Billboard's #1 Pop Singles

[Max]

"For Once in My Life" is one of Wonder's best songs of the 60s. I never before knew that it was a cover tune.

Parts I and II were a combined total of nearly seven minutes. Because that was way too long for a single (back in those days), Part I and Part II were put on opposite sides of the record (with only the second part gaining popularity). I couldn't find Part I in isolation, but here is the entirety of "Fingertips." (I actually never understood the title, though one person specualted that it was because a blind man uses his fingertips to read Braille. Such an explanation is certainly as good as any.)

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Carl, you are absolutely right when you stated that "Sloop John B" was on "Pet Sounds." I handn't recently researched this era in pop music history, and I mistakenly thought that "Pet Sounds" was the album that contained "Good Vibrations" (when that tune was actually part of the "Smile" project). Thank you for correcting me, and I apologize for my error.

Despite the fact that it was on "Pet Sounds," I personally don't consider "Sloop John B" to have been a big departure from the Beach Boys' previous sound. I know that a lot of people consider all Beach Boys music prior to "Pet Sounds" and "Smile" to be "surf music," but I personally have a much more narrow definition of what surf music is. (Although my definition is certainly not fact, but rather merely opinion.)

[Max]

One of the most recognizable songs of the girl group genre is "My Boyfriend's Back" by The Angels, which spent three weeks at number one: the weeks ended 8/31/63, 9/7/63, & 9/14/63.

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The Angels were a trio from Orange, NJ that originally comprised lead singer Linda Jansen and sisters Barbara & Phyllis Allbut. The group's first hits came in 1962, with "'Til" (a beautiful ballad that peaked at #14) and the less successful "Cry Baby Cry" (#38). In the latter part of that year, Jansen left the Angels and a new lead vocalist--Peggy Santiglia--took her place.

In 1963, the girls recorded "My Boyfriend's Back," which was a song written and produced by Robert Feldman, Jerry Goldstein, and Richard Gottehrer (who collectively would later be known as the Strangeloves, scoring a #11 hit with 1965's "I Want Candy"). Though the Angels' rendition of this tune was actually intened to be a demo for the Shirelles, the recording was released as is. Despite the monster success "My Boyfriend's Back" became, the trio was able to place only one more song on the top forty: "I Adore Him" (which fizzled at #25 in late 1963).

"My Boyfriend's Back" was #1 the week that Martin Luther King gave his "I Have a Dream" speech (on 8/28/63).

[DRW50]

I have to admit I'm not a big fan of this song, aside from the riff at the end.

[alphanguy74]

I never cared for "My Boyfriend's Back". I just found it kind of shallow and silly. The vocal almost comes off as snotty. This is one of those songs that should have been the lesser hit, and "Till" should have been the number one. I mean, how gorgeous is this? It's unbelievable to me that this was not a bigger hit than it was:

And Linda Jansen was TEN TIMES the lead vocalist that Peggy was.

There was also a cheesy TV movie in the late 80's based around the song, starring some unlikely people:

http://www.youtube.com/watch?v=D6rt7nCGCrw

[DRW50]

Jill Eikenberry trying to be sultry is kind of surreal.

[quartermainefan]

I could see how My Boyfriend's Back could rise to #1. It is targeted at teenaged girls and they all probably projected this song onto their own boyfriends in a fantasy world where the guys would fight for their honor if need be. It's cute and catchy. I prefer songs like "Walking In The Sand" and "Leader Of The Pack" though.

[Max]

Although "'Til" was the better song (and I was shocked when I first learned that it only reached #14), I enjoy "My Boyfriend's Back" as well.

Bobby Vinton's second number one hit was his signature song (as well as my favorite recording of his), "Blue Velvet." This romantic oldie held the peak position for three weeks: the weeks ended 9/21/63, 9/28/63, & 10/5/63.

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Alphanguy had previously shared with us a Vinton tune titled "Blue on Blue," which the singer himself was confident would hit #1. Though it fell a little short (when it peaked at #3 the week ended 7/6/63), the record's huge success resulted in Bobby recording a whole album of "blue" songs, ranging from "Blue Hawaii" to "Blue Moon" to "Mr. Blue" to "Am I Blue."

Another one of the recordings included on that album was "Blue Velvet." While Mr. Vinton's rendition is no doubt the definitive version of this song, Tony Bennett scored a #16 hit with it back in 1951 (and the Clovers went to #14 on the R&B chart with their recording in 1955). Surprisingly, Bobby saw zero hit potential for "Blue Velvet," believing instead that "Am I Blue" would be the smash.

Less than three months after "Blue Velvet" fell from the #1 position, the Polish Prince would return to the chart zenith.

