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Speaker 1: Oh yeah, you know what that sound means of Deltic

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Speaker 1: keys and death and do I oh yeah yeah yeah,

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Speaker 1: oh raby we gotta go, here we go. Here's the

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Speaker 1: part where we really gets understand. That's fine, bole and

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Speaker 1: popper and boo stop stop yeah the sho choose that

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Speaker 1: got fod I. These are the Kingsman, this is Louie Louie.

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Speaker 1: Here we are. Wow, what a day, what a time

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Speaker 1: to be alive. And that music comes to us, of

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Speaker 1: course courtesy of our super producer, Casey Pegrom. But no,

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Speaker 1: why are we playing Louie Louis today? Because you see,

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Speaker 1: Ben Louie Louie has a bit of a sortid past

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Speaker 1: the song, this version in particular by the Kingsman, and

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Speaker 1: that it was investigated by none other than the Federal

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Speaker 1: Bureau of Investigation for being potentially obscene. And if you

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Speaker 1: couldn't tell by our rambling sing along and the beginning

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Speaker 1: to show this is kind of a bit of a

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Speaker 1: joke because you can't really understand a word these guys

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Speaker 1: are saying. Right, the FBI did not just give this

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Speaker 1: a cursory investigation. They investigated this particular version of the song.

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Speaker 1: It is not a people believe the original version of

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Speaker 1: the song it's cover, and they investigated the Kingsman version

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Speaker 1: for two years. Specifically it's crazy, Yeah, specifically the lyrics

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Speaker 1: of the song, which might sound kind of crazy and

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Speaker 1: a weird order of priorities for the FBI, but it's

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Speaker 1: actually part of their job to fight obscenity. They take

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Speaker 1: these kinds of complaints from angry, waspy middle class mothers

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Speaker 1: very seriously. And that is exactly what kicked off this investigation.

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Speaker 1: My friend, right, they received a letter from someone at

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Speaker 1: sarah Sota High School who said the lyrics to the

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Speaker 1: song were quote so filthy that I cannot endorse them.

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Speaker 1: In this letter. We all know there is obscene materials

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Speaker 1: available for those who seek it. But when they start

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Speaker 1: sneaking in this material in the guise of the latest

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Speaker 1: teenage rock and roll hit record, these morons have gone

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Speaker 1: too far. Oh these morons? Well, which morons you're talking about?

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Speaker 1: Like the purveyors have said, smart, I guess so some

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Speaker 1: international conspiracy guys in the band to spread dirty words.

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Speaker 1: Who were the guys in the band? What's the history

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Speaker 1: of the Kingsman? Excellent question. The old the Kingsman, uh

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Speaker 1: were or the excuse me, and they're still around. Uh,

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Speaker 1: garage rock band from Portland, Oregon. And the guy who

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Speaker 1: ended up singing this version of Louis Louis that we

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Speaker 1: opened the show with was invited to the band in

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Speaker 1: nineteen fifty nine. I believe he got the boot pretty

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Speaker 1: shortly after. Yeah, he didn't sing on all their songs,

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Speaker 1: but he did sing on the one that I would

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Speaker 1: say they're most well known for this song, would you agree?

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Speaker 1: I certainly don't know that for anything else. Yeah, And

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Speaker 1: it's interesting too because this band does live on this

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Speaker 1: particular version of this song as an influence from for

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Speaker 1: a lot of like kind of grungy, garagey punk type stuff,

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Speaker 1: everything from like Black Flag to iggy pop. And we'll

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Speaker 1: we'll get into a little bit more of that that

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Speaker 1: that kind of rock and roll history connection a little

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Speaker 1: for there down the line. So the original kingsmen Um

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Speaker 1: were Don Galucci, Jack Eli, who was the singer in question,

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Speaker 1: Lynn Easton, Mike Mitchell, and Bob Norby, and these fellas

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Speaker 1: booked a recording session at a studio in Portland, Oregon,

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Speaker 1: which was at Northwest thirteen Avenue in Burnside Street, and

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Speaker 1: it was a little bit of an odd setup, wasn't

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Speaker 1: it Ben? It was null first, which established the session

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Speaker 1: only cost fifty bucks. The band split it amongst themselves

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Speaker 1: because they didn't have a label. They were just doing

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Speaker 1: this on spec right, and their producer for the session

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Speaker 1: was a guy named Ken Chase, a local radio personality

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Speaker 1: at a station called U K I s N or

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Speaker 1: wait for it, Kissing. He he also owned a nightclub

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Speaker 1: where the Kingsman regularly performed, so he was the producer

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Speaker 1: and that was their connect that was there in. Their

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Speaker 1: actual audio engineer was the I owned the studio, whose

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Speaker 1: name was Robert Lindall, and apparently he had some really

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Speaker 1: particular ideas about how the studio should be set up.

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Speaker 1: You can hear Jack Eli explaining some of the physicalities

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Speaker 1: of the room. Um let's let's just throw to a

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Speaker 1: clip with him in his own words. In order to

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Speaker 1: capture what Ken thought was the live sound, he had

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Speaker 1: us set up in a circle with me standing in

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Speaker 1: the middle singing into the mic, and and it still

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Speaker 1: didn't sound quite right. He had run through about eight

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Speaker 1: bars or so and it still didn't sound quite right

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Speaker 1: to him, So he had a technician come in and

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Speaker 1: take the mic and put it on a boom and

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Speaker 1: stick it up at the ceiling. It's about a fifteen

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Speaker 1: foot ceiling, so the mic was hanging probably I don't know,

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Speaker 1: eighteen off the ceiling, and I was directly under it,

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Speaker 1: leaning my head back, yelling up at this mic. And

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Speaker 1: it didn't have anything to do really with how far

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Speaker 1: the mic was away from me. What it really had

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Speaker 1: to do with is how words get in thenciated when

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Speaker 1: your heads tipped all the way back and you're yelling up.

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Speaker 1: Because you see, Louis Louie didn't come out like Louie Louie.

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Speaker 1: I would say it when I'm standing facing normal, when

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Speaker 1: my head is all stretched up and back, it came

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Speaker 1: out lou So eventually, long story short, they end up

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Speaker 1: putting these microphones on the ceiling and it's like fifteen

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Speaker 1: ft high. I don't quite understand the function of that.

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Speaker 1: I read somewhere saying so it would sound like a

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Speaker 1: live concert, but it was like it's is it literally

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Speaker 1: a one mic set up? That's like, it's so funny

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Speaker 1: when you hear the recording, it's it sounds, you know,

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Speaker 1: kind of raunchy and low five, but there's pretty good separation.

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Speaker 1: Um but that vocal is what really stands out, because

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Speaker 1: it does sound very low in the mix, So I

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Speaker 1: imagine had to have been a very minimally mike such

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Speaker 1: situation where this mike was a high and apparently he

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Speaker 1: had to crane his neck at like a forty five

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Speaker 1: degree angle and kind of shout saying up and up

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Speaker 1: into the air to get over the din of the

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Speaker 1: of the band, and the drummer is just pound in

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Speaker 1: a way it's like, well, yeah, yeah, he uh. He

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Speaker 1: does mention that it's difficult to enunciate in a normal

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Speaker 1: way when you have your neck physically positioned to aim

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Speaker 1: in a shout at the ceiling, because he was also

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Speaker 1: shouting to be heard over the music, and he had

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Speaker 1: braces that had just been tightened. And that's such a

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Speaker 1: funny detail, such a strange aspect to the story. For

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Speaker 1: anyone interested, you can also go on YouTube and see

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Speaker 1: some early live appearances there are The King's been around

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Speaker 1: a show called Shin Dig and it's much easier to

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Speaker 1: hear what Jack is saying, or we should say, rather

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Speaker 1: to discern what Jack is saying. But most people, let's

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Speaker 1: be honest, they're not going to be watching that live version.

