First recorded by Lou Johnson (US #74 1963).
Other hit versions by Dionne Warwick (US #20/R&B #1 1964), Olivia Newton-John (MOR #32/AUS #153 1989).
From the wiki: “‘Reach Out for Me’, written by Burt Bacharach and Hal David, was first recorded in 1963 by Lou Johnson.
“Johnson came from a musical family, and started singing in gospel choirs in his teens. In 1962, Johnson signed as a solo singer with Bigtop Records, run by the Hill & Range music publishing company in the famed Brill Building. There, he met the songwriting team of Burt Bacharach and Hal David, who took a liking to the singer and wrote Johnson’s first single, ‘If I Never Get to Love You’. Neither that song nor his second record, ‘You Better Let Him Go’ (written by Joy Byers), were hits. But, his third single, ‘Reach Out for Me’, another Bacharach-David composition and this time produced by Bacharach, reached #74 on the Billboard Hot 100 in late 1963. However, as it rose up the charts, the Bigtop Records collapsed, limiting the record’s success.
First performed by Herb Alpert (1968).
First released (as “That Guy’s in Love”) by Danny Williams (1968).
Hit versions by Herb Alpert (US #1/MOR #1/CAN #1/UK #3/AUS #1 1968), Dionne Warwick (as “This Girl’s in Love with You” US #7/MOR #2/R&B #7/CAN #7 1969).
From the wiki:”‘This Guy’s in Love with You’ was by Burt Bacharach and Hal David. [T]he original performance originated when Herb Alpert, while visiting at Bacharach’s office, asked, ‘Say, Burt, do you happen to have any old compositions lying around that you and Hal never recorded; maybe one I might be able to use?’ Alpert said he made it his practice to ask songwriters that particular question: often a ‘lost pearl’ was revealed. As it happened, Bacharach recalled one, found the lyrics and score sheet in his office filing cabinet, and offered it to Alpert: ‘Here, Herb … you might like this one.’
“Alpert originally sang ‘This Guy’s in Love with You’ on his April 1968 television special, The Beat of the Brass. In response to numerous viewer telephone calls to the network following the broadcast, Alpert decided that the song should be used as the promotional single for the subsequent May 1968 release of the TV special’s soundtrack. But, the first release of ‘This Guy’s in Love with You’, titled ‘That Guy’s in Love’, was in the UK by South African-born singer Danny Williams in late April 1968, for his self-titled album. Williams’ recording, however, was not released as a single.
First recorded by The Beatles (1967).
First single release by The Young Idea (UK #10 1967).
Other hit single versions by Joe Cocker (US #68/UK #1 1968), The Beatles (US #71/UK #63 1978), Wet Wet Wet (UK #1/IRE #1/FRA #3/GER #3 1988), Sam & Mark (UK #1 2004).
From the wiki: “‘With a Little Help from My Friends’ was written by Paul McCartney and John Lennon, and first appeared on the Beatles’ 1967 Sgt. Pepper’s Lonely Hearts Club Band. Not one of that album’s promotional single releases, the song was first released as single by British singers The Young Idea in 1967.
“A subsequent recording of the track by Joe Cocker – a radical re-arrangement of the original, including an extended instrumental intro (featuring keyboardist Tommy Eyre and guitarist Jimmy Page) – became a hit single in 1968 and an anthem for the Woodstock era. In 1978, the Beatles’ recording, paired with ‘Sgt. Pepper’s Lonely Hearts Club Band’, was reissued as a single.
Written and first recorded by Tom Paxton (1962).
Hit versions by The Chad Mitchell Trio (US #43/MOR #20 1963); Peter, Paul & Mary (1969).
From the wiki: “‘The Marvelous Toy’ was written in 1962 by folk singer Tom Paxton, and was first released on his album of songs recorded live at the ‘Gaslight Cafe’, Greenwich Village, I’m The Man That Built The Bridges. The album liner notes opine that ‘[t]his LP marks Tom Paxton’s achievement. Taped at the Gaslight on a series on a series of warm Autumn afternoons in 1962, it is his own interpretation of the songs he has given America – and a promise of the many fine songs yet to come … The singer is at home in the whimsical world of children, too. ‘THE MARVELOUS TOY’, with its zip, bop noises is a constant favorite with Village audiences.’
