*#41] NATURAL HIGH by Bloodstone
LW #47 / 7 wks / 92-88-68-62-52-47-41 / the Kansas City Soul quintet’s first Hot 100 single was headed higher, naturally
#42] HEARTS OF STONE by The Blue Ridge Rangers
LW #37 / Peak - #37 [1 wk] / Top 40 - 2 wks / Hot 100 - 10th wk [of 12] / 84-71-61-55-50-46-42-38-37-42-62-83 / second single from THE BLUE RIDGE RANGERS album was the album’s second Top 40 hit, following the #16 hit JAMBALAYA (On The Bayou) from Feb/Mar ‘73 / written by Eddie Ray & Rudy Jackson and produced by John Fogerty / the R&B song was first recorded by Ray & Jackson’s former Gospel group The Jewels in ‘54 - but their song became a hit for The Charms, who took it to #1 [5 wks] on the R&B Best Sellers Chart in Nov-Dec ‘54 and #15 on the Pop chart / The Fontane Sisters had the Pop #1 hit with the song - the biggest hit of their career #1 [1 wk] on the Best Sellers chart in early February ‘55 & #1 [3 wks] on the Most Played in Juke Boxes for the last three weeks of February ‘55
HEARTS OF STONE
Well, hearts made of stone
Will never break
And the love you give
They just won't take
You can ask them please
Please, please, please break
And all of your love
Is there to take
Well, hearts of stone
Will cause you pain
Although you love them
They'll stop you just the same
You can ask them please
Please, please, please break
And all of your love
Is there to take
But they'll say no
No, no, no, no, no, no
No, no, no, no, no, no
Everybody knows
I thought you knew
Hearts are made of stone
Well, hearts of stone
Will cause you pain
Although you love them
Stop you just the same
You can ask them please
Please, please, please, please
And all of your love
Is there to take, yeah
But they'll say no
No, no, no, no, no, no
No, no, no, no, no, no
Everybody knows
I thought you knew
Hearts are made of stone
*#43] BEHIND CLOSED DOORS by Charlie Rich
LW #49 / 6 wks / 97-77-70-57-49-43 / the Country singer’s fourth Hot 100 single was poised to become his third Top 40 Pop hit and had already topped the Country chart for two weeks at the end of April & beginning of May
#44] DAISY A DAY by Jud Strunk
LW #20 /Peak - #14 [1 wk] / Top 20 - 4 wks / Top 40 - 10 wks / Hot 100 - 16th wk / 88-78-63-59-47-40-40-35-27-24-21-18-15-14-20-44 / born in Jamestown, New York, and raised in Buffalo, Strunk began playing banjo as a young boy & soon was entertaining audiences, eventually appearing on ROWAN & MARTIN’S LAUGH IN [in its final season in ‘72-‘73] and THE TONIGHT SHOW STARRING JOHNNY CARSON / Strunk had graduated from VMI [Virginia Military Institute] with a degree in History in ‘59 / DAISY A DAY was the title song of Strunk’s third album & second on MGM Records, and followed JUD STRUNK’S DOWNEAST VIEWPOINT on Columbia Records in ‘70 and JONES’ GENERAL STORE in ‘71, neither of which charted; DAISY A DAY appeared on two Billboard album charts - #138 [Top 200] & #18 [Country] and #25 in Australia / DAISY A DAY, written by Strunk and produced by Mike Curb & Don Costa, who also arranged it, was the first of three Hot 100 singles by the singer-songwriter but his only Top 40 hit / the song tells the touching story of a boy & girl who grow up together; he gives a daisy to her each day as a sign of his love and continues taking her a daisy each day during their lives together and after her death / #10 on the Cashbox [sales only] chart for 5/19/73; #4 on Billboard’s Easy Listening chart & #33 on Billboard's Country chart; #1 in Australia & #4 in New Zealand; in Canada - #3 Top 100, #5 EL & #18 Country / more than a dozen cover versions have been recorded, including Country singers Roy Clark, Ernest Tubb & Hank Snow, Malaysian-born Australian singer Kamahi and Glen Campbell both recorded Strunk’s hit as B-sides, and Irish singer Danny Doyle had a #1 hit with DAISY A DAY in Ireland for three weeks in June ‘73
DAISY A DAY
He remembers the first time he met ‘er
He remembers the first thing she said
He remembers the first time he held her
And the night that she came to his bed
He remembers her sweet way of singin'
Honey has somethin' gone wrong
He remembers the fun and the teasin'
And the reason he wrote ‘er this song
I'll give you a daisy a day
I'll give you a daisy a day
I'll love you until the rivers run still
And the four winds we know blow away
They would walk down the street in the evenin'
And for years I would see them go by
And their love that was more than the clothes that they wore
Could be seen in the gleam of their eye
As a kid they would take me for candy
And I loved to go taggin' along
We'd hold hands while we walked to the corner
And the old man would sing ‘er his song
I'll give you a daisy a day
I'll give you a daisy a day
I'll love you until the rivers run still
And the four winds we know blow away
Now he walks down the street in the evenin'
And he stops by the old candy store
And I somehow believe he's believin'
He's holdin' ‘er hand like before
For he feels all her love walkin' with him
And he smiles at the things she might say
Then the old man walks up to the hilltop
And gives her a daisy a day
I'll give you a daisy a day
I'll give you a daisy a day
I'll love you until the rivers run still
And the four winds we know blow away
#45] YOU CAN’T ALWAYS GET WHAT YOU WANT by The Rolling Stones
LW #46 / Peak - #42 [1 wk] / Hot 100 - 6th wk [of 8] / 74-67-57-49-46-45-42-61 / written by Mick Jagger & Keith Richards and produced by Jimmy Miller / first track recorded at Olympic Sound Studio in London in mid-November ‘68 for the album LET IT BLEED, which was released in late November ‘69 / Mick Jagger: “‘You Can't Always Get What You Want’ was something I just played on the acoustic guitar—one of those bedroom songs. It proved to be quite difficult to record because Charlie couldn't play the groove and so Jimmy Miller had to play the drums. I'd also had this idea of having a choir, probably a gospel choir, on the track, but there wasn't one around at that point. Jack Nitzsche, or somebody, said that we could get the London Bach Choir and we said, "That will be a laugh."” / also playing on the track were Blood, Sweat & Tears co-founder Al Kooper [piano, organ, French horn intro] & Ghanian percussionist Rocky Dijon [congas, maracas, tambourine], Keith Richards [acoustic & electric guitars, backing vocals], Bill Wyman [bass] & Mick Jagger [vocals] / Marianne Faithful: "Obviously, I also contributed to 'You Can't Always Get What You Want' and 'Dear Doctor' – junk [heroin] songs ... I know they used me as a muse for those tough drug songs. I knew I was being used, but it was for a worthy cause." / originally edited from the 7:28 album version to 5:00 and used as the B-side of the #1 hit HONKY TONK WOMEN in ‘69 / re-released as an A-side in ‘73 b/w SAD DAY / included on a number of compilation and live albums, including HOT ROCKS 1964-1971, released in December ‘71, SLOW ROLLERS in ‘81, SINGLES COLLECTION: THE LONDON YEARS in ‘89, LOVE YOU LIVE in ‘77, LIVE LICKS in ‘04, HAVANA MOON in ‘16, as well as on a number of filmed performances, including ROCK AND ROLL CIRCUS from ‘68 and SWEET SUMMER SUN: HYDE PARK LIVE from ‘13 / attained wider mainstream popularity when featured in the opening scenes of THE BIG CHILL in ‘83 & on the film’s soundtrack album / used without permission by the Donald Trump Presidential campaign from ‘16 to June ‘20, only ceasing use when threatened with legal action by BMI; Jagger thought it was an odd choice for a political campaign, considering the song is a "sort of doomy ballad about drugs in Chelsea." / #34 on the Cashbox [sales only] chart; and #68 in Canada / ranked at #100 on Rolling Stone magazine’s 500 Greatest Songs of All Time in ‘04
YOU CAN’T ALWAYS GET WHAT YOU WANT
I saw her today at the reception
A glass of wine in her hand
I knew she would meet her connection
At her feet was her footloose man
No, you can't always get what you want
You can't always get what you want
You can't always get what you want
But if you try sometime you'll find
You get what you need
I saw her today at the reception
A glass of wine in her hand
I knew she was gonna meet her connection
At her feet was her footloose man
You can't always get what you want
You can't always get what you want
You can't always get what you want
But if you try sometimes, well, you might find
You get what you need
Ah, yeah
Oh
And I went down to the demonstration
To get my fair share of abuse
Singing, "We're gonna vent our frustration
If we don't we're gonna blow a fifty-amp fuse"
Sing it to me, honey
You can't always get what you want
You can't always get what you want
You can't always get what you want
But if you try sometimes, well, you just might find
You get what you need
Ah baby, yeah
Ah
I went down to the Chelsea drugstore
To get your prescription filled
I was standing in line with Mr. Jimmy
And, man, did he look pretty ill
We decided that we would have a soda
My favorite flavor, cherry red
I sung my song to Mr. Jimmy
Yeah, and he said one word to me, and that was "dead"
I said to him
You can't always get what you want, well no
You can't always get what you want. I tell you, baby
You can't always get what you want, no
But if you try sometimes you just might find, uh, mm
You get what you need, oh yeah, woo!
Ah, woo!
You get what you need, yeah, oh baby
Ah yeah
I saw her today at the reception
In her glass was a bleeding man
She was practiced at the art of deception
Well, I could tell by her blood-stained hands, sing it
You can't always get what you want, yeah
You can't always get what you want, ooh yeah, child
You can't always get what you want
But if you try sometimes you just might find
You just might find
You get what you need, ah yeah
Ah baby, woo!
Ah, you can't always get what you want, no, no, baby
You can't always get what you want, you can't now, now
You can't always get what you want
But if you try sometimes you just might find
You just might find that you
You get what you need, oh yeah
Ah yeah, do that
#46] I CAN UNDERSTAND IT by New Birth
LW #35 / Peak - #35 [1 wk] / Top 40 - 4 wks / Hot 100 - 11th wk [of 13] / 89-86-78-59-46-41-38-36-36-35-46-47-58 / second Hot 100 single & first Top 40 hit for the R&B vocal group, which was a fusion of three groups brought together as part of a musical review - The Now Sound [4 men], Mint Julep [4 women] and Detroit trio Love, Peace & Happiness [1 woman & 2 men] - all backed by The Nite-Liters / for their cover of Bobby Womack’s I CAN UNDERSTAND IT, the vocal group put together by former Motown producers-songwriters Harvey Fuqua & Vernon Bullock, included Ann Bogan and brothers Leslie & Marvin Wilson [of LP&H], Londee Loren [of the Mint Juleps], Bobby Downs [of the Now Sound] & Alan Frye - but by the time the record was on the charts, Bogan [formerly of The Marvelettes] had already left to spend more time with her family; she was quickly replaced by Susaye Greene, who would join The Supremes in ‘76 / New Birth released six more songs, which charted on the Hot 100 through ‘75, with the last one becoming their second Top 40 hit / the group’s first Top 40 hit was from their breakthrough fourth album BIRTH DAY [#31 Top 200 / #1 Soul] / I CAN UNDERSTAND IT was the group’s fifth Top 40 single on the Soul chart & first Top 10 hit, peaking at #4
#47] ARMED AND EXTREMELY DANGEROUS by First Choice
LW #28 / Peak - #28 [1 wk] / Top 40 - 5 wks / Hot 100 - 13th wk [off 14] / 97-95-81-72-61-52-43-37-34-32-31-28-57-58 / Philadelphia trio of Rochelle Fleming, Annette Guest & newest member Joyce Jones; Fleming & Guest and two other girls had originally been The Debronettes in high school / first single of five to chart on the Hot 100 from ‘73 to ‘77 & their only Top 40 hit / ARMED AND EXTREMELY DANGEROUS, written by Allan Felder & Norman Harris and produced by Steve Watson & Harris, reached #11 on Billboard’s Soul chart and was the title track of their first album [#184 Top 200 / #45 Soul], which also included the upcoming singles SMARTY PANTS & NEWSY NEIGHBORS / #19 on the Cashbox [sales only] chart; #16 in the UK & #55 in Canada
*#48] GIVE YOUR BABY A STANDING OVATION by The Dells
LW #52 / 7 wks / 96-91-78-66-60-52-48 / the Chicago-area R&B vocal group formed in high school, first recording as The El-Rays for Chicago label Chess Records in ‘53, and then on Chicago label Vee-Jay in ‘55; their first charting single as The Dells - THE (Bossa Nova) BIRD [#97 - 2 wks] - was on another Chicago label - Argo Records, a division of Chess / the longstanding group had been charting with 18 “45”s on the Cadet* label since ‘67, including seven Top 40 singles, with four Top 20s, two of which reached #10 - STAY IN MY CORNER [#10 - 3 wks] in Aug/Sept ‘68 & OH, WHAT A NIGHT [#10 - 2 wks] in Sept/Oct ‘69 / *[Argo Records became Cadet Records in ‘65 to avoid confusion with the UK label of the same name / Cadet issued records through ‘74, when it ceased operations and its artists were absorbed by Chess Records]
*#49] BOOGIE WOOGIE BUGLE BOY by Bette Midler
LW #54 / 4 wks / 85-63-54-49 / Midler’s second single hearkened back to the Big Band era of the 1940s and would quickly become her second Top 40 hit
#50] WITH A CHILDS HEART by Michael Jackson
