“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!