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"Spanish Flea"
Single by Herb Alpert & the Tijuana Brass
from the album Going Places
A-side"What Now My Love"
Released1966
Recorded1965
StudioGold Star Studios, Hollywood
GenrePop, Jazz
Length2:07
LabelA&M
SongwriterJulius Wechter
Producers
Herb Alpert & the Tijuana Brass singles chronology
"Tijuana Taxi"
(1965) 		"What Now My Love" / "Spanish Flea"
(1966) 		"The Work Song"
(1966)
Official audio
"Spanish Flea" on YouTube
Audio sample
Spanish Flea

"Spanish Flea" is a popular song written by Julius Wechter in the 1960s with lyrics by his wife Cissy Wechter. The original version was recorded by Herb Alpert and the Tijuana Brass in 1965. Cover versions of the song have been recorded by dozens of artists worldwide.

Composition and recording

[edit]

Julius Wechter was a percussionist in Herb Alpert and the Tijuana Brass, most notably on marimba. "Spanish Flea" was one of several songs he wrote for the group. It was released as an instrumental on the B-side to the single "What Now My Love" from their 1965 album Going Places. The album was a No. 1 hit in the U.S., and the single peaked at No. 27 on the Billboard Hot 100. "Spanish Flea" featured Alpert's trumpet over a Latin rhythm backing.[1]

The original version was recorded on August 13, 1965 at Gold Star Studios in Hollywood, Los Angeles, California.[2] Two other songs were recorded during that session, those being "And I Love Her" and "More And More Amor"[2] In the United States, the song is closely associated with the long-running game show The Dating Game, for which it was played when the bachelor entered into the stage to ask questions to learn and choose which bachelorette had best suited the needs of that bachelor.[3]

Chart history

[edit]
Chart (1966) Peak
position
Argentina 9
Australia (Kent Music Report) 28
Canada RPM Adult Contemporary[4] 6
Canada RPM Top Singles[5] 6
UK Singles (OCC)[6] 3
U.S. Billboard Hot 100[7] 27
U.S. Billboard Adult Contemporary 4
U.S. Cash Box Top 100[8] 21

Other recordings

[edit]

Teresa Brewer, The Modernaires, Frankie Randall, and Soupy Sales were among the artists who quickly recorded vocal versions of "Spanish Flea" with Cissy Wechter's original lyrics.[9][10][11][12]

The song was also recorded by Sergio Mendes & Brasil '66 on their 1966 debut album, Herb Alpert Presents Sergio Mendes & Brasil 66.

"Spanish Flea" was also covered by Trudy Pitts on her debut album Introducing the Fabulous Trudy Pitts (1967), by the Doodletown Pipers on The Doodletown Pipers Sing-along '67 (1967) and by Jean-Jacques Perrey and Gershon Kingsley on Kaleidoscopic Vibrations: Spotlight on the Moog, also recorded in 1967. Julius Wechter himself, with his Baja Marimba Band, recorded the song on the 1971 album As Time Goes By.

Marcel Stellman wrote a different set of lyrics for "Spanish Flea". Kathy Kirby used them in her 1966 recording of the song.[13]

The Glenn Miller Orchestra included the song as the last track on their album Something New: The Glenn Miller Orchestra plays the Tijuana Brass (1966).[citation needed]

Mel Blanc parodied the song as "The Flea" on the Jack Benny variety show in December 1966, during a "Si-Sy-Sue" skit along with his group 'The Tijuana Strings'.[citation needed]

Allan Sherman also parodied the song on his album Togetherness (1967). Another parodic cover version, spoofing Alpert's version, appeared on the mock Alpert tribute album Sour Cream & Other Delights by the Frivolous Five.[citation needed]

[edit]

In film and television

[edit]

"Spanish Flea" has been used in a variety of film and television soundtracks.[14] It was one of two Alpert songs in a 1966 animated cartoon by John Hubley, A Herb Alpert and the Tijuana Brass Double Feature.

The song was used by Mazda in TV commercials during the 1970's to advertise their GLC model, "Its a great little car"

The tune has been featured in four episodes of The Simpsons: "The Otto Show" (with Homer singing the original lyrics), "Team Homer", "Natural Born Kissers", and "Sunday, Cruddy Sunday".[15]

In the fingerprint scene in Rosewood's home in Beverly Hills Cop II, Eddie Murphy (playing Axel Foley) and Judge Reinhold (playing Billy Rosewood) improvised the idea of humming the tune. When Taggart (John Ashton) asks what the tune is, Rosewood replies, "The Dating Game!".

