Songs with Earlier Histories Than the Hit Version

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1291 total songs ... and counting!

1960s, Blues

Wang Dang Doodle

First recorded by Howlin’ Wolf (1960).
Hit versions by Koko Taylor (US #58/R&B #13 1966), The Pointer Sisters (US #61/R&B #24 1973).
Also recorded by Savoy Brown (1971), Willie Dixon (1973).

From the wiki: “‘Wang Dang Doodle’ is a Blues song written by Willie Dixon and first recorded in 1960 by Howlin’ Wolf. In 1965, Dixon and Leonard Chess persuaded Koko Taylor to record it for Checker Records. Her recording, produced by Dixon, charted both R&B and Pop, and ‘Wang Dang Doodle’ has since gone on to become a Blues standard.

“In his autobiography, Dixon explained that the phrase ‘wang dang doodle’ ‘meant a good time, especially if the guy came in from the South. A ‘wang dang’ meant having a ball and a lot of dancing, they called it a rocking style so that’s what it meant to ‘wang dang doodle’.’ Dixon claimed that he wrote ‘Wang Dang Doodle’ when he first heard Howlin’ Wolf in 1951 or 1952, but that it was ‘too far in advance’ for him and he saved it for later. Wolf supposedly hated the song at first and commented, ‘Man, that’s too old-timey, sound[s] like some old levee camp number.’

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1940s, Country

Jingle Jangle Jingle

First performed by Dick Thomas (1942).
Hit versions by The Merry Macs (US #4 1942), Kay Kyser (US #1 1942), Gene Autry (US #17 1942).

From the wiki: “‘Jingle Jangle Jingle’ (aka ‘I Got Spurs (That Jingle Jangle Jingle)’)was written by Frank Loesser (‘Baby It’s Cold Outside‘, ‘Inch Worm’, ‘What Are You Doing New Year’s Eve?‘) and Joseph J. Lilley, and published in 1942. It was first introduced in the motion picture The Forest Rangers, starring Fred MacMurray and Paulette Goddard, and was sung by movie cowboy Dick Thomas (‘Sioux City Sue’, 1945).

“The Merry Macs released the first commercial recording of ‘Jingle Jangle Jingle’ in 1942. First formed to play proms in Minneapolis, Minnesota, the Merry Macs were made up of the three McMichael brothers – tenors Judd and Joe, and baritone Ted – and vocalist Mary Lou Cook. The Merry Macs were discovered by organist-bandleader Eddie Dunstedter from radio station WCCO. Other popular 1942 versions of ‘Jingle Jangle Jingle’ were recorded by Kay Kyser with Harry Babbitt, and, most remembered but not most popularly, by movie cowboy Gene Autry before his induction into the US Army.”

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1940s, Jazz

Since I Fell For You

Written and first recorded by The Buddy Johnson Orchestra with Ella Johnson (1946).
Hit versions by Annie Laurie with Paul Gayten & His Trio (US #20/R&B #3 1947), Lenny Welch (US #4/MOR #3 1963).
Also recorded by Dinah Washington (1947), The Harptones (1953).

From the wiki: “‘Since I Fell for You’ is Blues ballad composed by Buddy Johnson in 1945 and first popularized by his sister, Ella Johnson, with The Buddy Johnson Orchestra. It has since gone on to become a Jazz and Pop standard, becoming a particular favorite of vocalists. Annie Laurie with Paul Gayten & His Trio recorded it in 1947, charting in the R&B Top 5. Dinah Washington also covered ‘Since I Don’t Have You’ in 1947 with no chart impact, Eartha Kitt in 1950, Julie London in 1964, Shirley Horn in 1987, and Etta Jones in 1998. It was the 1963 Lenny Welch cover that reached reached #4 on Billboard Hot 100, far and away his biggest career hit.

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1940s, Country

Faded Love

Co-written and first recorded by Bob Wills & His Texas Playboys (1946).
Also recorded by The Maddox Brothers & Rose (1950).
Hit versions by Bob Wills & His Texas Playboys (C&W #8 1950), Leon McAuliffe (C&W #22 1962 |C&W #22 1971), Patsy Cline (US #97/C&W #7 1963).

