First recorded (as a demo) by John Lennon (1968).
Hit B-side single version by The Beatles (1969).
From the wiki: “Written by John Lennon as an anguished love song to his wife, Yoko Ono, Paul McCartney interpreted ‘Don’t Let Me Down’ as a ‘genuine plea’, with Lennon saying to Ono, ‘I’m really stepping out of line on this one. I’m really just letting my vulnerability be seen, so you must not let me down.’ First recorded as a demo by Lennon in 1968, multiple versions of ‘Don’t Let Me Down’ were recorded by the Beatles during the tumultuous Let It Be (née Get Back) recording sessions. The version recorded on 28 January 1969 was released as a B-side to the single ‘Get Back’, recorded the same day.
“The Beatles performed ‘Don’t Let Me Down’ twice during their rooftop concert of 30 January 1969, one of which was included in the Let It Be (1970) film, directed by Michael Lindsay-Hogg. When the ‘Get Back’ project was revisited, Phil Spector dropped ‘Don’t Let Me Down’ from the Let It Be (1970) album. The B-side version of the song was later included on the Beatles’ compilation albums Hey Jude, 1967-1970 and Past Masters Volume 2 and Mono Masters.”
First recorded (as “What a Man”) by Linda Lyndell (R&B #50 1968).
Other hit version by Salt N Pepa (US #3/R&B #3/UK #7 1993/AUS #2 1993).
From the wiki: “Linda Lyndell sang in gospel churches as a child; though she was white, she sang in both white and black churches, and eventually began singing with R&B groups as a teenager. In the 1960s she sang as a support act with James Brown and Ike & Tina Turner, and in 1967 Atlanta disc jockey Dave Crawford tipped her to Stax Records producers Isaac Hayes and David Porter. They recorded her first single, ‘Bring Your Love Back to Me’, in December 1967 and released it on Volt Records, but the song did not become a hit. In 1968 she did a second session, cutting the tune ‘What a Man’. The song was essentially improvised in the studio by Lyndell, record producer Dave Crawford, and the Stax studio musicians in Memphis, TN.
Written and first recorded by Jake Holmes (1967).
Also recorded (as “I’m Confused”) by The Yardbirds (1968).
Hit album version by Led Zeppelin (1969)
From the wiki: “‘Dazed and Confused’ was written and first recorded by Jake Holmes for his debut solo album The Above Ground Sound of Jake Holmes, released in June 1967. The song has been incorrectly labelled as a tale about a bad acid trip; however, Holmes has confirmed that is not the case – that the song refers to the potential break-up of a relationship, typical of Blues numbers.
“In August 1967, Holmes opened for The Yardbirds at a Greenwich Village gig in New York City. According to Holmes, ‘That was the infamous moment of my life when ‘Dazed and Confused’ fell into the loving arms and hands of Jimmy Page.’ When ‘Dazed and Confused’ subsequently appeared on Led Zeppelin’s album in 1969, Holmes was aware of it but didn’t follow up on it at that time. He said: ‘In the early 1980s, I did write them a letter and I said basically: ‘I understand it’s a collaborative effort, but I think you should give me credit at least and some remuneration.’ But they never contacted me.’
“In June 2010, Holmes finally brought suit against Led Zeppelin guitarist Jimmy Page for copyright infringement, claiming to have written and recorded ‘Dazed and Confused’ two years before it appeared on Led Zeppelin’s debut album. In court documents Holmes cited a 1967 copyright registration for the song which he had renewed in 1995. This court case was ‘dismissed with prejudice’, as the parties settled out of court in January 2012.
First recorded by The Jet Set (1964).
Hit versions by The Turtles (US #6/CAN #1 1968), De La Soul (as “Transmitting Live from Mars” 1989), Salt N Pepa (US #47/UK #15 1990), The Lightning Seeds (UK #8 1997).
