Pacific Northewest Spotlight: The Kingsmen - Louie Louie/The Haunted Castle

Day six of our Pacific Northwest Battle of the Garage Bands finds us still kicking it around Portland, Oregon.

I could make a very strong argument that The Kingsmen's Louie Louie was both the most important and influential recording in rock history.

It was in 1963, Portland, Oregon, that the The Kingsmen paid $36 to record this number at a small radio studio with only two mics: One for the drums, one for the rest of the band, including the vocalist. The band banged it out and released it on the Seattle based Jerden Records in the Summer of 1963. From there Wand Records picked it up and released it nationally in October of that year.

The record spread like a wild fire and even launched a Justice Department investigation to determine if the lyrics were obscene (the answer was, "we can't tell") and was banned by one midwestern Governor who thought his state's impressionable teens should not undulate to the suggestive beat.

But the record persevered. This rag-tag stutter rhythm recording would soon be replicated by every garage and frat rock band in America. And when Pye Records released it in the UK in December of 1963, the Brit bands would be jumping on board as well. Bands like The Kinks, The Who, The Eyes and The Troggs would soon be pounding out their own interpretations of this rhythm and selling it back to the Americans who started it.

At the time of recording, the Kingsmen were comprised of Jack Ely on vocals, Lynn Easton on Drums, Mike Mitchell on guitar, Bob Nordby on bass and Don Gallucci on keyboards. Two notable moments to listen for in this recording. At :54, Lynn Easton yells "fuck!" (how the Justice Department missed this is beyond me) after breaking a drum stick. At 1:58, Jack Ely jumps in early and starts the next line before aborting and starting again.

Jack Ely would be forced from the band by Lynn Easton who wanted center stage. His mom trademarked the name and the Easton family began cleaning house.  That's the drummer, Easton, in the 1000 lip-synched versions you've seen on YouTube. Don Gallucci would be the next casualty with him being forced from the band as he was too young to tour.

Until next time, we'll see you On The Flip-Side!

Song of the Week: The Sonics - Louie Louie

Day four of our Louie Louie love fest. The Sonics -- Gerry Roslie, Andy Parypa, Larry Parypa, Rob Lind and Bob Bennet -- recorded Louie Louie in 1965 at Wiley/Griffith Studios up in Seattle with producer Kearney Barton manning the controls. The song was recorded live with two tracks. One for the drums and one for the rest of the band. Most notably, the Sonics change the song from it's familiar I-IV-V (A#-D#-E#m) arrangement and instead give it a major chord I-III-IV (A#-C#-D#) arrangement. The change takes the bop out of the song and replaces it with a good old crunch. Gerry Roslie rips the vocals as hard as Larry Parypa rips the unrelenting barre chord progression on guitar. The result is truly a mind melt. Particularly when put into the context of 1965.

The song was released as the Flip-Side to the band's stellar composition, Cinderella, and would prove to be their last for Etiquette Records.

Song of the Week: Rockin Robin Roberts - Louie Louie

What you have here is the missing link. This is the version of Louie Louie that became the benchmark for future versions. It is by Rockin Robin Roberts and the backup band, though not credited on the label, is none other than The Wailers. The Wailers had just produced a #38 charting instrumental for another label and thus could not be credited. In fact, Etiquette Records was The Wailers' own creation to get out from under their old contract with Golden Crest. This recording of Louie Louie, is, as you can see from the scan above, the first record Etiquette ever released.

Rockin Robin Roberts and the Wailers recorded this version of Louie Louie in Tacoma, Washington in 1960 and released the single in early '61. This recording marks the first published rock recording of the song. It also has a few other historically important notables. Roberts and The Wailers move the song from the calypso beat to the now familiar downbeat. They also moved the song from it's original key of G, to Bb. And Roberts introduces the guitar lead, which is clearly the riff that the Kingsmen and other bands replicated, with the all important "Now let's give it to them, right now!"

The Wailers would go on to garage lore with songs like Hang Up and the wicked Out Of Our Tree. Rockin Robin Roberts, unfortunately, died an early death due to an auto accident in 1967.

Song of the Week: Richard Berry - Louie, Louie

Today is day one of our ode to the most important rock-n-roll song ever written, Louie, Louie. We start with the original version. From 1955, on Flip Records, Richard Berry and the Pharaohs perform Berry's original composition. Inspired by calypso beats he heard in a song about Cuba, Berry muses about a love far off across the sea. A love he intends to fulfill.

Louie Louie, me gotta go
Louie Louie, me gotta go
Fine little girl she waits for me
Me catch the ship for cross the sea
I sail the ship all alone
I never think I'll make it home
Three nights and days me sail the sea
Me think of girl constantly
On the ship I dream she there
I smell the rose in her hair
Me see Jamaica moon above
It won't be long, me see my love
Me take her in my arms and then
I tell her I never leave again

The doo-wop, soul number would fly under the radar screen for quite some time. But that would all change in a few years time. But more on that in the coming days.