"Louie Louie" is a rhythm and blues song written and composed by American musician Richard Berry in 1955, recorded in 1956, and released in 1957. It is best known for the 1963 hit version by the Kingsmen and has become a standard in pop and rock. The song is based on the tune "El Loco Cha Cha" popularized by bandleader René Touzet and is an example of Afro-Cuban influence on American popular music.
"Louie Louie" tells, in simple verse–chorus form, the first-person story of a "lovesick sailor's lament to a bartender about wanting to get back home to his girl".[2]
Dave Marsh in his book Louie Louie: The History and Mythology of the World's Most Famous Rock 'n' Roll Song wrote, "It is the best of songs, it is the worst of songs",[6] and also labeled it "cosmically crude".[7] Rock critic Greil Marcus called it "a law of nature"[8] and New York Times music critic Jon Pareles, writing in a 1997 obituary for Richard Berry, termed it "a cornerstone of rock".[9] Music historian Peter Blecha noted, "Far from shuffling off to a quiet retirement, evidence indicates that 'Louie Louie' may actually prove to be immortal."[10] Although the song "surely resists learned exegesis",[11] other writers described it as "musically simple, lyrically simple, and joyously infectious",[12] "deliciously moronic",[13] "a completely unforgettable earworm",[14] "the essence of rock's primal energy",[15] and "the immortal international hit ... that defines rock 'n' roll."[16]
Others noted that it "served as a bridge to the R&B of the past and the rap scene of the future",[17] that "it came to symbolize the garage rock genre, where the typical performance was often aggressive and usually amateurish",[18] and that "all you need to make a great rock 'n' roll record are the chords to 'Louie Louie' and a bad attitude."[19]
Music historian and filmmaker Eric Predoehl of The Louie Report described the song as,[20]
Purity. It's just a very pure, honest rock 'n' roll song. It's a song of romantic ideals hidden amongst a three-chord melody. It's an idealistic song. It's a misunderstood song. It's a confusing and disorienting song. It's like a heartbeat.
Humorist Dave Barry (with perhaps some exaggeration) called it "one of the greatest songs in the history of the world".[21]American Songwriter summarized, "It might be the best-known rock song of all time. It might be the most important rock song of all time."[22]
The Kingsmen's recording was the subject of an FBI investigation about the supposed, but nonexistent, obscenity of the lyrics that ended without prosecution.[23] The nearly unintelligible (and innocuous) lyrics were widely misinterpreted, and the song was banned by radio stations. Marsh wrote that the lyrics controversy "reflected the country's infantile sexuality" and "ensured the song's eternal perpetuation",[24] while another writer termed it "the ultimate expression of youthful rebellion".[25] Jacob McMurray in Taking Punk To The Masses noted, "All of this only fueled the popularity of the song ... imprinting this grunge ur-message onto successive generations of youth, ... all of whom amplified and rebroadcast its powerful sonic meme ...."[26]
Original version by Richard Berry and the Pharaohs
Richard Berry was inspired to write the song in 1955 after listening to an R&B interpretation of "El Loco Cha Cha" performed by the Latin group Ricky Rillera and the Rhythm Rockers.[27] The tune was written originally as "Amarren Al Loco" ("Tie Up The Madman" or "Tie Up That Lunatic") by Cuban bandleader Rosendo Ruiz Jr. (also known as Rosendo Ruiz Quevedo),[28] but became best known in the "El Loco Cha Cha" arrangement by René Touzet which included "three great chords, solid and true"[29] and a ten-note "1-2-3 1–2 1-2-3 1–2" tumbao or rhythmic pattern.[30][31] The "unforgettable hook" of "Louie Louie" was lifted directly from Touzet's composition.[32]
"Louie Louie" 10-note riff
In Berry's mind, the words to "Louie Louie" "just kind of fell out of the sky",[27] superimposing themselves over the repeating bassline as he scribbled backstage on a strip of toilet paper.[33][34] Lyrically, the first person perspective of the song was influenced by "One for My Baby (And One More for the Road)", which is sung from the perspective of a customer talking to a bartender ("Louie" was the name of Berry's bartender).[35] He additionally cited Chuck Berry's "Havana Moon" and his own exposure to Latin American music for the song's speech pattern and references to Jamaica.[36]
Los Angeles-based Flip Records recorded Berry's composition with his vocal group the Pharaohs in April 1956.[22] The Pharaohs were Godoy Colbert (first tenor), Stanley Henderson (second tenor, subbing for Robert Harris), and Noel Collins (baritone). Gloria Jones of the Dreamers provided additional backup vocals. Session musicians included Plas Johnson on tenor sax, Jewel Grant on baritone sax, Ernie Freeman on piano, Irving Ashby on guitar, Red Callender on bass, Ray Martinez on drums, and John Anderson on trumpet.[37]
78 RPM release
Flip released the record in April 1957 with "Louie Louie" as the B-side of "You Are My Sunshine", but prior to the song's release, Berry sold his portion of the publishing and songwriting rights for "Louie Louie" and four other songs for $750 to Max Feirtag, the head of Flip Records, to raise cash for his upcoming wedding.[27] Both 7-inch 45 RPM and 10-inch 78 RPM versions were pressed. (An early 45 RPM label misprint exists, reported by Steve Propes, with the title rendered as "Louie Lovie".)[38][39]
A Cash Box review rated the A-side as a B+, but the B-side only rated a B with the comment, "Richard Berry chants a middle beat with a steady, syncopated rhythm that captures an excitement."[40] Local A-side airplay was modest, but then KGFJ deejay Hunter Hancock flipped the record and put the B-side in heavy rotation, resulting in a regional hit, particularly in San Francisco.[41] When Berry toured the Pacific Northwest, local R&B bands began to play the song, increasing its popularity. The song was re-released by Flip in 1961 as an A-side single and again in 1964 on a four-song EP, but never appeared on any of the national charts. Sales estimates ranged from 40,000[42] to 130,000 copies.[34]
Other versions appeared on Casino Club Presents Richard Berry (1966), Great Rhythm and Blues Oldies Volume 12 (1977),[43] and The Best of Louie, Louie (1983). Although similar to the original, the version on Rhino's 1983 The Best of Louie, Louie compilation[44] is actually a note-for-note re-recording (with backup vocals by doo wop revival group Big Daddy)[45] created because licensing could not be obtained for Berry's 1957 version.[8] The original version was included on a 1986 Swedish compilation,[37] but not until the Ace RecordsLove That Louie release in 2002 did it see wide distribution.[46][47]
In the mid-1980s, Berry was living on welfare. Drinks company California Cooler wanted to use "Louie Louie" in a commercial, but discovered it needed Berry's consent because despite having sold the publishing rights, he still owned the radio and television performance rights.[16] The company asked the Artists Rights Society to locate him which led to Berry's taking legal action to regain his rights to the song. The settlement made Berry a millionaire.[48][49]
While the title of the song is often rendered with a comma ("Louie, Louie"), in 1988, Berry told Esquire magazine that the correct title of the song was "Louie Louie" with no comma.[27][33]
Cover versions
"Louie Louie" is the world's most recorded rock song,[50][51] with published estimates ranging from over 1,600[10] to more than 2,000[52] "with ever more still being released and performed".[53] It has been released or performed by a wide range of artists from reggae to hard rock, from jazz to psychedelic, from hip hop to easy listening. Peter Doggett labeled it "almost impossible to play badly"[54] and Greil Marcus asked, "Has there ever been a bad version of 'Louie Louie'?"[55]Paul Revere summarized, "Three chords and the most mundane beat possible. Any idiot could learn it, and they all did."[56]
The Kingsmen version in particular has been cited as the "rosetta stone" of garage rock,[46] the defining "ur-text" of punk rock,[57][58] and "the original grunge classic".[59] "The influential rock critics Dave Marsh and Greil Marcus believe that virtually all punk rock can be traced back to a single proto-punk song, 'Louie Louie'."[60]
Pronunciation has varied widely from Berry's original "Lou-ee Lou-ee" to "Lou-ee Lou-eye" (Kingsmen, 1963), "Lou-ee Lou-eye-ay" (Angels, 1964), "Lou-eye Lou-way" (Sonics, 1966; Iggy Pop, 1972), "Lou-ee-a Lou-way" (Kinks, 1964; Motörhead, 1978), "Lou-way Lou-way" (Clarke/Duke Project, 1981), and others.
1950s
Richard Berry was on the underbill for a concert in the Seattle–Tacoma area in September 1957[61] and his record appeared on local radio station charts in November 1957 [62] after "African American DJs Bob Summerrise and Eager Beaver started playing it on their radio shows”.[20] Local R&B musicians Ron Holden and Dave Lewis popularized "Louie Louie", rearranging Berry's version and performing it at live shows and "battle of the bands" events.[63][64]
Holden recorded an unreleased version, backed by the Thunderbirds, for the Nite Owl label in 1959.[65] As a leader of the "dirty but cool" Seattle R&B sound,[66] he would often substitute mumbled, "somewhat pornographic" [67] lyrics in "a live tour de force [that] often lasted ten minutes or longer, devastating local audiences."[46] Lewis, "the singularly most significant figure on the Pacific Northwest's nascent rhythm & blues scene in the 1950s and 1960s",[68] released a three chord clone, "David's Mood - Part 2", that was a regional hit in 1963.
Robin Roberts developed an interest in rock 'n' roll and rhythm and blues records as a high school student in Tacoma, Washington. Among the songs he began performing as an occasional guest singer with a local band, the Bluenotes, in 1958 were "Louie Louie", which he had "rescued from oblivion"[8] after hearing Berry's obscure original single, and Bobby Day's "Rockin' Robin", which gave him his stage name.[70]
In 1959, Roberts left the Bluenotes and began singing with another local band, the Wailers, famed for their "hard-nosed R&B/rock fusion".[71] Known for his dynamic onstage performances, Roberts added "Louie Louie" to the band's set and, in 1960 recorded the track with the Wailers as his backing band.[72] The arrangement, devised by Roberts with the band, was "the first-ever garage version of 'Louie Louie'"[72] and included "one of the true great moments of rock", his ad-libbed "Let's give it to 'em, RIGHT NOW!!" before the guitar solo.[46]
Released as a single on the band's own label, Etiquette, in early 1961, it became a huge hit locally, charting at No. 1 on Seattle's KJR and establishing "Louie Louie" as "the signature riff of Northwest rock 'n' roll".[73] It also picked up play across the border in Vancouver, British Columbia, appearing in the top 40 of the CFUN chart. The popularity of the Roberts release effectively buried another "reasonably close to the Richard Berry/Ron Holden arrangement"[46] version put out at about the same time by Little Bill Englehardt (Topaz T-1305).[72]
The record was then reissued and promoted by Liberty Records in Los Angeles, but it failed to chart nationally.[74] The track was included on the 1963 album The Wailers & Co, the 1964 compilation album Tall Cool One, the 1998 reissue of the 1962 album The Fabulous Wailers Live at the Castle, and multiple later compilations.[75]
Roberts was killed in an automobile accident in 1967, but his "legacy would reverberate down through the ages".[73] Dave Marsh dedicated his 1993 book, "For Richard Berry, who gave birth to this unruly child, and Rockin' Robin Roberts, who first raised it to glory."[76]
Second Wand release with "Lead vocal by Jack Ely" text
On 6 April 1963,[82]the Kingsmen, a rock and roll group from Portland, Oregon, chose "Louie Louie" for their second recording, their first having been "Peter Gunn Rock". The Kingsmen recorded the song at Northwestern Inc. Motion Pictures & Recording Studios at 411 SW 13th Avenue in Portland, Oregon.[83] The one hour session, originally intended to produce an audition tape for a summer cruise ship gig, cost either $36,[84] $50,[85] or somewhere in between, and the band split the cost.[86]
The session was produced by Ken Chase, a local disc jockey on the AM rock station KISN who also owned The Chase, the teen nightclub where the Kingsmen were the house band. The engineer for the session was the studio owner, Robert Lindahl. The Kingsmen's lead vocalist, Jack Ely, based his version on the recording by Rockin' Robin Roberts with the Fabulous Wailers, but unintentionally reintroduced Berry's original stop-time rhythm as he showed the other members how to play it with a 1–2–3, 1–2, 1–2–3 beat instead of the 1–2–3–4, 1–2, 1–2–3–4 beat on the Wailers record.[87] The night before their recording session, the band played a 90-minute version of the song during a gig at a local teen club. The Kingsmen's studio version was recorded in one partial and one full take.[88] They also recorded "Jamaica Farewell" and what became the B-side of the release, an original "surf instrumental"[89] by Ely and keyboardist Don Gallucci called "Haunted Castle".[86]
The Kingsmen's version with its "ragged",[90] "sloppy",[91] "chaotic",[92] "shambolic, lumbering style",[93] complete with "manic lead guitar solo, insane cymbal crashes, generally slurred and unintelligible lyrics",[94] transformed the earlier Rockin' Robin Roberts version on which it was based into a "bumbling, bear-in-a-china-shop",[95] "gloriously incoherent",[96] "raw and raucous"[97] "stomping garage-rocker"[98] "so wrong it's right".[99] Ely had to stand on tiptoe to sing into a boom mike, and his braces further impeded his "sinew-stretching",[100] "giraffe-neck gabble"[101] singing. The result was a "raw and unsanitized, unmanaged and unscrubbed"[29] effort that the group hated but manager Ken Chase loved. Jerry Dennon's local Jerden label was contracted to press 1,000 vinyl 45s.[102]
The guitar break is triggered by a shout, "Okay, let's give it to 'em right now!", both lifted from the Roberts version.[103] Critic Dave Marsh suggests it is this moment that gives the recording greatness:[104]
[Ely] went for it so avidly you'd have thought he'd spotted the jugular of a lifelong enemy, so crudely that, at that instant, Ely sounds like Donald Duck on helium. And it's that faintly ridiculous air that makes the Kingsmen's record the classic that it is ....
