First recorded (as a B-side) by Bobby Day (US #41/R&B #1 1958).
Also recorded by Thurston Harris (US #96 1958).
Other hit version by The Dave Clark Five (US #1/UK #45 1965).
Also recorded by The Righteous Brothers (1965).
From the wiki: “‘Over and Over’ was written by Robert James Byrd and was recorded by him in 1958 using his stage name, Bobby Day (a name he earlier used when a member of the original ‘Bob & Earl’ duo until parting ways in 1957). Day’s version entered the Billboard Hot 100 in 1958, first as the B-side to the hit single ‘Rockin’ Robin’ and, soon after, as an A-side, the same week a version of the same song by Thurston Harris (who had covered Day’s ‘Little Bitty Pretty One‘ the previous year with chart success) entered the chart. Day’s version would reach #41 on the Hot 100 but would top the R&B chart; Harris’ single peaked on the Hot 100 at #96.
Written and first recorded by Barbara Lewis (US #3/R&B #1 1963).
Other hit versions by Fire & Rain (US #100 1973), Yvonne Elliman (US #15/R&B #57/MOR #1/UK #26/NETH #20/NZ #12 1977), Carrie Lucas & The Whispers (R&B #20 1985).
Also recorded by Martha & the Vandellas (1963), The Capitols (1966), The Supremes & The Four Tops (1970).
From the wiki: “‘Hello Stranger’ was written by Barbara Lewis herself, who was originally inspired to write the while working gigs in Detroit with her musician father: ‘I would make the circuit with my dad and people would yell out: ‘Hey stranger, hello stranger, it’s been a long time’.’ The song is notable because its title comprises the first two words of the lyrics but is never at any point repeated throughout the remainder of the song.
“Lewis recorded ‘Hello Stranger’ at Chess Studios in Chicago in January 1963. The track’s producer Ollie McLaughlin recruited The Dells to provide the background vocals. The arrangement by Riley Hampton – then working with Etta James – featured a signature organ riff provided by keyboardist John Young. The track was completed after thirteen takes. Lewis would recall that, on hearing the playback of the finished track, Dells member Chuck Barksdale ‘kept jumping up and down and saying, ‘It’s a hit, it’s a hit.’…I didn’t really know. It was all new to me.’
First recorded by The Majestic Dance Orchestra (1931).
Inspired by “The Spanish Cavalier” (c. 1881).
Hit versions by The Ted Black Orchestra (US #6 1931), Pat Boone (US #1/R&B #12/UK #2 1957), Vince Hill (UK #23 1967).
From the wiki: “‘Love Letters in the Sand’ was written by J. Fred Coots and the lyrics by Nick Kenny and Charles Kenny and was first published in 1931. The song was ‘inspired’ by an 1881 composition, ‘The Spanish Cavalier’, by William D. Hendrickson. First recorded by The Majestic Dance Orchestra, featuring vocalist Helen Rowland, on August 27, 1931, ‘Love Letters in the Sand’ was also recorded the following day (August 28, 1931) by the Ted Black Orchestra whose arrangement peaked at #6 on the Hit Parade.
First recorded by Jack Hylton (Feb 1930).
Hit versions by Libby Holman (US #3 1930), Paul Whiteman & His Orchestra (US #1 1930), Louis Armstrong (US #7 1932), Tony Bennett & Amy Winehouse (US #87 2011).
Also recorded by Coleman Hawkins (1939), Billie Holiday (1957).
From the wiki: “The popular jazz standard, ‘Body and Soul’, was written in 1930 by Johnny Green (music) with lyrics by Edward Heyman, Robert Sour and Frank Eyton. It was composed in New York City for the British actress and singer Gertrude Lawrence, who introduced it first on stage to London audiences. ‘Body and Soul’ would also be first recorded in London by the orchestra of Jack Hylton, the ‘British King of Jazz’, on February 7, 1930.
“In the US, the song was first performed on stage by Libby Holman in 1930 Broadway revue, Three’s a Crowd. The tune grew quickly in popularity and, by the end of 1930, at least 11 American bands had recorded it, including a release by Holman with the Brunswick Records studio orchestra. The Paul Whiteman Orchestra, featuring Jack Fulton vocals, recorded the most popular version; Louis Armstrong would the first jazz musician to record ‘Body and Soul’, in October 1932.
