#1] TIE A YELLOW RIBBON ROUND THE OLD OAK TREE by Dawn
LW #1 / Peak Position / 12 wks / 80-68-56-48-29-19-13-6-3-1-1-1 / Gold / Dawn’s third Top 10 was their third Top 3 hit and second #1, following CANDIDA [#3 - 2 wks] in early October ‘70 & KNOCK THREE TIMES [#1 - 3 wks] in Jan/Feb ‘71; all three of the trio’s biggest hits were Gold Records
#2] THE CISCO KID by War
LW #2 / Peak Position / 10 wks / 79-69-45-26-21-10-6-4-2-2 /old / War’s sixth chart single was the band’s fourth to be awarded a Gold disc; the highest charting of their three Top 10 hits was preceded by SPILL THE WINE [#3 - 1 wk] in August ‘70 [w/Eric Burdon] & THE WORLD IS A GHETTO [#7 - 1 wk] in February ‘73
*#3] LITTLE WILLY by Sweet
LW #5 / Peak Position / 16 wks / 99-92-89-86-77-74-60-49-36-32-25-20-12-7-5-3 / LITTLE WILLY was the band’s fifth UK single - all were Top 40 hits, four were Top 20s & two, including LITTLE WILLY, were Top 10 hits, with both peaking in the Top 5 / their first UK Top 5 hit, CO-CO, was their first of five songs to peak at #2 - but only got as high as #99 [2 wks] in October ‘71 on the Hot 100 / LITTLE WILLY peaked at #4 for two weeks in early July ‘72, spending 14 weeks on the Official UK chart [47-23-8-4-4-6-6-11-17-20-28-37-45-50]
*#4] YOU ARE THE SUNSHINE OF MY LIFE by Stevie Wonder
LW #6 / 8 wks / 76-56-29-25-17-11-6-4 / Wonder’s 30th chart single was his 14th Top 10 on the Pop chart; previous Top 10 hits: FINGERTIPS - PT 2 [#1 - 3 wks] in August ‘63; UPTIGHT (Everything’s Alright) [#3 - 2 wks] in February, BLOWIN’ IN THE WIND [#9 - 1 wk] in early September & A PLACE IN THE SUN [#9 - 2 wks] in late December ‘66; I WAS MADE TO LOVE HER [#2 - 2 wks] in July/Aug ‘67; SHOO-BE-DOO-BE-DOO-DA-DAY [#9 - 1 wk] in late May & FOR ONCE IN MY LIFE [#2 - 2 wks] in Dec ‘68-Jan ‘69; MY CHERIE AMOUR [#4 - 2 wks] in July/Aug & YESTER-ME, YESTER-YOU, YESTERDAY [#7 - 2 wks] in December ‘69; SIGNED, SEALED, DELIVERED I’M YOURS [#3 - 2 wks] in August & HEAVEN HELP US ALL [#9 - 2 wks] in Nov/Dec ‘70; IF YOU REALLY LOVE ME [#8 - 1 wk] in October ‘71; and SUPERSTITION [#1 - 1 wk] in late January ‘73
#5] THE NIGHT THE LIGHTS WENT OUT IN GEORGIA by Vicki Lawrence
LW #4 / 13 wks / 100-90-80-59-47-30-16-10-1-1-2-4-5 / Gold / the actress-vocalist’s quick-hitting tale of murder had now spent six of its 13 weeks on the Hot 100 in the Top 10 with only two more weeks in the Top 40
*#6] DRIFT AWAY by Dobie Gray
LW #11 / 11 wks / 85-73-66-59-50-36-29-21-15-11-6 / Highest Debut in the Top 10 / Biggest Jump Into the Top 10 - TIE [2] & Biggest Jump Inside the Top 20 - TIE [2] - 5 positions / Gray’s first chart single in eight years was already his biggest hit; THE IN CROWD peaked at #13 for a week in February ‘65
*#7] STUCK IN THE MIDDLE WITH YOU by Stealers Wheel
LW #9 / 10 wks / 86-74-66-48-34-24-19-13-9-7 / first US single for the Scottish Folk-Rock band with Gerry Rafferty on vocals & guitar and Joe Egan on vocals & keyboards; the two were first school friends in Paisley, Scotland / also in the band when their first album was recorded were Scottish musicians Roger Brown, Rab Noakes & Ian Campbell - but by the time their record deal with A&M Records was signed, they had been replaced by English musicians Paul Pilnick, Tony Williams & Rod Coombes
#8] THE TWELFTH OF NEVER by Donny Osmond
LW #8 / Peak - #8 [2 wks] / Top 10 - 4 wks / Top 20 - 6 wks / Top 40 - 9 wks / Hot 100 - 10th wk [of 13] / 82-72-55-29-23-18-15-10-8-8-10-21-50 / first single from the teen singer’s fifth studio album, ALONE TOGETHER [#26 US / #28 Australia / #22 Canada / #6 UK / Gold], released on MGM Records in mid-March ‘73 - his first solo album not to go Gold in the US / Osmond’s seventh single was his seventh Top 20 & fifth Top 10 hit, following SWEET AND INNOCENT [#7 - 2 wks] in June & GO AWAY LITTLE GIRL [#1 - 3 wks] in September ‘71; and HEY GIRL // I KNEW YOU WHEN [#9 - 1 wk] in mid-January & PUPPY LOVE [#3 - 1 wk] in early April; all five were Gold Records / Donny Osmond’s remake peaked at #5 [1 wk] on the Cashbox [sales only] chart for 5/12/73 & #7 on Billboard’s Easy Listening chart; Osmond’s seventh solo single was a Top 5 hit in seven other countries - #1 in the UK [his second of three UK #1s], #2 in Australia, Canada & Singapore, #3 in Ireland & #5 in New Zealand; and Top 20 in the Netherlands [#12], Belgium [Flanders] [#14] & Denmark [#15] and Top 40 in West Germany [#29]
You ask me how much I need you
Must I explain
I need you, oh, my darling
Like roses need rain
You ask how long I'll love you
I'll tell you true
Until the twelfth of never
I'll still be loving you
Hold me close
Never let me go
Hold me close
Melt my heart like April snow
I'll love you till the bluebells forget to bloom
I'll love you till the clover has lost its perfume
I'll love you till the poets run out of rhyme
Until the twelfth of never
And that's a long, long time
Until the twelfth of never
And that's a long, long time
written by Jerry Livingston & Paul Francis Webster in ‘56, the tune is the same as Old English Folk song “The Riddle Song” [also known as “I Gave My Love A Cherry”] / Johnny Matthis was the first to record the song and initially did not like it / the B-side of his third single, CHANCES ARE [#1 - 1 wk] on the Disc Jockey chart in late October ‘57, was a Top 10 hit on its own, peaking at #9 [1 wk] in November ‘57 & #2 in Australia / English singer Cliff Richard also had a Top 10 hit with the song in ‘64-‘65: #3 in Malaysia, #5 in Hong Kong, #6 in Australia, #8 in the UK, #9 in Ireland & Norway, and #13 in the Netherlands / other cover versions: Nina Simone on FOLKSY NINA in ‘63, Tammy Wynette on THE WAYS TO LOVE A MAN in ‘70, David Houston [#98 Country] in ‘77, Olivia Newton-John on WARM AND TENDER in ‘89, Elvis Presley - a rehearsal recorded in ‘74 [#21 UK] in ‘95, Dolly Parton & Keith Urban on her THOSE WERE THE DAYS album in ‘05, Dutch singer-songwriter Jan Rot in ‘18; LIVE AT SIN-É - the four-song live EP, recorded at the SIN-É coffee house in Greenwich Village was Jeff Buckley’s first recording, playing his Fender Telecaster guitar; THE TWELFTH OF NEVER was on Disc one of the 18-song, 12-monologue double CD/single DVD “Legacy Edition,” which came out in ‘03, six years after the 30-year-old musician died in ‘97
“The Riddle Song” [“I Gave My Love A Cherry”]
I gave my love a cherry
That had no stone
I gave my love a chicken
That had no bone
I told my love a story
That had no end
I gave my love a baby
With no crying.
How can there be a cherry
That has no stone?
And how can there be a chicken
That has no bone?
And how can there be a story
That has no end?
And how can there be a baby
With no crying?
A cherry when it’s blooming
It has no stone
A chicken when in the shell
It has no bone
The story of how I love you
It has no end
A baby when it’s sleeping
It’s no crying.
#9] SING by The Carpenters
LW #3 / Peak - #3 [2 wks] / Top 10 - 6 wks / Top 20 - 9 wks / Top 40 - 11 wks / Hot 100 - 11th wk [of 14] / 61-49-31-18-11-9-7-5-3-3-9-16-24-48 / Gold / written by Joe Raposo / first single released from the duo’s fifth studio album, NOW AND THEN [#2 US / 2x Platinum / #3 Australia / #2 Canada / #1 Japan / #2 UK / Gold], produced by Jack Daugherty on A&M Records & released on the first of May ‘73 / the children's chorus is sung by the Jimmy Joyce Children's Choir / their tenth A-side in three years was their eighth Top 10 hit, seventh “45” to reach the Top 3 and seventh Gold single / The Capenters Top 3 hits: (They Long To Be) CLOSE TO YOU [#1 - 4 wks] in July/Aug & WE’VE ONLY JUST BEGUN [#2 - 4 wks] in Oct/Nov ‘70; FOR ALL WE KNOW [#3 - 2 wks] in March, RAINY DAYS AND MONDAYS [#2 - 2 wks] in June & SUPERSTAR [#2 - 2 wks] in October ‘71; HURTING EACH OTHER [#2 - 2 wks] in Feb/Mar ‘72; and SING [#3 - 2 wks] in April ‘73 / included on Side four of the 25-song [59:15] double album LIVE IN JAPAN, recorded in Osaka, with the children's chorus sung by the Kyoto Children's Choir; the album was intended for the Japanese market only but was available as an import in the US / included on numerous compilation albums, including: one of 12 songs [41:47] on THE SINGLES: 1969—1973 [#1 US / 7x Platinum / #1 Canada / Platinum / #1 UK / Platinum], released on A&M Records in early November ‘73; in a medley on Disc 4 of the four-disc box set [3:24:41] FROM THE TOP, which includes their early recordings from ‘65 to ‘69 through all of the hit singles to NOW, the last song Karen Carpenter recorded [in one take] in April ‘82, while in California on leave from medical treatment in New York; the five-song medley [9:08], recorded in ‘80 - SING / KNOWING WHEN TO LEAVE / MAKE IT EASY ON YOURSELF / SOMEDAY / WE’VE ONLY JUST BEGUN - is one of 42 tracks on the double CD [1:21:41] THE SINGLES: 1969—1981 [#45 US / #19 Australia / #73 Japan / #65 UK], released on A&M Records in ‘00
Sing
Sing a song
Sing out loud
Sing out strong
Sing of good things
Not bad
Sing of happy
Not sad
Sing
Sing a song
Make it simple
To last your whole life long
Don't worry that it's not good enough
For anyone else to hear
Just sing
Sing a song
La-la-la-la-la
La-la-la-la-la-la
La-la-la-la-la-la-la
Sing (sing)
Sing a song (sing)
Let the world
Sing along
Sing of love there
Could be
Sing for you and
For me
Sing
Sing a song
Make it simple
To last your whole life long
Don't worry that it's not good enough
For anyone else to hear
Just sing
Sing a song
Just sing
Sing a song
La-la-la-la-la
La-la-la-la-la-la
La-la-la-la-la-la-la
La-la-la-la-la
La-la-la-la-la-la
La-la-la-la-la-la-la
La-la-la-la-la
La-la-la-la-la-la
La-la-la-la-la-la-la
La-la-la-la-la
La-la-la-la-la-la
La-la-la-la-la-la-la...
