Written and first recorded by P.F. Sloan (1965).
Hit versions by The Turtles (1965 |US #100 1970), Barry McGuire (US #1/UK #3/CAN #1/GER #6/NOR #1 1965)
Also recorded by Jan & Dean (1965).
From the wiki: “‘Eve of Destruction’ was written by P. F. Sloan in mid-1964. Sloan was very successful during the mid-1960s, writing, performing, and producing Billboard top 20 hits for artists such as Barry McGuire, The Searchers, Jan & Dean, Herman’s Hermits, Johnny Rivers, The Grass Roots, The Turtles, and The Mamas & the Papas. He was also a session guitarist in the group of L.A. session musicians known as The Wrecking Crew, working with such well-known backing musicians as drummer Hal Blaine, guitarist Tommy Tedesco, bassist Joe Osborn, and bassist/keyboardist Larry Knechtel, among others.
“It was Sloan, while working with Barry McGuire, who created and played a guitar intro as a hook to a new song by John Phillips entitled ‘California Dreamin” that was first offered to and was first recorded by McGuire. The same backing track was used for the hit version by Phillips’ group The Mamas & the Papas, which led to Sloan becoming a regular in their recording sessions.
First recorded by The Regents (US #13/R&B #7 1961).
Also recorded by Jan & Dean (1962).
Other hit version by The Beach Boys (US #2/UK #3 1966).
From the wiki: “‘Barbara Ann’ was written by Fred Fassert and was first recorded by The Regents as ‘Barbara-Ann’. Their version was released in 1961. It reached #13 on the Billboard Hot 100 chart, and crossed-over, too, as a Top 10 R&B hit. The Beach Boys recorded their version on September 23, 1965 (five days after actress and model Barbara Anne Feldon coincidentally made her first television appearance on Get Smart). Dean Torrence is featured on lead vocals with Brian Wilson. Torrence was not credited on the album jacket but ‘Thanks, Dean’ is spoken by Carl Wilson at the end of the track.
“By late January 1966, ‘Barbara Ann’ was in position to replace ‘We Can Work It Out’ by The Beatles as the next #1 song. However, ‘My Love’, by Petula Clark, unexpectedly vaulted into the #1 position the week ending February 5, 1966. Consequently, ‘Barbara Ann’ peaked at #2 in the US Billboard Hot 100.”
First recorded by Larry Clinton & His Orchestra with Bea Wain (US #1 February 1938).
Other hit versions by Eddy Duchin (US #12 1939), Al Donahue & His Orchestra (US #16 1939), The Four Aces (US #11 1952), Jan & Dean (US #25 1961), The Cleftones (US #18 1961).
From the wiki: “‘Heart and Soul’ was written by Hoagy Carmichael (‘Stardust‘, ‘Georgia on My Mind‘) with lyrics by Frank Loesser and first recorded in 1938 by Larry Clinton & His Orchestra featuring Bea Wain. In 1939, three versions charted: Larry Clinton (reaching #1 on the chart), Eddy Duchin (reaching #12), and Al Donahue (reaching #16).
“The Four Aces covered and charted ‘Heart and Soul’ in 1952; two different cover versions charted in 1961, with Jan & Dean reaching #25 and The Cleftones reaching #18. The Cleftones’ recording became more widely and popularly known after it was used in the 1972 movie American Graffiti, and was included on the soundtrack album.
First recorded by Fran Warren w. Claude Thornhill & His Orchestra (1946).
Hit versions by Jo Stafford (US #15 1947), Jan & Dean (US #95 1962), Lenny Welch (US #96/MOR #21 1972), Kenny Rankin (MOR #28 1976), Reba McEntire (C&W #5 1988).
Also recorded by Louis Prima (1947), The Harptones (1953), Etta James (1961).
From the wiki: “‘A Sunday Kind of Love’ was composed by Barbara Belle, Anita Leonard, Stan Rhodes, and Louis Prima. It was first recorded in 1946 by Claude Thornhill & His Orchestra, becoming the signature-song for his vocalist, Fran Warren. Jo Stafford had the first charted recording of ‘A Sunday Kind of Love’, in 1947, the same year that co-writer Louis Prima recorded an arrangement with his orchestra.
“In 1953, the Harptones (‘Since I Fell For You‘), a group who never had a Top-40 pop hit, or even charted any of their 29 singles nationally on the Billboard R&B chart, covered ‘A Sunday Kind of Love’ – an arrangement that would have a strong influence on subsequent popular recordings of the song including covers by Etta James, Lenny Welch, and Kenny Rankin.”
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