Songs with Earlier Histories Than the Hit Version

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Category: 1950s

1950s, Pop

Quiet Village

Written and first recorded by Les Baxter (1952).
Hit version by Martin Denny (US #4/R&B #11 1959).

From the wiki: “‘Quiet Village’ is an Exotica instrumental that was written and first recorded by Les Baxter (‘Unchained Melody‘) in 1952. Seven years later, in 1959, Martin Denny added exotic sounds to the song, and his instrumental version made it to #4 on the Billboard Hot 100 and #11 on the R&B charts. Arguably the creator of ‘world music’, Denny’s arrangements were a combination of ethnic styles: South Pacific, the Orient and Latin rhythms.

“It was during a mid-1950’s engagement at Honolulu’s ‘Hawaiian Village’ Shell Bar that Denny originally discovered what would become his trademark sound.

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1950s, Folk

Kisses Sweeter Than Wine

Adapted from “It It Wasn’t for Dickey” by Lead Belly (1937).
First recorded by The Weavers (US #19 1951).
Other hit versions by Jimmie Rodgers (US #3 1957), Frankie Vaughn (UK #8 1958).

https://youtu.be/8bOjr-wIRDA

From the wiki: “‘Kisses Sweeter than Wine’ is a love song written by The Weavers in 1950, and first recorded by the group in 1951. In his 1993 book Where Have All the Flowers Gone, Pete Seeger described the long genesis of this song. Apparently, Blues singer Lead Belly heard Irish performer Sam Kennedy in Greenwich Village singing the traditional Irish song ‘Drimmin Down’ aka ‘Drimmen Dow’, about a farmer and his dead cow. Lead Belly adapted the tune for his own farmer/cow song ‘If It Wasn’t for Dickey’, which he first recorded in 1937. Seeger liked Lead Belly’s version of the tune, and his chords as well. In 1950, the quartet The Weavers, which Seeger belonged to, had made a hit version of Lead Belly’s ‘Goodnight, Irene’, and they were looking for new, similar material.

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1950s, Pop

Calcutta

Based on “Tivoli Melodie” by Werner Müller (1958).
Hit version by Lawrence Welk (US #1/R&B #10 1960), The Four Preps (US #96 1961).

From the wiki: “‘Calcutta’ was written in 1958 by the German songwriter Heino Gaze. Its original title was ‘Tivoli Melodie’; it was re-titled several times, until it became known as ‘Calcutta’ because of the song’s reference to the Indian city. The American songwriting team of Paul Vance and Lee Pockriss later wrote English lyrics, celebrating the charms of the ‘ladies of Calcutta.’ An instrumental recording of ‘Calcutta’ by American bandleader and TV host Lawrence Welk in 1961 became a US chart hit, the most successful of Welk’s career, and the only Tango-based recording to hit #1 on the Billboard Hot 100 singles chart. Dancers Bobby Burgess (who first appeared on television as a Walt Disney Mouseketeer) and Barbara Boylan, cast members on Welk’s weekly TV show, worked up a dance routine to go along with “Calcutta”, which they performed numerous times on the Welk show over the years. The Four Preps (‘Love of the Common People‘, 1967) released a vocal version shortly after Welk’s recording. It briefly entered the Billboard Hot 100.”

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1950s, Country

Walkin’ After Midnight

Originally recorded (as a demo) by Lynn Howard with The Accents (1956).
Hit version by Patsy Cline (US #12/C&W #2 1957).
Also recorded by Patsy Cline (1961).

From the wiki: “‘Walkin’ After Midnight’ was written in 1954 by Alan Block and Donn Hecht, and was originally intended for singer Kay Starr. But, Starr’s label passed on it. Hecht then came across Patsy Cline’s early recordings (all unsuccessful) while working in the 4 Star Records A&R department. He felt strongly enough that Cline was perfect for his song that he hocked his furniture to pay for a demo session using Pop singer Lynn Howard, and used the demo to pitch his song to Cline’s manager.

