Songs with Earlier Histories Than the Hit Version

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1291 total songs ... and counting!

1900s, Pop

Bring Back My Bonnie to Me

First recorded by Hayden Quartet (1901).
Hit versions by Alma Gluck & the Orpheus Quartet (US #10 1919), Vipers Skiffle Group (1955), Duane Eddy (as “Bonnie Come Back”, US #23/UK #12 1960), Tony Sheridan & the Beat Brothers (as “My Bonnie”, GER #5 1961 |UK #48 1963 |US #26 1964), Bonnie Brooks (as “Bring Back My Beatles (to Me)”, 1964).

From the wiki: “In 1881, under the duo of pseudonyms H.J. Fuller and J.T. Wood, Charles E. Pratt published sheet music for ‘Bring Back My Bonnie to Me’. The first recording of the song was done in 1901 by the Hayden Quartet. Alma Gluck charted with her 1919 recording. A Duane Eddy rock ‘n roll instrumental cover in 1960 charted in both the UK and the US.

“‘My Bonnie …’ became a part of the UK skiffle craze repertoire in the mid-1950s when recorded by Vipers Skiffle Group in 1955. In popular culture, though, the song is now best remembered as the one that caught Brian Epstein’s attention in 1962: the 1961 recording by Tony Sheridan backed by the Beatles (recording as ‘The Beat Brothers’). The Beatles were familiar with the Vipers’ recordings, having themselves evolved from the Liverpool skiffle group, the Quarrymen, and would go on to record another Vipers song in 1969 – Maggie May – that would appear on the album Abbey Road.

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1970s, Country

Please Mr. Please

Co-written and first recorded by Bruce Welch (1974).
Hit version by Olivia Newton-John (US #3/MOR #1/C&W #5/CAN #1/AUS #35/NZ #7 1975).

From the wiki: “‘Please Mr. Please’ was written by Bruce Welch and John Rostill, both members of British pop singer Cliff Richard’s backing band, The Shadows (‘Apache’). Welch originally recorded the song himself in 1974 with no chart success in either the UK or US.

“In 1975, the song appeared on Newton-John’s album, Have You Never Been Mellow, and was released as the album’s second single. Newton-John’s cover of ‘Please Mr. Please’ reached the Top 10 on three major Billboard charts that year, peaking at #3 on the Hot 100 in August 1975, her fifth consecutive Top Ten hit.”

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1960s, R&B

Something You Got

Written and first recorded by Chris Kenner (1961).
Hit version by Alvin Robinson (US #54/R&B #6 1964).
Also recorded by Moody Blues (1965), Wilson Pickett (1966), Herman Hitson (1966), Bruce Springsteen (1974).

From the wiki: “‘Something You Got’ was written by New Orleans R&B singer and songwriter Chris Kenner (‘Land of 1000 Dances‘, ‘I Like It Like That‘) who released it in 1961 as a single, with ‘Come and See About Me’ on the B-side, and as an album track on the 1966 album Land of 1000 Dances. Covered later with some acclaim by Wilson Pickett (who also covered Kenner’s ‘Land of 1000 Dances’), ‘Something You Got’ charted only with the 1964 version recorded by Alvin Robinson.”

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1950s, Country

Cold, Cold Heart

Written and first recorded by Hank Williams (C&W #1 1951).
Other hit versions by Dinah Washington (R&B #3 1951), Tony Bennett (US #1 1951).

From the wiki: “Hank Williams wrote ‘Cold Cold Heart’ after visiting his wife, Audrey, in the hospital where she was recovering from an illegal abortion. The flowers he brought her were thrown back in his face. ‘You sorry son of a bitch,’ she is claimed to have said. ‘It was you that caused me to suffer this.’ Hank went home and said his wife had a ‘cold, cold heart.’ Audrey shut him out of her life, and filed for divorce on January 10, 1952. The melody to ‘Cold, Cold Heart’ was taken from ‘You’ll Still Be In My Heart’ (1945), by T. Texas Tyler (who also wrote ‘My Bucket’s Got a Hole in It’). The copyright case was settled out-of-court, after Hank’s passing, in 1955. Dinah Washington and Tony Bennett both recorded adaptations of ‘Cold, Cold Heart’ in 1951, helping Country music out of its rural isolation with additional success on both the R&B and Pop charts.”