From the wiki: “‘You Showed Me’ was written by Jim McGuinn and Gene Clark of The Byrds in 1964 at a time when the pair were performing as a duo at The Troubadour and other folk clubs in and around Los Angeles. McGuinn and Clark soon formed a trio with David Crosby and named themselves The Jet Set. The Jet Set trio were rehearsing at World Pacific Studios under the guidance of their manager Jim Dickson, and it was there many of group’s rehearsal sessions were recorded, including ‘You Showed Me’. However, the song was soon abandoned by the group, who had by now changed their name to The Byrds, and it was not included on their debut album for Columbia Records, Mr. Tambourine Man.
“In 1968 the song was recorded by The Turtles, for the album The Turtles Present the Battle of the Bands, and was also released as a single in 1968. ‘You Showed Me’ had been introduced to The Turtles by their producer and former bass player, Chip Douglas, who himself had first become acquainted with the song after hearing Clark, McGuinn and Crosby perform it at The Troubadour in 1964. Douglas had also performed the song with Clark during 1966, while he was a member of Gene Clark and the Group.
First recorded (as “The Hammer Song”) by The Weavers (1950).
Hit versions by Peter, Paul & Mary (US #10 1962), Trini Lopez (US #3 1963).
From the wiki: “‘If I Had a Hammer (The Hammer Song)’ was written by Pete Seeger and Lee Hays in 1949 in support of the progressive movement, and was first recorded by The Weavers in 1950. It was not particularly successful in commercial terms when it was first released. (The song was first performed publicly by Pete Seeger and Lee Hays on June 3, 1949, at St. Nicholas Arena in New York City at a testimonial dinner for the leaders of the Communist Party of the United States. It was later part of the three songs Seeger played as the warm-up act for Paul Robeson’s September 4, 1949, concert near Peekskill, New York, which subsequently erupted into a riot.)
“‘If I Had a Hammer’ went on to become a Top-10 hit for Peter, Paul and Mary in 1962, and then went to #3 a year later when recorded by Trini Lopez.”
Co-written and first recorded by Sid Ramin (1965).
Hit versions by The Bob Crewe Generation (US #15/MOR #2 1966), Andy Williams (US #34/UK #33 1967 |UK#9 1999), Al Hirt (US #119/MOR #31 1967).
Also recorded (as “Music to Watch Space Girls Go By”) by Leonard Nimoy (1967).
From the wiki: “‘Music to Watch Girls Go By’ was composed by Tony Velona and Sidney ‘Sid’ Ramin, and was first recorded as a commercial jingle demo for Diet Pepsi, where producer Bob Crewe first heard the song. Crewe, using his own name, then recorded the song under his nom de plume ‘The Bob Crewe Generation’. Crewe’s ‘big-band, horn driven’ recording went to #15 on the Pop chart and #2 on the Easy Listening chart.
“A vocal recording by Andy Williams, featuring lyrics by original co-writer Velona, went to #34 in the United States and #33 in the UK but, after it was used in a Fiat ad in the UK in 1999, the re-released single reached the UK Top-10. The version by Al Hirt in 1967 reached #31 on the MOR chart and bubbled-under the Billboard Hot 100. In 1967, an instrumental version, renamed ‘Music to Watch Space Girls By’, appeared on Leonard Nimoy’s debut album Leonard Nimoy Presents Mr. Spock’s Music from Outer Space.”
Co-written and first recorded by Bert Kaempfert (1964).
Hit version by Nat “King” Cole (US #89/MOR #17 1965)
From the wiki: “‘L-O-V-E’ was composed by Bert Kaempfert, and was first recorded as an instrumental track on Kaempfert’s album Blue Midnight (1964). Nat ‘King’ Cole followed in 1965 with his vocal recording for his album of the same name (1965), with lyrics by Milt Gabler. The trumpet solo on the Cole recording was performed by Bobby Bryant. For international versions of L-O-V-E album, Cole also recorded versions of ‘L-O-V-E’ in Japanese (mixed with English words), Italian, German, Spanish and French (as ‘Je Ne Repartirai Pas’).”
First recorded (as “Beddy Bye”) by Bert Kaempfert (1965).
