“I Put A Spell On You” (CCR) #58 12/28/1968

We close out 1968 with CCR’s followup to “Susie Q,” a cover of a 1956 Screamin’ Jay Hawkins tune that stayed pretty true to the original. As always, great lead guitar from John Fogerty. Screamin’ Jay once did a song called “Constipation Blues” because no one ever made a blues song about REAL pain; he’d perform it live while on a toilet. Uhhhh, yeah. Creedence’s next single defined their career.

“Bring It On Home To Me” (Eddie Floyd) #17 12/28/1968

The last pop hit for Eddie Floyd, though he had a few more R&B hits. This was his uptempo version of the 1962 Sam Cooke classic. The original featured Sam’s BFF Lou Rawls on the call-and-response vocals. I can’t find who played on this, but since Eddie recorded for Stax I’m guessing Booker T. & the MG’s and Isaac Hayes were involved. Sure sounds like Booker T.’s style on organ.

“Stormy” #5 12/28/1968

The second Top 5 record for the Classics IV also had a one-word title, just like their first hit, “Spooky.” Their next hit had a single-word title, too. Lead singer Dennis Yost never fully recovered from brain trauma suffered in a 2006 fall down a flight of steps and died in 2008.

“For Once In My Life” #2 12/28/1968

Berry Gordy could be a difficult boss at Motown. This languished in their vaults for several years from various acts, basically because Gordy didn’t care for the song. He even managed to get it spiked from another label, until eventually Tony Bennett had a Top 10 easy listening hit. Those takes were all very slow; Stevie Wonder did a far more uptempo version here but Gordy sat on this as a single for over a year. He finally relented, and Stevie scored not just a huge hit but a signature song.

“Long, Long, Long”

After the raucousness of “Helter Skelter,” this gentle song of George’s spirituality that ended Side 3 of the White Album was a breath of fresh air. It only took 67 takes to nail it down, notable for John’s absence - he couldn’t be bothered to help out on any Harrison effort. The recording included a wine bottle rattling atop a speaker; the Beatles always took advantage of ambient, accidental sounds.

“Helter Skelter”

“I’ve got blisters on my fingers!” Maybe the wildest rock and roll track ever made, and the title was taken from a British amusement park kiddie ride. Paul said he saw an ad for The Who’s new album where Pete Townshend claimed they just made the loudest, most raucous, craziest record ever. Paul felt they could one-up that. The sessions were just plain out of control. At one point George was running around the studio carrying a flaming ashtray over his head. And yeah, Charlie Manson thought the Beatles were speaking directly to him to incite a race war, leading to the Tate-LaBianca murders in ‘69. So glad Charlie punched his ticket to roast in hell.

“Crosstown Traffic” #52 12/21/1968

A great headphone record, and the final singles chart entry for Jimi Hendrix. Of course, he wasn’t exactly a singles artist. Albums were his thing. In a few months, the Jimi Hendrix Experience disintegrated - his famed Woodstock gig was with guys he’d rehearsed with for less than two weeks. 13 months after Woodstock, one of the all-time guitar gods was just another casualty of rock and roll.

“I Can’t Turn You Loose” #37 12/21/1968

Most people would recognize this as the entrance music for the Blues Brothers. It dates from 1965, written and first done by Otis Redding. Here’s a decent version by the Chambers Brothers, their followup to “Time Has Come Today.” It would be their second and last Top 40 record. We’re off tomorrow for Christmas! Ho ho ho!

“Shame, Shame” #29 12/21/1968

The Magic Lanterns had a few minor chart records in their native Britain, but this was their only Top 40 effort in America. The group was more notable for who their associates were, such as Godley and Creme (later part of 10cc before becoming star music video producers) and Albert Hammond. The bass player goes nuts!

“Till” #27 12/21/1968

One from the 50’s recorded in North America as an instrumental by Percy Faith, but released originally in France by Lucien Lupi. The Vogues gave it a try and scored a Top 5 easy listening hit. They had success on that chart for a few more years, but this was their next to last Top 40 record. Great harmonies here.

“Both Sides Now” #8 12/21/1968

A breakthrough song for Joni Mitchell’s songwriting career, recorded a year earlier by Judy Collins. It was finally released as a single and became Judy’s first hit. As time went on, though, it appeared as if Joni resented someone else succeeding with her song. Ms. Collins was romantically involved with Stephen Stills at the time and became the subject of “Suite: Judy Blue Eyes.”

“Sexy Sadie”

A scathing song from John that ripped into the Maharishi, who may or may not have made a pass at Mia Farrow during the TM retreat in India. It was enough to make Lennon pack up and head home; when the Maharishi asked why, John said, “Well, if you’re so cosmic you’ll know why!” Another one from the White Album that Charlie Manson felt spoke directly to him. What an ass.

“Everybody’s Got Something To Hide Except Me And My Monkey”

After the calm “Mother Nature’s Son” this came at you like a gut punch. Apparently there was a published cartoon showing John and a monkey (Yoko?) with its claws dug into his back, so he decided to have some fun with that notion. I don’t know, but to me that kinda summed up their relationship at the time. It’s been claimed the song also described Lennon’s heroin habit. Regardless, it was a pretty hard rocker.

“Do You Wanna Dance?” (Mamas & Papas) #76 12/14/1968

As we’ve mentioned, the Mamas and the Papas were in serious turmoil by now. The last straw was Mama Cass Elliot’s (kinda) solo billing on “Dream A Little Dream Of Me.” The label went back two years to the group’s first album for this remake of a Bobby Freeman and Beach Boys hit. It was the act’s last single before splitting up, except for one from a contractually obligated LP three years later that also tanked. Still, some of the sweetest harmonies of the 60’s on display here.

