Written and first recorded by Jack Clement (1957).
Hit version by Johnny Cash (US #14/C&W #1 1958).
Also recorded by Johnny Cash, Rosanne Cash & the Everly Brothers (1987).
From the wiki: “‘Ballad of a Teenage Queen’ was written in 1957 by Jack Clement. Clement was, at the time, a producer and engineer for Sam Phillips at Sun Records. Subsequently, Clement worked with future stars such as Roy Orbison, Carl Perkins and Johnny Cash. (Most notably, he discovered and recorded Jerry Lee Lewis while Phillips was away on a trip to Florida.)
“The song of ‘… Teenage Queen’ is that of a ‘small town girl’ (the prettiest the townsfolk have ever seen) who loved the boy next door, who is employed at the candy store. She was taken to Hollywood by a movie scout where she became famous, leaving the boy. Eventually she sold all her fame to go back to the boy from the candy store because amid it all she was unhappy without him.
“First recorded by Clement, ‘Ballad of a Teenage Queen’ would be covered by Johnny Cash for his 1958 album, Sings the Songs That Made Him Famous, with background vocals by The Tennessee Two. Cash’s recording hit #1 on the US Country charts and peaked at #14 on the Billboard Hot 100.
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 recorded by The Everly Brothers (1960).
Also recorded by Gram Parsons & Emmylou Harris (1969, released 1974).
Hit versions by Roy Orbison (AUS #5 1961), Jim Capaldi (US #97/UK #4/CAN #15/AUS #6 1975), Nazareth (US #8/UK #41/CAN #1/AUS #8/DEN #2/NZ #4 1975), Cher (1975 |UK #43/NOR #2 1991).
From the wiki: “‘Love Hurts’ was written by Felice and Boudleaux Bryant (‘All I Have to Do Is Dream’, ‘Bye Bye Love’), and was first recorded by The Everly Brothers in July 1960. The song was introduced in December 1960 as an album track on A Date with The Everly Brothers, but was never released as a single (A-side or B-side) by the Everlys. (The duo would re-record the song with a more up-tempo arrangement in 1964.)
“The first hit version of the song was recorded by Roy Orbison, who earned Australian radio play for ‘Love Hurts’ even though the song was issued as the B-side to ‘Running Scared’, hitting the Top-5 on that country’s singles charts in 1961.
Written and first recorded by James Taylor (US #118 1968 |US #67 1970).
Other hit version by George Hamilton IV (C&W #29/CAN #3 1969).
Hit album re-recording by James Taylor (1976).
Also recorded by The Everly Brothers (1969), Melanie (1970).
Performed by Glen Campbell & Linda Ronstadt (1971).
From the wiki: “‘Carolina in My Mind’ was written and first performed by singer-songwriter James Taylor on his 1968 debut album, James Taylor, on Apple Records. The original recording of the song was done at London’s Trident Studios during the July to October 1968 period, and was produced by Peter Asher. The song’s lyric ‘holy host of others standing around me’ is allegedly a reference to the Beatles, who were recording The Beatles (aka the ‘White Album’) in the same building as Taylor was recording his album. Indeed, the original recording of ‘Carolina in My Mind’ features a credited appearance by Paul McCartney on bass guitar and an uncredited appearance by George Harrison on backing vocals.
“Owing to the same problems which plagued the release of the album (namely, Taylor’s inability to promote it due to his hospitalization for drug addiction), the single’s original release reached only #118 on US pop charts and failed to chart in the UK. Following the success of Taylor’s second album, Sweet Baby James, and its hit single ‘Fire and Rain’, ‘Carolina in My Mind’ was re-issued by Apple as a single in October 1970 and rose to #67 on the Billboard Hot 100.
First recorded (as a demo) by Carole King (1962).
Hit versions by The Everly Brothers (US #6/UK #6 1962), The Sweet Inspirations (US #112/R&B #42 1969), Tammy Wynette (C&W #18 1981), a-ha (US #26/UK #13 1990).
