Songs with Earlier Histories Than the Hit Version

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Category: 1970s

I Can’t Stand the Rain

First recorded by Ann Peebles (US #38/R&B #6/UK #41 1974).
Other hit version by Eruption (US #18/DISCO #6/AUS #1/#1 BEL 1977).

From the wiki: “‘I Can’t Stand the Rain’ was written by Ann Peebles, Don Bryant, and Bernard ‘Bernie’ Miller a song and was first recorded by Peebles in 1973.

“According to Bryant:

“One evening in Memphis in 1973, soul singer Ann Peebles was meeting friends, including her partner, Hi Records staff writer Don Bryant, to go to a concert. Just as they were about to set off, the heavens opened and Peebles snapped: ‘I can’t stand the rain.’ As a professional songwriter in constant need of new material, Bryant was used to plucking resonant phrases out of the air and he liked the idea of reacting against recent R&B hits that celebrated bad weather, such as the Dramatics’ ‘In the Rain’ or Love Unlimited’s ‘Walkin’ in the Rain with the One I Love’.

(Remember the Days of the) Old Schoolyard

First recorded (as “The Old Schoolyard”) by Linda Lewis (1975).
Hit version by Cat Stevens (US #33/MOR #28/CAN #27/UK #44/AUS #18 1977).

From the wiki: “‘(Remember the Days of the) Old Schoolyard’ was inspired by the playground at St. Joseph’s in London, where Stevens went to school, recalling simple days filled with childhood fun.

“Stevens wrote the song for Linda Lewis, who was the first to record the song. Lewis had sung on Stevens’ 1972 album Catch Bull At Four and had accompanied him on his 1974 ‘Bamboozle’ tour. Clive Davis of Arista Records signed Lewis on the strength of her performance of ‘The Old Schoolyard’, which she released as an album track on her 1975 collection, Not A Little Girl Anymore.

Never My Love

First released by Robert Knight (released February 1967).
Hit versions by The Association (released June 1967 US #2/MOR #1/CAN #1/NZ #6), The 5th Dimension (US #12/MOR #1/R&B #45/CAN #9 1972), Blue Swede (US #7/CAN #7 1974), The Addrisi Brothers (US #80 1977).

From the wiki: “”Never My Love” was a pop standard written by siblings Don and Dick Addrisi. Growing up, both Don and Dick played parts in their family’s acrobatic group, The Flying Addrisis. In the 1950s, they got in touch with Lenny Bruce about starting a singing career and moved to California. They auditioned for parts on the Mickey Mouse Club, but were rejected. Soon after, however, they signed to Del-Fi Records and recorded several singles which produced a modest chart hit for them in 1959, ‘Cherrystone’. The brothers enjoyed greater success as a songwriting duo.

If Not For You

Written and first recorded by Bob Dylan (1970 |NETH #30 1971).
First released by George Harrison (1970).
Other hit version by Olivia Newton-John (US #25/MOR #1/CAN #3/ UK #7/AUS #7/NZ #8 1971).
Also recorded by Bob Dylan & George Harrision (1970, released 1991).

From the wiki: “‘If Not for You’ was written by singer-songwriter Bob Dylan for his October 1970 album New Morning. The song was a love song to Dylan’s first wife, Sara Dylan. He recorded it several times in 1970; the session for the released version took place in New York in August. He also recorded the song with George Harrison on May 1, soon after the break-up of the Beatles, a session that attracted much speculation in the music press. The May recording remained unreleased until its inclusion on The Bootleg Series Volumes 1–3 (Rare & Unreleased) in 1991.

“In November 1970, Harrison released his arrangement of ‘If Not for You’ on his triple album All Things Must Pass. The best-known cover version was recorded by Olivia Newton-John in 1971, using Harrison’s arrangement of the song. Newton-John’s single became her first hit song, peaking at #7 on the UK Singles Chart and topping the Billboard Easy Listening chart, as well as the title track to her debut album, If Not for You.

Steamroller Blues

Written and first recorded by James Taylor (1970).
Hit version by Elvis Presley (US #17 1973).
Also recorded (as “Steamroller”) by Merry Clayton (1971).

From the wiki: “‘Steamroller Blues’ (a.k.a. ‘Steamroller’) is a blues parody written by James Taylor, that appeared on his 1970 album Sweet Baby James. It was intended to ‘mock’ the inauthentic blues bands (most always white) of the day.

