Julie London, an American singer and actress best known for her smoky, sensual voice as a singer, was at her peak in the 1950s. Her rendition of “Cry Me A River” (Liberty 55006, recorded in 1955) became a million-selling single after release in April 1957. Primarily remembered as a singer, London also made more than 20 films and her acting career lasted more than 35 years, ending with the role of nurse Dixie McCall, RN, on the TV show Emergency.amfmsw said:
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In 1968, ABC-TV's Here Come The Brides, although a comedy adventure series, cast two promising young singers, Bobby Sherman and David Soul, in starring roles: Sherman first recorded in 1962, and also appeared frequently on the ABC-TV music series Shindig (1964-1966), but the exposure on Brides led to his emergence as a popular recording star with four million-sellers in 1969-1970, "Little Women," "La La La (If I Had You)," "Easy Come, Easy Go," and "Julie, Do Ya Love Me"; Soul went on to co-star as Hutch (Detective Ken Hutchinson) in ABC-TV's Starsky and Hutch from 1975-1979, and had a #1 song in 1977, "Don't Give Up On Us."
Pat Boone's daughter, Debby Boone, was recruited to record the single “You Light Up My Life” which became a massive success topping the Billboard Hot 100 for ten weeks in 1977, and became easily the most successful single of the 1970's in the United States. The song was only surpassed at that time by Elvis Presley's double-sided "Don't Be Cruel/Hound Dog" as the longest running No. 1 ever on the Hot 100. The single, which was certified platinum, also spent one week atop the Adult Contemporary chart and peaked at No. 4 Country.AlexBrowne said:In 1968, ABC-TV's Here Come The Brides, although a comedy adventure series, cast two promising young singers, Bobby Sherman and David Soul, in starring roles: Sherman first recorded in 1962, and also appeared frequently on the ABC-TV music series Shindig (1964-1966), but the exposure on Brides led to his emergence as a popular recording star with four million-sellers in 1969-1970, "Little Women," "La La La (If I Had You)," "Easy Come, Easy Go," and "Julie, Do Ya Love Me"; Soul went on to co-star as Hutch (Detective Ken Hutchinson) in ABC-TV's Starsky and Hutch from 1975-1979, and had a #1 song in 1977, "Don't Give Up On Us."
Pat Boone's younger brother was also a recording artist for Dot; Nicholas Boone went by the professional name of Nick Todd and had two charted singles, both in 1957 with Billy Vaughn's orchestra (who also worked with bother Pat): "Plaything" and a cover of (but less successful than the Danny & The Junior's) "At The Hop."
1957 was a banner year for Pat Boone, with three hits reaching the Top 100 during the year: “Don’t Forbid Me” (Feb 9), “Love Letters In The Sand” (June 10), and “April Love” (Dec 30). “Bernardine” made the Best Sellers In Stores list on June 3.AlexBrowne said:Pat Boone's younger brother was also a recording artist for Dot; Nicholas Boone went by the professional name of Nick Todd and had two charted singles, both in 1957 with Billy Vaughn's orchestra (who also worked with bother Pat): "Plaything" and a cover of (but less successful than the Danny & The Junior's) "At The Hop."
Like many young TV actors and actresses whose shows were popular with teenage viewers, Patty Duke recorded a few pop singles, in her case in the mid-1960s for United Artists: the first, "Don't Just Stand There," recorded when Duke was 18 years old, reached the top 10 in 1965; The Patty Duke Show (1963-1966 on ABC-TV) also featured guest appearances by Top 40 artists including Bobby Vinton, Chad & Jeremy, and Frankie Avalon.
One of the longest lasting of the teen idols of the early Sixties, Bobby Vee got his lucky break when he and his band the Shadows filled in for the late Buddy Holly at a 1959 Mason City, Iowa, concert days after Holly was killed in a plane crash. When the evening ended, the band wasn't even paid. The next day the tour moved to Sioux Falls, South Dakota with Jimmy Clanton and Frankie Avalon as fill ins. The Shadows were left in Fargo. The breakthrough song for Bobby Vee was "Devil Or Angel", one that made it to the top ten late in 1960, when Vee was only seventeen. He followed it a short time later with another top ten tune "Rubber Ball", which had been co-written by Gene Pitney. "Take Good Care of My Baby" was released in July 1961 and became Vee's third million seller. "Run To Him" in November also went gold.AlexBrowne said:Like many young TV actors and actresses whose shows were popular with teenage viewers, Patty Duke recorded a few pop singles, in her case in the mid-1960s for United Artists: the first, "Don't Just Stand There," recorded when Duke was 18 years old, reached the top 10 in 1965; The Patty Duke Show (1963-1966 on ABC-TV) also featured guest appearances by Top 40 artists including Bobby Vinton, Chad & Jeremy, and Frankie Avalon.
