#41] DOIN’ IT TO DEATH by Fred Wesley & the J.B.s
LW #34 / Peak - #22 [1 wk] / Top 40 - 6 wks / Hot 100 - 10th wk [of 11] / 83-60-45-40-28-24-22-25-34-41-55 / Gold / born on the 4th of July in Atlanta, Georgia, in ‘43, Fred Wesley [now 90 years old] was the son of a high school teacher & big band leader and was raised in Mobile, Alabama; he took piano & trumpet lessons as a child, but would eventually switch to the trombone after his father brought one home for him when he was 12 / Wesley was an integral member of James Brown’s backing band from the SAY IT LOUD, I’M BLACK & I’M PROUD album in ‘69 through ‘75; he arranged many of Brown’s songs and co-wrote several, including HOT PANTS; he played on 25 albums by Brown, many of which were live recordings released decades after they were recorded / he worked with George Clinton on nine Parliament-Funkadelic albums in the late ‘70s & ‘80s, three with P-Funk member keyboardist Bernie Worrall & four solo albums with George Clinton in the ‘80s & ‘90s / he recorded albums with former JBs members saxophonists Pee Wee Ellis [4] and Maceo Parker [13] and released 18 albums under his own name from ‘74 to ‘18 / he has played and/or arranged songs on albums by over 80 different artists, including guitarist George Benson [3], bassist Bootsy Collins [14], saxophonist Hank Crawford [3], House/Dance group Dee-Lite [3], 10,000 Maniacs, The Brides of Funkenstein, Cameo, Natalie Cole, Color Me Badd, the Dazz Band, De La Soul, Dr. John, the Gap Band, Earth, Wind & Fire, Gov’t Mule, Hocus Pocus, Milt Jackson & Count Basie [2], New Birth, Red Hot Chili Peppers, the S.O.S. Band [2], the Temptations, Vanessa Williams, and Bobby Womack / Fred Wesley published his autobiography “Hit Me, Fred: Recollections of a Sideman” in ‘02 & released the album WUDA CUDA SHUDA that year / from ‘04 to ‘06, Wesley was an adjutant professor in the Jazz Studies program at the University of North Carolina at Greensboro, and has since worked with students as a visiting artist at various colleges, including Berklee College of Music near San Francisco & Columbia College of Chicago
although James Brown wrote & produced DOIN’ IT TO DEATH and sings the lead vocals, the song was credited to Fred Wesley & the J.B.s on trade charts / the song was the first to feature saxophonist Maceo Parker, after returning to the J.B.s after a stint as a band leader / playing on the track - Fred Wesley - trombone, Darryl "Hasaan" Jamison - trumpet, Jerone "Jasaan" Sanford - trumpet, Ike Oakley - trumpet, Maceo Parker - alto saxophone and flute, St. Clair Pinckney - tenor saxophone, Eldee Williams - tenor saxophone, Jimmy Nolen - guitar, Hearlon "Cheese" Martin - guitar, Fred Thomas - bass & John "Jabo" Starks - drums / DOIN’ IT TO DEATH was the title song of the only album released by the J.B.s in the ‘70s; Wesley, Ellis & Parker would release four albums together as The J.B. Horns in the ‘90s / the album includes a ten-minute version of DOIN’ IT TO DEATH Parts I & II and also includes the tracks MORE PEAS, LA DI DA, LA DI DAY [from the soundtrack of SLAUGHTER’S BIG RIP OFF], SUCKER and YOU CAN HAVE WATERGATE JUST GIVE ME SOME BUCKS AND I’LL BE STRAIGHT / DOIN’ IT TO DEATH has also been included on two James Brown live albums - LIVE AT CHASTAIN PARK in ‘85 & LIVE AT THE APOLLO 1995, and a nearly 13-minute unedited version was included on the compilation album FUNKY GOOD TIME: THE ANTHOLOGY / the words “doin’ it to death” do not appear in the song which uses the catch phrase "we're gonna have a funky good time"; the song’s title comes from a Fred Wesley figure of speech / the A-side of DOIN’ IT TO DEATH, released on James Brown’s People Records, was edited to 5:05; on the label of the single, the artist was listed as “James Brown with Fred Wesley & the J.B.s” / DOIN’ IT TO DEATH peaked at #21 [1 wk] on the Cashbox [sales only] chart for 7/27/73 / #1 for the first two weeks of July on Billboard’s Soul chart, following ONE OF A KIND (Love Affair) [4 wks] by The Spinners and preceding I BELIEVE IN YOU (You Believe In Me) [2 wks] by Johnny Taylor
DOIN’ IT TO DEATH
Hit it
How you feeling, brother
(Feeling good)
You feel good
How you feel, man
(I feel alright)
I won't call your name
I don't want no people
To know you're in here
How you feeling, brother
Hey, jam, sure getting down
Look it here, ha
We're gonna have a
Funky good time
We're gonna have a
Funky good time
We're gonna have a
Funky good time
We're gonna have a
Funky good time
Now, take em up, Fred
We gotta take you higher
All right, gonna do it again
You wanna do it again
We gotta take you higher
Brother (yeah)
Now I want everybody to
Let Fred blow about two chords
(Mumbling) alright
I wanna get that fella
With the little horn over there
Fred, can you take us higher
(Yeah) take us higher
Fred, Fred, Fred
You know what
When I hear a groove like this
It say I got to take you higher
Yeah, baby, yeah, yeah
Like way up wonder
Look it here
Someone got a groove like this
You know, you know, know
I need the grit, got the grit
Wanna eat, got to get
Need to get, go to grit
Now, Fred, you know
Hey, Fred Thomas, brother
I'm getting ready to
Wave y'all in
Know what, I feel so down
I need to get down
In order for me to get down
I got to get in deep
In order for me to get down
I got to get in deep
Need to get in deep
Down deep, down deep
Get on down
You like these
Think about making the big M
Look it here, look it there
You see over there
You better sing one word for us
What we gotta do
We gotta have a
Funky good time, oh, yeah
We gotta have a
Funky good time, oh, yeah
I didn't know you
Were singing, Fred
We gotta have a
Funky good time
We gotta have a
Funky good time
We gotta take you higher
Wait a minute, now
Who you say that was over there
Familiar looking cat
I know I seen him somewhere
Is that Maceo
He's doing everything over there
Maceo, is it who
Maceo, you know like
Maceo, won't you blow
Oh, yeah, Maceo
#42] I’LL ALWAYS LOVE MY MAMA by The Intruders
LW #40 / Peak - #36 [1 wk] / Top 40 - 6 wks / Hot 100 - 10th wk [of 12] / 85-79-64-57-39-38-38-36-40-42-40-56 / The Intruders’ 13th song to chart on the Hot 100, beginning in ‘66, was their third & lowest charting Top 40 Pop hit - all on the Gamble label / the four members of the group got together in ‘60, forging their own style from Philly streetcorner Doo Wop & Gospel; Gamble & Huff made the group their focus when they left Cameo-Parkway Records to form their own small label in ‘65 / I’LL ALWAYS LOVE MY MAMA, their next-to-last single on the Pop chart, was their 21st Top 50 R&B/Soul single & 20th Top 40 hit; the song was their 11th to reach the Top 20 & fifth to peak in the R&B/Soul Top 10, following TOGETHER [#9] in ‘67, COWBOYS TO GIRLS [#1 - 1 wk] & (Love Is Like A) BASEBALL GAME [#4] in ‘68, and WHEN WE GET MARRIED [#8] in ‘70 / I’LL ALWAYS LOVE MY MAMA, popular at Mother’s Day, was a #6 Soul hit inspired by Kenny Gambles’s mother, and written by Gamble & Huff and McFadden & Whitehead / first single from the vocal group’s fourth album, SAVE THE CHILDREN [#133 Top 200 / #12 Soul], produced by Gamble & Huff; the album also included the title song, the second single, I WANNA KNOW YOUR NAME, and Paul Simon’s MOTHER AND CHILD REUNION / I’LL ALWAYS LOVE MY MAMA was featured over the closing credits of Season 21, Episode 21 “Moe Letter Blues” of THE SIMPSONS, which first aired in May ‘10 / from AllMusic’s contemporary review of the album: "the cream is the spirited, tear-inducing 'I'll Always Love My Mama', the best mama song ever."; from “The Rolling Stone Album Guide” first published in ‘79, "[the album] qualifies as one of the few consistently satisfying albums to come from the Philly factory … disco begins here: the fleet guitar-and-horn stroke that ignites 'Mama' points the way to a new, non-rock dance groove."
