“Soul Deep” #18 8/30/1969

The last Top 40 entry by the Box Tops. Around this time bassist Bill Cunningham left the group. They cancelled a British tour when the promoter of their London gig tried to force them to use the opening reggae act’s equipment, including a toy drum set, a keyboard with a busted speaker, and the house PA instead of their own amps. The band soon broke up.

“Put A Little Love In Your Heart” #4 8/30/1969

Jackie DeShannon had several big hits as a singer, but she’s known far more as a songwriter. “When You Walk In The Room” was a moderate success for the Searchers, but reached the country Top 5 in the 90’s for Pam Tillis. “Bette Davis Eyes,” co-written with Donna Weiss, hit #1 for Kim Carnes in 1981. Of course, she did just fine with the Bacharach/David “What The World Needs Now Is Love” and this self-penned one. Jackie opened for the Beatles on their first US tour; these days she’s a contributor to the morning show on the Fab Four’s SiriusXM channel.

“But You Know I Love You” (Bill Anderson) #2 Country 8/23/1969

Here’s a Top 5 country remake from Bill Anderson of a recent pop hit by Kenny Rogers and the First Edition. Bill had quite the well-rounded career, appearing on  several game shows and notably hosting “Fandango” for seven years on TNN. He wrote a book about the music business titled “I Hope You’re Living As High On The Hog As The Pig You Turned Out To Be.” How appropriate.

“Space Oddity” (1969 issue) #124 8/23/1969

Another record that did zilch in America the first time around, though it became David Bowie’s first UK Top 5 record. In a few years a reissue became his initial US hit (#15), which he based on “2001: A Space Odyssey.” An earlier version had Rick Wakeman (pre-Yes) playing keyboards. Bowie had a tough time finding a producer, being turned down by George Martin and Tony Visconti until finally securing Gus Dudgeon for the job. Dudgeon would produce all of Elton John’s hits in the 70’s.

“Who Do You Love” #91 8/23/1969

Quicksilver Messenger Service was the last of the upper-echelon San Francisco 60’s bands to sign a record deal. Their founder landed in jail on drug charges the day after putting the band together. They were never a singles act, with just one even cracking the Top 50. This remake of the Bo Diddley classic wasn’t it.

“Questions 67 And 68” (1969 issue) #71 8/23/1969

The debut single by Chicago Transit Authority didn’t set the world on fire at the time. It did much better on re-release in 1971. The last line of the song refers to the years 1967 and 1968 when its writer, keyboardist Robert Lamm, had a thing for a girl. It’s quite horn-driven, as was the majority of CTA’s material in those days.

“That’s The Way God Planned It” #62 8/23/1969

Billy Preston had a big-time resumé, having played behind Little Richard and Ray Charles and as part of the “Shindig!” house band before joining the Beatles for their famed rooftop concert. The group liked Billy so much that Apple Records bought out his recording contract and signed him. George Harrison produced this gospel-tinged track and played guitar alongside Eric Clapton. Keith Richards was on bass, Ginger Baker on drums and backing vocals were by Doris Troy (“Just One Look”) and Madeline Bell, both of whom just sang on the Stones’ “You Can’t Always Get What You Want.” Quite the lineup there.

“I’m Free” #37 8/23/1969

How did a rock opera about a deaf, dumb and blind kid who is “cured” thanks to pinball and turned into a godly sort of cult figure become so huge? This was one of the centerpieces of the Who’s magnum opus ”Tommy.” To this day, I can’t quite figure out the timing for the first few lines of each verse. Apparently, neither could Keith Moon. Pete Townshend and John Entwistle played drums on those passages.

“True Grit” #35 8/23/1969

Nominated for a Best Song Oscar, Glen Campbell lost out to a B.J. Thomas song from a flick about two guys named Butch and Sundance. Glen had a supporting role in “True Grit” alongside John Wayne. Elvis was considered for that part but Col. Parker wanted him to get top billing over Wayne and co-star Kim Darby. Uhhh, no. Didn’t happen. Acting was a big step in Glen’s career, showing some versatility. Clip is from Johnny Cash’s TV show.

