Songs with Earlier Histories Than the Hit Version

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Category: Broadway/Movies/Television

1950s, Broadway/Movies/Television

High Hopes

First performed by Frank Sinatra & Eddie Hodges (1959).
Hit version by Frank Sinatra & Children’s Chorus (US #30/UK #6 1959).

From the wiki: “‘High Hopes’, with music written by James Van Heusen and lyrics by Sammy Cahn, was popularized by Frank Sinatra, first introduced by Sinatra and child actor Eddie Hodges in the 1959 film A Hole in the Head where it was nominated for a Grammy, and won an Oscar for ‘Best Original Song’ at the 32nd Academy Awards.

“The hit version of ‘High Hopes’ was recorded after the movie’s release by Sinatra in 1959 with a children’s chorus. Released as a single in 1959, it was later included on Sinatra’s 1961 album All the Way. The single reached #30 on the Billboard Hot 100, and peaked at #6 on the UK Singles chart. Sinatra would also record a version of the tune with different lyrics which was used as a theme song for the 1960 presidential campaign of John F. Kennedy.”

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1960s, Broadway/Movies/Television

Try to Remember

First performed by Jerry Orbach (1960).
Hit versions by Ed Ames (US #73/MOR #17 1965), The Brothers Four (US #91/MOR #10 1965), Roger Williams (US #97 1965), New World Trio (AUS #11 1968), Gladys Knight & the Pips (US #11/MOR #2/R&B #6/UK #4 1975).

From the wiki: “‘Try to Remember’ was written for the musical comedy The Fantasticks, sung as the introductory song in the show to get the audience to imagine what the sparse set suggests.

“Its lyrics, by author and lyricist Tom Jones (not the singer), famously rhyme ‘remember’ with ‘September’, ‘so tender’, ’ember’, and ‘December’, and repeat the sequence -llow throughout the song: verse 1 contains ‘mellow’, ‘yellow’, and ‘callow fellow’; verse 2 contains ‘willow’, ‘pillow’, ‘billow'”; verse 3 contains ‘follow’, ‘hollow’, ‘mellow’; and all verses end with ‘follow’. Harvey Schmidt composed the music.

“In 1965, five years after its Broadway debut, ‘Try To Remember’ made it into the Billboard Hot 100 pop chart three times with versions by Ed Ames, Roger Williams, and the Brothers Four. ‘Try to Remember’ has since been covered by many artists over the years and has become a popular standard in the American songbook.

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1930s, Broadway/Movies/Television

Smile (from “Modern Times”)

Written by Charles Chaplin and first performed (as an instrumental) in Modern Times (1936).
Hit versions by Nat “King” Cole (US #10/UK #2 1954), Sunny Gale (US #19 1954).
Also recorded by Michael Jackson (1995).

From the wiki: “‘Smile’ was first performed untitled in Charlie Chaplin’s 1936 part-talkie motion picture Modern Times as film’s ‘romance theme’. Chaplin, the composer, says he found inspiration for the song in Puccini’s ‘Tosca’. The composition was arranged for the movie by Edward Powell & David Raskin with the soundtrack orchestra conducted by Alfred Newman (one of Randy Newman’s uncles).

“John Turner and Geoffrey Parsons later added the lyrics and the ‘Smile’ title in 1954. The lyrics were based on lines and themes from the motion picture, telling the listener to cheer up and that there is always a bright tomorrow, ‘just as long as you smile.’

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1950s, Broadway/Movies/Television

Theme from “Peter Gunn”

Written and first performed by Henry Mancini (1958).
Hit versions by Ray Anthony & His Orchestra (US #8/R&B #12 1959), Duane Eddy (US #27/UK #6 1959), Deodato (US #84/R&B #96/DANCE #20 1976), Art of Noise (US #50/CAN #14/UK #8/DANCE #2 1986).

