Billboard Hot 100 | Top 5 – Week of February 25, 1967
By February 25, 1967, The Buckinghams had proven that “Kind Of A Drag” was more than a quick surprise. The Chicago group held the No. 1 spot for a second week, keeping The Monkees, The Rolling Stones, and The Supremes behind them. Its crisp horn-driven pop-rock sound gave early 1967 a fresh American voice at the top of the Billboard Hot 100.
The biggest move near the top came from The Supremes, whose “Love Is Here And Now You’re Gone” jumped from No. 6 to No. 2. Motown had been a constant force throughout the decade, and this rise showed that Diana Ross and The Supremes were still among the most reliable hitmakers in America.
The Rolling Stones held steady at No. 3 with “Ruby Tuesday,” while The Monkees slipped from No. 2 to No. 4 with “I’m A Believer.” Even after losing the No. 1 position, The Monkees remained one of the biggest acts in the country, and their former chart-topper was still firmly inside the Top 5.
The rest of the Top 10 showed how wide the pop field had become. The Seekers remained strong with “Georgy Girl,” Sonny & Cher moved upward with “The Beat Goes On,” The Spencer Davis Group brought British rock energy with “Gimme Some Lovin’,” and Johnny Rivers entered the Top 10 with “Baby I Need Your Lovin’.” The chart was beginning to sound more restless, more soulful, and more rock-driven as 1967 moved toward spring.
Top 5 Songs
1. Kind Of A Drag – The Buckinghams
“Kind Of A Drag” held the No. 1 position for another week, confirming The Buckinghams as one of the early breakout acts of 1967. After ending the long reign of “I’m A Believer,” the record remained strong enough to hold off a fast-rising Motown challenge from The Supremes.
The song’s success came from its tight arrangement and distinctive horn sound. It had the polish of a pop single but the energy of a working rock band, giving it a different feel from many of the records that had dominated the winter chart.
Its second week at No. 1 showed that American pop-rock was entering 1967 with real strength. The Buckinghams brought a sharp, radio-friendly sound that helped bridge mid-1960s pop with the more band-centered records that would shape the rest of the year.
2. Love Is Here And Now You’re Gone – The Supremes
“Love Is Here And Now You’re Gone” made a major leap from No. 6 to No. 2, putting The Supremes within striking distance of another No. 1 hit. The record carried the polished Motown sound that had made the group one of the most successful acts of the decade.
Diana Ross’ lead vocal gave the song its dramatic center, while the production gave it the elegance and rhythm that listeners expected from a Supremes single. It was sophisticated, emotional, and perfectly suited for both pop and R&B audiences.
The song’s rise showed that Motown’s chart power remained as strong as ever in early 1967. Even as rock music was becoming more adventurous, The Supremes continued to prove that a great Motown single could still cut through everything else on radio.
3. Ruby Tuesday – The Rolling Stones
“Ruby Tuesday” held at No. 3, giving The Rolling Stones one of the most graceful hits of their career. The song brought a softer and more reflective side of the band into the upper reaches of the Billboard Hot 100.
Its arrangement and mood separated it from the harder-edged Stones records that had helped build the group’s reputation. Rather than relying on swagger, “Ruby Tuesday” worked through melody, atmosphere, and a sense of emotional distance.
Holding steady in the Top 3 showed that audiences were responding to this more mature version of The Rolling Stones. The record pointed toward the broader artistic directions rock music would explore during 1967.
4. I’m A Believer – The Monkees
“I’m A Believer” slipped from No. 2 to No. 4, but its place in the Top 5 still reflected the enormous strength of The Monkees’ winter run. After weeks at No. 1, the record remained one of the most familiar songs in America.
The song’s cheerful energy and unforgettable chorus had made it a perfect match for The Monkees’ television image. That connection helped the group dominate radio, record sales, and teen pop culture at the same time.
Even as newer hits moved past it, “I’m A Believer” had already secured its place as one of the signature pop singles of the 1960s. Its continued Top 5 presence showed just how deeply it had connected with listeners.
5. Georgy Girl – The Seekers
“Georgy Girl” slipped from No. 4 to No. 5, but The Seekers remained firmly in the upper chart. The song had become one of early 1967’s most recognizable pop records, helped by its film connection and bright international sound.
Its charm came from its clean melody and upbeat feel. While other songs on the chart leaned toward soul, rock, or garage-band energy, “Georgy Girl” offered polished folk-pop with a light and memorable touch.
By holding in the Top 5, the record showed that melodic pop still had major strength during a period of rapid musical change. The Seekers provided a contrast to the harder and more dramatic sounds rising around them.
More Weeks at #1 for “Kind of a Drag”
This song spent multiple weeks at #1 on the Billboard Hot 100. Explore each chart week below:
🎂 What Was the #1 Song on Your Birthday?
If you were born during the week ending February 25, 1967, this was your birthday song:
🎵 Kind of a Drag by The Buckinghams
▶ Watch and experience this song →
🎂 Born in the 60s? Try your own birthday:
Top 10 on the Billboard Hot 100 This Week
- Kind Of A Drag – The Buckinghams
- Love Is Here And Now You’re Gone – The Supremes
- Ruby Tuesday – The Rolling Stones
- I’m A Believer – The Monkees
- Georgy Girl – The Seekers
- The Beat Goes On – Sonny & Cher
- Gimme Some Lovin’ – The Spencer Davis Group
- Then You Can Tell Me Goodbye – The Casinos
- (We Ain’t Got) Nothin’ Yet – Blues Magoos
- Baby I Need Your Lovin’ – Johnny Rivers
Chart Movers This Week
Why This Chart Week Mattered
The Billboard Hot 100 for February 25, 1967 mattered because it showed The Buckinghams holding their place at No. 1 while Motown charged back toward the top. “Kind Of A Drag” kept American pop-rock in command, but The Supremes’ jump to No. 2 made it clear that another major chart battle was underway.
This week also captured the remarkable variety of early 1967. The Top 10 included Chicago pop-rock, Motown, British rock, television pop, international folk-pop, garage-rock, blue-eyed soul, and the stylish pop of Sonny & Cher. Few charts better show how open the Hot 100 had become.
As February came to a close, the music of 1967 was becoming more colorful and more competitive. The familiar stars of 1966 were still present, but new sounds were rising quickly, setting the stage for one of the most important years in popular music history.