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Speaker 1: They're gonna listen to the iconic it's right. And I'll

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Speaker 1: tell you man, Shin Dig was a pretty risk a

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Speaker 1: show at the time, because I swear some of these

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Speaker 1: gals are showing shin what's happening, you know, when they're

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Speaker 1: cutting their rugs, you know. And so this this song,

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Speaker 1: it hits the charts, but it doesn't quite get to

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Speaker 1: number one. And I think there's a story that that

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Speaker 1: you found particularly fascinating about the song that beat it. Yeah,

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Speaker 1: it's a little weird, kind of melancholy aside, but um,

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Speaker 1: why not. We're all about little asides. Um. It's a

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Speaker 1: song called dominique um and it is a French language song,

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Speaker 1: which is so interesting to me that that topped the charts.

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Speaker 1: And you may have heard this song if you watched

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Speaker 1: the show American Horror Story, specifically the Asylum season Dominica

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Speaker 1: Alipo dominis alvisual you might remember this is the one

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Speaker 1: that Sister Jude was the only song that she approved of,

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Speaker 1: and there's an interesting reason behind that. There's a great

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Speaker 1: article on Noisy called what you Didn't Know about that song?

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Speaker 1: You hear on American Horror Story every week from back

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Speaker 1: when this show was current. So the woman I'm credited

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Speaker 1: with this hit was a Belgian singer by the name

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Speaker 1: of Janine Decker's and she went by the name the

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Speaker 1: Singing Nun or um it needs to helped me out

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Speaker 1: with this Casey casey on the case. Yeah, that would

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Speaker 1: be pronounced sir sir year, which is sister smile in French,

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Speaker 1: sister smile ladies and gentlemen, Casey on the case. So

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Speaker 1: she's sister smile, uh or a k a the singing

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Speaker 1: Nun a k a. Jannine Deckers and the singing Nun

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Speaker 1: in English speaking countries. That's right, that's right. And this

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Speaker 1: song was a huge hit. It was number one. It

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Speaker 1: totally bumped the It didn't give the Kingsman a chance.

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Speaker 1: For some it's just crazy to me that this song

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Speaker 1: was such a massive hit. Uh. And and it's so

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Speaker 1: kind of more or less forgotten now, you know, compared

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Speaker 1: to Louie Louis, which is iconic in many ways. It

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Speaker 1: was an interesting it was an interesting year for music.

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Speaker 1: This is specifically uh, nineteen sixty three, right, right, Yeah,

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Speaker 1: it's interesting because we've got one song that's entirely in

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Speaker 1: French and then one song that is considered more or

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Speaker 1: less largely unintelligible. But there's a little more to the

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Speaker 1: story of the Singing Nun there is um. One of

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Speaker 1: the interesting things that this noisy article points out is

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Speaker 1: that Dominique Uh, the saint in question, um, was the

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Speaker 1: founder of the particular religious order that brought about the

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Speaker 1: Spanish Inquisition. So that goes hand in hand with some

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Speaker 1: of the grizzliness on American horror story. And this is interesting, Um.

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Speaker 1: This Jenine Decker ended up having a female partner, um

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Speaker 1: back during a time where open, you know, homosexuality was

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Speaker 1: just very very taboo, and she ended up signing or

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Speaker 1: agreeing to a suicide pact with her and in when

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Speaker 1: they're still together, Um, they overdosed on barbiturous together and

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Speaker 1: left a note that said, we have reached the end

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Speaker 1: spiritually and financially and now we go to God. And

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Speaker 1: that was her partner was Annie Petyer, that's right, who

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Speaker 1: was I think a little a little bit younger. But

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Speaker 1: they had a very deep and loving relations. And now

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Speaker 1: it's it's such a sad story, but I think so interesting,

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Speaker 1: absolutely worth Mentioning back to the Kingsman, the fantastic article

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Speaker 1: in the New Yorker by Anwin Crawford called is this

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Speaker 1: the dirtiest song of the sixties? And again for for

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Speaker 1: at least two years, the FBI certainly thought so. So

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Speaker 1: Robert Kennedy. It gets involved in this because he Robert Kennedy.

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Speaker 1: He Robert Kennedy because he receives letters personally complaining about

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Speaker 1: the songs possible or perceived obscenity. Once it blows up

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Speaker 1: and its number two on the Billboard single chart and

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Speaker 1: Father of a teenage Girl in particular, writing to Kennedy,

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Speaker 1: said this land of ours is headed for an extreme

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Speaker 1: state of moral degradation. And people started sending in various

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Speaker 1: versions of what they perceived the lyrics to be. And

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Speaker 1: they're pretty they're pretty filthy. Have you read some of them? Have?

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Speaker 1: And it just goes to show that like the most

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Speaker 1: puritanical seeming mind can still be in the gutter when

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Speaker 1: you think you're trying to find filth everywhere. Yeah, that's

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Speaker 1: the thing. This is such a worshacked test kind of

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Speaker 1: thing for me, because the lyrics really are utter gobbledegook, right,

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Speaker 1: You could you could read the real lyrics there if

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Speaker 1: you if you haven't seen the real lyrics yet then

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Speaker 1: do check them out, but wait till the end of

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Speaker 1: this podcast. Just keep going with us a little bit further.

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Speaker 1: We promise it's worth it. Some of the perceived lyrics

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Speaker 1: or the lyrics that people thought they were hearing are

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Speaker 1: things like we'll have to do an edited version of this.

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Speaker 1: But every night and day I play with my thing,

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Speaker 1: bleep your girl, all kinds of ways, all the way

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Speaker 1: multitude six ways to Sunday. As they say, yeah, and

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Speaker 1: it's it's interesting too because when this really starts to

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Speaker 1: heat up and investigation is going on, apparently the what

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Speaker 1: they call him g men, Right, they'd go to the

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Speaker 1: clubs and can see the band and try to lips,

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Speaker 1: like read their lips or whatever to try to like

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Speaker 1: see what the secret lyrics where I do just think

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Speaker 1: this is such a funny witch hunt kind of situation. Yeah,

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Speaker 1: because Jed gro Hoover was involved, man, he was on

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Speaker 1: the case. They have other stuff to do in so

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Speaker 1: this intense concern on the part of the FBI even

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Speaker 1: went to the levels of laboratory investigations. Right, they played

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Speaker 1: the record multiple times, sometimes at different speeds. It's right, yeah,

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Speaker 1: and um, it's crazy. You can actually get like. There's

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Speaker 1: a collection of memos on the FBI's website Vault dot

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Speaker 1: FBI dot gov. Um Louis Dash, Louie Dash, the Dash

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Speaker 1: Song slash Louis Dash, Louis Dash the DA Song slash

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Speaker 1: view and you can see this entire collection of every

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Speaker 1: document associated with it, including the original complaints, including the

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Speaker 1: perceived lyrics and several other things, and including ultimately the

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Speaker 1: fact that yeah, there really wasn't anything. There was a

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Speaker 1: whole lot of inks built for nothing. And I'll tell

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Speaker 1: you why. The original version of this song was written

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Speaker 1: by a guy named Richard Barry Um and he was

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Speaker 1: trying to capitalize on this like Calypso craze, you know,

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Speaker 1: like Harry Belafonte and you know, come miss that mister

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Speaker 1: tally man, tally me banana and all that stuff. Deo um.

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Speaker 1: So he sang this song in that style with kind

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Speaker 1: of a fake Jamaican patois right? Can we hear a

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Speaker 1: little clip of that don't don't don't, don't don't fin

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Speaker 1: me for crows see? And something happened to Barry that

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Speaker 1: was unfortunately common for a lot of musicians at this time.

