Songs with Earlier Histories Than the Hit Version

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1291 total songs ... and counting!

1920s, Blues

Careless Love

First recorded (as “Loveless Love”) by Noble Sissle & His Sizzling Syncopaters (1921).
Also recorded (as “Loveless Love”) by W.C. Handy’s Memphis Blues Band (1921), James P. Johnson (1921), Alberta Hunter (1923).
Other popular versions (as “Careless Love”) by Bessie Smith (US #5 1925), T. Texas Tyler (1946), The Ravens (1949), Fats Domino (1951), Ray Charles (1962).

From the wiki: “‘Careless Love’ is a traditional song of obscure origins. The song lyrics change from version to version, but usually speak of the heartbreak brought on by ‘careless love’; most often a girl’s lament for having loved unwisely, worrying what her mother will say when she returns home, ‘wearing her apron high’ (i. e. pregnant).

“The song was one of the best-known pieces in the repertory of the Buddy Bolden band in New Orleans, Louisiana, at the very start of the 20th century, but it is thought that the first recording of ‘Loveless Love/Careless Love’ was made by Noble Sissle & His Sizzling Syncopaters at a New York City recording session in January, 1921.

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1980s, Country

The Closer You Get

Written and first recorded by Exile (1980).
Also recorded by Rita Coolidge (US #103/CAN #16 1981).
Hit versions by Don King (C&W #27 1981), Alabama (US #38/C&W #1 1983).

From the wiki: “‘The Closer You Get’ was written in 1980 by J.P. Pennington and Mark Gray (‘Kiss You All Over’, ‘Take Me Down‘), members of Exile. It was first recorded by Exile (who failed to gain much attention with their original arrangement) in 1980. Singer Don King also recorded it. His cover reached #27 on the Billboard Hot Country Singles chart in October 1981. In addition, Rita Coolidge recorded the song for her 1981 album, Heartbreak Radio, and released her version as a single. Coolidge’s single “bubbled under” the Hot 100 but charted Top-20 in Canada.

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1960s, Folk

Mr. Bojangles

Written and first released by Jerry Jeff Walker (US #77 1968).
Other hit version by The Nitty Gritty Dirt Band (US #9/MOR #10/CAN #9/NZ #2 1970), Nina Simone (UK #96 1988).
Also recorded by David Bromberg (1973), Sammy Davis Jr. (1972).

From the wiki: “Jerry Jeff Walker has said he was inspired to write the song after an encounter with a street performer in a New Orleans jail and that the song does not refer to the famous stage and movie personality Bill ‘Bojangles’ Robinson. Rather, Walker said while in jail for public intoxication in 1965 he met a homeless white man who called himself ‘Mr. Bojangles’ to conceal his true identity from the police.

“The two men and others in the cell chatted about all manner of things, but when Mr. Bojangles told a story about his dog, the mood in the room turned heavy. Someone else in the cell asked for something to lighten the mood, and Mr. Bojangles obliged with a tap dance.

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1970s, Soul

Rainy Night in Georgia

Written and originally recorded by Tony Joe White (1962 |1969).
Also recorded by David Ruffin (1970).
Hit version by Brook Benton (US #4/R&B #1 1970).

From the wiki: “‘Rainy Night in Georgia’ is a song written and first recorded by Tony Joe White in 1962 (and re-recorded by White in 1969) and was popularized by R&B vocalist Brook Benton in 1970.

“In 1967, White signed with Monument Records, which operated from a recording studio in the Nashville suburb of Hendersonville, TN. Over the next three years, White released four singles with no commercial success Stateside, although ‘Soul Francisco’ was a hit in France. ‘Polk Salad Annie’ had been released for nine months and written off as a failure by his record label when it finally entered the US charts in July 1969. It climbed into the Top Ten by early August, eventually reaching #8, becoming White’s biggest performance hit.

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1960s, Rock

Magic Bus

First recorded (as “The Magic Bus”) by Pudding (1967).
Hit version by The Who (US #25/UK #26 1968).

