Songs with Earlier Histories Than the Hit Version

Help support this site! Consider clicking an ad from time to time. Thanks!

1291 total songs ... and counting!

1960s, Jazz

Watermelon Man

Written and first recorded by Herbie Hancock (US #121 1962).
Hit versions by Mongo Santamaria Band (US #10/R&B #8 1963), Gloria Lynne (US #62/R&B #8 1965), Erroll Garner (US #40 1968).
Also recorded by Jon Hendricks (1963), Manfred Mann (1965), Herbie Hancock (1973).

From the wiki: “‘Watermelon Man’ was written by Herbie Hancock and first released on his debut album, Takin’ Off (1962) in a hard bop arrangement featuring improvisations by trumpeter Freddie Hubbard and saxophonist Dexter Gordon. Hancock wrote the piece to help sell his debut album as a leader; the first piece of music he had ever composed with a commercial goal in mind. Hancock has described that, structurally, the composition was one of his strongest works due to its almost-mathematical balance.

“It was while Hancock was filling in for pianist Chick Corea in Mongo Santamaría’s band at a nightclub in The Bronx that Hancock played the tune for Santamaría at friend Donald Byrd’s urging. Santamaría started accompanying Hancock on his congas, then the band joined in, and the small audience slowly got up from their tables and started dancing. Santamaría later asked Hancock if he could record the tune. On December 17, 1962, Mongo Santamaría recorded a three-minute version, suitable for radio, and included the track on his album Watermelon Man (1962).”

Read more →

1950s, Country

Wasted Days and Wasted Nights

First recorded by Freddy Fender (1959).
Hit version by Freddy Fender (US #8/C&W #1/NZ #1 1974).
Also recorded by Texas Tornados (1999).

From the wiki: “Freddy Fender wrote and first recorded ‘Wasted Days and Wasted Nights’ as a smoky rhythm & blues ballad during the early stages of his career. He was in the process of perfecting his mesh of Rockabilly and Tejano, and the song showcased his new style. First released in 1959 on the small Duncan Records label, the song became a minor national hit in 1960 (Cashbox Magazine #82) on the more widely-distributed Imperial label. But, Fender was arrested on charges of marijuana possession and, in May 1960, he was convicted and jailed. The popularity of the song, along with Fender’s own popularity, plummeted.

“Flash-forward to 1975: With the help of record producer Huey P. Meaux (‘Talk to Me‘, Sir Douglas Quintet), Fender re-recorded ‘Wasted Days and Wasted Nights’. This time, the song became a major Country and Pop hit, topping the Billboard magazine Hot Country Singles chart in August 1975 and peaking at #8 on the Billboard Hot 100.

Read more →

1980s, Country

Leather and Lace

Written and first recorded (as a demo) by Stevie Nicks with Don Henley (ca. 1980).
Hit version by Stevie Nicks & Don Henley (US #6/MOR #10/CAN #12 1981).

From Songfacts, Stevie Nicks recalls:

‘I wrote this song because Waylon Jennings called me up and asked me to write a song called ‘Leather and Lace.’ It was to be a duet for him and his then-wife (Jessi Colter), and I worked very hard trying to explain what it was like to be in love with someone in the same business, and how to approach dealing with each other. It’s probably the hardest thing in the world to do because it falls out of your hands and into the hands of the world, which tends to want you to not be able to handle it.

Read more →

1950s, Rock 'n Roll

Shimmy, Shimmy Ko-Ko Bop

First recorded (as “(Shimmy Shimmy) Ko Ko Wop”) by The El Capris (1956).
Hit version by Little Anthony & The Imperials (US #24/R&B #14 1960).

From the wiki: “The El Capris formed in 1954, in the Hill District of Pittsburgh, Pennsylvania. They were neighborhood friends, all of whom were between 13 and 14 years old. They decided to call themselves the ‘Bluebirds’ but with a twist: Believing that the Spanish for ‘bluebird’ was ‘capri’, they settled on the ‘El Capris’ – ignoring the fact that ‘el’ is used grammatically in the singular … and that ‘capri’ does not mean ‘bluebird’. None of this, however, had any relevance to their singing talent which they used to win a contest, at school in 1955. The prize was an audition for Woody Henderling, owner of New York City’s Bullseye label. He liked what he heard, and in late 1955, he put them in a studio at WHOD Radio in Homestead, PA, recording two songs.

