Spotify playlist : Top 40 Singles of 1960
I grew up in what is widely regarded as the best decade for pop music - the 1980s. But what about that other widely regarded best decade for music, the Sixties? If you grew up in the 60s and liked pop music, you probably didn't care much for the 80s and vice versa. Well, I'm here to either agree or disagree with you.
To get to my conclusion (which will eventually be 'What was the best year for pop music' and 'What was the best decade' amongst other things) I have to listen to every single record that entered the top 40 since the chart began until it stopped being relevant in 2007 when 'streams' and 'downloads' were counted towards chart positions. I've already listened to and blogged about each year from 1973 to 1989 which you can check out here or here. But where better to start than the genesis of what us purists would consider as 'pop' music - 1960.
After listening to each of the 271 singles that reached the top 40 (or 20 depending on what they published each week) I have the following observations :
- Frank Sinatra charted with a version of 'Old McDonald had a Farm' that was so misogynistic, I almost threw up in my mouth.
- There were a lot of instrumental groups having hits at the time, with tunes as diverse as Johnny and the Hurricaines' version of 'Jimmy Crack Corn' in a Rockabilly style (they also had a hit called 'Rocking Goose' which featured an irritating fake Goose sound every three seconds).
- Every single vocalist in the chart could actually sing (except Tommy Bruce)
- There were sometimes multiple versions of the same song in the chart at the same time (take 'Never on Sunday' by Don Costa and three other groups)
- Duane Eddy was labelled 'The Master of Twang' (another instrumentalist alongside Russ Conway (who wouldn't have been out of place in an East End Pub), Winifred Atwell and The Piltdown Men who had a number 14 hit with an instrumental 'Old McDonald' using saxophones).
- There were a lot of grand orchestral songs which you'd hear in movies, especially Disney ones, along with too many Rock 'n Roll songs which sounded identical. However, I think I've managed to separate them sufficiently to rate some more highly than others so, with less waffle, here's my top 40 for the year.
Songs were a lot shorter back then. Some come in at little over one and a half minutes (an issue tackled by Stan Freberg later in the list) which is ideal if you've got a lot of other stuff to be getting on with. Boredom was a big thing back then for kids. You might have had a television with two channels on it. You might have had some books to read or toys to play with but they got boring quickly. Suddenly, instead of boring radio, you had exciting music to listen to and some songs even had a storybook feel. I remember hearing country songs when I was young and they all seemed to tell stories about people or Cowboys or something exciting. Here, Ricky Valance (not to be confused with Ritchie Valens as I did) was telling a heartbreaking tale of wanting to earn some money to buy his Girlfriend a wedding ring but, as he didn't have the money, entered a stock car race (as you do) in order to use the winnings on their future. He ends up in an accident and his ethereal voice drifts over the latter part of the record saying 'Tell Laura I Love Her'. Sobering and brilliant in equal measure.
It was a controversial release at the time, being dubbed a 'death disc'. There had been a song called 'Teen Angel' in which someone dies when a car stalls on a railway line. Decca records hesitated over releasing Ray Peterson's version of 'Tell Laura...' (a top 10 hit in America) and in doing so, allowed Ricky Valance to storm the chart to number 1. They reportedly had to scrap 25,000 copies unsold.
39. "Happy Go Lucky Me"—George Formby
This was one of George's last recordings. Music Hall style music still had an (albeit nostalgia based) audience but not only was this a fresher take on George's inimitable style, he sounded much more measured and mature - almost as if being 'chirpy' was the old him and maybe finding a different way was a good idea. This song is the archetypal 'smile though your heart is breaking' fare and although it's a fun uplifting song, you can hear the tears of a clown (the metaphor, not the Smokey Robinson song) behind the veil. Or, I could just be reading too much into it as usual.
This single nudged in at number 40 for one week before disappearing.
38. "My Old Man's a Dustman"—Lonnie Donegan
I didn't quite know what to think of this single. I used to sing it at school in the playground, but with altered lyrics about a football match. The 80s had their fair share of novelty songs and things you couldn't believe got in the charts ('Shaddap your face' for one) and I'm not sure whether this is a serious chart hit or a comedy song which captured the attention of young and old alike. Regardless of my ignorance of the prevailing tastes of the time, this is a fun jaunt with wide appeal and Lonnie was a bit of a legend by all accounts. his take on 'The Rock Island Line' is brilliant. 'Dustman' got to number 1!
