The song marked a transition from Elvis’s earlier rockabilly sound, reflecting a playful, rhythmic approach and simple instrumentation. Critics praise its timeless sense of freedom and flow, drawing parallels to Blackwell and Presley’s earlier hit “Don’t Be Cruel”.
The song topped the US Billboard Top 100 for eight weeks and also reached No. 1 in the UK, the R&B chart, and the country chart, selling over two million copies and becoming America’s best-selling single of the year.
Part 378 - March 1957
Elvis Presley - All Shook Up
“All Shook Up” is one of Elvis Presley’s most famous and enduring hits, released in 1957 and written by Otis Blackwell.
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Jerry Lee Lewis radically reworked the song from its R&B origins, using driving boogie-woogie piano, energetic drumming (J.M. Van Eaton), and suggestive spoken asides.
Part 377 - March 1957
Jerry Lee Lewis - Whole Lot of Shakin' Going On
Originally written by Dave “Curlee” Williams, the song was first recorded by R&B singer Big Maybelle in 1955, but Lewis’s exuberant version forever cemented its place in rock history
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Composed by Thelonious Monk (with contributions by Cootie Williams, Bernie Hanighen, and Dizzy Gillespie for the famous intro and lyrics), “’Round Midnight” is the most recorded jazz standard written by a jazz musician.
It became particularly associated with trumpeter Miles Davis after his 1955 performance at the Newport Jazz Festival and his 1957 Columbia Records debut album, ’Round About Midnight.
Part 376 - March 1957
Miles Davis - 'Round Midnight
”’Round Midnight” is a celebrated jazz standard written by Thelonious Monk in the early 1940s.
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“Lucille” is celebrated for its raw energy, rhythmic innovation, and Little Richard’s powerful piano and vocals, helping to solidify his place as a founding architect of rock and roll.
Part 375 - February 1957
Little Richard - Lucille
“Lucille” is a classic rock and roll song recorded by Little Richard. Written by Little Richard and Albert Collins (not the blues guitarist), “Lucille” became a defining track of the early rock era.
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Clifford Brown’s trumpet solo is celebrated for its melodic clarity, rhythmic inventiveness, and technical brilliance, exemplifying the hard bop sound.
Part 374 - 1956
Clifford Brown & Max Roach - What Is This Thing Called Love
It is a renowned jazz standard composed by Cole Porter, but it gained particular acclaim in the hard-bop era through Clifford Brown & Max Roach’s interpretation.
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The track draws on traditional spiritual roots (the song “Joshua Fit the Battle of Jericho” dates back to at least the 19th century), and Tharpe’s electrifying performance showcases her signature blend of gospel fervor, blues phrasing, and pioneering electric guitar work.
![SISTER ROSETTA THARPE - Jericho [1956]](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:k6cuw2qv6m3cnjzcmfh4f3ox/bafkreie3na42hd3gnakkiw3fji46tof5vrfdywxcfircsonk7c7jixov4q)
Part 373 - December 1956
Sister Rosetta Tharpe - Jericho
“Jericho” is a gospel song recorded by Sister Rosetta Tharpe in 1956.
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The album itself marks the last recording with co-founder Horace Silver on piano and is considered a cornerstone of 1950s hard bop.
Part 372 - November 1956
The Jazz Messengers - Hank's Symphony
“Hank’s Symphony” is a hard bop jazz composition by Hank Mobley, performed and recorded in 1956 by Art Blakey & The Jazz Messengers as part of their first studio album, The Jazz Messengers.
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The song became an instant classic, noted for Lymon’s unique high tenor and exuberant delivery. It stands out as a pioneering hit in doo-wop and rock & roll, lending urgency and youthful energy to the era’s vocal group sound.
Part 371 - October 1956
The Teenagers - Why Do Fools Fall in Love
It is the debut single from Frankie Lymon & the Teenagers. The group, originally called The Premiers, featured lead vocals by Frankie Lymon, who was only 13 at the time of recording.
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...after producer Arnold Maxin encouraged a raucous studio atmosphere—bringing in food and alcohol—which led Hawkins and the musicians to record an outrageously theatrical version filled with howls, grunts, and voodoo-inspired vocal effects.
Originally conceived as a slow, bluesy love ballad, the song took on its famous, wild character...
Part 370 - October 1956
Screamin' Jay Hawkins - I Put a Spell on You
“I Put a Spell on You” is a classic 1956 song written and performed by Screamin’ Jay Hawkins, widely regarded as his signature track and a cornerstone of early rock and roll.
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This arrangement, with Johnny Burnette on vocals, Dorsey Burnette on bass, and Paul Burlison on guitar, is often credited as the first rock recording to intentionally use distorted guitar—a sound Burlison reportedly discovered after accidentally dislodging a tube in his amplifier.
Released in 1956, the trio’s version reimagined Tiny Bradshaw’s original 1951 jump blues tune as a wild, energetic, guitar-driven rockabilly track.
Part 369 - October 1956
The Johnny Burnette Trio - The Train Kept A-Rollin'
“The Train Kept A-Rollin’” by The Johnny Burnette Trio (Johnny, Dorsey, and Paul) is one of the most influential recordings in early rock and roll and rockabilly history.
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Their version of “Cheek to Cheek” features Fitzgerald’s smooth and elegant phrasing blending beautifully with Armstrong’s gravelly, warm vocals and sparkling trumpet work. The song is a standout for its relaxed tempo, joyful interplay, and impeccable sense of swing.
This session was part of a series of albums for Verve Records that solidified their reputation as one of the most charming and musically dynamic vocal pairings in jazz history.
Part 368 - October 1956
Ella Fitzgerald & Louis Armstrong - Cheek to Cheek
“Ella Fitzgerald & Louis Armstrong - Cheek to Cheek” refers to the classic jazz duet of the Irving Berlin standard, recorded by these two legendary artists in 1956.
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Released as the B-side to “Honey Chile,” Domino’s “Blueberry Hill” became his biggest hit: it spent 11 weeks at No. 1 on the R&B chart, peaked at No. 2 on the pop charts, and sold millions of copies.
Part 367 - September 1956
Fats Domino - Blueberry Hill
Blueberry Hill is a classic American song most famously recorded by Fats Domino in 1956, although it was originally written in 1940 by Vincent Rose (music) with lyrics by Larry Stock and Al Lewis.
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Elvis on vocals and rhythm guitar, Scotty Moore on lead guitar, and Bill Black on bass, with Sam Phillips producing. Moore’s guitar on the song uses country-style leads with prominent slapback echo—a style that became a hallmark of early rockabilly.