Good old rock'n'roll

I met her in the morning she was lovely, lovely Standing on the corner with my books in my hand I said, "I'll see ya later" She said, "Lovely, lovely" I got to get this girl I gotta get me a plan (Lovely, lovely) So fine (Lovely, lovely) Oh yeah (Lovely, lovely, you'll get there) (Lovely, lovely) Uh huh (Lovely, lovely) You're mine (Lovely, lovely, walkin' on air) I met her in the evening she was (lovely, lovely) I took her out dancing and I held her real tight I walked her in the garden it was (lovely, lovely) I held her and I kissed her in the silver moonlight (Lovely, lovely) Oh yeah (Lovely, lovely) Uh huh (Lovely, lovely, you'll get there) (Lovely, lovely) Oh yeah (Lovely, lovely) So fine (Lovely, lovely, walkin' on air) Saw her standing there Her love is fine Hey stop, don't go Oh you're gonna be mine You're just so lovely, lovely, so fine (Lovely, lovely) Oh yeah (Lovely, lovely, you'll get there) (Lovely, lovely) Uh huh (Lovely, lovely) You're mine (Lovely, lovely, walkin' on air) I met her in the morning she was lovely, lovely Laughin' and a talkin' and a lookin' so sweet I put my arms around her it was lovely, lovely Now were goin' steady and my plans are complete (Lovely, lovely) Oh yeah (Lovely, lovely) You're fine (Lovely, lovely, you'll get there) (Lovely, lovely) Oh yeah (Lovely, lovely) Uh huh (Lovely, lovely, walkin' on air) (Lovely, lovely)

Well, that's all right, mama That's all right for you That's all right mama, just anyway you do Well, that's all right, that's all right That's all right now mama, anyway you do [Verse 1] Well Mama, she done told me Papa done told me too Son, that girl you're fooling with She ain't no good for you But, that's all right, that's all right That's all right now mama, anyway you do [Instrumental break] [Verse 2] I'm leaving town, baby I'm leaving town for sure Well, then you won't be bothered with Me hanging around your door But that's all right, that's all right That's all right now mama, anyway you do [Outro] Ah da da dee dee dee dee, dee dee dee dee, dee dee dee dee I need your lovin' That's all right That's all right now mama, anyway you do

I wanna kiss, I wanna cling But baby there is time and place for every thing So please, please cool it baby Show the gang you ain't no square Cool it baby we don't want those cats to stare Cooly do it baby, make like a polar bear There is Sam with Sue, Ben with Gus They all got their snoopy-doopy eyes on us So cool it baby, oh you know I need you so Cool it baby, take it easy, take it slow Cooly do it baby, make like an Eskimo I love your eyes, I love your lips They taste even better then potato chips Cool it baby, quit your goofin' Please, baby please Cool it baby if you wanna hug and squeeze Cooly do it baby, make like a crazy breeze I love to swing, I love to bop But do you have to go and blow your pretty top Oh no-no, cool it baby Hold your fire and count to ten Cool it baby, dig me chick and I'll tell you when Cooly do it baby, just play it cool and then We'll blow our tops when we're all alone again!

Oh, oh, I love you so Uh, uh, can't let you go Ooh, ooh, don't tell ffb me no I need your love tonight Oh, gee, the way you kiss Sweedee, too good to miss Wow-whee, want more of this I need your love tonight I've been waiting just for tonight To do some lovin' and hold you tight Don't tell me baby you gotta go I got the hifi high and the lights down low Hey, now, hear what I say Oh, wow, you better stay Pow, pow, don't run away I need your love tonight

