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The most successful artists of The Elvis Era were a new breed of performers. Prior to 1956 the top spots on the Billboard Top 100 Chart were occupied most often by orchestral productions such as "Cherry Pink & Apple Blossom White" by Perz Prado; group harmonies such as "Moments to Remember" by The Four Lads; or solo crooners such as "Learnin' the Blues" by Frank Sinatra. There were smatterings of some of the first rock and roll sounds such as Bill Haley & The Comets' "Rock Around the Clock" or Georgia Gibbs' "Dance With Me Henry."But they were by far in the minority. During The Elvis Era, the taste in music would flip-flop and the rock and rollers would take over.
There is little doubt as to why the years from 1956 to 1963 should be referred to as "The Elvis Era." Elvis Presley was by far the dominant force on the music charts. Ricky Nelson (25) was a distant second to Elvis's 42 top twenty records. Elvis had seventeen number one's while second place Pat Boone had six. Elvis was undeniably a consistent producer of hit records. In 1956 Elvis put six records in the top twenty (five number one's) and he had at least three in the top twenty for the next seven years. His first record for RCA, "Heartbreak Hotel" was groundbreaking rock and roll in 1956. His last number one of the era was "Good Luck Charm" in 1962, a much tamer version of rock and roll. "Don't Be Cruel" (#1, 1956), "All Shook Up" (#1, 1957), "Are You Lonesome Tonight (#1, 1960), and "Can't Help Falling In Love" (#2, 1962) are some of the most recognized songs of the late fifties and early sixties.
The only artist of the time to have anything near Elvis's kind of consistency was Pat Boone. Boone predated Elvis with a number one in 1955, his cover of Fats Domino's "Aint That A Shame." And Boone had at least one top twenty hit each year through 1962. Still, his overall achievement was far behind that of Elvis Presley. Besides, it wouldn't be right to give a name to the era when rock and roll emerged as the main music genre to an artist who's early success was primarily through cover versions of the more rock and roll sounding R&B hits such as Little Richard's "Tutti-Fruiti." Boone does deserve credit for his success as a ballad singer with number one songs such as "Love Letters In the Sand" (#1, 1957) and "April Love" (#1, 1958); and the more up-tempo "Moody River" (#1, 1961).
While Pat Boone's claim to a rock and roll label might be a little tenuous, the other artists in The Elvis Era's top twenty can all claim some rock and roll pedigree. Many of the artists did have success with ballads that might have been at home on the charts in 1952, but they all had some rock and roll. Three others could have their credentials as a rock and roll performer challenged. Johnny Mathis was the counterpoint to the rock and roll sound of the era. He was the master of the romantic ballad, the artist most often turned to when a slow song was needed; songs such as his number one, "Chances Are" (1957). Perry Como was far from a rock and roll artist, but his chart entry in 1956, "Jukebox Baby" (#10) was a little bit rock and roll. Andy Williams would most likely not be considered a rock and roller. But in 1957 he had a number one with "Butterfly," an up-tempo song with a rock and roll beat. The two female entries on the top twenty artist list were also well known for their ballads. Connie Francis had a number one with "Don't Break the Heart That Loves You" in 1962, but she also had a number five hit with "Lipstick On Your Collar" in 1959. Brenda Lee had a number one with the ballad, "I'm Sorry," but her first top twenty entry was the rockin' "Sweet Nothins" (1960). Sometimes the ballads themselves had a rock and roll influence. From Sam Cooke's first entry on the charts, "You Send Me" (#1, 1957) to "Chain Gang," (1960) he earned his nickname of "Mr. Soul." Brook Benton's "It's Just A Matter of Time," (#3, 1959) and Ray Charles' "I Can't Stop Loving You" (#1, 1962) would qualify as rock and roll ballads. The inescapable conclusion is that the artists of The Elvis Era were predominantly rock and rollers.
The number two artist of The Elvis Era went back and forth between rockabilly numbers like "Believe What You Say" (#4, 1958) to romantic ballads such as "Young World" (#5, 1962). His first record was a cover of Fats Domino's "I'm Walkin'" (#4) in 1957. It's flip side actually performed better, as the doo-wop sounding "A Teenager's Romance" made it to number two. Many of Nelson's hits were two-sided. His father, Ozzie Nelson, encouraged the inclusion of a slow ballad in each release as he believed it appealed more to the teenage girls tuning into their television show, "The Adventures of Ozzie & Harriet." While Ricky's musical preference was more the rockabilly sound of "I Got a Feeling" (#10), the ballad side, "Lonesome Town" (#7) was more popular in 1957. Nelson's two number one records were on the light side of rock and roll: "Poor Little Fool" (1958) and "Travelin' Man" (1961).
Fats Domino was the highest ranked artist without a number one record. He came close with "Blueberry Hill" (#2, 1956). Brook Benton's closest was "The Boll Weevil Song" (#2, 1959). Bobby Rydell had a number two with "Wild One" in 1960 while Gene Pitney's "Only Love Can Break a Heart" also stalled in the second spot in 1962. Jackie Wilson is the only artist on the top twenty list not to have at least a number two; his closest was the operatic sounding "Night" (#4, 1960).
Two of the top twenty artists could have ranked higher if all their records were counted. Brook Benton, in additional to his fourteen solo hits, also reached the top twenty twice in duets with Dinah Washington: "Baby, You've Got What It Takes" (#5, 1960) and "A Rockin' Good Way" (#7, 1960). Before going solo, Dion had three top twenty records with The Belmonts: "No One Knows" (#19, 1958), "A Teenager In Love," (#5, 1959) and "Where or When" (#3, 1960).