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Speaker 1: He signed away his rights to the song in ninety nine,

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Speaker 1: so he was not widely associated with it, nor did

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Speaker 1: he reap any profit. But you can agree just with

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Speaker 1: that cursory. Listen, it's a much different version, Isn't that correct?

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Speaker 1: It's a much different version. And it also points out

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Speaker 1: that the lyrics, if sung as written, are pretty benign um.

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Speaker 1: There's a little talk of of the love of a lady,

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Speaker 1: but it's all very you know, gentlemanly, and it's about

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Speaker 1: missing your gal when you're when you're a sailor and

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Speaker 1: you're you're off to see and and waiting to get

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Speaker 1: back to her, and it's all very romantic and not

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Speaker 1: at all Six Ways to Sunday not at all untoward.

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Speaker 1: And that that goes back to what I was saying

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Speaker 1: earlier about how you can see the Kingsman versions live

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Speaker 1: when they're not shouting to the ceiling. Oh do we

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Speaker 1: also mention that when they were in the studio, uh,

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Speaker 1: the engineer and producer had the entire band surround Jack

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Speaker 1: Eli in a circle while they were a whaling all

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Speaker 1: that stuff. Yeah, it sounds like this guy was not

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Speaker 1: exactly a pro. But I think in those days there

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Speaker 1: was a lot more like sharing microphones and just kind

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Speaker 1: of like the tiny desk concert treatment, right right, I

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Speaker 1: have that one mic and you arrange everybody so that

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Speaker 1: they get a good spread of sound, but it's all

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Speaker 1: going to this one um capturing. Yes. The weird thing

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Speaker 1: about this investigation too, is you heard us mention the

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Speaker 1: laboratory examinations. They did play the record at different speeds.

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Speaker 1: They attempted to discern or divine a meaning that did

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Speaker 1: not necessarily exist, and they found that even in their

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Speaker 1: examination in an FBI lab they found the lyrics still

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Speaker 1: to be an intelligible, which I think is a bit um,

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Speaker 1: a bit absurd, but even more absurd. At no time ever,

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Speaker 1: did they write to Jack Eli, the guy who sang

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Speaker 1: the song. It was as simple as just asking him, Hey,

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Speaker 1: what is this? Yeah, exactly, And it did come out

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Speaker 1: later from Eli himself when quizzed about this eventually that

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Speaker 1: he that it was a faithful cover of of the

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Speaker 1: of the original version by Richard Barry and if you

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Speaker 1: didn't catch it, and when we played it back, the

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Speaker 1: lyrics to that are Louis Louis, Oh baby me, me

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Speaker 1: gotta go right and then a fine little girl she

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Speaker 1: waits for me, catch the ship across the sea. I

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Speaker 1: sailed the ship all alone. I never think I'll make

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Speaker 1: it home, you know. But that little one two three

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Speaker 1: one two one two three is just rife for just

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Speaker 1: put in whatever syllables you want and just just freestyle it,

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Speaker 1: you know. And that riff, that that riff that atually

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Speaker 1: didn't come from Barry, did it. It didn't. It came

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Speaker 1: from what was it? A Cuban American bandleader named Renee

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Speaker 1: Tuse's tune El Loco cha cha. Yeah. His his version

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Speaker 1: had it played on piano with a with a nice

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Speaker 1: brass song. But even that song reputedly is based on

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Speaker 1: another Cuban tune. Yes, it's crazy, how you see that

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Speaker 1: happening um with things kind of mutating over time or

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Speaker 1: just being wholesale ripped off to check out how still

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Speaker 1: how square the government comes across at this point, Uncle

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Speaker 1: Sam reaches out through multiple institutions, not just the FBI.

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Speaker 1: A guy named Ben F. Wopple, who I will reluctantly say,

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Speaker 1: go Bins too, because he doesn't sound like a bad person,

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Speaker 1: just super confused, he wrote to wand Records. He was

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Speaker 1: the Secretary of the Federal Communications Commission and uh or FCC.

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Speaker 1: He wrote in October of nineteen sixty three to the

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Speaker 1: record company and asked whether, even though unobjectionable lyrics were

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Speaker 1: used in recording the song, there was improper motivation on

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Speaker 1: the parts of the singers in making the recorded lyrics

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Speaker 1: so unintelligible as to give rise to reports that they

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Speaker 1: were obscene. Whoa whoa, whoa, whoa whoa America, Get your

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Speaker 1: mind out of the gutter, is what I say to

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Speaker 1: That's so ridiculous. That's the dumbest thing I've ever heard

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Speaker 1: in my life. How dare you shroud the content of

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Speaker 1: your lyrics in mumbly, far away recorded nous because my

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Speaker 1: mind is obviously going to turn them into smut, right,

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Speaker 1: and it's phrased in such a circuitous, unnecessarily verbose way.

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Speaker 1: That's that's that's it's like a conspiracy theory. He's asking

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Speaker 1: them about a conspiracy. We also want to point out

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Speaker 1: the Kingsman did not directly. They didn't see Barry's song

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Speaker 1: and say ah, that's mine now. They they took it

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Speaker 1: from another cover version by a group called the Whalers,

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Speaker 1: like Bob Marley and the Whalers. I don't think so.

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Speaker 1: I don't think so. Um they their version of the

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Speaker 1: song came out in nineteen sixty one for that for

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Speaker 1: them whalers different whalers. And again you know the kingsmen

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Speaker 1: here are not are not like these sharky people out

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Speaker 1: to rip off and plagiarize. This is a song they

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Speaker 1: heard on jukeboxes around Portland's and Jackieli brought it to

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Speaker 1: rehearsal because he thought it was cool. They were a

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Speaker 1: house band. Oh, not to mention. They are just a

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Speaker 1: pack of dapper young lads, fresh faced youth. Looked like

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Speaker 1: they'd be, you know, playing the Enchantment, under the Sea

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Speaker 1: Dance and back to the Future. I mean, really clean cut.

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Speaker 1: They do not look like some kind of you know,

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Speaker 1: raunchy greaser's. But it's cool though. When you hear the recording,

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Speaker 1: it has this fun, live, raw quality to it. Yeah,

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Speaker 1: the way the vocals are recorded, the way the drums

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Speaker 1: are so in your face, the way that keep words

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Speaker 1: sounds that I understand what an influential recording this was

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Speaker 1: separated from all the controversy. Yeah, it's it's catchy. It's

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Speaker 1: catchy enough that you don't have to speak English or

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Speaker 1: know what they're saying to enjoy the actual song. Itself again.

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Speaker 1: If you don't believe us, and do you think there

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Speaker 1: is something a bit uh sinister and raunchy about this song,

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Speaker 1: please go check out their live performances. They're doing that

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Speaker 1: little jaunty move, the where they go shoulder to shoulder

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Speaker 1: up and down when when they're singing or playing the

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Speaker 1: way that a lot of fifties and sixties boy bands

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Speaker 1: they're Yeah, they're bopping and bopping, and it looks like

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Speaker 1: the most innocuous thing. It looks It looks like a guy. Honestly,

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Speaker 1: it looks like a guy who has never been a

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Speaker 1: sailor singing a song he heard about a girl from

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Speaker 1: a sailor. Man. I have a proposition for you. I

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Speaker 1: think I can of anticipate this proposition. What do you

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Speaker 1: say we extend this conversation, widen this net with a

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Speaker 1: little extra credit. Sounds great. This is our second time

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Speaker 1: doing our extra credit segment, which is the second time, Yeah,

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Speaker 1: only a second time, which is where we go above

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Speaker 1: and beyond and look to our wonderful friends, colleagues and

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Speaker 1: collaborators for some assistance and friends, neighbors. We mentioned one

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Speaker 1: guy on our show quite a bit, but you may

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Speaker 1: be wondering if he's a real person or if we

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Speaker 1: just made him up. Well, the rumors are true. He

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Speaker 1: is real. We have him here today, Friends and neighbors.

