Incredible Songs: 1950s, Vol. 2

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Incredible Songs: 1950s, Vol. 2 features songs by Bobby Darin, Little Richard, Nat King Cole, The Dave Brubeck Quartet, and The Five Satins.

Ah, the 1950s – what a [conservative] time, what a time! What better way to reminisce on the decade than to highlight some of its best and most memorable songs?  Like the other editions of the decade series on The Musical Hype, there are far too many awesome musicians and songs to recognize in one musical compendium – at least with blurbs involved. We continue the process for the 50s with Incredible Songs: 1950s, Vol. 2, the follow-up to Incredible Songs: 1950s, Vol. 1 (2024). Incredible Songs: 1950s, Vol. 2 features some of the 50s finest songs courtesy of Bobby Darin, Little Richard, Nat King Cole, The Dave Brubeck Quartet, and The Five Satins. So, let’s relive those conservative 1950s with these epic musical classics!

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1. Little Richard, “Tutti Frutti”

2. Bobby Darin, “Beyond The Sea”

3. The Dave Brubeck Quartet, “Take Five”

4. The Flamingos, “I Only Have Eyes for You”

5. Nat King Cole, “Quizás, Quizás, Quizás”

6. Frank Sinatra, “Witchcraft”

7. The Everly Brothers, “Wake Up Little Susie”

8. David Seville, “Witch Doctor”

9. Mitch Miller, “The Yellow Rose of Texas”

10. The Five Satins, “In the Still of the Night”

1. Little Richard, “Tutti Frutti”

Here’s Little Richard // Craft Recordings / Concord Music Group, Inc. // 1957

“A-wop-bop-a-loo-bop-a-lop-bop-bop. Iconic, flamboyant singer/pianist Little Richard (1932 – 2020) delivered a song for all-time with “Tutti Frutti” which graced his 1957 album, Here’s Little Richard. The nonsensical opening lyrics are part of the charm of arguably his most famous record. The phrase means nothing but remains ear-catching to this day. Those are the less shocking lyrics from the highly entertaining, vintage rock/rhythm and blues joint.

“Tutti frutti, good booty / If it’s tight, it’s all right / If it’s greasy, it makes it easy.” It’s giving anal sex… Booty, tightness, and greasy (lubricant). He was gay but had a lifelong struggle with sexuality and religion. He even made it clear to Letterman that he wasn’t gay anymore. Those lyrics are much gayer and spicier than the 1950s would ever allow, so the ripe innuendo of “Tutti Frutti” would be censored. He penned the exuberant joint with Dorothy LaBostrie. The seminal lyrics known and love that made the final cut were, of course, “Tutti frutti, oh, rooty.”

The chorus is the centerpiece. Little Richard had a humongous personality and a sensational voice. In the verses, any traces of gayness evaporate. “I got a girl named Sue / She knows just what to do,” he sings in the first, following up in the bridge with, “She rocks to the east, she rocks to the west / But she’s the girl that I love the best.” From Sue, we get Daisy in the second verse, whom Richard proclaims, “She almost drives me crazy,” and adds, “She knows how to love me, yes, indeed.” The tongue-in-cheek 50’s classic “Tutti Frutti” may have had to be toned down but remains one of the most fun, infectious, and timeless classics.

Appears in :

Little Richard, Tutti Frutti: Throwback Vibez 56 (2024)

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2. Bobby Darin, “Beyond The Sea”

That’s All // Elektra Entertainment Group // 1959

“Somewhere beyond the sea / Somewhere waiting for me / My lover stands on golden sands / And watches the ships that go sailing.” “Beyond The Sea” marked one of 10 top 10 hits by the incredibly versatile, short-lived Bobby Darin (1936 – 1973). Arriving as the second track on his 1959 album, That’s All, it’s eclipsed only by the biggest song of his career, the platinum-certified “Mack The Knife”. “Beyond The Sea” peaked at no. 6 on the Billboard Hot 100 in 1960. This standard was composed by Jack Lawrence and Charles Trenet. Notably, the original by Trenet, a French singer and composer, was titled “La Mer” (“The Sea”). Ahmet Ertegün, Jerry Wexler, and Nesuhi Ertegün produced the most popular version of the song by Darin.

“Beyond The Sea” not only speaks to the beauty of the sea, but it’s also filled with love. “We’ll meet beyond the shore / We’ll kiss just before,” Darin sings, continuing, “Happy we’ll be beyond the sea / And never again I’ll go sailing.” Throughout, Bobby serves up strong vocals. He’s expressive, nuanced, and quite authentic, without ever over-singing. His tone is beautiful. Beyond the songwriting and the singing, the big band arrangement is lovely. There are a host of superb instrumental moments including when the horns blare, contrasted by tender strings, and of course, those pummeling drums. All told, “Beyond The Sea” is one of those once-in-a-lifetime performances. Furthermore, this ranks among the greatest songs, regardless of genre, of all time. #CLASSIC!

