Songs with Earlier Histories Than the Hit Version

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1291 total songs ... and counting!

1960s, Country

Some of Shelly’s Blues

First recorded by The Monkees (1968, released 1990).
Hit version by The Nitty Gritty Dirt Band (US #64/CAN #56 1972).
Also recorded by The Stone Poneys (1968), Michael Nesmith (1973).

From the wiki: “‘Some of Shelly’s Blues’ was written by Michael Nesmith, of The Monkees, and first recorded by the group in 1968. The recording went unreleased until the 1990 publishing of Missing Links 2.

“The Stone Poneys (feat. Linda Ronstadt), who had earlier covered ‘Different Drum‘ by Nesmith in 1967, were the first to cover ‘Some of Shelley’s Blues’, in 1968. It was a non-charting single from the group’s third album, Linda Ronstadt, Stone Poneys and Friends, Vol. III.

“The Nitty Gritty Dirt Band charted in 1972 with their cover. Songwriter Nesmith also recorded a version for his 1973 album, Pretty Much Your Standard Ranch Stash.”

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1950s, Rock 'n Roll

Rock and Roll Music

Written and first recorded by Chuck Berry (US #8/R&B #6 1957).
Other hit versions by The Beatles (AUS #1/NOR #1/SWE #1/FIN/GER #2 1964), Humble Pie (US #105 1975), The Beach Boys (US #5/CAN #11/UK #36 1976), Mental As Anything (AUS #5 1988).

From the wiki: “‘Rock and Roll Music’ was written and recorded by rock ‘n roll icon Chuck Berry.

“The sessions for ‘Rock and Roll Music’ took place in May 1957 in Chicago, Illinois, produced by the Chess brothers – Leonard and Phil – and backing Chuck Berry were pianist Lafayette Leake, bassist Willie Dixon, and drummer Fred Below. Chess records issued the song as a single in September 1957 on both the 45 rpm and 78 rpm formats. It reached #6 on Billboard magazine’s R&B Singles chart and #8 on the Hot 100 chart before the year’s end.

“Five decades later, Rolling Stone magazine ranked Berry’s version at #128 on their list of ‘The 500 Greatest Songs of All Time’. The song is also a part of the Rock and Roll Hall of Fame’s list of the ‘500 Songs That Shaped Rock and Roll’.

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1920s, Country, Folk

In the Jailhouse Now

First recorded (as “Jail House Blues”) by Whistler & His Jug Band (1924).
Also recorded by Earl McDonald’s Original Louisville Jug Band (1927), Jim Jackson (1928), Tim Blake Nelson (2000).
Popular versions by Jimmie Rodgers (US #14 1928), Webb Pierce (C&W #1 1955), Johnny Cash (C&W #8 1962), Sonny James (C&W #15 1977), Willie Nelson & Webb Pierce (C&W #72 1982).

From the wiki: “‘In The Jailhouse Now’ is an American novelty Blues song originally found in vaudeville performances from the early 20th century. In 1924, Whistler’s Jug Band from Louisville, Kentucky, recorded it under the title ‘Jail House Blues’. In 1927, Earl McDonald’s Original Louisville Jug Band made another recording of the song; in January 1928, Jim Jackson recorded ‘Jailhouse’ and established the first song’s first copyright titled as ‘In the Jailhouse Now’ although the song is usually now credited to Jimmie Rodgers. Rodgers recording of ‘In the Jailhouse Now’ was recorded February 15, 1928, in Camden, New Jersey, and features Rodgers’ famous yodel throughout the song. In 1938, Gene Autry and his side-kick, Smiley Burnette (as ‘Frog’), sang the Jimmie Rodgers version in the movie Prairie Moon.

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1940s, Swing

A Sunday Kind of Love

First recorded by Fran Warren w. Claude Thornhill & His Orchestra (1946).
Hit versions by Jo Stafford (US #15 1947), Jan & Dean (US #95 1962), Lenny Welch (US #96/MOR #21 1972), Kenny Rankin (MOR #28 1976), Reba McEntire (C&W #5 1988).
Also recorded by Louis Prima (1947), The Harptones (1953), Etta James (1961).

From the wiki: “‘A Sunday Kind of Love’ was composed by Barbara Belle, Anita Leonard, Stan Rhodes, and Louis Prima. It was first recorded in 1946 by Claude Thornhill & His Orchestra, becoming the signature-song for his vocalist, Fran Warren. Jo Stafford had the first charted recording of ‘A Sunday Kind of Love’, in 1947, the same year that co-writer Louis Prima recorded an arrangement with his orchestra.