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Speaker 1: Christopher haciotas you guys, I am real. I've I've been

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Speaker 1: sitting over there this whole time here. He's always been

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Speaker 1: con He's like Jack Torrance and the Shining, He's just

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Speaker 1: always been there wherever there's a need for research on

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Speaker 1: a podcast. Yeah, we're lucky to have you as our

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Speaker 1: research caretaker. I'm happy to be here. Thanks for coming

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Speaker 1: on the show Man Now off air, you reached out

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Speaker 1: to us because this really inspired you to dig into

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Speaker 1: the story. Right, Like Louie Louis, I feel like it's

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Speaker 1: struck a personal chord with you. Well, in a in

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Speaker 1: a past life, if I'm honest, I was a music journalist.

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Speaker 1: And that's not just an imaginary past life, that's a

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Speaker 1: real past life. A lot of my career early on,

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Speaker 1: I was out late at clubs seeing rock bands, just

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Speaker 1: kind of soaking in music. I used to DJ dance

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Speaker 1: parties and yeah, yeah, like I said, a past life,

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Speaker 1: but um yeah, so I spent probably I don't know,

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Speaker 1: an hour more than I should have just digging deep

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Speaker 1: into different versions of Louis Louis because it's one of

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Speaker 1: the most covered, most recorded songs out there, if not

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Speaker 1: the most And uh, I honestly I could have spent

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Speaker 1: hours more doing it, but I thought I would bring

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Speaker 1: you guys some of those versions. I'm sure I had

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Speaker 1: to retroactively make a joke. Its song must have actually

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Speaker 1: struck three chords with you A D and E minor.

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Speaker 1: Is that what you were looking up? Yeah? Yeah, it

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Speaker 1: was worth it, so Christopher, as you know, since you

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Speaker 1: were here the whole time. Earlier we talked a little

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Speaker 1: bit about the origins of Louis Louis, and I did

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Speaker 1: not know it was so extensively covered until you showed

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Speaker 1: us this astonishing list which has some surprising bands on it.

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Speaker 1: Did you notice that? Note I did. I have a

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Speaker 1: theory though, because it's such an open ended song that's

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Speaker 1: three chords and it's just easy to just kind of

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Speaker 1: go to town on vocally, as evidenced by the Kingsman version,

395
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Speaker 1: and why it was such a headache for the FBI

396
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Speaker 1: because this guy is just kind of like mumbling all

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Speaker 1: this crazy stuff. It could be anything. I think that's

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Speaker 1: got like an appeal where it's like, I want to

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Speaker 1: do my own crazy rambling version of Louis lou Yeah,

400
00:25:54,680 --> 00:25:57,480
Speaker 1: it's it's it's a pretty basic song. And that goes

401
00:25:57,520 --> 00:26:00,359
Speaker 1: back to actually its origins what you guys talked about

402
00:26:00,800 --> 00:26:03,600
Speaker 1: a little bit. But the origins of rock and roll

403
00:26:03,960 --> 00:26:07,679
Speaker 1: are in rhythm and blues and the African American musical experience.

404
00:26:08,080 --> 00:26:10,159
Speaker 1: But one of the most ridiculous things about rock history

405
00:26:10,320 --> 00:26:14,920
Speaker 1: is the under explored influence of Latin music on rock

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Speaker 1: and roll. Usually I would say Cuban American music. So

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Speaker 1: Richard Barry, who wrote Louis Louis, back in nineteen he

408
00:26:25,520 --> 00:26:28,600
Speaker 1: was at a club and he heard this band, Ricky

409
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Speaker 1: Rihira and the Rhythm Rockers, say it five times fast,

410
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Speaker 1: Ricky Rihira and the Rhythm Rockers, And they were playing

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Speaker 1: a cover version of a song popular at the time

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Speaker 1: in the mid fifties, a song by Renee Tuesday. It

413
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Speaker 1: was called Loco Chacha. So I look at you, guys,

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Speaker 1: I think you're gentlemen of the world. You're probably skilled

415
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Speaker 1: at ballroom dance. So you take your typical choca and

416
00:26:53,800 --> 00:27:00,439
Speaker 1: how does that go? You've got one to three four exactly. Now,

417
00:27:00,800 --> 00:27:04,959
Speaker 1: what's really crazy. What's really loco? What if you flipped

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00:27:04,960 --> 00:27:13,879
Speaker 1: it to one to three four genius? So, uh, flipping

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00:27:13,920 --> 00:27:16,240
Speaker 1: this group making a whole new thing exactly. And we've

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Speaker 1: actually we've got Renee Tuesday's version of a loco cha chaw.

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00:27:20,200 --> 00:27:22,400
Speaker 1: Maybe Casey can cue it up a bit. I would

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00:27:22,440 --> 00:27:24,800
Speaker 1: love to hear in real time. Let's check it out.

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Speaker 1: Got that nice Latin cowbell action. I feel good for

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00:27:31,119 --> 00:27:35,720
Speaker 1: everybody listening. We all infially started nodding, Oh hear that

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00:27:35,800 --> 00:27:41,119
Speaker 1: horn section. Yeah. And so this is the tune that

426
00:27:41,280 --> 00:27:44,399
Speaker 1: Richard Berry heard a cover version of, and the story

427
00:27:44,440 --> 00:27:47,400
Speaker 1: goes he he loved it so much that he said,

428
00:27:47,800 --> 00:27:51,080
Speaker 1: I want to write a song to this tune, which

429
00:27:51,119 --> 00:27:52,880
Speaker 1: you know, I guess you could do it the day. Yeah,

430
00:27:53,080 --> 00:27:56,440
Speaker 1: So just a very diplomatic way of saying, I'm gonna

431
00:27:56,440 --> 00:27:58,320
Speaker 1: have that. I like that. Yeah, I don't want to

432
00:27:58,359 --> 00:28:00,560
Speaker 1: work too hard, so I'm gonna take this well. He

433
00:28:00,600 --> 00:28:03,080
Speaker 1: wrote his own lyrics that he did, and reportedly he

434
00:28:03,119 --> 00:28:07,280
Speaker 1: wrote them that night at the club on either depending

435
00:28:07,280 --> 00:28:11,639
Speaker 1: on who you hear from, a napkin or paper, perhaps

436
00:28:11,640 --> 00:28:14,359
Speaker 1: a matchbook. Yeah, I don't know, that's my version. We

437
00:28:14,400 --> 00:28:16,159
Speaker 1: talked a little bit earlier in the show about the

438
00:28:16,200 --> 00:28:19,439
Speaker 1: fact that there was this kind of Calypso craze at

439
00:28:19,480 --> 00:28:23,879
Speaker 1: the time that was hot business, and Um Barry, in

440
00:28:23,920 --> 00:28:28,639
Speaker 1: addition to being having a very perceptive ear picking up

441
00:28:28,640 --> 00:28:31,760
Speaker 1: on something that he thought might hit, he also wanted

442
00:28:31,760 --> 00:28:34,960
Speaker 1: to capitalize on this Calypso craze. And it totally works

443
00:28:35,600 --> 00:28:37,800
Speaker 1: in that genre, especially the fact that he's sang it

444
00:28:37,800 --> 00:28:41,760
Speaker 1: with kind of a fake Jamaican right exactly, and that

445
00:28:41,920 --> 00:28:45,520
Speaker 1: what we've confirmed, right, that is absolutely affectation. Correct. Yes,

446
00:28:45,720 --> 00:28:49,520
Speaker 1: So in this strange agglomeration of what could be called