“With A Little Help From My Friends” (Joe Cocker) #68 12/14/1968

No, this isn’t called “Theme From The Wonder Years,“ though it was. Joe Cocker’s first US chart record was his only UK #1 hit, a radical rearrangement of this tune from “Sgt. Pepper.” Jimmy Page played lead guitar here; Tommy Eyre did the organ intro. Tommy also played on Gerry Rafferty’s “Baker Street” and “Right Down The Line.” This wasn’t the only Beatles song Joe covered.

RIP, Joe Osborn

This past weekend, Joe Osborn of the Wrecking Crew passed away at 81. Joe played bass on literally hundreds of 60’s and 70’s hits, working extensively with Johnny Rivers, the Mamas and the Papas, the Association, the 5th Dimension (listen to the bass line on “Aquarius/Let The Sunshine In”) and so many others. Joe also worked a lot with America and played the terrific bass part on “Tin Man.” RIP, dude.

“I Walk Alone” #65 (#1 Country) 12/14/1968

Marty Robbins had success on the rock charts in the late 1950’s; he had the first #1 pop record of the 1960’s with “El Paso.” But Marty was foremost a country singer. Several weeks earlier (11/16/68) this was his 13th chart-topper on that side. One of those 13, “Don’t Worry,” was perhaps the first use of guitar distortion on a record, albeit accidental. Studio picker Grady Martin had a tube blow out on his amp just before a solo. The producer liked the resulting sound and left it in.

“A Man And A Half” #42 12/14/1968

According to the Urban Dictionary, a man and a half is a dude who’s a 12 on the 1-10 scale of badass-ery. Not sure if that’s what Wilson Pickett was going for here, but he did have some issues over the years. While living in New Jersey, he once drove his car across the mayor’s lawn. The charges were dropped when Wilson agreed to do a benefit concert. Soon after, he struck a pedestrian who later died, and Pickett did a year in jail after pleading guilty to DUI charges.

“Goody Goody Gumdrops” #37 12/14/1968

The third Top 40 record from the 1910 Fruitgum Company. The band got its name from a wrapper that founding member Frank Jeckell saw in an attic. He’s still doing gigs like an oldies-themed Caribbean cruise in February 2019. Something fun to do, in between all those piña coladas at sea. Video is from Germany’s “Beat Club.”

“Scarborough Fair” (Sérgio Mendes) #16 12/14/1968

Once again, Sérgio Mendes and Brasil ‘66 covered a hit by giving it a bossa nova beat, and scored once again. The most familiar version came earlier in the year from Simon and Garfunkel, featured on “The Graduate” soundtrack. I guarantee you not many medieval English ballads became a 20th century pop hit - twice.

“Mother Nature’s Son”

At times, the White Album came off sounding rather disjointed. There were a couple of rockin’ tunes to begin side 3, and then you had this lovely McCartney effort, which he recorded alone with a brass arrangement by George Martin. Paul developed the idea after a lecture by the Maharishi in India, and based it on Nat King Cole’s “Nature Boy.”

“Yer Blues”

Another down and dirty rock and roller from the White Album. John wanted a gritty sound, so they set up in an 8’x8’ closet - seriously, even the drums - and just rocked. Lennon poked fun at how the Brits were such faux purists about playing the American black man’s blues. No question the Beatles aired it out on this one.

“See Saw” #14 12/14/1968

The eleventh Top 20 single for the diva who wrote the playbook on being a diva, Aretha Franklin. It was co-written by Don Covay and Steve Cropper. Covay had a minor pop hit and Top 5 R&B hit with his version in 1965. Don also wrote Aretha’s “Chain Of Fools” and Chubby Checker’s “Pony Time.” 

“I Love How You Love Me” #9 12/14/1968

The last Top 10 record for Bobby Vinton until 1974 was a cover version of a 1961 hit by the Paris Sisters, originally meant for Tony Orlando. It was from a LP where Vinton covered hits by other acts. Bobby’s previous single was his take of “Halfway To Paradise,” which WAS a hit for Mr. Orlando in the early 60’s. The guitarist for the Paris Sisters, BTW, was...Phil Spector.

“Abraham, Martin And John” #4 12/14/1968

One of the more socially conscious records of the 60’s, and it was written by the same guy (Dick Holler) who wrote “Snoopy vs. The Red Baron”!! After success fronting the Belmonts in the late 50’s, Dion DiMucci did well as a solo act until the British Invasion blew his career out of the water. He went through a rough period which included heroin addiction, then had what he called a profound religious experience. Dion got clean and was given this song which addressed the deaths of Abraham Lincoln, Martin Luther King, John F. Kennedy and Bobby Kennedy.

“I Heard It Through The Grapevine” (Marvin Gaye) #1 12/14/1968

Hands down, one of the greatest tunes in Motown history, but it had a checkered past. Smokey Robinson and the Miracles did it first but Berry Gordy vetoed that as a single, so it sat unreleased for almost two years and then only as an album cut. The Isley Brothers reportedly also took a crack at the song. Marvin Gaye finally got a turn with this version but Gordy also spiked that single, so it languished on an LP. Meanwhile, Gladys Knight and the Pips did a faster, funkier version and had a Top 5 record. Gordy finally relented on Marvin’s take after 18 months when DJ’s played it as an album cut; it then became the biggest single ever for Motown at the time with seven weeks @ #1. CCR did an 11 minute version on “Cosmo’s Factory” in 1970.

“Birthday”

We kick off side 3 of the White Album with a good ol’ sloppy rock and roller that was basically written on the spot. Paul came up with the lick and John helped flesh it out, one of their last real cooperative songwriting efforts. They took a break and slipped over to Paul’s place - he lived a few blocks from the Abbey Road studio - in order to watch the British colour TV premiere of the early rock film “The Girl Can’t Help It.” The guys returned suitably inspired and finished the song.

