{"id":28915,"date":"2024-10-25T15:09:26","date_gmt":"2024-10-25T19:09:26","guid":{"rendered":"https:\/\/keener13.org\/?page_id=28915"},"modified":"2024-10-25T15:17:53","modified_gmt":"2024-10-25T19:17:53","slug":"library","status":"publish","type":"page","link":"https:\/\/keener13.org\/?page_id=28915","title":{"rendered":"Every Song That Ever Charted on the WKNR Music Guide"},"content":{"rendered":"\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Artist<\/th>\nSong<\/th>\nChart Date<\/th>\nHighest Position<\/th>\nWeeks<\/th>\nLabel<\/th>\nCatalogue<\/th>\n<\/tr>\n<\/thead>\n
ABBEY TAVERN SINGERS<\/td>\nOFF TO DUBLIN IN THE GREEN<\/td>\n8\/15\/1966<\/td>\n5<\/td>\n6<\/td>\nHBR<\/td>\n498<\/td>\n<\/tr>\n
ACKLIN. BARBARA<\/td>\nLOVE MAKES A WOMAN<\/td>\n7\/3\/1968<\/td>\n13<\/td>\n7<\/td>\nBRUNSWICK<\/td>\n55379<\/td>\n<\/tr>\n
AD LIBS<\/td>\nBOY FROM NEW YORK CITY -THE-<\/td>\n12\/31\/1964<\/td>\n2<\/td>\n7<\/td>\nBLUE CAT<\/td>\n102<\/td>\n<\/tr>\n
ADAMS. BILLY<\/td>\nBETTY AND DUPREE<\/td>\n2\/6\/1964<\/td>\n19<\/td>\n4<\/td>\nSUN<\/td>\n389<\/td>\n<\/tr>\n
ADAMS. JOHNNY<\/td>\nRELEASE ME<\/td>\n10\/17\/1968<\/td>\n20<\/td>\n3<\/td>\nSSS INTERNATIONAL<\/td>\n750<\/td>\n<\/tr>\n
ADDERLEY. CANNONBALL<\/td>\nMERCY. MERCY. MERCY<\/td>\n1\/23\/1967<\/td>\n15<\/td>\n4<\/td>\nCAPITOL<\/td>\n5798<\/td>\n<\/tr>\n
ADDRISI BROTHERS<\/td>\nWE’VE GOT TO GET IT ON AGAIN<\/td>\n2\/7\/1972<\/td>\n20<\/td>\n3<\/td>\nCOLUMBIA<\/td>\n45521<\/td>\n<\/tr>\n
ADORABLES<\/td>\nDEEP FREEZE<\/td>\n2\/20\/1964<\/td>\n27<\/td>\n2<\/td>\nGOLDEN WORLD<\/td>\nNA<\/td>\n<\/tr>\n
AESOPS FABLES<\/td>\nI’M GONNA MAKE YOU LOVE ME<\/td>\n8\/1\/1968<\/td>\n20<\/td>\n4<\/td>\nCADET CONCEPT<\/td>\n7005<\/td>\n<\/tr>\n
AKENS. JEWEL<\/td>\nBIRDS AND THE BEES -THE-<\/td>\n1\/14\/1965<\/td>\n1<\/td>\n8<\/td>\nERA<\/td>\n3141<\/td>\n<\/tr>\n
ALBERTINE. CHARLES<\/td>\nLONG SHIPS -THE-<\/td>\n7\/30\/1964<\/td>\n13<\/td>\n5<\/td>\nCOLPIX<\/td>\n726<\/td>\n<\/tr>\n
ALIVE & KICKING<\/td>\nTIGHTER. TIGHTER<\/td>\n6\/8\/1970<\/td>\n8<\/td>\n9<\/td>\nROULETTE<\/td>\n7078<\/td>\n<\/tr>\n
ALLAN. DAVIE\/& THE ARROWS<\/td>\nBLUE’S THEME<\/td>\n5\/29\/1967<\/td>\n1<\/td>\n7<\/td>\nTOWER<\/td>\n295<\/td>\n<\/tr>\n
ALPERT. HERB<\/td>\nTHIS GUY’S IN LOVE WITH YOU<\/td>\n5\/9\/1968<\/td>\n1<\/td>\n9<\/td>\nA&M<\/td>\n929<\/td>\n<\/tr>\n
ALPERT. HERB\/& THE TIJUANA BRASS<\/td>\nSPANISH FLEA<\/td>\n3\/16\/1966<\/td>\n15<\/td>\n4<\/td>\nA&M<\/td>\n792<\/td>\n<\/tr>\n
ALPERT. HERB\/& THE TIJUANA BRASS<\/td>\nWHAT NOW MY LOVE<\/td>\n3\/16\/1966<\/td>\n15<\/td>\n4<\/td>\nA&M<\/td>\n792<\/td>\n<\/tr>\n
ALPERT. HERB\/& THE TIJUANA BRASS<\/td>\nMAME<\/td>\n11\/14\/1966<\/td>\n21<\/td>\n3<\/td>\nA&M<\/td>\n823<\/td>\n<\/tr>\n
ALPERT. HERB\/& THE TIJUANA BRASS<\/td>\nWORK SONG -THE-<\/td>\n6\/20\/1966<\/td>\n22<\/td>\n4<\/td>\nA&M<\/td>\n805<\/td>\n<\/tr>\n
ALPERT. HERB\/& THE TIJUANA BRASS<\/td>\nFLAMINGO<\/td>\n9\/12\/1966<\/td>\n25<\/td>\n2<\/td>\nA&M<\/td>\n813<\/td>\n<\/tr>\n
ALPERT. HERB\/& THE TIJUANA BRASS<\/td>\nTHIRD MAN THEME<\/td>\n8\/25\/1965<\/td>\n8<\/td>\n6<\/td>\nA&M<\/td>\n775<\/td>\n<\/tr>\n
ALPERT. HERB\/& THE TIJUANA BRASS<\/td>\nTASTE OF HONEY<\/td>\n9\/1\/1965<\/td>\n8<\/td>\n5<\/td>\nA&M<\/td>\n775<\/td>\n<\/tr>\n
AMBOY DUKES<\/td>\nJOURNEY TO THE CENTER OF THE MIND<\/td>\n5\/23\/1968<\/td>\n1<\/td>\n10<\/td>\nMAINSTREAM<\/td>\n684<\/td>\n<\/tr>\n
AMBOY DUKES<\/td>\nBABY PLEASE DON’T GO<\/td>\n2\/1\/1968<\/td>\n15<\/td>\n4<\/td>\nMAINSTREAM<\/td>\n676<\/td>\n<\/tr>\n
AMBOY DUKES<\/td>\nFOR HIS NAMESAKE<\/td>\n4\/10\/1969<\/td>\n22<\/td>\n4<\/td>\nMAINSTREAM<\/td>\n704<\/td>\n<\/tr>\n
AMERICA<\/td>\nHORSE WITH NO NAME -A-<\/td>\n1\/31\/1972<\/td>\n2<\/td>\n8<\/td>\nWARNER BROS.<\/td>\n7555<\/td>\n<\/tr>\n
AMERICAN BREED<\/td>\nANYWAY THAT YOU WANT ME<\/td>\n7\/11\/1968<\/td>\n22<\/td>\n2<\/td>\nACTA<\/td>\n827<\/td>\n<\/tr>\n
AMERICAN BREED<\/td>\nKEEP THE FAITH<\/td>\n10\/24\/1968<\/td>\n22<\/td>\n3<\/td>\nACTA<\/td>\n830<\/td>\n<\/tr>\n
AMERICAN BREED<\/td>\nDON’T FORGET ABOUT ME<\/td>\n7\/24\/1967<\/td>\n23<\/td>\n3<\/td>\nACTA<\/td>\n808<\/td>\n<\/tr>\n
AMERICAN BREED<\/td>\nBEND ME. SHAPE ME<\/td>\n11\/9\/1967<\/td>\n5<\/td>\n7<\/td>\nACTA<\/td>\n811<\/td>\n<\/tr>\n
AMERICAN BREED<\/td>\nSTEP OUT OF YOUR MIND<\/td>\n6\/26\/1967<\/td>\n7<\/td>\n4<\/td>\nACTA<\/td>\n804<\/td>\n<\/tr>\n
AMES. ED<\/td>\nMY CUP RUNNETH OVER<\/td>\n1\/23\/1967<\/td>\n12<\/td>\n6<\/td>\nRCA<\/td>\n47-9002<\/td>\n<\/tr>\n
AMES. ED<\/td>\nWHO WILL ANSWER<\/td>\n11\/30\/1967<\/td>\n15<\/td>\n4<\/td>\nRCA<\/td>\n47-9400<\/td>\n<\/tr>\n
AMES. NANCY<\/td>\nFRIENDS AND LOVERS FOREVER<\/td>\n5\/9\/1966<\/td>\n14<\/td>\n5<\/td>\nEPIC<\/td>\n9874<\/td>\n<\/tr>\n
ANDERSON. LYNN<\/td>\nROSE GARDEN<\/td>\n1\/4\/1971<\/td>\n4<\/td>\n8<\/td>\nCOLUMBIA<\/td>\n45252<\/td>\n<\/tr>\n
ANGELS<\/td>\nWOW WOW WEE (HE’S THE BOY FOR ME)<\/td>\n1\/16\/1964<\/td>\n28<\/td>\n3<\/td>\nSMASH<\/td>\n1870<\/td>\n<\/tr>\n
ANIMALS<\/td>\nHOUSE OF THE RISING SUN -THE-<\/td>\n7\/30\/1964<\/td>\n1<\/td>\n6<\/td>\nMGM<\/td>\n13264<\/td>\n<\/tr>\n
ANIMALS<\/td>\nMONTEREY<\/td>\n12\/14\/1967<\/td>\n10<\/td>\n5<\/td>\nMGM<\/td>\n13868<\/td>\n<\/tr>\n
ANIMALS<\/td>\nSEE SEE RIDER<\/td>\n10\/3\/1966<\/td>\n11<\/td>\n5<\/td>\nMGM<\/td>\n13582<\/td>\n<\/tr>\n
ANIMALS<\/td>\nDON’T LET ME BE MISUNDERSTOOD<\/td>\n3\/3\/1965<\/td>\n13<\/td>\n4<\/td>\nMGM<\/td>\n13311<\/td>\n<\/tr>\n
ANIMALS<\/td>\nWHEN I WAS YOUNG<\/td>\n4\/17\/1967<\/td>\n14<\/td>\n4<\/td>\nMGM<\/td>\n13721<\/td>\n<\/tr>\n
ANIMALS<\/td>\nI’M CRYING<\/td>\n9\/24\/1964<\/td>\n17<\/td>\n4<\/td>\nMGM<\/td>\n13274<\/td>\n<\/tr>\n
ANIMALS<\/td>\nDON’T BRING ME DOWN<\/td>\n6\/13\/1966<\/td>\n17<\/td>\n5<\/td>\nMGM<\/td>\n13514<\/td>\n<\/tr>\n
ANIMALS<\/td>\nHELP ME GIRL<\/td>\n11\/21\/1966<\/td>\n18<\/td>\n4<\/td>\nMGM<\/td>\n13636<\/td>\n<\/tr>\n
ANIMALS<\/td>\nBRING IT ON HOME TO ME<\/td>\n5\/19\/1965<\/td>\n22<\/td>\n3<\/td>\nMGM<\/td>\n13339<\/td>\n<\/tr>\n
ANIMALS<\/td>\nANYTHING<\/td>\n3\/28\/1968<\/td>\n23<\/td>\n3<\/td>\nMGM<\/td>\n13917<\/td>\n<\/tr>\n
ANIMALS<\/td>\nSKY PILOT<\/td>\n5\/16\/1968<\/td>\n25<\/td>\n3<\/td>\nMGM<\/td>\n13939<\/td>\n<\/tr>\n
ANIMALS<\/td>\nSAN FRANCISCAN NIGHTS<\/td>\n8\/14\/1967<\/td>\n6<\/td>\n6<\/td>\nMGM<\/td>\n13769<\/td>\n<\/tr>\n
ANKA. PAUL<\/td>\nGOODNIGHT MY LOVE<\/td>\n1\/9\/1969<\/td>\n11<\/td>\n4<\/td>\nRCA<\/td>\n47-9648<\/td>\n<\/tr>\n
ANKA. PAUL<\/td>\nDO I LOVE YOU<\/td>\n9\/27\/1971<\/td>\n11<\/td>\n4<\/td>\nBUDDAH<\/td>\n252<\/td>\n<\/tr>\n
APOLLO 100<\/td>\nJOY<\/td>\n12\/27\/1971<\/td>\n3<\/td>\n10<\/td>\nMEGA<\/td>\n615-0050<\/td>\n<\/tr>\n
APRIL WINE<\/td>\nYOU COULD HAVE BEEN A LADY<\/td>\n2\/21\/1972<\/td>\n13<\/td>\n5<\/td>\nBIG TREE<\/td>\n133<\/td>\n<\/tr>\n
ARBORS<\/td>\nSYMPHONY FOR SUSAN -A-<\/td>\n11\/7\/1966<\/td>\n13<\/td>\n5<\/td>\nDATE<\/td>\n1529<\/td>\n<\/tr>\n
ARBORS<\/td>\nI CAN’T QUIT HER<\/td>\n5\/15\/1969<\/td>\n16<\/td>\n4<\/td>\nDATE<\/td>\n1645<\/td>\n<\/tr>\n
ARCHIES<\/td>\nSUGAR. SUGAR<\/td>\n7\/17\/1969<\/td>\n1<\/td>\n11<\/td>\nCALENDAR<\/td>\n1008<\/td>\n<\/tr>\n
ARCHIES<\/td>\nBANG-SHANG-A-LANG<\/td>\n9\/5\/1968<\/td>\n22<\/td>\n3<\/td>\nCALENDAR<\/td>\n1006<\/td>\n<\/tr>\n
ARCHIES<\/td>\nFEELIN’ SO GOOD<\/td>\n12\/5\/1968<\/td>\n22<\/td>\n4<\/td>\nCALENDAR<\/td>\n1007<\/td>\n<\/tr>\n
ARCHIES<\/td>\nWHO’S YOUR BABY<\/td>\n3\/3\/1970<\/td>\n31<\/td>\n1<\/td>\nKIRSHNER<\/td>\n5003<\/td>\n<\/tr>\n
ARCHIES<\/td>\nJINGLE JANGLE<\/td>\n11\/20\/1969<\/td>\n5<\/td>\n10<\/td>\nKIRSHNER<\/td>\n5002<\/td>\n<\/tr>\n
ARMSTRONG. LOUIS<\/td>\nHELLO. DOLLY!<\/td>\n3\/12\/1964<\/td>\n4<\/td>\n8<\/td>\nKAPP<\/td>\n573<\/td>\n<\/tr>\n
ARNIM & HAMILTON<\/td>\nPEPPERMAN<\/td>\n12\/25\/1969<\/td>\n20<\/td>\n3<\/td>\nINTERNATIONAL ARTISTS<\/td>\n141<\/td>\n<\/tr>\n
ARNOLD. EDDY<\/td>\nMAKE THE WORLD GO AWAY<\/td>\n11\/10\/1965<\/td>\n3<\/td>\n7<\/td>\nRCA<\/td>\n47-8679<\/td>\n<\/tr>\n
ARTISTICS<\/td>\nI’M GONNA MISS YOU<\/td>\n1\/3\/1967<\/td>\n8<\/td>\n4<\/td>\nBRUNSWICK<\/td>\n55301<\/td>\n<\/tr>\n
ASHTON+ GARDNER & DYKE<\/td>\nRESURRECTION SHUFFLE<\/td>\n6\/28\/1971<\/td>\n26<\/td>\n3<\/td>\nCAPITOL<\/td>\n3060<\/td>\n<\/tr>\n
ASSEMBLED MULTITUDE<\/td>\nOVERTURE FROM TOMMY<\/td>\n7\/20\/1970<\/td>\n9<\/td>\n5<\/td>\nATLANTIC<\/td>\n2737<\/td>\n<\/tr>\n
ASSOCIATION<\/td>\nCHERISH<\/td>\n8\/22\/1966<\/td>\n1<\/td>\n8<\/td>\nVALIANT<\/td>\n747<\/td>\n<\/tr>\n
ASSOCIATION<\/td>\nEVERYTHING THAT TOUCHES YOU<\/td>\n1\/25\/1968<\/td>\n11<\/td>\n4<\/td>\nWARNER BROS.<\/td>\n7163<\/td>\n<\/tr>\n
ASSOCIATION<\/td>\nNO FAIR AT ALL<\/td>\n1\/23\/1967<\/td>\n20<\/td>\n3<\/td>\nVALIANT<\/td>\n758<\/td>\n<\/tr>\n
ASSOCIATION<\/td>\nPANDORA’S GOLDEN HEEBIE JEEBIES<\/td>\n11\/7\/1966<\/td>\n21<\/td>\n3<\/td>\nVALIANT<\/td>\n755<\/td>\n<\/tr>\n
ASSOCIATION<\/td>\nGOODBYE COLUMBUS<\/td>\n2\/13\/1969<\/td>\n21<\/td>\n2<\/td>\nWARNER BROS.<\/td>\n7267<\/td>\n<\/tr>\n
ASSOCIATION<\/td>\nSIX MAN BAND<\/td>\n8\/15\/1968<\/td>\n22<\/td>\n4<\/td>\nWARNER BROS.<\/td>\n7229<\/td>\n<\/tr>\n
ASSOCIATION<\/td>\nNEVER MY LOVE<\/td>\n8\/28\/1967<\/td>\n3<\/td>\n8<\/td>\nWARNER BROS.<\/td>\n7074<\/td>\n<\/tr>\n
ASSOCIATION<\/td>\nWINDY<\/td>\n5\/8\/1967<\/td>\n4<\/td>\n9<\/td>\nWARNER BROS.<\/td>\n7041<\/td>\n<\/tr>\n
ASSOCIATION<\/td>\nALONG COMES MARY<\/td>\n6\/13\/1966<\/td>\n7<\/td>\n7<\/td>\nVALIANT<\/td>\n741<\/td>\n<\/tr>\n
AUGER. BRIAN\/& THE TRINITY<\/td>\nTHIS WHEEL’S ON FIRE<\/td>\n7\/3\/1968<\/td>\n24<\/td>\n2<\/td>\nATCO<\/td>\n6593<\/td>\n<\/tr>\n
AVALON. FRANKIE<\/td>\nNEW FANGLED. JINGLE JANGLE SWIMMING SUIT FROM PARIS<\/td>\n7\/16\/1964<\/td>\n18<\/td>\n4<\/td>\nUNITED ARTISTS<\/td>\n748<\/td>\n<\/tr>\n
AVANT-GARDE<\/td>\nNATURALLY STONED<\/td>\n9\/26\/1968<\/td>\n13<\/td>\n5<\/td>\nCOLUMBIA<\/td>\n44590<\/td>\n<\/tr>\n
AVANT-GARDE<\/td>\nFLY WITH ME<\/td>\n11\/14\/1968<\/td>\n25<\/td>\n3<\/td>\nCOLUMBIA 44701<\/td>\n<\/td>\n<\/tr>\n
BACHELORS<\/td>\nCAN I TRUST YOU<\/td>\n7\/25\/1966<\/td>\n22<\/td>\n3<\/td>\nLONDON<\/td>\n20010<\/td>\n<\/tr>\n
BACHELORS<\/td>\nDIANE<\/td>\n5\/28\/1964<\/td>\n8<\/td>\n5<\/td>\nLONDON<\/td>\n9639<\/td>\n<\/tr>\n
BACHELORS<\/td>\nMARIE<\/td>\n6\/16\/1965<\/td>\n9<\/td>\n5<\/td>\nLONDON<\/td>\n9762<\/td>\n<\/tr>\n
BADFINGER<\/td>\nCOME AND GET IT<\/td>\n2\/17\/1970<\/td>\n11<\/td>\n7<\/td>\nAPPLE<\/td>\n1815<\/td>\n<\/tr>\n
BADFINGER<\/td>\nDAY AFTER DAY<\/td>\n11\/15\/1971<\/td>\n2<\/td>\n12<\/td>\nAPPLE<\/td>\n1841<\/td>\n<\/tr>\n
BADFINGER<\/td>\nNO MATTER WHAT<\/td>\n10\/12\/1970<\/td>\n22<\/td>\n5<\/td>\nAPPLE<\/td>\n1822<\/td>\n<\/tr>\n
BAEZ. JOAN<\/td>\nNIGHT THEY DROVE OLD DIXIE DOWN -THE-<\/td>\n8\/16\/1971<\/td>\n8<\/td>\n8<\/td>\nVANGUARD<\/td>\n35138<\/td>\n<\/tr>\n
BAKER. GEORGE\/SELECTION<\/td>\nLITTLE GREEN BAG<\/td>\n4\/7\/1970<\/td>\n1<\/td>\n8<\/td>\nCOLOSSUS<\/td>\n112<\/td>\n<\/tr>\n
BALLOON FARM<\/td>\nQUESTION OF TEMPERATURE -A-<\/td>\n1\/11\/1968<\/td>\n16<\/td>\n5<\/td>\nLAURIE<\/td>\n3405<\/td>\n<\/tr>\n
BAND<\/td>\nUP ON CRIPPLE CREEK<\/td>\n11\/20\/1969<\/td>\n14<\/td>\n6<\/td>\nCAPITOL<\/td>\n2635<\/td>\n<\/tr>\n
BANDWAGON<\/td>\nBREAKIN’ DOWN THE WALLS OF HEARTACHE<\/td>\n6\/27\/1968<\/td>\n13<\/td>\n4<\/td>\nEPIC<\/td>\n10352<\/td>\n<\/tr>\n
BANKS. DARRELL<\/td>\nSOMEBODY
\nNEEDS YOU<\/td>\n		11\/7\/1966<\/td>\n16<\/td>\n4<\/td>\nREVILOT<\/td>\n203<\/td>\n<\/tr>\n
BANKS. DARRELL<\/td>\nOPEN THE DOOR TO YOUR HEART<\/td>\n6\/20\/1966<\/td>\n5<\/td>\n7<\/td>\nREVILOT<\/td>\n201<\/td>\n<\/tr>\n
BAR-KAYS<\/td>\nSOUL FINGER<\/td>\n6\/5\/1967<\/td>\n17<\/td>\n3<\/td>\nVOLT<\/td>\n148<\/td>\n<\/tr>\n
BARBARIANS<\/td>\nARE YOU A BOY OR ARE YOU A GIRL<\/td>\n9\/8\/1965<\/td>\n16<\/td>\n4<\/td>\nLAURIE<\/td>\n3308<\/td>\n<\/tr>\n
BARNES. J*J*<\/td>\nREAL HUMDINGER<\/td>\n3\/9\/1966<\/td>\n19<\/td>\n3<\/td>\nRIC-TIC<\/td>\n110<\/td>\n<\/tr>\n
BARNES. J*J*<\/td>\nJUST ONE MORE TIME<\/td>\n2\/13\/1964<\/td>\n25<\/td>\n2<\/td>\nSCEPTER<\/td>\nNA<\/td>\n<\/tr>\n
BARNES. J*J*<\/td>\nPLEASE LET ME IN<\/td>\n11\/3\/1965<\/td>\n25<\/td>\n3<\/td>\nRIC-TIC<\/td>\n106<\/td>\n<\/tr>\n
BARNES. J*J*<\/td>\nPOOR-UNFORTUNATE-ME (I AIN’T GOT NOBODY)<\/td>\n12\/31\/1964<\/td>\n8<\/td>\n7<\/td>\nRING<\/td>\n101<\/td>\n<\/tr>\n
BARNES. J*J*<\/td>\nBABY PLEASE COME BACK HOME<\/td>\n5\/22\/1967<\/td>\n9<\/td>\n5<\/td>\nGROOVESVILLE<\/td>\n1006<\/td>\n<\/tr>\n
BARRY. JEFF<\/td>\nI’LL STILL LOVE YOU<\/td>\n5\/12\/1965<\/td>\n14<\/td>\n5<\/td>\nRED BIRD<\/td>\n10-026<\/td>\n<\/tr>\n
BARRY. JOHN<\/td>\nMIDNIGHT COWBOY<\/td>\n11\/6\/1969<\/td>\n19<\/td>\n3<\/td>\nCOLUMBIA<\/td>\n44891<\/td>\n<\/tr>\n
BARRY. LEN<\/td>\nLIKE A BABY<\/td>\n12\/15\/1965<\/td>\n19<\/td>\n5<\/td>\nDECCA<\/td>\n31889<\/td>\n<\/tr>\n
BARRY. LEN<\/td>\nHAPPINESS<\/td>\n1\/5\/1966<\/td>\n19<\/td>\n2<\/td>\nDECCA<\/td>\n31889<\/td>\n<\/tr>\n
BARRY. LEN<\/td>\nSOMEWHERE<\/td>\n3\/16\/1966<\/td>\n22<\/td>\n3<\/td>\nDECCA<\/td>\n31923<\/td>\n<\/tr>\n
BARRY. LEN<\/td>\nLIP SYNC<\/td>\n5\/26\/1965<\/td>\n25<\/td>\n2<\/td>\nDECCA<\/td>\n31788<\/td>\n<\/tr>\n
BARRY. LEN<\/td>\nONE-TWO-THREE<\/td>\n9\/29\/1965<\/td>\n3<\/td>\n8<\/td>\nDECCA<\/td>\n31827<\/td>\n<\/tr>\n
BARTLEY. CHRIS<\/td>\nSWEETEST THING THIS SIDE OF HEAVEN -THE-<\/td>\n7\/3\/1967<\/td>\n5<\/td>\n5<\/td>\nVANDO<\/td>\n101<\/td>\n<\/tr>\n
BASS. FONTELLA<\/td>\nRESCUE ME<\/td>\n9\/29\/1965<\/td>\n13<\/td>\n5<\/td>\nCHECKER<\/td>\n1120<\/td>\n<\/tr>\n
BASSEY. SHIRLEY<\/td>\nGOLDFINGER<\/td>\n1\/28\/1965<\/td>\n2<\/td>\n5<\/td>\nUNITED ARTISTS<\/td>\n790<\/td>\n<\/tr>\n
BAXTER. DUKE<\/td>\nEVERYBODY KNOWS MATILDA<\/td>\n7\/24\/1969<\/td>\n22<\/td>\n4<\/td>\nVMC<\/td>\n740<\/td>\n<\/tr>\n
BEACH BOYS<\/td>\nGOOD VIBRATIONS<\/td>\n10\/17\/1966<\/td>\n1<\/td>\n11<\/td>\nCAPITOL<\/td>\n5676<\/td>\n<\/tr>\n
BEACH BOYS<\/td>\nBARBARA ANN<\/td>\n1\/5\/1966<\/td>\n11<\/td>\n6<\/td>\nCAPITOL<\/td>\n5561<\/td>\n<\/tr>\n
BEACH BOYS<\/td>\nDO IT AGAIN<\/td>\n8\/1\/1968<\/td>\n14<\/td>\n4<\/td>\nCAPITOL<\/td>\n2239<\/td>\n<\/tr>\n
BEACH BOYS<\/td>\nWHY DO FOOLS FALL IN LOVE<\/td>\n3\/19\/1964<\/td>\n15<\/td>\n1<\/td>\nCAPITOL<\/td>\n5118<\/td>\n<\/tr>\n
BEACH BOYS<\/td>\nDARLIN’<\/td>\n12\/21\/1967<\/td>\n16<\/td>\n3<\/td>\nCAPITOL<\/td>\n2068<\/td>\n<\/tr>\n
BEACH BOYS<\/td>\nDANCE. DANCE. DANCE<\/td>\n11\/5\/1964<\/td>\n17<\/td>\n4<\/td>\nCAPITOL<\/td>\n5306<\/td>\n<\/tr>\n
BEACH BOYS<\/td>\nWOULDN’T IT BE NICE<\/td>\n8\/1\/1966<\/td>\n17<\/td>\n5<\/td>\nCAPITOL<\/td>\n5706<\/td>\n<\/tr>\n
BEACH BOYS<\/td>\nHEROES AND VILLAINS<\/td>\n7\/24\/1967<\/td>\n19<\/td>\n3<\/td>\nBROTHER<\/td>\n1001<\/td>\n<\/tr>\n
BEACH BOYS<\/td>\nDO YOU WANNA DANCE<\/td>\n2\/18\/1965<\/td>\n20<\/td>\n4<\/td>\nCAPITOL<\/td>\n5372<\/td>\n<\/tr>\n
BEACH BOYS<\/td>\nPLEASE LET ME WONDER<\/td>\n3\/3\/1965<\/td>\n20<\/td>\n2<\/td>\nCAPITOL<\/td>\n5372<\/td>\n<\/tr>\n
BEACH BOYS<\/td>\nBLUEBIRDS OVER THE MOUNTAIN<\/td>\n11\/21\/1968<\/td>\n20<\/td>\n4<\/td>\nCAPITOL<\/td>\n2360<\/td>\n<\/tr>\n
BEACH BOYS<\/td>\nBE TRUE TO YOUR SCHOOL<\/td>\n11\/7\/1963<\/td>\n21<\/td>\n5<\/td>\nCAPITOL<\/td>\n5069<\/td>\n<\/tr>\n
BEACH BOYS<\/td>\nLITTLE GIRL I ONCE KNEW -THE-<\/td>\n11\/24\/1965<\/td>\n24<\/td>\n2<\/td>\nCAPITOL<\/td>\n5540<\/td>\n<\/tr>\n
BEACH BOYS<\/td>\nI GET AROUND<\/td>\n5\/7\/1964<\/td>\n3<\/td>\n11<\/td>\nCAPITOL<\/td>\n5174<\/td>\n<\/tr>\n
BEACH BOYS<\/td>\nDON’T WORRY BABY<\/td>\n6\/25\/1964<\/td>\n3<\/td>\n5<\/td>\nCAPITOL<\/td>\n5174<\/td>\n<\/tr>\n
BEACH BOYS<\/td>\nHELP ME. RHONDA<\/td>\n4\/21\/1965<\/td>\n4<\/td>\n8<\/td>\nCAPITOL<\/td>\n5395<\/td>\n<\/tr>\n
BEACH BOYS<\/td>\nSLOOP JOHN B<\/td>\n3\/16\/1966<\/td>\n6<\/td>\n6<\/td>\nCAPITOL<\/td>\n5602<\/td>\n<\/tr>\n
BEACH BOYS<\/td>\nWHEN I GROW UP<\/td>\n8\/27\/1964<\/td>\n8<\/td>\n4<\/td>\nCAPITOL<\/td>\n5245<\/td>\n<\/tr>\n
BEACH BOYS<\/td>\nFUN. FUN. FUN<\/td>\n2\/13\/1964<\/td>\n9<\/td>\n6<\/td>\nCAPITOL<\/td>\n5118<\/td>\n<\/tr>\n
BEACH BOYS<\/td>\nCALIFORNIA GIRLS<\/td>\n7\/28\/1965<\/td>\n9<\/td>\n5<\/td>\nCAPITOL<\/td>\n5464<\/td>\n<\/tr>\n
BEACH BOYS<\/td>\nWILD HONEY<\/td>\n10\/26\/1967<\/td>\n9<\/td>\n5<\/td>\nCAPITOL<\/td>\n2028<\/td>\n<\/tr>\n
BEATLES<\/td>\nI WANT TO HOLD YOUR HAND<\/td>\n1\/9\/1964<\/td>\n1<\/td>\n10<\/td>\nCAPITOL<\/td>\n5112<\/td>\n<\/tr>\n
BEATLES<\/td>\nSHE LOVES YOU<\/td>\n1\/23\/1964<\/td>\n1<\/td>\n9<\/td>\nSWAN<\/td>\n4152<\/td>\n<\/tr>\n
BEATLES<\/td>\nLOVE ME DO<\/td>\n4\/23\/1964<\/td>\n1<\/td>\n7<\/td>\nTOLLIE<\/td>\n9008<\/td>\n<\/tr>\n
BEATLES<\/td>\nP*S* I LOVE YOU<\/td>\n4\/23\/1964<\/td>\n1<\/td>\n7<\/td>\nTOLLIE<\/td>\n9008<\/td>\n<\/tr>\n
BEATLES<\/td>\nI FEEL FINE<\/td>\n11\/26\/1964<\/td>\n1<\/td>\n6<\/td>\nCAPITOL<\/td>\n5327<\/td>\n<\/tr>\n
BEATLES<\/td>\nSHE’S A WOMAN<\/td>\n11\/26\/1964<\/td>\n1<\/td>\n6<\/td>\nCAPITOL<\/td>\n5327<\/td>\n<\/tr>\n
BEATLES<\/td>\nHELLO GOODBYE<\/td>\n11\/22\/1967<\/td>\n1<\/td>\n5<\/td>\nCAPITOL<\/td>\n2056<\/td>\n<\/tr>\n
BEATLES<\/td>\nI AM THE WALRUS<\/td>\n11\/22\/1967<\/td>\n1<\/td>\n5<\/td>\nCAPITOL<\/td>\n2056<\/td>\n<\/tr>\n
BEATLES<\/td>\nHEY JUDE<\/td>\n8\/29\/1968<\/td>\n1<\/td>\n11<\/td>\nAPPLE<\/td>\n2276<\/td>\n<\/tr>\n
BEATLES<\/td>\nREVOLUTION<\/td>\n8\/29\/1968<\/td>\n1<\/td>\n11<\/td>\nAPPLE<\/td>\n2276<\/td>\n<\/tr>\n
BEATLES<\/td>\nDON’T LET ME DOWN<\/td>\n4\/24\/1969<\/td>\n1<\/td>\n9<\/td>\nAPPLE<\/td>\n2490<\/td>\n<\/tr>\n
BEATLES<\/td>\nGET BACK<\/td>\n4\/24\/1969<\/td>\n1<\/td>\n9<\/td>\nAPPLE<\/td>\n2490<\/td>\n<\/tr>\n
BEATLES<\/td>\nLET IT BE<\/td>\n3\/3\/1970<\/td>\n1<\/td>\n11<\/td>\nAPPLE<\/td>\n2764<\/td>\n<\/tr>\n
BEATLES<\/td>\nAIN’T SHE SWEET<\/td>\n7\/9\/1964<\/td>\n14<\/td>\n4<\/td>\nATCO<\/td>\n6308<\/td>\n<\/tr>\n
BEATLES<\/td>\nMATCHBOX<\/td>\n8\/27\/1964<\/td>\n16<\/td>\n3<\/td>\nCAPITOL<\/td>\n5255<\/td>\n<\/tr>\n
BEATLES<\/td>\nSLOW DOWN<\/td>\n8\/27\/1964<\/td>\n16<\/td>\n3<\/td>\nCAPITOL<\/td>\n5255<\/td>\n<\/tr>\n
BEATLES<\/td>\nCAN’T BUY ME LOVE<\/td>\n3\/19\/1964<\/td>\n2<\/td>\n5<\/td>\nCAPITOL<\/td>\n5150<\/td>\n<\/tr>\n
BEATLES<\/td>\nDO YOU WANT TO KNOW A SECRET<\/td>\n3\/26\/1964<\/td>\n2<\/td>\n6<\/td>\nVEE-JAY<\/td>\n587<\/td>\n<\/tr>\n
BEATLES<\/td>\nEIGHT DAYS A WEEK<\/td>\n2\/11\/1965<\/td>\n2<\/td>\n5<\/td>\nCAPITOL<\/td>\n5371<\/td>\n<\/tr>\n
BEATLES<\/td>\nI DON’T WANT TO SPOIL THE PARTY<\/td>\n2\/11\/1965<\/td>\n2<\/td>\n5<\/td>\nCAPITOL<\/td>\n5371<\/td>\n<\/tr>\n
BEATLES<\/td>\nACT NATURALLY<\/td>\n9\/15\/1965<\/td>\n2<\/td>\n6<\/td>\nCAPITOL<\/td>\n5498<\/td>\n<\/tr>\n
BEATLES<\/td>\nYESTERDAY<\/td>\n9\/15\/1965<\/td>\n2<\/td>\n6<\/td>\nCAPITOL<\/td>\n5498<\/td>\n<\/tr>\n
BEATLES<\/td>\nDAY TRIPPER<\/td>\n12\/8\/1965<\/td>\n2<\/td>\n7<\/td>\nCAPITOL<\/td>\n5555<\/td>\n<\/tr>\n
BEATLES<\/td>\nWE CAN WORK IT OUT<\/td>\n12\/8\/1965<\/td>\n2<\/td>\n7<\/td>\nCAPITOL<\/td>\n5555<\/td>\n<\/tr>\n
BEATLES<\/td>\nPENNY LANE<\/td>\n2\/13\/1967<\/td>\n2<\/td>\n6<\/td>\nCAPITOL<\/td>\n5810<\/td>\n<\/tr>\n
BEATLES<\/td>\nSTRAWBERRY FIELDS FOREVER<\/td>\n2\/13\/1967<\/td>\n2<\/td>\n6<\/td>\nCAPITOL<\/td>\n5810<\/td>\n<\/tr>\n
BEATLES<\/td>\nLONG AND WINDING ROAD -THE-<\/td>\n5\/5\/1970<\/td>\n2<\/td>\n8<\/td>\nAPPLE<\/td>\n2832<\/td>\n<\/tr>\n
BEATLES<\/td>\nNOWHERE MAN<\/td>\n2\/23\/1966<\/td>\n3<\/td>\n4<\/td>\nCAPITOL<\/td>\n5587<\/td>\n<\/tr>\n
BEATLES<\/td>\nWHAT GOES ON<\/td>\n2\/23\/1966<\/td>\n3<\/td>\n4<\/td>\nCAPITOL<\/td>\n5587<\/td>\n<\/tr>\n
BEATLES<\/td>\nTWIST AND SHOUT<\/td>\n3\/12\/1964<\/td>\n4<\/td>\n5<\/td>\nTOLLIE<\/td>\n9001<\/td>\n<\/tr>\n
BEATLES<\/td>\nYELLOW SUBMARINE<\/td>\n8\/8\/1966<\/td>\n4<\/td>\n5<\/td>\nCAPITOL<\/td>\n5715<\/td>\n<\/tr>\n
BEATLES<\/td>\nELEANOR RIGBY<\/td>\n8\/15\/1966<\/td>\n4<\/td>\n4<\/td>\nCAPITOL<\/td>\n5715<\/td>\n<\/tr>\n
BEATLES<\/td>\nALL YOU NEED IS LOVE<\/td>\n7\/10\/1967<\/td>\n4<\/td>\n5<\/td>\nCAPITOL<\/td>\n5964<\/td>\n<\/tr>\n
BEATLES<\/td>\nBABY YOU’RE A RICH MAN<\/td>\n7\/10\/1967<\/td>\n4<\/td>\n5<\/td>\nCAPITOL<\/td>\n5964<\/td>\n<\/tr>\n
BEATLES<\/td>\nI SAW HER STANDING THERE<\/td>\n3\/5\/1964<\/td>\n5<\/td>\n2<\/td>\nCAPITOL<\/td>\n5112<\/td>\n<\/tr>\n
BEATLES<\/td>\nHARD DAY’S NIGHT -A-<\/td>\n7\/9\/1964<\/td>\n5<\/td>\n4<\/td>\nCAPITOL<\/td>\n5222<\/td>\n<\/tr>\n
BEATLES<\/td>\nHELP!<\/td>\n7\/28\/1965<\/td>\n5<\/td>\n7<\/td>\nCAPITOL<\/td>\n5476<\/td>\n<\/tr>\n
BEATLES<\/td>\nI’M DOWN<\/td>\n8\/4\/1965<\/td>\n5<\/td>\n6<\/td>\nCAPITOL<\/td>\n5476<\/td>\n<\/tr>\n
BEATLES<\/td>\nPLEASE PLEASE ME<\/td>\n2\/20\/1964<\/td>\n6<\/td>\n4<\/td>\nVEE-JAY<\/td>\n581<\/td>\n<\/tr>\n
BEATLES<\/td>\nTICKET TO RIDE<\/td>\n4\/21\/1965<\/td>\n6<\/td>\n4<\/td>\nCAPITOL<\/td>\n5407<\/td>\n<\/tr>\n
BEATLES<\/td>\nYES IT IS<\/td>\n4\/28\/1965<\/td>\n6<\/td>\n3<\/td>\nCAPITOL<\/td>\n5407<\/td>\n<\/tr>\n
BEATLES<\/td>\nPAPERBACK WRITER<\/td>\n5\/31\/1966<\/td>\n6<\/td>\n6<\/td>\nCAPITOL<\/td>\n5651<\/td>\n<\/tr>\n
BEATLES<\/td>\nRAIN<\/td>\n5\/31\/1966<\/td>\n6<\/td>\n6<\/td>\nCAPITOL<\/td>\n5651<\/td>\n<\/tr>\n
BEATLES<\/td>\nLADY MADONNA<\/td>\n3\/14\/1968<\/td>\n6<\/td>\n5<\/td>\nCAPITOL<\/td>\n2138<\/td>\n<\/tr>\n
BEATLES<\/td>\nCOME TOGETHER<\/td>\n10\/2\/1969<\/td>\n6<\/td>\n6<\/td>\nAPPLE<\/td>\n2654<\/td>\n<\/tr>\n
BEATLES<\/td>\nSOMETHING<\/td>\n10\/2\/1969<\/td>\n6<\/td>\n6<\/td>\nAPPLE<\/td>\n2654<\/td>\n<\/tr>\n
BEATLES<\/td>\nBALLAD OF JOHN AND YOKO -THE-<\/td>\n6\/12\/1969<\/td>\n8<\/td>\n6<\/td>\nAPPLE<\/td>\n2531<\/td>\n<\/tr>\n
BEAU BRUMMELS<\/td>\nJUST A LITTLE<\/td>\n4\/28\/1965<\/td>\n1<\/td>\n7<\/td>\nAUTUMN<\/td>\n10<\/td>\n<\/tr>\n
BEAU BRUMMELS<\/td>\nLAUGH. LAUGH<\/td>\n1\/28\/1965<\/td>\n12<\/td>\n5<\/td>\nAUTUMN<\/td>\n8<\/td>\n<\/tr>\n
BEAU BRUMMELS<\/td>\nYOU TELL ME WHY<\/td>\n7\/28\/1965<\/td>\n15<\/td>\n4<\/td>\nAUTUMN<\/td>\n16<\/td>\n<\/tr>\n
BEE GEES<\/td>\nHOW CAN YOU MEND A BROKEN HEART<\/td>\n6\/14\/1971<\/td>\n1<\/td>\n12<\/td>\nATCO<\/td>\n6824<\/td>\n<\/tr>\n
BEE GEES<\/td>\nWORDS<\/td>\n1\/4\/1968<\/td>\n10<\/td>\n7<\/td>\nATCO<\/td>\n6548<\/td>\n<\/tr>\n
BEE GEES<\/td>\nFIRST OF MAY<\/td>\n3\/20\/1969<\/td>\n18<\/td>\n3<\/td>\nATCO<\/td>\n6657<\/td>\n<\/tr>\n
BEE GEES<\/td>\nTO LOVE SOMEBODY<\/td>\n7\/3\/1967<\/td>\n20<\/td>\n4<\/td>\nATCO<\/td>\n6503<\/td>\n<\/tr>\n
BEE GEES<\/td>\nNEW YORK MINING DISASTER 1941-HAVE YOU SEEN MY WIFE. MR* JONES<\/td>\n5\/22\/1967<\/td>\n21<\/td>\n3<\/td>\nATCO<\/td>\n6487<\/td>\n<\/tr>\n
BEE GEES<\/td>\nMY WORLD<\/td>\n1\/10\/1972<\/td>\n21<\/td>\n4<\/td>\nATCO<\/td>\n6871<\/td>\n<\/tr>\n
BEE GEES<\/td>\nTOMORROW TOMORROW<\/td>\n5\/15\/1969<\/td>\n24<\/td>\n3<\/td>\nATCO<\/td>\n6682<\/td>\n<\/tr>\n
BEE GEES<\/td>\nHOLIDAY<\/td>\n10\/5\/1967<\/td>\n5<\/td>\n5<\/td>\nATCO<\/td>\n6521<\/td>\n<\/tr>\n
BEE GEES<\/td>\nLONELY DAYS<\/td>\n12\/21\/1970<\/td>\n6<\/td>\n9<\/td>\nATCO<\/td>\n6795<\/td>\n<\/tr>\n
BEE GEES<\/td>\nMASSACHUSETTS (THE LIGHTS WENT OUT IN)<\/td>\n11\/2\/1967<\/td>\n8<\/td>\n4<\/td>\nATCO<\/td>\n6532<\/td>\n<\/tr>\n
BEE GEES<\/td>\nI STARTED A JOKE<\/td>\n12\/12\/1968<\/td>\n8<\/td>\n7<\/td>\nATCO<\/td>\n6639<\/td>\n<\/tr>\n
BEE GEES<\/td>\nI’VE GOTTA GET A MESSAGE TO YOU<\/td>\n7\/25\/1968<\/td>\n9<\/td>\n9<\/td>\nATCO<\/td>\n6603<\/td>\n<\/tr>\n
BEGINNING OF THE END<\/td>\nFUNKY NASSAU<\/td>\n4\/19\/1971<\/td>\n14<\/td>\n4<\/td>\nALSTON<\/td>\n4595<\/td>\n<\/tr>\n
BELFAST GYPSYS<\/td>\nGLORIA’S DREAM<\/td>\n9\/6\/1966<\/td>\n17<\/td>\n4<\/td>\nLOMA<\/td>\n2051<\/td>\n<\/tr>\n
BELL. ARCHIE\/& THE DRELLS<\/td>\nTIGHTEN UP<\/td>\n3\/28\/1968<\/td>\n4<\/td>\n6<\/td>\nATLANTIC<\/td>\n2478<\/td>\n<\/tr>\n
BELL. VINCENT<\/td>\nAIRPORT LOVE THEME<\/td>\n4\/7\/1970<\/td>\n14<\/td>\n5<\/td>\nDECCA<\/td>\n32659<\/td>\n<\/tr>\n
BELLS<\/td>\nSTAY AWHILE<\/td>\n2\/15\/1971<\/td>\n5<\/td>\n8<\/td>\nPOLYDOR<\/td>\n15023<\/td>\n<\/tr>\n
BENTON. BROOK<\/td>\nRAINY NIGHT IN GEORGIA<\/td>\n1\/13\/1970<\/td>\n2<\/td>\n8<\/td>\nCOTILLION<\/td>\n44057<\/td>\n<\/tr>\n
BENTON. BROOK<\/td>\nSHOES<\/td>\n12\/14\/1970<\/td>\n25<\/td>\n4<\/td>\nCOTILLION<\/td>\n44093<\/td>\n<\/tr>\n
BERMUDAS<\/td>\nDONNIE<\/td>\n3\/19\/1964<\/td>\n13<\/td>\n5<\/td>\nERA<\/td>\n3125<\/td>\n<\/tr>\n
BERRY. CHUCK<\/td>\nPROMISED LAND<\/td>\n12\/3\/1964<\/td>\n19<\/td>\n4<\/td>\nCHESS<\/td>\n1916<\/td>\n<\/tr>\n
BERRY. CHUCK<\/td>\nLITTLE MARIE<\/td>\n10\/15\/1964<\/td>\n21<\/td>\n3<\/td>\nCHESS<\/td>\n1912<\/td>\n<\/tr>\n
BERRY. CHUCK<\/td>\nYOU NEVER CAN TELL<\/td>\n7\/23\/1964<\/td>\n6<\/td>\n6<\/td>\nCHESS<\/td>\n1906<\/td>\n<\/tr>\n
BERRY. CHUCK<\/td>\nNADINE<\/td>\n2\/6\/1964<\/td>\n8<\/td>\n5<\/td>\nCHESS<\/td>\n1883<\/td>\n<\/tr>\n
BERRY. CHUCK<\/td>\nNO PARTICULAR PLACE TO GO<\/td>\n5\/14\/1964<\/td>\n9<\/td>\n5<\/td>\nCHESS<\/td>\n1898<\/td>\n<\/tr>\n
BERRY. LEN<\/td>\nHAPPINESS<\/td>\n1\/19\/1966<\/td>\n20<\/td>\n1<\/td>\nDECCA<\/td>\n31889<\/td>\n<\/tr>\n
BERRY. LEN<\/td>\nLIKE A BABY<\/td>\n1\/19\/1966<\/td>\n20<\/td>\n1<\/td>\nDECCA<\/td>\n31889<\/td>\n<\/tr>\n
BIG BROTHER & THE HOLDING COMPANY<\/td>\nDOWN ON ME<\/td>\n8\/22\/1968<\/td>\n23<\/td>\n4<\/td>\nMAINSTREAM<\/td>\n662<\/td>\n<\/tr>\n
BIG BROTHER & THE HOLDING COMPANY<\/td>\nCALL ON ME<\/td>\n2\/27\/1967<\/td>\n25<\/td>\n3<\/td>\nMAINSTREAM<\/td>\n662<\/td>\n<\/tr>\n
BIG BROTHER & THE HOLDING COMPANY<\/td>\nPIECE OF MY HEART<\/td>\n9\/12\/1968<\/td>\n3<\/td>\n7<\/td>\nCOLUMBIA<\/td>\n44626<\/td>\n<\/tr>\n
BLACK. BILL\/COMBO<\/td>\nTURN ON YOUR LOVE LIGHT<\/td>\n6\/20\/1968<\/td>\n18<\/td>\n4<\/td>\nHI<\/td>\n2145<\/td>\n<\/tr>\n
BLACK. CILLA<\/td>\nYOU’RE MY WORLD<\/td>\n7\/9\/1964<\/td>\n17<\/td>\n3<\/td>\nCAPITOL<\/td>\n5196<\/td>\n<\/tr>\n
BLACK. CODY<\/td>\nGOING. GOING. GONE<\/td>\n2\/15\/1968<\/td>\n21<\/td>\n3<\/td>\nRAM-BROCK<\/td>\n2002<\/td>\n<\/tr>\n
BLACK. TERRY\\WARD. LAUREL<\/td>\nGOIN’ DOWN (ON THE ROAD TO L*A*)<\/td>\n2\/7\/1972<\/td>\n16<\/td>\n2<\/td>\nKAMA SUTRA<\/td>\n540<\/td>\n<\/tr>\n
BLANCHARD. JACK\\MORGAN. MISTY<\/td>\nTENNESSEE BIRD WALK<\/td>\n3\/31\/1970<\/td>\n22<\/td>\n3<\/td>\nWAYSIDE<\/td>\n010<\/td>\n<\/tr>\n
BLAND. BOBBY<\/td>\nTHESE HANDS
\n <\/small><\/td>\n		9\/15\/1965<\/td>\n11<\/td>\n6<\/td>\nDUKE<\/td>\n385<\/td>\n<\/tr>\n
BLAND. BOBBY<\/td>\nSHARE YOUR LOVE WITH ME<\/td>\n5\/28\/1964<\/td>\n22<\/td>\n3<\/td>\nDUKE<\/td>\n377<\/td>\n<\/tr>\n
BLOOD+ SWEAT & TEARS<\/td>\nSPINNING WHEEL<\/td>\n5\/22\/1969<\/td>\n1<\/td>\n10<\/td>\nCOLUMBIA<\/td>\n44871<\/td>\n<\/tr>\n
BLOOD+ SWEAT & TEARS<\/td>\nYOU’VE MADE ME SO VERY HAPPY<\/td>\n3\/13\/1969<\/td>\n2<\/td>\n9<\/td>\nCOLUMBIA 44776<\/td>\n<\/td>\n<\/tr>\n
BLOOD+ SWEAT & TEARS<\/td>\nAND WHEN I DIE<\/td>\n10\/9\/1969<\/td>\n2<\/td>\n8<\/td>\nCOLUMBIA<\/td>\n45008<\/td>\n<\/tr>\n
BLOOD+ SWEAT & TEARS<\/td>\nHI-DE-HO<\/td>\n8\/3\/1970<\/td>\n22<\/td>\n3<\/td>\nCOLUMBIA<\/td>\n45204<\/td>\n<\/tr>\n
BLOOD+ SWEAT & TEARS<\/td>\nGO DOWN GAMBLIN’<\/td>\n7\/19\/1971<\/td>\n28<\/td>\n3<\/td>\nCOLUMBIA<\/td>\n45427<\/td>\n<\/tr>\n
BLOOD+ SWEAT & TEARS<\/td>\nLUCRETIA MAC EVIL<\/td>\n9\/14\/1970<\/td>\n31<\/td>\n2<\/td>\nCOLUMBIA<\/td>\n45235<\/td>\n<\/tr>\n
BLOOM. BOBBY<\/td>\nMONTEGO BAY<\/td>\n9\/28\/1970<\/td>\n11<\/td>\n7<\/td>\nL&R<\/td>\n157<\/td>\n<\/tr>\n
BLUES IMAGE<\/td>\nRIDE CAPTAIN RIDE<\/td>\n4\/28\/1970<\/td>\n7<\/td>\n12<\/td>\nATCO<\/td>\n6746<\/td>\n<\/tr>\n
BLUES MAGOOS<\/td>\nTHERE’S A CHANCE WE CAN MAKE IT<\/td>\n3\/13\/1967<\/td>\n18<\/td>\n4<\/td>\nMERCURY<\/td>\n72660<\/td>\n<\/tr>\n
BLUES MAGOOS<\/td>\nPIPE DREAM<\/td>\n3\/20\/1967<\/td>\n18<\/td>\n3<\/td>\nMERCURY<\/td>\n72660<\/td>\n<\/tr>\n
BLUES MAGOOS<\/td>\nNOTHIN’ YET (WE AIN’T GOT)<\/td>\n11\/21\/1966<\/td>\n3<\/td>\n7<\/td>\nMERCURY<\/td>\n72622<\/td>\n<\/tr>\n
BONDS. GARY (U*S*)<\/td>\nTAKE ME BACK TO NEW ORLEANS<\/td>\n4\/6\/1966<\/td>\n11<\/td>\n5<\/td>\nLEGRAND<\/td>\n1040<\/td>\n<\/tr>\n
BOOKER T* & THE MG’S<\/td>\nTIME IS TIGHT<\/td>\n3\/27\/1969<\/td>\n14<\/td>\n5<\/td>\nSTAX<\/td>\n0028<\/td>\n<\/tr>\n
BOOKER T* & THE MG’S<\/td>\nHANG ‘EM HIGH<\/td>\n1\/2\/1969<\/td>\n3<\/td>\n6<\/td>\nSTAX<\/td>\n0013<\/td>\n<\/tr>\n
BOOKER T* & THE MG’S<\/td>\nSOUL-LIMBO<\/td>\n7\/25\/1968<\/td>\n8<\/td>\n4<\/td>\nSTAX<\/td>\n0001<\/td>\n<\/tr>\n
BOOKER T* & THE MG’S<\/td>\nGROOVIN’<\/td>\n7\/31\/1967<\/td>\n9<\/td>\n4<\/td>\nSTAX<\/td>\n224<\/td>\n<\/tr>\n
BOX TOPS<\/td>\nLETTER -THE-<\/td>\n8\/7\/1967<\/td>\n1<\/td>\n10<\/td>\nMALA<\/td>\n565<\/td>\n<\/tr>\n
BOX TOPS<\/td>\nCHOO CHOO TRAIN<\/td>\n5\/9\/1968<\/td>\n19<\/td>\n4<\/td>\nMALA<\/td>\n12005<\/td>\n<\/tr>\n
BOX TOPS<\/td>\nI MET HER IN CHURCH<\/td>\n8\/22\/1968<\/td>\n27<\/td>\n3<\/td>\nMALA<\/td>\n12017<\/td>\n<\/tr>\n
BOX TOPS<\/td>\nCRY LIKE A BABY<\/td>\n2\/8\/1968<\/td>\n5<\/td>\n9<\/td>\nMALA<\/td>\n593<\/td>\n<\/tr>\n
BOX TOPS<\/td>\nSOUL DEEP<\/td>\n6\/26\/1969<\/td>\n7<\/td>\n7<\/td>\nMALA<\/td>\n12040<\/td>\n<\/tr>\n
BOX. DAVID<\/td>\nLITTLE LONELY SUMMER GIRL<\/td>\n7\/23\/1964<\/td>\n16<\/td>\n4<\/td>\nJOED<\/td>\n116<\/td>\n<\/tr>\n
BOYCE. TOMMY\\HART. BOBBY<\/td>\nOUT AND ABOUT<\/td>\n7\/17\/1967<\/td>\n11<\/td>\n5<\/td>\nA&M<\/td>\n858<\/td>\n<\/tr>\n
BOYCE. TOMMY\\HART. BOBBY<\/td>\nI WONDER WHAT SHE’S DOING TONITE<\/td>\n12\/14\/1967<\/td>\n20<\/td>\n4<\/td>\nA&M<\/td>\n893<\/td>\n<\/tr>\n
BOYCE. TOMMY\\HART. BOBBY<\/td>\nALICE LONG (YOU’RE STILL MY FAVORITE GIRLFRIEND)<\/td>\n8\/1\/1968<\/td>\n23<\/td>\n2<\/td>\nA&M<\/td>\n948<\/td>\n<\/tr>\n
BOYS IN THE BAND<\/td>\nBOYS IN THE BAND -THE- (HOW BOUT A LITTLE HAND FOR)<\/td>\n5\/19\/1970<\/td>\n11<\/td>\n7<\/td>\nSPRING 103<\/td>\n<\/td>\n<\/tr>\n
BRASS RING<\/td>\nPHOENIX LOVE THEME
\n-THE-<\/td>\n		3\/2\/1966<\/td>\n20<\/td>\n4<\/td>\nDUNHILL<\/td>\n4023<\/td>\n<\/tr>\n
BREAD<\/td>\nEVERYTHING I OWN<\/td>\n2\/7\/1972<\/td>\n11<\/td>\n6<\/td>\nELEKTRA<\/td>\n45765<\/td>\n<\/tr>\n
BREAD<\/td>\nIF<\/td>\n3\/22\/1971<\/td>\n15<\/td>\n6<\/td>\nELEKTRA<\/td>\n45720<\/td>\n<\/tr>\n
BREAD<\/td>\nIT DON’T MATTER TO ME<\/td>\n9\/21\/1970<\/td>\n18<\/td>\n3<\/td>\nELEKTRA<\/td>\n45701<\/td>\n<\/tr>\n
BREAD<\/td>\nBABY I’M-A WANT YOU<\/td>\n10\/18\/1971<\/td>\n19<\/td>\n5<\/td>\nELEKTRA<\/td>\n45751<\/td>\n<\/tr>\n
BREAD<\/td>\nMAKE IT WITH YOU<\/td>\n6\/29\/1970<\/td>\n3<\/td>\n12<\/td>\nELEKTRA<\/td>\n45686<\/td>\n<\/tr>\n
BREMERS. BEVERLY<\/td>\nDON’T SAY YOU DON’T REMEMBER<\/td>\n12\/27\/1971<\/td>\n17<\/td>\n4<\/td>\nSCEPTER<\/td>\n12315<\/td>\n<\/tr>\n
BRENDA & THE TABULATIONS<\/td>\nDRY YOUR EYES<\/td>\n3\/20\/1967<\/td>\n17<\/td>\n4<\/td>\nDIONN<\/td>\n500<\/td>\n<\/tr>\n
BRENDA & THE TABULATIONS<\/td>\nAND MY HEART SANG (TRA LA LA)<\/td>\n5\/12\/1970<\/td>\n28<\/td>\n2<\/td>\nTOP & BOTTOM<\/td>\n403<\/td>\n<\/tr>\n
BRENDA & THE TABULATIONS<\/td>\nRIGHT ON THE TIP OF MY TONGUE<\/td>\n3\/15\/1971<\/td>\n9<\/td>\n8<\/td>\nTOP & BOTTOM<\/td>\n407<\/td>\n<\/tr>\n
BREWER & SHIPLEY<\/td>\nONE TOKE OVER THE LINE<\/td>\n3\/8\/1971<\/td>\n16<\/td>\n5<\/td>\nKAMA SUTRA<\/td>\n516<\/td>\n<\/tr>\n
BROOKLYN BRIDGE<\/td>\nWORST THAT COULD HAPPEN<\/td>\n12\/12\/1968<\/td>\n9<\/td>\n7<\/td>\nBUDDAH<\/td>\n75<\/td>\n<\/tr>\n
BROTHERHOOD OF MAN<\/td>\nUNITED WE STAND<\/td>\n3\/17\/1970<\/td>\n17<\/td>\n6<\/td>\nDERAM<\/td>\n85059<\/td>\n<\/tr>\n
BROWN. ARTHUR<\/td>\nFIRE<\/td>\n8\/22\/1968<\/td>\n3<\/td>\n7<\/td>\nATLANTIC<\/td>\n2556<\/td>\n<\/tr>\n
BROWN. JAMES<\/td>\nI CAN’T STAND MYSELF<\/td>\n12\/28\/1967<\/td>\n10<\/td>\n3<\/td>\nKING<\/td>\n6144<\/td>\n<\/tr>\n
BROWN. JAMES<\/td>\nTHERE WAS A TIME<\/td>\n1\/11\/1968<\/td>\n10<\/td>\n4<\/td>\nKING<\/td>\n6144<\/td>\n<\/tr>\n
BROWN. JAMES<\/td>\nI GOT YOU (I FEEL GOOD)<\/td>\n11\/10\/1965<\/td>\n11<\/td>\n5<\/td>\nKING<\/td>\n6015<\/td>\n<\/tr>\n
BROWN. JAMES<\/td>\nSUPER BAD<\/td>\n10\/26\/1970<\/td>\n12<\/td>\n4<\/td>\nKING<\/td>\n6329<\/td>\n<\/tr>\n
BROWN. JAMES<\/td>\nI GOT THE FEELIN’<\/td>\n2\/29\/1968<\/td>\n13<\/td>\n6<\/td>\nKING<\/td>\n6155<\/td>\n<\/tr>\n
BROWN. JAMES<\/td>\nMOTHER POPCORN<\/td>\n6\/26\/1969<\/td>\n13<\/td>\n4<\/td>\nKING<\/td>\n6245<\/td>\n<\/tr>\n
BROWN. JAMES<\/td>\nLICKING STICK-LICKING STICK<\/td>\n5\/23\/1968<\/td>\n15<\/td>\n3<\/td>\nKING<\/td>\n6166<\/td>\n<\/tr>\n
BROWN. JAMES<\/td>\nHOT PANTS. PT* 1<\/td>\n7\/13\/1971<\/td>\n15<\/td>\n5<\/td>\nPEOPLE<\/td>\n2501<\/td>\n<\/tr>\n
BROWN. JAMES<\/td>\nCOLD SWEAT<\/td>\n7\/31\/1967<\/td>\n18<\/td>\n4<\/td>\nKING<\/td>\n6110<\/td>\n<\/tr>\n
BROWN. JAMES<\/td>\nPAPA’S GOT A BRAND NEW BAG<\/td>\n8\/4\/1965<\/td>\n19<\/td>\n4<\/td>\nKING<\/td>\n5999<\/td>\n<\/tr>\n
BROWN. JAMES<\/td>\nGIVE IT UP OR TURNIT A LOOSE<\/td>\n1\/23\/1969<\/td>\n20<\/td>\n4<\/td>\nKING<\/td>\n6213<\/td>\n<\/tr>\n
BROWN. JAMES<\/td>\nMONEY WON’T CHANGE YOU<\/td>\n9\/6\/1966<\/td>\n24<\/td>\n3<\/td>\nKING<\/td>\n6048<\/td>\n<\/tr>\n
BROWN. JAMES<\/td>\nWORLD<\/td>\n9\/11\/1969<\/td>\n26<\/td>\n3<\/td>\nKING<\/td>\n6258<\/td>\n<\/tr>\n
BROWN. JAMES<\/td>\nAIN’T IT FUNKY NOW<\/td>\n12\/4\/1969<\/td>\n8<\/td>\n8<\/td>\nKING<\/td>\n6280<\/td>\n<\/tr>\n
BROWN. JAMES<\/td>\nIT’S A MAN’S MAN’S MAN’S WORLD<\/td>\n5\/2\/1966<\/td>\n9<\/td>\n4<\/td>\nKING<\/td>\n6035<\/td>\n<\/tr>\n
BROWN. MAXINE<\/td>\nIT’S GONNA BE ALRIGHT<\/td>\n2\/25\/1965<\/td>\n15<\/td>\n5<\/td>\nWAND<\/td>\n173<\/td>\n<\/tr>\n
BROWN. MAXINE<\/td>\nOH NO NOT MY BABY<\/td>\n10\/29\/1964<\/td>\n5<\/td>\n8<\/td>\nWAND<\/td>\n162<\/td>\n<\/tr>\n
BROWNE. JACKSON<\/td>\nDOCTOR MY EYES<\/td>\n3\/20\/1972<\/td>\n31<\/td>\n1<\/td>\nASYLUM<\/td>\n11004<\/td>\n<\/tr>\n
BROWNSVILLE STATION<\/td>\nROCK AND ROLL HOLIDAY<\/td>\n11\/26\/1969<\/td>\n23<\/td>\n5<\/td>\nHIDEOUT<\/td>\n1957<\/td>\n<\/tr>\n
BUBBLE PUPPY<\/td>\nHOT SMOKE & SASAFRASS<\/td>\n1\/16\/1969<\/td>\n3<\/td>\n9<\/td>\nINTERNATIONAL ARTISTS<\/td>\n128<\/td>\n<\/tr>\n
BUCHANAN BROTHERS<\/td>\nSON OF A LOVIN’ MAN<\/td>\n9\/4\/1969<\/td>\n11<\/td>\n7<\/td>\nEVENT<\/td>\n3305<\/td>\n<\/tr>\n
BUCHANAN BROTHERS<\/td>\nMEDICINE MAN<\/td>\n2\/13\/1969<\/td>\n20<\/td>\n4<\/td>\nEVENT<\/td>\n3302<\/td>\n<\/tr>\n
BUCHANAN BROTHERS<\/td>\nLAST TIME -THE-<\/td>\n12\/11\/1969<\/td>\n22<\/td>\n4<\/td>\nEVENT<\/td>\n3307<\/td>\n<\/tr>\n
BUCKINGHAMS<\/td>\nKIND OF A DRAG<\/td>\n12\/27\/1966<\/td>\n1<\/td>\n10<\/td>\nU.S.A.<\/td>\n860<\/td>\n<\/tr>\n
BUCKINGHAMS<\/td>\nDON’T YOU CARE<\/td>\n3\/27\/1967<\/td>\n1<\/td>\n8<\/td>\nCOLUMBIA<\/td>\n44053<\/td>\n<\/tr>\n
BUCKINGHAMS<\/td>\nSUSAN<\/td>\n12\/7\/1967<\/td>\n15<\/td>\n4<\/td>\nCOLUMBIA<\/td>\n44378<\/td>\n<\/tr>\n
BUCKINGHAMS<\/td>\nMERCY. MERCY. MERCY<\/td>\n5\/29\/1967<\/td>\n16<\/td>\n5<\/td>\nCOLUMBIA<\/td>\n44182<\/td>\n<\/tr>\n
BUCKINGHAMS<\/td>\nLAUDY MISS CLAUDY<\/td>\n3\/20\/1967<\/td>\n22<\/td>\n3<\/td>\nU.S.A.<\/td>\n869<\/td>\n<\/tr>\n
BUCKINGHAMS<\/td>\nHEY BABY (THEY’RE PLAYING OUR SONG)<\/td>\n9\/11\/1967<\/td>\n4<\/td>\n6<\/td>\nCOLUMBIA<\/td>\n44254<\/td>\n<\/tr>\n
BUENA VISTAS<\/td>\nHERE COME DA JUDGE<\/td>\n5\/16\/1968<\/td>\n5<\/td>\n7<\/td>\nMARQUEE<\/td>\n443<\/td>\n<\/tr>\n
BUFFALO SPRINGFIELD<\/td>\nFOR WHAT IT’S WORTH (STOP. HEY WHAT’S THAT SOUND)<\/td>\n2\/6\/1967<\/td>\n2<\/td>\n8<\/td>\nATCO<\/td>\n6459<\/td>\n<\/tr>\n
BULLET<\/td>\nWHITE LIES. BLUE EYES<\/td>\n10\/18\/1971<\/td>\n16<\/td>\n8<\/td>\nBIG TREE<\/td>\n123<\/td>\n<\/tr>\n
BUOYS<\/td>\nTIMOTHY<\/td>\n2\/15\/1971<\/td>\n3<\/td>\n13<\/td>\nSCEPTER<\/td>\n12275<\/td>\n<\/tr>\n
BURDON. ERIC\/& WAR<\/td>\nSPILL THE WINE<\/td>\n6\/29\/1970<\/td>\n3<\/td>\n9<\/td>\nMGM<\/td>\n14118<\/td>\n<\/tr>\n
BURKE. SOLOMON<\/td>\nELECTRONIC MAGNETISM (THAT’S HEAVY. BABY) -THE-<\/td>\n2\/8\/1971<\/td>\n20<\/td>\n6<\/td>\nMGM<\/td>\n14221<\/td>\n<\/tr>\n
BURKE. SOLOMON<\/td>\nGOT TO GET YOU OFF MY MIND<\/td>\n4\/7\/1965<\/td>\n21<\/td>\n2<\/td>\nATLANTIC<\/td>\n2276<\/td>\n<\/tr>\n
BURKE. SOLOMON<\/td>\nPROUD MARY<\/td>\n5\/22\/1969<\/td>\n21<\/td>\n3<\/td>\nBELL<\/td>\n783<\/td>\n<\/tr>\n
BURKE. SOLOMON<\/td>\nI WISH I KNEW<\/td>\n5\/2\/1968<\/td>\n24<\/td>\n2<\/td>\nATLANTIC<\/td>\n2507<\/td>\n<\/tr>\n
BURKE. SOLOMON<\/td>\nLOVE’S STREET AND FOOL’S ROAD<\/td>\n3\/13\/1972<\/td>\n25<\/td>\n2<\/td>\nMGM<\/td>\n14353<\/td>\n<\/tr>\n
BUTLER. JERRY<\/td>\nNEED TO BELONG<\/td>\n11\/7\/1963<\/td>\n12<\/td>\n6<\/td>\nVEE-JAY<\/td>\n567<\/td>\n<\/tr>\n
BUTLER. JERRY<\/td>\nMOODY WOMAN<\/td>\n5\/22\/1969<\/td>\n13<\/td>\n5<\/td>\nMERCURY<\/td>\n72929<\/td>\n<\/tr>\n
BUTLER. JERRY<\/td>\nWHAT’S THE USE OF BREAKING UP<\/td>\n9\/4\/1969<\/td>\n21<\/td>\n3<\/td>\nMERCURY<\/td>\n72960<\/td>\n<\/tr>\n
BUTLER. JERRY<\/td>\nONLY THE STRONG SURVIVE<\/td>\n3\/6\/1969<\/td>\n5<\/td>\n6<\/td>\nMERCURY<\/td>\n72898<\/td>\n<\/tr>\n
BUTLER. JERRY<\/td>\nNEVER GIVE YOU UP<\/td>\n5\/2\/1968<\/td>\n8<\/td>\n6<\/td>\nMERCURY<\/td>\n72798<\/td>\n<\/tr>\n
BUTTERFLYS<\/td>\nI WONDER<\/td>\n1\/7\/1965<\/td>\n23<\/td>\n3<\/td>\nRED BIRD<\/td>\n10-016<\/td>\n<\/tr>\n
BUTTERFLYS<\/td>\nGOOD NIGHT BABY<\/td>\n9\/3\/1964<\/td>\n9<\/td>\n5<\/td>\nRED BIRD<\/td>\n10-009<\/td>\n<\/tr>\n
BYRDS<\/td>\nMISTER TAMBOURINE MAN<\/td>\n5\/19\/1965<\/td>\n1<\/td>\n7<\/td>\nCOLUMBIA<\/td>\n43271<\/td>\n<\/tr>\n
BYRDS<\/td>\nTURN! TURN! TURN!<\/td>\n10\/13\/1965<\/td>\n1<\/td>\n9<\/td>\nCOLUMBIA<\/td>\n43424<\/td>\n<\/tr>\n
BYRDS<\/td>\nALL I REALLY WANT TO DO<\/td>\n7\/21\/1965<\/td>\n11<\/td>\n2<\/td>\nCOLUMBIA<\/td>\n43332<\/td>\n<\/tr>\n
BYRDS<\/td>\nIT WON’T BE WRONG<\/td>\n1\/26\/1966<\/td>\n15<\/td>\n5<\/td>\nCOLUMBIA<\/td>\n43501<\/td>\n<\/tr>\n
BYRDS<\/td>\nMY BACK PAGES<\/td>\n4\/3\/1967<\/td>\n17<\/td>\n4<\/td>\nCOLUMBIA<\/td>\n44054<\/td>\n<\/tr>\n
BYRDS<\/td>\nSO YOU WANT TO BE A ROCK ‘N’ ROLL STAR<\/td>\n1\/9\/1967<\/td>\n19<\/td>\n4<\/td>\nCOLUMBIA<\/td>\n43987<\/td>\n<\/tr>\n
BYRDS<\/td>\nMISTER SPACEMAN<\/td>\n10\/10\/1966<\/td>\n24<\/td>\n3<\/td>\nCOLUMBIA<\/td>\n43766<\/td>\n<\/tr>\n
BYRDS<\/td>\nYOU AIN’T GOING NOWHERE<\/td>\n5\/16\/1968<\/td>\n24<\/td>\n3<\/td>\nCOLUMBIA<\/td>\n44499<\/td>\n<\/tr>\n
C*O*D*’S<\/td>\nMICHAEL<\/td>\n12\/29\/1965<\/td>\n7<\/td>\n5<\/td>\nKELLMAC<\/td>\n1003<\/td>\n<\/tr>\n
CABOOSE<\/td>\nBLACK HANDS WHITE COTTON<\/td>\n7\/13\/1970<\/td>\n27<\/td>\n4<\/td>\nENTERPRISE<\/td>\n9015<\/td>\n<\/tr>\n
CAMEL DRIVERS<\/td>\nSUNDAY MORNING 6 O’CLOCK<\/td>\n6\/13\/1968<\/td>\n10<\/td>\n7<\/td>\nBUDDAH<\/td>\n61<\/td>\n<\/tr>\n
CAMEL DRIVERS<\/td>\nYOU MADE A BELIEVER OF ME<\/td>\n5\/28\/1969<\/td>\n22<\/td>\n3<\/td>\nTOP DOG<\/td>\n200<\/td>\n<\/tr>\n
CAMPBELL. GLEN<\/td>\nBY THE TIME I GET TO PHOENIX<\/td>\n12\/7\/1967<\/td>\n14<\/td>\n4<\/td>\nCAPITOL<\/td>\n2015<\/td>\n<\/tr>\n
CAMPBELL. GLEN<\/td>\nWHERE’S THE PLAYGROUND SUSIE<\/td>\n4\/17\/1969<\/td>\n15<\/td>\n4<\/td>\nCAPITOL<\/td>\n2494<\/td>\n<\/tr>\n
CAMPBELL. GLEN<\/td>\nDREAMS OF THE EVERYDAY HOUSEWIFE<\/td>\n6\/20\/1968<\/td>\n17<\/td>\n4<\/td>\nCAPITOL<\/td>\n2224<\/td>\n<\/tr>\n
CAMPBELL. GLEN<\/td>\nWICHITA LINEMAN<\/td>\n10\/31\/1968<\/td>\n5<\/td>\n8<\/td>\nCAPITOL<\/td>\n2302<\/td>\n<\/tr>\n
CAMPBELL. GLEN<\/td>\nGALVESTON<\/td>\n2\/20\/1969<\/td>\n5<\/td>\n7<\/td>\nCAPITOL<\/td>\n2428<\/td>\n<\/tr>\n
CAMPBELL. GLEN<\/td>\nHONEY COME BACK<\/td>\n1\/20\/1970<\/td>\n9<\/td>\n6<\/td>\nCAPITOL<\/td>\n2718<\/td>\n<\/tr>\n
CAMPBELL. GLEN<\/td>\nIT’S ONLY MAKE BELIEVE<\/td>\n9\/28\/1970<\/td>\n9<\/td>\n5<\/td>\nCAPITOL<\/td>\n2905<\/td>\n<\/tr>\n
CAMPBELL. GLEN\\GENTRY. BOBBIE<\/td>\nALL I HAVE TO DO IS DREAM<\/td>\n2\/17\/1970<\/td>\n20<\/td>\n3<\/td>\nCAPITOL<\/td>\n2745<\/td>\n<\/tr>\n
CANDY & THE KISSES<\/td>\nEIGHTY-ONE -THE-<\/td>\n11\/26\/1964<\/td>\n22<\/td>\n3<\/td>\nCAMEO<\/td>\n336<\/td>\n<\/tr>\n
CANNED HEAT<\/td>\nGOING UP THE COUNTRY<\/td>\n11\/21\/1968<\/td>\n10<\/td>\n6<\/td>\nLIBERTY<\/td>\n56077<\/td>\n<\/tr>\n
CANNED HEAT<\/td>\nLET’S WORK TOGETHER<\/td>\n11\/2\/1970<\/td>\n18<\/td>\n4<\/td>\nLIBERTY<\/td>\n56151<\/td>\n<\/tr>\n
CANNED HEAT<\/td>\nON THE ROAD AGAIN<\/td>\n8\/15\/1968<\/td>\n19<\/td>\n5<\/td>\nLIBERTY<\/td>\n56038<\/td>\n<\/tr>\n
CANNIBAL & THE HEADHUNTERS<\/td>\nLAND OF 1000 DANCES<\/td>\n2\/4\/1965<\/td>\n4<\/td>\n6<\/td>\nRAMPART<\/td>\n642<\/td>\n<\/tr>\n
CANNON. FREDDY<\/td>\nACTION<\/td>\n8\/11\/1965<\/td>\n16<\/td>\n4<\/td>\nWARNER BROS.<\/td>\n5645<\/td>\n<\/tr>\n
CANNON. FREDDY<\/td>\nDEDICATION SONG -THE-<\/td>\n2\/2\/1966<\/td>\n17<\/td>\n4<\/td>\nWARNER BROS.<\/td>\n5693<\/td>\n<\/tr>\n
CANNON. FREDDY<\/td>\nABIGAIL BEECHER<\/td>\n1\/30\/1964<\/td>\n25<\/td>\n2<\/td>\nWARNER BROS.<\/td>\n5409<\/td>\n<\/tr>\n
CAPITOLS<\/td>\nCOOL JERK<\/td>\n3\/23\/1966<\/td>\n1<\/td>\n8<\/td>\nKAREN<\/td>\n1524<\/td>\n<\/tr>\n
CAPREEZ<\/td>\nSOULSATION<\/td>\n8\/14\/1967<\/td>\n26<\/td>\n3<\/td>\nSOUND<\/td>\n171<\/td>\n<\/tr>\n
CAPREEZ<\/td>\nROSANNA<\/td>\n8\/15\/1966<\/td>\n7<\/td>\n7<\/td>\nSOUND<\/td>\n126<\/td>\n<\/tr>\n
CARAVELLES<\/td>\nYOU DON’T HAVE TO BE A BABY TO CRY<\/td>\n11\/7\/1963<\/td>\n17<\/td>\n3<\/td>\nSMASH<\/td>\n1852<\/td>\n<\/tr>\n
CARGILL. HENSON<\/td>\nSKIP A ROPE<\/td>\n1\/18\/1968<\/td>\n7<\/td>\n6<\/td>\nMONUMENT<\/td>\n1041<\/td>\n<\/tr>\n
CARLTON. CARL<\/td>\nDROP BY MY PLACE<\/td>\n6\/29\/1970<\/td>\n10<\/td>\n4<\/td>\nBACK BEAT<\/td>\n613<\/td>\n<\/tr>\n
CARLTON. CARL<\/td>\nFORTY-SIX DRUMS – ONE GUITAR<\/td>\n10\/31\/1968<\/td>\n21<\/td>\n3<\/td>\nBACK BEAT<\/td>\n598<\/td>\n<\/tr>\n
CARLTON. LITTLE CARL<\/td>\nCOMPETITION AIN’T NOTHIN’<\/td>\n5\/2\/1968<\/td>\n4<\/td>\n6<\/td>\nBACK BEAT<\/td>\n588<\/td>\n<\/tr>\n
CARPENTERS<\/td>\nCLOSE TO YOU (THEY LONG TO BE)<\/td>\n6\/22\/1970<\/td>\n1<\/td>\n12<\/td>\nA&M<\/td>\n1183<\/td>\n<\/tr>\n
CARPENTERS<\/td>\nHURTING EACH OTHER<\/td>\n2\/7\/1972<\/td>\n12<\/td>\n4<\/td>\nA&M<\/td>\n1322<\/td>\n<\/tr>\n
CARPENTERS<\/td>\nFOR ALL WE KNOW<\/td>\n2\/1\/1971<\/td>\n16<\/td>\n7<\/td>\nA&M<\/td>\n1243<\/td>\n<\/tr>\n
CARPENTERS<\/td>\nWE’VE ONLY JUST BEGUN<\/td>\n8\/31\/1970<\/td>\n3<\/td>\n12<\/td>\nA&M<\/td>\n1217<\/td>\n<\/tr>\n
CARPENTERS<\/td>\nSUPERSTAR<\/td>\n9\/7\/1971<\/td>\n3<\/td>\n7<\/td>\nA&M<\/td>\n1289<\/td>\n<\/tr>\n
CARPENTERS<\/td>\nRAINY DAYS AND MONDAYS<\/td>\n5\/10\/1971<\/td>\n4<\/td>\n9<\/td>\nA&M<\/td>\n1260<\/td>\n<\/tr>\n
CARR. LINDA<\/td>\nBABY. ARE YOU PUTTING ME ON<\/td>\n5\/12\/1965<\/td>\n19<\/td>\n3<\/td>\nDCP<\/td>\n1138<\/td>\n<\/tr>\n
CARR. VIKKI<\/td>\nIT MUST BE HIM<\/td>\n9\/11\/1967<\/td>\n3<\/td>\n7<\/td>\nLIBERTY<\/td>\n55986<\/td>\n<\/tr>\n
CARROLL. VICKIE<\/td>\nGIRL YOU LEFT BEHIND -THE- (A PICTURE OF)<\/td>\n11\/7\/1963<\/td>\n28<\/td>\n1<\/td>\nDECCA<\/td>\n31545<\/td>\n<\/tr>\n
CARTER. CLARENCE<\/td>\nTOO WEAK TO FIGHT<\/td>\n11\/14\/1968<\/td>\n21<\/td>\n3<\/td>\nATLANTIC<\/td>\n2569<\/td>\n<\/tr>\n
CARTER. CLARENCE<\/td>\nPATCHES<\/td>\n7\/13\/1970<\/td>\n6<\/td>\n9<\/td>\nATLANTIC<\/td>\n2748<\/td>\n<\/tr>\n
