Songs with Earlier Histories Than the Hit Version

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Category: 1950s

1950s, Pop

Till

First recorded by The Percy Faith Orchestra (US #63 1957).
Other hit versions by Roger Williams (US #22 1957), Tony Bennett (UK #38 1961), The Angels (US #14 1961), The Vogues (US #27/MOR #5 1968), Tom Jones (UK #2 1971).

From the wiki: “Since there are many songs with ‘Till’ in the title, let it be clear that this is the one that starts: ‘Till the moon deserts the sky’, with music by Charles Danvers and English lyrics by Carl Sigman, and adapted from the French song ‘Prière Sans Espoir’ recorded in 1956. The Percy Faith Orchestra (with chorus) charted first, in April 1957. Later the same year, Roger Williams released a similarly mostly-instrumental recording that reached into the US Top 40. In 1961, Shirley Bassey and Tony Bennett each recorded all-vocal covers of ‘Till’, with Bennett’s version reaching #38 on the UK Single chart. Girl-group The Angels originated in New Jersey as The Starlets. After a failed attempt at record deal, producer Gerry Granahan (‘Ne-Ne Na-Na Na-Na Nu-Nu‘) heard some hit potential with a song The Starlets had performed for him in their audition, ‘Till’. ‘Till’ became the group’s first single under their new name, The Angels, and also their first hit (US #14) released by Granahan’s Caprice label in 1961.

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1950s, Doo wop

Church Bells May Ring

First recorded by The Willows (US #62/R&B #11 1956).
Other hit version by The Diamonds (US #14/CAN #23 1956).

From the wiki: “After two flops as ‘The Five Willows’ in 1954, the group hit as The Willows in 1956 with ‘Church Bells May Ring’ (which featured an uncredited Neil Sedaka playing the chimes).

“As the Willows’ original version began climbing the charts, a number of cover singles were quickly released to cash in on the song’s popularity, including one by The Cadets (‘Stranded in the Jungle’). However, the biggest cover by far of ‘Church Bells May Ring’ came from a Canadian group, the Diamonds (‘Little Darlin”, ‘Silhouettes’).

“The Willows’ arrangement hit #11 of the R&B chart but stalled at #62 on the Billboard pop chart while the Diamonds’ single soared to a peak at #14 on the Hot 100.”

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1950s, Rock 'n Roll

All Shook Up

First recorded (as “I’m All Shook Up”) by Dave Hill (1957).
Hit version by Elvis Presley (US #1/C&W #1/R&B #1/UK #1 1957).
Also recorded by Otis Blackwell, writer (1978).

From the wiki: “Otis Blackwell wrote the song at the offices of Shalimar Music in 1956 after Al Stanton, one of Shalimar’s owners, after dropping a bottle of Pepsi-Cola on the floor, challenged his songwriter Blackwell to write a song based on the fizzing soda contents.

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1950s, Rock 'n Roll

Ne-Ne Na-Na Na-Na Nu-Nu

First recorded by Dickey Doo & the Dont’s (1958).
Hit version by Bad Manners (UK #28 1980).

From the AllMusic.com: “Dickey Doo & the Dont’s started out as a joke with a purpose. Gerry Granahan, a producer, songwriter, and performer needed an alias under which he could release his newest record without getting into legal trouble with another record label to which he was already under contract and the alias turned into a successful recording act. Signed to Sunbeam Records in 1957, he had a hit in mid-1958 with ‘No Chemise Please’, a novelty song charted in the Top 30 of the Billboard Hot 100.

“Granahan’s next four singles stiffed, but then he found himself with a song that seemed like a certain hit, ‘Click Clack’, and a label – Swan Records of Philadelphia – that wanted to release it; moreover, with Swan behind it, the label’s silent partner, Dick Clark, would give it a boost on the local version of his daily music showcase, American Bandstand, thus ensuring it had every chance to become a hit. Thus were born Dickey Doo & the Dont’s, a mythical act whose name, it was suggested, was an ‘in’ joke that obliquely referred to Clark’s secret involvement with Swan Records.

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1950s, Doo wop

Come Go With Me

First recorded by The Dell-Vikings (1956).
Hit versions by The Del-Vikings (re-recording US #4/R&B #2 1957), Dion (US #48 1962), The Beach Boys (US #18 1981).