“Cline’s initial reaction to the song was negative. She felt it was not ‘country’ enough and would not be a hit. Finally, a compromise was reached: Cline said she would record ‘Walkin’ After Midnight’ as long as she could also record a song she favored and thought would be a hit, ‘A Poor Man’s Roses’. Cline said if she was wrong about ‘Midnight’ she would never again argue about her material again. Cline’s recording of ‘Midnight’ was completed at the (Owen) Bradley Film and Recording Studios, Nashville, on November 8, 1956.

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1950s, Country

Heartaches by the Number

First recorded by Ray Price (C&W #2 1959).
Other hit version by Guy Mitchell (US #1/R&B #19/UK #5 1959).

From the wiki: “‘Heartaches by the Number’ was written by Harlan Howard and first recorded in 1959 by Ray Price (‘Make the World Go Away‘, ‘(You’re the) Best Thing That Ever Happened’). His recording became a Top 5 Country single.

“The most successful version was the cover recording by Guy Mitchell (‘Singing the Blues‘), also produced in 1959. Mitchell’s rendering topped the Billboard Hot 100 for two weeks in December 1959. It also was a Top 5 UK Single and a Top 20 R&B hit.”

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1950s, Country

Caribbean

Written and first released by Mitchell Torok with the Louisiana Hayride Band (US #26/C&W #1 1953).
Other hit version by Mitchell Torok (US #27 1957).

From the wiki: “‘Caribbean’ was written and first recorded in 1953 by Mitchell Torok. It became a Country #1 single, and also charted in the US Top 40. In 1957, Torok recorded an updated but very similarly-arranged version of ‘Caribbean’ and it again charted in the US Top 40.

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1950s, Doo wop

Only You (And You Alone)

First recorded by The Platters (1954).
Hit versions by The Hilltoppers (US#8/UK #3 1955), The Platters (US #5/R&B #1 1955 |UK #18 1957), Frank Pourcel (US #9/R&B #18/CAN #3 1959), Ringo Starr (US #6/MOR #1/UK #28 1975), Reba McEntire (C&W #13 1982).

From the wiki: “‘Only You (And You Alone)’ (often shortened to ‘Only You’) was composed by Buck Ram, originally intended for the vocal group The Ink Spots.

“Instead, The Platters, with whom Ram was then working as manager and vocal coach, would first record ‘Only You’ in 1954 but the results were disappointing and Federal Records decided to shelve the recording. The following year, in 1955, another attempt at the song was made by the vocal quintet – with astounding results. ‘Only You’ became the Platters’ first charting single, peaking at #5 on the Billboard Hot 100 and topping the R&B chart.

“Platters bass singer Herb Reed later recalled how the group hit upon its successful version: ‘We tried it so many times, and it was terrible. One time we were rehearsing in the car … and the car jerked. Tony went ‘O-oHHHH-nly you.’ We laughed at first, but when he sang that song – that was the sign we had hit on something.’

“‘Only You’ was the only Platter’s recording on which songwriter and Platter’s manager Ram played the piano. The Platters’ re-recording also beat out a rival cover version by The Hilltoppers (‘Marianne‘).

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1950s, Pop

Learnin’ the Blues

First recorded by Joe Valino (1955).
Hit version by Frank Sinatra (US #1/UK #2 1955).
Also recorded by Ella Fitzgerald & Louis Armstrong (1957).

From the wiki: “‘Learnin’ the Blues’ was written by Dolores Vicki Silvers, and first recorded in 1955 by Joe Valino. It’s not clear whether Silvers was the sole composer or possibly had help from Valino, a pop-jazz vocalist in the vein of Frank Sinatra and a breed of lounge singer singer who would be swept away in the late ’50s with the advent of rock ‘n’ roll.

“After a rep from Barton Music – Frank Sinatra’s publishing company – heard the song, they acquired its rights, effectively thwarting Valino from gaining his first hit. (Valino would, in 1956, find chart success with ‘Garden of Eden’.) Frank subsequently listened to Joe’s record and decided to cut it himself, giving Sinatra his best-charting single of the ’50s, peaking at #1.

“Ella Fitzgerald and Louis Armstrong covered the song on their 1957 collaboration Ella and Louis Again.”