CARTER. CLARENCE<\/td>\nSLIP AWAY<\/td>\n8\/29\/1968<\/td>\n8<\/td>\n5<\/td>\nATLANTIC<\/td>\n2508<\/td>\n<\/tr>\n
CARTER. MEL<\/td>\nHOLD ME. THRILL ME. KISS ME<\/td>\n8\/4\/1965<\/td>\n7<\/td>\n7<\/td>\nIMPERIAL<\/td>\n66113<\/td>\n<\/tr>\n
CASH. ALVIN\/& THE CRAWLERS<\/td>\nTWINE TIME<\/td>\n1\/7\/1965<\/td>\n11<\/td>\n5<\/td>\nMAR-V-LUS<\/td>\n6002<\/td>\n<\/tr>\n
CASH. ALVIN\/& THE REGISTERS<\/td>\nPHILLY FREEZE -THE-<\/td>\n8\/8\/1966<\/td>\n13<\/td>\n4<\/td>\nMAR-V-LUS<\/td>\n6012<\/td>\n<\/tr>\n
CASH. JOHNNY<\/td>\nBOY NAMED SUE -A-<\/td>\n7\/17\/1969<\/td>\n1<\/td>\n8<\/td>\nCOLUMBIA<\/td>\n44944<\/td>\n<\/tr>\n
CASH. JOHNNY<\/td>\nFOLSOM PRISON BLUES<\/td>\n6\/13\/1968<\/td>\n14<\/td>\n4<\/td>\nCOLUMBIA<\/td>\n44513<\/td>\n<\/tr>\n
CASH. JOHNNY<\/td>\nWHAT IS TRUTH<\/td>\n3\/24\/1970<\/td>\n4<\/td>\n7<\/td>\nCOLUMBIA<\/td>\n45134<\/td>\n<\/tr>\n
CASINOS<\/td>\nTHEN YOU CAN TELL ME GOODBYE<\/td>\n1\/16\/1967<\/td>\n3<\/td>\n9<\/td>\nFRATERNITY<\/td>\n977<\/td>\n<\/tr>\n
CASTAWAYS<\/td>\nLIAR. LIAR<\/td>\n8\/18\/1965<\/td>\n4<\/td>\n5<\/td>\nSOMA<\/td>\n1433<\/td>\n<\/tr>\n
CAT MOTHER & THE ALL NIGHT NEWS BOYS<\/td>\nGOOD OLD ROCK ‘N ROLL<\/td>\n6\/12\/1969<\/td>\n12<\/td>\n5<\/td>\nPOLYDOR<\/td>\n14002<\/td>\n<\/tr>\n
CHAD & JEREMY<\/td>\nIF I LOVED YOU<\/td>\n3\/17\/1965<\/td>\n11<\/td>\n4<\/td>\nWORLD ARTISTS<\/td>\n1041<\/td>\n<\/tr>\n
CHAD & JEREMY<\/td>\nYESTERDAY’S GONE<\/td>\n5\/21\/1964<\/td>\n17<\/td>\n5<\/td>\nWORLD ARTISTS<\/td>\n1021<\/td>\n<\/tr>\n
CHAD & JEREMY<\/td>\nBEFORE AND AFTER<\/td>\n5\/5\/1965<\/td>\n5<\/td>\n7<\/td>\nCOLUMBIA<\/td>\n43277<\/td>\n<\/tr>\n
CHAIRMEN OF THE BOARD<\/td>\nPAY TO THE PIPER<\/td>\n11\/16\/1970<\/td>\n15<\/td>\n7<\/td>\nINVICTUS<\/td>\n9081<\/td>\n<\/tr>\n
CHAIRMEN OF THE BOARD<\/td>\nEVERYTHING’S TUESDAY<\/td>\n7\/20\/1970<\/td>\n16<\/td>\n4<\/td>\nINVICTUS<\/td>\n9079<\/td>\n<\/tr>\n
CHAIRMEN OF THE BOARD<\/td>\nDANGLING ON A STRING (YOU’VE GOT ME)<\/td>\n4\/21\/1970<\/td>\n21<\/td>\n4<\/td>\nINVICTUS<\/td>\n9078<\/td>\n<\/tr>\n
CHAIRMEN OF THE BOARD<\/td>\nGIVE ME JUST A LITTLE MORE TIME<\/td>\n1\/1\/1970<\/td>\n5<\/td>\n9<\/td>\nINVICTUS<\/td>\n9074<\/td>\n<\/tr>\n
CHAKACHAS<\/td>\nJUNGLE FEVER<\/td>\n3\/6\/1972<\/td>\n4<\/td>\n3<\/td>\nPOLYDOR<\/td>\n15030<\/td>\n<\/tr>\n
CHAMBERS BROTHERS<\/td>\nI CAN’T TURN YOU LOOSE<\/td>\n11\/14\/1968<\/td>\n14<\/td>\n4<\/td>\nCOLUMBIA<\/td>\n44679<\/td>\n<\/tr>\n
CHAMBERS BROTHERS<\/td>\nWAKE UP<\/td>\n7\/2\/1969<\/td>\n22<\/td>\n3<\/td>\nCOLUMBIA<\/td>\n44890<\/td>\n<\/tr>\n
CHAMBERS BROTHERS<\/td>\nTIME HAS COME TODAY<\/td>\n8\/15\/1968<\/td>\n5<\/td>\n8<\/td>\nCOLUMBIA<\/td>\n44414<\/td>\n<\/tr>\n
CHANDLER. GENE<\/td>\nJUST BE TRUE<\/td>\n7\/16\/1964<\/td>\n19<\/td>\n3<\/td>\nCONSTELLATION<\/td>\n130<\/td>\n<\/tr>\n
CHANDLER. GENE<\/td>\nTHINK NOTHING ABOUT IT<\/td>\n2\/13\/1964<\/td>\n21<\/td>\n3<\/td>\nCONSTELLATION<\/td>\n112<\/td>\n<\/tr>\n
CHANDLER. GENE<\/td>\nWHAT NOW<\/td>\n12\/24\/1964<\/td>\n25<\/td>\n2<\/td>\nCONSTELLATION<\/td>\n141<\/td>\n<\/tr>\n
CHANDLER. GENE<\/td>\nGROOVY SITUATION<\/td>\n8\/3\/1970<\/td>\n9<\/td>\n5<\/td>\nMERCURY<\/td>\n73083<\/td>\n<\/tr>\n
CHANDLER. GENE\\ACKLIN. BARBARA<\/td>\nFROM THE TEACHER TO THE PREACHER<\/td>\n10\/3\/1968<\/td>\n16<\/td>\n4<\/td>\nBRUNSWICK<\/td>\n55387<\/td>\n<\/tr>\n
CHAPIN. HARRY<\/td>\nTAXI<\/td>\n2\/28\/1972<\/td>\n20<\/td>\n4<\/td>\nELEKTRA<\/td>\n45770<\/td>\n<\/tr>\n
CHARLES. RAY<\/td>\nCRYING TIME<\/td>\n12\/8\/1965<\/td>\n14<\/td>\n6<\/td>\nABC-PARAMOUNT<\/td>\n10739<\/td>\n<\/tr>\n
CHARLES. RAY<\/td>\nHERE WE GO AGAIN<\/td>\n6\/12\/1967<\/td>\n15<\/td>\n5<\/td>\nABC<\/td>\n10938<\/td>\n<\/tr>\n
CHARLES. RAY<\/td>\nDON’T CHANGE ON ME<\/td>\n3\/1\/1971<\/td>\n17<\/td>\n5<\/td>\nABC<\/td>\n11291<\/td>\n<\/tr>\n
CHARLES. RAY<\/td>\nTOGETHER AGAIN<\/td>\n3\/16\/1966<\/td>\n18<\/td>\n4<\/td>\nABC-PARAMOUNT<\/td>\n10785<\/td>\n<\/tr>\n
CHARLES. RAY<\/td>\nIN THE HEAT OF THE NIGHT<\/td>\n9\/5\/1967<\/td>\n25<\/td>\n3<\/td>\nABC<\/td>\n10970<\/td>\n<\/tr>\n
CHARLES. RAY<\/td>\nYESTERDAY<\/td>\n11\/16\/1967<\/td>\n25<\/td>\n2<\/td>\nABC<\/td>\n11009<\/td>\n<\/tr>\n
CHARLES. RAY<\/td>\nIF YOU WERE MINE<\/td>\n10\/12\/1970<\/td>\n3<\/td>\n10<\/td>\nABC<\/td>\n11271<\/td>\n<\/tr>\n
CHARLES. RAY\/ORCHESTRA<\/td>\nBOOTY BUTT<\/td>\n5\/3\/1971<\/td>\n9<\/td>\n5<\/td>\nTANGERINE<\/td>\n1015<\/td>\n<\/tr>\n
CHARLES. RAY\/SINGERS<\/td>\nLOVE ME WITH ALL YOUR HEART<\/td>\n5\/14\/1964<\/td>\n2<\/td>\n7<\/td>\nCOMMAND<\/td>\n4046<\/td>\n<\/tr>\n
CHARLES. RAY\/SINGERS<\/td>\nAL-DI-LA<\/td>\n7\/23\/1964<\/td>\n22<\/td>\n2<\/td>\nCOMMAND<\/td>\n4049<\/td>\n<\/tr>\n
CHARLES. RAY\/SINGERS<\/td>\nONE MORE TIME<\/td>\n11\/19\/1964<\/td>\n7<\/td>\n6<\/td>\nCOMMAND<\/td>\n4057<\/td>\n<\/tr>\n
CHARLES. SONNY\/& THE CHECKMATES+ LTD*<\/td>\nBLACK PEARL<\/td>\n4\/10\/1969<\/td>\n17<\/td>\n4<\/td>\nA&M<\/td>\n1053<\/td>\n<\/tr>\n
CHARTBUSTERS<\/td>\nWHY<\/td>\n10\/8\/1964<\/td>\n4<\/td>\n6<\/td>\nMUTUAL<\/td>\n508<\/td>\n<\/tr>\n
CHARTBUSTERS<\/td>\nSHE’S THE ONE<\/td>\n5\/21\/1964<\/td>\n6<\/td>\n6<\/td>\nMUTUAL<\/td>\n502<\/td>\n<\/tr>\n
CHASE<\/td>\nGET IT ON<\/td>\n5\/24\/1971<\/td>\n31<\/td>\n1<\/td>\nEPIC<\/td>\n10738<\/td>\n<\/tr>\n
CHECKER. CHUBBY<\/td>\nLODDY LO<\/td>\n11\/7\/1963<\/td>\n14<\/td>\n3<\/td>\nPARKWAY<\/td>\n890<\/td>\n<\/tr>\n
CHECKER. CHUBBY<\/td>\nDO THE FREDDIE (LET’S)<\/td>\n4\/28\/1965<\/td>\n17<\/td>\n3<\/td>\nPARKWAY<\/td>\n949<\/td>\n<\/tr>\n
CHECKER. CHUBBY<\/td>\nHEY. BOBBA NEEDLE<\/td>\n3\/19\/1964<\/td>\n23<\/td>\n4<\/td>\nPARKWAY<\/td>\n907<\/td>\n<\/tr>\n
CHECKER. CHUBBY<\/td>\nHEY YOU! LITTLE BOO-GA-LOO<\/td>\n6\/20\/1966<\/td>\n24<\/td>\n3<\/td>\nPARKWAY<\/td>\n989<\/td>\n<\/tr>\n
CHECKMATES+ LTD*<\/td>\nLOVE IS ALL I HAVE TO GIVE<\/td>\n3\/20\/1969<\/td>\n21<\/td>\n4<\/td>\nA&M<\/td>\n1039<\/td>\n<\/tr>\n
CHER<\/td>\nGYPSYS. TRAMPS & THIEVES<\/td>\n8\/30\/1971<\/td>\n1<\/td>\n12<\/td>\nKAPP<\/td>\n2146<\/td>\n<\/tr>\n
CHER<\/td>\nYOU BETTER SIT DOWN KIDS<\/td>\n11\/9\/1967<\/td>\n12<\/td>\n5<\/td>\nIMPERIAL<\/td>\n66261<\/td>\n<\/tr>\n
CHER<\/td>\nWAY OF LOVE -THE-<\/td>\n2\/21\/1972<\/td>\n17<\/td>\n4<\/td>\nKAPP<\/td>\n2158<\/td>\n<\/tr>\n
CHER<\/td>\nWHERE DO YOU GO<\/td>\n10\/20\/1965<\/td>\n23<\/td>\n2<\/td>\nIMPERIAL<\/td>\n66136<\/td>\n<\/tr>\n
CHER<\/td>\nALL I REALLY WANT TO DO<\/td>\n7\/21\/1965<\/td>\n3<\/td>\n5<\/td>\nIMPERIAL<\/td>\n66114<\/td>\n<\/tr>\n
CHER<\/td>\nBANG BANG (MY BABY SHOT ME DOWN)<\/td>\n3\/9\/1966<\/td>\n4<\/td>\n6<\/td>\nIMPERIAL<\/td>\n66160<\/td>\n<\/tr>\n
CHEVELLS<\/td>\nANOTHER TEAR MUST FALL<\/td>\n11\/21\/1963<\/td>\n32<\/td>\n2<\/td>\nBUTANE<\/td>\n777<\/td>\n<\/tr>\n
CHI-LITES<\/td>\nHAVE YOU SEEN HER<\/td>\n10\/4\/1971<\/td>\n1<\/td>\n10<\/td>\nBRUNSWICK<\/td>\n55462<\/td>\n<\/tr>\n
CHI-LITES<\/td>\nGIVE IT AWAY<\/td>\n1\/16\/1969<\/td>\n18<\/td>\n5<\/td>\nBRUNSWICK<\/td>\n55398<\/td>\n<\/tr>\n
CHI-LITES<\/td>\nGIVE MORE POWER TO THE PEOPLE (FOR GOD’S SAKE)<\/td>\n4\/5\/1971<\/td>\n6<\/td>\n7<\/td>\nBRUNSWICK<\/td>\n55450<\/td>\n<\/tr>\n
CHICAGO<\/td>\nDOES ANYBODY REALLY KNOW WHAT TIME IT IS<\/td>\n11\/2\/1970<\/td>\n10<\/td>\n7<\/td>\nCOLUMBIA<\/td>\n45264<\/td>\n<\/tr>\n
CHICAGO<\/td>\nBEGINNINGS<\/td>\n6\/21\/1971<\/td>\n10<\/td>\n9<\/td>\nCOLUMBIA<\/td>\n45417<\/td>\n<\/tr>\n
CHICAGO<\/td>\nCOLOUR MY WORLD<\/td>\n6\/28\/1971<\/td>\n10<\/td>\n7<\/td>\nCOLUMBIA<\/td>\n45417<\/td>\n<\/tr>\n
CHICAGO<\/td>\nTWENTY-FIVE OR SIX TO FOUR<\/td>\n7\/13\/1970<\/td>\n11<\/td>\n10<\/td>\nCOLUMBIA<\/td>\n45194<\/td>\n<\/tr>\n
CHICAGO<\/td>\nI’M A MAN<\/td>\n10\/11\/1971<\/td>\n11<\/td>\n6<\/td>\nCOLUMBIA<\/td>\n45467<\/td>\n<\/tr>\n
CHICAGO<\/td>\nQUESTIONS 67 AND 68<\/td>\n10\/11\/1971<\/td>\n16<\/td>\n2<\/td>\nCOLUMBIA<\/td>\n45467<\/td>\n<\/tr>\n
CHICAGO<\/td>\nMAKE ME SMILE<\/td>\n4\/28\/1970<\/td>\n4<\/td>\n8<\/td>\nCOLUMBIA<\/td>\n45127<\/td>\n<\/tr>\n
CHICAGO LOOP<\/td>\nSHE COMES TO ME (WHEN SHE NEEDS GOOD LOVIN’)<\/td>\n10\/24\/1966<\/td>\n17<\/td>\n4<\/td>\nDYNO VOICE<\/td>\n226<\/td>\n<\/tr>\n
CHICORY<\/td>\nSON OF MY FATHER<\/td>\n2\/21\/1972<\/td>\n17<\/td>\n2<\/td>\nEPIC<\/td>\n10837<\/td>\n<\/tr>\n
CHIFFONS<\/td>\nNOBODY KNOWS WHAT’S GOIN’ ON<\/td>\n7\/7\/1965<\/td>\n1<\/td>\n6<\/td>\nLAURIE<\/td>\n3301<\/td>\n<\/tr>\n
CHIFFONS<\/td>\nSWEET TALKIN’ GUY<\/td>\n4\/13\/1966<\/td>\n2<\/td>\n7<\/td>\nLAURIE<\/td>\n3340<\/td>\n<\/tr>\n
CHIFFONS<\/td>\nOUT OF THIS WORLD<\/td>\n7\/25\/1966<\/td>\n23<\/td>\n3<\/td>\nLAURIE<\/td>\n3350<\/td>\n<\/tr>\n
CHRISTIAN. DIANE<\/td>\nTHERE’S SO MUCH ABOUT MY BABY<\/td>\n2\/6\/1964<\/td>\n29<\/td>\n2<\/td>\nSMASH<\/td>\nNA<\/td>\n<\/tr>\n
CHRISTIE<\/td>\nYELLOW RIVER<\/td>\n10\/5\/1970<\/td>\n13<\/td>\n5<\/td>\nEPIC<\/td>\n10626<\/td>\n<\/tr>\n
CHRISTIE. LOU<\/td>\nLIGHTNIN’ STRIKES<\/td>\n12\/29\/1965<\/td>\n1<\/td>\n8<\/td>\nMGM<\/td>\n13412<\/td>\n<\/tr>\n
CHRISTIE. LOU<\/td>\nI’M GONNA MAKE YOU MINE<\/td>\n8\/14\/1969<\/td>\n11<\/td>\n7<\/td>\nBUDDAH<\/td>\n116<\/td>\n<\/tr>\n
CHRISTIE. LOU<\/td>\nOUTSIDE THE GATES OF HEAVEN<\/td>\n3\/9\/1966<\/td>\n13<\/td>\n4<\/td>\nCO & CE<\/td>\n235<\/td>\n<\/tr>\n
CHRISTIE. LOU<\/td>\nRHAPSODY IN THE RAIN<\/td>\n4\/13\/1966<\/td>\n25<\/td>\n2<\/td>\nMGM<\/td>\n13473<\/td>\n<\/tr>\n
CHRISTIE. LOU<\/td>\nPAINTER<\/td>\n5\/31\/1966<\/td>\n25<\/td>\n3<\/td>\nMGM<\/td>\n1353<\/td>\n<\/tr>\n
CLANTON. JIMMY<\/td>\nMILLION DRUMS -A-<\/td>\n7\/9\/1964<\/td>\n12<\/td>\n6<\/td>\nPHILIPS<\/td>\n40208<\/td>\n<\/tr>\n
CLANTON. JIMMY<\/td>\nI’LL STEP ASIDE<\/td>\n4\/16\/1964<\/td>\n19<\/td>\n3<\/td>\nPHILIPS<\/td>\n40181<\/td>\n<\/tr>\n
CLAPTON. ERIC<\/td>\nAFTER MIDNIGHT<\/td>\n12\/21\/1970<\/td>\n16<\/td>\n5<\/td>\nATCO<\/td>\n6784<\/td>\n<\/tr>\n
CLARK. DAVE\/FIVE<\/td>\nREELIN’ AND ROCKIN’<\/td>\n4\/7\/1965<\/td>\n16<\/td>\n4<\/td>\nEPIC<\/td>\n9786<\/td>\n<\/tr>\n
CLARK. DAVE\/FIVE<\/td>\nDO YOU LOVE ME<\/td>\n4\/30\/1964<\/td>\n17<\/td>\n3<\/td>\nEPIC<\/td>\n9678<\/td>\n<\/tr>\n
CLARK. DAVE\/FIVE<\/td>\nCATCH US IF YOU CAN<\/td>\n8\/11\/1965<\/td>\n17<\/td>\n4<\/td>\nEPIC<\/td>\n9833<\/td>\n<\/tr>\n
CLARK. DAVE\/FIVE<\/td>\nBITS AND PIECES<\/td>\n4\/2\/1964<\/td>\n2<\/td>\n6<\/td>\nEPIC<\/td>\n9671<\/td>\n<\/tr>\n
CLARK. DAVE\/FIVE<\/td>\nEVERYBODY KNOWS (I STILL LOVE YOU)<\/td>\n10\/8\/1964<\/td>\n22<\/td>\n3<\/td>\nEPIC<\/td>\n9722<\/td>\n<\/tr>\n
CLARK. DAVE\/FIVE<\/td>\nANY WAY YOU WANT IT<\/td>\n11\/19\/1964<\/td>\n22<\/td>\n3<\/td>\nEPIC<\/td>\n9739<\/td>\n<\/tr>\n
CLARK. DAVE\/FIVE<\/td>\nSATISFIED WITH YOU<\/td>\n8\/1\/1966<\/td>\n22<\/td>\n3<\/td>\nEPIC<\/td>\n1005<\/td>\n<\/tr>\n
CLARK. DAVE\/FIVE<\/td>\nGLAD ALL OVER<\/td>\n4\/9\/1964<\/td>\n23<\/td>\n1<\/td>\nEPIC<\/td>\n9656<\/td>\n<\/tr>\n
CLARK. DAVE\/FIVE<\/td>\nAT THE SCENE<\/td>\n2\/2\/1966<\/td>\n23<\/td>\n4<\/td>\nEPIC<\/td>\n9882<\/td>\n<\/tr>\n
CLARK. DAVE\/FIVE<\/td>\nTRY TOO HARD<\/td>\n4\/13\/1966<\/td>\n23<\/td>\n3<\/td>\nEPIC<\/td>\n10004<\/td>\n<\/tr>\n
CLARK. DAVE\/FIVE<\/td>\nPLEASE TELL ME WHY<\/td>\n5\/23\/1966<\/td>\n25<\/td>\n3<\/td>\nEPIC<\/td>\n1003<\/td>\n<\/tr>\n
CLARK. DAVE\/FIVE<\/td>\nLOOK BEFORE YOU LEAP<\/td>\n5\/31\/1966<\/td>\n25<\/td>\n2<\/td>\nEPIC<\/td>\n10031<\/td>\n<\/tr>\n
CLARK. DAVE\/FIVE<\/td>\nEVERYBODY KNOWS<\/td>\n11\/30\/1967<\/td>\n27<\/td>\n2<\/td>\nEPIC<\/td>\n10265<\/td>\n<\/tr>\n
CLARK. DAVE\/FIVE<\/td>\nCOME HOME<\/td>\n3\/17\/1965<\/td>\n28<\/td>\n2<\/td>\nEPIC<\/td>\n9763<\/td>\n<\/tr>\n
CLARK. DAVE\/FIVE<\/td>\nOVER AND OVER<\/td>\n10\/27\/1965<\/td>\n5<\/td>\n6<\/td>\nEPIC<\/td>\n9863<\/td>\n<\/tr>\n
CLARK. DAVE\/FIVE<\/td>\nCAN’T YOU SEE THAT SHE’S MINE<\/td>\n6\/11\/1964<\/td>\n8<\/td>\n4<\/td>\nEPIC<\/td>\n9692<\/td>\n<\/tr>\n
CLARK. DAVE\/FIVE<\/td>\nI LIKE IT LIKE THAT<\/td>\n6\/16\/1965<\/td>\n8<\/td>\n5<\/td>\nEPIC<\/td>\n9811<\/td>\n<\/tr>\n
CLARK. DAVE\/FIVE<\/td>\nYOU GOT WHAT IT TAKES<\/td>\n4\/3\/1967<\/td>\n9<\/td>\n5<\/td>\nEPIC<\/td>\n10144<\/td>\n<\/tr>\n
CLARK. JIMMY (SOUL)<\/td>\nIF I ONLY KNEW THEN<\/td>\n6\/6\/1968<\/td>\n17<\/td>\n4<\/td>\nKAREN<\/td>\n1539<\/td>\n<\/tr>\n
CLARK. PETULA<\/td>\nSIGN OF THE TIMES -A-<\/td>\n3\/9\/1966<\/td>\n15<\/td>\n5<\/td>\nWARNER BROS.<\/td>\n5802<\/td>\n<\/tr>\n
CLARK. PETULA<\/td>\nWHO AM I<\/td>\n10\/3\/1966<\/td>\n18<\/td>\n4<\/td>\nWARNER BROS.<\/td>\n586<\/td>\n<\/tr>\n
CLARK. PETULA<\/td>\nDOWNTOWN<\/td>\n12\/17\/1964<\/td>\n2<\/td>\n7<\/td>\nWARNER BROS.<\/td>\n5494<\/td>\n<\/tr>\n
CLARK. PETULA<\/td>\nMY LOVE<\/td>\n12\/29\/1965<\/td>\n2<\/td>\n7<\/td>\nWARNER BROS.<\/td>\n5684<\/td>\n<\/tr>\n
CLARK. PETULA<\/td>\nCOLOR MY WORLD<\/td>\n12\/12\/1966<\/td>\n20<\/td>\n4<\/td>\nWARNER BROS.<\/td>\n5882<\/td>\n<\/tr>\n
CLARK. PETULA<\/td>\nDON’T SLEEP IN THE SUBWAY<\/td>\n5\/29\/1967<\/td>\n23<\/td>\n3<\/td>\nWARNER BROS.<\/td>\n7049<\/td>\n<\/tr>\n
CLARK. PETULA<\/td>\nCAT IN THE WINDOW
\n-THE-<\/td>\n		8\/21\/1967<\/td>\n23<\/td>\n3<\/td>\nWARNER BROS.<\/td>\n7073<\/td>\n<\/tr>\n
CLARK. PETULA<\/td>\nROUND EVERY CORNER<\/td>\n9\/22\/1965<\/td>\n24<\/td>\n3<\/td>\nWARNER BROS.<\/td>\n5661<\/td>\n<\/tr>\n
CLARK. PETULA<\/td>\nOTHER MAN’S GRASS IS ALWAYS GREENER -THE-<\/td>\n12\/14\/1967<\/td>\n25<\/td>\n3<\/td>\nWARNER BROS.<\/td>\n7097<\/td>\n<\/tr>\n
CLARK. PETULA<\/td>\nTHIS IS MY SONG<\/td>\n2\/27\/1967<\/td>\n5<\/td>\n7<\/td>\nWARNER BROS.<\/td>\n7002<\/td>\n<\/tr>\n
CLARK. PETULA<\/td>\nI KNOW A PLACE<\/td>\n3\/10\/1965<\/td>\n6<\/td>\n6<\/td>\nWARNER BROS.<\/td>\n5612<\/td>\n<\/tr>\n
CLARK. PETULA<\/td>\nI COULDN’T LIVE WITHOUT YOUR LOVE<\/td>\n7\/5\/1966<\/td>\n7<\/td>\n5<\/td>\nWARNER BROS.<\/td>\n583<\/td>\n<\/tr>\n
CLARK. PETULA<\/td>\nKISS ME GOODBYE<\/td>\n2\/29\/1968<\/td>\n9<\/td>\n4<\/td>\nWARNER BROS.<\/td>\n7170<\/td>\n<\/tr>\n
CLARK. ROY<\/td>\nYESTERDAY. WHEN I WAS YOUNG<\/td>\n7\/10\/1969<\/td>\n18<\/td>\n4<\/td>\nDOT<\/td>\n17246<\/td>\n<\/tr>\n
CLARKE. TONY<\/td>\nAIN’T LOVE GOOD-AIN’T LOVE PROUD<\/td>\n5\/21\/1964<\/td>\n26<\/td>\n3<\/td>\nCHESS<\/td>\n1894<\/td>\n<\/tr>\n
CLARKE. TONY<\/td>\nENTERTAINER -THE-<\/td>\n2\/25\/1965<\/td>\n5<\/td>\n6<\/td>\nCHESS<\/td>\n1924<\/td>\n<\/tr>\n
CLARKE. TONY<\/td>\nWOMAN. LOVE AND A MAN<\/td>\n1\/9\/1964<\/td>\n8<\/td>\n7<\/td>\nCHESS<\/td>\n1880<\/td>\n<\/tr>\n
CLASSICS IV<\/td>\nEVERYDAY WITH YOU GIRL<\/td>\n4\/17\/1969<\/td>\n15<\/td>\n6<\/td>\nIMPERIAL<\/td>\n66378<\/td>\n<\/tr>\n
CLASSICS IV<\/td>\nMIDNIGHT<\/td>\n11\/26\/1969<\/td>\n27<\/td>\n2<\/td>\nIMPERIAL<\/td>\n66424<\/td>\n<\/tr>\n
CLASSICS IV<\/td>\nSPOOKY<\/td>\n1\/4\/1968<\/td>\n3<\/td>\n6<\/td>\nIMPERIAL<\/td>\n66259<\/td>\n<\/tr>\n
CLASSICS IV<\/td>\nTRACES<\/td>\n1\/30\/1969<\/td>\n5<\/td>\n7<\/td>\nIMPERIAL<\/td>\n66352<\/td>\n<\/tr>\n
CLASSICS IV<\/td>\nSTORMY<\/td>\n10\/31\/1968<\/td>\n6<\/td>\n7<\/td>\nIMPERIAL<\/td>\n66328<\/td>\n<\/tr>\n
CLIFF. JIMMY<\/td>\nWONDERFUL WORLD. BEAUTIFUL PEOPLE<\/td>\n12\/18\/1969<\/td>\n21<\/td>\n4<\/td>\nA&M<\/td>\n1146<\/td>\n<\/tr>\n
CLIMAX FEATURING SONNY GERACI<\/td>\nPRECIOUS AND FEW<\/td>\n1\/3\/1972<\/td>\n7<\/td>\n9<\/td>\nROCKY ROAD<\/td>\n30.055<\/td>\n<\/tr>\n
CLIQUE<\/td>\nI’LL HOLD OUT MY HAND<\/td>\n11\/20\/1969<\/td>\n19<\/td>\n3<\/td>\nWHITE WHALE<\/td>\n333<\/td>\n<\/tr>\n
CLIQUE<\/td>\nSUGAR ON SUNDAY<\/td>\n8\/14\/1969<\/td>\n24<\/td>\n3<\/td>\nWHITE WHALE<\/td>\n323<\/td>\n<\/tr>\n
COCKER. JOE<\/td>\nDELTA LADY<\/td>\n9\/11\/1969<\/td>\n15<\/td>\n5<\/td>\nA&M<\/td>\n1112<\/td>\n<\/tr>\n
COCKER. JOE<\/td>\nFEELING ALRIGHT<\/td>\n1\/24\/1972<\/td>\n16<\/td>\n5<\/td>\nA&M<\/td>\n1063<\/td>\n<\/tr>\n
COCKER. JOE<\/td>\nSHE CAME IN THROUGH THE BATHROOM WINDOW<\/td>\n1\/27\/1970<\/td>\n29<\/td>\n3<\/td>\nA&M<\/td>\n1147<\/td>\n<\/tr>\n
COCKER. JOE<\/td>\nHIGH TIME WE WENT<\/td>\n5\/10\/1971<\/td>\n8<\/td>\n8<\/td>\nA&M<\/td>\n1258<\/td>\n<\/tr>\n
COCKER. JOE<\/td>\nLETTER -THE-<\/td>\n4\/21\/1970<\/td>\n9<\/td>\n7<\/td>\nA&M<\/td>\n1174<\/td>\n<\/tr>\n
COE. JAMIE<\/td>\nGREENBACK DOLLAR<\/td>\n7\/25\/1966<\/td>\n19<\/td>\n4<\/td>\nCAMEO<\/td>\n424<\/td>\n<\/tr>\n
COE. JAMIE<\/td>\nI CRIED ON MY PILLOW<\/td>\n12\/24\/1964<\/td>\n21<\/td>\n5<\/td>\nENTERPRISE<\/td>\n5050<\/td>\n<\/tr>\n
COE. JAMIE<\/td>\nI WAS THE ONE<\/td>\n4\/14\/1965<\/td>\n23<\/td>\n3<\/td>\nENTERPRISE<\/td>\n5055<\/td>\n<\/tr>\n
COE. JAMIE\/& THE GIGOLO’S<\/td>\nCLOSE YOUR EYES<\/td>\n6\/18\/1964<\/td>\n18<\/td>\n4<\/td>\nENTERPRISE<\/td>\n5005<\/td>\n<\/tr>\n
COFFEY. DENNIS<\/td>\nIT’S YOUR THING<\/td>\n7\/31\/1969<\/td>\n12<\/td>\n6<\/td>\nMAVERICK<\/td>\n1007<\/td>\n<\/tr>\n
COFFEY. DENNIS<\/td>\nTAURUS<\/td>\n1\/31\/1972<\/td>\n20<\/td>\n6<\/td>\nSUSSEX<\/td>\n233<\/td>\n<\/tr>\n
COFFEY. DENNIS<\/td>\nSCORPIO<\/td>\n10\/11\/1971<\/td>\n3<\/td>\n8<\/td>\nSUSSEX<\/td>\n226<\/td>\n<\/tr>\n
COLE. NAT KING<\/td>\nI DON’T WANT TO SEE TOMORROW<\/td>\n9\/10\/1964<\/td>\n12<\/td>\n4<\/td>\nCAPITOL<\/td>\n5261<\/td>\n<\/tr>\n
COLE. NAT KING<\/td>\nI DON’T WANT TO BE HURT ANYMORE<\/td>\n4\/16\/1964<\/td>\n18<\/td>\n5<\/td>\nCAPITOL<\/td>\n5155<\/td>\n<\/tr>\n
COLLINS. DAVE & ANSIL<\/td>\nDOUBLE BARREL<\/td>\n5\/17\/1971<\/td>\n19<\/td>\n9<\/td>\nBIG TREE<\/td>\n115<\/td>\n<\/tr>\n
COLLINS. JUDY<\/td>\nBOTH SIDES NOW<\/td>\n10\/10\/1968<\/td>\n7<\/td>\n8<\/td>\nELEKTRA<\/td>\n45639<\/td>\n<\/tr>\n
COLLINS. JUDY<\/td>\nAMAZING GRACE<\/td>\n1\/25\/1971<\/td>\n9<\/td>\n8<\/td>\nELEKTRA<\/td>\n45709<\/td>\n<\/tr>\n
COMMANDER CODY & HIS LOST PLANET AIRMEN<\/td>\nHOT ROD LINCOLN<\/td>\n3\/20\/1972<\/td>\n30<\/td>\n1<\/td>\nPARAMOUNT<\/td>\n0146<\/td>\n<\/tr>\n
COMO. PERRY<\/td>\nIT’S IMPOSSIBLE<\/td>\n11\/16\/1970<\/td>\n4<\/td>\n10<\/td>\nRCA<\/td>\n74-0387<\/td>\n<\/tr>\n
COMPANIONS<\/td>\nBE YOURSELF<\/td>\n2\/11\/1965<\/td>\n10<\/td>\n5<\/td>\nGENERAL AMERICAN<\/td>\n711<\/td>\n<\/tr>\n
CONLEY. ARTHUR<\/td>\nSWEET SOUL MUSIC<\/td>\n3\/20\/1967<\/td>\n1<\/td>\n7<\/td>\nATCO<\/td>\n6463<\/td>\n<\/tr>\n
CONLEY. ARTHUR<\/td>\nFUNKY STREET<\/td>\n3\/14\/1968<\/td>\n17<\/td>\n4<\/td>\nATCO<\/td>\n6563<\/td>\n<\/tr>\n
CONLEY. ARTHUR<\/td>\nSHAKE. RATTLE AND ROLL<\/td>\n6\/12\/1967<\/td>\n25<\/td>\n2<\/td>\nATCO<\/td>\n6494<\/td>\n<\/tr>\n
CONNIFF. RAY\/SINGERS<\/td>\nSOMEWHERE. MY LOVE<\/td>\n7\/5\/1966<\/td>\n6<\/td>\n6<\/td>\nCOLUMBIA<\/td>\n43626<\/td>\n<\/tr>\n
CONTOURS<\/td>\nCAN YOU DO IT<\/td>\n4\/2\/1964<\/td>\n12<\/td>\n6<\/td>\nGORDY<\/td>\n7029<\/td>\n<\/tr>\n
CONTOURS<\/td>\nIT’S SO HARD BEING A LOSER<\/td>\n3\/13\/1967<\/td>\n22<\/td>\n3<\/td>\nGORDY<\/td>\n7059<\/td>\n<\/tr>\n
CONTOURS<\/td>\nCAN YOU JERK LIKE ME<\/td>\n12\/3\/1964<\/td>\n8<\/td>\n7<\/td>\nGORDY<\/td>\n7037<\/td>\n<\/tr>\n
CONTOURS<\/td>\nFIRST I LOOK AT THE PURSE<\/td>\n7\/28\/1965<\/td>\n8<\/td>\n5<\/td>\nGORDY<\/td>\n7044<\/td>\n<\/tr>\n
COOK E* JARR<\/td>\nRED BALLOON<\/td>\n1\/16\/1969<\/td>\n26<\/td>\n2<\/td>\nRCA<\/td>\n47-9708<\/td>\n<\/tr>\n
COOKE. SAM<\/td>\nSHAKE<\/td>\n1\/7\/1965<\/td>\n15<\/td>\n5<\/td>\nRCA<\/td>\n47-8486<\/td>\n<\/tr>\n
COOKE. SAM<\/td>\nGOOD TIMES<\/td>\n7\/3\/1964<\/td>\n31<\/td>\n1<\/td>\nRCA<\/td>\n47-8368<\/td>\n<\/tr>\n
COOPER. ALICE<\/td>\nEIGHTEEN<\/td>\n1\/25\/1971<\/td>\n5<\/td>\n11<\/td>\nWARNER BROS.<\/td>\n7449<\/td>\n<\/tr>\n
COPELAND. RUTH<\/td>\nMUSIC BOX -THE-<\/td>\n11\/6\/1969<\/td>\n12<\/td>\n6<\/td>\nINVICTUS<\/td>\n9072<\/td>\n<\/tr>\n
CORNELIUS BROTHERS & SISTER ROSE<\/td>\nTREAT HER LIKE A LADY<\/td>\n5\/17\/1971<\/td>\n2<\/td>\n10<\/td>\nUNITED ARTISTS<\/td>\n50721<\/td>\n<\/tr>\n
CORNERSTONE<\/td>\nHOLLY GO SOFTLY<\/td>\n3\/3\/1970<\/td>\n18<\/td>\n4<\/td>\nLIBERTY<\/td>\n56148<\/td>\n<\/tr>\n
COSBY. BILL<\/td>\nGROVER HENSON FEELS FORGOTTEN<\/td>\n4\/7\/1970<\/td>\n29<\/td>\n3<\/td>\nUNI<\/td>\n55223<\/td>\n<\/tr>\n
COSBY. BILL<\/td>\nLITTLE OLE MAN (UPTIGHT-EVERYTHING’S ALRIGHT)<\/td>\n9\/5\/1967<\/td>\n3<\/td>\n5<\/td>\nWARNER BROS.<\/td>\n7072<\/td>\n<\/tr>\n
COUNT FIVE<\/td>\nPSYCHOTIC REACTION<\/td>\n8\/29\/1966<\/td>\n9<\/td>\n6<\/td>\nDOUBLE SHOT<\/td>\n104<\/td>\n<\/tr>\n
COUNTS<\/td>\nWHY NOT START ALL OVER AGAIN<\/td>\n1\/17\/1972<\/td>\n6<\/td>\n6<\/td>\nWESTBOUND<\/td>\n191<\/td>\n<\/tr>\n
COWSILLS<\/td>\nRAIN. THE PARK & OTHER THINGS -THE-<\/td>\n10\/5\/1967<\/td>\n1<\/td>\n9<\/td>\nMGM<\/td>\n13810<\/td>\n<\/tr>\n
COWSILLS<\/td>\nWE CAN FLY<\/td>\n1\/4\/1968<\/td>\n18<\/td>\n3<\/td>\nMGM<\/td>\n13886<\/td>\n<\/tr>\n
COWSILLS<\/td>\nHAIR<\/td>\n2\/6\/1969<\/td>\n19<\/td>\n5<\/td>\nMGM<\/td>\n14026<\/td>\n<\/tr>\n
COWSILLS<\/td>\nPOOR BABY<\/td>\n8\/29\/1968<\/td>\n23<\/td>\n4<\/td>\nMGM<\/td>\n13981<\/td>\n<\/tr>\n
COWSILLS<\/td>\nINDIAN LAKE<\/td>\n5\/9\/1968<\/td>\n6<\/td>\n9<\/td>\nMGM<\/td>\n13944<\/td>\n<\/tr>\n
CRAMPTON SISTERS<\/td>\nI DIDN’T KNOW WHAT TIME IT WAS<\/td>\n1\/9\/1964<\/td>\n19<\/td>\n4<\/td>\nDCP INTERNATIONAL<\/td>\n1001<\/td>\n<\/tr>\n
CRAWFORD. CAROLYN<\/td>\nFORGET ABOUT ME<\/td>\n11\/21\/1963<\/td>\n23<\/td>\n2<\/td>\nMOTOWN<\/td>\nNA<\/td>\n<\/tr>\n
CRAZY ELEPHANT<\/td>\nGIMME GIMME GOOD LOVIN’<\/td>\n1\/30\/1969<\/td>\n10<\/td>\n8<\/td>\nBELL<\/td>\n763<\/td>\n<\/tr>\n
CREAM<\/td>\nSUNSHINE OF YOUR LOVE<\/td>\n12\/14\/1967<\/td>\n14<\/td>\n7<\/td>\nATCO<\/td>\n6544<\/td>\n<\/tr>\n
CREAM<\/td>\nWHITE ROOM<\/td>\n9\/19\/1968<\/td>\n5<\/td>\n7<\/td>\nATCO<\/td>\n6617<\/td>\n<\/tr>\n
CREEDENCE CLEARWATER REVIVAL<\/td>\nUP AROUND THE BEND<\/td>\n4\/14\/1970<\/td>\n1<\/td>\n11<\/td>\nFANTASY<\/td>\n641<\/td>\n<\/tr>\n
CREEDENCE CLEARWATER REVIVAL<\/td>\nLOOKIN’ OUT MY BACK DOOR<\/td>\n8\/3\/1970<\/td>\n1<\/td>\n10<\/td>\nFANTASY<\/td>\n645<\/td>\n<\/tr>\n
CREEDENCE CLEARWATER REVIVAL<\/td>\nSUZIE Q*<\/td>\n8\/15\/1968<\/td>\n11<\/td>\n6<\/td>\nFANTASY<\/td>\n616<\/td>\n<\/tr>\n
CREEDENCE CLEARWATER REVIVAL<\/td>\nPROUD MARY<\/td>\n1\/2\/1969<\/td>\n3<\/td>\n8<\/td>\nFANTASY<\/td>\n619<\/td>\n<\/tr>\n
CREEDENCE CLEARWATER REVIVAL<\/td>\nCOMMOTION<\/td>\n7\/17\/1969<\/td>\n3<\/td>\n10<\/td>\nFANTASY<\/td>\n625<\/td>\n<\/tr>\n
CREEDENCE CLEARWATER REVIVAL<\/td>\nGREEN RIVER<\/td>\n7\/24\/1969<\/td>\n3<\/td>\n9<\/td>\nFANTASY<\/td>\n625<\/td>\n<\/tr>\n
CREEDENCE CLEARWATER REVIVAL<\/td>\nWHO’LL STOP THE RAIN<\/td>\n1\/27\/1970<\/td>\n3<\/td>\n7<\/td>\nFANTASY<\/td>\n637<\/td>\n<\/tr>\n
CREEDENCE CLEARWATER REVIVAL<\/td>\nTRAVELIN’ BAND<\/td>\n2\/3\/1970<\/td>\n3<\/td>\n6<\/td>\nFANTASY<\/td>\n637<\/td>\n<\/tr>\n
CREEDENCE CLEARWATER REVIVAL<\/td>\nSWEET HITCH-HIKER<\/td>\n7\/6\/1971<\/td>\n3<\/td>\n9<\/td>\nFANTASY<\/td>\n665<\/td>\n<\/tr>\n
CREEDENCE CLEARWATER REVIVAL<\/td>\nBAD MOON RISING<\/td>\n4\/17\/1969<\/td>\n4<\/td>\n8<\/td>\nFANTASY<\/td>\n622<\/td>\n<\/tr>\n
CREEDENCE CLEARWATER REVIVAL<\/td>\nLODI<\/td>\n5\/1\/1969<\/td>\n4<\/td>\n6<\/td>\nFANTASY<\/td>\n622<\/td>\n<\/tr>\n
CREEDENCE CLEARWATER REVIVAL<\/td>\nHAVE YOU EVER SEEN THE RAIN<\/td>\n1\/18\/1971<\/td>\n7<\/td>\n8<\/td>\nFANTASY<\/td>\n655<\/td>\n<\/tr>\n
CREEDENCE CLEARWATER REVIVAL<\/td>\nFORTUNATE SON<\/td>\n10\/16\/1969<\/td>\n8<\/td>\n11<\/td>\nFANTASY<\/td>\n634<\/td>\n<\/tr>\n
CREEDENCE CLEARWATER REVIVAL<\/td>\nDOWN ON THE CORNER<\/td>\n10\/23\/1969<\/td>\n8<\/td>\n10<\/td>\nFANTASY<\/td>\n634<\/td>\n<\/tr>\n
CRESTONES<\/td>\nSHE’S A BAD MOTORCYCLE<\/td>\n4\/23\/1964<\/td>\n19<\/td>\n4<\/td>\nMARKIE<\/td>\n117<\/td>\n<\/tr>\n
CREWE. BOB\/GENERATION<\/td>\nMUSIC TO WATCH GIRLS BY<\/td>\n12\/27\/1966<\/td>\n17<\/td>\n5<\/td>\nDYNO VOICE<\/td>\n229<\/td>\n<\/tr>\n
CRITTERS<\/td>\nMISTER DIEINGLY SAD<\/td>\n8\/29\/1966<\/td>\n15<\/td>\n4<\/td>\nKAPP<\/td>\n769<\/td>\n<\/tr>\n
CRITTERS<\/td>\nYOUNGER GIRL<\/td>\n5\/9\/1966<\/td>\n24<\/td>\n3<\/td>\nKAPP<\/td>\n752<\/td>\n<\/tr>\n
CROSBY. CHRIS<\/td>\nYOUNG AND IN LOVE<\/td>\n3\/5\/1964<\/td>\n23<\/td>\n2<\/td>\nMGM<\/td>\n13191<\/td>\n<\/tr>\n
CROSBY+ STILLS & NASH<\/td>\nSUITE JUDY BLUE EYES<\/td>\n11\/13\/1969<\/td>\n15<\/td>\n4<\/td>\nATLANTIC<\/td>\n2676<\/td>\n<\/tr>\n
CROSBY+ STILLS & NASH<\/td>\nMARRAKESH EXPRESS<\/td>\n7\/10\/1969<\/td>\n17<\/td>\n4<\/td>\nATLANTIC<\/td>\n2652<\/td>\n<\/tr>\n
CROSBY+ STILLS+ NASH & YOUNG<\/td>\nWOODSTOCK<\/td>\n4\/21\/1970<\/td>\n26<\/td>\n3<\/td>\nATLANTIC<\/td>\n2723<\/td>\n<\/tr>\n
CROW<\/td>\nEVIL WOMAN DON’T PLAY YOUR GAMES WITH ME<\/td>\n10\/23\/1969<\/td>\n18<\/td>\n4<\/td>\nAMARET<\/td>\n112<\/td>\n<\/tr>\n
CRYAN’ SHAMES<\/td>\nSUGAR AND SPICE<\/td>\n8\/15\/1966<\/td>\n13<\/td>\n4<\/td>\nDESTINATION<\/td>\n624<\/td>\n<\/tr>\n
CRYAN’ SHAMES<\/td>\nIT COULD BE WE’RE IN LOVE<\/td>\n9\/11\/1967<\/td>\n16<\/td>\n4<\/td>\nCOLUMBIA<\/td>\n44191<\/td>\n<\/tr>\n
CRYSTALS<\/td>\nALL GROWN UP<\/td>\n6\/25\/1964<\/td>\n22<\/td>\n2<\/td>\nPHILLES<\/td>\n122<\/td>\n<\/tr>\n
CUFF LINKS<\/td>\nWHEN JULIE COMES AROUND<\/td>\n1\/6\/1970<\/td>\n28<\/td>\n2<\/td>\nDECCA<\/td>\n32592<\/td>\n<\/tr>\n
CUFF LINKS<\/td>\nTRACY<\/td>\n9\/4\/1969<\/td>\n7<\/td>\n8<\/td>\nDECCA<\/td>\n32533<\/td>\n<\/tr>\n
CURB. MIKE\/CONGREGATION<\/td>\nBURNING BRIDGES<\/td>\n12\/28\/1970<\/td>\n19<\/td>\n7<\/td>\nMGM<\/td>\n14151<\/td>\n<\/tr>\n
CURRY. LOUIS<\/td>\nTOAST TO YOU -A-<\/td>\n3\/28\/1968<\/td>\n21<\/td>\n3<\/td>\nM-S<\/td>\n203<\/td>\n<\/tr>\n
CYMARRON<\/td>\nRINGS<\/td>\n6\/1\/1971<\/td>\n20<\/td>\n6<\/td>\nENTRANCE<\/td>\n7500<\/td>\n<\/tr>\n
CYRKLE<\/td>\nWE HAD A GOOD THING GOIN’<\/td>\n4\/24\/1967<\/td>\n15<\/td>\n4<\/td>\nCOLUMBIA<\/td>\n44108<\/td>\n<\/tr>\n
CYRKLE<\/td>\nPLEASE DON’T EVER LEAVE ME<\/td>\n12\/5\/1966<\/td>\n19<\/td>\n3<\/td>\nCOLUMBIA<\/td>\n43871<\/td>\n<\/tr>\n
CYRKLE<\/td>\nTURN-DOWN DAY<\/td>\n8\/22\/1966<\/td>\n22<\/td>\n3<\/td>\nCOLUMBIA<\/td>\n43729<\/td>\n<\/tr>\n
CYRKLE<\/td>\nRED RUBBER BALL<\/td>\n5\/31\/1966<\/td>\n5<\/td>\n7<\/td>\nCOLUMBIA<\/td>\n43589<\/td>\n<\/tr>\n
DADDY DEWDROP<\/td>\nCHICK-A-BOOM<\/td>\n3\/22\/1971<\/td>\n2<\/td>\n9<\/td>\nSUNFLOWER<\/td>\n105<\/td>\n<\/tr>\n
DALE & GRACE<\/td>\nSTOP AND THINK IT OVER<\/td>\n1\/30\/1964<\/td>\n22<\/td>\n3<\/td>\nMONTEL<\/td>\n922<\/td>\n<\/tr>\n
DALE & GRACE<\/td>\nI’M LEAVING IT UP TO YOU<\/td>\n11\/7\/1963<\/td>\n6<\/td>\n6<\/td>\nMONTEL<\/td>\n921<\/td>\n<\/tr>\n
DANA. VIC<\/td>\nRED ROSES FOR A BLUE LADY<\/td>\n1\/28\/1965<\/td>\n1<\/td>\n8<\/td>\nDOLTON<\/td>\n304<\/td>\n<\/tr>\n
DANA. VIC<\/td>\nMOONLIGHT AND ROSES<\/td>\n7\/21\/1965<\/td>\n21<\/td>\n3<\/td>\nDOLTON<\/td>\n309<\/td>\n<\/tr>\n
DANA. VIC<\/td>\nIF I NEVER KNEW YOUR NAME<\/td>\n1\/27\/1970<\/td>\n22<\/td>\n5<\/td>\nLIBERTY<\/td>\n56150<\/td>\n<\/tr>\n
DANA. VIC<\/td>\nMILLION AND ONE -A-<\/td>\n8\/1\/1966<\/td>\n23<\/td>\n3<\/td>\nDOLTON<\/td>\n322<\/td>\n<\/tr>\n
DANA. VIC<\/td>\nLOVE IS ALL WE NEED<\/td>\n7\/9\/1964<\/td>\n28<\/td>\n2<\/td>\nDOLTON<\/td>\n95<\/td>\n<\/tr>\n
DANA. VIC<\/td>\nSHANGRI-LA<\/td>\n3\/12\/1964<\/td>\n5<\/td>\n6<\/td>\nDOLTON<\/td>\n92<\/td>\n<\/tr>\n
DARIN. BOBBY<\/td>\nIF I WERE A CARPENTER<\/td>\n9\/19\/1966<\/td>\n11<\/td>\n5<\/td>\nATLANTIC<\/td>\n2350<\/td>\n<\/tr>\n
DARIN. BOBBY<\/td>\nMILORD<\/td>\n5\/28\/1964<\/td>\n19<\/td>\n2<\/td>\nATCO<\/td>\n6297<\/td>\n<\/tr>\n
DARIN. BOBBY<\/td>\nLONG LINE RIDER<\/td>\n11\/27\/1968<\/td>\n21<\/td>\n3<\/td>\nDIRECTION<\/td>\n350<\/td>\n<\/tr>\n
DARIN. BOBBY<\/td>\nLOVIN’ YOU<\/td>\n1\/23\/1967<\/td>\n23<\/td>\n3<\/td>\nATLANTIC<\/td>\n2376<\/td>\n<\/tr>\n
DAVID & JONATHAN<\/td>\nMICHELLE<\/td>\n1\/5\/1966<\/td>\n10<\/td>\n5<\/td>\nCAPITOL<\/td>\n5563<\/td>\n<\/tr>\n
DAVIS. BOBBY\/& THE RHYTHM ROCKERS<\/td>\nMONKEY SHOUT<\/td>\n6\/4\/1964<\/td>\n17<\/td>\n3<\/td>\nVEST<\/td>\n8003<\/td>\n<\/tr>\n
DAVIS. PAUL<\/td>\nLITTLE BIT OF SOAP -A-<\/td>\n6\/8\/1970<\/td>\n24<\/td>\n4<\/td>\nBANG<\/td>\n576<\/td>\n<\/tr>\n
DAVIS. SAMMY\/ JR*<\/td>\nI’VE GOTTA BE ME<\/td>\n1\/2\/1969<\/td>\n6<\/td>\n4<\/td>\nREPRISE<\/td>\n0779<\/td>\n<\/tr>\n
DAVIS. SPENCER\/GROUP<\/td>\nGIMME SOME LOVIN’<\/td>\n1\/16\/1967<\/td>\n16<\/td>\n4<\/td>\nUNITED ARTISTS<\/td>\n50108<\/td>\n<\/tr>\n
DAVIS. SPENCER\/GROUP<\/td>\nLOOKING BACK<\/td>\n4\/11\/1968<\/td>\n19<\/td>\n4<\/td>\nUNITED ARTISTS<\/td>\n50286<\/td>\n<\/tr>\n
DAVIS. SPENCER\/GROUP<\/td>\nI’M A MAN<\/td>\n3\/27\/1967<\/td>\n7<\/td>\n5<\/td>\nUNITED ARTISTS<\/td>\n50144<\/td>\n<\/tr>\n
DAVIS. TYRONE<\/td>\nCAN I CHANGE MY MIND<\/td>\n12\/26\/1968<\/td>\n13<\/td>\n5<\/td>\nDAKAR<\/td>\n602<\/td>\n<\/tr>\n
DAVIS. TYRONE<\/td>\nTURN BACK THE HANDS OF TIME<\/td>\n3\/3\/1970<\/td>\n3<\/td>\n10<\/td>\nDAKAR<\/td>\n616<\/td>\n<\/tr>\n
DAWN<\/td>\nKNOCK THREE TIMES<\/td>\n11\/23\/1970<\/td>\n1<\/td>\n13<\/td>\nBELL<\/td>\n938<\/td>\n<\/tr>\n
DAWN<\/td>\nRUNAWAY HAPPY TOGETHER<\/td>\n1\/3\/1972<\/td>\n19<\/td>\n4<\/td>\nBELL<\/td>\n45175<\/td>\n<\/tr>\n
DAWN<\/td>\nI PLAY AND SING<\/td>\n3\/8\/1971<\/td>\n25<\/td>\n4<\/td>\nBELL<\/td>\n970<\/td>\n<\/tr>\n
DAWN<\/td>\nSUMMER SAND<\/td>\n6\/7\/1971<\/td>\n28<\/td>\n4<\/td>\nBELL<\/td>\n45107<\/td>\n<\/tr>\n
DAWN<\/td>\nCANDIDA<\/td>\n7\/27\/1970<\/td>\n6<\/td>\n9<\/td>\nBELL<\/td>\n903<\/td>\n<\/tr>\n
DEAL. BILL\/& THE RHONDELS<\/td>\nMAY I<\/td>\n12\/5\/1968<\/td>\n16<\/td>\n5<\/td>\nHERITAGE<\/td>\n803<\/td>\n<\/tr>\n
DEAL. BILL\/& THE RHONDELS<\/td>\nI’VE BEEN HURT<\/td>\n5\/8\/1969<\/td>\n23<\/td>\n2<\/td>\nHERITAGE<\/td>\n812<\/td>\n<\/tr>\n
DEAL. BILL\/& THE RHONDELS<\/td>\nWHAT KIND OF FOOL DO YOU THINK I AM<\/td>\n8\/14\/1969<\/td>\n25<\/td>\n3<\/td>\nHERITAGE<\/td>\n817<\/td>\n<\/tr>\n
DEAN & JEAN<\/td>\nTRA LA LA LA SUZY<\/td>\n11\/14\/1963<\/td>\n23<\/td>\n5<\/td>\nRUST<\/td>\n5067<\/td>\n<\/tr>\n
DECARO. NICK<\/td>\nIF I ONLY HAD TIME<\/td>\n12\/5\/1968<\/td>\n24<\/td>\n2<\/td>\nA&M<\/td>\n1000<\/td>\n<\/tr>\n
DEE. DAVE\/DOZY+ BEAKY+ MICK & TICH<\/td>\nLEGEND OF XANADU -THE-<\/td>\n3\/21\/1968<\/td>\n22<\/td>\n3<\/td>\nIMPERIAL<\/td>\n66287<\/td>\n<\/tr>\n
DEEP PURPLE<\/td>\nRIVER DEEP-MOUNTAIN HIGH<\/td>\n1\/9\/1969<\/td>\n20<\/td>\n3<\/td>\nTETRAGRAMMATON<\/td>\n1514<\/td>\n<\/tr>\n
DEEP PURPLE<\/td>\nKENTUCKY WOMAN<\/td>\n11\/14\/1968<\/td>\n23<\/td>\n3<\/td>\nTETRAGRAMMATON<\/td>\n1508<\/td>\n<\/tr>\n
DEEP PURPLE<\/td>\nHUSH<\/td>\n8\/1\/1968<\/td>\n5<\/td>\n6<\/td>\nTETRAGRAMMATON<\/td>\n1503<\/td>\n<\/tr>\n
DEKKER. DESMOND\/& THE ACES<\/td>\nISRAELITES<\/td>\n5\/8\/1969<\/td>\n6<\/td>\n6<\/td>\nUNI<\/td>\n55129<\/td>\n<\/tr>\n
DELANEY & BONNIE<\/td>\nSOUL SHAKE<\/td>\n8\/10\/1970<\/td>\n23<\/td>\n5<\/td>\nATCO<\/td>\n6756<\/td>\n<\/tr>\n
DELANEY & BONNIE<\/td>\nNEVER ENDING SONG OF LOVE<\/td>\n6\/21\/1971<\/td>\n31<\/td>\n1<\/td>\nATCO<\/td>\n6804<\/td>\n<\/tr>\n
DELFONICS<\/td>\nDIDN’T I<\/td>\n1\/27\/1970<\/td>\n11<\/td>\n6<\/td>\nPHILLY GROOVE<\/td>\n161<\/td>\n<\/tr>\n
DELFONICS<\/td>\nLA-LA MEANS I LOVE YOU<\/td>\n2\/1\/1968<\/td>\n3<\/td>\n9<\/td>\nPHILLY GROOVE<\/td>\n150<\/td>\n<\/tr>\n
DELLS<\/td>\nI CAN SING A RAINBOW\/LOVE IS BLUE<\/td>\n5\/15\/1969<\/td>\n13<\/td>\n6<\/td>\nCADET<\/td>\n5641<\/td>\n<\/tr>\n
DELLS<\/td>\nALWAYS TOGETHER<\/td>\n10\/31\/1968<\/td>\n16<\/td>\n3<\/td>\nCADET<\/td>\n5621<\/td>\n<\/tr>\n
DELLS<\/td>\nTHERE IS<\/td>\n1\/11\/1968<\/td>\n17<\/td>\n5<\/td>\nCADET<\/td>\n5590<\/td>\n<\/tr>\n
DELLS<\/td>\nOH. WHAT A NIGHT<\/td>\n8\/21\/1969<\/td>\n17<\/td>\n6<\/td>\nCADET<\/td>\n5649<\/td>\n<\/tr>\n
DELLS<\/td>\nWEAR IT ON OUR FACE<\/td>\n5\/2\/1968<\/td>\n18<\/td>\n4<\/td>\nCADET<\/td>\n5599<\/td>\n<\/tr>\n
DELLS<\/td>\nOH WHAT A DAY<\/td>\n2\/24\/1970<\/td>\n24<\/td>\n2<\/td>\nCADET<\/td>\n5663<\/td>\n<\/tr>\n
DELLS<\/td>\nLOVE WE HAD
\n-THE-<\/td>\n		8\/23\/1971<\/td>\n6<\/td>\n8<\/td>\nCADET<\/td>\n5683<\/td>\n<\/tr>\n
DELORY. AL<\/td>\nSONG FROM M A S H<\/td>\n5\/19\/1970<\/td>\n26<\/td>\n4<\/td>\nCAPITOL<\/td>\n2811<\/td>\n<\/tr>\n
DELPHS. JIMMY<\/td>\nDON’T SIGN THE PAPER BABY (I WANT YOU BACK)<\/td>\n4\/18\/1968<\/td>\n23<\/td>\n3<\/td>\nKAREN<\/td>\n1538<\/td>\n<\/tr>\n
DENTON. MICKEY<\/td>\nMI AMORE<\/td>\n11\/10\/1965<\/td>\n16<\/td>\n4<\/td>\nIMPACT<\/td>\n1002<\/td>\n<\/tr>\n
DENVER. JOHN<\/td>\nTAKE ME HOME. COUNTRY ROADS<\/td>\n6\/28\/1971<\/td>\n7<\/td>\n9<\/td>\nRCA<\/td>\n74-0445<\/td>\n<\/tr>\n
DEREK<\/td>\nCINNAMON<\/td>\n11\/7\/1968<\/td>\n2<\/td>\n9<\/td>\nBANG<\/td>\n558<\/td>\n<\/tr>\n
DESHANNON. JACKIE<\/td>\nWHEN YOU WALK IN THE ROOM<\/td>\n12\/12\/1963<\/td>\n14<\/td>\n5<\/td>\nLIBERTY<\/td>\n55645<\/td>\n<\/tr>\n
DESHANNON. JACKIE<\/td>\nPUT A LITTLE LOVE IN YOUR HEART<\/td>\n7\/24\/1969<\/td>\n17<\/td>\n4<\/td>\nIMPERIAL<\/td>\n66385<\/td>\n<\/tr>\n
DESHANNON. JACKIE<\/td>\nWHAT THE WORLD NEEDS NOW IS LOVE<\/td>\n5\/19\/1965<\/td>\n8<\/td>\n7<\/td>\nIMPERIAL<\/td>\n66110<\/td>\n<\/tr>\n
DETERGENTS<\/td>\nLEADER OF THE LAUNDROMAT<\/td>\n11\/26\/1964<\/td>\n11<\/td>\n4<\/td>\nROULETTE<\/td>\n4590<\/td>\n<\/tr>\n
DETROIT (FEATURING MITCH RYDER)<\/td>\nROCK ‘N ROLL<\/td>\n11\/29\/1971<\/td>\n12<\/td>\n7<\/td>\nPARAMOUNT<\/td>\n0133<\/td>\n<\/tr>\n
DETROIT EMERALDS<\/td>\nTAKE ME THE WAY I AM (I’M AN ORDINARY MAN)<\/td>\n9\/5\/1968<\/td>\n14<\/td>\n4<\/td>\nRIC-TIC<\/td>\n141<\/td>\n<\/tr>\n
DETROIT EMERALDS<\/td>\nWEAR THIS RING<\/td>\n6\/7\/1971<\/td>\n30<\/td>\n1<\/td>\nWESTBOUND<\/td>\n181<\/td>\n<\/tr>\n
DETROIT EMERALDS<\/td>\nYOU WANT IT. YOU GOT IT<\/td>\n12\/13\/1971<\/td>\n4<\/td>\n9<\/td>\nWESTBOUND<\/td>\n192<\/td>\n<\/tr>\n
DETROIT EMERALDS<\/td>\nSHOW TIME<\/td>\n1\/4\/1968<\/td>\n5<\/td>\n7<\/td>\nRIC-TIC<\/td>\n135<\/td>\n<\/tr>\n
DETROIT EMERALDS<\/td>\nDO ME RIGHT<\/td>\n1\/11\/1971<\/td>\n5<\/td>\n8<\/td>\nWESTBOUND<\/td>\n172<\/td>\n<\/tr>\n
DETROIT EMERALDS<\/td>\nIF I LOSE YOUR LOVE<\/td>\n11\/6\/1969<\/td>\n7<\/td>\n8<\/td>\nWESTBOUND<\/td>\n156<\/td>\n<\/tr>\n
DEVOTIONS<\/td>\nRIP VAN WINKLE<\/td>\n1\/16\/1964<\/td>\n5<\/td>\n6<\/td>\nROULETTE<\/td>\n4541<\/td>\n<\/tr>\n
DEY. TRACEY<\/td>\nHERE COMES THE BOY<\/td>\n1\/2\/1964<\/td>\n22<\/td>\n4<\/td>\nAMY<\/td>\n894<\/td>\n<\/tr>\n
DIAMOND. NEIL<\/td>\nCRACKLIN’ ROSIE<\/td>\n8\/17\/1970<\/td>\n1<\/td>\n10<\/td>\nUNI<\/td>\n55250<\/td>\n<\/tr>\n
DIAMOND. NEIL<\/td>\nSOLITARY MAN<\/td>\n7\/20\/1970<\/td>\n10<\/td>\n6<\/td>\nBANG<\/td>\n578<\/td>\n<\/tr>\n
DIAMOND. NEIL<\/td>\nSOOLAIMON (AFRICAN TRILOGY II)<\/td>\n4\/21\/1970<\/td>\n11<\/td>\n6<\/td>\nUNI<\/td>\n55224<\/td>\n<\/tr>\n
DIAMOND. NEIL<\/td>\nTHANK THE LORD FOR THE NIGHT TIME (I)<\/td>\n7\/17\/1967<\/td>\n16<\/td>\n4<\/td>\nBANG<\/td>\n547<\/td>\n<\/tr>\n
DIAMOND. NEIL<\/td>\nI GOT THE FEELIN’ (OH NO NO)<\/td>\n10\/24\/1966<\/td>\n18<\/td>\n4<\/td>\nBANG<\/td>\n53<\/td>\n<\/tr>\n
DIAMOND. NEIL<\/td>\nYOU GOT TO ME<\/td>\n1\/3\/1967<\/td>\n18<\/td>\n4<\/td>\nBANG<\/td>\n540<\/td>\n<\/tr>\n
DIAMOND. NEIL<\/td>\nSWEET CAROLINE<\/td>\n6\/5\/1969<\/td>\n2<\/td>\n10<\/td>\nUNI<\/td>\n55136<\/td>\n<\/tr>\n
DIAMOND. NEIL<\/td>\nRED RED WINE<\/td>\n3\/7\/1968<\/td>\n21<\/td>\n4<\/td>\nBANG<\/td>\n556<\/td>\n<\/tr>\n
DIAMOND. NEIL<\/td>\nGIRL. YOU’LL BE A WOMAN SOON<\/td>\n4\/10\/1967<\/td>\n22<\/td>\n3<\/td>\nBANG<\/td>\n542<\/td>\n<\/tr>\n
DIAMOND. NEIL<\/td>\nSTONES<\/td>\n10\/25\/1971<\/td>\n3<\/td>\n8<\/td>\nUNI<\/td>\n55310<\/td>\n<\/tr>\n
DIAMOND. NEIL<\/td>\nBROTHER LOVE’S TRAVELLING SALVATION SHOW<\/td>\n2\/6\/1969<\/td>\n4<\/td>\n8<\/td>\nUNI<\/td>\n55109<\/td>\n<\/tr>\n
DIAMOND. NEIL<\/td>\nHOLLY HOLY<\/td>\n10\/23\/1969<\/td>\n4<\/td>\n7<\/td>\nUNI<\/td>\n55175<\/td>\n<\/tr>\n
DIAMOND. NEIL<\/td>\nSHILO<\/td>\n2\/24\/1970<\/td>\n4<\/td>\n9<\/td>\nBANG<\/td>\n575<\/td>\n<\/tr>\n
DIAMOND. NEIL<\/td>\nI AM***I SAID<\/td>\n3\/1\/1971<\/td>\n4<\/td>\n9<\/td>\nUNI<\/td>\n55278<\/td>\n<\/tr>\n
DIAMOND. NEIL<\/td>\nHE AIN’T HEAVY***HE’S MY BROTHER<\/td>\n11\/2\/1970<\/td>\n5<\/td>\n7<\/td>\nUNI<\/td>\n55264<\/td>\n<\/tr>\n
DIAMOND. NEIL<\/td>\nCHERRY. CHERRY<\/td>\n8\/29\/1966<\/td>\n6<\/td>\n6<\/td>\nBANG<\/td>\n528<\/td>\n<\/tr>\n
DIAMOND. NEIL<\/td>\nKENTUCKY WOMAN<\/td>\n10\/12\/1967<\/td>\n6<\/td>\n5<\/td>\nBANG<\/td>\n551<\/td>\n<\/tr>\n
DIAMOND. NEIL<\/td>\nSUNDAY SUN<\/td>\n9\/12\/1968<\/td>\n7<\/td>\n9<\/td>\nUNI<\/td>\n55084<\/td>\n<\/tr>\n
DICK & DEEDEE<\/td>\nTHOU SHALT NOT STEAL<\/td>\n11\/12\/1964<\/td>\n2<\/td>\n8<\/td>\nWARNER BROS.<\/td>\n5482<\/td>\n<\/tr>\n
DICK & DEEDEE<\/td>\nTURN AROUND<\/td>\n12\/5\/1963<\/td>\n31<\/td>\n1<\/td>\nWARNER BROS.<\/td>\n5396<\/td>\n<\/tr>\n
DICKENS. ‘LITTLE’ JIMMY<\/td>\nMAY THE BIRD OF PARADISE FLY UP YOUR NOSE<\/td>\n10\/27\/1965<\/td>\n4<\/td>\n5<\/td>\nCOLUMBIA<\/td>\n43388<\/td>\n<\/tr>\n
DINO+ DESI & BILLY<\/td>\nPLEASE DON’T FIGHT IT<\/td>\n12\/1\/1965<\/td>\n21<\/td>\n4<\/td>\nREPRISE<\/td>\n0426<\/td>\n<\/tr>\n
DION<\/td>\nABRAHAM. MARTIN AND JOHN<\/td>\n10\/24\/1968<\/td>\n1<\/td>\n11<\/td>\nLAURIE<\/td>\n3464<\/td>\n<\/tr>\n
DION<\/td>\nJOHNNY B* GOODE<\/td>\n8\/6\/1964<\/td>\n27<\/td>\n2<\/td>\nCOLUMBIA<\/td>\n43096<\/td>\n<\/tr>\n
DION<\/td>\nYOUR OWN BACK YARD<\/td>\n6\/22\/1970<\/td>\n34<\/td>\n1<\/td>\nWARNER BROS.<\/td>\n7401<\/td>\n<\/tr>\n
DION<\/td>\nDRIP DROP<\/td>\n11\/7\/1963<\/td>\n7<\/td>\n5<\/td>\nCOLUMBIA<\/td>\n42917<\/td>\n<\/tr>\n
DISTANT COUSINS<\/td>\nSHE AIN’T LOVIN’ YOU<\/td>\n10\/3\/1966<\/td>\n20<\/td>\n4<\/td>\nDATE<\/td>\n1514<\/td>\n<\/tr>\n
DIXIE CUPS<\/td>\nIKO IKO<\/td>\n4\/7\/1965<\/td>\n12<\/td>\n5<\/td>\nRED BIRD<\/td>\n10-024<\/td>\n<\/tr>\n
DIXIE CUPS<\/td>\nCHAPEL OF LOVE<\/td>\n4\/23\/1964<\/td>\n2<\/td>\n6<\/td>\nRED BIRD<\/td>\n10-001<\/td>\n<\/tr>\n
DIXIE CUPS<\/td>\nPEOPLE SAY<\/td>\n7\/30\/1964<\/td>\n21<\/td>\n3<\/td>\nRED BIRD<\/td>\n10-006<\/td>\n<\/tr>\n
DIXIEBELLES<\/td>\nSOUTHTOWN. U*S*A*<\/td>\n1\/23\/1964<\/td>\n20<\/td>\n2<\/td>\nSOUND STAGE 7<\/td>\n2517<\/td>\n<\/tr>\n
DOCTOR WEST’S MEDICINE SHOW & JUNK BAND<\/td>\nEGGPLANT THAT ATE CHICAGO -THE-<\/td>\n11\/28\/1966<\/td>\n22<\/td>\n3<\/td>\nGO GO<\/td>\n100<\/td>\n<\/tr>\n
DODDS. NELLA<\/td>\nCOME SEE ABOUT ME<\/td>\n11\/5\/1964<\/td>\n5<\/td>\n2<\/td>\nWAND<\/td>\n167<\/td>\n<\/tr>\n
DOLPHINS<\/td>\nHEY-DA-DA-DOW<\/td>\n12\/24\/1964<\/td>\n15<\/td>\n4<\/td>\nFRATERNITY<\/td>\n937<\/td>\n<\/tr>\n
DOMINO. FATS<\/td>\nLADY MADONNA<\/td>\n8\/22\/1968<\/td>\n22<\/td>\n3<\/td>\nREPRISE<\/td>\n0763<\/td>\n<\/tr>\n
DONOVAN<\/td>\nTHERE IS A MOUNTAIN<\/td>\n7\/31\/1967<\/td>\n11<\/td>\n5<\/td>\nEPIC<\/td>\n10212<\/td>\n<\/tr>\n
DONOVAN<\/td>\nCATCH THE WIND<\/td>\n6\/9\/1965<\/td>\n13<\/td>\n5<\/td>\nHICKORY<\/td>\n1309<\/td>\n<\/tr>\n
DONOVAN<\/td>\nEPISTLE TO DIPPY<\/td>\n1\/30\/1967<\/td>\n14<\/td>\n4<\/td>\nEPIC<\/td>\n10127<\/td>\n<\/tr>\n
DONOVAN<\/td>\nTO SUSAN ON THE WEST COAST WAITING<\/td>\n1\/23\/1969<\/td>\n16<\/td>\n5<\/td>\nEPIC<\/td>\n10434<\/td>\n<\/tr>\n
DONOVAN<\/td>\nLALENA<\/td>\n9\/26\/1968<\/td>\n19<\/td>\n4<\/td>\nEPIC<\/td>\n10393<\/td>\n<\/tr>\n
DONOVAN<\/td>\nSUNSHINE SUPERMAN<\/td>\n7\/18\/1966<\/td>\n2<\/td>\n6<\/td>\nEPIC<\/td>\n10045<\/td>\n<\/tr>\n
DONOVAN<\/td>\nJENNIFER JUNIPER<\/td>\n2\/22\/1968<\/td>\n21<\/td>\n4<\/td>\nEPIC<\/td>\n10300<\/td>\n<\/tr>\n
DONOVAN<\/td>\nCOLOURS<\/td>\n8\/18\/1965<\/td>\n24<\/td>\n3<\/td>\nHICKORY<\/td>\n1324<\/td>\n<\/tr>\n
DONOVAN<\/td>\nMELLOW YELLOW<\/td>\n10\/31\/1966<\/td>\n4<\/td>\n6<\/td>\nEPIC<\/td>\n1009<\/td>\n<\/tr>\n
DONOVAN<\/td>\nHURDY GURDY MAN<\/td>\n5\/29\/1968<\/td>\n4<\/td>\n8<\/td>\nEPIC<\/td>\n10345<\/td>\n<\/tr>\n
DONOVAN<\/td>\nATLANTIS<\/td>\n4\/10\/1969<\/td>\n9<\/td>\n7<\/td>\nEPIC<\/td>\n10434<\/td>\n<\/tr>\n
DOORS<\/td>\nLIGHT MY FIRE<\/td>\n6\/5\/1967<\/td>\n1<\/td>\n11<\/td>\nELEKTRA<\/td>\n45615<\/td>\n<\/tr>\n
DOORS<\/td>\nTOUCH ME<\/td>\n12\/19\/1968<\/td>\n1<\/td>\n9<\/td>\nELEKTRA<\/td>\n45646<\/td>\n<\/tr>\n
DOORS<\/td>\nLOVE HER MADLY<\/td>\n4\/5\/1971<\/td>\n12<\/td>\n8<\/td>\nELEKTRA<\/td>\n45726<\/td>\n<\/tr>\n
DOORS<\/td>\nRIDERS ON THE STORM<\/td>\n7\/13\/1971<\/td>\n18<\/td>\n6<\/td>\nELEKTRA<\/td>\n45738<\/td>\n<\/tr>\n
DOORS<\/td>\nLOVE ME TWO TIMES<\/td>\n11\/30\/1967<\/td>\n19<\/td>\n3<\/td>\nELEKTRA<\/td>\n45624<\/td>\n<\/tr>\n
DOORS<\/td>\nUNKNOWN SOLDIER -THE-<\/td>\n4\/25\/1968<\/td>\n2<\/td>\n6<\/td>\nELEKTRA<\/td>\n45628<\/td>\n<\/tr>\n
DOORS<\/td>\nHELLO. I LOVE YOU<\/td>\n6\/27\/1968<\/td>\n2<\/td>\n9<\/td>\nELEKTRA<\/td>\n45635<\/td>\n<\/tr>\n
DOORS<\/td>\nTELL ALL THE PEOPLE<\/td>\n5\/28\/1969<\/td>\n21<\/td>\n4<\/td>\nELEKTRA<\/td>\n45663<\/td>\n<\/tr>\n
DOORS<\/td>\nWISHFUL SINFUL<\/td>\n3\/20\/1969<\/td>\n22<\/td>\n3<\/td>\nELEKTRA<\/td>\n45656<\/td>\n<\/tr>\n
DOORS<\/td>\nPEOPLE ARE STRANGE<\/td>\n9\/11\/1967<\/td>\n5<\/td>\n7<\/td>\nELEKTRA<\/td>\n45621<\/td>\n<\/tr>\n
DORIANS<\/td>\nHELP FOR MY WAITING<\/td>\n1\/11\/1971<\/td>\n20<\/td>\n3<\/td>\nBIG TREE<\/td>\n110<\/td>\n<\/tr>\n
DORSEY. LEE<\/td>\nRIDE YOUR PONY<\/td>\n6\/16\/1965<\/td>\n19<\/td>\n5<\/td>\nAMY<\/td>\n927<\/td>\n<\/tr>\n
DORSEY. LEE<\/td>\nWONDER WOMAN<\/td>\n5\/2\/1968<\/td>\n25<\/td>\n2<\/td>\nAMY<\/td>\n11020<\/td>\n<\/tr>\n
DORSEY. LEE<\/td>\nWORKING IN THE COAL MINE<\/td>\n7\/25\/1966<\/td>\n3<\/td>\n5<\/td>\nAMY<\/td>\n958<\/td>\n<\/tr>\n
DOUGLAS. MIKE<\/td>\nMEN IN MY LITTLE GIRL’S LIFE -THE-<\/td>\n12\/15\/1965<\/td>\n4<\/td>\n5<\/td>\nEPIC<\/td>\n9876<\/td>\n<\/tr>\n
DOVE. RONNIE<\/td>\nLET’S START ALL OVER AGAIN<\/td>\n4\/27\/1966<\/td>\n13<\/td>\n4<\/td>\nDIAMOND<\/td>\n198<\/td>\n<\/tr>\n
DOVE. RONNIE<\/td>\nHAPPY SUMMER DAYS<\/td>\n6\/27\/1966<\/td>\n15<\/td>\n4<\/td>\nDIAMOND<\/td>\n205<\/td>\n<\/tr>\n
DOVE. RONNIE<\/td>\nMY BABE<\/td>\n4\/3\/1967<\/td>\n15<\/td>\n5<\/td>\nDIAMOND<\/td>\n221<\/td>\n<\/tr>\n
DOVE. RONNIE<\/td>\nKISS AWAY<\/td>\n10\/27\/1965<\/td>\n16<\/td>\n5<\/td>\nDIAMOND<\/td>\n191<\/td>\n<\/tr>\n
DOVE. RONNIE<\/td>\nCRY<\/td>\n11\/14\/1966<\/td>\n17<\/td>\n5<\/td>\nDIAMOND<\/td>\n214<\/td>\n<\/tr>\n
DOVE. RONNIE<\/td>\nRIGHT OR WRONG<\/td>\n10\/22\/1964<\/td>\n18<\/td>\n3<\/td>\nDIAMOND<\/td>\n173<\/td>\n<\/tr>\n
DOVE. RONNIE<\/td>\nONE MORE MOUNTAIN TO CLIMB<\/td>\n2\/20\/1967<\/td>\n20<\/td>\n4<\/td>\nDIAMOND<\/td>\n217<\/td>\n<\/tr>\n
DOVE. RONNIE<\/td>\nI’LL MAKE ALL YOUR DREAMS COME TRUE<\/td>\n9\/1\/1965<\/td>\n21<\/td>\n4<\/td>\nDIAMOND<\/td>\n188<\/td>\n<\/tr>\n
DOVE. RONNIE<\/td>\nHELLO PRETTY GIRL<\/td>\n1\/7\/1965<\/td>\n24<\/td>\n3<\/td>\nDIAMOND<\/td>\n176<\/td>\n<\/tr>\n
DOVE. RONNIE<\/td>\nI REALLY DON’T WANT TO KNOW<\/td>\n9\/26\/1966<\/td>\n24<\/td>\n3<\/td>\nDIAMOND<\/td>\n208<\/td>\n<\/tr>\n
DOVE. RONNIE<\/td>\nWHEN LIKING TURNS TO LOVING<\/td>\n1\/5\/1966<\/td>\n5<\/td>\n7<\/td>\nDIAMOND<\/td>\n19<\/td>\n<\/tr>\n
DOVE. RONNIE<\/td>\nLITTLE BIT OF HEAVEN -A-<\/td>\n5\/26\/1965<\/td>\n6<\/td>\n7<\/td>\nDIAMOND<\/td>\n184<\/td>\n<\/tr>\n
DOVE. RONNIE<\/td>\nSAY YOU<\/td>\n7\/16\/1964<\/td>\n8<\/td>\n6<\/td>\nDIAMOND<\/td>\n167<\/td>\n<\/tr>\n