Charles Edward Anderson Berry (October 18, 1926 – March 18, 2017) was an American singer, songwriter and guitarist, and one of the pioneers of rock and roll music. Nicknamed the "Father of Rock and Roll", he refined and developed rhythm and blues into the major elements that made rock and roll distinctive with songs such as "Maybellene" (1955), "Roll Over Beethoven" (1956), "Rock and Roll Music" (1957) and "Johnny B. Goode" (1958).[1] Writing lyrics that focused on teen life and consumerism, and developing a music style that included guitar solos and showmanship, Berry was a major influence on subsequent rock music.[2] Born into a middle-class African-American family in St. Louis, Berry had an interest in music from an early age and gave his first public performance at Sumner High School. While still a high school student he was convicted of armed robbery and was sent to a reformatory, where he was held from 1944 to 1947. After his release, Berry settled into married life and worked at an automobile assembly plant. By early 1953, influenced by the guitar riffs and showmanship techniques of the blues musician T-Bone Walker, Berry began performing with the Johnnie Johnson Trio.[3] His break came when he traveled to Chicago in May 1955 and met Muddy Waters, who suggested he contact Leonard Chess, of Chess Records. With Chess, he recorded "Maybellene"—Berry's adaptation of the country song "Ida Red"—which sold over a million copies, reaching number one on Billboard magazine's rhythm and blues chart.

"Maybe Baby" was one of Buddy Holly's finest hits, reaching the Top Twenty in 1958 (and, like many of his early recordings, billed to the Crickets, although it's usually reissued on records billed to Buddy Holly). It's been said elsewhere, but it bears repeating, that one of Holly's great gifts to rock music was expanding its melodic parameters without diluting its energy. "Maybe Baby" is a prime instance of that, and it's apparent right from the top. The first few bars go into an arresting minor-key descension very unusual for both rockabilly and for any kind of 1950s rock'n'roll; sweet on the ear, yet shaded with moodiness. The backup vocals are a little indebted to the doo wop harmonic arrangements so common in the late 1950s, yet a little airier than those of either the Black R&B-influenced vocal groups or gospel-colored pop-rock backup singers like the Jordanaires. The song's unusual minor-key-shaded melody is apt for the sentiments of the tune, in which Holly muses about whether the woman he wants will have him someday. It's hopeful and happy, yet somewhat doubtful and imaginary at the same time. The delivery of the song doesn't lack confidence, though; there's oodles of drive in the guitar rhythm, and Holly characteristically extends syllables for all they're worth in the bridge, which comes to an exultant conclusion before heading back in the verse. There were almost infinite possibilities for nonsense syllables in 1950s rock'n'roll, and the backup singers go into some pretty unusual ones in the instrumental break, something along the lines of delicate machine guns in their rapid-fire "dah-dah-dah-dah"s. Maybe baby, I'll have you Maybe baby, you'll be true Maybe baby, I'll have you for me It's funny honey, you don't care You never listen, to my prayer Maybe baby, you will love me some day Well you are the one that, makes me glad Any other one that, makes me sad When some day, you'll want me Well, I'll be there, wait and see ee ee Maybe baby, I'll have you Maybe baby, you'll be true Maybe baby, I'll have you for me** Da da ta da da da da da da Da da ta da da da da da da Da da ta da da da da da da Aughaaaaaaaaaaaaa Well you are the one that, makes me glad Any other one that, makes me sad When some day, you'll want me Well, I'll be there, wait and see ee ee Maybe baby I'll have you for me

