Chart Digging: Mid-October 1964

Having been distracted and interrupted last time out by the Everly Brothers’ “Gone, Gone, Gone” and the resulting covers, I went back this morning to the Billboard Hot 100 for October 17, 1964, forty-seven years ago last Monday.

A look at that week’s Top Ten is intriguing:

“Do Wah Diddy Diddy” by Manfred Mann
“Dancing In The Street” by Martha & The Vandellas
“Oh, Pretty Woman” by Roy Orbison & The Candy Men
“We’ll Sing In The Sunshine” by Gale Garnett
“Last Kiss” by Frank Wilson & The Cavaliers
“Remember (Walkin’ In The Sand)” by the Shangri-Las
“A Summer Song” by Chad & Jeremy
“It Hurts To Be In Love” by Gene Pitney
“When I Grow Up (To Be A Man)” by the Beach Boys
“Let It Be Me” by Betty Everett & Jerry Butler

Boy, with the exception of Manfred Mann’s No. 1 record and the Chad & Jeremy tune, that Top Ten looks pretty much like the British Invasion had been thwarted at the Atlantic shore. (Gale Garnett was New Zealand-born but came to the U.S. before she was ten, and her record is pretty close to traditional pop or maybe even country; the recording academy called it folk and gave her a Grammy for it.) There are all sorts of sounds and styles in that Top Ten.

What I wondered was: Where were the Beatles when we got to mid-October? I found their cover of Carl Perkin’s “Matchbox” sitting at its peak of No. 17, and “Slow Down” was sitting at No. 39, on its way to No. 25. They hadn’t had a Top Ten record since “A Hard Day’s Night” topped the charts in August (although they’d had seven records in the Hot 100 during that time, four of them – including “Matchbox” and “Slow Down” – peaking in the Top 40.) This was, in fact, a minor lull, one that would end in five or so weeks, with Beatles releasing four Top Ten hits – “I Feel Fine,” “She’s A Woman,” “Eight Days A Week” and “Ticket To Ride” – between early December 1964 and late April 1965.

As to other Brit groups and performers, the highest I find is the Honeycombs, whose “Have I The Right” was sitting at No. 20 on its way to No. 5. In the rest of the Top 40, we find numerous British acts – the Nashville Teens, Billy J Kramer & The Dakotas, the Animals and others – so this is a chart that shows the transition created by the British Invasion underway but not complete, as I see it.

I should note that the Top Ten would be, for the most part, a good stretch of listening. I love “Do Wah Diddy Diddy” and “Dancing In The Street,” and – with one exception – the rest of those ten are good, if not favorites. The exception? I dislike “Last Kiss” intensely.

As always, though, I did some digging for nuggets in the lower portions of that Hot 100 from forty-seven years ago, and found a few things worth some attention. Among them is another tune about bereavement: “Death of an Angel” by the Kingsmen. With its garage-rock rhythm and riffs, it almost seems to be a better fit for 1966 than 1964, but then, the Kingsmen’s “Louie, Louie” always sounds like it belongs to a year later than 1963, when it went to No. 2. “Death of an Angel” didn’t do nearly as well as “Louie, Louie”, though. Forty-seven years ago this week, it was sitting at No. 53, on its way to a peak of No. 42. (The Kingsmen would have their second and last Top Ten hit in early 1965 with the novelty “Jolly Green Giant.”)

In October 1964, Columbia still hadn’t figured out what to do with Aretha Franklin. She’d had eleven records in or near the Hot 100, but only one of them had found its way into the Top 40, and not that far in at that: “Rock-A-Bye Your Baby With A Dixie Melody” had gone to No. 37 in the autumn of 1961. Columbia would eventually give up, and starting in 1967, Aretha would become a legend on Atlantic. But in the autumn of 1964, Columbia was still trying, and in mid-October, Aretha’s “Runnin’ Out Of Fools” was sitting at No.78, on its way to No. 57. (The record went to No. 30 on the R&B chart.) I don’t know how the studio version sounded, but when Aretha sang the song on the December 2, 1964, episode of Shindig!, there were hints of the Aretha to come:

Garnet Mimms is probably best known for recording the original version of “Cry Baby,” the Bert Berns/Jerry Ragovoy song that Janis Joplin covered on 1971’s posthumously released Pearl. Mimms’ 1963 version – credited to Garnet Mimms & The Enchanters (although Joel Whitburn notes that the backing singers were actually the Sweet Inspirations) – went to No. 4 on the pop chart and spent three weeks atop the R&B chart. After that, two late 1963 records with the Enchanters reached the lower half of the Top 40, another peaked at No. 78, and two 1964 solo releases stalled short of the Top 40. So in mid-October 1964, Mimms was still seeking another Top Ten hit, and his “Look Away” was sitting at No. 89. The record didn’t do all that well – peaking at No. 73 – but what interests me is that the song tells pretty much the same tale as did Dionne Warwick’s “Walk On By” when it went to No. 6 in the spring of 1964.

The records presented here when I do my chart digging are generally lesser-known titles (sometimes deservedly so) or by lesser-known performers (ditto). But last evening, the RealPlayer settled on Jackie DeShannon’s original version of “When You Walk In The Room,” and when I saw the Searchers’ cover listed at No. 97 in the October 17, 1964, Hot 100, I knew that I had to offer it here. The Liverpool group’s defining hit, “Needles and Pins,” had gone to No. 13 in the spring of 1964, and four more singles reached the Hot 100 by the end of the summer, with two of those reaching the Top 40. “When You Walk In The Room” would peak at No. 35, and why it didn’t go higher is a mystery to me (as is the fact that DeShannon’s original only got to No. 99 in January of 1964). Both versions are great records.

I mentioned the Ventures in my last post, noting that the group placed “twenty-five records in or near the Hot 100, including Top Ten hits in 1960 and 1964 with two versions of ‘Walk – Don’t Run’ and then in 1969 with ‘Hawaii Five-O’.” I also noted that I like pretty much anything the Ventures did, and that includes the cover of “Slaughter on 10th Avenue” that was bubbling under the Hot 100 at No. 109 when mid-October rolled around in 1964. The record would go to No. 35 and would be the group’s last Top 40 hit until “Hawaii Five-O” rolled around in 1969. (It’s interesting to note that the flip side of “Slaughter” also got a little airplay, bubbling under at No. 135: “Rap City” was based on Johannes Brahms’ familiar “Hungarian Rhapsody No. 5.”)

I know next-to-nothing about the Chartbusters. Whitburn’s Top Pop Singles tells me that they were a garage-rock band from Washington, D.C., and that earlier in 1964, they’d had “She’s The One” go to No. 33. (Based on my listening this morning, I’d never heard the record before.) They were back on the chart in mid-October, when “Why (Doncha Be My Girl)” was bubbling under at No. 122. A decent piece of garage rock, the record would get to No. 92. The Chartbusters had one more record of note: A live version of “New Orleans” would bubble under for one week at No. 134 during the summer of 1965.

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One Response to “Chart Digging: Mid-October 1964”

  1. Some of the biggest acts of the past several decades have had hits with half of that Top Ten’s songs – Willie Nelson “Let It Be Me,” Aerosmith “Remember (Walkin’ In The Sand),” Pearl Jam “Last Kiss,” and Van Halen with “Pretty Woman” and “Dancing In The Street.”

    (that just stood out to me for some reason)

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