DOVE. RONNIE<\/td>\nONE KISS FOR OLD TIMES’ SAKE<\/td>\n3\/3\/1965<\/td>\n9<\/td>\n6<\/td>\nDIAMOND<\/td>\n179<\/td>\n<\/tr>\n
DRAMATICS<\/td>\nWHATCHA SEE IS WHATCHA GET<\/td>\n6\/1\/1971<\/td>\n1<\/td>\n9<\/td>\nVOLT<\/td>\n4058<\/td>\n<\/tr>\n
DRAMATICS<\/td>\nIN THE RAIN<\/td>\n2\/14\/1972<\/td>\n3<\/td>\n4<\/td>\nVOLT<\/td>\n4075<\/td>\n<\/tr>\n
DRIFTERS<\/td>\nSATURDAY NIGHT AT THE MOVIES<\/td>\n11\/5\/1964<\/td>\n13<\/td>\n5<\/td>\nATLANTIC<\/td>\n2260<\/td>\n<\/tr>\n
DRIFTERS<\/td>\nUNDER THE BOARDWALK<\/td>\n6\/25\/1964<\/td>\n2<\/td>\n7<\/td>\nATLANTIC<\/td>\n2237<\/td>\n<\/tr>\n
DRIFTERS<\/td>\nCOME ON OVER TO MY PLACE<\/td>\n4\/14\/1965<\/td>\n20<\/td>\n4<\/td>\nATLANTIC<\/td>\n2285<\/td>\n<\/tr>\n
DRIFTERS<\/td>\nI’VE GOT SAND IN MY SHOES<\/td>\n9\/17\/1964<\/td>\n21<\/td>\n4<\/td>\nATLANTIC<\/td>\n2253<\/td>\n<\/tr>\n
DUKE. PATTY<\/td>\nSAY SOMETHING FUNNY<\/td>\n9\/22\/1965<\/td>\n12<\/td>\n5<\/td>\nUNITED ARTISTS<\/td>\n915<\/td>\n<\/tr>\n
DUKE. PATTY<\/td>\nDON’T JUST STAND THERE<\/td>\n6\/30\/1965<\/td>\n3<\/td>\n6<\/td>\nUNITED ARTISTS<\/td>\n875<\/td>\n<\/tr>\n
DUPREES<\/td>\nAROUND THE CORNER<\/td>\n6\/16\/1965<\/td>\n21<\/td>\n4<\/td>\nCOLUMBIA<\/td>\n43336<\/td>\n<\/tr>\n
DUPREES<\/td>\nHAVE YOU HEARD<\/td>\n11\/14\/1963<\/td>\n25<\/td>\n3<\/td>\nCOED<\/td>\n585<\/td>\n<\/tr>\n
DUSK<\/td>\nANGEL BABY<\/td>\n2\/15\/1971<\/td>\n26<\/td>\n3<\/td>\nBELL<\/td>\n961<\/td>\n<\/tr>\n
DYKE & THE BLAZERS<\/td>\nWE GOT MORE SOUL<\/td>\n5\/28\/1969<\/td>\n20<\/td>\n4<\/td>\nORIGINAL SOUND<\/td>\n86<\/td>\n<\/tr>\n
DYKE & THE BLAZERS<\/td>\nLET A WOMAN BE A WOMAN-LET A MAN BE A MAN<\/td>\n10\/2\/1969<\/td>\n25<\/td>\n2<\/td>\nORIGINAL SOUND<\/td>\n89<\/td>\n<\/tr>\n
DYLAN. BOB<\/td>\nPOSITIVELY 4TH STREET<\/td>\n9\/29\/1965<\/td>\n11<\/td>\n5<\/td>\nCOLUMBIA<\/td>\n43389<\/td>\n<\/tr>\n
DYLAN. BOB<\/td>\nSUBTERRANEAN HOMESICK BLUES<\/td>\n4\/14\/1965<\/td>\n17<\/td>\n4<\/td>\nCOLUMBIA<\/td>\n43242<\/td>\n<\/tr>\n
DYLAN. BOB<\/td>\nTONIGHT I’LL BE STAYING HERE WITH YOU<\/td>\n10\/16\/1969<\/td>\n20<\/td>\n5<\/td>\nCOLUMBIA<\/td>\n45004<\/td>\n<\/tr>\n
DYLAN. BOB<\/td>\nRAINY DAY WOMEN #12 & 35<\/td>\n4\/6\/1966<\/td>\n3<\/td>\n7<\/td>\nCOLUMBIA<\/td>\n43592<\/td>\n<\/tr>\n
DYLAN. BOB<\/td>\nWATCHING THE RIVER FLOW<\/td>\n6\/21\/1971<\/td>\n30<\/td>\n2<\/td>\nCOLUMBIA<\/td>\n45409<\/td>\n<\/tr>\n
DYLAN. BOB<\/td>\nLIKE A ROLLING STONE<\/td>\n8\/4\/1965<\/td>\n4<\/td>\n6<\/td>\nCOLUMBIA<\/td>\n43346<\/td>\n<\/tr>\n
DYLAN. BOB<\/td>\nLAY LADY LAY<\/td>\n7\/17\/1969<\/td>\n4<\/td>\n8<\/td>\nCOLUMBIA<\/td>\n44926<\/td>\n<\/tr>\n
DYNAMICS<\/td>\nICE CREAM SONG<\/td>\n3\/6\/1969<\/td>\n19<\/td>\n4<\/td>\nCOTILLION<\/td>\n44021<\/td>\n<\/tr>\n
DYNAMICS<\/td>\nMISERY<\/td>\n11\/7\/1963<\/td>\n4<\/td>\n5<\/td>\nBIG TOP<\/td>\n3161<\/td>\n<\/tr>\n
DYNAMICS<\/td>\nI’M A MAN<\/td>\n11\/14\/1963<\/td>\n5<\/td>\n5<\/td>\nBIG TOP<\/td>\n3161<\/td>\n<\/tr>\n
DYNATONES<\/td>\nFIFE PIPER -THE-<\/td>\n9\/12\/1966<\/td>\n21<\/td>\n2<\/td>\nHBR<\/td>\n494<\/td>\n<\/tr>\n
DYSON. RONNIE<\/td>\nWHEN YOU GET RIGHT DOWN TO IT<\/td>\n6\/28\/1971<\/td>\n16<\/td>\n4<\/td>\nCOLUMBIA<\/td>\n45387<\/td>\n<\/tr>\n
DYSON. RONNIE<\/td>\nWHY CAN’T I TOUCH YOU (IF YOU LET ME MAKE LOVE TO YOU THEN)<\/td>\n5\/26\/1970<\/td>\n3<\/td>\n10<\/td>\nCOLUMBIA 45110<\/td>\n<\/td>\n<\/tr>\n
EARL-JEAN<\/td>\nI’M INTO SOMETHING GOOD<\/td>\n7\/3\/1964<\/td>\n3<\/td>\n6<\/td>\nCOLPIX<\/td>\n729<\/td>\n<\/tr>\n
EARTH+ WIND & FIRE<\/td>\nLOVE IS LIFE<\/td>\n5\/17\/1971<\/td>\n5<\/td>\n5<\/td>\nWARNER BROS.<\/td>\n7492<\/td>\n<\/tr>\n
EASYBEATS<\/td>\nSAINT LOUIS<\/td>\n10\/16\/1969<\/td>\n26<\/td>\n3<\/td>\nRARE EARTH<\/td>\n5009<\/td>\n<\/tr>\n
EASYBEATS<\/td>\nFRIDAY ON MY MIND<\/td>\n4\/3\/1967<\/td>\n3<\/td>\n8<\/td>\nUNITED ARTISTS<\/td>\n50106<\/td>\n<\/tr>\n
EBONYS<\/td>\nYOU’RE THE REASON WHY<\/td>\n5\/24\/1971<\/td>\n16<\/td>\n5<\/td>\nPHILADELPHIA<\/td>\n3503<\/td>\n<\/tr>\n
EDISON LIGHTHOUSE<\/td>\nIT’S UP TO YOU PETULA<\/td>\n12\/7\/1970<\/td>\n20<\/td>\n6<\/td>\nBELL<\/td>\n960<\/td>\n<\/tr>\n
EDISON LIGHTHOUSE<\/td>\nLOVE GROWS<\/td>\n2\/17\/1970<\/td>\n3<\/td>\n6<\/td>\nBELL<\/td>\n858<\/td>\n<\/tr>\n
EDMUNDS. DAVE<\/td>\nI HEAR YOU KNOCKING<\/td>\n12\/14\/1970<\/td>\n9<\/td>\n10<\/td>\nMAM<\/td>\n3601<\/td>\n<\/tr>\n
EDWARD BEAR<\/td>\nYOU. ME AND MEXICO<\/td>\n5\/12\/1970<\/td>\n23<\/td>\n3<\/td>\nCAPITOL<\/td>\n2801<\/td>\n<\/tr>\n
EDWARDS. GEORGE<\/td>\nNORWEGIAN WOOD<\/td>\n4\/20\/1966<\/td>\n16<\/td>\n5<\/td>\nDUNWICH<\/td>\n117<\/td>\n<\/tr>\n
EDWARDS. JONATHAN<\/td>\nSUNSHINE<\/td>\n11\/15\/1971<\/td>\n2<\/td>\n11<\/td>\nCAPRICORN<\/td>\n8021<\/td>\n<\/tr>\n
EIGHTH DAY<\/td>\nSHE’S NOT JUST ANOTHER WOMAN<\/td>\n4\/26\/1971<\/td>\n1<\/td>\n9<\/td>\nINVICTUS<\/td>\n9087<\/td>\n<\/tr>\n
EIGHTH DAY<\/td>\nYOU’VE GOT TO CRAWL<\/td>\n9\/27\/1971<\/td>\n19<\/td>\n6<\/td>\nINVICTUS<\/td>\n9098<\/td>\n<\/tr>\n
EIGHTH DAY<\/td>\nIF I COULD SEE THE LIGHT<\/td>\n12\/13\/1971<\/td>\n24<\/td>\n4<\/td>\nINVICTUS<\/td>\n9107<\/td>\n<\/tr>\n
EL CHICANO<\/td>\nVIVA TIRADO – PART 1<\/td>\n4\/7\/1970<\/td>\n8<\/td>\n7<\/td>\nKAPP<\/td>\n2085<\/td>\n<\/tr>\n
ELBERT. DONNIE<\/td>\nI CAN’T HELP MYSELF-SUGAR PIE. HONEY BUNCH<\/td>\n1\/24\/1972<\/td>\n23<\/td>\n3<\/td>\nAVCO<\/td>\n4587<\/td>\n<\/tr>\n
ELBERT. DONNIE<\/td>\nWHERE DID OUR LOVE GO<\/td>\n11\/1\/1971<\/td>\n5<\/td>\n6<\/td>\nALL PLATINUM<\/td>\n2330<\/td>\n<\/tr>\n
ELECTRIC INDIAN<\/td>\nKEEM-O-SABE<\/td>\n7\/24\/1969<\/td>\n15<\/td>\n6<\/td>\nUNITED ARTISTS<\/td>\n50563<\/td>\n<\/tr>\n
ELECTRIC PRUNES<\/td>\nGET ME TO THE WORLD ON TIME<\/td>\n4\/3\/1967<\/td>\n26<\/td>\n2<\/td>\nREPRISE<\/td>\n0564<\/td>\n<\/tr>\n
ELECTRIC PRUNES<\/td>\nIHAD TOO MUCH TO DREAM<\/td>\n1\/3\/1967<\/td>\n5<\/td>\n8<\/td>\nREPRISE<\/td>\n0532<\/td>\n<\/tr>\n
ELGINS<\/td>\nPUT YOURSELF IN MY PLACE<\/td>\n1\/19\/1966<\/td>\n24<\/td>\n3<\/td>\nV.I.P.<\/td>\n2502<\/td>\n<\/tr>\n
ELLIMAN. YVONNE<\/td>\nI DON’T KNOW HOW TO LOVE HIM<\/td>\n4\/12\/1971<\/td>\n19<\/td>\n5<\/td>\nDECCA<\/td>\n32785<\/td>\n<\/tr>\n
ELLIS. SHIRLEY<\/td>\nNAME GAME -THE-<\/td>\n12\/10\/1964<\/td>\n1<\/td>\n7<\/td>\nCONGRESS<\/td>\n230<\/td>\n<\/tr>\n
ELLIS. SHIRLEY<\/td>\nNITTY GRITTY -THE-<\/td>\n11\/7\/1963<\/td>\n3<\/td>\n7<\/td>\nCONGRESS<\/td>\n202<\/td>\n<\/tr>\n
ELLIS. SHIRLEY<\/td>\nCLAPPING SONG -THE-<\/td>\n3\/17\/1965<\/td>\n6<\/td>\n6<\/td>\nCONGRESS<\/td>\n234<\/td>\n<\/tr>\n
EMERSON+ LAKE & PALMER<\/td>\nLUCKY MAN<\/td>\n6\/1\/1971<\/td>\n11<\/td>\n8<\/td>\nCOTILLION<\/td>\n44106<\/td>\n<\/tr>\n
EMERSON+ LAKE & PALMER<\/td>\nNUTROCKER<\/td>\n2\/28\/1972<\/td>\n14<\/td>\n4<\/td>\nCOTILLION<\/td>\n44151<\/td>\n<\/tr>\n
EMPEROR’S<\/td>\nKARATE<\/td>\n12\/19\/1966<\/td>\n6<\/td>\n5<\/td>\nMALA<\/td>\n543<\/td>\n<\/tr>\n
EQUALS<\/td>\nBABY. COME BACK<\/td>\n8\/8\/1968<\/td>\n4<\/td>\n5<\/td>\nRCA<\/td>\n47-9583<\/td>\n<\/tr>\n
ERIC & THE VIKINGS<\/td>\nVIBRATIONS<\/td>\n6\/8\/1970<\/td>\n8<\/td>\n6<\/td>\nSOULHAWK<\/td>\n1009<\/td>\n<\/tr>\n
ESQUIRES<\/td>\nGET ON UP<\/td>\n7\/31\/1967<\/td>\n4<\/td>\n5<\/td>\nBUNKY<\/td>\n7750<\/td>\n<\/tr>\n
ETERNITY’S CHILDREN<\/td>\nMISSES BLUEBIRD<\/td>\n7\/18\/1968<\/td>\n25<\/td>\n2<\/td>\nTOWER<\/td>\n416<\/td>\n<\/tr>\n
EVERETT. BETTY<\/td>\nIT’S IN HIS KISS<\/td>\n3\/19\/1964<\/td>\n9<\/td>\n4<\/td>\nVEE-JAY<\/td>\n585<\/td>\n<\/tr>\n
EVERETT. BETTY\\BUTLER. JERRY<\/td>\nLET IT BE ME<\/td>\n9\/17\/1964<\/td>\n9<\/td>\n5<\/td>\nVEE-JAY<\/td>\n613<\/td>\n<\/tr>\n
EVERLY BROTHERS<\/td>\nGONE. GONE. GONE<\/td>\n10\/8\/1964<\/td>\n6<\/td>\n9<\/td>\nWARNER BROS.<\/td>\n5478<\/td>\n<\/tr>\n
EVERLY BROTHERS<\/td>\nTORTURE<\/td>\n10\/22\/1964<\/td>\n6<\/td>\n7<\/td>\nWARNER BROS.<\/td>\n5478<\/td>\n<\/tr>\n
EVERY MOTHERS’ SON<\/td>\nCOME ON DOWN TO MY BOAT<\/td>\n5\/15\/1967<\/td>\n21<\/td>\n2<\/td>\nMGM<\/td>\n13733<\/td>\n<\/tr>\n
EVERY MOTHERS’ SON<\/td>\nPUT YOUR MIND AT EASE<\/td>\n8\/28\/1967<\/td>\n24<\/td>\n2<\/td>\nMGM<\/td>\n13788<\/td>\n<\/tr>\n
EVERYTHING IS EVERYTHING<\/td>\nWITCHI TAI TO<\/td>\n12\/19\/1968<\/td>\n19<\/td>\n5<\/td>\nVANGUARD APOSTOLIC<\/td>\n35082<\/td>\n<\/tr>\n
EXCELS<\/td>\nLITTLE INNOCENT GIRL<\/td>\n7\/3\/1968<\/td>\n24<\/td>\n3<\/td>\nCARLA<\/td>\n1901<\/td>\n<\/tr>\n
EXCITERS<\/td>\nDO-WAH-DIDDY<\/td>\n12\/12\/1963<\/td>\n16<\/td>\n6<\/td>\nUNITED ARTISTS<\/td>\n662<\/td>\n<\/tr>\n
EXPORTS<\/td>\nCAR HOP<\/td>\n10\/22\/1964<\/td>\n16<\/td>\n4<\/td>\nKING<\/td>\n5917<\/td>\n<\/tr>\n
FABULOUS COUNTS<\/td>\nGET DOWN PEOPLE<\/td>\n3\/24\/1970<\/td>\n15<\/td>\n5<\/td>\nMOIRA<\/td>\n108<\/td>\n<\/tr>\n
FABULOUS COUNTS<\/td>\nJAN JAN<\/td>\n1\/30\/1969<\/td>\n17<\/td>\n3<\/td>\nMOIRA<\/td>\n103<\/td>\n<\/tr>\n
FABULOUS PACK<\/td>\nHARLEM SHUFFLE<\/td>\n7\/10\/1967<\/td>\n21<\/td>\n3<\/td>\nLUCKY ELEVEN<\/td>\n003<\/td>\n<\/tr>\n
FABULOUS PACK<\/td>\nWIDE TRACKIN’<\/td>\n9\/11\/1967<\/td>\n24<\/td>\n3<\/td>\nLUCKY ELEVEN<\/td>\n007<\/td>\n<\/tr>\n
FACES<\/td>\nSTAY WITH ME<\/td>\n12\/13\/1971<\/td>\n8<\/td>\n6<\/td>\nWARNER BROS.<\/td>\n7545<\/td>\n<\/tr>\n
FAITHFULL. MARIANNE<\/td>\nAS TEARS GO BY<\/td>\n10\/15\/1964<\/td>\n1<\/td>\n6<\/td>\nLONDON<\/td>\n9697<\/td>\n<\/tr>\n
FAITHFULL. MARIANNE<\/td>\nTHIS LITTLE BIRD<\/td>\n5\/26\/1965<\/td>\n11<\/td>\n5<\/td>\nLONDON<\/td>\n9759<\/td>\n<\/tr>\n
FAITHFULL. MARIANNE<\/td>\nCOME AND STAY WITH ME<\/td>\n3\/10\/1965<\/td>\n9<\/td>\n4<\/td>\nLONDON<\/td>\n9731<\/td>\n<\/tr>\n
FAME. GEORGIE<\/td>\nBALLAD OF BONNIE AND CLYDE -THE-<\/td>\n3\/7\/1968<\/td>\n4<\/td>\n8<\/td>\nEPIC<\/td>\n10283<\/td>\n<\/tr>\n
FAME. GEORGIE<\/td>\nYEH. YEH<\/td>\n2\/4\/1965<\/td>\n9<\/td>\n4<\/td>\nIMPERIAL<\/td>\n66086<\/td>\n<\/tr>\n
FANNY<\/td>\nCHARITY BALL<\/td>\n8\/23\/1971<\/td>\n27<\/td>\n6<\/td>\nREPRISE<\/td>\n1033<\/td>\n<\/tr>\n
FANS<\/td>\nROLY POLY MICKEY LOLICH<\/td>\n10\/31\/1968<\/td>\n20<\/td>\n2<\/td>\nMARQUEE<\/td>\n447<\/td>\n<\/tr>\n
FANTASTIC FOUR<\/td>\nTO SHARE YOUR LOVE<\/td>\n8\/7\/1967<\/td>\n11<\/td>\n7<\/td>\nRIC-TIC<\/td>\n130<\/td>\n<\/tr>\n
FANTASTIC FOUR<\/td>\nYOU GAVE ME SOMETHING<\/td>\n5\/22\/1967<\/td>\n13<\/td>\n4<\/td>\nRIC-TIC<\/td>\n128<\/td>\n<\/tr>\n
FANTASTIC FOUR<\/td>\nI’VE GOT TO HAVE YOU<\/td>\n5\/2\/1968<\/td>\n14<\/td>\n4<\/td>\nRIC-TIC<\/td>\n139<\/td>\n<\/tr>\n
FANTASTIC FOUR<\/td>\nI LOVE YOU MADLY<\/td>\n9\/12\/1968<\/td>\n8<\/td>\n6<\/td>\nSOUL<\/td>\n35052<\/td>\n<\/tr>\n
FANTASTIC JOHNNY C<\/td>\nHITCH IT TO THE HORSE<\/td>\n6\/20\/1968<\/td>\n26<\/td>\n2<\/td>\nPHIL-L.A. OF SOUL<\/td>\n315<\/td>\n<\/tr>\n
FANTASTIC JOHNNY C<\/td>\nBOOGALOO DOWN BROADWAY<\/td>\n11\/2\/1967<\/td>\n6<\/td>\n6<\/td>\nPHIL-L.A. OF OF THE WORLD<\/td>\n305<\/td>\n<\/tr>\n
FELICIANO. JOSE<\/td>\nHI-HEEL SNEAKERS<\/td>\n10\/10\/1968<\/td>\n19<\/td>\n3<\/td>\nRCA<\/td>\n47-9641<\/td>\n<\/tr>\n
FELICIANO. JOSE<\/td>\nHITCHCOCK RAILWAY<\/td>\n10\/10\/1968<\/td>\n19<\/td>\n2<\/td>\nRCA<\/td>\n47-9641<\/td>\n<\/tr>\n
FELICIANO. JOSE<\/td>\nMARLEY PURT DRIVE<\/td>\n4\/10\/1969<\/td>\n23<\/td>\n3<\/td>\nRCA<\/td>\n47-9739<\/td>\n<\/tr>\n
FELICIANO. JOSE<\/td>\nLIGHT MY FIRE<\/td>\n7\/18\/1968<\/td>\n4<\/td>\n7<\/td>\nRCA<\/td>\n47-9550<\/td>\n<\/tr>\n
FENWAYS<\/td>\nHUMPTY DUMPTY<\/td>\n6\/18\/1964<\/td>\n24<\/td>\n3<\/td>\nBEVMAR<\/td>\n401<\/td>\n<\/tr>\n
FERRANTE & TEICHER<\/td>\nMIDNIGHT COWBOY<\/td>\n11\/13\/1969<\/td>\n4<\/td>\n7<\/td>\nUNITED ARTISTS<\/td>\n50554<\/td>\n<\/tr>\n
FEVER TREE<\/td>\nSAN FRANCISCO GIRLS<\/td>\n9\/12\/1968<\/td>\n11<\/td>\n7<\/td>\nUNI<\/td>\n55060<\/td>\n<\/tr>\n
FIFTH DIMENSION<\/td>\nAQUARIUS\/LET THE SUNSHINE IN<\/td>\n2\/27\/1969<\/td>\n1<\/td>\n10<\/td>\nSOUL CITY<\/td>\n772<\/td>\n<\/tr>\n
FIFTH DIMENSION<\/td>\nWEDDING BELL BLUES<\/td>\n9\/18\/1969<\/td>\n1<\/td>\n10<\/td>\nSOUL CITY<\/td>\n779<\/td>\n<\/tr>\n
FIFTH DIMENSION<\/td>\nONE LESS BELL TO ANSWER<\/td>\n11\/9\/1970<\/td>\n1<\/td>\n13<\/td>\nBELL<\/td>\n940<\/td>\n<\/tr>\n
FIFTH DIMENSION<\/td>\nUP-UP AND AWAY<\/td>\n6\/5\/1967<\/td>\n10<\/td>\n5<\/td>\nSOUL CITY<\/td>\n756<\/td>\n<\/tr>\n
FIFTH DIMENSION<\/td>\nWORKIN’ ON A GROOVY THING<\/td>\n7\/2\/1969<\/td>\n10<\/td>\n5<\/td>\nSOUL CITY<\/td>\n776<\/td>\n<\/tr>\n
FIFTH DIMENSION<\/td>\nSAVE THE COUNTRY<\/td>\n6\/15\/1970<\/td>\n11<\/td>\n3<\/td>\nBELL<\/td>\n895<\/td>\n<\/tr>\n
FIFTH DIMENSION<\/td>\nCARPET MAN<\/td>\n2\/1\/1968<\/td>\n16<\/td>\n4<\/td>\nSOUL CITY<\/td>\n762<\/td>\n<\/tr>\n
FIFTH DIMENSION<\/td>\nBLOWING AWAY<\/td>\n12\/25\/1969<\/td>\n18<\/td>\n5<\/td>\nSOUL CITY<\/td>\n780<\/td>\n<\/tr>\n
FIFTH DIMENSION<\/td>\nLOVE’S LINES. ANGLES AND RHYMES<\/td>\n3\/29\/1971<\/td>\n18<\/td>\n4<\/td>\nBELL<\/td>\n965<\/td>\n<\/tr>\n
FIFTH DIMENSION<\/td>\nCALIFORNIA SOUL<\/td>\n12\/19\/1968<\/td>\n22<\/td>\n4<\/td>\nSOUL CITY<\/td>\n770<\/td>\n<\/tr>\n
FIFTH DIMENSION<\/td>\nTOGETHER LET’S FIND LOVE<\/td>\n2\/21\/1972<\/td>\n6<\/td>\n3<\/td>\nBELL<\/td>\n45170<\/td>\n<\/tr>\n
FIFTH DIMENSION<\/td>\nGO WHERE YOU WANNA GO<\/td>\n1\/9\/1967<\/td>\n9<\/td>\n7<\/td>\nSOUL CITY<\/td>\n753<\/td>\n<\/tr>\n
FIFTH DIMENSION<\/td>\nSTONED SOUL PICNIC<\/td>\n6\/13\/1968<\/td>\n9<\/td>\n7<\/td>\nSOUL CITY<\/td>\n766<\/td>\n<\/tr>\n
FIFTH ESTATE<\/td>\nDING DONG! THE WITCH IS DEAD<\/td>\n5\/29\/1967<\/td>\n15<\/td>\n6<\/td>\nJUBILEE<\/td>\n5573<\/td>\n<\/tr>\n
FIREBALLS<\/td>\nBOTTLE OF WINE<\/td>\n1\/18\/1968<\/td>\n2<\/td>\n8<\/td>\nATCO<\/td>\n6491<\/td>\n<\/tr>\n
FIREBALLS<\/td>\nGOIN’ AWAY<\/td>\n3\/14\/1968<\/td>\n24<\/td>\n3<\/td>\nATCO<\/td>\n6569<\/td>\n<\/tr>\n
FIREBALLS<\/td>\nLONG GREEN<\/td>\n1\/30\/1969<\/td>\n24<\/td>\n3<\/td>\nATCO<\/td>\n6651<\/td>\n<\/tr>\n
FIVE AMERICANS<\/td>\nI SEE THE LIGHT<\/td>\n12\/22\/1965<\/td>\n17<\/td>\n6<\/td>\nHBR<\/td>\n454<\/td>\n<\/tr>\n
FIVE AMERICANS<\/td>\nWESTERN UNION<\/td>\n2\/27\/1967<\/td>\n2<\/td>\n9<\/td>\nABNAK<\/td>\n118<\/td>\n<\/tr>\n
FIVE AMERICANS<\/td>\nSOUND OF LOVE<\/td>\n5\/1\/1967<\/td>\n24<\/td>\n3<\/td>\nABNAK<\/td>\n120<\/td>\n<\/tr>\n
FIVE BY FIVE<\/td>\nFIRE<\/td>\n10\/24\/1968<\/td>\n9<\/td>\n4<\/td>\nPAULA<\/td>\n302<\/td>\n<\/tr>\n
FIVE MAN ELECTRICAL BAND<\/td>\nABSOLUTELY RIGHT<\/td>\n9\/20\/1971<\/td>\n22<\/td>\n6<\/td>\nLIONEL<\/td>\n3220<\/td>\n<\/tr>\n
FIVE MAN ELECTRICAL BAND<\/td>\nSIGNS<\/td>\n4\/26\/1971<\/td>\n3<\/td>\n11<\/td>\nLIONEL<\/td>\n3213<\/td>\n<\/tr>\n
FIVE STAIRSTEPS<\/td>\nO-O-H CHILD<\/td>\n5\/5\/1970<\/td>\n1<\/td>\n10<\/td>\nBUDDAH<\/td>\n165<\/td>\n<\/tr>\n
FLACK. ROBERTA<\/td>\nFIRST TIME EVER I SAW YOUR FACE -THE-<\/td>\n3\/13\/1972<\/td>\n16<\/td>\n2<\/td>\nATLANTIC<\/td>\n2864<\/td>\n<\/tr>\n
FLAMING EMBER<\/td>\nMIND. BODY AND SOUL<\/td>\n9\/4\/1969<\/td>\n1<\/td>\n9<\/td>\nHOT WAX<\/td>\n6902<\/td>\n<\/tr>\n
FLAMING EMBER<\/td>\nI’M NOT MY BROTHERS KEEPER<\/td>\n9\/28\/1970<\/td>\n10<\/td>\n9<\/td>\nHOT WAX<\/td>\n7006<\/td>\n<\/tr>\n
FLAMING EMBER<\/td>\nWESTBOUND #9<\/td>\n6\/2\/1970<\/td>\n17<\/td>\n9<\/td>\nHOT WAX<\/td>\n7003<\/td>\n<\/tr>\n
FLAMING EMBER<\/td>\nSHADES OF GREEN<\/td>\n1\/1\/1970<\/td>\n24<\/td>\n3<\/td>\nHOT WAX<\/td>\n6907<\/td>\n<\/tr>\n
FLAMING EMBER<\/td>\nSUNSHINE<\/td>\n4\/26\/1971<\/td>\n27<\/td>\n3<\/td>\nHOT WAX<\/td>\n7013<\/td>\n<\/tr>\n
FLAMING EMBERS<\/td>\nHEY MAMA
\n<WHAT’CHA GOT GOOD FOR DADDY><\/td>\n		10\/12\/1967<\/td>\n15<\/td>\n4<\/td>\nRIC-TIC<\/td>\n132<\/td>\n<\/tr>\n
FLAVOR<\/td>\nSALLY HAD A PARTY<\/td>\n7\/25\/1968<\/td>\n18<\/td>\n4<\/td>\nCOLUMBIA<\/td>\n44521<\/td>\n<\/tr>\n
FLEETWOODS<\/td>\nLONESOME TOWN<\/td>\n5\/7\/1964<\/td>\n23<\/td>\n2<\/td>\nDOLTON<\/td>\n93<\/td>\n<\/tr>\n
FLETCHER. SAM<\/td>\nYOU’RE NEXT<\/td>\n1\/14\/1965<\/td>\n19<\/td>\n3<\/td>\nVEE-JAY<\/td>\n640<\/td>\n<\/tr>\n
FLIRTATIONS<\/td>\nNOTHING BUT A HEARTACHE<\/td>\n2\/20\/1969<\/td>\n13<\/td>\n5<\/td>\nDERAM<\/td>\n85038<\/td>\n<\/tr>\n
FLOYD. EDDIE<\/td>\nBRING IT ON HOME TO ME<\/td>\n10\/3\/1968<\/td>\n14<\/td>\n6<\/td>\nSTAX<\/td>\n0012<\/td>\n<\/tr>\n
FLYING MACHINE<\/td>\nSMILE A LITTLE SMILE FOR ME<\/td>\n9\/25\/1969<\/td>\n2<\/td>\n9<\/td>\nCONGRESS<\/td>\n6000<\/td>\n<\/tr>\n
FONTANA. WAYNE<\/td>\nCOME ON HOME<\/td>\n6\/27\/1966<\/td>\n21<\/td>\n5<\/td>\nMGM<\/td>\n1351<\/td>\n<\/tr>\n
FONTANA. WAYNE\/& THE MINDBENDERS<\/td>\nGAME OF LOVE<\/td>\n3\/10\/1965<\/td>\n4<\/td>\n5<\/td>\nFONTANA<\/td>\n1509<\/td>\n<\/tr>\n
FORMATIONS<\/td>\nAT THE TOP OF THE STAIRS<\/td>\n2\/15\/1968<\/td>\n24<\/td>\n3<\/td>\nMGM<\/td>\n13899<\/td>\n<\/tr>\n
FORTUNES<\/td>\nYOU’VE GOT YOUR TROUBLES<\/td>\n9\/1\/1965<\/td>\n16<\/td>\n4<\/td>\nPRESS<\/td>\n9773<\/td>\n<\/tr>\n
FORTUNES<\/td>\nHERE IT COMES AGAIN<\/td>\n10\/27\/1965<\/td>\n21<\/td>\n5<\/td>\nPRESS<\/td>\n9798<\/td>\n<\/tr>\n
FORTUNES<\/td>\nHERE COMES THAT RAINY DAY FEELING AGAIN<\/td>\n5\/24\/1971<\/td>\n6<\/td>\n8<\/td>\nCAPITOL<\/td>\n3086<\/td>\n<\/tr>\n
FORUM<\/td>\nRIVER IS WIDE -THE-<\/td>\n6\/19\/1967<\/td>\n4<\/td>\n6<\/td>\nMIRA<\/td>\n232<\/td>\n<\/tr>\n
FOUNDATIONS<\/td>\nBUILD ME UP BUTTERCUP<\/td>\n12\/19\/1968<\/td>\n1<\/td>\n11<\/td>\nUNI<\/td>\n55101<\/td>\n<\/tr>\n
FOUNDATIONS<\/td>\nBABY. NOW THAT I’VE FOUND YOU<\/td>\n12\/7\/1967<\/td>\n3<\/td>\n8<\/td>\nUNI<\/td>\n55038<\/td>\n<\/tr>\n
FOUR GENTS<\/td>\nSOUL SISTER<\/td>\n11\/21\/1966<\/td>\n20<\/td>\n3<\/td>\nHBR<\/td>\n509<\/td>\n<\/tr>\n
FOUR GENTS<\/td>\nCHERRY LIPS<\/td>\n6\/25\/1964<\/td>\n24<\/td>\n3<\/td>\nONCORE<\/td>\nNA<\/td>\n<\/tr>\n
FOUR SEASONS<\/td>\nDAWN<\/td>\n1\/23\/1964<\/td>\n1<\/td>\n7<\/td>\nPHILIPS<\/td>\n40166<\/td>\n<\/tr>\n
FOUR SEASONS<\/td>\nRAG DOLL<\/td>\n6\/11\/1964<\/td>\n1<\/td>\n7<\/td>\nPHILIPS<\/td>\n40211<\/td>\n<\/tr>\n
FOUR SEASONS<\/td>\nTELL IT TO THE RAIN<\/td>\n11\/28\/1966<\/td>\n13<\/td>\n6<\/td>\nPHILIPS<\/td>\n40412<\/td>\n<\/tr>\n
FOUR SEASONS<\/td>\nOPUS 17 (DON’T YOU WORRY ‘BOUT ME)<\/td>\n5\/2\/1966<\/td>\n14<\/td>\n4<\/td>\nPHILIPS<\/td>\n4037<\/td>\n<\/tr>\n
FOUR SEASONS<\/td>\nC’MON MARIANNE<\/td>\n6\/5\/1967<\/td>\n14<\/td>\n5<\/td>\nPHILIPS<\/td>\n40460<\/td>\n<\/tr>\n
FOUR SEASONS<\/td>\nBEGGIN’<\/td>\n3\/6\/1967<\/td>\n16<\/td>\n4<\/td>\nPHILIPS<\/td>\n40433<\/td>\n<\/tr>\n
FOUR SEASONS<\/td>\nWORKING MY WAY BACK TO YOU<\/td>\n1\/26\/1966<\/td>\n18<\/td>\n5<\/td>\nPHILIPS<\/td>\n40350<\/td>\n<\/tr>\n
FOUR SEASONS<\/td>\nGIRL COME RUNNING<\/td>\n6\/2\/1965<\/td>\n19<\/td>\n4<\/td>\nPHILIPS<\/td>\n40305<\/td>\n<\/tr>\n
FOUR SEASONS<\/td>\nWATCH THE FLOWERS GROW<\/td>\n10\/12\/1967<\/td>\n24<\/td>\n3<\/td>\nPHILIPS<\/td>\n40490<\/td>\n<\/tr>\n
FOUR SEASONS<\/td>\nSTAY<\/td>\n2\/13\/1964<\/td>\n4<\/td>\n6<\/td>\nVEE-JAY<\/td>\n582<\/td>\n<\/tr>\n
FOUR SEASONS<\/td>\nRONNIE<\/td>\n4\/2\/1964<\/td>\n7<\/td>\n5<\/td>\nPHILIPS<\/td>\n40185<\/td>\n<\/tr>\n
FOUR SEASONS<\/td>\nSAVE IT FOR ME<\/td>\n8\/20\/1964<\/td>\n7<\/td>\n4<\/td>\nPHILIPS<\/td>\n40225<\/td>\n<\/tr>\n
FOUR SEASONS<\/td>\nBIG MAN IN TOWN<\/td>\n10\/29\/1964<\/td>\n7<\/td>\n5<\/td>\nPHILIPS<\/td>\n40238<\/td>\n<\/tr>\n
FOUR SEASONS<\/td>\nBYE. BYE. BABY<\/td>\n1\/14\/1965<\/td>\n7<\/td>\n4<\/td>\nPHILIPS<\/td>\n40260<\/td>\n<\/tr>\n
FOUR SEASONS<\/td>\nI’VE GOT YOU UNDER MY SKIN<\/td>\n8\/22\/1966<\/td>\n7<\/td>\n6<\/td>\nPHILIPS<\/td>\n4039<\/td>\n<\/tr>\n
FOUR SONICS<\/td>\nYOU DON’T HAVE TO SAY YOU LOVE ME<\/td>\n12\/14\/1967<\/td>\n7<\/td>\n5<\/td>\nSPORT<\/td>\n110<\/td>\n<\/tr>\n
FOUR TOPS<\/td>\nI CAN’T HELP MYSELF<\/td>\n5\/5\/1965<\/td>\n1<\/td>\n9<\/td>\nMOTOWN<\/td>\n1076<\/td>\n<\/tr>\n
FOUR TOPS<\/td>\nREACH OUT I’LL BE THERE<\/td>\n8\/29\/1966<\/td>\n1<\/td>\n8<\/td>\nMOTOWN<\/td>\n1098<\/td>\n<\/tr>\n
FOUR TOPS<\/td>\nWALK AWAY RENEE<\/td>\n1\/25\/1968<\/td>\n10<\/td>\n4<\/td>\nMOTOWN<\/td>\n1119<\/td>\n<\/tr>\n
FOUR TOPS<\/td>\nSEVEN ROOMS OF GLOOM<\/td>\n5\/15\/1967<\/td>\n14<\/td>\n3<\/td>\nMOTOWN<\/td>\n1110<\/td>\n<\/tr>\n
FOUR TOPS<\/td>\nWITHOUT THE ONE YOU LOVE
\n<LIFE’S NOT WORTH WHILE><\/td>\n		11\/12\/1964<\/td>\n15<\/td>\n4<\/td>\nMOTOWN 1069<\/td>\n<\/td>\n<\/tr>\n
FOUR TOPS<\/td>\nYOU KEEP RUNNING AWAY<\/td>\n9\/5\/1967<\/td>\n17<\/td>\n3<\/td>\nMOTOWN<\/td>\n1113<\/td>\n<\/tr>\n
FOUR TOPS<\/td>\nIF I WERE A CARPENTER<\/td>\n5\/9\/1968<\/td>\n18<\/td>\n3<\/td>\nMOTOWN<\/td>\n1124<\/td>\n<\/tr>\n
FOUR TOPS<\/td>\nBABY I NEED YOUR LOVING<\/td>\n7\/23\/1964<\/td>\n2<\/td>\n7<\/td>\nMOTOWN<\/td>\n1062<\/td>\n<\/tr>\n
FOUR TOPS<\/td>\nYESTERDAY’S DREAMS<\/td>\n7\/18\/1968<\/td>\n20<\/td>\n2<\/td>\nMOTOWN<\/td>\n1127<\/td>\n<\/tr>\n
FOUR TOPS<\/td>\nSHAKE ME. WAKE ME<\/td>\n2\/9\/1966<\/td>\n22<\/td>\n4<\/td>\nMOTOWN<\/td>\n1090<\/td>\n<\/tr>\n
FOUR TOPS<\/td>\nDON’T LET HIM TAKE YOUR LOVE FROM ME<\/td>\n11\/20\/1969<\/td>\n24<\/td>\n2<\/td>\nMOTOWN<\/td>\n1159<\/td>\n<\/tr>\n
FOUR TOPS<\/td>\nASK THE LONELY<\/td>\n1\/21\/1965<\/td>\n3<\/td>\n6<\/td>\nMOTOWN<\/td>\n1073<\/td>\n<\/tr>\n
FOUR TOPS<\/td>\nIT’S THE SAME OLD SONG<\/td>\n7\/14\/1965<\/td>\n4<\/td>\n5<\/td>\nMOTOWN<\/td>\n1081<\/td>\n<\/tr>\n
FOUR TOPS<\/td>\nSTANDING IN THE SHADOWS OF LOVE<\/td>\n12\/5\/1966<\/td>\n4<\/td>\n6<\/td>\nMOTOWN<\/td>\n1102<\/td>\n<\/tr>\n
FOUR TOPS<\/td>\nBERNADETTE<\/td>\n2\/27\/1967<\/td>\n4<\/td>\n6<\/td>\nMOTOWN<\/td>\n1104<\/td>\n<\/tr>\n
FOUR TOPS<\/td>\nSTILL WATER<\/td>\n8\/17\/1970<\/td>\n4<\/td>\n11<\/td>\nMOTOWN<\/td>\n1170<\/td>\n<\/tr>\n
FOUR TOPS<\/td>\nIT’S ALL IN THE GAME<\/td>\n4\/28\/1970<\/td>\n7<\/td>\n7<\/td>\nMOTOWN<\/td>\n1164<\/td>\n<\/tr>\n
FOUR TOPS<\/td>\nSOMETHING ABOUT YOU<\/td>\n11\/3\/1965<\/td>\n9<\/td>\n4<\/td>\nMOTOWN<\/td>\n1084<\/td>\n<\/tr>\n
FOXX. INEZ & CHARLIE<\/td>\nCOUNT THE DAYS (ONE-TWO-THREE-FOUR-FIVE-SIX-SEVEN)<\/td>\n1\/25\/1968<\/td>\n21<\/td>\n3<\/td>\nDYNAMO<\/td>\n112<\/td>\n<\/tr>\n
FRANKLIN. ARETHA<\/td>\nDON’T PLAY THAT SONG<\/td>\n7\/20\/1970<\/td>\n1<\/td>\n9<\/td>\nATLANTIC<\/td>\n2751<\/td>\n<\/tr>\n
FRANKLIN. ARETHA<\/td>\nSPANISH HARLEM<\/td>\n8\/2\/1971<\/td>\n1<\/td>\n7<\/td>\nATLANTIC<\/td>\n2817<\/td>\n<\/tr>\n
FRANKLIN. ARETHA<\/td>\nTHINK<\/td>\n5\/9\/1968<\/td>\n10<\/td>\n4<\/td>\nATLANTIC<\/td>\n2518<\/td>\n<\/tr>\n
FRANKLIN. ARETHA<\/td>\nYOU SEND ME<\/td>\n5\/16\/1968<\/td>\n10<\/td>\n3<\/td>\nATLANTIC<\/td>\n2518<\/td>\n<\/tr>\n
FRANKLIN. ARETHA<\/td>\nROCK STEADY<\/td>\n10\/11\/1971<\/td>\n10<\/td>\n6<\/td>\nATLANTIC<\/td>\n2838<\/td>\n<\/tr>\n
FRANKLIN. ARETHA<\/td>\nBABY I LOVE YOU<\/td>\n7\/10\/1967<\/td>\n13<\/td>\n5<\/td>\nATLANTIC<\/td>\n2427<\/td>\n<\/tr>\n
FRANKLIN. ARETHA<\/td>\nCHAIN OF FOOLS<\/td>\n11\/30\/1967<\/td>\n13<\/td>\n4<\/td>\nATLANTIC<\/td>\n2464<\/td>\n<\/tr>\n
FRANKLIN. ARETHA<\/td>\nI NEVER LOVED A MAN<\/td>\n3\/13\/1967<\/td>\n14<\/td>\n4<\/td>\nATLANTIC<\/td>\n2386<\/td>\n<\/tr>\n
FRANKLIN. ARETHA<\/td>\nELEANOR RIGBY<\/td>\n10\/30\/1969<\/td>\n14<\/td>\n4<\/td>\nATLANTIC<\/td>\n2683<\/td>\n<\/tr>\n
FRANKLIN. ARETHA<\/td>\nWEIGHT -THE-<\/td>\n2\/13\/1969<\/td>\n15<\/td>\n2<\/td>\nATLANTIC<\/td>\n2603<\/td>\n<\/tr>\n
FRANKLIN. ARETHA<\/td>\nSEE SAW<\/td>\n11\/7\/1968<\/td>\n18<\/td>\n3<\/td>\nATLANTIC<\/td>\n2574<\/td>\n<\/tr>\n
FRANKLIN. ARETHA<\/td>\nSPIRIT IN THE DARK<\/td>\n5\/19\/1970<\/td>\n24<\/td>\n2<\/td>\nATLANTIC<\/td>\n2731<\/td>\n<\/tr>\n
FRANKLIN. ARETHA<\/td>\nTHRILL IS GONE -THE-<\/td>\n5\/26\/1970<\/td>\n24<\/td>\n1<\/td>\nATLANTIC<\/td>\n2731<\/td>\n<\/tr>\n
FRANKLIN. ARETHA<\/td>\nBRIDGE OVER TROUBLED WATER<\/td>\n3\/29\/1971<\/td>\n3<\/td>\n9<\/td>\nATLANTIC<\/td>\n2796<\/td>\n<\/tr>\n
FRANKLIN. ARETHA<\/td>\nRESPECT<\/td>\n5\/8\/1967<\/td>\n5<\/td>\n5<\/td>\nATLANTIC<\/td>\n2403<\/td>\n<\/tr>\n
FRANKLIN. ARETHA<\/td>\nSINCE YOU’VE BEEN GONE (SWEET SWEET BABY)<\/td>\n2\/15\/1968<\/td>\n5<\/td>\n7<\/td>\nATLANTIC<\/td>\n2486<\/td>\n<\/tr>\n
FRANKLIN. ARETHA<\/td>\nYOU’RE ALL I NEED TO GET BY<\/td>\n2\/8\/1971<\/td>\n6<\/td>\n6<\/td>\nATLANTIC<\/td>\n2787<\/td>\n<\/tr>\n
FRANKLIN. ARETHA<\/td>\nAIN’T NO WAY<\/td>\n3\/14\/1968<\/td>\n7<\/td>\n3<\/td>\nATLANTIC<\/td>\n2486<\/td>\n<\/tr>\n
FRANKLIN. ARETHA<\/td>\nHOUSE THAT JACK BUILT -THE-<\/td>\n8\/1\/1968<\/td>\n7<\/td>\n6<\/td>\nATLANTIC<\/td>\n2546<\/td>\n<\/tr>\n
FRANKLIN. ARETHA<\/td>\nI SAY A LITTLE PRAYER<\/td>\n8\/15\/1968<\/td>\n7<\/td>\n4<\/td>\nATLANTIC<\/td>\n2546<\/td>\n<\/tr>\n
FRANKLIN. ARETHA<\/td>\nDAY DREAMING<\/td>\n2\/28\/1972<\/td>\n7<\/td>\n4<\/td>\nATLANTIC<\/td>\n2866<\/td>\n<\/tr>\n
FRANKLIN. ARETHA<\/td>\nCALL ME<\/td>\n2\/10\/1970<\/td>\n8<\/td>\n8<\/td>\nATLANTIC<\/td>\n2706<\/td>\n<\/tr>\n
FRANKLIN. ERMA<\/td>\nPIECE OF MY HEART<\/td>\n1\/11\/1968<\/td>\n19<\/td>\n2<\/td>\nSHOUT<\/td>\n221<\/td>\n<\/tr>\n
FRED. JOHN\/& HIS PLAYBOY BAND<\/td>\nJUDY IN DISGUISE<\/td>\n11\/22\/1967<\/td>\n2<\/td>\n9<\/td>\nPAULA<\/td>\n282<\/td>\n<\/tr>\n
FRED. JOHN\/& HIS PLAYBOY BAND<\/td>\nHEY HEY BUNNY<\/td>\n2\/15\/1968<\/td>\n20<\/td>\n4<\/td>\nPAULA<\/td>\n294<\/td>\n<\/tr>\n
FREDDIE & THE DREAMERS<\/td>\nI’M TELLING YOU NOW<\/td>\n3\/10\/1965<\/td>\n1<\/td>\n6<\/td>\nTOWER<\/td>\n125<\/td>\n<\/tr>\n
FREDDIE & THE DREAMERS<\/td>\nYOU WERE MADE FOR ME<\/td>\n4\/21\/1965<\/td>\n22<\/td>\n3<\/td>\nTOWER<\/td>\n127<\/td>\n<\/tr>\n
FREE<\/td>\nALL RIGHT NOW<\/td>\n9\/14\/1970<\/td>\n6<\/td>\n8<\/td>\nA&M<\/td>\n1206<\/td>\n<\/tr>\n
FREE MOVEMENT<\/td>\nI’VE FOUND SOMEONE OF MY OWN<\/td>\n9\/13\/1971<\/td>\n5<\/td>\n6<\/td>\nDECCA<\/td>\n32818<\/td>\n<\/tr>\n
FREEMAN. BOBBY<\/td>\nC’MON AND SWIM<\/td>\n7\/3\/1964<\/td>\n7<\/td>\n6<\/td>\nAUTUMN<\/td>\n2<\/td>\n<\/tr>\n
FRIEND & LOVER<\/td>\nREACH OUT OF THE DARKNESS<\/td>\n5\/16\/1968<\/td>\n2<\/td>\n7<\/td>\nVERVE FORECAST<\/td>\n5069<\/td>\n<\/tr>\n
FRIENDS OF DISTINCTION<\/td>\nGRAZING IN THE GRASS<\/td>\n5\/15\/1969<\/td>\n18<\/td>\n3<\/td>\nRCA<\/td>\n74-0107<\/td>\n<\/tr>\n
FRIENDS OF DISTINCTION<\/td>\nGOING IN CIRCLES<\/td>\n9\/25\/1969<\/td>\n5<\/td>\n6<\/td>\nRCA<\/td>\n74-0204<\/td>\n<\/tr>\n
FRIENDS OF DISTINCTION<\/td>\nLOVE OR LET ME BE LONELY<\/td>\n3\/3\/1970<\/td>\n5<\/td>\n10<\/td>\nRCA<\/td>\n74-0319<\/td>\n<\/tr>\n
FRIJID PINK<\/td>\nTELL ME WHY<\/td>\n3\/6\/1969<\/td>\n14<\/td>\n6<\/td>\nPARROT<\/td>\n334<\/td>\n<\/tr>\n
FRIJID PINK<\/td>\nSING A SONG FOR FREEDOM<\/td>\n6\/29\/1970<\/td>\n23<\/td>\n5<\/td>\nPARROT<\/td>\n349<\/td>\n<\/tr>\n
FRIJID PINK<\/td>\nHOUSE OF THE RISING SUN<\/td>\n1\/6\/1970<\/td>\n5<\/td>\n8<\/td>\nPARROT<\/td>\n341<\/td>\n<\/tr>\n
FROST<\/td>\nMYSTERY MAN<\/td>\n4\/10\/1969<\/td>\n18<\/td>\n5<\/td>\nVANGUARD<\/td>\n35089<\/td>\n<\/tr>\n
FROST<\/td>\nSWEET LADY LOVE<\/td>\n10\/16\/1969<\/td>\n25<\/td>\n3<\/td>\nVANGUARD<\/td>\n35099<\/td>\n<\/tr>\n
FROST. MAX\/& THE TROOPERS<\/td>\nSHAPE OF THINGS TO COME<\/td>\n8\/15\/1968<\/td>\n12<\/td>\n6<\/td>\nTOWER<\/td>\n419<\/td>\n<\/tr>\n
FUGI<\/td>\nMARY. DON’T TAKE ME ON NO BAD TRIP<\/td>\n10\/2\/1969<\/td>\n12<\/td>\n6<\/td>\nCADET<\/td>\n5682<\/td>\n<\/tr>\n
FULLER. BOBBY\/FOUR<\/td>\nLOVE’S MADE A FOOL OF YOU<\/td>\n4\/6\/1966<\/td>\n16<\/td>\n4<\/td>\nMUSTANG<\/td>\n3016<\/td>\n<\/tr>\n
FULLER. BOBBY\/FOUR<\/td>\nI FOUGHT THE LAW<\/td>\n1\/12\/1966<\/td>\n2<\/td>\n7<\/td>\nMUSTANG<\/td>\n3014<\/td>\n<\/tr>\n
FUNKADELIC<\/td>\nMUSIC FOR MY MOTHER<\/td>\n2\/27\/1969<\/td>\n14<\/td>\n5<\/td>\nWESTBOUND<\/td>\n148<\/td>\n<\/tr>\n
FUNKADELIC<\/td>\nI WANNA KNOW IF IT’S GOOD TO YOU<\/td>\n8\/3\/1970<\/td>\n17<\/td>\n4<\/td>\nWESTBOUND<\/td>\n167<\/td>\n<\/tr>\n
FUNKADELIC<\/td>\nI GOT A THING. YOU GOT A THING. EVERYBODY’S GOT A THING<\/td>\n2\/17\/1970<\/td>\n2<\/td>\n9<\/td>\nWESTBOUND<\/td>\n158<\/td>\n<\/tr>\n
FUNKADELIC<\/td>\nI’LL BET YOU<\/td>\n7\/31\/1969<\/td>\n4<\/td>\n13<\/td>\nWESTBOUND<\/td>\n150<\/td>\n<\/tr>\n
FUNKADELIC<\/td>\nYOU AND YOUR FOLKS. ME AND MY FOLKS<\/td>\n3\/8\/1971<\/td>\n6<\/td>\n7<\/td>\nWESTBOUND<\/td>\n175<\/td>\n<\/tr>\n
FUNKADELIC<\/td>\nCAN YOU GET TO THAT<\/td>\n8\/9\/1971<\/td>\n8<\/td>\n7<\/td>\nWESTBOUND<\/td>\n185<\/td>\n<\/tr>\n
GALE. SUNNY<\/td>\nTOO BAD FOR YOU<\/td>\n12\/5\/1963<\/td>\n23<\/td>\n7<\/td>\nCANADIAN AMERICAN<\/td>\nNA<\/td>\n<\/tr>\n
GALENS<\/td>\nBABY I DO LOVE YOU<\/td>\n11\/7\/1963<\/td>\n8<\/td>\n2<\/td>\nCHALLENGE<\/td>\n9212<\/td>\n<\/tr>\n
GALLERY<\/td>\nNICE TO BE WITH YOU<\/td>\n2\/28\/1972<\/td>\n6<\/td>\n4<\/td>\nSUSSEX<\/td>\n232<\/td>\n<\/tr>\n
GARNETT. GALE<\/td>\nWE’LL SING IN THE SUNSHINE<\/td>\n9\/3\/1964<\/td>\n1<\/td>\n8<\/td>\nRCA<\/td>\n47-8388<\/td>\n<\/tr>\n
GAYE. MARVIN<\/td>\nI HEARD IT THROUGH THE GRAPEVINE<\/td>\n10\/31\/1968<\/td>\n1<\/td>\n10<\/td>\nTAMLA<\/td>\n54176<\/td>\n<\/tr>\n
GAYE. MARVIN<\/td>\nWHAT’S GOING ON<\/td>\n2\/8\/1971<\/td>\n1<\/td>\n10<\/td>\nTAMLA<\/td>\n54201<\/td>\n<\/tr>\n
GAYE. MARVIN<\/td>\nYOU’RE A WONDERFUL ONE<\/td>\n3\/5\/1964<\/td>\n10<\/td>\n5<\/td>\nTAMLA<\/td>\n54093<\/td>\n<\/tr>\n
GAYE. MARVIN<\/td>\nPRETTY LITTLE BABY<\/td>\n6\/23\/1965<\/td>\n11<\/td>\n5<\/td>\nTAMLA<\/td>\n54117<\/td>\n<\/tr>\n
GAYE. MARVIN<\/td>\nTOO BUSY THINKING ABOUT MY BABY<\/td>\n4\/10\/1969<\/td>\n13<\/td>\n6<\/td>\nTAMLA<\/td>\n54181<\/td>\n<\/tr>\n
GAYE. MARVIN<\/td>\nTHAT’S THE WAY LOVE IS<\/td>\n8\/21\/1969<\/td>\n14<\/td>\n4<\/td>\nTAMLA<\/td>\n54185<\/td>\n<\/tr>\n
GAYE. MARVIN<\/td>\nBABY DON’T YOU DO IT<\/td>\n9\/10\/1964<\/td>\n15<\/td>\n6<\/td>\nTAMLA<\/td>\n54101<\/td>\n<\/tr>\n
GAYE. MARVIN<\/td>\nHOW SWEET IT IS TO BE LOVED BY YOU<\/td>\n11\/12\/1964<\/td>\n15<\/td>\n5<\/td>\nTAMLA<\/td>\n54107<\/td>\n<\/tr>\n
GAYE. MARVIN<\/td>\nTRY IT BABY<\/td>\n6\/4\/1964<\/td>\n16<\/td>\n6<\/td>\nTAMLA<\/td>\n54095<\/td>\n<\/tr>\n
GAYE. MARVIN<\/td>\nONE MORE HEARTACHE<\/td>\n2\/16\/1966<\/td>\n20<\/td>\n4<\/td>\nTAMLA<\/td>\n54129<\/td>\n<\/tr>\n
GAYE. MARVIN<\/td>\nYOU<\/td>\n1\/11\/1968<\/td>\n22<\/td>\n4<\/td>\nTAMLA<\/td>\n54160<\/td>\n<\/tr>\n
GAYE. MARVIN<\/td>\nEND OF OUR ROAD -THE-<\/td>\n6\/22\/1970<\/td>\n28<\/td>\n2<\/td>\nTAMLA<\/td>\n54195<\/td>\n<\/tr>\n
GAYE. MARVIN<\/td>\nCAN I GET A WITNESS<\/td>\n11\/7\/1963<\/td>\n3<\/td>\n6<\/td>\nTAMLA<\/td>\n54087<\/td>\n<\/tr>\n
GAYE. MARVIN<\/td>\nAIN’T THAT PECULIAR<\/td>\n9\/29\/1965<\/td>\n5<\/td>\n5<\/td>\nTAMLA<\/td>\n54122<\/td>\n<\/tr>\n
GAYE. MARVIN<\/td>\nMERCY MERCY ME (THE ECOLOGY)<\/td>\n6\/14\/1971<\/td>\n6<\/td>\n8<\/td>\nTAMLA<\/td>\n54207<\/td>\n<\/tr>\n
GAYE. MARVIN<\/td>\nINNER CITY BLUES (MAKE ME WANNA HOLLER)<\/td>\n9\/27\/1971<\/td>\n7<\/td>\n8<\/td>\nTAMLA<\/td>\n54209<\/td>\n<\/tr>\n
GAYE. MARVIN<\/td>\nI’LL BE DOGGONE<\/td>\n3\/10\/1965<\/td>\n8<\/td>\n6<\/td>\nTAMLA<\/td>\n54112<\/td>\n<\/tr>\n
GAYE. MARVIN\/TERRELL. TAMMI<\/td>\nIF I COULD BUILD MY WHOLE WORLD AROUND YOU<\/td>\n11\/22\/1967<\/td>\n18<\/td>\n4<\/td>\nTAMLA<\/td>\n54161<\/td>\n<\/tr>\n
GAYE. MARVIN\\TERRELL. TAMMI<\/td>\nAIN’T NOTHING LIKE THE REAL THING<\/td>\n4\/11\/1968<\/td>\n12<\/td>\n6<\/td>\nTAMLA<\/td>\n54163<\/td>\n<\/tr>\n
GAYE. MARVIN\\TERRELL. TAMMI<\/td>\nYOU’RE ALL I NEED TO GET BY<\/td>\n8\/8\/1968<\/td>\n12<\/td>\n4<\/td>\nTAMLA<\/td>\n54169<\/td>\n<\/tr>\n
GAYE. MARVIN\\TERRELL. TAMMI<\/td>\nKEEP ON LOVIN’ ME HONEY<\/td>\n9\/26\/1968<\/td>\n18<\/td>\n4<\/td>\nTAMLA<\/td>\n54173<\/td>\n<\/tr>\n
GAYE. MARVIN\\TERRELL. TAMMI<\/td>\nGOOD LOVIN’ AIN’T EASY TO COME BY<\/td>\n2\/6\/1969<\/td>\n23<\/td>\n3<\/td>\nTAMLA<\/td>\n54179<\/td>\n<\/tr>\n
GAYE. MARVIN\\TERRELL. TAMMI<\/td>\nAIN’T NO MOUNTAIN HIGH ENOUGH<\/td>\n5\/8\/1967<\/td>\n8<\/td>\n5<\/td>\nTAMLA<\/td>\n54149<\/td>\n<\/tr>\n
GAYE. MARVIN\\TERRELL. TAMMI<\/td>\nYOUR PRECIOUS LOVE<\/td>\n9\/5\/1967<\/td>\n8<\/td>\n5<\/td>\nTAMLA<\/td>\n54156<\/td>\n<\/tr>\n
GAYE. MARVIN\\WELLS. MARY<\/td>\nONCE UPON A TIME<\/td>\n4\/23\/1964<\/td>\n5<\/td>\n5<\/td>\nMOTOWN<\/td>\n1057<\/td>\n<\/tr>\n
GAYE. MARVIN\\WESTON. KIM<\/td>\nWHAT GOOD AM I WITHOUT YOU<\/td>\n10\/8\/1964<\/td>\n24<\/td>\n3<\/td>\nTAMLA<\/td>\n54104<\/td>\n<\/tr>\n
GELFAND. FREDDIE<\/td>\nIT’S GETTING BETTER<\/td>\n4\/17\/1969<\/td>\n24<\/td>\n3<\/td>\nLAURIE<\/td>\n3490<\/td>\n<\/tr>\n
GENE & DEBBE<\/td>\nPLAYBOY<\/td>\n3\/21\/1968<\/td>\n7<\/td>\n6<\/td>\nTRX<\/td>\n5006<\/td>\n<\/tr>\n
GENTRY. BOBBIE<\/td>\nFANCY<\/td>\n12\/18\/1969<\/td>\n17<\/td>\n6<\/td>\nCAPITOL<\/td>\n2675<\/td>\n<\/tr>\n
GENTRY. BOBBIE<\/td>\nODE TO BILLIE JOE<\/td>\n7\/24\/1967<\/td>\n2<\/td>\n10<\/td>\nCAPITOL<\/td>\n5950<\/td>\n<\/tr>\n
GENTRYS<\/td>\nKEEP ON DANCING<\/td>\n9\/15\/1965<\/td>\n1<\/td>\n7<\/td>\nMGM<\/td>\n13379<\/td>\n<\/tr>\n
GENTRYS<\/td>\nWHY SHOULD I CRY<\/td>\n2\/3\/1970<\/td>\n14<\/td>\n5<\/td>\nSUN<\/td>\n1108<\/td>\n<\/tr>\n
GERRY & THE PACEMAKERS<\/td>\nI’LL BE THERE<\/td>\n12\/10\/1964<\/td>\n13<\/td>\n5<\/td>\nLAURIE<\/td>\n3279<\/td>\n<\/tr>\n
GERRY & THE PACEMAKERS<\/td>\nHOW DO YOU DO IT<\/td>\n7\/16\/1964<\/td>\n17<\/td>\n5<\/td>\nLAURIE<\/td>\n3261<\/td>\n<\/tr>\n
GERRY & THE PACEMAKERS<\/td>\nYOU’RE THE REASON<\/td>\n7\/28\/1965<\/td>\n18<\/td>\n4<\/td>\nLAURIE<\/td>\n3313<\/td>\n<\/tr>\n
GERRY & THE PACEMAKERS<\/td>\nGIRL ON A SWING<\/td>\n9\/12\/1966<\/td>\n19<\/td>\n4<\/td>\nLAURIE<\/td>\n3354<\/td>\n<\/tr>\n
GERRY & THE PACEMAKERS<\/td>\nIT’S GONNA BE ALRIGHT<\/td>\n3\/31\/1965<\/td>\n22<\/td>\n3<\/td>\nLAURIE<\/td>\n3293<\/td>\n<\/tr>\n
GERRY & THE PACEMAKERS<\/td>\nDON’T LET THE SUN CATCH YOU CRYING<\/td>\n5\/14\/1964<\/td>\n5<\/td>\n6<\/td>\nLAURIE<\/td>\n3251<\/td>\n<\/tr>\n
GERRY & THE PACEMAKERS<\/td>\nFERRY ACROSS THE MERSEY<\/td>\n2\/18\/1965<\/td>\n7<\/td>\n4<\/td>\nLAURIE<\/td>\n3284<\/td>\n<\/tr>\n
GETZ. STAN\\GILBERTO. ASTRUD<\/td>\nGIRL FROM IPANEMA -THE-<\/td>\n6\/11\/1964<\/td>\n22<\/td>\n3<\/td>\nVERVE<\/td>\n10323<\/td>\n<\/tr>\n
GIBBS. GEORGIA<\/td>\nLET ME CRY ON YOUR SHOULDER<\/td>\n5\/5\/1965<\/td>\n23<\/td>\n2<\/td>\nBELL<\/td>\n615<\/td>\n<\/tr>\n
GIBSON. JOHNNY\/TRIO<\/td>\nBEACHCOMBER<\/td>\n5\/14\/1964<\/td>\n17<\/td>\n5<\/td>\nLAURIE<\/td>\n3256<\/td>\n<\/tr>\n
GIORGIO<\/td>\nSON OF MY FATHER<\/td>\n2\/7\/1972<\/td>\n9<\/td>\n7<\/td>\nDUNHILL<\/td>\n4304<\/td>\n<\/tr>\n
GLASS BOTTLE<\/td>\nI AIN’T GOT TIME ANYMORE<\/td>\n7\/6\/1971<\/td>\n4<\/td>\n8<\/td>\nAVCO EMBASSY<\/td>\n4575<\/td>\n<\/tr>\n
GLASS HOUSE<\/td>\nCRUMBS OFF THE TABLE<\/td>\n10\/16\/1969<\/td>\n19<\/td>\n4<\/td>\nINVICTUS<\/td>\n9071<\/td>\n<\/tr>\n
GLASS HOUSE<\/td>\nI CAN’T BE YOU<\/td>\n6\/8\/1970<\/td>\n23<\/td>\n3<\/td>\nINVICTUS<\/td>\n9076<\/td>\n<\/tr>\n
GOLDSBORO. BOBBY<\/td>\nHONEY<\/td>\n3\/21\/1968<\/td>\n1<\/td>\n9<\/td>\nUNITED ARTISTS<\/td>\n50283<\/td>\n<\/tr>\n
GOLDSBORO. BOBBY<\/td>\nBLUE AUTUMN<\/td>\n12\/19\/1966<\/td>\n14<\/td>\n6<\/td>\nUNITED ARTISTS<\/td>\n50087<\/td>\n<\/tr>\n
GOLDSBORO. BOBBY<\/td>\nBROOMSTICK COWBOY<\/td>\n12\/1\/1965<\/td>\n18<\/td>\n5<\/td>\nUNITED ARTISTS<\/td>\n952<\/td>\n<\/tr>\n
GOLDSBORO. BOBBY<\/td>\nIT HURTS ME<\/td>\n8\/8\/1966<\/td>\n22<\/td>\n3<\/td>\nUNITED ARTISTS<\/td>\n5005<\/td>\n<\/tr>\n
GOLDSBORO. BOBBY<\/td>\nI KNOW YOU BETTER THAN THAT<\/td>\n5\/2\/1966<\/td>\n25<\/td>\n2<\/td>\nUNITED ARTISTS<\/td>\n50018<\/td>\n<\/tr>\n
GOLDSBORO. BOBBY<\/td>\nWHENEVER HE HOLDS YOU<\/td>\n4\/23\/1964<\/td>\n27<\/td>\n3<\/td>\nUNITED ARTISTS<\/td>\n710<\/td>\n<\/tr>\n
GOLDSBORO. BOBBY<\/td>\nWATCHING SCOTTY GROW<\/td>\n1\/4\/1971<\/td>\n3<\/td>\n9<\/td>\nUNITED ARTISTS<\/td>\n50727<\/td>\n<\/tr>\n
GOLDSBORO. BOBBY<\/td>\nIF YOU’VE GOT A HEART<\/td>\n8\/18\/1965<\/td>\n4<\/td>\n8<\/td>\nUNITED ARTISTS<\/td>\n908<\/td>\n<\/tr>\n
GOLDSBORO. BOBBY<\/td>\nIT’S TOO LATE<\/td>\n2\/2\/1966<\/td>\n5<\/td>\n5<\/td>\nUNITED ARTISTS<\/td>\n980<\/td>\n<\/tr>\n
GOLDSBORO. BOBBY<\/td>\nSEE THE FUNNY LITTLE CLOWN<\/td>\n1\/9\/1964<\/td>\n6<\/td>\n8<\/td>\nUNITED ARTISTS<\/td>\n672<\/td>\n<\/tr>\n
GOLDSBORO. BOBBY<\/td>\nLITTLE THINGS<\/td>\n1\/21\/1965<\/td>\n7<\/td>\n6<\/td>\nUNITED ARTISTS<\/td>\n810<\/td>\n<\/tr>\n
GOLDSBORO. BOBBY<\/td>\nVOODOO WOMAN<\/td>\n5\/19\/1965<\/td>\n7<\/td>\n5<\/td>\nUNITED ARTISTS<\/td>\n862<\/td>\n<\/tr>\n
GORE. LESLEY<\/td>\nYOU DON’T OWN ME<\/td>\n1\/2\/1964<\/td>\n1<\/td>\n6<\/td>\nMERCURY<\/td>\n72206<\/td>\n<\/tr>\n
GORE. LESLEY<\/td>\nCALIFORNIA NIGHTS<\/td>\n2\/13\/1967<\/td>\n13<\/td>\n6<\/td>\nMERCURY<\/td>\n72649<\/td>\n<\/tr>\n
GORE. LESLEY<\/td>\nMY TOWN. MY GUY AND ME<\/td>\n8\/25\/1965<\/td>\n20<\/td>\n4<\/td>\nMERCURY<\/td>\n72475<\/td>\n<\/tr>\n
GORE. LESLEY<\/td>\nTHAT’S THE WAY BOYS ARE<\/td>\n3\/26\/1964<\/td>\n24<\/td>\n3<\/td>\nMERCURY<\/td>\n72259<\/td>\n<\/tr>\n
GORE. LESLEY<\/td>\nMAYBE I KNOW<\/td>\n7\/9\/1964<\/td>\n4<\/td>\n6<\/td>\nMERCURY<\/td>\n72309<\/td>\n<\/tr>\n
GORE. LESLEY<\/td>\nSUNSHINE. LOLLIPOPS AND RAINBOWS<\/td>\n7\/7\/1965<\/td>\n5<\/td>\n4<\/td>\nMERCURY<\/td>\n72433<\/td>\n<\/tr>\n
GORE. LESLEY<\/td>\nSHE’S A FOOL<\/td>\n11\/7\/1963<\/td>\n6<\/td>\n2<\/td>\nMERCURY<\/td>\n72180<\/td>\n<\/tr>\n
GOULET. ROBERT<\/td>\nMY LOVE. FORGIVE ME (AMORE. SCUSAMI)<\/td>\n11\/26\/1964<\/td>\n14<\/td>\n5<\/td>\nCOLUMBIA<\/td>\n43131<\/td>\n<\/tr>\n
GRAND FUNK<\/td>\nTIME MACHINE<\/td>\n9\/4\/1969<\/td>\n13<\/td>\n6<\/td>\nCAPITOL<\/td>\n2567<\/td>\n<\/tr>\n
GRAND FUNK<\/td>\nFOOTSTOMPIN’ MUSIC<\/td>\n12\/20\/1971<\/td>\n15<\/td>\n5<\/td>\nCAPITOL<\/td>\n3255<\/td>\n<\/tr>\n
GRASS ROOTS<\/td>\nTWO DIVIDED BY LOVE<\/td>\n10\/4\/1971<\/td>\n16<\/td>\n9<\/td>\nDUNHILL<\/td>\n4289<\/td>\n<\/tr>\n
GRASS ROOTS<\/td>\nSOONER OR LATER<\/td>\n6\/14\/1971<\/td>\n18<\/td>\n7<\/td>\nDUNHILL<\/td>\n4279<\/td>\n<\/tr>\n
GRASS ROOTS<\/td>\nI’D WAIT A MILLION YEARS<\/td>\n6\/19\/1969<\/td>\n19<\/td>\n3<\/td>\nDUNHILL<\/td>\n4198<\/td>\n<\/tr>\n
GRASS ROOTS<\/td>\nTHINGS I SHOULD HAVE SAID<\/td>\n8\/28\/1967<\/td>\n21<\/td>\n2<\/td>\nDUNHILL<\/td>\n4094<\/td>\n<\/tr>\n
GRASS ROOTS<\/td>\nBELLA LINDA<\/td>\n11\/21\/1968<\/td>\n21<\/td>\n3<\/td>\nDUNHILL<\/td>\n4162<\/td>\n<\/tr>\n
GRASS ROOTS<\/td>\nHEAVEN KNOWS<\/td>\n10\/30\/1969<\/td>\n22<\/td>\n3<\/td>\nDUNHILL<\/td>\n4217<\/td>\n<\/tr>\n
GRASS ROOTS<\/td>\nMIDNIGHT CONFESSIONS<\/td>\n7\/25\/1968<\/td>\n6<\/td>\n11<\/td>\nDUNHILL<\/td>\n4144<\/td>\n<\/tr>\n
GRASS ROOTS<\/td>\nLET’S LIVE FOR TODAY<\/td>\n6\/5\/1967<\/td>\n7<\/td>\n6<\/td>\nDUNHILL<\/td>\n4084<\/td>\n<\/tr>\n
GRAY. DOBIE<\/td>\nSEE YOU AT THE ‘GO-GO’<\/td>\n3\/31\/1965<\/td>\n19<\/td>\n3<\/td>\nCHARGER<\/td>\n107<\/td>\n<\/tr>\n
GRAY. DOBIE<\/td>\nIN CROWD -THE-<\/td>\n12\/17\/1964<\/td>\n4<\/td>\n6<\/td>\nCHARGER<\/td>\n105<\/td>\n<\/tr>\n
GREAN. CHARLES RANDOLPH\/SOUNDE<\/td>\nQUENTIN’S THEME<\/td>\n6\/19\/1969<\/td>\n18<\/td>\n2<\/td>\nRANWOOD<\/td>\n840<\/td>\n<\/tr>\n
GREAVES. R*B*<\/td>\nTAKE A LETTER MARIA<\/td>\n9\/25\/1969<\/td>\n3<\/td>\n8<\/td>\nATCO<\/td>\n6714<\/td>\n<\/tr>\n
GREEN. AL<\/td>\nTIRED OF BEING ALONE<\/td>\n8\/9\/1971<\/td>\n11<\/td>\n5<\/td>\nHI<\/td>\n2194<\/td>\n<\/tr>\n
GREEN. AL<\/td>\nLET’S STAY TOGETHER<\/td>\n11\/29\/1971<\/td>\n2<\/td>\n10<\/td>\nHI<\/td>\n2202<\/td>\n<\/tr>\n
GREEN. AL<\/td>\nLOOK WHAT YOU DONE FOR ME<\/td>\n3\/13\/1972<\/td>\n27<\/td>\n2<\/td>\nHI<\/td>\n2211<\/td>\n<\/tr>\n
GREENBAUM. NORMAN<\/td>\nSPIRIT IN THE SKY<\/td>\n2\/24\/1970<\/td>\n1<\/td>\n13<\/td>\nREPRISE<\/td>\n0885<\/td>\n<\/tr>\n
GREENE. LORNE<\/td>\nRINGO<\/td>\n10\/22\/1964<\/td>\n9<\/td>\n5<\/td>\nRCA<\/td>\n47-8444<\/td>\n<\/tr>\n
GUESS WHO<\/td>\nUNDUN<\/td>\n10\/9\/1969<\/td>\n10<\/td>\n4<\/td>\nRCA<\/td>\n74-0195<\/td>\n<\/tr>\n
GUESS WHO<\/td>\nHAND ME DOWN WORLD<\/td>\n7\/13\/1970<\/td>\n10<\/td>\n6<\/td>\nRCA<\/td>\n74-0367<\/td>\n<\/tr>\n
GUESS WHO<\/td>\nSHARE THE LAND<\/td>\n10\/12\/1970<\/td>\n15<\/td>\n6<\/td>\nRCA<\/td>\n74-0388<\/td>\n<\/tr>\n
GUESS WHO<\/td>\nBUS RIDER<\/td>\n11\/9\/1970<\/td>\n15<\/td>\n2<\/td>\nRCA<\/td>\n74-0388<\/td>\n<\/tr>\n
GUESS WHO<\/td>\nNO TIME<\/td>\n1\/1\/1970<\/td>\n17<\/td>\n7<\/td>\nRCA<\/td>\n74-0300<\/td>\n<\/tr>\n
GUESS WHO<\/td>\nAMERICAN WOMAN<\/td>\n3\/10\/1970<\/td>\n2<\/td>\n10<\/td>\nRCA<\/td>\n74-0325<\/td>\n<\/tr>\n
GUESS WHO<\/td>\nNO SUGAR TONIGHT<\/td>\n3\/10\/1970<\/td>\n2<\/td>\n10<\/td>\nRCA<\/td>\n74-0325<\/td>\n<\/tr>\n
GUESS WHO<\/td>\nHEARTBROKEN BOPPER<\/td>\n3\/13\/1972<\/td>\n24<\/td>\n2<\/td>\nRCA<\/td>\n74-0659<\/td>\n<\/tr>\n
GUESS WHO<\/td>\nSHAKIN’ ALL OVER<\/td>\n3\/24\/1965<\/td>\n4<\/td>\n7<\/td>\nSCEPTER<\/td>\n1295<\/td>\n<\/tr>\n
GUESS WHO<\/td>\nTHESE EYES<\/td>\n3\/27\/1969<\/td>\n4<\/td>\n7<\/td>\nRCA<\/td>\n74-0102<\/td>\n<\/tr>\n
GUESS WHO<\/td>\nALBERT FLASHER<\/td>\n4\/19\/1971<\/td>\n5<\/td>\n8<\/td>\nRCA<\/td>\n74-0458<\/td>\n<\/tr>\n
GUESS WHO<\/td>\nRAIN DANCE<\/td>\n8\/2\/1971<\/td>\n5<\/td>\n7<\/td>\nRCA<\/td>\n74-0522<\/td>\n<\/tr>\n
GUESS WHO<\/td>\nLAUGHING<\/td>\n7\/2\/1969<\/td>\n9<\/td>\n5<\/td>\nRCA<\/td>\n74-0195<\/td>\n<\/tr>\n
GUTHRIE. ARLO<\/td>\nVALLEY TO PRAY<\/td>\n9\/28\/1970<\/td>\n27<\/td>\n3<\/td>\nREPRISE<\/td>\n0951<\/td>\n<\/tr>\n
HAGEN. EARL<\/td>\nNANCY’S THEME<\/td>\n8\/27\/1964<\/td>\n22<\/td>\n4<\/td>\nCOLPIX<\/td>\n740<\/td>\n<\/tr>\n
HAMILTON+ JOE FRANK & REYNOLDS<\/td>\nDON’T PULL YOUR LOVE<\/td>\n5\/3\/1971<\/td>\n10<\/td>\n11<\/td>\nDUNHILL<\/td>\n4276<\/td>\n<\/tr>\n
HAPPENINGS<\/td>\nSEE YOU IN SEPTEMBER<\/td>\n7\/5\/1966<\/td>\n1<\/td>\n8<\/td>\nB.T. PUPPY<\/td>\n520<\/td>\n<\/tr>\n
HAPPENINGS<\/td>\nGO AWAY LITTLE GIRL<\/td>\n9\/26\/1966<\/td>\n18<\/td>\n4<\/td>\nB.T. PUPPY<\/td>\n522<\/td>\n<\/tr>\n
HAPPENINGS<\/td>\nI GOT RHYTHM<\/td>\n4\/10\/1967<\/td>\n2<\/td>\n8<\/td>\nB.T. PUPPY<\/td>\n527<\/td>\n<\/tr>\n
HAPPENINGS<\/td>\nMY MAMMY<\/td>\n6\/26\/1967<\/td>\n23<\/td>\n3<\/td>\nB.T. PUPPY<\/td>\n530<\/td>\n<\/tr>\n
HAPPENINGS<\/td>\nWHERE DO I GO\/BE-IN\/HARE KRISHNA<\/td>\n7\/2\/1969<\/td>\n24<\/td>\n2<\/td>\nJUBILEE<\/td>\n5666<\/td>\n<\/tr>\n
HARGRAVES. SILKY<\/td>\nHURT BY LOVE<\/td>\n3\/3\/1965<\/td>\n22<\/td>\n2<\/td>\nD-TOWN<\/td>\n1043<\/td>\n<\/tr>\n
HARPERS BIZARRE<\/td>\nCHATTANOOGA CHOO CHOO<\/td>\n12\/14\/1967<\/td>\n22<\/td>\n3<\/td>\nWARNER BROS.<\/td>\n7090<\/td>\n<\/tr>\n
HARPERS BIZARRE<\/td>\nFIFTY-NINTH STREET BRIDGE SONG (FEELIN’ GROOVY) -THE-<\/td>\n2\/20\/1967<\/td>\n9<\/td>\n5<\/td>\nWARNER BROS.<\/td>\n5890<\/td>\n<\/tr>\n
HARPO. SLIM<\/td>\nBABY SCRATCH MY BACK<\/td>\n2\/16\/1966<\/td>\n11<\/td>\n4<\/td>\nEXCELLO<\/td>\n2273<\/td>\n<\/tr>\n
HARRIS. RICHARD<\/td>\nMAC ARTHUR PARK<\/td>\n5\/9\/1968<\/td>\n2<\/td>\n6<\/td>\nDUNHILL<\/td>\n4134<\/td>\n<\/tr>\n
HARRISON. GEORGE<\/td>\nISN’T IT A PITY<\/td>\n11\/16\/1970<\/td>\n1<\/td>\n8<\/td>\nAPPLE<\/td>\n2995<\/td>\n<\/tr>\n
HARRISON. GEORGE<\/td>\nMY SWEET LORD<\/td>\n11\/16\/1970<\/td>\n1<\/td>\n13<\/td>\nAPPLE<\/td>\n2995<\/td>\n<\/tr>\n
HARRISON. GEORGE<\/td>\nBANGLA-DESH<\/td>\n8\/2\/1971<\/td>\n20<\/td>\n5<\/td>\nAPPLE<\/td>\n1836<\/td>\n<\/tr>\n
HARRISON. GEORGE<\/td>\nWHAT IS LIFE<\/td>\n2\/8\/1971<\/td>\n21<\/td>\n5<\/td>\nAPPLE<\/td>\n1828<\/td>\n<\/tr>\n