From the wiki: “‘Crying in the Rain’ was written by Howard Greenfield and Carole King, the only collaboration between the successful songwriters. Both worked for Aldon Music at the time of the song’s composition. On a whim, two Aldon songwriting partnerships decided to switch partners for a day – Gerry Goffin (who normally worked with King) partnered with Greenfield’s frequent writing partner Jack Keller, leaving King and Greenfield to pair up for the day. Despite the commercial success of this collaboration, King and Greenfield never wrote another song together.
Written and first recorded (as a demo) by Roy Orbison (1958).
Hit version by The Everly Brothers (US #30/C&W #15/UK #1 1958).
From the wiki: “‘Claudette’ was written by Roy Orbison and named for his wife. It was the first major songwriting success for the then-unknown Orbison, who at the time was under contract to Sun Records. Orbison’s demo found its way to The Everly Brothers who would record and release their version as the B-side to ‘All I Have to Do Is Dream’ but ‘Claudette’ would also chart in the US and the UK. As a result of the song’s success, Orbison would terminate his contract with Sun and affiliate himself with the Everly’s publisher, Acuff-Rose Music. Orbison would record his own version of ‘Claudette’ in 1965.”
Written and first recorded by Warren Zevon (1976).
Hit album version by Linda Ronstadt (1976).
From the wiki: “‘Hasten Down the Wind’ was song written and first recorded by Warren Zevon, featured on his eponymous major-label 1976 debut album. The track was produced by Jackson Browne, who had met Zevon in the mid-seventies. Their relationship played a significant role in Zevon’s career thereafter. It was with Browne’s assistance that Zevon got a major record contract. Zevon’s version of the song features Phil Everly singing harmony vocals, and also David Lindley playing slide guitar.
“During the early 1970s, Zevon toured regularly with The Everly Brothers as keyboard player, band leader, and musical coordinator. Later, he toured and recorded with Don Everly and Phil Everly separately, as they each attempted to launch solo careers after the breakup of their duo. Zevon’s own dissatisfaction with his career (and a lack of funds) led him to move to Spain in the summer of 1975, where he lived and played in the Dubliner Bar, a small tavern in Sitges, near Barcelona, owned by David Lindell, a former mercenary. (Together they composed ‘Roland the Headless Thompson Gunner’.)
“By September 1975, Zevon had returned to Los Angeles where he roomed with Stevie Nicks and Lindsey Buckingham, who had by now gained fame as members of Fleetwood Mac. There Zevon met and collaborated with Jackson Browne, who produced and promoted Zevon’s major-label debut album, Warren Zevon, in 1976. Contributors to the album included Nicks, Buckingham, Mick Fleetwood, John McVie, members of the Eagles, Carl Wilson, Linda Ronstadt, and Bonnie Raitt.
First recorded (as a demo) by Paul McCartney (1983).
Hit version by The Everly Brothers (US #50/MOR #9/UK #41/CAN #10/SA #6 1984).
From The Beatles Rarity: “After a long break from recording together, the Everly Brothers got back together in 1983. They began with a reunion concert at London’s Royal Albert Hall in September of that year and then recorded another album together titled EB84 – their first album together in seven years. The lead single was a Paul McCartney composition that he not only contributed for the record, but also plays guitar on, called ‘On the Wings of a Nightingale’ and it went to #9 in the U.S. (Other contributors to the LP included Bob Dylan, Jeff Lynne, Richard Tandy, and producer Dave Edmunds.) McCarthey presented his song to the Everlys in demo form prior to the album recording sessions.
First recorded (in English) by Jill Corey (US #57 1957).
Hit versions by The Everly Brothers (US #7 1960), Betty Everett & Jerry Butler (US #5/R&B #1 1964), The Sweet Inspirations (R&B #13 1967), Glen Campbell & Bobbie Gentry (US #36/C&W #14/MOR #7 1969) and Willie Nelson (US #40/C&W #2/MOR #11 1982).
From the wiki: “[O]riginally published in 1955 as ‘Je t’appartiens,’ the score was written and first recorded in French by Gilbert Bécaud (‘September Morn’). The English-language version used lyrics by Mann Curtis and was first performed in 1957 by Jill Corey in the television series Climax!. Corey’s version, with orchestration by Jimmy Carroll, was released as a single and was moderately successful.