Thurston Moore of Sonic Youth, whose "passion for music was ignited by the Kingsmen's 'Louie Louie'",[105] termed it a "totem of magic",[106] and recalled that "the lead singer's [Ely] voice had the air of a boy smoking a cigarette with one hand while banging a tambourine in the other, an insolent distance to his delivery, a vision of being at once boss and bored."[107]
Marsh ranked the song as No. 11 out of the 1001 greatest singles ever made, describing it as "the most profound and sublime expression of rock and roll's ability to create something from nothing".[108]The Independent in Britain noted that it reinforced "a growing suspicion that enthusiasm was more important to rock 'n' roll than technical competence or literal meaning."[34]
This is truly the quintessential garage band moment, an audio-vérité snapshot that communicates directly what red-blooded grass roots American rock 'n' roll is all about ... the Kingsmen's "Louie Louie" spills forth with a rush of teenage hormones: raw, untutored, yet seemingly ready to take on the world.
Albin J. Zak in The Poetics of Rock commented,[109]
What makes the Kingsmen's "Louie Louie" a good record? Neither lyrics nor melodic design, harmonic motion, rhythmic groove, or instrumental arrangement — all of which can be represented in some fashion apart from the record (though the lyrics would be at best an approximation) — hold the key to the answer. The record's power is in its sound, which represents multiple elements, processes, and voices — song, arrangement, sounds, techniques of sound recording and processing, musical performances, and all the particular ephemeral nuances that attend the moment of inscription. What is, from a certain perspective, mind-numbingly simple is in fact a complex network of phenomenal elements that we perceive as a whole.
A significant error on the Kingsmen version occurred just after the lead guitar break. As the group was going by the Wailers version, which had a restatement of the riff twice over before the lead vocalist came back in, it would be expected that Ely would do the same. Ely, however, missed his mark, coming in too soon before the second restatement of the riff. He realized his mistake and stopped the verse short, but the band did not realize that he had done so. As a quick fix, drummer Lynn Easton covered the pause with a drum fill. The error "imbued the Kingsmen recording with a touching humility and humanity"[46] and is now so well known that multiple versions by other groups duplicate it.[97][110]
First released in May 1963, the single was initially issued by the small Jerden label, before being picked up by the larger Wand Records in October 1963. Wand president Florence Greenberg said, "... it was forced down my throat by friends. I was ashamed to put it out."[111]Herb Alpert and A&M Records passed on the distribution opportunity,[112] deeming it "too long" and "out of tune".[113]
Sales of the Kingsmen record were initially so low (reportedly 600) that the group considered disbanding. Things changed when Boston's biggest DJ, Arnie Ginsburg, was given the record by a pitchman. Amused by its slapdash sound, he played it on his program as "The Worst Record of the Week". Despite the slam, listener response was swift and positive.[114]
By the end of October, it was listed in Billboard as a regional breakout and a "bubbling under" entry for the national chart. Meanwhile, the Raiders version, with far stronger promotion, was becoming a hit in California and was also listed as "bubbling under" one week after the Kingsmen debuted on the chart. For a few weeks, the two singles appeared destined to battle each other, but demand for the Kingsmen single, backed by national promotion from Wand, acquired momentum and by the end of 1963, Columbia Records had stopped promoting the Raiders version.
It entered the top ten on the Billboard Hot 100 chart for December 7, and peaked at No. 2 the following week, a spot which it held for six non-consecutive weeks; it would remain in the top 10 throughout December 1963 and January 1964 before dropping off in early February.[115] In total, the Kingsmen's version spent 16 weeks on the Hot 100, selling a million copies by April 1964.[116] "Dominique" and "There! I've Said It Again" by the Singing Nun and Bobby Vinton, respectively, prevented the single from reaching No. 1 (although Marsh asserts that it "far outsold" the other records, but was denied Billboard's top spot due to lack of "proper decorum".)[117] "Louie Louie" did reach No. 1 on the Cash Box and Music Vendor/Record World pop charts, as well as No. 1 on the Cash Box R&B chart.[118][119] In Canada it was No. 1 for three weeks beginning December 30, 1963.[120] It was the last No. 1 on Cash Box before Beatlemania hit the United States with "I Want to Hold Your Hand".[121] The Kingsmen version quickly became a standard at teen parties in the U.S. during the 1960s and, reaching No. 26 on the UK Singles Chart,[122] was the preferred tune for a popular British dance called "The Shake".[123] The first album, The Kingsmen In Person, peaked at No. 20 in 1964 and remained on the charts for over two years (131 weeks total) until 1966.[124]
Due to the lyrics controversy and supported by the band's heavy touring schedule, the single continued to sell throughout 1965 and, after being reissued in 1966 as "Louie Louie 64-65-66", briefly reappeared on the charts, reaching No. 65 in Cash Box, No. 76 in Record World, No. 97 in Billboard[125][126] and cracking the Top 40 in the Washington market.[127] Total sales estimates for the single range from 10 million[36] to over 12 million with cover versions accounting for another 300 million.[128]
Another factor in the success of the record may have been the rumour that the vocals were intentionally slurred by the Kingsmen to cover up lyrics that were allegedly laced with profanity, graphically depicting sex between the sailor and his lady. Crumpled pieces of paper professing to be "the real lyrics" to "Louie Louie" circulated among teens. The song was banned on many radio stations and in many places in the United States, including Indiana, where a ban was requested by Governor Matthew Welsh.[129][130][131][132] These actions were taken despite the fact that practically no one could distinguish the actual lyrics. Denials of chicanery by Kingsmen and Ely did not stop the controversy. The FBI started a 31-month investigation into the matter and concluded they were "unable to interpret any of the wording in the record."[23] However, drummer Lynn Easton later admitted that he yelled "Fuck" after fumbling a drum fill at 0:54 on the record.[133][134][135][136]
By the time the Kingsmen version had achieved national popularity, the band had split. Two rival editions—one featuring lead singer Jack Ely, the other with Lynn Easton who held the rights to the band's name—were competing for live audiences across the country. A settlement was reached later in 1964 giving Easton the right to the Kingsmen name but requiring all future pressings of the original version of "Louie Louie" to display "Lead vocal by Jack Ely" on the label.[137] Ely released "Love That Louie" (as Jack E. Lee and the Squires) in 1964 and "Louie Louie '66" and "Louie Go Home" (as Jack Ely and the Courtmen) in 1966 without chart success. He re-recorded "Louie Louie" in 1976 and again in 1980, and these versions appear on multiple 60s hit compilations credited to "Jack Ely (formerly of the Kingsmen)" or "re-recordings by the original artists".
Subsequent Kingsmen "Louie Louie" versions with either Lynn Easton or Dick Peterson as lead vocalist appeared on Live & Unreleased (recorded 1963, released 1992), Live at the Castle (recorded 1964, released 2011), Shindig! Presents Frat Party (VHS, recorded 1965, released 1991), 60s Dance Party (1982), California Cooler Presents Cooler Hits (recorded 1986, released 1987),[138]The Louie Louie Collection (as the Mystery Band, 1994), Red, White & Rock (2002), Garage Sale (recorded 2002, released 2003), and My Music: '60s Pop, Rock & Soul (DVD, 2011).[139] A solo version by Peterson was also included on the 1999 Circle of Friends, Volume 1 CD.[140]
On 9 November 1998, after a protracted lawsuit that lasted five years and cost $1.3 million, the Kingsmen were awarded ownership of all their recordings released on Wand Records from Gusto Records, including "Louie Louie". They had not been paid royalties on the songs since the 1960s.[141][142]
When Jack Ely died on April 28, 2015, his son reported that "my father would say, 'We were initially just going to record the song as an instrumental, and at the last minute I decided I'd sing it.'"[143] When it came time to do that, however, Ely discovered the sound engineer had raised the studio's only microphone several feet above his head. Then he placed Ely in the middle of his fellow musicians, all in an effort to create a better "live feel" for the recording. The result, Ely would say over the years, was that he had to stand on his toes, lean his head back and shout as loudly as he could just to be heard over the drums and guitars.[144]
When Mike Mitchell died on April 16, 2021, he was the only remaining member of the Kingsmen's original lineup who still performed with the band.[145] His "Louie Louie" guitar break has been called "iconic",[146] "blistering",[147] and "one of the most famous guitar solos of all time".[148]Guitar Player magazine noted, "Raw, lightning-fast, and loud, the solo's unbridled energy helped make the song a No. 2 pop hit, but also helped set the template for garage-rock – and later hard-rock – guitar."[149]
Citing it as “the only piece of pop music I can remember from my youth”, British writer Peter Ackroyd selected the Kingsmen's "Louie Louie", along with works by Beethoven, Bach, and Prokofiev as music selections on the BBC Radio 4 show, Desert Island Discs.[150] Britain's Independent in 2015 declared it the "party anthem of the universe".[100]
Paul Revere & the Raiders also recorded a "cleaner, more accomplished"[46] "soulful version"[153] of "Louie Louie", probably on April 11 or 13, 1963, in the same Portland studio as the Kingsmen.[154][155][156] Personnel included Mark Lindsay (sax, vocals), Steve West (guitar), and Mike Smith (drums) with Paul Revere subbing on bass.[157][158] The recording was paid for and produced by KISN radio personality Roger Hart, who soon became personal manager for the band.[159] Released on Hart's Sandē label and plugged on his radio show,[154] their version was more successful locally. Columbia Records issued the single nationally in June 1963 and it went to No. 1 in the West and Hawaii, but only reached No. 103 on the BillboardBubbling Under Hot 100 chart. The quick success of "Louie Louie" faltered, however, due to lack of support from Columbia and its A&R man Mitch Miller,[160] a former bandleader (Sing Along With Mitch) with "retrogressive taste"[161] who disliked the "musical illiteracy" of rock and roll.[162]
The Raiders version opened with Lindsay's saxophone intro followed by Smitty's exhortation to "Grab yo woman, it's-a 'Louie Louie' time!".[163] Another signature phrase was "Stomp and shout and work it on out". Lyrically, only the first verse was used with Lindsay improvising the remaining vocals. The original version also contains a scarcely audible "dirty lyric" when Lindsay says, "Do she fuck? That psyches me up!" behind the guitar solo.[164]
Robert Lindahl, president and chief engineer of NWI and sound engineer on both the Kingsmen and Raiders recordings, stated that the Raiders version was not known for "garbled lyrics" or an amateurish recording technique, but, as one author noted, their "more competent but uptight take on the song" was less exciting than the Kingsmen's version.[165]
Live versions were included on Here They Come! (1965), Paul Revere Rides Again! (1983), The Last Madman of Rock and Roll (1986, DVD), and Mojo Workout! (2000). Later releases featured different lead vocalists on Special Edition (1982, Michael Bradley), Generic Rock & Roll (1993, Carlo Driggs), Flower Power (2011, Darren Dowler), and The Revolutionary Hits of Paul Revere & the Raiders (2019, David Huizenga).