HARRISON. WILBERT<\/td>\nNEAR TO YOU<\/td>\n11\/7\/1963<\/td>\n12<\/td>\n2<\/td>\nSEA-HORN<\/td>\n502<\/td>\n<\/tr>\n
HARRISON. WILBERT<\/td>\nLET’S WORK TOGETHER<\/td>\n12\/11\/1969<\/td>\n2<\/td>\n11<\/td>\nSUE<\/td>\n11<\/td>\n<\/tr>\n
HAWKINS. SAM<\/td>\nHOLD ON BABY<\/td>\n5\/12\/1965<\/td>\n11<\/td>\n4<\/td>\nBLUE CAT<\/td>\n112<\/td>\n<\/tr>\n
HAWKINS. SAM<\/td>\nI KNOW IT’S ALL RIGHT<\/td>\n10\/13\/1965<\/td>\n16<\/td>\n5<\/td>\nBLUE CAT<\/td>\n121<\/td>\n<\/tr>\n
HAWKINS’. EDWIN\/SINGERS<\/td>\nOH HAPPY DAY<\/td>\n4\/17\/1969<\/td>\n4<\/td>\n6<\/td>\nPAVILION<\/td>\n20001<\/td>\n<\/tr>\n
HAYES. ISAAC<\/td>\nTHEME FROM SHAFT<\/td>\n9\/20\/1971<\/td>\n1<\/td>\n10<\/td>\nENTERPRISE<\/td>\n9038<\/td>\n<\/tr>\n
HAYES. ISAAC<\/td>\nNEVER CAN SAY GOODBYE<\/td>\n5\/17\/1971<\/td>\n10<\/td>\n4<\/td>\nENTERPRISE<\/td>\n9031<\/td>\n<\/tr>\n
HAYES. ISAAC<\/td>\nDO YOUR THING<\/td>\n2\/28\/1972<\/td>\n18<\/td>\n4<\/td>\nENTERPRISE<\/td>\n9042<\/td>\n<\/tr>\n
HAYWOOD. LEON<\/td>\nIT’S GOT TO BE MELLOW<\/td>\n10\/12\/1967<\/td>\n15<\/td>\n4<\/td>\nDECCA<\/td>\n32164<\/td>\n<\/tr>\n
HEAD. MURRAY\/WITH THE TRINIDAD SINGERS<\/td>\nSUPERSTAR<\/td>\n3\/29\/1971<\/td>\n1<\/td>\n12<\/td>\nDECCA<\/td>\n32603<\/td>\n<\/tr>\n
HEAD. ROY<\/td>\nJUST A LITTLE BIT<\/td>\n10\/20\/1965<\/td>\n12<\/td>\n5<\/td>\nSCEPTER<\/td>\n12116<\/td>\n<\/tr>\n
HEAD. ROY<\/td>\nTREAT HER RIGHT<\/td>\n8\/25\/1965<\/td>\n2<\/td>\n7<\/td>\nBACK BEAT<\/td>\n546<\/td>\n<\/tr>\n
HEAD. ROY<\/td>\nAPPLE<\/td>\n11\/17\/1965<\/td>\n7<\/td>\n7<\/td>\nOF MY EYE<\/td>\nBACK BEAT<\/td>\n<\/tr>\n
HEBB. BOBBY<\/td>\nSUNNY<\/td>\n5\/31\/1966<\/td>\n1<\/td>\n7<\/td>\nPHILIPS<\/td>\n40365<\/td>\n<\/tr>\n
HEDGEHOPPERS ANONYMOUS<\/td>\nIT’S GOOD NEWS WEEK<\/td>\n1\/12\/1966<\/td>\n17<\/td>\n5<\/td>\nPARROT<\/td>\n9800<\/td>\n<\/tr>\n
HEDGEHOPPERS ANONYMOUS<\/td>\nDON’T PUSH ME<\/td>\n3\/16\/1966<\/td>\n23<\/td>\n4<\/td>\nPARROT<\/td>\n9817<\/td>\n<\/tr>\n
HENDRIX. JIMI<\/td>\nDOLLY DAGGER<\/td>\n10\/18\/1971<\/td>\n21<\/td>\n5<\/td>\nREPRISE<\/td>\n1044<\/td>\n<\/tr>\n
HENDRIX. JIMI<\/td>\nALL ALONG THE WATCHTOWER<\/td>\n8\/22\/1968<\/td>\n22<\/td>\n4<\/td>\nREPRISE<\/td>\n0767<\/td>\n<\/tr>\n
HENDRIX. JIMI<\/td>\nPURPLE HAZE<\/td>\n10\/12\/1967<\/td>\n5<\/td>\n6<\/td>\nREPRISE<\/td>\n0597<\/td>\n<\/tr>\n
HENDRIX. JIMI<\/td>\nFOXEY LADY<\/td>\n11\/22\/1967<\/td>\n9<\/td>\n5<\/td>\nREPRISE<\/td>\n0641<\/td>\n<\/tr>\n
HERMAN’S HERMITS<\/td>\nCAN’T YOU HEAR MY HEARTBEAT<\/td>\n2\/18\/1965<\/td>\n1<\/td>\n8<\/td>\nMGM<\/td>\n13310<\/td>\n<\/tr>\n
HERMAN’S HERMITS<\/td>\nMISSES BROWN YOU’VE GOT A LOVELY DAUGHTER<\/td>\n4\/7\/1965<\/td>\n1<\/td>\n6<\/td>\nMGM<\/td>\n13341<\/td>\n<\/tr>\n
HERMAN’S HERMITS<\/td>\nLEANING ON THE LAMP POST<\/td>\n3\/30\/1966<\/td>\n10<\/td>\n5<\/td>\nMGM<\/td>\n13500<\/td>\n<\/tr>\n
HERMAN’S HERMITS<\/td>\nSILHOUETTES<\/td>\n3\/31\/1965<\/td>\n11<\/td>\n5<\/td>\nMGM<\/td>\n13332<\/td>\n<\/tr>\n
HERMAN’S HERMITS<\/td>\nEAST WEST<\/td>\n11\/28\/1966<\/td>\n16<\/td>\n3<\/td>\nMGM<\/td>\n13639<\/td>\n<\/tr>\n
HERMAN’S HERMITS<\/td>\nJUST A LITTLE BIT BETTER<\/td>\n9\/1\/1965<\/td>\n17<\/td>\n5<\/td>\nMGM<\/td>\n13398<\/td>\n<\/tr>\n
HERMAN’S HERMITS<\/td>\nMUST TO AVOID -A-<\/td>\n12\/8\/1965<\/td>\n19<\/td>\n5<\/td>\nMGM<\/td>\n13437<\/td>\n<\/tr>\n
HERMAN’S HERMITS<\/td>\nI’M HENRY VIII. I AM<\/td>\n6\/30\/1965<\/td>\n2<\/td>\n4<\/td>\nMGM<\/td>\n13367<\/td>\n<\/tr>\n
HERMAN’S HERMITS<\/td>\nTHIS DOOR SWINGS BOTH WAYS<\/td>\n7\/5\/1966<\/td>\n22<\/td>\n4<\/td>\nMGM<\/td>\n13548<\/td>\n<\/tr>\n
HERMAN’S HERMITS<\/td>\nDON’T GO OUT INTO THE RAIN
\n<YOU’RE GOING TO MELT><\/td>\n		6\/12\/1967<\/td>\n23<\/td>\n3<\/td>\nMGM 13761<\/td>\n<\/td>\n<\/tr>\n
HERMAN’S HERMITS<\/td>\nLISTEN PEOPLE<\/td>\n2\/9\/1966<\/td>\n3<\/td>\n5<\/td>\nMGM<\/td>\n13462<\/td>\n<\/tr>\n
HERMAN’S HERMITS<\/td>\nI’M INTO SOMETHING GOOD<\/td>\n11\/5\/1964<\/td>\n31<\/td>\n1<\/td>\nMGM<\/td>\n13280<\/td>\n<\/tr>\n
HERMAN’S HERMITS<\/td>\nTHERE’S A KIND OF HUSH<\/td>\n2\/6\/1967<\/td>\n4<\/td>\n7<\/td>\nMGM<\/td>\n13681<\/td>\n<\/tr>\n
HERMAN’S HERMITS<\/td>\nNO MILK TODAY<\/td>\n2\/13\/1967<\/td>\n4<\/td>\n6<\/td>\nMGM<\/td>\n13681<\/td>\n<\/tr>\n
HERMAN’S HERMITS<\/td>\nEND OF THE WORLD -THE-<\/td>\n7\/21\/1965<\/td>\n6<\/td>\n1<\/td>\nMGM<\/td>\n13367<\/td>\n<\/tr>\n
HERMAN’S HERMITS<\/td>\nWONDERFUL WORLD<\/td>\n6\/9\/1965<\/td>\n8<\/td>\n5<\/td>\nMGM<\/td>\n13354<\/td>\n<\/tr>\n
HERMAN’S HERMITS<\/td>\nDANDY<\/td>\n9\/26\/1966<\/td>\n8<\/td>\n6<\/td>\nMGM<\/td>\n13603<\/td>\n<\/tr>\n
HESITATIONS<\/td>\nBORN FREE<\/td>\n1\/11\/1968<\/td>\n19<\/td>\n4<\/td>\nKAPP<\/td>\n878<\/td>\n<\/tr>\n
HESITATIONS<\/td>\nIMPOSSIBLE DREAM -THE-<\/td>\n3\/7\/1968<\/td>\n20<\/td>\n3<\/td>\nKAPP<\/td>\n899<\/td>\n<\/tr>\n
HILLSIDE SINGERS<\/td>\nI’D LIKE TO TEACH THE WORLD TO SING<\/td>\n12\/20\/1971<\/td>\n2<\/td>\n5<\/td>\nMETROMEDIA<\/td>\n231<\/td>\n<\/tr>\n
HINTON. JOE<\/td>\nFUNNY<\/td>\n9\/3\/1964<\/td>\n12<\/td>\n6<\/td>\nBACK BEAT<\/td>\n541<\/td>\n<\/tr>\n
HOLIDAYS<\/td>\nI’LL LOVE YOU FOREVER<\/td>\n3\/30\/1966<\/td>\n13<\/td>\n6<\/td>\nGOLDEN WORLD<\/td>\n36<\/td>\n<\/tr>\n
HOLLAND. EDDIE<\/td>\nJUST AIN’T ENOUGH LOVE<\/td>\n4\/30\/1964<\/td>\n10<\/td>\n6<\/td>\nMOTOWN<\/td>\n1058<\/td>\n<\/tr>\n
HOLLAND. EDDIE<\/td>\nCANDY TO ME<\/td>\n8\/13\/1964<\/td>\n20<\/td>\n4<\/td>\nMOTOWN<\/td>\n1063<\/td>\n<\/tr>\n
HOLLAND. EDDIE<\/td>\nLEAVING HERE<\/td>\n1\/16\/1964<\/td>\n9<\/td>\n5<\/td>\nMOTOWN<\/td>\n1052<\/td>\n<\/tr>\n
HOLLAND. JIMMY<\/td>\nSUGAR BABY<\/td>\n6\/16\/1965<\/td>\n21<\/td>\n2<\/td>\nSYCO<\/td>\nNA<\/td>\n<\/tr>\n
HOLLIES<\/td>\nBUS STOP<\/td>\n8\/22\/1966<\/td>\n11<\/td>\n5<\/td>\nIMPERIAL<\/td>\n66186<\/td>\n<\/tr>\n
HOLLIES<\/td>\nSTOP STOP STOP<\/td>\n10\/31\/1966<\/td>\n15<\/td>\n4<\/td>\nIMPERIAL<\/td>\n66214<\/td>\n<\/tr>\n
HOLLIES<\/td>\nCARRIE-ANNE<\/td>\n6\/26\/1967<\/td>\n17<\/td>\n4<\/td>\nEPIC<\/td>\n10180<\/td>\n<\/tr>\n
HOLLIES<\/td>\nI CAN’T LET GO<\/td>\n3\/30\/1966<\/td>\n21<\/td>\n4<\/td>\nIMPERIAL<\/td>\n66158<\/td>\n<\/tr>\n
HOLLIES<\/td>\nON A CAROUSEL<\/td>\n4\/10\/1967<\/td>\n21<\/td>\n3<\/td>\nIMPERIAL<\/td>\n66231<\/td>\n<\/tr>\n
HOLLIES<\/td>\nSORRY SUZANNE<\/td>\n4\/3\/1969<\/td>\n21<\/td>\n3<\/td>\nEPIC<\/td>\n10454<\/td>\n<\/tr>\n
HOLLIES<\/td>\nHE AIN’T HEAVY. HE’S MY BROTHER<\/td>\n1\/27\/1970<\/td>\n3<\/td>\n8<\/td>\nEPIC<\/td>\n10532<\/td>\n<\/tr>\n
HOLLIES<\/td>\nLOOK THROUGH ANY WINDOW<\/td>\n11\/10\/1965<\/td>\n5<\/td>\n8<\/td>\nIMPERIAL<\/td>\n66134<\/td>\n<\/tr>\n
HOLLOWAY. BRENDA<\/td>\nEVERY LITTLE BIT HURTS<\/td>\n4\/9\/1964<\/td>\n10<\/td>\n6<\/td>\nTAMLA<\/td>\n54094<\/td>\n<\/tr>\n
HOLLOWAY. BRENDA<\/td>\nWHEN I’M GONE<\/td>\n2\/25\/1965<\/td>\n7<\/td>\n5<\/td>\nTAMLA<\/td>\n54111<\/td>\n<\/tr>\n
HOLMAN. EDDIE<\/td>\nHEY THERE LONELY GIRL<\/td>\n1\/6\/1970<\/td>\n10<\/td>\n7<\/td>\nABC<\/td>\n11240<\/td>\n<\/tr>\n
HOMBRES<\/td>\nLET IT OUT (LET IT ALL HANG OUT)<\/td>\n8\/14\/1967<\/td>\n22<\/td>\n2<\/td>\nVERVE FORECAST<\/td>\n5058<\/td>\n<\/tr>\n
HONDELLS<\/td>\nLITTLE HONDA<\/td>\n9\/24\/1964<\/td>\n18<\/td>\n3<\/td>\nMERCURY<\/td>\n72324<\/td>\n<\/tr>\n
HONDELLS<\/td>\nSHERYL’S GOING HOME<\/td>\n12\/12\/1966<\/td>\n23<\/td>\n3<\/td>\nMERCURY<\/td>\n72626<\/td>\n<\/tr>\n
HONDELLS<\/td>\nMY BUDDY SEAT<\/td>\n12\/3\/1964<\/td>\n24<\/td>\n3<\/td>\nMERCURY<\/td>\n72366<\/td>\n<\/tr>\n
HONEY CONE<\/td>\nWANT ADS<\/td>\n4\/19\/1971<\/td>\n1<\/td>\n10<\/td>\nHOT WAX<\/td>\n7011<\/td>\n<\/tr>\n
HONEY CONE<\/td>\nWHILE YOU’RE OUT LOOKING FOR SUGAR<\/td>\n6\/12\/1969<\/td>\n14<\/td>\n4<\/td>\nHOT WAX<\/td>\n6901<\/td>\n<\/tr>\n
HONEY CONE<\/td>\nONE MONKEY DON’T STOP NO SHOW. PART 1<\/td>\n11\/1\/1971<\/td>\n17<\/td>\n8<\/td>\nHOT WAX<\/td>\n7110<\/td>\n<\/tr>\n
HONEY CONE<\/td>\nSTICK-UP<\/td>\n7\/19\/1971<\/td>\n21<\/td>\n10<\/td>\nHOT WAX<\/td>\n7106<\/td>\n<\/tr>\n
HONEYCOMBS<\/td>\nHAVE I THE RIGHT<\/td>\n9\/17\/1964<\/td>\n5<\/td>\n6<\/td>\nINTERPHON<\/td>\n7707<\/td>\n<\/tr>\n
HOPKIN. MARY<\/td>\nGOODBYE<\/td>\n4\/24\/1969<\/td>\n13<\/td>\n4<\/td>\nAPPLE<\/td>\n1806<\/td>\n<\/tr>\n
HOPKIN. MARY<\/td>\nTHOSE WERE THE DAYS<\/td>\n9\/19\/1968<\/td>\n3<\/td>\n9<\/td>\nAPPLE<\/td>\n1801<\/td>\n<\/tr>\n
HOPKIN. MARY<\/td>\nTEMMA HARBOUR<\/td>\n3\/10\/1970<\/td>\n34<\/td>\n1<\/td>\nAPPLE<\/td>\n1816<\/td>\n<\/tr>\n
HOTLEGS<\/td>\nNEANDERTHAL MAN<\/td>\n8\/24\/1970<\/td>\n19<\/td>\n4<\/td>\nCAPITOL<\/td>\n2886<\/td>\n<\/tr>\n
HUDSON<\/td>\nLEAVIN’ IT’S OVER<\/td>\n3\/13\/1972<\/td>\n24<\/td>\n2<\/td>\nPLAYBOY<\/td>\n50001<\/td>\n<\/tr>\n
HUGHES. FRED<\/td>\nOO WEE BABY. I LOVE YOU<\/td>\n5\/12\/1965<\/td>\n13<\/td>\n5<\/td>\nVEE-JAY<\/td>\n684<\/td>\n<\/tr>\n
HUGHES. FRED<\/td>\nBABY BOY<\/td>\n11\/13\/1969<\/td>\n20<\/td>\n3<\/td>\nBRUNSWICK<\/td>\n55419<\/td>\n<\/tr>\n
HUGHES. JIMMY<\/td>\nSTEAL AWAY<\/td>\n7\/30\/1964<\/td>\n30<\/td>\n1<\/td>\nFAME<\/td>\n6401<\/td>\n<\/tr>\n
HUMAN BEINGS<\/td>\nBECAUSE I LOVE HER<\/td>\n5\/12\/1965<\/td>\n19<\/td>\n4<\/td>\nWARNER BROS.<\/td>\n5622<\/td>\n<\/tr>\n
HUMAN BEINZ<\/td>\nNOBODY BUT ME<\/td>\n11\/22\/1967<\/td>\n1<\/td>\n9<\/td>\nCAPITOL<\/td>\n5990<\/td>\n<\/tr>\n
HUMBLE PIE<\/td>\nI DON’T NEED NO DOCTOR<\/td>\n10\/18\/1971<\/td>\n32<\/td>\n2<\/td>\nA&M<\/td>\n1282<\/td>\n<\/tr>\n
HUMPERDINCK. ENGELBERT<\/td>\nRELEASE ME<\/td>\n4\/24\/1967<\/td>\n1<\/td>\n6<\/td>\nPARROT<\/td>\n40011<\/td>\n<\/tr>\n
HUMPERDINCK. ENGELBERT<\/td>\nAM I THAT EASY TO FORGET<\/td>\n12\/28\/1967<\/td>\n12<\/td>\n5<\/td>\nPARROT<\/td>\n40023<\/td>\n<\/tr>\n
HUMPERDINCK. ENGELBERT<\/td>\nLAST WALTZ -THE-<\/td>\n9\/25\/1967<\/td>\n15<\/td>\n4<\/td>\nPARROT<\/td>\n40019<\/td>\n<\/tr>\n
HUMPERDINCK. ENGELBERT<\/td>\nMAN WITHOUT LOVE -A-<\/td>\n5\/2\/1968<\/td>\n16<\/td>\n6<\/td>\nPARROT<\/td>\n40027<\/td>\n<\/tr>\n
HUMPERDINCK. ENGELBERT<\/td>\nTHERE GOES MY EVERYTHING<\/td>\n7\/3\/1967<\/td>\n18<\/td>\n3<\/td>\nPARROT<\/td>\n40015<\/td>\n<\/tr>\n
HUMPERDINCK. ENGELBERT<\/td>\nLES BICYCLETTES DE BELSIZE<\/td>\n10\/10\/1968<\/td>\n19<\/td>\n3<\/td>\nPARROT<\/td>\n40032<\/td>\n<\/tr>\n
HUMPERDINCK. ENGELBERT<\/td>\nWINTER WORLD OF LOVE<\/td>\n11\/20\/1969<\/td>\n20<\/td>\n3<\/td>\nPARROT<\/td>\n40044<\/td>\n<\/tr>\n
HUMPHREY. PAUL\/& HIS COOL AID CHEMISTS<\/td>\nCOOL AID<\/td>\n3\/22\/1971<\/td>\n5<\/td>\n7<\/td>\nLIZARD<\/td>\n21006<\/td>\n<\/tr>\n
HUNT. TOMMY<\/td>\nI AM A WITNESS<\/td>\n11\/14\/1963<\/td>\n26<\/td>\n1<\/td>\nSCEPTER<\/td>\n1261<\/td>\n<\/tr>\n
HUTTON. DANNY<\/td>\nBIG BRIGHT EYES<\/td>\n12\/22\/1965<\/td>\n19<\/td>\n6<\/td>\nHBR<\/td>\n453<\/td>\n<\/tr>\n
HUTTON. DANNY<\/td>\nROSES AND RAINBOWS<\/td>\n9\/22\/1965<\/td>\n21<\/td>\n4<\/td>\nHBR<\/td>\n447<\/td>\n<\/tr>\n
HYLAND. BRIAN<\/td>\nDEVOTED TO YOU<\/td>\n8\/6\/1964<\/td>\n17<\/td>\n4<\/td>\nPHILIPS<\/td>\n40203<\/td>\n<\/tr>\n
HYLAND. BRIAN<\/td>\nHUNG UP IN YOUR EYES<\/td>\n2\/6\/1967<\/td>\n18<\/td>\n4<\/td>\nPHILIPS<\/td>\n40424<\/td>\n<\/tr>\n
HYLAND. BRIAN<\/td>\nSTAY AND LOVE ME ALL SUMMER<\/td>\n6\/19\/1969<\/td>\n21<\/td>\n3<\/td>\nDOT<\/td>\n17258<\/td>\n<\/tr>\n
HYLAND. BRIAN<\/td>\nRUN. RUN. LOOK AND SEE<\/td>\n11\/14\/1966<\/td>\n24<\/td>\n2<\/td>\nPHILIPS<\/td>\n40405<\/td>\n<\/tr>\n
HYLAND. BRIAN<\/td>\nGYPSY WOMAN<\/td>\n10\/12\/1970<\/td>\n5<\/td>\n8<\/td>\nUNI<\/td>\n55240<\/td>\n<\/tr>\n
HYMAN. DICK\/& HIS ELECTRIC ECLECTICS<\/td>\nMINOTAUR -THE-<\/td>\n5\/8\/1969<\/td>\n11<\/td>\n4<\/td>\nCOMMAND<\/td>\n4126<\/td>\n<\/tr>\n
IAN & SYLVIA<\/td>\nLOVIN’ SOUND<\/td>\n8\/14\/1967<\/td>\n19<\/td>\n3<\/td>\nMGM<\/td>\n13686<\/td>\n<\/tr>\n
IAN. JANIS<\/td>\nSOCIETY’S CHILD<\/td>\n7\/17\/1967<\/td>\n1<\/td>\n7<\/td>\nVERVE FORECAST<\/td>\n5027<\/td>\n<\/tr>\n
IDES OF MARCH<\/td>\nVEHICLE<\/td>\n3\/24\/1970<\/td>\n8<\/td>\n8<\/td>\nWARNER BROS.<\/td>\n7378<\/td>\n<\/tr>\n
IFIELD. FRANK<\/td>\nPLEASE<\/td>\n12\/5\/1963<\/td>\n28<\/td>\n1<\/td>\nCAPITOL<\/td>\n5089<\/td>\n<\/tr>\n
IKETTES<\/td>\nPEACHES ‘N’ CREAM<\/td>\n3\/17\/1965<\/td>\n20<\/td>\n3<\/td>\nMODERN<\/td>\n1005<\/td>\n<\/tr>\n
ILLUSION<\/td>\nTOGETHER<\/td>\n12\/11\/1969<\/td>\n26<\/td>\n2<\/td>\nSTEED<\/td>\n722<\/td>\n<\/tr>\n
ILLUSION<\/td>\nDID YOU SEE HER EYES<\/td>\n6\/19\/1969<\/td>\n9<\/td>\n6<\/td>\nSTEED<\/td>\n718<\/td>\n<\/tr>\n
IMPRESSIONS<\/td>\nIT’S ALL RIGHT<\/td>\n11\/7\/1963<\/td>\n11<\/td>\n1<\/td>\nABC-PARAMOUNT<\/td>\n10487<\/td>\n<\/tr>\n
IMPRESSIONS<\/td>\nTALKING ABOUT MY BABY<\/td>\n1\/2\/1964<\/td>\n12<\/td>\n4<\/td>\nABC-PARAMOUNT<\/td>\n10511<\/td>\n<\/tr>\n
IMPRESSIONS<\/td>\nCHECK OUT YOUR MIND<\/td>\n4\/28\/1970<\/td>\n14<\/td>\n7<\/td>\nCURTOM<\/td>\n1951<\/td>\n<\/tr>\n
IMPRESSIONS<\/td>\nYOU MUST BELIEVE ME<\/td>\n9\/3\/1964<\/td>\n15<\/td>\n3<\/td>\nABC-PARAMOUNT<\/td>\n10581<\/td>\n<\/tr>\n
IMPRESSIONS<\/td>\nKEEP ON PUSHING<\/td>\n7\/3\/1964<\/td>\n16<\/td>\n5<\/td>\nABC-PARAMOUNT<\/td>\n10554<\/td>\n<\/tr>\n
IMPRESSIONS<\/td>\nI LOVE YOU<\/td>\n7\/3\/1964<\/td>\n17<\/td>\n3<\/td>\nABC-PARAMOUNT<\/td>\n10554<\/td>\n<\/tr>\n
IMPRESSIONS<\/td>\nTURN ON TO ME (BABY)<\/td>\n9\/7\/1970<\/td>\n18<\/td>\n4<\/td>\nCURTOM<\/td>\n1954<\/td>\n<\/tr>\n
IMPRESSIONS<\/td>\nPEOPLE GET READY<\/td>\n2\/4\/1965<\/td>\n20<\/td>\n5<\/td>\nABC-PARAMOUNT<\/td>\n10622<\/td>\n<\/tr>\n
IMPRESSIONS<\/td>\nYOU’VE BEEN CHEATIN’<\/td>\n11\/24\/1965<\/td>\n20<\/td>\n4<\/td>\nABC-PARAMOUNT<\/td>\n10750<\/td>\n<\/tr>\n
IMPRESSIONS<\/td>\nTHIS IS MY COUNTRY<\/td>\n12\/12\/1968<\/td>\n21<\/td>\n3<\/td>\nCURTOM<\/td>\n1934<\/td>\n<\/tr>\n
IMPRESSIONS<\/td>\nI LOVED AND I LOST<\/td>\n8\/29\/1968<\/td>\n23<\/td>\n2<\/td>\nABC<\/td>\n11103<\/td>\n<\/tr>\n
IMPRESSIONS<\/td>\nI’M SO PROUD<\/td>\n4\/16\/1964<\/td>\n25<\/td>\n2<\/td>\nABC-PARAMOUNT<\/td>\n10544<\/td>\n<\/tr>\n
IMPRESSIONS<\/td>\nWE’RE ROLLING ON<\/td>\n4\/11\/1968<\/td>\n26<\/td>\n3<\/td>\nABC<\/td>\n11071<\/td>\n<\/tr>\n
IMPRESSIONS<\/td>\nWE’RE A WINNER<\/td>\n1\/4\/1968<\/td>\n9<\/td>\n5<\/td>\nABC<\/td>\n11022<\/td>\n<\/tr>\n
INGRAM. LUTHER<\/td>\nMY HONEY AND ME<\/td>\n1\/13\/1970<\/td>\n21<\/td>\n3<\/td>\nKO KO<\/td>\n2104<\/td>\n<\/tr>\n
INGRAM. LUTHER<\/td>\nAIN’T THAT LOVING YOU<\/td>\n4\/28\/1970<\/td>\n7<\/td>\n6<\/td>\nKO KO 2105<\/td>\n<\/td>\n<\/tr>\n
INTRIGUES<\/td>\nIN A MOMENT<\/td>\n8\/28\/1969<\/td>\n20<\/td>\n4<\/td>\nYEW<\/td>\n1001<\/td>\n<\/tr>\n
INTRIGUES<\/td>\nI’M GONNA LOVE YOU<\/td>\n1\/1\/1970<\/td>\n25<\/td>\n3<\/td>\nYEW<\/td>\n1002<\/td>\n<\/tr>\n
INTRUDERS<\/td>\nTOGETHER<\/td>\n5\/29\/1967<\/td>\n11<\/td>\n4<\/td>\nGAMBLE<\/td>\n205<\/td>\n<\/tr>\n
INTRUDERS<\/td>\nLOVE THAT’S REAL -A-<\/td>\n10\/26\/1967<\/td>\n16<\/td>\n3<\/td>\nGAMBLE<\/td>\n209<\/td>\n<\/tr>\n
INTRUDERS<\/td>\nSLOW DRAG<\/td>\n11\/21\/1968<\/td>\n16<\/td>\n4<\/td>\nGAMBLE<\/td>\n221<\/td>\n<\/tr>\n
INTRUDERS<\/td>\nSAD GIRL<\/td>\n8\/14\/1969<\/td>\n16<\/td>\n4<\/td>\nGAMBLE<\/td>\n235<\/td>\n<\/tr>\n
INTRUDERS<\/td>\nCOWBOYS TO GIRLS<\/td>\n3\/28\/1968<\/td>\n9<\/td>\n7<\/td>\nGAMBLE<\/td>\n214<\/td>\n<\/tr>\n
INTRUDERS<\/td>\nBASEBALL GAME (LOVE IS LIKE A)<\/td>\n7\/3\/1968<\/td>\n9<\/td>\n6<\/td>\nGAMBLE<\/td>\n217<\/td>\n<\/tr>\n
IRISH ROVERS<\/td>\nUNICORN -THE-<\/td>\n3\/7\/1968<\/td>\n1<\/td>\n7<\/td>\nDECCA<\/td>\n32254<\/td>\n<\/tr>\n
IRON BUTTERFLY<\/td>\nIN-A-GADDA-DA-VIDA<\/td>\n8\/8\/1968<\/td>\n15<\/td>\n6<\/td>\nATCO<\/td>\n6606<\/td>\n<\/tr>\n
ISLEY BROTHERS<\/td>\nIT’S YOUR THING<\/td>\n3\/6\/1969<\/td>\n10<\/td>\n7<\/td>\nT-NECK<\/td>\n901<\/td>\n<\/tr>\n
ISLEY BROTHERS<\/td>\nTHIS OLD HEART OF MINE<\/td>\n2\/16\/1966<\/td>\n12<\/td>\n4<\/td>\nTAMLA<\/td>\n54128<\/td>\n<\/tr>\n
ISLEY BROTHERS<\/td>\nI TURNED YOU ON<\/td>\n5\/15\/1969<\/td>\n18<\/td>\n4<\/td>\nT-NECK<\/td>\n902<\/td>\n<\/tr>\n
ISLEY BROTHERS<\/td>\nLOVE THE ONE YOU’RE WITH<\/td>\n7\/6\/1971<\/td>\n8<\/td>\n5<\/td>\nT-NECK<\/td>\n930<\/td>\n<\/tr>\n
IVY LEAGUE<\/td>\nFUNNY HOW LOVE CAN BE<\/td>\n3\/24\/1965<\/td>\n22<\/td>\n3<\/td>\nCAMEO<\/td>\n356<\/td>\n<\/tr>\n
JACKSON FIVE<\/td>\nI’LL BE THERE<\/td>\n9\/7\/1970<\/td>\n1<\/td>\n12<\/td>\nMOTOWN<\/td>\n1171<\/td>\n<\/tr>\n
JACKSON FIVE<\/td>\nMAMA’S PEARL<\/td>\n1\/11\/1971<\/td>\n10<\/td>\n7<\/td>\nMOTOWN<\/td>\n1177<\/td>\n<\/tr>\n
JACKSON FIVE<\/td>\nABC<\/td>\n3\/3\/1970<\/td>\n2<\/td>\n9<\/td>\nMOTOWN<\/td>\n1163<\/td>\n<\/tr>\n
JACKSON FIVE<\/td>\nNEVER CAN SAY GOODBYE<\/td>\n3\/15\/1971<\/td>\n2<\/td>\n9<\/td>\nMOTOWN<\/td>\n1179<\/td>\n<\/tr>\n
JACKSON FIVE<\/td>\nMAYBE TOMORROW<\/td>\n6\/28\/1971<\/td>\n24<\/td>\n4<\/td>\nMOTOWN<\/td>\n1186<\/td>\n<\/tr>\n
JACKSON FIVE<\/td>\nLOVE YOU SAVE -THE-<\/td>\n5\/12\/1970<\/td>\n4<\/td>\n9<\/td>\nMOTOWN<\/td>\n1166<\/td>\n<\/tr>\n
JACKSON FIVE<\/td>\nI WANT YOU BACK<\/td>\n11\/6\/1969<\/td>\n5<\/td>\n9<\/td>\nMOTOWN<\/td>\n1157<\/td>\n<\/tr>\n
JACKSON FIVE<\/td>\nSUGAR DADDY<\/td>\n11\/29\/1971<\/td>\n8<\/td>\n6<\/td>\nMOTOWN<\/td>\n1194<\/td>\n<\/tr>\n
JACKSON. CHUCK<\/td>\nIF I DIDN’T LOVE YOU<\/td>\n8\/11\/1965<\/td>\n12<\/td>\n5<\/td>\nWAND<\/td>\n188<\/td>\n<\/tr>\n
JACKSON. CHUCK<\/td>\nSINCE I DON’T HAVE YOU<\/td>\n11\/19\/1964<\/td>\n13<\/td>\n7<\/td>\nWAND<\/td>\n169<\/td>\n<\/tr>\n
JACKSON. CHUCK<\/td>\nBEG ME<\/td>\n5\/28\/1964<\/td>\n14<\/td>\n5<\/td>\nWAND<\/td>\n154<\/td>\n<\/tr>\n
JACKSON. CHUCK<\/td>\nANY OTHER WAY<\/td>\n11\/7\/1963<\/td>\n22<\/td>\n1<\/td>\nWAND<\/td>\n141<\/td>\n<\/tr>\n
JACKSON. CHUCK<\/td>\nHAND IT OVER<\/td>\n2\/20\/1964<\/td>\n27<\/td>\n1<\/td>\nWAND<\/td>\n149<\/td>\n<\/tr>\n
JACKSON. CHUCK<\/td>\nSHAME ON ME<\/td>\n10\/5\/1967<\/td>\n8<\/td>\n6<\/td>\nWAND<\/td>\n1166<\/td>\n<\/tr>\n
JACKSON. CHUCK\\BROWN. MAXINE<\/td>\nSOMETHING YOU GOT<\/td>\n5\/12\/1965<\/td>\n11<\/td>\n3<\/td>\nWAND<\/td>\n181<\/td>\n<\/tr>\n
JACKSON. DEON<\/td>\nYOU GOTTA LOVE<\/td>\n7\/24\/1969<\/td>\n19<\/td>\n5<\/td>\nCARLA<\/td>\n1903<\/td>\n<\/tr>\n
JACKSON. DEON<\/td>\nLOVE MAKES THE WORLD GO ROUND<\/td>\n1\/5\/1966<\/td>\n2<\/td>\n6<\/td>\nCARLA<\/td>\n2526<\/td>\n<\/tr>\n
JACKSON. J*J*<\/td>\nBUT IT’S ALRIGHT<\/td>\n6\/5\/1969<\/td>\n18<\/td>\n4<\/td>\nWARNER BROS.<\/td>\n7276<\/td>\n<\/tr>\n
JACKSON. J*J*<\/td>\nBUT IT’S ALRIGHT<\/td>\n10\/10\/1966<\/td>\n4<\/td>\n5<\/td>\nCALLA<\/td>\n119<\/td>\n<\/tr>\n
JACKSON. MICHAEL<\/td>\nGOT TO BE THERE<\/td>\n10\/18\/1971<\/td>\n2<\/td>\n8<\/td>\nMOTOWN<\/td>\n1191<\/td>\n<\/tr>\n
JACKSON. WALTER<\/td>\nIT’S ALL OVER<\/td>\n11\/12\/1964<\/td>\n23<\/td>\n2<\/td>\nOKEH<\/td>\n7204<\/td>\n<\/tr>\n
JAGGERZ<\/td>\nRAPPER -THE-<\/td>\n1\/27\/1970<\/td>\n13<\/td>\n8<\/td>\nKAMA SUTRA<\/td>\n502<\/td>\n<\/tr>\n
JAMES. ETTA<\/td>\nTELL MAMA<\/td>\n12\/14\/1967<\/td>\n24<\/td>\n3<\/td>\nCADET<\/td>\n5578<\/td>\n<\/tr>\n
JAMES. ETTA<\/td>\nSECURITY<\/td>\n3\/14\/1968<\/td>\n25<\/td>\n2<\/td>\nCADET<\/td>\n5594<\/td>\n<\/tr>\n
JAMES. TOMMY<\/td>\nDRAGGIN’ THE LINE<\/td>\n6\/1\/1971<\/td>\n2<\/td>\n12<\/td>\nROULETTE<\/td>\n7103<\/td>\n<\/tr>\n
JAMES. TOMMY<\/td>\nI’M COMIN’ HOME<\/td>\n9\/13\/1971<\/td>\n23<\/td>\n5<\/td>\nROULETTE<\/td>\n7110<\/td>\n<\/tr>\n
JAMES. TOMMY\/& THE SHONDELLS<\/td>\nMONY MONY<\/td>\n4\/4\/1968<\/td>\n1<\/td>\n9<\/td>\nROULETTE<\/td>\n7008<\/td>\n<\/tr>\n
JAMES. TOMMY\/& THE SHONDELLS<\/td>\nCRIMSON AND CLOVER<\/td>\n12\/5\/1968<\/td>\n1<\/td>\n9<\/td>\nROULETTE<\/td>\n7028<\/td>\n<\/tr>\n
JAMES. TOMMY\/& THE SHONDELLS<\/td>\nMIRAGE<\/td>\n4\/10\/1967<\/td>\n10<\/td>\n5<\/td>\nROULETTE<\/td>\n4736<\/td>\n<\/tr>\n
JAMES. TOMMY\/& THE SHONDELLS<\/td>\nSAY I AM<\/td>\n7\/18\/1966<\/td>\n13<\/td>\n6<\/td>\nROULETTE<\/td>\n469<\/td>\n<\/tr>\n
JAMES. TOMMY\/& THE SHONDELLS<\/td>\nI LIKE THE WAY<\/td>\n7\/10\/1967<\/td>\n14<\/td>\n4<\/td>\nROULETTE<\/td>\n4756<\/td>\n<\/tr>\n
JAMES. TOMMY\/& THE SHONDELLS<\/td>\nIT’S ONLY LOVE<\/td>\n11\/14\/1966<\/td>\n16<\/td>\n3<\/td>\nROULETTE<\/td>\n4710<\/td>\n<\/tr>\n
JAMES. TOMMY\/& THE SHONDELLS<\/td>\nGETTIN’ TOGETHER<\/td>\n8\/28\/1967<\/td>\n17<\/td>\n3<\/td>\nROULETTE<\/td>\n4762<\/td>\n<\/tr>\n
JAMES. TOMMY\/& THE SHONDELLS<\/td>\nHANKY PANKY<\/td>\n5\/31\/1966<\/td>\n2<\/td>\n8<\/td>\nROULETTE<\/td>\n4686<\/td>\n<\/tr>\n
JAMES. TOMMY\/& THE SHONDELLS<\/td>\nCRYSTAL BLUE PERSUASION<\/td>\n6\/5\/1969<\/td>\n2<\/td>\n11<\/td>\nROULETTE<\/td>\n7050<\/td>\n<\/tr>\n
JAMES. TOMMY\/& THE SHONDELLS<\/td>\nGET OUT NOW<\/td>\n1\/11\/1968<\/td>\n21<\/td>\n3<\/td>\nROULETTE<\/td>\n7000<\/td>\n<\/tr>\n
JAMES. TOMMY\/& THE SHONDELLS<\/td>\nBALL OF FIRE<\/td>\n9\/25\/1969<\/td>\n23<\/td>\n3<\/td>\nROULETTE<\/td>\n7060<\/td>\n<\/tr>\n
JAMES. TOMMY\/& THE SHONDELLS<\/td>\nOUT OF THE BLUE<\/td>\n10\/26\/1967<\/td>\n24<\/td>\n2<\/td>\nROULETTE<\/td>\n4775<\/td>\n<\/tr>\n
JAMES. TOMMY\/& THE SHONDELLS<\/td>\nSWEET CHERRY WINE<\/td>\n3\/13\/1969<\/td>\n4<\/td>\n7<\/td>\nROULETTE<\/td>\n7039<\/td>\n<\/tr>\n
JAMES. TOMMY\/& THE SHONDELLS<\/td>\nDO SOMETHING TO ME<\/td>\n10\/10\/1968<\/td>\n9<\/td>\n7<\/td>\nROULETTE<\/td>\n7024<\/td>\n<\/tr>\n
JAMESON. BOBBY<\/td>\nI’M
\nLONELY<\/td>\n		8\/13\/1964<\/td>\n5<\/td>\n5<\/td>\nTALAMO<\/td>\n1934<\/td>\n<\/tr>\n
JAN & DEAN<\/td>\nLITTLE OLD LADY
\n-THE-<\/td>\n		6\/11\/1964<\/td>\n11<\/td>\n6<\/td>\nLIBERTY<\/td>\n55704<\/td>\n<\/tr>\n
JAN & DEAN<\/td>\nYOU REALLY KNOW HOW TO HURT A GUY<\/td>\n6\/2\/1965<\/td>\n12<\/td>\n5<\/td>\nLIBERTY<\/td>\n55792<\/td>\n<\/tr>\n
JAN & DEAN<\/td>\nDRAG CITY<\/td>\n12\/19\/1963<\/td>\n19<\/td>\n3<\/td>\nLIBERTY<\/td>\n55641<\/td>\n<\/tr>\n
JAN & DEAN<\/td>\nPOPSICLE<\/td>\n6\/6\/1966<\/td>\n20<\/td>\n5<\/td>\nLIBERTY<\/td>\n55886<\/td>\n<\/tr>\n
JAN & DEAN<\/td>\nRIDE THE WILD SURF<\/td>\n9\/10\/1964<\/td>\n23<\/td>\n3<\/td>\nLIBERTY<\/td>\n55724<\/td>\n<\/tr>\n
JAN & DEAN<\/td>\nANAHEIM. AZUSA & CUCAMONGA SEWING CIRCLE. -THE-<\/td>\n9\/24\/1964<\/td>\n23<\/td>\n1<\/td>\nLIBERTY<\/td>\n55724<\/td>\n<\/tr>\n
JAN & DEAN<\/td>\nI FOUND A GIRL<\/td>\n9\/29\/1965<\/td>\n23<\/td>\n4<\/td>\nLIBERTY<\/td>\n55833<\/td>\n<\/tr>\n
JAN & DEAN<\/td>\nNEW GIRL IN SCHOOL -THE-<\/td>\n3\/5\/1964<\/td>\n3<\/td>\n7<\/td>\nLIBERTY<\/td>\n55672<\/td>\n<\/tr>\n
JAN & DEAN<\/td>\nDEAD MAN’S CURVE<\/td>\n3\/26\/1964<\/td>\n3<\/td>\n6<\/td>\nLIBERTY<\/td>\n55672<\/td>\n<\/tr>\n
JANKOWSKI. HORST<\/td>\nWALK IN THE BLACK FOREST -A-<\/td>\n4\/28\/1965<\/td>\n13<\/td>\n4<\/td>\nMERCURY<\/td>\n72425<\/td>\n<\/tr>\n
JAY & THE AMERICANS<\/td>\nLET’S LOCK THE DOOR<\/td>\n12\/17\/1964<\/td>\n12<\/td>\n6<\/td>\nUNITED ARTISTS<\/td>\n805<\/td>\n<\/tr>\n
JAY & THE AMERICANS<\/td>\nCOME A LITTLE BIT CLOSER<\/td>\n9\/17\/1964<\/td>\n2<\/td>\n7<\/td>\nUNITED ARTISTS<\/td>\n759<\/td>\n<\/tr>\n
JAY & THE AMERICANS<\/td>\nYOU AIN’T AS HIP AS ALL THAT BABY<\/td>\n3\/13\/1967<\/td>\n21<\/td>\n3<\/td>\nUNITED ARTISTS<\/td>\n50139<\/td>\n<\/tr>\n
JAY & THE AMERICANS<\/td>\nCRYING<\/td>\n5\/16\/1966<\/td>\n22<\/td>\n3<\/td>\nUNITED ARTISTS<\/td>\n50016<\/td>\n<\/tr>\n
JAY & THE AMERICANS<\/td>\nWHY CAN’T YOU BRING ME HOME<\/td>\n3\/2\/1966<\/td>\n24<\/td>\n3<\/td>\nUNITED ARTISTS<\/td>\n992<\/td>\n<\/tr>\n
JAY & THE AMERICANS<\/td>\nCARA. MIA<\/td>\n6\/2\/1965<\/td>\n3<\/td>\n6<\/td>\nUNITED ARTISTS<\/td>\n881<\/td>\n<\/tr>\n
JAY & THE AMERICANS<\/td>\nTHIS MAGIC MOMENT<\/td>\n12\/19\/1968<\/td>\n4<\/td>\n9<\/td>\nUNITED ARTISTS<\/td>\n50475<\/td>\n<\/tr>\n
JAY & THE AMERICANS<\/td>\nSUNDAY AND ME<\/td>\n11\/3\/1965<\/td>\n6<\/td>\n7<\/td>\nUNITED ARTISTS<\/td>\n948<\/td>\n<\/tr>\n
JAY & THE AMERICANS<\/td>\nSOME ENCHANTED EVENING<\/td>\n8\/25\/1965<\/td>\n9<\/td>\n5<\/td>\nUNITED ARTISTS<\/td>\n919<\/td>\n<\/tr>\n
JAY & THE AMERICANS<\/td>\nWALKIN’ IN THE RAIN<\/td>\n12\/11\/1969<\/td>\n9<\/td>\n8<\/td>\nUNITED ARTISTS<\/td>\n50605<\/td>\n<\/tr>\n
JAY & THE TECHNIQUES<\/td>\nKEEP THE BALL ROLLIN’<\/td>\n11\/2\/1967<\/td>\n18<\/td>\n3<\/td>\nSMASH<\/td>\n2124<\/td>\n<\/tr>\n
JAY & THE TECHNIQUES<\/td>\nSTRAWBERRY SHORTCAKE<\/td>\n1\/4\/1968<\/td>\n24<\/td>\n3<\/td>\nSMASH<\/td>\n2142<\/td>\n<\/tr>\n
JAY & THE TECHNIQUES<\/td>\nSINGLES GAME<\/td>\n7\/18\/1968<\/td>\n26<\/td>\n2<\/td>\nSMASH<\/td>\n2171<\/td>\n<\/tr>\n
JAY & THE TECHNIQUES<\/td>\nAPPLES. PEACHES. PUMPKIN PIE<\/td>\n7\/24\/1967<\/td>\n5<\/td>\n7<\/td>\nSMASH<\/td>\n2086<\/td>\n<\/tr>\n
JAY & THE TECHNIQUES<\/td>\nBABY MAKE YOUR OWN SWEET MUSIC<\/td>\n4\/4\/1968<\/td>\n6<\/td>\n5<\/td>\nSMASH<\/td>\n2154<\/td>\n<\/tr>\n
JAYE. JERRY<\/td>\nMY GIRL JOSEPHINE<\/td>\n5\/1\/1967<\/td>\n1<\/td>\n6<\/td>\nHI<\/td>\n2120<\/td>\n<\/tr>\n
JAZZ CRUSADERS<\/td>\nWAY BACK HOME<\/td>\n11\/30\/1970<\/td>\n11<\/td>\n6<\/td>\nCHISA<\/td>\n8010<\/td>\n<\/tr>\n
JEFFERSON<\/td>\nBABY TAKE ME IN YOUR ARMS<\/td>\n11\/26\/1969<\/td>\n5<\/td>\n11<\/td>\nJANUS<\/td>\n106<\/td>\n<\/tr>\n
JEFFERSON AIRPLANE<\/td>\nSOMEBODY TO LOVE<\/td>\n4\/24\/1967<\/td>\n1<\/td>\n8<\/td>\nRCA<\/td>\n47-9140<\/td>\n<\/tr>\n
JEFFERSON AIRPLANE<\/td>\nWHITE RABBIT<\/td>\n6\/12\/1967<\/td>\n14<\/td>\n6<\/td>\nRCA<\/td>\n47-9248<\/td>\n<\/tr>\n
JEFFERSON AIRPLANE<\/td>\nBALLAD OF YOU AND ME AND POONEIL<\/td>\n9\/18\/1967<\/td>\n24<\/td>\n3<\/td>\nRCA<\/td>\n47-9297<\/td>\n<\/tr>\n
JEFFREY. JOE\/GROUP<\/td>\nMY PLEDGE OF LOVE<\/td>\n5\/8\/1969<\/td>\n9<\/td>\n5<\/td>\nWAND<\/td>\n11200<\/td>\n<\/tr>\n
JELLY BEANS<\/td>\nBABY BE MINE<\/td>\n10\/1\/1964<\/td>\n18<\/td>\n4<\/td>\nRED BIRD<\/td>\n10-011<\/td>\n<\/tr>\n
JELLY BEANS<\/td>\nI WANNA LOVE HIM SO BAD<\/td>\n6\/11\/1964<\/td>\n2<\/td>\n5<\/td>\nRED BIRD<\/td>\n10-003<\/td>\n<\/tr>\n
JIVE FIVE<\/td>\nI’M A HAPPY MAN<\/td>\n8\/18\/1965<\/td>\n23<\/td>\n3<\/td>\nUNITED ARTISTS<\/td>\n853<\/td>\n<\/tr>\n
JOHN. ELTON<\/td>\nTINY DANCER<\/td>\n2\/14\/1972<\/td>\n23<\/td>\n3<\/td>\nUNI<\/td>\n55318<\/td>\n<\/tr>\n
JOHN. ELTON<\/td>\nYOUR SONG<\/td>\n11\/23\/1970<\/td>\n3<\/td>\n11<\/td>\nUNI<\/td>\n55265<\/td>\n<\/tr>\n
JOHN. ELTON<\/td>\nLEVON<\/td>\n12\/6\/1971<\/td>\n7<\/td>\n7<\/td>\nUNI<\/td>\n55314<\/td>\n<\/tr>\n
JOHN. ROBERT<\/td>\nWHEN THE PARTY IS OVER<\/td>\n10\/26\/1970<\/td>\n26<\/td>\n3<\/td>\nA&M<\/td>\n1210<\/td>\n<\/tr>\n
JOHN. ROBERT<\/td>\nIF YOU DON’T WANT MY LOVE<\/td>\n4\/4\/1968<\/td>\n6<\/td>\n6<\/td>\nCOLUMBIA 44435<\/td>\n<\/td>\n<\/tr>\n
JOHNSON. LOU<\/td>\nTIME TO LOVE – A TIME TO CRY (PETITE FLEUR) -A-<\/td>\n10\/27\/1965<\/td>\n18<\/td>\n4<\/td>\nBIG TOP<\/td>\n101<\/td>\n<\/tr>\n
JOHNSON. LOU<\/td>\nREACH OUT FOR ME<\/td>\n11\/7\/1963<\/td>\n29<\/td>\n1<\/td>\nBIG TOP<\/td>\n3153<\/td>\n<\/tr>\n
JON & ROBIN & THE IN CROWD<\/td>\nDO IT AGAIN A LITTLE BIT SLOWER<\/td>\n5\/8\/1967<\/td>\n15<\/td>\n5<\/td>\nABNAK<\/td>\n119<\/td>\n<\/tr>\n
JONES. JACK<\/td>\nRACE IS ON -THE-<\/td>\n3\/24\/1965<\/td>\n11<\/td>\n5<\/td>\nKAPP<\/td>\n651<\/td>\n<\/tr>\n
JONES. JACK<\/td>\nDEAR HEART<\/td>\n11\/26\/1964<\/td>\n12<\/td>\n5<\/td>\nKAPP<\/td>\n635<\/td>\n<\/tr>\n
JONES. JACK<\/td>\nWIVES AND LOVERS<\/td>\n11\/14\/1963<\/td>\n16<\/td>\n6<\/td>\nKAPP<\/td>\n551<\/td>\n<\/tr>\n
JONES. JIMMY<\/td>\nWALKIN’<\/td>\n4\/14\/1965<\/td>\n21<\/td>\n3<\/td>\nROULETTE<\/td>\n4608<\/td>\n<\/tr>\n
JONES. TOM<\/td>\nHELP YOURSELF<\/td>\n9\/5\/1968<\/td>\n11<\/td>\n5<\/td>\nPARROT<\/td>\n40029<\/td>\n<\/tr>\n
JONES. TOM<\/td>\nI’LL NEVER FALL IN LOVE AGAIN<\/td>\n6\/26\/1969<\/td>\n11<\/td>\n5<\/td>\nPARROT<\/td>\n40018<\/td>\n<\/tr>\n
JONES. TOM<\/td>\nI<\/td>\n8\/3\/1970<\/td>\n14<\/td>\n6<\/td>\nPARROT<\/td>\n40051<\/td>\n<\/tr>\n
JONES. TOM<\/td>\nWITHOUT LOVE<\/td>\n12\/18\/1969<\/td>\n16<\/td>\n6<\/td>\nPARROT<\/td>\n40045<\/td>\n<\/tr>\n
JONES. TOM<\/td>\nSHE’S A LADY<\/td>\n2\/15\/1971<\/td>\n2<\/td>\n9<\/td>\nPARROT<\/td>\n40058<\/td>\n<\/tr>\n
JONES. TOM<\/td>\nTHUNDERBALL<\/td>\n11\/24\/1965<\/td>\n20<\/td>\n4<\/td>\nPARROT<\/td>\n9801<\/td>\n<\/tr>\n
JONES. TOM<\/td>\nWITH THESE HANDS<\/td>\n9\/1\/1965<\/td>\n23<\/td>\n4<\/td>\nPARROT<\/td>\n9787<\/td>\n<\/tr>\n
JONES. TOM<\/td>\nDETROIT CITY<\/td>\n3\/13\/1967<\/td>\n23<\/td>\n3<\/td>\nPARROT<\/td>\n40012<\/td>\n<\/tr>\n
JONES. TOM<\/td>\nGREEN. GREEN GRASS OF HOME<\/td>\n1\/3\/1967<\/td>\n25<\/td>\n2<\/td>\nPARROT<\/td>\n40009<\/td>\n<\/tr>\n
JONES. TOM<\/td>\nDAUGHTER OF DARKNESS<\/td>\n5\/12\/1970<\/td>\n27<\/td>\n1<\/td>\nPARROT<\/td>\n40048<\/td>\n<\/tr>\n
JONES. TOM<\/td>\nPUPPET MAN<\/td>\n5\/17\/1971<\/td>\n27<\/td>\n4<\/td>\nPARROT<\/td>\n40064<\/td>\n<\/tr>\n
JONES. TOM<\/td>\nLOVE ME TONIGHT<\/td>\n5\/15\/1969<\/td>\n6<\/td>\n7<\/td>\nPARROT<\/td>\n40038<\/td>\n<\/tr>\n
JONES. TOM<\/td>\nWHAT’S NEW PUSSYCAT<\/td>\n7\/7\/1965<\/td>\n7<\/td>\n4<\/td>\nPARROT<\/td>\n9765<\/td>\n<\/tr>\n
JONES. TOM<\/td>\nIT’S NOT UNUSUAL<\/td>\n4\/21\/1965<\/td>\n8<\/td>\n5<\/td>\nPARROT<\/td>\n9737<\/td>\n<\/tr>\n
JOPLIN. JANIS<\/td>\nME AND BOBBY MCGEE<\/td>\n2\/1\/1971<\/td>\n1<\/td>\n11<\/td>\nCOLUMBIA<\/td>\n45314<\/td>\n<\/tr>\n
JUST US<\/td>\nI CAN’T GROW PEACHES ON A CHERRY TREE<\/td>\n2\/9\/1966<\/td>\n6<\/td>\n6<\/td>\nMINUTEMAN<\/td>\n203<\/td>\n<\/tr>\n
KAEMPFERT. BERT<\/td>\nRED ROSES FOR A BLUE LADY<\/td>\n1\/21\/1965<\/td>\n1<\/td>\n9<\/td>\nDECCA<\/td>\n31722<\/td>\n<\/tr>\n
KAEMPFERT. BERT<\/td>\nBYE BYE BLUES<\/td>\n1\/12\/1966<\/td>\n22<\/td>\n4<\/td>\nDECCA<\/td>\n31882<\/td>\n<\/tr>\n
KAEMPFERT. BERT<\/td>\nTHREE O’CLOCK IN THE MORNING<\/td>\n5\/12\/1965<\/td>\n24<\/td>\n2<\/td>\nDECCA<\/td>\n31778<\/td>\n<\/tr>\n
KANE’S COUSINS<\/td>\nTAKE YOUR LOVE<\/td>\n6\/5\/1969<\/td>\n11<\/td>\n4<\/td>\nSHOVE LOVE<\/td>\n500<\/td>\n<\/tr>\n
KASENETZ-KATZ SINGING ORCHESTRAL CIRCUS<\/td>\nDOWN IN TENNESSEE<\/td>\n6\/13\/1968<\/td>\n22<\/td>\n4<\/td>\nBUDDAH<\/td>\n52<\/td>\n<\/tr>\n
KEITH<\/td>\nAIN’T GONNA LIE<\/td>\n8\/15\/1966<\/td>\n11<\/td>\n5<\/td>\nMERCURY<\/td>\n72596<\/td>\n<\/tr>\n
KEITH<\/td>\nNINETY-EIGHT POINT SIX<\/td>\n12\/19\/1966<\/td>\n19<\/td>\n4<\/td>\nMERCURY<\/td>\n72639<\/td>\n<\/tr>\n
KEITH<\/td>\nTELL ME TO MY FACE<\/td>\n3\/20\/1967<\/td>\n26<\/td>\n2<\/td>\nMERCURY<\/td>\n72652<\/td>\n<\/tr>\n
KENNEDY. MIKE<\/td>\nLOUISIANNA<\/td>\n2\/21\/1972<\/td>\n22<\/td>\n5<\/td>\nABC<\/td>\n11309<\/td>\n<\/tr>\n
KENT. AL<\/td>\nYOU’VE GOT TO PAY THE PRICE<\/td>\n8\/21\/1967<\/td>\n4<\/td>\n6<\/td>\nRIC-TIC<\/td>\n127<\/td>\n<\/tr>\n
KIM. ANDY<\/td>\nSHOOT’EM UP. BABY<\/td>\n8\/1\/1968<\/td>\n14<\/td>\n7<\/td>\nSTEED<\/td>\n710<\/td>\n<\/tr>\n
KIM. ANDY<\/td>\nSO GOOD TOGETHER<\/td>\n9\/11\/1969<\/td>\n17<\/td>\n5<\/td>\nSTEED<\/td>\n720<\/td>\n<\/tr>\n
KIM. ANDY<\/td>\nBE MY BABY<\/td>\n10\/19\/1970<\/td>\n20<\/td>\n4<\/td>\nSTEED<\/td>\n729<\/td>\n<\/tr>\n
KIM. ANDY<\/td>\nRAINBOW RIDE<\/td>\n11\/14\/1968<\/td>\n22<\/td>\n3<\/td>\nSTEED<\/td>\n711<\/td>\n<\/tr>\n
KIM. ANDY<\/td>\nHOW’D WE EVER GET THIS WAY<\/td>\n3\/21\/1968<\/td>\n5<\/td>\n9<\/td>\nSTEED<\/td>\n707<\/td>\n<\/tr>\n
KIM. ANDY<\/td>\nBABY. I LOVE YOU<\/td>\n6\/12\/1969<\/td>\n6<\/td>\n7<\/td>\nSTEED<\/td>\n716<\/td>\n<\/tr>\n
KING CURTIS<\/td>\nMEMPHIS SOUL STEW<\/td>\n9\/18\/1967<\/td>\n23<\/td>\n3<\/td>\nATCO<\/td>\n6511<\/td>\n<\/tr>\n
KING FLOYD<\/td>\nGROOVE ME<\/td>\n12\/14\/1970<\/td>\n2<\/td>\n9<\/td>\nCHIMNEYVILLE<\/td>\n435<\/td>\n<\/tr>\n
KING FLOYD<\/td>\nBABY LET ME KISS YOU<\/td>\n4\/5\/1971<\/td>\n26<\/td>\n2<\/td>\nCHIMNEYVILLE<\/td>\n437<\/td>\n<\/tr>\n
KING GUION<\/td>\nMONTE CARLO<\/td>\n5\/7\/1964<\/td>\n20<\/td>\n3<\/td>\nCANADIAN AMERICAN<\/td>\n1 70<\/td>\n<\/tr>\n
KING. ANNA\\BYRD. BOBBY<\/td>\nBABY BABY BABY<\/td>\n4\/2\/1964<\/td>\n30<\/td>\n1<\/td>\nSMASH<\/td>\n1884<\/td>\n<\/tr>\n
KING. B*B*<\/td>\nTHRILL IS GONE -THE-<\/td>\n1\/6\/1970<\/td>\n18<\/td>\n6<\/td>\nBLUESWAY<\/td>\n61032<\/td>\n<\/tr>\n
KING. B*B*<\/td>\nAIN’T NOBODY HOME<\/td>\n12\/13\/1971<\/td>\n7<\/td>\n6<\/td>\nABC<\/td>\n11316<\/td>\n<\/tr>\n
KING. CAROLE<\/td>\nIT’S TOO LATE<\/td>\n5\/17\/1971<\/td>\n1<\/td>\n11<\/td>\nODE<\/td>\n66015<\/td>\n<\/tr>\n
KING. CAROLE<\/td>\nSWEET SEASONS<\/td>\n1\/17\/1972<\/td>\n13<\/td>\n6<\/td>\nODE<\/td>\n66022<\/td>\n<\/tr>\n
KING. JONATHAN<\/td>\nEVERYONE’S GONE TO THE MOON<\/td>\n9\/22\/1965<\/td>\n16<\/td>\n4<\/td>\nPARROT<\/td>\n9774<\/td>\n<\/tr>\n
KING. RAMONA<\/td>\nIT’S IN HIS KISS<\/td>\n2\/27\/1964<\/td>\n9<\/td>\n7<\/td>\nWARNER BROS.<\/td>\n5416<\/td>\n<\/tr>\n
KINGSMEN<\/td>\nLOUIE LOUIE<\/td>\n11\/7\/1963<\/td>\n1<\/td>\n8<\/td>\nWAND<\/td>\n143<\/td>\n<\/tr>\n
KINGSMEN<\/td>\nMONEY<\/td>\n3\/5\/1964<\/td>\n11<\/td>\n8<\/td>\nWAND<\/td>\n150<\/td>\n<\/tr>\n
KINGSMEN<\/td>\nANNIE FANNY<\/td>\n8\/11\/1965<\/td>\n13<\/td>\n5<\/td>\nWAND<\/td>\n189<\/td>\n<\/tr>\n
KINGSMEN<\/td>\nCLIMB -THE-<\/td>\n4\/21\/1965<\/td>\n19<\/td>\n3<\/td>\nWAND<\/td>\n183<\/td>\n<\/tr>\n
KINGSMEN<\/td>\nJOLLY GREEN GIANT -THE-<\/td>\n12\/24\/1964<\/td>\n4<\/td>\n7<\/td>\nWAND<\/td>\n172<\/td>\n<\/tr>\n
KINGSMEN<\/td>\nLONG GREEN<\/td>\n12\/31\/1964<\/td>\n4<\/td>\n6<\/td>\nWAND<\/td>\n172<\/td>\n<\/tr>\n
KINGSMEN<\/td>\nLOUIE LOUIE<\/td>\n3\/23\/1966<\/td>\n4<\/td>\n7<\/td>\nWAND<\/td>\n143<\/td>\n<\/tr>\n
KINGSMEN<\/td>\nLITTLE LATIN LUPE LU<\/td>\n7\/3\/1964<\/td>\n6<\/td>\n9<\/td>\nWAND<\/td>\n157<\/td>\n<\/tr>\n
KINGSMEN<\/td>\nDAVID’S MOOD<\/td>\n7\/9\/1964<\/td>\n6<\/td>\n8<\/td>\nWAND<\/td>\n157<\/td>\n<\/tr>\n
KINGSMEN<\/td>\nLOUIE LOUIE<\/td>\n3\/17\/1965<\/td>\n6<\/td>\n2<\/td>\nWAND<\/td>\n143<\/td>\n<\/tr>\n
KINGSMEN<\/td>\nDEATH OF AN ANGEL<\/td>\n9\/10\/1964<\/td>\n8<\/td>\n4<\/td>\nWAND<\/td>\n164<\/td>\n<\/tr>\n
KINGTONES<\/td>\nTWINS<\/td>\n1\/30\/1964<\/td>\n17<\/td>\n6<\/td>\nDERRY<\/td>\n101<\/td>\n<\/tr>\n
KINKS<\/td>\nLOLA<\/td>\n9\/21\/1970<\/td>\n1<\/td>\n10<\/td>\nREPRISE<\/td>\n0930<\/td>\n<\/tr>\n
KINKS<\/td>\nTIRED OF WAITING FOR YOU<\/td>\n3\/31\/1965<\/td>\n14<\/td>\n2<\/td>\nREPRISE<\/td>\n0347<\/td>\n<\/tr>\n
KINKS<\/td>\nTILL THE END OF THE DAY<\/td>\n4\/6\/1966<\/td>\n16<\/td>\n4<\/td>\nREPRISE<\/td>\n0454<\/td>\n<\/tr>\n
KINKS<\/td>\nALL DAY AND ALL OF THE NIGHT<\/td>\n12\/17\/1964<\/td>\n17<\/td>\n3<\/td>\nREPRISE<\/td>\n0334<\/td>\n<\/tr>\n
KINKS<\/td>\nWELL RESPECTED MAN -A-<\/td>\n12\/29\/1965<\/td>\n5<\/td>\n7<\/td>\nREPRISE<\/td>\n0420<\/td>\n<\/tr>\n
KINKS<\/td>\nCOME ON NOW<\/td>\n2\/25\/1965<\/td>\n7<\/td>\n7<\/td>\nREPRISE<\/td>\n0347<\/td>\n<\/tr>\n
KINKS<\/td>\nYOU REALLY GOT ME<\/td>\n9\/24\/1964<\/td>\n8<\/td>\n5<\/td>\nREPRISE<\/td>\n0306<\/td>\n<\/tr>\n
KIRBY. KATHY<\/td>\nWAY OF LOVE -THE-<\/td>\n8\/25\/1965<\/td>\n19<\/td>\n4<\/td>\nPARROT<\/td>\n9775<\/td>\n<\/tr>\n
KISSOON. MAC & KATIE<\/td>\nCHIRPY CHIRPY CHEEP CHEEP<\/td>\n7\/26\/1971<\/td>\n31<\/td>\n1<\/td>\nABC<\/td>\n11306<\/td>\n<\/tr>\n
KNICKERBOCKERS<\/td>\nLIES<\/td>\n12\/22\/1965<\/td>\n16<\/td>\n6<\/td>\nCHALLENGE<\/td>\n59321<\/td>\n<\/tr>\n
KNIGHT BROTHERS<\/td>\nTEMPTATION ‘BOUT TO GET ME<\/td>\n5\/26\/1965<\/td>\n26<\/td>\n2<\/td>\nCHECKER<\/td>\n1107<\/td>\n<\/tr>\n
KNIGHT. GLADYS\/& THE PIPS<\/td>\nI HEARD IT THROUGH THE GRAPEVINE<\/td>\n11\/2\/1967<\/td>\n1<\/td>\n8<\/td>\nSOUL<\/td>\n35039<\/td>\n<\/tr>\n
KNIGHT. GLADYS\/& THE PIPS<\/td>\nNITTY GRITTY -THE-<\/td>\n7\/24\/1969<\/td>\n13<\/td>\n5<\/td>\nSOUL<\/td>\n35063<\/td>\n<\/tr>\n
KNIGHT. GLADYS\/& THE PIPS<\/td>\nYOU NEED LOVE LIKE I DO
\n<DON’T YOU><\/td>\n		3\/10\/1970<\/td>\n16<\/td>\n7<\/td>\nSOUL<\/td>\n35071<\/td>\n<\/tr>\n
KNIGHT. GLADYS\/& THE PIPS<\/td>\nIT SHOULD HAVE BEEN ME<\/td>\n5\/29\/1968<\/td>\n17<\/td>\n4<\/td>\nSOUL<\/td>\n35045<\/td>\n<\/tr>\n
KNIGHT. GLADYS\/& THE PIPS<\/td>\nEVERYBODY NEEDS LOVE<\/td>\n7\/24\/1967<\/td>\n18<\/td>\n3<\/td>\nSOUL<\/td>\n35034<\/td>\n<\/tr>\n
KNIGHT. GLADYS\/& THE PIPS<\/td>\nEND OF OUR ROAD -THE-<\/td>\n1\/25\/1968<\/td>\n18<\/td>\n6<\/td>\nSOUL<\/td>\n35042<\/td>\n<\/tr>\n
KNIGHT. GLADYS\/& THE PIPS<\/td>\nIF I WERE YOUR WOMAN<\/td>\n11\/9\/1970<\/td>\n2<\/td>\n11<\/td>\nSOUL<\/td>\n35078<\/td>\n<\/tr>\n
KNIGHT. GLADYS\/& THE PIPS<\/td>\nI WISH IT WOULD RAIN<\/td>\n8\/15\/1968<\/td>\n20<\/td>\n5<\/td>\nSOUL<\/td>\n35047<\/td>\n<\/tr>\n
KNIGHT. GLADYS\/& THE PIPS<\/td>\nGIVING UP<\/td>\n4\/16\/1964<\/td>\n21<\/td>\n2<\/td>\nMAXX<\/td>\n326<\/td>\n<\/tr>\n
KNIGHT. GLADYS\/& THE PIPS<\/td>\nDIDN’T YOU KNOW YOU’D HAVE TO CRY SOMETIME<\/td>\n2\/20\/1969<\/td>\n25<\/td>\n2<\/td>\nSOUL<\/td>\n35057<\/td>\n<\/tr>\n
KNIGHT. GLADYS\/& THE PIPS<\/td>\nFRIENDSHIP TRAIN<\/td>\n10\/16\/1969<\/td>\n5<\/td>\n7<\/td>\nSOUL<\/td>\n35068<\/td>\n<\/tr>\n
KNIGHT. GLADYS\/& THE PIPS<\/td>\nI DON’T WANT TO DO WRONG<\/td>\n5\/24\/1971<\/td>\n7<\/td>\n6<\/td>\nSOUL<\/td>\n35083<\/td>\n<\/tr>\n
KNIGHT. JEAN<\/td>\nMISTER BIG STUFF<\/td>\n6\/7\/1971<\/td>\n4<\/td>\n9<\/td>\nSTAX<\/td>\n0088<\/td>\n<\/tr>\n
KNIGHT. ROBERT<\/td>\nEVERLASTING LOVE<\/td>\n9\/18\/1967<\/td>\n1<\/td>\n8<\/td>\nRISING SONS<\/td>\n705<\/td>\n<\/tr>\n
KNIGHT. TERRY<\/td>\nSAINT PAUL<\/td>\n5\/15\/1969<\/td>\n22<\/td>\n4<\/td>\nCAPITOL<\/td>\n2506<\/td>\n<\/tr>\n
KNIGHT. TERRY\/& THE PACK<\/td>\nBETTER MAN THAN I<\/td>\n3\/30\/1966<\/td>\n10<\/td>\n6<\/td>\nLUCKY ELEVEN<\/td>\n226<\/td>\n<\/tr>\n
KNIGHT. TERRY\/& THE PACK<\/td>\nCHANGE ON THE WAY -A-<\/td>\n7\/18\/1966<\/td>\n14<\/td>\n5<\/td>\nLUCKY ELEVEN<\/td>\n229<\/td>\n<\/tr>\n
KNIGHT. TERRY\/& THE PACK<\/td>\nTHIS PRECIOUS TIME<\/td>\n1\/23\/1967<\/td>\n18<\/td>\n4<\/td>\nLUCKY ELEVEN<\/td>\n235<\/td>\n<\/tr>\n
KNIGHT. TERRY\/& THE PACK<\/td>\nI<\/td>\n11\/14\/1966<\/td>\n8<\/td>\n6<\/td>\nLUCKY ELEVEN<\/td>\n230<\/td>\n<\/tr>\n
KOOL & THE GANG<\/td>\nKOOL AND THE GANG<\/td>\n10\/9\/1969<\/td>\n19<\/td>\n4<\/td>\nDE-LITE<\/td>\n519<\/td>\n<\/tr>\n
KRAMER. BILLY J*<\/td>\nLITTLE CHILDREN<\/td>\n4\/23\/1964<\/td>\n11<\/td>\n5<\/td>\nIMPERIAL<\/td>\n66027<\/td>\n<\/tr>\n
KRAMER. BILLY J*<\/td>\nBAD TO ME<\/td>\n6\/18\/1964<\/td>\n11<\/td>\n5<\/td>\nIMPERIAL<\/td>\n66027<\/td>\n<\/tr>\n
KRAMER. BILLY J*<\/td>\nTRAINS AND BOATS AND PLANES<\/td>\n6\/9\/1965<\/td>\n14<\/td>\n5<\/td>\nIMPERIAL<\/td>\n66115<\/td>\n<\/tr>\n
KRAMER. BILLY J*<\/td>\nFROM A WINDOW<\/td>\n8\/27\/1964<\/td>\n15<\/td>\n5<\/td>\nIMPERIAL<\/td>\n66051<\/td>\n<\/tr>\n
KRAMER. BILLY J*<\/td>\nIT’S GOTTA LAST FOREVER<\/td>\n2\/11\/1965<\/td>\n25<\/td>\n3<\/td>\nIMPERIAL<\/td>\n66085<\/td>\n<\/tr>\n
KRAMER. BILLY J*<\/td>\nI’LL KEEP YOU SATISFIED<\/td>\n7\/23\/1964<\/td>\n28<\/td>\n2<\/td>\nIMPERIAL<\/td>\n66048<\/td>\n<\/tr>\n
KUBAN. BOB\/& THE IN-MEN<\/td>\nCHEATER -THE-<\/td>\n1\/26\/1966<\/td>\n25<\/td>\n2<\/td>\nMUSICLAND U.S.A<\/td>\n20001<\/td>\n<\/tr>\n
LAINE. FRANKIE<\/td>\nYOU GAVE ME A MOUNTAIN<\/td>\n1\/23\/1969<\/td>\n8<\/td>\n7<\/td>\nABC<\/td>\n11174<\/td>\n<\/tr>\n
LAMP SISTERS<\/td>\nWOMAN WITH THE BLUES<\/td>\n2\/22\/1968<\/td>\n24<\/td>\n3<\/td>\nDUKE<\/td>\n427<\/td>\n<\/tr>\n
LANCE. MAJOR<\/td>\nSTAY AWAY FROM ME (I LOVE YOU TOO MUCH)<\/td>\n8\/31\/1970<\/td>\n10<\/td>\n8<\/td>\nCURTOM<\/td>\n1953<\/td>\n<\/tr>\n
LANCE. MAJOR<\/td>\nRHYTHM<\/td>\n8\/20\/1964<\/td>\n18<\/td>\n5<\/td>\nOKEH<\/td>\n7203<\/td>\n<\/tr>\n
LANCE. MAJOR<\/td>\nMATADOR -THE-<\/td>\n4\/9\/1964<\/td>\n24<\/td>\n2<\/td>\nOKEH<\/td>\n7191<\/td>\n<\/tr>\n
LANCE. MAJOR<\/td>\nSOMETIMES I WONDER<\/td>\n1\/7\/1965<\/td>\n26<\/td>\n1<\/td>\nOKEH<\/td>\n7209<\/td>\n<\/tr>\n
LANCE. MAJOR<\/td>\nCOME SEE<\/td>\n3\/17\/1965<\/td>\n31<\/td>\n1<\/td>\nOKEH<\/td>\n7216<\/td>\n<\/tr>\n
LANCE. MAJOR<\/td>\nUM. UM. UM. UM. UM. UM<\/td>\n12\/26\/1963<\/td>\n7<\/td>\n5<\/td>\nOKEH<\/td>\n7187<\/td>\n<\/tr>\n
LANE. MICKEY LEE<\/td>\nTUITTI FRUITTI<\/td>\n1\/16\/1969<\/td>\n24<\/td>\n3<\/td>\nMALA<\/td>\n12032<\/td>\n<\/tr>\n
LARKS<\/td>\nJERK -THE-<\/td>\n10\/29\/1964<\/td>\n12<\/td>\n6<\/td>\nMONEY<\/td>\n106<\/td>\n<\/tr>\n
LASALLE. DENISE<\/td>\nTRAPPED BY A THING CALLED LOVE<\/td>\n7\/26\/1971<\/td>\n4<\/td>\n9<\/td>\nWESTBOUND<\/td>\n182<\/td>\n<\/tr>\n
LASALLE. DENISE<\/td>\nNOW RUN AND TELL THAT<\/td>\n1\/24\/1972<\/td>\n5<\/td>\n9<\/td>\nWESTBOUND<\/td>\n201<\/td>\n<\/tr>\n
LASKY. EMANUEL<\/td>\nI NEED SOMEBODY<\/td>\n4\/9\/1964<\/td>\n15<\/td>\n4<\/td>\nTHELMA<\/td>\nNA<\/td>\n<\/tr>\n
LASKY. EMANUEL<\/td>\nMORE LOVE<\/td>\n1\/30\/1969<\/td>\n15<\/td>\n3<\/td>\nWESTBOUND<\/td>\n143<\/td>\n<\/tr>\n
LASKY. EMANUEL<\/td>\nCRAZY<\/td>\n10\/15\/1964<\/td>\n22<\/td>\n3<\/td>\nTHELMA<\/td>\nNA<\/td>\n<\/tr>\n
LAST WORD<\/td>\nCAN’T STOP LOVING YOU<\/td>\n10\/19\/1967<\/td>\n20<\/td>\n4<\/td>\nATCO<\/td>\n6498<\/td>\n<\/tr>\n
LEAPY LEE<\/td>\nLITTLE ARROWS<\/td>\n10\/10\/1968<\/td>\n19<\/td>\n4<\/td>\nDECCA<\/td>\n32380<\/td>\n<\/tr>\n
LEAVES<\/td>\nHEY JOE<\/td>\n5\/23\/1966<\/td>\n13<\/td>\n6<\/td>\nMIRA<\/td>\n222<\/td>\n<\/tr>\n
LEAVILLE. OTIS<\/td>\nLOVE UPRISING<\/td>\n8\/31\/1970<\/td>\n8<\/td>\n7<\/td>\nDAKAR<\/td>\n620<\/td>\n<\/tr>\n
LED ZEPPELIN<\/td>\nWHOLE LOTTA LOVE<\/td>\n11\/26\/1969<\/td>\n5<\/td>\n11<\/td>\nATLANTIC<\/td>\n2690<\/td>\n<\/tr>\n
LED ZEPPELIN<\/td>\nBLACK DOG<\/td>\n12\/20\/1971<\/td>\n9<\/td>\n8<\/td>\nATLANTIC<\/td>\n2849<\/td>\n<\/tr>\n
LEE. BRENDA<\/td>\nAS USUAL<\/td>\n12\/5\/1963<\/td>\n11<\/td>\n5<\/td>\nDECCA<\/td>\n31570<\/td>\n<\/tr>\n
LEE. BRENDA<\/td>\nRUSTY BELLS<\/td>\n10\/13\/1965<\/td>\n18<\/td>\n5<\/td>\nDECCA<\/td>\n31849<\/td>\n<\/tr>\n
LEE. BRENDA<\/td>\nIS IT TRUE<\/td>\n10\/1\/1964<\/td>\n19<\/td>\n5<\/td>\nDECCA<\/td>\n31690<\/td>\n<\/tr>\n
LEE. BRENDA<\/td>\nTHANKS A LOT<\/td>\n12\/31\/1964<\/td>\n22<\/td>\n3<\/td>\nDECCA<\/td>\n31728<\/td>\n<\/tr>\n
LEE. BRENDA<\/td>\nTHINK<\/td>\n3\/5\/1964<\/td>\n25<\/td>\n3<\/td>\nDECCA<\/td>\n31599<\/td>\n<\/tr>\n
LEE. BRENDA<\/td>\nWAITING GAME -THE-<\/td>\n3\/5\/1964<\/td>\n25<\/td>\n3<\/td>\nDECCA<\/td>\n31599<\/td>\n<\/tr>\n
LEE. BRENDA<\/td>\nWHEN YOU LOVED ME<\/td>\n8\/6\/1964<\/td>\n25<\/td>\n2<\/td>\nDECCA<\/td>\n31654<\/td>\n<\/tr>\n
LEE. BRENDA<\/td>\nRIDE. RIDE. RIDE<\/td>\n1\/23\/1967<\/td>\n26<\/td>\n2<\/td>\nDECCA<\/td>\n32079<\/td>\n<\/tr>\n
LEE. BRENDA<\/td>\nCOMING ON STRONG<\/td>\n10\/10\/1966<\/td>\n3<\/td>\n6<\/td>\nDECCA<\/td>\n32018<\/td>\n<\/tr>\n
LEE. BRENDA<\/td>\nTOO MANY RIVERS<\/td>\n6\/23\/1965<\/td>\n9<\/td>\n6<\/td>\nDECCA<\/td>\n31792<\/td>\n<\/tr>\n
LEE. DICKEY<\/td>\nLAURIE (STRANGE THINGS HAPPEN)<\/td>\n6\/2\/1965<\/td>\n16<\/td>\n5<\/td>\nTCF HALL<\/td>\n102<\/td>\n<\/tr>\n
LEE. LAURA<\/td>\nWOMEN’S LOVE RIGHTS<\/td>\n8\/23\/1971<\/td>\n9<\/td>\n6<\/td>\nHOT WAX<\/td>\n7105<\/td>\n<\/tr>\n
LEE. PEGGY<\/td>\nIS THAT ALL THERE IS<\/td>\n10\/9\/1969<\/td>\n16<\/td>\n5<\/td>\nCAPITOL<\/td>\n2602<\/td>\n<\/tr>\n
LEFEVRE. RAYMOND<\/td>\nSOUL COAXING (AME CALINE)<\/td>\n2\/15\/1968<\/td>\n4<\/td>\n6<\/td>\nFOUR CORNERS OF THE WORLD<\/td>\n147<\/td>\n<\/tr>\n
LEFT BANKE<\/td>\nPRETTY BALLERINA<\/td>\n1\/9\/1967<\/td>\n17<\/td>\n5<\/td>\nSMASH<\/td>\n2074<\/td>\n<\/tr>\n