First recorded by The Everly Brothers (1962, released 1984).
Hit versions by The Cookies (US #17/R&B #7/UK #50 1962), The Beatles (1963).
From the wiki: “‘Chains’ was composed by the Brill Building husband-and-wife songwriting team Gerry Goffin and Carole King (‘Up on the Roof‘, ‘Crying in the Rain‘, ‘Oh No Not My Baby‘). It was first recorded by the Everly Brothers in 1962 but went unreleased until 1984.
“The same year, ‘Chains’ became a US Top 20 hit for Little Eva’s backing singers, The Cookies (with Earl-Jean McRae (‘I’m Into Something Good‘) singing lead), with an arrangement produced by co-writer Goffin.and later covered by The Beatles.
First released by The Four Preps (1967).
Also recorded by The Everly Brothers (1967), Waylon Jennings (1967), John Denver (1969), John Hurley, co-writer (1970), Stiff Little Fingers (1982).
Hit versions by The Winstons (US #54 1969), Nicky Thomas (UK #9 1970), Paul Young (US #45/UK #2/IRE #1/NETH #1 1983).
From the wiki: “‘Love of the Common People’ is a Folk ballad composed by John Hurley and Ronnie Wilkins (‘Son of a Preacher Man’, 1968), eventually released by the songwriter himself in 1970 on Hurley’s album John Hurley Sings about People. But, the first recorded and distributed arrangement was released in January 1967 as a promotional single by The Four Preps, in a session arranged and conducted by Leon Russell, with no apparent chart impact.
“The song was quickly covered by both the Everly Brothers and country singer Waylon Jennings in 1967, followed by covers by the soul group The Winstons (1969), John Denver (on his 1969 Rhymes & Reason album), reggae artist Nicky Thomas (1970), punk rockers Stiff Little Fingers in 1982, and English pop singer Paul Young in 1982 (re-released in 1983).
First recorded by Bo Diddley (May 1956, released 2007).
Hit versions by Mickey & Sylvia (US #11/R&B #1 October 1956), The Everly Brothers (UK #11, 1965), Peaches & Herb (US #13/R&B #16 1967).
Also recorded by Paul McCartney & Wings (1971).
From the wiki: “The song was based on a guitar riff by Jody Williams. The song was written by Bo Diddley under the name of his wife at the time, Ethel Smith. The first recorded version of ‘Love Is Strange’ was performed by Bo Diddley, who recorded his version on May 24, 1956 with Jody Williams on lead guitar. This version was not released until its appearance on I’m a Man: The Chess Masters, 1955-1958 in 2007.
First recorded by Little Richard (R&B #7/UK #9 1956).
Also covered by The Animals (1964), The Everly Brothers (1965), The Flamin’ Groovies (1969), Led Zeppelin/The Nobs (1970), Mick Ronson (1975), Darts (as “Daddy Cool/The Girl Can’t Help It” UK #6 1977), Bonnie Raitt (as “The Boy Can’t Help It” (1979), Babes in Toyland (2001).
From the wiki: “‘The Girl Can’t Help It’ is the title song to the film The Girl Can’t Help It, composed by songwriter Bobby Troup (‘Route 66’, ‘Girl Talk’, ‘The Meaning of the Blues’). The recording was released in December 1956 and peaked at #49 on the Billboard Top 100 singles chart (also UK #9 and US R&B #7 ), and is included in the Rolling Stone’s 500 Greatest Songs of All Time. Originally, Fats Domino was lined up to record the track, which was not written to be a Rock song. The movie, The Girl Can’t Help It, was originally intended as a vehicle for the American sex symbol Jayne Mansfield, with a satirical subplot involving teenagers and rock ‘n’ roll music. The unintended result has been called the ‘most potent’ celebration of Rock music ever captured on film. The original music score included the title song performed by Little Richard. Reportedly, the producers had wanted Elvis for ‘The Girl Can’t Help It’, but Elvis’s manager Tom Parker demanded too much money.
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