Lil' Red Riding Hood (Sam the Sham and the Pharaohs)

31 JULY 1966

1966 was clearly a landmark year for Garage and 'Frat Rock', and another high-charting genre number was 'Lil' Red Riding Hood' by Sam the Sham and the Pharaohs, which reached its peak position of #2 on the US Billboard Hot 100 during this week. It got no higher than #46 on the British charts.

The song can seem a bit creepy to some, with the protagonist wolf stalking Red Riding Hood, commenting on her 'big eyes' and 'full lips', and he's clearly after something more than is mentioned in the nursery rhyme. Sam the Sham was a bit of a novelty and comedy act, although he also had an American #2 in 1964 with 'Wooly Bully'. That and 'Red Riding Hood' were his biggest hits.

Lil' Red Riding Hood (Sam the Sham and the Pharaohs)

Friday’s Child (Nancy Sinatra)

30 JULY 1966

Nancy Sinatra's mean, moody, bluesy 'Friday’s Child' was at its peak US Billboard Hot 100 chart position of #36 on this day in 1966. As with 'These Boots Are Made for Walkin'' and a lot of her other work around this time, it was written and produced by Lee Hazlewood (who had previously recorded this song himself). Nancy's version failed to chart in Britain. It makes a fine album track, but was perhaps not a commercially-astute choice for a single at that time.

Friday’s Child (Nancy Sinatra)

Mister You're a Better Man Than I (Sons Of Adam)

29 JULY 1966

1966 was probably the peak year for Garage Rock, a genre that that had a few high-charting successes that year but also a tsunami of non-charting singles, including the rather good 'Mister You're a Better Man Than I' from the Sons Of Adam. This song had featured as the b-side on the Yardbirds' 'Shape of Things'.

The Sons of Adam were originally from Baltimore but moved to Los Angeles and became part of the famous Sunset Strip scene there. As this record shows, they were a cut above most other garage bands and seemed to have some genuine musical talent throughout their line-up (they had actually started life as an instrumentals band). Unfortunately, chart success eluded them and after a few personnel changes the band split up in 1967.

The drummer for the Sons of Adam around this time was the highly talented Michael Stuart-Ware, who was soon to be headhunted by the band Love. His excellent drumwork is a feature of the legendary album 'Forever Changes'.

Mister You're a Better Man Than I (Sons Of Adam)

Out Of Time (Chris Farlowe)

28 JULY 1966

'Out Of Time' by Chris Farlowe reached #1 in the UK, where it stayed for one week. In the US it only got to #122 on the Billboard chart, showing just how out of synch the cross-Atlantic charts could be sometimes.

This was Farlowe's sixth single release since 1962. He hadn't enjoyed too much success (the highlight being a #37 earlier in 1966 with the Jagger/Richards song 'Think), and 'Out Of Time' rocketed to the top to become his biggest-ever hit. It was also written by Jagger and Richards and had featured on the Stones 1966 album 'Aftermath'. This recording was also produced by Jagger himself, who contributed backing vocals. The Rolling Stones released a third version as a single in 1975, using the orchestration and backing vocals from Farlowe's cover and a new female backing vocal. It is Farlowe's version, however, that stands out because of the sheer quality of his 'blue-eyed soul' voice. He did not enjoy massive chart success after this but released a number of excellent recordings.

B-side: 'Baby Make It Soon'
Released: 12 July 1966
Recorded: Olympic Studios, London
Highest chart position: #1 (UK), #122 (US)
Label: Immediate
Length: 3:14
Label: Immediate IM 035
Writers: Jagger/Richards
Producer: Mick Jagger

Out Of Time (Chris Farlowe)

Trains and Boats and Planes (Dionne Warwick)

27 JULY 1966

Trains and Boats and Planes (Dionne Warwick)

More information to come...