LW #51 / Peak #50 [1 wk] / Hot 100 - 5th wk [of 7] / 84-71-55-51-50-55-56 / the teen singer’s fifth US solo single was his first not to reach the Top 40/Top 20 and followed GOT TO BE THERE [#4 - 1 wk] in December ‘71, and ROCKIN’ ROBIN [#2 - 2 wks] in late April, I WANNA BE WHERE YOU ARE [#16 - 2 wks] in July & BEN [#1 - 1 wk] in mid-October ‘72 / WITH A CHILDS HEART was first recorded by Stevie Wonder [when he was 15] as the B-side of NOTHING’S TOO GOOD FOR MY BABY [#20 Pop / #4 R&B]; the song charted on its own on Billboard’s R&B chart, reaching #8 / written by Sylvia Moy, Henry Cosby & Vicki Basemore and produced by Freddie Perren & Fonce Mizell, the song was the first single from Michael’s MUSIC & ME album / WITH A CHILDS HEART reached #14 on Billboard’s Soul chart & #26 on Billboard's Easy Listening chart / later recorded by actress-singer Raven-Symone / in an interview in ‘03, Michael Jackson said he had no memory of recording the song & couldn’t recall any of its lyrics
WITH A CHILDS HEART
With a child's heart
Go face the worries of the day
With a child's heart
Turn each problem into play
No need to worry no need to fear
Just being alive makes it all so very clear
With a child's heart
Nothing can ever get you down
With a child's heart
You've got no reason to frown
Love is as welcome
As a sunny sunny day
No grown-up thoughts
To lead our hearts astray
Take life easy, so easy nice and easy
Like a child so peacegul and so carefree
The whole world smiles with you
As you go your merry way
Oh with a child's heart
Nothing's gonna get me down
*#51] DIAMOND GIRL by Seals & Crofts
LW #68 / 4 wks / 81-73-68-51 / 5th Biggest Jump on the Hot 100 - 17 positions / third chart single for the Texas duo, following the Top 10 & Top 20 hits SUMMER BREEZE [#6 - 2 wks] in December ‘72 & HUMMINGBIRD [#20 - 1 wk] in late March ‘73
#52] FENCEWALK by Mandrill
LW #53 / Peak - #52 [1 wk] / Hot 100 - 8th wk [of 10] / 97-81-73-69-64-54-53-52-78-74 / second single by the Funk septet peaked 42 positions higher than their first in ‘71 / the Wilson brothers - Carlos [trombone & vocals], Lou [trumpet & vocals] & Ric [saxophone & vocals] - were born in the Central America country of Panama and grew up in the Bedford–Stuyvesant area of Brooklyn, New York; their sound combined Funk, Soul, Jazz & Latin music and their name came from the colorful primate species, noted for its family structure / FENCEWALK peaked at #19 on Billboard’s Soul chart & was the first single from the band’s third album, COMPOSITE TRUTH [#28 Top 200 / #8 Soul]
*#53] YOU’LL NEVER GET TO HEAVEN (If You Break My Heart) by The Stylistics
LW #59 / 3 wks / 77-59-53 / eighth single on the Pop chart for the Philadelphia Soul vocal group in just two & a half years, with six of the previous seven reaching the Top 40
#54] DRINKING WINE SPO-DEE O’DEE by Jerry Lee Lewis
LW #41 / Peak - #41 [2 wks] / Hot 100 - 9 wks / 81-70-58-53-48-44-41-41-54 /
written by Sticks McGhee & J. Mayo Williams and first recorded by Sticks McGhee & His Buddies in ‘49 for a label which quickly went out of business; a distributor contacted Ahmet Ertegun at Atlantic Records to see if he could supply 5,000 copies of the song; Ertegun couldn’t but thought he could get someone to re-record the song and remembered meeting Brownie McGhee in Harlem, “I called him up, and he said he could do it, but as it happened, his brother Sticks was staying with him, so he might as well remake his own record.”; the song was re-recorded that night & went on to sell over 400,000 copies / Sticks McGhee & His Buddies took the song to #2 on the R&B chart in ‘49 and two other versions also charted that year - Wynonie Harris [#4] & Lionel Hampton ]#13] / also recorded by Big John Greer, Johnny Burnette, Mike Bloomfield’s Electric Flag [as “Wine”] and on Richard Thompson’s live album, 1000 YEARS OF POPULAR MUSIC, in ‘13 / Jerry Lee Lewis nearly reached the Pop Top 40 with his last chart single & did have a #20 Country hit with the song
as one of the founding fathers of Rock & Roll, Jerry Lee Lewis made an indelible impression but only had a handful of Top 40 hits in the late ‘50s / his career came to an abrupt halt after a British interviewer asked Lewis about his recent third marriage to his 13-year-old second cousin / after several years trying to regain his lost popularity, Lewis was on the verge of a comeback in early ‘64 - but “British Invasion” groups changed radio station playlists overnight / Jerry Lee Lewis was one of the original inductees into the Rock & Roll Hall of Fame in ‘86
Jerry Lee Lewis “45”s on the Hot 100 & UK chart
WHOLE LOT OF SHAKIN’ GOING ON
Best Seller - #3 / Top 100 - #3 / Disc Jockey - #9 - in September ‘57 / #1 Country [2 wks Best Sellers] / #1 R&B [2 wks Best Sellers / 1 wk Disc Jockeys] in September ‘57
Jerry Lee Lewis’ 2nd Biggest Hit / written by Dave "Curlee" Williams & James Faye "Roy" Hall and produced by Jack “Cowboy” Clement / Clement to Lewis when he came into Sun Studios: "We don't do much country around here. We're in the rock & roll business. You ought to go home and work up some rock & roll numbers." / radically altered version of the original song was propelled by Lewis’ boogie piano with Sun Records session musicians J.M. Van Eaton on drums & Roland Janes on guitar / Lewis had been playing the song at club dates before recording it / Lewis later commented: "I knew it was a hit when I cut it. Sam Phillips thought it was gonna be too risqué, it couldn't make it. If that's risqué, well, I'm sorry." / covered by Chubby Checker on his second album, FOR TWISTERS ONLY, in ‘60; released as the B-side of THE HUCKLEBUCK, it reached #42 in ‘60 / performed by Levi Kreiss [as Jerry Lee Lewis] in the Broadway “Jukebox Musical” MILLION DOLLAR QUARTET in ‘10, about the early days of Elvis Presley, Jerry Lee Lewis, Johnny Cash & Carl Perkins at Sun Records / #8 in the UK & #13 in Belgium / #61 on Rolling Stone magazine’s 500 Greatest Songs of All Time in ‘04 & included in the National Recording Registry of the Library of Congress in ‘05
UK: [29-18-16-16-10-8-9-15-21-29]
Come on over, baby, whole lotta shakin' goin' on
Yes I said come on over, baby, baby, you can't go wrong
We ain't fakin' a whole lotta shakin' goin' on
Well, I said come on over, baby, we got chicken in the barn
Come on over, baby, babe, I got the bull by the horns
We ain't fakin', a whole lotta shakin' goin' on
Well, shake, baby, shake
I said shake, baby, shake
I said shake it, baby, shake it
Well shake, baby, shake
Come on over, whole lot of shakin goin' on
Ah let's go
Well, come over, baby, we got chicken in the barn
Whose barn, what barn, my barn
Come on over, baby, better got your bull by the horn
We ain't fakin', whole lot of shakin' goin' on
Easy now
Shake it, oh, shake it, baby
Yeah, you can shake one time for me
Well, I said on come over, baby, whole lot of shakin' goin' on
Now let's get real low one time now
Shake, baby, shake
All you gotta, honey, is kinda stand in one spot
Wiggle around just a little bit
That's what you gotta do, yeah
Ooh, babe, whole lotta shakin' goin' on
Now let's go one time
Shake it, babe, shake it
Shake it, babe, shake
Shake it, babe, come on, babe
Shake it, babe, shake it
Come on over, whole lotta shakin' goin' on
GREAT BALLS OF FIRE
Best Seller - #2 [4 wks] / Top 100 - #2 / Disc Jockey - #9 - in January ‘58 / #1 Country [2 wks - Best Sellers] / #3 R&B
Jerry Lee Lewis’ Biggest Hit / written by Otis Blackwell & Jack Hammer and produced by Sam Phillips / sold one million copies in its first ten days / recorded by Lewis [piano & vocals], Sidney Stokes [bass] & Larry Linn [drums]; Lewis in “JLL: His Own Story” by Ricky Bragg: "I knew Sidney Stokes, but I didn't know him that well either, and I don't know what happened to them people. That's the last time I ever seen 'em. That's strange, isn't it?" / performed by Lewis in the Rock & Roll film JAMBOREE, which also featured Carl Perkins, Fats Domino, Buddy Knox [PARTY DOLL] and Dick Clark / first song on Side two of Lewis’ album LIVE AT THE STAR CLUB, HAMBURG, recorded in ‘64 / Pro wrestler Ric Flair’s signature “WOOO!” phrase comes from the song / used as the title of the Jerry Lee Lewis biopic, starring Dennis Quaid, in ‘89 / performed by Levi Kreiss in MILLION DOLLAR QUARTET in ‘10 / Lewis trademarked the phrase “Great Balls of Fire,” which was used as the title of a WWE pro wrestling event in ‘17 & featured the Lewis song / featured in the Tom Cruise film TOP GUN in ‘86 & its sequel, TOP GUN: MAVERICK, in ‘22; and included on the special edition of the soundtrack album in ‘99 & on the sequel’s soundtrack in ‘22 / #1 in the UK [2 wks], #8 in New Zealand & #16 in Belgium / #96 on Rolling Stone magazine’s 500 Greatest Songs of All Time in ‘04
UK: [13-6-5-1-1-5-6-6-11-12-15-21]
You shake my nerves and you rattle my brain
Too much love drives a man insane
You broke my will, but what a thrill
Goodness gracious, great balls of fire
I laughed at love 'cause I thought it was funny
You came along and you moved me honey
I've changed my mind, this love is fine
Goodness gracious, great balls of fire
Kiss me, baby, ooh, feels good
Hold me, baby
Well, I'll still love you like a lover should
You're fine, so kind
Got to tell this world that you're mine, mine, mine, mine
I chew my nails and then I twiddle my thumbs
I'm real nervous, but it sure is fun
Come on, baby, you drive me crazy
Goodness gracious, great balls of fire
Well kiss me, baby, ooh, feels good
Hold me, baby
Well, I'll still love you like a lover should
You're fine, so kind
Got to tell this world that you're mine, mine, mine, mine
I chew my nails and I twiddle my thumbs
Real nervous, but it sure is fun
Come on, baby, drive me crazy
Goodness gracious, great balls of fire
BREATHLESS
Top 100 - #7 / Best Seller - #9 / Disc Jockey - #23 - in April ‘58 / #4 Country
Jerry Lee Lewis’ 3rd Biggest Hit / written by Otis Blackwell / the artist listed on the “45” is Jerry Lee Lewis and His Pumping Piano; no producer is listed / recorded at Sun Records studios in Memphis in January ‘58 & released in February b/w DOWN THE LINE, written by Roy Orbison, which reached #51 on the Pop chart; the A-side spent 15 weeks on the Pop chart / musicians playing on the single: Jerry Lee Lewis [ vocals & piano], Billy Lee Riley [guitar], J.W. Brown [bass], and Jimmy Van Eaton [drums] / other versions: English singer-actor Mike Berry, Chas & Dave, Mickey Gilley, Wanda Jackson, Tom Jones, English guitarist Albert Lee, Hal Munro, The Paramounts, Cliff Richard, Punk band X, and its writer Otis Blackwell / featured in the neo noir film BREATHLESS, starring Richard Gere & French actress Valerie Kapriskey, in ‘83 / Otis Blackwell also wrote or co-wrote the Elvis Presley hits DON’T BE CRUEL & ALL SHOOK UP and Peggy Lee’s hit FEVER, as well as GREAT BALLS OF FIRE; Blackwell was inducted into the Songwriters Hall of Fame in ‘91
UK: [22-12-9-8-11-17-30]
Now, if you love me
Let's please don't tease
If I can hold you then
Let me squeeze
My heart goes 'round and 'round
My love comes a-tumblin' down
You leave me
Ahhhhh, breathless-ah
Well, I shake all over and
You know why
I'm sure it's love, honey
That's no lie
'Cause when you call my name
You know I burn like wood in flame
You leave me
Ahhhhh, breathless
Ooh, baby! Mm-mm, crazy!
You're much too much
Honey, I can't love you enough
Now, it's all right to hold me tight
But when you love me
Love me right
Oh, come on, baby
Now, don't be shy
This love was meant for you and I
Wind, rain, sleet or snow
I'm gonna be wherever you go
You have left me
Ahhhh, breathless-ah
Oh, keep it goin'
Well, ooh, baby! Mmm-mmm, crazy!
You're much too much
I can't love you enough
Well, it's all right to hold me tight
But when you love me
Love me right
Well, come on, baby
Now, don't be shy
Love was meant for you and I
Wind, rain, sleet or snow
I'm a goin' to b-be wherever you go
You leave me
Ahhhh, breathless
HIGH SCHOOL CONFIDENTIAL
Top 100 - #21 / Best Seller - #22 - in late June ‘58 / #9 Country / #5 R&B
Jerry Lee Lewis’ 4th Biggest Hit / written by Jerry Lee Lewis & Ron Hargrove as the title song of the MGM film; recorded first on 2/28/58 - but none of those sessions were released until WILD ONE AT THE HIGH SCHOOL HOP [one take] in the UK in ‘82 & the 12-LP box set JERRY LEE LEWIS: THE SUN YEARS [three takes] in the UK in ‘83; Lewis recorded the song again on 4/24/58 and an edit of “down tempo” Take 3 & Take 1 was released as the single / in the film, Lewis & two band members lip synced the song while playing their instruments [piano, bass & drums] on a flatbed truck / the picture sleeve of the “45” had Lewis’ head superimposed in front of the film’s five stars - Diane Jergens, Russ Tamblyn, Jan Sterling, John Drew Barrymore & Mamie Van Doren / Lewis recorded the song with “British Invasion” group The Nashville Teens on LIVE AT THE STAR CLUB, HAMBURG in ‘64 / cover versions: British singers Adam Faith and Cliff Richard - both in ‘58, Mike Berry, Marty Wylde, French Rock star Johnny Hallyday, US ‘50s cover band Sha Na Na, Australian ‘50s cover band Ol’ 55, The Blasters, Brian Setzer [formerly of ‘80s Rockabilly trio The Stray Cats], British Folk Rock band Fairport Convention on MOAT ON THE LEDGE: LIVE AT BROUGHTON CASTLE, AUGUST ‘81, and Swedish Rock band The Refreshments in ‘08; recorded by The Beatles during the “Get Back” sessions at Twickenham Film Studios in January ‘69; performed live by Bruce Springsteen & the E Street Band in concerts in the late ‘70s / featured in the Richard Gere film BREATHLESS in ‘83 / re-recorded by Jerry Lee Lewis for his biopic GREAT BALLS OF FIRE!, starring Dennis Quaid as Lewis, in ‘89, and included on the film’s soundtrack album / also on the albums JERRY LEE LEWIS on Sun Records in ‘58, GOLDEN HITS OF JERRY LEE LEWIS on Smash Records in ‘64, ORIGINAL SUN GREATEST HITS on Rhino Records in ‘83, and ALL KILLER, NO FILLER: THE ANTHOLOGY on Rhino Records in ‘93 / #13 in Canada & #12 in the UK
UK: [22-18-14-12-14-25]
Open up, a-honey, it's your lover boy me that's a-knockin'
Why don't you listen to me, sugar?
