First recorded by Bread (September 1969).
Hit version re-recorded by Bread (US #10/MOR #2/CAN #6 September 1970).
Also recorded by Maxine Weldon (1971).
From the wiki: “‘It Don’t Matter to Me’ was written by David Gates. It was first recorded for the eponymous debut album of his group, Bread, and released as an album track in September 1969.
“In 1970, during sessions for Bread’s second album, On the Waters, Gates had the group re-record ‘It Don’t Matter to Me’ for the group’s follow-up single to the #1 hit ‘Make It With You’. (The re-recording, however, was not included on the second album.) Released as a single in September 1970, this new version hit the Top-10 in both the U.S. and Canada, peaking at #10 on the Billboard Hot 100 and spending two weeks at #6 in Canada.
First released by Robert Knight (released February 1967).
Hit versions by The Association (released June 1967 US #2/MOR #1/CAN #1/NZ #6), The 5th Dimension (US #12/MOR #1/R&B #45/CAN #9 1972), Blue Swede (US #7/CAN #7 1974), The Addrisi Brothers (US #80 1977).
From the wiki: “”Never My Love” was a pop standard written by siblings Don and Dick Addrisi. Growing up, both Don and Dick played parts in their family’s acrobatic group, The Flying Addrisis. In the 1950s, they got in touch with Lenny Bruce about starting a singing career and moved to California. They auditioned for parts on the Mickey Mouse Club, but were rejected. Soon after, however, they signed to Del-Fi Records and recorded several singles which produced a modest chart hit for them in 1959, ‘Cherrystone’. The brothers enjoyed greater success as a songwriting duo.
First recorded by Bud Flanagan & Chesney Allen (1939).
Hit versions by The Johnny Messner Music Box Band (US #12 1939), Kay Kyser & His Orchestra (US #1 1939).
From the wiki: “‘The Umbrella Man’ (sometimes referred to as ‘Any Umbrellas?’, and not to be confused with the Partridge Family song — or the Roald Dalh story — of the same name) was written by British songwriters James Cavanaugh, Larry Stock and Vincent Rose. According to the lyrics, the ‘Umbrella Man’ was a repairman who mends umbrellas and parasols. He will also sharpen knives, darn socks, and even mend a broken heart of two.
“It was first published in 1924, first performe live in 1938 by the comedy double act Flanagan and Allen in the musical revue These Foolish Things, and first recorded by the duo in 1939. It has since been used in Dennis Potter’s motion picture The Singing Detective (1986) and the TV adaptation of John le Carré’s A Perfect Spy (1987).
Written and first released by Kim Carnes (MOR #35 1975).
Other hit version by Gene Cotton & Kim Carnes (US #36/MOR #6/C&W #78 1978).
From the wiki: “‘You’re a Part of Me’ was written by singer-songwriter Kim Carnes, and was first recorded by her, and produced by Mentor Williams, in 1975 for her second album, Kim Carnes, (an album which also held one of the four arrangements by different artists of ‘Somewhere in the Night‘ that appeared almost simultaneously in 1975). Released as a promotional single, it peaked at #35 of the Adult Contemporary singles chart but did not appear on Billboard‘s Hot 100.
“Three years later, in 1978,’You’re a Part of Me’ received wider popularity – this time as a duet performance between Carnes and another singer-songwriter, Gene Cotton (‘Let Your Love Flow‘). This arrangement did chart on the Hot 100, peaking at #36, scoring Top-10 success on the Adult Contemporary chart, and crossing-over to the Hot Country singles chart. This duet arrangement would be released on Cotton’s 1978 album, Save the Dancer.”
Gene Cotton & Kim Carnes, “You’re a Part of Me” (1978):
First recorded (as a demo) by Ritchie Adams (1974).
First released by Rick Chambers (1975).
Also recorded by Jack Jones (1975), Barbara Mandrell (1977).
Hit version by Engelbert Humperdinck (US #8/MOR #1/C&W #40/CAN #7/AUS #13/NZ #1 1976).
From the wiki: “‘After the Lovin” was written by Ritchie Adams and Alan Bernstein in 1974, and first recorded as a demo by Adams. In 1975, Adams, recording under his stage name, Rick Chambers, would record and release the song as a promotional single which did not chart. Adams had earlier co-written hits for Bobby Lewis (‘Tossing and Turning’), Ronnie Dove (‘Happy Summer Days’), and The Banana Splits (‘The Tra La Song (One Banana, Two Banana)’) on which whose TV program Adams was also the music director.