First English-language recording by Jack Jones (1966).
Also recorded by Ivo Robić (1966).
Hit version Frank Sinatra (US #1/MOR #1/UK #1 1966).
From the wiki: “‘Strangers in the Night’ is credited to Bert Kaempfert with English lyrics by Charles Singleton and Eddie Snyder. It is sometimes claimed that the Croatian singer Ivo Robić was the original composer of ‘Strangers in the Night’ (performed as ‘Stranci u noći’), and that he sold the rights to Kaempfert after entering it without success in a song contest in Yugoslavia. These claims have not been substantiated. Robić, a pioneer of popular Yugoslav music from the early 1950s on, was the only artist from Yugoslavia whose records were available in the record shops of Europe and the rest of the world. He performed and collaborated with Kaempfert, Freddy Quinn, and Dean Martin. Robić would go on to record Yugoslav and German versions of ‘Strangers in the Night’, ‘Stranci u Noći’ with lyrics by Marija Renota and ‘Fremde in der Nacht’ with lyrics by Kurt Feltz.
“Kaempfert originally recorded the melody under the title ‘Beddy Bye’ as part of the instrumental score for the movie soundtrack to A Man Could Get Killed, which went on to win a Golden Globe Award in 1967 for Best Original Song in a Motion Picture.
“It was singer Jack Jone who first recorded a English-language version of ‘Strangers in the Night’ (Bobby Darin was also said to be recording the song) but Frank Sinatra’s recording was rushed into release. Sinatra’s recording reached #1 on both the Billboard Hot 100 (bumping the Beatles out of #1) and the MOR charts. The song also reached #1 on the UK Singles Chart. It has been said record producer Jimmy Bowen was the mastermind behind getting the song off the ground and onto the airwaves before anyone else could. According to Charles Pignone, ‘They did the recording session, and then Jimmy actually pressed some acetates and sent them out to disc jockeys. He actually paid people or paid stewardesses in certain cities to take these acetates on a plane then drop them off at a city to disc jockeys because he was aware that Jack Jones had recorded the song, and it was going to come out in a specific time, and he wanted Frank to get airplay on it.’
“‘Strangers in the Night’ also became the title song for Sinatra’s 1966 album Strangers in the Night, his most commercially successful album. Sinatra’s recording won him the Grammy Award for Best Male Pop Vocal Performance and the Grammy Award for Record of the Year, as well as a Grammy Award for Ernie Freeman for Best Arrangement Accompanying a Vocalist or Instrumentalist.
Written and first recorded by Tommy James & the Shondells (1968).
Hit version by The Clique (US #22 1969).
From the wiki: “‘Sugar on Sunday’ was written by Tommy James and Mike Vale, and was first recorded by Tommy James & the Shondells in late 1968 for inclusion on the Crimson & Clover album.
“The Clique was a late 1960s American sunshine pop band from Houston, Texas. They started as the Roustabouts in the Beaumont, Texas area, 90 miles east of Houston, and later the Sandpipers before renaming themselves the Clique in 1967 and settling in Houston. Their first hit was a cover of the 13th Floor Elevators’ ‘Splash 1’, on Cinema Records, produced by Walt Andrus. The song was #1 in Houston for several weeks. Their self-titled album, The Clique (1969), released by White Whale Records, featured the singles ‘I’ll Hold Out My Hand’ and ‘Sugar on Sunday’. The latter single reached #22 on the Billboard Hot 100 in October, 1969.”
Co-written and first recorded (as a demo) by Barry Mann (1961).
Hit versions by The Paris Sisters (US #5 1961), Jimmy Crawford (UK #18 1961), Paul & Barry Ryan (UK #21 1966), Bobby Vinton (US #9/MOR #2 1968), Lynn Anderson (C&W #18 1979), Glen Campbell (C&W #17 1983).
