Songs with Earlier Histories Than the Hit Version

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Category: 1960s

1960s, Rock

(I’m Not Your) Stepping Stone

First recorded by Paul Revere & the Raiders (1965).
Also recorded by The W.C. Fields Memorial Electric String Band (1966), The Rebounds (1966), Flies (1966).
Hit versions by The Monkees (US #20 1967), The Farm (UK #57 1990), P.J. & Duncan (UK #11 1996).

From the wiki: “‘(I’m Not Your) Steppin’ Stone’ was written by Tommy Boyce and Bobby Hart (‘Last Train to Clarksville’, ‘I Wonder What She’s Doing Tonight’). It was first recorded in 1965 by Paul Revere & the Raiders, and first appeared on their album Midnight Ride released in May 1966.

“Early covers included recordings by The W.C. Fields Memorial Electric String Band, The Rebounds, and The Flies. ‘(I’m Not Your) Stepping Stone’ is best known, though, as a hit for The Monkees (US #20). In early 1967, it became the first Monkees B-side to chart. It would later chart in the UK – twice – with cover arrangements by The Farm (1990), and a UK Top-20 hit by P.J. & Duncan (1996).”

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1960s, Novelty, Pop

The “Tonight Show” Theme (“Johnny’s Theme”)

First recorded (as “Toot Tweet (It’s Really Love)”) by Tutti’s Trumpets (1959).
Also recorded (as “It’s Really Love”) by Annette Funicello (1960).
Best-known recording/s by The Tonight Show Band (1962).

From the wiki: “‘Johnny’s Theme’, performed as the theme song of ‘The Tonight Show with Johnny Carson’ for 30 years, began life as ‘Toot Sweet’, a pop instrumental composed in 1959 by Paul Anka and recorded that same year by Tutti’s Trumpets as the B-side to The Camarata Strings’ single ‘Lost In a Fog’ released on Disney’s Buena Vista label. Salvatore ‘Tutti’ Camarata, the ‘Tutti’ of Tutti’s Trumpets and bandleader of the Camarata Strings, was Annette Funicello’s producer at the time. He asked Anka to contribute some songs for Funicello’s first album to follow her work on The Mickey Mouse Club. Anka added lyrics to ‘Toot Sweet’ and published them under the title ‘It’s Really Love’.

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1960s, Reggae/Ska

Stir It Up

Written and first recorded by The Wailing Wailers (1967).
Hit versions by Johnny Nash (US #12/UK #13 1972), Diana King (R&B #53 1994).
Also recorded by Bob Marley & the Wailers (1973).

From the wiki: “‘Stir It Up’ was written by Bob Marley in 1967, for his wife Rita, and was first recorded and released the same year by the Wailing Wailers. Following Marley’s return to Jamaica from the United States in 1967, the Wailers started their own label, Wail’n Soul’m Records, and released their first independent single, ‘Freedom Time’. ‘Nice Time’, ‘Thank You Lord’, and ‘Stir It Up’ (backed with ‘The Train’) were all recorded in the same year. The label folded shortly after, after which Marley began writing for American singer Johnny Nash. Nash used members of The Wailers and recorded several Marley songs on his 1972 album, I Can See Clearly Now, including ‘Stir It Up’.

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1960s, Rock

Shanghai Noodle Factory

First recorded and released by Jay & the Americans (1967).
Hit album version by Traffic (1968).

From the wiki: “‘Shanghai Noodle Factory’, ostensibly about the business of music being in conflict with the needs of a musician, was written by Steve Winwood, Jim Capaldi, Chris Wood, Jimmy Miller, and Larry Fallon sometime between Winwood’s departure from the Spencer Davis Group and his co-founding of the band Traffic in the spring of 1967. But, ‘Shanghai Noodle Factory’ would first be recorded by the group Jay & the Americans (‘Come A Little Bit Closer’, ‘Cara Mia’, ‘This Magic Moment‘) and released in October 1967 as the B-side to the non-charting single ‘French Provincial’.

“Coincidentally, it was co-writer and Traffic (and former Spencer Davis Group) producer Jimmy Miller who helmed the Jay & the Americans recording session.