First recorded by Bob & Earl (1958).
Hit version by The Innocents (US #18 1960).
From the wiki: “‘Gee Whiz’ was one of two similarly-titled songs that charted in 1960. This version, written by Jeanne Vicki and Jimmie Thomas (the latter an alias for Chess Records owner Leon René), was first recorded in 1958 by Bob & Earl, Bobby Day (née Bobby Byrd) and Earl Nelson. Both authors had also collaborated earlier Day’s #1 hit ‘Rockin’ Robin’ in 1958. (Note: Day left the duo in 1960, and was replaced by Bob Relf. It was the Relf/Nelson ‘Bob and Earl’ who would go on to record ‘Harlem Shuffle‘ in 1963, Bob and Earl’s only chart success.)
“‘Gee Whiz’ was covered in 1960 by The Innocents, the group who had backed up Kathy Young on ‘A Thousand Stars‘, with a single that peaked in the US Top-20.”
Co-written and first recorded by Willie Nelson (1972).
Hit versions by Waylon Jennings (C&W #3 1973), Waylon Jennings & Willie Nelson (US #25/MOR #16/C&W #1 1976).
Also recorded by Tina Turner (recorded 1974, released 1979).
From the wiki: “Waylon Jennings and Willie Nelson wrote ‘Good Hearted Woman’ in a room at the Fort Worther Motel in Forth Worth, TX, in 1969, inspired by an ad for an Ike & Tina Turner show saying: ‘Tina Turner singing songs about good-hearted women loving good-timing men.’ Jennings started writing the song and asked Nelson to help him finish it during a late-night poker game. By all accounts, Nelson’s contribution was minimal, with his third wife Connie recalling, ‘The only part Willie came up with was ‘Through teardrops and laughter they walk through this world hand in hand.’ Waylon said, ‘That’s it! That’s what’s missing’ and gave Willie half the song.’
“‘Good Hearted Woman’ was first recorded by Willie Nelson in 1972 for his album The Words Don’t Fit the Picture. Later the same year, Jennings recorded the song as the title track of his album Good Hearted Woman. Released as a single in 1973, Jenning’s recording peaked at #3 on Billboard magazine’s Hot Country Singles chart.
“In 1975, Jennings remixed the song, adding vocals from Willie (and adding fake crowd noise to give it a ‘live performance’ feel) for the compilation album Wanted: The Outlaws!. The album cemented the pair’s outlaw image and became country music’s first Platinum album. Re-released as a single, ‘Good Hearted Woman’ peaked at #1 on the Hot Country Singles chart and crossed-over to the Billboard Hot 100, peaking at #25. The song won the Single of the Year award at the 1976 Country Music Association (CMA) Awards.
“In 1974, unbeknownst to either Jennings or Nelson, Tina Turner recorded the song that was, in part, inspired by her, intending it for her first solo album (while still married to Ike Turner), Tina Turns The Country On. Turner recorded almost twenty songs, all covers by different country artists, but only ten – not including ‘Good Hearted Woman’ – were chosen for the album’s release. The remaining tracks were released for the first time in 1979 on the album Good Hearted Woman in 1979. (After Tina’s mid-1980s comeback, the album was reissued in 1985 by Playback Records under the title Tina Turner Goes Country.) Of the 1985 reissue, Billboard magazine wrote:
‘The history of this album is not elucidated in the liner notes, but whenever and however it was recorded, it links Turner with classics like ‘Lovin’ Him Was Easier’, ‘Good Hearted Woman’, and ‘Stand By Your Man’. Her cornered, yowling style renders complete justice to them all.'”
Waylon Jennings, “Good Hearted Woman” (1973):
Tina Turner, “Good Hearted Woman” (1974):
Willie Nelson & Waylon Jennings, “Good Hearted Woman” (1976):
Written by Charles Chaplin and first performed in Limelight (1952).
Hit versions by Frank Chacksfield (as “Terry’s Theme” US #5/UK #2 1953), Rod Goodwin (as “Terry’s Theme” UK #12 1953), Vic Damone (as “Eternally” US #12 1953), Jimmy Young (as “Eternally” UK #8 1953).
From the wiki: “‘Terry’s Theme’ was composed by Charles Chaplin (née Charlie Chaplin), with lyrics by the English lyricists Geoff Parsons and John Turner. The music was first used for Chaplin’s film Limelight (1952) titled ‘Terry’s Theme’. The music for the film was belatedly awarded an Oscar for Best Original Dramatic Score at the 45th Academy Awards in 1973.
“Chaplin spent more than two years writing Limelight. His method was remarkable, and unique in his work. As a preliminary, he wrote the story in the form of a full-length novel – some 100,000 words long and entitled ‘Footlights’. The novel – never published in Chaplin’s lifetime or apparently even intended for publication – relates the story as it appears in the finished film.
First recorded by Jimmy Isle (1960).
Hit version by Dickey Lee (US #6 1962).
From the wiki:”‘Patches’ (not to be confused with Clarence Carter’s ‘Patches‘) was written by Barry Mann (‘We Gotta Get Out of This Place‘, ‘Venus in Blue Jeans‘, ‘Never Gonna Let You Go‘) and Larry Kobler imagining a ‘Romeo & Juliet’ scenario. The song tells in waltz-time the story of teenage lovers of different social classes whose parents forbid their love. The girl drowns herself in the ‘dirty old river.’ The singer concludes: ‘It may not be right, but I’ll join you tonight/ Patches I’m coming to you.’
“‘Patches’ was first recorded by Jimmy Isle for Everest Records in 1960 but which did not have any chart impact. Two years later, in 1962, Dickey Lee would cover the song. Because of its teen-suicide theme, the song was banned on a number of US radio stations. Still, it sold over one million copies, was awarded a gold disc, and peaked on the Billboard Hot 100 at #6.
First recorded by Tommy Dorsey feat. Edythe Wright (#1 1937).
Other hit versions by Russ Morgan and His Orchestra (US #2 1937), Johnny Maddox & the Rhythmasters (US #15 1953).
Also recorded by Larry Clinton & His Orchestra feat. Bea Wain (1937), Ella Fitzgerald & the Chick Webb Orchestra (1937), Bill Haley & His Comets (1957).
“Larry Clinton was an arranger for the Dorsey Brothers big band at the he came up with ‘Dipsy Doodle’, hanging out at the Onyx Club, a jazz club on 52nd Street in New York City, where the back of the menus were printed with blank music scores. One evening Clinton wrote the melody on a menu. It wasn’t until baseball season rolled around that he came up with the lyrics.
“He was a baseball fanatic and Clinton got the idea [for lyrics] from New York Giants left-handed pitcher Carl Hubbell. Hubbell had a screwball pitch that had been dubbed ‘dipsy doo’ for the crazy way it dipped over the plate and befuddled the batters.
“Clinton originally wrote ‘Dipsy Doodle’ for Tommy Dorsey [whose 1937 recording featuring vocalist Edythe Wright topped the Hit Parade ahead of the Russ Moran Orchestra cover version]. Dorsey then made Clinton so well known that Clinton was able to start a band of his own with the financial backing of Dorsey. Then Clinton’s own band further popularized ‘Dipsy Doodle’ by using it as its theme song.
First recorded by Billy Brown (1959).
Hit versions by Jim Reeves (US #2/C&W #1/R&B #13/UK #12/CAN #1/AUS #1/NOR #1 1959), Solomon Burke (US #51/R&B #17 1964).
Also recorded by Elvis Presley (1976).
From the wiki: “‘He’ll Have to Go’ was written by Joe Allison and Audrey Allison.
“Joe first worked in the early 1940s as a commercial artist before embarking on a career in the entertainment industry, first as a disc jockey on a Paris, Texas radio station. In 1945, after a few years on radio, Allison took a job as the emcee for the North American tour of country music singing star Tex Ritter. While working on tour, he offered Ritter a song he had written called ‘When You Leave, Don’t Slam the Door’, which the singer turned into a #1 hit on the Country music charts. This success ultimately led to Allison moving to a radio station in Nashville, Tennessee where he remained until accepting an offer from a radio station in Pasadena, California.
“In 1959, Joe and Audrey co-wrote their most famous song, ‘He’ll Have to Go’, which was initially recorded by Billy Brown. A subsequent version by Jim Reeves become a platinum record, and the song would be recorded successfully by more than one hundred other artists including Elvis Presley, Bing Crosby, Tom Jones, Eddy Arnold, and even big band leader Guy Lombardo. That same year, Allison was hired by Liberty Records to create their Country music department. It was at Liberty that Joe signed Willie Nelson to his first recording contract.
First released by Juice Newton (MEX #3 1977 |US #86 1978).
Other hit versions by Bonnie Tyler (US #3/UK #4/CAN #1/AUS #1 1978), Dave & Sugar (C&W #32 1981), Trick Pony (C&W #22 2005).
Also recorded by Rod Stewart (2006).
From the wiki: “‘It’s a Heartache’ was written by Ronnie Scott & Steve Wolfe. Scott was working with Wolfe as a songwriting and producing team when they spotted Bonnie Tyler in ‘The Townsman Club’ in Swansea, Wales in 1976, and they became Tyler’s managers, songwriters, and producers, writing and producing eight out of the ten songs on Tyler’s first album, The World Starts Tonight (1977). The album included Tyler’s first two UK Top-30 hits, ‘Lost in France’ and ‘More Than a Lover’.
“Tyler’s second album, Natural Force (released in the US as It’s a Heartache in 1978) included five Scott/Wolfe songs including the track ‘It’s a Heartache’ which reached #4 in the UK, and #3 on the Billboard Hot 100 in the United States. The song had already been recorded and first released by Juice Newton almost a year earlier, in 1977.
Based on “Crescent City Blues” by Beverly Mahr (1953).
Hit versions by Johnny Cash (C&W #4 1956), Johnny Cash (US #32/C&W #1/CAN #1 1968).
From the wiki: “Although ‘Folsom Prison Blues’ is still widely thought to have been a Johnny Cash original, he based its melody and many of the lyrics on Gordon Jenkins’s ‘Crescent City Blues’ (which itself borrowed heavily from the 1930s instrumental ‘Crescent City Blues’ by Little Brother Montgomery) from Jenkins’ 1953 Seven Dreams concept album. Jenkins was not credited on the original ‘Folsom Prison Blues’ release. But, by the early 1970s, after the song had become popular, Cash paid Jenkins a settlement of approximately US$75,000 following a lawsuit.
“Cash heard ‘Crescent City Blues’ during his stint with the U.S. Air Force in Germany. He said ‘At the time, I really had no idea I would be a professional recording artist; I wasn’t trying to rip anybody off.’ One very distinct and memorable lyric of ‘Folsom Prison Blues’ that Cash can claim as being wholly original is the line ‘But I shot a man in Reno, just to watch him die’. Cash later recalled: ‘I sat with my pen in my hand, trying to think up the worst reason a person could have for killing another person, and that’s what came to mind.’
First recorded (as a demo) by George Jackson (1978).
Hit version by Bob Seger (US #28/CAN #31 1979 |US #48/AUS #53 1983 |AUS #3 1987 ).
From the wiki: “‘Old Time Rock and Roll’ was written by George Jackson (‘Victim of a Foolish Heart‘) and Thomas E. Jones III, and was first recorded as a demo by Jackson. The Muscle Shoals Rhythm Section, who often backed Seger in his studio recordings at the Muscle Shoals Sound Studio in Sheffield, Alabama, sent Seger a demo of Jackson’s song during the recording of Stranger in Town. Jackson recalls ‘Bob had pretty much finished his recording at Muscle Shoals and he asked them if they had any other songs he could listen to for the future.’
“The song was recorded at the Muscle Shoals studio and also at Sound Suite Studios in Detroit, Michigan. Originally, Seger’s Silver Bullet Band was displeased with its inclusion on Stranger in Town, claiming, according to Seger, that the song was not ‘Silver Bullety’ enough. However, upon hearing audience reactions to it during their tour in Europe, the band grew to like the song. Released as a single in 1979, the song became a Top-40 hit, peaking at #28 on the Billboard Hot 100.