I’LL ALWAYS LOVE MY MAMA
I'll always love my mama
She's my favorite girl
I'll always love my mama
She brought me in this world
Sometimes I feel so bad
When I think of all the things I used to do
How mama used to clean somebody elses house
Just to buy me a new pair of shoes
I never understood how mama made it through the week
When she never ever got a good night's sleep
Talking 'bout mama
She's one of a kind
Talking 'bout mama
You've got your yours, and I've got mine
Talking 'bout mama
Oh, hey mama, hey mama, my heart belongs to you
I'll always love my mama
She's my favorite girl
You only get one, you only get one, yeah
I'll always love my mama
She brought me in this world
A mother's love is so special
It's something that you can't describe
It's the kind of love that stays with you
Until the day you die
She taught me little things like "Say Hello and Thank you, please"
While scrubbing those floors on her bended knees
Talking 'bout mama
She's one of a kind
Talking 'bout mama
You've got your yours and I've got mine
Talking 'bout mama
Oh, hey mama, hey mama, my heart belongs to you
I'll always love my mama
She's my favorite girl
You only get one, you only get one
I'll always love my mama
She brought me in this world
I'll always love my mama
I'll always love my mama
I'll always love my mama
I'll always love my mama
I'll always love my mama
I'll always love my mama
I'll always love my mama
I'll always love my mama
I'll always love my mama
She's my favorite girl
I'll always love my mama
She brought me in this world
I'll always love my mama
I'll always love my mama
I'll always love my mama
I'll always love my mama
I'll always love my mama
I'll always love my mama
#43] THERE’S NO ME WITHOUT YOU by The Manhattans
LW #45 / Peak - #43 [1 wk] / Hot 100 - 9th wk [of 11] / 73-63-62-56-54-52-46-45-43-56-59 / The Manhattans, originally from Jersey City, New Jersey, formed after all five members graduated from high school & served in the military; their original lead singer, Gerald ‘Smitty’ Smith, died of a brain tumor in ‘70 and was replaced by Gerald Alston, who they had previously met in another group while on tour / from ‘64 to earlier in ‘73, the group released 26 singles - five charted on the Hot 100, with the first reaching #68, but none of the other four rose higher than #92; seven charted on Billboard’s Bubbling Under the Hot 100 chart & 14 did not chart on the Pop charts / on Billboard’s R&B/Soul charts, they fared quite a bit better with 15 singles charting in the Top 50 & a dozen in the Top 40; of those, five reached the Top 20 and one, ONE LIFE TO LIVE, was a Top 10 hit, peaking at #3 in ‘72 / THERE’S NO ME WITHOUT YOU, written by group member Edward ‘Sonny’ Bivins, matched that position on the Soul chart / THERE’S NO ME WITHOUT YOU, their highest charting Pop hit to date, was the title song of the group’s fifth album and first major label release for Columbia Records, following two albums each on the small Carnival & De Luxe labels; while the album only reached #150 on the Top 200 album chart, it was their second to peak at #19 on the Soul chart & third in the Top 40; the album was produced by Bobby Martin, who was associated with Gamble & Huff’s Philadelphia International Records & their Philly Soul sound; Martin had recently arranged the #1 hit ME AND MRS. JONES for Billy Paul
THERE’S NO ME WITHOUT YOU
Baby, you are my life
And without you I'm an empty shell
There's no house without a home
And there's no man who wants to be alone
There's no child without a dream
And there's no song without a meaning
That's how I know
There's no me without you
There's no me without you
There's no life without a plan
Every woman wants herself a good man
There's a heartaches without tears
And time just can't go by without the years
That's how I know
There's no me without you
There's no me without you
You know there's no stars without the night
Huh, and there's no wrong without a right
And there's no good without a bad
And when one man is happy , the other man is sad
Oh that's how I know
There's no me without you
There's no me without you
Oh yeah, yeah, yeah, yeah, yeah, yeah
That's how I know (That's how I know, baby, yeah, yeah, yeah, yeah)
There's no me without you (My, my, my, my, my, my, my, my)
That's how I know (There's no house, there's no house without a home)
That's how I know (And there's no man, no man who wants to be alone)
#44] WHY ME by Kris Kristofferson
LW #50 / 18 wks / 100-99-91-79-73-69-65-60-59-59-53-54-50-37-35-42-50-44 / after hopping into the Top 40 for two weeks, WHY ME fell out to #42, then dropped to #50 last week, before starting to rise again in week 18
#45] BELIEVE IN HUMANITY // YOU LIGHT UP MY LIFE by Carole King
LW #52 / 4 wks / 84-67-52-45 / YOU LIGHT UP MY LIFE was listed as the A-side when the singer-songwriter’s seventh single debuted at #84 on the 7/14/73 chart - but was listed as the B-side the following week
#46] NOBODY WANTS YOU WHEN YOU’RE DOWN & OUT by Bobby Womack
LW #44 / 8 wks / 89-77-69-59-53-53-44-46 / after jumping nine spots to #44 in week seven, Womack’s tenth single on the Hot 100 looked to be headed for the Top 40 like THAT’S THE WAY I FEEL ABOUT CHA [#27 - 1 wk] in February ‘72 and HARRY HIPPIE [#31 - 1 wk] in February ‘73 - but this week, it slipped two spots to #46
*#47] MEET THAT LADY by The Isley Brothers
LW #57 / 4 wks / 89-68-57-47 / 9th Biggest Jump on the Hot 100 - TIE [2] - 10 positions / the brothers’ 23rd single on the Hot 100, dating to September ‘59, was only their eighth to reach the Top 50 / six of the previous seven were Top 40 hits - TWIST AND SHOUT [#17] in ‘62, THIS OLD HEART OF MINE (Is Weak For You) [#12] in ‘66, IT’S YOUR THING [#2] & I TURNED YOU ON [#23] in ‘69, LOVE THE ONE YOU’RE WITH [#18] in ‘71 and POP THAT THANG [#24] in ‘72
#48] SATIN SHEETS by Jeanne Pruett
LW #48 / Peak - #28 [2 wks] / Top 40 - 5 wks / Hot 100 - 13th wk [of 15] / 95-86-74-63-46-54-39-36-35-28-28-48-48-62-63 / written by John Volinkaty and first recorded by Bill
Anderson & Jan Howard in ‘72 / the song’s writer said the idea for SATIN SHEETS came to him while he was grocery shopping & took five minutes to write after he got home - but it took a year to get someone to record it / when Pruett’s song was released by MCA Records in March ‘73, the singles sent to Country DJs were accompanied by a pink satin sheet square, which had been hand cut by Pruett - all 1600 of them / the song was a country breakthrough at the time, openly discussing an unhappy marriage, and was a #1 hit for two weeks at the end of May & beginning of June, returning to #1 for a third week on the 6/23/73 Billboard Country chart / the album of the same name, which featured a pink front cover showing Pruett lying in bed with a pink satin pillow, wearing a pink negligée, also went to #1 - for eight consecutive weeks from 7/21/73 to 9/8/73, the most weeks at #1 of any Country album for the year*; #122 on Billboard’s Top 200 album chart / *[Charlie Rich’s BEHIND CLOSED DOORS logged seven weeks at the top of the Country album chart in June (3), July (1) & late December (3)] / the huge popularity of the song & album afforded Pruett the opportunity to become a member of The Grand Ole Opry in Nashville / Pruett went on to have nine more Top 40 Country singles from ‘73 to ‘80 with four more Top 10 hits - the highest charting reached #5; she released four more albums, including two which reached the lower Top 20 on the Country chart, one live album & three compilation albums - the last, SATIN SHEETS: GREATEST HITS, was released in September ‘98 / SATIN SHEETS, Pruett’s only single to cross over to the Pop chart in the US, peaked at #24 on the Cashbox [sales only] chart for the week of 7/21/73 / Pruett’s signature song was a #3 Country hit in Canada - but not a Top 40 crossover hit there, peaking at #76 on the RPM Top 100 & #66 on the RPM Easy Listening chart; the song was a Top 40 hit in Australia, peaking at #20
SATIN SHEETS
Satin sheets to lie on, satin pillows to cry on
Still, I'm not happy, don't you see?
Big long Cadillac, tailor-mades upon my back
Still, I want you to set me free
I've found another man who can give more than you can
Though you've given me everything money can buy
But your money can't hold me tight like he does on a long, long night
You know you didn't keep me satisfied
Satin sheets to lie on
(Satin pillows) satin pillows to cry on
Still, I'm not happy, don't you see?
Big long Cadillac, tailor-mades upon my back
Still, I want you to set me free
Satin sheets to lie on
(Satin pillows) satin pillows to cry on
Still, I'm not happy, don't you see?
Big long Cadillac, tailor-mades upon my back
Still, I want you to set me free
Satin sheets to lie on
(Satin pillows) satin pillows to cry on
Still, I'm not happy, don't you see?
Big long Cadillac, tailor-mades upon my back
Still, I want you to set me free
*#49] FUTURE SHOCK by Curtis Mayfield
LW #74 / 3 wks / 85-74-49 / Biggest Jump on the Hot 100 - 25 positions / Mayfield’s fifth solo single on the Hot 100 was his first since his Gold Top 10 hits from the SUPER FLY soundtrack - FREDDIE’S DEAD [#4 - 2 wks] in early November ‘72 & SUPER FLY [#8 - 2 wks] in January ‘73
#50] I’M GONNA LOVE YOU JUST A LITTLE MORE BABY by Barry White
LW #41 / Peak - #3 [1 wk] / Top 10 - 6 wks / Top 20 - 9 wks / Top 40 - 12 wks / Hot 100 - 17th wk [of 18] / 90-72-57-37-24-20-12-7-6-4-3-4-10-15-34-41-50-76 / Gold Record / White had been recording singles [which did not chart] since ‘63; his most recent unsuccessful “45” was a cover version of Elvis Presley’s IN THE GHETTO in ‘70 / written & produced by Barry White; first single from his debut album, I’VE GOT SO MUCH TO GIVE [#16 Top 200 / #1 Soul / Gold] / one of several demos White made of himself playing piano & singing; he was urged to record the three songs for an album; also playing on the track - guitar: Ray Parker Jr., Wah Wah Watson, Dean Parks and David T. Walker; bass - Wilton Felder and Nathan East; drummer - Ed Greene; vibraphone - Gary Coleman / the song has been used in a number of TV programs & movies, including FRIENDS, and was covered by R&B singer Summer Walker on BIRDS OF PREY: THE ALBUM in ‘20 / one of ten songs on BARRY WHITE’S GREATEST HITS [#23 Top 200 / #15 Soul / Platinum / Gold in Canada / #18 UK / Gold] in ‘75 / I’M GONNA LOVE YOU JUST A LITTLE MORE BABY, certified Gold by the RIAA on 6/6/73, peaked at #4 on the Cashbox [sales only] chart for the week of 6/23/73 / #1 for two weeks in May & June on Billboard’s Soul chart, following LEAVING ME by The Independents [1 wk] and preceding The Spinners’ ONE OF A KIND (Love Affair) [4 wks] / #27 on Billboard's Easy Listening chart; #10 in Canada, #14 in the Netherlands, #17 in New Zealand, #23 in the UK, #26 in Australia & #37 in France
I’M GONNA LOVE YOU JUST A LITTLE MORE BABY
It feels so good
You lying here next to me
Oh, what a groove
You have no idea how it feels
My hands just won't keep still
I love you, baby
Oh, I love you, I love you, I love you
I just wanna hold you
Run my fingers through your hair
Ooh
Outta sight
Uh-huh, right there, you like it like that
Closer
Come here, closer, close
Oh, baby
Oh, baby
Give it up, ain't no use
I can help myself if I'd wanted to
I'm hung up, no doubt
I'm so in love with you, for me there's no way out
'Cause deeper and deeper
In love with you I'm falling
Sweeter and sweeter
Your tender words of love keeps calling
Eager and eager, yeah
To feel your lips upon my face
Please her and please her
Any time or any place
I'm gonna love you, love you, love you just a little more, baby
I'm gonna need you, need you, need you every day
I'm gonna want you, want you, want you in every way
Make no mistake for I'll hold back knowin'
This time it looks like lover is here to stay
As long as I shall live
I'll give you all I have and all I have to give
'Cause please her and please her
Any time or any place
Eager and eager
To feel your sweet lips on my face
Deeper and deeper
In love with you I'm falling, yeah
Sweeter and sweeter
Your tender words of love keeps calling
I'm gonna love you, love you, love you just a little more, baby
I'm gonna need you, need you, need you every day
I'm gonna want you, want you, want you in every way
*#51] LOVE, LOVE, LOVE by Donny Hathaway