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1950s, Country

Mountain of Love

Written and first recorded by Harold Dorman (US #21 1959).
Other hit versions by Kenny Lynch (UK #33 1960), Johnny Rivers (US #9/CAN #4/AUS #19 1964), Charlie Pride (C&W #1/CAN #1 1981).

From the wiki: “‘Mountain of Love’ was written by Harold Dorman who first recorded the song in 1959, releasing it as a single in 1960 that peaked in the Top 40 at #21.

“In 1960, UK singer Kenny Lynch covered ‘Mountain of Love’ for the UK market, becoming his first charting single on the UK Singles chart. (Trivia: Lynch was on the same bill as the Beatles for their first UK tour, with the top-billed Helen Shapiro, in early 1963, and made the acquaintance of John Lennon and Paul McCartney. Later that year, he would become the first singer to cover a Beatles song (‘Misery’). In 1973, Lynch would also be among the celebrities appearing on the album cover of Wings’ Band on the Run.)

“A Johnny Rivers 1964 cover recording went Top 10 in the US and Top 5 in Canada. Charlie Pride topped the US Country singles chart in 1981 with his cover of ‘Mountain of Love’, his 26th #1 country hit.”

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1950s, Country

It Wasn’t God Who Made Honky Tonk Angels

First recorded as “Did God Make Honky Tonk Angels” by “Al” Montgomery (1952).
Inspired by “The Wild Side of Life” by Hank Thompson (1951).
Based on “Thrills That I Can’t Forget” by John Ferguson (1927), “Great Speckled Bird” by Roy Acuff (1936).
Hit version by Kitty Wells (C&W #1 1952).

From the wiki: “Jay Miller wrote ‘Did God Make …’ as a reply to Hank Thompon’s hit ‘Wild Side Of Life‘. Alice ‘Al’ Montgomery was a gas station attendant in Louisiana at the time of her recording, which Miller produced and issued on one of his many labels. When covered by Kitty Wells in 1952, the song – which blamed unfaithful men for creating unfaithful women – became the first #1 Billboard Country hit for a solo female artist.

“In addition to helping establish Wells as country music’s first major female star, ‘It Wasn’t God …’ her success paved the way for other female artists to achieve chart success in Country music, particularly Patsy Cline, Loretta Lynn, Tammy Wynette, and Dolly Parton, and for songs where women defied the typical stereotype of being submissive to men and having to put up with their oft-infidel ways.

“Even with its popularity, there was plenty of resistance to the song and its statement: the NBC radio network banned the song for being ‘suggestive,’ while Wells herself was prohibited from performing it on the Grand Ole Opry and NBC’s ‘Prince Albert’ radio programs.

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1950s, Jazz

Petite Fleur (Little Flower)

First recorded by The Sidney Bechet All-Stars (1952).
Hit version by Chris Barber’s Jazz Band (US #5/R&B #28/UK #3/SWE #1 1959).

From the wiki: “‘Petite Fleur’ was written by Sidney Bechet, one of the first important soloists in jazz, and first recorded by the Sidney Bechet All Stars in January, 1952.

“The song became an international hit in 1959 with the UK recording of Chris Barber’s Jazz Band, featuring the clarinet of Monty Sunshine. A Top-5 hit in both the US and UK, ‘Petite Fleur’ also topped the Swedish music sales chart for 12 weeks.”

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1950s, Folk

Babe I’m Gonna Leave You

Written and first performed by Anne Bredon (1959).
First commercial recording by Joan Baez (1961).
Also recorded by The Plebs (1964), The Association (1965).
Album hit version by Led Zeppelin (1969).

https://youtu.be/rvZm8B5xhuw

From the wiki: “‘Babe I’m Gonna Leave You’ was written by Anne Bredon née Johannsen in the late 1950s. Bredon appeared on the live Folk music radio show, The Midnight Special, on Pacifica radio’s KPFA singing ‘Babe I’m Gonna Leave You’. A fellow Folk singer guesting on the program, Janet Smith, took up the song and developed it further, playing it live at hootenanny events at Oberlin College, one performance of which was attended by Joan Baez. Baez requested of Smith to send her a recording of her songs, including ‘Babe, I’m Gonna Leave You’, which Baez subsequently began performing herself.