Barbra Streisand was the first to record SING outside of SESAME STREET in the medley SING A SONG / MAKE YOUR OWN KIND OF MUSIC [#94 Pop / # 28 EL] in the fall of ‘72 / the first time The Carpenters heard their future hit was while they were guests on the taping of the ABC-TV special ROBERT YOUNG WITH THE YOUNG, which aired on 6/1/73, but was filmed earlier in the year; other guests were actress-singer Sandy Duncan, comedian-actor Arte Johnson, actor-composer H.P. Barnum and nine children; from IMdB: “actor Robert Young is joined by popular performers to spend time with a group of children in an effort to uncover the wonders of youth” / the song’s writer, Joe Raposo, was a staff songwriter for SESAME STREET and SING was one of the most popular songs on the show, serving as the show’s theme song, beginning in ‘71; the song was usually sung by the actors & costumed characters and closed many episodes & TV specials - SESAME STREET: 20 AND STILL COUNTING in ‘89, SESAME STREET: 25 WONDERFUL YEARS in ‘94 and SESAME STREET’S 50TH ANNIVERSARY CELEBRATION in ‘19 / the documentary SING! SESAME STREET REMEMBERS JOE RAPOSO first aired after Raposo’s passing in ‘90 / guest stars who sang SING on SESAME STREET in ‘00 included Maya Angelou, Garth Brooks, Rosemary Clooney, Doug E. Doug, Fran Drescher, Gloria Estefan, Patti LaBelle, Nathan Lane, Conan O'Brien, R.E.M., Ben Stiller & Vanessa Williams / Lily Tomlin’s character in the ‘75 film NASHVILLE sings the song to her deaf children as she also signs it to them; that same year, she repeated the performance on an episode of SESAME STREET / guest star Lena Horne performed the song on THE MUPPET SHOW in ‘76 / live & studio recordings from the show have been released from ‘73 to ‘03, including SESAME STREET CONCERT / ON STAGE - LIVE! in ‘73, BERT & ERNIE SING-ALONG in ‘75, SESAME STREET DISCO in ’79, SONGS OF JOE RAPOSO in ‘92, THE BIRD IS THE WORD - BIG BIRD’S FAVORITE SONGS in ‘95 and in Spanish on FIESTA SONGS in ‘98 / the Carpenters recorded two other versions of SING - in “Spanglish” with lines sung alternating in English & Spanish and a Spanish version for Mexico & Latin America markets / #5 [3 wks] on the Cashbox [sales only] chart for 4/14/73, 4/28/73 & 5/5/73 and #1 for two non-consecutive weeks on Billboard’s Easy Listening chart in late March & mid-April; #1 in Japan on the Oricon International chart, #4 in Canada [#5 EL], #7 in New Zealand, #18 on the Oricon Top Singles chart in Japan, #21 in France & #24 in Australia
*#10] FRANKENSTEIN by The Edgar Winter Group
LW #15 / 9 wks / 98-97-87-78-59-41-25-15-10 / 2nd Debut in the Top 10 / Biggest Jump Into the Top 10 - TIE [2] & Biggest Jump Inside the Top 20 - TIE [2] - 5 positions / the instrumental was the first single by Winter listed as the Edgar Winter Group, after previously charting in the lower third of the Hot 100 with two singles as Edgar Winter’s White Trash / The Edgar Winter Group for the sessions that produced FRANKENSTEIN and the album THEY ONLY COME OUT AT NIGHT - Edgar Winter [keyboards, saxophone, multi-instrumentalist, lead & backing vocals], Rick Derringer [multi-instrumentalist, producer], Dan Hartman [bass, rhythm guitar, multi-instrumentalist, lead & backing vocals], Ronnie Montrose [lead guitar, multi-instrumentalist] and Chuck Ruff [drums, percussion, backing vocals]
#11] MASTERPIECE by The Temptations
LW #7 / from February ‘65 to April ‘73, The Temptations - Motown’s most successful male vocal group in the ‘60s & 2nd most successful of the early ‘70s - landed 14 singles in the Pop Top 10, including four #1s, and had one more Top 10 hit with Motown’s premier female vocal group of the ‘60s / during the same period, they also had nine additional Top 20 hits & seven more songs in the Top 40 / from February ‘64 to April ‘73 on the R&B/Soul charts, The Temptations had 37 Top 40, 32 Top 20 and 30 Top 10 hits with a dozen #1s & six #2s / they had first recorded as Otis Williams & the Siberians in ‘58 and as The Distants in ‘59 & ‘60 / they began recording for the Gordy label in ‘61, releasing seven singles from ‘61 to ‘63, including a Top 25 R&B hit and one that charted on Bubbling Under the Hot 100, before scoring their breakthrough hit in the spring of ‘64 / by then, the five-man lineup was set for the next four years with new member David Ruffin joining Eddie Kendricks, Melvin Franklin, Paul Williams & Otis Williams just two weeks before their first hit was recorded
THE TEMPTATIONS’ TOP 10 HITS on the HOT 100
The Temptations’ classic first single is one of their most recognizable songs & narrowly missed becoming their first Top 10 Pop hit
THE WAY YOU DO THE THINGS YOU DO
Peak - #11 [1 wk] in April ‘64 / Top 20 - 6 wks / Top 40 - 8 wks / Hot 100 - 11 wks / 76-52-41-23-15-12-11-12-14-19-34
written by Smokey Robinson & Bobby Rogers [of The Miracles] and produced by Robinson / seventh single released from their debut album, MEET THE TEMPTATIONS, was the first to chart on the Hot 100 / the group was unaware that they finally had a song on the Hot 100 until returning to Detroit from a concert trip & hearing a staffer casually say, "Oh, you guys got a hit." / lead singer: Eddie Kendricks & backing vocals by Melvin Franklin, Paul Williams, David Ruffin & Otis Williams / instrumentation by the Funk Brothers [Bass: James Jamerson, Drums: Richard "Pistol" Allen, Guitar: Eddie Willis, Piano: Earl Van Dyke & Tenor saxophone solo: Henry Cosby] / cover versions: Rita Coolidge [#20 Pop & #9 EL / Canada - #16 Pop & #13 EL] in ‘78; Hall & Oates with Eddie Kendricks & David Ruffin [#20 Pop / #12 EL / #40 R&B] in ‘85 - nominated for a Grammy Award; and UB40 [#6 Pop / #21 AC / #11 France / #15 Netherlands / #26 Ireland] in ‘90 / The Temptations’ original was a #10 hit on the Cashbox [sales only] chart & reached #1 on the Cashbox R&B chart*; and #43 in Canada / *[Billboard did not publish an R&B chart in ‘64, while it realigned its reporting radio stations & retailers]
You got a smile so bright
You know you could've been a candle
I'm holding you so tight
You know you could've been a handle
The way you swept me off my feet
You know you could've been a broom
And baby you smell so sweet
You know you could've been some perfume
Well you could've been anything that you wanted to
I can tell
The way you do the things you do
I like the way you do the things you do
As pretty as you are
You know you could've been a flower
If good looks were minutes
You know you could have been an hour
The way you stole my heart
You know you could have been a crook
And baby you're so smart
You know you could have been a school book
Well you could've been anything that you wanted to
I can tell
The way you do the things you do
I like the way you do the things you do
You make my life so rich
You know you could've been some money
And baby you're so sweet
You know you could have been some honey
Well you could've been anything that you wanted to
I can tell
The way you do the things you do
I like the way you do the things you do
As pretty as you are
You know you could've been a flower
If good looks were minutes
You know you could've been an hour
The way you stole my heart
You know you could've been a crook
And baby you're so smart
You know you could have been a school book
Well you could've been anything that you wanted to
I can tell
The way you do the things you do
I like the way you do the things you do
The way you do the things you do
I like the way you do the things you do
The way you do the things you do
I like the way you do the things you do
You made my life so sweet
I like the way you do the things you do
You made my life so sweet
I like the way you do the things you do
You made my life so sweet
The way you do the things you do
You made my life so sweet
The way you do the things you do
MY GIRL
Peak - #1 [1 wk] in early March ‘65 / Top 10 - 8 wks / Top 20 - 10 wks / Top 40 - 11 wks / Hot 100 - 13 wks / 76-41-12-8-5-4-3-1-2-7-9-12-29
The Temptations’ 4th Biggest Hit / written & produced by Smokey Robinson & Ronald White [of The Miracles] / the song was inspired by Robinson’s wife Claudette Rogers Robinson, an original member of The Miracles / first single from their third album, THE TEMPTATIONS SING SMOKEY / lead singer: David Ruffin & backing vocals by Eddie Kendricks, Melvin Franklin, Paul Williams & Otis Williams / instrumentation by the Funk Brothers [Robert White – guitar, Earl Van Dyke – piano, James Jamerson – bass, Benny Benjamin – drums] and the Detroit symphony orchestra with horn
& string arrangements by Paul Riser / Otis Redding’s cover version peaked at #11 in the UK in ‘65, besting the original, which only got to #43 / from the Cashbox review: "a pulsating, shuffle-wobble ballad … in very tempting style [with a] striking arrangement." / #2 on the Cashbox [sales only] chart & the first #1 [6 wks] in Jan/Feb/Mar ‘65 on Billboard’s reinstated R&B chart; #8 in Canada / featured in the ‘92 film MY GIRL & re-released as a single: #2 in Ireland & the UK, #5 in Portugal, #11 on the Eurochart & Top 40 on two Adult Contemporary charts - #27 US & #30 Canada / “sampled” on the Temptations single STAY - #28 R&B in ‘98 / The Temptations’ signature song was #88 on Rolling Stone magazine’s 500 Greatest Songs of All Time in ‘04; inducted into the Grammy Hall of Fame in ‘98 and included in the National Recording Register of the Library of Congress in ‘17
I've got sunshine on a cloudy day
When it's cold outside
I've got the month of May
I guess you'd say
What can make me feel this way
My girl, my girl, my girl
Talkin' 'bout my girl
My girl
I've got so much honey
The bees envy me
I've got a sweeter song
Than the birds in the trees
Well, I guess you'd say
What can make me feel this way
My girl, my girl, my girl
Talkin' 'bout my girl
My girl
Ohh ohh
Hey hey hey
Hey hey hey
Oh yeah
I don't need no money, fortune, or fame
I've got all the riches baby one man can claim
Well I guess you'd say
What can make me feel this way
My girl, my girl, my girl
Talkin' 'bout my girl, my girl, talkin' 'bout my girl
I've got sunshine on a cloudy day with my girl
I've even got the month of May with my girl
Talkin' 'bout, talkin' 'bout, talkin' 'bout
BEAUTY IS ONLY SKIN DEEP
Peak - #3 [1 wk] in early October ‘66 / Top 10 - 3 wks / Top 20 - 6 wks / Top 40 - 9 wks / Hot 100 - 12 wks / 80-62-26-16-11-6-3-5-12-22-37-48
written by Norman Whitfield & Edward Holland, Jr., and produced by Whitfield / Whitfield recorded the backing track two years earlier, before asking Holland to write lyrics / first recorded by The Miracles in ‘64 but not included on a Miracles album until AWAY WE A GO-GO n ‘66; also recorded earlier by Jimmy Ruffin [older brother of Temptations member David Ruffin] / lead singer: David Ruffin & backing vocals by Eddie Kendricks, Melvin Franklin, Paul Williams & Otis Williams / Billboard review: "smooth rocker featuring bongo and brass and a well-done vocal on a strong lyric."; Cashbox review: "mid-tempo, finger-snapping swinger done up in the group’s infectious manner." / the group members didn’t want the song released as a single & were surprised when it became a hit / first included on an album on GREATEST HITS in ‘66 / #1 [5 wks] on Billboard’s R&B chart in Sept/Oct ‘66; #7 in Canada & #18 [1 wk] in the UK
So in love, sad as could be
'Cause a pretty face got the best of me
Suddenly, you came into my life
And gave it meaning and pure delight
Now, good looks, I've learned to do without
'Cause now I know it's love that really counts
'Cause I know that
(Beauty's only skin deep, yeah, yeah, yeah)
I know that
(Beauty's only skin deep, oh yeah) yes indeed
Now you speak your words warm and sincere
And let's me know that your love is near
A pretty face you may not possess
But what I like about you is your tenderness
A pretty face maybe some guys taste
But I'll take lovin' in it's place
'Cause I know that
(Beauty's only skin deep, yeah, yeah, yeah)
And you know that
(Beauty's only skin deep, oh yeah) oh baby, oh yeah
(Oh yeah, oh yeah)
Ooo
(Beauty's only skin deep, oh yeah)
My friends ask, what do I see in you
But it goes deeper than the eye can view
You have a pleasin' personality
And that's an ever lovin' rare quality
Now show me a girl, a girl that's fine
And I'll choose the one with true lovin' every time
I know that
(Beauty's only skin deep, yeah, yeah, yeah)
And I believe that
(Beauty's only skin deep, oh yeah)
So if you're lookin' for a lover (oh yeah)
Don't judge a book by it's cover (oh yeah)
She may be fine on the outside (oh yeah)
But so untrue on the inside (oh yeah)
Ooo
(I Know) I’M LOSING YOU
Peak - #8 [1 wk] in late December ‘66 / Top 10 - 2 wks / Top 20 - 6 wks / Top 40 - 8 wks / Hot 100 - 10 wks / 79-43-32-19-12-10-8-13-19-38
written by Cornelius Grant, Eddie Holland & Norman Whitfield and produced by Whitfield / first single from the WITH A LOT O’ SOUL album / lead singer: David Ruffin & backing vocals by Eddie Kendricks, Melvin Franklin, Paul Williams & Otis Williams / Billboard review: "blues swinger with a solid dance beat and powerful vocal workout."; Cashbox review: "the ork is throbbing, the chorus is smooth and the group tells its sad tale in exquisite fashion." / performed on THE ED SULLIVAN SHOW in late May ‘67 and again with Diana Ross & the Supremes in November ‘67 / cover versions: Motown Rock-Soul group Rare Earth [#7] in ‘70, Rod Stewart with Faces [#24 US / #13 Canada] in ‘71, Whitfield produced a Psychedelic Soul version by The Undisputed Truth in ‘75, a Disco version by Uptown [#80 Pop] in ‘80, and vocal “samples” of the Rare Earth & Undisputed Truth covers were used on FADE by Kanye West with Post Malone & Ty Dolla Sign in ‘16 / #1 [2 wks] on Billboard’s R&B chart in late December ‘66; fourth straight #1 on that chart, following GET READY [1 wk] in late April, AIN’T TOO PROUD TO BEG [8 wks] in June/July/Aug & BEAUTY IS ONLY SKIN DEEP [5 wks] in Sept/Oct ‘66 / #21 in Canada & #19 [2 wks] in the UK