LW #64 / 5 wks / 82-76-74-64-51 / 7th Biggest Jump on the Hot 100 - TIE [4] - 13 positions / Hathaway’s fourth solo single on the chart; he also had four duets - one with June Conquest & three with Roberta Flack / LOVE, LOVE, LOVE was already his highest charting solo single
#52] I WAS CHECKIN’ OUT - SHE WAS CHECKIN’ IN by Don Covay
LW #60 / 5 wks / 99-90-72-60-52 / Covay first charted as a member of The Goodtimers in January ‘61 and then had four singles on the Hot 100 as Don Covay & the Goodtimers from late December ‘62 to Nov-Dec ‘65, including his lone Top 40 hit MERCY, MERCY [#35 - 1 wk] in late October ‘64
#53] CLOUDS by David Gates
LW #53 / 4 wks / 71-65-53-53 / first solo single for the former lead singer of Soft Rock group Bread, which charted 11 Top 40 singles from their first, MAKE IT WITH YOU, in mid-July ’70 to AUBREY in early April ‘73, including nine Top 20 & five Top 10 hits
#54] OVER THE HILLS & FAR AWAY by Led Zeppelin
LW #51 / Peak - #51 [1 wk] / Hot 100 - 7th wk [of 8] / 87-81-70-62-57-51-54-64 / first single released from the heavy metal band’s fifth studio album, HOUSES OF THE HOLY [#1 US / 11x Platinum / #1 Australia / 2x Platinum / #1 Canada / #1 UK / Platinum] / Jimmy Page & Robert Plant wrote the song, originally titled “Many, Many Times,” at Bron-Yr-Aur in Wales where they stayed after a North American tour supporting the LED ZEPPELIN IV album; a number of other songs on the upcoming album were also written at the small cottage / from the Cashbox review: “[the song] is a bit deceiving … what opens as an acoustic song soon turns into an amazingly powerful Led Zeppelin classic complete with rock melody.” / a video of the song’s performance at the Knebworth Festival in ‘77 promoted the 3-disc LED ZEPPELIN REMASTERED in ‘90, which drew songs from all eight of the band’s studio albums / Rolling Stone magazine ranked OVER THE HILLS & FAR AWAY #16 on its The 40 Greatest Led Zeppelin Songs of All Time in ‘12, while Spin magazine ranked it #1 on its list of Led Zeppelin songs in ‘14, writing "best demonstrates just about everything the band does well: the unforgettable and impossible-to-pin-down opening riff, the life-affirming transition from acoustic to electric, the constant switches in tone and dynamic, the piercing solo with double-tracked climax, the impeccable interplay of guitar, bass, and drum, the inimitable Plant shrieking, the gorgeous coda, even the super-oblique title" / #28 on the Cashbox [sales only] chart; and #63 in Canada
OVER THE HILLS & FAR AWAY
Hey lady, you got the love I need
Maybe more than enough
Oh darling, darling, darling
Walk a while with me
Ohh, you've got so much, so much, so much
Many have I loved, and many times been bitten
Many times I've gazed along the open road
Many times I've lied, and many times I've listened
Many times I've wondered how much there is to know
Many dreams come true, and some have silver linings
I live for my dream, and a pocket full of gold
Mellow is the man who knows what he's been missing
Many, many men can't see the open road
Many is a word that only leaves you guessing
Guessing 'bout a thing you really ought to know, oh, oh, oh, oh
Really ought to know (oh, oh, oh)
I really ought to know
Oh
You know I should, you know I should, you know I should, you know I should
#55] EVERYONE’S AGREED THAT EVERYTHING WILL TURN OUT FINE by Stealers Wheel
LW #58 / 4 wks / 91-87-58-55 / follow-up single for the Scottish Folk Rock band after their first US single, STUCK IN THE MIDDLE WITH YOU, peaked at #6 in May ‘73
#56] ONE OF A KIND (Love Affair) by The Spinners
LW #37 / Peak - #11 [1 wk] / Top 20 - 5 wks / Top 40 - 11 wks / Hot 100 - 15 wks / 71-60-50-35-29-24-15-13-12-11-15-23-32-37-56 / Gold / written by Joseph B. Johnson and produced by Thom Bell / third single released from their first album for Atlantic Records, after leaving Motown; SPINNERS was their first Top 20 [#14] album on Billboard’s Top 200, and their first #1 on Billboard’s Soul albums chart, topping the chart for three weeks in May, and their first album to be certified a Gold Record by the RIAA / lead vocals were handled by Philippé Wynne with Bobby Smith singing lead on several lines in the bridge; all five group members sang backing vocals with Linda Creed & The Sweethearts of Sigma providing additional vocals / the album was recorded at Sigma Sound Studios in Philadelphia in ‘72-‘73 with house band MFSB and released in April / although ONE OF A KIND (Love Affair) narrowly missed the Pop Top 10, it was the group's third straight #1 on Billboard’s Soul chart, spending four weeks at the top of the chart in June; I’LL BE AROUND was #1 for five weeks in Oct/Nov ‘72, while COULD IT BE I’M FALLING topped the chart for a week in February ‘73 / the single generated a bit of controversy due to one misheard word, causing the record company to send an edited version to DJs across the country; both the edited & unedited versions have been included on compilation albums / the song was a Top 10 hit on the Cashbox [sales only] Pop chart, peaking at #8 [2 wks] for 6/30/73 & 7/7/73 / #19 on Billboard’s Easy Listening chart; and #16 in Canada
ONE OF A KIND (Love Affair)
One of a kind love affair is
The kind of love that you read about in a fairy tale
Like the sun that shines on a rainy day, it's a cloud of love
One of a kind love affair is
When your down is up when your up is down
But love stays around
And when you know you're right, but you got to make a little sacrifice
You make it for love
Whoa-oh, yeah
I never thought about today would come
When she would leave without good-bye, yes, sir
She wrote a line or two upon the wall
Said, "I'm leaving you, know I love you too I can't stay with you
Until this very day, I could never say a discouraging word
'Cause I love you"
Whoa-oh-oh, yes, siree, now
When you hate to say, "Girl, I told you so, but you gotta go"
There won't be a fight, 'cause your love is right
But you're leaving wrong, wrong, wrong, wrong
(One of a kind) ooh (love affair is) ooh, yeah
When you treat her nice but you finally have to pay the price
And though you know you're right
But you got to make a little sacrifice
You make it for love
You make it for love
Ah, hey, hey, hey, hey, oh
One of a kind love affair is
Makes you want to love her,
You just got to hug her, yeah
One of a kind, one of a kind, love affair is
Makes a lame man walk, makes a blind man talk about seein' again
(One of a kind) oh yeah (love affair is) my heart
It makes me want to be around ya
Ah, girl, I'm glad I found ya
(One of a kind) wooh-ee, (love affair is) I want to tell you now
Every day is sunshine, girl, you're on my mind
One of a kind, one of a kind love affair is
Makes me want to, want to be with you
(One of a kind) baby, baby, baby
#57] ROLL OVER BEETHOVEN by Electric Light Orchestra
LW #42 / Peak - #42 [1 wk] / Hot 100 - 15th wk [of 16] / 90-85-78-74-66-65-100-79-59-54-52-50-44-42-57-65 / Electric Light Orchestra’s first US single rebounded after Billboard’s change of reporting retail outlets & radio stations nearly dropped it off the chart, quickly climbing into the 50s and almost reaching the Top 40 / ELO’s eight-minute reworking of the Chuck Berry classic included Beethoven's Fifth Symphony and interwove elements of the symphony’s first movement, as well as the theme from PETER GUNN, into the Berry song / the 8:09 track was featured on ELO 2 [#62 US / #35 UK], released in early ‘73, and was edited to 7:03 on the UK album; at 4:32, the single was three & a half minutes shorter and the promo single sent to US DJs was even shorter at 3:42 / ELO performed its first American hit on AMERICAN BANDSTAND; the single was a Top 10 hit on Chicago superstation WLS [#8 - 2 wks] and ranked even higher [#6] on a rival Chicago station / #6 in the UK, where it was the band’s second Top 10 hit, following 10538 OVERTURE [#9 UK / #5 France] in ‘72 / #48 on the Cashbox [sales only] chart; #19 in Canada & the Netherlands, #22 in West Germany & #53 in Australia
#58] SOUL MAKOSSA by Afrique
LW #54 / Peak - #47 [2 wks] / Hot 100 - 9 wks / 96-84-71-62-47-47-49-54-58 / one of two dozen cover versions of the Manu Dibango song [at #35 & in its final week on the Hot 100 this week] - but the only other version to chart on the Hot 100 / SOUL MAKOSSA [Vocal] [4:30] b/w HOT MUD [Instrumental] [4:10] was released on Mainstream Records and debuted at #96 on the 6/9/73 chart, while Manu Dibango’s did not make the chart until the 6/23/73 issue - but it soon overtook the cover version
#59] DADDY COULD SWEAR, I DECLARE by Gladys Knight & the Pips
LW #47 / Peak - #19 [1 wk] / Top 20 - 1 wk / Top 40 - 8 wks / Hot 100 - 15 wks / 78-71-59-50-42-38-35-32-24-22-19-24-39-47-59 / written by Johnny Bristol, Gladys Knight & Merald Knight and produced by Bristol / second single from the group’s most successful album recorded for Motown’s Soul label, reaching #9 on Billboard’s Top 200 chart & #1 for two weeks in April on Billboard's Soul chart / B-side of the single was their cover of Stevie Wonder's #2 hit FOR ONCE IN MY LIFE from ‘68, also on the album / DADDY COULD SWEAR, I DECLARE, the last Top 40 Pop hit for the group on the Soul label, nearly topped Billboard’s Soul chart; the single was released after the group had already left the label and signed with Buddah Records and was in competition on the Pop & Soul charts with their first single for their new label, WHERE PEACEFUL WATERS FLOW [#28 - 3 wks Pop / #6 R&B], with both singles reaching their Peak Positions on the Pop chart in July ‘73
in six+ years on Motown’s Soul label, Gladys Knight and the Pips had 13 Top 40 Pop hits with eight reaching the Top 20 - but only three Top 10 hits, with two peaking at #2 / on Billboard’s R&B/Soul chart, the family vocal group had 15 Top 40 hits with all 15 reaching the Top 20 & a dozen Top 10s; all but one were Top 5 hits with three topping the chart, four peaking at #2 & three reaching #3
Top 40 Pop & Soul Hits on Motown’s Soul label:
1967
EVERYBODY NEEDS LOVE [#39 - 1 wk Pop / #3 Soul]
I HEARD IT THROUGH THE GRAPEVINE [#2 - 3 wks Pop / #1 - 6 wks Soul]
1968
THE END OF OUR ROAD [#15 - 3 wks Pop / #5 Soul]
IT SHOULD HAVE BEEN ME [#40 - 1 wk Pop / #9 Soul]
I WISH IT WOULD RAIN [#41 - 5 wks Pop / #15 Soul]
1969
DIDN’T YOU KNOW (You’d Have To Cry Sometime) [#63 - 2 wks Pop / #11 Soul]
THE NITTY GRITTY [#19 - 1 wk Pop / #2 Soul]
FRIENDSHIP TRAIN [#17 - 1 wk Pop / #2 Soul]
1970
YOU NEED LOVE LIKE I DO (Don’t You) [#25 - 1 wk Pop / #3 Soul]
1971
IF I WERE YOUR WOMAN [#9 - 1 wk Pop / #1 - 1 wk Soul]
I DON’T WANT TO DO WRONG [#17 - 3 wks Pop / #2 Soul]
1972
MAKE ME THE WOMAN THAT YOU GO HOME TO [#27 - 1 wk Pop / #3 Soul]
HELP ME MAKE IT THROUGH THE NIGHT [#33 - 2 wks Pop / #13 Soul]
1973
NEITHER ONE OF US (Wants To Be The First To Say Goodbye) [#2 - 2 wks Pop / #1 - 4 wks Soul]
DADDY COULD SWEAR, I DECLARE [#19 - 1 wk Pop / #2 Soul]
DADDY COULD SWEAR, I DECLARE
Oh, oh, yeah
Yeah, oh my mercy
Ooh, how I remember daddy
He was young and had
A built in tan yeah
And though he only stood
About a five feet seven
My daddy was a heck of a man
Yes he was, y'all
He loved us all and we knew it
Though he showed it in a very funny way
For most of the time
He was a-cussin' and fussin'
When he said what he had to say
Now, now, now
Daddy couldn't read
Daddy couldn't write
But one thing daddy sure could do right
He could swear
Oh, lord
I declare
Yes, he could, y'all
Daddy could swear
I declare
Have mercy
I still remember seein' him in the backyard
Just a-pickin' and a-paintin' away
Woo, woo, woo, woo
Ooh, my brothers and sisters
Still talk about how
Daddy lost his temper that day
You see, he built a picket fence
From the garage to the house
Well, Sam, tell me what I say
The same day the garbage man
Backed into the fence
And the whole darn thing gave way
You should have been there
Daddy couldn't read
Daddy couldn't write
One thing daddy sure could do right
He could swear
Oh, lord
I declare
Yes, he could, y'all
Daddy could swear
I declare
Yes, he could, y'all
Tell 'em about
Tell about your daddy
My daddy was a bad mouth
Watch ya say watch your mouth
My daddy was a bad mouth
Watch ya say watch your mouth
My daddy was a bad mouth
Watch ya say watch your mouth
Oow
Daddy wasn't no scholar, no
No, he didn't have PHd
But in my eyes and down in my heart.
