“Louie Louie – The Kingsmen (HQ)”

“Louie Louie – The Kingsmen (HQ)”

In 1962, while playing a gig at the Pypo Club in Seaside, Oregon, then managed by Al Dardis, the band noticed Rockin’ Robin Roberts’s version of

“Louie Louie”

being played on the jukebox for hours on end. The entire club would get up and dance.Ely convinced the Kingsmen to learn the song, which they played at dances to a great crowd response. Unknown to him, he changed the beat because he misheard it on a jukebox. Ken Chase, host of radio station KISN, formed his own club to capitalize on these dance crazes. Dubbed the “Chase”, the Kingsmen became the club’s house band and Ken Chase became the band’s manager. On April 5, 1963, Chase booked the band an hour-long session at the local Northwestern Inc. studio for the following day. The band had just played a 90-minute

“Louie Louie”


Despite the band’s annoyance at having so little time to prepare, on April 6 at 10 am the Kingsmen walked into the three-microphone recording studio. In order to sound like a live performance, Ely was forced to lean back and sing to a microphone suspended from the ceiling. “It was more yelling than singing,” Ely said, “’cause I was trying to be heard over all the instruments.” In addition, he was wearing braces at the time of the performance, further compounding his infamously slurred words. Ely sang the beginning of the third verse several bars too early, but realized his mistake and waited for the rest of the band to catch up. In what was thought to be a warm-up, the song was recorded in its first and only take. The Kingsmen were not proud of the version, but their manager liked the rawness of their cover. The B-side was “Haunted Castle”, composed by Ely and Don Gallucci, the new keyboardist. However, Lynn Easton was credited on both the Jerden and Wand releases. The entire session cost $50, and the band split the cost.

“Louie Louie” was kept from the top spot on the charts in late 1963 and early 1964 by the Singing Nun and Bobby Vinton, who monopolized the No.1 slot for four weeks apiece. The Kingsmen single reached No. 1 on the Cashbox chart and No. 2 on the Billboard Hot 100 chart. Additionally in the UK it reached No. 26 on the Record Retailer chart. It sold over one million copies, and was awarded a gold disc.

The band attracted nationwide attention when “Louie Louie” was banned by the governor of Indiana, Matthew E. Welsh, also attracting the attention of the FBI because of alleged indecent lyrics in their version of the song. The lyrics were, in fact, innocent, but Ely’s baffling enunciation permitted teenage fans and concerned parents alike to imagine the most scandalous obscenities. All of this attention only made the song more popular. In April 1966 “Louie Louie” was reissued and once again hit the music charts, reaching No. 65 on the Cashbox chart and No. 97 on the Billboard Hot 100 chart.


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 “Doctor My Eyes” 

 “Doctor My Eyes” 

Doctor, My Eyes” is a 1972 song written and performed by Jackson Browne and included on his debut album Jackson Browne. Featuring a combination of an upbeat piano riff coupled, somewhat ironically, with lyric about feeling world-weary, the song was a surprise hit, reaching #8 on the Billboard Hot 100 in spring 1972, after debuting on the chart at #80. Browne would not see the chart’s Top 10 again until 1982’s soundtrack hit “Somebody’s Baby“, although “Running on Empty” just missed the Top 10, reaching #11.[1][2][3]Billboard ranked “Doctor My Eyes” as the No. 92 song for 1972. In Canada, the song peaked at number four.[4]“Doctor, My Eyes” became a concert mainstay for Browne, and was included on both his later compilation albums. A live version can be found on the 1996 Australia CD release Best of… Live, a double-set with Looking East, and the 1997 Japan 2-CD release of Best of… Live, coupled with The Next Voice You Hear: The Best of Jackson Browne.[5] Jesse Ed Davis played the electric guitar while David Crosby and Graham Nash sang backing vocals, and Russ Kunkel played drums.


Posted by on March 21, 2018 in American music artists, music, rock


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Tofu Pancakes

Tofu Pancakes

Silken Tofu Cacao Nib Blender Pancakes

These fluffy silken tofu pancakes pack an extra dose of plant protein and are perfect topped with maple syrup and crunchy cacao nibs!
Course Breakfast
Prep Time 10 minutes
Cook Time 15 minutes
Total Time 25 minutes
Servings 4 -6
Author Alissa


  • 2 cups spelt flour could sub all purpose
  • 1 tbsp. baking powder
  • 1 tsp. cinnamon
  • 1/4 tsp. salt
  • 1 lb. silken tofu
  • 1 cup non-dairy milk of choice
  • 1/4 cup vegetable oil
  • 2 tbsp. maple syrup
  • 2 tsp. vanilla extract
  • 1/2 cup cacao nibs


