I know Ray,
we won't get a chance.
¤ You better leave ¤
¤ You better leave ¤
¤ Woman alone ¤
¤ Woman alone ¤
¤ I'm sayin' ¤
¤ Leave woman alone ¤
¤ You better leave ¤
¤ Woman alone ¤
¤ My woman alone ¤
¤ If you don't want
you don't have to ¤
¤ Get in trouble ¤
¤ If you don't want
you don't have to ¤
¤ Get in trouble ¤
¤ If you don't want
you don't have to ¤
¤ Get in trouble ¤
¤ You better leave
my woman alone ¤
¤ Woman alone ¤
¤ My woman alone ¤¤
It doesn't get
any better than that, Ray.
Yeah, you know what,
I love it!
We gonna put it out
just like that.
You know, I never
got a record
in one take before!
You Cookies sound sweet.
Mmm-hmm.
When it's happening, baby,
I mean, it just feels right.
I know what you mean.
I got the shivers
in this studio tonight.
That's 'cause they ain't
paid the heating bill.
I have a question for
all of you:
How would you like to
go on the road with me?
Wait... wait. How, um,
how much you gonna pay us?
You know,
Ahmet takes care
of all of that.
Oh, what, you mean
he don't listen to you?
Yeah, you better know he does.
Look, don't worry about it.
Brother Ray'll
take care of all of you.
Well, my mama taught me to
take care of myself, honey.
Is your mother here?
No, she's not,
but I speak for us.
No, you don't.
Okay, Speak for Us,
how about, uh, ahem,
$20 a week?
$20 a week is good.
We'll take $40. Each.
$40 each?
You heard me.
No, no, no.
Uh, how about $25?
We'll take $30.
I better say yeah
before you talk me
out of my drawers.
$30 a week!
Uh, deal?
Oh! Yeah.
Oh! Margie, right?
Yeah.
Well, look, Margie,
from now on, you guys
are going to be
called The Raelettes.
Raelettes?
Does that mean
we have to "Let Ray"?
Oh, Lord! What am I going
to do with you?
I'm sure you'll think
of somethin'.
$30 a week!
We're going to be
The Raelettes!
Fathead, come on,
you're on the clock.
Come on, Bob,
you're late.
All right,
hold on, Jeff. Listen up.
From now on, we're gonna sing,
uh, four-part harmony.
Ethel, I want you to sing,
uh, uh, alto.
Margie, you sing tenor.
Pat, soprano,
and Mary Ann, bass.
I ain't no bass.
I'm a soprano.
I'll sing bass.
I mean, where we come from,
we can sing anything.
Mmm-hmm.
We're talking about singing,
sugar, not hog calling.
What?
Oh, that's cold.
Who are you
calling a hog?
Well, if the corncob fits...
You better shut your mouth
before you get...
Wait a minute!
You stop now!
Hey, hey, hey!
What is all the cackling for?
Mary Ann, sweetheart,
I wrote something
special for you: A solo.
A solo?
Yeah. C-Come on down here,
let me play it for you.
¤ What kind of man are you? ¤
¤ Why do I love you so? ¤
¤ What kind of man
are you? ¤
¤ Yeah, yeah ¤
¤ When you love me
no more ¤
Ethel!
Ethel! Come here and see
this new piano Ray got.
It's called
a... a... a Wurlitzer.
A what?
You got to see this thing.
It's out of sight.
Baby, I got your
drink here for you.
Don't play that.
Oh, she... she want me to
play something else.
¤ What kind of man are you? ¤
¤ I just can't satisfy ¤
¤ What kind of man are you? ¤
¤ Oh, yeah ¤
¤ No matter how I try ¤
Oh! Oh! Oh!
We got some hell
going on, gentlemen!
Now, this is a car.
This is a car!
Looks like
a damn Wieniemobile!
Lookie here!
Come on,
let's take it for a spin!
Since I'm the boss,
you got to let me drive.
Don't hit nothing,
Ray.
¤ What Kind Of Man Are You? ¤
¤ I'm always left alone ¤¤
Ooh! You okay?
Yeah.
What room are you in?
69.
Ooh, honey,
you are so nasty.
That's what
I love about you.
No, seriously,
what room are you in?
Uh, I'm in 626.
624.
Yeah.
Baby, I can't wait
till we get to your room!
Here's 626.
Right here.
Where's the key?
You have to get it.
I have to find it?
Is that it?
It might be.Miss Mary Ann Fisher,
ladies and gentlemen.
Wait till you see what I got
in the goodie bag.
Goodie bag?
Gonna fly you to
the moon, baby.
Let me get
your hand, Ray.