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The FBI's Quest to Understand 'Louie, Louie' · Ridiculous History

0:25
Speaker 1: Oh yeah, you know what that sound means of Deltic
0:30
Speaker 1: keys and death and do I oh yeah yeah yeah,
0:42
Speaker 1: oh raby we gotta go, here we go. Here's the
0:46
Speaker 1: part where we really gets understand. That's fine, bole and
0:50
Speaker 1: popper and boo stop stop yeah the sho choose that
0:58
Speaker 1: got fod I. These are the Kingsman, this is Louie Louie.
1:08
Speaker 1: Here we are. Wow, what a day, what a time
1:11
Speaker 1: to be alive. And that music comes to us, of
1:13
Speaker 1: course courtesy of our super producer, Casey Pegrom. But no,
1:20
Speaker 1: why are we playing Louie Louis today? Because you see,
1:24
Speaker 1: Ben Louie Louie has a bit of a sortid past
1:27
Speaker 1: the song, this version in particular by the Kingsman, and
1:30
Speaker 1: that it was investigated by none other than the Federal
1:35
Speaker 1: Bureau of Investigation for being potentially obscene. And if you
1:39
Speaker 1: couldn't tell by our rambling sing along and the beginning
1:42
Speaker 1: to show this is kind of a bit of a
1:44
Speaker 1: joke because you can't really understand a word these guys
1:48
Speaker 1: are saying. Right, the FBI did not just give this
1:52
Speaker 1: a cursory investigation. They investigated this particular version of the song.
1:59
Speaker 1: It is not a people believe the original version of
2:01
Speaker 1: the song it's cover, and they investigated the Kingsman version
2:04
Speaker 1: for two years. Specifically it's crazy, Yeah, specifically the lyrics
2:10
Speaker 1: of the song, which might sound kind of crazy and
2:13
Speaker 1: a weird order of priorities for the FBI, but it's
2:16
Speaker 1: actually part of their job to fight obscenity. They take
2:19
Speaker 1: these kinds of complaints from angry, waspy middle class mothers
2:26
Speaker 1: very seriously. And that is exactly what kicked off this investigation.
2:30
Speaker 1: My friend, right, they received a letter from someone at
2:33
Speaker 1: sarah Sota High School who said the lyrics to the
2:36
Speaker 1: song were quote so filthy that I cannot endorse them.
2:40
Speaker 1: In this letter. We all know there is obscene materials
2:44
Speaker 1: available for those who seek it. But when they start
2:47
Speaker 1: sneaking in this material in the guise of the latest
2:50
Speaker 1: teenage rock and roll hit record, these morons have gone
2:54
Speaker 1: too far. Oh these morons? Well, which morons you're talking about?
2:58
Speaker 1: Like the purveyors have said, smart, I guess so some
3:01
Speaker 1: international conspiracy guys in the band to spread dirty words.
3:05
Speaker 1: Who were the guys in the band? What's the history
3:07
Speaker 1: of the Kingsman? Excellent question. The old the Kingsman, uh
3:11
Speaker 1: were or the excuse me, and they're still around. Uh,
3:15
Speaker 1: garage rock band from Portland, Oregon. And the guy who
3:20
Speaker 1: ended up singing this version of Louis Louis that we
3:23
Speaker 1: opened the show with was invited to the band in
3:26
Speaker 1: nineteen fifty nine. I believe he got the boot pretty
3:30
Speaker 1: shortly after. Yeah, he didn't sing on all their songs,
3:34
Speaker 1: but he did sing on the one that I would
3:36
Speaker 1: say they're most well known for this song, would you agree?
3:38
Speaker 1: I certainly don't know that for anything else. Yeah, And
3:41
Speaker 1: it's interesting too because this band does live on this
3:44
Speaker 1: particular version of this song as an influence from for
3:48
Speaker 1: a lot of like kind of grungy, garagey punk type stuff,
3:52
Speaker 1: everything from like Black Flag to iggy pop. And we'll
3:55
Speaker 1: we'll get into a little bit more of that that
3:57
Speaker 1: that kind of rock and roll history connection a little
3:59
Speaker 1: for there down the line. So the original kingsmen Um
4:03
Speaker 1: were Don Galucci, Jack Eli, who was the singer in question,
4:07
Speaker 1: Lynn Easton, Mike Mitchell, and Bob Norby, and these fellas
4:12
Speaker 1: booked a recording session at a studio in Portland, Oregon,
4:16
Speaker 1: which was at Northwest thirteen Avenue in Burnside Street, and
4:20
Speaker 1: it was a little bit of an odd setup, wasn't
4:22
Speaker 1: it Ben? It was null first, which established the session
4:26
Speaker 1: only cost fifty bucks. The band split it amongst themselves
4:30
Speaker 1: because they didn't have a label. They were just doing
4:32
Speaker 1: this on spec right, and their producer for the session
4:36
Speaker 1: was a guy named Ken Chase, a local radio personality
4:41
Speaker 1: at a station called U K I s N or
4:46
Speaker 1: wait for it, Kissing. He he also owned a nightclub
4:51
Speaker 1: where the Kingsman regularly performed, so he was the producer
4:55
Speaker 1: and that was their connect that was there in. Their
4:58
Speaker 1: actual audio engineer was the I owned the studio, whose
5:01
Speaker 1: name was Robert Lindall, and apparently he had some really
5:05
Speaker 1: particular ideas about how the studio should be set up.
5:08
Speaker 1: You can hear Jack Eli explaining some of the physicalities
5:14
Speaker 1: of the room. Um let's let's just throw to a
5:18
Speaker 1: clip with him in his own words. In order to
5:21
Speaker 1: capture what Ken thought was the live sound, he had
5:25
Speaker 1: us set up in a circle with me standing in
5:28
Speaker 1: the middle singing into the mic, and and it still
5:31
Speaker 1: didn't sound quite right. He had run through about eight
5:34
Speaker 1: bars or so and it still didn't sound quite right
5:37
Speaker 1: to him, So he had a technician come in and
5:39
Speaker 1: take the mic and put it on a boom and
5:41
Speaker 1: stick it up at the ceiling. It's about a fifteen
5:43
Speaker 1: foot ceiling, so the mic was hanging probably I don't know,
5:48
Speaker 1: eighteen off the ceiling, and I was directly under it,
5:52
Speaker 1: leaning my head back, yelling up at this mic. And
5:55
Speaker 1: it didn't have anything to do really with how far
5:58
Speaker 1: the mic was away from me. What it really had
6:01
Speaker 1: to do with is how words get in thenciated when
6:06
Speaker 1: your heads tipped all the way back and you're yelling up.
