Songs with Earlier Histories Than the Hit Version

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1291 total songs ... and counting!

1970s, Rock

Blinded by the Light

Written and first recorded by Bruce Springsteen (1973).
Hit version by Manfred Mann’s Earth Band (US #1/UK #6 1975).

From the wiki: “‘Blinded by the Light’ is a song written and originally recorded by Bruce Springsteen after Columbia Records president Clive Davis, upon listening to an early version of Greetings from Asbury Park N.J., felt the album lacked a potential single. Springsteen wrote this and ‘Spirit in the Night‘ in response. ‘Blinded by the Light’ was the first song on, and first single released from, the 1973 album. But, Springsteen’s version was commercially unsuccessful and did not appear on the music charts.

“According to Springsteen, the song came about from going through a rhyming dictionary and looking for rhymes. The first line of the song, ‘Madman drummers, bummers, and Indians in the summers with a teenage diplomat’ is autobiographical — ‘Madman drummers’ is a reference to drummer Vini Lopez, known as ‘Mad Man’ (later changed to ‘Mad Dog’); ‘Indians in the summer’ refers to the name of Springsteen’s old Little League team; ‘teenage diplomat’ refers to himself. The remainder of the song tells of many unrelated events, with the refrain of ‘Blinded by the light, cut loose like a deuce, another runner in the night’.

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1940s, Jazz

Beyond the Sea

First recorded (as “La Mer”) by Roland Gerbeau (1946).
Also recorded (as “La Mer”) by Charles Trenent (1946).
First recorded (in English) by Harry James & His Orchestra with Marion Morgan (1947).
Hit versions Roger Williams (US #37 1955), Bobby Darin (US #6/R&B #15/UK #8 1959), George Benson (UK #60 1984).

From the wiki: “‘Beyond the Sea’ is the English adaptation of a romantic love song (‘La Mer’, ‘The Sea’) popularized in 1946 by French singer Charles Trenet, most famous for his recordings from the late 1930s until the mid-1950s. In an era in which it was unusual for a singer to write their own material, Trenet wrote prolifically and declined to record any but his own songs.

“According to legend, ‘La Mer’ was composed by Trenent on-board a train in 1943 as he was gazing out of the window at the Étang de Thau, a lagoon in the south of France. He jotted it down on a piece of paper and in the afternoon he worked out the details with his pianist Léo Chauliac. That evening they performed it in front of an audience without much of an impact. Trenet explained in an interview that he was told that ‘La Mer’ was not ‘swing’ enough to be a hit, and for this reason the song then sat in a drawer for two years before being recorded for the first time in 1945 by Roland Gerbeau. Trenet would record a cover of his own song also in 1946.

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1940s, Country

Release Me (And Let Me Love Again)

Co-written and first recorded by Eddie Miller & His Oklahomans (1950).
Also recorded by Jimmy Heap & the Melody Masters (1953).
Hit versions by Ray Price (C&W #6 1954), Kitty Wells (C&W #8 1954), Little Esther Phillips (US #8/R&B #1 1962), Engelbert Humperdinck (US #4/UK #1/IRE #1 1967).

From the wiki: “‘Release Me’ (sometimes rendered as ‘Release Me (And Let Me Love Again)’), is a popular song written by Eddie Miller, Robert Yount, and James Pebworth (under the pseudonym ‘Dub Williams’). Miller worked as a locomotive engineer before becoming a songwriter. Although he never went beyond high school, he taught songwriting at the University of Tennessee.

“Although Miller later claimed to have written the song in 1946 — only being able to record it himself in December 1949 and releasing it in January 1950 — he actually co-wrote it with Robert Yount in 1949. As they were working at that time with Dub Williams, a pseudonym of James Pebworth, they gave him one-third of the song.