    1. In small bowl, mix flour, baking powder, cinnamon and salt.
    2. Place tofu in blender or food processor and blend until smooth. Add oil, milk, maple and vanilla. Blend until smooth.
    3. Add dry ingredient mixture in 3 or 4 increments, blending between each addition. Blend just until mixed after the last addition. Batter will be relatively thick.
    4. Spray griddle or skillet with cooking spray or coat with vegan margarine. Heat over medium and drop in about 1/4 cup of batter. Sprinkle a few cacao nibs on top.
    5. Allow to cook until batter begins to brown around the edges, about five minutes. Test with spatula to see if it’s firm enough to flip. Gently flip and cook until the opposite side is lightly browned.
    6. Top with extra cacao nibs and maple syrup.

      1 Comment

      Posted by on March 21, 2018 in breakfast, brunch


      Blondie-One Way or Another

      Blondie-One Way or Another

      American new wave band Blondie from the album Parallel Lines. The song was released as the fourth single in the US and Canada as the follow-up to the no. 1 hit “Heart of Glass“. “One Way or Another” reached No. 24 on the BillboardHot 100 and No. 7 on the RPM 100 Singles.


      Posted by on March 21, 2018 in pop music, rock



      “La Bamba by Ritchie Valens (with English & Spanish lyrics)” 

      La Bamba, pronounced: [la ˈβamba] is a Mexican folk songoriginally from the state of Veracruz, best known from a 1958 adaptation by Ritchie Valens, a top 40 hit in the U.S. charts and one of early rock and roll’s best-known songs. Valens’ version of “La Bamba” is ranked number 354 on Rolling Stone magazine′s list of the 500 Greatest Songs of All Time. It is the only song on the list sung in a language other than English.

      “La Bamba” has been covered by numerous artists, most notably by Los Lobos, whose version was the title track of the 1987 film La Bamba and reached No. 1 in the U.S. and UK singles charts in the same year. The Los Lobos version remained No. 1 for three weeks in the summer of 1987. The music video for Los Lobos’ version, directed by Sherman Halsey, won the 1988 MTV Video Music Award for Best Video from a Film.

      “La Bamba” is a classic example of the Son Jarocho musical style, which originated in the Mexican state of Veracruz and combines Spanishindigenous, and African musical elements. The song is typically played on one or two arpas jarochas (harps) along with guitar relatives the jarana jarocha and the requinto jarocho.[1]Lyrics to the song vary greatly, as performers often improvise verses while performing. However, versions such as those by musical groups Mariachi Vargas de Tecalitlan and Los Pregoneros del Puerto have survived because of the artists’ popularity. The traditional aspect of “La Bamba” lies in the tune, which remains almost the same through most versions. The name of the dance, which has no direct English translation, is presumably connected with the Spanish verb bambolear, meaning “to shake” or perhaps “to stomp”.

      A traditional huapango song, “La Bamba” is often played during weddings in Veracruz, where the bride and groom perform the accompanying dance. Today this wedding tradition is observed less often than in the past, but the dance is still popular, perhaps through the popularity of ballet folklórico. The dance is performed displaying the newly wed couple’s unity through the performance of complicated, delicate steps in unison as well as through creation of a bow from a listón, a long red ribbon, using only their feet.

      The “arriba” (literally “up”) part of the song suggests the nature of the dance, in which the footwork, called “zapateado“, is done faster and faster as the music tempo accelerates. A repeated lyric is “Yo no soy marinero, soy capitán”, meaning “I am not a sailor, I am a captain”; Veracruz is a maritime locale.


      Posted by on March 21, 2018 in latin music, r&b



      Peanut Butter Flaxseed

      Peanut Butter Flaxseed


      Peanut Butter Flaxseed Oatcakes #minimalistbaker

      I love pancakes. But I don’t love how they can sometimes leave me feeling like I just ate an entire loaf of bread. Do you ever feel that way? This must be a symptom of getting old(er). But we can fix that.

      One grain that doesn’t leave me feeling sluggish is oats! That’s why I’ve based this pancake with oat flour instead of all purpose, because it’s healthier.

      Flax and Peanut Butter #minimalistbaker

      For starters, 1/2 cup of oat flour has 80 fewer calories and 20 fewer grams carbohydrates than 1/2 cup of whole wheat flour. They’re also high in iron, magnesium and fiber, and contain the amino acid lysine, which promotes replenishment of body tissues like muscles and nerves – this makes them an excellent food staple for fitness junkies. Oats can also help lower cholesterol levels and help us feel fuller longer. Seriously, super power food in the house.