From the wiki: “‘Peter Gunn’ was composed by Henry Mancini for the television show of the same name. The song was also released on the original soundtrack album, The Music from Peter Gunn, released in 1959. Mancini won an Emmy Award and two Grammys for Album of the Year and Best Arrangement

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1940s, Broadway/Movies/Television

That Old Black Magic

First performed by Johnnie Johnston (1942).
First released by Gordon Jenkins & His Orchestra with Johnnie Johnston (1942).
Other hit versions by Judy Garland (1943), Margaret Whiting (US #10 1943), The Glenn Miller Orchestra (US #1 1943), Sammy Davis, Jr. (US #16 1955), Louis Prima & Keely Smith (US #18 1958), Bobby Rydell (US #21/CAN #13 1961).

From the wiki: “‘That Old Black Magic’ was written in 1942 by Harold Arlen (music) and Johnny Mercer (lyrics). The two wrote it for the 1942 film Star Spangled Rhythm, when it was sung by Johnnie Johnston and danced by Vera Zorina. ‘That Old Black Magic’ was nominated for the Academy Award for ‘Best Original Song’ in 1943 but lost out to ‘You’ll Never Know’ (from the movie Hello, Frisco, Hello).

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1940s, Broadway/Movies/Television, Novelty

“Dragnet” TV Theme Song

Based on “The Killers Main Theme” by Miklos Rozsa (1946).
Hit versions (as “Dragnet”) by Ray Anthony & His Orchestra (US #3/UK #7 1953), Ted Heath Orchestra (UK #9 1953), Johnny Moore’s Three Blazers (as “Dragnet Blues” R&B #8 1953), The Art of Noise (UK #60/NZ #25/SWZ #29 1997).
Also recorded (as “St. George and the Dragonet”) by Stan Freberg (US #1 1953).

From the wiki: “Miklós Rózsa was a Hungarian-American composer known for his dramatic film scores.

“His career in Hollywood gained him tremendous fame: Rózsa received 17 Oscar nominations and won the award three times for his music for the films Spellbound (1945), A Double Life (1947) and Ben-Hur (1959). But the only musical motif he wrote that is easily recognizable to the general public was not part of an award-winning composition. In fact, the motif is often not associated with Rózsa at all, since the more popular version is credited to another composer.

“The famous four-note motif was originally composed by Rózsa for the 1946 American film noir, The Killers. In 1951, the same motif appeared in the ‘Main Title’ theme music for the radio and television drama, Dragnet, composed by Walter Schumann. The music became the subject of a copyright lawsuit when Abeles & Bernstein, lawyers representing Robbins Music Corporation, the publishers of Rózsa’s score for The Killers, filed for copyright infringement on Rózsa’s behalf in January 1954.

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1960s, Broadway/Movies/Television, Novelty

Mahna Mahna

First appeared in the movie Svezia, inferno e paradiso [Sweden: Heaven and Hell] (1968).
Hit version (as “Mah Nà Mah Nà”) credited to “‘Sweden Heaven and Hell’ Soundtrack” (US #55/MOR #12/CAN #22 1969 |UK #8 1977).
Most popular version version performed by The Muppets (1969).

“Most people know Mahna Mahna as a Muppets sketch, but the song — titled Mah Nà Mah Nà — is actually by Italian composer Piero Umiliani. The Tuscan musician composed scores for exploitation films in the ’60s and ’70s, including spaghetti westerns and softcore sex films, but Mah Nà Mah Nà would be his most famous work.

“The song originally appeared in a racy Italian film called Svezia, inferno e paradiso (Sweden: Heaven and Hell), in a scene where a bunch of Swedish models crowd into a sauna wearing little more than bath towels.

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1990s, Broadway/Movies/Television

Beauty and the Beast

First performed and recorded by Angela Lansbury (1991).
Hit version by Celine Dion & Peabo Bryson (US #9/MOR #3/CAN #2/UK #9/AUS #17 1991).

From the wiki: “‘Beauty and the Beast’ was written by lyricist Howard Ashman and composer Alan Menken for the Disney animated feature film Beauty and the Beast (1991). The film’s theme song, a Broadway-inspired ballad, was first recorded by British-American actress Angela Lansbury in her role as the voice of the character Mrs. Potts.

