"Pretty Ballerina" #15 2/25/1967

The followup to "Walk Away Reneé" was the second and last hit for the Left Banke. Like their first single, keyboardist Michael Brown wrote this about the girlfriend of the band's guitar player. Can we say "awkward?" And like their first single, it contained an intricate pseudo-classical arrangement, in a style that came to be called baroque pop.

"Mercy, Mercy, Mercy!" #11 2/25/1967

The parents of saxophonist Julius "Cannonball" Adderley both taught at Florida A&M University in Tallahassee in the 1940's. Growing up, he crossed paths musically with a young Ray Charles. Cannonball later became a respected member of the jazz community. This was from a "live" album purportedly done at a Chicago jazz club. It was actually recorded at Capitol Records in Hollywood with an invited audience, and an open bar. The "club" billing was done as a favor to a friend of Cannonball's.

"Gimme Some Lovin' " #7 2/25/1967

These guys already had two #1 hits in the UK, but this was the breakthrough single in the US for the Spencer Davis Group. It featured 17-year-old Steve Winwood on that screaming Hammond B-3 organ plus lead vocals. The band was named after their guitarist because he was the only member who liked doing press interviews. Winwood went on to join Traffic and Blind Faith and had considerable solo success in the 80's. This version is an alternate mix, with a slightly different lead vocal and omitting the female background singers.

Happy Birthday, George Harrison! "Give Me Love (Give Me Peace On Earth)" #1 6/30/1973

Yes, George was my favorite Beatle. He would have been 74 today. Such a gentle soul. RIP.

"The Beat Goes On" #6 2/25/1967

Carol Kaye of the Wrecking Crew tells the story of how this signature song of Sonny and Cher almost didn't happen. She said the session was going nowhere, a plodding one-chord tune with a drone-like bass part, and the recording was in danger of being scrapped. Carol salvaged things by creating, on the spot, the walking bass line progression that gave the song its distinctive hook. Good thing, because Sonny and Cher didn't have another Top 40 record for the next four years. After this single, they became a Vegas showroom act, which led to their wildly successful 70's TV show.

"Save The Last Dance For Me" #1 10/22/1960

The Drifters topped the R&B charts five times in the 50's and 60's, but this was their only pop #1. A little surprising, since they remain one of the most influential vocal groups ever. Their pre-rock and roll early 50's R&B records were just phenomenal. Ben E. King took a turn singing lead here. It was a B-side until Dick Clark turned the record over and suggested this was the stronger song. Written by Doc Pomus and Mort Shuman, who also wrote "This Magic Moment" and my favorite Drifters tune of that time, "I Count The Tears." They also wrote "Viva Las Vegas" and many other hits for Elvis.

"Mr. Custer" #1 10/15/1960

No way this could be released today. Here's a novelty one-hit wonder from October 1960 by Larry Verne that might just be the most politically incorrect song of early rock and roll. How else could you explain a comedy record about what took place at the Little Big Horn? It was co-written by Al De Lory, who produced fellow Wrecking Crew member Glen Campbell's first string of hits later in the 60's. Larry Verne went on to become a successful film set builder in Hollywood.