was a Native American rock and roll guitarist, songwriter, and vocalist who became popular in the late 1950s.

Building on the distorted electric guitar sound of early records, his 1958 instrumental hit “Rumble” by Link Wray & His Ray Men popularized “the power chord, the major modus operandi of modern rock guitarists,” facilitating the emergence of “punk and heavy rock”. Rolling Stone placed Wray at No. 45 of the 100 greatest guitarists of all time. In 2013 and 2017 he was a nominee for the Rock and Roll Hall of Fame. Though he began in country music, his musical style went on to consist primarily of rock and roll, rockabilly, and instrumental rock.

Jerry Reed

was an American country music singer, guitarist, and songwriter, as well as an actor who appeared in more than a dozen films. His signature songs included “Guitar Man”, “U.S. Male”, “A Thing Called Love”, “Alabama Wild Man”, “Amos Moses”, “When You’re Hot, You’re Hot” (which garnered a Grammy Award for Best Country Vocal Performance, Male), “Ko-Ko Joe”, “Lord, Mr. Ford”, “East Bound and Down” (the theme song for the 1977 blockbuster Smokey and the Bandit, in which Reed co-starred), “The Bird”, and “She Got the Goldmine (I Got the Shaft)”.

Reed was announced as an inductee into the Country Music Hall of Fame on April 5, 2017 and was officially inducted by Bobby Bare on October 24.

Danny and the Juniors

are a doo-wop and rock and roll vocal group from Philadelphia, Pennsylvania originally consisting of Danny Rapp, Dave White, Frank Maffei and Joe Terranova. Formed in 1955, they are most widely recognized for their 1958 hit single “At the Hop”, recorded the previous year in 1957.

The Del-Vikings

are an American doo-wop musical group, who recorded several hit singles in the 1950s, and continued to record and tour with various lineups in later decades. The group was notable for being one of the few racially mixed musical groups to attain success in the 1950s.

Eddie Cochran

was an American musician. Cochran’s rockabilly songs, such as “Twenty Flight Rock”, “Summertime Blues”, “C’mon Everybody” and “Somethin’ Else”, captured teenage frustration and desire in the mid-1950s and early 1960s. He experimented with multitrack recording, distortion techniques, and overdubbing even on his earliest singles. He played the guitar, piano, bass, and drums. His image as a sharply dressed and good-looking young man with a rebellious attitude epitomized the stance of the 1950s rocker, and in death he achieved an iconic status.

Cochran was involved with music from an early age, playing in the school band and teaching himself to play blues guitar. In 1954, he formed a duet with the guitarist Hank Cochran (no relation), and when they split the following year, Eddie began a songwriting career with Jerry Capehart. His first success came when he performed the song “Twenty Flight Rock” in the film The Girl Can’t Help It, starring Jayne Mansfield. Soon afterwards, he signed a recording contract with Liberty Records.

Cochran died at age 21 after a road accident, while travelling in a taxi in Chippenham, Wiltshire, during his British tour in April 1960, having just performed at Bristol’s Hippodrome theatre. Though his best-known songs were released during his lifetime, more of his songs were released posthumously. In 1987, Cochran was inducted into the Rock and Roll Hall of Fame. His songs have been recorded by a wide variety of recording artists.

Ben E. King

was an American soul and R&B singer and record producer. He was perhaps best known as the singer and co-composer of “Stand by Me”—a US Top 10 hit, both in 1961 and later in 1986 (when it was used as the theme to the film of the same name), a number one hit in the UK in 1987, and no. 25 on the RIAA’s list of Songs of the Century—and as one of the principal lead singers of the R&B vocal group the Drifters notably singing the lead vocals of one of their biggest global hit singles (and only U.S. #1 hit) “Save the Last Dance for Me”.

Johnny Burnette

was an American singer-songwriter of rockabilly and pop music. In 1952, he and his older brother, Dorsey Burnette, and their friend Paul Burlison formed the band that later was known as the Rock and Roll Trio.

The Five Satins

are an American doo-wop group, best known for their 1956 million-selling song, “In the Still of the Night.”

The group, formed in New Haven, Connecticut, consisted of leader Fred Parris, Lewis Peeples, Stanley Dortch, Ed Martin and Jim Freeman and Nat Mosley in 1954. With little success, the group reorganized, with Dortch and Peeples leaving, and new member Al Denby entering. The group then recorded “In the Still of the Night”, a very big hit in the United States which was originally released as the B-side to the single, “The Jones Girl”. The single was initially issued on the tiny local “Standord” label (45 stock # 200) and after some local Connecticut sales, it was released the following year on the New York label Ember (45 stock # 1005), and “In The Still Of The Night” ended up charting at number three on the R&B chart and number 25 on the pop charts. Two singles later, the follow-up track “Pretty Baby (That’s Why I Sing)” (Ember 1025) got weeks of airplay on powerful CHUM in Toronto, in November 1957. An August 1958 release, “A Night To Remember” (Ember 1038), got some Boston airplay. During late 1959 (in San Francisco, CA) and early 1960 (in both San Antonio, TX and Rochester, NY), their classic 45 side garnered renewed current airplay, becoming a Top 10 hit in all three listed markets. “In The Still of the Night” became an even bigger hit when it appeared as the lead track on Original Sound Records’ OLDIES BUT GOODIES Vol.1. The series eventually ran to 15 volumes. The series has been in continual print in one form or another since that first volume was released in 1959. In total, their signature track sold over one million copies and was awarded a gold disc. A case of painfully bad timing affected the group’s lead singer. Uncle Sam had come calling, and Parris entered the Army very soon after the huge success of “In The Still Of The Night”, forcing the group to reorganize again, with Martin, Freeman, Tommy Killebrew, Jessie Murphy and new lead Bill Baker. Baker quickly proved to be a highly capable replacement, however, as this lineup immediately hit big with another timeless, very successful effort, Billy Dawn Smith’s “To the Aisle” (Ember 1019), in September 1957.

Upon Parris’ return from the Army, a new lineup was assembled, consisting of Parris, Lewis Peeples (who was in a previous incarnation of the Five Satins), Sylvester Hopkins, Richie Freeman and Wes Forbes. The group would be briefly known as “Fred Parris and the Scarlets”, until the Baker-led group split up. At this point, they reverted to the Five Satins name. According to old radio survey repository ARSA, the following 45 sides charted in some markets: “I’ll Be Seeing You” (Ember 1061), 3/60; “Your Memory” (Cub 9071), 7/1960; “The Time” (Ember 1066), 10/60; “These Foolish Things/A Beggar With A Dream” (Cub 9077), 12/60; “Till The End” (United Artists 368), 11/61; “The Masquerade Is Over” (Chancellor 1110), 7/62; “Remember Me” (Warner Brothers 5367), 8/63; and “Ain’t Gonna Dance” (aka “Ain’t Gonna Cry”, Roulette 4563), 7/64. In total, the group appeared on an unusually high number of record labels, even for their era, when such label-hopping was far more of a common practice.

In 1965, Parris retooled his band, and started a three-year run of getting substantial airplay almost exclusively inside his home state of Connecticut, as Fred Parris and the Restless Hearts. Songs included “No Use In Crying” (Checker 1108), 5/65; “Blushing Bride/Giving My Love To You” (Green-Sea 106), 8/66; “Bring It Home To Daddy” (Atco 6439), which hit #1 locally in 10/66; “I’ll Be Hangin On” (Green-Sea 107); a #11 local hit in 4/67; and ending this career phase with an updated version of their classic hit, “(I’ll Remember) In The Still Of The Night “67”” (Mama Sadie 1001), in 8/67.

By the early 1970s the group was Parris, Peeples, Richie Freeman, Jimmy Curtis and Corky Rogers. “Dark At The Top Of My Heart” (RCA 0478), 6/71, had garnered them still more Connecticut airplay. With the smash hit 1973 film American Graffiti and its nostalgic soundtrack sparking a renewed interest in both old hits and old groups, music mogul Don Kirshner sought to capitalize by signing Parris and his group to his own Kirshner label. He restored the group’s moniker back to Five Satins, and released two 45s: “Very Precious Oldies/Your Are Love” (Kirshner 4251), 1973; and “Two Different Worlds/Love Is Such A Beautiful Thing” (Kirshner 4252), 1974. Both singles flopped, however.

They continued recording into the 1980s, with Parris, Richie Freeman, Curtis and Nate Marshall. In 1982, a “Medley Craze” had suddenly engulfed Top 40 radio, led by the Beatle hit-laden Stars on 45 medley, performed by some Dutch studio sound-alike musicians. The track hit #1 in the U.S. In response, Capitol had quickly spliced up and issued “genuine” old hit medleys, for both The Beatles and The Beach Boys. Both of these medleys only narrowly missed reaching the national Top 10. Noticing this new trend, however, longtime Connecticut music producer Marty Markiewicz (who’d known Parris personally for many years), knew that he was still singing/performing at a very high level. Markiewicz also happened to be working for Elektra Records (as a local music rep) at the time. He got an idea. He both asked for and was given permission by his employer to bring Parris and company in, on each’s own time, to record/produce a medley of classic ’50s hits. Just to see what would come out of it. The plan was to use the Satins’ own classic hit as the medley’s final song. The result was “Memories Of Days Gone By” (Elektra 47411), which became the group’s first new entry on the Billboard Hot 100 since 1960. And although it only peaked at #71 in early 1982, it did again reach the Top 10 at New Haven’s WKCI (KC101) and Hartford’s and WDRC. The latter was especially satisfying, as airplay for Parris in the Hartford market had always been tough to come by, even during the ’60s days of huge downstate radio play. In response to their successful medley, Elektra requested a full LP. For this release, the “Five” was dropped, and the album was issued as by “Fred Parris And The Satins.” Two more singles were released from it. The first, a remake of the Delfonics’ 1970 hit “Didn’t I (Blow Your Mind This Time)” (Elektra 69888), again got solid airplay in New Haven, in November 1982. Meanwhile, Bill Baker had started his own Five Satins group around this same time, with former Satin Sylvester Hopkins and Hopkins’ brothers Arthur “Count” Hopkins, Sr. and Frank. By the late 1980s, this group consisted of Baker, Harvey Potts, Jr., Anthony Hofler and Octavio DeLeon. In 1990, the group was joined by Jimmie Wilson stepping into the first tenor position for Don Simpson.

Fred Parris and Richie Freeman continue to perform. Bill Baker died on August 10th, 1994.

George Jones

was an American musician, singer and songwriter. He achieved international fame for his long list of hit records, including his best known song “He Stopped Loving Her Today”, as well as his distinctive voice and phrasing. For the last twenty years of his life, Jones was frequently referred to as the greatest living country singer. Country music scholar Bill Malone writes, “For the two or three minutes consumed by a song, Jones immerses himself so completely in its lyrics, and in the mood it conveys, that the listener can scarcely avoid becoming similarly involved.” Waylon Jennings expressed a similar opinion in his song “It’s Alright”: “If we all could sound like we wanted to, we’d all sound like George Jones.” The shape of his nose and facial features earned Jones the nickname “The Possum.”

Born in Texas, Jones first heard country music when he was seven and was given a guitar at the age of nine. He married his first wife, Dorothy Bonvillion, in 1950, and was divorced in 1951. He served in the United States Marine Corps and was discharged in 1953. He married Shirley Ann Corley in 1954. In 1959, Jones recorded “White Lightning,” written by J. P. Richardson, which launched his career as a singer. His second marriage ended in divorce in 1968; he married fellow country music singer Tammy Wynette a year later. Years of alcoholism compromised his health and led to his missing many performances, earning him the nickname “No Show Jones.” After his divorce from Wynette in 1975, Jones married his fourth wife, Nancy Sepulvado, in 1983 and became sober for good in 1999. Jones died in 2013, aged 81, from hypoxic respiratory failure. During his career, Jones had more than 150 hits, both as a solo artist and in duets with other artists.

Willie Nelson

is an American musician, singer, songwriter, author, poet, actor, and activist. The critical success of the album Shotgun Willie (1973), combined with the critical and commercial success of Red Headed Stranger (1975) and Stardust (1978), made Nelson one of the most recognized artists in country music. He was one of the main figures of outlaw country, a subgenre of country music that developed in the late 1960s as a reaction to the conservative restrictions of the Nashville sound. Nelson has acted in over 30 films, co-authored several books, and has been involved in activism for the use of biofuels and the legalization of marijuana.

Born during the Great Depression and raised by his grandparents, Nelson wrote his first song at age seven and joined his first band at ten. During high school, he toured locally with the Bohemian Polka as their lead singer and guitar player. After graduating from high school in 1950, he joined the Air Force but was later discharged due to back problems. After his return, Nelson attended Baylor University for two years but dropped out because he was succeeding in music. During this time, he worked as a disc jockey in Texas radio stations and a singer in honky-tonks. Nelson moved to Vancouver, Washington, where he wrote “Family Bible” and recorded the song “Lumberjack” in 1956. He also worked as a disc jockey at various radio stations in Vancouver and nearby Portland Oregon. In 1958, he moved to Houston, Texas, after signing a contract with D Records. He sang at the Esquire Ballroom weekly and he worked as a disk jockey. During that time, he wrote songs that would become country standards, including “Funny How Time Slips Away”, “Hello Walls”, “Pretty Paper”, and “Crazy”. In 1960 he moved to Nashville, Tennessee, and later signed a publishing contract with Pamper Music which allowed him to join Ray Price’s band as a bassist. In 1962, he recorded his first album, …And Then I Wrote. Due to this success, Nelson signed in 1964 with RCA Victor and joined the Grand Ole Opry the following year. After mid-chart hits in the late 1960s and the early 1970s, Nelson retired in 1972 and moved to Austin, Texas. The ongoing music scene of Austin motivated Nelson to return from retirement, performing frequently at the Armadillo World Headquarters.

In 1973, after signing with Atlantic Records, Nelson turned to outlaw country, including albums such as Shotgun Willie and Phases and Stages. In 1975, he switched to Columbia Records, where he recorded the critically acclaimed album Red Headed Stranger. The same year, he recorded another outlaw country album, Wanted! The Outlaws, along with Waylon Jennings, Jessi Colter, and Tompall Glaser. During the mid-1980s, while creating hit albums like Honeysuckle Rose and recording hit songs like “On the Road Again”, “To All the Girls I’ve Loved Before”, and “Pancho and Lefty”, he joined the country supergroup The Highwaymen, along with fellow singers Johnny Cash, Waylon Jennings, and Kris Kristofferson.

In 1990, Nelson’s assets were seized by the Internal Revenue Service, which claimed that he owed $32 million. The difficulty of paying his outstanding debt was aggravated by weak investments he had made during the 1980s. In 1992, Nelson released The IRS Tapes: Who’ll Buy My Memories?; the profits of the double album—destined to the IRS—and the auction of Nelson’s assets cleared his debt. During the 1990s and 2000s, Nelson continued touring extensively, and released albums every year. Reviews ranged from positive to mixed. He explored genres such as reggae, blues, jazz, and folk.

Nelson made his first movie appearance in the 1979 film The Electric Horseman, followed by other appearances in movies and on television. Nelson is a major liberal activist and the co-chair of the advisory board of the National Organization for the Reform of Marijuana Laws (NORML), which is in favor of marijuana legalization. On the environmental front, Nelson owns the bio-diesel brand Willie Nelson Biodiesel, which is made from vegetable oil. Nelson is also the honorary chairman of the Advisory Board of the Texas Music Project, the official music charity of the state of Texas.

Left Banke

is an American baroque pop band, formed in New York City in 1965. They are best remembered for their two US hit singles, “Walk Away Renée” and “Pretty Ballerina”. The band often used what the music press referred to as “baroque” string arrangements, which led to their music being variously termed as “Bach-rock” or “baroque rock”. The band’s vocal harmonies borrowed from contemporaries such as The Beatles, The Zombies, and other British Invasion groups.

