Soul

391. ‘You to Me Are Everything’, by The Real Thing

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Kicking off the next thirty, and we’re back down the discotheque. Normal service has resumed.

You to Me Are Everything, by The Real Thing (their 1st and only #1)

3 weeks, from 20th June – 11th July 1976

This is a tune, and I mean that in the most literal sense. It is an ear-worm, that burrows its way into your head. But not in an irritating, ‘Birdie Song’ kind of way. It’s soulful, cool, funky… take your pick of mid-seventies adjectives. There are strings, and disco guitars. The glitter-ball is a-swirling. I would take the stars out of the sky for you… Stop the rain from falling if you asked me to…

If I were to write a book on the perfect pop song (despite being unable to read sheet music or play a single instrument…) I’d cite this record as an example in Chapter One. It’s as if it’s been custom designed in a lab. Stupid lovey-dovey lyrics- check. I can move a mountain when your hand is in my hand… One hell of a hook – check. Now you’ve got the best of me, Come on and take the rest of me… Key change – check. Backing vocals that come in at just the right moment – check.

I love the bridge: You give me just a taste of love, To build my hopes upon… (Except, it comes after what I think is the chorus, so… Can it still be called a bridge? I’m really proving here exactly why I shouldn’t author a book on the perfect pop song.) Whatever it is, it is a perfect pop moment.

And yet… Is it a little too perfect? Too polished? Probably, yes. Does it play it safe? Definitely. Are the lyrics trite? Oh yeah. Does the grammar in the title-line sound like something Yoda would say? You to me are everything… Yep. (Sorry, it’s the teacher in me.) But, as with all perfect pop, from The Monkees to ABBA, from Kylie to Gaga, we suspend our disbelief. We recognise its inherent silliness; but we dance regardless.

I can see why this was a huge hit. It was also on heavy rotation during Long Family Car Journeys as a kid. But, I can’t love it. Again speaking as a teacher: the perfect kids are never your favourites. So it is with songs…. Still, ‘You to Me Are Everything’ has lived on in cover versions by acts as diverse as Sonia, X-Factor contestant Andy Abraham (the bin-man), and Frankie Valli.

This was The Real Thing’s breakthrough hit, after several years of trying. They were a Liverpool band, and been around since 1970, but had never even charted before this one shot straight to the top. Formed in 1970, they had toured with David Essex, while one of their members – Eddie Amoo – had been on the scene since the Merseybeat days and had shared a stage with The Beatles. The follow-up to this made #2, but the hits dried up fairly quickly. Still, they weren’t averse to a remix, and ‘You to Me…’ made the Top 5 again in the mid-eighties. Their most recent Top 10 hit was in 2005, as a sample on single by House act Freeloaders.

376. ‘Can’t Give You Anything (But My Love)’, by The Stylistics

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I’ll tell you this, folks: the mid-seventies was the era of The Intro (note the caps). Remember back in the pre-rock days, when almost every #1 started with a ridiculous swirl of strings and a clash of cymbals? Well, these days, disco and soul have taken the same technique and turned it into something much catchier, much cooler.

Can’t Give You Anything (But My Love), by The Stylistics (their 1st and only #1)

3 weeks, from 10th – 31st August 1975

I had it in my mind that this would be a glossy, sultry ballad. Not a bit of it. It is sweeping, grandiose, and a complete and utter foot-tapper. A hip-shaker. A shoulder-shimmyer. A few months ago the top of the charts were very disco-soul heavy, as Barry White, Carl Douglas and The Tymes followed one another to the summit. It’s been a more eclectic start to the year, but The Stylistics finally have us back on the dancefloor.

I can’t give you anything, But my love, But my love…. It’s a simple enough premise: the singer can’t afford much at all – no diamonds, no pearls, no chauffeured limousines. But my devotion I will give, All my love just to you girl… For as long as I live… All the while the horns parp, almost taking the role of a second lead-singer, and the strings go wild in the background. It’s completely OTT, but completely wonderful – a song that has complete confidence in where it is going from the very first note.

It’s always a sign of a good song if you find yourself singing along before the first listen has ended. That’s what happened with me here. The lead singer, Russell Thompkins Jr., has an excellent falsetto, especially when he extends the final ‘I’ in the title to an ‘I-I’. It’s tiny details like that which make a good record great.