“Jack Jones would cover ‘After the Lovin” in 1975, for his album What I Did For Love (and attributed only to Bernstein).
“Recorded and released by Engelbert Humperdinck in 1976, ‘After the Lovin” would go Top-10 in the US and Canada, and top the New Zealand music chart. The song failed, however, to chart in the UK, despite Humperdinck’s earlier successes there.
“Barbara Mandrell would cover ‘After the Lovin” for her 1977 album Friends and Strangers. Although never released as a single, her performance would garner a Grammy nomination for Mandrell for Best Country Vocal Performance (Female) in 1978.”
First recorded (as “Cerisiers Roses et Pommiers Blancs”) by André Claveau (1950).
Also recorded by Tino Rossi (1950), Léo Marjane (1950).
Hit versions by Perez Prado (US #1/UK #1 1955), Eddie Calvert (UK #1 1955), Alan Dale (US #14 1955), Modern Romance (UK #15 1982).
Advertisement for “Cerisier Roses et Pommier Blanc”, ca. 1950, recorded by André Clabeau.
From the wiki: “‘Cherry Pink and Apple Blossom White’ (aka ‘Cerezo Rosa’, ‘Ciliegi Rosa’, ‘Chanson rumba’ or ‘Gummy Mambo’) is the English-language version of ‘Cerisiers Roses et Pommiers Blancs’, a popular French song with music by Louiguy (Luis Guglielmi, best known for composing ‘La Vien Rose’), written by him with lyrics by Jacques Larue. First recorded in France by André Claveau in 1950, ‘Cerisiers Roses …’ was also recorded the same year by Tino Rossi, and Léo Marjane.
“The song crossed the Atlantic Ocean via its inclusion in the soundtrack to the adventure motion picture Underwater!, released by RKO Films in February 1955, appearing first in the opening credits as a lush orchestral instrumental arranged by Roy Webb; later in the movie performed by ‘mambo king’ Perez Prado Y Su Orchestra while star Jane Russell is seen dancing.
First recorded by Shadden and the King Lears (released February 1967).
Hit version by Bobby Vee (released June 1967 US #3).
From the wiki: “‘Come Back When You Grow Up’ was written by Martha Sharp, who would later become an executive at Warner Records and is credited with discovering Randy Travis in early 1980s.
Shadden and the King Lears’ original distribution notice for ‘Come Back When You Grow Up’, published in Billboard, Feb. 11, 1967, four months ahead of the Bobby Vee release date.
“Shadden and the King Lears, formed by Shad Williams, hailed from Memphis, TN, and performed together from the early 1960’s until 1968 when Shad quit the band to go to Seminary. The group was best known for several regional hit records, including ‘Come Back When You Grow Up’, which topped local radio charts up and down the Mississippi River ahead of the Bobby Vee cover version. Shad had happened across the song in a publisher’s music demo catalog. He liked the words but did not like the musical arrangement, so Shad and a couple of band members reworked the arrangement and the end result was the song you know today.
First recorded (as “Now We’re Starting Over Again”) by Dionne Warwick (UK #76 1981).
Other hit version by Natalie Cole (MOR #5/CAN #12/UK #56 1990).
From the wiki: “‘Starting Over Again’ was composed by Michael Masser and Gerry Goffin as ‘Now We’re Starting Over Again’, and was first recorded in 1981 by Dionne Warwick to augment the live performance tracks released on her album Hot! Live and Otherwise. Produced by co-writer Masser, and not released in the US as a promotional single, ‘Now We’re Starting Over Again’ did see distribution as a single in other countries and did chart in the UK where it peaked at #76.
“Natalie Cole’s arrangement of ‘Starting Over Again’, also produced by Masser, was released in late 1989 in the UK and early 1990 in the US, the fifth of five promotional singles released from her 1989 album Good to Be Back. Although the single did not chart Hot 100 or R&B, it did peak at #5 on the Billboard Adult Contemporary chart, and also charted in Canada and the UK.”
First recorded by Sheena Easton (1987).
Hit version by Celine Dion (MOR #22/CAN #16 1991).
From the wiki: “‘The Last to Know’, written by Brock Walsh and Phil Galdston, was first recorded by Sheena Easton for her 1987 album, No Sound But a Heart.
“Canadian singer Celine Dion covered ‘The Last to Know’ for her first English-language album, Unison (1990), produced by British record producer, Christopher Neil. The song was released by Columbia Records as the album’s fourth single in Canada in March 1991. Later, in September, it was issued as a single in the rest of the world. While not charting in the Billboard Hot 100, Dion’s recording did chart Top-20 in Canada and on the US Adult Contemporary music chart.”
