Songs with Earlier Histories Than the Hit Version

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Category: 1960s

1960s, Rock

Let Me Be

Written and first recorded by P.F. Sloan (1965).
Hit version by The Turtles (US #29 1965).

From ReBeatMag: “‘Let Me Be’ was written and recorded by P.F. Sloan, very successful in the mid-1960s, writing, performing, and producing Billboard Top-20 hits for artists such as Barry McGuire, The Searchers, Jan & Dean, Herman’s Hermits, Johnny Rivers, The Grass Roots, The Mamas & the Papas, and The Turtles. His most successful songs as a writer were three top ten hits. Barry McGuire’s 1965 ‘Eve of Destruction‘, Johnny Rivers’ 1966 ‘Secret Agent Man’ and Herman’s Hermits’ 1966 ‘A Must to Avoid’.

“‘Let Me Be’ was The Turtles’ second single. It didn’t come close to achieving the success of its predecessor, the cover of Bob Dylan’s ‘It Ain’t Me Babe‘. But, it did establish a working relationship between P.F. Sloan and The Turtles. More importantly, the song’s lyrics illustrated the independent, free-thinking spirit of both its composer and its audience, and though, in the big picture, the Turtles weren’t really ‘that kind’ of a band, their energetic and expressive take on the song is what makes it still fresh and relatable today.”

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1960s, Rock

Space Oddity

First recorded (as a demo) by David Bowie & John Hutchinson (1969).
Hit version by David Bowie (US #124/UK #5 1969 |US #15/CAN #16 1973 |UK #1 1975).
Also re-recorded by David Bowie (1979).

From the wiki: “‘Space Oddity’ was written by David Bowie. Three primary studio recordings of the song exist: an early demo version recorded by Bowie and John Hutchinson in February 1969, the album version recorded that June (edited for release as a single), and a 1979 re-recording.

“The earliest version of ‘Space Oddity’ was recorded on 2 February 1969 by Bowie and Hutchinson for Bowie’s promotional film Love You Till Tuesday. (Bowie and Hutchinson were the remaining members of the trio Feathers after the departure of Hermione Farthingale.) John was ‘Ground Control’, David was ‘Major Tom’.

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1960s, Folk

Suzanne

First performed by The Story Clovers (1966).
First released by Judy Collins (1966).
Hit versions by Noel Harrison (US #56 1967), Herman van Veen (NETH #4 1969).
Also recorded by Leonard Cohen (1967).

From the wiki: “‘Suzanne’, written by Canadian poet Leonard Cohen, first appeared as the poem ‘Suzanne Takes You Down’ in Cohen’s 1966 book of poetry, Parasites of Heaven. As a song, it was first performed by The Stormy Clovers in 1966 and then recorded by Judy Collins, appearing on her 1966 album In My Life. It was later released by Cohen on his own debut album, Songs of Leonard Cohen (backed by The Stormy Clovers).

“In 1967, Noel Harrison’s version — the second released cover of the song — entered at #125 on the Bubbling Under the Hot 100 chart in late September 1967, entering the Billboard Hot 100 at #86 on October 28, peaking at #56 on November 25, 1967. (Cohen’s version would be released in December 1967.)

“In 1969, Herman van Veen’s Dutch-language version entered the Dutch Top 40 list in April 1969, peaking at #4 in May.”

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1960s, Blues

Spoonful

First recorded by Howlin’ Wolf (1960).
Based on “Spoonful Blues” by Charley Patton (1929).
Hit versions by Etta & Harvey (US #78/R&B #12 1961), Cream (1966).
Also recorded by The Blues Project (1966), Koko Taylor (1978).

From the wiki: “The blues song ‘Spoonful’ was written by Willie Dixon, and was loosely based on ‘Spoonful Blues’ recorded in 1929 by Charley Patton.

“‘Spoonful’ was first recorded in 1960 by Howlin’ Wolf. Backing Wolf on vocals are longtime accompanist Hubert Sumlin on guitar, relative newcomer Freddie Robinson on second guitar, and Chess recording veterans Otis Spann on piano, Fred Below on drums, and Dixon on double-bass. ‘Spoonful’ would go on to become one of Dixon’s best-known and most-interpreted songs.

