Written and first recorded by The Wailers (1967).
Also recorded by Bob Marley & The Wailers (1973).
Hit versions by Johnny Nash (US #12/UK #13 1972), Diana King (R&B #53 1994).
From the wiki: “‘Stir It Up’ was written by Bob Marley in 1967, for his wife Rita, and was first recorded the same year by Bob Marley & The Wailers. Following Marley’s return to Jamaica from the United States in 1967, The Wailers started their own label, Wail’n Soul’m Records, and released their first independent single, ‘Freedom Time’. ‘Nice Time’, ‘Thank You Lord’, and ‘Stir It Up’ (backed with ‘The Train’) were all recorded in the same year. The label folded shortly after, after which Marley began writing for American singer Johnny Nash. Nash used members of The Wailers and recorded several Marley songs on his 1972 album, I Can See Clearly Now, including ‘Stir It Up’.
Written and first recorded by Jackie Edwards (1965).
Hit version by The Spencer Davis Group (US #76/UK #1 1965).
Also recorded by Jackie Edwards (1976).
From the wiki: “‘Keep on Running’ was written and first recorded by Jackie Edwards, which became a #1 UK hit when recorded by The Spencer Davis Group. Edwards recorded his original version while working in the UK for Island Records as a songwriter. It first appeared on his 1965 album Come on Home, and was later re-recorded by Edwards again in the mid-1970s for his Do You Believe In Love album. Strongly influenced by Nat King Cole, Edwards began performing at the age of 14. He came to the attention of Chris Blackwell in 1959 after scoring four #1 singles in Jamaica between 1960 and 1961. When Blackwell set up Island Records in London in 1962 Edwards followed him, working as a singer and songwriter for Island, recording as a solo artist and also duets with Millie Small (‘My Boy Lollipop‘), and delivering records to stores.
Written and first recorded by King Radio (1937).
Hit version by Robert Palmer (US #63 1976).
Also recorded by Harry Belfonte (1956), Robert Mitchum (1957), The Carpenters (1977).
From the wiki: “The Calypso song ‘Man Smart (Woman Smarter)’ was written and first recorded by King Radio (Norman Span) in 1937. Variations of the song have been recorded by many artists including Harry Belafonte, Chubby Checker, Rosanne Cash, Robert Mitchum, and The Carpenters. Robert Palmer charted in the Billboard Hot 100 with his 1976 cover recording. ‘Man Smart (Woman Smarter)’ was also a staple of the live repertoire of the Grateful Dead from 1981 to 1995.”
First recorded by The Wailing Wailers (1965).
Hit version by Bob Marley & The Wailers (UK #5/NZ #1 1977).
From the wiki: “‘One Love’ was written by Bob Marley (with a later credit extended to Curtis Mayfield) and first recorded in a Ska style in 1965 by The Wailing Wailers. The song contains an interpretation of The Impressions’ song ‘People Get Ready’, written by Curtis Mayfield. The 1977 re-recording became a part of Marley’s Legend greatest-hits compilation, and was released as one of that album’s promotional singles. Legend holds the distinction of being the second longest-charting album in the history of Billboard magazine. Combining its chart life on the Billboard 200 and the Top Pop Catalog Albums charts, Legend has had a chart run of 992 non-consecutive weeks, surpassed only by The Dark Side of the Moon at 1574 weeks.
First recorded (as “Mary Anne”) by Roaring Lion (1946).
Hit versions by Terry Gilkyson & The Easy Riders (US #4 1957), The Hilltoppers (US #3 1957).
From the wiki: “‘Mary Ann’ was composed by Calypso artist Roaring Lion and was popular with steelbands and revelers during a spontaneous Carnival celebration on V-J Day in Trinidad in 1945, at the end of World War II. The song was first recorded by Roaring Lion in 1946. The most popular versions were recorded by Terry Gilkyson & The Easy Riders (#4 on the Billboard Top 100) and The Hilltoppers in 1957, with the song incorrectly credited to Gilkyson (‘Memories Are Made of This’, ‘Bare Necessities’), Richard Dehr and Frank Miller.”
Based on “Marry an Ugly Woman” by Roaring Lion (1934).
Also recorded (as “From a Logical Point of View”) by Robert Mitchum (1957).
Hit version by Jimmy Soul (US #1/R&B #1 1962 |UK #39 1963).
From the wiki: “‘If You Wanna Be Happy’ is based on the song ‘Marry an Ugly Woman’ by the Calypso artist Roaring Lion, from Trinidad, first recorded in 1934. Robert Mitchum did a cover version of ‘Ugly Woman’ on Calypso — Is Like So…! titled ‘From a Logical Point of View’ (1957). Jimmy Soul’s ‘If You Wanna Be Happy’ was adapted by Joseph Royster, Carmella Guida and Frank Guida (‘Quarter to Three’) and recorded by Soul in 1962, topping both the Pop and R&B charts in the US.”
Written and first recorded by The Melodians (1970).
Hit version by Boney M. (US #30/UK #1/CAN #9 1978).
