Louie Louie Music by Armitage Shanks from the album Louie Louie Music EP
Released 2012-05-18 on Little Teddy Recordings.
If HARDSKIN were a garage band they would be ARMITAGE SHANKS… fact. Rudimentary punk rock done with that rough and tumble Medway sound. Like THEE MILKSHAKES minus the 60’s. Four tunes that don’t mess around, no meandering, fancy bridges, fiddly intros, extended endings, just straight up punch in the face punk rock. This band do it right, God bless them!
Joe Maccoll points out…
Musically it is reminiscent(or a rip-off) of Wild Billy Childish‘s “Joe Strummers grave.”
Punk Rock At The British Legion Hall – 2007 – Damaged Goods Records – Cat No DAMGOOD 281.
Joe Maccoll also adds…
All three songs were recorded in Ranscombe Studios in Kent. Jim Riley must be sick of this riff by now!
… and yet another comment…
…as it turns out guitarist Allan Crockford with Wild Billy Childish in Thee Headcoats,so this makes some kind of sense.So, although not LL,it carries the spirit of the song in its genes,and more importantly,it rocks!
This one’s for Candye Kane, a multi-talented blues singer that we lost last month. Eight years ago she announced that she had pancreatic cancer, which she actively fought with an incredible zest, speaking openly about her battle over the years.
For Candye, so much of her life was all about helping others find a means of empowering themselves, using her public persona to promote healing, love, and self-acceptance of one’s body – whatever size, shape or hue it may be.
In summer 2011, she released a new album, Sister Vagabond. “I take things one day at a time and today I am feeling great and very optimistic about my new CD,” Kane said. “It’s been awesome to write and co-produce again with my guitarist Laura Chavez. I am grateful for every chance I get to make music live, or in the studio. Most people are given only three months to live after a pancreatic cancer diagnosis and three years later, I am still here. So any opportunity I have to create music makes me humbled and grateful.”
I recently found some video that I shot of Candye a year and half ago at a little club in Santa Cruz, California. It was a little moment I captured on a little pocketcam that I forgot I even had.
Today, I’m sharing this clip, a performance of “I Put a Hex On You,” which I believe is an original Candye composition.
Phil “Fang” Volk, an alumni of Paul Revere & the Raiders, shared a special LOUIE LOUIE performance on his Facebook page– a recent collaboration with the Kingsmen!
Phil “Fang” Volk playing bass guitar and singing “Louie Louie” with the Kingsmen at their Cannery Concert in Las Vegas, Nevada, May 28, 2016. In honor of the late Smitty, original drummer of the Raiders, Fang shouted out: “Grab your woman, it’s Louie, Louie time!” heard on the Raider’s single of the same song, recorded in the same studio, in the same week in Portland, Oregon over 53 years ago.
This week, the LOUIE spotlight is on a LOUIE-relative (a category that includes brother, sister, bastard or distant cousin) performed by band known as “the Kingsmen,” which as far as I can tell has absolutely no connection with the successful band from Portland, Oregon with the same name.
This band was known as Al Dote and the Kingsmen, and they released an album that featured vocals by Kay Quinn. It was recorded Live at Albert’s Miramar Hotel, Half Moon Bay, California on September 2, 1966, and was a Damar Production.
If anyone can share any light on this particular album, I’d love to find out what ever happened to this band. Did they have any problems with this name? How long did their run last at the Miramar Hotel, which no longer exists?
Anyways, here’s a clip of their version of “Hang on Sloopy” – one of the great “LOUIE Relative” type songs, which was co-written by Bert Burns (aka Bert Russell), who actually did have a LOUIE connection, producing a few songs with Jack Ely, the original vocalist with the Kingsmen.
I asked my friend Barry Curtis of the Kingsmen (now retired) and the Daily Flash, to share a few words..
We are incomplete without Jimmy.
He was a walking Northwest music history encyclopedia. He knew virtually everyone from those 50’s ~ 70’s glory days. He knew hundreds (more like thousands) of songs including the entire Louis Prima book. Jimmy was opinionated and did not suffer fools, but once any of us got to really know him, we had a friend for life. He taught me a lot and I will always take it forward.
R.I.P James Henry Manolides.
When it came to serious musicians in the Pacific Northwest, Jim Manolides was the real deal. He was a member of some of the hottest NW bands during the 1950s-1970s.