From the wiki: “‘Come Go with Me’ was written by C. E. Quick (aka Clarence Quick), an original member of the doo-wop vocal group The Del-Vikings (also spelled ‘Dell-Vikings’ on Dot records releases, with no dash). The song was originally recorded by The Del-Vikings in 1956 and was released by them on Fee Bee Records with Quick as the lead vocalist. The 1957 re-recording released on Dot Records featured Norman Wright as the lead vocalist.

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1950s, Doo wop

Come Back My Love (The Darts)

First recorded by The Wrens (1955).
Also recorded by Cardinals (1955).
Hit version by Darts (UK #2 1978).

From the wiki: “The Wrens were an American doo-wop vocal group from The Bronx, New York City, and were best-known for their song ‘Come Back My Love’ which achieved some local popularity in New York City early in 1955 and put the Wrens on the map for R&B vocal fans. ‘Come Back My Love’ became their signature song despite competition from a cover version done by the Cardinals on Atlantic that same year. Neither recording charted nationally. In 1998, The Wrens were inducted into the United In Group Harmony Association’s Hall of Fame.

“Darts (‘The Girl Can’t Help It‘) were a nine-piece British Doo-wop revival band that achieved chart success in the late 1970s and early 1980s, including three successive #2 hits with revivals of early US Rock ‘n roll and R&B songs – among them ‘Come Back My Love’.”

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1950s, Pop

All Alone Am I

First performed (in Greek, as “Μην τον ρωτάς τον ουρανό”) by Tzeni Karezi (1962)
First recorded (as “Don’t Ask the Sky”) by Mary Lo (1962).
Hit version (in English) by Brenda Lee (US #3/MOR #1/UK #7/AUS #10 1962).

From the wiki: “‘All Alone Am I’ was composed by the Greek composer Manos Hadjidakis and originally recorded in Greek by Tzeni (Jenny) Karezi for the soundtrack of the 1962 film To nisi ton genneon (The Island of the Brave) and titled “Μην τον ρωτάς τον ουρανό” (‘Don’t ask the sky’). Greek singer Mary Lo recorded and released her own recording of the song (in Greek) as a single in 1962.

“Later the same year, a new version of the song was produced in Nashville, TN, by Owen Bradley with English lyrics (by Arthur Altman). This arrangement was recorded by Brenda Lee for her 1962 album, All Alone Am I. ‘All Alone Am I’ was released as a promotional single in late 1962, reaching #3 on the Billboard Hot 100 while also becoming Lee’s first single to chart on the Billboard Easy Listening chart, reaching #1 in late 1962. In addition, the single reached #7 on the UK Singles chart, and peaked at #10 on the Australian singles chart.”

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1950s, Pop

Just Walking in the Rain

First recorded by The Prisonaires (1953).
Hit version by Johnny Ray (US #2/UK #1 1956).

From the wiki: “The Prisonaires were real prisoners doing time at the Tennessee State Prison in Nashville when this recording took place at Sun Records, in Memphis, handcuffed and at gunpoint. Writers Johnny Bragg and Robert Riley got their royalties (including those on Johnny Ray’s hit version) the day they were released. The best-known version of the song was recorded by Johnnie Ray in 1956, staying atop the UK Singles Chart for seven weeks. Ray initially disliked the song, but sang it based on the recommendation of Mitch Miller.”

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1950s, Christmas

Santa Baby

Originally recorded by Eartha Kitt (US #4 1953).
Other popular versions by Mae West (1966), Eartha Kitt (new arrangement, 1963), Madonna (1987).

From the wiki: “The song is a tongue-in-cheek look at a Christmas list sung by a woman who wants extravagant gifts such as sables, yachts, and decorations from Tiffany’s. It is one of the few hit Christmas songs written by a woman — Joan Javits (the niece of then-Senator Jacob K. Javits), and Philip Springer.

“‘Santa Baby’ was first recorded by Eartha Kitt with Henri René and his orchestra in New York City on October 6, 1953. The song was a huge hit for Kitt, and she later said that it was one of her favorite songs to record.