Many of the artists on The Elvis Era top twenty list would experience a quick drop in success in subsequent years (ten of them would never have another top ten record) as The Beatles and the British invasion of the American pop music charts took its toll. But some did find future success. Sam Cooke's additional success was limited to "Shake," a number seven entry in 1965. Brook Benton had a comeback in 1970 with "Rainy Night in Georgia" (#4). Andy Williams continued to issue popular albums and got back in the top ten in 1971 with the theme from the movie, "Love Story" (#6). Jackie Wilson had a number six ranking with "Higher and Higher" in 1967. Also in 1967, Bobby Vee had a number three hit with "Come Back When You Grow Up Girl." Bobby Darin's career had a chameleon character to it as he started out as a rocker with "Splish Splash" (#3, 1958), transitioned to a more slick jazz sound with "Mack the Knife" (#1, 1959) and then scored with a country side, "You're the Reason I'm Living" (#3, 1963 ). He returned to the top twenty with the folk sound of "If I Were A Carpenter"(#8) in 1966. Dion also had a reincarnation as a folk singer in 1968 and reached number four with "Abraham, Martin and John." Ricky Nelson hung on in 1964 with a number six entry, "For You" and then had a revival in 1972 with "Garden Party," a reaction to a negative audience response during a concert at Madison Square Garden. Ray Charles only managed four more top twenty records, the best being "Crying Time" (#6, 1966). Perry Como returned to the top ten in 1970 with "It's Impossible" (#9). In a duet with Deniece Williams, Johnny Mathis had another number one record, "Too Much, Too Little, Too Late" in 1970. Paul Anka's career revived in the mid-seventies with four songs in the top twenty including his third number one, "(You're) Having My Baby (1974). The Drifters had one more run at the top ten with "Under The Boardwalk" (#4) in 1964, but that would be their last. The second most successful artist in following years was Neil Sedaka. Sedaka returned to the charts in 1975, scoring two number ones, "Laughter in the Rain" and "Bad Blood." He also reprised his 1962 hit, "Breaking Up Is Hard To Do" as a ballad and it reached number six in 1976. His last top twenty entry was in 1980, a duet with his daughter, Dara, "Should've Never Let You Go" (#19).
Of course, the most successful of The Elvis Era top twenty after 1963 was Elvis himself. His music became more and more bland as most of it came from the soundtracks of his movies. His massive popularity kept his fans buying records and he continued to place songs in the top twenty. In 1964 he had four records in the top twenty, "Kissin' Cousins" (#12) being the most successful. "Crying in the Chapel" (#3) had been recorded in 1960 but was released as a single in 1965 and was his best of four in the top twenty that year. By 1966 Elvis only had one top twenty record, "Love Letters" (#19). There were no top twenty records in 1967. But in 1968, Elvis finally appeared outside the low production movies in a televised concert. "If I Can Dream" (#12) was released as a single from that performance and it rejuvenated his career. He would go on to have twelve more top twenty records, including another number one, "Suspiscious Minds" (1969).
Some other artists from the era didn't perhaps have the longevity of those in the top twenty, but are considered more prominent in terms of rock history. Chuck Berry is considered a founder of the rock and roll sound, yet he ranks only 44th in top twenty power points among the artists of The Elvis Era. It's hard to believe, but he had no number one songs during the era, "Sweet Little Sixteen" (#2, 1958) being his best. He might have done better had his career not been interrupted in 1959 with a jail sentence (one many consider to have been the product of racial discrimination). He did finally have a number one record in 1972 with the comedic, "My Ding-A-Ling." Also missing from the top twenty is Little Richard. His career was also cut short when he walked away from recording to join the ministry after seven top twenty records from 1956 to 1958. His best was "Long Tall Sally" (#6, 1956). Buddy Holly is also missing. If the records credited to Buddy Holly & The Cricketts are included, he had five top twenty records, including a number one, "That'll Be The Day" (1957). They were all released in an eighteen month span of time which ended in the tragic plane crash in February of 1959 that took his life. Another hard rocker, Jerry Lee Lewis stands out as an icon of the era, but he had only five top twenty songs with "Whole Lotta Shakin' Goin' On" (#3, 1957) his best. His career ended prematurely due to a scandal when his marriage to a 14 year old was made public in 1959.
There were a few artists that debuted late in the era that went on to extremely successful careers. Martha & The Vandellas had their debut top ten song in 1963, "Heat Wave" (#4) – they would go on to place six more in the top ten including 1962's "Dancing in the Street" (#2). After two top twenty entries during The Elvis Era, Gladys Knight & The Pips would go on to record fourteen more, including the number one "Midnight Train To Georgia" (1973).
Two of the most prolific hit makers to emerge from The Elvis Era were not in the top twenty: The Beach Boys and The Four Seasons. The Beach Boys had five top twenty records from 1962 to 1963. They would subsequently place 18 more in the top twenty, including four number ones: "I Get Around" (1964), "Help Me Rhonda" (1965), "Good Vibrations" (1966) and "Kokomo" (1988). The Four Seasons had three number ones in 1962-63 at the end of The Elvis Era: "Sherry" (1962), "Big Girls Don't Cry" (1962), "Walk Like a Man" (1963). They had eighteen more in the top twenty between 1964 and 1994, including two more number ones: "Rag Doll (1964), "December, 1963 (Oh, What a Night)" (1976).
It was during The Elvis Era when rock and roll was young that these artists had their most success. Even those who did not have hit recordings in subsequent years are often cited as inspirations to the rock and roll performers of later years. The Elvis Era was their golden age
