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 1950s 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 so far. 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 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. I think I’d rather be at war than with Shelton.

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 57 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 Everley 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.

53. Guy Mitchell with Ray Conniff & His Orchestra – Singing the Blues (1957)

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1957 began with political change. Prime Minister Anthony Eden had struggled at the end of 1956 to recover from the debacle of Suez, and perhaps because of this he had suffered ill health. His doctors advised him to quit if he wanted to carry on living, and so he resigned on 9 January. A day later, with no formal process in place at the time, the Conservative Party decided he would be succeeded by then-Chancellor Harold Macmillan. The political situation was so rocky at the time that Macmillan told the Queen he could not promise the government would last longer than six weeks.

The first new number 1 of the year had been in place since 4 January. For the third time, the happy-go-lucky popular crooner Guy Mitchell was back at the top with his version of Singing the Blues. Previously recorded by country star Marty Robbins, it had been written by Mervin Endsley, a musician who had contracted polio at the age of three and had been in a wheelchair ever since. From the age of 11 he spent three years in the unfortunately-named Crippled Children’s Hospital in Memphis. While there he became a huge country music fan and taught himself the guitar. He had written Singing the Blues in 1954 and taken it to Nashville in the hope of getting a hit. And a hit is what he got, several times over.

I wasn’t too flattering about Mitchell’s 1953 number 1s – She Wears Red Feathers and Look at That Girl – but Singing the Blues is a cut above both of them. Produced once more by Mitch Miller (who had given Mitchell his stage name – his real name was Albert George Cernik), Mitchell is in his element here. The country element is hard to detect – this version of Singing the Blues sounds more like the older generation trying to harness rock’n’roll and put their own, safer, stamp on it. And unlike Kay Starr on (The) Rock and Roll Waltz, Mitchell and Miller pull it off. That’s largely down to the song itself, a winning tune set to effectively downbeat lyrics, rather than a naff novelty song with a new genre awkwardly shoved into it.

Mitchell, from the evidence I’ve heard, couldn’t sing a sad song if he tried, and he certainly doesn’t try here. Somehow though, it all gels, with Mitchell turning it into a cheeky come-on over a chirpy backing of whistling, ukulele and backing harmonies. He’s hoping to charm his ex into coming back. And listeners kept coming back to Singing the Blues – his version made it to number 1 for two more week-long stints, making him one of only four acts to have the same number 1 on three separate occasions. The other artists are Frankie Laine with I Believe, Pharrell Williams with Happy and What Do You Mean? by Justin Bieber. At the same time as the Mitchell and Robbins versions were released, they found themselves competing with a third, by up-and-coming rock’n’roller Tommy Steele. More on that next time…

Written by: Melvin Endsley

Producer: Mitch Miller

Weeks at number 1: 3 (4-10 January, 18-24 January & 1-7 February)

Births:

Astronaut Michael Foale – 6 January
Journalist Francis Wheen -22 January
Comedian Adrian Edmondson – 24 January 

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

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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 those early rock’n’roll acts. Therefore, she would seem a natural choice when the older generation decided to have a stab at this new genre that Bill Haley & the 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 could have perhaps been the case, after all, (The) Rock and Roll Waltz did knock It’s Almost Tomorrow off the top for a week, it’s 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 didn’t actually love (The) Rock and Roll Waltz, to her credit, but gave it a bash anyway, and it paid dividends, so who am I to criticise? It was her final big hit as rock’n’roll continued to grow, but she recorded many albums throughout the rest of the 50s and 60s, right through until 1997. She died from complications of Alzheimer’s on 3 November 2016, aged 94.

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  

 

43. The Dream Weavers – It’s Almost Tomorrow (1956)

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From one of music’s most enduring stars to perhaps the first UK number 1-hit wonder. After a month at number 1 with Memories Are Made of This, Dean Martin relinquished the top spot to a group with a unique story. The Dream Weavers was primarily a vehicle for aspiring US songwriting duo Gene Adkinson and Wayne Buff. Other members came and went. They were both at different high schools when they first met, before attending the University of Florida together. They didn’t have a group name at this point. Taking part in a freshman talent show, they performed in front of thousands  of students and won, earning themselves their own radio show. As they closed their first show in 1955, they performed It’s Almost Tomorrow, a song they wrote together in 1953, with Buff taking up lead vocal duties. Chuck Murdock, the announcer on their show, decided to run a contest to decide on a name for the group. The winner announced felt their song was so dreamy, they should be called The Dream Weavers.

I’m not sure ‘dreamy’ is the right word to describe It’s Almost Tomorrow, but it’s worthy of  praise. It’s a song of heartbreak, where the singer is already mourning the loss of his loved one, and is waiting for the inevitable as the sun comes up. The lyrics show a depth beyond the writer’s years, and it’s set to a moving tune. It really works in the song’s favour that Buff isn’t an amazing singer. You don’t want smooth crooning on this song, you want to feel the singer’s vulnerability, and you can. In a way it’s old-fashioned, and sounds like it could have been made in the 40s, but at the same time, a modern-day cover could work well, providing they sorted out the messy ending, and ditched the female backing vocals.

