I wrote my first screenplay in the spring of 1969. For a final project in a mass media class, I chose to adapt one of my favorite science fiction stories – “One Love Have I” by Robert F. Young – into a screenplay.
The results were mixed: I learned a lot about narrative, pacing and the use of language as I worked with Young’s meditation on love, loss, sacrifice and the Theory of Relativity; but then, I had a lot to learn. I came across my work not quite three years ago, when the Texas Gal and I were packing for storage those things we wanted to keep but did not need to have at hand. As I glanced through it, I saw immediately that as I’d written, I’d invested little effort in thinking visually, a major deficit in a piece intended for a visual medium.
Still, I was only fifteen in the spring of 1969, and for a first try at what was essentially a new language, the screenplay wasn’t bad. And I did get an A on it.
What else was happening as April of 1969 unreeled? I know Rick and Rob and I played table-top hockey. (Rick’s Chicago Blackhawks brought him his second Stanley Cup.) I spent weekday afternoons – as I chronicled here once before – in the St. Cloud Tech training room, overseeing the whirlpool and making certain that none of the distance runners drowned there.
And I think that more and more, I was listening to Top 40 radio. I hadn’t yet moved Grandpa’s old RCA radio from the basement workbench to my room, but that shift – a key moment in my listening life – wasn’t many weeks away. Sometime that spring, I’d lay down cash in a Minneapolis department store for my first 45 of popular music, buying the record that headed the Top Ten on this day in 1969:
“Aquarius/Let The Sunshine In (The Flesh Failures)” by the 5th Dimension
“You’ve Made Me So Very Happy” by Blood, Sweat & Tears
“Dizzy” by Tommy Roe
“Galveston” by Glen Campbell
“Time of the Season” by the Zombies
“Only the Strong Survive” by Jerry Butler
“It’s Your Thing” by the Isley Brothers
“Hair” by the Cowsills
“Run Away Child, Running Wild” by the Temptations
“Twenty-Five Miles” by Edwin Starr
With the exception of the Tommy Roe record, which I’ve never liked, that’s a fine set. Given the hoo-ha over the nude scene in the stage version of Hair, and given the family image of the Cowsills, my sister and I were a bit puzzled by the group’s recording of the musical’s title track. “I didn’t think they’d record a song like that,” my sister said to me one day as KDWB provided the soundtrack as we did the dishes. The song, of course, was benign, just as the brief nude scene would be for most folks these days, forty-two years later.
As usual, there were some interesting things in the chart that week, and we’ll start our exploration of the Billboard Hot 100 just beyond the edge of the Top 40.
I once spent an entire post dissecting my thoughts about the Doors, returning to an earlier conclusion that they were a fine singles band but an overrated album band. While making that judgment, I don’t know if I thought about “Wishful Sinful” from The Soft Parade. One of the lesser known Doors’ singles, it was sitting at No. 45 that week, and would move up only one more notch before heading back down the chart. With that, “Wishful Sinful” was the first of four straight singles by the band that would reach the Hot 100 but fall short of the Top 40. (The others? “Tell All The People” and “Runnin’ Blue” from The Soft Parade would peak at Nos. 57 and 64, respectively, and the double-sided “You Make Me Real/Roadhouse Blues” from Morrison Hotel would get to No. 50.) Pulled from the context of its album, “Wishful Sinful” is better than I recalled.
Earthquakes were the inspiration for the only Hot 100 single by a California band called Shango. The group’s reggae-styled single “Day After Day (It’s Slippin’ Away)” was at No. 57 on the chart released forty-two years ago today, and would move no higher. “Where can we go when there’s no San Francisco?” the group asked. “Better get ready to tie up the boat in Idaho.” A year later, Shango’s single, “Some Things A Man’s Gotta Do,” went to No. 107 in the Hot 100’s Bubbling Under section. Other than that, the only other thing I know about Shango – and this is courtesy of Joel Whitburn’s Top Pop Singles – is that Tommy Reynolds, Shango’s lead singer, was later a member of Hamilton, Joe Frank & Reynolds.
The Foundations are best-known for “Build Me Up Buttercup” (No. 3 in early 1969) and “Baby, Now That I’ve Found You” (No. 11 in 1968). In mid-April of 1969, their lesser-known “In Those Bad, Bad Old Days (Before You Loved Me)” was sitting at No. 64, heading to a peak position of No. 59. The English group would have one more record reach the Hot 100 – “My Little Chickadee” would get to No. 99 during the summer of 1969 – and their last mentioned record in Top Pop Singles was “Stoney Ground,” which bubbled at No. 113 for one week in February 1972. “In Those Bad, Bad Old Days” isn’t awful, but it’s not very good, either.
For some reason, obscure covers of Beatles records are among my favorite things to discover. And last evening, as I was beginning the digging for this post, I came across a Beatles cover that surprised me. Not only had I never heard it before, but until last evening, I’d had no clue that it existed. Here’s Chubby Checker taking on “Back In The U.S.S.R.”
The record was at No. 85 in the Billboard Hot 100 released on this date in 1969, the thirty-third record Checker had placed in the Hot 100 (along with two that bubbled under). “Back In The U.S.S.R.” wouldn’t go much higher, spending the last week of April and the first week of May at No. 82 before falling off the chart. It would be another thirteen years – 1982 – before Checker would show up in the charts again, when “Running” went to No. 91 and “Harder Than Diamond” got to No. 104. And in 1988, “The Twist (Yo, Twist!),” credited to “The Fat Boys with Chubby Checker,” went to No. 16 on the pop chart and to No. 40 on the R&B chart, Checker’s last appearance on the charts.
At No. 91, we find Dusty Springfield’s sultry “Breakfast in Bed.” The B-side of her “Don’t Forget About Me” single (which went to No. 64), “Breakfast in Bed” would go no higher. To my ears, it deserved much more, being at least on a par with “Son Of A Preacher Man,” which had gone to No. 10 earlier in 1969. All three of those tracks – along with Springfield’s next charting single, “The Windmills of Your Mind/I Don’t Want To Hear It Anymore” (Nos. 31 and 105) – came from the sessions that resulted in the glorious Dusty In Memphis album, which had been released that March.
Finally, dipping into the Bubbling Under section of the April 12, 1969, chart, we find Al Wilson, whose “I Stand Accused” was perched at No. 107. In early 1968, Wilson’s “Do What You Gotta Do” had gotten to No. 102, and then two of his singles had climbed into the Hot 100 – “The Snake” went to No. 27 in 1968, and “Poor Side of Town” had reached No. 75 earlier in 1969. “I Stand Accused” would, however, climb only one spot more before disappearing. Not quite five years later, of course, Wilson’s brilliant “Show and Tell” would spend a week at No. 1.