JonMichael is Neither Jon nor Michael

Kisses Sweeter Than Wine by Jimmie Rodgers (#8 in 1957)

With thanks to John Sams. An OK country/rock 50s song except for the preposterous lyrics. Where in the Bio book does it say:

Kisses Sweeter Than Wine => Twins or Four Children or Eight Grandchildren

?

This song spans in under 2:30 from a young lad never been kissed (and how does he know what wine tastes like then? Communion?) to and old man at the end of his life. I think the real secret to these kisses lies in their ability to compress time and space. There's probably a sci-fi movie there.

Great Balls Of Fire by Jerry Lee Lewis (#2 in 1958)

Jerry Lee Lewis was supposed the inherit the kingship from Elvis before Jerry's little mishap. First, he wrote his own stuff. Second, he was a southern boy. Third, he recorded three of the most blistering workouts of early rock. Aaah, but he got into trouble when rock didn’t need scandal. And instead the next big thing was Ricky Nelson. Good gracious, I don’t need to tell you that this song is so good. You almost can’t keep up with Jerry just singing. Classic and the grandfather of every “Baby/Crazy” ever.

Baby/Crazy

At The Hop by Danny & The Juniors (#1 in 1958)

This song connects the first movement of rock and roll (close harmony groups like The Crew Cuts and The Silhouettes) with the second movement (defined as the “Stupid Dance Movement” that includes Chubby Checker and The Orlons and their ilk). It provides the perfect bridge. So perfect in fact that Danny & The Juniors were never heard from in the top ten again. A great song that’s about nothing but dancing, which is fine but imagine a song today about “In Da Club” or something. I mean it just wouldn’t work...

Rock And Roll Music by Chuck Berry (#9 in 1957)

Simply anthemic.  Chuck Berry shows everyone how its done.  This is most simplified condensation of someone’s beliefs about something since John 1:1-16.  Add Chuck’s classic guitar and his glowing admiration for the subject while still being detcahed enough to be cool and you get simple perfection.  It may seem a shame that this was only a #9, but with great tunes from Elvis, The Everlys, Sam Cooke, Buddy Holly and Johnny Mathis cluttering up the chart, there was only so far you could go.  Who says rock began in 1964?

Peggy Sue by Buddy Holly (#3 in 1957)

Buddy Holly’s final top ten was this classic about the girl he loved. There is something really American about Buddy Holley that even Elvis never quite mastered. Sort of exicited, well-intentioned and naïve all at once. Like you could just sing “pretty, pretty, pretty” and mean it and the girl would love you. Of course, she’d also have that guitar to contend with and whole lotta charm from Mr. Holly himself. Who knows? Maybe he would have made records that sounded like “My Ding-a-ling” but I don’t think so. We missed even before he was gone.

Raunchy by Bill Justis (#2 in 1957)

Raunchy, huh? Well, it wouldn’t make a very good soundtrack for adult entertainment. Still, it has a driving beat and a saxophone that’s all over the map. With no singing or words, all I can say is that this one is the best of the Raunchys of its day but that’s not a great compliment either. Watch for the flat sax notes! But if you were to ask me why this is an OK song, I’d say it Justis.

April Love by Pat Boone (#1 in 1957)

It’s worth noting that Pat Boone’s decline was imminent. Black groups were starting to hit the charts with their own hits and Elvis was easily the faster rising star. So, this here we sit near the end of his legacy with the middle of his 3 number ones. The only thing that distinguishes this song is that it should have come out in April. I also think it was in a movie. Oh, and it was an original tune to Pat (his #1s all were). He should have stayed on TV. This is the last number one of 1957!

My Special Angel by Bobby Helms (#7 in 1957)

Back when a top ten list held Elvis (rock), Ricky Nelson (pop), Sam Cooke (R&B), The Rays (doo wop) and this (country), you’d have to wonder why a song would peak where it did. Most country of this time (‘ceptin’ the Everlys who some say isrock and some say is country) never made it past #5. “My Special Angel” didn’t but that’s because, well, its a little weak. Good song with a few weird “er” vowels and no beat kind of removes it from the running for “classic” status. Helms other top ten will be a different story.

Little Bitty Pretty One by Thurston Harris (#6 in 1957)

Another classic. Thurston Harris may be nothing more than a footnote in pop cultural history but I still hear this “Little Bitty Pretty One” over some movie trailers.  And why not?  It’s got a driving beat and great harmonies.  Early rock and roll at its most exuberant.  It is a little thin in the lyric department.  If it wasn’t for mmm’s and ah’s it’s last 13 seconds.  Of course its those that make this the raucous dance classic it is and also explains why Thurston may have troubled following it up.  He’s early disco before the rest was invented.

You Send Me by Sam Cooke (#1 in 1957)

Simply put, there is no better and simpler statement of love than Sam Cooke’s first charting single “You Send Me.” It is so elegant (even perfect) that to try to describe would only fail. Sam Cooke never returned to the top of the charts again despite more than 20 worthy candidates among his singles. But maybe they just weren’t “You Send Me”.