“Vanguard Records, Baez’s label, later sent Smith a letter asking if she had written ‘Babe’. In the meantime, Baez had recorded the song and included it on her In Concert album. Initial pressings listed no writer’s credit for ‘Babe’. The 1964 recording by the Surrey, England, band The Plebs credits ‘Trad arr. Dennis’ but, later the same year, the Joan Baez Songbook rightfully lists Anne Bredon as the author as does the 1965 recording of the song by The Association. (It was the group’s first single release, but had no chart impact.)

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1950s, Rock 'n Roll

Ooby Dooby

First recorded (as a demo) by The Wink Westerners (1955).
First released by The Teen Kings (1955).
Hit version by Roy Orbison & The Teen Kings (US #59 1956).

From the wiki: “‘Ooby Dooby’ was written by Dick Penner and Wade Moore. The song was first recorded in early 1955 by The Wink Westerners, a group that Roy Orbison had formed in high school, as a demo for Columbia Records which failed to ignite any interest. Later, after forming The Teen Kings during his first semester of junior college, Orbison would re-record ‘Ooby Dooby’ in late 1955. The song was released as the B-side to ‘Trying To Get To You’ by Norman Petty’s Odessa, Texas, Je-Wel records label with no apparent chart impact.

“In 1955, while Johnny Cash toured the Odessa area and played on the same local radio show bill as the Teen Kings, Cash suggested to Orbison that he approach Sam Phillips at Sun Records, home of rockabilly stars including Cash, Elvis Presley, Carl Perkins, and Jerry Lee Lewis. Phillips was persuaded to listen to the Teen Kings’ recording. Impressed, Phillips and offered the group a contract in 1956.

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1950s, Rock 'n Roll

The Bristol Stomp

Based on “Every Day of the Week” by The Students (1958).
First recorded (as “The Bristol Stomp”) by Terry & the Applejacks (1961).
Hit version by The Dovells (US #2 1961).

From the wiki: “‘Bristol Stomp’ was written in 1961 by Kal Mann and Dave Appell, two executives with the Cameo-Parkway record label, for The Dovells, an a cappella singing group from Philadelphia, Pennsylvania, who recorded the song for Cameo-Parkway late that year. ‘The Bristol Stomp’ was originally recorded by a group from Bristol, Pennsylvania, Terry and the Applejacks (Terry was the son of co-writer Dave Appell); the song was based on the earlier ‘Every Day of the Week’ recorded in 1958 by the Cincinnati, Ohio, Doo-wop group, The Students.”

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1950s, Pop

Memories Are Made of This

First recorded by Mindy Carson (US #53 1955).
Hit versions by Gale Storm (US #5 1955), Dean Martin (US #1/UK #1 1956).

From the wiki: “‘Memories Are Made of This’ was written by Terry Gilkyson (‘Marianne’, ‘Bare Necessities’), Richard Dehr, and Frank Miller in 1955. It was first recorded and released in September 1955 by Mindy Carson.

“Gale Storm’s 1955 cover was the first chart in the US Top 40. The most popular version of the song was recorded by Dean Martin – backed by co-writer Gilkyson & The Easy Riders – in October 1955, becoming a #1 hit on the Billboard chart for six weeks in 1956 and also topping the UK Singles chart.”

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1950s, Folk

Scarborough Fair

First recorded by Gordon Heath & Lee Payant (1955).
Also recorded by Audrey Coppard (1956), Ewan MacColl & Peggy Seeger (1957), Martin Carthy (1965), Marianne Faithfull (1966).
Hit versions by Simon & Garfunkel (US #11/MOR #5 1966), Sergio Mendes & Brasil ’66 (US #16/MOR #2 1968).