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1960s, Soul

Be Young, Be Foolish, Be Happy

First recorded by The Sensational Epics (1968).
Hit versions by The Tams (US #61/R&B #26 1968 |UK #32 1970), Sonia (UK #22 1991 |MOR #13 1992).
Also recorded by Booker T. & the MGs (1968), The Gentle Touch (1968).

From the wiki: “‘Be Young, Be Foolish, Be Happy’, co-written by Ray Robert Whitley and J.R. Cobb (‘Spooky‘, ‘Do It or Die’), was first recorded by The Sensational Epics in 1968.

“The Sensational Epics were formed in 1963 as a five-piece group based in Columbia, South Carolina, at first playing primarily for high school and college fraternity & sorority functions, performing what became now known as Carolina ‘Beach Music’. The group’s first national release on Cameo was ‘I’ve Been Hurt’. In 1968, the group recorded “Be Young …”, produced by co-writer Whitley for Warner Bros. Records, with no apparent chart success.

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1950s, Country

Silver Threads and Golden Needles

First recorded by Wanda Jackson (B-side 1956).
Hit versions by The Springfields (US #20/C&W #16 1962), Linda Ronstadt (1969 |re-recorded US #68/C&W #20 1974).

From the wiki: “‘Silver Threads and Golden Needles’ was written by Jack Rhodes and Dick Reynolds. The song was first recorded by Wanda Jackson in 1956, and was released as the B-side to the single ‘Hot Dog! That Made Him Mad’ which did not chart.

“The Springfields (featuring a pre-solo Dusty Springfield) released ‘Silver Threads’ as their third UK single but it flopped in their home country. But, released as their first US single in 1962, it became a Stateside hit; their only appearance in the US Top 40 and the first single of U.K.-origin to crack the U.S. Top-20.

“Linda Ronstadt recorded and released two versions of the song: the first, on her 1969 solo debut album Hand Sown … Home Grown; the second, a country-pop crossover version for her 1973 Don’t Cry Now album. The latter resulted in a country Top-20 hit while also charting on the Billboard Hot 100.”

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1950s, R&B

Tweedle-Dee

First recorded by LaVern Baker (US #14/R&B #4 1954).
Other hit versions by Georgia Gibbs (US #2/UK #20 1955), Frankie Vaughn (UK #17 1955), Little Jimmy Osmond (US #59/UK #4 1973).

From the wiki: “‘Tweedlee Dee’ (also ‘Tweedly Dee’ or ‘Tweedle Dee’) is a R&B novelty song with a Latin-influenced riff written by Winfield Scott for LaVern Baker and recorded by her at Atlantic Records’ studio in New York City in 1954. It was her first hit, reaching #4 on Billboard’s R&B chart and #14 on its Pop chart. Although Baker had closely approached a Pop style in this recording, a cover of the song was quickly recorded by Georgia Gibbs on the Mercury Records label. Because a major label like Mercury had a superior distribution system, Atlantic’s independent label could not compete.

“The white cover version used not only the lyrics but closely imitated the style and arrangement of the original and became a Gold Record for Gibbs, thus ruining any chance of Baker’s recording becoming a Top 10 Pop hit. According to Atlantic’s engineer, Tom Dowd, Mercury hired the same arranger, the same musicians and tried to hire the same engineer. Baker attempted to get her congressman to introduce legislation to prevent the copying of arrangements but was unsuccessful.”

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1960s, Broadway/Movies/Television

I’ve Gotta Be Me

First recorded (as “I’ve Got to Be Me”) by Steve Lawrence (MOR #6 1968).
Also recorded (as ‘I Gotta Be Me’) by Della Reese (1968).
Other hit versions by Sammy Davis, Jr. (US #11/MOR #1 1968), Tony Bennett (MOR #29 1969).

From the wiki: “‘I’ve Gotta Be Me’ appeared in the Broadway musical Golden Rainbow, which starred Steve Lawrence and Eydie Gormé. The musical opened in New York City at the Shubert Theatre on February 4, 1968. The music and lyrics for the musical were by Walter Marks and were composed in 1967. (song was listed in the musical as ‘I’ve Got to Be Me’.) Lawrence released the song as a single in 1967, ahead of the show opening, and the following year it hit #6 on the Billboard MOR chart, with little or no support from traditional Top 40 radio.