“Julia”

Side 2 of the White Album closes with the only pure Lennon solo effort while with the Beatles. The song is titled after John’s mother Julia, who died in a car accident when he was 17. She was far from the greatest parent, giving him to her sister Mimi to raise from youth, but mother and son were getting closer at the time of her death. A softer side of John on display here, the final track recorded for the LP.

“Lily The Pink” #1 UK 12/11/1968

This week’s UK #1 record was from the Scaffold, a Liverpool trio, which “bubbled under” over here. One member was Mike McGear, later revealed to be Michael McCartney - yep, Paul’s brother. It was a sanitized version of a rather bawdy tune about Lydia Pinkham, inventor of a 19th century patent medicine (Lydia E. Pinkham’s Vegetable Compound) that addressed women’s menstrual, menopausal and other feminine issues. The stuff sold well during Prohibition, likely because it was almost 20% alcohol. The tune became a British military drinking anthem during World War I. Backing vocalists here included Graham Nash, Jack Bruce of Cream, and Reg Dwight before becoming Elton John. 

“Born To Be With You” #81 (#1 Country) 12/7/1968

A remake by country star Sonny James of a 1956 Chordettes hit would be next week’s top record on that chart. It was his tenth #1 on that side and the sixth of his 16 straight #1’s between 1967 and 1972. Sonny had a total of 42 Top 10 country hits. Look, I don’t care what genre you sing, that is a pretty amazing feat.

“Crown Of Creation” #64 12/7/1968

Far out, man. Jefferson Airplane ruled the San Francisco music scene for a time in the 60’s. Although this album did very well commercially, none of the Airplane’s singles after “White Rabbit” reached the Top 40. So they laid low for a while and resurfaced as Jefferson Starship In 1974. But that’s another story...

“Kentucky Woman” (Deep Purple) #38 12/7/1968

Sometimes cover versions of a song don’t relate all that much to the original. This version of Neil Diamond’s 1967 hit, done by Deep Purple as the followup to “Hush,” was definitely rearranged to rock out. It was their last Top 40 entry in America until 1973’s “Smoke On The Water.” Ritchie Blackmore goes off on guitar!

“I Will”

Another tune from the White Album that sounds so simple and pleasant, yet it took Paul, Ringo and John 67 takes to get it right. George wasn’t on the track, which ended up using take 65. Pretty sure Paul wrote it for his new love interest, Linda Eastman. Such a gorgeous song. McCartney played the 12-string acoustic with John and Ringo providing various percussion parts. The solo on “My Best Friend’s Girl” by the Cars sounds suspiciously like the guitar part on this one.

“Why Don’t We Do It In The Road?”

Not exactly a stroke of genius from the White Album. Paul came up with the idea while in India when he witnessed two monkeys...uhhh, doing it in the road. John was in one studio working, and George was in another. Paul and Ringo were free, so they went into a third studio and were the only Beatles on this spontaneous track.

“Battle Hymn Of The Republic” #33 12/7/1968

1968 was such a turbulent year, and the record charts reflected that. Recordings of Martin Luther King’s “I Have A Dream” speech from 1963 and José Feliciano’s controversial World Series National Anthem performance charted. So did Andy Williams, singing mostly a cappella (with a choir) “Battle Hymn Of The Republic” which he did at his good friend Bobby Kennedy’s funeral.

“Quick Joey Small” #25 12/7/1968

Another bubblegum record, this time under the name of the Kasenetz-Katz Singing Orchestral Circus (producers Jerry Kasenetz and Jeff Katz). The premise was that various bands under the Super K Productions umbrella (Ohio Express, 1910 Fruitgum Company, etc.) joined forces as a supergroup. It was the only hit using this concept, however. Joey Levine handled the lead vocals here.

“Bang-Shang-A-Lang” #22 12/7/1968

After his battles with the Monkees (they wanted more “artistic control” over their TV show’s music, leading to his firing as musical director), Don Kirshner’s next project had stars who couldn’t talk back...they were animated characters! The Archies were perhaps the first virtual rock band. Befitting the comic book and cartoon, the records were very much bubblegum, performed by studio musicians and singers. Ron Dante and Toni Wine handled the lead vocals.

“Promises, Promises” #19 12/7/1968

The title song from the Broadway musical, written by Burt Bacharach and Hal David and performed splendidly as usual by Dionne Warwick. The timing jumps all over the place, from 3/4 to 2/4 to 4/4 all before the first word is sung (I had to look at the sheet music). Another tune from the show soon became a huge hit for Dionne. Insanely difficult to sing, but Dionne handled it like a true pro.

“Little Arrows” #16 12/7/1968

Sometimes people assume stage names for recognition, so the former Graham Pulleyblank changed his name to Lee Graham. When that didn’t help his career, he became “Leapy” Lee, his nickname from school. He parlayed that into one-hit wonder status before being arrested in a pub fight and doing several years in an English prison. Co-written by Albert Hammond. Dig that crazy wah-wah!

“Who’s Making Love” #5 12/7/1968

The breakthrough for Johnnie Taylor, who replaced Sam Cooke in the Soul Stirrers gospel group when Sam left to go mainstream. Johnnie went secular a few years later and landed at Stax Records in Memphis. This one features Stax mainstays Booker T. & the MG’s and Isaac Hayes. No wonder it’s such a smokin’ record.

“Don’t Pass Me By”

The first solo composition from Ringo; he had a co-writer credit on the instrumental “Flying” from the “Magical Mystery Tour” LP. It was something he’d been working on since shortly after he joined the Beatles in 1962, and they finally got around to recording it for the White Album. Well...actually it was just Ringo, Paul and session violinist Jack Fallon, who played the slightly out of tune fiddle.

