501. 5 January 1946
Freddy Martin & His Orchestra (Vocal refrain by Clyde Rogers)
Symphony
Written by Andre Tabet, Alex Alstone Roger Bernstein & Jack Lawrence
No.1 for 2 weeks (sales)
12 January 1946 No.1 for 1 week (disc jockeys)
Competing in the charts with Benny Goodman & His Orchestra was Freddy Martin & His Orchestra with another version of the song, Symphony. Freddy Martin recorded two versions of Symphony, one completely instrumental with just his orchestra and the other a vocal version with Clyde Rogers singing the same lines as Liza Morrow had on the Benny Goodman hit. Martin couldn’t decide whether he should pursue a serious musical career or concentrate on pop hits, having hit the chart previously with an adaptation of Tchaikovski’s Piano Concerto and also a novelty song The Hut Sut Song, so he compromised with two different versions of Symphony but even the vocal one was all orchestral until one minute forty-seven seconds until Rogers began singing and this split left him none the wiser on the future direction he should take as the vocal version hit no.1 on Retail sales for two weeks and one week on Airplay, although stopping short in Juke Boxes at no.2 and his next two hits would be a novelty with a version of One-Zy Two-Zy and Doin’ What Comes Naturally from Annie Get Your Gun.
502. 19 January 1946
Vaughn Monroe & His Orchestra (Vocal refrain by Vaughn Monroe & Norton Sisters)
Let It Snow Let It Snow Let It Snow
Written by Sammy Cahn & Jule Styne
No.1 for 6 weeks (disc jockeys)
26 January 1946 No.1 for 5 weeks (sales)
9 February 1946 No.1 for 5 weeks (juke box)
Let It Snow Let It Snow Let It Snow was the second number one single by Vaughn Monroe and was a major hit at the beginning of 1946 across all three of the US charts, five weeks at the top of Retail sales and Juke Boxes and six weeks on top of Airplay. Despite not mentioning Christmas in the lyrics, nor the holiday season, the song was about being warm and cozy at home in wintertime while the weather outside was frightful and showing no signs of stopping, but none of that really mattered because the couple could cuddle up together, pop some popcorn and since they have no place to go, let it snow let it snow it snow. One of them does have to go out and mentioned that he hates going out in the storm, but if you really hold me tight, all the way home I’ll be warm. The fire is slowly dying and they’re saying their goodbyes, but as long as you love me so, let it snow let it snow let it snow.
503. 9 February 1946
Betty Hutton (with Paul Weston & His Orchestra)
Doctor Lawyer Indian Chief
Written by Hoagy Carmichael & Paul Francis Webster
No.1 for 1 week (disc jockeys)
9 March 1946 returned to no.1 for 1 week
2 March 1946 No.1 for 1 week (sales)
Betty Hutton had been a successful film actress before transferring her talents to the music charts. She was born Elizabeth June Thornburg in Battle Creek, Michigan in 1921 and she achieved her only no.1 single in 1946 with Doctor Lawyer Indian Chief, a song inspired by the children’s counting game Tinker Taylor Soldier Spy Rich Man Poor Man Beggar Man Thief, counting out what shall I be when I grow up. This song took the professions mentioned and stated that none of them could love you any more than I do, there’s a doctor living in your town, there’s a lawyer and an Indian too, and neither doctor lawyer nor Injun chief could love you any more than I do, there’s a barrel of fish in the ocean, there’s a lot of little birds in the blue, and neither fish nor fowl says the wise old owl could love you any more than I do, no no no it couldn’t be true that anyone else could love you like I do, tell the doc to stick to his practice, tell the lawyer to settle his case, send the Injun chief and his tommy-hawk back to little Rain-In-the-Face, ’cause you know know know it couldn’t be true, that anyone else could love you like I do. Both the composers had been at the top before, Paul Francis Webster with Two Cigarettes In The Dark in 1934 and Hoagy Carmichael twice previously in 1933 and 1940 with Lazybones and Blue Orchids. Carmichael had the only hit version himself in the UK, peaking at no.11 but even he couldn’t match the effervescence of Betty Hutton as he tore through the lyrics, even adding some Indian whoops at the end.