“In 1953, the Harptones (‘Since I Fell For You‘), a group who never had a Top-40 pop hit, or even charted any of their 29 singles nationally on the Billboard R&B chart, covered ‘A Sunday Kind of Love’ – an arrangement that would have a strong influence on subsequent popular recordings of the song including covers by Etta James, Lenny Welch, and Kenny Rankin.”

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1960s, Rock 'n Roll

(Marie’s the Name) His Latest Flame

First recorded (as “His Latest Flame”) by Del Shannon (1961).
Hit version by Elvis Presley (US #4/UK #1 1961).

From the wiki: “‘(Marie’s the Name) His Latest Flame’ was written by the songwriting team of Doc Pomus and Mort Shuman (‘Save the Last Dance for Me’, ‘This Magic Moment‘, ‘Little Sister’, ‘Teenager in Love‘) and was originally recorded by Del Shannon for the album Runaway With Del Shannon, released in June 1961. The more famous and more successful recording by Elvis Presley was released in August 1961.”

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1960s, Folk

Early Morning Rain

First released by Ian & Sylvia (1965).
Hit versions by Peter, Paul & Mary (US #91/MOR #13 1965), George Hamilton IV (C&W #9 1966), Oliver (MOR #38 1971), Paul Weller (UK #40 2005).
Also recorded by The Grateful Dead (1965, released 2013), Gordon Lightfoot, writer (1966), Elvis Presley (1972).

From the wiki: “‘Early Morning Rain’ (sometimes ‘Early Mornin’ Rain’) was written by Canadian singer-songwriter Gordon Lightfoot. Lightfoot wrote and composed the song in 1964, but its genesis took root during a 1960 sojourn in Westlake, Los Angeles. Lightfoot sometimes became homesick and would go out to LAX on rainy days to watch the approaching aircraft. The imagery of the flights taking off into the overcast sky was still with him when, in 1964, he was caring for his 5-month-old baby son and he thought, ‘I’ll put him over here in his crib, and I’ll write myself a tune.’

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1970s, Reggae/Ska

You Can Get It If You Really Want

First released by Desmond Dekker (US #103/UK #2 1970).
Hit album version by Jimmy Cliff (1970, released 1972).

http://youtu.be/iWrIJnWiIDo

From the wiki: “‘You Can Get It If You Really Want’, written by Jimmy Cliff, was recorded in 1970 by both Cliff and Desmond Dekker using the same backing track. Dekker’s version was the first to be commercially released, in 1970; Cliff’s original 1970 recording was later added in 1972 to the movie soundtrack of The Harder They Come.”

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1960s, R&B

Lipstick Traces (on a Cigarette)

First recorded by Benny Spellman (R&B #28 1962).
Other hit versions by The O’Jays (US #48/R&B #28/CAN #19 1965), The Amazing Rhythm Aces (US #104/C&W #88 1979).
Also recorded by Ringo Starr (1978).

From the wiki: “‘Lipstick Traces (on a Cigarette)’ was first recorded by New Orleans singer Benny Spellman in 1962 (with backing vocals done by Imperial Records label mates Irma Thomas (‘Time Is On My Side‘) and Willie Harper). The song was written by Allen Toussaint under the pseudonym ‘Naomi Neville’.”

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1970s, Rock

What a Fool Believes

Co-written and first recorded by Kenny Loggins (1978).
Hit version by The Doobie Brothers (US #1/MOR #22/CAN #1/UK #31/AUS #12/NZ #5/NETH #10 1978).

From the wiki: “‘What a Fool Believes’ was written by Michael McDonald and Kenny Loggins. The best-known version was recorded by The Doobie Brothers (for the album Minute by Minute), with McDonald on lead vocal, but the song was first recorded and released five months prior by Loggins on his album Nightwatch.

“McDonald’s original idea for the song was that of a man who is reunited with an old love interest and attempts to rekindle a romantic relationship with her before discovering that a relationship had never really existed. It was Loggins, right before meeting McDonald for the first time, who devised the bridge of the song.

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1970s, Reggae/Ska

The Harder They Come

Written and first recorded (as “The Bigger They Come, The Harder They Fall”) by Jimmy Cliff (1971).
Hit versions by Jimmy Cliff (1972), Joe Jackson (NETH #35/SWE #18 1980).

