0121 Folsom Prison Blues - Johnny Cash

15/12/1955

One of The Man in Black’s first breakthroughs, helping to establish his distinctive outlaw image. Self-penned, the song tells the story of a prison inmate haunted by regret as he hears a train passing beyond the prison walls. Its unforgettable opening line and driving rhythm became Cash trademarks. The song reached legendary status after his live performance at Folsom State Prison in 1968, cementing its place as one of country music's greatest classics.

Edited July 16Jul 16 by chartjack2

0122 Blue Suede Shoes - Carl Perkins

01/01/1956

The defining record of rockabilly. Inspired by a soldier fiercely protecting his prized shoes at a dance, it has an infectiously twanging guitar and youthful attitude - no wonder that it the first country record to cross over to the pop and R&B charts in the US so successfully. Although later recorded by Elvis, Perkins' original remains is the cornerstone.

0123 Why Do Fools Fall in Love - Frankie Lymon & the Teenagers

10/01/1956

Fronted by the 13-year-old Lymon, this song’s youthful energy, infectious harmonies and catchy melody captured the excitement of teenage romance like few records before (or maybe even since). The song became an international success (including an UK No 1) and influenced countless vocal groups that followed.

Edited July 16Jul 16 by chartjack2

0124 See You Later Alligator - Bill Haley & His Comets

15/01/1956

How do you follow up “Rock Around the Clock”? Well, this song's playful lyrics, catchy refrain and driving rock and roll rhythm made it another instant favourite at the time. It’s an energetic recording, full of bounce and enduring cheer.

0125 I’ve Got You Under My Skin - Frank Sinatra

15/01/1956

Originally written by Cole Porter for the 1936 musical Born to Dance, this became one of Sinatra's signature recordings on his album Songs for Swingin' Lovers!. The brilliant arrangement by Nelson Riddle, featuring a dramatic trombone solo by Milt Bernhart, builds from quiet intimacy to a thrilling climax. Sinatra's impeccable phrasing and effortless swing transformed the standard into one of the finest vocal recordings of all time.

Edited July 16Jul 16 by chartjack2

0126 Heartbreak Hotel - Elvis Presley

27/01/1956

Elvis’ first US No 1 Pop Hit (reaching No 2 in the UK), the song was inspired by a newspaper report about a lonely man who died by suicide, leaving behind the note, "I walk a lonely street." Its haunting atmosphere, echoing production and Presley's powerful vocal created a sound unlike anything heard before. "Heartbreak Hotel" is a landmark recording that confirmed Elvis as THE face of rock and roll.

0127 On the Street Where You Live - Vic Damone

27/02/1956

Adapted from the musical My Fair Lady, " this UK No 1 captures the excitement of being close to someone you love, even if they are unaware of your feelings. Damone's rich, romantic baritone and polished style brought the Broadway standard to a wider audience.

Mmm, Damone!

The 50s liked their orchestral ballads! His voice goes a bit David Whitfield.

0128 Long Tall Sally - Little Richard

01/03/1956

This song’s breakneck pace, pounding piano and explosive vocals showcased Little Richard at his electrifying best. Its infectious energy made it a favourite with both fans and fellow musicians, and it was later recorded by artists including The Kinks and The Beatles. Fast, exciting and full of swagger, it’s of the key records of early rock and roll.

0129 Too Darn Hot - Ella Fitzgerald

15/03/1956

Another Cole Porter composition, this time for the 1948 musical l Kiss Me, Kate. Fitzgerald's interpretation shows effortless swing, impeccable timing and crystal-clear diction that bring Porter's witty lyrics vividly to life. Backed by lush orchestral arrangements, she combines technical brilliance with infectious warmth, creating one of the definitive versions of this classic show tune and reinforcing her reputation as the "First Lady of Song."

0130 What’ll I Do - Julie London

14/04/1956

This became a much-loved standard (composed by Irving Berlin) long before Julie London recorded this intimate version. London's smoky voice and understated style perfectly suit the song's theme of longing after the end of a relationship. It has a sparse jazz accompaniment and late-night atmosphere, and captures the quiet melancholy that made London one of the most distinctive vocalists of her era.

all getting very famous at this stage, my fave as a kid was Why Do Fools Fall In Love, and as an adult Heartbreak Hotel is a game-changer, moody and powerful. What'll I Do is the best song here, fabulous and so bizarre it's never been covered with chart success since the 50's - the Janet Jackson title is a different song.