“Disney first solely recruited Canadian singer Celine Dion in 1991 to record a radio-friendly version of ‘Beauty and the Beast’ to promote the film and the film’s forthcoming soundtrack album. However, the studio was concerned that the then-newcomer would not be a strong enough marquee name on her own in the United States (up until then, Dion had had only two songs reach the Billboard Hot 100 and only one hit Top-10), so the more bankable Peabo Bryson (‘Tonight, I Celebrate My Love’, ‘If Ever You’re in My Arms Again’), with his far larger fan-base, was brought in to be a duet partner. (In the beginning Dion had been reluctant to record ‘Beauty and the Beast’ at all because she had just been replaced from recording ‘Dreams to Dreams’, the theme song of the animated film An American Tail: Fievel Goes West – a song that had first been offered to but was rejected by Linda Ronstadt, but which would ultimately be recorded by Ronstadt after she changed her mind.)

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Broadway/Movies/Television, Jazz

Love for Sale

First recorded by Fred Waring’s Pennsylvanians (1930).
Other popular versions by Libby Holman (1931), Sidney Bechet (1947), Billie Holiday (1952, released 1956), Erroll Garner (1953), Charlie Parker (1954), Ella Fitzgerald (1956), Eartha Kitt (1965), Aretha Franklin (1965), Buddy Rich Big Band (1967), Elvis Costello (1980, released 1994), Fine Young Cannibals (1990).

From the wiki: “‘Love for Sale’ was written by Cole Porter from the musical The New Yorkers, satirizing various ‘New York’ types, from high society matrons to con men, bootleggers, thieves and prostitutes during Prohibition. The musical opened on Broadway on December 8, 1930 and closed in May 1931 after 168 performances.

“The pit orchestra featured a young group that had never before appeared on Broadway as the stage band, Fred Waring’s Pennsylvanians, and which also featured the band’s vocalists, the Three Warings, in supporting cast roles on stage as ‘The Three Girl Friends’. ‘Love for Sale’, the most well-known song from the show, was written from the viewpoint of a prostitute advertising ‘love for sale’. Porter’s biographer George Eells refers to it as ‘the minor-keyed song whose lyrics were judged too raw for radio audiences …’

“When the song was first published in 1930, a newspaper called it ‘in bad taste’. Radio stations avoided it. Despite this, popular Hit Parade recordings were released, first, in December 1930 by Waring’s Pennsylvanians & the Three Waring Girls (based on their stage performance) and, then, by vocalist Libby Holman in February 1931.

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1950s, Broadway/Movies/Television

Terry’s Theme (Eternally)

Written by Charles Chaplin and first performed in Limelight (1952).
Hit versions by Frank Chacksfield (as “Terry’s Theme” US #5/UK #2 1953), Rod Goodwin (as “Terry’s Theme” UK #12 1953), Vic Damone (as “Eternally” US #12 1953), Jimmy Young (as “Eternally” UK #8 1953), Sarah Vaughn (US #41/AUS #76 1960).
Also recorded by Li Xianglan (as “心曲 (Heart Song)” 1957).

From the wiki: “‘Terry’s Theme’ was composed by Charles Chaplin (née Charlie Chaplin), with lyrics by the English lyricists Geoff Parsons and John Turner. The music was first used for Chaplin’s film Limelight (1952) titled ‘Terry’s Theme’. The music for the film was belatedly awarded an Oscar for Best Original Dramatic Score at the 45th Academy Awards in 1973.

“Chaplin spent more than two years writing Limelight. His method was remarkable, and unique in his work. As a preliminary, he wrote the story in the form of a full-length novel – some 100,000 words long and entitled ‘Footlights’. The novel – never published in Chaplin’s lifetime or apparently even intended for publication – relates the story as it appears in the finished film.

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1990s, Broadway/Movies/Television

A Whole New World (Alladin’s Theme)

First recorded by Brad Kane & Lea Salonga (1992).
Hit version by Peabo Bryson & Regina Belle (US #1/MOR #1/CAN #6/UK #12/AUS #10/NZ #8/IRE #11 1992).

