Are there any better paced lines in rock than:
As I got on the city bus, and found a vacant seat, I thought I saw my future bride, walkin’ down the street. I shouted to the driver, hey conductor, you must, slow down, I think I see her, please let me off this bus! Nadine! Honey is that you!
Pye International was a catch-all label for distributing American smaller labels, and these smaller labels happened to include Chess and Checker. They also released Colpix, Wand, Scepter, Red Bird, White Whale, early A&M, Kama Sutra, Buddah and King, before some of these American companies got their own label. It’s in the first division of collectability … until 1965 at least. It’s easily the most sought after Pye label.
There were different attitudes to releasing tracks licensed from American labels. In the 1950s, Decca issued RCA separately, then had London-American taking virtually everything else (except US Decca, which was Brunswick, and Coral). EMI put their American licenses out on Columbia or HMV with a tiny reference on the centre label. Philips had the major deal with CBS / Columbia, but just put them out as Philips.
Pye did it differently – both Mercury / EmArcy and Vanguard were released with their own designs and logos. Then from the outset, Reprise had its own label, distributed by Pye. Reprise was a major slice of the Pye. (sorry).
Pye had licensed the Mercury label between 1956 and 1958, and as they realized Mercury were seeking larger British partners and about to desert them for EMI, Pye decided to launch its own Pye International label, sub-labelled: Light blue label (Mercury had been ‘turquoise label). The trouble with the light blue label was that it was overprinted with gold lettering and surviving single labels are illegible or near-illegible.
The Pye International label was started in November 1958, and lasted until April 1979, releasing around 800 singles. The model was London-American, but it was not exclusively ‘American’.
It found itself in stiff competition with another new label, Top Rank, for American deals, and some of the first releases were licensed from French Vogue. Then Oriole launched Oriole-American to issue its Tamla-Motown licenses. EMI had taken over Top Rank, and eventually killed it and started Stateside as another catch-all American release label.
The first true Pye International release according to catalogue numbers (#25000) was a biggie though, Ritchie Valens Come On Let’s Go licensed from the US Del-fi label.
Pye International established itself with hit singles from Rosemary June, The Marcels, Clarence Frogman Henry and James Darren. Johnny Rivers’ first record, Blue Skies, was on Pye International in 1961. Shelley Fabares’ Johnny Angel was a number one hit in the USA. In the UK it only managed number 41.
The early releases feature some American classics Rama Lama Ding Dong by The Edsels, Peanut Butter by The Marathons, Daddy’s Home by Shep and The Limeliters, Tell Me Why by (Dion and) The Belmonts, I Shot Mr Lee by The Bobbettes, Pony Time by Don Covay and The Goodtimers, Blue Moon by The Marcels. There’s a lot of doo-wop in there, and doo-wop is one of the most collected areas.
Pye were prepared to cheat a little on the word International, starting out with Reg Owen in 1959. Why was his Manhatten Spiritual “International” considering he was British? Well, it was a bigger hit in the USA (#10 against #20 in Britain).
The very British Cliff Adams Singers also had three EPs on Pye International as The Adam Singers. Their earlier incarnation, The Stargazers, followed Reg Owen to Pye’s Palette label in 1960, which technically had a Belgian parent company, hence the “International”. The Sing Something Simple series started on Pye International in 1960, and they released two volumes, then Favourite Christmas Songs in 1961 as The Adam Singers, by which time they were generally known elsewhere by the Cliff Adams Singers name. The Cliff Adams Orchestra’s The Lonely Man Theme in 1960 was originally ‘Palette USA’ and so Pye International in the UK.
Gallery: click to enlarge
Nina and Frederick Vol 1: EP, 1959. Light blue label – not easy to read
Nina & Frederick were international – the records had been made by Denmark’s Metronome label, and anyway the single Jamaica Farewell was cod-Calypso with an accent that would nowadays be called racist. Later in 1965, Spanish duo Johnny & Charley were on Pye International for La Yenka, licensed from Hispavox, Spain.