"Just A Dream," recorded in 1958, was the first and biggest hit -- #1 on the R&B chart -- for Jimmy Clanton And His Rockets, but the Louisiana-born Clanton gave us two more Top 10 records: "Go, Jimmy, Go" in 1959, and the Neil Sedaka composition "Venus In Blue Jeans" in 1962.
Bobby Vinton (born Stanley Robert Vintula, Jr. in Pennsylvania) had his first hit on the Epic label with "Roses Are Red (My Love)" in 1961. It spent four weeks at No.1 on the Billboard Hot 100. Arguably, his most famous song is 1963's number one hit, "Blue Velvet". Colors seemed to be an inspiration for Vinton, as he also hit with “Blue On Blue” in that year. In 1964, Vinton had two #1 hits, "There! I've Said It Again" and "Mr. Lonely".AlexBrowne said:"Just A Dream," recorded in 1958, was the first and biggest hit -- #1 on the R&B chart -- for Jimmy Clanton And His Rockets, but the Louisiana-born Clanton gave us two more Top 10 records: "Go, Jimmy, Go" in 1959, and the Neil Sedaka composition "Venus In Blue Jeans" in 1962.
Alex, "Just A Dream" ranks on my list of absolute favorites from the late fifties.
The most successful (mostly*) instrumental group of the rock era is Herb Alpert & The Tijuana Brass; trumpeter/bandleader/arranger Alpert and the Brass' first charted single was "The Lonely Bull (El Solo Torro)" in 1962, and Alpert (with and without the group) had hits through the late 1980s including "Taste Of Honey" (1965), "Zorba The Greek" (1965), "Rise" (a #1 single in 1979), and "Diamonds" (1987).
* almost all Alpert's singles were instrumentals, but his biggest of all time -- recorded without The Tijuana Brass -- was the vocal "This Guy's In Love With You" (#1 for four weeks in 1968)
* almost all Alpert's singles were instrumentals, but his biggest of all time -- recorded without The Tijuana Brass -- was the vocal "This Guy's In Love With You" (#1 for four weeks in 1968)
Trumpeter Al Hirt performed with various Swing big bands, including those of Tommy Dorsey, Jimmy Dorsey, Benny Goodman, and Ina Ray Hutton. In 1950 he became first trumpet and soloist with Horace Heidt's Orchestra. Hirt had 22 different record albums on the Billboard Pop charts in the 1950s and 1960s. The albums "Honey In The Horn" and "Cotton Candy" were both in the top 10 best sellers for 1964, the same year Hirt scored a top hit single with his cover of Allen Toussaint's tune “Java”, and later won a Grammy award for the same recording. Hirt's top 40 charted hit single of “Sugar Lips” in 1964 would be later used as the theme song for the NBC daytime game show Eye Guess. Planting deep roots in his community, Hirt opened up a club on Bourbon Street in the New Orleans French Quarter in 1962, which he ran until 1983. Hirt died of liver failure in 1999.AlexBrowne said:The most successful (mostly*) instrumental group of the rock era is Herb Alpert & The Tijuana Brass; trumpeter/bandleader/arranger Alpert and the Brass' first charted single was "The Lonely Bull (El Solo Torro)" in 1962, and Alpert (with and without the group) had hits through the late 1980s including "Taste Of Honey" (1965), "Zorba The Greek" (1965), "Rise" (a #1 single in 1979), and "Diamonds" (1987).
* almost all Alpert's singles were instrumentals, but his biggest of all time -- recorded without The Tijuana Brass -- was the vocal "This Guy's In Love With You" (#1 for four weeks in 1968)
The R&B girl trio from Detroit, Martha & The Vandellas, had a string of terrific Top 10 songs from 1963-1967 including "Heat Wave" and "Quicksand" (1963), "Dancing In The Street" (1964), "Nowhere To Run" (1965), "I'm Ready For Love" (1966), and "Jimmy Mack" (1967); in 1967, Gordy added Martha's last name to the label -- Martha Reeves & The Vandellas -- for their 1967 release "Honey Chile": it peaked at only #11, and the group never had another single reach the Top 40!
Noted for it's indepenence of national charts, Philly DJ's on both Monster competitors, Famous 56 WFIL and Wibbage WIBG Radio99 played the flip side of "Jimmy Mack". "Third Finger Left Hand" is as popular today, and is played in regular rotation on all the area oldies outlets, with the A side too. Another wonderful Motown "Philly Flip" is "Would I Love You" by The Miracles.
Imperial had three releases of Fats Domino’s “Blueberry Hill/”Honey Chile” (X5407) 45 rpm single. The first was on black vinyl with a red label; the second was a true collector item on red vinyl, both in 1956. The third was on black vinyl with a black label, issued in 1957. If you have or find a red vinyl platter in mint condition, let me know, it’s a keeper.AlexBrowne said:The R&B girl trio from Detroit, Martha & The Vandellas, had a string of terrific Top 10 songs from 1963-1967 including "Heat Wave" and "Quicksand" (1963), "Dancing In The Street" (1964), "Nowhere To Run" (1965), "I'm Ready For Love" (1966), and "Jimmy Mack" (1967); in 1967, Gordy added Martha's last name to the label -- Martha Reeves & The Vandellas -- for their 1967 release "Honey Chile": it peaked at only #11, and the group never had another single reach the Top 40!
