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PopArchivist
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I've Never Been To Me, Charlene
1977 - 3 weeks -peaked at #97
1982 - 20 weeks peaked at #3
The 1977 release was considered too feminist. While Scott had something to do with it getting pushed again, the re-release was sent to the radio stations this time intact without the instrumental in the bridge. I don't have any articles to confirm this but a Florida radio staion started playing it to public acclaim and it caught on.
Don’t Stand So Close to Me, The Police
1981 - 18 weeks peaked at #10
1986 - 9 weeks peaked at #46
There's a simple explanation for this. The Police reformed for the Amnesty Concerts but Stewart Copeland broke his collarbone playing Polo before they were to enter the studio. Without Stewart able to play the remake included a Synclavier and a Fairlight — two sampling keyboards — Sting and Copeland had a big fight over which was better. The remake paled in comparison because of it. Not really a re-release but an entirely different version.
Red Red Wine, UB40
1984 - 15 weeks peaked at #34
1988 - 25 weeks peaked at #1
The big difference between the versions is that in 1984 if I recall there was no rap and it was 3 minutes. The 1988 version included a rap. In 1988, UB40 performed the song at the Nelson Mandela 70th Birthday Concert. Soon after in June 1988, Guy Zapoleon, program director of KZZP in the Phoenix, Arizona market, believed that the song should be given a second chance and put the full version, including Astro's "rap", on the station's playlist and it soon became the station's most popular song. With UB40 ready to release Labour of Love II, Virgin Records promotion man Charlie Minor asked UB40 to hold off on releasing the album so that the label could reissue and promote "Red Red Wine".
Into The Night, Benny Mardones
1980 - 20 weeks peaked at #11
1989 - 17 weeks peaked at #20
Bennie released a new album on a new label in 1989. Some stations played this re-recording. Others played the original hit. In 1989, a "Where Are They Now?" Arizona radio segment spurred L.A. DJ Scott Shannon to add the song to his playlist, ultimately rocketing the song back onto the national charts.
Send Me an Angel, Real Life
1984 - 18 weeks peaked at #29
1989 - 16 weeks peaked at #26
The 1989 version is remixed and has more umph to it. I dont know the source but MTV gave this song more airplay if I recall in its new version.
(It's Just) The Way That You Love Me, Paula Abdul
1988 - 5 weeks peaked at #88
1989 - 20 weeks peaked at #3
Re-released because of several #1's obtained by Paula Abdul in the first months of 1989 now that she had become a hot radio play. Having exhausted the main singles (Forever Your Girl, Cold Hearted, Straight Up and Knocked Out etc) they needed a bridge to Opposites Attract, which led to this re-release. It was subsequently included as the demonstration song on several Casio keyboards (e.g. CT-670 ToneBank Keyboard).
December, 1963 (Oh, What a Night), The 4 Seasons
1976 - 27 weeks with 3 weeks at #1
1994 - 27 weeks peaked at #14
This particular remix took off and was played extensively in 1994 (and is also known as the "dance mix") making it different than the 1976 single, which was slower.
If I Die Young, The Band Perry
2010 - 28 weeks peaked at #19
2011 - 25 weeks peaked at #14
The versions are slightly different. One is more pop and the other more country. They also run slightly different times.
Edited by PopArchivist on 23 April 2021 at 10:24am
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Hykker
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PopArchivist wrote:
I've Never Been To Me, Charlene
1977 - 3 weeks -peaked at #97
1982 - 20 weeks peaked at #3
The 1977 release was considered too feminist. While
Scott had something to do with it getting pushed
again, the re-release was sent to the radio stations
this time intact without the instrumental in the
bridge. I don't have any articles to confirm this but
a Florida radio staion started playing it to public
acclaim and it caught on.
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If anything, I'd call this song anti-feminist. The
Florida station you're referring to was WRBQ in Tampa,
where Scott Shannon was PD at the time.
A childhood friend lives in the area, and he said Q105
was playing this several months before anyone else.
I wouldn't say the 1982 version was "intact without
the instrumental in the bridge", it's just that she
spoke over the bridge on the 1982 single. This was
the original album version, the 1977 single had the
bridge in the clear.
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AutumnAarilyn
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After 7's "Heat of the moment" was a remix.
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TimNeely
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One Tin Soldier is more complicated.
It actually entered the charts three times (four, perhaps).
