Originally recorded (as “Message To Martha”) by Jerry Butler (1962).
Also recorded by Marlene Dietrich (1964), Lou Johnson (as “Kentucky Bluebird” US #104 1964).
Hit versions by Adam Faith (UK #12 1964), Dionne Warwick (US #8/R&B #5/CAN #6 1966).
From the wiki: “The song was first recorded as ‘Message to Martha’ by Jerry Butler in the 1962 session in New York City which produced Butler’s hit ‘Make It Easy on Yourself’ (also written by Bacharach-David), but was not released until December 1963. Marlene Dietrich recorded a German version of the song in 1964, singing to the instrumental track of the Butler original (with augmentations); Dietrich’s version was entitled ‘Kleine Treue Nachtigall’ (‘faithful little nightingale’).
First recorded by Billy Edd Wheeler (1963).
Also recorded bv The Kingston Trio (1963).
Hit versions by Johnny Cash & June Carter (C&W #2 1967), Nancy Sinatra & Lee Hazlewood (US #14 1967).
From the wiki: “‘Jackson’ is a song written in 1963 by Billy Edd Wheeler and Jerry Leiber, and was first recorded by Wheeler. It is best known from two 1967 releases: a pop hit single by Nancy Sinatra and Lee Hazlewood and a country hit single by Johnny Cash and June Carter, the latter duo for whom ‘Jackson’ became a signature-song.
First recorded (as a demo) by Dionne Warwick (1963).
Hit versions by Lou Johnson (US #49 1964), Sandi Shaw (US #52/UK #1/CAN #1/AUS #16 1964), Dionne Warwick B-side re-recording (US #65 1968), R.B. Greaves (US #27/MOR #3 1971) and Naked Eyes (US #8/UK #59/CAN #9/AUS #7 1983).
From the wiki: “Originally recorded as a demo by Dionne Warwick in 1963, ‘(There’s) Always Something There to Remind Me’ first charted for Lou Johnson whose version (with backing vocals by Doris Troy, Dee Dee Warwick, and Cissy Houston) reached #49 on the Billboard Hot 100 in the summer of 1964. Johnson also recorded the original versions of several other Bacharach and David songs that later proved to be bigger hits for other musicians, including ‘Reach Out for Me’, and ‘Message to Michael (Kentucky Bluebird)‘.
Written and first recorded (as “Good Rocking Tonight”) by Roy Brown (R&B #13 1947).
Other hit versions by Wynonie Harris (R&B #1 1948), The Honeydrippers (US #25 1984).
Also recorded by Elvis Presley (1954).
From the wiki: “”Good Rocking Tonight” was originally a jump blues song first recorded and released in 1947 by its writer, Roy Brown, and has been covered by many other recording artists.
“The song anticipated elements of rock and roll music (it includes the memorable refrain, ‘Well I heard the news, there’s good rocking tonight!’ . Brown had first offered his song to Wynonie Harris, who turned it down. He then approached Cecil Gant later that night who, after hearing Brown sing it to him, made a 2 a.m. phone call to Jules Braun, the president of DeLuxe Records. Brown sang his song over the phone for Braun who then asked Brown to sing it a second time. Braun then told Gant, ‘Give him fifty dollars and don’t let him out of your sight.’
“Five weeks later, Brown recorded the song for DeLuxe Records. Only after Brown’s record had gained traction in New Orleans did Harris change his mind and decide to cover it. Harris’s version was even more energetic than Brown’s original version, featuring black gospel style hand-clapping. This may have contributed to the composition’s greater success on the national R&B chart. Brown’s original recording hit #13 of the Billboard R&B chart while Harris’ record became a #1 R&B hit and remained on the chart for half a year.
First recorded by Johnny & Jackey (1961).
Hit versions by Diana Ross & The Supremes (US #1/R&B #1/CAN #3/UK #13/IRE #19 1969), Bert Kaempfert (MOR #27 1970), Bill Anderson & Jan Howard (C&W #4 1970).
From the wiki: “‘Someday We’ll Be Together’ was written by Johnny Bristol, Jackey Beavers, and Harvey Fuqua in 1961. Bristol and Beavers recorded the song together, as ‘Johnny & Jackey’, for the Tri-Phi label that same year, becoming a moderate success in the Midwestern United States but gaining little attention elsewhere.
“Tri-Phi would then be purchased by Motown in the mid-1960s. Fuqua, Bristol, and Beavers all then joined Berry Gordy’s famous Motown record company and, as a result, ‘Someday We’ll Be Together’ became part of Motown’s Jobete publishing catalog.