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1950s, Christmas

Frosty the Snowman

First recorded by Gene Autry & The Cass County Boys (US #7/C&W #4 1950).
Other hit versions by Nat “King” Cole (US #9 1950), Jan & Dean (US #11 1963), The Beach Boys (1964), Jimmy Durante (1969).

From the wiki: “‘Frosty the Snowman’ (originally titled ‘Frosty the Snow Man’) is a popular song written by Walter ‘Jack’ Rollins and Steve Nelson, and was first recorded by Gene Autry & The Cass County Boys in 1950. Rollins and Nelson wrote ‘Frosty’ after the success of Autry’s recording of ‘Rudolph the Red-Nosed Reindeer’ the previous year; Rollins and Nelson shipped the new song to Autry, who recorded ‘Frosty’ in search of another seasonal hit.

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1950s, Christmas

Little Drummer Boy

First recorded (as “Carol of the Drum”) by The Trapp Family Singers (1954).
Popular versions by The Harry Simone Chorale (1958), Lou Rawls (1967), Bing Crosby & David Bowie (1977).

From the wiki: “‘Little Drummer Boy’ – originally titled ‘Carol of the Drum’ – was written in 1941 by Katherine K. Davis. It was first recorded in 1954 by The Trapp Family Singers during sessions for their albums Christmas With The Trapp Family Singers and Yuletide Songs Of Many Lands, and further popularized by a 1958 recording by the Harry Simeone Chorale. The original manuscript is headed ‘Czech Carol freely transcribed by K.K.D’, these initials then deleted and replaced with ‘C.R.W. Robinson’, a name under which Davis sometimes published. Although Davis did search far and wide for suitable material, the Czech original has never been identified, though the style is comparable with the Czech ‘Rocking Carol’. ‘Carol of the Drum’ appealed to the Austrian Trapp Family Singers, who first brought the song to wider prominence when they recorded it in 1955, shortly before they retired.”

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1950s, Country

Cold, Cold Heart

Written and first recorded by Hank Williams (C&W #1 1951).
Other hit versions by Dinah Washington (R&B #3 1951), Tony Bennett (US #1 1951).

From the wiki: “Hank Williams wrote ‘Cold Cold Heart’ after visiting his wife, Audrey, in the hospital where she was recovering from an illegal abortion. The flowers he brought her were thrown back in his face. ‘You sorry son of a bitch,’ she is claimed to have said. ‘It was you that caused me to suffer this.’ Hank went home and said his wife had a ‘cold, cold heart.’ Audrey shut him out of her life, and filed for divorce on January 10, 1952. The melody to ‘Cold, Cold Heart’ was taken from ‘You’ll Still Be In My Heart’ (1945), by T. Texas Tyler (who also wrote ‘My Bucket’s Got a Hole in It’). The copyright case was settled out-of-court, after Hank’s passing, in 1955. Dinah Washington and Tony Bennett both recorded adaptations of ‘Cold, Cold Heart’ in 1951, helping Country music out of its rural isolation with additional success on both the R&B and Pop charts.”

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1950s, Country

Silver Threads and Golden Needles

First recorded by Wanda Jackson (B-side 1956).
Hit versions by The Springfields (US #20/C&W #16 1962), Linda Ronstadt (1969 |re-recorded US #68/C&W #20 1974).

From the wiki: “‘Silver Threads and Golden Needles’ was written by Jack Rhodes and Dick Reynolds. The song was first recorded by Wanda Jackson in 1956, and was released as the B-side to the single ‘Hot Dog! That Made Him Mad’ which did not chart.

“The Springfields (featuring a pre-solo Dusty Springfield) released ‘Silver Threads’ as their third UK single but it flopped in their home country. But, released as their first US single in 1962, it became a Stateside hit; their only appearance in the US Top 40 and the first single of U.K.-origin to crack the U.S. Top-20.

“Linda Ronstadt recorded and released two versions of the song: the first, on her 1969 solo debut album Hand Sown … Home Grown; the second, a country-pop crossover version for her 1973 Don’t Cry Now album. The latter resulted in a country Top-20 hit while also charting on the Billboard Hot 100.”

