“Where Do You Go To (My Lovely)?” UK #1

This week’s British #1 in 1969 was a love/hate situation with the record buying public over there. People either dug the biggest hit from Peter Sarstedt, or not. It was loosely based on a Sophia Loren-type who rose from nothing to a European jet-set lifestyle. This got to #70 in America in May of ‘69. Peter’s brother Richard also had a UK #1 in 1961, using the name Eden Kane. Video is from “Top Of The Pops.”

“Daddy Sang Bass” #42 (#1 country) 2/22/1969

This spent six weeks at #1 on the country chart and just missed the pop Top 40 for Johnny Cash. He and his wife, June Carter Cash, had recently visited Israel and Johnny developed the concept of a gospel album about the Holy Land. The song was written by Mr. Blue Suede Shoes himself, Carl Perkins, and also featured the Carter Family and the Statler Brothers; all of them were part of Cash’s road show. “Mama sang tenor” was sung by June (some say it’s Jan Howard); “Me and little brother...” was by Don Reid and Lew DeWitt of the Statlers.

“Sweet Cream Ladies, Forward March” #28 2/22/1969

The things I find while researching this blog astound me sometimes. I had NO idea this Box Tops song was all about hookers. Shows how naive I must have been. Apparently this was used in a TV ad back in the day for some type of whipped topping - not Cool Whip, but a similar product. The ad was quickly pulled when the maker figured out the song’s meaning.

“Goodnight My Love” (Paul Anka) #27 2/22/1969

Paul Anka was a star in the early days of rock and roll with hits like “Diana” and “Lonely Boy.” But like so many, the British Invasion put a huge dent in his career. He didn’t even have a moderate hit for years until this remake of a Jesse Belvin R&B classic. However, it would be Anka’s last Top 40 single until 1974’s “(You’re) Having My Baby.” In the meantime, Paul composed the English language lyrics to “My Way,” a signature song for both Frank Sinatra and Elvis.

“I’m Livin’ In Shame” #10 2/22/1969

Written by the five-person collective known as the Clan that also composed “Love Child,” this could be considered its sequel. Here, the protagonist lied about her upbringing and paid a steep psychological price. As was the norm by now, Diana Ross was the only Supreme here, backed by the Andantes. Neither Mary Wilson or Cindy Birdsong contributed.

“Can I Change My Mind” #5 2/22/1969

Tyrone Davis only had two major pop hits (this was the first), but he had 14 Top 10 R&B hits and several more which just missed. He was born in Greenville, Miss. as Tyrone Fettson, grew up in Saginaw, Mich. and broke into the music biz in Chicago, taking on his producer’s surname. He suffered a stroke in late 2004 and passed away several months later.

“Build Me Up Buttercup” #3 2/22/1969

One from the Foundations that showed up almost 30 years later on the soundtrack of “There’s Something About Mary.” Good thing Brett Favre stuck with football. The flick made me ponder hair products, too. Around this time the group had a falling out with their producer, who didn’t allow them to record their own songs except as scattered B-sides. The hits dried up soon afterward.

“Until My Dreams Come True” #1 Country 2/15/1969

The fourth of five #1 country singles for Jack Greene. He had been Ernest Tubb’s drummer for several years, even doing a few tunes as his opening act until Ernest got tired of the crowd wanting the drummer to sing some more. Jack was named the first CMA male vocalist of the year in 1967.

“She’s Not There” (The Road) #114 2/15/1969

Here’s an odd remake of the Zombies’ first hit, from a Buffalo, NY group called The Road. They started out as Mellow Brick Rode, playing all over western New York and shortening their name along the way. They connected with WKBW DJ Joey Reynolds, who wrote at least one song for them under the name J. Pinto.

“A Minute Of Your Time” #48 2/15/1969

The followup to “Help Yourself” didn’t do nearly as well for Tom Jones, who was indirectly responsible for Elvis Presley’s return to live performances. They had been friends for several years and Elvis would attend Tom’s shows in Las Vegas. The King thought Tom was the closest thing to him on stage, so he looked to Jones as an inspiration after seeing him perform at the Flamingo in ‘68.

