Songs with Earlier Histories Than the Hit Version

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Category: Rock

1960s, Rock

Hi De Ho

Co-written by Carole King and first recorded (as “That Old Sweet Roll”) by The City (1969).
Hit version by Blood, Sweat & Tears (US #14 1970).
Also recorded by Dusty Springfield (1969), Carole King (1980).

From the wiki: “‘Hi De Ho’, originally titled ‘That Old Sweet Roll (Hi De Ho)’, was co-written by Carole King (with Gerry Goffin) and first recorded by the band City, Carole King’s late-1960s band with Danny Kortchmar and Charles Larkey. It appeared on the only album recorded by The City, Now That Everything’s Been Said.

“Dusty Springfield covered ‘That Old Sweet Roll’ during the same In Memphis sessions that also produced her hit single, ‘Son of a Preacher Man’. The Springfield recording was released in 1969 as the B-side to the single ‘Willie & Laura Mae Jones’, but was not included on the original album release. It is now included as a bonus track on the CD version of In Memphis.

“Blood, Sweat & Tear’s 1970 recording of the song, now titled ‘Hi De Ho’, would chart into the US Top 20.

“King would re-record ‘Hi De Ho’ in 1980 for her Pearls: Songs of Goffin and King album.”

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1960s, Rock

Michelle

First recorded by The Beatles (FRA #1/NOR #1/NZ #1 1966).
Other hit versions by The Overlanders (UK #1 1966), Billy Vaughn (US #77/MOR #17 1966), David & Jonathan (US #18/UK #11 1966), The Spokesmen (US #106 1966), Bud Shank & Chet Baker (US #65/MOR #12 1966).
Also recorded by Jan & Dean (1966), The Singers Unlimited (1971).

From the wiki: “One of Rubber Soul’s most memorable songs, ‘Michelle’ was written by Paul McCartney with a little help from the wife of an old schoolfriend. The song is one of McCartney’s oldest compositions, having been started around 1959; composed on his first-ever guitar, a Zenith. ‘Michelle’ won the Grammy Award for Song of the Year in 1967 and has since become one of the best-known and most-often recorded of all Beatles songs … but was never released in the US or the UK by the Beatles as a single (although Beatles’ singles of ‘Michelle” did top singles charts in France and Norway).

“After The Beatles declined to release the song as a single, ‘Michelle’ became a UK hit in 1966 for The Overlanders. Of all the covers recorded of ‘Michelle’ released to date, the recording by David & Jonathan (nom de plume of songwriters Roger Cook and Roger Greenway, ‘I’d Like to Teach the World to Sing‘) was the only recording of ‘Michelle’ that made the US Billboard Top 40.

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1970s, Rock

Can We Still Be Friends

Written and first recorded by Todd Rundgren (US #29 1978).
Other hit version by Robert Palmer (US #52/NETH #32 1979).

From the wiki: “‘Can We Still Be Friends’ was written and originally performed by Todd Rundgren, and released on his 1978 album Hermit of Mink Hollow. The lyrics describe a relationship to which Rundgren and the woman to whom he is singing have given great effort, but simply cannot work. Rundgren explains this, but wishes to part amicably, asking several times if he and his partner can ‘still be friends.’ The song is generally assumed to be about Rundgren’s breakup with long-time companion Bebe Buell in 1977. In 1979, ‘Can We Still Be Friends’ became a hit again when Robert Palmer recorded a version for his album Secrets, from where it became a popular Rock album radio hit.”

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1970s, Rock

Rock and Roll, Hoochie Koo

First recorded by Johnny Winter (1970).
Hit version by Rick Derringer, writer (US #23 1974).

From the wiki: “‘Rock and Roll, Hoochie Koo’ is a rock song written by Rick Derringer. It was first recorded by Johnny Winter, with Derringer and other former members of The McCoys (‘Hang On Sloopy‘), in 1970.

“In 1973, Derringer recorded a solo version for his solo debut album All American Boy, and it became his only Top 40 chart hit. According to Derringer, ‘The first song I wrote for Johnny was ‘Rock and Roll, Hoochie Koo’. ‘Rock and Roll’ to satisfy the rock ‘n’ roll that I was supposed to be bringing into the picture, and ‘Hoochie Koo’ to satisfy the king of blues sensibility that Johnny was supposed to maintain. And it worked out great.’