From the wiki: “‘The Harder They Come’ is a Reggae song by the Jamaican singer Jimmy Cliff, first recorded and released as the B-side to the original release of ‘Sitting In Limbo’ in 1971. Cliff re-recorded (and retitled) the song in 1972 for inclusion in the movie soundtrack for The Harder They Come. ‘The Harder They Come’ has been ranked #341 on Rolling Stone’s 500 Greatest Songs of All Time.”

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1960s, Pop

And I Love Her

First recorded (in an uptempo arrangement) by The Beatles (1964).
Hit versions by The Beatles (US #12/CAN #15/BEL #10 1964), Esther Phillips (as “And I Love Him” US #54/R&B #11 1965), The Vibrations (US #118/R&B #47 1966).

From the wiki: “‘And I Love Her’ was written by Paul McCartney (credited to Lennon-McCartney) for the movie soundtrack of A Hard Day’s Night. It was composed in the music room in the basement of the house in Wimpole Street, London, which belonged to the parents of Jane Asher, Paul‘s then-current girlfriend. It is likely that Asher was the inspiration behind the song.

“The Beatles began recording the song on 25 February 1964. They recorded two takes that day, with a full electric line-up, but it was evidently not the sound they were after. The second take was later released in 1995 on Anthology 1. The group returned to it the next day, recording 16 takes and changing the song’s arrangement as they went along.

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1970s, Pop

They Don’t Know

Written and first recorded by Kristy MacColl (1979).
Hit version by Tracey Ullman (UK #2 1983 |US #8/MOR #11 1984).
Also recorded by Anja Niskanen (1984), Ben Gibbard (2010).

From the wiki: “‘They Don’t Know’ was written by Kristy MacColl, who recorded it in 1979. It became popular on radio in the United Kingdom, reaching #2 on the Music Week airplay chart. However, complications involving a strike at her record distributor prevented the single from being shipped and promoted properly. MacColl’s version of ‘They Don’t Know’ thus failed to appear on the official UK Singles chart, which is entirely sales-based.

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1960s, R&B

Woman, Woman

Co-written and first recorded by Jimmy Payne (1967).
Hit versions by Gary Puckett & The Union Gap (US #4/UK #48/CAN #1/AUS #7 1967), Jim Glaser (C&W #43 1975).

From the wiki: “‘Woman, Woman’ was written by Jim Glaser and Jimmy Payne, and first recorded by Payne in 1967. When recorded by Gary Puckett & The Union Gap, in August 1967 for their album Woman, Woman, the song went to #4 on The Billboard Hot 100. The song’s other co-writer, Jim Glaser, recorded and released ‘Woman, Woman’ as a single in 1975, taking it to #43 on the Hot Country Songs charts.”

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1960s, Folk

Good Time Charlie’s Got the Blues

Written and first recorded (as a demo) by Danny O’Keefe (1967, released 1972).
First released by The Bards (1968).
Also recorded by Danny O’Keefe (1971), Elvis Presley (1973).
Hit versions by Danny O’Keefe (US #9/MOR #5/C&W #63 1972), Red Steagall (C&W #41 1979), Leon Russell (C&W #63 1984).

From the wiki: “‘Good Time Charlie’s Got the Blues’ was written by Danny O’Keefe (‘The Road‘) and first recorded by him in 1967 for the Jerden record label, owned by Jerry Denton who didn’t release the record but claimed the credits. It was covered by a Seattle band, The Bards, and released in 1968 as the B-side to the song ‘Tunesmith’ on Parrot Records. Luckily for O’Keefe, his contract was bought by Atlantic boss Ahmed Ertegun, who returned him half of the publishing credit without obligation. That’s when Danny re-recorded ‘Goodtime Charlie’ under better conditions for Cotillion Records, in 1971, produced by Ahmed. One year later, the song was recut for the Signpost label under the supervision of Arif Mardin and released on the album O’Keefe. When that version hit, Denton released the original demo version on the semi-bootleg The Seattle Tapes.”

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1960s, Blues

Boom Boom

First recorded by John Lee Hooker (US #60/R&B #16 1962 |UK #16 1992).
Other hit versions by The Animals (US #43/CAN #14 1964), Big Head Todd & The Monsters (US #29 1998).
Also recorded by Mae West (1966), John Lee Hooker (1968).

From the wiki: “‘Boom Boom’ was written by American Blues singer/guitarist John Lee Hooker and first recorded in 1961. Although a blues song, it has been described as ‘the greatest pop song he ever wrote.’ ‘Boom Boom’, as recorded by Hooker, was both an American R&B and Pop chart success in 1962 as well as placing in the UK Singles Chart in 1992.

