Oldies Goldies Oasis

Oldies Musics

ONE OF JOHNNY MATHIS’ EARLIEST HITS ALMOST SLIPPED AWAY — UNTIL A SECOND SONG GAVE IT NEW LIFE. When Columbia released “Wonderful! Wonderful!” in November 1956, Johnny Mathis was still searching for his place in American music. The record didn’t become an overnight sensation. Weeks passed. Then months. Meanwhile, another beautiful ballad, “It’s Not for Me to Say,” was preparing to reach listeners through both records and the Hollywood film *Lizzie*. Something remarkable followed. As “It’s Not for Me to Say” gained popularity, audiences began discovering “Wonderful! Wonderful!” all over again. By July 1957, both songs were enjoying chart success. The young singer who had struggled to establish himself suddenly had two memorable recordings capturing America’s attention. Sometimes, a beautiful song simply needs the right moment to find its audience. Which Johnny Mathis classic touches your heart more — “Wonderful! Wonderful!” or “It’s Not for Me to Say”?

Johnny Mathis' unreleased 1957 recording of Teacher, Teacher

Introduction:

Sometimes, a song does not become a success when it first reaches the public. Sometimes, it needs another song to open the door. That was the surprising story behind Johnny Mathis’s early recordings, when “Wonderful! Wonderful!” slowly found its audience—and then gained fresh momentum as another romantic ballad, “It’s Not for Me to Say,” began climbing the charts.

When Columbia Records released “Wonderful! Wonderful!” on November 5, 1956, Mathis was still a promising young singer trying to establish himself in the competitive world of American popular music. The recording, featuring Ray Conniff and his orchestra and chorus, showcased the smooth, polished delivery that would eventually become his trademark. Yet its path to success was far from immediate.

The single entered Billboard’s Top 100 in January 1957, but its position fluctuated during the following months. It rose, fell, and gradually worked its way toward a wider audience. For a newcomer whose first album had attracted limited attention, the slow progress could easily have made the record seem like a missed opportunity.

Then came “It’s Not for Me to Say.”

Vintage It's Not for Me to Say Sheet Music - Photo Johnny Mathis - 1956 - From Dustymillerantiques - Etsy

Written by Robert Allen and Al Stillman, the tender ballad was released in February 1957 and featured in the Hollywood film Lizzie, which arrived in theaters that March. The movie connection gave the song another route to listeners, while Mathis’s restrained, heartfelt performance demonstrated just how naturally his voice suited romantic material.

Audiences responded. “It’s Not for Me to Say” climbed to No. 5 on Billboard’s Top 100 in July 1957. As the song gained popularity, listeners also began discovering—or rediscovering—“Wonderful! Wonderful!” Music trade coverage at the time recognized the unusual pattern: the earlier recording had taken months to catch on, with the newer hit helping push it toward greater success.

By July, both songs were enjoying strong chart runs. “It’s Not for Me to Say” had reached No. 5, while “Wonderful! Wonderful!” peaked at No. 17 on the same chart. Those results helped confirm that Mathis was no longer simply a promising vocalist. He was becoming a recognizable presence in American popular music.

Johnny Mathis EP

The timing was crucial. In June 1957, Mathis made his pivotal appearance on The Ed Sullivan Show, introducing his voice to a national television audience. With two successful recordings gaining attention, he had the songs—and the exposure—to turn growing interest into lasting recognition.

The story also reveals something important about how musical careers develop. A recording can possess all the ingredients of a hit and still need time, context, and a little momentum before listeners embrace it. In Mathis’s case, one ballad helped make room for another, and together they introduced audiences to a voice that would define romantic pop for generations.

More than six decades later, both songs remain cherished examples of his early artistry. One is bright and buoyant; the other is tender and reflective. Their paths to success were different, but together they helped launch a remarkable career.

So, which classic touches your heart more: “Wonderful! Wonderful!” or “It’s Not for Me to Say”?

Video:

https://youtu.be/YZ84XJzxQWg?si=6tuHFFJezL35eWqZ

Related Post

During Barry Gibb’s Mythology tour, “How Can You Mend a Broken Heart” became a duet with his niece Samantha, Maurice’s daughter. The song had given the Bee Gees their first American number one in 1971; decades later, its performance brought two generations of the family together after Maurice and Robin had died. Barry’s son Stephen also played in the touring band. Asked about performing with them, Barry described their wish to play together as instinctive. That explanation gives the arrangement a personal foundation beyond the expectations surrounding a tribute tour. Samantha brought her own voice to a song embedded in her family’s history, while Barry continued performing material he had once shared with his brothers. Their duet made the family connection audible through an actual musical partnership: an uncle and niece listening, phrasing, and singing together before an audience.

