So they took a break and went over to the Dew Drop Inn. Richard was much more at ease out of the studio and started joking around at the piano. The few patrons started egging him on and all of sudden Richard broke into a crowd pleaser from his stage show, "Awop-bop-a-Loo-Mop a-good Goddam/Tutti Frutti, good booty," and the song scaled impressive scatological heights from there.

The fire and life that had been missing in the studio was suddenly, explosively,
there. Chuck Berry was a sly wink. Little Richard was a poke in the eye. He was everything parents (including his own) worried about: a charismatic, narcissistic, ambisexual, dithyrambic black man. But by early 1956, both the black and the white teens were ready for such ecstatic rebellion.

In an astonishing two-year period, Little Richard recorded all of his great hits for Specialty in New Orleans with the J&M house band, or in Los Angeles: "Tutti Frutti," "Long Tall Sally," "Slippin and Slidin," "Rip It Up," "Lucille," "Jenny, Jenny," "Keep a Knockin," "Good Golly, Miss Molly," "Girl Can't Help It" and "Ooh! My Soul."

With the piano pumping, the saxes wailing and Richard tapping into some otherworldly energy flow, the rock 'n' roll revolution started by Bill Haley, Elvis Presley, and Chuck Berry was completed, and Little Richard was on top of the world. The rest of Richard's life until the present - stretched between the Gospel and the serpent - is another story, but no one ever made rock 'n' roll like this again, Richard included.