First recorded by The Little Darlings (1965).
Hit version by The Music Explosion (US #2 1967).
Also recorded by The Ramones (1983).
From the wiki: “‘Little Bit o’ Soul’ was written in 1964 by British songwriters John Carter and Ken Lewis, and originally recorded by Coventry band The Little Darlings. Carter first met Lewis while both were at school, where they formed a skiffle band in the 1950s called LVI. In 1961 their band, Carter-Lewis & the Southerners, released ‘Back on the Scene’ as a single but the group never broke through. The Southerners main claim to fame remains the brief stint Jimmy Page did as their lead guitarist.
Written and first recorded by John Fogerty (US #27 1975).
Other hit version by Status Quo (UK #3/IRE #1/AUS #22/SWE #3/GER #7 1977).
From the wiki: “‘Rockin’ All Over the World’ made its debut on Fogerty’s second solo album, John Fogerty, in 1975. Released as a promotional single, ‘Rockin’ All Over the World’ peaked at #27 on the Billboard Hot 100. Two years later, English boogie rock band Status Quo recorded their own, heavier arrangement of the song for their 1977 album Rockin’ All Over the World. This release became an international hit, and the song has since become largely identified more with Status Quo than Fogerty.
Written and first recorded by Warren Zevon (1976).
Hit version by Linda Ronstadt (US #31/C&W #46/CAN #9 1977), Terri Clark (C&W #5/CAN #1 1996).
From the wiki: “‘Poor Poor Pitiful Me’ was written and first recorded by Warren Zevon (with backing vocals by Lindsey Buckingham). In keeping with Zevon’s sardonic lyrical style, the song’s verses deal with a failed suicide, domestic abuse, and a brush with sadomasochism. (It is reputed to be a friendly swipe by Zevon at Jackson Browne, whose songs – such as ‘Here Come Those Tears Again'” and ‘Sleeps Dark and Silent Gate’ – could be dark and wallowing in pity.)
First recorded and released by Billy Preston (US #93/R&B #23 1970).
Hit version by George Harrison (US #1/UK #1/FRA #1/GER #1 1971 |UK #1 2002).
Based on “He’s So Fine” recorded by The Chiffons (1963), Jody Miller (1971) & “Oh Happy Day” recorded by The Eddie Hawkins Singers (1969).
Parody recordings by George Harrison (as “The Pirate Song”, 1976), by Jonathan King (a “He’s So Fine/My Sweet Lord”, 1987).
From the wiki: “‘My Sweet Lord’ was written by George Harrison but originally given to fellow Apple Records artist Billy Preston to record. Harrison produced Preston’s recording and it was first released on Preston’s Encouraging Words album in September 1970.
First recorded by Vigrass & Osborne (JPN #2 1972).
Hit version by Justin Hayward (US #47/UK #5 1978).
From the wiki: “‘Forever Autumn’ was written by Jeff Wayne, Gary Osborne and Paul Vigrass. The original melody was composed by Wayne in 1969 as a jingle for a Lego commercial. Vigrass and Osborne, the performers of the original jingle, then, added lyrics and recorded the song for their 1972 album Queues. The recording was also released as a single and gained commercial success in Japan, selling more than 100,000 copies and becoming a Top 5 hit.
First recorded by The Easybeats (1968).
Also recorded (as “Gonna Have a Good Time Tonight”) by Hindu Love Gods (1984, released 1986).
Hit version by INXS with Jimmy Barnes (US #47/AUS #2 1987 |UK #18 1991).
From the wiki: “‘Good Times’ was released by Australian group The Easybeats (‘Friday On My Mind’, 1966) as a single in December 1968, with guest vocals by Steve Marriot. The song was written for them by famed songwriting and production duo George Young and Harry Vanda. Legend has it when first broadcast on BBC radio ‘Good Times’ was reputedly heard by Paul McCartney on his car radio; McCartney apparently rang the ‘Beeb’ immediately to request a repeat playing.
First single release by B.W. Stevenson (US #66/SA #8 1973).
Other hit version by Three Dog Night (US #3/CAN #4/SA #13 1973).
From the wiki: “‘Shambala’ was written by Daniel Moore and made famous by two almost-simultaneous releases in 1973: the lesser-known but first-released version by Moore’s sometime-collaborator, Texas singer-songwriter B.W. Stevenson (‘My Maria’), and the better-known but slightly later-released version by Three Dog Night. While the Three Dog Night arrangement was the first to be recorded, in December 1972, it was released on May 19, 1973, one-week after Stevenson’s February 1973 recording.
Written and first recorded by Bruce Springsteen (1973).
Hit version by Manfred Mann’s Earth Band (US #1/UK #6 1975).