“Rocky Raccoon”

Two-fers for the next two weeks! Somehow, it became fashionable for critics to rip this as being one of the Beatles’ lesser efforts. But I beg to differ. Why not have some fun with a song? “The doctor came in, stinking of gin...” It’s a talking blues ditty from the White Album that Paul mostly wrote while in India, done in a sort of fake American Western accent. George Martin played the barrelhouse piano.

“Not Enough Indians” #43 11/30/1968

Not exactly politically correct these days, but an easy listening Top 5 hit for Dean Martin, and his last single that even came close to the Top 40. No worries, though. Between his TV show, those Vegas Rat Pack gigs and the occasional movie, Dino really didn’t need the money by this point. He died on Christmas Day 1995. What a career for the King of Cool.

“The Straight Life” #36 11/30/1968

One from Bobby Goldsboro, and a rarity in that Bobby didn’t write this. It was composed by Sonny Curtis, who was in the post-Buddy Holly Crickets. Sonny wrote “I Fought The Law” (Bobby Fuller Four), “More Than I Can Say” (Leo Sayer) and “Love Is All Around,” which became the theme to Mary Tyler Moore’s TV show.

The Elvis Comeback Special

December 3, 1968 was important in the annals of rock history as it marked the broadcast on NBC of Elvis’ comeback TV special, recorded six months earlier. His popularity had slipped in recent years, so the safe original concept was an hour of Christmas songs. That idea morphed into part standard TV show with a few songs in front of various backdrops, and part Elvis and friends jamming in the round before a live audience - a forerunner to MTV Unplugged. His black leather outfit became iconic, and he was actually having fun doing the old stuff. The ratings were decent and the show re-launched his performing career. No doubt, Elvis was BACK.

“Les Bicyclettes de Belsize” #31 11/30/1968

From a short movie of the same name, this was a Top 5 easy listening hit for Englebert Humperdinck. A French-language version by Mireille Mathieu was also a hit simultaneously on the Continent. For a few months, Englebert hosted a variety show which ran on the ATV network in Britain and ABC-TV in the States.

“Chewy Chewy” #15 11/30/1968

Rock and roll has always catered to a younger audience, but the purveyors of bubblegum music geared that sub-genre to pre-teen girls, who pestered their parents into letting them buy those records. As a result, the subject matter was pretty tame. That was OK by Joey Levine, who sang lead on the singles issued under the Ohio Express name. Later on, Joey sang ad jingles like “Sometimes you feel like a nut, sometimes you don’t” and fronted a studio group called Reunion with the huge ‘74 hit “Life Is A Rock (But The Radio Rolled Me).” Hey, it was a living.

“Magic Carpet Ride” #3 11/30/1968

I know this one from Steppenwolf has all those 60’s drug connotations, but look, it’s just a great rock and roll record. The followup to “Born To Be Wild,” the album version (1:30 longer than the single) is the preferred version today. Co-writer and bassist Rushton Moreve was soon fired for missing gigs. His girlfriend insisted The Big One was going to hit California and he wouldn’t travel there, which made it difficult to promote records. The B-side, “Sookie Sookie,” is every bit as good!

“Love Child” #1 11/30/1968

The record that finally knocked “Hey Jude” from the top after nine weeks was rather groundbreaking. The subject matter, illegitimate birth, was still taboo in those days. Once again, Diana Ross was the only Supreme on the single, backed by the Andantes. Mary Wilson said it felt weird to perform this on shows like Ed Sullivan, knowing she and Cindy Birdsong contributed absolutely nothing to the recording. One of the five co-writers was R. Dean Taylor (“Indiana Wants Me”).

“Piggies”

The White Album was like a box of chocolates. You never knew what you’re gonna get. The second of three “animal” themed songs on side 2 was a George Harrison social commentary. It wasn’t directed toward police; Harrison referred to piggies as the rich and powerful. The Beatles had no clue this, along with many other songs from that LP, would be so horribly misconstrued by Charlie Manson. But that’s another story...

“Blackbird”

The recording sessions for the White Album had deteriorated to where the Beatles more and more worked individually in separate studios. Case in point; while John was in one room putting together “Revolution 9” Paul was making this solo masterpiece, presaging his “McCartney” LP by well over a year. The subject was the American civil rights movement, not something you’d expect from an outfit that five short years earlier was all about moptops, holding hands, “yeah yeah yeah” etc. Sucks that Charlie Manson thought Paul was speaking directly to him, trying to incite a race war.

“Living In The U.S.A.” #94 11/23/1968

Normally I wouldn’t get all geeked about a #94 record, but this was the first chart single for the Steve Miller Band, way before “The Joker.” The song since became a standard on album rock radio. Boz Scaggs was in the group before he achieved solo success in the 70’s and beyond. Somebody give me a cheeseburger!

“(She’s) Some Kind Of Wonderful” (Fantastic Johnny C) #87 11/23/1968

Sometimes it takes a few tries before a record becomes a hit. This one by the Fantastic Johnny C was the second of three versions. The original was done in 1967 by Soul Brothers Six and only got to #91. The hit came in 1974 from Grand Funk Railroad and reached #3. Third time’s the charm.

“Do Something To Me” #38 11/23/1968

Here’s one originally done by ? and the Mysterians (it flopped) and re-made by Tommy James and the Shondells. Tommy was taking the band in a different direction as evidenced by their next single which became a signature song of theirs, and certainly a long way from “Hanky Panky” and the bubblegum stuff.

“I’m So Tired”

Another White Album song John wrote while in India. He was with his wife Cynthia, but was missing Yoko and couldn’t sleep. Meh. There’s a line about Sir Walter Raleigh being a stupid “get” or “git,” British slang for a total jerk. John blamed Sir Walter for bringing tobacco to England, causing Lennon’s cigarette addiction. There’s also some gibberish at the end that when played backwards is supposed to say, “Paul is a dead man. Miss him, miss him, miss him.” Part of the hoax?