From the wiki: “‘Magic Bus’ was written by Pete Townshend during the sessions in 1965 that produced My Generation. However, the Who would not record ‘Magic Bus’ until 1968 when it was released as a stand-alone single in the US and the UK.

“But soon after its composition, the Who’s management and music publisher in 1966 circulated a Townshend demo recording of the song. A version was released as a single in the UK in April 1967 by an obscure band called Pudding, in the UK on Decca and in the US on London’s Press label. It was not a hit.

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1970s, Pop

If I Can’t Have You

Written and originally recorded by The Bee Gees (1977).
Hit version by Yvonne Elliman (US #1/UK #4/CAN #1 1977).

From the wiki: “According to Maurice Gibb, this track was the first song they recorded while producing the other songs for the film Saturday Night Fever. ‘If I Can’t Have You’ was originally intended to be sung for the film soundtrack by The Bee Gees while Elliman’s contribution would be another ballad written by the Gibb brothers, ‘How Deep Is Your Love’.

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1980s, Country

Tell Me Why

Written and first recorded by Karla Bonoff (1988).
Hit version by Wynonna Judd (US #77/C&W #3/CAN #3 1993).

From the wiki: “Early in her career, Karla Bonoff sang background vocals for Linda Ronstadt and Wendy Waldman before releasing her own debut album in 1977, titled Karla Bonoff. In 1982, Bonoff reached the Top 40 with her song ‘Personally’.

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1960s, Pop

Here Comes the Night

First released by Lulu (UK #50 1964).
Hit version by Them (US #24/UK #2 1965).

From the wiki: “‘Here Comes the Night’ was written by Bert Berns. Them had intended this song to be the follow-up to ‘Baby, Please Don’t Go‘ but Decca rush-released a recording of the song by Lulu (‘To Sir With Love’, ‘I Could Never Miss You More Than I Do‘) in November 1964.

“The band members of Them were said to be bitterly disappointed by this decision made by Decca and Decca Records co-owner (and Radio Caroline co-director) Phil Solomon. Session musician and songwriter Phil Coulter (‘Puppet on a String’, ‘Saturday Night‘) remarked: ‘They bitched to me a lot but they wouldn’t dare to have said anything to Solomon.’

“Them was said to have a ‘certain grim satisfaction’ as Lulu’s recording reached #50 and then dropped off the charts. Jimmy Page played guitar on Them’s arrangement. Andy White (best known for replacing Ringo Starr on drums on The Beatles’ first single, ‘Love Me Do’) and Tommy Scott performed backing vocals with Coulter on keyboards.

“Them’s ‘Here Comes the Night’ became the group’s second UK Top-10 and their first US Top-40 hit.”

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1940s, R&B

The Hucklebuck

First recorded by Paul Williams & His Hucklebuckers (R&B #1 1949).
Also recorded by Lionel Hampton (1949), .
Other hit versions by Tommy Dorsey & His Orchestra (US #5 1949), Frank Sinatra (US #10 1949), Roy Milton (R&B #5 1949), Chubby Checker (US #14 1960), Coast to Coast (UK#3 1983).

From the wiki: “In his book, Honkers and Shouters, Arnold Shaw credits Paul Williams as one of the first to employ the honking tenor sax solo that became the hallmark of R&B and Rock ‘n Roll in the 1950s and early 1960s. Williams formed his own band in 1947 after first performing with Clarence Dorsey and King Porter. He became best known for his 1949 hit, ‘The Hucklebuck’, a twelve-bar blues that also spawned a dance craze. The single went to #1 on the U.S. Billboard R&B chart … and stayed there for 14 weeks.

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1960s, Pop

Call Me

First recorded by Petula Clark (1965).
Hit version by Chris Montez (US #22/MOR #2 1966).

From the wiki: “‘Call Me’ was composed by Tony Hatch for Petula Clark (although some suggest he had written the song with Keely Smith in mind), and first appeared as the title cut on Clark’s EP, Call Me, released in 1965 by Pye in the UK and in the US on the album I Know a Place (1965) but was not released as a promotional single.

