Songs with Earlier Histories Than the Hit Version

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Category: Pop

1960s, Pop

Happy Heart

Co-written and first recorded (as an instrumental) by The James Last Orchestra (1969).
Hit versions by Nick DeCaro (MOR #22 1969), Petula Clark (US #62/MOR #12 1969/AUS #22), Andy Williams (US #22/MOR #1/UK #19/AUS #22 1969).

From the wiki: “‘Happy Heart’ was written by James Last and Jackie Rae, and was first recorded as an instrumental by The James Last Orchestra in 1969. It was first covered by Nick DeCaro, a version which enjoyed modest success in the U.S. on the Billboard MOR chart. ‘Happy Heart’ would go on to be recorded by both Petula Clark and Andy Williams.

“Clark was reportedly dismayed when Williams, guest-starring on her second U.S. television special, made known his intention to perform ‘Happy Heart’ at the time each were planning to launch arrangements of the song as their next respective single. ‘Happy Heart’ would be released as promotional singles by each simultaneously in March 1969. Williams performed ‘Happy Heart’ on Portrait of Petula on April 7.

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1980s, Pop

Hold Me

First recorded (as “In Your Arms”) by Diana Ross (1982).
Hit version by Teddy Pendergrass & Whitney Houston (US #46/MOR #6/R&B #5/UK #44 1984).

From the wiki: “‘Hold Me’, originally titled ‘In Your Arms’, was written by Linda Creed & Michael Masser (‘The Greatest Love of All‘), and was first recorded by Diana Ross for her 1982 album Silk Electric.

“In 1984, the song was recorded as a duet by Teddy Pendergrass and Whitney Houston. That recording was released simultaneously as a single in 1984 by both Pendergrass (from his album Love Language) and Houston (from her self-titled debut album, Whitney).”

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1960s, Pop

Eres tu

Based on “Brez besed” by Berta Ambroz (1966).
Hit versions by Mocedades (US #9/MOR #8/CAN #6/AUS #30/NZ #3/SPN #1 1973), Eydie Gorme (MOR #41 1973).

From the wiki: “‘Eres tu’ (‘It’s You’) was written in 1973 by Juan Carlos Calderón and performed by the Spanish music group Mocedades. The song was chosen as Spain’s entry in the 1973 Eurovision Song Contest. After reaching second place in the contest, ‘Eres tu’ was released as a single. The song also has an English version, titled ‘Touch the Wind’, with lyrics by Mike Hawker (which featured a completely different new set of lyrics rather than a translation of the original Spanish lyrics).

“Calderón was accused of plagiarism following suggestions that ‘Eres tu’ was merely a rewrite of the Yugoslav entry from the 1966 Eurovision Song Contest – ‘Brez besed’ (‘Without words’) – sung by Berta Ambrož. ‘Eres tú’ was not disqualified for what some suggested were political reasons – that Francisco Franco’s fascist Spain was seen as more part of the European mainstream than Josip Broz Tito’s communist Yugoslavia.”

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1970s, Pop

Da Ya Think I’m Sexy?

Influenced by “Taj Mahal” by Jorge Ben Jor (1972).
Hit version by Rod Stewart (US #1/R&B #5/UK #1 1978).

From the wiki: “‘Da Ya Think I’m Sexy?’ was recorded by the British singer Rod Stewart for his 1978 album Blondes Have More Fun. It was written by Stewart, Carmine Appice and Duane Hitchings.

“It was alleged that Stewart created the song through partial musical plagiarism. A copyright infringement lawsuit was file by Jorge Ben Jor claiming ‘Do Ya Think I’m Sexy’ was derived from ‘Taj Mahal’, incorporating certain elements of the melody first written and recorded by Ben Jor in 1972. The case was ‘settled amicably’ according to Ben Jor. Stewart admitted to ‘unconscious plagiarism’ of the Ben Jor song in his 2012 autobiography Rod: The Autobiography.”

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1940s, Pop

Scarlet Ribbons (For Her Hair)

First recorded by Dinah Shore (1949).
Hit versions by Jo Stafford (US #14 1950), Harry Belafonte & Millard Thomas (UK #18 1957), The Browns (US #13 1959).

