“Hey Little One” #54 2/24/1968

Co-written and first done by rockabilly guy Dorsey Burnette in 1960, Glen Campbell made the country Top 20 with his lush remake as the followup to “By The Time I Get To Phoenix.” After years as a top-notch session musician, Glen finally came into his own. Within a year he would have a well-received weekly TV show.

“Guitar Man” #43 2/24/1968

By now Elvis decided to record what he wanted, instead of the dreck he’d been given for movie soundtracks. He kept trying this one but couldn’t get the proper vibe. Elvis asked that Jerry Reed (the song’s writer) be brought in to play acoustic guitar. Jerry cut short a fishing trip, returned to Nashville and voila! A posthumous 1981 electrified remix featuring Reed was the last of 11 country #1’s for the King.

“We’re A Winner” #14 2/24/1968

An anthem of the civil rights movement by the Impressions, written by lead singer Curtis Mayfield. It addressed the need for minorities to stop with the self-pity, and to empower themselves by showing the world their self-pride and self-worth. Just a great positive message for those times, and for today as well.

“I Wonder What She’s Doing Tonight” #8 2/24/1968

A Top 10 for the team of Tommy Boyce and Bobby Hart. They wrote hits for Jay and the Americans, Paul Revere and the Raiders and most notably for the Monkees, such as “Last Train To Clarksville,” “Words,” “Valleri” and their TV show’s theme. They also composed the enduring theme to “Days Of Our Lives.” It appears the video is from the “Hollywood Palace” variety show, hosted this time by Herb Alpert. Check out those Austin Powers wardrobes! Groovy, baby!

“(Theme From) Valley Of The Dolls” #2 2/24/1968

Today’s Hollywood shenanigans are nothing new. A movie about the seamier side of Tinseltown, based on a Jacqueline Susann book, had problems on and off screen. Ms. Susann said the movie was “a piece of s**t.” Judy Garland was fired for being drunk on the set. Raquel Welch turned down a starring role, not wanting to be cast as just a sexpot. Co-star Sharon Tate...well, we know what happened there soon enough. André and Dory Previn (who composed the score) soon divorced, partly due to Dory’s mental issues. Yet this troubled project became a cult hit. Dionne Warwick had to re-record the title song because of contractual issues; this re-do became the B-side of “I Say A Little Prayer,” turning into a huge double-sided hit months apart. I had to Google the sheet music to figure out the song’s timing - it’s kind of convoluted.

“So Much In Love” #1 8/3/1963

One of the last vestiges of doo-wop reached #1 for the Tymes in August 1963. The Philadelphia group had been singing on street corners a few months earlier when they won a talent show and got an audition with a local label, Cameo-Parkway Records. It didn’t hurt that “American Bandstand” was also broadcast from Philly, giving them invaluable exposure. You can tell how much this song influenced Billy Joel’s “The Longest Time” right down to the finger snaps. No stinkin’ autotune here.

“Look, Here Comes The Sun” #56 2/17/1968

The Sunshine Company was the first group to record Jimmy Webb’s “Up, Up And Away” but the 5th Dimension had better promotion and scored the hit. In the Southern California clubs they performed songs written by then-unknowns Jackson Browne and Gregg Allman, friends of theirs. Two members went on to back up Loggins and Messina in the 70’s.

“Get Out Now” #48 2/17/1968

This one stalled out in mid-chart range for Tommy James and the Shondells. Tommy felt he was getting jerked around by Ritchie Cordell and Bo Gentry, the songwriters he helped put on the map; he thought they were giving songs to other acts that Tommy should’ve been getting. They kissed and made up, and the Shondells’ next single cemented the working relationship by making the Top 5.

“Born Free” (The Hesitations) #38 2/17/1968

Here’s a group that did a few R&B takes on standards from the Great American Songbook. The Hesitations, from Cleveland, did very soulful versions of “The Impossible Dream” and “Climb Every Mountain” in addition to this title tune from the  1966 movie. They disbanded when their lead singer was accidentally shot and killed a few months after this record’s release.

