The trumpet solo by Billy Regis from Perez Prado’s “Cherry Pink & Apple Blossom White,” the harmony of The Four Lads on “Moments to Remember,” the smooth vocal  of Frank Sinatra’s “Learnin’ the Blues,” Sarah Vaughan’s vampy “Whatever Lola Wants,” Mitch Miller’s chorale “The Yellow Rose of Texas” -- all of these made 1955’s Billboard end of year chart and none would have been out of place for any year in the first half of the decade.  Bill Haley’s “Rock Around the Clock,” Chuck Berry’s “Maybelline,” The Platters’ “Only You,” and The Penguin’s “Earth Angel” – all made the 1955 year end chart, but all would likely have been missing in 1950.  “Sincerely” by The Moonglows, “Aint That A Shame” by Fats Domino, “I Hear You Knocking” by Smiley Lewis, “The Wallflower” by Etta James,  and “Tweedle Dee”  by LaVern Baker – none of these versions made the 1955 year end chart, but cover versions* did.  Clearly, in 1955, the music world was on the brink of the rock and roll revolution, but was still anchored in the pop sound of the early 1950’s. In 1954 male and female vocalists were most popular, but in 1955 orchestra instrumentals led the charts.

In 1955 the “top forty” radio format was producing loyal listeners. Records had more longevity on the charts than they would have in future years, averaging over nine weeks in the top twenty (by 1963 the average would be less than six).  The top records tended to stay on top longer, the average being over six weeks (by 1963 the average would be less than three).  And of course that meant that there were fewer number one songs.  In 1955 only nine records reached the top (in 1963 twenty-two records made it to #1).

The year began with “Mr. Sandman” by The Chordettes in the #1 Billboard position.  It was in its sixth week at the top and would remain there for one more week.  The popularity of the song was perhaps under-rated as another version by The Four Aces was in the top twenty for 13 weeks.  Having multiple versions of a song ranked at the same time was rather common in the early 1950’s.  It was ranked #10 on the 1954 end of year chart.

The most popular song of 1955 (according to Billboard) was Perez Prado’s “Cherry Pink & Apple Blossom White.”  It had the longest run at the top spot (10 weeks) being replaced by the runner-up for the year, “Rock Around the Clock” which topped the chart for the next 8 weeks.  Instrumentals like “Cherry Pink & Apple Blossom White” were staples of the top forty records of the 1950’s.  Perez Prado, born in Cuba and known as the “king of the mambo,” had originally recorded the song in 1951, but produced a new version in 1955 for a movie “Underwater”  -- used in a dance scene with Jane Russell.  “Rock Around the Clock” was originally released in 1954 as a “B” side.  In 1955 it was re-issued after it was featured in the movie “Blackboard Jungle.”  It became the first rock and roll record to reach #1.

The most successful artist of 1955 was The McGuire Sisters.  Their cover of The Moonglows’ “Sincerely” was at the top of the chart for six weeks and was ranked #10 for the year.  The song was written by Moonglows member, Harvey Fuqua, and disk jockey / promoter Alan Freed.  Freed often insisted on getting songwriting credit for records he promoted, but Fuqua claimed that in this case, Freed actually did contribute to the song.  The Moonglows’ version was a #1 R&B song in 1954.  The sisters also made the top ten with “Something’s Gotta Give,” (#6/#40) a song that co-existed on the chart with Sammy Davis Jr.’s version.  Also making the year end chart was “He” (#12/#62) and the flip side to “Something’s Gotta Give,” “Rhythm ‘n Blues” (#8/#73).  The McGuire Sisters would have another #1 record in 1957 with “Sugartime.”

“The Ballad of Davy Crockett” was a unique music success in 1955.  For one thing, it found its way to the top twenty in three different versions.  The first version to be heard was the one by Fess Parker (who starred as Davy Crockett) that played when ABC’s Disneyland episode “Davy Crockett, King of the Wild Frontier” first aired on October 27, 1954.  Upon hearing it, Cadence president called Bill Hayes into the studio the next day to record the song.  Tennessee Ernie Ford recorded his version on February 7, 1955.  Hayes’ version proved to be most popular, reaching #1 in March, while Ford’s reached #6 in April and Parker’s peaked at #5 in May.  All three were listed on the 1955 end of year chart.  The song and the tv episodes spawned a Davy Crockett craze in 1955 that had kids across the country wearing coon skin caps. Disney ultimately aired five episodes of Davy Crockett (not in consecutive weeks) which maintained public exposure for the song.   

With the success of “Rock Around the Clock,” “Earth Angel,” “Maybelline,” etc. rock and roll had clearly established a presence in the top twenty in 1955, but most continued to view it as just a fad.  But from our modern perspective it is obviously a launching pad.  Behind the few rock and roll records that made it into the mainstream were records by artists that would gain in stature as the rock revolution was launched.  Bo Diddley had his signature song, “Bo Diddley” reach #1 on the R&B chart as did Ray Charles with “I’ve Got A Woman.” 

RCA signed Elvis Presley to the label in November of 1955.  In December, RCA released five Elvis Presley records which had previously been produced by Sun.   The label didn’t promote the new releases and none of them charted.  But that would change quickly in 1956 when the label issued its first original Presley record, “Heartbreak Hotel.”  As 1955 ended with mom and dad comfortably listening to The Four Lads singing “Moments to Remember” or Dean Martin’s newest, “Memories Are Made of These,” many of the teens were tuning into stations playing Elvis’s “Mystery Train” or The Platter’s “The Great Pretender.”  Change was definitely on its way.

*”Sincerely” by The McGuire Sisters, “Aint That A Shame” by Pat Boone, “I Hear You Knocking” by Gale Storm, “Dance With Me Henry (The Wallflower)” and “Tweedle Dee”by Georgia Gibbs