Commonly Misattributed Songs: The Music Industry's Cases of Mistaken Identity

Introduction

The history of popular music is filled with curious cases of mistaken identity. Certain songs have become so deeply associated with artists who never actually recorded them that the misconception has become cultural folklore. This research examines several famous songs commonly misattributed to the wrong performers, explores the reasons behind these persistent misattributions, and reflects on what these musical misconceptions reveal about collective cultural memory and the way we consume music. From sonic similarities to media confusion and the pre-internet spread of musical knowledge, the phenomenon of misattributed songs offers a fascinating window into how musical legacies are formed and sometimes distorted in the public imagination.

Notable Cases of Misattributed Songs

"A Horse with No Name" (1971)

Commonly misattributed to: Neil Young
Actually performed by: America

Perhaps the most classic case of misattribution, this folk-rock hit is frequently believed to be a Neil Young song. The confusion is understandable - vocalist Dewey Bunnell's singing style bears a striking resemblance to Young's distinctive tenor, and the song's acoustic guitar-driven arrangement feels reminiscent of Young's work from the same era. The thematic elements of desert imagery and introspective lyrics also align with Young's songwriting style. Adding to the confusion, "A Horse with No Name" actually replaced Young's "Heart of Gold" at the #1 position on the Billboard charts when it was released. The irony is that America was initially influenced by Young's style, making this misattribution a case of an homage being confused with its inspiration.

"Love Grows (Where My Rosemary Goes)" (1970)

Commonly misattributed to: The Grass Roots
Actually performed by: Edison Lighthouse

This sunshine pop hit with its upbeat melody and distinctive vocal harmonies is often incorrectly attributed to The Grass Roots, a band known for similar-sounding hits like "Midnight Confessions" and "Temptation Eyes." In reality, the song was recorded by Edison Lighthouse, a British pop group assembled around singer Tony Burrows. Interestingly, Burrows was something of a "one-hit wonder factory," providing lead vocals for multiple different bands that each had exactly one hit song, including White Plains ("My Baby Loves Lovin'") and The First Class ("Beach Baby").

"Black Magic Woman" (1970)

Commonly misattributed to: Santana as the original artist
Actually written and first performed by: Fleetwood Mac (Peter Green era)

While Carlos Santana's version of "Black Magic Woman" is undoubtedly the most famous, introducing millions to the song through its Latin rhythms and scorching guitar work, it was actually a cover. The original was written and recorded by Peter Green for Fleetwood Mac in 1968, during the band's early blues phase before Stevie Nicks and Lindsey Buckingham joined. Santana's 1970 version, which infused the blues original with Latin percussion and merged it with Gabor Szabo's "Gypsy Queen," became so definitive that many listeners remain unaware of the song's origins with Fleetwood Mac.

"Stuck in the Middle with You" (1972)

Commonly misattributed to: Bob Dylan
Actually performed by: Stealers Wheel

This folk-rock hit with its distinctive vocal style and harmonica breaks has caused many listeners to assume it's a Bob Dylan track. The confusion stems from Gerry Rafferty's vocal delivery, which incorporates Dylan-esque phrasing and inflections. The song's narrator even references "clowns to the left of me, jokers to the right" - a lyrical style reminiscent of Dylan's observational writing. The misattribution was likely reinforced by the song's revival in Quentin Tarantino's "Reservoir Dogs" (1992), where it's incongruously paired with a notorious torture scene, creating a shocking juxtaposition that brought renewed attention to the track without necessarily clarifying its origins.

"You Light Up My Life" (1977)

Commonly misattributed to: Debby Boone as the original artist
Actually first performed by: Kasey Cisyk

While Debby Boone's version of this ballad became an enormous hit (spending an unprecedented 10 weeks at #1 on the Billboard Hot 100), the original recording was actually by Kasey Cisyk for the film of the same name. Cisyk's version appeared in the movie and on its soundtrack, but when it began gaining popularity, the song's writer/producer Joseph Brooks rerecorded it with Boone. In a particularly unfair twist, Cisyk wasn't credited or compensated properly for her work. Today, most people have no idea about Cisyk's original version, believing the song originated with Boone.

