Songs with Earlier Histories Than the Hit Version

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1291 total songs ... and counting!

1960s, Blues

Let’s Go Get Stoned

First recorded by The Coasters (1965).
Hit versions by Manfred Mann (UK #1 EP 1965), Ray Charles (US #31/R&B #1 1966).
Also recorded by Ronnie Milsap (1965), Joe Cocker (1969).

From the wiki: “‘Let’s Go Get Stoned’ was written by Nickolas Ashford, Valerie Simpson, and Josephine Armstead, and was first recorded by The Coasters in May 1965. It is notable for being one of the first successful compositions by Ashford & Simpson (‘Ain’t No Mountain High Enough’, ‘California Soul‘, ‘Ain’t Nothing Like the Real Thing’). Although a non-charter for The Coasters, ‘Let’s Go Get Stoned’ was most memorable because it became a 1966 #1 R&B and Pop #31 hit for Ray Charles, recorded shortly after Charles was released from rehab after a sixteen-year heroin addiction.

“The year prior, in 1965, the UK group Manfred Mann recorded the song for their #1 British extended-play No Living Without Loving, which topped the UK EP charts in December 1965. Joe Cocker covered the song several times live, most notably at the Woodstock Festival in 1969 and on the Mad Dogs & Englishmen live album released 1970.”

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1960s, Rock 'n Roll

Action (Where the Action Is)

Based on “Shim Sham Shuffle” by Ricky Lyons (1960).
Hit version by Freddy Cannon (US #13 1965).

From the wiki: “Where the Action Is was created by Dick Clark as a spin-off of American Bandstand. It premiered on the ABC-TV network on June 27, 1965, airing each weekday afternoon. Originally intended as a summer replacement and broadcast at 2 P.M. EDT, the show was successful enough for it to continue throughout the 1965-66 TV season.

“The show’s theme song, ‘Action’, written by Steve Venet and Tommy Boyce (‘I Wonder What She’s Doing Tonight’, ‘(Theme from) The Monkees‘, ‘Last Train to Clarksville’), became a hit single for Freddy ‘Boom Boom’ Cannon, peaking on the charts at #13 in September 1965. Venet and Hart based their hit on the previously-released ‘Shim Sham Shuffle’, co-written and recorded by Ricky Lyons.”

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1920s, Jazz

I-Feel-Like-I’m-Fixin’-to-Die-Rag

Inspired by “Muskrat Ramble” by Louis Armstrong & His Hot Five (1926).
Also recorded (as “Muskrat Ramble”) by Dean Martin (1950).
Popular version by Country Joe & The Fish (1967).

From the wiki: “‘Muskrat Ramble’ was written by Kid Ory and first recorded by Louis Armstrong & His Hot Five (including Ory, on trombone) in 1926. The song served as the B-side to Armstrong’s first solo outing as a recording artist, ‘Heebie Jeebies’. In 2001, the heirs of Kid Ory launched a lawsuit against Country Joe McDonald, claiming that the music of ‘I-Feel-Like-I’m-Fixin’-to-Die Rag’ constituted plagiarism of ‘Muskrat Ramble’. In 2005, courts ruled in McDonald’s favor primarily because the original 1926 recording had fallen into the public domain.

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1980s, Soul

C’est la Vie (Robbie Nevil)

First recorded by Beau Williams (1985).
Hit version by Robbie Nevil, co-writer (US #2/UK #3/CAN #1/AUS #4 1986).

From the wiki: “Written by Robbie Nevil with Duncan Pain and Mark Holding, ‘C’est la Vie’ was first recorded by gospel singer Beau Williams for his 1985 album Bodacious!”

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1970s, Pop

Fernando

First recorded (in Swedish) Anni-Frid Lyngstad (SWE #1 1975).
Other hit version by ABBA (US #13/MOR #1/CAN #1/UK #1/AUS #1/IRE #1/GER #1/MEX #1/SWE #3 1976).

From the wiki: From the wiki: “‘Fernando’ was not first released as an ABBA song but by band member Anni-Frid Lyngstad, solo, in 1975, featured on her #1 Swedish solo album Frida ensam. The song was composed by Benny Andersson and Björn Ulvaeus and carried the working title of ‘Tango’. Preparations for recording began in August 1975. The writers made last-minute changes to the title before recording, with the suggestion of the name ‘Fernando’ given to the songwriters by their limousine driver, Peter Forbes.

