The Louie Files: The Greatest Moment in Rock-and-Roll

exterior of two-story brick building painted black, downtown Portland, OR

Hallowed ground. The former Northwestern Recorders, Burnside and 13th Ave, where “Louie Louie” was recorded.

Editor’s Note: Guest columnist this week is Will Simmons from the Pittsburgh Orbit. His love of the the Kingsmen’s version of “Louie, Louie” has inspired a slew of forthcoming posts to celebrate the 54th anniversary of  the recording. He’s won me over as I realize Will isn’t spewing hyperbole.

 

It is the greatest moment in rock-and-roll. I can say that definitively–I know them all.

Oh, sure–there’s Jackie Brenston and pre-spousal abuse Ike Turner’s “Rocket 88”, the so-called “first rock-and-roll song”. Elvis, whose famous croon and gyrating mid-section is right up there with the crazed abandon of Little Richard and Jerry Lee Lewis. Chuck Berry is a one-man honors course on the past, present, and future of the genre.

The Beatles launched a million shrill screams and sent inspired amateurs from all over into guitar shops. Their across-the-pond mates The Kinks, The Who, and the Rolling Stones all launched impressive salvos at this hallowed target.

Somebody’s going to argue for Robert Johnson selling his soul down on Highway 61, Sister Rosetta Tharpe’s rock-and-roll gospel, Dylan “going electric”, Janis Joplin’s impassioned ball-and-chain wails, Hendrix on his knees and out of his mind at Monterrey. “Rock and Roll, parts 1 & 2”, Mike Leander’s Frankenstein studio creation for Gary Glitter, was famously called “a castration op where you throw away the patient and keep the balls”. Queen’s “Bohemian Rhapsody” set some kind of high-water mark, but it’s not this one.

We could go on and on–heck, we haven’t even gotten to punk rock!–but what’s the point? No, “Louie Louie”–The Kingsmen’s definitive “Louie Louie”–recorded on this day in 1963, alone holds that title. And it happened right here….er, right there…in Portland.

Tim Bavington's sculpture "Louie, Louie" (detail), Edith Green-Wendell Wyatt Federal Building downtown

Tim Bavington’s glass and acrylic sculpture “Louie, Louie” (detail), Edith Green-Wendell Wyatt Federal Building downtown

Kids today. One thing they’ll never know is the absolute moment of greatest excitement in life. I’m talking about the brief seconds immediately following the record player’s discordant crunch–like a car crash heard from blocks away–as the needle makes contact with spinning black plastic. From that instant until the music kicks in–possibly nanoseconds, a blink of an eye, really–there is nothing except the amplified scratching of dust on empty grooves and a heightened anticipation that something incredible is about to happen.

When the needle drops on “Louie Louie” it has every molecule of this electricity behind it. The organ pick-up on the V chord and one run-through of the progression is just enough warning for rockers to rise from their seats and the timid to dive for cover.

Lynn Easton is a sonic terrorist wanted for crimes ranging from flagrant tempo irregularity to rampant contraption kit abuse. But then as now, there are no normal circumstances and Easton’s all-fills-all-the-time, no-crash-cymbal-left-alive approach to drumming is exactly what you want destroying rhythm in the scorched earth ground war that is rock-and-roll.

What takes “Louie” over the top, though, are the loose, drunk-sounding, shout-sung vocals of young Jack Ely. It’s just one of the song’s many magical quirks that the record was done in a single take, recorded live in the studio using just three room microphones, by a band that only just added the song to their repertoire. When Ely sings through his teenage orthodontal work, craning to be heard over the live band din, he’s working from only a passing familiarity with both the new lyrics and arrangement.

It all adds up to one of the great vocal performances in rock history. No one would possibly practice singing a song the way Ely delivers it. Likely–had the band been granted more studio time, budget, a producer–they might have rethought the spontaneity of this first, perfect take. Fortunately for all of us, they never got that chance.