From the wiki: “‘Scarlet Ribbons (For Her Hair)’ is a popular song. The music was written by Evelyn Danzig, with lyrics by Jack Segal, in only 15 minutes in 1949 at Danzig’s home in Port Washington, New York after she invited lyricist Segal to hear the music. The first Recordings of the song by Dinah Shore and Juanita Hall in 1949 made no great impression but, in 1950, Jo Stafford’s recording breached the US Top 20. In 1952, Harry Belafonte, at his third session for RCA Records, covered the song with an arrangement using only his guitarist Millard Thomas and male vocal group. After receiving continually good responses in concert, Belafonte’s four-year-old recording finally became a success in 1956 after it appeared on his second album which reached #1 on Billboard’s album chart for six weeks. Belafonte’s recording also reached the UK Top 20 in late 1957.

“The most successful recording of ‘Scarlet Ribbons (For Her Hair)’ in the USA was recorded b The Browns, who reached #13 on the Billboard Hot 100 in December 1959. ‘Scarlet Ribbons’ has since become a standard with many recorded versions and has appeared on several Christmas albums.”

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1960s, Pop

The Boy from New York City

First recorded by The Ad Libs (US #8/R&B #6 1965).
Also recorded by Dave “Baby” Cortez (1965).
Other hit versions by Darts (UK #2 1978), The Manhattan Transfer (US #7/MOR #4 1981).

From the wiki: “‘The Boy from New York City’ was originally recorded by the American soul group The Ad Libs. Released as the group’s first single in 1964, it was produced by Jerry Leiber and Mike Stoller (‘Hound Dog‘, ‘On Broadway‘). The song peaked at #8 on the US Billboard Hot 100 in February 1965. The Ad Libs would never repeat their chart success.

“The song was later covered by Dave ‘Baby’ Cortez, as a 1965 instrumental; Darts, in 1978; and The Manhattan Transfer, in 1981. The latter two covers became chart hits in the UK and US, respectively. The Ad Libs recording also inspired a response song by The Beach Boys, ‘The Girl from New York City’, from their 1965 album Summer Days (And Summer Nights!!).”

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1960s, Pop

Baby Take Me In Your Arms

First recorded by Paper Dolls (1968).
Hit version by Jefferson (US #23/MOR #19/CAN #15 1969).

From the wiki: “Paper Dolls was founded in 1967 as a British female vocal trio from Northampton, UK, who appeared a couple of decades before similar all-girl recording acts, such as Bananarama, Atomic Kitten and Spice Girls, became commonplace. Pre-dating the Spice Girls, each member of the girl group had a nickname (Susanne Mathis, ‘Tiger’; Susan Marshall, ‘Copper’; Pauline Bennett, ‘Spyder’).

“Signed to Pye Records, Paper Dolls had one solitary chart success: The song, ‘Something Here in My Heart (Keeps A Tellin’ Me No)’, written by Tony Macaulay and John Macleod, was their debut single. It reached #11 on the UK Singles Chart in 1968. The group’s greatest professional disappointment came when their producers first arranged for them to record another Macaulay co-composition, ‘Build Me Up Buttercup’, in 1967. But, due to a misunderstanding, Paper Dolls never turned up for the session; instead, the song was given to The Foundations, whose version became a transatlantic hit.

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1960s, Pop

Baby, Now That I’ve Found You

First recorded by The Foundations (US #11/UK #1/CAN #1 1967).
Re-recorded by The Foundations (1968).
Also recorded Alton Ellis (1967), Lana Cantrell (1968), The Marble Arch Orchestra (1968).
Other hit version by Alison Krauss & Union Station (C&W #49 1995).

From the wiki: “‘Baby, Now That I’ve Found You’ was written by Tony Macaulay and John MacLeod, parts of it in the same bar of a Soho tavern where Karl Marx is supposed to have written Das Kapital. When ‘Baby Now That I’ve Found You’ was first released, as The Foundations’ debut single in 1967, it went nowhere. Meanwhile, BBC Radio’s newly founded Radio 1 were looking to avoid any records being played by the pirate radio stations (e.g. Radio Caroline, Radio London) and they looked back at some recent releases that the pirate stations had missed. ‘Baby, Now That I’ve Found You’ was one of them. The single then took off and by November it was #1 in the British charts.