Appears in :

Bobby Darin, Beyond the Sea: Throwback Vibez 6 (2024)

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3. The Dave Brubeck Quartet, “Take Five”

Time Out // Blue Note // 1959

The most common meter in music is… common time, aka 4/4. Simply put, the beats are grouped in sets of four: 1-2-3-4. The prevalence of common time applies to jazz music too. However, The Dave Brubeck Quartet went against the grain throughout the multiplatinum, innovative 1959 masterpiece, Time Out. The time – rather, the time signatures – are all over the map. That’s part of the charm and brilliance of the historically important LP. Focusing on the third track from the cool jazz tour de force, “Take Five”, the key word in the title is five. This Paul Desmond composition is set in 5/4 meter, giving it a distinct, asymmetric feel. Desmond, who also played alto saxophone in the quartet, penned one of the greatest jazz songs of all time.

“Take Five” is best experienced through listening rather than analysis. That said, the musicianship is top-notch, yielding many incredible, influential talking points. Dave Brubeck provides marvelous a phenomenal harmonic foundation in this record, set in E-flat minor (!). He also plays a pivotal role in maintaining the timing. The heavy load falls on Joe Morello who sets the asymmetric groove given the meter. He’s the first instrumentalist heard on “Take Five.” He does a magnificent job, also delivering stellar riffs and runs, delivering a once-in-a-lifetime, colorful drum feature/solo. Eugene Wright precedes Desmond’s lead, providing the foundation on bass, focused on tonic and dominant. During Morello’s feature, alongside Brubeck, Wright’s bass playing provides a solid anchor . “Take Five” is ICONIC.

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4. The Flamingos, “I Only Have Eyes for You”

Flamingo Serenade // Parlophone // 1959

“My love must be a kind of blind love; / I can’t see anyone but you.” Chicago Doo-wop group The Flamingos is best known for “I Only Have Eyes for You”, among the greatest songs ever. The song is also distinct and unusual in a positive way. “Eyes” is the opener from the legendary group’s 1959 album, Flamingo Serenade. Fun fact: it is a cover of a song from the 1934 musical Dames – not a Flamingos original . The music was originally composed by Harry Warren. Al Dubin penned the lyrics. “I Only Have Eyes for Me” peaked at no. 11 on the Billboard Hot 100.

“I don’t know if we’re in a garden / Or on a crowded avenue.” Word. “I Only Have Eyes for You” commences with a signature chordal guitar riff. Beyond the guitar, the piano ostinato is a key feature. From a vocal perspective, the lead vocals are buttery smooth. Glorious harmonies from The Flamingos support, fully imploring the doo-wop style. Can you say, “Sha bop sha bop?” This is early, vintage R&B at its best. The melodies are tuneful in the verses and chorus. The harmonic progression marks a stellar and crucial element of “Eyes.” Specifically, during the titular lyric, “I only have eyes for you, dear,” the song modulates (if temporarily) from C to F. Despite the key change and wandering progression, “I Only Have Eyes for You” returns to the home key, triggered by the “Sha bop sha bop(s).” The greatness of “I Only Have Eyes For You” endures seven decades after its arrival.

Appears in :

The Flamingos, I Only Have Eyes for You: Throwback Vibez 208 (2024)

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5. Nat King Cole, “Quizás, Quizás, Quizás” (Perhaps, Perhaps, Perhaps)”

Cole Espanol // Capitol // 1958

“Quizás, Quizás, Quizás (Perhaps, Perhaps, Perhaps)” is a classic, penned by Cuban songwriter, Osvaldo Farrés, back in 1947. This thrice-titled, romantic number has been covered by numerous artists. Among the most famous covers arrives courtesy of the late, great, jazz singer and pianist Nat King Cole (1919 – 1965). The Cole rendition arrived as the third track on his 1958 album, Cole Espanol. Lee Gillette produced this chill, easygoing take on “Quizás, Quizás, Quizás,” where most of the time, it sounds as if Cole barely breaks a sweat.

“So, if you really love me, say yes

But if you don’t dear, confess

And please don’t tell me

‘Perhaps, perhaps, perhaps.” – English translation

What makes “Quizás, Quizás, Quizás (Perhaps, Perhaps, Perhaps)” alluring? Cole’s voice is timeless – a once-in-a-lifetime vocalist and musician. His tone is utterly sublime – refined to the nth degree. He doesn’t exaggerate the Spanish lyrics, taking a natural approach that’s true to self. The arrangement/orchestration is marvelous, incorporating Latin music cues within the rhythm section (percussion and piano especially), big band, and orchestra conducted by Armando Romeau Jr.. The strings are dramatic, while the horns bite. All the while, Cole is calm, cool, and collected – refined in his approach. All told, “Quizás, Quizás, Quizás (Perhaps, Perhaps, Perhaps)”, in the hands of the late, great Nat King Cole, is sweet.

