Songs with Earlier Histories Than the Hit Version

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Category: 1960s

1960s, Country

Summer Wine

First recorded by Lee Hazelwood & Suzi Jane Hokom (1966).
Hit version by Nancy Sinatra & Lee Hazelwood (US #49/AUS #14 1967), Ville Valo & Natalia Avelon (GER 2007).

From the wiki: “‘Summer Wine’ was written by Lee Hazlewood. It was originally sung in 1966 by Hazelwood and Suzi Jane Hokom, but it was made famous in 1967 by Hazelwood in duet with Nancy Sinatra, the first of a string of popular duets by Hazelwood and Sinatra. The song has since been covered by the likes of Demis Roussos with Nancy Boyd, Bono of U2 with The Corrs, and others.

“The Nancy & Lee version was originally released on Sinatra’s Nancy in London album in late 1966 and later as the B-side of her ‘Sugar Town’ hit single in December 1966. ‘Summer Wine’ itself became a hit, reaching #49 on Billboard’s Hot 100 chart in April 1967.

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1960s, Folk

Until It’s Time For You to Go

Written and first recorded by Buffy St. Marie (1965).
Hit versions by The Four Pennies (UK #19 1965), Neil Diamond (US #53/MOR #11 1970), Elvis Presley (US#40/MOR #9/UK #5 1972), The New Birth (US #97/R&B #21 1973).

From the wiki: “‘Until It’s Time for You to Go’ was written by Canadian First Nations singer-songwriter Buffy Sainte-Marie for her 1965 album Many a Mile. It was a UK Top 20 hit for British group The Four Pennies in 1965, a Billboard Hot 100 single for Neil Diamond in 1970, an MOR and Top-5 UK for Elvis Presley in 1972, and a modest R&B hit in 1973 for The New Birth featuring future Supremes member Susaye Greene.”

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1960s, Pop

Trains, Boats and Planes

Written and first recorded by Burt Bacharach (UK #4 1965).
Other hit versions by Billy J. Kramer & the Dakotas (US #47/MOR #10/UK #12 1965), Dionne Warwick (US #22 1966).

From the wiki: “‘Trains and Boats and Planes’ was written by Burt Bacharach and Hal David, and was first recorded in 1965 by Bacharach who achieved a Top 5 hit in the UK with his single.

“Bacharach and David wrote the song at a time when they had achieved great popular success, and Bacharach in particular was traveling widely to record and promote his songs. The pair intended the song to be recorded by Gene Pitney, who had had several hits with earlier Bacharach and David songs including ‘Only Love Can Break a Heart’. However, Pitney declined to record it, telling Bacharach ‘It’s not one of your better ones.’ Bacharach then recorded it himself, in London, with an orchestra, chorus, and uncredited vocals by female session singers The Breakaways. His arrangement was issued on the album Hit Maker! Burt Bacharach plays the Burt Bacharach Hits in 1965 (reissued in 1968 as Burt Bacharach Plays His Hits), and as a UK-only single.

“Other hit versions were recorded by Billy J. Kramer & The Dakotas (also in 1965), and by Dionne Warwick in 1966.

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1960s, Jazz

Whipped Cream

First recorded by The Stokes (1964).
Hit version by Herb Alpert & the Tijuana Brass (US #68/MOR #13 1965).

From the wiki: “‘Whipped Cream’ was written by Allen Toussaint (‘Yes, We Can Can‘, ‘Java‘, ‘I Like It Like That‘). (Naomi Neville, the credited writer, was one of two pseudonyms used by Toussaint to honor his parents, Clarence and Naomi, who had always been supportive of his music.)

“In 1964, in the midst of a two-year stint in the military, Toussaint took his army band into the studio and, under the name of The Stokes, recorded ‘Whipped Cream’.

“A year later, Herb Alpert jumped on the melody for his Tijuana Brass, recording it note-for-note, creating a memorable album cover, a hit single (and 1965’s #1 hit album), and the original theme song for the TV sensation The Dating Game.”

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1960s, Country

Rose Garden

First recorded by Billy Joe Royal (1967).
Also recorded by Dobie Gray (US #119 1969), Joe South, writer (1969), The Three Degrees (1970), .
Hit versions by Lynn Anderson (US #3/C&W #1/UK #3 1970), Sandi Shaw (UK #57 1971).

https://youtu.be/scMVzd-wj7c

From the wiki: “‘Rose Garden’ was written by Joe South (‘Down in the Boondocks’) and first recorded by Billy Joe Royal (‘Down in the Boondocks’, ‘Hush‘) in 1967 for the album Billy Joe Royal Featuring Hush.