504. 2 March 1946
Johnny Mercer & Pied Pipers (with Paul Weston & His Orchestra)
Personality
Written by Johnny Burke & Jimmy Van Heusen
No.1 for 1 week (disc jockeys)
16 March 1946 returned to no.1 for 1 week
9 March 1946 No.1 for 1 week (sales)
Johnny Mercer & The Pied Pipers shared a credit on a number one single for the third time in less than a year with the song Personality. What does a girl have to have to get on in life, a well-developed personality, when Madam Pompadour was on a ballroom floor said all the gentlemen obviously, the madam has the cutest personality, and think of all the books about Dubarry’s looks, what was it made her the toast of Paree? she had a well-developed personality, what did Romeo see in Juliet? or Figaro in Figarette? or Jupiter in Juno? you know, and when Salome danced and had the boys entranced no doubt it must have been easy to see, that she knew how to use her personality, a girl can learn to spell and take dictation well, and never sit on the boss’ settee, unless she’s got a perfect personality, a girl can get somewhere in spite of stringy hair, or even just a bit bowed at the knee, if she can show a faultless personality, so don’tcha say I’m smart and have the kindest heart, or what a wonderful sister I’d be, just tell me how you like my, ruff, personality. The song was originally sung by a female, Dorothy Lamour in the Bing Crosby/Bob Hope film Road To Utopia and Johnny Mercer also used the female voices of the Pied Pipers at the appropriate places. It hit no.1 on both Retail sales and Airplay but only no.2 on Juke Boxes and did not chart at all in the UK.
505. 16 March 1946
Frankie Carle & His Orchestra (Vocal chorus by Marjorie Hughes)
Oh What It Seemed To Be
Written by Bennie Benjamin, George Weiss & Frankie Carle
No.1 for 11 weeks (juke box)
16 March 1946 No.1 for 6 weeks (sales)
Frankie Carle was the co-composer of the song Oh What It Seemed To Be and he saw his own version in competition with one by Frank Sinatra as well as versions by Dick James & Helen Forrest and Charlie Spivak & His Orchestra, all three of which peaked inside the top five on the Retail sales charts, but it was the original by Frankie Carle with vocals by Marjorie Hughes who hit no.1 for six weeks in that chart and for eleven weeks on the Juke Box charts, even though radio stations seemed to prefer the Frank Sinatra version which stopped Frankie Carle at no.2. Marjorie Hughes was born Marjorie Carle in Springfield, Massachusetts in 1925 and was Frankie Carle’s daughter. The song was about ordinary events made special because there was someone else there to share the pleasure, it was just a neighbourhood dance that’s all that it was, but oh what it seemed to be, it was like a masquerade ball with costumes and all, ’cause you were at the dance with me, it was just a ride on a train tthat’s all that it was, it was like a trip to the stars, to Venus and Mars, ’cause you were on the train with me, it was just a wedding in June that’s all that it was, but oh what it seemed to be.
506. 23 March 1946
Frank Sinatra (Orchestra under the direction of Axel Stordahl)
Oh What It Seemed To Be
Written by Bennie Benjamin, George Weiss & Frankie Carle
No.1 for 8 weeks (disc jockeys)
Frank Sinatra finally achieved a solo number one single without the co-credit of a bandleader, either Tommy Dorsey or Harry James, although he did credit the direction of Axel Strodahl on his version of Oh What It Seemed To Be. Where Sinatra lost out were in the charts compiled from people who spent money on listening to his version, He stopped at no.2 on Retail sales and no.3 on Juke Boxes but radio stations had decided that his was more likely to be the one that more people wanted to listen to as it topped the Airplay charts for eight weeks. His went straight into the song without much of an intro, just a few notes and then Sinatra started singing in contrast to Frankie Carle who used over a minute orchestral introduction. It had been four months since the previous record hit no.1 in two different versions, It’s Been A Long Long Time. Neither Sinatra’s nor Frankie Carle’s original Oh What It Seemed To Be were popular in the UK and no version of the song reached the charts.
