Every 50s Number 1

The Intro

So, my first decade of number 1s is finished, 94 songs and seven months later. When I decided to review every UK number 1, I considered taking a random approach, but I decided starting right from the beginning would give me a wider knowledge of the progression of pop and pop culture in the UK. I did find the idea of kicking off with the 50s a potentially arduous task, however. Although there are exceptions, my interest in music tends to really start in 1963 with The Beatles’ first album, and I know I’m not alone in feeling like that. I feared starting with the 50s would put some readers off. Also, it’s the decade that’s as far out of my comfort zone as I’m going to get with this mammoth blog task I’ve set myself.

Except maybe it isn’t.

The older I get (38 currently), I feel I’m going to really struggle with the 2010s. Don’t understand the kids of today, cannot stand autotune, etc… Anyway, I find myself getting more out of the 50s far more than I initially expected. It’s still music I find myself respecting rather than enjoying, and there haven’t been many I’ll be downloading for future listens I have to confess, but it has been a fascinating journey, and I’m surprised at how much music changed from 1952 to 1959.

Before I finish with the decade and move on to the swinging 60s, I decided it would be nice to (kind-of) repeat the task I set myself in December. Back then I listened to every Christmas number 1 in order, in one session, and decided on a best and worst for each decade, before coming up with an overall best and worst. That blog seemed to generate a lot of interest, so I thought I’d do the same with the 50s. I decided against listening to all 94 songs in one go, that seemed a little bit much, so I decided to take it a year at a time.

1952/53

Where it all began. As Al Martino’s Here in My Heart was the only number 1 of 1952, I’ve lumped it in with 1953. It’s neither the best nor worst of what followed. In general, the record-buying public will still in thrall of string-laden love songs, often melancholy, overwrought ballads, with the emphasis on how well the singer could hold a note. Form over content. Not the kind of music that floats my boat, really. It was less than ten years since World War Two, and music fans still liked to wade through syrupy songs of missing loved ones abroad. In 1953’s defence, though, at least it had a healthy amount of female singers topping the charts. Once rock’n’roll takes hold, they largely disappeared bar a few exceptions. There’s some strange novelty songs in there that you wouldn’t think of as chart-toppers – see (How Much is) That Doggie in the Window? and the un-PC She Wears Red Feathers. Frankie Laine dominated that year.

The Best:

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Kay Starr – Comes A-Long A-Love: Only three tracks in and already there were elements of a rock’n’roll sound mixed in with jazz. This took me by surprise, and it was more than welcome. Kay Starr’s strong vocal mixed with a breezy tune had a vital element missing from other songs that year – fun.

The Worst:

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David Whitfield with Stanley Black & His Orchestra – Answer Me: This is the decade at its least appealing to me. It’s so leaden and dreary. Whitfield’s vocals are too affected and operatic. The Frankie Laine version was better, but not by much, as it’s a pretty poor song anyway.

1954

Generally more of the same, but of a higher standard. Doris Day, Frank Sinatra and even Vera Lynn all make appearances, but they’re not their finest works. Rosemary Clooney’s jolly old knees-up about death, This Ole House is one of the highlights. A couple of instrumentals make it big, one good (Winifred Atwell’s Let’s Have Another Party), one not so good (Eddie Calvert’s Oh Mein Papa)

The Best:

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Johnnie Ray – Such a Night: Mr Emotion was probably the revelation of the decade for me. Previously I only knew him for his namecheck in Come On Eileen, and that Morrissey used to wear hearing aid in tribute to him.  I referred to him as the ‘prototype eccentric rock’n’roll star’, and his three number 1s were all unique forerunners of the music that was to follow. This one in particular must have sounded pretty racy at the time, and contained the first hint of sex, one of pop’s key ingredients.