The Tony Hatch Orchestra had three Pye International singles, including Tim Frazer’s Theme (The Willow Waltz), which is what it says on the record, but every reference calls it The Willow Waltz (Tim Frazer’s Theme). It was the theme music to an 18 part BBC TV thriller, The World of Tim Frazer, aka Francis Durbridge Presents ….
Dave King was a British comedian with several vocal singles on Decca. He moved to the USA, and released his quintessentially British voice on standards like High Hopes. On Pye International.
Pye were less reluctant than London-American or Stateside to give American labels their own identity, and several US labels passed briefly through Pye International before gaining their own labels, including Cameo-Parkway, Red Bird, Chess, Twentieth Century and Kama Sutra.
Cameo Parkway was a case of blink and you’ll miss the Pye International ones. Chubby Checker’s Dancin’ Party is an example. It was released on EMI’s Columbia label, just before Cameo-Parkway did a deal with Pye. The Columbia single was replaced by a Pye International one, which in turn was later replaced by a Cameo-Parkway label version. Three versions in a few months though the Pye International one is the easiest to find. Early red/yellow label Pye International often came in older blue sleeves as above.
Then they placed the British Cyril Davies and His Rhythm and Blues All Stars on the label in 1963. Sweet Mary was a Leadbelly song, and Madeline Bell was on backing vocal. Labels were competing for Cyril Davies’ band (reckoned by many musicians to be the best around at the time) and the R&B tag sealed the deal for Pye.
Record Mirror described the disc: “The harmonica sound on the latest from the British R&B king is a fast paced shouter with loads of good vocal work and a more commercial approach than on his last disc.”
The R&B Series
The cream of the crop was the R&B series, which ran from April 1963 to January 1965. The Chess / Checker catalogue was at the heart of it, and the R&B scene generated interest in the back catalogue, some of which was e-released.
Gallery: The Blues Vol 1 … click to enlarge
The Blues Volume 1 was a sampler LP before sampler LPs were popularized five years later, and its track list has Muddy Waters, Howling Wolf, Sonny Boy Williamson, Little Walter, Buddy Guy and Chuck Berry. This was indeed the first time I met the blues for so many British kids, and there were eventually three, but Volumes One and Two were definitive. Many albums are cited as the template for British R&B but for the ones my age, this was it. They were broken onto EPs too:
Gallery: click to enlarge
They got over-excited with Rhythm & Blues Showcase Vol. 1. This EP does not draw from the Chess / Checker catalogue but from four or five years earlier on other R&B material Pye had licensed.
The general rule is that apart from The Kinks, the Pye group were not great on LPs. Pye International confounds this, but only because the USA was well ahead in LP sales and these LPs were virtually all Chess / Checker originals, or compilations of Chess / Checker tracks.
Gallery: Down & Out Blues… click to enlarge
I invested in Sonny Boy Williamson’s Down & Out Blues with some trepidation. It was full price, 32/6d (£1.55), a lot of money then, but I loved Don’t Start Me To Talkin‘ and used it as the title of a short story in I’ll Tell Everything I Know (LINKED) … the title is the next line from the song. I remember my sister looking at the front cover and saying, ‘I don’t think much of the singer.’
Chuck & Bo
Think of those magic pairings of greatness in rock history: Otis Redding & Wilson Pickett, The Beatles & The Stones, The Dead & The Airplane, and the one that comes first to my mind is Chuck & Bo. Chuck Berry & Bo Diddley, who defined the R&B for a generation. For the British listener, the medium of the EP on Pye International was a major introduction to the Chess catalogue, and there were three Chuck & Bo EPs at a crucial time, as well as the 1964 Two Great Guitars album. These have two long jams, Chuck’s Beat and Bo’s Beat appropriately, and this is a few years before the prolonged jam became ubiquitous.
Gallery: click to enlarge
Much of the Chuck Berry and Bo Diddley output consisted of reissues. For teenage wannabe musicians, EPs were still the most affordable. One local record shop, Bourne Radio, had a basement full of the most desirable R&B and were famed for letting local musicians spend as long as they wanted replaying LPs and writing out the lyrics. Just before my time, Zoot Money was said to be a regular. Without insulting Chuck or Bo, the main issue was writing out the lyrics.
