The Greatest Artists in Popular Recorded Music History (The 150 Greatest Artists in the History of Recorded Popular Music)

By Ed Manolio

This book concerns itself with only recorded popular music. The definition of popular music is simple. It is the traditional characterization of any genre of music having wide appeal (but usually only for a short time), although I personally do not agree with idea of it being popular for only a short period of time. Another description is any form of music without classical structures. So that means many genres have been considered in putting this project together. From country to folk, big band to disco, rhythm and blues to hip hop, show tunes to television themes, rock to heavy metal, jazz to new wave and many categories in between - all of them have been a factor in American recorded popular music history therefore they were considered. This book contains what is arguably the greatest overall artists in the history of recorded popular music taking into consideration all the talents that have brought them to be described in this publication. It is a fascinating trip through the years that puts into perspective a genre of entertainment that has been a part of almost every person"s life. For a music lover, the book is a perfect trip to enhance their enjoyment of their favorite form of entertainment and for the casual music listener it is informative and quite interesting,
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• Language: English
• Publisher: Ed Manolio
• Release date: May 14, 2018
• ISBN: 9780463027523

Ed Manolio

I was born in New York City but lived most of my early life in Fort Lee, New Jersey. After my schooling was finished, eventually I re-located to East Atlantic Beach, New York where I currently reside with my lovely wife Odalys. While growing up our family always had a dog although the responsibility to care for them always fell on my parents shoulders. I became a dog lover and finally decided to take the plunge into ownership with my first Irish Setter. It was quite an experience, one I wouldn't change at all. It certainly taught me the full impact of having a pet.My interests include music and music history, playing tennis, gardening, all Boston professional sports teams and animal rights. My first book, Tails From Dublin is a sincere look back at our lives together written entirely from her perspective. We had some adventures together and the book details them from her eyes. My next book, soon to be published, will be on a unique look at recorded popular music history.

Book preview

The Greatest Artists in Recorded Popular Music History

The 150 Greatest Artists in the History of Recorded Popular Music

By Ed Manolio

Copyright 2018 - Ed Manolio

Smashwords Edition

Preface

Recorded popular music – what a concept! That was just this nation’s thought process in the late 19th Century. Why? Because prior to that period, any music heard was always live, whether it is in a concert hall, on a street corner or in one’s home. As unbelievable as it sounded in those days, the ability to bring music home with you and hear it whenever you wanted to was very exciting to people. Something today we take for granted. Now, we can enjoy music wherever and whenever we choose.

Why such an interest in popular music? I took piano lessons at an early age but never stuck with it long enough to master playing. Many of my early heroes were rock guitarists so I bought myself a starter guitar but unfortunately failed learning to play it to any accomplished degree. There still was something about music I was drawn to and enjoyed immensely.

However there was always a radio on in our home, mostly tuned to a music station, which may have been influential. Growing up in Fort Lee, New Jersey in the early sixties, I was fortunate enough to have access to four legendary radio stations. WNEW-AM played music from the classic great American songbook which featured songs from the late 30’s, 40’s, 50’s and the easy listening hits of the day. That station was a favorite of my parents. WABC-AM was the leading station in the metropolitan area featuring a very tight rotation of the biggest current hits. WMCA-AM was its main competitor playing a slightly larger and more diverse selection of the top hit singles of the day. WWRL-AM was rhythm and blues based and featured the top soul hits on the charts. There were also country and jazz outlets on the back then less popular FM frequency. These stations, led by legendary disc jockeys like Frankie Crocker, Dan Ingram, Bruce Morrow, William B. Williams, Jack Spector and Dan Daniels played the songs which filled my ears and imagination in my younger days. My choices were assorted and I took advantage and delight in of all of them. Every Tuesday evening as a youth, I could be found in my room with my transistor radio as WABC counted down the top twenty songs of the week. Armed with a copybook, I wrote the song, artist, current position and previous week’s position as the songs were revealed. I did that from about age eight until leaving for college. In addition every New Year’s Eve day, I did the same as each station counted down their yearly top one hundred tunes. Always being fascinated by the pop music scene, I still follow the weekly Billboard surveys to this day. I guess some things never change.

As for my recorded music collection, let’s just say I’m thankful for a spare room in my residence and the creation of the much smaller cd’s, because if long playing record albums were still the thing, I probably would have to move.

Through the years I always wondered who the best of the best are so I decided to do research and present the results in book form. These are the artists that have meant the most to recorded popular music since its inception. It took a few years to tabulate but it was a labor of love. I hope you enjoy this objective countdown.

Introduction

Music is one of the most significant forms of human entertainment and enjoyment. To a great many of us, it is well woven into our everyday life. Whether it was the first melody you ever heard and remembered or the last tune you listened to recently or maybe anything in between, music has played some sort of role in your lifetime. You may have never thought about that statement. Conceivably it was one of your parents singing a nursery rhyme to you before bedtime, or your favorite television program’s theme song or even a commercial’s melody you remember. Perhaps a ballad that you shared with your first love or some music you and your significant other chose to dance to on that special wedding day. Maybe it is a song from your favorite concert or movie or a tune that you just found yourself humming from time to time. It can bring back memories of certain events, certain people or certain times of your life. One thing is for sure. Mostly everybody has a song that reminds us of a special person, a specific time, an unforgettable incident or a definite period in our lives. As Brian Wilson wrote,

"You'll hear it while you're walkin' by a neighbor's home,

You'll hear it faintly in the distance when you're on the phone

You're sittin' in a dentist's chair

And they've got music for you there

To add some music to your day"

Think about it. I am sure there is a special song in your mind right now!

