Songs with Earlier Histories Than the Hit Version

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1154 total songs ... and counting!

Butterfly

First recorded by Charlie Gracie (US #1/R&B #10/UK #12 1957).
Other hit version by Andy Williams (US #1/R&B #14/UK #1 1957).

From the wiki: “‘Butterfly’ is a popular song written by Bernie Lowe and Kal Mann. The song is credited to Anthony September as songwriter in some sources – a pseudonym of Anthony Mammarella, producer of American Bandstand.

“The original recording of the song by Charlie Gracie reached #1 on the Billboard chart, #10 on the R&B chart and #12 on the UK Singles Chart in 1957. A cover version by Andy Williams (‘Moon River‘,’Happy Heart‘)also reached #1 on the Billboard chart in 1957 – his first chart-topping hit. Williams’ version also reached #1 the UK in May 1957, where it spent two weeks, and also reached #14 on the US R&B chart.

Alexander’s Ragtime Band

First recorded by Arthur Collins & Byron G. Harlan (US #1 1911).
Other hit versions by Billy Murray (US #1 1911), Prince’s Orchestra (US #3 1912), Bessie Smith (1927), The Boswell Sisters (1935), Louis Armstrong (1937), Bing Crosby & Connee Boswell (1938).

From the wiki: “‘Alexander’s Ragtime Band’ was written by Irving Berlin in 1911, one of his oldest compositions and his first major hit.

“It is believed by some (especially in New Orlean jazz and ragtime circles) that Berlin was writing about a real band and bandleader, which were popular at the time in New Orleans, and actually was known as Alexander’s Ragtime Band, after its leader, Alexander Joseph Watzke. Others regard the song as a sequel to ‘Alexander and His Clarinet’, which Berlin wrote with Ted Snyder in 1910 (and which was not a hit), with the newer composition telling the story of Jack Alexander, a cornet player and bandleader.

“‘Alexander’s Ragtime Band’ was first popularized in 1911 by Emma Carus, a big shouter from Chicago, who worked it into her local vaudeville act. (Her picture’s on the oldest sheet music edition.) The song was more widely introduced that same year by Eddie Miller and Helen Vincent performer in the Frolic of Berlin’s New York City ‘Friars Club’ chapter. In 1911-1912, no fewer than four of the first recordings of ‘Alexander’s Ragtime Band’ charted nationally, including #1 hits by Arthur Collins & Byron Harlon, and Billy Murray.

“The 1927 Bessie Smith cover of ‘Alexander’s Ragtime Band’ featured Coleman Hawkins on clarinet, Fletcher Henderson on piano, along with Joe Smith (cornet) Jimmy Harrison (trombone) and Charlie Dixon (banjo).”

When Will I Be Loved

First recorded by The Everly Brothers (US #8 1960).
Other hit versions by Johnny Young & Kompany (AUS #3 1967), Linda Ronstadt (US #2/C&W #1/CAN #1 1975).
Also recorded by John Denver (1966, released 2011), The Bunch (1972), Dave Edmunds & Keith Moon (1974), Tanya Tucker & Phil Everly (1975), Rockpile (1980), John Fogerty & Bruce Springsteen (2009).

From the wiki: “‘When Will I Be Loved’ was written by Phil Everly of the Everly Brothers, who had a US Top-10 hit with it in the summer of 1960. The track was recorded (with Chet Atkins also on guitar) while the duo were contracted to Cadence Records; by 1960 they had moved to Warner Brothers and recording songs in a more mainstream pop/rock style than previously. The belated release by Cadence of ‘When Will I Be Loved’ provided the Everly Brothers with a final rockabilly-style hit.

Moonglow

First recorded by Joe Venuti & His Orchestra (1933).
Hit versions by Glen Gray & the Casa Loma Orchestra (US #8 1934), Cab Calloway & His Cotton Club Orchestra (US #7 1934), Duke Ellington & His Orchestra (US #2 1934), Benny Goodman & His Orchestra (US #1 1934), The Benny Goodman Quartet (US #8 1936).
Also recorded by Ethel Waters (1934), Bing Crosby (1956), Sarah Vaughn (1962).
Also recorded (as “Moonglow & Theme from Picnic“) by George Cates (US #4 1956), Morris Stoloff (US #1 1956).

From the wiki: “‘Moonglow’ (also known as ‘Moonglow and Love’) was written in 1933 by by Will Hudson and Irving Mills with lyrics by Eddie DeLange. It was first recorded by Joe Venuti & His Orchestra in 1933, with subsequent recordings in the following year by the Duke Ellington Orchestra, Cab Calloway, Glen Gray & the Casa Loma Orchestra, Benny Goodman and his orchestra, Ethel Waters, and Art Tatum. The song has since become a jazz standard, performed and recorded numerous times by a wide array of musical talents.

“In the 1950s a medley of the song and George Duning’s ‘Theme from Picnic‘, orchestrated by Johnny Warrington, became quite popular, especially in instrumental recordings by Morris Stoloff, conductor of the film version by the Columbia Pictures Orchestra. Duning wrote the film’s theme to counterpoint ‘Moonglow’. Stoloff’s ‘Moonglow & Theme from Picnic‘ spent three weeks at #1 on the U.S. Billboard Hot 100.

Everyone’s Gone to the Movies

First recorded (as a demo) by Donald Fagen & Walter Becker with Flo & Eddie (1971).
Hit album version by Steely Dan (1975).

From the wiki: “This was the first song Steely Dan recorded, predating Steely Dan’s debut album Can’t Buy A Thrill. They first put it to tape in 1971 in a version with backing vocals by Flo and Eddie (Mark Volman and Howard Kaylan) of The Turtles.

“The song tells the story of a man who shows 8mm porn movies to young boys. With its lilting melody and catchy chorus, it’s easy to misinterpret the track as a playful kids’ song about going to the movies. At least one theater operator in the United States used the chorus of this song on the speakers prior to the coming attractions (without understanding the, uh, significance of the lyrics). ”

Whole New World (Alladin’s Theme)

First recorded by Brad Kane & Lea Salonga (1992).
Hit version by Peabo Bryson & Regina Belle (US #1/UK #12 1992).

From the wiki: “‘Whole New World (Alladin’s Theme)’ is from Disney’s 1992 animated feature film Aladdin, with music by Alan Menken and lyrics by Tim Rice. The original version was sung for the film by Brad Kane and Lea Salonga. They also performed the song in their characters at the 65th Academy Awards, where it won an Academy Award for Best Original Song.

“A single version of the song was released that year and was performed by American recording artists Peabo Bryson and Regina Belle. This version is played in the movie’s end credits and is referred on the soundtrack as ‘Aladdin’s Theme’. This version peaked at #1 on the U.S. Billboard Hot 100 chart on March 6, 1993. The track peaked at #12 in the UK Singles Chart in 1992. The song is the first and so far only song from a Disney animated film to top the US Billboard Hot 100, as well as being the first and so far only Disney song to win a Grammy Award for Song of the Year, at the 36th Annual Grammy Awards.”

Peabo Bryson & Regina Belle, “Whole New World (Alladin’s Theme)” (1992):

Adiós

First recorded by Linda Ronstadt (1989).
Hit album version by Glen Campbell (2017).
Also recorded by Jimmy Webb (1993).

From the wiki: “‘Adiós’ was written by hit songwriter Jimmy Webb (‘Up, Up and Away‘,’By the Time I Get to Phoenix‘), and was first recorded by Linda Ronstadt in 1989 for her album Cry Like a Rainstorm, Howl Like the Wind. Webb recorded his own arrangement in 1993 for his album Suspending Disbelief.

“The song became more widely, and poignantly, known, in 2017 when Glen Campbell’s recording was released two months before his death in August, 2017, and also used as the title song of his final album, Adiós. Featuring twelve songs Campbell had long loved but never recorded, the album was made with the help of producer and longtime collaborator Carl Jackson. Singers Willie Nelson, Vince Gill and Campbell’s children Ashley, Shannon and Cal also make guest appearances.

Sweet Leilani

First recorded (as “Leilani”) by Sol Ho’opi’i & His Novelty Quartet (1935).
Hit version by Bing Crosby (US #1 1937).
Also recorded by Harry Owens & His Royal Hawaiians (1938), Andy Williams (1959), Sam Cooke (1960).

From the wiki: “Harry Owens wrote the song in 1934 for his just-born daughter, Leilani. The name has a figurative meaning: Small Hawaiian children were carried on their parents’ shoulders like a lei (garland), so the name took on the meaning ‘heavenly child’.

“‘Leilani’ was first recorded in Hawaii by Sol Ho’opi’i & His Novelty Quartet in 1935, as the B-side of the Brunswick Records’ 78-rpm ‘Hawaiian Honeymoon’. The song was famously featured in the 1937 motion picture, Waikiki Wedding, for which its Bing Crosby recording won the Academy Award for Best Original Song with Crosby’s recording going on to become one of the top hits of 1937. The song made another film appearance in the 1938 comedy Cocoanut Grove (set in Los Angeles; not Hawaii), starring Fred MacMurray, performed by the song’s composer Harry Owens & His Royal Hawaiians.

Hey, Look Me Over

First performed by Lucille Ball & Paula Stewart (1960).
Popular versions by Peggy Lee (1963), Rosemary Clooney (1963), Bing Crosby & Rosemary Clooney (1963), Judy Garland (1963), Louis Armstrong (1964).

From the wiki: “‘Hey, Look Me Over’ was from the 1960 Broadway musical Wildcat, and was first performed by comedy actress Lucille Ball in what was the only Broadway appearance of her career.

Darktown Strutters’ Ball

First recorded (as “At the Darktown Strutters’ Ball”) by Six Brown Brothers (US #10 1917).
Other hit versions by The Original Dixieland Jazz Band (US #2 1917), The Jaudas’ Society Orchestra (US #9 1918), Ted Lewis and His Band (US #12 1927), Joe Liggins & His Honeydrippers (R&B #7 1948), Lou Monte (US #7 1954), Joe Brown & the Bruvvers (UK #34 1959), Ted Mulry & His Gang (AUS 1976).
Also recorded by Coleman Hawkins (1933), Ella Fitzgerald (1936), Fats Waller (1939), Alberta Hunter (1978).

From the wiki: “‘Darktown Strutters’ Ball’ was written by Shelton Brooks. First published in 1917, the song has been recorded many times and is considered a Popular and Jazz standard. There are many variations of the title, including ‘At the Darktown Strutters’ Ball’, ‘The Darktown Strutters’ Ball’, and just ‘Strutters’ Ball’.

“The song was first performed in 1917 by Sophie Tucker in her Vaudeville routine. It was first recorded on May 9 that same year by the Six Brown Brothers, a comedic musical ensemble. The best-selling early recording by the Original Dixieland Jazz Band was recorded on May 30, 1917. It would be this version that was inducted into the Grammy Hall of Fame in 2006.

(I’ve Had) The Time of My Life

First recorded (as a demo) by Franke & the Knockouts (1987, released 1998).
Hit version by Jennifer Warnes & Bill Medley (US #1/MOR #1/UK #6 1987 |UK #8 1991).

From the wiki: “‘(I’ve Had) The Time of My Life’ was composed in late 1986 or early 1987 by Franke Previte, John DeNicola, and Donald Markowitz. Previte, the ‘Franke’ of the group Franke & the Knockouts, had had solo success with the song ‘Sweetheart’ in 1981 but, by 1986, was without a recording contract. Producer and head of Millennium Records, Jimmy Ienner, asked Previte about writing some music for ‘a little movie called Dirty Dancing‘. Previte initially turned the request down because he was still trying to get a record deal, but Ienner was persistent, and got Previte to write several songs for the film, including ‘Hungry Eyes‘, later recorded by singer Eric Carmen.

“After getting further approval, Previte created a demo of the song, performing on it himself with singer Rachele Cappelli. The demo showcased how the harmonies were to be used, employing a ‘cold open’ and a slow build-up of the song to its finale.

Hurt (Juice Newton)

First recorded by Roy Hamilton (R&B #8 1954).
Other hit versions by Timi Yuro (US #4/MOR #2/R&B #22 1961), Little Anthony & the Imperials (US #55 1966), Fausto Leali (as “A Chi” ITA #1 1967), Connie Cato (C&W #14 1975), The Manhattans (US #97/R&B #10/UK #4 1976), Elvis Presley (US #28/MOR #7/C&W #6/UK #37 1976), Juice Newton (C&W #1 1985).
Also recorded by Carly Simon (1981).

From the wiki: “‘Hurt’ was written by Jimmie Crane and Al Jacobs, and was first recorded by Roy Hamilton (‘Unchained Melody‘, ‘Don’t Let Go‘), whose version peaked at #8 on the R&B Best Seller chart and spent a total of seven weeks on the chart.

“The song is considered to be the signature hit of Timi Yuro, whose version went to #4 on the Billboard Hot 100 in 1961. But, Juice Newton’s recording charted highest on any chart when it reached #1 on Billboard’s Country chart in 1985.

Hurt (Johnny Cash)

Written and first recorded by Nine Inch Nails (1994).
Hit version by Johnny Cash (C&W #56/ALT #33/UK #39 2002).

From the wiki: “‘Hurt’ was written by Nine Inch Nails leader Trent Reznor for the group’s second studio album, The Downward Spiral (1994). The song received a Grammy Award nomination for Best Rock Song in 1996, but ultimately lost to Alanis Morissette’s ‘You Oughta Know’.

“In 2002, ‘Hurt’ was covered by Johnny Cash to commercial and critical acclaim; it was one of Cash’s final hits released before his death, and the related music video was considered one of the greatest of all time by publications such as NME. Reznor praised Cash’s interpretation of the song for its ‘sincerity and meaning’, going as far as to say ‘that song isn’t mine anymore.’ The line ‘crown of shit’ was changed by Cash to ‘crown of thorns’, not only removing profanity from the lyrics, but also more directly referencing Christ and Cash’s devout Christianity.

Hallelujah (Leonard Cohen)

Written and first recorded by Leonard Cohen (1984).
Hit versions by k.d. lang (US #61/CAN #2 2004), Epsen Lind (NOR #1 2006), Rufus Wainwright (ROCK #34/UK #97 2007), Jeff Buckley (recorded 1994, released UK #65 2007 |US #102/UK #2 2008), Alexandra Burke (UK #1/IRE #1/EUR #1 2008), Justin Timberlake & Matt Morris (US #13/UK #91 2010), Pentatonix (US #23/GER #1/SWZ #7 2016).
Also recorded by John Cale (1991), Allison Crowe (2003).

From the wiki: “‘Hallelujah’ was written by Canadian poet-singer Leonard Cohen, and was originally released on his album Various Positions (1984). Achieving little initial success, the song found greater popular acclaim through a recording by John Cale, which inspired a recording by Jeff Buckley. It is considered as the ‘baseline’ of secular hymns. Cohen wrote around 80 draft verses for “Hallelujah”, with one writing session at the Royalton Hotel in New York where he was reduced to sitting on the floor in his underwear, banging his head on the floor.

“His original version, as recorded on his Various Positions album, contains several biblical references, most notably evoking the stories of Samson and treacherous Delilah from the Book of Judges. Following his original 1984 studio-album version, Cohen performed the original song on his world tour in 1985, but live performances during his 1988 and 1993 tours almost invariably contained a quite different set of lyrics, with only the last verse being common to the two versions. Numerous singers mix lyrics from both versions, and occasionally make direct lyric changes; for example, in place of Cohen’s ‘holy dove’, Canadian-American singer Rufus Wainwright substituted ‘holy dark’, while Canadian singer-songwriter Allison Crowe sang ‘Holy ghost’.

Funky Broadway, Part 1

Written and first recorded (as “Funky Broadway Parts 1 & 2”) by Dyke & the Blazers (1966).
Hit version by Wilson Pickett (US #8/R&B #1/UK #43 1967).

From the wiki: “‘Funky Broadway’ was written by Arlester ‘Dyke’ Christian, and was originally recorded by his band, Dyke & the Blazers, in 1967. The song became a hit later same year when recorded by Wilson Pickett in a session at Muscle Shoals produced by Jerry Wexler.The song is notable as being the first charted single with the word ‘Funky’ in the title as well as being prototypical funk music itself.

“The ‘Broadway’ referred to in the title of the original is the Broadway Road (now known as Dr. Martin Luther King Jr. Boulevard) in Phoenix, Arizona, that was at the center of the culture and entertainment of the area’s African American community, and which was ‘Dyke’ Christian’s hometown at the time.”

Yes! We Have No Bananas

First recorded by Edward Furman & William Nash (1923).
Hit versions by Billy Jones (US #1 1923), Ben Selvin (US #1 1923), The Great White Way Orchestra (US #3 1923).
Also recorded by Benny Goodman & His Rhythm Makers (1935), Spike Jones & His City Slickers (1950), Louis Prima & Keely Smith (1950).
Also recorded (as “I’ve Got the Yes! We Have No Bananas Blues”) by Eddie Cantor (US #2 1923).

From the wiki: “‘Yes! We Have No Bananas’ is a novelty song by Frank Silver and Irving Cohn published July 19, 1923. The song title was inspired by the yell of a Long Island fruit salesman from Greece.

“First introduced by both authors (as Frank Silver’s Music Masters) in a Long Island roadhouse, then later in Murray’s restaurant in New York, ‘Yes, We Have No Bananas’ was widely popularized on stage by Eddie Cantor in his revue Make It Snappy. The song was first recorded in 1923 by Edward Furman & William Nash. Nationally popular recordings were also released in 1923 by Billy Jones, Ben Selvin, and The Great White Way Orchestra, and others, before Cantor released a popular parody titled ‘I’ve Got the Yes! We Have No Bananas Blues’. Covers of ‘Yes! We Have No Bananas’ were recorded a decade later by Benny Goodman & His Rhythm Makers (1935), and in 1950 by Spike Jones & His City Slickers (1950), and Louis Prima & Keely Smith (1950).

“In his book, A History Of Popular Music In America, Sigmund Spaeth noticed a striking similarity between the melodies of ‘My Bonnie Is Over The Ocean’ and Händel’s ‘Hallelujah Chorus’. Try for yourself: ‘Hallelujah bananas, oh bring back my Bonnie to me.’ No wonder Spike Jones & His City Slickers cut a version.”

Ain’t Misbehavin’

First released by The Charleston Chasers (1929).
Hit versions by Leo Reisman & His Orchestra (US #2 1929), Louis Armstrong’s Hot Five (US #7 1929), Bill “Bojangles” Robinson (US #8 1929), Fats Waller (US #17 1929 |1943), The Teddy Wilson Quartet (US #6 1937), Dinah Washington (R&B #6 1948), Johnnie Ray (UK #17 1956), Tommy Bruce & the Bruisers (UK #3 1960), Hank Williams, Jr. (C&W #1 1986).
Also recorded by King Cole Trio & Anita O’Day (1945), Bill Haley & His Comets (1957), Sam Cooke (1958), Leon Redbone (1975).

From the wiki: “With lyrics by Andy Razaf and score by Thomas ‘Fats’ Waller and Harry Brooks, ‘An’t Misbehavin” was created specifically as a theme song for the Razaf/Waller/Brooks Broadway musical comedy Connie’s Hot Chocolates. In a 1941 interview with Eddie ‘Rochester’ Anderson, of The Jack Benny Show fame, Fats said the song was written while ‘lodging’ in alimony prison, and that is why he was not ‘misbehavin’.’

“The song was first performed at the premiere of Connie’s Hot Chocolates at Connie’s Inn in Harlem as an opening number by Margaret Simms and Paul Bass, and repeated later in the musical by Russell Wooding’s Hallelujah Singers. Connie’s Hot Chocolates transferred to the Hudson Theatre on Broadway in June 1929, where it was renamed to Hot Chocolates and where Louis Armstrong took over as orchestra director. The script also required Armstrong to play ‘Ain’t Misbehavin” in a trumpet solo, and although this was initially slated to only be a reprise of the opening song, Armstrong’s performance was so well received that the trumpeter was asked to climb out of the orchestra pit and play the piece on stage.

Baby I’m Yours

First recorded (as a demo) by Van McCoy (1965).
Hit versions by Barbara Lewis (US #11/R&B #5 1965), Peter & Gordon (UK #19 1965), Jody Miller (C&W #5 1971), Linda Lewis (UK #33 1976).
Also recorded by The Paramounts (1965, released 1988), Cher (1990).

From the wiki: “Barbara Lewis has stated that Van McCoy wrote ‘Baby I’m Yours’ specifically for her. But, that when she first heard the demo she disliked the song. (She has suggested that she was actually daunted by the high quality of the vocal, by McCoy himself, on the demo, and at the original session recalled ‘I didn’t really put 100% into my vocal performance’ hoping that Atlantic would shelve the track as sub-par.)

“‘[Producer] Ollie [McLaughlin] told me ‘Barbara, we’re gonna have to go back to Detroit and dub you in. We gotta do your vocals over. You’re just not giving like you should on the song.’ We did several takes [in Detroit] and he was wondering ‘How am I going to get this girl to give? She’s so hard-headed.’ He said ‘You know, Barbara, Karen can sing that song better than you.’ That was his little daughter. And it pissed me off. I did one more take, and that was the take that they selected.’

Victim of a Foolish Heart

First recorded by George Jackson (recorded 1972, released 2012).
Hit version by Bettye Swann (US #63/R&B #16 1972).
Also recorded by Joss Stone (2003).

From the wiki: “George Jackson was the in-house songwriter for Rick Hall’s ‘Fame Records’ in Muscle Shoals from 1968 well into the 1970s, and wrote hits for Candi Staton, Wilson Pickett and Clarence Carter, among others. He was also a great performer, but his demand as a songwriter kept his recording career very much in the background.

“In 1972, Jackson recorded ‘Victim of A Foolish Heart’ which is thought to have been recorded as a follow-up to George’s two previous Fame singles. But, his recording was shelved in favor of Bettye Swann’s version, which was released on Atlantic with some chart success. ‘Victim of a Foolish Heart’ would later be covered by Joss Stone, in 2003, on her multi million-selling Soul Sessions album.”

My Way

Co-written and first recorded (as “Comme d’habitude”) by Claude François (1967).
Hit English-language versions by Frank Sinatra (US #27/MOR #2 1969), Dorothy Squires (UK #25 1970), Elvis Presley (US #22/MOR #6/UK #9 1977 |C&W #2 1978).
Also recorded by Paul Anka (1969).

From the wiki: “‘My Way’ was popularized in 1969 by Frank Sinatra. Its lyrics were written by Paul Anka and set to the music of the French song ‘Comme d’habitude’ (‘As Usual’) co-written by Claude François, and first performed in 1967 by François.

“Anka’s English lyrics are unrelated to the original French song. He had heard the original 1967 French pop song by François while on holiday in the south of France. Anka flew to Paris to negotiate the rights to the song, acquiring adaptation, recording, and publishing rights for the mere nominal, but formal, consideration of one dollar, subject to the provision that the melody’s composers would retain their original share of royalty rights with respect to whatever versions Anka or his designates created or produced.

