“Light My Fire” (José Feliciano) #3 8/31/1968

A decidedly different arrangement of the Doors classic made José Feliciano a very influential Latino performer. Blind since birth, at age 5 his family moved from Puerto Rico to Spanish Harlem in NYC and he soon became a guitar virtuoso. The success of this single led to an invite by Hall of Fame Detroit Tigers broadcaster Ernie Harwell to perform the National Anthem before Game 5 of the 1968 World Series. His very unconventional version led to José being booed off the field, but for better or worse opened the door for all the other unconventional versions we hear today.

“Everybody’s Talkin’ “ (1968) #113 8/24/1968

This totally flopped the first time around for Harry Nilsson, but reached the Top 10 a year later when it was on the “Midnight Cowboy” soundtrack. No, Nilsson didn’t write it - Fred Neil (who?) wrote and recorded the song first in 1966. Neil soon moved to the Florida Keys, living solely off the writing royalties from Harry’s version. Also used for the “Forrest Gump” soundtrack. Video is from Germany’s “Beat Club.”

“Hard To Handle” #51 8/24/1968

Man, this record is just smokin’. That’s to be expected given this posthumous B-side featured Booker T. and the MG’s, Isaac Hayes and a Stax Records horn section playing behind Otis Redding. The Black Crowes remake in the early 90’s seriously kicked ass. This REALLY shoulda been a bigger hit for Otis.

“Alice Long (You’re Still My Favorite Girlfriend)” #27 8/24/1968

The last chart single for Tommy Boyce and Bobby Hart. They wrote and produced most of the tracks for the Monkees’ first album until getting fired by Don Kirshner. After Kirshner’s own forced departure from the TV show, Boyce and Hart continued to write songs for the group while pursuing their own recording career. They even did songs used on “Bewitched,” “I Dream Of Jeannie” and “The Flying Nun.”

“(Love Is Like A) Baseball Game” #26 8/24/1968

Swing, batterbatterbatter! The followup to “Cowboys To Girls” for the Intruders made the R&B Top 5 by working in a sports metaphor to love. Their success enabled Kenny Gamble and Leon Huff to obtain seed money from Columbia Records to start up their Philadelphia International label. The rest is history.

“Halfway To Paradise” #23 8/24/1968

In the late 60’s, Bobby Vinton’s singles seemed to be a bunch of remakes. Here, he re-did a Gerry Goffin/Carole King tune that was the first chart record in 1961 for one Michael Anthony Orlando Cassavitis. We all know him as Tony Orlando, who was just 15 when he got Don Kirshner’s attention at the famed Brill Building. Tony worked his way up to VP of publishing firm CBS Music, signing Barry Manilow to his first record deal, before becoming wildly successful as the front man of Dawn in the 70’s. Vinton’s version of this song is a bit more mellow than Tony’s.

“Journey To The Center Of The Mind” #16 8/24/1968

A one-hit wonder from Detroit, the Amboy Dukes became the starting point in the career of rock and roll wild man Ted Nugent. But he wasn’t the singer here, just the lead guitarist. He’d been in garage bands since the age of 10 and developed his own unique style. The group underwent numerous changes after this, with Ted the only constant. Nugent went solo in the 70’s and became one of the loudest concert acts around. I know. I saw him six times, and still have most of my hearing.

“Stay In My Corner” #10 8/24/1968

Occasionally an act will re-release one of their older songs and do far better, as the Dells did here. The first time around in 1965, this was a #23 R&B entry but totally bombed on the pop charts. The re-do in 1968 topped the R&B charts and made the pop Top 10. Hard work and perseverance paid off for these guys.

“I Can’t Stop Dancing “ #9 8/24/1968

Archie Bell wanted his group’s name to rhyme, but not to be confused with the Dells, so they became the Drells. This was the followup to “Tighten Up.” Archie was in the Army when that record hit #1; there were at least nine copycat groups as a result, one with all white guys. A Kenny Gamble/Leon Huff production. Archie was a cousin of noted Philly record producer Thom Bell, who did the arrangement here.

“Born To Be Wild” #2 8/24/1968

An all-time biker anthem from the “Easy Rider” soundtrack and the first hit from Steppenwolf (the band, not the novel). The phrase “heavy metal thunder” gave birth to an entire musical genre. It was the Canadian group’s third single, as the first two flopped. Lead singer John Kay always wears sunglasses on stage - not an act, as he’s totally colorblind and his eyes are extremely sensitive to light.

“The Impossible Dream” (Roger Williams) #55 8/17/1968

It only seems like everybody and their brother recorded this one from the Broadway musical “Man Of La Mancha.” Pianist Roger Williams (real name: Louis Weertz) from Des Moines, Iowa took his turn here, reaching the easy listening Top 5. The prolific Williams is the top selling piano recording artist in history.

Ringo quits the Beatles...