“Chris Montez, who had scored the hit ‘Let’s Dance’ in 1962 and subsequently dropped out of the music business, was invited to resume recording by A&M Records’ founder Herb Alpert. Alpert was unhappy when Montez began recording for A&M in his previous Chicano rock style and personally suggested Montez shift to easy listening, choosing ‘Call Me’ as the song to be Montez’s debut single in 1966 on A&M.

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1970s, Reggae/Ska

Wild World

Originally recorded by Jimmy Cliff (UK #8 July, 1970).
Other hit versions by Cat Stevens (US #11 November, 1970), The Gentrys (MOR #28 1971) Maxi Priest (US #25/UK #5 1988), Mr. Big (US #27/UK #59 1993).

From the wiki: “Jimmy Cliff’s version, released a few months before the song’s writer, Cat Stevens, released his version, reached #8 on the UK Singles Chart. Surprisingly, Stevens’ version was not released as a single in the UK, thus its appearance only on US radio charts. Some of the subsequent covers have also been in the reggae style, indicating that they may be covers of Cliff’s version, as opposed to direct covers of Cat Stevens’ original acoustic arrangement.

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1960s, Pop

Everlasting Love

Originally recorded by Robert Knight (US #13/UK #40 1967 |UK reissue #19 1974).
Hit versions by Love Affair (UK #1 1968), Carl Carlton (US #6/R&B #11 1974), Narvel Felts (C&W #14 1979), Rex Smith & Rachel Sweet (US #32/UK #35 1981), U2 (AUS #2/POL #3/NETH #10 1989), Gloria Estefan (US #28/UK #19 1994).
Also recorded by David Ruffin (1969).

From the wiki: “‘Everlasting Love’ is one of two songs (the other being ‘The Way You Do the Things You Do’, by The Temptations, Rita Coolidge, Hall & Oates & UB40) to become a Top 40 hit in the 1960s, ’70s, ’80s and ’90s. The original version of ‘Everlasting Love’ was recorded by Robert Knight, at Fred Foster Sound Studio, Nashville. His producers, Buzz Cason and Mac Gayden, aimed to record him in a Motown style with an especial reference to the Four Tops and the Temptations, intending the song to serve as B-side for another titled ‘The Weeper’.

“Cason believes he may have drawn the phrase ‘everlasting love’ from the Biblical verse Jeremiah 31.3 which begins: ‘Yea, I have loved you with an everlasting love’. According to Cason, the recording ‘had some different sounds on it that, for the time period, were kind of innovative. The string sound is actually an organ and we used a lot of echo.’ Ultimately, ‘Everlasting Love’ was released as an A-side for Knight, and it peaked at #13 in 1967 on the Billboard Hot 100.

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1980s, Pop

Tainted Love

First recorded by Gloria Jones (1964).
Hit version by Soft Cell (US #8/UK #1 1981).

From the wiki: “‘Tainted Love’is a song composed by Ed Cobb, formerly of American group The Four Preps, which was originally recorded by Gloria Jones in 1964. It was a commercial flop, failing to chart in either the US or the UK. Before Jones recorded the song, Cobb had offered it to The Standells, which he managed and produced, but they rejected it.

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1960s, Blues, Rock

Black Magic Woman

Written by Peter Green and first recorded by Fleetwood Mac (UK #37 1968).
Other hit version by Santana (US #4/CAN #4/AUS #15/GER #14 1970).

From the wiki: “‘Black Magic Woman’ was written by Peter Green of Fleetwod Mac and appeared as a Fleetwood Mac single in various countries in 1968, peaking at #37 on the UK Singles chart; subsequently appearing on the 1969 Fleetwood Mac compilation albums English Rose (US) and The Pious Bird of Good Omen (UK).

“The song became a fairly popular Blues-Rock hit for Fleetwood Mac, being featured by the group in live set-lists even after Green had left the band, the lead often sung by Danny Kirwan. And, during concerts in the early 1970s, ‘Black Magic Woman’ would form the basis for long mid-concert Blues jams by Fleetwood Mac. The song would often be introduced by a band member reminding the audience that it was a Fleetwood Mac song before it became such a big hit for Santana.

