Thursday, November 28, 2019

50 years ago: The Rolling Stones released Let It Bleed

Let It Bleed

The Rolling Stones


Released: November 28, 1969


Peak: 3 US, 11 UK, 4 CN, 2 AU


Sales (in millions): 3.0 US, 0.3 UK, 6.0 world (includes US and UK)


Genre: classic rock


Tracks:

Song Title (Writers) [time] (date of single release, chart peaks) Click for codes to singles charts.

  1. Gimme Shelter [4:31] (11/28/98, 1 CL, 29 AR, 42 CN)
  2. Love in Vain [4:19] (Robert Johnson) (13 CL)
  3. Country Honk [3:09]
  4. Live with Me [3:33] (14 CL)
  5. Let It Bleed [5:26] (1/70, 5 CL)
  6. Midnight Rambler [6:52] (5 CL)
  7. You Got the Silver [2:51] (1/70, B-side of “Let It Bleed,” 25 CL)
  8. Monkey Man [4:12] (7 CL)
  9. You Can’t Always Get What You Want [7:28] (7/4/69, 42 US, 34 CB, 36 HR, 1 CL, 1 AU)

All songs written by Mick Jagger and Keith Richards unless noted otherwise.


Total Running Time: 42:21


The Players:

  • Mick Jagger (vocals, harmonica, acoustic guitar)
  • Keith Richards (guitar, backing vocals)
  • Brian Jones (congas, autoharp)
  • Bill Wyman (bass, autoharp, vibraphone)
  • Charlie Watts (drums)
  • Mick Taylor (guitar)
  • Nicky Hopkins (piano, organ)
  • Ian Stewart (piano on “Let It Bleed”)

Rating:

4.617 out of 5.00 (average of 31 ratings)


Quotable: --


Awards: (Click on award to learn more).

About the Album:

The Rolling Stones were in turmoil when they recorded Let It Bleed. Brian Jones, the guitarist who originally lead the group, was booted during the sessions for his serious drug problem. He died less than a month later. His final work appears on two tracks on the album. Songs “’Monkey Man,’ ‘Let It Bleed’ and ‘You Can’t Always Get What You Want’ cast a sharp writer’s eye on the decay seeping into the Stones’ camp, proving that Mick had become more than a pair of lips and hips.” IB As such, Let It Bleed “finds the band, for perhaps the first time, accurately reflecting the spirit of its age. [They] now found themselves firmly in the center of the social and political post-‘68 whirlwind, and faced up to the challenge magnificently.” CDU

In bridging their past with their future, Let It Bleed showcases “every role the Stones have ever played…swaggering studs, evil demons, harem keepers and fast life riders—what the Stones meant in the Sixties” RS – while also signaling the beginning of the ‘70s as the Stones reached “for an uncertain mastery over the more desperate situations the coming years are about to enforce.” RS

“The erstwhile bad boy outsiders of rock” CDU “confident climb to its artistic peak” CDU “was begun by Beggar’s Banquet, but Let It Bleed is a quantum leap even from that musical milestone.” CDU Those two albums and 1971’s “Sticky Fingers formulated the Stones’ stadium sound and established their louche swagger, camp raunch and sometimes-cod-sometimes-retro sensibilities as the lasting blueprint of international rock’n’roll.” QM

“Refining the country and blues-print of Beggars Banquet, Let It Bleed is less of an homage than its predecessor, as the songs begin to reflect the personalities that drive them.” IB “But the entire album, although a motley compound of country, blues and gospel fire, rattles and burns with apocalyptic cohesion.” RS500

Musically, Keith Richards played more guitar than ever and offered up a “musical vision…more intimate than ever, incorporating the restrained rhythm playing that would become his calling card.” IB There are also “spirited, soulful contributions from…Nicky Hopkins, and new boy Mick Taylor,” IB who filled in on guitar on two tracks. In addition, Ry Cooder and Al Kooper appear.

Fittingly, Let It Bleed “contains some of the band’s most eerie hits” AZ as it “extends the rock & blues feel of Beggar’s Banquet into slightly harder-rocking, more demonically sexual territory.” AMG

Gimme Shelter “came to symbolize not only the catastrophe of the Stones’ free show at Altamont but the death of the utopian spirit of the 1960s.” RS500 The song “is the sound of a frantically braking freight train about to crush the ‘60s under its wheels” IB as it “leads us decisively out of Flower Power and into a world where rape and murder are ‘just a shot away.’” CDU

With “its insuating guitar introduction” CDU and “shimmering guitar lines and apocalyptic lyrics” AMG throughout, the song “builds on the dark beauty of the finest melody Mick and Keith have ever written.” RS The song “slowly [adds] instruments and sounds until an explosively full presence of bass and drums rides…into the howls of Mick and…Mary Clayton.” RS “She can stand up to Mick and match him, and in fact, she steals the song.” RS “The Stones have never done anything better.” RS

“The Stones take their last significant look at pure blues…and country…before folding both styles into a cohesive rock & roll vision.” AZ In regards to the latter, the Stones offer up “the spare country settings of Country Honk,” IB “the two-stepping alter ego of ‘Honky-Tonk Women.’” AZ

“It’s thrilling to hear Keith’s exuberance [on that] and his first solo spot, You Got the Silver,” IB “a haunting ride through the diamond mines,” RS that displayed both the country and blues elements. As for the lead vocal duties, Keith He apparently earned the role after an engineer accidentally erased Jagger’s version.

