Lawrence Reynolds wasn't the only one bringing Jesus to the pop charts in 1969... The Edwin Hawkins Singers had already taken “Oh Happy Day” to #4. Gospel and the emerging Jesus Rock scene followed different musical paths, but both proved the Good Lord could move records. #OneHitWondered #MusicSky

Lawrence Reynolds sure wasn't part of the California-based Jesus People scene, but he was working along similar lines. “Jesus Is a Soul Man” combined a straightforward Christian message with some contemporary language and an easygoing country-pop sound… and it found an audience. #OneHitWondered

The movement was closely associated with the Jesus People, young Christians who emerged from the counterculture and embraced the music of their generation. Rather than traditional hymns, they used folk, rock, & pop to communicate their faith. #LawrenceReynolds #JesusPeople #OneHitWondered

By the late ‘60s, 🇺🇸 pop music was changing. Alongside rock, folk, & soul, performers like Lawrence Reynolds were starting to bring religious themes into contemporary music. Some called it Jesus Rock, and it would eventually help give rise to contemporary Christian music, or CCM. #OneHitWondered

Alabama-born country singer/songwriter Lawrence Reynolds became an unlikely part of the emerging Jesus Rock movement in 1969, scoring his only US #Billboard #Top40 hit with “Jesus Is a Soul Man,” a country-pop record that brought a Christian message to pop radio #JohnnyCash #OneHitWondered #MusicSky

The week ending October 11, 1969, American country artist Lawrence Reynolds earned US #OneHitWonder honors when his country-gospel crossover “Jesus Is A Soul Man” entered the US #Billboard #Top40 at #39. The Jesus rock classic spent six weeks on the chart, peaking at #28. #OneHitWondered #MusicSky

The week of October 10, 1960, American R&B/doo-wop group Maurice Williams & The Zodiacs earned US #OneHitWonder honors when their doo-wop classic “Stay” entered the US #Billboard #Top40 at #40. The single spent 14 weeks on the chart, one of which was spent at #1. #OneHitWondered #MusicSky

The Honeycombs had more success at home than their US #OneHitWonder status suggests... Lineup changes and fading chart fortunes followed, though. Their recording career ended after Joe Meek’s death in 1967, but “Have I the Right?” has endured. #OneHitWondered

In America, Interphon chose “I Can’t Stop” as The Honeycombs’ follow-up single… Its pounding beat and urgent vocals carried on the excitement of “Have I the Right?” and reached #48 in early 1965. It was their only other single to chart on the US #Billboard #Hot100. #OneHitWondered #MusicSky

The Honeycombs released 2 studio albums, toured overseas & scored more British hits. They recorded Ray Davies’ “Something Better Beginning,” which peaked at #39 in the UK. “That’s the Way,” featuring Honey sharing lead vocals, topped out at #12 in 1965 on the UK pop chart. #OneHitWondered #MusicSky

In 1962, NASA launched Telstar 1, the World’s first active communications satellite… inspiring record producer Joe Meek. Using The Tornados, his in-house studio group, he recorded the space-age instrumental “Telstar,” which earned US #OneHitWonder honors. #JoeMeek #OneHitWondered #MusicSky

Before producers were really household names, there was British studio wizard Joe Meek… He treated Meeksville, his home studio, like an instrument and made sounds no one else dared... or could, for that matter. #JoeMeek #OneHitWondered

Released on Pye in Britain and Interphon in the US, “Have I the Right?” by The Honeycombs reached #1 in the UK and #5 on the US #Billboard #Top40 in 1964. The single became Joe Meek’s third and final UK chart-topping production. #JoeMeek #TheHoneycombs #OneHitWondered #MusicSky

Before its release, Pye Records executive Louis Benjamin renamed The Sheratons as The Honeycombs: “Honey” for drummer Honey Lantree, and “combs” for her work as a hairdresser’s assistant. The name put their unusually prominent female drummer at the center of their identity. #OneHitWondered

Joe Meek’s production gave “Have I the Right?” an enormous rhythmic punch, with Honey Lantree’s drums driving the recording… Famously, Meek also slightly sped up the recording, raising its pitch and adding urgency to the vocals. #JoeMeek #TheHoneycombs #OneHitWondered

The timing was ideal… The group had already arranged an audition with legendary indie producer Joe Meek and brought “Have I the Right?” to his home studio at 304 Holloway Road. Meek heard the song's potential and built the recording around the urgent vocals and Honey’s drums. #OneHitWondered

In early 1964, aspiring songwriters Ken Howard & Alan Blaikley caught The Sheratons at London’s Mildmay Tavern. They’d heard about the group with a female drummer, Honey Lantree, and approached with their songs. Among their offerings was “Have I the Right?” #MildmayTavern #OneHitWondered

Formed in North London in 1963, The Honeycombs carved out a unique spot in British Invasion history. Originally The Sheratons, they stood out in the ‘60s UK beat/Merseybeat scene thanks to their high-energy stage presence… and Honey Lantree’s pounding drums. #TheHoneycombs #OneHitWondered

The week ending October 10, 1964, London beat group The Honeycombs earned US #OneHitWonder honors when their Joe Meek-produced “Have I The Right?” entered the US #Billboard #Top40 at #29. The single spent nine weeks on the chart, peaking at #5. #TheHoneycombs #HoneyLantree #OneHitWondered #MusicSky

Did you know that pop culture icon Wink Martindale earned US #OneHitWonder honors? He did! Wink had a US #Billboard #Top40 hit in 1959 with "Deck Of Cards," which peaked at #7 that November. @bradlovett.bsky.social #WinkMartindale #OneHitWondered #MusicSky