“Rock journalist David Browne wrote that ‘[d]uring the Flying Machine days in the Village, Taylor had heard one too many pretentious white blues bands and wrote ‘Steamroller’ to mock them.” The song was also included on Taylor’s diamond-selling Greatest Hits 1976 compilation, using a live version recorded in August 1975 at the Universal Amphitheatre in Los Angeles.

Overture from “Tommy”

First recorded by The Who (1969).
Hit version by The Assembled Multitude (US #16 1970).

From the wiki: “‘Overture’ was written by Pete Townshend and first recorded in 1969 by The Who. ‘Overture’ is one of three instrumental tracks Townshend wrote and the group recorded for their landmark rock opera LP Tommy. It was the lead track when the album was released in May 1969. More than year later, in October 1970, ‘Overture’ was released as the B-side of the promotional single ‘See Me, Feel Me’ – which did not chart – and retitled ‘Overture from Tommy‘.

“Three months before its release as a Who B-side single, the Assembled Multitude, an instrumental ensemble group from Philadelphia, Pennsylvania, scored with a reworking of ‘Overture’. Their promotional A-side single peaked at #16 in August, 1970 on the Billboard Hot 100 chart.”

Turn the Page

Written and first recorded by Bob Seger (1973).
Also recorded by Bob Seger (1976).
Hit versions by Jon English (AUS #20 1974), Metallica (US #102/US Rock #1/CAN #5/AUS #11/NZ #22/NOR #11/FIN #7 1994).

From the wiki: “‘Turn the Page’ was first written and by Bob Seger in 1972 and released on his Back in ’72 album in 1973. It was not released as a single at that time. But, a live version of the song on the 1976 Live Bullet album was released in Germany and the UK with no apparent chart impact.

“Seger says he wrote the song in a hotel room in Eau Claire, Wisconsin. Drummer David Teegarden recalls:

Southern Nights

Written and first recorded by Allen Toussaint (1975).
Hit version by Glen Campbell (US #1/MOR #1/C&W #1/CAN #1/UK #28/AUS #36/NZ #10/IRE #3 1977).

From the wiki: “‘Southern Nights’ was written and recorded by Allen Toussaint, from his 1975 album, Southern Nights. It was later recorded by Glen Campbell, with a more up-tempo arrangement and modified lyrics (and a unique guitar lick that Campbell had learned from his friend, Jerry Reed), and released as the first promotional single from Campbell’s 1977 album, also titled Southern Nights.

“The lyrics of ‘Southern Nights’ were inspired by childhood memories Allen Toussaint had of visiting relatives in the Louisiana backwoods, which often entailed storytelling under star-filled nighttime skies. When Campbell heard Toussaint’s version, he immediately identified with the lyrics because they too reminded him of his own youth growing up on an Arkansas farm.

Hot Summer Nights

Written and first recorded by Walter Egan (US #55/CAN #56 1978).
Other hit version by Night (US #18/CAN #23/AUS #3/NZ #28/NETH #21 1979).

From the wiki: “Walter Egan wrote and first released ‘Hot Summer Nights’ (produced by Fleetwood Mac’s Lindsey Buckingham) in 1978 for his album Not Shy. Released as the album’s second promotional single (US #8 ‘Magnet and Steel’ was first), ‘Hot Summer Nights’ peaked at #55 on the Billboard Hot 100.

You’re a Part of Me

Written and first released by Kim Carnes (MOR #35 1975).
Other hit version by Gene Cotton & Kim Carnes (US #36/MOR #6/C&W #78 1978).

From the wiki: “‘You’re a Part of Me’ was written by singer-songwriter Kim Carnes, and was first recorded by her, and produced by Mentor Williams, in 1975 for her second album, Kim Carnes, (an album which also held one of the four arrangements by different artists of ‘Somewhere in the Night‘ that appeared almost simultaneously in 1975). Released as a promotional single, it peaked at #35 of the Adult Contemporary singles chart but did not appear on Billboard‘s Hot 100.

“Three years later, in 1978,’You’re a Part of Me’ received wider popularity – this time as a duet performance between Carnes and another singer-songwriter, Gene Cotton (‘Let Your Love Flow‘). This arrangement did chart on the Hot 100, peaking at #36, scoring Top-10 success on the Adult Contemporary chart, and crossing-over to the Hot Country singles chart. This duet arrangement would be released on Cotton’s 1978 album, Save the Dancer.”

