Billboard's #1 Pop Singles

[Max]

Carl, you are correct on this matter. According to Wikipedia, the Sara Lee Corporation (which had acquired the Jimmy Dean Sausage Company) rudely dropped Dean as commercial pitchman in 2004 because he was "too old."

As indicated earlier, Qfan, I'm a huge Dion fan as well. "Runaround Sue" deserved to spend a lot more than two weeks at #1.

The very first Motown record to top the pop chart was "Please Mr. Postman" by The Marvelettes, which spent one week at number one: the week ended 12/11/61.

<iframe width="420" height="315" src="http://www.youtube.com/embed/_dVt11UZ0uA" frameborder="0" allowfullscreen></iframe>

Berry Gordy, Jr. had once operated a record store and worked as an employee of the Ford Motor Company. Gordy had a talent for songwriting, and co-wrote a beloved R&B classic for Jackie Wilson (who surprisingly never joined the Motown family) called "Lonely Teardrops" (which peaked at #7 in 1959). Because Berry felt he received too little in royalties from the success of "Lonely Teardrops," he formed a new record company in 1959 called Motown. Success came slowly at first, as the company initially made a dent when Barrett Strong's "Money (That's What I Want)" reached #23 in 1960. Finally, Motown had its first huge hit in early 1961 when "Shop Around" by the Miracles (led by the legendary William "Smokey" Robinson) peaked at #2.

Like the Miracles, the Marvelettes were actually signed to Motown's Tamla subsidiary label (as opposed to the Motown label itself). (Gordy actually wanted to call this label "Tammy"--after the Debbie Reynolds chart-topper--but was unable to do so due to copyright issues.) The Marvelettes were lead by Gladys Horton and came from the Detroit suburb of Inkster. The quintet's biggest influences were the Chantels (who were the most prominent girl group of the 50s) and the Shirelles, and their early-60s songs can best be thought of as belonging to the "girl group" sound (as opposed to the Motown sound that defined future labelmates like the Supremes and Martha & the Vandellas). It should also be noted that the group's original name was the Casinyets (a play on "can't-sing-yet"), and that Gordy renamed them the Marvelettes.

The Marvelettes were never able to duplicate the success of "Please Mr. Postman." In 1962, the group scored with two "Please Mr. Postman" copycats: "Playboy" (#7) and "Beechwood 4-5789" (#17). After the group grew cold, Wanda Young took over the role of lead singer, and three more top 20 hits followed: "Don't Mess With Bill" (#7, 1966), "The Hunter Gets Captured by the Game" (#13, 1967), and "My Baby Must Be a Magician" (#17, 1968). Perhaps the group's fortunes would have been vastly different if they had agreed to record "Where Did Our Love Go" (the first of twelve #1 hits for the Supremes); unfortunately, Horton refused because she thought it was a stupid song. (The Supremes, on the other hand, were so low on the totem pole that they could not afford to complain about anything at the time.)

"Please Mr. Postman"--a song that featured Marvin Gaye on drums--was taken to #1 again in 1975 by the Carpenters (whose version, IMO, was far inferior to that of the Marvelettes). In 1962, Motown would score a small handful of top ten hits, the most popular being the Contours' dance classic, "Do You Love Me" (which reached #3). The following year, the company would have its second chart-topper courtesy of one of its most enduring artists.

Before I conclude, I just wanted to take a moment to point out what an amazing year 1961 was in pop music. (It is my all-time favorite year in music history.) Even if you just limit it to songs that reached number one, you have so many gems including "Will You Love Me Tomorrow," "Blue Moon," "Runaway," "Quarter to Three," "Take Good Care of My Baby," "Runaround Sue," and "Please Mr. Postman."

[alphanguy74]

The Marvelettes are a group that was marred by tragedy. Gladys Horton left the group around 1967, becuse she gave birth to a son that was severely stricken with Cerebal Palsy. Later in the 70's, Wanda Rogers (Who is still alive today in a nursing home) descended into drugs, alcohol, and mental illness after her sister was shot to death right in front of her. Their last album was really a Wanda Rogers solo album "The Return Of The Marvelettes" in 1972. Smokey, who produced it, felt the name Marvelettes would carry more publicity power, but the album flopped (and Wanda is pictured on the cover with the two female members of the Undisputed Truth, partially masked by leaves, and blurry focus) I never thought Please Mr. Postman was all that... I have always felt the song was very overrated. But not nearly as HORRIBLE as the later followup, "Twistin Postman".. that was God Awful. However, the Marvelettes did record what I consider one of the best, most infectious dance songs Motown EVER turned out, and it is the one I feel deserved to be their biggest hit:

http://www.youtube.com/watch?v=T0XLRk-_cIo&feature=related

[alphanguy74]

Before we roll into 1962, here's a review of the many hits of 1961... the number ones mixed in with other memorable top 40 hits 100 songs in all!:

[DRW50]

I love, love, love, love Beechwood.

http://www.youtube.com/watch?v=ucu83CZKeGg

The best part of Please Mr. Postman was "deliver de letter, de sooner de better."