My daddy means the world to me
He'll probably go out
(Talkin' about daddy)
Cursin', just a-fussin'
And a-bein' mad
But I hope the good lord will understand
That daddy's is just bein' my dad
Daddy couldn't read
Daddy couldn't write
But one thing daddy sure could do right
He could swear
Oh, lord
I declare
Yes he could, y'all
Daddy could swear
I declare
#61] SWEET CHARLIE BABE by Jackie Moore
LW #69 / 5 wks / 89-87-76-69-61 / second Hot 100 single for the R&B singer from Florida; PRECIOUS, PRECIOUS was a #30 hit for her in February ‘71
#62] SWEET HARMONY by Smokey Robinson
LW #75 / 5 wks / 94-92-86-75-62 / first solo single for the leader of The Miracles, which had formed as The Matadors at Northern High School in Detroit in ‘55; Smokey Robinson left the group at the end of January ‘72, after 42 Hot 100 singles & 27 Top 40 hits, intending to focus on his duties as a Motown Vice President - but now, just 17 months later, Robinson was back on the charts again as a solo artist
#63] TIME TO GET DOWN by The O’Jays
LW #59 / Peak - #33 [1 wk] / Top 40 - 2 wks / Hot 100 - 12 wks / 90-81-77-64-50-45-40-33-60-59-59-63 / follow-up single to their #1 hit LOVE TRAIN from late March was a Top 40 hit - but stopped well short of the Top 10 on the Pop chart / written by Kenny Gamble & Leon Huff / fourth & final single from their first Philadelphia International album, BACK STABBERS [#10 Top 200 / #3 Soul / Gold / #49 Canada], produced by Gamble & Huff and Bunny Sigler / on Billboard’s Soul chart, the album yielded three Top 3 singles & one Top 20 hit: BACK STABBERS [#1 - 1 wk] in September & 992 ARGUMENTS [#13] in ‘72 and LOVE TRAIN [#1 - 4 wks] in Feb/Mar & TIME TO GET DOWN [#2] in ‘73 / #30 [2 wks] on the Cashbox [sales only] chart for 7/14/73 & 7/21/73; and #51 in the UK
TIME TO GET DOWN
Yeah yeah, yeah
Mmmmm
Yeah
Mmm-mmm-mmm
Yeah
Hey, why don't you just stop trying to be so cool
And let me know the lowdown of how you feel about things?
Oh, you ain't doing nothing but jive, baby
And we've got a very serious problem, yeah
Yeaaa-aaah
Come on, baby
(It's time to get down, down, yeah)
It's time for you to stop playing with my feelings, girl
Come on, girl, you know it damn well, baby
(It's time to get down, down, yeah)
Oh, if there's nothing else, you can make up your mind right away
And it seems like to me you're trying your best to delay
Can't you see I wanna love you?
As long as you want it, baby
As long as you need it, baby
Oh, baby, baby, believe me when I tell you every word I say is true (Believe me, yeah)
Cause, honey, I adore you (Adore you, adore you)
And all this time we've been wasting, baby
Is only a game for fools
Yeaaa-aaah
Come on, baby
(It's time to get down, down, yeah)
It's time for you to stop trying to be so cool, oh mama
Come on, girl
(It's time to get down, down, yeah)
Oh, if you would only stop, mama, stop all that stumbling that you're doing
And come on, come on in, and give me all the things I need
Can't you see I wanna love you?
As long as you want it, baby
As long as you need it, baby
Oh, baby, baby, baby, it's time to get down, girl (Oh, baby)
Come on
(It's time to get down, yeah)
Yeaaa-aaah
It's time for you to stop playing with my feelings, girl (Oooh, oooh)
Come on, come on, girl(It's time to get down, yeah)
Ooo-oooh
Come on, baby (Ooooh, oooh)
(It's time to get down, yeah)
As long as you want it, baby
(Ooooh, oooh)
As long as you need it, girl
(It's time to get down, yeah)
Come on, come on, girl
Ooo-oooh
(Oooh, oooh)
Yeah, yeaaaah, yeah
(It's time to get down, yeah)
It's time for you to put your arms around me (Oooh, oooh)
Lord, bless the day you found me, girl
(It's time to get down, yeah)
Come on, girl
Yeaaa-aaah
#64] PILLOW TALK by Sylvia
LW #55 / Peak - #3 [2 wks] / Top 10 - 7 wks / Top 20 - 11 wks / Top 40 - 13 wks / Hot 100 - 20th wk [of 21] / 98-92-79-54-30-26-20-14-9-6-4-3-3-6-6-16-18-43-55-64-73 / Gold / written and produced by Sylvia Robinson & Michael Burton / Robinson wrote the song with Soul singer Al Green in mind, but when she offered it to him, he turned it down, because it was too risque & against his religious beliefs / after the rejection, Robinson decided to record the song herself / Sylvia Vanderpool had first recorded as Little Sylvia from ‘51 to ‘54 and then was half of Mickey & Sylvia in the late ‘50s and early '60s / the duo’s first single, Bo Diddley’s LOVE IS STRANGE was a #1 R&B hit* in ‘57 and reached #11 on the Pop chart / *[LOVE IS STRANGE managed two weeks at #1 on Billboard’s R&B Disc Jockey chart in March, while Fats Domino was dominating the Best Sellers, Disc Jockey & Jukebox charts for the first four months of ‘57 - first with BLUEBERRY HILL, then BLUE MONDAY & I’M WALKIN’; Billboard’s Hot 100 and R&B charts, combining sales & airplay, did not come into being until ‘58] / the duo had several other charting singles - but none rose higher than #47 on the Pop chart / Mickey & Sylvia were also largely responsible for Ike & Tina Turner’s second Top 40 Pop hit, IT’S GONNA WORK OUT FINE [#14] in ‘61; Sylvia Robinson in an interview in ‘81: "I paid for the session, taught Tina the song; that's me playing guitar."; Mickey also sang on the Grammy-nominated single / Sylvia attempted a solo career in the early ‘60s but without success / she & husband Joe Robinson founded All Platinum Records after moving to New Jersey in ‘66; after several smaller hits on the R&B & Pop charts, the label’s first major hit was The Moments’ Gold record LOVE ON A TWO-WAY STREET [#3 - 2 wks Pop / #1 - 5 wks Soul] in Mar/Apr ‘70, co-written & co-produced by Sylvia Robinson / Sylvia’s single PILLOW TALK was edited by many radio stations to cut out Sylvia’s vocalizations & moans at the song’s end; her hit predated Donna Summer’s first US hit, LOVE TO LOVE YOU BABY [#2 Pop / #3 Soul / #1 - 4 wks Dance], which featured Summer’s unedited orgasmic moans & propelled her to superstardom, proving that a lot can change in music & attitudes in just 2 1/2 years
PILLOW TALK has also been recorded by a number of other artists: Disco singer Fern Kenney in ‘79, Italian Disco singer Lustt in ‘83 [sampled by Saint Pepsi on PRIVATE CALLER in ‘13], Tanya Jackson in ‘83 - popular in Asian & European discos, R&B singer Cherelle on her album THE RIGHT TIME in ‘99, R&B singer-actress Miki Howard on her album, also titled PILLOW TALK, in ‘06, Joss Stone for THE SOUL SESSIONS VOL. 2 in ‘12, and an instrumental version by Disco DJ AnthonyB as the B-side of MOBILE DISCO in ‘21 / also recorded by Janet Jackson during sessions for her album “janet” in ‘99 but not included on the album; in an interview in ‘18, Jackson commented: "Not sure what I was thinking when I excluded it. Now that I’m hearing it for the first time in years, maybe I made a mistake. Maybe it should have gone on the record. Maybe I just wasn’t willing to do a cover because of my eagerness to hone my craft as a writer." / Sylvia’s album PILLOW TALK also reached #3 on Billboard’s Top 200 album chart / Sylvia received a Grammy nomination for Best Female R&B Vocal Performance for the single in ‘74 / PILLOW TALK peaked at #2 on the Cashbox [sales only] chart for the week of 6/23/73, after two weeks at #3; #1 for two weeks on Billboard’s Soul chart in late April & early May; also #3 on Canada’s Top 100 RPM chart, #14 in the UK, #15 in New Zealand, #18 in Ireland & #59 in Australia
PILLOW TALK
Ay, ay, ay-yi
Hey, baby, let me stay
I don't care what your friends are 'bout to say, ah-ah
What your friends all say is fine
But it can't compete with this pillow talk of mine
Ooh, you can't find love on a one-way street
It takes two to tango, takes two to even compete, oh, yeah
So boy, just put that stop sign down
And let's get together before the day runs us down
I'm pleading to you now
Hey, baby, let me try
To be the one who's gonna light your fire, ah-ah
What your friends all say is fine
But it can't compete with this pillow talk of mine
Ooh, I don't wanna see you be no fool
What I'm teachin' you tonight, boy, you'll never learn it in school, oh, no
So friends who tell me wrong from right
I'll ask to borrow their man some cold and lonely night
Ooh, hey, baby, let me be
The one who turns you on from A to Z, ah-ah
What your friends all say is fine
But it can't compete with this pillow talk of mine
Ooh, baby
Ooh, baby, la-la-la, la-la-la-la
Ah, would you, baby?