From the wiki: “‘A Whole New World (Alladin’s Theme)’ is from Disney’s 1992 animated feature film Aladdin, with music by Alan Menken and lyrics by Tim Rice. The original version was sung for the film by Brad Kane and Lea Salonga. They also performed the song in their characters at the 65th Academy Awards, where it won an Academy Award for Best Original Song.

“A single version of the song was released that year and was performed by American recording artists Peabo Bryson and Regina Belle. This version is played in the movie’s end credits and is referred on the soundtrack as ‘Aladdin’s Theme’. This version peaked at #1 on the U.S. Billboard Hot 100 chart on March 6, 1993. The track peaked at #12 in the UK Singles Chart in 1992.

“‘A Whole New World (Alladin’s Theme)’ is the first and so far only song from a Disney animated film to top the US Billboard Hot 100, as well as being the first and so far only Disney song to win a Grammy Award for Song of the Year (at the 36th Annual Grammy Awards).”

Peabo Bryson & Regina Belle, “Whole New World (Alladin’s Theme)” (1992):

1960s, Broadway/Movies/Television

Hey, Look Me Over

First performed by Lucille Ball & Paula Stewart (1960).
Popular versions by Peggy Lee (1963), Rosemary Clooney (1963), Bing Crosby & Rosemary Clooney (1963), Judy Garland (1963), Louis Armstrong (1964).

From the wiki: “‘Hey, Look Me Over’ was from the 1960 Broadway musical Wildcat, and was first performed by comedy actress Lucille Ball in what was the only Broadway appearance of her career.

“Co-producer and writer N. Richard Nash had envisioned the main character of Wildy as a woman in her late twenties, and was forced to rewrite the role when Lucille Ball expressed interest not only in playing it but financing the project as well. Desilu, the company co-owned with Ball by her (soon-to-be ex-) husband Desi Arnaz, ultimately invested $360,000 in the show in exchange for 36% of the net profits, the rights to the original cast recording (ultimately released by RCA Victor), and television rights for musical numbers to be included in a special entitled Lucy Goes to Broadway, a project that eventually was scrapped. Ball also was permitted to choose her leading man. Kirk Douglas’s salary demands and heavy film schedule eliminated him from the running. Gordon MacRae, Jock Mahoney, and Gene Barry were also considered before Ball selected Keith Andes.

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1980s, Broadway/Movies/Television

(I’ve Had) The Time of My Life

First recorded (as a demo) by Franke & the Knockouts (1987, released 1998).
Hit version by Jennifer Warnes & Bill Medley (US #1/MOR #1/UK #6 1987 |UK #8 1991).

From the wiki: “‘(I’ve Had) The Time of My Life’ was composed in late 1986 or early 1987 by Franke Previte, John DeNicola, and Donald Markowitz. Previte, the ‘Franke’ of the group Franke & the Knockouts, had had solo success with the song ‘Sweetheart’ in 1981 but, by 1986, was without a recording contract. Producer and head of Millennium Records, Jimmy Ienner, asked Previte about writing some music for ‘a little movie called Dirty Dancing‘. Previte initially turned the request down because he was still trying to get a record deal, but Ienner was persistent, and got Previte to write several songs for the film, including ‘Hungry Eyes‘, later recorded by singer Eric Carmen.

“After getting further approval, Previte created a demo of the song, performing on it himself with singer Rachele Cappelli. The demo showcased how the harmonies were to be used, employing a ‘cold open’ and a slow build-up of the song to its finale.

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1920s, Broadway/Movies/Television

Ain’t Misbehavin’

First released by The Charleston Chasers (1929).
Hit versions by Leo Reisman & His Orchestra (US #2 1929), Louis Armstrong’s Hot Five (US #7 1929), Bill “Bojangles” Robinson (US #8 1929), Fats Waller (US #17 1929 |1943), The Teddy Wilson Quartet (US #6 1937), Dinah Washington (R&B #6 1948), Johnnie Ray (UK #17 1956), Tommy Bruce & the Bruisers (UK #3 1960), Hank Williams, Jr. (C&W #1 1986).
Also recorded by King Cole Trio & Anita O’Day (1945), Bill Haley & His Comets (1957), Sam Cooke (1958), Leon Redbone (1975).