Chuck & Bo on EP gallery … click to enlarge
Chuck Berry had just been released from his second major prison sentence, which was for transporting a minor across a state line. The third, years later, was for installing a camera in a woman’s toilet. The spell inside led to fresh material from Chuck, beginning with Nadine and No Particular Place To Go. In a later interview during filming for the Hail, Hail Rock & Roll film he recounted learning long narrative poetry by heart during the time in prison. This is reflected in the quality of the lyrics of the new material. The first Chuck & Bo EP led with Roll Over Beethoven, which not co-incidentally was on With The Beatles.
Chuck & Bo on LP gallery … click to enlarge
Pye International was selective. They also fiddled with content, so UK LPs are not necessarily the same as US ones with the same sleeve photo. Some of the most iconic sleeves pre-date the Pye International era, so One Dozen Berries by Chuck Berry was on London-American. Bo Diddley’s A Gunslinger was Pye Jazz.
Chuck Berry on Pye International LP … click to enlarge
Bo Diddley on Pye International LP … click to enlarge
UK and US albums and reissues recycled sleeves or titles. Bo Diddley was the title of a 1958 LP, and a quite different 1962 LP. The latter contained You Can’t Judge A Book and I Can Tell, two essential songs. The same cover picture of Bo on a Lambretta is on Have Guitar Will Travel the original US album from 1960 and on Bo Diddley Rides Again The British LP from 1963. They only have two tracks in common, Cops & Robbers and Mumblin’ Guitar. Sixteen the British LP in 1964 had the cream of his earlier hits. Stuff got recycled and recombined incessantly and much went on to Marble Arch at budget prices after a few months atfull price. Some material went straight to budget albums.
More R & B
Gallery: click to enlarge
Muddy Waters (EP) 1963
Sonny Boy Williamson (EP) 1964
Howlin’ Wolf (EP) 1963
Tell Me: Howlin’ Wolf, 1964
The first Pye International Muddy Waters EP, Muddy Waters utilise the Live At Newport 1960 sleeve, but these are later studio recordings accompanied by Earl Hooker’s band (with organ central). It also contains the track Muddy Waters Twist.
Gallery: click to enlarge
Hi Heel Sneakers: Tommy Tucker, Pye International 1964
Long Tall Shorty: Tommy Tucker, Pye International 1964
Yes, my original copies as labelled when I bought them. George Harrison had enthused about Hi-Heel Sneakers in an interview. Everyone played it. And the B-side I Don’t Want Cha. And Long Tall Shorty, though in that case the B-side was just an instrumental version, Mo’ Shorty. You get all four on the EP … and my friends’ band played all four of them live.
Tommy Tucker was Robert Higginbotham, and he sang and played keyboards. The memorable guitar part was not him, but Dean Young. Don Covay came in to co-write Long Tall Shorty.
The R&B series had an inconsistent stamp in the centre label. The first Tommy Tucker record, Hi Heel Sneakers, didn’t have it; the second, Long Tall Shorty, did. A few had R&B stamps on the sleeve, most didn’t. It’s rare to see R&B on pink centre labels, but EPs like The Blues Volume 1 (Parts 1 and 2) stayed in print for several years. It’s the same issue with LPs:
American hits …
Timmy Shaw’s wonderful Gonna Send You Back To Georgia was on Pye International. Any chance of a UK hit was wrecked by The Animal’s covering it as Gonna Send You Back to Walker.
There’s an era between the Beatles / British Invasion in late 1964 and the West Coast sounds of 1967 when the British and American charts diverged more than usual. There is some classic American stuff from The Kingsmen and The Beau Brummels.