In the 1996 film Striptease, the song is played inside a laundromat while Erin Grant (Demi Moore) and her daughter Angela (Rumer Willis) take all the clothes out of the dryer machine.[16]

In the 1997 film Perdita Durango, the two main characters happily groove to the song while abducting two teenagers.

Its melody is possibly referenced in the 1998 Kare Kano anime TV series soundtrack Act 1.0 song: 14 - "Miyazawa Ikka".

In an episode of The Smell of Reeves and Mortimer, Vic Reeves plays the song through a prosthetic arm.

In the Philippine Noontime show It's Showtime on ABS-CBN, this song was constantly played for taking a picture of a person's face with a frame called "Face Dance". Soon after the "Face Dance" game became a regular staple on the network's out-of town shows.

In American Pie 2, the band camp counselor plays the song on his trumpet, not knowing that the trumpet had just been inserted into Jason Biggs' character's anus.

In the 2000 film The Dish, it plays at 12:03 before showing a ball preparation at the town hall.

In the 2001 film ‘’Ocean’s Eleven’’, the song plays as ambient background music while Bernie Mac negotiates the purchase a van from a used car dealership.[17]

The Nickelodeon TV series The Fairly OddParents uses the song in many episodes such as episode 4b season 1 “Apartnership”.

In an episode of Supernatural, the song is played when a pair of demons call Crowley (the King of Hell) from a hunter's trap.

In the 2013 film White House Down, the ringtone can be heard repetitively in the film on the character of Richard Jenkins' mobile cell phone.

The song has been heard on The Weather Channel's Local on the 8s time by time between 1999 and 2013.

In the 2019 film Joker, the song plays with the Indian-head test pattern when the broadcast of Live with Murray Franklin gets cut off after the Joker shoots Franklin. In the DVD credits, the song is credited to Ray Davies and His Button Down Brass.[18]

In the 2023 HBO miniseries Love & Death in the episode "Encounters", it was performed by the character Pat on his trumpet at the dinner table.

In podcasts

[edit]

"Spanish Flea" acts as the opening and closing music to the Fangraphs audio podcast. The song is also used as the closing music for the soccer podcast Low Limit Futbol, hosted by Joe Uccello and Roberto Rojas. It is used as background music for the ad-reads on the 'We Hate Movies' podcast. It is also used as the closing theme for Chris & Andi Porter's 'One Millionth Podcast', although it is sung by the siblings themselves - a different way every time. It also appears in the jingle that precedes the ‘Three by Three’ segment by John C. Dvorak during the “No Agenda” podcast.

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Spanish Flea

View on Grokipedia
from Grokipedia
"Spanish Flea" is an instrumental novelty song composed by Julius Wechter in 1965 and recorded by Herb Alpert & the Tijuana Brass for their album !!Going Places!!. The track, featuring a playful Latin-tinged melody with prominent marimba and brass elements, was arranged by Alpert himself and released as a single by A&M Records. It achieved commercial success, reaching number 27 on the Billboard Hot 100 chart in April 1966 and peaking at number 4 on the Billboard Adult Contemporary chart. The song's recording took place on August 13, 1965, at in Hollywood, , contributing to the Tijuana Brass's string of hits during the mid-1960s. Wechter, a percussionist and leader of the , drew from his experience in to craft the tune, which includes whimsical written by his wife, Cissy Wechter, though the version popularized by Alpert remained . "Spanish Flea" gained widespread recognition as the theme music for the ABC television game show , which aired from 1965 to 1973, embedding the catchy riff in American pop culture. Its upbeat, flirtatious sound perfectly suited the show's lighthearted matchmaking format, leading to frequent use in episodes and revivals. The track also appeared in various commercials, films, and television programs, enhancing its enduring legacy as a staple of lounge and music. In the , the single peaked at number 3 on the Official Singles Chart and spent 20 weeks in the Top 100, underscoring the Tijuana Brass's international appeal during a period when Alpert's group held multiple albums simultaneously in the 200's top 10. Over the decades, "Spanish Flea" has been covered by numerous artists and sampled in modern media, maintaining its status as an iconic example of Herb Alpert's fusion of with faux-Mexican influences.