“One of the sides they recorded was titled ‘(Shimmy Shimmy) Ko Ko Wop’, written by three of the group’s members, ames Scott, James Ward and Leon Gray. The record was released in March of 1956, but went nowhere.

Read more →

1970s, Rock

Can We Still Be Friends

Written and first recorded by Todd Rundgren (US #29 1978).
Other hit version by Robert Palmer (US #52/NETH #32 1979).

From the wiki: “‘Can We Still Be Friends’ was written and originally performed by Todd Rundgren, and released on his 1978 album Hermit of Mink Hollow. The lyrics describe a relationship to which Rundgren and the woman to whom he is singing have given great effort, but simply cannot work. Rundgren explains this, but wishes to part amicably, asking several times if he and his partner can ‘still be friends.’ The song is generally assumed to be about Rundgren’s breakup with long-time companion Bebe Buell in 1977. In 1979, ‘Can We Still Be Friends’ became a hit again when Robert Palmer recorded a version for his album Secrets, from where it became a popular Rock album radio hit.”

Read more →

1960s, Folk

If I Were a Carpenter

Written and first released by Tim Hardin (1966).
Hit versions by Bobby Darin (US #8/UK #9 1966), The Four Tops (US #20/R&B #17/UK #7 1968), Johnny Cash & June Carter (US #36/C&W #2 1970).

From the wiki: “‘If I Were a Carpenter’ was written by Tim Hardin (‘Reason to Believe‘), and first released by him in 1966 as the B-side to ‘How Can We Hang On to a Dream’. The recording would see a subsequent release in 1967 on the album Hardin 2. According to Mojo magazine (February 2012), the song was partly inspired by engineer John Judnich, who built for Hardin a small recording setup in Lenny Bruce’s Sunset Plaza house.

“Hardin and Bobby Darin attended each others recording session at the studio and swapped songs, with Hardin recording Darin’s ‘Simple Song Of Freedom’ that became Hardin’s only charting recording (US #47 1969). Darin’s Top-10 recording of ‘If I Were a Carpenter’ used the same arrangement and instrumentation as Hardin’s original.

Read more →

1960s, Novelty

Sukiyaki

First recorded (as “Ue no Muite Arukou”) by Kyu Sakamoto (JPN #1 1961 |US #1/R&B #18 May 1963 |UK #6 Jun 1963).
Also recorded by Clyde Beavers (1963), The Fabulous Echoes (1965), Jewel Akens (as “My First Lonely Night”) (1966), Selena (1990).
Other hit versions by Kenny Ball & His Jazzmen (UK #10 Jan 1963), A Taste of Honey (US #3/R&B #1 1981), 4 P.M. (US #8/R&B #75/UK #152 1994).

From the wiki: “‘Ue o Muite Arukō’, ‘I Look Up As I Walk’) is a Japanese-language song first recorded in 1963 by Japanese crooner Kyu Sakamoto, and composed by Hachidai Nakamura (music) and Rokusuke Ei (lyrics). Ei wrote the lyrics while returning home from a protest against the Treaty of Mutual Cooperation and Security between the United States and Japan, feeling dejected about the failure of the protest movement. But, Ei purposely rendered the lyrical content generic so that the lines might refer to any lost love. In Anglophone countries ‘Ue o Muite Arukō’ is best known under the alternative title ‘Sukiyaki’ (a term with no relevance to the song’s lyrics). The English-language title – for a Japanese hot pot dish – actually has nothing to do with the lyrics or the meaning of the song. A Newsweek magazine columnist noted that the re-titling was like issuing ‘Moon River’ in Japan under the title ‘Beef Stew’.

Read more →

1960s, Soul

The Jerk

Based on “Girl You Don’t Know Me” by The Impressions (1964).
Hit version by The Larks (US #7/R&B #1 1964).

