Songs with Earlier Histories Than the Hit Version

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1289 total songs ... and counting!

1960s, R&B

(Do the) Mashed Potatoes

First recorded by Nat Kendrick & the Swans (US #84/R&B #8 1960).
Other hit version (as “Mashed Potatoes (U.S.A.)”) by James Brown (US #82/R&B #21 1962).
Also recorded (as “The Pastrami”) by The Dartells (US#11/R&B #15 1963).

From the wiki: “‘(Do the) Mashed Potatoes’ was first released as a two-part single in 1960. For contractual reasons the recording was credited to ‘Nat Kendrick and the Swans’ but was, in fact, recorded by James Brown with his band in 1959. The recording arose out of James Brown’s success in using the Mashed Potato dance as part of his stage show. (The dance moves vaguely resemble that of the twist.) Brown wanted to record a ‘Mashed Potatoes’-themed instrumental with his band in order to capitalize on the dance’s popularity. However, King Records head Syd Nathan, a frequent critic of Brown’s proposals, would not allow it.

“So, Brown approached Henry Stone, a friend in the music business who ran the Dade Records label, about recording the piece with him. Stone, although nervous about crossing Nathan (with whom he did business), arranged for Brown to record at his Miami studio and agreed to produce the session.

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1980s, Soul

The Motown Song

Written and first recorded by Larry John McNally (1986).
Hit version by Rod Stewart ft. The Temptations (US #10/MOR #3/UK #10 1991).

From the wiki: “‘The Motown Song’ was written by Larry John McNally and was originally recorded by McNally in 1986 for the Quicksilver movie soundtrack. In 1991, Rod Stewart covered ‘The Motown Song’ with the Temptations, for Stewart’s album Vagabond Heart.”

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1970s, Rock

Motorhead

First recorded by Hawkwind (1975).
Also recorded by by Motörhead (1977).
Hit version by Motörhead (UK #6 1981).

From the wiki: “‘Motorhead’ was written by Lemmy, later of the group Motörhead, while he was a band member in Hawkwind; it was his last before leaving the band. The song first appeared on the B-side of Hawkwind’s 1975 single ‘Kings of Speed’. The title of the song is American slang for a ‘speed’ (amphetamine) freak. The song was written in the Hyatt Hotel (a.k.a. ‘Riot House’) in West Hollywood, California. Lemmy explains:

‘I was on tour with Hawkwind in 1974, we were staying at the Riot House and Roy Wood and Wizzard were also in town. I got this urge to write a song in the middle of the night. I ran downstairs to the Wizzard room, got Roy’s Ovation acoustic guitar, then hurried back to mine. I went on to the balcony and howled away for four hours. Cars were stopping and the drivers were listening then driving off, and there I was yelling away at the top of my voice.

‘The six thousand miles was a reference to Los Angeles, and the rest is self-explanatory. And yes, I am the only person to fit the word ‘parallelogram’ into a Rock’n’roll number! I’m very proud of that.’

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1950s, Pop

Wand’rin Star

First recorded by James Barton (1951).
Hit version by Lee Marvin (UK #1/IRE #1 1969).

From the wiki: “‘Wand’rin Star’ was written by Alan Lerner (lyrics) and Frederick Loewe (music) for the stage musical Paint Your Wagon in 1951. The song was performed on stage by James Barton, in his original role of prospector Ben Rumson, and was first recorded by Barton in 1951. When the film of the musical was produced in 1969, Lee Marvin took the role of prospector Rumson.

“Not a natural singer, Marvin nevertheless sang all of his songs in the film, rejecting the idea of miming to another singer’s voice. Despite the film being a box office flop, the soundtrack became a success. Orchestrated and arranged by Nelson Riddle, Marvin’s version of the song ‘Wand’rin Star’ becoming an unlikely #1 single (for three weeks!) in Ireland and the UK for him, famously keeping The Beatles at #2 in the UK with their single ‘Let It Be’. Marvin never released a follow-up single, so he is classed as a ‘one-hit wonder’.”

