It’s one of those weird ironies of music history. Sometimes the song an artist absolutely hates ends up being the one that pays for their house. If you look at the catalog of Sarah Vaughan songs, Broken Hearted Melody stands out like a sore thumb, but in the best way possible for her bank account.
Recorded in 1958 and released in 1959, the track was a massive departure for "The Divine One." Usually, Sarah was busy bending jazz notes into shapes most singers couldn't even imagine. She was the "musician’s singer." Then came this bouncy, almost teen-pop tune with a "doo-wop" backing and a rhythmic hook that felt more like the Shirelles than Charlie Parker.
She thought it was corny. Honestly, she wasn't entirely wrong. But the public didn't care about her jazz credentials; they wanted something they could hum in the shower.
Why Broken Hearted Melody Changed Everything
Most people don't realize that Broken Hearted Melody was actually tucked away on a shelf for over a year. Sarah recorded it in early '58, but Mercury Records didn't pull the trigger on it until July 1959. Even then, it was released as the B-side to "Misty."
Talk about a miscalculation.
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DJs flipped the record. The B-side exploded. By September, the song was sitting at #7 on the Billboard Hot 100 and #5 on the R&B charts. It became her first gold record, selling over a million copies. For a woman who cut her teeth in the bebop era with Dizzy Gillespie, this was a culture shock.
The Anatomy of a Pop Fluke
The song was written by Hal David and Sherman Edwards. If the name Hal David rings a bell, it should—he later became the lyrical half of the legendary Bacharach-David duo. But here, he was just writing a catchy, syncopated melody that required Sarah to do something she rarely did: play it straight.
- The Intro: It has this weirdly menacing, circular guitar riff.
- The Vocals: Sarah’s voice is remarkably controlled here. She doesn't over-improvise, which is probably why it worked on Top 40 radio.
- The Backup: You’ve got the male chorus doing the "doo do do do" thing, which was the hallmark of 1950s pop.
It’s kinda funny—Sarah reportedly referred to it as "that corny song" for the rest of her life. Yet, because it was such a hit, she had to sing it at almost every concert for decades. That’s the price of a million-seller.
The Struggle Between Jazz and The "Hot 100"
In the late 50s, jazz artists were in a tight spot. Rock and roll was eating the world. Labels like Mercury were pressuring their prestige artists to record "commercial" material to keep the lights on.
Sarah had a deal: she could record her high-art jazz albums (the stuff that critics drooled over) as long as she gave the label some pop singles. Broken Hearted Melody was the ultimate "one for them" trade-off.
What’s fascinating is how she managed to maintain her dignity through it. Even on a "corny" track, her phrasing is impeccable. She hits the "Bro-oooo-ken" with a slight slide that reminds you she’s still the same woman who recorded with Clifford Brown. She couldn't hide her talent even when she was trying to be "simple."
Breaking Down the Chart Success
While "Misty" is the song we associate with her legacy now, Broken Hearted Melody was the global powerhouse at the time.
- United Kingdom: Peaked at #7 and stayed on the charts for 11 weeks.
- Canada: Hit #3 on the CHUM Hit Parade.
- Belgium: Made the Top 10 in Flanders.
- The Grammys: It earned her a nomination at the 2nd Annual Grammy Awards for Best Performance By A "Top 40" Artist.
What You Can Learn From This Recording
If you’re a singer or just a fan of vocal mechanics, this track is a masterclass in adaptation. Sarah Vaughan had a three-octave range. She could sing like a cello or a flute. In Broken Hearted Melody, she chooses to stay in a very specific pocket.
She proves that "pop" doesn't have to mean "lazy." The syncopation in the chorus is actually quite tricky to nail without losing the beat. She dances around the rhythm with a lightness that most pop singers of that era couldn't touch.
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Practical Listeners' Guide
To really appreciate what's happening here, try this:
- Listen to her 1954 version of "Lullaby of Birdland" first. Hear the complexity.
- Then switch to "Broken Hearted Melody."
- Notice how she simplifies her vibrato.
- Look for the small "Vaughan-isms"—the tiny scoops and the way she ends her phrases.
The Lasting Legacy of Sarah’s "Pop" Phase
Despite her own distaste for the song, it gave her the financial freedom to pursue the music she actually loved in the 70s and 80s. Without the "corny" hits, we might not have gotten the lush Gershwin Live! recordings or her later masterpieces on the Pablo label.
It serves as a reminder that an artist's "biggest" song isn't always their "best" song, but it is often the bridge to their survival.
If you're building a playlist of essential Sarah Vaughan, you can't skip it. It represents a specific moment in 1959 when jazz and pop were colliding in a way that produced something surprisingly catchy.
Next Steps for the Sarah Vaughan Fan:
Go beyond the hits by looking for her 1954 collaboration with Clifford Brown. It is widely considered one of the greatest jazz vocal albums ever made. If you want to hear her at her most "unfiltered," check out the At Mister Kelly’s live recording. It’s the perfect antidote to the polished pop of her Mercury singles.