The Enduring Legacy of The Kingsmen—Part 3

“Louie Louie” — Unintelligible at “any speed”

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The Kingsmen lion logo © 2006 Richard Peterson

After 31 months, it ended in a Federal Communications Commission hearing. There were two possible outcomes.

The first was finding for the plaintiffs. If the song was ruled as obscene, there could be dire consequences for the band. The record would be banned and possibly The Kingsmen could be subjected to fines or worse. Finding for the plaintiffs could’ve also implicated the recording label for engaging in transporting obscene material across state lines.

Or, the judge could find for the defendants.

After listening to the song at every speed, the judge still couldn’t hear anything with certainty. Considering the lack of FBI evidence, and relying on his own ears, he ruled the song “unintelligible at any speed,” and lifted the ban.

The verdict was a triumph because “Louie Louie” began climbing the charts once again, with all rumors about the alleged raunchy lyrics intact. The guys capitalized on the situation under the guise of, “Hey, we got away with it!”

In the spring of 1964, The Kingsmen were touring with the likes of Dionne Warwick, Chad and Jeremy, Peter and Gordon, and famed DJ “Murray the K, aka ‘the Fifth Beatle’” (Murray Kaufman). They were on top of the world. And they were guests on popular shows including American Bandstand, Shindig, Hullabaloo and in the film, “How to Stuff a Wild Bikini,” starring the heartthrob of boys across the U.S., Annette Funicello.

When the British Invasion hit in 1964, its music shared the airwaves with American bands, and instead of being seen as competition, their music was appreciated by everyone, including The Kingsmen, who by then were like ambassadors of American rock. But when the ”psychedelic era” hit mid-decade, the new musical expression reflected a seismic shift in society and culture.

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Actual schedule hand-written by Murray Kaufman, posted backstage for Easter Extravaganza, March 1964 © 2006 Richard Peterson

The decade ended with Woodstock. By that time the guys recognized they weren’t “what’s happening,” and though their popularity waned, their music continued to influence other bands of the day, even laying the groundwork for the “garage band sound.”

Curtis muses, “It all starts somewhere. We were all influenced by other people. It wasn’t so much that we influenced established bands, but we influenced a lot of local bands. Young bands today—they just keep that whole thing going.”

To be continued…

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Terri Nakamura is a professional graphic designer who loves social media, music and writing.  Follow her on Twitter: @terrinakamura; Read her blog, Confessions of a Graphic Designer: http://seattledesigner.blogspot.com/ or find her connections: http://about.me/terrinakamura

© 2010-13 Terri Nakamura

 

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