“It quickly became one of Hooker’s most identifiable and enduring songs, and ‘among the tunes that every band on the [early 1960s UK] R&B circuit simply had to play’ (wrote Cub Koda in the liner notes for The Yardbirds compilation, Ultimate!). Hooker later re-recorded and re-released the song in 1968 on the Stateside record label as the B-side of ‘Cry Before I Go’ under the longer title ‘Boom Boom Boom’. According to Hooker, he wrote the song during an extended engagement at the Apex Bar in Detroit:

‘I would never be on time [for the gig]; I always would be late comin’ in. And she [the bartender Willa] kept saying, ‘Boom boom — you late again’. Every night: ‘Boom, boom — you late again’. I said ‘Hmm, that’s a song!’… I got it together, the lyrics, rehearsed it, and I played it at the place, and the people went wild.’

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1960s, Novelty

Lady Godiva

Originally recorded by Paul Jones (1966).
Hit versions by Peter & Gordon (US #6/UK #16/CAN #1/AUS #1 1966), Alex Day (UK #15 2012).

From the wiki: “Written by Mike Leander, Charlie Mills, and Gordon Mills, ‘Lady Godiva’ is a music hall-style number which frivolously references the legend of Lady Godiva, re-imagining it in the modern day: a director from Hollywood witnesses her legendary ride (with ‘her long blonde hair’ obscuring her breasts and other private parts) and recruits the lady to star in his (pornographic) movie.

“Peter & Gordon’s producer John Burgess brought ‘Lady Godiva’ to the attention of the duo, which Burgess had recently produced for former Manfred Mann lead singer and harmonicist Paul Jones’ album My Way. Peter Asher recalls that he [Asher] objected to recording the song – the duo’s previous hits were almost all melancholy love songs. P&G’s other half, Gordon Waller, responded ‘It’ll be funny [so] shut up’.

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1960s, Folk

Venus (Shocking Blue)

Inspired by “The Banjo Song” by The Big Three (1963).
Hit versions by The Shocking Blue (NETH #3/BEL #1/FRA #1/GER #1 1969 |US #1/UK #8/CAN #1/AUS #1/ITA #1/NZ #1/BZL #1/NETH #3 1970), Bananarana (US #1/UK #8/CAN #1/AUS #1/SUI #1/NZ #1 1986).

From the wiki: “‘Venus’ composer Robbie van Leeuwen admitted in a 2007 interview he took his inspiration for ‘Venus’ from the song ‘The Banjo Song’, written by Tim Rose as a lyrical parody set to the melody of Stephen Foster’s ‘Oh, Susannah’. ‘The Banjo Song’ was first recorded by The Big Three (the folk trio of Jim Hendricks, Tim Rose and a pre-Mamas & Papas Cass Elliot) in 1963.

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1970s, R&B

Thin Line Between Love and Hate

First recorded by The Persuaders (US #15/R&B #1 1971).
Also recorded by B.B. Seaton (1972).
Other hit versions by The Pretenders (US #83/UK #49 1984), H-Town (US #37/R&B #6 1996).

From the wiki: “‘Thin Line Between Love and Hate’ was first recorded by The Persuaders (‘(‘You’re the) Best Thing That Ever Happened‘, ‘Some Guys Have All the Luck‘), written and produced by the Poindexter brothers (‘Backfield in Motion’), Robert and Richard, and also co-written by Persuaders producer Jackie Members. It proved to be the group’s biggest hit song, spending two weeks atop the Billboard R&B chart in late 1971.”

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1950s, Rock 'n Roll

Claudette

Written and first recorded (as a demo) by Roy Orbison (1958).
Hit version by The Everly Brothers (US #30/C&W #15/UK #1 1958).
Also recorded by Roy Orbison (1965).

From the wiki: “‘Claudette’ was written by Roy Orbison and was inspired by his wife, Claudette Frady, whom he had married in 1957. It was the first major songwriting success for the then-unknown Orbison, who at had only one minor hit (‘Oooby Dooby’, US #59) while under contract to Sun Records. Discouraged, Orbison left recording behind and returned home to Texas to concentrate on songwriting.

“Orbison’s demo found its way to The Everly Brothers who would record and release their version as the B-side to ‘All I Have to Do Is Dream’. But, ‘Claudette’ would also separately chart in both the US and the UK (where it topped the chart).