The Kingsman’s Louie Louie was #2 in the USA, a mere #26 in Britain, though one of the most covered songs of all time. The folllow ups didn’t chart in the UK at all … Money didn’t stand a chance given the number of British versions that had charted. I liked The Kingsmen, probably because if you were in an inept garage band you could sound reasonably like them, the appeal of punk for half a generation younger than me. The Jolly Green Giant was the first record I bought in the new pink sleeve design … 26 February 1965. Sweetcorn in tins just wasn’t a British thing in early 1965.
Gallery: click to enlarge
The Beau Brummels Laugh Laugh is part of the genre of American hits that did nothing in Britain. It was produced by Sly Stone (as Sylvester Stewart) but was too consciously Beatlesque to score in Britain. In the USA it was #15, in Canada it was #2.
Canadian band The Guess Who had a US hit with Shakin’ All Over, but in the UK we identified the original by Johnny Kidd and The Pirates and turned our noses up at it.
The first three Lovin’ Spoonful singles are on Pye International, then Kama Sutra got its own label from Summer in the City onwards.
The “international” still meant more than “America” and Pye issued Johnny and Charley from Spain’s Hispavox label in 1965.
The Turtles It Ain’t Me Babe was on Pye International and a US #8 hit. Pye had licensed it from White Wand, who then switched to London-American – probably in surprise at Pye’s inability to get a hit with it. My memory was that it was a UK hit, not that it was. The EP contained their previous single Let Me Be and a surprise version of Your Ma Said You Cried In Your Sleep Last Night. It had been a US hit for Dino in 1961, but for me it was the Doug Sheldon 1962 cover on Decca (UK #29) that i bought new.
Easy Listening / Lounge
Herb Alpert’s A&M label stopped off at Pye International 1965-1967 between their UK debut on EMI’s Stateside label, and having their own fully-fledged UK imprint … which was distributed by Pye. Spanish Flea and Tijuaa Taxi were both on Pye International. Spanish Flea was much more successful in the UK than in the USA. A& M also brought The Sandpipers and a #7 UK hit with Guantanamera. Their Guantanamera EP contained a cover of Louie Louie.
From 1964 on there were prestige releases from Dionne Warwick. Dionne Warwick was on Wand, another candidate for getting its own Pye label. With her interpretations of Bacharach and David, I’m never sure whether to class her as Easy Listening, Soul, Pop or Standards. Let’s just say she had a wide constituency of fans. She had a poor start with Pye in that Cilla Black grabbed the hit version of Anyone Who Had A Heart – and even Burt Bacharach says Cilla’s was his favoured version. Then she had solid hits with Walk On By, You’ll Never Get To Heaven (If You Break My Heart), Reach Out For Me, You Can Have Him, Theme From Valley of The Dolls and Do You Know The Way to San Jose.
Blue-eyed … click to enlarge
Pye also gained the rights to earlier Righteous Brothers material. i.e. pre You’ve Lost That Loving Feeling, and reissued them to cash in. This includes great R&B and proto-soul material. Then they had Roy Brown with Just A Little Bit (they had never owned Treat Her Right).
Pye licensed some soul material in 1966, most notably James Brown for It’s A Man’s Man’s World, and briefly had access to the vast James Brown catalogue (and under-exploited it). Pye compiled some classics from Maxine Browne, Chuck Jaclkson, The Shirelles and Dionne Warwick.
There was a flurry of West Coast / psychedelic material, with Count Five, Strawberry Alarm Clock, The Turtles and Captain Beefheart & His Magic Band. Psychotic Reaction by Count Five is THE garage band classic, and centrepiece of the Nuggets LP. Incense and Peppermints was a US #1 for Strawberry Alarm Clock in 1967 but didn’t do a thing in the UK. While the cheesy organ is fun, it struck me as cod-psych at the time. American friends who thought it a classic have failed to dissuade me.
Captain Beefheart was not a singles artist. Somehow he managed to get Safe As Milk on Kama Sutra in 1967, which was linked to Buddah, which Pye licensed. The original Pye International copy from 1968 has no logo – Buddah copies do. They also dropped two tracks, I’m Glad and Grown So Ugly. Pye put it to Marble Arch pretty fast. This album has both Ry Cooder and Taj Mahal playing. John Peel; was a huge admirer and it got much airplay in the UK.