Composition

Musical Structure

"Spanish Flea" is classified as a Latin-tinged jazz-pop instrumental incorporating influences, characteristic of and the Tijuana Brass's signature "Tijuana Sound." The piece was composed by , with lyrics by his wife Cissy Wechter. The song is structured around a simple, repeating melodic motif in , featuring a blues-derived that supports its playful, bouncy character. It unfolds in a verse-like form with variations, emphasizing a lively 12-bar framework adapted to Latin rhythms. The upbeat , approximately 160 beats per minute, contributes to its energetic feel. Central to the composition is the prominent lead trumpet melody performed by , which delivers a catchy, peppy line evoking the "jumping" antics of a through syncopated, phrases. Supporting this are Latin-infused percussion elements, including and played by , which provide a distinctive rhythmic bounce. The —comprising , bass, and additional instruments—underpins the with a driving, mariachi-inspired groove, creating a full texture typical of the .

Lyrics

The lyrics for "Spanish Flea" were written by Cissy Wechter, wife of the song's composer , and depict an anthropomorphic Spanish flea with dreams of becoming a singing sensation, drawing inspiration from popular acts like and The Chipmunks. The narrative humorously follows the flea's journey from humble aspirations to performing on stage, complete with a Latin-infused twist that mirrors the song's rhythmic flair. These words were crafted after the instrumental track had already been composed and recorded, transforming the piece into a whimsical story while preserving its core melody. Key excerpts from the highlight the flea's ambition and playful . The opening lines set the scene: "There was a little Spanish flea / A record star he thought he'd be / He'd heard of singers like / The Chipmunks he'd seen on TV / Why not a little Spanish flea?" The chorus builds on this with: "He wanted to be a star / So he bought himself a guitar / To play rock 'n' roll / He practiced night and day / He said 'I'm on my way' / To be a Spanish flea." These verses emphasize the character's determination and tie into the pop culture , blending references to bands and novelty cartoon music with a lighthearted pursuit of fame. Thematically, the lyrics infuse the song with humor and levity, portraying the flea's quest for stardom through a lens of Latin flair and exaggerated self-confidence, which complements the track's upbeat, mariachi-inspired rhythm without overshadowing its appeal. Vocal performances of these remain rare compared to the ubiquitous version by and the Brass, which dominated airplay and cultural usage in the mid-1960s, often rendering the words secondary or unheard in mainstream contexts.

Recording and Production

Original Session

The original recording session for "Spanish Flea" took place on August 13, 1965, at in Hollywood, . This session was part of the broader production for the album Going Places, which spanned multiple dates throughout 1965, including April 12, April 28, June 29, July 6, August 6, August 10, August 13, and August 17, across studios such as United Recording Studio, Columbia Records, and . The song was composed by , a percussionist and arranger associated with the Brass. Herb Alpert served as the producer, overseeing a live band setup that captured the ensemble's performance in the studio with minimal overdubs to preserve the track's spontaneous feel. Both mono and stereo mixes were produced during post-session processing, allowing the track to align with A&M Records' dual-format release strategy for the Going Places album in October 1965, which highlighted the live energy of the Tijuana Brass sound.

Key Personnel

The original recording of "Spanish Flea" was composed by , a percussionist who played on the track and contributed to many Tijuana Brass sessions. , leader of the , crafted the song's distinctive Latin-infused melody, which became a signature element of the band's sound. Lyrics for the tune were written by his wife, Cissy Wechter, though the hit version remained instrumental. Herb Alpert served as the band's leader, performing the prominent lead trumpet lines that defined the recording's bright, playful tone. As co-founder of with , Alpert also handled arrangement duties, shaping the track's energetic arrangement during a brief session at in 1965. The supporting Tijuana Brass ensemble included Tonni Kalash on trumpet, Bob Edmondson on trombone and percussion, on guitar, Pat Senatore on bass, Nick Ceroli on drums, and Lou Pagani on piano and vibes, providing the rhythmic foundation and brass interplay essential to the song's infectious groove. engineered the session. Jerry Moss, Alpert's business partner and A&M co-founder, provided production oversight, ensuring the polished sound that propelled the track from the album Going Places.