“Sammy Davis, Jr. recorded the song in 1968 while the musical was still running on Broadway, altering the title slightly to ‘I’ve Gotta Be Me’ and releasing it as a single late in the year. This version of the song was a surprise hit for Davis, since the musical was not among the more successful shows on Broadway that season. It became Davis’ third-highest charting single in his career on the Hot 100.

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1980s, Rock

I’ve Done Everything for You

Written and first recorded by Sammy Hagar (1978| UK #36 1980).
US hit version by Rick Springfield (US #8 1981).

From the wiki: “‘I’ve Done Everything for You’ was written by Sammy Hagar, and was a staple of Hagar’s live performances as early as 1977. A live recording of the song appeared on Hagar’s 1978 album All Night Long and was released as a single. It did not chart in the US but was a UK Top 40 hit in 1980.

“A cover version of the song appeared on Rick Springfield’s 1981 international breakout album Working Class Dog. Springfield’s single reached the US Top 10. Following the success of the Springfield version, Hagar recorded a studio version of ‘I’ve Done Everything for You’ for inclusion on his 1982 greatest hits album. Rematch.”

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1970s, Rock

Midnight Rider

Written and first recorded by The Allman Brothers (1970).
Also recorded by Buddy Miles (1971).
Hit versions by Joe Cocker (US #23 1972), Gregg Allman (US #19 1973), Paul Davidson (UK #10 1976), Willie Nelson (C&W #6 1980).

From the wiki: “‘Midnight Rider’ is a popular and widely covered song by The Allman Brothers Band from their 1970 album Idlewild South, written by Gregg Allman and Robert Kim Payne. Drummer Buddy Miles (Electric Flag, Jimi Hendrix) recorded the first cover of ‘Midnight Rider’, in 1971, for his album titled A Message to the People.

“Recordings by Joe Cocker, Gregg Allman himself (on his solo album Laid Back), U.K. singer Paul Davidson, and Willie Nelson have all reached the US and UK charts as singles but the original arrangement, as recorded by The Allman Brothers Band, was never released as a single.”

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1970s, Rock

Hanging on the Telephone

First recorded by The Nerves (1976).
Hit version by Blondie (UK #5/IRE #18/AUS #39 1978).

From the wiki: “‘Hanging on the Telephone’ was written by Jack Lee (‘Come Back and Stay’, 1983) and first performed by his short-lived US West Coast Power Pop trio, The Nerves (which included Paul Collins, later of The Beat). The song was the lead-off track on The Nerves’s 1976 EP, the group’s only release (until the 2008 compilation, One Way Ticket, thirty years after the group disbanded).

“New Wave band Blondie later popularized ‘Hanging on the Telephone’ when it released a cover as the second single off Parallel Lines in both the US and UK in 1978. The single failed to chart in the US (except as an album track at album-oriented radio stations) but charted Top-5 in the UK; charting elsewhere, too, in Europe and Australia.”

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1960s, Country

I’ve Been Everywhere

First recorded by Lucky Starr (AUS #1 1962).
Other hit versions by Hank Snow (C&W #1 1962), John Hore (NZ #1 1966).
Also recorded by Johnny Cash & Tom Petty (1996), Medeski Martin and Wood, (as “Let’s Go Everywhere” 2008), Me Dow Songur (as “I Go Everywhere” 2012).

From the wiki: “‘I’ve Been Everywhere’ is a song which was written by Australian country singer Geoff Mack in 1959, and made popular by Lucky Starr in 1962 whose recording topped the Australian singles chart in 1966. The song (as originally written) listed Australian towns.

“Mack’s music publisher offered the song to Canadian-born country musician Hank Snow in 1962. Snow thought the song had potential for the Canadian and American markets, but only if the toponyms were adapted to North America. At his publisher’s urging, Mack consequently re-wrote the song using a North American atlas supplied to him by the publisher.

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1970s, Country

Pancho and Lefty

Written and first recorded by Townes Van Zandt (1972).
Also recorded by Emmylou Harris (1977), Hoyt Axton (1977).
Hit version by Willie Nelson & Merle Haggard (MOR #21/C&W #1/CAN #1 1983).

