First recorded by David & Jonathan (1967).
Hit version by English Congregation (US #29/UK #4/NZ #1/SA #1 1971), Paul Young (UK #21 1990).
http://youtu.be/n7qyG6uRCbQ
From the wiki: “During their period as David & Jonathan, writers Roger Cook and Roger Greenaway (‘You Got Your Troubles’, ‘I’d Like to Teach the World to Sing‘) recorded early versions of many of their songs that became hits for others including ‘Softly Whispering I Love You’, first recorded by the duo in 1967 but covered more popularly in 1971 by a group of their own creation, English Congregation, whose recording charted in the UK Top 5 and US Billboard Hot 100. The Congregation recording topped the New Zealand and South Africa music charts, too, that year. Paul Young’s 1990 cover barely missed the UK Top 20 in 1990.”
First recorded by Lee Dorsey (1970).
Hit album versions by Robert Palmer (1974), Ringo Starr (1977).
From the wiki: “‘Sneakin’ Sally Through the Alley’ was written by Allen Toussaint (‘Java‘, ‘Working in a Coal Mine’, ‘Lipstick Traces (on a Cigarette)‘) and was first recorded by Lee Dorsey (‘Yes We Can Can‘) in 1970 for his album Yes, We Can.
“The song would later be covered by Robert Palmer (as the title track to his 1974 album Sneakin’ Sally Through the Alley), and by Ringo Starr on his 1977 album Ringo the 4th.”
First recorded by The Messengers (1967).
Hit versions by The 5th Dimension (US #25/R&B #49 1969), Marlena Shaw (recorded 1969 |UK #157 2008), Marvin Gaye & Tammi Terrell (recorded 1967 |US #56 1970), Riot Act (UK #59 2005).
Also recorded by Edwin Starr (1970), The Undisputed Truth (1971).
From the wiki: “‘California Soul’ was a pop-soul song written by Nick Ashford & Valeria Simpson and first recorded in 1967 by Motown Record’s Monkees-inspired group, The Messengers, released as the B-side of the group’s ‘Window Shopping’ single. It would also be recorded in 1967 by Motown superstars Marvin Gaye and Tammi Terrell – one of Tammi’s final recordings before being diagnosed with brain cancer – but would go unreleased until 1970 when it became the celebrated duo’s final single, released following Tammi’s death in March 1970, and final song to reach the Hot 100.
“‘California Soul’ first charted as a single recorded in late 1968 by The 5th Dimension. US singer Marlena Shaw covered the song the following year for her album Spice of Life. Shaw’s version originally was not released as a single in the US but did later become a staple of the UK ‘Northern Soul’ scene in the 1970s. Following its use in a TV advert in 2008, the song’s UK re-release became Shaw’s best-known recording in the UK. UK group Riot Act charted in 2005 with their recording of ‘California Soul’.
“Apart from The Messengers and Marvin Gaye & Tami Terrell, other Motown recording artists recorded covers of ‘California Soul’, including Edwin Starr, in 1970; and the Undisputed Truth, in 1971. ”
Written and first recorded by Chuck Berry (US #41/R&B #16/UK #26 1965).
Other hit versions by Fred Weller (C&W #3 1971), Johnnie Allan (1971), Dave Edmunds (AUS #5 1972), Elvis Presley (US #14/C&W #9/UK #9 1974).
Also recorded by The Grateful Dead (1976).
From the wiki: “‘Promised Land’ was written by Chuck Berry to the melody of ‘Wabash Cannonball’, an American Folk song. It was first recorded in this version by Chuck Berry in 1964 for his album St. Louis to Liverpool. Released in 1965 as a promotional single, it was Berry’s first single issued following the completion of his prison sentence for a Mann Act conviction.
“In the lyrics, the singer (who refers to himself as ‘the poor boy’) tells of his journey from Norfolk, Virginia to the ‘Promised Land’, Los Angeles, California, mentioning various cities of the American Southeast that he encounters along his journey. Berry borrowed an atlas from the prison library to plot the song’s itinerary. Upon arriving in Los Angeles, ‘the poor boy’ calls Norfolk, Virginia (‘Tidewater four, ten-oh-nine’) to tell the folks back home he’s made it to the ‘promised land.’
