Songs with Earlier Histories Than the Hit Version

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Category: Pop

1980s, Pop

Any Other Fool

First recorded by Dusty Springfield (recorded ca. 1989, released 1997).
Hit version by Sadao Watanabe & Patti Austin (US #6 1990).

From the wiki: “‘Any Other Fool’ was written by Diane Warren (‘Set the Night to Music‘, ‘Because You Loved Me’) and Robbie Buchanan. It was first recorded in late 1988 or early 1989 by Dusty Springfield for a planned inclusion on her album, Reputation.

“But, Springfield was said to have been upset that Warren had also given the song to someone else when it had been promised to her. She then chose not to include her own recording when Reputation was released in 1990. But, in 1997, when the album was repackaged and re-released (only in the UK), as Reputation and Rarities, Springfield’s recording of ‘Any Other Fool’ was included as a bonus CD track.

“That ‘someone else’ were Sadao Watanabe and Patti Austin, whose recording of ‘Any Other Fool’ was released as a single on Dec. 9, 1989 from Watanabe’s Front Seat album. Their single peaked at #6 on the Billboard Hot 100 on Feb. 24, 1990, spending a total of 23 weeks on the chart.”

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1950s, Pop

Baubles, Bangles & Beads

First recorded by the Original Cast of Kismet (1953).
Based in part on “Quartet No. 2 in D Major (II)” by Alexander Borodin.
Hit versions by Peggy Lee (US #30/AUS #9 1953), Georgia Gibbs (B-side US #18 1954), The Kirby Stone Four (US #25 1958), Frank Sinatra (1959), Frank Sinatra & Antonio Carlos Jobim (1967), Deodato (1973).
Also recorded by The Buenos Aires Classical Ensemble (1987).

From the wiki: “‘Baubles, Bangles & Beads’ is from the 1953 musical Kismet, credited to Robert Wright and George Forrest. Like all the music in that show, the melody was based on a work by classical composer Alexander Borodin – in this case the second theme of the second movement of his String Quartet in D Major.

“The best-selling version of the song was recorded by Peggy Lee in 1953, charting in 1954. Another popular cover from 1954 was recorded by Georgia Gibbs, released as the B-side to ‘Somebody Bad Stole De Wedding Bell’. A Kirby Stone Four re-make hit the Billboard Hot 100 in 1958, peaking at #25, and remains the favorite cover heard on many Adult Standard (MOR) radio stations.

“Frank Sinatra recorded the song twice: in 1959 with the Billy May Orchestra, for the album Come Dance with Me! (which won Grammy awards in 1960 for Album of the Year as well as Best Vocal Performance, Male, while arranger Billy May won the Grammy for Best Arrangement); and again in 1967 with a bossa nova arrangement recorded with guitarist Antonion Carlos Jobim. (Eumir) Deodato recorded an instrumental version for his hit LP, Deodato, in 1973.

“The most curious version mixed the scherzo of Borodin’s ‘String Quartet No. 2’ with a pop arrangement of ‘Baubles, Bangles & Beads’, under the name ‘Borodin, Bangles & Beads’, and arranged by the Argentine Ernesto Acher in 1987 on his album Juegos.”

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2000s, Pop

Play That Song

Inspired by “Heart & Soul” by Hoagy Carmichael & Frank Loesser (1938).
Hit version by Train (US #41/UK #21/AUS #8 2016).

From the wiki: “Train’s ‘Play That Song’ incorporates the melody of ‘Heart and Soul‘, written in 1938 by Hoagy Carmichael and Frank Loesser. They are credited as ‘Play That Song’ writers, alongside Train lead singer Patrick Monahan and producer William Wiik Larsen.

“The original recording of ‘Heart and Soul’ was performed by Larry Clinton & his Orchestra featuring Bea Wain, one of three versions that would chart in 1939: Larry Clinton (reaching #1 on the chart), Eddy Duchin (reaching #12), and Al Donahue (reaching #16). ‘Heart and Soul’ later charted as #11 in 1952 by The Four Aces with the Jack Pleis Orchestra. The Cleftones charted a rock ‘n roll version of the song in 1961, a recording that was also popularly used in the 1972 movie American Graffiti.