Nowhere was the Stones bluesy nature on better display than the “spooky” AZ and “brilliant revival of Robert Johnson’s exquisite Love in Vain,” RS “a mandolin-accompanied highlight.” CDU That song and “Silver” “were as close to the roots of acoustic down-home blues as the Stones ever got.” AMG

In the album’s middle trifecta, “the Stones prance through all their familiar roles, with their Rolling Stones masks on, full of lurking evil, garish sexuality, and the hilarious and exciting posturing of rock and roll Don Juans.” RS There’s “the sex-mad desperation of Live with MeRS500 alongside “the druggy party ambience of the title track.” AMG

Then, for good measure, there’s “ some steam-powered harmonica” IB on “the murderous blues” RS500 of “Mick Jagger’s menacing Midnight RamblerAZ in which he sounds like a bloodthirsty stalker.

On “the drug-reality anthem Monkey Man,” AZ the Stones “grandly submit to the image they’ve carried for almost the whole decade, and then crack up digging it: ‘All my friends are junkies! (That’s not really true...).’” RS The song also serves up “Keith Richards’ lethal, biting guitar.” RS500

“The stunning” AMG You Can’t Always Get What You Want, with its “epic moralism…honky-tonk piano and massed vocal chorus” RS500 “is one of the most outrageous productions ever staged by a rock and roll band.” RS It “was the Stones’ ‘Hey Jude’ of sorts, with its epic structure, horns, philosophical lyrics, and swelling choral vocals.” AMG “Every note…works to perfection: the slow, virginal choral introduction; the intensely moving, really despairing sounds of Kooper’s horn and Keith’s slow strum; and then the first verse and first chorus by Mick, singing almost unaccompanied. From there it dissolves and builds again with surges of organ, lovely piano ripples, long lead electric runs by Richards, drumming that carries the song over every crescendo—music that begins in a mood of complete tragedy and fatigue and ends with optimism and complete exuberance.” RS

The song “looks for satisfaction in resignation” RS as it tells the tale of “a party in a Chelsea mansion, the singer meeting a strung-out, vicious girl he apparently knew from some years before, when things were different all around. It moves from there into street-fighting and frustration, and then to the strangest scene of all, a young man trying to strike up some sort of friendship with an old man who’s past it.” RS It was “a song about…learning to take what you can get, because the rules have changed with the death of the Sixties.” RS

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First posted 3/23/2008; last updated 9/4/2021.

Sunday, November 24, 2019

American Music Awards: Pop/Rock Albums of the Year

First posted 11/24/2019.

American Music Award:

Pop/Rock Album of the Year, 1974-2019

The American Music Awards were created in 1973 by Dick Clark for ABC after the network’s contract to air the Grammys expired. Until 2005, nominees and winners were determined by the musical industry. Since 2006, winners have been determined by the fans. The pop/rock album of the year award has been given out since 1974.

Check out other annual picks for album of the year here.


Resources and Related Links:

American Music Awards (1974-2019)

Originally posted 10/9/2018; last updated 11/24/2019.

The American Music Awards (AMAs) were established in 1973 when ABC lost its contract to air the Grammys. They were created by Dick Clark. The AMAs are determined by public vote. The winners for favorite pop/rock song are listed here. That category existed from 1974-1995, was retired for more than a decade, and then returned in 2016. In the interim, there was also a Single of the Year award from 2013-2015.

  • 2019: Halsey "Without Me"
  • 2018: Camila Cabello with Young Thug “Havana
  • 2017: Luis Fonsi with Daddy Yankee & Justin Bieber “Despacito
  • 2016: Justin Bieber “Love Yourself
  • 2015: Taylor Swift “Blank Space
  • 2014: Katy Perry with Juicy J “Dark Horse
  • 2013: Florida Georgia Line with Nelly “Cruise”

  • 1995: Boyz II Men “I’ll Make Love to You”
  • 1994: Whitney Houston “I Will Always Love You
  • 1993: Boyz II Men “End of the Road”
  • 1992: Bryan Adams “(Everything I Do) I Do It for You
  • 1991: Jon Bon Jovi “Blaze of Glory”
  • 1990: Milli Vanilli “Girl You Know It’s True”