The Worst:

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The Stargazers with Syd Dean & His Orchestra –  I See the Moon: This is genuinely offensive to my ears. At the time it was considered a comedy song. Praise be that comedy has moved on from ‘funny’ voices. It’s the audio equivalent of Colin Hunt from The Fast Show. When I first heard this I said the Stargazers sounded pissed-up and tone deaf. Nothing has happened to change my mind. Six weeks at the top of the charts?!

1955

The year of mambo, and Bill Haley. Perez ‘Prez’ Prado rules the roost when it comes to the former, with his version of Cherry Pink and Apple Blossom White beating Eddie Calvert’s safer cover. Rosemary Clooney’s Mambo Italiano may not be the real deal but it’s a fun spoof. Tony Bennett makes his one and only appearance to date, and Slim Whitman’s haunting Rose Marie makes a big impact.

The Best:

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Bill Haley & His Comets – Rock Around the Clock: Tempting as it might be to go against the grain here and pick something less predictable, I can’t. Yes it must be nigh-on impossible to hear this and imagine the impact the decade’s best-seller made at the time, and it sounds safe now, but it’s still catchy as hell, and for me, it’s all about that guitar solo.

The Worst:

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Jimmy Young with Bob Sharples & His Music – Unchained Melody: Another one of the most famous songs of all time, but this is nowhere near as good as The Righteous Brothers version. It’s not even as good as Robson & Jerome’s. The blame doesn’t entirely lie with poor Jimmy Young, as the production is all over the place, but he really doesn’t help matters, lurching from barely trying to bellowing within seconds.

1956

Several strong singles this year, mainly Tennessee Ernie Ford’s tough ode to the working man, Sixteen Tons, and Johnnie Ray’s melancholic Christmas number 1, Just Walkin’ in the Rain, featuring an unforgettable whistling refrain. Elvis has arrived, but the UK has to make do with Pat Boone at the top instead with I’ll Be Home. Dean Martin makes his only appearance, and Doris Day returns with signature tune Que Sera, Sera (Whatever Will Be, Will Be).

The Best:

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The Teenagers Featuring Frankie Lymon – Why Do Fools Fall in Love: The first doo-wop song to make it to the top. The Teenagers one and only big hit was so influential on later soul and funk bands, and still sounds good to this day. Such a shame the band, and particularly Lymon, fell apart so soon.

The Worst:

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Anne Shelton with Wally Stott & His Orchestra – Lay Down Your Arms: Shudder. I disliked this song even more the second time around. I’m all for strong women, but Shelton needs to calm down a bit. Her poor lover must be terrified.

1957

The year skiffle hit the top of the charts. Lonnie Donegan’s three number 1 songs left an indelible mark on music, even if it took some time for its impact to become apparent. 1957 is the strongest year for number 1s to date, and rock’n’roll is now dominant. Even the most old-fashioned song, Frankie Vaughan’s The Garden of Eden, sounds good. Legends such as Elvis Presley and Buddy Holly make their first appearances, and the former’s cultural impact becomes apparent, with Tommy Steele and Andy Williams impersonating him, to an occasionally embarrassing degree.

The Best:

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Lonnie Donegan & His Skiffle Group – Cumberland Gap: I used to think skiffle was a rather laughably quaint genre played on cheap, silly instruments. It’s only by listening to what came before Lonnie Donegan that I now understand and appreciate its true effect – to me it’s now almost as important as punk. The hardest part of choosing the best of this year was picking between this and Donegan’s Gamblin’ Man, with it’s fiery ending, but Cumberland Gap came first and sounded like nothing I’d listened to up to that point.

The Worst:

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Guy Mitchell with Jimmy Carroll – Rock-a-Billy: Cheeky chappie Mitchell’s fourth and final chart-topper is mean-spirited and has the laziest chorus of any number 1 so far. A shame, as his previous single at the start of the year, Singing the Blues, proved he could actually be a dab hand at this new pop sound.