“Etta James had a pop and R&B record chart hit with ‘Spoonful’ in 1961, in duet with Harvey Farqua (who would go on to become head of A&R at Motown Records). ‘Spoonful’ would become more popularized in the late 1960s when recorded by the British rock group Cream who produced a cover of ‘Spoonful’ for their 1966 UK debut album, Fresh Cream.

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1960s, Folk

Eve of Destruction

Written and first recorded by P.F. Sloan (1965).
Hit versions by The Turtles (1965 |US #100 1970), Barry McGuire (US #1/UK #3/CAN #1/GER #6/NOR #1 1965)
Also recorded by Jan & Dean (1965).

From the wiki: “‘Eve of Destruction’ was written by P. F. Sloan in mid-1964. Sloan was very successful during the mid-1960s, writing, performing, and producing Billboard top 20 hits for artists such as Barry McGuire, The Searchers, Jan & Dean, Herman’s Hermits, Johnny Rivers, The Grass Roots, The Turtles, and The Mamas & the Papas. He was also a session guitarist in the group of L.A. session musicians known as The Wrecking Crew, working with such well-known backing musicians as drummer Hal Blaine, guitarist Tommy Tedesco, bassist Joe Osborn, and bassist/keyboardist Larry Knechtel, among others.

“It was Sloan, while working with Barry McGuire, who created and played a guitar intro as a hook to a new song by John Phillips entitled ‘California Dreamin” that was first offered to and was first recorded by McGuire. The same backing track was used for the hit version by Phillips’ group The Mamas & the Papas, which led to Sloan becoming a regular in their recording sessions.

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1960s, Pop

Hurt So Bad

First recorded by Little Anthony & the Imperials (US #10/R&B #5 1964).
Other hit versions by The Letterman (US #12/MOR #2/CAN #14 1969), Philly Devotions (Dance #10 1976), Linda Ronstadt (US #8/MOR #25/CAN #27 1980).
Also recorded by Willie Bobo (1965), El Chicano (1970), Bobby Hart, co-writer (1979).

From the wiki: “‘Hurt So Bad’ was written especially for Little Anthony & the Imperials by Teddy Randazzo, Bobby Weinstein, and Bobby Hart. It was the follow-up to the hit single ‘Goin’ Out of My Head’ and, like that single, became a Billboard Top-10 hit as well as a Top Five R&B hit.

“After writing ‘Come A Little Bit Closer’ with Tommy Boyce for Jay & the Americans, Bobby Hart signed with DCP Records and sang background when Randazzo performed in Las Vegas. When label head Don Costa asked for another hit for Little Anthony, Hart, Randazzo and Weinstein went to a conference room between sets and came up with “Hurt So Bad,” a song about a man who feels intense pain when he sees his former love.

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1960s, Pop

It’s Getting Better

First recorded by The Vogues (1968).
Also recorded by Leonard Nimoy (1968), Pierre Lalonde (1968), The Will-O-Bees (1969).
Hit version by “Mama” Cass Elliot (US #30/MOR #13/UK #8 1969).

From the wiki: “‘It’s Getting Better’ was written by Barry Mann and Cynthia Weil (‘Make Your Own Kind of Music‘,’Never Gonna Let You Go‘, ‘We Gotta Get Out of This Place‘). The earliest evident recording of ‘It’s Getting Better’ was by the Vogues for their August 1968 album release Turn Around, Look at Me for Reprise Records. Also in 1968, the song was featured on the Leonard Nimoy album The Way I Feel released that October. The first evident single release of ‘It’s Getting Better’ was by French-Canadian singer, Peter Martin (born Pierre Lalonde), in September 1968.

“The folk-rock and sunshine pop trio, The Will-O-Bees, released ‘It’s Getting Better’ as a single in early 1969 but it failed to chart. (The group had also been among the first to record ‘Make Your Own Kind of Music‘, in 1968, previous to Cass Elliot’s hit recording.)

“‘It’s Getting Better’ was covered by Cass Elliot for inclusion on her June 1969 album release Bubblegum, Lemonade, and … Something for Mama. The Wrecking Crew (James Burton on guitar, Hal Blaine on drums, Larry Knechtel on keyboards, and Joe Osborn on bass) — who’d regularly backed The Mamas & the Papas — were among the instrumentalists on the album. Cass’ arrangement peaked at #30 in August 1969 during what was then considered an unusually lengthy 19-week run on Billboard’s Hot 100. Only five other 1969 releases had longer chart runs on the Hot 100. Elliot’s ‘It’s Getting Better’ had a more pronounced chart impact in the UK, reaching #8 in October 1969.”

