ðə fˈɜːst fˈiːtʃɚd ɐn ɛkstˈɛndᵻd vˈɜːʒən ʌv "lˈuːi lˈuːi," wˌɪtʃ wʌz dᵻskɹˈaɪbd baɪ stˈuːɚt hˈoʊm ɪn hɪz bˈʊk kɹˈæŋkt ˌʌp ɹˈiəli hˈaɪ: ʒˈɑːnɹə θˈiəɹi ænd pˈʌŋk ɹˈɑːk æz tˈeɪkɪŋ, "ðɪ ˈæmətʃɚɹˌɪzəm ʌvðə kˈɪŋzmɛn tʊ ɪts lˈɑːdʒɪkəl kəŋklˈuːʒən wɪð ɡɹˈoʊsli ɪŋkˈɑːmpɪtənt mjuːzˈɪʃənʃˌɪp ænd ɐ dɹˈʌmɚ hˌuː sˈiːmz təbi ɛkspˈiəɹɪənsɪŋ ɛkstɹˈiːm dˈɪfɪkˌʌlti sˈɪmpli kˈiːpɪŋ tˈaɪm," wˌaɪl ðə sˈɛkənd ɪŋklˈuːdᵻd ɐ sˈɪmɪlɚ tɹˈiːtmənt ʌv vˈæn mˈɔːɹɪsənz "ɡlˈoːɹiə".
The first featured an extended version of "Louie Louie," which was described by Stewart Home in his book Cranked Up Really High: Genre Theory and Punk Rock as taking, "the amateurism of the Kingsmen to its logical conclusion with grossly incompetent musicianship and a drummer who seems to be experiencing extreme difficulty simply keeping time," while the second included a similar treatment of Van Morrison's "Gloria".