      To make oat flour you simply process oats in a coffee grinder until a fine powder remains. You can also buy it at the grocery store (gluten-free optional) or make a big batch at home and store it in your pantry for quick mornings breakfasts like these pancakes.

      How to Make Oat Flour #minimalistbaker

      Vegan Peanut Butter & Flaxseed Pancakes (with oat flour!) #minimalistbaker

      These pancakes are so simple to make: Just 1 bowl and 15 minutes required. You could even make them with other nut butters if you have a peanut allergy.

      More importantly they’re fluffy, filled with good-for-you ingredients, and packed with some serious peanut butter flavor. I topped mine with a little peanut butter sauce (just peanut butter whisked with very hot water) and a little maple syrup. But they’d also be great with sliced bananas, honey or jam (hello PB&J).

      Vegan Peanut Butter Pancakes | minimalist baker #minimalistbaker

      These will definitely be my new go-to pancakes since I always have the ingredients on hand and they’re perfect even for busy weekday mornings. So excited to share these lovely cakes with you. Hope you enjoy.

      Vegan Peanut Butter Pancakes | #minimalistbaker

      Vegan Peanut Butter Pancakes #minimalistbaker

      4.9 from 40 reviews
      Prep time
      Cook time
      Total time
      Cook time
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      Fluffy peanut butter pancakes made with flaxseed and oat flour and sweetened with agave nectar. Wholesome, satisfying, and 100% vegan.
      Author: Minimalist Baker
      Recipe type: Breakfast
      Cuisine: Vegan
      Serves: 2
      • 1 flax egg (1 Tbsp flaxseed meal + 2 Tbsp water) or chicken egg
      • 1 Tbsp Earth Balance, melted (or other non-dairy butter)
      • 1/2 cup unsweetened vanilla almond milk
      • 1 Tbsp agave nectar or maple syrup (or honey for non-vegan)
      • 1 tsp baking powder
      • 1/2 tsp baking soda
      • 1 Tbsp natural salted peanut butter (crunchy or creamy), plus extra for topping
      • pinch salt
      • 1/2 tsp pure vanilla extract
      • 1/2 cup oat flour
      • 1/4 cup whole-wheat pastry flour
      1. Preheat electric griddle to medium heat (or about 350 degrees F / 176 C), or a large skillet on the stove stop. You want the surface to be hot but not screaming hot – oil shouldn’t smoke when it makes contact with the surface.
      2. To a large mixing bowl add flaxseed and water and let set for a minute or two. Then add melted Earth Balance, agave nectar, peanut butter, baking soda, baking powder, salt, vanilla extract and whisk to combine. Add almond milk and whisk again until well combined.
      3. Next add oat and whole wheat pastry flour and stir until just combined. Let batter rest for 5 minutes.
      4. Lightly grease your griddle and pour scant 1/4 cup measurements of the batter onto the griddle. There should be 6 pancakes. Flip when bubbles appear in the middle and the edges turn slightly dry, being careful not to burn.
      5. Cook for 1-2 minutes more on the other side and then top with Earth Balance or more peanut butter and a light drizzle of maple syrup, or whatever else you please.
      6. Will reheat well the next day in the microwave.



      *Nutrition information does not include toppings.
      Serving size: 3 pancakes Calories: 302Fat: 13 g Saturated fat: 2 gCarbohydrates: 37 g Sugar: 8 g Fiber: 6.3 g Protein: 7.8 g



        Posted by on March 21, 2018 in music


        “Every Breath You Take – The Police” 

        ​”Every Breath You Take” is a song by English rock band The Police from their 1983 album Synchronicity. Written by Sting, the single was the biggest hit of 1983, topping the Billboard Hot 100 singles chart for eight weeks (the band’s only number-one hit on that chart), and the UK Singles Chart for four weeks. It also topped the Billboard Top Tracks chart for nine weeks.

        At the 26th Annual Grammy Awards the song was nominated for three Grammy Awards, including Song of the Year, Best Pop Performance by a Duo or Group with Vocals, and Record of the Year, winning in the first two categories. For the song, Sting received the 1983 British Academy’s Ivor Novello award for Best Song Musically and Lyrically.[4]

        The song is considered to be both The Police’s and Sting’s signature song, and in 2010 was estimated to generate between a quarter and a third of Sting’s music publishing income.[5] In the 1983 Rolling Stone critics and readers poll, it was voted “Song of the Year”. In the US, it was the best-selling single of 1983 and fifth-best-selling single of the decade. Billboard ranked it as the number-one song for 1983.[6]