“In 1969, Bristol was preparing an instrumental cover version of ‘Someday We’ll Be Together’, to be recorded by Motown act Jr. Walker & the All-Stars. He had already recorded the basic instrumental track and background vocals (by Maxine and Julia Waters) when Berry Gordy happened upon the tracks and heard them and thought that ‘Someday …’ would be the perfect vehicle for Diana Ross’ anticipated exit from the Supremes. Gordy had Bristol quickly sequester Ross into the studio to record her vocal over the instrumental track intended for Jr. Walker.
First released by Mieko Hirota (1965).
Also recorded by Dave Pike (1966), Chris Montez (1966), Marvin Gaye (1966).
Hit versions by Bobby Hebb (US #2/R&B #3/UK #12 1966), Boney M. (UK #3/NETH #1/GER #1 1976).
From the wiki: “Bobby Hebb’s breakthrough as a songwriter would be born of tragedy. In November 1963, already upset over the JFK assassination, Bobby then learned that his older brother, Harold, had been stabbed to death the same night in a fight outside a Nashville nightclub. Out of his depression, Hebb began to write. Using past hurts (‘Yesterday my life was filled with rain’) and inspired by the anonymous smile of a complete stranger (‘You smiled and it really, really eased the pain’), ‘Sunny’ came into being.
“The upbeat number was included in Hebb’s nightclub act at his gig at the New York club Brandy’s. The audiences responded positively as did record producer Jerry Ross (‘I’m Gonna Make You Love Me‘), who included the song on a publisher’s demo record that found its way to Japan.
“That was how ‘Sunny’ came about to be first recorded and commercially-released in Japan – not the US – by Mieko ‘Miko’ Hirota, the ‘Connie Francis of Japan’, where it was said to have done well on the charts.
First recorded by Meat Loaf (1981).
Hit version by Barry Manilow (US #18/MOR #1 1983).
From the wiki: “‘Read ‘Em and Weep’ is a rock music song composed by Jim Steinman. Originally written for Meat Loaf and recorded for his 1981 album, Dead Ringer, it did not become a hit until late-1983, when a slightly rewritten cover version was recorded by Barry Manilow. The Manilow version reached #18 on the Billboard Hot 100 and #1 on the Adult Contemporary chart.”
First released by Nanette (released November 1970).
Also recorded by Cathy Carlson (released January 1971).
Hit album version by The Carpenters (released May 1971)
Hit single version by Jack Jones (MOR #18 1971).
Also recorded by Matthew Sweet (1994).
From the wiki: “The earliest evident recording of ‘Let Me Be the One’, written by Roger Nichols and Paul Williams, was made by Nanette Workman, one of five songs recorded with producer Tommy Cogbill in late June 1970 at American Sound Studio in Memphis, with her arrangement of ‘Let Me Be the One’ released as a UK single in November 1970 (credited to ‘Nanette’) with no apparent chart impact.
“The first recording to receive US distribution was recorded in December 1970 by Ontario, Oregon native Cathy Carlson, and released in January 1971 as the B-side to Carlson’s single, ‘God Bless the Child’. Carlson appeared regularly as a performer on ‘The Tonight Show’ in the late 1960s and early ‘70s, and on the annual Jerry Lewis Telethon for Muscular Dystrophy. Carlson and Lewis were such good friends, he became her daughter’s godfather.
First recorded by Tippie & the Clovers (1962).
Hit version by Elvis Presley (US #8/R&B #20/UK #13 1963).
From the wiki: “‘Bossa Nova Baby’ was written by Jerry Leiber and Mike Stoller (‘Kansas City’, ‘Hound Dog‘, ‘Ruby Baby‘, ‘Jailhouse Rock’). Even though the song would go on to become a huge promotional hit for the Elvis Presley movie, Fun in Acapulco, its origin had nothing to do with ‘fun’ or with ‘Acapulco’. It was initially given by Leiber-Stoller to The Clovers, who had had past success (‘Love Potion No. 9’) with the songwriters, to record.
Originally recorded by The New Vaudeville Band (1966).
Also recorded by Gary & The Hornets (1966).
Hit versions by Herman’s Hermits (US #4/UK #7/CAN #2/AUS #5/SGP #2 1967), The Carpenters (US #12/MOR #1/UK #22/CAN #8/AUS #22 1976).
From the wiki: “The song was introduced on the 1966 album Winchester Cathedral by Geoff Stephens’ group, The New Vaudeville Band; like that group’s hit ‘Winchester Cathedral’, ‘There’s a Kind of Hush’ was conceived as a neo-British music hall number although it is a less overt proponent of that style.
