Johnny Mathis has a voice that feels like velvet. It’s smooth. It’s effortless. Honestly, it’s a bit of a miracle that a recording from the late 1950s still carries enough weight to stop people in their tracks today, but that is exactly what happens when you hear those opening notes. We are talking about wonderful by johnny mathis—or as it is formally titled on the records, "'S Wonderful."
It’s the kind of song that defines an era while somehow escaping the "dated" trap that catches so many other hits from 1957. Most people recognize it immediately. Even if you don't know the Gershwin brothers wrote it for a 1927 Broadway musical called Funny Face, you know that feeling it gives you. It’s pure, unadulterated optimism.
The Jazz Roots of 'S Wonderful
George and Ira Gershwin were the architects. They were trying to capture a specific kind of "flapper era" slang by knocking the "it is" off the front of words. 'S wonderful. 'S marvelous. It’s shorthand for being so in love that you can’t even finish your syllables.
When Johnny Mathis got his hands on it for his album Wonderful Wonderful, he didn't just cover it. He redefined it. Before Mathis, the song often had a bouncy, almost frantic vaudeville energy. Think about the Gene Kelly and Georges Guétary version in the film An American in Paris. It’s great, sure, but it’s a performance. Johnny made it a mood.
Mathis was young—barely 21—when he recorded the tracks that would make him a superstar. He had this incredible vibrato that felt controlled yet vulnerable. Working with producer Mitch Miller and conductor Ray Conniff, he found a middle ground between traditional pop and the burgeoning "easy listening" genre. It wasn't just background music; it was the soundtrack to a new kind of American suburban romance.
Why the 1957 Recording Hits Differently
Technically, the song is a masterclass in phrasing. Johnny doesn't rush. He lingers on the "S" sounds, making the sibilance part of the rhythm. If you listen closely to the 1957 Columbia Records release, the orchestration is lush but never swallows him up.
There's a specific magic in the way the backing vocals chime in. It’s very of-its-time, yet the clarity of Johnny’s tenor cuts through the nostalgia. He treats the lyrics with a wink. When he sings about being "glamorous" and "amorous," he isn't being cheesy. He sounds like he’s actually convinced.
Most singers of that period were trying to be the next Frank Sinatra or the next Nat King Cole. Mathis was different. He had an athletic background—he was actually a high-jump star in college and almost went to the Olympic trials—and you can hear that breath control in the long, sustained notes of wonderful by johnny mathis. He wasn't pushing. He was floating.
The Ray Conniff Factor
You can't talk about this track without mentioning Ray Conniff. His orchestra and singers provided that "shoo-be-doo" style that became synonymous with mid-century cool. While some critics later dismissed this as "elevator music," they totally missed the point. In 1957, this was high-fidelity art. It was designed to show off the new stereo systems people were putting in their living rooms.
Conniff used voices like instruments. In 'S Wonderful, the choir isn't just singing backup; they are mimicking the horn section. This created a bright, airy texture that allowed Mathis to stay in his lower and middle registers where his tone was richest.
A Song That Refuses to Die
Movies love this song. TV shows love this song. It has been used in everything from Sex and the City to high-end jewelry commercials. Why? Because it represents a "clean" version of romance. It’s sophisticated but accessible.
People often confuse the titles. They search for wonderful by johnny mathis thinking the song is called "Wonderful, Wonderful." While Mathis does have a hit by that exact name (his first big one, actually), "'S Wonderful" is the one that usually gets stuck in your head during the closing credits of a romantic comedy.
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There is a fundamental difference between the two:
- Wonderful Wonderful: Released in 1956, it’s a bit more mysterious, slightly slower, and more haunting.
- 'S Wonderful: Released in 1957 on the album Wonderful Wonderful, it’s the uptempo Gershwin classic.
The fact that he put a song called "'S Wonderful" on an album titled Wonderful Wonderful is a marketing nightmare by today's standards, but in the fifties, it just reinforced the "Mathis Brand." He was the guy who made you feel, well, wonderful.
The Technical Brilliance of Johnny’s Voice
If you ask a vocal coach about Mathis, they’ll point to his placement. He sings "in the mask," which gives him that bright, ringing quality. It’s what allowed him to keep recording well into his 80s with a voice that sounded remarkably similar to his 20s.
In 'S Wonderful, he handles the intervals with zero strain. The song jumps around quite a bit, but he makes the leaps feel like a conversation. He also avoids the heavy "crooner" artifice. He’s not growling or sliding into notes like a lounge singer. He’s precise.
What Most People Get Wrong About the Legacy
The biggest misconception is that Mathis was "safe" or "boring." In the late 50s, a Black artist singing romantic pop standards was a quiet revolution. He wasn't singing "race music" or R&B—the boxes the industry tried to put him in. He was claiming the Great American Songbook as his own.
When you listen to wonderful by johnny mathis today, you aren't just hearing a pop song. You’re hearing a historical shift. He became one of the first truly "cross-genre" superstars, appealing to everyone regardless of their background because the emotion was so universal.
How to Experience This Music Today
If you’re looking to really "get" why this matters, don't just listen to a low-quality stream on a phone speaker. This music was engineered for depth.
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- Find the Original Mono Mix: While the stereo versions are fun for the panning effects, the original mono mixes of the Wonderful Wonderful album have a punch and a "center" that makes Johnny’s voice feel like he’s standing three feet in front of you.
- Watch the 1950s Live Clips: There is footage of Johnny performing on The Ed Sullivan Show. Watching his posture—the way he stands perfectly still while that massive voice comes out—changes how you hear the recording.
- Compare the Versions: Listen to the 1957 version, then find his later re-recordings. He revisited these songs several times over his career. You can hear how his interpretation matured, becoming more relaxed and less formal.
- Check the Credits: Look for the name Al Ham on the production credits. He was the engineer who helped capture that specific "Columbia Sound" which made the reverb feel like a physical space rather than a digital effect.
Johnny Mathis didn't just sing a song; he captured a specific American frequency. It’s a mix of post-war relief and the excitement of a new decade. When he hits that final note, you aren't just listening to a guy from San Francisco; you’re hearing the peak of the 20th-century pop vocal.
The next time it comes on at a wedding or in a cafe, don't just let it be background noise. Listen to the phrasing. Notice how he says "S'awful nice." It's a masterclass in charm. He’s been doing it for seven decades, and honestly, nobody has done it better.
To truly appreciate the artistry, try listening to the album Wonderful Wonderful in its entirety. It’s a sequenced experience that takes you through various shades of mid-century romance. From there, explore his 1958 Johnny's Greatest Hits, which famously stayed on the Billboard charts for 490 weeks—a record that stood for fifteen years until Pink Floyd’s Dark Side of the Moon finally broke it. That longevity started with the simple, elegant perfection of tracks like 'S Wonderful.