I Didn't Know That Was a Cover! And I Actually Came To This Party With My Friends, So.....I Should Go. I'll See You.
Shel Silverstein - Boy Named Sue (1969) Silverstein introduced it to Johnny Cash at what they used to call a "guitar pull," where musicians would pass a guitar around and play their songs. He was the main songwriter for Dr. Hook and the Medicine Show, and he wrote "The Giving Tree".
Hamilton, Joe Frank & Reynolds - Ain't No Woman Like The One I Got (1972) From Discogs: Hallway Symphony was the second studio album of the band Hamilton, Joe Frank & Reynolds, released in 1972. It was their final album for the Dunhill label. That same year, Tommy Reynolds quit the group to form a band called Shango; different session musicians took his place in their touring and recording before Alan Dennison replaced him permanently a year later (but the band kept their original name of "Hamilton, Joe Frank & Reynolds"). In 1973, the band was dropped from Dunhill due to lack of chart success, but they continued touring and performing live in Las Vegas and various colleges, thanks to the continuing radio play of their huge hit "Don't Pull Your Love." The guys who wrote this also smeared their scent on AM radio thusly:
Yes, do tell your friends that they recorded "Falling In Love" on Playboy Records, the only #1 for that label.
Peter, Paul, and Mary - And When I Die (1966)
Family Dogg - Arizona (1969) This would be a big solo hit for Mark Lindsay of Paul Revere and the Raiders, who I like. The fellow who wrote this, Kenny Young, also wrote "Under The Boardwalk" by The Drifters.
Johnny Madara & the Juvenaires - Do The Bop (1957) When Danny & the Juniors were still called The Juvenairs. Initially called "Do the Bop", the song was heard by Dick Clark, who suggested they change the band name to the Juniors and the chorus from "Let's all do the Bop" to "Let's go to the Hop". After performing the song on Clark's show American Bandstand, it gained popularity and went to the top of the US charts, remaining at number one for five weeks.
Connie Stevens - Keep Growing Strong (Betcha By Golly Wow) (1970) You couldn't watch TV without seeing Connie Stevens in the '70s. It's strange that such a scattershot discography (she recorded mostly in the early '60s) should feature such a great song. In fact, I don't see mention of it at all on her website, which, I'm sure was last updated years ago. Her daughter Joely was on Ellen (the show, not the woman) and keeps plugging away. Like you and me.
Johnny Rivers - By The Time I Get to Phoenix (1965)
Petula Clark - Call Me (1965)
David Martin - Can't Smile Without You (1975)
Gator Creek - Danny’s Song (1970) Anne Murray turned this into a hit a few years later. This song was written by the fella that sang "Footloose" and duetted with Stevie Nicks on "Whenever I Call You Friend". Gator Creek included Michael Omartian, who went on to produce Christopher Cross, Whitney Houston, and Michael Bolton. So...thanks?
PJ Proby - Delilah (1967)
Shorty Long - Devil With The Blue Dress On (1964) From that Wikipedia: Long's biggest hit was "Here Comes the Judge" which in July 1968 reached No. 4 on the R&B charts and No. 8 eight on the Billboard Hot 100. The song was inspired by a comic act on Rowan and Martin's Laugh-In about a judge by Pigmeat Markham, whose own "Here Comes the Judge" – a similar song with different lyrics – charted three weeks after Long's, also in July 1968, and reached No. 19 on Billboard.
Long was the only Motown artist besides Smokey Robinson who was allowed to produce his own recordings in the 1960s. Marvin Gaye, in David Ritz's biography Divided Soul: The Life & Times of Marvin Gaye, described Shorty Long as "this beautiful cat who had two hits, and then got ignored by Motown." Gaye claimed he "fought for guys like Shorty" while at Motown, since no one ever pushed for these artists. When Holland-Dozier-Holland came to Gaye with a tune, he stated, "Why are you going to produce me? Why don't you produce Shorty Long?"
On June 29, 1969, Long and a friend drowned when their boat crashed on the Detroit River in Michigan. Stevie Wonder played the harmonica at his burial and placed it on his casket afterward.
Rowan and Martin's Laugh-In inspired many, many records. One by Freddie Cannon. It's shit. Most of them are.
The Greenbriar Boys - Different Drum (1966) Great song? Meh. Rhymes "knock it" with "market".
Larry Williams - Dizzy Miss Lizzy (1958)
The Exciters - Doo Wah Diddy (1963) Best known for their hit single, "Tell Him" which reached #4 on the US charts in February 1963.
Thelma Houston - Do You Know Where You're Going To (1973) This was made into a monster hit as "Love Theme From 'Mahogany'" by Diana Ross in 1975. I guess anything can be a "love theme".
The Moments - We Don't Cry Out Loud (1976)
Harold Melvin and the Blue Notes - Don't Leave Me This Way (1975) This was made into a monster hit by Thelma Houston in 1976. No matter which version you listen to, if that chorus doesn't make you move and smile, I can't help you.
The Raindrops - Hanky Panky (1963) The Raindrops were an American pop studio group from New York, associated with the Brill Building style of 1960s pop. The group existed from 1963 to 1965 and consisted of Ellie Greenwich and Jeff Barry who were also both famous songwriters.
The Dells - Higher and Higher (1967)
Smokey Robinson and the Miracles - I Heard It Thru The Grapevine (1966)
The Captain and Tennille - I Write The Songs (1975)
Helen Shapiro - It’s My Party (1963)
Richard Kerr - I’ll Never Love This Way Again (1978) Richard Kerr is an English composer, who co-wrote "Mandy", "Looks Like We Made It" and "Somewhere in the Night" (all of which became hit singles for Barry Manilow) and "I'll Never Love This Way Again", for Dionne Warwick.
Paul Revere and the Raiders - (I'm Not Your) Steppin' Stone (1966) Fans consider this the apex of the Revere canon, but I prefer the crazy, desperate intensity of Collage. Still, good, beat-heavy set anchored by "Kicks" and this.
Gene Cotton - Let Your Love Flow (1975)
Neil Sedaka - Love Will Keep Us Together (1973) The original version is pretty good, with some of the electric and unique magic of the Captain and Tennile version that dominated the charts in 1975. I know POACA will not agree, but if you could disassociate the treacly image of these married session players and their TV show, it was an incredible song. And this version was recorded at Strawberry Studios in collaboration with Graham Gouldman, Lol Creme, Kevin Godley, and Eric Stewart, who had formed the band 10cc since their first joint venture with Sedaka on Solitaire.
"...in association with 10C.C."
Roger Miller - Me and Bobby McGee (1969)
Racey - Kitty (1979)
The Ever-Green Blues - Midnight Confessions (1967)
The Brothers Four - Mr. Tambourine Man (1965)
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