Songs with Earlier Histories Than the Hit Version

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1291 total songs ... and counting!

1970s, Pop

Talking in Your Sleep

First recorded by The Marmalade (1977).
Hit version by Crystal Gayle (US #18/MOR #3/C&W #1 1978).

From the wiki: “The first recorded version of ‘Talking in Your Sleep’ was by the band The Marmalade (‘Reflections of My Life’, ‘Lovin’ Things‘, ‘Ob-La-Di, Ob-La-Da‘), produced by Roger Greenaway (‘I’d Like to Teach the World to Sing‘), released as single in 1977 but without any chart success. It was subsequently recorded in late 1977 by Country music artist Crystal Gayle and released in January 1978 as the first single from her album When I Dream. Gayle’s version became a hit on both the US Country and Pop charts in 1978, reaching #1 on the US Country chart and peaking at #18 Billboard Hot 100 and #3 on the Billboard Adult Contemporary chart.”

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1960s, Soul

Come See Me (I’m Your Man)

First recorded by J.J. Jackson (1966).
Hit version by The Pretty Things (UK #43/AUS #92 1966).

From the wiki: “J.J. Jackson is an American Soul/R&B singer, songwriter, and arranger who started out as a songwriter and arranger for ‘Brother’ Jack McDuff, Jimmy Witherspoon, and The Shangri-Las, among others. Jackson’s songwriting credits include ‘It’s Easier to Cry’ (The Shangri-Las), released as the B-side to ‘Remember (Walking in the Sand)’ in 1964, and The Pretty Things’ 1966 hit single, ‘Come See Me’. He is perhaps best known for the soul hit ‘But It’s Alright’ which, after its 1966 release, became one of the best known dance music tunes of the decade.

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1960s, Soul

Here I Am, Baby

First recorded by Barbara McNair (1966).
Hit version by The Marvelettes (US #44/R&B #14 1967).

From the wiki: “‘Here I Am, Baby’ was written by Smokey Robinson in 1967 for actress and singer Barbara McNair (‘For Once in My Life‘). It was the title track of her album “Here I Am‘. McNair’s big career break had come in the late 1950s with a win on Arthur Godfrey’s TV show Talent Scouts, which led to bookings at The Purple Onion and the Cocoanut Grove. She soon became one of the country’s most popular headliners and a guest on such television variety shows as The Steve Allen Show, Hullabaloo, The Bell Telephone Hour, and The Hollywood Palace, while recording for the Coral, Signature, Motown, and other labels. But, she became best-known as a TV actress guesting on series such as Dr. Kildare, The Eleventh Hour, I Spy, Mission: Impossible, Hogan’s Heroes and McMillan and Wife.

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1960s, Rock

I Want Candy

First recorded by The Strangeloves (US #11/CAN #7 1965).
Hit versions by Brian Poole & the Tremeloes (UK #25 1965), Bow Wow Wow (US #62/UK #9/IRE #7/AUS #39 1983), Candy Girls (UK #30 1996), Aaron Carter (UK #31/SWE #10/AUS #37/NETH #37 2000), Melanie C. (UK #7/ITA #9/DEN #12 2007).
Also recorded by Pop ‘n Fresh (2008).

From the wiki: “‘I Want Candy’ was written by Bert Berns, Bob Feldman, Jerry Goldstein and Richard Gottehrer (‘My Boyfriend’s Back’) in 1965. For this song, the trio took on the moniker of The Strangeloves, and recorded the tune themselves, augmented by studio musicians. Although Feldman, Goldstein and Gottehrer used their real names in the writing and production credits of this single, they claimed The Strangeloves were actually three Australian brothers (and ex-sheep farmers) named Giles, Miles and Niles Strange. Feldman, Goldstein and Gottehrer dressed up in shaggy wigs and exotic clothing for publicity photos as The Strangeloves.

“It was The Strangelove’s second single, becoming a Top 10 hit in Canada and hitting #11 in the US. But, the record failed to chart in the UK — or in The Strangeloves’ so-called ‘native’ country, Australia. (A cover by Brian Poole & the Tremeloes, however, charted in the UK and peaked at #25.)