Your love is fading, I can feel your love fading
Girl, it's fading away from me
'Cause your touch, your touch has grown cold
As if someone else controls your very soul
I've fooled myself long as I can
I can feel the presence of another man
Girl, when you speak my name
It's just not the same
Ooh baby, I'm losing you
It's in the air
It's everywhere
Ooh, I'm losing you (losing you)
When I look into your eyes
A reflection of a face I see
I'm hurtin', downhearted and worried girl
'Cause that face doesn't belong to me
It's all over your face
Someone's taken my place
Ooh baby, I'm losing you
You see it's in the air
It's everywhere
Ooh, baby I'm losing you
Oh yeah (losing you)
I don't wanna lose you, no-no-no
Oh baby, oh baby, yeah-yeah
Ooh I wanna, well well, ooh baby-baby
I can tell when we kiss
From the tenderness I miss
Ooh, baby I'm losing you
I can feel it in my bones
Any day, you'll be gone
(I'm losing you) I'm losing you
Yeah, ooh my love
Baby, baby, baby, baby your love, your love
Oh baby (I'm losing you)
I don't wanna lose you, no-no baby, no-no baby
Oh baby, I'm losing you
I'm losing you yeah, oh
ALL I NEED
Peak - #8 [1 wk] in June ‘67 / Top 10 - 3 wks / Top 20 - 5 wks / Top 40 - 8 wks / Hot 100 - 10 wks / 81-42-28-21-15-10-9-8-19-40
written by Frank Wilson, Eddie Holland & R. Dean Taylor and the first song to be produced by Wilson, a protégé of Norman Whitfield / similar to Holland-Dozier-Holland songs / lead singer: David Ruffin & backing vocals by Eddie Kendricks, Melvin Franklin, Paul Williams & Otis Williams / second single from WITH A LOT O’ SOUL / from the Cashbox review: "pulsing, driving, thumping, melodic reading … sure-to-please item." / performed on the group’s appearance on THE ED SULLIVAN SHOW in late May ‘67 / also recorded by Motown groups Bobby Taylor & the Vancouvers in ‘68 [unreleased until BOBBY TAYLOR’S MOTOWN ANTHOLOGY in ‘06] & The Supremes in ‘71 [finally released on MOTOWN SINGS MOTOWN TREASURES in ‘05] / #2 on Billboard’s R&B chart
Forgive this fool, my darlin'
Oh, this heart of mine
Carries a heavy load
When I think about
How I've hurt you so
After you've been
Been so good to me
I've been unfaithful, darlin'
I've caused you misery
A feeling of guilt
How it tortures me
And only you, my darlin'
Oh, can set me free and
Darlin', all
All I need
Is just to hear you say
You'll forgive me
Forgive me, baby
All, all I need
To have you touch my hand
Say you'll understand, baby
A moment of weakness, darlin'
Caused me to stray
Your trust in me, dear
I threw away
When I look
Look into your eyes
I can see the hurt, baby
That you feel inside
Although I hurt you, baby
You never once complained
It makes me feel, sweet darlin'
That much more ashamed
Tears of guilt, tears of guilt
Runnin' down my face
Tears that only you, baby
Only you can erase and
Darlin', all
All I need
Is just to hear you say
You'll forgive me
Forgive me, baby
All, all I need
To have you touch my hand
Say you'll understand, oo
Forgive this fool, my darlin'
I know I made a big mistake
When all your love, darlin'
Yes, I did forsake
It's on my mind
It's in my heart
This guilty feeling
Tearin' me apart
With every step I make
Every breath I take
I'll make it up to you
I'll make it up to you
Undo the wrong I've done
Undo the wrong I've done
I've been unfaithful
I know it's true
But I'll make it up to you, baby
All, all I need
Is just to hear you say
You'll forgive me
Forgive me baby
All, all I need
To have you touch my hand
Say you'll understand
YOU’RE MY EVERYTHING
Peak - #6 [1 wk] in September ‘67 / Top 10 - 5 wks / Top 20 - 6 wks / Top 40 - 9 wks / Hot 100 - 12 wks / 74-52-35-21-9-9-7-6-8-15-27-43
written by Norman Whitfield, Cornelius Grant & Rodger Penzabene* and produced by Whitfield / *[first of four songs & three singles to be co-written by Rodger Penzabene and recorded by The Temptations] / third single from WITH A LOT O’ SOUL / lead singer: Eddie Kendricks and David Ruffin [bridge & outro] & backing vocals by Ruffin, Melvin Franklin, Paul Williams & Otis Williams / also recorded by Motown act Gladys Knight & the Pips in ‘68 / fourth straight Top 10 hit on the Hot 100 for The Temptations / #3 on Billboard’s R&B chart; and #26 [2 wks] in the UK
You surely must know magic, girl, 'cause you changed my life
It was dull and ordinary
But you made it sunny and bright
I was blessed the day I found you, gonna build my whole world around you
You're ev'rything good, girl and you're all that matters to me
When my way was dark and troubles were near
Your love provided the light so I could see, girl
Just knowing your love was near when times were bad
Kept the world from closing in on me, girl
I was blessed the day I found you, gonna build my whole world around you
You're ev'rything good, girl and you're all that matters to me
You're part of ev'ry thought I think each day
Your name is in ev'ry phrase my lips say
Ev'ry dream I dream is about you
Honey I couldn't live without you
Baby, baby, baby, you're my ev'rything
You're my ev'rything
Yes, you are, you're my ev'rything
Girl, you're the girl I sing about in ev'ry love song I sing
(You're my everything)
You're my winter, baby, my summer, my fall and spring
(You're my everything)
I was blessed the day I found you, gonna build my whole world around you
You're ev'rything good, girl and you're all that matters to me
You're my ev'rything
You're my everything
You're my ev'rything
You're my everything
You're my ev'rything
Oh, you're my ev'rything
You're my ev'rything
You're my ev'rything
I WISH IT WOULD RAIN
Peak - #4 [3 wks] in Feb/Mar ‘68 / Top 10 - 7 wks / Top 20 - 9 wks / Top 40 - 11 wks / Hot 100 - 14 wks / 56-45-15-10-6-4-4-4-5-6-20-22-33-50
written by Norman Whitfield, Barrett Strong & Rodger Penzabene and produced by Whitfield / first single from THE TEMPTATIONS WISH IT WOULD RAIN / lead singer: David Ruffin & backing vocals by Eddie Kendricks, Melvin Franklin, Paul Williams & Otis Williams / cover versions: Gladys Knight & the Pips [#41 Pop / #15 R&B] in ‘68, Faces [B-side of POOL HALL RICHARD] - #8 UK in ‘73, Aretha Franklin in ‘83, New Zealand singer Jon Stevens - #49 NZ in ‘94 [benefit single for farmers during a drought], and Bruce Springsteen on his album of R&B/Soul cover songs, ONLY THE STRONG SURVIVE, in ‘22; #1 [3 wks] in Feb/Mar on Billboard’s R&B chart; and #45 [1 wk] in the UK
Sunshine, blue skies, please go away
My girl has found another, and gone away
With her went my future, my life is filled with gloom
So day after day, I stay locked up in my room
I know to you it might sound strange
But I wish it would rain
(Oh, how I wish that it would rain)
Oh yeah, yeah, yeah
'Cause so badly I wanna go outside
(Such a lovely day)
But everyone knows that a man ain't supposed to cry
Listen, I got to cry, 'cause crying
Eases the pain, oh yeah
People, this hurt I feel inside
Words, they, could never explain
I just wish it would rain
(Oh, how I wish that it would rain)
Oh let it rain, rain, rain, rain
(Oh, how I wish that it would rain)
Oo, baby
Let it rain (rain, rain)
Oh yeah, let it rain
Day in day out, my tear-stained face
Pressed against the window pane
My eyes search the skies, desperately for rain
'Cause rain drops will hide my teardrops
And no one will ever know
That I'm crying (crying) crying (crying)
When I go outside
To the world outside
My tears I refuse to explain
Oo, I wish it would rain
(How I wish that it would rain)
Oo, baby
Let it rain, let it rain
I need rain to disguise
The tears in my eyes
Oh, let it rain
Oh, yeah, yeah, listen
I'm a man and I've got my pride
'Til it rains I'm gonna stay inside
Let it rain
CLOUD NINE
Peak - #6 [2 wks] in early January ‘69 / Top 10 - 3 wks / Top 20 - 8 wks / Top 40 - 11 wks / Hot 100 - 12 wks / 45-39-26-15-13-12-10-6-6-13-17-30
written by Norman Whitfield & Barrett Strong and produced by Whitfield / title song & first single from The Temptations’ seventh studio album / first of the group’s string of Psychedelic Soul hits & first since David Ruffin left to go solo [after not receiving top group billing as Diana Ross had with The Supremes] / Otis Williams had introduced Whitfield to DANCE TO THE MUSIC by Sly & the Family Stone but he was initially skeptical: "I don't want to get into all that crazy shit. That ain't nothing but a little passing fancy."; but he did a 180 turn shortly afterward & soon had the backing track of CLOUD NINE completed / from the Cashbox review: "near revolutionary … touches of progressive pop in the track, elevated lyric message and the solid performance." / first of the group’s songs with lyrics about life & the problems of the day with new singer Dennis Edwards [formerly lead singer of early ‘60s Motown group The Contours] trading lines with Eddie Kendricks, Paul Williams, Melvin Franklin & Otis Williams [ala Sly & the Family Stone] / instrumentation by The Funk Brothers, featuring: Bass guitar: James Jamerson, Lead guitar: Dennis Coffey, Drums: Spider Webb & Uriel Jones, Tambourine: Greg Reeves and Cuban percussionist Mongo Santamaria on Congo drums / many, including Motown head Berry Gordy, thought the song was about drugs - but its writers & the group claimed it was not / recorded by Bob Marley & the Wailers as '“Rebel Hop” and Rod Stewart sang lead on Australian Rock band Python Lee Jackson’s version [“Doin’ Fine”] in ‘72; Mongo Santamaria’s instrumental version charted at virtually the same position on three charts in ‘69 [#32 Pop / #33 R&B / #30 EL] / first Motown song to win a Grammy Award - Best Rhythm & Blues Group Performance, Vocal or Instrumental / #2 on Billboard’s R&B chart; #9 in Canada & #15 [1 wk] in the UK
The childhood part of my life wasn't very pretty
See, I was born and raised
In the slums of the city
It was a one-room shack that slept ten other children beside me
We hardly had enough food or room to sleep
It was hard times, needed somethin' to ease my troubled mind
Ooh, listen
My father didn't know the meaning of work
He disrespected mama and treated us like dirt
I left home seeking a job that I never did find
Depressed and down-hearted, I took to cloud nine
I'm doing fine up here, on cloud nine
Listen, one more time
I'm doing fine up here, on cloud nine
Folks down there tell me
They say give yourself a chance, son
Don't let life pass you by (woo, woo, woo, woo)
But the world, around you, is a rat race
Where only the strongest survive
It's a dog-eat-dog world, and that ain't no lie (ain't no lie)
Listen, it ain't even safe no more to walk the streets at night
I'm doing fine on cloud nine
Let me tell you 'bout cloud nine (cloud nine)
You can be what you wanna be (cloud nine)
You ain't got no responsibility (cloud nine)
And every man, every man, is free (cloud nine)
You're a million miles from reality, reality
I wanna' stay up higher, higher
Up, up, up, up and away, cloud nine
I wanna' say I love the life I live
And I'm gonna live, the life I love
Or be on cloud nine
I, I, I, I, I, I'm ridin' high on cloud nine
You're as free as a bird in flight (cloud nine)
There's no difference between day and night (cloud nine)
It's a world of love and harmony (cloud nine)
You're a million miles from reality, reality
I wanna' stay up higher, higher
Up, up, up, up and away (cloud nine)
You can be what you wanna be (cloud nine)
You ain't got no responsibility (cloud nine)
Every man in his mind is free (cloud nine)
You're a million miles from reality (cloud nine)
You can be what you wanna be
RUNAWAY CHILD, RUNNING WILD
Peak - #6 [2 wks] in Mar/Apr ‘69 / Top 10 - 4 wks / Top 20 - 8 wks / Top 40 - 11 wks / Hot 100 - 12 wks / 70-38-22-12-11-10-6-6-9-11-19-26
written by Norman Whitfield & Barrett Strong and produced by Whitfield / second single from the CLOUD NINE album / group members Dennis Edwards, Eddie Kendricks, Paul Williams, Melvin Franklin & Otis Williams again trade lines on the song about a young runaway who can’t find their way home / the 9:36 album version was edited to 4:53 for the single & includes a four-minute instrumental section, featuring Earl Van Dyke's Hammond organ, Joe Messina's electric guitar, and Dennis Coffey's distorted wah-wah guitar / Van Dyke released his own instrumental version as a single, also in ‘69 / #1 [2 wks] on Billboard’s R&B chart in March ‘69; and #12 in Canada
You played hookie from school and you can't go out to play, yeah
Mama said, for the rest of the week, in your room you gotta stay, yeah
Oh ho, now you feel like the whole world's pickin' on you
But deep down inside, you know it ain't true
You're in punishment
'Cause your mother wants to raise you in the right way, yeah
But you don't care
'Cause you already made up your mind you wanna run away yeah
You're on your way, runaway child, running wild
Runaway child running wild
Better go back home where you belong
Roaming through the city going nowhere fast, you're on your own at last
Hey, it's gettin' late, where will you sleep?
You're gettin' kinda hungry, you forgot to bring something to eat
Oh, lost with no money you start to cry
But remember, you left home wantin' to be grown, so dry your weeping eyes
Sirens screamin' down neon lighted streets
You want your mama
Run, run, run, run, run, run, run, run
Are they looking for you?