The Stylistics were a five-piece vocal group from – you guessed it – Philadelphia. They were regulars in the Top 10 both before and after their sole UK #1 single. And I was probably right to expect a ballad here, as most of their other hits were much slower and sultrier. On ‘Can’t Give You Anything’, though, they let loose and scored their biggest British hit. A lesson for us all! They were recording albums up until the nineties, and are still touring and performing to this day, with a couple of line-up changes (including Thompkins Jr., who left in 2000). Anyway, a song like this doesn’t need me to waffle on about it. Press play below and let the music speak for itself. The soul train is up and running once more…

Listen to every #1 thus far, here:

373. ‘Tears on My Pillow’, by Johnny Nash

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Our next #1 single feels a little bit misleading. It has a title that hints at other things… Is it a cover of the fifties classic ‘Tears on My Pillow’? Does Johnny Nash sound anything like Johnny Cash?

Tears on My Pillow, by Johnny Nash (his 1st and only #1)

1 week, from 6th – 13th July 1975

Its starts off very lush and soulful, with the swirling strings that have soundtracked many of the past year’s disco hits, but just when you think you know where this record is heading it changes tack and seamlessly slips into a reggae beat.

I remember, All the good times, That we had before… He loves a girl, she doesn’t love him back like she once did. Baby, Every night I wake up cryin’… Tears on my pillow… (and then, in a nice nod to the ‘50s song of the same name) Pain in my heart…

I like this one. I’d never heard it before, but I like it. I can even cope with the spoken word section (not something I often say) because it’s not too overwrought. I’ll always remember that day, You promised to love me… Meanwhile the reggae beat in the background is just too darn perky to make you feel sad.

Is ‘reggae-soul’ a thing? If it is, then that is what is happening right here. I especially like it when the horns come in at the end, playing an almost music hall refrain. They are – and there is simply no other word for it – funky. The more I listen to this song the more I’m enjoying it.

One thing’s for sure, 1975 is turning into one hell of an eclectic year. We can now add reggae to Philly soul, hard rock, a country classic, a novelty from a sitcom, and some spoken word sexiness from a TV detective… Those were the days! Johnny Nash was a Texan – one of the first non-Jamaicans to have reggae hits – and best remembered for the classic ‘I Can See Clearly Now’, which had reached #5, and #1 in the US, in 1972. That is a stone-cold classic, but I’m kind of glad that ‘Tears on My Pillow’ was his only chart-topper here. It really is a fun little tune.

It was the last of six UK Top 10s for Nash, who passed away just a few months ago, aged eighty. And for those of you left disappointed that this wasn’t a cover of Little Anthony & The Imperials’ doo-wop classic, just hang on fifteen years until an Australian legend takes to the top. Those of you disappointed that this is Johnny Nash not Cash… He never charted higher than #4.

364. ‘Ms. Grace’, by The Tymes

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1975 is off to an excellent start. After Status Quo comes another great, but very different #1 single. We’re back riding the soul train…

Ms. Grace, by The Tymes (their 1st and only #1)

1 week, from 19th – 26th January 1975

Why is it a soul ‘train’, by the way? You don’t get rock trains, rap trains, trance trains… Anyway. I like the way that soul records of the mid-seventies place great importance on their intros. ‘When Will I See You Again’, ‘Sad Sweet Dreamer’, ‘You’re My First…’, and now this, all have good, long, scene-setting intros. Opulent intros. (Slightly self-indulgent intros, maybe, but who cares…)

Ooh-ooh-ooh Ms. Grace, Satin and perfume and lace… The fact that it’s Ms. Grace, rather than Miss, makes this song what it is. The ‘Ms.’ suggesting a glamorous, sophisticated older lady, one who’s lived and loved, maybe misplaced a husband or two along the way… A woman who knows what she wants… The minute I saw your face, I knew that I loved you…

Ms. Grace is the sort of woman who turns rivers in their beds, while flowers bloom where she treads… You know the type. You’re the twinkle in my eye… These are lyrics that would sound ridiculous if accompanied solely by an acoustic guitar, but that perfectly suit a sweeping, swooping, strings and horns arrangement such as this.

It’s a perfect mix of the classic soul sounds of the sixties, and the glossier sounds of seventies Philly-soul. The strings are very now, and it’s another song where you can’t help picturing the disco ball spinning as it plays; while the doo-wop backing vocals and horns are already retro. It’s a mix that makes sense, as The Tymes had been around since the fifties, and had scored a US #1 way back in 1963 with ‘So Much In Love’.