“SHE GREW UP IN A TINY CABIN WITHOUT RUNNING WATER, WATCHING HER FATHER WORK THE COAL MINES — BUT YEARS LATER, LORETTA LYNN WOULD TURN THOSE HUMBLE MEMORIES INTO A SONG THAT MADE ALL OF AMERICA REMEMBER HOME…” Long before Loretta Lynn became the Queen of Country Music, she was a little girl growing up in the coal-mining community of Butcher Hollow, Kentucky. Her father worked hard in the mines, while her mother cared for their large family. Money was scarce, winters were difficult, and life offered few luxuries. But Loretta remembered something that poverty could never take away: the love that filled their modest home. Years later, after becoming a successful singer, she began writing about the childhood she had never forgotten. In 1970, she released “Coal Miner’s Daughter,” a deeply personal song about her parents, her upbringing, and the simple life that shaped her. It became one of her signature recordings and later inspired her bestselling autobiography and the acclaimed 1980 film starring Sissy Spacek. What made the song extraordinary wasn’t wealth, glamour, or fame. It was the honesty of a woman who never forgot where she came from. Loretta Lynn traveled from a small Kentucky cabin to the biggest stages in America. But in her heart, she always remained a coal miner’s daughter.

When 50 St. Catherine’s Drive appeared in 2014, its title pointed back to the beginning of Robin Gibb’s life. His son RJ explained that the address belonged to the first house Robin lived in on the Isle of Man—the home to which he was brought after leaving hospital as a newborn. Much of the album had been recorded between 2006 and 2008. According to RJ, Robin later set the project aside while hoping to work with Barry again. After his father’s death, RJ helped complete the production so the recordings could reach listeners. These details give the title a particular resonance: an album assembled across Robin’s later years carried the address of his earliest home. Its release connected a son’s work on his father’s recordings with a place remembered from the family’s beginnings, long before the Bee Gees became famous.

You Missed

Oldies Musics

During Barry Gibb’s Mythology tour, “How Can You Mend a Broken Heart” became a duet with his niece Samantha, Maurice’s daughter. The song had given the Bee Gees their first American number one in 1971; decades later, its performance brought two generations of the family together after Maurice and Robin had died. Barry’s son Stephen also played in the touring band. Asked about performing with them, Barry described their wish to play together as instinctive. That explanation gives the arrangement a personal foundation beyond the expectations surrounding a tribute tour. Samantha brought her own voice to a song embedded in her family’s history, while Barry continued performing material he had once shared with his brothers. Their duet made the family connection audible through an actual musical partnership: an uncle and niece listening, phrasing, and singing together before an audience.

Oldies Musics

ONE OF JOHNNY MATHIS’ EARLIEST HITS ALMOST SLIPPED AWAY — UNTIL A SECOND SONG GAVE IT NEW LIFE. When Columbia released “Wonderful! Wonderful!” in November 1956, Johnny Mathis was still searching for his place in American music. The record didn’t become an overnight sensation. Weeks passed. Then months. Meanwhile, another beautiful ballad, “It’s Not for Me to Say,” was preparing to reach listeners through both records and the Hollywood film *Lizzie*. Something remarkable followed. As “It’s Not for Me to Say” gained popularity, audiences began discovering “Wonderful! Wonderful!” all over again. By July 1957, both songs were enjoying chart success. The young singer who had struggled to establish himself suddenly had two memorable recordings capturing America’s attention. Sometimes, a beautiful song simply needs the right moment to find its audience. Which Johnny Mathis classic touches your heart more — “Wonderful! Wonderful!” or “It’s Not for Me to Say”?

Oldies Musics

“SHE GREW UP IN A TINY CABIN WITHOUT RUNNING WATER, WATCHING HER FATHER WORK THE COAL MINES — BUT YEARS LATER, LORETTA LYNN WOULD TURN THOSE HUMBLE MEMORIES INTO A SONG THAT MADE ALL OF AMERICA REMEMBER HOME…” Long before Loretta Lynn became the Queen of Country Music, she was a little girl growing up in the coal-mining community of Butcher Hollow, Kentucky. Her father worked hard in the mines, while her mother cared for their large family. Money was scarce, winters were difficult, and life offered few luxuries. But Loretta remembered something that poverty could never take away: the love that filled their modest home. Years later, after becoming a successful singer, she began writing about the childhood she had never forgotten. In 1970, she released “Coal Miner’s Daughter,” a deeply personal song about her parents, her upbringing, and the simple life that shaped her. It became one of her signature recordings and later inspired her bestselling autobiography and the acclaimed 1980 film starring Sissy Spacek. What made the song extraordinary wasn’t wealth, glamour, or fame. It was the honesty of a woman who never forgot where she came from. Loretta Lynn traveled from a small Kentucky cabin to the biggest stages in America. But in her heart, she always remained a coal miner’s daughter.

Oldies Musics

When 50 St. Catherine’s Drive appeared in 2014, its title pointed back to the beginning of Robin Gibb’s life. His son RJ explained that the address belonged to the first house Robin lived in on the Isle of Man—the home to which he was brought after leaving hospital as a newborn. Much of the album had been recorded between 2006 and 2008. According to RJ, Robin later set the project aside while hoping to work with Barry again. After his father’s death, RJ helped complete the production so the recordings could reach listeners. These details give the title a particular resonance: an album assembled across Robin’s later years carried the address of his earliest home. Its release connected a son’s work on his father’s recordings with a place remembered from the family’s beginnings, long before the Bee Gees became famous.