Nobody Needs Your Love (Gene Pitney)

26 JULY 1966

Gene Pitney’s single ‘Nobody Needs Your Love’ was starting to fall from its peak UK chart position of #2 this week. Despite being something of a demi-god in my books, Gene wasn’t having too much success in his native US by 1966, but was way more popular in the UK, where this Europe-only release was his sixth Top 10 hit in a row since 'I'm Gonna Be Strong' in late 1964 (that song was actually his last-ever Top 10 record in the US).

‘Nobody Needs Your Love’ was standard Pitney fare - a lushly-produced, high-emotion heartbreak ballad. Not his best, perhaps, but still very, very good.

You Can't Hurry Love (The Supremes)

25 JULY 1966

The Supremes released ‘You Can’t Hurry Love’, which reached #3 in the British charts.

More information to come...

Monday, Monday (The Mamas and the Papas)

24 JULY 1966

The Mamas and Papas' single ‘Monday, Monday’ was at its peak British chart position of #3 during this week in 1966. It had previously reached #1 on the US Billboard Hot 100 (their only chart topper there). This was the perfect follow-up to their breakthrough hit 'California Dreamin'' and established the group as a serious force. The song is a joy right from the opening 'bah da bah da da da' vocals (although most of the group apparently didn't think too much of it at first), and it has endured as a '60s classic.

The B-side - 'Got a Feelin'' - is also excellent.

B-side: 'Got a Feelin''
Recorded: 16 December 1965, Western Recorders, Los Angeles
Released: March 1966
Highest chart position: #3 (UK), #1 (US)
Length: 3:00
Label: Dunhill
Writer: John Phillips
Producer: Lou Adler

Monday, Monday (The Mamas and the Papas)

Only Time Will Tell (Etta James)

23 JULY 1966

As far as the mainstream charts went, in 1966 Etta James was in the middle of a barren run of six non-charting singles. She had enjoyed reasonable success since the mid-50s (better on the R&B chart) but only ever cracked the Billboard Top 30 a handful of times in her career. Even the undisputed classic 'At Last' (inducted into the Grammy Hall of Fame in 1999) only made it to #47 in 1961. 'Only Time Will Tell' (released early 1966) was one of those singles that went nowhere - not even on the R&B chart. It's not among her best material, but with Etta James it doesn't need to be for you to appreciate this as a fine piece of classy, cool, but impassioned Chicago soul.

Only Time Will Tell (Etta James)

Mothers Little Helper (The Rolling Stones)

22 JULY 1966

The Rolling Stones released the single 'Mothers Little Helper' in the US in July 1966, where it reached #8 on the Billboard Hot 100 chart. It was apparently not released as a single in Britain.

Thematically (and musically), this was very much in the same vein as 'Have You Seen Your Mother, Baby, Standing in the Shadow' and '19th Nervous Breakdown'. Once again Jagger and Richards had produced a heavy, cynical song putting down women, this time struggling housewives with a dependency on drugs like Valium. Of course, Keith Richards was dependent on far harder stuff. The group was clearly intent on maintaining their hard-edged image, a direction that would change for a while in the psychedelic atmosphere of 1967.

Of course the Stones weren't all menace and sneer, and Jagger and Richards were churning out a number of rather soppy slow songs, such as the B-side 'Lady Jane', which went to #24 in the US in its own right, and was a British hit in July 1966 for David Garrick.

B-side: 'Lady Jane'
Recorded: 3–8 December 1965
Released: 2 July 1966 (US)
Highest chart position: #8 (US)
Length: 2:40
Label: London
Writers: Jagger/Richards
Producer: Andrew Loog Oldham

Mothers Little Helper (The Rolling Stones)

Get Away (Georgie Fame and the Blue Flames)

21 JULY 1966

1966 was the Georgie Fame and the Blue Flames' best chart year, when they had three Top 20 hits in Britain, including the jazz/R&B number 'Get Away' which went to #1 during this week in July. Success was more elusive in the US, but Georgie would have his biggest seller there in 1967 with 'The Ballad of Bonnie and Clyde'.