You're frightened and confused
I want my mama
Run, run, run, run, run, run, run
But she's much too far away, she can't hear a word you say
You've heard some frightening news on the radio
About little boys running away from home
And the parents don't see them no more
You wanna stop to hitch a ride, I know
But your mama told you never trust a stranger
And you don't know which way to go
Streets are dark and deserted, not a sound nor sign of life
Oh how you long to hear your mother's voice, 'cause you're lost and alone
But remember, you made the choice, runaway child, running wild
You better go back home where you belong
He he he, oh, runaway child, running wild
You better go back home where you belong
You're lost in this great big city
Go back home where you belong
Not one familiar face, ain't it a pity
Go back home where you belong
Oh, runaway child running wild
You better go back home where you belong
Oh yeah, my girl
Mama, mama, please, come and sit here by me
Oh but she's much too far away, she can't hear a word you say
Oh, you're frightened and confused, which way will you choose
I CAN’T GET NEXT TO YOU
Peak - #1 [2 wks] in October ‘69 / Top 10 - 11 wks / Top 20 - 13 wks / Top 40 - 15 wks / Hot 100 - 17 wks / 84-48-30-11-10-10-6-5-4-1-1-4-4-6-10-17-31
The Temptations’ Biggest Hit / written by Norman Whitfield & Barrett Strong and produced by Whitfield / second single from the PUZZLE PEOPLE album, following DON’T LET THE JONESES GET YOU DOWN [#20 Pop / #2 Soul] / vocals by Dennis Edwards, Eddie Kendricks, Paul Williams, Melvin Franklin & Otis Williams and instrumentation by The Funk Brothers / covered by Al Green on the album AL GREEN GETS NEXT TO YOU in a slowed down, soulful version [#60 Pop / #11 Soul] in early ‘71 / #1 [5 wks] in Oct/Nov ‘69 on Billboard’s R&B chart; #11 in Canada & #13 [1 wk] in the UK
I
Can turn the gray sky blue
I can make it rain, whenever I want it to, oh I
I can build a castle from a single grain of sand
I can make a ship sail, on dry land tell 'em yeah
But my life is incomplete and I'm so blue
'Cause I can't get next to you
I can't get next to you, babe (next to you)
I can't get next to you (I just can't get next you)
I can't get next to you, babe
I can't get next to you
I
Can fly like a bird in the sky
Hey, and I can buy anything that money can't buy
Oh, I
I can turn a river into a raging fire
I can live forever if I so desired
Unimportant are all the things I can do
'Cause I can't get next to you
I can't get next to you, babe (no matter what I do)
I can't get next to you
Uh-ya
Ooo-ooo
Ooo-ooo
Chica boom, chica boom
Chica boom, boom, boom
I can turn back the hands of time, you better believe I can
I can make the seasons change, just by waving my hand
Oh, I
I can change anything from old to new
The things I want to do the most, I'm unable to do
Unhappy am I with all the powers I possess
'Cause girl you're the key to my happiness
And I
Can't get next to you
Girl, you're blowing my mind 'cause I can't get (next to you)
Can't you see these tears I'm crying? I can't get (next to you)
Girl, it's you that I need, I gotta get (next to you)
Can't you see these tears I'm crying? I can't get (next to you)
I, I, I, I, I can't get (next to you)
I, I, I, I, I can't get (next to you)
Girl, you're blowing my mind
PSYCHEDELIC SHACK
Peak - #7 [1 wk] in late February ‘70 / Top 10 - 3 wks / Top 20 - 7 wks / Top 40 - 10 wks / Hot 100 - 11 wks / 95-38-21-11-8-8-7-11-12-20-24
written by Norman Whitfield & Barrett Strong and produced by Whitfield / title track & only single released from the group’s ninth studio album made a 57-position leap into the Top 40 in its second week on the Hot 100 / Whitfield & The Temptations continued their psychedelia foray in a “hippie nightclub”; includes one of the first instances of “sampling” when the needle drops on I CAN’T GET NEXT TO YOU to begin the 3:56 single; a six-minute version was unearthed for the PSYCHEDLIC SOUL album in ‘03 / vocals by Dennis Edwards, Eddie Kendricks, Paul Williams, Melvin Franklin & Otis Williams and instrumentation by The Funk Brothers; keyboardist Earl Van Dyke said the track was one of his favorites to play on / #2 on Billboard’s R&B chart; #5 in Canada & #33 [1 wk] in the UK
Hold it, hold it, listen
Psychedelic shack, that's where it's at
Psychedelic shack, that's where it's at, yeah
Psychedelic shack, that's where it's at
Psychedelic shack, that's where it's at
People, let me tell you about a place I know
To get in it don't take much dough
Where you can really do your thing, oh yeah
It's got a neon sign outside that says
"Come in and take a look at your mind"
You'd be surprised what you might find, yeah
Strobe lights flashin' then some after sundown
People gather there from all parts of town (oh yeah)
What do I call it
You know it's just across the track
People I'm talking about the psychedelic shack
Psychedelic shack, that's where it's at (get on)
Psychedelic shack, that's where it's at
Psychedelic shack, that's where it's at
Go! Oh yeah
You can have your fortune told
You can learn the meaning of soul
There ain't no such a thing as time, time, time (oh!)
Incense in the air
'In" signs painted everywhere
I guarantee you this place will blow your mind (yeah, yeah)
Music so high, you can't get over it
So low you can't get under it (lemme tell you where it's-)
Right around the corner (oh yeah) just across the track
People, I'm talking about the psychedelic shack (go)
Psychedelic shack, that's where it's at
Psychedelic shack, that's where it's at
Psychedelic shack, that's where it's at (yeah)
Yeah, yeah, yeah, yeah
Millionaires, kings and queens go there to do their things
You might see anybody there, yeah
Bear skin rugs, tails and beads (ooh)
Don't really matter what you wear
Oh you can take off your shoes, sit on the floor
Join in and be what you wanna be
Don't you know that it's...
Right around the corner (oh yeah) just across the track
People I'm talking about the psychedelic shack (oh yeah)
Psychedelic shack, that's where it's at
Psychedelic shack, that's where it's at
Psychedelic shack, that's where it's at (oh yeah)
They got a cat there shouting the blues
Talking about payin' some dues
People walking around reciting poetry
Screamin guitars and a thousand colored lights
People I'm telling you this place is really out of sight (yeah)
You can have your fortune told
You can learn the meaning of soul
I guarantee you this place will blow your mind
Don't you know it's right around the corner
BALL OF CONFUSION
Peak - #3 [3 wks] in June/July ‘70 / Top 10 - 9 wks / Top 20 - 11 wks / Top 40 - 13 wks / Hot 100 - 15 wks / 80-41-24-20-6-3-3-3-5-6-8-9-10-14-30
The Temptations’ 3rd Biggest Hit / written by Norman Whitfield & Barrett Strong and produced by Whitfield / first track on the group’s GREATEST HITS II / the 4:06 Temptations single was edited from an 11-minute backing track, which was used in its entirety on The Undisputed Truth’s debut album in ‘71 / Lead vocals: Dennis Edwards, Eddie Kendricks, Paul Williams & Melvin Franklin & backing vocals: Dennis Edwards, Eddie Kendricks, Paul Williams, Melvin Franklin & Otis Williams with instrumentation by The Funk Brothers / Cashbox review: "another shocker featuring studio-work voltage and the charge of new-Temps lyric power … another electrifying experience." / in his book on the AIDS epidemic “And The Band Played On,” author Randy Shilts took the title from the line repeated in BALL OF CONFUSION, meaning no one was paying attention / cover versions: The Undisputed Truth in ‘71 [used in trailers for the ‘22 film NOPE], New Orleans Rock band Red Rockers, English Rock band Love And Rockets; Tina Turner’s synth-driven cover, recorded with English musicians, was a #5 hit in Norway in ‘82 & led to a solo record deal and her mid-’80s comeback / #2 on Billboard’s R&B chart; #5 in Canada, #7 [2 wks] in the UK & #33 in the Netherlands
One, two, one, two, three, four, ow
People moving out, people moving in
Why, because of the color of their skin
Run, run, run but you sure can't hide
An eye for an eye, a tooth for a tooth
Vote for me and I'll set you free
Rap on, brother, rap on
Well, the only person talking about love thy brother is the preacher
And it seems nobody's interested in learning but the teacher
Segregation, determination, demonstration, integration
Aggravation, humiliation, obligation to our nation
Ball of confusion
Oh yeah, that's what the world is today
Woo, hey, hey
The sale of pills are at an all time high
Young folks walking round with their heads in the sky
The cities ablaze in the summer time
And oh, the beat goes on
Evolution, revolution, gun control, sound of soul
Shooting rockets to the moon, kids growing up too soon
Politicians say more taxes will solve everything
And the band played on
So, round and around and around we go
Where the world's headed, nobody knows
Oh, great googa-looga, can't you hear me talking to you
Just a ball of confusion
Oh yeah, that's what the world is today
Woo, hey
Fear in the air, tension everywhere
Unemployment rising fast, the Beatles new record's a gas
And the only safe place to live is on an Indian reservation
And the band played on
Eve of destruction, tax deduction, city inspectors, bill collectors
Mod clothes in demand, population out of hand, suicide, too many bills
Hippies moving to the hills, people all over the world are shouting, end the war
And the band played on
Great googa-looga, can't you hear me talking to you
Sayin' ball of confusion
That's what the world is today, hey, hey
Let me hear ya, let me hear ya, let me hear ya
Sayin', ball of confusion
That's what the world is today, hey, hey
Let me hear ya, let me hear ya, let me hear ya, let me hear ya, let me hear ya
Ball of confusion
JUST MY IMAGINATION (Running Away With Me]
Peak - #1 [2 wks] in early April / Top 10 - 9 wks / Top 20 - 11 wks / Top 40 - 13 wks / Hot 100 - 15 wks / 71-51-29-16-4-4-3-2-1-1-3-7-9-15-23
The Temptations’ 2nd Biggest Hit / written by Norman Whitfield & Barrett Strong and produced by Whitfield; written in ‘69 & shelved until the right time / the second single from SKY’S THE LIMIT returned the five-man group to the sweet soul of the ‘60s with one of their most mellow & memorable songs; recorded after another Psychedelic single - UNGENA ZA ULIMWENGU (Unite The World) - failed to break into the Top 30 of the Pop chart, signaling to Whitfield that the The Temptations needed to take a break from the genre / their first non-Psychedelic single since late ‘68 was their third #1 on the Pop chart & their tenth #1 on the R&B/Soul chart / JUST MY IMAGINATION was the last single with Eddie Kendricks singing lead, before pursuing a solo career, following a year of public conflicts with group leader Otis Willliams; in his Temptations biography in ‘88, Williams called the song "Eddie's finest moment." / Paul Williams, Kendricks’ lifelong friend & the group’s original lead singer, also left the group for health reasons [alcoholism & sickle-cell disease] after the song was recorded; he sang the lines of the bridge "Every night, on my knees, I pray..." / JUST MY IMAGINATION was the only single that Dennis Edwards did not sing lead on during his first tenure with the group - from June ‘68 until he was fired in ‘76 / in what would be their final appearance on THE ED SULLIVAN SHOW in late January ‘71, The Temptations sang GET READY & JUST MY IMAGINATION; Otis Williams: “But there was such a bittersweet feeling. Eddie had really changed. Paul was on his last legs. Watch the clip of us doing the song on Ed Sullivan - we're not together. Eddie is off by himself. There was no more group. Sure enough, when we played the Copa that week, Eddie left between shows. He didn't come back.” / the group’s next single was intended to be SMILING FACES SOMETIMES, also with Kendricks singing lead, but after his departure, the single was scrapped & The Undisputed Truth had a #3 Pop hit with the song later in the year / #1 [3 wks] on Billboard’s Soul chart & their first appearance on the Easy Listening chart [#33]; #72 in Canada & #8 [1 wk] in the UK
Ooh
Each day through my window I watch her as she passes by
I say to myself, "You're such a lucky guy"
To have a girl like her is truly a dream come true
Out of all the fellows in the world, she belongs to me
But it was just my imagination
Runnin' away with me
It was just my imagination
Runnin' away with me
Ooh (soon)
Soon we'll be married and raise a family (oh yeah)
A cozy little home out in the country with two children, maybe three
I tell you I can visualize it all
This couldn't be a dream, far too real it all seems
But it was just my imagination, once again
Runnin' away with me
Tell you, it was just my imagination
Runnin' away with me
Every night on my knees I pray
Dear Lord, hear my plea
Don't ever let another take her love from me
Or I would surely die, hmm
(Her love is) Heavenly, when her arms enfold me
I hear a tender rhapsody
But in reality, she doesn't even know me
Once again
Runnin' away with me, oh
Tell you it was just my imagination
Runnin' away with me
I've never met her but I can't forget her
(Just my imagination) Ooh, yeah, yeah, yeah, yeah
Runnin' away with me, ooh
Just my imagination
PAPA WAS A ROLLING STONE
Peak - #1 [1 wk] in early December ‘72 / Top 10 - 6 wks / Top 20 - 9 wks / Top 40 - 12 wks / Hot 100 - 16 wks / 83-54-38-17-13-6-5-1-2-6-8-14-27-38-45-62
The Temptations’ 5th Biggest Hit / written by Norman Whitfield & Barrett Strong and produced by Whitfield / second single & only Top 40 Pop hit from ALL DIRECTIONS / first recorded by The Undisputed Truth [#63 Pop / #24 Soul], with Whitfield producing, on a very basic track / next he expanded the track to 12 minutes for The Temptations & the single was edited to 6:54 / the song led to friction between the group & their increasingly authoritative producer, who they perceived to be more interested in creating “Cinematic Soul” tracks than in their vocals, although he forced Dennis Edwards to sing the song’s opening lines over & over until he got the gritty sound he wanted; the resulting conflict ultimately lead the group to part ways with Whitfield, after working together since ‘66 / the song has four singers - Dennis Edwards, Melvin Franklin, Richard Street [who replaced Paul Williams] and Damon Harris [who replaced Eddie Kendricks] - asking questions of their mother after the death of the father they’ve never known; Melvin Franklin & Otis Williams were now the only original members of the group / cover versions: electronic version by Wolf w/Michael Jackson on backing vocals [#55 Pop / #47 R&B] in ‘83, Was (Not Was) [#10 US Dance Club Play / #12 UK] in ‘90, George Michael on the FIVE LIVE EP in ‘93 [#69 Pop]; performed by The Black Crowes on JIMMY KIMMEL LIVE in early May ‘22 to promote their EP titled 1972, which included the Temptations song & five others from that year first recorded by Little Feat, David Bowie, The Rolling Stones, Rod Stewart and T Rex; “sampled” on the John & Ernest record SUPERFLY MEETS SHAFT / winner of three Grammy Awards: Best R&B Vocal Performance by a Duo or Group - The Temptations, Best R&B Instrumental - producer Norman Whitfield & arranger Paul Riser [the instrumental track was the single’s B-side], and Best R&B Song - Norman Whitfield & Barrett Strong / #5 on Billboard’s Soul chart; #3 Netherlands, #6 New Zealand & South Africa, #11 West Germany, #12 Canada, #14 UK & #16 Belgium [Flanders]
It was the third of September
That day I'll always remember, yes I will
'Cause that was the day that my daddy died
I never got a chance to see him
Never heard nothin' but bad things about him
Momma I'm depending on you to tell me the truth
Momma just hung her head and said, son
Papa was a rolling stone
Wherever he laid his hat was his home
And when he died, all he left us was alone
Papa was a rolling stone (my son, yeah)
Wherever he laid his hat was his home
And when he died, all he left us was alone
Hey Momma!