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1980s, Pop

I Could Never Miss You (More Than I Do)

First recorded by Lulu (1979).
First single release (as “I Could Never Miss You More”) by Melba Moore (1980).
Also recorded (as “I Could Never Miss You”) by Bobbi Walker (1980).
Hit version by Lulu (US #18/UK #62 1981).

From the wiki: “‘I Could Never Miss You (More Than I Do)’ was written by Neil Harrison and first appeared on Don’t Take Love For Granted, Lulu’s 1979 album released on Elton John’s The Rocket Record Company label, produced by Mark London. London had been the co-writer of Lulu’s major hit, ‘To Sir, With Love’, and was also the husband of Lulu’s longtime manager, Marion Massey.

“Although ‘I Could Never Miss You’ was not issued as a single in 1979, the track garnered some attention after being covered in 1980 by both Melba Moore (as ‘I Could Never Miss You More’) and Bobbi Walker (as “I Could Never Miss You”). In the summer of 1981, after acquiring rights to the original recording, Alfa Records released the Lulu original as a single that charted in the US Top 20.”

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1960s, Pop

Without Her

Written and first recorded by Harry Nilsson (1967).
Hit album version by Blood, Sweat & Tears (1968).
Also recorded by Herb Alpert & The Tijuana Brass (1969), Harry Nilsson (remix 1971).

From the wiki: “‘Without Her’ was written by Harry Nilsson (‘Everybody’s Talkin’‘, ‘Without You‘) and appeared on his second album (his first for RCA Victor), Pandemonium Shadow Show, in 1967. The album proved to be the watershed of his career, attracting the attention of publicist Derek Taylor, who ordered a case of albums, sending them out to various industry people he believed would be interested, and The Beatles who invited Nilsson to London. (Nilsson covered ‘You Can’t Do That’ in an arrangement that quoted lyrics from more than 10 other Beatles songs. It became a Top 10 hit in Canada.)

“‘Without Her’ would be revamped for Nilsson’s 1971 ‘best-of’ album Aerial Pandemonium Ballet, one of the first ‘remix’ albums ever produced.

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1970s, R&B

Gettin’ Jiggy Wit It

Based on “He’s the Greatest Dancer” by Sister Sledge (1979).
Hit version by Will Smith (US #1/R&B #6/UK #3 1998).

From the wiki: “The song samples the Sister Sledge song ‘He’s the Greatest Dancer’ and ‘Movin’ On Up’ by Ja’net Dubois. The ‘mama-uh, mama-uh, mama come closer’ line is a reference to the song ‘Soul Makossa’ by Manu Dibango, specifically the version adapted by Michael Jackson in ‘Wanna Be Startin’ Somethin”’s final bridge.”

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1970s, Pop

Joy to the World

Written and first recorded by Hoyt Axton (1971).
Hit version by Three Dog Night (US #1 1971).

From the wiki: “‘Joy to the World’ was originally intended for use in The Happy Song, an animated film for children. The film never materialized. The story is told that while recording material for his first album with Capitol Records, the song’s writer, Hoyt Axton, had to convince the label to let him record ‘Joy to the World’. He had the tune, he said, but not all of the lyrics. Axton was encouraged by the engineers to sing nonsensical lyrics so that an arrangement could be built around the tune and he could later record ‘real’ lyrics.

“Axton recalls ”Jeremiah’ was an expedient of the time. I’d had the chorus for three months [but nothing else]. I took a drink of wine, leaned on the speaker, and said ‘Jeremiah was a bullfrog.’ It was meaningless. It was a temporary lyric.’ (A member of Three Dog Night said he’d heard that the original lyric to the song was ‘Jeremiah was a prophet’ but ‘no one liked that.’)

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1970s, Rock

Liar

First recorded by Argent (1970).
Hit version by Three Dog Night (US #7/CAN #4/AUS #72 1971).

From the wiki: “‘Liar’ wasg written by Russ Ballard (‘Winning‘, ‘Since You Been Gone‘) of Argent from their 1970 self-titled debut album. It was released as the band’s first single, but did not chart.

“A version by Three Dog Night was released the following year and featured on the band’s album, Naturally.”

