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Hippy Hippy Shake

"Hippy Hippy Shake" is a rock and roll song written and first recorded by American musician Chan Romero in 1959, when he was 17 years old. Inspired by Ritchie Valens' "Come On, Let's Go," the track was released as a single and reached number 3 on the Australian charts that year, though it did not chart in the United States. The song achieved widespread popularity through subsequent cover versions, particularly the 1963 rendition by British Merseybeat band The Swinging Blue Jeans, which peaked at number 2 on the UK Singles Chart and number 24 on the Billboard Hot 100 in the US. The Beatles also frequently performed it during their early career, recording five versions for BBC radio sessions between 1963 and 1964, one of which was later included on their 1994 compilation album Live at the BBC. Over the decades, "Hippy Hippy Shake" has been covered by numerous artists and featured in films, including The Georgia Satellites' version on the soundtrack for the 1988 movie Cocktail, as well as appearances in Uncle Buck (1989) and Austin Powers: International Man of Mystery (1997). Its energetic rhythm and danceable beat have made it a enduring staple of rock and roll history.

Original version

Composition and recording

"Hippy Hippy Shake" was written by Robert Lee "Chan" Romero (July 7, 1941 – April 21, 2024), a native of Billings, Montana, in 1959. Born to parents of mixed Mexican, Spanish, Apache, Cherokee, and Irish heritage, Romero grew up listening to country music artists such as Hank Williams and Jimmy Rodgers before discovering rock and roll through Elvis Presley and, crucially, Ritchie Valens. Inspired by Valens, the teenage Romero hitchhiked from Montana to Los Angeles in the summer of 1958 to pursue a music career, forming his first rock and roll band in East L.A. Following Valens's death in a plane crash on February 3, 1959, he signed with Del-Fi Records, the label that had launched Valens. The song's composition drew direct inspiration from Valens' 1958 hit "Come On, Let's Go," capturing the energetic spirit of the emerging rock and roll dance craze with its theme of uncontrollable, carefree hip-shaking. Romero crafted it as a straightforward rock and roll number in E major, featuring simple chord progressions and upbeat rhythms that emphasized youthful exuberance. The lyrics, delivered in a playful, repetitive style, revolve around the infectious "hippy hippy shake" as a metaphor for joyful, uninhibited movement on the dance floor. Clocking in at approximately 1:43, the track's brevity mirrored the raw, immediate energy of late-1950s teen-oriented rock. Recording took place at ' studios in shortly after Romero's signing, under the supervision of label owner , who had produced . Romero handled lead vocals and guitar, supported by a basic rock ensemble consisting of , , and , which provided a tight, driving backing that amplified the song's danceable groove. This session captured Romero's raw talent as a young performer blending his multicultural roots with the burgeoning sound, laying the foundation for the tune's enduring appeal in the rock and roll canon.

Release and reception

"Hippy Hippy Shake" was released as a single by in September 1959 on , with catalog number 4119 and B-side "If I Had A Way". The record was issued through independent channels in the , limiting its national reach. It was also released in the on under catalog 45-DB 4341. The single achieved its strongest chart performance in , where it peaked at number 3 on the national singles chart that year. In the , it saw only regional airplay and sales without entering the , reflecting the challenges of promotion for small-label releases at the time. The track's focused on local markets, contributing to its modest domestic impact. Contemporary reception highlighted the song's lively energy, though it was frequently regarded as a novelty hit tied to emerging dance trends. Trade publications such as listed it among new singles, noting its potential in teen-oriented markets. Sales were sufficient in to support a promotional tour by Romero in 1960, underscoring its regional popularity there. The single also gained modest traction in parts of via the UK release, setting the stage for broader recognition through subsequent covers.

The Swinging Blue Jeans version

Recording and personnel

The Swinging Blue Jeans recorded their cover of "Hippy Hippy Shake" in late 1963 at EMI's in . The session was produced by Walter Ridley, an in-house EMI producer known for working with several Merseybeat acts, who guided the band to infuse the track with the high-energy drive characteristic of the emerging sound. The lineup for the recording featured Ray Ennis on lead vocals and , Ralph Ellis on , Les Braid on , and Norman Kuhlke on . Ennis delivered the prominent opening guitar and handled the primary vocal duties, while Ellis provided the jangly lead lines that amplified the song's upbeat rhythm; the rhythm section of Braid and Kuhlke maintained a tight, propulsive beat to support the Merseybeat style. Compared to Chan Romero's 1959 original, a rockabilly-influenced track written by the 17-year-old singer, the ' version accelerated the tempo slightly and incorporated layered group harmonies along with handclaps to heighten its lively, communal feel suited to the era. The result was a mono mix clocking in at approximately 1:46, emphasizing raw energy over the original's solo-oriented simplicity. The single was issued on His Master's Voice (catalogue number POP 1242) with "Now I Must Go" as the B-side, capturing the band's polished yet exuberant take on the material.

