Hot 100 Re-Entries (Reasons)

Am working on a chart project over at Pulse Music where we are trying to piece
together WHY Hot 100 entries re-charted.

Since most Re-entries are well-documented post-1980 (or obvious... such as
later appearing in hit films, etc) I am focusing today on the first 22 years of the
Hot 100. It seems the reasons behind many of these are lost to time...

If anyone remembers or has any insight into the reason these songs were re-
released and re-charted, It would be very helpful! Was it a movie, TV
commercial, re-mix?


In order of Re-entry:

Never On Sunday, Don Costa
October 1960 (15 wks peaked at 19)
June 1961 (11 wks peaked at 37)

All I Have To Do Is Dream, The Everly Brothers
1958 - 5 wks at #1 (17 weeks total)
1961 - 2wks peaked at 96

The Twist, Chubby Checker
1960 - 18 wks (1 wk at #1)
1962 - 21 wks (2 wks at #1)
GIVEN REASON: First marketed to teens, later adults

Dreamy Eyes, Johnny Tillotson
January 1959 - 9 weeks peaked at 63
February 1962 14 weeks peaked at 35

Summertime, Summertime, The Jamies
1958 - 11 weeks peaked at 26
1962 - 8 weeks peaked at 38

Tall Cool One, The Wailers
1959 - 14 weeks peaked at 36
1964 - 9 weeks peaked at 38

The Wonder Of You, Ray Peterson
1959 - 16 weeks peaked at 29
1964 - 3 weeks peaked at 77

Harlem Nocturne, The Viscounts
1960 - 16 weeks - peaked at 52
1965 - 13 weeks peaked at 39

Louie Louie, The Kingsmen
1964 - 16 weeks peaked at #2
1966 - 2 weeks peaked at 97

Wipe Out, The Surfaris
1963 - 16 weeks peaked at #2
1966 - 14 weeks peaked at #16

Release Me, Esther Phillips
1962-3 - 14 weeks peaked at #8
1967 - 2 weeks peaked at #93

Light My Fire, The Doors
1967 - 17 weeks peaked at #1
1968 - 6 weeks peaked at #87

I Do Love You, Billy Stewart
1965 10 weeks peaked at 26
1969 - 3 weeks peaked at 94

In-A-Gadda-Da-Vida, Iron Butterfly
1968 - 12 weeks peaked at #30
1969 - 5 weeks peaked at #68

But It's Alright, J.J. Jackson
1966 - 13 weeks peaked at #22
1969 - 10 weeks peaked at #45

Gentle On My Mind, Glen Campbell
1967 - 7 weeks peaked at #62
1968 - 9 weeks peaked at #39

Get Together, The Youngbloods
1967 - 8 weeks - peaked at 62
1969 - 17 weeks peaked at #5

Solitary Man, Neil Diamond
1966 - 10 weeks peaked at #55
1970 - 14 weeks peaked at #21

Monster Mash, Bobby "Boris" Pickett
1962 - 14 weeks - peaked at #1 for 2 weeks
1970 - 3 weeks - peaked at #91
1973 - 20 weeks - peaked at #10

Superstar, Murray Head
1970 - 7 weeks peaked at #74
1971 - 24 weeks peaked at #14

Think, James Brown
1960 - 8 weeks peaked at #33
1967 - 1 week at #100
1973 - 5 weeks peaked at 77
1973 -2 weeks at #80
  (different version)

I'll Never Fall In Love Again, Tom Jones
1967 - 7 weeks - peaked at #49
1969 - 16 weeks - peaked at #6

I Want To Take You Higher, Sly & The Family Stone
1969 - 7 weeks - peaked at #60
1970 - 9 weeks - peaked at #38

Feeling Alright, Joe Cocker
1969 - 6 weeks - peaked at #69
1972 - 9 weeks - peaked at #33

Layla, Derek And The Dominos
1971 - 10 weeks - peaked at #51
1972 - 15 weeks - peaked at #10
live version from Eric Clapton
20 weeks - peaked at #12 November 1992

One Tin Soldier (The Legend of Billy Jack), Coven
1971 - 12 weeks - peaked at #26
1973 - 12 weeks - peaked at #73

They're Coming To Take Me Away, Ha-Haa!, Napoleon XIV
1966 - 6 weeks - peaked at #3
1973 - 4 weeks - peaked at #87

Last Kiss, J. Frank Wilson & The Cavaliers
1964 - 15 weeks - peaked at #2
1974 - 5 weeks - peaked at #92

Once You Understand, Think
1972 - 11 weeks peaked at #23
1974 - 7 weeks peaked at #53

(We're Gonna) Rock Around The Clock, Bill Haley & His Comets
1955 #1
1974 - 14 weeks peaked at #39

Surfin' U.S.A., The Beach Boys
1963 - 17 weeks - peaked at #3
1974 - 8 weeks - peaked at #36

Big Yellow Taxi, Joni Mitchell
1970 - 6 weeks peaked at #67
1975 - 10 weeks peaked at 24

Rock And Roll All Nite (live & studio), Kiss
1975 - 6 weeks peaked at #68 (studio)
1976 - 14 weeks peaked at #12 (live)

Dream On, Aerosmith
1973 - 9 weeks -peaked at #59
1976 - 20 weeks - peaked at #6

Venus, Frankie Avalon
1959 - 17 weeks with 5 weeks at #1
1976 - 11 weeks peaked at #46 (disco version)