Is it true what they say that Papa never worked a day in his life
And Momma, some bad talk goin' round town sayin' that
Papa had three outside children
And another wife, and that ain't right
Heard some talk Papa doing some storefront preachin'
Talking about saving souls and all the time leechin'
Dealing in dirt, and stealing in the name of the Lord
Momma just hung her head and said
Papa was a rolling stone (my son)
Wherever he laid his hat was his home
And when he died, all he left us was alone
Hey Papa was a rolling stone (dad gumma it)
Where ever he laid his hat was his home
And when he died, all he left us was alone
Hey Momma
I heard Papa called himself a jack-of-all-trades
Tell me is that what sent Papa to an early grave
Folks say Papa would beg, borrow, steal
To pay his bills
Hey Momma
Folks say Papa never was much on thinking
Spent most of his time chasing women and drinking
Momma I'm depending on you to tell me the truth
Momma looked up with a tear in her eye and said, son
Papa was a rolling stone (well, well, well, well)
Wherever he laid his hat was his home
And when he died, all he left us was alone (lone, lone, lone, alone)
Papa was a rolling stone
Wherever he laid his hat was his home
And when he died, all he left us was alone
Wherever he laid his hat was his home
And when he died, all he left us was alone
My daddy was
Papa was a rolling stone (yes he was, yeah)
Wherever he laid his hat was his home)
MASTERPIECE
Peak - #7 [1 wk] in April ‘73 / Top 10 - 2 wks / Top 20 - 6 wks / Top 40 - 11 wks / Hot 100 - 14 wks / 63-46-34-25-22-18-14-11-8-7-11-25-40-56 /
written and produced by Norman Whitfield / title song & first single of the group’s next-to-last album with Whitfield; the title referred to Whitfield’s masterpiece - not the Temptations’ / the nearly 14-minute track, which took up most of Side one had only three minutes of vocals with a spoken word introduction by Otis Williams and Dennis Edwards, Melvin Franklin, Richard Street & Damon Harris singing the verses / both critics & fans and The Temptations themselves were not happy with Whitfield’s direction and critics began referring to the group as “The Norman Whitfield Chorale Singers” / two other Top 40 singles were released from the album but neither got higher than #35 / #1 [2 wks] on Billboard’s Soul chart in April ‘73; #13 in Belgium [Wallonia], #21 West Germany, #41 Canada & #51 UK
I'm from a place they call "The Inner City"
(The streets raised me from a baby) Getting ahead was strictly a no-no
'Cause nobody cares what happens to the folks that live in the ghetto
Thousands of lives wasting away
People living from day to day
This is a challenge just staying alive
'Cause in the ghetto only the strong survive
Broken down homes, kids strung out
They don't even know what life's all about
Stealin' cars, they robbin' bars, mugging, drugs, rat infected
And no one's interested
I see kids dodging cars for recreation
Only adds to a mother's frustration
Break-ins, folks comin' home
And finding all their possessions gone
Oh, it's an every day thing, well, well, in the ghetto (Can I say it? Can I say again?)
(Oh) Every day thing up to now by in the ghetto (Let me tell you one more time)
It's an every, every, every day thing in the ghetto, yeah
after their final Top 10 Pop hit, The Temptations charted 17 singles on the Hot 100, from ‘73 to ‘90, with six reaching the Top 40 - but none rose higher than #26 / from ‘73 to ‘94, The Temptations had 42 songs on the R&B/Soul chart with 28 Top 40, 22 Top 20, 15 Top 10 hits & three #1s / their final Top 10 Pop hit came in a supporting role in ‘91 on THE MOTOWN SONG by Rod Stewart with The Temptations, which peaked at #10 in the US [#3 AC] and went to #1 in Canada [Pop & AC] and Zimbabwe, #2 Ireland, #7 Denmark, #10 UK, #18 Eurochart & Top 40 in four other countries
on Billboard’s R&B/Soul chart, The Temptations amassed a total of 15 #1 hits, which spent 42 weeks atop the chart between ‘65 & ‘75: THE WAY YOU DO THE THINGS YOU DO [1 wk / Cashbox] in February ‘64; MY GIRL [6 wks] in Jan/Feb/Mar ‘65; GET READY [1 wk] in April, AIN’T TOO PROUD TO BEG [8 wks] in Jun/Jul/Aug & BEAUTY IS ONLY SKIN DEEP [5 wks] in Sept/Oct & (I Know) I’M LOSING YOU [2 wks] in late December ‘66; I WISH IT WOULD RAIN [3 wks] in Feb/Mar & I COULD NEVER LOVE ANOTHER (After Loving You) [1 wk] in early July ‘68; RUNAWAY CHILD, RUNNING WILD [2 wks] in late March & I CAN’T GET NEXT TO YOU [5 wks] in Oct/Nov ‘69; JUST MY IMAGINATION (Running Away With Me) [3 wks] in March ‘71; MASTERPIECE [2 wks] in April ‘73; LET YOUR HAIR DOWN [1 wk] in early February ‘74; HAPPY PEOPLE [1 wk] in early February & SHAKEY GROUND [1 wk] in late April ‘75
The Temptations also released three singles in the US with Diana Ross & the Supremes in ‘68-‘69, with two becoming Top 40 hits; the first nearly went to #1 - but was held at #2 by the biggest hit of a labelmate’s career
I’M GONNA MAKE YOU LOVE ME
Peak - #2 [2 wks] in January ‘69 / Top 10 - 8 wks / Top 20 - 11 wks / Top 40 - 12 wks / Hot 100 - 13 wks / 57-20-17-7-3-2-2-3-6-8-10-14-31
written by Gamble & Huff and Jerry Ross and produced by Frank Wilson & Nickolas Ashford / first recorded by Dee Dee Warwick [#88 Pop / #13 R&B] in ‘66 [w/backing vocals by Ashford & Simpson] / Dusty Springfield passed on recording the song in ‘67 but offered it to her backup singer Madeline Bell for her first album, BELL’S A POPPIN’; Bell: "..nothing happened with [the album] and the tapes were sent over to America, and this one guy took a shine to 'I’m Gonna Make You Love Me'. He printed up 10,000 copies and he sent them round the radio stations, and they started playing it. I got a call from Philips in London to say that I had a record moving up the US charts, and I had to go to America to promote it. It got to #26 Pop and #32 R&B [in March ‘68], and it was great to go back to my hometown with a record in the charts. I was so happy to go home a success." / not the intended first single from DIANA ROSS & THE SUPREMES JOIN THE TEMPTATIONS but it was the choice of DJs, who began playing it after receiving advanced copies of the album, forcing Motown to put it out as a “45”; [the album’s showpiece, THE IMPOSSIBLE DREAM, was the label’s choice for the single] / Diana Ross & Eddie Kendricks share lead vocals, while Ross & Otis William perform a spoken word piece, with the remaining Supremes, Mary Wilson & Cindy Birdsong, and all of the Temptations - Kendricks, Otis Williams, Melvin Franklin, Paul Williams & Dennis Edwards - on backing vocals / surprisingly, Motown’s two premier hitmaking groups of the 1960s never performed the song together except on the album - not even on TCB, the Motown TV special [filmed before the song started up the charts] to promote the joint album / #1 on both the Cashbox [sales only] Pop and R&B charts - but only #2 on the Billboard Pop and R&B charts; #2 Canada, #3 UK, #6 Iceland & Ireland, #7 Sweden, #14 Australia, #16 New Zealand & #19 Netherlands
I'm gonna do all the things for you
A girl wants a man to do, oh, baby
I'll sacrifice for you
I'll even do wrong for you, oh, baby
Every minute, every hour
I'm gonna shower you
With love and affection
Look out, it's comin' in your direction
And I'm, I'm gonna make you love me
Oh, yes I will, yes I will
Oh, yes I will, yes I will
Look here, my love is strong, you see
I know you'll never get tired of me, oh baby
And I'm gonna use every trick in the book
I'll try my best to get you hooked, hey baby
And every night, every day
I'm gonna say
I'm gonna get you, I'm gonna get you
Look out boy 'cause I'm gonna get you
Oh, yes I will, yes I will
And I'm gonna make you love me
Oh, yes I will, you know I will
Every breathe I take
And each and every step I make
Brings me closer, baby
Closer to you
And with each beat of my heart
For every day we're apart
I'll hunger for every wasted hour
And I, every night and every day
I'm gonna get you, I'm gonna get you
Look out 'cause I'm gonna get you
Oh, yes I will, yes I will
Oh, yes I will, yes I will
Oh, yes I will, yes I will
Yes I will, yes I will
on the 12/28/68, 1/4/69 & 1/11/69 [shown] Hot 100 charts, half of the singles in the Top 10 were by Motown artists / on the 1/4/69 chart, the four most successful Motown artists on the Pop chart in the ‘60s - Marvin Gaye, Stevie Wonder, Diana Ross & the Supremes and The Temptations - were in positions #1, #2 & #3
#1 - I HEARD IT THROUGH THE GRAPEVINE by Marvin Gaye [LW #1 / 5 wks @ #1]
#2 - I’M GONNA MAKE YOU LOVE ME by Diana Ross & the Supremes and The Temptations [LW #3]
#3 - WICHITA LINEMAN by Glen Campbell [LW #5]
#4 - SOULFUL STRUT by Young-Holt Unlimited [LW #4]
#5 - HOOKED ON A FEELING by B.J. Thomas [LW #10]
#6 - CLOUD NINE by The Temptations [LW #6]
#7 - FOR ONCE IN MY LIFE by Stevie Wonder [LW #2 / #2 for the past two wks]
#8 - CRIMSON & CLOVER by Tommy James & the Shondells [LW #17]
#9 - LOVE CHILD by Diana Ross & the Supremes [LW #7 / 2 wks @ #1 before Gaye’s hit first topped the chart]
#10 - I LOVE HOW YOU LOVE ME by Bobby Vinton [LW #11]
#12] PEACEFUL by Helen Reddy
LW #14 / Peak - #12 [1 wk] / Top 20 - 4 wks / Top 40 - 10 wks / Hot 100 - 14th wk [of 17] / 85-78-61-54-45-40-33-30-26-23-20-17-14-12-23-48-75 / the follow-up single to Helen Reddy’s first #1 hit, I AM WOMAN, from early December ‘72, was a slow, steady climber, needing three & a half months to incrementally arrive at its Peak Position / written by Kenny Rankin and produced by Tom Catalano, PEACEFUL was the second single from Reddy’s third album, I AM WOMAN [#14 US / Platinum / #10 Australia / Gold / #7 Canada] / first recorded by Rankin in ‘67; next recorded by Bobbie Gentry for her LOCAL GENTRY album in ‘68, and then by English musician Georgie Fame [YEH YEH - #21 in ‘65 / THE BALLAD OF BONNIE & CLYDE - #7 in ‘68], which was a #16 UK hit for him in ‘69; Fame’s record company, CBS, also released the single in the US, which was countered by Mercury releasing Rankin’s original song as a single, resulting in neither “45” charting / Kenny Rankin re-recorded PEACEFUL with a new arrangement in ‘72 for his third album & first for Atlantic Records, LIKE A SEED / Reddy recorded the song & four others on October 9th & 10th, after previous sessions in April [for the title song] & September, and the album was released on 11/13/72 / included on an 11-song, 12-minute medley on Side four of LIVE IN LONDON, released in December ‘78, and on numerous compilation albums, including the ten song HELEN REDDY’S GREATEST HITS [#5 US / 2x Platinum / #42 Australia / Gold / #9 Canada / #1 New Zealand / Gold / #5 UK / Gold], released on Capitol Records in ‘75, one of 20 tracks on BEST OF HELEN REDDY [#29 Australia] on EMI Records in ‘84, one of 23 songs on I AM WOMAN: THE ESSENTIAL HELEN REDDY COLLECTION on Razor & Tie Records in ‘98, and on the 22 song THE WOMAN I AM: THE DEFINITIVE COLLECTION, released on Capitol Records in ‘06 / PEACEFUL peaked at #14 on the Cashbox [sales only] chart for 5/5/73 & at #2 on Billboard’s Easy Listening chart [the same position I AM WOMAN reached on the EL chart]; also #12 on Canada’s RPM Top 100 chart & #1 [2 wks] on the RPM EL chart - but only #36 in Reddy’s native Australia
Kenny Rankin’s best-known song is PEACEFUL, first recorded by him on his debut album MIND DUSTERS, released on Mercury Records in ‘67; the album’s liner notes were written by Johnny Carson; Rankin appeared on THE TONIGHT SHOW STARRING JOHNNY CARSON over 20 times / he played guitar on BRINGING IT ALL BACK HOME, Bob Dylan’s fifth studio album, released in March ‘65 / the Folk-Pop musician’s work also had Jazz influences on some recordings / he recorded 15 albums on ten different labels from ‘67 to ‘02 and a pair of albums in ‘96 & ‘97 with Jazz instrumentalist Benny Carter on the MusicMasters label; his ‘97 Brazilian music album, HERE IN MY HEART, with Jazz musicians Michael Brecker & Ernie Watts was recorded in Rio de Janiero / Rankin also collaborated on Michael Franks’ song SUNDAY MORNING HERE WITH YOU in ‘83 & Art Garfunkel’s I WONDER WHY from LEFTY in ‘88 / Paul McCartney asked Kenny Rankin to perform BLACKBIRD at the induction of John Lennon & Paul McCartney into the Songwriters Hall of Fame in ‘87; Rankin had previously recorded the song for his fourth album, SILVER MORNING, in ‘74 / other songs by Rankin have been recorded by Pop-Jazz singer Peggy Lee, Jazz singer Mel Torme, and Jazz singer Carmen McRae / Jazz saxophonist Stan Getz described Kenny Rankin’s voice as "a horn with a heartbeat" / Rankin & George Carlin were labelmates on Little David Records from the early to late ‘70s and the two toured together off & on for ten years with Rankin as Carlin’s opening act; Rankin had kicked his drug habit before meeting Carlin, but his cocaine use resumed while the pair toured, flying in Carlin’s private jet; Rankin sang at Carlin’s memorial service in June ‘08 / Kenny Rankin died of lung cancer in June ‘09, after being diagnosed with the disease just three weeks earlier; he was survived by his wife, a son & two daughters and a granddaughter
*#13] WILDFLOWER by Skylark
LW #17 / 12 wks / 99-86-77-65-57-45-39-31-26-20-17-13 / 2nd Biggest Jump Inside the Top 20 - TIE [2] - 4 positions / first chart single by the six-man, one-woman band from Vancouver, British Columbia, had now spent 12 weeks on the Hot 100 with six weeks in the Top 40 and was still on the rise
*#14] DANIEL by Elton John
LW #25 / 5 wks / 77-46-35-25-14 / Highest New Entry in the Top 20 / Biggest Jump Into the Top 20, Biggest Jump Inside the Top 40 & 4th Biggest Jump on the Hot 100 - TIE [5] - 11 positions / Elton’s ninth chart hit was his seventh Top 40 single & fifth Top 20 hit; all four of his previous Top 20 singles - YOUR SONG, ROCKET MAN, HONKY CAT & CROCODILE ROCK - were also Top 10 hits
*#15] REELING IN THE YEARS by Steely Dan
LW #19 / 9 wks / 82-68-59-49-39-29-22-19-15 / 2nd Biggest Jump Inside the Top 20 - TIE [2] - 4 positions / second single & second Top 20 hit for the Rock band with Jazz influences, following DO IT AGAIN [#6 - 3 wks] in February ‘73
#16] WALK ON THE WILD SIDE by Lou Reed
LW #16 / Peak - #16 [2 wks] / Top 20 - 4 wks / Top 40 - 8 wks / Hot 100 - 12th wk [of 14] / 92-84-72-54-46-41-31-28-24-19-16-16-20-32 / only Hot 100 single for the 24-year-old singer-songwriter who was previously the lead singer & songwriter of seminal New York City band The Velvet Underground in the late ‘60s / written by Lou Reed and produced by David Bowie & Mick Ronson / from Reed’s second solo album, TRANSFORMER [#29 US / #12 Australia / Gold / #12 Canada / #6 Netherlands / #13 UK / Platinum], released on RCA Records in November ‘72 / four of the album’s 11 tracks were from Reed’s days with the Velvet Underground - ANDY’S CHEST, SATELLITE OF LOVE, NEW YORK TELEPHONE CONVERSATION & GOODNIGHT LADIES; all ten of the songs on Lou Reed’s eponymous debut album from May ‘72 were new versions of songs he had previously written & played while with VU / David Bowie was a fan of Reed’s Velvet Underground work and performed two of the band’s songs - WHITE LIGHTNING/WHITE HEAT & I’M WAITING FOR THE MAN - in concert from ‘71 to ‘73 / the album’s co-producer, Mick Ronson, was lead guitarist & multi-instrumentalist in Bowie’s backing band The Spiders of Mars; Ronson contributed guitar, piano, recorder & backing vocals and song & string arrangements to Reed’s album, which was recorded at Trident Studios in London; [Ronson’s Northern England accent was so thick that Bowie served as his interpreter because Reed couldn’t understand him] / three of the album’s songs - WALK ON THE WILD SIDE & its B-side PERFECT DAY and SATELLITE OF LOVE - remain among Reed’s best known work / Lou Reed was still being influenced by Andy Warhol, who suggested the idea of VICIOUS to him; when Reed asked him what he meant, Warhol replied, "Oh, you know, like I hit you with a flower." / surprisingly, Rolling Stone magazine, which loved all things Velvet Underground, was not initially as enamored by Reed’s second solo effort, writing: "Reed himself says he thinks the album's great. I don’t think it's nearly as good as he's capable of doing. He seems to have the abilities to come up with some really dangerous, powerful music, stuff that people like Jagger and Bowie have only rubbed knees with."; a retrospective review in “The New Rolling Stone Album Guide,” published in ‘04, was even less kind: "[Reed] wrote a bunch of clever new songs and tried to cash in on producer David Bowie's trendily androgynous glam rock, which worked well enough to break 'Walk on the Wild Side.'"