From the wiki: “‘Faded Love’ is a Western swing song written by Bob Wills; his father, John Wills; and his brother, Billy Jack Wills. The tune is considered to be an exemplar of the Western swing fiddle component of American fiddle. The song was first recorded as an instrumental in April, 1946 by Bob Wills & His Texas Playboys for the Tiffany record label; a 1950 re-recording for MGM Records, with lyrics by Billy Jack, became a major hit for the group, reaching #8 on the Country charts in 1950, becoming one of the Playboys’ signature songs.

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1960s, Soul

Nobody But Me

First recorded by The Isley Brothers (US #106 1962).
Hit version by The Human Beinz (US #8 1968).

From the wiki: “‘Nobody but Me’ was written by O’Kelly, Rudolph, and Ronald Isley of the Isley Brothers and was first recorded by The Isley Brothers. Released in 1962, as the second single follow-up to ‘Twist and Shout‘, it failed to make the Top 40 or R&B charts.

“The most commercially successful and widely-known version to date is the 1968 US Top 10 garage rock hit by The Human Beinz, their only chart success. Dave Marsh, in his Book of Rock Lists named the version by the Human Beinz ‘The most negative song to hit the Top 40,’ noting that the word ‘no’ is sung over 100 times in a mere 2:16. Marsh also counts the word ‘nobody’ 46 times more.”

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1960s, Blues

Fortune Teller

First recorded by Benny Spellman (B-side 1962).
Also recorded by The Rolling Stones (1963).
Hit versions by The Rolling Stones (remixed AUS #5 1966), The Throb (AUS #5 1966).

From the wiki: “‘Fortune Teller’ was written by Allen Toussaint (under the pseudonym ‘Naomi Neville’) and was first recorded by Benny Spellman. It was released as the B-side of Spellman’s hit Lipstick Traces‘ (US #80/R&B #28) in 1962.

“A couple of different versions have been released by The Rolling Stones (‘Time Is On My Side‘, ‘As Tears Go By‘). On 19 August 1963, the band recorded ‘Poison Ivy’ and ‘Fortune Teller’ to be the two sides for their second single. A few hundred copies were pressed, but the single was withdrawn – replaced by ‘I Wanna Be Your Man‘. The studio recording would be eventually released in 1964 on the UK-only EP Saturday Club, a compilation of tracks from various artists who had appeared on the BBC Radio program Saturday Club, and again, for wider distribution, on the 1972 compilation album More Hot Rocks (Big Hits & Fazed Cookies)).

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1950s, Pop

All Alone Am I

First performed (in Greek, as “Μην τον ρωτάς τον ουρανό”) by Tzeni Karezi (1962)
First recorded (as “Don’t Ask the Sky”) by Mary Lo (1962).
Hit version (in English) by Brenda Lee (US #3/MOR #1/UK #7/AUS #10 1962).

From the wiki: “‘All Alone Am I’ was composed by the Greek composer Manos Hadjidakis and originally recorded in Greek by Tzeni (Jenny) Karezi for the soundtrack of the 1962 film To nisi ton genneon (The Island of the Brave) and titled “Μην τον ρωτάς τον ουρανό” (‘Don’t ask the sky’). Greek singer Mary Lo recorded and released her own recording of the song (in Greek) as a single in 1962.

“Later the same year, a new version of the song was produced in Nashville, TN, by Owen Bradley with English lyrics (by Arthur Altman). This arrangement was recorded by Brenda Lee for her 1962 album, All Alone Am I. ‘All Alone Am I’ was released as a promotional single in late 1962, reaching #3 on the Billboard Hot 100 while also becoming Lee’s first single to chart on the Billboard Easy Listening chart, reaching #1 in late 1962. In addition, the single reached #7 on the UK Singles chart, and peaked at #10 on the Australian singles chart.”

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1970s, Country

One Day at a Time

First recorded by Marilyn Sellars (US #37/C&W #19 1974).
Other hit versions by Gloria Sherry (IRE #1 1978), Lena Martell (UK #1 1979), Cristy Lane (C&W #1/CAN #10/NZ #5 1981).

From the wiki: “‘One Day at a Time’ was written by Marijohn Wilkin and Kris Kristofferson (although Kristofferson was a bit embarrassed with this co-credit; recalls he merely shared the same room while Marijohn wrote it, perhaps helping out with a lyric line one or two). It has been recorded by over 200 artists and has reached #1 in several countries.