From the wiki: “The Melodians’ original version of the song appeared in the soundtrack album of the 1972 movie The Harder They Come, making it internationally known. The lyrics are adapted from the texts of psalm 137 and psalm 19 in the Bible: ‘By the rivers of Babylon, there we sat down, yea, we wept, when we remembered Zion… ‘
First recorded by Jimmy Cliff (1970, released 1976).
Hit versions by The Pioneers (UK #5 1971), Brownville Station (US #57 1973).
From the wiki: “‘Let Your Yeah Be Yeah’ was written by Jamaican singer Jimmy Cliff who first recorded the song in 1970. The vocal trio The Pioneers recorded their version, co-produced by Cliff, in 1971. It peaked at #5 on the UK singles chart. In 1973, ‘Let Your Yeah Be Yeah’ was recorded by the US rock band Brownsville Station for their album Yeah!. Released as a single, it was the band’s second song to chart on the Billboard Hot 100, reaching #57.”
First recorded by The Equals (1966 |UK #1 1968).
Other hit version by Pato Banton & UB40 (UK #1 1994).
From the wiki: “‘Baby, Come Back’ was written by Eddy Grant (‘Police On My Back‘, ‘Electric Avenue’), and originally performed and recorded by him and the rest of his band – The Equals – in 1966. The song was first released in 1966, a year after the band formed, but did not chart. However, after impressive sales in the rest of Europe (where it reached the Top 10 in Belgium and The Netherlands), the single was re-issued in the UK and reached #1 on the UK Singles Chart in July 1968. The song was covered in 1994 by Pato Banton who was joined by Robin and Ali Campbell of UB40, Banton dubbing verses between the Campbells singing the original hook and chorus. Topping the UK Singles chart beginning in November 1994, Banton’s cover was the 4th biggest-selling UK single of 1994.”
First recorded (as “Pass the Kouchie”) by The Mighty Diamonds (1982).
Also (as “Gimme the Music”) by U Brown (1982).
Hit version by Musical Youth (UK #1 1982 |US#10 1983).
From the wiki: “‘Pass the Dutchie’ was a cover version of two songs: ‘Pass the Kouchie’ by The Mighty Diamonds, which deals with the recreational use of cannabis (‘kouchie’ being slang for a cannabis pipe), and ‘Gimme the Music’ by U Brown. For the cover version, ‘Pass the Kouchie’ was bowdlerized to ‘Pass the Dutchie’, and all obvious drug references were removed from the lyrics (e.g., when the original croons ‘How does it feel when you got no herb?’, the cover version refers instead to ‘food’. ‘Dutchie’ is used as a patois term to refer to a food cooking pot such as a Dutch oven in Jamaica and the Caribbean.) However, ‘Pass the Dutchie’ has since entered into the language itself, denoting a blunt stuffed with marijuana and rolled in a wrapper from a Dutch Masters cigar.
First recorded (as a demo) by Billy Joel (1977).
Hit version by Billy Joel (US #24 1977).
From the wiki: “‘Only the Good Die Young’ was written by Billy Joel for his landmark 1977 album, The Stranger. The original demo recording featured a slower, Reggae arrangement (the demo is included in the box set, My Life). ‘I wrote it as a Reggae song,’ Joel recalled. ‘And Liberty [DeVitto], my drummer, is so sick of Reggae that he literally throws his drumsticks at me and says, ‘Ugh, I frigging hate Reggae! The closest you’ve ever been to Jamaica is when you changed trains in Queens.” It was Joel’s producer, Phil Ramone, who recommended to Joel ‘Don’t play any different than you play on the road — be the Rock ‘n’ Roll animals that you are.’ The third take of the song in the studio is what appears on The Stranger.
First released by Desmond Dekker (US #103/UK #2 1970).
Hit album version by Jimmy Cliff (1970, released 1972).
From the wiki: “‘You Can Get It If You Really Want’, written by Jimmy Cliff, was recorded in 1970 by both Cliff and Desmond Dekker using the same backing track. Dekker’s version was the first to be commercially released, in 1970; Cliff’s original 1970 recording was later added in 1972 to the movie soundtrack of The Harder They Come.”
Written and first recorded (as “The Bigger They Come, The Harder They Fall”) by Jimmy Cliff (1971).
Hit version by Jimmy Cliff (1972).
From the wiki: “‘The Harder They Come’ is a Reggae song by the Jamaican singer Jimmy Cliff, first recorded and released as the B-side to the original release of ‘Sitting In Limbo’ in 1971. Cliff re-recorded (and retitled) the song in 1972 for inclusion in the movie soundtrack for The Harder They Come. ‘The Harder They Come’ has been ranked #341 on Rolling Stone’s 500 Greatest Songs of All Time.”
First recorded (as “My Boy Lollypop”) by Barbie Gaye (1956).
Hit version by Millie Small (US #2/UK #2/IRE #1 1964).
From the wiki: “‘My Boy Lollipop’ (originally written as ‘My Girl Lollypop’) was written in the mid-1950s by Robert Spencer of the Doo-wop group The Cadillacs, and is usually credited to Spencer, Morris Levy, and Johnny Roberts. It was first recorded in New York in 1956 by Barbie Gaye. A cover version, recorded eight years later by Jamaican teenager Millie Small, with very similar rhythm, became one of the top-selling Ska songs of all time.
