Ellen Foley SONG INDEX part 1

Ellen often recorded other people's songs (she only released six of her own songs), but they were not 'just' cover versions. She often had songs written for her, or she would pick newly published songs and "make them her own". When criticised for doing too many covers, Ellen replied that the approach, the commitment and the understanding is more important than the actual writing of a song. To Ellen singing is similar to acting, and she believes in throwing herself fully into every performance and trying to bring out a song's character and feel.

This index details every song Ellen Foley has recorded or performed live during the 70s and 80s, including demos and songs from Jim Steinman's Pandora's Box project. The index does not cover her musicals or cabaret shows, nor does it include her most recent work with the Dirty Old Men.

All Revved Up With No Place To Go (Jim Steinman)
--> Heaven Can't Wait (Jim Steinman)
--> Want Ad (Jim Steinman)

Ellen covered two songs from Meat Loaf's million selling Bat Out Of Hell album on her first solo tour in 1979 (All Revved Up With No Place To Go and Heaven Can't Wait) but she never recorded them. The songs were written by Jim Steinman and Ellen would work with him again ten years later, on his Pandora's Box project (which included the Want Ad monologue).
All The Way From Memphis (Ian Hunter)
--> Don't Let Go (Ian Hunter)

All The Way From Memphis was covered by Ellen on her 1977 demo tape. This Mott The Hoople classic dates back to 1973 when it was included on their Mott album. Ellen's version impressed former Mott vocalist Ian Hunter, and he ended up co-producing Nightout a year later with Mick Ronson, and he gave Ellen his new song Don't Let Go.
Another Breath (Bob Riley)
--> Spy In The House Of Love (Ellen Foley / Bob Riley)

Bob Riley played with Ellen for three years (1981-1983) and he was the only songwriter in the band (other than Ellen). Apparently Bob was "over the moon" when Ellen told him she would use his song as the title track for Another Breath. Ellen had wanted to call the album Lefty (she is left handed), but this was rejected by the record company. Ellen also co-wrote Spy In The House Of Love with Bob.
Beat Of A Broken Heart (Ellen Foley / Fred Goodman)
--> Ghost Of A Chance (Ellen Foley / Fred Goodman)
--> Hideaway (Fred Goodman)
--> Guardian Angel (Ellen Foley / Fred Goodman)
--> We Belong To The Night (Ellen Foley / Fred Goodman)

Fred Goodman was Ellen's first songwriting partner. They met in December 1978, and would write several songs together, but only We Belong To The Night and Beat Of A Broken Heart were released at the time (plus Goodman's Hideaway). Beat Of A Broken Heart was only available as a UK and Continental single B-side.
Beautiful Waste Of Time (Tymon Dogg)
--> Game Of A Man (Tymon Dogg)
--> Indestructible (Tymon Dogg)

Tymon Dogg was a friend of The Clash; he would often tour and record with them. "Beautiful Waste Of Time" is the oldest of the three songs of his Ellen covered (in terms of when Tymon recorded them.) It's Tymon's 1976 solo album, recorded around the time he was roommates with Joe Strummer. The album is called "Tymon Dogg," but is sometimes listed as "Outlaw Number One."

"I got to sing like a jazz singer", Ellen said. "I never got to use that deepdown part of my voice before. The song is about love".
Black Boys (James Rado / Gerome Ragni / Galt McDermot)
Ellen's version of Black Boys is only available on the Hair movie soundtrack album. The song was first recorded by Diane Keaton, Suzanna Norstrand and Natalie Mosco in the early 70s on the original cast recording from Broadway. The show opened on Broadway at the Biltmore Theatre in April 1968. It closed in July 1972 after 1,742 performances. Ellen got her supporting role in the movie after playing the lead role of Sheila on Broadway in the revival of Hair in October 1977 which closed after 43 shows.
Boys In The Attic (Ellie Greenwich / Jeff Kent / Rob Parissi)
--> Keep It Confidential (Ellen Foley / Jeff Kent / Ellie Greenwich)
--> Run For My Life (Ellen Foley / Jeff Kent / Ellie Greenwich)