“Traffic would record its own version of Winwood’s song during the group’s final studio sessions in early 1968. Traffic’s ‘Shanghai Noodle Factory’ would then be released in December 1968 in the UK (February 1969 in the US) as the B-side of the non-charting single ‘Medicated Goo’ and appear on the 1969 album Last Exit.”

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1960s, Reggae/Ska

Keep On Running

Written and first recorded by Jackie Edwards (1965).
Hit version by The Spencer Davis Group (US #76/UK #1/CAN #22/IRE #3/NZ #4 1965).
Re-recorded by Jackie Edwards (1976).

From the wiki: “‘Keep on Running’ was written and first recorded by Jackie Edwards, which became a #1 UK hit when recorded by The Spencer Davis Group. Edwards recorded his original version while working in the UK for Island Records as a songwriter. It first appeared on his 1965 album Come on Home, and was later re-recorded by Edwards again as a reggae arrangement in the mid-1970s for his Do You Believe In Love album.

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1960s, Pop

Girl Don’t Make Me Wait

First recorded by Bunny Sigler (1967).
Hit album version by Pattie Brooks & The Simon Orchestra (1977).

From the wiki: “‘Girl Don’t Make Me Wait’ was written by Leon Huff (‘If You Don’t Know Me By Now’, ‘Love Train’, ‘Now That We Found Love’), and first recorded in 1967 by Bunny Sigler. Both Huff and Sigler, along with Kenny Gamble, would later figure large in the development of the 1970s ‘Philly Sound’. Sigler first recorded for the V-Tone Records label in 1959. By 1967, he was recording for Parkway Records with whom he released ‘Girl Don’t Make Me Wait’. Sigler would go on to work extensively with Salsoul Records and the Salsoul Orchestra. Pattie Brooks covered ‘Girl Don’t Make Me Wait’ on her 1977 hit album, Love Shook. Brooks’ first career break came in 1968 when she auditioned for the chorus on The Smothers Brothers Comedy Hour. In the next decade she became a sought-after backing singer, appearing on The Bobby Darin Show and touring with, among others, Helen Reddy.”

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1960s, Pop

What Now My Love

First recorded as “Et maintenant” by Gilbert Bécaud (1961).
First recorded (in English) by Jane Morgan (1961).
Hit versions by Shirley Bassey (UK #5 1962), Sonny & Cher (US #14/UK #12 1966), Herb Alpert & the Tijuana Brass (US #24/MOR #2 1966), Mitch Ryder (US #30 1967).
Also performed by Elvis Presley (1973).

From the wiki: “‘What Now, My Love?’ is the English title of a popular song whose original French version, ‘Et maintenant’ (English: ‘And Now’) was written in 1961 by composer Gilbert Bécaud (co-writer, ‘September Morn‘) and lyricist Pierre Delanoë. Bécaud’s original version of this song topped French chart in 1961.

“English lyrics and the title were written by Carl Sigman, and were first recorded in 1961 by Jane Morgan. The English-language covers use the melody of Bécaud but with a different lyrical imagery (e.g., ‘There’s the sky / Where the sea should be’), which are different from the darker French original (e.g., ‘Towards what nothingness / Will my life slip away?).

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1960s, Latin

Jingo

Written and first recorded (as “Jin-Go-Lo-Ba”) by Babatunde Olatunji (1960).
Hit album version by Santana (1969).

From the wiki: “‘Jin-Go-Lo-Ba’ was the most popular song on the Drums of Passion album released in 1960 by Nigerian percussionist Babatunde Olatunji, unquestionably the first recording to popularize African music in the West. The simple exchange between the mother drum (iya ilu) and the baby drum (omele) became Babatunde’s signature song. When Santana later covered the song, in 1969, and used it as the B-side to ‘Evil Ways‘, the writing credit was mangled. Initial pressings of the Santana album and the 45 erroneously listed Aaron Copland as the ‘Jingo’ composer! It turns out Copland did compose a song titled ‘Jingo’ – just not this one.”

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1960s, Rock

I’ll Follow the Sun

First recorded by The Silver Beetles (1960).
Hit album version by The Beatles (EP UK #5 1965/SWE #4 1965).