“Another version of the song was recorded by The Foundations in 1968 featuring Colin Young, Clem Curtis’ replacement. This was released on a Marble Arch album of newer stereo versions of previous hits. The same year the record label’s Marble Arch Orchestra recorded an instrumental version of the song for the 1968 album Tomorrow’s Standards.

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1960s, Pop

Call Me Irresponsible

First performed by Jackie Gleason (in Papa’s Delicate Condition) (1963).
Also performed by Judy Garland (1963).
Popular versions by Frank Sinatra (1963), Jack Jones (US #75 1963).

From the wiki: “”Call Me Irresponsible” was composed in 1962 by Jimmy Van Heusen with lyrics by Sammy Cahn. According to the Mel Tormé book The Other Side of the Rainbow with Judy Garland on the Dawn Patrol, Van Heusen originally wrote the song for Garland to sing at a CBS dinner. At that time, Garland had just signed to do The Judy Garland Show on CBS-TV, and the intent of the song was to parody her well-known problems. Garland later did sing the song, on the seventh episode of her variety show.

“However, in 1988, Sammy Cahn said that the song was originally written for Fred Astaire to sing in the film Papa’s Delicate Condition in which Astaire was to star. Cahn personally auditioned the song for Astaire’s approval, which was given. However, Astaire’s contractual obligations prevented him from making the film and the role went to Jackie Gleason, who introduced the song. It would go on to win the Academy Award for ‘Best Original Song’ at the 36th Academy Awards held in 1964.”

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1960s, Pop

Love Me Tonight

First performed (as “Alla Fine Della Strada”) by Junior Magli (1969) & The Casuals (1969) @ the Sanremo Music Festival 1969.
Recorded (as “Love Me Tonight”) by The Casuals (1969).
Hit version by Tom Jones (US #13/MOR #2/UK #9/CAN #4/IRE #7/BEL #2 1969).

[Above: Junior Magli’s performance at the 1969 Sanremo Music Festival]

[Above: The Casuals’ performance at the 1969 Sanremo Music Festival]

From the wiki: “Junior Magli made ​​his debut in the early 1960s, performing in various Italian clubs and competitions and publishing some 45 songs under his real name, Luigi Pazzaglini, before adopting the stage name ‘Junior Magli’. In 1968, Magli recorded a cover of ‘Delilah’ (the 1968 Tom Jones hit), with which he participated in the 1968 International Music Fair in Venice.

“In 1969, Magli entered the Festival of Sanremo and, in conjunction with the expatriate UK band the Casuals, premiered ‘Alla Fine Della Strada’. (According to the competition rules, every song entry was performed in a double performance by a couple of singers or groups.) But, neither Magli or The Casuals made the competition short-list.

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1950s, Pop

Wand’rin Star

First recorded by James Barton (1951).
Hit version by Lee Marvin (UK #1/IRE #1 1969).

From the wiki: “‘Wand’rin Star’ was written by Alan Lerner (lyrics) and Frederick Loewe (music) for the stage musical Paint Your Wagon in 1951. The song was performed on stage by James Barton, in his original role of prospector Ben Rumson, and was first recorded by Barton in 1951. When the film of the musical was produced in 1969, Lee Marvin took the role of prospector Rumson.

“Not a natural singer, Marvin nevertheless sang all of his songs in the film, rejecting the idea of miming to another singer’s voice. Despite the film being a box office flop, the soundtrack became a success. Orchestrated and arranged by Nelson Riddle, Marvin’s version of the song ‘Wand’rin Star’ becoming an unlikely #1 single (for three weeks!) in Ireland and the UK for him, famously keeping The Beatles at #2 in the UK with their single ‘Let It Be’. Marvin never released a follow-up single, so he is classed as a ‘one-hit wonder’.”

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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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1950s, Pop

Quiet Village

Written and first recorded by Les Baxter (1952).
Hit version by Martin Denny (US #4/R&B #11 1959).

