“(Sweet, Sweet Baby) Since You’ve Been Gone” #5 3/30/1968

A double-sided hit single for Aretha Franklin, the A-side here was very much done in the same manner as her previous few singles. Like before, a slew of Muscle Shoals’ best musicians were brought to NYC to work with Lady Soul, the Sweet Inspirations and the fine folks from Atlantic Records. Definitely a winning formula.

“Valleri” #3 3/30/1968

The last Top 10 single for the Monkees. Tommy Boyce and Bobby Hart wrote the basics of the song on the way to Don Kirshner’s house; he’d told them to quickly come up with a tune containing a girl’s name for the TV show. Mike Nesmith HATED the record, though. There were two versions - the first was used on the show a year earlier and the second, with horns and a little different arrangement, became the hit. Louie Shelton (who also did the intro on “Last Train To Clarksville”) played the flamenco-style guitar on both versions. A Wrecking Crew effort all the way.

“Blue Velvet” #1 9/21/1963

Originally a 1951 mid-range hit for Tony Bennett and recorded by dozens of others (I dig the Clovers re-do from ‘55), the definitive version belonged to Bobby Vinton and reached the top in the fall of 1963. Bobby scored earlier in the year with “Blue On Blue” and was persuaded to do a whole album of “Blue”-themed songs. Yet at the time, he treated this as a throwaway and knocked it out in two takes.

The next #1 was “Sugar Shack” which brings us full circle, as I began this blog in August 2014 with a look at songs from late 1963 around the time of the Kennedy assassination. Thanks for indulging my occasional inclusions of pre-Beatles #1 records! Fear not. We return to 1968 tomorrow.

“My Boyfriend’s Back” #1 8/31/1963

From Labor Day weekend of 1963, a #1 for the Angels and one of the last major girl group hits. Written and produced by the team of Feldman-Goldstein-Gottehrer, also responsible for “I Want Candy” and “Hang On Sloopy.” Bob Feldman came up with the idea after witnessing an argument one night between a girl and a tough guy. She actually stated her boyfriend was coming back and this dude would be sorry he was ever born. The Angels were touring partners (and, uhhh, more) of the Four Seasons as noted in “Jersey Boys.”

“Suddenly You Love Me” #44 3/23/1968

The final US chart appearance for the Tremeloes, though like many British Invasion acts, they would continue to score hits back home for several more years, Definitely a weird video here, as they goof around Monkees-style at the bottom of a ski jump and purposely don’t pay much attention to the lip syncing.

“A Question Of Temperature” #37 3/23/1968

A trippy little record from the band Balloon Farm, included in the “Nuggets” box set of psychedelia. That set has a few clunkers, but definitely an eye-opening excursion into that genre. One group member was Mike Appel, later Bruce Springsteen’s manager and producer until a messy lawsuit after the “Born To Run” album.

“I’m Gonna Make You Love Me” (Madeline Bell) #26 3/23/1968

One that was a much bigger hit for the Supremes/Temptations combo later in the year, originally done by Dionne Warwick’s sister Dee Dee in 1966. Here’s a very cool version by Madeline Bell, a backup singer on records by Dusty Springfield, Donna Summer, and the Rolling Stones’ “You Can’t Always Get What You Want.” Co-written by Kenny Gamble and Jerry Ross. Video is from Germany’s “Beat Club.”

“Will You Love Me Tomorrow” (Four Seasons) #24 3/23/1968

I had forgotten the Four Seasons remade this Gerry Goffin/Carole King chestnut. They wouldn’t sniff the Top 40 again until 1975 and “Who Loves You.” There was upheaval by now within the group, well documented in “Jersey Boys.” Frankie Valli was also gradually losing his hearing though later surgery mostly restored it. These guys had an unbelievable run throughout the 60’s and are one of the most beloved American acts in rock history.

“I Thank You” #9 3/23/1968

They would rack up a few more R&B hits, but this was the final Top 40 record for Sam and Dave. The distribution deal between their label, Stax, and Atlantic Records was ending, and they didn’t get a lot of love from Atlantic going forward. It didn’t help they hardly ever spoke to each other outside of being on stage or business dealings. This one was covered nicely by Bonnie Raitt and also by ZZ Top, and the B-side, “Wrap It Up” was later a Fabulous Thunderbirds hit.

“A World Of Our Own” (Sonny James) #1 Country 3/16/1968

A remake of a ‘65 hit by the Seekers became the fourth of 16 straight country #1’s for Sonny James (from Hackleburg, Alabama) this week in 1968. He’d topped one of Billboard’s three pop charts (pre-Hot 100) with his version of “Young Love” in 1957, which directly competed with Tab Hunter’s take that also hit #1. He produced Marie Osmond’s first three solo albums in the 70’s. Sonny’s streak of country chart-toppers stood until Alabama (the group) had 21 straight #1’s in the 1980’s.