From the wiki: “‘I’ll Follow the Sun’ was written and sung by Paul McCartney and credited to Lennon–McCartney. It appears on the Beatles for Sale album in the UK and on Beatles ’65 in the US, but was written long before. A version recorded in 1960 can be found in the bootleg record You Might As Well Call Us the Quarrymen.

“When asked about the lyrics, McCartney would recall, ‘I wrote that in my front parlour in Forthlin Road. I was about 16. ‘I’ll Follow The Sun’ was one of those very early ones. I seem to remember writing it just after I’d had the flu and I had that cigarette. I remember standing in the parlour, with my guitar, looking out through the lace curtains of the window, and writing that one.’

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1960s, Pop

Gina

First recorded by Johnny Janis (1960).
Hit version by Johnny Mathis (US #6/MOR #2 1962).

From the wiki: “Paul Vance and Leon Carr wrote ‘Gina’ in 1960 and it was first recorded that same year by singer-guitarist Johnny Janis specifically for an episode (titled ‘Gina’) of the CBS TV series Diagnosis: Unknown in which Janis had a small role. In 1962, a cover recording by Johnny Mathis became Mathis’ highest-charting song since 1957’s ‘Chances Are’.”

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1960s, R&B

Unchain My Heart

First recorded by Otis Williams & His Charms (1960).
Hit versions by Ray Charles (US #9/R&B #1 1961), Joe Cocker (US #11/UK #46 1987 |UK #17 1992).

From the wiki: “‘Unchain My Heart’ was written by Bobby Sharp, and was first recorded in 1960 by Otis Williams & His Charms, produced by Sharp and Teddy Powell for King Records with no apparent chart impact.

“Sharp, a drug addict at the time, had sold half the songwriting credits to Powell for $50. In 1963, Sharp sold the other half for $1,000. (Sharp sued Powell for a return of the full rights to the song a year later and, after a seven-year legal battle, the suit was settled in his favor.) In 1987, Sharp was also able to renew the copyright to ‘Unchain My Heart’ for his own publishing company, B. Sharp Music.

“The song became a hit for Ray Charles when released as a single in late 1961. Accompanied by his Raelettes, Charles’ band also included longtime saxophonist David ‘Fathead’ Newman. The song was further popularized by Joe Cocker when he named his 1987 album after the song. The promotional single nudged the US Top 10 in 1987, and also charted in the UK. Cocker’s recording was re-released in 1992 and, second time around, reached #17 on the UK Singles chart.”

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1960s, Pop

Easy Come, Easy Go

First recorded by “Mama” Cass Elliot (1969).
Hit version by Bobby Sherman (US #9/MOR #2/CAN #9 1970).

From the wiki: “‘Easy Come, Easy Go’ was first recorded in 1969 by ‘Mama’ Cass Elliot for her second solo album, Bubble Gum, Lemonade & … Something For Mama. A year later, teen idol Bobby Sherman recorded a cover version that charted Top 10 in the US and Canada.

“The Cass Elliot album was recorded in the wake of her breakdown following a disastrous Las Vegas show in 1968. Plagued with bills, studio executives at Dunhill Records took creative control and felt that the fastest and easiest solution would be to have Elliot record an album full of music similar to what she had done with The Mamas & the Papas. The album was originally released on July 5, 1969 with 11 tracks and was a moderate success when first released, reaching #91 on the Billboard Hot Album chart.

“But, the album was re-released in December 1969 under a new title and with a different album cover as Make Your Own Kind of Music/It’s Getting Better. ‘Make Your Own Kind of Music‘, which had been recorded separately from the album sessions, had become a hit and was belatedly added to the album.”

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1960s, R&B

Take Me For a Little While

First recorded by Evie Sands (US #114 1965).
First released by Jackie Ross (1965).
Hit versions by Patti LaBelle & the Bluebelles (US #89/R&B #36 1966), Vanilla Fudge (US #38 1968).

From the wiki: “In 1965, Evie Sands began her lasting collaboration with the producer/composers Chip Taylor (‘Wild Thing‘, ‘Angel of the Morning‘) and Al Gorgoni with the release of the single ‘Take Me For a Little While’ (written by Trade Martin).

