On its initial release ‘Reet Petite’ was a throaty solo debut for Wilson, who had just left his band The Dominoes, and a lyrical inspiration for Van Morrison’s 1972 R&B classic ‘Jackie Wilson Said’. The book covers only the post-Rock and Roll charts of the decade (late 1955 through 1959), but includes the pre-rock style of hit songs that still charted regularly, if less so as time wore on. Being able to hear the songs can be helpful for people who don't always know the name of songs that they like or have heard. Chess brothers Leonard and Phil also helmed this Chuck Berry number, a riffing, jangling template that Berry would habitually plunder as he struggled to maintain his later career. Few songs come spring-loaded with the amount of energy this tune packs. This is the one that shoved rock’n’roll into the charts, but for an essentially teen movement it was odd to see Bill Haley front and centre. ‘Willie And The Hand Jive’ is that old staple, a tie-in with a dance craze, but was fresh and vital enough to crack the US top 10. 1950 was certainly the year of the brother and sister acts. As legend would have it, this track was penned by Williams about his first wife, but dictated to his second wife, whilst he was driving. A cover of a Doris Day standard, Nat King Cole’s version was a creamy confection of dream-like music covered in swathes of layered strings, over which Cole’s velvet voice floated. But then everything changed. Featuring one of the dirtiest riffs this side of Jimmy Page’s fretboard, this is five minutes of low down, grungy, swampy blues at its best, Muddy Waters delivering his gravelly take on Willie Dixon’s classic, which incidentally refers to a provocative belly dance from the late nineteenth century. ‘Rock Me Baby’ is an essential part of any blues grounding, cropping up in the oeuvre of Jeff Beck and The Animals and on Otis Redding’s 1965 classic ‘Otis Blue’. It’s remarkable for its minimalist presentation, with London accompanied only by Barney Kessel on guitar and Ray Leatherwood on double bass. Once the adolescent screams had abated, ‘Don’t Be Cruel’ was revealed to be a jaunty 50s jive-a-thon, a simple plea from a puppy dog faced Elvis to not dismiss his pure, beating heart of love. The gossamer tones of Cline’s voice and honky tonk rhythms were paired with the creepy undercurrents of the lyrics, that suggested insomnia or even some sort of psychotic, night-time mania. The smooth, daytime jazz waltz became one of his trademark tracks. Where’s it going? It also meant that it was just a matter of time before songs were written about them. Source: _Billboard's Hottest Hot 100 Hits_ compiled by Fred Bronson (c)1995. List of #1 R&B Singles for 1950. Here are the top 100 tracks from the decade that that sparked a musical revolution. But his delivery belied the lyrics, which rather unsettlingly suggested the creeping sense of an inescapable obsession. Signed up by Capitol Records in Los Angeles as a quick fix for their lack of Elvis, Gene Vincent made an iconic splash first time out with the sexy, courageously stilted ‘Be-Bop-A-Lula’. 100 Greatest Rock 'n' Roll Songs of the 50s 1950 1. Hugely influential in the way it shaped the sound of the nascent rock and roll sound, the rudimentary blues contained within would later be appropriated by The Velvet Underground (who covered the track early in their career). Habitually warring brothers Phil and Don regularly put aside their differences (or at least put them on ice for a couple of minutes) to record glorious close-harmony pop that influenced generations of bands from The Beatles to The Beach Boys to Simon & Garfunkel and beyond. Dad of cult funk artist Shuggie, Johnny Otis was a bandleader and multi-instrumentalist who spent as much time discovering and nurturing new talent – Etta James for one – as making his own records. The rolling rumble of bass and drums and the lo-fi guitar sound would influence everyone from The Beatles to Girls, while the simplicity of its chord structure provided that the most infectious tracks often came in seemingly basic packages – the effect of which would be seen until this day. Eddie Cochran lived fast and died young in classic teen rebellion