  • 1989: Guns N’ Roses “Sweet Child O’ Mine
  • 1988: Whitney Houston “I Wanna Dance with Somebody Who Loves Me”
  • 1987: Billy Ocean “There’ll Be Sad Songs to Make You Cry”
  • 1986: Huey Lewis & the News “The Power of Love”
  • 1985: Bruce Springsteen “Dancing in the Dark”
  • 1984: Michael Jackson “Billie Jean
  • 1983: Lionel Richie “Truly”
  • 1982: Lionel Richie & Diana Ross “Endless Love
  • 1981: Queen “Another One Bites the Dust”
  • 1980: Donna Summer “Bad Girls”

  • 1979: Commodores “Three Times a Lady”
  • 1978: Debby Boone “You Light Up My Life”
  • 1977: Elton John & Kiki Dee “Don’t Go Breaking My Heart”
  • 1976: Glen Campbell “Rhinestone Cowboy”
  • 1975: Olivia Newton-John “I Honestly Love You”
  • 1974: Tony Orlando & Dawn “Tie a Yellow Ribbon”

Friday, November 22, 2019

Dave’s Music Database Hall of Fame: Album Inductees (Nov. 2019)

Originally posted 11/22/2019.

January 22, 2019 marked the 10-year anniversary of the DMDB blog. To honor that, Dave’s Music Database announced its own Hall of Fame. This month marks the fourth batch of album inductees. Only 11 albums have achieved the trifecta of winning the Grammy for Album of the Year, being inducted into the Grammy Hall of Fame, and being named to the National Recording Registry. Two of these have already been inducted into the Dave’s Music Database Hall of Fame – The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band and Michael Jackson’s Thriller. A third album, The Button-Down Mind of Bob Newhart is not eligible as it is a comedy album, not a music album. That leaves eight albums to be inducted this month.

Fleetwood Mac Rumours (1977)

Inducted November 2019 for “The Trifecta: Grammy for Album of the Year, Grammy Hall of Fame, National Recording Registry.”

“Intense, internal drama always adds a kick to a final piece of work…[and] few bands can equal Fleetwood Mac…[for] their angst.” DV “Keyboardist Christine McVie sparred with husband/bassist John, and singer Stevie Nicks scrapped with boyfriend/guitarist Lindsay Buckingham.” CDU “The resulting romantic pressure-cooker” AZ produced “a tour de force” BN which made Rumours “the ultimate hangover album for the lovestruck.” DV and “an album that defined a decade.” DV

Judy Garland Judy at Carnegie Hall (1961)

Inducted November 2019 for “The Trifecta: Grammy for Album of the Year, Grammy Hall of Fame, National Recording Registry.”

Judy Garland became Hollywood royalty, thanks to performances in classics like The Wizard of Oz, but struggled personally and professionally in the late ‘50s. “This live recording…would (rightfully) bring the legendary icon back into the spotlight.” AZ “This is easily one of pop music’s greatest live recordings and a fine testament to Garland’s recorded legacy.” AZ “With relentless verve, Garland takes on her entire musical catalogue with astonishing aplomb. There is little sign of the decades of self-abuse which had left her frail by the early ‘60s.” AMG

Carole King Tapestry (1971)

Inducted November 2019 for “The Trifecta: Grammy for Album of the Year, Grammy Hall of Fame, National Recording Registry.”

Carole King made a name herself in the 1960s as a songwriter with her husband Gerry Goffin, but on Tapestry “reaches even greater heights as a performer.” AMG She “created the archetype of the female singer-songwriter” TL by insisting she be heard as “human, with all the cracks and imperfections that implies.” RC “The music is loose, earthy, L.A. session-pop” AZ delivered “with a sharpness worthy of a Brooklyn girl.” RC

Henry Mancini Music from Peter Gunn (1959)

Inducted November 2019 for “The Trifecta: Grammy for Album of the Year, Grammy Hall of Fame, National Recording Registry.”

In 1958, “Peter Gunn was one of the unexpected hits of the new television season, capturing the imagination of millions of viewers by mixing private eye action with a jazz setting. Composer Henry Mancini was more than fluent in jazz, and his music nailed down the popularity of the series.” AMG He created “a key piece of jazz and pop music history” AMG that is a “ valuable addition to any jazz or soundtrack collection of the era.” AMG

Paul Simon Graceland (1986)

Inducted November 2019 for “The Trifecta: Grammy for Album of the Year, Grammy Hall of Fame, National Recording Registry.”

In 1984, Paul Simon was inspired by a bootleg tape of South African music and, despite the United States’ economic sanctions against the country because of its apartheid government, he arranged a visit. He threw “his ears open to a host of new players and singers” TL and created “exotically fanciful collaborations” UT with Ladysmith Black Mambazo and others. The resulting introduction of world music into a pop arena gave listeners “that magical combination: something they’d never heard before that nevertheless sounded familiar.” AMG

U2 The Joshua Tree (1987)

Inducted November 2019 for “The Trifecta: Grammy for Album of the Year, Grammy Hall of Fame, National Recording Registry.”