“‘Play That Song’ was released on September 29, 2016 as the lead single from Train’s tenth studio album A Girl, a Bottle, a Boat (2017). The song has peaked at #41 on the US Billboard Hot 100 but became a Top-10 hit in Australia.”

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1900s, Pop

Daisy Bell (Bicycle Built for Two)

Early recording by Edward M. Favor (1894).
Other popular recordings by Dinah Shore (1942), Charlie & His Orchestra (1942), Nat “King” Cole (1963).
Also recorded by IBM 1094 (1961), “HAL 9000” (1968), Katy Perry (2014).

From the wiki: “‘Daisy Bell (Bicycle Built for Two)’ was written in 1892 by Harry Dacre. The song is said to have been inspired by Daisy Greville, Countess of Warwick, one of the many mistresses of King Edward VII (1841-1910). The song was first recorded and released by Dan W. Quinn in 1893. Edward M. Favor recorded a version in 1894 that still exists.

“In 1942, when Dinah Shore appeared on Eddie Cantor’s popular radio show, she performed a clever arrangement of the song. The Nazi-sponsored German propaganda swing band, Charlie & His Orchestra, also released a cover of the song in 1942, aimed at listeners in the UK and the US. Nat King Cole recorded a cover for his popular 1963 album Those Lazy-Crazy-Hazy Days of Summer.

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1970s, Pop

Love Me

Written and first recorded by The Bee Gees (1976).
Hit versions by Yvonne Elliman (US #20/UK #6/IRE #9/NZ #3 1976), Martine McCutcheon (UK #6 1999).

From the wiki: “‘Love Me’ was first recorded and released by the Bee Gees, released on the 1976 album Children of the World. It was written by Barry and Robin Gibb featuring Robin on lead with his falsetto (with Barry on the middle eight evidenced on the outro), making this song a curio among the group’s mid- to late-’70s tracks as Barry sang most of the The Bee Gee’s lead vocals.

“Yvonne Elliman’s version was more successful than the Bee Gees’, reaching the Top-20 US chart, and Top-10 in the UK, Ireland and New Zealand. Martine McCutcheon remade ‘Love Me’ for her 1999 debut album You, Me & Us from which the track — serving as the BBC Children in Need single for 1999 — was issued as the third single.”

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1940s, Pop

Old Devil Moon

First performed by Ella Logan & Donald Richards (1947).
First recorded by Charley Spivak & His Orchestra (1947).
Hit versions by Margaret Whiting (US #11 1947), Gene Krupa & His Orchestra (US #21 1947).
Also recorded by Miles Davis (1954), Sarah Vaughn (1954), Frank Sinatra (1956), Chet Baker (1958).

From the wiki: “‘Old Devil Moon’ was composed by Burton Lane, with lyrics by E.Y. Harburg, for the 1947 musical Finian’s Rainbow. It was introduced on stage by Ella Logan and Donald Richards. It was first recorded for commercial release by Charley Spivak & His Orchestra. Singer Margaret Whiting spent six weeks on the Billboard music chart in 1947 with her cover recording, from the Margaret Whiting Sings album, peaking at #11.

“Gene Krupa & His Orchestra, with a vocal by Carolyn Grey, also charted in 1947 with an arrangement of ‘Old Devil Moon’.

“Miles Davis recorded a popular instrumental version in 1954 for his Miles Davis Quartet 10″ album that would be reissued two years later, with additional tracks, on the compilation album, Blue Haze, in the new 12″ vinyl LP format.

“Another popular rendition of this song was recorded by Frank Sinatra, who included ‘Old Devil Moon’ on his 1956 Capitol Records LP Songs for Swingin’ Lovers!, an album that peaked at #1 in the UK. Sarah Vaughn and Chet Baker also recorded vocal arrangements for popular albums, released in 1954 and 1958 respectively.”

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1910s, Pop

Peg o’ My Heart

First recorded by Charles Harrison (US #1 1913).
Other hit versions by Henry Burr (US #2 1913), The Three Suns (US #1 1947), Buddy Clark (US #1 1947), The Harmonicats (US #1 1947), Ted Weems & His Orchestra (US #5 1947).
Also recorded by Dropkick Murphys w/ Bruce Springsteen (2011).