“Martha My Dear”

Another bit of odd inspiration for this White Album track which led off side 2. The title came from Paul’s Old English sheepdog named Martha. The song is in the music hall style that John derisively called “granny s**t.” Lennon didn’t play on this one; apparently, neither did Ringo. George might have contributed. It was said the lyrics described Paul’s turbulent relationship with Jane Asher, who broke up with McCartney just before this was recorded. Wonder if Martha the dog was impressed.

“1432 Franklin Pike Circle Hero” #36 11/23/1968

Bobby Russell was coming off the success of writing “Honey” and “Little Green Apples” so he did this suburban domestic slice-of-life. Nothing like working in a reference to the Baltimore Colts, huh? Bobby was briefly married to actress Vicki Lawrence in the 70’s and wrote “The Night The Lights Went Out In Georgia” for her.

“Cycles” #23 11/23/1968

A mid-career easy listening Top 5 single from the Chairman of the Board. Sinatra had just divorced Mia Farrow and switched his political allegiances from the Kennedys to Hubert Humphrey, who then lost the presidential election to Richard Nixon. Definitely an underrated gem from Frank.

“Hi-Heel Sneakers” (José Feliciano) #25 11/16/1968

A blues standard from a few years earlier by Tommy Tucker was given a Latin spin by José Feliciano. In 1967 he was to perform in the UK but customs wouldn’t allow José’s guide dog, Trudy, in the country unless she was quarantined for six months. Standard procedure, they said. Video is from the Australian TV show “Hit Scene.”

“Happiness Is A Warm Gun”

Think about it. A Beatles song about sex, drugs and guns! The side 1 closer came about from an American Rifleman magazine article actually titled “Happiness Is A Warm Gun.” (Why that was lying around the studio is anyone’s guess.) John thought it sounded so crazy he came up with this idea. It became another of those efforts where Lennon made the song’s timing fit the lyrics, causing the band to concentrate on their own musicianship. An increasingly rare moment of frivolity for the band, and not a bad outcome. George Martin was not there; his assistant Chris Thomas was behind the glass.

“While My Guitar Gently Weeps”

The first of four George Harrison songs for the White Album, and IMHO the best track on the whole album. Probably in my all-time Beatle Top 5. George had a tough time getting any songs on a group LP; until now, John and Paul never considered him an equal writing talent. Indeed, when they began work on this, George felt the others weren’t taking it all that seriously. That changed when Eric Clapton was called in by Harrison to play lead guitar (uncredited at the time), which caused everyone to be on their best behavior during these fractured sessions. The song came off magnificently. Apparently George Martin wasn’t present and the group produced themselves.

“Keep On Lovin’ Me Honey” #24 11/16/1968

One of the last duets Marvin Gaye recorded with Tammi Terrell, as her health worsened. Her brain cancer finally got the better of her as she passed away in March 1970 at the age of 24. Marvin’s next single would be a defining landmark of his career. Gaye moved toward much more socially conscious stuff in the 70’s.

“The Continuing Story Of Bungalow Bill”

Another one written by John as a result of their India excursion into the study of TM. A wealthy American kid, Richard Cooke III, was with his mother at the ashram. He left for a short hunting trip and bragged about shooting a tiger, giving Lennon the idea for something quite sarcastic. John was like, how can you kill an animal then try to become more spiritual? It’s noteworthy that Yoko sang (sang?) one line, the first and only time any female ever had a lead vocal on a Beatles record.

“Wild Honey Pie”

A very short experimental solo piece by Paul, definitely album filler. Numerous people have said it may be one of the worst tracks ever released under the name of the Beatles. Guess they’re forgetting “Revolution 9.”

“Fool For You” #22 11/16/1968

Our third day in a row featuring acts with deep Chicago roots. The Impressions’ R&B Top 5 here is unusual in several ways. It’s the only hit record I can think of that was written in 9/8 time. Curtis Mayfield, the song’s writer, would normally tune his guitar to an open F# chord - very uncommon, but it worked.

“Always Together” #18 11/16/1968

Even though this was a Top 5 R&B hit for the Dells, it’s one of the forgotten gems in their catalog. The group’s hallmark was their incredibly tight, smooth harmonies. No question these guys helped define R&B music in the 60’s, being inducted into the Rock and Roll Hall of Fame and Vocal Group Hall of Fame in 2004.

“Hey, Western Union Man” #16 11/16/1968

The second of back to back Top 20 singles for Jerry Butler. This was also a #1 R&B hit as well for the Iceman. Jerry was tagged with his nickname by a DJ after a show in Philadelphia where he was just so cool on stage. He was a Chicago guy but had his greatest success working with Philly legends Kenny Gamble and Leon Huff.

“Ob-La-Di, Ob-La-Da”

Allegedly this took more than 60 takes to finish over seven sessions, fraying everyone’s nerves, yet it sounded like one of the happiest songs the Beatles ever recorded. Paul totally scrapped the track once and almost did so again, but thought better. He wanted this as a single but was outvoted; the others completely detested the song. Lennon became so frustrated he showed up for a session stoned out of his gourd and played the piano intro furiously at double speed. That’s the version we hear today. Paul made a gender error on his vocals near the end (“Mollie is a singer in the band, Desmond stays at home and does his pretty face”); it was left in. The Scottish group Marmalade soon covered the song and had a UK #1 hit.

