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Louis Prima : The Wildest!


Anyone who does not have this record on their to listen to list is totally missing out.
Capitol has tried to capture Louis’ “in person” spirit on this album, has tried to recreate as closely as possible what really happens at “three o’clock in the morning at the Sahara.”  That this recording venture has been a success is best attested to by Louis himself, with his jubilant “That’s us, man!”
“Based upon the diversity of music, quality of product and their extraordinary rate of progress, Pure Pleasure Records is our re-issue record company of the year.”

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A tireless showman and an underrated musical talent, Louis Prima swung his way to icon status thanks to an irresistible, infectious sound whose appeal translated across generations. Nominally a swing artist, Prima’s distinctive sound also encompassed New Orleans-style jazz, boogie-woogie, jump blues, R&B, early rock & roll, and even the occasional Italian tarantella. Regardless of what form his music took, it swung hard and fast, with a rolling, up-tempo shuffle beat. His greatest period of popularity coincided with his marriage to singer Keely Smith, whose coolly sophisticated vocals and detached stage manner made a perfect counterpoint to Prima’s boisterous presence: mugging, clowning, and cavorting around the stage with the boundless enthusiasm of a hyperactive boy. Prima’s band during this time was anchored by tenor saxophonist Sam Butera, whose grounding in jump blues and New Orleans R&B was a perfect match. Perhaps because Prima refused to take his music too seriously, sober-minded jazz critics often dismissed him as a mere entertainer, overlooking his very real talent as a jazzman. He was a capable, gravelly-voiced singer modeled on Louis Armstrong, boasting a surprising range, and was also a fine trumpet player, again in the irrepressible mold of Armstrong; what was more, he wrote Benny Goodman’s perennial swing smash “Sing, Sing, Sing”. Prima’s impact on popular culture was also significant; his pronounced ethnicity made it safe for other Italian-American singers to acknowledge their roots, and he was the first high-profile musical act to take up regular residence in the lounges and casinos of Las Vegas, helping to start the city’s transformation into a broader-based entertainment capital. His musical legacy proved long-lasting, as covers of his classics became modern-day hits for David Lee Roth and Brian Setzer. In 1956, Prima inked a new deal with Capitol, which marked the beginning of the most celebrated and influential period of his recording career. His first album for the label was 1956’s “The Wildest!”, which successfully translated the high energy of his live act into a studio recording; it featured many of his best-known latter-day songs, including the “Just a Gigolo / I Ain’t Got Nobody” medley, “Jump, Jive an’ Wail”, “Buona Sera”, “Oh Marie”, and the jive-talking duet “The Lip”.
A veritable greatest-hits album, “The Wildest!” is the gem of Louis Prima’s catalogue. None of his other efforts transcend its raunchy mix of demented gibberish, blaring sax, and explosive swing, which rocked as hard as anything released at the time.
The reissue of Prima’s masterpiece is a welcome event that’s been a long time coming.


1.  Medley: Just A Gigolo
2. I Ain’t Got Nobody
3. (Nothing’s Too Good) For My Baby
4. The Lip
5. Body And Soul
6. Oh Marie
1. Basin Street Blues
2. When It’s Sleepy Time Down South
3. Jump, Jive And Wail
4. Buona Sera
5. Night Train


Additional information

Weight .280 kg
Dimensions 32.0 × 32.0 × 2.0 cm