First recorded by The Original Caste (CAN #6 1969 |US #34 1970).
Other hit versions by Coven (US #17 1971 |US #79 1973), Skeeter Davis (C&W #54/CAN #4 1972).
From the wiki: “‘One Tin Soldier’ is a 1960s counterculture era anti-war song written by Dennis Lambert and Brian Potter. Canadian pop group The Original Caste first recorded the song in 1969. The track went to #6 on the (Canadian) RPM Magazine charts, hit the #1 position on CHUM-AM in Toronto on 27 December 1969, and reached #34 on the American pop charts in early 1970.
First recorded by John Henry Kurtz (1972).
Hit versions by Dobie Gray (US #5/R&B #42 1973), Narvel Felts (C&W #8 1973), Uncle Cracker & Dobie Gray (US #9/MOR #1 2003).
Also recorded by The Rolling Stones (unreleased 1974).
From the wiki: “‘Drift Away’ was written by Mentor Williams (brother of songwriter Paul Williams) as a lament of the difficulties being a Nashville songwriter. John Henry Kurtz was the first to record ‘Drift Away’, for his own album, Reunion (1972), on which he was backed by some of L.A.’s finest: Skunk Baxter, Kenny Loggins, Michael Omartian, Jim Gordon, and others. Kurtz was a man of many talents: Broadway, movie and TV actor; Civil War collectibles buff (some of which were filmed for Ken Burns’ PBS-TV series, Civil War); voice-over artist (NBC Nightly News, and countless commercials); musician.
“In 1973 the song became Dobie Gray’s biggest hit, peaking at #5 on the Billboard Hot 100. It was the final pop hit for Decca Records in the United States. In the early 1960s Gray had moved to Los Angeles, intending to pursue an acting career while also singing to make money. Born Lawrence Darrow Brown, he recorded for several local labels under the names Leonard Ainsworth, Larry Curtis, and Larry Dennis, before Sonny Bono directed him toward the small independent Stripe Records. They suggested that he record under the name ‘Dobie Gray’, an allusion to the then-popular sitcom The Many Loves of Dobie Gillis
“Gray’s first taste of success came in 1963 when his seventh single ‘Look At Me’, on the Cor-Dak label and recorded with Wrecking Crew bassist Carol Kaye, reached #91 on the Billboard Hot 100. Greater success came in early 1965 when his original recording of ‘The ‘In’ Crowd‘ (recorded later that year as an instrumental by Ramsey Lewis). Gray’s record reached #11 on the US R&B chart, and #25 in the UK.
Written and originally recorded by Dave Mason (US #42 1970).
Hit album version by Delaney and Bonnie (1970).
From the wiki: “Dave Mason co-founded the rock band Traffic, but left following the recording of their debut album, Mr. Fantasy (1967), only to rejoin halfway through the sessions for their next album, Traffic (1968), after which he left again. From 1969 through 1970, Mason toured with Delaney and Bonnie and Friends along with Eric Clapton and George Harrison.
Originally recorded by The Royalettes (US #41/R&B #28 1965).
Also recorded by Laura Nyro & LaBelle (1971).
Other hit version by Deniece Williams (US #10/R&B #1 1982).
From the wiki: ‘It’s Gonna Take a Miracle’ is a popular song written by Teddy Randazzo (‘Goin’ Out of My Head’, ‘Hurt So Bad‘), Bob Weinstein, and Lou Stallman. It was first an R&B hit in 1965 for The Royalettes, who peaked at #41 on the Billboard Hot 100 pop chart but reached the R&B Top-30. In 1971, Laura Nyro covered the song for her album, Gonna Take a Miracle, with background vocals performed by LaBelle.
“The most successful version of the song was the 1982 remake by R&B and gospel artist Deniece Williams. Her version went to #1 on the R&B chart for two weeks and also peaked at #10 on the Billboard Hot 100.”
Originally recorded by Kasey Cisyk (US #80 1977).
Other hit versions by Debby Boone (US #1/CAN #1/UK #48 1977), LeAnn Rimes (US#34/C&W #48 1997).
From the wiki: “Kasey Cisyk’s work singing commercial jingles brought her to the attention of Joe Brooks, who worked as a composer and arranger of jingles. Brooks, who wrote, directed and composed the score for the movie You Light Up My Life chose Cisyk to dub the singing voice of actress Didi Conn.
“Cisyk’s performance of the song appears on the original soundtrack album, and was released as a single, although she was not listed as the performing artist in the final credits of the film (for which she successfully sued the producers). Her single release of the song reached #80 on the Billboard Hot 100 charts.