507. 27 April 1946
Swing & Sway With Sammy Kaye (Vocal refrain by Betty Barclay)
I’m A Big Girl Now
Written by Al Hoffman, Milton Drake & Jerry Livingston
No.1 for 1 week (sales)
The team of composers that previously had written the novelty no.1 Mairzy Doats, returned to the top with a more serious subject, but nevertheless sung in a fun and frivolous manner by Swing & Sway With Sammy Kaye, I’m A Big Girl Now, his third no.1 of the 1940s and fifth overall. Al Hoffman had also previously written the no.1 single Little Man You’ve Had A Busy Day in the USA Weekly era of 1934. Sammy Kaye was the bandleader, born in 1910, he certainly wasn’t capable of singing I’m A Big Girl Now but he hired the vocalist Betty Barclay, whose real name was Beatrice Carter, born in Tennille, Georgia in 1924 and still at the age of twenty-two, sounding like a little girl. She wanted to convince everybody that she was grown up now, tired of being babied like a kid of three, tired of having chaperones to follow me, through with going to movies with my Uncle Tim, through with going to picnics with my old Aunt Min, tired of staying home each evening after dark, tired of being dynamite without a spark, I want to learn what fellows do in Central Park, I’m A Big Girl Now. Daddy tells those certain jokes and makes her leave the room, but I could tell a couple that would curl his hair, she wants to have some secrets in her diary and be cuddled like a big girl now. The song just squeezed one week at the top at the end of April on the Retail sales chart but peaked at no.2 on Juke Boxes and no.5 on Airplay and in the UK, I’m A Big Girl Now was yet another song that failed to chart for any artist.
508. 4 May 1946
Perry Como with Russ Case & His Orchestra
Prisoner Of Love
Written by Russ Columbo, Clarence Gaskill & Leo Robin
No.1 for 3 weeks (sales)
1 June 1946 No.1 for 2 weeks (disc jockeys)
Prisoner Of Love was a song originally recorded by one of the composers, Russ Columbo in 1931 and updated fifteen years later by Perry Como. His previous number one single was based on the classical work Fantaisie Impromptu by Frédéric Chopin although a total new song written around the melody of Chopin’s piece. Prisoner Of Love also sounded as if it could have been developed from the classical repertoire but Columbo had composed it in the 1930s with Clarence Gaskill and Leo Robin who was now on his sixth chart topper as a composer including a couple for Bing Crosby. Perry Como had a rich voice that worked well with dramatic songs like Till The End Of Time and Prisoner Of Love in which he sang, alone from night to night you’ll find me, too weak to break the chains that bind me, I need no shackles to remind me, I’m just a prisoner of love, for one command I stand and wait now, from one who’s master of my fate now, I can’t escape for it’s too late now, I’m just a prisoner of love. It hit no.1 on both the Airplay charts and Retail sales but stopped at no.2 on Juke Boxes and in the UK it was The Ink Spots who took the song into the top ten.
509. 18 May 1946
Dinah Shore (Orchestra under the direction of Sonny Burke)
The Gypsy
Written by Billy Reid
No.1 for 2 weeks (disc jockeys)
8 June 1946 returned to no.1 for 4 weeks
13 July 1946 returned to no.1 for 1 week
27 July 1946 returned to no.1 for 1 week
One of the most popular songs of the late Spring and into the Summer of 1946 was The Gypsy, the first no.1 single composed by Billy Reid and a top ten hit for five different artists, Hildegarde & Guy Lombardo & His Royal Canadians, Hal McIntyre & His Orchestra, Swing & Sway With Sammy Kaye and two versions that reached no.1 by Dinah Shore and The Ink Spots. Dinah Shore only hit the top on the Airplay charts, peaking at no.2 on Retail sales and no.3 on Juke Boxes, but on Airplay, she had eight weeks at no.1 in several runs between May and July, indeed on the week of the 13th of June, the no.1 position was jointly shared by Dinah Shore and The Ink Spots with Sammy Kaye at no.3 Dinah Shore recorded The Gypsy with an orchestra under the direction of Sonny Burke, born Joseph Francis Burke in Scranton, Pennsylvania in 1914 and was a producer and arranger of many of the big band hits from the late 1930s onwards. She went to visit the gypsy and she looked into the future and saw that everything was right, that her lover was true. She didn’t believe the gypsy because she knew in her heart that someone else was kissing her lover. She sang that she will return to the gypsy again as she wants to believe that my lover is true and will come back to me someday.