In the early 1980s, U2 built a following first with college radio and then album rock. By the mid-‘80s, they were “spending more and more time with rock legends like Bruce Springsteen and Bob Dylan” QM and were, as Rolling Stone magazine declared, “a band utterly determined to be Important.” RS With its “inspirational, larger-than-life gestures...that’s precisely what [The Joshua Tree] sounds like.” RS It wasn’t just the band’s blockbuster, but its “most varied, subtle and accessible album.” RS as the group learned “to combine their multi-textured sound with the kind of melodies that fans could sing as well as sway along to.” QM

Stevie Wonder Songs in the Key of Life (1976)

Inducted November 2019 for “The Trifecta: Grammy for Album of the Year, Grammy Hall of Fame, National Recording Registry.”

After securing an unprecedented $13 million contract with Motown, Stevie Wonder took two years – “an eternity in R&B” TL – to write his “longest, most ambitious collection of songs.” AMG His “Grand Artistic Statement” EK “featured more true classics than even most great artists write in a lifetime.” TL It is “like stumbling into a cave full of treasure” JM and not knowing “which piece of gold to stuff into [one’s] pocket first.” JM It “touched on nearly every issue under the sun, and did it all with ambitious (even for him), wide-ranging arrangements and some of the best performances of Wonder’s career.” AMG

Various Artists (including the Bee Gees) Saturday Night Fever soundtrack (1977)

Inducted November 2019 for “The Trifecta: Grammy for Album of the Year, Grammy Hall of Fame, National Recording Registry.”

“Every so often, a piece of music comes along that defines a moment in popular culture history;” AMG The disco soundtrack for Saturday Night Fever epitomized the latter half of the 1970s and made the Bee Gees the biggest group since the Beatles. They had “been exploring disco and funk rhythms on two albums before this one.” TM However, “the disco boom had seemingly run its course, primarily in Europe, and was confined mostly to Black culture and the gay underground in America.” AMG “The soundtrack “made disco explode into mainstream…with new immediacy and urgency.” AMG

Thursday, November 14, 2019

50 years ago: David Bowie Space Oddity album released

Space Oddity (aka “David Bowie” and “Man of Words, Man of Music”)

David Bowie


Released: November 14, 1969


Peak: 16 US, 17 UK, 13 CN, 21 AU


Sales (in millions): -- US, 0.1 UK, 3.5 world (includes US and UK)


Genre: glam rock/folk rock/classic rock


Tracks:

Song Title (Writers) [time] (date of single release, chart peaks) Click for codes to singles charts.

  1. Space Oddity (7/11/69, 15 US, 1 UK, sales: 1.02 million worldwide)
  2. Unwashed and Somewhat Slightly Dazed [6:11]
  3. Don’t Sit Down [0:40]
  4. Letter to Hermione [2:31]
  5. Cygnet Committee [9:31]
  6. Janine [3:21]
  7. An Occasional Dream [2:55]
  8. Wild-Eyed Boy from Freecloud [4:47] (7/11/69, B-side of “Space Oddity”)
  9. God Knows I’m Good [3:16]
  10. Memory of a Free Festival [7:08] (6/8/70, 43 CL, 33 CO)

All songs written by David Bowie.


Total Running Time: 45:13


The Players:

  • David Bowie (vocals, guitar, saxophone, stylophone, organ)
  • Tim Renwick (guitar, flute, recorder)
  • Keith Christmas, Mick Wayne (guitars)
  • Tony Visconti (bass, piano, guitar, recorder, backing vocals, producer)
  • Rick Wakeman (Mellotron, electric harpsichord)
  • Herb Flowers, John “Honk” Lodge (bass)
  • John Cambridge, Terry Cox (drums)
  • Benny Marshall and friends (harmonica, backing vocals)
  • Paul Buckmaster (cello)

Rating:

3.763 out of 5.00 (average of 22 ratings)

About the Album:

After the commercial failure of David Bowie’s self-titled 1967 album, he recycled a number of those songs and other material for a collection of music videos called Love You Till Tuesday. The film was directed by Malcolm J. Thomson. Bowie’s intent was to use it to promote himself to record companies. He recorded one new song for the collection – Space Oddity. The film wasn’t released at the time (it finally saw the light of day in 1984), but Bowie did land a deal with Mercury Records based on an audition tape that included a demo of “Space Oddity.” WK

Tony Visconti was hired to produce the album, although engineer Gus Dudgeon produced the re-recording of “Space Oddity” because Visconti thought it was a novelty record. WK The album was originally titled David Bowie and later Man of Words, Man of Music. It was later reissued – and is now most commonly known as – Space Oddity, due to the success of the song. “The super-topical” AMG “Space Oddity” was inspired by Stanley Kubrick’s 1968 film 2001: A Space Odyssey, exploring feelings of alienation through the account of a fictional astronaut named Major Tom. It was released as a single in July 1969 to capitalize on the Apollo 11 moon landing and gave Bowie his first hit.