From the wiki: “‘Peg o’ My Heart’ was written by Alfred Bryan and Fred Fisher. The song was inspired by the main character, Peg, in the very successful musical comedy of the time, Peg O’ My Heart, starring Laurette Taylor in the title role. It would be first performed publicly by Irving Kaufman in 1912 at The College Inn in New York City after he had stumbled across a draft of sheet music on a shelf at the Leo Feist publishing offices. ‘Peg o My Heart’ would be featured in the 1913 musical Ziegfeld Follies where it gained wide attention.

“The first recording of ‘Peg o’ My Heart’ was made by Charles Harrison, in July 1913. Henry Burr (‘Are You Lonesome Tonight?‘) followed in August 1913 with his rendition. Both proved to be nationally-popular recordings. ‘Peg o’ My Heart’ saw a resurgence of popularity after WWII with numerous covers jockeying for popularity in 1947, including #1 recordings by The Three Suns, Buddy Clark, and The Harmonicats. In 2011, Celtic punk band Dropkick Murphys would revive the song, with a guest appearance by Bruce Springsteen.”

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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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1980s, Pop

Human Nature

Written and first recorded (as a demo) by Steve Porcaro (1983).
Hit version by Michael Jackson (US #7/MOR #2/R&B #27/CAN #11/BEL #12/NETH #11 1984).
Also recorded by Miles Davis (1985), Mike Porcaro (2017).

From the wiki: “‘Human Nature’ was written by Toto band member Steve Porcaro about a playground incident his daughter had at school earlier in the day. (A boy had hit her after she fell off the slide – Porcaro said ‘she asked [me] why?’ and he replied ‘it was human nature.’) Procaro wrote the song that night in a studio while the band was mixing their single, ‘Africa’, in another studio.

“Soon after, bandmate David Paich called Procaro one day to make a cassette tape of 2 songs David had written for Michael Jackson’s new Thriller album project, for someone to pick up for delivery. Procaro happened to use the cassette he recorded ‘Human Nature’ on, putting Paich’s songs on the opposite side and switching the labels to read Side-A. In a happy accident, the deck’s auto-playback kicked in while Jackson producer Quincy Jones was in his car listening to Porcaro’s cassette demo. Jones got to hear ‘Human Nature’ on Side B, and loved it.

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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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1950s, Pop

The Ballad of Davy Crockett

First performed by The Wellingtons (1954).
First released by Bill Hayes (US #1/UK #2 1955).
Other hit versions by Fess Parker (US #6 1955), Tennessee Ernie Ford (US #5/C&W #4/UK #3 1955), Mac Wiseman (US #10 1955), Max Bygraves (UK #20 1955).

From the wiki: “‘The Ballad of Davy Crockett’ was introduced on ABC’s television series Disneyland, in the premiere episode of October 27, 1954, sung by The Wellingtons but performed on-screen by Fess Parker, playing the role of Davy Crockett, accompanied by similarly attired musicians. The song would later be heard throughout the follow-up Disneyland television miniseries, Davy Crockett, first telecast on December 15, 1954. The Wellingtons were originally called The Lincolns, and recorded for Kapp Records. As The Wellingtons, they were signed by Walt Disney to record the theme song for Disney’s The Wonderful World of Color and, subsequently, ‘The Ballad of Davy Crockett’.

“Trivia: Gilligan’s Island producer Sherwood Schwartz, working with composer George Wyle, came up with a Folk song theme song that told the back story of the castaways, and hired The Wellingtons to sing it. The song was a hit. The Wellingtons appear in a second season (1965–66) episode of Gilligan’s Island as a Rock group called ‘The Mosquitoes’.

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1950s, Pop

Cara Mia

First recorded by David Whitfield & the Mantovani Orchestra (US #10/UK #1 1954).
Other hit version by Jay & the Americans (US #4 1965 |NETH #1 1980).

From the wiki: “Authorship of ‘Cara Mia’ (in Italian, ‘my beloved’) is credited to Tulio Trapani (the nom de plume of the song’s co-writer and arranger Mantovani) and Lee Lange (Bunny Lewis, David Whitfield’s producer). English singer David Whitfield first recorded the song with the Mantovani Orchestra in 1954. Whitfield’s version became one of the biggest selling British records in the pre-rock days, the first UK record to spend ten consecutive weeks at #1 on the UK Singles chart. It sold more than three and a half million copies worldwide and was also a Top-10 hit in the US.