First recorded by Jerry Lee Lewis (1967).
Hit version by The First Edition (US #5 1968).
Also recorded by Mickey Newbury, writer (1968); Kenny Rogers, solo (1978).
From the wiki: “‘Just Dropped In (To See What Condition My Condition Was In)’ is a counterculture-era song written by Mickey Newbury (‘An American Trilogy’). Said to reflect the LSD experience, the song was intended to be a warning against the danger of using LSD. First recorded in 1967 by Jerry Lee Lewis for the album Soul My Way (he rejected its release as a single), the song became a hit for The First Edition (with Kenny Rogers on lead vocals) in 1968.
“It was the First Edition’s first Top 10 appearance on the Billboard charts, and got the group their first national TV audience on The Smothers Brothers Comedy Hour. The song (as recorded by The First Edition) is also featured in a dream sequence from the Coen Brothers’ 1998 film, The Big Lebowski.”
Co-written by Carole King and first recorded (as “That Old Sweet Roll”) by The City (1969).
Hit version by Blood, Sweat & Tears (US #14 1970).
Also recorded by Dusty Springfield (1969), Carole King (1980).
From the wiki: “‘Hi De Ho’, originally titled ‘That Old Sweet Roll (Hi De Ho)’, was co-written by Carole King (with Gerry Goffin) and first recorded by the band City, Carole King’s late-1960s band with Danny Kortchmar and Charles Larkey. It appeared on the only album recorded by The City, Now That Everything’s Been Said.
“Dusty Springfield covered ‘That Old Sweet Roll’ during the same In Memphis sessions that also produced her hit single, ‘Son of a Preacher Man’. The Springfield recording was released in 1969 as the B-side to the single ‘Willie & Laura Mae Jones’, but was not included on the original album release. It is now included as a bonus track on the CD version of In Memphis.
“Blood, Sweat & Tear’s 1970 recording of the song, now titled ‘Hi De Ho’, would chart into the US Top 20.
“King would re-record ‘Hi De Ho’ in 1980 for her Pearls: Songs of Goffin and King album.”
Co-written and first recorded by Eddie Floyd (1966).
Hit versions by Wilson Pickett (US #13/R&B #1/UK #36 1966), Tina Turner & Robert Cray (NETH #14/BEL #23 1986).
Also recorded by Ry Cooder (1980), Tower of Power & Huey Lewis (2009), Bruce Springsteen & the E Street Band (2012).
From the wiki: “‘634-5789 (Soulsville, U.S.A.)’ was written by Eddie Floyd and Steve Cropper (of Booker T. & the MGs), in the spirit of ‘Beechwood 4-5789’ by The Marvelettes (US #17/R&B #7 1962).
“First recorded by Floyd, ‘634-5789’ was later covered in 1966 by Wilson Pickett whose recording went US Top-15 hit and #1 R&B that year.
“The song has since been covered by many performers including Otis Redding, Ry Cooder, and Tower of Power (feat. Huey Lewis). Bruce Springsteen also performs the song live on many occasions. Tina Turner and Robert Cray covered ‘634-5789’ in 1986 as a duet, recorded live as part of her Break Every Rule TV special in the UK, and a subsequent single release saw some European chart success in the Netherlands and Belgium.”
First recorded by Paul Davis (1961).
Hit versions by Dave Dudley (US #32/C&W #2 1963), Steve Earle (C&W #29 1988), Sawyer Brown (C&W #13 1997).
From the wiki: “‘Six Days on the Road’ is an American song written by Earl Green and Muscle Shoals Sound Studio songwriter Carl Montgomery, made famous by country music singer Dave Dudley. The song was first offered to Louisiana cajun singer Jimmy C. Newman but he turned it down. Paul Davis (not of 1970s ‘I Go Crazy’ fame) was the first artist to record the song, and Billboard magazine first mentioned this original version in September 1961 although Davis’ recording would have no chart impact.