“Marrakesh Express” #28 8/23/1969

There were several reasons why Graham Nash quit the Hollies. Not only did they refuse to record this song, saying it wasn’t commercial enough, but he was the only one in the band who smoked weed. So he left them for L.A. where he hooked up with David Crosby and Stephen Stills, forming one of the first rock supergroups. Their debut single was based on an actual train trip Nash took in Morocco. Denials aside, this is a pot song. Its first public performance was at Woodstock. Wow.

“Workin’ On A Groovy Thing” #20 8/23/1969

Here’s a Top 20 tune from the 5th Dimension that gets overlooked, as it fell in between two chart-toppers, “Aquarius/Let The Sunshine In” and their next single. It was said this tune, co-written by Neil Sedaka and first done by Patti Drew, perhaps ripped off “Stoned Soul Picnic.” I guess there are similarities, but who knows...

“Laughing” #10 8/23/1969

The second US Top 10 single for the Guess Who, and their second #1 in the Great White North. It was written by Randy Bachman and Burton Cummings in about 10 minutes. Bachman left the group in less than a year, partly due to his conversion to Mormonism. The jazzy B-side just missed the Top 20 in a few months. Clip is taken from a CBC-TV variety show starring Canadian comics Wayne and Shuster. It’s a Pop-Up Video; no stinkin’ lip-sync here.

“Polk Salad Annie” #6 8/23/1969

The gator’s got your granny! CHOMP! CHOMP CHOMP! A definitive swamp rocker from Oak Grove, Louisiana’s Tony Joe White was based on a misspelling. “Polk salad” is actually poke sallet, a type of green salad plant (no, it isn’t pot) that really does grow wild. The single, produced by Billy Swan (“I Can Help”), languished for nine months before finally taking off. First time I heard this was on CKLW where the DJ, Super Max Kinkel, gave the listeners a heads up on what to listen for, like the wah-wah at the end. I never forgot how to involve the listeners when I got into radio.

“A Boy Named Sue” #2 (#1 Country) 8/23/1969

This week’s #1 country song was Johnny Cash’s tenth on that chart but his only Top 10 pop hit. Written by humorist Shel Silverstein who also wrote several songs for Dr. Hook in the 70’s, it was from The Man in Black’s second live album behind bars, this time at San Quentin prison. This sounded a little rough around the edges because Cash hadn’t even rehearsed the song with his band. That’s why they got ahead of Johnny near the ending. The legendary Carl Perkins played lead guitar here.

“You Can’t Always Get What You Want” 1969 B-side

The B-side of “Honky Tonk Women” didn’t chart at the time but was reissued in 1973 as an A-side, just missing the Top 40. It became a fixture on album rock radio. The Rolling Stones’ producer Jimmy Miller played drums, the ubiquitous Al Kooper played French horn, organ and piano, and the London Bach Choir opened and closed the track. “Mr. Jimmy” was said to be one Jimmy Hutmaker. The story goes that the Stones played an amusement park outside the Twin Cities in 1964, getting booed off the stage. Mick went to a local drug store for a fountain cherry Coke and met Hutmaker, who in conversation gave Jagger the song title idea.

“Honky Tonk Women” #1 8/23/1969

One of the greatest barroom rock and roll records of them all from the Rolling Stones. The song had its genesis months earlier when Mick Jagger, Keith Richards and their girlfriends were on vacation at a Brazilian ranch and developed the idea of a country-sounding rocker, which morphed into a bar blues number. These were the last recording sessions for guitarist Brian Jones; he was fired due to addiction issues and died in July 1969, replaced by Mick Taylor. The cowbell intro was done by the Stones’ producer Jimmy Miller. An iconic 60’s tune. We need more cowbell.

“Workin’ Man Blues” #1 Country 8/16/1969

The current #1 country song, like so many, was an ode to the blue-collar working class. Merle Haggard sure knew how to tap into that vibe. I thought the chicken-pickin’ guitar sounded like James Burton, one of the all-time greats (see Nelson, Ricky; Presley, Elvis). Turns out I was right. My gosh, JB is a fantastic guitarist. Burton celebrated his 80th birthday yesterday (8/21/19).

“Let Yourself Go” #63 8/16/1969

This current single from the Friends of Distinction stalled out in the lower reaches of the Hot 100. However, as so often happened, the B-side started to gain traction, eventually making its way into the Top 20 in a few weeks. The front men of the group, Harry Elston and Floyd Butler, had a falling out that lasted over a decade. They reconciled; however, Butler died in 1994. Elston still tours with newer Friends.