style but left a beautiful body of work to show for his two short years in the business. But that’s not his fault. This page lists the top songs of the 1950s in the source charts.The way that the various charts are combined to reach this final list is described on the in the site generation page.A list of the hit albums of the 1950s can be found here.. An air of otherworldly mystery hangs about this bluesy stomp. Little Richard’s best track was revolutionary in terms of how it shaped rock and roll, not just in musically but in its pioneering use of double entendre. Later recorded by The Rolling Stones and George Clinton, there’s a timeless carefree spirit about ‘Let The Good Times Roll’, which gives the whole thing a gentle ‘Happy Birthday’-like vibe. The mid 1950s saw the explosion of "Rock & Roll", dominating the music scene, at least in terms of revenue earned. Written by blues rock stalwarts Doc Pomus and Mort Shuman, ‘A Teenager In Love’ found itself in the UK charts three times over in June 1959. 1 That's Amore Dean Martin 1953 Oldies 2 Come Fly With Me Frank Sinatra 1958 Oldies 3 Jailhouse Rock Elvis Presley 1957 Oldies 4 I Walk The Line Johnny Cash 1956 Country 5 […] That riff, that piano, and that chorus – all packaged into a timeless track about rock ‘n’ roll itself. Rankings are based on the popularity of each song during the period of 1950 through 1969. She’d actually written the mesmeric ‘Freight Train’ when she was 12 – after 50 years in mothballs, it was soon covered by artists including country star Chet Atkins and folkie Joan Baez. Jailhouse Rock - Elvis Presley 3. This was the second song Robert Johnson ever recorded, but its creation has also been attributed to Elmore James. Billboard year-end top 30 singles of 1950. The track also led Cash to perform an entire set at Folsom Prison, which was recorded for a successful live album. Decades after it was released, ‘Walkin’ After Midnight’ would be referred to as “David Lynch-esque”. Memphis-born Johnny Burnette and his trio patented that dirty rock’n’roll sound pretty much by accident when guitarist Paul Burlison knocked over his Fender Deluxe amp. Author: goldwax317. The 1950s was a decade of many firsts; seat belts were introduced in 1952, Disneyland opened in 1955, and NASA was founded in 1959. This is a two-CD, 48-track compilation of, as the no-frills title suggests, songs that were R&B hits in 1950. He left behind this delicate ballad – reputedly the first record Paul Simon ever bought – that lives on in 50s-fuelled movies like Stephen King’s Christine and, of course, Back To The Future. Hard to re-appraise objectively after its use and abuse on films and adverts – from Hot Shots to So I Married An Axe Murderer, Alvin And The Chipmunks and beyond – over the years, The Platters’ sweetly harmonised ballad is nevertheless a total classic. Either way, it’s the latter’s version that rules, and proves beyond dispute why the guy was dubbed “the king of slide guitar”. Banned from some extremely prudish radio stations on its release, due to its perceived suggestive content, this smooth pop ditty is two minutes flat of teenage high jinx and sweet harmonies that went on to garner the dubious accolade of being George Dubya’s favourite track. It was Diddley’s first ever recording and from day one established the Bo Diddley Beat, a frenetic pattering rhythm that underscored a career and set Buddy Holly and The Rolling Stones on their own rhythmic adventures. Appropriately the rugged anthem was full of bolshy swagger and teenage ballsiness. (Put Another Nickel In) Music! They were so lush in fact that you could forget that they were singing lines like “I feel like I could die”. Greatest Traditional Pop Songs Of The 1950s 1. Think blues and you think Howlin Wolf and ‘Smokestack Lightnin’. A sweet love letter to his darling full of earnest sentiment and unashamed admiration, this beautiful track saw Cooke shift from his gospel roots to a more soulful direction. It’s also been covered by constipated ersatz soul bellower Michael Bolton, so is clearly indestructible. Welcome to my site! Top Songs of 1950. Over 80% of those songs have streaming audio which can be played as individual tracks or through one of the site's many jukeboxes or playlists. https://www.youtube.com/watch?v=MQ2IJQy4iuM. Music! It made his legend. 