Co-written and first recorded (as a demo) by Margaret Lewis (1965, released 1995).
Hit versions by Johnny Adams (US #28/R&B #8 1969), Ray Pillow (C&W #38 1969), John Wesley Ryles (#39 1971), Narvel Felts (US #67/C&W #2 1975).
From the wiki: “‘Reconsider Me’ is a Country/Soul ballad written by Margaret Lewis and Mira Smith, and first recorded as a demo by Lewis in 1965. It was finally released in 1995 on the Ace Records compilation album Shreveport Stomp – Ram Records, Vol. 1.
“Lewis first came to public notice in the late 1950s as a performer on the Louisiana Hayride radio program, where she also met Smith, a local musician who happened to own her own record label – Ram Records – one of the first women in the recording industry to do so. After Ram closed down in the early 1960s, Lewis and Smith concentrated on songwriting, eventually moving to Nashville and signing with noted producer Shelby Singleton as songwriters for his SSS International and Plantation Records labels. Between them, Lewis and Smith composed more than 100 songs, including ‘Mountain of Love’ (David Houston), ‘I Almost Called Your Name’ (Margaret Whiting), ‘The Girl Most Likely’ (Jeannie C. Riley), and their signature success,’Reconsider Me’ (Johnny Adams).
First recorded by The Beatles (FRA #1/NOR #1/NZ #1 1966).
Other hit versions by The Overlanders (UK #1 1966), Billy Vaughn (US #77/MOR #17 1966), David & Jonathan (US #18/UK #11 1966), The Spokesmen (US #106 1966), Bud Shank & Chet Baker (US #65/MOR #12 1966).
Also recorded by Jan & Dean (1966), The Singers Unlimited (1971).
From the wiki: “One of Rubber Soul’s most memorable songs, ‘Michelle’ was written by Paul McCartney with a little help from the wife of an old schoolfriend. The song is one of McCartney’s oldest compositions, having been started around 1959; composed on his first-ever guitar, a Zenith. ‘Michelle’ won the Grammy Award for Song of the Year in 1967 and has since become one of the best-known and most-often recorded of all Beatles songs … but was never released in the US or the UK by the Beatles as a single (although Beatles’ singles of ‘Michelle” did top singles charts in France and Norway).
“After The Beatles declined to release the song as a single, ‘Michelle’ became a UK hit in 1966 for The Overlanders. Of all the covers recorded of ‘Michelle’ released to date, the recording by David & Jonathan (nom de plume of songwriters Roger Cook and Roger Greenway, ‘I’d Like to Teach the World to Sing‘) was the only recording of ‘Michelle’ that made the US Billboard Top 40.
Written and first recorded by Herbie Hancock (US #121 1962).
Hit versions by Mongo Santamaria Band (US #10/R&B #8 1963), Gloria Lynne (US #62/R&B #8 1965), Erroll Garner (US #40 1968).
Also recorded by Jon Hendricks (1963), Manfred Mann (1965), Herbie Hancock (1973).
From the wiki: “‘Watermelon Man’ was written by Herbie Hancock and first released on his debut album, Takin’ Off (1962) in a hard bop arrangement featuring improvisations by trumpeter Freddie Hubbard and saxophonist Dexter Gordon. Hancock wrote the piece to help sell his debut album as a leader; the first piece of music he had ever composed with a commercial goal in mind. Hancock has described that, structurally, the composition was one of his strongest works due to its almost-mathematical balance.
“It was while Hancock was filling in for pianist Chick Corea in Mongo Santamaría’s band at a nightclub in The Bronx that Hancock played the tune for Santamaría at friend Donald Byrd’s urging. Santamaría started accompanying Hancock on his congas, then the band joined in, and the small audience slowly got up from their tables and started dancing. Santamaría later asked Hancock if he could record the tune. On December 17, 1962, Mongo Santamaría recorded a three-minute version, suitable for radio, and included the track on his album Watermelon Man (1962).”
Written and first released by Tim Hardin (1966).
