“Angel Of The Morning” #7 6/29/1968

Another one-hit wonder, this was about premarital sex (a taboo subject in those days) and sounded like a very slow “Wild Thing.” It was credited to Merrilee Rush and the Turnabouts, though the band wasn’t on the single; session musicians were used instead. The group was on tour with fellow Pacific Northwest band Paul Revere and the Raiders, who recorded a few songs while in Memphis. Merrilee used the opportunity to record this song written by Chip Taylor, brother of actor Jon Voight and Angelina Jolie’s uncle. Juice Newton had her first hit with a 1981 remake.

“The Horse” #2 6/29/1968

An intended B-side credited to a lead singer who didn’t even appear on the record. Cliff Nobles and his band made a single, “Love Is All Right” backed by a studio horn section. The flip was simply the A-side minus Nobles’ vocal. DJ’s started playing the instrumental version and the record took off. The horn section and Cliff’s band then tried to get more money out of producer Jesse James but were rebuffed. So those guys (without Nobles) left to become the nucleus of the first incarnation of MFSB, the studio musicians who played behind all those Philly hits produced by Kenny Gamble and Leon Huff. Go figure.

“Time For Livin’ “ #39 6/22/1968

The last Top 40 record for the Association. In the space of two years, they came from near-obscurity to have seven Top 40 hits, including two #1’s, and opened the famed Monterey Pop Festival in 1967. They would then endure numerous personnel changes until becoming mainstays of the oldies circuit. Video is from German TV’s “Beat Club.”

“How’d We Ever Get This Way” #21 6/22/1968

The first chart single for Montreal native Andy Kim. He later co-wrote “Sugar, Sugar” and contributed backing vocals for the virtual group known as the Archies. Andy shied away from touring for years because, according to Wikipedia, he had created this persona of a blond Caucasian surfer and didn’t want to shock the fans with his Lebanese ancestry and swarthy looks.

“A Man Without Love” #19 6/22/1968

Song competitions were (and remain) a big deal on the European music scene. This one, originally titled “Quando m’innamoro” came out of the Sanremo Music Festival and, translated from Italian, was an US easy listening Top 5 hit for Englebert Humperdinck. Englebert soon became a huge draw on the Las Vegas Strip.

“I Love You” #14 6/22/1968

Another one-hit wonder, this time from a San José band called People! (with the exclamation point). Their lone hit was originally a 1965 B-side by the Zombies. People! broke up when the two lead vocalists refused to go along with the others in joining Scientology. One of those lead singers, Larry Norman, is generally acknowledged as a pioneer of the Christian rock movement.

“Reach Out Of The Darkness” #10 6/22/1968

Far out, man. A one-hit wonder from a married couple, Jim and Cathy Post (who recorded as Friend and Lover) became a counterculture anthem in the turbulent summer of 1968. I couldn’t figure out why the narrator speaks of a man he did not care for, then said dude phones the narrator out of the blue. Huh? BTW, Jim and Cathy eventually got divorced. Ray Stevens and Joe South played on this session.

“MacArthur Park” #2 6/22/1968

The Sixties were full of very polarizing songs, none more so than this Jimmy Webb composition which was first turned down by the Association. In 1992, columnist Dave Barry declared it the worst song of all time. I beg to differ. It’s a rather intricate arrangement, if you can mentally set aside the, ummm, challenging lyrics delivered by hard-living Irish actor Richard Harris. The Wrecking Crew was at their finest providing the backing music. At 7:20, this and “Hey Jude” were the longest hit singles of the time. Webb used to meet his then-girlfriend at the park for lunch; the actual MacArthur Park in L.A. then fell on hard times, becoming rather unsavory. A disco remake by Donna Summer topped the charts in 1978.

“This Guy’s In Love With You” #1 6/22/1968

Herb Alpert, being the A in A&M Records in addition to his Tijuana Brass gig, would ask his songwriting pals if they had tunes they personally liked, but for whatever reason didn’t sell. So Burt Bacharach and Hal David reworked this ditty for Herb to sing to his first wife on a TJB TV special in April 1968. The response was so strong it was rush-released as a single two days after the show aired and went straight to the top. In 1979 Alpert took “Rise” to #1 as well, making him the first ever to have a vocal and instrumental chart-topper. On a side note, Bacharach and David gave Herb another song at the time. Alpert held onto it, waiting for the right act to come along. A&M eventually signed this sibling act from Southern California, and Herb gave the Carpenters “Close To You” which became their first #1 in 1970.