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1960s, Pop

I Just Don’t Know What to Do with Myself

First recorded by Chuck Jackson (1962, released 1984).
First released by Tommy Hunt (1962).
Hit versions by Dusty Springfield (UK #3/IRE #5/AUS #16/NETH #5 1964), Dionne Warwick (US #26/R&B #20/CAN #26 1966), White Stripes (ALT #25/UK #13/AUS #54/NZ #34 2003).

From the wiki: “‘I Just Don’t Know What to Do with Myself’ was written by Burt Bacharach and Hal David, and was first recorded by by Chuck Jackson (‘Any Day Now‘) in 1962 in a session produced by Jerry Leiber and Mike Stoller, with Burt Bacharach arranging and conducting.

“Jackson’s version was shelved and remained unreleased until it appeared on a 1984 compilation titled Mr. Emotion. The same backing track and Bacharach arrangement was then used later the same year when Tommy Hunt (‘Any Day Now‘) covered the song. Hunt’s version was released as single in May 1962, but it did not chart.

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1960s, Pop

That’s Life

First recorded by Marion Montgomery (1964).
Hit versions by O.C. Smith (US #127 1966), Frank Sinatra (US #4/MOR #1/R&B #25/UK #44 1966).

From the wiki: “‘That’s Life’ was written by Dean Kay and Kelly Gordon, and was first recorded in 1964 by Marion Montgomery. (Montgomery was born ‘Marian’ but later changed the spelling to ‘Marion’. According to spelling of her name on the single’s 45 rpm label, someone at Capitol Records didn’t get the memo.)

“O.C. Smith’s 1966 cover arrangement was recorded shortly after Smith left Count Basie’s orchestra as vocalist. Released as Smith’s first promotional single in February 1966, Smith’s ‘That’s Life’ ‘bubbled-under’ the Hot 100, peaking at #127. (Three songs later … ‘Little Green Apples‘.)

“While not a Hot 100 national hit, Smith’s recording did enjoy regional popularity including the West Coast – and its radio airplay there found interested ears. Frank Sinatra first heard ‘That’s Life’ while out driving in Los Angeles listening to the radio. He stopped the car, called his daughter Nancy and told her to find the publisher of the song because he wanted to record it. She did; he did.

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1960s, Pop

Honey (I Miss You)

First recorded and released by Bob Shane (1968).
Hit version by Bobby Goldsboro (US #1/C&W #1/UK #2/CAN #1/IRE #1/AUS #1/NZ #1 1968 |UK #2 1975).

From the wiki: “I’ve yet to find a song with so many ‘Bobs’ involved in its writing, production and promotion. Keep count. Everyone is named ‘Bob’ or ‘Bobby’.

“‘Honey’, also known as ‘Honey (I Miss You)’, was written by Bobby Russell who also produced the first recording of it with former Kingston Trio singer Bob Shane. Russell would wind up passing the song along to Bobby Goldsboro’s manager, Bob Montgomery, but with the proviso that any Goldsboro recording could not be released without Russell’s approval, and not until Shane’s single had finished its chart run. As events then unfolded, Shane’s single wound up not being well-promoted by his label (Decca), to Russell’s great consternation.

“Both singles wound up being released within one week of each other. Montgomery recalls being advised by a promotions man at Decca, Bob Holiday, to call Russell. ‘If you call Bobby [Russell] right now, he’ll tell you to go ahead and release Goldsboro’s record because he’s mad at Decca over something.’ Montgomery called Russell to ask his permission and Russell is reported to have angrily replied ‘I don’t give a s*** what you do.’

“Goldboro’s single was rush-released on February 17, 1968, and debuted at #64 on the Billboard Hot 100 the week of March 23, 1968 … the same week Shane’s single debuted “bubbling under” at #114. By April 13, Goldsboro’s ‘Honey’ was the most popular song in the U.S. It spent the next five weeks at #1. Meanwhile, Shane’s ‘Honey’ never got higher than #104 and made its final chart appearance the week of April 27, 1968.

