0035 Here in My Heart - Al Martino

30/04/1952

The song that launched Al Martino to international stardom. Written by Pat Genaro, Lou Levinson and Bill Borrelli, the song was reportedly first offered to Mario Lanza, who suggested Martino instead. As we all know on Buzzjack, it became the first official UK No. 1 single when our Singles Chart was introduced in November 1952. Martino's rich, heartfelt vocals and the song's sweeping orchestration made it an instant classic, establishing him as one of the leading romantic balladeers of the 1950s.

Edited July 11Jul 11 by chartjack2

0036 Mad About the Boy - Dinah Washington

15/04/1952

Written by Noël Coward for his 1932 revue Words and Music, "Mad About the Boy" found new life under Washington’s interpretation. Her smoky, emotionally charged performance transformed the sophisticated theatre song into a jazz and pop classic. Blending vulnerability with quiet, resolute confidence, Washington showcases the expressive power that earned her the title "Queen of the Blues."

Edited July 11Jul 11 by chartjack2

0037 Zambezi - Lou Busch

15/05/1952

Co-written by Busch and Bob Hilliard, this lively tune blends jazz, Latin rhythms and novelty effects to create an exotic, infectious sound inspired by Africa's great Zambezi river. Its distinctive piano style and driving beat made it an international success and a favourite of dance bands.

Edited July 11Jul 11 by chartjack2

0038 Dirty Old Town - Ewan MacColl

30/06/1952

First recorded by Ewan MacColl for his play Landscape with Chimneys, "Dirty Old Town" paints a vivid picture of industrial working-class life in Salford. The song has since became a folk standard through later recordings by artists such as The Dubliners and The Pogues. Its blend of gritty realism, affection and hope has made it one of the most enduring songs in the British and Irish folk tradition.

Edited July 11Jul 11 by chartjack2

0039 Britannia Rag - Winifred Atwell

30/06/1952

Renowned for her dazzling technique and infectious enthusiasm, Atwell combined ragtime, boogie-woogie and light classical influences to create a lively, toe-tapping instrumental. Often performing on her famous "other piano", an old, honky-tonk upright , she produced a unique sound that delighted audiences. "Britannia Rag" captures her joyful style perfectly and helped establish her as one of Britain's most popular recording artists of the 1950s.

Edited July 11Jul 11 by chartjack2

Singing In The Rain a movie classic sequence, I like the song and rate the film even more. Lawdy Miss Clawdy its the Elvis version I know. Nat King Cole's is one I dont know, must dig it out!

0040 Jambalaya - Hank Williams

13/07/1952

Inspired by the Cajun song "Grand Texas," Williams wrote new English lyrics celebrating the food, music and lively culture of Louisiana. Named after the famous rice dish, the song is filled with references to bayous, fishing and dancing, creating an irresistible sense of fun. Its catchy melody and infectious rhythm have made it a country music classic, recorded by countless artists such as The Carpenters and loved around the world.

Edited July 11Jul 11 by chartjack2

0041 Takes Two to Tango - Louis Armstrong

01/08/1952

Written by Al Hoffman and Dick Manning, the song uses the tango as a playful metaphor for romance, with Armstrong delivering the witty lyrics in his unmistakable gravelly voice. His warm humour, relaxed swing and occasional trumpet flourishes turned it into a memorable favourite. The song's catchy refrain and infectious charm made it a hit on both the pop and R&B charts in the US, adding another classic to Armstrong's remarkable catalogue.

Edited July 11Jul 11 by chartjack2

0042 Hound Dog - Big Mama Thornton

13/08/1952

"Hound Dog" was written by the young songwriting team of Jerry Leiber and Mike Stoller especially for Big Mama Thornton. Her fierce, powerful vocal and uncompromising attitude made it a huge rhythm and blues hit, spending seven weeks at No. 1 on the US R&B chart. Although Elvis Presley later turned the song into a worldwide rock and roll sensation, Thornton's original is the raw, bluesy benchmark and one of the most influential recordings in popular music history.

Edited July 11Jul 11 by chartjack2

0043 You Belong to Me - Jo Stafford

15/08/1952

The biggest hit of Stafford's career and the first recording by a female artist to reach No. 1 on the UK Singles Chart. Written by Chilton Price, Pee Wee King and Redd Stewart, the song is a tender message to a distant lover, inviting them to travel the world but never forget the one waiting at home. Stafford's warm, reassuring voice and understated delivery made it an enduring favourite and one of the defining love songs of the early Fifties.