Ode To Billie Joe, Bobbie Gentry
1967 - 14 weeks with 4 weeks at #1
1976 - 6 weeks peaked at #54

She's Gone, Daryl Hall & John Oates
1974 - 8 weeks peaked at #60
1976 - 20 weeks peaked at #7

Free Bird, Lynyrd Skynyrd
1975 - 12 weeks peaked at #19
1976 - 8 weeks peaked at #38

Do Ya, Electric Light Orchestra
1972 - 5 weeks - peaked at #93
1977 - 12 weeks - peaked at #24

I Just Want To Make Love To You, Foghat
1972 - 6 weeks - peaked at #83
1977 - 11 weeks - peaked at #33

Send In The Clowns, Judy Collins
1975 - 11 weeks peaked at #36
1977 - 16 weeks peaked at #19

I Honestly Love You, Olivia Newton-John
1974 - 15 weeks with 2 weeks at #1
1977 - 9 weeks peaked at #48
1998 - 12 weeks peaked at #67 (new version)

Crazy On You, Heart
1976 - 13 weeks peaked at #35
1978 - 6 weeks peaked at #62


Shout It Out Loud(live and studio), Kiss
1976 - 10 weeks peaked at #31(studio)
1978 - 5 weeks peaked at #54(live)

Disco Inferno, The Trammps
1977 - 9 weeks peaked at #53
1978 - 20 weeks peaked at #11

More Than A Woman, Tavares
1977 - 7 weeks peaked at 87
1978 - 14 weeks peaked at #32

"I Honestly Love You" was re-released with a new B-
side in 1977 to promote Olivia's first "Greatest Hits"
album. Same recording, different "physical" (pun
intended!) record. Olivia re-recorded the song in
1998 for her "Back With A Heart" album fearful that
another artist would remake the song that she felt was
her signature tune. It was "rumour"ed (another pun
intended!) that the demand for the 1998 version was so
strong that MCA pulled "Precious Love" as the album's
first single in favor of this. Don't know if that was
the wisest idea. Although it returned Olivia to the
Hot 100 (# 67) and AC (# 18) charts for the first time
in six years, it also made her career too nostalgic
coming just two months after the 20th anniversary re-
release of "Grease." Surprisingly, MCA never released
another single from the album except for a vinyl 45 of
the title track. Ironically, this album was Olivia's
return to the country market, but country radio
ignored this altogether. I spoke to a country DJ when
Olivia was promoting this and he commented that none
of his listeners were interested in hearing the
remake.

Derek and the Dominos - Layla

The album Layla and Other Assorted Love Songs opened to poor sales most likely due to Clapton's name being found only on the back cover. In addition, the song's length proved prohibitive for radio airplay at 7:10. As a result, a shortened version of the song, consisting of the first 2:43 of Part I, was released as a single in March 1971 by Atco Records in the United States. That version peaked at number 51 on the Billboard Hot 100. The reason for the re-release in 1972 was because of its appearance on the compilations The History of Eric Clapton and Duane Allman's An Anthology. The exposure propelled it to #10 on Billboard.

The 1992 Layla comes from the unplugged session and strictly originates from Clapton's solo career. If I recall it was because of this Tears in Heaven success that they needed another single to put out that was strong enough to propel sales of the album. The unplugged Layla almost sounded like a completely different song, which explains why it was released.

Light My Fire - The Doors

The song re-entered the Billboard Hot 100 again in 1968, carried by the success of Jose Feliciano’s latin-style cover of the song which won two 1968 Grammy Awards for Best New Artist and Best Male Pop Performance.

Neil Diamond - Solitary Man

After Diamond had renewed commercial success with Uni Records at the end of the decade with several top hits, BANG Records re-released "Solitary Man" as a single and it reached No. 21 on the U.S. pop charts in the summer of 1970 as Diamond was extremely popular releasing new hit songs, compared to 1966 when Bang signed him and he was an unknown singer and was first and foremost a song writer.

Youngbloods - Get Together

In 1969, renewed interest in the Youngbloods' cover version of the song came when it was used in a radio public service announcement as a call for brotherhood by the National Conference of Christians and Jews. People started calling their radio stations requesting the song.

"Augie Blum, the head of promotion at RCA, went to his boss and said, 'I want this song again. Now's the time for it.' And they told him, 'Now Augie, we don't do that. You know we released it once. That's it.' And he said, 'You release a song again or I'm out of here.' He was too valuable for them to lose," Young explains. "So they put it out again, and he was right, of course. The country was ready." https://www.npr.org/2019/04/10/711545679/get-together-youngb loods-summer-of-love-american-anthem

Aerosmith - Dream On

The version released in 1973 was a 45 edit, removing most of the intro and the first chorus. If you've heard the song this pretty much explains why outside of Boston the song did not catch on in popularity. Columbia Records chose to service top 40 radio stations with both long (4:25 album) and short versions (1973 edit) of the song, explaining why it had more success the second time around.

Edited by PopArchivist

Paul Haney wrote: Looking at some of the earlier ones... The Twist - That given reason (first teens, then adults) is true. That record was a total phenom at the time.

Also the dance craze of 1961 to early 1962 caught fire quickly which in turn created demand at the radio stations. The Twist was being done by celebrities from what I read.

Send In The Clowns - The re-release was due to inclusion on Judy's compilation album, So Early In The Spring, The First
15 Years. Elektra decided to give the single another shot to help promote the album and it took off.