Charlie Rich

was an American country music singer, songwriter, and musician. His eclectic style of music was often difficult to classify, encompassing the rockabilly, jazz, blues, country, soul, and gospel genres.

In the later part of his life, Rich acquired the nickname the Silver Fox. He is perhaps best remembered for a pair of 1973 hits, “Behind Closed Doors” and “The Most Beautiful Girl”. “The Most Beautiful Girl” topped the U.S. country singles charts, as well as the Billboard Hot 100 pop singles charts and earned him two Grammy Awards. Rich was inducted into the Memphis Music Hall of Fame in 2015.

Grass Roots

is an American rock band that charted frequently between 1966 and 1975. The band was originally the creation of Lou Adler and songwriting duo P. F. Sloan and Steve Barri. In their career, they achieved two gold albums, one gold single and charted singles on the Billboard Hot 100 a total of 21 times. Among their charting singles, they achieved Top 10 three times, Top 20 three times and Top 40 eight times. They have sold over 20 million records worldwide.

Until his death in 2011, early member Rob Grill and a newer lineup of the Grass Roots continued to play many live performances each year. Since 2012, band members chosen by Grill are carrying on the legacy of the group with nationwide live performances.

The post Rock, Pop, Doo Wop, Country, and Rockabilly (Part 3) appeared first on The History of Rock and Roll Radio Show.

was an American musician, singer-songwriter and record producer who was a central and pioneering figure of mid-1950s rock and roll. He was born in Lubbock, Texas, to a musical family during the Great Depression, and learned to play guitar and sing alongside his siblings. His style was influenced by gospel music, country music, and rhythm and blues acts, and he performed in Lubbock with his friends from high school. He made his first appearance on local television in 1952, and the following year he formed the group “Buddy and Bob” with his friend Bob Montgomery. In 1955, after opening for Elvis Presley, he decided to pursue a career in music. He opened for Presley three times that year; his band’s style shifted from country and western to entirely rock and roll. In October that year, when he opened for Bill Haley & His Comets, he was spotted by Nashville scout Eddie Crandall, who helped him get a contract with Decca Records.

Holly’s recording sessions at Decca were produced by Owen Bradley. Unhappy with Bradley’s control in the studio and with the sound he achieved there, he went to producer Norman Petty in Clovis, New Mexico, and recorded a demo of “That’ll Be the Day”, among other songs. Petty became the band’s manager and sent the demo to Brunswick Records, which released it as a single credited to “The Crickets”, which became the name of Holly’s band. In September 1957, as the band toured, “That’ll Be the Day” topped the US and UK singles charts. Its success was followed in October by another major hit, “Peggy Sue”.

The album Chirping Crickets, released in November 1957, reached number five on the UK Albums Chart. Holly made his second appearance on The Ed Sullivan Show in January 1958 and soon after, toured Australia and then the UK. In early 1959, he assembled a new band, consisting of future country music star Waylon Jennings (bass), famed session musician Tommy Allsup (guitar), and Carl Bunch (drums), and embarked on a tour of the midwestern U.S. After a show in Clear Lake, Iowa, he chartered an airplane to travel to his next show, in Moorhead, Minnesota. Soon after takeoff, the plane crashed, killing Holly, Ritchie Valens, The Big Bopper, and pilot Roger Peterson in a tragedy later referred to by Don McLean as “The Day the Music Died”.

During his short career, Holly wrote, recorded, and produced his own material. He is often regarded as the artist who defined the traditional rock-and-roll lineup of two guitars, bass, and drums. He was a major influence on later popular music artists, including Bob Dylan, The Beatles, The Rolling Stones, Eric Clapton, Weezer, and Elton John. He was among the first artists inducted into the Rock and Roll Hall of Fame.

Carpenters

were an American vocal and instrumental duo of Karen (1950–1983) and Richard Carpenter (b. 1946). They produced a distinct soft musical style, combining Karen’s contralto vocals with Richard’s arranging and composition skills. During their 14-year career, the Carpenters recorded ten albums, along with numerous singles and several television specials.

The siblings were born in New Haven, Connecticut, and moved to Downey, California, in 1963. Richard took piano lessons as a child, progressing to California State University, Long Beach, while Karen learned the drums. They first performed together as a duo in 1965 and formed the jazz-oriented Richard Carpenter Trio followed by the middle-of-the-road group Spectrum. Signing as Carpenters to A&M Records in 1969, they achieved major success the following year with the hit singles “(They Long to Be) Close to You” and “We’ve Only Just Begun”. Subsequently, the duo’s brand of melodic pop produced a record-breaking run of hit recordings on the American Top 40 and Adult Contemporary charts, and they became leading sellers in the soft rock, easy listening and adult contemporary music genres. The Carpenters had three number-one singles and five number-two singles on the Billboard Hot 100 and fifteen number-one hits on the Adult Contemporary chart, in addition to twelve top-10 singles. They have sold more than 90 million records worldwide, making them one of the best-selling music artists of all time. The duo toured continually during the 1970s, which put them under increased strain; Richard took a year off in 1979 after he had become addicted to Quaaludes, while Karen suffered from anorexia nervosa.

Their career together ended in 1983 following Karen’s death from heart failure brought on by complications of anorexia. Extensive news coverage surrounding these circumstances increased public awareness of eating disorders. Though the Carpenters were criticized for their clean-cut and wholesome conservative image in the 1970s, their music has since been re-evaluated, attracting critical acclaim and continued commercial success.

Glen Campbell

was an American singer, guitarist, songwriter, television host, and actor. He was best known for a series of hit songs in the 1960s and 1970s, and for hosting a music and comedy variety show called The Glen Campbell Goodtime Hour on CBS television, from January 1969 until June 1972. He released over 70 albums in a career that spanned five decades, selling over 45 million records worldwide, including twelve gold albums, four platinum albums, and one double-platinum album.

Born in Billstown, Arkansas, Campbell began his professional career as a studio musician in Los Angeles, spending several years playing with the group of instrumentalists later known as “The Wrecking Crew”. After becoming a solo artist, he placed a total of 80 different songs on either the Billboard Country Chart, Billboard Hot 100, or Adult Contemporary Chart, of which 29 made the top 10 and of which nine reached number one on at least one of those charts. Among Campbell’s hits are “Universal Soldier”, his first hit from 1965, along with “Gentle on My Mind” (1967), “By the Time I Get to Phoenix” (1967), “Wichita Lineman” (1968), “Dreams of the Everyday Housewife” (1968), “Galveston” (1969), “Rhinestone Cowboy” (1975) and “Southern Nights” (1977).

In 1967, Campbell won four Grammys in the country and pop categories. For “Gentle on My Mind”, he received two awards in country and western; “By the Time I Get to Phoenix” did the same in pop. Three of his early hits later won Grammy Hall of Fame Awards (2000, 2004, 2008), while Campbell himself won the Grammy Lifetime Achievement Award in 2012. He owned trophies for Male Vocalist of the Year from both the Country Music Association (CMA) and the Academy of Country Music (ACM), and took the CMA’s top award as 1968 Entertainer of the Year. Campbell played a supporting role in the film True Grit (1969), which earned him a Golden Globe nomination for Most Promising Newcomer. He also sang the title song, which was nominated for an Academy Award.

Dolly Parton

is an American singer, songwriter, multi-instrumentalist, record producer, actress, author, businesswoman, and philanthropist, known primarily for her work in country music. After achieving success as a songwriter for others, Dolly Parton made her album debut in 1967, with her album Hello, I’m Dolly. With steady success during the remainder of the 1960s (both as a solo artist and with a series of duet albums with Porter Wagoner), her sales and chart peak came during the 1970s and continued into the 1980s; Parton’s subsequent albums in the later part of the 1990s were lower in sales. However, in the new millennium, Parton achieved commercial success again and has released albums on various independent labels since 2000, including albums on her own label, Dolly Records.

Parton is the most honored female country performer of all time. Achieving 25 Recording Industry Association of America (RIAA) certified Gold, Platinum, and Multi-Platinum awards, she has had 25 songs reach No. 1 on the Billboard country music charts, a record for a female artist (tied with Reba McEntire). She has 41 career top-10 country albums, a record for any artist, and she has 110 career charted singles over the past 40 years. She has garnered nine Grammy Awards, two Academy Award nominations, ten Country Music Association Awards, seven Academy of Country Music Awards, three American Music Awards, and is one of only seven female artists to win the Country Music Association’s Entertainer of the Year Award. Parton has received 47 Grammy nominations.

In 1999, Parton was inducted into the Country Music Hall of Fame. She has composed over 3,000 songs, notably “I Will Always Love You” (a two-time U.S. country chart-topper for Parton, as well as an international pop hit for Whitney Houston), “Jolene”, “Coat of Many Colors”, and “9 to 5”. She is also one of the few to have received at least one nomination from the Academy Awards, Grammy Awards, Tony Awards, and Emmy Awards. As an actress, she has starred in films such as 9 to 5 (1980) and The Best Little Whorehouse in Texas (1982), for which she earned Golden Globe nominations for Best Actress, as well as Rhinestone (1984), Steel Magnolias (1989), Straight Talk (1992) and Joyful Noise (2012).

Johnny Kidd and The Pirates

were an English rock and roll group led by singer/songwriter Johnny Kidd. They scored numerous hit songs from the late 1950s to the early 1960s, including “Shakin’ All Over” and “Please Don’t Touch”, but their musical influence far outshines their chart performance.

Their stage act was theatrical including wearing full pirate costumes (complete with Kidd wearing an eye-patch and wielding a cutlass) which echoed some of their Rock ‘n’ Roll contemporaries like Screaming Lord Sutch & the Savages and Nero and the Gladiators. In a way, their approach anticipated and possibly inspired theatrical rockers of the 1970s such as Alice Cooper and David Bowie plus others.

Jay and The Americans

Are an American rock group popular in the 1960s. Their initial line-up consisted of John “Jay” Traynor, Howard Kane (né Kirschenbaum), Kenny Vance (né Rosenberg) and Sandy Deanne (né Yaguda), though their greatest success on the charts came after Traynor had been replaced as lead singer by Jay Black.

They were discovered while performing in student venues at New York University in the late 1950s. They auditioned for Leiber and Stoller, who gave the group its name.

Career pinnacle

With Jay Traynor singing lead, they first hit the Billboard charts in 1962 with the tune “She Cried,” which reached #5 (later covered by The Shangri-Las, Aerosmith, and others). The next two singles did not fare as well, and Traynor left the group. Jay’s solo singles made little impression, but one, “Up And Over” issued on ABC in 1966 became a Northern Soul classic. Empires’ guitarist Marty Sanders (né Kupersmith) joined the group. He brought David Black (né Blatt) of “The Empires” in to take Traynor’s place (after David first agreed to adopt the name Jay Black), and Black sang lead for the rest of the group’s major hits.

They returned to the charts in 1963 with “Only In America,” a song originally meant for The Drifters. Other notable hits for Jay and the Americans were “Come a Little Bit Closer” in 1964, which hit #3, and “Cara Mia” in 1965, which hit #4. They also recorded a commercial for H.I.S. Slacks and a public service announcement for the Ad Council, featuring a backing track by Brian Wilson and Phil Spector. Two tracks from this era later found favor with the Northern Soul crowd: “Got Hung Up Along The Way” and “Living Above Your Head”.

In 1966, the group was featured in the Universal comedy film, Wild Wild Winter, singing “Two of a Kind” at the film’s finale, with surf band The Astronauts depicted as providing backup instrumentals. As of February 2017, the song has only been released on the 1966 soundtrack LP.

In 1968, they recorded an album of their favorite oldies called Sands of Time, which included “This Magic Moment,” which was originally done by the Drifters. The single went to #6 in early 1969. It sold over one million copies, and was awarded a gold disc by the R.I.A.A. in May 1969. “This Magic Moment” was the last top ten record for Jay and the Americans, although a follow-up album, Wax Museum, in January 1970, did yield the #19 hit single “Walkin’ In The Rain,” first recorded by The Ronettes. Their next singles failed to chart, and the band grew apart, but the demand for appearances remained. (Around the same time the band recorded “This Magic Moment,” Jay and the Americans member Sandy Yaguda produced a Long Island teen sextet called The Tuneful Trolley. Their late-1968 Capitol LP, Island In The Sky — a hybrid of Beach Boys and Beatlesque psych-pop—was reissued in 2008 in the UK on Now Sounds.) From 1970 to 1971 Jay and the Americans’ touring band included Walter Becker and Donald Fagen (of later Steely Dan fame) on backup bass guitar and electric organ.

Loretta Lynn

is an American country music singer-songwriter with multiple gold albums in a career spanning almost 60 years. She is famous for hits such as “You Ain’t Woman Enough (To Take My Man)”, “Don’t Come Home A’ Drinkin’ (With Lovin’ on Your Mind)”, “One’s on the Way”, “Fist City”, and “Coal Miner’s Daughter” along with the 1980 biographical film of the same name.

Lynn has received numerous awards and other accolades for her groundbreaking role in country music, including awards from both the Country Music Association and Academy of Country Music as a duet partner and an individual artist. She is the most awarded female country recording artist and the only female ACM Artist of the Decade (1970s). Lynn, has sold more than 45 million albums worldwide, scored 24 number one hit singles, and 11 number one albums. Lynn continues to tour, appear at the Grand Ole Opry and release new albums. She is recognized by the strength and quality of her voice still today, as well as her down to earth, quick wit and humor.

Paul Revere and The Raiders

is an American rock band that saw considerable U.S. mainstream success in the second half of the 1960s and early 1970s. Among their hits are the songs “Kicks” (1966; ranked No. 400 on Rolling Stone‘s list of The 500 Greatest Songs of All Time), “Hungry” (1966), “Him Or Me – What’s It Gonna Be?” (1967) and the Platinum-certified classic No. 1 single “Indian Reservation” (1971).

Patsy Cline

was an American country music singer and part of the Nashville sound during the late 1950s and early 1960s. She successfully “crossed over” to pop music and was one of the most influential, successful, and acclaimed vocalists of the 20th century. She died at age 30 in the crash of a private airplane.

Cline was known for her rich tone, emotionally expressive and bold contralto voice, and her role as a country music pioneer. She, along with Kitty Wells, helped to pave the way for women as headline performers in the genre. She overcame poverty, a devastating automobile accident, and significant professional obstacles, and she has been cited as an inspiration by Reba McEntire, LeAnn Rimes, and other singers in diverse styles. Books, movies, documentaries, and stage plays document her life and career.

Her hits began in 1957 with Donn Hecht’s and Alan Block’s “Walkin’ After Midnight,” Hank Cochran’s and Harlan Howard’s “I Fall to Pieces,” Hank Cochran’s “She’s Got You,” and Willie Nelson’s “Crazy,” and ended in 1963 with Don Gibson’s “Sweet Dreams.” Millions of her records have sold since her death. She won awards and accolades, causing many to view her as an icon at the level of Jim Reeves, Johnny Cash, and Elvis Presley. She became the first female solo artist inducted into the Country Music Hall of Fame in 1973, ten years after her death. In 1999, she was voted number 11 on VH1’s special The 100 Greatest Women in Rock and Roll. In 2002, she was voted Number One on Country Music Television’s The 40 Greatest Women of Country Music, and she was ranked 46th in the “100 Greatest Singers of All Time” issue of Rolling Stone magazine. Her 1973 Country Music Hall of Fame plaque reads: “Her heritage of timeless recordings is testimony to her artistic capacity.”

Stray Cats

are an American rockabilly band formed in 1979 by guitarist and vocalist Brian Setzer, double bassist Lee Rocker, and drummer Slim Jim Phantom in the Long Island town of Massapequa, New York. The group had numerous hit singles in the UK, Australia, Canada and the U.S. including “Stray Cat Strut”, “(She’s) Sexy + 17”, “Look at That Cadillac,” “I Won’t Stand in Your Way”, “Bring it Back Again”, and “Rock This Town”, which the Rock and Roll Hall of Fame has listed as one of the songs that shaped rock and roll.