“Several cover versions were recorded soon thereafter (sometimes titled ‘(I Never Promised You A) Rose Garden’), including productions by the writer, Joe South, Dobie Gray and The Three Degrees, before Lynn Anderson took ‘Rose Garden’ to the top of the US Country Singles chart. Anderson had wanted to record the song but her producer (and husband) Glenn Sutton felt it was a ‘man’s song’, in part because of the line ‘I could promise you things like big diamond rings’.

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1960s, Folk

The Unicorn Song

Written and first recorded by Shel Silverstein (1962).
Hit version by The Irish Rovers (US #7/MOR #2/IRE #5 1968).

From the wiki: “‘The Unicorn Song’ was written and first recorded by Shel Silverstein in 1962, released in 1962 on his album Inside Folk Songs. The song tells that unicorns were not a myth but a creature that literally missed the boat, not boarding the Ark in time to be saved from the Great Flood.

“The song was made very popular by the Irish Rovers, from Toronto, Canada, in 1968. It remains one of the best-known songs of the the Irish Rovers’ long career.

“In their original recording of the song, the Irish Rovers speak half of the lyrics; on the remakes, the majority of the song is sung – except for the final line, which is also spoken freely, without the music. In 1981, Will Millar of the Irish Rovers opened an Irish pub in Toronto under the name The Unicorn.”

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1960s, Rock 'n Roll

Quarter to Three

Based on “A Night with Daddy G – Part 1” by The Church Street Five (1961).
Hit version by Gary “U.S.” Bonds (US #1/R&B #3/UK #7 1962).
Also performed by Bruce Springsteen & The E Street Band (1975).

From the wiki: “‘Quarter to Three’ was adapted and expanded from ‘A Night with Daddy ‘G’ – Part 1′, a 1961 instrumental recording by the Church Street Five and written by written by Gene Barge, Frank Guida (‘If You Wanna Be Happy‘), and Joseph Royster. ‘Daddy G’ was saxophone player Gene Barge, who would go on to be featured on all Gary ‘U.S.’ Bonds’ hits. Barge’s group, The Church Street Five, scored a bubbling-under hit with ‘A Night With Daddy ‘G” before Bonds would compose a vocal arrangement for the song (listed under his birth name, Gary Anderson). It was co-writer Guida who discovered and named Bonds, and the recording of ‘Quarter to Three’ took place during a party celebrating Bond’s first hit ‘New Orleans’.

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1960s, R&B

Love Is a Wonderful Thing

Based on “Love Is a Wonderful Thing” written and first recorded by The Isley Brothers (1964 |US #110 1966).
Hit version by Michael Bolton (US #4/MOR #1/UK #23/CAN #2/NZ #12 1991).

From the wiki: “In 1964, the Isley Brothers recorded a song titled ‘Love Is a Wonderful Thing’. Not included on an Isley Brothers album until years later, the song was first released as a single in 1966 with minimal chart impact.

“Michael Bolton’s song, ‘Love Is a Wonderful Thing’, was found to contain similarities to the Isleys’ song that exceeded the title. In 1994, a jury found songwriters Bolton and Andrew Goldmark liable for copyright infringement due to multiple similarities between the two songs. The pair were ordered to pay the Isleys all profits earned from the Bolton single plus 28% of the album profits.”

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1960s, Folk

I Am a Rock

Written and first recorded by Paul Simon (1965).
Hit version by Simon & Garfunkel (US #3/UK #17 1966).

From the wiki: “‘I Am a Rock’ was written by Paul Simon, and first recorded by Simon solo as the opening track on his album The Paul Simon Songbook which he originally recorded and released as a solo performance in August 1965 but only in the United Kingdom. Later that year, Simon and Art Garfunkel, as the American pop/folk duo Simon & Garfunkel, re-recorded the song on December 14, 1965, and included it as the final track on their album Sounds of Silence. ‘I Am a Rock’ became the duo’s third Top 5 hit in the US when released as a single in May 1966.”

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1960s, Pop

The Way of Love

First recorded by Kathy Kirby (US #88 1965).
Hit version by Cher (US #7/MOR #2 1972).

From the wiki: “‘The Way of Love’ was originally written by Jack Diéval (as ‘J’ai le mal de toi’) in 1960 with French lyrics by Michel Rivgauche for singer Frédérica as an entry in the national elimination rounds of France for the 1960 Eurovision Song Contest. The song, however, was not selected and was evidently not recorded by Frédérica.