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1960s, Pop

Ob-La-Di, Ob-La-Da

Originally recorded (as a demo) by Paul McCartney (1968).
Hit versions by The Marmalade (UK #1/NOR #1 1968), The Bedrocks (UK #20 1968), The Spectrum (GER #19 1968), Paul Desmond (MOR #35 1969), Arthur Conley (US #51/R&B #41 1969), The Beatles (AUS #1/JPN #1 1969 |US #49 1976).

From the wiki: “‘Ob-La-Di, Ob-La-Da’ is a song credited to Lennon–McCartney, but written by Paul McCartney. Released by The Beatles on their 1968 album The Beatles (commonly called The White Album), the song was released as a single that same year in many countries – except not in the United Kingdom, nor in the United States until 1976.

“During May 1968, after their return from India, The Beatles gathered at George Harrison’s Esher home, in Surrey, to record demos for their upcoming project. ‘Ob-La-Di, Ob-La-Da’ was one of the twenty-seven demos recorded there. Paul performed this demo solo, with only an acoustic guitar but double-tracking his vocal.

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1960s, Rock

Julia

First recorded (as a demo) by John Lennon (1968).
Hit album version by The Beatles (1968).
Also recorded by Ramsey Lewis (1968), Medeski, Martin & Wood and John Scofield (2006), Mike Patton & Carla Hassett (2009), Sean Lennon (2009)

From the wiki: “‘Julia’ was written by John Lennon (credited to Lennon–McCartney) during The Beatles’ 1968 visit to Rishikesh in northern India, where they were studying under the Maharishi Mahesh Yogi. It was there where Lennon learned the song’s finger-picking guitar style (known as ‘Travis-picking’) from Scottish musician Donovan. Lennon recorded his demo of ‘Julia’ during the very casual May 1968 new song reviews conducted by the Beatles at Esher, George Harrison’s estate, following the group’s return from India.

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1960s, Rock

While My Guitar Gently Weeps

First recorded (as a demo) by George Harrison (1968).
Hit album version by The Beatles (1968).
Also recorded by Kenny Rankin (1976), Jeff Healey (1990), Jake Shimabukuro (2004), Tom Petty & Jeff Lynne (2004).

https://youtu.be/wagTIytC5xo

From the wiki: “Inspiration for the song came to Geroge Harrison when reading the I Ching, which, as Harrison put it, ‘seemed to me to be based on the Eastern concept that everything is relative to everything else… opposed to the Western view that things are merely coincidental.’ Taking this idea of relativism to his parents’ home in northern England, Harrison committed to write a song based on the first words he saw upon opening a random book. Those words were ‘gently weeps’, and he immediately began writing the song.

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1960s, Rock

Revolution

First recorded (as a demo) by The Beatles (1968).
Hit version by The Beatles (US #12 1968).
Also recorded by The Beatles (as “Revolution 1”) (1968), The Beatles (as “Revolution #9”) (1968).

http://youtu.be/sPi4Bkh8H_o

From the wiki: “Around the fourth week of May 1968, The Beatles met at Kinfauns (George Harrison’s home in Esher) to demonstrate their compositions to each other in preparation for recording their next studio album. During his time in Rishikesh, India, that past February, John Lennon decided to write a song about the recent wave of social upheaval. He recalled, ‘I thought it was about time we spoke about it [revolution], the same as I thought it was about time we stopped not answering about the Vietnamese war. I had been thinking about it up in the hills in India.’ A bootleg recording from the informal Esher session shows that ‘Revolution’ had two of its three verses intact. The line referencing Mao Zedong was added to the lyrics in the studio. During filming of a promotional clip later that year, Lennon told the director that it was the most important lyric of the song. Lennon had changed his mind by 1972, saying ‘I should have never put that in about Chairman Mao.’

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1960s, R&B

Baby It’s You

First recorded by The Shirelles (US #8/R&B #3 1961).
Other hit versions by Smith (US #5 1969), The Beatles (album 1963 |US #67/UK #7 1995).
Also recorded by The Carpenters (1970), Elvis Costello & Nick Lowe and His Cowboy Outfit (1984, released 1995).