The Raiders also recorded Richard Berry's "Have Love, Will Travel", a "'Louie Louie' rewrite",[166] and "Louie, Go Home", an answer song penned by Lindsay and Revere after Berry declined their request to write a "Louie Louie" follow-up,[167] as well as "Just Like Me", a "first cousin to 'Louie Louie'".[168]
The Beach Boys (1964)
Surf music icons the Beach Boys released their version on the 1964 album Shut Down Volume 2 with lead vocals shared by Carl Wilson and Mike Love. Their effort was unusual in that it was rendered "in a version so faithful to Berry's Angeleno-revered original"[169] instead of the more common garage rock style as they "[paid] tribute to the two most important earlier recordings of 'Louie Louie' — the 1957 original by Richard Berry and the Pharaohs, and the infamously unintelligible 1963 cover by the Kingsmen".[170] Other surf music versions included the Chan-Dells in 1963, the Pyramids and the Surfaris in 1964, the Trashmen, the Invictas, and Jan and Dean in 1965, the Challengers in 1966, the Ripp Tides in 1981, and the Shockwaves in 1988.[171]
Otis Redding (1964)
Otis Redding's "spunky ... free-associating",[46] "rich soul take"[172] version was released on his 1964 album Pain in My Heart. Dave Marsh called it "the best of the era" and noted that he "rearranged it to suit his style" by adding a full horn section and "garble[d] the lyrics so completely that it seems likely he made up the verses on the spot" as he "sang a story that made sense in his life" (including making Louie a female).[173]
With a version on their 1964 album A Halo to You, the Angels were the first girl group to cover "Louie Louie".[169] Their "unlikely stab at [the] frat rock staple"[174] was also one of the first to deliberately duplicate the Jack Ely early vocal re-entry mistake after the bridge. The Best of Louie Louie, Volume 2 included their rendition.[175]
A Minnesota girl group, the Shaggs, released a version as a 1965 single (Concert 1-78-65), and Honey Ltd. covered the song on a 1968 album and as a single (LHI 1216); however, the distinction of first girl group participation on a version of "Louie Louie" would go to the Shalimars, an Olympia girl group who provided overdubbed backing vocals in 1960 for a recording by Little Bill (Englehardt) released as a single in 1961 (Topaz 1305).[72]
Female solo artist versions in the 1960s included Italian singer Maddalena in 1967 as a single titled "Lui Lui", Ike and Tina Turner in 1968 (released in 1988 on Ike & Tina Turner's Greatest Hits, Volume 2), and Julie London on her 1969 album Yummy, Yummy, Yummy.[171]
The Kinks recorded "Louie Louie" on October 18, 1964. It was released in November 1964 in the UK on the Kinksize Session EP, reaching No. 1 on the Record Retailer EP chart.[176] It was also released in 1965 on two US-only albums, Kinks-Size and Kinkdom, and on a French album, A Well Respected Man. Live 1960s versions were released on bootlegs The Kinks in Germany (1965), Kinky Paris (1965), Live in San Francisco (1969), Kriminal Kinks (1972), and The Kinks at the BBC (2012).[177]The Kast Off Kinks continue to perform it live, occasionally joined by original Kinks members.[178]
Sources vary on the impact of "Louie Louie" on the writing of "You Really Got Me" and "All Day and All of the Night". One writer called the two songs "sparse representations of a 'Louie Louie' mentality",[179] while another succinctly called the former "a rewrite of the Kingsmen's 'Louie Louie'".[180] A 1965 letter to London's Record Mirror opined, "Besides completely copying the Kingsmen's vocal and instrumental style, The Kinks rose to fame with two watery twists of this classic...."[181] An opposing opinion was voiced by a different author who noted that the "You Really Got Me" riff is "unquestionably a guitar-based piece, [that] fundamentally differs from "Louie Louie" and other earlier riff pieces with which it sometimes is compared".[182]
Dave Marsh asserted that the Kinks "blatantly based their best early hits" on the "Louie Louie" riff.[183] Other sources stated that Davies wrote "You Really Got Me" while trying to work out the chords of "Louie Louie" at the suggestion of the group's manager, Larry Page.[184] According to biographer Thomas M. Kitts, Davies confirmed that Page suggested that "he write a song like 'Louie Louie'", but denied any direct influence.[185]
Biographer Johnny Rogan noted no "Louie Louie" influence, writing that Davies adapted an earlier piano riff to the jazz blues style of Mose Allison, and that he was further influenced by seeing Chuck Berry and Gerry Mulligan in Jazz on a Summer's Day, a 1958 film about the Newport Jazz Festival. Rogan also cited brother Dave Davies' distorted power chords as "the sonic contribution that transformed the composition" into a hit song.[186]
Whether directly or indirectly, the Kingsmen version influenced the musical style of the early Kinks. They were huge fans of the Kingsmen's "Louie Louie" and Dave Davies remembered the song inspiring Ray's singing, saying in an interview:[187][188]
We played that record over and over. And Ray copied a lot of his vocal style from that guy [Jack Ely]. I was always trying to get Ray to sing, because I thought he had a great voice, but he was very shy. Then we heard The Kingsmen and he had that lazy, throwaway, laid-back drawl in his voice, and it was magic.
Alec Palao in the Love That Louie CD liner notes highlighted Davies' "supremely lecherous, almost drunken vocal" and suggested that "Davies drew from 'Louie' the urchin persona that populated so much of the Kinks' early work".[46]
After their No. 1 hit "Guantanamera", the Sandpipers, with producer Tommy LiPuma and arranger Nick DeCaro, "cleverly revived"[189] the same soft rock, smooth ballad, Spanish language approach with a "quiet, yet majestic",[46] "sweet interpretation"[190] of "Louie Louie", reaching No. 30 and No. 35 on the Billboard and Cashbox charts, respectively (the highest charting U.S. version after the Kingsmen). The success of their "smoky version"[191] heralded the entry of the ever adaptable "Louie Louie" into the MOR and easy listening categories and many followed: David McCallum and J.J. Jones (1967), Honey Ltd. (1968), Julie London (1969), Sounds Orchestral (1970), Line Renaud (1973), Dave Stewart and Barbara Gaskin (1991), and others released singles and albums featuring slower and mellower versions of what had previously been an up tempo pop and rock standard.[192]
Travis Wammack (1966)
With the only instrumental version to make the charts, Travis Wammack reached No. 128 on the Bubbling Under Hot 100 in April 1966.[193] An early guitar innovator and "precursor to guitar-hero shredding", his distinctive sound on "Louie Louie" was "liberally laced with fuzztone"[46] created by playing through an overdriven drive-in movie speaker.[194]
Released as a single (Atlantic 2322), the track was not included on Wammack's first album in 1972 or any thereafter. It appeared on a 1967 French release (Formidable Rhythm And Blues (Vol. 3)), but not again until two Wammack compilations, That Scratchy Guitar From Memphis (1987) and Scr-Scr-Scratchy! (1989). It was also included on two later various artists compilations, Love That Louie: The Louie Louie Files (2002) and Boom Boom A Go-Go! (2014).
The Sonics released their "blistering makeover ... definitive punk arrangement"[46] as a 1965 single (Etiquette ET-23) and on the 1966 album Boom. Later versions appeared on Sinderella (1980) and Live at Easy Street (2016).
Described as a major influence on punk and garage music worldwide,[195] the group's characteristic hard-edged, fuzz-drenched sound and "abrasive, all-out approach"[196] "took the Northwest garage sound to its most primitive extreme"[197] and made their "Louie Louie" version ahead of its time. They also made it more "fierce and threatening"[198] by altering the traditional 1-4-5-4 chord pattern to the "darker, more sinister" 1-3b-4-3b.[46]
Mongo Santamaria (1966)
Cuban percussionist and bandleader Mongo Santamaria's version, a "cousin of 'Watermelon Man'",[199] returned "Louie Louie" to its Afro-Cuban roots, echoing Rene Touzet's "El Loco Cha Cha" with his conga- and trumpet-driven Latin jazz version. Originally released on the 1966 album Hey! Let's Party, it was also included on the 1983 compilation The Best of Louie Louie, Volume 2.[175] Other early Latin-flavored versions were released by Pedrito Ramirez con los Yogis (Angelo 518, 1965), Pete Terrace (El Nuevo Pete Terrace, 1966), Eddie Cano (Brought Back Live from P.J.'s, 1967), Mario Allison (De Fiesta, 1967), and Rey Davila (On His Own, 1971).
Latin American jazz/rock innovator Carlos Santana compared Tito Puente's 1962 "Oye Como Va" to "Louie Louie" saying, "... how close the feel was to 'Louie Louie' and some Latin jazz tunes" [200] and "... this is a song like 'Louie Louie' or 'Guantanamera'. This is a song that when you play it, people are going to get up and dance, and that's it."[201]
Frank Zappa and the Mothers of Invention (1967)
"Louie Louie" occurred repeatedly as an "idée fixe" in the musical lexicon of Frank Zappa in the 1960s with the Soul Giants[202] and the Mothers of Invention. He categorized the riff as one of several "Archetypal American Musical Icons ... [whose] presence in an arrangement puts a spin on any lyric in their vicinity"[203] and used it initially "to make fun of the old-fashioned rock 'n' roll they had transcended".[8] Although he characterized the Kingsmen version as a "mutilation"[204] and an "Animal House joke",[205] he had a higher opinion of Richard Berry, calling him "one of the most important figures in the West Coast rhythm-and-blues scene of the Fifties"[204] and saying, "No one may not underestimate [sic] the impact of 'Louie Louie', the original Richard Berry version."[206]
His original compositions "Plastic People" and "Ruthie-Ruthie" (from You Can't Do That on Stage Anymore, Vol. 1) were set to the melody of "Louie Louie" and included "Music by Richard Berry" credits.[207] Zappa said that he fired guitarist Alice Stuart from the Mothers of Invention because she couldn't play "Louie Louie", although this comment was obviously intended as a joke.[208]
At a 1967 concert at the Royal Albert Hall in London, Mothers of Invention keyboardist Don Preston climbed up to the venue's famous pipe organ, usually used for classical works, and played the signature riff (included on the 1969 album Uncle Meat). Quick interpolations of "Louie Louie" also frequently turn up in other Zappa works.[209]
Other 1960s versions
Little Bill with the Adventurers and the Shalimars, on a 1961 single (Topaz T-1305).[72]
Leon Russell, "pumping chords all the way through" as a session player on The Top-40 Song Book, a 1964 singalong album by arranger H. B. Barnum and producer David Axelrod.[212]
The Bobby Fuller Four, recorded 1964, released on a French bootleg LP I Fought The Law in 1983 and on El Paso Rock: Early Recordings, Vol. 1 in 1996.[171]
Jan and Dean, live on their 1965 Command Performance album backed by the Fantastic Baggys;[171] considered by some the "best track on the album".[217]
Jim Morrison's first vocal performance on stage was "Louie Louie" in 1965 with Rick and the Ravens (with Ray Manzarek) at the Turkey Joint West in Santa Monica,[224][225] and the newly formed Doors initially used it as their opening number.[226]
Todd Rundgren, in 1965 with his first group, Money. He described "Louie Louie" as "a song that changed my life"[227] and said, "You hear it for the first time, you don't understand the words or what the song is about, but you never forget it."[228]
Don and the Goodtimes, backing Jim "Harpo" Valley on the 1966 album Harpo: Jim Valley with Don and the Goodtimes. The "extended raunch fest" that combined "elements of both the Raiders' and Kingsmen's arrangements"[46] was also included on the various artists albums The Hitmakers (1966), Northwest Battle of the Bands, Volume 2 (2001), and Love That Louie (2002).[171]
Jack Ely and the Courtmen, on a 1966 single (Bang B-520) as "Louie Louie '66";[171] a version that "ploughs the same basic furrow as the original" with "a slightly harsher edge."[46]
The Troggs, on their 1966 UK album From Nowhere. Their 1966 hit single "Wild Thing" used the same chord progression as "fundamentally a 'Louie Louie' rewrite".[229] James Marshall of Spin Magazine said of the Troggs, "All you need to make a great rock 'n' roll record are the chords to 'Louie Louie' and a bad attitude."[230] A rerecorded version was released on the 2013 album This Is The Troggs.[171]
Ace Cannon, an instrumental saxophone version on his 1966 album Sweet & Tough.[171]
Pete Fountain, an instrumental clarinet version on his 1966 album I've Got You Under My Skin;[171] also included on the 1983 compilation The Best of Louie Louie, Volume 2.[175]
The Syndicate of Sound, a live version from 1966 released in 1991 by Cream Puff War magazine.[231]
Pink Floyd, in an earlier incarnation as The Pink Floyd Sound, regularly performed psychedelic versions with "wild improvised interludes"[232] and "echo-laced discordant jams"[233] in the mid-1960s.[234][235] However, after an October 1966 Melody Maker concert review criticized their "dated R&B things" and said "Psychedelic versions of 'Louie Louie' won't come off", the song was dropped from future setlists.[232][236]
Eddie Cano and his Quintet, on his 1967 Brought Back Live from P.J.'s album.[171]
Floyd Cramer, an instrumental piano version on his 1967 album Here's What's Happening![171]
The Tams, on their 1968 album A Little More Soul.[171]
The Dick Crest Orchestra, on a 1968 album Would You Believe.[171]
Africa, in a medley with "Ode to Billie Joe" on their 1968 album Music From "Lil Brown"; described as "surprisingly ripe for lysergic interpretation."[238]
Ike and Tina Turner recorded "a sultry, little known rendition"[239] in 1968 sung from "his avaricious girlfriend's point of view" with "the forlorn sailor owning a yacht".[173] Their "soul romp"[199] version was released on Ike and Tina Turner's Greatest Hits, Volume 2 in 1988 and also on The Best of Louie Louie, Volume Two in 1989.[175]
Honey Ltd., on their eponymous 1968 album and as a single (LHI 1216).[171] A "slow-tempo, brass and funk rendition ... replete with cries of "Sock it to me, Louie!", it was produced by Jack Nitzsche and featured Ry Cooder on guitar.[240] One writer characterized it as "slow, vague, and really drawn out"[241] and group member Joan Sliwin said, "I never understood ... why 'Louie, Louie'?"[242]
Wilbert Harrison, on his 1969 album Let's Work Together and as a single (Juggernaut 70SUG405). Noted for "imparting his own personal stamp" and "unique vocal delivery" on his version.[243]
A "sexiest-of-all version by smokey-voiced diva Julie London"[245] released as a 1969 single (Liberty 56085) and included on her final album Yummy, Yummy, Yummy, which also featured other contemporary rock songs.