Roy Clark

was an American singer and musician. He is best known for having hosted Hee Haw, a nationally televised country variety show, from 1969 to 1997. Clark was an important and influential figure in country music, both as a performer and helping to popularize the genre.

During the 1970s, Clark frequently guest-hosted for Johnny Carson on The Tonight Show and enjoyed a 30-million viewership for Hee Haw. Clark was highly regarded and renowned as a guitarist, banjo player, and fiddler. He was skilled in the traditions of many genres, including classical guitar, country music, Latin music, bluegrass, and pop. He had hit songs as a pop vocalist (e.g., “Yesterday, When I Was Young” and “Thank God and Greyhound”), and his instrumental skill had an enormous effect on generations of bluegrass and country musicians. He became a member of the Grand Ole Opry in 1987, and, in 2009, was inducted into the Country Music Hall of Fame. He published his autobiography, My Life in Spite of Myself, in 1994.

Buck Owens

was an American musician, singer, songwriter and band leader who had 21 No. 1 hits on the Billboard country music charts with his band the Buckaroos. They pioneered what came to be called the Bakersfield sound, named after Bakersfield, California, the city Owens called home and from which he drew inspiration for what he preferred to call American music.

While Owens originally used fiddle and retained pedal steel guitar into the 1970s, his sound on records and onstage was always more stripped-down and elemental. His signature style was based on simple storylines, infectious choruses, a twangy electric guitar, an insistent rhythm supplied by a drum track placed forward in the mix, and high two-part harmonies featuring him and his guitarist Don Rich.

From 1969 to 1986 Owens co-hosted the popular CBS television variety show Hee Haw with Roy Clark. According to his son, Buddy Allen (Owens), the accidental death of Rich, his best friend, in 1974 devastated him for years and halted his career until he performed with Dwight Yoakam in 1988.

Owens is a member of the Country Music Hall of Fame and the Nashville Songwriters Hall of Fame.

The post Rock, Pop, Doo Wop, Country, and Rockabilly (Part 2) appeared first on The History of Rock and Roll Radio Show.

Presley was born in Tupelo, Mississippi, and relocated to Memphis, Tennessee, with his family when he was 13 years old. His music career began there in 1954, recording at Sun Records with producer Sam Phillips, who wanted to bring the sound of African-American music to a wider audience. Accompanied by guitarist Scotty Moore and bassist Bill Black, Presley was a pioneer of rockabilly, an uptempo, backbeat-driven fusion of country music and rhythm and blues. In 1955, drummer D. J. Fontana joined to complete the lineup of Presley’s classic quartet and RCA Victor acquired his contract in a deal arranged by Colonel Tom Parker, who would manage him for more than two decades. Presley’s first RCA single, “Heartbreak Hotel”, was released in January 1956 and became a number one hit in the United States. With a series of successful network television appearances and chart-topping records, he became the leading figure of the newly popular sound of rock and roll. His energized interpretations of songs and sexually provocative performance style, combined with a singularly potent mix of influences across color lines during a transformative era in race relations, made him enormously popular—and controversial.

In November 1956, Presley made his film debut in Love Me Tender. Drafted into military service in 1958, Presley relaunched his recording career two years later with some of his most commercially successful work. He held few concerts however, and guided by Parker, proceeded to devote much of the 1960s to making Hollywood films and soundtrack albums, most of them critically derided.

In 1968, following a seven-year break from live performances, he returned to the stage in the acclaimed television comeback special Elvis, which led to an extended Las Vegas concert residency and a string of highly profitable tours. In 1973, Presley gave the first concert by a solo artist to be broadcast around the world, Aloha from Hawaii.

Years of prescription drug abuse severely compromised his health, and he died suddenly in 1977 at his Graceland estate at the age of 42.

Presley is one of the most celebrated and influential musicians of the 20th century. Commercially successful in many genres, including pop, country, blues, and gospel, he is the best-selling solo artist in the history of recorded music. He won three competitive Grammys, received the Grammy Lifetime Achievement Award at age 36, and has been inducted into multiple music halls of fame.

The Everly Brothers

were an American country-influenced rock and roll duo, known for steel-string acoustic guitar playing and close harmony singing. Isaac Donald “Don” Everly (born February 1, 1937) and Phillip “Phil” Everly (January 19, 1939 – January 3, 2014) were inducted to the Rock and Roll Hall of Fame in 1986 and the Country Music Hall of Fame in 2001.

In purely commercial terms, the Everly Brothers were one of the most successful acts in popular music between 1957 and 1962. Only Elvis Presley, Pat Boone, and possibly Rick Nelson outsold them. In a sense, though, they were more important to Nashville. They were the first consistently successful rock & roll act to come from there. Their management and their songs came from Nashville, and they recorded there with local session musicians. In other words, they extended Nashville’s sense of what was commercially possible.

In artistic terms, the Everlys took the country brother duet one step further. They added Bo Diddley riffs, teenage anxieties, and sharkskin suits, but–for all that–the core of their sound remained country brother harmony. That link was underscored on their album Songs Our Daddy Taught Us.

The Everlys’ father, Ike, was an accomplished fingerstyle guitarist, a contemporary of Merle Travis, who went to Chicago trying to sustain a career in country radio, and ended up in the Midwest. He brought his family to Nashville in 1955, possibly hoping that his boys could find the success that had eluded him. Don found some success as a songwriter (“Thou Shalt Not Steal” for Kitty Wells, two songs for Justin Tubb, and another for Anita Carter), but a contract with Columbia Records’ Nashville division in 1955 yielded just one undistinguished single.

By the time the brothers signed with Cadence Records in March 1957 (a deal midwifed by music publisher Wesley Rose of Acuff-Rose), they were singing teenage playlets crafted by songwriters Boudleaux and Felice Bryant overlaid with r&b rhythm patterns. The Everlys scored a string of hits, including “Bye, Bye Love,” “Wake Up, Little Susie,” “All I Have to Do Is Dream,” “Bird Dog,” and others. When they switched to Warner Bros. Records in 1960, they were, at first, even more successful. “Cathy’s Clown,” “Ebony Eyes,” “Walk Right Back,” and “So Sad (To Watch Good Love Go Bad)” were among their hits. Their records were among the most immaculately crafted and innovative of the era, a testimony to the brothers’ musical vision and to the skill of the Nashville session players who proved themselves adept at executing more than they were often given credit for.

The responsibility for the downward slide in their career is usually laid at the door of the Beatles, but the brothers’ appeal was beginning to wane a year or more before the Beatles appeared. They broke with Wesley Rose in 1961, moved to California, and began making singles that were probably too experimental for the time. A slowdown in their touring schedule brought on by a joint enlistment in the Marines, the loss of access to the Bryants’ songs owing to the split with Acuff-Rose, and Don’s subsequent overreliance upon prescription drugs probably figured in their decline, too.

In 1968, they issued Roots, a daring country-rock record that failed to find them a new market. In 1970 they switched to RCA, but they split angrily from each other in July 1973. Don returned to Nashville; Phil stayed in Los Angeles. They reunited in September 1983 for a live concert album released on Mercury Records and resumed touring and recording together. In recent years, the brothers have donated concert proceeds to the philanthropic Everly Brothers Foundation.

Members of the Rock and Roll Hall of Fame, and recipients of a Grammy Award for Lifetime Achievement, the Everlys were elected to the Country Music Hall of Fame in 2001.

Phil Everly died on January 3, 2014 of complications from chronic obstructive pulmonary disease.

Dion is an American singer and songwriter whose work has incorporated elements of doo-wop, rock and R&B styles—and, most recently, straight blues. Initially as lead singer of Dion and the Belmonts and then in his solo career, he was one of the most popular American rock and roll performers of the pre-British Invasion era. He had 39 Top 40 hits in the late 1950s and early 1960s as a solo performer, with the Belmonts or with the Del Satins. He is best remembered for the singles “Runaround Sue”, “The Wanderer”, “Ruby Baby” and “Lovers Who Wander”, among his other hits.

Dion’s popularity waned in the mid-1960s. Toward the end of the decade, he shifted his style and produced songs with a more mature, contemplative feeling, such as “Abraham, Martin and John.” He became popular again in the late 1960s and into the mid-1970s, and he has continued making music ever since. Critics who had dismissed his early work, pegging him as merely a teen idol, praised his later work, and noted the influence he has had on other musicians.

Dion was inducted into the Rock & Roll Hall of Fame in 1989.

The Coasters

Are an American rhythm and blues/rock and roll vocal group who had a string of hits in the late 1950s. Beginning with “Searchin'” and “Young Blood”, their most memorable songs were written by the songwriting and producing team of Leiber and Stoller. Although the Coasters originated outside of mainstream doo-wop, their records were so frequently imitated that they became an important part of the doo-wop legacy through the 1960s.

The Coasters were formed on October 12 1955 when only two of The Robins were willing to go to Atlantic Records, those two were dubbed The Coasters because they went from West to East coast. The Robins were a Los Angeles–based rhythm-and-blues group that included Carl Gardner and Bobby Nunn. The original Coasters were Gardner, Nunn, Billy Guy, Leon Hughes (who was replaced by Young Jessie on a couple of their early Los Angeles recordings), and the guitarist Adolph Jacobs. Jacobs left the group in 1959.

The songwriting team of Jerry Leiber and Mike Stoller started Spark Records and in 1955 produced “Smokey Joe’s Cafe” for the Robins (their sixth single with Leiber and Stoller). The record was popular enough for Atlantic Records to offer Leiber and Stoller an independent production contract to produce the Robins for Atlantic. Only two of the Robins—Gardner and Nunn—were willing to make the move to Atlantic, recording their first songs in the same studio as the Robins had done (Master Recorders). In late 1957, the group moved to New York and replaced Nunn and Hughes with Cornell Gunter and Will “Dub” Jones. The new quartet was from then on stationed in New York, although all had Los Angeles roots.

The Coasters’ association with Leiber and Stoller was an immediate success. Together they created a string of good-humored “storytelling” hits that are some of the most entertaining from the original era of rock and roll. According to Leiber and Stoller, getting the humor to come through on the records often required more recording “takes” than for a typical musical number.

Their first single, “Down in Mexico”, was an R&B hit in 1956 and appears (in a re-recording from 1973—still with Gardner singing the lead) on the soundtrack of Quentin Tarantino’s Death Proof. The following year, the Coasters crossed over to the pop chart in a big way with the double-sided “Young Blood”/”Searchin'”. “Searchin'” was the group’s first U.S. Top 10 hit and topped the R&B chart for 13 weeks, becoming the biggest R&B single of 1957 (all were recorded in Los Angeles).

“Yakety Yak” (recorded in New York), featuring King Curtis on tenor saxophone, included the famous lineup of Gardner, Guy, Jones, and Gunter, and became the act’s only national number 1 single, topping the R&B chart. The next single, “Charlie Brown”, reached number 2 on both charts. It was followed by “Along Came Jones”, “Poison Ivy” (number 1 for almost two months on the R&B chart), and “Little Egypt (Ying-Yang)”.

Changing popular tastes and changes in the group’s lineup contributed to a lack of hits in the 1960s. During this time, Billy Guy was also working on solo projects; the New York singer Vernon Harrell was brought in to replace him for stage performances. Later members included Earl “Speedo” Carroll (lead of the Cadillacs), Ronnie Bright (the bass voice on Johnny Cymbal’s “Mr. Bass Man”), Jimmy Norman, and guitarist Thomas “Curley” Palmer. The Coasters signed with Columbia Records’ Date label in 1966, reuniting with Leiber and Stoller (who had parted ways with Atlantic Records in 1963), but never regained their former fame. In 1971, the Coasters had a minor chart entry with “Love Potion Number Nine”, a song that Leiber and Stoller had written for the Coasters but instead gave to the Clovers in 1959. In Britain, a 1994 Volkswagen TV advertisement used the group’s “Sorry But I’m Gonna Have To Pass”, which led to a minor chart placement in that country.

In 1987, the Coasters became the first group inducted into the Rock and Roll Hall of Fame, crediting the members of the 1958 configuration. The Coasters also joined the Vocal Group Hall of Fame in 1999.

Several groups used the name in the 1970s, touring throughout the country, though original member Carl Gardner held the legal rights to it. Gardner continued to tour with the Coasters and made many attempts to stop bogus groups with no connection to the original group using the name. In late 2005, Carl’s son Carl Gardner Jr. took over as lead with the group when his father retired. The Coasters’ lineup then consisted of Carl Gardner Jr., J. W. Lance, Primo Candelara, and Eddie Whitfield. Carl Jr. later left this group and has started his own group with Curley Palmer. Carl’s widow Veta owns the rights to the Coasters name.

Leon Hughes is the last surviving member of the original Coasters and performs with his own group. Some of the former members suffered tragic ends. The saxophonist King Curtis (the “fifth Coaster”) was stabbed to death by two junkies outside his apartment building in 1971. Cornelius Gunter was shot to death while sitting in a Las Vegas parking garage in 1990. Nate Wilson, a member of one of Gunter’s offshoot Coasters groups, was shot and his body dismembered in 1980. Former manager Patrick Cavanaugh was convicted of the murder, which took place after Wilson threatened to notify authorities of Cavanaugh’s intent to buy furniture with stolen checks. Cavanaugh was convicted of the murder and given the death sentence in 1984, but his sentence was commuted to life in prison. He died at 60 in 2006, in Ely State Prison, in Nevada.

The Coasters continue to appear regularly on “oldies” shows and PBS specials as old favorites and are available for bookings.

The hits list below is from Joel Whitburn’s Top R&B Singles and from the Pop positions published in Bill Millar’s book The Coasters (1975).

Carl Gardner published his autobiography, Carl Gardner: Yakety Yak I Fought Back: My Life With The Coasters, in 2007.

The Coasters’ recordings produced by Leiber and Stoller for Date/King (1966–1972) were released on the CD Down Home by Varèse Vintage (Varèse Sarabande) in 2007. The complete Atco recordings (1954–1966) were released in a four-CD set, There’s a Riot Goin’ On: The Coasters on Atco, by Rhino, also in 2007.

Jerry Lee Lewis

is an American singer-songwriter, musician, and pianist, often known by his nickname, The Killer. He has been described as “rock & roll’s first great wild man.”

A pioneer of rock and roll and rockabilly music, Lewis made his first recordings in 1956 at Sun Records in Memphis. “Crazy Arms” sold 300,000 copies in the South, but it was his 1957 hit “Whole Lotta Shakin’ Goin’ On” that shot Lewis to fame worldwide. He followed this with “Great Balls of Fire”, “Breathless” and “High School Confidential”. However, Lewis’s rock and roll career faltered in the wake of his marriage to his 13-year-old cousin.

He had minimal success in the charts following the scandal, and his popularity quickly eroded. His live performance fees plummeted from $10,000 per night to $250. In the meantime he was determined to gain back some of his popularity. In the early 1960s, he did not have much chart success, with few exceptions, such as a remake of Ray Charles’s “What’d I Say”. His live performances at this time were increasingly wild and energetic. His 1964 live album Live at the Star Club, Hamburg is regarded by music journalists and fans as one of the wildest and greatest live rock albums ever. In 1968, Lewis made a transition into country music and had hits with songs such as “Another Place, Another Time”. This reignited his career, and throughout the late 1960s and 1970s he regularly topped the country-western charts; throughout his seven-decade career, Lewis has had 30 songs reach the top 10 on the “Billboard Country and Western Chart”. His No. 1 country hits included “To Make Love Sweeter for You”, “There Must Be More to Love Than This”, “Would You Take Another Chance on Me”, and “Me and Bobby McGee”.