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1960s, R&B

Any Day Now

First recorded (as “Lover”) by Tommy Hunt (unreleased 1961).
Hit versions by (as “Any Day Now (My Wild Beautiful Bird)”) by Chuck Jackson (US #23/R&B #2 1962), Elvis Presley (B-side US #3 1969), Ronnie Milsap (US #14/C&W #1/CAN #1 1982), Luther Vandross (2001).
Also recorded by Alan Price Set (1965), Mitch Ryder & The Detroit Wheels (1966).

From the wiki: “‘Any Day Now’ was written by Burt Bacharach and Bob Hilliard in 1961. Co-writer Bacharach (‘Alfie‘,’Make It Easy On Yourself‘,’Message to Michael‘) had orchestrated and recorded the song’s backing track a year before presenting it to Chuck Jackson, formerly of the Del Vikings (‘Come Go With Me‘).

“In the interim, producer Luther Dixon made use of the same backing track to record the arrangement of the song with former Flamingos singer Tommy Hunt (‘I Only Have Eyes For You’, The Flamingos; ‘I Just Don’t Know What to Do with Myself‘), titled ‘Lover’, using a set of completely different, and uncredited, lyrics. Hunt’s 1961 recording, believed to have been recorded within days of his leaving the Flamingos, went unreleased by Stardust Records (backed with another unreleased track, Big Maybelle’s ‘How Do You Feel Now’).

“When it came time to record Jackson, parts of Hunt’s original singing were still audible at the end of Jackson’s hit version.

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1950s, Folk, Rock

Indian Reservation (Lament of the Cherokee Reservation Indian)

First recorded (as “The Pale Faced Indian”) by Marvin Rainwater (1959).
Hit versions by Don Fardon (US #20/UK #3 1968), The Raiders (US #1 1970), 999 (UK #51 1981).
Also recorded (as “National Reservation”) by Laibach (1994).

From the wiki: “‘Indian Reservation (The Lament of the Cherokee Reservation Indian)’ was written by John D. Loudermilk, and first recorded in 1959 by Marvin Rainwater. Released as ‘The Pale Faced Indian’, Rainwater’s release stayed unnoticed.

“The song refers to the forcible removal and relocation of Five Civilized Tribes, including the Cherokee people, from the southeastern states of Georgia, Florida, Mississippi and Alabama to the southern Indian Territory in present-day Oklahoma. The removal of these tribes throughout the 1830s is often referred to as the ‘Trail of Tears’. The removal of the Cherokee, Chickasaw, Choctaw, Creek and Seminole came on the heels of President Andrew Jackson’s key legislation, Indian Removal Act of 1830.

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1970s, Pop

Love is the Answer

Written by Todd Rundgren and first recorded by Utopia (1977).
Hit version by England Dan & John Ford Coley (US #10/MOR #1 1979).

From the wiki: “‘Love Is the Answer’ is a song written by Todd Rundgren for his band Utopia. It is the closing track on their 1977 album Oops! Wrong Planet.

“A cover version by England Dan & John Ford Coley reached #10 on the Billboard Hot 100 chart in May, 1979. John Ford Coley was quoted as saying: ‘Of all the songs we released as singles, [this] was my favorite. The song first of all had a classical base, and the middle had a gospel section which I loved.'”

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1980s, Pop

The Power of Love

Co-written and first recorded by Jennifer Rush (UK #1/GER #17 1985 |US #56/CAN #1/AUS #1/IRE #1/GER #9 1986).
Also recorded (as “Si tu eres mi hombre y yo tu mujer”) by Jennifer Rush (SPN #1 1986).
Other hit versions by Air Supply (as “The Power of Love (You Are My Lady)” US #68/MOR #13 1985), Laura Branigan (as “Power of Love” US #26/MOR #19 1987) and Celine Dion (US #1/MOR #1/CAN #1/UK #4/AUS #1 1993/FRA #3/BEL #5).

