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Billboard Hot 100 & Best Sellers in Stores number-one singles by decade Before August 1958 1940–1949 1950–1958 After August 1958 1958–1969 1970–1979 1980–1989 1990–1999 2000–2009 2010–2019 2020–2029 US Singles Chart Billboard magazine The Billboard Hot 100 chart is the main song chart of the American music industry and is updated every week by the Billboard magazine. During ...
Billboard number-one singles charts preceding the Billboard Hot 100 were updated weekly by Billboard magazine and the leading indicator of popular music for the American music industry since 1940 and until the Billboard Hot 100 chart was established in 1958.
From the '50s and '60s is a compilation album of television theme songs released by Tee-Vee Toons in 1985 as the first volume of the Television's Greatest Hits series. It was initially released as a double LP record featuring 65 themes from television shows ranging from the mid-1950s until the late 1960s.
Jay & The Americans; The Ames Brothers [1]; The Andrews Sisters; Dave Appell & the Applejacks; Harold Melvin & the Blue Notes; The Bell Notes; Bill Haley & His Comets
Pat Boone became one of the most successful artists of the 50s with his heavily pop-influenced "covers" of R&B hits like "Two Hearts, Two Kisses (Make One Love)", "Ain't That a Shame", and "At My Front Door (Crazy Little Mama)". Boone got his fame by covering black R&B hits; his cover versions of the original artists outsold the originals.
Baby Washington; B.B. King; B. Bumble and the Stingers; Bachdenkel; The Bachelors; Badfinger; The Balloon Farm; The Band; A Band of Angels; Band of Joy; Bangor Flying ...
60 "Down by the Station" The Four Preps: 61 "Forever" The Little Dippers 62 "Image of a Girl" The Safaris & The Phantom's Band 63 "Kiddio" Brook Benton: 64 "Mission Bell" Donnie Brooks: 65 "I Love the Way You Love" Marv Johnson: 66 "It's Time to Cry" Paul Anka: 67 "Tell Laura I Love Her" Ray Peterson: 68 "Mama" Connie Francis: 69 "Footsteps ...
A teenage tragedy song is a style of sentimental ballad in popular music that peaked in popularity in the United States in the late 1950s and early 1960s. Lamenting teenage death scenarios in melodramatic fashion, these songs were variously sung from the viewpoint of the dead person's romantic interest, another witness to the tragedy, or the dead or dying person.
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