1.
In 1971, the Warner Bros. version, which was from the soundtrack of Billy Jack and recorded only by Jinx Dawson with studio musicians, entered the charts.
1a.
Shortly thereafter, Coven, which had made one album for Mercury but had been dropped, was picked up by MGM. The entire band re-recorded the song, even using the same producer as the soundtrack version. This version was released in 1971; indeed, for five weeks (October 16 through November 13, 1971), the Billboard Hot 100 listing for "One Tin Soldier" had the label and number for both the Warner Bros. and MGM singles, perhaps under the mistaken belief that they were the same recording, a la the Atco and Fontana releases of "Wild Thing" by the Troggs (1966).
Pre-2.
In 1973, Tom Laughlin director of Billy Jack, won a lawsuit against Warner Bros. Pictures, the result of which gave him complete control of the film, including its soundtrack. He independently re-released the film in 1973 and it made three times as much the second time around as it had the first.
When the movie gained renewed attention, so did "One Tin Soldier." A cover of the song by John Kurtz, who was the first to record "Drift Away" (even before Dobie Gray), was the first to gain notice; it was co-produced by Steve Barri and the song's composers, Dennis Lambert and Brian Potter, and was issued on ABC 11375. It was reviewed in the June 16, 1973 issue of Cash Box.
2.
Rather than let a cover get the glory, MGM re-released its master of Coven's version of the song using the same catalog number as the original (K14308). This was reviewed in the June 23 Cash Box. Contrary to an erroneous article in the June 23, 1973 Billboard, this was not a re-cut; it was the same version as had been on MGM in 1971. This version debuted on (returned to?) the Hot 100 in the July 21, 1973 issue, peaking at #79 and spending six weeks on the chart.
It's not hard to tell the difference between 1971 and 1973 MGM copies of "One Tin Soldier." On the 1973 copies, the B-side's title was changed to "I Guess It's a Beautiful Day (Least I Think It Is)." Also, the 1971 copies have Michael Lloyd listed as executive producer; this credit is missing from 1973 copies.
3.
Meanwhile, Tom Laughlin started his own record label, Billy Jack Records, to re-release the soundtrack. He also re-released the original Coven version of "One Tin Soldier" as a 45 on the Billy Jack label. This 45 has "Johnnie," sung by Teresa Kelly, on the B-side, and has a catalog number of BJS-101. It turned out that Laughlin knew how to get his movie into theaters, but had no clue about the record business; the Billy Jack Records versions of both the album and single are rarities today.
Laughlin decided to license the soundtrack and 45 back to Warner Bros. toward the end of 1973. The Warners 45 was a straight reissue of the Billy Jack 45; it even has the same catalog number except for a leading zero (BJS 0101). Now you know why the 1973 issue of the Warner Bros. single has such a strange number. (Some stock copies of the Warner Bros. 45 have the number as BJ 0101.) This version re-charted on the December 29, 1973 Hot 100; it eventually peaked at #76 and spent six weeks on the chart.
Edited by TimNeely on 24 April 2021 at 4:56pm
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TimNeely
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jebsib wrote:
Louie Louie, The Kingsmen
1964 - 16 weeks peaked at #2
1966 - 2 weeks peaked at 97
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In 1966, former Kingsmen lead singer Jack Ely did a new version of "Louie Louie" for Bang under the title "Louie Louie '66," with his named spelled as "Eely" to make it easier to pronounce for radio. In rebuttal, Wand re-released the original under the title "Louie Louie - 64-65-66..." and gave a prominent credit to Jack Ely as lead vocalist. The Wand version re-entered; the Bang version vanished.
jebsib wrote:
Superstar, Murray Head
1970 - 7 weeks peaked at #74
1971 - 24 weeks peaked at #14
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The 45 was first issued many months before the rock opera Jesus Christ Superstar; in fact, the first 45s said it was "(From JESUS CHRIST)". Once the album was finished, released, and became a phenomenon, the original single re-charted.
jebsib wrote:
I Want To Take You Higher, Sly & The Family Stone
1969 - 7 weeks - peaked at #60
1970 - 9 weeks - peaked at #38
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Epic re-serviced this to radio after a 1970 cover by Ike and Tina Turner. They competed with each other on the chart in 1970.
jebsib wrote:
Big Yellow Taxi, Joni Mitchell
1970 - 6 weeks peaked at #67
1975 - 10 weeks peaked at 24
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Studio vs. live version. The latter was from the album Miles of Aisles.
jebsib wrote:
More Than A Woman, Tavares
1977 - 7 weeks peaked at 87
1978 - 14 weeks peaked at #32
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The 45 was originally released before the soundtrack album of Saturday Night Fever, around the same time as the Bee Gees' "How Deep Is Your Love." It returned to the charts once the album came out. Its re-entry was a direct cause of the Bee Gees not releasing their own recording of "More Than a Woman" as a single in the U.S.
