THE FORGOTTEN ORIGINALS!

The most famous is not always the first. The songs we know may have secret lives from before we knew them. We remember the hit. But we should also be aware of THE FORGOTTEN ORIGINAL!



I've long been fascinated by the idea of "The Forgotten Original," an earlier version of a song we know well via subsequent covers. Years ago on This Is Rock 'n' Roll Radio with Dana & Carl, we used to do a forgotten original as a weekly feature, and we finally got around to doing a whole show of forgotten originals in 2015. Intrepid Boppin' (Like The Hip Folks Do) reader Dave Murray has suggested I take up The Forgotten Original! as a new series on this blog, and that's a good idea I'll likely pursue in earnest...eventually. For now, though, here's a look back at a few select Forgotten Originals.

"Twist And Shout"



It would be an understatement to say that The Beatles were more than just a great covers band, but they were indeed a great covers band, too. Among all of the rockin' covers The Beatles cut and released in the '60s, the most famous was certainly "Twist And Shout," and I betcha a significant number of people (though likely none who read this blog) think Lennon and McCartney wrote it. The Beatles copied their arrangement of the song in 1963 from The Isley Brothers' 1962 single, and both groups' performances are simply terrific. But the first version of "Twist And Shout" was a 1961 stiff single by The Top Notes. The Top Notes' original "Twist And Shout" is fine, but it lacks distinction, and gives no clue to the unforgettable, definitive versions to follow.

"The First Cut Is The Deepest"

I have a choice between a picture of Rod Stewart or a picture of P. P. Arnold? Yeah, easy decision.

Like most American pop fans, my introduction to this Cat Stevens composition came in 1977 with Rod Stewart's hit cover. I liked Stewart's record, but then my girlfriend played Stevens' version for me. Whoa! Instant fave rave, and I eventually scored my own copy on a double-album compilation called Hard-Up Heroes. I don't know how long it was before I realized that Stewart had omitted a line from the chorus, and everyone else has likewise skipped the same line after that. All versions include When it comes to being lucky, she's cursed/When it comes to loving me, she's worse, but then Rod and Sheryl Crow and all other punters leave out But when it comes to being loved, she's first, which strikes me as a pretty important line. That's how I know! For many years, I thought Cat Stevens released the first version of his own song, but P. P. Arnold's exquisite rendition actually predates Stevens' record. I say P. P. Arnold is also considerably better-looking than either Stevens or Stewart, but that's me. Even if we close our eyes and just listen to her absolute mastery of every syllable, every nuance of longing and regret, hope and fear, it's clear that P. P. Arnold's standout performance of "The First Cut Is The Deepest" is The Greatest Record Ever Made.

"This Diamond Ring"

Understand: there is absolutely nothing wrong with Gary Lewis & the Playboys' 1965 # 1 hit recording of "This Diamond Ring." Nothing. It's a stellar record, and an integral part of that year's rich musical majesty, contributing to my ongoing conviction that 1965 was pop music's best-ever year. Sammy Ambrose's original version (also from '65) destroys Lewis' take. Just destroys it, I tell ya. The soulful mourn and burning ache of Sammy Ambrose's "This Diamond Ring" is compelling and irresistible, and Ambrose sounds truly as if he's lost his heart forever; Lewis, by contrast, sounds like he's lost his contact lens. He'll get over it. For all that, I do still love Gary Lewis' great hit version; I just love Sammy Ambrose's take even more. If not for P. P. Arnold's "The First Cut Is The Deepest," I would say Sammy Ambrose's "This Diamond Ring" is the greatest Forgotten Original of them all.

"On Broadway"



As much as I love the early '60s girl-group sound, neither the first-recorded version of "On Broadway" (by The Cookies) nor the first-released version (by The Crystals) can offer anything to compensate for lacking the panache and essential grit of the familiar and definitive recording by The Drifters. The earlier readings are frilly and frothy, giddily expressing an adolescent/early teen wish to be part of a happenin' scene. Original songwriters Barry Mann and Cynthia Weil worked with Drifters producers (and legendary songwriters themselves) Mike Leiber and Jerry Stoller to recast the tune as something wholly other: a hungry, haunting tale of simmering ambition delayed, denied, and still doggedly pursued nonetheless. I won't quit 'til I'm a star on Broadway. I wouldn't advise standing in this guy's way.