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1950s, Country

Abilene

Co-written and first recorded by Bob Gibson (1957).
Hit version by George Hamilton IV (US #15/C&W #1 1963).

From the wiki: “‘Abilene’ was written by Bob Gibson, Lester Brown and John D. Loudermilk (‘Indian Reservation‘, ‘Then You Can Tell Me Goodbye‘), and first recorded by Gibson in 1957. When covered by George Hamilton IV (and produced by Chet Atkins), in 1963, the song reached # on the US Country Singles chart for four weeks, also peaking at #15 on the Billboard Hot 100. Hamilton also performed ‘Abilene’ in the 1963 movie Hootenanny Hoot.

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1980s, Folk

Tom’s Diner

Written and first recorded by Suzanne Vega (1982).
Hit versions Suzanne Vega (UK #58 1987), DNA (as “Oh Suzanne!”) ft. Suzanne Vega (US #5/R&B #10/UK #2 1990/CAN #4/AUS #8/GER #1), Giorgio Moroder ft. Britney Spears (2015).

From the wiki: “Tom’s Diner’ was written and first recorded by Suzanne Vega in 1982. The song’s orgin can be traced back to a story published on November 18, 1981, in the New York Post, thanks to this set of lines:

‘I open up the paper, there’s a story of an actor / Who had died while he was drinking, it was no one I had heard of / And I’m turning to the horoscope, and looking for the funnies.’

“By cross-referencing the New York daily papers operating in 1981, fans of the song isolated the star in question as William Holden, an Academy Award winner who died alone and drunk in his apartment.

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1960s, Rock

The Pusher

First recorded by Sparrow (1967).
Hit album version by Steppenwolf (1968).
Also recorded by Hoyt Axton (1971).

From the wiki: “‘The Pusher’ was written by Hoyt Axton (‘Joy to the World‘, ‘Never Been to Spain‘) after one of his friends died of a drug overdose. The song was one of the first to deal with harsh realities of drug use, and condemns ‘the pusher’ as a heartless criminal who is only after your money. It was made popular by the 1969 movie Easy Rider. ‘The Pusher’ was first recorded as a live performance at The Matrix in 1967 by Sparrow (pre-Steppenwolf moniker). But, according to organist Gordy McJohn, the group’s history with the song began in 1966 when singer John Kay and Jerry Edmonton were late for a performance:

Nick and Mars and me started that long version of ‘The Pusher’. John and Jerry’s flight was late one night at the Avalon Ballroom, so we started and then we perfected it at the ‘Arc’ in Sausalito on New Year’s Eve in 1966.

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1960s, Jazz

Yeh Yeh

First recorded by Mongo Santamaria (1963).
Hit versions by Georgie Fame & the Blue Flames (UK #1 1964/US #21 1965), Matt Bianco (UK #13 1985).
Also recorded by Lambert, Hendricks & Bavan (1963), Hugh Laurie (2013), Diana Krall & Georgie Fame (2015).

From the wiki: “‘Yeh Yeh’ is a Latin Soul tune first composed as an instrumental by Rodgers Grant and Pat Patrick, and first recorded by Mongo Santamaría (‘Watermelon Man‘) on his 1963 album Watermelon Man. Lyrics were written for ‘Yeh Yeh’ shortly thereafter by Jon Hendricks for the vocal group Lambert, Hendricks & Ross, and recorded by them at the 1963 Newport Jazz Festival.

“The vocal arrangement of ‘Yeh Yeh’ was taken to the top of the UK Singles Chart by Georgie Fame & the Blue Flames (‘Peaceful‘), breaking The Beatles’ long-term hold on the #1 spot (five weeks, with ‘I Feel Fine’). A month later, ‘Yeh Yeh’ appeared on the US Billboard Hot 100 chart to peak at #21. (The US single edited out the saxophone solo break.)

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1960s, Rock

(I’m Not Your) Stepping Stone

First recorded by Paul Revere & the Raiders (1965).
Also recorded by The W.C. Fields Memorial Electric String Band (1966), The Rebounds (1966), Flies (1966).
Hit versions by The Monkees (US #20 1967), The Farm (UK #57 1990), P.J. & Duncan (UK #11 1996).

