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Ce documentaire, et la bande-son qui l'accompagne, rétablit les faits. Little Richard n'a pas seulement influencé le rock and roll, il l'a fait exploser en le créant, hurlant et martelant un piano jusqu'à le soumettre des années avant que quiconque n'ose sonner aussi déjanté en public. Qu'il l'ait fait en tant qu'homme noir ouvertement queer dans le Sud ségrégationniste rend l'effacement qui a suivi encore plus difficile à excuser, et cette collection insiste pour remettre son nom en haut de l'affiche.\u003c\/p\u003e\u003cp\u003eLa bande-son s'appuie fortement sur les originaux plutôt que sur des reprises édulcorées. Tutti Frutti sonne toujours comme une explosion contrôlée, Long Tall Sally peine à maintenir son propre tempo, et Rip It Up reste le son d'un piano avec lequel on se dispute plutôt que de jouer. 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En 1973, il s'est finalement mis en avant, pour le label Groove Merchant de Sonny Lester, avec Lester à la production, et a amené un groupe qui valait la peine d'attendre : Cecil Bridgewater à la trompette, Mickey Roker à la batterie, Albert Dailey au piano électrique. Sept titres, et puis il n'a plus jamais dirigé de session.\u003c\/p\u003e\u003cp\u003eFirst Come, First Serve s'ouvre sur une intro de percussions et de basse si lourde qu'elle était destinée à un sampler, avant que Morris et Bridgewater ne commencent à échanger des phrases comme une conversation qu'ils ont eue cent fois. Leur reprise de People Make the World Go Round des Stylistics est la pièce maîtresse sublime de l'album, Don't Ask Me porte une intro de cuivres swingante reprise plus tard intégralement pour un single de Big Pun, et Wijinia dérive vers le territoire du jazz spirituel que Strata East et Black Jazz cartographiaient à l'époque.\u003c\/p\u003e\u003cp\u003eDJ Premier, The Alchemist et DJ Shadow y ont tous trouvé quelque chose. 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