“The song was first recorded by Country singer Marilyn Sellars in 1974 and released as a single to modest success. Irish singer Gloria Sherry, performing professionally as ‘Gloria’, recorded ‘One Day at a Time’, releasing it as a single in August 1977. Her recording remained on the Irish charts for the rest of the year, throughout 1978 and well into 1979 – peaking at #1 (over a year after it had first entered the chart) and spent a total of 90 weeks in the Irish Top 30 – the longest run by any song in Irish chart history. Meanwhile, Lena Martell’s 1979 recording topped the UK singles chart.

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1960s, Country

Guitar Man

First recorded by Jerry Reed (C&W #53 1967).
Hit versions by Elvis Presley (US #43/C&W #1/UK #19 1968), Elvis Presley (re-recording US #28/C&W #1 1981).

From the wiki: “‘Guitar Man’ is a 1967 song written by Jerry Reed and first recorded by him the same year. Soon after Reed’s single appeared, Elvis Presley recorded the song with Reed playing the guitar part.

“According to Peter Guralnick, in volume two of his biography of Presley, Careless Love: The Unmaking of Elvis Presley, the singer had been trying unsuccessfully to record the tune but wasn’t happy with the groove. Presley said something to the effect of: ‘Get me that redneck picker who’s on the original [recording],’ and his staff brought Reed into the studio – who nailed it on the first take.

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1950s, Pop

Just Walking in the Rain

First recorded by The Prisonaires (1953).
Hit version by Johnny Ray (US #2/UK #1 1956).

From the wiki: “The Prisonaires were real prisoners doing time at the Tennessee State Prison in Nashville when this recording took place at Sun Records, in Memphis, handcuffed and at gunpoint. Writers Johnny Bragg and Robert Riley got their royalties (including those on Johnny Ray’s hit version) the day they were released. The best-known version of the song was recorded by Johnnie Ray in 1956, staying atop the UK Singles Chart for seven weeks. Ray initially disliked the song, but sang it based on the recommendation of Mitch Miller.”

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1970s, Pop

I’ve Never Been to Me

First recorded by Randy Crawford (1976).
Hit versions by Nancy Wilson (R&B #47 1977), Mary McGregor (MOR #29 1978), Charlene (US #97 1977 |US #3/MOR #7/C&W #60/UK #1/CAN #1/IRE #1/AUS #1 1982).
Also recorded by The Temptations (1984).

From the wiki: “‘I’ve Never Been to Me’ is the title of a ballad, written and composed by Ron Miller and Kenneth Hirsch in 1976 and first recorded by Randy Crawford on her 1976 album Everything Must Change. The song is best known as lyrically formatted for a female vocalist (see below for male-oriented arrangement) and as such is addressed to a desperate wife and mother who would like to trade her prosaic existence for the jet-setting lifestyle the song’s narrator has led.

“Nancy Wilson’s cover was the first version of the song to be released as a single, serving as the title track of her June 1977 album, reaching #47 on the Billboard’s R&B chart.

“Charlene’s ‘I’ve Never Been to Me’ had two releases between 1976-1977. The first, in 1976 for her debut album, the self-titled Charlene, was recorded with a spoken bridge. (This would be the version that saw its subsequent re-release in 1982.) When her next album, Songs of Love, was released six months later, the song was added without the spoken bridge. It was this version that was first released as a promotional single, in September 1977, and it became Charlene’s third consecutive single to stall in the lowest reaches of the Hot 100 in Billboard (#97).

“Meanwhile, in February 1978, a mid-tempo recording of ‘I’ve Never Been to Me’ by Mary McGregor was released as the advance single from her In Your Eyes album> It became a modest hit, reaching #29 on Billboard’s Easy Listening chart.

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1960s, R&B

Handy Man

First recorded by Sparks of Rhythm (1956, released 1959).
Hit versions by Jimmy Jones (US #2/R&B #3/UK #3 1960), Del Shannon (US #22/UK #36 1964), James Taylor (US #4/MOR #1/UK #54 1977).