The Bay City Rollers were a Scottish boy band who scored their first UK hit in 1971 with "Keep On Dancing." In 1975, they had the UK's best-selling single with "Bye Bye Baby," and were primed to break through in America. This infectious pop song, with its very memorable chant (S-A-T-U-R-D-A-Y... Night!) stormed the States, becoming the first US #1 hit of 1976 (America's bicentennial). The song got a huge publicity push, and the band made their US TV debut performing the song on Saturday Night Live with Howard Cosell, which was an Ed Sullivan-style variety show that lasted just a few months, but had a huge viewership since there wasn't much else to watch. S-A-T-U-R-D-A-Y night S-A-T-U-R-D-A-Y night S-A-T-U-R-D-A-Y night S-A-T-U-R-D-A-Y night Gonna keep on dancin' to the rock and roll On Saturday night, Saturday night Dancin' to the rhythm in our heart and soul On Saturday night, Saturday night I-I-I-I just can't wait I-I-I-I gotta date At the good ol' rock and roll Folk show, I've gotta go Saturday night, Saturday night Gonna rock it up, roll it up Do it all, have a ball Saturday night, Saturday night S-S-S-Saturday night S-S-S-Saturday night S-S-S-Saturday night S-A-T-U-R-D-A-Y night S-A-T-U-R-D-A-Y night S-A-T-U-R-D-A-Y night S-A-T-U-R-D-A-Y night Gonna dance with my baby till the night is through On Saturday night, Saturday night Tell her all the little things I'm gonna do On Saturday night, Saturday night I-I-I-I love her so I-I-I-I'm gonna let her know At the good ol' rock and roll Folk show, I've gotta go Saturday night, Saturday night Gonna rock it up, roll it up Do it all, have a ball Saturday night, Saturday night S-S-S-Saturday night S-S-S-Saturday night S-S-S-Saturday night

Billy Lee Riley was an American 1950's Rockabilly singer, best known for his recordings for Sun Records of Memphis. Performed as part of the "The Little Green Men", the "house band" at Sun. Considered good looking and with wild stage moves, Riley had a brief solo career with his backing band "The Little Green Men". In 1960, he left Sun, and started Rita Record label with Roland Janes. He later started two other labels Nita and Mojo. In 1962, he moved to Los Angeles and worked as a session musician with Dean Martin, the Beach Boys, Herb Alpert, Sammy Davis Jr. and others, as well as recording under various aliases. In the early seventies, Riley quit music to return to Arkansas to begin his own construction business. Rediscovered by Bob Dylan in 1992, who had been a fan since 1956. His album Hot Damn! (Capricorn, 1997) was nominated for the Grammy.

On April 12, 1954— Bill Haley and His Comets recorded “(We’re Gonna) Rock Around The Clock.” If rock and roll was a social and cultural revolution, then “(We’re Gonna) Rock Around The Clock” was its Declaration of Independence. And if Bill Haley was not exactly the revolution’s Thomas Jefferson, it may be fair to call him its John Hancock. Bill Haley put his enormous signature on rock and roll history during the final 40 minutes of a three-hour recording session in New York City—a session set up not for the recording of “(We’re Gonna) Rock Around The Clock,” but of a song called “Thirteen Women (and Only One Man in Town).” It took the group nearly all of their scheduled session to get a useable take of “Thirteen Women,” a song that was entirely new to them but was chosen as the A-side of their upcoming single by their new record label, Decca. With time running out and no chance of extending the session, Haley and his Comets were eager to lay down the song they’d been playing live for many months to enthusiastic audience response. The lead guitarist brought in for the session, Danny Cedrone, had not had time to work up a new solo for the instrumental break on “(We’re Gonna) Rock Around The Clock,” so he repurposed one he’d used on a Haley recording two years earlier called “Rock This Joint.” Cedrone was paid $31 for his work that evening, which included performing what is still recognized as one of the greatest guitar solos of all time. Haley and the band had time for only two takes, and in the first, they played so loud that Haley’s vocals were almost inaudible on tape. In an era before multi-track recording, the only solution was to do a second take with minimal accompaniment and hope for the best. Later, a Decca engineer painstakingly spliced together segments from both takes—a near-miracle given the technology of 1954. The finished version was judged good enough to include as the B-side on “Thirteen Women,” which was released in May 1954. One, two, tree o'clock, four o'clock rock Five, six, seven o'clock, eight o'clock rock Nine, ten, eleven o'clock, twelve o'clock rock We're gonna rock around the clock tonight Put your glad rags on, join me, hon We'll have some fun while the clock strikes one We're gonna rock around the clock tonight We're gonna rock, rock, rock 'till broad daylight We're gonna rock, gonna rock around the clock tonight When the clock strikes two or tree and four If the band slows down we'll yell for more We're gonna rock around the clock tonight We're gonna rock, rock, rock 'till broad daylight We're gonna rock gonna rock around the clock tonight When the chimes ring five, six and seven We'll be right in seventh heaven We're gonna rock around the clock tonight We're gonna rock, rock, rock, 'till broad daylight We're gonna rock, gonna rock, around the clock tonight When it's eight, nine, ten, eleven too I'll be goin' strong and so will you We're gonna rock around the clock tonight We're gonna rock, rock, rock, 'till broad daylight We're gonna rock, gonna rock, around the clock tonight When the clock strikes twelve, we'll cool off then Start a rockin' round the clock again We're gonna rock around the clock tonight We're gonna rock, rock, rock, 'till broad daylight We're gonna rock, gonna rock, around the clock tonight