“But, prior to its release, a test pressing of Sands’ recording was stolen by a Chicago-based producer, shopping it to established Chess Records recording artist Jackie Ross who was coming off the major Pop-Soul hit ‘Selfish One’. Ross was unaware of the duplicity involved, and left Chess shortly afterwards. Regardless, her producers loved the song, and recorded, pressed and released Ross’ version within 48 hours, beating Sands’ version to the street by a week.

“The ensuing battle between the two versions killed whatever chance either single had to chart nationwide. Even though part of the ensuing legal settlement dictated that the Ross recording be withdrawn from distribution, the public legal struggle set Sands’ career back even before it even had a chance to get started.

“Sands’ follow-up single, ‘I Can’t Let Go‘, was lost amidst the post ‘Take Me For a Little While’ chaos, leaving Brit invaders the Hollies clear to score a hit cover in the spring of 1966.

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1960s, Pop

Lovin’ Things

First recorded by The Pathfinders (1967).
Also recorded by Bobby Rydell (1968), December’s Children (1968).
Hit versions by The Marmalade (UK #6 1968), The Grass Roots (US #49 1969).

https://youtu.be/_aF4ty0XP-k

From the wiki: “‘Lovin’ Things’ was co-written by Artie Schroek and Jet Loring, and first recorded for commercial release in 1967 by the Scottish band The Pathfinders. A version by Bobby Rydell was put out as a 45 rpm on the Reprise label in January 1968. Then, in April 1968, UK group The Marmalade released their cover recording and took it into the UK Top Ten. Later that year, US group December´s Children also covered ‘Lovin’ Things’ with a somewhat different orchestral arrangement but with no apparent chart success. “Lovin’ Things” finally became a Billboard Hot 100 hit in the US when The Grass Roots covered it in early 1969.”

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1960s, Pop

Never Let Her Go

First recorded (as “Never Let Him Go”) by Jody Miller (1965).
Hit version by David Gates, writer (US #29/MOR #3 1975).

From the wiki: “‘Never Let Him Go’ was written by David Gates and was first recorded by Jody Miller (‘You Don’t Have to Say You Love Me‘) in 1965 (B-side ‘Be My Man’) with no apparent chart impact (but which some consider to be one of her best Capitol Records recordings).

“Discovered by actor Dale Robertson, Miller began her career in the early 1960s as a folk/pop singer, singing in the Los Angeles area. By the mid-1960s, Miller became a pioneer crossover female vocalist, opening the doors for Linda Ronstadt, Anne Murray, and Olivia Newton-John and others as a pop singer recording a strong Country influence. Miller enjoyed modest success in both genres.

“Songwriter Gates, who had also arranged and produced Miller’s original recording, covered ‘Never Let Her Go’ for his own album, Never Let Her Go, in 1975 – Gates’ second solo album but his first after the break-up of the group Bread – and the single charted in the US Top 30.”

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1960s, Pop

The 59th Street Bridge Song (Feelin’ Groovy)

Written and first recorded by Simon & Garfunkel (1966).
Hit version by Harpers Bizarre (US #13 1967).

From the wiki: “‘The 59th Street Bridge Song (Feelin’ Groovy)’ was written by Paul Simon and first recorded by Simon & Garfunkel, appearing on their 1966 album Parsley, Sage, Rosemary and Thyme. ’59th Street Bridge’ is the colloquial name of the Queensboro Bridge in New York City. The most popular cover version of the song was recorded in 1967 by Harpers Bizarre, reaching #13 on the Billboard Hot 100.

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1960s, Pop

Softly, As I Leave You

First recorded (as “Piano”) by Mina (1960).
Hit versions by Matt Munro (US #18/UK #10 1961), Frank Sinatra (US #27/MOR #4 1964), Elvis Presley (C&W #8 1978).

From the wiki: “‘Softly, as I Leave You’ was first composed in Italian as ‘Piano’ (trans. ‘softly’) by Giorgio Calabrese and Tony De Vita. It was first performed by Mina at the 1960 Sanremo Music Festival, and was first released as a recording by her in 1960.

