The Lennon Sisters – Getting To Know You (1957)

About the Song

The Lennon Sisters were an American vocal group of four sisters: Peggy, Dianne, Janet, and Kathy. They were popular in the 1950s and 1960s, appearing on television shows like The Lawrence Welk Show and The Ed Sullivan Show. They also released several successful albums, including “ The Lennon Sisters Sing the Hit Songs of Irving Berlin “ and “ The Lennon Sisters Sing the Hit Songs of Rodgers and Hammerstein “.

“Getting to Know You” was written by Richard Rodgers and Oscar Hammerstein II for their 1951 musical The King and I. The song is a duet between the King of Siam and Anna Leonowens, a British schoolteacher who has been hired to teach his children. The song expresses the characters’ growing affection for each other as they learn more about each other.

The Lennon Sisters recorded “Getting to Know You” in 1957. Their version of the song was a hit, reaching number 14 on the Billboard Hot 100 chart. The song’s popularity helped to introduce the musical The King and I to a wider audience.

“Getting to Know You” is a charming and heartwarming song about the power of friendship and love. The Lennon Sisters’ sweet and innocent vocals perfectly capture the song’s message of hope and optimism. The song is a classic example of the Lennon Sisters’ talent and their ability to connect with audiences of all ages.

Some interesting facts about the song:

The song was originally written for a scene in The King and I in which the King of Siam and Anna Leonowens go for a walk in the garden.
The song has been covered by many other artists, including Frank Sinatra, Elvis Presley, and Julie Andrews.
The song was used in the 1999 Disney animated film The King and I.

Video

When people look back on Elvis Presley’s final years, they sometimes reduce his story to a single question about medication. But the truth is far more complex and far more human. Behind the headlines was a man living with significant health problems, chronic pain, exhaustion, and the relentless demands of a life that rarely allowed him to rest. Every night, millions expected Elvis Presley. Very few wondered how much it cost the man behind the name.

There are moments in life that no amount of success can protect us from, and for Elvis Presley, one of those moments came in October 1973. It was the day Lisa Marie left Graceland to begin living with her mother after Elvis and Priscilla’s marriage had come to an end. The world saw the headlines of a famous divorce. Elvis felt something far more personal. He was watching the little girl who had become the center of his world walk away from the home they had shared.

THE CHAOS STOPS. THE NOISE FADES. AND IN THE FINAL SECONDS, TOBY KEITH STEPS BACK INTO THE LIGHT. For most of the video for “Think As You Drunk,” Riley Green leans into the kind of high-octane, rowdy trouble that country music fans have been raising hell to for decades. He’s losing boots, stumbling through bars, and ending up in handcuffs—with his corgi, Carl, watching the whole mess with a look of pure, sober judgment. It’s the kind of reckless, fun-loving anthem that keeps the honky-tonks loud on a Friday night. But then, just as the dust settles, the mood completely shifts. As the track winds down, the familiar, unmistakable roar of Toby Keith’s voice cuts through, playing “As Good As I Once Was.” The camera stops following the chaos and lingers on a framed photo of Toby, center stage, holding a red Solo cup high in the air—a classic pose for the man who turned that cup into a national symbol. In that quiet moment, the jokes fall away. Riley Green doesn’t need a tearful monologue or a scripted tribute; he lets the music and the image do the heavy lifting. It is a masterful, respectful tip of the hat from one generation of country stars to the man who laid the blueprint for the modern drinking anthem. The tribute is more than just a nod in a video; it’s a commitment. A portion of the proceeds from the song is headed to the Toby Keith Foundation, directly supporting children fighting cancer and their families. While Carl the corgi might win the “funniest moment” award, Toby Keith gets the final word—a hauntingly perfect reminder of the legacy he left behind.

SHE STEPPED UP TO THE MICROPHONE TO SING A LOVE SONG WITH A MAN WHO WAS ALREADY GONE. When Lorrie Morgan walked into the studio to record “‘Til a Tear Becomes a Rose,” she wasn’t just performing a track for a Greatest Hits album. She was stepping into a haunting, high-stakes duet with her late husband, Keith Whitley, who had passed away just a year earlier. The technology was simple, but the emotional weight was crushing. Keith’s voice was already on the tape, preserved from an old demo he’d recorded with his friend Ricky Skaggs. There was no studio collaboration, no sharing a smile between takes, and no husband to hold once the final note faded. Lorrie had to stand in the silence, put on her headphones, and wait for Keith’s voice to come through—then harmonize with a ghost. When the song was released in 1990, it didn’t just climb the charts; it hit a nerve that few country songs ever reach. It felt raw, immediate, and painfully real. That fall, when the industry gathered for the CMA Awards, the song took home the trophy for Vocal Event of the Year. The two names—Lorrie Morgan and Keith Whitley—were etched together on the award, a cruel reminder of a partnership that had been tragically severed in its prime. While Lorrie stood alone to accept the honor, the recording remained a permanent monument to what they had been. It wasn’t just a song about sorrow or a performance about heartbreak; it was a widow using her own voice to reach across the silence and sing one last time with the man she couldn’t hold again. It stands today as a testament to the fact that while death can end a marriage, it can’t always silence the music that two people built together.