Introduction
In the panorama of 1950s rock-and-roll balladry, “It’s Only Make Believe” stands as Conway Twitty’s breakout moment—a song that transformed him from a struggling singer into a global pop name. Written in 1958 by Twitty (then using his birth name Harold Lloyd Jenkins) and his bandmate Jack Nance during a tour stop in Ontario, Canada, the song was born on the road, in fits of inspiration between set changes.
Twitty and Nance demoed the track and submitted it—with its intended A-side, “I’ll Try”—to MGM Records. It was recorded on May 7, 1958, at Bradley Studios in Nashville, under the guidance of producer Jim Vienneau. The recording featured seasoned session musicians: Floyd Cramer on piano, Grady Martin on guitar, and Floyd “Lightnin’” Chance on double bass, with the Jordanaires providing backing vocals.
Released on July 14, 1958, “It’s Only Make Believe” was originally relegated to the B-side of the disc, opposite “I’ll Try.” Yet, fate intervened: a DJ in Columbus, Ohio, flipped the record and began playing the B-side, triggering a wave of public enthusiasm. Over the following months the song climbed the charts, ultimately reaching No. 1 on the Billboard Hot 100 in November 1958 (holding the top slot twice), and topping charts in the UK as well, becoming Twitty’s only No. 1 pop hit.
Over time, “It’s Only Make Believe” gained legendary status, not only as a pop classic but also as a song resilient in interpretation. Artists such as Glen Campbell, Ronnie McDowell, Billy Fury, and many others offered their own renditions. Even as Twitty migrated into country music later in his career, this song remained a touchstone—so much so that later performances (such as the 1990 version you mentioned) reaffirmed its power and Twitty’s vocal presence across decades.
Through its lush melody, emotional delivery, and the story behind its unexpected rise, “It’s Only Make Believe” captures the drama of unrequited love and the thin line between longing and illusion—a theme that resonated globally and cemented Conway Twitty’s place in popular music history.