Commercial performance and reception

The Swinging Blue Jeans released their version of "Hippy Hippy Shake" on December 6, 1963, via HMV Records in the UK. The single rapidly ascended the charts, peaking at number 2 on the UK Singles Chart for one week and remaining in the top 75 for a total of 17 weeks. In the United States, it entered the Billboard Hot 100 in March 1964, reaching a peak position of number 24 after eight weeks on the chart. Sales of the single were strong in the UK, where it earned a silver disc award on January 11, 1964, for exceeding 250,000 copies sold—a milestone that signified the band's commercial breakthrough and established them as key figures in the Merseybeat movement. The track's infectious, high-energy rhythm was praised in contemporary music press for its danceable appeal, capturing the exuberant spirit of Liverpool's burgeoning beat scene and drawing parallels to the raw vitality of fellow Merseybeat acts like the Beatles. Internationally, "Hippy Hippy Shake" achieved top 10 status across , including number 1 in , number 5 in the , and number 9 in , underscoring the growing export of British beat music. However, its reception in the was more tempered, with modest radio contributing to its lower chart placement compared to its and European success.

The Beatles version

Recording and live performances

The Beatles recorded "Hippy Hippy Shake" five times for between March 1963 and January 1964, capturing their early, high-energy interpretations of the rock and roll song. The first version was taped live on 16 March 1963 at in for the Saturday Club program, broadcast the same day. Subsequent sessions occurred on 24 May 1963 at Aeolian Hall in for Pop Go The Beatles (broadcast 4 June 1963), 10 July 1963 at Aeolian Hall for another Pop Go The Beatles episode (broadcast 30 July 1963), 3 September 1963 at Aeolian Hall for Pop Go The Beatles (broadcast 10 September 1963), and 7 January 1964 at in for Saturday Club (broadcast 15 February 1964). These recordings, produced by Henebery, featured on lead vocals, delivering a raw and energetic style characterized by fast-paced rhythms and the band's tight group harmonies, which contrasted with the more refined production of ' version. The personnel for these BBC sessions consisted of on bass and lead vocals, on rhythm guitar and backing vocals, on lead guitar, and on drums. The performances emphasized an upbeat tempo and lively interplay, reflecting the band's Merseybeat energy during their rise to fame. Beyond the studio, "Hippy Hippy Shake" was a staple in ' live repertoire during their early career, including regular appearances in their 1962 sets at the Star-Club in Hamburg, Germany, where bootleg recordings from late December 1962 capture the song's inclusion amid high-volume, extended performances. It also featured in early gigs as part of their covers setlist. The band revisited the track informally during the January 1969 Get Back/Let It Be sessions, jamming on it multiple times in unreleased rehearsals that showcased a looser, improvisational take.

Release and legacy

The of "Hippy Hippy Shake" from their late December 1962 performances at the in was first released on the 1977 Live! at the Star-Club in Hamburg, Germany; 1962, issued by Lingasong Records, which later received official authorization and reissue by Universal Music in 2012. A live rendition recorded on 10 July 1963, for the program Pop Go the Beatles (broadcast 30 July 1963) appeared on the official compilation Live at the BBC, released on November 30, 1994, by and . The version from the 24 May 1963 session was released on Bootleg Recordings 1963 in 2013. The band performed the song again for on September 3, 1963, during another Pop Go the Beatles session; this take was included on On Air – Live at the BBC Volume 2, issued on November 11, 2013, by Apple and Universal. During the January 1969 / sessions, the Beatles spontaneously jammed on "Hippy Hippy Shake" multiple times, including on January 9 at Twickenham Film Studios and January 22 at , but no polished version was developed, and the recordings remain officially unreleased, fueling ongoing fan interest in archival material from that period. In their legacy, these recordings of "Hippy Hippy Shake" highlight the , when covers formed the bulk of their live sets before original compositions like those on dominated, showcasing their roots in the energetic, American-influenced rock 'n' roll that defined the Merseybeat sound emerging from in the early 1960s. Reviews of the BBC collections have commended the track for embodying the band's raw, youthful vigor, with one noting its "grit, energy, and enthusiasm" as a snapshot of their rock 'n' roll rebel spirit, and another describing it as "exciting, youthful, [and] dazzling in its energy and simplicity."

Other cover versions

1960s covers

In the late 1950s, rock 'n' roll singer Little Tony and his brothers released an energetic adaptation of "Hippy Hippy Shake" in October 1959, shortly after Chan Romero's original, infusing it with a lively, continental flair that appealed to audiences. The single appeared on Decca in the UK. This early cover exemplified the song's quick transatlantic appeal, bridging American roots with emerging teen pop scenes. By 1963, as the British beat boom gained momentum, several UK-based acts recorded versions that amplified the track's role in the nascent sound. Pat Harris and , a Merseybeat group from , delivered a high-energy rendition with backing vocals from the female trio , capturing the raw enthusiasm of Liverpool's club circuit. Similarly, Bill Kimber and the Couriers, a British beat outfit that toured , produced a punchy take in 1963 on the Renown label, blending edges with the era's rhythmic drive. These interpretations, rooted in the beat groups' live performance style, contributed to the song's grassroots popularity across and beyond, paving the way for its integration into the wider Mersey sound. In 1964, British pop-rock veteran and his backing group the Gamblers offered another adaptation, emphasizing a polished yet upbeat delivery that reflected Fury's established status. Released amid the height of the beat craze, this version further embedded "Hippy Hippy Shake" in the British music landscape, fostering its spread through radio and live shows before major international hits solidified its status. Overall, these 1960s covers from peripheral European acts underscored the song's versatility, fueling its adoption in the movement and enhancing its pre-Invasion footprint.