From Songfacts.com: “‘I Love How You Love Me’ was written by Barry Mann (‘Who Put the Bomp’, ‘Venus in Blue Jeans‘, ‘We Gotta Get Out of This Place‘, ‘Never Gonna Let You Go‘) and Larry Kolber, and first recorded as a demo by Mann in 1961. According to Rich Podolsky’s book Don Kirshner: The Man with the Golden Ear, Kolber’s post-military career (he had been a journalist for Stars & Stripes) found him, first, a whiskey salesman and, then, after a casual encounter, a budding lyricist – an unpredictable twist. It was while having lunch at a cafe on Manhattan across the street from Aldon Music that Kolber literally jotted down on a napkin the lyrics, in minutes, to ‘I Love How You Love Me’! Kolber went across to Aldon to look for someone to set his lyrics to music. Barry Mann happened to be in the Aldon offices just at that moment, and it was he who set Kolber’s lyrics to music.
“Tony Orlando was originally slated to sing it, but Phil Spector happened to drop by and asked for the song for one of his girl groups. Kolber was disappointed, thinking that he’d lost a shot at fame without Orlando’s voice.
First recorded (as “Samba De Verão”) by Eumir Deodato (1964).
First vocal recording by Marcos Valle (1965).
Hit versions by The Walter Wanderley Trio (US #26/MOR #3 1966), Johnny Mathis (MOR #17 1966), Connie Francis (MOR #17 1966), Vicki Carr (MOR #32 1966).
From the wiki: “‘Summer Samba’ (also known as ‘So Nice’ or its original Portuguese title, ‘Samba de Verão’) is a 1964 Bossa nova song by Brazilian composer Marcos Valle, with English-language lyrics by Norman Gimbel; the original Portuguese lyrics came from Paulo Sérgio Valle, brother to the composer. Brazilian musician, arranger and producer Eumir Deodato, a musical autodidact, starting with the accordion at age 12, first recorded the song in 1964.
“The song was first popularized by the Walter Wanderley Trio in 1966 — the album Rain Forest. Also reaching the U.S. MOR chart in 1966 with versions by Johnny Mathis, Connie Francis, and Vikki Carr. In fact, at least one source claims that three different versions were on the Billboard charts at the same time in 1966. Allmusic has said of Wanderley’s version, ‘His recording … is regarded as perhaps a more definitive Bossa tune than ‘Girl From Ipanema’.’ Wanderley’s version was the biggest seller in the U.S., reaching #26 on the Billboard Hot 100 in 1966, (#3 on the MOR chart).”
First recorded by Julie Rogers (1967).
Also recorded by Lorraine Chandler (1967).
Hit movie version by Nancy Sinatra (1967).
From the wiki: “The title track from the James Bond movie, You Only Live Twice, was composed and produced by veteran James Bond composer John Barry, with lyrics by Leslie Bricusse. Julie Rogers was asked to perform the song, and recorded it with a 50- or 60-piece orchestra at CTS Studios, London. Her version was quite different from the later Sinatra version, with a more Oriental flavor. Jazz singer Lorraine Chandler also recorded a version of the song that differed greatly from the other two – a more bombastic, Shirley Bassey-sound, differing from the more mellow alternate versions. John Barry recalls, ‘It was usually the producers that said ‘this isn’t working, there’s a certain something that it needed’. If that energy wasn’t there, if that mysterioso kind of thing wasn’t there, then it wasn’t going to work for the movie.’
“Instead, the film’s producer, Cubby Broccoli, wanted his friend Frank Sinatra to perform ‘You Only Live Twice’. Frank suggested that they use his daughter instead. Barry wanted to use Aretha Franklin, but the producers insisted that he use Nancy instead, who was enjoying great popularity in the wake of her single, ‘These Boots Are Made for Walkin”.
Co-written and first recorded (as a demo) by Carole King (1967).
Hit version by The Monkees (US #3/CAN #2/UK #11 1967).
From the wiki: “‘Pleasant Valley Sunday’ was written by Gerry Goffin and Carole King, and was first recorded in 1967 as a demo by King. Goffin’s and King’s inspiration for the name was a street named Pleasant Valley Way, in West Orange, New Jersey where they were living at the time. The road follows a valley through several communities among the Watchung Mountains. The lyrics were a social commentary on status symbols, creature comforts, life in suburbia and ‘keeping up with the Joneses’.
