Luiz from Rio De Janeiro, BrazilA genuine fifty-fifty effort between John and Paul. They did two takes on the 11th, another sixteen on the 12th, and re-did the vocals a few weeks later. There's been some debate about who ended up singing the final version, because some people think that they're both harmonising, but other people think that John is double-tracked. John was famously self-concious about his voice, thinking it was thin and weedy. George Martin remembered: "He was a great admirer of Elvis Presley's early records, particularly the 'Heartbreak Hotel' kind of sound. He also had an inborn dislike of his own voice which I could never understand. He was always saying to me: 'DO something with my voice! You know, put something on it. Smother it with tomato ketchup or something. Make it different.'"
Annabelle from Eugene, OrWhen I was a teenager, my Dad made a parity of this song. His was a funny little ditty he used to sing to me, and it was called, "The Zit Tune". Here are his lyrics. Refrain! Little child, little child. Little child, let me pop your zit! It's so big and pusy. Baby let me pop your zit! Verse. Want someone to squeeze so tight. Make it ooze into the night! Come on, come on! Come on, Come on! Refrain! Little child, little child. Little child, let me pop your zit! It's so big and pusy. Baby let me pop your zit!
Ken from Eastpointe, MiOne of the greatest, most manic instrumental breaks in rock and roll. The group is ROCKIN'!
John from New York, NyVery fun,catchy tune. Great early Beatles energy in it.
Ronnie Dunn wrote "Boot Scootin' Boogie" before he teamed up with Kix Brooks to form Brooks & Dunn. It was originally recorded by the country group Asleep At The Wheel, but Brooks & Dunn did it themselves when it got its own line dance.