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C J Brown
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Big thanks to Tim Neely for the One Tin Soldier updates. I
see I had incomplete or poor information in a many cases.
Not to even mention the ones I did not even know existed.
Charlie
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eric_a
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jebsib wrote:
1999, Prince
1983 - 12 wks peaked at #44
1983 - 15 weeks peaked at #12
Re-released after mainstream success of previous single
1999 - 1 week at #40
2nd Re-entry in celebration of the actual year, 1999
2016 - 2 weeks peaked at #27
3rd Re-Entry! (due to Prince’s death)
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Somewhat OT: there was just a Final Jeopardy question
about this! (Only two of the three contestants got it
right.)
First released as a single in 1982, this song was re-
released & charted again 17 years later & 17 years after
that
Jeopardy 1-26-2021
Edited by eric_a on 24 April 2021 at 8:18pm
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Paul Haney
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Just a little side note on More Than A Woman...
While it's true that the Bee Gees graciously decided not to release a commercial single in the U.S. (thus not directly
competing with the Tavares version), the Bee Gees version still got quite a bit of airplay on U.S. radio stations. It peaked
at #21 in Radio & Records, while the Tavares version didn't even crack the R&R Top 30.
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AndrewChouffi
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To Paul Haney:
I don't even believe RSO solicited airplay on the Bee
Gees version of "More Than A Woman", therefore the #21
peak in R&R is just from the stations that decided to
report it anyway because the cut was undeniable.
If the label had decided to really work it as an LP
cut it would have easily been a top-3 record on CHR.
Do any of the late-1970s radio pros out there remember
any facts about this topic as I am only going by
conjecture & lore here...
Andy
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Paul Haney
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Andy, the story I heard was that RSO was all set to release a commercial 45 and start promoting the Bee Gees
version to radio. I seem to even recall seeing an ad in one of the trades. Barry Gibb got wind of it and
quickly called Robert Stigwood to put a stop to it as he truly wanted Tavares to have the hit. Of course, that
didn't stop many stations from playing it as an album cut (it hit the Top 10 in many markets). Had the Bee Gees
version been released as a single and properly promoted, it would have been huge for sure.
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Paul Haney
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I did a little digging into the Wipe Out situation.
The 1966 release was on Dot's reissue series (record #144). It was just one of those reissue 45s that took off at both
radio and retail, eventually peaking at #16 on the Hot 100. Interestingly, it came back a third time in the summer of
1970, where it Bubbled Under at #110 in Billboard. It even got a little more airplay in the summer of 1973 (though it
didn't chart). Guess it's just one of those timeless classics.
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VWestlife
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Although it was never a Top 40 pop hit (or even close!), it's often considered a one-hit wonder and an '80s classic that still gets lots of airplay today:
Modern English - "I Melt With You"
1983 - #78
1990 re-recording - #76
And another '80s classic that missed the Top 40, Squeeze's "Tempted" (#49 in 1982), was remixed and re-released in 1994 as a "double A-side" single along with the re-release of The Knack's "My Sharona", both from the soundtrack of "Reality Bites". It got some radio airplay but didn't reach the Hot 100 again.
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Hykker
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AndrewChouffi wrote:
Do any of the late-1970s radio pros out there remember
any facts about this topic as I am only going by
conjecture & lore here... |
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Memory may be a little hazy after 40+ years, but I don't
recall us playing the Tavares version, though we did
play the Bee Gees.
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TimNeely
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Going back to the original post:
"Never on Sunday" by Don Costa re-entered
for two reasons.
First, there was a vocal version by the
Chordettes released around the same time
the Costa version returned to the charts.
Second, in April 1961, "Never on Sunday"
was awarded the Oscar for Best Original
Song, which renewed interest in it.