[DRW50]

Blue Velvet is certainly quite a song, impeccably sung and styled. It also reflects an otherworldiness which is a good fit for where America was starting to hurtle towards. Bobby Vinton had such a unique voice which plows right through the traps of that era like the pointless background singers.

I think many will always associate it with the David Lynch film.

[Max]

Carl, I have to disagree with you about the backgroud singers on "Blue Velvet." I know they are sappy, but I think they add a lot of atmosphere to the song.

The most popular song of 1963 (at least if you limit things to just performance on the pop chart) was "Sugar Shack" by Jimmy Gilmer & the Fireballs, which was number one for five weeks: the weeks ended 10/12/63, 10/19/63, 10/26/63, 11/2/63, & 11/9/63.

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The Fireballs originally began as an instrumental group, and accumulated three modest hits: "Torquay" (#39, 1959), "Bulldog" (#24, 1960), and "Quite a Party" (#27, 1961). Legendary producer Norman Petty (who played major roles in the careers of Buddy Holly and Buddy Knox, amongst others) was responsible for introducing the group to vocalist Jimmy Gilmer (born 9/15/40 in Chicago), who was active in the Amarillo, TX music scene.

Keith McCormick (who was a member of the String-a-Longs, a group known for their instrumental classic--"Wheels"--which peaked at #3 in 1961) co-wrote a tune called "Sugar Shack," and presented it to Gilmer & the Fireballs; the group subsequently recorded the song in Petty's Clovis, NM studio. The song was released in May 1963 and was slow to catch on at first (with its appeal being limited to the Albuquerque, Dallas, and Oklahoma City areas). However, once "Sugar Shack" began to receive airplay in Canada and the Detriot area, it exploded in popularity.

For their follow-up, Gilmer & the Fireballs released a sound-a-like titled "Daisy Petal Pickin,'" which stalled at #15 in early 1964. Though the British Invasion killed their career, the group managed one comeback hit, 1968's "Bottle of Wine." This record--which sounds very different from "Sugar Shack"--was the act's only other top ten hit, peaking at #9. Gilmer and the Fireballs parted ways the following year, and Jimmy would later hold the title of VP of Southern Operations for CBS Songs.

IMO, while "Sugar Shack" is a decent tune, it is far from the best song of 1963. I am surprised that it was so popular.

[alphanguy74]

I think it's memorable hook is what really made the song. I am surprised it remained at number one for so long, myself. I had always wondered about the "Put on some trash" line.... is he talking about music or clothes? And yes, Max... this is the biggest song of 1963, it was also number one on the Billboard year end chart. The top ten of the Billboard year end chart of the biggest songs of the year is as follows:

1: Sugar shack- Jimmy Gilmer and the Fireballs

2: Surfin Usa- Beach Boys

3: End Of The World - Skeeter Davis

4: Rhythm of the rain - Cascades

5: He's So fine - Chiffons

6: Blue Velvet - Bobbby Vinton

7: Hey Paula - Paul and Paula

8: Fingertips, Part II - Stevie Wonder

9: Washington Square - The Village Stompers

10: It's Allright - The Impressions

And her is "Bottle Of Wine"... I still here this fairly frequently on oldies stations today:

http://www.youtube.com/watch?v=N66H4RiyE0s

[Max]

I was thinking that if one looked at all the "Billboard" charts, then "The End of the World" might have been the most popular song of the year. That's because it reached #1 Adult Contemporary, #2 Pop, #2 Country, and #4 R&B (which marks the only time in history that a record placed in the top ten in all four of the major charts). (While it is hard to believe that songs which had little to do with R&B music placed on highly on that chart, it happened quite frequently at one time. Because of this, "Billboard" discontinued its R&B chart in November 1963 and did not bring it back until January 1965.)

The "Billboard" year-end chart (which you referenced) was obviously based solely on how songs performed on the Pop chart during the year. Yet, even though they are "official," I have often questioned their accuracy. Chart historian Fred Bronson once wrote a book titled "'Billboard's' Hottest Hot 100 Hits," where he ranked each song on a year by year basis. To measure a record's popularity, I believe that he would give it a score of 100 for every week it spent at #1, a 99 for every week it spent at #2, a 98 for every week it spent at #3, etc. (and then sum the numbers to find a total). Based on this methodology, the top ten tunes of 1963 were as follows:

1. Sugar Shack - Jimmy Gilmer & the Fireballs

2. Dominique - The Singing Nun

3. He's So Fine - The Chiffons

4. Blue Velvet - Bobby Vinton

5. Hey Paula - Paul & Paula

6. Go Away Little Girl - Steve Lawrence

7. Louie Louie - The Kingsmen

8. My Boyfriend's Back - The Angels

9. Fingertips (Pt. II) - Little Stevie Wonder

10. Sukiyaki - Kyu Sakamoto

Regarding the "Put on some trash line," I always thought it referred to clothes.

