The song marked a transition from Elvis’s earlier rockabilly sound, reflecting a playful, rhythmic approach and simple instrumentation. Critics praise its timeless sense of freedom and flow, drawing parallels to Blackwell and Presley’s earlier hit “Don’t Be Cruel”.

The song topped the US Billboard Top 100 for eight weeks and also reached No. 1 in the UK, the R&B chart, and the country chart, selling over two million copies and becoming America’s best-selling single of the year.

Jerry Lee Lewis radically reworked the song from its R&B origins, using driving boogie-woogie piano, energetic drumming (J.M. Van Eaton), and suggestive spoken asides.

Composed by Thelonious Monk (with contributions by Cootie Williams, Bernie Hanighen, and Dizzy Gillespie for the famous intro and lyrics), “’Round Midnight” is the most recorded jazz standard written by a jazz musician.

It became particularly associated with trumpeter Miles Davis after his 1955 performance at the Newport Jazz Festival and his 1957 Columbia Records debut album, ’Round About Midnight.

“Lucille” is celebrated for its raw energy, rhythmic innovation, and Little Richard’s powerful piano and vocals, helping to solidify his place as a founding architect of rock and roll.

Clifford Brown’s trumpet solo is celebrated for its melodic clarity, rhythmic inventiveness, and technical brilliance, exemplifying the hard bop sound.

The track draws on traditional spiritual roots (the song “Joshua Fit the Battle of Jericho” dates back to at least the 19th century), and Tharpe’s electrifying performance showcases her signature blend of gospel fervor, blues phrasing, and pioneering electric guitar work.

The album itself marks the last recording with co-founder Horace Silver on piano and is considered a cornerstone of 1950s hard bop.

The song became an instant classic, noted for Lymon’s unique high tenor and exuberant delivery. It stands out as a pioneering hit in doo-wop and rock & roll, lending urgency and youthful energy to the era’s vocal group sound.

...after producer Arnold Maxin encouraged a raucous studio atmosphere—bringing in food and alcohol—which led Hawkins and the musicians to record an outrageously theatrical version filled with howls, grunts, and voodoo-inspired vocal effects.

Originally conceived as a slow, bluesy love ballad, the song took on its famous, wild character...

This arrangement, with Johnny Burnette on vocals, Dorsey Burnette on bass, and Paul Burlison on guitar, is often credited as the first rock recording to intentionally use distorted guitar—a sound Burlison reportedly discovered after accidentally dislodging a tube in his amplifier.

Released in 1956, the trio’s version reimagined Tiny Bradshaw’s original 1951 jump blues tune as a wild, energetic, guitar-driven rockabilly track.

Their version of “Cheek to Cheek” features Fitzgerald’s smooth and elegant phrasing blending beautifully with Armstrong’s gravelly, warm vocals and sparkling trumpet work. The song is a standout for its relaxed tempo, joyful interplay, and impeccable sense of swing.