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1960s, Pop

Working My Way Back to You

First recorded by The Four Season (US #9/UK #50 1965).
Also recorded by The Happenings (1972)
Other hit versions by The Spinners (US #2 1979 |UK #1/AUS #12/NZ #3/IRE #1 1980), Boyzone (IRE #3 1994).

From the wiki: “‘Working My Way Back to You’ was written by Sandy Linzer and Denny Randell, with the song originally recorded in 1966 by The Four Seasons, reaching #9 on the U.S. Billboard Hot 100. and #50 on the UK Singles chart. It is the only Four Seasons’ hit to feature the group’s arranger, Charles Calello, in the temporary role of bassist/bass vocalist, having replaced original member Nick Massi.

“In 1979, The Spinners recorded a medley of ‘Working My Way Back to You’ and Michael Zager’s ‘Forgive Me Girl’, charting Top-5 in the US in late 1979 and topping the UK Singles chart for two weeks in April 1980.

“The Irish boyband, Boyzone, released a cover version of ‘Working My Way Back to You’ as their debut single in May 1994. The song reached #3 on the Irish Singles Chart. It is one of the few songs to feature Mikey Graham on lead vocals.”

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1960s, Pop

What Kind of Fool Am I?

First recorded by Anthony Newley (1961).
Hit versions by Sammy Davis, Jr. (US #17/MOR #6 1962), Shirley Bassey (UK #47 1963).
Also recorded by Tony Bennett (1962), James Brown (1970).

From the wiki: “”What Kind of Fool Am I?” is a popular song written by Leslie Bricusse and Anthony Newley and published in 1962. It was introduced by Anthony Newley in the musical Stop The World – I Want To Get Off. Bricusse and Newley received the 1961 Ivor Novello award for Best Song Musically and Lyrically.

“This song was recorded while Newley was on the road with the touring company of ‘Stop the World …’ in the United States, after its hugely successful run in the United Kingdom. By the time the cast reached New York, Tony Bennett had recorded a cover of ‘What Kind of Fool Am I?’ but was unenthusiastic about it*. So, the song became a hit for Sammy Davis Jr., peaking at #17 on the Billboard Hot 100 chart and at #6 on the Billboard Easy Listening chart. It also won a Grammy Award for Song of the Year, with songwriters Bricusse and Newley becoming the first Britons to do so. In 1963 Shirley Bassey released the song as a Columbia Record single in the U.K. and her version reached #47 on the U.K. Singles chart.

“James Brown covered ‘What Kind of Fool Am I?’ for his 1970 album, Soul on Top.

“The song was also the inspiration for a Gary Larson cartoon (see below).

* “Publisher Harold Richmond related an amusing story about Bennett and ‘What Kind of Food Am I?’:

‘When I was in England to see Oliver! and I heard ‘What Kind of Fool Am I?’, Tony was my first choice for the song. (Sammy Davis, Jr. found the song by himself.) Tony had had ‘San Francisco’ out for six or eight weeks and he said, ‘Howie, I’m going to stick with ‘San Francisco’ for a while. I like ‘What Kind of Fool’ but –.’ I said to him, ‘Tony! ‘San Francisco’ has been out a couple of months and nothing’s happening with it!’ Tony said, ‘Well, I’m still going to stick with it for a while.’ Well, we all know how that turned out.'”

– Billboard magazine, Nov. 30, 1968

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1960s, R&B

Hey Harmonica Man

First recorded by Jo Jo Wail & the Somethings (1963).
Hit version by Stevie Wonder (US #29/R&B #5 1964).

From the wiki: “‘Hey Harmonica Man’ was written by Marty Cooper and Lou Josie, and was first recorded in 1963 by Jo Jo Wail & the Somethings. It would be covered by Stevie Wonder in 1964.

“Wonder has poured scorn on his pre-’65 Motown output; whenever he’s asked about these records, he seems to lump them all together as a collection of ‘juvenilia’. Perhaps surprisingly, it’s ‘Hey Harmonica Man’ for which he reserves particular criticism, describing it on more than one occasion as ’embarrassing’.

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1960s, Folk

Go Where You Wanna Go

Written and first recorded by The Mamas & The Papas (1966).
Hit version by The 5th Dimension (US #16/CAN #9/AUS #75 1966).

From the wiki: “‘Go Where You Wanna Go’ was written by John Phillips, and was first recorded by The Mamas & The Papas for their LP If You Can Believe Your Eyes and Ears.

“In [Hal] Blaine’s book, Michelle admits ‘Our group had never sung with anything but an acoustic guitar until that fateful day in 1965 when we came together in Studio 3 at Western Recorders. There, the Mamas and the Papas’ ‘sound’ was created with the distinctive beat that Blaine already made himself famous for.’

“That ‘sound’ was the key. Sloan writes, ‘We needed to find a mic that worked magic for their voices, and the perfect echo and reverb for them. Without it, their voices didn’t seem to fly.’ You can hear it on the first Mamas and Papas single, ‘Go Where You Wanna Go’, which inexplicably failed to catch on when it was released on Dunhill.”

– “What Really Happened To The Mamas And The Papas?“, by Mitchell Cohen, 2017

“The Mamas & The Papas released ‘Go Where You Wanna Go’ as the group’s first single from their debut album, If You Can Believe Your Ears and Eyes. It had no apparent chart impact. The second single released from the album, ‘California Dreamin”, was much, much more successful.

“It was Soul City records label mate Johnny Rivers who suggested the song to The 5th Dimension. The vocal quintet recorded the song for their debut studio album, Up, Up and Away, in 1966, and was also that group’s very first single release, preceding the group’s Top-10 title track hit. ‘Go Where You Wanna Go’ charted in the US Top-20 and the Canadian Top-10.”

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1960s, Folk

We’ll Sing in the Sunshine

First recorded (as “Sing in the Sunshine”) by Hoyt Axton with The Sherwood Singers (1963)
Hit versions by Gale Garnett (US #4/MOR #1/AUS #10/NZ #1 1964), The Lancastrians (UK #44 1964), Helen Reddy (MOR #12 1978).

From the wiki: “‘We’ll Sing in the Sunshine’ was written by Gale Garnett for her then-boyfriend, Hoyt Axton, and was first recorded in 1963 by Axton (‘Joy to the World‘, ‘No No Song‘) and The Sherwood Singers for the groups’ 1963 album The Happy Song. Garnett recorded her own version a year later, scoring a US Top-10 hit and reaching #1 in her native New Zealand. The song went on to win the Grammy Award for Best Ethnic or Traditional Folk Recording in 1965.

“In the UK, ‘We’ll Sing in the Sunshine’ was covered by The Lancastrians in a version featuring guitar work from both Jimmy Page and Big Jim Sullivan. Helen Reddy’s 1978 cover, produced by Kim Fowley, was issued as a single. Although it reached #12 on the MOR music chart, Reddy’s recording became the first lead single from a Reddy album to miss the Billboard Hot 100. Nonetheless, the song took on new life when Reddy sang the song on The Muppet Show while singing and dancing with Sopwith the Camel.”

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1960s, Folk

Don’t Think Twice (It’s Alright)

First recorded by Bobby Darin (Jul 1962 |Released Nov 1963).
First released by The New World Singers (Released Jul 1963).
Also recorded by Bob Dylan (Nov 1962 |Released Aug 1963), Eric Clapton (1992).
Inspired by “Who’s Gonna Buy You Ribbons (When I’m Gone)” by Paul Clayton (1960).
Hit version by Peter Paul & Mary (US #9/MOR #2 1963), The Wonder Who? (parodied as “Don’t Think Twice” US #12 1965).

From the wiki: “‘Don’t Think Twice, It’s All Right’ was written by Bob Dylan in 1962, recorded by him on November 14 that year, and released on the 1963 album The Freewheelin’ Bob Dylan and as his second-ever single in August 1963 with no chart impact.

“But, there were other, earlier recordings and releases prior to Dylan’s because of the music’s availability via Witmark Publishing Co., when Dylan was “just” an aspiring songwriter. Bobby Darin, no slouch in discovering talent (see Tim Hardin), first recorded the song in July 1962, the same month as Dylan, but the New World Singers released their version one month prior Dylan’s own recording and four months prior to Darin’s recording, in July 1963.

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1960s, Rock

Don’t Let Me Down

First recorded (as a demo) by John Lennon (1968).
Hit B-side single version by The Beatles (1969).

From the wiki: “Written by John Lennon as an anguished love song to his wife, Yoko Ono, Paul McCartney interpreted ‘Don’t Let Me Down’ as a ‘genuine plea’, with Lennon saying to Ono, ‘I’m really stepping out of line on this one. I’m really just letting my vulnerability be seen, so you must not let me down.’ First recorded as a demo by Lennon in 1968, multiple versions of ‘Don’t Let Me Down’ were recorded by the Beatles during the tumultuous Let It Be (née Get Back) recording sessions. The version recorded on 28 January 1969 was released as a B-side to the single ‘Get Back’, recorded the same day.

“The Beatles performed ‘Don’t Let Me Down’ twice during their rooftop concert of 30 January 1969, one of which was included in the Let It Be (1970) film, directed by Michael Lindsay-Hogg. When the ‘Get Back’ project was revisited, Phil Spector dropped ‘Don’t Let Me Down’ from the Let It Be (1970) album. The B-side version of the song was later included on the Beatles’ compilation albums Hey Jude, 1967-1970 and Past Masters Volume 2 and Mono Masters.”

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1960s, R&B

Whatta Man

First recorded (as “What a Man”) by Linda Lyndell (R&B #50 1968).
Other hit version by Salt N Pepa (US #3/R&B #3/UK #7 1993/AUS #2 1993).

From the wiki: “Linda Lyndell sang in gospel churches as a child; though she was white, she sang in both white and black churches, and eventually began singing with R&B groups as a teenager. In the 1960s she sang as a support act with James Brown and Ike & Tina Turner, and in 1967 Atlanta disc jockey Dave Crawford tipped her to Stax Records producers Isaac Hayes and David Porter. They recorded her first single, ‘Bring Your Love Back to Me’, in December 1967 and released it on Volt Records, but the song did not become a hit. In 1968 she did a second session, cutting the tune ‘What a Man’. The song was essentially improvised in the studio by Lyndell, record producer Dave Crawford, and the Stax studio musicians in Memphis, TN.

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1960s, Rock

Dazed and Confused

Written and first recorded by Jake Holmes (1967).
Also recorded (as “I’m Confused”) by The Yardbirds (1968).
Hit album version by Led Zeppelin (1969)

From the wiki: “‘Dazed and Confused’ was written and first recorded by Jake Holmes for his debut solo album The Above Ground Sound of Jake Holmes, released in June 1967. The song has been incorrectly labelled as a tale about a bad acid trip; however, Holmes has confirmed that is not the case – that the song refers to the potential break-up of a relationship, typical of Blues numbers.

“In August 1967, Holmes opened for The Yardbirds at a Greenwich Village gig in New York City. According to Holmes, ‘That was the infamous moment of my life when ‘Dazed and Confused’ fell into the loving arms and hands of Jimmy Page.’ When ‘Dazed and Confused’ subsequently appeared on Led Zeppelin’s album in 1969, Holmes was aware of it but didn’t follow up on it at that time. He said: ‘In the early 1980s, I did write them a letter and I said basically: ‘I understand it’s a collaborative effort, but I think you should give me credit at least and some remuneration.’ But they never contacted me.’

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1960s, Rock

You Showed Me

First recorded by The Jet Set (1964).
Hit versions by The Turtles (US #6/CAN #1 1968), De La Soul (as “Transmitting Live from Mars” 1989), Salt N Pepa (US #47/UK #15 1990), The Lightning Seeds (UK #8 1997).

From the wiki: “‘You Showed Me’ was written by Jim McGuinn and Gene Clark of The Byrds in 1964 at a time when the pair were performing as a duo at The Troubadour and other folk clubs in and around Los Angeles. McGuinn and Clark soon formed a trio with David Crosby and named themselves The Jet Set. The Jet Set trio were rehearsing at World Pacific Studios under the guidance of their manager Jim Dickson, and it was there many of group’s rehearsal sessions were recorded, including ‘You Showed Me’. However, the song was soon abandoned by the group, who had by now changed their name to The Byrds, and it was not included on their debut album for Columbia Records, Mr. Tambourine Man.

“In 1968 the song was recorded by The Turtles, for the album The Turtles Present the Battle of the Bands, and was also released as a single in 1968. ‘You Showed Me’ had been introduced to The Turtles by their producer and former bass player, Chip Douglas, who himself had first become acquainted with the song after hearing Clark, McGuinn and Crosby perform it at The Troubadour in 1964. Douglas had also performed the song with Clark during 1966, while he was a member of Gene Clark and the Group.