On this date in 1968 during the White Album sessions, Ringo Starr suddenly quit the Beatles for two weeks. Things hadn’t been going well in the studio (disastrously would be a better term) and he’d had enough of the constant bickering and sniping. A lecture from Paul on how to play “Back In The USSR” was the last straw. Starr took his family to the Mediterranean and spent time on Peter Sellers’ yacht as the others pressed on. “USSR” was a composite of John, George and (mostly) Paul on drums; McCartney played drums on “Dear Prudence.” But they realized Ringo was needed, and talked him into returning. When he came back to the Abbey Road studios, George had the drum kit decked out with flowers. The tension wasn’t quite as bad, but it was still there...

“Somebody Cares” #53 8/17/1968

The followup to “Mony Mony” for Tommy James and the Shondells stalled out mid-chart. Tommy was ready to push the group into more psychedelic-oriented areas after being labeled as a bubblegum artist for several years. After one more middling 45, they successfully accomplished that feat.

“Hitch It To The Horse” #34 8/17/1968

Jesse James (the record producer, not the outlaw) made some interesting connections at the Macedonia Baptist Church in Norristown, PA. Not only did Jesse hook up with Cliff Nobles - James wrote “The Horse” - but he met Johnny Corley (The Fantastic Johnny C) who had a hit with “Boogaloo Down Broadway,” also written by Jesse. This record of Johnny’s tried to latch onto “The Horse” by having a similar title, but with much less success.

“Sealed With A Kiss” (Gary Lewis) #19 8/17/1968

The last Top 40 single from Gary Lewis and the Playboys. Gary had just been discharged from the Army; he immediately went into the studio and covered this Brian Hyland hit from 1962, but the music scene had changed considerably. Gary still has a place in rock history, though. He and the Lovin’ Spoonful both saw their first seven singles reach the Top 10, the only acts to achieve that feat in the Sixties.

“Dream A Little Dream Of Me” #12 8/17/1968

Numerous rock records had roots in the 30’s and 40’s. Here’s one from 1931, first done by Ozzie Nelson - yep, Ricky’s dad. The Mamas and the Papas used to sing this for fun (Michelle Phillips’ dad was a friend of the co-writer) until one day when Cass Elliot proposed doing it for real. It wound up being a solo record of sorts for her, billed as “Mama Cass with the Mamas & Papas” thoroughly pissing off Papa John Phillips. She did her own whistling at the end. This was their last Top 40 single.

“Turn Around, Look At Me” #7 8/17/1968

One that was recorded by several acts before finally becoming a hit. It was the first chart record for Glen Campbell (#62 in 1961); also done by the Lettermen, and by the Bee Gees while they still lived in Australia. Written by Jerry Capehart, who co-wrote “Summertime Blues” and “C’mon Everybody” with Eddie Cochran in the 50’s. This became the Vogues’ first Top 10 record since “Five O’Clock World” in 1965.

“People Got To Be Free” #1 8/17/1968

For the rest of 1968 (except for three weeks) through all of January 1969, there were only three singles that held the #1 position on the Hot 100. Here’s the first of those, done by the Rascals as a plea for tolerance and understanding. Felix Cavaliere and Eddie Brigati wrote the song as a response to the death of Martin Luther King without being overtly political. Although the group recorded the tune prior to Bobby Kennedy’s shooting, it resonated just as much in that regard.

“Mr. Bojangles” (Bobby Cole) #79 8/10/1968

As promised yesterday, here’s the uptown, somewhat swankier version of this song from Bobby Cole. Frank Sinatra called Bobby his favorite saloon entertainer - high praise indeed. Frank landed Cole regular gigs at his pal Jilly Rizzo’s joint in Manhattan.

“Mr. Bojangles” (Jerry Jeff Walker) #77 8/10/1968

Once again, we have competing versions of a song, though the major hit came a few years later from the Nitty Gritty Dirt Band. Jerry Jeff Walker wrote the tune after being jailed in New Orleans for public drunkenness - imagine that. He really was in a cell with a street performer who called himself Mr. Bojangles to conceal his true identity, and Bojangles actually did a soft-shoe for the other inmates. Jerry Jeff’s version got to #77; Bobby Cole’s slower take (featured tomorrow) topped out at #79.

“Competition Ain’t Nothin’ “ #75 8/10/1968

Carl Carlton had a major hit in 1974 with his version of “Everlasting Love.” This was his first chart entry, billed as “Little” Carl Carlton as he was 15 at the time, a la “Little” Stevie Wonder. His first label was Lando Records. Not sure if his next label was Calrissian Records.

“Yesterday’s Dreams” #49 8/10/1968

Many Motown acts struggled after the Holland-Dozier-Holland writing/production triumvirate departed the label in 1968. The Four Tops were no exception.  One thing they still had going for them was Levi Stubbs and his great lead vocals. The group formed in 1953 and stayed together for almost 45 years with the same lineup until three members passed away between 1997 and 2008.