37. "Little White Bull"—Tommy Steele
I knew of Tommy growing up in the late 70s, having seen him in 'Quincy's Quest', a weird Christmas Film which I think was based on the Nutcracker (but maybe not, it's been many many years). He was Britain's first 'Teen Idol', that is, an artist with a sizable teenage following. My favourite of his was 'Singing the Blues' which I was passively exposed to at the age of four years old, as was I to all of my Dad's musical tastes which would blare out of the speakers on his Record Player on a Sunday Afternoon. Tommy was a Rock and Roller but this track, 'Little White Bull' was the kind you'd have sung to you in assembly at school. It's a song not unlike The Ugly Duckling - a tale as old as time - where someone who doesn't fit in finds their place eventually. Bull gave Tommy a number 6 hit.
This track was taken from the Movie 'Tommy the Toreador' which featured the legends Sid James and Bernard Cribbins.
36. "El Paso"—Marty Robbins
Cowboys and the Wild West were well visited troughs of inspiration in the late 50s and early 60s. 'El Paso' featured on an album called 'Gunfighter ballads and Trail Songs', which featured tracks such as 'They're Hanging me Tonight' and 'Billy the Kid'. The entire album was recorded in one day. There were a few reasons for this. Those making the album were professionals, could play their instruments, sing and didn't need several takes to get the song just right. The result is an album that went Platinum.
'El Paso' is gripping. I'm listening to these songs blind - without context of who the artist is so as not to prejudice my opinions. Turns out, the internet reckons this song is 'widely considered a genre classic for its gripping narrative which ends in the death of its protagonist and its shift from past to present tense'. Which is exactly as I suspected (ahem!). This was a number 19 hit in January.
35. "He'll Have to Go"—Jim Reeves
This was Jim Reeves' first chart hit in the UK, a number 12 no less, in April. A stalwart of the US Country chart in the 50s, he'd only enjoyed very moderate success in the mainstream until 'He'll Have to Go' smashed in at number 2. He didn't see the top 10 again in the US however but enjoyed a very successful mid-60s in the UK.
What a voice! This is one of the many songs in the chart that year which had a lullaby quality. The type of song your parents would sing you as they tucked you in for the night before you drifted off to sleep. Lullabies appeal to us before we can speak or understand what a song is, so it makes sense that this early version of the music chart was awash with music that was, in the main, slow, relaxing and lovely to have on in the background. It wasn't disco or happy hardcore, but lovely all the same.
34. "You've Got What it Takes"—Marv Johnson
The song-writing credits for this track are sketchy with at least five people claiming they wrote it. Bobby Parker was the first to have a hit with it in 1958 and it was his name on the credits - until Marv Johnson took it to number 7, at which point Berry Gordy, Gwen Gordy and Billy Davis had attached themselves.
Regardless, it's a lovely timeless song and he did it much better than Johnny Kidd and the PIrates who entered the chart the same week as Marv, managing to reach number 25. The song entered the chart twice more - it reached number 28 when The Dave Clark Five covered it in 1967 and number 2 when Showaddywaddy did a Rock n' Roll version in 1977.
Marv wasn't entirely comfortable in front of the camera (see the video above) so someone, in their wisdom, decided to make him sing his song in a ladder shop, which somehow makes him look even more awkward. Look at the faces in the audience when it cuts to them - none of them have any idea what's going on.
33. "All My Love"—Jackie Wilson
I had no idea this was Jackie Wilson until the song was over and I looked at the artist. I had no idea the bloke I knew as the 'Reet Petitie/Higher and Higher' singer, was capable of something this beefy. 'Reet Petite' was a number one phenomenon in 1957 and again in 1986. He was always very well dressed and had an unusual vocal style which isn't completely in evidence in this song but it's wonderfully operatic all the same. This song only reached number 33, which suggests people weren't really interested in this sort of thing. It's their loss I suppose.
In this song however, Jackie does sound like he's being backed by The Mysterons.
32. "Shazam!"—Duane Eddy
This instrumental is a world of fun. Catchy and technically brilliant, it stood out from the other instrumentals in the chart mainly because you could discern a tune. A lot of the others were either re-appropriated nursery rhymes or dirges - this is bright and catchy. I always thought that this was the Shadows growing up but, having just listened to the Shadows' version (which was the B side to their 1963 single 'Geronimo'), it's slower and less bright and less catchy and less good! Duane took his own composition to number 4 in April.
31. "Rawhide"—Frankie Laine
More Cowboy bants. This is quite a famous song I think - I knew it from the 'Wagon Wheels' advert but it's very 'Down the Ranch' stuff. On TV, people were watching 'Bonanza', 'Gunslinger' and 'Have Gun Will Travel' so it made sense that they also wanted to hear rootin-tootin cowpokes yelling at their horses.