From the wiki: “‘Blinded by the Light’ is a song written and originally recorded by Bruce Springsteen after Columbia Records president Clive Davis, upon listening to an early version of Greetings from Asbury Park N.J., felt the album lacked a potential single. Springsteen wrote this and ‘Spirit in the Night‘ in response. ‘Blinded by the Light’ was the first song on, and first single released from, the 1973 album. But, Springsteen’s version was commercially unsuccessful and did not appear on the music charts.
“According to Springsteen, the song came about from going through a rhyming dictionary and looking for rhymes. The first line of the song, ‘Madman drummers, bummers, and Indians in the summers with a teenage diplomat’ is autobiographical — ‘Madman drummers’ is a reference to drummer Vini Lopez, known as ‘Mad Man’ (later changed to ‘Mad Dog’); ‘Indians in the summer’ refers to the name of Springsteen’s old Little League team; ‘teenage diplomat’ refers to himself. The remainder of the song tells of many unrelated events, with the refrain of ‘Blinded by the light, cut loose like a deuce, another runner in the night’.
First recorded (as “The Pale Faced Indian”) by Marvin Rainwater (1959).
Hit versions by Don Fardon (US #20/UK #3 1968), The Raiders (US #1 1970), 999 (UK #51 1981).
Also recorded (as “National Reservation”) by Laibach (1994).
From the wiki: “‘Indian Reservation (The Lament of the Cherokee Reservation Indian)’ was written by John D. Loudermilk, and first recorded in 1959 by Marvin Rainwater. Released as ‘The Pale Faced Indian’, Rainwater’s release stayed unnoticed.
“The song refers to the forcible removal and relocation of Five Civilized Tribes, including the Cherokee people, from the southeastern states of Georgia, Florida, Mississippi and Alabama to the southern Indian Territory in present-day Oklahoma. The removal of these tribes throughout the 1830s is often referred to as the ‘Trail of Tears’. The removal of the Cherokee, Chickasaw, Choctaw, Creek and Seminole came on the heels of President Andrew Jackson’s key legislation, Indian Removal Act of 1830.
First recorded by Traffic (US #123 1968).
Hit versions by Joe Cocker (US #69 1969 |US #33/NETH #11 1972), Mongo Santamaria (US #95 1969), Grand Funk Railroad (US #54/CAN #20 1971).
ALso recorded by Three Dog Night (1969), Chairmen of the Board (1970), Jackson 5 (1971).
From the wiki: “‘Feelin’ Alright?’ (also known as ‘Feeling Alright’) was written by Dave Mason of the band Traffic from their eponymous 1968 album, Traffic. Dave Mason wrote this song with the title ‘Not Feelin’ Too Good Myself,’ which is more accurate in terms of the song’s meaning, but less marketable. (Mason explained: ‘It’s just a song about a girl. It’s just another relationship gone bad.’)
“The original Traffic version of the song, filled with the corresponding melancholy, was issued as ‘Feelin’ Alright?’ – the question mark providing a vital clue to the content. Joe Cocker’s version scrapped the punctuation and was issued as ‘Feeling Alright’, which is how it was listed on most subsequent covers. Cocker recorded it in his debut album, With a Little Help from My Friends, in 1969. In its first release in 1969, his cover reached #69 on the US Billboard Hot 100. In a 1972 re-release, the single reached even higher – #33 on the same chart.
Written by Paul Simon and first recorded by Simon & Garfunkel (US #13/UK #30 1968).
Other hit version (as “Hazy Shade of Winter”) by The Bangles (US #2/UK #11/CAN #3/AUS #7 1987).
From the wiki: “‘A Hazy Shade of Winter’ was written by Paul Simon, recorded and released by Simon & Garfunkel in 1966, and then included on their 1968 album, Bookends (although it also appeared on their Live from New York City, 1967).
First recorded (as a demo) by George Harrison (1970).
Hit version by Ringo Starr (US #4/UK #4/CAN #1 1971).
From the wiki: “‘It Don’t Come Easy’ was first taped on February 18, 1970 during the sessions for Ringo Starr’s first solo album Sentimental Journey. Although Ringo is givens sole composing credit on the recording, he told VH1 Storytellers that ‘It Don’t Come Easy’ was co-written with George Harrison – that he (Ringo) had written just the first two song lines and the chorus; that George composed the remainder. The demo was recorded by George to help Ringo learn the completed lyrics.
“With Beatles producer George Martin initially handling production, George Harrison plays acoustic guitar and sings at the demo session and directed the other musicians – Stephen Stills (keyboards), old Beatles friend Klaus Voormann (bass), and Starr (drums) with backing vocalists, Pete Ham and Tom Evans from Badfinger. After the basic track was completed, George added two electric guitar parts. At this point the song was titled ‘You Gotta Pay Your Dues’.
First recorded by Johnny Kidd & The Pirates (UK #1 1960).
Other hit versions by Guess Who? (US #22/CAN #1/AUS #27 1965), Normie Rowe (AUS #1 1965).