On the single Yellow Brick Road, he starts out like bouncy bubblegum, then he lets rip (but fortunately not at full power) on the chorus. Listening again, he could have got away with it. The Crazy World of Arthur Brown was weirder on Fire.
Buddah brought Green Tambourine by The Lemon Pipers from Cincinatti, a #1 hit in many countries. They’re not a band I’d thought about until a friendly record store played me extracts from the album, and I bought the CD reissue. It’s considered highly collectable psych-lite. The band were made to record Green Tambourine by Buddah and were reluctant. The nature of LP cover notes in the 60s is epitomized by the description “Five intelligent young men.” So unlike the normal drongos who play rock ‘n’ roll then. Fifty Year Void with driving organ and guitar solos was the sort of song the band themselves liked. The Shoemaker of Leatherware was psych whimsey. The 9 minute 11 seconds Through With You with its driving bass line sounds as if it should be on The Byrds Untitled. Their reputation was not helped by Pye International pairing them on EP with The 1910 Fruitgum Company …
Pye International had a dubious period as the premiere bubblegum label with a deal with Kassenatz-Katz. Yes, both Simon Says and Yummy, Yummy, Yummy first appeared on Pye International, licensed from Buddah.
The 1910 Fruitgum Company and Ohio Express were straight to budget Marble Arch in the UK, a wise move as the audience was pre-teen with limited pocket money. Neither band really existed, being comprised of ace session guys.
John Fred and His Playboy Band had a hit with Judy in Disguise, licensed from Paula Records of New Orleans. Their album Agnes English is another secret goodie. They’d been going for ten years … they had a 1959 hit with Shirley. They are identified with the Kassentatz-Katz material as a novelty act because it was the same era, and Judy in Disguise fit. The band uniforms definitely didn’t help. The album has the likes of Penn-Oldham and a great version of She Shot A Hole In My Soul, and Judy in Disguise was the third single from the album, though by the time the album was issued in Britain, it was a hit and had an over-sticker.
Then in 1967, Don Fardon (born Coventry) turns up on Pye International with John D. Loudermilk’s Lament of the Cherokee Reservation Indian. It was a sizable US hit (#20), and UK #3 when reissued as Indian Reservation in 1970 on producer Miki Dallon’s Young Blood label. Why Pye International rather than Pye? Presumably the initial deal was the US one.
A deal with the Australian Festival label brought a series of hits from Olivia Newton-John and Labi Siffre (who is British) in the early 70s. Olivia Newton-John covered Bob Dylan’s If Not For You (and very credibly too) in 1971, with Bruce Welch and John Farrar of The Shadows producing and playing. It’s credited as a Festival Records International production, but was recorded in Britain. The first LP is notable for its well curated covers.
The Banks of The Ohio was another single, but most notably she did a fine cover of Richard Manuel’s In A Station from Music From Big Pink. It’s not a song many would take on.
She had four top twenty hits on Pye International before switching to EMI for bigger hits.
Into the 70s
As the 60s ran out, Pye International seemed less necessary. American labels had long since decided they wanted their own presence, and by 1970, A&M were opening their own A&R offices in Britain. While Pye continued to distribute some (it had lost Warner-Reprise distribution before WEA took off) there were fewer small labels seeking a British partner who would put maintain their own UK name and logo on records. The same was happening with both London-American and Stateside from their rivals, Decca and EMI. Labels also had their eye out for better deals, so in 1971 Chess (who indeed already had their own label under Pye) switched to Phonogram.
Pye International also had later work from Gene Pitney, then Barry White and the Love Unlimited Orchestra. Both Pye and Pre International were moving towards disco … and the line between them was getting fuzzier.
Love’s Theme: Love Unlimited Orchestra 1973- the point where sleeves switch from blue to pink and purple. It came in both versions
20th Century signed up to Pye International in 1973 and stayed onboard for a year with releases from Barry White, as well as his productions as the Love Unlimited Orchestra. In 1974, they got their own label. I hore you’ll excuse me at this point, because I particularly dislike Barry White … but see Pye International … sleeves and centres for illustrations.
