Co-written and first recorded by Alex Harvey (1971).
Also recorded by Dianne Davidson (1972), Bette Midler (1973).
Hit versions by Tanya Tucker (C&W #6/CAN #3 1972), Helen Reddy (US #1/MOR #1/CAN #1/AUS #1 1973).
From the wiki: “‘Delta Dawn’ was written by written by former child rockabilly star Larry Collins and songwriter Alex Harvey (not the Scottish musician of The Incredible Alex Harvey Band fame). The first recording of ‘Delta Dawn’ was made by Harvey for his eponymous album released in November 1971. Released as a single by Capitol Records, Harvey’s ‘Delta Dawn’ did not chart. Although Harvey opened for Helen Reddy – his Capitol label mate – at the Troubadour in January 1972, Reddy made no apparent connection with any of Harvey’s compositions at that time.
First recorded (as “Do-Wah-Diddy”) by The Exciters (US #78/R&B #47 1963).
Other hit versions by Manfred Mann (US#1/UK #1 1964), 2 Live Crew (R&B #62 1987), The Blue Melons (UK #70 1996), DJ Otzi (UK #9 2001).
From the wiki: “‘Do Wah Diddy Diddy’ was written by Jeff Barry and Ellie Greenwich, and first recorded by The Exciters, in 1963. The Exciters were formed from an all-girl group, The Masterettes, before adding a male singer and renaming themselves The Exciters after auditioning for producers Jerry Leiber and Mike Stoller. Their first hit record, arranged by George ‘Teacho’ Wiltshire and produced by Leiber and Stoller for United Artists Records, was ‘Tell Him’, which reached #4 on the U.S. Top-40 chart in early 1963. (The song had previously been recorded unsuccessfully, as ‘Tell Her’, by Gil Hamilton later known as Johnny Thunder.) According to Jason Ankeny at AllMusic, the Exciters ‘signified a sea change in the presentation and perception of femininity in popular music, paving the way for such tough, sexy acts as the Shangri-Las and the Ronettes.’
“Trivia: Dusty Springfield was on a stop-over in New York City en route to Nashville to make a country music album with the Springfields in 1962, when she heard the Exciters’ ‘Tell Him’ playing while taking a late-night walk by the Colony Record Store on Broadway. The song helped Springfield decide to embark on a solo career with a Pop/Soul direction.
First recorded by Nina Simone (1964).
Hit versions by The Animals (US #15/UK #3/CAN #4/AUS #29/SWE #7 1965), Santa Esmeralda (US #15/UK #41/AUS #7/NETH #5 1978).
From the wiki: “‘Don’t Let Me Be Misunderstood’ is a song written by Bennie Benjamin, Gloria Caldwell, and Sol Marcus for Nina Simone, who first recorded it in 1964.
“The beginnings of ‘Don’t Let Me Be Misunderstood’ originated with composer and arranger Horace Ott, who came up with the melody and chorus lyric line after a temporary falling out with his girlfriend (and wife-to-be), Gloria Caldwell. He then brought it to writing partners Bennie Benjamin and Sol Marcus to complete. However, when it came time for songwriting credits, rules of the time prevented BMI writers (Ott) from officially collaborating with ASCAP members (the other two), so Ott instead listed Caldwell’s name on the credits. Horace Ott’s involvement did not end with his initial songwriting; he was the arranger and orchestral conductor for Simone’s entire album, Broadway-Blues-Ballads, released in 1964.
First recorded by Joe Jones (US #89 1961).
Hit version by The Rivieras (US #5 1964).
From the wiki: “‘California Sun’, is a song credited to Henry Glover and Morris Levy. Originally recorded by the 35-year-old New Orleans-born singer-songwriter Joe Jones, and released by Roulette Records in the winter of 1961, it peaked at #89 on the charts. The most successful version, the Rivieras’ cover, recorded in 1964, reached #5 in the U.S. Billboard Hot 100 chart.”
Co-written and first recorded Jackie DeShannon (1974).
Hit version by Kim Carnes (US #1/MOR #15/UK #10 1981).