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1950s, R&B

Tweedle-Dee

First recorded by LaVern Baker (US #14/R&B #4 1954).
Other hit versions by Georgia Gibbs (US #2/UK #20 1955), Frankie Vaughn (UK #17 1955), Little Jimmy Osmond (US #59/UK #4 1973).

From the wiki: “‘Tweedlee Dee’ (also ‘Tweedly Dee’ or ‘Tweedle Dee’) is a R&B novelty song with a Latin-influenced riff written by Winfield Scott for LaVern Baker and recorded by her at Atlantic Records’ studio in New York City in 1954. It was her first hit, reaching #4 on Billboard’s R&B chart and #14 on its Pop chart. Although Baker had closely approached a Pop style in this recording, a cover of the song was quickly recorded by Georgia Gibbs on the Mercury Records label. Because a major label like Mercury had a superior distribution system, Atlantic’s independent label could not compete.

“The white cover version used not only the lyrics but closely imitated the style and arrangement of the original and became a Gold Record for Gibbs, thus ruining any chance of Baker’s recording becoming a Top 10 Pop hit. According to Atlantic’s engineer, Tom Dowd, Mercury hired the same arranger, the same musicians and tried to hire the same engineer. Baker attempted to get her congressman to introduce legislation to prevent the copying of arrangements but was unsuccessful.”

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1950s, Pop

Misty

First recorded by The Erroll Garner Trio (1954).
Also recorded by Dakota Staton (1957).
Hit versions by Sarah Vaughn (US #106 1959), Johnny Mathis (US #12/R&B #10/UK #12 1959), Lloyd Price (US #21/R&B #11 1963), The Vibrations (US #63/R&B #26 1965), “Groove” Holmes (US #44/MOR #7/R&B #12 1965), Ray Stevens (US #14/MOR #8/C&W #3/UK #2 1975).

From the wiki: “‘Misty’ was written by Errol Garner in 1954 and first recorded for his 1955 album Contrasts. The song was later paired with lyrics by Johnny Burke and would becoame the signature song of Johnny Mathis. Garner’s recording was inducted into the Grammy Hall of Fame in 1991; Mathis’s version of the song was inducted in 2002.

“Lyrics to the song were written by Johnny Burke a couple of years later. According to Mary Burke Kramer:

‘[Johnny] had been working every day with his pianist, Herb Mesick, who was helping him put things down on paper. Herb had heard the melody to ‘Misty,’ and knew Erroll Garner, and was very fond of it. He told Johnny about it, but by that time, Johnny had made a decision not to collaborate anymore. After he and Jimmy Van Heusen had separated, on good terms, he had been working on his own writing both music and lyrics. Herb was very persistent. Whenever Johnny would enter the room, Herb would start playing the tune. Finally, Johnny said, ‘Alright, give me the damn music, and I’ll do it. So he went into the bedroom, and two or three hours later, he came out with the lyrics.’

– Making ‘Misty’: The Legendary Johnny Mathis Recording, by Joe Manning, 2010

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1950s, R&B

Lawdy Miss Clawdy

First recorded by Lloyd Price (R&B #1 1952).
Other hit versions by Elvis Presley (UK #15 1957), Gary Stites (US #47 1960), The Buckinghams (US #41 1967), Mickey Gilley (C&W #3 1976).

From the wiki: “‘Lawdy Miss Clawdy’ was an R&B song written by New Orleans singer/songwriter Lloyd Price (‘Personality’) that ‘grandly introduced The New Orleans Sound’ to the world according to music writer Rick Coleman. It was first recorded by Price in 1952, along with Dave Bartholomew and Fats Domino backing Price for his first session with Specialty Records.

“In 1952, Art Rupe, founder of Specialty Records in Los Angeles, had come to New Orleans in search of new talent. Local recording studio owner Cosimo Matassa introduced him to Bartholomew, who had co-written and produced many of Fats Domino’s early hit records. Bartholomew invited nineteen year-old Lloyd Price to audition for Rupe at Matassa’s J&M Studio. The accounts differ on what happened next.

“According to Rupe, Price spent too much time rehearsing and Rupe threatened to leave if he did not get it together; Rupe then relented and Price turned out an emotional performance of ‘Lawdy Miss Clawdy’, prompting Rupe to cancel his return flight and to arrange for a full recording session.