6:09
Speaker 1: Because you see, Louis Louie didn't come out like Louie Louie.
6:15
Speaker 1: I would say it when I'm standing facing normal, when
6:18
Speaker 1: my head is all stretched up and back, it came
6:21
Speaker 1: out lou So eventually, long story short, they end up
6:26
Speaker 1: putting these microphones on the ceiling and it's like fifteen
6:29
Speaker 1: ft high. I don't quite understand the function of that.
6:32
Speaker 1: I read somewhere saying so it would sound like a
6:35
Speaker 1: live concert, but it was like it's is it literally
6:39
Speaker 1: a one mic set up? That's like, it's so funny
6:41
Speaker 1: when you hear the recording, it's it sounds, you know,
6:44
Speaker 1: kind of raunchy and low five, but there's pretty good separation.
6:48
Speaker 1: Um but that vocal is what really stands out, because
6:51
Speaker 1: it does sound very low in the mix, So I
6:53
Speaker 1: imagine had to have been a very minimally mike such
6:56
Speaker 1: situation where this mike was a high and apparently he
7:00
Speaker 1: had to crane his neck at like a forty five
7:01
Speaker 1: degree angle and kind of shout saying up and up
7:05
Speaker 1: into the air to get over the din of the
7:08
Speaker 1: of the band, and the drummer is just pound in
7:11
Speaker 1: a way it's like, well, yeah, yeah, he uh. He
7:14
Speaker 1: does mention that it's difficult to enunciate in a normal
7:18
Speaker 1: way when you have your neck physically positioned to aim
7:22
Speaker 1: in a shout at the ceiling, because he was also
7:24
Speaker 1: shouting to be heard over the music, and he had
7:27
Speaker 1: braces that had just been tightened. And that's such a
7:32
Speaker 1: funny detail, such a strange aspect to the story. For
7:35
Speaker 1: anyone interested, you can also go on YouTube and see
7:38
Speaker 1: some early live appearances there are The King's been around
7:42
Speaker 1: a show called Shin Dig and it's much easier to
7:46
Speaker 1: hear what Jack is saying, or we should say, rather
7:49
Speaker 1: to discern what Jack is saying. But most people, let's
8:19
Speaker 1: be honest, they're not going to be watching that live version.
8:22
Speaker 1: They're gonna listen to the iconic it's right. And I'll
8:26
Speaker 1: tell you man, Shin Dig was a pretty risk a
8:28
Speaker 1: show at the time, because I swear some of these
8:30
Speaker 1: gals are showing shin what's happening, you know, when they're
8:35
Speaker 1: cutting their rugs, you know. And so this this song,
8:39
Speaker 1: it hits the charts, but it doesn't quite get to
8:42
Speaker 1: number one. And I think there's a story that that
8:45
Speaker 1: you found particularly fascinating about the song that beat it. Yeah,
8:49
Speaker 1: it's a little weird, kind of melancholy aside, but um,
8:52
Speaker 1: why not. We're all about little asides. Um. It's a
8:55
Speaker 1: song called dominique um and it is a French language song,
8:59
Speaker 1: which is so interesting to me that that topped the charts.
9:03
Speaker 1: And you may have heard this song if you watched
9:06
Speaker 1: the show American Horror Story, specifically the Asylum season Dominica
9:27
Speaker 1: Alipo dominis alvisual you might remember this is the one
9:38
Speaker 1: that Sister Jude was the only song that she approved of,
9:41
Speaker 1: and there's an interesting reason behind that. There's a great
9:43
Speaker 1: article on Noisy called what you Didn't Know about that song?
9:46
Speaker 1: You hear on American Horror Story every week from back
9:48
Speaker 1: when this show was current. So the woman I'm credited
9:51
Speaker 1: with this hit was a Belgian singer by the name
9:54
Speaker 1: of Janine Decker's and she went by the name the
9:57
Speaker 1: Singing Nun or um it needs to helped me out
10:00
Speaker 1: with this Casey casey on the case. Yeah, that would
10:04
Speaker 1: be pronounced sir sir year, which is sister smile in French,
10:08
Speaker 1: sister smile ladies and gentlemen, Casey on the case. So
10:13
Speaker 1: she's sister smile, uh or a k a the singing
10:16
Speaker 1: Nun a k a. Jannine Deckers and the singing Nun
10:19
Speaker 1: in English speaking countries. That's right, that's right. And this
10:23
Speaker 1: song was a huge hit. It was number one. It
10:24
Speaker 1: totally bumped the It didn't give the Kingsman a chance.
10:27
Speaker 1: For some it's just crazy to me that this song
10:29
Speaker 1: was such a massive hit. Uh. And and it's so
10:32
Speaker 1: kind of more or less forgotten now, you know, compared
10:35
Speaker 1: to Louie Louis, which is iconic in many ways. It
10:38
Speaker 1: was an interesting it was an interesting year for music.
10:42
Speaker 1: This is specifically uh, nineteen sixty three, right, right, Yeah,
10:46
Speaker 1: it's interesting because we've got one song that's entirely in
10:50
Speaker 1: French and then one song that is considered more or
10:53
Speaker 1: less largely unintelligible. But there's a little more to the
10:56
Speaker 1: story of the Singing Nun there is um. One of
11:00
Speaker 1: the interesting things that this noisy article points out is
11:02
Speaker 1: that Dominique Uh, the saint in question, um, was the
11:07
Speaker 1: founder of the particular religious order that brought about the
11:12
Speaker 1: Spanish Inquisition. So that goes hand in hand with some
11:15
Speaker 1: of the grizzliness on American horror story. And this is interesting, Um.
11:20
Speaker 1: This Jenine Decker ended up having a female partner, um
11:26
Speaker 1: back during a time where open, you know, homosexuality was
11:29
Speaker 1: just very very taboo, and she ended up signing or
11:33
Speaker 1: agreeing to a suicide pact with her and in when
11:39
Speaker 1: they're still together, Um, they overdosed on barbiturous together and
11:43
Speaker 1: left a note that said, we have reached the end
11:45
Speaker 1: spiritually and financially and now we go to God. And
11:49
Speaker 1: that was her partner was Annie Petyer, that's right, who
11:52
Speaker 1: was I think a little a little bit younger. But
11:55
Speaker 1: they had a very deep and loving relations. And now
11:57
Speaker 1: it's it's such a sad story, but I think so interesting,
12:00
Speaker 1: absolutely worth Mentioning back to the Kingsman, the fantastic article
12:08
Speaker 1: in the New Yorker by Anwin Crawford called is this
12:12
Speaker 1: the dirtiest song of the sixties? And again for for
12:17
Speaker 1: at least two years, the FBI certainly thought so. So
12:22
Speaker 1: Robert Kennedy. It gets involved in this because he Robert Kennedy.
