“Runaway Child, Running Wild” #6 3/29/1969

After the success of “Cloud Nine” the Temptations followed up with another psychedelic soul hit, again featuring the wah-wah of Dennis Coffey. And like before, all five Temps traded lead vocals. The album version ran almost ten minutes; the single used just the first five minutes. I can see where this could scare kids straight, and not to run away from home.

“Time Of The Season” #3 3/29/1969

The Zombies had a few hits at the dawn of the British Invasion like “She’s Not There” and “Tell Her No” but the success went away. The band broke up in 1968 after one last LP, “Odessey and Oracle” that wasn’t even planned for a US release. (“Odyssey” was accidentally misspelled.) However, Al Kooper believed in the album and pushed Columbia Records for an American issue. This single slowly gained traction and the band had to reunite, after which they quickly broke up again. Keyboardist Rod Argent had a 1972 hit with “Hold Your Head Up.” Argent has dueling organ solos with himself here at the end, thanks to multi-tracking.

“Traces” #2 3/29/1969

The biggest hit for the Classics IV gets a bad rap for being kind of sappy. Actually, it’s a very nicely arranged song about how the simplest things can bring back memories of a past love affair. Lead singer Dennis Yost eventually lost the rights to use the band name and would hire local bands to back him in concert.

“Kaw-Liga” #3 Country 3/22/1969

The original of this was from the last recording session Hank Williams ever did. Many artists covered it over the years including this country Top 5 from Charley Pride, recorded live at the old Panther Hall in Fort Worth, Texas. Charley’s next six singles all reached #1; he had 29 country chart-toppers in all.

“Long Green” #73 3/22/1969

A 1964 Top 5 hit for the Kingsmen, “The Jolly Green Giant,” had this as the B-side. A remake became the last chart entry for the Fireballs. They recorded for Norman Petty at the same studio in Clovis, NM where Buddy Holly started out. Their “Sugar Shack” had the misfortune of being #1 at the time of the JFK assassination; the Fireballs never fully recovered from that or the British Invasion.

“I Don’t Know Why” #39 3/22/1969

Another single where the intended A-side and B-side wound up exchanging places. This started out as the featured song, but DJ’s started turning the record over. The single was then reissued and in a few months what began as the flip became one of Stevie Wonder’s biggest hits ever, leaving this side in the dust.

“Sophisticated Cissy” #34 3/22/1969

New Orleans is home to some of the funkiest music anywhere. The Meters were integral to that rhythmic gumbo of styles. Fronted by Art Neville of the Neville Brothers, these guys played some seriously tight grooves. There’s a similarly titled record from Rufus Thomas that spelled the proper name “Sissy” and was a very popular dance tune in the black gay clubs down on the bayou.

“The Weight” (Aretha Franklin) #19 3/22/1969

Here’s one that has been covered dozens of times, but Aretha Franklin took to its highest chart position as a single. Her version also made the R&B Top 5. The Band, who did the song first, claimed there weren’t any biblical references but that may be a stretch. Nazareth refers to the Pennsylvania town that’s home to Martin acoustic guitars. The 70’s band Nazareth also took their name from this tune. Duane Allman played slide guitar here.

“Things I’d Like To Say” #16 3/22/1969

Bands evolve over the years, and so it was with Chicago’s New Colony Six. This was their biggest national hit, far mellower and miles away from their beginnings as an American group sounding like a British Invasion act. It was also their last Top 40 record. Several NC6 members are still doing gigs around Chicagoland.

“Indian Giver” #5 3/22/1969

One could discern a common thread running through the 1910 Fruitgum Company’s bubblegum hits. They all had subject matter and titles that appealed to the pre-teen audience. This one, co-written by Ritchie Cordell and Bo Gentry who wrote numerous Tommy James and the Shondells hits, along with Bobby Bloom (“Montego Bay”) was no different. This title would never fly in today’s PC world.