From the wiki: “‘Shakin’ All Over’ was written by frontman Johnny Kidd and reached #1 in the United Kingdom in August 1960. Kidd recalls ‘When I was going round with a bunch of lads and we happened to see a girl who was a real sizzler we used to say that she gave us ‘quivers down the membranes’. It was a standard saying with us referring to any attractive girl … I can honestly say that it was this more than anything that inspired me to write ‘Shakin’ All Over’.’
Co-written and first recorded (as “Groupie (Superstar)”) by Delaney & Bonnie (1969).
Also recorded by Rita Coolidge (1970), Bette Midler (1970 |1972).
Hit versions by The Carpenters (US #2/CAN #3/JPN #7 1971), Luther Vandross (US #87/R&B #5 1983).
From the wiki: “Accounts of the song’s origin vary somewhat, but it grew out of the late 1969-early 1970 nexus of English and American musicians known as Delaney & Bonnie and Friends, involving Delaney and Bonnie Bramlett, Leon Russell, Eric Clapton, and various others. The song’s working title during portions of its development was ‘Groupie Song’. In its first recorded incarnation, the song was titled ‘Groupie (Superstar)’, and was recorded and released as a non-album B-side to the Delaney & Bonnie single ‘Comin’ Home’ (promoting the album On Tour with Eric Clapton) in December 1969. ‘Groupie’ would see an eventual album release in 1972, on D&B Together.
First recorded by Soul Brothers Six (US #91 1967).
Other hit versions by The Fantastic Johnny C (US #87 1968), Grand Funk Railroad (US #3 1974), Huey Lewis & The News (US #44/MOR #4 1994).
Also recorded by Q-Tips (1980), Buddy Guy with Paul Rodgers (1993), Joss Stone (2003).
From the wiki: “‘Some Kind of Wonderful’ is a song written by John Ellison and first recorded by his group, Soul Brothers Six, from Rochester, NY, in 1967, peaking at #91 on the U.S. Billboard Hot 100. The Fantastic Johnny C, from Philadelphia, next recorded a version of the song in 1968 that briefly charted in the US.
“In 1974, Grand Funk Railroad covered ‘Some Kind of Wonderful’ for the group’s album All the Girls in the World Beware!!!. Reaching #3 on the Billboard Hot 100 in February 1975, the Grand Funk recording ended the year ranked #74 on Billboard’s Hot 100 year-end chart for 1975.
First recorded by Kelly Gordon (1969).
Hit versions by The Hollies (US #7/UK #3/CAN #11/IRE #3/AUS #8/NZ #7 1969), Neil Diamond (US #20/MOR #4 1970), The Justice Collective (UK #1 2012).
From the wiki: “‘He Ain’t Heavy, He’s My Brother’ is a popular music ballad written by Bobby Scott and Bob Russell. Originally recorded by Kelly Gordon (who would later become a producer for Glen Campbell, Aretha Franklin, David Lee Roth) in 1969, the song became a worldwide hit for The Hollies later that year and again for Neil Diamond in 1970. Scott and Russell had been introduced to each other by Johnny Mercer, at a California nightclub. Although Russell was dying of lymphoma and the pair met in person only three times, they managed to collaborate on the song.
Written and first recorded by Russ Ballard (1976).
Also recorded by Nona Hendryx (1977).
Hit version by Santana (US #17/#2 Rock/SA #12 1981).
From the wiki: “Russ Ballard came to prominence as the lead singer and guitarist for the band Argent (‘Hold Your Head Up’ 1972), but became better known by the late 1970s as a songwriter and producer. His compositions for other artists during the 1970s and 1980s included ‘Liar’ (Three Dog Night, 1971), ‘Since You Been Gone’ (Head East, 1978; Rainbow, 1979), ‘New York Groove’ (Ace Frehley, 1978), ‘You Can Do Magic’ (America, 1982), ‘God Gave Rock and Roll to You’ (Kiss, 1992), and ‘Winning’, a 1981 hit for Santana that Ballard first recorded in 1976 for his album Winning.
“Prior to Santana’s cover, former LaBelle singer, Nona Hendryx, covered ‘Winning’ in 1977 for her solo debut album.
“Santana promotional single, for the album Zebop!, peaked at #17 in 1981 on the Hot 100 but reached #2 on the Mainstream Rock Charts. Santana’s arrangement also reached #12 in South Africa.”
Written by Sonny Curtis and first recorded by The Crickets (1959).
First covered by Paul Stefan & the Royal Lancers (1962), Bobby Fuller (1964).
Hit versions by The Bobby Fuller Four (US #9/UK #33/CAN #11 1965), The Clash (recorded 1979 |UK #29 1988).
