1 00:00:00,200 --> 00:00:02,360 Speaker 1: Lou Louie b. 2 00:00:05,840 --> 00:00:10,760 Speaker 2: Yeah, yeah, yeah, yeah, yeah yeah. All right, So the 3 00:00:10,880 --> 00:00:16,880 Speaker 2: FBI is super weird about some things, right. They're very smart, 4 00:00:17,000 --> 00:00:21,320 Speaker 2: they they make they love a list, and they also 5 00:00:21,440 --> 00:00:26,640 Speaker 2: have a myopic focus at times on pop culture. Noel, 6 00:00:26,760 --> 00:00:30,720 Speaker 2: you and I were just sort of doing a I 7 00:00:30,720 --> 00:00:34,080 Speaker 2: would say, a rendition of a song by the Kingsman 8 00:00:34,280 --> 00:00:35,960 Speaker 2: called Louie Louis. 9 00:00:36,240 --> 00:00:41,320 Speaker 3: Yeah, and the aforementioned FBI was often looking for enemies, 10 00:00:41,360 --> 00:00:44,600 Speaker 3: I guess, of these United States and places that might 11 00:00:44,640 --> 00:00:47,920 Speaker 3: seem a little odd, including popular music. So we're gonna 12 00:00:47,920 --> 00:00:50,640 Speaker 3: hear a bunch of examples of the song Louie Louis 13 00:00:50,640 --> 00:00:54,000 Speaker 3: in this special episode where Christophrasiotis is not only here 14 00:00:54,000 --> 00:00:56,040 Speaker 3: in spirit, but here in the flesh. 15 00:00:56,360 --> 00:01:02,160 Speaker 2: Let's roll the tape. Ridiculous History is a production of 16 00:01:02,240 --> 00:01:18,319 Speaker 2: iHeart Radio. 17 00:01:28,680 --> 00:01:30,720 Speaker 4: Oh yeah, you. 18 00:01:30,760 --> 00:01:34,520 Speaker 5: Know what that sound means? A Delphic Keys and. 19 00:01:34,760 --> 00:01:47,600 Speaker 1: Yeah and do I oh, oh gravy. 20 00:01:47,960 --> 00:01:49,720 Speaker 4: You gotta go, here you go. 21 00:01:49,760 --> 00:01:51,880 Speaker 6: Here's the part where it really gets understand, that's my 22 00:01:57,640 --> 00:02:11,359 Speaker 6: shoes history, these are the Kingsmen, this is Louis Louie. 23 00:02:11,840 --> 00:02:14,839 Speaker 4: Here we are. Wow, what a day, What a time 24 00:02:14,840 --> 00:02:15,359 Speaker 4: to be alive. 25 00:02:15,600 --> 00:02:18,120 Speaker 2: And that music comes to us, of course, courtesy of 26 00:02:18,160 --> 00:02:24,160 Speaker 2: our super producer, Casey Pegrom. But no, why are we 27 00:02:24,200 --> 00:02:25,560 Speaker 2: playing Louis Louie. 28 00:02:25,320 --> 00:02:28,680 Speaker 4: Today, because you see, Ben Louie. 29 00:02:28,720 --> 00:02:31,520 Speaker 7: Louie has a bit of a sordid past the song, 30 00:02:31,800 --> 00:02:34,760 Speaker 7: this version in particular by the Kingsman, in that it 31 00:02:34,840 --> 00:02:39,360 Speaker 7: was investigated by none other than the Federal Bureau of 32 00:02:39,360 --> 00:02:43,560 Speaker 7: Investigation for being potentially obscene. And if you couldn't tell 33 00:02:43,560 --> 00:02:46,280 Speaker 7: by our rambling sing along at the beginning of the show, 34 00:02:46,840 --> 00:02:48,480 Speaker 7: this is kind of a bit of a joke because 35 00:02:48,520 --> 00:02:52,320 Speaker 7: you can't really understand a word these guys are saying. 36 00:02:53,120 --> 00:02:57,160 Speaker 2: Right, The FBI did not just give this a cursory investigation. 37 00:02:57,600 --> 00:03:03,200 Speaker 2: They investigated this particular version of the song. It is not, 38 00:03:03,360 --> 00:03:05,600 Speaker 2: as some people believe, the original version of the song, 39 00:03:05,600 --> 00:03:10,560 Speaker 2: it's cover, and they investigated the Kingsman version for two years. 40 00:03:10,680 --> 00:03:14,480 Speaker 2: Specifically it's crazy, yeah, specifically the lyrics of the song, 41 00:03:14,520 --> 00:03:17,600 Speaker 2: which might sound kind of crazy and a weird order 42 00:03:17,639 --> 00:03:20,760 Speaker 2: of priorities for the FBI, but it's actually part of 43 00:03:20,800 --> 00:03:22,839 Speaker 2: their job to fight obscenity. 44 00:03:22,960 --> 00:03:28,720 Speaker 7: They take these kinds of complaints from angry, waspy middle 45 00:03:28,760 --> 00:03:32,560 Speaker 7: class mothers very seriously, and that is exactly what kicked 46 00:03:32,600 --> 00:03:34,639 Speaker 7: off this investigation, my friend. 47 00:03:34,520 --> 00:03:37,880 Speaker 2: Right, they received a letter from someone at Sarasota High 48 00:03:37,880 --> 00:03:41,560 Speaker 2: School who said the lyrics to the song were quote 49 00:03:41,920 --> 00:03:45,400 Speaker 2: so filthy that I cannot endorse them. In this letter, 50 00:03:45,720 --> 00:03:49,360 Speaker 2: we all know there is obscene materials available for those 51 00:03:49,360 --> 00:03:52,160 Speaker 2: who seek it. But when they start sneaking in this 52 00:03:52,320 --> 00:03:55,480 Speaker 2: material in the guys of the latest teenage rock and 53 00:03:55,680 --> 00:03:58,920 Speaker 2: roll hit record, these morons have gone too far. 54 00:03:59,240 --> 00:04:01,880 Speaker 7: Oh these more well, which more ons you're talking about, 55 00:04:01,920 --> 00:04:04,080 Speaker 7: like the purveyors of said smut? 56 00:04:04,200 --> 00:04:06,440 Speaker 2: I guess so some international conspiracy. 57 00:04:06,520 --> 00:04:09,360 Speaker 4: You guys in the band spread dirty words. Who were 58 00:04:09,400 --> 00:04:11,680 Speaker 4: the guys in the band? What's the history of the Kingsman? 59 00:04:12,000 --> 00:04:17,000 Speaker 2: Excellent question, Nold. The Kingsmen were, or excuse me, they're 60 00:04:17,000 --> 00:04:22,400 Speaker 2: still around, a garage rock band from Portland, Oregon. And 61 00:04:23,040 --> 00:04:26,640 Speaker 2: the guy who ended up singing this version of Louis 62 00:04:26,680 --> 00:04:29,520 Speaker 2: Louis that we opened the show with was invited to 63 00:04:29,560 --> 00:04:32,000 Speaker 2: the band in nineteen fifty nine. 64 00:04:32,160 --> 00:04:34,760 Speaker 4: I believe he got the boot pretty shortly after. 65 00:04:35,440 --> 00:04:38,240 Speaker 2: Yeah, he didn't sing on all their songs, but he 66 00:04:38,240 --> 00:04:40,159 Speaker 2: did sing on the one that I would say they're 67 00:04:40,200 --> 00:04:42,120 Speaker 2: most well known for this song. Would you agree? 68 00:04:42,360 --> 00:04:43,920 Speaker 4: I certainly don't know them for anything else. 69 00:04:44,000 --> 00:04:47,680 Speaker 7: Yeah, And it's interesting too because this band does live 70 00:04:47,720 --> 00:04:51,599 Speaker 7: on this particular version of this song as an influence 71 00:04:51,720 --> 00:04:55,200 Speaker 7: from for a lot of like kind of grungy garage 72 00:04:55,360 --> 00:04:58,440 Speaker 7: punk type stuff, everything from like Black Flag to iggy pop. 73 00:04:58,480 --> 00:05:00,440 Speaker 7: And we'll get into a little bit more of that 74 00:05:01,120 --> 00:05:03,719 Speaker 7: kind of rock and roll history connection a little further 75 00:05:03,760 --> 00:05:08,240 Speaker 7: down the line. So the original Kingsmen were Don Glucci, 76 00:05:08,880 --> 00:05:12,200 Speaker 7: Jack Eli, who was the singer in question, Lynn Easton, 77 00:05:12,560 --> 00:05:16,640 Speaker 7: Mike Mitchell, and Bob Norby, and these fellas booked a 78 00:05:16,680 --> 00:05:20,599 Speaker 7: recording session at a studio in Portland, Oregon, which was 79 00:05:20,640 --> 00:05:24,400 Speaker 7: at Northwest thirteenth Avenue in Burnside Street. And it was 80 00:05:24,440 --> 00:05:26,359 Speaker 7: a little bit of an odd setup, wasn't it. 81 00:05:26,400 --> 00:05:30,279 Speaker 2: Ben It was Noel First, which established the session only 82 00:05:30,320 --> 00:05:34,560 Speaker 2: cost fifty bucks. The band split it amongst themselves because. 83 00:05:34,320 --> 00:05:36,240 Speaker 4: They didn't have a label. They were just doing this 84 00:05:36,320 --> 00:05:37,200 Speaker 4: on spec. 85 00:05:37,000 --> 00:05:40,680 Speaker 2: Right, And their producer for the session was a guy 86 00:05:40,760 --> 00:05:45,960 Speaker 2: named Ken Chase, a local radio personality at a station 87 00:05:46,120 --> 00:05:52,960 Speaker 2: called ninety one kisn or wait for it, Kissing. He 88 00:05:53,040 --> 00:05:58,520 Speaker 2: also owned a nightclub where the Kingsmen regularly performed, so 89 00:05:58,560 --> 00:06:00,680 Speaker 2: he was the producer, and that was the connect that 90 00:06:00,720 --> 00:06:03,680 Speaker 2: was there in their actual audio engineer was the guy 91 00:06:03,720 --> 00:06:06,880 Speaker 2: who owned the studio, whose name was Robert Lindall, and 92 00:06:07,360 --> 00:06:11,120 Speaker 2: apparently he had some really particular ideas about how the 93 00:06:11,160 --> 00:06:13,760 Speaker 2: studio should be set up. You can hear Jack Eli 94 00:06:14,600 --> 00:06:19,520 Speaker 2: explaining some of the physicalities of the room. 95 00:06:20,200 --> 00:06:22,839 Speaker 4: Let's let's just throw to a clip of him in 96 00:06:22,880 --> 00:06:23,719 Speaker 4: his own words. 