Fats Domino, Little Richard & Jerry Lee Lewis: Rock & Roll Titans

Fats Domino presented a stark contrast to the typical rock & roll star image. While touring, he preferred cooking his own meals of rice and beans on a hot plate in hotel rooms, remained married to one woman for over six decades, and actively downplayed the genre’s rebellious aspects. Following disturbances at his concerts in 1956, he famously stated, “I never would use dirty lyrics. And I don’t use body movements either. I just play the piano, or I sing and clap my hands.” Yet, Domino, who passed away from natural causes at 89 on October 24th in Harvey, Louisiana, was an essential, albeit unassuming, founding father of rock & roll, standing alongside giants like Fats Domino, Little Richard, Jerry Lee Lewis in shaping the genre.

The Quiet Volcano: Domino’s Unconventional Rise

Despite his reserved demeanor, Domino’s impact was monumental. His early hits like “Blueberry Hill,” “I’m Walkin’,” and “Ain’t That a Shame” captivated audiences with a unique mix of Dixieland rhythms, his warm Creole-inflected voice, and what fellow musician Dion DiMucci described as “the rolling sound of his fingers on the piano.” In the initial wave of Fifties rock & roll, his record sales were second only to Elvis Presley. Fittingly, Domino was part of the inaugural class inducted into the Rock and Roll Hall of Fame in 1986. During the ceremony, Billy Joel highlighted his significance: “Traditionally, when people think of rock & roll, they think of the guitar. I want to thank the man who proved that the piano was a rock & roll instrument.”

Domino’s joyful recordings became enduring standards. John Lennon cherished “Ain’t That a Shame,” recalling it as the first song he learned to play. Bonnie Raitt expressed her admiration, saying, “Something about his voice was so engaging and sweet… And when I saw photos of him, you couldn’t not fall in love with him.”

Crafting the Sound: New Orleans Roots and Partnership

Born Antoine Dominique Domino Jr. on February 26th, 1928, Domino was deeply rooted in New Orleans’ Lower 9th Ward, a place he essentially never left. Influenced by big-band swing, he began performing in local venues as a teenager. He left high school at 14, taking manual labor jobs to support his musical pursuits. Playing piano in Billy Diamond’s band earned him the “Fats” nickname, partly referencing piano legends like Fats Waller. It was during this period he met influential bandleader Dave Bartholomew and Imperial Records’ Lew Chudd. Bartholomew immediately recognized Domino’s star potential, noting his unique diction. A record deal followed swiftly, leading to the collaboration on 1949’s “The Fat Man,” an R&B hit considered one of rock & roll’s earliest records.

This marked the start of a fruitful partnership where Bartholomew often channeled Domino’s raw talent. “Fats was much more playful,” recalled Bartholomew’s son Ron. “But my dad would say, ‘You’re only as good as your next hit record.’” Their combined efforts produced the 1955 smash “Ain’t That a Shame,” a rhythmically potent track showcasing Domino’s effortless vocal charm, reaching the national Top 10. “It don’t have no bridge to it, no middle,” Dave Bartholomew noted. “It’s the same sentence over and over again. But we sold it with the music.” The late Allen Toussaint praised Domino’s distinctive piano style: “He kept it very simple… When Fats played triplets in the lower register, there was nothing timid about it. No way.”

Peers and Pioneers: Influence on Little Richard and Jerry Lee Lewis

Domino’s success inevitably led to imitation. Pat Boone’s cover of “Ain’t That a Shame,” which Keith Richards criticized as “shallow,” received more airplay than Domino’s original, highlighting the racial biases prevalent at the time. Domino faced significant racism throughout his career, from difficulties finding accommodation on tour to being segregated at the premiere of the 1956 film The Girl Can’t Help It, in which he starred. Despite these injustices, Domino rarely spoke publicly about them, preferring to “just stick to my music.”

Rock and Roll Hall of Fame pioneers Jerry Lee Lewis, Fats Domino, and James Brown stand together at the Waldorf-Astoria Hotel during the inaugural induction ceremony

His defining hit, 1956’s “Blueberry Hill,” a cover of a Gene Autry song, cemented his status. Fellow rock innovator Jerry Lee Lewis lauded Domino’s rendition: “Fats was the perfect cat to do ‘Blueberry Hill.’ His vocals were phenomenal, and he was a great pianist – he had the best raw talent.” Lewis also admired Domino’s style: “He had a huge entourage. We talked cars all the time, and we both loved Rolls-Royces. Jewelry, nice suits – we had a lot of similar interests.”

Little Richard also acknowledged Domino’s profound influence: “He influenced me as an entertainer, period. When I was a boy in Macon, Georgia, Fats used to come there… I used to try and sneak in, because I loved him. He was just a little, short guy with little-bitty hands, and he could make a piano talk.”

Enduring Legacy and Later Years

Though Domino’s last Top 10 hit, “Walking to New Orleans,” arrived in 1960, his influence persisted. A new generation embraced his music: Paul McCartney emulated his style on “Lady Madonna,” Randy Newman arranged horns for Domino’s cover of his song, and The Band covered “I’m Ready.” Robbie Robertson vividly remembered seeing Domino live as a teen: “When he kicked into ‘I’m Walkin’,’ he set the place on fire… The sound, the groove, the power coming from this five-foot-five bundle of rollicking New Orleans joy killed.”

Unlike contemporaries who experimented with different genres, Domino remained true to his signature sound throughout the Sixties and Seventies. His live shows were renowned for their authenticity. “When you saw Fats Domino… you could close your eyes and it would be like being in a joint in 1955. It was ageless,” noted filmmaker Joe Lauro.

Domino retired from extensive touring in 1996 but made headlines again during Hurricane Katrina in 2005 when he and his family were dramatically rescued from their devastated Lower 9th Ward home. Characteristically unfazed, he commented, “I ain’t missin’ nothin’. Just one thing that happened, I guess.” He returned to music with the acclaimed 2006 album Alive and Kickin’. Even in later interviews, he remained humble, attributing concert excitement more to the audience than his music.

Conclusion

Fats Domino carved a unique path in rock & roll history. His infectious blend of New Orleans rhythm, charming vocals, and groundbreaking piano work established him as a cornerstone of the genre, standing tall alongside fellow pioneers Fats Domino, Little Richard, Jerry Lee Lewis. Despite his immense success and influence that resonated from John Lennon to Paul McCartney, he maintained a humble, down-to-earth persona, preferring home comforts to rock stardom’s excesses. His legacy lies not just in his timeless hits like “Blueberry Hill” and “Ain’t That a Shame,” but in proving that quiet dedication and undeniable talent could create a sound that changed the world.