"Pretty Ballerina" #15 2/25/1967

The followup to "Walk Away Reneé" was the second and last hit for the Left Banke. Like their first single, keyboardist Michael Brown wrote this about the girlfriend of the band's guitar player. Can we say "awkward?" And like their first single, it contained an intricate pseudo-classical arrangement, in a style that came to be called baroque pop.

"Mercy, Mercy, Mercy!" #11 2/25/1967

The parents of saxophonist Julius "Cannonball" Adderley both taught at Florida A&M University in Tallahassee in the 1940's. Growing up, he crossed paths musically with a young Ray Charles. Cannonball later became a respected member of the jazz community. This was from a "live" album purportedly done at a Chicago jazz club. It was actually recorded at Capitol Records in Hollywood with an invited audience, and an open bar. The "club" billing was done as a favor to a friend of Cannonball's.

"Gimme Some Lovin' " #7 2/25/1967

These guys already had two #1 hits in the UK, but this was the breakthrough single in the US for the Spencer Davis Group. It featured 17-year-old Steve Winwood on that screaming Hammond B-3 organ plus lead vocals. The band was named after their guitarist because he was the only member who liked doing press interviews. Winwood went on to join Traffic and Blind Faith and had considerable solo success in the 80's. This version is an alternate mix, with a slightly different lead vocal and omitting the female background singers.

Happy Birthday, George Harrison! "Give Me Love (Give Me Peace On Earth)" #1 6/30/1973

Yes, George was my favorite Beatle. He would have been 74 today. Such a gentle soul. RIP.

"The Beat Goes On" #6 2/25/1967

Carol Kaye of the Wrecking Crew tells the story of how this signature song of Sonny and Cher almost didn't happen. She said the session was going nowhere, a plodding one-chord tune with a drone-like bass part, and the recording was in danger of being scrapped. Carol salvaged things by creating, on the spot, the walking bass line progression that gave the song its distinctive hook. Good thing, because Sonny and Cher didn't have another Top 40 record for the next four years. After this single, they became a Vegas showroom act, which led to their wildly successful 70's TV show.

"Save The Last Dance For Me" #1 10/22/1960

The Drifters topped the R&B charts five times in the 50's and 60's, but this was their only pop #1. A little surprising, since they remain one of the most influential vocal groups ever. Their pre-rock and roll early 50's R&B records were just phenomenal. Ben E. King took a turn singing lead here. It was a B-side until Dick Clark turned the record over and suggested this was the stronger song. Written by Doc Pomus and Mort Shuman, who also wrote "This Magic Moment" and my favorite Drifters tune of that time, "I Count The Tears." They also wrote "Viva Las Vegas" and many other hits for Elvis.

"Mr. Custer" #1 10/15/1960

No way this could be released today. Here's a novelty one-hit wonder from October 1960 by Larry Verne that might just be the most politically incorrect song of early rock and roll. How else could you explain a comedy record about what took place at the Little Big Horn? It was co-written by Al De Lory, who produced fellow Wrecking Crew member Glen Campbell's first string of hits later in the 60's. Larry Verne went on to become a successful film set builder in Hollywood.

I'd love to turn you on...

At the "Sgt. Pepper" sessions on this date in 1967, the Beatles tacked on maybe the most famous final chord ever to a song with the ending to "A Day In The Life." They had tried a vocal finish but weren't satisfied with the results. John, Paul, Ringo and their assistant Mal Evans then sat at multiple pianos with producer George Martin playing a harmonium or pump organ. They all played an E major chord simultaneously and sustained it as long as possible. After about 45 seconds, the recording levels had been boosted so high you can hear papers rustling, the air conditioner running and a squeaky chair in the studio. Definitely a very different and appropriate ending to, IMHO, the most unique and finest individual recording in the history of rock.

"Lovin' You" #32 2/18/1967

The last Top 40 effort for Bobby Darin, written by John Sebastian. Bobby was born Walden Robert Cassotto in the East Harlem section of NYC, and the women he thought were his much older sister and mother were actually his birth mother and grandmother. He only found that out a few years before he died. While working as a scuffling songwriter at the famed Brill Building, he fell hard for a young Connie Francis. Her dad put an end to that budding relationship before it went anywhere, much to their regret. Bobby was such a talented entertainer who passed away far too soon from heart issues at the age of 37.

"Hey Leroy, Your Mama's Calling You" #31 2/18/1967

Yo' mama! Jimmy Castor came from the Sugar Hill section of Harlem, arguably the birthplace of rap. In the 50's he replaced his buddy Frankie Lymon in the Teenagers. When doo-wop faded, Jimmy became a session sax player until this record, which owed its sound to the Puerto Rican influx to Harlem. He later fronted the Jimmy Castor Bunch in the 70's as he boogied with Bertha Butt, one of the Butt Sisters.

"It's Now Winter's Day" #23 2/18/1967

Tommy Roe took a big step away from bubblegum music with this effort produced by Curt Boettcher, who also produced the first album by the Association. It wound up being Tommy's last Top 40 record until 1969 and "Dizzy" when he returned to more of a bubblegum sound.