Hit versions by Bobby Darin (US #8/UK #9 1966), The Four Tops (US #20/R&B #17/UK #7 1968), Johnny Cash & June Carter (US #36/C&W #2 1970).
From the wiki: “‘If I Were a Carpenter’ was written by Tim Hardin (‘Reason to Believe‘), and first released by him in 1966 as the B-side to ‘How Can We Hang On to a Dream’. The recording would see a subsequent release in 1967 on the album Hardin 2. According to Mojo magazine (February 2012), the song was partly inspired by engineer John Judnich, who built for Hardin a small recording setup in Lenny Bruce’s Sunset Plaza house.
“Hardin and Bobby Darin attended each others recording session at the studio and swapped songs, with Hardin recording Darin’s ‘Simple Song Of Freedom’ that became Hardin’s only charting recording (US #47 1969). Darin’s Top-10 recording of ‘If I Were a Carpenter’ used the same arrangement and instrumentation as Hardin’s original.
First recorded (as “Ue no Muite Arukou”) by Kyu Sakamoto (JPN #1 1961 |US #1/R&B #18 May 1963 |UK #6 Jun 1963).
Also recorded by Clyde Beavers (1963), The Fabulous Echoes (1965), Jewel Akens (as “My First Lonely Night”) (1966), Selena (1990).
Other hit versions by Kenny Ball & His Jazzmen (UK #10 Jan 1963), A Taste of Honey (US #3/R&B #1 1981), 4 P.M. (US #8/R&B #75/UK #152 1994).
From the wiki: “‘Ue o Muite Arukō’, ‘I Look Up As I Walk’) is a Japanese-language song first recorded in 1963 by Japanese crooner Kyu Sakamoto, and composed by Hachidai Nakamura (music) and Rokusuke Ei (lyrics). Ei wrote the lyrics while returning home from a protest against the Treaty of Mutual Cooperation and Security between the United States and Japan, feeling dejected about the failure of the protest movement. But, Ei purposely rendered the lyrical content generic so that the lines might refer to any lost love. In Anglophone countries ‘Ue o Muite Arukō’ is best known under the alternative title ‘Sukiyaki’ (a term with no relevance to the song’s lyrics). The English-language title – for a Japanese hot pot dish – actually has nothing to do with the lyrics or the meaning of the song. A Newsweek magazine columnist noted that the re-titling was like issuing ‘Moon River’ in Japan under the title ‘Beef Stew’.
Based on “Girl You Don’t Know Me” by The Impressions (1964).
Hit version by The Larks (US #7/R&B #1 1964).
From the wiki: “Released as a single in 1964 on the Money record label, ‘The Jerk’ was a hit for the Los Angeles band The Larks. Larks’ group member Don Julian wrote new lyrics for their song based on an earlier recording by The Impressions, ‘Girl You Don’t Know Me’, written by Curtis Mayfield.”
First recorded (as “Ready or Not”) by Sam the Sham & The Pharoahs (1966).
Hit version by Jay & the Techniques (US #6/R&B #8/CAN #61 1967).
From the wiki: “Sam the Sham and the Pharaohs released a non-single version entitled ‘Ready or Not’, written by Maurice Irby, Jr., on their 1966 The Best of Sam the Sham and the Pharaohs (MGM SE-4422). ‘Ready or Not’ was then retitled ‘Apples, Peaches, Pumpkin Pie’ when recorded by Jay & the Techniques in 1967.
“Bobby Hebb (‘Sunny‘) was originally offered ‘Apples, Peaches, Pumpkin Pie’, but rejected the song due to its ‘novelty sound’. After Hebb declined, record producer Jerry Ross offered the song to Jay & the Techniques.
Written and first recorded by Cat Stevens (1966, released 1968).
Hit version by The Tremeloes (US #13/UK #4 1967).
From the wiki: “‘Here Comes My Baby’ was written by Cat Stevens in 1966, and was almost released as Cat’s first single in September 1966. But, ‘I Love My Dog’ was thought to be a stronger song. Even after the success of ‘I Love My Dog’ (UK #28), ‘Here Comes My Baby’ was shelved from release for several more months. Meantime, the Tremeloes picked it up and it became their breakthrough hit in America and their first hit in the UK after the departure of the group’s lead singer, Brian Poole.