"The Kingsmen on Campus" album cover with five band members in cardigan sweaters at the top of a brick staircase

If the cardigan’s a-rockin’… big Kingsmen on campus (1965)

By all accounts, Ely, Easton, and the gang were pretty square. From the band’s Wikipedia entry, “The Kingsmen began their collective career playing at fashion shows, Red Cross events, and supermarket promotions, generally avoiding rock songs on their setlist.” The group only fell into trash rock ass backwards after hearing the popularity of an already-recorded version of “Louie Louie” while playing at the very un-rock-and-roll venue of a yacht club on the coast.

There are plenty of wilder early rock records that pre-date “Louie’s” moment of glorious infamy, but none that got anywhere near the exposure The Kingsmen received. Coming at the tail end of the brief window between Elvis leaving the building and The Beatles “yeah-yeah-yeah”-ing arrival, “Louie” is the great exclamation point that ushers both popular and underground rock music into the 1960s. When the record peaked at #2, in December, 1963, the Billboard’s Top 40 chart contained such ’50s hangovers as Neil Sedaka, Bobby Vinton, and Al Martino, “Be True to Your School” and “Wives and Lovers”*. The top spot was held by The Singing Nun’s folky “Dominique”, sung en Française.

Seaside, Oregon phone book entry for the PYPO CLUB at 1 Broadway

An old-school phone listing is all that’s left of Seaside, Oregon’s Pypo Club, where The Kingsmen first heard “Louie Louie”.

The Kingsmen went on to record a series of albums in the mid-1960s full of decent, but forgettable R&B standards, dance-craze-of-the-week retreads, and unfortunate novelty tunes. It didn’t help matters that shortly after “Louie’s” success, Easton staged a bloodless coup to unseat Ely as lead singer and frontman. In one fell swoop, the band lost both of their greatest assets–the untrained voice and the unhinged beat.

promotional photograph of Jack Ely and the Kingsmen with band members smiling in jackets and ties

Jack Ely’s post-sacking, hack lineup of The Kingsmen, c. 1964 [photo courtesy of the Oregon Historical Society]

None of these things mattered to me. As a high school student in the 1980s, I bought used-bin copies of all their records and played them incessantly. My peers were listening to Siouxsie & The Banshees and The Cure while I was spinning The Kingsmen’s B-grade takes on Allen Toussaint and Rufus Thomas songs.

Looking back, I recognize how mediocre the Kingsmen’s second- or third-hand, safe-for-middle-America versions are in comparison to the real thing. But those albums served as a great gateway to finding out about much more interesting music–both in the New Orleans/Memphis R&B records they copied and the mid-’60s garage rock they became synonymous with.

The Kingsmen will never be remembered for the catalog produced by ‘60s rock peers The Pretty Things or The Troggs, The Chocolate Watch Band or The Sonics, The Standells or The Easy Beats. But they did one magical, perfect thing–right there at Burnside and 13th. It changed this blogger’s young life and he is forever in their debt. Me gotta go. Aye-yi-yi-yi-yi.

Hyperbolically yours,
Will Simmons
Pittsburgh

man holding a copy of "The Best of 'Louie, Louie'" vinyl album

The author, one needle-drop from ecstasy


Further reading: Dave Marsh’s 1993 book Louie Louie: The History and Mythology of the World’s Most Famous Rock’n’Roll Song (Hyperion) is a totally great read for anyone with even a passing interest in the song, Northwest rock history, or just a goofy, wild true tale. It’s amazing to me that Multnomah County Library only has one (print) copy in the system considering how much of the book could be considered “local history”, but hey–it’s available! (as of this writing)


* In fairness, the Dec. 14 Billboard Top 40 also contains some pretty good stuff–“Walking the Dog”, early Motown records, “Sugar Shack”, etc.

Next week in the second installment of the Louie Files, we’ll explore an attempt to find the rock club in Seaside, OR that inspired the Kingsmen to record Louie, Louie.

 

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Go Fourth!

Sure the Fourth of July is all about picnics, fireworks and probably America beer but we can’t forget the decorations found around town.

This tradition was started by our cross country rival publication the Pittsburgh Orbit and has inspired a need to showcase displays of patriotism in the Portland area as well.