The DISCO DEMAND series embraced Pye and Pye International with several re-releases of earlier tracks.
7 Days Too Long: Chuck Jackson 1974 reissue of 1968 track
Footsee: Wigan’s Chosen Few, 1980 reissue of 1974 track
Magic Fly, by Space, was a 1977 number two hit. The last Top Ten release is listed as Meri Wilson’s Telephone Man in 1977.
In 1978, they released Ronnie Hawkins & The Hawks compilation LP Rockin’ This would be an opportunistic cash-in on release of The Last Waltz movie and they released the single Who Do You Love? (the original 1963 version, not the 1976 version from the film) coupled with Forty Days. The sleeve is that of the original Roulette 1959 LP Ronnie Hawkins.
There were a few subsequent releases until 1980. Kelly Marie’s Feels Like I’m In Love is listed in chart books as Calibre records catalogue #PLUS 1, but many copies have black & grey Pye International labels and the same catalogue number. It got to number one in August 1980.
By then the catch-all American import labels were all stuttering to an end. Maybe it was cheaper colour printing that meant it was easy to design shorter runs, and by then nearly every American label wanted and was granted its own identity. Sequel did a good Pye International Story 2 CD set, with 50 tracks. This is not a “copyright avoider” (those appear below) but takes it up to Meri Wilson … but has nothing between Yummy Yummy Yummy and Telephone Man. It may have to with permissions, but they list permissions from multiple sources.
Modern Pye International … click to enlarge
In 2014 R&B Records issued Radio Sounds of Cyril Davies & His Rhythm & Blues All Stars, in a facsimile Pye International sleeve and centre label. The sleeve mimics the collectable The Sound of Cyril Davies from 1964 (SEE ABOVE), but with a different and smaller centre image. It’s a misleading exercise, as the 2014 release features different and live tracks. It asserts they were issued in 1963 and of course Pye’s original R&B logo is fortuitously close.
Unlike the Sequel set, these are “copyright avoiders”.
Let Me In: The Pye Intyernational Story 1962, 3 CD set, One Day, 2013
The Real Gone 4CD set is such a comprehensive listing of early releases that I’ll produce the rear sleeve larger:
Pye International singles
A range of Pye International singles. As most are American licensed tracks, US chart position included. Note the divergence. A number of US #1 hits did little or nothing in the UK. Chuck, Bo and friends did better in the UK. Also, if you think ‘But that one’s bigger hits aren’t included …’ it’s because they switched from Pye International, often when a US label got its own presence in the UK.
|Ritchie Valens||Come On Let’s Go||1958||42||–|
|Rosemary June||I’ll Be With You in Apple Blossom Time||1959||14||–|
|Santo & Johnny||Sleepwalk||1959||22||1|
|Reg Owen||Manhatten Spiritual||1959||20||10|
|Cliff Adams Orchestra||The Lonely Man Theme||1960||39||–|
|Annette Funnicello||Pineapple Princess||1960||–||11|
|James Darren||Because They’re Young||1960||29||–|
|The Marcels||Blue Moon||1961||1||1|
|Etta James||At Last||1961||–||–|
|The Edsels||Rama Lama Ding Dong||1961||–||21|
|Clarence Frogman Henry||(I Don’t Know Why) But I Do||1961||3||4|