The Dream Weavers couldn’t get a record company interested in the song, so they went and made a recording themselves. A very unusual move back then, but they were convinced the song could be a hit, and they were right. Decca were impressed and the group recorded the version that topped the UK charts. After a fortnight it was toppled by Kay Starr’s (The) Rock and Roll Waltz, but reigned again for a further week a fortnight later. Adkinson and Buff failed to come up with anything that good again, and faded into obscurity following Buff’s marriage to Mary Rude, who had performed their backing vocals.

Some big sporting events took place during It’s Almost Tomorrow‘s reign. On 24 March, Devon Lock had a clear lead in the Grand National before shocking attendees by collapsing near the finish, making 100/7 outsider E.S.B. the surprise winner. 7 April saw the young Manchester United team win the Football League First Division.

Written by: Gene Adkinson & Wade Buff

Producer: Gene Adkinson, Wade Buff & Milt Gabler

Weeks at number 1: 3 (16-29 March, 6-12 April)

Deaths

Actor Robert Newton – 25 March 

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

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On 30 November 1954, Winston Churchill became the first, and to date, only UK Prime Minister to still be in the job at 80 years old. However, ill health was taking its toll. He had suffered two strokes and was aware he was slowing down physically and mentally. On 5 April 1955, he announced his retirement. Another sign that the country was moving on from World War Two. The following day, his deputy for 15 years, Anthony Eden, became the Prime Minister. Highly regarded as a man of peace, world events would soon tarnish his reputation and have a lasting impact on his legacy.

Meanwhile, in the UK top 20, a very dull song had been holding on to the top spot for some time. Give Me Your Word, by Tennessee Ernie Ford, became number 1 on 11 March. It was written by bandleader George Wyle and lyricist Irving Taylor. It is considered the first country song to top the charts, although it isn’t really. All the ingredients of 1950s romantic, overwrought ballads are present and correct. The only thing remotely ‘country’ about it is the drawl of Tennessee Ernie Ford.

Ford had added ‘Tennessee’ to his name when he became a radio disc jockey during the 1940s, and taken on the character of a wild, crazy hillbilly. Soon he was releasing singles, and doing very well. The Shotgun Boogie was fast-paced boogie-woogie. 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 midsts 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

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, 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. He 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. He did this because Ray became deaf in his left ear as a child. This no doubt contributed to his unique vocal performances. 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. In 1952 he enjoyed his first big success with the double-A side (a rarity in itself back then) of Cry/The Little White Cloud That Cried. On 30 April, his cover of Such a Night became his first UK number 1.

Such a Night had originally been hit for soul group The Drifters. It was songwriter Lincoln Chase’s first big hit, and caused some controversy for being a bit too racy for the 1950s. Johnnie 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 grunt and groans, and makes it clear he’s not just talking about kissing his girl. Finally, sex had made it’s way to the top of the charts (the nudge-nudge wink-wink of Guy Mitchell’s Look at That Girl barely compares) and already the likes of Frankie Laine started to look old-fashioned by comparison. It’s not quite there yet, and Ray would do better, but the ingredients of rock’n’roll and pop are noticeable.

Like many of the best entertainers, be they musicians, actors, or comedians, Ray had personal issues, which no doubt helped with the intensity of his live performances. He would pull his hair, drop to his knees and cry, earning the nickname ‘Mr Emotion’ (in this television performance of Such a Night, he reminds me of Jarvis Cocker). He had alcohol problems, probably in part due to his sexuality. Being gay and in the public eye in 1954 wasn’t easy, to put it lightly. In 1951 he was arrested for soliciting an undercover police officer for sex. As he wasn’t famous back then, the newspapers didn’t make a big deal of it. A year later, he married Marilyn Morrison, who knew of the arrest but reckoned she could change his ways. She couldn’t, and they divorced in 1954.

On 6 May, the day before Secret Love by Doris Day returned to the top of the charts, athlete Roger Bannister made history by becoming the first person to break the four-minute mile, despite terrible weather conditions.

Written by: Lincoln Chase

Producer: Mitch Miller

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

Deaths:

Journalist JC Forbes – 6 May

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

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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

Five days earlier, US singer Kay Starr hit number one with Comes A-Long A-Love (not many song titles sound as ‘1950s’ as this). 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. 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, but then Starr did indeed live up to her surname. She had been a successful jazz and pop singer since the 40s, and Billie Holliday once proclaimed her to be “the only white woman who could sing the blues”. In her voice you can hear the stylings of the rock’n’roll singers that were yet to come. Comes A-Long A-Love was only number 1 for one week, but Starr would reach pole position one more time.

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