97 00:06:24,000 --> 00:06:28,039 Speaker 8: In order to capture what Ken thought was the live sound, 98 00:06:28,640 --> 00:06:31,200 Speaker 8: he had us set up in a circle with me 99 00:06:31,360 --> 00:06:34,880 Speaker 8: standing in the middle singing into the mic, and it 100 00:06:35,000 --> 00:06:37,719 Speaker 8: still didn't sound quite right. He had to run through 101 00:06:37,720 --> 00:06:40,279 Speaker 8: about eight bars or so, and it still didn't sound 102 00:06:40,440 --> 00:06:43,000 Speaker 8: quite right to him. So he had a technician come 103 00:06:43,000 --> 00:06:44,560 Speaker 8: in and take the mic and put it on a 104 00:06:44,560 --> 00:06:46,840 Speaker 8: boom and stick it up at the ceiling. That's about 105 00:06:46,839 --> 00:06:50,160 Speaker 8: a fifteen foot ceiling. So the mic was hanging probably 106 00:06:51,000 --> 00:06:53,880 Speaker 8: i don't know, eighteen to twenty four inches off the ceiling, 107 00:06:54,240 --> 00:06:57,640 Speaker 8: and I was directly under it, leaning my head back, 108 00:06:57,839 --> 00:07:00,480 Speaker 8: yelling up at this mic. Well, it didn't have anything 109 00:07:00,480 --> 00:07:03,560 Speaker 8: to do really with how far the mic was away 110 00:07:03,560 --> 00:07:06,520 Speaker 8: from me. What it really had to do with is 111 00:07:07,320 --> 00:07:10,800 Speaker 8: how words get enunciated when your head's tipped all the 112 00:07:10,840 --> 00:07:15,680 Speaker 8: way back and you're yelling up because you see Louie 113 00:07:15,880 --> 00:07:20,160 Speaker 8: Louie didn't come out like Louis Louie. I would say 114 00:07:20,200 --> 00:07:23,320 Speaker 8: it when I'm standing facing normal, when my head's all 115 00:07:23,360 --> 00:07:26,440 Speaker 8: stretched up and back, it came out Louli light. 116 00:07:27,600 --> 00:07:30,600 Speaker 2: So eventually, long story short, they end up putting these 117 00:07:30,600 --> 00:07:33,760 Speaker 2: microphones on the ceiling and it's like fifteen feet high. 118 00:07:33,880 --> 00:07:36,880 Speaker 7: I don't quite understand the function of that. I read 119 00:07:36,880 --> 00:07:39,760 Speaker 7: somewhere saying so it would sound like a live concert, 120 00:07:40,440 --> 00:07:44,160 Speaker 7: but it was like, is it literally a one mic setup? 121 00:07:44,200 --> 00:07:47,000 Speaker 7: That's because it's so funny when you hear the recording. Yeah, 122 00:07:47,040 --> 00:07:49,640 Speaker 7: it's it sounds, you know, kind of raunchy and lo fi, 123 00:07:49,800 --> 00:07:54,120 Speaker 7: but there's pretty good separation. But that vocal is what 124 00:07:54,200 --> 00:07:56,760 Speaker 7: really stands out, because it does sound very low in 125 00:07:56,800 --> 00:07:58,360 Speaker 7: the mix. So I imagine had to have been a 126 00:07:58,520 --> 00:08:02,000 Speaker 7: very minimally mic such situation where this mike was a 127 00:08:02,160 --> 00:08:04,760 Speaker 7: high and apparently he had to crane his neck at 128 00:08:04,760 --> 00:08:07,240 Speaker 7: like a forty five degree angle yeah, and kind of 129 00:08:07,360 --> 00:08:10,800 Speaker 7: shout saying up and up into the air to get 130 00:08:10,840 --> 00:08:12,960 Speaker 7: over the din of the of the band, and the 131 00:08:13,040 --> 00:08:16,120 Speaker 7: drummer is just pound in a way, it's like, well. 132 00:08:16,160 --> 00:08:20,920 Speaker 2: Yeah, yeah, he he does mention that it's difficult to 133 00:08:21,120 --> 00:08:23,840 Speaker 2: enunciate in a normal way when you have your neck 134 00:08:23,920 --> 00:08:27,640 Speaker 2: physically positioned to aim in a shout at the ceiling 135 00:08:27,680 --> 00:08:30,600 Speaker 2: because he's also shouting to be heard over the music. 136 00:08:30,400 --> 00:08:34,920 Speaker 7: And he had braces that had just been tightened. That's 137 00:08:34,960 --> 00:08:37,440 Speaker 7: such a such a funny detail, such a strange aspect 138 00:08:37,520 --> 00:08:40,240 Speaker 7: to the story. For anyone interested. You can also go 139 00:08:40,320 --> 00:08:45,280 Speaker 7: on YouTube and see some early live appearances. There are 140 00:08:45,320 --> 00:08:48,760 Speaker 7: the Kingsmen run a show called Shindig, and it's much 141 00:08:48,920 --> 00:08:52,600 Speaker 7: easier to hear what Jack is saying, or we should say, 142 00:08:52,679 --> 00:09:22,520 Speaker 7: rather to discern what Jack is saying. But most people, 143 00:09:22,600 --> 00:09:25,000 Speaker 7: let's be honest, they're not going to be watching that 144 00:09:25,080 --> 00:09:25,600 Speaker 7: live version. 145 00:09:25,640 --> 00:09:27,520 Speaker 2: They're going to listen to the iconic. 146 00:09:29,040 --> 00:09:29,520 Speaker 4: That's right. 147 00:09:29,760 --> 00:09:32,360 Speaker 7: And I'll tell you man, Shindig was a pretty risque 148 00:09:32,520 --> 00:09:34,280 Speaker 7: show at the time, because I swear some of these 149 00:09:34,320 --> 00:09:38,800 Speaker 7: gals are showing shin it's happening, you know, when they're 150 00:09:38,800 --> 00:09:40,080 Speaker 7: cutting their rugs, you know. 151 00:09:40,640 --> 00:09:44,240 Speaker 2: And so this this song, it hits the charts, but 152 00:09:44,320 --> 00:09:47,000 Speaker 2: it doesn't quite get to number one. And I think 153 00:09:47,040 --> 00:09:51,560 Speaker 2: there's a story that that you found particularly fascinating about 154 00:09:51,920 --> 00:09:53,160 Speaker 2: the song that beat it. 155 00:09:53,360 --> 00:09:56,520 Speaker 7: Yeah, it's a little weird, kind of melancholy aside, but 156 00:09:56,559 --> 00:09:57,640 Speaker 7: why not, We're all. 157 00:09:57,600 --> 00:09:58,600 Speaker 4: About little asides. 158 00:09:58,880 --> 00:10:02,439 Speaker 7: It's a song called Dominique and it is a French 159 00:10:02,520 --> 00:10:05,000 Speaker 7: language song, which is so interesting to me that that 160 00:10:05,480 --> 00:10:08,440 Speaker 7: topped the charts. And you may have heard this song 161 00:10:08,880 --> 00:10:13,080 Speaker 7: if you watched the show American Horror Story, specifically the 162 00:10:13,280 --> 00:10:31,880 Speaker 7: Asylum season. 163 00:10:31,240 --> 00:10:35,760 Speaker 4: A Domini. 164 00:10:40,559 --> 00:10:42,679 Speaker 7: You might remember this is the one that Sister Jude 165 00:10:43,160 --> 00:10:45,720 Speaker 7: was the only song that she approved of, and there's 166 00:10:45,720 --> 00:10:47,520 Speaker 7: an interesting reason behind it. There's a great article on 167 00:10:47,640 --> 00:10:50,000 Speaker 7: Noisy called what you Didn't Know about that song you 168 00:10:50,000 --> 00:10:52,200 Speaker 7: hear on American Horror Story every week from back when 169 00:10:52,200 --> 00:10:55,600 Speaker 7: this show was current. So the woman credited with this 170 00:10:55,760 --> 00:10:59,199 Speaker 7: hit was a Belgian singer by the name of Janine 171 00:10:59,280 --> 00:11:02,200 Speaker 7: Decker's and she went by the name the singing None 172 00:11:02,320 --> 00:11:05,840 Speaker 7: or it need you to help me out with this Casey. 173 00:11:05,240 --> 00:11:05,760 Speaker 2: On the case. 174 00:11:07,640 --> 00:11:10,240 Speaker 5: Yeah, that would be pronounced sir sir Year, which is 175 00:11:10,400 --> 00:11:11,840 Speaker 5: sister Smile in French. 176 00:11:11,920 --> 00:11:16,840 Speaker 2: Sister smile ladies and gentlemen, Casey on the case. So 177 00:11:16,880 --> 00:11:18,280 Speaker 2: she's Sister Smile. 178 00:11:19,240 --> 00:11:22,600 Speaker 7: Or aka the singing Nun aka Jannine Deckers. 179 00:11:22,400 --> 00:11:25,160 Speaker 2: And the Singing None in English speaking countries. 180 00:11:25,240 --> 00:11:27,600 Speaker 4: That's right, that's right. And this song was a huge hit. 181 00:11:27,640 --> 00:11:28,240 Speaker 5: It was number one. 182 00:11:28,280 --> 00:11:31,120 Speaker 7: It totally bumped the It didn't give the Kingsmen a 183 00:11:31,200 --> 00:11:33,240 Speaker 7: chance for It's just crazy to me that this song 184 00:11:33,559 --> 00:11:36,280 Speaker 7: was such a massive hit and it's so kind of 185 00:11:36,320 --> 00:11:39,640 Speaker 7: more or less forgotten now, you know, compared to Louis Louis, 186 00:11:39,640 --> 00:11:41,560 Speaker 7: which is iconic in many ways. 187 00:11:41,559 --> 00:11:46,240 Speaker 2: It was an interesting it was an interesting year for music. 188 00:11:46,360 --> 00:11:50,600 Speaker 2: This is specifically nineteen sixty three, right, right, Yeah, it 189 00:11:50,640 --> 00:11:53,520 Speaker 2: is interesting because we've got one song that's entirely in 190 00:11:53,840 --> 00:11:57,040 Speaker 2: French and then one song that is considered more or 191 00:11:57,200 --> 00:12:00,400 Speaker 2: less largely unintelligible. But there's a little more to the 192 00:12:00,480 --> 00:12:02,120 Speaker 2: story of the Singing Nun. 193 00:12:02,320 --> 00:12:02,760 Speaker 5: There is. 194 00:12:03,320 --> 00:12:05,480 Speaker 7: One of the interesting things that this Noisy article points 195 00:12:05,520 --> 00:12:10,520 Speaker 7: out is that Dominique, the saint in question, was the 196 00:12:10,679 --> 00:12:15,800 Speaker 7: founder of the particular religious order that brought about the 197 00:12:15,880 --> 00:12:19,280 Speaker 7: Spanish Inquisition. So that goes hand in hand with some 198 00:12:19,360 --> 00:12:22,680 Speaker 7: of the grizzliness on American horror story. And this is 199 00:12:22,720 --> 00:12:29,160 Speaker 7: interesting this Genine Decker ended up having a female partner 200 00:12:30,040 --> 00:12:32,960 Speaker 7: back during a time where open, you know, homosexuality was 201 00:12:33,040 --> 00:12:37,400 Speaker 7: just very very taboo, and she ended up signing or 202 00:12:37,600 --> 00:12:41,960 Speaker 7: agreeing to a suicide pact with her. And in nineteen 203 00:12:42,000 --> 00:12:46,439 Speaker 7: eighty five, when they're still together, they overdosed on barbituates 204 00:12:46,480 --> 00:12:48,559 Speaker 7: together and left a note that said, we have reached 205 00:12:48,600 --> 00:12:52,400 Speaker 7: the end spiritually and financially, and now we go to God. 206 00:12:52,840 --> 00:12:56,280 Speaker 2: And that was her partner was Annie Petcher, that's right, 207 00:12:56,320 --> 00:12:59,240 Speaker 2: who was I think a little bit younger, but they 208 00:12:59,240 --> 00:13:00,679 Speaker 2: had a very deep in life relationship. 