From the wiki: “‘Scarborough Fair’ is a traditional English ballad about the Yorkshire town of Scarborough. The earliest commercial recording of the ballad was by Gordon Heath and Lee Payant, expatriate Americans who operated a café and nightclub, L’Abbaye, on the Rive Gauche in Paris, for their album An Evening at the Abbaye in 1955, using an 1891 melody by Frank Kidson (a folk song collector from Leeds). The same arrangement was also included on A. L. Lloyd’s 1955 album The English And Scottish Popular Ballads. Lloyd

“But, the version using the melody later developed by Simon & Garfunkel in ‘Scarborough Fair/Canticle’ was first recorded on a 1956 album, English Folk Songs, by Audrey Coppard. This arrangement was also recorded by Ewan MacColl and Peggy Seeger (‘Killing Me Softly with His Song‘) on The Singing Island (1957) (but it is likely that it was Coppard who learned the song from MacColl, who had published a book of Teesdale folk songs after hearing the song sung in the 1940s). In April 1966, Marianne Faithfull (‘As Tears Go By‘) recorded and released her own take on ‘Scarborough Fair’ for her album North Country Maid about six months prior to Simon & Garfunkel’s release of their single version of the song in October 1966.

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1950s, Rock 'n Roll

Words of Love

Written and first recorded by Buddy Holly (1957).
Hit version by The Diamonds (US #13/R&B #12/CAN #47 1957).
Also recorded by The Beatles (1964).

From the wiki: “‘Words of Love’ was written by Buddy Holly and recorded by him on April 8, 1957. Holly sang all the harmonies, with producer Norman Petty double-tracking each part and combining them. The song was not a notable hit for Holly, although it is regarded as one of his most important recordings.

“However, the cover version by the Canadian quartet The Diamonds (‘Little Darlin”, ‘Silhouettes‘), released in May 1957, reached #13 on the Billboard Hot 100 in July, making the song Holly’s first hit, though as a composer not performer. (The Crickets’ ‘That’ll Be the Day’ wouldn’t peak on the Billboard charts until Sept. 27, 1957. The Diamonds’ ‘Words of Love’ peaked in July, 1957.)

“‘Words of Love’ was also covered by The Beatles on the album Beatles for Sale. Their association with the song dates back to the group’s earliest days playing The Cavern in 1961 and 1962. Both John Lennon and Paul McCartney were big Buddy Holly fans; it would be Holly’s songs that first inspired and compelled them to become songwriters.”

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1950s, Rock 'n Roll

At the Hop (Do the Bop)

First recorded (as “Do the Bop”) by Johnny Madara & the Juvenaires (1957).
Hit version by Danny & the Juniors (US #1/R&B #1 1958).
Also performed by Sha Na Na (1969).

From the wiki: “Johnny Madara (aka Madora, aka Medora) had a minor 1957 hit (‘Be My Girl’) and Capitol Records was interested in a follow up. He had befriended a young vocal group called the Juvenaires and co-wrote for them ‘Do The Bop’ along with member Dave White. They recorded ‘At the Bop’ but Capitol passed on it.

“American Bandstand host Dick Clark heard the recording and suggested a change of lyric – substituting the outdated ‘bop’ with ‘hop’, to reflect the popularity at the time of record hops. White had the Juvenaires re-do the recording, with member Danny Rapp on lead vocal (and without Madara in the group, entirely). The group acquired a new name – Danny & The Juniors – and the group scored their one and only #1 hit in 1958.”

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1950s, Country

Dueling Banjos

First recorded (as “Feudin’ Banjos”) by Arthur Smith & Don Reno (1955).
Hit version by Eric Weissberg & Steve Mandell (US #2/MOR #1/CAN #2 1973).

From the wiki: “‘Dueling Banjos’ is an instrumental composition by Arthur ‘Guitar Boogie’ Smith. The song was composed in 1955 by Smith as a banjo instrumental he called ‘Feudin’ Banjos’. The composition’s first wide scale airing was on a 1963 television episode of The Andy Griffith Show called ‘Briscoe Declares for Aunt Bee’, in which it is played by visiting musical family The Darlings (played by The Dillards, a Bluegrass group).

“The song was made internationally famous by the 1972 film Deliverance, which also led to a successful lawsuit by the song’s composer, as it was used in the film without his permission. The film version, arranged and recorded by Eric Weissberg and Steve Mandell, was subsequently issued as a single, peaking at #2 for four weeks on the Billboard Hot 100 in 1973.”

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1950s, R&B

Rubber Biscuit

First recorded by The Chips (1956).
Hit version by The Blues Brothers (US #37 1979).