“There Is” #20 2/17/1968

This was the first Top 20 pop hit for the Dells. The group formed in suburban Chicago (Harvey, IL) in the early 50’s, and with only a couple of personnel changes, stayed together for 60 years. Amazing. They were on a 1966 concert tour opening for Ray Charles, but got fired for being too good and upstaging the headliner.

“Baby, Now That I’ve Found You” #11 2/17/1968

Offshore pirate radio stations came about in England in the 60’s as an alternative to stuffy BBC broadcasts. They catered to a far younger, rockin’ audience until they were mostly outlawed. BBC-1 Radio came along and played records the pirates overlooked, such as this one by the Foundations, a racially mixed group of West Indians, Brits and even a dude from Sri Lanka. Another jukebox fave from my days at the local swimming pool.

“I Wish It Would Rain” #4 2/17/1968

Undoubtedly one of the most melancholy songs Motown ever released, a #1 R&B hit for the Temptations and one of their last singles with David Ruffin on lead vocals. Barrett Strong reportedly composed the musical hook on a piano with only ten working keys. Lyrics by Roger Penzabene, which were subdued with good reason. His wife was having an affair and Roger committed suicide on New Years’ Eve 1967, barely a week after this was released.

“Sing Me Back Home” Former #1 Country

The third of 38 #1 country hits for Merle Haggard had just fallen from the top this week in ‘68. It dealt with a theme all too familiar to him - being in prison. Hag spent three years at San Quentin for his role in a botched armed robbery. There’s a misconception that Merle was in the, uhhh, captive audience when Johnny Cash recorded his Folsom Prison album. However, (a) Hag never did time at Folsom, (b) he’d already established himself in country music by then, and (c) he did see Cash do a jailhouse show - while Merle was in the Graybar Hotel at San Quentin in 1959.

“Nights In White Satin” Bubbling Under

The Moody Blues hadn’t had a real hit since “Go Now” in 1965, when they were still scuffling. An epiphany took place, and they evolved into neo-classical music with the “Days Of Future Passed” LP. However, this single still didn’t yield results, only “bubbling under” the Hot 100 beginning this week. When re-released in late 1972, however, it reached #2 in America and sent the Moodies on a path to the Rock and Roll Hall of Fame. (RIP to their flautist Ray Thomas, 1/4/2018.) The concept video is very pre-MTV but not bad for the times. A personal fave of mine.

“Surf City” #1 7/20/1963

Two girls for every boy! Oh, did this one by Jan and Dean from July 1963 ever popularize surfing as a way of Southern California life. They crossed paths with Brian Wilson, who wrote the first part of the song. Thinking he’d never finish, Brian had Jan Berry take over the writing. The Beach Boys’ manager (and the Wilson brothers’ dad) Murry was furious, thinking his son had given away a sure #1. Murry was right, but Brian was happy for his friends’ success. A total Wrecking Crew effort with Glen Campbell on guitar; Hal Blaine and Earl Palmer both played drums.

“Easier Said Than Done” #1 7/6/1963

It’s hard to capitalize on a record’s success - even harder when the group members were Marines. So it was with the Essex, who were all stationed at Camp Lejeune, NC when this topped the charts in July 1963. Because they were on active duty, it was difficult just to get into the studio, much less go out and promote a single. They had one more Top 20 hit, then real life happened and the act broke up.

“Sunday Mornin’ “ #30 2/10/1968

Despite a string of Top 40 hits Spanky and Our Gang sort of fell through the cracks. They weren’t exactly lightweights (the harmonies were way too good) but big-time recognition eluded them. The group started out as a somewhat goofy jug band act on the Chicago club scene, with washboards, kazoos, and so on. Maybe that contributed to the perception.

“Some Velvet Morning” #26 2/10/1968

Some songs are quite polarizing - you either love ‘em or hate ‘em. I rather like this Nancy Sinatra/Lee Hazlewood duet, which has sometimes been called “cowboy psychedelia.” The tune oozes sexuality, conjuring up Clint Eastwood with a five-day stubble and lighting a smoke while leaving a Mexican gal’s boudoir. The song structure is very odd, as the male part is in 4/4 and the female part is in 3/4 (waltz) time. Certainly one of the spaciest songs ever, and a Wrecking Crew effort.

