innovative as captured in 1956's Here's Little Richard -- his boogie-woogie piano stylings weren't all that different from what Fats Domino had been laying down since 1949, and his band pumped out the New Orleans backbeat that would define the Crescent City's R&B for the next two decades, albeit with precision and plenty of groove. But what set Richard apart was his willingness to ramp up the tempos and turn the outrage meter up to ten; "Tutti Frutti," "Rip It Up," and "Jenny Jenny" still sound outrageous a half-century after they were waxed, and it's difficult but intriguing to imagine how people must have reacted to Little Richard at a time when African-American performers were expected to be polite, and the notion of a gay man venturing out of the closet simply didn't exist (Richard's songs were thoroughly heterosexual on the surface, but the nudge and wink of "Tutti Frutti" and "Baby" is faint but visible, and his bop threads, mile-high process, and eye makeup clearly categorized him as someone "different"). These 12 tunes may not represent the alpha and omega of Little Richard's best music, but every song is a classic and unlike many of his peers, time has refused to render this first album quaint -- Richard's grainy scream remains one of the great sounds in rock & roll history, and the thunder of his piano and the frantic wail of the band is still the glorious call of a Friday night with pay in the pocket and trouble in mind. Brilliant stuff. ---Mark Deming, AllMusic Review

Ja wiem, że Little Richard miał niepośledni wpływ na muzykę. Rozumiem, że Tutti Frutti to jeden z najważniejszych utworów w historii muzyki. Ale przyznać się – kto z Was słucha płyt w kolejności chronologicznej? No jasne, że nikt. Mamy prawo oczekiwać, by płyta broniła się poza kontekstem historycznym. I oczywiście Here’s Little Richard się broni – ale nie tak bardzo, jak oczekiwaliby tego puryści. Jedyne bowiem, co tu znajdziemy, to bardzo sympatyczne pomieszanie rock and rolla i brzmień z pogranicza bluesa i country. Ten ostatni gatunek odzywa się zwłaszcza w miejscach, gdzie do głosu dochodzi pianinko rodem z saloonu (Slippin’ and Slidin’). Jednak to nie ono robi największe wrażenie – całą oryginalność kreują bowiem saksofony, których pochody nadają tej płycie tzw. wysokiego połysku. Wierzcie mi lub nie, ale to naprawdę oryginalny element tego krążka, stąd warto zwrócić nań uwagę.

Nie ukrywam, że Here’s Little Richard to debiut niezwykle dojrzały. Richard Penniman ma głos tak charyzmatyczny, że po prawie sześćdziesięciu latach wciąż robi on wrażenie. Nawet dziś mało który rockman może pochwalić się pomieszaniem takiej chrypy i umiejętności czystego wyciągania góry. W połączeniu z krótkimi, dynamicznymi kompozycjami, krążek sprawia świetne wrażenie. Niestety, psują je dwie rzeczy, które trzeba uczciwie odnotować. Pierwszą z nich jest schematyczność. Słyszeć jeden hit Little Richarda to słyszeć je wszystkie. Zwrotki z akcentami i pauzami oraz rozhukany refren: oto przepis na Tutti Frutti, Ready Teddy oraz Long Tall Sally. I choć piosenki te się bronią, to brzmią podobnie. Drugi, większy minus, to brak klimatu. Oczywiście, przyjemnie jest sobie posłuchać tych brzmień czy trochę do nich pobujać, ale nie poczujemy nic ponad to. Ma być zabawa – i jest zabawa. Niestety, umyka gdzieś to, po co słucha się tych płyt – świadectwo epoki, w których zostały nagrane. Być może odpowiada za to – rzecz paradoksalna – świetna produkcja, która w ogóle się nie zestarzała. Ja mimo wszystko oddałbym wiele za trzeszczącego, z deka zdartego winyla.

Here’s Little Richard to płyta solidna – solidnie ją skomponowano i zagrano, nic więc dziwnego, że i po sześciu dekadach brzmi ona solidnie. Zarazem trudno o niej powiedzieć cokolwiek więcej. Choć zatem jest ona przełomowa, to brakuje powalającego argumentu, by dziś wracał do niej ktoś, kto nie jest miłośnikiem muzycznej archeologii – no chyba, że lubicie charyzmatycznych wokalistów z epoki saksofonów i kontrabasów. Cała reszta może zaś potraktować recenzowany dziś krążek jako niezobowiązującą ciekawostkę. A nuż zaskoczy? ---Jacek Jarocki, muzycznyhoryzont.pl

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Disc: 1
  1. Tutti Frutti
  2. True, Fine Mama
  3. Can't Believe You Wanna Leave
  4. Ready Teddy
  5. Baby
  6. Slippin' and Slidin'
  7. Long Tall Sally (The Thing)
  8. Miss Ann
  9. Oh Why?
  10. Rip it Up
  11. Jenny Jenny
  12. She's Got It

Disc: 2
  1. Tutti Frutti (take 2)
  2. True Fine Mama (incomplete take)
  3. Can't Believe You Wanna Leave (take 6)*
  4. Can't Believe You Wanna Leave (take 8)
  5. Ready Teddy (take 1)*
  6. Ready Teddy (takes 2 & 3)*
  7. Baby (demo)
  8. Baby (take 1)
  9. Slippin' and Slidin' (demo)*
  10. Slippin' and Slidin' (piano & drums demo)
  11. Long Tall Sally (take 1)
  12. Long Tall Sally (take 6)
  13. Miss Ann (demo)
  14. Miss Ann (take 1)
  15. Miss Ann (take 6)
  16. Oh Why? (takes 3 & 4)*
  17. Oh Why? (take 9)
  18. Rip It Up (take 1)*
  19. Rip It Up (take 3)
  20. Rip It Up (take 4)*
  21. Rip It Up (take 6)*
  22. She's Got It (alternate version)

Little Richard's 1957 debut launched the career of a foundational figure in rock music, and featured some of the artist s best-loved hits, including Long Tall Sally, Ready Teddy, Jenny Jenny and Tutti-Frutti, a song which many consider to mark the birth of rock n roll. To celebrate the 60th anniversary of this classic record, Craft Recordings will reissue a deluxe, 2-CD edition, which includes a slew of demos, outtakes and previously unreleased tracks, as well as new liner notes by GRAMMY®-nominated music editor and journalist Chris Morris. --- Editorial Reviews, amazon.com

Little Richard will celebrate the 60th anniversary of his debut LP Here's Little Richard with a deluxe reissue that pairs the original 1957 album with a disc full of alternate takes and demos.

Eight of the 22 tracks found on Here's Little Richard (60th Anniversary Deluxe Edition)'s are unreleased, including never-before-heard takes on "Ready Teddy," "Rip It Up" and "Slippin' and Slidin'" from the original recording sessions.

One of the standouts is an electrifying alternate take of "Can't Believe You Wanna Leave," a deep-album cut that eventually came out as the B side to "Keep A-Knockin'." The previously unreleased version, premiering here, finds Richard overpowering his vocal mic (which is probably why it wasn't selected for the album version) but it's so raw and unwieldy when compared to the (only slightly more) subdued LP cut that it's a bonafide lost rock & roll gem.

Here's Little Richard placed Number 50 on Rolling Stone's list of the 500 Greatest Albums of All Time. ---Daniel Kreps, rollingstone.com

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