From the wiki: “‘Baby It’s You’ was written by Burt Bacharach, Luther Dixon (credited as Barney Williams), and Mack David (elder brother of lyricist Hal David). The song was originally titled ‘I’ll Cherish You’, but was re-written at the request of Dixon who produced the track that the Shirelles released as a single in 1961. The group’s vocals were added directly to Bacharach’s demo recording.

“Dixon’s vocal arrangements for the Shirelles’ recording proved influential in subsequent versions, including that of The Beatles who performed ‘Baby It’s You’ as part of their stage act from 1961 until 1963 before recording it on February 11, 1963 for their first album, Please Please Me. Not released as a single in 1963, ‘Baby It’s You’ was re-released as both a CD single and a vinyl single in 1995 in the UK and the US, peaking at #7 in the UK and #67 in the US.

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1960s, Rock

Little Bit o’ Soul

First recorded by The Little Darlings (1965).
Hit version by The Music Explosion (US #2 1967).
Also recorded by The Ramones (1983).

From the wiki: “‘Little Bit o’ Soul’ was written in 1964 by British songwriters John Carter and Ken Lewis, and originally recorded by Coventry band The Little Darlings. Carter first met Lewis while both were at school, where they formed a skiffle band in the 1950s called LVI. In 1961 their band, Carter-Lewis & the Southerners, released ‘Back on the Scene’ as a single but the group never broke through. The Southerners main claim to fame remains the brief stint Jimmy Page did as their lead guitarist.

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1930s, Country

The Clapping Song

Based on “Little Rubber Dolly” by The Light Crust Doughboys (c. 1935).
Also recorded (as “Rubber Dolly”) by Bill Parsons & His Orchestra (1958).
Hit versions by Shirley Ellis (US #8/UK #6 1965), The Belle Stars (UK #11 1982), Pia Zadora (US #36 1983).

From the wiki: “‘The Clapping Song’ was written by Lincoln Chase and Shirley Ellis, with lyrics borrowed from the song ‘Little Rubber Dolly’, a 1930s song first recorded by Texas Swing band The Light Crust Doughboys.

“Ellis was an American singer and songwriter of West Indian origin best known for her 1963 novelty hit ‘The Name Game’. Ellis was originally in the group The Metronomes and her solo hits were written by her and her manager, record producer, and songwriting partner, Lincoln Chase.

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1960s, Soul

Save Me

Based on “Help Me (Get the Feeling)” by Ray Sharpe & The King Curtis Orchestra (1966).
Also recorded (as “Help Me”) by Owen Gray (1966).
Inspired by “Gloria” by Them (1964).
Hit album version by Aretha Franklin (1967).
Also recorded by Julie Driscoll & Brian Auger With The Trinity (1968), Nina Simone (1969).
Also recorded (as “Instant Groove”) by King Curtis (1969).

From Vinyl Witness: “One of the more interesting musical reinventions in 60′s Soul & Pop is ‘Help Me’ by Ray Sharpe with the King Curtis Orchestra. The track is revered among collectors as one of the first appearances by a young James ‘Jimi’ Marshall Hendrix on guitar. Jimi Hendrix at the time was in King Curtis’s band, who backed Sharpe on this track. In addition to the early notoriety, the song went on to have unexpected second and third lives.

“‘Help Me’ began as a simple progression from King Curtis, Atlantic Records’ go-to band leader at the time. It was based on the recent hit, ‘Gloria‘, by Them.

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1970s, Rock

Rockin’ All Over the World

Written and first recorded by John Fogerty (US #27 1975).
Other hit version by Status Quo (UK #3/IRE #1/AUS #22/SWE #3/GER #7 1977).

From the wiki: “‘Rockin’ All Over the World’ made its debut on Fogerty’s second solo album, John Fogerty, in 1975. Released as a promotional single, ‘Rockin’ All Over the World’ peaked at #27 on the Billboard Hot 100. Two years later, English boogie rock band Status Quo recorded their own, heavier arrangement of the song for their 1977 album Rockin’ All Over the World. This release became an international hit, and the song has since become largely identified more with Status Quo than Fogerty.