From the wiki: “”Pancho and Lefty” is a song written by country singer and songwriter Townes Van Zandt. Often considered his “most enduring and well-known song,” Van Zandt first recorded it for his 1972 album, The Late Great Townes Van Zandt. Emmylou Harris then covered the song for her 1977 album, Luxury Liner. Also in 1977, Hoyt Axton recorded it on his album Snowblind Friend. The song became a #1 Country hit in 1983 when Merle Haggard and Willie Nelson adopted it as the title track of their duet album Pancho & Lefty. Members of the Western Writers of America chose it as one of the Top 100 Western Songs of All Time.

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1960s, Pop

I Go to Pieces

First recorded by Lloyd Brown (1964).
Hit versions by Peter & Gordon (US #9 1965), Cotton Lloyd & Christian (US #66/MOR #10/UK #51 1975).
Also recorded by Del Shannon, writer (1965).

From the wiki: “Del Shannon (‘Runaway’) wrote ‘I Go to Pieces’ for an R & B singer named Lloyd Brown whom Shannon discovered at a Detroit, Michigan nightclub. Shannon arranged and produced Brown’s recording but was unable to find a label interested in releasing the track. Shannon also attempted to record ‘I Go to Pieces’ for himself in an August 1964 New York City recording session but was unable to cut a satisfactory vocal of the song before his allotted three-hour session ran out. (Shannon would record a cover of his own song a year later, in 1965, after Peter & Gordon (‘A World Without Love‘) had already scored their US Top 10 hit with it.)

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1950s, Pop

Misty

First recorded by The Erroll Garner Trio (1954).
Also recorded by Dakota Staton (1957).
Hit versions by Sarah Vaughn (US #106 1959), Johnny Mathis (US #12/R&B #10/UK #12 1959), Lloyd Price (US #21/R&B #11 1963), The Vibrations (US #63/R&B #26 1965), “Groove” Holmes (US #44/MOR #7/R&B #12 1965), Ray Stevens (US #14/MOR #8/C&W #3/UK #2 1975).

From the wiki: “‘Misty’ was written by Errol Garner in 1954 and first recorded for his 1955 album Contrasts. The song was later paired with lyrics by Johnny Burke and would becoame the signature song of Johnny Mathis. Garner’s recording was inducted into the Grammy Hall of Fame in 1991; Mathis’s version of the song was inducted in 2002.

“Lyrics to the song were written by Johnny Burke a couple of years later. According to Mary Burke Kramer:

‘[Johnny] had been working every day with his pianist, Herb Mesick, who was helping him put things down on paper. Herb had heard the melody to ‘Misty,’ and knew Erroll Garner, and was very fond of it. He told Johnny about it, but by that time, Johnny had made a decision not to collaborate anymore. After he and Jimmy Van Heusen had separated, on good terms, he had been working on his own writing both music and lyrics. Herb was very persistent. Whenever Johnny would enter the room, Herb would start playing the tune. Finally, Johnny said, ‘Alright, give me the damn music, and I’ll do it. So he went into the bedroom, and two or three hours later, he came out with the lyrics.’

– Making ‘Misty’: The Legendary Johnny Mathis Recording, by Joe Manning, 2010

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1960s, Blues

Little Red Rooster

First recorded (as “The Red Rooster”) by Howlin’ Wolf (1961).
Hit versions by Sam Cooke (US #11/R&B #7 1963), The Rolling Stones (UK #1 1964).
Also recorded by Willie Dixon (1970).

From the wiki: “‘Little Red Rooster’ (also ‘The Red Rooster’) is credited to arranger and songwriter Willie Dixon. It was first recorded in 1961 by blues musician Howlin’ Wolf in the Chicago Blues style. Sam Cooke adapted the song, sweetened it with additional instrumentation, and it saw achieve chart success in 1963 as a Top 40 and R&B hit.

“The Rolling Stones recorded ‘Little Red Rooster’ in 1964 with original member Brian Jones a key player in the recording. Their rendition, which remains closer to the original arrangement than Cooke’s, became a #1 record in the UK and is still the only blues song to reach the top of the British chart.

“The songwriter, Willie Dixon, would cover his own composition in a 1970 recording.”

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1980s, Rock

Harden My Heart

First recorded by Seafood Mama (1980).
Hit version by Quarterflash (US #3/ROCK #1/UK #49/AUS #6/NZ #12 1982).

