Billboard's #1 Pop Singles

[I Am A Swede]

Here are two other songs called "Cara Mia":

First we have Spanish disco duo Baccara, most famous for the 1977 smash hit "Yes Sir, I Can Boogie"

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Then we have Swedish singer Måns Zelmerlöw from Melodifestivalen (the Swedish qualification for the Eurovision Song Contest) 2007. He ended up in 3rd place.

[I Am A Swede]

I think "Ferry Cross The Mersey" should have reached #1, and definitely "The Tracks of My Tears". Here's a wonderful (in my opinion anyway) version of the latter, by Jamaican-born singer Ruby Turner.

http://www.youtube.com/watch?v=VWI3C1w0de8

It appeared on her 1988 album "The Motown Songbook" where she sang classics from Motown. It's a great album, with guest performances by among others The Four Tops and The Temptations.

[I Am A Swede]

Here's part II of the recap for 1965:

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[Max]

You have such an optimistic way at looking at things, Alphanguy! Thank you so much for these wonderful end-of-year recaps. (And thank you for Part II, I Am A Swede.)

Here are the songs of 1965 I felt were most deserving of #1 status (not all of which appeared on the recap):

Cara Mia - Jay & the Americans (#4) [i agree that this song is absolute perfection.]

Down in the Boondocks - Billy Joe Royal (#9)

Do You Believe in Magic - The Lovin' Spoonful (#9)

Hold Me, Thrill Me, Kiss Me - Mel Carter (#8)

In the Midnight Hour - Wilson Pickett (#21)

It Ain't Me Babe - The Turtles (#8)

Keep on Dancing - The Gentrys (#4)

The Tracks of My Tears - The Miracles (#16) [This is definitely one of this group's best songs.]

Unchained Melody - The Righteous Brothers (#4)

You're the One - The Vogues (#4)

MissLlanviewPA, I apologize for waiting so long to respond to you. I should tell you that I absolutely despise "Dominique," though. However, thank you for sharing that commercial that featured "Big Girls Don't Cry." I certainly remember that commercial, but for some reason, I mistakenly thought the song was used in a Johnson & Johnson Shampoo ad instead of one for Pert Plus.

[Max]

This slipped my mind, but I also forgot to mention "You've Got Your Troubles" by the Fortunes (which peaked at #7) among the 1965 songs that should have peaked at #1.

I never knew that about Bo Donaldson and the Heywoods.

There were twenty-seven #1 hits in 1966. The first of these songs was "The Sounds of Silence" by Simon & Garfunkel, which spent two non-consecutive weeks at the top spot: the weeks ended 1/1/66 & 1/22/66.

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Paul Simon (born 11/5/42 in Newark) and Art Garfunkel (born 10/13/42 in Queens) first met each other when they were in a 6th grade play at a Queens school. In 1957, they recorded as Tom & Jerry (Art was "Tom" and Paul was "Jerry") and charted in "Billboard" with the #49 "Hey, Schoolgirl" (an Everly Brothers-inspired tune). At one time, it looked like the duo was going to build upon this success, as they soon made an appearance on "American Bandstand." Unfortunately, subsequent efforts flopped, and Simon & Garfunkel had difficulty staying in touch during their college years (as they went their separate ways).

As the early-60s drew to a close, the two men's interests began to shift to folk music. Shortly after JFK's assassination, Simon wrote "The Sounds of Silence," and the duo recorded the song on March 10, 1964. Yet, because this record also flopped upon initial release, the duo decided to split up (having failed to make the top 40 even once).

In the summer of 1965, a Boston radio station played "The Sounds of Silence," and it became a popular local hit. Right after Bob Dylan recorded "Like a Rolling Stone," producer Tom Wilson decided to overdub the original 1964 recording of "Silence" with "electric guitar, bass, and drums." The fact that this new version of the tune peaked at #1 came as a complete surprise to Paul and Art, as they were not even consulted about the changes Wilson had made to their song. Though both men strongly disapproved of the changes Wilson made, they soon reunited and cut more tunes in the same folk rock vein. Over a dozen top 40 hits would follow, including two more number ones.

[MissLlanviewPA]

"Bridge Over Troubled Water" actually went to number one in 1970 on the same day I would be born 19 years later--February 28th.

[DRW50]

Of all the Simon and Garfunkel hits, Sounds of Silence is probably one I listen to least. It's a little ponderous for me.