All the cats are at the high school rockin'
Honey, get your boppin' shoes
'Fore the jukebox blow the fuse
Everybody hoppin'
Everybody's boppin'
Boppin' at the high school hop
They're boppin' at the high school hop
Shakin' at the high school hop
Hoppin' at the high school rock
Rockin' at the high school hop
Well, everybody hoppin'
Everybody's boppin'
Boppin' at the high school hop
Come on, little baby, let's rock a little bit tonight
Woo, let's get with it sugar, let's shake it up tonight
Well, my heart's a-beatin' rhythm and my feet are movin' smooth and light
Well, boppin' at the high school hop
Boppin' at the high school hop
Shakin' at the high school hop
Movin' at the high school hop
Everybody boppin'
Everybody rockin'
Boppin' at the high school hop
Now let's go!
Well, now let me tell you something
Baby, I'ma gonna give you some good news
Look a-here, sweet mama, let's burn off both our shoes
Well, my heart's a-beatin' rhythm and my soul is singin' the blues
Well, boppin' at the high school hop
Hoppin' at the high school hop
We're just a-jumpin' at the high school hop
We're rollin' at the high school hop
Well, everybody hoppin'
Everybody's boppin'
Boppin' at the high school hop
Now let's go!
Woo!
Well, boppin' at the high school hop
Hoppin' at the high school hop
Shakin' at the high school hop
We're just a-movin' and a-groovin' at the high school hop
Well, everybody boppin'
Everybody's hoppin'
Boppin' at the high school hop
BREAK-UP
#52 [1 wk] in late September ‘58 b/w I’LL MAKE IT ALL UP TO YOU - #85 [1 wk] in September ‘58 / both songs were written by fellow Sun Records singer Charlie Rich
I’LL SAIL MY SHIP ALONE
#93 [1 wk] in January ‘59 / co-written by the King of the Hillbilly Piano Players, Moon Mullican, and his only Country #1 in ‘50, spending nine months on the chart; #17 on the Pop chart / also recorded by Patsy Cline [in her last recording session before her death in a plane crash in March ‘63], Ferlin Husky, Skeets MacDonald, Hank Williams, Slim Whitman, George Jones, Leon Russell [as Hank Wilson] and Mickey Gilley
LOVIN’ UP A STORM
Did Not Chart in the US / appeared for one week [07/05/59] on the UK chart at #28 / written by Allyson R. Khent & Luther Dixon / non-album single b/w BIG BLON’ BABY
WHAT’D I SAY
Jerry Lee Lewis’ 5th Biggest Hit / #30 [1 wk] in May ‘61 / #27 Country / WHAT’D I SAY has the dubious distinction of being the only Top 40 hit on the Hot 100 by Jerry Lee Lewis in the ‘60s - but was a Top 10 hit for Lewis in the UK / remake of the Top 10 Pop & #1 R&B Ray Charles hit from ‘59
UK: [38-21-14-16-10-10-14-19-19-21-30-40] from 10/05/61 to 26/07/61 and [49-49] on 09/08/61 & 16/08/61
WHAT’D I SAY caused controversy when it was released by blurring the lines of Gospel music and secular R&B music, with one critic commenting, "the dialogue between himself and his backing singers that started in church, ended up in the bedroom" / Charles’ second Top 40 single on the Pop chart & first Top 10 hit [#6] started on the electric piano to fill in time near the end of a concert performance [with a contractually specified duration]; the 28-year-old Charles made up lyrics on the spot ["Hey Mama don't you treat me wrong / Come and love your daddy all night long / All right now / Hey hey / All right"] - but after several improvised verses, it changed to a call & response of ecstatic shouts & moans between Charles, his backing singers the Raelettes & the band’s horn section / after performing the song at several more concerts, with the audiences’ enthusiastic reactions matching the first, it was recorded in a session with two other songs in February ‘59 but not released as a single until June / the song shot up the charts & after a couple of weeks, Billboard’s second review was nothing like its first, calling it "the strongest pop record that the artist has done to date" / the original 7:28 track was edited to Part I [3:05] on the A-side & Part II [1:59] on the B-side / both black and white radio stations banned the song, which contributed to it being the best-selling single for Atlantic Records up to that point / the song had a big influence on The Beatles - Paul McCartney [on hearing it, knew he wanted to play music], George Harrison ["It was one of the best records I ever heard."] & John Lennon [credited the opening riff on the electric piano to later songs dominated by guitar riffs]; they played the song in their sets in Hamburg, Germany, making the song last as long as they could, with the call & response between the band & the audience; Mick Jagger sang the song the first time he performed with the future Rolling Stones; and Eric Burdon of The Animals, Brian Wilson of The Beach Boys and Steve Winwood of The Spencer Davis Group all named the song as important to their careers, with many ‘60s bands incorporating the song into their sets / WHAT’D I SAY has been credited as the first Soul song, fusing Gospel with R&B / the improvisation of the song is a key scene in the Ray Charles biopic, RAY, which starred Jamie Foxx, who won an Academy Award for his portrayal of Charles / #10 on Rolling Stone magazine’s 500 Greatest Songs of All Time in ‘04, #43 on VH1’s 100 Greatest Songs in Rock & Roll, inducted into the National Recording Registry of the Library of Congress in ‘02, and named one of the 500 Songs That Shaped Rock & Roll by the Rock & Roll Hall of Fame in ‘07
Hey mama, don't you treat me wrong
Come and love your daddy all night long, all right now
Hey hey
All right
See the girl with the diamond ring
She knows how to shake that thing, all right now, now
Hey hey
Hey hey
Tell your mama, tell your pa
I'm gonna send you back to Arkansas, oh yes m'am
You don't do right
Don't do right
Oh, play it boy
When you see me in misery
Come on baby, see about me now, yeah
Hey hey
All right
See the girl with the red dress on
She can do the Birdland all night long, yeah yeah
What'd I say?
All right
Well, tell me what'd I say
Tell me what'd I say right now
Tell me what'd I say
Tell me what'd I say right now
Tell me what'd I say
Tell me what'd I say
And I wanna know
Baby, I wanna know right now
And I wanna know
Baby, I wanna know right now, yeah
And I wanna know
Baby I wanna know, yeah
SWEET LITTLE SIXTEEN
#95 [2 wks] in September ‘62 / remake of Chuck Berry’s biggest US hit [#2 - 3 wks] from ‘58; included on the Sun Records compilation album ROCKIN’ RHYTHM AND BLUES, released in ‘69 / Chuck Berry’s original is ranked #272 on Rolling Stone magazine’s 500 Greatest Songs of All Time in ‘04 / #38 in the UK in September ‘62
UK: [46-39-38-46-47]
GOOD GOLLY MISS MOLLY
Did Not Chart in the US / remake of Little Richard’s #10 hit from ‘58; included in ‘69 on the Sun Records compilation album ROCKIN’ RHYTHM AND BLUES / Little Richard’s original recording is ranked #94 on Rolling Stone magazine’s 500 Greatest Songs of All Time in ‘04 / #31 in the UK in April ‘63
UK: [44-38-33-31-37-42]
I’M ON FIRE
#98 [1 wk] in April ‘64
HIGH HEEL SNEAKERS
#91 [1 wk] in November ‘64 / #11 for Tommy Tucker as HI-HEEL SNEAKERS in March ‘64
ANOTHER PLACE, ANOTHER TIME
#97 [1 wk] in March ‘68 / first recorded by Country singer Del Reeves / the song that kickstarted Jerry Lee Lewis’ string of hits on the Country chart
WHAT’S MADE MILWAUKEE FAMOUS (Has Made a Loser Out Of Me)
#94 [1 wk] in July ‘68 / #4 UK hit for Rod Stewart as a double A-side with ANGEL in ‘72
ME AND BOBBY MCGEE
#40 [1 wk] in January ‘72 / #1 Country [double-sided hit] / written by Kris Kristofferson / Jerry Lee’s piano pounding version bears little resemblance to the song Janis Joplin posthumously took to the top of the Hot 100 in March ‘71
CHANTILLY LACE
#43 [1 wk] in late April ‘72 / Lewis’ remake of the Big Bopper’s #6 hit from ‘58 was his first Top 40 near miss and his fourth & final #1 Country hit / recorded live in the studio with ten musicians & six backup singers crammed in because Lewis didn’t want to have any overdubs on the record; included on THE KILLER ROCKS ON, released on Mercury Records in ‘72 / #33 [2 wks] in the UK in May ‘72
UK: [44-33-33-34-39]
TURN ON YOUR LOVELIGHT
#95 [1 wk] in August ‘72 / a #2 R&B & #28 Pop hit for Bobby Bland in ‘61 / also recorded by The Grateful Dead / Bland’s original version was included in the Rock & Roll Hall of Fame’s 500 Songs That Shaped Rock & Roll and inducted into the Grammy Hall of Fame in ‘99
beginning in ‘68 and running through ‘81, Jerry Lee Lewis had a string of 22 Top 10 hits on the Billboard Country chart and 16 more Top 40 hits, including four singles which peaked at #11 / his cover of ANOTHER PLACE, ANOTHER TIME - his first single to appear only on the Country chart since COLD, COLD HEART [#22] in ‘61 and PEN AND PAPER [#36] in ‘63 - got the ball rolling in ‘68 / Jerry Lee Lewis had four Country #1s - TO MAKE LOVE SWEETER FOR YOU [1 wk] in early March ‘69, THERE MUST BE MORE TO LOVE THAN THIS [2 wks] in Sept/Oct ‘70, WOULD YOU TAKE ANOTHER CHANCE ON ME // ME AND BOBBY MCGEE [1 wk] in early January and CHANTILLY LACE [3 wks] in Apr/May ‘72; and five “45”s which peaked at #2 - WHAT’S MADE MILWAUKEE FAMOUS (Has Made a Loser Out Of Me) & SHE STILL COMES AROUND (To Love What’s Left Of Me) in ‘68, SHE EVEN WOKE ME UP TO SAY GOODBYE & ONE MINUTE PAST ETERNITY in ‘69, and ONE MORE WITH FEELING in ‘70; two #3 hits - ONE HAS MY NAME (The Other Has My Heart) in ‘69 & TOUCHING HOME in ‘71; three #4 hits - ANOTHER PLACE, ANOTHER TIME in ‘68, MIDDLE AGE CRAZY in ‘77 & THIRTY NINE AND HOLDING in ‘81; three #6 hits - INVITATION TO YOUR PARTY in ‘69, SOMETIMES A MEMORY AIN’T ENOUGH in ‘73 & LET’S PUT IT BACK TOGETHER AGAIN in ‘76; one #7 hit - I CAN’T SEEM TO SAY GOODBYE in ‘70; one #8 hit - HE CAN’T FILL MY SHOES in ‘74; three #10 hits - COME ON IN and I’LL FIND IT WHERE I CAN in ‘70 and SOMEWHERE OVER THE RAINBOW [b/w FOLSOM PRISON BLUES] in ‘80; and four #11 hits - WAITING FOR A TRAIN in ‘70, WHEN HE WALKS ON YOU (Like You Have Walked On Me) in ‘71, LONELY WEEKENDS in ‘72 and WHEN TWO WORLDS COLLIDE in ‘80
*#55] MONEY by Pink Floyd
LW #84 / 3 wks / 84-73-55 / 4th Biggest Jump on the Hot 100 - 18 positions / first chart single for the English Progressive Rock band, formed in ‘65; the band’s name originated from two Blues players from the state of Georgia - Pink Anderson & Floyd Council
#56] ISN’T IT ABOUT TIME by Stephen Stills & Manassas
LW #58 / Peak - #56 [1 wk] / Hot 100 - 6th wk [of 8] / 83-76-68-61-58-56-72-87 / second & last chart single by Stills & Manassas was the lead track on the band’s second album, DOWN THE ROAD [#26 US / #31 Canada / #33 UK], which was both a commercial & critical disappointment after their Top 5 first album, which was certified Gold / Manassus formed after a chance meeting of Stills [Buffalo Springfield, CSNY] and Chris Hillman [Byrds, Fabulous Burrito Brothers] / the first Manassas album - a double recorded in three weeks at Miami’s Criteria Studios [where Derek & the Dominos had recently recorded LAYLA & OTHER ASSORTED LOVE SONGS] was both a commercial and critical success / but the band’s follow-up recording sessions didn’t run as smoothly - after a European Manassas tour, Stills married French Pop star Véronique Sanson, whom he had met while in Paris, then interrupted his honeymoon to join David Crosby, Graham Nash & Neil Young in Hawaii for a possible CSNY reunion album, which quickly fell apart; Stills couldn’t get along with the owners at Criteria, so recording was moved to Caribou Studios in Colorado, and then on to Los Angeles; drummer Dallas Taylor was dealing with a heroin addiction [Stills paid for him to go to rehab, then caught him shooting up again] & the bass player left for personal reasons; the record company rejected several tracks, which then had to be re-recorded; and while all of this was happening, Chris Hillman was considering his management’s offer to form a new band with former Buffalo Springfield & Poco member Richie Furay and Eagles songwriter-collaborator J.D. Souther / after a final tour, which included several dates with CSNY doing acoustic sets as part of the show [Hillman: "I could smell a CSNY reunion."], the band went its separate ways; several followed Stills for the CSNY tour of ‘74, while others joined Hillman in The Souther-Hillman-Furay Band / Criteria Studios engineer Howard Albert: "Manassas was one of the greatest and the most underrated bands of the seventies. That double album, along with Eric Clapton's LAYLA – which me and [Ron Albert] both worked on – stand as the most important and best albums we've ever been a part of." / Stephen Stills: "Manassas was such a terrific band. It really had some structure and reminded me of the Buffalo Springfield at its best. Manassas could play anything."
