Songs with Earlier Histories Than the Hit Version

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Category: Pop

Baubles, Bangles & Beads

First recorded by the Original Cast of Kismet (1953).
Hit versions by Peggy Lee (US #30/AUS #9 1954), Georgia Gibbs (B-side US #18 1954), The Kirby Stone Four (US #25 1958), Frank Sinatra (1959), Frank Sinatra & Antonio Carlos Jobim (1967), Deodato (1973).

From the wiki: “‘Baubles, Bangles & Beads’ is from the 1953 musical Kismet, credited to Robert Wright and George Forrest. Like all the music in that show, the melody was based on works by Alexander Borodin, in this case the second theme of the second movement of his String Quartet in D.

“The best-selling version of the song was recorded by Peggy Lee in 1954. Another popular version was recorded that year by Georgia Gibbs. The Kirby Stone Four re-make hit the Billboard Top 100 in 1958 and remains a favorite on adult standard stations. Frank Sinatra recorded the song twice: in 1959 with the Billy May Orchestra, and again in 1967 in a bossa nova arrangment with guitarist Antonion Carlos Jobim. (Eumir) Deodato recorded an instrumental in a hit LP of 1973.

“The most curious version mixed the scherzo of Borodin’s ‘String Quartet No. 2’ with the pop arrangement of ‘Baubles, Bangles & Beads’, under the name ‘Borodin, Bangles & Beads’, and arranged by the Argentine Ernesto Acher in 1987 on his album Juegos.”

Play That Song

Inspired by “Heart & Soul” by Hoagy Carmichael & Frank Loesser (1938).
Hit version by Train (US #41/UK #21/AUS #8 2016).

From the wiki: “‘Play That Song’ incorporates the melody of ‘Heart and Soul‘, written in 1938 by Hoagy Carmichael and Frank Loesser. They are credited as ‘Play That Song’ writers, alongside Train lead singer Patrick Monahan and producer William Wiik Larsen.

“The original recording of ‘Heart and Soul’ was performed by Larry Clinton & his Orchestra featuring Bea Wain, one of three versions that could chart in 1939: Larry Clinton (reaching #1 on the chart), Eddy Duchin (reaching #12), and Al Donahue (reaching #16). ‘Heart and Soul’ later charted as #11 in 1952 by The Four Aces with the Jack Pleis Orchestra. The Cleftones charted a rock ‘n roll version of the song in 1961, a recording that was also popularly used in the 1972 movie American Graffiti.

“‘Play That Song’ was released on September 29, 2016 as the lead single from Train’s tenth studio album A Girl, a Bottle, a Boat (2017). The song has peaked at #41 on the US Billboard Hot 100 but became a Top-10 hit in Australia.”

Ease On Down the Road

First recorded by “The Wiz” original cast (1975).
Hit versions by Consumer Rapport (US #42/R&B #19/Dance #1 1975), Diana Ross & Michael Jackson (US #41/R&B #17/UK #45 1978).

From the wiki: “‘Ease On Down the Road’ isthe 1975 Broadway musical The Wiz, an R&B re-interpretation of L. Frank Baum’s ‘The Wonderful Wizard of Oz’. The Charlie Smalls–composed tune is the show’s version of both ‘Follow the Yellow Brick Road’ and ‘We’re Off to See the Wizard’ from the 1939 movie version of The Wizard of Oz. In the song, performed three times during the show, Dorothy and her friends the Scarecrow, the Tin Man, and the Cowardly Lion dance their way down the Yellow Brick Road and give each other words of encouragement.

“‘Ease On Down the Road’ was performed in the original Broadway production by Stephanie Mills (Dorothy), Hinton Battle (Scarecrow), Tiger Haynes (Tin Man), and Ted Ross (Cowardly Lion), who also performed the song on the original 1975 cast album for The Wiz. Released as a single in 1975 by the studio group Consumer Rapport, the song became a #1 Disco hit for five non-consecutive weeks.

“A second cover of the song was recorded by Diana Ross and Michael Jackson, for the 1978 feature-film adaptation of The Wiz. It charted #41 on the Billboard Hot 100 and Top-20 on the R&B chart.”

On the Street Where You Live

First performed by John Michael King (1956).
Hit versions by Vic Damone (US #4/UK #1 1956), Eddie Fisher (US #18 1956), Andy Williams (US #28/MOR #3 1964).