George Strait, in the late 1960s with his high school group, The Stoics.[246]
Iggy Pop (then known as Jim Osterberg) began performing "Louie Louie", "a song nearly as old and unkillable as Iggy himself",[247] "with his own version of the dirty lyrics"[248] in 1965 as a member of the Iguanas. Later with the Stooges and as a solo performer, he recorded multiple versions of the song. As the "godfather of punk", he inspired a host of punk rock successors, including many with their own versions as the song became a "live staple for many punk-rock bands of the 1970s".[249][250]
A 1964 instrumental demo cut with Osterberg/Pop on drums was released on Jumpin' with the Iguanas (1995)[251] and a London rehearsal version from 1972 was released on Heavy Liquid (2005) and again on Born in a Trailer (2016). A 1973 live version was released on The Detroit Tapes (2009). Metallic KO (1976) featured a provocative version with impromptu obscene lyrics from the last performance of Iggy and the Stooges in 1974 at the Michigan Palace in Detroit where, according to Lester Bangs, "you can actually hear hurled beer bottles breaking on guitar strings".[252] ("55 Minute Louie-Louie", released in 2017 by Shave on their High Alert digital album, commemorated the occasion.) Consequence called this version "a rock standard blown up from the inside out" and said, "The band's cover of 'Louie Louie' somehow both honors their rock ‘n’ roll forebears and spits on their legacy. In other words, it's punk at its best."[253]
Pop later wrote a new version with political and satirical verses instead of obscenities that was released on American Caesar in 1993. One lyric in particular captured Pop's long term relationship with the song: "I think about the meaning of my life again, and I have to sing "Louie Louie" again."[254]Far Out Magazine called it "the best version of the song out there".[255] It was used during the opening credits of Michael Moore's Capitalism: A Love Story and as an ending song in Jim Jarmusch's Coffee and Cigarettes in which Pop took part as himself. The Just Dance video game also featured this version performed by a dancing Iggy Pop avatar.
Multiple live versions were released on Nuggets (recorded 1980, released 1999), Where The Faces Shine - Volume 2 (recorded 1982, released 2008), The Legendary Breaking Point Tour (recorded 1983, released 1993), Kiss My Blood (1991, VHS), Beside You (1993), and Roadkill Rising (1994).[256]
Toots and the Maytals (1972)
"Louie Louie" journeyed to its lyrical Jamaican destination with a "slow skanking"[257]reggae version "as soulful as it gets"[46] by Toots and the Maytals. A shorter version was released as a 1972 single in Jamaica (Jaguar J.49) and the U.K. (Trojan TR-7865) with a longer version included on the 1973 Funky Kingston album, described by rock critic Lester Bangs writing in Stereo Review as "Perfection, the most exciting and diversified set of reggae tunes by a single artist yet released".[258]
A BBC reviewer said, "The goofy garage anthem becomes both fiery sermon and dance-til-you-drop marathon. And, thanks to Toots’ soulman's disregard for verbal meaning, the words are, if anything, even harder to discern than in the Kingsmen's version."[259] Rolling Stone wrote, "And it passes the toughest test of any 'Louie Louie' remake — it rocks hard"[260] while Hi-Fi News & Record Review cited its "incomprehensible majesty" and "crazy vigour" that made it "the best version ever".[261] Another author, writing about the song's use in a scene in This Is England noted, "A black Jamaican band's cover of a black American song, made famous by a white American band, seems an appropriate signifier of the racial harmony that [director Shane] Meadows seeks to evoke ...."[262]
The group performed the "infectiously danceable rocksteady rendering"[172] frequently in concert and a live version appeared on the 1998 various artists album Reggae Live Sessions Volume 2. Toots Hibbert also performed it solo and with other acts until his death in 2020, most notably the Red Hot Chili Peppers[263] and the Dave Matthews Band.[264]
"Brother Louie" (1973)
Although musically not a true cover version, "Brother Louie", Errol Brown and Tony Wilson's song about an interracial romance, was "strongly inspired by the Kingsmen's classic"[265] and described by Dave Marsh as "one of the truest heirs Richard Berry's 'Louie Louie' ever had" based on its theme of separated lovers and its minor key reprise of the chorus.[266] The original release by Hot Chocolate reached No. 7 on the UK singles chart. A cover version by Stories was a No. 1 hit in the U.S. later the same year.[266] In 1993, the Quireboys' version reached No. 31 in the UK.[267]
Patti Smith (1975)
Multiple live versions by Patti Smith, the "punk poet laureate",[268] were released in the mid-1970s on bootleg albums Let's Deodorize The Night, Teenage Perversity & Ships In The Night, In Heat, and Bicentenary Blues, usually as a medley in which Lou Reed's "Pale Blue Eyes" would "sacrilegiously segue" into "Louie Louie".[171][269] A 1975 live version at The Bottom Line was described as "uptight" with her "raw voice barking out the chorus".[270] Her version has also been described as tapping "directly into the primal, urchin-like spirit of rock's renaissance".[271]
Jon the Postman (1977)
Described as "a committed and omnipresent figure on the punk and post-punk scene in Manchester",[272]Jon the Postman became known for waiting until headline bands like the Buzzcocks, the Fall, and Warsaw (later Joy Division)[273] had finished their sets (sometimes before they had finished) before mounting the stage in a drunken state, grabbing the microphone, and performing his own versions of "Louie Louie".[274][275] The first occurrence was at a Buzzcocks concert at the Band on the Wall venue on May 2, 1977,[276] which he described:
I think the Buzzcocks left the stage and the microphone was there and a little voice must have been calling, 'This is your moment, Jon.' I've no idea to this day why I sang 'Louie Louie,' the ultimate garage anthem from the 60s. And why I did it a cappella and changed all the lyrics apart from the actual chorus, I have no idea. I suppose it was my bid for immortality, one of those great bolts of inspiration.[277]
For some reason it appeared to go down rather well. I suppose it was taking the punk ethos to the extreme – anyone can have a go. Before punk it was like you had to have a double degree in music. It was a liberation for someone like me who was totally unmusical but wanted to have a go.[278]
A version of the song by The Fall with Jon on vocals appeared on the Live 1977 album which was described by Stewart Home as taking "the amateurism of the Kingsmen to its logical conclusion with grossly incompetent musicianship and a drummer who seems to be experiencing extreme difficulty simply keeping time".[275] A version with his group Puerile was included on the 1978 album John the Postman's Puerile.
Motörhead's "charming, laid-back rendition of an old rock chestnut"[279] originated as a "cheap one-take demo" produced by Alvin Lee.[280] With support from manager Doug Smith, the track was rerecorded and shopped to Bronze Records. Founder Gerry Bron disliked the "incendiary, almost sullen rendition",[279] labeling it "about the worst record I'd ever heard".[280] Nevertheless, it was released as the group's second single, "purely as a favour" to promoter Neil Warnock, to coincide with an upcoming tour.[280]
A "rough-edged cover of the garage rock warhorse"[281] with Clarke's guitar emulating the opening electric piano riff, it was paired with "Tear Ya Down" on a 7" vinyl single. Supported by a "back-breaking" touring schedule, the "high-octane" version reached No. 68 on the UK Singles Chart.[282] The track also appeared on the CD re-issues of Overkill (1996) and The Best of Motörhead (2000).[283]
I think we did a really good version of it – people tell me that it's one of the few times it's been recorded where the lyrics can be understood! Actually, I only got the first two verses and then the last verse was largely improvised.
On 25 October 1978, a pre-recording of the band playing the song was broadcast on the BBC show Top of the Pops,[285] and was subsequently released on the 2005 album BBC Live & In-Session. Another live 1978 version was released on Lock Up Your Daughters (1990) and a 1978 alternate studio track appeared on Over the Top: The Rarities (2000). The 2005 "deluxe edition" of Overkill included the original version, the BBC version, and two alternate versions.[283]
National Lampoon's Animal House (1978)
Bluto Blutarsky (John Belushi) performing "Louie Louie" in National Lampoon's Animal House forever cemented the song's status as a "frat rock" classic and a staple of toga parties. Belushi may have insisted on singing "Louie Louie" because he associated it with losing his virginity,[286] but, according to director John Landis, it was included in the screenplay by soundtrack producer Kenny Vance long before Belushi was involved with the project because "... it would be the song the Deltas would sing".[287]
In the film, the Deltas were clearly aping the Kingsmen version complete with slurred dirty lyrics, but the setting was 1962, a year before the Kingsmen recording. Although Richard Berry released his original version of the song in 1957, and the song had been popular with local bands in the Northwest following Rockin' Robin Roberts' 1961 single, the mythical Faber College was based on Dartmouth College in the Northeast U.S., so the use of "Louie Louie" was an anachronism.[287]
The Kingsmen version was heard during the film along with a brief live rendition by Belushi with Tim Matheson, Peter Riegert, Tom Hulce, Stephen Furst, Bruce McGill, and James Widdoes. A separate version by Belushi played during the credits and was included on the soundtrack album. The Belushi version was also released as a single (MCA 3046) and reached No. 89, No. 91, and No. 91 on the Billboard, Cashbox, and Record World charts, respectively.[125]
Another actor from the film, DeWayne Jessie as Otis Day of Otis Day and the Knights, included a version on the VHS release Otis My Man in 1987.[171] The film's soundtrack producer Kenny Vance (formerly of Jay and the Americans) also released a version with his group The Planotones on the 2007 album Dancin' And Romancin'.[288]
Bruce Springsteen (1978)
Bruce Springsteen has had a long association with "Louie Louie", playing it at multiple concerts and guest appearances, and commenting often on its significance.
