Billboard Hot 100 Chart – Week of March 30, 1968

1. (Sittin’ On) The Dock Of The Bay – Otis Redding

(Sittin’ On) The Dock Of The Bay remained at number one for a third consecutive week, continuing one of the most memorable chart runs of the decade. The song’s reflective mood and emotional honesty gave it a timeless quality that set it apart from nearly everything else on the radio.

Otis Redding’s performance balanced vulnerability and strength, creating a record that felt deeply personal while still connecting with a mass audience. The song’s relaxed pace invited listeners to slow down and absorb every word and musical phrase.

Its continued dominance confirmed its status as one of the defining recordings of 1968. More than a hit record, it had become a cultural landmark and remains one of the most beloved soul songs ever recorded.

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2. Love Is Blue (L’amour Est Bleu) – Paul Mauriat And His Orchestra

Holding steady at number two was Love Is Blue, one of the most successful instrumental hits of the rock era. After spending five weeks at number one, the song continued to demonstrate extraordinary staying power.

The record’s appeal came from its beautiful melody and elegant orchestration. Without lyrics, it managed to communicate emotion purely through arrangement and performance, a rarity among major pop hits of the period.

Its lengthy chart run reflected its broad audience appeal and remains one of the most surprising success stories in Billboard history.

3. Valleri – The Monkees

The Monkees made one of the week’s biggest moves as Valleri jumped from number seven to number three. The group had already established themselves as one of the most successful acts of the decade, and this latest hit demonstrated their continued popularity.

Driven by a memorable melody and distinctive guitar work, the song combined the energy of rock music with the polished production that had become a Monkees trademark. It was instantly recognizable and perfectly suited for radio airplay.

The rapid climb suggested that the record still had significant momentum. By the end of March, it had become one of the strongest challengers to the songs currently occupying the top positions.

4. Simon Says – 1910 Fruitgum Co.

Simon Says remained at number four for a third straight week. The song’s playful spirit and simple hook continued to make it a favorite among younger listeners, helping it maintain a strong position on the chart.

The 1910 Fruitgum Co. represented the growing bubblegum pop movement, which emphasized catchy choruses and uncomplicated fun. In an era increasingly associated with experimentation, songs like this offered a lighter alternative.

Its enduring popularity demonstrated that listeners still appreciated straightforward entertainment alongside the more ambitious records appearing elsewhere on the chart.

5. (Sweet Sweet Baby) Since You’ve Been Gone – Aretha Franklin

Aretha Franklin climbed into the Top 5 this week as (Sweet Sweet Baby) Since You’ve Been Gone rose from number eight to number five. The song further demonstrated why Franklin was becoming one of the most influential voices in popular music.

Her powerful vocal performance transformed a simple love song into something emotionally compelling. Every phrase carried conviction, making the record immediately recognizable and deeply engaging.

The song’s rapid rise suggested that Franklin’s remarkable run of hits was far from over. By the spring of 1968, she had become one of the defining artists of the era.

More Weeks at #1 for “(Sittin’ On) The Dock of the Bay”

This song spent multiple weeks at #1 on the Billboard Hot 100. Explore each chart week below: