The post Love Songs Special – A Valentine’s Celebration appeared first on The History of Rock and Roll Radio Show.

1962: Phil (left) and Don Everly, the American rock n’ roll duo the Everly Brothers on stage. (Photo by Hulton Archive/Getty Images)

They began writing and recording their own music in 1956, and their first hit song came in 1957, with “Bye Bye Love”, written by Felice and Boudleaux Bryant. The song hit No. 1 in the spring of 1957, and additional hits would follow through 1958, many of them written by the Bryants, including “Wake Up Little Susie”, “All I Have to Do Is Dream”, and “Problems”. In 1960, they signed with the major label Warner Bros. Records and recorded “Cathy’s Clown”, written by the brothers themselves, which was their biggest selling single.

The brothers enlisted in the United States Marine Corps Reserve in 1961, and their output dropped off, though additional hit singles continued through 1962, with “That’s Old Fashioned (That’s the Way Love Should Be)” being their last top-10 hit. Long-simmering disputes with Wesley Rose, the CEO of Acuff-Rose Music, which managed the group, a growing drug usage in the 1960s, as well as changing tastes in popular music, led to the group’s decline in popularity in its native U.S., though the brothers continued to release hit singles in the U.K. and Canada, and had many highly successful tours throughout the 1960s.

In the early 1970s, the brothers began releasing solo recordings, and in 1973 they officially broke up. Starting in 1983, the brothers got back together, and would continue to perform periodically until Phil’s death in 2014. Don died seven years later.

The group was highly influential on the music of the generation that followed it. Many of the top acts of the 1960s were heavily influenced by the close-harmony singing and acoustic guitar playing of the Everly Brothers, including the Beatles, the Beach Boys, the Bee Gees, and Simon & Garfunkel.

The post The Everly Brothers appeared first on The History of Rock and Roll Radio Show.

The post A Walk Down Memory Lane: Music of 1958-1959 appeared first on The History of Rock and Roll Radio Show.

Eisenhower as an American Army general and statesman who served as the 34th President of the United States from 1953 to 1961. During World War II, he was a five-star general in the United States Army and served as Supreme Commander of the Allied Expeditionary Forces in Europe.

He was responsible for planning and supervising the invasion of North Africa in Operation Torch in 1942–43 and the successful invasion of France and Germany in 1944–45 from the Western Front.

He was also the first American President to be bound by the 22nd Amendment, which limits the number of times one can be elected to the office of President of the United States.

Born David Dwight Eisenhower in Denison, Texas, he was raised in Kansas in a large family of mostly Pennsylvania Dutch ancestry; his parents had a strong religious background. His mother was born a Lutheran, married as a River Brethren, and later became a Jehovah’s Witness. Eisenhower did not belong to any organized church until 1952. He cited constant relocation during his military career as one reason. He graduated from West Point in 1915 and later married Mamie Doud, with whom he had two sons. During World War I, he was denied a request to serve in Europe and instead commanded a unit that trained tank crews. Following the war, he served under various generals and was promoted to the rank of brigadier general in 1941. After the U.S. entered World War II, Eisenhower oversaw the successful invasions of North Africa and Sicily before supervising the invasions of France and Germany. After the war, Eisenhower served as Army Chief of Staff and then took on the uncomfortable role as president of Columbia University. In 1951–52, he served as the first Supreme Commander of NATO.

In 1952, Eisenhower entered the presidential race as a Republican in order to block the foreign policies of Senator Robert A. Taft. He won that election and the 1956 election in landslides, both times defeating Adlai Stevenson II. He became the first Republican elected President since 1928. Eisenhower’s main goals in office were to contain the expansion of the Soviet Union and reduce federal deficits. In 1953, he threatened the use of nuclear weapons until China agreed to terms regarding POWs in the Korean War. An armistice ended the stalemated conflict. His New Look policy of nuclear deterrence prioritized inexpensive nuclear weapons while reducing funding for expensive Army divisions. He continued Harry S. Truman’s policy of recognizing the Republic of China as the legitimate government of China, and he won congressional approval of the Formosa Resolution. His administration provided major aid to help the French fight off Vietnamese Communists in the First Indochina War. After the French left he gave strong financial support to the new state of South Vietnam. He supported local military coups against governments in Iran and Guatemala. During the Suez Crisis of 1956, Eisenhower condemned the Israeli, British and French invasion of Egypt, and he forced them to withdraw. He also condemned the Soviet invasion during the Hungarian Revolution of 1956 but took no action. During the Syrian Crisis of 1957 he approved a CIA-MI6 plan to stage fake border incidents as an excuse for an invasion by Syria’s pro-Western neighbours. After the Soviet Union launched Sputnik in 1957, Eisenhower authorized the establishment of NASA, which led to the Space Race. He deployed 15,000 soldiers during the 1958 Lebanon crisis. Near the end of his term, his efforts to set up a summit meeting with the Soviets collapsed when an American spy plane was shot down over Russia. He approved the Bay of Pigs invasion, which was left to his successor to carry out.

On the domestic front, Eisenhower was a moderate conservative who continued New Deal agencies and expanded Social Security. He covertly opposed Joseph McCarthy and contributed to the end of McCarthyism by openly invoking executive privilege. Eisenhower signed the Civil Rights Act of 1957 and sent Army troops to enforce federal court orders that integrated schools in Little Rock, Arkansas. His largest program was the Interstate Highway System. He promoted the establishment of strong science education via the National Defense Education Act. Eisenhower’s two terms saw widespread economic prosperity except for a minor recession in 1958. In his farewell address to the nation, Eisenhower expressed his concerns about the dangers of massive military spending, particularly deficit spending and government contracts to private military manufacturers. He was voted Gallup’s most admired man twelve times and also achieved widespread popular esteem both in and out of office. Historical evaluations of his presidency place him among the upper tier of U.S. presidents.

Hula Hoops

Wham-O Toy Company introduced hula hoops, 100 million were sold.

Explorer I

First American satellite, Explorer I, launched in orbit from Cape Canaveral on January 31, 1958.

The mission followed the first two satellites the previous year; the Soviet Union’s Sputnik 1 and 2, beginning the Cold War Space Race between the two nations.

Peace Symbol

Peace Symbol was deigned and completed by Gerald Holtom, commissioned by the campaign for Nuclear Disarmament, in protest against Atomic Weapons Research Establishment.

Elvis Presley

King of Rock and Roll, Elvis Presley reported for duty with the US Army on March 24, 1958.

Nikita Khrushchev (1894-1971)

On March 27^th, 1958, Nikita Khrushchev became Premier of the Soviet Union.

Van Cliburn (1934-2013)

Van Cliburn won the International Tchaikovsky Competition for pianists in Moscow, breaking Cold War tensions.

Ricky Nelson (1940-1985)

was an American rock and roll star, musician, and singer-songwriter. From age eight he starred alongside his family in the radio and television series The Adventures of Ozzie and Harriet.

In 1957 he began a long and successful career as a popular recording artist. As one of the top “teen idols” of the 1950s his fame led to a motion picture role co-starring alongside John Wayne and Dean Martin in Howard Hawks’s western feature film Rio Bravo (1959).

He placed 53 songs on the Billboard Hot 100 between 1957 and 1973 including “Poor Little Fool” in 1958, which holds the distinction of being the first #1 song on Billboard magazine’s then-newly created Hot 100 chart. He recorded 19 additional Top 10 hits and was inducted into the Rock and Roll Hall of Fame on January 21, 1987. 

NORAD

NORAD (North American Air Defense Command was established by the US, Canada for their mutual protection.

Charles de Gaulle (1890-1970)

Charles de Gualle was a French general and statesman. He was the leader of Free France (1940–1944) and the head of the Provisional Government of the French Republic (1944–1946). In 1958, he founded the Fifth Republic and was elected as the President of France, a position he held until his resignation in 1969. He was the dominant figure of France during the Cold War era and his memory continues to influence French politics.

Born in Lille, he graduated from Saint-Cyr in 1912. He was a decorated officer of the First World War, wounded several times, and later taken prisoner at Verdun. During the interwar period, he advocated mobile armored divisions. During the German invasion of May 1940, he led an armored division which counterattacked the invaders; he was then appointed Under-Secretary for War.

Refusing to accept his government’s armistice with Nazi Germany, de Gaulle exhorted the French population to resist occupation and to continue the fight in his Appeal of 18 June. He led a government in exile and the Free French Forces against the Axis. Despite frosty relations with Britain and especially the United States, he emerged as the undisputed leader of the French resistance. He became head of the Provisional Government of the French Republic in June 1944, the interim government of France following its Liberation. As early as 1944, de Gaulle introduced a dirigiste economic policy, which included substantial state-directed control over a capitalist economy which was followed by 30 years of unprecedented growth, known as Les Trente Glorieuses (“the glorious thirty”).

Frustrated by the return of petty partisanship in the new Fourth Republic, he resigned in early-1946 but continued to be politically active as founder of the Rassemblement du Peuple Français (RPF) (“Rally of the French People”) party. He retired in the early-1950s and wrote a book about his experience in the war titled War Memoirs, which quickly became a staple of modern French literature. When the Algerian War was ripping apart the unstable Fourth Republic, the National Assembly brought him back to power during the May 1958 crisis. He founded the Fifth Republic with a strong presidency, and he was elected to continue in that role. He managed to keep France together while taking steps to end the war, much to the anger of the Pieds-Noirs (settler population originating from European France) and the military; both previously had supported his return to power to maintain colonial rule. He granted independence to Algeria and progressively to other French colonies.

In the context of the Cold War, de Gaulle initiated his “politics of grandeur,” asserting that France as a major power should not rely on other countries, such as the United States, for its national security and prosperity. To this end, de Gaulle pursued a policy of “national independence” which led him to withdraw from NATO’s military integrated command and to launch an independent nuclear development program that made France the fourth nuclear power. He restored cordial Franco-German relations to create a European counterweight between the Anglo-American and Soviet spheres of influence through the signing of the Élysée Treaty on 22 January 1963. However, he opposed any development of a supranational Europe, favouring a Europe of sovereign nations. De Gaulle openly criticised the United States intervention in Vietnam and the “exorbitant privilege” of the US dollar. In his later years, his support for the slogan “Vive le Québec libre” (“Long live free Quebec!”) and his two vetoes of Britain’s entry into the European Economic Community generated considerable controversy.

Although reelected President in 1965, in May 1968 he appeared likely to lose power amid widespread protests by students and workers, but survived the crisis with backing from the army and won an election with an increased majority in the assembly. De Gaulle resigned in 1969 after losing a referendum in which he proposed more decentralization. He died a year later at his residence in Colombey-les-Deux-Églises, leaving his presidential memoirs unfinished.

Martin Luther King Jr.

Martin Luther King Jr. was stabbed by a black woman Izola Curry, while signing copies of his new book Stride Toward Freedom at a Harlem department store.

Hope Diamond

 November 10, 1958, New York Jeweler Harry Winston donated the Hope Diamond to the Smithsonian Institution, which became one of the most popular and enduring exhibits at the National Museum of Natural History in Washington DC.

NASA

Nasa is an independent agency of the executive branch of the United States federal government responsible for the civilian space program, as well as aeronautics and aerospace research.

President Dwight D. Eisenhower established NASA in 1958 with a distinctly civilian (rather than military) orientation encouraging peaceful applications in space science. The National Aeronautics and Space Act was passed on July 29, 1958, disestablishing NASA’s predecessor, the National Advisory Committee for Aeronautics (NACA). The new agency became operational on October 1, 1958.

Since that time, most US space exploration efforts have been led by NASA, including the Apollo Moon landing missions, the Skylab space station, and later the Space Shuttle. Currently, NASA is supporting the International Space Station and is overseeing the development of the Orion Multi-Purpose Crew Vehicle, the Space Launch System and Commercial Crew vehicles. The agency is also responsible for the Launch Services Program (LSP) which provides oversight of launch operations and countdown management for unmanned NASA launches.

Gigi

Gigi Is a 1958 American musical-romance film directed by Vincente Minnelli processed using MGM’s Metrocolor.

The screenplay by Alan Jay Lerner is based on the 1944 novella of the same name by Colette.

The film features songs with lyrics by Lerner and music by Frederick Loewe, arranged and conducted by André Previn.

Weary of the conventions of Parisian society, a rich playboy and a youthful courtesan-in-training enjoy a platonic friendship, but it may not stay platonic for long.

The Donna Reed Show

The Donna Reed Show is an American sitcom starring Donna Reed as the middle-class housewife Donna Stone.

Carl Betz co-stars as her pediatrician husband Dr. Alex Stone, and Shelley Fabares and Paul Petersen as their teenage children, Mary and Jeff.

The show originally aired on ABC from September 24, 1958 to March 19, 1966. When Fabares left the show in 1963, Petersen’s younger sister, Patty Petersen, joined the cast as adopted daughter Trisha. Patty Petersen had first appeared in the episode, “A Way of Her Own”, on January 31, 1963. Janet Landgard was a series regular from 1963-1965 as Karen Holmby.

Bob Crane and Ann McCrea appeared in the last seasons as Dr. Dave Kelsey and his wife, Midge, friends of the Stones, and Darryl Richard became a near regular in thirty-two episodes as Smitty, Jeff’s best buddy. The show featured a variety of celebrity guests including Esther Williams as a famous dress designer, baseball superstars Don Drysdale and Willie Mays as themselves, teen heartthrob James Darren as a pop singer with the measles, canine superstar Lassie, and young Jay North of CBS’s Dennis the Menace.

The series was created by William S. Roberts and developed by Reed and her then husband, producer Tony Owen. Episodes revolved around typical family problems of the period such as firing a clumsy housekeeper, throwing a retirement bash for a colleague, and finding quality time away from the children. Then-daring themes such as women’s rights and freedom of the press were occasionally explored.

The show had an uncertain start in the ratings and was almost cancelled, but fared better when it was moved from Wednesday to Thursday nights. In the show’s middle seasons, Fabares sang what became a #1 teen pop hit “Johnny Angel”, and Petersen had above average success with the song “My Dad”, also introduced during the course of the series.

The Donna Reed Show was one of television’s top 25 shows in 1963-1964. Reed was repeatedly nominated for Emmy Awards between 1959 and 1962, and won a Golden Globe as Best Female TV Star in 1963. She eventually grew tired of the work-a-day grind involved in the program, and it was cancelled in 1966 after 275 episodes.

Vertigo

is a 1958 American film noir psychological thriller film directed and produced by Alfred Hitchcock. The story was based on the 1954 novel D’entre les morts (From Among the Dead) by Boileau-Narcejac. The screenplay was written by Alec Coppel and Samuel A. Taylor.

The film stars James Stewart as former police detective John “Scottie” Ferguson. Scottie is forced into early retirement because an incident in the line of duty has caused him to develop acrophobia (an extreme fear of heights) and vertigo (a false sense of rotational movement). Scottie is hired by an acquaintance, Gavin Elster, as a private investigator to follow Gavin’s wife Madeleine (Kim Novak), who is behaving strangely.

The film was shot on location in San Francisco, California, and at Paramount Studios in Hollywood. It is the first film to use the dolly zoom, an in-camera effect that distorts perspective to create disorientation, to convey Scottie’s acrophobia. As a result of its use in this film, the effect is often referred to as “the Vertigo effect”.

The Rifleman

Was an American Western television program starring Chuck Connors as rancher Lucas McCain and Johnny Crawford as his son Mark McCain. It was set in the 1870s and 1880s in the fictional town of North Fork, New Mexico Territory. The show was filmed in black and white, in half-hour episodes. The Rifleman aired on ABC from September 30, 1958, to April 8, 1963, as a production of Four Star Television. It was one of the first prime time series on American television to show a widowed parent raising a child.

The program was titled to reflect McCain’s use of a Winchester rifle, customized to allow repeated firing by cycling its lever action. He demonstrated this technique in the opening credits of every episode, as well as a second modification that allowed him to cycle the action with one hand.

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.

Family and education

Don was born in Brownie, Muhlenberg County, Kentucky, in 1937, and Phil two years later in Chicago, Illinois. Their parents were Isaac Milford “Ike” Everly, Jr. (1908–1975), a guitar player, and Margaret Embry Everly. Actor James Best (born Jules Guy), also from Muhlenberg County, was the son of Ike’s sister. Margaret was 15 when she married Ike, who was 26. Ike worked in coal mines from age 14, but his father encouraged him to pursue his love of music. Ike and Margaret began singing together. The Everly brothers spent most of their childhood in Shenandoah, Iowa. They attended Longfellow Elementary School in Waterloo, Iowa, for a year, but then moved to Shenandoah in 1944, where they remained through early high school.

Ike Everly had a show on KMA and KFNF in Shenandoah in the mid-1940s, first with his wife and then with their sons. The brothers sang on the radio as “Little Donnie and Baby Boy Phil.” The family sang as the Everly Family. Ike, with guitarists Merle Travis, Mose Rager, and Kennedy Jones, was honored in 1992 by the construction of the Four Legends Fountain in Drakesboro, Kentucky.

The family moved to Knoxville, Tennessee, in 1953, where the brothers attended West High School. In 1955, the family moved to Madison, Tennessee, while the brothers moved to Nashville, Tennessee. Don had graduated from high school in 1955, and Phil attended Peabody Demonstration School in Nashville, from which he graduated in 1957. Both could now focus on recording.

1950s

While in Knoxville, the brothers caught the attention of family friend Chet Atkins, manager of RCA Victor’s studio in Nashville. The brothers became a duo and moved to Nashville. Despite affiliation with RCA, Atkins arranged for the Everly Brothers to record for Columbia Records in early 1956. Their “Keep a-Lovin’ Me,” which Don wrote and composed, flopped, and they were dropped from the Columbia label.

Atkins introduced them to Wesley Rose, of Acuff-Rose music publishers. Rose told them he would get them a recording deal if they signed to Acuff-Rose as songwriters. They duly signed in late 1956, and in 1957 Rose introduced them to Archie Bleyer, who was looking for artists for his Cadence Records. The Everlys signed and made a recording in February 1957. “Bye Bye Love” had been rejected by 30 other acts. Their record reached No. 2 on the pop charts, behind Elvis Presley’s “(Let Me Be Your) Teddy Bear,” and No. 1 on the country and No. 5 on the R&B charts. The song, by Felice and Boudleaux Bryant, became the Everly Brothers’s first million-seller.

Working with the Bryants, they had hits in the United States and the United Kingdom, the biggest being “Wake Up Little Susie,” “All I Have to Do Is Dream,” “Bird Dog,” and “Problems.” The Everlys, though they were largely interpretive artists, also succeeded as songwriters, especially with Don’s “(Till) I Kissed You,” which hit No. 4 on the United States pop charts.

The brothers toured with Buddy Holly in 1957 and 1958. According to Holly’s biographer Philip Norman, they were responsible for persuading Holly and the Crickets to change their outfits from Levi’s and T-shirts to the Everlys’ Ivy League suits. Don said Holly wrote and composed “Wishing” for them. “We were all from the South,” Phil observed of their commonalities. “We’d started in country music.” Although some sources say Phil Everly was one of Holly’s pallbearers in February 1959, Phil said in 1986 that he attended the funeral and sat with Holly’s family, but was not a pallbearer. Don did not attend, saying, “I couldn’t go to the funeral. I couldn’t go anywhere. I just took to my bed.”

1960s/1970s

Ather successful Warner Brothers singles followed in the United States, such as “So Sad (To Watch Good Love Go Bad)” (1960, pop No. 7), “Walk Right Back” (1961, pop No. 7), “Crying in the Rain” (1962, pop No. 6), and “That’s Old Fashioned” (1962, pop No. 9, their last top 10 hit). From 1960 to 1962, Cadence Records released Everly Brothers singles from the vaults, including “When Will I Be Loved” (pop No. 8), written and composed by Phil, and “Like Strangers.”

In the UK, they had top 10 hits until 1965, including “Lucille”/”So Sad” (1960, No. 4), “Walk Right Back”/”Ebony Eyes” (1961, No. 1), “Temptation” (1961, No. 1), “Cryin’ in the Rain” (1962, No. 6) and “The Price of Love” (1965, No. 2). They had 18 singles into the UK top 40 with Warner Brothers in the 1960s. By 1962, the brothers had earned $35 million from record sales.

In 1961, the brothers fell out with Wesley Rose during the recording of “Temptation.” Rose was reportedly upset that the Everlys were recording a song which he had not published and, hence, for which he would not receive any publishing royalties, and he made strenuous efforts to block the single’s release. The Everlys held firm to their position, and as a result, in the early 1960s, they were shut off from Acuff-Rose songwriters. These included Felice and Boudleaux Bryant, who had written and composed most of their hits, as well as Don and Phil Everly themselves, who were still contracted to Acuff-Rose as songwriters and had written several of their own hits. Nevertheless, from 1961 through early 1964, the Everlys recorded songs by other writers to avoid paying royalties to Acuff-Rose. They used the pseudonym “Jimmy Howard” as writer or arranger on two selections they wrote and recorded during this time — this ruse, however, was ultimately unsuccessful, as Acuff-Rose gained legal possession of the copyrights once the name substitution was discovered.

At this approximate time, the brothers also set up their own record label, Calliope Records, for solo projects. Using the pseudonym “Adrian Kimberly,” Don recorded a big-band instrumental version of Edward Elgar’s first “Pomp and Circumstance” March, which Neal Hefti arranged and which charted in the United States top 40 in mid-1961. Further instrumental singles credited to Kimberly followed, but none of those charted. Phil formed the Keestone Family Singers, which featured Glen Campbell and Carole King. Their lone single, “Melodrama,” failed to chart, and by the end of 1962, Calliope Records had gone out of business.

They never stopped working as a duo, but their last United States top 10 hit was 1962’s “That’s Old Fashioned (That’s The Way Love Should Be),” a song recorded but unreleased by the Chordettes and given to the brothers by their old mentor, Archie Bleyer.

Succeeding years saw the Everly Brothers sell fewer records in the United States. Their enlistments in the United States Marine Corps Reserve in October 1961 took them out of the spotlight. One of their few performances during their Marine service was on The Ed Sullivan Show, on February 18, 1962, when they performed “Jezebel” and “Crying in the Rain” while outfitted in their respective Marine Corps uniforms.

Following their discharges from active duty, the Everlys resumed their career, but with little success in the United States. Of their 27 singles on Warner Brothers from 1963 through 1970, only three made the Hot 100, and none peaked higher than No. 31. Album sales were also down. The Everlys’ first two albums for Warner (in 1960 and 1961) peaked at No. 9 U.S., but after that, of a dozen more LPs for Warner Brothers, only one made the top 200–1965’s “Beat & Soul,” which peaked at No. 141.

The brothers’ dispute with Acuff-Rose lasted till 1964, whereupon they resumed writing and composing as well as working with the Bryant spouses. By then, however, both of the brothers were addicted to amphetamines. Don’s condition was worse; he was taking Ritalin, which led to deeper trouble. Don’s addiction lasted three years, until he was hospitalized for a nervous breakdown and to treat his addiction. (The mainstream media of that time did not report that either brother was addicted. When Don collapsed in England in mid-October 1962, reporters were told he had food poisoning; when the tabloids suggested he had taken an overdose of pills, his wife and his brother insisted he was suffering physical and nervous exhaustion. It was years later that the story came out.) Don’s poor health ended their British tour; he returned to the United States, leaving Phil to carry on, with Joey Page, their bass player, taking his place.

Though their U.S. stardom had begun to wane two years before the British Invasion in 1964, their appeal was still strong in Canada, the United Kingdom and Australia. The Everlys remained successful in the UK and Canada for most of the 1960s, reaching the top 40 in the United Kingdom through 1968 and the top 10 in Canada as late as 1967. The 1966 album Two Yanks in England was recorded in England with the Hollies, who also wrote and composed many of the album’s songs. The Everlys’ final U.S. top 40 hit, “Bowling Green,” was released in 1967.

By the end of the 1960s, the brothers had returned to country rock, and their 1968 album, Roots, was hailed by some critics as “one of the finest early country-rock albums.” However, by the end of the 1960s, the Everly Brothers had ceased to be hitmakers in either North America or the United Kingdom, and in 1970, following an unsuccessful live album (The Everly Brothers Show), their contract with Warner Brothers lapsed after ten years. In 1970, they were the summer replacement hosts for Johnny Cash’s television show; their variety program, Johnny Cash Presents the Everly Brothers, was on ABC-TV and featured Linda Ronstadt and Stevie Wonder.

In 1970, Don released his first solo album, which was not a success. The brothers resumed performing in 1971, and with RCA Victor Records they issued two albums in 1972 and 1973. Lindsey Buckingham joined them in 1972 and toured with them. They said their final performance would be on July 14, 1973, at Knott’s Berry Farm, in California, but tensions between the two surfaced, and Don told a reporter he was tired of being an Everly Brother. During the show, Phil smashed his guitar and walked off while Don finished the show, ending their collaboration. The two would not rejoin forces musically for just over ten more years.

Fabian Forte

An American singer and actor.

Forte rose to national prominence after performing several times on American Bandstand.

He became a teen idol of the late 1950s and early 1960s. Eleven of his songs reached the Billboard Hot 100 listing.

Fabian Forte is the son of Josephine and Dominic Forte; his father was a Philadelphia police officer. He is the oldest of three brothers.

Discovery

Forte was discovered in 1957 by Bob Marcucci and Peter DeAngelis, owners of Chancellor Records. At the time, record producers were looking to the South Philadelphia neighborhoods in search of teenage talents with good looks.

Marcucci was a friend of Fabian’s next door neighbor. One day, Fabian’s father had a heart attack, and, while he was being taken away in an ambulance, Marcucci spotted Fabian. Fabian later recalled, “He kept staring at me and looking at me. I had a crew cut, but this was the day of Rick Nelson and Elvis. He comes up and says to me, ‘So if you’re ever interested in the rock and roll business… and hands me his card. I looked at the guy like he was out of his mind. I told him, “leave me alone. I’m worried about my dad’.”

When Fabian’s father returned from hospital he was unable to work, so when Marcucci persisted, Fabian and his family were amenable and he agreed to record a single. Frankie Avalon, also of South Philadelphia, suggested Forte as a possibility. “They gave me a pompadour and some clothes and those goddamned white bucks”, recalled Fabian, “and out I went.” “He was the right look and right for what we were going for”, wrote Marcucci later.

Singing stardom

Fabian was given an allowance from the record company of $30 a week. He also kept working part-time at a pharmacy as well as studying at South Philadelphia High School, while practicing his singing. Fabian later said “I didn’t know what I was doing, but I knew my goal, to try to make extra money. That meant a lot to our family. I rehearsed and rehearsed, and I really felt like a fish out of water. And we made a record. And it was horrible. Yet it got on he legendary Philadelphia rhythm and blues radio program] Georgie Woods. For some reason, Georgie Woods played it.”

The song was “Shivers”, which was a local hit in Chicago. This helped Fabian meet Dick Clark, who eventually put the young singer on American Bandstand where he sang “I’m in Love”. Fabian later admitted this song “was not very good either” but “the response – they told me – was overwhelming. I had no idea. All during that period, I was doing record hops. Not getting paid for it, but for the record company promotions. Just lip synching to my records. The response was really good.

Marcucci then gave Fabian a song written by Mort Shuman and Doc Pomus, “I’m a Man” (not the Bo Diddley hit), which Fabian later said he “liked a lot and was very comfortable with, was giving me more experience, but I still felt like a fish out of water.” The song made the top 40.

Marcucci heavily promoted Fabian’s next single, “Turn Me Loose”, using a series of advertisements saying “Fabian Is Coming”, then “Who is Fabian?” then finally “Fabian is Here”. It worked and “Turn Me Loose” went into the Top Ten, peaking at number 9. This was later followed by “Hound Dog Man”, (US #9; UK #46), and his biggest hit, “Tiger”, which reached #3 on the US charts. It sold over one million copies, and was awarded a gold disc by the RIAA. Other singles that charted included “String Along”, “About This Thing Called Love” and “This Friendly World”, which reached #12 on the US charts. At age 15, he won the Silver Award as “The Promising Male Vocalist of 1958.” His first album, Hold That Tiger reached the top 15 within two weeks.

Dion and The Belmonts

were a leading American vocal group of the late 1950s. All of its members were from the Bronx, New York City. In late 1957 Dion DiMucci joined The Belmonts with singers Carlo Mastrangelo, Fred Mila he name the Belmonts was derived from the fact that two of the four singers lived on Belmont Avenue in the Bronx, and the other two lived near Belmont Avenue.

After unsuccessful singles on Mohawk Records in 1957 and then on Jubilee Records (“The Chosen Few” Dion & the Timberlanes not the Belmonts), Dion was paired with The Belmonts. The group signed with Laurie Records in early 1958. The breakthrough came when their very first Laurie release, “I Wonder Why”, reached No. 22 on the Billboard Top 100 charts, and they appeared for the first time on the nationally televised American Bandstand show, hosted by Dick Clark. Dion said of the Belmonts, “I’d give ’em sounds. I’d give ’em parts and stuff. That’s what ‘I Wonder Why’ was about. We kind of invented this percussive rhythmic sound. If you listen to that song, everybody was doing something different. It was totally amazing. When I listen to it today, often times I think, ‘Man, those kids are talented’.” Dion and the Belmonts were the sound of the city. Their roots were doo-wop groups like the Flamingos, the Five Satins, the Dells, acts who developed their sound in urban settings on street corners, mimicking instruments with their voices, even complex jazz arrangements.