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I saw this display around 15th and Broadway in NE. It doesn’t explain itself but it makes good use of it’s window design, construction paper elements and symmetry to create an appealing, eye catching, festival of patriotism.

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This is a good example of an interior flag decals. Others I’ve seen are faded and peeling off. If this doesn’t make you put your hand over your heart and mumble the Pledge of Allegiance, I don’t know what will.

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At the tail end of my own shopping cart hysteria, I discovered this mobile can and bottle collecting vehicle chained to a sign at the end of our street. The decor it sports shouts a patriotic fervor that can’t be denied.

 

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Flag waving sentiments were found within a backdrop of pole art when a cloth flag was affixed to a utility pole in North Portland. This banner may not yet wave like the song says but it does make for a grungy addition of American spirit to an old pole.

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I like inflatable decorations of any kind, type or holiday so this Uncle Sam bear cub was destined to catch my eye and camera lens. The bear looks great in patriotic plastic. Here’s hoping he can dodge drifting fireworks sparks.

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Faded glory for sure but this one harkens back to the days when we were all proud to be an America back when Lee Greenwood was haunting many a concert stage. While the stripes have long since faded on the flag, the bumper sticker offers up a historical record of there being yet another barber shop in Kenton.

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Having made it to the Vernonia Friendship Jamboree on a bike camping trip last summer, I saw this banner decoration attached to a sale sign. Stars and stripes are never a bad way to increase traffic to whatever kind of sale you wish to advertise.

See also: https://pittsburghorbit.wordpress.com/2016/07/04/flag-post-a-very-orbit-independence-day-2016/

 

The Pittsburgh Orbit

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Since I started the Portland Orbit, I had the idea that other cities could have their own Orbit, but I didn’t consider how I could accomplish this. Once I started blogging, I spent all my spare time on the content of the blog so franchising became a forgotten dream. Then my old friend Will Simmons and I were emailing about something and he planted the seed of starting the Pittsburgh Orbit. I wrote him back and said, yeah, that would be really cool, no pressure or anything and he was hesitant, but the next thing I knew not only had he started the site, he was blogging like a fiend and the content was amazing to me.

Pittsburgh flood markers, a jaws tombstone and gum graffiti are just some of the topics Will has written about. Writing like a professor on some kind of academic steroids, his thoughts are far from stuffy, they’re alive, comical, sometimes sad but always engaging. If this is to become a west coast east coast rivalry I can only hope it remains friendly. Will is raising the blogging bar so high that I’m not sure my nephew John could high jump over it. The Portland Orbit recently posted a piece on a baby doll strapped to a car while the Pittsburgh Orbit ran an expose on a dead mall in suburban Pittsburgh. Baby doll vs dead mall, mono brow vs high brow, I don’t know, it could be a west coast/east coast thing, only time and continued writing will tell.

It was over ten years ago that Will helped me produced a video about Pittsburgh for a public access television series I was producing. Without much direction, Will stepped into a producer and TV host role with ease. He guided us to great material for segments then drove us around as the camera rolled and we got to know his city.  Will is the kind of guy who is always willing to help, has great ideas and loves talking about Pittsburgh.

We welcome the Pittsburgh Orbit to the blogosphere. There can’t be anyone more proud and excited to be reading the thoughts of Will Simmons on the city where he has been a long time resident, a place he now considers his adopted hometown. It’s going on 20 years, if memory serves me well, and much of that time has found Will, camera in hand, exploring his surroundings. The idea of him sharing his Pittsburgh enthusiasm with me and other readers means we’re in for some good reading. Whether you’ve lived in Pittsburgh, visited or even if you’re unfamiliar with the city but you enjoy absorbing curious culture about a specific locale, I know the Pittsburgh Orbit will provide enjoyment to anyone in any of these categories.

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Will Simmons takes Clown Art serious.

Watch the public access show about Pittsburgh featuring Will Simmons as an accidentally awesome TV host:

See Will Simmons in his musician guise from his days as a member of the legendary band The Hope-Harveys:

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