“Hush” (Billy Joe Royal) #52 10/28/1967

This would be a much bigger hit in '68 for Deep Purple. Here's the original from Billy Joe Royal, written by Joe South who also wrote "Down In The Boondocks" and "I Knew You When" for Mr. Royal. Yeah, the Deep Purple version rocks a lot more, but Billy Joe's take has its own qualities nonetheless.

“King Midas In Reverse” #51 10/28/1967

The much less successful followup to "Carrie-Anne," and written by Graham Nash. He pushed hard for the Hollies to record the song but the others were ambivalent, and the single’s lack of success led to Nash's departure from the band. He hooked up with David Crosby and Stephen Stills to form one of the first rock supergroups.

“Child Of Clay” #31 10/28/1967

A quirky song from the "other" Jimmie Rodgers - not the country music legend, but this Jimmie had hits like "Honeycomb" and "Kisses Sweeter Than Wine" in the 50's. This song about a neglected young man who turned to crime and drugs was sort of a prototype for "In The Ghetto." Co-written by Ernie Maresca, who wrote many doo-wop hits for Dion and the Belmonts, together and separately. Jimmie later claimed to have been assaulted by an off-duty L.A. cop, suffering significant head injuries. A lawsuit and countersuit followed; those were settled out-of-court.

“People Are Strange” #12 10/28/1967

The follow up to "Light My Fire" was written after Doors guitarist Robby Krieger and Jim Morrison hiked to the top of Laurel Canyon and looked down upon Los Angeles. Morrison was somewhat depressed and concluded that when you're strange, then people are strange. Quite the enlightening observation. A pretty cool muffled barroom piano from Ray Manzarek highlights the song.

“I Don’t Wanna Play House” #1 Country 10/21/1967

The top country record this week in 1967 came from Tammy Wynette, born Virginia Wynette Pugh in Tremont, Mississippi, near Tupelo. She was an all-star basketball player in high school. Tammy got D-I-V-O-R-C-E-D, moved to Birmingham, Ala. and eventually Nashville with her three kids to pursue singing, but kept a cosmetology license which she renewed each year even after 20 #1 hits. Tammy said it was just in case the music career faltered and she needed a real job. That hair, though...

“I’ll Never Fall In Love Again” #49 10/21/1967

Like the Youngbloods' "Get Together," this became a far bigger hit when it was re-released in 1969. Tom Jones had much more success the second time around with this in the States, but it was a UK Top 5 upon its original issue in '67. Because he has such a naturally powerful voice, Tom requires lots of studio gadgets to keep from blowing out the equipment. Country star Reba McEntire has the same issue. Co-written and first done by Lonnie Donegan, king of the 50’s UK skiffle craze.

“Lightning’s Girl” #24 10/21/1967

Another tune from the biker movie "The Wild Angels." There's a fair amount of fuzz guitar on this Nancy Sinatra song, much like her dad's then-recent single "The World We Knew." Nancy did a lot of work in recent years for the Rolling Thunder motorcycle get-together in Washington, DC, performing for them several times.

“Let Love Come Between Us” #23 10/21/1967

The last real hit for James and Bobby Purify was done first by an Alabama-based group called the Rubber Band. Really original, I know, right? That group was fronted by Johnny Townsend, later part of the Sanford-Townsend Band who had a Top 10 with "Smoke From A Distant Fire" in 1977.

“Get On Up” #11 10/21/1967

The Esquires were another of those acts that spent 10 years becoming an overnight success. They started out in their home town of Milwaukee and after many lineup changes, moved to Chicago in search of a record deal. Curtis Mayfield turned them down, so they eventually signed with a smaller label in the Windy City. This R&B Top 5 record was their biggest hit.

“How Can I Be Sure” #4 10/22/1967

The fourth Top 10 for the Young Rascals was their biggest hit with Eddie Brigati doing the lead vocals instead of Felix Cavaliere. It was a rare rock record to showcase a concertina, giving a French café feel to the song. There's a prominent upright bass part alongside the electric bass. Not your everyday rock tune.

“To Sir With Love” #1 10/21/1967

From the movie of the same name, the titłe song became Lulu's only #1 in America, yet was relegated to the B-side of "Let's Pretend" in the UK. She made her acting debut in the movie alongside Sidney Poitier, and parlayed that into a successful TV career over there. Lulu was also a mentor for one season on "American Idol" and acquitted herself quite well on the show.