LEFT BANKE<\/td>\nWALK AWAY RENEE<\/td>\n9\/19\/1966<\/td>\n5<\/td>\n7<\/td>\nSMASH<\/td>\n2041<\/td>\n<\/tr>\n
LEMON PIPERS<\/td>\nGREEN TAMBOURINE<\/td>\n11\/30\/1967<\/td>\n1<\/td>\n9<\/td>\nBUDDAH<\/td>\n23<\/td>\n<\/tr>\n
LENNON. JOHN<\/td>\nPOWER TO THE PEOPLE<\/td>\n3\/15\/1971<\/td>\n15<\/td>\n6<\/td>\nAPPLE<\/td>\n1830<\/td>\n<\/tr>\n
LENNON. JOHN<\/td>\nGIVE PEACE A CHANCE<\/td>\n7\/10\/1969<\/td>\n3<\/td>\n7<\/td>\nAPPLE<\/td>\n1809<\/td>\n<\/tr>\n
LENNON. JOHN<\/td>\nIMAGINE<\/td>\n9\/13\/1971<\/td>\n3<\/td>\n11<\/td>\nAPPLE<\/td>\n1840<\/td>\n<\/tr>\n
LENNON. JOHN<\/td>\nINSTANT KARMA (WE ALL SHINE ON)<\/td>\n2\/24\/1970<\/td>\n5<\/td>\n7<\/td>\nAPPLE<\/td>\n1818<\/td>\n<\/tr>\n
LETTERMEN<\/td>\nGOIN’ OUT OF MY HEAD\/CAN’T TAKE MY EYES OFF YOU<\/td>\n11\/16\/1967<\/td>\n22<\/td>\n3<\/td>\nCAPITOL<\/td>\n2054<\/td>\n<\/tr>\n
LETTERMEN<\/td>\nHURT SO BAD<\/td>\n7\/17\/1969<\/td>\n7<\/td>\n8<\/td>\nCAPITOL<\/td>\n2482<\/td>\n<\/tr>\n
LEWIS. BARBARA<\/td>\nBABY. I’M YOURS<\/td>\n5\/26\/1965<\/td>\n1<\/td>\n8<\/td>\nATLANTIC<\/td>\n2283<\/td>\n<\/tr>\n
LEWIS. BARBARA<\/td>\nMAKE ME BELONG TO YOU<\/td>\n7\/11\/1966<\/td>\n15<\/td>\n5<\/td>\nATLANTIC<\/td>\n2346<\/td>\n<\/tr>\n
LEWIS. BARBARA<\/td>\nSNAP YOUR FINGERS<\/td>\n12\/19\/1963<\/td>\n24<\/td>\n2<\/td>\nATLANTIC<\/td>\n2214<\/td>\n<\/tr>\n
LEWIS. BARBARA<\/td>\nMAKE ME YOUR BABY<\/td>\n9\/29\/1965<\/td>\n6<\/td>\n6<\/td>\nATLANTIC<\/td>\n2300<\/td>\n<\/tr>\n
LEWIS. GARY\/& THE PLAYBOYS<\/td>\nTHIS DIAMOND RING<\/td>\n12\/24\/1964<\/td>\n1<\/td>\n8<\/td>\nLIBERTY<\/td>\n55756<\/td>\n<\/tr>\n
LEWIS. GARY\/& THE PLAYBOYS<\/td>\nSHE’S JUST MY STYLE<\/td>\n11\/24\/1965<\/td>\n10<\/td>\n7<\/td>\nLIBERTY<\/td>\n55846<\/td>\n<\/tr>\n
LEWIS. GARY\/& THE PLAYBOYS<\/td>\nGREEN GRASS<\/td>\n4\/27\/1966<\/td>\n10<\/td>\n5<\/td>\nLIBERTY<\/td>\n55880<\/td>\n<\/tr>\n
LEWIS. GARY\/& THE PLAYBOYS<\/td>\nSURE GONNA MISS HER<\/td>\n3\/9\/1966<\/td>\n16<\/td>\n5<\/td>\nLIBERTY<\/td>\n55865<\/td>\n<\/tr>\n
LEWIS. GARY\/& THE PLAYBOYS<\/td>\nLOSER
\n-THE-<\/td>\n		2\/20\/1967<\/td>\n18<\/td>\n3<\/td>\nLIBERTY<\/td>\n55949<\/td>\n<\/tr>\n
LEWIS. GARY\/& THE PLAYBOYS<\/td>\nSEALED WITH A KISS<\/td>\n7\/25\/1968<\/td>\n2<\/td>\n9<\/td>\nLIBERTY<\/td>\n56037<\/td>\n<\/tr>\n
LEWIS. GARY\/& THE PLAYBOYS<\/td>\nGIRLS IN LOVE<\/td>\n5\/8\/1967<\/td>\n20<\/td>\n4<\/td>\nLIBERTY<\/td>\n55971<\/td>\n<\/tr>\n
LEWIS. GARY\/& THE PLAYBOYS<\/td>\nPAINT ME A PICTURE (YOU DON’T HAVE TO)<\/td>\n10\/10\/1966<\/td>\n21<\/td>\n5<\/td>\nLIBERTY<\/td>\n55914<\/td>\n<\/tr>\n
LEWIS. GARY\/& THE PLAYBOYS<\/td>\nWHERE WILL THE WORDS COME FROM<\/td>\n12\/19\/1966<\/td>\n21<\/td>\n4<\/td>\nLIBERTY<\/td>\n55933<\/td>\n<\/tr>\n
LEWIS. GARY\/& THE PLAYBOYS<\/td>\nCOUNT ME IN<\/td>\n3\/24\/1965<\/td>\n3<\/td>\n7<\/td>\nLIBERTY<\/td>\n55778<\/td>\n<\/tr>\n
LEWIS. GARY\/& THE PLAYBOYS<\/td>\nSAVE YOUR HEART FOR ME<\/td>\n7\/7\/1965<\/td>\n5<\/td>\n5<\/td>\nLIBERTY<\/td>\n55809<\/td>\n<\/tr>\n
LEWIS. GARY\/& THE PLAYBOYS<\/td>\nEVERYBODY LOVES A CLOWN<\/td>\n9\/15\/1965<\/td>\n8<\/td>\n6<\/td>\nLIBERTY<\/td>\n55818<\/td>\n<\/tr>\n
LEWIS. RAMSEY<\/td>\nIN’ CROWD -THE-<\/td>\n7\/14\/1965<\/td>\n4<\/td>\n6<\/td>\nARGO<\/td>\n5506<\/td>\n<\/tr>\n
LEWIS. RAMSEY<\/td>\nWADE IN THE WATER<\/td>\n7\/18\/1966<\/td>\n5<\/td>\n6<\/td>\nCADET<\/td>\n5541<\/td>\n<\/tr>\n
LIGHTFOOT. GORDON<\/td>\nIF YOU COULD READ MY MIND<\/td>\n12\/7\/1970<\/td>\n4<\/td>\n10<\/td>\nREPRISE<\/td>\n0974<\/td>\n<\/tr>\n
LIGHTHOUSE<\/td>\nONE FINE MORNING<\/td>\n9\/7\/1971<\/td>\n19<\/td>\n4<\/td>\nEVOLUTION<\/td>\n1048<\/td>\n<\/tr>\n
LIND. BOB<\/td>\nELUSIVE BUTTERFLY<\/td>\n1\/19\/1966<\/td>\n6<\/td>\n7<\/td>\nWORLD PACIFIC<\/td>\n77808<\/td>\n<\/tr>\n
LINDSAY. MARK<\/td>\nMISS AMERICA<\/td>\n3\/31\/1970<\/td>\n21<\/td>\n3<\/td>\nCOLUMBIA<\/td>\n45125<\/td>\n<\/tr>\n
LINDSAY. MARK<\/td>\nARIZONA<\/td>\n12\/25\/1969<\/td>\n3<\/td>\n11<\/td>\nCOLUMBIA<\/td>\n45037<\/td>\n<\/tr>\n
LINDSEY. THERESA<\/td>\nGOTTA FIND A WAY<\/td>\n12\/26\/1963<\/td>\n16<\/td>\n6<\/td>\nCORREC-TONE<\/td>\n5840<\/td>\n<\/tr>\n
LITTLE ANTHONY & THE IMPERIALS<\/td>\nHURT SO BAD<\/td>\n1\/28\/1965<\/td>\n11<\/td>\n5<\/td>\nDCP<\/td>\n1128<\/td>\n<\/tr>\n
LITTLE ANTHONY & THE IMPERIALS<\/td>\nI’M ON THE OUTSIDE<\/td>\n8\/20\/1964<\/td>\n13<\/td>\n5<\/td>\nDCP<\/td>\n1104<\/td>\n<\/tr>\n
LITTLE ANTHONY & THE IMPERIALS<\/td>\nBETTER USE YOUR HEAD<\/td>\n5\/23\/1966<\/td>\n25<\/td>\n2<\/td>\nVEEP<\/td>\n1228<\/td>\n<\/tr>\n
LITTLE ANTHONY & THE IMPERIALS<\/td>\nGOIN’ OUT OF MY HEAD<\/td>\n11\/5\/1964<\/td>\n4<\/td>\n6<\/td>\nDCP<\/td>\n1119<\/td>\n<\/tr>\n
LITTLE ANTHONY & THE IMPERIALS<\/td>\nTAKE ME BACK<\/td>\n7\/7\/1965<\/td>\n7<\/td>\n5<\/td>\nDCP<\/td>\n1136<\/td>\n<\/tr>\n
LITTLE CAESAR & THE CONSULS<\/td>\nSLOOPY (MY GIRL)<\/td>\n8\/11\/1965<\/td>\n16<\/td>\n2<\/td>\nMALA<\/td>\n512<\/td>\n<\/tr>\n
LITTLE SISTER<\/td>\nSOMEBODY’S WATCHING YOU<\/td>\n1\/4\/1971<\/td>\n24<\/td>\n5<\/td>\nSTONE FLOWER<\/td>\n9001<\/td>\n<\/tr>\n
LITTLE SISTER<\/td>\nYOU’RE THE ONE – PART 1<\/td>\n3\/10\/1970<\/td>\n9<\/td>\n6<\/td>\nSTONE FLOWER<\/td>\n9000<\/td>\n<\/tr>\n
LOBO<\/td>\nME AND YOU AND A DOG NAMED BOO<\/td>\n3\/22\/1971<\/td>\n12<\/td>\n9<\/td>\nBIG TREE<\/td>\n112<\/td>\n<\/tr>\n
LOBO<\/td>\nSHE DIDN’T DO MAGIC<\/td>\n7\/13\/1971<\/td>\n29<\/td>\n2<\/td>\nBIG TREE<\/td>\n116<\/td>\n<\/tr>\n
LONDON. PAUL<\/td>\nHEY BOY<\/td>\n1\/30\/1964<\/td>\n20<\/td>\n4<\/td>\nLIMELIGHT<\/td>\n3015<\/td>\n<\/tr>\n
LONETTE<\/td>\nSTOP<\/td>\n6\/13\/1968<\/td>\n16<\/td>\n4<\/td>\nM-S<\/td>\n208<\/td>\n<\/tr>\n
LOPEZ. TRINI<\/td>\nKANSAS CITY<\/td>\n11\/28\/1963<\/td>\n23<\/td>\n1<\/td>\nREPRISE<\/td>\n20236<\/td>\n<\/tr>\n
LOS BRAVOS<\/td>\nBRING A LITTLE LOVIN’<\/td>\n5\/16\/1968<\/td>\n15<\/td>\n4<\/td>\nPARROT<\/td>\n3020<\/td>\n<\/tr>\n
LOS BRAVOS<\/td>\nBLACK IS BLACK<\/td>\n8\/29\/1966<\/td>\n24<\/td>\n3<\/td>\nPRESS<\/td>\n60002<\/td>\n<\/tr>\n
LOST GENERATION<\/td>\nSLY. SLICK AND THE WICKED -THE-<\/td>\n7\/27\/1970<\/td>\n24<\/td>\n2<\/td>\nBRUNSWICK<\/td>\n55436<\/td>\n<\/tr>\n
LOVE<\/td>\nSEVEN AND SEVEN IS<\/td>\n8\/22\/1966<\/td>\n17<\/td>\n3<\/td>\nELEKTRA<\/td>\n45605<\/td>\n<\/tr>\n
LOVE<\/td>\nMY LITTLE RED BOOK<\/td>\n4\/13\/1966<\/td>\n3<\/td>\n8<\/td>\nELEKTRA<\/td>\n45603<\/td>\n<\/tr>\n
LOVE GENERATION<\/td>\nGROOVY SUMMERTIME<\/td>\n7\/17\/1967<\/td>\n24<\/td>\n3<\/td>\nIMPERIAL<\/td>\n66243<\/td>\n<\/tr>\n
LOVIN’ SPOONFUL<\/td>\nNASHVILLE CATS<\/td>\n12\/5\/1966<\/td>\n16<\/td>\n4<\/td>\nKAMA SUTRA<\/td>\n21<\/td>\n<\/tr>\n
LOVIN’ SPOONFUL<\/td>\nYOU DIDN’T HAVE TO BE SO NICE<\/td>\n12\/1\/1965<\/td>\n18<\/td>\n6<\/td>\nKAMA SUTRA<\/td>\n205<\/td>\n<\/tr>\n
LOVIN’ SPOONFUL<\/td>\nDID YOU EVER HAVE TO MAKE UP YOUR MIND<\/td>\n5\/9\/1966<\/td>\n19<\/td>\n5<\/td>\nKAMA SUTRA<\/td>\n209<\/td>\n<\/tr>\n
LOVIN’ SPOONFUL<\/td>\nRAIN ON THE ROOF<\/td>\n10\/17\/1966<\/td>\n20<\/td>\n4<\/td>\nKAMA SUTRA<\/td>\n216<\/td>\n<\/tr>\n
LOVIN’ SPOONFUL<\/td>\nSHE IS STILL A MYSTERY<\/td>\n10\/5\/1967<\/td>\n20<\/td>\n4<\/td>\nKAMA SUTRA<\/td>\n239<\/td>\n<\/tr>\n
LOVIN’ SPOONFUL<\/td>\nSIX O’CLOCK<\/td>\n5\/1\/1967<\/td>\n21<\/td>\n3<\/td>\nKAMA SUTRA<\/td>\n225<\/td>\n<\/tr>\n
LOVIN’ SPOONFUL<\/td>\nDARLING BE HOME SOON<\/td>\n1\/30\/1967<\/td>\n23<\/td>\n3<\/td>\nKAMA SUTRA<\/td>\n220<\/td>\n<\/tr>\n
LOVIN’ SPOONFUL<\/td>\nMONEY<\/td>\n12\/28\/1967<\/td>\n23<\/td>\n2<\/td>\nKAMA SUTRA<\/td>\n241<\/td>\n<\/tr>\n
LOVIN’ SPOONFUL<\/td>\nSUMMER IN THE CITY<\/td>\n7\/5\/1966<\/td>\n3<\/td>\n7<\/td>\nKAMA SUTRA<\/td>\n211<\/td>\n<\/tr>\n
LOVIN’ SPOONFUL<\/td>\nDO YOU BELIEVE IN MAGIC<\/td>\n9\/8\/1965<\/td>\n6<\/td>\n5<\/td>\nKAMA SUTRA<\/td>\n201<\/td>\n<\/tr>\n
LOVIN’ SPOONFUL<\/td>\nDAYDREAM<\/td>\n3\/9\/1966<\/td>\n7<\/td>\n7<\/td>\nKAMA SUTRA<\/td>\n208<\/td>\n<\/tr>\n
LOVIN’ SPOONFUL<\/td>\nNASHVILLE CATS<\/td>\n1\/3\/1967<\/td>\n7<\/td>\n3<\/td>\nKAMA SUTRA<\/td>\n219<\/td>\n<\/tr>\n
LULU<\/td>\nTO SIR WITH LOVE<\/td>\n9\/11\/1967<\/td>\n1<\/td>\n8<\/td>\nEPIC<\/td>\n10187<\/td>\n<\/tr>\n
LULU<\/td>\nMORNING DEW<\/td>\n7\/18\/1968<\/td>\n20<\/td>\n4<\/td>\nEPIC<\/td>\n10367<\/td>\n<\/tr>\n
LULU<\/td>\nOH ME OH MY I’M A FOOL FOR YOU BABY<\/td>\n2\/17\/1970<\/td>\n6<\/td>\n6<\/td>\nATCO<\/td>\n6722<\/td>\n<\/tr>\n
LUNAR FUNK<\/td>\nMISTER PENGUIN – PT* 1<\/td>\n1\/10\/1972<\/td>\n3<\/td>\n7<\/td>\nBELL<\/td>\n45172<\/td>\n<\/tr>\n
LUNDBERG. VICTOR<\/td>\nOPEN LETTER TO MY TEENAGE SON -AN-<\/td>\n11\/16\/1967<\/td>\n16<\/td>\n2<\/td>\nLIBERTY<\/td>\n55996<\/td>\n<\/tr>\n
MABLEY. MOMS<\/td>\nABRAHAM. MARTIN AND JOHN<\/td>\n6\/12\/1969<\/td>\n20<\/td>\n3<\/td>\nMERCURY<\/td>\n72935<\/td>\n<\/tr>\n
MACARTHUR. NEIL<\/td>\nSHE’S NOT THERE<\/td>\n1\/16\/1969<\/td>\n20<\/td>\n3<\/td>\nDERAM<\/td>\n7524<\/td>\n<\/tr>\n
MACK. LONNIE<\/td>\nHONKY TONK ’65<\/td>\n9\/29\/1965<\/td>\n15<\/td>\n6<\/td>\nFRATERNITY<\/td>\n951<\/td>\n<\/tr>\n
MAGIC LANTERNS<\/td>\nONE NIGHT STAND<\/td>\n11\/30\/1970<\/td>\n11<\/td>\n10<\/td>\nBIG TREE<\/td>\n109<\/td>\n<\/tr>\n
MAGIC TONES<\/td>\nI’LL MAKE IT UP TO YOU<\/td>\n1\/1\/1970<\/td>\n17<\/td>\n4<\/td>\nWESTBOUND<\/td>\n152<\/td>\n<\/tr>\n
MAGIC TONES<\/td>\nTOGETHER. WE SHALL OVERCOME<\/td>\n5\/16\/1968<\/td>\n20<\/td>\n3<\/td>\nMAH’S<\/td>\n1037<\/td>\n<\/tr>\n
MAIN INGREDIENT<\/td>\nYOU’VE BEEN MY INSPIRATION<\/td>\n6\/15\/1970<\/td>\n12<\/td>\n5<\/td>\nRCA<\/td>\n74-0340<\/td>\n<\/tr>\n
MAIN INGREDIENT<\/td>\nSPINNING AROUND (I MUST BE FALLING IN LOVE)<\/td>\n4\/19\/1971<\/td>\n5<\/td>\n8<\/td>\nRCA<\/td>\n74-0456<\/td>\n<\/tr>\n
MAJOR FOUR<\/td>\nALL OF MY LOVE<\/td>\n4\/25\/1968<\/td>\n22<\/td>\n2<\/td>\nVENTURE<\/td>\n608<\/td>\n<\/tr>\n
MAKEBA. MIRIAM<\/td>\nPATA PATA<\/td>\n10\/19\/1967<\/td>\n9<\/td>\n5<\/td>\nREPRISE<\/td>\n0606<\/td>\n<\/tr>\n
MAMA CASS<\/td>\nDREAM A LITTLE DREAM OF ME<\/td>\n7\/11\/1968<\/td>\n10<\/td>\n5<\/td>\nDUNHILL<\/td>\n4145<\/td>\n<\/tr>\n
MAMA CASS<\/td>\nMAKE YOUR OWN KIND OF MUSIC<\/td>\n11\/13\/1969<\/td>\n23<\/td>\n2<\/td>\nDUNHILL<\/td>\n4214<\/td>\n<\/tr>\n
MAMAS & THE PAPAS<\/td>\nCREEQUE ALLEY<\/td>\n4\/17\/1967<\/td>\n12<\/td>\n5<\/td>\nDUNHILL<\/td>\n4083<\/td>\n<\/tr>\n
MAMAS & THE PAPAS<\/td>\nI SAW HER AGAIN<\/td>\n6\/13\/1966<\/td>\n14<\/td>\n6<\/td>\nDUNHILL<\/td>\n403<\/td>\n<\/tr>\n
MAMAS & THE PAPAS<\/td>\nTWELVE THIRTY (YOUNG GIRLS ARE COMING TO THE CANYON)<\/td>\n8\/14\/1967<\/td>\n18<\/td>\n4<\/td>\nDUNHILL<\/td>\n4099<\/td>\n<\/tr>\n
MAMAS & THE PAPAS<\/td>\nMONDAY. MONDAY<\/td>\n3\/30\/1966<\/td>\n2<\/td>\n8<\/td>\nDUNHILL<\/td>\n4026<\/td>\n<\/tr>\n
MAMAS & THE PAPAS<\/td>\nLOOK THROUGH MY WINDOW<\/td>\n10\/17\/1966<\/td>\n22<\/td>\n4<\/td>\nDUNHILL<\/td>\n4050<\/td>\n<\/tr>\n
MAMAS & THE PAPAS<\/td>\nCALIFORNIA DREAMIN’<\/td>\n1\/19\/1966<\/td>\n3<\/td>\n8<\/td>\nDUNHILL<\/td>\n4020<\/td>\n<\/tr>\n
MAMAS & THE PAPAS<\/td>\nWORDS OF LOVE<\/td>\n12\/5\/1966<\/td>\n3<\/td>\n8<\/td>\nDUNHILL<\/td>\n4057<\/td>\n<\/tr>\n
MAMAS & THE PAPAS<\/td>\nDEDICATED TO THE ONE I LOVE<\/td>\n2\/13\/1967<\/td>\n8<\/td>\n6<\/td>\nDUNHILL<\/td>\n4077<\/td>\n<\/tr>\n
MANCINI. HENRY<\/td>\nTHEME FROM LOVE STORY<\/td>\n2\/1\/1971<\/td>\n2<\/td>\n10<\/td>\nRCA<\/td>\n47-9927<\/td>\n<\/tr>\n
MANCINI. HENRY<\/td>\nLOVE THEME FROM ROMEO & JULIET<\/td>\n5\/1\/1969<\/td>\n3<\/td>\n7<\/td>\nRCA<\/td>\n74-0131<\/td>\n<\/tr>\n
MANFRED MANN<\/td>\nPRETTY FLAMINGO<\/td>\n6\/6\/1966<\/td>\n20<\/td>\n4<\/td>\nUNITED ARTISTS<\/td>\n5004<\/td>\n<\/tr>\n
MANFRED MANN<\/td>\nSHA LA LA<\/td>\n10\/29\/1964<\/td>\n21<\/td>\n4<\/td>\nASCOT<\/td>\n2165<\/td>\n<\/tr>\n
MANFRED MANN<\/td>\nMIGHTY QUINN (QUINN THE ESKIMO)<\/td>\n2\/15\/1968<\/td>\n6<\/td>\n6<\/td>\nMERCURY<\/td>\n72770<\/td>\n<\/tr>\n
MANFRED MANN<\/td>\nDO WAH DIDDY DIDDY<\/td>\n8\/27\/1964<\/td>\n7<\/td>\n6<\/td>\nASCOT<\/td>\n2157<\/td>\n<\/tr>\n
MANN. JOHNNY\/SINGERS<\/td>\nUP-UP AND AWAY<\/td>\n6\/5\/1967<\/td>\n10<\/td>\n5<\/td>\nLIBERTY<\/td>\n55972<\/td>\n<\/tr>\n
MAR * VELLS<\/td>\nGO ON AND HAVE YOURSELF A BALL<\/td>\n12\/19\/1963<\/td>\n19<\/td>\n4<\/td>\nANGIE<\/td>\n1005<\/td>\n<\/tr>\n
MARKETTS<\/td>\nBATMAN THEME<\/td>\n1\/26\/1966<\/td>\n11<\/td>\n5<\/td>\nWARNER BROS.<\/td>\n5696<\/td>\n<\/tr>\n
MARKETTS<\/td>\nOUT OF LIMITS<\/td>\n12\/12\/1963<\/td>\n2<\/td>\n7<\/td>\nWARNER BROS.<\/td>\n5391<\/td>\n<\/tr>\n
MARMALADE<\/td>\nREFLECTIONS OF MY LIFE<\/td>\n3\/31\/1970<\/td>\n19<\/td>\n7<\/td>\nLONDON<\/td>\n20058<\/td>\n<\/tr>\n
MARTHA & THE VANDELLAS<\/td>\nDANCING IN THE STREET<\/td>\n8\/13\/1964<\/td>\n1<\/td>\n7<\/td>\nGORDY<\/td>\n7033<\/td>\n<\/tr>\n
MARTHA & THE VANDELLAS<\/td>\nQUICKSAND<\/td>\n11\/14\/1963<\/td>\n11<\/td>\n7<\/td>\nGORDY<\/td>\n7025<\/td>\n<\/tr>\n
MARTHA & THE VANDELLAS<\/td>\nHONEY CHILE<\/td>\n11\/9\/1967<\/td>\n15<\/td>\n5<\/td>\nGORDY<\/td>\n7067<\/td>\n<\/tr>\n
MARTHA & THE VANDELLAS<\/td>\nI’M READY FOR LOVE<\/td>\n10\/10\/1966<\/td>\n16<\/td>\n5<\/td>\nGORDY<\/td>\n705<\/td>\n<\/tr>\n
MARTHA & THE VANDELLAS<\/td>\nLOVE BUG LEAVE MY HEART ALONE<\/td>\n8\/7\/1967<\/td>\n19<\/td>\n3<\/td>\nGORDY<\/td>\n7062<\/td>\n<\/tr>\n
MARTHA & THE VANDELLAS<\/td>\nYOU’VE BEEN IN LOVE TOO LONG<\/td>\n8\/4\/1965<\/td>\n20<\/td>\n4<\/td>\nGORDY<\/td>\n7045<\/td>\n<\/tr>\n
MARTHA & THE VANDELLAS<\/td>\nMY BABY LOVES ME<\/td>\n2\/9\/1966<\/td>\n20<\/td>\n5<\/td>\nGORDY<\/td>\n7048<\/td>\n<\/tr>\n
MARTHA & THE VANDELLAS<\/td>\nI PROMISE TO WAIT MY LOVE<\/td>\n4\/4\/1968<\/td>\n25<\/td>\n4<\/td>\nGORDY<\/td>\n7070<\/td>\n<\/tr>\n
MARTHA & THE VANDELLAS<\/td>\nLIVE WIRE<\/td>\n2\/6\/1964<\/td>\n26<\/td>\n1<\/td>\nGORDY<\/td>\n7027<\/td>\n<\/tr>\n
MARTHA & THE VANDELLAS<\/td>\nWILD ONE<\/td>\n12\/10\/1964<\/td>\n26<\/td>\n2<\/td>\nGORDY<\/td>\n7036<\/td>\n<\/tr>\n
MARTHA & THE VANDELLAS<\/td>\nBLESS YOU<\/td>\n10\/4\/1971<\/td>\n27<\/td>\n3<\/td>\nGORDY<\/td>\n7110<\/td>\n<\/tr>\n
MARTHA & THE VANDELLAS<\/td>\nJIMMY MACK<\/td>\n2\/13\/1967<\/td>\n5<\/td>\n8<\/td>\nGORDY<\/td>\n7058<\/td>\n<\/tr>\n
MARTHA & THE VANDELLAS<\/td>\nNOWHERE TO RUN<\/td>\n2\/18\/1965<\/td>\n6<\/td>\n6<\/td>\nGORDY<\/td>\n7039<\/td>\n<\/tr>\n
MARTIN. BOBBI<\/td>\nFOR THE LOVE OF HIM<\/td>\n3\/10\/1970<\/td>\n11<\/td>\n8<\/td>\nUNITED ARTISTS<\/td>\n50602<\/td>\n<\/tr>\n
MARTIN. BOBBI<\/td>\nI CAN’T STOP THINKING OF YOU<\/td>\n3\/3\/1965<\/td>\n17<\/td>\n5<\/td>\nCORAL<\/td>\n62447<\/td>\n<\/tr>\n
MARTIN. BOBBI<\/td>\nDON’T TAKE IT OUT ON ME<\/td>\n1\/19\/1966<\/td>\n20<\/td>\n5<\/td>\nCORAL<\/td>\n62475<\/td>\n<\/tr>\n
MARTIN. BOBBI<\/td>\nDON’T FORGET I STILL LOVE YOU<\/td>\n11\/19\/1964<\/td>\n4<\/td>\n7<\/td>\nCORAL<\/td>\n62426<\/td>\n<\/tr>\n
MARTIN. DEAN<\/td>\nDOOR IS STILL OPEN TO MY HEART -THE-<\/td>\n9\/24\/1964<\/td>\n10<\/td>\n5<\/td>\nREPRISE<\/td>\n0307<\/td>\n<\/tr>\n
MARTIN. DEAN<\/td>\nI WILL<\/td>\n11\/24\/1965<\/td>\n17<\/td>\n4<\/td>\nREPRISE<\/td>\n0415<\/td>\n<\/tr>\n
MARTIN. DEAN<\/td>\nEVERYBODY LOVES SOMEBODY<\/td>\n7\/9\/1964<\/td>\n2<\/td>\n8<\/td>\nREPRISE<\/td>\n0281<\/td>\n<\/tr>\n
MARTIN. DEAN<\/td>\nHOUSTON<\/td>\n8\/11\/1965<\/td>\n20<\/td>\n3<\/td>\nREPRISE<\/td>\n0393<\/td>\n<\/tr>\n
MARTIN. DEAN<\/td>\nMILLION AND ONE -A-<\/td>\n8\/1\/1966<\/td>\n23<\/td>\n3<\/td>\nREPRISE<\/td>\n0500<\/td>\n<\/tr>\n
MARTIN. DEAN<\/td>\nYOU’LL ALWAYS BE THE ONE I LOVE<\/td>\n12\/31\/1964<\/td>\n24<\/td>\n2<\/td>\nREPRISE<\/td>\n0333<\/td>\n<\/tr>\n
MARTIN. DEAN<\/td>\nCOME RUNNING BACK<\/td>\n5\/23\/1966<\/td>\n24<\/td>\n2<\/td>\nREPRISE<\/td>\n0466<\/td>\n<\/tr>\n
MARTIN. DEAN<\/td>\nSOMEWHERE THERE’S A SOMEONE<\/td>\n2\/16\/1966<\/td>\n25<\/td>\n3<\/td>\nREPRISE<\/td>\n0443<\/td>\n<\/tr>\n
MARTIN. DEAN<\/td>\nI’M THE ONE WHO LOVES YOU (REMEMBER ME)<\/td>\n6\/2\/1965<\/td>\n27<\/td>\n2<\/td>\nREPRISE<\/td>\n0369<\/td>\n<\/tr>\n
MARTIN. DEAN<\/td>\nIN THE CHAPEL IN THE MOONLIGHT<\/td>\n7\/10\/1967<\/td>\n7<\/td>\n5<\/td>\nREPRISE<\/td>\n0601<\/td>\n<\/tr>\n
MARTIN. DEREK<\/td>\nYOU BETTER GO<\/td>\n8\/4\/1965<\/td>\n25<\/td>\n3<\/td>\nROULETTE<\/td>\n4631<\/td>\n<\/tr>\n
MARTIN. MARV<\/td>\nDON’T MISJUDGE ME<\/td>\n5\/14\/1964<\/td>\n31<\/td>\n2<\/td>\nLIMELIGHT<\/td>\nNA<\/td>\n<\/tr>\n
MARTINO. AL<\/td>\nI LOVE YOU MORE AND MORE EVERY DAY<\/td>\n1\/30\/1964<\/td>\n12<\/td>\n6<\/td>\nCAPITOL<\/td>\n5108<\/td>\n<\/tr>\n
MARTINO. AL<\/td>\nALWAYS TOGETHER<\/td>\n8\/20\/1964<\/td>\n15<\/td>\n5<\/td>\nCAPITOL<\/td>\n5239<\/td>\n<\/tr>\n
MARTINO. AL<\/td>\nTHANK YOU FOR LOVING ME<\/td>\n9\/3\/1964<\/td>\n15<\/td>\n3<\/td>\nCAPITOL<\/td>\n5239<\/td>\n<\/tr>\n
MARTINO. AL<\/td>\nTEARS AND ROSES<\/td>\n5\/21\/1964<\/td>\n21<\/td>\n2<\/td>\nCAPITOL<\/td>\n5183<\/td>\n<\/tr>\n
MARTINO. AL<\/td>\nMARY IN THE MORNING<\/td>\n6\/19\/1967<\/td>\n22<\/td>\n3<\/td>\nCAPITOL<\/td>\n5904<\/td>\n<\/tr>\n
MARTINO. AL<\/td>\nWE COULD<\/td>\n11\/12\/1964<\/td>\n25<\/td>\n2<\/td>\nCAPITOL<\/td>\n5293<\/td>\n<\/tr>\n
MARVELETTES<\/td>\nAS LONG AS I KNOW HE’S MINE<\/td>\n11\/14\/1963<\/td>\n1<\/td>\n9<\/td>\nTAMLA<\/td>\n54088<\/td>\n<\/tr>\n
MARVELETTES<\/td>\nHUNTER GETS CAPTURED BY THE GAME -THE-<\/td>\n1\/9\/1967<\/td>\n10<\/td>\n7<\/td>\nTAMLA<\/td>\n54143<\/td>\n<\/tr>\n
MARVELETTES<\/td>\nDON’T MESS WITH BILL<\/td>\n1\/12\/1966<\/td>\n11<\/td>\n5<\/td>\nTAMLA<\/td>\n54126<\/td>\n<\/tr>\n
MARVELETTES<\/td>\nI’LL KEEP HOLDING ON<\/td>\n6\/2\/1965<\/td>\n13<\/td>\n5<\/td>\nTAMLA<\/td>\n54116<\/td>\n<\/tr>\n
MARVELETTES<\/td>\nMY BABY MUST BE A MAGICIAN<\/td>\n1\/4\/1968<\/td>\n17<\/td>\n4<\/td>\nTAMLA<\/td>\n54158<\/td>\n<\/tr>\n
MARVELETTES<\/td>\nTOO MANY FISH IN THE SEA<\/td>\n10\/29\/1964<\/td>\n18<\/td>\n6<\/td>\nTAMLA<\/td>\n54105<\/td>\n<\/tr>\n
MARVELETTES<\/td>\nWHEN YOU’RE YOUNG AND IN LOVE<\/td>\n5\/1\/1967<\/td>\n20<\/td>\n3<\/td>\nTAMLA<\/td>\n54150<\/td>\n<\/tr>\n
MARVELOWS<\/td>\nI DO<\/td>\n5\/5\/1965<\/td>\n16<\/td>\n3<\/td>\nABC-PARAMOUNT<\/td>\n10629<\/td>\n<\/tr>\n
MASEKELA. HUGH<\/td>\nGRAZING IN THE GRASS<\/td>\n6\/13\/1968<\/td>\n2<\/td>\n7<\/td>\nUNI<\/td>\n55066<\/td>\n<\/tr>\n
MASEKELA. HUGH<\/td>\nPUFFIN’ ON DOWN THE TRACK<\/td>\n9\/19\/1968<\/td>\n20<\/td>\n4<\/td>\nUNI<\/td>\n55085<\/td>\n<\/tr>\n
MASHMAKHAN<\/td>\nAS THE YEARS GO BY<\/td>\n10\/26\/1970<\/td>\n4<\/td>\n6<\/td>\nEPIC<\/td>\n10634<\/td>\n<\/tr>\n
MASON. BARBARA<\/td>\nYES. I’M READY<\/td>\n5\/19\/1965<\/td>\n5<\/td>\n8<\/td>\nARCTIC<\/td>\n105<\/td>\n<\/tr>\n
MATTHEWS. SHIRLEY<\/td>\nWISE GUYS<\/td>\n3\/12\/1964<\/td>\n29<\/td>\n3<\/td>\nATLANTIC<\/td>\n2224<\/td>\n<\/tr>\n
MATTHEWS. SHIRLEY<\/td>\nBIG-TOWN BOY<\/td>\n1\/2\/1964<\/td>\n6<\/td>\n6<\/td>\nATLANTIC<\/td>\n2210<\/td>\n<\/tr>\n
MATTHEWS’ SOUTHERN COMFORT<\/td>\nWOODSTOCK<\/td>\n2\/22\/1971<\/td>\n5<\/td>\n8<\/td>\nDECCA<\/td>\n32774<\/td>\n<\/tr>\n
MAURIAT. PAUL<\/td>\nLOVE IS BLUE<\/td>\n1\/18\/1968<\/td>\n1<\/td>\n11<\/td>\nPHILIPS<\/td>\n40495<\/td>\n<\/tr>\n
MAXWELL. ROBERT<\/td>\nSHANGRI-LA<\/td>\n3\/12\/1964<\/td>\n5<\/td>\n6<\/td>\nDECCA<\/td>\n25622<\/td>\n<\/tr>\n
MAYER. NATHANIEL<\/td>\nI HAD A DREAM<\/td>\n11\/14\/1963<\/td>\n27<\/td>\n1<\/td>\nFORTUNE<\/td>\nNA<\/td>\n<\/tr>\n
MCCARTNEY. PAUL<\/td>\nOH WOMAN OH WHY<\/td>\n2\/22\/1971<\/td>\n13<\/td>\n2<\/td>\nAPPLE<\/td>\n1829<\/td>\n<\/tr>\n
MCCARTNEY. PAUL<\/td>\nUNCLE ALBERT ADMIRAL HALSEY<\/td>\n7\/19\/1971<\/td>\n2<\/td>\n13<\/td>\nAPPLE<\/td>\n1837<\/td>\n<\/tr>\n
MCCARTNEY. PAUL<\/td>\nTOO MANY PEOPLE<\/td>\n8\/16\/1971<\/td>\n2<\/td>\n6<\/td>\nAPPLE<\/td>\n1837<\/td>\n<\/tr>\n
MCCARTNEY. PAUL<\/td>\nGIVE IRELAND BACK TO THE IRISH<\/td>\n3\/6\/1972<\/td>\n21<\/td>\n3<\/td>\nAPPLE<\/td>\n1847<\/td>\n<\/tr>\n
MCCARTNEY. PAUL<\/td>\nANOTHER DAY<\/td>\n2\/15\/1971<\/td>\n3<\/td>\n9<\/td>\nAPPLE<\/td>\n1829<\/td>\n<\/tr>\n
MCCARTNEY. PAUL<\/td>\nMUMBO<\/td>\n12\/6\/1971<\/td>\n30<\/td>\n1<\/td>\nAPPLE (LP)<\/td>\nSW 3386<\/td>\n<\/tr>\n
MCCARTNEY. PAUL<\/td>\nSOME PEOPLE NEVER KNOW<\/td>\n12\/6\/1971<\/td>\n30<\/td>\n1<\/td>\nAPPLE (LP)<\/td>\nSW 3386<\/td>\n<\/tr>\n
MCCORMICK. GAYLE<\/td>\nIT’S A CRYIN’ SHAME<\/td>\n9\/20\/1971<\/td>\n13<\/td>\n8<\/td>\nDUNHILL<\/td>\n4288<\/td>\n<\/tr>\n
MCCOYS<\/td>\nHANG ON SLOOPY<\/td>\n8\/11\/1965<\/td>\n11<\/td>\n5<\/td>\nBANG<\/td>\n506<\/td>\n<\/tr>\n
MCCOYS<\/td>\nI GOT TO GO BACK<\/td>\n12\/12\/1966<\/td>\n26<\/td>\n3<\/td>\nBANG<\/td>\n53<\/td>\n<\/tr>\n
MCCRAE. GWEN<\/td>\nLEAD ME ON<\/td>\n10\/26\/1970<\/td>\n28<\/td>\n2<\/td>\nCOLUMBIA<\/td>\n45214<\/td>\n<\/tr>\n
MCFIVE<\/td>\nKICK OUT THE JAMS<\/td>\n1\/30\/1969<\/td>\n2<\/td>\n8<\/td>\nELEKTRA<\/td>\n45648<\/td>\n<\/tr>\n
MCFIVE<\/td>\nTONIGHT<\/td>\n10\/23\/1969<\/td>\n21<\/td>\n4<\/td>\nATLANTIC<\/td>\n2678<\/td>\n<\/tr>\n
MCGUIRE. BARRY<\/td>\nEVE OF DESTRUCTION<\/td>\n8\/11\/1965<\/td>\n1<\/td>\n7<\/td>\nDUNHILL<\/td>\n4009<\/td>\n<\/tr>\n
MCKENZIE. SCOTT<\/td>\nHOLY MAN<\/td>\n4\/4\/1968<\/td>\n25<\/td>\n3<\/td>\nODE<\/td>\n107<\/td>\n<\/tr>\n
MCKENZIE. SCOTT<\/td>\nSAN FRANCISCO (BE SURE TO WEAR SOME FLOWERS IN YOUR HAIR)<\/td>\n5\/22\/1967<\/td>\n4<\/td>\n7<\/td>\nODE<\/td>\n103<\/td>\n<\/tr>\n
MCLAIN. TOMMY<\/td>\nSWEET DREAMS<\/td>\n6\/27\/1966<\/td>\n4<\/td>\n7<\/td>\nMSL<\/td>\n197<\/td>\n<\/tr>\n
MCLEAN. DON<\/td>\nAMERICAN PIE – PARTS 1 & 2<\/td>\n11\/29\/1971<\/td>\n1<\/td>\n15<\/td>\nUNITED ARTISTS<\/td>\n50856<\/td>\n<\/tr>\n
MCNAMARA. ROBIN<\/td>\nLAY A LITTLE LOVIN’ ON ME<\/td>\n7\/6\/1970<\/td>\n5<\/td>\n7<\/td>\nSTEED<\/td>\n724<\/td>\n<\/tr>\n
MCPHATTER. CLYDE<\/td>\nDEEP IN THE HEART OF HARLEM<\/td>\n12\/19\/1963<\/td>\n17<\/td>\n6<\/td>\nMERCURY<\/td>\n72220<\/td>\n<\/tr>\n
MEDLEY. BILL<\/td>\nI CAN’T MAKE IT ALONE<\/td>\n4\/25\/1968<\/td>\n25<\/td>\n2<\/td>\nMGM<\/td>\n13931<\/td>\n<\/tr>\n
MEL & TIM<\/td>\nBACKFIELD IN MOTION<\/td>\n10\/23\/1969<\/td>\n13<\/td>\n4<\/td>\nBAMBOO<\/td>\n107<\/td>\n<\/tr>\n
MELANIE<\/td>\nBRAND NEW KEY<\/td>\n11\/15\/1971<\/td>\n1<\/td>\n9<\/td>\nNEIGHBORHOOD<\/td>\n4201<\/td>\n<\/tr>\n
MELANIE<\/td>\nLAY DOWN (CANDLES IN THE RAIN)<\/td>\n4\/28\/1970<\/td>\n8<\/td>\n8<\/td>\nBUDDAH<\/td>\n167<\/td>\n<\/tr>\n
MENDES. SERGIO\/& BRASIL ’66<\/td>\nSCARBOROUGH FAIR<\/td>\n12\/5\/1968<\/td>\n20<\/td>\n5<\/td>\nA&M<\/td>\n986<\/td>\n<\/tr>\n
MENDES. SERGIO\/& BRASIL ’66<\/td>\nLOOK OF LOVE -THE-<\/td>\n6\/6\/1968<\/td>\n5<\/td>\n4<\/td>\nA&M<\/td>\n924<\/td>\n<\/tr>\n
MERCY<\/td>\nLOVE<\/td>\n4\/3\/1969<\/td>\n1<\/td>\n8<\/td>\nSUNDI<\/td>\n6811<\/td>\n<\/tr>\n
METROS<\/td>\nSWEETEST ONE<\/td>\n12\/12\/1966<\/td>\n13<\/td>\n6<\/td>\nRCA<\/td>\n47-8994<\/td>\n<\/tr>\n
MICHAELS. LEE<\/td>\nCAN I GET A WITNESS<\/td>\n11\/22\/1971<\/td>\n24<\/td>\n4<\/td>\nA&M<\/td>\n1303<\/td>\n<\/tr>\n
MICHAELS. LEE<\/td>\nDO YOU KNOW WHAT I MEAN<\/td>\n7\/26\/1971<\/td>\n5<\/td>\n11<\/td>\nA&M<\/td>\n1262<\/td>\n<\/tr>\n
MILLER. JODY<\/td>\nQUEEN OF THE HOUSE<\/td>\n4\/14\/1965<\/td>\n18<\/td>\n3<\/td>\nCAPITOL<\/td>\n5402<\/td>\n<\/tr>\n
MILLER. NED<\/td>\nDO WHAT YOU DO DO WELL<\/td>\n12\/24\/1964<\/td>\n10<\/td>\n6<\/td>\nFABOR<\/td>\n137<\/td>\n<\/tr>\n
MILLER. ROGER<\/td>\nENGLAND SWINGS<\/td>\n11\/3\/1965<\/td>\n12<\/td>\n5<\/td>\nSMASH<\/td>\n2010<\/td>\n<\/tr>\n
MILLER. ROGER<\/td>\nENGINE ENGINE #9<\/td>\n4\/28\/1965<\/td>\n17<\/td>\n4<\/td>\nSMASH<\/td>\n1983<\/td>\n<\/tr>\n
MILLER. ROGER<\/td>\nHUSBANDS AND WIVES<\/td>\n2\/9\/1966<\/td>\n18<\/td>\n4<\/td>\nSMASH<\/td>\n2024<\/td>\n<\/tr>\n
MILLER. ROGER<\/td>\nWALKIN’ IN THE SUNSHINE<\/td>\n4\/3\/1967<\/td>\n18<\/td>\n3<\/td>\nSMASH<\/td>\n2081<\/td>\n<\/tr>\n
MILLER. ROGER<\/td>\nCHUG-A-LUG<\/td>\n9\/10\/1964<\/td>\n2<\/td>\n6<\/td>\nSMASH<\/td>\n1926<\/td>\n<\/tr>\n
MILLER. ROGER<\/td>\nDO-WACKA-DO<\/td>\n11\/26\/1964<\/td>\n26<\/td>\n2<\/td>\nSMASH<\/td>\n1947<\/td>\n<\/tr>\n
MILLER. ROGER<\/td>\nIT HAPPENED JUST THAT WAY<\/td>\n7\/14\/1965<\/td>\n26<\/td>\n2<\/td>\nSMASH<\/td>\n1994<\/td>\n<\/tr>\n
MILLER. ROGER<\/td>\nONE DYIN’ AND A BURYIN’<\/td>\n7\/14\/1965<\/td>\n26<\/td>\n2<\/td>\nSMASH<\/td>\n1994<\/td>\n<\/tr>\n
MILLER. ROGER<\/td>\nDANG ME<\/td>\n6\/11\/1964<\/td>\n9<\/td>\n6<\/td>\nSMASH<\/td>\n1881<\/td>\n<\/tr>\n
MILLER. ROGER<\/td>\nKING OF THE ROAD<\/td>\n2\/4\/1965<\/td>\n9<\/td>\n7<\/td>\nSMASH<\/td>\n1965<\/td>\n<\/tr>\n
MILLS. FRANK<\/td>\nLOVE ME. LOVE ME LOVE<\/td>\n1\/10\/1972<\/td>\n4<\/td>\n5<\/td>\nSUNFLOWER<\/td>\n118<\/td>\n<\/tr>\n
MIMMS. GARNET<\/td>\nI’LL TAKE GOOD CARE OF YOU<\/td>\n4\/13\/1966<\/td>\n27<\/td>\n2<\/td>\nUNITED ARTISTS<\/td>\n995<\/td>\n<\/tr>\n
MIMMS. GARNET<\/td>\nTELL ME BABY<\/td>\n2\/6\/1964<\/td>\n31<\/td>\n3<\/td>\nUNITED ARTISTS<\/td>\n694<\/td>\n<\/tr>\n
MINDBENDERS<\/td>\nGROOVY KIND OF LOVE -A-<\/td>\n4\/27\/1966<\/td>\n8<\/td>\n6<\/td>\nFONTANA<\/td>\n1541<\/td>\n<\/tr>\n
MIRACLES<\/td>\nTEARS OF A CLOWN -THE-<\/td>\n10\/19\/1970<\/td>\n1<\/td>\n12<\/td>\nTAMLA<\/td>\n54199<\/td>\n<\/tr>\n
MIRACLES<\/td>\nI LIKE IT LIKE THAT<\/td>\n6\/25\/1964<\/td>\n11<\/td>\n3<\/td>\nTAMLA<\/td>\n54098<\/td>\n<\/tr>\n
MIRACLES<\/td>\nI SECOND THAT EMOTION<\/td>\n11\/9\/1967<\/td>\n11<\/td>\n5<\/td>\nTAMLA<\/td>\n54159<\/td>\n<\/tr>\n
MIRACLES<\/td>\nIF YOU CAN WANT<\/td>\n2\/22\/1968<\/td>\n12<\/td>\n4<\/td>\nTAMLA<\/td>\n54162<\/td>\n<\/tr>\n
MIRACLES<\/td>\nGOING TO A GO-GO<\/td>\n1\/5\/1966<\/td>\n14<\/td>\n4<\/td>\nTAMLA<\/td>\n54127<\/td>\n<\/tr>\n
MIRACLES<\/td>\nI GOTTA DANCE TO KEEP FROM CRYING<\/td>\n11\/28\/1963<\/td>\n15<\/td>\n5<\/td>\nTAMLA<\/td>\n54089<\/td>\n<\/tr>\n
MIRACLES<\/td>\nOOO BABY BABY<\/td>\n4\/7\/1965<\/td>\n16<\/td>\n3<\/td>\nTAMLA<\/td>\n54113<\/td>\n<\/tr>\n
MIRACLES<\/td>\nMY GIRL HAS GONE<\/td>\n10\/20\/1965<\/td>\n17<\/td>\n4<\/td>\nTAMLA<\/td>\n54123<\/td>\n<\/tr>\n
MIRACLES<\/td>\nSPECIAL OCCASION<\/td>\n9\/12\/1968<\/td>\n17<\/td>\n3<\/td>\nTAMLA<\/td>\n54172<\/td>\n<\/tr>\n
MIRACLES<\/td>\nBABY. BABY DON’T CRY<\/td>\n1\/16\/1969<\/td>\n17<\/td>\n5<\/td>\nTAMLA<\/td>\n54178<\/td>\n<\/tr>\n
MIRACLES<\/td>\nTHAT’S WHAT LOVE IS MADE OF<\/td>\n9\/17\/1964<\/td>\n18<\/td>\n3<\/td>\nTAMLA<\/td>\n54102<\/td>\n<\/tr>\n
MIRACLES<\/td>\nI DON’T BLAME YOU AT ALL<\/td>\n3\/1\/1971<\/td>\n18<\/td>\n6<\/td>\nTAMLA<\/td>\n54205<\/td>\n<\/tr>\n
MIRACLES<\/td>\nI’M THE ONE YOU NEED (COME ‘ROUND HERE)<\/td>\n11\/28\/1966<\/td>\n22<\/td>\n2<\/td>\nTAMLA<\/td>\n54140<\/td>\n<\/tr>\n
MIRACLES<\/td>\nYESTER LOVE<\/td>\n5\/23\/1968<\/td>\n22<\/td>\n3<\/td>\nTAMLA<\/td>\n54167<\/td>\n<\/tr>\n
MIRACLES<\/td>\nWHO’S GONNA TAKE THE BLAME<\/td>\n6\/15\/1970<\/td>\n25<\/td>\n1<\/td>\nTAMLA<\/td>\n54194<\/td>\n<\/tr>\n
MIRACLES<\/td>\nMORE LOVE<\/td>\n6\/26\/1967<\/td>\n3<\/td>\n7<\/td>\nTAMLA<\/td>\n54152<\/td>\n<\/tr>\n
MIRACLES<\/td>\nLOVE I SAW IN YOU WAS JUST A MIRAGE -THE-<\/td>\n2\/27\/1967<\/td>\n4<\/td>\n10<\/td>\nTAMLA<\/td>\n54145<\/td>\n<\/tr>\n
MIRACLES<\/td>\nTRACKS OF MY TEARS -THE-<\/td>\n7\/14\/1965<\/td>\n5<\/td>\n5<\/td>\nTAMLA<\/td>\n54118<\/td>\n<\/tr>\n
MIRETTES<\/td>\nIN THE MIDNIGHT HOUR<\/td>\n1\/25\/1968<\/td>\n11<\/td>\n6<\/td>\nREVUE<\/td>\n11004<\/td>\n<\/tr>\n
MITCHELL. WILLIE<\/td>\nSOUL SERENADE<\/td>\n2\/22\/1968<\/td>\n11<\/td>\n4<\/td>\nHI<\/td>\n2140<\/td>\n<\/tr>\n
MOJO MEN<\/td>\nSIT DOWN. I THINK I LOVE YOU<\/td>\n2\/27\/1967<\/td>\n22<\/td>\n3<\/td>\nREPRISE<\/td>\n0539<\/td>\n<\/tr>\n
MOMENTS<\/td>\nNOT ON THE OUTSIDE<\/td>\n1\/9\/1969<\/td>\n14<\/td>\n3<\/td>\nSTANG<\/td>\n5000<\/td>\n<\/tr>\n
MOMENTS<\/td>\nIF I DIDN’T CARE<\/td>\n8\/31\/1970<\/td>\n16<\/td>\n3<\/td>\nSTANG<\/td>\n5016<\/td>\n<\/tr>\n
MOMENTS<\/td>\nLOVE ON A TWO-WAY STREET<\/td>\n4\/14\/1970<\/td>\n2<\/td>\n11<\/td>\nSTANG<\/td>\n5012<\/td>\n<\/tr>\n
MONARCHS<\/td>\nLOOK HOMEWARD ANGEL<\/td>\n3\/12\/1964<\/td>\n1<\/td>\n5<\/td>\nSOUND STAGE 7<\/td>\n2516<\/td>\n<\/tr>\n
MONDAY. JULIE<\/td>\nCOME SHARE THE GOOD TIMES WITH ME<\/td>\n6\/6\/1966<\/td>\n14<\/td>\n4<\/td>\nRAINBOW<\/td>\n500<\/td>\n<\/tr>\n
MONITORS<\/td>\nBRING BACK THE LOVE<\/td>\n4\/25\/1968<\/td>\n24<\/td>\n2<\/td>\nV.I.P.<\/td>\n25046<\/td>\n<\/tr>\n
MONKEES<\/td>\nI’M A BELIEVER<\/td>\n11\/21\/1966<\/td>\n1<\/td>\n6<\/td>\nCOLGEMS<\/td>\n100<\/td>\n<\/tr>\n
MONKEES<\/td>\nSTEPPIN’ STONE (I’M NOT YOUR)<\/td>\n12\/12\/1966<\/td>\n1<\/td>\n9<\/td>\nCOLGEMS<\/td>\n1002<\/td>\n<\/tr>\n
MONKEES<\/td>\nI’M A BELIEVER<\/td>\n1\/3\/1967<\/td>\n1<\/td>\n6<\/td>\nCOLGEMS<\/td>\n1002<\/td>\n<\/tr>\n
MONKEES<\/td>\nDAYDREAM BELIEVER<\/td>\n11\/2\/1967<\/td>\n1<\/td>\n8<\/td>\nCOLGEMS<\/td>\n1012<\/td>\n<\/tr>\n
MONKEES<\/td>\nGOIN’ DOWN<\/td>\n11\/2\/1967<\/td>\n1<\/td>\n8<\/td>\nCOLGEMS<\/td>\n1012<\/td>\n<\/tr>\n
MONKEES<\/td>\nLAST TRAIN TO CLARKSVILLE<\/td>\n8\/29\/1966<\/td>\n13<\/td>\n8<\/td>\nCOLGEMS<\/td>\n1001<\/td>\n<\/tr>\n
MONKEES<\/td>\nPLEASANT VALLEY SUNDAY<\/td>\n7\/10\/1967<\/td>\n2<\/td>\n6<\/td>\nCOLGEMS<\/td>\n1007<\/td>\n<\/tr>\n
MONKEES<\/td>\nWORDS<\/td>\n7\/10\/1967<\/td>\n2<\/td>\n6<\/td>\nCOLGEMS<\/td>\n1007<\/td>\n<\/tr>\n
MONKEES<\/td>\nGIRL I KNEW SOMEWHERE -THE-<\/td>\n3\/6\/1967<\/td>\n3<\/td>\n7<\/td>\nCOLGEMS<\/td>\n1004<\/td>\n<\/tr>\n
MONKEES<\/td>\nLITTLE BIT ME. A LITTLE BIT YOU -A-<\/td>\n3\/13\/1967<\/td>\n3<\/td>\n6<\/td>\nCOLGEMS<\/td>\n1004<\/td>\n<\/tr>\n
MONKEES<\/td>\nLIITLE BIT ME. A LITTLE BIT YOU -A-<\/td>\n3\/6\/1967<\/td>\n30<\/td>\n1<\/td>\nCOLGEMS<\/td>\n1004<\/td>\n<\/tr>\n
MONKEES<\/td>\nTAPIOCA TUNDRA<\/td>\n2\/29\/1968<\/td>\n8<\/td>\n4<\/td>\nCOLGEMS<\/td>\n1019<\/td>\n<\/tr>\n
MONKEES<\/td>\nVALERIE<\/td>\n2\/29\/1968<\/td>\n8<\/td>\n4<\/td>\nCOLGEMS<\/td>\n1019<\/td>\n<\/tr>\n
MONRO. MATT<\/td>\nWALK AWAY<\/td>\n11\/5\/1964<\/td>\n10<\/td>\n6<\/td>\nLIBERTY<\/td>\n55745<\/td>\n<\/tr>\n
MONRO. MATT<\/td>\nSOFTLY AS I LEAVE YOU<\/td>\n9\/17\/1964<\/td>\n23<\/td>\n3<\/td>\nLIBERTY<\/td>\n55449<\/td>\n<\/tr>\n
MONTANAS<\/td>\nYOU’VE GOT TO BE LOVED<\/td>\n2\/22\/1968<\/td>\n25<\/td>\n3<\/td>\nINDEPENDENCE<\/td>\n83<\/td>\n<\/tr>\n
MONTCLAIRS<\/td>\nHAPPY FEET TIME<\/td>\n6\/9\/1965<\/td>\n18<\/td>\n4<\/td>\nSUNBURST<\/td>\n106<\/td>\n<\/tr>\n
MONTENEGRO. HUGO<\/td>\nGOOD. THE BAD AND THE UGLY -THE-<\/td>\n3\/21\/1968<\/td>\n2<\/td>\n9<\/td>\nRCA<\/td>\n47-9423<\/td>\n<\/tr>\n
MONTEZ. CHRIS<\/td>\nMORE I SEE YOU -THE-<\/td>\n4\/20\/1966<\/td>\n1<\/td>\n7<\/td>\nA&M<\/td>\n796<\/td>\n<\/tr>\n
MONTEZ. CHRIS<\/td>\nCALL ME<\/td>\n12\/15\/1965<\/td>\n2<\/td>\n6<\/td>\nA&M<\/td>\n780<\/td>\n<\/tr>\n
MONTEZ. CHRIS<\/td>\nTHERE WILL NEVER BE ANOTHER YOU<\/td>\n7\/25\/1966<\/td>\n20<\/td>\n5<\/td>\nA&M<\/td>\n81<\/td>\n<\/tr>\n
MONTGOMERY. WES<\/td>\nWINDY<\/td>\n11\/30\/1967<\/td>\n21<\/td>\n2<\/td>\nA&M<\/td>\n883<\/td>\n<\/tr>\n
MOODY BLUES<\/td>\nSTORY IN YOUR EYES -THE-<\/td>\n8\/16\/1971<\/td>\n13<\/td>\n9<\/td>\nTHRESHOLD<\/td>\n67006<\/td>\n<\/tr>\n
MOODY BLUES<\/td>\nQUESTION<\/td>\n5\/26\/1970<\/td>\n14<\/td>\n5<\/td>\nTHRESHOLD<\/td>\n67004<\/td>\n<\/tr>\n
MOODY BLUES<\/td>\nTUESDAY AFTERNOON<\/td>\n6\/27\/1968<\/td>\n15<\/td>\n6<\/td>\nDERAM<\/td>\n85028<\/td>\n<\/tr>\n
MOODY BLUES<\/td>\nGO NOW!<\/td>\n3\/3\/1965<\/td>\n2<\/td>\n6<\/td>\nLONDON<\/td>\n9726<\/td>\n<\/tr>\n
MOODY BLUES<\/td>\nRIDE MY SEE-SAW<\/td>\n9\/19\/1968<\/td>\n20<\/td>\n5<\/td>\nDERAM<\/td>\n85033<\/td>\n<\/tr>\n
MOORE. JACKIE<\/td>\nPRECIOUS. PRECIOUS<\/td>\n11\/23\/1970<\/td>\n8<\/td>\n10<\/td>\nATLANTIC<\/td>\n2681<\/td>\n<\/tr>\n
MORRISON. VAN<\/td>\nBROWN EYED GIRL<\/td>\n7\/10\/1967<\/td>\n1<\/td>\n10<\/td>\nBANG<\/td>\n545<\/td>\n<\/tr>\n
MORRISON. VAN<\/td>\nDOMINO<\/td>\n11\/2\/1970<\/td>\n15<\/td>\n6<\/td>\nWARNER BROS.<\/td>\n7434<\/td>\n<\/tr>\n
MORRISON. VAN<\/td>\nWILD NIGHT<\/td>\n9\/27\/1971<\/td>\n25<\/td>\n5<\/td>\nWARNER BROS.<\/td>\n7518<\/td>\n<\/tr>\n
MORRISON. VAN<\/td>\nBLUE MONEY<\/td>\n3\/22\/1971<\/td>\n9<\/td>\n6<\/td>\nWARNER BROS.<\/td>\n7462<\/td>\n<\/tr>\n
MOTHERLODE<\/td>\nWHEN I DIE<\/td>\n8\/7\/1969<\/td>\n16<\/td>\n4<\/td>\nBUDDAH<\/td>\n131<\/td>\n<\/tr>\n
MOUNTAIN<\/td>\nMISSISSIPPI QUEEN<\/td>\n5\/26\/1970<\/td>\n12<\/td>\n5<\/td>\nWINDFALL<\/td>\n532<\/td>\n<\/tr>\n
MUNGO JERRY<\/td>\nIN THE SUMMERTIME<\/td>\n7\/6\/1970<\/td>\n1<\/td>\n10<\/td>\nJANUS<\/td>\n135<\/td>\n<\/tr>\n
MURMAIDS<\/td>\nPOPSICLES AND ICICLES<\/td>\n11\/21\/1963<\/td>\n2<\/td>\n9<\/td>\nCHATTAHOOCHEE<\/td>\n628<\/td>\n<\/tr>\n
MURPHY. RON<\/td>\nHOLLOW MAN<\/td>\n11\/14\/1963<\/td>\n28<\/td>\n1<\/td>\nTWENTIETH CENTURY-FOX<\/td>\n437<\/td>\n<\/tr>\n
MURRAY. ANNE<\/td>\nSNOWBIRD<\/td>\n8\/24\/1970<\/td>\n7<\/td>\n9<\/td>\nCAPITOL<\/td>\n2738<\/td>\n<\/tr>\n
MUSIC EXPLOSION<\/td>\nLITTLE BIT O’ SOUL<\/td>\n5\/22\/1967<\/td>\n2<\/td>\n10<\/td>\nLAURIE<\/td>\n3380<\/td>\n<\/tr>\n
MUSIC EXPLOSION<\/td>\nLITTLE BLACK EGG<\/td>\n6\/26\/1969<\/td>\n21<\/td>\n4<\/td>\nLAURIE<\/td>\n3500<\/td>\n<\/tr>\n
MUSIC MACHINE<\/td>\nTALK TALK<\/td>\n10\/24\/1966<\/td>\n12<\/td>\n6<\/td>\nORIGINAL SOUND<\/td>\n61<\/td>\n<\/tr>\n
MUSIC MACHINE<\/td>\nPEOPLE IN ME -THE-<\/td>\n2\/13\/1967<\/td>\n20<\/td>\n3<\/td>\nORIGINAL SOUND<\/td>\n67<\/td>\n<\/tr>\n
MUSIC MAKERS<\/td>\nUNITED<\/td>\n12\/28\/1967<\/td>\n15<\/td>\n3<\/td>\nGAMBLE<\/td>\n210<\/td>\n<\/tr>\n
MUSTANGS<\/td>\nDARTELL STOMP -THE-<\/td>\n8\/27\/1964<\/td>\n14<\/td>\n4<\/td>\nPROVIDENCE<\/td>\n401<\/td>\n<\/tr>\n
NAPOLEON XIV<\/td>\nTHEY’RE COMING TO TAKE ME AWAY. HA-HAAA!<\/td>\n7\/18\/1966<\/td>\n6<\/td>\n1<\/td>\nWARNER BROS.<\/td>\n5831<\/td>\n<\/tr>\n
NASH. JOHNNY<\/td>\nHOLD ME TIGHT<\/td>\n9\/26\/1968<\/td>\n1<\/td>\n8<\/td>\nJAD<\/td>\n207<\/td>\n<\/tr>\n
NASH. JOHNNY<\/td>\nCUPID<\/td>\n11\/6\/1969<\/td>\n10<\/td>\n6<\/td>\nJAD<\/td>\n220<\/td>\n<\/tr>\n
NASH. JOHNNY<\/td>\nI’M LEAVING<\/td>\n1\/23\/1964<\/td>\n14<\/td>\n5<\/td>\nGROOVE<\/td>\n0030<\/td>\n<\/tr>\n
NASH. JOHNNY<\/td>\nYOU GOT SOUL<\/td>\n12\/19\/1968<\/td>\n15<\/td>\n5<\/td>\nJAD<\/td>\n209<\/td>\n<\/tr>\n
NASH. JOHNNY<\/td>\nLET’S MOVE AND GROOVE<\/td>\n10\/20\/1965<\/td>\n23<\/td>\n4<\/td>\nJODA<\/td>\n102<\/td>\n<\/tr>\n
NASHVILLE TEENS<\/td>\nLITTLE BIRD -THE-<\/td>\n5\/26\/1965<\/td>\n11<\/td>\n3<\/td>\nMGM<\/td>\n13357<\/td>\n<\/tr>\n
NASHVILLE TEENS<\/td>\nTOBACCO ROAD<\/td>\n9\/10\/1964<\/td>\n9<\/td>\n6<\/td>\nLONDON<\/td>\n9689<\/td>\n<\/tr>\n
NAYLOR. JERRY<\/td>\nBUT FOR LOVE<\/td>\n3\/10\/1970<\/td>\n37<\/td>\n1<\/td>\nCOLUMBIA 45106<\/td>\n<\/td>\n<\/tr>\n
NAZZ<\/td>\nOPEN MY EYES<\/td>\n8\/15\/1968<\/td>\n16<\/td>\n6<\/td>\nSGC<\/td>\n001<\/td>\n<\/tr>\n
NEIGHBORHOOD<\/td>\nBIG YELLOW TAXI<\/td>\n6\/22\/1970<\/td>\n26<\/td>\n3<\/td>\nBIG TREE<\/td>\n102<\/td>\n<\/tr>\n
NELSON. RICK<\/td>\nTHERE’S NOTHING I CAN SAY<\/td>\n8\/20\/1964<\/td>\n17<\/td>\n3<\/td>\nDECCA<\/td>\n31656<\/td>\n<\/tr>\n
NELSON. RICK<\/td>\nFOR YOU<\/td>\n1\/9\/1964<\/td>\n18<\/td>\n4<\/td>\nDECCA<\/td>\n31574<\/td>\n<\/tr>\n
NEON PHILHARMONIC<\/td>\nMORNING GIRL<\/td>\n4\/3\/1969<\/td>\n19<\/td>\n3<\/td>\nWARNER BROS.<\/td>\n7261<\/td>\n<\/tr>\n
NESMITH. MICHAEL<\/td>\nSILVER MOON<\/td>\n11\/23\/1970<\/td>\n19<\/td>\n4<\/td>\nRCA<\/td>\n74-0399<\/td>\n<\/tr>\n
NESMITH. MICHAEL<\/td>\nJOANNE<\/td>\n9\/21\/1970<\/td>\n20<\/td>\n7<\/td>\nRCA<\/td>\n74-0368<\/td>\n<\/tr>\n
NEVILLE. AARON<\/td>\nTELL IT LIKE IT IS<\/td>\n12\/19\/1966<\/td>\n5<\/td>\n7<\/td>\nPARLO<\/td>\n101<\/td>\n<\/tr>\n
NEW CHRISTY MINSTRELS<\/td>\nTODAY<\/td>\n6\/4\/1964<\/td>\n21<\/td>\n3<\/td>\nCOLUMBIA<\/td>\n43000<\/td>\n<\/tr>\n
NEW COLONY SIX<\/td>\nTHINGS I’D LIKE TO SAY<\/td>\n2\/6\/1969<\/td>\n14<\/td>\n6<\/td>\nMERCURY<\/td>\n72858<\/td>\n<\/tr>\n
NEW COLONY SIX<\/td>\nI WILL ALWAYS THINK ABOUT YOU<\/td>\n3\/14\/1968<\/td>\n17<\/td>\n8<\/td>\nMERCURY<\/td>\n72775<\/td>\n<\/tr>\n
NEW COLONY SIX<\/td>\nLOVE YOU SO MUCH<\/td>\n2\/6\/1967<\/td>\n26<\/td>\n3<\/td>\nSENTAR<\/td>\n1205<\/td>\n<\/tr>\n
NEW HOLIDAYS<\/td>\nMAYBE SO. MAYBE NO<\/td>\n1\/13\/1970<\/td>\n15<\/td>\n5<\/td>\nSOULHAWK<\/td>\n1008<\/td>\n<\/tr>\n
NEW SEEKERS<\/td>\nI’D LIKE TO TEACH THE WORLD TO SING<\/td>\n12\/20\/1971<\/td>\n2<\/td>\n5<\/td>\nELEKTRA<\/td>\n45762<\/td>\n<\/tr>\n
NEW SEEKERS<\/td>\nLOOK WHAT THEY’VE DONE TO MY SONG MA<\/td>\n8\/31\/1970<\/td>\n9<\/td>\n8<\/td>\nELEKTRA<\/td>\n45699<\/td>\n<\/tr>\n
NEW VAUDEVILLE BAND<\/td>\nWINCHESTER CATHEDRAL<\/td>\n10\/24\/1966<\/td>\n1<\/td>\n7<\/td>\nFONTANA<\/td>\n1562<\/td>\n<\/tr>\n
NEWBEATS<\/td>\nBREAD AND BUTTER<\/td>\n7\/16\/1964<\/td>\n1<\/td>\n6<\/td>\nHICKORY<\/td>\n1269<\/td>\n<\/tr>\n
NEWBEATS<\/td>\nHEY-O-DADDY-O<\/td>\n1\/7\/1965<\/td>\n11<\/td>\n4<\/td>\nHICKORY<\/td>\n1290<\/td>\n<\/tr>\n
NEWBEATS<\/td>\nRUN. BABY RUN<\/td>\n9\/8\/1965<\/td>\n12<\/td>\n5<\/td>\nHICKORY<\/td>\n1332<\/td>\n<\/tr>\n
NEWBEATS<\/td>\nGROOVIN’<\/td>\n12\/11\/1969<\/td>\n15<\/td>\n7<\/td>\nHICKORY<\/td>\n1552<\/td>\n<\/tr>\n
NEWBEATS<\/td>\nBIRDS ARE FOR THE BEES -THE- (THE BEES ARE FOR THE BIRDS)<\/td>\n3\/17\/1965<\/td>\n25<\/td>\n2<\/td>\nHICKORY<\/td>\n1305<\/td>\n<\/tr>\n
NEWBEATS<\/td>\nEVERYTHING’S ALRIGHT<\/td>\n10\/22\/1964<\/td>\n3<\/td>\n6<\/td>\nHICKORY<\/td>\n1282<\/td>\n<\/tr>\n
NEWBEATS<\/td>\nBREAK AWAY<\/td>\n1\/14\/1965<\/td>\n9<\/td>\n6<\/td>\nHICKORY<\/td>\n1290<\/td>\n<\/tr>\n
NEWTON-JOHN. OLIVIA<\/td>\nIF NOT FOR YOU<\/td>\n8\/2\/1971<\/td>\n13<\/td>\n5<\/td>\nUNI<\/td>\n55281<\/td>\n<\/tr>\n
NILSSON<\/td>\nWITHOUT YOU<\/td>\n12\/27\/1971<\/td>\n1<\/td>\n13<\/td>\nRCA<\/td>\n74-0604<\/td>\n<\/tr>\n
NILSSON<\/td>\nI GUESS THE LORD MUST BE IN NEW YORK CITY<\/td>\n10\/30\/1969<\/td>\n24<\/td>\n2<\/td>\nRCA<\/td>\n74-0261<\/td>\n<\/tr>\n
NILSSON<\/td>\nME AND MY ARROW<\/td>\n5\/3\/1971<\/td>\n6<\/td>\n7<\/td>\nRCA<\/td>\n74-0443<\/td>\n<\/tr>\n
NILSSON<\/td>\nEVERYBODY’S TALKIN’<\/td>\n8\/28\/1969<\/td>\n7<\/td>\n5<\/td>\nRCA<\/td>\n74-0161<\/td>\n<\/tr>\n
NINETEEN-TEN FRUITGUM COMPANY<\/td>\nONE. TWO. THREE. RED LIGHT<\/td>\n7\/11\/1968<\/td>\n1<\/td>\n10<\/td>\nBUDDAH<\/td>\n54<\/td>\n<\/tr>\n
NINETEEN-TEN FRUITGUM COMPANY<\/td>\nSIMON SAYS<\/td>\n1\/25\/1968<\/td>\n2<\/td>\n8<\/td>\nBUDDAH<\/td>\n24<\/td>\n<\/tr>\n
NINETEEN-TEN FRUITGUM COMPANY<\/td>\nINDIAN GIVER<\/td>\n1\/9\/1969<\/td>\n2<\/td>\n8<\/td>\nBUDDAH<\/td>\n91<\/td>\n<\/tr>\n
NITTY GRITTY DIRT BAND<\/td>\nMISTER BOJANGLES<\/td>\n12\/21\/1970<\/td>\n2<\/td>\n10<\/td>\nLIBERTY<\/td>\n56197<\/td>\n<\/tr>\n
NITTY GRITTY DIRT BAND<\/td>\nSOME OF SHELLY’S BLUES<\/td>\n8\/30\/1971<\/td>\n31<\/td>\n2<\/td>\nUNITED ARTISTS<\/td>\n50817<\/td>\n<\/tr>\n
NOBLES. CLIFF\/& CO*<\/td>\nHORSE -THE-<\/td>\n5\/23\/1968<\/td>\n12<\/td>\n5<\/td>\nPHIL-L.A. OF SOUL<\/td>\n313<\/td>\n<\/tr>\n
NORTH. FREDDIE<\/td>\nSHE’S ALL I GOT<\/td>\n9\/13\/1971<\/td>\n8<\/td>\n9<\/td>\nMANKIND<\/td>\n12004<\/td>\n<\/tr>\n
NORTHCOTT. TOM<\/td>\nSUZANNE<\/td>\n6\/14\/1971<\/td>\n15<\/td>\n6<\/td>\nUNI<\/td>\n55288<\/td>\n<\/tr>\n
NORTHCOTT. TOM<\/td>\nNINETEEN FORTY-ONE<\/td>\n2\/8\/1968<\/td>\n18<\/td>\n4<\/td>\nWARNER BROS.<\/td>\n7160<\/td>\n<\/tr>\n
NYRO. LAURA<\/td>\nSAVE THE COUNTRY<\/td>\n7\/3\/1968<\/td>\n17<\/td>\n5<\/td>\nCOLUMBIA<\/td>\n44592<\/td>\n<\/tr>\n
O’DELL. BROOKS<\/td>\nWATCH YOUR STEP<\/td>\n11\/21\/1963<\/td>\n19<\/td>\n4<\/td>\nGOLD<\/td>\n214<\/td>\n<\/tr>\n
O’DELL. KENNY<\/td>\nBEAUTIFUL PEOPLE<\/td>\n11\/2\/1967<\/td>\n4<\/td>\n6<\/td>\nVEGAS<\/td>\n718<\/td>\n<\/tr>\n
O’HENRY. LENNY<\/td>\nACROSS THE STREET<\/td>\n3\/26\/1964<\/td>\n5<\/td>\n7<\/td>\nATCO<\/td>\n6291<\/td>\n<\/tr>\n
O’JAYS<\/td>\nI’VE CRIED MY LAST TEAR<\/td>\n7\/7\/1965<\/td>\n22<\/td>\n4<\/td>\nIMPERIAL<\/td>\n66121<\/td>\n<\/tr>\n
O’JAYS<\/td>\nLIPSTICK TRACES<\/td>\n4\/21\/1965<\/td>\n8<\/td>\n6<\/td>\nIMPERIAL<\/td>\n66102<\/td>\n<\/tr>\n
O’KAYSIONS<\/td>\nGIRL WATCHER<\/td>\n9\/5\/1968<\/td>\n4<\/td>\n7<\/td>\nABC<\/td>\n11094<\/td>\n<\/tr>\n
OCEAN<\/td>\nPUT YOUR HAND IN THE HAND<\/td>\n3\/1\/1971<\/td>\n1<\/td>\n10<\/td>\nKAMA SUTRA<\/td>\n519<\/td>\n<\/tr>\n
OHIO EXPRESS<\/td>\nTRY IT<\/td>\n1\/18\/1968<\/td>\n18<\/td>\n4<\/td>\nCAMEO<\/td>\n2001<\/td>\n<\/tr>\n
OHIO EXPRESS<\/td>\nYUMMY YUMMY YUMMY<\/td>\n6\/6\/1968<\/td>\n2<\/td>\n6<\/td>\nBUDDAH<\/td>\n38<\/td>\n<\/tr>\n
OHIO EXPRESS<\/td>\nDOWN AT LULU’S<\/td>\n8\/1\/1968<\/td>\n23<\/td>\n3<\/td>\nBUDDAH<\/td>\n56<\/td>\n<\/tr>\n
OHIO EXPRESS<\/td>\nSAUSALITO<\/td>\n8\/28\/1969<\/td>\n23<\/td>\n3<\/td>\nBUDDAH<\/td>\n129<\/td>\n<\/tr>\n
OHIO EXPRESS<\/td>\nCHEWY CHEWY<\/td>\n10\/10\/1968<\/td>\n25<\/td>\n3<\/td>\nBUDDAH<\/td>\n70<\/td>\n<\/tr>\n
OHIO EXPRESS<\/td>\nMERCY<\/td>\n3\/13\/1969<\/td>\n25<\/td>\n3<\/td>\nBUDDAH<\/td>\n102<\/td>\n<\/tr>\n
OHIO EXPRESS<\/td>\nBEG. BORROW AND STEAL<\/td>\n10\/19\/1967<\/td>\n3<\/td>\n7<\/td>\nCAMEO<\/td>\n483<\/td>\n<\/tr>\n
OHIO PLAYERS<\/td>\nPAIN<\/td>\n11\/22\/1971<\/td>\n6<\/td>\n7<\/td>\nWESTBOUND<\/td>\n188<\/td>\n<\/tr>\n
OLA & THE JANGLERS<\/td>\nLET’S DANCE<\/td>\n5\/8\/1969<\/td>\n22<\/td>\n3<\/td>\nGNP CRESCENDO<\/td>\n423<\/td>\n<\/tr>\n
OLIVER<\/td>\nGOOD MORNING STARSHINE<\/td>\n5\/15\/1969<\/td>\n2<\/td>\n9<\/td>\nJUBILEE<\/td>\n5659<\/td>\n<\/tr>\n
OLIVER<\/td>\nSUNDAY MORNIN’<\/td>\n11\/13\/1969<\/td>\n22<\/td>\n2<\/td>\nCREWE<\/td>\n337<\/td>\n<\/tr>\n
OLIVER<\/td>\nJEAN<\/td>\n8\/28\/1969<\/td>\n5<\/td>\n6<\/td>\nCREWE<\/td>\n334<\/td>\n<\/tr>\n
ONE HUNDRED PROOF AGED IN SOUL<\/td>\nEVERYTHING GOOD IS BAD<\/td>\n3\/13\/1972<\/td>\n17<\/td>\n2<\/td>\nHOT WAX<\/td>\n7202<\/td>\n<\/tr>\n
ONE HUNDRED PROOF AGED IN SOUL<\/td>\nSOMEBODY’S BEEN SLEEPING<\/td>\n8\/17\/1970<\/td>\n3<\/td>\n10<\/td>\nHOT WAX<\/td>\n7004<\/td>\n<\/tr>\n
ONES<\/td>\nYOU HAVEN’T SEEN MY LOVE<\/td>\n11\/9\/1967<\/td>\n16<\/td>\n5<\/td>\nMOTOWN<\/td>\n1117<\/td>\n<\/tr>\n
ORBISON. ROY<\/td>\nGOODNIGHT<\/td>\n1\/28\/1965<\/td>\n19<\/td>\n4<\/td>\nMONUMENT<\/td>\n873<\/td>\n<\/tr>\n
ORBISON. ROY<\/td>\nPRETTY WOMAN (OH)<\/td>\n8\/13\/1964<\/td>\n2<\/td>\n8<\/td>\nMONUMENT<\/td>\n851<\/td>\n<\/tr>\n
ORBISON. ROY<\/td>\nYOU’RE MY GIRL (SAY)<\/td>\n7\/14\/1965<\/td>\n23<\/td>\n2<\/td>\nMONUMENT<\/td>\n891<\/td>\n<\/tr>\n
ORBISON. ROY<\/td>\nPRETTY PAPER<\/td>\n11\/28\/1963<\/td>\n5<\/td>\n5<\/td>\nMONUMENT<\/td>\n830<\/td>\n<\/tr>\n
ORBISON. ROY<\/td>\nIT’S OVER<\/td>\n4\/16\/1964<\/td>\n6<\/td>\n6<\/td>\nMONUMENT<\/td>\n837<\/td>\n<\/tr>\n
ORIGINALS<\/td>\nBABY. I’M FOR REAL<\/td>\n9\/11\/1969<\/td>\n16<\/td>\n4<\/td>\nSOUL<\/td>\n35066<\/td>\n<\/tr>\n
ORIGINALS<\/td>\nBELLS -THE-<\/td>\n2\/24\/1970<\/td>\n5<\/td>\n8<\/td>\nSOUL<\/td>\n35069<\/td>\n<\/tr>\n
ORIGINALS<\/td>\nGOD BLESS WHOEVER SENT YOU<\/td>\n11\/30\/1970<\/td>\n6<\/td>\n9<\/td>\nSOUL<\/td>\n35079<\/td>\n<\/tr>\n
ORLONS<\/td>\nGOIN’ PLACES<\/td>\n8\/13\/1964<\/td>\n13<\/td>\n5<\/td>\nCAMEO<\/td>\n332<\/td>\n<\/tr>\n
ORLONS<\/td>\nKNOCK! KNOCK!