From the wiki: “‘Handy Man’ was written by singer Jimmy Jones and songwriter Otis Blackwell, and was first recorded by The Sparks Of Rhythm, a group of which Jones was a member. Signed to Apollo Records, ‘Handy Man’ was one of four songs the group recorded for the label in 1956 but nothing happened with the recordings, and Jones left the group 2-1/2 months after the session. (When ‘Handy Man’ was belatedly released in 1959, the Sparks Of Rhythm single [on Apollo 541] credited Andrew Barksdale and Charles Merenstein, who owned Apollo Records at the time, as writers, entirely omitting both Jones and Blackwell.)

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1960s, Jazz

Spooky

Co-written and first recorded (as an instrumental) by Mike Sharpe (US #57 1967).
Other hit versions by Classics IV (US #3 1967 |UK #46 1968), Atlanta Rhythm Section (US #17 1979).

From the wiki: “‘Spooky’ was originally an instrumental song performed by saxophonist Mike Sharpe (Shapiro), written by Shapiro and Harry Middlebrooks, Jr., which first charted in 1967 hitting #57 on the US pop charts.

“The best-known version was created by The Classics IV when guitarist James Cobb and producer Buddy Buie added lyrics centering on a ‘spooky little girl’. Cobb (along with bandmates Robert Nix and Dean Daughtry) later became part of the Atlanta Rhythm Section, re-recording and charting ‘Spooky’ again in 1979.”

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1930s, Broadway/Movies/Television

As Time Goes By

First recorded by Rudy Vallee (1931 |US #1 1942).
Popular version by Dooley Wilson & Elliot Carpenter from Casablanca (1942).
Other hit versions by Jacques Renard (1931 |US #3 1942), Dooley Wilson (1943 |UK #15/AUS #86 1978).

From the wiki: “Herman Hupfeld wrote ‘As Time Goes By’ for the 1931 Broadway musical Everybody’s Welcome. In the original show, it was sung by Frances Williams. It was recorded that year by several artists, including Rudy Vallée; also an orchestral recording by Jacques Renard. Neither recording had made a great impact in 1931.

“‘As Time Goes By’ was re-introduced in 1942 in the film Casablanca, sung by Dooley Wilson accompanied by pianist Jean Plummer and heard throughout the film as a leitmotif. (Wilson was a professional drummer by trade so was forced to mime his piano playing in the film to a recording, likely by studio musician Plummer.) However, Wilson was unable to record a commercial release of the song at the time due to a musicians’ strike, leading Brunswick to reissue the Jacques Renard’s 1931 instrumental recording; Victor also re-issued Vallée’s 1931 vocal recording, giving Vallee a #1 hit and Renard a #3 hit in 1942.

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1940s, Country

Jambalaya (On the Bayou)

Based on “Gran Prairie” by Happy Fats & His Rayne-Bo Ramblers (1940).
Hit versions by Hank Williams (US #20/C&W #1 1952), Jo Stafford (US #3 1952), Fats Domino (US #30 1961), Blue Ridge Rangers (#16 1973), The Carpenters (UK #12 1974).

From the wiki: “The melody of ‘Jambalaya’ is based on the Cajun song ‘Gran Prairie’, first recorded in 1940 by Happy Fats & His Rayne-Bo Ramblers. While ‘Gran Prairie’ is a song about a lost love, the lyrics written by Hank Williams for ‘Jambalaya’ are about life, parties and stereotypical Cajun foods. Released in July 1952, crediting Williams as the sole author (there is some dispute, whether the lyrics were co-written with Moon Mullican), it reached #1 on the US Country music chart and stayed there for 14 non-consecutive weeks.

“Jo Stafford’s cover peaked at #3 on the Pop music charts, further popularizing the song. Other popular recordings were later charted by Fats Domino, and Blue Ridge Rangers (John Fogerty). The Carpenters released their 1974 recording of ‘Jambalaya’ as an overseas single, with chart success in the UK, Japan, Mexico, Holland and Germany.”

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1900s, Christmas

Auld Lang Syne

First recorded by Emile Berliner (1890).
Popular version by Guy Lombardo & His Royal Canadians (1939).

From the wiki: “Scottish poet Robert Burns wrote the words of ‘Auld Lang Syne’ in about 1789 for use with a piece of Scottish music dating from 1687, The Duke Of Bucclugh’s Tune. ‘Auld lang syne’ is Scots dialect for ‘Old long since,’ so the line, ‘For days of auld lang syne’ means something like ‘For the good old days.’