510. 25 May 1946
Ink Spots
The Gypsy
Written by Billy Reid
No.1 for 13 weeks (juke box)
25 May 1946 No.1 for 10 weeks (sales)
22 June 1946 No.1 for 2 weeks (disc jockeys)
By far the most popular version of The Gypsy was by The Ink Spots whose previous two chart toppers had both been with Ella Fitzgerald, Into Each Life Some Rain Must Fall and I’m Making Believe with The Gypsy being their first solo no.1 hit. They hit the top on all three charts, in Retail sales for ten weeks, in Airplay for two weeks and a massive thirteen weeks on top of the Juke Box charts, only the third song to remain at no.1 for this long since 1930. Bill Kenny sang, in a quaint caravan there’s a lady they call the gypsy, she can look in the future and drive away all your fears, everything will come right if you only believe the gypsy, she can tell at a glance that my heart was so full of tears, she looked at my hand and told me my lover was always true, and yet in my heart I knew dear somebody else was kissing you, but I’ll go there again ’cause I want to believe the gypsy, that my lover is true and will come back to me someday. In fact this was not the original Ink Spots but Bill Kenny and his twin brother harmonising and even the Hoppy Jones bass spoken interval was not actually the man himself but an uncredited vocalist attempting to sound similar to Jones. In the UK, there were two further versions that reached the top ten that didn’t chart in the USA by Hutch and Dorothy Squires who recorded the first commercial version with the backing of an orchestra directed by the composer Billy Reid.
511. 3 August 1946
Eddy Howard & His Orchestra
To Each His Own
Written by Jay Livingston & Ray Evans
No.1 for 8 weeks (disc jockeys)
10 August 1946 No.1 for 5 weeks (sales)
31 August 1946 No.1 for 6 weeks (juke box)
To Each His Own was a song written for but not used in the film of the same title, starring Olivia de Havilland and John Lund. Despite not being used in the film, the song became the biggest hit of Summer 1946 with five versions reaching the charts, three of which hit the very top, indeed the first two weeks of September, all five were inside the top ten. The most successful recording of the song was by Eddy Howard, born Edward Evan Duncan Howard in Woodland, California in 1914 who had previously appeared at no.1 as one of the composers of Careless by Glenn Miller. His To Each His Own hit no.1 on all three charts, spending five weeks at the top of Retail sales, six weeks on Juke Boxes and eight weeks leading the charts on Airplay radio plays. Eddy Howard only played twelve seconds of intro before singing through once and he repeated the final verse in harmony with the Eddy Howard Trio.
512. 3 August 1946
Perry Como with Russ Case & His Orchestra
Surrender
Written by Bennie Benjamin & George Weiss
No.1 for 1 week (sales)
The composers who had written Oh What It Seemed To Be returned without Frankie Carle to write their third no.1 single, Surrender by Perry Como, also his third. Less dramatic than his previous chart toppers, Surrender was a song about giving in and not fighting the desire to fall in love, surrender why don’t you surrender? how long can your lips live without a kiss? surrender I beg you surrender, how long can your heart resist? I’ll bring you a love you can cling to, a love that won’t be untrue, so please be tender, and darling surrender, and love me as I love you. Although a song about love, the title was inspired by the surrender of the Axis powers the previous year and was used as a metaphor for them also refusing to give in to a lost cause. It peaked at no.1 for just one week in Retail sales and no.2 on the other two charts and in the UK, it failed to chart at all, leaving the biggest hit at no.22 by Geraldo & His Orchestra.
513. 31 August 1946
Freddy Martin & His Orchestra (Vocal refrain by Stuart Wade)
To Each His Own
Written by Jay Livingston & Ray Evans
No.1 for 2 weeks (sales)
Freddy Martin & His Orchestra achieved his fourth no.1 single overall with another version of the Song To Each His Own using the vocals of Stuart Wade who started as a violinist with the orchestra. Freddy Martin peaked at no.3 on both Juke Boxes and Airplay but reached the top of Retail sales for two weeks, just as Eddy Howard had completed his first run of three weeks although with Howard dominating the other charts, he would return to the top when all the other versions were falling. Freddy Martin played for over a minute and then Stuart Wade sang, a rose must remain with the sun and the rain, or its lovely promise won’t come true, to each his own to each his own and my own is you, what good is a song if the words just don’t belong? and a dream must be a dream for two, no good alone to each his own for me there’s you, if a flame is to grow there must be a glow, to open each door there’s a key, I need you I know I can’t let you go, your touch means too much to me, two lips must insist on two more to be kissed, or they’ll never know what love can do, to each his own I’ve found my own one and only you.