“Goodbye, Columbus” #80 3/15/1969

From the movie starring Richard Benjamin and Ali McGraw based on a 1959 Philip Roth book, here’s the title track by the Association. The hits had dried up by now for the group. In 1983 they re-recorded some of their earlier songs for one side of a K-Tel album and the Turtles did the same for the other side - a very common practice back then.

“Maybe Tomorrow” #67 3/15/1969

The first single from Badfinger...except they were still known as the Iveys. The name change came shortly after this record, which did nothing in the UK and not much better in America. It was a blow to the first non-Beatle band signed by Apple Records. This did very well in Japan and on the European continent, though. By the end of 1969 their career improved.

“Tear Drop City” #56 3/15/1969

After their TV show was canceled, the Monkees just weren’t having much chart success. The late Peter Tork had even quit by now, leaving them a trio. Their new management thought the best way to recapture the earlier magic was to put out previously unreleased stuff, like this one dating back to 1966. Even though it evoked “Last Train To Clarksville” it didn’t work. Micky Dolenz was the only Monkee actually on the record.

“May I” #39 3/15/1969

Carolina beach music is such a regional thing. It’s popular in all those coastal towns from Hilton Head up to Virginia Beach, which is where Bill Deal and the Rhondels called home. Bill was a prodigy of sorts, once placing second on Ted Mack’s Original Amateur Hour. (Think “America’s Got Talent” several generations back.) His horn-driven beach music band reached the Top 40 with this Maurice Williams tune.

“I Got A Line On You” #25 3/15/1969

There are bands who never quite have that huge breakthrough record. So it was with Spirit, as this was their sole Top 40 effort. Their early stuff was produced by Barry Hansen, who we know these days as radio host Dr. Demento. Guitarist Randy California had been in a group with then-unknown Jimi Hendrix. After this became a hit they skipped Woodstock, which in hindsight didn’t help. Singer Jay Ferguson later had a hit with Jo Jo Gunne (“Run, Run, Run”) and solo (“Thunder Island”) and is now a soundtrack composer, scoring weekly episodes for “NCIS: Los Angeles.”

“Games People Play” #12 3/15/1969

It’s usually a relief when a songwriter finally scores a hit singing one of his own tunes. Joe South, writer of “Down In The Boondocks,” “Hush” and more, broke through as a performer with this scathing look at various forms of hypocrisy. He was also an accomplished session guitarist and wrote “Rose Garden” by Lynn Anderson. Freddy Weller, whom we mentioned yesterday, had a country hit with his version when he went solo later in the year.

“Dizzy” #1 3/15/1969

Tommy Roe co-wrote his second #1 record with Freddy Weller, guitarist with Paul Revere and the Raiders at the time. The Wrecking Crew backed Tommy here, spotlighting the late, great Hal Blaine on drums. I had a whole writeup prepared about Hal and his prolific contributions to 60’s music, but he passed away last Monday (3/11/2019) at the age of 90. RIP, dude. No doubt you were the GOAT.

“Am I The Same Girl” #79 3/8/1969

We spoke earlier of songs which had a convoluted chart history, and several weeks ago we also mentioned Barbara Acklin. Her vocal on this song was replaced and the re-titled “Soulful Strut” made the Top 5 for Young-Holt Unlimited. Barbara’s original take was finally issued as a single and didn’t do all that well, but the British duo Swing Out Sister had a #1 adult contemporary hit with their 90’s version.

“Hello, It’s Me” (Nazz) #71 3/8/1969

Some songs have quite a convoluted history. This started out as a B-side of the first single by Nazz, which featured a young Todd Rundgren. WMEX in Boston turned the record over and the 45 gained a bit of traction in early ‘69. It was reissued in 1970 and charted about the same, in the lower reaches of the Hot 100. Todd didn’t sing lead here - keyboardist “Stewkey” Antoni did. After Rundgren went solo, he re-recorded the song (which he wrote) and took it to the Top 5 in 1973.