“Skip A Rope” #25 (#1 Country) 2/10/1968

Social consciousness wasn’t limited to rock or soul music in the 60’s. Country music got in on the act, too. This week’s #1 on that chart crossed over to the Top 40 for Henson Cargill of Oklahoma City, where his grandfather was once mayor. The lyrics are uncomplicated but still biting, as the song touches on parental arguments, racism and tax evasion. Listen to the children while they play...

“Tomorrow” #23 2/10/1968

The second and last Top 40 record for Strawberry Alarm Clock. The band kind of fell apart soon after, with competing like-named groups on the road and promoters leery of booking either one. They had varying degrees of individual success, as guitarist Ed King did two stints with Lynyrd Skynyrd; several members wrote the theme song to the ABC-TV “In Concert” late-night series. One guy wound up in Salt Lake City with a local band named Thunderchicken.

“I Can Take Or Leave Your Loving” #22 2/10/1968

The final American hit for Herman’s Hermits, though they continued to chart back in the UK for several more years. Peter Noone and the band had quite a run during the British Invasion with 14 US Top 20 hits, including two #1’s. Peter is still out on the road doing numerous concerts, and hosts a weekend show on satellite radio. Video is from British TV’s “Top Of The Pops.”

“We Can Fly” #21 2/10/1968

The followup to “The Rain, The Park, And Other Things” for the Cowsills. Like so many, there was a slightly darker side to the family group away from the bright lights, with breakups and reunions and outside projects. John Cowsill is a semi-regular touring member of the Beach Boys. Bill moved to western Canada and put out a few LP’s between illicit substance binges - he and their dad once got into fisticuffs over Billy smoking a joint. Bob is a software engineer. Barry was a casualty of Hurricane Katrina while living in New Orleans.

“My Baby Must Be A Magician” #17 2/10/1968

Written by Smokey Robinson, here’s the final hit for the Marvelettes. As was so often the case, however, things had really deteriorated within the group by now. Many personnel had come and gone since “Please Mister Postman,” the very first Motown #1 in 1961. Wanda Rogers sang lead and was the only Marvelette on this single, as the Andantes filled the other female vocal parts; bass singer Melvin Franklin of the Temptations did the spoken intro.

“Goin’ Out Of My Head/Can’t Take My Eyes Off You” #7 2/10/1968

It’s fashionable these days to take two songs, combine them and call it a mash-up. Back in the day it was called a medley. The Lettermen, an old-school vocal group with extremely tight harmonies, took this combo of tunes from Little Anthony and the Imperials and by Frankie Valli to the Top 10. These guys were a significant influence on one Brian Wilson and the Beach Boys.

“Spooky” #3 2/10/1968

We just featured an instrumental that did far better than its vocal counterpart, but the reverse applies here. This started out as a tune by saxophonist Mike Sharpe which only got to #57 a year earlier. The Classics IV, from Jacksonville, FL but working out of Atlanta, added lyrics and scored their first hit. Sharpe played the sax solo on this one. Lead vocalist Dennis Yost was also their original drummer; he played while standing, a rarity. They soon brought a drummer onboard to free up Dennis solely for singing. The Classics’ lead guitarist and producer went on to form the Atlanta Rhythm Section, who themselves covered this tune in 1979.

“Love Is Blue” #1 2/10/1968

Most times, people remember the winner of a competition. Only rarely does a non-winner eclipse the champion (think Chris Daughtry), but that happened here with one of the top instrumentals ever. A vocal version of this tune, “L’amour est bleu” placed fourth for Luxembourg in the 1967 Eurovision Song Contest, done in French by Greek singer Vicky Leandros. Marseille-born Paul Mauriat then recorded his instrumental version which became a worldwide #1 hit, topping the US pop charts for five weeks and the easy listening chart for eleven weeks.

“Your Mother Should Know”

The closing segment to the “Magical Mystery Tour” film was a 30’s style production number that featured the Beatles dancing down a giant staircase. Paul wrote it on a day when his Auntie Jin and Uncle Harry came by, so it has that “granny” feel that John loathed. (Open the door and let ‘em in...) Video is from a 2013 concert, which I think was the only tour where Paul performed the song. Someone in the crowd took this video on their phone (not terribly high quality) but you get the idea.

