“Smiling Phases” Album cut

It’s a slow week on the Hot 100, so we’ll give you some cuts from Top 10 LP’s this week in 1969. From the self-titled second album by Blood, Sweat & Tears, this track was a radical rearrangement of the original by Traffic in late 1967. BS&T definitely went in a far more commercial direction here. It sold 4 million copies, so...

“I Can Hear Music” #24 4/26/1969

One written by Ellie Greenwich, Jeff Barry and Phil Spector and first recorded by the Ronettes in 1966, only reaching #100. The Beach Boys re-did the song minus Brian Wilson; he’d basically checked out by now (ref. the movie “Love & Mercy”). It was their last Top 40 entry until a 1976 remake of Chuck Berry’s “Rock And Roll Music.”

“Brother Love’s Traveling Salvation Show” #22 4/26/1969

If you’ve been to Mississippi in the summertime, you really can hear yourself sweat. Neil Diamond wrote this after seeing a tent revival in Jackson, Miss. one hot August night. The intensity of the preacher and audience left an impression on a Jewish college kid from Brooklyn. Diamond recorded this in Memphis; his sessions were bumped due to Elvis booking the studio at the last minute. The King repaid the inconvenience by cutting one of Neil’s songs, “And The Grass Won’t Pay No Mind.”

“Do Your Thing” #11 4/26/1969

The first hit for the Watts 103rd Street Rhythm Band. Front man Charles Wright was already a veteran of the L.A. music scene. He put together “Those Oldies But Goodies (Reminds Me Of You)” by a group with one of the best names ever, Little Caesar and the Romans. At one time Charles employed Daryl Dragon (as in the Captain and Tennille) in his band. This tune was in the flick “Boogie Nights.”

“Twenty-Five Miles” #6 4/26/1969

Feet don’t fail me now! Born Charles Edwin Hatcher, the re-christened Edwin Starr had several Top 10 R&B hits; one of those, “Agent Double-O-Soul,” just missed the pop Top 20. Berry Gordy bought out his label and this was Edwin’s first Motown success. He later moved to England, had a couple of disco hits over there and passed away in 2003. Video is from Cleveland’s “Upbeat” show.

“Carolina In My Mind” (1969) #118 4/19/1969

The first single from James Taylor, the first non-British artist signed to the Beatles’ brand-new Apple label. Indeed, Paul played bass and George had an uncredited backing vocal here. The record tanked because JT was dealing with drug addiction and mental health issues and couldn’t tour to promote it. After one album for Apple, he signed with Warner Brothers where his career took off with “Fire And Rain.” This was quickly reissued and did marginally better; this is more uptempo and NOT the slower, stripped down version we know from his 1976 greatest hits LP. JT re-did the song because (1) the original master couldn’t be located, and (2) Apple likely wouldn’t have licensed it anyway. The ‘76 version is now the recognized one.

“Baby Driver” #101 4/19/1969

The B-side of Simon and Garfunkel’s current single almost snuck into the Hot 100 on its own. It’s a bouncy little tune, one that had nothing to do with a 2017 action film with the same title other than its use over the closing credits. Much different than S&G’s musical contributions to “The Graduate.”

“Good Times Bad Times” #80 4/19/1969

The first single and opening track from Led Zeppelin’s debut album. When the New Yardbirds broke up in the summer of 1968, their guitarist Jimmy Page was tasked with fulfilling gigs in Scandinavia. So Page and fellow session musician John Paul Jones recruited Robert Plant, who brought in his old bandmate John Bonham. Page ran a Fender Telecaster through a Leslie rotating speaker for his solo here. The B-side was “Communication Breakdown.” Their first LP didn’t get great reviews but sold reasonably well. A hint of things to come...

“Apricot Brandy” #46 4/19/1969

After the success of the Monkees (a manufactured band) Elektra Records tried a similar approach, assembling an act by auditions instead of signing an established group. So it was with Rhinoceros. They never quite lived up to the hype and yes, they turned down playing at Woodstock. Still a rockin’ little instrumental, though.

“Wishful Sinful” #44 4/19/1969

It’s generally acknowledged “The Soft Parade” LP by the Doors was their weakest effort. They began work on the album without much material written in advance, so producer Paul Rothschild added lots of strings and horns. This alienated their core audience and the critics, too. Like their next three singles, it missed the Top 40.

“The Way It Used To Be” #42 4/19/1969

A Top 5 easy listening hit for Englebert Humperdinck (real name Arnold George Dorsey). He’d tried for years to break through in show business using the name Gerry Dorsey with no success until hooking up with Gordon Mills, who managed Tom Jones. The press tried to create a rivalry, but in reality Englebert and Tom had no quarrel. See, fake news existed even then.

“Don’t Touch Me” #38 4/19/1969

The second and last Top 40 entry for Bettye Swann had been a huge country hit in 1966 for Jeannie Seely. Goes to show you once again there wasn’t a whole lot of difference between country and R&B music, only the presentation. Jeannie’s version helped open the door for women in country music to explore more risqué topics.