Music also reflects special emotions that we experience. How you ever experienced a poignant moment while watching a movie? Whether it was a sad or happy reaction you felt, there probably was some song in the background encouraging that feeling. It is always there, every day. Whether in the waiting room, house of worship, car or the supermarket, simply put, music can be considered the background wallpaper of life.

All music we hear is composed and performed by very talented individuals, many of which have dedicated their life to their art. Throughout the recorded music era there have been thousands of songwriters and performers who have left their mark in the industry. This book reveals who the best of the best are. These artists are the cream of the crop in recorded music industry. They have provided the world with an art form that has touched and entertained countless people. The value of their work is priceless especially to music lovers no matter what genre of music is preferred.

Remember, prior to humans being able to record sound, any music that was heard had to be performed live! Think about that fact. So unless one attended a performance or had a musical instrument in their home and somebody to utilize it, melodies escaped everyday life. Amazing to contemplate about that when today we all have the ability to press a button or turn a dial and our choice of music fills the air. Almost everywhere one goes, music is there. It could be a department store, taxi cab, street fair or countless other locations, if you pay attention chances are some song is playing. It is a part in our everyday life.

Before I get into the specifics of how this list of the Top 150 Music Masters was tabulated, here is a concise explanation of how music was first recorded.

A Brief Introduction

Recorded music for playback is a relatively new invention. After all, mankind has had the privilege of enjoying it for only about the last one hundred and forty years. That is a very short period of time when one compares it to some other forms of entertainment.

Many inventors were toying with the idea of recording sound in the mid-19th century. In 1877, the great Thomas Edison (below) created a device that could play back sound. Although it was a very crude machine, it opened up endless possibilities. I can’t imagine how exciting that must have been at the time. Just think about hearing your own voice being played back from the perspective of living in the 19th century. The machine had a metal cylinder with very fine spiral grooves on one side of it, two needle and diaphragm units and two cones, (one used to record and the other for playback), and a small horn like piece.

This is initially how it worked. Simple tin foil was wrapped around a cylinder which was rotated by hand while Edison spoke into the recording horn causing the diaphragm to vibrate moving the stylus to form grooves in the foil. When he reversed the process, his voice was reproduced, amplified through the other horn. This device was originally created with office dictation and voice messaging in mind. Early records were cylindrical, but flat disks soon replaced them.

One of the many early problems with the playback of these cylinders was the lack of volume. In 1876, Emile Berliner had invented the first microphone that was used as a voice transmitter for Alexander Graham Bell’s new invention, the telephone. The world now had a way to increase volume for both the telephone and recording system.

While Edison was busy introducing his new invention, a year later David Hughes was creating a carbon microphone. It was the earliest model of the various carbon microphones still in use today. Although it was later developed in the 1920’s, this device proved to be important for recorded music’s future and imperative in the development of telephony.

An early sketch of David Hughes’ microphone set-up.

Charles Sumner Tainter and Chichester A. Bell (an associate and cousin of Alexander Graham Bell), improved the cylinder industry by making them out of wax. Edison improved the sound of his recordings using these solid wax cylinders (below with their containers) to replace his primitive tin foil cylinders. Still any recordings made can only be played back one time. He also creates a new cylinder phonograph which runs on battery power.

By 1886, wax cylinders totally replace tin foil cylinders because they could be played back numerous times, opening up all kinds of new possibilities.

The first flat, circular record was invented by Berliner in 1887, (he also invented the gramophone, the machine that played his flat records). Berliner used many different materials such as glass, then zinc, and later, hard rubber. He also invented a method of mass producing copies of an original recorded disc.

In 1888, Edison developed the definitive version of the phonograph. This model had an electric motor, and the cylinder was first made of wax and later of shellac. The North American Phonograph Company was founded by Edison mainly to sell his machines to offices for dictation. However, a year later his company issues the first commercial musical recordings for phonograph parlors where customers can now order a musical selection for five cents and listen through a tube to that chosen selection playing on a cylinder phonograph played by a person in another room. As the new decade begins, Columbia (a new company in the industry), releases the first record catalog with only recordings by John Phillips Sousa’s United States Marine Band. Meanwhile the North American Company begins mass production in 1901 making one hundred fifty records at a pressing. This still means a popular artist of the day must record their song hundreds of times to meet the public’s growing demand.

Competing ads through the early days of the phonograph from the two major companies.