I did wonder if this was perhaps a re-release, an older disc that had proven popular in dance halls, as with The Tams a few years back. But no, The Tymes just had some longevity, which had taken them well into the 1970s as soul veterans. ‘Ms. Grace’ was their last big hit, and soon after this they swapped in some female members. They still perform, with two founding members, Albert Berry and Norman Burnett.

Chart-toppers like this, and ‘Down Down’ from the week before, are the reason why January is often the best month for #1s. The quiet, post-Christmas spell allows slow-burners and leftovers to sneak a week which they might not have managed later in the year. Anyway, the next #1 will be the first one to actually have been released in 1975, and the year will be officially up and running… By that point, we’ll be in a new year ourselves. A very happy new year, then, to all who read this, and I hope you can join me in 2021, to continue our journey along the top of the charts!

358. ‘Sad Sweet Dreamer’, by Sweet Sensation

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One thing that becomes clear the longer this trawl through the charts goes on… If a hot new sound makes its way across the Atlantic – be it rock ‘n’ roll, Motown, or disco – it won’t be long before the Brits are trying it out for themselves.

Sad Sweet Dreamer, by Sweet Sensation (their 1st and only #1)

1 week, from 13th – 20th October 1974

I was genuinely surprised to find out that Sweet Sensation were a UK based band, from Manchester, so drenched is this record in the Philly-soul sound. Ooh-wah-wah-ooh-wah-wah-ooh… We’ve got strings, saxophones (a proper ‘Baker Street’ sax-riff), and that wonderful, trademark chukka-chukka disco guitar. Sad sweet dreamer, It’s just one of those things you put down to experience… That chorus is sung by the band, in response to the lead singer’s tale of heartbreak.

Been another long night and I’ve missed you girl… I was also genuinely surprised to discover that the lead vocals are not being sung by a woman, so soft and gentle is the falsetto. (That and the fact they’re singing about a girl… Which would have been very progressive for 1974.) Marcel King was just seventeen years old when this hit #1, which makes sense both in terms of how young he sounds and in the way he’s cast as the lovelorn teen: the sad sweet dreamer. I’ve been thinking about you girl, All night long…

I like this record. It’s a grower – a sexy, glossy, sophisticated disco-soul track, from what I am now naming ‘The Disco Fall’ (gettit, like a ‘disco ball’??) There’s something slightly suspect about bands whose name and biggest hit share words. It screams ‘novelty ahoy’! (Think Las Ketchup with ‘The Ketchup Song’, or Mr. Blobby). But in the case of Sweet Sensation’s ‘Sad Sweet Dreamer’ I think it’s just a coincidence. They were, however, very nearly one-hit wonders. The follow up to this made #11, and that was that.

Some interesting titbits about this record. Sweet Sensation sprang to national attention by winning a TV talent contest, ‘New Faces’. Which means we can add them alongside Peters and Lee, and Paper Lace, in this category. But ‘Sad Sweet Dreamer’ feels like a ‘real’ record – if one record can indeed be any realer than another. It fits right in with earlier, high-quality chart-toppers from The Three Degrees and George McCrae in shaping the sound of late-74.

It was also produced by one Tony Hatch, whose wife Jackie Trent had enjoyed her very own #1 single back in 1965. She even features as a backing vocalist here, scoring her 2nd chart-topper by proxy. And finally, ‘Sad Sweet Dreamer’ is another one of those records that is nowhere to be seen on Spotify… unless you want a ropey cover from a band called The Top of the Poppers. Meanwhile, a completely unrelated band called Sweet Sensation can be found, offering their brand of late-eighties, Hi-NRG dance-pop, if that’s your bag…

354. ‘When Will I See You Again’, by The Three Degrees

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As if to confirm that our last helping of disco-soul – George McCrae’s ‘Rock Your Baby’ – wasn’t a fluke, here’s another slice. Go on, you know you want to…

When Will I See You Again, by The Three Degrees (their 1st and only #1)

2 weeks, from 11th – 25th August 1974

This is an impossibly glitzy record – you can’t help imagine a shimmering disco ball slowly spinning above The Three Degrees as they sing – and, as with our previous #1, it’s supremely glossy. Back in the fifties, I used to write that American singers sounded so polished and mature, so sexy, next to our gurning music hall stars. So it is again. We were dancing like loons to ‘Sugar Baby Love’; they were coolly shimmying to records like this.