“The Tremeloe’s success with the song did help to establish Cat Stevens as a songwriter (‘Wild World‘, ‘The First Cut is the Deepest‘). His recording of ‘Here Comes My Baby’ was included it on his first album, Matthew And Son, released in 1968.”
Written and first recorded by Rod McKuen (1969).
Hit version by Oliver (US #2 1969).
From the wiki: “‘Jean’ was written by the American poet and composer Rod McKuen (‘Seasons in the Sun‘) who first recorded the song in 1969 as the theme to the film The Prime of Miss Jean Brodie. ‘Jean’ would go to be nominated for an Academy Award as Best Original Song. Although released as a single in the summer of 1969, McKuen’s version of the song failed to reach the American music charts. A cover of ‘Jean’ would later be released in 1969 by Oliver, selected as the follow-up single to Oliver’s hit ‘Good Morning Starshine’. Of the ‘Jean’ recording, Oliver would recall: ‘We had no idea it would be a [hit] single. It was a 3/4 ballad in the psychedelic era … it was a beautiful arrangement.'”
First recorded by Serge Gainsbourg & Brigitte Bardot (1967, released 1986).
Hit version by Serge Gainsbourg & Jane Birkin (US #58/UK #1/IRE #1/NOR #1/SWZ #1/GER #3/MEX #5 1969).
Also recorded by Donna Summer (1978).
From the wiki: “‘Je t’aime moi non plus’ was written by French composer, actor and director Serge Gainsbourg and first recorded in 1967 by him and Brigitte Bardot. Bardot asked him to write the most beautiful love song he could imagine. They recorded an arrangement of ‘Je t’aime’ by Michel Colombier at a Paris studio in a two-hour session in a small glass booth; the engineer William Flageollet said there was ‘heavy petting’.
“News of the recording reached the press and Bardot’s husband, German businessman Gunter Sachs, was angry and called for the single to be withdrawn. Bardot pleaded with Gainsbourg not to release it, and although he protested that ‘The music is very pure. For the first time in my life, I write a love song and it’s taken badly’, Gainsbourg complied with Bardot’s request. Many years later, Bardot regretted not releasing her version. This original recording of ‘Je t’aime’ was finally released it in 1986.
First commercial release (as “Are You Lonely By Yourself”) by The Isley Brothers (1962).
Hit versions by Jerry Butler (US #20/R&B #18 1962), Walker Brothers (US #16/UK #1 1965), Dionne Warwick (US #37/MOR #2/R&B #26 1970).
From the wiki: “‘Make It Easy On Yourself’, written by Burt Bacharach and Hal David, was first recorded for commercial release by the Isley Brothers. Much to Bacharach’s chagrin, the Brothers messed with the lyrics (turning it into ‘Are You Lonely By Yourself’) and he objected to the release of their version. (The Isley recording remained unreleased until 2001.) Instead, to fill out the time remaining of their studio session, the Isley Brothers recorded ‘Twist and Shout‘.
“It was Jerry Butler (‘He Don’t Love You‘, ‘Moon River‘, ‘Gypsy Woman‘) who first made ‘Make It Easy On Yourself’ a chart hit – his third Top 20 hit since departing The Impressions for a solo career.
First recorded (as “Cuando calienta el sol”) by Los Hermanos Rigual (1961).
Hit versions by Steve Allen & His Orchestra (US #85 1963), The Ray Charles Singers (US #3 1964), Karl Denver (UK #35 1964), The Bachelors (US #38 1966), Johnny Rodriguez (C&W #7 1978).