“The Legend Of Xanadu” #1 UK

This week’s UK #1 record barely “bubbled under” in America for a group with one of the longest names ever - Dave Dee, Dozy, Beaky, Mick and Tich. Yeah, that was the band’s name, consisting of their nicknames. Dave Dee (David Harman) was once a policeman and worked the crash scene in which early rocker Eddie Cochran died and Gene Vincent was badly injured. The single featured a mariachi trumpet section and a cracking whip. Ooooo-kay. Video is from Britain’s “Top Of The Pops.”

“The Ten Commandments Of Love” #55 3/16/1968

The current single from Peaches and Herb was a remake of a 1958 R&B hit for Harvey and the Moonglows. Harvey Fuqua gave a pre-Motown Marvin Gaye his first big break in the music biz, and was instrumental in the beginnings of Motown Records - at that time, he was married to Berry Gordy’s sister.

“Green Light” #39 3/16/1968

The last Top 40 single for the American Breed. Two original members would go on to form R&B/funk band Rufus in the 70’s, bringing in lead vocalist Chaka Khan. The Breed’s lead singer Gary Loizzo opened his own recording studio, working with Midwestern groups like Styx and REO Speedwagon. Loizzo passed away in 2016.

“Too Much Talk” #19 3/16/1968

The first Paul Revere and the Raiders record not produced by Terry Melcher but by their lead singer, Mark Lindsay. By now, Lindsay and Revere were co-hosting a Saturday afternoon music show, “Happening ‘68” after the demise of “Where The Action Is.” For a few months, “Happening” was also seen on weekdays. The show’s original announcer was Charlie O’Donnell, longtime voice of “Wheel Of Fortune,” succeeded by Jay Stewart, Monty Hall’s announcer on the first “Let’s Make A Deal.”

“Just Dropped In (To See What Condition My Condition Was In)” #5 3/16/1968

Occasionally songs become hits that were totally out of character for the act. The First Edition (Kenny Rogers wasn’t billed above the group yet) primarily did country and pop-flavored tunes, not surprising since most of the members were formerly with the New Christy Minstrels. Jerry Lee Lewis had even done this one earlier. The foray into psychedelia featured a backwards guitar intro played by Glen Campbell. Other Wrecking Crew musicians (Hal Blaine, Joe Osborn and Mike Deasy) appeared as well. This was part of a dream sequence in “The Big Lebowski.”

“(Sittin’ On) The Dock Of The Bay” #1 3/16/1968

One for the ages, and the first-ever posthumous #1 single on the Billboard Hot 100 chart. Otis Redding recorded some overdubs for this three days before he died in a December ‘67 plane crash along with most of the Bar-Kays, his backing band. Producer and co-writer Steve Cropper left in the whistling, which Otis had planned on erasing to tack on a spoken ending. Redding came up with the song idea while on a houseboat in Sausalito, CA, overlooking San Francisco Bay.

“Fingertips - Part 2” #1 8/10/1963

The first live #1 of the Hot 100 era and Motown’s second #1 hit on the pop charts was from “Little” Stevie Wonder in August of 1963. It was the second part of the song, recorded on a package tour a year earlier in Chicago when Stevie was just 12. There was confusion as Wonder did an encore after being, ummmm, “encouraged” to leave the stage. The band for the Motortown Revue was caught in a changeover for the next act (either Mary Wells or the Marvelettes - it gets hazy) and one of the new guys can be heard asking, “What key?” Marvin Gaye was the drummer.

“For Your Precious Love” (Jackie Wilson) #49 3/9/1968

The original of this, done by the Impressions in 1958 with Jerry Butler on lead vocals, was just superb in every way. Many others covered the song with varying degrees of success. This remake by Jackie Wilson featured Count Basie and members of his band, from a collaborative LP titled “Manufacturers Of Soul.”

“Men Are Gettin’ Scarce” #33 3/9/1968

The followup to “Skinny Legs And All” from Joe Tex was recorded in the same style, pseudo-live in the studio with overdubbed crowd laughter and applause. Hey, if the first one worked, make the second and third ones, etc. sound as identical as possible. However, Joe wouldn’t have another Top 40 single until “I Gotcha” in 1972.

“Carpet Man” #29 3/9/1968

The second single by the 5th Dimension from a concept album titled “The Magic Garden.” The LP was the somewhat autobiographical brainchild of Jimmy Webb and dealt with the stages of a relationship from start to breakup. Although this 45 was moderately successful in America, it was a far bigger hit in Canada.