1. This article is about the US number-one songs chart from 1950–1958. Also credited to his band The Teen Kings just before The Big ‘O’ stepped into the spotlight once and for all, ‘Ooby Dooby’ is a lithe bit of trad rock’n’roll that convinced Sam Phillips to give Orbison his Sun Records break and introduced America to one of its finest pop voices. The original lyrics (“Tutti Frutti, good booty / If it don’t fit, don’t force it / You can grease it, make it easy”) were so, well fruity, they made ‘Relax’ seem like a Vera Lynn track. Being broke never sounded so good. Anton Karas. The subject of discord over writing credits, ‘Blue In Green’ is now credited to Davis and occasional collaborator and legendary jazz pianist Bill Evans. It took a couple of years to break into the UK charts, but is now woven into the very fabric of pop’s zoot suit and remains the signature tune for the still-going Quartet. If there were any blues contained in this summer, we couldn’t detect them. This track was famously used as a key part of his gig routine, when a handler came out, covered Brown in a cape and escorted a seemingly overwrought Brown off-stage. Johnny B. Goode - Chuck Berry 2. Words by Matthew Horton, Tim Chester, Priya Elan. Making influenza catchy since ’57. The Shirelles for the invention of the girl group. 0-8230-7646-6 This list is odd. The world's defining voice in music and pop culture since 1952. Last Updated: 2013-03-28. An utterly tragic love story of two doomed lovers from rival American Indian tribes who drown in each other’s arms. One of the rawest early rock tracks, Bo Diddley’s self-regarding jerker has been covered, ripped off and filleted repeatedly since. Add in the Fontaine Sisters — who appeared on three of Perry Como’s four big hits in 1950 — and the brother/sister groups have a dozen of the top 40. Marvin Junior’s baritone plays off Johnny Carter’s falsetto to form an easy, woozy slice of doo-wop that The Dells would revisit later, a 1969 soul re-tooling proving most successful. Holly was inspired to write the track after his cinematic hero John Wayne repeatedly used the phrase in a film and it ended up a chart-topper on both sides of the pond. This is a list of Billboard magazine's top popular songs of 1950 according to retail sales. Rank Song Title Song Artist Year Genre Top songs of the 1950's is updated by the minute and represents millions of requests. Chuck Berry’s cut remains the set text, though. The birth of rock ‘n roll meant that screaming teens were the norm. Taken from Big Al Pavlow's "The R&B Book: A Disc-History of Rhythm & Blues" (published in 1983). Nina Simone’s hepcat jazz cut was a cover of a number from the 1930 musical Whoopee! Top 400 Songs of the 1950s (a countdown) I have previously counted down the top 300 or top 500 songs of all of the decades in which I've lived, excepting of … As a neat summary of rock’n’roll it’s understandably been knocked out by big-hitters from The Beatles to The Beach Boys, Humble Pie to Australian cheese captains Mental As Anything. The Mills Brothers put four on this list, the Ames Brothers three, the Andrews Sisters two. With a ragtime piano and a crowing vocal, Little Richard creates a sonic romp that suggests there’s a lot more going under the covers than one initially suspects. Its position in history has become murky, but ‘Rocket 88’ has a fair claim to be the first rock’n’roll record – and it was credited to a group that barely existed. King to Back To The Future, it was included on the Voyager Golden Record, a selection of discs sent into space to demonstrate the cultural capacity of life on earth. From big band tracks to jazz standards, until midway through the 20th century, music was a resolutely parent-friendly zone. Penned by legendary songwriting duo Leiber and Stroller, this bit of teenage harrumphing and door slamming was given to vocal harmony group The Coasters and, rather confusingly, played out like “a white kid’s view of a black person’s conception of white society,” according to Leiber. The 1950s marked the birth of rock’n’roll. © 