“Rock Around The Clock” (1968 reissue) #118 6/15/1968

In Joel Whitburn’s invaluable first book about the Billboard Top 40 charts, he said there are two records in rock history that clearly divide everything that came before them from everything that came after. “I Want To Hold Your Hand” is one; this is the other. The original from 1955 by Bill Haley and His Comets (who were originally a country group) was reissued for some mysterious reason, what with everything else that was going on in 1968. But it only “bubbled under” this time around.

“It’s Over” (Eddy Arnold) #74 6/15/1968

Another record that’s NOT what you may think it is, given the title. Not the Roy Orbison classic, but a re-do by Eddy Arnold of a tune written by Jimmie Rodgers (“Honeycomb”) and first done by Jimmie in 1966. Eddy’s version reached the country Top 5, his next to last single to do so.

“(You Keep Me) Hangin’ On” #25 6/15/1968

NOT the Supremes song with the same title, this Joe Simon 45 is a reworking of a country tune first done in 1967 by the Gosdin Brothers, Rex and Vern. Vern later re-did the song in 1976 as a solo act; Emmylou Harris helped on harmony vocals. Vern Gosdin would have 19 Top 10 country hits, including three #1’s.

“I Could Never Love Another (After Loving You)” #13 6/15/1968

Co-written by the late Roger Penzabene, this was the final Temptations single with David Ruffin as lead vocalist; the next release had Eddie Kendricks on lead. David was fired while this 45 was on the charts for his erratic diva-like conduct and drug use. Dennis Edwards was his replacement, but during Dennis’s debut with the group in Valley Forge, PA, Ruffin evaded security and strutted on from the wings to upstage the Temps. He did this a few more times and begged to be rehired, which he was. But David promptly missed a gig at the Shady Grove Music Fair in Gaithersburg, MD (a theater in the round) whereupon he was canned for good.

“Think” #7 6/15/1968

The sixth R&B #1 for Aretha Franklin used the same basics as most of her previous hits, bringing in some of the great session musicians from Muscle Shoals. She re-recorded the song in 1980 for the first Blues Brothers movie, starring Dan Ackroyd and John Belushi as Elwood and Joliet Jake Blues. We’re on a mission from God.

“Yummy Yummy Yummy” #4 6/15/1968

Okay, bubblegum music was never about deep or insightful lyrics, but this might be one of the five silliest songs ever made. I’m sure Joey Levine, vocalist with the Ohio Express and the song’s co-writer, lost a lot of sleep over that, too. Riiiiight. Joey submitted the demo to producers Kasenetz and Katz, who went ahead and released it pretty much as is. The group was basically Levine and anonymous studio musicians, and was totally different from the Ohio Express band that had a Top 40 hit with “Beg, Borrow And Steal,” which was also unrelated to the road band using that name.

“Mony Mony” #3 6/15/1968

One of the greatest party songs in rock history, and another summer jukebox memory of mine at the pool. Tommy James said the idea came to him one night on the terrace of his Eighth Avenue apartment in Manhattan. He and Ritchie Cordell were trying to come up with a slightly silly girl’s name for a song title, along the lines of “Sloopy” or “Bony Maronie.” Tommy looked across the NYC skyline and saw the Mutual of New York (MONY) insurance company sign. BAM! He later said had he looked the other way, the song could’ve been called “Hotel Taft.” A Billy Idol remake in 1987 gave rise to an obscene crowd chant, but I digress...

“The Image Of Me” #5 Country 6/8/1968

Former rock and roller Conway Twitty (“It’s Only Make Believe”) had always wanted to record country music, so in the mid 60’s he began a second act to his career. It took a few years but this was his first huge hit on that chart, making the Top 5 this week in 1968. The former Harold Jenkins went on to have 44 #1 country singles. Most were on his own but five of those were duets with Loretta Lynn.

“Sleepy Joe” #61 6/8/1968

The last Hot 100 record in America for Herman’s Hermits. They had a few more bonafide hits back home in the UK up into 1970, however. Front man Peter Noone adopted the Herman persona when he misheard someone say that he looked a little like Sherman from the Mr. Peabody cartoons. He made a career out of it.

“If You Don't Want My Love” #49 6/8/1968

Robert John Pedrick Jr. (known professionally as Robert John) was only 12 when he had his first chart record in 1958, but that only reached #79. It took another 10 years until this became his next one, then another three-plus years went by until his remake of “The Lion Sleeps Tonight” got into the Top 5. Another seven years passed before Robert had his only #1 with “Sad Eyes.”