209 00:13:00,720 --> 00:13:02,640 Speaker 7: And now it's such a sad story, but I think 210 00:13:02,720 --> 00:13:05,400 Speaker 7: so interesting, absolutely worth Mentioning. 211 00:13:09,240 --> 00:13:12,200 Speaker 2: Back to the Kingsman, it's a fantastic article in The 212 00:13:12,320 --> 00:13:16,480 Speaker 2: New Yorker by Unwin Crawford called is this the dirtiest 213 00:13:16,679 --> 00:13:21,960 Speaker 2: song of the sixties? And again, for at least two years, 214 00:13:22,360 --> 00:13:28,280 Speaker 2: the FBI certainly thought so. So Robert Kennedy. It gets 215 00:13:28,360 --> 00:13:30,400 Speaker 2: involved in this because. 216 00:13:30,679 --> 00:13:31,720 Speaker 4: He Robert Kennedy. 217 00:13:31,800 --> 00:13:36,960 Speaker 2: He Robert Kennedy because he receives letters personally complaining about 218 00:13:36,960 --> 00:13:40,720 Speaker 2: the songs possible or perceived obscenity. Once it blows up 219 00:13:40,760 --> 00:13:44,000 Speaker 2: and it's number two on the Billboard single chart, and 220 00:13:44,120 --> 00:13:48,000 Speaker 2: a father of a teenage girl in particular, writing to Kennedy, said, 221 00:13:48,280 --> 00:13:50,720 Speaker 2: this land of ours is headed for an extreme state 222 00:13:50,840 --> 00:13:56,359 Speaker 2: of moral degradation, and people started sending in various versions 223 00:13:56,720 --> 00:14:01,080 Speaker 2: of what they perceived the lyrics to be. And they're 224 00:14:01,120 --> 00:14:03,640 Speaker 2: pretty they're pretty filthy. Have you read some of the oh? 225 00:14:03,640 --> 00:14:03,920 Speaker 4: I have? 226 00:14:04,080 --> 00:14:06,000 Speaker 7: And it just goes to show that like the most 227 00:14:06,000 --> 00:14:11,080 Speaker 7: puritanical seeming mind can still be in the gutter when 228 00:14:11,400 --> 00:14:14,079 Speaker 7: you think you're trying to find filth everywhere. 229 00:14:14,600 --> 00:14:15,400 Speaker 4: Yeah, that's the thing. 230 00:14:15,400 --> 00:14:18,280 Speaker 7: This is such a warshack test kind of thing for me, 231 00:14:18,640 --> 00:14:24,000 Speaker 7: because the lyrics really are utter gobbledegook, right, you could 232 00:14:24,640 --> 00:14:27,320 Speaker 7: you could read the real lyrics here and there. 233 00:14:27,520 --> 00:14:31,400 Speaker 2: If you haven't seen the real lyrics yet, then do 234 00:14:31,520 --> 00:14:34,200 Speaker 2: check them out. But wait till the end of this podcast. 235 00:14:34,280 --> 00:14:36,240 Speaker 2: Just keep go with us a little bit further. We 236 00:14:36,320 --> 00:14:40,840 Speaker 2: promise it's worth it. Some of the perceived lyrics, where 237 00:14:40,880 --> 00:14:44,240 Speaker 2: the lyrics that people thought they were hearing are things 238 00:14:44,400 --> 00:14:47,000 Speaker 2: like we'll have to do an edited version of this. 239 00:14:47,080 --> 00:14:50,160 Speaker 2: But every night and day I play with my thing, 240 00:14:50,720 --> 00:14:53,320 Speaker 2: bleep your girl, all kinds of ways. 241 00:14:53,800 --> 00:14:58,840 Speaker 7: All the ways, multitudes six ways to Sunday as they say, Yeah, 242 00:14:58,840 --> 00:15:02,040 Speaker 7: and it's it's interesting to be because when this really 243 00:15:02,040 --> 00:15:05,080 Speaker 7: starts to heat up and this investigation is going on 244 00:15:05,160 --> 00:15:08,480 Speaker 7: apparently what they call him g men. Right, Sure, they'd 245 00:15:08,520 --> 00:15:12,880 Speaker 7: go to the clubs and can see the band and 246 00:15:12,920 --> 00:15:15,840 Speaker 7: try to like read their lips or whatever to try 247 00:15:15,840 --> 00:15:17,720 Speaker 7: to like see what the secret lyrics. 248 00:15:17,800 --> 00:15:17,920 Speaker 5: Right. 249 00:15:17,920 --> 00:15:19,960 Speaker 7: I just think this is such a funny witch hunt 250 00:15:20,040 --> 00:15:20,760 Speaker 7: kind of situation. 251 00:15:21,280 --> 00:15:24,120 Speaker 4: Yeah, because jay Ed Groover was involved. Man, he was 252 00:15:24,160 --> 00:15:24,720 Speaker 4: on the case. 253 00:15:25,360 --> 00:15:29,080 Speaker 2: They have other stuff to do in nineteen sixty three, 254 00:15:29,280 --> 00:15:32,560 Speaker 2: So this intense concern on the part of the FBI 255 00:15:33,160 --> 00:15:39,400 Speaker 2: even went to the levels of laboratory investigations. Right. They 256 00:15:40,480 --> 00:15:47,200 Speaker 2: played the record multiple times, sometimes at different speeds. 257 00:15:46,600 --> 00:15:49,840 Speaker 4: That's right. Yeah, And it's crazy. 258 00:15:49,840 --> 00:15:53,200 Speaker 7: You can actually get like there's a collection of memos 259 00:15:53,200 --> 00:15:58,160 Speaker 7: on the FBI's website Vault dot FBI dot gov Louis Dash, 260 00:15:58,280 --> 00:16:01,800 Speaker 7: Louis Dash, the Dash song Slash Louis Dash, Louis dah 261 00:16:02,080 --> 00:16:04,960 Speaker 7: Da song Slash view, and you can see this entire 262 00:16:05,000 --> 00:16:08,920 Speaker 7: collection of every document associated with it, including the original complaints, 263 00:16:09,640 --> 00:16:13,440 Speaker 7: including the perceived lyrics and several other things, and including 264 00:16:13,520 --> 00:16:17,240 Speaker 7: ultimately the fact that yeah, there really wasn't anything there. 265 00:16:17,240 --> 00:16:19,880 Speaker 7: It was a whole lot of inks built for nothing. 266 00:16:20,080 --> 00:16:21,280 Speaker 4: And I'll tell you why. 267 00:16:21,760 --> 00:16:25,640 Speaker 7: The original version of this song was written by a 268 00:16:25,760 --> 00:16:31,080 Speaker 7: guy named Richard Barry, and he was trying to capitalize 269 00:16:31,080 --> 00:16:35,600 Speaker 7: on this like Calypso craze, you know, like Harry Belafonte 270 00:16:35,840 --> 00:16:38,760 Speaker 7: and you know, come Miss Missed, tally Man, Tally Me 271 00:16:38,840 --> 00:16:40,040 Speaker 7: Banana and all that stuff. 272 00:16:40,120 --> 00:16:40,360 Speaker 5: Deo. 273 00:16:41,440 --> 00:16:45,000 Speaker 7: So he sang this song in that style with kind 274 00:16:45,080 --> 00:16:48,360 Speaker 7: of a fake Jamaican patois right? 275 00:16:48,720 --> 00:17:07,359 Speaker 4: Can we hear a little clip of that true. 276 00:17:00,160 --> 00:17:00,960 Speaker 1: Waiting for me? 277 00:17:01,880 --> 00:17:06,720 Speaker 2: We kids the scene, cross the scene, I see the 278 00:17:06,760 --> 00:17:11,640 Speaker 2: scene alone, a never thing. 279 00:17:12,600 --> 00:17:12,800 Speaker 9: You know. 280 00:17:16,160 --> 00:17:19,639 Speaker 2: And something happened to Barry that was unfortunately common for 281 00:17:19,680 --> 00:17:23,040 Speaker 2: a lot of musicians at this time. He signed away 282 00:17:23,160 --> 00:17:25,800 Speaker 2: his rights to the song in nineteen fifty nine, so 283 00:17:25,840 --> 00:17:28,399 Speaker 2: he was not widely associated with it, nor did he 284 00:17:28,480 --> 00:17:32,639 Speaker 2: reap any profit. But you can agree just with that cursory. Listen, 285 00:17:32,840 --> 00:17:34,840 Speaker 2: it's a much different version, Isn't that correct? 286 00:17:34,920 --> 00:17:36,200 Speaker 4: It's a much different version. 287 00:17:36,320 --> 00:17:40,320 Speaker 7: And it also points out that the lyrics, if sung 288 00:17:40,440 --> 00:17:45,040 Speaker 7: as written, are pretty benign. There's a little talk of 289 00:17:46,040 --> 00:17:49,720 Speaker 7: the love of a lady, but it's all very you know, gentlemanly, 290 00:17:49,800 --> 00:17:52,600 Speaker 7: and it's about missing your gal when you're when you're 291 00:17:52,640 --> 00:17:55,520 Speaker 7: a sailor and you're you're off to sea and waiting 292 00:17:55,560 --> 00:17:57,840 Speaker 7: to get back to her, and it's all very romantic 293 00:17:57,920 --> 00:18:01,840 Speaker 7: and not at all Six Ways to Sunday not. 294 00:18:01,880 --> 00:18:04,720 Speaker 2: At all untoured. And that goes back to what I 295 00:18:04,760 --> 00:18:07,320 Speaker 2: was saying earlier about how you can see the Kingsman 296 00:18:07,480 --> 00:18:10,560 Speaker 2: versions live when they're not shouting at the ceiling. Oh 297 00:18:10,600 --> 00:18:12,960 Speaker 2: do we also mention that when they were in the studio, 298 00:18:13,760 --> 00:18:17,720 Speaker 2: the engineer and producer had the entire band surround Jack 299 00:18:17,880 --> 00:18:20,760 Speaker 2: Eli in a circle while they were awayaleing on that stuff. 300 00:18:20,760 --> 00:18:23,639 Speaker 4: So yeah, it sounds like this guy was not exactly 301 00:18:23,720 --> 00:18:24,120 Speaker 4: a pro. 302 00:18:24,240 --> 00:18:26,520 Speaker 7: But I think in those days there was a lot 303 00:18:26,560 --> 00:18:29,480 Speaker 7: more like sharing microphones and just kind of like the 304 00:18:29,840 --> 00:18:32,440 Speaker 7: tiny desk concert treatment, right right, I have that one 305 00:18:32,520 --> 00:18:35,399 Speaker 7: mic and you arrange everybody so that they get a 306 00:18:35,440 --> 00:18:38,360 Speaker 7: good spread of sound, but it's all going to this 307 00:18:38,400 --> 00:18:40,040 Speaker 7: one capturing. 