First recorded (as “Hier Encore”) by Charles Aznavour (1964).
Hit English-language version by Roy Clark (US #19/C&W #9/MOR #6/CAN #7 1969).
From the wiki: “‘Yesterday, When I Was Young’ was originally written and recorded as ‘Hier Encore’ (‘Yesterday Again’) in France by songwriter Charles Aznavour and released in September 1964. It was subsequently released in Italian as ‘Ieri Si’, in Danish as ‘Hvor tiden går’, in Japanese ‘帰り来ぬ青春’ [‘Returning Youth’], in Spanish as ‘Ayer Aún’, ‘Eilen kun mä tiennyt en’ in Finnish and, in 1969, in English as ‘Yesterday, When I Was Young’. It is considered one of Aznavour’s greatest hits.
“The English-language lyrics, written by Herbert Kretzmer, tell of a man reflecting on his life. Country singer Roy Clark covered ‘Yesterday, When I Was Young’ in 1969. His version became his biggest hit up to that time on the Billboard Hot Country Singles chart, peaking at #9 and becoming his only Top-40 pop hit, peaking at #19. Clark performed the song at Mickey Mantle’s funeral in 1995, at Mantle’s personal request.”
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 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 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 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.
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.
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.”
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.’
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.”
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.
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.
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.
First performed by Ernest Gold (1960).
Hit versions by Pat Boone (US #64 1960), Ferrante & Teicher (US #2 1960).
Also recorded by Eddie Harris (1961), Skatalites (1967).
From the wiki: “The soundtrack for Exodus, including ‘Theme of Exodus’ was written by Ernest Gold, born in Austria and Pop songwriter Andrew Gold’s father, and was recorded with the Sinfonia of London for the 1960 film directed by Otto Preminger. In 1961, Gold’s ‘Exodus’ was nominated for a Golden Globe under the Best Original Score category. The film won an Academy Award for Best Original Score and a Grammy for Best Soundtrack Album. For his contributions, Gold had his name engraved in the Hollywood Walk of Fame – the first composer to receive this honor.
“The main theme from the film (‘Theme of Exodus’) was been widely recorded and covered by many artists such as Ferrante and Teicher, whose version went #2 on the Billboard Hot 100 in 1960. Pat Boone wrote lyrics to Gold’s instrumental and released his recording, titled ‘Exodus Song (This Land is Mine)’, in 1960. Jazz saxophonist Eddie Harris covered the song in 1961; Jamaican ska band, Skatalites, recorded a reggae version of the song in 1967.”
Written and first recorded by P.F. Sloan (1965).
Hit version by The Turtles (US #29 1965).
From ReBeatMag: “‘Let Me Be’ was written and recorded by P.F. Sloan, very successful in the mid-1960s, writing, performing, and producing Billboard Top-20 hits for artists such as Barry McGuire, The Searchers, Jan & Dean, Herman’s Hermits, Johnny Rivers, The Grass Roots, The Mamas & the Papas, and The Turtles. His most successful songs as a writer were three top ten hits. Barry McGuire’s 1965 ‘Eve of Destruction‘, Johnny Rivers’ 1966 ‘Secret Agent Man’ and Herman’s Hermits’ 1966 ‘A Must to Avoid’.
“‘Let Me Be’ was The Turtles’ second single. It didn’t come close to achieving the success of its predecessor, the cover of Bob Dylan’s ‘It Ain’t Me Babe‘. But, it did establish a working relationship between P.F. Sloan and The Turtles. More importantly, the song’s lyrics illustrated the independent, free-thinking spirit of both its composer and its audience, and though, in the big picture, the Turtles weren’t really ‘that kind’ of a band, their energetic and expressive take on the song is what makes it still fresh and relatable today.”
First recorded by David Bowie & John Hutchinson (1969).
Hit version by David Bowie (US #124/UK #5 1969 |US #15/CAN #16 1973 |UK #1 1975).