From the wiki: “‘On the Street Where You Live’ was composed by Frederick Loewe with lyrics by Alan Jay Lerner, from the 1956 Broadway musical, My Fair Lady. It is sung in the musical by the character Freddy Eynsford-Hill, portrayed by John Michael King in the original Broadway production. The most popular single of the song was recorded by Vic Damone in 1956 for Columbia Records. Eddie Fisher also had a Top-20 Billboard hit with the song in 1956. Andy Williams’ recording appeared in the Billboard Top-40 in 1964.”

Daisy Bell (Bicycle Built for Two)

Early recording by Edward M. Favor (1894).
Other popular recordings by Dinah Shore (1942), Charlie & His Orchestra (1942), Nat “King” Cole (1963).
Also recorded by IBM 1094 (1961), “HAL 9000” (1968), Katy Perry (2014).

From the wiki: “‘Daisy Bell (Bicycle Built for Two)’ was written in 1892 by Harry Dacre. The song is said to have been inspired by Daisy Greville, Countess of Warwick, one of the many mistresses of King Edward VII (1841-1910). The song was first recorded and released by Dan W. Quinn in 1893. Edward M. Favor recorded a version in 1894 that still exists.

“In 1942, when Dinah Shore appeared on Eddie Cantor’s popular radio show, she performed a clever arrangement of the song. The Nazi-sponsored German propaganda swing band, Charlie & His Orchestra, also released a cover of the song in 1942, aimed at listeners in the UK and the US. Nat King Cole recorded a cover for his popular 1963 album Those Lazy-Crazy-Hazy Days of Summer.

Love Me

Written and first recorded by The Bee Gees (1976).
Hit versions by Yvonne Elliman (US #20/UK #6/IRE #9/NZ #3 1976), Martine McCutcheon (UK #6 1999).

From the wiki: “‘Love Me’ was first recorded and released by the Bee Gees, released on the 1976 album Children of the World. It was written by Barry and Robin Gibb featuring Robin on lead with his falsetto (with Barry on the middle eight evidenced on the outro). This makes this song a curio among the group’s mid- to late-’70s tracks, as Barry sang most of the The Bee Gee’s lead vocals. Yvonne Elliman’s version was more successful than the Bee Gees’, reaching the Top-20 US chart, and Top-10 in the UK, Ireland and New Zealand. Martine McCutcheon remade ‘Love Me’ for her 1999 debut album You, Me & Us from which the track – serving as the BBC Children in Need single for 1999 – was issued as the third single.”

Old Devil Moon

First performed by Ella Logan & Donald Richards (1947).
First recorded by Charley Spivak & His Orchestra (1947).
Hit version by Margaret Whiting (US #11 1947).
Also recorded by Miles Davis (1954), Sarah Vaughn (1954), Frank Sinatra (1956), Chet Baker (1958)

From the wiki: “‘Old Devil Moon’ was composed by Burton Lane, with lyrics by E.Y. Harburg, for the 1947 musical Finian’s Rainbow. It was introduced on stage by Ella Logan and Donald Richards. It was first recorded for commercial release by Charley Spivak & His Orchestra; singer Margaret Whiting topped the US Hit Parade in 1947 with her cover recording, from the Margaret Whiting Sings album.

“Another popular rendition of this song was recorded by Frank Sinatra, who included ‘Old Devil Moon’ on his 1956 Capitol Records album Songs for Swingin’ Lovers! which peaked at #1 in the UK. Sarah Vaughn, and Chet Baker also recorded popular vocal arrangements. Miles Davis recorded a popular instrumental version in 1954 for the Blue Haze album.”

Peg o’ My Heart

First recorded by Charles Harrison (US #1 1913).
Other hit versions by Henry Burr (US #2 1913), The Three Suns (US #1 1947), Buddy Clark (US #1 1947), The Harmonicats (US #1 1947), Ted Weems & His Orchestra (US #5 1947).
Also recorded by Dropkick Murphys w/ Bruce Springsteen (2011).

From the wiki: “‘Peg o’ My Heart’ was written by Alfred Bryan and Fred Fisher. The song was inspired by the main character, Peg, in the very successful musical comedy of the time, Peg O’ My Heart, starring Laurette Taylor in the title role. It would be first performed publicly by Irving Kaufman in 1912 at The College Inn in New York City after he had stumbled across a draft of sheet music on a shelf at the Leo Feist publishing offices. ‘Peg o My Heart’ would be featured in the 1913 musical Ziegfeld Follies where it gained wide attention.