From the wiki: “Released as a single in 1964 on the Money record label, ‘The Jerk’ was a hit for the Los Angeles band The Larks. Larks’ group member Don Julian wrote new lyrics for their song based on an earlier recording by The Impressions, ‘Girl You Don’t Know Me’, written by Curtis Mayfield.”

Read more →

1970s, Reggae/Ska

Only the Good Die Young

First recorded (as a demo) by Billy Joel (1977).
Hit version by Billy Joel (US #24/CAN #18 1977).

From the wiki: “‘Only the Good Die Young’ was written by Billy Joel for his landmark 1977 album, The Stranger. The original demo recording featured a slower, reggae arrangement (the demo is included in the box set, My Life).

“‘I wrote it as a reggae song,’ Joel recalled. ‘And Liberty [DeVitto], my drummer, is so sick of reggae that he literally throws his drumsticks at me and says, ‘Ugh, I frigging hate reggae! The closest you’ve ever been to Jamaica is when you changed trains in Queens.” It was Joel’s producer, Phil Ramone, who recommended to Joel ‘Don’t play any different than you play on the road — be the rock ‘n’ roll animal that you are.’ The third take of the song in the studio is what appears on the album, The Stranger.

Read more →

1960s, Pop

Apples, Peaches, Pumpkin Pie

First recorded (as “Ready or Not”) by Sam the Sham & The Pharoahs (1966).
Hit version by Jay & the Techniques (US #6/R&B #8/CAN #61 1967).

From the wiki: “Sam the Sham and the Pharaohs released a non-single version entitled ‘Ready or Not’, written by Maurice Irby, Jr., on their 1966 The Best of Sam the Sham and the Pharaohs (MGM SE-4422). ‘Ready or Not’ was then retitled ‘Apples, Peaches, Pumpkin Pie’ when recorded by Jay & the Techniques in 1967.

“Bobby Hebb (‘Sunny‘) was originally offered ‘Apples, Peaches, Pumpkin Pie’, but rejected the song due to its ‘novelty sound’. After Hebb declined, record producer Jerry Ross offered the song to Jay & the Techniques.

Read more →

1950s, Country

Before the Next Teardrop Falls

First recorded by Duane Dee (C&W #44 1968).
Also recorded by Jerry Lee Lewis (1969).
Other hit versions by Linda Martell (C&W #33 1970), Freddy Fender (US #1/C&W #1 1975).

From the wiki: “‘Before the Next Teardrop Falls’ was written in the late 1960s by Vivian Keith and Ben Peters, and had been recorded more than two dozen times – achieving modest success in versions by various performers (the original version by Duane Dee reached #44 on the Billboard country chart in early 1968; Linda Martell sent her version to #33 in early 1970) before becoming a chart-topping hit for Freddy Fender.

Read more →

1970s, Rock

Rock and Roll, Hoochie Koo

First recorded by Johnny Winter (1970).
Hit version by Rick Derringer, writer (US #23 1974).

From the wiki: “‘Rock and Roll, Hoochie Koo’ is a rock song written by Rick Derringer. It was first recorded by Johnny Winter, with Derringer and other former members of The McCoys (‘Hang On Sloopy‘), in 1970.

“In 1973, Derringer recorded a solo version for his solo debut album All American Boy, and it became his only Top 40 chart hit. According to Derringer, ‘The first song I wrote for Johnny was ‘Rock and Roll, Hoochie Koo’. ‘Rock and Roll’ to satisfy the rock ‘n’ roll that I was supposed to be bringing into the picture, and ‘Hoochie Koo’ to satisfy the king of blues sensibility that Johnny was supposed to maintain. And it worked out great.’

Read more →

1950s, Pop

My Special Angel

First recorded by Sonny Land Trio (1957).
Hit versions by Bobby Helms (US #7/C&W #1/R&B #8/UK 22 1957), Malcolm Vaughn (UK #3 1957), The Vogues (US #7 1968).