They had a real silkiness in songs like Hunter is Captured by the Game. That song is very ahead of its time.

The Carpenters had a big hit with Please Mr. Postman. Their last big hit.

[quartermainefan]

Max (and everyone)

if you enjoy the music and the time period, I would like to recommend one of my favorite movies of all time, "The Wanderers" set in the early 60s and which makes good use of the music

<iframe width="480" height="360" src="http://www.youtube.com/embed/3ZW5RJovRac" frameborder="0" allowfullscreen></iframe>

[Max]

Qfan, "The Wanderers" seems like an excellent period piece. Based upon watching the clip posted above, the movie certainly did make very good use of early-60s music.

Alphanguy, I love those yearly highlight "jukeboxes" that you share with us. However, I am very sorry to hear about all the tragedies which beset the Marvelettes.

The final chart-topper of 1961--"The Lion Sleeps Tonight" by The Tokens--held the peak position for three weeks: the weeks ended 12/18/61, 12/25/61, & 1/6/62. (Note that there was a twelve day period from 12/25/61 to 1/6/62, as "Billboard" magazine switched its issue date back to Saturday. Yet, for whatever reason, chart historians consider "The Lion Sleeps Tonight" to have only spent three weeks at #1.)

<iframe width="420" height="315" src="http://www.youtube.com/embed/_LBmUwi6mEo" frameborder="0" allowfullscreen></iframe>

The Tokens were a white doo-wop group from Brooklyn that consisted of Hank Medress, brothers Mitch & Phil Margo, and lead singer Jay Siegel. (I don't know why there are five peope in the above photo/video.) Though the group actually wanted to call itself "Those Guys," they were discouraged from doing so because just about all group names back then began with the word "the." Medress then came up with "the Tokens," after a group with whom he previously performed (that included Neil Sedaka among its members).

This new incarnation of the Tokens first had a hit with "Tonight I Fell in Love," which peaked at #15 earlier in 1961. (While "The Lion Sleeps Tonight" is an enjoyable tune, I much prefer the traditional sounding "Tonight I Fell in Love.") As a follow-up single, the group released "The Lion Sleeps Tonight." This iconic song actually was a re-write of a South African folk tune titled "Wimoweh," which had eariler been performed by both Miriam Makeba and the Weavers. The success of "The Lion Sleeps Tonight" would not end with the Tokens: Robert John's cover version reached #3 in 1972, and the song became a phenomenon all over again in 1994 as a result of Disney's "The Lion King."

The staying power of the Tokens did not match that of "The Lion Sleeps Tonight." In fact, the group would only score three more minor top 40 hits: "I Hear Trumpets Blow" (#30, 1966), "Portrait of My Love" (#36, 1967), and "In the Midnight Hour" (#30, 1973). (The group recorded the last of these three tunes under the monkier of "Cross Country.") However, the Tokens did experience considerably better fortunes as producers, working with such artists as the Chiffons, Randy & the Rainbows, the Happenings, and Tony Orlando & Dawn.

[DRW50]

That's certainly a classic song, although not one of my favorites.

Robert John's version is too high-pitched for me.

[alphanguy74]

Lion Sleeps tonight is not a song I liked too much, primarily because I have a limited liking for Falsetto. They did a couple intersting things in the early 70's, first this song... which was used for clairol shampoo commercials:

http://www.youtube.com/watch?v=-Kfv0cgsWjw&feature=related

And they also sung one of the installments for ABC's Schoolhouse Rock in 1974:

http://www.youtube.com/watch?v=duE75hjqxd0&feature=related

And I agree, Carl. I don't like Robert John's version, either.

[alphanguy74]

I found the 1970 commercial. Thye recorded a alternate version for this, as was typical:

[Max]

I've heard Robert John's version of "The Lion Sleeps Tonight," and I didn't think it was that awful. However, I think that the original version is better (though I am not a big fan of the song regardless of who performs it).

I loved that "Victim of Gravity" clip from "School House Rock" (sang by the Tokens), because I am a big fan of retro-50s songs made in the 70s or 80s.

After already having reached #1 in 1960, Chubby Checker's "The Twist" also held the top spot the weeks ended 1/13/62 & 1/20/62. It would be the most popular "Twist" inspired song--"Peppermint Twist - Part 1" by Joey Dee & the Starliters--that would become the first of nineteen "new" number one hits of 1962. "Peppermint Twist - Part 1" spent three weeks at the peak position: the weeks ended 1/27/62, 2/3/62, & 2/10/62.