Hoooo…. Haaaa… Precious moments…. It’s a reboot of the classic sixties girl-groups – The Shirelles, The Ronettes and, of course, The Supremes. When will I see you again…? Lyrically, this is very close to ‘Will You Still Love Me Tomorrow’, with the singers asking if what’s just passed is the real thing or just a fling. When will we share precious moments…? It’s such a perfect pop song, so well put together, so smooth and silky, that I’m struggling to pick it apart. Maybe it’s one that simply needs listening to, and appreciating, and I can shut up. Post over.

It’s also a record that gets better as it progresses. I like it when lead singer Sheila Ferguson gets insistent: Are we in love, Or just friends… Is this my beginning, Or is this the end…? Enter a funky brass section, on top of the swirling strings, which I feel shouldn’t work but which does, wonderfully.

Apparently Ferguson really didn’t like ‘When Will I See You Again’ when it was first offered to the group. “I thought it was ridiculously insulting to be given such a simple song, and that it took no talent to sing it,” she said later. Not the first, nor the last, example of a singer not knowing a hit song even if it jumped up and bit them on the behind.

I’m amazed at how few big hits The Three Degrees enjoyed in the UK. This was the biggest of just five Top 10s. In the US – and this truly has me flabbergasted – this record reached #2… and then they never had a hit again! I didn’t know much about them, but The Three Degrees just sound like such a classic pop group. I’d have had them up there with the aforementioned sixties girl groups in terms of hit singles.

Still, as I’ve said before, if you’re gonna have a limited number of hits, you better make ‘em good ones. This is definitely a ‘good one’. It is also, by all accounts, one of Prince Charles’s favourite songs – the group performed it for him, in Buckingham Palace, for his thirtieth birthday. The man has taste. The Three Degrees are still a going concern, with one of the ladies whom you can hear on this record: Valerie Holiday. Of the other two, Fayette Pinkney, a founding member of the group, passed away in 2009, and Sheila Ferguson went solo in the ‘80s. There have been fifteen members in total but, for obvious reasons, only three at one time…

353. ‘Rock Your Baby’, by George McCrae

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This next #1 arrives like a fluffy cloud, a soft pillow upon which you might rest your head after a long day. Satin bedsheets. Rose petals scattered. A heavy-breathed Sexy…. Smooth. As silk.

Rock Your Baby, by George McCrae (his 1st and only #1)

3 weeks, from 21st July – 11th August 1974

Woman, Take me in your arms, Rock your baby… The voice sounds as if it’s coming from on high, slightly out of focus, drenched in echo. Is he singing about dancing, or sex? Dancing then sex? There’s nothing to it, Just say you wanna do it… I’d go with sex. Especially with that chucka-chucka rhythm nudging us along, like the soundtrack to a classic, moustaches and chest-hair porno.

There’s not a huge amount to this record. It floats in then floats out. Chilled, funky, and soulful. Kids today would call it a ‘mood’. George McCrae’s voice is honeyed and high-pitched, especially when he reaches for the falsetto at the end of the Now let your lovin’ flow, Real sweet and slow… line. (Ok, there’s no way this song isn’t about sex…)

This is soul with a capital S, the sound that had been dominating US pop music for years, and that had made headway in the UK charts in the late sixties/early seventies, before getting turfed out the way by glam. But it’s back, baby. The backing track existed before the lyrics, recorded by a member of KC and the Sunshine band and using a drum machine when that was a very experimental thing to do. McCrae came along, added his vocals and scored a huge debut hit around the world.

But wait. A. Second. Calling this ‘soul’ isn’t telling the whole picture. ‘Rock Your Baby’ is something else too. One of those watershed moment that come along every so often, when a #1 single points to the future. A five letter future: D. I. S. C. O. The five most sneered upon letters in pop music…?

Not that I’ve got anything against disco. I’m really looking forward to writing posts on some of the decades later, cheesier disco hits. And I’ve nothing against this song. It’s cool, and catchy. Get this track down your headphones this while walking along the street and you won’t be able to stop swaggering. It sounds so much more grown-up, so much more sophisticated, when compared to the year’s earlier chart-toppers from Gary Glitter and – as much as do I love it – Mud. This is a disc your cool older sister would have been listening too while you were still blasting ‘Tiger Feet’.