“In June 1965, the English rendering, titled ‘The Way of Love’, was recorded in the UK as a single by Kathy Kirby. ‘The Way of Love’ failed to reach the UK Top 50 but did become a regional hit in the United States reaching #88 nationally. Cher’s 1972 recording was produced by Snuff Garrett and was released in February 1972 as the second single from the album Gypsys, Tramps & Thieves, spending three weeks in the US Top 10.”

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1960s, Country

Don’t Let the Rain Come Down (Crooked Little Man)

First recorded (as “Crooked Little House”) by Jimmie Rodgers (1960).
Hit version by The Serendipity Singers (US #6/MOR #2 1962).

From the wiki: “‘Don’t Let the Rain Come Down (Crooked Little Man)’ was written by rockabilly singer-songwriter Ersel Hickey, with the lyrics based on the English nursery rhyme ‘There Was A Crooked Man’, with a Calypso-flavored arrangement. It was first recorded in 1960 by country singer Jimmie Rodgers (‘Honeycomb’, ‘Kisses Sweeter Than Wine’) with no apparent chart impact. (This Rodgers is not to be confused with country music pioneer Jimmie Rodgers).

“In 1962, ‘Crooked Little Man’ was covered by The Serendipity Singers as their debut recording, and it charted Top-10 on both the Billboard Hot 100 and Easy Listening charts that year.”

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1960s, R&B

All These Things

First recorded by Art Neville (1962).
Also recorded by The Uniques (US #97 1966).
Other hit version by Joe Stampley (C&W #1 1976).

From the wiki: “‘All These Things’ was written by Allen Toussaint (under the pseudonym of ‘Naomi Neville’) and was first recorded by Art Neville in 1962.

“The most successful chart hit version was recorded by country artist Joe Stampley in 1976, peaking at #1 on the US Country Singles chart – almost a cover-of-a-cover, because a decade earlier, in 1966, Stampley had first recorded a cover of the same song with his band, the Uniques, but which barely cracked the Billboard Hot 100.”

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1960s, Pop

Delilah

First recorded by P.J. Proby (1967, released 2008).
Hit versions by Tom Jones (US #15/MOR #8/CAN #2/UK #2/IRE #1/GER #1 1968), The Sensational Alex Harvey Band (UK #7 1975).

From the wiki: “‘Delilah’ was written by Barry Mason and Sylvan Whittingham, to the music by Les Reed, who also contributed the title and theme of the song (a ‘murder ballad’), and earned Reed and Mason the 1968 Ivor Novello award for Best Song Musically and Lyrically. It was first recorded by P.J. Proby in 1967, for his album Believe It Or Not, in sessions produced by co-writer Reed.

“Proby hated the song thinking it sounded like a German bierkeller [‘beer cellar’ song] and refused its release. (Proby’s original version remained unreleased for the next 40 years until its eventual release in 2008 on the compilation album P.J. Proby: The Best of The EMI Years.) Reed knew it was a hit-in-waiting and offered the song to Tom Jones. Reed was also the musical director on Tom`s cover version which explains why both the Proby and Jones arrangements sound identical.

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1960s, Soul

Every Little Bit Hurts

First recorded by Brenda Holloway (1962).
Hit versions by Brenda Holloway (US #13/R&B #3 1964), The Spencer Davis Group (UK #41/CAN #5 1965), “Shirley” Strachan (AUS #3 1976).
Also recorded by The Clash (1980, released 1991), Alicia Keys (2005).

From the wiki: “‘Every Little Bit Hurts’ was a 1964 hit single for Motown soul singer Brenda Holloway (‘You’ve Made Me So Very Happy‘), written by Ed Cobb (‘Tainted Love‘) of The Four Preps (‘Love of the Common People‘). It was first recorded by the then-16-year old Holloway in 1962 for the Del-Fi record label without any chart impact.

“After being signed to Motown Records, Holloway was reluctant to re-record the song and later said she was upset during the sessions; several takes were recorded before producers felt that Holloway had hit her mark. Released in April 1964, three months before Holloway’s eighteenth birthday, the song peaked at #13 on the Billboard Hot 100 and charted Top-5 on the R&B chart.”

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1960s, Jazz

Cast Your Fate to the Wind

Written and first recorded by The Vince Guarldi Trio (US #22/MOR #9 1962).
Also recorded by Quincy Jones (1963 |1971).
Other hit versions by Mel Torme (as “Cast Your Fate to the Winds” AUS #13 1964), Sounds Orchestral (US #10/MOR #1/UK #5 1964).

