First recorded (as a demo titled “My Life”) by John Lennon (1980).
Hit version by John Lennon (US #1/UK #1/CAN #1/AUS #1 1980).
From the wiki: “‘(Just Like) Starting Over’ was written and performed by John Lennon for his album, Double Fantasy. Although its origins were in unfinished demo compositions like ‘Don’t Be Crazy’ and ‘My Life’, it was one of the last songs to be completed in time for the Double Fantasy album sessions. ‘We didn’t hear it until the last day of rehearsal,’ producer Jack Douglas said in 2005. Lennon finished the song while on holiday in Bermuda, and recorded it at The Hit Factory in New York City just weeks later.
“The original title was to be ‘Starting Over’. ‘(Just Like)’ was added at the last minute because a country song of the same title had recently been released by Tammy Wynette. While commercial releases of the song (original 45rpm singles, LP’s and Compact Discs) run a length of three minutes and 54 seconds, a promotional 12” vinyl single originally issued to radio stations features a longer fade-out, officially running at four minutes and 17 seconds. This version is highly sought by collectors.
“It became Lennon’s biggest solo American hit, staying at #1 for five weeks.”
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.
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.
Co-written and first recorded by Charlie Phillips (1957).
Hit versions by The McGuire Sisters (US #1 1957), Johnny Cash (C&W #13 1961).
From the wiki: “‘Sugartime’ was written by Charlie Phillips and Odis Echols, and was first recorded in 1957 by Phillips with Buddy Holly on guitar and production by Norman Petty. The biggest hit version was also recorded in 1957, by the McGuire Sisters who topped the charts with the song in 1958. In 1961, the song briefly returned to the Country charts in a version by Johnny Cash he first recorded for Sun Records in 1958.”
Written and first recorded by “Boots” Randolph (1958).
Hit versions by “Boots” Randolph (US #35 1963).
Also recorded as “Yakety Axe” by Chet Atkins (C&W #4 1965).
From the wiki: “‘Yakety Sax’ was jointly composed by James Q. ‘Spider’ Rich and Homer ‘Boots’ Randolph III. The selection, which includes pieces of assorted fiddle tunes, was originally composed by Rich for a performance at a venue called The Armory in Hopkinsville, Kentucky. Randolph’s recording was inspired by a sax solo in the Leiber and Stoller song ‘Yakety Yak’, recorded in 1958 by The Coasters. Randolph first recorded ‘Yakety Sax’ that year for RCA Victor, but it did not become a hit until after his 1963 re-recording for Monument Records.
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.
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.
Written and first recorded by Bobby Gosh (1973).
Hit version by Dr. Hook (US #11/UK #2 1976), 911 (UK #1 1999).
Also recorded by Bill Brantley (1977).
From the wiki: “‘A Little Bit More’ was written and first recorded by Bobby Gosh, released on his 1973 album Sitting in the Quiet. The first hit version was recorded by the band Dr. Hook. Released in 1976, it charted at #11 on the US Billboard Hot 100, and #2 on the UK Singles chart.”
Based on “A Thousand Miles Away” by The Heartbeats (US #52/R&B #5 1956).
Hit versions by Shep & the Limelites (US #2/R&B #4 1961), Cliff Richard (US #23/MOR #3/UK #2 1981).
From the wiki: “‘A Thousand Miles Away’, written by James Sheppard, was recorded in 1956 by the Doo-wop group The Heartbeats (who were discovered by William Miller, A&R man for Hull Records, who also received a co-writing credit). Sheppard wrote the song after his ex-girlfriend moved away to Texas. He would go on to form the group Shep & the Limelites in 1960, at which point he adapted his original song into a new one, titled ‘Daddy’s Home’. Kahl Music, publisher of ‘A Thousand Miles Away’, sued Keel Music, publisher of ‘Daddy’s Home’, for copyright violation. Keel eventually lost, and this resulted in the end of both the Limelites and of Hull Records in 1966.
“The original ‘A Thousand Miles Away’ enjoyed a revival in the early 1970s when it was included on the American Graffiti motion picture soundtrack. UK singer Cliff Richard scored a Top 10 (and US Top 40) hit with his 1981 cover of ‘Daddy’s Home’.”
First recorded by Vaughn De Leath (1927).
Popular recordings by Ben Selvin (US #1 1927), Al Jolson (1927, in The Jazz Singer), Benny Goodman (1935), Count Basie & His Orchestra (US #8 1946), Bing Crosby (1946), Willie Nelson (MOR #32/C&W #1/CAN #1 1978).
Inspired Theolonious Monk “In Walked Bud” (1947).