“In 1855, different words were written for the ‘Auld Lang Syne’ tune by Albert Laighton and titled, ‘Song of the Old Folks’. This song was included in the songbook, Father Kemp’s Old Folks Concert Tunes, published in Boston, Massachusetts in 1860. For many years it was the tradition of the Stoughton Musical Society to sing this version in memory of those who had died that year. Nowadays, ‘Auld Lang Syne’ is traditionally sung at the conclusion of New Year gatherings in Scotland and around the world, especially in English-speaking countries.

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1940s, Christmas

What Are You Doing New Year’s Eve?

First recorded by Margaret Whiting (1947).
Other popular versions by The Les Paul Trio (1947), The Orioles (R&B #9 1949), Ella Fitzgerald (1960), Danté & the Evergreens (US #106 1960), Billy Ward & His Dominoes (1965), Nancy Wilson (XMAS #17 1965 |XMAS #24 1967), The Carpenters (1985), Rufus Wainwright (2005), Zooey Dechanel & Joseph Gordon-Levitt (2011).

From the wiki: “‘What Are You Doing New Year’s Eve?’ was written in 1947 by Frank Loesser as an ‘independent song’ — not written for any particular movie or musical. Loesser was an American songwriter who had written lyrics and music for the Broadway hits Guys and Dolls and How To Succeed In Business Without Really Trying, among others. He won separate Tony Awards for both shows, as well as sharing the Pulitzer Prize for Drama for the latter, and was also nominated for five Academy Awards for best song, winning once, for ‘Baby, It’s Cold Outside‘. Among Loesser’s other notable songs: ‘Praise the Lord and Pass the Ammunition’, ‘Heart and Soul‘, ‘On a Slow Boat to China’, and ‘Luck Be a Lady Tonight’ (from Guys and Dolls).

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1980s, Rock

Thing Called Love

Written and first recorded by John Hiatt (1987).
Hit version by Bonnie Raitt (US Rock #11/UK #86 1989).

From the wiki: “‘Thing Called Love’ was written and first recorded by John Hiatt in 1987, featuring Ry Cooder on guitar and Nick Lowe (‘Cruel to Be Kind‘) on bass. The album on which it appeared, Bring the Family, was recorded in four days after McCabe’s Guitar Shop booker John Chelew convinced Hiatt that ‘Thing Called Love’, ‘Thank You Girl’, and ‘Have a Little Faith in Me‘ were some of his best songs.

“Hiatt was recently sober but had burned so many bridges in the music industry he did not think he had a chance of continuing his career. He had been dropped by his label and ‘wondered if I was worth a damn.’ Demon Records in England still loved his work and pledged about $30,000 if he wanted to record; A&M Records would picked up the finished disc for distribution in the US.

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1980s, Rock

The Best

First recorded by Bonnie Tyler (UK #95/NOR #10/POR #10/SPN #34 1988).
Other hit version by Tina Turner (US #15/UK #5/CAN #4/AUS #2/SPN #2/NOR #5 1989).

From the wiki: “‘The Best’ is a song written by Mike Chapman (‘Mickey‘) and Holly Knight (‘Better Be Good to Me‘), originally recorded by Bonnie Tyler on her 1988 release Hide Your Heart. The single reached #10 in Norway and Portugal, #34 in Spain and #95 in the UK.

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1960s, Soul

More Love

First recorded by Smokey Robinson & the Miracles (US #23/R&B #13 1967).
Other hit version by Kim Carnes (US #10/MOR #6 1980).

From Songfacts.com: “In the book Where Did Our Love Go?: The Rise and Fall of the Motown Sound, Smokey Robinson explained that he wrote ‘More Love’ for his wife Claudette, and it’s one of his most personal songs. Claudette had a series of miscarriages and gave birth to twins who were stillborn. She felt like she was letting Smokey down, and he wrote this song to let her know how he felt. ‘I wanted to reassure her that I was cool no matter what happened, because I still had her,’ Robinson explained. Claudette had left The Miracles a few years earlier, but she returned to sing backup on this track.

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1970s, Rock

Behind Blues Eyes

Written and first recorded (as a demo) by Pete Townshend (1971).
Hit versions by The Who (US #34 1971), Limp Bizkit (US #71/UK #18/AUS #4/NZ #5/SWE #1/SPN #1 2003).