447
00:28:50,120 --> 00:28:55,720
Speaker 1: aggressive covering or plagiarization, Uh, we see a pattern that

448
00:28:55,800 --> 00:28:58,880
Speaker 1: continues even to the modern day. What are some of

449
00:28:58,920 --> 00:29:02,560
Speaker 1: the strangest vers you found? So there's a wide variety

450
00:29:02,600 --> 00:29:05,240
Speaker 1: of covers of this song, from the traditional to the

451
00:29:05,400 --> 00:29:07,800
Speaker 1: really kind of off the wall. Um. I wanted to

452
00:29:07,960 --> 00:29:12,480
Speaker 1: start out with one that is from nineteen. We're here

453
00:29:12,520 --> 00:29:15,160
Speaker 1: in Georgia recording, so I thought I'd go with a

454
00:29:15,200 --> 00:29:19,040
Speaker 1: Georgia recording artist. Mr Otis reading, Oh yeah, all right,

455
00:29:19,120 --> 00:29:21,520
Speaker 1: so you've got a kind of a really soulful R

456
00:29:21,600 --> 00:29:24,200
Speaker 1: and B version of Louis Louis, I Love Me Some

457
00:29:24,280 --> 00:29:42,120
Speaker 1: Otis let's hear it. Oh buddy, there, it's making it

458
00:29:42,160 --> 00:29:45,160
Speaker 1: his own. He doesn't have to go and he's doing

459
00:29:45,200 --> 00:29:49,200
Speaker 1: a bit of a Louis lua, which I like, Yeah, well,

460
00:29:49,200 --> 00:29:51,560
Speaker 1: you see what I'm saying. Lou It's just rife for

461
00:29:51,720 --> 00:29:56,600
Speaker 1: ad living, right, It's almost like a modern folk ballad

462
00:29:56,720 --> 00:29:59,600
Speaker 1: where it seems no one really owns it and everyone

463
00:29:59,720 --> 00:30:01,720
Speaker 1: makes at their own when they recording. Well. And one

464
00:30:01,720 --> 00:30:03,800
Speaker 1: of the things I like about Louie Louis, and especially

465
00:30:03,800 --> 00:30:07,480
Speaker 1: it's tradition of having unintelligible lyrics to a certain degree,

466
00:30:08,080 --> 00:30:11,480
Speaker 1: is I think it really shines when the singer's voice

467
00:30:11,520 --> 00:30:14,080
Speaker 1: itself just has a feeling. And I think that is

468
00:30:14,440 --> 00:30:17,040
Speaker 1: I mean, otis reading his voice. He could sing whatever,

469
00:30:17,520 --> 00:30:19,920
Speaker 1: and clearly he is, and you just feel it, you know,

470
00:30:19,960 --> 00:30:23,960
Speaker 1: I mean. Um So in the sixties, there are a

471
00:30:24,040 --> 00:30:26,480
Speaker 1: lot of other covers of Louis Louis that kind of

472
00:30:26,520 --> 00:30:28,880
Speaker 1: go along the same lines as the Kingsman version. You know,

473
00:30:28,920 --> 00:30:31,640
Speaker 1: You've got the Trogs, the Sonics do a much kind

474
00:30:31,640 --> 00:30:34,920
Speaker 1: of dirtier garage rock version. Those are all great, but

475
00:30:35,000 --> 00:30:37,480
Speaker 1: let's dive into one that's a little weirder. This is

476
00:30:37,520 --> 00:30:40,240
Speaker 1: still sort of in the rock genre. But I've got

477
00:30:40,280 --> 00:30:43,840
Speaker 1: a guy named Mike Deasy. Now Mike Deasy, he's a

478
00:30:43,880 --> 00:30:47,200
Speaker 1: studio pro, He's a guitar guy. So this guy has

479
00:30:47,240 --> 00:30:50,760
Speaker 1: appeared on recordings by the Everly Brothers by Richie Vallens.

480
00:30:50,800 --> 00:30:53,760
Speaker 1: He toured with the Coasters. He was in the Wrecking Crew,

481
00:30:53,800 --> 00:30:57,520
Speaker 1: which was the famous recording band who backed up recordings

482
00:30:57,520 --> 00:31:00,640
Speaker 1: like Pet Sounds. He played on albums by Monkeys by

483
00:31:00,640 --> 00:31:06,000
Speaker 1: Michael Jackson, Frank Zappa, Sinatra streisand this guy Mike Deasy

484
00:31:06,480 --> 00:31:09,280
Speaker 1: was one of the guitarists on the stage for Elvis

485
00:31:09,320 --> 00:31:15,440
Speaker 1: Presley Comeback Special, that TV special The Black Yeah and Um,

486
00:31:15,440 --> 00:31:17,800
Speaker 1: and Mike Deasy was one of the guitarists. So this guy,

487
00:31:18,080 --> 00:31:21,560
Speaker 1: Mike has a long career of backing up other folks.

488
00:31:22,080 --> 00:31:25,160
Speaker 1: But in nineteen sixty seven he put out his own

489
00:31:25,320 --> 00:31:28,960
Speaker 1: solo album to show off his guitar virtuosity under the

490
00:31:29,040 --> 00:31:33,320
Speaker 1: name Friar Tuck and his Psychedelic Guitar. I've got to

491
00:31:33,320 --> 00:31:36,480
Speaker 1: screw it to the edge of my seat for guess yeah, Casey,

492
00:31:36,200 --> 00:31:47,840
Speaker 1: can you hit it for us? Oh? I love this

493
00:31:47,920 --> 00:31:57,200
Speaker 1: alright so much? Oh, there we go. So it's it's

494
00:31:57,280 --> 00:32:02,480
Speaker 1: it's mellow. You can see me right now, I'm swaying

495
00:32:02,520 --> 00:32:05,120
Speaker 1: back and forth with a goofy grin. I'm no looks dreaming.

496
00:32:08,960 --> 00:32:15,480
Speaker 1: There we go. So let's got that sort of gauzy

497
00:32:15,680 --> 00:32:20,960
Speaker 1: psychedelic This is right up, yeah, right up my alley.

498
00:32:21,200 --> 00:32:24,080
Speaker 1: A little play this. Yeah, he is my favorite so far,

499
00:32:24,280 --> 00:32:29,840
Speaker 1: big time. I always want to hear up to the

500
00:32:29,960 --> 00:32:33,840
Speaker 1: verse because everyone does their own thing, they change the lyrics,

501
00:32:34,520 --> 00:32:36,640
Speaker 1: they do their own different cadence. I want to hear

502
00:32:36,640 --> 00:32:39,640
Speaker 1: what this does with it now. I think they maybe

503
00:32:39,640 --> 00:32:41,320
Speaker 1: then didn't maybe they're not even gonna do a verse.

504
00:32:41,480 --> 00:32:44,400
Speaker 1: I love the finger picking too, you know. I mean

505
00:32:44,440 --> 00:32:47,040
Speaker 1: this is it's Friar Tuck and his psychedelic guitar. And

506
00:32:47,080 --> 00:32:50,160
Speaker 1: I would totally recommend looking up this record online because

507
00:32:50,240 --> 00:32:54,720
Speaker 1: the cover of the album is pretty stellar. It looks

508
00:32:54,720 --> 00:32:56,680
Speaker 1: like a total weirdo. I love the fact that there

509
00:32:56,680 --> 00:33:01,200
Speaker 1: are no verses. It's all just vamps. It's about the experience. Yeah,

510
00:33:01,280 --> 00:33:03,200
Speaker 1: now this is dope, but I love it. I mean again,

511
00:33:03,320 --> 00:33:07,120
Speaker 1: the verses, if you can't understand them, do you need them? Yeah,

512
00:33:07,160 --> 00:33:10,120
Speaker 1: It's about the feeling, about the feeling, and it looks

513
00:33:10,160 --> 00:33:12,760
Speaker 1: like you guys, to those of you listening who can't

514
00:33:12,920 --> 00:33:16,240
Speaker 1: see Nolan Ben are feeling this. I'm feeling it hard.