There were too many Frankies about to keep track of. Avalon, Laine, Vaughan, Valli, Lymon, McBride, Ifield and Sinatra (granted, he was just a Frank). This one was Laine, who looked like a Grumpy Al Lewis (Grandpa from The Munsters). 'Rawhide' made it all the way up to number 6.
30. "Why"—Frankie Avalon
You may know Frankie from such films as 'Grease' and the song 'Beauty School Drop-out'. 'Why' was a number 1 hit in the US, his second and last number 1 over there. He'd decided to prioritise his movie career over his music one so never really capitalised on the popularity of this song.
Covered by one of the pesky Osmonds (who we haven't yet heard the last of in this list) in 1972, it reached number 3. Frankie reached number 20.
29. "Country Boy"—Fats Domino
Antoine Domino was probably the first person to have a hit with a Rock and Roll record. This is a vey warm and familiar song which is just a delight because of it's groove and Mr Domino's lovely voice.
'Country Boy' climbed to a modest number 19.
28. "Let it be me"—Everly Brothers
One thing struck me as I was listening to the singles of 1960. That was how unique a sound the Everly Brothers had compared to the rest of the chart. Not just how they sounded but the quality of song they were touting about the place. 'Let it be me' is another of those 1960 lullaby songs with wide appeal. Originally 'Je T'Apprartiens' (or 'I belong to you' in English), an English lyric was applied by Mann Curtis and became one of the brothers' favourite recordings.
With five top six songs to their name in the late 50s, they continued in a similar vein at the beginning of the 60s. They'd score three number one singles by the time 1961 was out but this track only reached number 13.
27. "Wonderful World"—Sam Cooke
Widely regarded as one of the greatest vocalists of all time, Sam Cooke had some brilliant songs. This is quite a famous one, surviving for many decades beyond the moment this song dropped out of the chart. It seems crazy to learn that this song didn't rise any higher than number 27 when it has outlived many, much more popular tracks of the time.
26. "Donald, Where's Your Troosers?"—Andy Stewart
Brilliant single this. It was a hit in 1960 and 1989 as its appeal bridged the time between. He was a brilliant impressionist too and he provides one of the best comedy moments of the year when he, in Elvis' vernacular, says the word 'troosers'.
Proper sing-a-long singles like this have always been popular (though there's been a distinct lack of such things in the last ten years) though this, sadly, only reached 37 in 1960 (rising to a much more deserved number 4 at the end of the 80s).
You'll struggle to find many British artists in my top 40 of 1960, mainly because american music dominated at the time. The landscape was changing however because in 1958, sixteen of the top 20 best selling singles were American - in 1960, that had reduced to just ten. in 1962, just four of the best selling 20 were American. Times were changing, albeit more towards Cliff Richard, Adam Faith and Shirley Bassey, than traditional Scottish folk music.
25. "Kooky Little Paradise"—Frankie Vaughan
Frankie was a very 'Top Hat and Cane with Tuxedo' type of singer but his voice was wonderful. This track reminds me a lot of Wham!'s 'Club Tropicana' is a twisted way. We weren't yet in the 'Swinging' part of the sixties but this would have fitted right in.
After six top ten singles in the Mid-50s (including 'Green Door'), he lost his way a little towards the end, mustering just two top tens in twelve releases. This track didn't fare well either, scraping in at number 31 before a significant reverse in fortunes a year later when 'Tower of Strength' hit the number 1 spot.
24. "Only the Lonely"—Roy Orbison
The big O introduced himself to the pop chart in the best possible way when this, his first release as a singer, reached number 1. He'd previously penned 'Claudette' for The Everly Brothers (the B-Side to 'All you have to do is dream') in 1958. Working for years as an unsuccessful recording artist and writer, it was this song (which he'd tried to sell to Elvis) that launched him as a household name.
There's a moment in this song where it drifts out of 4/4 into 6/4, which throws you a little bit - the real genius of course is the build in the chorus which changes the atmosphere entirely, punctuated by the glass note he hits. This is what separates us amateur songwriters from the very best.
23. "When Will I be Loved?"—Everly Brothers
This is the first real 'riff' I've been aware of as I listen to all the singles of the sixties chronologically. I'm not sure a 'riff' was so much of a conscious choice when songwriting back then as rhythms and melodies were. This starts with a great riff (the song was a rare Phil Everly composition) and the Everly's harmonies make this a lovely thing to listen to. This was the third of five top 11 songs from the brothers this year, reaching number 4 in July.
