I only Have Eyes For You-The Flamingos-1959-#11

M&L--Harry Warren and Al Dublin


Lonely Teardrops-Jackie Wilson-1959-#7

M&L---Berry Grody Jr.Gwen Grody and Tyan Carlo

This was Wilsons first big hit --Berry Gordy became head man at Motown Records

Love Potion No.9--The Clovers--1959-#23

M&L--Jerry Leiber and Mike Stoller

This song was first intended for the Coasters but ended up with the Clovers a Washington D.C. vocal group

PAPA-Oom-Mow-Mow fame
^^^^^^Wow, weird name

Tallahassee Lassie-Freddy Cannon-1959-#6

M&L--Frank C. Slay Jr.,Bob Crewe and Frederick Picariello

Freddies real last night --Carmen

Picariello was a 18 year old truck driver when he wrote this song.

It Doesn't Matter Anymore-Buddy Holly-1959-#13

M&L--Paul Anka


This Should Go On Forever-Rod Bernard 1959-#20

M&L--J.D.Miller and Benard Jolivetta

Mr.Blue-The Fleetwoods-1959-#1

M&L--Dewayne Blackwell


I'm Gonna Get Married-Llyod price-1959-#3

M&L--Harold Logan and Llyod Price

Baby Talk-Jan and Dean-1959-#10

M&L--Melvin H. Schwartz

Jan and Dean two wisecracking Los Angeles teenagers who recorded baby Talk in Jan Berry's garage

Red River Rock-(2:09)-Johnny and the Hurricanes-1959-#5

M&L--Tom King,Johnny Paris and Frsd Mendelson


My Heart is an Open Book-(2:20)Carl Dodkins Jr.1959-#3

M&L--Lee Pockriss

Since I Don't Have You--The Skyliners-1959-#12

M&L--Joseph Rock and Lennie Martin

This was the first vocal-group hit to employ strings--but some say it was "There Goes My Baby"

The Twist -Hank ballard -1960-#28

M&L--Hank ballard

Running Bear-2:33--Johnny Preston-1960-#1

M&L--J.P. Richardson



This Magic Moment-2:28-The Drifters-1960-#-16

M&L--Doc Pomus and Mort Shuman

Where or When-(2:27)-Dion and the Belmonts-1960-#3

M&L---Richard Rodgers




Tonight's the Night-(2:00)-The Shirelles-1960-#39

M&L--Luther Dixon and Shirley Owens

Richie had to work especially hard o "La Bamba" because HE DID NOT KNOW SPANISH. His mom, knowing he was gonna be raised in America, spoke only English to little Ricardo.

Noreply, I'd heard the story for years that Bill Parsons was a pseudonym used by Bare. After seeing your post, I went to work to find the straight skinny, and I believe this is the correct .

Bare had a longtime friend, Bill Parsons, from Coalton OH, who'd met a man named Orville Lunsford. Parsons was a little older than Bare, and had just recently completer a tour of military service. He and Lunsford had written "All-American Boy" Parsons already had a recording session set up to do "rubber Dolly", a rock song, and needed a song for the flip side. He believed the drawling Bare could do "Boy" better than he could himself & so asked Bare to sing "Boy" at the session, and he did. Shortly afterwards, Bare entered the army & was unaware of what happened next for nearly 2 years.

Fraternity records purchased the master recordings from the recording studio, King Records of Cincy, and published the record, but Fraternity accidentally listed Parsons as the artist of both sides. Trouble began shortly after "Boy" unexpectedly became a monster hit, crashing its way through the Elvis-dominated Top 40.

Parsons & Lunsford accused Harry Carlson, Fraternity's owner, of cheating them of royalties, while Carlson argued it was BARE who'd performed the hit. Parsons countered that for every copy of "Boy" sold, a copy of"Rubber Dolly" had sold also.(That's why we seldom saw different artists on each side of a record.)

To keep a long story short, Bare, Parsons, Lunsford, & Carlson each testified in 1960 before the Congressional Subcommittee investigating Payola. There, the whole mess was laid "bare", and an amicable agreement was reached out of court. Parsons couldn't hit the charts again, & left the music business in 1961. Whenever asked, he always credits Bare with doing "Boy". Lunsford never did anything else in music that I know of.

Bare always credits Parsons & Lunsford for writing "Boy" & that he sang it to help his friend Parsons at Parsons' request.


When Bare hit the big time again, under his own name, with Detroit City in 1963, the "Boy" thingie was all-but-lost as Bare continued to crank out hit after hit. (I believe he did Shame On Me before he did Detroit City.)

This, far as I can find out, is the truth about the saga of the "All-American Boy".

I have about half of that info.

Ooh Poo Pah Doo-2:15-Jessie Hill-1960-#28

M&L--Jessie Hill

This song has a Part-1 and Part -2

Part one features Hill's guttural vocals,while part two was a funky instrumental led by the low-down sax work of his nephew,David Lastie.
This was Hill's only real national success;his last (Minit) single was fittingly titled "Can't Get Enough" (of That Ooh Poo Pah Doo)

A Fool In Love-Ike and Tina Turner-1960-#27

M&L---Ike Turner

Tina's real name is Annie Mae Bullock-she started singing with Ike Turner's Kings of Rhythm in St Louis.