"Green, Green Grass Of Home" #11 2/18/1967

Who would've thought a song about a condemned prisoner could be a hit? Porter Wagoner took a country version to the Top 5 on that chart in 1965. Jerry Lee Lewis recorded this as well, among many other folks. Tom Jones heard the Killer's take while Tom was in NYC appearing on the Ed Sullivan show and did his own version, which became #1 in the UK and just missed the US Top 10.

"Kind Of A Drag" #1 2/18/1967

In 1967 and 1968, the Buckinghams were probably the biggest rock act from Chicago. They were called the Pulsations when they were the house band on WGN-TV's "All-Time Hits" show, but changed their name to sound British - and sell records - and to reflect their hometown's famous Buckingham Fountain. (See the opening credits of "Married...With Children.") Great, hard-driving horns punctuate this rocker, which finally knocked "I'm A Believer" out of the top spot. Written by Jim Holvay, who fronted a Windy City band called The Mob. BTW, another horn-driven band got their start this week in 1967, called The Big Thing before becoming Chicago Transit Authority and then known as just Chicago. There's a connection between that group and the Buckinghams - we'll tell you later. This one's an absolute fave of mine.

"My Heart Has A Mind Of Its Own" #1 10/1/1960

We return to 1960 and the second #1 for Connie Francis. Like her first, it had a very country style, and was done in that genre several times over the years. Connie Smith recorded it in 1966, but Susan Raye had the most successful country version in 1972. This was one of four chart toppers co-written by the team of Howard Greenfield and Jack Keller; they also wrote the theme for TV's "Bewitched." Howard also collaborated with Neil Sedaka on most of Neil's hits.

"Ride, Ride, Ride" #37 2/11/1967

The last Top 40 pop record for Little Miss Dynamite, Brenda Lee, was first recorded by Lynn Anderson ("Rose Garden") and written by Lynn's mom Liz Anderson, who also wrote several early hits for Merle Haggard. Brenda went on to have nine country Top Ten's in the 70's and 80's, plus a Top 20 country duet with the great George Jones.

"Music To Watch Girls By" #15 2/11/1967

Bob Crewe was best known for producing and co-writing so many tunes by the Four Seasons, and also had a hand in so many more 60's hits. Crewe also co-wrote Labelle's "Lady Marmalade" in the 70's. He adapted this Diet Pepsi jingle into a full-length instrumental, recording as the Bob Crewe Generation. The 60's wouldn't have sounded the same without his contributions.

"Stand By Me" (Spyder Turner) #12 2/11/1967

He was born Dwight David Turner in Beckley, WV, but went by Spyder Turner. After a few less than successful records, he joined the ranks of the one-hit wonders with a cover of Ben E. King's legendary tune. The difference was that Spyder threw in some vocal imitations of other R&B singers like Jackie Wilson, Smokey Robinson, and more.

"I Had Too Much To Dream (Last Night)" #11 2/11/1967

This two-hit wonder group used to be called Jim and the Lords starting out in L.A., then changed their name to the Electric Prunes as a joke. It stuck, which makes their preppy look in this video even stranger. There's some serious psychedelic stuff going on here with their first hit, with plenty of fuzz tone, backwards guitar effects, etc. - all the things that sonically helped make the 60's what they were.

"98.6" #7 2/11/1967

Another example of "sunshine pop." This guy can't be called a one-hit wonder, as he had two other singles in the lower reaches of the Top 40. James Barry Keefer (known on record simply as Keith) was later busted for draft evasion and wound up working with Frank Zappa in the 70's. Backing vocals here by the Tokens.

"(We Ain't Got) Nothin' Yet" #5 2/11/1967

A one-hit wonder from the Bronx, Blues Magoos got their start in the Greenwich Village music scene as did the Mamas and the Papas, the Lovin' Spoonful, Blood,  Sweat & Tears and so many others. This could be considered a cross between psychedelia and punk. According to Songfacts, the record was an influence on original Pink Floyd guitarist Syd Barrett.

I read the news today, oh boy...

On this date in 1967, the orchestral overdubs were recorded for the Beatles' "A Day In The Life." John and Paul knew something was needed to lead into the incomplete middle section - they just didn't know what, so that part was left empty on the basic tracks. Their assistant Mal Evans counted off 24 measures and used an alarm clock to signal where Paul would resume with the as yet unfinished lyrics. It led perfectly into what became "Woke up, fell out of bed..." so the alarm clock was left in. They decided to include some psychedelic orchestra passages prior to this middle part and just before the end. Forty classical musicians were brought in who were asked to arrive in evening dress and then were given goofy costumes and headgear. The group was conducted by Paul and led by violinist David McCallum Sr., father of the "NCIS" and "The Man From U.N.C.L.E." actor. These trained musicians were told what notes to start and finish on, but (totally counter to their training) to get there without paying attention to the others, which created the cacophonous crescendoes. Then, George Martin requested they record it four more times, making it sound like 200 people were playing. Once again, the Beatles didn't just break the rules, they wrote new ones. And we didn't even address that crashing piano chord at the end...more on that later...