“Some time later, Anka had a dinner in Florida with Frank Sinatra during which Sinatra said ‘I’m quitting the business. I’m sick of it; I’m getting the hell out.’ Back in New York, Anka re-wrote the original French song for Sinatra, subtly altering the melodic structure and changing the lyrics.

Uncle Pen

Written and first recorded by Bill Monroe & His Blue Grass Boys (1950).
Also recorded by Manassas (1971, released 2009), Goose Creek Symphony (1971), Michael Nesmith (1973), Phish (1997)
Hit versions by Porter Wagoner (C&W #14 1956), Ricky Skaggs (C&W #1/CAN #1 1984).

From the wiki: “James Pendleton Vandiver was a Kentucky fiddler, born there shortly after the American Civil War. He was uncle to Bluegrass legend Bill Monroe, who immortalized him in a song, ‘Uncle Pen’, first recording in 1950.

“Monroe’s parents had both died by the time he was 16, and he lived part of the time with his Uncle Pen. Monroe used to hear his uncle playing fiddle on the hilltop where he lived, while Monroe put away his mules at night. He later said that Vandiver was ‘the fellow that I learned how to play from.’ Bill Monroe’s biographer, Richard D. Smith writes, ‘Pen gave Bill more: a repertoire of tunes that sank into Bill’s aurally-trained memory and a sense of rhythm that seeped into his bones. Sometimes Bill played guitar behind his uncle, sometimes the mandolin.’

The Devil Went Down to Georgia

First recorded (as “Lonesome Fiddle Blues”) by The Nitty Gritty Dirt Band (1972).
Hit version by The Charlie Daniels Band (US #3/C&W #1 1979).
Also recorded by Old and in the The Way (recorded 1973, released 1975), Vassar Clements (1975).

From the wiki: “‘The Devil Went Down to Georgia’ was written by the Charlie Daniels Band, and was based on a song Bluegrass fiddler Vassar Clements originally wrote, an octave lower, titled ‘Lonesome Fiddle Blues’ that Clements first recorded in 1972 with The Nitty Gritty Dirt Band for the album Will The Circle Be Unbroken.

“In 1973, Clements joined and toured with the Bluegrass supergroup Old and in the Way with Jerry Garcia, David Grisman, and Peter Rowan. The group recorded ‘Lonesome Fiddle Blues’ in 1973 but it would not be released until February 1975. Clements also recorded a version in 1975 for his self-titled solo album on which Charlie Daniels played guitar.”

Havana Moon

Written and first recorded by Chuck Berry (B-side 1956).
Hit album version by Santana (1983).

From the wiki: “‘Havana Moon’ was written and first recorded by Chuck Berry in 1956, and released as the B-side to the single ‘You Can’t Catch Me‘. According to Rolling Stone magazine:

Berry’s story of a Cuban woman missing an American woman came from playing Nat King Cole’s “Calypso Blues” when Berry was still slugging it out at St. Louis’ Cosmopolitan Club at a time when Latin rhythms were popular. He decided to write his own song after a gigging in New York City, where he met Cubans for the first time. “It is the differences in people that I think gives me a tremendous imagination to create a story for developing a lyric,” he wrote in his autobiography. “I had read, seen or heard in some respect all the situations in the Havana story. Certainly, missing the boat and surely missing the girl had been experienced many times by me.” The Rolling Stones recently paid tribute to the song by naming a concert film, shot in Cuba, after the song.

Pass Me By

First performed by Digby Wolfe (1964).
Also recorded by Frank Sinatra (1964).
Popular version by Peggy Lee (US #93/MOR #19 1965).

(Above): Opening credits clip from ‘Father Goose’.

From the wiki: “‘Pass Me By’ was composed by Cy Coleman with lyrics by Carolyn Leigh for the 1964 romantic comedy film Father Goose, set in World War II, starring Cary Grant. The film would go on to win an Academy Award for its screenplay. Although ignored by Oscar, the film’s theme song, ‘Pass Me By’, would later become a hit for his collaborator, Peggy Lee. Coleman has said that he based the song’s tempo on Grant’s jaunty walk in the movie.

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