514. 14 September 1946
Frank Sinatra (Orchestra under the direction of Axel Stordahl)
Five Minutes More
Written by Sammy Cahn & Jule Styne
No.1 for 4 weeks (disc jockeys)
14 September 1946 No.1 for 2 weeks (sales)
21 September 1946 No.1 for 3 weeks (juke box)
The composers of Five Minutes More Sammy Cahn and Jule Styne joined Harry Warren on six number hits during the 1940s, just one behind Mack Gordon and Johnny Mercer and with this song, Frank Sinatra achieved his second solo chart topper, hitting no.1 on all three charts, the longest running being the four weeks on top of the Most Played On The Air. Frank Sinatra as the only one to sing the introductory verse, dear this evening seemed to go so awfully fast, we had so much fun and now you’re home at last, I look forward to a kiss or two at the garden gate, but she gave me just one peck and insisted it was late. This point was when all the other versions joined the song, give me five minutes more only five minutes more, let me stay let me stay in your arms, here am I begging for only five minutes more, only five minutes more of your charms, all week long I dreamed about our Saturday date, don’t you know that Sunday morning you can sleep late, give me five minutes more only five minutes more, let me stay in your arms. There were several versions in the top ten, including the first recorded version by Tex Beneke who was now the leader of the Glenn Miller Orchestra. In the UK Sinatra also hit no.1 for five weeks on a double A side with Try A Little Tenderness.
515. 21 September 1946
Ink Spots
To Each His Own
Written by Jay Livingston & Ray Evans
No.1 for 1 week (sales)
Over the forty-six years of the charts, with the first thirty years being monthly, there had been twenty-five number one singles at the top by two different artists, three of them within the last eight months but only two songs had been at the top by three different artists, In The Good Old Summer Time in 1902-1903 by JW Myers, Haydn Quartet and Sousa’s Band and Over There in 1917-1918 by American Quartet, Nora Bayes and Enrico Caruso. Finally, in the official charts launched in 1940, a song achieved the no.1 position three times and all three of these topped the Retail sales charts. To Each His Own had been at the top for eight weeks by Eddy Howard & His Orchestra, for two weeks by Freddy Martin & His Orchestra and now The Ink Spots hit no.1 for just one week. Maybe people were getting a little tired of the song by the time The Ink Spots version came out as it only peaked at no.3 on Juke Boxes and no.5 on Airplay. The Ink Spots version was the only hit in the UK, peaking at no.2, possibly due to the negative connotations of the phrase in Europe, translated into German into Jedem Das Seine which was the motto placed at the main gate of Buchenwald concentration camp instead of the usual Arbeit Macht Frei, meaning everybody gets what they deserve.
516. 19 October 1946
Frankie Carle & His Orchestra (Vocal chorus by Marjorie Hughes)
Rumors Are Flying
Written by Bennie Benjamin & George David Weiss
No.1 for 9 weeks (disc jockeys)
19 October 1946 No.1 for 8 weeks (sales)
26 October 1946 No.1 for 8 weeks (juke box)
Frankie Carle & His Orchestra didn’t stay at no.1 for short periods, their previous hit Oh What It Seemed To Be remained at the top for eleven weeks and now his second chart topper Rumors Are Flying, lasted nine weeks on Airplay and eight weeks each on the other two charts. Once again it was sung by Carle’s wife Marjorie Hughes who sang, rumours are flying that you’ve got me sighing, that I’m in a crazy kind of a daze,a lazy sort of a haze, when I go walking I hear people talking, they say our affair is not just a passing phase, and they whisper ’bout the flowers, you keep sending me by the dozen, and they wonder ’bout the hours, that you spend with me it keeps them buzzin’, rumours are flying and I’m not denying, that people are sure I’m falling in love with you, ’cause for a change darling all the rumours are true. Rumors Are Flying was the fourth no.1 collaboration for the composers Bennie Benjamin and George David Weiss following two versions of Oh What It Seemed To Be and Surrender. It was The Andrews Sisters who took the song to the UK charts, peaking at no.3.
