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"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". Historical significance The "extraordinary roller-coaster tale of obscurity, scandal, success and immortality" and "remarkable historical impact" of "Louie Louie" have been recognized by organizations and publications worldwide for its influence on the history of rock and roll. A partial list (see Recognition and rankings table below) includes the Rock and Roll Hall of Fame, the Grammy Hall of Fame, National Public Radio, VH1, Rolling Stone Magazine, the National Endowment for the Arts, and the Recording Industry Association of America. Other major examples of the song's legacy include the celebration of International Louie Louie Day every year on April 11; the annual Louie Louie Parade in Philadelphia from 1985 to 1989; the LouieFest in Tacoma from 2003 to 2012; the ongoing annual Louie Louie Street Party in Peoria; and the unsuccessful attempt in 1985 to make it the state song of Washington. 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", and also called it "cosmically crude". Rock critic Greil Marcus called it "a law of nature" and New York Times music critic Jon Pareles, writing in a 1997 obituary for Richard Berry, termed it "a cornerstone of rock". Music historian Peter Blecha noted, "Far from shuffling off to a quiet retirement, evidence indicates that 'Louie Louie' may actually prove to be immortal." Other writers described it as "musically simple, lyrically simple, and joyously infectious", "deliciously moronic", "a completely unforgettable earworm", "the essence of rock's primal energy", and "the immortal international hit ... that defines rock 'n' roll." Others noted that it "served as a bridge to the R&B of the past and the rap scene of the future", that "it came to symbolize the garage rock genre, where the typical performance was often aggressive and usually amateurish", and that "all you need to make a great rock 'n' roll record are the chords to 'Louie Louie' and a bad attitude." Music historian and filmmaker Eric Predoehl of The Louie Report described the song as, 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 (perhaps with some exaggeration) called it "one of the greatest songs in the history of the world". 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." The Kingsmen's recording was the subject of an FBI investigation about the supposed, but nonexistent, obscenity of the lyrics that ended without prosecution. 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", while another writer termed it "the ultimate expression of youthful rebellion". 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 ...." 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. 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), but became best known in the "El Loco Cha Cha" arrangement by René Touzet which included "three great chords, solid and true" and a ten-note "1-2-3 1–2 1-2-3 1–2" tumbao or rhythmic pattern. In Berry's mind, the words to "Louie Louie" "just kind of fell out of the sky", superimposing themselves over the repeating bassline as he scribbled backstage on a strip of toilet paper. 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). Richard Berry cited Chuck Berry's "Havana Moon" and his exposure to Latin American music for the song's speech pattern and references to Jamaica. Los Angeles-based Flip Records recorded Richard Berry's composition with his vocal group the Pharaohs in April 1956. 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. 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. 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".) 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." 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. 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 to 130,000 copies. Other versions appeared on Casino Club Presents Richard Berry (1966), Great Rhythm and Blues Oldies Volume 12 (1977), and The Best of Louie, Louie (1983). Althou.... 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