This song (titled 'Getaway' on some early pressings) was originally written as a jingle for a petrol company TV ad (another ad jingle to chart that year was the T-Bones 'No Matter What Shape Your Stomach's In'.

B-side: 'El Bandido'
Released: June1966
Highest chart position: #1 (UK), #70 (US)
Length: 2:24
Label: Columbia DB7946, Imperial Records (USA)
Writer: Clive Powell (Georgie Fame)
Producer: Denny Cordell

Getaway (Georgie Fame and the Blue Flames)

Bus Stop (Hollies)

20 JULY 1966

The Hollies’ ‘Bus Stop’ was at its peak position of #5 on the UK charts. It also reached #5 on the US Billboard chart, being their first big hit in that country. And rightly so, because this is one of the very best singles they ever produced, with an inventive rhythm and lyrics, and of course featuring the groups brilliant harmonies.

This was the first single to feature Bernie Calvert on bass. He hadn't quite been made a permanent member of the band at the time, but he replaced previous bassist Eric Haydock who had recently quit the band but still featured on the record covers for this single.

This song was written by future 10CC member Graham Gouldman, whose considerable talent produced several other hit singles around this time, including 'For Your Love' and 'Heart Full of Soul' for the Yardbirds, 'Listen People', 'No Milk Today' and 'East West' for Herman's Hermits, and 'Look Through Any Window' for the Hollies.

B-side: 'Don't Run and Hide'
Released: 17 June 1966
Recorded: 18 May 1966, Abbey Road Studios
Highest chart position: #5 (UK and US)
Length: 2:51
Label: Parlophone
Producer: Ron Richards

Bus Stop (Hollies)

I'll Be Your Mirror (Velvet Underground)

19 JULY 1966

The b-side to the Velvet Underground's debut single  'All Tomorrow's Parties' - released this month in 1966 - was 'I'll Be Your Mirror', which would have been a very pretty tune indeed if not for the usual death-march-dirge vocals of lead singer Nico. Still, the quality of the song comes through and it was this arthouse-punk attitude that made the band the legend it later became.

Released: July 1966 
Recorded: April 1966, Scepter Studios, Manhattan
Length: 2:14 
Label: Verve
Writer: Lou Reed
Producer: Andy Warhol

Baby You've Got It (The Action)

18 JULY 1966

English mod-soul band The Action released their single ‘Baby You’ve Got It’ in July 1966.

This had great lead vocal. good falsetto backing vocals, and a bouncing bass. Why this group weren't more successful is one of those mysteries of 1960s music history. After failing to get any chart success they turned to a heavier mid-tempo psychedelic ballad style, and then into folk rock, also without success, but were then 'rediscovered' in the '80s and '90s after compilation releases of their older material.

Fun fact: The Action are one of the favourite bands of Phil Collins, who performed with them when they reunited in 2000. He later said that, 'For me it was like playing with the Beatles'.

Little Girl (Syndicate of Sound)

17 JULY 1966

Another high-flying Garage Rock record for 1966 was 'Little Girl' by the Syndicate of Sound, which reached #8 on the Billboard Hot 100 in June of that year. Although the band are often described as forerunners of psychedelic rock, this song is straight R&B with jangly guitars, like a cross between Stax and a track from the first album by Love.

The follow-up single from this San Jose band was ('Rumors'), which went to #55 in the US and that was just about it for them, apart from a #73 in 1970.

B-side: 'You'
Recorded: 9 January 1966
Released: 1966
Highest chart position: #8 (US)
Label: Hush Records, Bell Records
Writers: Don Baskin, Bob Gonzalez
Producer: Garrie Thompson

Hanky Panky (Tommy James and the Shondells)

16 JULY 1966

Tommy James and the Shondells’ raucous single ‘Hanky Panky’ was at #1 in the US Billboard charts on this day in 1966, and start there for two weeks, for some reason. Not bad for a song that the writers and the recording group never thought much of.

