10 classics that peaked at number two on the Billboard Hot 100

As a longtime music enthusiast who grew up with a radio constantly tuned to the top 40 stations of the ’80s and ’90s, I can’t help but feel a sense of nostalgic disappointment when I think about these songs that missed out on the number one spot.

Tom Petty’s songs never reached the peak position on Billboard’s Hot 100 chart, whether it was during his time as a Heartbreaker, a Wilbury, or on his own. He came close with “Stop Dragging My Heart Around” alongside Stevie Nicks in 1981, but that song too fell just shy of the top spot. Hitting number one is tough to achieve.

And yet Rick Astley has done it. Twice.

In my latest work, I’ve been discussing the many mediocre tunes that scaled the Billboard chart during the rock & roll epoch. Today, though, let’s switch perspectives. We’ll delve into ten fantastic rock songs that came close but ultimately fell short. These tracks ascended to the second spot, but either lost momentum or collided with an unstoppable force – before reaching the peak of success.

10 classics that never reached number one of the Billboard Hot 100

Today’s focus is on rock and roll tunes, so we won’t be discussing tracks like Eminem’s “Without Me” or Fetty Wap’s “Trap Queen. “Beyoncé’s “Drunk in Love” might be a fantastic song, but it doesn’t fit the theme of our discussion either, as I’m not delving into Beyoncé or Jay Z today.

I’ll skip discussing Green Day’s top hit “Boulevard of Broken Dreams,” as it was released after my self-imposed cutoff year for these classic rock songs, which is 2000. My apologies to Green Day fans.

Fear not! We’ve got a top-notch collection of ten rock tracks that deserved the top spot, but just missed out. Let’s find out why.

“Yellow Submarine/Eleanor Rigby” by the Beatles (1966)

Check this out! From the get-go, you have a two-in-one deal. The Beatles, with their plethora of hit songs, often released double-sided singles due to their immense success. Two contrasting tracks were put out simultaneously, and it’s hard to imagine a more unusual pairing. On one side, we have the poignant chamber music piece, “Eleanor Rigby,” which evokes a sense of loneliness through harmonizing voices and strings. On the other hand, there’s the playful nursery rhyme, “Yellow Submarine,” filled with various sound effects. George Harrison’s wife, Pattie Boyd, is credited for her laughter on this track, and it showcases a classic vocal performance by Ringo Starr.

Initially, Ringo Starr’s songs weren’t expected to be chart-toppers; they were more like lighthearted interludes. However, contrary to popular belief in the UK, “Eleanor Rigby” was a hit. In the US, the controversy surrounding John Lennon’s statement about the Beatles being bigger than Jesus caused the record label to prioritize the innocent “Yellow Submarine” over the somber tale of Eleanor and Father McKenzie. (Far Out Magazine)

As a gamer, I must admit, though that UK chart-topper didn’t manage to dethrone “You Can’t Hurry Love” by The Supremes in the US, there was no need for worry. Those lads had already amassed a dozen number-ones under their belt and were poised to add eight more hits to their impressive tally after this setback.

“Barbara Ann” by the Beach Boys (1966)

Actually, you might be surprised to learn that before the Beatles’ double single took over the charts, The Beach Boys’ cover of “Barbara-Ann” originally by The Regents reached number two. To put it another way, I threw in a couple of interesting facts at once. Notably, both songs were released in the same year – 1965. However, “Barbara Ann” didn’t actually reach its peak position until the following year, even though The Beach Boys put it out towards the end of 1965.

The Beach Boys’ rendition of “Barbara Ann” stands out for its more varied vocal performance compared to the Regents’ song, which leans towards monotone. Despite minimal instrumentation, it creates a space for intricate harmonies and a captivating shared lead between Brian Wilson and Dean Torrence, known as one of Jan and Dean’s pals. The Beach Boys had already scored several number-one hits, with “Good Vibrations” being another success they would achieve later on.

As a gamer, I’d put it like this: Few could match the Beach Boys’ rendition of “Barbara Ann,” but The Who and John Travolta (as Vinnie Barbarino) gave it their best shot. Fun fact: It was The Supremes’ “You Can’t Hurry Love” that kept “Barbara Ann” from reaching number one. If you have to come in second, that’s not a bad tune to trail behind!

