You have most probably come to this second of a brief 3-volume series from Ace Records of London, England by searching under artist or, perhaps, song title, so I repeat part of what I wrote for the opening volume. Back in the days when hit singles were based upon one side or the other of a 78- and then 45-rpm release, labels were not always keen when both sides of a record received enough air- and jukebox play to earn itself a place on the charts. The reasoning was quite simple: far better to have songs good enough to receive that kind of attention issued separately. A record where BOTH sides were considered major hits and million sellers (e.g., Elvis Presley's Hound Dog/Don't Be Cruel) would be far better off garnering sales of a million each. But where some artists were concerned, and again I cite Presley, any plans to the contrary by people like Colonel Tom Parker proved fruitless as every one of his singles at RCA Victor, beginning with Heartbreak Hotel/I Was The One in 1956, to Good Luck Charm/Anything That's Part Of You in 1962 were two-sided hits. That's something like 19 straight single releases!
In most cases, however, the artists had to be satisfied (and were naturally ecstatic) if just one side scored because the two-sided hit was, for the most part, a rarity. Only the major stars, or some lucky enough to have had their record "flipped" by DJs enough to grab attention, received that honour.
In Volume 1 there were five cuts that have gone into the books as hit singles, and here that is reduced to four (one with a bullet): Little Queenie by Chuck Berry also made it to # 80 Billboard Pop Hot 100 as the flip of his 1959 # 3 R&B/# 32 Hot 100 Almost Grown; Red Sails In The Sunset by Tab Hunter (with the Billy Vaughn orchestra) got as high as # 57 Top 100 (note that the Top 100 became the Hot 100 sometime in late 1958) as the other side of his huge hit, Young Love, which spent 6 weeks at # 1 in early 1957 and also made it to # 8 R&B; Sail Along Silvery Moon, an instrumental by Billy Vaughn & His Orchestra, may have been the B-side, byt when it finished at # 5 Top 100 early in 1958 it beat out the intended A-side, Raunchy, which peaked at # 10; and Love Is A Swingin' Thing by The Shirelles, as the flip of their 1962 # 1 Hot 100/# 3 R&B Soldier Boy, managed to get to # 109 on the Hot 100 "Bubbling Under" charts.
Two oddities of sorts are Rubber Dolly by Bill Parsons and The Monster by Billy Ford & The Thunderbirds. The latter was the B-side to the 1958 # 6 R&B/# 9 Top 100 hit La Dee Dah billed to Billy (Ford) & Lillie (Bryant), while the other backed the 1959 # 2 Hot 100/# 16 R&B smash, The All American Boy. The story behind that varies, depending upon the source, ranging from the name "Bill Parsons" being a pseudonym for the real singer, Bobby Bare, to a labeling mistake by the Fraternity label, to a tacit agreement between two old friends that Bare's voice would lend itself more to the narrative style applied to All American Boy. Well, Bill Parsons was very real and he does do Rubber Dolly. For the true story, you'll just have to buy the album and read the fabulous liner notes that are a hallmark of all Ace releases, led by their magnificent multi-volume Golden Age Of American Rock `N' Roll and Golden Age Of American Popular Music series, as well as smaller series such as Early Girls and Teen Beat (an all-instrumental series).
As to the rest, many were indeed good enough to have become hits on their own in the right circumstances and are sure to please both casual fans of that bygone era and the hard-core collector. Many of the sides you just won't see anywhere else, and that's especially true of the One-Hit Wonders like The Pets, Robin Luke, and Gerry Granahan (who also had hits as part of Dicky Doo & The Don'ts and The Fireflies) for whom you only ever see their one hit.