Release

Album Context

"Spanish Flea" served as the fourth track on Side A of the album !!Going Places!!, the fifth studio release by & the Tijuana Brass, issued by in October 1965. The LP featured 12 instrumental tracks blending jazz-pop, , and influences, with a thematic emphasis on evocative journeys and Latin-inspired locales, as seen in titles like "Tijuana Taxi" and "." "Spanish Flea" exemplified this playful exotism through its upbeat, trumpet-driven arrangement that captured a whimsical Spanish flair. This album arrived in the wake of the Tijuana Brass's breakthrough with Whipped Cream & Other Delights earlier in 1965, which sold millions and established the group as a commercial powerhouse in music. !!Going Places!! capitalized on this momentum, further solidifying the band's popularity with its accessible, feel-good sound that resonated widely upon release. Initially, "Spanish Flea" garnered attention as an integral album track, contributing to the LP's cohesive travel motif before later promotion as a standalone single. The album received positive notices for its vibrant energy and musicianship, earning a retrospective rating of 3.5 out of 5 stars from for its enduring appeal in the genre.

Single Release

"Spanish Flea" was issued as a standalone single by and the Tijuana Brass in January 1966 in the United States through , catalog number 792, in the standard 7-inch 45 RPM vinyl format. The A-side featured the upbeat instrumental track "Spanish Flea," while the B-side was the vocal ballad "What Now My Love," both drawn from the group's 1965 album Going Places. This release exemplified ' approach in the mid-1960s of selecting standout album cuts for single promotion to extend the commercial lifecycle of their artists' LPs and capitalize on radio play. Promotion for the single capitalized on the Tijuana Brass's surging popularity following their breakthrough albums, including frequent television appearances that showcased their lively performances. For instance, the group performed "Spanish Flea" on the show in early 1966, helping to build anticipation ahead of international markets. The single's packaging included a picture sleeve with prominently displaying Alpert's signature against a vibrant, Latin-themed background, underscoring the track's playful instrumental appeal and the band's pseudo-Mexican style. Following the U.S. launch, "Spanish Flea" saw releases across Europe and the UK, often under licensing agreements with local labels to align with regional distribution networks. In the UK, it was released on Pye International (catalog number 7N.25335) with B-side "Cinco de Mayo," reflecting adaptations for international audiences while maintaining the core track's infectious trumpet melody. These efforts ensured the single's broad accessibility, tying into A&M's global expansion strategy during the height of the Tijuana Brass phenomenon.

Commercial Success

Chart Performance

"Spanish Flea," released as the B-side to "What Now My Love" in late 1965, entered major charts in early 1966 and benefited from exposure on the ABC television program The Dating Game, where it served as the bachelorette introduction theme. In the United States, the track debuted on the Billboard Hot 100 on March 19, 1966, at number 66 before climbing to its peak position of number 27 on April 16, 1966, where it held for three weeks and charted for a total of 12 weeks. It also topped the Billboard Adult Contemporary chart. The song performed more strongly internationally. On the UK Singles Chart, it entered on December 15, 1965, and reached number 3 on , 1966, spending 19 weeks in the top 40 and 20 weeks total on the chart.
CountryChartPeak PositionDate of PeakWeeks on Chart
RPM Top Singles6March 19669
Australia281966-
Official German Charts2619661
(Flanders)Ultratop 501919661
The track's chart trajectory reflected its growing appeal through radio airplay and television synergy, particularly in and .

Sales and Certifications

The single "Spanish Flea" played a key role in driving for & the Brass's 1965 album Going Places, which achieved 500,000 units sold and received a gold certification from the RIAA on December 15, 1965, for shipments exceeding that threshold. Overall, the group sold more than 13 million albums across six releases in 1966, outpacing even that year and underscoring the track's contribution to their multi-platinum era catalog. No major RIAA certifications were awarded to the "Spanish Flea" single itself, though its inclusion on Going Places helped propel the album's commercial longevity. In the modern era, "Spanish Flea" has experienced a resurgence through digital streaming, amassing over 26 million streams on as of November 2025, fueled by nostalgic associations in media. The track's enduring appeal is further supported by consistent radio airplay on stations and vinyl reissues, including 60th-anniversary editions of companion albums like in 2025, which have boosted residual physical sales.