Would you, baby?
La-la-la, la-la-la-la
Ay, ay, ay, ay, ay-ay-ay-ay
Uno momento poquito
Uno momento poquito
Ay-ay-ay-ay
Nice daddy, nice daddy, nice daddy
Ay-ay-ay-ay
Oh, my God
#65] BABY I’VE BEEN MISSING YOU by The Independents
LW #78 / 3 wks / 89-78-65 / 7th Biggest Jump on the Hot 100 - TIE [4] - 13 positions / third single on the Pop chart for the Chicago Soul group & follow-up to their Top 40 hit LEAVING ME, which peaked at #21 [1 wk / Gold] in early June ‘73
#66] GOIN’ HOME by The Osmonds
LW #61 / Peak - #36 [1 wk] / Top 40 - 2 wks / Hot 100 - 8 wks / 71-55-48-39-36-45-61-66 / the Osmond brothers’ eighth single was a Top 40 hit - but their lowest charting since signing with MGM Records & beginning their string of Pop hits in early ‘71 / The Osmonds had previously scored three Top 5 hits - ONE BAD APPLE [#1 - 5 wks / Gold] in Mar/Apr & YO-YO [#3 - 3 wks / Gold] in October ‘71 and DOWN BY THE LAZY RIVER [#4 - 2 wks / Gold] in March ‘72; and three more Top 20 hits, which all peaked at #14 - DOUBLE LOVIN’ [1 wk] in July ‘71 and HOLD HER TIGHT [2 wks] in August & CRAZY HORSES [2 wks] in December ‘72 / GOIN’ HOME [2:10] b/w ARE YOU UP THERE? [4:40] were both written by Alan Osmond, Wayne Osmond & Merrill Osmond and produced by Alan Osmond / GOIN’ HOME was the 12th & final song on their fifth studio album, THE PLAN [#58 US / #58 Australia / #20 Canada / #6 UK / Gold]; all of the songs on the album were about their Mormon faith with the title coming from the Mormon “Plan of Salvation” / the group’s previous four ‘70s albums were all certified Gold in the US, charting at #14 [OSMONDS] in ‘70, #22 [HOMEMADE] in ‘71, and #10 [PHASE III] & #14 [CRAZY HORSES] in ‘72 / GOIN’ HOME peaked at #21 on the Cashbox [sales only] chart for 7/21/73; #4 in the UK [Silver], #30 in Canada & #55 in Australia
GOIN’ HOME
I'm a track star, gotta run far,
And I'm ready to go;
It's a long, long road.
And I gotta make it on my own.
Everybody's gainin' on me,
Tryin' to slow me down, but if
I'm gonna make it,
Gotta fight, fight, fight all day,
And night--and day--all right.
Goin' home, goin' home, goin' home,
I gotta make it, gonna make it alright,
Goin' home, goin' home, goin' home,
If it takes me the rest of my life.
I'm a space man, from a different world,
I gotta get back home,
I've been gone so long,
That I'm feelin' like a useless man.
Everybody's lookin' at me,
Tyrin' to help me down,
I gotta fight, fight, fight, even though it takes
Another day, and night, and day, all right,
Oh me, why, why,
Is it either win or lose,
Somehow, someday
I'll never ever have to go away.
Goin' home, goin' home, goin' home,
I gotta make it, gonna make it all right,
Goin' home, goin' home, goin' home,
I gotta make it, gonna make it all right,
Goin' home, goin' home, goin' home,
I gotta make it, gonna make it all right.
Goin' home, goin' home, goin' home,
It it takes the rest of my life.
*#67] MY MARIA by B.W. Stevenson
LW #81 / 2 wks / 81-67 / 6th Biggest Jump on the Hot 100 - TIE [2] - 14 positions / in just its second week on the chart, Stevenson’s second single was already just one position lower than the peak position of his version of SHAMBALA in June ‘73
#68] IT’S FOREVER by The Ebonys
LW #70 / Peak - #68 [1 wk] / Hot 100 - 5th wk [of 6] / 96-95-78-70-68-69 / Jenny Holmes, David Beasley, James Tuten & Clarence Vaughn formed as R&B vocal group The Ebonys in Camden, New Jersey, in ‘68 / the group’s first single, YOU’RE THE REASON WHY, reached #51 in July ‘71 / IT’S FOREVER [4:27], written by Leon Huff b/w SEXY WAYS [3:04], written by Cary Gilbert, Leon Huff & Kenny Gamble, were produced by Gamble & Huff / both their first & last singles were released on Gamble & Huff’s Philadelphia International Records
*#69] WE’RE AN AMERICAN BAND by Grand Funk
LW #83 / 2 wks / 83-69 / 6th Biggest Jump on the Hot 100 - TIE [2] - 14 positions / the 11th single on the Hot 100 for the massively popular Rock trio, formed in Flint, Michigan, in ‘68, was the first to be produced by Todd Rundgren - and the first to be listed as Grand Funk [without Railroad]
*#70] THEME FROM “CLEOPATRA JONES” by Joe Simon featuring the Main Streeters
LW #86 / 2 wks / 86-70 / 4th Biggest Jump on the Hot 100 - 16 positions / Simon’s 28th song on the Hot 100 was his first movie theme song & first with the Main Streeters
#71] LORD, MR. FORD by Jerry Reed
LW #79 / Peak - #68 [1 wk] / Hot 100 - 5th wk [of 7] / 97-93-82-79-71-68-79 / Reed’s fourth single to chart after the Top 10 hits AMOS MOSES [#8 - 2 wks / Gold] in Feb/Mar & WHEN YOU’RE HOT, YOU’RE HOT [#9 - 3 wks] in June/July ‘71 / none of the four rose into the Top 50 & his latest was the lowest charting / on the Country chart, the song written by Deena Kaye Rose bemoaning the problems caused by cars [Lord, Mr. Ford, I just wish that you could see / What your simple horseless carriage has become], was Reed’s second #1 hit, following WHEN YOU’RE HOT, YOU’RE HOT
#72] DARLING COME BACK HOME by Eddie Kendricks
LW #72 / Peak - #67 [1 wk] / Hot 100 - 4th wk [of 5] / 88-88-72-72-67 / the fifth solo single by Kendricks, since leaving The Temptations, fared no better than the rest, with only his third single, IF YOU LET ME, peaking higher at #66 / written by Kathy Wakefield, Frank Wilson & King Errisson and produced by Wilson & Leonard Caston / first single from his third album EDDIE KENDRICKS [#18 Top 200 / #5 Soul], which also included the song which would become his biggest hit / DARLING COME BACK HOME reached #26 on Billboard’s Soul chart
#73] DIDN’T I by Sylvia
LW #84 / Peak - #70 [1 wk] / Hot 100 - 3rd wk [of 5] / 84-84-73-70-72 / Sylvia’s follow-up single to her Top 3 hit PILLOW TALK would peak 60 positions lower than the Top 10 next week / DIDN’T I [3:25] was written by Sylvia Robinson, Michael Burton, Al Goodman & Billy Brown and produced by Robinson & Burton / from the album PILLOW TALK [#3 Top 200] / b/w HAD ANY LATELY [2:55], written by Sylvia Robinson and produced by Robinson & Burton / #21 on Billboard’s Soul chart
*#75] THERE IT IS by Tyrone Davis
LW #90 / 2 wks / 90-75 / 5th Biggest Jump on the Hot 100 - 15 positions / Davis’ latest “45” was his 11th single on the Pop chart; of his previous ten, only the first three had reached the Top 40 in ‘69 & ‘70
#76] SIXTY MINUTE MAN by Clarence Carter
LW #77 / Peak - #65 [1 wk] / Hot 100 - 9th wk [of 12] / 97-93-82-80-78-75-70-77-76-66-65-69 / MOTHER-IN-LAW was the A-side listed for the single’s first four weeks on the Hot 100, then SIXTY MINUTE MAN // MOTHER-IN-LAW in week five, and SIXTY MINUTE MAN by itself from week six on / MOTHER-IN-LAW was a #1 hit for R&B singer Ernie K-Doe [born Ernest Kador, Jr. in New Orleans in February ‘36] in ‘61, while SIXTY MINUTE MAN spent 14 weeks at #1 on the R&B chart for The Dominoes a decade earlier / Carter’s 14th single on the Hot 100 was his last; his first chart single on Fame Records, THREAD THAT NEEDLE, spent one week on the chart at #98 in late June ‘67; after a dozen singles on Atlantic Records charted between ‘68 & ‘73, he was again recording for Rick Hall’s FAME label in Muscle Shoals, Alabama / on the Pop chart, Carter had four Top 40 hits, including a pair of Top 10s and three Gold Records / on Billboard’s R&B/Soul chart, Carter had 18 Top 40 hits with 12 reaching the Top 20 & seven peaking in the Top 10 / Carter’s Christmas single BACK DOOR SANTA peaked at #4 on Billboard’s Christmas chart in ‘68
Clarence Carter, born blind in Montgomery, Alabama in January ‘36, attended the Alabama School for the Blind and graduated from Alabama State University with a degree in music / he and friend Calvin Scott recorded as Clarence & Calvin and then the C & C Boys, releasing unsuccessful singles [several on Fame Records] & performing in Birmingham clubs from ‘61 to ‘66 / after Scott was in a serious auto accident, Carter continued on as a solo artist, recording his first single, TELL DADDY, for the Fame label in ‘67; [Etta James’ hit TELL MAMA [#23 Pop / #10 R&B] was the essentially the same song, co-written by Carter, recorded at FAME Studios & produced by Rick Hall] / Carter and his back-up singer Candi Staton [who began charting in ‘69] married in ‘70 & had a son, Clarence Carter, Jr., before divorcing in ‘73 / with the rise of Disco in the mid to late ‘70s, Carter’s chart appearances decreased - but he continued to tour in the South, appealing to R&B and Blues audiences / his ‘86 song STROKIN’ was considered too risqué for radio but was a hit on jukeboxes & charted at #24 in Australia; it has since been included on the soundtracks of THE NUTTY PROFESSOR, starring Eddie Murphy, in ‘96 and KILLER JOE, starring Matthew McConaughey, in ‘11 / the horns in BACK DOOR SANTA were “sampled” in Run-D.M.C.’s CHRISTMAS IN HOLLIS in ‘87 / Carter, now 87 years old, was said to have "virtually made a career from tales of unbridled love and illicit sex..."