From the wiki: “‘Quiet Village’ is an Exotica instrumental that was written and first recorded by Les Baxter (‘Unchained Melody‘) in 1952. Seven years later, in 1959, Martin Denny added exotic sounds to the song, and his instrumental version made it to #4 on the Billboard Hot 100 and #11 on the R&B charts. Arguably the creator of ‘world music’, Denny’s arrangements were a combination of ethnic styles: South Pacific, the Orient and Latin rhythms.

“It was during a mid-1950’s engagement at Honolulu’s ‘Hawaiian Village’ Shell Bar that Denny originally discovered what would become his trademark sound.

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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, 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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1950s, Pop

Calcutta

Based on “Tivoli Melodie” by Werner Müller (1958).
Hit version by Lawrence Welk (US #1/R&B #10 1960), The Four Preps (US #96 1961).

From the wiki: “‘Calcutta’ was written in 1958 by the German songwriter Heino Gaze. Its original title was ‘Tivoli Melodie’; it was re-titled several times, until it became known as ‘Calcutta’ because of the song’s reference to the Indian city. The American songwriting team of Paul Vance and Lee Pockriss later wrote English lyrics, celebrating the charms of the ‘ladies of Calcutta.’ An instrumental recording of ‘Calcutta’ by American bandleader and TV host Lawrence Welk in 1961 became a US chart hit, the most successful of Welk’s career, and the only Tango-based recording to hit #1 on the Billboard Hot 100 singles chart. Dancers Bobby Burgess (who first appeared on television as a Walt Disney Mouseketeer) and Barbara Boylan, cast members on Welk’s weekly TV show, worked up a dance routine to go along with “Calcutta”, which they performed numerous times on the Welk show over the years. The Four Preps (‘Love of the Common People‘, 1967) released a vocal version shortly after Welk’s recording. It briefly entered the Billboard Hot 100.”

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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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1930s, Pop

Harbor Lights

First recorded by Frances Langford (US #6 1937).
Other hit versions by Swing and Sway with Sammy Kaye (US #1 1950), Guy Lombardo & His Royal Canadians (US #2 1950), Ray Anthony & His Orchestra (US #4 1950), Bing Crosby (US #8 1950), Dinah Washington (R&B #10 1951), The Platters (US #8/R&B #15/UK #11 1960).

From the wiki: “‘Harbor Lights’ was written by Hugh Williams (pseudonym for Will Grosz) with lyrics by Jimmy Kennedy, and first recorded by Frances Langford (with Sam Koki & His Islanders) in 1937.

“The most-popular version – historically – was recorded in 1950 by Swing & Sway with Sammy Kaye, lasting 25 weeks on the Billboard chart and peaking at #1. Other charting covers in 1950 were recorded by The Guy Lombardo Orchestra, Ray Anthony & His Orchestra, and Bing Crosby. Dinah Washington charted R&B Top 10 in 1951,

“The Platters returned ‘Harbor Lights’ to the US Top 40 a decade later in 1960, peaking in the Top 10 at #8 while also charting overseas on the UK Singles chart.”

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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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1950s, Pop

Learnin’ the Blues

First recorded by Joe Valino (1955).
Hit version by Frank Sinatra (US #1/UK #2 1955).
Also recorded by Ella Fitzgerald & Louis Armstrong (1957).

From the wiki: “‘Learnin’ the Blues’ was written by Dolores Vicki Silvers, and first recorded in 1955 by Joe Valino. It’s not clear whether Silvers was the sole composer or possibly had help from Valino, a pop-jazz vocalist in the vein of Frank Sinatra and a breed of lounge singer singer who would be swept away in the late ’50s with the advent of rock ‘n’ roll.

“After a rep from Barton Music – Frank Sinatra’s publishing company – heard the song, they acquired its rights, effectively thwarting Valino from gaining his first hit. (Valino would, in 1956, find chart success with ‘Garden of Eden’.) Frank subsequently listened to Joe’s record and decided to cut it himself, giving Sinatra his best-charting single of the ’50s, peaking at #1.

“Ella Fitzgerald and Louis Armstrong covered the song on their 1957 collaboration Ella and Louis Again.”

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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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