From the wiki: “‘Blue Skies’ was composed by Irving Berlin in 1926 as a last-minute addition to the Rodgers and Hart musical Betsy. Although the show ran for 39 performances only, the song was an instant success, with audiences on opening night demanding 24 encores of the piece from star Belle Baker. During the final repetition, Ms. Baker forgot her lyrics, prompting Berlin to sing them from his seat in the front row.
Written and first recorded by Chase Webster (1961).
Hit version by Pat Boone (US #1/UK #18 1961).
Also recorded as “Dancing in the Dark” by Big Daddy (UK #27 1985), John Fogerty (2009).
From the wiki: “‘Moody River’ was written by and originally performed by country Rockabilly singer Chase Webster, a a labelmate of Pat Boone’s at Dot Records. It was covered later in 1961 by Boone, and became a #1 hit for him on the Billboard Hot 100. John Fogerty covered the song in the album entitled The Blue Ridge Rangers Rides Again. In 1985, the US group Big Daddy recorded a parody of Bruce Springsteen’s ‘Dancing in the Dark’ using the melody and chord changes of ‘Moody River’.”
First recorded by Rose Royce (R&B #52/UK #3 1978).
Other hit versions by Fresh 4 (UK #10 1989), The Cover Girls (US #9/UK #38 1992), Jay Z (UK #13 1998).
From the wiki: “‘Wishing on a Star’ was written by Billie Rae Calvin and produced by famed former-Motown ‘psychedelic shaman’ Norman Whitfield, and was included on Rose Royce’s second album, Rose Royce II: In Full Bloom. The original recording of ‘Wishing on a Star’ was not a big hit in the US, peaking at #52 on the Hot R&B/Hip-Hop Songs, but was a big chart hit in the United Kingdom, reaching #3 in March 1978. A cover by Fresh 4, in 1989, also peaked in the UK Top 10. The Cover Girls released a version in 1992 that peaked in the US Top 10.
First recorded by Prince’s Band (1917).
Popular versions by W.C. Handy (1917), Jelly Roll Morton (1926), Fats Waller & Alberta Hunter (1927), “Big” Joe Turner (1940), Louis Armstrong (1954), Ella Fitzgerald (1958).
From the wiki: “‘Beale Street Blues’ was written in 191 by American composer and lyricist W.C. Handy. The title refers to Beale Street in Memphis, Tennessee, the main entertainment district for the city’s African American population in the early part of the twentieth century, and a place closely associated with the development of the Blues. ‘Beale Street Blues’ was first popularized for a mass audience when sung on Broadway by Gilda Gray in the 1919 musical revue Schubert’s Gaieties.
“Like many of Handy’s songs, Beale Street Blues is a hybrid of the blues style with the popular ballad style of the day, the opening lyrics following a line pattern typical of Tin Pan Alley songs and the later stanzas giving way to the traditional three-line pattern characteristic of the Blues. The song itself is now in the public domain in the United States, due to expiration of the copyright, though most of the recordings of it are still covered by their own copyrights.”
First performed by Claramae Turner (1954).
Hit version by Tony Bennett (US #19/MOR #7 1962 |UK #25 1965).
From the wiki: “‘I Left My Heart in San Francisco’ was written in the fall of 1953 in Brooklyn, New York, by George Cory and Douglass Cross, two amateur writers nostalgic for San Francisco after moving to New York. The song was originally written for opera singer Claramae Turner, a personal friend of Cross, who often used it as an encore. However, she never got around to recording it. The song found its way to Tony Bennett through Ralph Sharon, Bennett’s longtime accompanist and friends with the composers. Sharon brought the music along when he and Bennett were on tour and on their way to San Francisco’s Fairmont Hotel.
“Prior to Bennett hearing it, the song was first pitched to Tennessee Ernie Ford, who Turner suggested Cross take it to. Ford turned the song down but, in an ironic turn of events, later purchased a ranch in Lake County, California, owned by Cross’s family.
First recorded by Roger Wolfe Kahn & His Orchestra with Harry Richman (US #13 1930).
Other popular versions by the Ted Lewis Orchestra (US #2 1930), Lionel Hampton (R&B #10 1938), Jo Stafford & the Pied Pipers (US #13 1944), Tommy Dorsey & the Sentimentalists (US #1 1945).
Also recorded by Fats Waller, Louis Armstrong & Jack Teagarden (1938).