Written and first recorded by Eric Carmen (DEN #7 1976).
Other hit version by Shaun Cassidy (US #3/CAN #1/AUS #2 1978).
From the wiki: “‘That’s Rock ‘n’ Roll’ was written and first recorded by Eric Carmen in 1976. It later became a US Top-10 hit for teen idol Shaun Cassidy.
“Carmen released his version of ‘That’s Rock ‘n’ Roll’ in some nations as the third single from his first eponymous self-titled debut album, Eric Carmen. The single’s limited release did not include the United States. The song charted at #7 in Denmark. Parts of the song are autobiographical.
“‘That’s Rock ‘n’ Roll’ was covered in 1977 by Shaun Cassidy on his first solo LP, Shaun Cassidy. The song was Cassidy’s second of three consecutive Top-10 hits in the US. Cassidy’s cover also topped the Canadian singles chart and nudged the top of the Australian singles chart.
“In 1988, ‘That’s Rock ‘n’ Roll’ was featured as the B-side of a subsequent major hit by Carmen, ‘Make Me Lose Control’.”
First recorded (as “The Last Thing I Needed (The First Thing This Morning)”) by Bill & Bonnie Hearne (1976).
Hit version by Willie Nelson (C&W #2/CAN #1 1982).
Also recorded by Lost Gonzo Band (1976), Gary P. Nunn (1984).
From the wiki: “‘Last Thing I Needed First Thing This Morning” was written by Gary P. Nunn (‘London Homesick Blues’ aka Austin City Limits theme song) and Donna Farar, and was first recorded in 1976 by then-Austin, TX, musicians Bill & Bonnie Hearne. Willie Nelson recorded the song in 1982 for his album Always On My Mind. ‘Last Thing I Needed …’ was released as the third single from the album, and peaked at #2 on the Billboard Hot Country Singles chart and #1 on the RPM Country Tracks chart in Canada.
First recorded (as a demo) by The Modern Lovers (recorded 1972, released 1976).
First released by John Cale (1975).
Also recorded by David Bowie (2003).
From the wiki: “‘Pablo Picasso’ was written by Jonathan Richman for his proto-punk group The Modern Lovers. The song was first recorded by the group in 1972, produced by former Velvet Underground member John Cale. However, the recording was not released until 1976, on The Modern Lovers’ self-titled debut album. In the meantime, Cale recorded a cover of ‘Pablo Picasso’ for his own album, Helen of Troy, released in 1975.
First recorded (as “Sentimental Reasons”) by Deek Watson & His Brown Dots (1945).
Hit versions by The King Cole Trio (US #1 1946), Eddy Howard & His Orchestra (US #6 1947), Dinah Shore (US #6 1947), Ella Fitzgerald & Delta Rhythm Boys (US #8 1947), Sam Cooke (US #17/R&B #5 1957), James Brown (R&B #70 1976).
Also recorded by Linda Ronstadt (1986), Rod Stewart (2004)
From the wiki: “‘(I Love You) for Sentimental Reasons’ was written in 1945 by Ivory ‘Deek’ Watson, founding member of the Ink Spots, and William ‘Pat’ Best, founding member of the Four Tunes. The song was first recorded by The Brown Dots, a group Watson had first formed as the ‘New Ink Spots’ after he left the original group in a dispute. The original Ink Spots then filed a lawsuit to force Watson from using its name, resulting in Watson changing his ‘Ink Spots’ name, just barely, to ‘The Brown Dots’.
“The Brown Dots’ original recording of ‘Sentimental Reasons’ was first recorded and released in 1945 as the B-side of their second single, ‘Let’s Give Love Another Chance’. In 1946, it was released again – as an A-side – but it did not chart nationally.
First recorded by Kansas Joe McCoy & Memphis Minnie (1929).
Hit album version by Led Zeppelin (1971).