#57] OUT OF THE QUESTION by Gilbert O’Sullivan
LW #36 / Peak - #17 [1 wk] / Top 20 - 3 wks / Top 40 - 8 wks / Hot 100 - 14th wk [of 15] / 81-73-65-52-46-40-30-27-22-19-18-17-36-57-93 / O’Sullivan’s third US single was his first not to reach the Top 10, after a pair of Top 2 singles in ‘72 - ALONE AGAIN (Naturally) [#1 - 6 wks] & CLAIR [#2 - 2 wks] / second single from his second album, BACK TO FRONT [#48 US / #22 Australia / #1 UK] / written by O’Sullivan and produced by Gordon Mills, co-owner [with Tom Jones] of MAM Records; Mills was also the manager of O’Sullivan, Jones and Engelbert Humperdinck / #22 on the Cashbox [sales only] chart and #2 on Billboard’s Easy Listening chart; on Canada’s RPM charts - #9 Top 100 & #1 Easy Listening; not released as a single outside of North America
OUT OF THE QUESTION
One minute you say you will
And the next you won't
One minute you want me
And the next you don't
You're turning me upside down
Giving me the run around
Don't think that I don't know
I do
Don't think that I won't go
You watch me
It isn't out of question
One minute you're kissing me
And the next you're not
One minute you remember
And the next you've forgot
I don´t like it one little bit
You're giving me the slip
Don't think that I don't know
I do
Don't think that I won't go
If you want me
It's really out of the question
Between us we could have conquered Everest
Sailed empty handed around the world
But no you couldn't wait
You had to go make the fatal mistake
Of leading me on
You silly girl, that was wrong
Don't think that I don't know
I do
Don't think that I won't go
You watch me
It isn't out of question
One minute you're full of life
And the next you're sad
One minute you're marvelous
And the next you're bad
I don't like it one little bit
You're giving me the slip
Don't think that I don't know
I do
Don't think that I won't go
If you want me
It's really out of the question
I'm doing my best and I don´t know why
I'´m giving her a call and there's no reply
She's getting me down till I can't get up
She's giving me hell and if that's not enough
She's breaking my heart nearly every day
Not only in pieces but every way
I'm sorry of course but the fault is hers
*#58] THE FREE ELETRIC BAND by Albert Hammond
LW #63 / 6 wks / 100-89-75-67-63-58 / the fourth single from Hammond’s first solo album was now five positions higher than the peak position of his previous single, IF YOU GOTTA BREAK ANOTHER HEART
#59] WHY ME by Kris Kristofferson
LW #60 / 9 wks / 100-99-91-79-73-69-65-60-59 / in spite of seeming to hardly move up from week to week - with only one jump of more than ten positions - Kristofferson’s meandering single was now 41 positions higher than where it began on the Hot 100 eight weeks earlier
#60] I KNEW JESUS (Before He Was A Star) by Glen Campbell
LW #45 / Peak - #45 [2 wks] / Hot 100 - 12 wks / 89-80-73-65-60-54-52-49-47-45-45-60 / the singer-guitarist’s 23rd solo single on the Hot 100 was his tenth not to reach the Top 40 but peaked at #26 on Billboard’s Easy Listening chart / surprisingly, the song fared no better on Billboard’s Country chart, peaking at #48 / a Top 40 Country hit in Canada, reaching #24 - it only got to #52 on the RPM Top 100 - but the song was a Top 20 Pop hit in Ireland [#14] & Australia [#18] / written by Neal Hefti & Seymore Styne and produced by Jimmy Bowen, I KNEW JESUS (Before He Was A Star) was the title song & only single released from Campbell’s 24th studio album [#154 Top 200 / #13 Country]
*#61] SO VERY HARD TO GO by Tower of Power
LW #71 / 5 wks / 97-82-76-71-61 / 9th Biggest Jump on the Hot 100 - TIE [3] - 10 positions / third chart single for the interracial R&B-Funk band based in Oakland, California
#62] HEY YOU! GET OFF MY MOUNTAIN by The Dramatics
LW #65 / 5 wks / 88-80-69-65-62 / fifth chart single for the Soul group from Detroit, recording for Volt Records; they had first recorded for Wingate Records as The Dynamics in ‘66
*#63] SATIN SHEETS by Jeanne Pruett
LW #74 / 4 wks / 95-86-74-63 / 8th Biggest Jump on the Hot 100 - 11 positions / born in Alabama in January ‘37, Pruett moved to Nashville at the age of 19 in ‘56 with her husband Jack, who was a guitarist for Country singer Marty Robbins / Jeanne Pruett began writing songs for Robbins ten years before SATIN SHEETS became a hit
#64] WITHOUT YOU IN MY LIFE by Tyrone Davis
LW #64 / Peak - #64 [2 wks] / Hot 100 - 7th wk [of 9] / 90-84-81-72-66-64-64-76-73 / tenth Hot 100 single for Davis was his seventh straight not to reach the Top 40, following CAN I CHANGE MY MIND [#5 - 1 wk / Gold] in late February & IS IT SOMETHING YOU’VE GOT [#34 - 2 wks] in April ‘69, and TURN BACK THE HANDS OF TIME [#3 - 1 wk / Gold] in late May ‘70 / all ten singles were released on the small Dakar label, based in Chicago / on Billboard’s Soul chart, seven of his Hot 100 singles were Top 10 hits & the other three charted in the Top 20 - CAN I CHANGE MY MIND [#1 - 3 wks] in February & IS IT SOMETHING YOU’VE GOT [#5] in ‘69, TURN BACK THE HANDS OF TIME [#1 - 2 wks] in early February, I’LL BE RIGHT HERE [#8] & LET ME BACK IN [#12] in ‘70, COULD I FORGET YOU [#10], ONE-WAY TICKET [#18] & YOU KEEP ME HOLDING ON [#15] in ‘71, I HAD IT ALL THE TIME [#5] in ‘72 and WITHOUT YOU IN MY LIFE [#5] in ‘73
#65] ROLLOVER BEETHOVEN by Electric Light Orchestra
LW #66 / 6 wks / 90-85-78-74-66-65 / ELO’s first single was gradually climbing higher on the Hot 100 - but the “45” combining Chuck Berry’s Rock & Roll and Classical music had just begun its chart trek
#66] I LIKE YOU by Donovan
LW #67 / Peak - #66 [1 wk] / Hot 100 - 6th wk [of 8] / 86-82-77-68-67-66-82-82 / Donovan’s first chart single in over two years was his 17th & final appearance on the Hot 100 / first single from his tenth studio album, COSMIC WHEELS [#25 US / #22 Australia / #15 UK], released in March ‘73 / all songs on the album were written by Donovan Leitch and produced by Leitch & Mickie Most
from ‘65 to ‘69, the Scottish Folk singer-songwriter had a dozen Top 40 US hits, with four songs reaching the Top 10, including #1 & #2 hits / Donovan released 25 studio albums between ‘65 and ‘13, eight live albums between ‘68 and ‘01, and an amazing 68 compilation albums for the US, UK & German markets from ‘66 to ‘21
Donovan’s Top 40 Hits in the US [and UK]
CATCH THE WIND
Peak - #23 [1 wk] in early July ‘65 / Top 40 - 5 wks / Hot 100 - 10 wks / 85-70-58-41-31-25-25-23-32-45
written by Donovan Leitch and produced by Terry Kennedy, Peter Eden & Geoff Stephens / from Donovan’s first album, known in the UK as WHAT’S BIN DID AND WHAT’S BIN HID [#3 UK] on Pye Records and in the US as CATCH THE WIND [#30] on Hickory Records [connected with Acuff-Rose music publishing in Nashville] / cover versions are many & include: 1965 - Johnny Rivers on JOHNNY RIVERS ROCKS THE FOLK, Chet Atkins on MORE OF THAT COUNTRY GUITAR, in Finnish as "Tuuli Kuiskaa Vain" by Eero Jussi & the Boys, in German as "Geh und fang den Wind" by Reinhard Mey, and Melinda Marx [daughter of Groucho Marx]; 1966 - Paul Revere & the Raiders on JUST LIKE US!, Greenwich Village band The Blues Project on LIVE AT THE CAFE AU GO GO, Cher on her self-titled third solo album, and Serbian Yugoslav Rock band Siluete; 1967 - The Castiles [one of Bruce Springsteen’s early New Jersey bands], Glen Campbell on his breakthrough album, GENTLE ON MY MIND, and actor-singer Peter Fonda as the B-side of NOVEMBER NIGHT; 1968 - French-American singer-actress Claudine Longet, Country singer Dottie West, and Lester Flatt & Earl Scruggs on their 27th album - the last before their breakup, NASHVILLE AIRPLANE; 1969 - The Lettermen on TRACES/MEMORIES; 1970 - Eartha Kitt on SENTIMENTAL EARTHA, English singer-actor Timothy Barclay [as a single] and San Francisco Folk Rock group We Five on CATCH THE WIND [released as a single in ‘71 - DNC]; others - Country singer Buck Owens on BRIDGE OVER TROUBLED WATER in ‘71, Rock guitarist Sammy Hagar in ‘77, Country singer Vern Gosdin in ‘78, co-founder of The Bangles, Susanna Hoffs, on her second solo album in ‘94, Canadian Folk group The Irish Descendants in ‘95, Australian singer Judith Durham [former lead singer of The Seekers] on her seventh solo album in ‘96, actress-singer Katey Sagal in ‘04, Adam Bomb & the WMDs on LIVE FROM TEHRAN in ‘09, Rickie Lee Jones on DEVIL YOU KNOW in ‘12, Joan Baez & Mimi Farina on Volume 3 of the “Generations of Folk” series, CLASSIC HARMONIES, in ‘16, English singer Jon Waite in ‘17, and Welsh singer Bonnie Tyler in ‘21 / in TV - MIAMI VICE in ‘85, THE WONDER YEARS in ‘89, British police drama HEARTBEAT in ‘01, British documentary series LOUIS THEROUX’S WEIRD WEEKENDS in ‘02, COLD CASE in ‘05, ALIAS in ‘06, PARENTHOOD in ‘11 and British sitcom CATASTROPHE in ‘15 / in film - Australian film SPOTSWOOD, starring Anthony Hopkins and co-starring Toni Colette & Russell Crowe, in ‘91, American family adventure film FLICKA in ‘06, American romantic comedy THE INVENTION OF LYING, written, directed & starring Ricky Gervais, in ‘09, and Australian film CHARLIE AND BOOTS, co-starring Paul Hogan, in ‘09 / also used in commercials for GE Ecoimagination, promoting achievements in wind power, in ‘07 and PlayStation’s Flower game & MassMutual - both in ‘09 / #28 on the Cashbox [sales only] chart; #4 in the UK & #5 in Australia
UK: [22-7-5-4-6-9-9-14-16-30-37-41-48] / 2nd Biggest UK Hit
In the chilly hours and minutes
Of uncertainty, I want to be
In the warm hold of your loving mind
To feel you all around me
And to take your hand, along the sand
Ah, but I may as well try and catch the wind
When sundown pales the sky
I want to hide a while, behind your smile
And everywhere I'd look, your eyes I'd find
For me to love you now
Would be the sweetest thing
That would make me sing
Ah, but I may as well, try and catch the wind
When rain has hung the leaves with tears
I want you near, to kill my fears
To help me to leave all my blues behind
For standin' in your heart
Is where I want to be, and I long to be
Ah, but I may as well, try and catch the wind
Ah, but I may as well, try and catch the wind
COLOURS
written by Donovan Leitch and produced by Steven Wilson, Tim Bowness & Ben Coleman / included on Donovan’s second album, FAIRYTALE [#85 US / #20 UK] / similar in style to CATCH THE WIND and also a Top 5 hit in the UK - but failed to reach the Top 40 of the Hot 100 / cover versions: Joan Baez on her album FAREWELL, ANGELINA in ‘65; Van Dyke Parks - as an instrumental with a Ragtime arrangement on his first album, SONG CYCLE, in ‘67; actor Terrence Stamp sings the song in the film POOR COW in ‘67 & the same footage is used in THE LIMEY, in which Stamp co-stars, in ‘99; as "Žlutá" with Czech lyrics [about the color yellow] by Czechoslovakian singer Zdena Lorencová in ‘72; British Art Rock duo No-Man in ‘90; and by Irish Folk musician Finbar Furey on his album of the same name in ‘12 / Donovan has recorded the song several more times: performed live with Joan Baez at the Newport Folk Festival in ‘65 & released 30 years later on FOLK MUSIC AT NEWPORT, PART 1; with Spanish-English lyrics with Basque Country Spanish group Mocedades on their album COLORES in ‘86; and re-recorded for the film THE RULES OF ATTRACTION in ‘02, a version which then appeared in several commercials / #61 on the Billboard Hot 100 & #40 on the Cashbox [sales only] chart; #4 in the UK, #8 in the Netherlands, #42 in Belgium [Wallonia] & #81 in Australia
UK: [32-21-10-5-4-7-11-12-26-30-45-43] / 4th Biggest UK Hit
Yellow is the color of my true love's hair
In the mornin', when we rise
In the mornin', when we rise
That's the time, that's the time
I love the best
Blue's the color of the sky
In the mornin', when we rise
In the mornin', when we rise
That's the time, that's the time
I love the best
Green's the color of the sparklin' corn
In the mornin', when we rise
In the mornin', when we rise
That's the time, that's the time
I love the best
Mellow is the feelin' that I get
When I see her, mm hmm
When I see her, uh huh
That's the time, that's the time
I love the best
Freedom is a word I rarely use
Without thinkin', mm hmm
Without thinkin', uh huh
Of the time, of the time
When I've been loved
TURQUOISE
written by Donovan Leitch and produced by Terry Kennedy, Peter Eden & Geoff Stephens / non-album single, released only in the UK; B-side of TO TRY FOR THE SUN in the US, his second US single which failed to chart, following the FAIRYTALE album track YOU’RE GONNA NEED SOMEBODY ON YOUR BOND / TURQUOISE was written for Joan Baez, with whom Donovan was said to be in love at the time / Baez recorded the song on her album JOAN in ‘67 / also covered by British group No-Man on its ISLAND OF CIRCLES album, which was a tribute to Donovan
UK: [43-34-31-30-39-47]
Your smile beams like sunlight on a gull's wing
And the leaves dance and play after you
Take my hand and hold it as you would a flower
Take care with my heart, oh darling, she's made of glass
Your eyes feel like silence resting on me
And the birds cease to sing when you rise
Ride easy your fairy stallion you have mounted
Take care how you fly, my precious, you might fall down
In the pastel skies a sunset I have wandered
With my eyes and ears and heart strained to the full
I know I tasted the essence in the few days
Take care who you love, my precious, he might not know
SUNSHINE SUPERMAN
Peak - #1 [1 wk] in early September ‘66 / Top 10 - 7 wks / Top 20 - 9 wks / Top 40 - 10 wks / Hot 100 - 13 wks / 90-61-20-10-5-1-2-3-3-9-12-29-50