From the wiki: “‘Rubber Biscuit’ is a Doo-wop song by The Chips, first recorded in 1956. It was famously covered by The Blues Brothers (on their debut album, Briefcase Full of Blues). Label credit for writing the song was given to Chips lead singer Charles Johnson and Adam R. Levy. Levy, though, was the son of label owner Morris Levy, who was notorious for adding either his or his son’s names to songwriting credits in order to claim partial, or in some cases all composer royalties on songs they did not write. There is no evidence that Morris or Adam ever wrote any songs. When Josie Records heard the song they signed The Chips and the record was issued in September 1956. Although it did not chart, ‘Rubber Biscuit’ became an instant east coast radio favorite.

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1950s, Rock 'n Roll

(Let Me Be Your) Teddy Bear

First recorded (as a demo) by Otis Blackwell (1957).
Hit version by Elvis Presley (US #1/C&W #1 1957).

From the wiki: “‘(Let Me Be Your) Teddy Bear’ was written by Kal Mann and Bernie Lowe, and first recorded as a demo – at Mann and Lowe’s request – by Otis Blackwell (‘Fever‘, ‘Handy Man‘, ‘All Shook Up‘). Written for Elvis Presley’s second feature film, the semi-biographical Loving You, the song was a #1 hit for Presley during the summer of 1957, staying at #1 for 7 weeks, and was the third of four #1 songs Presley would have that year.

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1950s, Rock 'n Roll

Oh Boy!

Co-written and first recorded (as “All My Love (Oh Boy)”) by Sonny West (1957).
Hit versions by Buddy Holly (US #10/R&B #13/UK #3 1957), Mud (UK #1 1970).

From the wiki: “‘Oh Boy!’ was written by Sonny West, Bill Tilghman and Norman Petty, and was originally recorded by West in 1957 but failed to achieve any commercial success. It was recorded again later in 1957 by Buddy Holly & The Crickets, with Holly singing lead vocals, and achieved success on both the Pop and R&B charts in the US and the UK Singles chart. British band Mud charted the song to UK #1 with their 1970 cover recording.”

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1950s, Blues

One Bourbon, One Scotch, One Beer

First recorded (as “One Scotch, One Bourbon, One Beer”) by Amos Milburn (R&B #2 1953).
Other popular versions by John Lee Hooker (1966), John Lee Hooker & the Muddy Waters Band (1967), George Thorogood & the Destroyers (1977).

From the wiki: “‘One Bourbon, One Scotch, One Beer’ (or ‘One Scotch, One Bourbon, One Beer’ as it was originally titled) was written by Rudy Toombs and first recorded by Amos Milburn in 1953 – one of several ‘drinking’ songs recorded by Milburn in the early 1950s that placed in the Top 10 of the Billboard R&B chart.

“John Lee Hooker recorded the song as ‘One Bourbon, One Scotch, One Beer’ in 1966. Hooker transformed Milburn’s song, using the storyline and chorus but altering the order. According to historian and critic Charles Shaar Murray, Hooker ‘edited the verse down to its essentials, filled in the gaps with narrative and dialogue, and set the whole thing to a rocking cross between South Side shuffle and signature boogie.’ The song was released on Hooker’s 1966 The Real Folk Blues album. In 1967, a live performance by Hooker with Muddy Waters’ band was recorded at the Café Au Go Go in 1967 has been described by Murray as ‘dark, slow, swampy-deep, and the degree of emotional rapport between Hooker and the band (particularly Otis Spann, on piano) [is] nothing less than extraordinary.’

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1950s, Doo wop, Rock 'n Roll

Sh-Boom

Written and originally recorded by The Chords (US #9/R&B #2 1954).
Other hit version by The Crew Cuts (US #1/UK #12/AUS #1 1954).

From the wiki: “‘Sh-Boom’ was written by James Keyes, Claude Feaster, Carl Feaster, Floyd F. McRae, and James Edwards, all members of the R&B vocal group The Chords, and was first recorded on Atlantic Records’ subsidiary label Cat Records by The Chords on March 15, 1954 . It would be their only hit song.

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