Lewis’s successes continued throughout the decade and he embraced his rock and roll past with songs such as a cover of the Big Bopper’s “Chantilly Lace” and Mack Vickery’s “Rockin’ My Life Away”. In the 21st century Lewis continues to tour around the world and still releases new albums. His album Last Man Standing is his best selling to date, with over a million copies sold worldwide. This was followed by Mean Old Man, which has received some of the best sales of Lewis’s career.

Lewis has a dozen gold records in both rock and country. He won several Grammy awards, including a Lifetime Achievement Award. Lewis was inducted into the Rock and Roll Hall of Fame in 1986, and his pioneering contribution to the genre has been recognized by the Rockabilly Hall of Fame.

Ricky Nelson

is an American singer-songwriter, musician, and pianist, often known by his nickname, The Killer. He has been described as “rock & roll’s first great wild man.”

A pioneer of rock and roll and rockabilly music, Lewis made his first recordings in 1956 at Sun Records in Memphis. “Crazy Arms” sold 300,000 copies in the South, but it was his 1957 hit “Whole Lotta Shakin’ Goin’ On” that shot Lewis to fame worldwide. He followed this with “Great Balls of Fire”, “Breathless” and “High School Confidential”. However, Lewis’s rock and roll career faltered in the wake of his marriage to his 13-year-old cousin.

He had minimal success in the charts following the scandal, and his popularity quickly eroded. His live performance fees plummeted from $10,000 per night to $250. In the meantime he was determined to gain back some of his popularity. In the early 1960s, he did not have much chart success, with few exceptions, such as a remake of Ray Charles’s “What’d I Say”. His live performances at this time were increasingly wild and energetic. His 1964 live album Live at the Star Club, Hamburg is regarded by music journalists and fans as one of the wildest and greatest live rock albums ever. In 1968, Lewis made a transition into country music and had hits with songs such as “Another Place, Another Time”. This reignited his career, and throughout the late 1960s and 1970s he regularly topped the country-western charts; throughout his seven-decade career, Lewis has had 30 songs reach the top 10 on the “Billboard Country and Western Chart”. His No. 1 country hits included “To Make Love Sweeter for You”, “There Must Be More to Love Than This”, “Would You Take Another Chance on Me”, and “Me and Bobby McGee”.

Lewis’s successes continued throughout the decade and he embraced his rock and roll past with songs such as a cover of the Big Bopper’s “Chantilly Lace” and Mack Vickery’s “Rockin’ My Life Away”. In the 21st century Lewis continues to tour around the world and still releases new albums. His album Last Man Standing is his best selling to date, with over a million copies sold worldwide. This was followed by Mean Old Man, which has received some of the best sales of Lewis’s career.

Lewis has a dozen gold records in both rock and country. He won several Grammy awards, including a Lifetime Achievement Award. Lewis was inducted into the Rock and Roll Hall of Fame in 1986, and his pioneering contribution to the genre has been recognized by the Rockabilly Hall of Fame.

Johnny Cash

was an American singer-songwriter, guitarist, actor, and author. He is one of the best-selling music artists of all time, having sold more than 90 million records worldwide. Although primarily remembered as a country music icon, his genre-spanning songs and sound embraced rock and roll, rockabilly, blues, folk and gospel. This crossover appeal won Cash the rare honor of being inducted into the Country Music, Rock and Roll, and Gospel Music Halls of Fame.

Cash was known for his deep, calm bass-baritone voice; the distinctive sound of his Tennessee Three backing band, which is characterized by train-sound guitar rhythms; a rebelliousness coupled with an increasingly somber and humble demeanor; free prison concerts; and a trademark, all-black stage wardrobe, which earned him the nickname “The Man in Black.” He traditionally began his concerts by simply introducing himself, “Hello, I’m Johnny Cash,” followed by his signature song “Folsom Prison Blues”.

Much of Cash’s music contained themes of sorrow, moral tribulation, and redemption, especially in the later stages of his career. His other signature songs include “I Walk the Line”, “Ring of Fire”, “Get Rhythm”, and “Man in Black”. He also recorded humorous numbers like “One Piece at a Time” and “A Boy Named Sue”; a duet with his future wife, June Carter, called “Jackson” (followed by many further duets after their wedding); and railroad songs including “Hey, Porter”, “Orange Blossom Special”, and “Rock Island Line”. During the last stage of his career, Cash covered songs by several late 20th-century rock artists, notably “Hurt” by Nine Inch Nails and “Rusty Cage” by Soundgarden.

Drifters

are a long-lasting American doo-wop and R&B/soul vocal group. They were originally formed to serve as a backing group for Clyde McPhatter (of Billy Ward and his Dominoes) in 1953.

According to Rolling Stone magazine, the Drifters were the least stable of the great vocal groups, as they were low-paid musicians hired by George Treadwell, who owned the Drifters name. There have been 60 vocalists in the history of the Treadwell Drifters line, including several splinter groups by former Drifters members (not under Treadwell’s management). These groups are usually identified with a possessive credit such as “Bill Pinkney’s Original Drifters”, “Charlie Thomas’ Drifters”, etc.

There were three golden eras of the Drifters; the early 1950s, the 1960s, and the early 1970s (post-Atlantic period). From these, the first Drifters, formed by Clyde McPhatter, was inducted into the Vocal Group Hall of Fame as “The Drifters”. The second Drifters, featuring Ben E. King, was separately inducted into the Vocal Group Hall of Fame as “Ben E. King and the Drifters”. In their induction, the Rock and Roll Hall of Fame selected four members from the first Drifters, two from the second Drifters, and one from the post-Atlantic Drifters.

Carl Perkins was an American singer-songwriter who recorded most notably at the Sun Studio, in Memphis, beginning in 1954. His best-known song is “Blue Suede Shoes”.

According to Charlie Daniels, “Carl Perkins’ songs personified the rockabilly era, and Carl Perkins’ sound personifies the rockabilly sound more so than anybody involved in it, because he never changed.” Perkins’s songs were recorded by artists (and friends) as influential as Elvis Presley, the Beatles, Jimi Hendrix, and Johnny Cash, which further established his place in the history of popular music. Paul McCartney claimed that “if there were no Carl Perkins, there would be no Beatles.”

Called “the King of Rockabilly”, he was inducted into the Rock and Roll Hall of Fame, the Rockabilly Hall of Fame, the Memphis Music Hall of Fame, and the Nashville Songwriters Hall of Fame. He also received a Grammy Hall of Fame Award.

Chet Atkins

was an American musician, occasional vocalist, songwriter, and record producer, who along with Owen Bradley and Bob Ferguson, among others, created the country music style that came to be known as the Nashville sound, which expanded country music’s appeal to adult pop music fans. He was primarily known as a guitarist. He also played the mandolin, fiddle, banjo, and ukulele.

Atkins’s signature picking style was inspired by Merle Travis. Other major guitar influences were Django Reinhardt, George Barnes, Les Paul, and, later, Jerry Reed. His distinctive picking style and musicianship brought him admirers inside and outside the country scene, both in the United States and abroad. Atkins spent most of his career at RCA Victor and produced records for the Browns, Hank Snow, Porter Wagoner, Norma Jean, Dolly Parton, Dottie West, Perry Como, Floyd Cramer, Elvis Presley, the Everly Brothers, Eddy Arnold, Don Gibson, Jim Reeves, Jerry Reed, Skeeter Davis, Waylon Jennings, and many others.

The post Rock, Pop, Doo Wop, Country and Rockabilly (Part 1) appeared first on The History of Rock and Roll Radio Show.

is a song by the English rock band the Beatles. Written by John Lennon and Paul McCartney, and recorded in October 1963, it was the first Beatles record to be made using four-track equipment.

With advance orders exceeding one million copies in the United Kingdom, “I Want to Hold Your Hand” would have gone straight to the top of the British record charts on its day of release (29 November 1963) had it not been blocked by the group’s first million seller “She Loves You”, their previous UK single, which was having a resurgence of popularity following intense media coverage of the group. Taking two weeks to dislodge its predecessor, “I Want to Hold Your Hand” stayed at number 1 for five weeks and remained in the UK top 50 for 21 weeks in total.

It was also the group’s first American number 1 hit, entering the Billboard Hot 100 chart on 18 January 1964 at number 45 and starting the British invasion of the American music industry. By 1 February it topped the Hot 100, and stayed there for seven weeks before being replaced by “She Loves You”. It remained on the Billboard chart for 15 weeks.^[5] “I Want to Hold Your Hand” became the Beatles’ best-selling single worldwide. In 2013, Billboard magazine named it the 44th biggest hit of “all-time” on the Billboard Hot 100 chart.

[embedyt] https://www.youtube.com/watch?v=jenWdylTtzs[/embedyt]

My Guy: Mary Wells

is a 1964 hit single recorded by Mary Wells for the Motown label. Written and produced by Smokey Robinson of The Miracles, the song is a woman’s dedication to the goodness of her man (“There’s not a man today who could take me away from my guy”).

At the session for the “My Guy” backing track the studio musicians were having issues completing the intro: with the musicians having been playing all day and a half-hour scheduled studio time left, trombonist George Bohanon pointed out to keyboardist Earl Van Dyke that the opening measure of “Canadian Sunset” could be perfectly juxtaposed on the intro’s chord changes, and Van Dyke, the session bandleader, expediently constructed an intro incorporating the opening of “Canadian Sunset” and also the “left hand notes” from “Canadian Sunset” composer Eddie Heywood’s rendition of “Begin the Beguine”. Van Dyke would recall: “We were doing anything to get the hell out of that studio. We knew that the producers didn’t know nothing ’bout no ‘Canadian Sunset’ or ‘Begin the Beguine’. We figured the song would wind up in the trash can anyway”.

When Wells recorded her vocal she sang over the song’s outro with a huskiness evoking the line delivery of Mae West: Wells would recall: “I was only joking but the producers said ‘Keep it going, keep it going’.”

“My Guy” became the biggest hit ever for Wells, Motown’s first female star, and reached the top of the Billboard Hot 100 pop singles chart on 16 May 1964. The song led the Cashbox magazine R&B chart for seven weeks. “My Guy” was also Wells’ last hit single for Motown, except for duets she recorded with label mate Marvin Gaye. An option in her recording contract let Wells terminate the contract at her discretion after she reached her twenty-first birthday on May 13, 1964. Encouraged by her ex-husband, Wells broke her Motown contract and signed with 20th Century Fox in hopes of higher royalties and possible movie roles. However, Wells’ career never again reached the heights it had at Motown, and she never again had a hit single as big as “My Guy”.

[embedyt] https://www.youtube.com/watch?v=r1M5eEJeT38[/embedyt]

The House of the Rising Sun: The Animals

Is a traditional folk song, sometimes called “Rising Sun Blues“. It tells of a life gone wrong in New Orleans; many versions also urge a sibling to avoid the same fate. The most successful commercial version, recorded in 1964 by British rock group the Animals, was a number one hit on the UK Singles Chart and also in the United States and France. As a traditional folk song recorded by an electric rock band, it has been described as the “first folk rock hit.

The Animals’ version

An interview with Eric Burdon revealed that he first heard the song in a club in Newcastle, England, where it was sung by the Northumbrian folk singer Johnny Handle. The Animals were on tour with Chuck Berry and chose it because they wanted something distinctive to sing.

The Animals’ version transposes the narrative of the song from the point of view of a woman led into a life of degradation to that of a man whose father was now a gambler and drunkard, rather than the sweetheart in earlier versions.

The Animals had begun featuring their arrangement of “House of the Rising Sun” during a joint concert tour with Chuck Berry, using it as their closing number to differentiate themselves from acts that always closed with straight rockers. It got a tremendous reaction from the audience, convincing initially reluctant producer Mickie Most that it had hit potential, and between tour stops the group went to a small recording studio on Kingsway in London to capture it.

Recording and releases

The song was recorded in just one take on May 18, 1964, and it starts with a now-famous electric guitar A minor chord arpeggio by Hilton Valentine. According to Valentine, he simply took Dylan’s chord sequence and played it as an arpeggio. The performance takes off with Burdon’s lead vocal, which has been variously described as “howling,” “soulful,” and as “…deep and gravelly as the north-east English coal town of Newcastle that spawned him.” Finally, Alan Price’s pulsating organ part (played on a Vox Continental) completes the sound. Burdon later said, “We were looking for a song that would grab people’s attention.”

As recorded, “House of the Rising Sun” ran four and a half minutes, regarded as far too long for a pop single at the time. Producer Most, who initially did not really want to record the song at all, said that on this occasion: “Everything was in the right place … It only took 15 minutes to make so I can’t take much credit for the production”. He was nonetheless now a believer and declared it a single at its full length, saying “We’re in a microgroove world now, we will release it.”

In the United States however, the original single (MGM 13264) was a 2:58 version. The MGM Golden Circle reissue (KGC 179) featured the unedited 4:29 version, although the record label gives the edited playing time of 2:58. The edited version was included on the group’s 1964 U.S. debut album The Animals, while the full version was later included on their best-selling 1966 U.S. greatest hits album, The Best of the Animals. However, the very first American release of the full-length version was on a 1965 album of various groups entitled Mickie Most Presents British Go-Go (MGM SE-4306), the cover of which, under the listing of “House of the Rising Sun”, described it as the “Original uncut version.” Americans could also hear the complete version in the movie Go Go Mania in the spring of 1965.

“House of the Rising Sun” was not included on any of the group’s British albums, but it was reissued as a single twice in subsequent decades, charting both times, reaching number 25 in 1972 and number 11 in 1982, using the famous Wittlesbach organ.

The Animals version was played in 6/8 meter, unlike the 4/4 of most earlier versions. Arranging credit went only to Alan Price. According to Burdon, this was simply because there was insufficient room to name all five band members on the record label, and Alan Price’s first name was first alphabetically. However, this meant that only Price received songwriter’s royalties for the hit, a fact that has caused bitterness ever since, especially with Valentine.

Reception

“House of the Rising Sun” was a trans-Atlantic hit: after reaching the top of the UK pop singles chart in July 1964, it topped the U.S. pop singles chart two months later, on September 5, 1964, where it stayed for three weeks, and became the first British Invasion number one unconnected with the Beatles. It was the group’s breakthrough hit in both countries and became their signature song. The song was also a hit in a number of other countries, including Ireland, where it reached No. 10 and dropped off the charts one week later.

[embedyt] https://www.youtube.com/watch?v=hRXb7K7k7bQ[/embedyt]

Oh Pretty Woman: Roy Orbison

a song recorded by Roy Orbison, written by Orbison and Bill Dees. It was released as a single in August 1964 on Monument Records and spent three weeks at number one on the Billboard Hot 100 on September 26, 1964 – the second single by Orbison to top the US charts.

It was also Orbison’s third single to top the UK Singles Chart (for a total of three weeks). The record ultimately sold seven million copies and marked the high point in Orbison’s career. Within months of its release, in October 1964, the single was certified gold by the RIAA. At the year’s end, Billboard ranked it the number four song of 1964.

The lyrics tell the story of a man who sees a pretty woman walking by. He yearns for her and wonders if, as beautiful as she is, she might be lonely like he is. At the last minute, she turns back and joins him.

The title was inspired by Orbison’s wife, Claudette, interrupting a conversation to announce she was going out. When Orbison asked if she had enough cash, his co-writer Bill Dees interjected, “A pretty woman never needs any money.”

Orbison’s recording of the song, which used four guitars, was produced by Fred Foster.

[embedyt] https://www.youtube.com/watch?v=iMXX4uUarEg[/embedyt]

You’ve Lost That Lovin’ Feelin’: The Righteous Brothers

is a song written by Phil Spector, Barry Mann, and Cynthia Weil. It was first recorded by the Righteous Brothers in 1964, and was produced by Phil Spector.