Gene Cotton & Kim Carnes, “You’re a Part of Me” (1978):

After the Lovin’

First recorded (as a demo) by Ritchie Adams (1974).
First released by Rick Chambers (1975).
Also recorded by Jack Jones (1975), Barbara Mandrell (1977).
Hit version by Engelbert Humperdinck (US #8/MOR #1/C&W #40/CAN #7/AUS #13/NZ #1 1976).

From the wiki: “‘After the Lovin” was written by Ritchie Adams and Alan Bernstein in 1974, and first recorded as a demo by Adams. In 1975, Adams, recording under his stage name, Rick Chambers, would record and release the song as a promotional single which did not chart. Adams had earlier co-written hits for Bobby Lewis (‘Tossing and Turning’), Ronnie Dove (‘Happy Summer Days’), and The Banana Splits (‘The Tra La Song (One Banana, Two Banana)’) on which whose TV program Adams was also the music director.

“Jack Jones would cover ‘After the Lovin” in 1975, for his album What I Did For Love (and attributed only to Bernstein).

“Recorded and released by Engelbert Humperdinck in 1976, ‘After the Lovin” would go Top-10 in the US and Canada, and top the New Zealand music chart. The song failed, however, to chart in the UK, despite Humperdinck’s earlier successes there.

“Barbara Mandrell would cover ‘After the Lovin” for her 1977 album Friends and Strangers. Although never released as a single, her performance would garner a Grammy nomination for Mandrell for Best Country Vocal Performance (Female) in 1978.”

Rick Chambers, “After the Lovin'” (1975):

[no video available]

Jack Jones, “After the Lovin'” (1975):

Engelbert Humperdinck, “After the Lovin'” (1976):

Barbara Mandrell, “After the Lovin'” (1976):

Jamaica Say You Will

First recorded by The Byrds (1971).
Also recorded by The Nitty Gritty Dirt Band (1972).
Hit album version by Jackson Browne (1972).

From the wiki: “‘Jamaica Say You Will’ (alternately ‘Jamaica, Say You Will’) was written by Jackson Browne, but was first recorded for release by The Byrds on their Byrdmaniax album, produced by Kim Fowley, the year before Browne’s version came out. ‘Jamaica Say You Will’ was also recorded by the Nitty Gritty Dirt Band for their All the Good Times, released the same month as Browne’s self-titled debut album (aka Saturate Before Using) in January 1972.

Cum On Feel the Noize

First recorded by Slade (UK #1 1973).
Other hit version by Quiet Riot (US #5/CAN #8 1983).

From the wiki: “‘Cum On Feel the Noize’ was written by Slade lead vocalist Noddy Holder and bassist Jim Lea, and produced by Chas Chandler (The Animals, Jimi Hendrix), as a non-album single. It reached #1 on the UK Singles chart, giving the band their fourth number-one single. ‘Cum On Feel the Noize’ would be included on the band’s 1973 compilation album, Sladest. In a 2015 UK poll, the song it was voted #15 on the ITV special The Nation’s Favourite 70s Number One.

“In 1983, the American heavy metal band Quiet Riot recorded their cover of the song, which became a million-selling hit single in the United States and Canada, peaking at #5 on the Billboard Hot 100.”

Starting All Over Again

First recorded by Mel & Tim (US #19/R&B #4 1972).
Other hit version by Hall & Oates (MOR #10/CAN #11 1991).
Also recorded by Israel “Iz” Kamakawiwo’ole (1996).

From the wiki: “‘Starting All Over Again’ was written by cousins Melvin McArthur Hardin and Hubert Timothy McPherson (‘Backfield in Motion’, 1969), and recorded by them in 1972. Released as a single after the duo switched record labels, from Bamboo to Stax, the song peaked at #19 on the Billboard Hot 100 and #4 on the Soul singles chart, and it would become the title track of the second album, Starting All Over Again.

“‘Starting All Over Again’ was covered by ‘blue-eyed soul’ duo Hall and Oates for their album Change of Season. Recorded in 1990 for the album but not released as a promotional single until 1991, their cover arrangement peaked at #10 on the Adult Contemporary singles chart but failed to reach the Top-40. It did go Top-10 in Canada.”

