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Cash's official catalog lists the original single on May 1, 1956, with Get Rhythm on the other side. Sam Phillips produced it. Later recordings of the song should not be assumed to be that original master.

Sweet Little Sixteen belongs to Chuck Berry's early Chess period. The label's catalog history dates its release to 1958 and identifies Reelin' and Rockin' as the reverse side. The recording session took place in late...

Twilight Time is part of the Platters' original 1958 single repertoire. The later Magic Touch anthology places it among the vocal quintet's 1955-1962 hit recordings. That anthology is useful for locating the...

Money (That's What I Want) is represented here by Barrett Strong's original single in mono, as explicitly identified in the licensed track metadata. The supported release year is 1959. This version preserves the...

Hank Ballard wrote this song and recorded it with the Midnighters for King Records. The 1960 single also appeared on Mr. Rhythm and Blues and crossed from the R&B chart into the pop market. A later recording is a...

Buddy Killen wrote and produced this recording. The Anita Kerr Singers recorded it under the Little Dippers name in 1959, before the single appeared in 1960. The composition also received later recordings by Billy...

Hoagy Carmichael and Stuart Gorrell wrote the song decades before Ray Charles recorded it for The Genius Hits the Road in 1960. Accounts of the original title's inspiration differ: a frequently repeated family...

Berry Gordy produced Marv Johnson's recording, with backing vocals by the Rayber Voices. The writing credit includes Gordy, Mike Ossman, Al Abrams and John O'Den. Issued by United Artists in 1960 and included on More...

The melody began as the Italian song Per tutta la vita, written by Pino Spotti and Alberto Testa and performed at the 1959 Sanremo festival. Kim Gannon supplied English lyrics. Brenda Lee recorded that adaptation...

Paul Anka wrote and performed the song, issued as a single in 1959. Its narrator faces the end of a relationship, and the recording places that sadness against orchestral and choral backing. This describes the...

The composition is credited to Lloyd Price and Harold Logan. Its repertoire history extends beyond Price: Billy Eckstine included it on the 1960 live album No Cover, No Minimum. That parallel recording provides...

Carl Spencer and Henry Glover wrote the song released by Billy Bland on Old Town in 1960. Its R&B recording crossed into the pop chart, and other performers later adapted the composition, including Ernest Tubb and...

Clint Ballard Jr. and Fred Tobias wrote the song recorded by Bobby Rydell. It appeared on the other side of his 1960 Wild One single, and both sides received attention. These paired songs retain separate identities...

Jeff Barry and Ben Raleigh created a teenage-tragedy narrative in which a young man enters a stock-car race to earn money for a wedding ring and dies in a crash. Ray Peterson recorded the song with Hugo and Luigi...

Jerry Reed wrote this lively rockabilly song, and Owen Bradley produced Brenda Lee's Nashville recording. It shared a 1960 single with the contrasting ballad I'm Sorry. Both sides attracted chart attention, but the...

Wayne Shanklin wrote and produced the recording. Its unusual sound came from a studio experiment: engineer Larry Levine ran a second tape at a slightly different speed while trying to strengthen the mix. The...

Nat Simon and Charles Tobias wrote the composition in 1946. It looks back nostalgically at the lamplighter who once lit and extinguished street lamps. The Browns revived it in a country-pop setting with Chet Atkins...

Charles Williams originally composed this music as Jealous Lover for the 1949 film The Romantic Age. Ferrante and Teicher's later recording used the title Theme from The Apartment, with Don Costa arranging and...

Reginald Hall brought the song to Joe Jones after Fats Domino declined it. Jones added it to his club act and later recorded it, with Sylvia Robinson involved in the New York session. The lyric complains about an...

Jerry Livingston and Mack David wrote the ballad recorded by Ricky Nelson for Imperial. In 1960 it was paired with Right by My Side. The documented writing and release credits distinguish the composition from...

Breakfast at Tiffany's is an instrumental from Henry Mancini's music for the 1961 film. The later Greatest Hits compilation places it at track 7, matching the screenshot's visible number and album context. It is...

Percolator (Twist) belongs to the studio identity Billy Joe and the Checkmates. The licensed artist biography identifies Billy Joe Hunter as a pseudonym used by Lew Bedell, who worked with Ernie Freeman on the...

The hit comes from the live performance released on The 12 Year Old Genius. Its onstage energy, rather than a conventional studio ballad arrangement, was central to the young performer's breakthrough.

Mickey's Monkey was first released as a Miracles single in 1963, before the following album. Motown's label history and the licensed mono-single listing establish that sequence. The album's later 1964 chart...

Need to Belong is the title recording of Jerry Butler's 1963 Vee-Jay album. Curtis Mayfield, Butler's former colleague in the Impressions, wrote the song. Its place among Butler's interpretations of other writers...