Songs with Earlier Histories Than the Hit Version

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Tagged: Supremes

1960s, Pop

Hello Stranger

Written and first recorded by Barbara Lewis (US #3/R&B #1 1963).
Other hit versions by Fire & Rain (US #100 1973), Yvonne Elliman (US #15/R&B #57/MOR #1/UK #26/NETH #20/NZ #12 1977), Carrie Lucas & The Whispers (R&B #20 1985).
Also recorded by Martha & the Vandellas (1963), The Capitols (1966), The Supremes & The Four Tops (1970).

https://youtu.be/WX3AXzu7dP8

From the wiki: “‘Hello Stranger’ was written by Barbara Lewis herself, who was originally inspired to write the while working gigs in Detroit with her musician father: ‘I would make the circuit with my dad and people would yell out: ‘Hey stranger, hello stranger, it’s been a long time’.’ The song is notable because its title comprises the first two words of the lyrics but is never at any point repeated throughout the remainder of the song.

“Lewis recorded ‘Hello Stranger’ at Chess Studios in Chicago in January 1963. The track’s producer Ollie McLaughlin recruited The Dells to provide the background vocals. The arrangement by Riley Hampton – then working with Etta James – featured a signature organ riff provided by keyboardist John Young. The track was completed after thirteen takes. Lewis would recall that, on hearing the playback of the finished track, Dells member Chuck Barksdale ‘kept jumping up and down and saying, ‘It’s a hit, it’s a hit.’…I didn’t really know. It was all new to me.’

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1960s, Rock

Na Na Hey Hey Kiss Him Goodbye

First recorded by Steam (US #1/R&B #20 1969).
Also recorded by The Supremes (1970).
Other hit versions by Bananarama (US #101/UK #5 1983), The Nylons (US #12 1987).

From the wiki: “‘Na Na Hey Hey Kiss Him Goodbye’ was written and recorded by Paul Leka, Gary DeCarlo and Dale Frashuer, attributed to a then-fictitious band they named ‘Steam’ as a throw-away B-side. When the song began to get airplay on the radio and became a hit, the writers hired stand-in musicians to tour as Steam. (So, ‘Na Na Hey Hey Kiss Him Goodbye’ may be the biggest selling (over 6.5 million copies) B-side recorded by a non existent band in music history.) Leka, et al. wrote a primitive version of the song in the early 1960s when they were members of a band from Bridgeport, Connecticut, The Chateaus, who disbanded after several failed recordings.

“Uncle John’s Fifth Bathroom Reader states that DeCarlo was recording a throwaway ‘flip side – something so bad, no disc jockey would accidentally play it as the ‘A’ side.’ ‘Na Na Hey Hey’ was described by DeCarlo as ‘an embarrassing record … an insult.’ But, Mercury Records decided it was great and released it as an A-side single. Nobody wanted to be identified with the record, however, so it was credited to ‘Steam’.

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1960s, Soul

Come See About Me

First single release by Nella Dodds (US #74 released October 1964).
Other hit versions by The Supremes (US #1/R&B #2/UK #27 released November 1964), Jr. Walker & The All Stars (US #24/R&B #8 1967), Shakin’ Stevens (UK #24 1987).
Also recorded by Mitch Ryder & the Detroit Wheels (1966).

From the wiki: “The Supremes’ recording of ‘Come See About Me’ was recorded on July 13, 1964 during the sessions that produced the album Where Did Our Love Go, released in August 1964. But, the release of the song as a promotional single was held up while the album’s first two singles, ‘Where Did Our Love Go’ and ‘Baby Love’, were released and charted.

“Techically a cover recording, 14-year old Nella Dodds’ Wand Records single would actually be the first released as a single, in October 1964. It entered the Billboard Hot 100 in early November, debuting at #87 the week of November 14, showing promise as a rising pop and R&B hit. Mowtown Records, not wanting to be outshone by another label with a song written by their songwriting dream team, Holland-Dozier-Holland, rushed released the Supremes’ ‘Come See About Me’ to radio and retail in November, 1964, quickly undercutting the early chart momentum of Dodd’s recording and using their marketing muscle to debut the Supreme’s single two weeks later at #13 on the Hot 100 chart the week of November 28.

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1960s, Soul

I’m Gonna Make You Love Me

First recorded by Dee Dee Warwick (US #88/R&B #13 1966).
Also recorded by Jerry Butler (1967), Jay & the Techniques (1968).
Hit versions by Madeline Bell (US #26/R&B #32 1968), Diana Ross & The Supremes with The Temptations (US #2/R&B #2/UK #3 1968).

From the wiki: “Written by Philly Soul songwriters Kenneth Gamble and Leon Huff (‘If You Don’t Know Me By Now’, ‘Love Train’, ‘Now That We Found Love‘), and producer Jerry Ross (‘Apples, Peaches, Pumpkin Pie‘, ‘Sunny‘), ‘I’m Gonna Make You Love Me’ was originally a Top-20 R&B hit for Dee Dee Warwick in 1966. It was released as the follow-up single to her Top-10 hit ‘I Want To Be With You’. Co-writer Ross produced the track while Nickolas Ashford and Valerie Simpson provided background vocals. Warwick’s recording reached #13 R&B and crossed over to the Billboard Top 100 in December 1966.

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1960s, Soul

Someday We’ll Be Together

First recorded by Johnny & Jackey (1961).
Hit versions by Diana Ross & The Supremes (US #1/R&B #1/CAN #3/UK #13/IRE #19 1969), Bert Kaempfert (MOR #27 1970), Bill Anderson & Jan Howard (C&W #4 1970).

From the wiki: “‘Someday We’ll Be Together’ was written by Johnny Bristol, Jackey Beavers, and Harvey Fuqua in 1961. Bristol and Beavers recorded the song together, as ‘Johnny & Jackey’, for the Tri-Phi label that same year, becoming a moderate success in the Midwestern United States but gaining little attention elsewhere.

“Tri-Phi would then be purchased by Motown in the mid-1960s. Fuqua, Bristol, and Beavers all then joined Berry Gordy’s famous Motown record company and, as a result, ‘Someday We’ll Be Together’ became part of Motown’s Jobete publishing catalog.

“In 1969, Bristol was preparing an instrumental cover version of ‘Someday We’ll Be Together’, to be recorded by Motown act Jr. Walker & the All-Stars. He had already recorded the basic instrumental track and background vocals (by Maxine and Julia Waters) when Berry Gordy happened upon the tracks and heard them and thought that ‘Someday …’ would be the perfect vehicle for Diana Ross’ anticipated exit from the Supremes. Gordy had Bristol quickly sequester Ross into the studio to record her vocal over the instrumental track intended for Jr. Walker.

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