“English songwriter Hal Shaper noticed the song and in November 1961 wrote English-language lyrics to the melody, titling it ‘Softly, As I Leave You’. The best-known versions of this are those by Matt Munro (#10 on the British charts in 1962) and Frank Sinatra (#27 on the Billboard Hot 100/#4 on the MOR chart in 1964). When the Sinatra family announced Frank’s death on May 14, 1998, they placed an announcement on his website that was accompanied by his recording of ‘Softly, As I Leave You’.

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1960s, Rock 'n Roll

Pony Time

Co-written and first recorded by Don Covay & the Goodtimers (1960).
Hit version by Chubby Checker (US #1/R&B #1 1960).

From the wiki: “‘Pony Time’ was written by Don Covay and John Berry (a member of Covay’s earlier vocal group, the Rainbows), and originally recorded in 1960 by Covay with his group the Goodtimers. The song achieved greater success later that same year when it was recorded by Chubby Checker the following year, becoming his second US #1 (after his 1960 single ‘The Twist.’). It also topped the US R&B chart. ‘Pony Time’ does bear a resemblance to ‘The Twist‘, first recorded in 1959 by Hank Ballard & the Midnighters.”

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1960s, Pop

Love Hurts

First recorded by The Everly Brothers (1960).
Also recorded by Gram Parsons & Emmylou Harris (1969, released 1974).
Hit versions by Roy Orbison (AUS #5 1961), Jim Capaldi (US #97/UK #4/CAN #15/AUS #6 1975), Nazareth (US #8/UK #41/CAN #1/AUS #8/DEN #2/NZ #4 1975), Cher (1975 |UK #43/NOR #2 1991).

From the wiki: “‘Love Hurts’ was written by Felice and Boudleaux Bryant (‘All I Have to Do Is Dream’, ‘Bye Bye Love’), and was first recorded by The Everly Brothers in July 1960. The song was introduced in December 1960 as an album track on A Date with The Everly Brothers, but was never released as a single (A-side or B-side) by the Everlys. (The duo would re-record the song with a more up-tempo arrangement in 1964.)

“The first hit version of the song was recorded by Roy Orbison, who earned Australian radio play for ‘Love Hurts’ even though the song was issued as the B-side to ‘Running Scared’, hitting the Top-5 on that country’s singles charts in 1961.

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1960s, Pop

Make Your Own Kind of Music

First recorded by The Will-O-Bees (1968).
Hit version by “Mama” Cass Elliot (US #36/MOR #6 1969).
Also performed by The Carpenters (1971).

From the wiki: “‘Make Your Own Kind of Music’ was written by Barry Mann (‘Never Gonna Let You Go‘, ‘We Gotta Get Out of This Place‘, ‘Venus in Blue Jeans‘) and Cynthia Weil (‘Don’t Know Much‘, ‘I Just Can’t Help Believing‘, ‘We Gotta Get Out of This Place‘) first recorded in 1968 by New York City-based trio the Will-O-Bees (Janet Blossom, Steven Porter, and Robert Merchanthouse) who regularly performed Mann/Weil compositions. After ‘Mama’ Cass Elliot had a solo hit in the summer of 1969 with Mann/Weil’s ‘It’s Getting Better’ she recorded ‘Make Your Own Kind of Music’ as the follow-up single. Her album Bubblegum, Lemonade, and… Something for Mama was then re-released as Make Your Own Kind of Music, the title cut having been added to the original track listing.”

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1960s, Rock

Let’s Live for Today

First recorded (as”Piangi Con Me”) by The Rokes (1967).
First recorded (in English) by The Rokes (1967).
Also recorded (and first released) by The Living Daylights (1967).
Hit version by The Grass Roots (US #8 1967).

From the wiki: “The song that would become ‘Let’s Live for Today’ was originally written by David Shapiro and Ivan Mogul in 1966, with Italian lyrics and the Italian title of ‘Piangi Con Me’ (translated as ‘Cry with Me’). At the time, Shapiro was a member of The Rokes, an English beat group who had relocated to Italy in 1963. Following its success on the Italian charts, plans were made to release ‘Piangi Con Me’ in the United Kingdom and as a result, the song was translated into English and given the new title of ‘Passing Thru Grey’. However, the song’s publisher in Britain, Dick James Music, was unhappy with the lyrics of “Passing Thru Grey” and decided that they should be changed.