Co-written and originally recorded by Brenda Holloway (US #39/R&B #40 1967).
Other hit version by Blood, Sweat & Tears (US #2/MOR #18/R&B #46/CAN #1/UK #35/AUS #14 1969).
From the wiki: “By 1967, Brenda Holloway had been recording for Motown Records since 1964 and had struggled with Berry Gordy over control of her music, alleging that Gordy had forced her to sing Mary Wells’ ‘leftover tracks’ after the Motown singer left the label in 1964. Along with her sister Patrice, using music provided by Frank Wilson and with additional help from Gordy himself, Holloway co-wrote ‘You’ve Made Me So Very Happy.’ Coincidentally, Holloway recorded the song after a breakup with a boyfriend.
First recorded by Erma Franklin (US #62/R&B #10 1967 |UK #9 1992).
Other hit versions by Big Brother and the Holding Company (US #12 1968), Faith Hill (C&W #1 1994), Shaggy feat. Marsha (UK #7/NZ #6 1997), Melissa Ethridge & Joss Stone (US #32 2005), Beverly Knight (UK #15 2006).
From the wiki: “‘Piece of My Heart’ is a romantic love song written by Jerry Ragovoy (‘Time Is On My Side‘) and Bert Berns and originally recorded by Erma Franklin in 1967. Franklin’s version was a Top-10 R&B hit in the U.S., and also peaked at #62 on the Billboard Hot 100 chart. Her recording of ‘Piece of My Heart’ was nominated for a Grammy Award in 1968. In the UK, the single was re-released in 1992, due to a successful Levi’s jeans commercial, when it peaked at #9 on the UK Singles chart.
“Erma’s solo recording career was hampered by misfortune and by contracts with record labels who did not find the most suitable material for her husky voice. In the mid-1970s Erma left the music industry, apart from occasional engagements with her sister, Aretha.
Co-written and first recorded by Eddie Holland (1964).
Hit versions by Kim Weston (US #50/R&B #4 1965), The Isley Brothers (R&B #22 1967), The Doobie Brothers (US #11/UK #29 1975), Charity Brown (CAN #5 1975).
From the wiki: “Eddie Holland, of the legendary Motown songwriting team Holland-Dozier-Holland (‘Leaving Here‘), co-wrote and recorded the original version of ‘Take Me in Your Arms’ in 1964. (Holland’s recording was not released commercially until 2005.) Holland quit performing due to stage fright, opting instead to concentrate on songwriting. Holland-Dozier-Holland were responsible for such mega hits as ‘Baby, I Need Your Loving’, ‘Heat Wave’, ‘Baby Love’, ‘This Old Heart of Mine’ and scores of others.
First released by Robert Gordon (1978).
Also recorded by Bruce Springsteen (1978, released 2010).
Hit version by The Pointer Sisters (US #2/UK #34 1979).
From the wiki: “Bruce Springsteen envisioned ‘Fire’ as a song which could be recorded by his idol Elvis Presley. Springsteen would later say ‘I sent Elvis a demo of it but he died August 16, 1977 before it arrived.’
“Springsteen did complete a studio recording in 1978 of ‘Fire’ which was one of 52 tracks at least partially recorded which did not make the cut for Springsteen’s album Darkness on the Edge of Town because of thematic inconsistency. Springsteen likely had an especial concern that if included on Darkness on the Edge of Town ‘Fire’ would be Columbia Records’ single of choice despite it being non-representative of the overall album.
First recorded by Featherbed feat. Barry Manilow (1971).
Based on “Prelude in C Minor” by Frederic Bach.
Hit versions by Barry Manilow (US #4/UK #25 1975), Donna Summer (US #52/Dance #3/UK #40 1976), Take That (UK #3 1992).
From the wiki: “‘Could It Be Magic’ was co-written by Barry Manilow and Tony Orlando (based on Chopin’s Prelude in C-Minor) and first recorded by Featherbed, a `ghost’ group consisting of session musicians led by the vocals of a very young Manilow. Manilow, in 1970, was unproven as a pop-song arranger and was therefore not permitted to arrange the original backing track himself upon the song’s first release in 1971. Instead, the original version of the song was produced under the hand of producer Tony Orlando.
“Manilow is said to have hated the Orlando arrangement so severely that he was appreciative of the fact that the song went absolutely nowhere on the music charts. Featuring a bubblegum pop beat, cowbells and a ‘Knock Three Times’ feel, the original lyrics have nothing in common with the subsequent 1973 hit version by Manilow (with its completely different meter and arrangement) although the chorus remained the same.