Written and first recorded by Stephen Bishop (1985).
Hit version by Phil Collins & Marilyn Martin (US #1/MOR #1/CAN #1/UK #4/IRE #1/AUS #14 1985).
From the wiki: “‘Separate Lives’ was written and first recorded in 1985 by Stephen Bishop (‘On and On’, 1977; ‘It Might Be You’, 1982). Released only in Hong Kong by Polydor Records on Bishop’s vinyl LP, Sleeping with Girls (a cassette format would later be released in 1986 in the US and Canada), the song would be chosen to be used in the movie White Nights in 1985. Sung by Phil Collins and Marilyn Martin, ‘Separate Lives’ would reach #1 on the Billboard Hot 100 and Adult Contemporary charts as well as topping the charts in Canada and Ireland.
“Bishop received an Academy Award nomination in 1986 for Best Original Song, losing to Lionel Richie’s ‘Say You, Say Me’ from the same film.”
First recorded by Thomas Wayne with the DeLons (US #5 1958).
Other hit versions by The Fleetwoods (US #10 1961) Brian Hyland (US #56 1969).
Also recorded by Paul McCartney (1971, released 2018).
From the wiki: “‘Tragedy’ was written by Gerald H. Nelson and Fred B. Burch. The first recording of the song, produced in October 1958 by Thomas Wayne with the DeLons, rose to #5 on the Billboard Top 100 in 1959. Recorded in Memphis and produced by Scotty Moore, Elvis Presley’s guitarist, the arrangement was made with a trio of girls recruited from the local high school. A 1961 cover version by The Fleetwoods rose to #10 on the charts. Brian Hyland (‘Sealed With a Kiss’, 1962; ‘Gypsy Woman‘, 1970) also recorded it and released it as a single in 1969, but it only made it to #56.
Written and first recorded by the Bee Gees (1975).
Hit version by Olivia Newton-John (US #23/MOR #1/C&W #5/CAN #22/NZ #3 1976).
From the wiki: “‘Come On Over’ was by Barry and Robin Gibb and was first recorded by the Bee Gees for their 1975 album Main Course, produced by Arif Mardin in Miami, FL.
“A year later, in 1976, Olivia Newton-John’s cover of ‘Come On Over’ was released as the title track and promotional single for her album Come On Over. Her recording peaked at #23 on the Billboard Hot 100. It was also Newton-John’s sixth #1 in a row on the Easy Listening chart, for one week in April 1976. ‘Come On Over’ also peaked Top-5 on the US Country Singles chart.”
First recorded (as the instrumental “Candlelight Cafe”) by Bert Kaempfert (1959 |1962).
Hit version by Wayne Newton (US #13/MOR #3 1963).
From the wiki: “‘Danke Schoen’ was composed by Bert Kaempfert (‘Spanish Eyes’, ‘Strangers in the Night‘) and was first recorded as a jazzy instrumental titled ‘Candlelight Cafe’ in 1959 with Ladi Geisler on guitar, and again in 1962 in an ‘easy listening’ arrangement. Kurt Schwabach wrote the German lyrics.
“The song gained international fame when, in 1963, Milt Gabler wrote English lyrics and 21-year old singer Wayne Newton recorded an American version. The song was originally intended for singer Bobby Darin as a follow-up to his hit single, ‘Mack the Knife’, but after seeing Newton perform at the Copacabana, in Las Vegas, Darin passed the song along to Newton, transposing the arrangement to fit Newton’s voice. ‘Danke Shoen’ became Newton’s first US Top-20 hit.
First recorded by Goldie (1966).
Hit versions by Dusty Springfield (UK #10/AUS #9/SNG #6 1966), The Byrds (US #89 1967).
Also recorded by Carole King (1970 |1980), Larry Lurex aka Freddie Mercury (1973).
From the wiki: “Billed as ‘Goldie’ (of Goldie & the Gingerbreads), Genya Raven released the original version of the classic Carole King-Gerry Goffin composition “Goin’ Back” in the spring of 1966. However, this single was withdrawn within a week by producer Andrew Loog Oldham, due to disagreements with Goffin and King over altered lyrics. King then decided to record “Goin’ Back” herself, but ultimately she offered it to Dusty Springfield instead who would record it three months later, making the UK Top-10 singles chart immediately in the wake of her UK #1 hit ‘You Don’t Have to Say You Love Me‘.
Written and first recorded by Neil Sedaka (1975).
Hit version by The Captain & Tennille (US #3/MOR #1 1976).