“Everybody Knows Matilda” #52 8/16/1969

A very strange rapid-fire single by Duke Baxter, a.k.a. Dudley Baxter, James Blake or Jim Shaman. The record about a not quite one-night stand did well in Australia, perhaps because he used the name Matilda - you know, waltzing and all. Baxter was Canadian, which helped get airplay on Top 40 blowtorch CKLW due to new regulations requiring a percentage of Canadian content (CanCon) on radio and TV. CanCon almost ruined the music business there, but that’s another story. This clip has a Big 8 CKLW jingle at the beginning.

“Abergavenny” #47 8/16/1969

Definitely a quirky little song from Marty Wilde, released in America under the name Shannon for some odd reason. Marty was right up there with Cliff Richard, Billy Fury and other early British rockers. His teen idol days declined after he got married, though; the couple formed a trio with future Moody Blues member Justin Hayward. This record about an ancient Welsh town, while unsuccessful at home, did well elsewhere in Europe and Australia. Marty’s daughter is 80’s star Kim Wilde.

“It’s Getting Better” #30 8/16/1969

After her disastrous solo gig at Caesars Palace when a scheduled three-week residency was cancelled after opening night, Cass Elliot went back and recorded stuff which sounded a lot like what she did with the Mamas and the Papas. The result, featuring the Wrecking Crew, was certainly pleasant enough. This one was written by the prolific married couple of Barry Mann and Cynthia Weil.

“Choice Of Colors” #21 8/16/1969

The third #1 R&B hit for the Impressions was another positive expression of black pride from the pen of Curtis Mayfield. These guys were way out in front of that movement with their social consciousness. Mayfield soon went solo and would have huge success with “Superfly” which was about a pimp/drug dealer. He caught some flak for reinforcing stereotypes, as the movie could be perceived as encouraging black men to get into those lines of work.

“Sweet Caroline” #4 8/16/1969

So good! So good! So good! I’m guessing when Neil Diamond wrote this song, he had no idea it would turn into a sports anthem. Neil said it was about his then-wife Marcia but he needed a three syllable name to fit, and thought of JFK and Jackie’s daughter Caroline Kennedy. For 20+ years it’s been a fixture during Boston Red Sox games (I got to sing along at a Sox-Nationals game at Fenway Park one night!) and was featured in an episode of “The Big Bang Theory.” Written in less than an hour during Neil’s Memphis sessions which had been bumped by Elvis. In return, the King made this a long-time part of his stage show.

“All I Have To Offer You Is Me” #1 Country 8/9/1969

This week’s #1 country hit was the first of 29 chart-toppers for Charley Pride. It also got to #91 on the pop charts in a few weeks. The last song by a black artist to top the country chart? “Is You Is Or Is You Ain’t My Baby” by Louis Jordan in 1944. I dig Louis Jordan but that one ain’t very country...

“In My Room” (Sagittarius) #86 8/9/1969

Gary Usher was a songwriter/producer who was Brian Wilson’s first outside collaborator. Among the songs he co-wrote with Wilson were “409” and this one; the remake here was released by a studio group called Sagittarius. Usher used that band name earlier on “My World Fell Down” featuring Glen Campbell on vocals.

“First Hymn From Grand Terrace” #81 8/9/1969

Although this was a Top 25 easy listening hit, written by the prolific Jimmy Webb and produced by Jerry Fuller, this debut solo single from Mark Lindsay didn’t do much on the pop side. His solo work was almost interchangeable with the Paul Revere and the Raiders efforts. He and Revere were augmented by session musicians (mostly the Wrecking Crew) on virtually all their records by now.

“While You’re Out Looking For Sugar” #62 8/9/1969

One of the first releases from Hot Wax Records, started by the songwriting and production team of Holland-Dozier-Holland after their acrimonious split from Motown. This was the debut single by Honey Cone which featured Edna Wright, sister of Darlene Love. The group would have a #1 record in 1971 with “Want Ads.” Despite other hits, Hot Wax ran into cash flow issues and folded in ‘73.