12:28
Speaker 1: He Robert Kennedy because he receives letters personally complaining about
12:33
Speaker 1: the songs possible or perceived obscenity. Once it blows up
12:37
Speaker 1: and its number two on the Billboard single chart and
12:40
Speaker 1: Father of a teenage Girl in particular, writing to Kennedy,
12:44
Speaker 1: said this land of ours is headed for an extreme
12:46
Speaker 1: state of moral degradation. And people started sending in various
12:52
Speaker 1: versions of what they perceived the lyrics to be. And
12:57
Speaker 1: they're pretty they're pretty filthy. Have you read some of them? Have?
13:00
Speaker 1: And it just goes to show that like the most
13:02
Speaker 1: puritanical seeming mind can still be in the gutter when
13:07
Speaker 1: you think you're trying to find filth everywhere. Yeah, that's
13:11
Speaker 1: the thing. This is such a worshacked test kind of
13:14
Speaker 1: thing for me, because the lyrics really are utter gobbledegook, right,
13:20
Speaker 1: You could you could read the real lyrics there if
13:24
Speaker 1: you if you haven't seen the real lyrics yet then
13:27
Speaker 1: do check them out, but wait till the end of
13:29
Speaker 1: this podcast. Just keep going with us a little bit further.
13:32
Speaker 1: We promise it's worth it. Some of the perceived lyrics
13:37
Speaker 1: or the lyrics that people thought they were hearing are
13:40
Speaker 1: things like we'll have to do an edited version of this.
13:43
Speaker 1: But every night and day I play with my thing,
13:47
Speaker 1: bleep your girl, all kinds of ways, all the way
13:51
Speaker 1: multitude six ways to Sunday. As they say, yeah, and
13:55
Speaker 1: it's it's interesting too because when this really starts to
13:58
Speaker 1: heat up and investigation is going on, apparently the what
14:02
Speaker 1: they call him g men, Right, they'd go to the
14:05
Speaker 1: clubs and can see the band and try to lips,
14:10
Speaker 1: like read their lips or whatever to try to like
14:12
Speaker 1: see what the secret lyrics where I do just think
14:14
Speaker 1: this is such a funny witch hunt kind of situation. Yeah,
14:18
Speaker 1: because Jed gro Hoover was involved, man, he was on
14:20
Speaker 1: the case. They have other stuff to do in so
14:25
Speaker 1: this intense concern on the part of the FBI even
14:29
Speaker 1: went to the levels of laboratory investigations. Right, they played
14:37
Speaker 1: the record multiple times, sometimes at different speeds. It's right, yeah,
14:44
Speaker 1: and um, it's crazy. You can actually get like. There's
14:47
Speaker 1: a collection of memos on the FBI's website Vault dot
14:51
Speaker 1: FBI dot gov. Um Louis Dash, Louie Dash, the Dash
14:56
Speaker 1: Song slash Louis Dash, Louis Dash the DA Song slash
14:59
Speaker 1: view and you can see this entire collection of every
15:02
Speaker 1: document associated with it, including the original complaints, including the
15:06
Speaker 1: perceived lyrics and several other things, and including ultimately the
15:10
Speaker 1: fact that yeah, there really wasn't anything. There was a
15:13
Speaker 1: whole lot of inks built for nothing. And I'll tell
15:17
Speaker 1: you why. The original version of this song was written
15:21
Speaker 1: by a guy named Richard Barry Um and he was
15:26
Speaker 1: trying to capitalize on this like Calypso craze, you know,
15:30
Speaker 1: like Harry Belafonte and you know, come miss that mister
15:34
Speaker 1: tally man, tally me banana and all that stuff. Deo um.
15:37
Speaker 1: So he sang this song in that style with kind
15:41
Speaker 1: of a fake Jamaican patois right? Can we hear a
15:45
Speaker 1: little clip of that don't don't don't, don't don't fin
15:57
Speaker 1: me for crows see? And something happened to Barry that
16:14
Speaker 1: was unfortunately common for a lot of musicians at this time.
16:18
Speaker 1: He signed away his rights to the song in ninety nine,
16:22
Speaker 1: so he was not widely associated with it, nor did
16:24
Speaker 1: he reap any profit. But you can agree just with
16:28
Speaker 1: that cursory. Listen, it's a much different version, Isn't that correct?
16:31
Speaker 1: It's a much different version. And it also points out
16:34
Speaker 1: that the lyrics, if sung as written, are pretty benign um.
16:40
Speaker 1: There's a little talk of of the love of a lady,
16:43
Speaker 1: but it's all very you know, gentlemanly, and it's about
16:47
Speaker 1: missing your gal when you're when you're a sailor and
16:49
Speaker 1: you're you're off to see and and waiting to get
16:52
Speaker 1: back to her, and it's all very romantic and not
16:55
Speaker 1: at all Six Ways to Sunday not at all untoward.
16:59
Speaker 1: And that that goes back to what I was saying
17:01
Speaker 1: earlier about how you can see the Kingsman versions live
17:04
Speaker 1: when they're not shouting to the ceiling. Oh do we
17:07
Speaker 1: also mention that when they were in the studio, uh,
17:10
Speaker 1: the engineer and producer had the entire band surround Jack
17:14
Speaker 1: Eli in a circle while they were a whaling all
17:16
Speaker 1: that stuff. Yeah, it sounds like this guy was not
17:19
Speaker 1: exactly a pro. But I think in those days there
17:22
Speaker 1: was a lot more like sharing microphones and just kind
17:25
Speaker 1: of like the tiny desk concert treatment, right right, I
17:28
Speaker 1: have that one mic and you arrange everybody so that
17:31
Speaker 1: they get a good spread of sound, but it's all
17:34
Speaker 1: going to this one um capturing. Yes. The weird thing
17:38
Speaker 1: about this investigation too, is you heard us mention the
17:41
Speaker 1: laboratory examinations. They did play the record at different speeds.