“No Sad Songs” #49 2/3/1968

Here’s a Southern R&B singer working with material that was almost country-flavored. Joe Simon worked extensively with Nashville DJ John Richbourg, who helped connect him with some of Music City’s better songwriters. It showed there really wasn’t a lot of difference between soul music and country, only in its presentation. Joe scored a number of hits up into the late 1970’s.

“Back Up Train” #41 2/3/1968

The first single from Al Green. As a teenager, his dad kicked him out of the house for listening to Jackie Wilson and Elvis. He dropped the final E from “Greene” after this record, and before becoming one of the most successful R&B singers of the 70’s. Al had ten Top 20 pop hits and 18 Top 20 R&B singles, then became a man of God after falling off a stage one night and injuring himself - he took it as a sign. Reverend Al is still ministering in Memphis, just up the street from Graceland.

“Darlin’ “ #19 2/3/1968

Bazinga! A tune from the Beach Boys that became an earworm for Sheldon in an episode of “The Big Bang Theory.” Brian Wilson and Mike Love first wrote it in ‘64 for Mike’s former girlfriend Sharon Marie to record. Brian then gave the song to Danny Hutton and his band Redwood (later to become Three Dog Night), but that version remains unreleased. Carl Wilson sang lead this time around. It was their highest charting record until a 1976 remake of “Rock And Roll Music.”

“Am I That Easy To Forget” #18 2/3/1968

One that was recorded numerous times in various genres. Notable country versions were done by Carl Belew (the 1958 original), Skeeter Davis and posthumously by Jim Reeves. Esther Phillips did an R&B take, and even Debbie Reynolds did a pop version. Engelbert Humperdinck scored a #1 easy listening hit here. The video looks to be from his British TV show.

“Nobody But Me” #8 2/3/1968

Another Ohio one-hit wonder, the Human Beingz from Youngstown. Capitol Records misspelled their name on the contract as “Human Beinz” and said it would be corrected on the record labels. It wasn’t, and the band was pissed! The Isley Brothers (from Cincinnati) first did this in 1962, and it flopped. The double-time pinging at the end was the bass player hitting a glass Pepsi bottle with a drumstick. They used the word “no” 31 times in a row - TWICE. This one I recall vividly from the jukebox at our local swimming pool in the summer of ‘68, as it played constantly. Some things just stay with you. The video today consists of “The Addams Family” gettin’ down. Check out Lurch with the stanky leg!

“Green Tambourine” #1 2/3/1968

A #1 ode to street buskers by a one-hit wonder, the Lemon Pipers. They were from a college town (Oxford, Ohio) and once lost a statewide battle of the bands to the James Gang. The group was pushed into making bubblegum records by their label, and didn’t really care for this tune. Lead guitarist Bill Bartlett went on to be part of another one-hit wonder in the 70’s as Ram Jam with “Black Betty.”

“Sukiyaki” #1 6/15/1963

The first Asian-language #1 hit in America was by Kyu Sakamoto in June 1963, actually titled “Ue o Muite Arukō" or “I Look Up When I Walk.” UK record executive Louis Benjamin heard the song on a 1961 trip to Japan where it had already topped their charts. He licensed the rights and had British jazz trumpeter Kenny Ball do an instrumental version, changing the title to “Sukiyaki” figuring that was the only Japanese word most English speakers understood. That would be like taking a beautiful American ballad and calling it “Cheeseburger.” Regardless, a Seattle DJ obtained a copy of the original and the record gained traction in the US. Sakamoto was one of 520 people who died in a 1985 Japan Airlines 747 crash.

“Everlasting Love” (Love Affair) #1 UK

The original of this oft-covered tune was a ‘67 hit for Robert Knight. One of those cover versions (not issued in the US, I believe) became this week’s #1 in the UK by the group Love Affair. Actually it was just lead vocalist Steve Ellis, with session musicians handling the rest - that practice wasn’t limited only to America. One of the backing singers was Kiki Dee, who had some success here in the 70’s.