From the wiki: “‘Bette Davis Eyes’ is a classic hit song written by Donna Weiss and Jackie DeShannon, and made popular by American singer-songwriter Kim Carnes. It spent nine weeks at #1 on the Billboard Hot 100 and was Billboard’s biggest hit of the entire year for 1981. The recording won the 1982 Grammy Awards for both Record of the Year and Song of the Year.
First recorded by Billy J. Kramer & The Dakotas (UK B-side #1 1963).
Hit album version by The Beatles (1964).
From the wiki: “John Lennon wrote the song prior to the formation of The Beatles. In 1963, he gave the song to Billy J. Kramer of The Dakotas, another Liverpool band signed to Parlophone by George Martin. Later, Lennon was reportedly dissatisfied with the Dakotas’ arrangement of his song as well as its position as a B-side (to the UK #1 ‘Bad to Me’, also written by Lennon-McCartney), so The Beatles recorded their own version, releasing it in the US on The Beatles’ Second Album and in the UK on the EP Long Tall Sally. The Beatles’ recording features George Harrison playing a Rickenbacker 360/12 guitar, giving to the world for the first time the distinctive sound of the famous guitar. ‘I Call Your Name’ was to have been included in the movie soundtrack to A Hard Day’s Night but was rejected in favor of ‘You Can’t Do That’.”
First recorded (as “Keep Growing Strong”) by Connie Stevens (1970).
Hit versions by The Stylistics (US #3/R&B #2/UK #13 1972), Prince (US #31/R&B #10/UK #11 1996).
From the wiki: “Thom Bell and Linda Creed wrote the song that was originally recorded by Connie Stevens as ‘Keep Growing Strong’ and released on the Bell Records label in 1970 with no chart impact. But, the composition scored a hit when it was covered by the Philadelphia soul group The Stylistics in 1972 peaking in the US Top 10 and UK Top 20. (Surprisingly, Bell produced both the Stevens’ and Stylistics’ recording sessions.)
First recorded (as a demo) by The Doobie Brothers (c. 1970)
Hit versions by The Doobie Brothers (US #8/CAN #8/NETH #10 1973/NZ #15/SA #11), Traks (FRA #62/GER #18 1982), Bananarama (UK #30/IRE #18/ITA #33/POR #10 1991), Doobie Brothers (remix UK #7/IRE #14/BEL #32 1993).
From the wiki: “Back before The Doobie Brothers signed their first recording contract, they were a biker bar band in California. On one occasion, the band went into the studio to record some demos. One would eventually become known as ‘Long Train Running’.
“Lead singer and songwriter Tom Johnston explained that it began as a song with no real lyrics, merely providing filler on the group’s set list in their early days playing live. Names for the song included ‘Rosey Pig Mosely’, ‘Parliament’ and ‘Osborne’.
Originally recorded by The Paragons (1967).
Also recorded by Uroy (1971), Gregory Isaacs (1978).
Hit versions by Blondie (US #1/UK #1/CAN #1/NZ #1 1980), Atomic Kitten (UK #1 2002).
From the wiki: “‘The Tide is High’ was written by John Holt and was first recorded by The Paragons, the vocal trio of which he was a member, and featured the violin of ‘White Rum’ Raymond.
“The recording was produced by Duke Reid, released as a 7-inch single on Reid’s Treasure Isle and Trojan labels and as the B-side of the ‘Only a Smile’ single. Both tracks were included on the 1970 collection On the Beach. The song became popular in the UK amongst West Indians and skinheads when a ‘deejay’ version recorded by U-Roy was released in 1971. Gregory Issacs also released ‘The Tide is High’ as a single in 1978.
“‘The Tide Is High’ was most famously covered by Blondie in 1980, in a reggae-mariachi style that included horns and strings. It was released as the lead single from the band’s fifth studio album, Autoamerican (1980), providing Blondie with their third #1 hit on the US Billboard Hot 100 chart.