308 00:18:40,359 --> 00:18:40,760 Speaker 4: Yes. 309 00:18:41,000 --> 00:18:44,600 Speaker 2: The weird thing about this investigation too, is you heard 310 00:18:44,680 --> 00:18:49,480 Speaker 2: us mention the laboratory examinations. They did play the record 311 00:18:49,480 --> 00:18:53,200 Speaker 2: at different speeds, they attempted to discern or divine a 312 00:18:53,280 --> 00:18:57,800 Speaker 2: meaning that did not necessarily exist, and they found that 313 00:18:58,440 --> 00:19:02,119 Speaker 2: even in their examine in an FBI lab, they found 314 00:19:02,160 --> 00:19:04,879 Speaker 2: the lyrics still to be unintelligible, which I think is 315 00:19:04,880 --> 00:19:10,440 Speaker 2: a bit a bit absurd, but even more absurd, at 316 00:19:10,560 --> 00:19:15,439 Speaker 2: no time ever did they write to Jack Eli, the 317 00:19:15,560 --> 00:19:18,080 Speaker 2: guy who sang the song. It was as simple as 318 00:19:18,119 --> 00:19:19,040 Speaker 2: just asking him. 319 00:19:18,920 --> 00:19:20,240 Speaker 5: Hey, what is this? 320 00:19:20,520 --> 00:19:24,919 Speaker 7: Yeah, exactly, And it did come out later from Eli 321 00:19:25,000 --> 00:19:29,439 Speaker 7: himself when quizzed about this eventually that he that it 322 00:19:29,480 --> 00:19:33,159 Speaker 7: was a faithful cover of the the original version by 323 00:19:33,240 --> 00:19:35,639 Speaker 7: Richard Barry and if you didn't catch it, And when 324 00:19:35,640 --> 00:19:37,879 Speaker 7: we played it back, the lyrics to that are Louis Louis, 325 00:19:38,800 --> 00:19:42,000 Speaker 7: Oh baby me, me gotta go right and then a 326 00:19:42,040 --> 00:19:45,320 Speaker 7: fine little girl, she waits for me, catch the ship 327 00:19:45,359 --> 00:19:48,399 Speaker 7: across the sea. I sailed the ship all alone. I 328 00:19:48,480 --> 00:19:51,400 Speaker 7: never think I'll make it home, you know. But that 329 00:19:51,480 --> 00:19:55,119 Speaker 7: little one two three one two one two three is 330 00:19:55,240 --> 00:19:59,000 Speaker 7: just rife for just put in whatever syllables you want 331 00:19:59,200 --> 00:20:01,040 Speaker 7: and just just freestyle it, you know. 332 00:20:01,280 --> 00:20:04,800 Speaker 2: And that riff, that riff actually didn't come from Barry, 333 00:20:04,840 --> 00:20:05,200 Speaker 2: did it. 334 00:20:05,200 --> 00:20:06,520 Speaker 4: It didn't. It came from what was it? 335 00:20:06,560 --> 00:20:11,680 Speaker 7: A Cuban American band leader named Renee Tousey's tune El 336 00:20:11,720 --> 00:20:12,720 Speaker 7: Loco cha cha. 337 00:20:13,160 --> 00:20:13,480 Speaker 1: Yeah. 338 00:20:13,680 --> 00:20:17,560 Speaker 2: His his version had it played on piano with a 339 00:20:18,000 --> 00:20:23,720 Speaker 2: nice brass song. But even that song reputedly is based 340 00:20:23,760 --> 00:20:25,320 Speaker 2: on another Cuban tune. 341 00:20:25,440 --> 00:20:26,119 Speaker 4: Yeah, it's crazy. 342 00:20:26,119 --> 00:20:29,880 Speaker 7: How you see that happening with things kind of mutating 343 00:20:29,880 --> 00:20:33,680 Speaker 7: over time or just being wholesale ripped. 344 00:20:33,400 --> 00:20:34,880 Speaker 4: Off to check out? 345 00:20:34,880 --> 00:20:39,920 Speaker 2: How still how square the government comes across At this point, 346 00:20:40,000 --> 00:20:44,479 Speaker 2: Uncle Sam reaches out through multiple institutions, not just the FBI, 347 00:20:45,040 --> 00:20:48,800 Speaker 2: A guy named Ben F. Wopple, who I will reluctantly say, 348 00:20:48,920 --> 00:20:51,840 Speaker 2: go Ben's to because he doesn't sound like a bad person, 349 00:20:51,920 --> 00:20:54,919 Speaker 2: just super confused. He wrote to WAND Records. Who's the 350 00:20:54,960 --> 00:20:59,439 Speaker 2: secretary of the Federal Communications Commission and or FCC? He 351 00:20:59,480 --> 00:21:02,880 Speaker 2: wrote in October of nineteen sixty three to the record 352 00:21:02,920 --> 00:21:08,320 Speaker 2: company and asked whether, even though unobjectionable lyrics were used 353 00:21:08,359 --> 00:21:11,480 Speaker 2: in recording the song, there was improper motivation on the 354 00:21:11,520 --> 00:21:14,840 Speaker 2: parts of the singers in making the recorded lyrics so 355 00:21:15,160 --> 00:21:19,480 Speaker 2: unintelligible as to give rise to reports that they were obscene. 356 00:21:19,520 --> 00:21:22,600 Speaker 7: Whoa whoa, whoa, whoa whoa America, Get your mind out 357 00:21:22,600 --> 00:21:24,680 Speaker 7: of the gutter, is what I say to that. 358 00:21:24,680 --> 00:21:26,960 Speaker 4: That's so ridiculous. That is the dumbest thing I've ever 359 00:21:27,000 --> 00:21:27,800 Speaker 4: heard in my life. 360 00:21:28,520 --> 00:21:33,639 Speaker 7: How dare you shroud the content of your lyrics in 361 00:21:34,320 --> 00:21:39,600 Speaker 7: mumbly faraway recordedness because my mind is obviously going to 362 00:21:39,640 --> 00:21:41,160 Speaker 7: turn them into smut. 363 00:21:40,840 --> 00:21:46,440 Speaker 2: Right, and it's phrased in such a circuitous, unnecessarily verbose way. 364 00:21:47,400 --> 00:21:51,800 Speaker 2: That's that's it's like a conspiracy theory. He's asking them 365 00:21:51,880 --> 00:21:55,080 Speaker 2: about a conspiracy. We also want to point out the 366 00:21:55,119 --> 00:21:59,800 Speaker 2: Kingsmen did not directly. They didn't see Barry song and 367 00:22:00,080 --> 00:22:04,480 Speaker 2: say ah, that's mine now. They took it from another 368 00:22:04,600 --> 00:22:07,760 Speaker 2: cover version by a group called the Whalers. 369 00:22:07,680 --> 00:22:09,480 Speaker 4: Like Bob Marley and the Whalers. 370 00:22:09,640 --> 00:22:13,280 Speaker 2: I don't think so. I don't think so. Their version 371 00:22:13,320 --> 00:22:16,600 Speaker 2: of the song came out in nineteen sixty one. 372 00:22:16,720 --> 00:22:20,280 Speaker 7: Noah, it's way earlier for that for them Whalers, different Whalers. 373 00:22:20,760 --> 00:22:25,000 Speaker 2: And again, you know, the Kingsmen here are not like 374 00:22:25,040 --> 00:22:29,600 Speaker 2: these sharky people out to rip off and plagiarize. This 375 00:22:29,680 --> 00:22:32,639 Speaker 2: is a song they heard on jukeboxes around Portland and 376 00:22:32,760 --> 00:22:35,040 Speaker 2: Jack Eli brought it to rehearsal because he thought it 377 00:22:35,119 --> 00:22:36,240 Speaker 2: was cool. They were a house band. 378 00:22:36,320 --> 00:22:38,600 Speaker 7: Oh, not to mention they are just a pack of 379 00:22:39,040 --> 00:22:43,159 Speaker 7: dapper young lads, fresh faced us. Look like they'd be, 380 00:22:43,560 --> 00:22:46,280 Speaker 7: you know, playing the Enchantment, under the Sea Dance and 381 00:22:46,359 --> 00:22:48,960 Speaker 7: back to the Future. I mean, really clean cut. They 382 00:22:48,960 --> 00:22:52,560 Speaker 7: do not look like some kind of you know, raunchy greasers. 383 00:22:52,680 --> 00:22:53,600 Speaker 4: But it's cool though. 384 00:22:53,640 --> 00:22:56,960 Speaker 7: When you hear the recording, it has this fun, live, 385 00:22:57,160 --> 00:22:58,320 Speaker 7: raw quality to it. 386 00:22:58,520 --> 00:22:59,840 Speaker 4: Yeah, the way the vocals are. 387 00:23:00,520 --> 00:23:02,919 Speaker 7: The way the drums are so in your face, the 388 00:23:02,960 --> 00:23:07,640 Speaker 7: way that keyboard sounds that I understand what an influential 389 00:23:07,760 --> 00:23:11,000 Speaker 7: recording this was, separated from all the controversy. 390 00:23:11,200 --> 00:23:12,400 Speaker 4: Yeah, it's catchy. 391 00:23:12,480 --> 00:23:14,680 Speaker 2: It's catchy enough that you don't have to speak English 392 00:23:14,840 --> 00:23:20,119 Speaker 2: or know what they're saying to enjoy the actual song itself. Again, 393 00:23:20,200 --> 00:23:22,880 Speaker 2: if you don't believe us, and do you think there 394 00:23:22,960 --> 00:23:27,480 Speaker 2: is something a bit sinister and raunchy about this song, 395 00:23:27,920 --> 00:23:31,320 Speaker 2: please go check out their live performances. They're doing that 396 00:23:31,359 --> 00:23:35,439 Speaker 2: little jaunty move where they go shoulder to shoulder up 397 00:23:35,480 --> 00:23:38,520 Speaker 2: and down when they're singing or playing, the way that 398 00:23:38,640 --> 00:23:41,200 Speaker 2: a lot of fifties and sixties boy bands they're popping. Yeah, 399 00:23:41,200 --> 00:23:44,680 Speaker 2: they're bopping or poppin', and it looks like the most 400 00:23:45,119 --> 00:23:47,480 Speaker 2: innocuous thing. It looks. 401 00:23:47,560 --> 00:23:48,440 Speaker 4: It looks like a guy. 402 00:23:48,800 --> 00:23:51,720 Speaker 2: Honestly, it looks like a guy who has never been 403 00:23:51,760 --> 00:23:55,040 Speaker 2: a sailor singing a song he heard about a girl 404 00:23:55,320 --> 00:23:56,000 Speaker 2: from a sailor. 405 00:23:56,119 --> 00:24:02,760 Speaker 7: Yeah, well, man, I have a proposition for you. 406 00:24:03,280 --> 00:24:05,560 Speaker 2: I think I can anticipate this proposition. 407 00:24:05,600 --> 00:24:09,560 Speaker 7: What do you say we extend this conversation, widen this 408 00:24:09,760 --> 00:24:15,040 Speaker 7: net with a little extra credit. 409 00:24:17,920 --> 00:24:22,159 Speaker 2: Sounds great. This is our second time doing our extra 410 00:24:22,240 --> 00:24:23,360 Speaker 2: credit segment. 411 00:24:23,040 --> 00:24:23,960 Speaker 4: Which is the second time. 412 00:24:24,080 --> 00:24:27,040 Speaker 2: Yeah, only second time, which is where we go above 413 00:24:27,600 --> 00:24:31,480 Speaker 2: and beyond and look to our wonderful friends, colleagues and 414 00:24:31,520 --> 00:24:37,760 Speaker 2: collaborators for some assistance and friends, neighbors. We mention one 415 00:24:37,800 --> 00:24:41,320 Speaker 2: guy on our show quite a bit, but you may 416 00:24:41,359 --> 00:24:43,320 Speaker 2: be wondering if he's a real person or if we 417 00:24:43,440 --> 00:24:45,760 Speaker 2: just made him up. Well, the rumors are true. He 418 00:24:45,880 --> 00:24:49,120 Speaker 2: is real. We have him here today, Friends and neighbors. 