Also re-recorded by David Bowie (1979).
From the wiki: “‘Space Oddity’ was written by David Bowie. Three primary studio recordings of the song exist: an early demo version recorded in February 1969, the album version recorded that June (edited for release as a single), and a 1979 re-recording.
“The earliest version of ‘Space Oddity’ was recorded on 2 February 1969 by Bowie and John Hutchinson for Bowie’s promotional film Love You Till Tuesday. (Bowie and Hutchinson were the remaining members of the trio Feathers after the departure of Hermione Farthingale.) John was ‘Ground Control’, David was ‘Major Tom’.
First performed by The Story Clovers (1966).
First released by Judy Collins (1966).
Hit versions by Noel Harrison (US #56 1967), Herman van Veen (NETH #4 1969).
Also recorded by Leonard Cohen (1967).
From the wiki: “‘Suzanne’, written by Canadian poet Leonard Cohen, first appeared as the poem ‘Suzanne Takes You Down’ in Cohen’s 1966 book of poetry, Parasites of Heaven. As a song, it was first performed by The Stormy Clovers in 1966 and then recorded by Judy Collins, appearing on her 1966 album In My Life. It was later released by Cohen on his own debut album, Songs of Leonard Cohen (backed by The Stormy Clovers).
“In 1967, Noel Harrison’s version — the second released cover of the song — entered at #125 on the Bubbling Under the Hot 100 chart in late September 1967, entering the Billboard Hot 100 at #86 on October 28, peaking at #56 on November 25, 1967. (Cohen’s version would be released in December 1967.)
“In 1969, Herman van Veen’s Dutch-language version entered the Dutch Top 40 list in April 1969, peaking at #4 in May.”
First recorded by Howlin’ Wolf (1960).
Based on “Spoonful Blues” by Charley Patton (1929).
Hit versions by Etta & Harvey (US #78/R&B #12 1961), Cream (1966).
Also recorded by The Blues Project (1966), Koko Taylor (1978).
From the wiki: “The blues song ‘Spoonful’ was written by Willie Dixon, and loosely based on ‘Spoonful Blues’, recorded in 1929 by Charley Patton. ‘Spoonful’ was first recorded in 1960 by Howlin’ Wolf. Backing Wolf on vocals are longtime accompanist Hubert Sumlin on guitar, relative newcomer Freddie Robinson on second guitar, and Chess recording veterans Otis Spann on piano, Fred Below on drums, and Dixon on double-bass. ‘Spoonful’ would go on to become one of Dixon’s best-known and most-interpreted songs.
“Etta James had a Pop and R&B record chart hit with ‘Spoonful’ in 1961, in duet with Harvey Farqua (who would go on to become head of A&R at Motown Records). ‘Spoonful’ would become more popularized in the late 1960s when recorded by the British rock group Cream who produced a cover of ‘Spoonful’ for their 1966 UK debut album, Fresh Cream.
Written and first recorded by P.F. Sloan (1965).
Hit versions by The Turtles (1965 |US #100 1970), Barry McGuire (US #1/NOR #1 1965)
Also recorded by Jan & Dean (1965).
From the wiki: “‘Eve of Destruction’ was written by P. F. Sloan in mid-1964. Sloan was very successful during the mid-1960s, writing, performing, and producing Billboard top 20 hits for artists such as Barry McGuire, The Searchers, Jan & Dean, Herman’s Hermits, Johnny Rivers, The Grass Roots, The Turtles, and The Mamas & the Papas. He was also a session guitarist in the group of L.A. session musicians known as The Wrecking Crew, working with such well-known backing musicians as drummer Hal Blaine, guitarist Tommy Tedesco, bassist Joe Osborn, and bassist/keyboardist Larry Knechtel, among others. It was while working with Barry McGuire that Sloan created and played a guitar introduction as a hook to a new song by John Phillips entitled ‘California Dreamin”, and the same backing track was used for the hit version by Phillips’ group The Mamas & the Papas, which led to Sloan becoming a regular in their recording sessions.
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