The first publication dedicated to the recording and phonograph industry is created in 1891. It is called The Phonogram. The next year the North American Company begins to produce cylinders for the home market. Even though phonograph prices for the home use start at $150, which was too much for the average American household, demand for more product exceeds the company’s capacity to produce it. By 1898 the phonograph is quickly becoming a staple in most American homes as the cost rapidly dropped to $15. A standard multi-playback two minute cylinder costs 50 cents. The recorded music industry is off and running and Americans could not get enough of it. Star power is established as George J. Gaskin, Dan Hill, Len Spencer and Arthur Collins become household names in this new industry by selling thousands of recordings and performing their popular hits live.

The Victor Talking Machine Company, formed in 1901, commercialized the gramophone. But in America the word phonograph became the standard term for these playback machines. Through the years other words like record players and later turntables are used.

Over the next few years new innovations drove sales upward. In 1903 Victor presented twelve inch discs that had a longer three and a half minute playing time. Then in 1906 came the Victrola, which removed the large tin horn from the top of the phonograph and placed it in a wooden cabinet underneath. Columbia was also doing its part to improve recorded music for the public by introducing the two sided record which offered two songs for the price of one in 1908. Discs dominated the industry by 1910 all but eliminating wax cylinders. Over the next century, the quality of the recording greatly improved and today most Americans own some sort of music playback device.

The next big effect on the recording music industry occurred in 1927. Radio bursts onto the scene sweeping the nation’s interest. The first major use of radio was for navigation, where it greatly reduced the isolation of ships, saving thousands of lives, even though for the first couple of decades radio was generally limited to Morse code transmissions. Soon after, it went from a comparatively new innovation to a necessity in homes throughout the land. Besides news and drama formats, music programs are the rage. Prior to 1927, the way to determine what recorded music a person might buy usually happened by them either hearing the song first at a phonograph parlor or from a live performance. Radio changed the way artists were heard. Record sales and sheet music sales combined were the way of rating individual songs popularity in those days. It was now a necessity for an American home to have both a phonograph and radio both of which competed with books to provide most nighttime family entertainment.

The Subject Matter

This book concerns itself with only recorded popular music. The definition of popular music is simple. It is the traditional characterization of any genre of music having wide appeal (but usually only for a short time), although I personally do not agree with idea of it being popular for only a short period of time. Another description is any form of music without classical structures. So that means many genres have been considered in putting this project together. From country to folk, big band to disco, rhythm and blues to hip hop, show tunes to television themes, rock to heavy metal, jazz to new wave and many categories in between - all of them have been a factor in American recorded popular music history therefore they were considered.

The true beginning of the recording era in the then forty-five United States was 1896. It was the first year that the public could bring home the music they preferred by choosing either sheet music or records. Although there isn’t anybody around today that can describe that musical period, there is documentation about that era. Being that back then the public did not have the many forms of entertainment dominating their time like there is today, it is understood that these pioneer musical stars were probably even bigger than the present day stars. There were no movies, radio or television and social media and only the stage produced competition for the recording personality’s popularity. Musical stars were the talk of neighborhoods, either at home or in the workplace.

Every generation has had its musical superstars and most of us like to think that the best were spawned in our time. We each have our favorites and our minds are not easily changed. This book was not generated to try and do that. It was created simply to open up minds to different superstars from different eras in recorded music history and to try to determine the best. So read ahead with an open mind and a desire to consume the information, which is going to be presented. Today, thanks to on-line musical outlets, all of the artists mentioned and their music can be heard and/or purchased in its original form. I strongly suggest that the reader give a listen to any of the Masters of Popular Recorded Music with whom they may be unfamiliar.

The Fairest Formula

The formula I determined to be the most objective includes three different measures. A singer and/or songwriters entire career was taken into consideration in all three criteria.

In the case of pure composers, all of their songs were given credit each time one reached the charts and sales were judged similarly.

ELIGIBILTY

Solo artists, duets, groups and songwriters from 1900 through 2015 are eligible. If a solo artist was a member of a duo or group, either a vocalist or songwriter or both, they received the percentage of points depending on the amount of members in the group plus full points for the songs they wrote or co-wrote for the group. We rated group members with solo careers only if they attained a certain amount of points as a solo artist. Keep reading for more of an explanation and certain examples.

THE CHARTS

The popular musical charts represent the weekly sales totals of a specific single and/or album from an artist’s catalog. Solo artists, duos and groups were all considered.

The total weeks for all their recordings, both in single and album form, to reach the weekly top forty were included.

Points were awarded in the following fashion. Each week the artist’s single and/or album maintained a specific position on the charts garnered them a certain amount of points. For instance, for each week spent in the number one slot, fifty points was awarded. The number two spot earned thirty nine points. The number three spot netted thirty eight points and so forth, down to the number forty position, which equaled one point. The total career points recorded would be rewarded to each artist.

This specific formula is important because the weekly charts represent the artists’ individual song’s popularity. It is safe to say that the public spent their hard earned dollars on what they enjoy listening to and the record charts reflect that. The earliest charts, prior to 1913, included sheet music sales as well as records. Between 1928 and 1940, the charts also included the most played songs on network radio stations. Both the United Kingdom (if available) and United States charts are considered in this book. One thing to remember is that since jazz artists rarely released singles, (one reason is the length of the songs) and they had to be judged more on their album work and the jazz charts.