“Bad Moon Rising” by Credence Clearwater Revival (1969)

CCR, led by John Fogerty, reigned supreme among the second-place hits, never managing to reach number one despite five albums (or seven if you count the double-sided singles) peaking at number two on the charts. “Proud Mary” and “Bad Moon Rising,” a classic swamp rock anthem, were their first and later hits of 1969, respectively. Doesn’t it remind you a bit of a Bloodhound Gang song title?

It might be unexpected for modern listeners, but Henry Mancini’s beautiful piano rendition of the “Love Theme from ‘Romeo and Juliet'” prevented Creedence Clearwater Revival’s “Bad Moon Rising” from reaching number one. However, don’t worry, it made a significant impact as it was prominently featured in John Landis’ 1981 cult movie “An American Werewolf in London.”

“Kodachrome” by Paul Simon (1973)

“Kodachrome” and “Loves Me Like a Rock” were two songs from Simon’s second solo album that reached the top spot but fell just short. These tracks were among the close calls on the album titled “There Goes Rhymin’ Simon“, where Simon had previously achieved number one hits three times with Art Garfunkel. It wasn’t until 1975 and his song “50 Ways to Leave Your Lover” that he would reach the top spot on his own again.”

1. “Billy Preston’s ‘Will It Go ‘Round in Circles’ prevented ‘Kodachrome’ from reaching number one, which was a more favorable outcome compared to ‘Loves Me Like a Rock.’ In this tale, Cher’s ‘Half Breed’ took on the antagonistic role.”

“Goodbye Yellow Brick Road” by Elton John (1973)

By 1973, Elton John was virtually unstoppable in the music industry. The album “Goodbye Yellow Brick Road” marked the third of six chart-topping albums he released within a short span of three and a half years. Among these, this one stood out as the most successful. It featured his second number-one single, “Bennie and the Jets,” and his hardest rocking top-20 hit, “Saturday Nights Are Alright for Fighting.”

In 1973, a less popular but eventually globally successful song named “Candle in the Wind” emerged. Originally penned as a tribute to Marilyn Monroe, it was later reworked for Princess Diana following her death. Interestingly, among Elton John and Bernie Taupin’s masterpieces, the powerful ballad “Goodbye Yellow Brick Road” somewhat faded into obscurity at that time.

The melody begins with a straightforward piano introduction, gradually escalating to an impressive climax that showcases Elton John’s full vocal capacity. However, this peak in popularity eluded him as he fell short of overtaking “Top of the World” by the Carpenters on the charts. As a devoted Carpenters admirer, I believe his song outshone theirs. In fact, it surpassed Charlie Rich’s “The Most Beautiful Girl,” which held the top position while Elton remained at number two.

“When Will I Be Loved” by Linda Ronstadt (1975)

Back in the early ’70s, I was just another artist trying to make a name for myself. People may remember me as the lead singer of The Stone Poneys when we released “Different Drum” in 1967, but before that, I was mostly known as a country pop singer. That all changed with my album Heart Like a Wheel. This record was something different – it blended rock & roll, ballads, and pop, and it shot to the top of the charts. The lead single, “You’re No Good,” became my first and only number-one hit. It felt like a whole new chapter in my career had begun.

The reprise of “When Will I Be Loved,” a version of the Everly Brothers’ 1960 hit, nearly matched its popularity but fell slightly short. This is regrettable for two significant reasons. Initially, this song highlights the strength in Rondstadt’s voice as effectively as any other recording she made. Secondly, and more puzzling, the song that prevented it from reaching number one was “Love Will Keep Us Together” by Captain & Tennille. Despite having numerous hits, none would reach number one. A decade later, she returned to the second spot with collaborations with both James Ingram and Aaron Neville.

“We Got the Beat” by the Go-Gos (1982)

In the spring of 1982, The Go-Go’s album “Beauty and the Beat” held the top spot in the U.S. charts for six weeks straight. This debut album was ranked at number 60 by Rolling Stone among the best debut albums ever, and Paste placed it at number 39 on their list. The first single from the album, “Our Lips are Sealed,” made it to the top twenty, while a song written by guitarist Charlotte Caffey, initially released as a standalone single in 1980, narrowly missed out on reaching the number one spot.