From the wiki: “‘Lonely Night (Angel Face)’ was written and first recorded in 1975 by Neil Sedaka, appearing as a track on his 1975 studio album, The Hungry Years. The following year the song was made popular when covered by The Captain & Tennille for their album Song of Joy who took their version to #3 on the Billboard Hot 100.”
First recorded by Steve Eaton (1973).
Also recorded by the Righteous Brothers (1975).
Hit version by the Carpenters (US #35/MOR #4/CAN #38/JPN #68 1977).
“In 1975, the Righteous Brothers were the first to cover the song, for the album Sons of Mrs. Righteous. But, in 1977, ‘All You Get from Love is a Love Song’ was internationally popularized by the Carpenters. Included on the album, Passage, their cover was released as a promotional single – charting in the US Top-40, in Canada, and in Japan.
First recorded as a demo by John Carter and Ken Lewis (1964).
Hit versions by Goldie & the Gingerbreads (UK #25 1965), Herman’s Hermits (US #2 1965).
From the wiki: “‘Can’t You Hear My Heartbeat’ was written by John Carter and Ken Lewis (‘Tossing and Turning’, ‘Little Bit O’ Soul‘) and was first recorded as a demo in 1964 by the songwriters.
“The song would next appear separately on the UK and US music charts – first by a U.S. group in the U.K., and then by a U.K. group in the U.S.
First recorded by Lee Morse (1927).
Hit versions by Ukulele Ike (US #27 1927), Nick Lucas (US #3 1927), Kay Starr (US #3/UK #7 1953), Hayley Mills (US #8 1961).
Also recorded by Paul Whiteman & His Orchestra with the Rhythm Boys (incl. Bing Crosby) (1927), Ray Charles & Betty Carter (1961).
From the wiki: “‘Side by Side’ was written by Harry Woods (‘When the Red, Red Robin (Comes Bob, Bob, Bobbin’ Along)’, ‘I’m Looking Over a Four Leaf Clover’, ‘Try a Little Tenderness‘), a one-handed piano player born without fingers on his left hand.
“Among a slew of ‘Side by Side’ releases in 1927, singer, guitarist and actress Lee Morse was the first to release a recording of the song. Her recording, released on March 16, 1927, preceded other recordings released the same month by Nick Lucas (‘Tip-Toe Thru the Tulips‘), and Ukulele Ike (‘Singin’ in the Rain‘), whose recordings were the first to chart on the Hit Parade.
First performed and released by Brook Benton (US #75/MOR #13/R&B #6 1964).
Other hit versions by Dionne Warwick (B-side US #71/R&B #10/CAN #37 1964), Luther Vandross (1981).
Also recorded by Burt Bacharach (1965), Aretha Franklin (2005).
From the wiki: “‘A House Is Not a Home’ was a 1964 ballad written by the team of Burt Bacharach and Hal David for the 1964 film of the same name, starring Shelley Winters and Robert Taylor (and Raquel Welch’s film debut in a small role as a call girl), and was sung in the film by Brook Benton (‘A Rainy Night in Georgia‘, 1970).
“A promotional single by Benton was released, debuting two weeks before the release of Dionne Warwick’s cover (as the B-side of ‘You’ll Never Get to Heaven (If You Break My Heart)’). But, with two recordings of the same song charting concurrently, radio airplay and sales was split airplay. Benton’s version peaked at #75 on the Billboard Hot 100; Warwick’s B-side recording peaked at #71 (the A-side peaked at #34 on the Hot 100; #10 R&B).
“Warwick’s single of ‘A House is Not a Home’ fared a bit better in Canada, where it peaked at #37.
Written and first recorded by Boz Scaggs (AUS #54 1976).
Other hit versions by Frankie Valli (US #76/MOR #27/CAN #73 1976), La Costa (C&W #75 1977), The Walker Brothers (NETH #22 1977), Rita Coolidge (US #7/MOR #1/C&W #68/UK #6/IRE #6/AUS #32/NZ #34/NETH #22 1977).
From the wiki: “”We’re All Alone” was written by Boz Scaggs, and was included on his 1976 album Silk Degrees. ‘We’re All Alone’ was used as the B-side of one of the album’s promotional singles, ‘Lido Shuffle’, in advance of the album’s release but was itself never released as an A-side except in Australia, where it peaked at #57.