First recorded (as “Rudy, A Message to You”) by Dandy (1967).
Hit version by The Specials (UK #10/NETH #22 1979).
Also recorded by Barenaked Ladies (demo 1988), Amy Winehouse (2008).
From the wiki: “‘A Message to You, Rudy’ is a 1967 rocksteady song by Dandy Livingstone. The song, originally entitled ‘Rudy, A Message to You’ later achieved broader success when, in 1979, The Specials’ cover reached #10 in the UK Singles Chart. Veteran trombone player Rico Rodriguez played on both Livingstone’s 1967 and The Specials’ 1979 recordings.
First recorded (as “Day Dah Light”) by Edric Conner & The Caribbeans (1952).
Hit versions by The Tarriers (US #4/R&B #14/UK #15 1956), The Fontane Sisters (US #13 1956), Sarah Vaughn (US #19 1956), Harry Belafonte (US #5/R&B #7/UK #2 1957).
From the wiki: “The song was originally a Jamaican folk song. Its popular version was adapted by Barbadian Irving Burgie. It was thought to be sung by Jamaican banana workers, with a repeated melody and refrain (call and response); with each set lyric there would be a response from the workers but using many different sets of lyrics, some possibly improvised on the spot.
Written and first recorded by Neil Diamond (US #62 1966).
Other hit versions by Jimmy James & The Vagabonds (UK #46 1966), Tony Tribe (UK #46 1969), Roy Drusky (C&W #17/CAN #16 1972), UB40 (US #34/UK #1/NZ #1 1984 |US #1 1988).
From the wiki: “‘Red, Red Wine’ was written and originally recorded by Neil Diamond (‘September Morn‘,’I’m a Believer‘,’Until It’s Time for You to Go‘). It has been covered by Tony Tribe, Jimmy James & the Vagabond and, most famously, by British reggae group UB40, whose version topped the US and UK singles charts.
“According to UB40. they were only familiar with Tony Tribe’s version; apparently they didn’t realize that the writer – credited simply as ‘Diamond’ – was in fact Neil Diamond. UB40 added a ‘toasting’ verse which was edited from the single that reached #1 on the UK Singles Chart in August 1983. Released in the US without the ‘toasting’, the recording reached #34 on the Billboard Hot 100 in March 1984. In 1988, the song was re-released in the US, this time including the ‘toasting’, and it climbed to #1 on the Billboard Hot 100.”
Written and first recorded by The Wailers (1973).
Hit version by Eric Clapton (US #1/UK #9/CAN #1/NZ #1 1974).
From the wiki: “‘I Shot The Sheriff’ was written by Bob Marley, told from the point of view of a narrator who claims to have acted in self-defense when the sheriff tried to shoot him. The song was first released in 1973 on The Wailers’ album Burnin’. Eric Clapton recorded a cover version that was included on his 1974 album, 461 Ocean Boulevard. It is the most successful version of the song, peaking at #1 on the Billboard Hot 100. In 2003, Clapton’s version was inducted into the Grammy Hall of Fame.”
Originally recorded by The Paragons (1967).
Also recorded by Gregory Isaacs & U-Roy (1978).
Hit version by Blondie (US #1/UK #1 1980).
From the wiki: “The song was written by John Holt and originally recorded by The Paragons, the vocal trio of which he was a member. It was produced by Duke Reid and released as a 7-inch single on Reid’s Treasure Isle and Trojan labels and as the B-side of the ‘Only a Smile’ single.
Written (by Eddy Grant) and first recorded by The Equals (1967).
Hit album version by The Clash (1980).
From the wiki: “”‘Police on My Back’ was written by Eddy Grant when he was leader of The Equals, a British group who fused rock, reggae, and soul rhythms; the band’s sole international hit was the admirably eccentric groover ‘Baby Come Back’. But, The Clash picked up on one of the group’s minor British hits, ‘Police on My Back’, while recording their fourth album, the sprawling three-LP set Sandanista!. While the Equals’ original version has a clear if muted reggae undertow, the song became a hard-charging, high-velocity Rock & roll onslaught when recorded by The Clash.
“‘Police on My Back’ was a rare example of The Clash tackling a reggae tune and, rather than trying to fuse its Caribbean rhythms with the band’s muscular approach, instead stripping the tune to its bones and tackling it as straight Rock & roll.”
Originally recorded by Jimmy Cliff (UK #8 July, 1970).
Other hit versions by Cat Stevens (US #11 November, 1970), The Gentrys (MOR #28 1971) Maxi Priest (US #25/UK #5 1988), Mr. Big (US #27/UK #59 1993).
From the wiki: “Jimmy Cliff’s version, released a few months before the song’s writer, Cat Stevens, released his version, reached #8 on the UK Singles Chart. Surprisingly, Stevens’ version was not released as a single in the UK, thus its appearance only on US radio charts. Some of the subsequent covers have also been in the reggae style, indicating that they may be covers of Cliff’s version, as opposed to direct covers of Cat Stevens’ original acoustic arrangement.
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