From the wiki: “‘My Special Angel’ was written by Jimmy Duncan, published in 1957. (Duncan would, in the late 1960s, operate a nightclub in Houston, Texas, called ‘The Living Eye’. Nationally-known groups such as the Electric Prunes and ? and the Mysterians played there.) ‘My Special Angel’ became a crossover hit in 1957 for Bobby Helms, charting on the Billboard Hot 100, and the Country and R&B singles charts.

Read more →

1950s, Rock 'n Roll

Baby Let’s Play House

Written and first recorded by Arthur Gunter (1954).
Hit version by Elvis Presley (C&W #5 1955).
Also recorded (as a demo) by Buddy Holly (1955).

From the wiki: “‘Baby Let’s Play House’ was written by Arthur Gunter and was first recorded by him in 1954. It would be covered by Elvis Presley the following year on Sun Records – the fourth issue of a Presley record by Sun … and it became the very first recording by Elvis to appear on any national music popularity chart – in this case, when it peaked at #5 on the Billboard Country singles chart in July 1955.

“In his youth the songwriter, Gunter, formed the Gunter Brothers Quartet with brothers and cousins. In 1954 Gunter signed with Excello Records and recorded ‘Baby Let’s Play House’ in November 1954. It was released on Excello 2047 and became a local hit. Gunter would later say ‘Elvis got that number and made it famous. But I didn’t get a chance to shake his hand.’ Gunter’s first royalty check, received in 1955, was for $6500 (equivalent to $57,000 in 2014).

Read more →

1900s, Pop

(I Can’t Help) Falling in Love

Recorded as (“Plaisir d’Amour”) by Emilio De Gogorza (1902).
Also recorded (as “Plaisir d’Amour”) by Beniamino Gigli (1934), Joan Baez (1961).
Hit versions (in English) by Elvis Presley (US #2/MOR #1/UK #1 1961), Andy Williams (UK #3 1970), The Softones (R&B #53 1973), The Stylistics (R&B #52/UK #4 1976), UB40 (US #1/UK #1/IRE #1/AUS #1 1993).
Also recorded (as “I Want to Live”) by Aphrodite’s Child (NETH #1 1969).

[Note: The above recording is not by Emilio De Gogorza. It is a 1945 arrangement recorded by French cabaret tenor Emile-Jean Vanni-Marcoux.]

From the wiki: “‘(I Can’t Help) Falling in Love’ was written by Hugo Peretti, Luigi Creatore and George Weiss (‘The Lion Sleeps Tonight‘, ‘What a Wonderful World’) based on a popular romance melody by Jean Pierre Claris de Florian, ‘Plaisir d’Amour’, first performed in 1784 and first recorded in 1902 by Emilio De Gogorza.

“Beniamino Gigli, considered by some to be the greatest opera tenor of his generation, covered ‘Plaisir d’Amour’ in 1934. (Gigli rose to true international prominence after the death of the great Italian tenor Enrico Caruso in 1921. Such was Gigli’s popularity with audiences he was often called ‘Caruso Secondo’, though in great operatic ego tradition he much preferred to be known as ‘Gigli Primo’.)

“English-language lyrics were later written by George Weiss for an Elvis Presley feature movie, but who claimed that neither the movie producers nor Elvis’ associates liked the song demo. Nonetheless, Elvis insisted on recording the song for the movie Blue Hawaii.

Read more →

1950s, Pop

The Wonder of You

First recorded by Ray Peterson (US #25/UK #23 1959).
Other hit versions by Ronnie Hilton (UK #22 1959), Elvis Presley (US #9/C&W #37/UK #1 1970).
Also recorded by The Platters (1968).

From the wiki: “‘The Wonder of You’ was written by Baker Knight for Perry Como. It was, instead, given to Ray Peterson (‘Tell Laura I Love Her’) who released ‘The Wonder of You’ in 1959 as a single. It became his first Top 40 hit, peaking at #25 on the Billboard Hot 100. That same year it was covered in the UK by Ronnie Hilton; his version reached #22 on the UK Singles Chart.