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6. Frank Sinatra, “Witchcraft”

Ultimate Sinatra // Universal Music Enterprises // 2015

“Those fingers in my hair / That sly come hither stare / That strips my conscience bare / It’s witchcraft.” Those are some witchy lyrics that the late, great Frank Sinatra, aka ‘Ol’ Blue Eyes,’ (1915 – 1998) sings in “Witchcraft”. The original version of “Witchcraft” that Sinatra recorded arrived as a single in 1957 and was released on his 1961 compilation album, All The Way. At the 1^st Annual Grammy Awards, “Witchcraft” was nominated for Record Of The Year and Best Vocal Performance, Male. Interestingly, the talented musician won his first Grammy that night for Best Album Cover… Let that sink in. “Witchcraft” reappears in his 2015 compilation, Ultimate Sinatra: The Centennial Collection. Carolyn Leigh and Cy Coleman penned the standard.

“Witchcraft” is heavenly for many reasons. First and foremost, Frank Sinatra was the man. His voice is buttery smooth. He sings with ease never breaking a sweat. The cool, poised energy is impressive. He brings the lyrics and melodies to life marvelously. In the verse (excerpted above), he continues singing, “I’ve got no defense for it / The heat is too intense for it / What good would common sense for it do?” He has a point, considering she’s the witch casting the spells. He sings in the chorus, “Cause it’s witchcraft, wicked witchcraft /… When you arouse the need in me / My heart says, ‘Yes, indeed’ in me.” Sinatra concludes, “There’s no nicer witch than you.” Aww. Besides elite vocals and playful lyrics, the musical accompaniment is epic. The big band and orchestral arrangements are colorful and sophisticated. The articulated, sometimes muted, sometimes open horns provide bite, intensifying the song. The strings provide an angelic sound atop the accompaniment. All parts of “Witchcraft” come together to produce a classic that will NEVER sound anachronistic. #TIMELESS.

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7. The Everly Brothers, “Wake Up Little Susie”

The Very Best of The Everly Brothers // Rhino Entertainment Company // 2008

“Wake up, little Susie, wake up / Wake up, little Susie, wake up.” Word. “Wake Up Little Susie” was recorded and released by The Everly Brothers (Isaac Donald “Don” Everly and Phillip “Phil” Everly) in 1957. This is an early pop hit for the duo. “Wake Up Little Susie” was penned by husband-wife, country/pop songwriting duo Boudleaux Bryant and Felice Bryant. This brief number encompasses country, pop, and rock, three musical genres where The Everly Brothers excelled. It features a prominent rhythm guitar as part of the accompaniment. Additionally, the bass line provides a mighty anchor. The groove is utterly infectious, characteristic of the era.

There is great vocal chemistry between the brothers. Their harmonies are ‘everything.’ Besides elite singing, the melody is tuneful in the verses, and especially the centerpiece, the chorus (excerpted above). The lyrics, particularly given the time – the 1950s was a conservative era – are what draw controversy. The problem is that a young, unmarried couple falls asleep past curfew because “The movie wasn’t so hot / It didn’t have much of a plot,” and even though it’s all innocence, the perception will be something much more sexual! “We’ve both been sound asleep / Wake up, little Susie, and weep,” they sing in the first verse, continuing, “The movie’s over, it’s four o’clock / And we’re in trouble deep.” Oh, snap! The verses speak to the direness of the situation. In the second verse, for example, “What are gonna tell all our friends / When they say, ‘Ooh la la’.” The song was banned in Boston, Massachusetts because of its suggestive lyrics. Inoffensive by today’s standards, The Everly Brothers’ “Wake Up Little Susie” is a surefire classic – among the greatest songs ever.

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8. David Seville, “Witch Doctor”

Alvin And The Chipmunks // Kidz Bop // 2007

“I told the witch doctor I was in love with you.” Oh, really? Hmm. In 1958, a great, novel song was born: “Witch Doctor” by David Seville. David Seville is the stage name of singer, songwriter, producer, and actor, Ross S. Bagdasarian (1919 – 1972). Seville’s biggest claim to fame is creating the beloved Alvin and the Chipmunks. “Witch Doctor” wouldn’t achieve the same success as the novel, no. 1 Christmas song, “The Chipmunk Song (Christmas Don’t Be Late)”, but it’s still a gem.

The witch doctor that Seville references gives unique advice on the most fun part of the song, the chorus:

“Ooo eee, ooo ah ah ting tang

Walla walla, bing bang

Ooo eee, oo ah ah ting ting

Walla walla, bing bang.”