1958

Elvis was really on form with his second number 1 – Jailhouse Rock narrowly misses out on my favourite of this year and could have easily won in another year. Burt Bacharach and Hal David made their mark with two concurrent number 1s for Michael Holliday and Perry Como. Connie Francis finally returned a female artist to the top with a versatile selection of solid tunes – her Stupid Cupid introduced Neil Sedaka to the charts. The Everly Brothers made an excellent debut with the year’s highest seller, All I Have to Do is Dream, and Hoots Mon by Lord Rockingham’s XI was the finest novelty number 1 of the decade.

The Best:

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Jerry Lee Lewis – Great Balls of Fire: Direct, simplistic, fun, horny and mad, this just edges past Jailhouse Rock for me and got 1958 off to a great start. As far removed from some of the dreary monotony of 1953 as it’s possible to get in the same decade.

The Worst:

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Vic Damone – On the Street Where You Live: I feel bad for doing this when Vic Damone has so recently passed away, but it really does stick out like a sore thumb from the rest of 1958’s list. It sounds like it belongs in 1954. Sorry, Vic. RIP.

1959

Buddy Holly’s untimely death made It Doesn’t Matter Anymore the first posthumous chart-topper, and was a big influence on Adam Faith’s first number 1, What Do You Want?. Elvis was away in the army, and his singles output quality began to slip with A Fool Such as I/I Need Your Love Tonight. Rock’n’roll went all dreamy and teenage-orientated, with Jerry Keller’s one-hit wonder Here Comes Summer and Bobby Darin’s Dream Lover, before Darin used his success to take an interesting career change. Cliff Richard made his first of many appearances, with Living Doll the year’s best-seller, and Shirley Bassey made her debut at number 1. The decade ended with Emile Ford and the Checkmates’ solid What Do You Want To Make Those Eyes At Me For?.

The Best:

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Bobby Darin – Mack the KnifeA fascinating diversion from his previous number 1, Darin resisted scaring his young fans away with this swinging celebration of a serial killer, but Atlantic Records pushed for it anyway. It’s likely the fans ignored the lyrics and chose to be swept away by his cool vocals and the power and punch of the backing band. Suddenly pop was taking a dark turn, if you listened closely enough. Much covered, but probably never bettered.

The Worst:

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Russ Conway – Side Saddle: This one totally baffled me when I wrote my blog, and while I found it slightly better the second time around, I still can’t quite believe this was such a success, but context is everything, I guess. Nonetheless, it’s still the weakest number 1 of the year.

The Best 50s Number 1 Ever is…

Jerry Lee Lewis – Great Balls of FireDeciding on the best single proved to be much tougher than I first thought. It was very difficult to decide between this and Cumberland Gap, and Mack the Knife wasn’t far behind, either. Both songs shook up the music world, but in different ways. The winner is so ensconced in popular culture, it’s hard to imagine how it must have sounded as new, whereas I came in to Cumberland Gap completely fresh. If this decision was based on which single is most important, I’d have to award it to Cumberland Gap, as the influence of skiffle was so important on the following decade. It proved you didn’t have to have the voice of an opera singer to be at number 1, you didn’t have to have an orchestra backing you, and you didn’t even have to play expensive instruments. You could just make an all-mighty racket.

However, as impressed as I was by it, in the end this decision should also be based on personal enjoyment, as well as influence, mass appeal, inventiveness… and Great Balls of Fire has all of these. And despite me knowing it so well, it still managed to sound new and exciting, even after all this time. Plus, as great as Cumberland Gap sounds compared to most of the competition, in a way I had heard it before with the very similar and better known Rock Island Line. So congratulations, Jerry Lee Lewis. Despite being one of pop music’s first controversial figures, and therefore your brief period in the charts, you’ve managed to top Elvis and many other 50s legends, and Great Balls of Fire is one hell of a tune. You ripped up the rulebook when it came to the piano, and you showed the way pop was heading when it came to showmanship on the stage. And your best work was later used to sell cheese. But that’s record companies for you.