From the wiki: “‘The Power of Love’ was first recorded by Jennifer Rush in 1984. The American-born Rush had been recording for CBS (Frankfurt) with producers Gunther Mende and Candy de Rouge (alias of Wolfgang Detmann) since 1982. The song, written by Rush, de Rouge, and Mende along with Mary Susan Applegate, took Rush to the top of the UK Singles Chart in 1984 and into the German Top 20 in 1985. Rush filmed a low-budget music video in NYC in the fall of 1984, with the primary intention of entering the U.S market, but was unsuccessful.

“‘The Power of Love’, when originally released in the UK, debuting at #97 on the UK chart dated 22 June 1985. It was briefly withdrawn and, then, re-released in September 1985. It rose to #1 and retained the top spot on the UK chart for five weeks with a total of ten weeks accrued in the UK Top-10. The massive success of the song in the UK occasioned widespread international success for Rush’s recording in the last months of 1985 and the first months of 1986 including a German re-release of ‘The Power of Love’ that peaked at #9.

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1950s, Blues

That’s All Right

Written and first recorded (as “That’s All Right, Mama”) by Arthur “Big Boy” Crudup (1946).
Hit versions by Marty Robbins (C&W #7 1955), Elvis Presley (UK #3 2004).

From the wiki: “The song was written by Arthur ‘Big Boy’ Crudup, and originally recorded by him in Chicago in September 1946. Some of the lyrics are traditional blues verses first recorded by Blind Lemon Jefferson in 1926. It was less successful than some of Crudup’s previous recordings, but was rereleased under the title ‘That’s All Right, Mama’ and issued as RCA’s first Rhythm & Blues record on their new 45 rpm single format, on bright orange vinyl.

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1940s, Country

Blue Eyes Crying in the Rain

First recorded by Roy Acuff & His Smoky Mountain Boys (1947).
Also recorded by Hank Williams (1951), Elvis Presley (1976), Eva Cassidy (2008).
Hit versions by Willie Nelson (US #21/C&W #1 1975), UB40 (ARU #1 2013).

From the wiki: “‘Blue Eyes Crying in the Rain’ is a song written by songwriter Fred Rose, and first recorded by Roy Acuff in 1947. The song was also recorded in 1951 by Hank Williams for the Mother’s Best Flour Hour radio program.

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1960s, Rock

Feelin’ Alright?

First recorded by Traffic (US #123 1968).
Hit versions by Joe Cocker (US #69 1969 |US #33/NETH #11 1972), Mongo Santamaria (US #95 1969), Grand Funk Railroad (US #54/CAN #20 1971).
ALso recorded by Three Dog Night (1969), Chairmen of the Board (1970), Jackson 5 (1971).

From the wiki: “‘Feelin’ Alright?’ (also known as ‘Feeling Alright’) was written by Dave Mason of the band Traffic from their eponymous 1968 album, Traffic. Dave Mason wrote this song with the title ‘Not Feelin’ Too Good Myself,’ which is more accurate in terms of the song’s meaning, but less marketable. (Mason explained: ‘It’s just a song about a girl. It’s just another relationship gone bad.’)

“The original Traffic version of the song, filled with the corresponding melancholy, was issued as ‘Feelin’ Alright?’ – the question mark providing a vital clue to the content. Joe Cocker’s version scrapped the punctuation and was issued as ‘Feeling Alright’, which is how it was listed on most subsequent covers. Cocker recorded it in his debut album, With a Little Help from My Friends, in 1969. In its first release in 1969, his cover reached #69 on the US Billboard Hot 100. In a 1972 re-release, the single reached even higher – #33 on the same chart.

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1960s, Folk

Both Sides Now

First recorded (as “Clouds (Both Sides Now)”) by Dave Van Ronk & The Hudson Dusters (1967).
Hit version by Judy Collins (US #8/MOR #3/CAN #6/UK #14/AUS #37/NZ #7 1968).
Also recorded by Fairport Convention (1967), Harpers Bizarre (US #123/MOR #38 1968), Joni Mitchell (1969 | 2000), Herbie Hancock (2007).