The song was hastily written by Barry and Greenwich in 1963 as a b-side for their group The Raindrops. They thought it was actually a 'terrible song'. It was, however, popular among garage bands, such as Tommy James and the Shondells who recorded it during the following year. Their single flopped and the group split up, but in 1965 it became popular in Pittsburgh so the unemployed James decided to re-release it, forming a new Shondells with the first band he ran into (The Raconteurs). It became a national hit, much to the surprise of the songwriters and James himself, who later said of it:
'I don't think anybody can record a song that bad and make it sound good. It had to sound amateurish like that. I think if we'd fooled with it too much we'd have fouled it up.'
Despite such inauspicious beginnings, the band went on to enjoy a few years of decent success (including another US #1 with 'Crimson and Clover, and a UK #1 with 'Mony Mony) before James left in 1970 for health reasons.

B-side: 'Thunderbolt'
Released: May 1966
Highest chart position: #38 (UK) #1 (US)
Length: 2:59
Label: Snap!, Roulette
Producer: Henry Glover

Hanky Panky (Tommy James and the Shondells)

'My baby does the hanky panky
Yeah, my baby does the hanky panky
My baby does the hanky panky
My baby does the hanky panky
Hey, my baby does the hanky panky

My baby does the hanky panky (yeah)
Yeah, my baby does the hanky panky
Hey, my baby does the hanky panky
My baby does the hanky panky
My baby does the hanky panky

I saw her walking on down the line (yeah)
You know I saw her for the very first time
A pretty little girl standing all alone
Hey baby, baby, can I take you home?
I never saw her, never really saw her (oh, yeah)

My baby does the hanky panky
Yeah, my baby does the hanky panky
My baby does the hanky panky
My baby does the hanky panky
My baby does the hanky panky

Ah, let's move it out
Let's go!

Oh, yeah!

I saw her walking on down the line (yeah)
You know I saw her for the very first time
A pretty little girl standing all alone
Hey baby, baby, can I take you home?
I never saw her, never really saw her

Okay, we're low on time, hold on

Yeah, my baby does the hanky panky
Hey, my baby does the hanky panky
My baby does the hanky panky
My baby does the hanky panky
My baby does the hanky panky

Let's knock em dead one time, let's go

Yeah, my baby does the hanky panky
My baby does the hanky panky
Yeah, my baby does the hanky panky'

Lana (Roy Orbison)

15 JULY 1966

The great Roy Orbison broke through with 'Only the Lonely' in 1960 and enjoyed a few years of considerable chart success, although by 1966 the hits were drying up in the US. He was still doing quite well in the UK, however, and chalked up three Top 20 hits there in '66, including a #3 with 'Too Soon to Know' (a single that only reached #68 on the other side of the Atlantic.

'Lana', which had peaked at #15, was still in the Top 20 during this week. This was a fun, bouncy number that seemed slightly out of step with the changing styles, but Orbison - whose success was based on his voice rather than his looks - had maintained a solid-enough fan base in the UK to keep selling records. Despite that, 1966 was to be his last year of Top 20 success before his resurgence in the 1980s. It was also the year that his wife Claudette was killed in a motorcycle accident.

Orbison said of the late '60s: '[I] didn't hear a lot I could relate to so I kind of stood there like a tree where the winds blow and the seasons change, and you're still there and you bloom again.'

Lana (Roy Orbison)

It's a Man's Man's Man's World (James Brown)

14 JULY 1966

The James Brown classic ‘It’s a Man’s Man’s Man’s World’ was at its peak UK chart position of #13 on this day. It had previously reached #8 on the US Billboard Hot 100 chart (his third top ten hit there in 18 months) and #1 on the R&B charts.

This song - his 25th single release - was co-written by Brown's then-girlfriend, Betty Jean Newsome.