        The song ranked number 84 on the Rolling Stone list of the 500 Greatest Songs of All Time and is included in The Rock and Roll Hall of Fame’s 500 Songs that Shaped Rock and Roll.[7] It also ranked number 25 on Billboard’s Hot 100 All-Time Top Songs.[8] In 2015, the song was voted by the British public as the nation’s favourite 1980s number one in a poll for ITV.[9]

        Origins and songwriting 

        Sting wrote the song in 1982 in the aftermath of his separation from Frances Tomelty and the beginning of his relationship with Trudie Styler. Their split was controversial. As The Independent reported in 2006, “The problem was, he was already married – to actress Frances Tomelty, who just happened to be Trudie’s best friend (Sting and Frances lived next door to Trudie in Bayswater, west London, for several years before the two of them became lovers). The affair was widely condemned.” In order to escape from the public eye, Sting retreated in the Caribbean where he started writing the song.[10] The lyrics are the words of a possessive lover who is watching “every breath you take; every move you make”.

        I woke up in the middle of the night with that line in my head, sat down at the piano and had written it in half an hour. The tune itself is generic, an aggregate of hundreds of others, but the words are interesting. It sounds like a comforting love song. I didn’t realize at the time how sinister it is. I think I was thinking of Big Brother, surveillance and control.

        — Sting[11]

        Sting later said he was disconcerted by how many people think the song is more positive than it is. He insists it is about the obsession with a lost lover, and the jealousy and surveillance that follow. “One couple told me ‘Oh we love that song; it was the main song played at our wedding!’ I thought, ‘Well, good luck.'”[12] When asked why he appears angry in the music video Sting told BBC Radio 2, “I think the song is very, very sinister and ugly and people have actually misinterpreted it as being a gentle little love song, when it’s quite the opposite.”[13]

        According to the Back to Mono box-set book, “Every Breath You Take” is influenced by a Gene Pitney song titled “Every Breath I Take”. The song’s structure is a variation on the Classical rondo form with its AABACABA structure, a form rarely found in modern popular music.

        The demo of the song was recorded in an eight-track suite in North London’s Utopia studios and featured Sting singing over a Hammond organ.[1] A few months later he presented the song to the other band members when they reconvened at George Martin’s AIR Studios in Montserrat to work on the Synchronicity album. While recording, Summers came up with a guitar part inspired by Béla Bartók that would later become a trademark lick, and played it straight through in one take. He was asked to put guitar onto a simple backing track of bass, drums, and a single vocal, with Sting offering no directive beyond “make it your own.”[14] Summers remembers:

        This was a difficult one to get, because Sting wrote a very good song, but there was no guitar on it. He had this Hammond organ thing that sounded like Billy Preston. It certainly didn’t sound like the Police, with that big, rolling synthesiser part. We spent about six weeks recording just the snare drums and the bass. It was a simple, classic chord sequence, but we couldn’t agree how to do it. I’d been making an album with Robert Fripp, and I was kind of experimenting with playing Bartok violin duets and had worked up a new riff. When Sting said ‘go and make it your own’, I went and stuck that lick on it, and immediately we knew we had something special.

        — Andy Summers[15]

        The recording process was fraught with difficulties as personal tensions between the band members, particularly Sting and Stewart Copeland, came to the fore.[1] Producer Hugh Padgham claimed that by the time of the recording sessions, Sting and Copeland “hated each other”, with verbal and physical fights in the studio common.[1] The tensions almost led to the recording sessions being cancelled until a meeting involving the band and the group’s manager, Miles Copeland (Stewart’s brother), resulted in an agreement to continue.[1] Keyboard parts were added from Roland guitar synthesizers, a Prophet-5 and an Oberheim synthesiser.[1] The single-note piano in the middle eight was recommended by Padgham, inspired by similar work that he had done with the group XTC.[1] The drum track was largely created through separate overdubs of each percussive instrument, with the main backbeat created by simultaneously playing a snare and a gong drum.[1] To give the song more liveliness, Padgham asked Copeland to record his drum part in the studio’s dining room in order to achieve some “special sound effects”. The room was so hot, that his drum sticks had to be taped to Copeland’s hands to make sure they didn’t fly off.[1] According to Stewart Copeland:

        In my humble opinion, this is Sting’s best song with the worst arrangement. I think Sting could have had any other group do this song and it would have been better than our version — except for Andy’s brilliant guitar part. Basically, there’s an utter lack of groove. It’s a totally wasted opportunity for our band. Even though we made gazillions off of it, and it’s the biggest hit we ever had.

        — Stewart Copeland[16]


        Posted by on March 21, 2018 in music

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