“In 2002, ‘The Tide Is High’ again topped the UK Singles chart when the song was covered by English girl group Atomic Kitten. Released as the second single from their second studio album, Feels So Good, their version of the song also added a new bridge, hence the subtitle ‘Get the Feeling’.”
Uroy, “The Tide is High” (1971):
Gregory Isaacs, “The Tide is High” (1978):
Blondie, “The Tide is High” (1980):
Atomic Kitten, “The Tide is High (Get the Feeling)” (2002):
Written and first recorded by Neil Sedaka (UK 1973).
Hit versions by Mac & Katie Kissoon (NETH #12 1973), Captain & Tennille (US #1/UK #32 1975).
From the wiki: “The song first appeared on Neil Sedaka’s 1973 album The Tra-La Days Are Over which did not have a US release, with Sedaka’s version of the song making its US album debut on the 1974 compilation album Sedaka’s Back.
Written and first recorded by Neil Sedaka (1972).
Also recorded by Petula Clark (1972), The Searchers (1973).
Hit versions by Andy Williams (MOR #23/UK #4 1974), The Carpenters (US #17/MOR #1/UK #32 1975), Elvis Presley (1976 |B-side C&W #10 1979).
From the wiki: “Neil Sedaka recorded ‘Solitaire’ as the title cut for a UK-only 1972 album recorded at Strawberry Studios, Manchester. Members of the band 10cc – Lol Creme, Kevin Godley and Graham Gouldman – accompanied Sedaka while Eric Stewart, also of 10cc, engineered the session.
“Appearing on 1972 album releases by both Tony Christie and Petula Clark, ‘Solitaire’ had its first evident single release in February 1973 with a recording by The Searchers. However, it was the autumn 1973 single by Andy Williams which would reach #4 UK. In 1974, Sedaka’s original 1972 recording of ‘Solitaire’ was included on his comeback album Sedaka’s Back. Later in 1975, a live-in-concert version recorded by him at the Royal Festival Hall was issued as the B-side of ‘The Queen of 1964’.
First recorded by Roger Miller (C&W #12 1969).
Other hit versions by Gordon Lightfoot (US #13/CAN #1 1970), Janis Joplin (US #1 1971). Jerry Lee Lewis (US #40/MOR #39/CAN #50 1971).
Also recorded by Kenny Rogers & the First Edition (1969), Kris Kristofferson (1970), The Statler Brothers (1970).
“Kenny Rogers & the First Edition then covered the song (with Rogers on lead vocals), releasing it in on their album Ruby, Don’t Take Your Love To Town in 1969. Gordon Lightfoot’s 1970 recording hit #13 on the US pop chart and #1 country in his native Canada in 1970, and was also a Top-10 hit in South Africa in 1971.
“Just a few days before her death in October 1970, Janis Joplin covered the song for inclusion on her forthcoming Pearl album. Kristofferson had previously sung the song for Joplin, and singer Bob Neuwirth had taught it to her. Kristofferson, however, did not know Joplin had recorded ‘Me and Bobby McGee’ until after her death – the first time he heard it was the day after she died. Joplin’s version topped the charts in 1971 to become her only #1 single and, in 2004, her recording of ‘Me and Bobby McGee’ was ranked #148 on Rolling Stone’s list of the 500 Greatest Songs of All Time. Kristofferson would record an arrangement of his own song for his 1970 debut album, Kristofferson.
Written and first recorded by Kris Kristofferson (1970).
Hit versions by Sammi Smith (US #8/C&W #1 1971), Joe Simon (US #69/R&B #13 1971), Gladys Knight & The Pips (US #33/R&B #13/UK #11 1972).
Also recorded by Elvis Presley (1971), Joan Baez (1971), Jerry Lee Lewis (1971), Dottie West (1971), Bryan Ferry (1974).
From the wiki: “Kris Kristofferson wrote ‘Help Me Make It’ while sweeping floors and emptying ashtrays at Columbia Records studios in Nashville, and said that he got the inspiration for the song from an Esquire magazine interview with Frank Sinatra. When asked what he believed in, Frank replied, ‘Booze, broads, or a Bible…whatever helps me make it through the night.’