Clarence Carter’s Top 40 Hits on the Hot 100:
1968
SLIP AWAY
Peak - #6 [1 wk] in early October / Top 10 - 3 wks / Top 20 - 7 wks / Top 40 - 11 wks / Hot 100 - 16 wks / 97-93-67-67-51-29-24-29-18-17-13-10-6-10-16-24 / Gold
written by William Armstrong, Marcus Daniel & Wilbur Terrell and produced by Rick Hall at his FAME Studios in Muscle Shoals, Alabama / Carter played guitar with backing musicians Spooner Oldham [keyboards], Roger Cogdill [bass], Roger Hawkins [drums] and Duane Allman [guitar], in one of his first jobs as a session musician in ‘67 / originally released as the B-side of FUNKY FEVER [#88 Pop / #69 R&B] / remakes: Hank Ballard in ‘68, Eddie Floyd in ‘68, Tyrone Davis in ‘69, Barara Lewis in ‘70, Travis Wammack [recorded at FAME Studios & produced by Rick Hall] in ‘72, Narvel Felts in ‘75, Juice Newton & Silver Spur in ‘76, Dottsy [#22 Country / #27 Canada Country] in ‘79, Gregg Allman [#17 Rock] in ‘88 and Dobie Gray in ‘97 / Clarence Carter’s SLIP AWAY peaked at #12 in Canada
1969
TOO WEAK TO FIGHT
Peak - #13 [1 wk] in early January / Top 20 - 1 wk / Top 40 - 11 wks / Hot 100 - 15 wks / 73-47-47-39-28-28-28-23-|13-21-23-23-33-38-44 / Gold
written by Clarence Carter, George Jackson, Johnny Keys & Rick Hall and produced by Rick Hall & Staff / recorded at FAME Studios in Muscle Shoals, Alabama / b/w LET ME COMFORT YOU, written by Obie McClinton, and produced by Rick Hall & Staff / TOO WEAK TO FIGHT peaked at #14 in Canada
SNATCHING IT BACK
Peak - #31 [1 wk] in April / Top 40 - 5 wks / Hot 100 - 10 wks / 90-77-76-53-38-37-36-31-33-58
written by Clarence Carter & George Jackson and produced by Rick Hall / recorded at FAME Studios in Muscle Shoals, Alabama / b/w MAKING LOVE (At The Dark End Of The Street), written by Chips Moman, Clarence Carter & Dan Penn, and produced by Rick Hall / SNATCHING IT BACK peaked at #11 in Canada
1970
PATCHES
Peak - #4 [ wk] in September / Top 10 - 6 wks / Top 20 - 9 wks / Top 40 - 12 wks / Hot 100 - 14 wks / 90-60-29-23-16-7-7-7-6-4-4-11-16-24 / Gold
written by Ron Dunbar & General Johnson and produced by Rick Hall / recorded at FAME Studios in Muscle Shoals, Alabama / first recorded by Johnson’s group The Chairmen of the Board on their debut album in ‘70 / Carter was persuaded by Hall to record the song, later saying: "I heard it on the Chairmen of the Board LP and liked it, but I had my own ideas about how it should be sung. It was my idea to make the song sound real natural..."/ also recorded by Canadian Country singer Ray Griff [#26 Country / #16 Canada Country] in ‘70, British Reggae band The Rudies [later known as Greyhound] in ‘70, Alabama in the late ‘70s, Jerry Reed in ‘82, Brazilian band Titãs as MARVIN (Patches) [retitled in memory of Marin Gaye, who had recently died] in ‘84, and George Jones & B.B. King on RHYTHM, COUNTRY & BLUES in ‘94 / Carter’s biggest hit reached #1 on the Cashbox [sales only] chart for 9/19/70 & #2 on Billboard’s Soul chart; #2 in the UK, #10 in Australia & #16 in Canada / after Clarence Carter’s success with PATCHES, the song won the Grammy Award for Best R&B Song for Dunbar & Johnson in ‘71
Clarence Carter’s Top 40 Hits on Billboard’s R&B/Soul chart:
1967
TELL DADDY - #35
THREAD THE NEEDLE - #38
1968
LOOKING FOR A FOX - #20
SLIP AWAY - #2
TOO WEAK TO FIGHT - #3
1969
SNATCHING IT BACK - #4
THE FEELING IS RIGHT - #9
DOIN’ OUR THING - #9
1970
TAKE IT OFF HIM AND PUT IT ON ME - #23
I CAN’T LEAVE YOUR LOVE ALONE - #6
PATCHES - #2
IT’S ALL IN YOUR MIND - #13
1971
THE COURT ROOM - #12
SLIPPED, TRIPPED AND FELL IN LOVE - #25
1973
PUT ON YOUR SHOES AND WALK - #40
MOTHER-IN-LAW - #24
SIXTY MINUTE MAN - #17
I’M THE MIDNIGHT SPECIAL - #15
#77] BONGO ROCK by The Incredible Bongo Band
LW #80 / 3 wks / 81-80-77 / only chart single in the US for the Canadian studio group
#78] NEVER, NEVER, NEVER by Shirley Bassey
LW #63 / Peak - #48 [1 wk] / Hot 100 - 10th wk [of 11] / 90-75-69-61-52-49-48-52-63-78-78 / NEVER, NEVER, NEVER was originally the Italian song "Grande grande grande", written by Alberto Testa & Tony Renis with lyrics by David William Moncrief; the song was a #1 hit in Italy for Mina, who spent four weeks in Apr/May ‘72 atop the Italian chart, after five previous weeks at #2, going on to be the second biggest hit of the year behind the instrumental "Il padrino" (Love Theme from The Godfather) by Italian-American duo Santo and Johnny, which spent 13 weeks at #1 / NEVER, NEVER, NEVER’s English lyrics were written by Norman Newell
Bassey’s fourth US single reached the Top 50, which her two previous “45”s had not done; it peaked at #8 on Billboard’s Easy Listening chart & #67 on the Soul chart / only her first James Bond film theme song, GOLDFINGER, was a Top 40 hit, peaking in the Top 10 at #8; in the UK, her biggest US hit only reached #21 / the Welsh-born singer had been charting in the UK Top 10 since her fourth single & first hit in ‘57 and her latest was her 12th & final Top 10 hit / Bassey had a bigger hit with NEVER, NEVER, NEVER in Australia & South Africa, where it hit #1, and Singapore, where it peaked at #3
Shirley Bassey’s Top 10 UK Hits
1957
THE BANANA BOAT SONG - #8
[on the Hot 100, as BANANA BOAT (Day-O): Harry Belafonte - #5 and Stan Freberg - #25 in ‘57; as THE BANANA BOAT SONG: The Tarriers - #4, The Fontane Sisters - #13, Steve Lawrence - #18, and Sarah Vaughn - #19, all in ‘57]
1958
KISS ME, HONEY HONEY, KISS ME - #3
AS I LOVE YOU - #1
1960
AS LONG AS HE NEEDS ME - #2
1961
YOU’LL NEVER KNOW - #6
REACH FOR THE STARS - #1
I’LL GET BY - #10
1962
WHAT NOW MY LOVE - #5
[on the Hot 100, Sonny & Cher - #14 and Herb Alpert & TJB - #24 in ‘66 [Grammy Award for Record of the Year]; Mitch Ryder - #30 in ‘67]
1963
I (Who Have Nothing) - #6
[on the Hot 100, Ben E. King - #29 in ‘63; Tom Jones - #14 in ‘70]
1970
SOMETHING - #4
[cover version of George Harrison’s #1 hit with The Beatles from ‘69]
1972
FOR ALL WE KNOW - #6
[on the Hot 100, The Carpenters - #3 in ‘71]
1973
NEVER, NEVER, NEVER - #8
#79] FINDER’S KEEPERS by The Chairman of the Board
LW #71 / sixth & final single on the Hot 100 for the vocal group which formed in Detroit in ‘69 with lead singer General Norman Johnson, Danny Woods, Harrison Kennedy & Eddie Custis / General Johnson was leader of The Showmen from ‘61 to ‘67 and charted with IT WILL STAND [#61] in early ‘62 & again [#80] in ‘64 / Johnson co-wrote PATCHES with Ron Dunbar on the group’s first album; it became a Top 5 hit for Clarence Carter in ‘70 & as a result, it won a Grammy Award for Best R&B Song for Johnson & Dunbar in ‘71; issued as the B-side of their third single / recording for Holland-Dozier-Holland’s Invictus label, the group started with a Top 3 hit in ‘70, but subsequent singles didn’t perform as well, with two lower Top 40 singles & one reaching the Top 20 in the US / The Chairmen of the Board was more successful in the UK with eight Top 40 hits, including two Top 10s, two Top 20s & two which peaked at #21 / Johnson acted as producer on some of the group’s songs & also produced other Invictus/Hot Wax acts, including female group The Honey Cone / Custis left after the second album, then Kennedy, and Johnson & Woods called it quits after touring the UK in ‘76 / General Johnson signed a contract with Arista Records but his solo career never took off / Johnson revived the group with Danny Woods & new member Ken Knox in the early '80s, recording as General Johnson & the Chairmen of the Board and performing in the Beach music scene in the southeastern US / Surfside Records, founded by the trio in ‘80, continues as an independent record label / The Chairmen of the Board [Johnson, Woods & Knox] was inducted into the North Carolina Music Hall of Fame in ‘99 / General Johnson continued to perform with the group until his death of lung cancer at the age of 68 in ‘10
the artist listed on EVERYTHING’S TUESDAY & FINDER’S KEEPERS was The Chairman of the Board rather than The Chairmen of the Board, as it was on their other singles
The Chairmen of the Board’s Hot 100 Singles [plus Soul & UK]:
GIVE ME JUST A LITTLE MORE TIME
Peak - #3 [1 wk] in March ‘70 / Top 10 - 4 wks / Top 20 - 9 wks / Top 40 - 12 wks / Hot 100 - 15 wks / 85-72-60-37-27-18-16-8-6-3-9-12-17-19-30 / Gold
written by Holland-Dozier-Holland [as Edythe Wayne*] & Ron Dunbar** and produced by Holland-Dozier-Holland / *[Edythe Wayne was a pseudonym used by Holland-Dozier-Holland while in a lawsuit with Motown Records] / **[Ron Dunbar also co-wrote songs with General Johnson and later worked with George Clinton in Parliament/Funkadelic] / first single from THE CHAIRMEN OF THE BOARD album [#133 Top 200 / #27 Soul] was notable for the “hiccup” in Johnson’s singing style / #4 Dance/Disco for Angela Clemmons in ‘82 & #2 UK for Kylie Minogue in ‘92 / #9 on the Cashbox [sales only] chart & #8 on Billboard’s Soul chart; #3 in the UK & #9 in Canada