“The 1965 cover by Jay & the Americans became a #4 hit in the US. It was re-released in 1980 in the Netherlands and became a #1 hit there.”

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1980s, Pop

Memory

First performed and recorded by Elaine Paige (UK #6 1981).
Similar to “Bolero in Blue” by Larry Clinton (1940).
Other hit versions by Barbra Streisand (US #52/MOR #9/UK #34 1982), Barry Manilow (US #39/MOR #8 1982), Elaine Paige rerecording (UK #36 1998).

From the wiki: “‘Memory’, often incorrectly called ‘Memories’, is a show tune from the 1981 musical Cats. Its writers, Andrew Lloyd Webber and Cats director Trevor Nunn, received the 1981 Ivor Novello award for Best Song Musically and Lyrically. (Prior to its inclusion in Cats, the tune was earmarked for earlier Lloyd Webber projects, including a ballad for Perón in Evita, and as a song for Max in his original 1970s draft of Sunset Boulevard.)

“The lyric was based on T. S. Eliot’s poems ‘Preludes’ and ‘Rhapsody on a Windy Night’. Composer Lloyd Webber feared that the tune sounded too similar to Ravel’s ‘Bolero’ and to a work by Puccini, and also that the opening – the haunting main theme – closely resembled the flute solo (improvised by Bud Shank in the studio) from The Mamas & the Papas’ 1965 song ‘California Dreamin””.

“Lloyd-Webber asked his father’s opinion; according to him, his father responded ‘It sounds like a million dollars!’ While Lloyd Webber does acknowledge Ravel’s ‘Bolero’, there is no mention of similarity to ‘Bolero in Blue’ written by Larry Clinton, replicating note-for-note the first several measures from Clinton’s composition.

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1960s, Pop

I Love How You Love Me

Co-written and first recorded (as a demo) by Barry Mann (1961).
Hit versions by The Paris Sisters (US #5 1961), Jimmy Crawford (UK #18 1961), Paul & Barry Ryan (UK #21 1966), Bobby Vinton (US #9/MOR #2 1968), Lynn Anderson (C&W #18 1979), Glen Campbell (C&W #17 1983).

From Songfacts.com: “‘I Love How You Love Me’ was written by Barry Mann (‘Who Put the Bomp’, ‘Venus in Blue Jeans‘, ‘We Gotta Get Out of This Place‘, ‘Never Gonna Let You Go‘) and Larry Kolber, and first recorded as a demo by Mann in 1961. According to Rich Podolsky’s book Don Kirshner: The Man with the Golden Ear, Kolber’s post-military career (he had been a journalist for Stars & Stripes) found him, first, a whiskey salesman and, then, after a casual encounter, a budding lyricist – an unpredictable twist. It was while having lunch at a cafe on Manhattan across the street from Aldon Music that Kolber literally jotted down on a napkin the lyrics, in minutes, to ‘I Love How You Love Me’! Kolber went across to Aldon to look for someone to set his lyrics to music. Barry Mann happened to be in the Aldon offices just at that moment, and it was he who set Kolber’s lyrics to music.

“Tony Orlando was originally slated to sing it, but Phil Spector happened to drop by and asked for the song for one of his girl groups. Kolber was disappointed, thinking that he’d lost a shot at fame without Orlando’s voice.

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1960s, Pop

Pleasant Valley Sunday

Co-written and first recorded (as a demo) by Carole King (1967).
Hit version by The Monkees (US #3/CAN #2/UK #11 1967).

From the wiki: “‘Pleasant Valley Sunday’ was written by Gerry Goffin and Carole King, and was first recorded in 1967 as a demo by King. Goffin’s and King’s inspiration for the name was a street named Pleasant Valley Way, in West Orange, New Jersey where they were living at the time. The road follows a valley through several communities among the Watchung Mountains. The lyrics were a social commentary on status symbols, creature comforts, life in suburbia and ‘keeping up with the Joneses’.