“The Monkees’ single peaked at #3 on the Billboard Hot 100 and was featured in the second season of their television series. The Monkees. ‘Pleasant Valley Sunday’ also appeared on the fourth Monkees album, Pisces, Aquarius, Capricorn & Jones Ltd., in November 1967. While mono copies of the album had the same version heard on the single, stereo copies had a version using a different take of the first verse and an additional backing vocal during the break.”
First recorded (as a demo) by Carole King (1961).
Also recorded by Dion & the Belmonts (1961), The Beatles (1962).
Hit versions by Bobby Vee (US #1/UK #3 1961), Bobby Vinton (US #33 1968).
From the wiki: “‘Take Good Care of My Baby’ was written by Carole King and Gerry Goffin, and was first recorded by King as a demo in 1961. Dion & the Belmonts were the first to record the song for commercial release but their version was not published until release of the album Runaround Sue in the slipstream of Bobby Vee’s #1 hit. The song was covered by The Beatles during their audition at Decca Records on January 1, 1962 but was unreleased until 2009. In 1968, ‘Take Good Care’ became a hit again, this time for Bobby Vinton.”
First recorded by Bobby Vee (1962).
Hit versions by Steve Lawrence (US #1/R&B #14 1962), Maryk Wynter (UK #6 1962), The Happenings (US #12 1965), Donny Osmond (US #1 1971).
Also recorded (as “Yu-Ma/Go Away Little Boy”) by Marlena Shaw (R&B #29 1977).
From the wiki: “‘Go Away Little Girl’ was written by Gerry Goffin and Carole King, and was first recorded in 1962 by Bobby Vee. The song would go on to become notable for making the American Top-20 three times: for Steve Lawrence in 1962, for The Happenings in 1966, and for Donny Osmond in 1971. ‘Go Away Little Girl’ was also the first song, and one of only nine total, to reach US #1 by two different artists (Lawrence, in 1962; and Osmond, in 1971). The original recording by Vee was cut during same session as ‘It Might As Well Rain Until September’ and ‘Sharing You’. Not satisfied with the result, the song was shelved until producer Don Kirshner passed the song along to his good friend, Steve Lawrence.
Written and first performed (live) by Neil Diamond (1966).
Hit version by The Monkees (1967).
From the wiki: “‘A Little Bit Me, A Little Bit You’ was written by Neil Diamond. He never made a studio recording of the song (as he had done with The Monkees’ ‘I’m a Believer‘), but he did perform ‘A Little Bit Me’ in his live shows circa late 1966.
Written and first performed by Joni Mitchell (1969).
Hit versions by Crosby, Stills, Nash & Young (US #11 1970), Matthew’s Southern Comfort (US #23/UK #1/CAN #5/IRE #2/POL #2/SWE #2 1970).
From the wiki: “‘Woodstock’ was written by Joni Mitchell and included on her 1970 album Ladies of the Canyon. But, was first performed Mitchell at the Big Sur Folk Festival in September 1969, one month after the Woodstock Music and Art Festival. The song was notably covered by both Matthews Southern Comfort, and by Crosby, Stills, Nash & Young and would on to become a counterculture anthem. Mitchell wrote the song from what she had heard from then-boyfriend, Graham Nash, about the Woodstock concert. She had not been there herself; she had been told by a manager that it would be more advantageous for her to appear at the time on The Dick Cavett Show. Mitchell wrote it in a hotel room in New York City, watching televised reports of the festival.
Co-written and first recorded (as an instrumental) by The James Last Orchestra (1969).
Hit versions by Nick DeCaro (MOR #22 1969), Petula Clark (US #62/MOR #12 1969/AUS #22), Andy Williams (US #22/MOR #1/UK #19/AUS #22 1969).