"That Was Then, This Is Now"



I was managing a record store in Buffalo when MTV's embrace of The Monkees in 1986 spontaneously generated a new young generation with something to say, hey-hey. But it was my upstairs neighbor Cheryl who first told me that The Monkees had a brand-new single out, the appropriately-titled "That Was Then, This Is Now." New music from The Monkees?! Man, that was a life-long dream come true. I loved the track the moment I heard it, and soon learned that it had been written by Vance Brescia, and originally recorded by his band The Mosquitos (named for a fictional group that appeared on an episode of Gilligan's Island). I already knew The Mosquitos' track "Darn Well" from its appearance on a fabulous '80s garage compilation cassette called Garage Sale. I eventually tracked down a copy of The Mosquitos' own That Was Then, This Is Now! EP, and had to concede that The Mosquitos' original version of the title tune surpassed The Monkees' reading. I don't understand why The Mosquitos' few recordings have not been gathered afresh for public consumption--I'd buy it!

"Don't Leave Me This Way"



I generally didn't care for much disco, but Thelma Houston's "Don't Leave Me This Way" transcends disco, a delicious slice of pop soul that's light years beyond the razzafrazzin' Bee Gees. The song's original version by Harold Melvin & the Blue Notes is at least as good, and arguably better.

"I Fought The Law"



Many will speak (with some justification) on behalf of The Clash's version of "I Fought The Law," but I regard the 1966 hit record by The Bobby Fuller Four as definitive. The song was written by Sonny Curtis, whose c.v. includes early work with Buddy Holly, writing Holly's "Rock Around With Ollie Vee" and Andy Williams' "A Fool Never Learns," and writing and performing "Love Is All Around," the much-loved theme from The Mary Tyler Moore Show. Curtis has also been a member of The Crickets, who recorded the original take of "I Fought The Law."

"Rock And Roll Love Letter"


Pop fans are divided on this one. I am firmly in The Bay City Rollers' corner; their reading of Tim Moore's "Rock And Roll Love Letter" is a flat-out power pop classic, taking what was already a sturdy and cool pop number in Moore's original version, and adding more oomph and snap to make it one of my favorite AM radio singles of the mid '70s. Yet I know there are power poppers who detest the Rollers' version, and most of them likely gravitate to a subsequent cover by The Records, a version which hews a bit more closely to Moore's while still bringin' something fresh to this ancient rhythm in a man's genetic code. But for me: Moore's original is very good; The Records' version is very, very good; The Bay City Rollers' version is magnificent.

"Tainted Love"


My girlfriend/eventual wife Brenda used to play the 45 of Soft Cell's "Tainted Love" over and over when we first lived together, but I didn't mind; it was a great single, and my wild imagination conjured an image of John Lennon singing it with full "Twist And Shout" vocal shred. "Tainted Love" was first released as a 1965 B-side by soul singer Gloria Jones (who later became a professional and personal partner with Marc Bolan of T. Rex). The song was written by Ed Cobb, formerly of The Four Preps and later producer for (among others) The Standells, whose sole big hit "Dirty Water" was also written by Cobb. As for Soft Cell v Gloria Jones in this case of "Tainted Love," I see the merit of Gloria Jones but I'm gonna side with the wife and pick Soft Cell.

"Kitty"/"Mickey"

Toni Basil with a different Monkee

I don't care if it ain't cool; I absolutely adored Toni Basil's massive hit "Mickey," though I could have done without the cheesy cheerleading video that accompanied it. In my mind, my picture of the song was a cute singer like Josie Cotton backed by The Dave Clark Five, a comparison inspired by writer Mark Shipper's 1977 description of Blondie as Marilyn Monroe backed by the DC5. Plus, I figured it was, like, a love song to The Monkees' Micky Dolenz, and she just misspelled his name like everyone does. In 1982, my '69 Impala only had an AM radio, so I heard "Mickey" a lot, and I approved. The song was written by Nicky Chinn and Mike Chapman, who'd worked with Sweet, Suzi Quatro, and Exile. It was first recorded by a British group called Racey under the title "Kitty."

"Go Now"



Split decision. I love both the original version by Bessie Banks and the hit version by The Moody Blues.

"(I'm Not Your) Steppin' Stone"


Paul Revere & the Raiders recorded the first version of Tommy Boyce and Bobby Hart's snarling proto-punk rant "I'm Not Your Stepping Stone," and planned to release it as a single. When the Raiders were offered the Mann-Weil anti-drug anthem "Kicks," they thought (correctly) that was a sure-fire hit record, so they delayed "Stepping Stone" and released "Kicks" instead. Pissed and convinced they were being yanked around, Boyce & Hart took the song to The Monkees. Slightly retitled as "(I'm Not Your) Steppin' Stone," the song was merely a B-side for The Monkees. Had Boyce & Hart erred? Nope. Its A-side--"I'm A Believer"--was the # 1 song of 1967, so Boyce & Hart did okay with that move. The track ultimately became one of The Monkees' signature tunes; for the Raiders, it was just an album track on their Midnight Ride LP.  I prefer The Monkees here, but it's awfully close.

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