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1970s, Rock

Sentimental Lady

First recorded by Fleetwood Mac (1972).
Hit version by Bob Welch, writer (US #8 1977).

From the wiki: “Bob Welch joined Fleetwood Mac in 1971, and the group first recorded the Welch-penned ‘Sentimental Lady’ for their 1972 album Bare Trees. The song became a hit when Welch re-recorded it for his 1977 solo album, French Kiss. Christine McVie and Lindsey Buckingham of Fleetwood Mac sang backup on Welch’s solo version. Many Fleetwood Mac aficionados cite the Fleetwood Mac’s original version as the first song to explicitly reference the softer, more commercial West Coast sound that the group would later make their own.

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1970s, Rock

Pieces of April

Written and first recorded by Dave Loggins (1971).
Hit versions by Three Dog Night (US #19/MOR #6/CAN #13 1972), Dave Loggins (MOR #22 1979).

From the wiki: “‘Pieces of April’ was written by Dave Loggins (‘Please Come to Boston’, 1974) and was first recorded by him in 1971 for the album Personal Belongings, released in February 1972. The song was recorded later in 1972 by Three Dog Night and released as a promotional single in November 1972 for the album Seven Separate Fools, peaking at #19 on the Billboard Hot 100.

“Loggins would later re-record ‘Pieces of April’ in 1979, with a more lush arrangement, for the album David Loggins, with his single charting near the Top-20 on the Billboard Adult Contemporary music chart.”

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1980s, Rock

There She Goes

First recorded by The La’s (1988).
Remixed by The La’s (US #49/UK #57 1990).
Also recorded by The Boo Radleys (1992).
Other hit version by Sixpence None the Richer (US #32/UK #14 1999).

From the wiki: “‘There She Goes’ was written by British singer/guitarist Lee Mavers and recorded first by Mavers’ band, The La’s. The first version of the song, produced by Bob Andrews, was released by The La’s in 1988, and again in January 1989, but failed to chart. A remixed version was issued as a single on 22 October 1990 and hit #13 in the UK charts (and later hit #49 in the U.S.). It was the biggest success The La’s were ever to enjoy and remains the song for which the band is chiefly remembered. In May 2007, the NME magazine placed the song at #45 in its list of the 50 Greatest Indie Anthems Ever.

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1970s, Rock

The Road

Written and first recorded by Danny O’Keefe (1972).
Hit album version by Jackson Browne (1978).

From the wiki: “‘The Road’ was written by Danny O’Keefe, who recorded the song for the album O’Keefe. The song foreshadowed O’Keefe’s fate, as he found himself living the song when he toured to promote his 1972 hit ‘Good Time Charlie’s Got the Blues‘. O’Keefe recalled: ‘For me the road was basically go out for six weeks and after six weeks you were usually sick of the road and sort of beat to death and poor, because unless you stay out there for a long period of time it’s very hard to recoup those expenses that you have when you’re carrying a band.'”

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1970s, Rock

What a Fool Believes

Co-written and first recorded by Kenny Loggins (1978).
Hit version by The Doobie Brothers (US #1/MOR #22/CAN #1/UK #31/AUS #12/NZ #5/NETH #10 1978).

From the wiki: “‘What a Fool Believes’ was written by Michael McDonald and Kenny Loggins. The best-known version was recorded by The Doobie Brothers (for the album Minute by Minute), with McDonald on lead vocal, but the song was first recorded and released five months prior by Loggins on his album Nightwatch.

“McDonald’s original idea for the song was that of a man who is reunited with an old love interest and attempts to rekindle a romantic relationship with her before discovering that a relationship had never really existed. It was Loggins, right before meeting McDonald for the first time, who devised the bridge of the song.

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1960s, Rock

Oh! Darling

First recorded (as a demo) by Paul McCartney (1969).
Hit album version by The Beatles (1969).
Hit version by Robin Gibb (US #15/MOR #22/NZ #40 1978).