515
00:33:16,280 --> 00:33:18,240
Speaker 1: But yeah, I think that's going to stay with men

516
00:33:18,400 --> 00:33:20,920
Speaker 1: and kind of sad that We'm kind of sad that

517
00:33:20,960 --> 00:33:23,880
Speaker 1: we can't just play that entire song right now. But

518
00:33:23,880 --> 00:33:27,160
Speaker 1: but what's what's the next cover? So here we're gonna

519
00:33:27,160 --> 00:33:29,000
Speaker 1: go forward a couple of years. We're still sticking in

520
00:33:29,080 --> 00:33:33,719
Speaker 1: the sixties. So nine the singer Julie London. She is

521
00:33:34,000 --> 00:33:37,080
Speaker 1: famously known for having this really kind of mellow affect,

522
00:33:37,760 --> 00:33:42,000
Speaker 1: really nice, kind of soft, hazy, smokey vocals, and she

523
00:33:42,080 --> 00:33:45,640
Speaker 1: put out a record called Yummy, Yummy, Yummy in ninety nine,

524
00:33:45,760 --> 00:33:48,400
Speaker 1: and her version of Louis Louis closes out that album,

525
00:33:48,760 --> 00:33:53,040
Speaker 1: and it's just got sort of a really quiet, almost

526
00:33:53,120 --> 00:33:56,200
Speaker 1: narcotic vibe going on. It's it's unlike most of the

527
00:33:56,200 --> 00:33:58,400
Speaker 1: other versions you hear, which are a little more upbeat.

528
00:33:58,760 --> 00:34:01,520
Speaker 1: Can I say, just before where we rule this, You're

529
00:34:01,520 --> 00:34:06,000
Speaker 1: doing a fantastic job curating this music course. Do you

530
00:34:06,160 --> 00:34:09,120
Speaker 1: do you make mixtapes? I I do make mixtapes, mix

531
00:34:09,160 --> 00:34:12,880
Speaker 1: CD s, all that liner notes, whatever you need. Were

532
00:34:12,960 --> 00:34:16,560
Speaker 1: you a younger person and I a younger person, I

533
00:34:16,640 --> 00:34:18,360
Speaker 1: might you know put together a mixtape to try to

534
00:34:18,400 --> 00:34:21,080
Speaker 1: woo you. And these are the things a younger man does.

535
00:34:22,320 --> 00:34:24,360
Speaker 1: It's the lost art, the mix tape. Now it's just

536
00:34:24,400 --> 00:34:26,920
Speaker 1: the Spotify playlist, which is it nearly as sexy? It's

537
00:34:26,960 --> 00:34:29,920
Speaker 1: the works, you know, Yeah, it's it's it's wo worthy.

538
00:34:30,120 --> 00:34:33,640
Speaker 1: I used to get Smashing Pumpkins bootlegs in the mail.

539
00:34:33,680 --> 00:34:36,160
Speaker 1: I would trade with people on message boards and they

540
00:34:36,160 --> 00:34:38,479
Speaker 1: would always take the rest of the tape that wasn't

541
00:34:38,520 --> 00:34:41,040
Speaker 1: full of the bootleg and put Filler songs on it.

542
00:34:41,360 --> 00:34:42,839
Speaker 1: And that's how I learned about a lot of new

543
00:34:42,920 --> 00:34:45,080
Speaker 1: music back in the day. It was from filler on

544
00:34:45,719 --> 00:34:49,520
Speaker 1: Smashing Pumpkins bootleg. Alright, but yeah, Casey, can we can

545
00:34:49,520 --> 00:35:06,280
Speaker 1: we hear the Julie London version from sixty nine? Oh? Already? Yeah, dramatic.

546
00:35:06,360 --> 00:35:11,080
Speaker 1: I was not expecting that. Beastifer Ben's eyebrows just art stuff.

547
00:35:15,520 --> 00:35:23,640
Speaker 1: M hmm, there we go, I gotta go. Yeah, it's

548
00:35:23,640 --> 00:35:25,719
Speaker 1: a little bit of a Dusty Springfield vibe. But I

549
00:35:25,760 --> 00:35:27,600
Speaker 1: was just about to say, I've been listening to nothing

550
00:35:27,719 --> 00:35:30,840
Speaker 1: but Dusty and Memphis for the past couple of weeks.

551
00:35:31,200 --> 00:35:34,920
Speaker 1: It's so good, very much so. Yeah, it's almost got

552
00:35:34,960 --> 00:35:39,920
Speaker 1: that kind of Nico narcotic, kind of like hazy vibe. Well,

553
00:35:39,960 --> 00:35:43,400
Speaker 1: here we go. I'll hear this first. God, I like

554
00:35:43,520 --> 00:35:46,919
Speaker 1: how they're putting in almost any instrument that what. Yes,

555
00:35:47,040 --> 00:35:51,000
Speaker 1: it's amazing. Yeah, And I always really enjoy when a

556
00:35:51,080 --> 00:35:53,600
Speaker 1: song will will flip the gender. You know, she's singing

557
00:35:53,600 --> 00:35:58,319
Speaker 1: about a boy across the sea as opposed to a girl. Yeah,

558
00:35:58,880 --> 00:36:01,439
Speaker 1: And this feels very into Yeah. You know, her voice

559
00:36:01,440 --> 00:36:04,920
Speaker 1: feels very close but also very cinematic because it's like

560
00:36:04,960 --> 00:36:09,160
Speaker 1: that schmaltzy Burt backer At kind of arrangement. And then

561
00:36:09,200 --> 00:36:12,560
Speaker 1: her vocal is very front and center. Such a departure

562
00:36:12,760 --> 00:36:15,640
Speaker 1: from the Kingsman where the vocals a mile away and

563
00:36:15,680 --> 00:36:19,080
Speaker 1: completely unintelligible. I love this. Uh, let's let's let's let's

564
00:36:19,120 --> 00:36:21,600
Speaker 1: go on. This is so cool. So this next version,

565
00:36:21,600 --> 00:36:23,719
Speaker 1: we're going back to the islands where the song kind

566
00:36:23,719 --> 00:36:28,200
Speaker 1: of has its origins in that crossing the Sea Calypso Vibe.

567
00:36:28,560 --> 00:36:32,200
Speaker 1: Toots in the May Towels are an acclaimed iconic band

568
00:36:32,239 --> 00:36:34,879
Speaker 1: from Jamaica from the sixties and the seventies, and this

569
00:36:35,000 --> 00:36:38,400
Speaker 1: version from the early seventies too. It's just kind of

570
00:36:38,480 --> 00:36:42,360
Speaker 1: he just sings his heart out on this reggae, ska

571
00:36:42,360 --> 00:36:53,319
Speaker 1: and rock steady inspired version, Let's hear It Here we

572
00:36:53,400 --> 00:37:06,120
Speaker 1: Go just makes you want to kind of sit on

573
00:37:06,160 --> 00:37:09,680
Speaker 1: a beach, yea, I want to leave the studio hop

574
00:37:09,719 --> 00:37:12,719
Speaker 1: on a plane. You know. Again, there you can kind

575
00:37:12,719 --> 00:37:14,759
Speaker 1: of just do whatever you want with the song and

576
00:37:14,880 --> 00:37:17,319
Speaker 1: make it your own. It's very true. It's very true.