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1930s, Blues

Rock Island Line

First recorded at Cumins State Prison farm, Gould, Arkansas, by John Lomax (1934).
Popular versions by Lead Belly (1937), Lonnie Donegan (UK #8 1955).
Also recorded by Bobby Darin & The Jaybirds (1956), The Beatles (1969, released as a bootleg 1994).

From the wiki: “‘Rock Island Line’ is an American Blues/Folk song first recorded by John Lomax in 1934 as sung by inmates in an Arkansas State Prison, and later popularized by Lead Belly. Many versions have been recorded by other artists, most significantly the world-wide hit version in the mid-1950s by Lonnie Donegan. The song is ostensibly about the Chicago, Rock Island and Pacific Railroad.

“Donegan’s recording, released as a single in late 1955, signaled the start of the UK ‘skiffle’ craze. This recording featured Donegan, Chris Barber on double bass and washboard player (Beryl Bryden), but as it was part of a Chris Barber’s Jazz Band session for Decca Records, Donegan received no royalties from Decca for record sales, beyond his original session fee.

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1960s, Pop

Those Were the Days

Original English-language recording by The Limeliters (1962).
Hit versions by Sandie Shaw (UK #51 1968), Mary Hopkin (US #2/UK #1/CAN #1/JPN #1/FRA #1/SWE #1 1968).

From the wiki: “‘Those Were the Days’ is a song credited to Gene Raskin, who put English lyrics to the Russian romance song ‘Dorogoi dlinnoyu’ (‘Дорогой длинною’, lit. ‘By the long road’), composed by Boris Fomin (1900–1948) with words by the poet Konstantin Podrevskii. It deals with reminiscence upon youth and romantic idealism. First recorded in 1926, by Alexander Vertinsky, the song was featured in the 1953 British/French movie Innocents in Paris, in which it was sung with its original Russian lyrics by the Russian tzigane chanteuse Ludmila Lopato.

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1980s, Country, Pop

Islands in the Stream

First recorded (as a demo) by The Bee Gees (1983).
Hit version by Dolly Parton & Kenny Rogers (US #1/C&W #1/UK #7/CAN #1/AUS #1/NZ #2/SWE #3 1983).

“Islands in the Stream” is a timeless song penned by the Bee Gees, taking its name from the classic Ernest Hemingway novel. Originally conceived in an R&B style for Diana Ross (or Marvin Gaye, depending upon which Gibb brother tells you the story), the Gibbs later adapted it for inclusion in Kenny Rogers’ album, Eyes That See in the Dark.

In a candid revelation on Good Morning America, Kenny Rogers shared his initial aversion to ‘Islands in the Stream’. Despite his reservations, the transformative moment came when producer and co-writer Barry Gibb recognized the missing piece. After days of experimentation in the studio, Gibb declared, ‘We need Dolly Parton to make this thing pop.’ Serendipitously, Ken Kragen, Kenny’s manager, encountered Dolly at a grocery store, swiftly bringing her into the project.

The magic unfolded after Dolly joined the session. Kenny Rogers, who had previously harbored doubts, experienced a change of heart, declaring, “Now, I like the song.” The collaboration between Rogers and Parton not only elevated “Islands in the Stream” to legendary status but also stands as a testament to the unpredictable and serendipitous nature of musical alchemy.

“Islands in the Stream” knocked Bonnie Tyler’s “Total Eclipse of the Heart” out of the #1 slot on the Billboard Hot 100, also topping the Country and Adult Contemporary listings. In December of that year, it was certified platinum by the Recording Industry Association of America for selling over two million physical copies in the US.

The song was equally an international success, topping the Australian music chart one for one week in December 1983, and peaking at #7 on the UK Singles Chart.

