45 years ago today, on August 8, 1963, a band from Portland, Oregon, The Kingsmen, initially released their classic version of "Louie Louie" on Jerden Records. Written by Richard Berry in 1955, it has since been recorded by hundreds of artists, becoming a rock standard, especially for garage bands cranking their amps to 10 in beer soaked clubs and basements everywhere. Richard Berry recorded his version in 1957, and it was released on the Los Angeles based label Flip Records. The original version is sung in a more of a bluesy-calypso style and tells the story of a Jamaican sailor bragging to his pal Louie about his "fine little girl" back on his island home.
The best-known version is of course by The Kingsmen and has always been thought of as being outrageously obscene, describing lascivious acts of extreme perversion in such detail as to warrant an investigation by the FBI-- an investigation that ended without prosecution. Here are the legendary lyrics:
Louie Louie, oh no
Me gotta go
Aye-yi-yi-yi, I said
Louie Louie, oh baby
Me gotta go
Fine little girl waits for me
Catch a ship across the sea
Sail that ship about, all alone
Never know if I make it home
Three nights and days I sail the sea
Think of girl, constantly
On that ship, I dream she's there
I smell the rose in her hair.
Okay, let's give it to 'em, right now!
See Jamaica, the moon above
It won't be long, me see me love
Take her in my arms again
Tell her I'll never leave again
Condoleeza Rice said, “This is not 1968, and the invasion of Czechoslovakia, where Russia can invade its neighbor, occupy a capital, overthrow a government and get away with it,” she said. “Things have changed.” It's sort of funny coming from the people who invaded Afghanistan and Iraq, occupied their capitals, overthrew their governments and got away with it. But they're not our neighbor so it's ok. So why did the media throw their support behind the breakaway republics of Yugoslavia but not Georgia? Because Georgia is a tool and partner in the US's efforts to expand influence in the area, so they aren't beholden to the same standards as our enemies.
BERKELEY AMOEBA MUSIC HIP-HOP TOP FIVE: 08:08:08
1) Diplo Top Ranking Santogold (Mad Decent)
2) NaS Untitled (Def Jam)
3) Zo! & Tigallo Love the 80's (Hall of Justus Records)
4) Lil Wayne Tha Carter III (Cash Money/Universal)
5) The Roots Rising Down (Def Jam)
Just 366 days to 09:09:09. Meantime, happy 08:08:08 and thanks to Tunde at the Berkeley Amoeba Music for this week's hip-hop top five on which the number one album of the week comes care of superstar DJ/producer Diplo who, in keeping with what he did on MIA's Piracy Funds Terrorism mix, delivers the goods with a killer 75 minute mix of Brooklyn female vocal force Santogold mixed with a ton of other sources. Incorporating music off of her recent debut release along with other material, Diplo serves up original blends/mixes of Santogold and other artists' that run the gamut from dubstep to Dirty South. The non-stop, hour and a quarter, 35-track mix, which is heavy on the old school and reggae flavors, includes a refreshingly diverse mix of music that Diplo makes fit perfectly together. Included are Barrington Levy, Three 6 Mafia, Devo, Sir Mix-A-Lot, Sister Nancy, The Clash, and B-52's.
Zo, along with Tigallo (aka Phonte) from Little Brother, have merged forces to record and release this week's chart's number 3 entry: the limited edition (reportedly only 2,500 copies pressed & individually numbered) Love the 80's. A throwback, fun r&b based EP (right down to the cover art), it combines the smooth, slick production by Zo topped with Phonte’s vocal chops as they cover some of their favorite songs from that colorful decade known as The 80's. Also included are remixes by Trackacademicks and Nicolay.
The original 70s movie poster
It's about an aging country singer songwriter named Maury Dann who is on the road, working his way through gigs, women, alcohol and more during the day and a half of time the viewer spends with him.
It's a fully certifiable "Man Movie"-- that is, women are objects, hysterical and insecure, while the men grapple with their own manliness and keeping up appearances of masculinity. There's a lot of beer and belt buckles in this movie, is what I'm saying. There's gambling, hunting and fist fights and even a stabbing and a car accident! So much action, so much manliness on the line.
The movie is interesting because Maury is so completely flawed and dynamic. He is more than slightly off the rails and no one has ever really been able to rein him in. We see him using and abusing overeager women and handing his mother a pile of pills to keep her quiet, yet we also see him gently pressing his face against his beloved spaniel when he realizes he can no longer keep him. It is clear that he thinks of himself as a great singer songwriter, but the film shows that the gigs are no longer as big as they used to be and that he has not had a radio hit in a while, if ever. Maury's life seems to have moved for years, decades maybe, at a non-stop pace-- from gig to car to hotel to radio station to restaurant and on and on and from whiskey to women to pills to weed and on and on and on. While he is busy puffing himself up, he actually appears more and more degraded.