This week Tony and I got a bit rude… Misheard lyrics, double entendres, coded wordplay, and plain-old profanity have caused controversy and public outrage throughout the history of recorded music. So-called ‘Radio Edits’ have supposedly removed any danger of involuntary public consumption of sweary songs, but artists have continued to rebel against, tease, and experiment with these constraints. On tonight’s show we explored a plethora of profanity, a multitude of misunderstanding, and a funk-load of minced oaths.
Eddy Duchin & The Kingsmen
Originally composed by Louis Armstrong and Zilner Randolph and first recorded in 1935, Ol’ Man Mose became controversial with Eddy Duchin’s 1938 orchestral version featuring vocalist Patricia Norman. In one lyric, the word “bucket” was widely misheard as something else, leading many listeners to believe it contained the first use of the F-word in a popular song. Released in 1938, Duchin’s recording reached No. 2 on the Billboard chart but was banned in the UK. Duchin, a Massachusetts-born pianist who had trained as a pharmacist before leading a successful radio orchestra, became one of the earliest pianists to front a commercially prominent big band.
Written and recorded by Richard Berry in 1956 (released 1957), Louie Louie became widely known after The Kingsmen released their version in 1963. Singer Jack Ely’s indistinct vocal delivery led to rumours that the recording contained obscene lyrics. Public concern prompted a 31-month FBI investigation, which concluded that the lyrics were unintelligible and not obscene. The controversy received national media coverage. The 1963 version became a major hit and remains one of the most recorded rock songs, with estimates exceeding 1,600 versions. Annual events such as International Louie Louie Day (April 11, Berry’s birthday) reflect the song’s enduring cultural presence.
Chuck Berry & EMF
My Ding-a-Ling was written and first recorded by Dave Bartholomew in 1952, later re-recorded under a different title in 1953. Chuck Berry released his live version in 1972 on The London Chuck Berry Sessions. The song, based on the 19th-century tune Little Brown Jug, relies on double entendre. Berry’s version became his only No. 1 single on the U.S. Billboard Hot 100. Some radio stations declined to play it because of its suggestive content. British campaigner Mary Whitehouse wrote to the BBC requesting that it be banned, though this was unsuccessful. The song was later referenced in popular culture, including an episode of The Simpsons which in turn was sampled on Ding-A-Ling by Skepta and Stefflon Don (2019).
Released in 1991 from EMF’s debut album Schubert Dip, Unbelievable reached No. 1 on the U.S. Billboard Hot 100 and No. 3 in the UK. The track incorporates samples from Andrew Dice Clay, The Soul Searchers, Hi Tek 3, and Gylan Kain. The unedited version contains repeated use of the F-word, and the song was widely broadcast internationally. Clearance for the Andrew Dice Clay sample was granted by Def Jam founder Rick Rubin after a chance encounter with the band in L.A.. The track remains EMF’s most commercially successful single.
The Pussycat Dolls & Britney Spears
Released in 2005 as the third single from The Pussycat Dolls’ debut album PCD, Beep features will.i.am and uses electronic “beep” sounds to mask explicit words. The song was written by will.i.am with Kara DioGuardi and Jeff Lynne, and incorporates a sample from Electric Light Orchestra’s 1975 track Evil Woman. Beep peaked at No. 13 on the U.S. Billboard Hot 100.
If You Seek Amy was released in 2008 as the third single from Britney Spears’ album Circus. The song was written and produced by Max Martin. The title, when spoken quickly, resembles an explicit phrase, prompting complaints from the Parents Television Council and threats of indecency filings with the FCC. An edited version titled If U See Amy was released in some territories. The wordplay has been compared to earlier literary examples of phonetic spelling used to imply profanity, including passages in Shakespeare’s Twelfth Night and James Joyce’s Ulysses. The single sold more than 107,000 digital copies in the U.S. within two weeks of the album’s release and peaked at No. 19 on the Billboard Hot 100.
Just The Two Of Us vs The World…
Our soundslike this week explored the prevalence of a chord progression made famous in Just The Two Of Us by Grover Washington Jnr. and Bill Withers (1980). Other songs that use the progression include: What You Won’t Do For Love by Bobby Caldwell (1978), I Like It by Debarge (1982), Between the Sheets – The Isley Brothers (1983), Big Poppa – The Notorious B.I.G. (1994) [which samples Between the Sheets above], My Boo by Ghost Town DJs (1996), Body Party by Ciara (2013) [which samples My Boo above], Great Moves! Keep It Up! by Echorobot (2016), Stronger Than You (feat. Estelle) by Steven Universe (2017), Don’t by Loco & Hwasa (2018), Love nwantiti (ah ah ah) by CKay (2019), Like That (feat. Gucci Mane) by Doja Cat (2020).
Swearing Quiz
For our quiz this week, you heard famous songs that contain implied profanity (backwards) – guess the artist and song!
As always, find the show and blog at joebennett.net/5live, with occasional Instagram extras at @joebennettmusicology. With a new show comes a new Spotify mega-playlist, which contains all songs featured on the show:
And you can still listen to our old mega-playlist here.
- Words: Joe Bennett, John Pierce O’Reilly
- Audio production: Joe Bennett, Rafi Waters
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