Robin Gibb, interviewed re: “Islands in the Stream”:

Kenny Rogers & Dolly Parton, “Islands in the Stream” (1983):

1980s, Country

Queen of Hearts

First recorded by Dave Edmunds (UK #11 1979).
Also recorded by Rodney Crowell (1980).
Other hit version by Juice Newton (US #2/C&W #14/CAN #8/AUS #8/NZ #7/DEN #6/SA #2 1981).

‘Queen of Hearts’ is the country-pop ballad crafted by Hank DeVito, the renowned pedal steel guitarist within Emmylou Harris’ backing ensemble, The Hot Band. This song made its initial appearance through Dave Edmunds, who featured it on his 1979 album Repeat When Necessary. When released as a single, it quickly ascended to #11 on the UK charts in that same year.

In 1980, ‘Queen of Hearts’ then found a notable home on Rodney Crowell’s album, But What Will the Neighbors Think. This version was particularly significant as the composer himself, DeVito, contributed his guitar skills to the recording. However, the song reached its zenith of recognition when the talented country-rock songstress Juice Newton included it on her 1981 album Juice.

Newton reminisced about the song’s journey, saying, ‘I performed [‘Queen of Hearts’] live for about a year…Then I presented it to [producer] Richard Landis when we began working on the Juice album. At that point, he wasn’t entirely convinced it would become a breakout hit, but I told him I thought it was an incredibly cool song… so we decided to record it.’

Juice Newton’s rendition of the track catapulted her to #2 on the Billboard Hot 100 and to international stardom, achieving Top-10 status in countries like Australia, Canada, New Zealand, South Africa, and Switzerland. It also garnered respectable success in Austria, Germany, and the Netherlands. Newton’s earnest interpretation of ‘Queen of Hearts’ earned her a Grammy nomination in 1982 in the ‘Best Female Vocalist, Country and Western’ category, solidifying her place in the country music spotlight.

Rodney Crowell, “Queen of Hearts” (1980):

Juice Newton, “Queen of Hearts” (1981):

1960s, Pop

More Than I Can Say

Written and originally recorded by The Crickets (UK #42 1960).
Other hit versions by Bobby Vee (US #61/UK #4 1961), Leo Sayer (US #2/UK #2 1980).

“‘More Than I Can Say’ is a tune penned by Sonny Curtis (‘I Fought the Law‘) and Jerry Allison, who were both part of Buddy Holly’s former supporting ensemble, The Crickets. This heartfelt composition was recorded in 1959, shortly after Holly’s tragic passing, and subsequently released in 1960. This original rendition of the song managed to climb to #42 on the British Record Retailer Chart, marking its chart debut on May 12, 1960.

“The following year Bobby Vee, known for his other chart-toppers like ‘Take Good Care of My Baby’ and ‘The Night Has a Thousand Eyes,’ decided to lend his voice to ‘More Than I Can Say.’ This rendition found its place at #61 on the Billboard Hot 100 chart. However, across the Atlantic Ocean in the United Kingdom, the song and its B-side, ‘Staying In,’ ascended to an impressive #4 on the UK Singles Chart.

“Meanwhile, in a twist of fate, Leo Sayer stumbled upon the song while searching for a classic track to record for his album ‘Living in a Fantasy’ in 1980. It all began with a TV commercial promoting a greatest hits collection by Bobby Vee. Captivated by ‘More Than I Can Say,’ Sayer promptly decided to give it a go, recalling: ‘We walked into a record store that very afternoon, bought the record, and had the song recorded that very night.’

“Prior to this, Sayer had already enjoyed significant success with two number-one singles in the U.S., namely ‘You Make Me Feel Like Dancing’ and ‘When I Need You,’ both released in 1977. The cover version of ‘More Than I Can Say’ came close to claiming the top spot as well, lingering at the second position on the Billboard Hot 100 chart for five weeks during December 1980 and January 1981. Unfortunately, it was unable to snatch the crown, as ‘Lady’ by Kenny Rogers and ‘(Just Like) Starting Over’ by John Lennon held onto the coveted top positions respectively over the course of those five weeks.”

Bobby Vee, “More Than I Can Say” (1961):

Leo Sayer, “More Than I Can Say” (1980):