Donovan’s Biggest US Hit / written by Donovan & produced by Mickie Most / the full-length version [4:34] of Donovan’s only US #1 was edited to 3:15 for the single & this version was also featured on the SUNSHINE SUPERMAN album; the original version was not released until Donovan’s GREATEST HITS album [#11 US] in early ‘69; due to contractual issues, the album was not released in the UK - but a hybrid of the US album with some tracks from the next album was finally released in the UK as SUNSHINE SUPERMAN [#25 UK] in June ‘67 - nearly a year after it came out in the US / arranged by Jazz musicians John Cameron & Spike Heatley; musicians on the track: Donovan - vocals, acoustic guitar & tambura, Jimmy Page - lead guitar, Eric Ford - electric guitar, John Paul Jones - electric bass, Heatley - double bass, Cameron - two-tier Morley harpsichord, Bobby Orr - drums, Tony Carr - percussion / the innovative song falls into & blurs the boundaries of Psychedelic Pop, Folk Rock, Psychedelic Folk & Psychedelic Rock, while Page’s use of the volume knob was key to the sound of the song during the repeating guitar figure he played on the verses / after the song’s success, John Cameron arranged & played on a number of Donovan’s songs and Most’s productions / “Sunshine Superman” - in various forms - has appeared in comics published by DC Comics, the originators of Superman / covered by Australian Rock band The Sports on THE SPORTS PLAY DYLAN (AND DONOVAN) EP; released as a single, SUNSHINE SUPERMAN peaked at #22 in Australia in ‘81 / Donovan’s SUNSHINE SUPERMAN was one of his biggest international hits - #1 on the Cashbox [sales only] chart; #2 - Australia, Canada, Netherlands & the UK; #3 - New Zealand; #4 - Ireland; #7 - West Germany; #9 - France; and #11 - Belgium [Flanders]
UK: [31-13-4-2-3-3-5-14-25-34-37] / Biggest UK Hit
Sunshine came softly through my a-window today
Could've tripped out easy a-but I've a-changed my ways
It'll take time, I know it but in a while
You're gonna be mine, I know it, we'll do it in style
'Cause I made my mind up you're going to be mine
I'll tell you right now
Any trick in the book now, baby, all that I can find
Everybody's hustlin' just to have a little scene
When I say we'll be cool I think that you know what I mean
We stood on a beach at sunset, do you remember when?
I know a beach where, baby, a-it never ends
When you've made your mind up forever to be mine
Hmm, hmm, hmm, hmm, hmm
I'll pick up your hand and slowly blow your little mind
'Cause I made my mind up you're going to be mine
I'll tell you right now
Any trick in the book now, baby, all that I can find
Superman or Green Lantern ain't got a-nothin' on me
I can make like a turtle and dive for your pearls in the sea, yeah
A you-you-you can just sit there a-thinking on your velvet throne
'Bout all the rainbows a-you can a-have for your own
When you've made your mind up forever to be mine
Hmm, hmm, hmm, hmm, hmm
I'll pick up your hand and slowly blow your little mind
When you've made your mind up forever to be mine
I'll pick up your hand
I'll pick up your hand
MELLOW YELLOW
Peak - #2 [3 wks] in December ‘66 / Top 10 - 7 wks / Top 20 - 8 wks / Top 40 - 10 wks / Hot 100 - 12 wks / 65-24-9-5-2-2-2-6-10-13-27-42 / Gold
Donovan’s 2nd Biggest US Hit / written by Donovan & produced by Mickie Most / although reported to be about smoking dried banana skins as an hallucinogenic [which Donovan first heard about three weeks before the single came out], Donovan later revealed the “electrical banana” was being marketed in English newspapers at the time / Donovan from an NME interview: "It's about being cool, laid-back, and also the electrical bananas that were appearing on the scene – which were ladies' vibrators." / Cashbox review: "Mellow Yellow … [an] easy-going, sophisticated blues number which should be a giant." / Paul McCartney, one of the revelers on the song, played bass [uncredited] on several songs on the MELLOW YELLOW album / cover versions: Soul-R&B singer Big Maybelle on GOT A BRAND NEW BAG in ‘67 & British singer-keyboardist Georgie Fame on THE THIRD FACE OF FAME in ‘68 / in The Gap’s “Everybody in Cords” commercial in ‘99, a group of young people sing MELLOW YELLOW / Spanish singer Abraham Mateo’s cover of the song is featured in the computer-animated comedy film MINIONS in ‘15, with Donovan’s original playing over the closing credits / #3 on the Cashbox [sales only] chart; Top 10 in seven other countries - Canada [#2], New Zealand [#3], South Africa [#4], Belgium [Wallonia] [#6], Belgium [Flanders] & Norway [#7], Australia & the UK [#8]; and Top 20 in four countries - #12 in Austria & the Netherlands, #15 in Ireland and #16 in West Germany
UK: [37-17-10-8-9-17-27-35]
I'm just mad about saffron
A-saffron's mad about me
I'm-a just mad about saffron
She's just mad about me
They call me mellow yellow (Quite rightly)
They call me mellow yellow (Quite rightly)
They call me mellow yellow
I'm just mad about fourteen
Fourteen's mad about me
I'm-a just mad about-a fourteen
A-she's just mad about me
They call me mellow yellow
They call me mellow yellow (Quite rightly)
They call me mellow yellow
Born-a high forever to fly
A-wind-a velocity nil
Born-a high forever to fly
If you want, your cup I will fill
They call me mellow yellow (Quite rightly)
They call me mellow yellow (Quite rightly)
They call me mellow yellow
So mellow yellow
Electrical banana
Is gonna be a sudden craze
Electrical banana
Is bound to be the very next phase
They call it mellow yellow (Quite rightly)
They call me mellow yellow (Quite rightly)
They call me mellow yellow
Saffron, yeah
I'm just-a mad about her
I'm-a just-a mad about-a saffron
She's just mad about me
They call it mellow yellow (Quite rightly)
They call me mellow yellow (Quite rightly)
They call me mellow yellow
Oh, so yellow...
EPISTLE TO DIPPY
Peak - #19 [2 wks] in March ‘67 / Top 20 - 2 wks / Top 40 - 5 wks / Hot 100 - 7 wks / 69-43-29-24-19-19-40
written by Donovan Leitch & produced by Mickie Most / musicians on the single include Jimmy Page [electric guitar] & John Cameron [keyboards, arrangement] with strings by the Royal Philharmonic Orchestra / a strong pacifist message is wrapped within the song’s psychedelic lyrics / according to the liner notes for the box set TROUBADOUR: THE DEFINITIVE COLLECTION 1964-1976, Donovan’s childhood friend “Dippy” was in the British Army at the time the song was released & heard Donovan’s message to him, the two friends talked & “Dippy” subsequently left the army / not released as a single in the UK / #10 on the Cashbox [sales only] chart; #5 in Canada, #19 in Austria, #37 in Belgium [Wallonia] & #53 in Australia
Look on yonder misty mountain
See the young monk meditating rhododendron forest
Over dusty years, I ask you
What's it been like being you?
Through all levels you've been changing
Getting a little bit better no doubt,
The doctor bit was so far out
Looking through crystal spectacles,
I can see I had your fun
Doing us paperback reader
Made the teacher suspicious about insanity,
Fingers always touching girl
Through all levels you've been changing
Getting a little bit better no doubt,
The doctor bit was so far out
Looking through all kinds of windows
I can see I had your fun
Looking through all kinds of windows
I can see I had your fun
Looking through crystal spectacles
I can see I had your fun
Looking through crystal spectacles
I can see I had your fun
Rebelling against society,
Such a tiny speculating whether to be a hip or
Skip along quite merrily
Through all levels you've been changing
Elevator in the brain hotel
Broken down a-just as well-a
Looking through crystal spectacles,
Ah, I can see I had your fun
Dum dum dum, dum dum dum dum dum
Dum dum dum, dum dum dum dum dum
Dum dum dum, dum dum dum dum dum
Dum dum dum, dum dum dum dum dum
Dum dum dum, dum dum dum dum dum
THERE IS A MOUNTAIN
Peak - #11 [2 wks] in September ‘67 / Top 20 - 4 wks / Top 40 - 6 wks / Hot 100 - 9 wks / 84-54-36-24-17-11-11-16-45 /
Donovan’s 5th Biggest US Hit / written by Donovan Leitch & produced by Mickie Most / the song is based on a Buddhist saying, which first appeared in “Essays in Zen Buddhism” - one of the first popular books on the religion in Europe & the US; the Qingyuan Weixin saying was translated by D.T. Suzuki: “Before a man studies Zen, to him mountains are mountains and waters are waters; after he gets an insight into the truth of Zen through the instruction of a good master, mountains to him are not mountains and waters are not waters; but after this when he really attains to the abode of rest, mountains are once more mountains and waters are waters.” / Jamaican-born musician Harold McNair plays flute on the song / cover versions: Jamaican Ska-Reggae-Rock Steady musician Dandy Livingstone in ‘67, A Capela vocal group The Bobs in ‘94, Jamaican Reggae vocal band Wailing Souls on PSYCHEDELIC SOULS in ‘98, Kenny Loggins with his youngest daughter Hana on ALL JOIN IN from ‘09, and Steve Earle on concert dates of his 2015 Terraplane World Tour in San Francisco & Glasgow, Scotland [Donovan’s hometown] / The Grateful Dead’s song ALIGATOR from their second album ANTHEM OF THE SUN, released in ‘68, includes a reference to THERE IS A MOUNTAIN; and The Allman Brothers Band’s EAT A PEACH album in ‘72 includes MOUNTAIN JAM, an instrumental based on THERE IS A MOUNTAIN, with Donovan receiving a songwriting credit / #9 on the Cashbox [sales only] chart; #15 in Belgium [Wallonia] & #25 in Australia
UK: [41-18-14-8-10-14-21-22-37-36-47]
The lock upon my garden gate's a snail, that's what it is
The lock upon my garden gate's a snail, that's what it is
First there is a mountain, then there is no mountain, then there is
First there is a mountain, then there is no mountain, then there is
The caterpillar sheds his skin to find a butterfly within
Caterpillar sheds his skin to find a butterfly within
First there is a mountain, then there is no mountain, then there is
First there is a mountain, then there is no mountain
Oh Juanita, oh Juanita, oh Juanita, I call your name
Oh, the snow will be a blinding sight to see as it lies on yonder hillside
The lock upon my garden gate's a snail, that's what it is
The lock upon my garden gate's a snail, that's what it is
Caterpillar sheds his skin to find a butterfly within
Caterpillar sheds his skin to find a butterfly within
First there is a mountain, then there is no mountain, then there is
First there is a mountain, then there is no mountain, then there is
First there is a mountain, then there is no mountain, then there is
First there is a mountain, then there is no mountain, then there is
First there is a mountain
WEAR YOUR LOVE LIKE HEAVEN
Peak - #23 [2 wks] in Dec ‘67-Jan ‘68 / Top 40 - 5 wks / Hot 100 - 7 wks / 74-46-36-36-28-23-23
written by Donovan Leitch & produced by Mickie Most / the lyrics contain seven dye and pigment colours - Prussian blue, scarlet, crimson, Havana Lake, rose carmethene, alizarin crimson and carmine / title song from Disc one of acoustic & electric Soul music of Donovan’s double album A GIFT FROM A FLOWER TO A GARDEN, with Disc two holding songs for children; in the US, the album was marketed as both as a double album [#19] and as two single albums - WEAR YOUR LOVE LIKE HEAVEN [#60] & FOR LITTLE ONES [#185]; the album is listed as produced by Most but was actually produced by Donovan / #26 on the Cashbox [sales only] chart & Australia [#61]
Color in sky, prussian blue
Scarlet fleece changes hue
Crimson ball sinks from view
Wear your love like heaven (Wear your love like)
Wear your love like heaven (Wear your love like)
Wear your love like heaven (Wear your love)
Lord, kiss me once more
Fill me with song
Allah, kiss me once more
That I may, that I may
Wear my love like heaven (Wear my love like)
Wear my love like heaven (Wear my love)
La-la, la-la-la, la-la-la, la-la-la
Color sky, havana lake
Color sky, rose carmethene
Alizarin crimson
Wear your love like heaven (Wear your love like)
Wear your love like heaven (Wear your love like)
Wear your love like heaven (Wear your love)
Lord, kiss me once more
Fill me with song
Allah, kiss me once more
That I may, that I may
Wear my love like heaven (Wear my love like)
Wear my love like heaven (Wear my love)
La-la, la-la-la, la-la-la, la-la-la
Cannot believe what I see
All I have wished for will be
All our race proud and free
Wear your love like heaven (Wear your love like)
Wear your love like heaven (Wear your love like)
Wear your love like heaven (Wear your love)
Lord, kiss me once more
Fill me with song
Allah, kiss me once more
That I may, that I may
Wear my love like heaven (Wear my love like)
Wear my love like heaven (Wear my love)
Carmine
Carmine
JENNIFER JUNIPER
Peak - #26 [2 wks] in April ‘68 / Top 40 - 5 wks / Hot 100 - 9 wks / 88-61-42-30-29-28-26-26-52
written by Donovan Leitch & produced by Mickie Most / first single released from Donovan’s THE HURDY GURDY MAN album / written about Jenny Boyd [sister of Pattie Boyd, who was married to George Harrison], shortly before Donovan & Jenny traveled with The Beatles to Rishikesh in India to study with Maharishi Mahesh Yogi / Jenny Boyd would later marry Mick Fleetwood of Fleetwood Mac / the Cashbox review praised the song’s “exquisite artistry,” saying the "gentle voiced ballad" had a "glittering arrangement with hushed drumming, soft flute trills and a delightful small combo orchestration, & pretty lyrics of innocence and naturalist imagery." / the song features a wind section with oboe, flute, French horn & bassoon and the last verse is sung in French / the B-side, POOR COW, appears in the ‘67 Ken Loach film of the same name - but was originally titled POOR LOVE and is introduced with that title on DONOVAN IN CONCERT in ‘68 / recorded with Czech lyrics as "Čaroděj Dobroděj" by Czech actor-singer Václav Neckář in ‘68; JENNIFER JUNIPER was recorded by actor-singer-dancer Joel Grey for his Jazz-Pop album BLACK SHEEP BOY in ‘69 & by actor-Folk singer Theodore Bikel on his album A NEW DAY in ‘70 / played on the piano by Natalie Portman’s character in the children’s fantasy-comedy film MR. MAGORIUM’S WONDER EMPORIUM, starring Dustin Hoffman, in ‘07 / featured in the Season 22 episode “Flaming Moe” of THE SIMPSONS, which included a character named Calliope Juniper / Donovan appeared in a parody of the song with British comedy duo Trevor & Simon as “The Singing Corner Meets Donovan” - the single spent one week on the UK chart at #68 / #18 on the Cashbox [sales only] chart; #5 in the UK & #10 in Austria and Top 20 in West Germany [#13], Australia [#16], Belgium [Wallonia] [#18] & the Netherlands [#19]
UK: [35-15-6-5-6-9-13-24-33-38-46] / 5th Biggest UK Hit
Jennifer Juniper lives upon the hill
Jennifer Juniper, sitting very still
Is she sleeping? I don't think so
Is she breathing? Yes, very low
Whatcha doing, Jennifer, my love?