The Worst 50s Number 1 Ever is…

The Stargazers with Syd Dean & His Orchestra – I See the MoonNo contest. Reviewing every number 1 of the 50s was at times trying, and I knew it would be, but nothing prepared me for this. Don’t get me wrong, unlike many ‘serious music’ obsessives, there is a small place in my heart for comedy and novelty songs as genres, if they’re done right. And as I said above, context is everything. But I See the Moon is genuinely painful to listen to. I don’t get the joke, unless the joke is ‘Listen to how awful we sound’, in which case, the joke isn’t funny. In a decade with so number 1s that would be unimaginable now, I See the Moon is beyond comprehension to my poor ears.

The Outro

While I’m keen to get onto the number 1s of the 60s, and I originally saw reviewing the 50s tracks as a necessary evil in order to make it to the next batch, I am sorry to see it go. I’ve learnt a lot, about the social history as well as the music of the time, and it’s been a fascinating look at pop’s baby steps. Next, the decade of The Beatles, the Stones, Swinging London, the return of Labour to government, psychedelia, colour TV, British pop dominating at home and abroad… I can’t wait and I hope you can’t too.

Blogs on every 50s number 1 are available to view via the Archive section.

44. Kay Starr with Hugo Winterhalter’s Orchestra & Chorus – (The) Rock and Roll Waltz (1956)

US jazz singer Kay Starr was the third person to have a UK number 1 back in 1953, and had added some much needed light relief after the previous two chart-toppers with the poppy Comes A-Long A-Love.

Starr was ahead of her time and one of the main influences for the early rock’n’roll acts. So she must have seemed a natural choice when the older generation decided to have a stab at this new genre that Bill Haley & His Comets had got so many teenagers all fired up over. ‘Just imagine the crossover appeal such a song could have!’, writers Shorty Allen and Roy Alfred must have thought. ‘We’ll stick the genre in the title, get Kay Starr to sing it, and the teens AND their parents will go out and buy it!’

And while it seems that was the case (after all, (The) Rock and Roll Waltz did knock It’s Almost Tomorrow off the top for a week) it’s a big missed opportunity.

For a start, apart from perhaps the bass, this tune is sadly lacking in both rock and roll. It’s just a cheesy novelty waltz. Starr sings of coming home late one night after a date, to hear a ‘jump tune’ coming from the front room. What the hell are her parents doing in there? Oh, don’t worry, the silly buggers are just trying to waltz to one of Starr’s rock’n’roll records! The chorus is exceedingly naff:

‘A-one, two, and then rock
A-one, two, and then roll
They did the rock and roll waltz
A-rock, two, three, a-roll, two, three
It looked so cute to me
I love the rock and roll waltz’

Apparently Starr wasn’t a fan of (The) Rock and Roll Waltz either,but gave it a bash anyway, and it paid dividends, so who am I to criticise?

It was her final hit in the UK, as rock’n’roll continued to grow, with no further charting singles. She left Capitol Records in 1966 and from then on worked with smaller independent labels, recording mostly jazz and country material.

In addition to performing in revue-style tours, Starr duetted with Tony Bennett on his 2001 album Playin’ with My Friends: Bennett Sings the Blues.

Starr died from complications of Alzheimer’s on 3 November 2016, aged 94. Despite her second number one, she will be remembered as an important part of the genesis of rock’n’roll.

Written by: Shorty Allen & Roy Alfred

Producer: Joe Carlton

Weeks at number 1: 1 (30 March-5 April)

Deaths:

Writer Edmund Clerihew Bentley – 30 March  

 

30. Tennessee Ernie Ford with Orchestra conducted by Billy May – Give Me Your Word (1955)

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Give Me Your Word, by Tennessee Ernie Ford, became number 1 on 11 March. Written by bandleader George Wyle and lyricist Irving Taylor, it’s considered the first country song to top the charts, although it isn’t really. All the ingredients of 50s romantic, overwrought ballads are present and correct. The only thing remotely ‘country’ about it is the drawl of Tennessee Ernie Ford.