\n<WHO’S THERE><\/td>\n		9\/10\/1964<\/td>\n13<\/td>\n1<\/td>\nCAMEO<\/td>\n332<\/td>\n<\/tr>\n
ORLONS<\/td>\nDON’T YOU WANT MY LOVIN’<\/td>\n7\/21\/1965<\/td>\n20<\/td>\n3<\/td>\nCAMEO<\/td>\n372<\/td>\n<\/tr>\n
ORLONS<\/td>\nCOME ON DOWN BABY. BABY<\/td>\n2\/4\/1965<\/td>\n21<\/td>\n3<\/td>\nCAMEO<\/td>\n352<\/td>\n<\/tr>\n
ORLONS<\/td>\nBON-DOO-WAH<\/td>\n12\/5\/1963<\/td>\n22<\/td>\n5<\/td>\nCAMEO<\/td>\n287<\/td>\n<\/tr>\n
ORLONS<\/td>\nSHIMMY SHIMMY<\/td>\n1\/30\/1964<\/td>\n22<\/td>\n3<\/td>\nCAMEO<\/td>\n295<\/td>\n<\/tr>\n
ORPHEUS<\/td>\nBROWN ARMS IN HOUSTON<\/td>\n5\/1\/1969<\/td>\n21<\/td>\n3<\/td>\nMGM<\/td>\n14022<\/td>\n<\/tr>\n
OSMOND. DONNY<\/td>\nGO AWAY LITTLE GIRL<\/td>\n8\/2\/1971<\/td>\n1<\/td>\n10<\/td>\nMGM<\/td>\n14285<\/td>\n<\/tr>\n
OSMOND. DONNY<\/td>\nSWEET AND INNOCENT<\/td>\n4\/12\/1971<\/td>\n3<\/td>\n9<\/td>\nMGM<\/td>\n14227<\/td>\n<\/tr>\n
OSMOND. DONNY<\/td>\nPUPPY LOVE<\/td>\n3\/6\/1972<\/td>\n4<\/td>\n3<\/td>\nMGM<\/td>\n14367<\/td>\n<\/tr>\n
OSMOND. DONNY<\/td>\nI KNEW YOU WHEN<\/td>\n11\/29\/1971<\/td>\n6<\/td>\n4<\/td>\nMGM<\/td>\n14322<\/td>\n<\/tr>\n
OSMONDS<\/td>\nONE BAD APPLE<\/td>\n1\/11\/1971<\/td>\n1<\/td>\n10<\/td>\nMGM<\/td>\n14193<\/td>\n<\/tr>\n
OSMONDS<\/td>\nDOUBLE LOVIN’<\/td>\n5\/10\/1971<\/td>\n17<\/td>\n5<\/td>\nMGM<\/td>\n14259<\/td>\n<\/tr>\n
OSMONDS<\/td>\nYO-YO<\/td>\n8\/30\/1971<\/td>\n2<\/td>\n9<\/td>\nMGM<\/td>\n14295<\/td>\n<\/tr>\n
OSMONDS<\/td>\nDOWN BY THE LAZY RIVER<\/td>\n1\/17\/1972<\/td>\n2<\/td>\n7<\/td>\nMGM<\/td>\n14324<\/td>\n<\/tr>\n
OTIS & CARLA<\/td>\nTRAMP<\/td>\n5\/22\/1967<\/td>\n14<\/td>\n4<\/td>\nSTAX<\/td>\n216<\/td>\n<\/tr>\n
OTIS & CARLA<\/td>\nKNOCK ON WOOD<\/td>\n8\/28\/1967<\/td>\n20<\/td>\n3<\/td>\nSTAX<\/td>\n228<\/td>\n<\/tr>\n
OUTSIDERS<\/td>\nRESPECTABLE<\/td>\n7\/25\/1966<\/td>\n14<\/td>\n4<\/td>\nCAPITOL<\/td>\n5701<\/td>\n<\/tr>\n
OUTSIDERS<\/td>\nHELP ME GIRL<\/td>\n11\/21\/1966<\/td>\n18<\/td>\n4<\/td>\nCAPITOL<\/td>\n5759<\/td>\n<\/tr>\n
OUTSIDERS<\/td>\nTIME WON’T LET ME<\/td>\n2\/16\/1966<\/td>\n3<\/td>\n6<\/td>\nCAPITOL<\/td>\n5573<\/td>\n<\/tr>\n
OWENS. BUCK<\/td>\nI’VE GOT A TIGER BY THE TAIL<\/td>\n1\/28\/1965<\/td>\n25<\/td>\n2<\/td>\nCAPITOL<\/td>\n5336<\/td>\n<\/tr>\n
PACIFIC GAS & ELECTRIC<\/td>\nARE YOU READY<\/td>\n6\/2\/1970<\/td>\n12<\/td>\n9<\/td>\nCOLUMBIA<\/td>\n45158<\/td>\n<\/tr>\n
PACKERS<\/td>\nHOLE IN THE WALL<\/td>\n10\/20\/1965<\/td>\n10<\/td>\n6<\/td>\nPURE SOUL<\/td>\n1107<\/td>\n<\/tr>\n
PARADE<\/td>\nSUNSHINE GIRL<\/td>\n4\/24\/1967<\/td>\n19<\/td>\n4<\/td>\nA&M<\/td>\n841<\/td>\n<\/tr>\n
PARKER. ROBERT<\/td>\nBAREFOOTIN’<\/td>\n5\/9\/1966<\/td>\n8<\/td>\n6<\/td>\nNOLA<\/td>\n721<\/td>\n<\/tr>\n
PARKS. MICHAEL<\/td>\nLONG LONESOME HIGHWAY<\/td>\n3\/3\/1970<\/td>\n13<\/td>\n6<\/td>\nMGM<\/td>\n14104<\/td>\n<\/tr>\n
PARLIAMENTS<\/td>\nTESTIFY (I WANNA)<\/td>\n6\/19\/1967<\/td>\n1<\/td>\n9<\/td>\nREVILOT<\/td>\n207<\/td>\n<\/tr>\n
PARLIAMENTS<\/td>\nGOOD OLD MUSIC<\/td>\n7\/3\/1968<\/td>\n12<\/td>\n6<\/td>\nREVILOT<\/td>\n223<\/td>\n<\/tr>\n
PARLIAMENTS<\/td>\nALL YOUR GOODIES ARE GONE (THE LOSER’S SEAT)<\/td>\n9\/25\/1967<\/td>\n25<\/td>\n2<\/td>\nREVILOT<\/td>\n211<\/td>\n<\/tr>\n
PARLIAMENTS<\/td>\nLOOK AT WHAT I ALMOST MISSED<\/td>\n3\/14\/1968<\/td>\n9<\/td>\n7<\/td>\nREVILOT<\/td>\n217<\/td>\n<\/tr>\n
PARTRIDGE FAMILY<\/td>\nI THINK I LOVE YOU<\/td>\n10\/5\/1970<\/td>\n1<\/td>\n13<\/td>\nBELL<\/td>\n910<\/td>\n<\/tr>\n
PARTRIDGE FAMILY<\/td>\nI’LL MEET YOU HALFWAY<\/td>\n4\/26\/1971<\/td>\n14<\/td>\n8<\/td>\nBELL<\/td>\n996<\/td>\n<\/tr>\n
PARTRIDGE FAMILY<\/td>\nDOESN’T SOMEBODY WANT TO BE WANTED<\/td>\n1\/25\/1971<\/td>\n16<\/td>\n7<\/td>\nBELL<\/td>\n963<\/td>\n<\/tr>\n
PARTRIDGE FAMILY<\/td>\nI WOKE UP IN LOVE THIS MORNING<\/td>\n8\/30\/1971<\/td>\n6<\/td>\n6<\/td>\nBELL<\/td>\n45130<\/td>\n<\/tr>\n
PARTRIDGE FAMILY<\/td>\nIT’S ONE OF THOSE NIGHTS (YES LOVE)<\/td>\n12\/6\/1971<\/td>\n8<\/td>\n6<\/td>\nBELL<\/td>\n45160<\/td>\n<\/tr>\n
PATTY & THE EMBLEMS<\/td>\nMIXED-UP. SHOOK-UP. GIRL<\/td>\n6\/25\/1964<\/td>\n8<\/td>\n5<\/td>\nHERALD<\/td>\n590<\/td>\n<\/tr>\n
PATTY FLABBIES COUGHED ENGINE<\/td>\nBILLY’S GOT A GOAT<\/td>\n10\/24\/1968<\/td>\n24<\/td>\n3<\/td>\nDIAMOND<\/td>\n252<\/td>\n<\/tr>\n
PAVONE. RITA<\/td>\nJUST ONCE MORE<\/td>\n5\/28\/1964<\/td>\n7<\/td>\n5<\/td>\nRCA<\/td>\n47-8365<\/td>\n<\/tr>\n
PAVONE. RITA<\/td>\nREMEMBER ME<\/td>\n5\/28\/1964<\/td>\n7<\/td>\n5<\/td>\nRCA<\/td>\n47-8365<\/td>\n<\/tr>\n
PAYNE. FREDA<\/td>\nCHERISH WHAT IS DEAR TO YOU<\/td>\n2\/22\/1971<\/td>\n25<\/td>\n2<\/td>\nINVICTUS<\/td>\n9085<\/td>\n<\/tr>\n
PAYNE. FREDA<\/td>\nBAND OF GOLD<\/td>\n4\/21\/1970<\/td>\n5<\/td>\n7<\/td>\nINVICTUS<\/td>\n9075<\/td>\n<\/tr>\n
PAYNE. FREDA<\/td>\nBRING THE BOYS HOME<\/td>\n5\/10\/1971<\/td>\n9<\/td>\n8<\/td>\nINVICTUS<\/td>\n9092<\/td>\n<\/tr>\n
PEACHES & HERB<\/td>\nLOVE IS STRANGE<\/td>\n9\/18\/1967<\/td>\n13<\/td>\n5<\/td>\nDATE<\/td>\n1574<\/td>\n<\/tr>\n
PEACHES & HERB<\/td>\nCLOSE YOUR EYES<\/td>\n4\/3\/1967<\/td>\n15<\/td>\n4<\/td>\nDATE<\/td>\n1549<\/td>\n<\/tr>\n
PEACHES & HERB<\/td>\nLET’S FALL IN LOVE<\/td>\n2\/27\/1967<\/td>\n16<\/td>\n3<\/td>\nDATE<\/td>\n1523<\/td>\n<\/tr>\n
PEACHES & HERB<\/td>\nUNITED<\/td>\n5\/9\/1968<\/td>\n17<\/td>\n5<\/td>\nDATE<\/td>\n1603<\/td>\n<\/tr>\n
PEACHES & HERB<\/td>\nTWO LITTLE KIDS<\/td>\n12\/7\/1967<\/td>\n21<\/td>\n2<\/td>\nDATE<\/td>\n1586<\/td>\n<\/tr>\n
PEACHES & HERB<\/td>\nFOR YOUR LOVE<\/td>\n6\/26\/1967<\/td>\n22<\/td>\n3<\/td>\nDATE<\/td>\n1563<\/td>\n<\/tr>\n
PEANUT BUTTER CONSPIRACY<\/td>\nI’M A FOOL<\/td>\n10\/24\/1968<\/td>\n22<\/td>\n5<\/td>\nCOLUMBIA<\/td>\n44667<\/td>\n<\/tr>\n
PEEBLES. ANN<\/td>\nPART TIME LOVE<\/td>\n9\/14\/1970<\/td>\n17<\/td>\n6<\/td>\nHI<\/td>\n2178<\/td>\n<\/tr>\n
PEEK. PAUL<\/td>\nPIN THE TAIL ON THE DONKEY<\/td>\n4\/27\/1966<\/td>\n16<\/td>\n4<\/td>\nCOLUMBIA<\/td>\n43527<\/td>\n<\/tr>\n
PEOPLE<\/td>\nI LOVE YOU<\/td>\n5\/23\/1968<\/td>\n8<\/td>\n8<\/td>\nCAPITOL<\/td>\n2078<\/td>\n<\/tr>\n
PEOPLE’S CHOICE<\/td>\nI LIKES TO DO IT<\/td>\n7\/26\/1971<\/td>\n22<\/td>\n5<\/td>\nPHIL-L.A. OF SOUL<\/td>\n349<\/td>\n<\/tr>\n
PEPPERMINT TROLLEY COMPANY<\/td>\nBABY YOU COME ROLLIN’ ACROSS MY MIND<\/td>\n6\/13\/1968<\/td>\n14<\/td>\n5<\/td>\nACTA<\/td>\n815<\/td>\n<\/tr>\n
PERRIN. SUE<\/td>\nRECIPE OF LOVE<\/td>\n1\/9\/1964<\/td>\n29<\/td>\n4<\/td>\nGOLDEN WORLD<\/td>\n1<\/td>\n<\/tr>\n
PERSUADERS<\/td>\nTHIN LINE BETWEEN LOVE & HATE<\/td>\n8\/30\/1971<\/td>\n7<\/td>\n7<\/td>\nATCO<\/td>\n6822<\/td>\n<\/tr>\n
PETER & GORDON<\/td>\nI DON’T WANT TO SEE YOU AGAIN<\/td>\n10\/1\/1964<\/td>\n13<\/td>\n3<\/td>\nCAPITOL<\/td>\n5272<\/td>\n<\/tr>\n
PETER & GORDON<\/td>\nI GO TO PIECES<\/td>\n1\/7\/1965<\/td>\n17<\/td>\n5<\/td>\nCAPITOL<\/td>\n5335<\/td>\n<\/tr>\n
PETER & GORDON<\/td>\nWORLD WITHOUT LOVE -A-<\/td>\n4\/30\/1964<\/td>\n2<\/td>\n7<\/td>\nCAPITOL<\/td>\n5175<\/td>\n<\/tr>\n
PETER & GORDON<\/td>\nLADY GODIVA<\/td>\n10\/31\/1966<\/td>\n2<\/td>\n9<\/td>\nCAPITOL<\/td>\n5740<\/td>\n<\/tr>\n
PETER & GORDON<\/td>\nKNIGHT IN RUSTY ARMOUR<\/td>\n1\/3\/1967<\/td>\n22<\/td>\n3<\/td>\nCAPITOL<\/td>\n5808<\/td>\n<\/tr>\n
PETER & GORDON<\/td>\nSUNDAY FOR TEA<\/td>\n3\/20\/1967<\/td>\n23<\/td>\n3<\/td>\nCAPITOL<\/td>\n5864<\/td>\n<\/tr>\n
PETER & GORDON<\/td>\nNOBODY I KNOW<\/td>\n6\/18\/1964<\/td>\n7<\/td>\n5<\/td>\nCAPITOL<\/td>\n5211<\/td>\n<\/tr>\n
PETER+ PAUL & MARY<\/td>\nLEAVING ON A JET PLANE<\/td>\n11\/6\/1969<\/td>\n1<\/td>\n9<\/td>\nWARNER BROS.<\/td>\n7340<\/td>\n<\/tr>\n
PETER+ PAUL & MARY<\/td>\nDAY IS DONE<\/td>\n5\/8\/1969<\/td>\n10<\/td>\n6<\/td>\nWARNER BROS.<\/td>\n7279<\/td>\n<\/tr>\n
PETER+ PAUL & MARY<\/td>\nI DIG ROCK AND ROLL MUSIC<\/td>\n8\/14\/1967<\/td>\n13<\/td>\n5<\/td>\nWARNER BROS.<\/td>\n7067<\/td>\n<\/tr>\n
PETER+ PAUL & MARY<\/td>\nFOR LOVIN’ ME<\/td>\n1\/21\/1965<\/td>\n17<\/td>\n4<\/td>\nWARNER BROS.<\/td>\n5496<\/td>\n<\/tr>\n
PETERSON. RAY<\/td>\nACROSS THE STREET<\/td>\n12\/10\/1964<\/td>\n16<\/td>\n6<\/td>\nMGM<\/td>\n13299<\/td>\n<\/tr>\n
PHILLIPS. ESTHER<\/td>\nAND I LOVE HIM<\/td>\n3\/24\/1965<\/td>\n13<\/td>\n5<\/td>\nATLANTIC<\/td>\n2281<\/td>\n<\/tr>\n
PICKETT. WILSON<\/td>\nDON’T KNOCK MY LOVE – PT* 1<\/td>\n5\/3\/1971<\/td>\n12<\/td>\n5<\/td>\nATLANTIC<\/td>\n2797<\/td>\n<\/tr>\n
PICKETT. WILSON<\/td>\nDON’T LET THE GREEN GRASS FOOL YOU<\/td>\n2\/1\/1971<\/td>\n15<\/td>\n4<\/td>\nATLANTIC<\/td>\n2781<\/td>\n<\/tr>\n
PICKETT. WILSON<\/td>\nFUNKY BROADWAY<\/td>\n8\/21\/1967<\/td>\n19<\/td>\n4<\/td>\nATLANTIC<\/td>\n2430<\/td>\n<\/tr>\n
PICKETT. WILSON<\/td>\nEVERYBODY NEEDS SOMEBODY TO LOVE<\/td>\n1\/16\/1967<\/td>\n20<\/td>\n3<\/td>\nATLANTIC<\/td>\n2381<\/td>\n<\/tr>\n
PICKETT. WILSON<\/td>\nI FOUND A TRUE LOVE<\/td>\n9\/19\/1968<\/td>\n21<\/td>\n2<\/td>\nATLANTIC<\/td>\n2558<\/td>\n<\/tr>\n
PICKETT. WILSON<\/td>\nHEY JUDE<\/td>\n12\/12\/1968<\/td>\n21<\/td>\n4<\/td>\nATLANTIC<\/td>\n2591<\/td>\n<\/tr>\n
PICKETT. WILSON<\/td>\nLAND OF 1000 DANCES<\/td>\n9\/12\/1966<\/td>\n23<\/td>\n3<\/td>\nATLANTIC<\/td>\n2348<\/td>\n<\/tr>\n
PICKETT. WILSON<\/td>\nSHE’S LOOKIN’ GOOD<\/td>\n3\/28\/1968<\/td>\n23<\/td>\n4<\/td>\nATLANTIC<\/td>\n2504<\/td>\n<\/tr>\n
PICKETT. WILSON<\/td>\nMUSTANG SALLY<\/td>\n11\/28\/1966<\/td>\n24<\/td>\n2<\/td>\nATLANTIC<\/td>\n2365<\/td>\n<\/tr>\n
PICKETT. WILSON<\/td>\nI’M A MIDNIGHT MOVER<\/td>\n6\/20\/1968<\/td>\n24<\/td>\n2<\/td>\nATLANTIC<\/td>\n2528<\/td>\n<\/tr>\n
PICKETT. WILSON<\/td>\nI’M IN LOVE<\/td>\n1\/11\/1968<\/td>\n27<\/td>\n2<\/td>\nATLANTIC<\/td>\n2448<\/td>\n<\/tr>\n
PICKETT. WILSON<\/td>\nENGINE NUMBER 9<\/td>\n10\/5\/1970<\/td>\n6<\/td>\n9<\/td>\nATLANTIC<\/td>\n2765<\/td>\n<\/tr>\n
PICKETTYWITCH<\/td>\nTHAT SAME OLD FEELING<\/td>\n5\/5\/1970<\/td>\n4<\/td>\n11<\/td>\nJANUS<\/td>\n118<\/td>\n<\/tr>\n
PIPKINS<\/td>\nGIMME DAT DING<\/td>\n6\/22\/1970<\/td>\n2<\/td>\n6<\/td>\nCAPITOL<\/td>\n2819<\/td>\n<\/tr>\n
PITNEY. GENE<\/td>\nI MUST BE SEEING THINGS<\/td>\n2\/11\/1965<\/td>\n18<\/td>\n5<\/td>\nMUSICOR<\/td>\n1070<\/td>\n<\/tr>\n
PITNEY. GENE<\/td>\nPRINCESS IN RAGS<\/td>\n11\/17\/1965<\/td>\n18<\/td>\n4<\/td>\nMUSICOR<\/td>\n1130<\/td>\n<\/tr>\n
PITNEY. GENE<\/td>\nBACKSTAGE<\/td>\n4\/13\/1966<\/td>\n19<\/td>\n4<\/td>\nMUSICOR<\/td>\n1171<\/td>\n<\/tr>\n
PITNEY. GENE<\/td>\nI’M GONNA BE STRONG<\/td>\n10\/15\/1964<\/td>\n2<\/td>\n6<\/td>\nMUSICOR<\/td>\n1045<\/td>\n<\/tr>\n
PITNEY. GENE<\/td>\nLOOKING THROUGH THE EYES OF LOVE<\/td>\n7\/28\/1965<\/td>\n23<\/td>\n2<\/td>\nMUSICOR<\/td>\n1103<\/td>\n<\/tr>\n
PITNEY. GENE<\/td>\nTHAT GIRL BELONGS TO YESTERDAY<\/td>\n1\/30\/1964<\/td>\n28<\/td>\n2<\/td>\nMUSICOR<\/td>\n1036<\/td>\n<\/tr>\n
PITNEY. GENE<\/td>\nIT HURTS TO BE IN LOVE<\/td>\n8\/6\/1964<\/td>\n3<\/td>\n6<\/td>\nMUSICOR<\/td>\n1040<\/td>\n<\/tr>\n
PITNEY. GENE<\/td>\nSHE’S A HEARTBREAKER<\/td>\n5\/16\/1968<\/td>\n3<\/td>\n6<\/td>\nMUSICOR<\/td>\n1306<\/td>\n<\/tr>\n
PITNEY. GENE<\/td>\nTWENTY FOUR HOURS FROM TULSA<\/td>\n11\/7\/1963<\/td>\n8<\/td>\n4<\/td>\nMUSICOR<\/td>\n1034<\/td>\n<\/tr>\n
PITNEY. GENE<\/td>\nLAST CHANCE TO TURN AROUND<\/td>\n5\/5\/1965<\/td>\n8<\/td>\n6<\/td>\nMUSICOR<\/td>\n1093<\/td>\n<\/tr>\n
PIXIES THREE<\/td>\nIT’S SUMMER TIME U*S*A*<\/td>\n6\/4\/1964<\/td>\n14<\/td>\n5<\/td>\nMERCURY<\/td>\n72288<\/td>\n<\/tr>\n
PIXIES THREE<\/td>\nGEE<\/td>\n3\/19\/1964<\/td>\n16<\/td>\n5<\/td>\nMERCURY<\/td>\n72250<\/td>\n<\/tr>\n
PIXIES THREE<\/td>\nFOUR FORTY-TWO GLENWOOD AVENUE<\/td>\n11\/28\/1963<\/td>\n5<\/td>\n9<\/td>\nMERCURY<\/td>\n72208<\/td>\n<\/tr>\n
PLATTERS<\/td>\nSWEET. SWEET LOVIN’<\/td>\n10\/12\/1967<\/td>\n21<\/td>\n3<\/td>\nMUSICOR<\/td>\n1275<\/td>\n<\/tr>\n
PLATTERS<\/td>\nWITH THIS RING<\/td>\n3\/6\/1967<\/td>\n7<\/td>\n6<\/td>\nMUSICOR<\/td>\n1229<\/td>\n<\/tr>\n
POOLE. BRIAN\/& THE TREMELOES<\/td>\nSOMEONE. SOMEONE<\/td>\n8\/6\/1964<\/td>\n16<\/td>\n5<\/td>\nMONUMENT<\/td>\n846<\/td>\n<\/tr>\n
POPPY FAMILY<\/td>\nTHAT’S WHERE I WENT WRONG<\/td>\n8\/3\/1970<\/td>\n4<\/td>\n8<\/td>\nLONDON<\/td>\n139<\/td>\n<\/tr>\n
POPPY FAMILY<\/td>\nWHICH WAY YOU GOIN’ BILLY<\/td>\n3\/3\/1970<\/td>\n5<\/td>\n9<\/td>\nLONDON<\/td>\n129<\/td>\n<\/tr>\n
POPPY FAMILY<\/td>\nWHERE EVIL GROWS<\/td>\n7\/19\/1971<\/td>\n8<\/td>\n7<\/td>\nLONDON<\/td>\n148<\/td>\n<\/tr>\n
POSEY. SANDY<\/td>\nWHAT A WOMAN IN LOVE WON’T DO<\/td>\n3\/27\/1967<\/td>\n14<\/td>\n5<\/td>\nMGM<\/td>\n13702<\/td>\n<\/tr>\n
POSEY. SANDY<\/td>\nSINGLE GIRL<\/td>\n12\/5\/1966<\/td>\n17<\/td>\n4<\/td>\nMGM<\/td>\n13612<\/td>\n<\/tr>\n
POSEY. SANDY<\/td>\nBORN A WOMAN<\/td>\n8\/29\/1966<\/td>\n2<\/td>\n8<\/td>\nMGM<\/td>\n13501<\/td>\n<\/tr>\n
POSEY. SANDY<\/td>\nI TAKE IT BACK<\/td>\n6\/19\/1967<\/td>\n9<\/td>\n5<\/td>\nMGM<\/td>\n13744<\/td>\n<\/tr>\n
POWERS. JOEY<\/td>\nMIDNIGHT MARY<\/td>\n11\/7\/1963<\/td>\n13<\/td>\n4<\/td>\nAMY<\/td>\n892<\/td>\n<\/tr>\n
POZO-SECO SINGERS<\/td>\nLOOK WHAT YOU’VE DONE<\/td>\n12\/27\/1966<\/td>\n16<\/td>\n4<\/td>\nCOLUMBIA<\/td>\n43927<\/td>\n<\/tr>\n
POZO-SECO SINGERS<\/td>\nI CAN MAKE IT WITH YOU<\/td>\n9\/19\/1966<\/td>\n4<\/td>\n7<\/td>\nCOLUMBIA<\/td>\n43784<\/td>\n<\/tr>\n
PRECISIONS<\/td>\nPLACE -A-<\/td>\n6\/6\/1968<\/td>\n15<\/td>\n6<\/td>\nDREW<\/td>\n1005<\/td>\n<\/tr>\n
PRECISIONS<\/td>\nIF THIS IS LOVE (I’D RATHER BE LONELY)<\/td>\n8\/28\/1967<\/td>\n9<\/td>\n5<\/td>\nDREW<\/td>\n1003<\/td>\n<\/tr>\n
PREMIERS<\/td>\nFARMER JOHN<\/td>\n6\/4\/1964<\/td>\n20<\/td>\n3<\/td>\nWARNER BROS.<\/td>\n5443<\/td>\n<\/tr>\n
PRESIDENTS<\/td>\nFIVE TEN FIFTEEN—<\/td>\n10\/26\/1970<\/td>\n5<\/td>\n7<\/td>\nSUSSEX<\/td>\n207<\/td>\n<\/tr>\n
PRESLEY. ELVIS<\/td>\nSUSPICIOUS MINDS<\/td>\n9\/4\/1969<\/td>\n1<\/td>\n9<\/td>\nRCA<\/td>\n47-9764<\/td>\n<\/tr>\n
PRESLEY. ELVIS<\/td>\nYOU’LL THINK OF ME<\/td>\n9\/4\/1969<\/td>\n11<\/td>\n2<\/td>\nRCA<\/td>\n47-9764<\/td>\n<\/tr>\n
PRESLEY. ELVIS<\/td>\nKISSIN’ COUSINS<\/td>\n2\/20\/1964<\/td>\n13<\/td>\n4<\/td>\nRCA<\/td>\n47-8307<\/td>\n<\/tr>\n
PRESLEY. ELVIS<\/td>\nIT HURTS ME<\/td>\n2\/27\/1964<\/td>\n13<\/td>\n5<\/td>\nRCA<\/td>\n47-8307<\/td>\n<\/tr>\n
PRESLEY. ELVIS<\/td>\nI’VE LOST YOU<\/td>\n7\/20\/1970<\/td>\n13<\/td>\n6<\/td>\nRCA<\/td>\n47-9873<\/td>\n<\/tr>\n
PRESLEY. ELVIS<\/td>\nWHAT’D I SAY<\/td>\n5\/7\/1964<\/td>\n14<\/td>\n5<\/td>\nRCA<\/td>\n47-8360<\/td>\n<\/tr>\n
PRESLEY. ELVIS<\/td>\nEASY QUESTION (SUCH AN)<\/td>\n6\/23\/1965<\/td>\n14<\/td>\n4<\/td>\nRCA<\/td>\n47-8585<\/td>\n<\/tr>\n
PRESLEY. ELVIS<\/td>\nIT FEELS SO RIGHT<\/td>\n6\/23\/1965<\/td>\n14<\/td>\n4<\/td>\nRCA<\/td>\n47-8585<\/td>\n<\/tr>\n
PRESLEY. ELVIS<\/td>\nU*S* MALE<\/td>\n4\/4\/1968<\/td>\n14<\/td>\n4<\/td>\nRCA<\/td>\n47-9465<\/td>\n<\/tr>\n
PRESLEY. ELVIS<\/td>\nINDESCRIBABLY BLUE<\/td>\n2\/6\/1967<\/td>\n17<\/td>\n5<\/td>\nRCA<\/td>\n47-9056<\/td>\n<\/tr>\n
PRESLEY. ELVIS<\/td>\nBOSSA NOVA BABY<\/td>\n11\/7\/1963<\/td>\n19<\/td>\n1<\/td>\nRCA<\/td>\n47-8243<\/td>\n<\/tr>\n
PRESLEY. ELVIS<\/td>\nWITCHCRAFT<\/td>\n11\/7\/1963<\/td>\n19<\/td>\n2<\/td>\nRCA<\/td>\n47-8243<\/td>\n<\/tr>\n
PRESLEY. ELVIS<\/td>\nLOVE LETTERS<\/td>\n6\/27\/1966<\/td>\n19<\/td>\n4<\/td>\nRCA<\/td>\n47-8870<\/td>\n<\/tr>\n
PRESLEY. ELVIS<\/td>\nYOU DON’T HAVE TO SAY YOU LOVE ME<\/td>\n10\/12\/1970<\/td>\n19<\/td>\n4<\/td>\nRCA<\/td>\n47-9916<\/td>\n<\/tr>\n
PRESLEY. ELVIS<\/td>\nCRYING IN THE CHAPEL<\/td>\n5\/5\/1965<\/td>\n2<\/td>\n7<\/td>\nRCA<\/td>\n447-0643<\/td>\n<\/tr>\n
PRESLEY. ELVIS<\/td>\nIN THE GHETTO<\/td>\n5\/1\/1969<\/td>\n2<\/td>\n8<\/td>\nRCA<\/td>\n47-9741<\/td>\n<\/tr>\n
PRESLEY. ELVIS<\/td>\nDON’T CRY DADDY<\/td>\n12\/4\/1969<\/td>\n2<\/td>\n11<\/td>\nRCA<\/td>\n47-9768<\/td>\n<\/tr>\n
PRESLEY. ELVIS<\/td>\nI REALLY DON’T WANT TO KNOW<\/td>\n1\/18\/1971<\/td>\n20<\/td>\n3<\/td>\nRCA<\/td>\n47-9960<\/td>\n<\/tr>\n
PRESLEY. ELVIS<\/td>\nDO THE CLAM<\/td>\n3\/17\/1965<\/td>\n27<\/td>\n2<\/td>\nRCA<\/td>\n47-8500<\/td>\n<\/tr>\n
PRESLEY. ELVIS<\/td>\nIF I CAN DREAM<\/td>\n12\/5\/1968<\/td>\n3<\/td>\n7<\/td>\nRCA<\/td>\n47-9670<\/td>\n<\/tr>\n
PRESLEY. ELVIS<\/td>\nAIN’T THAT LOVING YOU BABY<\/td>\n10\/8\/1964<\/td>\n5<\/td>\n7<\/td>\nRCA<\/td>\n47-8440<\/td>\n<\/tr>\n
PRESLEY. ELVIS<\/td>\nASK ME<\/td>\n10\/8\/1964<\/td>\n5<\/td>\n7<\/td>\nRCA<\/td>\n47-8440<\/td>\n<\/tr>\n
PRESLEY. ELVIS<\/td>\nWONDER OF YOU -THE-<\/td>\n5\/12\/1970<\/td>\n6<\/td>\n9<\/td>\nRCA<\/td>\n47-9835<\/td>\n<\/tr>\n
PRESLEY. ELVIS<\/td>\nI’M YOURS<\/td>\n9\/1\/1965<\/td>\n7<\/td>\n5<\/td>\nRCA<\/td>\n47-8657<\/td>\n<\/tr>\n
PRESLEY. ELVIS<\/td>\nKENTUCKY RAIN<\/td>\n2\/10\/1970<\/td>\n7<\/td>\n5<\/td>\nRCA<\/td>\n47-9791<\/td>\n<\/tr>\n
PRICE. LLOYD<\/td>\nMISTY<\/td>\n11\/7\/1963<\/td>\n21<\/td>\n1<\/td>\nDOUBLE-L<\/td>\n722<\/td>\n<\/tr>\n
PRICE. RAY<\/td>\nFOR THE GOOD TIMES<\/td>\n11\/30\/1970<\/td>\n10<\/td>\n8<\/td>\nCOLUMBIA<\/td>\n45178<\/td>\n<\/tr>\n
PROBY. P*J*<\/td>\nNIKI HOEKY<\/td>\n1\/30\/1967<\/td>\n6<\/td>\n6<\/td>\nLIBERTY<\/td>\n55936<\/td>\n<\/tr>\n
PROCOL HARUM<\/td>\nWHITER SHADE OF PALE -A-<\/td>\n6\/12\/1967<\/td>\n20<\/td>\n4<\/td>\nDERAM<\/td>\n7507<\/td>\n<\/tr>\n
PUCKETT. GARY\/& THE UNION GAP<\/td>\nTHIS GIRL IS A WOMAN NOW<\/td>\n8\/21\/1969<\/td>\n1<\/td>\n7<\/td>\nCOLUMBIA<\/td>\n44967<\/td>\n<\/tr>\n
PUCKETT. GARY\/& THE UNION GAP<\/td>\nYOUNG GIRL<\/td>\n2\/22\/1968<\/td>\n15<\/td>\n4<\/td>\nCOLUMBIA 44450<\/td>\n<\/td>\n<\/tr>\n
PUCKETT. GARY\/& THE UNION GAP<\/td>\nLET’S GIVE ADAM AND EVE ANOTHER CHANCE<\/td>\n3\/3\/1970<\/td>\n17<\/td>\n3<\/td>\nCOLUMBIA 45097<\/td>\n<\/td>\n<\/tr>\n
PUCKETT. GARY\/& THE UNION GAP<\/td>\nWOMAN. WOMAN<\/td>\n11\/16\/1967<\/td>\n2<\/td>\n8<\/td>\nCOLUMBIA<\/td>\n44297<\/td>\n<\/tr>\n
PUCKETT. GARY\/& THE UNION GAP<\/td>\nLADY WILLPOWER<\/td>\n5\/23\/1968<\/td>\n2<\/td>\n11<\/td>\nCOLUMBIA<\/td>\n44547<\/td>\n<\/tr>\n
PUCKETT. GARY\/& THE UNION GAP<\/td>\nOVER YOU<\/td>\n9\/12\/1968<\/td>\n2<\/td>\n8<\/td>\nCOLUMBIA<\/td>\n44644<\/td>\n<\/tr>\n
PUCKETT. GARY\/& THE UNION GAP<\/td>\nDON’T GIVE IN TO HIM<\/td>\n2\/27\/1969<\/td>\n8<\/td>\n7<\/td>\nCOLUMBIA<\/td>\n44788<\/td>\n<\/tr>\n
PURIFY. JAMES & BOBBY<\/td>\nSHAKE A TAIL FEATHER<\/td>\n4\/24\/1967<\/td>\n10<\/td>\n5<\/td>\nBELL<\/td>\n669<\/td>\n<\/tr>\n
PURIFY. JAMES & BOBBY<\/td>\nLET LOVE COME BETWEEN US<\/td>\n9\/18\/1967<\/td>\n15<\/td>\n4<\/td>\nBELL<\/td>\n685<\/td>\n<\/tr>\n
PURIFY. JAMES & BOBBY<\/td>\nWISH YOU DIDN’T HAVE TO GO<\/td>\n1\/30\/1967<\/td>\n21<\/td>\n3<\/td>\nBELL<\/td>\n660<\/td>\n<\/tr>\n
PURIFY. JAMES & BOBBY<\/td>\nDO UNTO ME<\/td>\n12\/28\/1967<\/td>\n24<\/td>\n2<\/td>\nBELL<\/td>\n700<\/td>\n<\/tr>\n
PURIFY. JAMES & BOBBY<\/td>\nI’M YOUR PUPPET<\/td>\n10\/17\/1966<\/td>\n8<\/td>\n5<\/td>\nBELL<\/td>\n648<\/td>\n<\/tr>\n
QUAITE. CHRISTINE<\/td>\nTELL ME MAMMA<\/td>\n4\/16\/1964<\/td>\n13<\/td>\n5<\/td>\nWORLD ARTISTS<\/td>\n1022<\/td>\n<\/tr>\n
QUESTION MARK & THE MYSTERIANS<\/td>\nNINETY-SIX TEARS<\/td>\n8\/8\/1966<\/td>\n2<\/td>\n6<\/td>\nCAMEO<\/td>\n428<\/td>\n<\/tr>\n
QUESTION MARK & THE MYSTERIANS<\/td>\nI NEED SOMEBODY<\/td>\n11\/7\/1966<\/td>\n22<\/td>\n3<\/td>\nCAMEO<\/td>\n44<\/td>\n<\/tr>\n
RADIANTS<\/td>\nVOICE YOUR CHOICE<\/td>\n12\/31\/1964<\/td>\n14<\/td>\n3<\/td>\nCHESS<\/td>\n1904<\/td>\n<\/tr>\n
RADIANTS<\/td>\nIT AIN’T NO BIG THING<\/td>\n4\/7\/1965<\/td>\n20<\/td>\n2<\/td>\nCHESS<\/td>\n1925<\/td>\n<\/tr>\n
RADIANTS<\/td>\nSHY GUY<\/td>\n11\/7\/1963<\/td>\n24<\/td>\n1<\/td>\nCHESS<\/td>\n1872<\/td>\n<\/tr>\n
RAG DOLLS<\/td>\nDUSTY<\/td>\n1\/14\/1965<\/td>\n23<\/td>\n3<\/td>\nMALA<\/td>\n493<\/td>\n<\/tr>\n
RAINDROPS<\/td>\nLET’S GO TOGETHER<\/td>\n7\/3\/1964<\/td>\n19<\/td>\n3<\/td>\nJUBILEE<\/td>\n5475<\/td>\n<\/tr>\n
RAMBEAU. EDDIE<\/td>\nCONCRETE AND CLAY<\/td>\n4\/14\/1965<\/td>\n5<\/td>\n7<\/td>\nDYNO VOICE<\/td>\n204<\/td>\n<\/tr>\n
RANDAZZO. TEDDY<\/td>\nLOST WITHOUT YOU<\/td>\n10\/1\/1964<\/td>\n12<\/td>\n6<\/td>\nDCP<\/td>\n1108<\/td>\n<\/tr>\n
RARE EARTH<\/td>\nI’M LOSING YOU (I KNOW)<\/td>\n8\/24\/1970<\/td>\n11<\/td>\n7<\/td>\nRARE EARTH<\/td>\n5017<\/td>\n<\/tr>\n
RARE EARTH<\/td>\nI JUST WANT TO CELEBRATE<\/td>\n7\/19\/1971<\/td>\n21<\/td>\n5<\/td>\nRARE EARTH<\/td>\n5031<\/td>\n<\/tr>\n
RARE EARTH<\/td>\nBORN TO WANDER<\/td>\n12\/7\/1970<\/td>\n22<\/td>\n5<\/td>\nRARE EARTH<\/td>\n5021<\/td>\n<\/tr>\n
RARE EARTH<\/td>\nHEY BIG BROTHER<\/td>\n11\/1\/1971<\/td>\n22<\/td>\n7<\/td>\nRARE EARTH<\/td>\n5038<\/td>\n<\/tr>\n
RARE EARTH<\/td>\nGET READY<\/td>\n3\/10\/1970<\/td>\n36<\/td>\n1<\/td>\nRARE EARTH<\/td>\n5012<\/td>\n<\/tr>\n
RASCALS<\/td>\nPEOPLE GOT TO BE FREE<\/td>\n6\/27\/1968<\/td>\n1<\/td>\n10<\/td>\nATLANTIC<\/td>\n2537<\/td>\n<\/tr>\n
RASCALS<\/td>\nBEAUTIFUL MORNING -A-<\/td>\n3\/28\/1968<\/td>\n11<\/td>\n7<\/td>\nATLANTIC<\/td>\n2493<\/td>\n<\/tr>\n
RASCALS<\/td>\nGIRL LIKE YOU -A-<\/td>\n7\/3\/1967<\/td>\n16<\/td>\n5<\/td>\nATLANTIC<\/td>\n2424<\/td>\n<\/tr>\n
RASCALS<\/td>\nSEE<\/td>\n5\/8\/1969<\/td>\n17<\/td>\n4<\/td>\nATLANTIC<\/td>\n2634<\/td>\n<\/tr>\n
RASCALS<\/td>\nRAY OF HOPE -A-<\/td>\n11\/21\/1968<\/td>\n18<\/td>\n4<\/td>\nATLANTIC<\/td>\n2584<\/td>\n<\/tr>\n
RASCALS<\/td>\nHOW CAN I BE SURE<\/td>\n8\/28\/1967<\/td>\n19<\/td>\n4<\/td>\nATLANTIC<\/td>\n2438<\/td>\n<\/tr>\n
RASCALS<\/td>\nGOOD LOVIN’<\/td>\n3\/23\/1966<\/td>\n2<\/td>\n6<\/td>\nATLANTIC<\/td>\n2321<\/td>\n<\/tr>\n
RASCALS<\/td>\nHEAVEN<\/td>\n1\/23\/1969<\/td>\n21<\/td>\n3<\/td>\nATLANTIC<\/td>\n2599<\/td>\n<\/tr>\n
RASCALS<\/td>\nI’VE BEEN LONELY TOO LONG<\/td>\n2\/6\/1967<\/td>\n25<\/td>\n3<\/td>\nATLANTIC<\/td>\n2377<\/td>\n<\/tr>\n
RASCALS<\/td>\nIT’S WONDERFUL<\/td>\n11\/30\/1967<\/td>\n26<\/td>\n2<\/td>\nATLANTIC<\/td>\n2463<\/td>\n<\/tr>\n
RASCALS<\/td>\nGROOVIN’<\/td>\n4\/24\/1967<\/td>\n3<\/td>\n7<\/td>\nATLANTIC<\/td>\n2401<\/td>\n<\/tr>\n
RATIONALS<\/td>\nI NEED YOU<\/td>\n1\/11\/1968<\/td>\n4<\/td>\n7<\/td>\nA-SQUARE<\/td>\n107<\/td>\n<\/tr>\n
RATIONALS<\/td>\nRESPECT<\/td>\n9\/6\/1966<\/td>\n6<\/td>\n6<\/td>\nCAMEO<\/td>\n437<\/td>\n<\/tr>\n
RAWLS. LOU<\/td>\nLOVE IS A HURTIN’ THING<\/td>\n9\/6\/1966<\/td>\n10<\/td>\n5<\/td>\nCAPITOL<\/td>\n5709<\/td>\n<\/tr>\n
RAWLS. LOU<\/td>\nYOUR GOOD THING<\/td>\n7\/24\/1969<\/td>\n10<\/td>\n5<\/td>\nCAPITOL<\/td>\n2550<\/td>\n<\/tr>\n
RAWLS. LOU<\/td>\nTOBACCO ROAD<\/td>\n11\/7\/1963<\/td>\n17<\/td>\n3<\/td>\nCAPITOL<\/td>\n5049<\/td>\n<\/tr>\n
RAWLS. LOU<\/td>\nDEAD END STREET<\/td>\n4\/10\/1967<\/td>\n2<\/td>\n5<\/td>\nCAPITOL<\/td>\n5869<\/td>\n<\/tr>\n
RAWLS. LOU<\/td>\nSHOW BUSINESS<\/td>\n6\/12\/1967<\/td>\n25<\/td>\n3<\/td>\nCAPITOL<\/td>\n5941<\/td>\n<\/tr>\n
RAWLS. LOU<\/td>\nNATURAL MAN -A-<\/td>\n8\/9\/1971<\/td>\n4<\/td>\n9<\/td>\nMGM<\/td>\n14262<\/td>\n<\/tr>\n
REDBONE<\/td>\nMAGGIE<\/td>\n8\/16\/1971<\/td>\n22<\/td>\n4<\/td>\nEPIC<\/td>\n10670<\/td>\n<\/tr>\n
REDBONE<\/td>\nWITCH QUEEN OF NEW ORLEANS -THE-<\/td>\n11\/22\/1971<\/td>\n25<\/td>\n6<\/td>\nEPIC<\/td>\n10749<\/td>\n<\/tr>\n
REDDING. OTIS<\/td>\nDOCK OF THE BAY -THE- (SITTIN’ ON)<\/td>\n1\/18\/1968<\/td>\n2<\/td>\n9<\/td>\nVOLT<\/td>\n157<\/td>\n<\/tr>\n
REDDING. OTIS<\/td>\nPAPA’S GOT A BRAND NEW BAG<\/td>\n1\/9\/1969<\/td>\n24<\/td>\n2<\/td>\nATCO<\/td>\n6636<\/td>\n<\/tr>\n
REDEYE<\/td>\nGAMES<\/td>\n11\/16\/1970<\/td>\n14<\/td>\n6<\/td>\nPENTAGRAM<\/td>\n204<\/td>\n<\/tr>\n
REED. JERRY<\/td>\nAMOS MOSES<\/td>\n1\/25\/1971<\/td>\n17<\/td>\n5<\/td>\nRCA<\/td>\n47-9904<\/td>\n<\/tr>\n
REESE. DELLA<\/td>\nAFTER LOVING YOU<\/td>\n6\/16\/1965<\/td>\n21<\/td>\n5<\/td>\nABC-PARAMOUNT<\/td>\n10691<\/td>\n<\/tr>\n
REFLECTIONS<\/td>\nROMEO AND JULIET (JUST LIKE)<\/td>\n2\/27\/1964<\/td>\n1<\/td>\n7<\/td>\nGOLDEN WORLD<\/td>\n9<\/td>\n<\/tr>\n
REFLECTIONS<\/td>\nLIKE COLUMBUS DID<\/td>\n6\/11\/1964<\/td>\n27<\/td>\n3<\/td>\nGOLDEN WORLD<\/td>\n12<\/td>\n<\/tr>\n
REFLECTIONS<\/td>\nPOOR MAN’S SON<\/td>\n2\/4\/1965<\/td>\n4<\/td>\n6<\/td>\nGOLDEN WORLD<\/td>\n20<\/td>\n<\/tr>\n
REFLECTIONS<\/td>\nSHABBY LITTLE HUT<\/td>\n11\/26\/1964<\/td>\n7<\/td>\n7<\/td>\nGOLDEN WORLD<\/td>\n19<\/td>\n<\/tr>\n
REID. CLARENCE<\/td>\nNOBODY BUT YOU BABE<\/td>\n7\/10\/1969<\/td>\n19<\/td>\n5<\/td>\nALSTON<\/td>\n4574<\/td>\n<\/tr>\n
RELF. KEITH<\/td>\nSHAPES IN MY MIND<\/td>\n12\/12\/1966<\/td>\n24<\/td>\n3<\/td>\nEPIC<\/td>\n10110<\/td>\n<\/tr>\n
RENAY. DIANE<\/td>\nKISS ME SAILOR<\/td>\n4\/2\/1964<\/td>\n28<\/td>\n2<\/td>\nTWENTIETH CENTURY-FOX<\/td>\n477<\/td>\n<\/tr>\n
RENAY. DIANE<\/td>\nNAVY BLUE<\/td>\n1\/30\/1964<\/td>\n4<\/td>\n6<\/td>\nTWENTIETH CENTURY-FOX<\/td>\n456<\/td>\n<\/tr>\n
RENE & RENE<\/td>\nLO MUCHO QUE TE QUIERO (THE MORE I LOVE YOU)<\/td>\n12\/12\/1968<\/td>\n11<\/td>\n5<\/td>\nWHITE WHALE<\/td>\n287<\/td>\n<\/tr>\n
REVERE. PAUL\/& THE RAIDERS<\/td>\nHUNGRY<\/td>\n6\/13\/1966<\/td>\n12<\/td>\n6<\/td>\nCOLUMBIA<\/td>\n43678<\/td>\n<\/tr>\n
REVERE. PAUL\/& THE RAIDERS<\/td>\nTOO MUCH TALK<\/td>\n2\/8\/1968<\/td>\n12<\/td>\n4<\/td>\nCOLUMBIA 44444<\/td>\n<\/td>\n<\/tr>\n
REVERE. PAUL\/& THE RAIDERS<\/td>\nI HAD A DREAM<\/td>\n8\/7\/1967<\/td>\n14<\/td>\n5<\/td>\nCOLUMBIA<\/td>\n44227<\/td>\n<\/tr>\n
REVERE. PAUL\/& THE RAIDERS<\/td>\nMISTER SUN. MISTER MOON<\/td>\n2\/13\/1969<\/td>\n14<\/td>\n3<\/td>\nCOLUMBIA 44744<\/td>\n<\/td>\n<\/tr>\n
REVERE. PAUL\/& THE RAIDERS<\/td>\nLET ME<\/td>\n5\/1\/1969<\/td>\n14<\/td>\n5<\/td>\nCOLUMBIA<\/td>\n44854<\/td>\n<\/tr>\n
REVERE. PAUL\/& THE RAIDERS<\/td>\nLOUIE – GO HOME<\/td>\n4\/16\/1964<\/td>\n16<\/td>\n5<\/td>\nCOLUMBIA<\/td>\n43008<\/td>\n<\/tr>\n
REVERE. PAUL\/& THE RAIDERS<\/td>\nGREAT AIRPLANE STRIKE -THE-<\/td>\n9\/26\/1966<\/td>\n16<\/td>\n3<\/td>\nCOLUMBIA<\/td>\n4381<\/td>\n<\/tr>\n
REVERE. PAUL\/& THE RAIDERS<\/td>\nUPS AND DOWNS<\/td>\n2\/6\/1967<\/td>\n16<\/td>\n4<\/td>\nCOLUMBIA<\/td>\n44018<\/td>\n<\/tr>\n
REVERE. PAUL\/& THE RAIDERS<\/td>\nPEACE OF MIND<\/td>\n11\/2\/1967<\/td>\n21<\/td>\n4<\/td>\nCOLUMBIA<\/td>\n44335<\/td>\n<\/tr>\n
REVERE. PAUL\/& THE RAIDERS<\/td>\nBIRDS OF A FEATHER<\/td>\n9\/7\/1971<\/td>\n21<\/td>\n4<\/td>\nCOLUMBIA<\/td>\n45453<\/td>\n<\/tr>\n
REVERE. PAUL\/& THE RAIDERS<\/td>\nCINDERELLA SUNSHINE<\/td>\n9\/19\/1968<\/td>\n22<\/td>\n3<\/td>\nCOLUMBIA<\/td>\n44655<\/td>\n<\/tr>\n
REVERE. PAUL\/& THE RAIDERS<\/td>\nWE GOTTA ALL GET TOGETHER<\/td>\n9\/18\/1969<\/td>\n24<\/td>\n3<\/td>\nCOLUMBIA<\/td>\n44970<\/td>\n<\/tr>\n
REVERE. PAUL\/& THE RAIDERS<\/td>\nHIM OR ME – WHAT’S IT GONNA BE<\/td>\n4\/17\/1967<\/td>\n3<\/td>\n7<\/td>\nCOLUMBIA<\/td>\n44094<\/td>\n<\/tr>\n
REVERE. PAUL\/& THE RAIDERS<\/td>\nINDIAN RESERVATION (THE LAMENT OF THE CHEROKEE RESERVATION INDIAN)<\/td>\n4\/26\/1971<\/td>\n3<\/td>\n15<\/td>\nCOLUMBIA<\/td>\n45332<\/td>\n<\/tr>\n
REVERE. PAUL\/& THE RAIDERS<\/td>\nKICKS<\/td>\n3\/2\/1966<\/td>\n6<\/td>\n7<\/td>\nCOLUMBIA<\/td>\n43556<\/td>\n<\/tr>\n
REVERE. PAUL\/& THE RAIDERS<\/td>\nGOOD THING<\/td>\n12\/5\/1966<\/td>\n6<\/td>\n7<\/td>\nCOLUMBIA<\/td>\n43907<\/td>\n<\/tr>\n
REVERE. PAUL\/& THE RAIDERS<\/td>\nSTEPPIN’ OUT<\/td>\n9\/15\/1965<\/td>\n8<\/td>\n6<\/td>\nCOLUMBIA<\/td>\n43375<\/td>\n<\/tr>\n
REVERE. PAUL\/& THE RAIDERS<\/td>\nJUST LIKE ME<\/td>\n12\/1\/1965<\/td>\n9<\/td>\n7<\/td>\nCOLUMBIA<\/td>\n43461<\/td>\n<\/tr>\n
REYNOLDS. LAWRENCE<\/td>\nJESUS IS A SOUL MAN<\/td>\n9\/11\/1969<\/td>\n25<\/td>\n3<\/td>\nWARNER BROS.<\/td>\n7322<\/td>\n<\/tr>\n
RICHARD & THE YOUNG LIONS<\/td>\nOPEN UP YOUR DOOR<\/td>\n8\/22\/1966<\/td>\n3<\/td>\n7<\/td>\nPHILIPS<\/td>\n40381<\/td>\n<\/tr>\n
RICHARD. CLIFF<\/td>\nBACHELOR BOY<\/td>\n7\/3\/1964<\/td>\n27<\/td>\n1<\/td>\nEPIC<\/td>\n9691<\/td>\n<\/tr>\n
RICHARD. CLIFF<\/td>\nIT’S ALL IN THE GAME<\/td>\n12\/19\/1963<\/td>\n4<\/td>\n6<\/td>\nEPIC<\/td>\n9633<\/td>\n<\/tr>\n
RICHARD. SCOT\/CASE<\/td>\nI’M SO GLAD<\/td>\n7\/10\/1967<\/td>\n7<\/td>\n6<\/td>\nA-SQUARE<\/td>\n301<\/td>\n<\/tr>\n
RIGHTEOUS BROTHERS<\/td>\nUNCHAINED MELODY<\/td>\n7\/28\/1965<\/td>\n1<\/td>\n8<\/td>\nPHILLES<\/td>\n129<\/td>\n<\/tr>\n
RIGHTEOUS BROTHERS<\/td>\nSOUL AND INSPIRATION (YOU’RE MY)<\/td>\n2\/23\/1966<\/td>\n1<\/td>\n7<\/td>\nVERVE<\/td>\n10383<\/td>\n<\/tr>\n
RIGHTEOUS BROTHERS<\/td>\nJUST ONCE IN MY LIFE<\/td>\n3\/31\/1965<\/td>\n10<\/td>\n6<\/td>\nPHILLES<\/td>\n127<\/td>\n<\/tr>\n
RIGHTEOUS BROTHERS<\/td>\nHUNG ON YOU<\/td>\n6\/30\/1965<\/td>\n13<\/td>\n6<\/td>\nPHILLES<\/td>\n129<\/td>\n<\/tr>\n
RIGHTEOUS BROTHERS<\/td>\nMELANCHOLY MUSIC MAN<\/td>\n3\/27\/1967<\/td>\n16<\/td>\n4<\/td>\nVERVE<\/td>\n10507<\/td>\n<\/tr>\n
RIGHTEOUS BROTHERS<\/td>\nON THIS SIDE OF GOODBYE<\/td>\n10\/31\/1966<\/td>\n24<\/td>\n3<\/td>\nVERVE<\/td>\n10449<\/td>\n<\/tr>\n
RIGHTEOUS BROTHERS<\/td>\nHE WILL BREAK YOUR HEART<\/td>\n6\/13\/1966<\/td>\n25<\/td>\n2<\/td>\nVERVE<\/td>\n10406<\/td>\n<\/tr>\n
RIGHTEOUS BROTHERS<\/td>\nYOU’VE LOST THAT LOVIN’ FEELIN’<\/td>\n12\/10\/1964<\/td>\n3<\/td>\n9<\/td>\nPHILLES<\/td>\n124<\/td>\n<\/tr>\n
RIGHTEOUS BROTHERS<\/td>\nEBB TIDE<\/td>\n11\/17\/1965<\/td>\n3<\/td>\n6<\/td>\nPHILLES<\/td>\n130<\/td>\n<\/tr>\n
RILEY. JEANNIE C*<\/td>\nHARPER VALLEY P*T*A*<\/td>\n8\/8\/1968<\/td>\n1<\/td>\n10<\/td>\nPLANTATION<\/td>\n3<\/td>\n<\/tr>\n
RILEY. JEANNIE C*<\/td>\nTHERE NEVER WAS A TIME<\/td>\n3\/6\/1969<\/td>\n23<\/td>\n3<\/td>\nPLANTATION<\/td>\n16<\/td>\n<\/tr>\n
RIOS. MIGUEL<\/td>\nSONG OF JOY -A-<\/td>\n5\/19\/1970<\/td>\n5<\/td>\n5<\/td>\nA&M<\/td>\n1193<\/td>\n<\/tr>\n
RIP CHORDS<\/td>\nTHREE WINDOW COUPE<\/td>\n5\/7\/1964<\/td>\n24<\/td>\n3<\/td>\nCOLUMBIA<\/td>\n43035<\/td>\n<\/tr>\n
RIP CHORDS<\/td>\nHEY LITTLE COBRA<\/td>\n1\/23\/1964<\/td>\n9<\/td>\n4<\/td>\nCOLUMBIA<\/td>\n42921<\/td>\n<\/tr>\n
RIVERS. JOHNNY<\/td>\nMEMPHIS<\/td>\n5\/21\/1964<\/td>\n1<\/td>\n7<\/td>\nIMPERIAL<\/td>\n66032<\/td>\n<\/tr>\n
RIVERS. JOHNNY<\/td>\nMOUNTAIN OF LOVE<\/td>\n10\/22\/1964<\/td>\n1<\/td>\n7<\/td>\nIMPERIAL<\/td>\n66075<\/td>\n<\/tr>\n
RIVERS. JOHNNY<\/td>\nPOOR SIDE OF TOWN<\/td>\n10\/3\/1966<\/td>\n1<\/td>\n7<\/td>\nIMPERIAL<\/td>\n66205<\/td>\n<\/tr>\n
RIVERS. JOHNNY<\/td>\nMAYBELLINE<\/td>\n8\/6\/1964<\/td>\n11<\/td>\n5<\/td>\nIMPERIAL<\/td>\n66056<\/td>\n<\/tr>\n
RIVERS. JOHNNY<\/td>\nUNDER YOUR SPELL AGAIN<\/td>\n12\/15\/1965<\/td>\n12<\/td>\n5<\/td>\nIMPERIAL<\/td>\n66144<\/td>\n<\/tr>\n
RIVERS. JOHNNY<\/td>\nSUMMER RAIN<\/td>\n12\/7\/1967<\/td>\n13<\/td>\n4<\/td>\nIMPERIAL<\/td>\n66267<\/td>\n<\/tr>\n
RIVERS. JOHNNY<\/td>\nTRACKS OF MY TEARS -THE-<\/td>\n5\/29\/1967<\/td>\n16<\/td>\n5<\/td>\nIMPERIAL<\/td>\n66244<\/td>\n<\/tr>\n
RIVERS. JOHNNY<\/td>\nCUPID<\/td>\n2\/11\/1965<\/td>\n17<\/td>\n4<\/td>\nIMPERIAL<\/td>\n66087<\/td>\n<\/tr>\n
RIVERS. JOHNNY<\/td>\nMIDNIGHT SPECIAL<\/td>\n2\/11\/1965<\/td>\n17<\/td>\n4<\/td>\nIMPERIAL<\/td>\n66087<\/td>\n<\/tr>\n
RIVERS. JOHNNY<\/td>\nMUDDY WATER (I WASHED MY HANDS IN)<\/td>\n6\/6\/1966<\/td>\n17<\/td>\n4<\/td>\nIMPERIAL<\/td>\n66175<\/td>\n<\/tr>\n
RIVERS. JOHNNY<\/td>\nSECRET AGENT MAN<\/td>\n3\/2\/1966<\/td>\n2<\/td>\n7<\/td>\nIMPERIAL<\/td>\n66159<\/td>\n<\/tr>\n
RIVERS. JOHNNY<\/td>\nSEVENTH SON<\/td>\n5\/19\/1965<\/td>\n4<\/td>\n7<\/td>\nIMPERIAL<\/td>\n66112<\/td>\n<\/tr>\n
RIVERS. JOHNNY<\/td>\nBABY I NEED YOUR LOVIN’<\/td>\n1\/30\/1967<\/td>\n5<\/td>\n5<\/td>\nIMPERIAL<\/td>\n66227<\/td>\n<\/tr>\n
RIVIERAS<\/td>\nCALIFORNIA SUN<\/td>\n12\/26\/1963<\/td>\n2<\/td>\n7<\/td>\nRIVIERA<\/td>\n1401<\/td>\n<\/tr>\n
RIVINGTONS<\/td>\nWEEJEE WALK<\/td>\n3\/5\/1964<\/td>\n18<\/td>\n4<\/td>\nLIBERTY<\/td>\n55671<\/td>\n<\/tr>\n
ROAD<\/td>\nSHE’S NOT THERE<\/td>\n1\/16\/1969<\/td>\n20<\/td>\n3<\/td>\nKAMA SUTRA<\/td>\n256<\/td>\n<\/tr>\n
ROAD HOME<\/td>\nKEEP IT IN THE FAMILY<\/td>\n9\/7\/1971<\/td>\n33<\/td>\n1<\/td>\nDUNHILL<\/td>\n4285<\/td>\n<\/tr>\n
ROBERTS. JOHN<\/td>\nSOCKIN’ 1-2-3-4<\/td>\n11\/30\/1967<\/td>\n9<\/td>\n6<\/td>\nDUKE<\/td>\n425<\/td>\n<\/tr>\n
ROBINSON. J*P*<\/td>\nYOU GOT YOUR THING ON A STRING<\/td>\n11\/20\/1969<\/td>\n21<\/td>\n3<\/td>\nALSTON<\/td>\n4577<\/td>\n<\/tr>\n
ROBINSON. ROSCO<\/td>\nTHAT’S ENOUGH<\/td>\n8\/1\/1966<\/td>\n5<\/td>\n5<\/td>\nWAND<\/td>\n1125<\/td>\n<\/tr>\n
RODGERS. JIMMIE<\/td>\nCHILD OF CLAY<\/td>\n10\/12\/1967<\/td>\n17<\/td>\n4<\/td>\nA&M<\/td>\n871<\/td>\n<\/tr>\n
RODGERS. JIMMIE<\/td>\nWORLD I USED TO KNOW -THE-<\/td>\n7\/9\/1964<\/td>\n21<\/td>\n3<\/td>\nDOT<\/td>\n16595<\/td>\n<\/tr>\n
ROE. TOMMY<\/td>\nDIZZY<\/td>\n1\/30\/1969<\/td>\n1<\/td>\n9<\/td>\nABC<\/td>\n11164<\/td>\n<\/tr>\n
ROE. TOMMY<\/td>\nPEARL<\/td>\n6\/15\/1970<\/td>\n15<\/td>\n6<\/td>\nABC<\/td>\n11266<\/td>\n<\/tr>\n
ROE. TOMMY<\/td>\nHEATHER HONEY<\/td>\n4\/24\/1969<\/td>\n17<\/td>\n4<\/td>\nABC<\/td>\n11211<\/td>\n<\/tr>\n
ROE. TOMMY<\/td>\nJAM UP JELLY TIGHT<\/td>\n11\/6\/1969<\/td>\n20<\/td>\n3<\/td>\nABC<\/td>\n11247<\/td>\n<\/tr>\n
ROE. TOMMY<\/td>\nIT’S NOW WINTERS DAY<\/td>\n1\/9\/1967<\/td>\n22<\/td>\n3<\/td>\nABC<\/td>\n10888<\/td>\n<\/tr>\n
ROE. TOMMY<\/td>\nSWEET PEA<\/td>\n5\/31\/1966<\/td>\n3<\/td>\n8<\/td>\nABC<\/td>\n10762<\/td>\n<\/tr>\n
ROE. TOMMY<\/td>\nEVERYBODY<\/td>\n11\/7\/1963<\/td>\n5<\/td>\n2<\/td>\nABC-PARAMOUNT<\/td>\n10478<\/td>\n<\/tr>\n
ROE. TOMMY<\/td>\nCAROL<\/td>\n4\/9\/1964<\/td>\n9<\/td>\n5<\/td>\nABC-PARAMOUNT<\/td>\n10543<\/td>\n<\/tr>\n
ROE. TOMMY<\/td>\nHOORAY FOR HAZEL<\/td>\n10\/3\/1966<\/td>\n9<\/td>\n5<\/td>\nABC<\/td>\n10852<\/td>\n<\/tr>\n
ROGERS. JULIE<\/td>\nWEDDING -THE-<\/td>\n11\/12\/1964<\/td>\n2<\/td>\n7<\/td>\nMERCURY<\/td>\n72332<\/td>\n<\/tr>\n
ROGERS. KENNY\/& THE FIRST EDITION<\/td>\nTELL IT ALL BROTHER<\/td>\n6\/15\/1970<\/td>\n12<\/td>\n9<\/td>\nREPRISE<\/td>\n0923<\/td>\n<\/tr>\n
ROGERS. KENNY\/& THE FIRST EDITION<\/td>\nHEED THE CALL<\/td>\n11\/2\/1970<\/td>\n14<\/td>\n5<\/td>\nREPRISE<\/td>\n0953<\/td>\n<\/tr>\n
ROGERS. KENNY\/& THE FIRST EDITION<\/td>\nRUBEN JAMES<\/td>\n10\/2\/1969<\/td>\n18<\/td>\n4<\/td>\nREPRISE<\/td>\n0854<\/td>\n<\/tr>\n
ROGERS. KENNY\/& THE FIRST EDITION<\/td>\nSOMETHING’S BURNING<\/td>\n2\/3\/1970<\/td>\n19<\/td>\n3<\/td>\nREPRISE<\/td>\n0888<\/td>\n<\/tr>\n
ROGERS. KENNY\/& THE FIRST EDITION<\/td>\nBUT YOU KNOW I LOVE YOU<\/td>\n12\/12\/1968<\/td>\n21<\/td>\n5<\/td>\nREPRISE<\/td>\n0799<\/td>\n<\/tr>\n
ROGERS. KENNY\/& THE FIRST EDITION<\/td>\nJUST DROPPED IN<\/td>\n2\/1\/1968<\/td>\n5<\/td>\n6<\/td>\nREPRISE 0655<\/td>\n<\/td>\n<\/tr>\n
ROGERS. KENNY\/& THE FIRST EDITION<\/td>\nRUBY. DON’T TAKE YOUR LOVE TO TOWN<\/td>\n5\/28\/1969<\/td>\n5<\/td>\n8<\/td>\nREPRISE<\/td>\n0829<\/td>\n<\/tr>\n
ROGERS. LEE<\/td>\nI WANT YOU TO HAVE EVERYTHING<\/td>\n10\/29\/1964<\/td>\n18<\/td>\n4<\/td>\nD-TOWN<\/td>\n1035<\/td>\n<\/tr>\n
ROLLIN. DANA<\/td>\nWINCHESTER CATHEDRAL<\/td>\n10\/24\/1966<\/td>\n1<\/td>\n7<\/td>\nTOWER<\/td>\n283<\/td>\n<\/tr>\n
ROLLING STONES<\/td>\nSATISFACTION (I CAN’T GET NO)<\/td>\n6\/9\/1965<\/td>\n1<\/td>\n8<\/td>\nLONDON<\/td>\n9766<\/td>\n<\/tr>\n
ROLLING STONES<\/td>\nGET OFF OF MY CLOUD<\/td>\n9\/29\/1965<\/td>\n1<\/td>\n8<\/td>\nLONDON<\/td>\n9792<\/td>\n<\/tr>\n
ROLLING STONES<\/td>\nPAINT IT. BLACK<\/td>\n5\/2\/1966<\/td>\n1<\/td>\n6<\/td>\nLONDON<\/td>\n901<\/td>\n<\/tr>\n
ROLLING STONES<\/td>\nHONKY TONK WOMEN<\/td>\n7\/10\/1969<\/td>\n1<\/td>\n10<\/td>\nLONDON<\/td>\n910<\/td>\n<\/tr>\n
ROLLING STONES<\/td>\nTIME IS ON MY SIDE<\/td>\n10\/8\/1964<\/td>\n11<\/td>\n5<\/td>\nLONDON<\/td>\n9708<\/td>\n<\/tr>\n
ROLLING STONES<\/td>\nTELL ME
\n<YOU’RE COMING BACK><\/td>\n		7\/16\/1964<\/td>\n12<\/td>\n4<\/td>\nLONDON<\/td>\n9682<\/td>\n<\/tr>\n
ROLLING STONES<\/td>\nHAVE YOU SEEN YOUR MOTHER. BABY. STANDING IN THE SHADOW<\/td>\n9\/26\/1966<\/td>\n13<\/td>\n4<\/td>\nLONDON 903<\/td>\n<\/td>\n<\/tr>\n
ROLLING STONES<\/td>\nDANDELION<\/td>\n9\/5\/1967<\/td>\n16<\/td>\n3<\/td>\nLONDON<\/td>\n905<\/td>\n<\/tr>\n
ROLLING STONES<\/td>\nWE LOVE YOU<\/td>\n9\/18\/1967<\/td>\n16<\/td>\n1<\/td>\nLONDON<\/td>\n905<\/td>\n<\/tr>\n
ROLLING STONES<\/td>\nSTREET FIGHTING MAN<\/td>\n8\/29\/1968<\/td>\n17<\/td>\n3<\/td>\nLONDON<\/td>\n909<\/td>\n<\/tr>\n
ROLLING STONES<\/td>\nSHE’S A RAINBOW<\/td>\n12\/14\/1967<\/td>\n18<\/td>\n4<\/td>\nLONDON<\/td>\n906<\/td>\n<\/tr>\n
ROLLING STONES<\/td>\nRUBY TUESDAY<\/td>\n1\/16\/1967<\/td>\n2<\/td>\n8<\/td>\nLONDON<\/td>\n904<\/td>\n<\/tr>\n
ROLLING STONES<\/td>\nBROWN SUGAR<\/td>\n4\/12\/1971<\/td>\n2<\/td>\n10<\/td>\nROLLING STONES<\/td>\n19100<\/td>\n<\/tr>\n
ROLLING STONES<\/td>\nNOT FADE AWAY<\/td>\n6\/18\/1964<\/td>\n29<\/td>\n2<\/td>\nLONDON<\/td>\n9657<\/td>\n<\/tr>\n
ROLLING STONES<\/td>\nNINETEENTH NERVOUS BREAKDOWN<\/td>\n2\/9\/1966<\/td>\n4<\/td>\n6<\/td>\nLONDON<\/td>\n9823<\/td>\n<\/tr>\n
ROLLING STONES<\/td>\nJUMPIN’ JACK FLASH<\/td>\n5\/29\/1968<\/td>\n4<\/td>\n8<\/td>\nLONDON<\/td>\n908<\/td>\n<\/tr>\n
ROLLING STONES<\/td>\nMOTHERS LITTLE HELPER<\/td>\n7\/5\/1966<\/td>\n8<\/td>\n4<\/td>\nLONDON<\/td>\n902<\/td>\n<\/tr>\n
ROLLING STONES<\/td>\nLADY JANE<\/td>\n7\/11\/1966<\/td>\n8<\/td>\n3<\/td>\nLONDON<\/td>\n902<\/td>\n<\/tr>\n
ROLLINS. DEBBIE<\/td>\nHE REALLY LOVES ME<\/td>\n2\/27\/1964<\/td>\n15<\/td>\n3<\/td>\nASCOT<\/td>\n2148<\/td>\n<\/tr>\n
RONETTES<\/td>\nDO I LOVE YOU<\/td>\n6\/18\/1964<\/td>\n2<\/td>\n4<\/td>\nPHILLES<\/td>\n121<\/td>\n<\/tr>\n
RONETTES<\/td>\nWALKING IN THE RAIN<\/td>\n10\/29\/1964<\/td>\n23<\/td>\n3<\/td>\nPHILLES<\/td>\n123<\/td>\n<\/tr>\n
RONETTES<\/td>\nBABY. I LOVE YOU<\/td>\n12\/26\/1963<\/td>\n27<\/td>\n4<\/td>\nPHILLES<\/td>\n118<\/td>\n<\/tr>\n
RONETTES<\/td>\nBREAKIN’ UP (THE BEST PART OF)<\/td>\n4\/2\/1964<\/td>\n4<\/td>\n7<\/td>\nPHILLES<\/td>\n120<\/td>\n<\/tr>\n
RONNIE & ROBYN<\/td>\nCRADLE OF LOVE<\/td>\n6\/6\/1966<\/td>\n10<\/td>\n6<\/td>\nTEEN TOWN<\/td>\n9001<\/td>\n<\/tr>\n
RONNY & THE DAYTONAS<\/td>\nG*T*O*<\/td>\n7\/30\/1964<\/td>\n5<\/td>\n7<\/td>\nMALA<\/td>\n481<\/td>\n<\/tr>\n
RONSTADT. LINDA<\/td>\nLONG LONG TIME<\/td>\n9\/14\/1970<\/td>\n27<\/td>\n3<\/td>\nCAPITOL<\/td>\n2846<\/td>\n<\/tr>\n
RONSTADT. LINDA<\/td>\nDIFFERENT DRUM<\/td>\n11\/16\/1967<\/td>\n5<\/td>\n8<\/td>\nCAPITOL<\/td>\n2004<\/td>\n<\/tr>\n
ROOMATES<\/td>\nMY HEART<\/td>\n3\/5\/1964<\/td>\n17<\/td>\n4<\/td>\nCANADIAN AMERICAN<\/td>\n166<\/td>\n<\/tr>\n
ROSE GARDEN<\/td>\nNEXT PLANE TO LONDON<\/td>\n10\/26\/1967<\/td>\n4<\/td>\n6<\/td>\nATCO<\/td>\n6510<\/td>\n<\/tr>\n
ROSS. DIANA<\/td>\nAIN’T NO MOUNTAIN HIGH ENOUGH<\/td>\n7\/27\/1970<\/td>\n1<\/td>\n10<\/td>\nMOTOWN<\/td>\n1169<\/td>\n<\/tr>\n
ROSS. DIANA<\/td>\nREMEMBER ME<\/td>\n12\/14\/1970<\/td>\n14<\/td>\n7<\/td>\nMOTOWN<\/td>\n1176<\/td>\n<\/tr>\n
ROSS. DIANA<\/td>\nREACH OUT AND TOUCH
\n<SOMEBODY’S HAND><\/td>\n		4\/14\/1970<\/td>\n17<\/td>\n5<\/td>\nMOTOWN<\/td>\n1165<\/td>\n<\/tr>\n
ROSS. DIANA<\/td>\nREACH OUT I’LL BE THERE<\/td>\n4\/19\/1971<\/td>\n31<\/td>\n1<\/td>\nMOTOWN<\/td>\n1184<\/td>\n<\/tr>\n
ROSS. JACKIE<\/td>\nSELFISH ONE<\/td>\n7\/16\/1964<\/td>\n4<\/td>\n6<\/td>\nCHESS<\/td>\n1903<\/td>\n<\/tr>\n
ROSSO. NINI<\/td>\nIL SILENZIO (THE SILENCE)<\/td>\n9\/22\/1965<\/td>\n1<\/td>\n7<\/td>\nCOLUMBIA<\/td>\n43363<\/td>\n<\/tr>\n
ROYAL GUARDSMEN<\/td>\nRETURN OF THE RED BARON -THE-<\/td>\n2\/20\/1967<\/td>\n10<\/td>\n4<\/td>\nLAURIE<\/td>\n3379<\/td>\n<\/tr>\n
ROYAL GUARDSMEN<\/td>\nSNOOPY VS* THE RED BARON<\/td>\n11\/21\/1966<\/td>\n2<\/td>\n11<\/td>\nLAURIE<\/td>\n3366<\/td>\n<\/tr>\n
ROYAL GUARDSMEN<\/td>\nI SAY LOVE<\/td>\n1\/25\/1968<\/td>\n22<\/td>\n4<\/td>\nLAURIE<\/td>\n3428<\/td>\n<\/tr>\n
ROYAL GUARDSMEN<\/td>\nSNOOPY’S CHRISTMAS<\/td>\n12\/14\/1967<\/td>\n4<\/td>\n3<\/td>\nLAURIE<\/td>\n3416<\/td>\n<\/tr>\n
ROYAL GUARDSMEN<\/td>\nBABY LET’S WAIT<\/td>\n11\/21\/1968<\/td>\n8<\/td>\n8<\/td>\nLAURIE<\/td>\n3461<\/td>\n<\/tr>\n
ROYAL PLAYBOYS<\/td>\nGOODBYE BO<\/td>\n2\/27\/1964<\/td>\n18<\/td>\n4<\/td>\nDO DE<\/td>\n101<\/td>\n<\/tr>\n
ROYAL. BILLY JOE<\/td>\nI KNEW YOU WHEN<\/td>\n10\/6\/1965<\/td>\n2<\/td>\n7<\/td>\nCOLUMBIA<\/td>\n43390<\/td>\n<\/tr>\n
ROYAL. BILLY JOE<\/td>\nCHERRY HILL PARK<\/td>\n10\/2\/1969<\/td>\n22<\/td>\n3<\/td>\nCOLUMBIA<\/td>\n44902<\/td>\n<\/tr>\n
ROYAL. BILLY JOE<\/td>\nI’VE GOT TO BE SOMEBODY<\/td>\n12\/8\/1965<\/td>\n23<\/td>\n4<\/td>\nCOLUMBIA<\/td>\n43465<\/td>\n<\/tr>\n
ROYAL. BILLY JOE<\/td>\nDOWN IN THE BOONDOCKS<\/td>\n7\/14\/1965<\/td>\n8<\/td>\n6<\/td>\nCOLUMBIA<\/td>\n43305<\/td>\n<\/tr>\n
ROYALTONES<\/td>\nOUR FADED LOVE<\/td>\n2\/27\/1964<\/td>\n10<\/td>\n6<\/td>\nMALA<\/td>\n473<\/td>\n<\/tr>\n
RUBY & THE ROMANTICS<\/td>\nHURTING EACH OTHER<\/td>\n3\/27\/1969<\/td>\n25<\/td>\n3<\/td>\nA&M<\/td>\n1042<\/td>\n<\/tr>\n
RUBY & THE ROMANTICS<\/td>\nMUCH BETTER OFF THAN I’VE EVER BEEN<\/td>\n3\/5\/1964<\/td>\n31<\/td>\n1<\/td>\nKAPP<\/td>\n578<\/td>\n<\/tr>\n
RUFFIN. DAVID<\/td>\nI’VE LOST EVERYTHING I’VE EVER LOVED<\/td>\n6\/26\/1969<\/td>\n16<\/td>\n3<\/td>\nMOTOWN<\/td>\n1149<\/td>\n<\/tr>\n
RUFFIN. DAVID<\/td>\nMY WHOLE WORLD ENDED<\/td>\n1\/23\/1969<\/td>\n8<\/td>\n6<\/td>\nMOTOWN<\/td>\n1140<\/td>\n<\/tr>\n
RUFFIN. JIMMY<\/td>\nI’VE PASSED THIS WAY BEFORE<\/td>\n1\/3\/1967<\/td>\n16<\/td>\n1<\/td>\nSOUL<\/td>\n35027<\/td>\n<\/tr>\n
RUFFIN. JIMMY<\/td>\nAS LONG AS THERE IS L-O-V-E LOVE<\/td>\n12\/15\/1965<\/td>\n19<\/td>\n3<\/td>\nSOUL<\/td>\n35016<\/td>\n<\/tr>\n
RUFFIN. JIMMY<\/td>\nI’VE PASSED THIS WAY BEFORE<\/td>\n11\/14\/1966<\/td>\n2<\/td>\n7<\/td>\nSOUL<\/td>\n3502<\/td>\n<\/tr>\n
RUFFIN. JIMMY<\/td>\nDON’T YOU MISS ME A LITTLE BIT BABY<\/td>\n7\/3\/1967<\/td>\n21<\/td>\n4<\/td>\nSOUL<\/td>\n35035<\/td>\n<\/tr>\n
RUFFIN. JIMMY<\/td>\nMARIA (YOU WERE THE ONLY ONE)<\/td>\n3\/8\/1971<\/td>\n26<\/td>\n3<\/td>\nSOUL<\/td>\n35077<\/td>\n<\/tr>\n
RUFFIN. JIMMY<\/td>\nSINCE I’VE LOST YOU<\/td>\n8\/13\/1964<\/td>\n29<\/td>\n2<\/td>\nSOUL<\/td>\n35002<\/td>\n<\/tr>\n
RUFFIN. JIMMY<\/td>\nWHAT BECOMES OF THE BROKENHEARTED<\/td>\n8\/22\/1966<\/td>\n4<\/td>\n8<\/td>\nSOUL<\/td>\n35022<\/td>\n<\/tr>\n
RUFFIN. JIMMY<\/td>\nGONNA GIVE HER ALL THE LOVE I’VE GOT<\/td>\n3\/20\/1967<\/td>\n8<\/td>\n5<\/td>\nSOUL<\/td>\n35032<\/td>\n<\/tr>\n
RUGBYS<\/td>\nYOU. I<\/td>\n8\/28\/1969<\/td>\n14<\/td>\n4<\/td>\nAMAZON<\/td>\n1<\/td>\n<\/tr>\n
RUNDGREN. TODD<\/td>\nWE GOTTA GET YOU A WOMAN<\/td>\n11\/23\/1970<\/td>\n30<\/td>\n3<\/td>\nAMPEX<\/td>\n31001<\/td>\n<\/tr>\n
RUSH. MERRILEE<\/td>\nREACH OUT<\/td>\n11\/7\/1968<\/td>\n18<\/td>\n4<\/td>\nAGP<\/td>\n107<\/td>\n<\/tr>\n
