Saddened to learn that David Thomas died this week. His music was featured here recently as one of Richard Thompson's collaborators, as well as his recent work with Pere Ubu and Rocket From The Tombs. A final Pere Ubu album will be completed by the rest of the band, and David Thomas' autobiography will also be released.
Last year I shared First Versions Of Well-Known Songs, a collection of tunes that were later remade by the original artists. Today we have a series of songs that became hits for other artists.
This type of collection has been done many times. Any Major Dude has done an amazing job over the years of telling the histories of the original songs and artists that didn't make the charts. It would be easy to think of them as cover versions (since they sound less familiar than the hits), but many of these are performed by the artists who composed them. In some cases, the hit version was released within weeks of the original. It's interesting to listen and wonder what might have been missing from the original that made the hit version more appealing. Or what might make an artist or producer think, "If we make a few changes, this song could top the charts." To my ears, some of the originals sound better than the hits, and maybe they just weren't properly promoted.
The series starts in 1960. In the 50’s, it wasn’t unusual for multiple artists to record the same song, especially in the early years of rock & roll, when a “race record” couldn’t get airplay on white radio stations. It was also an era when fewer songwriters recorded their own compositions. There were exceptions, but the “singer/songwriter” was not yet an accepted business model. Songwriters shopped their songs to publishers or labels. Label owners, record producers and DJ’s sometimes received (or took) a songwriting credit. Black songwriters were most often the victims of this practice, which became less widespread after the payola scandal, and after people like Chuck Berry achieved enough success (and learned enough about the music business) to be able to refuse it.
Today there are four CD-length sets, with over a hundred songs released between 1960 and 1971.
As Heard Here First: 1960-64 - https://pixeldrain.com/u/QPk17Qmq
ReplyDeleteAs Heard Here First: 1964-66 - https://pixeldrain.com/u/L49yjtA2
As Heard Here First: 1968-68 - https://pixeldrain.com/u/YkLJkjE1
As Heard Here First: 1968-71 - https://pixeldrain.com/u/Qoy83z5J
Thank you, great Bonnie Dobson to start with (she wrote Morning Dew)
ReplyDeleteChuck Berry ripped off other artists too, and he werent alone.
ReplyDeleteThanks for your comment. You're right: Chuck was no saint, and his music didn't appear fully formed out of nowhere. But he was smart, and he made sure he got paid. He was famous for refusing to take the stage unless he got his money, in advance and in cash. He must have been burned by a promoter or two before he got wise to their tricks.
DeleteI was thinking more about the business side of publishing and songwriting credits, when an artist discovers that he or she doesn't get any royalties because someone else owns the song, or that the name of the label owner or producer (or their mother, or Alan Freed) has been added as cowriter without the artist's permission.
Or when Chuck Berry hears "Surfin USA" on the radio for the first time. Or when Jake Holmes finds out that Page & Plant have "written" a song called "Dazed & Confused" that is remarkably similar to his song of the same name. Jake couldn't afford a lawyer, but Willie Dixon got one!
To this day, the music industry takes advantage of artists with limited financial literacy and limited funds to defend themselves against plagiarism, copyright violations, and record contracts that are essentially payday lending schemes. Chuck Berry was smarter than most of his peers.
I was sorry to here about David Thomas, Jon. I know how fond you are of Pere Ubu.
ReplyDeleteI love how you described recording contracts as "payday lending schemes". Too right, mate!
Thanks for the AS HEARD HERE FIRST Boxed Set!
Well, I'm bummed about David Thomas, but I'm pretty happy about the four-cd set. I love these kinds of collections, and I'm really looking forward to delving in. To me, one of the most interesting (and egregious) examples of music industry exploitation involves "The Lion Sleeps Tonight." It was originally composed and recorded in 1939 by the South African singer/musician Solomon Linda -- who seems to have been conned out of the rights for a sum that, in today's money, would amount to just a little over jackshit: https://www.theguardian.com/music/2023/may/08/mbube-the-lion-sleeps-tonight-lion-king .
ReplyDeleteGlad you like the "box set" -- there will be four more volumes coming up. I've got a few songs that I'm pretty sure have never appeared on other compilations of this kind (Before They Were Hits, You Heard It Here First, etc.)
DeleteMy favorites right now are Earl-Jean McCrea's version of "I'm Into Something Good", Dee Dee Warwick's "You're No Good" and Theresa Lindsay's "I'll Bet You" (which was cowritten by George Clinton and later recorded by Funkadelic).
Thanks for the article!
Great collection Jonder with quite a few originals I wasn't even aware of, thanks!
ReplyDeleteRegarding The Lion Sleeps Tonight, there's an excellent documentary: https://www.netflix.com/nl-en/title/80191050