“Prayer Meetin’ “ #45 8/10/1968

Some more greasy, funky Memphis sounds from Willie Mitchell. This one is a cover of a tune from jazz organist Jimmy Smith, who did as much as anyone to popularize the Hammond B-3 organ, a staple of rock and R&B music. In later years, Willie broke his hip and didn’t realize it for several months. Mitchell died in 2010.

“Dreams Of The Everyday Housewife” (Wayne Newton) #60 8/10/1968

As promised yesterday, here’s the Wayne Newton version. Glen Campbell may have had the bigger hit, but a much younger Mr. Las Vegas had a pretty decent take on the tune.

“Dreams Of The Everyday Housewife” (Glen Campbell) #32 8/10/1968

Today and tomorrow we present competing versions of this song. The one by Glen Campbell had a better history, making it to #32 on the Hot 100, #6 on the easy listening and #3 on the country charts in a few weeks. Wayne Newton’s take (which we’ll give you tomorrow) reached #14 on the easy listening side but only #60 on the pop charts. It’s a very well written song by Chris Gantry about a woman who used to turn heads but gave it up for domestic life. Glen’s version is a personal favorite.

“Mrs. Bluebird” #68 8/3/1968

Another “shoulda been a hit” gem, this one by Eternity’s Children. Their journey reads like soooo many others. They started out at Delta State College in Cleveland, Miss. as the Phantoms, honed their sound on the coast in the Biloxi area, changed their name, added a female singer (Linda Lawley), made the obligatory trek to L.A. to do a record, were victims of bad management after one charting single and eventually broke up. That’s a shame because the harmonies here are outstanding. Three members became part of Starbuck in the 70’s (“Moonlight Feels Right”).

“Two-Bit Manchild” #66 8/3/1968

One that’s from a less traveled portion of the Neil Diamond catalog. In a way the song is reminiscent of his “You Got To Me” or perhaps the Beatles’ “Day Tripper.” Neil still hadn’t quite gotten his career back on track after jumping to UNI Records. It took a few more singles until he entered the stratosphere of show biz.

“Autumn Of My Life” #19 8/3/1968

The followup to “Honey” for Bobby Goldsboro was his last Top 40 record until the surprise hit “Watching Scotty Grow” in 1971. He did have a couple of moderate country hit records in that timeframe, however. This one is a tale of letting go and moving on. Bobby is actually an accomplished oil painter as well as a musician.

“Pictures Of Matchstick Men” #12 8/3/1968

Status Quo had 22 Top 10 singles in their native UK, but this trippy tune was their sole American hit. While this was released to the US market, the Quo concentrated on promoting their music at home instead. That strategy paid off, as they were wildly successful in Britain as a rockin’ band into the early 2000’s. That whooshing sound on the record was called phasing, and was missing from the stereo mix.

“Hurdy Gurdy Man” #5 8/3/1968

A slice of psychedelia that Donovan wrote while in India with the Beatles and other celebrities studying Transcendental Meditation. He considered offering the song to Jimi Hendrix (imagine what Hendrix could’ve done with this!) but Donovan’s producer, Mickie Most, flipped out at the idea. Just who actually played lead guitar on the session gets a little hazy. Some say it was Jimmy Page, some say Jeff Beck. The general consensus is that it was a studio musician named Alan Parker.

“Classical Gas” #2 8/3/1968

Arguably the most famous piece ever composed for classical guitar as done by Mason Williams, who meant for the song to be “fuel” for one’s repertoire so he titled the song “Classical Gasoline.” The copyist at the session mistakenly wrote it down as “Classical Gas.” Mason was a writer for the Smothers Brothers TV show, and once performed this on a guitar made of plexiglass...with goldfish swimming inside. Mike Post did the arrangement and parlayed that into writing TV themes like “The Rockford Files,” “Hill Street Blues” and “Law & Order.”

“Hello, I Love You” #1 8/3/1968

The second of two #1 singles for the Doors was perceived as a sellout by a number of their fans. Somehow, an “underground” act couldn’t be trendy and commercially popular at the same time. It was one of a half-dozen 1965 demos recorded before guitarist Robby Krieger joined the band, and resurfaced on their “Waiting For The Sun” album. Jim Morrison allegedly wrote the lyrics after spotting a tall, sexy black girl (a “dusky jewel”) at the beach.

“Baby You Come Rolling ‘Cross My Mind” #59 7/27/1968

One of those 45’s that regularly shows up on “it shoulda been a hit” lists, an example of the sunshine pop genre from the Peppermint Trolley Company. This San Bernardino-area group had harmonies reminiscent of the Association or (dare I say it?) the Beach Boys. The band even originally recorded “The Brady Bunch” theme but their vocals were later scrubbed for the show, substituting studio singers.

“Can’t You See Me Cry” #52 7/27/1968

Here’s the record from New Colony Six that fell in between their only two national Top 40 singles. They were still the rage in their home town of Chicago, but just couldn’t quite maintain any sort of long-term nationwide success. NC6 kind of morphed from garage rock to an Association-type harmony sound.