“Someday Soon” #55 3/8/1969

The followup to “Both Sides Now” by Judy Collins was originally done by Canadian duo Ian and Sylvia, written by Ian Tyson. It evokes strong images of the Western plains, and became a country hit in the 80’s for both Moe Bandy and Suzy Bogguss. Nashville legend Buddy Emmons is on steel, and Stephen Stills (maybe?) on bass. A great story song.

“Kum Ba Yah” #54 3/8/1969

The only known chart version of this spiritual from the days of slavery (and a campfire song, too) was by Tommy Leonetti, a singer, songwriter and actor. The tune has roots in the Gullah dialect of coastal South Carolina and Georgia, along the lines of “Michael, Row The Boat Ashore.” Leonetti later recorded a tune called “My City Of Sydney.” Think a Tony Bennett mashup with Steve Irwin, mate. Crikey!

“Lovin’ Things” #49 3/8/1969

We’ve made reference several times lately to The Marmalade. Their first UK hit was re-done here by the Grass Roots, who seemed to do numerous cover versions of songs by European acts. This is one of those records that really coulda, woulda, shoulda been a far bigger hit. As it was, this missed the Top 40. Love this one.

“Let It Be Me” (Glen Campbell/Bobbie Gentry) #36 3/8/1969

From time to time, labels would pair two of their acts on a record. Capitol did just that with Glen Campbell and Bobbie Gentry. Their remake of a 1960 Everly Brothers hit went so well, down the road they re-did another Everlys song. Bobbie appeared many times on Glen’s TV show, where this clip is from. Watch the brief intro with Glen and Ray Charles.

“Crossroads” #28 3/8/1969

For someone who only had 29 songs known to be released in his lifetime, Robert Johnson was an incredible musical influence. He helped define 1930’s Mississippi Delta blues, from which Cream adapted his “Cross Road Blues.” Robert was quite the character, allegedly murdered at age 27 by a jealous husband who suspected hanky-panky between Johnson and his wife. Three different places claim to be the site where he’s buried. Legend has it Robert sold his soul to the devil in order to succeed. The “crossroads” where that supposedly took place is in Clarksdale, Mississippi. Hey, it makes for a good story. The musicianship here by Eric Clapton, Jack Bruce and Ginger Baker is phenomenal, but the band had already broken up by now. Lynyrd Skynyrd did a kick-ass live version of this in the 70’s.

“But You Know I Love You” #19 3/8/1969

Radio stations loathe any record with a false ending, those with long pauses that trick listeners (and DJ’s) into thinking the song’s over. The current single by Kenny Rogers and the First Edition had that. Fooled the audience on this clip, too. The group’s female vocalist, Thelma Camacho, was fired around this time. Many women then auditioned, including Karen Carpenter. Wonder how differently the 70’s would’ve sounded had Karen landed that job instead of the other gig...

“Give It Up Or Turnit A Loose” #15 3/8/1969

When James Brown did something, he went at it full tilt. This was the ninth single he released in 1968 alone, reaching #1 on the R&B chart in early 1969. JB was nothing if not prolific. He got into broadcasting around this time as well, purchasing radio stations in Knoxville, Baltimore and his home town of Augusta, GA.

“I’ve Gotta Be Me” #11 3/8/1969

After a five-year absence, this marked Sammy Davis, Jr.’s return to pop stardom and was also a #1 easy listening hit for seven weeks. The song first appeared in the Broadway show “Golden Rainbow” starring Steve Lawrence and Eydie Gormé. Sammy, ever the Rat Pack guy, struck up a friendship with Elvis when they were both late 60’s Vegas headliners. Bet that made for some unique after-show parties.

“This Girl’s In Love With You” #7 3/8/1969

Written by Burt Bacharach and Hal David, done first by Dionne Warwick...as a demo. Herb Alpert asked his songwriting pals to submit tunes for his A&M label which they personally liked, yet for whatever reason didn’t sell. Alpert decided to sing this himself, racking up a four-week #1 in the summer of 1968. Dionne went back and re-cut the track quite nicely here.