From the wiki: “The blues song ‘When the Levee Breaks’ was written and first recorded by husband and wife Kansas Joe McCoy and Memphis Minnie in 1929, in reaction to the upheaval caused by the Great Mississippi Flood of 1927 that ravaged the state of Mississippi and surrounding areas. The flood destroyed tens of thousands of homes and devastated the agricultural economy of the whole Mississippi Basin, forcing people to flee to the cities of the Midwest in search of work and contributing to the ‘Great Migration’ of African Americans to the industrial North in the first half of the 20th century.
“The song was re-worked in 1971 by UK rock group Led Zeppelin, and released as the final track on Led Zeppelin IV. According to Led Zeppelin guitarist and producer Jimmy Page, the famous drum performance of John Bonham was a happy accident:
First recorded by The Fleetwoods (1964).
Hit version by Chad & Jeremy (US #17/MOR #4 1965).
From the wiki: “‘Before and After’ was written in 1964 by Van McCoy (‘Baby I’m Yours‘, ‘The Hustle’), then a staff writer for Columbia Record’s publishing arm April Blackwood Music. The song borrowed the concept of ‘before and after’ images then popular in advertising campaigns for weight loss products: the song’s narrator compares his image with that of the current beau of his ex-girlfriend: ‘He wears a smile, I wear a frown…See the difference between the old and new/ Before and after losing you.’
“‘Before and After’ was first recorded by The Fleetwoods (‘Come Softly to Me’) in late 1964, and released in January 1965 as the title track for their album Before and After. Released as a single in February 1965, it had no apparent chart impact. UK singing duo Chad & Jeremy released a cover in May 1965 as the group’s label debut for Columbia Records after leaving World Artist Records. Its chart impact muted by the concurrent release of other Chad & Jeremy singles by the duo’s previous label, peaking at #17 on Billboard Hot 100, and proved to be the duo’s fourth but final Top-40 hit.”
First recorded (as “I Wanna Go Home”) by Billy Grammar (C&W #18 1962).
Other hit versions by Bobby Bare (US #16/C&W #4/MOR #4 1963), Tom Jones (US #27/UK #8/IRE #4 1967).
Also recorded by Arthur Alexander (1965), co-writer Mel Tillis (1968), George Jones (2005).
From the wiki: “‘Detroit City’, a ‘citybilly’ lament about the struggles and loneliness of a rural Southerner migrating to industrial Detroit, was written by Danny Dill and Mel Tillis. It was first offered to singer George Jones, who turned it down (but who would later record it in 2005 for his album Hits I Missed … and One I Didn’t), and so was first recorded and made famous (as ‘I Wanna Go Home’) by Billy Grammer in 1962.
“In 1963, country singer Bobby Bare covered the song, releasing it as ‘Detroit City’, scoring a Top-5 hit on both the Country and MOR music charts, and making it the title track from Bare’s debut album ‘Detroit City’ and Other Hits. It would win for Bare a Grammy award for the Best Country & Western Recording in 1963.
First recorded by The Spades (1965).
Hit version by The 13th Floor Elevators (US #55 1966).
From the wiki: “‘You’re Gonna Miss Me’, written by Roky Erickson, was released as The 13th Floor Elevator’s debut single on Contact Records, in January 1966. Previous to that, Erickson had recorded the song with his earlier group The Spades.
“After entertaining the idea of embarking on a music career as a country singer, Erickson shifted to emulating the vocalization of rock and roll musical artists he held in high-regard, including James Brown, Little Richard, and Screamin’ Jay Hawkins. However, perfecting his wails, and screams took a level of considerable difficulty, and required a degree of privacy for Erickson, who wanted to project an impression that he was naturally talented.
“On occasions when he rehearsed, Erickson worked in seclusion with only a few close friends. During these practice sessions Erickson, at age 15, composed both ‘You’re Gonna Miss Me’ and ‘We Sell Soul’. Both of the songs originally appeared in 1965 on a single released by Erickson and his group the Spades, gathering regional success and intrigue from contemporary musical acts. Among those impressed with Erickson were jug player Tommy Hall and lead guitarist Stacy Sutherland of another local band, the Lingsmen, who persuaded Erickson to join their ensemble, which soon became the 13th Floor Elevators.
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.
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).”
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.
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