Read more →

1960s, Pop

Here Comes My Baby

Written and first recorded by Cat Stevens (1966, released 1968).
Hit version by The Tremeloes (US #13/UK #4 1967).

From the wiki: “‘Here Comes My Baby’ was written by Cat Stevens in 1966, and was almost released as Cat’s first single in September 1966. But, ‘I Love My Dog’ was thought to be a stronger song. Even after the success of ‘I Love My Dog’ (UK #28), ‘Here Comes My Baby’ was shelved from release for several more months. Meantime, the Tremeloes picked it up and it became their breakthrough hit in America and their first hit in the UK after the departure of the group’s lead singer, Brian Poole.

“The Tremeloe’s success with the song did help to establish Cat Stevens as a songwriter (‘Wild World‘, ‘The First Cut is the Deepest‘). His recording of ‘Here Comes My Baby’ was included it on his first album, Matthew And Son, released in 1968.”

Read more →

1950s, R&B

Blue Monday

First recorded by Smiley Lewis (1954).
Hit version by Fats Domino (US #5/R&B #1 1957).

From the wiki: “‘Blue Monday’ was originally written by Dave Bartholomew (‘I Hear You Knocking‘, ‘My Ding-a-Ling‘), and first recorded by Smiley Lewis in 1954. ‘Blue Monday’ was later popularized in a recording by Fats Domino in 1956, and it became one of the earliest Rhythm & Blues songs to make the Billboard magazine Pop music charts. The song was also featured in the 1956 film The Girl Can’t Help It.”

Read more →

1930s, Country

The Wild Side of Life

Inspired by “Thrills That I Can’t Forget” by ‘John Ferguson’ (1925).
Inspired by “I’m Thinking Tonight of My Blue Eyes” by The Carter Family (1929).
Inspired by “Great Speckled Bird” by Roy Acuff (1936).
First recorded (as “Wild Side of Life”) by Jimmie Heap & The Melody Masters (1951).
Hit versions by Hank Thompson (C&W #1 1952), Burl Ives & Grady Martin & His Slew Foot Five (US #30/C&W #6 1952), Tommy Quickly & The Remo 4 (UK #33 1964), Freddy Fender (C&W #13 1976), Status Quo (UK #9 1976).

From the wiki: “‘The Wild Side of Life’ carries one of the most distinctive melodies of early country music, used in ‘Thrills That I Can’t Forget’ (recorded by Welby Toomey, using the pseudonym ‘John Ferguson’ in 1925), ‘I’m Thinking Tonight of My Blue Eyes’ (by the Carter Family in 1929), and ‘Great Speckled Bird’ (by Roy Acuff in 1936). That, along with the song’s story of a woman shedding her role as domestic provider to follow the night life, combined to become one of the most famous country songs of the early 1950s when recorded as ‘Wild Side of Life’, first by Jimmie Heap & the Melodie Masters and, then, a #1 hit by Hank Thompson.

“According to Country music historian Bill Malone, ‘Wild Side’ co-writer William Warren was inspired to create the song after his experiences with a young woman he met when he was younger — a honky-tonk angel, as it were — who ‘found the glitter of the gay night life too hard to resist.’

Read more →

1970s, Rock

Sentimental Lady

First recorded by Fleetwood Mac (1972).
Hit version by Bob Welch, writer (US #8 1977).

From the wiki: “Bob Welch joined Fleetwood Mac in 1971, and the group first recorded the Welch-penned ‘Sentimental Lady’ for their 1972 album Bare Trees. The song became a hit when Welch re-recorded it for his 1977 solo album, French Kiss. Christine McVie and Lindsey Buckingham of Fleetwood Mac sang backup on Welch’s solo version. Many Fleetwood Mac aficionados cite the Fleetwood Mac’s original version as the first song to explicitly reference the softer, more commercial West Coast sound that the group would later make their own.

Read more →

1980s, Pop

The Longest Time

First recorded (as a demo, “The Prime of Your Life”) by Billy Joel (1982).
Hit version by Billy Joel (US #14/MOR #1/CAN #36/UK #25/IRE #18/AUS #15/NZ #24 1984).