Rock is primarily about longing. All the great rock songs are about longing. "Like A Rolling Stone" is about longing; 'How does it feel to be without a home?' — "Louie, Louie"! You're yearning for –'Where's that big party that I know is out there, but I can't find it'.
There is no love without one plus one equaling three. It's the essential equation of art. It's the essential equation of rock 'n' roll. It's the reason the universe will never be fully comprehensible. It's the reason "Louie Louie" will never be fully comprehensible. And it's the reason true rock 'n' roll, and true rock 'n' roll bands, will never die.
The first known recorded performance was on September 9, 1978, at the University of Notre Dame on the Darkness Tour, followed by other tour performances in 1978, 1981, 2009, and 2014. He also played the song in guest appearances with other groups in 1982 (at the Stone Pony with Cats on a Hot Surface) and 1983 (at The Headliner in Neptune, NJ with Midnight Thunder). Song "snippets" are frequently played within other songs: "High School Confidential", "Twist and Shout", "Glory Days", and "Pay Me My Money Down".
Multiple concert bootleg albums included a live "Louie Louie" version: Reggae 'N' Soul (1988), Notre Dame Game (1981), Rockin' Days (1983), Rock Through the Jungle (1983), Rock & Roll Is Here to Stay (1990), Clubs' Stories (1994), Songs for an Electric Mule (1994), Lost & Live (1995), The Boss Hits the Sixties (2009), Satisfaction (2014), Charlotte, NC 04/19/14 (2014), Who´s Been Covered by the Boss (2014), Saginaw 1978 (2015), and High Hopes Tour 2014 (2018).
E Street Band drummer Max Weinberg played "Louie Louie" on his 2017 live Jukebox show,[293] and guitarist Nils Lofgren credited some of his success to "I just happened to play 'Louie Louie' a little different than the other guys."[294]Steven Van Zandt remembered it as the record that changed his life, saying, "That's where it all started."[295]
More recently, Springsteen included the Kingsmen's version in a curated "frat rock" playlist on the 25th episode of his From My Home to YoursSirius XM radio show in July 2021[296] and again as an intro on the 30th episode in October 2023.[297] In a 2024 interview on The Howard Stern Show, he described "Louie Louie" as "a great fucking song".[298]
Other 1970s versions
Sounds Orchestral, "by far the best of the numerous easy listening interpretations",[46] in 1970 as a single (Janus 124) and on albums One More Time (US), Good Morning Starshine (UK), and Fantastic (France).
Line Renaud, French singer, actress, and AIDS activist, as a 1973 single (MGM K14500);[171] also included on the 2007 compilation 100 Chansons.
New York Dolls, live in the early 1970s;[302] their song "Private World" has been termed a "Louie Louie" update.[303]
Flamin' Groovies, on their 1971 album Teenage Head and included on their 1976 compilation Still Shakin'. Live versions appeared on Bucketful of Brains (1983), Slow Death Live (France, 1983) and Studio '70 (France, 1984).[171]
Lyres, recorded mid-1970s, released on their 1987 album Live at Cantones.[171]
Goddo, a "Kinks-styled version"[305] on their initial 1975 single (A&M 398) that reached No. 75 on the Canadian RPM chart.[306]
The Clash, on the 1977 Louie is a Punkrocker vinyl bootleg from the Sandinista! outtakes.[307][308] One writer characterized it as "a raw and unusable jam".[309]
Bryan Carroll of AllMusic gave the single four out of five stars, saying, "Of the more than 1,500 commitments of Richard Berry's 'Louie Louie' to wax ... Black Flag's volatile take on the song is incomparable. No strangers to controversy themselves, the band pummel the song with their trademark pre-Henry Rollins era guitar sludge, while singer Dez Cadena spits out his nihilistic rewording of the most misunderstood lyrics in rock history."[323]
You know the pain that's in my heart It just shows I'm not very smart Who needs love when you've got a gun? Who needs love to have any fun?
The single also included an early version of "Damaged I", which would be re-recorded with Rollins for the band's debut album, Damaged, later that year.[323] Demo versions of both tracks, recorded with Cadena, were included on the 1982 compilation albumEverything Went Black.[324]
The front cover art shows the main verse of the lyrics to "Louie Louie" over a photograph by Edward Colver featuring Black Flag's third singer Dez Cadena. Both tracks from the single were included on the 1983 compilation album The First Four Years, and "Louie Louie" was also included on 1987's Wasted...Again.[325][326] A live version of "Louie Louie", recorded by the band's 1985 lineup, was released on Who's Got the 10½?, with Rollins improvising his own lyrics.[327]
Continued touring, line-up changes, and occasional reunions resulted in multiple recorded live versions with various lead singersKeith Morris, Ron Reyes, Dez Cadena, Henry Rollins, and Mike Vallely.[328]
Stanley Clarke and George Duke (1981)
A duo of "jazz rock fusioneers",[329] bassist Stanley Clarke and keyboardist George Duke, included a "killer version"[330] "funk cover"[331] on The Clarke/Duke Project, a 1981 album of eight original compositions and one cover. The song's combination of narration and singing within a storytelling structure elicited a variety of reactions ranging from "appealing"[332] and "imaginative adaptation"[329] to "probably the funkiest version of 'Louie Louie' ever recorded".[333] One Allmusic reviewer called it "a truly bizarre rendition"[334] while another lamented that the Clarke/Duke version "criminally, never made it onto any of the various artists collections that showcased the legendary Richard Berry tune"[331] (but it was included on The Best of Louie Louie, Volume 2).[175]
Disco king Barry White created Richard Berry's "all-time favorite" version[337] as he "reworked and revamped"[338] the original to create a "Latin-tinged"[339] rendition that "took the song from pure rock 'n' roll to pure moan 'n' groan".[337] Not all reaction was positive, however, as CD Review dismissed it as "blasphemy" and "disco-fied".[340]
White commented,
I'm gonna sing just like Richard Berry. I'm gonna do this song that this black guy wrote. Everybody thinks that these white guys recorded it, but a black guy did this.[341]
Dave Marsh summarized Berry's reaction,
In White's arrangement, "Louie Louie" emerges as an up-tempo Latin groove, driven by timbales and congas and punctuated by brilliant trumpet riffs, while White supplements the chorus with the plaintive interpolation "Comin' home, Jamaaaica!" Richard Berry loved it because White's version finally brought to life his original vision of "all the timbales and congas going, and me singing 'Louie Louie'." "Barry White did it exactly the way I wanted to do it," Berry enthused, "I loved it."[337]
In the Beware! liner notes, White wrote,
I would like to take this opportunity to emphasize and give an acknowledgement of credit. The song "Louie Louie" was originally written and created by a man who, I feel, was one of the true pioneers of my time. All my respect, highest admiration and love goes to Mr. Richard Berry.[342]
The track was released on White's 1981 Beware! album, and also as 12" and a 7" single (shortened from 7:14 to 3:35).[343] White also performed it on Soul Train on September 19, 1981, and on American Bandstand on August 8, 1981.[344]
The Fat Boys (1988)
The Fat Boys with producers Latin Rascals brought "Louie Louie" up to date in 1988 with a hip hop version which reached No. 89 on the Billboard Hot 100 chart and No. 46 on the UK Top 100. Their rap, with rewritten lyrics, "chronicled a pursuit of the song's real words".[345] Dave Marsh in 1993 called their version "the last great 'Louie Louie' to date".[345]
The Fat Boys version was released on the Coming Back Hard Again album on the Tin Pan Apple label, and also on a 12" single (5:42 and 3:50 edits) and a 7" single (3:50 edit). The 2009 compilation album Fat Boys On Rewind included it as well.[346] Notable live performances in 1988 included Club MTV and the MTV Video Music Awards. The music video, directed by Scott Kalvert, was a parody of Animal House with food fights, dancing girls, and togas.[345]
Joan Jett & the Blackhearts, on the 1992 CD reissue of the 1981 album I Love Rock 'n Roll; one of multiple versions that deliberately repeated the Jack Ely early vocal entry mistake.[97] Joan Jett said of producer Neil Bogart's insistence that she record "Louie Louie", "This was a song that I did not want to do .... All that stuff at the beginning of the song is me trying to ensure that the song would suck. Didn't work. I thought it came out well."[348]
Kevin Dunn, on his 1985 album Tanzfeld.[171] Described as "disjointed and slightly dissonant"[358] and "wickedly satirical",[359] his version was also released on the 2010 anthology No Great Lost: Songs, 1979–1985. Robert Christgau's album review characterized his rewritten "Louie Louie" lyrics as "inspirational verse".[360]
Bob Dylan and Tom Petty during rehearsals for Farm Aid 1985;[361] released on the 2005 DVD So Many Directions Home Vol.2. Live versions by Tom Petty and the Heartbreakers were released on Live in Edinburgh 1982, Live at the Fillmore 1997, and other albums.
The Kingsmen, in an audience performance at the end of Bud Clark's Inaugural Ball beginning his term as Mayor of Portland, Oregon in 1985.[362]
Girl Trouble, on the 1990 album Stomp And Shout And Work It On Out!!!! (recorded 1985).[171]
The Sisters of Mercy, on the 1985 bootleg Brimstone & Treacle EP. Various live versions appeared on bootleg albums Possession, Half Moon Over Amsterdam, The Lights Shine Clear Through The Sodium Haze, A Fire In The Hull, At The Blind Parade, Cryptic Flowers, Live In Maastricht, Tune In... Turn Off... Burn Out..., and The Quality Of Mercy.[171]
Written by Mike Binder and directed by Joe Roth, Coupe de Ville featured an extended scene discussing possible interpretations of the "Louie Louie" lyrics and a closing credit montage of multiple "Louie Louie" versions.
Hearing the Kingsmen version on a car radio sparks an extended debate among the three Libner brothers (Patrick Dempsey, Arye Gross, Daniel Stern) about the lyrics and whether it is a "hump song", a "dance song", or a "sea chanty" with the eldest and most worldly brother arguing for the last interpretation.[371][372] As the Los Angeles Times noted, "Joe Roth obviously knows the importance of the "Louie Louie" lyric controversy".[373]
Multiple versions played during the closing credits: Richard Berry, the Rice UniversityMarching Owl Band, the Sandpipers, Les Dantz and his Orchestra, the Kingsmen, and Young MC’s "Louie Louie House Mix" (a remix of the Kingsmen version with samples from Richard Berry and the Rice University MOB). The movie trailer also used the Richard Berry and Kingsmen versions.