Ford, born Ernest Jennings Ford in Bristol Tennessee on 13 February 1919, had added the state to his stage name when he became a radio disc jockey during the 40s, and taken on the character of a wild, crazy hillbilly. Before then, the bass-baritone had served as a local radio announcer before becoming a First Lieutenant in the US Air Corps during World War Two. When the war ended, he was back on the radio.

But soon he was releasing singles, and doing very well out of fast-paced boogie-woogie like The Shotgun Boogie. He also recorded slower-paced duets with the likes of jazz singer Kay Starr, who had been number 1 in 1953 with Comes A-Long A-Love.

How did Give Me Your Word achieve the same feat? Let alone, for seven weeks? This is a mystery, lost in the mists of time. I’m not much of a country fan, so I may be biased, but like I said above, this isn’t much of a country song. It had been a B-side originally, to River of No Return in 1954. That’s where by rights it should have stayed. It’s no How Soon Is Now? by The Smiths, for example, where the sheer brilliance of the tune demands it to be promoted from the flip side. To be fair to Ford, he made up for this bland, soppy rubbish when Sixteen Tons became his second number 1 in January 1956.

Written by: George Wyle & Irving Taylor

Producer: Lee Gillette

Weeks at number 1: 7 (11 March-29 April) *BEST-SELLING SINGLE OF THE YEAR*

Births:

Poet John Burnside – 19 March
DJ Janice Long – 5 April

Deaths

Bacteriologist Sir Alexander Fleming – 11 March

Meanwhile…

5 April 1955: Prime Minister Winston Churchill announced his retirement. The following day, his deputy for 15 years, Anthony Eden, replaced him in Downing Street. Highly regarded as a man of peace, world events would soon tarnish his reputation and have a lasting impact on his legacy.

19. Johnnie Ray – Such a Night (1954)

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‘Poor old Johnnie Ray sounded sad upon the radio
He moved a million hearts in mono.’

Immortalised in the video and opening line of Come On Eileen by Dexys Midnight Runners,  it’s a shame that it seems to be what US singer and songwriter Johnnie Ray is best known for these days.

As great a song as it is, he deserves better. In many ways the prototype eccentric rock’n’roll star, he was troubled, overtly sexual and most of all, different. He wasn’t a cardigan crooner or your typical teen idol, but for a time he was just as popular. Ray was a big influence on Elvis Presley, who later covered this song, and Morrissey wore a hearing aid in the early years of The Smiths in tribute.

Born 10 January 1927, John Alvin Ray was raised in Dallas, Oregon. The Rays lived briefly on a farm, and at the age of three, he began playing piano. At 12, he was singing in the church choir.

Aged 13 and living in Portland, Oregon, Ray became deaf in his left ear following an accident at the Boy Scouts, which is why he was known for wearing a hearing aid in concert. He also later explained the incident had a profound impact on his unique performance style.

Ray was one of the first, if not the first star to show you could turn your weaknesses into your greatest strengths. He was influenced by, among others, Kay Starr, whose jazzy, rhythmic singing on previous number 1, Comes A-Long A-Love was one of the earliest signals of rock’n’roll to make the charts.

At 15 Ray was singing on a local radio station, and performing in comedy and theatre shows. Later, he moved to Detroit, Michigan, and gained a cult following for his live performances. He signed his first record deal in 1951.

In 1952 Ray became famous for the first of several appearances on US TV’s Toast of the Town (which became The Ed Sullivan Show three years later). Soon after the double-A side Cry/The Little White Cloud That Cried made him a teen idol. On 30 April, his cover of Such a Night became his first UK number 1.

Such a Night had originally been a hit for soul group The Drifters. It was songwriter Lincoln Chase’s first big hit, and caused some controversy by being a bit too racy. Ray had no qualms about not only covering it, but making it sound positively filthy by the usual standards of the day. The lyrics and rhymes are very basic, but it’s all about the delivery with this song, produced by hitmaker Mitch Miller. Ray doesn’t hold back, he grunts and groans, and makes it clear he’s not just talking about kissing his girl.