“Glass Onion”

Back in the day, people tended to overanalyze Beatles songs, and this was no exception. Much like “I Am The Walrus,” John deliberately wrote confusing lyrics just to tick people off. It was also said that a glass onion is a casket with a see-through lid. There were plenty of hints dropped concerning the “Paul is dead” grand hoax soon to be perpetrated. That subject is worthy of a book, or a hundred books. Or were they even clues? Was it an elaborate inside joke? Was the walrus really Paul? Video is brand new and in conjunction with the 2018 reissue. I dig this!

“Alfie” (Eivets Rednow) #66 11/9/1968

A mellow, very unusual album of easy listening instrumentals from Eivets Rednow (that’s Stevie Wonder spelled backwards, folks) produced this cover of the Bacharach/David title song from the movie starring Michael Caine. Didn’t do much, but not to worry, though. Stevie’s next single did far, far better.

“Sweet Blindness” #13 11/9/1968

Drinking songs have been around since the dawn of music. Laura Nyro wrote a pretty good one here, made into a hit by the 5th Dimension. As usual, the Wrecking Crew contributed mightily, with the usual suspects - Hal Blaine on drums, Joe Osborn on bass, Tommy Tedesco on guitar, Larry Knechtel on piano, etc. The video was shot along the Mediterranean coast in Cannes, France.

“Piece Of My Heart” #12 11/9/1968

Janis Joplin didn’t just sing. She screamed. AND. WE. LOVED IT! Co-written by the infamous Bert Berns just before his death (he wanted Van Morrison to record this!), it was done first by Aretha Franklin’s sister Erma. Janis took the song to a whole different level. Faith Hill had a #1 country hit with her two-step version in 1994, and claimed to have never heard Janis’s take prior to recording it herself.

“White Room” #6 11/9/1968

Rockers have all lifted ideas from one another at some point. Eric Clapton’s use of a wah-wah pedal on this record came from Jimi Hendrix, who got the idea from Frank Zappa, etc. Clapton plays an unbelievable lead guitar here but while this was on the charts, Cream decided at the height of their fame to break up. Wow.

“Hold Me Tight” #5 11/9/1968

One could be forgiven in thinking Johnny Nash was Jamaican. He was actually from Houston and had a couple of minor chart records in the 50’s and 60’s. He was on tour in Jamaica supporting one of those singles and was exposed to the burgeoning local reggae scene. Johnny was the first American artist to have a US hit based on that style. He even helped out a young Bob Marley along the way.

“Dear Prudence”

One that John wrote while the band was in India. Mia Farrow’s sister Prudence was so into TM she locked herself in her room almost every waking hour trying to become all cosmic. John and George were assigned to coax her back into the study group. (“Dear Prudence, won’t you come out to play...”) John used a fingerpicking style for acoustic guitar he learned from Donovan, another TM student. Since Ringo was still AWOL, Paul played drums on the session.

“Back In The USSR”

The opening track of the White Album was a nod to Chuck Berry’s “Back In The USA” and the Beach Boys’ harmonies, with a little Ray Charles thrown in. Mike Love was in India with the Beatles when Paul came to him with a rough version of the song. Mike subtly suggested doing it Beach Boys style, and McCartney agreed. Ringo had temporarily quit the band, so the others pieced together a drum part. Clip is from the 2018 box set.

The White Album

Heads up, folks! We’ll begin reviewing tracks from the Beatles’ White Album which will be re-released tomorrow as a box set for its 50th anniversary, complete with alternate takes, demos, etc. When the LP was first issued in the UK on November 22, 1968 and three days later in America, it was mixed so that most songs on the four sides cross-faded seamlessly into one another, start to finish on each side. So it’s almost impossible in today’s mp3 world to separate individual tracks without very abrupt starts and/or stops, i.e., the intro of “Dear Prudence” includes the close of “Back In The USSR.” No way around it.

But if the White Album proved anything, it was that the Beatles weren’t all rowing in the same direction. There wasn’t much cohesiveness - Lennon admitted it was more like John and the band, Paul and the band, etc., and it showed. Only 16 of the 30 tracks had all four of them even playing as a unit. Obviously, while in India something altered their interpersonal relationships. You could tell they were on the verge of breaking up; George Martin even briefly abdicated his producer duties. This could’ve been a great single disc; the reason for a two-record set was to wrap up their EMI contract sooner...but mostly, due to egos. They were quite directionless and really needed some time off, but Paul talked (or pushed) them into starting a new project less than six weeks after this was released. That became a disaster waiting to happen...

“Feelin’ Alright” (Traffic) #123 11/2/1968

One that’s been covered by dozens of people over the years, most notably Joe Cocker. Here’s the original from Traffic, sung by its writer, Dave Mason. Traffic was definitely not a singles act, as this just bubbled under. They were one of those bands that was really good, but just couldn’t overcome those pesky personality clashes.

“Gentle On My Mind” (1968 reissue) #39 11/2/1968

Sometimes a signature song by an artist didn’t do as well as you may think. This Glen Campbell tune written by John Hartford had two chances. The first time around it got to #62 in August 1967 (but Top 5 on the country chart), and only did marginally better on the pop side with its re-release just over a year later. Go figure.

“Lalena” #33 11/2/1968

Donovan admitted the title of his current single was adapted from “The Threepenny Opera” which featured Lotte Lenya in the role of Jenny Diver. Yes, Ms. Lenya really existed, forever immortalized in “Mack The Knife.” Donovan was fascinated by the play and wanted to do a song paying homage to the actress.

“Susie Q” #11 11/2/1968

The first chart record from the best American group to never have a #1 single, though Creedence Clearwater Revival had five that reached #2. This remake of a 1957 Dale Hawkins tune just missed the Top 10. CCR hailed from El Cerrito, CA (Bay Area) but sounded like they came from the swamps of Louisiana. Front man John Fogerty said they purposely added an extended jam (which became Part II of this 45) hoping to get airplay on a San Francisco progressive rock radio station. Fogerty shopped “Susie Q” to labels as the band’s demo tape. Fantasy Records, a small jazz-oriented label in Berkeley, CA, took a chance and signed them.