MUSIC SALES

An artist’s career musical sales figures were considered. However, this category needed some alterations in order to make it fair. The country’s population is the reason.

Here is an example: Artist A’s total career sales figures in the decade of the 1930’s were 6.5 million copies. Artist B sold the same amount in the decade of the 1990’s. It would be very unfair to Artist A to be awarded the same amount of points since the United States population was over double the amount in the 1990’s. Artist B had so many more people available to purchase their music, so that kind of comparison didn’t seem to work evenly. Obviously it was so much more difficult to sell a million copies in the early part of the twentieth century. A formula had to be set up and taking that into consideration the following is what I thought was fair.

Decade U. S. Population (U.S. Census Bureau) Points per million units sold

1900 76m 2000

1910 92m 1900

1920 106m 1750

1930 123m 1600

1940 132m 1400

1950 152m 1300

1960 181m 1200

1970 205m 1000

1980 227m 900

1990 250m 750

2000 282m 650

2010 309m 550

This was the best way to even the playing field. There is no perfect formula because other factors come into consideration such as wars, the Great Depression, television, 8 track and cassette tapes, cd’s, music videos computers, and all of the new multi-media gadgets. Nevertheless, this can be considered a pretty accurate process.

SPECIAL INFLUENCE

This is a subjective category. Through the years, many, many great musical talents have contributed to the American musical catalog as performers or composers or both.

Yet a very special few have impacted the industry in a manner which affected either their genre of music and/or the entire business. These artists have, in one way or another, shaped, inspired or influenced popular music to a great degree. They have been given special consideration in the amount of additional points added to their totals. These additions are necessary to make sure their influence is properly compensated. I will note these artists as the book proceeds and also try to justify the reasoning behind their special impact. An example would be the Bee Gees versus U2. The former group jolted the music industry in the late 70’s into a disco era which lasted a few years causing many artists in different genres to produce dance songs, (more on that later). Although their sales total are tremendous, U2 have not really influenced the industry in such a pronounced way. This category will be judged in a very objective way without any favoritism being shown. I have consulted other knowledgeable musical people for their input before awarding points.

The three above gauges give an almost complete look at a recording act’s career and accomplishments. As stated before, both performers and composers are included in the survey. An artist that is both a singer/songwriter received equal points for both accomplishments. An artist who was part of a group and also had a career as a solo performer was judged as follows. As a solo artist, they collected their individual credit plus a percentage of credit for being involved with the group. The percentage they garnered was equal to whatever share they had in the group both as a vocalist and songwriter. Example: Diana Ross was a member of a three woman group. Therefore, she receives 1/3 of the group’s points added to her solo career’s total. Don Henley received individual credit for his singer and songwriter talents, as well as being part of a five man group – therefore he garnered 1/5 of the credit. This is a way an artist’s whole career achievements can be considered. One other thing was considered. The amount of artists recording in the last half of the 20th Century right on through to today in total are far more than in the first half of the 20th Century, therefore the competition has been greater more recently pertaining to have chart success.

These are all very prolific artists so it is impossible to list all their career works or achievements so I chose the information that I feel is the most important for each of them to justify their position. An important fact to remember is that some of these greats had short lived careers and received their points in a brief period of time compared to others who remained around much longer and were accumulators of points. Of course, a book could be written on each of them but that is not my purpose in this endeavor.

Each position includes a short biography and some interesting facts about each artist.

It all concludes with what I believe to be The Masters of Popular Recorded Music History. It is a list that encompasses popularity, sales, artistry, influence and talent. Any one of these gifted people can provide hours of sheer musical enjoyment for the listener with an open mind and an ear for melody.

LET THE COUNTDOWN BEGIN

Number 150

THE EVERLY BROTHERS

(vocalists / songwriters / musicians / duo)

The second best-selling rock and roll duo in history! Their parents Ike and Margaret were popular country artists in the 1940’s. The brothers got acclimated to show business early in their lives by touring in the South and Midwest with their folks and also regularly performing on the family’s popular radio show. Don was eight years old and Phil six when their folks noticed the boy’s talent and ability to enjoy the attention it brought them. In 1954, with rock and roll about to burst into the mainstream and their parents retiring, the brothers decided to make a go of it on their own. The then teenage boys left for Nashville, Tennessee which seemed to be the hottest spot in the South for music. Soon after they were discovered and hired by country star Roy Acuff’s publishing company.

Don was writing songs and one was chosen by the Queen of Country Music, Kitty Wells, to record. Thou Shall Not Steal became a hit single and brought instant recognition to the brothers. Don and Phil wanted to record on their own rather than staying in the background so they moved on to Archie Bleyer’s Cadence record label. Another reason for their move was the first-rate and up to date recording equipment Cadence featured back then.