The production values of the video clip above demonstrate Brown's famed hyper-professionalism.

B-side. ‘Is It Yes or Is It No?’
Released. April 1966
Recorded. 16 February 1966, Talent Masters Studios, New York
Genre. Rhythm and blues, soul
Length. 2:52
Label. King 6035
Writer. James Brown, Betty Jean Newsome
Producer. James Brown

It's a Man's Man's Man's World (James Brown)

River Deep, Mountain High (Ike and Tina Turner)

13 JULY 1966

Another classic masterpiece of 1966 big ballad production to stand alongside Dusty's 'You Don't Have to Say You Love Me' and the Walker Brothers' 'The Sun Ain't Gonna Shine [Anymore]'. This was Ike and Tina Turner’s ‘River Deep, Mountain High’, which was at its peak UK chart position of #3 on this day. Incredibly, the song flopped in the US, reaching only #88 on the Billboard Hot 100 chart.

This song was produced by Phil Spector and he considered it to be his best work. He was so shocked at its failure in the US that he withdrew from the music industry for two years. It should be remembered, however, that most of Ike and Tina's work did not chart well. None of the other five singles they released in 1965, 1967 and 1968 even broke the top 100 in the US.

B-side. ‘I'll Keep You Happy'
Released. May 1966
Recorded. Gold Star Studios, Los Angeles, 1965
Genre. Soul, pop
Length. 3:40
Producer. Phil Spector

Dirty Water (Standells)

12 JULY 1966

'Dirty Water' by Los Angeles garage band the Standells peaked at #11 on the US Billboard Hot 100 chart in June 1966. Its success was slow in coming, as the single had been released six months earlier.

The song was one of numerous US chart hits by garage bands during 1966, which was described by Rolling Stone magazine as 'Garage Rock's Greatest Year'.

The song is a mock tribute to the city of Boston, which back then had a famously-polluted harbour and river. There was even a quick mention of the Boston Strangler ('have you heard about the Strangler? I'm the man I'm the man.') 

B-side: 'Rari'
Released: November 1965
Recorded: 5 March 1965 at Universal Recorders, Hollywood
Highest chart position: #11 (US)
Length: 2:48
Label: Tower
Writer: Ed Cobb
Producer: Ed Cobb

Dirty Water (Standells)

World Cup Willie (Lonnie Donegan)

11 JULY 1966

The 1966 World Cup finals opened as England played out a 0-0 draw with Uruguay at Wembley. The theme song for the Finals, ‘World Cup Willie’ by fading skiffle star Lonnie Donegan (a Scotsman, no less), had rather strangely been released an entire seven months earlier, and it failed to even break the Top 100 in the UK charts.

This is hardly surprising, as the style of the sing was heavily dated and the lame lyrics - in awestruck praise of the World Cup mascot ‘Willie’ (a lion) - spoke of him being
‘Dressed in red, white and blue, he's World Cup Willie
We all love him too, World Cup Willie
He's tough as a lion and never will give up
That's why Willie is fav'rite for the Cup’.
A shame, as Lonnie played a massive part in early British rock history and deserved better material than this.

B-side. 'Where In This World Are We Going?'
Length. 2:39 
Label. Pye Records ‎– 7N 15993
Producer. Tony Hatch

World Cup Willie (Lonnie Donegan)

All Tomorrow's Parties (Velvet Underground)

10 JULY 1966

The Velvet Underground’s somewhat moribund debut single ‘All Tomorrow’s Parties’ was released in the USA during this month, but did not chart. It also featured on their debut album The Velvet Underground & 1967.

This recording featured a lead vocal from German 'singer-songwriter, lyricist, composer, musician, fashion model, and actress' Nico. Her distinctive, heavy cabaret voice can best be described as an 'acquired taste', and the reluctant band had only taken her on at the insistence of manager Andy Warhol. This was apparently his favourite Velvet Underground song.