419 00:24:49,200 --> 00:24:51,000 Speaker 2: Christopher hasiotis you guys? 420 00:24:51,200 --> 00:24:54,199 Speaker 5: I am real. I've I've been sitting over there this 421 00:24:54,240 --> 00:24:54,800 Speaker 5: whole time. 422 00:24:54,920 --> 00:24:58,960 Speaker 7: In here. He's always He's like Jack Torrance in the Shining. 423 00:25:00,000 --> 00:25:01,000 Speaker 7: I've always been there. 424 00:25:01,040 --> 00:25:04,480 Speaker 5: Wherever there's a need for research on a podcast, You're 425 00:25:04,560 --> 00:25:05,359 Speaker 5: just there. 426 00:25:05,880 --> 00:25:08,360 Speaker 4: We're lucky to have you as our research caretaker. 427 00:25:08,440 --> 00:25:09,359 Speaker 5: I'm happy to be here. 428 00:25:09,480 --> 00:25:12,400 Speaker 2: Thanks for coming on the show. Man Now off air, 429 00:25:12,440 --> 00:25:15,360 Speaker 2: you reached out to us because this really inspired you 430 00:25:15,640 --> 00:25:19,879 Speaker 2: to dig into the story. Right, like Louie Louie, I 431 00:25:19,880 --> 00:25:21,720 Speaker 2: feel like it struck a personal chord with you. 432 00:25:21,960 --> 00:25:24,560 Speaker 5: Well, I know, in a past life, if I'm honest, 433 00:25:24,640 --> 00:25:27,320 Speaker 5: I was a music journalist. And that's not just an 434 00:25:27,320 --> 00:25:29,920 Speaker 5: imaginary past life. That's a real past life, and a 435 00:25:29,960 --> 00:25:32,359 Speaker 5: lot of my career early on, I was out late 436 00:25:32,440 --> 00:25:36,040 Speaker 5: at clubs seeing rock bands, just kind of soaking in music. 437 00:25:36,080 --> 00:25:39,800 Speaker 5: I used to DJ dance parties and what yeah, yeah, 438 00:25:40,040 --> 00:25:44,040 Speaker 5: like I said, a past life. But yeah, so I 439 00:25:44,160 --> 00:25:48,080 Speaker 5: spent probably, I don't know, an hour more than I 440 00:25:48,119 --> 00:25:52,280 Speaker 5: should have, just digging deep into different versions of Louie Louie, 441 00:25:52,680 --> 00:25:55,360 Speaker 5: because it's one of the most covered, most recorded songs 442 00:25:55,720 --> 00:25:59,480 Speaker 5: out there, if not the most, And I honestly I 443 00:25:59,480 --> 00:26:02,480 Speaker 5: could have spent hours more doing it, but I thought 444 00:26:02,520 --> 00:26:04,960 Speaker 5: I would bring you guys some of those versions. 445 00:26:05,400 --> 00:26:08,600 Speaker 7: Oh I'm sorry, I had to retroactively make a joke. 446 00:26:08,920 --> 00:26:11,399 Speaker 7: This song must have actually struck three chords with you, 447 00:26:11,640 --> 00:26:13,240 Speaker 7: A D and E minor. 448 00:26:13,400 --> 00:26:14,399 Speaker 5: Is that where you were looking up? 449 00:26:14,480 --> 00:26:16,960 Speaker 4: Yeah, that's job. Yeah, it was. 450 00:26:16,920 --> 00:26:20,159 Speaker 2: Worth it, So Christophers, you know, since you were here 451 00:26:20,200 --> 00:26:22,720 Speaker 2: the whole time. Earlier we talked a little bit about 452 00:26:22,760 --> 00:26:25,879 Speaker 2: the origins of Louie Louis and I did not know 453 00:26:25,960 --> 00:26:31,280 Speaker 2: it was so extensively covered until you showed us this 454 00:26:31,800 --> 00:26:35,600 Speaker 2: astonishing list which has some surprising bands on it. Did 455 00:26:35,600 --> 00:26:36,360 Speaker 2: you notice that long? 456 00:26:36,440 --> 00:26:36,760 Speaker 4: I did. 457 00:26:36,880 --> 00:26:38,960 Speaker 7: I have a theory though, because it's such an open 458 00:26:39,119 --> 00:26:42,399 Speaker 7: ended song that's three chords and it's just easy to 459 00:26:42,440 --> 00:26:44,560 Speaker 7: just to kind of go to town on vocally, as 460 00:26:44,600 --> 00:26:47,760 Speaker 7: evidence by the Kingsman version, and why it was such 461 00:26:47,800 --> 00:26:50,240 Speaker 7: a headache for the FBI, because this guy's just kind 462 00:26:50,240 --> 00:26:52,159 Speaker 7: of like mumbling all this crazy stuff. 463 00:26:52,160 --> 00:26:53,000 Speaker 4: It could be anything. 464 00:26:53,440 --> 00:26:55,280 Speaker 7: I think that's got like an appeal where it's like 465 00:26:55,320 --> 00:26:57,560 Speaker 7: I want to do my own crazy rambling version of 466 00:26:57,600 --> 00:26:57,959 Speaker 7: Louis lou. 467 00:26:58,119 --> 00:27:00,800 Speaker 5: Yeah, it's it's it's a pretty basic song, and that 468 00:27:00,880 --> 00:27:03,560 Speaker 5: goes back to actually its origins, which you guys talked 469 00:27:03,640 --> 00:27:06,840 Speaker 5: about a little bit. But the origins of rock and 470 00:27:07,000 --> 00:27:10,320 Speaker 5: roll are in rhythm and blues and the African American 471 00:27:10,400 --> 00:27:13,160 Speaker 5: musical experience. But one of the most ridiculous things about 472 00:27:13,200 --> 00:27:17,760 Speaker 5: rock history is the under explored influence of Latin music 473 00:27:18,160 --> 00:27:22,399 Speaker 5: on rock and roll. Usually I would say Cuban American music. 474 00:27:23,280 --> 00:27:27,640 Speaker 5: So Richard Barry, who wrote Louie Louie back in nineteen 475 00:27:27,760 --> 00:27:30,960 Speaker 5: fifty five, he was at a club and he heard 476 00:27:30,960 --> 00:27:34,840 Speaker 5: this band, Ricky Rieira and the Rhythm Rockers say it 477 00:27:34,880 --> 00:27:39,480 Speaker 5: five times fast. Nope, Ricky Rieira and the Rhythm Rockers, 478 00:27:39,720 --> 00:27:41,920 Speaker 5: And they were playing a cover version of a song 479 00:27:42,000 --> 00:27:44,080 Speaker 5: popular at the time in the mid fifties, a song 480 00:27:44,119 --> 00:27:48,359 Speaker 5: by Renee Tuse. It was called Eloco Chacha. So I 481 00:27:48,400 --> 00:27:50,720 Speaker 5: look at you, guys. I think you're gentlemen of the world. 482 00:27:50,760 --> 00:27:55,040 Speaker 5: You're probably skilled a ballroom dance. Oh yeah, so you 483 00:27:55,080 --> 00:27:57,960 Speaker 5: take your typical cha cha and how does that go? 484 00:27:58,280 --> 00:28:03,280 Speaker 5: You've got one one to two chat cha three four exactly. 485 00:28:03,760 --> 00:28:08,119 Speaker 5: Now what's really crazy? What's really loco? What if you 486 00:28:08,200 --> 00:28:12,680 Speaker 5: flipped it to chat chat chaw one two chat chat 487 00:28:12,720 --> 00:28:14,280 Speaker 5: cha three four. 488 00:28:15,640 --> 00:28:19,240 Speaker 4: Genius? So uh, flipping the scrip making a whole new thing, exactly. 489 00:28:19,280 --> 00:28:22,320 Speaker 5: And and we've actually, we've got Renee Tuesday's version of 490 00:28:22,320 --> 00:28:25,119 Speaker 5: al loco chat Cha. Maybe Casey can queue it up 491 00:28:25,119 --> 00:28:25,400 Speaker 5: a bit. 492 00:28:25,720 --> 00:28:27,840 Speaker 4: I would love to hear it in real time. Let's 493 00:28:27,920 --> 00:28:33,600 Speaker 4: check it out at that nice Latin cow bell action. 494 00:28:33,880 --> 00:28:38,600 Speaker 2: I feel good for everybody listening. We all instantly started nodding, 495 00:28:38,680 --> 00:28:40,080 Speaker 2: Oh hear that horn section. 496 00:28:40,360 --> 00:28:45,240 Speaker 5: Yeah yeah. And so this is the tune that Richard 497 00:28:45,240 --> 00:28:48,360 Speaker 5: Barry heard a cover version of and the story goes 498 00:28:48,440 --> 00:28:51,520 Speaker 5: he he loved it so much that he said, I 499 00:28:51,600 --> 00:28:54,920 Speaker 5: want to write a song to this tune, which you know, 500 00:28:54,960 --> 00:28:56,080 Speaker 5: I guess you could do it the day. 501 00:28:56,280 --> 00:28:59,800 Speaker 7: Yeah, so just a very diplomatic way of saying, I'm 502 00:28:59,840 --> 00:29:00,520 Speaker 7: a that. 503 00:29:00,440 --> 00:29:02,880 Speaker 5: I like this. Yeah, I don't want to work too hard, right, 504 00:29:02,960 --> 00:29:03,400 Speaker 5: so I'm going. 505 00:29:03,400 --> 00:29:05,240 Speaker 4: To take this well he wrote his own lyrics, he. 506 00:29:05,440 --> 00:29:08,760 Speaker 5: Did, and reportedly he wrote them that night at the 507 00:29:08,840 --> 00:29:12,880 Speaker 5: club on either depending on who you hear from, a 508 00:29:13,000 --> 00:29:14,440 Speaker 5: napkin or a piece. 509 00:29:14,240 --> 00:29:17,080 Speaker 4: Of toilet paper, perhaps a matchbook. Yeah, I don't know, 510 00:29:17,120 --> 00:29:17,800 Speaker 4: that's my version. 511 00:29:17,920 --> 00:29:19,680 Speaker 7: We talked a little bit earlier in the show about 512 00:29:19,720 --> 00:29:22,880 Speaker 7: the fact that there was this kind of Calypso craze 513 00:29:22,960 --> 00:29:27,520 Speaker 7: at the time that was hot business, and Barry, in 514 00:29:27,560 --> 00:29:32,280 Speaker 7: addition to being having a very perceptive ear picking up 515 00:29:32,280 --> 00:29:35,400 Speaker 7: on something that he thought might hit, he also wanted 516 00:29:35,440 --> 00:29:38,560 Speaker 7: to capitalize on this Calypso craze. And it totally works 517 00:29:39,240 --> 00:29:41,440 Speaker 7: in that genre, especially the fact that he's sang it 518 00:29:41,440 --> 00:29:44,800 Speaker 7: with kind of a fake Jamaican petois, right. 519 00:29:44,640 --> 00:29:48,520 Speaker 2: Exactly, and that what we've confirmed, right that is absolutely affectation. 520 00:29:48,600 --> 00:29:48,920 Speaker 4: Correct. 