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1970s, Pop

Nothing’s Gonna Change My Love For You

First recorded by George Benson (BEL #29/NETH #43 1985).
Hit version by Glenn Medeiros (US #12/UK #1/CAN #1/IRE #1/FRA #1 1987).

From the wiki: “‘Nothing’s Gonna Change My Love for You’ was written by Gerry Goffin (‘(You Make Me Feel Like a) Natural Woman‘, ‘Saving All My Love for You‘) and Michael Masser (‘The Greatest Love of All‘), and was first recorded by George Benson for his 1985 album 20/20. Released as a single only in Europe, Benson’s arrangement charted in Belgium and the Netherlands.

“In 1987, the song achieved worldwide success with a cover version by Hawaiian singer Glenn Medeiros. Medeiros had originally released his cover version on a small independent label at the age of 16, after winning a local radio talent contest in Hawaii. A visiting radio executive from KZZP in Phoenix, Arizona, heard the song and took the record back to Phoenix, where, through word of mouth, it grew to become an international hit.”

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1960s, Rock

Time Has Come Today

First recorded by The Chambers Brothers (1966).
Hit version by The Chambers Brothers (US #11 1968).

From the wiki: “‘Time Has Come Today’ was first recorded by The Chambers Brothers in 1966 and released as a single with no chart impact. The song was re-recorded in 1967 for the album The Time Has Come. This time, ‘Time Has Come Today’ did have a presence in the Top-40 … and also a significant impact in the counterculture of the time. While the single spent five weeks bubbling under the Top-10 at #11 on the Billboard Hot 100 in the fall of 1968, ‘Time Has Come Today’ is now considered to be one of the landmark Rock songs of the psychedelic era.

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1960s, Soul

Yester-Me, Yester-You, Yesterday

First recorded by Chris Clark (1966).
Hit version by Stevie Wonder (recorded 1967 |released US #7/R&B #5/MOR #10/UK #2/CAN #10/IRE #3/GER #15/NZ #10 1969).

From the wiki: “‘Yester-Me, Yester-You, Yesterday’ was written by Ron Miller and Bryan Wells and was first recorded, in 1966, by blue-eyed Soul singer and Motown recording artist Chris Clark. Clark became famous in England as the ‘white Negress’ (a nickname meant as a compliment) because the six-foot platinum blonde toured with fellow Motown artists who were predominantly black.

“America’s answer to Dusty Springfield, Clark managed to have only one chart hit in the US: ‘Love’s Gone Bad’ peaked at #105 on the Billboard’s Bubbling Under the Hot 100 chart and #41 R&B in 1966. Much later, Clark would co-wrote the screenplay for the 1972 Diana Ross vehicle Lady Sings the Blues, for which Clark was nominated for an Academy Award. Clark also later became an executive for Motown Productions’ film and television division in Los Angeles.

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1920s, Blues

Wade in the Water

First recorded by The Sunset Four Jubilee Singers (1925).
Also recorded by Birmingham Jubilee Singers (1930), Odetta (1954), Johnny Griffin & the Big Soul Band (1960), Graham Bond Organisation (1965).
Hit versions by Ramsey Lewis (US #19/R&B #3/UK #31 1966), Herb Alpert (US #37/MOR #5 1967).
Melodic refrain used (in “Little Walter”) by Tony! Toni! Toné! (US #47/R&B #1 1988).

From the wiki: “‘Wade in the Water’ is the name of a Negro Spiritual first published in New Jubilee Songs as Sung by the Fisk Jubilee Singers (1901). It is associated with the songs of the Underground Railroad, and the verses reflect the Israelites’ escape out of Egypt as found in the Book of Exodus. Some sources claim that songs such as ‘Wade in the Water’ contained explicit instructions to fugitive slaves on how to avoid capture. (This particular song allegedly recommends leaving dry land and taking to the water as a strategy to throw pursuing bloodhounds off one’s trail.) The first known recording was made in 1925 by The Sunset Four Jubilee Singers.

“Other early recordings were published by the Birmingham Jubilee Singers (1930), and Odetta (1954). A 1960 instrumental recording by Johnny Griffin & the Big Soul Band is thought to have inspired both the Graham Bond and Ramsey Lewis recordings.