The Everly Brothers luckily met established songwriters Felice and Boudleaux Bryant and an equally beneficial relationship as formed. The Bryant’s gave them a song which had been previously rejected by over two dozen established artists. The brothers recorded Bye Bye Love in their own unique style and as soon as it received radio play record shops throughout the area were swamped with orders for this little known duo’s recording. The song became a huge regional hit at first, but before long it topped the country charts and its popularity spread internationally. In May of 1957, Bye Bye Love peaked at number two on the Billboard top forty charts. Their blend of country and folk and clean harmonies and looks helped convert parents of teenagers who, at the time, were having trouble accepting rock and roll. Both Don and Phil played guitar but it was their distinctive sound that started to captivate America. Their next single, also penned by the Bryant’s, entitled Walk Up Little Susie was a success despite some protests from religious groups because they claimed it suggested that, Susie was sleeping with someone at a drive-in movie and gave the Everly Brothers their first national number one song in September of 1957. Television appearances and touring followed and suddenly they became known nationwide.

After eleven more top forty hits between 1957 and 1960, the brothers left Cadence over a dispute about their royalties. By then they had become second to only Elvis Presley in rock and roll popularity which gave them the opportunity to sign a contract with Warner Brothers Records for an amazing, in those days, one million dollars. It paid off immediately when Cathy’s Clown, a song composed by Don topped the Billboard charts for five weeks beginning in May of 1960. Its sound, which featured echo laden harmonies, was a bit different from their previous recordings. Cathy’s Clown became the first song in the rock and roll era to top both the charts in the United States and Great Britain simultaneously.

Their follow up song, When Will I Be Loved written by Phil, reached the number eight position on the charts also in 1960 and went on to be recorded by many other artists including Linda Ronstadt, who took it to number two in 1975. In addition two Everly Brothers albums reached the top 10 in 1960,It’s Everly Time and A Date With The Everly Brothers. Eleven more top 40 hits followed, with their successful string of chart songs in the United States ending in 1967. The brothers continued to tour for the next five years and even hosted a summer television show in 1970. Personal problems and the British invasion halted the duo’s recording career and they split ways in 1973 after a show in California. For the next ten years they pursued solo careers having some individual successes in Britain. Phil teamed with Cliff Richard to release a song he had entitled She Means Nothing To Me and it reached the top ten in the United Kingdom.

A reunion occurred in 1983 at London’s Royal Albert Hall much to the music world’s delight. Because of reunification, longtime fan Paul McCartney wrote a song for the Everly Brothers called Wings Of A Nightingale, which they recorded and it became the comeback hit they needed to continue duo’s career.

They were elected to the initial class of the Rock And Roll Hall Of Fame in 1986. In 1997, they received a lifetime Grammy Award Achievement Award and in 2001, they were inducted into the Country Music Hall of Fame. In addition in 2004, they were inducted into the Vocal Group Hall of Fame.

The Everly Brothers influence on generations of artists in the work of popular music is indeterminable. Among the more notables besides McCartney are Graham Nash, Hall and Oates, Simon and Garfunkel and David Crosby. Their harmonies are often imitated but never duplicated and to this day their sound remains distinctly unique.

THE FACTS

(1957-1984)

Top 40 hit singles In U.S. – 27 / U. K. - 33

Number one songs U.S. – 4 / U.K. – 6

Top forth albums in the U.S. -6 / Number one albums in the U.S. – 0

Top 40 hit singles on the Country charts – 12 / Top 40 hits on the R & B charts - 9

Songs composed that reached the top 40 by other artists - 3

3 Biggest Hits

Cathy’s Clown (1960)

All I Have To Do Is Dream (1958)

Wake Up Little Susie (1957)

Ten More Impactful Songs:

Bird Dog (1958) Problems (1958) Till I Kissed You (1959)

When Will I Be Loved (Linda Ronstadt) (1975)

Crying In The Rain (1962)

Walk Right Back (1961) So Sad (1960) Devoted To You (1958)

Let It Be Me (1960) Ebony Eyes (1961)

Notes:

As songwriters many other artists have recorded their songs. They only trail Hall & Oates for the most Top 40 singles by a duo. The Beatles based the vocal arrangement of Please Please Me on Cathy's Clown.

This duo receives maximum points as a major influence for harmony and style.

______________________________________________________________________

Number 149

CARL SIGMAN

(lyricist / composer)

Born in Brooklyn, New York in 1909, Carl Sigman took classical piano lessons, provided by his parents, as a youth. After completing college, he passed the New York State Bar exam finishing law school at New York University, but never practiced. He was drawn to his first love which was music and decided to pursue a career as a melody writer.

Struggling for a while, Sigman befriended the already established songwriter Johnny Mercer early on and collaborated with him for his first published song entitled Just Remember. Mercer noticed how Carl’s lyrics were very catchy and advised him to concentrate on that half of songwriting. Sigman followed Mercer’s advice and it proved to be the right decision at the time.