“Moonflight” #38 8/9/1969

Jack Spector was an original WMCA “Good Guy” DJ and did as much as anyone on 1964 New York City radio to promote Beatles music. In ‘69 he made this Dickie Goodman-style break-in record as Vik Venus, Alias: Your Main Moon Man. After many years in NYC Jack wound up at WHLI, a small Long Island station, still doing what he loved. In 1994 he had a heart attack during his air shift and died. Yikes.

“Clean Up Your Own Backyard” #35 8/9/1969

Even though Elvis was relevant once again, there were still previously filmed movies to promote. This Mac Davis/Billy Strange written track from “The Trouble With Girls” was one of just a handful of songs in the flick, which floated around Hollywood for a decade before being made. Glenn Ford was proposed as the original star. The movie got middling reviews; not even a Vincent Price appearance could save it.

“What Does It Take (To Win Your Love)” #4 8/9/1969

For all the success Motown had, sometimes they got it wrong. The label’s quality control department at first rejected this Junior Walker and the All-Stars track as a single. It was definitely out of character for the guy who gave them “Shotgun” and so many other dance records. But radio stations played the album cut, the label relented and this became Junior’s second Top 5 smash.

“On Campus” #45 8/2/1969

Sampling other people’s records is big in rap music. Dickie Goodman may have originated that technique in the 50’s, acting as a “reporter” and splicing in “responses” from hits of the day. Dickie was a big influence on Weird Al Yankovic and on song parodies from Howard Stern’s radio show. Goodman was definitely underrated. He died from a self-inflicted gunshot wound in 1989.

“Reconsider Me” #28 8/2/1969

A Top 10 R&B hit from New Orleans native Johnny Adams. His first few records were produced by a young Mac Rebennack prior to him becoming Dr. John. This one had roots as a country song and was produced by Shelby Singleton, also the guy behind the glass for Jeannie C. Riley’s “Harper Valley PTA” among others.

“Along Came Jones” #27 8/2/1969

We noted yesterday that 50’s nostalgia was becoming a thing by now. Ray Stevens got in on the fun with a remake of this 1959 Top 10 hit by the Coasters. That group was known as the clown princes of rock and roll’s early days, yet they became very influential. Ray covered the song with tongue planted firmly in cheek.

“Good Old Rock ‘N’ Roll” #21 8/2/1969

A one-hit wonder, Cat Mother and the All Night Newsboys were notable for being produced by Jimi Hendrix. They opened for him on numerous occasions. This was a medley of several rockin’ 50’s tunes by the likes of Chuck Berry, Little Richard and others at a time when nostalgia for that type of music kicked into high gear.

“Yesterday When I Was Young” #19 8/2/1969

The only Top 40 pop record for country superstar and picker extraordinaire Roy Clark. It was translated from the 1964 tune “Hier Encore” by Charles Aznavour, who was known as the Frank Sinatra of France. Roy had just begun co-hosting “Hee Haw” with Buck Owens; he stayed with the show for 25 seasons. He could play just about any instrument or any style and was one of the finest stringed musicians anywhere.

“Quentin’s Theme (Shadows Of The Night)” #13 8/2/1969

“Dark Shadows” was the definition of a cult classic. At the height of its popularity, the daytime soap was appointment TV after school for my friends and me. The show’s soundtrack, composed by Bob Cobert, became a top-selling LP. This piece about Quentin the werewolf was performed by the Charles Randolph Grean Sounde. How artsy! Grean previously wrote “The Thing,” a 1950 hit for radio star Phil Harris, and arranged Nat King Cole’s “The Christmas Song” (“Chestnuts roasting on an open fire...”).

“Ruby, Don’t Take Your Love To Town” #6 8/2/1969

First done by Waylon Jennings in 1966 and a Top 10 country hit for Johnny Darrell in ‘67, this Mel Tillis-written song became a huge pop hit for Kenny Rogers and the First Edition. Everyone thinks this was about Vietnam, but Mel said it was set during the Korean War. He based it on a neighbor couple back in Florida where the guy was wheelchair-bound after being wounded during WWII and the wife had an affair. Check out a...ummm, much younger Kenny in the video.

“Don’t Wake Me Up In The Morning, Michael” #54 7/26/1969

The followup to “Will You Be Staying After Sunday” didn’t do quite as well for the Peppermint Rainbow. That 45 took forever to peak at #32; this one also made an extremely slow chart climb. The Baltimore-based group released several more singles which did nothing before calling it a day and breaking up in 1970.