RUSH. MERRILEE<\/td>\nANGEL OF THE MORNING<\/td>\n5\/9\/1968<\/td>\n7<\/td>\n6<\/td>\nBELL<\/td>\n705<\/td>\n<\/tr>\n
RYDELL. BOBBY<\/td>\nFORGET HIM<\/td>\n11\/7\/1963<\/td>\n7<\/td>\n9<\/td>\nCAMEO<\/td>\n280<\/td>\n<\/tr>\n
RYDER. MITCH<\/td>\nWHAT NOW MY LOVE<\/td>\n8\/21\/1967<\/td>\n10<\/td>\n6<\/td>\nDYNO VOICE<\/td>\n901<\/td>\n<\/tr>\n
RYDER. MITCH<\/td>\nSUGAR BEE<\/td>\n9\/11\/1969<\/td>\n20<\/td>\n4<\/td>\nDOT<\/td>\n17290<\/td>\n<\/tr>\n
RYDER. MITCH\/& THE DETROIT WHEELS<\/td>\nJENNY TAKE A RIDE!<\/td>\n12\/8\/1965<\/td>\n1<\/td>\n7<\/td>\nNEW VOICE<\/td>\n806<\/td>\n<\/tr>\n
RYDER. MITCH\/& THE DETROIT WHEELS<\/td>\nSOCK IT TO ME – BABY!<\/td>\n1\/23\/1967<\/td>\n18<\/td>\n2<\/td>\nNEW VOICE<\/td>\n820<\/td>\n<\/tr>\n
RYDER. MITCH\/& THE DETROIT WHEELS<\/td>\nTOO MANY FISH IN THE SEA & THREE LITTLE FISHES<\/td>\n5\/8\/1967<\/td>\n18<\/td>\n2<\/td>\nNEW VOICE<\/td>\n822<\/td>\n<\/tr>\n
RYDER. MITCH\/& THE DETROIT WHEELS<\/td>\nDEVIL WITH A BLUE DRESS ON & GOOD GOLLY MISS MOLLY<\/td>\n9\/19\/1966<\/td>\n2<\/td>\n8<\/td>\nNEW VOICE<\/td>\n81<\/td>\n<\/tr>\n
RYDER. MITCH\/& THE DETROIT WHEELS<\/td>\nLITTLE LATIN LUPE LU<\/td>\n3\/9\/1966<\/td>\n5<\/td>\n6<\/td>\nNEW VOICE<\/td>\n808<\/td>\n<\/tr>\n
SADLER. SSGT* BARRY<\/td>\nBALLAD OF THE GREEN BERETS -THE-<\/td>\n2\/2\/1966<\/td>\n1<\/td>\n7<\/td>\nRCA<\/td>\n47-8739<\/td>\n<\/tr>\n
SAINT PETERS. CRISPIAN<\/td>\nPIED PIPER -THE-<\/td>\n6\/20\/1966<\/td>\n1<\/td>\n8<\/td>\nJAMIE<\/td>\n1320<\/td>\n<\/tr>\n
SAINT PETERS. CRISPIAN<\/td>\nYOU WERE ON MY MIND<\/td>\n6\/5\/1967<\/td>\n24<\/td>\n3<\/td>\nJAMIE<\/td>\n1310<\/td>\n<\/tr>\n
SALES. SOUPY<\/td>\nMOUSE -THE-<\/td>\n4\/28\/1965<\/td>\n20<\/td>\n3<\/td>\nABC-PARAMOUNT<\/td>\n10646<\/td>\n<\/tr>\n
SAM & DAVE<\/td>\nSOUL MAN<\/td>\n9\/5\/1967<\/td>\n18<\/td>\n5<\/td>\nSTAX<\/td>\n231<\/td>\n<\/tr>\n
SAM & DAVE<\/td>\nHOLD ON! I’M A COMIN’<\/td>\n6\/20\/1966<\/td>\n20<\/td>\n3<\/td>\nSTAX<\/td>\n189<\/td>\n<\/tr>\n
SAM & DAVE<\/td>\nI THANK YOU<\/td>\n1\/25\/1968<\/td>\n20<\/td>\n3<\/td>\nSTAX<\/td>\n242<\/td>\n<\/tr>\n
SAM THE SHAM & THE PHARAOHS<\/td>\nWOOLY BULLY<\/td>\n4\/14\/1965<\/td>\n1<\/td>\n7<\/td>\nMGM<\/td>\n13322<\/td>\n<\/tr>\n
SAM THE SHAM & THE PHARAOHS<\/td>\nHOW DO YOU CATCH A GIRL<\/td>\n1\/3\/1967<\/td>\n18<\/td>\n3<\/td>\nMGM<\/td>\n13649<\/td>\n<\/tr>\n
SAM THE SHAM & THE PHARAOHS<\/td>\nLITTLE RED RIDING HOOD<\/td>\n6\/27\/1966<\/td>\n2<\/td>\n7<\/td>\nMGM<\/td>\n13506<\/td>\n<\/tr>\n
SAM THE SHAM & THE PHARAOHS<\/td>\nJU JU HAND<\/td>\n7\/21\/1965<\/td>\n22<\/td>\n3<\/td>\nMGM<\/td>\n13364<\/td>\n<\/tr>\n
SAM THE SHAM & THE PHARAOHS<\/td>\nHAIR ON MY CHINNY CHIN CHIN -THE-<\/td>\n10\/3\/1966<\/td>\n22<\/td>\n4<\/td>\nMGM<\/td>\n13581<\/td>\n<\/tr>\n
SAM THE SHAM & THE PHARAOHS<\/td>\nOH THAT’S GOOD. NO THAT’S BAD<\/td>\n2\/27\/1967<\/td>\n26<\/td>\n3<\/td>\nMGM<\/td>\n13713<\/td>\n<\/tr>\n
SAN REMO GOLDEN STRINGS<\/td>\nHUNGRY FOR LOVE<\/td>\n8\/18\/1965<\/td>\n3<\/td>\n6<\/td>\nRIC-TIC<\/td>\n104<\/td>\n<\/tr>\n
SANDPEBBLES<\/td>\nLOVE POWER<\/td>\n12\/14\/1967<\/td>\n5<\/td>\n6<\/td>\nCALLA<\/td>\n141<\/td>\n<\/tr>\n
SANDPIPERS<\/td>\nCOME SATURDAY MORNING<\/td>\n5\/5\/1970<\/td>\n16<\/td>\n6<\/td>\nA&M<\/td>\n1134<\/td>\n<\/tr>\n
SANDPIPERS<\/td>\nLOUIE. LOUIE<\/td>\n10\/31\/1966<\/td>\n23<\/td>\n3<\/td>\nA&M<\/td>\n819<\/td>\n<\/tr>\n
SANDPIPERS<\/td>\nGUANTANAMERA<\/td>\n7\/25\/1966<\/td>\n7<\/td>\n5<\/td>\nA&M<\/td>\n806<\/td>\n<\/tr>\n
SANSHERS<\/td>\nPAPER MOON<\/td>\n2\/27\/1964<\/td>\n31<\/td>\n1<\/td>\nESSAR<\/td>\nNA<\/td>\n<\/tr>\n
SANSHERS<\/td>\nGONNA GET THAT MAN<\/td>\n5\/21\/1964<\/td>\n31<\/td>\n2<\/td>\nKWEEK<\/td>\nNA<\/td>\n<\/tr>\n
SANTAMARIA. MONGO<\/td>\nEL PUSSY CAT<\/td>\n1\/21\/1965<\/td>\n21<\/td>\n3<\/td>\nCOLUMBIA<\/td>\n43171<\/td>\n<\/tr>\n
SANTANA<\/td>\nEVERYBODY’S EVERYTHING<\/td>\n10\/18\/1971<\/td>\n17<\/td>\n5<\/td>\nCOLUMBIA<\/td>\n45472<\/td>\n<\/tr>\n
SANTANA<\/td>\nNO ONE TO DEPEND ON<\/td>\n1\/31\/1972<\/td>\n20<\/td>\n3<\/td>\nCOLUMBIA<\/td>\n45552<\/td>\n<\/tr>\n
SANTANA<\/td>\nBLACK MAGIC WOMAN<\/td>\n11\/9\/1970<\/td>\n6<\/td>\n10<\/td>\nCOLUMBIA<\/td>\n45270<\/td>\n<\/tr>\n
SANTANA<\/td>\nEVIL WAYS<\/td>\n2\/10\/1970<\/td>\n9<\/td>\n5<\/td>\nCOLUMBIA 45069<\/td>\n<\/td>\n<\/tr>\n
SANTANA<\/td>\nOYE COMO VA<\/td>\n2\/22\/1971<\/td>\n9<\/td>\n6<\/td>\nCOLUMBIA<\/td>\n45330<\/td>\n<\/tr>\n
SANTOS. LARRY<\/td>\nNOW THAT I’VE FOUND YOU<\/td>\n11\/2\/1970<\/td>\n10<\/td>\n8<\/td>\nEVOLUTION<\/td>\n1029<\/td>\n<\/tr>\n
SAPPHIRES<\/td>\nWHO DO YOU LOVE<\/td>\n1\/2\/1964<\/td>\n13<\/td>\n6<\/td>\nSWAN<\/td>\n4162<\/td>\n<\/tr>\n
SATISFACTIONS<\/td>\nONE LIGHT TWO LIGHTS<\/td>\n9\/21\/1970<\/td>\n19<\/td>\n5<\/td>\nLIONEL<\/td>\n3205<\/td>\n<\/tr>\n
SAVAGE GRACE<\/td>\nCOME ON DOWN<\/td>\n6\/29\/1970<\/td>\n22<\/td>\n3<\/td>\nREPRISE<\/td>\n0924<\/td>\n<\/tr>\n
SAVAGE. JON<\/td>\nNEW FANGLED. JINGLE JANGLE SWIMMING SUIT FROM PARIS<\/td>\n7\/16\/1964<\/td>\n18<\/td>\n3<\/td>\nVEE-JAY 606<\/td>\n<\/td>\n<\/tr>\n
SCHIFRIN. LALO<\/td>\nMISSION-IMPOSSIBLE<\/td>\n2\/1\/1968<\/td>\n12<\/td>\n4<\/td>\nDOT<\/td>\n17059<\/td>\n<\/tr>\n
SCOTT. FREDDIE<\/td>\nWHERE DOES LOVE GO<\/td>\n3\/12\/1964<\/td>\n17<\/td>\n4<\/td>\nCOLPIX<\/td>\n724<\/td>\n<\/tr>\n
SCOTT. FREDDIE<\/td>\nI GOT A WOMAN<\/td>\n11\/7\/1963<\/td>\n26<\/td>\n1<\/td>\nCOLPIX<\/td>\n709<\/td>\n<\/tr>\n
SCOTT. PEGGY\\BENSON. JO JO<\/td>\nLOVER’S HOLIDAY<\/td>\n5\/23\/1968<\/td>\n16<\/td>\n5<\/td>\nSSS INTERNATIONAL<\/td>\n736<\/td>\n<\/tr>\n
SCOTT. PEGGY\\BENSON. JO JO<\/td>\nSOULSHAKE<\/td>\n1\/16\/1969<\/td>\n22<\/td>\n4<\/td>\nSSS INTERNATIONAL<\/td>\n761<\/td>\n<\/tr>\n
SCOTT. PEGGY\\BENSON. JO JO<\/td>\nPICKIN’ WILD MOUNTAIN BERRIES<\/td>\n9\/26\/1968<\/td>\n24<\/td>\n3<\/td>\nSSS INTERNATIONAL<\/td>\n748<\/td>\n<\/tr>\n
SEA. JOHNNY<\/td>\nDAY FOR DECISION<\/td>\n6\/6\/1966<\/td>\n8<\/td>\n3<\/td>\nWARNER BROS.<\/td>\n5820<\/td>\n<\/tr>\n
SEARCHERS<\/td>\nLOVE POTION NUMBER NINE<\/td>\n11\/19\/1964<\/td>\n1<\/td>\n8<\/td>\nKAPP<\/td>\n27<\/td>\n<\/tr>\n
SEARCHERS<\/td>\nBUMBLE BEE<\/td>\n3\/10\/1965<\/td>\n21<\/td>\n4<\/td>\nKAPP<\/td>\n49<\/td>\n<\/tr>\n
SEARCHERS<\/td>\nWHAT HAVE THEY DONE TO THE RAIN<\/td>\n2\/4\/1965<\/td>\n26<\/td>\n2<\/td>\nKAPP<\/td>\n644<\/td>\n<\/tr>\n
SEARCHERS<\/td>\nTAKE ME FOR WHAT I’M WORTH<\/td>\n1\/19\/1966<\/td>\n26<\/td>\n3<\/td>\nKAPP<\/td>\n729<\/td>\n<\/tr>\n
SEARCHERS<\/td>\nDESDEMONA<\/td>\n10\/11\/1971<\/td>\n28<\/td>\n4<\/td>\nRCA<\/td>\n74-0484<\/td>\n<\/tr>\n
SEARCHERS<\/td>\nSUGAR AND SPICE<\/td>\n4\/30\/1964<\/td>\n7<\/td>\n6<\/td>\nLIBERTY<\/td>\n55689<\/td>\n<\/tr>\n
SEATRAIN<\/td>\nTHIRTEEN QUESTIONS<\/td>\n5\/10\/1971<\/td>\n12<\/td>\n7<\/td>\nCAPITOL<\/td>\n3067<\/td>\n<\/tr>\n
SECRETS<\/td>\nBOY NEXT DOOR -THE-<\/td>\n11\/7\/1963<\/td>\n10<\/td>\n4<\/td>\nPHILIPS<\/td>\n40146<\/td>\n<\/tr>\n
SEDAKA. NEIL<\/td>\nBAD GIRL<\/td>\n11\/7\/1963<\/td>\n27<\/td>\n1<\/td>\nRCA<\/td>\n47-8254<\/td>\n<\/tr>\n
SEEDS<\/td>\nCAN’T SEEM TO MAKE YOU MINE<\/td>\n5\/1\/1967<\/td>\n24<\/td>\n2<\/td>\nGNP CRESCENDO<\/td>\n354<\/td>\n<\/tr>\n
SEEDS<\/td>\nPUSHIN’ TOO HARD<\/td>\n10\/24\/1966<\/td>\n8<\/td>\n5<\/td>\nGNP CRESCENDO<\/td>\n372<\/td>\n<\/tr>\n
SEEKERS<\/td>\nGEORGY GIRL<\/td>\n12\/12\/1966<\/td>\n2<\/td>\n8<\/td>\nCAPITOL<\/td>\n5756<\/td>\n<\/tr>\n
SEEKERS<\/td>\nI’LL NEVER FIND ANOTHER YOU<\/td>\n3\/24\/1965<\/td>\n3<\/td>\n7<\/td>\nCAPITOL<\/td>\n5383<\/td>\n<\/tr>\n
SEGER. BOB<\/td>\nLUCIFER<\/td>\n3\/3\/1970<\/td>\n10<\/td>\n8<\/td>\nCAPITOL<\/td>\n2748<\/td>\n<\/tr>\n
SEGER. BOB<\/td>\nIVORY<\/td>\n4\/17\/1969<\/td>\n13<\/td>\n3<\/td>\nCAPITOL<\/td>\n2480<\/td>\n<\/tr>\n
SEGER. BOB<\/td>\nNOAH<\/td>\n7\/24\/1969<\/td>\n14<\/td>\n8<\/td>\nCAPITOL<\/td>\n2576<\/td>\n<\/tr>\n
SEGER. BOB<\/td>\nHEAVY MUSIC<\/td>\n8\/7\/1967<\/td>\n2<\/td>\n9<\/td>\nCAMEO<\/td>\n494<\/td>\n<\/tr>\n
SEGER. BOB<\/td>\nRAMBLIN’ GAMBLIN’ MAN<\/td>\n9\/26\/1968<\/td>\n2<\/td>\n10<\/td>\nCAPITOL<\/td>\n2297<\/td>\n<\/tr>\n
SEGER. BOB<\/td>\nEAST SIDE STORY<\/td>\n9\/19\/1966<\/td>\n3<\/td>\n7<\/td>\nHIDEOUT<\/td>\n1013<\/td>\n<\/tr>\n
SEGER. BOB<\/td>\nLOOKIN’ BACK<\/td>\n9\/7\/1971<\/td>\n3<\/td>\n12<\/td>\nCAPITOL<\/td>\n3187<\/td>\n<\/tr>\n
SEGER. BOB<\/td>\nTWO PLUS TWO EQUALS Q***<\/td>\n4\/25\/1968<\/td>\n7<\/td>\n7<\/td>\nCAPITOL<\/td>\n2143<\/td>\n<\/tr>\n
SEGER. BOB<\/td>\nPERSECUTION SMITH<\/td>\n1\/30\/1967<\/td>\n9<\/td>\n6<\/td>\nHIDE OUT<\/td>\n1014<\/td>\n<\/tr>\n
SELSIE. SANDY<\/td>\nWHEN JIMMY COMES HOME<\/td>\n11\/21\/1963<\/td>\n18<\/td>\n5<\/td>\nCOLUMBIA<\/td>\n42883<\/td>\n<\/tr>\n
SENAY. EDDY<\/td>\nHOT THANG<\/td>\n3\/13\/1972<\/td>\n18<\/td>\n2<\/td>\nSUSSEX<\/td>\n230<\/td>\n<\/tr>\n
SERENDIPITY SINGERS<\/td>\nDON’T LET THE RAIN COME DOWN (CROOKED LITTLE MAN)<\/td>\n3\/19\/1964<\/td>\n19<\/td>\n5<\/td>\nPHILIPS<\/td>\n40175<\/td>\n<\/tr>\n
SEVENTEEN SEVENTY-SIX<\/td>\nJESUS IS JUST ALRIGHT<\/td>\n1\/24\/1972<\/td>\n21<\/td>\n3<\/td>\nPALLADIUM<\/td>\n1066<\/td>\n<\/tr>\n
SHA-RAE. BILLY<\/td>\nDO IT<\/td>\n12\/4\/1969<\/td>\n20<\/td>\n4<\/td>\nSPECTRUM<\/td>\n114<\/td>\n<\/tr>\n
SHADES OF BLUE<\/td>\nOH HOW HAPPY<\/td>\n3\/30\/1966<\/td>\n1<\/td>\n8<\/td>\nIMPACT<\/td>\n1007<\/td>\n<\/tr>\n
SHADES OF BLUE<\/td>\nHAPPINESS<\/td>\n9\/6\/1966<\/td>\n20<\/td>\n4<\/td>\nIMPACT<\/td>\n101<\/td>\n<\/tr>\n
SHADES OF BLUE<\/td>\nLONELY SUMMER<\/td>\n7\/25\/1966<\/td>\n24<\/td>\n3<\/td>\nIMPACT<\/td>\n1014<\/td>\n<\/tr>\n
SHADOWS OF KNIGHT<\/td>\nGLORIA<\/td>\n3\/2\/1966<\/td>\n1<\/td>\n7<\/td>\nDUNWICH<\/td>\n116<\/td>\n<\/tr>\n
SHADOWS OF KNIGHT<\/td>\nSHAKE<\/td>\n10\/17\/1968<\/td>\n14<\/td>\n6<\/td>\nTEAM<\/td>\n520<\/td>\n<\/tr>\n
SHADOWS OF KNIGHT<\/td>\nOH YEAH<\/td>\n5\/16\/1966<\/td>\n9<\/td>\n5<\/td>\nDUNWICH<\/td>\n12<\/td>\n<\/tr>\n
SHAFTO. BOBBY<\/td>\nSHE’S MY GIRL<\/td>\n7\/3\/1964<\/td>\n24<\/td>\n3<\/td>\nRUST<\/td>\n5082<\/td>\n<\/tr>\n
SHANGO<\/td>\nDAY AFTER DAY (IT’S SLIPPIN’ AWAY)<\/td>\n2\/20\/1969<\/td>\n22<\/td>\n4<\/td>\nA&M<\/td>\n1014<\/td>\n<\/tr>\n
SHANGRI-LAS<\/td>\nGIVE HIM A GREAT BIG KISS<\/td>\n12\/10\/1964<\/td>\n11<\/td>\n5<\/td>\nRED BIRD<\/td>\n10-018<\/td>\n<\/tr>\n
SHANGRI-LAS<\/td>\nLONG LIVE OUR LOVE<\/td>\n1\/12\/1966<\/td>\n16<\/td>\n6<\/td>\nRED BIRD<\/td>\n10-04<\/td>\n<\/tr>\n
SHANGRI-LAS<\/td>\nLEADER OF THE PACK<\/td>\n10\/8\/1964<\/td>\n2<\/td>\n5<\/td>\nRED BIRD<\/td>\n10-014<\/td>\n<\/tr>\n
SHANGRI-LAS<\/td>\nGIVE US YOUR BLESSINGS<\/td>\n5\/12\/1965<\/td>\n20<\/td>\n4<\/td>\nRED BIRD<\/td>\n10-030<\/td>\n<\/tr>\n
SHANGRI-LAS<\/td>\nHE CRIED<\/td>\n3\/23\/1966<\/td>\n22<\/td>\n3<\/td>\nRED BIRD<\/td>\n10-053<\/td>\n<\/tr>\n
SHANGRI-LAS<\/td>\nREMEMBER (WALKIN’ IN THE SAND)<\/td>\n8\/20\/1964<\/td>\n3<\/td>\n6<\/td>\nRED BIRD<\/td>\n10-008<\/td>\n<\/tr>\n
SHANGRI-LAS<\/td>\nI CAN NEVER GO HOME ANYMORE<\/td>\n10\/27\/1965<\/td>\n3<\/td>\n5<\/td>\nRED BIRD<\/td>\n10-043<\/td>\n<\/tr>\n
SHANK. BUD<\/td>\nMICHELLE<\/td>\n1\/26\/1966<\/td>\n12<\/td>\n2<\/td>\nWORLD PACIFIC<\/td>\n77814<\/td>\n<\/tr>\n
SHANNON<\/td>\nABERGAVENNY<\/td>\n7\/31\/1969<\/td>\n27<\/td>\n3<\/td>\nHERITAGE<\/td>\n814<\/td>\n<\/tr>\n
SHANNON. DEL<\/td>\nHANDY MAN<\/td>\n6\/18\/1964<\/td>\n14<\/td>\n4<\/td>\nAMY<\/td>\n905<\/td>\n<\/tr>\n
SHANNON. DEL<\/td>\nBIG HURT -THE-<\/td>\n4\/6\/1966<\/td>\n17<\/td>\n5<\/td>\nLIBERTY<\/td>\n55866<\/td>\n<\/tr>\n
SHANNON. DEL<\/td>\nDO YOU WANT TO DANCE<\/td>\n9\/3\/1964<\/td>\n19<\/td>\n4<\/td>\nAMY<\/td>\n911<\/td>\n<\/tr>\n
SHANNON. DEL<\/td>\nSTRANGER IN TOWN<\/td>\n2\/25\/1965<\/td>\n19<\/td>\n3<\/td>\nAMY<\/td>\n919<\/td>\n<\/tr>\n
SHANNON. DEL<\/td>\nTHAT’S THE WAY LOVE IS<\/td>\n2\/20\/1964<\/td>\n21<\/td>\n5<\/td>\nBERLEE<\/td>\n502<\/td>\n<\/tr>\n
SHANNON. DEL<\/td>\nKEEP SEARCHIN’ (WE’LL FOLLOW THE SUN)<\/td>\n12\/17\/1964<\/td>\n9<\/td>\n7<\/td>\nAMY<\/td>\n915<\/td>\n<\/tr>\n
SHARP. DEE DEE<\/td>\nI REALLY LOVE YOU<\/td>\n10\/13\/1965<\/td>\n21<\/td>\n4<\/td>\nCAMEO<\/td>\n375<\/td>\n<\/tr>\n
SHAW. SANDIE<\/td>\nGIRL DON’T COME<\/td>\n3\/10\/1965<\/td>\n20<\/td>\n2<\/td>\nREPRISE<\/td>\n0342<\/td>\n<\/tr>\n
SHAW. SANDIE<\/td>\nALWAYS SOMETHING THERE TO REMIND ME (THERE’S)<\/td>\n11\/5\/1964<\/td>\n9<\/td>\n4<\/td>\nREPRISE SOUL<\/td>\n0320<\/td>\n<\/tr>\n
SHAW. TIMMY<\/td>\nGONNA SEND YOU BACK TO GEORGIA<\/td>\n12\/26\/1963<\/td>\n7<\/td>\n6<\/td>\nWAND<\/td>\n146<\/td>\n<\/tr>\n
SHAWN. DAMON<\/td>\nFEEL THE NEED<\/td>\n3\/13\/1972<\/td>\n20<\/td>\n2<\/td>\nWESTBOUND<\/td>\n193<\/td>\n<\/tr>\n
SHEEP<\/td>\nHIDE AND SEEK<\/td>\n2\/16\/1966<\/td>\n23<\/td>\n3<\/td>\nBOOM<\/td>\n60 000<\/td>\n<\/tr>\n
SHERMAN. BOBBY<\/td>\nLA LA LA (IF I HAD YOU)<\/td>\n11\/20\/1969<\/td>\n14<\/td>\n5<\/td>\nMETROMEDIA<\/td>\n150<\/td>\n<\/tr>\n
SHERMAN. BOBBY<\/td>\nEASY COME. EASY GO<\/td>\n3\/3\/1970<\/td>\n15<\/td>\n7<\/td>\nMETROMEDIA<\/td>\n177<\/td>\n<\/tr>\n
SHERMAN. BOBBY<\/td>\nHEY. MISTER SUN<\/td>\n5\/19\/1970<\/td>\n20<\/td>\n3<\/td>\nMETROMEDIA<\/td>\n188<\/td>\n<\/tr>\n
SHERMAN. BOBBY<\/td>\nLITTLE WOMAN<\/td>\n8\/21\/1969<\/td>\n3<\/td>\n8<\/td>\nMETROMEDIA<\/td>\n121<\/td>\n<\/tr>\n
SHERMAN. BOBBY<\/td>\nJULIE. DO YA LOVE ME<\/td>\n8\/24\/1970<\/td>\n8<\/td>\n7<\/td>\nMETROMEDIA<\/td>\n194<\/td>\n<\/tr>\n
SHIRELLES<\/td>\nTHANK YOU BABY<\/td>\n7\/23\/1964<\/td>\n21<\/td>\n3<\/td>\nSCEPTER<\/td>\n1278<\/td>\n<\/tr>\n
SHIRELLES<\/td>\nTONIGHT YOU’RE GONNA FALL IN LOVE WITH ME<\/td>\n1\/2\/1964<\/td>\n28<\/td>\n3<\/td>\nSCEPTER<\/td>\n1264<\/td>\n<\/tr>\n
SHOCKING BLUE<\/td>\nVENUS<\/td>\n11\/26\/1969<\/td>\n1<\/td>\n12<\/td>\nCOLOSSUS<\/td>\n108<\/td>\n<\/tr>\n
SHOWMEN<\/td>\nIT WILL STAND<\/td>\n4\/30\/1964<\/td>\n6<\/td>\n5<\/td>\nIMPERIAL<\/td>\n66033<\/td>\n<\/tr>\n
SHY GUYS<\/td>\nWE GOTTA GO<\/td>\n5\/16\/1966<\/td>\n15<\/td>\n6<\/td>\nPANIK<\/td>\n511<\/td>\n<\/tr>\n
SIDEKICKS<\/td>\nSUSPICIONS<\/td>\n8\/1\/1966<\/td>\n5<\/td>\n6<\/td>\nRCA<\/td>\n47-8864<\/td>\n<\/tr>\n
SIGLER. BUNNY<\/td>\nLET THE GOOD TIMES ROLL & FEEL SO GOOD<\/td>\n7\/17\/1967<\/td>\n23<\/td>\n3<\/td>\nPARKWAY<\/td>\n153<\/td>\n<\/tr>\n
SILKIE<\/td>\nYOU’VE GOT TO HIDE YOUR LOVE AWAY<\/td>\n10\/27\/1965<\/td>\n11<\/td>\n4<\/td>\nFONTANA<\/td>\n1525<\/td>\n<\/tr>\n
SILVER HAWK<\/td>\nAWAITING ON YOU ALL<\/td>\n4\/12\/1971<\/td>\n10<\/td>\n6<\/td>\nWESTBOUND<\/td>\n178<\/td>\n<\/tr>\n
SIMMONS. JUMPIN’ GENE<\/td>\nHAUNTED HOUSE<\/td>\n8\/20\/1964<\/td>\n4<\/td>\n8<\/td>\nHI<\/td>\n2076<\/td>\n<\/tr>\n
SIMON & GARFUNKEL<\/td>\nSOUNDS OF SILENCE -THE-<\/td>\n11\/17\/1965<\/td>\n1<\/td>\n9<\/td>\nCOLUMBIA<\/td>\n43396<\/td>\n<\/tr>\n
SIMON & GARFUNKEL<\/td>\nSCARBOROUGH FAIR ( CANTICLE)<\/td>\n2\/22\/1968<\/td>\n1<\/td>\n6<\/td>\nCOLUMBIA<\/td>\n44465<\/td>\n<\/tr>\n
SIMON & GARFUNKEL<\/td>\nMISSES ROBINSON<\/td>\n4\/11\/1968<\/td>\n1<\/td>\n10<\/td>\nCOLUMBIA<\/td>\n44511<\/td>\n<\/tr>\n
SIMON & GARFUNKEL<\/td>\nBRIDGE OVER TROUBLED WATER<\/td>\n1\/27\/1970<\/td>\n1<\/td>\n11<\/td>\nCOLUMBIA 45079<\/td>\n<\/td>\n<\/tr>\n
SIMON & GARFUNKEL<\/td>\nHAZY SHADE OF WINTER -A-<\/td>\n10\/17\/1966<\/td>\n10<\/td>\n6<\/td>\nCOLUMBIA<\/td>\n4387<\/td>\n<\/tr>\n
SIMON & GARFUNKEL<\/td>\nEL CONDOR PASA<\/td>\n9\/28\/1970<\/td>\n10<\/td>\n6<\/td>\nCOLUMBIA<\/td>\n45237<\/td>\n<\/tr>\n
SIMON & GARFUNKEL<\/td>\nAT THE ZOO<\/td>\n3\/6\/1967<\/td>\n16<\/td>\n4<\/td>\nCOLUMBIA<\/td>\n44046<\/td>\n<\/tr>\n
SIMON & GARFUNKEL<\/td>\nI AM A ROCK<\/td>\n4\/20\/1966<\/td>\n2<\/td>\n7<\/td>\nCOLUMBIA<\/td>\n43617<\/td>\n<\/tr>\n
SIMON & GARFUNKEL<\/td>\nCECILIA<\/td>\n3\/31\/1970<\/td>\n2<\/td>\n9<\/td>\nCOLUMBIA<\/td>\n45133<\/td>\n<\/tr>\n
SIMON & GARFUNKEL<\/td>\nFAKIN’ IT<\/td>\n7\/17\/1967<\/td>\n20<\/td>\n4<\/td>\nCOLUMBIA<\/td>\n44232<\/td>\n<\/tr>\n
SIMON & GARFUNKEL<\/td>\nDANGLING CONVERSATION -THE-<\/td>\n8\/15\/1966<\/td>\n21<\/td>\n3<\/td>\nCOLUMBIA<\/td>\n43728<\/td>\n<\/tr>\n
SIMON & GARFUNKEL<\/td>\nHOMEWARD BOUND<\/td>\n2\/16\/1966<\/td>\n4<\/td>\n7<\/td>\nCOLUMBIA<\/td>\n43511<\/td>\n<\/tr>\n
SIMON & GARFUNKEL<\/td>\nBOXER -THE-<\/td>\n3\/27\/1969<\/td>\n4<\/td>\n7<\/td>\nCOLUMBIA 44785<\/td>\n<\/td>\n<\/tr>\n
SIMON. CARLY<\/td>\nTHAT’S THE WAY I’VE ALWAYS HEARD IT SHOULD BE<\/td>\n6\/1\/1971<\/td>\n12<\/td>\n7<\/td>\nELEKTRA<\/td>\n45724<\/td>\n<\/tr>\n
SIMON. CARLY<\/td>\nANTICIPATION<\/td>\n12\/6\/1971<\/td>\n17<\/td>\n8<\/td>\nELEKTRA<\/td>\n45759<\/td>\n<\/tr>\n
SIMON. JOE<\/td>\nCHOKIN’ KIND -THE-<\/td>\n3\/6\/1969<\/td>\n11<\/td>\n6<\/td>\nSOUND STAGE 7<\/td>\n2628<\/td>\n<\/tr>\n
SIMON. JOE<\/td>\nMOON WALK<\/td>\n1\/1\/1970<\/td>\n14<\/td>\n4<\/td>\nSOUND STAGE 7<\/td>\n2651<\/td>\n<\/tr>\n
SIMON. JOE<\/td>\nNO SAD SONGS<\/td>\n1\/4\/1968<\/td>\n22<\/td>\n3<\/td>\nSOUND STAGE 7<\/td>\n2602<\/td>\n<\/tr>\n
SIMON. JOE<\/td>\nHANGIN’ ON (YOU KEEP ME)<\/td>\n6\/6\/1968<\/td>\n23<\/td>\n2<\/td>\nSOUND STAGE 7<\/td>\n2608<\/td>\n<\/tr>\n
SIMON. JOE<\/td>\nDROWNING IN THE SEA OF LOVE<\/td>\n11\/22\/1971<\/td>\n7<\/td>\n8<\/td>\nSPRING<\/td>\n120<\/td>\n<\/tr>\n
SIMON. JOE<\/td>\nYOUR TIME TO CRY<\/td>\n2\/1\/1971<\/td>\n9<\/td>\n5<\/td>\nSPRING<\/td>\n108<\/td>\n<\/tr>\n
SIMON. PAUL<\/td>\nMOTHER AND CHILD REUNION<\/td>\n1\/24\/1972<\/td>\n4<\/td>\n9<\/td>\nCOLUMBIA<\/td>\n45547<\/td>\n<\/tr>\n
SINATRA. FRANK<\/td>\nSTRANGERS IN THE NIGHT<\/td>\n5\/2\/1966<\/td>\n1<\/td>\n8<\/td>\nREPRISE<\/td>\n0470<\/td>\n<\/tr>\n
SINATRA. FRANK<\/td>\nSOFTLY AS I LEAVE YOU<\/td>\n9\/17\/1964<\/td>\n23<\/td>\n3<\/td>\nREPRISE<\/td>\n0301<\/td>\n<\/tr>\n
SINATRA. FRANK<\/td>\nIT WAS A VERY GOOD YEAR<\/td>\n12\/22\/1965<\/td>\n24<\/td>\n4<\/td>\nREPRISE<\/td>\n0429<\/td>\n<\/tr>\n
SINATRA. FRANK<\/td>\nGOIN’ OUT OF MY HEAD<\/td>\n12\/4\/1969<\/td>\n24<\/td>\n3<\/td>\nREPRISE<\/td>\n0865<\/td>\n<\/tr>\n
SINATRA. FRANK<\/td>\nTHAT’S LIFE<\/td>\n11\/7\/1966<\/td>\n3<\/td>\n8<\/td>\nREPRISE<\/td>\n0531<\/td>\n<\/tr>\n
SINATRA. NANCY<\/td>\nTHESE BOOTS ARE MADE FOR WALKIN’<\/td>\n2\/2\/1966<\/td>\n1<\/td>\n8<\/td>\nREPRISE<\/td>\n0432<\/td>\n<\/tr>\n
SINATRA. NANCY<\/td>\nLOVE EYES<\/td>\n3\/20\/1967<\/td>\n13<\/td>\n4<\/td>\nREPRISE<\/td>\n0559<\/td>\n<\/tr>\n
SINATRA. NANCY<\/td>\nFRIDAY’S CHILD<\/td>\n6\/20\/1966<\/td>\n19<\/td>\n3<\/td>\nREPRISE<\/td>\n049<\/td>\n<\/tr>\n
SINATRA. NANCY<\/td>\nLIGHTNING’S GIRL<\/td>\n9\/18\/1967<\/td>\n20<\/td>\n2<\/td>\nREPRISE<\/td>\n0620<\/td>\n<\/tr>\n
SINATRA. NANCY<\/td>\nHOW DOES THAT GRAB YOU. DARLIN’<\/td>\n4\/6\/1966<\/td>\n5<\/td>\n5<\/td>\nREPRISE<\/td>\n0461<\/td>\n<\/tr>\n
SINATRA. NANCY<\/td>\nSUGAR TOWN<\/td>\n11\/21\/1966<\/td>\n5<\/td>\n8<\/td>\nREPRISE<\/td>\n0527<\/td>\n<\/tr>\n
SINATRA. NANCY\\HAZLEWOOD. LEE<\/td>\nJACKSON<\/td>\n6\/26\/1967<\/td>\n10<\/td>\n6<\/td>\nREPRISE<\/td>\n0595<\/td>\n<\/tr>\n
SINATRA. NANCY\\HAZLEWOOD. LEE<\/td>\nSOME VELVET MORNING<\/td>\n12\/21\/1967<\/td>\n18<\/td>\n4<\/td>\nREPRISE<\/td>\n0651<\/td>\n<\/tr>\n
SINATRA. NANCY\\HAZLEWOOD. LEE<\/td>\nLADY BIRD<\/td>\n10\/12\/1967<\/td>\n19<\/td>\n3<\/td>\nREPRISE<\/td>\n0629<\/td>\n<\/tr>\n
SINATRA. NANCY\\SINATRA. FRANK<\/td>\nSOMETHIN’ STUPID<\/td>\n3\/6\/1967<\/td>\n1<\/td>\n9<\/td>\nREPRISE<\/td>\n0561<\/td>\n<\/tr>\n
SINGING NUN<\/td>\nDOMINIQUE<\/td>\n11\/7\/1963<\/td>\n5<\/td>\n7<\/td>\nPHILIPS<\/td>\n40152<\/td>\n<\/tr>\n
SINGING SISTERS<\/td>\nAMEN<\/td>\n12\/10\/1964<\/td>\n15<\/td>\n4<\/td>\nCOLUMBIA<\/td>\n43176<\/td>\n<\/tr>\n
SIR DOUGLAS QUINTET<\/td>\nSHE’S ABOUT A MOVER<\/td>\n5\/5\/1965<\/td>\n8<\/td>\n4<\/td>\nTRIBE<\/td>\n8308<\/td>\n<\/tr>\n
SIR DOUGLAS QUINTET<\/td>\nMENDOCINO<\/td>\n1\/30\/1969<\/td>\n8<\/td>\n5<\/td>\nSMASH<\/td>\n2191<\/td>\n<\/tr>\n
SKELTON. RED<\/td>\nPLEDGE OF ALLEGIANCE -THE-<\/td>\n2\/27\/1969<\/td>\n24<\/td>\n2<\/td>\nCOLUMBIA<\/td>\n44798<\/td>\n<\/tr>\n
SKYLINERS<\/td>\nLOSER -THE-<\/td>\n6\/23\/1965<\/td>\n19<\/td>\n3<\/td>\nJUBILEE<\/td>\n5506<\/td>\n<\/tr>\n
SLEDGE. PERCY<\/td>\nTAKE TIME TO KNOW HER<\/td>\n4\/25\/1968<\/td>\n19<\/td>\n4<\/td>\nATLANTIC<\/td>\n2490<\/td>\n<\/tr>\n
SLEDGE. PERCY<\/td>\nIT TEARS ME UP<\/td>\n11\/14\/1966<\/td>\n23<\/td>\n3<\/td>\nATLANTIC<\/td>\n2358<\/td>\n<\/tr>\n
SLEDGE. PERCY<\/td>\nWHEN A MAN LOVES A WOMAN<\/td>\n5\/9\/1966<\/td>\n3<\/td>\n6<\/td>\nATLANTIC<\/td>\n2326<\/td>\n<\/tr>\n
SLICK. GRACE<\/td>\nSALLY GO ‘ROUND THE ROSES<\/td>\n9\/19\/1968<\/td>\n19<\/td>\n3<\/td>\nCOLUMBIA<\/td>\n44583<\/td>\n<\/tr>\n
SLY & THE FAMILY STONE<\/td>\nEVERYBODY IS A STAR<\/td>\n12\/18\/1969<\/td>\n1<\/td>\n12<\/td>\nEPIC<\/td>\n10555<\/td>\n<\/tr>\n
SLY & THE FAMILY STONE<\/td>\nTHANK YOU<\/td>\n1\/13\/1970<\/td>\n1<\/td>\n8<\/td>\nEPIC<\/td>\n10555<\/td>\n<\/tr>\n
SLY & THE FAMILY STONE<\/td>\nFAMILY AFFAIR<\/td>\n10\/18\/1971<\/td>\n1<\/td>\n11<\/td>\nEPIC<\/td>\n10805<\/td>\n<\/tr>\n
SLY & THE FAMILY STONE<\/td>\nM’LADY<\/td>\n7\/18\/1968<\/td>\n16<\/td>\n4<\/td>\nEPIC<\/td>\n10353<\/td>\n<\/tr>\n
SLY & THE FAMILY STONE<\/td>\nSTAND!<\/td>\n4\/3\/1969<\/td>\n27<\/td>\n1<\/td>\nEPIC<\/td>\n10450<\/td>\n<\/tr>\n
SLY & THE FAMILY STONE<\/td>\nHOT FUN IN THE SUMMERTIME<\/td>\n8\/21\/1969<\/td>\n4<\/td>\n9<\/td>\nEPIC<\/td>\n10497<\/td>\n<\/tr>\n
SLY & THE FAMILY STONE<\/td>\nDANCE TO THE MUSIC<\/td>\n2\/29\/1968<\/td>\n5<\/td>\n8<\/td>\nEPIC<\/td>\n10256<\/td>\n<\/tr>\n
SLY & THE FAMILY STONE<\/td>\nEVERYDAY PEOPLE<\/td>\n11\/21\/1968<\/td>\n7<\/td>\n8<\/td>\nEPIC<\/td>\n10407<\/td>\n<\/tr>\n
SLY & THE FAMILY STONE<\/td>\nI WANT TO TAKE YOU HIGHER<\/td>\n4\/10\/1969<\/td>\n7<\/td>\n4<\/td>\nEPIC<\/td>\n10450<\/td>\n<\/tr>\n
SLY & THE FAMILY STONE<\/td>\nSTAND<\/td>\n4\/10\/1969<\/td>\n7<\/td>\n4<\/td>\nEPIC<\/td>\n10450<\/td>\n<\/tr>\n
SMALL FACES<\/td>\nITCHYCOO PARK<\/td>\n12\/14\/1967<\/td>\n1<\/td>\n9<\/td>\nIMMEDIATE<\/td>\n501<\/td>\n<\/tr>\n
SMALL FACES<\/td>\nTIN SOLDIER<\/td>\n2\/29\/1968<\/td>\n17<\/td>\n4<\/td>\nIMMEDIATE<\/td>\n5003<\/td>\n<\/tr>\n
SMALL. MILLIE<\/td>\nMY BOY LOLLIPOP<\/td>\n4\/30\/1964<\/td>\n3<\/td>\n7<\/td>\nSMASH<\/td>\n1893<\/td>\n<\/tr>\n
SMITH<\/td>\nBABY IT’S YOU<\/td>\n9\/11\/1969<\/td>\n11<\/td>\n5<\/td>\nDUNHILL<\/td>\n4206<\/td>\n<\/tr>\n
SMITH<\/td>\nTAKE A LOOK AROUND<\/td>\n2\/17\/1970<\/td>\n28<\/td>\n2<\/td>\nDUNHILL<\/td>\n4228<\/td>\n<\/tr>\n
SMITH. O*C*<\/td>\nSON OF HICKORY HOLLER’S TRAMP -THE-<\/td>\n3\/7\/1968<\/td>\n2<\/td>\n7<\/td>\nCOLUMBIA<\/td>\n44425<\/td>\n<\/tr>\n
SMITH. O*C*<\/td>\nLITTLE GREEN APPLES<\/td>\n8\/15\/1968<\/td>\n2<\/td>\n8<\/td>\nCOLUMBIA<\/td>\n44616<\/td>\n<\/tr>\n
SMITH. O*C*<\/td>\nFRIEND. LOVER. WOMAN. WIFE<\/td>\n5\/22\/1969<\/td>\n4<\/td>\n6<\/td>\nCOLUMBIA<\/td>\n44859<\/td>\n<\/tr>\n
SMITH. SAMMI<\/td>\nHELP ME MAKE IT THROUGH THE NIGHT<\/td>\n2\/22\/1971<\/td>\n17<\/td>\n4<\/td>\nMEGA<\/td>\n615-0015<\/td>\n<\/tr>\n
SMITH. VERDELLE<\/td>\nTAR AND CEMENT<\/td>\n6\/6\/1966<\/td>\n6<\/td>\n5<\/td>\nCAPITOL<\/td>\n5632<\/td>\n<\/tr>\n
SMITH. WHISTLING JACK<\/td>\nI WAS KAISER BILL’S BATMAN<\/td>\n5\/1\/1967<\/td>\n8<\/td>\n4<\/td>\nDERAM<\/td>\n85005<\/td>\n<\/tr>\n
SOLO. SAM E*<\/td>\nTEARS KEEP FALLING<\/td>\n7\/11\/1966<\/td>\n19<\/td>\n4<\/td>\nIMPERIAL<\/td>\n66182<\/td>\n<\/tr>\n
SOMMER. BERT<\/td>\nWE’RE ALL PLAYING IN THE SAME BAND<\/td>\n7\/27\/1970<\/td>\n25<\/td>\n4<\/td>\nELEUTHERA<\/td>\n470<\/td>\n<\/tr>\n
SONNY<\/td>\nLAUGH AT ME<\/td>\n8\/11\/1965<\/td>\n14<\/td>\n3<\/td>\nATCO<\/td>\n6369<\/td>\n<\/tr>\n
SONNY & CHER<\/td>\nI GOT YOU BABE<\/td>\n7\/14\/1965<\/td>\n1<\/td>\n7<\/td>\nATCO<\/td>\n6359<\/td>\n<\/tr>\n
SONNY & CHER<\/td>\nWHAT NOW MY LOVE<\/td>\n1\/19\/1966<\/td>\n10<\/td>\n5<\/td>\nATCO<\/td>\n6395<\/td>\n<\/tr>\n
SONNY & CHER<\/td>\nBABY DON’T GO<\/td>\n9\/1\/1965<\/td>\n15<\/td>\n4<\/td>\nREPRISE<\/td>\n0309<\/td>\n<\/tr>\n
SONNY & CHER<\/td>\nJUST YOU<\/td>\n9\/15\/1965<\/td>\n15<\/td>\n3<\/td>\nATCO<\/td>\n6345<\/td>\n<\/tr>\n
SONNY & CHER<\/td>\nLITTLE MAN<\/td>\n9\/12\/1966<\/td>\n17<\/td>\n4<\/td>\nATCO<\/td>\n644<\/td>\n<\/tr>\n
SONNY & CHER<\/td>\nALL I EVER NEED IS YOU<\/td>\n11\/22\/1971<\/td>\n2<\/td>\n6<\/td>\nKAPP<\/td>\n2151<\/td>\n<\/tr>\n
SONNY & CHER<\/td>\nBUT YOU’RE MINE<\/td>\n10\/6\/1965<\/td>\n22<\/td>\n3<\/td>\nATCO<\/td>\n6381<\/td>\n<\/tr>\n
SONNY & CHER<\/td>\nBEAT GOES ON -THE-<\/td>\n12\/27\/1966<\/td>\n32<\/td>\n1<\/td>\nATCO<\/td>\n646<\/td>\n<\/tr>\n
SONNY & CHER<\/td>\nBEAT GOES ON -THE-<\/td>\n1\/3\/1967<\/td>\n5<\/td>\n7<\/td>\nATCO<\/td>\n6461<\/td>\n<\/tr>\n
SOPWITH ‘CAMEL’<\/td>\nHELLO HELLO<\/td>\n1\/3\/1967<\/td>\n21<\/td>\n3<\/td>\nKAMA SUTRA<\/td>\n217<\/td>\n<\/tr>\n
SOUL BROTHERS SIX<\/td>\nSOME KIND OF WONDERFUL<\/td>\n7\/10\/1967<\/td>\n2<\/td>\n7<\/td>\nATLANTIC<\/td>\n2406<\/td>\n<\/tr>\n
SOUL CLAN<\/td>\nSOUL MEETING<\/td>\n6\/20\/1968<\/td>\n27<\/td>\n2<\/td>\nATLANTIC<\/td>\n2530<\/td>\n<\/tr>\n
SOUL SURVIVORS<\/td>\nEXPRESSWAY TO YOUR HEART<\/td>\n9\/5\/1967<\/td>\n6<\/td>\n8<\/td>\nCRIMSON<\/td>\n1010<\/td>\n<\/tr>\n
SOUNDS ORCHESTRAL<\/td>\nCAST YOUR FATE TO THE WIND<\/td>\n3\/17\/1965<\/td>\n1<\/td>\n7<\/td>\nPARKWAY<\/td>\n942<\/td>\n<\/tr>\n
SOUTH. JOE<\/td>\nWALK A MILE IN MY SHOES<\/td>\n12\/25\/1969<\/td>\n11<\/td>\n9<\/td>\nCAPITOL<\/td>\n2704<\/td>\n<\/tr>\n
SOUTH. JOE<\/td>\nGAMES PEOPLE PLAY<\/td>\n1\/9\/1969<\/td>\n14<\/td>\n5<\/td>\nCAPITOL<\/td>\n2248<\/td>\n<\/tr>\n
SOUTHBOUND FREEWAY<\/td>\nPSYCHEDELIC USED CAR LOT BLUES<\/td>\n3\/20\/1967<\/td>\n18<\/td>\n4<\/td>\nTERA SHIRMA<\/td>\n67001<\/td>\n<\/tr>\n
SOUTHWEST F*O*B*<\/td>\nSMELL OF INCENSE<\/td>\n9\/26\/1968<\/td>\n22<\/td>\n3<\/td>\nHIP<\/td>\n8002<\/td>\n<\/tr>\n
SPANKY & OUR GANG<\/td>\nLIKE TO GET TO KNOW YOU<\/td>\n4\/11\/1968<\/td>\n14<\/td>\n5<\/td>\nMERCURY<\/td>\n72795<\/td>\n<\/tr>\n
SPANKY & OUR GANG<\/td>\nSUNDAY MORNIN’<\/td>\n12\/28\/1967<\/td>\n16<\/td>\n4<\/td>\nMERCURY<\/td>\n72765<\/td>\n<\/tr>\n
SPANKY & OUR GANG<\/td>\nLAZY DAY<\/td>\n10\/26\/1967<\/td>\n19<\/td>\n4<\/td>\nMERCURY<\/td>\n72732<\/td>\n<\/tr>\n
SPANKY & OUR GANG<\/td>\nMAKING EVERY MINUTE COUNT<\/td>\n8\/14\/1967<\/td>\n22<\/td>\n3<\/td>\nMERCURY<\/td>\n72714<\/td>\n<\/tr>\n
SPANKY & OUR GANG<\/td>\nSUNDAY WILL NEVER BE THE SAME<\/td>\n5\/22\/1967<\/td>\n8<\/td>\n4<\/td>\nMERCURY<\/td>\n72679<\/td>\n<\/tr>\n
SPINNERS<\/td>\nI’LL ALWAYS LOVE YOU<\/td>\n6\/23\/1965<\/td>\n12<\/td>\n5<\/td>\nMOTOWN<\/td>\n1078<\/td>\n<\/tr>\n
SPINNERS<\/td>\nTRULY YOURS<\/td>\n5\/2\/1966<\/td>\n20<\/td>\n4<\/td>\nMOTOWN<\/td>\n1093<\/td>\n<\/tr>\n
SPINNERS<\/td>\nIT’S A SHAME<\/td>\n7\/6\/1970<\/td>\n6<\/td>\n9<\/td>\nV.I.P.<\/td>\n25057<\/td>\n<\/tr>\n
SPIRAL STARECASE<\/td>\nNO ONE FOR ME TO TURN TO<\/td>\n9\/18\/1969<\/td>\n21<\/td>\n4<\/td>\nCOLUMBIA<\/td>\n44924<\/td>\n<\/tr>\n
SPIRAL STARECASE<\/td>\nMORE TODAY THAN YESTERDAY<\/td>\n3\/27\/1969<\/td>\n3<\/td>\n7<\/td>\nCOLUMBIA 44741<\/td>\n<\/td>\n<\/tr>\n
SPRINGFIELD. DUSTY<\/td>\nBRAND NEW ME -A-<\/td>\n11\/26\/1969<\/td>\n14<\/td>\n6<\/td>\nATLANTIC<\/td>\n2685<\/td>\n<\/tr>\n
SPRINGFIELD. DUSTY<\/td>\nSTAY AWHILE<\/td>\n4\/30\/1964<\/td>\n15<\/td>\n5<\/td>\nPHILIPS<\/td>\n40180<\/td>\n<\/tr>\n
SPRINGFIELD. DUSTY<\/td>\nLOOK OF LOVE -THE-<\/td>\n9\/25\/1967<\/td>\n17<\/td>\n4<\/td>\nPHILIPS<\/td>\n40465<\/td>\n<\/tr>\n
SPRINGFIELD. DUSTY<\/td>\nYOU DON’T HAVE TO SAY YOU LOVE ME<\/td>\n5\/23\/1966<\/td>\n18<\/td>\n5<\/td>\nPHILIPS<\/td>\n40371<\/td>\n<\/tr>\n
SPRINGFIELD. DUSTY<\/td>\nI’LL TRY ANYTHING<\/td>\n4\/3\/1967<\/td>\n20<\/td>\n3<\/td>\nPHILIPS<\/td>\n40439<\/td>\n<\/tr>\n
SPRINGFIELD. DUSTY<\/td>\nALL CRIED OUT<\/td>\n10\/1\/1964<\/td>\n24<\/td>\n3<\/td>\nPHILIPS<\/td>\n40229<\/td>\n<\/tr>\n
SPRINGFIELD. DUSTY<\/td>\nWISHIN’ AND HOPIN’<\/td>\n6\/25\/1964<\/td>\n3<\/td>\n5<\/td>\nPHILIPS<\/td>\n40207<\/td>\n<\/tr>\n
SPRINGWELL<\/td>\nIT’S FOR YOU<\/td>\n8\/30\/1971<\/td>\n11<\/td>\n6<\/td>\nPARROT<\/td>\n359<\/td>\n<\/tr>\n
STAFFORD. TERRY<\/td>\nSUSPICION<\/td>\n2\/13\/1964<\/td>\n1<\/td>\n7<\/td>\nCRUSADER<\/td>\n101<\/td>\n<\/tr>\n
STAFFORD. TERRY<\/td>\nI’LL TOUCH A STAR<\/td>\n5\/14\/1964<\/td>\n14<\/td>\n5<\/td>\nCRUSADER<\/td>\n105<\/td>\n<\/tr>\n
STAMPEDERS<\/td>\nSWEET CITY WOMAN<\/td>\n7\/19\/1971<\/td>\n4<\/td>\n6<\/td>\nBELL<\/td>\n45120<\/td>\n<\/tr>\n
STANDELLS<\/td>\nCAN’T HELP BUT LOVE YOU<\/td>\n10\/26\/1967<\/td>\n19<\/td>\n5<\/td>\nTOWER<\/td>\n348<\/td>\n<\/tr>\n
STANDELLS<\/td>\nDIRTY WATER<\/td>\n5\/23\/1966<\/td>\n4<\/td>\n6<\/td>\nTOWER<\/td>\n185<\/td>\n<\/tr>\n
STAPLE SINGERS<\/td>\nHEAVY MAKES YOU HAPPY (SHA-NA-BOOM BOOM)<\/td>\n2\/15\/1971<\/td>\n15<\/td>\n6<\/td>\nSTAX<\/td>\n0083<\/td>\n<\/tr>\n
STAPLE SINGERS<\/td>\nRESPECT YOURSELF<\/td>\n10\/25\/1971<\/td>\n4<\/td>\n9<\/td>\nSTAX<\/td>\n0104<\/td>\n<\/tr>\n
STARR. BLINKY & EDWIN<\/td>\nOH HOW HAPPY<\/td>\n8\/7\/1969<\/td>\n23<\/td>\n4<\/td>\nGORDY<\/td>\n7090<\/td>\n<\/tr>\n
STARR. EDWIN<\/td>\nSTOP HER ON SIGHT (S*O*S*)<\/td>\n2\/2\/1966<\/td>\n10<\/td>\n5<\/td>\nRIC-TIC<\/td>\n109<\/td>\n<\/tr>\n
STARR. EDWIN<\/td>\nI AM THE MAN FOR YOU BABY<\/td>\n3\/21\/1968<\/td>\n12<\/td>\n5<\/td>\nGORDY<\/td>\n7071<\/td>\n<\/tr>\n
STARR. EDWIN<\/td>\nSTOP THE WAR NOW<\/td>\n12\/21\/1970<\/td>\n19<\/td>\n6<\/td>\nGORDY<\/td>\n7104<\/td>\n<\/tr>\n
STARR. EDWIN<\/td>\nWAR<\/td>\n6\/15\/1970<\/td>\n2<\/td>\n12<\/td>\nGORDY<\/td>\n7101<\/td>\n<\/tr>\n
STARR. EDWIN<\/td>\nFUNKY MUSIC SHO NUFF TURNS ME ON<\/td>\n4\/5\/1971<\/td>\n27<\/td>\n3<\/td>\nGORDY<\/td>\n7107<\/td>\n<\/tr>\n
STARR. EDWIN<\/td>\nTWENTY-FIVE MILES<\/td>\n1\/16\/1969<\/td>\n3<\/td>\n8<\/td>\nGORDY<\/td>\n7083<\/td>\n<\/tr>\n
STARR. EDWIN<\/td>\nAGENT DOUBLE-O-SOUL<\/td>\n7\/14\/1965<\/td>\n7<\/td>\n6<\/td>\nRIC-TIC<\/td>\n103<\/td>\n<\/tr>\n
STARR. LUCILLE<\/td>\nSO MANY OTHERS<\/td>\n6\/16\/1965<\/td>\n11<\/td>\n7<\/td>\nALMO<\/td>\n220<\/td>\n<\/tr>\n
STARR. RINGO<\/td>\nIT DON’T COME EASY<\/td>\n4\/12\/1971<\/td>\n15<\/td>\n7<\/td>\nAPPLE<\/td>\n1831<\/td>\n<\/tr>\n
STATLER BROTHERS<\/td>\nFLOWERS ON THE WALL<\/td>\n12\/1\/1965<\/td>\n4<\/td>\n7<\/td>\nCOLUMBIA<\/td>\n43315<\/td>\n<\/tr>\n
STATON. CANDI<\/td>\nI’D RATHER BE AN OLD MAN’S SWEETHEART<\/td>\n6\/12\/1969<\/td>\n15<\/td>\n5<\/td>\nFAME<\/td>\n1456<\/td>\n<\/tr>\n
STATON. CANDI<\/td>\nSTAND BY YOUR MAN<\/td>\n10\/26\/1970<\/td>\n28<\/td>\n2<\/td>\nFAME<\/td>\n1472<\/td>\n<\/tr>\n
STATUS QUO<\/td>\nPICTURES OF MATCHSTICK MEN<\/td>\n6\/6\/1968<\/td>\n4<\/td>\n7<\/td>\nCADET CONCEPT<\/td>\n7001<\/td>\n<\/tr>\n
STEAM<\/td>\nNA NA HEY HEY KISS HIM GOODBYE<\/td>\n10\/9\/1969<\/td>\n1<\/td>\n10<\/td>\nFONTANA<\/td>\n1667<\/td>\n<\/tr>\n
STEELERS<\/td>\nGET IT FROM THE BOTTOM<\/td>\n10\/2\/1969<\/td>\n6<\/td>\n7<\/td>\nDATE<\/td>\n1642<\/td>\n<\/tr>\n
STEPPENWOLF<\/td>\nMOVE OVER<\/td>\n8\/7\/1969<\/td>\n18<\/td>\n5<\/td>\nDUNHILL<\/td>\n4205<\/td>\n<\/tr>\n
STEPPENWOLF<\/td>\nROCK ME<\/td>\n2\/20\/1969<\/td>\n20<\/td>\n5<\/td>\nDUNHILL<\/td>\n4182<\/td>\n<\/tr>\n
STEPPENWOLF<\/td>\nMONSTER<\/td>\n1\/20\/1970<\/td>\n27<\/td>\n3<\/td>\nDUNHILL<\/td>\n4221<\/td>\n<\/tr>\n
STEPPENWOLF<\/td>\nBORN TO BE WILD<\/td>\n7\/3\/1968<\/td>\n3<\/td>\n9<\/td>\nDUNHILL<\/td>\n4138<\/td>\n<\/tr>\n
STEPPENWOLF<\/td>\nMAGIC CARPET RIDE<\/td>\n10\/17\/1968<\/td>\n7<\/td>\n9<\/td>\nDUNHILL<\/td>\n4161<\/td>\n<\/tr>\n
STEVENS. CAT<\/td>\nMOON SHADOW<\/td>\n7\/26\/1971<\/td>\n23<\/td>\n3<\/td>\nA&M<\/td>\n1265<\/td>\n<\/tr>\n
STEVENS. CAT<\/td>\nI LOVE MY DOG<\/td>\n11\/28\/1966<\/td>\n25<\/td>\n2<\/td>\nDERAM<\/td>\n7501<\/td>\n<\/tr>\n
STEVENS. CAT<\/td>\nMORNING HAS BROKEN<\/td>\n3\/13\/1972<\/td>\n28<\/td>\n2<\/td>\nA&M<\/td>\n1335<\/td>\n<\/tr>\n
STEVENS. CAT<\/td>\nPEACE TRAIN<\/td>\n9\/13\/1971<\/td>\n8<\/td>\n11<\/td>\nA&M<\/td>\n1291<\/td>\n<\/tr>\n
STEVENS. RAY<\/td>\nUNWIND<\/td>\n4\/18\/1968<\/td>\n16<\/td>\n5<\/td>\nMONUMENT<\/td>\n1048<\/td>\n<\/tr>\n
STEVENS. RAY<\/td>\nMISTER BUSINESSMAN<\/td>\n7\/11\/1968<\/td>\n18<\/td>\n4<\/td>\nMONUMENT<\/td>\n1083<\/td>\n<\/tr>\n
STEVENS. RAY<\/td>\nGITARZAN<\/td>\n4\/17\/1969<\/td>\n2<\/td>\n8<\/td>\nMONUMENT<\/td>\n1131<\/td>\n<\/tr>\n
STEVENS. RAY<\/td>\nPARTY PEOPLE<\/td>\n11\/24\/1965<\/td>\n23<\/td>\n4<\/td>\nMONUMENT<\/td>\n911<\/td>\n<\/tr>\n
STEVENS. RAY<\/td>\nEVERYTHING IS BEAUTIFUL<\/td>\n4\/14\/1970<\/td>\n4<\/td>\n9<\/td>\nBARNABY<\/td>\n2011<\/td>\n<\/tr>\n
STEWART. BILLY<\/td>\nSUMMERTIME<\/td>\n8\/8\/1966<\/td>\n18<\/td>\n4<\/td>\nCHESS<\/td>\n1966<\/td>\n<\/tr>\n
STEWART. BILLY<\/td>\nI DO LOVE YOU<\/td>\n4\/14\/1965<\/td>\n19<\/td>\n3<\/td>\nCHESS<\/td>\n1922<\/td>\n<\/tr>\n
STEWART. BILLY<\/td>\nSITTING IN THE PARK<\/td>\n7\/7\/1965<\/td>\n24<\/td>\n3<\/td>\nCHESS<\/td>\n1932<\/td>\n<\/tr>\n
STEWART. ROD<\/td>\nMAGGIE MAY<\/td>\n8\/23\/1971<\/td>\n1<\/td>\n10<\/td>\nMERCURY<\/td>\n73224<\/td>\n<\/tr>\n
STEWART. ROD<\/td>\nI’M LOSING YOU (I KNOW)<\/td>\n11\/8\/1971<\/td>\n10<\/td>\n7<\/td>\nMERCURY<\/td>\n73244<\/td>\n<\/tr>\n
STEWART. ROD<\/td>\nHANDBAGS AND GLADRAGS<\/td>\n1\/31\/1972<\/td>\n19<\/td>\n3<\/td>\nMERCURY<\/td>\n73031<\/td>\n<\/tr>\n
STEWART. ROD<\/td>\nMANDOLIN WIND<\/td>\n12\/20\/1971<\/td>\n23<\/td>\n1<\/td>\nMERCURY<\/td>\n73244<\/td>\n<\/tr>\n
STILLS. STEPHEN<\/td>\nLOVE THE ONE YOU’RE WITH<\/td>\n11\/30\/1970<\/td>\n18<\/td>\n7<\/td>\nATLANTIC<\/td>\n2778<\/td>\n<\/tr>\n
STRANGELOVES<\/td>\nHONEY DO<\/td>\n11\/27\/1968<\/td>\n19<\/td>\n2<\/td>\nSIRE<\/td>\n4102<\/td>\n<\/tr>\n
STRANGELOVES<\/td>\nI WANT CANDY<\/td>\n6\/30\/1965<\/td>\n7<\/td>\n4<\/td>\nBANG<\/td>\n501<\/td>\n<\/tr>\n
STRATFORDS<\/td>\nNEVER LEAVE ME<\/td>\n3\/19\/1964<\/td>\n9<\/td>\n6<\/td>\nO’DELL<\/td>\n100<\/td>\n<\/tr>\n
STRAWBERRY ALARM CLOCK<\/td>\nINCENSE AND PEPPERMINTS<\/td>\n9\/25\/1967<\/td>\n1<\/td>\n9<\/td>\nUNI<\/td>\n55018<\/td>\n<\/tr>\n
STRAWBERRY ALARM CLOCK<\/td>\nTOMORROW<\/td>\n12\/21\/1967<\/td>\n5<\/td>\n6<\/td>\nUNI<\/td>\n55046<\/td>\n<\/tr>\n
STREET PEOPLE<\/td>\nJENNIFER TOMKINS<\/td>\n1\/27\/1970<\/td>\n24<\/td>\n4<\/td>\nMUSICOR<\/td>\n1365<\/td>\n<\/tr>\n
STREISAND. BARBRA<\/td>\nPEOPLE<\/td>\n5\/28\/1964<\/td>\n5<\/td>\n6<\/td>\nCOLUMBIA<\/td>\n42965<\/td>\n<\/tr>\n
STREISAND. BARBRA<\/td>\nSTONEY END<\/td>\n12\/7\/1970<\/td>\n6<\/td>\n10<\/td>\nCOLUMBIA<\/td>\n45236<\/td>\n<\/tr>\n
STYLISTICS<\/td>\nBETCHA BY GOLLY. WOW<\/td>\n2\/21\/1972<\/td>\n1<\/td>\n5<\/td>\nAVCO<\/td>\n4591<\/td>\n<\/tr>\n
STYLISTICS<\/td>\nYOU ARE EVERYTHING<\/td>\n11\/8\/1971<\/td>\n2<\/td>\n8<\/td>\nAVCO<\/td>\n4581<\/td>\n<\/tr>\n
STYLISTICS<\/td>\nSTOP. LOOK. LISTEN<\/td>\n8\/2\/1971<\/td>\n3<\/td>\n8<\/td>\nAVCO EMBASSY<\/td>\n4572<\/td>\n<\/tr>\n
SUGAR BLUES<\/td>\nLOOK WHAT WE HAVE JOINED TOGETHER<\/td>\n2\/20\/1969<\/td>\n27<\/td>\n2<\/td>\nBELL<\/td>\n766<\/td>\n<\/tr>\n
SUGARLOAF<\/td>\nGREEN-EYED LADY<\/td>\n9\/21\/1970<\/td>\n4<\/td>\n9<\/td>\nLIBERTY<\/td>\n56183<\/td>\n<\/tr>\n
SUNGLOWS<\/td>\nPEANUTS (LA CACAHUATA)<\/td>\n3\/31\/1965<\/td>\n3<\/td>\n7<\/td>\nSUNGLOW<\/td>\n107<\/td>\n<\/tr>\n
SUNNY & THE SUNLINERS<\/td>\nRAGS TO RICHES<\/td>\n11\/21\/1963<\/td>\n25<\/td>\n3<\/td>\nTEAR DROP<\/td>\n3022<\/td>\n<\/tr>\n
SUNSET STRINGS<\/td>\nRUNNING SCARED<\/td>\n12\/10\/1964<\/td>\n28<\/td>\n2<\/td>\nLIBERTY<\/td>\n55746<\/td>\n<\/tr>\n
SUNSHINE COMPANY<\/td>\nBACK ON THE STREET AGAIN<\/td>\n11\/16\/1967<\/td>\n19<\/td>\n3<\/td>\nIMPERIAL<\/td>\n66260<\/td>\n<\/tr>\n
SUPERLATIVES<\/td>\nDON’T LET TRUE LOVE DIE<\/td>\n6\/12\/1969<\/td>\n26<\/td>\n2<\/td>\nWESTBOUND<\/td>\n154<\/td>\n<\/tr>\n
SUPERLATIVES<\/td>\nI DON’T KNOW HOW<\/td>\n11\/7\/1968<\/td>\n6<\/td>\n11<\/td>\nWESTBOUND<\/td>\n144<\/td>\n<\/tr>\n
SUPREMES<\/td>\nWHERE DID OUR LOVE GO<\/td>\n7\/3\/1964<\/td>\n1<\/td>\n7<\/td>\nMOTOWN<\/td>\n1060<\/td>\n<\/tr>\n
SUPREMES<\/td>\nBABY LOVE<\/td>\n9\/24\/1964<\/td>\n1<\/td>\n6<\/td>\nMOTOWN<\/td>\n1066<\/td>\n<\/tr>\n
SUPREMES<\/td>\nCOME SEE ABOUT ME<\/td>\n11\/5\/1964<\/td>\n1<\/td>\n7<\/td>\nMOTOWN<\/td>\n1068<\/td>\n<\/tr>\n
SUPREMES<\/td>\nI HEAR A SYMPHONY<\/td>\n10\/13\/1965<\/td>\n1<\/td>\n8<\/td>\nMOTOWN<\/td>\n1083<\/td>\n<\/tr>\n
SUPREMES<\/td>\nYOU CAN’T HURRY LOVE<\/td>\n8\/1\/1966<\/td>\n1<\/td>\n9<\/td>\nMOTOWN<\/td>\n1097<\/td>\n<\/tr>\n
SUPREMES<\/td>\nSOMEDAY WE’LL BE TOGETHER<\/td>\n10\/30\/1969<\/td>\n1<\/td>\n10<\/td>\nMOTOWN<\/td>\n1156<\/td>\n<\/tr>\n
SUPREMES<\/td>\nLOVE IS LIKE AN ITCHING IN MY HEART<\/td>\n4\/20\/1966<\/td>\n10<\/td>\n4<\/td>\nMOTOWN<\/td>\n1094<\/td>\n<\/tr>\n
SUPREMES<\/td>\nNOTHING BUT HEARTACHES<\/td>\n7\/21\/1965<\/td>\n13<\/td>\n4<\/td>\nMOTOWN<\/td>\n1080<\/td>\n<\/tr>\n
SUPREMES<\/td>\nREFLECTIONS<\/td>\n7\/31\/1967<\/td>\n14<\/td>\n4<\/td>\nMOTOWN<\/td>\n1111<\/td>\n<\/tr>\n
SUPREMES<\/td>\nI’M LIVIN’ IN SHAME<\/td>\n1\/9\/1969<\/td>\n16<\/td>\n4<\/td>\nMOTOWN<\/td>\n1139<\/td>\n<\/tr>\n
SUPREMES<\/td>\nFLOY JOY<\/td>\n1\/10\/1972<\/td>\n18<\/td>\n4<\/td>\nMOTOWN<\/td>\n1195<\/td>\n<\/tr>\n
SUPREMES<\/td>\nNO MATTER WHAT SIGN YOU ARE<\/td>\n5\/28\/1969<\/td>\n19<\/td>\n3<\/td>\nMOTOWN<\/td>\n1148<\/td>\n<\/tr>\n
SUPREMES<\/td>\nSTOP! IN THE NAME OF LOVE<\/td>\n2\/18\/1965<\/td>\n2<\/td>\n7<\/td>\nMOTOWN<\/td>\n1074<\/td>\n<\/tr>\n
SUPREMES<\/td>\nBACK IN MY ARMS AGAIN<\/td>\n4\/21\/1965<\/td>\n2<\/td>\n8<\/td>\nMOTOWN<\/td>\n1075<\/td>\n<\/tr>\n
SUPREMES<\/td>\nIN AND OUT OF LOVE<\/td>\n11\/2\/1967<\/td>\n21<\/td>\n3<\/td>\nMOTOWN<\/td>\n1116<\/td>\n<\/tr>\n
SUPREMES<\/td>\nSOME THINGS YOU NEVER GET USED TO<\/td>\n5\/29\/1968<\/td>\n21<\/td>\n3<\/td>\nMOTOWN<\/td>\n1126<\/td>\n<\/tr>\n
SUPREMES<\/td>\nNATHAN JONES<\/td>\n6\/14\/1971<\/td>\n24<\/td>\n3<\/td>\nMOTOWN<\/td>\n1182<\/td>\n<\/tr>\n
SUPREMES<\/td>\nUP THE LADDER TO THE ROOF<\/td>\n3\/3\/1970<\/td>\n26<\/td>\n4<\/td>\nMOTOWN<\/td>\n1162<\/td>\n<\/tr>\n
SUPREMES<\/td>\nCOMPOSER -THE-<\/td>\n4\/24\/1969<\/td>\n28<\/td>\n1<\/td>\nMOTOWN<\/td>\n1146<\/td>\n<\/tr>\n
SUPREMES<\/td>\nLOVE CHILD<\/td>\n10\/17\/1968<\/td>\n3<\/td>\n8<\/td>\nMOTOWN<\/td>\n1135<\/td>\n<\/tr>\n
SUPREMES<\/td>\nHAPPENING -THE-<\/td>\n3\/27\/1967<\/td>\n4<\/td>\n6<\/td>\nMOTOWN<\/td>\n1107<\/td>\n<\/tr>\n
SUPREMES<\/td>\nWHEN THE LOVELIGHT STARTS SHINING THROUGH HIS EYES<\/td>\n11\/7\/1963<\/td>\n5<\/td>\n8<\/td>\nMOTOWN 1051<\/td>\n<\/td>\n<\/tr>\n
SUPREMES<\/td>\nYOU KEEP ME HANGIN’ ON<\/td>\n10\/24\/1966<\/td>\n6<\/td>\n5<\/td>\nMOTOWN<\/td>\n1101<\/td>\n<\/tr>\n
SUPREMES<\/td>\nLOVE IS HERE AND NOW YOU’RE GONE<\/td>\n1\/16\/1967<\/td>\n6<\/td>\n6<\/td>\nMOTOWN<\/td>\n1103<\/td>\n<\/tr>\n
SUPREMES<\/td>\nSTONED LOVE<\/td>\n11\/2\/1970<\/td>\n6<\/td>\n9<\/td>\nMOTOWN<\/td>\n1172<\/td>\n<\/tr>\n
SUPREMES<\/td>\nMY WORLD IS EMPTY WITHOUT YOU<\/td>\n1\/5\/1966<\/td>\n7<\/td>\n6<\/td>\nMOTOWN<\/td>\n1089<\/td>\n<\/tr>\n
SUPREMES & TEMPTATIONS<\/td>\nI’M GONNA MAKE YOU LOVE ME<\/td>\n12\/5\/1968<\/td>\n6<\/td>\n6<\/td>\nMOTOWN<\/td>\n1137<\/td>\n<\/tr>\n
SUPREMES & THE FOUR TOPS<\/td>\nRIVER DEEP – MOUNTAIN HIGH<\/td>\n11\/30\/1970<\/td>\n27<\/td>\n3<\/td>\nMOTOWN<\/td>\n1173<\/td>\n<\/tr>\n
SURFARIS<\/td>\nWIPE OUT<\/td>\n9\/19\/1966<\/td>\n1<\/td>\n7<\/td>\nDOT<\/td>\n144<\/td>\n<\/tr>\n
SWANN. BETTYE<\/td>\nDON’T TOUCH ME<\/td>\n3\/20\/1969<\/td>\n19<\/td>\n3<\/td>\nCAPITOL<\/td>\n2382<\/td>\n<\/tr>\n
SWANN. BETTYE<\/td>\nMAKE ME YOURS<\/td>\n5\/29\/1967<\/td>\n8<\/td>\n6<\/td>\nMONEY<\/td>\n126<\/td>\n<\/tr>\n
SWANS<\/td>\nBOY WITH THE BEATLE HAIR -THE-<\/td>\n2\/13\/1964<\/td>\n24<\/td>\n3<\/td>\nCAMEO<\/td>\n302<\/td>\n<\/tr>\n
SWEATHOG<\/td>\nHALLELUJAH<\/td>\n10\/18\/1971<\/td>\n21<\/td>\n7<\/td>\nCOLUMBIA<\/td>\n45492<\/td>\n<\/tr>\n
SWEET<\/td>\nCO-CO<\/td>\n8\/16\/1971<\/td>\n11<\/td>\n9<\/td>\nBELL<\/td>\n45126<\/td>\n<\/tr>\n
SWEET INSPIRATIONS<\/td>\nSWEET INSPIRATION<\/td>\n2\/29\/1968<\/td>\n7<\/td>\n5<\/td>\nATLANTIC<\/td>\n2476<\/td>\n<\/tr>\n
SWINGING BLUE JEANS<\/td>\nGOOD GOLLY MISS MOLLY<\/td>\n5\/7\/1964<\/td>\n29<\/td>\n1<\/td>\nIMPERIAL<\/td>\n66030<\/td>\n<\/tr>\n
SYNDICATE OF SOUND<\/td>\nLITTLE GIRL<\/td>\n5\/16\/1966<\/td>\n1<\/td>\n7<\/td>\nBELL<\/td>\n640<\/td>\n<\/tr>\n
T-BONES<\/td>\nNO MATTER WHAT SHAPE<\/td>\n11\/10\/1965<\/td>\n2<\/td>\n8<\/td>\nLIBERTY<\/td>\n55836<\/td>\n<\/tr>\n
T* REX<\/td>\nHOT LOVE<\/td>\n4\/26\/1971<\/td>\n31<\/td>\n2<\/td>\nREPRISE<\/td>\n1006<\/td>\n<\/tr>\n
T* REX<\/td>\nBANG A GONG (GET IT ON)<\/td>\n1\/10\/1972<\/td>\n5<\/td>\n9<\/td>\nREPRISE<\/td>\n1032<\/td>\n<\/tr>\n
TAMS<\/td>\nWHAT KIND OF FOOL<\/td>\n12\/19\/1963<\/td>\n10<\/td>\n6<\/td>\nABC-PARAMOUNT<\/td>\n10502<\/td>\n<\/tr>\n
TAMS<\/td>\nHEY GIRL DON’T BOTHER ME<\/td>\n8\/6\/1964<\/td>\n17<\/td>\n2<\/td>\nABC-PARAMOUNT<\/td>\n10573<\/td>\n<\/tr>\n
TANEGA. NORMA<\/td>\nWALKIN’ MY CAT NAMED DOG<\/td>\n3\/2\/1966<\/td>\n21<\/td>\n4<\/td>\nNEW VOICE<\/td>\n807<\/td>\n<\/tr>\n
TAYLOR. BOBBY\/& THE VANCOUVERS<\/td>\nDOES YOUR MAMA KNOW ABOUT ME<\/td>\n3\/14\/1968<\/td>\n20<\/td>\n4<\/td>\nGORDY<\/td>\n7069<\/td>\n<\/tr>\n
TAYLOR. BOBBY\/& THE VANCOUVERS<\/td>\nMALINDA<\/td>\n11\/27\/1968<\/td>\n23<\/td>\n2<\/td>\nGORDY<\/td>\n7079<\/td>\n<\/tr>\n
TAYLOR. GLORIA<\/td>\nYOU GOT TO PAY THE PRICE<\/td>\n11\/26\/1969<\/td>\n21<\/td>\n3<\/td>\nSILVER FOX<\/td>\n14<\/td>\n<\/tr>\n
TAYLOR. JAMES<\/td>\nFIRE AND RAIN<\/td>\n8\/31\/1970<\/td>\n1<\/td>\n13<\/td>\nWARNER BROS.<\/td>\n7423<\/td>\n<\/tr>\n
TAYLOR. JAMES<\/td>\nYOU’VE GOT A FRIEND<\/td>\n6\/28\/1971<\/td>\n2<\/td>\n9<\/td>\nWARNER BROS.<\/td>\n7498<\/td>\n<\/tr>\n
TAYLOR. JOHNNIE<\/td>\nI AM SOMEBODY. PART II<\/td>\n10\/5\/1970<\/td>\n15<\/td>\n4<\/td>\nSTAX<\/td>\n0078<\/td>\n<\/tr>\n
TAYLOR. JOHNNIE<\/td>\nTAKE CARE OF YOUR HOMEWORK<\/td>\n1\/2\/1969<\/td>\n17<\/td>\n4<\/td>\nSTAX<\/td>\n0023<\/td>\n<\/tr>\n
TAYLOR. JOHNNIE<\/td>\nSTEAL AWAY<\/td>\n6\/2\/1970<\/td>\n17<\/td>\n5<\/td>\nSTAX<\/td>\n0068<\/td>\n<\/tr>\n
TAYLOR. JOHNNIE<\/td>\nWHO’S MAKING LOVE<\/td>\n10\/3\/1968<\/td>\n2<\/td>\n7<\/td>\nSTAX<\/td>\n0009<\/td>\n<\/tr>\n
TAYLOR. JOHNNIE<\/td>\nTESTIFY (I WONNA)<\/td>\n4\/17\/1969<\/td>\n21<\/td>\n4<\/td>\nSTAX<\/td>\n0033<\/td>\n<\/tr>\n
TAYLOR. JOHNNIE<\/td>\nI COULD NEVER BE PRESIDENT<\/td>\n7\/31\/1969<\/td>\n21<\/td>\n4<\/td>\nSTAX<\/td>\n0046<\/td>\n<\/tr>\n
TAYLOR. MEL<\/td>\nYOUNG MAN. OLD MAN<\/td>\n3\/23\/1966<\/td>\n24<\/td>\n2<\/td>\nWARNER BROS.<\/td>\n5690<\/td>\n<\/tr>\n
TAYLOR. R* DEAN<\/td>\nINDIANA WANTS ME<\/td>\n7\/27\/1970<\/td>\n2<\/td>\n12<\/td>\nRARE EARTH<\/td>\n5013<\/td>\n<\/tr>\n