<iframe width="420" height="315" src="http://www.youtube.com/embed/I_yvSObrlBU" frameborder="0" allowfullscreen></iframe>

Like the Shirelles, Joey Dee (born Joseph DiNicola on 6/11/40) attended Passaic (NJ) High School. At around age 18, Joey formed a group with some other guys, and they decided to call themselved the Starliters. After getting experience playing at clubs in northern NJ, they were offered a job as the house band at Manhattan's prestigious Peppermint Lounge. (Located on West 45th Street, the Peppermint Lounge was noteworthy--at the time--for being the place where New York's elite gathered.)

As mentioned previously, "The Twist" by Chubby Checker went to #1 the second time around largely as a result of its newfound popularity among adults. To capitalize on the Twist craze (which obviously was very popular at the Peppermint Lounge), Dee & the Starliters performed their own "Twist" song titled "Peppermint Twist." While it is an enjoyable tune, I consider three other "Twist" inspired records to be far superior: "Let's Twist Again" by Chubby Checker (#8, 1961), "Twistin' the Night Away" by Sam Cooke (#9, 1962), and "Twist and Shout" by the Isley Brothers (#17, 1962). (The Isley's version of "Twist and Shout" was far better than that of the Beatles, even though they took the song to #2 in 1964.)

Joey Dee & the Starliters scored four more top 40 hits, listed below:

"Hey, Let's Twist" (#20, 1962)

"Shout - Part 1" (#6, 1962)

"What Kind of Love Is This" (#18, 1962)

"Hot Pastrami With Mashed Potatoes - Part 1" (#36, 1963)

The group also appeared in the following movies: "Hey, Let's Twist" and "Two Tickets to Paris." Note that the first two songs mentioned above were featured in the film "Hey, Let's Twist," while "What Kind of Love Is This" was featured in "Two Tickets to Paris."

Although the group's success dried up after the early-60s, future members would include Eddie Brigati (brother of original Starliter David Brigati), Gene Cornish, Felix Cavaliere, and Jimi Hendrix; aside from the legendary Hendrix, these other men would later join with Dino Danelli to form the (Young) Rascals.

[DRW50]

That song is so catchy.

[alphanguy74]

Here is part 2:

[Max]

Part 2 of "Peppermint Twist" is definately inferior to Part 1. However, I really appreciate you sharing that, Alphanguy, as I had never before listened to Part 2.

Carl and Alphanguy, just out of curiosity, what are your favorite "Twist" inspired songs?

Although doo-wop did not enjoy anywhere near the success in 1962 that it experienced in 1961, one of the finest moments in that genre's history occurred when "Duke of Earl" by Gene Chandler spent three weeks at number one: the weeks ended 2/17/62, 2/24/62, & 3/3/62.

<iframe width="420" height="315" src="http://www.youtube.com/embed/dIrQy_YKark" frameborder="0" allowfullscreen></iframe>

Eugene Dixon was born on July 6, 1937 in Chicago. He was lead singer of an R&B vocal group called the Dukays, who scored some minor hits (that failed to make the top 40) on Nat Records with "The Girl's a Devil" and "Night Owl." At the same session that produced "Night Owl," the Dukays recorded a timeless treasure titled "Duke of Earl." The original idea was to start the song with a "doo...doo...doo" intro, but this--in turn--became the famous "duke...duke...duke" chant. This tune was about a Duke of Earl simply because one of the members of the Dukays happened to be named Earl.

Unfortunately, a problem arose for the Dukays when executives at Nat disliked "Duke of Earl" and refused to release it. Another label--Chicago's Vee-Jay Records--loved the song. (Prior to Motown, Vee-Jay was the most successful black-owned record label. At one time or another, its artist roster included the Spaniels, the El Dorados, the Dells, Dee Clark, Jerry Butler, Betty Everett, and Gladys Knight & the Pips. Two of the biggest white artists of the 60s--the Four Seasons and the Beatles--also had several of their early tunes released on Vee-Jay.) In order to avoid legal issues, Vee-Jay Records did not bill "Duke of Earl" as being performed by the Dukays. Rather, they assigned Dixon the stage name of Gene Chandler (the last name came about because Jeff Chandler was the favorite actor of Gene's producer, Carl Davis) and claimed "Duke of Earl" was a "solo" recording.

For a brief period of time, Chandler became very famous for his public persona of the "Duke," sporting a cape, top hat, and cane! Yet, he sadly wouldn't have another top 40 hit until 1964's "Just Be True," which peaked at #19. (By this time, Chandler had left Vee-Jay.) Gene's second biggest single, "Groovy Situation" (#12, 1970), would be his sixth and final top 40 entry.

[DRW50]

I always forget the same man did Duke of Earl and Groovy Situation.

Duke of Earl is another classic. "And I...in my dukedom..." I think they based an entire Married WIth Children episode on the song.

My favorite "Twist" song is the Sam Cooke one.

[DRW50]

http://www.youtube.com/watch?v=nwJ3FMLlrSQ