Word. The lyrics are playful and nonsensical. That’s part of the charm. In the second verse, Seville also consults with the witch doctor: “I told the witch doctor you didn’t love me true.” The advice given is the same in the chorus. In the bridge, there is a change of pace, keeping things engaging: “You’ve been keeping love from me just like you were a miser / And I’ll admit, I wasn’t very smart / So, I went out and found myself a guy that’s so much wiser / And he taught me the way to win your heart.” Hmm… a witch doctor? “Ooh ee, ooh ah ah ting tang…” Sure… There is no need for deep analysis of the silly, novel “Witch Doctor”. Still, Seville brings ample personality, particularly when the chipmunk voice comes in during the chorus, and the musical accompaniment is characteristic of the era (fiery rhythm section and articulated horns).

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9. Mitch Miller, “The Yellow Rose of Texas”

Greatest Hits // Sony BMG Music Entertainment // 1990

“There’s a yellow rose in Texas that I am gonna see / Nobody else could miss her, not half as much as me.” Those famous lyrics appear on the classic, “The Yellow Rose of Texas”. A traditional folk song first published in the 1850s, the composer of “The Yellow Rose of Texas” is unknown. The version of the song we know and love is attributed to Don George in addition to its traditional designation. An unofficial state song of Texas (the official state song is “Texas, Our Texas”), “The Yellow Rose of Texas” has been recorded by many musicians. The first recording arrived in 1927, courtesy of Ben Jarrell. The most famous rendition of the song arrives courtesy of the late, great Mitch Miller (1911 – 2010). A huge hit, the Miller version reached no. 1 on the Billboard Hot 100 in 1955.

What makes Mitch Miller’s rendition of “The Yellow Rose of Texas” so swell? Well, the songwriting speaks for itself. The centerpiece is the chorus, in all its sing-along glory:

“She’s the sweetest little rosebud that Texas ever knew

Her eyes are bright as diamonds, they sparkle like the dew

You may talk about your Clementine and sing of Rosa Lee

But the Yellow Rose of Texas is the only girl for me.”

Of course, the verses are ear-catching as excerpted at the top. The vocalists sound superb, exemplifying the choral sound and sophisticated nature of 1950s music. It ‘hits different,’ you could say. The accompanying orchestra deserves praise too, particularly that signature snare drum cadence. The arrangement is exuberant – the perfect accompaniment for the vocalists. Amplifying excellence and spirit are the key modulations. Mitch Miller got the best out of his orchestra on the beloved, infectious “The Yellow Rose of Texas”.

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10. The Five Satins, “In The Still of the Night”

Presenting The 5 Satins // Universal Digital Enterprises / Ember // 1957

“Shoo-doop, shoo-be do / Shoo-doop, shoo-be-wah.” The Five Satins is renowned for the classic, “In the Still of the Night”. “In the Still of the Night,” recorded and released in 1956, ultimately appeared on the doo-wop group’s 1957 album, Presenting The 5 Satins. Fred Parris (1936 – 2022), the leader of the group, penned “In the Still of the Night.” Marty Kugell produced it. “In the Still of the Night,” sometimes labeled as “In the Still of the Nite,” is one of the greatest and most important doo-wop songs. It is also one of the greatest songs of the 1950s and of all time. It has been covered many times, including the platinum-certified rendition by Boyz II Men.

The “shoo-doop, shoo-be-do(s)” are crucial to the success of “In the Still of the Night.” The Five Satins provide superb backing vocals for Parris, who handles the lead like a champ. The melodies are tuneful, led by Parris’ beautiful and expressive lead. “In the still of the night / I held you, held you tight,” he sings in the first verse, continuing, “‘Cause I love you, love you so / Promise I’ll never let you go / In the still of the night (In the still of the night).” The bridge marks another highlight: “I remember that night in May (I remember, I remember) / The stars were bright above (I remember, I remember).” The quality of the recording isn’t great, but the brilliance of this early R&B song shines through regardless. Notably, “Still” was recorded in the basement of a church – St. Bernadette’s Roman Catholic Church in New Haven, Connecticut. Another marvelous moment from this doo-wop classic? A sweet saxophone solo. The Five Satins delivered a once-in-a-lifetime song with “In the Still of the Night”.

Appears in :

The Five Satins, In the Still of the Night: Throwback Vibez 8 (2025)

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Incredible Songs: 1950s, Vol. 2 (2025) [: Brent Faulkner / The Musical Hype; Blue Note, Concord Music Group, Inc., Craft Recordings, Elektra Entertainment Group, Ember, Kidz Bop, Parlophone, Rhino Entertainment Company, Sony BMG Music Entertainment, Universal Digital Enterprises, Universal Music Enterprises; cottonbro studio from Pexels; AcatXlo, Jazella from Pixabay]

Incredible Songs: 1950s, Vol. 2 | Playlist

Published by the musical hype on February 3, 2025February 3, 2025