Jim was an original member of The Frantics, a rock band from Seattle whose first record (“Straight Flush”) made the Blllboard Top 100 chart in 1959. In this particular photo of the Frantics, you can see the five original members – Jim Manolides, Chuck Schoning, Bob Hosko, Don Fulton and Ron Petersen.
They were the second musical act ever signed to Dolton Records.
Jim Manolides was not only working as a musician for Dolton, but he was also a graphic artist that designed the Dolton logo used on the record label, which he did when he was an art student in College.
The Frantics were actually one of the earliest bands to ever perform LOUIE LOUIE (after The Playboys), even though the band never recorded it.
Believe or not, Jim actually told me that HE was the guy that taught the LOUIE LOUIE lyrics to Rockin’ Robin Roberts.
While the Frantics were the first of many bands that Jim was affiliated with, Jim also linked up with Dave Lewis, who was considered the “Godfather of Northwest Rock.” The Dave Lewis Combo was one of the most influential rhythm & blues bands in the Pacific Northwest during the 1950s-1960s.
Jim was also the leader of a band known as James Henry & the Olympics, which performed and recorded a great version of “My Girl Sloopy” a few months before the McCoys recorded the same song as “Hang On Sloopy” in 1965.
I was very grateful to be able to witness a 1999 reunion of James Henry & the Olympics in Seaside (Oregon) and capture these special moments.
There so many other great bands that Jim was once a part of – The Dynamics, Sweet Talkin’ Jones, The Counts, and Jr. Cadillac, which was a collective of all-star musicians from other prominent NW bands including the Wailers, the Sonics, and various others.
Over the years, it looks like I wrote at least three blog posts that paid tribute to the talents of Jim Manolides that I’d like to encourage you to read, if you haven’t done so already…
An effervescent bohemian, Mr. Manolides was known in the ’70s and ’80s to jazz fans as the gravel-voiced bartender with a million stories at Parnell’s jazz club, owned by Roy Parnell, Sandy Parnell’s late husband. In the 1990s, Manolides was a familiar figure behind the counter at Nickel Cigar, on Yesler Avenue, formerly the Manolides Gallery.
Born in Seattle, Mr. Manolides was the son of King County Deputy Prosecutor and Seattle District Court Judge Evans Manolides. Jimmy Manolides went to Ballard High School and began playing with The Frantics. A self-taught musician, he graduated from the University of Washington with a degree in art, was drafted, and served in the U.S. Army as an art instructor at Fort Dix, N.J. When he came home, he opened the Manolides Gallery.
“Jimmy was a bigger-than-life kind of guy, so naturally gifted with his music, his art,” Parnell said.
Here’s a never-been-seen-before clip of Jimmy performing a Big Jay McNeely song at the Kent Morrill tribute concert in 2011.
Rest in peace, Jimmy Manolides. You shall not be forgotten…
For past week, the world mourned the loss of the artist known as Prince.
He was an intensely talented musician whose legacy will only continue to grow larger with his untimely passing.
He was an enigma that took an extremely unique approach to the music industry and left behind a wealth of unanswered questions that will continue to be explored in the many years yet to come…
He was extremely restrictive when it came to recordings of his musical compositions, his performances and his interviews. He routinely demanded that his television performances would not be shared via the internet, and journalists were often forbidden from making any recordings of whatever interviews he might have granted.
He would engage in lawsuits that would target anyone that created YouTube videos that happened to feature his music, but would also anonymously give away millions of dollars to various people in need.
Some of his donations were solar panels given to a lot of low-income people that couldn’t afford such things on their own.
With his religious beliefs, it was essential that his gifts remained anonymous.
He empowered a lot of developing artists with both his music, often providing direct sponsorship.
In the past week, we’ve learned of a lot of unexpected alliances he made, and the uniquely private life he led.
With his passing, so many of the performances that Prince would not allow to be seen, are now being shared openly on the internet, transforming a lot of casual appreciators into full-fledged fans. Will the new executor(s) of the Prince estate be open to this type of open sharing that expands his base, or will they revert back to something closer to Prince’s highly restricted terms of access?
I suppose we’ll find out in due time.. exactly what will happen… or not.
The biggest topic of discussion has been the mysterious vault of music at his Paisley Park compound. Apparently he recorded a lot of music which has never heard, and according to various reports, the Prince estate could probably release a new album once a year for the next 100 years….. which leads to to a topic close to the theme of this website….