Their recording is considered by some music critics to be the ultimate expression and illustration of Spector’s “Wall of Sound” recording technique.

It has also been described by various music writers as “one of the best records ever made” and “the ultimate pop record”.

The original Righteous Brothers version was a critical and commercial success on its release, becoming a number-one hit single in both the United States and the United Kingdom in February 1965.

It was the fifth best selling song of 1965 in the US. It also entered the Top 10 in the UK chart on an unprecedented three separate occasion

[embedyt] https://www.youtube.com/watch?v=03iSUjHaUxY[/embedyt]

Eight Days a Week: The Beatles

Is a song by the English rock band the Beatles. It was written by Paul McCartney and John Lennon based on McCartney’s original idea. The song was released in the United Kingdom in December 1964 on the album Beatles for Sale. In the United States, it was first issued as a single in February 1965 before appearing on the North American release Beatles VI.

The song was the band’s seventh number 1 single on the Billboard Hot 100, a run of US chart success achieved in just over a year. The single was also number 1 in Canada, Belgium and the Netherlands.

The Beatles recorded “Eight Days a Week” at EMI Studios in London in October 1964. The track opens with a fade-in, marking the first time that this technique had been used on a pop studio recording. The song was reissued worldwide in 2000 on the Beatles compilation album 1. I

t also provided the title for director Ron Howard’s 2016 documentary film on the band’s years as live performers, The Beatles: Eight Days a Week.

I Hear a Symphony: The Supremes

Is a 1965 song recorded by The Supremes for the Motown label. Written and produced by Motown’s main production team, Holland–Dozier–Holland, the song became their sixth number-one pop hit on Billboard Hot 100 pop singles chart in the United States for two weeks from November 14, 1965 through November 27, 1965. On the UK pop chart, the single peaked at number thirty-nine.

[embedyt] https://www.youtube.com/watch?v=_T9SEY8eLyk[/embedyt]

Mrs. Brown You’ve Got a Lovely Daughter: Herman’s Hermits

is a popular song written by British actor, screenwriter and songwriter Trevor Peacock. It was originally sung by actor Tom Courtenay in The Lads, a British TV play of 1963, and released as a single on UK Decca.

The best-known version of the song is by Herman’s Hermits, who took it to number one on the US Billboard Hot 100 in May 1965, and number one in Canada the month before. The single debuted on the Hot 100 at number 12 — the third highest debut of the decade (after the Beatles’ “Hey Jude” and “Get Back”).^[3] The Hermits never released the track — or their other US 1965 number one, “I’m Henry VIII, I Am” — as a single in their native Britain. “Mrs Brown, You’ve Got a Lovely Daughter” was recorded as an afterthought in two takes and featured unique muted lead and rhythm guitar by Derek Leckenby and Keith Hopwood and heavily accented lead vocals by Peter Noone, with backing vocals from Karl Green and Keith Hopwood. The band never dreamed it would be a single let alone hit number one in the US. According to Noone the song was well known to British bands; it would often be performed at birthday parties, substituting the surname of the girl whose party was being celebrated, i.e., “Mrs. Smith” or “Mrs. Jones” instead of “Mrs. Brown”

[embedyt] https://www.youtube.com/watch?v=lv8k0VI9tBc[/embedyt]

I Can’t Help Myself: The Four Tops

a 1965 hit song recorded by the Four Tops for the Motown label.

Written and produced by Motown’s main production team Holland–Dozier–Holland, the song is one of the most well-known Motown tunes of the 1960s. The song reached number one on the R&B charts and was also the number-one song on the Billboard Hot 100 for two non-consecutive weeks, from June 12 to June 19 and from June 26 to July 3 in 1965. It replaced “Back in My Arms Again” by labelmates The Supremes, was first replaced by “Mr. Tambourine Man” by The Byrds, then regained the top spot before being replaced by “(I Can’t Get No) Satisfaction” by The Rolling Stones. Billboard ranked the record as the No. 2 song of 1965. It was also the Four Tops first Top 40 single in the UK, reaching #23 on its original release, and a 1970 reissue peaked at #10 in the UK charts.

The song finds lead singer Levi Stubbs, assisted by the other three Tops and The Andantes, pleadingly professing his love to a woman: “Sugar pie, honey bunch/I’m weaker than a man should be!/Can’t help myself/I’m a fool in love, you see.” The melodic and chordal progressions are very similar to the Supremes’ “Where Did Our Love Go”. AllMusic critic Ed Hogan claims that the song uses the same chords as The Supremes’ 1964 hit “Where Did Our Love Go,” also written by Holland-Dozier-Holland.

[embedyt] https://www.youtube.com/watch?v=s3bksUSPB4c[/embedyt]

(I Can’t Get No) Satisfaction: Rolling Stones

is a song by the English rock band the Rolling Stones, released in 1965. It was written by Mick Jagger and Keith Richards and produced by Andrew Loog Oldham. Richards’ three-note guitar riff‍—‌intended to be replaced by horns‍—‌opens and drives the song. The lyrics refer to sexual frustration and commercialism.

The song was first released as a single in the United States in June 1965 and was also featured on the American version of the Rolling Stones’ fourth studio album, Out of Our Heads, released that July.

“Satisfaction” was a hit, giving the Stones their first number one in the US. In the UK, the song initially was played only on pirate radio stations, because its lyrics were considered too sexually suggestive. It later became the Rolling Stones’ fourth number one in the United Kingdom.

I Got You Babe: Sonny and Cher

Is a song written by Sonny Bono. It was the first single taken from the debut studio album Look at Us, of the American pop music duo Sonny & Cher. In August 1965, their single spent three weeks at number 1 on the Billboard Hot 100 in the United States where it sold more than 1 million copies and was certified Gold. It also reached number 1 in the United Kingdom and Canada. In 1985, a cover version of “I Got You Babe” by British reggae/pop band UB40 featuring American singer Chrissie Hynde, peaked at number one in the UK Singles Chart and reached number 28 on the US Billboard Hot 100 chart. A 1993 version by Cher with Beavis and Butt-Head bubbled under the Hot 100 chart.

[embedyt] https://www.youtube.com/watch?v=BERd61bDY7k[/embedyt]

Turn Turn Turn: The Byrds

 is a song written by Pete Seeger in the late 1950s. The lyrics, except for the title, which is repeated throughout the song, and the final two lines, are adapted word-for-word from the English version of the first eight verses of the third chapter of the biblical Book of Ecclesiastes. The song was originally released in 1962 as “To Everything There Is a Season” on folk group the Limeliters’ RCA album Folk Matinee and then some months later on Seeger’s own The Bitter and the Sweet.

The song became an international hit in late 1965 when it was adapted by the American folk rock group the Byrds. The single entered the record chart at number 80 on October 23, 1965, before reaching number one on the Billboard Hot 100 chart on December 4, 1965. In Canada, it reached number three on Nov. 29, 1965, and also peaking at number 26 on the UK Singles Chart

“Turn! Turn! Turn!” was adapted by the Byrds using a folk rock arrangement. Columbia Records released it as a single on October 1, 1965, with the Gene Clark original composition “She Don’t Care About Time” as the B-side. The song is included on the band’s second album, Turn! Turn! Turn!, which was released on December 6, 1965. The Byrds’ single is the most successful recorded version of the song, having reached number one on the US Billboard Hot 100 charts and number 26 on the UK Singles Chart. The book of Ecclesiastes was written between the 3rd and 10th centuries BC, thus “Turn! Turn! Turn!” is the number one pop hit with the oldest lyrics.

The song had first been arranged by the Byrds’ lead guitarist Jim McGuinn in a chamber-folk style during sessions for Judy Collins’ 1963 album, Judy Collins 3. The idea of reviving the song came to McGuinn during the Byrds’ July 1965 tour of the American Midwest, when his future wife, Dolores, requested the tune on the Byrds’ tour bus. The rendering that McGuinn dutifully played came out sounding not like a folk song but more like a rock/folk hybrid, perfectly in keeping with the Byrds’ status as pioneers of the folk rock genre. McGuinn explained, “It was a standard folk song by that time, but I played it and it came out rock ‘n’ roll because that’s what I was programmed to do like a computer. I couldn’t do it as it was traditionally. It came out with that samba beat, and we thought it would make a good single.”

The master recording of the song reportedly took 78 takes, spread over five days of recording, to complete.

The song’s plea for peace and tolerance struck a nerve with the American record buying public as the Vietnam War escalated. The single also solidified folk rock as a chart trend and, like the band’s previous hits, continued the Byrds’ successful mix of vocal harmony and jangly twelve-string Rickenbacker guitar playing. Pete Seeger expressed his approval of the Byrds’ rendering of the song.

During 1965 and 1966, the band performed the song on the television programs Hollywood A Go-Go, Shindig!, The Ed Sullivan Show, and Where the Action Is, as well as in the concert film, The Big T.N.T. Show. Additionally, the song would go on to become a staple of the Byrds’ live concert repertoire, until their final disbandment in 1973. The song was also performed live by a reformed line-up of the Byrds featuring Roger McGuinn, David Crosby and Chris Hillman in January 1989. In addition to its appearance on the Turn! Turn! Turn! album, the song also appears on several Byrds’ compilations, including The Byrds’ Greatest Hits, History of The Byrds, The Original Singles: 1965–1967, Volume 1, The Byrds, 20 Essential Tracks From The Boxed Set: 1965-1990, The Very Best of The Byrds, The Essential Byrds and There Is a Season.

The recording has been featured in numerous movies and TV shows, including 1983’s Heart Like a Wheel, 1994’s Forrest Gump and 2002’s In America. Following Joe Cocker’s cover of “With a Little Help from My Friends”, the song was the first to play on the first episode of the television series The Wonder Years. It was also used in a Wonder Years parody, during The Simpsons episode, “Three Men and a Comic Book”. In 2003, it was used in the closing sequence of the Cold Case episode “A Time to Hate” (Season One, episode 7).

[embedyt] https://www.youtube.com/watch?v=pX6SuX0Z6AQ[/embedyt]

We Can Work It Out: Beatles

Is a song by the English rock band the Beatles, written by Paul McCartney and John Lennon. It was first issued as a double A-side single with “Day Tripper” in December 1965. The release marked the first time in Britain that both tracks on an artist’s single were promoted as joint A-sides. The song was recorded during the sessions for the band’s Rubber Soul album. The single was number 1 in Britain (where it was also the top-selling single of 1965), America, Australia, Canada and Ireland.

“We Can Work It Out” is a comparatively rare example of a Lennon–McCartney collaboration from this period in the Beatles’ career, in that it recalls the level of collaboration the two songwriters had shared when writing the group’s hit singles of 1963. This song, “A Day in the Life”, “Baby, You’re a Rich Man” and “I’ve Got a Feeling”, are among the notable exceptions.

[embedyt] https://www.youtube.com/watch?v=Qyclqo_AV2M[/embedyt]

These Boots Are Made for Walkin’: Nancy Sinatra

is a hit song written by Lee Hazlewood and recorded by Nancy Sinatra. It charted January 22, 1966^[ and reached No. 1 in the United States Billboard Hot 100 and in the UK Singles Chart.

Nancy Sinatra was encouraged by Lee Hazlewood to sing the song as if she were “a sixteen-year-old girl who fucks truck drivers”. Sinatra’s recording of the song was made with the help of Los Angeles session musicians known as the Wrecking Crew. This session included Hal Blaine on drums, Al Casey, Tommy Tedesco, and Billy Strange on guitars, Ollie Mitchell, Roy Caton and Lew McCreary on horns, Carol Kaye on electric bass and Chuck Berghofer on double bass, providing the notable bass line. Nick Bonney was the guitarist for the Nelson Riddle Orchestra.

[embedyt] https://www.youtube.com/watch?v=SbyAZQ45uww[/embedyt]

Monday, Monday: The Mamas and The Papas

is a 1966 song written by John Phillips and recorded by the Mamas & the Papas using background instruments played by members of The Wrecking Crew for their 1966 album If You Can Believe Your Eyes and Ears. It was the group’s only #1 hit on the U.S. Billboard Hot 100.

Phillips said that he wrote the song quickly, in about 20 minutes. The song includes a false ending, when there is a pause before the coda of the song, and goes up a half note for the bridges and refrains of the song. It was the second consecutive #1 hit song in the U.S. to contain a false ending, succeeding “Good Lovin'” by the Young Rascals, and the first time this novelty had occurred between consecutive #1 hits.

On March 2, 1967, The Mamas & the Papas won a Grammy Award for Best Pop Performance by a Duo or Group with Vocal for this song.

Arguably the best live or studio version of the song was performed at the Monterey Rock Festival (California) in 1967. The performance was recorded for film at the time but not in a solo album.

[embedyt] https://www.youtube.com/watch?v=h81Ojd3d2rY[/embedyt]

Paint It Black: Rolling Stones

is a song by the English rock band the Rolling Stones. Jointly credited to songwriting partnership of Mick Jagger and Keith Richards, it was first released as a single on 6 May 1966 and was later included as the opening track to the US version of their 1966 album, Aftermath.

“Paint It Black” reached number one in both the Billboard Hot 100 and UK Singles Chart. The song became the Rolling Stones’ third number one hit single in the US and sixth in the UK. Since its initial release, the song has remained influential as the first number one hit featuring a sitar, particularly in the UK where it has charted in two other instances, and has been the subject of multiple cover versions, compilation albums, and film appearances.

[embedyt] https://www.youtube.com/watch?v=9BcJaUYE5Jw[/embedyt][embedyt] https://www.youtube.com/watch?v=9BcJaUYE5Jw[/embedyt]

The post #1 Hits Singles in the US on Billboard Hot 100, from the 50s, 60s and 70s part 2 appeared first on The History of Rock and Roll Radio Show.

(We’re Gonna) Rock Around the Clock: Bill Haley and His Comets

 is a rock and roll song in the 12-bar blues format written by Max C. Freedman and James E. Myers (the latter under the pseudonym “Jimmy De Knight”) in 1952.

The best-known and most successful rendition was recorded by Bill Haley & His Comets in 1954 for American Decca. It was a number one single on both the United States and United Kingdom charts and also re-entered the UK Singles Chart in the 1960s and 1970s.

It was not the first rock and roll record, nor was it the first successful record of the genre (Bill Haley had American chart success with “Crazy Man, Crazy” in 1953, and in 1954, “Shake, Rattle and Roll” sung by Big Joe Turner reached No. 1 on the Billboard R&B chart).

Haley’s recording nevertheless became an anthem for rebellious 1950s youth and is widely considered to be the song that, more than any other, brought rock and roll into mainstream culture around the world.

The song is ranked No. 158 on the Rolling Stone magazine’s list of The 500 Greatest Songs of All Time.

[embedyt] https://www.youtube.com/watch?v=ZgdufzXvjqw[/embedyt]

Cry: Johnnie Ray

is the title of a 1951 popular song written by Churchill Kohlman. The song was first recorded by Ruth Casey on the Cadillac label. The biggest hit version was recorded in New York City by Johnnie Ray and The Four Lads on October 16, 1951. Johnnie Ray recording was released on Columbia Records subsidiary label Okeh Records as catalog number Okeh 6840. It was a No.1 hit on the Billboard magazine chart that year, and one side of one of the biggest two-sided hits, as the flip side, “The Little White Cloud That Cried,” reached No.2 on the Billboard chart. This recording also hit number one on the R&B Best Sellers lists and the flip side, “The Little White Cloud that Cried,” peaked at number six. When the single started to crack the charts the single was released on Columbia Records catalog number Co 39659.

[embedyt] https://www.youtube.com/watch?v=lIxl_ISz1Ag[/embedyt]

Sh-Boom: The Crew Cuts

is an early doo-wop song. It was written by James Keyes, Claude Feaster, Carl Feaster, Floyd F. McRae, and James Edwards, members of the R&B vocal group the Chords and published in 1954. It was a U.S. top ten hit that year for both the Chords (who first recorded the song) and the Crew-Cuts.