Written and first recorded by Bobby Day & the Satellites (1957).
Hit versions by Thurston Harris (US #6/R&B #2 1957), Frankie Lymon (US #58 1960), Clyde McPhatter (US #25 1962), The Jackson 5 (US #13 1972).
From the wiki: “‘Little Bitty Pretty One’ was written and first recorded by Bobby Day. His single did not chart in the US but peaked at #11 on the Canadian CHUM-AM radio chart.
“Day’s first recording was ‘Young Girl’ in 1949 in the R&B group The Hollywood Flames. Day then spent several years with minor musical success limited to the West Coast, recording under numerous other names: The Jets, The Voices, The Sounds, The Crescendos, and as the original ‘Bob’ in the duo Bob & Earl with singer Earl Nelson. In 1957, Day formed his own band called the Satellites, following which he recorded three songs that are seen today as rock ‘n roll classics: ‘Little Bitty Pretty One’, ‘Over and Over’), and ‘Rockin’ Robin’.
“‘Little Bitty Pretty One’ received much wider popularity when covered in 1957 by Thurston Harris. Produced by the Los Angeles label Aladdin Records, and featuring the Sharps on backing vocals, Harris’ version reached #6 on the Billboard Hot 100 and #2 on the R&B chart.
First recorded by Gertrude Niesen (1933).
Hit versions by Paul Whiteman & His Orchestra (US #1 1934), Artie Shaw & the Gramercy Five (US #24 1941), The Platters (US#1/R&B #3/UK #1/AUS #1/NETH #4 1958), Blue Haze (US #27/NETH #4 1973), Bryan Ferry (UK #17 1974).
Also recorded by Jerry Garcia (1990).
From the wiki: “‘Smoke Gets in Your Eyes’ is a show tune written by American composer Jerome Kern and lyricist Otto Harbach for their 1933 musical Roberta. It was sung in the original show by Tamara Drasin and was first recorded by Gertrude Niesen on October 13, 1933. It was performed by Irene Dunne for the 1935 film adaptation, co-starring Fred Astaire and Ginger Roger.
“The song has been covered by numerous artists, beginning with Paul Whiteman & His Orchestra with Bob Lawrence on vocal, which went to the top of the charts in 193, and Artie Shaw’s Gramercy Five in 1941. The most famous version was recorded in 1958 by The Platters, which became a #1 hit on the U.S. Billboard Hot 100 — it reached #3 on the R&B charts – and topped both the UK and Australians singles charts.
Originally recorded by Pandora’s Box (UK #51 1989).
Other hit versions by Celine Dion (US #2/MOR #1/UK #3/CAN #1/ 1996), Meat Loaf & Marion Raven (UK #6/SCOT #2/NOR #1/GER #7 2006).
If this sounds like a song Meat Loaf should’ve recorded, you’d be right. The songwriter was Jim Steinman, writer of Meat Loaf’s hits ‘Paradise By the Dashboard Lights’, and ‘Two Out of Three Ain’t Bad’. But, Steinman had other plans. Meat Loaf would, however, eventually, be given his opportunity to record ‘It’s All Coming Back to Me Now’ – in 2006 – a decade after Celine Dion had made it into an international hit.
From the wiki: “According to Jim Steinman the song was inspired by the book Wuthering Heights, and was his attempt to write ‘the most passionate, romantic song’ he could ever create. Meat Loaf had wanted to record the song for years, but Steinman saw it as a ‘woman’s song.’ Steinman won a court movement preventing Meat Loaf from recording it.
“In 1989, Steinman instead produced a concept album, Original Sin, with an all-female group called Pandora’s Box. Elaine Caswell was the lead vocalist for ‘It’s All Coming Back To Me Now’, who apparently collapsed five times during its recording. (Original Sin featured other tracks that would later be recorded by other artists, particularly Meat Loaf.)