Although this style contributed to the bands 'arthouse' image, it would have been interesting to hear songs like this sung by somebody who could actually sing.

Released: July 1966 
Recorded: April 1966, Scepter Studios, Manhattan
Length: 5:55 
Label: Verve
Writer: Lou Reed
Producer: Andy Warhol

All Tomorrow's Parties (Velvet Underground)

Lady Jane (David Garrick)

9 JULY 1966

David Garrick's baroque ballad 'Lady Jane' (written by Jagger/Richards) was at its peak UK chart position of #28 this week. Another version of this song by Manchester singer Tony Merrick had reached #49 during the previous month. It had also appeared as the B-side on the Rolling Stones' US single 'Mother's Little Helper.

Garrick's real name was Philip Core, and he had a decent pedigree as a singer. As a teenager he sang in a Liverpool church choir and even obtained a scholarship to train as an opera singer in Milan. After two years he returned to Liverpool and frequently sang at the Cavern Club. This was his first hit after two unsuccessful single releases during 1965, but his chart career proved to be short-lived.

I Am a Rock (Simon and Garfunkel)

8 JULY 1966

'I Am a Rock' by Simon and Garfunkel was another song that - much like 'The Sound of Silence' - enjoyed success after being rerecorded from its earlier acoustic incarnation. It had originally appeared on 1965's commercially-unsuccessful album 'Paul Simon Songbook', but received the electric treatment in the wake of the unexpected success of 'The Sound of Silence' in late 1965. Another similarity between the songs is the theme of alienation.

Something of a folk-rock classic, it climbed to #3 on the Billboard Hot 100 in June (their third top 5 hit there so far in '66), and peaked at #17 in the UK during this week. The duo had come far since separating after failure during the previous year.

B-side: 'Flowers Never Bend With The Rainfall'
Released: May 1966 (first released on LP, 17 January 1966)
Recorded: 14 December 1965
Highest chart position: #17 (UK), #3 (US)
Length: 2:52
Label: Columbia
Writer: Paul Simon
Producer: Bob Johnston

I Am a Rock (Simon and Garfunkel)

Sunny Afternoon (The Kinks)

7 JULY 1966

The Kinks’ single ‘Sunny Afternoon’ reached #1 in the UK charts and stayed there for two weeks. It peaked at #14 on the US Billboard Hot 100 chart.

This song continued in the 'music hall' style of its predecessor 'Dedicated Follower of Fashion', and much like the Beatles' 'Taxman' had themes of griping about paying high tax rates. This was Ray Davies in character as a fading son of old money referring to his own 'drunkenness and cruelty'.

'Sunny Afternoon' was the last of their three UK #1 hits, but the Kinks had plenty more classic songs to come yet.

Album. Face to Face
Released: 3 June 1966 (UK), July 1966 (US)
Highest chart position: #1 (UK), #14 (US)
Recorded: 13 May 1966; Pye Studios (No.2), London
Length: 3:36
Label: Pye 7N 17125 (UK); Reprise 0497 (US)
Writer: Ray Davies
Producer: Shel Talmy

Sunny Afternoon (The Kinks)

Sweet Talking Guy (Chiffons)

6 JULY 1966

A classic song out of its time, the Chiffons' ‘Sweet Talking Guy’ was at its peak UK chart position of #31. It really does sound like it was made in 1961, which in the 1960s timescale was an eon ago. This reached #10 in the US.

They had their first big hits in 1963 with 'He's So Fine' and 'One Fine Day', but then had little success in the intervening years. This song saw them return to the top ten but sadly proved to be their last hit (except when it reached #4 in the UK upon re-release there in 1972).

Sweet Talking Guy (Chiffons)

Pretty Flamingo (Everly Brothers)

5 JULY 1966

The Everly Brothers’ album ‘Two Yanks in England’ was released during this month. The Everly’s hadn’t had a big hit since 1962, but clearly thought that an Anglocentric album, recorded in London, would sell.