From the wiki: “‘Cast Your Fate To The Wind’ is a jazz instrumental with music composed and first recorded by Vince Guaraldi. It won a Grammy Award for Best Original Jazz Composition in 1963. Included on the album Jazz Impressions of Black Orpheus, the title on the label contained a printing error and, at least some copies of the album, read: ‘Cast Your Faith To The Wind’, an unintentionally comic twist to the sentiment of the song.

“In Australia, a vocal version by Mel Tormé (with lyrics by Carel Werber) was a hit in 1963. In 1965 the British group Sounds Orchestral redirected the song away from jazz to more of a ‘nightclub sound’. That version attained #5 in the UK, #10 on the US Billboard Hot 100, and was #1 for three weeks in May 1964 on the US Easy Listening chart.

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1960s, Pop

Alfie

First recorded by Cilla Black (US #95/UK #9 January 1966).
Also recorded by Jerry Butler (May 1966, released December 1967), Dee Dee Warwick (May 1966, released 1967).
Other hit versions by Cher (US #32/CAN #36 June 1966), Dionne Warwick (US #15/R&B #5 December 1966).

From the wiki: “‘Alfie’ was written by Burt Bacharach and Hal David to promote the 1966 film Alfie. Although Bacharach and David suggested ‘Alfie’ be recorded by Dionne Warwick, their most prolific interpreter, Paramount felt the film’s setting demanded the song be recorded by a UK singer. Accordingly, the initial invitation to record ‘Alfie’ was made to Sandie Shaw who had had a UK #1 hit with the Bacharach/David composition ‘(There’s) Always Something There to Remind Me’. When the invitation to Shaw was declined ‘Alfie’ was offered to Cilla Black, who had also had a previous UK #1 with a Bacharach/David song: ‘Anyone Who Had a Heart’.

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1960s, Pop

Young Love

Co-written and first recorded by Ric Cartey & the Jiva-Tones (1956).
Hit versions by Sonny James (US #4/C&W #1 1957), Tab Hunter (US #1 1957), The Crew Cuts (US #17 1957), Connie Smith & Nat Stuckey (C&W #20 1969), Donny Osmond (US #25/UK #1 1973).

From the wiki: “‘Young Love’ was written by Ric Cartey and Carole Joyner, and was first recorded by Ric Cartey & the Jiva-Tones in November, 1956. Cartey’s version never charted but better-known versions were released within a short time – by Sonny James (January 5, 1957), Tab Hunter (a January 19, 1957 release that did even better on the charts than James’) and The Crew-Cuts (January 26, 1957). James’ recording was produced in October 1956 at Bradley Studio in Nashville, Tennessee, with vocal backing provided by the Jordanaires, the Nashville-based vocal group most known for their work with Elvis Presley.

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1960s, Rock

Across the Universe

First released by The Beatles (1969).
Hit album version by The Beatles (1969).

From the wiki: “‘Across the Universe’ was written by John Lennon, and credited to Lennon–McCartney.

“The song, the recording of which began in February 1968 and mastered in October 1969, first appeared on a various-artists’ charity compilation album for the World Wildlife Fund, No One’s Gonna Change Our World, released in December 1969. This version had been considered for release as a Beatles’ single but was instead donated to the WWF. In its place, ‘Lady Madonna’ became the group’s next 45.

“This original release would later be included among the tracks assembled for the 1978 Rarities compilation, and again in 1988 with the release of the Past Masters compilations. However, ‘Across the Universe’ would appear, in somewhat different form, in May 1970 on Let It Be, the Beatles’ final released album.

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1960s, Latin

Mas, Que Nada!

First recorded by Jorge Ben (1963).
Hit version by Sergio Mendes & Brasil ’66 (US#47/MOR #4 1966).

From the wiki: “‘Mas, Que Nada!’ was written and originally performed by Jorge Ben (‘Do You Think I’m Sexy?‘) on his 1963 debut album. The song would later become a signature song – and a US hit – of Sérgio Mendes & Brasil ’66.

“‘Mas, Que Nada!’ has been voted by the Brazilian edition of Rolling Stone magazine as the 5th greatest Brazilian song of all time, and has been inducted into the Latin Grammy Hall of Fame.

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1960s, Rock

Melissa

First recorded by The 31st of February (1968).
Hit album version by The Allman Brothers (1972).

From the wiki: “‘Melissa’ was written by vocalist Gregg Allman, but dates beyond The Allman Brothers band’s inception and well-known 1972 recording. It was first written in late 1967, and two demo versions from those years exists, including a version cut by the 31st of February, a band formed by drummer Butch Trucks and which, by 1968, was to include post-Allman Joy/Hour Glass band members Duane and Gregg Allman.