“The first recording of ‘Peg o’ My Heart’ was made by Charles Harrison, in July 1913. Henry Burr followed in August 1913 with his rendition. Both proved to be nationally-popular recordings. ‘Peg o’ My Heart’ saw a resurgence of popularity after WWII with numerous covers jockeying for popularity in 1947, including #1 recordings by The Three Suns, Buddy Clark, and The Harmonicats. In 2011, Celtic punk band Dropkick Murphys would revive the song, with a guest appearance by Bruce Springsteen.”

Music to Watch Girls Go By

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.”

Human Nature

Written and first recorded (as a demo) by Steve Porcaro (1983).
Hit version by Michael Jackson (1984).

From the wiki: “‘Human Nature’ was written by Toto band member Steve Porcaro about a playground incident his daughter had at school earlier in the day. (A boy had hit her after she fell off the slide – Porcaro said ‘she asked [me] why?’ and he replied ‘it was human nature.’) Procaro wrote the song that night in a studio while the band was mixing their single, ‘Africa’, in another studio.

“Soon after, bandmate David Paich called Procaro one day to make a cassette tape of 2 songs David had written for Michael Jackson’s new Thriller album project, for someone to pick up for delivery. Procaro happened to use the cassette he recorded ‘Human Nature’ on, putting Paich’s songs on the opposite side and switching the labels to read Side-A. It was a happy accident that auto-playback kicked in while Jackson producer Quincy Jones was in his car listening to Porcaro’s cassette demo. Jones got to hear ‘Human Nature’ on Side B, and loved it.”

L-O-V-E

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’).”

The Ballad of Davy Crockett

First performed by The Wellingtons (1954).
First released by Bill Hayes (US #1/UK #2 1955).
Other hit versions by Fess Parker (US #6 1955), Tennessee Ernie Ford (US #5/C&W #4/UK #3 1955), Mac Wiseman (US #10 1955), Max Bygraves (UK #20 1955).

From the wiki: “‘The Ballad of Davy Crockett’ was introduced on ABC’s television series Disneyland, in the premiere episode of October 27, 1954, sung by The Wellingtons but performed on-screen by Fess Parker, playing the role of Davy Crockett, accompanied by similarly attired musicians. The song would later be heard throughout the follow-up Disneyland television miniseries, Davy Crockett, first telecast on December 15, 1954. The Wellingtons were originally called The Lincolns, and recorded for Kapp Records. As The Wellingtons, they were signed by Walt Disney to record the theme song for Disney’s The Wonderful World of Color and, subsequently, ‘The Ballad of Davy Crockett’.

“Trivia: Gilligan’s Island producer Sherwood Schwartz, working with composer George Wyle, came up with a Folk song theme song that told the back story of the castaways, and hired The Wellingtons to sing it. The song was a hit. The Wellingtons appear in a second season (1965–66) episode of Gilligan’s Island as a Rock group called ‘The Mosquitoes’.

Cara Mia

First recorded by David Whitfield & the Mantovani Orchestra (US #10/UK #1 1954).
Other hit version by Jay & the Americans (US #4 1965 |NETH #1 1980).

From the wiki: “Authorship of ‘Cara Mia’ (in Italian, ‘my beloved’) is credited to Tulio Trapani (the nom de plume of the song’s co-writer and arranger Mantovani) and Lee Lange (Bunny Lewis, David Whitfield’s producer). English singer David Whitfield first recorded the song with the Mantovani Orchestra in 1954. Whitfield’s version became one of the biggest selling British records in the pre-rock days, the first UK record to spend ten consecutive weeks at #1 on the UK Singles chart. It sold more than three and a half million copies worldwide and was also a Top-10 hit in the US.

“The 1965 cover by Jay & the Americans became a #4 hit in the US. It was re-released in 1980 in the Netherlands and became a #1 hit there.”

Strangers in the Night

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.

Memory

First recorded by Elaine Paige (UK #6 1981).
Similar to “Bolero in Blue” by Larry Clinton (1940).
Other hit versions by Barbra Streisand (US #52/MOR #9/UK #34 1982), Barry Manilow (US #39/MOR #8 1982), Elaine Paige rerecording (UK #36 1998).