George McCrae struggled to follow-up this monster hit – it was #1 everywhere – but he’s still alive and still performs, in his mid-seventies. Press play, then, and enjoy the sound of the summer of ’74. As we pass the midway point of the year, popular music gently ticks over into a new era…

304. ‘Hey Girl Don’t Bother Me’, by The Tams

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Our last number one was a glossy, highly polished number from one of the world’s biggest female stars – Ms. Diana Ross. Which contrasts completely with this rough-and-ready next chart topper.

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Hey Girl Don’t Bother Me, by The Tams (their 1st and only #1)

3 weeks, from 12th September – 3rd October 1971

It starts with a simple drums and guitar intro. Then a refrain: Hey girl, don’t bother me… Hey girl, don’t bother me… Standard male vocal group stuff – think the Four Tops or the Miracles – but on a budget. Someone’s going for the Motown sound but without the backing of a major record label.

The lead singers voice is raspy and endearing: I heard about you from my friends… (I love the way he drags ‘friends’ out in a very ‘Murican way) The word really gets around… They say you broke the heart, Of every boy in town… He begs this floozy to stay away: Stay outta my arms, Don’t try to use your charms… Don’t bother me…

It’s a sweet song, despite the subject matter, and one that’s likeable from the start. When the handclaps start it seals this disc’s lo-fi charm. In the second verse, the singer admits that the girl is tempting, despite her reputation: But I really gotta say, You look so fine… He stands firm, though, determined not to be added to her list.

‘Hey Girl Don’t Bother Me’ stands right out in this countdown. We’re in the autumn of 1971, but this song sounds like a complete throwback. And that makes sense, seeing as it was recorded in 1964. To my ears it could have been even earlier. The Tams were a vocal group from Atlanta, who had had minor chart successes in the sixties but whose records were picked up by northern soul clubs in the UK. I can’t claim to be an expert on the northern soul scene in the seventies, but it was an offshoot of Mod culture, mainly in clubs in the north of England: Manchester, Wigan, Blackpool, down to Birmingham. They pushed lots of old soul discs back into the charts, and this one by The Tams made it all the way to the top.

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You can see why ‘Hey Girl…’ took off like it did. It’s a throwback, but it has enough of a guitar line and a stomp for it to fit in with the early seventies’ sound. You can imagine Mud doing a soft-glam cover version. Though I’m sure The Tams weren’t complaining, or inquiring as to the reasons for their sudden career resurgence in the UK. They will enjoy another mini-comeback fifteen years later, when their hit ‘There Ain’t Nothing Like Shagging’ makes #21 in 1987. (Stop giggling there at the back!) The ‘Shag’ is a dance, you see, (the official state dance of South Carolina!) and according to the song: There ain’t nothing like shagging, When you’re shagging with the one you love… There was a follow-up too – ‘My Baby Sure Can Shag!’ (Stop it!) Unfortunately, both were banned by a humourless BBC because ‘shagging’ means, erm, something else in Britain…

Anyway, back to ‘Hey Girl…’ It’s worth nothing that this is the third re-release to make #1 in the space of a year, following ‘The Tears of a Clown’ and ‘Voodoo Chile’. Not sure what to make of that… Were people already missing the sixties? Was it just a coincidence? It’s certainly adding to the already very eclectic feel of the charts in the early seventies!

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303. ‘I’m Still Waiting’, by Diana Ross

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For the second time this year, a former member of one of the sixties biggest groups scores a solo #1 single. From George Harrison, to Diana Ross. From The Supremes, to Diana Ross & The Supremes, to Diana. Just Diana.

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I’m Still Waiting, by Diana Ross (her 1st of two #1s)

4 weeks, from 15th August – 12th September 1971

The first word that comes to mind when this record intros is ‘polished’: polished strings, glossy production, not a dollar spared. Ross’s vocals, when they come in, are breathy and crystal clear. I remember when, I was five and you were ten, boy… Diana Ross, as always, has a voice you could swim in.

She’s loved this lad since they were kids, thought they were destined to be together, only to one day be told: Little girl, Please don’t wait for me, Wait patiently for love, Someday it will surely come… But Diana can’t take this advice, can’t give up on her first love. She’s still waiting.