"The Twist" #1 9/24/1960

The only record to ever hit #1 on two totally separate chart runs (16 months apart), and one that spawned a thousand knock-offs. It was written and first done by R&B star Hank Ballard and recommended to Dick Clark by Baltimore DJ Buddy Deane - the Corny Collins character in "Hairspray" was a tribute to Buddy. Dick liked Hank's version, but didn't book him on "American Bandstand" since his records, though great R&B, were known to be a tad risqué. Clark arranged for Parkway Records to have the song cloned note for note by one Earnest Evans. The rest is history. Ballard didn't mind, as he still cashed all those songwriting royalty checks. Dick's wife renamed Earnest as a play on words, as Fats = Chubby and Domino = Checker. Chubby became king of the dance crazes as he did plenty of knock-offs of this himself. He said doing the Twist was sort of like stomping out a cigarette while toweling off your backside, which summed up what parents in 1960 must have thought of that danged rock and roll. By its second go-round in '62, even the parents were doing the Twist. Chubby remade this in the late 80's with the Fat Boys. Clip is from "Bandstand."

"It's Now Or Never" #1 8/20/1960

Originally known as "O Sole Mio," this Italian song from 1907 was first done in English by Tony Martin in 1949 under the title "There's No Tomorrow." Elvis heard that version while stationed in Germany with the Army; he asked for a different translation and RCA Records made it happen. The co-composer and producer here, Aaron Schroeder, eventually wrote a total of 17 songs for the King, including five #1's.

"Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini" #1 8/13/1960

The only chart-topper for Brian Hyland did a lot to promote acceptance of the bikini as beachwear. He later said the success of this song meant he didn't have to ride the subway any longer, and that he could afford to buy a few Martin acoustic guitars. Co-writer Paul Vance drew inspiration from his two-year-old daughter at the beach in her new bathing suit. Clip is from "American Bandstand."

"I'm Sorry" #1 7/23/1960

Back to 1960 we go for the next few days, with the first #1 and first gold record for Brenda Lee. This was meant as the B-side of a Jerry Reed composition, "That's All You Gotta Do" which made the Top 10 on its own. She was just 15 and her label held off issuing the single, thinking she was too young to sing convincingly about the subject matter. Although it wasn't released to country radio at the time, it later became a staple of the format.

"The Little Black Egg" #85 2/4/1967

Here's a really quirky 60's record by a garage band from Daytona Beach, the Nightcrawlers, with a very imitated guitar intro. It did well regionally in late '65, then barely scraped the national charts on its re-release a year later. Their local rivals were the Escorts, later known as the Allman Joys, who became the Allman Brothers Band. For a time Nightcrawlers guitarist Sylvan Wells lived in my old home area of Luray, Virginia handcrafting guitars, but since took his respected business back to Daytona.

"Wild Thing" (Sen. Bobby) #20 2/4/1967

Today we feature another spoken word record, albeit a parody of the Troggs hit from several months earlier. It was done by comedian Bill Minkin and the Hardly-Worthit Players in the style of Sen. Bobby Kennedy, complete with a New England accent. The B-side was the same parody, voiced in the manner of Sen. Everett Dirksen.

"Georgy Girl" #2 2/4/1967

From the film of the same name starring Lynn Redgrave, here's the last Top 40 hit in the States for the Seekers. They had a couple more hits in their native Australia, however. In early 1967 they performed at a festival in Melbourne in front of 200,000 people, where I think this video is from. They broke up soon after when Judith Durham left for a solo career. Since the 90's, though, they have occasionally reunited.

"How Do You Catch A Girl" #27 1/28/1966

The last Top 40 appearance for Sam the Sham and the Pharaohs. This one actually rocks a little more than the formula novelty tunes his label kept pressuring Domingo Samudio (Sam) to record. He eventually got out of the music biz and became a gospel singer and motivational speaker, only rarely appearing on the oldies circuit. No matter. "Wooly Bully" remains one of the standards of 60's rock.

"Try A Little Tenderness" #25 1/28/1967

A signature song of Otis Redding, one he really didn't want to record at first; he said Sam Cooke had the definitive version a few years before. It was written in 1933 and covered by the likes of Bing Crosby, Mel Tormé and Frank Sinatra as well. He's backed here by Booker T. and the MG's with the arrangement by Isaac Hayes. Check out the movie "Monterey Pop" for a very intense live set by Otis that's just smokin' hot.

"Where Will The Words Come From" #21 1/28/1967

At the start of 1967, Gary Lewis was drafted into the Army. Like Elvis, he could've gotten an easy gig in the military due to his name (being Jerry's son), but like the King he served as a regular soldier. While stationed in South Korea, Gary's label, Imperial Records, released previously recorded material (as RCA did with Elvis) but he and the Playboys couldn't quite recapture their earlier success. They would have one more Top 20 hit in 1968 and that was pretty much it.