From the wiki: “‘Happy Heart’ was written by James Last and Jackie Rae, and was first recorded as an instrumental by The James Last Orchestra in 1969. It was first covered by Nick DeCaro, a version which enjoyed modest success in the US on the Billboard Easy Listening chart. ‘Happy Heart’ would go on to be recorded by both Petula Clark and Andy Williams, and released as a single by each almost simultaneously in 1969. Clark’s ‘Happy Heart’ reached #12 on the Easy Listening chart and #62 on the Billboard Hot 100; Williams’ version peaked at #22 on the Billboard Hot 100, #19 in the UK, and spent two weeks at #1 on the Billboard Easy Listening chart. Clark was reportedly dismayed when Williams was a guest star on her second TV special, with the plan to perform ‘Happy Heart’ at the time each were planning to launch ‘Happy Heart’ as their next respective single.
Inspired by “The Trip” by Donovan (1966).
Hit version by Sonny & Cher (US #6/UK #29 1967).
“The Trip” was written by English folk-rock singer Donovan about his popular engagement in Los Angeles at the Sunset Strip nightclub of the same name, and the “happenings” on the scene at the time.
The evidence is purely circumstantial, but:
“[Charlie Greene] discovered and built acts like Sonny and Cher, Buffalo Springfield and Iron Butterfly, from obscurity to stardom. The same groups would eventually have seizures until Greene was booted out of the very contracts he landed them. Every time. Sonny Bono paid $250,000 to buy back Greene’s contract.
“‘I hocked my typewriters for that first record, ‘Baby Don’t Go.’ Got $168, you know, it was just a West Coast hit anyway. And then Sonny stole . . . ah, wrote, ‘I Got You Babe’. . . . heheheheh. . . .
“‘Why the big laugh?
“‘It was a very timely song, man. Hey, Donovan had just come off ‘Catch The Wind’ and Sonny is very good at picking out certain commercial aspects of other hit songs. As are other writers. Sure. Just listen to them side-by-side, it’s an influence. Sonny’s clever. He’s not a good songwriter, but he’s a clever thief. No, thief is the wrong word. Influence . . . he uses influence well.
“. . . ‘The Beat Goes On,’ you might listen to Donovan’s ‘The Trip.’ ‘Baby Don’t Go,’ you might listen to ‘We’ll Sing in the Sunshine.’ Some are direct; some are indirect. I got to hand it to the mother-fucker for continuing to have perseverance on . . . ah . . . on an overabundance of a lack of talent. No, no, no, I got no complaint with Sonny.'”
– ‘As Bare As You Dare With Sonny and Cher’, Rolling Stone RS135, May 24, 1973
Based on “Brez besed” by Berta Ambroz (1966).
Hit versions by Mocedades (US #9 1973), Eydie Gorme (MOR #41 1973).
From the wiki: “‘Eres tu’ (‘It’s You’) was written in 1973 by Juan Carlos Calderón and performed by the Spanish band Mocedades. song was chosen as Spain’s entry in the 1973 Eurovision Song Contest. After reaching second place in the contest, ‘Eres tu’ was released as a single. The song also has an English version, titled ‘Touch the Wind’, with lyrics by Mike Hawker (but which actually featured a completely different set of lyrics rather than a translation of the original Spanish lyrics).
“Calderón was accused of plagiarism following suggestions that ‘Eres tu’ was merely a rewrite of the Yugoslav entry from the 1966 Eurovision Song Contest – ‘Brez besed’ (‘Without words’) – sung by Berta Ambrož. ‘Eres tú’ was not disqualified but it has been suggested that this may have resulted from political reasons, as Francisco Franco’s Spain was seen as more part of the European mainstream than Josip Broz Tito’s Yugoslavia.”
First recorded by The Regents (US #13/R&B #7 1961).
Also recorded by Jan & Dean (1962).
Other hit version by The Beach Boys (US #2/UK #3 1966).