[Max]

The second of 1963's three chart-toppers performed by male/female duos was the dreamy "Deep Purple" by Nino Tempo & April Stevens, which was number one for one week: the week ended 11/16/63.

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Nino Tempo (born 1/6/35 as Antonino LoTempio) and April Stevens (born 4/29/36 as Carol LoTempio) were a brother and sister team originally from Niagara Falls, NY. Both siblings had been successful prior to joining forces: April scored a top ten hit in 1951 with "I'm in Love Again," while Nino was a session musician who played the saxophone and clarinet. (Nino's musical interest was sparked at age seven, when he sang at a Benny Goodman concert.)

It was the idea of Atlantic Records executive Ahmet Ertegun to pair brother and sister together. Towards the end of a recording session, Tempo & Stevens recorded a popular standard called "Deep Purple." This song was first written in 1933 (with lyrics added in 1938), and six years later experienced huge success when performed by Larry Clinton & His Orchestra (with Bea Wain on vocals). (An R&B version by the Dominoes was a more modest success, peaking at #20 in 1957.) During Nino & April's recording session, a "mistake" occurred. According to Stevens, "Nino was supposed to sing the second chorus by himself. He didn't know the words, so I started speaking them to him." Though Tempo originally hated the way his sister handled this situation, he eventually came around. Ahmet Ertegun also despised "Deep Purple," believing that "it was the most embarassing thing [they] had ever recorded."

Nino & April charted with two additional standards as well (both of which reached their peak positions in 1964): "Whispering" (#11) and "Stardust" (#32). The duo's only other top forty hit came with "All Strung Out" (#26, 1966).

The British hard rock band known as Deep Purple was indeed named after this song, because it was the favorite tune of guitarist Ritchie Blackmore's grandmother. (However, the verison of "Deep Purple" that she loved was most definately not the Tempo & Stevens rendition.)

[DRW50]

It cracks me up that they disliked the exact part which always made me dislike this song (the narration).

[alphanguy74]

Their version of Deep Purple is absolutely revolting. I agree with Ahmet, and how awful must it be to have your biggest hit be your worst recording. 1963 had a good number of songs that went to number one that made you go "WTF?" Thee were a lot of great songs, but also a hefty amount of stinkers this year, and this is one reason I think the US music market was ripe for the picking with the british invasion. Nino and April had alot of talent, and and deserved more success with better songs. they DID, but for some strange reason they didn't go really BIG. "All Strung Out" is a total MASTERPIECE, and it's a crime this song wasn't the number one hit, and "Deep Purple" the #26.

And one more thought... Nino Tempo was one GORGEOUS hunk of man.

[Max]

"All Strung Out" sounds like a Righteous Brothers song.

This is a great observation. While I actually like "Deep Purple," I consider "Walk Right In," "Sukiyaki," "Fingertips (Pt. II)," and another song (that will succeed the record I am about to profile) to be 1963's #1 WTF moments.

History was made when "I'm Leaving It Up to You" by Dale & Grace knocked "Deep Purple" out of the peak position, as this marked the first (perhaps only) time one male-female duet succeeded another at #1. "I'm Leaving It Up to You" spent two weeks atop the Hot 100: the weeks ended 11/23/63 & 11/30/63.

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Dale Houston (4/23/40 - 9/27/07) and Grace Broussard (born in 1944) were both from the state of Louisiana. Dale, who was from the town of Ferriday (best known as the home of Jerry Lee Lewis), previously had a minor chart success with the #75 single "Lonely Man." Grace--who was a native of Prairieville--possessed experience as a member of her older brother's cajun band.

"I'm Leaving It Up to You" (a tune that was written and first released by Donald Harris & Dewey Terry, Jr. in 1957) was initially recorded by Dale alone. However, since the result was disappointing, producer and label owner Sam Montel decided to pair him up with Grace. Due to the huge success of the record, the duo was asked to be a part of Dick Clark's "Caravan of Stars." Not only was "I'm Leaving It Up to You" the #1 song when JFK was assassinated, but the duo actually saw the president moments before he died. According to Montel, "in the morning [in Dallas, on Friday, November 22], myself and Dick Clark, along with Dale and Grace, Bobby Rydell, Jimmy Clanton, and Brian Hyland stood on the steps of our hotel, and as President Kennedy's motorcade turned onto Elm Street we applauded the President and his wife. Three blocks later, the tragedy happened. We went back to our rooms and didn't find out about it until three hours later."

Dale & Grace's only other hit was the identical sounding "Stop and Think It Over," which peaked at #8 in early 1964. "I'm Leaving It Up to You" became a smash once more when Donny & Marie Osmond took the tune to #4 in 1974. By an odd coincidence, that duo also scored with a cover of "Deep Purple," which went to #14 two years later.