Down around the corner in a little school Children learn their lessons and the golden rule 'Cause they got a teacher up from Basin Street And she does her teaching with a boogie beat Teachin' the ABC with rhythm and E Every single morning, it's the same old thing All the kids are waiting for the bell to ring When they hear it ringing, they all jump in line Walking to the classroom, feeling mighty fine They learn their ABC with rhythm and E Well, a-reading, writing, arithmetic Taught to the tune of a liquorice stick No education is ever complete Without a boogie-woogie-woogie beat, well all reet When the day is over and it's time to go The children get their books and stand right at the door Teacher is so happy, because she's done her bit To educate the kids and make 'em really fit To say their ABC with rhythm and E Well, a-reading, writing, arithmetic Taught to the tune of a liquorice stick No education is ever complete Without a boogie-woogie-woogie beat, well all reet When the day is over and it's time to go The children get their books and stand right at the door Teacher is so happy, because she's done her bit To educate the kids and make 'em really fit To say their ABC with rhythm and E

Moody river, more deadly than the vainest knife Moody river, your muddy water took my baby's life Last Saturday evenin' came to the old oak tree It stands beside the river where you were to meet me On the ground your glove I found With a note addressed to me It read "Dear love, I've done you wrong""Now I must set you free" "No longer can I live with this hurt and this sin" "I just couldn't tell you that guy was just a friend" I looked into the moody water and what could I see? I saw a lonely, lonely face just lookin' back at me Tears in his eyes and a prayer on his lips And the glove of his lost love at his fingertips

"I Get Around" is a song written by Brian Wilson and Mike Love for American rock band the Beach Boys.[4] It was released as a single in May 1964 with "Don't Worry Baby" as its B-side and became the group's first number-one charting song in the United States. Coming in on the charts at number 7, it became their first top ten hit in the United Kingdom. It was included as the opening track on their studio album All Summer Long in July 1964. An autobiographical narrative, "I Get Around" begins with a multi-part a cappella introduction that quickly shifts into rock-style verses sung by Mike Love and a pop chorus sung in falsetto by Brian Wilson, who also produced and arranged the song. In 2017, "I Get Around" was inducted into the Grammy Hall of Fame.

Beginning their career as the most popular surf band in the nation, the Beach Boys finally emerged by 1966 as America's preeminent pop group, the only act able to challenge (for a brief time) the overarching success of the Beatles with both mainstream listeners and the critical community. From their 1961 debut with the regional hit "Surfin'," the three Wilson brothers -- Brian, Dennis, and Carl -- plus cousin Mike Love and friend Al Jardine constructed the most intricate, gorgeous harmonies ever heard from a pop band. With Brian's studio proficiency growing by leaps and bounds during the mid-'60s, the Beach Boys also proved one of the best-produced groups of the '60s, exemplified by their 1966 peak with the Pet Sounds LP and the number one single "Good Vibrations." Though Brian's escalating drug use and obsessive desire to trump the Beatles (by recording the perfect LP statement) eventually led to a nervous breakdown after he heard Sgt. Pepper's Lonely Hearts Club Band, the group soldiered on long into the '70s and '80s, with Brian only an inconsistent participant. The band's post-1966 material is often maligned (if it's recognized at all), but the truth is the Beach Boys continued to make great music well into the '70s. Displayed best on 1970's Sunflower, each member revealed individual talents never fully developed during the mid-'60s -- Carl became a solid, distinctive producer and Brian's replacement as nominal bandleader, Mike continued to provide a visual focus as the frontman for live shows, and Dennis developed his own notable songwriting talents. Though legal wranglings and marginal oldies tours during the '90s often obscured what made the Beach Boys great, the band's unerring ability to surf the waves of commercial success and artistic development during the '60s made them America's first, best rock band.