17:46
Speaker 1: They attempted to discern or divine a meaning that did
17:50
Speaker 1: not necessarily exist, and they found that even in their
17:55
Speaker 1: examination in an FBI lab they found the lyrics still
17:59
Speaker 1: to be an intelligible, which I think is a bit um,
18:02
Speaker 1: a bit absurd, but even more absurd. At no time ever,
18:08
Speaker 1: did they write to Jack Eli, the guy who sang
18:12
Speaker 1: the song. It was as simple as just asking him, Hey,
18:16
Speaker 1: what is this? Yeah, exactly, And it did come out
18:20
Speaker 1: later from Eli himself when quizzed about this eventually that
18:25
Speaker 1: he that it was a faithful cover of of the
18:28
Speaker 1: of the original version by Richard Barry and if you
18:31
Speaker 1: didn't catch it, and when we played it back, the
18:32
Speaker 1: lyrics to that are Louis Louis, Oh baby me, me
18:36
Speaker 1: gotta go right and then a fine little girl she
18:39
Speaker 1: waits for me, catch the ship across the sea. I
18:42
Speaker 1: sailed the ship all alone. I never think I'll make
18:45
Speaker 1: it home, you know. But that little one two three
18:49
Speaker 1: one two one two three is just rife for just
18:53
Speaker 1: put in whatever syllables you want and just just freestyle it,
18:57
Speaker 1: you know. And that riff, that that riff that atually
19:00
Speaker 1: didn't come from Barry, did it. It didn't. It came
19:02
Speaker 1: from what was it? A Cuban American bandleader named Renee
19:06
Speaker 1: Tuse's tune El Loco cha cha. Yeah. His his version
19:11
Speaker 1: had it played on piano with a with a nice
19:14
Speaker 1: brass song. But even that song reputedly is based on
19:20
Speaker 1: another Cuban tune. Yes, it's crazy, how you see that
19:23
Speaker 1: happening um with things kind of mutating over time or
19:27
Speaker 1: just being wholesale ripped off to check out how still
19:32
Speaker 1: how square the government comes across at this point, Uncle
19:36
Speaker 1: Sam reaches out through multiple institutions, not just the FBI.
19:41
Speaker 1: A guy named Ben F. Wopple, who I will reluctantly say,
19:45
Speaker 1: go Bins too, because he doesn't sound like a bad person,
19:48
Speaker 1: just super confused, he wrote to wand Records. He was
19:51
Speaker 1: the Secretary of the Federal Communications Commission and uh or FCC.
19:55
Speaker 1: He wrote in October of nineteen sixty three to the
19:58
Speaker 1: record company and asked whether, even though unobjectionable lyrics were
20:04
Speaker 1: used in recording the song, there was improper motivation on
20:07
Speaker 1: the parts of the singers in making the recorded lyrics
20:11
Speaker 1: so unintelligible as to give rise to reports that they
20:15
Speaker 1: were obscene. Whoa whoa, whoa, whoa whoa America, Get your
20:18
Speaker 1: mind out of the gutter, is what I say to
20:20
Speaker 1: That's so ridiculous. That's the dumbest thing I've ever heard
20:23
Speaker 1: in my life. How dare you shroud the content of
20:28
Speaker 1: your lyrics in mumbly, far away recorded nous because my
20:34
Speaker 1: mind is obviously going to turn them into smut, right,
20:37
Speaker 1: and it's phrased in such a circuitous, unnecessarily verbose way.
20:43
Speaker 1: That's that's that's it's like a conspiracy theory. He's asking
20:47
Speaker 1: them about a conspiracy. We also want to point out
20:51
Speaker 1: the Kingsman did not directly. They didn't see Barry's song
20:56
Speaker 1: and say ah, that's mine now. They they took it
21:00
Speaker 1: from another cover version by a group called the Whalers,
21:04
Speaker 1: like Bob Marley and the Whalers. I don't think so.
21:06
Speaker 1: I don't think so. Um they their version of the
21:09
Speaker 1: song came out in nineteen sixty one for that for
21:15
Speaker 1: them whalers different whalers. And again you know the kingsmen
21:18
Speaker 1: here are not are not like these sharky people out
21:23
Speaker 1: to rip off and plagiarize. This is a song they
21:26
Speaker 1: heard on jukeboxes around Portland's and Jackieli brought it to
21:30
Speaker 1: rehearsal because he thought it was cool. They were a
21:32
Speaker 1: house band. Oh, not to mention. They are just a
21:34
Speaker 1: pack of dapper young lads, fresh faced youth. Looked like
21:39
Speaker 1: they'd be, you know, playing the Enchantment, under the Sea
21:42
Speaker 1: Dance and back to the Future. I mean, really clean cut.
21:45
Speaker 1: They do not look like some kind of you know,
21:47
Speaker 1: raunchy greaser's. But it's cool though. When you hear the recording,
21:51
Speaker 1: it has this fun, live, raw quality to it. Yeah,
21:55
Speaker 1: the way the vocals are recorded, the way the drums
21:57
Speaker 1: are so in your face, the way that keep words
22:00
Speaker 1: sounds that I understand what an influential recording this was
22:05
Speaker 1: separated from all the controversy. Yeah, it's it's catchy. It's
22:09
Speaker 1: catchy enough that you don't have to speak English or
22:11
Speaker 1: know what they're saying to enjoy the actual song. Itself again.
22:16
Speaker 1: If you don't believe us, and do you think there
22:19
Speaker 1: is something a bit uh sinister and raunchy about this song,
22:24
Speaker 1: please go check out their live performances. They're doing that
22:27
Speaker 1: little jaunty move, the where they go shoulder to shoulder
22:31
Speaker 1: up and down when when they're singing or playing the
22:34
Speaker 1: way that a lot of fifties and sixties boy bands
22:36
Speaker 1: they're Yeah, they're bopping and bopping, and it looks like
22:40
Speaker 1: the most innocuous thing. It looks It looks like a guy. Honestly,
22:45
Speaker 1: it looks like a guy who has never been a
22:48
Speaker 1: sailor singing a song he heard about a girl from
22:51
Speaker 1: a sailor. Man. I have a proposition for you. I
23:00
Speaker 1: think I can of anticipate this proposition. What do you
23:02
Speaker 1: say we extend this conversation, widen this net with a
23:07
Speaker 1: little extra credit. Sounds great. This is our second time
23:17
Speaker 1: doing our extra credit segment, which is the second time, Yeah,
23:20
Speaker 1: only a second time, which is where we go above
23:23
Speaker 1: and beyond and look to our wonderful friends, colleagues and
23:27
Speaker 1: collaborators for some assistance and friends, neighbors. We mentioned one
23:34
Speaker 1: guy on our show quite a bit, but you may
23:37
Speaker 1: be wondering if he's a real person or if we
23:39
Speaker 1: just made him up. Well, the rumors are true. He
23:42
Speaker 1: is real. We have him here today, Friends and neighbors.