Would you believe there was a LOUIE LOUIE-related song by Prince?
I haven’t heard it yet, but it’s a composition written by Prince entitled simply “Hey Louie Louie.”
Apparently, “Hey Louie Louie: is an unreleased track that was recorded in November 1990 featuring rapped verses by Tony M. and maybe some other vocalists.
In fact, over at the (unofficial) Prince.org forum, there’s a posting that calls this song the “best song ever” as well as “funny as hell” and “just stupid.”
This song was part of an unofficial 3-CD release (aka bootleg) entitled “Deposition,” as documented by the Discogs website.
Again, I have no idea what this thing sounds like. I don’t know if it’s a “LOUIE Bastard” that borrows heavily from the original Richard Berry composition, or maybe a “LOUIE- Name Only” song like the Pretenders song “Louie Louie” that uses the title, but shares little in common with the the original LOUIE LOUIE.
I hope to hear this song someday, but I’m sure I will in due time.
If you’d like to be first one to share this one with me, feel free to share a email with “Louie” at this website, or visit the “LOUIE LOUIE Party” at Facebook.
In the meantime, I leave you with some of my favorite Prince links and the coolest Twitter post that referenced the loss of such humans…
On Tuesday night, I received some sad news on Facebook about my friend Buck Munger.
April 19, 2016
just before 2:00 on a beautiful afternoon.
Buck Munger joined his favorite dog Lucee, his favorite bass player John, his best friend Jack and the best soft player he ever played with Richard on the other side of where ever.
So now it is time to go out and celebrate his life.
Go to a record store and buy a CD. No not Amazon or Target, a real record store with people working behind the register who want to turn you on to some great music. If you live in Portland try Music Millennium.
How about some live music entertainment? Go to a club this weekend and see some live music, not a DJ. Make it original music for extra credit. Pay the cover and remember to tip your bartender and cocktail waitress.
All you musicians out there, inspire a kid to play, give a less fortunate musician an instrument you aren’t using, play a gig with an old friend and remember how much fun it is to just play.
Support your local musician and you will celebrate the best part of Buck’s real cool, incredibly interested and too short life.
Thank You, Mrs. Jayne (Jablonski) Munger
Buck was a supporter of the LOUIE documentary, and one of the biggest advocates of the music community in his home state of Oregon. He had extremely colorful life, and was an extraordinary storyteller.
His career began in the Alaska as a drummer for a country western band during the late 1950s. From there, he would end up joining the U.S. Marine Corp, playing rock music with a government-sponsored band known as the Mark Five, which lasted for a few years. As his tour of duty ended, he moved to Los Angeles, where he worked various jobs in the music industry, before throwing in the hat, and moving back to Oregon in 1967.
Strangely enough, a job with a new company founded by the Kingsmen‘s bassist, Norm Sunnholm, was the key to Buck’s first big break in the music industry. Buck was hired to work for the Sunn Musical Equipment Company of Tualatin, Oregon, moving back to Los Angeles to promote their new amplifiers. With a company van loaded with Sunn products and a new place in Southern California, Buck was given the mission of finding prominent musicians that would be willing to use and endorse their products.
Jimi Hendrix turned out to be Buck’s first major celebrity endorsement deal – a musician from the Pacific Northwest whose career exploded when when he moved to England. Buck witnessed Jimi’s pivotal performance at the Monterey Pops Festival and negotiated an endorsement deal that very weekend.
Buck wound up setting up a variety of other endorsements for Sunn, but setting up an alignment with the Who turned out to another major feather for his proverbial cap. His kinship with the band, particularly with John Entwistle, which turned out to a lifetime friendship.