Jennifer Juniper, rides a dappled mare
Jennifer Juniper, lilacs in her hair
Is she dreaming? Yes, I think so
Is she pretty? Yes, ever so
Whatcha doing, Jennifer, my love?
I'm thinking of what it would be like if she loved me
You know just lately this happy song it came along
And I like to somehow try and tell you
Jennifer Juniper, hair of golden flax
Jennifer Juniper longs for what she lacks
Do you like her? Yes, I do, Sir
Would you love her? Yes, I would, Sir
Whatcha doing Jennifer, my love?
Jennifer Juniper, Jennifer Juniper, Jennifer Juniper.
Jennifer Juniper vit sur la colline
Jennifer Juniper assise très tranquille
Dort-elle? Je ne crois pas
Respire-t-elle? Oui, mais tout bas
Qu'est-ce que tu fais, Jenny mon amour?
HURDY GURDY MAN
Peak - #5 [1 wk] in early August ‘68 / Top 10 - 5 wks / Top 20 - 7 wks / Top 40 - 10 wks / Hot 100 - 12 wks / 76-37-23-12-7-6-5-6-10-14-23-41 /
Donovan’s 3rd Biggest US Hit / written by Donovan & produced by Mickie Most / title song of Donovan’s sixth studio album [#20 US], released in October ‘68 / written while in India with The Beatles, with George Harrison writing some of the lyrics / possibly influenced by The Small Faces’ Psychedelic song GREEN CIRCLES; also said to be written for the band, named Hurdy Gurdy, of Donovan’s friend & guitar mentor Mac MacLeod - but the session was cancelled due to creative differences; in Donovan’s autobiography, he wrote that he first wanted the song to be recorded by Jimi Hendrix; [according to some sources, Mickie Most “flipped out” when he heard this & insisted Donovan keep the song for himself] / according to some accounts, three fourths of the band that came to be Led Zeppelin played on the track - but memories are faulty things… John Paul Jones played bass, arranged the song & booked the session musicians, which may or may not have included Jimmy Page on guitar [Page’s website says he played on the track] - but probably did not have John Bonham on drums; most likely, the guitar was played by Alan Parker & drums by Clem Cattini; Donovan played the 4-string Tambura he wrote the song on, which George Harrison gifted him in India, and claimed to have created “Celtic Rock” with the Tambura’s drone / in his autobiography & on the album THE CLASSICS LIVE, recorded in ‘90, Donovan explained that there is a final verse written by George Harrison based on Mahareshi Mahesh Yogi’s teaching on the way in which transcendental consciousness is eventually reawakened after having been forgotten for a long period of time - but was edited out of the song’s final cut: “When the truth gets buried deep / Beneath the thousand years asleep / Time demands a turnaround / And once again the truth is found” / in TV - German melodrama “Familiengeheimnisse” (Family Secrets) in ‘11, science fiction series FRINGE in ‘12, fantasy science fiction drama BEYOND in ‘17, British fantasy drama BRITANNIA in ‘18, police comedy BROOKLYN NINE-NINE in ‘18, the pilot episode of comic book series CHILLING ADVENTURES OF SABRINA in ‘18, THE COOL KIDS episode “Margaret Dates the Zodiac Killer” in ‘18, crime drama series MR. MERCEDES, based on a Stephen King book trilogy, in ‘19, German program "Borowski und der gute Mensch" [Borowski and the Good Man] in ‘21, episode two of the mini-series PAM & TOMMY [about the marriage of actress Pamela Anderson & Mötley Crüe drummer Tommy Lee] in ‘22, and the second episode of fantasy adventure series WILLOW in ‘22 / in film - DUMB AND DUMBER [cover version by The Butthole Surfers] in ‘94, legal crime drama SLEEPERS in ‘96, L.I.E. in ‘01, black comedy SPUN in ‘02, thriller EDISON in ‘05, political satire MAN OF THE YEAR, starring Robin Williams, and Emilio Estefan’s BOBBY - both in ‘06, the song opens & closes mystery thriller ZODIAC, starring Jake Gyllenhaal, in ‘07, horror film THE CONJURING in ‘13, family drama MILTON’S SECRET in ‘16, heist film AMERICAN ANIMALS in ‘18, and political drama THE BEST OF ENEMIES in ‘19 / #3 on the Cashbox [sales only] chart; and Top 10 in five other countries: #4 in the UK, #5 in Australia & Switzerland, #7 in the Netherlands & #10 in Belgium [Wallonia]; and Top 20 in West Germany [#11], Belgium [Flanders] [#12] & Austria [#20]
UK: [33-20-8-4-4-4-6-20-24-31] / 3rd Biggest UK Hit
Thrown like a star in my vast sleep
I opened my eyes to take a peek
To find that I was by the sea
Gazing with tranquility
'Twas then when the Hurdy Gurdy Man
Came singing songs of love
Then when the Hurdy Gurdy Man
Came singing songs of love
"Hurdy gurdy, hurdy gurdy, hurdy gurdy gurdy" he sang
"Hurdy gurdy, hurdy gurdy, hurdy gurdy gurdy" he sang
"Hurdy gurdy, hurdy gurdy, hurdy gurdy gurdy" he sang
Histories of ages past
Unenlightened shadows cast
Down through all eternity
The crying of humanity
'Tis then when the Hurdy Gurdy Man
Comes singing songs of love
Then when the Hurdy Gurdy Man
Comes singing songs of love
"Hurdy gurdy, hurdy gurdy, hurdy gurdy gurdy" he sang
"Hurdy gurdy, hurdy gurdy, hurdy gurdy, hurdy gurdy, hurdy gurd
Hurdy gurdy, hurdy gurdy, hurdy gurdy gurdy" he sang
"Hurdy gurdy, hurdy gurdy, hurdy gurdy gurdy" he sang
Here comes the Roly Poly Man
He's singing songs of love
"Roly poly, roly poly, holy poly poly" he sang
"Hurdy gurdy, hurdy gurdy, hurdy gurdy gurdy" he sang
"Hurdy gurdy, hurdy gurdy, hurdy gurdy gurdy" he sang
LALENA
Peak - #33 [2 wks] / Top 40 - 4 wks / Hot 100 - 6 wks / 73-57-37-37-33-33
written by Donovan & produced by Mickie Most / non-album single, recorded after the sessions for THE HURDY GURDY MAN album were completed / from the Cashbox review: "sweet strings accent a hauntingly beautiful folk-flavored ballad which gets stronger with each listen." / a version was recorded by Donovan & Marc Bolan, of T Rex, which has since been lost; a bootleg version surfaced in ‘78 with Paul McCartney on acoustic guitar & Donovan singing [likely recorded during sessions in ‘68 for Mary Hopkins’ first album, produced by McCartney, & on which Donovan played] / Donovan on the origins of song, which was based on his reaction to the role of Lotte Lenya in the film THE THREEPENNY OPERA: “She's a streetwalker, but in the history of the world, in all nations, women have taken on various roles from priestess to whore to mother to maiden to wife. This guise of sexual power is very prominent, and therein I saw the plight of the character. Women have roles thrust upon them and make the best they can out of them, so I'm describing the character Lotte Lenya is playing, and a few other women I've seen during my life, but it's a composite character of women who are outcasts on the edge of society.” / Donovan performed LALENA, HAPPINESS RUNS and I LOVE MY SHIRT on THE SMOTHERS BROTHERS COMEDY HOUR on 12/8/68 / LALENA first appeared on an album as one of 11 songs on GREATEST HITS, released in January ‘69, which included nine US/UK singles and SEASON OF THE WITCH, the popular album track from ‘66 / LALENA was also recorded by Trini Lopez on his album THE WHOLE ENCHILADA and by Deep Purple on their self-titled third album - both in ‘69, in Czech by Helena Vondráčková in ‘70, and by Jane Olivor on CHASING RAINBOWS in ‘77 / #31 on the Cashbox [sales only] chart; #22 in France, #42 in Belgium [Wallonia] & #71 in Australia
When the sun goes to bed
That's the time you raise your head
That's your lot in life, Lalena
Can't blame ya
Lalena
Arty-tart, la-de-da
Can your part get much sadder?
That's your lot in life, Lalena
Can't blame ya
Lalena
Run your hand through your hair
Paint your face with despair
That's your lot in life, Lalena
Can't blame ya
Lalena
When the sun goes to bed
That's the time you raise your head
That's your lot in life, Lalena
I can't blame ya
Lalena
Arty-tart, oh so la-de-da
Can your part ever get, ever get much sadder?
That's your lot in life, Lalena
I can't blame ya
No, no, no, Lalena
Oh, Lalena
TO SUSAN ON THE WEST COAST WAITING
Peak - #35 [2 wks] / Top 40 - 2 wks / Hot 100 - 6 wks / 67-57-50-35-35-50
written by Donovan & produced by Mickie Most / second song on Side two & first single released from Donovan’s seventh studio album BARABAJAGAL [#23 US] in the US / Donovan’s 12th Hot 100 single was his tenth to reach the Top 40 / #31 on the Cashbox [sales only] chart
Dear Susan, I know you love me so
But I want to hear it in my ear
You know I'd be there working at my craft
Had it not been for the draft
Dry up your tear and feel no fear
You're here with me like I'm there with you
To Susan on the west coast waiting
From Andy in Vietnam fighting
To Susan on the west coast waiting
From Andy in Vietnam fighting
I'm writing a note beneath a tree
The smell of the rain on the greenery
Our fathers have painfully lost their way
That's why, my love, I'm here today
Hear me when I say there will come a day
When kings will know and love can grow
To Susan on the west coast waiting
From Andy in Vietnam fighting
To Susan on the west coast waiting
From Andy in Vietnam fighting
To Susan on the west coast waiting
From Andy in Vietnam fighting
To Susan on the west coast waiting
From Andy in Vietnam fighting
Susan, I know you love me so
But I'd like to hear it in my ear
You know I'd be there working at my craft
Had it not been for the draft
Dry up your tear and feel no fear
You're here with me like I'm there with you
To Susan on the west coast waiting
From Andy in Vietnam fighting
To Susan on the west coast waiting
From Andy in Vietnam fighting
To Susan on the west coast waiting
From Andy supposedly hating
To Susan on the west coast waiting
From Andy in Vietnam fighting
b/w ATLANTIS
Peak - #7 [2 wks] in late May ‘69 / Top 10 - 4 wks / Top 20 - 8 wks / Top 40 - 10 wks / Hot 100 - 13 wks / 75-60-52-25-19-9-8-7-7-12-14-15-30 /
Donovan’s 4th Biggest US Hit / written by Donovan Leitch & produced by Mickie Most / relegated to the B-side of the single in the US because record company executives thought the song about the mythical antediluvian civilization with the spoken word beginning wasn’t a hit - but they missed the magic of the song; there was nothing like it on the radio & it became a counterculture anthem / Donovan’s fourth & final Top 10 hit in the US / rumors that Paul McCartney was involved in the recording are not true / cover versions: Georg Danzer in German - #19 in Austria in ‘84; German actor Feller in ‘99; re-recorded by Donovan for the German market for Disney’s animated film ATLANTIS: THE LOST CITY with German female group No Angels and released as a double A-side with No Angel’s WHEN ANGELS SING - #5 in Germany & Austria and #16 in Switzerland in ‘01 / ATLANTIS reached #9 on the Cashbox [sales only] chart; #1 in the Netherlands & Switzerland, #2 in New Zealand & West Germany, #4 in Austria & #9 in Belgium [Flanders]; and Top 20 in Canada [#12], Ireland [#13], Australia [#15], Belgium [Wallonia] [#17] and #23 in the UK
UK: [50-37-26-23-28-37-41-43]
The continent of Atlantis was an island
Which lay before the great flood
In the area we now call the Atlantic Ocean.