Ray Edward 'Eddie' Cochran (October 3, 1938–April 17, 1960) was an American rock and roll pioneer who, in his brief career, had a small but lasting influence on rock music through his guitar playing. Cochran's rockabilly songs, such as "C'mon Everybody", "Somethin' Else", and "Summertime Blues", captured teenage frustration and desire in the late 1950s and early 1960s. He experimented with multitrack recording and overdubbing even on his earliest singles, and was also able to play piano, bass and drums. His image as a sharply dressed, rugged but good-looking young man with a rebellious attitude epitomized the stance of the Fifties rocker, and in death he achieved an iconic status. more » You're goin' away, away from me But here in my heart is a memory Of the way we met, the way we kissed The way we fell in love Oh, the little secrets that we shared When I was sad, the way you cared To let me know you'd understand The way you'd hold my hand Cherished memories The things that a fella can't forget Cherished memories You're leaving but I love you yet And now you say that we must part And even though it breaks my heart There's one thing you can't take from me That's my cherished memory Cherished memories The things that a fella can't forget Cherished memories You're leaving but I love you yet And now you say that we must part And even though it breaks my heart There's one thing you can't take from me That's my cherished memory Cherished memory Cherished memory

In the year before he became famous with the hit That'll Be the Day in mid '57, Buddy Holly – who was killed in that plane crash 60 years ago in February – unsuccessfully recorded a number of songs in Nashville. Signed to record deal he and his ring-in band went to that hub of conservative country to try to record music which was part-country but influenced by the rise of Elvis Presley. In January 1956, 18 months before fame struck, they recorded almost a dozen songs with the famed producer Owen Bradley (among them a lame first run at That'll Be the Day) but it seems the magic wasn't happening. Drummer Jerry Allison would later say that he didn't even remember which guy Bradley was, “they were the biggies and we were just dips. We didn't groove with them or anything. We were just sort of afraid of them”. And Nashville had no idea what to do with these Texans who seemed nominally country but clearly weren't. It didn't help that many of them didn't like Holly who they found arrogant (read: he knew what he wanted) and that Buddy hadn't yet learned the difference between having a record deal and having a hit. Among the songs recorded at the first session was Blue Day Black Nights which is emblematic of the problem. It is clearly a country song but there is a light rock'n'roll backbeat added and Holly certainly sounds distinctive. But the recording is thin and, despite the addition of echo which gave Elvis' Sun sessions such vibrancy and a live feel, it sounds like a band in an empty room. Sonny Curtis' guitar solos lack the bite and fire of Carl Perkins or Scotty Moore (in Elvis' band) and Allison's drums and the bass playing of the short-lived band Don Guess are under-recorded. These sessions never really worked (on You Are My One Desire he goes for an Elvis-style ballad) but this song – written by jobbing writer Ben Hall – Holly's first single, died a death. But after the re-recorded That'll Be the Day became a hit the songs from those early sessions were scooped up for the cash-in album That'll Be the Day of 1958 which was to be the final album released in his lifetime. It's not a great song but in it you can hear that moment when country was nudging into rock'n'roll, even if the protagonists – artist and producer – didn't quite know where they were going.