It was surprising to hear "Red Roses For A Blue Lady" resurrected as a hit by three different artists, all in 1965: Vic Dana, Bert Kaempfert And His Orchestra (an instrumental version), and Wayne Newton; the song had been a hit before, but way back in 1949 -- and it was a hit for three different artists that year, too: Vaughn Monroe & His Orchestra, Guy Lombardo & His Royal Canadians, and John Laurenz.
Ed Townsend was an African-American attorney, songwriter, and producer. In the early 1950s he recorded a number of singles for various labels, none of which made the charts. Ironically, in 1958 he took his ballad, "For Your Love" to Capitol Records, hoping to interest Nat “King” Cole, but, impressed with his voice, Capital signed him to record it himself. The single made the US Top 20 but Townsend had no further vocal hits of his own. However, in 1962 he wrote a tune for Ben E. King, "How Can I Forget?". Then he wrote and produced Theola Kilgore’s "The Love Of My Man", and was the co-writer of “Let's Get It On” with Marvin Gaye.AlexBrowne said:It was surprising to hear "Red Roses For A Blue Lady" resurrected as a hit by three different artists, all in 1965: Vic Dana, Bert Kaempfert And His Orchestra (an instrumental version), and Wayne Newton; the song had been a hit before, but way back in 1949 -- and it was a hit for three different artists that year, too: Vaughn Monroe & His Orchestra, Guy Lombardo & His Royal Canadians, and John Laurenz.
Last month, British singer/songwriter/impresario (and convicted sex offender -- for having sex with underage boys) Jonathan King released a full length feature film, Vile Pervert: The Musical, a satire which includes 21 musical numbers and 21 characters, most played King; but we know him best musically from his first and biggest single, from 1965, the dreamy "Everyone's Gone To The Moon," and from his work in the mid-60's as producer for the British rock group Hedgehoppers Anonymous.
"Fly Me to the Moon" is a pop standard written in 1954. When introduced by Felicia Sanders on the cabaret circuit, it was originally titled "In Other Words". It was first recorded in 1954 by Kaye Ballard (released by Decca Records). The song became popularly called "Fly Me to the Moon" from its first line, but it took a few years for the publishers to change the title officially. Johnny Mathis recorded the song in 1956, this was the first time the title "Fly Me to the Moon" appeared on a record label. In 1962, an instrumental version was recorded as "Fly Me to the Moon – Bossa Nova" by Joe Harnell, which became the biggest chart hit version of the song, reaching #14 on the U.S. pop singles charts. Frank Sinatra recorded the song on his 1964 album It Might as Well Be Swing, accompanied by Count Basie, in an arrangement by Quincy Jones. Jones changed the time signature, which was originally 3/4 waltz-time, to 4/4 and gave it a 'swing' feel. This became the rendition that most people identified the song with.AlexBrowne said:Last month, British singer/songwriter/impresario (and convicted sex offender -- for having sex with underage boys) Jonathan King released a full length feature film, Vile Pervert: The Musical, a satire which includes 21 musical numbers and 21 characters, most played King; but we know him best musically from his first and biggest single, from 1965, the dreamy "Everyone's Gone To The Moon," and from his work in the mid-60's as producer for the British rock group Hedgehoppers Anonymous.
After his unexpected, incredible success with "The Twist," a #1 hit in 1960 (and again in 1961), Chubby Checker built a cottage industry of dance songs, including: "The Hucklebuck" (1960); "Pony Time," "Dance The Mess Around," "Let's Twist Again," "The Fly," "Twistin' U.S.A.," and "Jingle Bell Rock" (1961); "Slow Twistin'," "La Paloma Twist," and "Limbo Rock" (1962); and "Let's Limbo Some More," "Birdland," and Twist It Up" (1963).
Chubby Checker wasn't alone in the "Dance" songs catagory. His Label, Cameo-Parkway, had HUGE success with the genre, fueled by appearances with easy access to a national audience on Dick Clark's American Bandstand, televised from Philly. Others include Candy and the Kisses "The 81", Billy Abbot "Come on and Dance With Me", Checker/Dee Dee Sharp "Slow Twistin'", Don Covay's "Popeye Waddle", Dovells' "Bristol Stomp" / "Cant' Sit Down", Bobby Rydell "Cha-Cha-Cha", The Marlins "Everybody Do The Swim", Dee Dee Sharp "Mashed Potato Time"...you get the idea.
But my favorite on the label were The Tymes(pre-RCA), sweet harmonies, silky lead, basic, non Phil Spector type arrangements.
But my favorite on the label were The Tymes(pre-RCA), sweet harmonies, silky lead, basic, non Phil Spector type arrangements.
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