22. "The Big Hurt"—Toni Fisher
I don't know why I like this so much. It's based around a classic Spanish chord inflection and doesn't seem like anything special but the vocal is so fascinating. I'm not sure why in some places she is noted as 'Miss Toni Fisher' (despite the ambiguous first name), this is clearly a very powerful female vocal.
This song is a very VERY important one for the future sound of the Sixties. When mixing engineer Larry Levine inadvertently mixed the mono and stereo versions of the song together (but a little bit out of sync) he invented the 'Wall of Sound'. He of course went on to hone this technique by the side of Phil Spector (who is sadly solely-credited with its creation) who used it to 'beef up' the atmosphere of many otherwise average singles.
'The Big Hurt' only reached number 30.
21. "The Lady is a Tramp"—Buddy Greco
I'm not a fan of swing music. I actively avoid it in fact. Michael Buble and Ray Quinn (even Robbie Williams and Bradley Walsh) have tried to relight its spent firework over recent years but it will never capture mass imagination like the original Rat Pack did.
I've made an exception for this curiosity however. I've never heard someone do 'swing' in such an adept and engaging way. It's very informal and almost conversational. It sold over a million copies despite only reaching number 26.
20. "Old Payola Roll Blues"—Stan Freberg
There's genius at work here. The Payola scandal was something which, depite becoming public knowledge, probably happens in all sorts of ways in all sorts of industries. People paying the people in charge to end up winning a Golden Globe, get into the top ten and in this case, paying for records to be played on commercial radio stations (without disclosure) in order to push them up the chart.
Stan Freberg's single is a comedy take in which he explains the entire thing whilst making you laugh out loud, especially the part when he uses a sharp stick to make his hired singer sound like Little Richard.
The single was at number 40 for a week before dropping out but I urge you to go listen to his 'best of' on Spotify, it'll be the best hour of comedy you'll have had for a long time.
19. "I'll Never Fall in Love Again"—Johnnie Ray
'Poor old Johnnie Ray', sang Dexy's Midnight Runners on their hit 'Come on Eileen'. Johnnie sounds anything other than 'sad upon the radio' here. The Mexican-style trumpets are joyous regardless of his assertion of abandoning all hope of finding someone to love after being jilted.
Rock and Roll dulled Johnnie's star a little, his style of music was starting to become old-hat and this was his final hit, a number 26 in January.
18. "Oh Carol"—Neil Sedaka
What a singer - what a songwriter - what an entertainer. Neil was the most confident performer of his age. He knew how good he was and with that twinkle in his eye, you couldn't disagree. There were a lot of songs around which featured women's names; 'Bonnie Came Back', 'Collette', 'Clementine', 'Cathy's Clown' and, one with a full name, 'Angela Jones' by Michael Cox.
Seven of his first eight singles went top ten, this was the the second of those, reaching number 3.
17. "Puppy Love"—Paul Anka
Before hearing this, I was saying to myself, 'So that's who is responsible for that abomination' - having only ever heard Donny Osmond's number 1 version from 1972. However, Paul Anka was the bloke responsible for writing it and what a huge difference his version makes of what I thought was just a pile of slush.
Mr. Anka's voice is a standout, even alongside contemporaries such as Frankie Vaughan, Johnny Mathis and Ella Fitzgerald (he was eighteen years old!! I couldn't even make an omelette when I was 18). When he sings this song, you forget all other versions (even the ill-advised one by 'S Club Juniors') and your memories of such are replaced by this brilliant and original rendition. Only reaching number 33, it's clear the public's tastes at the time were less refined than I gave them credit for.
Anka's credentials were firmly set in stone when he provided Frank Sinatra with his most famous hit, 'My Way' in 1969.
16. "Way Down Yonder in New Orleans"—Freddie Cannon
The style of this song was quite common in the 1960s chart but Freddie Cannon manages to raise his head above the rest with this track. I'm a sucker for anything New Orleans themed, especially Dixieland Jazz with its bright trumpets and uplifting ethos.
This track captures all of that whilst remaining within the 'pop' genre. It reached number 3 in January.
15. "Paper Roses"—Anita Bryant
This song was a particular favourite of my Great Aunt. It's one of those orchestral backed songs that moves along like a silent river. When I first heard it, I didn't think there was anything special about it, being as it was, one of many songs in the same style. It's the lyrics and performance that bring this to life. It's heart-breaking and uplifting at the same time.