“Does Anybody Know I’m Here” #38 2/15/1969

There were all sorts of anti-war rock songs in the 60’s, but very few geared toward black audiences. The most well-known example may have been “War” by Edwin Starr. Here’s something earlier from the Dells which addressed that issue. Think “Mr. Lonely” from an African-American perspective. An interesting take, for sure.

“Ramblin’ Gamblin’ Man” #17 2/15/1969

The breakthrough record for Bob Seger. He’d been scuffling around his native Detroit for years before succeeding with his band, the Bob Seger System, but wouldn’t chart this highly again until 1977’s “Night Moves.” I remember this one from Top 40 (at the time) AM blowtorch WKYC in Cleveland, which blasted into my area at night. The mixed-way-too-loud backing vocal was by Seger’s bud Glenn Frey, long before the Eagles. Glenn and Bob were dating twin sisters at the time.

“Touch Me” #3 2/15/1969

The third and last Top 5 single from the Doors took the group in a considerably more mainstream direction, which alienated their core audience. The band went back and forth between pop and more underground sounding stuff. Guitarist Robby Krieger lifted the main riff here from the Four Seasons’ “C’mon Marianne.” Jim Morrison wasn’t enamored with the jazzy sax part played by Curtis Amy. At the end, Morrison says “Stronger than dirt” (from an ad for Ajax detergent) as a jab at his bandmates. The others wanted to license “Light My Fire” for a Buick commercial but Jim vetoed the proposal.

“Everyday People” #1 2/15/1969

This one gave birth to the phrase “different strokes for different folks” and spent four weeks at #1 for Sly and the Family Stone. The band, like the song, was all about equality; they were black, white, male, female. Over the next couple years they saw success, but drug use and other self-created issues torpedoed the act.

“(If Paradise Is) Half as Nice” UK #1

One of the few Welsh bands to rack up a #1 single in the UK came from this week’s chart-topper over there, Amen Corner. I don’t think this was ever released in the States. Their producer was American expatriate Shel Talmy, who made his mark working with the Kinks and the Who. Amen Corner broke up by the end of 1969. Video is from Germany’s “Beat Club.”

“Tra La La” #96 2/8/1969

By now, TV and pop music were joined at the hip. The Banana Splits’ Saturday morning kiddie show blended live action with animation plus some goofy songs. Among those connected with the music segments were Joey Levine (Ohio Express), Al Kooper (who worked with Bob Dylan, Blood, Sweat & Tears and Lynyrd Skynyrd), Barry White (yeah, him) and Gene Pitney.

“The Carroll County Accident” #92 (#2 country) 2/8/1969

Occasionally the twangiest country records would make it onto the pop charts. This one from Porter Wagoner was a Top 5 on the country side a month earlier. Porter’s trademark was to wear the flashiest rhinestone suits possible on stage. He also gave Dolly Parton her first big break. She was a long-time regular on his TV show, where this video is from. Check out Buck Trent and yes, his electric banjo.

“Bubble Gum Music” #74 2/8/1969

Perhaps the longest band name of the 60’s, The Rock And Roll Dubble Bubble Trading Card Co. Of Philadelphia - 19141; their name included the ZIP Code. It was the brainchild of two of the Strangeloves (“I Want Candy”). Jerry Goldstein and Bob Feldman were also behind the McCoys’ “Hang On Sloopy” along with their pal and co-producer Richard Gottehrer. But the bubblegum genre was fading rather fast...

“California Soul” #25 2/8/1969

Written by Ashford and Simpson and recorded by several Motown acts over the years (including a duet by Marvin Gaye and Tammi Terrell), the 5th Dimension gave this one a shot and scored a moderate hit. Not to worry, though. 5D’s next single was unmistakably a career-defining moment.

“Hang ‘Em High” #9 2/8/1969

Here’s the first Top 10 record from Booker T. and the MG’s since their debut single, “Green Onions” in 1962. The original version of this was composed by Dominic Frontiere for the Clint Eastwood movie of the same name, then a cover from Hugo Montenegro barely charted. But like always, the MG’s added their own Memphis flavor to it.