[Editor’s note: From reading Rolling Stone album reviews over a number of years in the ‘70s & ‘80s, I know that certain acts (Linda Ronstadt, the Doobie Brothers, Loggins & Messina & later Bob Seger, after he had hit records - come immediately to mind) were strongly disliked by the editorial staff & never received a good review, while other artists like Lou Reed & David Bowie were fawned over. So, I am surprised by the harshness shown toward Reed’s TRANSFORMER.]
TRANSFORMER was completed from start to finish in slightly more than three weeks [thanks to engineer Ken Scott], soon after Bowie & Ronson had recorded ZIGGY STARDUST & THE SPIDERS FROM MARS with him / Scott: “I make it a point to never listen to the lyrics, so I wasn’t shocked by anything. I was listening to the melodies and the sound. I mean, we were doing this right in between ZIGGY and ALADDIN SANE, so Lou didn’t seem that out-there by comparison. … It was a strange time. David wasn’t around much, he was off with Rono rehearsing for the show, and I had no idea where Lou was. I mean, his body was there, but I’m not sure about the rest of him.” / Lou Reed didn’t recognize Scott at a restaurant two weeks after the album wrapped, even though he had been working closely with him while Bowie & Ronson had been rehearsing for a concert in the latter stages of recording, before Bowie took an early ship to the US because he had recently survived a near-miss air accident & wouldn’t fly / as a result, Ken Scott handled all of the final mixing of the album’s 11 songs by himself by breaking each song into sections, without even the assistance of a second engineer / the album is more highly regarded by Rolling Stone magazine’s 500 Greatest Albums of All Time, which ranked it at #194 in ‘03 & ‘12 and #109 in ‘21 / several other album lists rank TRANSFORMER in the Top 100 - #97 on British music magazine Q’s 100 Greatest Albums Ever, #44 on “Music of the Millenium” in ‘00, compiled by four British entertainment entities [entertainment retailer HMV, public TV network Channel 4, newspaper The Guardian & independent radio station Classic FM], and #55 on NME’s Greatest Albums of All Time / musician Ezra Furman wrote a book on TRANSFORMER in ‘18 as part of the 33 1/3 book series on albums
WALK ON THE WILD SIDE and TRANSFORMER became worldwide hits because of the controversial subject matter of the single [not despite it, as some claimed] - transgender sexuality, oral sex, male prostitution and drug use - none of which were standard Top 40 fare in the early ‘70s / concerned with the reaction of radio stations, RCA sent out an edited version of the single, which omitted the reference to oral sex and changed “coloured girls” to “girls” - but Record World had it right when it wrote: "[a] real leftfielder from the former Velvet Undergrounder … programmers will be cautious at first but then will have to go with it."; radio stations either played the original single or they didn’t play it at all* / in the UK, the phrase “giving head” was apparently not known to BBC censors at the time, so the song enjoyed widespread airplay / *[WHB in Kansas City - the Top 40 station I listened to from ‘67 to ‘75, took the latter route, and although I knew the song existed - from overhearing classmates - it was years before I knew what it was about or heard the song]
in the documentary CLASSIC ALBUMS: LOU REED: TRANSFORMER in ‘01, Reed said that the inspiration for the song’s title was Nelson Algren’s novel “A Walk on the Wild Side,” published in ‘56, which itself was inspired by Country singer Hank Thompson’s hit THE WILD SIDE OF LIFE from ‘52; [the book was made into a ‘62 film with its Oscar nominated title song written by Elmer Bernstein & Mack David and sung by Brook Benton] / the characters in Reed’s song are based on a sampling of Andy Warhol’s “superstars,” who were part of the clique at his studio, known as The Factory; during his ‘78 live performance of the song on the album LIVE: TAKE NO PRISONERS, Reed humorously said the song came about from a never-completed musical version of the Algren novel / Reed has also said: "I always thought it would be kinda fun to introduce people to characters they maybe hadn't met before or hadn't wanted to meet." / “Holly” is transgender actress Holly Woodlawn, who ran away from home in Miami Beach at 15 to escape constant persecution & learned to pluck her eyebrows while hitchhiking to NYC; “Candy” is transgender actress Candy Darling, from Long Island, who was a regular in “the back room” at nightclub/restaurant Max’s Kansas City [Reed had previously written about her in the song CANDY SAYS]; “Little Joe” was actor Joe Dallesandro, who starred in the ‘68 film FLESH about male hustlers, which was the film debut of both Candy Darling & Jackie Curtis [40 years later, Dallesandro said he hadn’t yet met Reed when the song was written & “Little Joe” was based on his film role]; “Sugar Plum Fairy” - a euphemism for a drug dealer, was actor Joe Campbell, who played a character with that name in Warhol’s ‘65 film MY HUSTLER [Campbell had been Harvey Milk’s boyfriend in San Franisco for more than five years before coming into Andy Warhol’s NYC orbit]; “Jackie” is Warhol actress Jackie Curtis, who at one time had hoped to play actor James Dean in a film - “speeding” & “crashing” are drug references
WALK ON THE WILD SIDE
Holly came from Miami, F.L.A.
Hitch-hiked her way across the U.S.A.
Plucked her eyebrows on the way
Shaved her legs and then he was a she
She says, "Hey, babe
Take a walk on the wild side"
Said, "Hey, honey
Take a walk on the wild side"
Candy came from out on the Island
In the back room she was everybody's darling
But she never lost her head
Even when she was giving head
She says, "Hey, babe
Take a walk on the wild side"
Said, "Hey, babe
Take a walk on the wild side"
And the colored girls go
"Doo do doo do doo do do doo..."
Little Joe never once gave it away
Everybody had to pay and pay
A hustle here and a hustle there
New York City's the place
Where they said, "Hey, babe
Take a walk on the wild side"
I said, "Hey, Joe
Take a walk on the wild side"
Sugar Plum Fairy came and hit the streets
Looking for soul food and a place to eat
Went to the Apollo
You should've seen them go, go, go
They said, "Hey, sugar
Take a walk on the wild side"
I said, "Hey, babe
Take a walk on the wild side", alright
Huh
Jackie is just speeding away
Thought she was James Dean for a day
Then I guess she had to crash
Valium would have helped that bash
She said, "Hey, babe
Take a walk on the wild side"
I said, "Hey, honey
Take a walk on the wild side"
And the colored girls say
"Doo do doo do doo do do doo..."
playing on the track: Lou Reed - rhythm guitar, Mick Ronson - acoustic guitar, Herbie Flowers* - bass & double bass, Ritchie Dharma - drums, Ronnie Ross - saxophone [Ross taught Bowie how to play the saxophone when he was a child], and backing vocals by Thunderthighs [a trio of white English backup singers, who would have a #30 UK hit with CENTRAL PARK ARREST in July ‘74] / *[in an interview on Playing Second Fiddle on BBC Radio 4 in July ‘05, Herbie Flowers said that he came up with the song’s distinctive ascending/descending bassline because he had learned that he would be paid double for playing two instruments on the same track; the double bass hook was overlaid with one on a fretless Fender Jazz bass - but he was only paid the standard £17* flat fee for the iconic bass line / *[£17 = £200 in ‘21] / Ken Scott on the drums: “I heard it and it sounded like he was playing a march, so I ran down and suggested he try it with a pair of brushes.” / Scott on the sound he achieved with the backup singers, whom he had previously worked with: “David said we need some girls on this track, and I put in a call to them. … I had to do something — how many times can you hear ‘doo, doo, doo’ without getting bored?” / cover versions: English musician Jamie J. Morgan [#27 UK / #25 Australia / #1 New Zealand] & British Electro Dance act Beat System [#63 UK] - both in ‘90; “sampled” by A Tribe Called Quest on CAN I KICK IT? in ‘90 and by Marky Mark & the Funky Bunch on WILDSIDE [#10 Pop / #8 Rap] in ‘91 / Lou Reed’s WALK ON THE WILD SIDE peaked at #17 for two weeks on the Cashbox [sales only] charts for 4/28/73 & 5/5/73 / #10 in the UK [32-24-17-10-13-13-28-30-42]; also Top 20 in three countries - Ireland [#13], Netherlands [#15] & Canada [#18] and #100 in Australia / WALK ON THE WILD SIDE was ranked #223 on Rolling Stone magazine's 500 Greatest Songs of All Time
Lou Reed recorded 22 studio albums between ‘72 and ‘11 - among his most successful were BERLIN in ‘73 [Silver in the UK], SALLY CAN’T DANCE in ‘74, CONEY ISLAND BABY in ‘75, NEW YORK in ‘89 [Gold in the US / Platinum in Australia / Gold in the UK], SONGS FOR DRELLA with John Cale in ‘90, MAGIC AND LOSS in ‘92, SET THE TWILIGHT REELING in ‘96, and LULU with Metallica in ‘11 / 15 live albums recorded by Reed were released between ‘74 and ‘16; the first - ROCK ‘N’ ROLL ANIMAL [#45 US / Gold / #20 Australia / #55 Canada / #26 UK] - was the only one that charted in multiple countries / 18 compilation albums have been released between ‘77 and ‘22, including WALK ON THE WILD SIDE: THE BEST OF LOU REED in ‘77, ROCK AND ROLL DIARY: 1967-1980 in ‘80, WALK ON THE WILD SIDE & OTHER HITS in ‘92, THE BEST OF LOU REED & THE VELVET UNDERGROUND in ‘95, NYC MAN (THE ULTIMATE COLLECTION 1967-2003) [2 CDs] in ‘03, THE ESSENTIAL LOU REED in ‘11, and I’M SO FREE: THE RCA 1971 DEMOS in ‘21 / Lou Reed released 45 singles from ‘72 to ‘04 - including SATELLITE OF LOVE & VICIOUS in ‘73, SWEET JANE & SALLY CAN’T DANCE in ‘74, ROCK AND ROLL HEART in ‘77, STREET HASSLE in ‘78, DISCO MYSTIC in ‘79, THE POWER OF POSITIVE DRINKING in ‘80, I LOVE YOU, SUZANNE & MY RED JOYSTICK in ‘84, SEPTEMBER SONG in ‘85, DIRTY BLVD. in ‘89, NYC MAN in ‘96, PERFECT DAY - #1 UK [as part of Artists for Children in Need] in ‘97, and SATELLITE OF LOVE ‘04 in ‘04; plus two singles with other bands - TRANQUILIZE [#13 UK] with The Killers in ‘07 & THE VIEW with Metallica in ‘11 / Lou Reed also recorded songs for soundtracks & other musical projects: LITTLE SISTER [from the GET CRAZY soundtrack] in ‘83, MY LOVE IS CHEMICAL [from the WHITE NIGHTS soundtrack] and SEPTEMBER SONG [from tribute album LOST IN THE STARS: THE MUSIC OF KURT WEILL] - both in ‘85, SOUL MAN with Sam Moore [from the SOUL MAN soundtrack] in ‘86, Peter Gabriel’s SOLSBURY HILL [on AND I’LL SCRATCH YOURS] in ‘13 [Gabriel had recorded Reed’s THE POWER OF THE HEART for his album of covers, SCRATCH MY BACK, in ‘10], and PEGGY SUE [for the Buddy Holly tribute album RAVE ON BUDDY HOLLY] in ‘11 / Lou Reed contributed backing vocals on songs for a number of diverse artists - Tom Tom Club, Ruben Blades, Dion DiMucci [better known as late ‘50s-early ‘60s hitmaker Dion], Simple Minds, The Smithereens, Vince Gill, David A. Stewart [formerly of Eurythmics], Laurie Anderson, Bruce Hornsby, The Killers, Gorillaz and Booker T. Jones / Reed recorded Bob Dylan’s FOOT OF PRIDE for THE 30TH ANNIVERSARY CONCERT CELEBRATION, the concert commemorating Dylan’s 30th year as a recording artist, in ‘93 and his own SWEET JANE with Soul Asylum for THE CONCERT FOR THE ROCK AND ROLL HALL OF FAME, when he was inducted into the Rock & Roll Hall of Fame, in ‘95 / Reed had two more Top 40 singles in the UK - SOUL MAN [#30 - 1 wk] by Sam Moore & Lou Reed in ‘87 and SATELITE OF LOVE ‘04 [#10 - 1 wk] in ‘04 / after Lou Reed’s death in October '13, WALK ON THE WILD SIDE charted again via downloads on iTunes [in most cases for one week]: #14 on Billboard’s Hot Rock & Alternative chart; and Top 40 in France [#13], Italy [#17], Spain [#21], Japan [#29] & Switzerland [#39] and #53 in the UK & #57 in Australia
#17] AIN’T NO WOMAN (Like The One I’ve Got) by The Four Tops
LW #10 / The Four Tops’ second single on ABC-Dunhill Records followed the #10 hit KEEPER OF THE CASTLE; their sixth & seventh Top 10s were their first back-to-back Top 10 hits since REACH OUT I’LL BE THERE [#1], STANDING IN THE SHADOWS OF LOVE [#6] & BERNADETTE [#4] in ‘66-‘67, which had been preceded by I CAN’T HELP MYSELF [#1] & IT’S THE SAME OLD SONG [#5] in ‘65 / the second track on their first ABC-Dunhill album, KEEPER OF THE CASTLE [#33 Top 200 / #6 Soul], released in November ‘72, had previously been recorded by Hamilton, Joe Frank & Reynolds for their second & last album on the same label; the album contained five songs co-written by group member Renaldo “Obie” Benson [who co-wrote Marvin Gaye’s WHAT’S GOIN’ ON], and six songs written by Lambert & Potter / lead vocals on the song were sung by Levi Stubbs and backing vocalists Lawrence Payton, Renaldo “Obie” Benson & Abdul “Duke” Fakir, who each took turns singing lead on lines in the chorus / from the Billboard review: "Levi Stubbs' lead vocal carries the quartet though a moving arrangement which has pop as well as soul overtones. Nice mellow strings give the tune soft lilt as the tale of fond affection unravels.", while Record World wrote: "Levi Stubbs' voice still brings chills to the spine. Ain't no sound, like the one they've got!"