521 00:29:49,000 --> 00:29:52,760 Speaker 2: Yes, So in this strange agglomeration of what could be 522 00:29:52,840 --> 00:29:59,360 Speaker 2: called aggressive covering or plagiarization, we see a pattern that 523 00:29:59,440 --> 00:30:02,520 Speaker 2: continue even to the modern day. What are some of 524 00:30:02,560 --> 00:30:04,440 Speaker 2: the strangest covers you found? 525 00:30:04,520 --> 00:30:07,200 Speaker 5: So there's a wide variety of covers of this song, 526 00:30:07,240 --> 00:30:10,120 Speaker 5: from the traditional to the really kind of off the wall. 527 00:30:10,840 --> 00:30:13,720 Speaker 5: I wanted to start out with one that is from 528 00:30:13,840 --> 00:30:17,680 Speaker 5: nineteen sixty five. We're here in Georgia recording, so I 529 00:30:17,680 --> 00:30:21,280 Speaker 5: thought i'd go with a Georgia recording artist, mister Otis Redding. 530 00:30:21,520 --> 00:30:23,480 Speaker 5: Oh yeah, all right, so you've got it kind of 531 00:30:23,480 --> 00:30:27,120 Speaker 5: a really soulful R and B version of Louis Louis. 532 00:30:27,160 --> 00:30:32,400 Speaker 4: Oh I love me some Otis. Let's hear it. Oh buddy, 533 00:30:35,560 --> 00:30:44,960 Speaker 4: I like it. Interesting change up there. 534 00:30:45,120 --> 00:30:47,720 Speaker 2: He's making it his own, he doesn't have to go. 535 00:30:48,280 --> 00:30:50,880 Speaker 7: And he's doing a bit of a Louis Lua yeah, 536 00:30:50,920 --> 00:30:51,560 Speaker 7: which I like. 537 00:30:51,760 --> 00:30:53,520 Speaker 4: Yeah, we see what I'm saying. 538 00:30:53,520 --> 00:30:53,720 Speaker 7: Though. 539 00:30:54,000 --> 00:30:57,120 Speaker 4: It's just rife for ad libbing, right. 540 00:30:57,320 --> 00:31:01,280 Speaker 2: It's almost like a modern folk bay where it seems 541 00:31:01,320 --> 00:31:03,840 Speaker 2: no one really owns it and everyone makes it their 542 00:31:03,840 --> 00:31:05,080 Speaker 2: own when they record it. Well. 543 00:31:05,080 --> 00:31:06,800 Speaker 5: And one of the things I like about Louie Louie, 544 00:31:06,800 --> 00:31:10,480 Speaker 5: and especially its tradition of having unintelligible lyrics to a 545 00:31:10,480 --> 00:31:13,880 Speaker 5: certain degree, is it. I think it really shines when 546 00:31:13,960 --> 00:31:17,040 Speaker 5: the singer's voice itself just has a feeling, and I 547 00:31:17,080 --> 00:31:19,800 Speaker 5: think that is I mean, otis reading his voice. He 548 00:31:19,840 --> 00:31:22,800 Speaker 5: could sing whatever, and clearly he is, and you just 549 00:31:22,880 --> 00:31:24,920 Speaker 5: feel it, you know, I mean, sing the phone Book. 550 00:31:25,000 --> 00:31:27,880 Speaker 5: Absolutely So. In the sixties, there are a lot of 551 00:31:27,920 --> 00:31:30,480 Speaker 5: other covers of Louie Louie that kind of go along 552 00:31:30,480 --> 00:31:32,720 Speaker 5: the same lines as the Kingsman version. You know, You've 553 00:31:32,760 --> 00:31:35,360 Speaker 5: got the Trogs. The Sonics do a much kind of 554 00:31:35,400 --> 00:31:38,880 Speaker 5: dirtier garage rock version. Those are all great, but let's 555 00:31:38,920 --> 00:31:41,360 Speaker 5: dive into one that's a little weirder. This is still 556 00:31:41,400 --> 00:31:44,160 Speaker 5: sort of in the rock genre. But got a guy 557 00:31:44,240 --> 00:31:48,200 Speaker 5: named Mike Dezy, now Mike Dezy. He's a studio pro, 558 00:31:48,280 --> 00:31:51,520 Speaker 5: He's a guitar guy. So this guy has appeared on 559 00:31:51,640 --> 00:31:54,880 Speaker 5: recordings by the Everly Brothers by Richie Vallens. He toured 560 00:31:54,960 --> 00:31:57,640 Speaker 5: with the Coasters. He was in the Wrecking Crew, which 561 00:31:57,640 --> 00:32:01,840 Speaker 5: was the famous recording band who recordings like pet Sounds. 562 00:32:01,840 --> 00:32:04,959 Speaker 5: He played on albums by The Monkeys by Michael Jackson, 563 00:32:05,040 --> 00:32:10,400 Speaker 5: Frank Zappa, Sinatra, streisand this guy Mike Deasy was one 564 00:32:10,440 --> 00:32:13,760 Speaker 5: of the guitarists on the stage for Elvis Presley's nineteen 565 00:32:13,760 --> 00:32:16,840 Speaker 5: sixty eight comeback special, That TV special where Yeah the 566 00:32:16,840 --> 00:32:20,000 Speaker 5: Black Leather Yeah Yeah, and Mike Deasy was one of 567 00:32:20,000 --> 00:32:23,560 Speaker 5: the guitarists. So this guy Mike has a long career 568 00:32:23,560 --> 00:32:27,720 Speaker 5: of backing up other folks, but in nineteen sixty seven 569 00:32:27,760 --> 00:32:30,520 Speaker 5: he put out his own solo album to show off 570 00:32:30,520 --> 00:32:35,400 Speaker 5: his guitar virtuosity under the name Friar Tuck and his 571 00:32:35,480 --> 00:32:36,400 Speaker 5: Psychedelic Guitar. 572 00:32:36,520 --> 00:32:38,200 Speaker 2: I've got a screwed to the edge of my seat 573 00:32:38,280 --> 00:32:48,120 Speaker 2: for guess what. Yeah, Casey, can you hit it for us? 574 00:32:50,800 --> 00:32:54,720 Speaker 4: Oh? I love this all right so much? Oh, there 575 00:32:54,760 --> 00:32:55,120 Speaker 4: we go. 576 00:33:00,080 --> 00:33:01,560 Speaker 5: So it's it's it's mellow. 577 00:33:04,480 --> 00:33:06,440 Speaker 4: You can see me right now. I'm swaying back and 578 00:33:06,480 --> 00:33:07,600 Speaker 4: forth with a goofy grin of. 579 00:33:07,600 --> 00:33:12,560 Speaker 5: My no looks dreamy. 580 00:33:12,640 --> 00:33:17,320 Speaker 4: There we go. 581 00:33:17,480 --> 00:33:21,000 Speaker 5: So it's got that sort of dawzy psychedelic this. 582 00:33:23,320 --> 00:33:24,600 Speaker 4: Yeah, right up my house. 583 00:33:24,800 --> 00:33:25,640 Speaker 1: I'm gonna play this. 584 00:33:25,960 --> 00:33:26,160 Speaker 2: Yeah. 585 00:33:26,360 --> 00:33:28,280 Speaker 5: He is my favorite so far, big time. 586 00:33:31,960 --> 00:33:34,120 Speaker 7: I always want to hear up to the verse because 587 00:33:34,240 --> 00:33:38,280 Speaker 7: everyone does their own thing. They change the lyrics, they 588 00:33:38,640 --> 00:33:40,280 Speaker 7: do their own different Cadence. I want to hear what 589 00:33:40,360 --> 00:33:40,880 Speaker 7: this does with it. 590 00:33:42,480 --> 00:33:44,440 Speaker 4: No, I think that maybe maybe they're not even gonna 591 00:33:44,480 --> 00:33:44,920 Speaker 4: do a verse. 592 00:33:45,080 --> 00:33:46,560 Speaker 2: I love the finger People too. 593 00:33:47,760 --> 00:33:50,440 Speaker 5: I mean, this is it's Friar talk and his psychedelic guitar. 594 00:33:50,560 --> 00:33:53,480 Speaker 5: And I would totally recommend looking up this record online 595 00:33:53,520 --> 00:33:58,320 Speaker 5: because the cover of the album is pretty stellar. Looks 596 00:33:58,320 --> 00:33:59,120 Speaker 5: like a total weirdo. 597 00:33:59,320 --> 00:34:02,480 Speaker 4: I love the fact if there are no verses, it's 598 00:34:02,520 --> 00:34:05,080 Speaker 4: all just vamps. It's about the experience. Yeah, now this 599 00:34:05,240 --> 00:34:05,600 Speaker 4: is dope. 600 00:34:05,640 --> 00:34:07,920 Speaker 5: I love it. I mean again, the verses, if you 601 00:34:08,000 --> 00:34:09,600 Speaker 5: can't understand them, do you need them? 602 00:34:09,719 --> 00:34:10,200 Speaker 2: No nights. 603 00:34:10,440 --> 00:34:12,279 Speaker 4: Yeah, it's about the feeling about. 604 00:34:12,040 --> 00:34:15,040 Speaker 5: The feeling, And it looks like you guys, to those 605 00:34:15,080 --> 00:34:18,759 Speaker 5: of you listening who can't see Nolan Benner feeling this, 606 00:34:18,920 --> 00:34:19,839 Speaker 5: Oh I'm feeling it hard. 607 00:34:20,160 --> 00:34:21,239 Speaker 4: Yeah, I think that's going. 608 00:34:21,160 --> 00:34:23,520 Speaker 2: To stay with men. I'm kind of sad that we 609 00:34:23,840 --> 00:34:25,400 Speaker 2: am kind of sad that we can't just play that 610 00:34:25,680 --> 00:34:29,439 Speaker 2: entire song right now. But what's the next cover? 611 00:34:29,760 --> 00:34:31,839 Speaker 5: So here we're going to go forward a couple of years. 612 00:34:31,880 --> 00:34:34,719 Speaker 5: We're still sticking in the sixties. So nineteen sixty nine. 613 00:34:34,800 --> 00:34:38,799 Speaker 5: The singer Julie London, she is famously known for having 614 00:34:38,840 --> 00:34:43,320 Speaker 5: this really kind of mellow affect, really nice, kind of soft, hazy, 615 00:34:43,520 --> 00:34:47,360 Speaker 5: smoky vocals. And she put out a record called Yummy, Yummy, 616 00:34:47,400 --> 00:34:50,560 Speaker 5: Yummy in nineteen sixty nine, and her version of Louis 617 00:34:50,600 --> 00:34:53,440 Speaker 5: Louis closes out that album, and it's just got sort 618 00:34:53,480 --> 00:34:58,560 Speaker 5: of a really quiet, almost narcotic vibe going on. It's 619 00:34:58,920 --> 00:35:01,080 Speaker 5: unlike most of the other versions you hear, which are 620 00:35:01,080 --> 00:35:01,960 Speaker 5: a little more upbeat. 621 00:35:02,400 --> 00:35:05,120 Speaker 2: Can I say, just before we roll this, you were 622 00:35:05,200 --> 00:35:09,480 Speaker 2: doing a fantastic job curating this music for us. Do 623 00:35:09,560 --> 00:35:10,759 Speaker 2: you make mixtapes? 