From the wiki: “‘Behind Blue Eyes’ was originally written by Pete Townshend for his aborted Lifehouse project. According to Townshend, the song’s origin happened after a Who concert in Denver on 9 June 1970. Following the performance, Townshend became tempted by a female groupie, but he instead went back to his room alone, possibly as a result of the teachings of his spiritual leader, Meher Baba. Upon reaching his room, he began writing a prayer, the first words being ‘When my fist clenches, crack it open …’

“The song is sung from the point of view of the main villain of Lifehouse, Jumbo. The lyrics are a first-person lament from Jumbo, who is always angry and full of angst because of all the pressure and temptation that surrounds him, and the song was intended to be his ‘theme song’ had the project been completed.

“The version of ‘Behind Blue Eyes’ on the original Who’s Next album was the second version the band recorded; the first was recorded at the Record Plant in New York on 18 March 1971 and features Al Kooper on Hammond organ. It would not be released until 1995, as a bonus track on the CD reissue of Who’s Next. The released album version of ‘Behind Blue Eyes’ was recorded 8 July 1971 at Olympic Studios in London.

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1900s, Christmas

Jingle Bells

First recorded (as “One Horse Open Sleigh” in the medley “Sleigh Ride Party”) by The Edison Male Quartette (1898).
Popular versions by The King Cole Trio (1938), Glenn Miller & His Orchestra (US #5 1941), Bing Crosby & the Andrews Sisters (1943), Primo Scala & the Keynotes (US #10 1948), Les Paul (US #10 1951), The Hysterics (UK #44 1981).

From the wiki: “James Lord Pierpont’s 1857 composition ‘Jingle Bells’ became one of the most performed and most recognizable secular holiday songs ever written, not only in the United States, but around the world. In recognition of this achievement, James Lord Pierpont was voted into the Songwriters Hall of Fame.

“Pierpont wrote it in the 1850s in Medford, Massachusetts as ‘The One-horse Open Sleigh’ for the choir of the First Unitarian Church, where his father was pastor. The choir introduced the new song during a Thanksgiving Day service; there was not a single reference to Christmas in the original lyrics. But, due to the public’s enthusiasm, the performance was renewed during that same year’s Christmas celebration.

“In 1857 the song was copyrighted as ‘The One Horse Open Sleigh’. Two years later it was first published as ‘Jingle Bells’ in Savannah, GA, where Pierpont’s brother, John, was pastor. His Unitarian Universalist Church became, and still is, locally known as ‘The Jingle Bells Church’.

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1940s, Christmas

Have Yourself a Merry Little Christmas

First performed (in Meet Me in St. Louis) by Judy Garland (1944).
Popular recorded versions Judy Garland (1944), by Frank Sinatra (1957), Barbra Streisand (1967), The Pretenders (1987), Sam Smith (2014).

From the wiki: “‘Have Yourself a Merry Little Christmas’, written by Hugh Martin and Ralph Blane, was introduced by Judy Garland in a poignant moment in the 1944 movie musical Meet Me In St. Louis. When presented with the original draft lyric, Garland, her co-star Tom Drake and director Vincente Minnelli criticized the song as depressing, and asked Martin to change the lyrics.

“Though he initially resisted, Martin made several changes to make the song more upbeat, e.g. the lines ‘It may be your last / Next year we may all be living in the past’ became ‘Let your heart be light / Next year all our troubles will be out of sight’. Garland’s version of the song, which was also released as a single by Decca Records, became popular among United States troops serving in World War II; her performance at the Hollywood Canteen brought many soldiers to tears.

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1950s, Christmas

Santa Baby

Originally recorded by Eartha Kitt (US #4 1953).
Other popular versions by Mae West (1966), Eartha Kitt (new arrangement, 1963), Madonna (1987).

From the wiki: “The song is a tongue-in-cheek look at a Christmas list sung by a woman who wants extravagant gifts such as sables, yachts, and decorations from Tiffany’s. It is one of the few hit Christmas songs written by a woman — Joan Javits (the niece of then-Senator Jacob K. Javits), and Philip Springer.

“‘Santa Baby’ was first recorded by Eartha Kitt with Henri René and his orchestra in New York City on October 6, 1953. The song was a huge hit for Kitt, and she later said that it was one of her favorite songs to record.

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