There were three versions of this in the 1960 chart in July. The Kaye Sisters pushed it up to number 7 whilst Anita languished at number 24, despite her version being far superior.
Marie Osmond covered this in 1973 and got to number 2.
14. "Three Steps to Heaven"—Eddie Cochran
I'd say that this is one of the most famous songs to come out of 1960. Partially because of the brilliant construction and vocal performance but also because of the Rock and Roll renaissance in the mid-70s which saw bands such as 'Showaddywaddy' covering classic tunes in what I assume was a parodic way.
This was a posthumous release, following Cochran's car accident earlier in the year. It reached number 1.
13. "Walk, Don't run"—The Ventures
I used to try and play this on the guitar when I first picked one up - it helped with scales and I felt like I could play guitar because once you mastered it, you sounded great. The Ventures were a pseudo-'surf rock' band, that is, they pre-dated Surf Rock and influenced it to a degree.
This reached number 8.
12. "Cathy's Clown"—Everly Brothers
This was written by the Everly Brothers and it reveals their attitude to the conventions of pop music. They throw them all out of the window, open with a chorus, fill the song with bridges and don't even bother with verses. Also, according to some sources, the song was recorded live in one take with the brothers sharing a microphone. A far cry from the huge production numbers later in the decade.
This was their first release after signing to Warner Brothers and the label must have been wringing their hands after the song stayed at number one in the UK for seven weeks. The harmonies on this song also inspired The Beatles on their hit 'Please Please Me'.
11. "It's Time to Cry"—Paul Anka
This is epic. The vocal on this for an Eighteen year old isn't just baffling, it's suspicious. Fans of Duran Duran might be able to hear Simon le Bon in the vocal in this song. Though I've done a deep dive, I can't unearth anything that suggests Simon's vocal stylings were influenced by Anka, but I can hear it.
The only thing I can unearth is a version of Duran Duran's 'Ordinary World' which Anka recorded for his 50th anniversary 'Classic Songs' album. Worth a listen here
'It's Time to Cry' reached number 28.
10. "Among my Souvenirs"—Connie Francis
Best known for the epic 'Who's Sorry Now' and the effervescent 'Stupid Cupid', both number 1 smashes in 1958, Connie had a further eight top 10 hits by 1962. 'Among my Souvenirs' just missed out, reaching number 11 but what a song.
Originally recorded by 'The Kit-cat Band' in 1927 and taken to number 1 in 1928 by Paul Whiteman, Connie injects a warmth that makes you want to lie back and close your eyes - perfect for cosy evenings by the fire. (It's how I imagine 1960's winters with literally nothing else to do)
9. "It's Now or Never"—Elvis Presley
This is one of the best selling singles of all time. There were rights issues which held up its release in the UK so the mass of pre-orders ensured it went straight in at number one here (a rare occurrence at the time, even for Elvis).
The popular story is that this song is based on the melody of the Italian song 'O Sole Mio', which is only partly correct. It was actually Tony Martin's 1949 recording 'There's no Tomorrow' that inspired this (which itself was inspired by 'O Sole Mio').
For all it's charms, it does nothing for me, but then, neither does Elvis particularly. It's a good single though.
8. "Good Timin'"—Jimmy Jones
What a singer this bloke is. It's worth a dig into his repertoire just for his voice alone. His use of falsetto influenced Del Shannon, who in turn influenced The Bee Gees on their disco songs. He is still very well regarded amongst Northern Soul aficionados. Another artist, 'Little Anthony and the Imperials' was very similar (their song 'Shimmy Shimmy Ko-Ko Bop' was only a hit in the US) in that his use of falsetto brought the entire performace to life and made it far more interesting than the duller records around them at the time. Both are credited with being an important link between the doo-wop groups of the 50s and the 60s soul scene (see 'The Stylistics' and the 'Chi-lites').
'Good Timin'' really showcases his talents, especially his propensity to start scat singing in order to add some onomatopoeic and rhythmic gravitas to the theme of the song.
After his first hit 'Handyman' went to number 3 in March, 'Good Timin'' went all the way to the top in June. Sadly, it was his last top 30 hit.
7. "Let's Think About Living"—Bob Luman
I thought this sounded like a Johnny Cash song when I first heard it. Bob's voice is perfectly suited to this countrified jaunt. He almost gave up on the music industry all together when, after a distinct lack of success, he was about to accept an offer from Baseball team, Pittsburgh Pirates. He announced this on stage - luckily, the Everly Brothers were in attendance that night and after the show, talked him into recording this song - which was a number 6 hit in the UK.