624 00:35:11,040 --> 00:35:14,720 Speaker 5: I do make mixtapes, mix CITs, all that liner notes, 625 00:35:14,800 --> 00:35:19,239 Speaker 5: whatever you need. Were you a younger person and I 626 00:35:19,320 --> 00:35:21,160 Speaker 5: a younger person, I might, you know, put together a 627 00:35:21,239 --> 00:35:23,480 Speaker 5: mixtape to try to woo you. And these are the 628 00:35:23,600 --> 00:35:24,680 Speaker 5: things a younger man does. 629 00:35:24,840 --> 00:35:27,839 Speaker 7: Oh yeah, it's the lost art the mixtape. Now it's 630 00:35:27,920 --> 00:35:30,200 Speaker 7: just the Spotify playlist, which isn't nearly as sexy. 631 00:35:30,320 --> 00:35:31,320 Speaker 4: What's the works you know? 632 00:35:31,480 --> 00:35:34,640 Speaker 7: Oh yeah, it's it's woo worthy. I used to get 633 00:35:34,920 --> 00:35:37,920 Speaker 7: Smashing Pumpkins bootlegs in the mail. I would trade with 634 00:35:37,960 --> 00:35:40,600 Speaker 7: people on message boards and they would always take the 635 00:35:40,719 --> 00:35:42,960 Speaker 7: rest of the tape that wasn't full of the bootleg 636 00:35:43,040 --> 00:35:45,480 Speaker 7: and put Filler songs on it, And that's how I 637 00:35:45,560 --> 00:35:47,400 Speaker 7: learned about a lot of new music back in the day. 638 00:35:47,400 --> 00:35:51,560 Speaker 7: It was from Filler on Smashing Pumpkins bootleg. Yes, all right, 639 00:35:51,680 --> 00:35:53,800 Speaker 7: but yeah, Casey, can we can we hear the Julie 640 00:35:53,800 --> 00:35:55,319 Speaker 7: London version from sixty nine? 641 00:35:57,000 --> 00:35:57,200 Speaker 2: Oh? 642 00:35:59,440 --> 00:36:09,840 Speaker 5: Already dramatic. 643 00:36:10,000 --> 00:36:12,400 Speaker 4: I was not expecting that because super. 644 00:36:13,000 --> 00:36:14,640 Speaker 5: Ben's eyebrows just arch stuff. 645 00:36:19,239 --> 00:36:25,880 Speaker 4: Hmm, I really go, I gotta go. 646 00:36:26,280 --> 00:36:29,279 Speaker 5: Yeah, it's a little bit of a Dusty Springfield vibe. Dude. 647 00:36:29,280 --> 00:36:30,719 Speaker 7: I was just about to say, I've been listening to 648 00:36:30,880 --> 00:36:34,480 Speaker 7: nothing but Dusty and Memphis for the past couple of weeks. 649 00:36:35,160 --> 00:36:37,400 Speaker 4: So good, very much so. 650 00:36:37,600 --> 00:36:40,680 Speaker 7: Yeah, it's almost got that kind of Nico narcotic, kind 651 00:36:40,760 --> 00:36:42,680 Speaker 7: of like hazy vibe. 652 00:36:43,400 --> 00:36:43,880 Speaker 5: Well, here we go. 653 00:36:44,000 --> 00:36:44,759 Speaker 4: I'll hear this first. 654 00:36:46,800 --> 00:36:49,759 Speaker 2: I liked how they're putting in almost any instrument that 655 00:36:49,920 --> 00:36:51,280 Speaker 2: what gets It's amazing. 656 00:36:53,239 --> 00:36:55,120 Speaker 5: Yeah, and I always really enjoy when a song will 657 00:36:55,680 --> 00:36:57,759 Speaker 5: flip the gender. You know, she's singing about a boy 658 00:36:57,840 --> 00:36:59,560 Speaker 5: across the sea as I was to a girl. 659 00:37:00,320 --> 00:37:03,800 Speaker 4: Yeah, and this feels very intimate. 660 00:37:04,120 --> 00:37:07,080 Speaker 2: Yeah, you know, her voice feels very close but also. 661 00:37:07,040 --> 00:37:10,600 Speaker 7: Very cinematic because it's like that schmaltzy Burt backer Aki 662 00:37:10,760 --> 00:37:14,120 Speaker 7: kind of arrangement, and then her vocal is very front 663 00:37:14,160 --> 00:37:17,880 Speaker 7: and center. Such a departure from the Kingsman where the 664 00:37:17,960 --> 00:37:20,520 Speaker 7: vocals a mile away and completely unintelligible. 665 00:37:20,560 --> 00:37:22,880 Speaker 4: I love this's let's go on. 666 00:37:23,200 --> 00:37:23,719 Speaker 5: Yeah cool. 667 00:37:23,840 --> 00:37:24,040 Speaker 4: Yeah. 668 00:37:24,320 --> 00:37:26,520 Speaker 5: So this next version, we're going back to the islands 669 00:37:26,520 --> 00:37:28,960 Speaker 5: where the song kind of has its origins in that 670 00:37:29,440 --> 00:37:33,120 Speaker 5: crossing the Sea Calypso Vibe. Toots in the May Towels 671 00:37:33,160 --> 00:37:37,120 Speaker 5: are an acclaimed iconic band from Jamaica from the sixties 672 00:37:37,160 --> 00:37:40,200 Speaker 5: and the seventies, and this version from the early seventies, 673 00:37:40,760 --> 00:37:43,200 Speaker 5: Toots Hibbert's just kind of he just sings his heart 674 00:37:43,239 --> 00:37:47,400 Speaker 5: out on this reggae, ska and rock setti inspired version. 675 00:37:48,719 --> 00:37:57,040 Speaker 4: Let's hear it, there we go. 676 00:38:01,640 --> 00:38:01,839 Speaker 2: Yeah. 677 00:38:08,480 --> 00:38:09,719 Speaker 5: It just makes you want to kind of sit on 678 00:38:09,800 --> 00:38:10,120 Speaker 5: a beach. 679 00:38:10,480 --> 00:38:13,840 Speaker 2: Yeah, I want to leave the studio hop on a plane. 680 00:38:14,080 --> 00:38:17,080 Speaker 5: You know again, you can kind of just do whatever 681 00:38:17,160 --> 00:38:19,080 Speaker 5: you want with the song, yeah, and make it your own. 682 00:38:19,160 --> 00:38:23,160 Speaker 5: It's very true. It's very true. It's great vamps. Yeah, 683 00:38:23,200 --> 00:38:25,200 Speaker 5: we could stay here all day listening to all these two. 684 00:38:25,520 --> 00:38:29,200 Speaker 5: But let's I'm gonna I'm gonna bring the next one 685 00:38:29,400 --> 00:38:33,719 Speaker 5: is a lot harsher, a lot louder. But the reason 686 00:38:33,760 --> 00:38:36,080 Speaker 5: I wanted to play this song for you it's by 687 00:38:36,160 --> 00:38:39,120 Speaker 5: Iggy and the Stooges, so famously Iggy Pop and his 688 00:38:39,320 --> 00:38:42,880 Speaker 5: and his band Punk Pioneer. The reason I wanted to 689 00:38:42,880 --> 00:38:45,279 Speaker 5: play this song. The version I'm Gonna play for You 690 00:38:45,520 --> 00:38:48,040 Speaker 5: is off of the nineteen seventy four record Metallic Ko, 691 00:38:48,360 --> 00:38:51,640 Speaker 5: which is a live album, and it's a live recording 692 00:38:51,719 --> 00:38:56,120 Speaker 5: of the Stooge's last two shows ever in Detroit. They 693 00:38:56,120 --> 00:38:58,800 Speaker 5: wouldn't play again together until they reunited. I don't know 694 00:38:58,880 --> 00:39:00,920 Speaker 5: ten years ago or since I'm on that tour at 695 00:39:00,960 --> 00:39:04,879 Speaker 5: the forty what in a Georgia, But the very last 696 00:39:05,000 --> 00:39:07,279 Speaker 5: song they played at their very last show in the 697 00:39:07,360 --> 00:39:11,480 Speaker 5: seventies was Louie Louie. And one thing that's particularly resonant 698 00:39:11,480 --> 00:39:14,600 Speaker 5: about this song the Stooges have a personal connection to 699 00:39:14,680 --> 00:39:16,439 Speaker 5: Louie Louis. It's not just that they love the song, 700 00:39:16,480 --> 00:39:20,280 Speaker 5: although they love all that classic rock and roll. Dan Galucci, 701 00:39:20,560 --> 00:39:23,880 Speaker 5: who played keyboards on the Kingsman version of Louie Louie, 702 00:39:24,800 --> 00:39:27,400 Speaker 5: he was kicked out of the band he was too 703 00:39:27,480 --> 00:39:28,239 Speaker 5: young to go on tour. 704 00:39:28,440 --> 00:39:29,040 Speaker 4: That's what I heard that. 705 00:39:29,719 --> 00:39:32,640 Speaker 5: Yeah, his parents would not let him go out on 706 00:39:32,800 --> 00:39:36,560 Speaker 5: tour from whatever. Yeah, so Dan, but he played keys 707 00:39:36,560 --> 00:39:39,400 Speaker 5: on the recording. What he ended up doing with his 708 00:39:39,520 --> 00:39:42,800 Speaker 5: life though, he was a record producer, Yeah, and Elektra 709 00:39:43,239 --> 00:39:45,360 Speaker 5: for Electra and Electra put out a lot of the 710 00:39:45,400 --> 00:39:50,680 Speaker 5: Stages records. Dan Galucci produced The Stooge's Fun House, which 711 00:39:50,760 --> 00:39:52,359 Speaker 5: is an iconic, iconic album. 712 00:39:52,440 --> 00:39:52,960 Speaker 4: Yeah, exactly. 713 00:39:53,160 --> 00:39:55,320 Speaker 5: So they've got the Stuges have this personal connection to 714 00:39:55,520 --> 00:40:00,320 Speaker 5: Louie Louis. The live version, they get wild, they get aucus, 715 00:40:00,400 --> 00:40:03,640 Speaker 5: they get pretty vulgar. You can find some some B 716 00:40:03,880 --> 00:40:06,279 Speaker 5: sides and some studio outtakes of a cleaner version. But 717 00:40:06,360 --> 00:40:08,560 Speaker 5: I wanted to play this live version just because it 718 00:40:08,719 --> 00:40:10,560 Speaker 5: was the very last song they played at their very 719 00:40:10,600 --> 00:40:11,040 Speaker 5: last show. 720 00:40:11,480 --> 00:40:18,280 Speaker 2: I'm gonna stand up for this week, Yes. 721 00:40:21,400 --> 00:40:30,719 Speaker 5: You see. 722 00:40:30,760 --> 00:40:32,759 Speaker 7: To me, this is like full circle back to the 723 00:40:32,960 --> 00:40:36,920 Speaker 7: uh the original version with the Kingsman. It's got that thrashy, 724 00:40:37,200 --> 00:40:42,040 Speaker 7: bashy drum sound, that irreverent snotty kind of vocal. 725 00:40:42,440 --> 00:40:43,960 Speaker 5: It is really dirty garage. 726 00:40:44,400 --> 00:40:49,160 Speaker 2: And didn't they purposely change the lyrics to be offensive or. 727 00:40:49,239 --> 00:40:51,319 Speaker 5: Yeah, we're gonna have to fade this out pretty soon, 728 00:40:51,320 --> 00:40:52,640 Speaker 5: because I do get pretty old. 729 00:40:53,520 --> 00:40:55,040 Speaker 4: Let it right, we'll give it a bleed we get 730 00:40:55,080 --> 00:40:55,920 Speaker 4: we'll give it the bleep. 731 00:40:55,800 --> 00:40:56,560 Speaker 5: Treatment I want to hear. 732 00:41:02,920 --> 00:41:04,920 Speaker 4: So that's a taste of it. That's a taste. 733 00:41:05,880 --> 00:41:08,400 Speaker 7: Well, what's funny is he's doing kind of the lyrics 734 00:41:09,000 --> 00:41:13,160 Speaker 7: that the FBI said were the lyrics to the song 735 00:41:13,239 --> 00:41:13,560 Speaker 7: that they. 736 00:41:13,560 --> 00:41:15,880 Speaker 2: Weren't exactly definitely doing something similar. 737 00:41:16,040 --> 00:41:18,480 Speaker 5: Yeah, you think this is vulgar, Let's make it vulgar. 