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1960s, Folk

If I Had a Hammer

First recorded (as “The Hammer Song”) by The Weavers (1950).
Hit versions by Peter, Paul & Mary (US #10 1962), Trini Lopez (US #3 1963).

From the wiki: “‘If I Had a Hammer (The Hammer Song)’ was written by Pete Seeger and Lee Hays in 1949 in support of the progressive movement, and was first recorded by The Weavers in 1950. It was not particularly successful in commercial terms when it was first released.

“The song was first performed publicly by Pete Seeger and Lee Hays on June 3, 1949, at St. Nicholas Arena in New York City at a testimonial dinner for the leaders of the Communist Party of the United States. It was later part of the three songs Seeger played as the warm-up act for Paul Robeson’s September 4, 1949, concert near Peekskill, New York, which subsequently erupted into a riot.

“‘If I Had a Hammer’ went on to become a Top-10 hit for Peter, Paul and Mary in 1962 and, a year later, went to #3 when recorded by Trini Lopez.”

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1960s, Novelty, Pop

Music to Watch Girls Go By

Co-written and first recorded by Sid Ramin (1965).
Hit versions by The Bob Crewe Generation (US #15/MOR #2 1966), Andy Williams (US #34/UK #33 1967 |UK#9 1999), Al Hirt (US #119/MOR #31 1967).
Also recorded (as “Music to Watch Space Girls Go By”) by Leonard Nimoy (1967).

From the wiki: “‘Music to Watch Girls Go By’ was composed by Tony Velona and Sidney ‘Sid’ Ramin, and was first recorded as a commercial jingle demo for Diet Pepsi, where producer Bob Crewe first heard the song. Crewe, using his own name, then recorded the song under his nom de plume ‘The Bob Crewe Generation’. Crewe’s ‘big-band, horn driven’ recording went to #15 on the Pop chart and #2 on the Easy Listening chart.

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1960s, Pop

L-O-V-E

Co-written and first recorded by Bert Kaempfert (1964).
Hit version by Nat “King” Cole (B-side US #89/MOR #17 1965).

From the wiki: “‘L-O-V-E’ was composed by Bert Kaempfert, and was first recorded as an instrumental track on Kaempfert’s album Blue Midnight (1964).

“Nat ‘King’ Cole followed in 1965 with his vocal recording for his album of the same name (1965), with lyrics by Milt Gabler. The trumpet solo on the Cole recording was performed by Bobby Bryant. Released as the B-side to ‘I Don’t Want to See Tomorrow’, ‘L-O-V-E’ peaked at #89 on the Billboard Hot 100 and at #17 on the Easy Listening chart.

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1960s, Broadway/Movies/Television

Strangers in the Night

First recorded (as “Beddy Bye”) by Bert Kaempfert (1965).
Possibly based on “Stranci u noći” by Ivo Robić (1966)
First English-language recording by Jack Jones (1966).
Also recorded (in German, as “Fremde in der Nacht”) by Ivo Robić (1966).
Hit version Frank Sinatra (US #1/MOR #1/UK #1 1966).

From the wiki: “‘Strangers in the Night’ is credited to Bert Kaempfert with English lyrics by Charles Singleton and Eddie Snyder. It is sometimes claimed that the Croatian singer Ivo Robić was the original composer of ‘Strangers in the Night’ (performed as ‘Stranci u noći’), and that he sold the rights to Kaempfert after entering it without success in a song contest in Yugoslavia. These claims have not been substantiated.

“Robić, a pioneer of popular Yugoslav music from the early 1950s on, was the only artist from Yugoslavia whose records were available in the record shops of Europe and the rest of the world. He performed and collaborated with Kaempfert, Freddy Quinn, and Dean Martin. Robić would go on to record Yugoslav and German versions of ‘Strangers in the Night’, ‘Stranci u Noći’ with lyrics by Marija Renota and ‘Fremde in der Nacht’ with lyrics by Kurt Feltz.

“Kaempfert originally recorded the melody under the title ‘Beddy Bye’ as part of the instrumental score for the movie soundtrack to A Man Could Get Killed, which went on to win a Golden Globe Award in 1967 for Best Original Song in a Motion Picture.

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