(You’re Got Me) DANGLING ON A STRING
Peak - #38 [1 wk] in mid-June ‘70 / Top 40 - 2 wks / Hot 100 - 9 wks / 86-80-59-46-43-40-38-45-50
written by Holland-Dozier-Holland [as Edythe Wayne] & Ron Dunbar and produced by Holland-Dozier-Holland / second single from THE CHAIRMEN OF THE BOARD album / Chairmen of the Board performed the song on AMERICAN BANDSTAND in mid-May ‘70 / Donny Osmond’s Eddie Holland-produced cover peaked at #109 on Billboard’s Bubbling Under chart in ‘77 / #30 on the Cashbox [sales only] chart & #19 on Billboard’s Soul chart; #5 in the UK & #58 in Canada
EVERYTHING’S TUESDAY
Peak - #38 [2 wks] in September ‘70 / Top 40 - 2 wks / Hot 100 - 9 wks / 96-93-60-53-47-46-38-38-48
written by Holland-Dozier-Holland [as Edythe Wayne], Daphne Dumas & Ron Dunbar and produced by Holland-Dozier-Holland / first single from IN SESSION [#117 Top 200 / #16 Soul] / #14 on Billboard’s Soul chart & #12 in the UK
PAY TO THE PIPER
Peak - #13 [2 wks] in January ‘71 / Top 20 - 3 wks / Top 40 - 9 wks / Hot 100 - 13 wks / 78-68-58-41-32-25-23-14-13-13-25-27-37
written by Angelo Bond, General Johnson, Greg Perry & Ron Dunbar and produced by Holland-Dozier-Holland / second single from IN SESSION / #4 on Billboard’s Soul chart & #34 in the UK
CHAIRMAN OF THE BOARD
Peak - #42 [1 wk] in March ‘71 / Hot 100 - 8 wks / 71-67-55-44-43-42-44-48
written by Holland-Dozier and produced by Holland-Dozier-Holland / third single from IN SESSION / #10 on Billboard’s Soul chart & #48 in the UK
HANGING ON TO A MEMORY
#28 on Billboard’s Soul chart
TRY ON MY LOVE FOR SIZE
#20 in the UK
MEN ARE GETTING SCARCE
#33 on Billboard’s Soul chart
EVERYBODY’S GOT A SONG TO SING
#30 on Billboard’s Soul chart
ELMO JAMES
#21 in the UK
I’M ON MY WAY TO A BETTER PLACE
#30 in the UK
FINDER’S KEEPERS
Peak - #59 [1 wk] in / Hot 100 - 9 wks / 74-67-67-59-65-66-63-71-79
written by Johnson & Bowen and produced by General Johnson & Jeffrey Bowen / first single from the group’s fourth studio album SKIN I’M IN [#52 Soul] / #7 on Billboard’s Soul chart & #21 in the UK
#80] GIVE YOUR BABY A STANDING OVATION by The Dells
LW #65 / The Dells’ current single was their 20th on the Hot 100, beginning in late December ‘62, and their eighth to reach the Pop Top 40 / The Dells would chart four more singles on the Hot 100 through ‘74 - but their current hit was their last to reach the Top 40
on Billboard’s R&B/Soul chart, The Dells had 21 Top 40 singles, with 13 reaching the Top 20 & nine Top 10 hits / they would have a dozen more Top 40 R&B/Soul singles through ‘91, with eight rising into the Top 20 - but just two more Top 10 hits, both in ‘73 / [all of The Dells’ Top 40 R&B/Soul hits are listed through ‘91]
The Dells’ Top 40 Hits on Billboard’s Hot 100:
1968
THERE IS
Peak - #20 [3 wks] in Feb/Mar / Top 20 - 3 wks / Top 40 - 7 wks / Hot 100 - 11 wks / 82-66-56-48-20-20-20-23-23-32-36
The Dells’ 3rd Biggest Pop Hit / written by Robert Eugene Miller & Raynard Miner and produced by Bobby Miller / b/w SHOW ME, written by Raynard Miner & Gary Jackson* and produced by Leonard Caston & Miner / *[Gary Jackson co-wrote Jackie Wilson’s hit (Your Love Has Lifted Me) HIGHER & HIGHER] / title song & third single from the group’s first studio album [#29 Top 200 / #4 R&B]
STAY IN MY CORNER
Peak - #10 [3 wks] in Aug/Sept / Top 10 - 3 wks / Top 20 - 7 wks / Top 40 - 10 wks / Hot 100 - 13 wks / 89-47-47-36-25-18-13-13-10-10-10-19-36
The Dells’ Biggest Pop Hit / written by Wade Flemons, Robert Eugene Miller & Barrett Strong and produced by Bobby Miller / b/w ITS NOT UNUSUAL / fifth & final single from their first studio album / first recorded in ‘65 & released as a single, it reached #23 on Billboard’s R&B chart / re-recorded in ‘67, it became the vocal group’s biggest hit on both the Pop and R&B charts
ALWAYS TOGETHER
Peak - #18 [2 wks] in November / Top 20 - 2 wks / Top 40 - 5 wks / Hot 100 - 8 wks / 77-67-54-37-37-18-18-29
written & produced by Bobby Miller / b/w I WANT MY MOMMA, also written & produced by Miller / first single from The Dell’s second studio album THE DELLS MUSICAL MENU / ALWAYS TOGETHER [#146 Top 200 / #9 Soul]
1969
DOES ANYBODY KNOW I’M HERE
Peak - #38 [1 wk] in mid-February / Top 40 - 2 wks / Hot 100 - 9 wks / 94-66-64-49-48-47-39-38-44
written & produced by Bobby Miller / b/w MAKE SURE (You Have Someone Who Loves You), also written & produced by Miller / second single from THE DELLS MUSICAL MENU / ALWAYS TOGETHER
I CAN SING A RAINBOW / LOVE IS BLUE
Peak - #22 [ wk] in July / Top 40 - 6 wks / Hot 100 - 10 wks / 82-66-59-43-39-38-31-24-22-36
I CAN SING A RAINBOW was written by Arthur Hamilton; first sung by Peggy Lee in the film PETE KELLY’S BLUES in ‘55; also recorded by Andy Williams in ‘64, British singer Cilla Black on CILLA SINGS A RAINBOW in ‘66 [one of her most popular concert songs in the ‘60s & ‘70s], and Irish singer Jackie Lee in ‘68 / LOVE IS BLUE was written as "L'amour est bleu" by French composer André Popp with lyrics by Pierre Cour; sung by 17-year-old Greek singer Vicky Leandros as Luxembourg’s entry in the Eurovision Song Contest in ‘67, placing fourth; English lyrics were written by Bryan Blackburn; the best-known version is Paul Mauriat’s instrumental, which topped the Hot 100 for five weeks in Feb/Mar ‘68; also recorded by Al Martino [#57 Pop / #3 EL] in ‘68, Claudine Longet [#71 Pop] in ‘68, and Jeff Beck’s Rock version [#20 Ireland / #23 UK] in ‘68 / first single from The Dell’s third studio album, LOVE IS BLUE [#54 Top 200 / #3 Soul / #45 Canada], their only album to chart in Canada / The Dells’ medley reached #9 in Canada, #10 in the Netherlands, #16 in the UK & #18 in Ireland
OH, WHAT A NIGHT
Peak - #10 [2 wks] in Sept/Oct / Top 10 - 2 wks / Top 20 - 6 wks / Top 40 - 10 wks / Hot 100 - 11 wks / 65-40-29-27-11-11-10-10-14-16-31
The Dells’ 2nd Biggest Pop Hit / written by Marvin Junior & Johnny Funches and produced by Bobby Miller / first recorded by the group in ‘56, when it reached #4 on Billboard’s R&B chart - their first chart single / re-recorded with a different arrangement & tempo in ‘69 and released as the second single from their LOVE IS BLUE album / covered by British comedian-actress-singer Tracey Ullman in ‘83, English singer-actor Nick Kamen in ‘88 and several others / also #1 on the Soul chart, their remake of their first R&B hit was their second biggest hit on both charts
1971
THE LOVE WE HAD (Stays On My Mind)
Peak - #30 [1 wk] in mid-October / Top 40 - 6 wks / Hot 100 - 12 wks / 95-82-70-52-47-36-34-33-32-30-39-46
The Dells’ 5th Biggest Pop Hit / written by Terry Callier & L. Wade and produced by Charles Stepney & Chuck Barksdale / b/w FREEDOM MEANS, the title song from their fifth studio album [#81 Top 200 / #4 Soul], written by Stepney, Callier & Wade and produced by Stepney & Barksdale
1973
GIVE YOUR BABY A STANDING OVATION
Peak - #34 [1 wk] in late June / Top 40 - 2 wks / Hot 100 - 16 wks / 96-91-78-66-60-52-48-49-42-38-34-46-61-61-65-80 / Gold
The Dells’ 4th Biggest Pop Hit / written by Marv Johnson & Henry Williams and b/w CLOSER, written by C. Wolfolk, D. Dais, K. Barker & B. Eaton, with both sides produced by Don Davis for GRT Corporation / title song & only single released from The Dell’s eighth studio album [#99 Top 200 / #10 Soul], released on Cadet Records in ‘73 / although The Dells had two earlier #10 hits on the Pop chart, GIVE YOUR BABY A STANDING OVATION was the vocal group’s only single to receive a Gold Record / #3 on Billboard’s Soul chart
GIVE YOUR BABY A STANDING OVATION
Thank you very much
Ladies and gentlemen
You know, we're mighty
Glad to be here today
And although we're
The stars of the show
We know that that
Ain't all there is to it
Because behind every star
As behind every great man
There is a woman
And I want to tell you out there
That if you are a man
You've got a woman
And I think you should take
A little time out to salute that woman
And give that woman a
Great big round of applause
There's a lot of plastic faces of every kind
And as you walk around the stage of life
Don't it kind of make you feel proud
You know no matter what the problems
There's one who understands
And you can rest assured, feel secure
She'll make you her only man
Give your baby a standing ovation
And she's sure to give a hand to you
Oh, give your baby a standing ovation
And she's sure to give a hand to you
When you can't get no satisfaction
And your world is full of gloom
She gives you strength and confidence
When she walks into the room
From the roar of a thousand voices
Comes a sound you've learned to know
When she calls your name
You can't feel no pain
You gotta smile and a standing O