738 00:41:18,800 --> 00:41:24,520 Speaker 2: Right, which is smart. I think that's tremendously clever. So 739 00:41:24,680 --> 00:41:27,680 Speaker 2: it sounds like we have time for just one more 740 00:41:27,760 --> 00:41:29,239 Speaker 2: cover that might surprise some people. 741 00:41:29,480 --> 00:41:31,719 Speaker 5: Yeah, we're gonna go to nineteen eighty three Brooklyn for 742 00:41:31,800 --> 00:41:34,040 Speaker 5: this one. We're going away from rock and roll and 743 00:41:34,160 --> 00:41:37,440 Speaker 5: we're going to early rap. The Fat Boys The Year 744 00:41:37,480 --> 00:41:41,279 Speaker 5: of my birth Oh at fat Boy, Happy birthday, Thanks Budding. Yeah, 745 00:41:41,280 --> 00:41:45,000 Speaker 5: I'm glad you're here. Me too, Glad you're here. Oh guys, Well, 746 00:41:45,400 --> 00:41:47,120 Speaker 5: I'm glad we're gonna listen to this song. The Fat 747 00:41:47,160 --> 00:41:51,040 Speaker 5: Boys they are Brooklyn Trio, iconic rap group, kind of 748 00:41:51,040 --> 00:41:54,520 Speaker 5: a jokey rap group, but they took a really meta 749 00:41:54,680 --> 00:41:58,359 Speaker 5: approach to their version of Louie Louis, and they talked 750 00:41:58,360 --> 00:42:00,439 Speaker 5: about what we've been talking about for a while. 751 00:42:01,000 --> 00:42:23,680 Speaker 4: Full circle, my friend, it's a party jam. Yeah, yeah, 752 00:42:23,920 --> 00:42:24,960 Speaker 4: this is a banger. 753 00:42:28,000 --> 00:42:31,760 Speaker 9: About music. What day she told me about this song 754 00:42:36,080 --> 00:42:40,320 Speaker 9: cock a big frumble, big thought it was hilpy coock 755 00:42:40,360 --> 00:42:45,959 Speaker 9: the word what the lyrics. 756 00:42:48,960 --> 00:42:49,320 Speaker 5: Won. 757 00:42:50,160 --> 00:42:53,520 Speaker 2: So this is fantastic because this song is about the 758 00:42:53,760 --> 00:42:56,120 Speaker 2: history of the song they are covering exactly. 759 00:42:56,320 --> 00:42:56,520 Speaker 4: Yeah. 760 00:42:56,840 --> 00:42:59,279 Speaker 5: Yeah, So you get into the sort of meta commentary 761 00:42:59,560 --> 00:43:02,080 Speaker 5: where the the singer is talking about a song that 762 00:43:02,200 --> 00:43:04,239 Speaker 5: his mom heard and his mom is telling him about it, 763 00:43:04,320 --> 00:43:06,680 Speaker 5: and then they're singing it and there's all these layers. 764 00:43:06,760 --> 00:43:10,560 Speaker 5: So you tie in this idea of profanity, of violating 765 00:43:10,640 --> 00:43:16,359 Speaker 5: social norms, of words causing outrage but also words causing 766 00:43:16,400 --> 00:43:17,040 Speaker 5: tons of joy. 767 00:43:17,920 --> 00:43:21,040 Speaker 2: So break it down for us, Christopher, if you could. 768 00:43:22,440 --> 00:43:27,920 Speaker 2: Was there any actual validity to the rumors of obscenity 769 00:43:28,120 --> 00:43:31,360 Speaker 2: and the Kingsman's Louis Louis? Was there any reason for 770 00:43:31,440 --> 00:43:31,759 Speaker 2: the beef? 771 00:43:31,960 --> 00:43:37,640 Speaker 5: Absolutely not and totally here kay, here's the last bit 772 00:43:37,680 --> 00:43:40,200 Speaker 5: of extra credit that I'm gonna give you, guys. The 773 00:43:40,360 --> 00:43:45,640 Speaker 5: lyrics of Louie Louis contained no obscenities, but the recording. 774 00:43:45,760 --> 00:43:50,600 Speaker 5: Did the drummer drops one of his drumsticks and he 775 00:43:50,680 --> 00:43:53,640 Speaker 5: shouts out an obscenity in the background, and it made 776 00:43:53,680 --> 00:43:57,240 Speaker 5: it on the record. Nobody noticed, The FBI didn't notice, 777 00:43:57,280 --> 00:44:00,600 Speaker 5: and this is confirmed later in interviews with the drummer. 778 00:44:00,680 --> 00:44:03,520 Speaker 5: In interviews with the band, they said, Yeah, there's a 779 00:44:03,560 --> 00:44:05,879 Speaker 5: bad word in there, and if you turn up the song, 780 00:44:06,400 --> 00:44:08,160 Speaker 5: you know, you wouldn't know it at first, but if 781 00:44:08,200 --> 00:44:10,920 Speaker 5: you know what you're looking for, you're gonna hear a 782 00:44:11,000 --> 00:44:11,560 Speaker 5: knotty word. 783 00:44:11,880 --> 00:44:12,440 Speaker 4: Oh wow. 784 00:44:12,800 --> 00:44:15,879 Speaker 7: Man, just goes to show like misdirection is a hell 785 00:44:15,920 --> 00:44:18,319 Speaker 7: of a thing, right, Not not that either they were 786 00:44:18,360 --> 00:44:20,920 Speaker 7: trying to misdirect anybody, but people were so caught up 787 00:44:21,040 --> 00:44:25,360 Speaker 7: on the unintelligibility of the lyrics that their minds created 788 00:44:25,480 --> 00:44:28,479 Speaker 7: this problem that just wasn't there. All from a couple 789 00:44:28,520 --> 00:44:32,480 Speaker 7: of angry letters from irate moms and I think a 790 00:44:32,560 --> 00:44:33,160 Speaker 7: dad as well. 791 00:44:33,320 --> 00:44:35,239 Speaker 2: Yeah, and then went on to make a conspiracy. 792 00:44:35,320 --> 00:44:35,480 Speaker 4: Yeah. 793 00:44:35,480 --> 00:44:38,080 Speaker 5: It goes to show you can you can affect change 794 00:44:38,120 --> 00:44:38,879 Speaker 5: by writing a letter. 795 00:44:39,080 --> 00:44:42,239 Speaker 4: M h and uh, but maybe maybe you should, maybe 796 00:44:42,280 --> 00:44:45,400 Speaker 4: you just don't. Yeah, I just want to go Christopher, though. 797 00:44:46,360 --> 00:44:50,200 Speaker 2: We don't want to let this segment go. Thank you 798 00:44:50,400 --> 00:44:53,200 Speaker 2: so much for coming on to extra credit. Thank you 799 00:44:53,280 --> 00:44:54,319 Speaker 2: for appearing on our show. 800 00:44:54,400 --> 00:44:56,680 Speaker 5: So great to be here, you guys. And and you know, 801 00:44:56,920 --> 00:44:59,920 Speaker 5: if listeners dig this, there are tons of other cover 802 00:45:00,160 --> 00:45:03,319 Speaker 5: songs for Louis Louis they can dive into. There's Joan Jet. 803 00:45:03,840 --> 00:45:06,000 Speaker 5: There is a Barry White cover that I really really 804 00:45:06,000 --> 00:45:07,480 Speaker 5: wanted to play for you guys, but maybe we'll do 805 00:45:07,520 --> 00:45:08,040 Speaker 5: that in private. 806 00:45:08,200 --> 00:45:11,719 Speaker 7: Ye yeah, whoa, you know it's Barry White, that's true. 807 00:45:11,840 --> 00:45:15,120 Speaker 7: I remember hearing it was actually on the Wayne's World soundtrack. 808 00:45:15,160 --> 00:45:18,919 Speaker 7: I believe a Robert Plant version of it where he's, 809 00:45:19,000 --> 00:45:22,560 Speaker 7: you know, singing in his classic Zep voice and you know, 810 00:45:22,840 --> 00:45:25,359 Speaker 7: just really wailing and I couldn't understand the lyrics then either. 811 00:45:25,560 --> 00:45:27,880 Speaker 5: Yeah, there's there's a lot of live versions of Zeppelin. 812 00:45:28,320 --> 00:45:31,000 Speaker 5: There's a great live Bruce Springsteen version from a couple 813 00:45:31,000 --> 00:45:34,279 Speaker 5: of years ago. There's a Smashing Pumpkins version. Noel, Yeah, 814 00:45:34,440 --> 00:45:35,560 Speaker 5: I gotta say it's not that great. 815 00:45:35,800 --> 00:45:37,640 Speaker 4: Well, I can't imagine it would be. And I'm also 816 00:45:37,680 --> 00:45:38,319 Speaker 4: there dead to me. 817 00:45:38,680 --> 00:45:42,640 Speaker 2: So at this at this point, to me, this is 818 00:45:42,920 --> 00:45:46,320 Speaker 2: this is an historic moment for our show, because folks 819 00:45:46,440 --> 00:45:49,919 Speaker 2: ridiculous his stories. You're finally able to meet the guy 820 00:45:50,080 --> 00:45:52,360 Speaker 2: that we talk about so much, and I think he 821 00:45:52,480 --> 00:45:53,719 Speaker 2: measures up to the height. 822 00:45:54,000 --> 00:45:56,960 Speaker 4: Hi, everybody, I agree, this is a lot of fun. 823 00:45:57,080 --> 00:45:58,960 Speaker 4: So thank you Christopher for joining us. 824 00:45:59,560 --> 00:46:02,600 Speaker 7: Thanks to our super producer Casey Pegram and Alex Williams, 825 00:46:02,640 --> 00:46:03,920 Speaker 7: who composed our theme. 826 00:46:04,520 --> 00:46:09,480 Speaker 2: Most importantly, thanks to you for tuning in if you 827 00:46:09,640 --> 00:46:13,080 Speaker 2: had twenty percent as much fun listening to this as 828 00:46:13,320 --> 00:46:17,600 Speaker 2: we did recording it. That our work here is done, 829 00:46:18,520 --> 00:46:22,320 Speaker 2: stay tuned and check us out our next episode, we 830 00:46:22,520 --> 00:46:27,879 Speaker 2: explore the Albasas War, a forty year conflict sparked by 831 00:46:28,239 --> 00:46:29,759 Speaker 2: and you guys know this is big for me because 832 00:46:29,760 --> 00:46:33,440 Speaker 2: iways talking about feathers on camel's backs sparked by feathers 833 00:46:33,960 --> 00:46:39,239 Speaker 2: a camel. Oh So in the meantime, let us know 834 00:46:39,400 --> 00:46:42,480 Speaker 2: what your favorite cover of Louie Louis is. You can 835 00:46:42,520 --> 00:46:45,440 Speaker 2: find us on Instagram, Facebook, and Twitter, where we are 836 00:46:45,560 --> 00:46:50,080 Speaker 2: Ridiculous History or some variation thereof. You can also check 837 00:46:50,120 --> 00:46:53,880 Speaker 2: out our community page Ridiculous Historians. 838 00:46:53,680 --> 00:46:55,520 Speaker 5: And Ben maybe we can post some of these versions 839 00:46:55,600 --> 00:46:56,520 Speaker 5: in that community group. 840 00:46:56,760 --> 00:46:59,200 Speaker 4: Oh, I think that's a great idea perfect. See you 841 00:46:59,280 --> 00:46:59,920 Speaker 4: next time, everybody. 842 00:47:05,719 --> 00:47:09,520 Speaker 7: For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple podcasts, 843 00:47:09,640 --> 00:47:11,720 Speaker 7: or wherever you listen to your favorite shows.