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1930s, Swing

Puttin’ on the Ritz

First performed (on Broadway) and recorded by Harry Richman (US #1 1930).
Other hit versions by Leo Reisman & His Orchestra (US #20 1930), Clark Gable (1939), Fred Astaire (1946), Ella Fitzgerald (1958), Taco (US #4/CAN #5/SWE #1/NZ #1 1983).

From the wiki: “‘Puttin’ On the Ritz’ is a popular song written and published in 1929 by Irving Berlin and first introduced by Harry Richman in the musical Puttin’ On the Ritz (1930). The expression was inspired by the opulent Ritz Hotel. Another hit version was recorded in 1930 by Leo Reisman & His Orchestra.

“Clark Gable performed the song on film (Idiot’s Delight) in 1939, but the song was most-famously performed (with new lyrics) by Fred Astaire, with whom the song is particularly associated, in the 1946 film Blue Skies. Gene Wilder and Peter Boyle teamed up in Mel Brooks’ Young Frankenstein (1974) to give the song a comedic spike.

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1970s, Soul

Smiling Faces Sometimes

Originally recorded by The Temptations (1971).
Hit version by The Undisputed Truth (US #3/R&B #2/MOR #34 1971)
Also recorded by Bobbi Humphrey (1972), Rare Earth (1973).

From the wiki: “‘Smiling Faces Sometimes’ was written by Norman Whitfield and Barrett Strong, and was originally recorded by the Temptations in 1971. Producer Whitfield had the song re-recorded by the Undisputed Truth the same year, resulting in a Top 40 Billboard Hot 100 hit for the group – their only one.

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1940s, Swing

The More I See You

First recorded by Dick Haymes (1945).
Also recorded by Nat King Cole (1958), Bobby Darin (1961), Doris Day (1965).
Hit version by Chris Montez (US #16/MOR #2/UK #3 1966).

From the wiki: “‘The More I See You’ was originally recorded by Dick Haymes in 1945, and sung by Haymes in the film Diamond Horseshoe (1945). Other early recordings were made by Nat King Cole, Bobby Darin and Doris Day before the song hit the Billboard Hot 100 in 1966.

“Chris Montez grew up in California, influenced by the success of Ritchie Valens. In 1962, Montez recorded the single ‘Let’s Dance’, a #4 Billboard Hot 100 hit in the US. With the advent of Beatlemania, Montez searched for the same rock and roll formula that would replicate the success of ‘Let’s Dance’. Instead, during a 1965 recording session, A&M Records label co-founder Herb Alpert (who would also go on to arrange and co-produce Montez’s 1966 album, The More I See You) suggested that Montez try a different approach: a middle-of-the-road, soft ballad sound.

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1970s, Pop

An Old Fashioned Love Song

Written and first recorded by Paul Williams (1971).
Hit version by Three Dog Night (US #4/MOR #1/CAN #2 1971).

From the wiki: “‘An Old Fashioned Love Song’ was written by the noted songwriter Paul Williams, who originally intended the song for The Carpenters, and it was first recorded by Williams for his album Just an Old Fashioned Love Song.

“This was the first song Williams had written specifically for the Carpenters. But, Richard Carpenter rejected it and so Williams then offered the song to Three Dog Night. The Carpenters never recorded the song, but did perform it live on television with Carol Burnett a few months later on The Carol Burnett Show.”

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1960s, Pop

He’s a Rebel

First recorded by Vikki Carr (US #115/AUS #5 1962).
Hit version by The Crystals née The Blossoms (US #1/UK #19 1962).

From the wiki: “‘He’s a Rebel’ was written by Gene Pitney (‘Town Without Pity’, ‘Only Love Can Break a Heart’), and was originally intended for The Shirelles to record but they declined. Instead, Snuff Garrett produced the first recording of ‘He’s a Rebel’ for Vikki Carr that would be released as her debut single. It did not go well, ‘bubbling under’ the Hot 100 but peaking Top-5 in Australia.

“Phil Spector, then employed as Liberty Records’ West Coast A&R head (the same labeled where Garrett was employed), also heard the same Pitney demo being played for Carr. Instinctively knowing the song could be a big hit, Spector promptly resigned from his position at Liberty to avoid any conflict-of-interest, intending to release the song on his own Philles Record label.