From the wiki: “‘The Longest Time’ was written by Billy Joel and first recorded as the demo ‘The Prime of Your Life’ in 1982. The song would later evolve into a tribute of the 1950s doo-wop sounds that Joel loved.

“The released promotional single, in 1984, would be recorded quasi-a capella: Only one musical instrument, a bass guitar, is present in the arrangement. All other sounds in the song are Joel’s vocals (14 different background tracks), along with the percussive sounds of finger-snaps and hand-claps.”

Read more →

1930s, Swing

What a Difference a Day Makes

Originally recorded (in Spanish as “Cuando vuelva a tu lado”) by Maria Grever (1934).
First recorded in English (as “What a Diff’rence a Day Made”) by Jimmie Ague (1934).
Also recorded by Freddy Martin & His Orchestra (1934).
Hit versions by The Dorsey Brothers Orchestra (US #5 1934), Andy Russell (US #15 1944), Dinah Washington (US #8/R&B #1 1959), Esther Phillips (US #20/R&B #10/DISCO #2/UK #6 1975), Bobby Lewis (C&W #81 1977).

From the wiki: “‘What a Diff’rence a Day Made’ is a popular song originally written in Spanish by María Grever, a Mexican songwriter, in 1934 and originallly titled ‘Cuando vuelva a tu lado’ (‘When I Return to Your Side’). The English lyrics were written by Stanley Adams.

“The earliest English-language renditions of the song were recorded in 1934 by Jimmie Ague, and also by Freddy Martin & His Orchestra the same year. The Dorsey Brothers Orchestra charted first with the song, in 1934, featuring vocals by Bob Crosby. Andy Russell, a Mexican-American singer, recorded a bilingual version of the song in 1944 that reached #15 on the Hit Parade chart.

“Dinah Washington’s 1959 Billboard Top-20 (and #1 R&B) recording earned her the Grammy Award for Best Rhythm & Blues Performance. Esther Phillips reached into the UK Top 10 with her disco-fied recording.”

Read more →

1960s, Pop

Jean

Written and first recorded by Rod McKuen (1969).
Hit version by Oliver (US #2 1969).

From the wiki: “‘Jean’ was written by the American poet and composer Rod McKuen (‘Seasons in the Sun‘) who first recorded the song in 1969 as the theme to the film The Prime of Miss Jean Brodie. ‘Jean’ would go to be nominated for an Academy Award as Best Original Song. Although released as a single in the summer of 1969, McKuen’s version of the song failed to reach the American music charts. A cover of ‘Jean’ would later be released in 1969 by Oliver, selected as the follow-up single to Oliver’s hit ‘Good Morning Starshine’. Of the ‘Jean’ recording, Oliver would recall: ‘We had no idea it would be a [hit] single. It was a 3/4 ballad in the psychedelic era … it was a beautiful arrangement.'”

Read more →

1960s, Pop

Je t’aime moi non plus

First recorded by Serge Gainsbourg & Brigitte Bardot (1967, released 1986).
Hit version by Serge Gainsbourg & Jane Birkin (US #58/UK #1/IRE #1/NOR #1/SWZ #1/GER #3/MEX #5 1969).
Also recorded by Donna Summer (1978).

From the wiki: “‘Je t’aime moi non plus’ was written by French composer, actor and director Serge Gainsbourg and first recorded in 1967 by him and Brigitte Bardot. Bardot asked him to write the most beautiful love song he could imagine. They recorded an arrangement of ‘Je t’aime’ by Michel Colombier at a Paris studio in a two-hour session in a small glass booth; the engineer William Flageollet said there was ‘heavy petting’.

“News of the recording reached the press and Bardot’s husband, German businessman Gunter Sachs, was angry and called for the single to be withdrawn. Bardot pleaded with Gainsbourg not to release it, and although he protested that ‘The music is very pure. For the first time in my life, I write a love song and it’s taken badly’, Gainsbourg complied with Bardot’s request. Many years later, Bardot regretted not releasing her version. This original recording of ‘Je t’aime’ was finally released it in 1986.

Read more →