From the wiki: “With lyrics by Andy Razaf and score by Thomas ‘Fats’ Waller and Harry Brooks, ‘An’t Misbehavin” was created specifically as a theme song for the Razaf/Waller/Brooks Broadway musical comedy Connie’s Hot Chocolates. In a 1941 interview with Eddie ‘Rochester’ Anderson, of The Jack Benny Show fame, Fats said the song was written while ‘lodging’ in alimony prison, and that is why he was not ‘misbehavin’.’

“The song was first performed at the premiere of Connie’s Hot Chocolates at Connie’s Inn in Harlem as an opening number by Margaret Simms and Paul Bass, and repeated later in the musical by Russell Wooding’s Hallelujah Singers. Connie’s Hot Chocolates transferred to the Hudson Theatre on Broadway in June 1929, where it was renamed to Hot Chocolates and where Louis Armstrong took over as orchestra director. The script also required Armstrong to play ‘Ain’t Misbehavin” in a trumpet solo, and although this was initially slated to only be a reprise of the opening song, Armstrong’s performance was so well received that the trumpeter was asked to climb out of the orchestra pit and play the piece on stage.

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1920s, 1960s, Broadway/Movies/Television

Pass Me By

First performed by Digby Wolfe (1964).
Also recorded by Frank Sinatra (1964).
Popular version by Peggy Lee (US #93/MOR #19 1965).

(Above): Opening credits clip from ‘Father Goose’.

From the wiki: “‘Pass Me By’ was composed by Cy Coleman with lyrics by Carolyn Leigh for the 1964 romantic comedy film Father Goose, set in World War II, starring Cary Grant. The film would go on to win an Academy Award for its screenplay. Although ignored by Oscar, the film’s theme song, ‘Pass Me By’, would later become a hit for Peggy Lee.

“Digby Wolfe, the original performer of ‘Pass Me By’, was an English television and film actor, screenwriter and university lecturer in dramatic writing. Among his writing credits was a stint in the early ’60s as a writer on the seminal TV satirical review That Was the Week That Was. After migrating the US in 1964, Wolfe expanded his television writing credits to include The Monkees, Bewitched, I Dream of Jeannie, and The Munsters. He also became one of the staff writers for Rowan and Martin’s Laugh-in (for which he won an Emmy in 1968) and The Goldie Hawn Special (1978), as well as writing material for Shirley MacLaine, John Denver, Cher, and Jackie Mason.

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1940s, Broadway/Movies/Television

Almost Like Being in Love

First performed and recorded by David Brooks & Marion Bell (1947).
Hit versions by Mildred Bailey (US #21 1947), Mary Martin (US #21 1947), Frank Sinatra (US #20 1947), Gene Kelly, (1954), Michael Johnson (US #32/MOR #4 1978).
Also recorded by Lester Young (1952), Nat “King” Cole (1953), Frank Sinatra (1961), Shirley Bassey (1979).

From the wiki: “‘Almost Like Being in Love’ was written by the songwriting team of Frederick Loewe and Alan Jay Lerner in 1947, for the musical Brigadoon. The song was first performed on Broadway and recorded by David Brooks and Marion Bell from the original cast. It would later be performed by Gene Kelly in the 1954 film version of Brigadoon.

“Mildred Bailey first charted ‘Almost Like Being in Love’ in 1947, along with an equally-popular cover by Mary Martin. Frank Sinatra recorded two popular versions: first in 1947 and, again, in 1961 for the album Come Swing With Me, the version generally heard today. Lester Young’s instrumental cover was released in 1952; Nat ‘King’ Cole recorded his version in 1953, a recording used years later, in 1993, for the soundtrack of Groundhog Day.

“‘Almost Like Being in Love’ was revived, as a downbeat ballad, in 1978 by singer Michael Johnson. British singing sensation Shirley Bassey covered Johnson’s arrangement in 1979.”

