Luis Chaluisan Salsa Magazine 6,550 members(103 new) Louie Louie and Beyond with Little Otis XXI 4 Songs

On this day (May 19 in 1975) I auditioned and was accepted at 17 years of age into the Alliance Of Latin Artists in NYC (a professional touring company for Young Latinos primarily featuring teens from the High School Of Performing Arts.) I sang “Guantanamera” for my vocal audition which became a staple in all my bands through the 1980’s. When I went into Rock and Roll mode in 1982 with LITTLE OTIS AND THE UPSETTERS, I used the song and “Louie Louie” to teach my band mates the “Latin Tinge”. That led to Latin Influenced original songs that proved successful when I lived in Albany, NY and founded La Gran Orquesta El Extreme Luis Chaluisan
Double Vocal by: Luis Chaluisan
Processed on Flip Recorder
Edited on Windows Movie Maker
Louie Louie and Beyond with Little Otis XXI
1. Guantanamera
2. Louie Louie
3. Wild Thing
4. Hang On Sloopy
roughrican productions (c) 2014
Tonight one show only: LITTLE OTIS AND THE UPSETTERS.
There’s no Otis. We’re all happy as shit to have a regular gig so no one’s upset but the band’s name tells the truth, “We’re a party band. Please to meet ya.” The name is a play on the two R&B artists we want to emulate – Little Richard (with Jimi Hendrix on guitar covering all the horn lines) and Otis Redding (backed by Booker T) topped off by the sound of Sam The Sham and his Pharoahs. There’s a popular group in the area called the Exciterz so I do a play on their moniker for our band The Upsetters. We eventually split a profitable gig billed as A Night To Excite and Upset You. It’s a peculiar mix of crowds. We’re homeboys and fraternity girls. They’re gothic and leather. But the night comes off great as we rotate the sets. It was the first time that’s done in Bowling Green and it’s pure theater and profitable. Everyone gets paid that night. A good party always rocks. The thing about rock and roll, like salsa, is that it allows you to do what’s on your mind and accent it with a kicking beat. If your clever enough you can transcend the form. A lot of bar bands do on a nightly level. We didn’t (later groups I formed did particularly the El Extreme band out of Albany) but Little Otis has a good time hitting the ceiling with a couple of tunes we wrote ourselves. And we screw with the covers. I bring this Old Chubby Checker record in slugged Twistin Round The World for the band to cover. In our hands the horn section (two trombones and a sax) did the bebop riffs from Dizzy Gillespies Salt Peanuts and the guitar laid an Ozzy Osbourne type lead. We split the voices in thirds with a Mitch Ryder shout and the drummer did his best runaway train beat stoked by our congas and timbales that had the room gasping by the end of the three minute tune. My vocal partner in The Upsetters Rasman Norman helps me polish off an original bilingual reggae tune titled Biscuit Head that’s featured by the Talkwork Series in the early nineties and helps me land a deal with Blue Lunch Records nine years after we write it in a parking lot.
The Little Otis formula is deceptively simple:
Every variation on the Latin Chords of Louie Louie
Hang on Sloopy, La Bamba, Guantanamera et al
40 Percent original Tunes
Heavy Metal/Punk Bass Player
Jazz Drummer
Meat and Potatos lead rock guitar
Country Western second guitar
Blues Harp Player
Be Bop Jazz alto sax
Orchestra Trombone Player
GratefulDead/Finkadelic Keyboard player
Lead Female Singer – soul
Second Male Voice – Reggae doubling on congas
Lead Male Singer – R&B/Salsa doubling on timbales
Guests:Anyone from the town who thinks they can keep up.
Props – What you got — well eat anything
We experiment with crazy college coeds and mushrooms besides smoking and selling pounds of weed until we loose Timbo our harp player in a police sting. But, we’re paying $230 a quarter pound for some serious green bud University boys drive in from across Ohio and Michigan so it’s a nice party while it lasts. The key to our success lays in getting the boys in the band to find a common ground musically. This is my form of politics adopted fom Eddie Figueroa at the New Rican. My form of revolution. Look for a way to get the sound of the Real America translated into something new and universal. The cover playlist reads like a 60’s WABC Top 40 Hit parade while the originals twist the lessons learned from the covers to create our own special sound. Music 101 Raw. A rock band is like a marriage of cultures. If you can make all the pieces hum in unison then you reach Nirvana.
“Louie Louie” Single by Richard Berry Released April 1957 Format Vinyl single
Recorded 1957 Genre Rock and roll, garage rock Length 2:09
Label Flip 321 Writer(s) Richard Berry One of the groups Berry played with after leaving the Flairs was a Latin and R&B group, Rick Rillera and the Rhythm Rockers. In 1955, Berry was inspired to write a new calypso-style song, “Louie Louie”, based on the Rhythm Rockers’ version of René Touzet’s “El Loco Cha Cha”, and also influenced by Chuck Berry’s “Havana Moon”. Berry also stated he had Frank Sinatra’s “One For My Baby” in mind when writing the lyrics. One night waiting backstage at the Harmony Club Ballroom, Berry took the rhythm of “El Loco Cha Cha” and began to add lyrics, writing them down on toilet paper. Richard Berry and the Pharaohs recorded and released the song as the B-side to his cover of “You Are My Sunshine” on Flip Records in 1957. It became a minor regional hit, selling 130,000 copies. It was re-released as an A-side and, when the group toured the Pacific Northwest, several local R&B bands began to adopt the song and established its popularity. “Louie Louie” finally became a major hit when The Kingsmen’s raucous version – with little trace of its calypso-like origins other than in its lyrics – became a national and international hit in 1963 (Paul Revere & the Raiders also recorded the tune in the same studio the day after The Kingsmen, but their version was not a hit). The nearly unintelligible (and innocuous) lyrics were widely misinterpreted as obscene, and the song was banned by radio stations and even investigated by the Federal Bureau of Investigation. The song has been recorded over 1,000 times, However, Berry received little financial reward for its success for many years, having sold the copyright for $750 in 1959 to pay for his wedding. Berry commented in 1993 ‘Everybody sold their songs in those days. I never was bitter with the record companies. They provided a vehicle for five young black dudes to make a record.” Berry continued to write and record into the early 1960s, including such numbers as “Have Love, Will Travel” (which would later become a local hit for The Sonics), but with little commercial success, and also continued as a performer. His other songs also included “Crazy Lover”, recorded on their 1987 debut album by the Rollins Band.

— with El Extreme Luis Chaluisan and L.f. Chaluisan Batlle at El Extreme Luis Chaluisan.


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