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1980s, R&B

Who Let the Dogs Out

Based on “Pump Up the Party” by Hassan (1987).
First recorded (as “Who Let the Dogs Out”) by Miami Boom Productions (1992).
Hit versions by Anslem Douglas (1998), Baha Men (US #21/UK #2/AUS #1/NZ #1/IRE #2 2000).

From the wiki: “‘Who Let the Dogs Out’ was based on Stevie B’s ‘Pump Up the Party’, recorded by Hassan in 1987. ‘Party’ opens with the lyric ‘Who’s running this doghouse? Who? Who? Who? Who?’

“The song was then recorded in 1992 – now titled ‘Who Let the Dogs Out’ – by Miami Boom Productions.

“The 1998 calypsoca recording by Anslem Douglas (it was used for the 1998 Trinidad and Tobago Carnival season), titled ‘Doggie’, came to the attention of producer Steve Greenberg who would then have his group, Baha Men, cover the song for the Rugrats in Paris: The Movie movie and soundtrack album. The Baha Men recording was released it as a single in 2000, and would go on to become the band’s first hit in the US and the UK.”

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1950s, R&B

Hey Bartender

Written and first recorded by Floyd Dixon (1954).
Popular versions by Laurel Aitken (1961), The Blues Brothers (1978), Johnny Lee (C&W #2 1983).

From the wiki: “‘Hey Bartender’ was written and first recorded in 1954 by West Coast R&B pianist Floyd Dixon. The self-dubbed ‘Mr. Magnificent’, Dixon signed a recording contract with Modern Records in 1949, specializing in jump blues and sexualized songs like ‘Red Cherries’, ‘Too Much Jelly Roll’ and ‘Baby Let’s Go Down to the Woods’. Both “Dallas Blues” and “Mississippi Blues”, credited to the Floyd Dixon Trio, reached the Billboard R&B chart in 1949.

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1960s, Rock 'n Roll

Sheila

First recorded by Tommy Roe & The Satins (1960).
Hit version by Tommy Roe (US #1/UK #3/CAN #1/AUS #1 1962).

From the wiki: “‘Sheila’ was written and recorded by Tommy Roe (‘Dizzy’, 1969) with the help of Robert Bosch. Roe originally conceived the song in 1960 as ‘Frita’, based on a girl from Roe’s high school. Roe auditioned the song for Bosch, a record producer from Judd Records, and while hid response was enthusiastic, Bosch suggested that the name be changed. By coincidence, Roe’s Aunt Sheila was visiting, which inspired the final title of ‘Sheila’. The original version of ‘Sheila’ was recorded by Roe with his then-backing group, The Satins, and a female vocal group, the Flamingos. Released by Judd Records, it had no chart impact.

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1960s, Pop

Needles and Pins

First recorded by Jackie DeShannon (US #84/CAN #1 1963).
Other hit version by The Searchers (US #13/UK #1 1964).

From the wiki: “‘Needles and Pins’ was written by Jack Nitzsche and Sonny Bono. Jackie DeShannon (‘What the World Needs Now’, ‘Bette Davis Eyes‘) recorded the original in 1963 on Liberty Records, but her version stalled at #84 on the Hot 100.

“DeShannon explained (via Songfacts.com) why her recording didn’t hit:

‘There were a lot of issues with the record company, a lot of marketing things I wasn’t happy with. For instance, ‘Needles And Pins’ was Top 5 in Detroit, Top 5 in Chicago, and Top 5 in every city it was played in. However, unless you’re coordinated across the country and the song hits the charts at the same time, you can’t get the big leaps. My record didn’t have [momentum], because it would be going down in Chicago while it was going up in some other city. So that was a problem.’

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1950s, Doo wop

Silhouettes

First recorded by The Rays (US #3/R&B #3 1957).
Other hit versions by The Diamonds (US #10/R&B #6 1957), Herman’s Hermits (US #5/UK #3 1965), Cliff Richard (UK #10 1990).
Also recorded by Frankie Lymon (1960), Bob Crewe, co-writer (1961), Paul Anka (1961), The Four Seasons (1964), The Nylons (1982).

From the wiki: “In May 1957, songwriter-producer Bob Crewe (‘The Sun Ain’t Gonna Shine (Anymore)‘, ‘Lady Marmalade‘, ‘Big Girls Don’t Cry’, ‘Silence is Golden‘) saw a couple embracing through a window shade as he passed-by on a train. He quickly set about turning the image into a song. Frank Slay, who owned the small Philadelphia record label XYZ with Crewe, added lyrics, and they soon had a complete song ready to record.