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1970s, Broadway/Movies/Television

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.”

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1950s, Broadway/Movies/Television

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.”

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1940s, Broadway/Movies/Television

Swinging on a Star

First performed and recorded by Bing Crosby (US #1 1944).
Other hit versions by Big Dee Irwin & Little Eva (US #38/UK #7 1963), Spooky & Sue (NL #2 1974).

From the wiki: “The Pop standard ‘Swinging on a Star’ was composed by Jimmy Van Heusen with lyrics by Johnny Burke, and was first introduced by Bing Crosby in the 1944 film Going My Way, winning an Academy Award for Best Original Song that year.

“Composer Van Heusen was at Crosby’s house one evening for dinner, to discuss a song for the movie. During a meal with the family, one of the children began complained about how he didn’t want to go to school the next day. Crosbyr turned to his son and said to him, ‘If you don’t go to school, you might grow up to be a mule. Do you wanna do that?’

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1960s, Broadway/Movies/Television

Strangers in the Night

First recorded (as “Beddy Bye”) by Bert Kaempfert (1965).
Possibly based on “Stranci u noći” by Ivo Robić (1966)
First English-language recording by Jack Jones (1966).
Also recorded (in German, as “Fremde in der Nacht”) 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.

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1960s, Broadway/Movies/Television

You Only Live Twice

First recorded by Julie Rogers (1967).
Also recorded by Lorraine Chandler (1967), Little Anthony & the Imperials (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, becoming the first artist to record it. But, Rogers’ version was quite different, with a more ‘oriental’ flavor than the later Nancy Sinatra version – the third to be recorded – that would eventually grace the title sequence of You Only Live Twice.

“Jazz singer Lorraine Chandler recorded a second version of the song that differed greatly from the other two – a more bombastic, Shirley Bassey-sound. Composer 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.’

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1980s, Broadway/Movies/Television

Endless Love

First recorded (as a demo) by Lionel Richie (1981, released 2003).
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 recorded by him as a demo in 1981. It would not be released until 2003, as a bonus track on the remastered CD version of his debut solo album, Lionel Richie.

“‘Endless Love’ was performed in the 1981 movie Endless Love by Shea Chambers (an uncredited lip-sync performance) but whose vocal did not appear on the subsequent motion picture soundtrack album release. An arrangement recorded as a duet by Diana Ross and Lionel Richie was instead used, which was subsequently released as the promotional single for the 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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1930s, Broadway/Movies/Television

On the Sunny Side of the Street

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 would later perform the song live with Louis Armstrong and Jack Teagarden in a radio broadcast from Martin Block’s Make Believe Ballroom on WNEW radio in October 1938.)

“The song was first recorded in 1930, from the Broadway musical Lew Leslie’s International Revue starring Harry Richman and Gertrude Lawrence. Richman provided the vocals with Roger Wolfe Kahn & His Orchestra. Another recording, by the Ted Lewis Orchestra, released later the same year came close to topping the Hit Parade.

“Other hit versions were recorded by Lionel Hampton (1938), and Jo Stafford & the Pied Pipers (1944), with Tommy Dorsey & the Sentimentalists topping the Hit Parade in 1945 with their arrangement.”

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1940s, Broadway/Movies/Television

They Say It’s Wonderful

First recorded by Bing Crosby (US #12 1946).
Other popular versions by Ethel Merman & Ray Middleton (1946), Frank Sinatra (US# 2 1946), Perry Como (US #4 1946)

From the wiki: “‘They Say It’s Wonderful’ was written by Irving Berlin for the musical Annie Get Your Gun (1946), where it was introduced on Broadway by Ethel Merman and Ray Middleton. The song was first recorded and released on a 78 rpm by Bing Crosby in 1946, a version that say modest chart success. Merman and Middleton released a recorded ‘cast’ version later in 1946. Frank Sinatra and Perry Como both charted in 1946 with covers of ‘They Say It’s Wonderful’.

“In 1979, Merman recorded a ‘camp’ version for The Ethel Merman Disco Album but it was not released until issued as a bonus track on the CD reissue in 2002.”

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