“I Started A Joke” #6 2/8/1969

The second Top 10 single in America for the Bee Gees, oddly enough, was never released as a 45 in the UK. In a few months, Robin Gibb would leave the act to embark on a solo career. That lasted for just over a year, with Robin having some success in Europe before he returned to the fold in the summer of 1970.

“Feelin’ So Good (S.K.O.O.B.Y.-D.O.O.)” #53 2/1/1969

The second single from the Archies, Don Kirshner’s cartoon band project. Back when breakfast cereals were loaded with sugar, he arranged for cardboard Archies records to be placed on back of the boxes. Was it coincidence the song’s subtitle (S.K.O.O.B.Y.-D.O.O.) may have inspired the name of a certain crime-solving cartoon Great Dane? Rooby-dooby-doo!

“Baby Let’s Wait” #35 2/1/1969

A reissue of the first single by the Royal Guardsmen made the Top 40 after bombing  on its original go-round. It was their last chart entry - after the Snoopy/Red Baron stuff, they just couldn’t shake that novelty act label. They kept at it for a brief period around their home area of Ocala, FL but soon split up. An unexpected sound here.

“Blackberry Way” #1 UK

This week’s UK #1 single came from the Move, perhaps the best British Invasion-era band to never make a dent in America. The song might be the darker cousin to “Penny Lane.” The band took on a more progressive sound in the early 70’s. Several members, including later addition Jeff Lynne, became the nucleus as the group morphed into Electric Light Orchestra in a few years. This one’s a personal favorite.

“Hey Jude” (Wilson Pickett) #23 2/1/1969

It was Duane Allman’s suggestion to Wilson Pickett at the FAME studios in Muscle Shoals that he record this recent Beatles hit. At first, Pickett thought it was crazy to even try, but he came around. Duane’s guitar work impressed Eric Clapton so much that he contacted Allman to join him on the Derek & the Dominoes project. And that’s how “Layla” came to pass...

“Stand By Your Man” #19 (#1 Country) 2/1/1969

One of the defining country music songs of all time, twangy as can be, yet it still made the pop Top 20. Tammy Wynette was unsure of her songwriting ability; I believe those doubts were thoroughly dispelled. She and producer Billy Sherrill wrote the song in 15 minutes, and Tammy said she spent a lifetime defending it from feminists. But it’s actually rather empowering - ‘cause after all, he’s just a man...

“If I Can Dream” #12 2/1/1969

This was the final song of the Elvis comeback special, which aired in December 1968. Colonel Parker flatly said in a meeting it wasn’t his guy’s kind of material. The King, who unbeknownst to the Colonel had entered the room, said he wanted to try it. The song became one of the most powerful entries in the Elvis repertoire because he put his heart into it. Some lines directly quoted Dr. Martin Luther King.

“Worst That Could Happen” #3 2/1/1969

Johnny Mastrangelo was once the front man for the Crests (“16 Candles” the song, not the movie). A former bandmate was Patricia Vandross, Luther’s sister. They appeared on Ed Sullivan, who mangled his name into Johnny Maestro - it stuck. He then became part of an 11-person band; their managers said it would be easier to sell the Brooklyn Bridge than to book their act. That stuck, too. This was a note-for-note cover of a Jimmy Webb song first done by the 5th Dimension as an album cut. Johnny passed away in 2010. Great set of pipes, and I miss him.

“Crimson And Clover” #1 2/1/1969

Wonder how many parents named their kids after this song, which represented a total break from the bubblegum past for Tommy James and the Shondells. And this mix wasn’t what we were supposed to hear! Tommy had a gig in Chicago the day after the session and took a raw tape to WLS Radio for a private listening by a few staffers. However, someone at the station pirated the rough mix and put it on the air right after he left! The response was so great Tommy’s label didn’t let him change anything. Since albums were now trendy, a trippy extended version of C&C was created from the single (instead of a single edited from a longer take) and that LP took off - first album I ever bought! The LP mix had a few technical errors, like a change in pitch at the beginning of the guitar solo plus several iffy tape splices; thanks to digital editing, those were magically fixed decades later. The song was covered by everyone from Prince to Dolly Parton, but Joan Jett’s take kicks ass!