From the wiki: “First recorded as ‘Clouds (Both Sides Now)’ (against the writer’s will) by Dave Van Ronk & The Hudson Dusters in 1967, for their one and only album, the song ‘Both Sides, Now’ was written by Joni Mitchell – inspired, she says, by a passage in Henderson the Rain King by Saul Bellow:

I was reading Saul Bellow’s ‘Henderson the Rain King’ on a plane and early in the book Henderson the Rain King is also up in a plane. He’s on his way to Africa and he looks down and sees these clouds. I put down the book, looked out the window and saw clouds too, and I immediately started writing the song.

“However much she might have disliked Van Ronk retitling ‘Both Sides Now’, Mitchell must have caught his drift. She titled the 1969 album holding her own version of ‘Both Sides, Now’ Clouds.

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1980s, Pop

Never Gonna Let You Go

First recorded by Dionne Warwick (1982).
Also recorded by Stevie Woods (1982).
Hit version by Sergio Mendes (US #4/R&B #28 1983).

From the wiki: “Songwriters Cynthia Weil and Barry Mann (‘Don’t Know Much‘, ‘(You’re My) Soul & Inspiration’) composed the song and had originally submitted ‘Never Gonna Let You Go’ to Earth, Wind & Fire, but the group decided not to record the song. Instead, Dionne Warwick first recorded the song and it first appeared on her 1982 album Friends in Love but was not released as a promotional single.

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1970s, Country

Here You Come Again

First recorded (as a demo) by Barry Mann (1977).
First released by B.J. Thomas (1977).
Hit version by Dolly Parton (US #3/C&W #1/CAN #7 1977).
Re-recorded by Barry Mann (2000).

From the wiki: “‘Here You Come Again’ is a rare example of a Dolly Parton success that she did not write herself; it was composed by the songwriting duo of Barry Mann and Cynthia Weil (‘Don’t Know Much‘, ‘(You’re My) Soul and Inspiration’, ‘Never Gonna Let You Go‘). The pair had originally composed ‘Here You Come Again’ in 1975 as a potential comeback hit for Brenda Lee, but Lee declined the offer to record it.

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1970s, Soul

All I Wanna Do is Make Love to You

First recorded (as “All I Want to Do is Make Love to You”) by Dobie Gray (1979).
Hit version by Heart (US #2/UK #8/CAN #1/AUS #1 1990).

From the wiki: “It was composed by veteran songwriter and producer Robert John ‘Mutt’ Lange. The song was first recorded as ‘All I Want to Do is Make Love to You’ by Dobie Gray in 1979, though with completely different lyrics.

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1960s, Pop

Sealed with a Kiss

First recorded by Four Voices (US #109 1960).
Other hit versions by Brian Hyland (US #3/UK #3 1962 |UK #7 1975), Gary Lewis & The Playboys (US #11 1968), Bobby Vinton (US #19 1972), Jason Donovan (UK #1/IRE #1/AUS #8/ 1989).

From the wiki: “‘Sealed with a Kiss’ is a song written by Peter Udell and Gary Geld. It was first recorded by The Four Voices in 1960 as a single. It peaked ‘Bubbling Under’ the Billboard Hot 100, at #109.

“In 1962, Brian Hyland, who often performed Udell and Geld’s material, covered the song. Hyland’s single began its run on 6th June 1962 and became a hit, reaching #3 on both the Billboard Hot 100 and the UK Singles Chart. When re-released in 1975, Hyland’s recording charted in the UK at #7.

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1970s, Jazz, R&B

If I Ever Lose This Heaven

First recorded by Quincy Jones, with Minnie Ripperton, Leon Ware and Al Jarreau (R&B #74 1974).
Hit version by Average White Band (US #39/R&B #25 1975).

From the wiki: “‘If I Ever Lose This Heaven’ was co-written by Quincy Jones (‘It’s My Party‘), Leon Ware, and Bruce Fisher (‘You Are So Beautiful‘) for Quincy’s 1974 album, Body Heat.

