Timeline

 

 

 
Some songs are known only to doo-wop fans; "The Wind" is among the best of the slow ones. It features a dramatic tenor lead with back-up chanting ("wind, wind, blow") and a memorable mid-song recitation. The Jesters` fine cover version appears in many doo-wop compilations, but the Diablos` superb, over-the-top original version was impossible to find on CD until 2003, when Varese Saraband included it in this hits collection. Smokey Robinson has said that, along with Clyde McPhatter, Nolan Strong was an early inspiration of his. Once pointed out, the influence is evident in Strong`s falsetto vocal timbre and phrasing, which we can easily imagine the young Robinson emulating.
 

 

 

 

 

 

 

 

 

 

 

 

 

 
Many CD reissues of this song use a source tape where a splice can be heard about half way through. Besides "Blowing The Fuse," you can find a completely intact version on "The Golden Age of American R&R vol.6" Ace (UK) 650 (1997)
 

 

 

 

 

 

 

 

 

 
This song was written by Atlantic Records` president, Ahmet Ertegun (as Nugetre, Ertegun spelled backwards). Its melody and arrangement were "borrowed" by Hank Ballard, who added new lyrics and recorded it as "The Twist." According to Ertegun, Ballard once owned up to him directly, but Ertegun never pressed for credit to be acknowledged officially.
 

 

 

 

 

 
The Muddy Waters` song, "Mannish Boy," is his cover version of Bo Diddley`s "I`m A Man." The different name hardly disguised Muddy`s intent to stake his claim on it.
 

 
This song was first recorded by Haley in April 1954 and released the next month (as the B-side to "Thirteen Women"). It sold about 75,000 copies. When it was interpolated into the movie "Blackboard Jungle" in the spring of 1955, the record was re-released and immediately shot to #1 on the pop charts. Its guitar solo was taken directly from "Rock the Joint," a hit for Haley from 1952.
 

 

 

 

 

 

 

 

 

 

 

 
The Muddy Waters` song, "Mannish Boy," is his cover version of Bo Diddley`s "I`m A Man." The different name hardly disguised Muddy`s intent to stake his claim on it.
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
Carl Perkins wrote and recorded "Blue Suede Shoes" before Elvis Presley did, but many people were confused about "whose song it was" because both artists had competing versions in record stores (and being played on the radio) at the same time. Carl`s version spent nine weeks in the national top 10 between mid-March and mid-May. Meanwhile, Elvis released his first LP and an extended-play 45, both of which featured his version of "Blue Suede Shoes" as the lead track, in mid-March. For the last four weeks that the Perkins version enjoyed national top 10 status, the Presley version - as an EP, not a single - was perched in the top 40. The EP peaked at #20 on the best-sellers chart the sixth week that Carl Perkins` single was in the top 10, still at #4.
 

 

 

 

 

 

 

 

 

 
Carl Perkins wrote and recorded "Blue Suede Shoes" before Elvis Presley did, but many people were confused about "whose song it was" because both artists had competing versions in record stores (and being played on the radio) at the same time. Carl`s version spent nine weeks in the national top 10 between mid-March and mid-May. Meanwhile, Elvis released his first LP and an extended-play 45, both of which featured his version of "Blue Suede Shoes" as the lead track, in mid-March. For the last four weeks that the Perkins version enjoyed national top 10 status, the Presley version - as an EP, not a single - was perched in the top 40. The EP peaked at #20 on the best-sellers chart the sixth week that Carl Perkins` single was in the top 10, still at #4.
 

 

 

 

 

 

 

 

 

 

 

 

 

 
Little Willie John`s great soul ballad was a huge hit on the R&B charts in late spring and summer 1956 but projected too much heat for pop radio at that time. Two years later Peggy Lee wrote more playful lyrics for the second half of "Fever" and transformed it into a pop masterpiece. For the samples I chose a verse common to both versions of the song to emphasize the musical differences between them. The original features a strong, insistent, horn-driven riff undergirding John`s impassioned gospel tenor vocal. The cover rearranges the riff into virtually a bass solo with finger snaps and drum accents, creating more of a supper-club feel for Lee`s seductive contralto voice. When Elvis Presley covered the song in 1960 he adopted the Peggy Lee arrangement, which became her signature song.
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
Hound Dog and Don`t Be Cruel were both huge #1 hits on the same 45, the undisputed king of all double-sided singles in the 20th century.
 