AIN’T NO WOMAN (Like The One I’ve Got) was The Four Tops’ first single to receive a Gold Record [Motown did not utilize RIAA certifications until ‘80] / their final Top 10 hit on the Pop chart was one of a dozen songs on LIVE & IN CONCERT in ‘74, their second live album, which included four of their Classic Motown hits along with newer material / on Billboard’s Soul chart, The Four Tops would have six more Top 10s, including four Top 5 hits with one #1 - bringing their total to 23 Top 10 R&B/Soul hits since ‘64 with 13 reaching the Top 5 and three #1s & four #2s
THE FOUR TOPS’ TOP 10 HITS on the HOT 100
The Four Tops’ classic first single is one of their most recognizable songs & narrowly missed becoming their first Top 10 hit
BABY I NEED YOUR LOVING
Peak - #11 [1wk] in early October ‘64 / Top 20 - 5 wks / Top 40 - 10 wks / Hot 100 - 12 wks / 90-54-32-25-24-15-13-11-12-16-21-25
written by Brian Holland, Lamont Dozier & Edward Holland, Jr. and produced by Brian Holland & Lamont Dozier - Motown’s premier songwriting & production team, who were responsible for a string of #1 hits by The Supremes [five straight in ‘64-‘65] and Top 10 hits by Martha & the Vandellas / first Motown single for lead singer Levi Stubbs and backing vocalists Renaldo "Obie" Benson, Lawrence Payton & Abdul "Duke" Fakir, who had recorded four singles for four labels in the ‘50s & early ‘60s / instrumentation by Motown’s house band known as the Funk Brothers [Piano by Earl Van Dyke, Bass by James Jamerson, Guitar by Robert White & Drums by Benny Benjamin], with additional backing vocals by the Hitsville USA studio inhouse trio The Andantes [Jackie Hicks, Marlene Barrow & Louvain Demps], and strings by the Detroit Symphony Orchestra from an arrangement by Gil Askey / Cashbox review: "an intriguing rock-a-cha-cha beat pleader...that [the Four Tops] carve out with solid sales authority." / cover versions: Liverpool, England, group The Four Most [#24 UK] in ‘64, Johnny Rivers [#3 - 2 wks] in March ‘67, O.C. Smith [#52 Pop / #21 EL] in ‘70, Eric Carmen [#62 US / #50 Canada / #8 Canada EL] in ‘79 & Carl Carlton [#17 R&B / #12 Australia / #27 Canada] in ‘82-‘83 / ranked #400 on Rolling Stone magazine’s 500 Greatest Songs of All Time / #4 on the Cashbox [sales only] R&B chart*; and #4 in Canada / **[Billboard did not publish an R&B chart in ‘64, while it realigned its reporting radio stations & retailers]
Baby, I need your lovin'
Baby, I need your lovin'
Although you're never near
Your voice I often hear
Another day, 'nother night
I long to hold you tight
'Cause I'm so lonely
Baby, I need your lovin'
Got to have all your lovin'
Baby, I need your lovin'
Got to have all you lovin'
Some say it's a sign of weakness
For a man to beg
Then weak I'd rather be
If it means having you to keep
'Cause lately I've been losing sleep
Baby, I need your lovin'
Got to have all your lovin'
Baby, I need your lovin'
Got to have all you lovin'
Empty nights echo your name
Whoa, sometimes I wonder
Will I ever be the same?
Oh yeah!
When you see me smiling, you know
Things have gotten worse
Any smile you might see
Has all been rehearsed
Darling, I can't go on without you
This emptiness won't let me live without you
This loneliness inside, darling
Makes me feel half alive
Baby, I need your lovin'
Got to have all your lovin'
Baby, I need your lovin'
Got to have all your lovin'
Baby, I need your lovin'
Got to have all your lovin'
I CAN’T HELP MYSELF
Peak - #1 [2 wks] in June/July ‘65/ Top 10 - 10 wks / Top 20 - 11 wks / Top 40 - 13 wks / Hot 100 - 14 wks / 67-32-17-7-4-1-2-1-2-2-3-6-9-35
The Four Tops’ Biggest Hit / written by Holland-Dozier-Holland and produced by Brian Holland, Lamont Dozier & Edward Holland, Jr. / replaced The Supremes’ BACK IN MY ARMS AGAIN at #1 and then dropped to #2 the next week when The Byrds’ MR. TAMBOURINE MAN topped the chart, regaining the top spot the following week, only to be overtaken by (I Can’t Get No) SATISFACTION by The Rolling Stones & holding at #2 for two more weeks / similar in song structure to The Supremes’ WHERE DID OUR LOVE GO, also written by Holland-Dozier-Holland, which itself had spent two weeks at #1 & three weeks at #2 in ‘64 / instrumentation by the Funk Brothers with Mike Terry on Baritone Saxophone, strings by the Detroit Symphony Orchestra, and additional backing vocals by The Andantes / cover versions: The Supremes on their #1 album THE SUPREMES A’ GO-GO in ‘66; The Four Tops in Italian as “Piangono gli uomini” (The men cry) in ‘67; Johnny Rivers [#2 in South Africa] in ‘6; Donnie Elbert [#22 Pop] in ‘72; a Disco version by Bonnie Pointer [#40 Pop / #42 Soul / #4 Dance / #52 Australia / #43 Canada] in ‘80; Country group Billy Hill [#58 Country] in ‘89; UK Northern Soul label Motorcity recorded a version by the “Motorcity All-Stars” with as many former Motown singers as the label owner could bring together, including Levi Stubbs & his brother Joe [lead singer of 100 Proof Aged in Soul] and former members of The Velvelettes & The Originals, also in ‘89; Australian girl group Teen Queens [#28 Australia] in ‘92; La Toya Jackson recorded Dance versions of The Four Tops hit & other Classic Motown songs for her ninth studio album, STOP IN THE NAME OF LOVE, & also released it as the A-side of a single with The Supreme’s BABY LOVE on the B-side; performed in concerts by Kid Rock in ‘13 & recorded as SUGAR PIE HONEY BUNCH for his album SWEET SOUTHERN SUGAR in ‘17 / not listed on Four Tops records as I CAN’T HELP MYSELF (Sugar Pie, Honey Bunch) until later releases / on Billboard’s R&B chart, I CAN’T HELP MYSELF was the biggest hit of the year, spending nine weeks at #1 - all of June & July; #23 in the UK in ‘64 & #10 when re-released in ‘70 b/w BABY I NEED YOUR LOVING
Sugarpie honeybunch
You know that I love you
I can't help myself
I love you and nobody else
In and out my life
You come and you go
Leaving just your picture behind
And I kissed it a thousand times
When you snap your fingers
Or wink your eye
I come a-running to you
I'm tied to you, baby
And there's nothing I can do
Ooh, sugar
Sugarpie honeybunch
I'm weaker than a man should be
I can't help myself
I'm a fool in love you see
Wanna tell you I don't love you
Tell you that we're through
And I've tried
But everytime I see your face
I get up all choked up inside
When I call your name, girl
It starts the flame burning in my heart
Tearin' it all apart
No matter how I try
My love I cannot hide
Sugarpie honeybunch
You now that I'm weak for you
I can't help myself
I love you and nobody else
Sugarpie honeybunch
I'll do anything you ask me to
I can't help myself
I want you and nobody else
Sugarpie honeybunch
You know that I love you
I can't help myself
IT’S THE SAME OLD SONG
Peak - #5 [2 wks] in Aug/Sept ‘65 / Top 10 - 4 wks / Top 20 - 7 wks / Top 40 - 8 wks / Hot 100 - 9 wks / 54-17-7-7-5-5-12-19-38
according to Motown legend, IT’S THE SAME OLD SONG was written, recorded & sent out to DJs in just a day on the order of Motown chief Berry Gordy Jr.; he was attempting to prevent the group’s former label from trying to cash in on the quartet’s first #1 by re-releasing the ‘60 single AIN’T THAT LOVE; the pre-emptive strike worked - both songs entered the Hot 100 on 7/31/65 but the Motown song reached the Top 10 in just three weeks [their fastest-rising hit made a 37-position jump into the Top40/Top 20 in week two] & the Columbia Records single got no higher than its one week at #93 / Four Tops tenor Abdul "Duke" Fakir’s recollection: "Lamont Dozier and I were both a little tipsy and he was changing the channels on the radio. He said, 'It sounds like the same old song.' And then he said, ‘Wait a minute.’ So, he took "I Can't Help Myself" and reversed it using the same chord changes. The next day, we went to the studio and recorded it, and then they put it on acetate, shipped it out to disc jockeys across the country." / according to Motown lore, the song was unwritten one day at 3PM and within 24 hours, the song had been written & recorded, with engineers working through the night on the mixes, so the best could be selected by Gordy’s sister Esther in Artist Development, and 1500 acetates were manufactured & ready to ship out to DJs across the country by 3PM the following day — but it might not have happened exactly that way… / in ‘17, a recording of the song by The Supremes finally came to light, which pre-dated the hit single / in any event, many did not catch on until later that the Four Tops’ second Top 5 hit was indeed “the same old song,” written by Holland-Dozier-Holland and produced by Brian Holland & Lamont Dozier / it has also been noted that the marimba riff in The Rolling Stones’ UNDER MY THUMB, released about a year later, is very similar to the melody of IT’S THE SAME OLD SONG / cover versions: Dutch band The Motions - Top 10 in ‘66 [guitarist Robbie van Leeuwen founded Shocking Blue & had an international hit with VENUS in ‘70]; Australian singer Ray Brown - Top 10 in ‘67; Swedish singer Siw Malmkvist as "Samma gamla sång" in ‘67; French Pop singer Claude François as "C'est la meme chanson" in ‘71; The Weathermen [actually Jonathan King best known for EVERYBODY’S GONE TO THE MOON] - #19 UK in ‘71; the Armada Orchestra in ‘75; Lamont Dozier on his fourth solo album RIGHT THERE in ‘76; KC & the Sunshine Band [#35 Pop] in ‘78 & performed on the TV special HAPPY BIRTHDAY, BOB, celebrating the 75th birthday of Bob Hope; American Ska-Soul band The Pietasters on their second album, OOLOOLOO, in ‘95; and “sampled” by Cid & Kascade on SWEET MEMORIES in ‘16 / The Four Tops parodied the song in a Velveeta Shells & Cheese commercial as "It's Not the Same Old Side" and in a promo for THE ROSIE O’DONNELL SHOW as "It's Not the Same Old Show" / in film: in the Coen Brothers’ BLOOD SIMPLE in ‘84; and although IT’S THE SAME OLD SONG does not appear in the popular ensemble film THE BIG CHILL from ‘83, it was one of four songs listed as "Additional Classics From The Era" on the CD version of the original soundtrack album & was also included on MORE SONGS FROM THE BIG CHILL
You're sweet as a honey bee
But like a honey bee stings
You've gone and left my heart in pain
All you left is our favorite song
The one we danced to all night long
It used to bring sweet memories
Of a tender love that used to be
Now it's the same old song
But with a different meaning since you been gone
Now it's the same old song
But with a different meaning since you been gone
And it breaks me up to hear it
I, oh I
Sentimental fool, am I
To hear a old love song and wanna cry
But the melody keeps calling me
Reminding me how in love we used to be
Keep hearing the part that used to touch our heart
Saying together forever, breaking up never
Can't bear to hear it
(But with a different meaning since you been gone) Since you've been gone
But it's the same old song
But with a different meaning since you been gone
Precious memories keep a lingering on
Every time I hear our favorite song
Now you're gone, left this emptiness
I only reminisce the happiness we spent
We used to dance to the music (we used to dance to the music)
Make romance through the music (make romance through the music)
Now it's the same old song
But with a different meaning since you been gone
Now it's the same old song (same old song)
But with a different meaning since you been gone
I, oh I can't bear to hear it
It's the same old song
But with a different meaning since you been gone
Ooh, it breaks me up to hear it
It's the same old song but with a different meaning
REACH OUT I’LL BE THERE
Peak - #1 [2 wks] in October ‘66 / Top 10 - 7 wks / Top 20 - 9 wks / Top 40 - 12 wks / Hot 100 - 15 wks / 82-57-26-10-7-2-1-1-3-4-11-14-22-38-47