23:45
Speaker 1: Christopher haciotas you guys, I am real. I've I've been
23:49
Speaker 1: sitting over there this whole time here. He's always been
23:52
Speaker 1: con He's like Jack Torrance and the Shining, He's just
23:56
Speaker 1: always been there wherever there's a need for research on
23:59
Speaker 1: a podcast. Yeah, we're lucky to have you as our
24:03
Speaker 1: research caretaker. I'm happy to be here. Thanks for coming
24:06
Speaker 1: on the show Man Now off air, you reached out
24:09
Speaker 1: to us because this really inspired you to dig into
24:13
Speaker 1: the story. Right, Like Louie Louis, I feel like it's
24:16
Speaker 1: struck a personal chord with you. Well, in a in
24:19
Speaker 1: a past life, if I'm honest, I was a music journalist.
24:22
Speaker 1: And that's not just an imaginary past life, that's a
24:25
Speaker 1: real past life. A lot of my career early on,
24:27
Speaker 1: I was out late at clubs seeing rock bands, just
24:31
Speaker 1: kind of soaking in music. I used to DJ dance
24:33
Speaker 1: parties and yeah, yeah, like I said, a past life,
24:38
Speaker 1: but um yeah, so I spent probably I don't know,
24:42
Speaker 1: an hour more than I should have just digging deep
24:46
Speaker 1: into different versions of Louis Louis because it's one of
24:49
Speaker 1: the most covered, most recorded songs out there, if not
24:53
Speaker 1: the most And uh, I honestly I could have spent
24:56
Speaker 1: hours more doing it, but I thought I would bring
24:59
Speaker 1: you guys some of those versions. I'm sure I had
25:03
Speaker 1: to retroactively make a joke. Its song must have actually
25:06
Speaker 1: struck three chords with you A D and E minor.
25:09
Speaker 1: Is that what you were looking up? Yeah? Yeah, it
25:13
Speaker 1: was worth it, so Christopher, as you know, since you
25:16
Speaker 1: were here the whole time. Earlier we talked a little
25:18
Speaker 1: bit about the origins of Louis Louis, and I did
25:21
Speaker 1: not know it was so extensively covered until you showed
25:27
Speaker 1: us this astonishing list which has some surprising bands on it.
25:31
Speaker 1: Did you notice that? Note I did. I have a
25:33
Speaker 1: theory though, because it's such an open ended song that's
25:36
Speaker 1: three chords and it's just easy to just kind of
25:39
Speaker 1: go to town on vocally, as evidenced by the Kingsman version,
25:43
Speaker 1: and why it was such a headache for the FBI
25:45
Speaker 1: because this guy is just kind of like mumbling all
25:47
Speaker 1: this crazy stuff. It could be anything. I think that's
25:50
Speaker 1: got like an appeal where it's like, I want to
25:52
Speaker 1: do my own crazy rambling version of Louis lou Yeah,
25:54
Speaker 1: it's it's it's a pretty basic song. And that goes
25:57
Speaker 1: back to actually its origins what you guys talked about
26:00
Speaker 1: a little bit. But the origins of rock and roll
26:03
Speaker 1: are in rhythm and blues and the African American musical experience.
26:08
Speaker 1: But one of the most ridiculous things about rock history
26:10
Speaker 1: is the under explored influence of Latin music on rock
26:14
Speaker 1: and roll. Usually I would say Cuban American music. So
26:20
Speaker 1: Richard Barry, who wrote Louis Louis, back in nineteen he
26:25
Speaker 1: was at a club and he heard this band, Ricky
26:28
Speaker 1: Rihira and the Rhythm Rockers, say it five times fast,
26:33
Speaker 1: Ricky Rihira and the Rhythm Rockers, And they were playing
26:37
Speaker 1: a cover version of a song popular at the time
26:39
Speaker 1: in the mid fifties, a song by Renee Tuesday. It
26:41
Speaker 1: was called Loco Chacha. So I look at you, guys,
26:45
Speaker 1: I think you're gentlemen of the world. You're probably skilled
26:48
Speaker 1: at ballroom dance. So you take your typical choca and
26:53
Speaker 1: how does that go? You've got one to three four exactly. Now,
27:00
Speaker 1: what's really crazy. What's really loco? What if you flipped
27:04
Speaker 1: it to one to three four genius? So, uh, flipping
27:13
Speaker 1: this group making a whole new thing exactly. And we've
27:16
Speaker 1: actually we've got Renee Tuesday's version of a loco cha chaw.
27:20
Speaker 1: Maybe Casey can cue it up a bit. I would
27:22
Speaker 1: love to hear in real time. Let's check it out.