The song was first recorded on Atlantic Records’ subsidiary label Cat Records by the Chords on March 15, 1954 and would be their only hit song. “Sh-Boom” reached #2 on the Billboard R&B charts and peaked at #9 on the pop charts. It is sometimes considered to be the first doo-wop or rock ‘n’ roll record to reach the top ten on the pop charts (as opposed to the R&B charts). This version was ranked #215 on Rolling Stone‘s list of the 500 Greatest Songs of All Time and is the group’s only song on the list.

A more traditional version was made by a Canadian group, the Crew-Cuts (with the David Carroll Orchestra), for Mercury Records and was #1 on the Billboard charts for nine weeks during August and September 1954. The single first entered the charts on July 30, 1954 and stayed for 20 weeks. The Crew-Cuts performed the song on Ed Sullivan’s Toast of the Town on December 12, 1954. On the Cash Box magazine best-selling record charts, where both versions were combined, the song reached #1.

[embedyt] https://www.youtube.com/watch?v=Q9G0-4TWwew[/embedyt]

Mr. Sandman: The Chordettes

is a popular song written by Pat Ballard which was published in 1954 and first recorded in May of that year by Vaughn Monroe & His Orchestra and later that same year by The Chordettes. The song’s lyrics convey a request to “Mr. Sandman” to “bring me a dream” – the traditional association with the folkloric figure, the sandman.

The Chordettes’ recording of the song was released on the Cadence Records label, whose founder, Archie Bleyer, is credited on the disc’s label as percussionist (using his knees) and orchestra conductor. Bleyer’s voice is heard in the third verse, when he says the word “Yes?” The piano is played by Moe Wechsler. Liberace’s name is mentioned for his “wavy hair” and Pagliacci for having a lonely heart (a reference to the opera Pagliacci by Ruggero Leoncavallo).

The single reached #1 on the Billboard United States charts and #11 in the United Kingdom charts in 1954. In November 1954, The Four Aces, backed by the Jack Pleis Orchestra, released a version that charted even higher in the UK, reaching #9 and in the same year, a version by Max Bygraves reached #16 in the UK charts. The most successful recording of the song in the UK was by Dickie Valentine, which peaked at #5. On the Cash Box magazine charts in the US, where all versions were combined, the song also reached #1.

[embedyt] https://www.youtube.com/watch?v=VNUgsbKisp8[/embedyt]

My Prayer: The Platters

is a 1939 popular song with music by salon violinist Georges Boulanger and lyrics by Carlos Gomez Barrera and Jimmy Kennedy. It was originally written by Boulanger with the title “Avant de Mourir” in 1926.

The lyrics for this version were added by Kennedy in 1939.

Glenn Miller recorded the song that year for a number two hit and The Ink Spots’ version featuring Bill Kenny reached number three, as well, that year.

It has been recorded many times since, but the biggest hit version was a doo-wop rendition in 1956 by The Platters, whose single release reached number one on the Billboard Top 100 in the summer, and ranked four for the year.

[embedyt] https://www.youtube.com/watch?v=eDlcqhlzDqQ[/embedyt]

The Great Pretender: The Platters

is a popular song recorded by The Platters, with Tony Williams on lead vocals, and released as a single on November 3, 1955. The words and music were written by Buck Ram, the Platters’ manager and producer who was a successful songwriter before moving into producing and management. “The Great Pretender” reached the number one position on both the R&B and pop charts in 1956. It also reached the UK charts peaking at number 5.

[embedyt] https://www.youtube.com/watch?v=FyM8NVl4yBY[/embedyt]

Don’t Be Cruel/Hound Dog: Elvis Presley

 “Don’t Be Cruel” is a song recorded by Elvis Presley and written by Otis Blackwell in 1956. It was inducted into the Grammy Hall of Fame in 2002. In 2004, it was listed #197 in Rolling Stone’s list of 500 Greatest Songs of All Time. The song is currently ranked as the 173rd greatest song of all time, as well as the sixth best song of 1956, by Acclaimed Music.

Recording

“Don’t Be Cruel” was the first song that Presley’s song publishers, Hill and Range, brought to him to record. Blackwell was more than happy to give up 50% of the royalties and a co-writing credit to Presley to ensure that the “hottest new singer around covered it”. But unfortunately he had already sold the song for only $25, as he stated in an interview of American Songwriter.

Freddy Bienstock, Presley’s music publisher, gave the following explanation for why Elvis received co-writing credit for songs like “Don’t Be Cruel.” “In the early days Elvis would show dissatisfaction with some lines and he would make alterations, so it wasn’t just what is known as a ‘cut-in’. His name did not appear after the first year.

But if Elvis liked the song, the writers would be offered a guarantee of a million records and they would surrender a third of their royalties to Elvis’.”

Presley recorded the song on July 2, 1956 during an exhaustive recording session at RCA studios in New York City. During this session he also recorded “Hound Dog”, and “Any Way You Want Me”. The song featured Presley’s regular band of Scotty Moore on lead guitar (with Presley usually providing rhythm guitar), Bill Black on bass, D. J. Fontana on drums, and backing vocals from the Jordanaires. The producing credit was given to RCA’s Stephen H. Sholes, although the studio recordings reveal that Presley produced the songs in this session by selecting the song, reworking the arrangement on piano, and insisting on 28 takes before he was satisfied with it. He also ran through 31 takes of “Hound Dog”.

Release

The single was released on July 13, 1956 backed with “Hound Dog”. Within a few weeks “Hound Dog” had risen to #2 on the Pop charts with sales of over one million. Soon after it was overtaken by “Don’t Be Cruel” which took #1 on all three main charts; Pop, Country, and R ‘n’ B. Between them, both songs remained at #1 on the Pop chart for a run of 11 weeks tying it with the 1950 Anton Karas hit “The Third Man Theme” and the 1951/1952 Johnnie Ray hit “Cry” for the longest stay at number one by a single record from late 1950 onward until 1992’s smash “End of the Road” by Boyz II Men. By the end of 1956 it had sold in excess of four million copies. Billboard ranked it as the No. 2 song for 1956.

Presley performed “Don’t Be Cruel” during all three of his appearances on The Ed Sullivan Show in September 1956 and January 1957

“Hound Dog” is a twelve-bar blues song written by Jerry Leiber and Mike Stoller. Recorded originally by Willie Mae “Big Mama” Thornton on August 13, 1952, in Los Angeles and released by Peacock Records in late February 1953, “Hound Dog” was Thornton’s only hit record, selling over 500,000 copies, spending 14 weeks in the R&B charts, including seven weeks at #1. Thornton’s recording of “Hound Dog” is listed as one of the Rock and Roll Hall of Fame’s “500 Songs That Shaped Rock and Roll”, and was inducted into the Grammy Hall of Fame in February 2013

“Hound Dog” has been recorded more than 250 times. The best-known version of “Hound Dog” is the July 1956 recording by Elvis Presley, which is ranked No. 19 on Rolling Stone magazine’s list of the 500 Greatest Songs of All Time; it is also one of the best-selling singles of all time. Presley’s version, which sold about 10 million copies globally, was his best-selling song and “an emblem of the rock ‘n’ roll revolution”. It was simultaneously No. 1 on the US pop, country, and R&B charts in 1956, and it topped the pop chart for 11 weeks — a record that stood for 36 years. Presley’s 1956 RCA recording was inducted into the Grammy Hall of Fame in 1988, and it is listed as one of the Rock and Roll Hall of Fame’s “500 Songs That Shaped Rock and Roll”.

Barry Birnbaum described Elvis Presley’s rendition of “Hound Dog” as “an emblem of the rock ‘n’ roll revolution”. George Plasketes argues that Elvis Presley’s version of “Hound Dog” should not be considered a cover “since [most listeners] … were innocent of Willie Mae Thornton’s original 1953 release”. Michael Coyle asserts that “Hound Dog”, like almost all of Presley’s “covers were all of material whose brief moment in the limelight was over, without the songs having become standards.” While, because of its popularity, Presley’s recording “arguably usurped the original”, Plasketes concludes: “anyone who’s ever heard the Big Mama Thornton original would probably argue otherwise.” Presley was aware of and appreciated Big Mama Thornton’s original recording of “Hound Dog”, and had a copy in his personal record collection. Ron Smith, a schoolfriend of Presley’s, says he remembers Elvis singing along to a version by Tommy Duncan (lead singer for the classic lineup of Bob Wills and the Texas Playboys). According to another schoolmate, Elvis’ favorite r’n’b song was “Bear Cat (the Answer to Hound Dog)” by Rufus Thomas, a hero of Presley’s.

Agreeing with Robert Fink, who claims that “Hound Dog” as performed by Presley was intended as a “witty multiracial piece of sygnifyin’ humor, troping off white overreactions to a black sexual innuendo”, Freya Jarman-Ivens asserts that “Presley’s version of ‘Hound Dog’ started its life as a blackface comedy”, in the manner of Al Jolson, but more especially “African-American performers with a penchant for ‘clowning’ – – Louis Armstrong, Dizzy Gillespie, and Louis Jordan. It was Freddie Bell and the Bellboys’ performance of the song (with Bell’s amended lyrics) that influenced Presley’s decision to perform, and later record and release, his own version: “Elvis’s version of ‘Hound Dog’ (1956) came about, not as an attempt to cover Thornton’s record, but as an imitation of a parody of her record performed by Freddie Bell and the Bellboys. … The words, the tempo, and the arrangement of Elvis’ ‘Hound Dog’ come not from Thornton’s version of the song, but from the Bellboys’.” According to Rick Coleman, the Bellboys’ version “featured [Dave] Bartholomew’s three-beat Latin riff, which had been heard in Bill Haley’s ‘Shake, Rattle and Roll’.” Just as Haley had borrowed the riff from Bartholomew, Presley borrowed it from Bell and the Bellboys. The Latin riff form that was used in Presley’s “Hound Dog” was known as “Habanera rhythm,” which is a Spanish and African-American musical beat form. After the release of “Hound Dog” by Presley, the Habanera rhythm gained much popularity in American popular music.

Presley’s first appearance in Las Vegas was in the Venus Room of the New Frontier Hotel and Casino from Monday, April 23 through May 6, 1956, as an “extra added attraction”, third on the bill to Freddy Martin and His Orchestra and to comedian Shecky Greene. However, “because of audience dissatisfaction, low attendance, and unsavory behavior by underage fans”, the booking was reduced to one week At that time, Freddie Bell and the Bellboys, who had been performing as a resident act in the Silver Queen Bar and Cocktail Lounge in the Sands Casino since 1952, were one of the hottest acts in town. Presley and his band decided to take in their show, and not only enjoyed the show, but also loved their reworking of “Hound Dog”, which was a comedy-burlesque with show-stopping va-va-voom choreography. According to Paul W. Papa: “From the first time Elvis heard this song he was hooked. He went back over and over again until he learned the chords and lyrics.” Presley’s guitarist Scotty Moore recalled: “When we heard them perform that night, we thought the song would be a good one for us to do as comic relief when we were on stage. We loved the way they did it. They had a piano player [Russ Conti] who stood up and played – and the way he did his legs they looked like rubber bands bending back and forth. Jerry Leiber and Mike Stoller wrote the song for Big Mama Thornton, but Freddie and The Bell Boys had a different set of lyrics. Elvis got his lyrics from those guys. He knew the original lyrics but he didn’t use them”.” When asked about “Hound Dog”, Presley’s drummer D. J. Fontana admitted: “We took that from a band we saw in Vegas, Freddie Bell and the Bellboys. They were doing the song kinda like that. We went out there every night to watch them. He’d say: ‘Let’s go watch that band. It’s a good band!’ That’s where he heard ‘Hound Dog,’ and shortly thereafter he said: ‘Let’s try that song.'”

When asked if Bell had any objections to Presley recording his own version, Bell gave Colonel Tom Parker, Presley’s manager, a copy of his 1955 Teen Records’ recording, hoping that if Presley recorded it, “he might reap some benefit when his own version was released on an album.” According to Bell, “[Parker] promised me that if I gave him the song, the next time Elvis went on tour, I would be the opening act for him—which never happened.” In another interview Bell said: “I hope my career is more than giving ‘Hound Dog’ to Elvis”. In May 1956, two months before Presley’s release, Bell re-recorded the song in a more frantic version for the Mercury label, however it was not released as a single until 1957. It was later included on Bell’s 1957 album, Rock & Roll…All Flavors (Mercury Records MG 20289).

Early performances

Presley first added “Hound Dog” to his live performances at the New Frontier Hotel. Ace Collins indicates that “Far from being the frenetic, hard-driving song that he would eventually record, Elvis’ early live renditions of ‘Hound Dog’ usually moved pretty slowly, with an almost burlesque feel.” Just weeks after they had seen Bell and the Bellboys perform, “Hound Dog” became Elvis and Scotty and Bill’s closing number for the first time on May 15, 1956 at Ellis Auditorium in Memphis, during the Memphis Cotton Festival before an audience of 7,000. Like Bell and the Bellboys, Presley performed the song “as comic relief, basing the lyrics and his ‘gyrations’ … on what he had seen in Vegas.” Presley’s performance, including the lyrics (which he sometimes changed) and the gyrations always got a big reaction. It became the standard closer until the late 1960s. By the spring of 1956, Presley was fast becoming a national phenomenon and teenagers came to his concerts in unprecedented numbers. There were many riots at his early concerts. Scotty Moore recalled: “He’d start out, ‘You ain’t nothin’ but a Hound Dog,’ and they’d just go to pieces. They’d always react the same way. There’d be a riot every time.” Presley’s then manager Bob Neal wrote: “It was almost frightening, the reaction… from teenage boys. So many of them, through some sort of jealousy, would practically hate him.” In Lubbock, Texas, a teenage gang fire-bombed Presley’s car. Some performers became resentful (or resigned to the fact) that Presley going on stage before them would “kill” their own act; he thus rose quickly to top billing. At the two concerts he performed at the 1956 Mississippi-Alabama Fair and Dairy Show, one hundred National Guardsmen were on hand to prevent crowd trouble. Presley researcher Guillermo F. Perez-Argüello contends that:

Whatever Presley got from hearing Freddy Bell’s version, which was sometime in April of 1956, lasted a couple of months only. In fact he sang it 21 times, live, at concerts and on television, using Bell’s vocal arrangement but which also included his own blues version, at half speed, and only at the end, until he recorded it with what was undeniably, his own arrangement based not just on Scotty Moore’ tremendously modern guitar work but his own rage and disgust at what had taken place the night before, at Steve Allen’ s Tonight show, when he was forced to sing the song to a bassett hound, and dressed in tails while simultaneously [sic.] facing an audience of 40 million. And once he recorded it, it was his version which he chose to deliver, although by the end of 1956, he’d added inflections from the Thornton version as well.”

[embedyt] https://www.youtube.com/watch?v=-eHJ12Vhpyc[/embedyt]

Television performances

Milton Berle Show

Presley first performed “Hound Dog” for a nationwide television audience on The Milton Berle Show on June 5, 1956. It was his second appearance on Berle’s program, and his eighth appearance on national television since his debut on January 28, 1956 on Tommy and Jimmy Dorsey’s Stage Show which was then recorded and broadcast from the CBS-TV studio in New York City. For the first time Presley appeared on national television sans guitar. Berle later told an interviewer that he had told Elvis to leave his guitar backstage. “Let ’em see you, son”, advised Uncle Miltie. By this time, Scotty Moore had added a guitar solo to the song, and D.J. Fontana had added a hot drum roll between verses of the song. However, in performing “Hound Dog” “Elvis sings the first line like Freddie Bell and the Bellboys, who repeat “hound dog” behind the lead singer: Elvis sings “hound dog” and his “second voice” repeats “hound dog.” By the third verse, he sings the phrase like Thornton.” An upbeat version ended abruptly as Presley threw his arm back, then began to vamp at half tempo, “You ain’t-a nuthin’ but a hound dog, cuh-crying all the time. You ain’t never caught a rabbit…” A final wave signaled the band to stop. Elvis pointed threateningly at the audience, and belted out, “You ain’t no friend of mine.” Presley’s movements during the performance were energetic and exaggerated and the reactions of young women in the studio audience were enthusiastic, as shown on the broadcast.