So great an area of land,
That from her western shores
Those beautiful sailors journeyed
To the South and the North Americas with ease,
In their ships with painted sails.
To the East Africa was a neighbour,
Across a short strait of sea miles.
The great Egyptian age is
But a remnant of The Atlantian culture.
The antediluvian kings colonised the world
All the Gods who play in the mythological dramas
In all legends from all lands were from far Atlantis.
Knowing her fate,
Atlantis sent out ships to all corners of the Earth.
On board were the Twelve:
The poet, the physician, The farmer, the scientist,
The magician and the other so-called Gods of our legends.
Though Gods they were -
And as the elders of our time choose to remain blind
Let us rejoice
And let us sing
And dance and ring in the new Hail Atlantis!
Way down below the ocean where I wanna be she may be,
Way down below the ocean where I wanna be she may be,
Way down below the ocean where I wanna be she may be.
Way down below the ocean where I wanna be she may be,
Way down below the ocean where I wanna be she may be.
My antediluvian baby, oh yeah yeah, yeah yeah yeah,
I wanna see you some day
My antediluvian baby, oh yeah yeah, yeah yeah yeah,
My antediluvian baby,
My antediluvian baby, I love you, girl,
Girl, I wanna see you some day.
My antediluvian baby, oh yeah
I wanna see you some day, oh My antediluvian baby.
My antediluvian baby, I wanna see you
My antediluvian baby, gotta tell me where she gone
I wanna see you some day Wake up, wake up, wake up, wake up,
oh yeah Oh club club, down down, yeah
My antediluvian baby, oh yeah yeah yeah yeah
GOO GOO BARABAJAGAL (Love Is Hot)
Peak - #36 [1 wk] in early September ‘69 / Top 40 - 2 wks / Hot 100 - 7 wks / 86-61-49-45-39-36-54
Donovan’s final Top 40 single in the US / the collaboration with The Jeff Beck Group featured Jeff Beck [on a borrowed Fender guitar because his hadn’t been delivered to the studio yet], Donovan on acoustic guitar & vocals, Ronnie Wood on bass, Micky Waller on drums, Nicky Hopkins on keyboards and backing vocals by Madeline Bell, Leslie Duncan & Suzi Quatro / credited to Donovan & the Jeff Beck Group and produced by Mickey Most / other songs by Donovan and The Jeff Beck Group were recorded but not released until the album BARABAJAGAL was re-issued in ‘05; [Rod Stewart was lead singer of JBG at the time but not involved in the recording session] / the BARABAJAGAL album was Donovan’s seventh - but like his previous five albums, it was not able to be released in the UK due to contractual issues; it reached #23 in the US / the title of GOO GOO BARABAJAGAL was inspired by the line "goo goo ga joob" in The Beatles’ I AM THE WALRUS / B-side of the ‘70 Czech single "Motejl Modrejl" (Mellow Yellow) by Czech singer-actor Václav Neckář; also covered by UK Hip Hop group The Love-in in ‘91 / featured in Season 5, Episode 15 “Ronnie Chase” of NIP/TUCK in ‘09 & in an international ad campaign for Heineken beer with Benicio del Toro in ‘15 / #28 on the Cashbox [sales only] chart; Top 20 in the UK [#12] & Austria [#17]; Top 40 in three countries - Netherlands [#23], Australia [#28] & Belgium [Wallonia] [#31]
UK: [44-25-18-12-14-14-33-43-46]
She came, she came to meet a man
She found an angel
Goo-goo, goo-goo, Barabajagal
Was his name, now
Goo-goo, goo-goo, Barabajagal
Was his name, now
Goo-goo, goo-goo, Barabajagal
Was his name, now
He very wise in the herbal lore
Has got your cure, now
She came, she came to free the pain
With his wildflower
Goo-goo, goo-goo, Barabajagal
Was his name, now
Goo-goo, goo-goo, Barabajagal
Was his name, now
Goo-goo, goo-goo, Barabajagal
Was his name, now
Goo-goo, goo-goo, Barabajagal
Was his name, now
Fine, fine, fine, fine celandine
He prepared for her
Tea, tea, tea, tea to make her free
While incense burned
In love pool eyes
Float feathers after the struggle
The hopes burst and shot joy
All through the mind
Sorrow more distant than a star
Multi-color run down over your body
Then the liquid passing all into all
(Love is hot, love is hot)
Love is hot, truth is molten
True, true, true, true the song he sang her
While the leaves cooked
Ting, ting, tiny little bell he rang her
Sleepily, she looked
He filled, he filled a leather cup
Holding her gaze
She took, she took a little sip
While this song he sang
Goo-goo, goo-goo, Barabajagal
Was my name, now
Goo-goo, goo-goo, Barabajagal
Was my name, now
Goo-goo, goo-goo, Barabajagal
Was my name, now
Goo-goo, goo-goo, Barabajagal
Was his name, now
Goo-goo, goo-goo, Barabajagal
Was my name, now
Goo-goo, goo-goo, Barabajagal
Was his name, now
Goo-goo, goo-goo, Barabajagal
Was my name, now
Goo-goo, goo-goo, Barabajagal
Was his name, now
Goo-goo, goo-goo, Barabajagal
Was his name, now
Goo-goo, goo-goo, Barabajagal
Was my name, now
Goo-goo, goo-goo, Barabajagal
Was my name, was my name, was my name
Goo-goo, goo-goo, Barabajagal
Was my name, now, now, now
Goo-goo, goo-goo, Barabajagal
Was my name, now
Goo-goo, goo-goo, Barabajagal
Eh-de-de-dah, oh, was my name
Goo-goo, goo-goo, Barabajagal
Was my name, now, yeah
Goo-goo, goo-goo, Barabajagal
Did you get that, did you get that, now?
Goo-goo, goo-goo, Barabajagal
Was my name, now
*#67] MONSTER MASH by Bobby Boris Pickett & the Crypt Kickers
LW #77 / 5 wks / 94-89-79-77-67 / 9th Biggest Jump on the Hot 100 - TIE [3] - 10 positions / even though it was early May, the Halloween novelty song was beginning to move up the chart
#68] MUSIC EVERYWHERE by Tufano & Giammarese
LW #69 / Peak - #68 [1 wk] / Hot 100 - 6 wks / 99-92-83-75-69-68 / only chart single for the former members of The Buckinghams, who had a string of five Top 12 Pop hits in just over a year - from January ‘67 to early February ‘68: KIND OF A DRAG [#1 - 2 wks] in February, DON’T YOU CARE [#6 - 1 wk] in May, MERCY, MERCY, MERCY [#5 - 1 wk] in August, HEY BABY (They’re Playing Our Song) [#12 - 2 wks] in October ‘67 & SUSAN [#11 - 3 wks] in Jan/Feb ‘68
*#69] SMOKE ON THE WATER by Deep Purple
LW #85 / 2 wks / 85-69 / 6th Biggest Jump on the Hot 100 - 16 positions / British Rock band’s sixth single on the Hot 100, dating to HUSH, which entered the chart on 8/17/68 & was their only Top 10 hit, to date
#70] FIRST CUT IS THE DEEPEST by Keith Hampshire
LW #70 / 7 wks / 100-85-80-74-70-70-70 / Canadian singer’s second US single was in a holding pattern at #70 for a third week - but in Canada, Hampshire had topped the RPM Pop chart for the week of 5/12/73 with his cover of the Cat Stevens song
#71] SWAMP WITCH by Jim Stafford
LW #76 / 4 wks / 88-81-76-71 / first chart single for the 29-year-old singer-songwriter-guitarist from Florida, who moved to Nashville as soon as he graduated from high school in the early ‘60s
#72] I’VE BEEN WATCHING YOU by The Southside Movement
LW #61 / Peak - #61 [1 wk] / Hot 100 - 8th wk [of 10] / 93-83-76-72-67-62-61-72-67-72 / only Hot 100 single for the backing band of Chicago Hard Soul duo Simtec & Wylie* / *[Walter “Simtec” Simmons & Wylie Dixon never charted on the Hot 100 but had a #29 Soul hit with GOTTA GET OVER THE HUMP in ‘71] / from the eight-man R&B-Funk band’s self-titled debut album on Wand Records in ‘73 / I’VE BEEN WATCHING YOU was a Top 20 Soul hit / the group recorded the albums MOVIN’ in ‘74 and MOVIN’ SOUTH in ‘75 - but the band broke up after the release of the third album / I’VE BEEN WATCHING YOU and SAVE THE WORLD, from the second album, have been featured on several compilation albums / I’VE BEEN WATCHING YOU has been “sampled” on eight different tracks by Rap/Hip-Hop artists, including The Beastie Boys, Jadakiss, Erykah Badu and Beck
*#73] SHAMBALA by B.W. Stevenson
LW #80 / 4 wks / 96-87-80-73 / the first chart single for the 23-year-old singer-songwriter, born in Dallas, Texas, had been on the Hot 100 for one week longer than Three Dog Night’s version, which was already in the Top 40
*#74] WHAT ABOUT ME by Anne Murray
LW #83 / 2 wks / 83-74 / Murray’s follow-up single to her second Top 10 hit, DANNY’S SONG, was her seventh on the Hot 100
*#75] A LETTER TO LUCILLE by Tom Jones
LW #88 / 7th Biggest Jump on the Hot 100 - TIE [2] - 13 positions / Peak - #60 [1 wk] / Hot 100 - 4th wk [of 8] / 93-91-88-75-85-66-63-60 / Tom Jones’ last single on the Parrot Records label was his 28th song on the Hot 100 & his 11th not to reach the Top 40 in the US / on the UK chart, A LETTER TO LUCILLE was Jones’ 22nd Top 40 hit, peaking at #31 [2 wks] in May ‘73
#76] I’M A STRANGER HERE by The Five Man Electrical Band
LW #78 / Peak - #76 [1 wk] / Hot 100 - 7 wks / 97-87-83-79-78-78-76 / fourth US single for the Canadian band & their lowest charting single to date, following SIGNS [#3 - 1 wk / Gold] in August & ABSOLUTELY RIGHT [#26 - 2 wks] in November ‘71; and MONEY BACK GUARANTEE [#72 - 2 wks] in Sept/Oct ‘72 / but I’M A STRANGER HERE was the band’s highest charting single in Canada, peaking at #2, topping both SIGNS [#4] & ABSOLUTELY RIGHT [#3]
#77] TIME TO GET DOWN by The O’Jays
LW #81 / 3 wks / 90-81-77 / 14th single on the Pop chart for the three-man vocal group, dating to September ‘63, & their fourth on Philadelphia International Records, dating to BACK STABBERS, in July ‘72
#78] AVENGING ANNIE by Andy Pratt
LW #79 / Peak - #78 [1 wk] / Hot 100 - 6th wk [of 10] / 94-91-86-80-79-78-98-85-85-95 / written by Andy Pratt for his self-titled second album & first on Columbia Records; the single was Pratt’s only appearance on the Hot 100; both the song & album received favorable reviews but neither sold well, with the album peaking at #192 on Billboard’s Top 200 album chart / Roger Daltrey recorded AVENGING ANNIE for his third solo album, ONE OF THE BOYS, changing the song from first person to third person / Pratt’s first album, RECORDS ARE LIKE LIFE, was released on Polydor Records in ‘69 & re-released in ‘71; since his second album, Pratt has released three albums on Nemperor Records [from ‘76 to ‘79], one each on Enzone Records [‘82] & Lamborghini Records [‘83], four on GMI [from ‘86 to ‘93], the compilation album RESOLUTION: THE ANDY PRATT COLLECTION on Razor & Tie Records in ‘96, & one album on Highway Records [‘98]; in the new millennium, Pratt released nine albums on itsaboutmusic.com from ‘03 to ‘08, one on CoraZong Records in ‘04, four on Forward Motion Records from ‘10 to ‘14, one on Independent in ‘13, and his most recent album, DO YOU REMEMBER ME?, came out on Continental Record Services in ‘15 / AVENGING ANNIE was the B-side of a Columbia promo single of Bruce Springsteen’s BLINDED BY THE LIGHT single and appeared in the ‘98 film VELVET GOLDMINE, set in the UK Glam Rock scene of the early ‘70s