|Clarence Frogman Henry||You Always Hurt The One You Love||1961||6||12|
|Shep & The Limeliters||Daddy’s Home||1961||–||2|
|James Darren||Goodbye Cruel World||1961||28||3|
|Shelley Fabares||Johnny Angel||1962||41||1|
|James Darren||Her Royal Majesty||1962||36||6|
|Johnny Crawford||Cindy’s Birthday||1962||–||8|
|Dave Baby Cortez||Rinky Dink||1962||–||10|
|Chuck Berry||Go Go Go||1963||38||–|
|Bo Diddley||You Can’t Judge A Book||1962||–||–|
|Chuck Berry||Let It Rock / Memphis||1963||6||–|
|Sonny Boy Williamson||Help Me||1963||–||–|
|Cyril Davies R&B All Stars||Country Line Special||1963||–||–|
|James Gilreath||Little Band of Gold||1963||29||21|
|Bo Diddley||Pretty Thing||1963||34||–|
|The Kingsmen||Louie Louie||1963||26||2|
|Chuck Berry||Run Rudoloph Run||1963||36||–|
|Howlin’ Wolf||Smokestack Lightnin’||1964||42||–|
|Bobby Freeman||C’mon and Swim||1964||–||5|
|Chuck Berry||No Particular Place To Go||1964||3||10|
|Dionne Warwick||Walk On By||1964||9||6|
|Little Walter||My Babe||1964||–||–|
|Dionne Warwick||You’ll Never Get to Heaven||1964||20||34|
|Dionne Warwick||Reach Out For Me||1964||23||20|
|Tommy Tucker||Hi-Heel Sneakers||1964||23||11|
|Maxine Brown||Oh, No, Not My Baby!||1964||–||24|
|Chuck Berry||You Never Can Tell||1964||23||14|
|The Kingsmen||Jolly Green Giant||1965||–||4|
|Chuck Berry||The Promised Land||1965||26||–|
|Roy Head||Just A Little Bit||1965||–||39|
|The Turtles||It Ain’t Me Babe||1965||–||8|
|The Waikikis||Hawaii Tattoo||1965||41||33|
|Lovin’ Spoonful||Do You Believe In Magic?||1965||–||9|
|Herb Alpert||Spanish Flea||1965||3||27|
|James Brown||I Got You (I Feel Good)||1966||29||3|
|Herb Alpert||Tijuana Taxi||1966||37||38|
|Chris Montez||The More I See You||1966||3||16|
|James Brown||It’s A Man’s Man’s World||1966||13||8|
|Count Five||Psychotic Reaction||1966||–||5|
|Strawberry Alarm Clock||Incense & Peppermints||1967||–||1|
|Captain Beefheart||Yellow Brick Road||1967||–||–|
|Lemon Pipers||Green Tambourine||1967||7||1|
|John Fred & His Playboy Band||Judy in Disguise (With Glasses)||1967||3||1|
|1910 Fruitgum Company||Simon Says||1968||2||4|
|Dionne Warwick||(Theme From) Valley of The Dolls||1968||28||2|
|Ohio Express||Yummy Yummy Yummy||1968||5||4|
|Dionne Warwick||Do You Know the Way to San Jose?||1968||8||10|
|Olivia Newton-John||If Not For You||1971||7||25|
|Labi Siffre||It Must Be Love||1971||14||–|
|Olivia Newton-John||Banks of The Ohio||1971||4||–|
|Olivia Newton-John||What Is Life?||1972||16||–|
|Olivia Newton-John||Take Me Home Country Roads||1973||15||–|
|Labi Siffre||Crying, Loving, Laughing, Lying||1972||11||–|
|Gene Pitney||24 Sycamore||1973||34||–|
|Barry White||I’m Gonna love You Just A Little More Baby||1973||23||3|
|Olivia Newton-John||Long Live Love||1974||11||–|
|Barry White||Never, Never Gonna Give You Up||1974||14||7|
|Love Unlimited Orchestra||Love’s Theme||1974||10||1|
|Barry White||Can’t Get Enough of Your Love, Babe||1974||8||1|
|Sheer Elegance||Milky Way||1975||18||–|
|Hamilton, Joe Franks & Reynolds||Fallin’ In Love||1975||33||1|
|Sheer Elegance||Life Is Too Short Girl||1976||9||–|
|The Real Thing||You To Me Are Everythig||1976||1||–|
|Meri Wilson||Telephone Man||1977||6||18|
|Ronnie Hawkins||Forty Days / Who Do You Love?||1978||–||–|
|Kelly Marie||Feels Like I’m In Love||1980||1||–|