TEE SET<\/td>\nMA BELLE AMIE<\/td>\n2\/3\/1970<\/td>\n2<\/td>\n9<\/td>\nCOLOSSUS<\/td>\n107<\/td>\n<\/tr>\n
TEEGARDEN & VAN WINKLE<\/td>\nGOD. LOVE AND ROCK & ROLL (WE BELIEVE)<\/td>\n8\/24\/1970<\/td>\n2<\/td>\n10<\/td>\nPLUMM<\/td>\n68102<\/td>\n<\/tr>\n
TEMPO. NINO\\STEVENS. APRIL<\/td>\nWHISPERING<\/td>\n12\/12\/1963<\/td>\n11<\/td>\n6<\/td>\nATCO<\/td>\n6281<\/td>\n<\/tr>\n
TEMPO. NINO\\STEVENS. APRIL<\/td>\nALL STRUNG OUT<\/td>\n8\/15\/1966<\/td>\n19<\/td>\n5<\/td>\nWHITE WHALE<\/td>\n23<\/td>\n<\/tr>\n
TEMPTATIONS<\/td>\nMY GIRL<\/td>\n12\/31\/1964<\/td>\n1<\/td>\n7<\/td>\nGORDY<\/td>\n7038<\/td>\n<\/tr>\n
TEMPTATIONS<\/td>\nI CAN’T GET NEXT TO YOU<\/td>\n8\/7\/1969<\/td>\n1<\/td>\n12<\/td>\nGORDY<\/td>\n7093<\/td>\n<\/tr>\n
TEMPTATIONS<\/td>\nBALL OF CONFUSION
\n<THAT’S WHAT THE WORLD IS TODAY><\/td>\n		5\/12\/1970<\/td>\n1<\/td>\n12<\/td>\nGORDY<\/td>\n7099<\/td>\n<\/tr>\n
TEMPTATIONS<\/td>\nJUST MY IMAGINATION<\/td>\n1\/18\/1971<\/td>\n1<\/td>\n11<\/td>\nGORDY<\/td>\n7105<\/td>\n<\/tr>\n
TEMPTATIONS<\/td>\nI’LL BE IN TROUBLE<\/td>\n5\/21\/1964<\/td>\n11<\/td>\n4<\/td>\nGORDY<\/td>\n7032<\/td>\n<\/tr>\n
TEMPTATIONS<\/td>\nGIRL (WHY YOU WANNA MAKE ME BLUE)<\/td>\n9\/3\/1964<\/td>\n11<\/td>\n4<\/td>\nGORDY<\/td>\n7035<\/td>\n<\/tr>\n
TEMPTATIONS<\/td>\nSUPERSTAR (REMEMBER HOW YOU GOT WHERE YOU ARE)<\/td>\n10\/25\/1971<\/td>\n12<\/td>\n6<\/td>\nGORDY<\/td>\n7111<\/td>\n<\/tr>\n
TEMPTATIONS<\/td>\nI COULD NEVER LOVE ANOTHER (AFTER LOVING YOU)<\/td>\n4\/18\/1968<\/td>\n13<\/td>\n6<\/td>\nGORDY<\/td>\n7072<\/td>\n<\/tr>\n
TEMPTATIONS<\/td>\nIT’S YOU THAT I NEED (LONELINESS MADE ME REALIZE)<\/td>\n10\/5\/1967<\/td>\n14<\/td>\n4<\/td>\nGORDY 7065<\/td>\n<\/td>\n<\/tr>\n
TEMPTATIONS<\/td>\nGET READY<\/td>\n2\/23\/1966<\/td>\n16<\/td>\n4<\/td>\nGORDY<\/td>\n7049<\/td>\n<\/tr>\n
TEMPTATIONS<\/td>\nSINCE I LOST MY BABY<\/td>\n7\/7\/1965<\/td>\n2<\/td>\n6<\/td>\nGORDY<\/td>\n7043<\/td>\n<\/tr>\n
TEMPTATIONS<\/td>\nUNGENA ZA ULIMWENGU (UNITE THE WORLD)<\/td>\n9\/21\/1970<\/td>\n20<\/td>\n2<\/td>\nGORDY<\/td>\n7102<\/td>\n<\/tr>\n
TEMPTATIONS<\/td>\nAIN’T TOO PROUD TO BEG<\/td>\n5\/16\/1966<\/td>\n3<\/td>\n7<\/td>\nGORDY<\/td>\n7054<\/td>\n<\/tr>\n
TEMPTATIONS<\/td>\nWAY YOU DO THE THINGS YOU DO -THE-<\/td>\n2\/13\/1964<\/td>\n4<\/td>\n5<\/td>\nGORDY<\/td>\n7028<\/td>\n<\/tr>\n
TEMPTATIONS<\/td>\nBEAUTY IS ONLY SKIN DEEP<\/td>\n8\/15\/1966<\/td>\n4<\/td>\n5<\/td>\nGORDY<\/td>\n7055<\/td>\n<\/tr>\n
TEMPTATIONS<\/td>\nI’M LOSING YOU (I KNOW)<\/td>\n11\/7\/1966<\/td>\n4<\/td>\n7<\/td>\nGORDY<\/td>\n7057<\/td>\n<\/tr>\n
TEMPTATIONS<\/td>\nI WISH IT WOULD RAIN<\/td>\n12\/28\/1967<\/td>\n4<\/td>\n8<\/td>\nGORDY<\/td>\n7068<\/td>\n<\/tr>\n
TEMPTATIONS<\/td>\nCLOUD NINE<\/td>\n10\/31\/1968<\/td>\n4<\/td>\n6<\/td>\nGORDY<\/td>\n7081<\/td>\n<\/tr>\n
TEMPTATIONS<\/td>\nYOU’RE MY EVERYTHING<\/td>\n7\/24\/1967<\/td>\n5<\/td>\n5<\/td>\nGORDY<\/td>\n7063<\/td>\n<\/tr>\n
TEMPTATIONS<\/td>\nALL I NEED<\/td>\n4\/17\/1967<\/td>\n6<\/td>\n6<\/td>\nGORDY<\/td>\n7061<\/td>\n<\/tr>\n
TEMPTATIONS<\/td>\nPSYCHEDELIC SHACK<\/td>\n1\/6\/1970<\/td>\n6<\/td>\n8<\/td>\nGORDY<\/td>\n7096<\/td>\n<\/tr>\n
TEMPTATIONS<\/td>\nRUN AWAY CHILD. RUNNING WILD<\/td>\n2\/6\/1969<\/td>\n7<\/td>\n6<\/td>\nGORDY<\/td>\n7084<\/td>\n<\/tr>\n
TEMPTATIONS<\/td>\nIT’S GROWING<\/td>\n3\/24\/1965<\/td>\n8<\/td>\n5<\/td>\nGORDY<\/td>\n7040<\/td>\n<\/tr>\n
TEMPTATIONS<\/td>\nMY BABY<\/td>\n10\/6\/1965<\/td>\n8<\/td>\n6<\/td>\nGORDY<\/td>\n7047<\/td>\n<\/tr>\n
TEN YEARS AFTER<\/td>\nI’D LOVE TO CHANGE THE WORLD<\/td>\n10\/4\/1971<\/td>\n17<\/td>\n6<\/td>\nCOLUMBIA<\/td>\n45457<\/td>\n<\/tr>\n
TEN YEARS AFTER<\/td>\nBABY WON’T YOU LET ME ROCK ‘N ROLL YOU<\/td>\n12\/27\/1971<\/td>\n24<\/td>\n4<\/td>\nCOLUMBIA<\/td>\n45530<\/td>\n<\/tr>\n
TERRELL. TAMMI<\/td>\nI CAN’T BELIEVE YOU LOVE ME<\/td>\n12\/1\/1965<\/td>\n14<\/td>\n5<\/td>\nMOTOWN<\/td>\n1086<\/td>\n<\/tr>\n
TERRELL. TAMMI<\/td>\nCOME ON AND SEE ME<\/td>\n5\/16\/1966<\/td>\n14<\/td>\n4<\/td>\nMOTOWN<\/td>\n1095<\/td>\n<\/tr>\n
TEX. JOE<\/td>\nI GOTCHA<\/td>\n1\/10\/1972<\/td>\n1<\/td>\n9<\/td>\nDIAL<\/td>\n1010<\/td>\n<\/tr>\n
TEX. JOE<\/td>\nSKINNY LEGS AND ALL<\/td>\n11\/16\/1967<\/td>\n7<\/td>\n7<\/td>\nDIAL<\/td>\n4063<\/td>\n<\/tr>\n
THEE PROPHETS<\/td>\nPLAYGIRL<\/td>\n2\/20\/1969<\/td>\n22<\/td>\n4<\/td>\nKAPP<\/td>\n962<\/td>\n<\/tr>\n
THEM<\/td>\nMYSTIC EYES<\/td>\n10\/6\/1965<\/td>\n18<\/td>\n5<\/td>\nPARROT<\/td>\n9796<\/td>\n<\/tr>\n
THIRD RAIL<\/td>\nRUN. RUN. RUN<\/td>\n8\/21\/1967<\/td>\n18<\/td>\n3<\/td>\nEPIC<\/td>\n10191<\/td>\n<\/tr>\n
THIRD RAIL<\/td>\nBOPPA DO DOWN DOWN<\/td>\n10\/5\/1967<\/td>\n23<\/td>\n3<\/td>\nEPIC<\/td>\n10240<\/td>\n<\/tr>\n
THIRTEENTH FLOOR ELEVATORS<\/td>\nYOU’RE GONNA MISS ME<\/td>\n8\/8\/1966<\/td>\n3<\/td>\n6<\/td>\nINTERNATIONAL ARTISTS<\/td>\n107<\/td>\n<\/tr>\n
THOMAS. B*J*<\/td>\nI’M SO LONESOME I COULD CRY<\/td>\n3\/16\/1966<\/td>\n1<\/td>\n7<\/td>\nSCEPTER<\/td>\n12129<\/td>\n<\/tr>\n
THOMAS. B*J*<\/td>\nI JUST CAN’T HELP BELIEVING<\/td>\n7\/6\/1970<\/td>\n11<\/td>\n6<\/td>\nSCEPTER<\/td>\n12283<\/td>\n<\/tr>\n
THOMAS. B*J*<\/td>\nROCK AND ROLL LULLABY<\/td>\n2\/7\/1972<\/td>\n11<\/td>\n7<\/td>\nSCEPTER<\/td>\n12344<\/td>\n<\/tr>\n
THOMAS. B*J*<\/td>\nHOOKED ON A FEELING<\/td>\n12\/12\/1968<\/td>\n2<\/td>\n8<\/td>\nSCEPTER<\/td>\n12230<\/td>\n<\/tr>\n
THOMAS. B*J*<\/td>\nRAINDROPS KEEP FALLIN’ ON MY HEAD<\/td>\n11\/13\/1969<\/td>\n2<\/td>\n14<\/td>\nSCEPTER<\/td>\n12265<\/td>\n<\/tr>\n
THOMAS. B*J*<\/td>\nIT’S ONLY LOVE<\/td>\n4\/3\/1969<\/td>\n20<\/td>\n3<\/td>\nSCEPTER<\/td>\n12244<\/td>\n<\/tr>\n
THOMAS. B*J*<\/td>\nPLAIN JANE<\/td>\n11\/28\/1966<\/td>\n21<\/td>\n3<\/td>\nSCEPTER<\/td>\n1217<\/td>\n<\/tr>\n
THOMAS. B*J*<\/td>\nNO LOVE AT ALL<\/td>\n3\/1\/1971<\/td>\n21<\/td>\n6<\/td>\nSCEPTER<\/td>\n12307<\/td>\n<\/tr>\n
THOMAS. B*J*<\/td>\nMIGHTY CLOUDS OF JOY<\/td>\n7\/19\/1971<\/td>\n24<\/td>\n4<\/td>\nSCEPTER<\/td>\n12320<\/td>\n<\/tr>\n
THOMAS. B*J*<\/td>\nEVERYBODY’S OUT OF TOWN<\/td>\n3\/17\/1970<\/td>\n27<\/td>\n4<\/td>\nSCEPTER<\/td>\n12277<\/td>\n<\/tr>\n
THOMAS. B*J*<\/td>\nMAMA<\/td>\n5\/9\/1966<\/td>\n4<\/td>\n6<\/td>\nSCEPTER<\/td>\n12139<\/td>\n<\/tr>\n
THOMAS. B*J*<\/td>\nBILLY AND SUE<\/td>\n7\/11\/1966<\/td>\n9<\/td>\n6<\/td>\nHICKORY<\/td>\n1395<\/td>\n<\/tr>\n
THOMAS. CARLA<\/td>\nWHERE DO I GO<\/td>\n9\/12\/1968<\/td>\n24<\/td>\n2<\/td>\nSTAX<\/td>\n0011<\/td>\n<\/tr>\n
THOMAS. RUFUS<\/td>\nWALKING THE DOG<\/td>\n11\/7\/1963<\/td>\n16<\/td>\n2<\/td>\nSTAX<\/td>\n140<\/td>\n<\/tr>\n
THOMAS. RUFUS<\/td>\nPUSH AND PULL. PART 1 (DO THE)<\/td>\n12\/21\/1970<\/td>\n19<\/td>\n4<\/td>\nSTAX<\/td>\n0079<\/td>\n<\/tr>\n
THOMPSON. SUE<\/td>\nPAPER TIGER<\/td>\n11\/26\/1964<\/td>\n3<\/td>\n7<\/td>\nHICKORY<\/td>\n1284<\/td>\n<\/tr>\n
THREE DOG NIGHT<\/td>\nMAMA TOLD ME<\/td>\n5\/19\/1970<\/td>\n1<\/td>\n12<\/td>\nDUNHILL<\/td>\n4239<\/td>\n<\/tr>\n
THREE DOG NIGHT<\/td>\nJOY TO THE WORLD<\/td>\n3\/15\/1971<\/td>\n1<\/td>\n12<\/td>\nDUNHILL<\/td>\n4272<\/td>\n<\/tr>\n
THREE DOG NIGHT<\/td>\nELI’S COMING<\/td>\n10\/16\/1969<\/td>\n12<\/td>\n5<\/td>\nDUNHILL<\/td>\n4215<\/td>\n<\/tr>\n
THREE DOG NIGHT<\/td>\nOUT IN THE COUNTRY<\/td>\n8\/17\/1970<\/td>\n14<\/td>\n7<\/td>\nDUNHILL<\/td>\n4250<\/td>\n<\/tr>\n
THREE DOG NIGHT<\/td>\nLIAR<\/td>\n7\/6\/1971<\/td>\n14<\/td>\n6<\/td>\nDUNHILL<\/td>\n4282<\/td>\n<\/tr>\n
THREE DOG NIGHT<\/td>\nCELEBRATE<\/td>\n2\/17\/1970<\/td>\n20<\/td>\n4<\/td>\nDUNHILL<\/td>\n4229<\/td>\n<\/tr>\n
THREE DOG NIGHT<\/td>\nFAMILY OF MAN -THE-<\/td>\n3\/20\/1972<\/td>\n29<\/td>\n1<\/td>\nDUNHILL<\/td>\n4306<\/td>\n<\/tr>\n
THREE DOG NIGHT<\/td>\nOLD FASHIONED LOVE SONG -AN-<\/td>\n11\/8\/1971<\/td>\n3<\/td>\n7<\/td>\nDUNHILL<\/td>\n4294<\/td>\n<\/tr>\n
THREE DOG NIGHT<\/td>\nTRY A LITTLE TENDERNESS<\/td>\n3\/6\/1969<\/td>\n4<\/td>\n6<\/td>\nDUNHILL<\/td>\n4177<\/td>\n<\/tr>\n
THREE DOG NIGHT<\/td>\nONE<\/td>\n5\/1\/1969<\/td>\n4<\/td>\n10<\/td>\nDUNHILL<\/td>\n4191<\/td>\n<\/tr>\n
THREE DOG NIGHT<\/td>\nEASY TO BE HARD<\/td>\n7\/24\/1969<\/td>\n7<\/td>\n7<\/td>\nDUNHILL<\/td>\n4203<\/td>\n<\/tr>\n
THREE DOG NIGHT<\/td>\nNEVER BEEN TO SPAIN<\/td>\n12\/20\/1971<\/td>\n7<\/td>\n9<\/td>\nDUNHILL<\/td>\n4299<\/td>\n<\/tr>\n
THREE DOG NIGHT<\/td>\nONE MAN BAND<\/td>\n11\/9\/1970<\/td>\n9<\/td>\n8<\/td>\nDUNHILL<\/td>\n4262<\/td>\n<\/tr>\n
TIDAL WAVES<\/td>\nI DON’T NEED LOVE<\/td>\n8\/29\/1966<\/td>\n18<\/td>\n4<\/td>\nHBR<\/td>\n50<\/td>\n<\/tr>\n
TIDAL WAVES<\/td>\nFARMER JOHN<\/td>\n5\/2\/1966<\/td>\n6<\/td>\n7<\/td>\nS.V.R.<\/td>\n1007<\/td>\n<\/tr>\n
TIGERS<\/td>\nGEETO TIGER<\/td>\n5\/12\/1965<\/td>\n21<\/td>\n4<\/td>\nCOLPIX<\/td>\n773<\/td>\n<\/tr>\n
TILLOTSON. JOHNNY<\/td>\nANGEL<\/td>\n2\/11\/1965<\/td>\n29<\/td>\n2<\/td>\nMGM<\/td>\n13316<\/td>\n<\/tr>\n
TIM TAM & THE TURN-ONS<\/td>\nCHERYL ANN<\/td>\n5\/16\/1966<\/td>\n11<\/td>\n6<\/td>\nPALMER<\/td>\n5003<\/td>\n<\/tr>\n
TIM TAM & THE TURN-ONS<\/td>\nWAIT A MINUTE<\/td>\n12\/22\/1965<\/td>\n3<\/td>\n7<\/td>\nPALMER<\/td>\n5002<\/td>\n<\/tr>\n
TIN TIN<\/td>\nTOAST AND MARMALADE FOR TEA<\/td>\n4\/19\/1971<\/td>\n21<\/td>\n4<\/td>\nATCO<\/td>\n6794<\/td>\n<\/tr>\n
TIN TIN<\/td>\nIS THAT THE WAY<\/td>\n8\/23\/1971<\/td>\n24<\/td>\n4<\/td>\nATCO<\/td>\n6821<\/td>\n<\/tr>\n
TINO & THE REVLONS<\/td>\nLITTLE GIRL. LITTLE GIRL<\/td>\n6\/9\/1965<\/td>\n28<\/td>\n2<\/td>\nDEARBORN<\/td>\n525<\/td>\n<\/tr>\n
TOKENS<\/td>\nI HEAR TRUMPETS BLOW<\/td>\n2\/16\/1966<\/td>\n17<\/td>\n6<\/td>\nB.T. PUPPY<\/td>\n518<\/td>\n<\/tr>\n
TOKENS<\/td>\nHE’S IN TOWN<\/td>\n8\/6\/1964<\/td>\n28<\/td>\n1<\/td>\nB.T. PUPPY<\/td>\n502<\/td>\n<\/tr>\n
TONEY. OSCAR\/JR*<\/td>\nFOR YOUR PRECIOUS LOVE<\/td>\n6\/5\/1967<\/td>\n19<\/td>\n3<\/td>\nBELL<\/td>\n672<\/td>\n<\/tr>\n
TONY & TYRONE<\/td>\nTURN IT ON<\/td>\n11\/17\/1965<\/td>\n9<\/td>\n5<\/td>\nCOLUMBIA<\/td>\n43432<\/td>\n<\/tr>\n
TOWNS. JOE<\/td>\nTOGETHER WE CAN MAKE SUCH SWEET MUSIC<\/td>\n3\/6\/1969<\/td>\n17<\/td>\n6<\/td>\nTOP DOG<\/td>\n105<\/td>\n<\/tr>\n
TOYS<\/td>\nLOVER’S CONCERTO -A-<\/td>\n9\/8\/1965<\/td>\n2<\/td>\n6<\/td>\nDYNO VOICE<\/td>\n209<\/td>\n<\/tr>\n
TRACEY. NORMA\/& THE CINDERELLA KIDS<\/td>\nLEROY<\/td>\n1\/14\/1965<\/td>\n13<\/td>\n4<\/td>\nDAY DELL<\/td>\n1005<\/td>\n<\/tr>\n
TRADE WINDS<\/td>\nMIND EXCURSION<\/td>\n9\/26\/1966<\/td>\n17<\/td>\n5<\/td>\nKAMA SUTRA<\/td>\n212<\/td>\n<\/tr>\n
TRADE WINDS<\/td>\nNEW YORK’S A LONELY TOWN<\/td>\n2\/11\/1965<\/td>\n23<\/td>\n4<\/td>\nRED BIRD<\/td>\n10-020<\/td>\n<\/tr>\n
TRAFFIC+ ETC*<\/td>\nGIMME SOME LOVIN’<\/td>\n10\/4\/1971<\/td>\n15<\/td>\n6<\/td>\nUNITED ARTISTS<\/td>\n50841<\/td>\n<\/tr>\n
TRAFFIC+ ETC*<\/td>\nROCK & ROLL STEW***PART 1<\/td>\n12\/13\/1971<\/td>\n32<\/td>\n2<\/td>\nISLAND<\/td>\n1201<\/td>\n<\/tr>\n
TRASHMEN<\/td>\nSURFIN’ BIRD<\/td>\n12\/5\/1963<\/td>\n4<\/td>\n6<\/td>\nGARRETT<\/td>\n4002<\/td>\n<\/tr>\n
TREMELOES<\/td>\nHERE COMES MY BABY<\/td>\n4\/17\/1967<\/td>\n15<\/td>\n6<\/td>\nEPIC<\/td>\n10139<\/td>\n<\/tr>\n
TREMELOES<\/td>\nSILENCE IS GOLDEN<\/td>\n6\/19\/1967<\/td>\n24<\/td>\n3<\/td>\nEPIC<\/td>\n10184<\/td>\n<\/tr>\n
TREMELOES<\/td>\nEVEN THE BAD TIMES ARE GOOD<\/td>\n10\/12\/1967<\/td>\n25<\/td>\n2<\/td>\nEPIC<\/td>\n10233<\/td>\n<\/tr>\n
TRENT. JACKIE<\/td>\nIF YOU LOVE ME. REALLY LOVE ME<\/td>\n3\/26\/1964<\/td>\n18<\/td>\n5<\/td>\nKAPP<\/td>\n583<\/td>\n<\/tr>\n
TROGGS<\/td>\nWILD THING<\/td>\n6\/13\/1966<\/td>\n1<\/td>\n7<\/td>\nFONTANA<\/td>\n1548<\/td>\n<\/tr>\n
TROGGS<\/td>\nHIP HIP HOORAY<\/td>\n12\/19\/1968<\/td>\n24<\/td>\n4<\/td>\nFONTANA<\/td>\n1634<\/td>\n<\/tr>\n
TROGGS<\/td>\nLOVE IS ALL AROUND<\/td>\n4\/4\/1968<\/td>\n3<\/td>\n7<\/td>\nFONTANA<\/td>\n1607<\/td>\n<\/tr>\n
TUCKER. TOMMY<\/td>\nHI-HEEL SNEAKERS<\/td>\n2\/6\/1964<\/td>\n6<\/td>\n4<\/td>\nCHECKER<\/td>\n1067<\/td>\n<\/tr>\n
TURNER. IKE & TINA<\/td>\nPROUD MARY<\/td>\n2\/1\/1971<\/td>\n10<\/td>\n9<\/td>\nLIBERTY<\/td>\n56216<\/td>\n<\/tr>\n
TURNER. SPYDER<\/td>\nSTAND BY ME<\/td>\n12\/12\/1966<\/td>\n8<\/td>\n5<\/td>\nMGM<\/td>\n13617<\/td>\n<\/tr>\n
TURTLES<\/td>\nHAPPY TOGETHER<\/td>\n1\/23\/1967<\/td>\n1<\/td>\n10<\/td>\nWHITE WHALE<\/td>\n244<\/td>\n<\/tr>\n
TURTLES<\/td>\nSHE’D RATHER BE WITH ME<\/td>\n5\/15\/1967<\/td>\n16<\/td>\n4<\/td>\nWHITE WHALE<\/td>\n249<\/td>\n<\/tr>\n
TURTLES<\/td>\nYOU KNOW WHAT I MEAN<\/td>\n8\/14\/1967<\/td>\n17<\/td>\n3<\/td>\nWHITE WHALE<\/td>\n254<\/td>\n<\/tr>\n
TURTLES<\/td>\nSHE’S MY GIRL<\/td>\n10\/19\/1967<\/td>\n21<\/td>\n4<\/td>\nWHITE WHALE<\/td>\n260<\/td>\n<\/tr>\n
TURTLES<\/td>\nSOUND ASLEEP<\/td>\n2\/15\/1968<\/td>\n22<\/td>\n4<\/td>\nWHITE WHALE<\/td>\n264<\/td>\n<\/tr>\n
TURTLES<\/td>\nYOU DON’T HAVE TO WALK IN THE RAIN<\/td>\n6\/26\/1969<\/td>\n24<\/td>\n2<\/td>\nWHITE WHALE<\/td>\n308<\/td>\n<\/tr>\n
TURTLES<\/td>\nLET ME BE<\/td>\n10\/20\/1965<\/td>\n4<\/td>\n5<\/td>\nWHITE WHALE<\/td>\n224<\/td>\n<\/tr>\n
TURTLES<\/td>\nYOU BABY<\/td>\n1\/19\/1966<\/td>\n4<\/td>\n6<\/td>\nWHITE WHALE<\/td>\n227<\/td>\n<\/tr>\n
TURTLES<\/td>\nIT AIN’T ME BABE<\/td>\n8\/4\/1965<\/td>\n5<\/td>\n6<\/td>\nWHITE WHALE<\/td>\n222<\/td>\n<\/tr>\n
TURTLES<\/td>\nELENORE<\/td>\n10\/3\/1968<\/td>\n6<\/td>\n5<\/td>\nWHITE WHALE<\/td>\n276<\/td>\n<\/tr>\n
TURTLES<\/td>\nYOU SHOWED ME<\/td>\n12\/26\/1968<\/td>\n8<\/td>\n6<\/td>\nWHITE WHALE<\/td>\n292<\/td>\n<\/tr>\n
TYMES<\/td>\nPEOPLE<\/td>\n11\/7\/1968<\/td>\n10<\/td>\n5<\/td>\nCOLUMBIA<\/td>\n44630<\/td>\n<\/tr>\n
TYMES<\/td>\nHERE SHE COMES<\/td>\n10\/22\/1964<\/td>\n13<\/td>\n4<\/td>\nPARKWAY<\/td>\n924<\/td>\n<\/tr>\n
TYMES<\/td>\nSOMEWHERE<\/td>\n12\/5\/1963<\/td>\n27<\/td>\n4<\/td>\nPARKWAY<\/td>\n891<\/td>\n<\/tr>\n
UNDERDOGS<\/td>\nLOVE’S GONE BAD<\/td>\n1\/3\/1967<\/td>\n2<\/td>\n8<\/td>\nV.I.P.<\/td>\n25040<\/td>\n<\/tr>\n
UNDERDOGS<\/td>\nLOVE’S GONE BAD<\/td>\n12\/19\/1966<\/td>\n20<\/td>\n2<\/td>\nV.I.P.<\/td>\n2504<\/td>\n<\/tr>\n
UNDERDOGS<\/td>\nMAN IN THE GLASS -THE-<\/td>\n11\/3\/1965<\/td>\n9<\/td>\n6<\/td>\nHIDEOUT<\/td>\n1001<\/td>\n<\/tr>\n
UNDERGROUND SUNSHINE<\/td>\nBIRTHDAY<\/td>\n7\/2\/1969<\/td>\n19<\/td>\n4<\/td>\nINTREPID<\/td>\n75002<\/td>\n<\/tr>\n
UNDISPUTED TRUTH<\/td>\nSMILING FACES SOMETIMES<\/td>\n6\/7\/1971<\/td>\n1<\/td>\n9<\/td>\nGORDY<\/td>\n7108<\/td>\n<\/tr>\n
UNIFICS<\/td>\nCOURT OF LOVE<\/td>\n10\/10\/1968<\/td>\n23<\/td>\n3<\/td>\nKAPP<\/td>\n935<\/td>\n<\/tr>\n
UNRELATED SEGMENTS<\/td>\nWHERE YOU GONNA GO<\/td>\n9\/11\/1967<\/td>\n14<\/td>\n5<\/td>\nLIBERTY<\/td>\n55992<\/td>\n<\/tr>\n
UNRELATED SEGMENTS<\/td>\nSTORY OF MY LIFE<\/td>\n2\/27\/1967<\/td>\n9<\/td>\n7<\/td>\nHBR<\/td>\n514<\/td>\n<\/tr>\n
VALE. JERRY<\/td>\nHAVE YOU LOOKED INTO YOUR HEART<\/td>\n12\/3\/1964<\/td>\n8<\/td>\n4<\/td>\nCOLUMBIA<\/td>\n43181<\/td>\n<\/tr>\n
VALERIE & NICK<\/td>\nI’LL FIND YOU<\/td>\n4\/9\/1964<\/td>\n20<\/td>\n3<\/td>\nGLOVER<\/td>\n3000<\/td>\n<\/tr>\n
VALLI. FRANKIE<\/td>\nCAN’T TAKE MY EYES OFF YOU<\/td>\n5\/15\/1967<\/td>\n1<\/td>\n9<\/td>\nPHILIPS<\/td>\n40446<\/td>\n<\/tr>\n
VALLI. FRANKIE<\/td>\nGIRL I’LL NEVER KNOW (ANGELS NEVER FLY THIS LOW) -THE-<\/td>\n6\/19\/1969<\/td>\n17<\/td>\n3<\/td>\nPHILIPS<\/td>\n40622<\/td>\n<\/tr>\n
VALLI. FRANKIE<\/td>\nI MAKE A FOOL OF MYSELF<\/td>\n9\/18\/1967<\/td>\n20<\/td>\n3<\/td>\nPHILIPS<\/td>\n40484<\/td>\n<\/tr>\n
VALLI. FRANKIE<\/td>\nYOU’RE READY NOW<\/td>\n5\/2\/1966<\/td>\n24<\/td>\n2<\/td>\nSMASH<\/td>\n2037<\/td>\n<\/tr>\n
VAN DYKE. EARL\/& THE SOUL BROTHERS<\/td>\nI CAN’T HELP MYSELF (SUGAR PIE. HONEY BUNCH)<\/td>\n10\/6\/1965<\/td>\n25<\/td>\n2<\/td>\nSOUL<\/td>\n35014<\/td>\n<\/tr>\n
VANCE. PAUL<\/td>\nDOMMAGE. DOMMAGE (TOO BAD. TOO BAD)<\/td>\n9\/12\/1966<\/td>\n18<\/td>\n4<\/td>\nSCEPTER<\/td>\n12164<\/td>\n<\/tr>\n
VANILLA FUDGE<\/td>\nTAKE ME FOR A LITTLE WHILE<\/td>\n9\/26\/1968<\/td>\n18<\/td>\n3<\/td>\nATCO<\/td>\n6616<\/td>\n<\/tr>\n
VANILLA FUDGE<\/td>\nYOU KEEP ME HANGIN’ ON<\/td>\n7\/11\/1968<\/td>\n6<\/td>\n6<\/td>\nATCO<\/td>\n6590<\/td>\n<\/tr>\n
VANITY FARE<\/td>\nHITCHIN’ A RIDE<\/td>\n5\/19\/1970<\/td>\n2<\/td>\n10<\/td>\nPAGE ONE<\/td>\n21.029<\/td>\n<\/tr>\n
VANITY FARE<\/td>\nEARLY IN THE MORNING<\/td>\n12\/11\/1969<\/td>\n8<\/td>\n8<\/td>\nPAGE ONE<\/td>\n21.027<\/td>\n<\/tr>\n
VEE. BOBBY<\/td>\nLOOK AT ME GIRL<\/td>\n6\/27\/1966<\/td>\n18<\/td>\n4<\/td>\nLIBERTY<\/td>\n55877<\/td>\n<\/tr>\n
VEE. BOBBY<\/td>\nSANTA CRUZ<\/td>\n3\/13\/1969<\/td>\n18<\/td>\n4<\/td>\nLIBERTY<\/td>\nNA<\/td>\n<\/tr>\n
VEE. BOBBY<\/td>\nI’LL MAKE YOU MINE<\/td>\n3\/12\/1964<\/td>\n24<\/td>\n2<\/td>\nLIBERTY<\/td>\n55670<\/td>\n<\/tr>\n
VEE. BOBBY<\/td>\nBEAUTIFUL PEOPLE<\/td>\n11\/2\/1967<\/td>\n4<\/td>\n6<\/td>\nLIBERTY<\/td>\n56009<\/td>\n<\/tr>\n
VEE. BOBBY<\/td>\nCOME BACK WHEN YOU GROW UP<\/td>\n7\/31\/1967<\/td>\n6<\/td>\n7<\/td>\nLIBERTY<\/td>\n55964<\/td>\n<\/tr>\n
VEE. BOBBY<\/td>\nNEVER LOVE A ROBIN<\/td>\n11\/14\/1963<\/td>\n7<\/td>\n8<\/td>\nLIBERTY<\/td>\n55636<\/td>\n<\/tr>\n
VELVELETTES<\/td>\nHE WAS REALLY SAYIN’ SOMETHIN’<\/td>\n1\/14\/1965<\/td>\n19<\/td>\n3<\/td>\nV.I.P.<\/td>\n25013<\/td>\n<\/tr>\n
VELVELETTES<\/td>\nTHESE THINGS WILL KEEP ME LOVING YOU<\/td>\n9\/26\/1966<\/td>\n21<\/td>\n3<\/td>\nSOUL<\/td>\n35025<\/td>\n<\/tr>\n
VELVELETTES<\/td>\nNEEDLE IN A HAYSTACK<\/td>\n9\/24\/1964<\/td>\n6<\/td>\n6<\/td>\nV.I.P.<\/td>\n25007<\/td>\n<\/tr>\n
VELVET. JIMMY<\/td>\nIT’S ALMOST TOMORROW<\/td>\n5\/19\/1965<\/td>\n20<\/td>\n4<\/td>\nPHILIPS<\/td>\n40285<\/td>\n<\/tr>\n
VENTURES<\/td>\nFUGITIVE<\/td>\n5\/14\/1964<\/td>\n19<\/td>\n5<\/td>\nDOLTON<\/td>\n94<\/td>\n<\/tr>\n
VENTURES<\/td>\nSECRET AGENT MAN<\/td>\n3\/2\/1966<\/td>\n2<\/td>\n7<\/td>\nDOLTON<\/td>\n316<\/td>\n<\/tr>\n
VENTURES<\/td>\nSLAUGHTER ON TENTH AVENUE<\/td>\n10\/29\/1964<\/td>\n24<\/td>\n2<\/td>\nDOLTON<\/td>\n300<\/td>\n<\/tr>\n
VENTURES<\/td>\nWALK – DON’T RUN ’64<\/td>\n7\/23\/1964<\/td>\n4<\/td>\n6<\/td>\nDOLTON<\/td>\n96<\/td>\n<\/tr>\n
VENTURES<\/td>\nHAWAII FIVE-O<\/td>\n3\/20\/1969<\/td>\n6<\/td>\n6<\/td>\nLIBERTY<\/td>\n56068<\/td>\n<\/tr>\n
VERA. BILLY<\/td>\nWITH PEN IN HAND<\/td>\n6\/6\/1968<\/td>\n24<\/td>\n3<\/td>\nATLANTIC<\/td>\n2526<\/td>\n<\/tr>\n
VERA. BILLY\\CLAY. JUDY<\/td>\nSTORYBOOK CHILDREN<\/td>\n11\/22\/1967<\/td>\n28<\/td>\n1<\/td>\nATLANTIC<\/td>\n2445<\/td>\n<\/tr>\n
VIBRATIONS<\/td>\nMY GIRL SLOOPY<\/td>\n2\/27\/1964<\/td>\n17<\/td>\n5<\/td>\nATLANTIC<\/td>\n2221<\/td>\n<\/tr>\n
VICTORIANS<\/td>\nYOU’RE INVITED TO A PARTY<\/td>\n2\/6\/1964<\/td>\n27<\/td>\n2<\/td>\nLIBERTY<\/td>\n55656<\/td>\n<\/tr>\n
VINTON. BOBBY<\/td>\nTHERE! I’VE SAID IT AGAIN<\/td>\n11\/21\/1963<\/td>\n1<\/td>\n9<\/td>\nEPIC<\/td>\n9638<\/td>\n<\/tr>\n
VINTON. BOBBY<\/td>\nTO KNOW YOU IS TO LOVE YOU<\/td>\n3\/20\/1969<\/td>\n10<\/td>\n5<\/td>\nEPIC<\/td>\n10461<\/td>\n<\/tr>\n
VINTON. BOBBY<\/td>\nSATIN PILLOWS<\/td>\n11\/24\/1965<\/td>\n12<\/td>\n5<\/td>\nEPIC<\/td>\n9869<\/td>\n<\/tr>\n
VINTON. BOBBY<\/td>\nCARELESS<\/td>\n12\/8\/1965<\/td>\n12<\/td>\n3<\/td>\nEPIC<\/td>\n9869<\/td>\n<\/tr>\n
VINTON. BOBBY<\/td>\nDAYS OF SAND AND SHOVELS -THE-<\/td>\n7\/2\/1969<\/td>\n16<\/td>\n3<\/td>\nEPIC<\/td>\n10485<\/td>\n<\/tr>\n
VINTON. BOBBY<\/td>\nCLINGING VINE<\/td>\n7\/30\/1964<\/td>\n17<\/td>\n4<\/td>\nEPIC<\/td>\n9705<\/td>\n<\/tr>\n
VINTON. BOBBY<\/td>\nLONG LONELY NIGHTS<\/td>\n3\/3\/1965<\/td>\n23<\/td>\n4<\/td>\nEPIC<\/td>\n9768<\/td>\n<\/tr>\n
VINTON. BOBBY<\/td>\nTELL ME WHY<\/td>\n5\/21\/1964<\/td>\n24<\/td>\n2<\/td>\nEPIC<\/td>\n9687<\/td>\n<\/tr>\n
VINTON. BOBBY<\/td>\nMISTER LONELY<\/td>\n10\/29\/1964<\/td>\n4<\/td>\n7<\/td>\nEPIC<\/td>\n9730<\/td>\n<\/tr>\n
VINTON. BOBBY<\/td>\nPLEASE LOVE ME FOREVER<\/td>\n10\/5\/1967<\/td>\n4<\/td>\n6<\/td>\nEPIC<\/td>\n10228<\/td>\n<\/tr>\n
VINTON. BOBBY<\/td>\nI LOVE HOW YOU LOVE ME<\/td>\n10\/31\/1968<\/td>\n4<\/td>\n10<\/td>\nEPIC<\/td>\n10397<\/td>\n<\/tr>\n
VINTON. BOBBY<\/td>\nMY HEART BELONGS TO ONLY YOU<\/td>\n2\/27\/1964<\/td>\n5<\/td>\n6<\/td>\nEPIC<\/td>\n9662<\/td>\n<\/tr>\n
VINTON. BOBBY<\/td>\nCOMING HOME SOLDIER<\/td>\n11\/7\/1966<\/td>\n7<\/td>\n9<\/td>\nEPIC<\/td>\n10090<\/td>\n<\/tr>\n
VISCOUNTS<\/td>\nHARLEM NOCTURNE<\/td>\n10\/13\/1965<\/td>\n5<\/td>\n5<\/td>\nAMY<\/td>\n940<\/td>\n<\/tr>\n
VOGUES<\/td>\nYOU’RE THE ONE<\/td>\n8\/25\/1965<\/td>\n1<\/td>\n8<\/td>\nCO & CE<\/td>\n229<\/td>\n<\/tr>\n
VOGUES<\/td>\nNO. NOT MUCH<\/td>\n2\/6\/1969<\/td>\n12<\/td>\n6<\/td>\nREPRISE<\/td>\n0803<\/td>\n<\/tr>\n
VOGUES<\/td>\nLAND OF MILK AND HONEY -THE-<\/td>\n5\/9\/1966<\/td>\n18<\/td>\n5<\/td>\nCO & CE<\/td>\n23<\/td>\n<\/tr>\n
VOGUES<\/td>\nEARTH ANGEL<\/td>\n4\/24\/1969<\/td>\n23<\/td>\n3<\/td>\nREPRISE<\/td>\n0820<\/td>\n<\/tr>\n
VOGUES<\/td>\nFIVE O’CLOCK WORLD<\/td>\n11\/17\/1965<\/td>\n5<\/td>\n8<\/td>\nCO & CE<\/td>\n232<\/td>\n<\/tr>\n
VOGUES<\/td>\nMAGIC TOWN<\/td>\n3\/2\/1966<\/td>\n8<\/td>\n5<\/td>\nCO & CE<\/td>\n234<\/td>\n<\/tr>\n
VOLUMES<\/td>\nGOTTA GIVE HER LOVE<\/td>\n9\/17\/1964<\/td>\n4<\/td>\n6<\/td>\nAMERICAN ARTS<\/td>\n6<\/td>\n<\/tr>\n
WADSWORTH MANSION<\/td>\nSWEET MARY<\/td>\n1\/11\/1971<\/td>\n22<\/td>\n6<\/td>\nSUSSEX<\/td>\n209<\/td>\n<\/tr>\n
WAILERS<\/td>\nTALL COOL ONE<\/td>\n2\/20\/1964<\/td>\n2<\/td>\n6<\/td>\nGOLDEN CREST<\/td>\n518<\/td>\n<\/tr>\n
WALKER BROTHERS<\/td>\nSUN AIN’T GONNA SHINE
\n-THE-<\/td>\n		4\/13\/1966<\/td>\n18<\/td>\n5<\/td>\nSMASH<\/td>\n2032<\/td>\n<\/tr>\n
WALKER. BOOTS<\/td>\nTHEY’RE HERE<\/td>\n5\/8\/1967<\/td>\n18<\/td>\n4<\/td>\nRUST<\/td>\n5115<\/td>\n<\/tr>\n
WALKER. J*R*\/& THE ALL STARS<\/td>\nHOW SWEET IT IS<\/td>\n8\/15\/1966<\/td>\n18<\/td>\n4<\/td>\nSOUL<\/td>\n35024<\/td>\n<\/tr>\n
WALKER. JR*\/& THE ALL STARS<\/td>\nGOTTA HOLD ON TO THIS FEELING<\/td>\n2\/17\/1970<\/td>\n11<\/td>\n5<\/td>\nSOUL<\/td>\n35070<\/td>\n<\/tr>\n
WALKER. JR*\/& THE ALL STARS<\/td>\nTHESE EYES<\/td>\n11\/20\/1969<\/td>\n15<\/td>\n4<\/td>\nSOUL<\/td>\n35067<\/td>\n<\/tr>\n
WALKER. JR*\/& THE ALL STARS<\/td>\nWAY BACK HOME<\/td>\n12\/27\/1971<\/td>\n16<\/td>\n5<\/td>\nSOUL<\/td>\n35090<\/td>\n<\/tr>\n
WALKER. JR*\/& THE ALL STARS<\/td>\nWHAT DOES IT TAKE<\/td>\n5\/22\/1969<\/td>\n2<\/td>\n9<\/td>\nSOUL<\/td>\n35062<\/td>\n<\/tr>\n
WALKER. JR*\/& THE ALL STARS<\/td>\nROAD RUNNER (I’M A)<\/td>\n4\/27\/1966<\/td>\n21<\/td>\n3<\/td>\nSOUL<\/td>\n35015<\/td>\n<\/tr>\n
WALKER. JR*\/& THE ALL STARS<\/td>\nSHOOT YOUR SHOT<\/td>\n8\/7\/1967<\/td>\n22<\/td>\n2<\/td>\nSOUL<\/td>\n35036<\/td>\n<\/tr>\n
WALKER. JR*\/& THE ALL STARS<\/td>\nSHAKE AND FINGERPOP<\/td>\n7\/28\/1965<\/td>\n24<\/td>\n2<\/td>\nSOUL<\/td>\n35013<\/td>\n<\/tr>\n
WALKER. JR*\/& THE ALL STARS<\/td>\nCOME SEE ABOUT ME<\/td>\n11\/9\/1967<\/td>\n24<\/td>\n3<\/td>\nSOUL<\/td>\n35041<\/td>\n<\/tr>\n
WALKER. JR*\/& THE ALL STARS<\/td>\nSHOTGUN<\/td>\n2\/11\/1965<\/td>\n8<\/td>\n6<\/td>\nSOUL<\/td>\n35008<\/td>\n<\/tr>\n
WALKER. JR*\/& THE ALL STARS<\/td>\nDO YOU SEE MY LOVE<\/td>\n7\/6\/1970<\/td>\n8<\/td>\n8<\/td>\nSOUL<\/td>\n35073<\/td>\n<\/tr>\n
WAMMACK. TRAVIS<\/td>\nSCRATCHY<\/td>\n10\/1\/1964<\/td>\n2<\/td>\n5<\/td>\nARA<\/td>\n204<\/td>\n<\/tr>\n
WANTED<\/td>\nIN THE MIDNIGHT HOUR<\/td>\n2\/20\/1967<\/td>\n1<\/td>\n9<\/td>\nDETROIT SOUND<\/td>\n222<\/td>\n<\/tr>\n
WANTED<\/td>\nDON’T WORRY BABY<\/td>\n5\/15\/1967<\/td>\n21<\/td>\n3<\/td>\nA&M<\/td>\n856<\/td>\n<\/tr>\n
WAR<\/td>\nSLIPPIN’ INTO DARKNESS<\/td>\n3\/6\/1972<\/td>\n10<\/td>\n3<\/td>\nUNITED ARTISTS<\/td>\n50867<\/td>\n<\/tr>\n
WAR<\/td>\nALL DAY MUSIC<\/td>\n7\/26\/1971<\/td>\n26<\/td>\n5<\/td>\nUNITED ARTISTS<\/td>\n50815<\/td>\n<\/tr>\n
WARWICK. DIONNE<\/td>\nANYONE WHO HAD A HEART<\/td>\n11\/28\/1963<\/td>\n1<\/td>\n9<\/td>\nSCEPTER<\/td>\n1262<\/td>\n<\/tr>\n
WARWICK. DIONNE<\/td>\nANY OLD TIME OF THE DAY<\/td>\n4\/16\/1964<\/td>\n1<\/td>\n11<\/td>\nSCEPTER<\/td>\n1274<\/td>\n<\/tr>\n
WARWICK. DIONNE<\/td>\nWALK ON BY<\/td>\n4\/23\/1964<\/td>\n1<\/td>\n10<\/td>\nSCEPTER<\/td>\n1274<\/td>\n<\/tr>\n
WARWICK. DIONNE<\/td>\nI’LL NEVER FALL IN LOVE AGAIN<\/td>\n12\/18\/1969<\/td>\n11<\/td>\n7<\/td>\nSCEPTER<\/td>\n12273<\/td>\n<\/tr>\n
WARWICK. DIONNE<\/td>\nYOU CAN HAVE HIM<\/td>\n3\/31\/1965<\/td>\n14<\/td>\n3<\/td>\nSCEPTER<\/td>\n1294<\/td>\n<\/tr>\n
WARWICK. DIONNE<\/td>\nTHIS GIRL’S IN LOVE WITH YOU<\/td>\n2\/6\/1969<\/td>\n14<\/td>\n4<\/td>\nSCEPTER<\/td>\n12241<\/td>\n<\/tr>\n
WARWICK. DIONNE<\/td>\nTRAINS AND BOATS AND PLANES<\/td>\n7\/11\/1966<\/td>\n15<\/td>\n3<\/td>\nSCEPTER<\/td>\n12153<\/td>\n<\/tr>\n
WARWICK. DIONNE<\/td>\nDO YOU KNOW THE WAY TO SAN JOSE<\/td>\n4\/11\/1968<\/td>\n15<\/td>\n5<\/td>\nSCEPTER<\/td>\n12216<\/td>\n<\/tr>\n
WARWICK. DIONNE<\/td>\nYOU’VE LOST THAT LOVIN’ FEELING<\/td>\n9\/25\/1969<\/td>\n16<\/td>\n4<\/td>\nSCEPTER<\/td>\n12262<\/td>\n<\/tr>\n
WARWICK. DIONNE<\/td>\nHERE I AM<\/td>\n7\/14\/1965<\/td>\n18<\/td>\n5<\/td>\nSCEPTER<\/td>\n12104<\/td>\n<\/tr>\n
WARWICK. DIONNE<\/td>\nDON’T SAY I DIDN’T TELL YOU SO<\/td>\n3\/3\/1965<\/td>\n19<\/td>\n3<\/td>\nSCEPTER<\/td>\n1298<\/td>\n<\/tr>\n
WARWICK. DIONNE<\/td>\nPROMISES. PROMISES<\/td>\n10\/24\/1968<\/td>\n21<\/td>\n4<\/td>\nSCEPTER<\/td>\n12231<\/td>\n<\/tr>\n
WARWICK. DIONNE<\/td>\nWISHIN’ AND HOPIN’<\/td>\n6\/18\/1964<\/td>\n3<\/td>\n6<\/td>\nSCEPTER<\/td>\n1247<\/td>\n<\/tr>\n
WARWICK. DIONNE<\/td>\nALFIE<\/td>\n5\/22\/1967<\/td>\n5<\/td>\n6<\/td>\nSCEPTER<\/td>\n12187<\/td>\n<\/tr>\n
WARWICK. DIONNE<\/td>\nVALLEY OF THE DOLLS (THEME FROM)<\/td>\n1\/25\/1968<\/td>\n5<\/td>\n7<\/td>\nSCEPTER<\/td>\n12203<\/td>\n<\/tr>\n
WARWICK. DIONNE<\/td>\nI JUST DON’T KNOW WHAT TO DO WITH MYSELF<\/td>\n10\/10\/1966<\/td>\n6<\/td>\n5<\/td>\nSCEPTER<\/td>\n12167<\/td>\n<\/tr>\n
WARWICK. DIONNE<\/td>\nREACH OUT FOR ME<\/td>\n10\/15\/1964<\/td>\n7<\/td>\n5<\/td>\nSCEPTER<\/td>\n1285<\/td>\n<\/tr>\n
WARWICK. DIONNE<\/td>\nMESSAGE TO MICHAEL<\/td>\n3\/23\/1966<\/td>\n8<\/td>\n6<\/td>\nSCEPTER<\/td>\n12133<\/td>\n<\/tr>\n
WARWICK. DIONNE<\/td>\nYOU’LL NEVER GET TO HEAVEN<\/td>\n8\/6\/1964<\/td>\n9<\/td>\n6<\/td>\nSCEPTER<\/td>\n1282<\/td>\n<\/tr>\n
WARWICK. DIONNE<\/td>\nLOOKING WITH MY EYES<\/td>\n9\/15\/1965<\/td>\n9<\/td>\n8<\/td>\nSCEPTER<\/td>\n12111<\/td>\n<\/tr>\n
WARWICK. DIONNE<\/td>\nARE YOU THERE<\/td>\n11\/24\/1965<\/td>\n9<\/td>\n7<\/td>\nSCEPTER<\/td>\n12122<\/td>\n<\/tr>\n
WARWICK. DIONNE<\/td>\nI SAY A LITTLE PRAYER<\/td>\n10\/26\/1967<\/td>\n9<\/td>\n5<\/td>\nSCEPTER<\/td>\n12203<\/td>\n<\/tr>\n
WASHINGTON. BABY<\/td>\nI CAN’T WAIT UNTIL I SEE MY BABY<\/td>\n1\/30\/1964<\/td>\n16<\/td>\n6<\/td>\nSUE<\/td>\n797<\/td>\n<\/tr>\n
WASHINGTON. GINO<\/td>\nGINO IS A COWARD<\/td>\n4\/2\/1964<\/td>\n2<\/td>\n8<\/td>\nSONBERT<\/td>\n3770<\/td>\n<\/tr>\n
WASHINGTON. GINO<\/td>\nOUT OF THIS WORLD<\/td>\n1\/16\/1964<\/td>\n4<\/td>\n6<\/td>\nWAND<\/td>\n147<\/td>\n<\/tr>\n
WATTS 103RD STREET RHYTHM BAND<\/td>\nLOVE LAND<\/td>\n3\/3\/1970<\/td>\n1<\/td>\n14<\/td>\nWARNER BROS.<\/td>\n7365<\/td>\n<\/tr>\n
WATTS 103RD STREET RHYTHM BAND<\/td>\nEXPRESS YOURSELF<\/td>\n8\/10\/1970<\/td>\n3<\/td>\n9<\/td>\nWARNER BROS.<\/td>\n7417<\/td>\n<\/tr>\n
WATTS 103RD STREET RHYTHM BAND<\/td>\nDO YOUR THING<\/td>\n2\/27\/1969<\/td>\n4<\/td>\n6<\/td>\nWARNER BROS.<\/td>\n7250<\/td>\n<\/tr>\n
WAYNE. SUSAN<\/td>\nTHINK SUMMER<\/td>\n2\/18\/1965<\/td>\n25<\/td>\n3<\/td>\nCOLUMBIA<\/td>\n43237<\/td>\n<\/tr>\n
WE FIVE<\/td>\nYOU WERE ON MY MIND<\/td>\n7\/21\/1965<\/td>\n1<\/td>\n8<\/td>\nA&M<\/td>\n770<\/td>\n<\/tr>\n
WELCH. LENNY<\/td>\nSINCE I FELL FOR YOU<\/td>\n11\/7\/1963<\/td>\n2<\/td>\n6<\/td>\nCADENCE<\/td>\n1439<\/td>\n<\/tr>\n
WELCH. LENNY<\/td>\nBREAKING UP IS HARD TO DO<\/td>\n2\/3\/1970<\/td>\n30<\/td>\n2<\/td>\nCOMMONWEALTH UNITED<\/td>\n3004<\/td>\n<\/tr>\n
WELLS. MARY<\/td>\nMY GUY<\/td>\n3\/26\/1964<\/td>\n1<\/td>\n7<\/td>\nMOTOWN<\/td>\n1056<\/td>\n<\/tr>\n
WELLS. MARY<\/td>\nDEAR LOVER<\/td>\n2\/23\/1966<\/td>\n17<\/td>\n3<\/td>\nATCO<\/td>\n6392<\/td>\n<\/tr>\n
WELLS. MARY<\/td>\nAIN’T IT THE TRUTH<\/td>\n10\/22\/1964<\/td>\n18<\/td>\n3<\/td>\nTWENTIETH CENTURY-FOX<\/td>\n544<\/td>\n<\/tr>\n
WELLS. MARY<\/td>\nSTOP TAKIN’ ME FOR GRANTED<\/td>\n10\/22\/1964<\/td>\n18<\/td>\n3<\/td>\nTWENTIETH CENTURY-FOX<\/td>\n544<\/td>\n<\/tr>\n
WELLS. MARY<\/td>\nUSE YOUR HEAD<\/td>\n12\/24\/1964<\/td>\n18<\/td>\n4<\/td>\nTWENTIETH CENTURY-FOX<\/td>\n555<\/td>\n<\/tr>\n
WELLS. MARY<\/td>\nWHAT’S EASY FOR TWO IS SO HARD FOR ONE<\/td>\n1\/23\/1964<\/td>\n5<\/td>\n6<\/td>\nMOTOWN<\/td>\n1048<\/td>\n<\/tr>\n
WESTON. KIM<\/td>\nTAKE ME IN YOUR ARMS (ROCK ME A LITTLE WHILE)<\/td>\n9\/15\/1965<\/td>\n14<\/td>\n4<\/td>\nGORDY<\/td>\n7046<\/td>\n<\/tr>\n
WESTON. KIM<\/td>\nHELPLESS<\/td>\n3\/16\/1966<\/td>\n26<\/td>\n2<\/td>\nGORDY<\/td>\n7050<\/td>\n<\/tr>\n
WHISPERS<\/td>\nSEEMS LIKE I GOTTA DO WRONG<\/td>\n9\/14\/1970<\/td>\n15<\/td>\n7<\/td>\nSOUL CLOCK<\/td>\n1004<\/td>\n<\/tr>\n
WHITCOMB. IAN<\/td>\nYOU TURN ME ON (TURN ON SONG)<\/td>\n6\/9\/1965<\/td>\n3<\/td>\n5<\/td>\nTOWER<\/td>\n134<\/td>\n<\/tr>\n
WHITE PLAINS<\/td>\nMY BABY LOVES LOVIN’<\/td>\n3\/24\/1970<\/td>\n10<\/td>\n7<\/td>\nDERAM<\/td>\n85058<\/td>\n<\/tr>\n
WHITE. TONY JOE<\/td>\nROOSEVELT AND IRA LEE<\/td>\n10\/9\/1969<\/td>\n23<\/td>\n3<\/td>\nMONUMENT<\/td>\n1169<\/td>\n<\/tr>\n
WHITE. TONY JOE<\/td>\nPOLK SALAD ANNIE<\/td>\n7\/10\/1969<\/td>\n9<\/td>\n6<\/td>\nMONUMENT<\/td>\n1104<\/td>\n<\/tr>\n
WHO<\/td>\nMAGIC BUS<\/td>\n7\/18\/1968<\/td>\n11<\/td>\n6<\/td>\nDECCA<\/td>\n32362<\/td>\n<\/tr>\n
WHO<\/td>\nCALL ME LIGHTNING<\/td>\n3\/7\/1968<\/td>\n16<\/td>\n5<\/td>\nDECCA<\/td>\n32288<\/td>\n<\/tr>\n
WHO<\/td>\nKIDS ARE ALRIGHT -THE-<\/td>\n7\/11\/1966<\/td>\n17<\/td>\n4<\/td>\nDECCA<\/td>\n3198<\/td>\n<\/tr>\n
WHO<\/td>\nI’M FREE<\/td>\n6\/26\/1969<\/td>\n20<\/td>\n5<\/td>\nDECCA<\/td>\n32519<\/td>\n<\/tr>\n
WHO<\/td>\nI CAN’T EXPLAIN<\/td>\n1\/21\/1965<\/td>\n4<\/td>\n7<\/td>\nDECCA<\/td>\n31725<\/td>\n<\/tr>\n
WHO<\/td>\nHAPPY JACK<\/td>\n4\/17\/1967<\/td>\n4<\/td>\n6<\/td>\nDECCA<\/td>\n32114<\/td>\n<\/tr>\n
WHO<\/td>\nPINBALL WIZARD<\/td>\n5\/1\/1969<\/td>\n5<\/td>\n6<\/td>\nDECCA<\/td>\n32465<\/td>\n<\/tr>\n
WHO<\/td>\nI CAN SEE FOR MILES<\/td>\n9\/25\/1967<\/td>\n6<\/td>\n8<\/td>\nDECCA<\/td>\n32206<\/td>\n<\/tr>\n
WHO<\/td>\nSEE ME. FEEL ME<\/td>\n10\/12\/1970<\/td>\n6<\/td>\n9<\/td>\nDECCA<\/td>\n32729<\/td>\n<\/tr>\n
WHO<\/td>\nWON’T GET FOOLED AGAIN<\/td>\n6\/28\/1971<\/td>\n6<\/td>\n11<\/td>\nDECCA<\/td>\n32846<\/td>\n<\/tr>\n
WHO<\/td>\nBEHIND BLUE EYES<\/td>\n11\/1\/1971<\/td>\n8<\/td>\n9<\/td>\nDECCA<\/td>\n32888<\/td>\n<\/tr>\n
WHO<\/td>\nMY GENERATION<\/td>\n2\/23\/1966<\/td>\n9<\/td>\n6<\/td>\nDECCA<\/td>\n31877<\/td>\n<\/tr>\n
WILCOX. HARLOW\/& THE OAKIES<\/td>\nGROOVY GRUBWORM<\/td>\n10\/30\/1969<\/td>\n11<\/td>\n8<\/td>\nPLANTATION<\/td>\n28<\/td>\n<\/tr>\n
WILLIAMS. ANDRE<\/td>\nPEARL TIME<\/td>\n6\/12\/1967<\/td>\n22<\/td>\n3<\/td>\nSPORT<\/td>\n105<\/td>\n<\/tr>\n
WILLIAMS. ANDY<\/td>\nDEAR HEART<\/td>\n11\/26\/1964<\/td>\n12<\/td>\n5<\/td>\nCOLUMBIA<\/td>\n43180<\/td>\n<\/tr>\n
WILLIAMS. ANDY<\/td>\nBATTLE HYMN OF THE REPUBLIC<\/td>\n11\/27\/1968<\/td>\n14<\/td>\n4<\/td>\nCOLUMBIA<\/td>\n44650<\/td>\n<\/tr>\n
WILLIAMS. ANDY<\/td>\nHAPPY HEART<\/td>\n3\/27\/1969<\/td>\n16<\/td>\n6<\/td>\nCOLUMBIA<\/td>\n44818<\/td>\n<\/tr>\n
WILLIAMS. ANDY<\/td>\nFOOL NEVER LEARNS -A-<\/td>\n1\/23\/1964<\/td>\n17<\/td>\n2<\/td>\nCOLUMBIA<\/td>\n42950<\/td>\n<\/tr>\n
WILLIAMS. ANDY<\/td>\nTHEME FROM LOVE STORY<\/td>\n2\/8\/1971<\/td>\n2<\/td>\n9<\/td>\nCOLUMBIA<\/td>\n45317<\/td>\n<\/tr>\n
WILLIAMS. ANDY<\/td>\nAIN’T IT TRUE<\/td>\n8\/18\/1965<\/td>\n20<\/td>\n4<\/td>\nCOLUMBIA<\/td>\n43358<\/td>\n<\/tr>\n
WILLIAMS. ANDY<\/td>\nMUSIC TO WATCH GIRLS BY<\/td>\n4\/17\/1967<\/td>\n20<\/td>\n4<\/td>\nCOLUMBIA<\/td>\n44065<\/td>\n<\/tr>\n
WILLIAMS. DANNY<\/td>\nWHITE ON WHITE<\/td>\n3\/26\/1964<\/td>\n16<\/td>\n5<\/td>\nUNITED ARTISTS<\/td>\n685<\/td>\n<\/tr>\n
WILLIAMS. DANNY<\/td>\nLITTLE TOY BALLOON -A-<\/td>\n5\/28\/1964<\/td>\n29<\/td>\n2<\/td>\nUNITED ARTISTS<\/td>\n729<\/td>\n<\/tr>\n
WILLIAMS. LLOYD W*<\/td>\nI NEED YOU NOW<\/td>\n3\/13\/1969<\/td>\n22<\/td>\n2<\/td>\nABC<\/td>\n11195<\/td>\n<\/tr>\n
WILLIAMS. MASON<\/td>\nCLASSICAL GAS<\/td>\n6\/27\/1968<\/td>\n1<\/td>\n7<\/td>\nWARNER BROS.<\/td>\n7190<\/td>\n<\/tr>\n
WILLIAMS. PAUL<\/td>\nWAKING UP ALONE<\/td>\n2\/21\/1972<\/td>\n23<\/td>\n4<\/td>\nA&M<\/td>\n1325<\/td>\n<\/tr>\n
WILLIAMS. ROGER<\/td>\nBORN FREE<\/td>\n10\/17\/1966<\/td>\n3<\/td>\n7<\/td>\nKAPP<\/td>\n767<\/td>\n<\/tr>\n
WILLIES<\/td>\nWILLY -THE-<\/td>\n10\/10\/1966<\/td>\n12<\/td>\n4<\/td>\nCO & CE<\/td>\n239<\/td>\n<\/tr>\n
WILMER & THE DUKES<\/td>\nGIVE ME ONE MORE CHANCE<\/td>\n6\/13\/1968<\/td>\n18<\/td>\n4<\/td>\nAPHRODISIAC<\/td>\n260<\/td>\n<\/tr>\n
WILMER & THE DUKES<\/td>\nLIVING IN THE U*S*A*<\/td>\n7\/31\/1969<\/td>\n22<\/td>\n5<\/td>\nAPHRODISIAC<\/td>\n262<\/td>\n<\/tr>\n
WILSON. AL<\/td>\nSNAKE -THE-<\/td>\n9\/19\/1968<\/td>\n6<\/td>\n5<\/td>\nSOUL CITY<\/td>\n767<\/td>\n<\/tr>\n
WILSON. J* FRANK<\/td>\nSIX BOYS<\/td>\n1\/14\/1965<\/td>\n26<\/td>\n3<\/td>\nJOSIE<\/td>\n929<\/td>\n<\/tr>\n
WILSON. J* FRANK\/& THE CAVALIERS<\/td>\nLAST KISS<\/td>\n8\/20\/1964<\/td>\n1<\/td>\n8<\/td>\nJOSIE<\/td>\n923<\/td>\n<\/tr>\n
WILSON. JACKIE<\/td>\nSINCE YOU SHOWED ME HOW TO BE HAPPY<\/td>\n11\/30\/1967<\/td>\n24<\/td>\n2<\/td>\nBRUNSWICK<\/td>\n55354<\/td>\n<\/tr>\n
WILSON. JACKIE<\/td>\nNO PITY<\/td>\n6\/16\/1965<\/td>\n25<\/td>\n2<\/td>\nBRUNSWICK<\/td>\n55280<\/td>\n<\/tr>\n
WILSON. JACKIE<\/td>\nWHISPERS
\n<GETTIN’ LOUDER><\/td>\n		11\/7\/1966<\/td>\n7<\/td>\n6<\/td>\nBRUNSWICK<\/td>\n55300<\/td>\n<\/tr>\n
WILSON. JACKIE<\/td>\nHIGHER AND HIGHER (YOUR LOVE KEEPS LIFTING ME)<\/td>\n8\/14\/1967<\/td>\n8<\/td>\n5<\/td>\nBRUNSWICK<\/td>\n55336<\/td>\n<\/tr>\n
WILSON. JACKIE<\/td>\nTHIS LOVE IS REAL (I CAN FEEL THOSE VIBRATIONS)<\/td>\n12\/28\/1970<\/td>\n8<\/td>\n8<\/td>\nBRUNSWICK<\/td>\n55443<\/td>\n<\/tr>\n
WILSON. JACKIE\\BASIE. COUNT<\/td>\nFOR YOUR PRECIOUS LOVE<\/td>\n2\/1\/1968<\/td>\n20<\/td>\n4<\/td>\nBRUNSWICK<\/td>\n55365<\/td>\n<\/tr>\n
WILSON. NANCY<\/td>\nHOW GLAD I AM (YOU DON’T KNOW)<\/td>\n7\/3\/1964<\/td>\n12<\/td>\n5<\/td>\nCAPITOL<\/td>\n5198<\/td>\n<\/tr>\n
WILSON. NANCY<\/td>\nTHAT’S WHAT I WANT FOR CHRISTMAS<\/td>\n12\/19\/1963<\/td>\n22<\/td>\n1<\/td>\nCAPITOL<\/td>\n5084<\/td>\n<\/tr>\n
WIND<\/td>\nMAKE BELIEVE<\/td>\n9\/18\/1969<\/td>\n19<\/td>\n3<\/td>\nLIFE<\/td>\n200<\/td>\n<\/tr>\n
WINSTONS<\/td>\nCOLOR HIM FATHER<\/td>\n6\/5\/1969<\/td>\n10<\/td>\n7<\/td>\nMETROMEDIA<\/td>\n117<\/td>\n<\/tr>\n
WITHERS. BILL<\/td>\nAIN’T NO SUNSHINE<\/td>\n6\/21\/1971<\/td>\n2<\/td>\n8<\/td>\nSUSSEX<\/td>\n219<\/td>\n<\/tr>\n
WITHERSPOON. JIMMY<\/td>\nYOU’RE NEXT<\/td>\n1\/14\/1965<\/td>\n15<\/td>\n6<\/td>\nPRESTIGE<\/td>\n341<\/td>\n<\/tr>\n
WOMACK. BOBBY<\/td>\nTHAT’S THE WAY I FEEL ABOUT CHA<\/td>\n11\/15\/1971<\/td>\n6<\/td>\n7<\/td>\nUNITED ARTISTS<\/td>\n50847<\/td>\n<\/tr>\n
WONDER WHO<\/td>\nLONESOME ROAD<\/td>\n7\/3\/1967<\/td>\n23<\/td>\n4<\/td>\nPHILIPS<\/td>\n40471<\/td>\n<\/tr>\n
WONDER WHO<\/td>\nDON’T THINK TWICE<\/td>\n11\/10\/1965<\/td>\n4<\/td>\n5<\/td>\nPHILIPS<\/td>\n40324<\/td>\n<\/tr>\n
WONDER. STEVIE<\/td>\nSIGNED. SEALED. DELIVERED I’M YOURS<\/td>\n6\/8\/1970<\/td>\n1<\/td>\n11<\/td>\nTAMLA<\/td>\n54196<\/td>\n<\/tr>\n
WONDER. STEVIE<\/td>\nHEY HARMONICA MAN<\/td>\n6\/4\/1964<\/td>\n10<\/td>\n4<\/td>\nTAMLA<\/td>\n54096<\/td>\n<\/tr>\n
WONDER. STEVIE<\/td>\nPLACE IN THE SUN -A-<\/td>\n11\/21\/1966<\/td>\n12<\/td>\n5<\/td>\nTAMLA<\/td>\n54139<\/td>\n<\/tr>\n
WONDER. STEVIE<\/td>\nFOR ONCE IN MY LIFE<\/td>\n11\/7\/1968<\/td>\n13<\/td>\n4<\/td>\nTAMLA<\/td>\n54174<\/td>\n<\/tr>\n
WONDER. STEVIE<\/td>\nSHOO-BE-DOO-BE-DOO-DA-DAY<\/td>\n3\/28\/1968<\/td>\n14<\/td>\n5<\/td>\nTAMLA<\/td>\n54165<\/td>\n<\/tr>\n
WONDER. STEVIE<\/td>\nIF YOU REALLY LOVE ME<\/td>\n8\/16\/1971<\/td>\n15<\/td>\n6<\/td>\nTAMLA<\/td>\n54208<\/td>\n<\/tr>\n
WONDER. STEVIE<\/td>\nBLOWIN’ IN THE WIND<\/td>\n7\/5\/1966<\/td>\n18<\/td>\n5<\/td>\nTAMLA<\/td>\n54136<\/td>\n<\/tr>\n
WONDER. STEVIE<\/td>\nHEAVEN HELP US ALL<\/td>\n10\/5\/1970<\/td>\n18<\/td>\n6<\/td>\nTAMLA<\/td>\n54200<\/td>\n<\/tr>\n
WONDER. STEVIE<\/td>\nHIGH HEEL SNEAKERS<\/td>\n8\/18\/1965<\/td>\n19<\/td>\n3<\/td>\nTAMLA<\/td>\n54119<\/td>\n<\/tr>\n
WONDER. STEVIE<\/td>\nUPTIGHT (EVERYTHING’S ALRIGHT)<\/td>\n12\/22\/1965<\/td>\n2<\/td>\n6<\/td>\nTAMLA<\/td>\n54124<\/td>\n<\/tr>\n
WONDER. STEVIE<\/td>\nI’M WONDERING<\/td>\n9\/25\/1967<\/td>\n21<\/td>\n3<\/td>\nTAMLA<\/td>\n54157<\/td>\n<\/tr>\n
WONDER. STEVIE<\/td>\nNOTHING’S TOO GOOD FOR MY BABY<\/td>\n4\/20\/1966<\/td>\n23<\/td>\n4<\/td>\nTAMLA<\/td>\n54130<\/td>\n<\/tr>\n
WONDER. STEVIE<\/td>\nTRAVLIN’ MAN<\/td>\n3\/6\/1967<\/td>\n24<\/td>\n2<\/td>\nTAMLA<\/td>\n54147<\/td>\n<\/tr>\n
WONDER. STEVIE<\/td>\nWE CAN WORK IT OUT<\/td>\n2\/22\/1971<\/td>\n6<\/td>\n10<\/td>\nTAMLA<\/td>\n54202<\/td>\n<\/tr>\n
WONDER. STEVIE<\/td>\nCASTLES IN THE SAND<\/td>\n2\/13\/1964<\/td>\n7<\/td>\n7<\/td>\nTAMLA<\/td>\n54090<\/td>\n<\/tr>\n
WONDER. STEVIE<\/td>\nYESTER-ME. YESTER-YOU. YESTERDAY<\/td>\n10\/16\/1969<\/td>\n7<\/td>\n6<\/td>\nTAMLA<\/td>\n54188<\/td>\n<\/tr>\n
WONDER. STEVIE<\/td>\nI WAS MADE TO LOVE HER<\/td>\n5\/22\/1967<\/td>\n8<\/td>\n9<\/td>\nTAMLA<\/td>\n54151<\/td>\n<\/tr>\n
WONDERETTES<\/td>\nI FEEL STRANGE<\/td>\n9\/15\/1965<\/td>\n17<\/td>\n5<\/td>\nRUBY<\/td>\n5065<\/td>\n<\/tr>\n
WOOD. BRENTON<\/td>\nGIMME LITTLE SIGN<\/td>\n8\/21\/1967<\/td>\n4<\/td>\n6<\/td>\nDOUBLE SHOT<\/td>\n116<\/td>\n<\/tr>\n
WOOLIES<\/td>\nWHO DO YOU LOVE<\/td>\n1\/16\/1967<\/td>\n3<\/td>\n6<\/td>\nDUNHILL<\/td>\n4052<\/td>\n<\/tr>\n
WORLD OF OZ<\/td>\nMUFFIN MAN -THE-<\/td>\n7\/25\/1968<\/td>\n19<\/td>\n3<\/td>\nDERAM<\/td>\n85029<\/td>\n<\/tr>\n
WRIGHT. BETTY<\/td>\nCLEAN UP WOMAN<\/td>\n11\/22\/1971<\/td>\n12<\/td>\n8<\/td>\nALSTON<\/td>\n4601<\/td>\n<\/tr>\n
WRIGHT. BETTY<\/td>\nPURE LOVE<\/td>\n7\/20\/1970<\/td>\n19<\/td>\n5<\/td>\nALSTON<\/td>\n4587<\/td>\n<\/tr>\n
WYMAN. BILL<\/td>\nIN ANOTHER LAND<\/td>\n11\/30\/1967<\/td>\n25<\/td>\n2<\/td>\nLONDON<\/td>\n907<\/td>\n<\/tr>\n
WYNETTE. TAMMY<\/td>\nSTAND BY YOUR MAN<\/td>\n12\/5\/1968<\/td>\n10<\/td>\n6<\/td>\nEPIC<\/td>\n10398<\/td>\n<\/tr>\n
YARBROUGH. GLENN<\/td>\nBABY THE RAIN MUST FALL<\/td>\n4\/7\/1965<\/td>\n2<\/td>\n6<\/td>\nRCA<\/td>\n47-8498<\/td>\n<\/tr>\n
YARDBIRDS<\/td>\nOVER UNDER SIDEWAYS DOWN<\/td>\n7\/11\/1966<\/td>\n16<\/td>\n4<\/td>\nEPIC<\/td>\n10035<\/td>\n<\/tr>\n
YARDBIRDS<\/td>\nHEART FULL OF SOUL<\/td>\n9\/1\/1965<\/td>\n18<\/td>\n4<\/td>\nEPIC<\/td>\n9823<\/td>\n<\/tr>\n
YARDBIRDS<\/td>\nSHAPES OF THINGS<\/td>\n3\/30\/1966<\/td>\n21<\/td>\n5<\/td>\nEPIC<\/td>\n10006<\/td>\n<\/tr>\n
YARDBIRDS<\/td>\nLITTLE GAMES<\/td>\n5\/1\/1967<\/td>\n23<\/td>\n3<\/td>\nEPIC<\/td>\n10156<\/td>\n<\/tr>\n
YARDBIRDS<\/td>\nFOR YOUR LOVE<\/td>\n5\/19\/1965<\/td>\n7<\/td>\n5<\/td>\nEPIC<\/td>\n9790<\/td>\n<\/tr>\n
YELLOW BALLOON<\/td>\nYELLOW BALLOON<\/td>\n4\/10\/1967<\/td>\n18<\/td>\n4<\/td>\nCANTERBURY<\/td>\n508<\/td>\n<\/tr>\n
YES<\/td>\nROUNDABOUT<\/td>\n1\/31\/1972<\/td>\n19<\/td>\n6<\/td>\nATLANTIC<\/td>\n2854<\/td>\n<\/tr>\n
YES<\/td>\nYOUR MOVE<\/td>\n10\/11\/1971<\/td>\n25<\/td>\n4<\/td>\nATLANTIC<\/td>\n2819<\/td>\n<\/tr>\n
YOU KNOW WHO GROUP!<\/td>\nROSES ARE RED MY LOVE<\/td>\n11\/19\/1964<\/td>\n13<\/td>\n5<\/td>\nFOUR CORNERS INTERNATIONAL<\/td>\n113<\/td>\n<\/tr>\n
YOUNG HEARTS<\/td>\nI’VE GOT LOVE FOR MY BABY<\/td>\n10\/17\/1968<\/td>\n15<\/td>\n3<\/td>\nMINIT<\/td>\n32049<\/td>\n<\/tr>\n
YOUNG-HOLT UNLIMITED<\/td>\nSOULFUL STRUT<\/td>\n11\/14\/1968<\/td>\n10<\/td>\n7<\/td>\nBRUNSWICK<\/td>\n55391<\/td>\n<\/tr>\n
YOUNG. NEIL<\/td>\nHEART OF GOLD<\/td>\n1\/24\/1972<\/td>\n2<\/td>\n9<\/td>\nREPRISE<\/td>\n1065<\/td>\n<\/tr>\n
YOUNGBLOODS<\/td>\nGET TOGETHER<\/td>\n7\/31\/1969<\/td>\n4<\/td>\n8<\/td>\nRCA<\/td>\n47-9752<\/td>\n<\/tr>\n
ZAGER & EVANS<\/td>\nIN THE YEAR 2525<\/td>\n6\/12\/1969<\/td>\n1<\/td>\n9<\/td>\nRCA<\/td>\n74-0174<\/td>\n<\/tr>\n
ZEPHYRS<\/td>\nSHE’S LOST YOU<\/td>\n4\/21\/1965<\/td>\n15<\/td>\n4<\/td>\nROTATE<\/td>\n5006<\/td>\n<\/tr>\n
ZOMBIES<\/td>\nTIME OF THE SEASON<\/td>\n2\/20\/1969<\/td>\n1<\/td>\n10<\/td>\nDATE<\/td>\n1628<\/td>\n<\/tr>\n
ZOMBIES<\/td>\nSHE’S COMING HOME<\/td>\n3\/31\/1965<\/td>\n25<\/td>\n2<\/td>\nPARROT<\/td>\n9747<\/td>\n<\/tr>\n
ZOMBIES<\/td>\nSHE’S NOT THERE<\/td>\n9\/24\/1964<\/td>\n3<\/td>\n6<\/td>\nPARROT<\/td>\n9695<\/td>\n<\/tr>\n
ZOMBIES<\/td>\nTELL HER NO<\/td>\n1\/28\/1965<\/td>\n3<\/td>\n5<\/td>\nPARROT<\/td>\n9723<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"excerpt":{"rendered":"

Artist Song Chart Date Highest Position Weeks Label Catalogue ABBEY TAVERN SINGERS OFF TO DUBLIN IN THE GREEN 8\/15\/1966 5 6 HBR 498 ACKLIN. BARBARA LOVE MAKES A WOMAN 7\/3\/1968 13 7 BRUNSWICK 55379 AD LIBS BOY FROM NEW YORK CITY -THE- 12\/31\/1964 2 7 BLUE CAT 102 ADAMS. BILLY BETTY AND DUPREE 2\/6\/1964 19 4 SUN 389 ADAMS. JOHNNY RELEASE ME 10\/17\/1968 20 3 SSS INTERNATIONAL 750 ADDERLEY. CANNONBALL MERCY. MERCY. MERCY 1\/23\/1967 15 4 CAPITOL 5798 ADDRISI BROTHERS WE’VE GOT TO GET IT ON AGAIN 2\/7\/1972 20 3 COLUMBIA 45521 ADORABLES DEEP FREEZE 2\/20\/1964 27 2 GOLDEN WORLD…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-28915","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/keener13.org\/index.php?rest_route=\/wp\/v2\/pages\/28915","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/keener13.org\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/keener13.org\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/keener13.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/keener13.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=28915"}],"version-history":[{"count":3,"href":"https:\/\/keener13.org\/index.php?rest_route=\/wp\/v2\/pages\/28915\/revisions"}],"predecessor-version":[{"id":28918,"href":"https:\/\/keener13.org\/index.php?rest_route=\/wp\/v2\/pages\/28915\/revisions\/28918"}],"wp:attachment":[{"href":"https:\/\/keener13.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=28915"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}