“Elenore” #6 11/2/1968

Sometimes bands fall out with their label and will slyly try to sabotage the working relationship. The Turtles did just that, and still made the Top 10. Co-front man Howard Kaylan said the label kept pestering them for another “Happy Together” so he inverted that melody while writing insipid lyrics. “Elenore, gee I think you’re swell...you’re my pride and joy, etcetera”?? Yet it became a hit! Listen closeły and you’ll hear a very primitive Moog synthesizer after the first chorus.

“Midnight Confessions” #5 11/2/1968

The biggest hit to date for the Grass Roots featured an outrageous bass intro by Carol Kaye of the Wrecking Crew. But that’s nothing compared to what she played throughout the record. I encourage you to listen closely to Carol’s part here. No wonder she was the most in-demand L.A. session bassist of the 60’s. BTW, the band’s guitarist at the time, Creed Bratton (“The Office”) is in this video clip.

“Those Were The Days” #2 11/2/1968

Mary Hopkin was just 17 (you know what I mean) when she appeared on the long-running UK TV show “Opportunity Knocks,” a predecessor to “Britain’s Got Talent,” etc. The supermodel Twiggy spotted her and tipped off Paul McCartney, who signed Hopkin to the Beatles’ brand new Apple label. Mary’s first single was a re-arrangement of a traditional Russian folk song, and knocked “Hey Jude” from the top of the British charts. In America, she got stuck at #2 behind the Fab Four.

“Ride My See-Saw” #61 10/26/1968

Another track from the Moody Blues that became a standard of album rock radio, but didn’t do all that well as a single. It was their first 45 featuring a John Lodge composition as the A-side. It was also around this time most of the group took LSD together. Not sure if there’s any correlation. A spoken intro was cut from the single.

“Smell Of Incense” #56 10/26/1968

The band Southwest F.O.B. started out at Samuell High School in the Pleasant Grove section of Dallas, and soon became a local opening act for the likes of Led Zeppelin and Three Dog Night. But they never came close to a hit again. Two members were monstrously successful in the 70’s - we knew them as England Dan (Seals) and John Ford Coley.

“Naturally Stoned” #40 10/26/1968

This barely qualifies as a one-hit wonder, reaching #40 for a Nashville duo named the Avant-Garde, consisting of Bubba Fowler...and Chuck Woolery. Yeah, THAT Chuck Woolery, as in the original host of “Wheel Of Fortune,” “Love Connection” etc. Gotta start somewhere. Produced by Billy Sherrill, the guy behind the glass for so many country hits by the likes of Tammy Wynette, George Jones, Charlie Rich, and most of Music City back then. We’ll be back in two and two...

“Baby Come Back” #32 10/26/1968

As the 60’s rolled on, integrated rock groups became more prevalent. Here’s one from the Equals that was a British #1 but their only US chart record. They were all badly injured in a 1969 car accident in Germany. Front man Eddy Grant eventually left as a result, moving back to Guyana and resurfacing in the 80’s as a solo act with “Electric Avenue.” This one’s an absolute favorite of mine.

“In-A-Gadda-Da-Vida” #30 10/26/1968

Thank goodness for lengthy songs on classic rock radio. The album version by Iron Butterfly ran 17+ minutes, and was the ultimate “in case of fire” bathroom break record. The DJ prayed it didn’t skip! The single edited out all the solos, including the nearly three minute drum solo. Organist Doug Ingle wrote the song while drinking a gallon (!) of wine. Drummer Ron Bushy was transcribing the words but Ingle slurred the title “In The Garden Of Eden,” badly mangling it; they left that in. Erik Brann was 17 and played guitar for only three months when this was recorded. It was part of a Simpsons episode where Bart snuck the sheet music into church. A true one-hit wonder, though the LP stayed on the charts for almost three years.

“Shape Of Things To Come” #22 10/26/1968

From a movie shot in 15 days titled “Wild In The Streets.” The film’s plot was that anyone over the age of 25 couldn’t be trusted and were declared non-members of society to be re-educated; it even advocated a voting age of 14. Barry Mann and Cynthia Weil wrote this tune performed by the fictional band Max Frost and the Troopers, whose drummer was played on screen by a very young Richard Pryor.

“Over You” #7 10/26/1968

The fourth straight gold single and Top 10 for Gary Puckett and the Union Gap. It was also their last hit written and produced by Jerry Fuller. They “wanted to do their own thing.” Worked well for the Monkees, right? The last straw was when Fuller hired a 40-piece orchestra to back the band on a new tune, but the group hated the song and skipped the session. Video has Portuguese subtitles - don’t ask.

“Little Green Apples” (O.C. Smith) #2 10/26/1968

A well-written song will easily cross over to various genres. Bobby Russell wrote this and “Honey” so 1968 was very good for him. This slice-of-life was done earlier in the year by Roger Miller becoming a Top 10 country hit. O.C. Smith’s version made the Top 5 on the pop, R&B and easy listening charts. Smith never had another big hit; he became a minister in Los Angeles until he died in 2001.

“Then You Can Tell Me Goodbye” (Eddy Arnold) #1 Country 10/19/1968

A remake of the Casinos’ surprise pop hit from 1967 became the 26th and last country chart-topper for Eddy Arnold this week in 1968. Eddy had an amazing career in that genre across five decades. In a business where it’s usually here today, gone later today, that’s quite an accomplishment. Neil McCoy also had a #1 country hit with his version in the 90’s.