“The Monkees’ single peaked at #3 on the Billboard Hot 100 and was featured in the second season of their television series. The Monkees. ‘Pleasant Valley Sunday’ also appeared on the fourth Monkees album, Pisces, Aquarius, Capricorn & Jones Ltd., in November 1967. While mono copies of the album had the same version heard on the single, stereo copies had a version using a different take of the first verse and an additional backing vocal during the break.”

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1960s, Pop

Take Good Care of My Baby

First recorded (as a demo) by Carole King (1961).
Also recorded by Dion & the Belmonts (1961), The Beatles (1962, released 2009).
Hit versions by Bobby Vee (US #1/UK #3 1961), Bobby Vinton (US #33 1968).

From the wiki: “‘Take Good Care of My Baby’ was written by Carole King and Gerry Goffin, and was first recorded by King as a demo in 1961.

“Dion & the Belmonts were the first to record the song for commercial release but their version was not published until release of the album Runaround Sue in the slipstream of Bobby Vee’s #1 hit. The song was covered by The Beatles during their failed audition at Decca Records on January 1, 1962 but was unreleased until 2009.

“In 1968, ‘Take Good Care’ became a hit again, this time for Bobby Vinton.”

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1960s, Pop

Go Away Little Girl

First recorded by Bobby Vee (1962).
Hit versions by Steve Lawrence (US #1/R&B #14 1962), Maryk Wynter (UK #6 1962), The Happenings (US #12 1965), Donny Osmond (US #1 1971).
Also recorded (as “Yu-Ma/Go Away Little Boy”) by Marlena Shaw (R&B #29 1977).

From the wiki: “‘Go Away Little Girl’ was written by Gerry Goffin and Carole King, and was first recorded in 1962 by Bobby Vee. The song would go on to become notable for making the American Top-20 three times: for Steve Lawrence in 1962, for The Happenings in 1966, and for Donny Osmond in 1971. ‘Go Away Little Girl’ was also the first song, and one of only nine total, to reach US #1 by two different artists (Lawrence, in 1962; and Osmond, in 1971). The original recording by Vee was cut during same session as ‘It Might As Well Rain Until September’ and ‘Sharing You’. Not satisfied with the result, the song was shelved until producer Don Kirshner passed the song along to his good friend, Steve Lawrence.

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1970s, Pop

No More Drama (ref. “Nadia’s Theme”)

First recorded as “Cotton’s Theme” by Barry De Vorzon and Perry Botkin, Jr. (1971).
Also recorded (as “Cotton’s Theme”) by Sounds of Sunshine (1973). Rereleased as “Nadia’s Theme” by Sounds of Sunshine (1976).
Hit version (as “Nadia’s Theme”) by Barry De Vorzon (US #8/MOR #8/CAN #6 1976).
Hit version (sampled in “No More Drama”) by Mary J. Blige (US #15/R&B #16/UK #9 2001).

From the wiki: “Barry De Vorzon and Perry Botkin Jr. composed this piece of music, originally titled ‘Cotton’s Dream’, as incidental music for the 1971 theatrical film Bless the Beasts and Children. Botkin Jr. later composed a rearranged version of the instrumental theme for the U.S. TV soap opera The Young and the Restless, which debuted on March 26, 1973, on the CBS television network. Although a soundtrack album for the TV series was released by P.I.P. Records in 1974, the LP only contained a vocal cover version recorded by easy-listening group Sounds of Sunshine, rather than the original instrumental recording by De Vorzon and Botkin.

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1960s, Pop

A Little Bit Me, A Little Bit You

Written and first performed (live) by Neil Diamond (1966).
Hit version by The Monkees (US #2/UK #3/CAN #1/AUS #4 1967).

From the wiki: “‘A Little Bit Me, A Little Bit You’ was written by Neil Diamond. He never made a studio recording of the song (as he had done with The Monkees’ ‘I’m a Believer‘), but he did perform ‘A Little Bit Me’ in his live shows circa late 1966.

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1980s, Pop

On the Way to the Sky

Co-written and first recorded by Carole Bayer-Sager (1981).
Hit version by co-writer Neil Diamond (US #27/MOR #4 1982).