“The Rays’ original recording received a break when popular Philadelphia disc-jockey Hy Lit fell asleep at home listening to a stack of newly-released records on his record player. ‘Silhouettes’ happened to be the last record to play, and so it repeated until he woke up. Lit began to playing the song on his show and it became popular enough that Cameo-Parkway picked it up for national distribution. The Rays’ ‘Silhouettes’ eventually reached #3 on Billboard Hot 100, while also hitting the Top-5 on both the sales and airplay charts. It became the group’s only Top 40 hit.

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1970s, Pop

The Stranger

First recorded (as a demo) by Billy Joel (1977).
Hit version by Billy Joel (JPN #2 1977).

From the wiki: “‘The Stranger’ was written by Billy Joel as the title track (and second song) of his popular 1977 album. According to Joel, the song relates to how we don’t always know ourselves or others. ‘The Stranger’ is the collective for the unknown things. ‘Although we share so many secrets, there are some we never tell,’ he said.

“Joel’s halfhearted suicide attempt at age 21 (he tried to end his life by drinking furniture polish) was an inspiration for the song, as it revealed a dark side of his personality that wasn’t readily apparent. Joel originally wanted the introducing theme to be played by some kind of instrument but after he demonstrated the melody to his producer, Phil Ramone, by whistling it, Ramone convinced Joel to scrap the idea of an instrument and to whistle it instead:

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1970s, Pop

She’s a Lady

Written and first recorded by Paul Anka (1970).
Hit version by Tom Jones (US #2/R&B #42/UK #13 1971).
Also recorded by Paul Anka & Tom Jones (2013).

From the wiki: “‘She’s a Lady’ was written by Paul Anka, and was first on his album Paul Anka ’70s.

“‘She’s a Lady’ was most-famously performed by Tom Jones, becoming his highest-charting single to date in the US. The song was re-released in 2013 on Paul Anka’s Duets CD with a new recording featuring both Anka and Tom Jones.”

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1960s, R&B

Hey There, Lonely Girl

First recorded (as “Hey There, Lonely Boy”) by Ruby & the Romantics (US #5 1963).
Other hit versions by Eddie Holman (US #2/R&B #4/CAN #1/UK #4 1969), Shaun Cassidy (AUS #5 1977), Robert John (US #31 1980).

From the wiki: “‘Hey There, Lonely Boy’ was written by Leon Carr and Earl Shuman and was first recorded in 1963 by Ruby & The Romantics (‘Our Day Will Come’, ‘Hurting Each Other‘), becoming the group’s second Top-5 single following their #1 hit, ‘Our Day Will Come’. Eddie Holman’s cover was recorded and released in 1969, becoming his highest-charting single.

“Additional charting singles covers were recorded by Shaun Cassidy (1977), and Robert John (1980).”

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1960s, Soul

Groovy Situation

First recorded by Mel & Tim (1969).
Hit versions by Gene Chandler (US #12/R&B #8 1970).

From the wiki: “‘Groovy Situation’ was written by Russell Lewis and Herman Davis, and first recorded by Mel and Tim (‘Backfield in Motion’) in 1969. It became a hit single when recorded by Gene Chandler (‘Duke of Earl’) in 1970, when it became Chandler’s second-biggest chart hit single.”

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1980s, Pop

The Old Songs

Written and first recorded by David Pomeranz (1980).
Hit version by Barry Manilow (US #15/MOR #1/UK #48 1981).

From the wiki: “David Pomeranz (‘Tryin’ to Get the Feeling Again‘) wrote ‘The Old Songs’ in 1977 with Buddy Kaye, a Tin Pan Alley songwriter of great note in the ’40s and ’50s (‘The Alphabet Song’, ‘Speedy Gonzales‘), ‘timeless songs, big hits for him,’ according to Pomeranza. ‘He and I got together, we wrote 6 songs together at that time, and ‘The Old Songs’ was one of them. We had written it for Jennifer Warnes – she must have passed on it. I had recorded it on my Atlantic album, and Barry had heard my album, heard the song, and then decided that he would record it, too.'”

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