From the wiki: “Sonny Curtis (‘More Than I Can Say‘, ‘Theme to The Mary Tyler Moore Show‘) joined The Crickets as lead vocalist and guitarist after Buddy Holly’s death in 1959. The Crickets recorded Curtis’ ‘I Fought the Law’ shortly thereafter, releasing it on the 1960 album In Style With The Crickets. (Had Holly had lived, there’s a good chance it would have been a huge hit for him with The Crickets.)
“A cover was recorded in 1962 by a Milwaukee, Wisconsin band, Paul Stefan & the Royal Lancers, and released on Citation Records. While the single was successful locally – it topped sales charts in Milwaukee in August and September 1962 – and was named a ‘Regional Breakout’ by Billboard (and was picked up for distribution in the UK by London Records), the Royal Lancers’ arrangement did not chart nationally.
“Bobby Fuller”s first attempt at recording ‘I Fought the Law’, in 1964 on Exeter Records, also became a regional success, this time in New Mexico and West Texas – his biggest local hit. In 1965, Fuller re-recorded by song (using the same group of musicians) for Del-Fi Records label and, with national promotional support, scored a Top 10 hit, peaking at #9 on the Billboard Hot 100.
Written and first recorded by Jules Shear (1985).
Hit version by The Bangles (US #29/UK #31 1986).
From the wiki: “‘If She Knew What She Wants’ is a song by Jules Shear (‘All Through the Night‘) released on his 1985 album The Eternal Return. The song was later and famously covered by The Bangles on their 1986 album, Different Light. Shear’s song was originally written in the first person, essentially a love song; the Bangles rewrote the lyrics in the third person, rather than change the subject’s gender.”
Written and first recorded by John Hiatt (1988).
Hit versions by Joe Cocker (UK #67 1994), Mandy Moore (US #39 2003).
From the wiki: “‘Have a Little Faith in Me’ is a song written and performed by John Hiatt (‘Sure As I’m Sittin’ Here‘) that first appeared on his 1987 album Bring the Family.
First released (as “Brændt [Burnt]”) by Lis Sørensen (1993).
Also recorded by Ednaswap (1995 |1997).
Hit version by Natalie Imbruglia (US #1/UK #2/CAN #1/BE #1/SWE #1 1997).
From the wiki: “‘Torn’ was written by Scott Cutler, Anne Preven, and Phil Thornalley during a demo session in 1993 before Ednaswap was formed. This song has been covered a surprising number of times, considering that it was written by a nearly unknown alternative rock band. The first recorded version of the song was, in 1993, a translation by Danish singer Lis Sørensen, ‘Brændt’ (which translates to ‘Burnt’ in English).
Written and first recorded by J.J. Cale (1972).
Also recorded by Mason Proffit (1972).
Hit album version by Lynyrd Skynyrd (1974).
From the wiki: “‘Call Me the Breeze’ was written by J.J. Cale and first appeared on his 1972 debut album, Naturally, as the opening track. Like many Cale songs, it has been covered numerous times by an assortment of musicians.
“Ironically, many of the more contemporary cover versions of ‘Call Me the Breeze’ available have been performed as tributes to … Lynyrd Skynyrd, the Southern Rock band from Florida that scored an Album Oriented Radio hit with ‘Call Me the Breeze’ in 1974.
First recorded by Robert Gordon (US #76 1981).
Hit version by Marshall Crenshaw (US #36/AOR #25 1982).
From the wiki: “Marshall Crenshaw is an American singer-songwriter who got his first break playing John Lennon in the off-Broadway touring company of the musical Beatlemania. While in New York, he recorded ‘Something’s Gonna Happen’ for Alan Betrock’s Shake Records, after which he was signed to Warner Bros. Records. Crenshaw recalled for Spinner UK: ‘While I was there, I wrote ‘Someday, Someway’ and five or six of the other tunes [that would appear on] my first album.’
Written by “Mutt” Lange and first recorded (as “We Both Believe in Love”) by Supercharge (1979).
Hit version by Huey Lewis & The News (US #7/UK #9 1982).
From the wiki: “‘We Both Believe in Love’ was written by Robert John ‘Mutt’ Lange but underwent a title change while being considered for recording by Huey Lewis and his band. The original, unrevised version was first recorded in 1979 by British band Supercharge, on which Lange sang lead vocals, and appeared on the 1979 Supercharge album Body Rhythm.
“Supercharge were a 1970s English rock band from Liverpool. The band had a #3 hit in Australia in 1977 with ‘You’ve Gotta Get Up and Dance’. Live UK gigs by Supercharge often featured celebrated live sound engineer Chrys Lindop, and included the infamous comedy track ‘She Moved The Dishes First’ (see below), which the band claims they wrote so they could mess about a bit while replacing broken guitar strings during live gigs. This track also achieved notoriety when it was picked up and played regularly by the North Sea pirate radio station ‘Radio Caroline’.