Buck used to share some truly amazing stories about his adventures with The Who on his Facebook wall, including this funny moment involving Keith Moon at an Eric Burdon & Animals show at the Whisky in Hollywood…
There I was, left standing in the intersection, next to the XKE watching Keith Moon run laughing into the hotel waving my car keys. John Entwistle sighed, and said he’d go try to retrieve them. It had been a wild night out. I had picked up John and Keith earlier and we all crammed into the E-Type to cruise out on the Sunset Strip. We rolled up to the Whisky and handed over the keys to the valet. Keith and John were wearing their stage clothes and if not instantly recognizable, certainly somebody out of the ordinary. We were escorted up to the VIP balcony overlooking the stage. On stage were Eric Burdon & The Animals, a group that Moon and Entwistle knew well back home. After several rounds and increasingly rowdy behavior Moon leaned over and yelled in my ear. “He’s bald you know, hasn’t got a hair on his head.” Who? “The guitar player!” I looked down and it seemed to me the guitarist had not only a full head of hair, but flowing locks to boot. Huh? Moon was out of his seat, off like a shot, down the stairs, across the crowded room, up to the corner of the stage, on stage, behind the guitar player, “See!” he yelled, pulling off the wig. Holy shit! It was bedlam on stage. The bald guitarist turned and grabbed at Moon, who threw the wig into the crowd and jumped down. The guitar player dropped his instrument and took off in full pursuit across the room, catching Moon about half-way up the balcony stairs. Thankfully the Whisky bouncers arrived simultaneously and Moon was spared a beating, however we were informed our presence would no longer be tolerated and escorted to the door. Outside, waiting for the car Moonie bowed and smiled to the crowd of clapping patrons that followed us out.
One of Buck’s earliest videos, captured in 1975, shared by LOUIE associate producer David Jester, featured one of Pete Townshend‘s guitars..
Buck played a pivotal role in Sunn’s success, which transformed into a major player in the music industry during his time there. After a few years, Buck wound up doing similar work with Norlin which was the home for Gibson and Moog products. With this new job, he was able to work from his homebase in Portland.
After seven years with Norlin, the company decided to consolidate operations, and invited Buck to work at their main headquarters in Chicago.
Buck decided he wanted to stay in Portland, so he turned down the offer and decided to launch a brand new trade publication that would focus on the music scene in Oregon. He would name this new publication “Two Louies” as tip of the hat to the most famous song that was ever recorded in Portland.
Buck created a wonderful resource for the Oregon community with this publication. In era before the internet was an option, bands, nightclubs, recording studios, music shops, photographers and music fans had a place where they could share a lot of information. As a leader in his community, Buck became the instigator a lot of great things in Oregon – big celebrations for various causes and the eventual creation of the Oregon Music Hall of Fame.
And with all of this, Buck made sure that people never forgot the legacy of Oregon music, and the very famous song that was recorded by Kingsmen and Paul Revere & the Raiders at a Portland recording studio in 1963.
UPDATE: Some of the original statements have been revised.
David Jester shared some details that I missed…
Buck was the founder of The Portland Music Association that started when his friend Peter Burke, (the founder of BMI) came to Portland and talked at a meeting of all the musicians in town at Key Largo.. I recorded that also… I was one of the founding members who put up $20 are the first meeting to put out the first PMA newsletter in 1984 ? or maybe it was 1985?… Buck was the 1st President I believe… Buck was instrumental in establishing the Mayor’s Ball tradition which really put Portland on the International Musical Map…
Terry Currier discussed Buck’s involvement with the Oregon Music Hall of Fame on the OMHOF Facebook page:
Today we lost one of the greats of the Portland Music scene…Buck Munger. Though the 70’s, 80’s and 90’s, his publication Two Louies covered the Portland Music scene. Buck championed a lot of artists over this time and after. Before all that, he was the artist rep for Sunn amplifiers. Buck hung with the stars like Eric Clapton, The Who, ZZ Top and here scene with Tom Petty. One of my favorite photos is Buck with Eric Clapton during the Cream years at an empty Memorial Coliseum probably before or after soundcheck. He was involved in the Portland Music Association and putting on the Mayor’s Balls. He was a wealth of information about what went on in Portland. For 3 plus years, Buck called me regularly, trying to get me to start what eventually became the Oregon Music Hall of Fame. I had a full plate and told him I just did not have time to do that on top of having a record store, a record label and a record distribution company as well as being involved in many music based organizations. One day I had a weak moment and said “Yes Buck…I’m going to do it.” I’ve never regretted it and because of the prodding by Buck, The Oregon Music Hall of Fame was created.
There are so many stories and memories I could tell about Buck but today, I think I’ll just reflect my conversations and encounters with Buck. He was a one of a kind character with a passion for music…especially the music that was being made in Portland. Buck was inducted into the Oregon Music Hall of Fame because of this passion and all he did to help to champion the music scene here. He got Billboard magazine to do a multi-page feature on what was going on here. We will miss you Buck