As a side note, three different Academy
Award winners for Best Song entered the
Hot 100 in the 1970s as a direct result of
winning. All of them had been released as
singles months before but did little or
nothing until they won the Oscar. They
were "The Morning After" by Maureen
McGovern in 1973 (from The Poseidon
Adventure); "I'm Easy" by Keith
Carradine in 1976 (from Nashville);
and "Gonna Fly Now" by Bill Conti in 1977
(from Rocky).
Edited by TimNeely on 29 April 2021 at 5:20am
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VWestlife
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So not only "Shout It Out Loud" by Kiss and "Twist and Shout" by the Beatles charted twice, but also two versions of "Shout":
The Isley Brothers - "Shout - Part 1"
1959 - #47
1962 - #94 - after it was covered by Joey Dee & The Starliters
Lulu & The Luvers - "Shout":
1964 - #94
1967 - #96 - after her #1 hit "To Sir With Love"
Edited by VWestlife on 30 April 2021 at 11:26pm
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EdisonLite
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This has been a fascinating topic to read, and interesting posts in response to the original. I wonder if anyone can explain the 2 charts runs of these non-top 40 singles:
Bowie "Changes"
#66 1972
#41 1975
Beach Boys "Sail on Sailor"
#79 1973
#49 1975
(and maybe it was just New England stations but "Sail On Sailor" seemed like a big hit on radio to me).
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PopArchivist
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EdisonLite wrote:
This has been a fascinating topic to read, and interesting posts in response to the original. I wonder if anyone can explain the 2 charts runs of these non-top 40 singles:
Bowie "Changes"
#66 1972
#41 1975
Beach Boys "Sail on Sailor"
#79 1973
#49 1975
(and maybe it was just New England stations but "Sail On Sailor" seemed like a big hit on radio to me). |
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I think the Bowie re-charting was because of Young Americans doing so well on the charts and Fame hitting #1 where in 1972 he was not a household name yet (The Man Who Sold The World was a commercial failure) because Hunky Dory got great reviews but it did not sell as well and the success of Rise and Fall of Ziggy Stardust, the next album, brought him the recognition and superstar status.
I have absolutely no idea about the Beach Boys track.
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eric_a
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PopArchivist wrote:
December, 1963 (Oh, What a Night), The 4 Seasons
1976 - 27 weeks with 3 weeks at #1
1994 - 27 weeks peaked at #14
This particular remix took off and was played extensively in 1994 (and
is also known as the "dance mix") making it different than the 1976
single, which was slower. |
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If I recall correctly, this was the same remix issued in 1988, remixed by
Ben Liebrand, and runs at the same tempo (104 BPMish) but adds a lot
of extra percussion.
I’m not sure what catalyzed the rise in ‘94 but I do recall hearing the
remix on Open House Party, the syndicated radio show that commonly
played (plays?) remixes and mix segments. I heard the remix on OHP
before I’d heard it on the radio anywhere else, possibly as early as late
‘93, so some credit may go to OHP. Does this jibe with others’
memories?
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Paul Haney
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PopArchivist wrote:
I think the Bowie re-charting was
because of Young Americans doing so well on the charts
and Fame hitting #1 where in 1972 he was not a household
name yet (The Man Who Sold The World was a commercial
failure) because Hunky Dory got great reviews but it did
not sell as well and the success of Rise and Fall of
Ziggy Stardust, the next album, brought him the
recognition and superstar status. |
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The "Changes" single re-charted in December 1974, a few
months before the release of the Young Americans album.
I think it was more a case of RCA re-promoting it to
radio and it finally catching on.
As for "Sail On Sailor" it got another chance thanks to
the success of the Endless Summer album. In 1974-75 the
Beach Boys were suddenly "hot" again with both Capitol
and Brother/Reprise re-releasing old singles.
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Hykker
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EdisonLite wrote:
(and maybe it was just New England
stations but "Sail On Sailor" seemed like a big hit on
radio to me). |
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Yes, it spend a couple weeks in the top 10 on WRKO in
Feb/March of '73 and since many New England stations
were influenced by 'RKO it got a lot of play there too.
1975, not so much. Don't think I heard it then at all,
though I moved to the west coast for a couple years in
late '75 and heard it a lot (presumably as a recurrent)
then.
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Top 40 Music on Compact Disc : Chat Board
Topic: Hot 100 Re-Entries (Reasons)