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1950s, Rock 'n Roll

It’s So Easy!

First recorded by The Crickets (1958).
Also recorded by Bobby Vee (1963), The Trashmen (1963), Waylon Jennings (1969).
Hit version by Linda Ronstadt (US #5/UK #11/CAN #9 1977).

From the wiki: “‘It’s So Easy!'” was written by Buddy Holly and Norman Petty, and first released as a single by Holly under the moniker of his band, The Crickets. The single did not chart.

“Bobby Vee, The Trashmen (‘Surfin’ Bird’), and Waylon Jennings were among the several performers who recorded cover versions of ‘It’s So Easy!’ in the decade after its original release, before Linda Ronstadt’s Peter Asher-produced Top-5 single was released in 1977 to promote Ronstadt’s Simple Dreams album.”

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1950s, Rock 'n Roll

Come Together

Inspired by “You Can’t Catch Me” by Chuck Berry (1956).
Hit version by The Beatles (US #1/UK #4 1969).

From the wiki: “In 1969, Lennon composed the song ‘Come Together’ for The Beatles’ album Abbey Road but its history began when Lennon was inspired by Timothy Leary’s campaign for governor of California against Ronald Reagan, which promptly ended when Leary was sent to prison for possession of marijuana. Lennon recalled, ‘The thing was created in the studio. It’s gobbledygook; ‘Come Together’ was an expression that Leary had come up with for his attempt at being president or whatever he wanted to be, and he asked me to write a campaign song. I tried and tried, but I couldn’t come up with one. But I came up with this, Come Together, which would’ve been no good to him – you couldn’t have a campaign song like that, right?’

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1950s, R&B

Just Because

Written and first recorded (as “A Little Word”) by Shirley & Lee (1956).
Hit version by Lloyd Price (US #29/R&B #3 1956).
Also recorded by John Lennon (1973/1974).

From the wiki: “‘A Little Word’ was written by Leonard Lee, and released as the B-side to Shirley & Lee’s ‘That’s What I’ll Do’ non-charting single released in February 1956 (ahead of their chart-topping ‘Let the Good Times Roll’).

“Lloyd Price would adapt ‘A Little Word’ into “Just Because’. Price had already recorded one of the biggest-selling songs of the early Rock ‘n roll era, ‘Lawdy Miss Clawdy’, in 1952, but his career momentum was cut short when he was drafted into the Army in 1954. Upon his discharge, Price found he had been replaced at Specialty Records by Little Richard. Price then decided to start his own label – The Kent Recording Company (KRC). Kent Records began in late 1956 with Price as its only artist. The label’s first release was ‘Just Because’, on which Price played piano and produced the session.

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1950s, R&B

A Lover’s Question

Co-written and first recorded by Brook Benton (1958).
Hit versions by Clyde McPhatter (US #6/R&B #1 1958), Del Reeves (C&W #14 1970), Jacky Ward (C&W #3 1978).
Also recorded by Loggins & Messina (1975).

From the wiki: “‘A Lover’s Question’ was written by Brook Benton (‘Rainy Night in Georgia‘) and Jimmy T. Williams, and first recorded by Benton in 1958. That same year, it was covered by Clyde McPhatter (formerly of The Dominoes and founder of The Drifters) and became his most successful solo pop or R&B release. Only 39 at the time of his death in 1972, McPhatter struggled for years with alcoholism and depression and was, according to Jay Warner’s On This Day in Music History, ‘broke and despondent over a mismanaged career that made him a legend but hardly a success.’

“McPhatter was the first artist in music history to become a double inductee into the Rock and Roll Hall of Fame … first as a member of The Drifters and, later, as a solo artist and, as a result, all subsequent double and/or triple inductees into the Rock and Roll Hall of Fame are said to be members of ‘The Clyde McPhatter Club’.

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1950s, R&B

Hey Bartender

Written and first recorded by Floyd Dixon (1954).
Popular versions by Laurel Aitken (1961), The Blues Brothers (1978), Johnny Lee (C&W #2 1983).