“‘We’re All Alone’ did garner attention soon after the Scaggs’ album’s March 1976 debut. Frankie Valli covered and released a single version from his Valli LP which reached #78 U.S. in August 1976. The Walker Brothers – one of Scaggs’ formative influences – cut ‘We’re All Alone’ for their Lines album. The Walker’s track had an October 1976 single release in the UK whereas the Frankie Valli version had been released that July. Neither single charted in the UK, but the Walker Brothers’ version did reach #22 in the Netherlands in August 1977. Country singer La Costa (sister of Tanya Tucker) had a single release of ‘We’re All Alone’ in both the US – where it charted at #75 C&W – and also the UK where the track was the B-side of a remake of ‘I Second That Emotion’.
First recorded by Billy Lawrence (1971).
Hit versions by Clint Holmes (US #2/MOR #7/CAN #1/NZ #3 1972), Johnny Ashcroft (AUS #19 1973).
From the wiki: “‘Playground In My Mind’, a nursery rhyme-styled song, was written by record producer Paul Vance (‘Catch a Falling Star’, 1957; ‘Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini’, 1960) with Lee Pockriss, and was first recorded in 1971 by Billy Lawrence (in a session produced by Vance and Pockriss) and released in June 1971 by Atlantic Records with no apparent chart impact.
“When produced again by Vance in 1972, it featured a duet with Clint Holmes and Vance’s son, nine-year-old Philip, on the chorus. This arrangement of ‘Playground in My Mind’ was released in the U.S. in July 1972 but did not reach the Billboard Hot 100 chart until eight months later – March 24, 1973 – before going on to remain on the Hot 100 for a total of 23 weeks, peaking at #2 in June 1973. It ended 1973 at the 12th most popular song of the year.”
First recorded by Lou Johnson (US #74 1963).
Other hit versions by Dionne Warwick (US #20/R&B #1 1964), Olivia Newton-John (MOR #32/AUS #153 1989).
From the wiki: “‘Reach Out for Me’, written by Burt Bacharach and Hal David, was first recorded in 1963 by Lou Johnson.
“Johnson came from a musical family, and started singing in gospel choirs in his teens. In 1962, Johnson signed as a solo singer with Bigtop Records, run by the Hill & Range music publishing company in the famed Brill Building. There, he met the songwriting team of Burt Bacharach and Hal David, who took a liking to the singer and wrote Johnson’s first single, ‘If I Never Get to Love You’. Neither that song nor his second record, ‘You Better Let Him Go’ (written by Joy Byers), were hits. But, his third single, ‘Reach Out for Me’, another Bacharach-David composition and this time produced by Bacharach, reached #74 on the Billboard Hot 100 in late 1963. However, as it rose up the charts, the Bigtop Records collapsed, limiting the record’s success.
First performed by Herb Alpert (1968).
First released (as “That Guy’s in Love”) by Danny Williams (1968).
Hit versions by Herb Alpert (US #1/MOR #1/CAN #1/UK #3/AUS #1 1968), Dionne Warwick (as “This Girl’s in Love with You” US #7/MOR #2/R&B #7/CAN #7 1969).
Also recorded by Burt Bacharach (1969)
From the wiki:”‘This Guy’s in Love with You’ was written by Burt Bacharach and Hal David. [T]he original performance originated when Herb Alpert, while visiting at Bacharach’s office, asked, ‘Say, Burt, do you happen to have any old compositions lying around that you and Hal never recorded; maybe one I might be able to use?’ Alpert said he made it his practice to ask songwriters that particular question: often a ‘lost pearl’ was revealed. As it happened, Bacharach recalled one, found the lyrics and score sheet in his office filing cabinet, and offered it to Alpert: ‘Here, Herb … you might like this one.’
“Alpert first sang ‘This Guy’s in Love with You’ on his April 1968 television special, The Beat of the Brass. In response to numerous viewer telephone calls to the network following the broadcast, Alpert decided that the song should be recorded and used as the promotional single for the subsequent May 1968 release of the TV special’s soundtrack. But, the first release of ‘This Guy’s in Love with You’, titled ‘That Guy’s in Love’, was in the UK by South African-born singer Danny Williams in late April 1968, for his self-titled album. Williams’ recording, however, was not released as a single.
First released by Samantha Sang (recorded 1977, released B-side 1978).
Hit version by Eric Carmen (US #19/MOR #6/CAN #14 1978).
From the wiki: “‘Change of Heart’ was written by Eric Carmen. It was first recorded in 1977 by Samantha Sang for her album, Emotion, and released as a single in April 1978 as the B-side to ‘You Keep Me Dancing’ (US #57), the follow-up single to her Top-10 international hit Emotion.
“Carmen released ‘Change of Heart’ in September 1978 as the lead single to Change of Heart, his third solo album (after leaving The Raspberries), with Sang on backing vocals.”