Fascination (Bowie)

First performed (as “Funky Music (Is a Part of Me)”) by the Mike Garson Band feat. Luther Vandross (1974).
Hit album version (as “Fascination”) by David Bowie (1975).
Other hit version (as “Funky Music (Is a Part of Me)”) by Luther Vandross (R&B #34 1976).

From BowieSongs: “Luther Vandross had sung his ‘Funky Music (Is a Part of Me)’ during the opening set of Bowie’s Philly Dogs tour, as part of ‘The Mike Garson Band’ (basically, Bowie’s touring band minus Bowie).

“Bowie had first heard Vandross’ song during the Sigma sessions [in 1974 for Bowie’s Young Americans album], as Vandross sometimes ran his fellow backing singers through it during studio downtime. When Bowie asked Vandross his permission to record ‘Funky Music’, the latter was incredulous. ‘What do you mean, ‘let’ you record it. I’m living in the Bronx in a building with an elevator that barely works and you’re asking me to ‘let’ you record one of my songs?’

Come On Over

Written and first recorded by the Bee Gees (1975).
Hit version by Olivia Newton-John (US #23/MOR #1/C&W #5/CAN #22/NZ #3 1976).

From the wiki: “‘Come On Over’ was by Barry and Robin Gibb and was first recorded by the Bee Gees for their 1975 album Main Course, produced by Arif Mardin in Miami, FL.

“A year later, in 1976, Olivia Newton-John’s cover of ‘Come On Over’ was released as the title track and promotional single for her album Come On Over. Her recording peaked at #23 on the Billboard Hot 100. It was also Newton-John’s sixth #1 in a row on the Easy Listening chart, for one week in April 1976. ‘Come On Over’ also peaked Top-5 on the US Country Singles chart.”

Love Don’t Live Here Anymore

First recorded by Rose Royce (US #32/R&B #5/UK #2/IRE #7/NZ #2 1978).
Also recorded by Madonna (1984).
Other hit versions by Jimmy Nail (UK #3 1985), Madonna (US #78/MOR #29/DANCE #16/CAN #24/POL #9 1996).

From the wiki: “”Love Don’t Live Here Anymore” is a song written by Miles Gregory and originally recorded by Rose Royce. It was produced by former Motown songwriter and producer Norman Whitfield (‘I Heard It Through the Grapevine‘,’War‘,’Smiling Faces Sometimes‘) for Whitfield Records. Lead vocals were sung by Gwen Dickey and the song was released as the second single from Rose Royce’s third studio album Strikes Again.

“The song was developed as a result of producer Whitfield’s interest to work with Paul Buckmaster, the British arranger and composer. Together they asked songwriter Miles Gregory to write a song for them. Gregory’s undergoing medical care for his deteriorating physical health became the inspiration behind the song. ‘Love Don’t Live Here Anymore’ was one of the first recordings to make effective use of an electronic drum machine (most likely the Roland CR-78, released in 1977).

Half the Way

First recorded by Clem Easterling (B-side 1978).
Hit version by Crystal Gayle (US #15/MOR #9/C&W #2/CAN #2/IRE #1 1979).

From the wiki: “‘Half the Way’ was written by Ralph Murphy and Bobby Wood (‘Talking in Your Sleep’). First recorded by Clem Easterling in 1978, it was released as the B-side to her cover single ‘Someday We’ll Be Together’ from the album Just in Time on the New Orleans indie label, Hep’ Me, run by recording entrepreneur Senator Jones.

“The song would be covered in 1979 by Crystal Gayle who, after having achieved major country-pop crossover success the previous two years with ‘Don’t It Make My Brown Eyes Blue’ and ‘Talking in Your Sleep‘, had newly signed with Columbia Records. ‘Half the Way’ was the first song recorded under her new recording contract. As happened with Gayle’s previous recordings, ‘Half the Way’ cross-overed to the pop music chart, and was also a success in Canada (her 5th Canadian #1) and Ireland.”

What Have They Done to My Song Ma

Written and released by Melanie (B-side US #35/A-side UK #9 1970).
Other hit version (as ‘Look What They Done to My Song Ma’) by The New Seekers (US #14/MOR #4/CAN #3/UK #44 1970).

From the wiki: “‘What Have They Done to My Song Ma’ was written by Melanie (Safka). Released in 1970 as the B-side of her ‘Ruby Tuesday’ promotional single for the album Candles in the Rain, the reached the #9 on the UK Singles charts for three weeks.