 
Hound Dog and Don`t Be Cruel were both huge #1 hits on the same 45, the undisputed king of all double-sided singles in the 20th century.
 

 
Parts I and II were the A and B side of King 4950. Both sides were played on the radio and in jukeboxes, and both sides were listed on charts in 1956. Part II (the saxophone solo) was re-released by itself on King 5444 in 1961. In the CD reissue era, just about every other two-part hit record has been reissued in a single, uninterrupted digital file, but the unedited master tape of "Honky Tonk" was apparently destroyed long ago.
 

 
Parts I and II were the A and B side of King 4950. Both sides were played on the radio and in jukeboxes, and both sides were listed on charts in 1956. Part II (the saxophone solo) was re-released by itself on King 5444 in 1961. In the CD reissue era, just about every other two-part hit record has been reissued in a single, uninterrupted digital file, but the unedited master tape of "Honky Tonk" was apparently destroyed long ago.
 

 

 

 
Although it never reached the top 10 for even one week in New York City during its original release, "In the Still of the Night" kept winning polls as the most popular oldie for decades afterwards (at least in the eastern half of the country - "Earth Angel" might claim that distinction for those who grew up with a stronger tie to Los Angeles). Both songs were featured on the first "Oldies But Goodies" album, which charted continuously from September 1959 into 1963.
 

 
This song only charted in New York City but is well known to doo-wop lovers everywhere.
 

 
This follow-up to Be-Bop-A-Lula never caught on with radio programmers.
 

 

 

 

 

 

 

 
Guy Mitchell covered this song and had a huge, huge pop hit with it, but the original is a better record, and was a giant country hit in its own right. The samples illustrate the difference between records that are pitched to the country and pop markets. Mainly, even as today, they differ primarily in instrumentation and vocal style. The original features a slide guitar and Marty Robbins using his yodel to great effect. The cover replaces the slide guitar with various background vocalizing - including whistling! - and exploits Guy Mitchell`s versatile voice to sound every bit the contemporary pop stylist.
 

 
"Too Much Monkey Business" and "Brown Eyed Handsome Man" were A and B sides of Chess 1635. One side lagged a few weeks behind the other.
 

 

 

 
"Too Much Monkey Business" and "Brown Eyed Handsome Man" were A and B sides of Chess 1635. One side lagged a few weeks behind the other.
 

 
"Love Me" was the lead song of a four-track "extended play" (EP) record. It was unusual for EPs to make the singles chart at all; it was unprecedented for one to reach the top 10, where "Love Me" remained for two months, peaking at #6. The song was written ("as a send-up of country music") by Jerry Leiber & Mike Stoller and originally recorded on their Spark label in 1954 by gospel singers Willy & Ruth. Comparing the samples, ignoring the stark differences in production values, you can hear clearly how Elvis` sincerity, commitment, and great vocal skills transformed an ordinary, simple tune into an unforgettable, bravura performance.
 

 
The Dells recorded an updated and rearranged version of this song in 1969. They covered their own song! This original version was also spelled "Oh What A Nite" at the time.
 

 
For years, the song which Alan Freed played last on his radio show - his "sign-off" song.
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
If you want the original hit single of this song, you must listen carefully. A second master tape has frequently been reissued on CD that has a female vocalist dubbed over the background vocal on the original (first heard 18 seconds into the song). Even my "reference" series, the vaunted Bear Family "Blowing The Fuse" 1957 CD, has the wrong version! One other source for the undubbed master is "The Golden Era of R&R 1954-1963" Hip-O 2251 (2004).