“A Little Less Conversation” #69 10/19/1968

The Elvis song that launched hundreds of TV commercials in the 2000’s. It was from the otherwise forgettable movie “Live A Little, Love A Little” and the single did nothing at the time. A re-recording was made, but not used, for his comeback TV special that aired in December ‘68; that unused track became the basis for a remix by JXL in 2002. That mix was included on a greatest hits collection and brought Elvis to a whole new audience, not to mention all the ad exposure. Co-written by Mac Davis and Billy Strange. The Wrecking Crew’s great Hal Blaine was on drums.

“Porpoise Song” #62 10/19/1968

What could go wrong with “Head,” the Monkees’ first movie? The script was co-written by Jack Nicholson (who also appeared in the flick, which he co-produced), it had songs written by Gerry Goffin and Carole King (they composed this one) and Harry Nilsson, the soundtrack LP had a shiny, reflective foil cover...well, the movie tanked. It was totally unfocused and disjointed, maybe because Nicholson was reportedly tripping on LSD while he was writing. The Monkees argued constantly with the director. In other words, a typical rock movie. This single also tanked.

“Do The Choo Choo” #44 10/19/1968

Archie Bell and the Drells tried to ride the wave of their first two hits one more time. Didn’t quite work out as well here, even though Kenny Gamble and Leon Huff were again involved. Archie left Atlantic Records in 1970 and after a few unsuccessful singles on a smaller label he reconnected with Gamble and Huff at Philadelphia International, finding a bit of success on the R&B charts. Archie still does gigs around the Houston area and has a black belt in Kung Fu.

“All Along The Watchtower” #20 10/19/1968

Yes, boys and girls, Jimi Hendrix had a Top 20 single. Hendrix covers Bob Dylan. Even Dylan preferred Jimi’s version. BEST. COVER RECORD. EVER. Absolutely a personal fave.

“Say It Loud - I’m Black And I’m Proud” (Part I) #10 10/19/1968

A black pride jam from James Brown. According to the Songfacts website, within a year this had pretty much disappeared from his concert set list. When asked why, JB said the song served its purpose in raising awareness and he didn’t need to belabor the point. Certainly one of the funkiest records Brown ever did.

“Fire” #2 10/19/1968

Long before KISS, before Alice Cooper, there was Arthur Brown. He was one of the first rockers to incorporate theatrics into his performances. At one gig in Italy he got naked on stage. Screamin’ Jay Hawkins in the 50’s wasn’t even this outrageous. Brown’s trademark move was to wear a metal headpiece doused in methanol or lighter fluid and set it on fire. It looked like a flaming spaghetti strainer, actually.

“Ice In The Sun” #70 10/12/1968

By request, the followup to “Pictures Of Matchstick Men” was the second (and last) Status Quo single to appear on the American charts. At home in the UK, however, they racked up a total of 39 Top 20 hits, well into the 2000’s. The band morphed from the psychedelic sound heard here into more of a rockin’ outfit.

“Don’t Change Your Love” #59 10/12/1968

Family acts have been an important part of music history over the years. The Five Stairsteps were siblings from Chicago, so named when Mom said that’s what they looked like side by side. For a while, littlest brother Cubie was the sixth Stairstep. Their neighbor was Fred Cash of the Impressions; this one has a definite Curtis Mayfield influence. They had a number of Top 20 R&B hits but 1970’s “O-o-h Child” was their only major pop record.

“Down On Me” #43 10/12/1968

Sometimes a record will linger for months before even a little success, like this one from Big Brother and the Holding Company. They brought Janis Joplin on board (I’ve heard of her!) just prior to their first album, partly recorded in Chicago where the group was stranded after a concert promoter stiffed them. “Cheap Thrills” was actually their second LP. Right around this time (Oct. 20, 1968) the band played at the Alexandria (Va.) Roller Rink - yes, a roller rink. The opening act was the Jeff Beck Group, with a relatively unknown Rod Stewart on lead vocals.

“I Met Her In Church” #37 10/12/1968

A gospel-tinged tune (no surprise, given the title) from the Box Tops. After the band broke up in 1970, lead singer Alex Chilton was offered (and declined) a spot with Blood, Sweat & Tears after David Clayton-Thomas left. Alex later formed the critically acclaimed group Big Star. “Critically acclaimed” is another way of saying “they’re good but couldn’t sell any records.”

“Help Yourself” #35 10/12/1968

A song that had its premiere at the Sanremo Music Festival in Italy. It was given English lyrics (which bore no resemblance to the Italian words) and became a huge European hit for Tom Jones. The single was also a Top 5 easy listening hit in America but didn’t do quite as well on our pop chart, barely making the Top 40.

“Hip City (Pt. 2)” #31 10/12/1968

One of those two-part singles where Part II became the primary side. Junior Walker (born Autry DeWalt Mixon Jr., or was it Oscar Mixon?) was spotted in Battle Creek, MI by Johnny Bristol. He recommended the group (known by now as the All Stars) to Harvey Fuqua, who signed them. Fuqua sold his label to Berry Gordy and Motown, where Junior recorded “Shotgun,” still one of the best party records ever.

“My Special Angel” #7 10/12/1968

The last Top 10 record for the Vogues also topped the easy listening charts. It was a remake of a 1957 #1 country hit and #7 pop hit for Bobby Helms, whose previous single was “Fraulein,” also a country chart-topper. Bobby’s next record in ‘57 was the original of “Jingle Bell Rock,” a Christmas standard and one of the most played seasonal songs in history.

“Almost In Love” #95 10/5/1968

From the forgettable Elvis flick “Live A Little, Love A Little.” There were just four songs recorded for the movie; two of them appeared on this single, with the Wrecking Crew providing the music. The other side of the 45 only did slightly better in a few weeks, but nowadays appears in countless TV ads. Stay tuned...