It was 1940 and a very special year for him. Remaining in New York after Mercer moved to the west coast, Sigman met the great trombonist and band leader Glen Miller, who had a melody written by Jerry Gray but was having trouble attaching lyrics to it. Carl put the words to Pennsylvania 6-5000, which was the telephone number of the Café Rouge at New York’s Hotel Pennsylvania, and the song became a smash hit selling over a million copies while becoming a Miller standard. However his career was put on hold by the Second World War after being drafted in 1942. Carl became a war hero during that period and was awarded a bronze star for his service in Africa. Upon returning to the States, Sigman found some top composers and put lyrics to some of their songs which became very popular. He teamed with Bob Russell for Ballerina, (#1 for Vaughn Monroe, #5 for Buddy Clark, #10 for both Bing Crosby and Jimmy Dorsey all in 1948) and with Bob Hilliard for Civilization (#8 for both Ray McKinley and Louis Prima, #9 for Jack Smith all in 1947 and #3 for the Andrews Sisters and Danny Kaye in 1948). The latter song was featured in the Broadway show Angel In The Wings, which was the only play written by Carl Sigman. In the last year of the decade, Careless Hands, (#1 for Mel Torme, #12 for Bing Crosby both in 1949), was another SIgman-Hilliard composition.

As a new decade dawned, Sigman became even more productive returning to, at times, composing melodies in addition to lyrics. He teamed with Herb Magidson in 1950 for the hit song Enjoy Yourself, (#10 for the Guy Lombardo Orchestra). His creative juices were flowing in 1951 joining Percy Faith to write My Heart Cries For You, (#2 for Guy Mitchell, #3 for Dinah Shore), which charted by nine different artists that year! Sigman took a classical piece composed by Charles G. Dawes, added lyrics and it became It’s All In The Game, (#18 in 1951 and #1 in 1958 for Tommy Edwards), which went on to be recorded by many other artists through the years. Once Sigman added lyrics to Robert Maxwell’s Ebb Tide, (#2 for Frank Chacksfield in 1953, #5 for the Righteous Brothers in 1965), previously a hit instrumental in 1937, over a dozen more vocalists recorded the song. In 1953, Perry Como recorded a Sigman composition Dream Along With Me as a B side to one of his singles but it would soon become his theme song for The Perry Como Show, a hit television program. Arrivederci Roma was another song with English lyrics added by Sigman that went on to be recorded by a handful of artists, including Dean Martin, in the mid-fifties.

By the sixties popular music had turned it direction towards rock and roll and the British invasion, but Sigman continued to thrive writing such hits like Till, with Dawes, (#14 for the Angels in 1961), with Gilbert Bécaud and Pierre Delanoë for What Now My Love (#14 for Sonny And Cher and #24 for Herb Alpert both in 1966), with Jean Renard for Losing You (#6 for Brenda Lee in 1966) and with Umberto Bindi, Gino Paoli for You’re My World, (#18 for Helen Reddy in 1977). Frank Sinatra who has recorded over fifteen of his tunes, scored in the late sixties recording the Sigman, Bert Kaempfert & Herbert Rehbein tune (Over And Over) The World We Knew and the Sigman, Luiz Bonfá and Antonio Mariz song A Day In The Life Of A Fool.

By 1970, Carl Sigman’s musical assignments had slowed down until Paramount Pictures contacted him, needing lyrics for a new major motion picture it was producing.

They sent him a melody written by Francis Lai for their upcoming movie Love Story and after struggling with it for a period of time, Sigman came up with the beautiful lyrics to "Where Do I Begin (Love Story) and the rest is history. Maybe Carl Sigman’s most popular song, (#9 for Andy Williams in 1971), it went on to become a tune recorded by many of the top artists of the day. Later in 70’s decade he continued to write and be an important figure in the popular music of the day. Among the other legendary artists who have recorded his songs are: Count Basie, Benny Goodman, Nat King Cole, Billie Holiday, Louis Prima, Dean Martin, The Four Coins, Elvis Presley, Ray Charles, Brenda Lee, Sammy Davis Jr., Sarah Vaughan, Jerry Lee Lewis, Merle Haggard, Van Morrison and Joni Mitchell.

Carl Sigman continued writing music up until his death. He never cared for the spotlight but the fact that his catalog numbers some 800 songs lands him a spot on the The Masters Of Popular Music’s Top 150 Of All Time.

THE FACTS

(1940-1991)

Overall number one songs in the U. S. – 3 / U. K. - 5

Top forty albums in the U.S. – 1 / Number one albums in the U.S. – 0

Songs composed that reached the top 40 by other artists – U.S. - 60 / U.K. – 30

Songs composed that reached the Top 40 on the Country charts – 5

Songs composed that reached the Top 40 on the R & B charts - 8

3 Biggest Hits

It’s All In The Game (Tommy Edwards) (1958)

Ballerina (Vaughn Monroe) (1947)

Where Do I Begin? (Love Story) (Andy Williams) (1971)

Ten More Impactful Songs:

Pennsylvania 6-5000 (The Glenn Miller Orchestra) (1940)

Civilization (Bongo, Bongo, Bongo) (Danny Kaye and the Andrews Sisters) (1947)

Ballerina (Vaughn Monroe) (1947) Careless Hands (Mel Tormé) (1949)

Enjoy Yourself (It's Later than You Think) (Guy Lombardo and His Royal Canadians) (1950)

My Heart Cries for You (Guy Mitchell) (1950)

It's All in the Game (Tommy Edwards) (1958)

Answer Me, My Love (Nat King Cole) (1954) 'Til (The Angels) (1961)

Arrivederci Roma (Roger Williams) (1958)

Notes:

As a songwriter countless artists have recorded his songs. In 1972, Sigman was inducted into the Songwriters Hall of Fame.