“Ware, Minnie Riperton (whose 1975 album, Adventures in Paradise, Ware would produce and collaborate), and Al Jarreau were among the studio vocalists Jones used for the album.

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1960s, Rock

A Hazy Shade of Winter

Written by Paul Simon and first recorded by Simon & Garfunkel (US #13/UK #30 1968).
Other hit version (as “Hazy Shade of Winter”) by The Bangles (US #2/UK #11/CAN #3/AUS #7 1987).

From the wiki: “‘A Hazy Shade of Winter’ was written by Paul Simon, recorded and released by Simon & Garfunkel in 1966, and then included on their 1968 album, Bookends (although it also appeared on their Live from New York City, 1967).

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1960s, Pop

Angel of the Morning

First recorded by Evie Sands (1967).
Also recorded by Danny Michaels (1967), Billie Davis (UK 1967), Joya Landis (1968).
Hit versions by Merilee Rush (US #7/UK #55/CAN #1/AUS #1 1968), P.P. Arnold (UK #29 1968), Mary Mason (UK #27 1977), Guys ‘n Dolls (NETH #11 1977), Juice Newton (US #4/C&W #22/CAN #1 1981).

From the wiki: “‘Angel of the Morning’ was written by Chip Taylor (‘Wild Thing‘, ‘I Can’t Let Go‘), and was first offered to singer-actress Connie Francis (‘Who’s Sorry Now’ [1957], ‘Where the Boys Are’ [1961]). Francis turned it down because she thought that it was too risqué(!) for her career.

“Taylor then produced a recording with Evie Sands (‘I Can’t Let Go‘) but the financial straits of Cameo-Parkway Records, who had Sands on their roster, reportedly prevented either that version’s release or its distribution. Other early recordings of the song were made in 1967 by Southern California country music fixture Danny Michaels (produced by Lee Hazlewood for his LHI label) and, in the UK, by vocalist Billie Davis.

“‘Angel of the Morning’ finally became a hit in the spring and summer of 1968 with the recording by Merrilee Rush produced that January at American Sound Studios in Memphis with Chips Moman and Tommy Cogbill producing. It charted into the Top 10 in the US, also becoming an international hit. Her recording would earn Rush a Grammy nomination for Best Contemporary-Pop Vocal Performance (Female) in 1969.

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1940s, Jazz, Pop

Mambo No. 5

First recorded by Pérez Prado y su Orquesta (1949).
Hit versions by Lou Bega (US #3/UK #1/CAN #1/AUS #1/FRA #1/GER #1/IRE #1 1999), Bob the Builder (UK #1/AUS #2/IRE #4 2001).
Also recorded by Radio Disney (1999).

From the wiki: “‘Mambo No. 5’ is a mambo and jive dance song originally recorded and composed by Cuban Dámaso Pérez Prado – the ‘King of Mambo’ – in 1949. The song’s popularity was renewed in 199 by German artist Lou Bega’s sampling and vocal version of the original, released on Bega’s debut album A Little Bit of Mambo.

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1970s, Rock

It Don’t Come Easy

First recorded (as a demo) by George Harrison (1970).
Hit version by Ringo Starr (US #4/UK #4/CAN #1 1971).

From the wiki: “‘It Don’t Come Easy’ was first taped on February 18, 1970 during the sessions for Ringo Starr’s first solo album Sentimental Journey. Although Ringo is givens sole composing credit on the recording, he told VH1 Storytellers that ‘It Don’t Come Easy’ was co-written with George Harrison – that he (Ringo) had written just the first two song lines and the chorus; that George composed the remainder. The demo was recorded by George to help Ringo learn the completed lyrics.

“With Beatles producer George Martin initially handling production, George Harrison plays acoustic guitar and sings at the demo session and directed the other musicians – Stephen Stills (keyboards), old Beatles friend Klaus Voormann (bass), and Starr (drums) with backing vocalists, Pete Ham and Tom Evans from Badfinger. After the basic track was completed, George added two electric guitar parts. At this point the song was titled ‘You Gotta Pay Your Dues’.