2021 NME is a member of the media division of BandLab Technologies. The results in this chart are not affiliated with any mainstream or commercial chart and may not reflect charts seen elsewhere. Jimmy Reed’s first US chart hit, ‘Honest I Do’ is a slow blues drawl featuring guitar and harmonica duelling from the man himself. In one form or another The Dells have stuck around for the past 60 years, but it was ‘Oh, What A Night’ that gave them their first hit. Initially sung as ‘At The Bop’ to tie in with the latest dance moves, new name ‘At The Hop’ was suggested by American Bandstand presenter Dick Clark, immediately conjuring a readymade soundtrack for high school dances the nation over. Covered hundreds of times, from B.B. Armed with an amazing rockabilly riff (so good that it was later covered by The Who), ‘Summertime Blues’ pulverizes with Cochran’s “gee, shucks” vocal style and jumping, speed demon rhythms. A showy and expansive number, ‘The Great Pretender’ inevitably found favour with Freddie Mercury who once more took it into the UK top 5 in 1987, out-camping The Platters no doubt but possibly not wringing out similar emotion. With tremolo guitar from Chet Atkins, ‘All I Have To Do Is Dream’ is one of the decade’s more saccharine options, but proved how vital harmonies could be to a song’s DNA. Although Cash’s music and career would inhabit darker, more complicated and ornate territory, the simplicity of ‘I Walk The Line’ is one of his most memorable moments. As she follows her favourite band around the country, her “sweetness” oscillates between chats with her “mommy” and struggling with “the grown up blues.”. If not rock ‘n’ roll’s calling card then a strong contender, this track’s been covered approximately 12,000 times, mostly notably by The Beatles for several years at the start of their career. Still, it had the cash rolling in, which would explain The Five Satins’ continued existence. Easily one of the most recognisable cuts in the entire list, Valens’ adaption of a Mexican folk song is jam-packed with infectious refrains, classic guitar lines and monster drumming. Here are the top 100 tracks from the decade that that sparked a musical revolution. Where’s it coming from? New Orleans pianist Antoine ‘Fats’ Domino was a profound influence on later pop idols Elvis Presley and John Lennon, bringing swing to rock’n’roll’s baby steps. McKinley ‘Muddy Waters’ Morganfield wasn’t the first artist to record ‘Got My Mojo Working’ – that accolade goes to gospel singer Ann Cole – but as a blues pioneer his thundering version has set the standard and been covered by Elvis, Etta James, Canvey Island rockers Doctor Feelgood, fellow blues legend B.B. Yes, the UK had its very own Elvis, for a time at least, and sent his debut single straight to No.2. “Blueberry Hill” by Fats Domino (1956) This 1956 hit made popular by acclaimed New Orleans pianist Antoine ‘Fats’ Domino was such a popular and successful song during the 1950s that its hard to get it off your head once you listen to it. Miles Davis’s ‘A Kind Of Blue’ has stuck around as an all-time great jazz album and one of the more accessible examples in its field, with ‘Blue In Green’ one of a couple of ballads revealing Davis’s more subtle, feet-up playing. ‘C’mon Everybody’, with its motorik guitar foundations and raspy vocal from Cochran still stands up and was memorably covered in 1979 by Sid Vicious – another briefly burning rock’n’roller. The Greatest of All-Time Billboard Hot 100 Songs and Artists rankings are based on weekly performance on the Hot 100 (from its … You can credit (or, occasionally, blame?) Its skittering groove would underpin many of rock’n’roll’s dancefloor cuts, most dubiously Jive Bunny’s 1988 megamixes where the Big Bopper’s “Ooh, baby, that’s what I like!” provided regular punctuation. Over a simple piano figure and a nursery rhyme like melody, these “good times” sound like they’re nothing more salacious than a game of Scrabble and some warm Ribena. ‘I Hear You Knocking’ was another Dave Bartholomew composition (with Pearl King), adorned by Lewis’s rich soulful croon and the kind of barrelling piano that Domino would make his own, sadly stealing all of Lewis’s