“For the session, Roy Bittan (of the E Street Band) performed on the grand piano, with Steinman and Jeff Bova on electric keyboards. Todd Rundgren arranged the background vocals, which were performed by Ellen Foley, Gina Taylor, and Deliria Wilde. ‘It’s All Coming Back to Me Now’ was released as a single in the United Kingdom in October 1989, but only reached #51 in the singles charts.
Co-written and originally recorded by Iggy Pop (1977).
Hit version by David Bowie (US #10/UK #2/CAN #2/AUS #2 1983).
From the wiki: “‘China Girl’ is a song co-written by David Bowie and Iggy Pop during their years in Berlin, first appearing on Pop’s 1977 album The Idiot. It was more widely popularized by Bowie on his 1983 album Let’s Dance. Bowie decided to put the song on his album when Pop was in financial straits so that Pop could collect half the royalties (as co-writer of the track) and get back on his feet financially.”
Originally recorded by Barrett Strong (US #23/R&B #2 1959).
Other hit versions by Jennel Hawkins (R&B #17 1962), The Beatles (1963), Bern Elliot & the Fenmen (UK #14 1963), The Kingsmen (US #16/R&B #6 1964), The Flying Lizards (1979 UK #5/US #50).
From the wiki: “The song was written by Tamla founder Berry Gordy and Janie Bradford, and became the first hit record for Gordy’s Motown enterprise. The record was first released on the Anna label (operated by Gwen Gordy, Anna Gordy and Billy ‘Roquel’ Davis). Gwen and Anna’s brother Berry Gordy had just established his Tamla label (soon Motown would follow), and he licensed the song to the Anna label in 1960 to take advantage of its national distribution arrangement with Chicago-based Chess Records in order to meet demand.
Co-written and first recorded (as “Spanish Grease”) by Willie Bobo (1965).
Hit version by Santana (US #36 1971).
From the wiki: “The main melody and theme of Santana’s ‘No One to Depend One’ is taken from Willie Bobo’s 1965 recording ‘Spanish Grease’.
“Bobo (born William Correa) grew up in Spanish Harlem, New York City. He made his name in Latin Jazz, specifically Afro-Cuban jazz, in the 1960s and ’70s, with the timbales becoming his favoured instrument. He met Mongo Santamaría shortly after his arrival in New York and studied with him while acting as his translator, and later at the age of 19 joined Tito Puente for four years. The nickname ‘Bobo’ is said to have been bestowed on him by the jazz pianist Mary Lou Williams in the early 1950s.
First recorded by Lezli Valentine (1968).
Hit versions by The Moments (1968 |US #3/R&B #1 1970), Stacy Lattisaw (US #13/R&B #2 1981).
From the wiki: “Written by Sylvia Robinson and Bert Keyes in 1968. ‘Love on a Two-Way Street’ was first recorded by Lezli Valentine, an artist signed to All Platinum, the record label that Robinson co-owned with her husband, Joe. Released as a single, it had no apparent chart impact.
“The song was then recorded by The Moments (‘Don’t Cry Out Loud‘) – with Billy Brown re-recording the lead vocal over the Valentine’s original instrumental track – as filler for their 1968 album Not on the Outside, But on the Inside, Strong!, released on Stang Records, a subsidiary label of All Platinum also created by Robinson. (The Moments would later evolve into the vocal trio Ray, Goodman & Brown.)
“Two years later, in March 1970, the Robinsons decided to belatedly release the Moments’ track as a single. It would go on to become one of the biggest R&B hits of that year and the highest-charting single of the The Moments’ career, peaking at #3 on the Billboard Hot 100 and topping the R&B chart.
“In 1981, Stacy Lattisaw covered ‘Love on a Two-Way Street’, peaking in the Hot 100 Top-15 and at #2 on the R&B chart.”
Written and originally recorded by Bobby Freeman (US #5/R&B #2 1958).
Other hit versions by The Shadows (UK #2/NETH #1 1962), Del Shannon (US #43 1964), The Beach Boys (US #12 1965), Bette Midler (US #17 1972).