The album moved away from the music hall style of Bowie’s debut to a more psychedelic/folk-rock sound, but, as Record Collector’s Terry Staunton says, “he was still trying to settle on an identity.” WK Pitchfork’s Douglas Wolk said Bowie “presents numerous ideas throughout the record, but does not know what to do with them.” WK Biographer David Buckley said, “Bowie was still reflecting the governing ideologies of the day and the dominant musical modes…rather than developing a distinct music of his own.” WK Bowie himself later said the album lacked musical direction. WK

With the exception of “Space Oddity,” the album “possessed very little in the way of commercial songs, and the ensuing album (his second) emerged a dense, even rambling, excursion through the folky strains that were the last glimmering of British psychedelia.” AMG

“The album’s most crucial cut, the lengthy Cygnet Committee,” AMG has been called Bowie’s “first true masterpiece.” WK It is the track “most indicative of the composer’s future direction.” WK The “lead character is a messianic figure who breaks down barriers for his younger followers, but finds that he has only provided them with the means to reject and destroy him.” AMG It “was nothing less than a discourse on the death of hippiness, shot through with such bitterness and bile that it remains one of Bowie’s all-time most important numbers – not to mention his most prescient. The verse that unknowingly name-checks both the Sex Pistols (‘the guns of love’) and the Damned is nothing if not a distillation of all that brought punk to its knees a full nine years later.” AMG

“The remainder of the album struggles to match the sheer vivacity of ‘Cygnet Committee,’ although Unwashed and Slightly Dazed comes close to packing a disheveled rock punch” AMG and reflects a strong Bob Dylan influence “with its harmonica, edgy guitar sound and snarling vocal.” WK

“It bleeds into a half minute or so of Bowie wailing Don’t Sit Down – an element that, mystifyingly, was hacked from the 1972 reissue of the album.” AMG Author Peter Doggett said it was “pointless and disruptive” and that “the album is stronger without it.” WK

Letter to Hermione was a farewell ballad to Bowie’s former girlfriend Hermione Farthingale, who is also the subject of An Occasional Dream, a gentle tune reminiscent of the singer’s 1967 debut album.” WKGod Knows I’m Good takes a well-meant but somewhat clumsy stab at social comment” AMG via “Bowie’s observational tale of a shoplifter’s plight.” WK

Janine is another slab of “pure ‘60s balladry,” similar to “An Occasional Dream.” AMG Bowie wrote it about a girlfriend of his childhood friend George Underwood. It also foreshadowed themes Bowie would later revisit, such as “the fraturing of personality.” WK

“The Buddhism-influenced” WK “folk epic Wild Eyed Boy from FreecloudAMG was first recorded and released for the B-side of “Space Oddity,” but substantially reworked for the album. The original featured guitar and cello while the album cut features a 50-piece orchestra. WK

Memory of a Free Festival finds Bowie reminiscing about an arts festival which he organized in August 1969. The song has been interpreted as “a derisive comment on the counterculture it ostensibly celebrates.” WK A re-recorded version of the song was released as the album’s second single.


Notes: The album was reissued in 1990 with bonus tracks “Conversation Piece” (B-side of “The Prettiest Star”) and the single version of “Memory of a Free Festival” (parts 1 and 2). In 2009, added a full second CD with alternate versions of songs, and interview with Bowie, and non-album songs such as “London Bye Ta-Ta,” “The Prettiest Star,” and “Ragazzo Solo, Ragazza Sola.”

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First posted 2/20/2008; last updated 7/29/2021.

Sunday, November 3, 2019

Billboard 1940-1958 (Pre-Hot 100 Era): Top 100

First posted 11/3/2019.

In 1958, Billboard magazine introduced the Hot 100 chart which consolidated information from sales, airplay, and jukebox plays. In the 18 preceding that, there were separate charts for each of those three. This list shows which songs did the best on those three charts. Songs are listed by total combined weeks on the three charts with codes indicating how many weeks on each of the three charts. Ties are broken by songs’ overall status in Dave’s Music Database.