Mule Skinner Blues-2:20--The Fendermen-1960-#5

M&L--Jimmie Rodgers and George Vaughn

This was the only hit for the Fendermen which took their name from the guitar--(fender)

Shimmy,Shimmey,Ko-Ko-Bop--2:07-1960-#24

M&L--Little Anthony and the Imperials

This song set deep in the African jungle

nirvana

Lonely Weekend-2:03-Charlie Rich-1960-#22

M&L--Charlie Rich

This was Charlie Rich's first big song

Cherry Pie--2:02--Skip and Flip-1960-#11

M&L---Joe Josea and Marvin Phillips

The duo of Skip and Flip was originally Clyde (Skip) Battin and Gary (Flip) Paxton,two students at the University of Arizona who scored a 1959 hit with " It Was I"--After Battin was replaced,a new Skip and Flip charted with a remake of Martin and Johnny's Cherry Pie in 1960,the same year paxton also achieved fleeting stardom singing lead on "Alley Oop" by the Hollywood Argyles.Baxton found fame with The Byrds in 1969,and Paxton became a born-again Christian artist,producing albums for Tammy Faye Bakker,wife of fallen TV evangelist Jim Bakker.

Love You So-2:58-Ron Holden-1960-#7

M&L--Ron Holden



Money (That's What I Want)-2:24)-Barrett Strong-1960-#23

M&L--Berry Gordy and Janie Bradford

My Girl Josephine--2:00--Fats Domino-1960-#14

M&L--Antoine Domino and Dave Bartholomew



Mountain of Love--2:30--Harold Dorman--1960-#21

M&L-----Harold Dorman

Because They're Young-1:59-Duane Eddie and the Rebels
1960--#4

M&L---Don Costo

The allure of studio effects was so strong that by 1960 strings and choruses adorned the work of the most unlikely artists.Twangy guitar specialist Duane Eddie received the full orchestral treatment on Don Costa's "Because They're Young" the title song from a film starring Tuesday Weld and Dick Clark.In the movie,Eddie and his Rebels appear at a teen dance playing Shazam,a minor 1960 hit.

Diamonds and Pearls-2:17-The Paradons-1960-#18

M&L--West Tyler,Charles Weldon,Bill Myers,Williams Powers and Edward Scott


Teen Angels-2:38-Mark Dinning-1960-#1

M&L--Jean Surrey

A agony of young love was a hot commodity that a market developed for the ultimate musical tragedy,the teen death song.Mark Dinning had sustained a mediocre recording career since 1957 when his sister Jean (a member of the popular 40s group the Dinnings Sisters) wrote Teen Angel,the tale of a girl who meets a gruesome end trying to retrieve her boyfriends class ring from their stalled car.Jean got the idea fron an article in which a DJ defended teenagers,claiming many were "teen angels"The song,though,was considered too bloody by some radio stations and therefore banned.

Way Down Yonder in New Orleans-2:34-Freddy Cannon-1960-#3

M&L--Henry Creamer and Turner Layton

With the success of his debut single,Tallahassee Lassie and released in succession: Okefenokee,Way Down in New Orleans and Chattanooga Shoe Shine Boy.The latter two were pop standards,but Cannon's raucous cover showed little restect. When Turner Layton,who co-authored "Way Down Yuonder in 1915,was asked about Cannon's handling of it,he commented ,"I must admit that this new version is very different in conception to how I first envisaged the song."

Step By Step--2:22-The Creast-1960-#14

M&L-----Ollie Jones and Billy Dawn Smith


Lonely Teenager-2:13-Dion-1960-#12

M&L--Salvatore Pippa Jr.


Lonely Teenager,was typical misery-ridden teen-idol balladry Dion quickly returned to harder-rocking doo-wop material

There's Something on Your Mind--4:45--Bobby Marchan-1960-#31

M&L----Cecil " Big Jay" McNeely

Marchan arrived in New orleans in 1954 as a member of a troupe of female impersonators called the Power Box Revue.After serving as a key member of Huey "Piano" Smith's Clowns,Marchan went solo in 1960.

Save the Last Dance For Me-2:25-The Drifters-1960-#1

M&L--Doc Pomus and Mort Shuman

Although doo-wop groups were still plentiful(especially on the East Coast),the most successful vocal group,the Drifters,prospered by combining street-corner harmony with more sophisticated production approaches. The group achieved its only No. I hit,with lead vocalist Ben E. King.

Finger Poppin' Time--2:35--Hank ballard and the Midnighters-1960#7

M&L---Hank Ballard

This song was designed as a dance record

Walk--Don't Run--2:02-The Ventures-1960-#2

M&L--- Johnny Smith

1960 introduced the most enduring and influential instrumental group in rock,the Ventures,Guitarist Bob Bogle and Don Wilson were working construction jobs in Seattle when they decided to improve their fortunes by recording Walk--Don't Run,which they had learned from a Chet Atkins album.Initially released by Wilson's mother on her own Blue Horizon label,it was picked up by Dolton Reccords and went to No. 2 nationally.

Wonderful World--2:05--Sam Cooke--1960-#12

M&L--Sam Cooke


He Will Break Your Heart--2:45--Jerry Butler-1960-#7

M&L--Jerry Butler

A Thousands Stars-3:08-Kathy Young and the Innocents-1960-#3

M&L----Eugene Pearson

Kathy Young met the Innocents,a male vocal trio,when the group was promoting their hit "Honest I Do" on Wink Martindale's TV show.

Oldies Music gotta love it