<P> Whereas big band / swing music placed the primary emphasis on the orchestration, post-war / early 1950s era Pop focused on the song's story and / or the emotion being expressed . By the early 1950s, emotional delivery had reached its apex in the miniature psycho - drama songs of writer - singer Johnnie Ray . Known as "The Cry Guy" and "The Prince of Wails", Ray's on - stage emotion wrought "breakdowns" provided a release for the pent - up angst of his predominantly teenage fans . As Ray described it, "I make them feel, I exhaust them, I destroy them ." It was during this period that the fan hysteria, which began with Frank Sinatra during the Second World War, really began to take hold . </P> <P> Although often ignored by musical historians, Pop music played a significant role in the development of rock' n' roll as well: </P> <P> (Mitch) Miller also conceived of the idea of the pop record "sound" per se: not so much an arrangement or a tune, but an aural texture (usually replete with extramusical gimmicks) that could be created in the studio and then replicated in live performance, instead of the other way around . Miller was hardly a rock' n' roller, yet without these ideas there could never have been rock' n' roll . "Mule Train", Miller's first major hit (for Frankie Laine) and the foundation of his career, set the pattern for virtually the entire first decade of rock . The similarities between it and, say, "Leader of the Pack," need hardly be outlined here . </P> <P> Patti Page kicked things off with what would become the decade's biggest hit, "Tennessee Waltz". Her other hits from this period included: "Mister and Mississippi", "Mockin' Bird Hill", "Detour", "(How Much Is That) Doggie in the Window", and "Old Cape Cod". Frankie Laine's 1949 hits, "That Lucky Old Sun (Just Rolls Around Heaven All Day)" and "Mule Train", were still riding high on the charts when the decade began . He continued to score with such hits as: "Georgia on My Mind", "Cry of the Wild Goose", "Jezebel", "Rose, Rose, I Love You", "Jealousy (Jalousie)", "High Noon (Do Not Forsake Me)", "I Believe", "Granada", "Moonlight Gambler", and "Rawhide". Johnnie Ray had a long run of hits in the early half of the decade, often backed by The Four Lads, including: "Cry", "The Little White Cloud That Cried", "Walking My Baby Back Home", "Please, Mr. Sun", and "Just Walkin' in the Rain". The Four Lads racked up some hits on their own with "Who Needs You", "No, Not Much", "Standin' on the Corner", and "Moments to Remember". Nat "King" Cole dominated the charts throughout the decade with such timeless classics as "Unforgettable", "Mona Lisa", "Too Young", "Darling, Je Vous Aime Beaucoup", "Pretend", "Smile", and "A Blossom Fell". Perry Como was another frequent visitor to the charts with hits like: "If", "Round and Round", "Don't Let the Stars Get in Your Eyes", "Tina Marie", "Papa Loves Mambo", and "Catch a Falling Star". </P>

What type of music was there in the 1950s