Perry Como discography

When Perry Como signed his first RCA Victor contract on June 17, 1943, and made his first recording for the company three days later,[19][20][21] the 1942–44 musicians' strike (also known as the American Federation of Musicians (AFM) recording ban) was in full force. Union musicians were allowed to play for live appearances and radio programs, but not to participate in any recording sessions; it was a means to force the record companies to pay royalties to their musical performers. While Como and other vocalists were able to have the backing of a band for a live concert or radio show, that would disappear when they entered the recording studio.

RCA Victor promotional pinback for Perry Como Week.
September 2 – 9, 1946

One way the recording industry of the time found to circumvent the problem was to replace the bands with various vocal groups. Como's first RCA Victor record, "Goodbye, Sue", was produced in this manner, along with other Como releases during the strike.[22] The only exception to the musicians' strike or ban was for V-Discs after October 27, 1943, which were distributed to the American Armed Forces and not sold commercially. Two versions of "Goodbye, Sue" were produced: one using a vocal chorus for backup commercially issued by RCA Victor and another made in 1944, with full orchestral accompaniment, available as a V-Disc only.[19][23] Prior to the strike, popular music had been focused on the big bands, where vocal performers were merely featured as part of their performances.[24] Singers came into their own, most likely to some extent because of the strike, and the situation was reversed, with the bands becoming a "backdrop" for vocalists-a very positive career boost for Como and his counterparts.[25] Where previously Como needed to be hired by Freddy Carlone and Ted Weems, by 1948 he was now in the position to hire the band. Mitchell Ayres, who was Como's musical director from 1948 until 1963, was offered the job during a game of golf.[2]

In 1945, Como recorded the pop ballad "Till the End of Time"[26] (based on Chopin's "Heroic Polonaise"), which marked the beginning of a highly successful career.[27] He also became the first pop singer to reach the two million sales mark with two records in release at the same time - "Till the End of Time" and "If I Loved You", that same year.[28] Como was the first artist to have ten records sell more than one million copies. Como's average yearly record sales were four million, beginning in 1943; RCA turned out four million Perry Como records in one week in 1946, setting a record at the time.[29][30] Just three years after Como's first record for RCA Victor, "Goodbye, Sue", his records were selling so well, the company declared the week of September 2 – 9, 1946 "Perry Como Week". Six new Como songs were released along with six new versions of some of his older songs, as well as re-issuing 14 of his previous hit records.[31][32]

There was a second strike of the American Federation of Musicians in 1948. Due to the advent of television; royalties for the new medium were the issue. Most record companies had once more stockpiled recordings of their artists as had been done in advance of the 1942–1944 strike, and again used vocal groups to replace striking musicians when recording new material. RCA Victor kept Perry Como busy in advance of the strike; he produced three years worth of recordings during that time.[33] With this strike lasting less than a year, Como's only recording during the ban was "N'yot N'yow" (The Pussycat Song), with the Fontane Sisters from his radio and television shows.[34] When the 1948 Musicians' strike ended on December 14, 1948, a race began between the record companies, each trying to have the first post-strike record on the market.[35] RCA was the winner with Como having recorded "Missouri Waltz" in the evening and RCA had it in the shops by noon the next day.[2][36][37] Como went from the gala recording at RCA Victor of "I'm Just Wild About Harry" for President Harry Truman celebrating the end of the strike, into another of their studios to record "Missouri Waltz".[38][39]

In 1956, he recorded his first movie theme song, "Somebody Up There Likes Me", for the Rocky Graziano film of the same name.[40][41] In the same year, long-time Como associate Mickey Glass found Perry a hit through a late-night subway ride home. Riding along with him in the same car was songwriter Dick Manning. As the two men talked, Glass mentioned the need for a novelty song for Como. Manning replied that he had just done a demo recording like that which had yet to be heard by anyone. They arranged to meet the next day; the result of the chance meeting was Como's "Hot Diggity".[42]

On March 14, 1958, the RIAA certified Como's hit single, "Catch a Falling Star" as its first ever Gold Record.[43] "Catch a Falling Star" was written by Paul Vance and Lee Pockriss. The pair were also responsible for penning "Itsy Bitsy Teeny Weeny Yellow Polka Dot Bikini".[44] Como won the 1958 Grammy Award for Best Vocal Performance, male for "Catch a Falling Star". His final Top 40 hit was a cover of Don McLean's "And I Love You So", recorded in 1973. Quoting Como (who in 1979, signed a 10-year extension of his RCA contract) regarding his last two hits ("It's Impossible" and "And I Love You So"), "I wasn't looking for such big hits at that point in my career."[45] For "It's Impossible", Como learned the details on Top 40 music from his young neighbors: "But the kids in our neighborhood came out and said, 'Well, we're finally glad you made it to our list.' I didn't know what they were talking about. They have all kind of Top 40s. How they grabbed onto this is a little beyond me."[2] The record was nominated for a Grammy in three categories.[46] "And I Love You So" was such a hit that RCA prevailed on him to record it again, this time in Spanish. When Como said he didn't speak the language, David Franko, the head of RCA International, provided personal language lessons to get the recording made.[47] The song was also Como's biggest hit in England, staying in the UK Top 20 for close to a year. After Como performed some concerts in the UK, the album went back to number one once again.[48] In 1974, Como recorded a song called "Christmas Dream" for the soundtrack of the movie, The Odessa File.[49]

In 1987, he recorded his final album for RCA, Today, with his trusted friend and associate Nick Perito[48][50] at Evergreen Studios, Burbank, California.[51] His recording of "The Wind Beneath My Wings" was almost autobiographical, a fitting end to a long and successful recording career. Como recorded only once more, privately, for his well-known Christmas Concert in Ireland in 1994.[52]

Como had, according to Joel Whitburn's compilations of the U.S. Pop Charts, fourteen songs that reached No. 1 on at least one of the three Billboard charts (sales, disc-jockeys, jukeboxes): "Till The End Of Time" (1945); "Prisoner of Love" (1946); "Surrender" (1946); "Chi-Baba, Chi-Baba" (1947); "'A' You're Adorable" (1949); "Some Enchanted Evening" (1949); "Hoop-De-Doo" (1950); "If" (1951); "Don't Let The Stars Get In Your Eyes" (1952); "No Other Love" (1953); "Wanted" (1954); "Hot Diggity (Dog Ziggity Boom)" (1956); "Round And Round" (1957); and "Catch a Falling Star" (1957).[53]

• Perry Como albums
• List of songs recorded by Perry Como
• Best selling music artists
• List of popular music performers
• Perry Como television and radio shows

• A Perry Como Discography & CD Companion
• "Video of "Perry Como Show"". Internet Archive. 16 September 1953.
• "Video of "Perry Como Show"". Internet Archive. 20 January 1954.
• "Video of 1954 "Perry Como Show"". Internet Archive. 1954.