From the wiki: “‘On the Way to the Sky’ was written by Neil Diamond and Carole Bayer Sager. First recorded and released by Bayer-Sager in 1981. on her album Sometimes Late At Night, the song would become a chart hit for co-writer Diamond in 1982 when released as the title track promotional single for his fourteenth studio album, On the Way to the Sky.”

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1970s, Pop

A Little Bit More

Written and first recorded by Bobby Gosh (1973).
Hit version by Dr. Hook (US #11/UK #2 1976), 911 (UK #1/IRE #7/NZ #46 1999).
Also recorded by Bill Brantley (1977).

From the wiki: “‘A Little Bit More’ was written and first recorded by Bobby Gosh, released on his 1973 album Sitting in the Quiet. The first hit version was recorded by the band Dr. Hook. Released in 1976, it charted at #11 on the US Billboard Hot 100, and #2 on the UK Singles chart.

“Soul singer Bill Brantley (the ‘Titus’ half of the duo ‘Van & Titus’) recorded a critically well-received cover of ‘A Little Bit More’, releasing it as the A-side of his second solo single in 1976 but with no apparent chart impact.

“In 1998, English boy band 911 recorded a cover of ‘A Little Bit More’ for their third studio album, There It Is (1999). It went on to become one of their most successful singles, debuting at #1 on the UK Singles Chart in January 1999, becoming their only #1 single.”

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1920s, Pop

Blue Skies

First recorded by Vaughn De Leath (1927).
Popular recordings by Ben Selvin (US #1 1927), Al Jolson (1927, in The Jazz Singer), Benny Goodman (1935), Count Basie & His Orchestra (US #8 1946), Bing Crosby (1946), Willie Nelson (MOR #32/C&W #1/CAN #1 1978).
Inspired Theolonious Monk “In Walked Bud” (1947).

From the wiki: “‘Blue Skies’ was composed by Irving Berlin in 1926 as a last-minute addition to the Rodgers and Hart musical Betsy. Although the show ran for 39 performances only, the song was an instant success, with audiences on opening night demanding 24 encores of the piece from star Belle Baker. During the final repetition, Ms. Baker forgot her lyrics, prompting Berlin to sing them from his seat in the front row.

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1950s, Pop

I Left My Heart in San Francisco

First performed by Claramae Turner (1954).
Hit version by Tony Bennett (US #19/MOR #7 1962 |UK #25 1965).

From the wiki: “‘I Left My Heart in San Francisco’ was written in the fall of 1953 in Brooklyn, New York, by George Cory and Douglass Cross, two amateur writers nostalgic for San Francisco after moving to New York. The song was originally written for opera singer Claramae Turner, a personal friend of Cross, who often used it as an encore. However, she never got around to formally recording it for distribution.

“The song then found its way to Tony Bennett through Ralph Sharon, Bennett’s longtime accompanist and friends with the composers. Sharon brought the music along when he and Bennett were on tour and on their way to San Francisco’s Fairmont Hotel.

“Prior to Bennett hearing it, though, the song was first pitched to Tennessee Ernie Ford, who Turner first suggested Cross take it to. Ford turned the song down (but, in a coincidental turn of events, later purchased a ranch in Lake County, California, north of San Francisco, owned by Cross’s family).

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1980s, Pop

Waiting for a Star to Fall

First recorded by Belinda Carlisle (1987).
Hit versions by Boy Meets Girl (US #5/MOR #1/UK #9/CAN #1 1988), Cabin Crew (UK #4 2005), Sunset Strippers (UK #3 2005).

From the wiki: “‘Waiting for a Star to Fall’ was written by Shannon Rubicam and George Merrill, inspired by an actual falling star that Rubicam had seen at one of Whitney Houston’s concerts at the Greek Theatre. Initially, the duo did not consider recording it and, instead, submitted the song to Clive Davis to consider including it on Houston’s next album. But, he rejected it, alleging that the song did not suit her. The song was then offered to and recorded by Belinda Carlisle for her 1987 release, Heaven on Earth. But, Carlisle disliked the song and refused to include it on the album.

“Merrill and Rubicam decided to record the song themselves, as the group Boy Meets Girl, for their second album Reel Life, becoming a Top 10 hit in the US, the UK and Canada.”

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