27:27
Speaker 1: Got that nice Latin cowbell action. I feel good for
27:31
Speaker 1: everybody listening. We all infially started nodding, Oh hear that
27:35
Speaker 1: horn section. Yeah. And so this is the tune that
27:41
Speaker 1: Richard Berry heard a cover version of, and the story
27:44
Speaker 1: goes he he loved it so much that he said,
27:47
Speaker 1: I want to write a song to this tune, which
27:51
Speaker 1: you know, I guess you could do it the day. Yeah,
27:53
Speaker 1: So just a very diplomatic way of saying, I'm gonna
27:56
Speaker 1: have that. I like that. Yeah, I don't want to
27:58
Speaker 1: work too hard, so I'm gonna take this well. He
28:00
Speaker 1: wrote his own lyrics that he did, and reportedly he
28:03
Speaker 1: wrote them that night at the club on either depending
28:07
Speaker 1: on who you hear from, a napkin or paper, perhaps
28:11
Speaker 1: a matchbook. Yeah, I don't know, that's my version. We
28:14
Speaker 1: talked a little bit earlier in the show about the
28:16
Speaker 1: fact that there was this kind of Calypso craze at
28:19
Speaker 1: the time that was hot business, and Um Barry, in
28:23
Speaker 1: addition to being having a very perceptive ear picking up
28:28
Speaker 1: on something that he thought might hit, he also wanted
28:31
Speaker 1: to capitalize on this Calypso craze. And it totally works
28:35
Speaker 1: in that genre, especially the fact that he's sang it
28:37
Speaker 1: with kind of a fake Jamaican right exactly, and that
28:41
Speaker 1: what we've confirmed, right, that is absolutely affectation. Correct. Yes,
28:45
Speaker 1: So in this strange agglomeration of what could be called
28:50
Speaker 1: aggressive covering or plagiarization, Uh, we see a pattern that
28:55
Speaker 1: continues even to the modern day. What are some of
28:58
Speaker 1: the strangest vers you found? So there's a wide variety
29:02
Speaker 1: of covers of this song, from the traditional to the
29:05
Speaker 1: really kind of off the wall. Um. I wanted to
29:07
Speaker 1: start out with one that is from nineteen. We're here
29:12
Speaker 1: in Georgia recording, so I thought I'd go with a
29:15
Speaker 1: Georgia recording artist. Mr Otis reading, Oh yeah, all right,
29:19
Speaker 1: so you've got a kind of a really soulful R
29:21
Speaker 1: and B version of Louis Louis, I Love Me Some
29:24
Speaker 1: Otis let's hear it. Oh buddy, there, it's making it
29:42
Speaker 1: his own. He doesn't have to go and he's doing
29:45
Speaker 1: a bit of a Louis lua, which I like, Yeah, well,
29:49
Speaker 1: you see what I'm saying. Lou It's just rife for
29:51
Speaker 1: ad living, right, It's almost like a modern folk ballad
29:56
Speaker 1: where it seems no one really owns it and everyone
29:59
Speaker 1: makes at their own when they recording. Well. And one
30:01
Speaker 1: of the things I like about Louie Louis, and especially
30:03
Speaker 1: it's tradition of having unintelligible lyrics to a certain degree,
30:08
Speaker 1: is I think it really shines when the singer's voice
30:11
Speaker 1: itself just has a feeling. And I think that is
30:14
Speaker 1: I mean, otis reading his voice. He could sing whatever,
30:17
Speaker 1: and clearly he is, and you just feel it, you know,
30:19
Speaker 1: I mean. Um So in the sixties, there are a
30:24
Speaker 1: lot of other covers of Louis Louis that kind of
30:26
Speaker 1: go along the same lines as the Kingsman version. You know,
30:28
Speaker 1: You've got the Trogs, the Sonics do a much kind
30:31
Speaker 1: of dirtier garage rock version. Those are all great, but
30:35
Speaker 1: let's dive into one that's a little weirder. This is
30:37
Speaker 1: still sort of in the rock genre. But I've got
30:40
Speaker 1: a guy named Mike Deasy. Now Mike Deasy, he's a
30:43
Speaker 1: studio pro, He's a guitar guy. So this guy has
30:47
Speaker 1: appeared on recordings by the Everly Brothers by Richie Vallens.
30:50
Speaker 1: He toured with the Coasters. He was in the Wrecking Crew,
30:53
Speaker 1: which was the famous recording band who backed up recordings
30:57
Speaker 1: like Pet Sounds. He played on albums by Monkeys by
31:00
Speaker 1: Michael Jackson, Frank Zappa, Sinatra streisand this guy Mike Deasy
31:06
Speaker 1: was one of the guitarists on the stage for Elvis
31:09
Speaker 1: Presley Comeback Special, that TV special The Black Yeah and Um,
31:15
Speaker 1: and Mike Deasy was one of the guitarists. So this guy,
31:18
Speaker 1: Mike has a long career of backing up other folks.
31:22
Speaker 1: But in nineteen sixty seven he put out his own
31:25
Speaker 1: solo album to show off his guitar virtuosity under the
31:29
Speaker 1: name Friar Tuck and his Psychedelic Guitar. I've got to
31:33
Speaker 1: screw it to the edge of my seat for guess yeah, Casey,
31:36
Speaker 1: can you hit it for us? Oh? I love this
31:47
Speaker 1: alright so much? Oh, there we go. So it's it's
31:57
Speaker 1: it's mellow. You can see me right now, I'm swaying
32:02
Speaker 1: back and forth with a goofy grin. I'm no looks dreaming.
32:08
Speaker 1: There we go. So let's got that sort of gauzy
32:15
Speaker 1: psychedelic This is right up, yeah, right up my alley.
32:21
Speaker 1: A little play this. Yeah, he is my favorite so far,
32:24
Speaker 1: big time. I always want to hear up to the
32:29
Speaker 1: verse because everyone does their own thing, they change the lyrics,
32:34
Speaker 1: they do their own different cadence. I want to hear
32:36
Speaker 1: what this does with it now. I think they maybe
32:39
Speaker 1: then didn't maybe they're not even gonna do a verse.
32:41
Speaker 1: I love the finger picking too, you know. I mean
32:44
Speaker 1: this is it's Friar Tuck and his psychedelic guitar. And
32:47
Speaker 1: I would totally recommend looking up this record online because
32:50
Speaker 1: the cover of the album is pretty stellar. It looks
32:54
Speaker 1: like a total weirdo. I love the fact that there
32:56
Speaker 1: are no verses. It's all just vamps. It's about the experience. Yeah,
33:01
Speaker 1: now this is dope, but I love it. I mean again,
33:03
Speaker 1: the verses, if you can't understand them, do you need them? Yeah,
33:07
Speaker 1: It's about the feeling, about the feeling, and it looks
33:10
Speaker 1: like you guys, to those of you listening who can't
33:12
Speaker 1: see Nolan Ben are feeling this. I'm feeling it hard.
33:16
Speaker 1: But yeah, I think that's going to stay with men
33:18
Speaker 1: and kind of sad that We'm kind of sad that
33:20
Speaker 1: we can't just play that entire song right now. But
33:23
Speaker 1: but what's what's the next cover? So here we're gonna
33:27
Speaker 1: go forward a couple of years. We're still sticking in
33:29
Speaker 1: the sixties. So nine the singer Julie London. She is
33:34
Speaker 1: famously known for having this really kind of mellow affect,
33:37
Speaker 1: really nice, kind of soft, hazy, smokey vocals, and she
33:42
Speaker 1: put out a record called Yummy, Yummy, Yummy in ninety nine,
33:45
Speaker 1: and her version of Louis Louis closes out that album,
33:48
Speaker 1: and it's just got sort of a really quiet, almost
33:53
Speaker 1: narcotic vibe going on. It's it's unlike most of the
33:56
Speaker 1: other versions you hear, which are a little more upbeat.
33:58
Speaker 1: Can I say, just before where we rule this, You're
34:01
Speaker 1: doing a fantastic job curating this music course. Do you
34:06
Speaker 1: do you make mixtapes? I I do make mixtapes, mix
34:09
Speaker 1: CD s, all that liner notes, whatever you need. Were
34:12
Speaker 1: you a younger person and I a younger person, I
34:16
Speaker 1: might you know put together a mixtape to try to
34:18
Speaker 1: woo you. And these are the things a younger man does.