Ellen was thrilled to meet Ellie Greenwich, a famous songwriter who's hits included Be My Baby and Baby I Love You for Ronettes, Da Doo Run Run and Then He Kissed Me for the Crystals and River Deep-Mountain High for Ike & Tina Turner (to name but a few....) and she formed a songwriting partnership with Ellie and her partner Jeff Kent that lasted for several months in 1982, but little is known of their collaborations. Besides Boys In The Attic and Run For My Life, the only song to surface was Keep It Confidential - a hit for Nona Hendryx in 1983.
Come And Get These Memories (Brian Holland / Lamont Dozier / Eddie Holland)
Originally recorded by Martha And The Vandellas in 1963 on their album of the same name (and also released on single), Come And Get These Memories is also notable as the first hit recording written and produced by the songwriting/production team of Holland-Dozier-Holland, who would become the top creative team at Motown by the end of 1965. The single was the first of several hits Martha and the Vandellas scored with the team.
Come To Me (Karen Brooks / Randy Sharps)
Singer/songwriter Karen Brooks has written and recorded many songs with her songwriter partner Randy Sharp, but I don't think she ever released Come To Me herself. Interestingly, on her 1985 album I Will Dance With You Karen Brooks recorded a few cover versions herself, including The Last Time by Rolling Stones!
Don't Let Go (Ian Hunter)
--> All The Way From Memphis (Ian Hunter)

Given to Ellen by Nightout producer Ian Hunter, this beautiful ballad is perhaps Ellen's finest recorded moment. Said Ellen: "He (Ian) had that song. He wanted to record it, but couldn't quite find a way to do it. The song was such a great experience for me, the way it happened in the studio. I didn't rehearse it much because I wanted to work on the feeling, so it was done live. Tommy (Mandel) played piano and I sang. We did it once, and that was it. We sacrificed some technical things for emotional quality. I was crying through it. I mean like Ronson said, 'a record should be a record of what's happening at that very time, rather than a totally mechanized product'."

Ian Hunter's own version of the song was finally made available in 2009; it was one of many bonus tracks on the 30th anniversary edition of his 1979 album You're Never Alone With A Schizophrenic.
Game Of A Man (Tymon Dogg)
--> Beautiful Waste Of Time (Tymon Dogg)
--> Indestructible (Tymon Dogg)

This was the second of three Tymon Dogg songs Ellen covered. "Game Of A Man" was recorded by Tymon on his "Relentless" album from 1989 - obviously, some time after Ellen's version.
Ghost Of A Chance (Ellen Foley / Fred Goodman)
--> Beat Of A Broken Heart (Ellen Foley / Fred Goodman)
--> Guardian Angel (Ellen Foley / Fred Goodman)
--> Hideaway (Fred Goodman)
--> We Belong To The Night (Ellen Foley / Fred Goodman)

A regular in her live set at the time, Ghost of A Chance was also recorded by Ellen for her Another Breath album but not released at the time. It was finally included on the 2007 re-issue of said album.
Great Balls Of Fire (Otis Blackwell / Jack Hammer)
Ellen used to finish her concerts during 1979/80 with the classic Great Balls Of Fire. The song was written by the songwriter team Otis Blackwell / Jack Hammer and was first recorded by Jerry Lee Lewis who scored a #1 hit single around the world with the song, after Jerry Lee Lewis and his band performed it in the 1957 Warner Brothers rock and roll film Jamboree. Other artists have also covered this song, including Dolly Parton, Electric Light Orchestra, Amii Stewart, Johnny Winter and Fleetwood Mac.
Guardian Angel (Ellen Foley / Fred Goodman)
--> Beat Of A Broken Heart (Ellen Foley / Fred Goodman)
--> Ghost Of A Chance (Ellen Foley / Fred Goodman)
--> Hideaway (Fred Goodman)
--> We Belong To The Night (Ellen Foley / Fred Goodman)

The BMI database on the World Wide Web list Guardian Angel as a Foley/Goodman composition, but I don't know what happened to this one. Probably demo'ed for Another Breath. BMI is an organisation that collect royalties on behalf of songwriters and arrangers.