“Let The Heartaches Begin” #1 UK

This week's British #1 from Long John Baldry (he was 6'7") that only got to #88 in America. Supposedly, he sounded good on the record by consuming most of a bottle of Courvoisier cognac before and during the session. His ex-pianist, Reg Dwight, took his future stage name from Elton Dean of Baldry’s group and from Baldry himself. Depending on the account, Long John talked EJ either out of marrying a woman for the wrong reasons, or out of a suicide attempt. Elton John would later co-write "Someone Saved My Life Tonight" with Bernie Taupin as a thank you.

“Glad To Be Unhappy” #26 11/25/1967

The Mamas and the Papas recorded several songs with Tin Pan Alley roots. This very short tune (1:41) was composed by Rodgers and Hart for a 1936 musical called "On Your Toes" and had been done numerous times over the years by singers ranging from Lena Horne and Billie Holliday to Frank Sinatra. These were trying times for the group, and they soon pretty much fell apart.

“Pata Pata” #12 11/25/1967

The only US hit for South African songstress and civil rights activist Miriam Makeba. It was mostly sung in the Xhosa language of her native land. In the mid 60's Miriam was married to her countryman, trumpeter Hugh Masakela. She divorced him and married activist Stokely Carmichael, a leader of the Black Panther Party. That move cost her a sizable chunk of her American audience.

“Magical Mystery Tour”

After the death of their manager, Brian Epstein, the Beatles more or less lacked any real sense of direction. Paul proposed making a short movie of the group on an improvised tour of the British countryside. So they rented a bus, took along some actors, friends and assorted hangers-on, and began filming whatever randomly happened without using a real script. The album based on that concept (plus singles issued in the States that year, to fill out the US LP) was released in America on this date in 1967. That album was quite good, but the English critics slammed the film to where it wasn't formally shown over here for quite some time, calling it unfocused and self-indulgent. Clip is Paul performing the title track at a 1993 concert in Charlotte, NC.

“I Can See For Miles” #9 11/25/1967

Because "I can see for kilometers" doesn't have that same ring to it. The only Top 10 single in America for the Who, from an album called "The Who Sell Out" complete with fake ads in between the tracks on side one. Supposedly this song inspired Paul McCartney to write "Helter Skelter" which inspired Charlie Manson...but I digress. Keith Moon's drumming is from a different planet.

“Incense And Peppermints” #1 11/25/1967

Perhaps the ultimate psychedelic 45 of the decade, and it was an intended B-side! Strawberry Alarm Clock once recorded as Thee Sixpence with zero success. The new band name combined a Beatles song title and the keyboard player's clock. Incense covers up the smell of pot in a room, and peppermints allegedly do the same for one's breath. Legend has it the lead singer ran late for the session and the group didn't like his lyrics anyway, so they had a run-through with new words sung by a 16-year-old friend of the band, Greg Mumford. Luckily the producer was rolling tape, and that rehearsal became the single. Mumford never joined SAC. Keyboardist Mark Weltz and lead guitarist Ed King actually wrote the music but were hosed out of the royalties. SAC did some shows in Florida where an unheralded local band opened for them. When the hits dried up, King moved to Jacksonville and hooked up with those local guys, who eventually became Lynyrd Skynyrd. That's Ed playing the iconic intro to "Sweet Home Alabama" plus the guitar solo on that and here on "Incense,” both absolute faves of mine.

“You Don’t Know Me” (Elvis) #44 11/18/1967

The B-side of "Big Boss Man" from the King, originally recorded by Eddy Arnold in 1956 and done many times since. Jerry Vale had a Top 20 pop hit with the song at that time but Ray Charles did the definitive version in 1962. Elvis decided by now to record songs he truly liked instead of the constant drivel he was given for those movies. He’d had enough, and did a pretty serviceable job here. This song was added to the “Clambake” soundtrack.

“Homburg” #34 11/18/1967

The followup to "A Whiter Shade Of Pale" for Procol Harum didn't do nearly as well, barely cracking the Top 40 in the States. It has that "Pale" vibe but lacked the punchiness. In hindsight, the band said "Conquistador" should've been the followup single. A live version of that song would be their next US hit...but not until 1972. Video is from German TV’s “Beat Club.”