“Later in 1970, the New Seekers covered Melanie’s song, retitling it to its first lyric line, ‘Look What They Done to My Song Ma’, and scored their first US hit single.”

Lonely Night (Angel Face)

Written and first recorded by Neil Sedaka (1975).
Hit version by The Captain & Tennille (US #3/MOR #1 1976).

From the wiki: “‘Lonely Night (Angel Face)’ was written and first recorded in 1975 by Neil Sedaka, appearing as a track on his 1975 studio album, The Hungry Years. The following year the song was made popular when covered by The Captain & Tennille for their album Song of Joy who took their version to #3 on the Billboard Hot 100.”

All You Get from Love is a Love Song

First recorded by Steve Eaton (1973).
Also recorded by the Righteous Brothers (1975).
Hit version by the Carpenters (US #35/MOR #4/CAN #38/JPN #68 1977).

From the wiki: “‘All You Get from Love Is a Love Song’ was composed by Steve Eaton, former lead guitarist of Paul Revere & the Raiders (‘Indian Reservation (Lament of the Cherokee Reservation Indian)‘), and was first recorded by Eaton in 1973.

“In 1975, the Righteous Brothers were the first to cover the song, for the album Sons of Mrs. Righteous. But, in 1977, ‘All You Get from Love is a Love Song’ was internationally popularized by the Carpenters. Included on the album, Passage, their cover was released as a promotional single – charting in the US Top-40, in Canada, and in Japan.

Some Days are Diamonds (Some Days are Stone)

Written and first recorded by Dick Feller (1975).
Hit version by John Denver (US #36/C&W #6 1981).

From the wiki: “‘Some Days Are Diamonds (Some Days Are Stone)’ was written by singer-songwriter Dick Feller, and was quite different from the humorous and novelty songs he was best known for writing (e.g., ‘The Night Miss Nancy Ann’s Hotel for Single Girls Burned Down’, ‘Lord, Mr. Ford’, ‘Makin’ the Best of a Bad Situation’). Feller was first to record and release the song, in 1976, but his version failed to chart.

“‘Some Days are Diamonds …’ was later covered by John Denver, on his 1981 album Some Days Are Diamonds. Released in May 1981 as the album’s first promotional single, Denver’s version peaked at #6 on the Billboard Hot Country Singles chart and #36 on the Billboard Hot 100.”

(If Loving You is Wrong) I Don’t Want to Be Right

First recorded by The Emotions (unreleased 1972), Vera Brown (unreleased 1972).
First released by Luther Ingram (US #3/R&B #1 1972).
Other hit versions by Jackie Burns (C&W #72 1972), Millie Jackson (US #42/R&B #42 1974), Barbara Mandrell (US #31/C&W 1 1978), Rod Stewart (UK #23 1980), Rhonda Clark (R&B #26 1992).
Also recorded by Faces (1973).

From the wiki: “‘(If Loving You Is Wrong) I Don’t Want to Be Right’ was composed by Stax Records songwriters Homer Banks, Carl Hampton, and Raymond Jackson. Originally written for The Emotions, it was first recorded by The Emotions and also by Veda Brown, but neither of those recordings were ever released.

“The song has had a prominentchart presence, most notably by Luther Ingram whose 1972 arrangement topped the R&B chart for four weeks and rose to #3 on the Billboard Hot 100. Billboard ranked it as the #16 song in popularity for the entire year.

Signs

First recorded and released by The Five Man Electrical Band (B-side 1970).
Hit versions by Bobby Vee (US #125 Feb 1971), The Five Man Electrical Band (re-release US #3/CAN #4/AUS #1 1971), Tesla (US #8/UK #70 1990).

From the wiki: “‘Signs’ was written by the Five Man Electrical Band’s frontman, Les Emmerson, and was recorded it for their second album, Good-byes and Butterflies, in 1970. ‘Signs’ was first released as the B-side earlier that year to the unsuccessful single ‘Hello Melinda Goodbye’, thus remaining relatively obscure.

“Re-released by the group in 1971 as the A-side, ‘Signs’ reached #4 in Canada and #3 on the US Billboard Hot 100 chart. Billboard ranked it as the #4 song for 1971. It became a gold record. But, prior to the Five Man Electrical Band re-release, ‘Signs’ made its first chart appearance in February 1971 when a recording by Bobby Vee ‘bubbled under’ the Hot 100, peaking at #125.