“First Of May” #37 4/19/1969

There was a huge disagreement among the Bee Gees as to their next single. Robin Gibb wanted “Lamplight” as the A-side; Barry, Maurice and manager Robert Stigwood wanted “First Of May” instead. Robin lost out, which led to his departure from the group for about 18 months. Even though this did well in the UK, it was relatively disappointing in the States. They wouldn’t see the Top 40 again in America until “Lonely Days,” their first release after Robin rejoined his brothers.

“Snatching It Back” #31 4/19/1969

Another R&B Top 5 hit for Clarence Carter. The original title was "How Can I Get It When You Keep Snatching It Back," but producer Rick Hall felt that was a little too suggestive to get much radio airplay. So Clarence had to quickly rearrange the song, much to his consternation. We were still a few years away from “Strokin’.”

“Try A Little Tenderness” (Three Dog Night) #29 4/19/1969

The first Top 40 record for Three Dog Night. This remake of the Otis Redding classic featured Cory Wells on lead vocals and became a mainstay of their concerts. They were known to lengthen the song at the gigs, sometimes making it a 15 or 20 minute excursion. Their next record defined their career.

“Mr. Sun, Mr. Moon” #18 4/19/1969

By this point, Mark Lindsay and Paul Revere were the only mainstays of their group. The Raiders lineup was totally overhauled as they tried to distance themselves from the goofy Colonial stuff with the album “Hard ‘N’ Heavy (With Marshmallow).” Hey, I can’t explain that title, either. Hal Blaine was on drums for this track.

“Don’t Give In To Him” #15 4/19/1969

Gary Puckett and the Union Gap recently had a falling out with their producer, Jerry Fuller. The band resented the string of ballads Fuller had presented them even though their first four singles made the Top 10, with Fuller writing three of those. This one didn’t do quite as well but still made the Top 20.

“Rock Me” #10 4/19/1969

By request! The third and last Top 10 single from Steppenwolf had been recorded months earlier for a trippy little R-rated flick titled “Candy.” The plot was described by film critic Roger Ebert as a young girl bouncing from one man to another like a pinball caught up in a porn movie. It earned middling reviews despite appearances by Marlon Brando, Richard Burton, Walter Matthau and Ringo Starr.

“Only The Strong Survive” #4 4/19/1969

The biggest hit for Jerry Butler on the pop charts, but his third R&B #1 record. The Iceman co-wrote this with his producers, Kenny Gamble and Leon Huff. It just plain oozes Philadelphia soul, doesn’t it? Elvis did a version on his album “From Elvis In Memphis,” which the King recorded outside his normal L.A. or Nashville sessions.

“Playgirl” #49 4/12/1969

The band Thee Prophets came out of Milwaukee with this record that just missed the Top 40, though it did much better in scattered areas. They really couldn’t tour to promote the single, as the guys were still in college. Co-written by Keith and Linda Colley; Keith also co-wrote “Shame, Shame” covered by the Magic Lanterns in ‘68.

Pledge Of Allegiance (Red Skelton) #44 4/12/1969

Comedian Red Skelton was a long-time radio and TV star, and a World War II veteran. Red would say he was one of the few who went into the Army as a private, and came out a private. This word-by-word explanation of the Pledge of Allegiance came from an episode of his CBS-TV show, and almost made the Top 40. IMHO, this should be played today in every classroom in America - and there are those who disagree with that, and wouldn’t care.

“Memories” #35 4/12/1969

Another tune from the Elvis ‘68 comeback special. Mac Davis said the producers asked for a song looking back over the years, but only gave him one day to write it! He got it in just under the deadline, composing the song after staying up all night. Mac also wrote the King’s next single, one of his signature classics.

“Hot Smoke & Sassafrass” #14 4/12/1969

By request! Bubble Puppy was the very definition of a one-hit wonder, as this was the only chart record for the Corpus Christi, TX group. The Songfacts website says the title came from a “Beverly Hillbillies” episode where Granny said, "Hot smoke and sassafras, Jethro, can't you do anything right?" A weed song for sure.

“Galveston” #4 (#1 Country) 4/12/1969

Next week’s #1 country hit also made the rock Top 5 for Glen Campbell. Its writer, Jimmy Webb, said this wasn’t necessarily about Vietnam but it fit the era and was definitely anti-war. Don Ho (!) recorded the tune first, but gave it to Campbell after appearing on his TV show. Glen borrowed Wrecking Crew member Carol Kaye’s six-string Danelectro bass to play the guitar solo, as he did on “Wichita Lineman.”

“You’ve Made Me So Very Happy” (Blood, Sweat & Tears) #2 4/12/1969

The first of three straight #2 singles for Blood, Sweat & Tears was originally a minor Top 40 record for its co-writer, Brenda Holloway. Organist and vocalist Al Kooper brought in the tune just prior to being fired, but the group recorded it with new lead singer David Clayton-Thomas. The arrangements and the musicianship were simply outstanding; their horn section was phenomenal. Definitely a personal favorite.