“Purple Haze” #65 10/14/1967

Good thing Jimi Hendrix didn't depend on singles for a career. He came from Seattle but made his name in England. Jimi was re-introduced to America at the Monterey Pop Festival, where he lit his guitar on fire for a finale. His first 45, "Hey Joe," did nothing in the US, but was a Top 10 in the UK. This didn't crack the Top 50 in the States but made the British Top 5. Albums, however - that's where Hendrix became a guitar god. The intro to "Purple Haze" may have the most discordant opening notes ever, and yet it worked. Video is the Jimi Hendrix Experience live at a London club. Not a lot of guitar effects but you get the idea he made it look so damn easy.

“Get Together” (Youngbloods - 1967) #62 10/14/1967

Originally a Kingston Trio song from '64, many acts recorded this, including We Five, Jefferson Airplane, and the Dave Clark Five. It became a much bigger hit when the Youngbloods re-released their version in 1969 - here, not so much for them in 1967. Written by Chet Powers, who sold the song rights to raise money defending himself against a conviction on pot charges. Those netted him some time at Folsom Prison.

"You Keep Running Away" #19 10/14/1967

One of the last records the Four Tops did with Holland-Dozier-Holland at the helm. Like so many other Motown acts (Diana Ross and the Supremes, Martha and the Vandellas, Marvin Gaye, etc.) they depended heavily on H-D-H for a stream of hit tunes. All of them had to change their musical direction when Brian Holland, Lamont Dozier and Eddie Holland left the label in a contract dispute.

"Dandelion" #14 10/14/1967

Another intended B-side that became the A-side (at least in the US), this from the Rolling Stones. Flip the 45 over and you got "We Love You" which was perhaps a little too weird for American tastes, as that only reached #50. Both songs have uncredited backing vocals by some guys named Lennon and McCartney. Mick Jagger had done the same on "Baby You're A Rich Man" so John and Paul returned the favor.

"Hey Baby (They're Playing Our Song)" #12 10/14/1967

The fourth Top 20 smash for the Buckinghams. Their guitarist Carl Giammarese admitted the band was formed back in the day so they could meet girls. Nothing like a little honesty. Carl and bassist Nick Fortuna along with newer members of the group are still out there doing shows, mainly around the Chicago area.

"Gimme Little Sign" #9 10/14/1967

A hit song can truly change one's life. This took Brenton Wood from working in a steel mill to a whirlwind experience being on a Dick Clark package tour, out on the road with six guys and a U-Haul full of equipment. He wound up with one more minor Top 40 entry, and that was pretty much it. The Farfisa organ solo was played by bluesman Mighty Mo Rodgers. Brenton recorded a gospel album in 2009.

"Little Ole Man (Uptight Everything's Alright)" #4 10/14/1967

Long before all the weirdness surrounded Bill Cosby, he was a very successful stand-up comedian and actor ("I Spy") and had this Top 5 record. The music was a reworking of the Stevie Wonder hit from early '66. Cosby inserted his own words but purposely didn't claim credit, leaving the original composers as the writers.

"A Day In The Life"

Today, we give you Uncle Larry's Most Favorite, Most Excellent Album Track Ever Of All Time. Ever.

To me, "A Day In The Life" is an absolute masterpiece, worthy of being mentioned in the same breath as the works of Beethoven, Mozart, Bach or any classical composer. John read about the death of socialite Tara Browne, heir to the Guinness fortune, and also how there were an estimated 4,000 holes in the streets of Blackburn, Lancashire, near Liverpool. So he had a beginning and end to a song, but no middle. Paul had a song with a middle, but no beginning or end. It was pure genius to combine the two. Ringo's drum part is outrageous. I've previously discussed the process with the orchestra and also that crashing final chord - see this blog's posts from February 2017 as to how and when those were recorded. A fitting end to "Sgt. Pepper." (I'm not counting the gibberish as the record grooves run out at the end.) 50 years later, that Beatle album is still the most influential rock record ever made.

"Turn The World Around" #1 Country 10/7/1967

The next to last of 26 #1's for Eddy Arnold topped the country charts this week in 1967. By now, his music was the definition of uptown country - no stinkin' fiddles or steel guitars here. He had amazing longevity, with a career spanning six decades in a business defined by here today, gone later today. Not many acts could say that.

"Monster Mash" #1 10/20/1962

Arguably the most popular novelty song ever, Bobby "Boris" Pickett charted three separate times with this over the years, reaching #1 in the fall of '62. Bobby was in a band where he'd drop in a Boris Karloff imitation when they played the Diamonds' "Little Darlin' " and the crowds loved it. He landed a record deal with Gary S. Paxton, who was responsible for "Alley Oop," another novelty chart-topper. The song parodied the Mashed Potato dance craze. Guaranteed to get your Halloween party rockin'.