Give your baby a standing ovation
And she's sure to give a hand to you
Oh, give your baby a standing ovation
And she's sure to give a hand to you
Stand up and give a hand
Stand up and give a hand
Stand up and give your lady a standing
Standing ovation, standing ovation
You know no matter what the problems
There's one who understands
And you can rest assured, feel secure
She'll make you her only man
So give your baby
Baby, baby, a standing ovation
And she's sure to give a hand to you
I don't know about you
But I'm gonna give my baby
A standing ovation
And she's sure to give a hand to you
Stand up and give your baby
A standing ovation
And she's sure to give a hand to you
The Dells’ Top 40 hits on Billboard’s R&B/Soul chart:
1956
OH WHAT A NITE - #4
1965
STAY IN MY CORNER - #23
1967
O-O, I LOVE YOU - #22
1968
THERE IS - #11
WEAR IT ON OUR FACE - #27
STAY IN MY CORNER - #1 [3 wks] in August
ALWAYS TOGETHER - #3
DOES ANYBODY KNOW I’M HERE - #15
1969
I CAN’T DO ENOUGH - #20
I CAN SING A RAINBOW / LOVE IS BLUE - #5
OH, WHAT A NIGHT - #1 [1 wk] in September
SITTIN’ ON THE DOCK OF THE BAY - #13
1970
OH WHAT A DAY - #10
OPEN UP MY HEART // NADINE - #5
LONELY LONELY NIGHTS - #27
1971
THE GLORY OF LOVE - #30
THE LOVE WE HAD (Stays On My Mind) - #8
1972
OH, MY DEAR - #36
b/w ITS ALL UP TO YOU - #23
JUST AS LONG AS WE’RE IN LOVE - #35
1973
GIVE YOUR BABY A STANDING OVATION - #3
MY PRETENDING DAYS ARE OVER - #10
I MISS YOU - #8
1974
I WISH IT WAS ME YOU LOVED - #11
LEARNING TO LOVE YOU WAS EASY - #18
1975
WE GOT TO GET OUR THING TOGETHER - #17
1977
OUR LOVE - #20
BETCHA NEVER BEEN LOVED (Like This Before) - #27
1978
SUPER WOMAN - #24
1979
(You Bring Out) THE BEST IN ME - #34
1980
I TOUCHED A DREAM - #17
1984
YOU JUST CAN’T WALK AWAY - #23
1991
A HEART IS A HOUSE FOR LOVE - #13
#81] TEQUILA SUNRISE by Eagles
LW #66 / Peak - #64 [1 wk] / Hot 100 - 7th wk [of 8] / 92-82-75-69-64-66-81-74 / lead single from the band’s second album, DESPERADO [#41 US / 2x Platinum / #31 Australia / #35 Canada / #39 UK / Silver] / for the first Eagles album, group leaders Glenn Frey & Don Henley didn’t write any songs together but they did for the second and TEQUILA SUNRISE & DESPERADO were written in their first week of working together / TEQUILA SUNRISE came about after Frey came up with a “kinda Roy Orbison, kinda Mexican” guitar riff / Don Henley on THE VERY BEST OF liner notes in ‘03: “I believe that was a Glenn title. I think he was ambivalent about it because he thought that it was a bit too obvious or too much of a cliché because of the drink that was so popular then. I said, 'No - look at it from a different point of view. You've been drinking straight tequila all night and the sun is coming up!' It turned out to be a really great song.” / from the Billboard review: "one man's efforts at survival and having to take 'a shot of courage.'"; the Cashbox review: "a magnificent medium tempo tune certain to become a classic … highlighted by some excellent vocal harmonies." / Henley also commented that the ‘take another shot of courage’ line referred to tequila [aka ‘instant courage’], "We very much wanted to talk to the ladies, but we often didn’t have the nerve, so we’d drink a couple of shots and suddenly it was, "Howdy, ma’am."" / Glenn Frey also sang an additional verse & chorus with variations in several live appearances in ‘73: “Guess I'll go to Mexico / down to where the pace of life is slow / there's no one there I know / It's another Tequila Sunrise / wondering if I'm growing wise / or telling lies.” / Country singer-songwriter Alan Jackson sang TEQUILA SUNRISE [#64 Country] on COMMON THREAD: THE SONGS OF THE EAGLES in ‘93 / the Eagles’ original TEQUILA SUNRISE reached #40 on the Cashbox [sales only] chart for 7/28/73 & #26 on Billboard’s Easy Listening chart; on Canada’s RPM charts - #68 Top 100 & #81 EL
TEQUILA SUNRISE
It's another tequila sunrise
Starin' slowly 'cross the sky
Said goodbye
He was just a hired hand
Workin' on the dreams he planned to try
The days go by
Every night when the sun goes down
Just another lonely boy in town
And she's out runnin' 'round
She wasn't just another woman
And I couldn't keep from comin' on
It's been so long
Oh, and it's a hollow feelin'
When it comes down to dealin' friends
It never ends
Take another shot of courage
Wonder why the right words never come
You just get numb
It's another tequila sunrise
This old world still looks the same
Another frame
#82] HE DID WITH ME by Vicki Lawrence
LW #85 / Peak - #75 [1 wk] / Hot 100 - 7 wks / 97-90-83-79-75-85-82 / Lawrence’s second single peaked 74 positions lower than THE NIGHT THE LIGHTS WENT OUT IN GEORGIA on the Hot 100 - but went to #1 on the Kent Music Report in Australia / written by Gloria Sklerov & Harry Lloyd and produced by Snuff Garrett; from her debut album, which was named for its #1 hit / #49 on the Cashbox [sales only] chart; a Top 20 hit on the Easy Listening charts in the US [#14] & Canada [#16]; and #42 on the RPM Top 100 chart in Canada
#83] THERE YOU GO by Edwin Starr
LW #82 / Peak - #80 [1 wk] / Hot 100 - 6 wks / 94-84-82-80-82-83 / Starr’s tenth solo single on the Hot 100 was his first for Motown’s Soul label, after recording for Motown’s Gordy label since ‘69 / AGENT DOUBLE-O-SOUL [#21 - 1 wk] on the small Detroit Ric-Tic label was Starr’s first hit in early October ‘65; while recording for Gordy, Starr had a pair of Top 10 hits, including a #1, & a second Top 40 - TWENTY-FIVE MILES [#6 - 1 wk] in late April ‘69, WAR [#1 - 3 wks] in Aug/Sept ‘70 and STOP THE WAR NOW [#26 - 1 wk] in late January ‘71 / on Billboard’s R&B/Soul chart, THERE YOU GO was Starr’s 11th Top 40 & eighth Top 20 hit, peaking at #12 - his only Top 20 “45” not to reach the Top 10 / Edwin Starr’s previous seven Top 20/Top 10 R&B/Soul hits: AGENT DOUBLE-O-SOUL [#8] in ‘65, STOP HER ON SIGHT (S.O.S.) [#9] & I’LL LOVE YOU FOREVER [#7] in ‘66, TWENTY-FIVE MILES [#6] in ‘69, WAR [#3] & STOP THE WAR NOW [#5] in ‘70, and FUNKY MUSIC SHO’ ‘NUFF TURNS ME ON [#6] in ‘71
#85] TOP OF THE WORLD by Lynn Anderson
LW #89 / 6 wks / 97-95-94-92-89-85 / fifth single on the Pop chart for the Country star, who was the California Horse Show Queen in ‘66
#87] SUNSHINE by Mickey Newbury
LW #87 / Peak - #87 [2 wks] / Hot 100 - 3 wks / 91-87-87 / second & last song on the Hot 100 for the Nashville singer-songwriter, following his recording of AN AMERICAN TRILOGY, which peaked at #26 in early January ‘72 / Newbury had previously written JUST DROPPED IN (To See What Condition My Condition Was In) - the first hit for The First Edition, which peaked at #5 in March ‘68
#88] ONE TIN SOLDIER by Coven
LW #88 / Peak - #79 [1 wk] / Hot 100 - 3rd wk [of 6] / 95-88-88-79-81-80 / a re-recorded version of the song which peaked at #26 in late November ‘71 / ONE TIN SOLDIER was from the film THE LEGEND OF BILLY JACK, starring Tom Laughlin
#90] JIMMY LOVES MARY ANN by Looking Glass
LW #92 / 3 wks / 93-92-90 / second single on the chart for the New Jersey Pop-Rock group, formed at Rutgers University, which topped the Hot 100 for a week with BRANDY (You’re A Fine Girl) in late August ‘72
#92] SYLVIA by Focus
LW #94 / Peak - #89 [2 wks] / Hot 100 - 2nd wk [of 5] / 94-92-89-89-95 / follow-up single to the Top 10 hit HOCUS POCUS peaked 80 positions lower & was the Dutch band’s last appearance on the Hot 100
#93] SHOW BIZ KIDS by Steely Dan
LW #95 / 2 wks / 95-93 / third single by the group, followed the #6 [3 wks] February hit DO IT AGAIN & the #11 [3 wks] May hit REELING IN THE YEARS
#94] SMOKE! SMOKE! SMOKE! (That Cigarette) by Commander Cody & His Lost Planet Airmen
LW #96 / Peak - #94 [1 wk] / Hot 100 - 5 wks / 98-98-97-96-94 / the group’s third single was its lowest charting, following HOT ROD LINCOLN [#9 - 1 wk] in early June & BEAT ME DADDY EIGHT TO THE BAR [#81 - 3 wks] in August ‘72 / SMOKE! SMOKE! SMOKE! (That Cigarette) was a #1 Pop & Country hit for Tex Williams in ‘47
#97] FRIEND OF MINE by Bill Withers
LW #97 / Peak - #80 [1 wk] / Hot 100 - 5 wks / 91-80-90-97-97 / Withers’ seventh single was his lowest charting & third not to reach the Top 40, following GRANDMA’S HANDS [#42 - 2 wks] in early December ‘71 & LET US LOVE [#47 - 1 wk] in mid-January ‘73 / second song on Side one of the two-disc LIVE AT CARNEGIE HALL [#63 Top 200 / #6 Soul / #80 UK]
#98] L.A. FREEWAY by Jerry Jeff Walker
LW #98 / Peak - #98 [3 wks] / Hot 100 - 2nd wk [of 3] / 98-98-98 / the Country singer-songwriter’s second & last appearance on the Hot 100; he had previously reached #77 with his best-known song MR. BOJANGLES in ‘68, which was a #22 hit in Australia / L.A. FREEWAY, written by Guy Clark, also peaked at #98 in Australia / neither of Walker’s singles charted on Billboard’s Country chart