  • BS = Best Sellers
  • DJ = Most Played by Disc Jockeys
  • JB = Most Played on Jukeboxes

42 weeks:

1. Francis Craig with Bob Lamm “Near You” (1947) BS: 12, DJ: 17, JB: 13

36 weeks:

2. Ted Weems with Elmo Tanner “Heartaches” (1947) BS: 12, DJ: 11, JB: 13

33 weeks:

3. Vaughn Monroe “Riders in the Sky (A Cowboy Legend)” (1949) BS: 11, DJ: 12, JB: 10
4. The Weavers with Gordon Jenkins’ Orchestra “Goodnight Irene” (1950) BS: 13, DJ: 8, JB: 12

30 weeks:

5. Patti Page “Tennessee Waltz” (1950) BS: 9, DJ: 8, JB: 13
6. Johnnie Ray & the Four Lads “Cry” (1951) BS: 11, DJ: 10, JB: 9

28 weeks:

7. Elvis Presley “Don’t Be Cruel” (1956) BS: 11, DJ: 8, JB: 9
8. Perry Como “Till the End of Time” (1945) BS: 10, DJ: 9, JB: 9
9. Guy Mitchell “Singing the Blues” (1956) BS: 9, DJ: 9, JB: 10
10. Kay Starr “Wheel of Fortune” (1952) BS: 9, DJ: 9, JB: 10

27 weeks:

11. Les Paul & Mary Ford “How High the Moon” (1951) BS: 9, DJ: 9, JB: 9

26 weeks:

12. Tony Bennett “Because of You” (1951) BS: 8, DJ: 8, JB: 10

25 weeks:

13. The Ink Spots “The Gypsy” (1946) BS: 10, DJ: 2, JB: 13
14. Vaughn Monroe “Ballerina” (1947) BS: 10, DJ: 8, JB: 7
15. Percy Faith “Where Is Your Heart (Song from “Moulin Rouge”)” (1953) BS: 10, DJ: 9, JB: 6
16. Frankie Carle with Marjorie Hughes “Rumors Are Flying” (1946) BS: 8, DJ: 9, JB: 8

24 weeks:

17. Elvis Presley “All Shook Up” (1957) BS: 8, DJ: 7, JB: 9
18. Dinah Shore “Buttons and Bows” (1948) BS: 10, DJ: 5, JB: 9
19. Kitty Kallen “Little Things Mean a Lot” (1954) BS: 9, DJ: 8, JB: 7
20. The Crew-Cuts “Sh-Boom” (1954) BS: 7, DJ: 9, JB: 8

23 weeks:

21. Les Brown with Doris Day “Sentimental Journey” (1945) BS: 9, DJ: 7, JB: 7
22. Bing Crosby & the Andrews Sisters “Don’t Fence Me In” (1944) BS: 8, DJ: 7, JB: 8
23. Les Paul & Mary Ford “Vaya Con Dios (May God Be with You)” (1953) BS: 11, DJ: 3, JB: 9
24. The McGuire Sisters “Sincerely” (1954) BS: 6, DJ: 10, JB: 7
25. Perez “Prez” Prado “Cherry Pink and Apple Blossom White” (1955) BS: 10, DJ: 5, JB: 8
26. Perry Como “Wanted” (1954) BS: 8, DJ: 7, JB: 8

22 weeks:

27. Patti Page “The Doggie in the Window” (1953) BS: 8, DJ: 7, JB: 7
28. Rosemary Clooney “Come on-a My House” (1951) BS: 6, DJ: 8, JB: 8

21 weeks:

29. Johnny Mercer & the Pied Pipers “On the Atchison, Topeka and Santa Fe” (1945) BS: 7, DJ: 6, JB: 8
30. Peggy Lee “Manana Is Soon Enough for Me” (1948) BS: 9, DJ: 7, JB: 5
31. Eddie Fisher “O Mein Papa (Oh My Papa)” (1953) BS: 8, DJ: 7, JB: 6
32. Tony Bennett “Rags to Riches” (1953) BS: 6, DJ: 7, JB: 8

20 weeks:

33. Bill Haley & the Comets “We’re Gonna Rock Around the Clock” (1954) BS: 8, DJ: 5, JB: 7
34. Elvis Presley “Hound Dog” (1956): BS: 11, JB: 9
35. Tennessee Ernie Ford “Sixteen Tons” (1955) BS: 7, DJ: 6, JB: 7
36. Frankie Laine with Jud Conlon’s Rhythmaires “That Lucky Old Sun” (1949) BS: 8, DJ: 7, JB: 5
37. Evelyn Knight & the Stardusters “A Little Bird Told Me” (1948) BS: 7, DJ: 6, JB: 7

19 weeks:

38. Elvis Presley “Heartbreak Hotel” (1956) BS: 6, DJ: 3, JB: 8
39. Jo Stafford “You Belong to Me” (1952) BS: 5, DJ: 12, JB: 2
40. Eddy Howard “To Each His Own” (1946) BS: 5, DJ: 8, JB: 6
41. Vera Lynn “Auf Widerseh’n Sweetheart” (1952) BS: 9, DJ: 6, JB: 4
42. Perry Como “If (They Made Me a King)” (1951) BS: 6, DJ: 8, JB: 5