Cover Versions

Instrumental Covers

One notable instrumental reinterpretation of "Spanish Flea" came from Julius Wechter's , the group led by the song's composer, which recorded a version emphasizing -driven Latin rhythms. It was released as the B-side single to "As Time Goes By" in 1971. This take highlighted the track's playful percussion elements, differing from the original Tijuana Brass recording by incorporating more prominent solos and a lighter, tropical tempo shift. In 1966, Sergio Mendes & Brasil '66 offered a bossa nova-infused medley pairing "Spanish Flea" with "One Note Samba" on their debut album Herb Alpert Presents Sergio Mendes & Brasil '66, blending the tune's catchy hook with syncopated rhythms and subtle samba grooves for a smoother, more relaxed pace. This variation introduced Brazilian influences, slowing the original's upbeat swing while maintaining its whimsical melody through piano and light percussion. Trudy Pitts delivered an organ-led rendition in 1967 on her debut album Introducing the Fabulous Trudy Pitts, featuring improvisation alongside guitarist Pat Martino, which added soulful, bluesy extensions and a mid-tempo groove to the composition. The version emphasized harmonic depth and organ swells, diverging from the brass-heavy original by prioritizing improvisational phrasing over strict pop structure. Other significant instrumental covers from the era include and His Orchestra's 1966 orchestral arrangement on Mr. Music...Mantovani, which expanded the piece with sweeping strings and swells for a more grandiose, cinematic feel at a similar to the original. Edmundo Ros and His Orchestra also reimagined it in 1967 with added Latin percussion and calypso elements on Latin Hits I Missed, accelerating the pace and incorporating rhythmic variations like conga accents to evoke a festive, dance-oriented vibe. These adaptations collectively showcased the song's versatility, from samba-tinged lounge styles to amplified orchestration.

Vocal Versions

Several vocal adaptations of "Spanish Flea" emerged in 1966, incorporating lyrics originally written by Cissy Wechter to the instrumental melody composed by her husband, . The first such recording was by with Paula Kelly. These versions transformed the playful tune into narrative songs, often emphasizing humor or romance while retaining its catchy, Latin-inflected rhythm. One of the earliest vocal recordings was by British singer , who released a single version in 1966 featuring alternate English penned by Marcel Stellman. Stellman's shifted the focus toward a lighthearted romantic tale of a persistent suitor, diverging from Wechter's whimsical story of an ambitious flea dreaming of stardom. Produced by and issued on , Kirby's rendition showcased her powerful, big-band-style vocals. Comedian delivered a humorous take in 1966 with his single, tying into his children's television persona and puppet-driven sketches. ' version amplified the song's comedic potential through exaggerated delivery and playful flea-themed narrative, aligning with his show's chaotic antics involving characters like . Released as a promotional 45 RPM record, it captured the era's novelty appeal without charting significantly but became a staple in ' live performances. American pop singer offered a more straightforward pop vocal interpretation in 1967, included on her album Texas Leather and Mexican Lace. Brewer's rendition leaned into romantic whimsy, with her bright, versatile voice highlighting the ' charm against a light orchestral backing. Produced by Shelby Singleton, this version reflected the mid-1960s trend of adding vocals to hits for broader radio play. Other vocal covers from the period, such as those by , further popularized Wechter's by emphasizing country-inflected storytelling, contributing to the song's versatility across genres.

Cultural Impact

In Television

"Spanish Flea" became closely associated with television through its role as the entrance theme for contestants on the ABC game show , which ran from 1965 to 1973 and was revived in syndication from 1973 to 1974. The upbeat instrumental track played as bachelorettes introduced potential dates, contributing to the show's playful, flirtatious atmosphere. The song has appeared in multiple episodes of the , often used for ironic or humorous underscoring. Notable instances include "" (season 3, episode 22, 1992), where improvises lyrics while waiting in his car; "" (season 7, episode 21, 1996); "" (season 9, episode 2, 1997); and "When You Dish Upon a Star" (season 10, episode 5, 1998). These usages highlight the track's enduring recognition as a quirky relic. Herb Alpert and the Tijuana Brass performed "Spanish Flea" live on the variety sketch show during its September 23, 1968, episode, showcasing the band's signature sound to the program's audience. Brief references also appear in modern TV-adjacent media, such as the Fangraphs Baseball podcast, where it underscores nostalgic discussions of pop culture. Through these appearances, "Spanish Flea" solidified its status as a symbol of kitschy nostalgia, frequently employed in game shows and sitcoms to evoke retro whimsy and lighthearted romance.