thunder. Top 100 Songs of the Decade: 1950-1959: These are the top 100 songs from the 1950s according to Dave’s Music Database. It sounded like a puffy white cloud floating in the sky. So begins the third greatest song of the entire decade and one of the best rock ‘n’ roll tracks ever. Various versions have surfaced in the movies and on TV, sh-booming through Johnny Depp’s Cry-Baby and Patrick Swayze’s Roadhouse as well as appearing in Dennis Potter’s 50s pastiche Lipstick On Your Collar for the BBC. Released after his death, it would typify a sort of ageless, heart-sore balladeering form that Williams helped inaugurate. List of #1 Pop Singles for 1950. Clarence earned his nickname from an uncanny ability to sing like a frog – as he boasts on ‘Ain’t Got No Home’, “I can sing like a bird/ And I can sing like a frog”. It remains a mystery but we’re very much on board for the ride. Jack White’s so enamoured with her he once covered another of her numbers, ‘Conquest’. Tales of recording sessions happening in a state of inebriated revery and the track being banned for being too ‘cannibalistic’, and no wonder, Jay sounds like a cartoon villain as he intones the lyrics. Combining the boogie of Pete Johnson with Jelly Roll’s jazz and the piano virtuosity of Fats Domino, Huey Smith was a seminal r ‘n’ b pianist whose tunes heavily influenced early rock and roll. No. Songs about specific dances comprise the majority of this list; songs on the subject of dancing are also included. Subsequently covered by everyone from Elvis Presley to Carl Perkins – and Bubba Sparks. Since its 1955 release its rickety power has been harnessed by ex-Thin Lizzy guitarist Gary Moore, blues supergroup The Yardbirds and that man Dion again. The Top 100 R&B Singles of 1950. Covered by countless artists – Peggy Lee, Madonna, Beyoncé, funk don George Clinton, The Doors, you name ’em – Otis Blackwell and Eddie Cooley’s ‘Fever’ was originally recorded, reluctantly, by R&B warbler Little Willie John. Hard to believe sometimes that Cliff was once a genuine, lip-curling rock’n’roller, but ‘Move It!’ is a convincing start. Sometimes the best songs are the most simple. It was the soundtrack to the movie of the same name, Elvis’s third, and shook its hips to the top of the charts in the US and the UK. An early work of rock genius. Elvis may have the more popular version but nobody delivers ‘Hound Dog’ like the Mama; altering her inflections on every line she delivers by far the most captivating rendition. The comically named Spaniels formed at school in 1952 and clocked their biggest with this evergreen doo-wop number two years later. The Everly’s celestial harmonies were goose bump inducing, and would later influence everyone from The Beatles to Fleetwood Mac. Cole Porter had written the track back in the 1930s but it was covered by Sinatra for his ‘Songs For Swingin’ Lovers’ album in 1956 . A meld of baby rock’n’roll and doo-wop, The Cadillacs’ ‘Speedoo’ was so called after their lead singer Earl Carroll’s nickname. It should be a swooning country ballad, instead it’s a jaunty jive, under-laid with some comical “natives American tribal chanting” (sung, in part, by the whiter than white George Jones). Number One on the country music chart for a month, Cash’s fictional account of incarceration at the Californian clink was a mid-fifties smash, and opened his seminal live album from the state penitentiary, ‘At Folsom Prison’. Here are the top 10 songs that defined the decade of the ’50s: 10. You’d be hard-pushed to pick a definitive Elvis single, but ‘Jailhouse Rock’ has to be one of the most iconic Pelvis tunes, all stop-start judder and growly holler. One of the many tracks that’s been claimed as the first rock and roll record (alongside efforts from Fats Domino, Bill Haley, and Roy Brown), the Pelvis’ cover of blues singer Arthur Crudup’s ‘That’s All Right’ is certainly the one that broke him. Lloyd Price hit the jackpot with his very first recording, an impassioned rock’n’roll stormer that puts all its heart into telling a young lady how fine she is. What else could it be, really? https://www.youtube.com/watch?v=LvKDr8AgvK8. It later became a standard, providing teen idol David