It would later appear on the influential “American Graffiti” soundtrack, of course, and be covered by Ringo Starr, with Harry Nilsson on backing vocals and a flying-saucer video.
There are some notable exceptions: the Platters’ “Only You (And You Alone),” one of the crowning achievements of a vocal group that hovered on the edge of rock and roll, is here, along with a weaker version by the Hilltoppers. But cultural segregation ensured that the Top 100 was composed mostly of white singers. 1 on that chart, doesn’t even appear on the Top 100, though other songs do, including Chuck Berry’s epochal “Maybellene,” which had topped Rhythm and Blues in August and is at No. Fats Domino’s “All by Myself,” the reigning No. There’s also lots of Western mythology, including Mitch Miller’s orchestra-and-chorus take on “Yellow Rose of Texas” and multiple versions of the pocket epic “The Shifting Whispering Sands.”īillboard also maintained a separate Rhythm-and-Blues chart. Frank Sinatra charts with “Love and Marriage,” Perry Como with “Tina Marie,” and Gogi Grant with “Suddenly There’s a Valley,” which also appears on the list in a version by Jo Stafford, whose career on the charts was winding down. The top two hits give a strong indication of what the rest of the Top 100 looks like: straightforward interpretations of established standards, generally by smooth vocalists soothing a nation. With music by the Broadway veteran Sammy Fain and lyrics by Paul Francis Webster, it’s one of the towering ballads of its time, so much so that the Four Aces’ chart-topping version is only one of several that appeared on the same Top 100: Don Cornell at No.
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The top spot is occupied by the Four Aces’ rendition of “Love is a Many Splendored Thing,” the theme song from the 1955 movie of the same name. The set kicks off with two illustrations of this principle.
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(“Heartbreak Hotel” arrived in January, along with his national TV début.) The pop landscape was dominated by popular songs interpreted by popular vocalists, a trend that would soon give way to a revolution. Some things never change.The year 1955 was a strange one in pop music, the calm before the storm of 1956, which brought Elvis and everything else. The best selling album that year? The Monkees’ More of the Monkees. A lot of that came from the release that year of the Beatles’ Sgt. All year I’ve been thinking that this year was to hip-hop what 1967 was to rock ‘n’ roll, a period where wild experimentation went mainstream and it seemed like the weirder the noise you made the better, leaving behind a wealth of valuable work that’s widely considered the form’s high-water mark. Then again, this is just how things have always been. The next rap song on the list is Jay-Z’s disappointingly weak “Holy Grail” at number 22. There’s no clearer example of mediocrity’s continued reign over the pop charts than the fact that after a landmark year for hip-hop that included works by Kanye, Drake, Kendrick Lamar, A$AP Rocky, and dozens of other performers that not only will probably go down as career-defining recordings but are responsible for pushing the form into fascinating new aesthetic territory, the number one rapper of the year according to Billboard‘s metrics is Macklemore, whose “Thrift Shop” tops the year-end chart, followed by “Can’t Hold Us” at number five.
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