The soundtrack album, released by Cypress Records on vinyl, CD and cassette, included the Kingsmen and Young MC versions.[374] A 12" EP (Cypress Records V-74500) was released with four tracks: "Louie Rap", "Louie Vocal Attack", "Louie Louie House Mix", and "Louie DePalma Mix" (all "featuring Maestro Fresh Wes" and "produced by Young MC").[375]
A music video of "Louie Louie House Mix", credited to "Various Artists (featuring Young MC)", was concurrently released and included appearances by Robert Townsend ("It’s a hump song!"), Kareem Abdul Jabbar ("It’s a dance song!"), Martin Short, Young MC, and others.[376]
The inclusion of the Kingsmen's "Louie Louie" is a bit of an anachronism in that the film takes place on a trip from Detroit to Florida during the summer of 1963. The initial release of the Kingsmen version on the regional Jerden label was in May 1963, but no significant national radio airplay and chart activity (or lyrics controversy) occurred until October and its national chart debut was not until early November.[377]
The Three Amigos (1999)
The first release by the Three Amigos (Dylan Amlot, Milroy Nadarajah, and Marc Williams) was their multi-version cover of "Louie Louie". The 12" EP, titled Louie Louie, included "Original Mix", "Da Digglar Mix", "Wiseguys Remix", and "Touché's Bonus Beats".[378] Released in July 1999 as a CD single, "Original Mix" featured heavy sampling of the Kingsmen intro and chorus. It reached No. 15 on the UK Singles Chart (higher than the Kingsmen's No. 26 in 1964), leading to a February 7, 1999 appearance on Top of the Pops. As of 2024, their version remains the last "Louie Louie" to appear on the US or UK charts.[379]
Guru Josh, on his 1990 acid house album Infinity that reached No. 41 on the UK chart. But "when critics spotted a cover of "Louie Louie" on his debut album, the game was definitely up".[380][171]
Eric Burdon, live in 1990 at a Ventura Beach concert;[382] Burdon also included the Kingsmen's version in his curated list of 13 tracks as host of Rolling Stone's Guest D. J. program #105 on March 26, 1984.[383]
The Guess Who, at their 2000 reunion concert in Winnipeg.[390] The early group was known for their "most wondrous" "Louie Louie" medley imitating the Kingsmen, Kinks, Beach Boys, and Raiders.[391]Burton Cummings regularly performs live versions at his concerts.[392]
Chuck E. Cheese featured a cartoon version by Munch's Make Believe Band in its pizza parlor shows in 2001.[393]
Al Copley, a "fresh arrangement" on his 2003 album Jump On It.[394]
↑ Entered chart November 9, 1963, and remained for 16 weeks; peaked in February 1964. Dave Marsh asserts that "Louie Louie" "far outsold" the No. 1 record "Dominique", but that "proper decorum" was a factor in keeping it from Billboard's top spot.[117]
↑ Also reached #1 on the Cash Box R&B chart. The Billboard R&B chart was not published at this time.
In 1983 Rhino Records released The Best of Louie, Louie: The Greatest Renditions of Rock's #1 All Time Song in conjunction with KFJC's "Maximum Louie Louie" event. The album featured a re-recorded Richard Berry version,[47] influential versions by Rockin' Robin Roberts, the Sonics and the Kingsmen, Black Flag's version, and several other versions, some bizarre. These included an "outlandish"[199] performance by the Rice UniversityMarching Owl Band, an a cappella "Hallalouie Chorus", in which the song's title was sung to the melody of Handel's "Hallelujah Chorus", and a David Bowie imitation by Les Dantz and his Orchestra.[44] Reissued on CD in 1988 by Rhino. Re-released in 2023 in Japan by Oldays as The Best of Louie Louie & More with 15 additional tracks.
In 2002 Ace Records released Love That Louie: The Louie Louie Files, a comprehensive overview of the origins, impact and legacy of "the cultural phenomenon known as 'Louie Louie'." Featuring detailed sleeve notes by Alec Palao, the CD contained 24 tracks divided into eight sections titled "The Original Louie", "Inspirational Louie", "Northwest Louie", "Louie As A Way Of Life", "Transatlantic Louie", "Louie: The Rewrite", "Louie: The Sequel" and "Louie Goes Home". The first CD reissue of Richard Berry's original version was included along with multiple historically important versions.[414]
Foreign language versions
Shortly after the Kingsmen's version charted in late 1963, the first international covers appeared. Since the original lyrics were notoriously difficult to discern, the translations were often inaccurate or adapted to a different storyline. Early foreign language versions included:[415]
Los Apson (Mexico), as "Ya No Lo Hagas", on a 1963 single (Peerless 1263) and a 1964 album Atrás De La Raya[171]
Joske Harry's and the King Creoles (Belgium), on a 1963 single (Arsa 107)[171]
Les Players (France), as "Si C'Etait Elle", on a 1964 single (Polydor 1879) and a 1964 EP (Polydor 27 129)[171]
Los Supersónicos (El Salvador), on a 1965 single (DCA 1082) and eponymous album[171]
Pedrito Ramirez con Los Yogis (US), on a 1965 single (Angelo 518)
I Trappers (Italy), as "Lui Lui Non Ha", on a 1965 single (CGD 9606)
Los Corbs (Spain), as "Loui Loui", on a 1966 EP (Marfer M.622)
Les Zèniths (Canada), on a 1966 single (Première 825)
Maddalena (Italy), as "Lui Lui" on a 1967 single (RCA Italiana 3413)[171]
The 1983 compilation The Best of Louie, Louie featured a "goofy"[199] Russian version by Red Square,[44] and in 1997 an entire album of Spanish covers, The First Louie Louie Spanish Compilation, was released with versions by the Flaming Sideburns, the Navahodads, Los DelTonos, and eight others. Other Spanish versions were released by Los Hermanos Carrion (Mexico), as "Alu, Aluai" on a 1971 album Lagrimas de Cristal Que Manera de Perder, Los Elegantes (Spain), as "Luisa Se Va" on a 1985 album Paso A Paso,[417] and Desperados (Spain), on a 1997 album Por Un Puñado De Temas.
In 1988, Michael Doucet released a "great vocal treatment"[418] of "Louie Louie" in Cajun French on the Michael Doucet and Cajun Brew album. CD Review characterized his version as "oddly appropriate".[419]
"Louie", 1994, by Phil Milstein on the RRRecordsAmerica The Beautiful experimental album; a "smog cloud" tribute collage of dozens of earlier versions.[131]
"The Louie Louie Variations", 1996, an "intriguingly titled", "alternative classical" composition by Phillip Kent Bimstein, performed by the Modern Mandolin Quartet, on his Garland Hirschi's Cows album.[428] Bimstein described the work as "a lively fantasy based on the archetypical I-IV-V chord progression ... [that] sends a small fragment on a deconstructive mission through a contemporary classical landscape."[429]
"The Ballad of the Kingsmen", 2004, Todd Snider (East Nashville Skyline, Oh Boy Records OBR-031); commentary on the tendency of the "religious right and the government ... to blame rock music for the moral decline of our youth."[430]
"Louie Louie Music", 2012, Armitage Shanks (Louie Louie Music EP, Little Teddy LiTe765)[431]
"I Love Louie Louie", 2014, The Rubinoos (45, Pynotic Productions 0045)[432]
"I Wanna Louie Louie (All Night Long)", 2018, Charles Albright (Everything Went Charles Albright, Sacramento Records 028)[434]
Parodies and rewrites
Due to the song's distinctive rhythm and simple structure, it has been used often as a basis for parodies and rewrites. Examples include:
"Lilly Lilly" by Slim Jim. Satirized the mumbled vocals of the Kingsmen version. Released on a 1965 single (Laurie 3226) produced and co-written by Ernie Maresca.[435][436]
"Lewis Lewis" by the Rain Kings. Self-released on a 1966 EP with lyrics rewritten by group members Doug Dossett and Steve Lowry.[437]
"Bernie Bernie" by The Bleacher Bums (with Richard Berry writer credit). Ode to Bernie Kosar released by Leaky Records on cassette and vinyl single in 1987.[443]
"Christmas Christmas" by Mojo Nixon. Released on the Punk Rock Christmas compilation in 1995.[444]
"Santa Santa" by The '60s Invasion. Released on the 2012 album Incense & Chia Pets: A 60's Christmas Celebration.[445]
"Buddy Buddy". Ode to Oklahoma basketball star Buddy Hield written and recorded by Eric Kiper in 2015.[446]
"Jedi Jedi". Star Wars parody released online by Royish Good Looks in 2018.[447]
Lyrics controversy and investigations
As "Louie Louie" began to climb the national charts in late 1963, Jack Ely's "slurry snarl"[448] and "mush-mouthed",[449] "gloriously garbled",[450] "infamously incomprehensible",[451] "legendarily manic",[452] "punk squawk"[46] vocals gave rise to rumors about "dirty lyrics". The Kingsmen initially ignored the rumors, but soon "news networks were filing reports from New Orleans, Florida, Michigan, and elsewhere about an American public nearly hysterical over the possible dangers of this record".[94] The song quickly became "something of a Rorschach test for dirty minds"[453] who "thought they could detect obscene suggestions in the lyric".[454]
In January 1964, Indiana governor Matthew E. Welsh, acting on multiple complaint letters, determined the lyrics to be pornographic because his "ears tingled" when he listened to the record.[455][456] He referred the matter to the FCC and also requested that the Indiana Broadcasters Association advise their member stations to pull the record from their playlists. An initial FCC investigation found the song "unintelligible at any speed".[457] The National Association of Broadcasters also investigated and deemed it "unintelligible to the average listener", but that "[t]he phonetic qualities of this recording are such that a listener possessing the 'phony' lyrics could imagine them to be genuine."[458] Neither the FCC nor the NAB took any further action.
In response, Max Feirtag of publisher Limax Music offered $1,000 to "anyone finding anything suggestive in the lyrics",[459] and Broadcasting magazine published the actual lyrics as provided by Limax.[460] Scepter/Wand Records commented, "Not in anyone's wildest imagination are the lyrics as presented on the Wand recording suggestive, let alone obscene."[461] Producer Jerry Dennon thanked the governor, saying, "We really owe Governor Welsh a lot. The record already was going great, but since he's stepped in to give us a publicity boost, it's hard to keep up with orders."[462]Billboard noted, "It also seems likely that some shrewd press agentry may also be playing an important role in this teapot tempest."[455]
The following month an outraged parent wrote to Attorney GeneralRobert F. Kennedy alleging that the lyrics of "Louie Louie" were obscene, saying, "The lyrics are so filthy that I can-not [sic] enclose them in this letter."[463][464] The Federal Bureau of Investigation investigated the complaint,[465] and looked into the various rumors of "real lyrics" that were circulating among teenagers.[466] In June 1965, the FBI laboratory obtained a copy of the Kingsmen recording and, after 31 months of investigation, concluded that it could not be interpreted[467] and therefore the Bureau could not find that the recording was obscene.[23]
Over the course of the investigation, a "folk legend of modern times that has yet to be bettered for sheer inanity",[46] the FBI interviewed Richard Berry, members of the Kingsmen, members of Paul Revere and the Raiders, and record company executives. The one person they never interviewed was the man who actually sang the words in question, Jack Ely, whose name apparently never came up because he was no longer with the Kingsmen.[466][468][469]
By contrast, in 1964 the Ohio State University student newspaper The Lantern initiated an investigation in response to a growing campus controversy. Working with local radio station WCOL, a letter was sent to Wand Records requesting a copy of the lyrics. The paper printed the lyrics in full, resolving the issue, and resulting in booking the Kingsmen for the fall homecoming entertainment.[470]
In a 1964 interview, Lynn Easton of the Kingsmen said, "We took the words from the original version and recorded them faithfully",[456] and group member Barry Curtis later added, "Richard Berry never wrote dirty lyrics ... you listen and you hear what you want to hear."[20] Richard Berry told Esquire in 1988 that the Kingsmen had sung the song exactly as written[27] and often deflected questions about the lyrics by saying, "If I told you the words, you wouldn't believe me anyway."[471][472]
In a 1991 Dave Marsh interview, Governor Welsh "emphatically denied being a censor", claiming he never banned the record and only suggested that it not be played. Marsh disagreed, saying, "If a record isn't played at the suggestion of the state's chief executive, it has been banned."[473]
A history of the song and its notoriety was published in 1993 by Dave Marsh, including an extensive recounting of the multiple lyrics investigations,[474] but he was unable to obtain permission to publish the song's actual lyrics[475] because the then current owner, Windswept Pacific, wanted people to "continue to fantasize what the words are".[476] Marsh noted that the lyrics controversy "reflected the country's infantile sexuality" and "ensured the song's eternal perpetuation"; he also included multiple versions of the supposed "dirty lyrics".[24] Other authors noted that the song "reap[ed] the benefits that accrue from being pursued by the guardians of public morals"[477] and "[s]uch stupidity helped ensure 'Louie Louie' a long and prosperous life."[478]
The lyrics controversy resurfaced briefly in 2005 when the superintendent of the school system in Benton Harbor, Michigan, refused to let a marching band play the song in a local parade; she later relented.[2]
Cultural impact
Book
Music critic Dave Marsh wrote a 245-page book about the song, Louie Louie: The History and Mythology of the World's Most Famous Rock 'n Roll Song, Including the Full Details of Its Torture and Persecution at the Hands of the Kingsmen, J.Edgar Hoover's F.B.I, and a Cast of Millions.[479]
The Who
The Who were impacted in their early recording career by the riff/rhythm of "Louie Louie", owing to the song's influence on the Kinks, who were also produced by Shel Talmy. Talmy wanted the successful sounds of the Kinks' 1964 hits "You Really Got Me", "All Day and All of the Night", and "Till the End of the Day" to be copied by the Who.[169] As a result, Pete Townshend penned "I Can't Explain", "a desperate copy of The Kinks",[480] released in March 1965. The Who also covered the 1964 Lindsay-Revere sequel "Louie Go Home" in 1965 as "Lubie (Come Back Home)".