“She Is Still A Mystery” #27 11/18/1967

The last Top 40 record for the Lovin' Spoonful. Their zany image and good-time music brought them considerable success for a few years, with their first seven singles all reaching the Top 10. John Sebastian made several solo albums and had a #1 on his own in '76 with the theme to TV's "Welcome Back, Kotter."

“Kentucky Woman” (Neil Diamond) #22 11/18/1967

This Neil Diamond single would cause yet another rift between him and the head of BANG Records, the notorious Bert Berns. Neil was a little burned out on writing simple pop songs, and thought this should be a B-side to the more ambitious "Shilo." Berns disagreed, and promoted "Kentucky Woman" as the A-side. Diamond would soon jump to another label. Deep Purple would release a very hard rockin' cover version in about a year. "Shilo" was re-released in 1970 to moderate success.

“Everlasting Love” (Robert Knight) #13 11/18/1967

An absolute chart rarity in that this song made the Top 40 in the 60's, 70's, 80's and 90's. Here's the original from Robert Knight. Those other versions were respectively from Carl Carlton, a duet by Rex Smith and Rachel Sweet, and Gloria Estefan. Not to be confused with totally different tunes from Andy Gibb and Howard Jones having the same title. And don't get me started on the Natalie Cole song...

“Let It Out (Let It All Hang Out)” #12 11/18/1967

“A preachment, dear friends, you are about to receive on John Barleycorn, nicotine, and the temptations OF Eve." Pffffft! What an oddball intro to the one hit by the Hombres. It was a country-fried stream of consciousness, reminiscent of Bob Dylan's "Subterranean Homesick Blues." Keyboardist/lead singer B.B. Cunningham was the brother of Bill Cunningham of the Box Tops, also based in Memphis.

“Please Love Me Forever” #6 11/18/1967

Bobby Vinton returned to the Top 10 for the first time in three years with a remake of the B-side of Tommy Edwards' "It's All In The Game" from 1958. Bobby's version has a definite mid 60's country feel. Produced by Billy Sherrill, who was at the controls for all those hits by Tammy Wynette and many other country acts.

“Walk Right In” #1 1/26/1963

The music charts were a strange place in 1963. Eclectic doesn't begin to describe it. How else do you explain a hootenanny record getting to #1? The Rooftop Singers were one of those "two acoustic guitar, one solo female, everybody sings" kind of groups - and a one-hit wonder. Some great 12-string guitar, though.

“Go Away Little Girl” #1 1/12/1963

Gerry Goffin and Carole King racked up another chart topper, proving themselves once again as terrific songwriters with the first #1 of 1963. However, they and Steve Lawrence got a lot of blowback for this record. Some felt the song was about an older guy hitting on underage girls. Go figure. They originally wrote it for Bobby Vee, but Lawrence’s producer, Don Kirshner, gave the tune to Steve instead. In ‘71 Donny Osmond also took it to the top - the first time two different artists recorded the same song and both versions reached #1 in the modern Hot 100 era.

“For Once In My Life” (Tony Bennett) #91 11/11/1967

This song will forever and always be associated with Stevie Wonder, who would shortly turn it into a major hit. However, the tune floated around Motown for several years with no success, as a number of folks struck out. Enter Tony Bennett, whose ultra-slow version became a Top 10 easy listening hit. He recorded the song although his heart wasn't in it, as Tony really didn't care for contemporary music of the 60's. Perhaps he left his heart in San Francisco...

“This Town” #53 11/11/1967

Not one of the best-remembered Sinatra songs. The hits began winding down for Hoboken's gift to the world. Frank still had one of the most unparalleled careers in show business history. Written by Lee Hazlewood, it appeared in 2007’s "Ocean's Thirteen," a sequel to the first "Ocean's 11" from 1960 starring Ol' Blue Eyes.

“Holiday” #16 11/11/1967

Another one of those records that did well in America for a British act (their third straight Top 20 entry) but wasn't even released as a single at home. It still became a staple of the Bee Gees' live shows worldwide for decades. The video has subtitles for some reason; I love the ones that appear on the screen after each chorus!

“(Loneliness Made Me Realize) It’s You That I Need” #14 11/11/1967

Here's one from the Temptations that was originally written in 1963, with at least two versions by other artists which sat unreleased in Motown's vaults. One was by Jimmy Ruffin, brother of the Temps' David Ruffin; the other was by Eddie Holland of Holland-Dozier-Holland fame, who co-wrote the tune.