34:22
Speaker 1: It's the lost art, the mix tape. Now it's just
34:24
Speaker 1: the Spotify playlist, which is it nearly as sexy? It's
34:26
Speaker 1: the works, you know, Yeah, it's it's it's wo worthy.
34:30
Speaker 1: I used to get Smashing Pumpkins bootlegs in the mail.
34:33
Speaker 1: I would trade with people on message boards and they
34:36
Speaker 1: would always take the rest of the tape that wasn't
34:38
Speaker 1: full of the bootleg and put Filler songs on it.
34:41
Speaker 1: And that's how I learned about a lot of new
34:42
Speaker 1: music back in the day. It was from filler on
34:45
Speaker 1: Smashing Pumpkins bootleg. Alright, but yeah, Casey, can we can
34:49
Speaker 1: we hear the Julie London version from sixty nine? Oh? Already? Yeah, dramatic.
35:06
Speaker 1: I was not expecting that. Beastifer Ben's eyebrows just art stuff.
35:15
Speaker 1: M hmm, there we go, I gotta go. Yeah, it's
35:23
Speaker 1: a little bit of a Dusty Springfield vibe. But I
35:25
Speaker 1: was just about to say, I've been listening to nothing
35:27
Speaker 1: but Dusty and Memphis for the past couple of weeks.
35:31
Speaker 1: It's so good, very much so. Yeah, it's almost got
35:34
Speaker 1: that kind of Nico narcotic, kind of like hazy vibe. Well,
35:39
Speaker 1: here we go. I'll hear this first. God, I like
35:43
Speaker 1: how they're putting in almost any instrument that what. Yes,
35:47
Speaker 1: it's amazing. Yeah, And I always really enjoy when a
35:51
Speaker 1: song will will flip the gender. You know, she's singing
35:53
Speaker 1: about a boy across the sea as opposed to a girl. Yeah,
35:58
Speaker 1: And this feels very into Yeah. You know, her voice
36:01
Speaker 1: feels very close but also very cinematic because it's like
36:04
Speaker 1: that schmaltzy Burt backer At kind of arrangement. And then
36:09
Speaker 1: her vocal is very front and center. Such a departure
36:12
Speaker 1: from the Kingsman where the vocals a mile away and
36:15
Speaker 1: completely unintelligible. I love this. Uh, let's let's let's let's
36:19
Speaker 1: go on. This is so cool. So this next version,
36:21
Speaker 1: we're going back to the islands where the song kind
36:23
Speaker 1: of has its origins in that crossing the Sea Calypso Vibe.
36:28
Speaker 1: Toots in the May Towels are an acclaimed iconic band
36:32
Speaker 1: from Jamaica from the sixties and the seventies, and this
36:35
Speaker 1: version from the early seventies too. It's just kind of
36:38
Speaker 1: he just sings his heart out on this reggae, ska
36:42
Speaker 1: and rock steady inspired version, Let's hear It Here we
36:53
Speaker 1: Go just makes you want to kind of sit on
37:06
Speaker 1: a beach, yea, I want to leave the studio hop
37:09
Speaker 1: on a plane. You know. Again, there you can kind
37:12
Speaker 1: of just do whatever you want with the song and
37:14
Speaker 1: make it your own. It's very true. It's very true.
37:17
Speaker 1: It's a great vamp song. Yeah, we could stay here
37:20
Speaker 1: all day listening to all these two. I'm gonna I'm
37:23
Speaker 1: gonna bring the next one is is a lot harsher,
37:27
Speaker 1: a lot louder. Okay um. But the reason I wanted
37:30
Speaker 1: to play this song for you it's by Iggy and
37:32
Speaker 1: the Stooges, so famously Iggy Pop and his and his
37:36
Speaker 1: band Punk Pioneer. The reason I wanted to play this
37:39
Speaker 1: song the verse I'm Gonna play for You is off
37:42
Speaker 1: of the record Metallic cho which is a live album,
37:46
Speaker 1: and it's a live recording of the stooges last two
37:50
Speaker 1: shows ever in Detroit. Um. They wouldn't play again together
37:53
Speaker 1: until they reunited. I don't know, ten years ago I
37:56
Speaker 1: saw him on that tour at the What in Georgia,
38:00
Speaker 1: But the very last song they played at their very
38:02
Speaker 1: last show in the seventies was Louis Louis. And one
38:06
Speaker 1: thing that's particularly resonant about this song the Studges have
38:10
Speaker 1: a personal connection to Louis Louis. It's not just that
38:12
Speaker 1: they love the song, although they love all that classic
38:14
Speaker 1: rock and roll. Dan Glucci, who played keyboards on the
38:18
Speaker 1: Kingsman version of Louis Louis, he was kicked out of
38:21
Speaker 1: the band. He was too young to go on tour
38:26
Speaker 1: his his parents would not let him go on tour
38:29
Speaker 1: from one Yeah so Dan, but he played keys on
38:33
Speaker 1: the recording. What he ended up doing with his life though,
38:36
Speaker 1: he was a record producer and for Electra and Electra
38:41
Speaker 1: put out a lot of the Stooges records. Dan Glucci
38:44
Speaker 1: produced The Stooges fun House, which is an iconic, iconic
38:48
Speaker 1: album exactly so they've got the studges have this personal
38:51
Speaker 1: connection to Louis Louis. The live version, they get wild,
38:55
Speaker 1: they get raucous, they get pretty vulgar. You can find
38:59
Speaker 1: some some B sides and some studio outtakes of a
39:02
Speaker 1: cleaner version. But I wanted to play this live version
39:04
Speaker 1: just because it was the very last song they played
39:06
Speaker 1: at their very last show I'm gonna stand up for
39:08
Speaker 1: this week. Yes, I see. To me, this is like
39:27
Speaker 1: full circle back to the the original version with the Kingsman.