In 1967 French composers Michel Colombier and Pierre Henry, collaborating as Les Yper-Sound, produced a synthesizer and musique concrète work based on the "Louie Louie" riff titled "Psyché Rock".[484] They subsequently worked with choreographer Maurice Béjart on a "Psyché Rock"-based score for the ballet Messe pour le temps présent. The full score with multiple mixes of "Psyché Rock" was released the same year on the album Métamorphose. The album was reissued in 1997 with additional remixes including one by Ken Abyss titled "Psyché Rock (Metal Time Machine Mix)" which, along with the original, "... Christopher Tyng reworked into the theme song for the animated television comedy series Futurama."[485][486][487]
"Louie Louie" marathons
In the early 1980s, KPFK DJs Art Damage and Chuck Steak began hosting a weekly "Battle of the Louie Louie" contest featuring multiple renditions and listener voting.[16] In 1981, KFJC DJ Jeff "Stretch" Riedle broadcast a full hour of various versions. Soon after, KALX in Berkeley responded and the two stations engaged in a "Louie Louie" marathon battle with each increasing the number of versions played. KFJC's Maximum Louie Louie Marathon topped the competition in August 1983 with 823 versions played over 63 hours, plus in studio performances by Richard Berry and Jack Ely.[488][489]
During a change in format from adult-contemporary to all-oldies in 1997, WXMP in Peoria became "all Louie, all the time," playing nothing but covers of "Louie Louie" for six straight days.[490] Other stations used the same idea to introduce format changes including WWSW (Pittsburgh), KROX (Dallas), WNOR (Norfolk), and WRQN (Toledo).[491][492]
In 2011, KFJC celebrated International Louie Louie Day with a reprise of its 1983 event, featuring multiple "Louie Louie" versions, new music by Richard Berry and appearances by musicians, DJs, and celebrities with "Louie Louie" connections.[493] In April 2015, Orme Radio broadcast the First Italian Louie Louie Marathon, playing 279 versions in 24 hours.[494] In 2023, the city of Portland hosted a 24-hour live marathon to commemorate the 60th anniversary of the Kingsmen version.[495]
Use in movies
Various versions of "Louie Louie" have appeared in the films listed below.[496]
The Kingsmen version was used in television commercials for Spaced Invaders (1990), but did not appear in the movie.[t] The Kingsmen version also appeared on More American Graffiti (1975) and Good Morning Vietnam (1987) compilations, but was not used in either movie.
↑ Not on the 1973 OST album or the 1979 More American Graffiti album.
↑ The Kingsmen version is heard during the film as is an impromptu version by John Belushi, Tim Matheson, Peter Riegert, Tom Hulce, Stephen Furst, Bruce McGill, and James Widdoes. Both versions were used in the trailer. A separately recorded version by John Belushi plays over the closing credits and was released as a single.
↑ Only the John Belushi version is on the soundtrack album.
↑ Not on the original 1973 album. Included on the 1979 soundtrack LP and subsequent CD reissues.
↑ Chart rankings for 1979 soundtrack album. The original 1973 LP (without a "Louie Louie" version) reached #2 in the US and the UK.
↑ In the film the USC Trojan Marching Band is shown but the Rice University MOB version is heard.
↑ The Kingsmen version occurs during the film. The Young MC "Louie Louie House Mix" (feat. Maestro Fresh Wes) plays during the credits and samples versions by Richard Berry, the Kingsmen, and the Rice University Marching Owl Band. Both versions are on the soundtrack album
Early video games with chiptune versions of "Louie Louie" included California Games[498] and Donkey Konga.[499] Since its introduction in 1987, California Games has been ported to more than a dozen gaming platforms, resulting in multiple unique "Louie Louie" versions based on different or improved programmable sound generator (PSG) chips. "Back 2 Back", composed by Hideki Naganuma for Sonic Rush, borrows the "Louie Louie" riff for its main section.
"Louie Louie" has long been a popular downloadable ringtone, starting with early MIDI versions, then audio track excerpts, and then full audio tracks. Tom Cruise in Knight and Day (2010) used the Kingsmen version as a ringtone/movement reminder.[500]
In 2015 Microsoft Messenger introduced the Zya Ditty app which allowed users to create short text-to-autotune music videos using a library of pre-licensed songs including "Louie Louie" and others.[501]
Use in audio sampling
The earliest known sampling of "Louie Louie" (Kingsmen version) was "Flying Saucer" by Ed Solomon in 1964 (Diamond 160), one of many "break-in" records popular in the 1960s.
Beginning in 1988, multiple rap and hip hop artists used audio samples of the keyboard intro and chorus of the Kingsmen version.
1988: Ultramagnetic MCs, "Travelling at the Speed of Thought" (12" single, initial release only); described by Melody Maker columnist Simon Reynolds as "a sublimely teasing edit ... [of] the sixties punk tearaway reincarnated in the eighties B-boy motormouth!"[502]
1988: JVC Force, "Doin' Damage" (from album Doin' Damage)
1988: Fat Boys, "Louie Louie" (from album Coming Back Hard Again; also released as a single)
1990: Young and Restless, "Louie Louie" (from album Something To Get You Hyped)
In the 1980s, due to the widespread availability of sheet music arrangements, "Louie Louie" became a staple of concert, marching, and pep bands for middle schools, high schools, and colleges and universities in the U.S. The earliest known high school band albums with a song version were the Evanston Township High School's Hi-Lights 1965 and the Franklin High School Choir, Orchestra, and Stage Band's 1966 Bel Cantos Concert. The first college band album with a version was the USC Trojan Marching Band's Let The Games Begin in 1984.[171] Early orchestra and big band releases included Dick Crest (Would You Believe - The Dick Crest Orchestra) and Neil Chotem (Neil Chotem and his Orchestra), both in 1968.
Although not commercially released, an example of the song's influence was the 2000 performance by the Dover High School Band joined on saxophone by Bill Clinton (who played in a jazz trio named the Kingsmen at Hot Springs High School, and at whose 1964 graduation dance the actual Kingsmen performed).[504][505]
Picking up on this initially prankish effort, Whatcom County Councilman Craig Cole introduced Resolution No. 85-12 in the state legislature, citing the need for a "contemporary theme song that can be used to engender a sense of pride and community, and in the enhancement of tourism and economic development". His resolution also called for the creation of a new "Louie Louie County". While the House did not pass it, the Senate's Resolution 1985-37 declared April 12, 1985, "Louie Louie Day". A crowd of 4,000, estimated by press reports, convened at the state capitol that day for speeches, singalongs, and performances by the Wailers, the Kingsmen, and Paul Revere & the Raiders. Two days later, a Seattle event commemorated the occasion with the premiere performance of a new, Washington-centric version of the song co-written by composer Berry.[507] After a spirited debate, the legislature ultimately preserved "Washington, My Home" as the state song while also adopting Woody Guthrie's "Roll On, Columbia, Roll On" as the official folk song. "Louie Louie" remains the "unofficial state rock song".[508]
Although the effort failed in the end, a cover of Berry's rewritten version was released in 1986 by Jr. Cadillac and included on the 1994 compilation The Louie Louie Collection.[412] The "state rock song" was played following "Take Me Out to the Ball Game" during the seventh-inning stretch at all Seattle Mariners home games from 1990 up until the 2022 season.[509]
Support for International Louie Louie Day and other "Louie Louie"–related observances is provided by the Louie Louie Advocacy and Music Appreciation Society (LLAMAS)[512] and "Louie Louie" fans worldwide.
LouieFest
The City of Tacoma held a summer music and arts festival from 2003 to 2012 in July named LouieFest. The event began in 2003 as the "1000 Guitars Festival" and featured a group performance of "Louie Louie" open to anyone with a guitar. The event was renamed LouieFest in 2004. Members of the Wailers, Kingsmen, Raiders, Sonics and other groups with "Louie Louie" associations regularly made appearances. The grand finale each year was the "Celebration of 1000 Guitars" mass performance of "Louie Louie" on the main stage.[513]
Louie Louie parades
The largest "Louie Louie" parade, organized by WWMR deejay John DeBella, was held in Philadelphia from 1985 to 1989 with proceeds going to leukemia victims.[514] DeBella described it as "a parade for no reason ... and the no reason would be 'Louie Louie'."[515] It regularly drew crowds in excess of 50,000, but was ultimately cancelled due to excessive rowdiness.[516]
Peoria, Illinois claims the longest running "Louie Louie" event, holding an annual "Louie Louie" street party, parade, and festival every year since 1988.[517]
Louie Louie sculpture
A sculpture titled Louie Louie, 2013 by Las Vegas-based artist Tim Bavington was displayed on the lobby wall of the Edith Green - Wendell Wyatt Federal Building in Portland, Oregon from 2013 to 2024. The work is constructed of 80 colored glass and acrylic panels representing the waveforms of the song using Bavington's concept of sculpting sound waves. [518][519] In 2024, it was sold for $250,000 to a private party.[520]
The Louie Awards
The Seattle Times bestows its Louie Awards upon "those who - through conscious act, rotten luck or slip of the tongue - stretch the limits of imagination or tolerance or taste in the Great Northwest."[521]
Recognition and rankings
Summary of "Louie Louie" rankings and recognition in major publications and surveys.
"Smells Like Teen Spirit" is a song by the American rock band Nirvana. It is the opening track and lead single from the band's second album, Nevermind (1991), released on DGC Records. The unexpected success of the song propelled Nevermind to the top of several albums charts at the start of 1992, an event often marked as the point when grunge entered the mainstream. It was Nirvana's biggest hit, charting high on music industry charts around the world in 1991 and 1992, and was number one on the charts in Belgium, France, New Zealand and Spain. It was met with wide critical acclaim, and described as an "anthem for apathetic kids" of Generation X. Although Nirvana grew uncomfortable with the mainstream and commercial attention the song brought to them, listeners and critics continue to praise "Smells Like Teen Spirit" as one of the greatest songs of all time. Having sold over 13 million units worldwide, "Smells Like Teen Spirit" is one of the best selling songs of all time.
Richard Berry Jr. was an American singer, songwriter and musician, who performed with many Los Angeles doo-wop and close harmony groups in the 1950s, including the Flairs and the Robins.
The Kingsmen are a 1960s American rock band from Portland, Oregon. They are best known for their 1963 recording of R&B singer Richard Berry's "Louie Louie", which held the No. 2 spot on the Billboard charts for six weeks and has become an enduring classic.
Paul Revere & the Raiders were an American rock band formed in Boise, Idaho, in 1958. They saw considerable U.S. mainstream success in the second half of the 1960s and early 1970s. The band was known for including Revolutionary War-style clothes in their attire.
Proto-punk is rock music from the 1960s to mid-1970s that foreshadowed the punk rock movement. A retrospective label, the musicians involved were generally not originally associated with each other and came from a variety of backgrounds and styles; together, they anticipated many of punk's musical and thematic attributes. The tendency towards aggressive, simplistic rock songs is a trend critics such as Lester Bangs have traced to as far back as Ritchie Valens' 1958 version of the Mexican folk song "La Bamba", which set in motion a wave of influential garage rock bands including the Kingsmen, the Kinks, the 13th Floor Elevators and the Sonics. By the late 1960s, Detroit bands the Stooges and MC5 had used the influence of these groups to form a distinct prototypical punk sound. In the following years, this sound spread both domestically and internationally, leading to the formation of the New York Dolls and Electric Eels in the United States, Dr. Feelgood in England, and the Saints in Australia.
"Johnny B. Goode" is a song by American musician Chuck Berry, written and sung by Berry in 1958. Released as a single in 1958, it peaked at number two on the Hot R&B Sides chart and number eight on its pre-Hot 100 chart. The song remains a staple of rock n' roll music.