From the wiki: “‘Memory’, often incorrectly called ‘Memories’, is a show tune from the 1981 musical Cats. Its writers, Andrew Lloyd Webber and Cats director Trevor Nunn, received the 1981 Ivor Novello award for Best Song Musically and Lyrically. (Prior to its inclusion in Cats, the tune was earmarked for earlier Lloyd Webber projects, including a ballad for Perón in Evita, and as a song for Max in his original 1970s draft of Sunset Boulevard.)

“The lyric was based on T. S. Eliot’s poems ‘Preludes’ and ‘Rhapsody on a Windy Night’. Composer Lloyd Webber feared that the tune sounded too similar to Ravel’s ‘Bolero’ and to a work by Puccini, and also that the opening – the haunting main theme – closely resembled the flute solo (improvised by Bud Shank in the studio) from The Mamas & the Papas’ 1965 song ‘California Dreamin””. He asked his father’s opinion; according to Lloyd Webber, his father responded ‘It sounds like a million dollars!’ While Lloyd Webber does acknowledge Ravel’s ‘Bolero’, there is no mention of similarity to ‘Bolero in Blue’ written by Larry Clinton, replicating note-for-note the first several measures from Clinton’s composition.

I Love How You Love Me

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.

You Only Live Twice

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”.

Pleasant Valley Sunday

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.”

Take Good Care of My Baby

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.”

Go Away Little Girl

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.

No More Drama (ref. “Nadia’s Theme”)

First recorded as “Cotton’s Theme” by Barry De Vorzon and Perry Botkin, Jr. (1971).
Also recorded by Sounds of Sunshine (1973).
Hit version (as “Nadia’s Theme”) by Barry De Vorzon (US #8 1977).
Hit version (sampled in “No More Drama”) by Mary J. Blige (US #15/R&B #16/UK #9 2001).

From the wiki: “Mary J. Blige sampled the instrumental popularly known as ‘Nadia’s Theme’ as a backdrop for her 2001 single, ‘No More Drama’. Barry De Vorzon and Perry Botkin Jr. composed this piece of music, originally titled ‘Cotton’s Dream’, as incidental music for the 1971 theatrical film Bless the Beasts and Children. Botkin Jr. later composed a rearranged version of the instrumental theme for the U.S. TV soap opera The Young and the Restless, which debuted on March 26, 1973, on the CBS television network. Although a soundtrack album for the TV series was released by P.I.P. Records in 1974, the LP only contained a cover version by easy-listening group Sounds of Sunshine, rather than the original recording by De Vorzon and Botkin.

A Little Bit Me, A Little Bit You

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.

On the Way to the Sky

Co-written and first recorded by Carole Bayer-Sager (1981).
Hit version by co-writer Neil Diamond (US #27/MOR #4 1982).

From the wiki: “‘On the Way to the Sky’ was written by Neil Diamond and Carole Bayer Sager, and was first recorded and released by Bayer-Sager in 1981 on her album Sometimes Late At Night.”

Endless Love

First performed by Shea Chambers (1981).
Hit versions by Diana Ross & Lionel Richie (US #1/MOR #1/R&B #1/UK #7 1981), Mariah Carey & Luther Vandross (US #2/R&B #7/CAN #6/UK #3/IRE #4/AUS #2 1994).

From the wiki: “‘Endless Love’ was written by Lionel Richie, and was first performed in the 1981 movie Endless Love by Shea Chambers (lip-synced by uncredited actress in a singing role) but whose vocal did not appear on the subsequent soundtrack album. The song was then recorded as a duet by Diana Ross and Lionel Richie, and was released as the single from the soundtrack album; released while Richie still officially was a member of The Commodores. The success of the duet encouraged Richie to branch out into a full-fledged, and very successful, solo career.

“The Ross/Richie duet became a #1 hit on the Billboard Hot 100, and nearly 30 years after its release it still remains the best-selling single of Ross’ career. The single stayed at #1 for no less than nine weeks from August 9 to October 10, 1981, making it the biggest-selling single of the year in the US. It also topped the Billboard R&B chart and the Adult Contemporary chart as well as becoming a Top ten hit single in the UK, peaking at #7.

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