From the wiki: “‘Harden My Heart’ was originally released as a single in early 1980 by Seafood Mama, Quarterflash’s predecessor band. That recording featured a more sparse instrumental arrangement but also a more dramatic vocal arrangement than the later hit version. The original single was a regional success on radio stations in the Pacific Northwest.

“After changing the group name, Quarterflash released their self-titled debut album in 1981 on which was the new version of ‘Harden My Heart’. This version, produced by John Boylan, was released as the album’s first single, in September 1981, which peaked in the Billboard Top-5 and topped the Mainstream Rock chart in early 1982.”

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1960s, Jazz

Moondance

Inspired by “Midnight Blue” by Kenny Burrell (1963).
Hit version by Van Morrison (1970 |US #92 1977).

From the wiki: “‘Moondance’ was written by Van Morrison and first appeared as the title track on his 1970 album Moondance. According to Morrison, the song started as a jazz saxophone instrumental. ‘I used to play this sax number over and over, anytime I picked up my horn,’ he said.

“Inspiration for ‘Moondance’ song could be traced to Kenny Burrell’s 1963 recording, ‘Midnight Blue’. There are a couple of elements that feed this presumption: the bass line, rhythm guitar and even the whole groove of ‘Moondance’ follows Burrell’s instrumental (and, to a lesser degree, Johnny Lytle’s 1966 Jazz recording, ‘Selim’). Morrison did not release ‘Moondance’ as a single until November 1977, seven and a half years after the album was released.

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1970s, Pop

I’d Rather Leave While I’m in Love

Co-written and first recorded by Carole Bayer Sager (1977).
Also recorded by Peter Allen, co-writer (1979).
Hit version by Rita Coolidge (US #38/MOR #3/C&W #32/CAN AC #1 1979).

From the wiki: “I’d Rather Leave While I’m In Love” is a song co-written by Peter Allen (‘Don’t Cry Out Loud‘) and Carol Bayer-Sager, and popularized in 1979 by Rita Coolidge, was first recorded in 1977 by Bayer Sager. Co-writer Allen recorded his own version of ‘I’d Rather Leave While I’m In Love’ in 1979 for his album I Could Have Been a Sailor.

“The song about breaking up was sung originally by its two songwriters, who both had married and later split up with famous spouses: Allen, from Liza Minnelli; Bayer Sager, from producer Andrew Sager.

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2000s, Pop

Somewhere Only We Know

First recorded (as a demo) by Tim Rice-Oxley (2001).
Hit versions by Keane (UK #3 2004), The Cast of Glee (US #42/UK #44 2011), Lily Allen (UK #1 2012).

From the wiki: “‘Somewhere Only We Know’ was performed and composed by English alternative rock band Keane, officially released as their third commercial single. The first demo was composed by Tim Rice-Oxley circa 2001, basing it on David Bowie’s song ‘Heroes’, while hammering on the piano.”

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1930s, Folk

Cotton Fields

Written and first recorded by Lead Belly (1940).
Also recorded by Odetta (1954), Harry Belafonte (1958).
Hit versions by The Highwaymen (US #13 1961), The Beach Boys (UK #5 1970).

From the wiki: “‘Cotton Fields’ was written by Blues musician Huddie Ledbetter, better known as Lead Belly, who made the first recording of the song in 1940. ‘Cotton Fields’ was introduced into the canon of Folk music via its inclusion on the 1954 album release Odetta & Larry which comprised performances by Odetta and accompanist Larry Mohr at the Tin Angel nightclub in San Francisco. The song’s profile was boosted via its recording by Harry Belafonte first on his 1958 albums Belafonte Sings the Blues and Belafonte at Carnegie Hall. (Belafonte had learned ‘Cotton Fields’ from Odetta and been singing it in concert as early as 1955.) The song entered Pop culture with the #13 hit recording in 1961 by The Highwaymen. The Beach Boys reached the UK Top 5 with a 1968 recording, released as a single in 1970, of ‘Cotton Fields’.”

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1970s, Rock

Try Some, Buy Some

First recorded by Ronnie Spector (US #77 1971).
Hit album version by George Harrison (1973).