From the wiki: “‘Hey Bartender’ was written and first recorded in 1954 by West Coast R&B pianist Floyd Dixon. The self-dubbed ‘Mr. Magnificent’, Dixon signed a recording contract with Modern Records in 1949, specializing in jump blues and sexualized songs like ‘Red Cherries’, ‘Too Much Jelly Roll’ and ‘Baby Let’s Go Down to the Woods’. Both “Dallas Blues” and “Mississippi Blues”, credited to the Floyd Dixon Trio, reached the Billboard R&B chart in 1949.

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1950s, Doo wop

Silhouettes

First recorded by The Rays (US #3/R&B #3 1957).
Other hit versions by The Diamonds (US #10/R&B #6 1957), Herman’s Hermits (US #5/UK #3 1965), Cliff Richard (UK #10 1990).
Also recorded by Frankie Lymon (1960), Bob Crewe, co-writer (1961), Paul Anka (1961), The Four Seasons (1964), The Nylons (1982).

From the wiki: “In May 1957, songwriter-producer Bob Crewe (‘The Sun Ain’t Gonna Shine (Anymore)‘, ‘Lady Marmalade‘, ‘Big Girls Don’t Cry’, ‘Silence is Golden‘) saw a couple embracing through a window shade as he passed-by on a train. He quickly set about turning the image into a song. Frank Slay, who owned the small Philadelphia record label XYZ with Crewe, added lyrics, and they soon had a complete song ready to record.

“The Rays’ original recording received a break when popular Philadelphia disc-jockey Hy Lit fell asleep at home listening to a stack of newly-released records on his record player. ‘Silhouettes’ happened to be the last record to play, and so it repeated until he woke up. Lit began to playing the song on his show and it became popular enough that Cameo-Parkway picked it up for national distribution. The Rays’ ‘Silhouettes’ eventually reached #3 on Billboard Hot 100, while also hitting the Top-5 on both the sales and airplay charts. It became the group’s only Top 40 hit.

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1950s, Rock 'n Roll

Not Fade Away

First recorded by The Crickets (B-side 1957).
Hit versions by The Rolling Stones (US #43/UK #3 1964), Rush (CAN #88 1973), Tanya Tucker (US #70 1979).

From the wiki: “‘Not Fade Away’ is credited to Buddy Holly (originally under his first and middle names, Charles Hardin) and Norman Petty, and was first recorded by Holly under the moniker of his band, The Crickets. The group recorded the song in Clovis, New Mexico, on May 27, 1957, the same day the song ‘Everyday’ was recorded. The song’s rhythm pattern is a variant of the Bo Diddley beat; Crickets drummer Jerry Allison pounded out the beat on a cardboard box.

“‘Not Fade Away’ was originally released as the B-side of the hit single ‘Oh, Boy!’ and was included on the album The “Chirping” Crickets (1957). Even though the Crickets’ recording never charted as a single, Rolling Stone ranked ‘Not Fade Away’ at #107 on its list of The 500 Greatest Songs of All Time.

“Contrary to the depiction in the 1978 film The Buddy Holly Story, ‘Not Fade Away’ was NOT the last song Holly ever performed before his fatal plane crash. In a 50th anniversary symposium held in Clear Lake, Iowa, where Holly last performed, discussion panel members Tommy Allsup, Carl Bunch, and Bob Hale – the emcee at that final show of February 2, 1959 – all agreed that the final song of the night was Chuck Berry’s ‘Brown Eyed Handsome Man’, performed on-stage together by all of the acts.

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1950s, Pop

Teach Me Tonight

First recorded by Janet Brace (US #23 1953).
Other hit versions by Dinah Washington (R&B #4 1954), The DeCastro Sisters (US#2/UK #20 1954), Jo Stafford (US #15 1955), George Maharis (US #25 1962), Al Jarreau (US #70/R&B #51 1982).
Also recorded by Amy Winehouse (2003).

From the wiki: “‘Teach Me Tonight’ was written by Gene De Paul, the lyrics by Sammy Cahn, and first recorded in 1953 by Janet Brace. Dinah Washington recorded the first cover in 1954, charting into the R&B Top 5.

“The DeCastro Sisters, a Cuban trio, recorded it with Skip Martin’s orchestra and had the biggest hit with the song, peaking at #2 on the Hit Parade.

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