"Sherry" #1 9/15/1962

The breakthrough hit for the Four Seasons from the fall of 1962. As documented in the "Jersey Boys" musical and movie, it only took them 10 years to achieve overnight success. The song was first titled "Jackie Baby" as a nod to then-First Lady Jackie Kennedy, but was changed to mimic the first name of NYC DJ Jack Spector's daughter, Cheri. Up until then on a rock record, you'd hear a falsetto mainly in the harmony parts; these guys put Frankie Valli's falsetto very prominently out front. This sent the Four Seasons on the way to selling over 100 million records.

"I Make A Fool Of Myself" #18 10/7/1967

Even though this Frankie Valli record reached the Top 20, I only vaguely remember it. His "solo" records were basically Four Seasons songs minus the falsetto for the most part. Frankie would have one more Top 40 solo hit and the group would have two more, then they hit a dry spell until 1975.

"(Your Love Keeps Lifting Me) Higher And Higher" #6 10/7/1967

One of the last hits for the great Jackie Wilson, with help from the moonlighting Funk Brothers and the Andantes, respectively the house band and female backing vocal group at Motown. He would have one more Top 40 record plus another Top 10 R&B tune, then collapsed on stage from a heart attack during a 1975 Dick Clark oldies tour and slipped into a coma. The crowd first thought it was part of the act, then sat in stunned silence. He recovered slightly then regressed; Jackie never regained consciousness and died in 1984. Truly a legendary music figure. Video is very well synched to a dance routine featuring Fred Astaire and Rita Hayworth.

"Never My Love" #2 10/7/1967

How many couples walked down the aisle to this? According to BMI, this one by the Association was the second–most played song of the 20th century on radio and TV, only outdone by "You've Lost That Lovin' Feelin'." It was written by Don and Dick Addrisi, and the band was assisted mightily by the Wrecking Crew. Produced by Bones Howe, who was also at the controls for the 5th Dimension's remake in 1971. The Addrisi Brothers had a few hits themselves recording in the 70's.

"Sgt. Pepper's Lonely Hearts Club Band" (Reprise)

When the Beatles still did live shows, they would always thank the audience prior to their last song. Their assistant Neil Aspinall suggested doing something similar to lead into the last track on "Sgt. Pepper." So they did a much shorter, faster arrangement of the title track where they acknowledged the fake crowd, then segued into the final song. Just one more instance of the Fab Four thinking way, way outside the box. This even faster mono version was pressed onto red vinyl for Japanese record buyers.

"Judy" #78 9/30/1967

The B-side of the current Elvis single. But it wasn't really current, as both this and the A-side "There's Always Me" were originally released in 1961 on his album "Something For Everybody." Hard to believe, but in '67 Elvis was on the verge of being irrelevant. His movies were just not very good and his soundtracks weren't, either. It took a career epiphany (coming soon) to get the King back to the top. The great Floyd Cramer played piano on this track.

"The Cat In The Window" #26 9/30/1967

I honestly don't recall this single from Petula Clark, the followup to "Don't Sleep In The Subway." It's not one of her more memorable records, and totally flopped in her native UK. An unusual song written by Gary Bonner and Alan Gordon, who also wrote "You Know What I Mean" for the Turtles. Pet was once offered two songs written by the then-unknown Walter Becker and Donald Fagen. She turned them down. Becker and Fagen, of course, went on to form Steely Dan in the 70's. RIP, Walter.

"Gettin' Together" #18 9/30/1967

Tommy James and the Shondells knew how to make good pop records at a time when the industry was heading in a little different direction. The public still wanted that brand of upbeat rock and roll. However, their next two singles started to get away from what was working, as neither made the Top 40.

"You Know What I Mean" #12 9/30/1967

This marked a bit of a shift in the Turtles' music. Most songs are written in some form of verse-chorus-verse-chorus-bridge-chorus structure, or A-B-A-B-C-B. Genesis even titled an album after a variation on that ("Abacab"). But this one from Gary Bonner and Alan Gordon kinda wanders all over the place musically, as the group became a tad more experimental. Hey, experimental was where it was at in the 60's.

"Brown Eyed Girl" #10 9/30/1967

One of the most played (overplayed?) records in the history of classic rock and oldies radio. According to music publishing rights firm BMI, this is still one of the ten most played songs ever in their huge catalog. But Van Morrison claims he's never seen a penny of royalties from it! He left the group Them ("Gloria") to go solo and signed a bad contract with the infamous Bert Berns. Van said it took plenty of lawsuits to extricate himself from that deal. We're all glad he got to a better place in his career. The original title was "Brown Skinned Girl" but upon further review was changed.