From the wiki:”‘On the Sunny Side of the Street’ is to Jimmy McHugh, with lyrics by Dorothy Fields. But, some authors believe that Fats Waller was the composer, selling his rights for the money. (Fats Waller & His Rhythm performed the song live with Louis Armstrong and Jack Teagarden in a radio broadcast from Martin Block’s Make Believe Ballroom in October 1938.) The song was first recorded in 1930, in the Broadway musical Lew Leslie’s International Revue starring Harry Richman and Gertrude Lawrence. Richman first recorded ‘On the Sunny Side of the Street’ in 1930 and a recording by the Ted Lewis Orchestra released the same year came close to topping the Hit Parade.
“Other hit versions were recorded by Lionel Hampton (1938), Jo Stafford & the Pied Pipers (1944), and Tommy Dorsey & the Sentimentalists (1945).”
First recorded by Leona Williams & Her Dixie Band (1922).
Popular versions by Clyde McCoy (US #2 1931), Fats Waller (1935), Bob Wills & His Texas Playboys (1936), Ella Fitzgerald & the Chick Webb Orchestra (1940), Johnny Mercer (US #4 1947).
From the wiki: “‘Sugar Blues’ was written in 1920 by Clarence Williams and recorded for the first time by Leona Williams (no relation) and Her Dixie Band in 1922. The song was made popular by Clyde McCoy in 1931, featuring the sound of the growling wah-wah mute. MCcoy recorded it no less than four times, and it became his trademark song. ‘Sugar Blues’ would also be recorded by Fats Waller (1935), Bob Wills and his Texas Playboys (1936), and Ella Fitzgerald (1940), and chart again on the Hit Parade in 1947 with a vocal cover by noted songwriter-lyricist Johnny Mercer (‘Satin Doll’, ‘Fools Rush In‘, ‘Jeepers Creepers‘).”
First recorded by Belinda Carlisle (1987).
Hit versions by Boy Meets Girl (US #5/MOR #1/UK #9/CAN #1 1988), Cabin Crew (UK #4 2005), Sunset Strippers (UK #3 2005).
From the wiki: “‘Waiting for a Star to Fall’ was written by Shannon Rubicam and George Merrill, inspired by an actual falling star that Rubicam had seen at one of Whitney Houston’s concerts at the Greek Theatre. Initially, the duo did not consider recording it and, instead, submitted the song to Clive Davis to consider including it on Houston’s next album. But, he rejected it, alleging that the song did not suit her. The song was then offered to and recorded by Belinda Carlisle for her 1987 release, Heaven on Earth. But, Carlisle disliked the song and refused to include it on the album.
“Merrill and Rubicam decided to record the song themselves for their second album Reel Life, becoming a Top 10 hit in the US, the UK and Canada.”
First recorded by The Family (1985).
Hit version by Sinead O’Connor (US #1/UK #1/CAN #1/IRE #1/AUS #1 1989).
Also recorded by Prince & The New Power Generation (1993), fDeluxe (aka The Family) (2016).
From the wiki: “‘Nothing Compares 2 U’ was written and composed by Prince for one of his side projects, The Family. It was later made famous by Irish recording artist Sinéad O’Connor, whose arrangement was released as the second single from her second studio album, I Do Not Want What I Haven’t Got. This version, which O’Connor co-produced with Nellee Hooper, became a worldwide hit in 1990.
“The Family’s origins started with the disintegration of The Time in 1984. Lead singer Morris Day had left the band to pursue a solo career and guitarist Jesse Johnson became the de facto band leader. Prince invited the remaining members of The Time – Jellybean Johnson, Jerome Benton, and Paul Peterson – to his home and presented them with his new project. They agreed to become a new band called The Family, with Peterson renamed ‘St. Paul’ as the new frontman and bassist. The Family was a relatively important album in Prince’s musical career because it allowed him to test several musical concepts that he would later fully integrate in his music. ‘Nothing Compares 2 U’ appeared on the album but it was not released as a single, and received little recognition. (A mix of the song, featuring Prince on vocals, was released in 1993 under the guise of The New Power Generation.)
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.
Co-written and first recorded by Ray Whitley (1938).
Hit version by co-writer Gene Autry (US #13/C&W #1 1939).
From the wiki: “‘Back in the Saddle Again’ was co-written by Ray Whitley with Gene Autry and first recorded by Whitley in 1938. A true Georgia born showman, Whitley was one of those guys who did a little bit of everything: He served in the Navy, ventured up to New York where he worked on the Empire State Building construction crew, he could snap the tip of a cigarette off with a bullwhip and, if remembered for nothing else, Whitley designed the guitar that would become a staple of Gibson’s line – the Super Jumbo.
“During the Depression, Whitley began to sing to make some money on the side. He ended up co-hosting a radio program called The Village Barn Dance with another young Western singer, Tex Ritter, and the two eventually made their way to Hollywood.
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.