517. 14 December 1946
Kay Kyser & His Orchestra (Vocal chorus by Michael Douglas & Campus Kids)
Ole Buttermilk Sky
Written by Hoagy Carmichael & Jack Brooks
No.1 for 2 weeks (sales)
Kay Kyser & His Orchestra achieved their second no.2 with another western cowboy themed song, Ole Buttermilk Sky which was first heard in the film Canyon Passage, a Western starring Logan Stuart and also featuring Hoagy Carmichael, the composer of Ole Buttermilk Sky who sung it in the film. The vocals were by Michael Douglas, born Michael Delaney Dowd Jr in Chicago, Illinois in 1920 who was a singer with the Kay Kyser Orchestra and later became a TV talk-show host. On Ole Buttermilk Sky he sang, ole buttermilk sky I’m keepin’ my eye peeled on you, what’s the good word tonight? are you gonna be mellow tonight? ole buttermilk sky can’t you see my little doggie and me, we’re as happy as a christmas tree, headin’ for the one I love, I’m gonna pop her the question that question, do you darlin’ do ya do? it’ll be easy so easy, if I can only bank on you, ole buttermilk sky I’m tellin’ you why now you know, keep it in mind tonight, keep brushin’ those clouds from sight, ole buttermilk sky don’t fail me when I’m needin’ you most, hang a moon above her hitching post, hitch me to the one I love. The usual British bandleaders took the song into the UK charts, Joe Loss, Geraldo and Ambrose but none reached the top ten.
518. 21 December 1946
Swing & Sway With Sammy Kaye (Vocal refrain by Billy Williams)
The Old Lamplighter
Written by Nat Simon & Charles Tobias
No.1 for 7 weeks (juke box)
28 December 1946 No.1 for 7 weeks (sales)
18 January 1947 No.1 for 1 week (disc jockeys)
Sammy Kaye achieved his fourth no.1 single of the 1940s and his sixth in total with The Old Lamplighter with vocals by Billy Williams who was credited on Kaye’s previous chart topper, Chickery Chick as part of the Kaye Choir. The Old Lamplighter was a nostalgic homage to the men who walked the streets in the nineteenth century, looking after the gas lamps, he made the night a little brighter wherever he would go, the old lamplighter of long long ago, his snowy hair was so much whiter beneath the lantern glow, the old lamplighter of long long ago, you’d hear the patter of his feet as he came toddling down the street, his smile would cheer a lonely heart you see, if there were sweethearts in the park he’d pass a lamp and leave it dark, remembering the days that used to be, for he recalled when things were new, he loved someone who loved him too, who walks with him alone in memories, now if you look up in the sky you’ll understand the reason why, the little stars at night are all aglow, he turns them on when night is near, he turns them off when dawn is here, the little man we left so long ago the old lamplighter of long long ago. It was the first time at the top for composer Nat Simon but his lyricist had first appeared at no.1 in 1930 with When Your Hair Has Turned To Silver and even earlier than that with the monthly no.2 single Just Another Day Wasted Away Waiting For You from 1927. The Old Lamplighter hit no.1 on all of the US charts, for one week only on airplay and seven weeks on both Juke Boxes and Retail sales and in the UK, the version that hit the top ten was by Joe Loss & His Orchestra.
519. 28 December 1946
King Cole Trio
(I Love You) For Sentimental Reasons
Written by Ivory Deek Watson & William Pat Best
No.1 for 1 week (disc jockeys)
11 January 1947 returned to no.1 for 1 week
25 January 1947 returned to no.1 for 4 weeks
15 February 1947 No.1 for 1 week (sales)
The King Cole Trio with Nat King Cole at the piano, Oscar Moore on guitar and Johnny Miller on bass were not a successful singles chart act before I Love You For Sentimental Reasons was released. They had only achieved one other hit to date, being Straighten Up And Fly Right, a no.9 single from 1944, although they had achieved a no.1 album, the first no.1 on the new album charts in 1945. They had to wait until the week of the 15th of February to reach the top in Retail sales, but topped the Airplay charts, the week before Christmas and returned for two more runs in the new year. 1947 was actually an even better year for I Love You For Sentimental Reasons as the week of the 24th of January on the Airplay chart, the song was at no.1 by The King Cole Trio, no.2 by Eddy Howard, no.3 by Dinah Shore and no.6 by Charlie Spivak. The King Cole version was a slow jazz track, perfectly showing off the three instruments plus Nat King Cole’s voice. It was by far the biggest song as 1947 got underway with both Howard and Shore peaking at no.2 on the Airplay charts, although both could only reach no.6 in Retail sales. In the UK the biggest hit version was by Dorothy Squires with the Billy Reid Orchestra, peaking at no.16.
The pop music charts 