JonMichael is Neither Jon nor Michael

Friendly Persuasion (Thee I Love) by Pat Boone (#9 in 1956)

So, here’s a Pat Boone song that he didn’t cover; it was an original and recorded for the movie Friendly Persuasion. It was also a #9. For all the past riffs on Mr. Boone, this song is, all in all, OK as mid-50s vocal tracks go. But the lyrics… replacing “you” with “thee” is the lamest concept for a song. Elvis is sitting perched on the top of the chart looking down and Pat Boone records a song with the word “thee” in it? I wonder who was the choice the next generation.

Love Me Tender by Elvis Presley (#1 in 1956)

As someone who doesn’t remember when Elvis was alive, I mostly get him. Elvis was a cultural figure who swept onto the scene and, with the gravity of his presence, sent the direction of popular music shooting in another direction entirely. But, c’mon, “Love Me Tender”? Pat Boone could have recorded this. There is sparse instrumentation in the background (like many vocal hits of the time). I don’t know, maybe it is my maleness, not my youth, that prevents me from understanding the appeal. Yeah, the lyrics are about Elvis wanting you to love him. So do that - wouldya?

The Green Door by Jim Lowe (#2 in 1956)

Rock music didn’t know where it was headed in the late 50s. Jim Lowe’s early goofball classic “The Green Door” shows the things that rock could have become but didn’t. It could have involved breathy male vocals but instead of Elvis’ gutsy delivery. It could have involved wood blocks and jangly piano, instead of Chuck Berry’s guitar. It could have featured self-deprecating songs about being thrown out of the club instead of being its band such as in “At the Hop”. “The Green Door” was a fun song but there isn’t much to show coming behind it.

Just Walking In The Rain by Johnnie Ray (#3 in 1956)

Poor old Johnnie Ray. Of the many, many songs about being in the rain from the rock era, his is the least compelling. The Temptations and the Everly Borthers used it to hide tears. Phil Collins needed baptism. Brook Benton was carrying the weight of the world. Johnnie Ray want to get the Rockin’ Pneumonia only without rocking. Backing up Johnnie are the All-American white guys and a whistler. Johnnie sounds a little too happy... preparing the way for Neil Sedaka. This isn’t a kiss off but it sounds like one. What were you thinking?

Don't Be Cruel by Elvis Presley (#1 in 1956)

Was it genius to put “Don’t Be Cruel” and “Hound Dog” on the same 45? Prior to ’58, the dominate chart was the sales one and it gave Elvis 11 weeks at the top. Or he could have had one more #1. Tough call. When this single flipped over, Elvis was at the apex of his career. Soon, “Love Me Tender” would replace this at #1. Elvis was rewriting history books and he had only just started. “Don’t Be Cruel” is probably Elvis’ best outing. Sleek and cool, this track proved Elvis owned America. And it wasn’t cruel anymore.

Canadian Sunset by Andy Williams (#10 in 1956)

Andy Williams’ first top ten hit should be met with more fanfare. But mid-50’s Andy seems to be Copycat Syndrome City, Arizona. This is his lyrical version of Hugo Winterhalter’s “Canadian Sunset” which needed lyrics as much as “Every Breath You Take” didn’t. The lyrics add nothing but Andy’s voice and the music is not even remotely as good as Hugo. Andy Williams continued through the 50’s recording other people’s hits and doing a worse (or lower charting) job. Then in ’59 he started his own career. I guess that’s better…

The Fool by Sanford Clark (#7 in 1956)

It’s hard for me to tell if Sanford Clark is country. In ’56, Elvis was topping the Country, Pop and R&B charts with his blend of those forms and so Sanford Clark might be country or he might be Elvis. His song, proclaiming that he is the titular fool, musically explores at lot of Elvis’ territory without adding anything new. Elvis himself explored the fool angle a little while later with “Now and Then (There’s a Fool Such As I).” Have I mentioned yet that this sounds a little like Elvis? He’s no Gene Vincent, but he’s close.

Honky Tonk by Bill Doggett (#2 in 1956)

Three out of the last four songs I’ve written about have been instrumentals. Without lyrics to speak of, its sometimes tough coming up with things to say. Bill Doggett (who I assume is the sax player) made a great record with “Honky Tonk.” The sax leads the way and gives out dance riffs like they’re drill instruction. It misses the goal of a great instrumental because it doesn’t leave the listener with a recognizable hook; it’s tough to describe this song to someone else because you don’t have that little piece that you need, but otherwise, a pretty good platter.

Song For A Summer Night by Mitch Miller (#9 in 1956)

Mitch Miller’s other top ten is an instrumental that requires you to stay awake.  The plodding rhythm and instrumentation is unrock with an especially uneverything guitar make this song and its somewhat catchy tune completely static.  You’d probably rather listen to static than Mitch anyway.  Back in the 50s, not only was Mitch Miller producing bland, irritating records, but as a record company exec, he also campaigned against rock and roll in its purest fashion.  This may be a “Song for a Summer Night” but don’t expect any heat.

Tonight You Belong To Me by Patience & Prudence (#4 in 1956)

There’s never been a more sweetly innocent song than “Tonight You Belong to Me.”  While the lyrics may evoke a final tryst or the end of an affair, Patience and Prudence make you believe that their love is pure and good so you just don’t have those thoughts.  At the same time, the most luscious harmony ever propels this song forward right into the canon of great songs.  The producer simply let this song unfold and what a great job everyone did.  P&P’s follow-up made #12 and then America became impatient and rash; the girls were never heard from again.