“The End Of Our Road” #15 3/9/1968

Gladys Knight and the Pips scored again with this Penzabene-Whitfield-Strong composition that made the R&B Top 5. Video is from the syndicated Mike Douglas daytime show, straight from the basement of Philly’s KYW-TV. (Watch for the next segment’s promo at the end of this clip.) In an ironic twist for a song with such a title, Marvin Gaye’s remake became the very first record played on Casey Kasem’s “American Top 40” syndicated radio program in July 1970, coming in at #40. And what happened to those pictures I was supposed to see? Is Don on the phone? Radio people will get that reference. Best. Rant. Ever.

“Walk Away Renée” (Four Tops) #14 3/9/1968

Back in the day, Motown hardly ever released remakes, preferring in-house written songs. The Four Tops surprisingly (and successfully) covered this Left Banke hit from 1966. Their version, first released as a single in the UK where it became a Top 5 hit, was one of the last Holland-Dozier-Holland productions for the label.

“Simon Says” #4 3/9/1968

Pop music underwent serious changes in the 60’s, becoming heavier with social commentary, etc., but this record catered to a far different audience. The 1910 Fruitgum Company started out in north Jersey as Jeckell and the Hydes (named after their guitarist Frank Jeckell), but changed the name at the behest of bubblegum gurus Kasenetz and Katz. K&K realized there were 11 and 12-year-old girls out there who bought a LOT of records. This song had a much different beat at first, but the band altered the intro to give it more of a “Wooly Bully” feel.

“I Say Love” #72 3/2/1968

Many performers get pegged as novelty acts and no matter how they may try, they can’t shed that label, which happened with the Royal Guardsmen. That whole Snoopy vs. the Red Baron thing came to define them over the years, and whenever they attempted to break out of that stereotype it generally didn’t work. While pleasant enough, unfortunately this record didn’t alter that perception.

“Jealous Love” #50 3/2/1968

Co-written by Bobby Womack and King Curtis, this Wilson Pickett R&B Top 20 tune may have hit close to home. Apparently Wilson was insanely jealous of his then-girlfriend, Dovie Hall. By many accounts, he couldn’t stand a guy even looking at her (much less talking to her) and would fly into an uncontrolled rage when that happened. For that reason, those around Wilson pretty much learned to stay away from Dovie. Didn’t stop him from doing what (and who) he wanted, though.

“Mission: Impossible” #41 3/2/1968

This post will self-destruct in five seconds! The iconic theme from the 60’s TV series of the same name, composed by Lalo Schifrin (from Argentina), was an absolute pop rarity in that it was written in 5/4 time. According to Wikipedia, when asked about the unusual time signature, Schifrin said “...things are in 2/4 or 4/4 because people dance with two legs. I did it for people from outer space who have five legs."

“Sunshine Of Your Love” #36 3/2/1968

Cream’s first Top 40 US single. Hard to believe a group that only put out six singles and three albums in America (plus a farewell LP) during their working years would be universally recognized as a major influence in rock music. Yet Eric Clapton, Jack Bruce and Ginger Baker are regarded as just that. Bruce came up with the opening riff after seeing Jimi Hendrix in concert. This would do much better in about six months during its second chart go-round, reaching the Top 5.

“Words” (Bee Gees) #15 3/2/1968

A rarity in that Barry Gibb was the only Bee Gee who sang on this single. According to the Songfacts website this was actually written for Cliff Richard, who was taking a break from recording at the time, so the group did it themselves. The piano has an odd but quite interesting sound here. Video is from the Smothers Brothers show.

“Everything That Touches You” #10 3/2/1968

The final Top 10 hit for the Association. The musical landscape had undergone a seismic shift by now, and their tight harmonies and intricate musical arrangements seemed out of touch with changing tastes. These guys made liberal use of L.A.’s top session musicians (the Wrecking Crew). I can’t find who played on this record, but sure sounds to me like it’s Joe Osborn playing his ass off on the bass.

“Bottle Of Wine” #9 3/2/1968

The last hit for the Fireballs was recorded without Jimmy Gilmer, who sang lead on their only #1, “Sugar Shack” from late 1963. Their records were produced by Norman Petty, who was also Buddy Holly’s producer in the 1950’s. After The Day The Music Died in 1959, Petty had the Fireballs overdub new backing tracks to Buddy’s early demos, creating “new” recordings.

“Cinderella Rockefella” #1 UK

At times, I don’t understand how certain songs became hits in other countries. A throwback to vaudeville was #1 in Britain this week for Esther and Abi Ofarim, who could be called the Hebrew version of Sonny and Cher. He was Israeli and she was of Syrian-Jewish descent, and they had a fair amount of success across Europe. Like Sonny and Cher, they eventually got divorced. In a few weeks this reached #68 on our charts. Co-written by “The Smothers Brothers Show” writer Mason Williams, who would soon have a Top 5 record here with “Classical Gas.”