“Love Is Strange” (Peaches & Herb) #13 11/11/1967

The fifth and last Top 40 record for over a decade from Peaches and Herb. It was a remake of a Bo Diddley-written song that was a huge hit in 1957 by another duo, Mickey and Sylvia. There were many cover versions over the years but this was the most successful. Peaches and Herb wouldn't chart this highly again until "Shake Your Groove Thing" in 1978. Sylvia Robinson had a solo hit in 1973 with "Pillow Talk."

“Does My Ring Hurt Your Finger” #4 Country 11/4/1967

Charley Pride of Sledge, Miss., the first African-American country music superstar, had his third Top 10 hit this week in 1967. Charley was a pitcher in the Negro League and the lower levels of the minor leagues until his arm gave out. He once lived in Montana, playing for a semi-pro baseball club while working at a lead smelter. His team's manager knew he could sing, so Charley would perform a few tunes before the game to boost attendance. That experience helped him land a record deal. For a time, he was second only to Elvis as the biggest selling artist on the RCA label.

“Karate-Boo-Ga-Loo” #51 11/4/1967

Another one of those oddball 45's that was more notable for the backing musicians and singers. Jerry Murray recorded under the name Jerry-O for the Shout label, owned by the notorious Bert Berns. The moonlighting Funk Brothers of Motown fame made the music. The female singers were the Debonaires (Telma Hopkins and Joyce Vincent) who later hooked up with Tony Orlando and became known as Dawn, with a string of huge hits in the 70's. Trivia: Telma Hopkins famously shouted out "Shut your mouth!" on Isaac Hayes' theme from "Shaft."

“Just One Look” (Hollies) #44 11/4/1967

Originally a Top 10 record in 1963 from one-hit wonder Doris Troy, this was re-made in early '64 by the Hollies into a UK Top 5. However, it got lost in the shuffle during the first wave of the British Invasion and barely made our Top 100 (#98). The Hollies version was reissued in 1967 by their former US label and did marginally better.

“You’ve Made Me So Very Happy” (Brenda Holloway) #39 11/4/1967

Yet another record that would become much bigger in 1969 than in 1967, although in this case someone else had the hit. Blood, Sweat & Tears covered the original version here by Brenda Holloway, one of Motown's forgotten acts. She never quite fit in with the label, and really didn't get the promotional effort other acts received.

“Big Boss Man” #38 11/4/1967

This song could almost be considered a prototype for "Take This Job And Shove It." First recorded by blues singer Jimmy Reed, Elvis kind of snarls his way through his version. Jerry Reed played guitar on the session, but had issues when pressured to sign over publishing rights to Col. Parker for a tune he'd written for the King. That caused many problems over the years between songwriters and the Colonel.

“Even The Bad Times Are Good” #36 11/4/1967

Like our selection from yesterday, this was a far bigger hit in the UK than the States, where it barely made the Top 40. The Tremeloes had success at home for several more years, but this was pretty much it for them in America. They would always be known as the band Decca Records signed in 1962 instead of the Beatles.

“The Last Waltz” #25 11/4/1967

One of those records that was a huge hit in the UK, spending five weeks at #1, but was only a middling chart entry in America for Englebert Humperdinck. There weren't a lot of waltzes that had much impact on the rock charts over here. Petula Clark released a version in French that was quite successful on the Continent.

“The Look Of Love” (Dusty Springfield) #22 11/4/1967

If you looked up the term "most sensual song of the 60's" you'd most likeły find the Dusty Springfield version of this Bacharach/David tune. Oh. Em. Gee. Does this ever exude sensuality or what? From the soundtrack of the Bond spoof "Casino Royale,” Dusty's breathy vocals are outstanding, though she later felt she hit more than a few flat notes. Ask if we cared. Go ahead. Ask.

“I’m Wondering” #12 11/4/1967

One of Stevie Wonder's earliest songs where he sang harmony with himself. In a few years, he would record whole albums doing most all the instrumentation plus the vocals. Stevie co-wrote the song with Henry Cosby and Sylvia Moy. Henry and Sylvia contributed mightily to Stevie's success in the late 60's.

