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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...

The official Motown biography describes this early hit as autobiographical. It helped establish Gaye after his initial attempts at a more traditional vocal career.

Burl Ives recording from 1964, not later annual holiday chart appearances. This recording is included in the 1964 editorial listening list. A documented songwriting-inspiration account has not been established.

Holland-Dozier-Holland supplied the Four Tops' breakthrough Motown hit in 1964. The museum identifies it as the beginning of their major chart run.

Goin' Out of My Head is part of Little Anthony and the Imperials' 1964 catalog. The group's own archive credits the composition to Teddy Randazzo and Bobby Weinstein, a writing partnership also responsible for Hurt...

This is the Beatles' recording of the song associated with Little Richard, credited to Enotris Johnson, Robert Blackwell and Richard Penniman. Their version was recorded in March 1964 with George Martin producing and...

Opportunity became a national hit for the Washington, D.C. vocal group the Jewels in 1964. Their history traces the singers through earlier names and local recording work before this breakthrough. The screenshot...

This Lennon-McCartney song, developed from McCartney's original idea, was recorded at EMI Studios in October 1964 with George Martin producing. It appeared on Beatles for Sale in December 1964; the US single followed...

Motown identifies Holland-Dozier-Holland as the writing team behind this Gaye hit. This is a songwriting credit, not autobiographical testimony.

The Motown Museum places this 1965 hit in the group's successful partnership with Holland-Dozier-Holland.

Motown identifies this hit with Gaye's creative collaboration with Smokey Robinson; it does not identify a private event behind the lyrics.

Make It Easy on Yourself belongs to the Walker Brothers' 1965 group catalog. It is associated with the original Take It Easy With the Walker Brothers program and also appears on later retrospectives. The digital...

This recording brought David Ruffin to the lead microphone and became the group's first U.S. pop number one. The official Motown history treats it as a turning point in their career.

People Get Ready was released by the Impressions in 1965. The Library of Congress included the single in the National Recording Registry and described it in the context of the civil rights movement. The recording...

The Ramsey Lewis Trio recorded The In Crowd at the Bohemian Caverns in Washington, DC, during a 1965 engagement. Lewis later recalled the audience's spontaneous response to the performance in his National Endowment...

The Tracks of My Tears appeared as a Miracles single in 1965 before its inclusion on Going to a Go-Go that November. Motown's history identifies Marv Tarplin's guitar contribution and the songwriting partnership of...

Paul McCartney recalled that the central idea was largely John Lennon's and that they then worked on it together. The single was promoted while the group was making the Help! film. This account avoids treating...

This Paul McCartney composition presents a melancholy reflection on a relationship that has ended. The recording pairs his voice and acoustic guitar with a string quartet, without the other Beatles performing. The...

You Didn't Have to Be So Nice was a Lovin' Spoonful single before its appearance on Daydream. The Kama Sutra issue credits John Sebastian and Steve Boone as writers and Erik Jacobsen as producer. Sundazed's...

You'd Better Come Home belongs to Petula Clark's 1965 English-language singles. The original release paired it with Heart and appeared through Pye in Britain and Warner Bros. in the United States. Later greatest-hits...

(I Know) I'm Losing You is the Temptations' original 1966 studio recording, documented in the historical Motown singles program for that year. Its original group performance and release year are retained separately...

A Sign of the Times is a Petula Clark recording from 1966. Its original single paired it with Time for Love, and it also appeared on My Love. The later Platinum & Gold compilation in current streaming metadata...

Johnny Rivers recorded Jimmy Webb's By the Time I Get to Phoenix for his 1966 album Changes. Rivers recalled hearing the song on a tape of Webb's work and then meeting the writer to record it. He published the song...

Primarily written by Paul McCartney, the song centers on loneliness and overlooked lives rather than a conventional romance. George Martin's arrangement uses a double string quartet. These documented subject and...

I Couldn't Live Without Your Love was released as a Petula Clark single in 1966 and also became the title of an album that year. That album combined the title song with contemporary covers. The screenshot's...

Poor Side of Town marked Johnny Rivers' move toward an orchestrated ballad sound. Rivers recalled recording his vocal with Larry Knechtel, Joe Osborn and Hal Blaine before Marty Paich's strings were added. The song...