Number 148

QUEEN

(Freddie Mercury / Roger Taylor / Brian May / John Deacon / Paul Rogers)

(group / songwriters / musicians)

The seeds of this very popular British band can be traced to the early seventies when drummer Roger Taylor and guitarist Brian May were group members with singer Tim Stafill in the group Smile. Stafell wanted to pursue a solo career but before he left the band he recommended the flamboyant lead singer of the group Wreckable, Freddie Mercury. Mercury joined Taylor and May and soon after suggested the name Queen for the band. All still in college and engaged in chasing degrees, the three boys played a few shows locally and then advertised for a much needed bass player. John Deacon was added and the band was complete. Upon graduation, (all four members received degrees), the group immediately began playing showcase gigs. This led to a recording contract and Queen’s first self-titled LP. Keep Yourself Alive was their first hit single from the album in the United Kingdom and they were chosen to tour the United States with the group Mott The Hoople, gaining some much needed exposure. Mercury’s stage presence caused immediate attention as word spread about this unique band.

A year later Queen II was released and it produced a minor hit entitled, Seven Seas Of Rhye. Their distinctive show and sound formed sold out concerts from their very faithful fans despite still lacking a huge hit single. Queen combined intricate vocal harmonies with glam rock and a heavy metal sound. The band won Melody Maker’s (Britain’s bible of popular music), poll choosing them Band of the Year in 1974. Their next album Killer Queen finally produced their first hit single Killer Queen, (#12 in the U.S. and #2 in the U.K.), introducing them to a broader based crowd. With all of the band members writing Queen’s songs, their real major breakthrough in America came in 1975 with the release of their fourth album A Night At The Opera. With glitter rock at its peak, the first single from the album, Mercury’s six minute exceptional song with deeply dramatic operatic vocals combined with heavy rock elements, Bohemian Rhapsody (#9 in the U.S. and #1 in the U.K. for nine weeks), was one of the first tunes to feature video promotion which eventually helped inaugurate the soon to be MTV era. In July 2012, it was voted the UK's favorite number one single of all-time, beating 1200 other chart-toppers in the 60-year history of the country’s charts. Queen was rapidly becoming a major player in the 70’s rock scene by adding the highly melodic You’re My Best Friend (#16 in the U.S) from the same album.

Late in 1976, their anxiously awaited sixth LP A Day At The Races featured the hit single, Somebody To Love, (#13 in the U.S. and #2 In the U.K.). Queen’s popularity grew steadily through the latter half of the 70s. Then in 1977 the release of News of the World, went top ten with the double song single We Will Rock You written by May, and Mercury's We Are The Champions, (#4 in the U.S. and #2 in the U.K.). Champions which was supposedly written as gay rights song, soon became known to this day, as an anthem for champion sports teams worldwide. At that career moment, the entire world of music knew Queen.

Next up was the album entitled The Game which became the biggest album of their career. It remained at the number one position for five weeks and sold millions of copies worldwide. Two singles reached the top spot on the charts internationally. Crazy Little Thing Called Love, written by Mercury, seemed to have a rockabilly feel to it and Another One Bites The Dust, written by Deacon, was flavored with a disco-rock elements. In the same year, Queen scored the soundtrack to Flash Gordon, a major film released late in that year. In 1981, the band met up with British superstar David Bowie for a jam session. Bowie was there to do background vocals on a Queen song that was to be on their next album, Hot Space. Instead, out of the session came Under Pressure, (#29 in the U.S. and #1 in the U.K.), a song written mostly by Mercury although contributions came from all the other participants.

After a greatest hits album which remained on the charts for many weeks, Radio Gaga became the hit single from their 1984 album release The Works. This was the 10th straight album to sell over one million copies. After a spectacular set at Live Aid, the 1985 all-star concert raising money for famine relief, the members concentrated on some solo projects. In 1986 they performed their final concert tour together with Mercury which resulted in a double live album Queen At Wembley. 1989 saw the release of The Miracle an album that produced a few European hits. The band's second greatest hits compilation, Greatest Hits II, followed in October 1991, which now is the eighth best-selling album of all time in the UK and has sold over 16 million copies worldwide.

Tragically Freddie Mercury, ill for a while, passed away in November of 1991. Shortly after, Bohemian Rhapsody was rereleased as a single with These Are The Days of Our Lives on the flip side. It was a song written by Taylor about his feelings for his children but soon after because of the tragedy the song became associated with Mercury. The song was also the last video from the group featuring Mercury. The single once again was successful reaching the number two spot in the U.S. Of course after Mercury’s passing a number of Queens’s previous works also re-charted. Their last album featuring Mercury, titled Made In Heaven, was finally released in 1995, four years after his death. The album, although not successful in the U.S., reached No. 1 on the UK charts immediately following its release, and has sold 20 million copies worldwide.