Before he could embark on a successful chart career, he was drafted into the Military for two years. When he returned, he joined the Grand Ole Opry and continued to have success in the US, but he didn't chart again in the UK.
There's a wonderful sense of humour in this song, and he also gives Don and Phil a name check!
6. "Fings Ain't Wot They Used T'Be"—Max Bygraves
I used to be the musical director of a youth operatic group and Lionel Bart came round often for our shows. (Not the actual Lionel Bart, just his songs). I didn't know that this was one of his but on finding out, I wasn't surprised.
Now, there's a song by the Kinks called 'Come Dancing', one of the saddest songs I've ever heard, in which they sing 'Before that they put up a bowling alley
On the site that used to be the local palais'. This was the 80s looking back to the 50s. In this Max Bygraves ditty he sings 'They′ve changed our local palais into a bowling alley and Fings ain't wot they used to be'.
It fascinates me that people these days talk about the 'good old days' only now, they mean the 2000s! A song in the 80s was bemoaning the changing landscape of the town and here's a song being sung in 1960 where the protagonist is complaining about how much things have changed since his day. No doubt there were people in ancient Britain badmouthing the Romans for building aqueducts.
I was transfixed by the lyrics to this song as will you when you hear/read them. The song itself is sufficiently infused with Music Hall that it'll entertain you for a few minutes too. It also confuses me a little that this is the same Max Bygraves who looked so lost on Family Fortunes. This song was his last big hit, reaching number 5.
5. "Save the Last Dance for me"—The Drifters
At time of writing, 'The Drifters' have had 42 different members. The lead singer on this track, Ben E. King had left by the time it was released. The song is from the perspective of writer 'Doc Pomus' who was wheelchair bound from Polio. On his wedding day, his wife, Willi Burke (a Broadway dancer) was dancing with the guests at the reception - the mode of the song stating 'remember who's taking you home and in whose arms you're gonna be'.
Whilst this song hit number 2 in the UK, the group's heyday didn't come until the early-to-mid 70s with releases such as 'Saturday Night At The Movies', 'Come On Over To My Place', 'Kissin In The Back Row Of The Movies' and 'There Goes My First Love'.
4. "What do you Want to Make Those Eyes at me for?"—Emile Ford and the Checkmates
This is absolutely brilliant. It would have been my number one but for the three even brilianter (!) singles this year. If you fail to be entertained by this then you're either tone deaf or lying. A Karaoke favourite of mine, it's everything a good single should be and it's performed to perfection.
This hit number one naturally and their follow up single 'Slow boat to China' reached number 3.They also scored a number 4 hit with the superb 'Counting Teardrops' in 1960.
3. "Georgia on my Mind"—Ray Charles
Everyone else in the chart was a country mile behind this guy in terms of charm, vocal ability and musical cognisance. Everything about this record is perfect and is quite rightly part of the Great American Songbook. The song has also been inducted into the Grammy Hall of Fame twice!
Strangely, it only reached number 24 in the UK but scored a number 1 in the US.
2. "Sweet Nothin's"—Brenda Lee
'Little Miss Dynamite' (not Dy-na-mi-tee-hee) was only 12 when she first hit the charts in 1957. My entire knowledge of her before researching this countdown was her Christmas hit 'Rockin' Around the Christmas Tree'. I now realise that I knew a lot more of her hits, just not that they were sung by her.
Her record of nine consecutive top 10 hits was broken only when Madonna popped out in the 80s. Despite being popular in the UK through her TV appearances in 1959, her chart breakout was with this infectious record when she was sixteen. Her vocal style is entirely her own. The growling and the voice breaks are all hers giving the impression of someone who knows entirely what she's singing about and what she means. She's not just singing some words to a melody. 'Sweet Nothin's' reached number 4 in April and it's a good job her chart placing wasn't based on her dancing (see video above).
1. "True Love Ways"—Buddy Holly
A more beautiful song and voice combo you will never hear. The track starts with studio chat and gives you the sense that this entire thing is done in one take. It was recorded in his last ever recording session, where he also recorded 'Raining in my Heart'. The melody is a subversion of the Gospel song 'I'll be alright' which was played at Buddy's funeral.
There's a harp on this recording and that gives it an almost ethereal feel along with the smooth drifting string arrangement and Buddy's flawless vocal. It's a horrendously undervalued track which only reached number 25.
40. "Tell Laura I Love Her"—Ricky Valance