Cassidy with a bit of emotional heft and giving Crystal Gayle a country chart No.1. Sessions musicians were on standby just in case Vincent’s pals the Blue Caps couldn’t hack it in the studio but together Vincent and band pulled off the rockabilly riot in style. Backed by ‘Hound Dog,’ the track became one of the biggest sellers of his career. https://www.youtube.com/watch?v=_Ek3eCbfqp0. No wonder it’s permanently associated with Christmas. It features the immortal line “Hail, hail, rock’n’roll”, a phrase recycled as the title for an 80s Berry documentary, and was blessed with a cover from Bart Simpson on ‘The Simpsons Sing The Blues’. Although it was wholesome crooner Pat Boone who took ‘Ain’t That A Shame’ to the top in the States, the song was Domino’s entry to the mainstream, paving the way for ‘Blue Monday’ and ‘Blueberry Hill’. Recorded by several obscure artists before and numerous big names after (from Little Richard, Eddie Cochran and Gerry & The Pacemakers to Elton John and Ten Years After), this raucous ditty was made most famous by Lewis, who less tinkles the ivories than spanks them remorselessly. It was co-written by nominal lead singer Pookie Hudson and Calvin Carter and its “doh-doh-doh” vocal rhythms often rear up on other records, including Pete Wingfield’s 1975 pastiche ‘Eighteen With A Bullet’ featured on the Lock, Stock And Two Smoking Barrels soundtrack. Almost from the get-go it established the Canadian Anka as a mainstream crooner who continues to record and perform into his 70s. His first commercial release was recorded in an impromptu jam featuring guitars, upright bass and no drums. ‘Rock And Roll Music’ is a quickfire tribute to the form, a skidding, popping workout written by Berry and produced by the Chess brothers for their own leading blues label. The walking bass and skipping keys found favour with the late 80s jazz vampires who sent it top 5 in the UK. Edited By: Bruce. Rankings are figured by combining sales figures, chart data, radio airplay, video airplay, streaming figures, awards, and appearances on best-of lists. Criteria: Here are the top ten greatest songs of each year from 1950 through 1969.Songs listed are from rock and roll and related genres. Recorded when the remarkable Anka – who also managed to co-write it – was only 15, this perky slice of doo-wop turned into one of the biggest selling singles of all time, apparently shifting nine million units. Holly And The Crickets created a penetrating slab of early, guitar driven blues. https://www.youtube.com/watch?v=qFCePEPdaU4. Now most famous for the combination of Ray Charles sample and Jamie Foxx impression that cooked up the gold dust for Kanye West’s stupendous ‘Gold Digger’ in 2005, ‘I Got A Woman’ itself takes inspiration from gospel song ‘It Must Be Jesus’, in the process marking out the territory for what would become soul music. For Ray, ‘Cry’ was the start of a long, successful career in music and film. Already decades old before this version was recorded, ‘What A Diff’rence A Day Makes’ never tingled so much as when Washington gave it some of that Grammy-winning magic. “You shake my nerves and you rattle my brain / Too much love drives a man insane”. Not bad for a tune about footwear. These songs are ranked based on their initial and lasting popularity, as well as their influence and impact on the evolution of rock and related genres. Subsequently revived by all manner of crooners, from Michael Bolton (questionable) to Aretha (worth a listen). The filthiest thing to be released in all of 1956. Danny Rapp sustains his lead vocal over a breakneck couple of minutes, but it’s baritone Joe Terranova who steals the show. 100 best tracks of the ’50s – Spotify playlist. With two dozen people voting for more than 500 songs, we whittled the list down to the top 100 hits of the ‘60s. It would become a standard for any jazz/soul singer hoping to prove their chops, picked up by Aretha Franklin, Sarah Vaughan and – naturally – Rod Stewart. This page lists the top songs of 1950 in the source charts.The way that the various charts are combined to reach this final list is described on the in the site generation page.A list of the hit albums of 1950 is