From the wiki: “‘(I’m Not Your) Steppin’ Stone’ was written by Tommy Boyce and Bobby Hart (‘Last Train to Clarksville’, ‘I Wonder What She’s Doing Tonight’). It was first recorded in 1965 by Paul Revere & the Raiders, and first appeared on their album Midnight Ride released in May 1966.

“Early covers included recordings by The W.C. Fields Memorial Electric String Band, The Rebounds, and The Flies. ‘(I’m Not Your) Stepping Stone’ is best known, though, as a hit for The Monkees (US #20). In early 1967, it became the first Monkees B-side to chart. It would later chart in the UK – twice – with cover arrangements by The Farm (1990), and a UK Top-20 hit by P.J. & Duncan (1996).”

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1960s, Novelty, Pop

The “Tonight Show” Theme (“Johnny’s Theme”)

First recorded (as “Toot Tweet (It’s Really Love)”) by Tutti’s Trumpets (1959).
Also recorded (as “It’s Really Love”) by Annette Funicello (1960).
Best-known recording/s by The Tonight Show Band (1962).

From the wiki: “‘Johnny’s Theme’, performed as the theme song of ‘The Tonight Show with Johnny Carson’ for 30 years, began life as ‘Toot Sweet’, a pop instrumental composed in 1959 by Paul Anka and recorded that same year by Tutti’s Trumpets as the B-side to The Camarata Strings’ single ‘Lost In a Fog’ released on Disney’s Buena Vista label. Salvatore ‘Tutti’ Camarata, the ‘Tutti’ of Tutti’s Trumpets and bandleader of the Camarata Strings, was Annette Funicello’s producer at the time. He asked Anka to contribute some songs for Funicello’s first album to follow her work on The Mickey Mouse Club. Anka added lyrics to ‘Toot Sweet’ and published them under the title ‘It’s Really Love’.

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1960s, Reggae/Ska

Stir It Up

Written and first recorded by The Wailing Wailers (1967).
Hit versions by Johnny Nash (US #12/UK #13 1972), Diana King (R&B #53 1994).
Also recorded by Bob Marley & the Wailers (1973).

From the wiki: “‘Stir It Up’ was written by Bob Marley in 1967, for his wife Rita, and was first recorded and released the same year by the Wailing Wailers. Following Marley’s return to Jamaica from the United States in 1967, the Wailers started their own label, Wail’n Soul’m Records, and released their first independent single, ‘Freedom Time’. ‘Nice Time’, ‘Thank You Lord’, and ‘Stir It Up’ (backed with ‘The Train’) were all recorded in the same year. The label folded shortly after, after which Marley began writing for American singer Johnny Nash. Nash used members of The Wailers and recorded several Marley songs on his 1972 album, I Can See Clearly Now, including ‘Stir It Up’.

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1970s, Rock

Tangled Up in Blue

First recorded by Bob Dylan (1974, released 1991).
Hit version by Bob Dylan (US #31 1975).
Also recorded by Bob Dylan (1984).

From the wiki: “‘Tangled Up in Blue’ was written by Bob Dylan, and first appeared on the album Blood on the Tracks in 1975. Released as a single, ‘Tangled Up in Blue’ reached #31 on the Billboard Hot 100. Rolling Stone ranks it #68 on their list of the 500 Greatest Songs of All Time. According to The Telegraph, Dylan said ‘I wanted to defy time … When you look at a painting, you can see any part of it altogether. I wanted that song to be like a painting.’ Dylan had been influenced by his then-recent study of painting and the Cubist school of artists, who had sought to incorporate multiple perspectives within a single plane of view. Dylan has often stated that the song took ‘ten years to live and two years to write.’

“‘Tangled Up in Blue’ was one of five songs on Blood on the Tracks that Dylan initially recorded in New York City in September 1974 and which was then re-recorded in Minneapolis in December that year; the later recording became the album track and single. One of the September 1974 outtakes was released in 1991 on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991.