From the wiki: “‘Oh! Darling’ was a song by The Beatles composed by Paul McCartney (credited to Lennon–McCartney) and appearing as the fourth song on the album, Abbey Road, in 1969. Its working title was ‘Oh! Darling (I’ll Never Do You No Harm)’. McCartney later said of recording the track, ‘When we were recording ‘Oh! Darling’ I came into the studios early every day for a week to sing it by myself [on the piano] because at first my voice was too clear. I wanted it to sound as though I’d been performing it on stage all week.’ McCartney would only try the song once each day; if it was not right he would wait until the next day.

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1980s, Rock

Every Little Thing She Does is Magic

First recorded (as a demo) by Strontium 90 (1976, released 1997).
Hit version by The Police (US #3/UK #1/CAN #1/IRE #1/AUS #2/NED #1/NZ #7 1981).

From the wiki: “Sting wrote the song, he thinks, as early as 1975. Sting (who earned the nickname when wearing a black and yellow sweater with hooped stripes while onstage with the Phoenix Jazzmen in the mid-1970s) recalls ‘When I moved to London in 1975, I was struggling to make a living. I auditioned at the Zanzibar in Covent Garden. I sang ‘Every Little Thing She Does Is Magic’ and the guy said: ‘We need commercial hit songs. We don’t need this kind of stuff.”

“An early demo of the song, recorded in the house of Mike Howlett in the autumn of 1976 by the predecessor band of the Police, Strontium 90, can be heard on Strontium 90: Police Academy released in 1997 on Ark Records.

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1970s, Rock

Who Are You

First recorded (as a demo) by Pete Townshend (1976).
Hit version by The Who (US #14/UK #18 1978).

From the wiki: “‘Who Are You’ was written by Pete Townshend and which became the title-track of The Who’s 1978 album, Who Are You, the last album released before drummer Keith Moon’s death in September 1978.

“According to Townshend, the inspiration for the song began with a very long, excruciating meeting in New York City regarding royalties for his songs (the reference to ‘Tin Pan Alley’ in the song). After the meeting, he received a large check for royalties, left and went to a bar and got completely drunk. In that bar he had encountered Paul Cook and Steve Jones of The Sex Pistols, who thought very highly of Pete for paving the way for punk rock.

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1960s, Rock

I’m A Man

First recorded by The Spencer Davis Group (US #10/UK #9/CAN #1 1967).
Other hit version by Chicago (US #49/UK #8/CAN #8/IRE #13 1971).

From the wiki: “‘I’m A Man’ was written by The Spencer Davis Group singer-songwriter Steve Winwood and record producer Jimmy Miller (not to be confused with the Bo Diddley song), and released as a single by The Spencer Davis Group in early 1967. It would be the last hit single by the band before the brothers Steve and Muff Winwood left the group to pursue solo careers.

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1970s, Rock

Almost Saturday Night

Written and first recorded by John Fogerty (US #78 1975).
Also recorded by Karla DeVito (1981).
Other hit versions by Dave Edmunds (US #54/ROCK #18/UK #58 1981), Burrito Brothers (C&W #49 1984).

From the wiki: “‘Almost Saturday Night’ is a song written by John Fogerty (Creedence Clearwater Revival) and first released on his 1975 album John Fogerty. It was released as the second single from the album, as a follow up to ‘Rockin’ All Over the World‘. The song had more success when covered in a Rockabilly style by Dave Edmunds in 1981 from his album Twangin…, peaking at #18 on the US Mainstream Rock Chart. The Burrito Brothers (neé The Flying Burrito Brothers) covered the song in 1984. Their version peaked at #49 on the Hot Country Singles chart.

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1970s, Rock

Baba O’Riley

Written and first recorded (as a demo) by Pete Townshend (1970).
Hit version by The Who (NETH #11 1972).

From the wiki: “‘Baba O’Riley’ was written by Pete Townshend, of The Who, who originally wrote the song for his Lifehouse project – the Rock opera follow-up to The Who’s 1969 opera, Tommy. When Lifehouse was scrapped, many of the songs were released on The Who’s 1971 album Who’s Next. ‘Baba O’Riley’ was released as a single in several European countries, but not in the US or the UK where the song was available only as the lead track on Who’s Next. It was, however, the perfect song for the up-and-coming Album Oriented Rock (AOR) radio format that was picking up steam on FM radio. ‘Baba’ became a Classic Rock staple and remains on many playlists.