It’s a record that I’m struggling to get into. I can see that it’s good – well-structured and beautifully recorded. It’s pop, but for grown-ups. Sophisticated soul. By the seventies, the people who had grown up buying pop music were getting older, and that starts to show in the number of AOR/MOR (not sure if these terms existed in 1971, but still) tracks that will become huge hits in this decade. Pop was no longer just for teenagers.

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And as I play it again, ‘I’m Still Waiting’ is slowly growing on me. I don’t love it, yet, but it’s gradually imprinting on my brain. It’s not short of hooks – the Little girl chorus is catchy, as is the And I’m still waiting… that hangs at the end of each of chorus. And there’s the I’m just a fool…! from the backing singers. And then, Diana speaks. Love has never shown his face, Since the day you walked out that door… Come back, Can’t you see it’s you I’m waiting for…

Will he ever come back? We’ll never know. The song shimmers to a fade-out. I can’t say I knew much about this record before writing this: it’s not one of Ms. Ross’s many hits that I could have named, that didn’t top the charts. Apparently it was one Tony Blackburn who plugged this album track so much on his radio show that Motown gave permission for it to be released in the UK. And it’s a sign of Ross’s longevity and sheer star quality that this #1 comes seven years after her first chart-topper with The Supremes (‘Baby Love’) and fifteen (!) years before her next chart-topper. She was a huge musical presence for the best part of five decades, and it’s been nice to discover this forgotten gem.

Listen to every number one single so far, here.

291. ‘Band of Gold’, by Freda Payne

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A funky bass riff takes us into our next #1, a huge hit single that settled in for a long stretch at the top of the charts in the autumn of 1970…

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Band of Gold, by Freda Payne (her 1st and only #1)

6 weeks, from 13th September – 25th October 1970

It’s a fun mix of a single. It’s soulful, it’s Motownish, it’s got strings, with some very early-seventies sounding electric sitar for the solo. Not that it’s a messy mix, not at all. It all comes together to make a great pop single. ‘Band of Gold’ was a perennial long car journey favourite as a kid, an ever present on my parents’ ‘Best of the ‘70s’ compilation tapes. It’s been nice getting to know it again.

And even as a child, I could tell that this record’s lyrics stood out. They tell a story… Since you’ve been gone, All that’s left is a band of gold… A young woman, left alone and crushed on her wedding night. Long before I knew what was meant to happen on one’s wedding night, it still drew me in, intrigued. You took me, From the shelter of my mother, I had never known, Or loved any other… Freda and her fiancé exchange vows, and kiss, but that night, on their honeymoon, they sleep in separate rooms…

This is the plot of a soap-opera, not the lyrics to a #1 single! Is she rich, and he only married her for her money? Was it an arranged marriage? Is he gay, and in need of a beard? Is he impotent?? (These are all bona fide theories that have been espoused over the years.) We never find out, left hanging as the song fades out.

Freda never stops hoping that he’ll walk… Back through that door, And love me, Like you tried before… He has tried to love her, then… The plot thickens. I love the image of her left in the dark, with her band of gold (it took me a long time, as a child, to work out that she was singing about her wedding ring.) Payne sings it forcefully, and the drumbeat comes down on every word. You can really picture her beating her chest in sorrow.

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‘Band of Gold’ was written by the Motown legends Holland-Dozier-Holland, but it wasn’t released on Motown due to an ongoing dispute between the writing team and the label. Which means it’s half a Motown hit, and frustrating as it deprives us of two-in-a-row following Smokey and the Miracles’ ‘The Tears of a Clown’. Ron Dunbar, who worked on the song alongside the trio, blames all the theories on the fact that he had to cut a line about the singer being the one who turned her husband away, to keep the runtime down. The full story can be heard on the 7” version…

I love the way that Freda Payne really lets loose for the final Since you’ve been go-o-o-ne… as she takes it home. Though apparently she had to be persuaded to record the song. She did, and it gave her what would be by far her biggest hit. In fact, ‘Band of Gold’ was Payne’s only Top 10 hit in either Britain or the US. She kept releasing music until the early eighties, when she moved into TV work and acting. She was married to fellow singer Gregory Abbott, for three years. Not a long marriage, but at least it got past the honeymoon.

Why not listen to all the #1 singles in one handy place, with my Spotify playlist?