“(You Make Me Feel Like) A Natural Woman” #8 11/4/1967

According to legend, Atlantic Records co-owner Jerry Wexler was in his limo one night when he saw Carole King on the sidewalk (some say it was her then-husband/writing partner Gerry Goffin). Jerry rolled down the window shouting, "Hey, write a song called 'Natural Woman' for me!" So they did, and Wexler passed it on to Aretha Franklin, becoming a signature song of hers. Carole and Gerry gave Wexler a writing credit. The royalty checks kept coming until Wexler died in 2008 at age 91. 

“Your Precious Love” #5 11/4/1967

The biggest pop hit for the duo of Marvin Gaye and Tammi Terrell, although they would have two subsequent #1 R&B hits. Written by Ashford and Simpson and produced by Harvey Fuqua and Johnny Bristol, who both provided backing vocals. Fuqua was a founding member of the Moonglows who originally did "Sincerely" in 1954, which became a huge hit for the McGuire Sisters. He was once married to Berry Gordy's sister and parlayed all that into an executive position at Motown.

“Expressway To Your Heart” #4 11/4/1967

The first major hit produced and written by Kenny Gamble and Leon Huff, done by the Soul Survivors, a Caucasian rock band from NYC who recorded in Philadelphia. Gamble based his lyrics on getting stuck in traffic on the Schuylkill Expressway in Philly while trying to get to a young lady's house. Kenny and Leon went on to considerable fame in the 70's as purveyors of smooth Philly soul.

“It Must Be Him” #3 11/4/1967

A few days ago we featured "He's A Rebel," a #1 for the Crystals from 1962. That song was first done by Mexican-American singer Florencia Bisenta de Casillas-Martinez Cardona a.k.a. Vikki Carr, born in El Paso. Phil Spector heard about Vikki's version of "Rebel" and rush-released the version credited to the Crystals (actually recorded by the Blossoms), knocking her career for a loop. After this easy listening chart-topper, she had two minor Top 40 records, then went on to far greater success in the Latino music world with numerous hits en Español. The song is about a girl wondering if the ex is ringing her up - no caller ID back then.

“Soul Man” #2 11/4/1967

Play it, Steve! A #1 R&B hit from Sam and Dave with that world-famous shout-out to guitarist Steve Cropper. He and bassist Donald "Duck" Dunn of Booker T. and the MG's appeared both on this record and the cover version by the Blues Brothers which stayed very true to the original. There's a line in the song, co-written by Isaac Hayes and David Porter, that I (and many others) always believed went "I was educated from good stock." But according to the Songfacts website, Porter said it's actually "I was educated at Woodstock" meaning at a school in the forest built from felled timbers, not the rock festival which didn't happen until almost two years later.

“Telstar” #1 12/22/1962

One of my all-time favorite instrumentals! The last #1 single of 1962 was likely the only record ever honoring a communications satellite. Telstar was launched several months before this tune by the Tornados, the first British group to top the American charts, 13 months before the Beatles. It was very spacey (pun intended) with lots of bizarre studio effects, including the sound of a rocket booster which was a tape of a toilet flush played backwards. Produced by Joe Meek, a tragic figure in rock music history. Joe was flamboyantly gay when that was still illegal in the UK. He was accused of plagiarizing this from another song and the court case dragged on for years, but was resolved in his favor just after he died. A very interesting read.

“Big Girls Don’t Cry” #1 11/17/1962

The followup to "Sherry" proved the old adage that if you had a hit, make sure the next record sounds really close to the previous hit. Bob Gaudio of the Four Seasons wrote it with assistance from their producer Bob Crewe. The bass vocals of Nick Massi provided a counterpoint to Frankie Valli's trademark falsetto. This became the group's second #1 in late 1962.

“He’s A Rebel” #1 11/3/1962

We go back to 1962 and a #1 from November written by Gene Pitney and credited to the Crystals, except it was actually done by the Blossoms with Darlene Love on lead vocals. Producer Phil Spector was hot to trot with the song, but the Crystals weren't available as they were on tour in NYC. He knew Vikki Carr was ready with a competing version, so Phil had the Blossoms record the single. The Crystals were SO surprised to hear this on the radio with their name attached. And Spector pulled the same stunt with the group's next release! The Wrecking Crew did the music, with Al De Lory on the piano intro and Steve Douglas with the great sax solo.