Sex had made its way to the top of the charts (the nudge-nudge wink-wink of Guy Mitchell’s Look at That Girl barely compares) for the first time, and already the likes of Frankie Laine started to look old-fashioned by comparison. Ray would do better, but rock’n’roll doesn’t seem so far away anymore.

Written by: Lincoln Chase

Producer: Mitch Miller

Weeks at number 1: 1 (30 April-6 May)

Deaths:

Journalist JC Forbes – 6 May

Meanwhile…

6 May: Athlete Roger Bannister made history, becoming the first person to break the four-minute mile.

3. Kay Starr – Comes A-Long A-Love (1953)

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US pop and jazz singer Kay Starr hit number 1 with Comes A-Long A-Love (how ’50s’ is that title?). Unlike the first two top-selling tracks, this tune, written by former Tin Pan Alley songwriting veteran Al Sherman, was a chirpy, breezy little number, in which Starr extols the virtues of love. If you’re in love, you’re always singing, bells are ringing… you get the idea.

Kay Starr had been born Katherine Laverne Starks on 22 July 1922 on a reservation in Dougherty, Oklahoma to a native American father and mixed Irish and native American mother. The Starks moved to Dallas when her father got a job installing water sprinklers. Her mother raised chickens, which little Stark would serenade. Pretty idyllic, I’m sure you’ll agree. Her aunt was so impressed by the seven-year-old’s voice, she arranged for her to sing on a local radio station.

Fast forward a few years and the Starks were living in Memphis, and their daughter was regularly performing on the radio there. Misspellings in her fanmail resulted in her taking on the highly appropriate stage name Kay Starr.

Starr was only 17 and still at high school when she made her first recordings with legendary bandleader Glenn Miller in 1939. However, her vocal range didn’t really fit, and the partnership didn’t last long.

After working with Wingy Manone and Charlie Barnet’s ensembles, Starr took the plunge and went solo in 1946, but in a crowded market of female singers like Peggy Lee, the young hopeful was often left with the poorest material to record. Nonetheless, she did have hits in America, most notably with Wheel of Fortune in 1952, which went to number 1 there. Comes-A-Long-A-Love was released later that year.

Although lyrically basic by today’s standards, this song does have something going for it. It must do as I’ve only heard it twice and it’s been in my head for days. Not sure about the lyrics below though…

‘I don’t care how
Blue you’re feeling now
You sparkle yes you bubble
Look out you gotta whole lotta trouble’

Is Starr basically telling the subject of her song, “I don’t care how down you are at the moment, just go and fall in love, alright?”. It seems harsh advice.

Nonetheless, she sings Sherman’s tune with a certain panache. In her voice you can hear the stylings of the rock’n’roll singers that would be all over the charts in a few years.

Comes A-Long A-Love was only number 1 for one week, but Starr, who Billie Holliday once proclaimed to be ‘the only white woman who could sing the blues’, would reach pole position one more time. It’s also worth noting that this is the first number 1 to be produced by Mitch Miller, the conductor and A&R man who would be responsible for many more chart-toppers over the next few years.

Written by: Al Sherman

Producer: Mitch Miller

Weeks at number 1: 1 (23-29 January)

Births

Footballer Ronnie Moore – 29 January

Deaths

Criminal Derek Bentley – 29 January

Meanwhile…

At 9am on 28 January 1953, Derek Bentley was controversially hanged for murder at Wandsworth Prison in London. Bentley issued the infamous and ambiguous phrase “Let him have it” to his friend and accomplice Christopher Craig, and a policeman was shot dead. Bentley, who had health and developmental issues, was pardoned for the crime 45 years later, and the tragic case helped bring about the eventual end of the death penalty in the UK.