From the wiki: “‘Barbara Ann’ was written by Fred Fassert and was first recorded by The Regents as ‘Barbara-Ann’. Their version was released in 1961. It reached #13 on the Billboard Hot 100 chart, and crossed-over, too, as a Top 10 R&B hit. The Beach Boys recorded their version on September 23, 1965 (five days after actress and model Barbara Anne Feldon coincidentally made her first television appearance on Get Smart). Dean Torrence is featured on lead vocals with Brian Wilson. Torrence was not credited on the album jacket but ‘Thanks, Dean’ is spoken by Carl Wilson at the end of the track.
“By late January 1966, ‘Barbara Ann’ was in position to replace ‘We Can Work It Out’ by The Beatles as the next #1 song. However, ‘My Love’, by Petula Clark, unexpectedly vaulted into the #1 position the week ending February 5, 1966. Consequently, ‘Barbara Ann’ peaked at #2 in the US Billboard Hot 100.”
First recorded by The Ad Libs (US #8/R&B #6 1965).
Also recorded by Dave “Baby” Cortez (1965).
Other hit versions by Darts (UK #2 1978), The Manhattan Transfer (US #7/MOR #4 1981).
From the wiki: “‘The Boy from New York City’ was originally recorded by the American soul group The Ad Libs. Released as the group’s first single in 1964, it was produced by Jerry Leiber and Mike Stoller (‘Hound Dog‘, ‘On Broadway‘). The song peaked at #8 on the US Billboard Hot 100 in February 1965. The Ad Libs would never repeat their chart success.
“The song was later covered by Dave ‘Baby’ Cortez, as a 1965 instrumental; Darts, in 1978; and The Manhattan Transfer, in 1981. The latter two covers became chart hits in the UK and US, respectively. The Ad Libs recording also inspired a response song by The Beach Boys, ‘The Girl from New York City’, from their 1965 album Summer Days (And Summer Nights!!).”
First recorded by Paper Dolls (1968).
Hit version by Jefferson (US #23 1969).
From the wiki: “Paper Dolls was founded in 1967 as a British female vocal trio from Northampton, UK, who appeared a couple of decades before similar all-girl recording acts, such as Bananarama, Atomic Kitten and Spice Girls, became commonplace. Pre-dating the Spice Girls, each member of the girl group had a nickname (Susanne Mathis, ‘Tiger’; Susan Marshall, ‘Copper’; Pauline Bennett, ‘Spyder’). Signed to Pye Records, Paper Dolls had one solitary chart success: The song, ‘Something Here in My Heart (Keeps A Tellin’ Me No)’, written by Tony Macaulay and John Macleod, was their debut single. It reached #11 on the UK Singles Chart in 1968. The group’s greatest professional disappointment came when their producers first arranged for them to record another Macaulay co-composition, ‘Build Me Up Buttercup’, in 1967. But, due to a misunderstanding, Paper Dolls never turned up for the session; instead, the song was given to The Foundations, whose version became a transatlantic hit.
First recorded by The Quarrymen (1958).
Also recorded by The Beatals (1960), The Beatles (1962), The Beatles (1963).
First released by Terry Manning (1968).
Hit album version by The Beatles (1969).
From the wiki: “‘One After 909’ is the oldest known Beatles song. It was written as early as 1957, one of the first Lennon-McCartney compositions (‘[‘One After 909′] was something I wrote when I was about seventeen,’ John Lennon explained in his 1980 Playboy magazine interview), and was first recorded c. 1958 by The Quarrymen according to Mike McCartney. The then-name Beatals recorded ‘One After 909’ sometime between January-August 1960, after Stu Sutcliffe had joined as the bass player but before the addition of Pete Best on drums. The Beatles, sans Sutcliffe but with Best on drums, also recorded the song during rehearsals in 1962 at The Cavern Club, Liverpool. The group first recorded ‘One After 909’ in a studio during the sessions for the group’s third single, ‘From Me to You’, with Ringo Starr on drums, but that recording was unreleased until Anthology I in 1995.
The cookie settings on this website are set to "allow cookies" to give you the best browsing experience possible. If you continue to use this website without changing your cookie settings or you click "Accept" below then you are consenting to this.