"I Love Rock 'n' Roll" (1982)

Commonly misattributed to: Joan Jett as the original artist
Actually first performed by: The Arrows

Joan Jett & the Blackhearts' version of this anthem reached #1 and became one of the defining rock songs of the 1980s. However, it was actually a cover of a song written and recorded by British band The Arrows in 1975. Jett discovered the song while touring England with The Runaways and made it her own years later. The Arrows' original didn't chart significantly, and the band broke up without achieving major success, leaving many to assume the song was Jett's original creation.

"Bette Davis Eyes" (1981)

Commonly misattributed to: Kim Carnes as the original artist
Actually first performed by: Jackie DeShannon

Kim Carnes' version of this song, with its distinctive synthesizer riff and Carnes' raspy vocals, became one of the biggest hits of the 1980s. However, it was actually a cover of a song first recorded by Jackie DeShannon in 1974. DeShannon's original had a completely different arrangement - a bouncy, ragtime-influenced style that bears little resemblance to Carnes' new wave interpretation. The transformation was so complete that most listeners have no idea the song existed in another form.

Why These Misattributions Persist

Sonic Similarities and Stylistic Imitation

Many misattributions occur because the actual performer sounds remarkably similar to a more famous artist, or deliberately adopts their style. In the case of "A Horse with No Name," America's Dewey Bunnell wasn't intentionally mimicking Neil Young, but his natural vocal timbre and the song's folk-rock arrangement created an uncanny similarity. The music industry has always had waves of artists influenced by pioneers in their genre, leading to sound-alikes that can confuse casual listeners.

Pre-Internet Information Spread

Before the internet made instant fact-checking possible, music information spread through less reliable channels: radio DJs, word of mouth, and music magazine articles that might not reach all listeners. If someone heard "Stuck in the Middle with You" at a party and asked "Is this Dylan?" an incorrect "yes" from another guest could cement that misattribution for years. Without easy access to liner notes or online databases, these misconceptions could spread widely and become accepted as fact.

Cultural Memory and Reinforcement

Once a misattribution takes hold in popular culture, it can be remarkably persistent. Each time someone incorrectly identifies a song and shares that misidentification with others, the misconception is reinforced. Even in the internet age, incorrect information continues to circulate, and many people simply never have occasion to discover their error.

The Power of Definitive Covers

When an artist records a version of a song that becomes significantly more popular than the original, the covering artist often becomes so strongly associated with the song that the original is forgotten. This explains cases like "I Love Rock 'n' Roll" and "Bette Davis Eyes," where covers completely eclipsed the originals in cultural impact and recognition.

Conclusion: What Misattributed Songs Tell Us About Music Culture

The phenomenon of misattributed songs reveals several interesting aspects of our relationship with music and cultural memory. First, it highlights how sound and style can sometimes overshadow factual knowledge in our musical experiences - we associate songs with artists whose overall sound matches the track, even if they never recorded it. Second, it demonstrates how cultural information was transmitted in the pre-digital era, with misconceptions spreading through informal networks and becoming solidified as "common knowledge."

In the streaming era, with instant access to information about songs as we listen to them, we might expect misattributions to become less common. However, they persist, suggesting that our musical knowledge is still heavily influenced by cultural osmosis rather than direct research. These musical misconceptions offer a fascinating glimpse into collective cultural memory and the complex ways we consume and categorize music. They remind us that the stories we tell about music - even when factually incorrect - are part of our cultural experience of the songs we love.

Sources

• Joel Whitburn's Top Pop Singles (Billboard Publications)
• Rolling Stone Encyclopedia of Rock & Roll
• The Billboard Book of Number One Hits by Fred Bronson
• Interviews with America band members about "A Horse with No Name" misconceptions
• Peter Green biography "Man of the World" on the origins of "Black Magic Woman"
• The oral history of Stealers Wheel and "Stuck in the Middle with You"
• Archive interviews with Joan Jett discussing discovering "I Love Rock 'n' Roll"