“If I Were A Carpenter” (Four Tops) #20 6/8/1968

Rarely does a song succeed in several different genres. Written and first done by folkie Tim Hardin (who also wrote “Reason To Believe,” made famous by Rod Stewart), this was the last major hit for Bobby Darin. It also was a huge country hit for Johnny Cash and June Carter. In between, the Four Tops recorded a rather soulful version here featuring the great lead vocals of Levi Stubbs.

“Master Jack” #18 6/8/1968

In these internet-connected times, it’s easy for anyone anywhere in the world to have a hit...anywhere in the world. Back in the day it was far different. So it was for the group Four Jacks and a Jill, one of the few South African acts to ever have an American hit. It’s kind of a quirky little tune, actually, and a one-hit wonder.

“Like To Get To Know You” #17 6/8/1968

The last Top 40 record from Spanky and Our Gang. It’s about a guy who finally gets the nerve to chat up a girl at a party, and she responds by not promising anything will happen but she’d like to get to know him, too. Recorded in L.A. as several members of the Wrecking Crew were brought in to assist on the record. Clip is from German TV’s “Beat Club.”

“Delilah” #15 6/8/1968

Since time immemorial, songs about crimes of passion have always been popular. This one by Tom Jones, definitely a karaoke favorite, is no different. Even Homer Simpson once sang it. The protagonist couldn’t deal with his two-timing woman any longer. No way this record could be made in today’s PC world. A not-yet-famous Elton John was part of the indistinguishable backing chorus.

“May I Take A Giant Step (Into Your Heart)” #63 6/1/1968

The followup to “Simon Says” for the 1910 Fruitgum Company, and in the same vein as both used children’s games as song titles. This single didn’t do nearly as well, but the next single did far better. Original member Frank Jeckell is still out there doing shows on the East Coast and the occasional oldies cruise ship thingy.

“Brooklyn Roads” #58 6/1/1968

An autobiographical tune from Neil Diamond, and his first single for the Uni label (later known as MCA Records) after his rancorous split from Bert Berns and BANG Records. Diamond found a loophole to get out of his contract, or so he thought. Although Berns died in December 1967 at the age of 38, his estate kept Neil awash in lawsuits for another decade. Diamond’s career suffered for a time as a result.

“Unwind” #52 6/1/1968

Ray Stevens was known for his novelty records in the early 60’s such as “Ahab The Arab” but had little success since then, so he decided to do more serious songs. Ray’s next single did marginally better than this, but the one after that flopped badly. By 1969 he went back to doing really goofy records with better results.

“I’m Sorry” #42 6/1/1968

A few weeks ago we talked about the Delfonics and how their former label tried to piggyback on the group’s breakthrough “(La-La) Means I Love You.” Their old label re-issued an unsuccessful single, “He Don’t Really Love You” which cut into how well this record did, having an overall negative effect.

“I Will Always Think About You” #22 6/1/1968

The biggest hit to date from Chicago’s New Colony Six. The single reached #1 locally on powerhouse Top 40 stations WLS and WCFL long before it broke out nationally, which caused a bit of a drag on its overall Billboard success. Timing is everything. The NC6 wore colonial-type outfits on stage, similar to Paul Revere and the Raiders. Both bands auditioned for “Where The Action Is” and even stayed at the same hotel in L.A. at the same time. In the end, Dick Clark hired the Raiders.

“The Good, The Bad And The Ugly” #2 6/1/1968

I think this falls into the category of surprise hits. Hugo Montenegro’s version of Ennio Morricone’s main theme from an Italian western starring Clint Eastwood almost reached #1. It was kept from the top spot by “Mrs. Robinson,” another movie song. The haunting two-note ocarina part was played by Art Smith with whistling by Muzzy Marcellino. Tommy Morgan provided the “wah-wah-wah” ersatz harmonica by cupping his hands. Montenegro himself did those grunting sounds, which added a sort of fake Italian vibe.

“Mrs. Robinson” #1 6/1/1968

From the soundtrack of “The Graduate,” a movie about cougaring long before that became hip, this #1 almost didn’t happen. Paul Simon wrote just a few snippets of the song for the flick, considering the effort a throwaway. He and Art Garfunkel only fleshed out a far different full version several months after the movie became a hit. Years later, Joe DiMaggio asked Simon about the reference to him when they ran into each other at a restaurant. Paul said he didn’t really mean Joe had died, that it was more of a rhetorical thing. DiMaggio accepted that explanation, then Joltin’ Joe had left the restaurant and gone away...hey hey hey...hey hey hey...