577
00:37:17,320 --> 00:37:20,200
Speaker 1: It's a great vamp song. Yeah, we could stay here

578
00:37:20,239 --> 00:37:23,520
Speaker 1: all day listening to all these two. I'm gonna I'm

579
00:37:23,520 --> 00:37:27,280
Speaker 1: gonna bring the next one is is a lot harsher,

580
00:37:27,800 --> 00:37:30,479
Speaker 1: a lot louder. Okay um. But the reason I wanted

581
00:37:30,480 --> 00:37:32,920
Speaker 1: to play this song for you it's by Iggy and

582
00:37:32,920 --> 00:37:35,880
Speaker 1: the Stooges, so famously Iggy Pop and his and his

583
00:37:36,000 --> 00:37:39,640
Speaker 1: band Punk Pioneer. The reason I wanted to play this

584
00:37:39,719 --> 00:37:42,160
Speaker 1: song the verse I'm Gonna play for You is off

585
00:37:42,200 --> 00:37:46,440
Speaker 1: of the record Metallic cho which is a live album,

586
00:37:46,520 --> 00:37:50,080
Speaker 1: and it's a live recording of the stooges last two

587
00:37:50,120 --> 00:37:53,480
Speaker 1: shows ever in Detroit. Um. They wouldn't play again together

588
00:37:53,520 --> 00:37:56,279
Speaker 1: until they reunited. I don't know, ten years ago I

589
00:37:56,320 --> 00:37:59,360
Speaker 1: saw him on that tour at the What in Georgia,

590
00:38:00,400 --> 00:38:02,879
Speaker 1: But the very last song they played at their very

591
00:38:02,960 --> 00:38:06,319
Speaker 1: last show in the seventies was Louis Louis. And one

592
00:38:06,320 --> 00:38:10,040
Speaker 1: thing that's particularly resonant about this song the Studges have

593
00:38:10,040 --> 00:38:12,040
Speaker 1: a personal connection to Louis Louis. It's not just that

594
00:38:12,080 --> 00:38:14,400
Speaker 1: they love the song, although they love all that classic

595
00:38:14,480 --> 00:38:18,319
Speaker 1: rock and roll. Dan Glucci, who played keyboards on the

596
00:38:18,400 --> 00:38:21,920
Speaker 1: Kingsman version of Louis Louis, he was kicked out of

597
00:38:21,920 --> 00:38:24,640
Speaker 1: the band. He was too young to go on tour

598
00:38:26,800 --> 00:38:29,399
Speaker 1: his his parents would not let him go on tour

599
00:38:29,680 --> 00:38:33,000
Speaker 1: from one Yeah so Dan, but he played keys on

600
00:38:33,040 --> 00:38:36,319
Speaker 1: the recording. What he ended up doing with his life though,

601
00:38:36,400 --> 00:38:40,720
Speaker 1: he was a record producer and for Electra and Electra

602
00:38:41,120 --> 00:38:43,759
Speaker 1: put out a lot of the Stooges records. Dan Glucci

603
00:38:44,080 --> 00:38:48,480
Speaker 1: produced The Stooges fun House, which is an iconic, iconic

604
00:38:48,520 --> 00:38:51,160
Speaker 1: album exactly so they've got the studges have this personal

605
00:38:51,160 --> 00:38:55,920
Speaker 1: connection to Louis Louis. The live version, they get wild,

606
00:38:55,960 --> 00:38:59,120
Speaker 1: they get raucous, they get pretty vulgar. You can find

607
00:38:59,200 --> 00:39:01,880
Speaker 1: some some B sides and some studio outtakes of a

608
00:39:02,000 --> 00:39:04,200
Speaker 1: cleaner version. But I wanted to play this live version

609
00:39:04,239 --> 00:39:06,440
Speaker 1: just because it was the very last song they played

610
00:39:06,480 --> 00:39:08,880
Speaker 1: at their very last show I'm gonna stand up for

611
00:39:08,920 --> 00:39:27,840
Speaker 1: this week. Yes, I see. To me, this is like

612
00:39:27,920 --> 00:39:31,840
Speaker 1: full circle back to the the original version with the Kingsman.

613
00:39:32,120 --> 00:39:37,640
Speaker 1: It's got that thrashy, bashy drum sounds that irreverent snotty,

614
00:39:37,760 --> 00:39:42,640
Speaker 1: kind of vocally dirty garage. And didn't they purposely change

615
00:39:42,719 --> 00:39:46,440
Speaker 1: the lyrics to be offensive or Yeah, we're gonna have

616
00:39:46,520 --> 00:39:50,640
Speaker 1: to fade this out pretty soon because pretty we'll give

617
00:39:50,640 --> 00:39:52,120
Speaker 1: it a bleep we'll get we'll give it the bleep

618
00:39:52,160 --> 00:40:00,160
Speaker 1: treatment I want to hear. So that's a tape east

619
00:40:00,239 --> 00:40:03,399
Speaker 1: of it, that's a taste. Well, what's funny is he's

620
00:40:03,440 --> 00:40:08,160
Speaker 1: doing kind of the lyrics that the FBI said were

621
00:40:08,200 --> 00:40:11,200
Speaker 1: the lyrics to the song that they were exactly definitely

622
00:40:11,239 --> 00:40:13,879
Speaker 1: doing something similar. Yeah, you think this is vulgar, Let's

623
00:40:13,920 --> 00:40:18,719
Speaker 1: make it vulgar, right, which is smart. I think that's

624
00:40:18,760 --> 00:40:22,840
Speaker 1: tremendously clever. So it sounds like we have time for

625
00:40:23,080 --> 00:40:25,960
Speaker 1: just one more cover that might surprise some people. Yeah,

626
00:40:26,000 --> 00:40:29,040
Speaker 1: we're gonna go to Brooklyn for this one. We're going

627
00:40:29,080 --> 00:40:31,640
Speaker 1: away from rock and roll and we're going to early

628
00:40:31,760 --> 00:40:36,920
Speaker 1: rap the Fat Boys the year of my birth by birthday,

629
00:40:36,960 --> 00:40:38,759
Speaker 1: thanks buddy. Yeah, I'm glad you're here. Let me too.

630
00:40:38,760 --> 00:40:42,480
Speaker 1: I'm glad you're here. Guys, Well, I'm glad we're gonna

631
00:40:42,480 --> 00:40:45,360
Speaker 1: listen to this song. The Fat Boys, they are Brooklyn Trio,

632
00:40:46,360 --> 00:40:49,040
Speaker 1: iconic rap group, kind of a jokey rap group, but

633
00:40:49,600 --> 00:40:52,560
Speaker 1: they took a really meta approach to their version of

634
00:40:52,600 --> 00:40:55,759
Speaker 1: Louis Louis, and they talked about what we've been talking

635
00:40:55,760 --> 00:41:18,800
Speaker 1: about for a while. Full circle, my friend, it's the

636
00:41:18,880 --> 00:41:25,719
Speaker 1: party channel. Yeah, this is a banger about using One

637
00:41:25,840 --> 00:41:31,560
Speaker 1: day she told me about this song. She was my

638
00:41:31,800 --> 00:41:40,040
Speaker 1: age cook, big frumble. It was filthy corn. What's ti

639
00:41:40,880 --> 00:41:49,480
Speaker 1: upon women? So this is fantastic because this song is

640
00:41:49,520 --> 00:41:53,399
Speaker 1: about the history of the song they are covering exactly. Yeah. Yeah,

641
00:41:53,480 --> 00:41:56,200
Speaker 1: So you get into this sort of meta commentary where

642
00:41:56,320 --> 00:41:58,919
Speaker 1: the singer is talking about a song that his mom

643
00:41:59,000 --> 00:42:00,719
Speaker 1: heard and his mom was telling him about it, and

644
00:42:00,760 --> 00:42:03,160
Speaker 1: then they're singing it and there's all these layers. So

645
00:42:03,680 --> 00:42:07,800
Speaker 1: you tie in this idea of profanity, of violating social norms,

646
00:42:08,040 --> 00:42:13,000
Speaker 1: of of words causing outrage but also words causing tons

647
00:42:13,040 --> 00:42:17,440
Speaker 1: of joy. So break it down for Christopher if you could.