Eddie grew up near New York City in Rockaway Beach on. He started his musical career in various New York bars. In 1954, Fontaine was discovered by band leader Neal Hefti and introduced to producer Jimmy Hilliard , who offered him a contract for the new "X" label, a subsidiary of RCA . In 1955 Eddie recorded the first two tracks, Rock Love and All My Love Belongs To You . In April 1955 he appeared on Alan Freed's Rock and Roll Show at the Brooklyn Paramount . In the summer of 1956, Eddie moved to Decca . His first recording, Cool it Baby, gave him an appearance in the film Schlagerpiraten . After six rather unsuccessful publications, his contract was not extended in 1957. The song "Homesick blues" was a part of Eddies album "Who's Eddie?".

"Jenny, Jenny" is a 1957 song written by American musician Little Richard and Enotris Johnson and recorded and released by Little Richard. It was featured on Penniman's debut album, Here's Little Richard and peaked at number ten on the US Billboard Hot 100 and reached number two on the Hot Rhythm and Blues Singles chart.[1] The song featured Penniman and studio musicians for Cosimo Matassa's J&M Studios in New Orleans that had been recording with Penniman since September 1955 including drummer Earl Palmer and saxophonists Lee Allen and Alvin "Red" Tyler. Penniman re-recorded the song three times in his career, the first version re-recorded for his 1966 Modern album, The Incredible Little Richard Sings His Greatest Hits - Live!, the 1967 live album, Little Richard's Greatest Hits: Recorded Live!, for an album titled Mr. Big, which included re-recorded studio versions of Penniman's classic hits recorded between 1964 and 1965, and his 1976 album, Little Richard Live, with another re-recorded studio version.

"Somethin' Else" is a song by the rockabilly musician Eddie Cochran, co-written by his girlfriend Sharon Sheeley and his elder brother Bob Cochran, and released in 1959. It has been covered by a wide range of artists, including the Johnny Hallyday and Sex Pistols. Original version Bob Cochran, Eddie's brother, and Sharon Sheeley share the song writing credit along with Eddie. The first-person lyrics describe how the singer wants a convertible car he can not afford, and a girl who he fears will not go out with him. But in the end, by saving money, he is able to buy an older car, and works up the confidence to ask the girl out. Musicians on the session were: Vocals/Guitar: Eddie Cochran, Drums: Gene Reggio, Electric Bass: Don Myers. The song peaked at No. 22 on the UK Singles Chart,[1] and reached No. 58 on the Billboard Hot 100 in the U.S. A look a-there, here she comes. There comes that girl again. Wanted to date her since I don’t know when. But she don’t notice me when I pass. She goes with all the guys from outta my class. But that can’t stop me from a-thinkin’ to myself: She’s sure fine lookin’, man. She’s somethin’ else. Hey, look a-there, across the street. There’s a car made just for me. To own that car would be a luxery. But right now I can’t afford the gas. A brand new convertible is outta my class. But that can’t stop me from a-thinkin’ to myself: That car’s fine lookin’, man. It’s somethin’ else. Hey, look a-here, just wait and see. Worked hard and saved my dough. I’ll buy that car that I been wanting so. Get me that girl and we’ll go ridin’ around. We’ll look real sharp with the flight top down. I keep right on a-dreamin’ and a-thinkin’ to myself: When it all comes true, man, wow, that’s somethin’ else. Look a-there, what’s all this? Never thought I’d do this before but here I am a-knockin’ on her door. My car’s out front and it’s all mine. Just a 41 Ford, not a 59. I got that girl and I’m a-thinkin’ to myself: She’s sure fine lookin’, man. Wow, she’s somethin’ else.