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1950s, Folk, Reggae/Ska

Day-O (The Banana Boat Song)

First recorded (as “Day Dah Light”) by Edric Conner & The Caribbeans (1952).
Hit versions by The Tarriers (US #4/R&B #14/UK #15 1956), Sarah Vaughn (US #19 1956), Harry Belafonte (US #5/R&B #7/UK #2 1956), The Fontane Sisters (US #13 1957).

From the wiki: “‘Day-O (The Banana Boat Song)’ was originally a Jamaican folk song of unknown title. It was thought to be sung by Jamaican banana workers, with a repeated melody and refrain (call and response); with each set lyric there would be a response from the workers but using many different sets of lyrics, some possibly improvised on the spot.

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1960s, Country, Pop

By the Time I Get to Phoenix

First recorded by Johnny Rivers (1965).
Hit version by Glen Campbell (US #26/C&W #2/CAN #1 1967).

From the wiki: “‘By the Time I Get to Phoenix’ was written by Jimmy Webb (‘Up, Up and Away‘). Originally recorded by Johnny Rivers in 1965 on his album Changes it would be made famous by Glen Campbell, appearing as the opening and title track on Campbell’s 1967 album By the Time I Get to Phoenix. Campbell’s recording reached #2 on the US Country Singles chart in 1968, and #26 on the Billboard Hot 100, and would go on to win two Grammy Awards in 1968: Best Vocal Performance (Male), and Best Contemporary Male Solo Vocal Performance. Broadcast Music, Inc. (BMI) has named ‘By the Time I Get to Phoenix’ the third most-performed song from 1940 to 1990. Frank Sinatra called it ‘the greatest torch song ever written.’

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1960s, R&B

Up on the Roof

First recorded (as a demo) by Little Eva (1962).
Hit versions by The Drifters (US #5/R&B #4 1963), Kenny Lynch (UK #10 1962), Julie Grant (UK #33 1963), The Cryan’ Shames (US #85 1968), Laura Nyro (US #92 1970), James Taylor (US #28 1980), Robson & Jerome (UK #1 1995).
Also recorded by Carole King (1970).

From the wiki: “‘Up on the Roof’ is a song written by Gerry Goffin and Carole King, first recorded as a demo in 1962 by Little Eva – their 14-year old babysitter whose singing career Goffin and King had helped launched with ‘The Loco-Motion’ and who the songwriting pair often used for demos. The song was then recorded and commercially released first by The Drifters in July 1962, becoming a major hit in early 1963, peaking at #5 the week of February 9 on the Billboard Hot 100 and #4 on the US R&B Singles chart.

“In the UK the Drifters’ version of ‘Up on the Roof’ failed to reach the Top 50, being trumped by two local cover versions, sung by, respectively, Julie Grant and Kenny Lynch (‘Mountain of Love‘).

“The Kenny Lynch version, which largely replicated the Drifters’ original, was the more successful, reaching #10 UK. The Julie Grant version, which reached #33 UK, was reinvented as a Merseybeat number. Its producer, Tony Hatch, would later be inspired to write Petula Clark’s iconic hit ‘Downtown’, which itself was originally envisioned as being in the style of the Drifters, with whom Hatch had hoped to place it.

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1920s, Pop

Someone to Watch Over Me

First recorded by Gertrude Lawrence (US #2 1926).
Other hit versions by George Gershwin (US #13 1926), George Olsen & His Orchestra (US #3 1927), Frank Sinatra (UK #13 1954), Linda Ronstadt (1980).
Also recorded by Margaret Whiting (1944).

From the wiki: “‘Someone to Watch Over Me’ was composed by George Gershwin with lyrics by Ira Gershwin for the musical Oh, Kay! (1926). George Gershwin originally approached the song as an uptempo jazz tune, but his brother Ira suggested that it might work much better as a ballad, and George ultimately agreed.

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