18 weeks:

43. Nat “King” Cole “Mona Lisa” (1950) BS: 5, DJ: 8, JB: 5
44. Pee Wee Hunt Orchestra “Twelfth Street Rag” (1948) BS: 8, DJ: 4, JB: 6
45. The Andrews Sisters “Rum and Coca Cola” (1945) BS: 8, JB: 10
46. Mitch Miller “The Yellow Rose of Texas” (1955) BS: 6, DJ: 6, JB: 6
47. The Chordettes “Mr. Sandman” (1954) S: 7, DJ: 7, JB: 4
48. Frankie Laine & the Muleskinners “Mule Train” (1949) BS: 6, DJ: 6, JB: 6
49. Gogi Grant “The Wayward Wind” (1956) BS: 6, DJ: 8, JB: 4,
50. Kay Kyser with Gloria Wood “Woody Woodpecker” (1948) BS: 6, DJ: 6, JB: 6
51. Teresa Brewer “TilL I Waltz Again with You” (1952) BS: 5, DJ: 6, JB: 7

17 weeks:

52. Bing Crosby with the Williams Brothers Quartet “Swinging on a Star” (1944) BS: 9, JB: 8
53. Frankie Carle with Marjorie Hughes “Oh What It Seemed to Be” (1946) BS: 6, JB: 11
54. Les Brown with Doris Day “My Dreams Are Getting Bigger All the Time” (1945) BS: 7: DJ: 3, JB: 7

16 weeks:

55. Patti Page “I Went to Your Wedding” (1952) BS: 5, DJ: 1, JB: 10
56. Tab Hunter “Young Love” (1956) BS: 5, DJ: 6, JB: 5

15 weeks:

57. Nat “King” Cole “Nature Boy” (1948) BS: 7, DJ: 8
58. Vaughn Monroe “Let It Snow! Let It Snow! Let It Snow!” (1945) BS: 5, DJ: 5, JB: 5
59. Rosemary Clooney “Hey There” (1954) BS: 6, DJ: 4, JB; 5
60. Eileen Barton with the New Yorkers “If I Knew You Were Comin’ I’d’ve Baked a Cake” (1950) BS: 2, DJ: 10, JB: 3
61. Sammy Kaye with Billy Williams “The Old Lamplighter” (1946) BS: 7, DJ: 1, JB: 7
62. Dean Martin “Memories Are Made of This” (1955) BS: 5, DJ: 6, JB: 4

14 weeks:

63. Red Foley “Chattanoogie Shoe Shine Boy” (1950) BS: 4, DJ: 2, JB: 8
64. The Ames Brothers “You, You, You” (1953) DJ: 8, JB: 6

13 weeks:

65. Glenn Miller “In the Mood” (1939) JB: 13
66. Artie Shaw “Frenesi” (1940) BS: 13
67. Shep Fields with Hal Derwin “South of the Border (Down Mexico Way)” (1939) JB: 13
68. Nat “King” Cole “Too Young” (1951) BS: 5, DJ: 4, JB: 4
69. Joni James “Why Don’t You Believe Me” (1952) BS: 4, DJ: 6, JB: 3
70. Georgia Gibbs “Kiss of Fire” (1952) DJ: 7, JB: 6
71. Russ Morgan & the Skylarks “Crusing Down the River on a Sunday Afternoon” (1949) BS: 7, JB: 6
72. Jo Stafford “Make Love to Me!” (1954) BS: 3, DJ: 3, JB: 7

12 weeks:

73. Tommy Dorsey with Frank Sinatra “I’ll Never Smile Again” (1940) BS: 12
74. The Harmonicats “Peg O’ My Heart” (1947) BS: 4, JB: 8
75. Perry Como “Some Enchanted Evening” (1949) BS: 5, DJ: 2, JB: 5
76. Art Mooney “I’m Looking Over a Four-Leaf Clover” (1948) BS: 3, DJ: 4, JB: 5
77. Pat Boone “Love Letters in the Sand” (1957) BS: 5, DJ: 7
78. Blue Barron & His Orchestra “Crusing Down the River on a Sunday Afternoon” (1949) BS: 2, DJ: 7, JB: 3
79. The Andrews Sisters “I Can Dream, Can’t I?” (1949) BS: 4, DJ: 5, JB: 3
80. Perry Como & the Ramblers “Don’t Let the Stars Get in Your Eyes” (1952) BS: 5, DJ: 3, JB: 4
81. Eddie Fisher “I’m Walking Behind You” (1953) BS: 2, DJ: 3, JB: 7

11 weeks:

82. Elvis Presley “Love Me Tender” (1956) BS: 5, DJ: 5, JB: 1
83. Anton Karas “The Third Man Theme” (1950) BS: 11
84. The Four Aces “Love Is a Many Splendored Thing” (1955) BS: 2, DJ: 6, JB: 3
85. Tex Williams “Smoke! Smoke! Smoke! That Cigarette” (1947) BS: 6, DJ: 1, JB: 4
86. Vic Damone “You’re Breaking My Heart” (1949) BS: 4, DJ: 4, JB: 3
87. Bill Hayes “The Ballad of Davy Crockett” (1955) BS: 5, DJ: 3, JB: 3
88. Eddy Howard “Sin (It’s No Sin)” (1951) BS: 2, DJ: 8, JB: 1
89. Les Baxter “The Poor People of Paris” (1956) BS: 4, DJ: 5, JB: 2
90. Guy Lombardo “The Third Man Theme” (1950) JB: 11
91. Phil Harris “The Thing” (1950) BS: 4, DJ: 5, JB: 2

10 weeks:

92. Elvis Presley “Let Me Be Your Teddy Bear” (1957) BS: 7, DJ: 3
93. Harry James with Dick Haymes “I’ll Get By As Long As I Have You” (1941) BS: 4, JB: 6
94. Sheb Wooley “The Purple People Eater” (1958) BS: 6, DJ: 4
95. Joan Weber “Let Me Go, Lover!” (1954) BS: 2, DJ: 4, JB: 4

9 weeks:

96. Elvis Presley “Jailhouse Rock” (1957) BS: 7, DJ: 2
97. The Everly Brothers “All I Have to Do Is Dream” (1958) BS: 4, DJ: 5
98. Glenn Miller “Tuxedo Junction” (1940) JB: 9
99. The Andrews Sisters “Shoo-Shoo Baby” (1943) JB: 9
100. Frank Sinatra “Five Minutes More” (1956) BS: 2, DJ: 4, JB: 3
101. Bing Crosby “Only Forever” (1940) BS: 9
102. Tony Bennett “Cold, Cold Heart” (1951) BS: 6, JB: 3


Friday, November 1, 2019

50 years ago: Elvis Presley hit #1 with “Suspicious Minds”

Suspicious Minds

Elvis Presley

Writer(s): Mark James (see lyrics here)


Released: August 26, 1969


First Charted: September 13, 1969


Peak: 11 US, 12 CB, 12 HR, 4 AC, 6 CL, 2 UK, 12 CN, 13 AU (Click for codes to singles charts.)


Sales (in millions): 2.0 US, -- UK, 7.0 world (includes US + UK)


Airplay/Streaming (in millions): 5.0 radio, 317.0 video, 228.47 streaming

Awards: (Click on award for more details).

About the Song:

The BBC called this song “the last great moment in the career of Elvis Presley” BBC while a 2002 readers poll in New Musical Express made the even bolder proclamation that it was the best song of Elvis’ career. TB In 1969, the crown of the King of Rock and Roll had greatly tarnished thanks to a decade’s worth of poor choices both in song and film. TC “Suspicious Minds” was more than just a symbolic return to the top – it also marked his first #1 on the U.S. pop charts in seven years.

This song emerged in the first recording sessions after Elvis’ NBC television special on December 3, 1968, which was largely seen as his comeback. BR The sessions brought him back to his Memphis roots JAwhere he hadn’t recorded since his Sun sessions in July 1955. BR

His renewed zest is evident in his vibrant singing backed by a “Stax-like chorus alternating with the slow-burning verses” BBC which find Elvis begging a lover not to derail their relationship with distrust. The song also sports the famous fake-out ending in which the song has nearly faded out, only to see Elvis jump back in to spit out the chorus repeatedly. BBC

Memphis singer Mark James wrote the song and recorded a version, but it went nowhere. Chips Moman, a soul producer in Memphis, SF produced the original and brought it to Elvis in 1969. SF As had typically been the case in the past, Elvis’ manager Colonel Parker demanded that the song’s copyright owner hand over part of the publishing royalties. BBC However, Elvis weighed in with better judgment when his love of the song trumped The Colonel’s love of money. BBC


Resources and Related Links:

  • DMDB Encyclopedia entry for Elvis Presley
  • BBC BBC Radio 2 (2004). “Sold on Song Top 100
  • BR Fred Bronson (2003). The Billboard Book of Number One Hits (5th edition). Billboard Books: New York, NY. Page 260.
  • TC Toby Creswell (2005). 1001 Songs: The Great Songs of All Time. Thunder’s Mouth Press: New York, NY. Page 52.
  • JA David A. Jasen. (2002). A Century of American Popular Music: 2000 Best-Loved and Remembered Songs (1899-1999). Routledge: Taylor & Francis, Inc. Page 185.
  • SF Songfacts
  • TB Thunder Bay Press (2006). Singles: Six Decades of Hot Hits & Classic Cuts. Outline Press Ltd.: San Diego, CA. Page 116.

First posted 9/13/2009; last updated 4/25/2021.