Over 40,000,000 people saw the performance, and the next day, controversy exploded. According to Robert Fink, while “Hound Dog” as performed by Presley was intended as a “witty multiracial piece of signifying’ humor, trooping off white overreactions to a black sexual innuendo, … nobody got the joke. … The display was not taken as parody. ‘Hound Dog’ confirmed mainstream America’s worst fears about rock and roll, and sparked nationwide vituperation; for the first time, Presley … was attacked in the media as a sexual exhibitionist with no musical talent.” This performance of “Hound Dog” “triggers the first controversy of his career. Presley sings his latest single, “Hound Dog,” with all the pelvis-shaking intensity his fans scream for. Television critics across the country slam the performance for its “appalling lack of musicality,” for its “vulgarity” and “animalism.” The Catholic Church takes up the criticism in its weekly organ in a piece headlined “Beware Elvis Presley.” Concerns about juvenile delinquency and the changing moral values of the young find a new target in the popular singer. After Berle’s show, Ed Sullivan, whose variety show is one of television’s most popular, declares that he will never hire Presley. Steve Allen, who has already booked Presley for The Tonight Show, resists pressure from NBC to cancel the performance, promising he will not allow the singer to offend.”  Cultural theorist David Shumway wrote, “Berle’s network, NBC, received letters of protest, and the various self-appointed guardians of public morality attacked Elvis in the press.” TV critics began a merciless campaign against Elvis, making statements that he had a “caterwauling voice and nonsense lyrics” and was an “influence on juvenile delinquency” (despite the fact that when he started the movements, most of the audience laughed at it), and began using the sobriquet, “Elvis the Pelvis”.

Steve Allen Show

Elvis next appeared on national television singing “Hound Dog” on The Steve Allen Show on July 1. Steve Allen wrote: “When I booked Elvis, I naturally had no interest in just presenting him vaudeville-style and letting him do his spot as he might in concert. Instead we worked him into the comedy fabric of our program…We certainly didn’t inhibit Elvis’ then-notorious pelvic gyrations, but I think the fact that he had on formal evening attire made him, purely on his own, slightly alter his presentation”. As Allen was notoriously contemptuous of rock ‘n’ roll music and songs such as “Hound Dog”, he smirkingly presented Elvis “with a roll that looks exactly like a large roll of toilet paper with, says Allen, the ‘signatures of eight thousand fans,'” and the singer had to wear a tuxedo while singing an abbreviated version of “Hound Dog” to an actual top hat-wearing Basset Hound. Although by most accounts Presley was a good sport about it, according to Scotty Moore, the next morning they were all angry about their treatment the previous night.

Recording

For 7 hours from 2.00pm on July 2, 1956, the day after the Steve Allen Show performance, Presley recorded “Hound Dog” along with “Don’t Be Cruel” and “Any Way You Want Me” for RCA Victor at RCA’s New York City studio with his regular band of Scotty Moore on lead guitar, Bill Black on bass, D. J. Fontana on drums, and backing vocals from the Jordanaires. Despite its popularity in his live shows, Presley had not planned nor prepared to record “Hound Dog”, but agreed to do so at the insistence of RCA’s assigned producer Steve Sholes, who argued that “‘Hound Dog’ was so identified with Elvis that fans would demand a record of the concert standard.” According to Ace Collins: “Elvis may not have wanted to record ‘Hound Dog’, but he had a definite idea of how he wanted the finished product to sound. Though he usually slowed it down and treated it like a blues number in concert, in the studio Elvis wanted the song to come off as fast and dynamic.”^[ While the producing credit was given to Sholes, the studio recordings reveal that Presley produced the songs himself, which is verified by the band members. Gordon Stoker, First Tenor of The Jordanaires, who were chosen to provide backup vocals, recalls: “They had demos on almost everything that Elvis recorded, and we’d take it from the demo. We’d listen to the demo, most of the time, and we’d take it from the demo. We had (Big) Mama Thornton’s record on ‘Hound Dog’, since she had a record on that. After listening to it we actually thought it was awful and couldn’t figure out why Elvis wanted to do that.” However, what Stoker did not realize was that Presley wanted to record the version he saw in Las Vegas by Freddie Bell and the Bellboys that he had been performing since May. As session pianist Emidio “Shorty Long” Vagnoni left to work on a rehearsal for a stage show, Stoker plays piano on this recording of “Hound Dog”. As Stoker was unable to also sing first tenor, “the Jordanaires try to come up with a combined sound as best they can to cover it, and Gordon laughs as he states, ‘That’s one of the worst sounds we ever got on any record!’ However Elvis insists on doing the song, and the results, albeit without Gordon singing tenor, will still do more than please the masses. Gordon also related that Elvis very much knew in his mind what he wanted the final results to be so they didn’t spend a lot of time working out tempos.”^[224] In response to journalist Dave Schwensen, who said: “I remember reading an interview a few years ago with Keith Richards from The Rolling Stones, … “He was talking about the second guitar break on the recording of ‘Hound Dog’ and said it sounded like you just took off your guitar, dropped it on the floor and it got the perfect sound. He said he’s never been able to figure out how you did that.”, in 2002 Scotty Moore indicated: “I don’t know either,” … “Ahh … I was actually pissed off to tell’ya the truth.” … “It was just… Sometimes in the studio you do it too many times and you go past that peak. Like three takes before was really the one you should use. That was it. We had done the thing, (“Hound Dog”). I think it was printed somewhere that we did it about forty or sixty … I don’t know, give or take. But if someone was counting it off, just a couple notes and we stop, that’s a take. You know? ‘Take Two.’ But I was frustrated for some reason and in the second solo I just went, BLAH,”

[embedyt] https://www.youtube.com/watch?v=L_BNNqD1Eg0[/embedyt]

Musicologist Robert Fink asserts that “Elvis drove the band through thirty-one takes, slowly fashioning a menacing, rough-trade version quite different than the one they had been performing on the stage.” The result of Presley’s efforts was an “angry hopped-up version” of “Hound Dog”. Citing Presley’s anger at his treatment on the Steve Allen Show the previous evening, Peter Nazareth sees this recording as “revenge on Steve (“you ain’t no friend of mine”) Allen, and as a protest at being censored on national TV.”^[229] In analyzing Presley’s recording, Fink asserts that

“Hound Dog” is “notable for an unremitting level of what can only be called rock and roll dissonance: Elvis just shouts, leaving behind almost completely the rich vocal timbres (“romantic lyricism”) and mannerist rhythmic play on added syllables (“boogification”) that Richard Middleton identifies as the cornerstones of his art. Scotty Moore’s guitar is feral: playing rhythm he stays in the lowest register, slashing away at open fifths and hammering the strong beats with bent and distorted pitches; his repetitive breaks are stinging and even, when he begins one chorus in the wrong key, quite literally atonal. … And the Jordanaires, a gospel quartet who would provide wonderfully subtle rhythmic backup on the next song Elvis recorded at the session, ‘Don’t Be Cruel’, are just hanging on for the ride during this one, while drummer D.J. Fontana just goes plumb crazy. Fontana’s machine-gun drumming on this record has become deservedly famous: the only part of his kit consistently audible in the mix is the snare, played so loud and insistently that the RCA engineers just gave up and let his riffs distort into splatters of clipped noise. The overall effect could not be more different from the amuse, relaxed contempt of Big Mama Thornton; it is reminiscent of nothing so much s late 1970s white punk rage – the Ramones, Iggy Pop, the Sex Pistols.

In the end, Presley chose version 28, declaring: “This is the one.” During the day Presley’s manager Colonel Tom Parker told RCA vice president Larry Kananga that “Hound Dog” “may become such a big hit that RCA may have to change its corporate symbol from the ‘Victor Dog’ to the ‘Hound Dog’.”^[ After this recording, Presley performed this “angry hopped-up version” of “Hound Dog” in his concerts, and also on his performances on The Ed Sullivan Show on September 9 and October 28, 1956.

That’ll Be the Day: The Crickets

 is a song written by Buddy Holly and Jerry Allison. It was first recorded by Buddy Holly and the Three Tunes in 1956 and was re-recorded in 1957 by Holly and his new band, the Crickets.

The 1957 recording achieved widespread success. Holly’s producer, Norman Petty, was credited as a co-writer, although he did not contribute to the composition.

Background

In June 1956, Holly, Allison and Sonny Curtis went to see the movie The Searchers, starring John Wayne, in which Wayne repeatedly used the phrase “that’ll be the day”. This line of dialogue inspired the young musicians.

Buddy Holly and the Three Tunes’ version

The song was first recorded by Buddy Holly and the Three Tunes for Decca Records at Bradley’s Barn, in Nashville, on July 22, 1956. Decca, displeased with Holly’s previous two singles, did not issue recordings from this session. After the song was re-recorded by the Crickets in 1957 and became a hit, Decca released the original recording as a single (Decca D30434) on September 2, 1957, with “Rock Around with Ollie Vee” as the B-side. It was also the title track of the 1958 album That’ll Be the Day. Despite Holly’s newfound stardom, the single did not chart.

The Crickets’ version

Holly’s contract with Decca prohibited him from re-recording any of the songs recorded in the 1956 Nashville sessions for five years, even if Decca never released them. To evade this restriction, the producer Norman Petty credited the Crickets as the artist on his re-recording of “That’ll Be the Day” for Brunswick Records. Ironically, Brunswick was a subsidiary of Decca. Once the cat was out of the bag, Decca re-signed Holly to another of its subsidiaries, Coral Records, so he ended up with two recording contracts. Recordings with the Crickets were to be issued by Brunswick, and his solo recordings were to be on Coral.

The second recording of the song was made on February 25, 1957, seven months after the first, at the Norman Petty studios in Clovis, New Mexico, and issued by Brunswick on May 27, 1957. This version is on the debut album by the Crickets, The “Chirping” Crickets, issued on November 27, 1957.

The Brunswick recording of “That’ll Be the Day” is considered a classic of rock and roll. It was ranked number 39 on Rolling Stone’s list of the “500 Greatest Songs of All Time”.

The final phrase of the song’s lyrics — predicting “that’ll be the day-ay-ay when I die” — seemed eerily prescient after Holly, then only 22, and fellow singers Ritchie Valens and J.P. “The Big Bopper” Richardson were killed in a plane crash on Feb. 3, 1959, a tragically iconic event later memorialized as The Day the Music Died.

Charts and certification

The Brunswick single was a number-one hit on Billboard magazine’s Best Sellers in Stores chart in 1957. It went to number two on Billboard’s R&B singles chart. The song peaked at number 1 in the UK Singles Chart in November 1957 and stayed in that position for three weeks.

[embedyt] https://www.youtube.com/watch?v=XcveTkoahXU[/embedyt]

At the Hop: Danny and the Juniors

is a rock and roll/doo-wop song written by Artie Singer, John Medora, and David White and originally released by Danny & the Juniors. The song was released in the fall of 1957, and reached number one on the US charts on January 6, 1958, thus becoming one of the top-selling singles of 1958.

“At the Hop” also hit number one on the R&B Best Sellers list. Somewhat more surprisingly, the record reached #3 on the Music Vendor country charts. It was also a big hit elsewhere, which included the group enjoying a number 3 placing with the song on the UK charts.

Background

The song was written by White, Medora, and Singer in 1957, when Danny & the Juniors were still called The Juvenairs. Initially called “Do the Bop”, the song was heard by Dick Clark, who suggested they change its name. After performing the song on Clark’s show American Bandstand, it gained popularity and went to the top of the US charts, remaining at number one for five weeks.

The song describes the scene at a record hop, particularly the dances being performed and the interaction with the disc jockey host.

A sample of the song’s lyrics (contemporary popular dances in italics):

You can rock it you can roll it

Do the stomp and even stroll it

At the hop.

When the record starts spinnin’

You chalypso and you chicken at the hop

Do the dance sensation that is sweepin’ the nation

at the hop

[embedyt] https://www.youtube.com/watch?v=F3SrtN6tMyg[/embedyt]

Honeycomb: Jimmie Rodgers

is a popular song written by Bob Merrill in 1954. The best-selling version was recorded by Jimmie Rodgers and charted at number one on the Billboard Top 100 in 1957. “Honeycomb” also reached number one on the R&B Best Sellers chart and number seven on the Country & Western Best Sellers in Stores chart. It became a gold record. The song is referenced in the McGuire Sisters hit song “Sugartime”, when the soloist sings the line: “Just be my “Honeycomb” which is echoed by the other sisters and the male chorus. (Honeycomb, Honeycomb, Honeycomb.)

[embedyt] https://www.youtube.com/watch?v=zHa2fMpMBss[/embedyt]

All I Have to Do is Dream: The Everly Brothers

is a popular song made famous by the Everly Brothers, written by Boudleaux Bryant of the husband and wife songwriting team Felice and Boudleaux Bryant,^[2] and published in 1958. The song is ranked No. 141 on the Rolling Stone magazine’s list of The 500 Greatest Songs of All Time.

By far the best-known version was recorded by The Everly Brothers and released as a single in April 1958. It had been recorded by The Everly Brothers live in just two takes on March 6, 1958, and features Chet Atkins on guitar. It was the only single ever to be at No. 1 on all of Billboard‘ singles charts simultaneously, on June 2, 1958. It first reached No. 1 on the “Most played by Jockeys” and “Top 100” charts on May 19, 1958, and remained there for five and three weeks, respectively; with the August 1958 introduction of the Billboard Hot 100 chart, the song ended the year at No. 2. “All I Have to Do Is Dream” also hit No.1 on the R&B chart as well as becoming The Everly Brothers’ third chart topper on the country chart. The Everly Brothers briefly returned to the Hot 100 in 1961 with this song. It entered the U.K. Singles Chart on May 23, 1958, reaching the No. 1 position on July 4 and remaining there for seven weeks (including one week as a joint No. 1 with Vic Damone’s “On the Street Where You Live”), spending 21 weeks on the chart.

The song has also featured on several notable lists of the best songs or singles of all time, including Q‘s 1001 best songs ever in 2003. It was named one of the “500 Songs that Shaped Rock and Roll” by the Rock and Roll Hall of Fame and received the Grammy Hall of Fame Award in 2004.

[embedyt] https://www.youtube.com/watch?v=qxWZT0PXkGg[/embedyt]

Poor Little Fool: Ricky Nelson

is a rock and roll song written by Sharon Sheeley and first recorded by Ricky Nelson in 1958.

Sheeley wrote the song when she was fifteen years old. She had met Elvis Presley, and he encouraged her to write. It was based on her disappointment following a short-lived relationship with a member of a popular singing duo. Sheeley sought Ricky Nelson to record the tune. She drove to his house, and claimed her car had broken down. He came to her aid, and she sprang the song on him. Her version was at a much faster tempo than his recording.

The song was recorded by Ricky Nelson on April 17, 1958, and released on Imperial Records through its catalog number: 5528. It was the first number-one song on Billboard magazine’s then-new Hot 100 chart, replacing the magazine’s Jockeys and Top 100 charts. It spent two weeks at the number-one spot. It also reached the top ten on the Billboard Country and Rhythm and Blues charts. Following its success, Sheeley worked with Eddie Cochran.