“This Magic Moment” (Jay and the Americans) #6 3/8/1969

One of my favorite Drifters songs with Ben E. King on lead vocals, re-done quite well here by Jay and the Americans. They hadn’t had a Top 40 record in three years but they only had one more hit before breaking up in 1973. Jay Black owned the group name but sold it in 2006 after filing for bankruptcy due to gambling debts.

“Born On The Bayou” B-side 3/8/1969

The B-side of “Proud Mary,” although it didn’t chart, soon became a fixture on album rock radio. This song cemented the incorrect notion that CCR came from way down in the swamps of Louisiana. Their second album (containing both sides of the single) was even titled “Bayou Country.” The band actually called the San Francisco Bay Area home. This is one of the few songs I can actually play on guitar. Definitely a personal favorite.

“Proud Mary” #2 3/8/1969

The first of three straight #2 singles for Creedence Clearwater Revival came together for John Fogerty just after he was discharged from the National Guard in early 1968. The opening riff was loosely based on Beethoven’s Fifth Symphony, and he said the rest of the song just poured out. I always thought the second line of the second verse went “Pumped a lot of pain...” Fogerty said it was p-a-n-e, as in propane - the dude was pumping gas down in New Orleans. John did all the vocal parts, lead guitar and the overdubs, too, thoroughly pissing off his bandmates years before they broke up. Ike and Tina Turner did a positively smokin’ version several years later. An absolute classic from CCR.

“To Make Love Sweeter For You” #1 Country 3/1/1969

The Killer, Jerry Lee Lewis, totally reinvented himself as a country performer by now out of necessity. This was his third country #1 and his first on that chart since “Great Balls Of Fire” back in the 50’s. In 1976 Jerry Lee was arrested after waving a pistol and mumbling incoherently when he crashed his car into the front gates of Graceland at 3 AM. He said Elvis had invited him over; the King said no, he didn’t.

“No, Not Much” (Smoke Ring) #85 3/1/1969

Pop music wasn’t necessarily a big-city thing. The Smoke Ring came from the music hotbed of Norfolk, Nebraska. Their one chart record, a remake of a Top 5 hit in 1956 by the Four Lads, barely made the Top 100. The Vogues scored higher in a few weeks with their better-promoted version.

“Witchi Tai To” #69 3/1/1969

The 60’s were a time where pretty much anything went on the charts. Jim Pepper was a Native American saxophonist who adapted a peyote chant he learned from his grandfather into a decidedly different single. His group, Everything Is Everything, got a lot of mileage from the song on underground FM radio stations. Many others recorded the chant, including an unreleased version by the Supremes.

“Heaven” #39 3/1/1969

The Rascals barely scraped into the Top 40 here, but this became the group’s tenth Top 10 record in Canada. Maybe it was because their guitarist Gene Cornish was born in Ontario. It was another of their optimistic views of what an ideal society should be. Cornish left the band in 1971, and the act soon broke up. Almost a Curtis Mayfield type approach on this.

“To Susan On The West Coast Waiting” #35 3/1/1969

We present a situation where the B-side of this single from Donovan overtook the label’s preferred US A-side in a few months. Radio stations turned the record over and soon enough the flip did far better. Donovan would occasionally write anti-war lyrics, but on this one it was a little more conspicuous.

“Baby, Baby Don’t Cry” #8 3/1/1969

For some time, Smokey Robinson tried to leave the Miracles in order to concentrate on his VP gig at Motown and to spend more time at home with his family. This record’s success kept him in the group for another couple of years, but it was also their last Top 10 pop hit for almost that long. Some very good guitar work from Marv Tarplin of the Miracles here.

“You Showed Me “ #6 3/1/1969

Here’s a remake of a tune written by Jim McGuinn and Gene Clark in 1964 before they formed the Byrds. The Turtles’ producer Chip Douglas remembered the song so they recorded it, but at a slower tempo. A very primitive Moog synthesizer shows up here. It was the last hit for the Turtles, and their label soon folded.