The Four Tops’ 2nd Biggest Hit / written by Holland-Dozier-Holland and produced by Brian Holland & Lamont Dozier / Dozier: "[I wanted] a journey of emotions with sustained tension, like a bolero. To get this across, I alternated the keys, from a minor, Russian feel in the verse to a major, gospel feel in the chorus."; as with many other mid-60s songwriters, Dozier & his co-writers were influenced by Bob Dylan: "We wanted Levi to shout-sing the lyrics... as a shout-out to Dylan." / a flute & piccolo were overdubbed into the song’s intro, along with the signature drumbeat, which was achieved by using timpani mallets on a tambourine head / “Duke” Fakir said the producers put Levi Stubbs at the top of his vocal range "to make sure he'd have that cry and hunger and wailing in his voice."; but initially they didn’t like the results "..for us, the song felt a little odd." - but Berry Gordy insisted that the song was a hit single & ignored their requests not to release what became their signature song / Cashbox review: "a hard-driving, pulsating pop-r&b romancer about a very-much-in-love guy who claims that he'll always be at his gal's beck-and-call." / REACH OUT I’LL BE THERE was a hit both in the US & internationally: [#1 Cashbox / #1 Billboard Soul [2 wks] / #1 UK [3 wks] - Motown’s second UK #1, following The Supreme’s BABY LOVE in ‘64 / #4 Ireland / #6 Canada & Netherlands / #10 Belgium [Flanders] / #11 New Zealand / #13 West Germany] / in a ‘14 interview with British newspaper The Guardian, Fakir commented: “Eddie realized that when Levi hit the top of his vocal range, it sounded like someone hurting, so he made him sing right up there. Levi complained, but we knew he loved it. Every time they thought he was at the top, he would reach a little further until you could hear the tears in his voice. The line "Just look over your shoulder" was something he threw in spontaneously. Levi was creative like that; he could always add something from the heart.” / cover versions of note: Diana Ross [#29 Pop / #19 Cashbox / #17 Soul / #16 EL / #35 Canada] in ‘71 and Gloria Gaynor [#60 Pop / #56 Soul / #3 Disco / #3 Netherlands / #5 Belgium [Flanders] & West Germany / #11 South Africa / #13 Austria / #14 UK / #16 Canada / #35 Australia] / #206 on Rolling Stone magazine’s 500 Greatest Songs of All Time / included in the National Recording Register of the Library of Congress in ‘22
Now if you feel that you can't go on
Because all of your hope is gone
And your life is filled with much confusion
Until happiness is just an illusion
And your world around is crumblin' down
Darling, reach out, come on girl, reach on out for me
Reach out, reach out for me
I'll be there, with a love that will shelter you
I'll be there, with a love that will see you through
When you feel lost and about to give up
'Cause your best just ain't good enough
And you feel the world has grown cold
And you're drifting out all on your own
And you need a hand to hold
Darling, reach out, come on girl, reach out for me
Reach out, reach out for me
I'll be there, to love and comfort you
And I'll be there, to cherish and care for you
I'll be there, with a love that will see you through
I'll be there to love and comfort you
I can tell the way you hang your head
You're without love and now you're afraid
And through your tears you look around
But there's no peace of mind to be found
I know what you're thinkin'
You're alone now, no love of your own
But darling, reach out, come on girl, reach out for me
Reach out
Just look over your shoulder
I'll be there, to give you all the love you need
And I'll be there, you can always depend on me
I'll be there, to give you all the love you need
I'll be there, you can always depend on me
I'll be there
STANDING IN THE SHADOWS OF LOVE
Peak - #6 [2 wks] in late January ‘67 / Top 10 - 5 wks / Top 20 - 7 wks / Top 40 - 9 wks / Hot 100 - 10 wks / 62-38-15-9-7-6-6-10-18-26
The Four Tops’ 5th Biggest Hit / written by Holland-Dozier-Holland and produced by Brian Holland & Lamont Dozier / possibly a reworking of The Supremes’ early B-side STANDING AT THE CROSSROADS OF LOVE, the song also bears more than a passing resemblance to the single which preceded it / Cashbox review: "driving ode is filled with a solid romance lyric in the quartet’s usual powerful style." / from a retrospective review on AllMusic: "[a] memorable, unforgettable, timeless blast, which would have made Motown ‘notable’ even if it was the only song Motown ever produced." / #2 on Billboard’s R&B chart; #6 in the UK, #17 in Belgium [Flanders] & #29 in West Germany / ranked #464 on Rolling Stone magazine's 500 Greatest Songs of All Time in ‘04
Standing in the shadows of love
I'm getting ready for the heartaches to come
Can't you see me standing in the shadows of love
I'm getting ready for the heartaches to come
I want to run but there's nowhere to go
'Cause heartaches will follow me, I know
Without your love, the love I need
It's the beginning of the end for me
'Cause you're taking away all my reasons for livin'
When you pushed aside all the love I been givin'
Now wait a minute
Didn't I treat you right, now baby, didn't I?
Didn't I do the best I could now, didn't I?
So don't you leave me
Standing in the shadows of love
I'm getting ready for the heartaches to come
Don't you see me standing in the shadows of love
Trying my best to get ready for the heartaches to come
All alone
I'm destined to be, with misery my only company
It may come today, it might come tomorrow
But it's for sure I ain't got nothing but sorrow
Now don't your conscience kind of bother you
How can you watch me cry after all I done for you
Hold on a minute
Gave you all the love I had now, didn't I?
When you needed me I was always there now, wasn't I?
I'm trying hard not to cry out loud
You know crying it ain't gonna help me now
What did I do to cause all this grief?
Now what'd I say to make you want to leave
Now wait a minute
Gave my heart and soul to you now, didn't I?
And didn't I always treat you good, now didn't I?
I'm standing in the shadows of love
I'm getting ready for the heartaches to come
Don't you see me standing in the shadows of love
Trying my best to get ready for the heartaches to come
Oh I'm standing in the shadows of love
BERNADETTE
Peak - #4 [ wks] in April ‘67 / Top 10 - 5 wks / Top 20 - 6 wks / Top 40 - 8 wks / Hot 100 - 10 wks / 65-23-18-5-4-4-8-9-24-50
The Four Tops’ 4th Biggest Hit / written by Holland-Dozier-Holland and produced by Brian Holland & Lamont Dozier / notable for its false ending, in which the instruments stop while the backing singers hold the last note, followed by Levi Stubbs’ shout of ‘Bernadette!’ and the song resuming to the fade; one critic commented that the shout caused listeners to buy the record, even if Bernadette herself probably ignored it / The Four Tops’ last Top 10 hit on the Billboard Hot 100 in the ‘60s and their fifth & final Pop Top 10 for Motown / #3 on Billboard’s Soul chart; #8 in the UK & #23 when it was re-released in ‘72 and #14 in the Netherlands
Bernadette, people are searchin' for
The kind of love that we possessed
Some go on, searchin' their whole life through
And never find the love, I've found in you
And when I speak of you, I see envy in other men's eyes
And I'm well aware of what's on their minds
They pretend to be my friend, when all the time
They long to persuade you from my side
They'd give the world and all they own
For just one moment we have known
Bernadette, they want you because of the pride that gives
But Bernadette, I want you because, I need you to live
But while I live, only to hold you
Some other men, they long to control you
But how can they control you Bernadette
When they can not control themselves, Bernadette
From wanting you, needing you
But darling you belong to me
I'll tell the world, you belong to me
I'll tell the world, you're the soul of me
I'll tell the world, you're a part of me, Bernadette
In your arms I find the kind of peace of mind
The world is searching for
But you, you give me the joy, this heart of mine
Has always been longing for
In you I have what other men long for
All men need someone to worship and adore
That's why I treasure you, and place you high above
For the only joy in life is to be loved
So whatever you do, Bernadette, keep on loving me
Bernadette, keep on needing me
Bernadette
Bernadette
You're the soul of me
More than a dream, you're a plan to me
And Bernadette, you mean more to me
Than a woman was ever meant to be
Bernadette, my darling, Bernadette
KEEPER OF THE CASTLE
Peak - #10 [1 wk] in January ‘73 / Top 10 - 1 wk / Top 20 - 6 wks / Top 40 - 9 wks / Hot 100 - 12 wks / 71-60-41-32-25-17-15-11-11-10-16-31
the first single released by The Four Tops on ABC-Dunhill Records was their first Top 10 hit in nearly six years / written by Dennis Lambert & Brian Potter and produced by Lambert / title song of their first ABC-Dunhill album, after 14 studio albums [three w/The Supremes], one live album, three compilation albums and 28 singles [two w/The Supremes] on Motown from ‘64 to ‘72
Live it down, there's a lot of us been pushed around
Red, yellow, black, white and brown with a tear of their own
Oh, can't you see while you're pickin' on society
That the leaves on your family tree are callin' you to come home
You're the keeper of the castle, so be a father to your children
The provider of all their daily needs
Like a sovereign Lord protector be their destiny's director
And they'll do well to follow where you lead
Oh, in your head, you don't believe what the good book said
You're gonna strike out now instead, 'cause the world's been unkind
Put through thick and thin whatever shape your heart is in
You only have one next of kin better keep 'em in mind
You're the keeper of the castle, so be a good man to your lady
The creator of the sunshine in her day
Tend the garden that you seeded be a friend when a friend is needed
An' you won't have to look the other way
Live it down, there's a lot of us been pushed around
Red, yellow, black, white and brown with a tear of their own
Oh, can't you see, while you're pickin' on society
That the leaves on your family tree are beggin' you to come on home
Live it down, there's a lot of us been pushed around
Red, yellow, black, white and brown with a tear of their own
In your head, you don't believe what the good book said
AIN’T NO WOMAN (Like The One I’ve Got)
Peak - #4 [2 wks] in April ‘73 / Top 10 - 6 wks / Top 20 - 9 wks / Top 40 - 12 wks / Hot 100 - 14th wk [of 15] / 87-68-46-39-33-20-14-10-5-4-4-5-10-17-33 / Gold
The Four Tops’ 3rd Biggest Hit / written by Dennis Lambert & Brian Potter and produced by Lambert / second single from the KEEPER OF THE CASTLE album / cover versions include The Friends of Distinction, Kashif, and Johnny Mathis; Jay-Z & Foxy Brown reinterpreted the Four Tops’ hit as “Ain’t No Nigga”, alternately known as “Ain’t No Playa” [#50 Hot 100 / #17 R&B/Hip-Hop / #4 Rap], in ‘96, which helped Jay-Z get a major label deal / AIN’T NO WOMAN (Like The One I’ve Got) peaked at #1 on the Cashbox [sales only] chart for 4/14/73, #2 on Billboard's Soul chart & #14 on Billboard's Easy Listening chart; on Canada’s RPM Top 100, the song stopped short of the Top 10, peaking at #11; #54 in the UK
Every day the sun comes up around her
She can make the birds sing harmony
Every drop of rain is glad it found her
Heaven must have made her just for me
When she smiles so warm and tender
A sight for sore eyes to see
Ooh (ain't no woman like the one I've got)
Oh, no, they don't come better
(To make her happy doesn't take a lot)
She don't ask for things, no diamond rings
(So together, like a hand in glove)
Like pages in a letter
(Ain't no woman like the one I love)
She can fill me up when it's down I'm goin' (I'm goin')
Put a little music in my day
Wouldn't be surprised if my love keeps growin' (it keeps growin')
Bigger every minute that she stays away
I would kiss the ground she walks on
'Cause it's my word, my word she'll obey, now
Woo-ooh (ain't no woman like the one I've got)
Well, I kiss the ground she walks on
(To make her happy doesn't take a lot)
She's a real good friend right to the end
(So together like a hand in glove)
A lonely man when she's gone
(People, ain't no woman like the one I love)
Ooh, what a good, good thing I've got
She means to me a lot
No, no, they don't come better
(To make her happy doesn't take a lot)
She don't ask for things, no diamond rings
(So together, like a hand in glove)
Like pages in a letter
(Ain't no woman like the one I love, people)
Well, I kiss the ground she walks on
(To make her happy doesn't take a lot)
I'm a lonely man when my baby's gone
*#18] DAISY A DAY by Jud Strunk
LW #21 / 12 wks / 88-78-63-59-47-40-40-35-27-24-21-18 / 2nd New Entry in the Top 20 / first chart single for the former LAUGH IN regular, born in Jamestown, New York, in June ‘36
*#19] OUT OF THE QUESTION by Gilbert O’Sullivan
LW #22 / 10 wks / 81-73-65-52-46-40-30-27-22-19 / 3rd New Entry in the Top 20 / third US single for the Irish singer-songwriter was his third Top 20 hit in less than a year / his first two singles were both Top 2 hits - ALONE AGAIN (Naturally) [#1 - 6 wks] in July/Aug/Sept & CLAIR [#2 - 2 wks] in Dec ‘72-Jan ‘73
*#20] PILLOW TALK by Sylvia
LW #26 / 7 wks / 98-92-79-54-30-26-20 / 4th New Entry in the Top 20 / 2nd Biggest Jump Into the Top 20 & 3rd Biggest Jump Inside the Top 40 - 6 positions / first solo single on the Pop chart for the 36-year-old singer, born Sylvia Vanderpool in New York City in May ‘36 / she had first recorded as Little Sylvia in ‘50; from ‘57 to ‘61, she charted with eight songs as half of Mickey & Sylvia; their first single, LOVE IS STRANGE [#11 - 2 wks] in early March ‘57, was the duo’s only Top 40 Pop hit