John Deacon retired from the group in 1997. Brian May and Roger Taylor performed together from time to time at special events.

By 2002, Queen’s record sales in the United Kingdom were only exceeded by The Beatles.

Between 2004 and 2009 Paul Rogers (ex-Bad Company) took over the lead vocals for the band and after he departed May and Taylor still occasionally performed. Adam Lambert has also has sang with the group.

Queen was an inimitable group who incorporated different genres of music such as opera, gospel and vaudeville, not usually associated with rock, into their music. Their fan loyalty continues to this day. Queen was inducted into the Rock and Roll Hall of Fame in 2001.

THE FACTS

(1976-1995)

Top 40 hit singles in U.S. – 14 / U.K. - 47

Number one songs in the U.S. – 2 / U.K. - 3

Top 40 albums in the U.S. – 17 / Number one albums in the U.S. -1

Songs composed that reached the top 40 by other artists- 2

Three Biggest Hits

Crazy Little Thing Called Love (1980)

Bohemian Rhapsody (1976) (1992)

Another One Bites The Dust (1980)

Ten More Impactful Songs:

Killer Queen (1975) You’re My Best Friend (1976) Somebody To Love (1976)

We Will Rock You/We Are The Champions (1977) Bicycle Race (1978)

Fat Bottomed Girls (1978) Under Pressure (1981) Body Language (1982)

Radio Gaga (1984) These Are the Days of Our Lives (1991)

Notes:

Queen ranks only behind the Beatles as the United Kingdom’s bestselling group.

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Number 147

SONNY ROLLINS

(saxophonist / songwriter)

Theodore Walter Rollins was born in New York City to a family that had emigrated from the Virgin Islands. He grew up in Harlem at a time when this crowded district at the northern tip of Manhattan was the vital center of African American culture. Harlem in the late 30’s and early 40’s was also the jazz capitol of the east where new developments in the genre were occurring. While in school, Rollins played in a band with Jackie McLean, Kenny Drew and Art Taylor - all of whom went on to become jazz legends in their own right. Sonny picked up interest in alto saxophone after listening to the music of Louis Armstrong, Fats Waller and Louis Jordan. He also studied the styles of some of the big saxophonists of the day. Coleman Hawkins, Lester Young and Charlie Parker fascinated Rollins, who at the age of sixteen, switched to tenor sax, trying to emulate Hawkins, who first established the tenor saxophone as a lead instrument in American jazz.

After World War II ended, bebop jazz was part of a musical revolution that was filling New York’s clubs. It was in 1948 that his career picked up when he was able to rehearse with Thelonious Monk, who taught Rollins to make his solos more fragmented and unpredictable in melodic direction. Rollins sound incorporated traditional jazz and jump R&B and word of his talent got around. Sonny worked with Miles Davis in the early 50’s and established a reputation as the most brash and creative young tenor sax player on the scene.

in 1954, he introduced three compositions of his own which later became jazz standards: Airegin, Doxy, and Oleo. From 1955 to 1957 he joined the Clifford Brown/Max Roach Quintet and since then has fronted his own combos. Rollins versatility shined through showcasing a command of everything from the most arcane ballads to calypsos. 1956 saw Sonny Rollins release the first of a series of landmark recordings entitled Sonny Rollins Plus 4, which featured two original compositions, (Pent-Up House and Valse Hot). The album remained on the jazz charts for over two months and introduced the practice of playing bop in 3/4 meter. Saxophone Colossus is one of Sonny Rollins most acclaimed albums. It was recorded and released in 1956 and remains a classic work, often appearing in jazz lists as one of the greatest of all time, featured the all-time Rollins classic, St Thomas. Next came Way Out West (1957), which included three original songs as well as a Johnny Mercer composition, I’m an Old Cowhand and Duke Ellington’s Solitude. It was Rollins first album using a trio of saxophone, double bass, and drums. 1958 saw Rollins release, Sonny Rollins and the Contemporary Leaders, before embarking on a three-year hiatus. The album spurred the hit, Rock-a-Bye Your Baby With A Dixie Melody. During the years 1956 to 1958 Rollins was widely regarded as the most talented and innovative tenor saxophonist in jazz. However, in the late 50’s as rock and roll began dominating the musical world, he became disenchanted and chose to leave the industry from 1959 to 1961. Sonny himself disclosed in an interview that he felt he was falling behind the newer contemporary sax players, as far as the relationship and structure of his music was concerned. During this period of time, Rollins could be found practicing his craft on the catwalk of the Williamsburg Bridge in New York City.

Upon his return Rollins, who was consider a conservative musician, started to play free contemporary jazz collaborating with Don Cherry, Billy Higgins and other musicians. In early 1962 his first recording appropriately named The Bridge was an album that contained two original compositions. The album hung around on the jazz charts for almost a year. Don’t Stop The Carnival came from his next album What’s New and it is a Caribbean calypso based tune sung to him by his mother in his childhood. That particular track became a signature tune for Sonny Rollins.

The next few years a very productive Rollins cut a few albums including composing the soundtrack for the movie Alfie (except for the title song which was written by Burt Bacharach). Soon after