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1970s, Rock

From Small Things (Big Things One Day Come)

Written and first recorded by Bruce Springsteen (1979, released 2003).
Hit version by Dave Edmunds (US #28 1982).

From Legends of Springsteen:

“Clearly influenced by 1950’s rockabilly style guitar riffs, this song was criminally cut from The River, never put on another studio album, including Tracks. (Bruce did release it in 2003 on the limited edition third disc of his compilation double album The Essential Bruce Springsteen.) That’s a shame, as this might be one of the best Bruce songs to dance to. Seriously, pump it up right now and just try not to tap your toes. It’s nearly impossible.”

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1980s, Rock

Pink Cadillac

Written and first recorded (as a demo) by Bruce Springsteen (1982)
Released as non-album B-side by Bruce Springsteen (US Rock #27 1984).
Other hit version by Natalie Cole (US #5/R&B #9/UK #5/NZ #4/GER #5/SUI #2 1988).

From the wiki: “Bruce Springsteen originally wrote ‘Pink Cadillac’ as ‘Love Is a Dangerous Thing’ in December 1981 with lyrics distinct from the eventual ‘Pink Cadillac’ and first recorded by Springsteen as a solo acoustic demo in early January 1982 during the sessions for the Nebraska album. The automobile imagery was inspired by Elvis Presley’s 1954 rendition of ‘Baby Let’s Play House’ in which Presley replaced the original lyric ‘You may get religion’ with ‘You may have a pink Cadillac’, a reference to the custom-painted Cadillac which was then Presley’s touring vehicle.

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1960s, Rock

For Your Love

Written and first recorded (as a demo) by Graham Gouldman (1965).
Hit version by The Yardbirds (US #6/UK #3/CAN #1 1965).

From the wiki: “‘For Your Love’ was written by future 10cc member Graham Gouldman and first recorded by him as a demo. Gouldman wrote the song at the age of 19 while employed by day in a gentlemen’s outfitters near Salford Docks and playing by night with the semi-professional Manchester band The Mockingbirds. Gouldman’s manager, Harvey Lisberg, was so impressed by the song he told Gouldman he should offer it to the Beatles.

“Gouldman had originally intended the song for The Mockingbirds, but their demo was turned down by Columbia Records. It is also believed that producer Mickie Most turned it down on behalf of Herman’s Hermits and that the Animals also turned down an opportunity to record ‘For Your Love’.

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1970s, Rock

I’m the Greatest

Written and originally recorded (as a demo) by John Lennon (1971).
Album hit version by Ringo Starr (1973).

From the wiki: “‘I’m the Greatest'” was written by John Lennon in December 1970 as a wry comment on his past as a Beatle, and later tailored the composition for Ringo Starr to sing. With Lennon, Starr, and George Harrison appearing on the track, the song marks the only time that more than two ex-Beatles recorded together between the band’s break-up in 1970 and Lennon’s death in 1980.

“News of the Richard Perry-produced session led to speculation that the Beatles might re-form. The presence on the recording of bassist Klaus Voormann and keyboard player Billy Preston, as supposed stand-ins for Paul McCartney, created a line-up that the press had dubbed The Ladders, the post-Beatles group which Harrison had intended to install with his two former band mates.”

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1970s, Rock

Something

Written and first recorded (as a demo) by George Harrison (1969, released 1996).
First commercial recording by Joe Cocker (1969).
Hit versions by The Beatles (US #1/UK #4 1969), Shirley Bassey (US #55/UK #4 1970), Johnny Rodriguez (C&W #6 1974)
Also recorded by Ray Charles (1971).

From the wiki: “‘Something’ was the first Beatles song written by lead guitarist George Harrison to appear as an A-side single, and the only song written by him to top the US charts while he was in the band. Harrison began working on a song that eventually became known as ‘Something’ during the 1968 recording sessions for The Beatles (aka The White Album). Harrison recorded the demo of ‘Something’ on February 25, 1969, his 26th birthday.