Post-1960s covers

The glam rock band included a cover of "Hippy Hippy Shake" on their 1974 album Mud Rock, infusing the track with their signature high-energy, bubblegum style that contributed to the album's commercial success, peaking at No. 8 on the . In 1980, the Scottish band The Revillos recorded an upbeat adaptation titled "Hippy Hippy Sheik" for their debut album Rev Up, reinterpreting the original's rock 'n' roll bounce with punk-inflected rhythms and playful lyrics. The Georgia Satellites delivered a raw, southern rock rendition in 1988, featured on the soundtrack to the film Cocktail; released as a single, it reached No. 45 on the Billboard Hot 100 and No. 13 on the Mainstream Rock chart, highlighting the song's adaptability to 1980s bar-band energy. Shane MacGowan and The Popes offered a raucous, Celtic punk twist on the track in 1996, including it on their holiday EP Christmas Party E.P. '96, blending the song's infectious shake with MacGowan's gritty vocal delivery and folk-punk instrumentation. Building on the song's legacy from its 1960s beat-era popularity, later covers demonstrated its versatility across genres, from and to rock revival and punk. In the , Canadian group The Dreamboats made "Hippy Hippy Shake" a live staple, performing it energetically in shows and even alongside original writer in 2019.

Cultural impact

Appearances in media

The song "Hippy Hippy Shake" has appeared in several films, often featuring cover versions to evoke 1960s energy or . In the 1988 film , the Georgia Satellites' rock-infused cover plays during party scenes, highlighting the track's upbeat rhythm in a soundtrack that blends with contemporary hits. ' original 1964 version is featured in the 2009 comedy The Men Who Stare at Goats, underscoring humorous military training sequences with its lively Merseybeat style. Similarly, 's 1959 original appears in the 2011 : First Class, accompanying a youthful gathering to set a period-appropriate 1960s vibe. Other notable film placements include the Georgia Satellites' rendition in the 1995 family comedy It Takes Two, where it energizes twin-swap antics, and ' version in the 2008 drama The Secret Life of Bees, enhancing scenes of Southern coming-of-age reflection. ' version also plays in the 1989 comedy , adding levity to chaotic family moments. Additionally, the Georgia Satellites' cover is featured in the 1997 spy parody : International Man of Mystery, enhancing the retro 1960s aesthetic in dance sequences. On television, the song has been used to inject fun and dance moments into sitcom episodes. The Swinging Blue Jeans' version plays in the 1993 Full House episode "The House Meets the Mouse: Part 2" (season 6, episode 24), during a Disney World performance by the fictional band Jesse and the Rippers, tying into the show's family-friendly humor. In The Simpsons season 11 episode "Pygmoelian" (2000), the Georgia Satellites' cover accompanies a beer pouring contest scene involving a promotion, amplifying the show's satirical take on pop culture. Additional TV uses include the Swinging Blue Jeans' track in the 2011 Happy Endings episode "Baby Steps" (season 2, episode 2), where it scores a lighthearted group dynamic, and a dance sequence in the 1973 Maude episode "Maude's Musical" (season 2, episode 10) featuring , performed to the Swinging Blue Jeans' recording for comedic effect. Beyond film and television, the song has surfaced in other visual media, though less frequently documented. The Beatles' live BBC recording from 1963 has been referenced in nostalgic contexts, such as archival footage compilations, but specific placements in modern ads or games remain limited in verified records.

Recognition and influence

In 2019, the passed House Bill 392, designating "Hippy Hippy Shake" as the state's official song in honor of its composer, , a Billings native. The bill, introduced by Representative Jacob Bachmeier, recognized Romero's contributions to and his roots in . The song significantly influenced dance-oriented rock, particularly within the Merseybeat scene of early 1960s Britain, where covers by groups like and popularized its energetic rhythm and shake dance motif. Its raw, upbeat style also contributed to the development of in the United States, inspiring bands to adopt similar simple, high-energy structures during the mid-1960s garage punk movement. This influence extended into later , as evidenced by the B-52's 1979 track "," which directly references the song's chorus in its : "Hippy hippy hippy hippy hippy shake." As a symbol of and youth culture, "Hippy Hippy Shake" captured the era's dance crazes and rebellious spirit, reflecting the transition from to broader accessibility. It remains a staple on oldies radio stations, frequently featured in playlists celebrating hits from the pre-Beatles era. Critical retrospectives have praised its straightforward simplicity and infectious energy as hallmarks of early rock's appeal, emphasizing how Romero's composition at age 17 embodied youthful exuberance without complex arrangements. Following Romero's death on April 21, 2024, at age 82 in , tributes highlighted the song's enduring legacy, with retrospectives noting its role in Latino contributions to and its lasting impact on global pop culture. A celebration of life event in June 2024 further underscored its significance, drawing fans to honor Romero's pioneering work.

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