“The success of the Everly’s ‘Claudette’ gave Orbison enough money to buy himself out of his contract at Sun and he signed over all of his prior copyrights to Sam Phillips with the exception of ‘Claudette’. Instead, Orbison affiliated himself with the Everly’s publisher, Acuff-Rose Music. Orbison would record his own version of ‘Claudette’ in 1965.”

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1960s, R&B

(Who’s) That Lady

First recorded (as “Who’s That Lady?”) by The Isley Brothers (1964).
Hit version by The Isley Brothers (US #6/R&B #2/UK #14 1973).

From the wiki: “‘That Lady’ was a 1973 R&B and Soul hit song for The Isley Brothers (‘Twist and Shout‘), originally performed by the group, inspired by the Impressions, nearly a decade before in 1964. Jimi Hendrix toured as a guitarist with the Isley Brothers in 1964 (and the band also employed Elton John on piano for their 1964 UK tour). Hendrix’s influence was demonstrated on the 1973 re-recording of ‘That Lady’ with Ernie Isley’s guitar playing.

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1960s, R&B

Shake

Originally recorded by Sam Cooke (US #7/R&B #2 1965).
Other hit version by Otis Redding (US #47/R&B #16/UK #28 1967).
Also recorded by The British Walkers (US #108 1967).

From the wiki: “‘Shake’ was a song written and recorded by Sam Cooke at the last session Cooke had before he meet his untimely death in December 1964. Posthumously released in 1965, ‘Shake’ reached the US Top 10, his last song to do so. Otis Redding would record his first cover of ‘Shake’ in 1965. A live version, from the 1967 album Live in Europe, would be released as a single in May 1967. Redding’s 1965 recording would later be elected to the 500 Songs that Shaped Rock and Roll by the Rock and Roll Hall of Fame and Museum.

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1980s, Pop

I Can Dream About You

First recorded by Winston Ford (1984).
Hit version by Dan Hartman (US #6/UK #12/CAN #11/AUS #3/IRE #4 1984).
Also recorded by Hall & Oates (2004)

(Below: Original motion picture audio)

From the wiki: “‘I Can Dream About You’ was written by Dan Hartman and first appeared in the 1984 movie Streets of Fire, where it was performed by the fictional group The Sorels. The real voice behind the version used in the movie was Winston Ford, but Hartman’s version was the one used on the soundtrack and released as a single.

“In a Songfacts interview with the film’s musical director, Kenny Vance, he recalled ‘The same guy that sings lead on that and ‘Countdown to Love’, a song that I wrote for the film, was a guy working at a Radio Shack (Winston Ford), and I think when you look at the film and The Sorels are singing it live in the movie, that was the version that was supposed to come out, and I recorded that version. But then when Dan Hartman heard it, I don’t know what happened next, but I know that he took that guy’s voice off and he put his own on, and he had a hit with it. Hollywood is a very slippery place.’

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1960s, R&B

Gypsy Woman

First recorded by The Impressions (US #20/R&B #1 1961).
Other hit versions by Brian Hyland (US #3/UK #42 1970), Santana (US #31 1990).

From the wiki: “‘Gypsy Woman’ was written by Curtis Mayfield and was first recorded by his group The Impressions, the group’s first single following the departure of lead singer Jerry Butler. The recording reached #2 on the R&B chart and #20 on the Billboard Hot 100 in 1961.

“In 1970, Brian Hyland recorded a successful Del Shannon-produced cover version which peaked at #3 on the Hot 100. Santana also covered ‘Gypsy Woman’, in 1990 when its promotional single peaked at #31 on the Hot 100.”

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1960s, R&B

I Like It Like That

First recorded by Chris Kenner (US #2/R&B #2 1961).
Also recorded by The Nashville Teens (B-side 1964).
Other hit version by The Dave Clark Five (US #7/CAN #3/AUS #12 1965).

From the wiki: “‘I Like It Like That’ was written by Chris Kenner (‘Land of 1000 Dances‘) and Allen Toussaint (‘Java‘, ‘Yes We Can Can‘), and was first recorded by Kenner in 1961.

“In 1964, The Nashville Teens recorded the song as a B-side to their hit single ‘Tobacco Road‘. ‘I Like It Like That’ was later covered by The Dave Clark Five in 1965, who scored a US Top-10 hit and their seventh gold single.

“The Bobbettes (‘Mr. Lee’) recorded an answer-song in 1961 to Kenner’s recording, titling it ‘I Don’t Like It Like That’.”

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