the UK, it only scraped into the top 30 in 1957, as the B-side of "Long Tall Sally". The song, with its twelve-bar blues chord progression, provided the foundation of Little Richard's career. It was seen as a very aggressive song that contained more features of African American vernacular music than any other past recording in this style. Richard's contract with Peacock had been purchased by Specialty Records owner Art Rupe, who also owned the publishing company that bought Richard's songs. Specialty's deal with Richard was typical of most record companies' dealings with their artists. Impact Combining elements of boogie, gospel and blues, the song introduced several of rock music's most characteristic musical features, including its loud volume and vocal style emphasizing power, and its distinctive beat and rhythm. The beat has its roots in boogie-woogie, but Richard departed from its shuffle rhythm and introduced a new distinctive rock beat. He reinforced the new rock rhythm with a two-handed approach, playing patterns with his right hand, with the rhythm typically popping out in the piano's high register. The song's new rhythm became the basis for the standard rock beat, which was later consolidated by Chuck Berry. In 2007, an eclectic panel of renowned recording artists voted "Tutti Frutti" No. 1 on Mojo's "The Top 100 Records That Changed The World," hailing the recording as "the sound of the birth of rock and roll." In 2010, the US Library of Congress National Recording Registry added the recording to its registry, stating that the hit, with its original a cappella introduction, heralded a new era in music. The song was No. 43 on Rolling Stone's list of "The 500 Greatest Songs of All Time". In April 2012, Rolling Stone magazine declared that the song "still has the most inspired rock lyric on record." Bob Dylan writing about the song opined "Little Richard was speaking in tongues across the airwaves long before anyone knew what was happening. He took speaking in tongues right out of the sweaty canvas tent and put it on the mainstream radio, even screamed like a holy preacher-which is what he was." The B-side "I'm Just a Lonely Guy," the B-side ballad credited to LaBostrie-Penniman, has rarely appeared on albums or compilations in its original, undubbed mix, as heard on the single. A remix featuring overdubbed female backing vocals appeared on Little Richard's third album, The Fabulous Little Richard.