From the wiki: “‘Do You Want to Dance’ is a song written by Bobby Freeman and recorded by him in 1958. Cliff Richard and The Shadows’ version of the song reached #2 in the United Kingdom in 1962, despite being a B-side. It reached #8 in the United States when released by the Beach Boys in 1965 as ‘Do You Wanna Dance?’, and a 1972 cover by Bette Midler (‘Do You Want to Dance?’) reached #17.
Co-written and first recorded by George Shearing (1952).
Hit versions by Ella Fitzgerald (US #31 1954), Blossom Dearie & Blue Stars (US #16 1956).
Also recorded by Sarah Vaughn (1954), Mel Tormé (1956), Amy Winehouse (2004).
From the wiki: “‘Lullaby of Birdland’ is a 1952 popular song with music by George Shearing and, later, lyrics by George David Weiss (under the pseudonym ‘B. Y. Forster’ in order to circumvent the rule that ASCAP and BMI composers could not collaborate).
“The song title refers to Charlie ‘Bird’ Parker and the Birdland jazz club named after him on Broadway near 52nd Street in New York City. Shearing recalls that he wrote ‘Lullaby of Birdland’ for Morris Levy, the owner of the Birdland club. Levy had gotten in touch with Shearing and explained that he’d started a regular Birdland-sponsored disk jockey show, and he wanted Shearing to record a theme which was ‘to be played every hour on the hour.’ Shearing says he wrote ‘the whole thing […] within ten minutes.’
“First released by Shearing as an instrumental in 1952, vocal arrangements of ‘Lullaby of Birdland’ soon followed, with Ella Fitzgerald’s 1954 recording peaking at #31 on the Hit Parade.
First performed and released by Ann Cole with The Suburbans and Orchestra (1957).
First recorded by Muddy Waters (1957).
Also recorded by Louis Jordan (1957), Muddy Waters (1960).
Hit version by Jimmy Smith (US #51/R&B #18/UK #48 1966).
From the wiki: “Late in 1956 Ann Cole went on a short tour through the Southern states with Muddy Waters, during which she regularly performed a new song written by Preston Foster, ‘Got My Mo-Jo Working’. The song impressed Muddy Waters, who recorded it in December 1956 when he returned to Chess Records, adding some of his own words and allocating himself the songwriting credit. Ann Cole recorded her version of ‘Mojo’ in January 1957, with The Suburbans and Orchestra, for Baton Records, as the follow-up to ‘Are You Satisfied’. Both versions of ‘Mojo’ were released in the same week in April 1957.
“The song has been the topic of copyright litigation. Dare Records, holder of songwriter Foster’s copyright, and Arc Records, holder of the McKinley Morganfield (a.k.a. Muddy Waters) copyright, settled out of court, with Arc deferring to Dare’s copyright. The two versions are still separately copyrighted. Nonetheless, MCA/Chess Records has credited the song to Foster in more recent years.
Written and first recorded by Hank Ballard & the Midnighters (early 1958, released 1993)
Based on “Is Your Love For Real” by The Midnighters (1957).
First released by Hank Ballard & the Midnighters (B-side US #28/R&B #16 November 1958 |A-side re-release US #28/R&B #6 1960).
Other hit version by Chubby Checker (US #1/R&B #2/UK #44/AUS #20 1960 |US #1/R&B #4/UK #14/AUS #3 1962).
From the wiki: “Songs about doing ‘the twist’ date back to nineteenth-century minstrelsy, including ‘Grape Vine Twist’ from around 1844. In 1938 Jelly Roll Morton, in ‘Winin’ Boy Blues’, sang, ‘Mama, mama, look at sis, she’s out on the levee doing the double twist’ – a reference to both sex and dancing in those days.
“In 1957, the Midnighters’ Hank Ballard and Cal Green had already had written a song together called ‘Is Your Love for Real’, which they released on the Federal label with no apparent chart success. So, they used ‘Is Your Love for Real’ as the template for a new song by simply putting new words to the older melody and retitling it ‘The Twist’. (‘The Twist’ would, in turn, serve as the template for the Midnighters’ first Top-10 pop hit, ‘Finger Poppin’ Time’ [#7, 1962].)