From the wiki: “George Harrison wrote ‘Try Some, Buy Some’ during sessions for All Things Must Pass, his successful 1970 triple album, also co-produced by Phil Spector. The song’s austere melody was influenced by Harrison composing on a keyboard instrument rather than guitar. Ronnie Spector recorded this and other Harrison compositions, such as ‘You’ and ‘When Every Song Is Sung’, in London for a planned comeback album on the Beatles’ Apple Records. The project was co-produced by her husband at the time (Phil Spector) whose temporary withdrawal from music-making in 1966 had forced Ronnie to reluctantly abandon her own career.

“Sessions for the proposed Spector album took place at London’s Abbey Road Studios, beginning on 2 February 1971. In addition to his own contribution as guitarist, Harrison enlisted some of the musicians with whom he had recorded All Things Must Pass: Gary Wright, on keyboards; Derek and the Dominos drummer Jim Gordon; Voormann and Carl Radle (the latter another member of the Dominos), alternating on bass; and Badfinger’s Pete Ham on second guitar and percussion. Another participant was Leon Russell, familiar to Phil Spector as a regular member of the Wrecking Crew during the mid 1960s. Recording continued at Abbey Road on 3 February, during which Lennon joined the proceedings, allegedly on piano.

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1940s, Novelty

I’ve Got a Lovely Bunch of Cocoanuts

First recorded by Primo Scala & His Banjo and Accordian Band with The Keynotes (1949).
Also recorded by Billy Cotton & His Band (1949).
Hit versions by Freddy Martin & His Orchestra feat. Merv Griffith (US #8 1949), Danny Kaye (US #26 1950).

From the wiki: “‘I’ve Got a Lovely Bunch of Cocoanuts’ is a novelty song composed in 1944 (as “I’ve Got a Lovely Bunch of Cocoanuts”) by English songwriter Fred Heatherton, and first recorded in 1949 by Harry Bidgood, aka ‘Primo Scala’, who recorded under a variety of different names (including ‘Rossini’ and ‘Don Porto’). Over the course of 20 years Bidgood would frequently broadcast on the BBC.

“‘I’ve Got a Lovely Bunch of Cocoanuts’ was a staple song of the Billy Cotton Band Show on British radio and television. The song is still played over the public address at Cambridge United football matches after home wins. In 1949, ‘Cocoanuts’ became a US Top 10 hit for Freddy Martin & His Orchestra, with vocalist Merv Griffin; the following year, it was a hit for Danny Kaye.”

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1920s, Pop

Stardust

Co-written and first recorded (as an instrumental) by Hoagy Carmichael (1927).
Hit versions by Irving Mills & His Hotsy Totsy Gang (US #20 1929), Isham Jones & His Orchestra (US #1 1930), Bing Crosby (US #5 1931), Louis Armstrong (US #16 1931), Frank Sinatra with The Tommy Dorsey Orchestra (US #7 1941), Nat “King” Cole (US #79/UK #24 1957), Billy Ward & His Dominoes (US #12/R&B #5/UK #13 1957), Nino Tempo & April Stevens (US #32 1964).
Also recorded by Jon Hendricks (1990).

From the JazzStandards.com: “On October 31, 1927, Hoagy Carmichael and His Pals recorded ‘Stardust’ at the Gennett Records studio in Richmond, Indiana. Hoagy’s ‘pals,’ Emil Seidel and His Orchestra, agreed to record the medium-tempo instrumental in between their Sunday evening and Monday matinee performances in Indianapolis, seventy miles away. In 1928 Carmichael again recorded ‘Stardust,’ this time with lyrics he had written, but Gennett rejected it because the instrumental had sold so poorly. The following year, at Mills Music, Mitchell Parish was asked to set lyrics to coworker Carmichael’s song. The result was the 1929 publication date of ‘Star Dust’ with the music and lyrics we know today.

“According to the Carmichael, inspiration for the song struck while visiting his old university campus. Sitting on a wall reminiscing about the town, his college days, and past romances, he looked up at the starlit sky and whistled ‘Star Dust’. Richard Sudhalter’s biography ( Stardust Melody: The Life and Music of Hoagy Carmichael) contends that the melody may have begun with fragments, evolving over months and maybe years, but Carmichael preferred to perpetuate a myth that sweet songs are conceived in romantic settings.

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