The album featured eight songs written by ‘L. Ransford’, which was the joint songwriting pseudonym for three of the guys from the Hollies (Clarke, Nash and Hicks), who were also in the studio backing band for the recordings. Jimmy Page and a young Elton John are also said to have played on these sessions.

The album also featured covers of two songs that had already been #1 hits for British artists in 1966 - ‘Somebody Help Me’ from the Spencer Davis Group, and Manfred Mann’s ‘Pretty Flamingo’. Unfortunately the album and the singles taken from it failed to chart. Still, it does provide a good example of how some of the bigger stars of the 1950s were faring by the mid-‘60s.

Pretty Flamingo (Everly Brothers)

Cherry, Cherry (Neil Diamond)

4 JULY 1966

Neil Diamond’s ‘Cherry, Cherry’ was released in the US this month, rising to #6 on the Billboard Hot 100 charts as his first big hit. It did not chart anywhere else except Australia, where it reached #40. This was not quite Diamond's launchpad to superstardom as it remained his biggest hit until the 1969 release of 'Sweet Caroline', 13 singles later.

‘Cherry, Cherry’ was described in a 2008 Rolling Stone article as 'one of the greatest three-chord songs of all time'.

B-side: ‘I'll Come Running’ 
Released: July 1966
Highest chart position: #6 (US)
Length. 2:39 
Label: Bang
Writer. Neil Diamond 

Trouble Every Day (The Mothers of Invention)

3 JULY 1966

Frank Zappa’s California art rock band The Mothers of Invention released their eclectic double album debut 'Freak Out!' during this week in 1966. The opener to Side Three was the wild, bluesy 'Trouble Every Day', which Zappa originally wrote in 1965 after watching coverage of the Watts Riots. These were hard-hitting lyrics. As he says in the song,
‘You know something, people? I’m not black but there’s a whole load of times I wish I could say I’m not white.’
The album reached #130 on the US charts. 'Trouble Every Day' was released as a single, with 'Who Are the Brain Police?' on the B-side, but like every Zappa single release for the next eight years it failed to chart. Nonetheless, this spaced-out album was ahead of its time and Zappa (an accomplished musician) became a legendary and artistically-revered figure in the industry. 

Cool Jerk (The Capitols)

2 JULY 1966

'Cool Jerk' by the (The Capitols) reached its peak position of #7 on the US Billboard Hot 100 chart on this day. It also went to #2 on the R&B chart.

This was the Capitols first recording since their 1963 debut single 'Dog and Cat/The Kick' bombed and they disbanded soon after. However, they wanted to capitalise on the popular mid-'60s 'jerk' dance craze (which consisted of holding the arms out in different positions and making thrusting motions with the hips) and reformed to record this. It was originally intended to be called 'Pimp Jerk', being based on a particularly lewd version of the dance, but the producer thought that a song with the word 'pimp' in the title would be banned.

The backing track for 'Cool Jerk' was recorded (in secret) by legendary Motown house band The Funk Brothers

B-side: 'Hello Stranger'
Released: 1966
Recorded: 14 March 1966, Golden World Studios, Detroit
Highest chart position: #7 (US)
Length: 2:45
Label: Karen Records
Writer: Donald Storball
Producer: Ollie McLaughlin

Cool Jerk (The Capitols)

Opus 17 [Don't You Worry 'bout Me] (The Four Seasons)

1 JULY 1966

'Opus 17 (Don't You Worry 'bout Me)' from the Four Seasons was in the charts during this month. The record peaked at #13 on the US Billboard Hot 100 chart (the lowest of their four US singles that year), and reached #20 in the UK.

B-side: 'Beggar's Parade' 
Released: May 1966
Highest chart position: #13 (US)
Length: 2:32
Label: Philips
Producer: Bob Crewe

Opus 17 [Don't You Worry 'bout Me] (The Four Seasons)