also available.. Parping sax and handclaps drove a kinetic track that earned a reputation as a crucial bridge between black music and white audiences, and it remains the calling card of a band that endures with Speedoo Carroll still upfront. Originally written for the 1934 film Dames, before being covered by Peggy Lee, the definitive version of this track was by the vocal harmony group The Flamingos. Another one for Back To The Future – and Superman III and The Karate Kid II as the 80s went crazy disinterring early rock’n’roll era favourites – ‘Earth Angel (Will You Be Mine)’ is an exquisite doo-wop pleasure written by Penguins baritone Curtis Williams that made the US top 10, the group’s only real success of note. But Flores was under contract elsewhere and the writing credit had to go to one ‘Chuck Rio’. Criteria: These songs were chosen and ranked based upon their initial and lasting popularity, acclaim, and their status as standards in the genre of traditional pop music. Don’t be fooled, those Drifters soon became The Shadows, and they work up the dirty thrum behind Cliff’s still-polite but suitably snotty vocal. Vladimir Putin attempted it live last year – every time someone watches that rendition, a cat is tortured somewhere on the globe. Chunky Jiles Perry Richardson went down in the same plane crash that killed Buddy Holly and Ritchie Valens, but not before releasing this twisting paean to a cute girlfriend. One of the unimpeachable dawn-of-rock standards, ‘Lucille’ was a smash on both sides of the Atlantic and has been butchered by artists ranging from hair-metallers Van Halen to rock’n’roll pasticheurs par excellence Mud. It’s hard to believe but this track, Ray Charles’ first gold record, the one he finished every set with, one of the cuts that’s credited as kick-starting a small genre known as soul, a frisky nugget currently residing in the national recording registry, started life as an improvised thing at the end of a set. A brilliantly constructed couple of minutes it weaves frenetic harmonies, time signature changes and varied dynamics to irresistible effect. The list on this page is for all #1 hit R&B singles for 1950 using proprietary methods. ‘Cry Me A River’ made its big screen debut in Jayne Mansfield’s The Girl Can’t Help It, with London performing it as the sultry, unattainable siren. The list on this page is for all #1 hit Pop singles for 1950 … Bob Dylan’s favourite intrumental has been pilfered by Tarantino (Pulp Fiction), Rodriguez (Roadracers), Spongebob and the Sopranos. https://www.youtube.com/watch?v=twQNeIBGntg. Played live since his Delta blues days in the ‘30s and honed for two decades before its release in ’56, it sees harmonica, train references and a repeated E major chord collide to mesmerising effect. Written by Quartet member Paul Desmond, ‘Take Five’ features Brubeck on nudging, insistent piano and Desmond on the meandering sax, and was a pioneering jazz/pop crossover. Sonia also did a version in 2010, but the less said about that the better. The biggest hits of the 1950s according to Billboard Magazine. London’s cool, seductive vocal carries it. Chuck Berry’s first record, and first hit, pumped more excitement and genius guitar work into its short few minutes than most post-millennial bands muster in a career. From Jerry Lee to Goose and Maverick, this irrepresible dose of raw rock energy and serious piano abuse has been a stone cold classic for nearly 60 years. Chart Hits mit Videos und Hörproben. They deserve their longevity with this meaty doo-wop stayer led by Fred Parris’s clearcut vocals and backed by rootsy, grainy sax. The rest is, as you know, history. However, Fats did it best, and it remained his biggest track. 3. While it bizarrely only reached 49 in the UK charts it’s gone on to become a household classic. Goodnight Irene - Gordon Jenkins and the Weavers - 1950 Mona Lisa - Nat "King" Cole - 1950 Tammy - Debbie Reynolds - 1957 Venus - Frankie Avalon - 1959 Cathy's Clown - The Everly Brothers - 1960 Sherry - The 4 Seasons - 1962 Honey - Bobby Goldsboro - 1968 Wake Up Little Susie - The Everly Brothers - 1957 Diana - Paul Anka - 1957
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