648
00:42:18,760 --> 00:42:24,279
Speaker 1: Was there any actual validity to the rumors of obscenity

649
00:42:24,480 --> 00:42:27,239
Speaker 1: in The Kingsman's Louis Louis. Was there was there any

650
00:42:27,320 --> 00:42:33,400
Speaker 1: reason for the beef? Absolutely not and totally Here here's

651
00:42:33,440 --> 00:42:35,799
Speaker 1: the last bit of extra credit that I'm gonna give you, guys.

652
00:42:36,520 --> 00:42:41,400
Speaker 1: The lyrics of Louis Louis contained no obscenities, but the

653
00:42:41,520 --> 00:42:46,800
Speaker 1: recording did. The drummer drops one of his drumsticks and

654
00:42:46,920 --> 00:42:49,640
Speaker 1: he shouts out an obscenity in the background, and it

655
00:42:49,840 --> 00:42:53,600
Speaker 1: made it on the record. Nobody noticed, The FBI didn't notice,

656
00:42:53,680 --> 00:42:57,000
Speaker 1: and this is confirmed later in in interviews with the drummer.

657
00:42:57,080 --> 00:42:59,880
Speaker 1: In interviews with the band, they said, yeah, there's a

658
00:43:00,000 --> 00:43:02,239
Speaker 1: odd word in there, and if you turn up the song,

659
00:43:02,800 --> 00:43:04,560
Speaker 1: you know, you wouldn't know it at first, but if

660
00:43:04,600 --> 00:43:07,279
Speaker 1: you know what you're looking for, you're gonna hear a

661
00:43:07,360 --> 00:43:11,960
Speaker 1: knotty word. Man just goes to show like misdirection is

662
00:43:12,000 --> 00:43:14,359
Speaker 1: a hell of a thing, right, Not not that anything

663
00:43:14,440 --> 00:43:16,640
Speaker 1: they were trying to misdirect anybody, but people were so

664
00:43:16,800 --> 00:43:20,120
Speaker 1: caught up on the unintelligibility of the lyrics that their

665
00:43:20,239 --> 00:43:24,520
Speaker 1: minds created this problem that just wasn't there. All from

666
00:43:24,520 --> 00:43:28,560
Speaker 1: a couple of angry letters from irate moms and I

667
00:43:28,640 --> 00:43:30,719
Speaker 1: think a dad as well, and then went on to

668
00:43:30,800 --> 00:43:33,319
Speaker 1: make a conspiracy. Yeah, it goes a show. You can

669
00:43:33,520 --> 00:43:36,759
Speaker 1: you can affect change by writing a letter, and uh,

670
00:43:37,320 --> 00:43:39,400
Speaker 1: but maybe maybe you should maybe just don't. I just

671
00:43:39,440 --> 00:43:44,560
Speaker 1: want to go Christopher though, we don't want to let

672
00:43:44,680 --> 00:43:48,520
Speaker 1: this segment go. Thank you so much for coming onto

673
00:43:48,640 --> 00:43:51,640
Speaker 1: extra credit. Thank you for appearing on our show. Here

674
00:43:51,719 --> 00:43:54,520
Speaker 1: you guys, And and you know, if listeners dig this,

675
00:43:55,120 --> 00:43:57,839
Speaker 1: there are tons of other cover songs for Louis Louis

676
00:43:57,880 --> 00:44:00,560
Speaker 1: they can dive into. There's a Joan Jet. There's a

677
00:44:00,719 --> 00:44:02,839
Speaker 1: Verry White cover that I really really wanted to play

678
00:44:02,880 --> 00:44:04,879
Speaker 1: for you guys, but maybe we'll do that in private. Yeah,

679
00:44:06,160 --> 00:44:08,720
Speaker 1: who you know, it's very white. It's true. I remember

680
00:44:08,920 --> 00:44:11,560
Speaker 1: hearing it was actually on the Wayne's World soundtrack. I

681
00:44:11,640 --> 00:44:15,520
Speaker 1: believe a Robert Plant version that where he's you know,

682
00:44:15,680 --> 00:44:19,200
Speaker 1: singing in his classic Zep voice and you know, just

683
00:44:19,320 --> 00:44:22,319
Speaker 1: really whaling. I couldn't understand the lyrics then either, there's

684
00:44:22,360 --> 00:44:24,959
Speaker 1: there's a lot of live versions of Zeppelin. Um, there's

685
00:44:25,000 --> 00:44:30,640
Speaker 1: a great live Bruce Springsteen version. There's a Smashing Pumpkins version. No, yeah,

686
00:44:30,800 --> 00:44:33,160
Speaker 1: I gotta say it's not that great. I can't imagine

687
00:44:33,160 --> 00:44:34,680
Speaker 1: it would be and I'm also they're dead to me,

688
00:44:34,880 --> 00:44:39,040
Speaker 1: so at this at this point, to me, this is

689
00:44:39,320 --> 00:44:42,680
Speaker 1: this is an historic moment for our show because folks

690
00:44:42,800 --> 00:44:46,239
Speaker 1: ridiculous his stories. You're finally able to meet the guy

691
00:44:46,440 --> 00:44:48,759
Speaker 1: that we talked about so much, and I think he

692
00:44:48,840 --> 00:44:52,680
Speaker 1: measures up to the height. Hi. Everybody agreed, this is

693
00:44:52,719 --> 00:44:55,359
Speaker 1: a lot of fun. So thank you Christopher for joining us.

694
00:44:55,719 --> 00:44:59,000
Speaker 1: Um thanks to our super producer Casey Pegram and Alex Williams,

695
00:44:59,040 --> 00:45:03,960
Speaker 1: who composed our theme. Most importantly, thanks to you for

696
00:45:04,320 --> 00:45:08,680
Speaker 1: tuning in If you had as much fun listening to

697
00:45:08,800 --> 00:45:12,680
Speaker 1: this as we did recording it. That our work here

698
00:45:13,280 --> 00:45:17,000
Speaker 1: is done. Uh, stay tuned and check us out. Our

699
00:45:17,160 --> 00:45:21,600
Speaker 1: next episode will we explore the al BASAs War, a

700
00:45:21,800 --> 00:45:25,320
Speaker 1: forty year conflict sparked by and you guys know this

701
00:45:25,440 --> 00:45:27,080
Speaker 1: is big for me because I always talking about feathers

702
00:45:27,120 --> 00:45:34,080
Speaker 1: on camel's backs sparked by a camel. Uh. So in

703
00:45:34,160 --> 00:45:37,120
Speaker 1: the meantime, let us know what your favorite cover of

704
00:45:37,320 --> 00:45:40,800
Speaker 1: Louie Louis is. You can find us on Instagram, Facebook,

705
00:45:40,840 --> 00:45:44,360
Speaker 1: and Twitter, where we are Ridiculous History or some variation thereof.

706
00:45:45,120 --> 00:45:49,680
Speaker 1: You can also check out our community page Ridiculous Historians

707
00:45:50,080 --> 00:45:51,920
Speaker 1: and then maybe we can post some of these versions

708
00:45:51,960 --> 00:45:55,040
Speaker 1: in that community group. Oh. I think that's a great idea. Perfect,

709
00:45:55,360 --> 00:46:00,880
Speaker 1: See you next time, everybody. Two