*#80] A PASSION PLAY (Edit 8) by Jethro Tull
LW #87 / 3 wks / 100-87-80-84-92 / the English band’s third chart single was from their sixth album, A PASSION PLAY [#1 US / Gold / #9 Australia / #16 UK / Silver] / the tour following the ambitious concept album was considered the band’s best use of staging but overall, the album received negative reviews
*#81] I’D RATHER BE A COWBOY by John Denver
LW #90 / 2 wks / 90-81 / follow-up single to Denver’s second Top 10 hit, ROCKY MOUNTAIN HIGH, which spent four weeks in the Top 10 with two weeks at #9 in early March ‘73
#82] WHAT A SHAME by Foghat
LW #82 / Peak - #82 [2 wks] / Hot 100 - 6 wks / 96-93-87-85-82-82 / the second US single by the British Rock band peaked one position higher than the first, their cover of I JUST WANT TO MAKE LOVE TO YOU; both were produced by Dave Edmunds & released on the Bearsville label
#84] CALIFORNIA SAGA (On My Way To Sunny Californ-i-a) by The Beach Boys
LW #86 / Peak - #84 [1 wk] / Hot 100 - 4 wks / 91-88-86-84 / 39th chart single by the southern California band but their 13th not to reach the Top 40 / written by band member Al Jardine & produced by The Beach Boys; from the album HOLLAND [#36 US / #37 Australia / #12 Canada / #20 UK / Silver], which also included their previous single, SAIL ON SAILOR; third song of the album’s “California Saga” trilogy on Side one, followed Mike Love’s BIG SUR & THE BEAKS OF EAGLES, written by Robinson Jeffers, Al Jardine & Lynda Jardine / Jardine: "We came down to the studio to do a mix-down so [Brian] could get home. Then suddenly, [he] came in and said, 'Give me a microphone.' He walked straight in. I hadn't seen him for a month. He walked up to the microphone and started singing, 'I'm on my way to sunny Californ-i-a.' He then left the microphone and walked out."; Wilson later confirmed Jardine’s recollection, saying the song “lift[s] your spirits up.”; Bruce Johnston had left the band several months earlier but acknowledged in a ‘13 interview that he did sing on the track: "I had to secretly come down and do vocals. Al told me, 'I've got this track 'California Saga' and I want you to sing on it.' That's a cool track, and I sang background on that uncredited." / the song fared slightly worse in Canada, where it only reached #85
peaking at #37, CALIFORNIA SAGA b/w SAIL ON SAILOR was The Beach Boys’ 20th UK Top 40 hit, dating to ‘63; in the US, the band had 26 Top 40 hits, dating to ‘62 - but their last US Top 40 hit was in ‘69; a number of big hits in the US did not perform as well [or chart] in the UK and vice versa, including two Top 10 UK hits, which did not chart in the US
The Beach Boys’ 20 Top 40 Hits in the UK / 26 Top 40 Hits in the US
1962
SURFIN’ SAFARI - UK [Did Not Chart] / US [#14 - 2 wks]
1963
SURFIN’ USA [50-43-34-34-38-36-38] / US [#3 - 1 wk]
b/w SHUT DOWN - UK [Did Not Chart] / US [#23 - 1 wk]
SURFER GIRL - UK [Did Not Chart] / US [#7 - 2 wks]
b/w LITTLE DEUCE COUPE - UK [Did Not Chart] / US [#15 - 1 wk]
BE TRUE TO YOUR SCHOOL - UK [Did Not Chart] / US [#6 - 1 wk]
b/w IN MY ROOM - UK [Did Not Chart] / US [#23 - 1 wk]
1964
FUN FUN FUN - UK [Did Not Chart] / US [#5 - 1 wk]
I GET AROUND [46-32-20-11-10-8-8-7-9-15-21-30-34] / US [#1 - 2 wks]
b/w DON’T WORRY BABY - UK [Did Not Chart] / US [#24 - 1 wk]
WHEN I GROW UP (To Be A Man) [45-44-__-40-33-27-37-45] / US [#9 - 2 wks]
1965
DANCE DANCE DANCE [39-31-24-26-27-39] / US [#8 - 2 wks in ‘64]
DO YOU WANNA DANCE - UK [Did Not Chart] / US [#12 - 2 wks]
HELP ME RHONDA [33-31-30-28-33-27-29-30-38-36] / US [#1 - 2 wks]
CALIFORNIA GIRLS [44-32-31-26-28-28-33-37] / US [#3 - 2 wks]
1966
THE LITTLE GIRL I ONCE KNEW - UK [Did Not Chart] / US [#20 - 1 wk]
BARBARA ANN [35-8-6-3-5-5-9-14-19-30] / US [#2 - 2 wks]
SLOOP JOHN B [36-13-5-3-2-6-6-9-13-16-19-19-21-33-36] / US [#3 - 1 wk]
WOULDN’T IT BE NICE - UK [Did Not Chart] / US [#8 - 1 wk]
b/w GOD ONLY KNOWS* [34-16-5-3-2-2-3-5-8-16-21-25-31-41] / US [#39 - 1 wk]
GOOD VIBRATIONS [15-5-1-1-2-2-5-9-11-11-15-23-36] / US [#1 - 1 wk]
1967
THEN I KISSED HER [34-19-12-4-5-5-8-10-16-24-34] / US [Did Not Chart]
HEROES AND VILLAINS [26-13-12-8-12-13-21-28-34] / US [#12 - 2 wks]
WILD HONEY [35-29-29-42-41-42] / US [#31 - 2 wks]
1968
DARLIN’ [32-25-17-15-12-14-16-13-11-14-17-22-29-38] / US [#19 - 2 wks]
FRIENDS [38-33-29-25-29-34-44] / US [#47 - 2 wks]
DO IT AGAIN [46-26-17-11-4-1-2-3-5-7-12-20-23-30] / US [#20 - 2 wks]
BLUEBIRDS OVER THE MOUNTAIN [48-41-33-34-42] / US [#61 - 2 wks]
1969
I CAN HEAR MUSIC [47-26-27-20-18-18-10-11-12-18-26-33-45] / US [#24 - 1 wk]
BREAK AWAY [29-21-8-7-6-8-11-17-22-27-34] / US [#63 - 1 wk]
1970
COTTONFIELDS [46-32-14-12-7-5-6-5-6-7-10-14-19-19-25-29-37] / US [Did Not Chart]
1973
CALIORNIA SAGA [44-37-42-37-45] / US [#84 -1 wk]
*#86] DON’T LET IT GET YOU DOWN by The Crusaders
LW #96 / 9th Biggest Jump on the Hot 100 - TIE [3] - 10 positions / Peak - #86 [1 wk] / Hot 100 - 4th wk [of 5] / 100-96-96-86-88 / fourth single by the band and second since dropping “Jazz” from their name in ‘72
#88] YOUR SIDE OF THE BED by Mac Davis
LW #89 / Peak - #88 [1 wk] / Hot 100 - 5th wk [of 6] / 95-90-89-89-88-95 / sixth chart single for Country-Pop singer Davis & the third straight since his #1 hit BABY DON’T GET HOOKED ON ME not to come close to the Top 40
#91] TOGETHER WE CAN MAKE SUCH SWEET MUSIC by The Spinners
LW #93 / Peak - #91 [2 wks] / Hot 100 - 4th wk [of 5] / 97-93-93-91-91 / recorded in ‘68 and released by Motown Records, attempting to capitalize on the vocal group’s two Top 5 Philly Soul hits in late ‘72 & early ‘73 / written by R. Drapkin & M. Coleman and produced by Clay McMurray
#92] THINK by James Brown
LW #92 / Peak - #77 [1 wk] / Hot 100 - 3rd wk [of 5] / 94-92-92-77-80 / Brown’s 80th single in his 16 years on the Pop chart
#93] BROTHER’S GONNA WORK IT OUT by Willie Hutch
LW #94 / 3 wks / 97-94-93 / first solo single for the 28-year-old Motown producer & songwriter, born William McKinley Hutchinson in Los Angeles in early December ‘44
#94] OUTLAW MAN by David Blue
LW #95 / Peak - #94 [1 wk] / Hot 100 - 4 wks / 99-95-95-94 / David Blue, born David Cohen in February ‘41, in Providence, Rhode Island, was the son of a Jewish father and an Irish-French Canadian Catholic mother; he quit school at 17 and joined the Navy but was soon discharged due to his "Inability to adjust to a military way of life." / he became a part of the early ‘60s Greenwich Village Folk music scene with Bob Dylan, Phil Ochs, Dave Van Ronk, Tom Paxton, Bob Neuwirth & Eric Andersen / OUTLAW MAN was the first track on Blue’s fifth album, NICE BABY AND THE ANGEL, produced by Graham Nash; others playing on the album, besides Blue & Nash, were David Lindley & Dave Mason / the song is best known for being included on the Eagles’ second album, DESPERADO [#41 US / 2x Platinum / #31 Australia / #35 Canada / Gold / #39 UK / Silver], released in April ‘73 - the only track on the album not written or co-written by band members / the Eagles’ cover was released as the album’s second single b/w CERTAIN KIND OF FOOL and reached #59 on the Hot 100 in late October ‘73 / David Blue released seven solo albums between ‘66 & ‘76 - one on Reprise Records, two on Elektra Records & four on Asylum Records [also the Eagles’ label] / Blue toured with Bob Dylan as part of his Rolling Thunder Review in ‘75-‘76 and appeared in RENALDO AND CLARA, the film made by Dylan during the tour / Blue also appeared in other films & onstage - THE AMERICAN FRIEND in ‘77, TV film THE ORDEAL OF PATTY HEARST in ‘79, play AMERICAN DAYS in ‘80, and HUMAN HIGHWAY in ‘83 / David Blue died of a heart attack at the age of 41 while he was jogging in Washington Square Park in New York City in December ‘82
#95] WHAT’S YOUR MAMA’S NAME by Tanya Tucker
LW #99 / Peak - #86 [1 wk] / Hot 100 - 2nd wk [of 4] / 99-95-86-96 / second single on the Pop chart for the 14-year-old Country singer, followed her breakthrough hit DELTA DAWN from the summer of ‘72, which reached #72 [1 wk] on the Pop chart in early August [#6 Country / #3 Canada Country] / WHAT’S YOUR MAMA’S NAME, written by Dallas Frazier & Earl Montgomery and produced by Billy Sherrill was Tucker’s first #1 [of ten] on Billboard’s Country chart & her second #1 on Canada’s RPM Country chart
#97] COME LIVE WITH ME by Roy Clark
LW #98 / Peak - #89 [1 wk] / Hot 100 - 2nd [of 3 wks] / 98-97-89 / fifth Pop chart single for the Country singer & co-star of HEE HAW, with the first charting in the summer of ‘63; his most recent on the Pop chart was in November ‘70
#98] C’UM ON FEEL THE NOIZE by Slade
LW #100 / Peak - #98 [1 wk] / Hot 100 - 2 wks / 100-98 / fourth US single by the UK hitmakers was their lowest charting so far, following TAKE ME BAK ‘OME [#97 - 2 wks] in Sept/Oct ‘72, and MAMA WEER ALL CRAZEE NOW [#76 - 1 wk] in January & GUDBUY T’ JANE [#68 - 1 wk] in mid-April / on the UK charts, C’UM ON FEEL THE NOIZE was the band’s sixth Top 10 hit - all Top 5 - and fourth #1, debuting in the top spot / the band would have no more singles chart in the US until a pair of Top 40 singles in ‘84 [after Quiet Riot had a #5 Gold hit with C’UM ON FEEL THE NOIZE in ‘83]
SLADE’S TOP 10 UK HITS
COZ I LOVE YOU
Peak - #1 [4 wks] in Nov/Dec ‘71 / Top 10 - 8 wks / Top 20 - 10 wks / Top 40 - 13 wks / Top 50 - 15 wks / 26-8-1-1-1-1-3-3-3-14-16-25-31-50-44
LOOK WOT YOU DUN
Peak - #4 [3 wks] in Feb/Mar ‘72 / Top 10 - 5 wks / Top 20 - 7 wks / Top 40 - 10 wks / Top 50 - 10 wks / 25-9-4-4-4-8-13-18-28-38
TAKE ME BAK ‘OME
Peak - #1 [1 wk] in early July ‘72 / Top 10 - 6 wks / Top 20 - 9 wks / Top 40 - 11 wks / Top 50 - 13 wks / 25-14-3-2-1-3-3-8-16-18-28-43-49
MAMA WEER ALL CRAZEE NOW
Peak - #1 [3 wks] in early September ‘72 / Top 10 - 6 wks / Top 20 - 7 wks / Top 40 - 10 wks / Top 50 - 10 wks / 2-1-1-1-3-7-15-27-33-39
GUDBUY T’ JANE
Peak - #2 [1 wk] in mid-December ‘72 / Top 10 - 8 wks / Top 20 - 9 wks / Top 40 - 11 wks / Top 50 - 13 wks / 8-4-3-2-6-6-5-9-14-31-35-41-44
C’UM ON FEEL THE NOIZE
Peak - #1 [4 wks] in March ‘73 / Top 10 - 6 wks / Top 20 - 8 wks / Top 40 - 10 wks / Top 50 - 11 wks / 1-1-1-1-2-7-13-19-26-32-41
Slade would continue its streak of Top 5 UK hits with another six - for 12 straight through Oct/Nov ‘74, including two more #1s: SKWEEZE ME PLEEZE ME [#1 - 3 wks] in June/July & MY FRIEND STAN [#2 - 1 wk] in October ‘73, MERRY XMAS EVERYBODY [#1 - 5 wks] in Dec ‘73-Jan ‘74, EVERYDAY [#3 - 1 wk] in April, BANGIN’ MAN [#3 - 1 wk] in mid-July, and FAR FAR AWAY [#2 - 2 wks] in Oct ‘74 / between ‘75 & ‘84, Slade charted eight Top 15 hits, including four more Top 10s; their two Top 40 hits in the US in ‘84 were Slade’s final Top 10 hits in the UK