They followed the hit with the ballads “No One Knows” (No. 19) and “Don’t Pity Me” (No. 40), which they also performed on Bandstand. This early success brought them their first major tour in late 1958, with the Coasters, Buddy Holly and Bobby Darin, followed by the historic and tragic Winter Dance Party tour featuring Holly, Ritchie Valens and the Big Bopper. On February 2, 1959, after playing the Surf Ballroom, Holly arranged to charter a plane. Dion decided he couldn’t afford the $36 cost to fly to the next venue. According to Dion, $36 was the same price his parents paid for monthly rent. He told Holly no. Shortly after midnight, on February 3rd 1959, the plane crashed near Clear Lake, Iowa, with Holly, Valens, The Big Bopper, and the pilot, Roger Peterson, all being killed. Bobby Vee, then an unknown artist, performed in Holly’s place at the very next concert. Later, Jimmy Clanton, Frankie Avalon, and Fabian were hired to finish the tour in place of the three deceased headliners. As of January 11, 2017 with the death of Holly’s tour guitarist Tommy Allsup, Dion is the lone surviving member of the original Winter Dance Party lineup (The lone surviving Belmont, Angelo D’Aleo, was not on the tour as he was in the Army at the time).

In March 1959 Dion and the Belmonts’ next single, “A Teenager in Love”, broke the Top Ten, reaching No. 5 on the Billboard Hot 100 and No. 28 on the UK Singles Charts. Written by Doc Pomus and Mort Shuman, it’s considered one of the greatest songs in Rock and Roll history. It was followed by their first album, “Presenting Dion and the Belmonts”. Their biggest hit, “Where or When”, was released in November 1959, and reached No. 3 on the Billboard Hot 100 with the group making another national appearance on American Bandstand. The flip side, “That’s My Desire”, although never charting nationally, is as well known in many areas, especially New York City.

Other singles released for the group that year continued to chart Billboard, but were less successful. In early 1960, Dion checked into a hospital for heroin addiction, a problem he had since his mid-teens. At the height of the group’s success his drug dependency worsened. When, “Where or When”, peaked, he was in a hospital detoxifying. In addition, there were financial and musical differences between Dion and members of the Belmonts. “They wanted to get into their harmony thing, and I wanted to rock and roll,” said Dion. “The label wanted me doing standards. I got bored with it quickly. I said, I can’t do this. I gotta play my guitar. So we split up and I did “Runaround Sue”, “The Wanderer”, and “Ruby Baby”. In October 1960, DiMucci decided to quit for a solo career. Now simply known as “Dion”, his first major hit, “Lonely Teenager” was backed by a female chorus. He eventually chose to work with The Del-Satins, who backed him (uncredited) on all his early Laurie and Columbia Records hits, which, besides the three aforementioned hits Dion quoted, also included “Donna the Prima Donna” ,”Drip Drop” , “Lovers Who Wander” , and “Little Diane” . Later reissues of these songs would often be erroneously attributed to Dion and the Belmonts. The Belmonts also continued to release records on their own label, Sabina Records, but with less success, although songs like “Such a Long Way”, “Tell Me Why”, “I Need Someone”, “I Confess”, and “Come On Little Angel” all got significant radio play in the New York City area.

Bobby Darin (1936-1973)

was an American singer, songwriter, multi-instrumentalist, and actor in film and television. He performed jazz, pop, rock and roll, folk, swing, and country music.

He started his career as a songwriter for Connie Francis. He recorded his first million-selling single, “Splish Splash”, in 1958. This was followed by “Dream Lover”, “Mack the Knife”, and “Beyond the Sea”, which brought him worldwide fame. In 1962 he won a Golden Globe Award for his first film, Come September, co-starring his first wife, Sandra Dee.

During the 1960s he became more politically active and worked on Robert F. Kennedy’s Democratic presidential campaign. He was present on the night of June 4/5, 1968, at the Ambassador Hotel in Los Angeles at the time of Kennedy’s assassination. During the same year, he discovered he had been raised by his grandmother, not his mother, and that the girl he thought was his sister was actually his mother. These events deeply affected Darin and sent him into a long period of seclusion.

Although he made a successful comeback (in television) his health was beginning to fail, as he had always expected, following bouts of rheumatic fever in childhood. This knowledge of his vulnerability had always spurred him on to use his musical talent while still young. He died at the age of 37 following a heart operation in Los Angeles.

New Products

New products for the US consumer on television for the first time, including Cocoa Krispies, Cocoa Puffs, Sweet ‘n’ Low, and Tater Tots, also featured Jolly Green Giant.

The post A Walk Down Memory Lane: 1958-1959 (Part 1) 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.

The post The Ed Sullivan Show Pt 2 appeared first on The History of Rock and Roll Radio Show.