Curtis Lee wrote this with Tommy Boyce, who along with Bobby Hart, wrote many hit songs for The Monkees. In his book How to Write a Hit Song and Sell It, Boyce explained that he was under orders from his publishing company to write a hit for Lee, who was an up-and-coming young singer. When Lee went on tour, Boyce told him to think up a title, and inspired by a girl he met in Florida with beautiful eyes, returned with "Angel Eyes." Kent Kotal, who interviewed Boyce for the Forgotten Hits newsletter, explains what happened next: "One of the most popular songs on the radio at the time was "Ebony Eyes" by The Everly Brothers. Tommy started to play the chord progression of that tune, hoping for some spark of inspiration. When that didn't work, he began to play the chords to that week's #1 song, "Blue Moon" by The Marcels. The accelerated tempo of the Marcels' song got them to singing their first lyrics: "Angel eyes, I really love you so. Angel eyes, I'll never let you go." They felt that they were on to something. By evening, the lyrics were nearly complete. Feeling pretty good about what they had done, Boyce decided to take a walk and, while passing a record store, heard the old Cleftones' hit "Little Girl of Mine" coming out of the loudspeakers. As soon as he heard the beginning: "Little, little, little, little, lit... Yeah, little, little, little, little, lit," he knew that he had the intro for their new song. Quickly, the opening lyrics became "Pretty little angel eyes, pretty little angel eyes" (and, ultimately, so did the title of the song!). Amazingly, when they first performed the song for their publisher, he wasn't impressed. "I thought I told you to write me a hit!" He said again. But Boyce and Lee were convinced that they had written a hit and decided to play it for their publisher's girlfriend, who immediately loved the song. She convinced her boyfriend that they had a smash on their hands and he finally gave the green light for Curtis to record the tune. And a smash it was, becoming Curtis Lee's only Top 40 hit.

"The Girl of My Best Friend" is a song written by Sam Bobrick and Beverly Ross[1] and first released in 1959 by Charlie Blackwell as the B-side to his single "Choppin' Mountains".[2] It was later recorded by Marty Vine in 1960. It was made famous as a cover by Elvis Presley with The Jordanaires in 1960, the song peaked at No.9 in the U.K. singles chart (in 1976). It has also been covered by Ral Donner in 1960 (No.19 U.S.), Johnny Burnette in 1962 and by Bryan Ferry for his 1993 covers album Taxi. A dance hall version was also released as a single in the 1990 by Tippa Irie and Peter Spence on GT's Records and Mango.

"All Shook Up" is a song recorded by Elvis Presley, published by Elvis Presley Music, and composed by Otis Blackwell. The single topped the U.S. Billboard Top 100 on April 13, 1957, staying there for eight weeks.[1] It also topped the Billboard R&B chart for four weeks, becoming Presley's second single to do so, and peaked at No. 1 on the country chart as well.[1] It is certified 2× platinum by the RIAA. It was ranked #352 on Rolling Stone's list of the 500 Greatest Songs of All Time.

I’m finding out what love is all about And every day at three when school lets out I see my baby I get week in the knees There’s nothing shakin but the leaves on the trees Why must she be such a doggone tease? There’s nothing shakin but the leaves on the trees We meet the gang and go to Rockin’ Joe’s The cats are stompin’ on their heels and toes I grab my baby, tried to give her a squeeze Nothin’ shakin’ but the leaves on the trees My daddy told me there’d be times like these There’s nothing shakin but the leaves on the trees She’s got a way that makes me act like a fool Oh, she spend my money the she plays me cruel I’m begging her for kisses on benden knees Gimme some lovin’ baby please, please, please But I keep trying hard to make her mine Someday the wind blow, the sun will shine Until that time she puts my heart at ease There’s nothing shakin but the leaves on the trees She locked my heart and threw away the keys There’s nothing shakin but the leaves on the trees Ha ha ha ha Nothing shakin but the leaves on the trees She’s got a way that makes me act like a fool Oh, she spend my money the she plays me cruel I’m begging her for kisses on benden knees Why don’t ya gimme some lovin’ baby please, please, please But I keep trying hard to make her mine Someday the wind blow, the sun will shine Until that time she puts my heart at ease There’s nothing shakin but the leaves on the trees Why must she be such a doggone tease? There’s nothin’ shakin’ but the leaves on the trees Nothin’ shakin’ but the leaves on the trees Nothin’ shakin’, oh shakin’.