"You Really Got Me" is a song by the English rock band the Kinks, written by frontman Ray Davies. The song, originally performed in a more blues-oriented style, was inspired by artists such as Lead Belly and Big Bill Broonzy. Two versions were recorded, with the second performance used for the final single. Lead guitarist Dave Davies performs the song's famous guitar solo. Although it was long rumoured that future Led Zeppelin guitarist Jimmy Page had performed the song's guitar solo, this has been debunked by Page himself.
"(Get Your Kicks on) Route 66" is a popular rhythm and blues song, composed in 1946 by American songwriter Bobby Troup. The lyrics relate a westward roadtrip on U.S. Route 66, a highway which traversed the western two-thirds of the U.S. from Chicago, Illinois, to Los Angeles, California. The song became a standard, with several renditions appearing on the record charts.
"Roll Over Beethoven" is a 1956 song written by Chuck Berry, originally released on Chess Records, with "Drifting Heart" as the B-side. The lyrics of the song mention rock and roll and the desire for rhythm and blues to be as respected as classical music. The song has been covered by many other artists, including the Rolling Stones and The Beatles. Rolling Stone magazine ranked it number 97 on its 2004 list of the "500 Greatest Songs of All Time".
The Wailers, often known as The Fabulous Wailers, were an American rock band from Tacoma, Washington. They became popular in the Pacific Northwest from the late 1950s to the early 1960s, performing saxophone-driven R&B and Chuck Berry rock and roll. Their biggest hit was "Tall Cool One", first released in 1959, and they have been credited as being "one of the very first, if not the first, of the American garage bands."
American Caesar is the tenth studio album by American rock singer Iggy Pop, released in September 1993 on Virgin Records.
"Gloria" is a rock song written by Northern Irish singer-songwriter Van Morrison, and originally recorded by Morrison's band Them in 1964. It was released as the B-side of "Baby, Please Don't Go". The song became a garage rock staple and a part of many rock bands' repertoires.
"School Days" is a rock-and-roll song written and recorded by Chuck Berry and released by Chess Records as a single in March 1957 and on the LP After School Session two months later. It is one of his best-known songs and is often considered a rock-and-roll anthem.
"Around and Around" is a 1958 rock song written and first recorded by Chuck Berry. It originally appeared under the name "Around & Around" as the B-side to the single "Johnny B. Goode".
LouieFest is an American music festival featuring the prominent contributions to rock and roll by bands and performers, both emerging and established, from the Northwest region. Organized in 2003 by John 'Buck' Ormsby and Kent Morrill, members of The Wailers, LouieFest is an annual fundraising event for the Wailers Performing Arts Foundation which provides scholarships, instruments, music lessons and mentoring for youth music education.
"Good Times" is a song by the Australian rock band the Easybeats, written by George Young and Harry Vanda. It was released in June 1968 on their album Vigil, and as a single in July 1968 through Parlophone. It features guest vocals by Steve Marriott of Small Faces, and piano by Nicky Hopkins. The original Easybeats recording reached #22 in Australia. When broadcast by BBC radio, it was reportedly heard by Paul McCartney on his car radio; McCartney apparently rang the station immediately to request a repeat playing.
Lawrence Fewell Roberts II, known as Robin Roberts and in his music career as "Rockin' Robin" Roberts, was an American singer. He performed in the early 1960s with the Wailers, a rock and roll band based in Tacoma, Washington. His recordings include the earliest cover version of Richard Berry's "Louie Louie", recorded in 1960 and released the following year.
Jack Brown Ely was an American guitarist and singer, best known for singing the Kingsmen's version of "Louie Louie". Classically trained in piano, he began playing guitar after seeing Elvis Presley on television. In 1959, he co-founded the Kingsmen and with them recorded "Louie Louie" in 1963; Ely's famously incoherent vocals were partly the result of his braces and the rudimentary recording method. Before the record became a hit Ely was forced out of the group and began playing with his new band, the Courtmen. Ely died in Terrebonne, Oregon, on April 28, 2015, at age 71.
The Kingsmen in Person is the first album by the rock band The Kingsmen, released in 1963. The album featured "Louie Louie", the band's biggest success.
"Surfin' U.S.A." is a song by the American rock band the Beach Boys, credited to Chuck Berry and Brian Wilson. It is a rewritten version of Berry's "Sweet Little Sixteen" set to new lyrics written by Wilson and an uncredited Mike Love. The song was released as a single on March 4, 1963, backed with "Shut Down". It was then placed as the opening track on their album of the same name.
References
↑ Flip 321 was re-released in 1961 with "Louie Louie" as the A-side and "Rock, Rock, Rock" as the B-side. The reissue was covered in the April 10, 1961 issue of Billboard magazine (p. 38) and reviewed in the April 15, 1961 issue of Cash Box magazine (p. 10).
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↑ This re-recording, produced by Johnny Otis with session guitar by Shuggie Otis, also appears on Shuggie Otis In Session: Great Rhythm & Blues (2002) and Pioneers of Rhythm & Blues Volume 5 (2008).
↑ Kelner, Martin (October 21, 1993). "Louie, Louie. Oh, oh . . .: Until a soft drinks company tracked him down, Richard Berry was living on welfare in the slums of LA". The Independent, 21 October 1993. London.
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↑ On September 5, 2013, the city of Portland dedicated a plaque at the site to commemorate the event. An earlier version placed by the Oregon Historical Society had been stolen shortly after its dedication in 1993.
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↑ "Spotlight Singles - Top 60". Billboard. October 8, 1966. p.16.
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↑ Lanza, Joseph (2004). Elevator Music: A Surreal History of Muzak, Easy-Listening, and Other Moodsong (Revised and Expandeded.). Ann Arbor: University of Michigan Press. p.118. ISBN978-0472089420.
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↑ Werner, Craig (1998). "Golliwogs". Up Around The Bend. New York: Avon Books. p.37. ISBN0-380-80153-1.
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↑ Marks, Ian D.; McIntyre, Iain (2011). "The Pink Finks". Wild about You! The Sixties Beat Explosion in Australia and New Zealand. Melbourne: Verse Chorus Press. p.139. ISBN978-1891241284.
↑ Shefchik, Rick (2015). "Liar, Liar". Everybody's Heard about the Bird: The True Story of 1960s Rock 'n' Roll in Minnesota. University of Minnesota Press. ISBN978-1452949741.
↑ Manzarek, Ray (1998). Light My Fire – My Life with The Doors. New York City: Berkley Boulevard Books. p.86. ISBN0-425-17045-4.
↑ Gaar, Gillian G. (2015). "1966 The Ceremony Is About to Begin". The Doors: The Illustrated History. Voyageur Press. p.17. ISBN978-1627887052.
↑ Marcus, Greil (2011). "Soul Kitchen". The Doors: A Lifetime of Listening to Five Mean Years. New York: PublicAffairs. ISBN978-1586489458.
↑ Moores, JR (2022). Electric Wizards: A Tapestry of Heavy Music – 1968 to the Present. London: Reaktion Books. p.36. ISBN978-1789144499.
↑ Marshall, James (February 1993). "Blue Light Special: The Troggs". Spin. Vol.8, no.11. p.82.
↑ Palao, Alec (1993). "Syndicate of Sound - "Louie Louie"". Cream Puff War. No.2. Santa Clara, CA: Palao-Cost.
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↑ Mash, Julian (2014). "Pink Floyd Go into Interstellar Overdrive". Portobello Road: Lives of a Neighbourhood. London: Frances Lincoln. ISBN978-1781011522.
↑ Mason, Nick (2004). Inside Out: A Personal History of Pink Floyd. San Francisco: Chronicle Books. p.36. ISBN1-452-16641-2.
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↑ "Album Reviews: Music – It's Happening Now!". Billboard. January 21, 1967. p.45.
↑ Evans, Mike (2006). "The Strange Story of 'Louie Louie'". Rock'n'Roll's Strangest Moments: Extraordinary But True Tales from 45 Years of Rock & Roll History. London: Portico Books. ISBN978-1849941815.
↑ Taken from the "Sandinista Sessions" tracks not used for the London Calling album. Also released on The Last Testament, a DVD included with the 25th anniversary edition of London Calling.
↑ Reynolds, Simon (2006). "Living for the Future: Cabaret Voltaire, the Human League, and the Sheffield Scene". Rip It Up and Start Again: Postpunk 1978-1984. London: Penguin Publishing Group. p.92. ISBN978-0143036722.
↑ "Louie Louie". Dead.net. March 20, 2007. Retrieved April 15, 2021.
↑ Ermilio, Brett; Levine, Josh (2014). Going Platinum: KISS, Donna Summer, and How Neil Bogart Built Casablanca Records. Lanham, MD: Lyons Press. p.183. ISBN9781493016273.
↑ Earles, Andrew (2010). "Appendix VII". Hüsker Dü: The Story of the Noise-Pop Pioneers Who Launched Modern Rock. Minneapolis: Voyageur Press. p.262. ISBN978-0760335048.
↑ Wheway, Daniel (2017). "Meat Loaf Tours". Everything Louder Than Everything Else: Meat Loaf Guide. ISBN978-0463226698.
↑ Lawson, Robert (2020). Wheatfield Empire: The Listener's Guide to The Guess Who. Friesen Press. p.207. ISBN9781525581175.
↑ Shaffer, Paul; Ritz, David (2010). We'll Be Here For the Rest of Our Lives: A Swingin' Showbiz Saga. New York: Anchor Books. p.58. ISBN978-0767928861.
↑ Schoening, Benjamin; Kasper, Eric (2011). Don't Stop Thinking About the Music: The Politics of Songs and Musicians in Presidential Campaigns. Lanham: Lexington Books. p.213. ISBN9780739172995.
↑ Nyhan, Patricia; Rollins, Brian; Babb, David (1997). Let the Good Times Roll!: A Guide to Cajun & Zydeco Music. Upbeat Books. p.64. ISBN978-0965823203.
↑ Kohanov, Linda (June 1990). "Basic 50: World Music". CD Review. p.21.
↑ "Irha". Skin & Punk. Retrieved September 30, 2021.
↑ Carter, Walter (2016). The Mandolin in America: The Full Story from Orchestras to Bluegrass to the Modern Revival. New York: Backbeat. p.65. ISBN978-1493079278.
↑ "Wally Wally" by Sis Q Lint ("Dedicated to everyone except Wally George") was written by Steven Valencia and released in 1984 (Martian 1719) as an answer song to the Wally George version, but was not based on "Louie Louie".
↑ Blecha, Peter (2007). "The "Louie Louie" Craze". Music in Washington: Seattle and Beyond. Arcadia Publishing. p.85. ISBN978-0738548180.
↑ Peters, Philip Dickenson (2003). Caribbean Wow 2.0: From Alexander Hamilton to Colin Powell - The Compelling Story of Caribbean Minds and Events that Made America Great. Coral Gables, FL: House of Zagada. p.76. ISBN978-1929970049.
↑ Sullivan, Steve (2013). Encyclopedia of Great Popular Song Recordings, Volume 1. Lanham, MD: Scarecrow Press. p.696. ISBN9780810882966.
↑ The FBI file states, "... the record was played at various speeds but none of the speeds assisted in determining the words of the song on the record." (Marsh, 1993, p. 116)
↑ Marsh also notes (pp. 116-117) that the Kingsmen had a good reason not to mention Ely's name — they didn't want to publicize the fact that the original singer of their big hit was no longer with the group.
↑ Shkurti, William J. (2020). "WCOL and the "Louie Louie" Phenomenon". Ohio State University Student Life in the 1960s. The History Press. p.52. ISBN978-1467145992.
↑ Taylor, Timothy Dean (2001). "Postwar Music and the Technoscientific Imaginary". Strange Sounds: Music, Technology and Culture. London: Routledge. p.63. ISBN0-425-17045-4.
↑ Reynolds, Simon (2011). "Hip Hop and House Singles Reviews". Bring the Noise: 20 Years of Writing About Hip Rock and Hip Hop. Berkeley: Soft Skull Publishing. ISBN978-1593764609.
↑ Nicholson, Ann Marie (August 2004). "T.O.K. Unknown Language (review)". Vibe Magazine. p.144.
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