“Producer Glyn Jones, who engineered the Beatles’ Get Back sessions, recalls ‘One morning before the others arrived at the studio, George asked me if I would stay behind at the end of the day to cut a demo with him of a song he had written, as he didn’t want to play it in front of the others. So we waited for everyone to leave and he went out into the empty studio and played ‘Something in the Way She Moves’, which might just be the greatest song he ever wrote. He came into the control room, and after having it played back to him, he asked what I thought of it, as he seemed unsure. I told him it was brilliant and that he must play it to the others. I can only assume that his confidence had been dented as a result of living in the shadow of John and Paul.’ [Source: Sound Man, by Glyn Jones, 2014]

“Harrison’s original intention had been to offer the song to Apple Records signing Jackie Lomax as he had done with a previous composition, ‘Sour Milk Sea’. When this fell through, ‘Something’ was instead given to Joe Cocker to record. Cocker completed his recording at A&M Studios in Los Angeles before The Beatles completed their recording in August 1969 at Abbey Road, but Cocker’s recording was not released (on Joe Cocker!, his second album, on which also appeared another Beatles composition, ‘She Came in Through the Bathroom Window’) until November 1969 – six weeks after the release of The Beatles’ Abbey Road.

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1960s, Rock

Won’t Get Fooled Again

Written and first recorded (as a demo) by Pete Townshend (c. 1970).
Hit version by The Who (US #15/UK #9/AUS #14 1971).

From the wiki: “‘Won’t Get Fooled Again’ was written by Pete Townshend for inclusion into Lifehouse, the science fiction rock opera intended as a follow-up to Tommy by The Who . The project, however, was abandoned – as a rock opera – in favor of creating a traditional rock album, Who’s Next. Although the Lifehouse concept was abandoned, scraps of the project remained present in the final album including the song ‘Won’t Get Fooled Again’.

“Other of the project’s songs would appear on various albums and singles by The Who (e.g., ‘Baba O’Riley’, ‘Behind Blue Eyes‘, ‘Join Together’), as well as Pete Townshend solo albums. Years later, in the liner notes to the remastered Who’s Next CD, Townshend wrote that the failure of the project led him to the verge of a suicidal nervous breakdown.

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1980s, Rock

Don’t Turn Around

First recorded by Tina Turner (B-side 1986).
Hit versions by Luther Ingram (R&B #55 1987), Aswad (R&B #45/UK #1 1988), Neil Diamond (MOR #19 1992), Ace of Base (US #4/MOR #7/CAN #1/UK #5/IRE #5/SWE #2/AUS #19 1994).

From the wiki: “‘Don’t Turn Around’ was written by Diane Warren (‘Because You Loved Me’) and Albert Hammond (‘The Air That I Breathe‘, ‘To All the Girls I’ve Loved Before‘). It was originally recorded by Tina Turner and first released as the B-side to the single ‘Typical Male’ in 1986. Warren is said to have been disappointed that Turner’s record company treated the song only as a B-side, not even releasing it on any of Turner’s albums.

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1970s, Rock

Spirit in the Night

Written and first recorded by Bruce Springsteen (1973).
Hit version by Manfred Mann’s Earth Band (US #97 1976 |US #40 1977).

From the wiki: “The original version of ‘Spirit in the Night’ was written by Bruce Springsteen for release on his 1973 debut album, Greetings from Asbury Park, N.J. Springsteen had recorded 10 other tracks for the album, but Clive Davis, president of the record label that was releasing the album, was concerned that the recorded tracks did not have enough commercial appeal. Springsteen quickly wrote and recorded two additional songs: ‘Spirit in the Night’ and ‘Blinded by the Light‘.

Because these songs were added so late in the recording process, several of Springsteen’s band members were unavailable to record these two songs. As a result, the recording lineup for session was limited to Vini Lopez on drums, Clarence Clemons on saxophone, and Springsteen himself playing all other instruments.

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1970s, Rock

In the City

Written and first recorded Joe Walsh (1979).
Hit album versions by Eagles (1979), Anybody Killa (2003)

From the wiki: “‘In the City’ was written by Barry De Vorzon (‘Nadia’s Theme‘) and Joe Walsh, and was first recorded by Walsh for release on the 1979 soundtrack album to The Warriors. Walsh recalls: ‘I went to junior-high school at P.S. 216 in Queens (NYC). I was in a gang, but we weren’t that tough because I had to be in by 7:30 to practice clarinet. Anyway, I came up with ‘In The City’ out of memories of growing up partly in New York City, which contrasted a lot from where I lived before that, which was Ohio.’

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