From the wiki: “‘Love Me with All Your Heart’ was based on the Spanish-language song “Cuando calienta el sol”, written by Nicaraguan songwriter and bandleader Rafael Gaston Perez, and made famous first with Spanish lyrics written by the Rigual Brothers (Carlos Rigual and Mario Rigual). The English-language lyrics are sometimes credited to Michael Vaughn (or Maurice Vaughn) and sometimes to Sunny Skylar. Although both the Spanish and the English versions are love songs, the lyrics are not direct translations of each other. The Spanish title translates as ‘When the sun heats (or warms) up’.
“Steve Allen & His Orchestra covered the original version in 1963, peaking at #83 on the Billboard Hot 100. The following year, the Ray Charles Singers hit the US Top-5 with their English-language cover. A UK cover version, by Karl Denver, peaked at #35.”
First recorded (as a demo) by Carole King (1962).
Hit versions by The Everly Brothers (US #6/UK #6 1962), The Sweet Inspirations (US #112/R&B #42 1969), Tammy Wynette (C&W #18 1981), a-ha (US #26/UK #13 1990).
From the wiki: “‘Crying in the Rain’ was written by Howard Greenfield and Carole King, the only collaboration between the successful songwriters. Both worked for Aldon Music at the time of the song’s composition. On a whim, two Aldon songwriting partnerships decided to switch partners for a day – Gerry Goffin (who normally worked with King) partnered with Greenfield’s frequent writing partner Jack Keller, leaving King and Greenfield to pair up for the day. Despite the commercial success of this collaboration, King and Greenfield never wrote another song together.
First recorded by Johnny Duncan (1960).
Hit version by Rick Nelson (US #9/UK #2 1961).
From the wiki: “‘Hello Mary Lou’ was written by Gene Pitney (‘Pretty Flamingo‘) and Father Cayet Mangiaracina, first performed and recorded by Johnny Duncan in 1960, and later recorded by Rick Nelson in 1961. Duncan’s recording took place at Norman Petty Studio, in Clovis, NM – where Buddy Holly, Roy Orbison, Buddy Knox, Waylon Jennings and others had also recorded – with Petty producing.
“Nelson’s recording features an influential guitar solo by James Burton (who is often cited as an influence by later guitarists such as Queen’s Brian May), and appeared on the Rick is 21 album (1961) – the first album to credit his first name as ‘Rick’; previous albums were credited to ‘Ricky Nelson’ … as was the promotional single.”
Inspired by “Yeah Man” by Sam Cooke (1964).
Hit version by Arthur Conley, co-writer (US #2/R&B #2/UK #7 1967).
From the wiki: “‘Sweet Soul Music’ was written by Arthur Conley and Otis Redding, and was based on the Sam Cooke song ‘Yeah Man’ from his posthumous album Shake.
“J. W. Alexander, Sam Cooke’s business partner, sued both Redding and Conley for plagiarizing the melody. A settlement was reached in which Cooke’s name was added to the writer credits, and Otis Redding agreed to record some songs in the future from Kags Music, the Cooke–Alexander publishing enterprise. ‘Sweet Soul Music’ is an homage to soul music, with these songs mentioned in the lyrics: ‘Going to a Go-Go’, ‘Love is a Hurtin’ Thing’, ‘Hold On, I’m Comin”, ‘Mustang Sally’, and ‘Fa-Fa-Fa-Fa-Fa’.”
Written (by Terry Cashman) and first recorded (as a demo) by Cashman, Pistilli & West (1967).
Hit version by Spanky and Our Gang (US #9/CAN #7 1967).
From the wiki: “‘Sunday Will Never Be the Same’ was written by Terry Cashman and Gene Pistilli, who, with Tommy West, recorded it for their debut album, Bound to Happen, in 1967. Hedging his bets, Cashman also sent a copy of the song to Lou Adler at Dunhill Records, with the hope that The Mamas & The Papas would record the song.
“Cashman recalls: ‘Adler saying ‘Hey, this is a great song.’ But John Philips was doing mostly his own songs [for the group] right now. So, okay, fine. The Left Banke sounded to me also like a group that could do this song, but they also passed on it. And then with nobody else in mind I went to a producer named Jerry Ross, who was [at that time] a very hot producer (‘Apples, Peaches, Pumpkin Pie‘, ‘98.6’).