“The song had its genesis after Allman had struggled previously to create any song with substance — ‘Melissa’ was among the first that survived after he tossed nearly 300 attempts. The song’s namesake was almost settled as ‘Delilah’ before ‘Melissa’ came to Allman in, of all places, a grocery store where he was buying milk late one night, as he told the story in his memoir, My Cross to Bear:

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1960s, Soul

(We’ll Be) United

First recorded by The Intruders (US #78/R&B #14 1966).
Hit version by Peaches & Herb (US #46/R&B #11 1968).

From the wiki: “The Intruders were one of the first groups to have hit songs under the direction of songwriters and record producers Kenny Gamble and Leon Huff (Harold Melvin & The Blue Notes, The O’Jays), they had a major influence on the development of Philadelphia soul. In 1965, when Gamble and Huff first contemplated leaving the Cameo-Parkway record label to risk launching their own label, the vocalists on which they pinned all their hopes and venture capital were The Intruders.

“Gamble and Huff’s success with The Intruders helped convince Columbia Records to grant them the money to launch Philadelphia International. ‘(We’ll Be) United’ was the first charting song for The Intruders, peaking at #14 on the Billboard Soul chart, and #78 on the Billboard Hot 100, in 1966.

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1960s, Pop

Make the World Go Away

First recorded by Timi Yuro (US #24/CAN #11 1963).
Other hit versions by Ray Price (C&W #1 1963), Eddy Arnold (US #6/C&W #1/MOR #1 1965), Donny & Marie Osmond (US#44/MOR #31/UK #18 1975).
Also recorded by Jim Reeves (1964).

From the wiki: “‘Make the World Go Away’ was composed by Hank Cochran (‘I Fall to Pieces’) and first recorded by Timi Yuro in June, 1963. It has become a Top 40 popular success three times: for Yuro (1963), for Eddy Arnold (1965), and for the brother-sister duo Donny & Marie Osmond (1975) and topped the Country Singles chart (Ray Price, 1963). ‘Make the World Go Away’ was also recorded in July, 1964 by Jim Reeves, at his last recording session before dying in a plane crash two weeks later, for what would become the album The Jim Reeves Way.

“For Price, ‘Make the World Go Away’ was one of his first songs to feature an orchestra and female chorus, a trend that he would continue with other songs like ‘For the Good Times’. Arnold’s production was similarly recorded, the so-called ‘Nashville Sound’, an early mixture of Pop with Country music, and became one of the most popular recordings of 1960s Country music and is generally considered to be Arnold’s best-known song.”

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1960s, Rock

Nobody

First recorded by Larry Williams & Johnny Watson with The Kaleidescope (1967).
Bubblin’-Under Hit version by Three Dog Night (US #116 1968).

http://youtu.be/_Z0o_Sp61_g

From the wiki: “The Kaleidoscope (featuring Chris Darrow, Earl Palmer and future Jackson Browne/Warren Zevon sideman David Lindley). Kaleidoscope returned briefly for studio work to back Larry Williams and Johnny ‘Guitar’ Watson on their 1967 single ‘Nobody’. (The group would later back Leonard Cohen on ‘So Long Marianne’ and ‘Teachers’ on Cohen’s first album.) ‘Nobody’ would be covered in 1968 by Three Dog Night and released as that group’s very first single.

“Larry Williams was making comeback in the mid-1960s while, at the same time, luring Little Richard back into secular music. Williams produced two Little Richard albums for Okeh Records in 1966 and 1967, returning Little Richard to the Billboard album chart for the first time in ten years. Williams also acted as the music director for the Little Richard’s live performances at the Okeh Club. Bookings for Little Richard during this period skyrocketed. Williams also recorded and released material of his own and with Watson, with some moderate chart success.

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1960s, Rock

Celebrate

Co-written and first recorded by Garry Bonner (1969).
Also recorded by Spice (1969, released 1974).
Hit version by Three Dog Night (US #15/CAN #8 1970).

http://youtu.be/Y4aufvlZfCY

From the wiki: “‘Celebrate’ was cowritten by Garry Bonner with Alan Gordon, who also cowrote The Turtles’ ‘Happy Together’ and ‘She’d Rather Be With Me’, and first recorded by Bonner in 1969. It was covered in 1969 by Spice, the immediate precursor to the English band Uriah Heep, but went unreleased until 1994’s The Lansdowne Tapes compilation. In 1970, Three Dog Night recorded ‘Celebrate’ for their Suitable for Framing, and released it as the album’s third single.”

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