39:32
Speaker 1: It's got that thrashy, bashy drum sounds that irreverent snotty,
39:37
Speaker 1: kind of vocally dirty garage. And didn't they purposely change
39:42
Speaker 1: the lyrics to be offensive or Yeah, we're gonna have
39:46
Speaker 1: to fade this out pretty soon because pretty we'll give
39:50
Speaker 1: it a bleep we'll get we'll give it the bleep
39:52
Speaker 1: treatment I want to hear. So that's a tape east
40:00
Speaker 1: of it, that's a taste. Well, what's funny is he's
40:03
Speaker 1: doing kind of the lyrics that the FBI said were
40:08
Speaker 1: the lyrics to the song that they were exactly definitely
40:11
Speaker 1: doing something similar. Yeah, you think this is vulgar, Let's
40:13
Speaker 1: make it vulgar, right, which is smart. I think that's
40:18
Speaker 1: tremendously clever. So it sounds like we have time for
40:23
Speaker 1: just one more cover that might surprise some people. Yeah,
40:26
Speaker 1: we're gonna go to Brooklyn for this one. We're going
40:29
Speaker 1: away from rock and roll and we're going to early
40:31
Speaker 1: rap the Fat Boys the year of my birth by birthday,
40:36
Speaker 1: thanks buddy. Yeah, I'm glad you're here. Let me too.
40:38
Speaker 1: I'm glad you're here. Guys, Well, I'm glad we're gonna
40:42
Speaker 1: listen to this song. The Fat Boys, they are Brooklyn Trio,
40:46
Speaker 1: iconic rap group, kind of a jokey rap group, but
40:49
Speaker 1: they took a really meta approach to their version of
40:52
Speaker 1: Louis Louis, and they talked about what we've been talking
40:55
Speaker 1: about for a while. Full circle, my friend, it's the
41:18
Speaker 1: party channel. Yeah, this is a banger about using One
41:25
Speaker 1: day she told me about this song. She was my
41:31
Speaker 1: age cook, big frumble. It was filthy corn. What's ti
41:40
Speaker 1: upon women? So this is fantastic because this song is
41:49
Speaker 1: about the history of the song they are covering exactly. Yeah. Yeah,
41:53
Speaker 1: So you get into this sort of meta commentary where
41:56
Speaker 1: the singer is talking about a song that his mom
41:59
Speaker 1: heard and his mom was telling him about it, and
42:00
Speaker 1: then they're singing it and there's all these layers. So
42:03
Speaker 1: you tie in this idea of profanity, of violating social norms,
42:08
Speaker 1: of of words causing outrage but also words causing tons
42:13
Speaker 1: of joy. So break it down for Christopher if you could.
42:18
Speaker 1: Was there any actual validity to the rumors of obscenity
42:24
Speaker 1: in The Kingsman's Louis Louis. Was there was there any
42:27
Speaker 1: reason for the beef? Absolutely not and totally Here here's
42:33
Speaker 1: the last bit of extra credit that I'm gonna give you, guys.
42:36
Speaker 1: The lyrics of Louis Louis contained no obscenities, but the
42:41
Speaker 1: recording did. The drummer drops one of his drumsticks and
42:46
Speaker 1: he shouts out an obscenity in the background, and it
42:49
Speaker 1: made it on the record. Nobody noticed, The FBI didn't notice,
42:53
Speaker 1: and this is confirmed later in in interviews with the drummer.
42:57
Speaker 1: In interviews with the band, they said, yeah, there's a
43:00
Speaker 1: odd word in there, and if you turn up the song,
43:02
Speaker 1: you know, you wouldn't know it at first, but if
43:04
Speaker 1: you know what you're looking for, you're gonna hear a
43:07
Speaker 1: knotty word. Man just goes to show like misdirection is
43:12
Speaker 1: a hell of a thing, right, Not not that anything
43:14
Speaker 1: they were trying to misdirect anybody, but people were so
43:16
Speaker 1: caught up on the unintelligibility of the lyrics that their
43:20
Speaker 1: minds created this problem that just wasn't there. All from
43:24
Speaker 1: a couple of angry letters from irate moms and I
43:28
Speaker 1: think a dad as well, and then went on to
43:30
Speaker 1: make a conspiracy. Yeah, it goes a show. You can
43:33
Speaker 1: you can affect change by writing a letter, and uh,
43:37
Speaker 1: but maybe maybe you should maybe just don't. I just
43:39
Speaker 1: want to go Christopher though, we don't want to let
43:44
Speaker 1: this segment go. Thank you so much for coming onto
43:48
Speaker 1: extra credit. Thank you for appearing on our show. Here
43:51
Speaker 1: you guys, And and you know, if listeners dig this,
43:55
Speaker 1: there are tons of other cover songs for Louis Louis
43:57
Speaker 1: they can dive into. There's a Joan Jet. There's a
44:00
Speaker 1: Verry White cover that I really really wanted to play
44:02
Speaker 1: for you guys, but maybe we'll do that in private. Yeah,
44:06
Speaker 1: who you know, it's very white. It's true. I remember
44:08
Speaker 1: hearing it was actually on the Wayne's World soundtrack. I
44:11
Speaker 1: believe a Robert Plant version that where he's you know,
44:15
Speaker 1: singing in his classic Zep voice and you know, just
44:19
Speaker 1: really whaling. I couldn't understand the lyrics then either, there's
44:22
Speaker 1: there's a lot of live versions of Zeppelin. Um, there's
44:25
Speaker 1: a great live Bruce Springsteen version. There's a Smashing Pumpkins version. No, yeah,
44:30
Speaker 1: I gotta say it's not that great. I can't imagine
44:33
Speaker 1: it would be and I'm also they're dead to me,
44:34
Speaker 1: so at this at this point, to me, this is
44:39
Speaker 1: this is an historic moment for our show because folks
44:42
Speaker 1: ridiculous his stories. You're finally able to meet the guy
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Speaker 1: that we talked about so much, and I think he
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Speaker 1: measures up to the height. Hi. Everybody agreed, this is
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Speaker 1: a lot of fun. So thank you Christopher for joining us.
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Speaker 1: Um thanks to our super producer Casey Pegram and Alex Williams,
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Speaker 1: who composed our theme. Most importantly, thanks to you for
45:04
Speaker 1: tuning in If you had as much fun listening to
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Speaker 1: this as we did recording it. That our work here
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Speaker 1: is done. Uh, stay tuned and check us out. Our
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Speaker 1: next episode will we explore the al BASAs War, a
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Speaker 1: forty year conflict sparked by and you guys know this
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Speaker 1: is big for me because I always talking about feathers
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Speaker 1: on camel's backs sparked by a camel. Uh. So in
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Speaker 1: the meantime, let us know what your favorite cover of
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Speaker 1: Louie Louis is. You can find us on Instagram, Facebook,
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Speaker 1: and Twitter, where we are Ridiculous History or some variation thereof.
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Speaker 1: You can also check out our community page Ridiculous Historians
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Speaker 1: and then maybe we can post some of these versions
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Speaker 1: in that community group. Oh. I think that's a great idea. Perfect,
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Speaker 1: See you next time, everybody. Two