Edited July 11Jul 11 by chartjack2

0044 Because You’re Mine - Mario Lanza

15/09/1952

This soaring romantic ballad perfectly showcased Lanza's magnificent operatic voice while appealing to a wide popular audience. The song was nominated for the Academy Award for Best Original Song (being written for the song of the same name) and helped cement Lanza's reputation as the leading crossover tenor of his generation. It has passion, warmth and an unforgettable melody..

Edited July 11Jul 11 by chartjack2

0045 Do Not Forsake Me - Frankie Laine

25/09/1952

Released for the classic western High Noon, "Do Not Forsake Me, Oh My Darlin'" became one of Frankie Laine's greatest hits. It reflects the moral dilemma faced by the film's hero as he chooses duty over personal happiness, winning the Oscar for Best Original Song and redefining the western theme - proving it could be both dramatic and emotionally powerful. Laine's commanding voice gives the song a timeless sense of courage and honour.

Edited July 11Jul 11 by chartjack2

0046 Le Gorille - Georges Brassens

15/10/1952

This is one of Brassens’ most controversial songs. Beneath its humorous tale of an escaped gorilla lies a sharp satire on capital punishment, authority and social hypocrisy. Its irreverent lyrics led to the song being banned from French radio for many years, but they also established Brassens as one of France's greatest chanson writers. Combining wit, storytelling and social commentary, "Le Gorille" is a landmark of French popular music and a powerful example of song as satire.

Edited July 11Jul 11 by chartjack2

0047 I’m Sitting on Top of the World - Les Paul & Mary Ford

15/10/1952

Originally written in 1925, Paul & Ford give this song a fresh sound, introducing a jazz-age classic to a new generation. It’s one of the duo's finest technical recordings, showcasing the innovation and musical chemistry that made them one of the most successful acts of the time.

Edited July 11Jul 11 by chartjack2

0048 The Ugly Ducking - Danny Kaye

25/11/1952

Based on Hans Christian Andersen's beloved fairy tale, the song tells the story of an awkward young bird who eventually discovers he is a beautiful swan. Frank Loesser's witty lyrics and Kaye's infectious charm turned it into a family favourite, while its timeless message about self-worth and finding where you belong continues to resonate with audiences of all ages

Edited July 11Jul 11 by chartjack2

0049 Don’t Let the Stars Get in Your Eyes - Perry Como

15/12/1952

This blends country charm with easy-going early pop, offering playful advice to a loved one not to be distracted while they're apart. Como's warm, relaxed vocals and effortless delivery helped the record top the charts and cross musical boundaries. Its catchy melody and gentle humour made it a favourite on both sides of the Atlantic and one of the standout recordings of his long career.

Edited July 11Jul 11 by chartjack2

0050 The Glow-Worm - The Mills Brothers

19/12/1952

Originally composed in 1902 by Paul Lincke for the operetta Lysistrata, "The Glow-Worm" enjoyed many revivals before The Mills Brothers turned it into a major hit. Their smooth close harmonies and distinctive vocal style gave the old melody a fresh, swinging feel, helping it reach No. 1 in the US. The recording demonstrates the Mills Brothers’ remarkable ability to reinvent classic songs while retaining the warmth and sophistication that made them one of America's finest vocal acts of the time.

Edited July 11Jul 11 by chartjack2

0051 Skin Deep - Duke Ellington

29/12/1952

This piece is best known for its spectacular drum feature, originally performed by his legendary drummer Louie Bellson. Combining the sophistication of Ellington's big band with Bellson's dazzling technique, the recording became a concert favourite and a highlight of the orchestra's repertoire. It’s a classic example of Ellington's genius for writing music that allowed his outstanding musicians to shine.

Edited July 11Jul 11 by chartjack2

0052 Cross My Heart - Johnny Ace

15/01/1953

Written by Dave Mattis, this song features Ace's smooth, heartfelt vocals over a gentle rhythm and blues backing, expressing a sincere promise of lasting love and devotion. Its emotional simplicity and understated delivery helped make it a favourite with audiences, continuing Ace's remarkable run of chart successes. Although his career was tragically cut short the following year, his recordings are among the finest and most influential ballads of early rhythm and blues.

Edited July 11Jul 11 by chartjack2

0053 I’m in the Mood for Love - Charlie Parker

30/03/1953

Originally written in 1935 by Jimmy McHugh and Dorothy Fields, "I'm in the Mood for Love" became a jazz favourite through countless interpretations. Parker's 1953 transforms the romantic standard into a brilliant bebop performance, his soaring alto saxophone weaving inventive improvisations around the familiar melody. Parker's extraordinary creativity and technical mastery undoubtedly helped redefine modern jazz.

Edited July 11Jul 11 by chartjack2