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1950s, Country

Blue

Written and first recorded by Bill Mack (1956, released 1958).
Also recorded by Kenny Roberts (1966)
Hit version by LeAnn Rimes (US #26/C&W #10 1996).

From the wiki: “‘Blue’ was written and recorded in 1956 by Bill Mack but not released until 1958. Since then, it has been covered by several artists, most popularly by Country singer LeAnn Rimes in 1996. Her recording won Rimes and Mack the 1996 Grammy Award for Best Country Song, a 1996 Academy of Country Music Award for Song of the Year, a 1997 Country Music Association Awards nomination for Song of the Year, and a 1997 Country Radio Music Awards nomination for Song of the Year. ‘Blue’ is also included on the CMT list of the Top 100 Country Songs of All Time.

“In his autobiography, and contrary to popular opinion, Mack debunks the publicity claim that he had written the song specifically for Patsy Cline. According to a self-penned article for Truckers Connection, Mack revealed that his ‘most noteworthy inspirations had been a billboard and attempting to create note changes on a new guitar.’

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1930s, Latin

Guantanamera

First recorded (as “Guajira Guantanamera”) by Joséito Fernández (1940).
Also recorded by Pete Seeger (1963), Celia Cruz (1967).
Hit versions by The Sandpipers (US #9/MOR #3/UK #7/CAN #10/IRE #3 1966), Wyclef Jean & the Refugee Camp All Stars (US #62/R&B #23/UK #25 1997).

From the wiki: “‘Guantanamera’ (Spanish: ‘from Guantánamo, feminine’, thus ‘she from Guantánamo’) is perhaps the best-known Cuban song and that country’s most noted patriotic song.

“The music for the song is sometimes attributed to José Fernández Diaz, known as Joseíto Fernández, who claimed to have written it at various dates (consensus puts 1929 as its year of origin), and who used it regularly in one of his radio programs. After a lengthy copyright dispute, the People’s Supreme Court of Cuba credited Fernández as the sole composer of the music in 1993.

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1960s, Rock

Shanghai Noodle Factory

First recorded and released by Jay & the Americans (1967).
Hit album version by Traffic (1968).

From the wiki: “‘Shanghai Noodle Factory’, ostensibly about the business of music being in conflict with the needs of a musician, was written by Steve Winwood, Jim Capaldi, Chris Wood, Jimmy Miller, and Larry Fallon sometime between Winwood’s departure from the Spencer Davis Group and his co-founding of the band Traffic in the spring of 1967. But, ‘Shanghai Noodle Factory’ would first be recorded by the group Jay & the Americans (‘Come A Little Bit Closer’, ‘Cara Mia’, ‘This Magic Moment‘) and released in October 1967 as the B-side to the non-charting single ‘French Provincial’.

“Coincidentally, it was co-writer and Traffic (and former Spencer Davis Group) producer Jimmy Miller who helmed the Jay & the Americans recording session.

“Traffic would record its own version of Winwood’s song during the group’s final studio sessions in early 1968. Traffic’s ‘Shanghai Noodle Factory’ would then be released in December 1968 in the UK (February 1969 in the US) as the B-side of the non-charting single ‘Medicated Goo’ and appear on the 1969 album Last Exit.”

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1950s, R&B

Night Train

First recorded by Jimmy Forrest & His All Star Combo (R&B #1 1951).
Inspired by Johnny Hodges “That’s the Blues, Old Man” (1940) & Duke Ellington “Happy Go Lucky Local” (1941).
Other hit versions by Buddy Morrow (US #27/UK #12 1952), Rusty Bryant (as “All Nite Long” 1952), James Brown & the Famous Flames (US #35/R&B #5 1962).

From the wiki: “‘Night Train’ was written by Jimmy Forrest but the song has a long and complicated history. The piece’s opening riff was first recorded in 1940 by a small group led by Duke Ellington sideman Johnny Hodges under the title ‘That’s the Blues, Old Man’. Ellington used the same riff as the opening and closing theme of a longer-form composition, “Happy-Go-Lucky Local”, that was itself one of four parts of his Deep South Suite.