Written and first recorded by Tom Waits (1985).
Also recorded by Mary Chapin Carpenter (1987), Patty Smyth (US #95 1987), Bob Seger (1989, released 2011 MOR #11), The Piano Has Been Drinking (recorded as “Rude Jolf”) (1990), Everything But the Girl (1992).
Hit version by Rod Stewart (US #3/UK #10/CAN #1 1989).
From the wiki: “‘Downtown Train’ is a song written and first recorded by Tom Waits, released on his album Rain Dogs in 1985. The promo video for the song was directed by Jean-Baptiste Mondino and features the boxer Jake LaMotta.
First released by P.P. Arnold (UK #18 1967).
Also recorded by Cat Stevens, writer (1967).
Other hit versions by Norma Fraser (Jamaica, 1967), Keith Hampshire (CAN #1 1973), Rod Stewart (US #21/UK #1/CAN #11/AUS #19/ZIM #8 1976), Sheryl Crow (US #14/MOR #1/C&W #35/UK #37/IRE #13 2003).
From the wiki: “‘The First Cut Is the Deepest’ is a 1967 song written by Cat Stevens, originally released by P. P. Arnold in the spring of 1967. Stevens had made a demo recording of ‘The First Cut Is the Deepest’ in 1965 but had written the song only to promote his songwriting to other artists, and did not record it for commercial release until early October 1967. He sold the song for £30 to P. P. Arnold and it became a huge hit for her in the UK, reaching #18 on the UK Singles Chart.
“After several years touring the United States with the Ike & Tina Revue, P.P. Arnold emigrated to England in 1966. Impressed by her powerful and soulful voice, Mick Jagger convinced Stones manager Andrew Loog Oldham to sign Arnold to a recording contract. During this period Arnold also toured alongside Delaney and Bonnie & Friends, Small Faces, Jimi Hendrix, The Who, The Kinks, Blind Faith, David Bowie and others, and she recorded several other hits including a 1969 UK #29 hit release of ‘Angel of the Morning‘.
Written and first recorded by Tom Waits (1973).
Hit album version by Eagles (B-side US #1/CAN #1/UK #51/AUS #14 1974).
Also recorded by Shelby Lynne & Allison Moorer (2019).
From the wiki: “‘Ol’ ’55’ is a song by American musician Tom Waits. It is the opening track and lead single from Waits’ debut studio album, Closing Time, released in March 1973 on Asylum Records. The title, ‘Ol’ ’55’, refers to the singer’s vehicle, almost certainly Waits’ legendary 1955 Cadillac.
“The song has been covered by numerous artists, most notably by the Eagles for their 1974 album On The Border. The Eagles’ arrangement was released as the B-side of the international hit ‘Best of My Love’.
Based on “The Bad in Every Man” by Shirley Ross (1934).
First recorded by Ted Fio Rito & His Orchestra (US #2 1934).
Other hit versions by Glen Gray & The Casa Loma Orchestra (US #1 1934), Connee Boswell (US #1 1935), Billy Eckstine (US #21 1949), Mel Tormé (US #20 1949), The Marcels (US #1/R&B #1/UK #1 1961).
Also recorded by Coleman Hawkins with the Michel Warlop Orchestra (1935), Elvis Presley (1954), Sam Cooke (1959).
From the wiki: “The melody to ‘Blue Moon’ goes back further than the first recorded version by Ted Fio Rito & His Orchestra. Richard Rodgers and Lorenz Hart were contracted to Metro-Goldwyn-Mayer in May 1933. They were soon commissioned to write the songs for Hollywood Party. ‘Prayer (Oh Lord, make me a movie star)’ was written for the movie but never recorded.
“Hart wrote new lyrics for the melody to create a title song for the 1934 film Manhattan Melodrama, but it was cut from the film before release. (Manhattan Melodrama wasn’t so much famous for having left what would become ‘Blue Moon’ on the edit room floor but for being the film John Dillinger went to see in the Chicago movie theater where he was gunned down by police bullets at the exit.) Rodgers still liked the melody so Hart wrote a third lyric, ‘The Bad in Every Man,’ which was sung by Shirley Ross. The song, which was also released as sheet music, was not a hit.
“Jack Robbins, the head of MGM studio’s publishing company, decided that the tune was suited to commercial release but needed more romantic lyrics and a punchier title. Hart was initially reluctant to write yet another lyric but was persuaded and the result – the FOURTH use of the melody – was ‘Blue moon/you saw me standing alone/without a dream in my heart/without a love of my own’.”