The Go-Go’s re-did their hit “We Got the Beat” for the album Beauty and the Beat. Caffey’s keyboard gave the revamped track a bit more freedom, allowing the guitar to explore new territories. They also removed the soft backup vocals, giving the song a fuller, harder rock sound. However, even with this new version, the Go-Go’s didn’t rock quite as hard as the woman who kept them from reaching number one – Joan Jett. Her cover of “I Love Rock n Roll” held the top two spots on the Billboard chart for a short time in 1982, making her the one who prevented the Go-Go’s from taking the number one spot and ensuring that, at least temporarily, female rock artists dominated the charts.

“Dancing in the Dark” by Bruce Springsteen (1984)

As a devoted admirer, I initially pointed out that Tom Petty never graced the number-one spot on the charts with a hit song. It’s hard to believe, but the same can be said for Bruce Springsteen, despite his impressive track record. He boasts a dozen top-ten singles, and an astounding nine of his albums have reached the pinnacle of the album chart. Remarkably, none of his singles managed to make it there. The closest he came was with the lead single from his most successful album, “Born in the USA,” which was 17 times platinum.

“In ‘Dancing in the Dark,’ you’ll find the signature rhythmic pulse of Springsteen’s rock anthems, yet keyboardist Roy Bittan adds a fresh touch with synthesizers. Springsteen continues to convey the raw emotion synonymous with his finest performances, as evidenced by lyrics like “I examine my reflection – I want to change my attire, my hairstyle, even my face.” However, ‘Dancing in the Dark’ didn’t quite reach the top spot on the charts. Finishing second to Prince’s revolutionary ‘When Doves Cry’ is nothing to be ashamed of. But being outperformed by Duran Duran’s ‘The Reflex’ – that’s a different story.”

“Purple Rain” by Prince (1984)

The hit single “When Doves Cry” by Prince, which was part of his blockbuster album “Purple Rain,” almost stopped Bruce Springsteen from reaching number one. Interestingly, the third single from the same album, the title track, also fell short of taking the top spot. One might wonder if it was Wham!’s “Wake Me Up Before You Go Go” that hindered this achievement. While I don’t dislike that catchy George Michael tune, it’s hard to compare it with the power of “Purple Rain.”

“The full album version of ‘Purple Rain’ is an immense musical masterpiece, lasting approximately eight and a half minutes. It includes Revolution members Wendy and Lisa on guitar and synthesizers, as well as a rhythm section, an electric grand piano, and essentially a string quartet. To top it off, Prince plays numerous instruments and delivers a powerful vocal performance. Although the single version was shortened in length, it retained much of its epic magnitude. Regrettably, it failed to gain widespread recognition.”

“Under the Bridge” by Red Hot Chili Peppers (1992)

Red Hot Chili Peppers consistently dominated the rock charts as the millennium ended and a new one began, but they managed to break into the Top 10 on the Billboard Hot 100 only three times. Two of these hits, “Scar Tissue” and “Dani California,” were number-one rock chart hits. However, another hit, although it reached higher on the Billboard Hot 100 than any other, peaked at number six on the rock chart. This means that “Under the Bridge” is the only Red Hot Chili Peppers single that placed higher on the Hot 100 than on the rock chart.

Additionally, it functioned as a significant milestone in their career. While some initial fans found the shift away from funk rock challenging, it expanded their fan base and attracted numerous new listeners. Over the following decades, they skillfully blended hard-hitting funk with thoughtful ballads, achieving massive popularity with this approach.

The subsequent track that dethroned “Under the Bridge” from the number one spot wasn’t as deeply introspective, but it did encourage listeners to “dance, shake, wiggle and jive your hip,” a style more associated with Red Hot Chili Peppers in another song. Interestingly, this time it was Kris Kross taking on that dance vibe in their hit single “Jump.”

Today concludes, and I’m considering composing a piece titled “The King of the Number Twos.” I’ll reach out to Bloodhound Gang to gauge their interest.

2024-08-16 13:01