“Forrest was part of Ellington’s band when it performed this composition, which has a long tenor saxophone break in the middle. After leaving Ellington, Forrest and his All Star Combo recorded ‘Night Train’ for United Records and, in 1951, had a major R&Bs hit. While ‘Night Train’ employs the same riff as the earlier recordings, it is used in a much earthier R&B setting.

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1960s, Reggae/Ska

Keep On Running

Written and first recorded by Jackie Edwards (1965).
Hit version by The Spencer Davis Group (US #76/UK #1/CAN #22/IRE #3/NZ #4 1965).
Re-recorded by Jackie Edwards (1976).

From the wiki: “‘Keep on Running’ was written and first recorded by Jackie Edwards, which became a #1 UK hit when recorded by The Spencer Davis Group. Edwards recorded his original version while working in the UK for Island Records as a songwriter. It first appeared on his 1965 album Come on Home, and was later re-recorded by Edwards again as a reggae arrangement in the mid-1970s for his Do You Believe In Love album.

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1970s, Rock

Givin’ It Up For Your Love

Written and first recorded by Jerry Williams (1979).
Hit version by Delbert McClinton (US #8/MOR #35/CAN #10 1981).

From the wiki: “Jerry Lynn Williams’ big break as a songwriter came when Delbert McClinton recorded a cover of ‘Givin’ It Up For Your Love’, first recorded by Williams in 1979 for his album Gone. Williams would go on to write for Eric Clapton, B.B. King and Clint Black, and contributed two songs, ‘Real Man’ and ‘I Will Not Be Denied’, to Bonnie Raitt’s 1989 Grammy Award-winning album Nick of Time. Williams also helped Stevie Ray and Jimmie Vaughan write the song ‘Tick Tock’.

“Born in 1948, Williams had dropped out of school at age 14, working Texas roadhouses with his own band, The Epics. He later toured with Little Richard’s band until authorities discovered Williams’ age and sent him home. Williams says he learned to play lead guitar from a fellow band member, Jimmy James – better known as Jimi Hendrix.

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1970s, R&B

The Revolution Will Not Be Televised

Written and first recorded by Gil Scott-Heron (1970).
Popular version by Gil Scott-Heron (1971).
See also: “The Lawrence Welk-Hee Haw Counter-Revolution Polka” by Roy Clark (1972)

From the wiki: “‘The Revolution Will Not Be Televised’ is a song-poem written by Gil Scott-Heron. Scott-Heron first recorded it as a live performance for his 1970 album Small Talk at 125th and Lenox, on which he recited the lyrics, accompanied by congas and bongo drums. A re-recorded version, with a full band, was the B-side to Scott-Heron’s first single, ‘Home Is Where the Hatred Is’, in 1971 from his album Pieces of a Man. This version of ‘The Revolution Will Not Be Televised’ was also included on Scott-Heron’s compilation album, The Revolution Will Not Be Televised (1974).

“The song’s title was originally a popular slogan among the 1960s Black Power movements in the United States. Its lyrics either mention or allude to several television series, advertising slogans and celebrity icons of entertainment and news coverage that serve as examples of what ‘the revolution will not’ be or do.

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1970s, Gospel

Put Your Hand in the Hand

First recorded by Anne Murray (1970).
Hit version by Ocean (US #2/MOR #4/CAN #10 1971).

From the wiki: “‘Put Your Hand in the Hand’ is a gospel-Pop song composed by Gene MacLellan (‘Snowbird’) and first recorded by Anne Murray for her third studio album, Honey, Wheat and Laughter. It was later covered by Canadian band Ocean and released as the title track to their debut album. Their version is arguably the most popular one of the song, peaking at #2 in 1971 on the US Billboard Hot 100 and kept from #1 by ‘Joy to the World‘ by Three Dog Night.”

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1950s, Pop

Quiet Village

Written and first recorded by Les Baxter (1952).
Hit version by Martin Denny (US #4/R&B #11 1959).