“Michael Julien, a member of the publisher’s writing staff, was assigned the task of composing new words for the song and it was his input that transformed it into ‘Let’s Live for Today’. Before the Rokes could release the song in the UK, however, another British group, The Living Daylights, released a version of it. Ultimately, neither The Living Daylights nor The Rokes would reach the charts with their recording of the song.

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1960s, Rock 'n Roll

Little Honda

First recorded by The Beach Boys (US #65 1964).
Other hit version by The Hondells (US #9 1964).

From the wiki: “‘Little Honda’ was written by Brian Wilson and Mike Love for The Beach Boys. It was released on the group’s 1964 album All Summer Long, and was also featured on the EP Four by The Beach Boys but was not released as a single until after The Hondells’ version had charted and peaked. The song pays tribute to small Honda motorcycles, specifically the Honda Super Cub. Carl Wilson recalls:

[Brian Wilson] does exactly what he wants to do. I remember [sits back and laughs] — this is so funny — when we did ‘Little Honda’, Brian wanted me to get this real distorted guitar sound, real fuzzy. ‘This guitar sounds like shit,’ I said. ‘Brian, I hate this.’ And he goes, ‘Would you fucking do it? Just do it.’ When I heard it, I felt like an asshole. It sounded really hot. That was before fuzz became a big deal.

“It was during the recording sessions of ‘Little Honda’ (and ‘I Get Around’) when Brian relieved his father, Murry Wilson, of his managerial duties after three years. An attempt at reconciliation on Murry’s part, much of it captured on the tapes for the 1965 recording sessions of ‘Help Me, Rhonda’, cemented the break.

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1960s, Pop

Never on Sunday

First performed by Melina Mercouri (1960).
Hit versions by Don Costa (US #19/UK #27 1960), Lynn Cornell (UK #30 1960), The Chordettes (US #13/MOR #4 1961).

From the wiki: “‘Never on Sunday’, also known as ‘Ta Pediá tou Pireá’ (Greek: ‘Τα Παιδιά του Πειραιά’; English: ‘The Children of Piraeus’), was written by Manos Hadjidakis originally in Greek and was performed in the 1960 film Never on Sunday by Melina Mercouri. The song was nominated and won the Academy Award for Best Original Song, a first for a foreign-language picture since the Academy began recognizing achievements in that category in 1934. An orchestral version recorded by Don Costa reached #19 on the Billboard Hot 100 in 1960, then returned to the Billboard Top 40 when reissued in 1961. Costas’ version also peaked at #27 in the UK Singles chart.

“Following the success of the orchestral version, as well as the Oscar win, an English-language version of ‘Never on Sunday’ was commissioned to match the title of the film. A vocal of the song by The Chordettes (‘Mr. Sandman’, 1954) reached #13 on the Billboard Hot 100 chart in 1961.”

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1960s, Broadway/Movies/Television

Hair

First recorded by the Original Off-Broadway Cast of Hair (1967).
Also recorded by the Original Broadway Cast of Hair (1968).
Hit versions by Zen (NETH #1 1968), Doug Parkinson in Focus (AUS #5 1969), The Cowsills (US #2 1969).

From the wiki: “Hair: The American Tribal Love-Rock Musical was a Rock musical with a book and lyrics by James Rado and Gerome Ragni, and music by Galt MacDermot. The musical broke new ground in musical theater by defining the genre of ‘rock musical’, using a racially integrated cast, and inviting the audience onstage for a ‘Be-In’ finale.

“After an off-Broadway debut in October 1967 at Joseph Papp’s Public Theater and a subsequent run in a midtown discothèque space, the show opened on Broadway at the Biltmore Theatre on April 29, 1968 and ran for 1,750 performances. A cast album recorded by the original off-Broadway cast was released in 1967; the original Broadway cast recording, released in 1968, received a Grammy Award for Best Score from an Original Cast Show Album.

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