[embedyt] https://www.youtube.com/watch?v=R12H8QWnwvE[/embedyt]

Mack the Knife: Bobby Darin

is a song composed by Kurt Weill with lyrics by Bertolt Brecht for their music drama Die Dreigroschenoper, or, as it is known in English, The Threepenny Opera. It premiered in Berlin in 1928 at the Theater am Schiffbauerdamm. The song has become a popular standard recorded by many artists, including a US and UK number one hit for Bobby Darin in 1959.

“Mack the Knife” was introduced to the United States hit parade by Louis Armstrong in 1956, but the song is most closely associated with Bobby Darin, who recorded his version at Fulton Studios on West 40th Street, New York City, on December 19, 1958 (with Tom Dowd engineering the recording). Even though Darin was reluctant to release the song as a single, in 1959 it reached number one on the Billboard Hot 100 and number six on the Black Singles chart, and earned him a Grammy Award for Record of the Year. Dick Clark had advised Darin not to record the song because of the perception that, having come from an opera, it would not appeal to the rock and roll audience. In subsequent years, Clark recounted the story with good humor. Frank Sinatra, who recorded the song with Quincy Jones on his L.A. Is My Lady album, called Darin’s the “definitive” version. Billboard ranked this version as the No. 2 song for 1959. Darin’s version was No. 3 on Billboard’s All Time Top 100. In 2003, the Darin version was ranked #251 on Rolling Stone‘s “The 500 Greatest Songs of All Time” list. On BBC Radio 4’s Desert Island Discs, pop mogul Simon Cowell named “Mack the Knife” the best song ever written. Darin’s version of the song was featured in the movie What Women Want. Both Armstrong and Darin’s versions were inducted by the Library of Congress in the National Recording Registry in 2016.^[10]

[embedyt] https://www.youtube.com/watch?v=GSGc0bx-kKM[/embedyt]

1960’s

Save the Last Dance for Me: The Drifters

is the title of a popular song written by Doc Pomus and Mort Shuman, first recorded in 1960 by The Drifters, with Ben E. King on lead vocals. In a 1990 interview, songwriter Doc Pomus tells the story of the song being recorded by the Drifters and originally designated as the B-side of the record. He credits Dick Clark with turning the record over and realizing “Save The Last Dance” was the stronger song. The Drifters’ version of the song, released a few months after Ben E. King left the group, would go on to spend three non-consecutive weeks at #1 on the U.S. pop chart, in addition to logging one week atop the U.S. R&B chart. In the UK The Drifters’ recording reached #2 in December 1960. This single was produced by Jerry Leiber and Mike Stoller, two noted American music producers who at the time had an apprentice relationship with a then-unknown Phil Spector. Although he was working with Leiber and Stoller at the time, it is unknown whether Spector assisted with the production of this record; however, many Spector fans have noticed similarities between this record and other music he would eventually produce on his own. Damita Jo had a hit with one of the answer songs of this era called “I’ll Save The Last Dance For You”. On September 9, 1965, the group performed the song live at the Cinnamon Cinder with Charlie Thomas lip-syncing the lyrics of Ben E. King vocals, along with fellow Drifters Johnny Moore and Eugene Pearson on backing vocals.

In the song, the narrator tells his lover she is free to mingle and socialize throughout the evening, but to make sure to save him the dance at the end of the night. During an interview on Elvis Costello’s show Spectacle, Lou Reed, who worked with Pomus, said the song was written on the day of Pomus’ wedding while the wheelchair-bound groom watched his bride dancing with their guests. Pomus had polio and at times used crutches to get around. His wife, Willi Burke, however, was a Broadway actress and dancer. The song gives his perspective of telling his wife to have fun dancing, but reminds her who will be taking her home and “in whose arms you’re gonna be.”

Musicians on the Drifters’ recording were: Bucky Pizzarelli, Allen Hanlon (guitar), Lloyd Trotman (bass) and Gary Chester (drums).

[embedyt] https://www.youtube.com/watch?v=ub4yxVA4zDs[/embedyt]

Will You Love Me Tomorrow: The Shirelles

Is a song written by Gerry Goffin and Carole King. It was originally recorded in 1960 by the Shirelles, who took their single to number one on the Billboard Hot 100 chart. The song is also notable for being the first song by a black all-girl group to reach number one in the United States. It has since been recorded by many artists over the years, including a 1971 version by co-writer Carole King.

Background

In 1960, the American girl group the Shirelles released the first version of the song as Scepter single 1211, with “Boys” on the B-side. The single’s first pressing was labelled simply “Tomorrow”, then lengthened later. When first presented with the song, lead singer Shirley Owens (later known as Shirley Alston-Reeves) did not want to record it, because she thought it was “too country.” She relented after a string arrangement was added. However, Owens recalled on Jim Parsons’ syndicated oldies radio program, Shake Rattle Showtime, that some radio stations had banned the record because they had felt the lyrics were too sexually charged. The song is in AABA form.

Reception

This version of the song, with session musicians Paul Griffin on piano and Gary Chester on drums, as of 2009 was ranked as the 162nd greatest song of all time, as well as the best song of 1960, by Acclaimed Music. It was ranked at #126 among Rolling Stone ‘s list of The 500 Greatest Songs of All Time. Billboard named the song #3 on their list of 100 Greatest Girl Group Songs of All Time.

The song later appeared on the soundtrack of Michael Apted’s Stardust.

Answer songs

Bertell Dache, a black demo singer for the Brill Building songwriters, recorded an answer song entitled “Not just Tomorrow, But Always”. It has been erroneously claimed by some historians that Dache was a pseudonym for Epic recording artist Tony Orlando, whose recording of the original song had not been released as Don Kirshner thought the lyric was convincing only as sung by a woman. However, an ad for United Artists Records which appeared in Billboard during 1961 featured a photo of the singer which conclusively proved that Dache was not Tony Orlando.

The Satintones, an early Motown group, also recorded an answer song called “Tomorrow and Always,” which used the same melody as the original but initially neglected to credit King and Goffin. Following a threat of litigation, later pressings of the record included proper credit. The Satintones’ versions are included in the box set The Complete Motown Singles, Volume 1: 1959–1961.

[embedyt] https://www.youtube.com/watch?v=cbxxkwBQk_o[/embedyt]

Blue Moon: The Marcels

is a classic popular song written by Richard Rodgers and Lorenz Hart in 1934, and has become a standard ballad. It may be the first instance of the familiar “50s progression” in a popular song.

The song was a hit twice in 1949 with successful recordings in the US by Billy Eckstine and Mel Tormé. In 1961, “Blue Moon” became an international number one hit for the doo-wop group The Marcels, on the Billboard 100 chart and in the UK Singles chart. Over the years, “Blue Moon” has been covered by various artists including versions by Frank Sinatra, Billie Holiday, Elvis Presley, The Mavericks, Dean Martin, The Supremes and Rod Stewart.

Bing Crosby included the song in a medley on his album On the Happy Side (1962). It is also the anthem of English Premier League football club Manchester City, who have adapted the song slightly.

Marcels version

Background

The Marcels, a doo-wop group, also recorded the track for their album Blue Moon. In 1961, the Marcels had three songs left to record and needed one more. Producer Stu Phillips did not like any of the other songs except one that had the same chord changes as “Heart and Soul” and “Blue Moon”. He asked them if they knew either, and one knew “Blue Moon” and taught it to the others, though with the bridge or release (middle section – “I heard somebody whisper…”) wrong. The famous introduction to the song (“bomp-baba-bomp” and “dip-da-dip”) was an excerpt of an original song that the group had in its act.

Reception

The record reached number one on the Billboard Pop chart for three weeks and number one on the R&B chart. It also peaked at #1 on the UK Singles Chart. The Marcels’ version of “Blue Moon” sold a million copies, and was awarded a gold disc.

[embedyt] https://www.youtube.com/watch?v=qoi3TH59ZEs[/embedyt]

Runaway: Del Shannon

is a number-one Billboard Hot 100 song made famous by Del Shannon in 1961. It was written by Shannon and keyboardist Max Crook, and became a major international hit. It is No. 472 on Rolling Stone‘s list of the 500 Greatest Songs of All Time, compiled in 2010.

Singer-guitarist Charles Westover and keyboard player Max Crook performed together as members of “Charlie Johnson and the Big Little Show Band” in Battle Creek, Michigan, before their group won a recording contract in 1960. Westover took the new stage name “Del Shannon”, and Crook, who had invented his own clavioline-based electric keyboard called a Musitron, became “Maximilian”.

After their first recording session for Big Top Records in New York City had ended in failure, their manager Ollie McLaughlin persuaded them to rewrite and re-record an earlier song they had written, “Little Runaway”, to highlight Crook’s unique instrumental sound. On January 21, 1961, they recorded “Runaway” at the Bell Sound recording studios, with Harry Balk as producer, Fred Weinberg as audio engineer and also session musician on several sections: session musician Al Caiola on guitar, Moe Wechsler on piano, and Crook playing the central Musitron break. Other musicians on the record included Al Casamenti and Bucky Pizzarelli on guitar, Milt Hinton on bass, and Joe Marshall on drums. Bill Ramall, who was the arranger for the session, also played baritone sax. After recording in A minor, producer Balk sped up the recording to pitch just below a B-flat minor. “Runaway” was released in February 1961 and was immediately successful. On April 10 of that year, Shannon appeared on Dick Clark’s American Bandstand helping to catapult it to the number one spot on the Billboard charts where it remained for four weeks. Two months later, it also reached number one in the UK. On the R&B charts, “Runaway” peaked at number three. The song was #5 on the Billboard Hot 100 Year-End Chart in 1961.

Del Shannon re-recorded it in 1967 as “Runaway ’67”. This version was issued as a single but failed to make the Hot 100.

[embedyt] https://www.youtube.com/watch?v=NMufLXrFIg8[/embedyt]

Runaround Sue: Dion

is a pop song, in a doo-wop style, originally a US No. 1 hit for the singer Dion during 1961 after he split with the Belmonts. The song ranked No. 351 on the Rolling Stone list of “The 500 Greatest Songs of All Time”. The song was written by Dion with Ernie Maresca, and tells the story of a disloyal lover.

[embedyt] https://www.youtube.com/watch?v=y4NUZJMCJ20[/embedyt]

The Lion Sleeps Tonight: The Tokens

Is a song written and recorded originally by Solomon Linda with the Evening Birds for the South African Gallo Record Company in 1939, under the title “Mbube“. Composed in Zulu, it was adapted and covered internationally by many 1950s and ’60s pop and folk revival artists, including the Weavers, Jimmy Dorsey, Yma Sumac, Miriam Makeba and the Kingston Trio. In 1961, it became a number one hit in the United States as adapted in English with the best-known version by the doo-wop group the Tokens. It went on to earn at least US$15 million in royalties from cover versions and film licensing. The pop group Tight Fit had a number one hit in the UK with the song in 1982.

[embedyt] https://www.youtube.com/watch?v=OQlByoPdG6c[/embedyt]

Breaking Up Is Hard to Do: Neil Sedaka

Is a song recorded by Neil Sedaka, and co-written by Sedaka and Howard Greenfield. Sedaka recorded this song twice, in 1962 and 1975, in two vastly different arrangements, and it is considered to be his signature song. Another song by the same name had previously been recorded by Jivin’ Gene [Bourgeois] and The Jokers, in 1959.

escribed by AllMusic as “two minutes and sixteen seconds of pure pop magic,” “Breaking Up Is Hard to Do” hit number one on the Billboard Hot 100 on August 11, 1962 and peaked at number twelve on the Hot R&B Sides chart. The single was a solid hit all over the world, reaching number 7 in the UK, sometimes with the text translated into foreign languages. For example, the Italian version was called “Tu non lo sai” (“You Don’t Know”) and was recorded by Sedaka himself.

On this version, background vocals on the song are performed by the female group The Cookies.

The personnel on the original recording session included: Al Casamenti, Art Ryerson, and Charles Macy on guitar; Ernie Hayes on piano; George Duvivier on bass; Gary Chester on drums; Artie Kaplan on saxophone; George Devens and Phil Kraus on percussion; Seymour Barab and Morris Stonzek on cellos; and David Gulliet, Joseph H. Haber, Harry Kohon, David Sackson, and Louis Stone on violins.

[embedyt] https://www.youtube.com/watch?v=tbad22CKlB4[/embedyt]

Surf City: Jan and Dean

is a song written by Brian Wilson and Jan Berry about a fictitious surf spot where there are “two girls for every boy.”^[1] It was first recorded and made popular by the American duo Jan and Dean in 1963, and their single became the first surf song to become a national number-one hit.

Jan and Dean version

The first draft of the song, with the working title “Goody Connie Won’t You Come Back Home”, was written by Brian Wilson of the Beach Boys. While at a party with Jan Berry and Dean Torrence, Wilson played them “Surfin’ U.S.A.” on the piano. Berry and Torrence suggested that they do the song as a single, but Wilson refused, as “Surfin’ U.S.A.” was intended for the Beach Boys. Wilson then suggested that the duo record “Surf City” instead, demoing the opening, verse, and chorus. Wilson had lost interest in the song and believed he was never going to complete it himself. Berry later contributed additional writing to the song, while Torrence also contributed several phrases, but never insisted that he be given writing credit.

Hal Blaine, Glen Campbell, Earl Palmer, Bill Pitman, Ray Pohlman and Billy Strange are identified as players for the single per the American Federation of Musicians contract.

Released in May 1963, two months later it became the first surf song to reach number one on national record charts, remaining at the top of Billboard Hot 100 for two weeks. The single crossed over to the Billboard R&B Chart where it peaked at number 3. It also charted in the UK, reaching number 26. Before the single, Jan and Dean made music which was largely inspired by East Coast black vocal group records. The success of “Surf City” gave them a unique sound and identity which would be followed by five more top ten hits inspired by Los Angeles surf or hot rod life.

The Beach Boys’ manager and Wilson’s father Murry was reportedly irate about the song, believing that Brian had wasted a number one record which could have gone to his group, the Beach Boys. Brian later told Teen Beat, “I was proud of the fact that another group had had a number 1 track with a song I had written … But dad would hear none of it. … He called Jan a ‘record pirate

[embedyt] https://www.youtube.com/watch?v=B6dJO8nAoYY[/embedyt]

My Boyfriend’s Back: The Angels

as a hit song in 1963 for the Angels, an American girl group. It was written by the songwriting team of Bob Feldman, Jerry Goldstein and Richard Gottehrer (a.k.a. FGG Productions who later formed the group the Strangeloves). The recording, employing the services of drummer Gary Chester, was originally intended as a demo for the Shirelles, but ended up being released as recorded. The single spent three weeks at number one on the Billboard Hot 100 chart, and reached number two on the R&B Billboard.

The song is a word of warning to a would-be suitor who, after the narrator of the song rebuffed his advances, went on to spread nasty rumors accusing the narrator of romantic indiscretions. Now, the narrator declares, her boyfriend is back in town and ready to settle the score, and she tells the rebuffed would-be suitor to watch his back.

Other musicians on the record included Herbie Lovelle on drums, Billy Butler, Bobby Comstock, and Al Gorgoni on guitar, and Bob Bushnell overdubbing on an electric and an upright bass. This song also features a brass section as well.

The song begins with a spoken recitation from the lead singer that goes: “He went away, and you hung around, and bothered me every night. And when I wouldn’t go out with you, you said things that weren’t very nice.”

The album version features the line: “Hey. I can see him comin’/ Now you better start a runnin'”. before the instrumental repeat of the bridge section and a repeat of one stanza from the refrain, before the coda section.

The inspiration for the song was when co-writer Bob Feldman overheard a conversation between a high school girl and the boy she was rebuffing.^[4]

Billboard named the song #24 on their list of 100 Greatest Girl Group Songs of All Time

[embedyt] https://www.youtube.com/watch?v=5NuofNHKbVc[/embedyt]

The post #1 Hit Singles in the US on Billboard Hot 100, from the 50s, 60s and 70s (Part 1) appeared first on The History of Rock and Roll Radio Show.