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1970s, Rock

Poor Poor Pitiful Me

Written and first recorded by Warren Zevon (1976).
Hit version by Linda Ronstadt (US #31/C&W #46/CAN #9 1977), Terri Clark (C&W #5/CAN #1 1996).

From the wiki: “‘Poor Poor Pitiful Me’ was written and first recorded by Warren Zevon (with backing vocals by Lindsey Buckingham). In keeping with Zevon’s sardonic lyrical style, the song’s verses deal with a failed suicide, domestic abuse, and a brush with sadomasochism. (It is reputed to be a friendly swipe by Zevon at Jackson Browne, whose songs – such as ‘Here Come Those Tears Again'” and ‘Sleeps Dark and Silent Gate’ – could be dark and wallowing in pity.)

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1950s, Blues

Mystery Train

Written by Junior Parker and first recorded by Little Junior’s Blue Flames (1953).
Hit version (as a B-side) by Elvis Presley (C&W #10 1955).
Also recorded by Junior Wells (1967), The Band (1973), Neil Young (1983).

From the wiki: “The original recording of ‘Mystery Train’ was written by Herman ‘Junior’ Parker and recorded by him (billed as Little Junior’s Blue Flames) at Sun Studios in 1953. And, of the many groundbreaking songs recorded by Elvis Presley during his storied career, ‘Mystery Train’ has come to be regarded key to understanding his unique place in the Rock and Roll canon, with Sam Phillips, as producer of both the Parker and Presley recordings, serving as mid-wife.

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1970s, Rock

My Sweet Lord

First recorded and released by Billy Preston (US #93/R&B #23 1970).
Hit version by George Harrison (US #1/UK #1/FRA #1/GER #1 1971 |UK #1 2002).
Based on “He’s So Fine” recorded by The Chiffons (1963), Jody Miller (1971) & “Oh Happy Day” recorded by The Eddie Hawkins Singers (1969).
Parody recordings by George Harrison (as “The Pirate Song”, 1976), by Jonathan King (a “He’s So Fine/My Sweet Lord”, 1987).

From the wiki: “‘My Sweet Lord’ was written by George Harrison but originally given to fellow Apple Records artist Billy Preston to record. Harrison produced Preston’s recording and it was first released on Preston’s Encouraging Words album in September 1970.

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1980s, Pop

Set the Night to Music

First recorded by Starship (MOR #9 1987).
Hit version by Roberta Flack & Maxi Priest (US #6/MOR #2/CAN #9 1989).

From the wiki: “‘Set the Night to Music’ was written by Diane Warren (Laura Brnaigan’s ‘Solitaire‘, Aerosmith’s ‘I Don’t Want to Miss a Thing’), the first songwriter in the history of the Billboard Hot 100 to have had seven hits, all by different artists, on the singles chart at the same time.

“‘Set the Night to Music’ was originally recorded by Starship for their 1987 album No Protection. It was then covered in 1989 by Roberta Flack as a duet with Maxi Priest, peaking at #6 on the Billboard Hot 100.”

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1970s, Rock

Forever Autumn

First recorded by Vigrass & Osborne (JPN #2 1972).
Hit version by Justin Hayward (US #47/UK #5 1978).

From the wiki: “‘Forever Autumn’ was written by Jeff Wayne, Gary Osborne and Paul Vigrass. The original melody was composed by Wayne in 1969 as a jingle for a Lego commercial. Vigrass and Osborne, the performers of the original jingle, then, added lyrics and recorded the song for their 1972 album Queues. The recording was also released as a single and gained commercial success in Japan, selling more than 100,000 copies and becoming a Top 5 hit.

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1950s, R&B

Without Love (There is Nothing)

First recorded by Clyde McPhatter (US #19/R&B #6 1957).
Hit version by Tom Jones (US #5/MOR #1/CAN #1 1969).

From the wiki: “‘Without Love (There is Nothing)’ is a song written by Danny Small and originally recorded by Clyde McPhatter (‘A Lover’s Question’) in 1957. Tom Jones recorded his popular version in 1969, reaching the Top 5 on the Billboard Hot 100 in early 1970.”

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