“Aquarius/Let The Sunshine In” #1 4/12/1969

I want you to siiiiing along with the 5th Dimension!! Almost every high school choral group in America has performed this medley of the first and last songs from the Broadway musical “Hair.” Tipped off by a cabbie, the group saw the show in New York and decided they had to record “Aquarius.” It was producer Bones Howe’s idea to repeat a few bars from “The Flesh Failures” at the end (“let the sunshine in...”), abrupt transition and all. A Wrecking Crew gig all the way; the vocals were recorded in Vegas as 5D was performing there, and were mixed in later. Bassist Joe Osborn played his ass off on the ending.

“Who’s Gonna Mow Your Grass” #1 Country 4/5/1969

The 17th of 21 chart-topping country singles from Buck Owens. By now, rock recording and production techniques crept into country songs. This one featured Don Rich playing a fuzztone guitar. Buck’s hits were being covered by the likes of Ray Charles and the Beatles. He and Roy Clark hosted “Hee-Haw” for 25 seasons.

“Albatross” #104 (UK #1) 4/5/1969

The first #1 UK hit from the original lineup of Fleetwood Mac did absolutely nothing in America. It was influenced greatly by the 50’s instrumental hit “Sleep Walk” and was said in turn to have influenced John Lennon’s “Sun King” from the “Abbey Road” side 2 medley. In a few years, Mick Fleetwood and John McVie brought in the hit-making lineup we all know - along with all the drama.

“Kick Out The Jams” #82 4/5/1969

Some songs are edited so they can get radio airplay. Most are due to length, but this one from Detroit-based MC5 contained the “mother” of all obscenities, you know. The clean version here still didn’t get much traction so the band languished except in the underground clubs. MC5 was probably the first hardcore punk group to get noticed in the rock press. Rolling Stone gave them a cover story before their first LP was even issued. These guys were a little bit ahead of their time.

“Move In A Little Closer, Baby” #58 4/5/1969

Things hadn’t gone well for Cass Elliot since the Mamas and the Papas split up in 1968. A disastrous opening night at Caesar’s Palace in Vegas led to the rest of her three-week solo gig being cancelled. And yes, there was some drug use as well. Her label even brought in the finest Wrecking Crew musicians for her first solo album to recapture the old sound, without much success. But she kept plugging away...

“When She Touches Me (Nothing Else Matters)” #49 4/5/1969

Peaches and Herb had been struggling for some time. Francine “Peaches” Barker had stopped touring, choosing to only appear on the records. So Herb Fame hired another Peaches before he semi-retired to join the Washington, DC police force for several years. This was their last minor hit (even) until “Shake Your Groove Thing.”

“Blessed Is The Rain” #45 4/5/1969

The followup to the first single from the Brooklyn Bridge didn’t do nearly as well. Both sides of the 45 got some airplay, but radio stations couldn’t figure out which song to feature. As a result, each barely scraped into the Top 50. The 11-piece group had several more minor hits before downsizing in the 70’s.

“The Letter” (Arbors) #20 4/5/1969

A remake (one of many) of the Box Tops’ first hit from the Arbors, so named because two sets of brothers formed the group while attending the University of Michigan. Because, you know, Ann Arbor. Some really airy harmonies here, which unfortunately almost sounded outdated by this point in the 60’s.

“No, Not Much” #34 3/29/1969

The Vogues’ tight harmonies seemed to be way out of style in the pop music world by now. This remake of a 1956 tune by the Four Lads was their last Top 40 record. They became yet another of those acts where competing groups, each with one or two members, tried to use the band name when they weren’t filing lawsuits against each other. Sucks.

“Mendocino” #27 3/29/1969

The Sir Douglas Quintet hadn’t had much success since moving from San Antonio to San Francisco after their first hit. So this song about a major pot-growing area in northern California was their last hit. Front man Doug Sahm became an important figure in the Tex-Mex music movement before he died in 1999. Video is from the syndicated “Playboy After Dark.”

“You Gave Me A Mountain” (Frankie Laine) #24 3/29/1969

Frankie Laine was one of the most successful pop singers of the 40’s and early 50’s, but tastes changed. Written by country star Marty Robbins, this was Frankie’s last hit. Marty later had his own version, as did Elvis; the King regularly sang this in concert up until his death in 1977. Laine passed away in 2007 at the age of 93.

“My Whole World Ended (The Moment You Left Me)” #9 3/29/1969

Yesterday we featured the mighty Temptations; today we have former member David Ruffin with a song originally meant for the Temps. Instead, it became Ruffin’s first solo hit after his unceremonious dismissal from the group. David never fully recaptured the group success he had. His unchecked cocaine use finally got him in 1991. Video is from the Cleveland-based syndicated show “Upbeat.”