From the wiki: “‘Quiet Village’ is an Exotica instrumental that was written and first recorded by Les Baxter (‘Unchained Melody‘) in 1952. Seven years later, in 1959, Martin Denny added exotic sounds to the song, and his instrumental version made it to #4 on the Billboard Hot 100 and #11 on the R&B charts. Arguably the creator of ‘world music’, Denny’s arrangements were a combination of ethnic styles: South Pacific, the Orient and Latin rhythms.

“It was during a mid-1950’s engagement at Honolulu’s ‘Hawaiian Village’ Shell Bar that Denny originally discovered what would become his trademark sound.

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1940s, R&B

Rock the Joint

First recorded by Jimmy Preston & His Prestonians (R&B #6 1949).
Also recorded by Bill Haley & His Saddlemen (1952).
Other hit version by Bill Haley & His Comets (UK #20 1957).

From the wiki: “‘Rock the Joint’, also known as ‘We’re Gonna Rock This Joint Tonight’, is a boogie song first recorded by various proto-Rock and roll singers, most notably by Jimmy Preston and Bill Haley. Preston’s original 1949 version has been cited as a contender for being ‘the first Rock and roll record’; Haley’s 1952 recording is widely considered to be one of the first Rockabilly records (along with Haley’s cover of ‘Rocket 88‘).

“The song’s authorship is credited to Harry Crafton, Wendell ‘Don’ Keane, and Harry ‘Doc’ Bagby (who were musicians contracted to the Gotham label in New York, owned by Ivin Ballen). The song was influenced by earlier R&B recordings such as Wynonie Harris’ 1948 R&B hit ‘Good Rockin’ Tonight‘. Label owner Ballen passed the song on to Jimmy Preston, fresh off a hit with ‘Hucklebuck Daddy’ in 1949, who, with his Prestonians, recorded ‘Rock the Joint’ in Philadelphia in May 1949. Preston’s recording charted R&B Top 10 in 1949.

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1930s, Country

Will the Circle be Unbroken?

Early recording by The Silver Leaf Quartet of Norfolk (1930).
Popular versions by The Carter Family (1935), Johnny Cash & June Carter (1968), Nitty Gritty Dirt Band (1972).

From the wiki: “‘Will the Circle Be Unbroken?’ is a popular Christian hymn written in 1907 by Ada R. Habershon with music by Charles H. Gabriel. The song is often now recorded unattributed and, because of its age, has lapsed into the public domain. One of the earliest recordings of the song was made by The Silver Leaf Quartette of Norfolk (Virginia) in 1930. Already in New York City for an extended performance tour, including 21 straight nights at the Metropolitan Baptist Church, the Quartet’s recording was released and distributed by Okeh Records. In 1935, A.P. Carter adapted the original hymn and, with The Carter Family, recorded the song as ‘Can the Circle be Unbroken (By and By)?’. That version (often using the original ‘Will the Circle’ title) has been covered by a large number of artists. Its refrain has also been incorporated into the Carl Perkins song ‘Daddy Sang Bass’ and the Atlanta song ‘Sweet Country Music’.

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1960s, Pop

Girl Don’t Make Me Wait

First recorded by Bunny Sigler (1967).
Hit album version by Pattie Brooks & The Simon Orchestra (1977).

From the wiki: “‘Girl Don’t Make Me Wait’ was written by Leon Huff (‘If You Don’t Know Me By Now’, ‘Love Train’, ‘Now That We Found Love’), and first recorded in 1967 by Bunny Sigler. Both Huff and Sigler, along with Kenny Gamble, would later figure large in the development of the 1970s ‘Philly Sound’. Sigler first recorded for the V-Tone Records label in 1959. By 1967, he was recording for Parkway Records with whom he released ‘Girl Don’t Make Me Wait’. Sigler would go on to work extensively with Salsoul Records and the Salsoul Orchestra. Pattie Brooks covered ‘Girl Don’t Make Me Wait’ on her 1977 hit album, Love Shook. Brooks’ first career break came in 1968 when she auditioned for the chorus on The Smothers Brothers Comedy Hour. In the next decade she became a sought-after backing singer, appearing on The Bobby Darin Show and touring with, among others, Helen Reddy.”

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