In Film

"Spanish Flea" has been incorporated into various film soundtracks, frequently serving to inject humor, nostalgia, or chaotic energy into scenes, drawing on its upbeat, whimsical brass sound from the 1960s. In the 1987 action-comedy , directed by , the tune is hummed by as during a fingerprint-matching scene at Detective Billy Rosewood's home, heightening the comedic tension in the investigation sequence. The song features prominently in Steven Soderbergh's 2001 Ocean's Eleven, where a version performed by the Powerpack Orchestra plays as during the elaborate robbery setup, enhancing the film's stylish, retro atmosphere. In Todd Phillips' 2019 Joker, "Spanish Flea" is performed by and His Button Down Brass during the Murray Franklin segment, where it underscores the ironic buildup to Arthur Fleck's disruptive appearance and the subsequent broadcast interruption. These appearances, along with brief uses in other 1980s–2010s cinema like Beverly Hills Cop II and Joker, highlight the track's versatility in creating humorous or retro backdrops, often evoking its origins in lighthearted television programming such as The Dating Game.

In Advertising and Other Media

"Spanish Flea" gained prominence in advertising during the 1960s and 1970s, often employed to evoke a lively, playful atmosphere in product promotions. One notable example is its use in Mazda GLC commercials in the late 1970s and early 1980s, where the upbeat trumpet melody underscored themes of fun, speed, and affordability for the "Great Little Car" model, airing in both Japan and the United States. The track's jaunty rhythm made it a staple for various product jingles during this period, appearing in advertisements that aimed to capture a sense of lighthearted energy and Latin flair. In podcasting, "Spanish Flea" has found a niche in humorous and ironic contexts. The tech and politics podcast , hosted by and , frequently incorporates clips of the song for comedic transitions or to highlight absurd news segments, leveraging its association with 1960s game shows for satirical effect. Similarly, the podcast uses an excerpt from the track as its intro music, adding a whimsical, nostalgic touch to discussions on and humor. Beyond advertising and podcasts, the song has appeared in other media, including video games and digital streaming. In the 2020s, "Spanish Flea" has experienced a resurgence on streaming platforms, appearing in lounge and nostalgia-themed playlists that curate tracks for relaxed listening. On , the song has gone viral in retro challenge videos and edits, where users pair its catchy melody with humorous reenactments of 1960s-era tropes, sustaining its cultural relevance without major new commercial campaigns. This enduring presence ties into broader nostalgic revivals seen in and film, amplifying its legacy across .

References

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  52. https://secondhandsongs.com/work/127837/all
  53. https://www.discogs.com/release/11049796-Kathy-Kirby-Spanish-Flea-
  54. https://secondhandsongs.com/performance/887716/all
  55. https://www.discogs.com/master/2114587-Soupy-Sales-Spanish-Flea-That-Wasnt-No-Girl
  56. https://secondhandsongs.com/performance/402075/all
  57. https://secondhandsongs.com/performance/803359/all
  58. https://www.imdb.com/title/tt0701254/soundtrack/
  59. https://www.tunefind.com/show/the-simpsons/season-3/34553
  60. https://www.onamrecords.com/artists/herb-alpert/tv-shows
  61. https://www.popisms.com/Song/6504/Spanish-Flea-Herb-Alpert-and-the-Tijuana-Brass-1965
  62. https://www.imdb.com/title/tt0240772/soundtrack/
  63. https://www.imdb.com/title/tt7286456/soundtrack/
  64. https://www.autoweek.com/car-life/classic-cars/a37158392/1980-mazda-glc-wagon-is-junkyard-treasure/
  65. https://discover.hubpages.com/entertainment/Instrumental-Hits
  66. https://www.noagendashow.net/listen/1627/transcript
  67. https://blogs.fangraphs.com/fangraphs-audio-dave-cameron-analyzes-all-trades-with-david-temple/
  68. https://open.spotify.com/playlist/5z8DUXm7BdTkBAJR5DsERQ
  69. https://www.tiktok.com/discover/spanish-flea-song
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