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Once concerned parents began to report their outrage about this allegedly “obscene” song to the FBI, the Bureau made the mistake of expending all their effort in proving it true rather than investigating the rumor itself. Nowadays they’re talking about killing women on records. John Belushi’s ‘Bluto’ character (anachronistically, because the film is set in 1962) teaches the dirty “Louie Louie” lyrics to a group of fraternity pledges in 1978’s Animal House, and the three Libner brothers hold a hilarious debate over the real lyrics in 1990’s Coupe de Ville.It was as if a frightened mother had written to Hoover concerning a story she’d heard about a maniac with a hook being on the loose, and Hoover responded by sending out field agents to investigate whether or not a criminal with a missing hand had recently escaped from a psychiatric hospital.
One person they never, ever talked to was the one person who indisputably knew what words had been sung on the Kingsmen’s recording: singer Jack Ely. made a big deal out of something that, those days …
As rock critic Dave Marsh noted: In a culture that interprets puberty as a tragedy of lost innocence rather than as a triumphal entry into adulthood, the possibility of someone actually giving vent to sexual feeling remains deliciously scandalous.
Sex is bad, and somebody singing about it would be really bad.
Somebody, somewhere, came up with the idea of dirty “Louie Louie” lyrics not only as a way of putting on other kids and panicking authority, but as a way of creating something Perhaps the time was right, and if “Louie Louie” had not come along, some other song would have been tagged as the “dirty” one.
(After all, the word was already out that the Peter, Paul and Mary children’s song about a dragon named Puff was actually about drugs.) We’ll never know, because “Louie Louie” did indeed come along.
So “Louie Louie” leaped up the chart on the basis of a myth about its lyrics so contagious that it swept cross country quicker than bad weather.
In retrospect, it’s easy to identify the aspects of the Kingsmen’s “Louie Louie” that made the “filthy lyrics” myth even a tiny bit plausible.
If she’s got a rag on, I’ll move above; It won’t be long, she’ll slip it off.
I’ll take her in my arms again; tell her I’d rather lay her again.
By 1963 the rock ‘n’ roll genie had long since been let out of the bottle, but what one could say (and sing) about sex and drugs on the public airwaves was still often circumscribed by the government and corporate standards and practices divisions.
Lou Christie’s “Rhapsody in the Rain” and the Byrds’ “Eight Miles High” both struggled against radio airplay limitations in 1966 for allegedly dealing too explicitly with sex and drugs (respectively), and in 1967 the host of America’s premier television showcase for entertainers, Ed Sullivan, was still trying (unsuccessfully) to coerce groups like the Doors and the Rolling Stones into altering their “suggestive” lyrics about drugs and sex (respectively) when they appeared on his program.
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