[alphanguy74]

I like it myself... it's one of my favorites of theirs. But then again, I like ponderous. I will say that I like another version of it much BETTER... and that was the version by Peaches and Herb from 1971. It barely squeaked into the Billboard charts at Number 100. But it's GOOD.

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[DRW50]

That's a great cover. I can sort of see why it wasn't a hit, as it's such a huge departure, but it's good. They also sound like they would have been perfect to sing PBS kids show songs from the early 70s.

[quartermainefan]

I dont like that Peaches and Herb version at all. The tune is almost unrecognizable, and the tune is the songs biggest selling point. I can see why this song never got much traction.

[Max]

Though I like some of Simon & Garfunkel's songs (and quite a few of Simon's solo hits), I find "The Sounds of Silence" and "Bridge Over Troubled Water" to be way too depressing.

The first of two Beatles records to top the Hot 100 in 1966 was "We Can Work It Out," which spent three weeks at number one (not all of which were consecutive): the weeks ended 1/8/66, 1/15/66, & 1/29/66.

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I mentioned earlier that despite sharing songwriting credit, John Lennon and Paul McCartney usually penned tunes separately. However, occasionally one of the two men would write a song and go to the other for guidance; such was the case with "We Can Work It Out." Paul had written most of the lyrics and music for the record when he asked John for his advice. Lennon's response was to write a more sobering bridge to contrast with the hopeful message McCartney was relaying. As Lennon stated in a 1980 interview to "Playboy": "But you've got Paul writing, 'We can work it out/We can work it out' -- real optimistic, y'know, and me, impatient: 'Life is very short and there's no time/For fussing and fighting, my friend...'"

The flip side of "We Can Work It Out" was "Day Tripper." It peaked at #5 in America. Across the Atlantic, however, the song's popularity was on par with "We Can Work It Out," and the result was a double-sided British chart-topper (the group's ninth in their home country).

Before the Beatles were to top the American charts again, John Lennon uttered his most infamous comments. On March 4, 1966, the Beatle was interviewed by Maureen Cleave of the "Evening Standard" (a British newspaper). (She was interviewing each Beatle individually for a series titled "How Does a Beatle Live?") Cleave had noticed a large number of books written by intellectuals on John's bookshelf, which got the conversation centered on Christianity. Lennon told Cleave that "Christianity will go. It will vanish and shrink. I needn't argue about that. I'm right and I will be proved right. We're more popular than Jesus now. I don't know which will go first--rock 'n' roll or Christianity. Jesus was all right but his disciples were thick and ordinary. It's them twisting it that ruins it for me."

Surprisingly, these comments did not cause any backlash in Britain. It was not until late July when the American magazine "Datebook" printed them that fans in the United States became aware of these highly offensive comments. Some radio stations (mostly in the South) banned Beatles music in response, and a small number of bonfires were organized where teens could burn their Beatles merchandise. (Negative reaction wasn't just limited to the United States: there were public protests against the Beatles in Mexico City, and several radio stations in Spain and South Africa also decided to ban the band's music.)

I know that a lot of folks probably have their own views regarding Lennon's Jesus comments. While I certianly respect those who disagree with my view that Lennon's comments were "highly offensive," as well as those who believe that the reaction to them was overly harsh, I can only imagine the huge s#itstorm that would result if Adele were to ever state "I'm more popular than Muhammad now" (as well as the massive number of death threats that would come her way).

[DRW50]

This song has always seemed very slight to me.

As for Bridge over Troubled Water, Garfunkel's vocals are so pure and clear I just love them.

[alphanguy74]

We can work it out... once again, a fine song, and one I enjoy in the hands of a good singer and producer. This version by Petula Clark shows the song in a much more attractive light:

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[quartermainefan]

That Petula Clark version is, once again, a slowed down shmaltzed up version turning an upbeat song into a mopey dirge. I think time has rendered a verdict on the Beatles and they were not found lacking. Were their superior voices? Absolutely. Did every superior voice cut a superior recording of their song? Not from the citations offered in this thread as far as I can see.

[alphanguy74]

For some reason, I just feel that "We Can Work It Out" is a song that the lyrics lend itself better to a slower pace. I know I dump on the Beatles alot, but it's only from a vocal and production standpoint. Ironically, I think they ALL sounded way better in their solo records from the 70's.. all FOUR of them. And I enjoyed the productions much more.