A new and different way

I’ve written a few times about “covers” — new recordings of songs already made famous by someone else.

I used to hate the whole concept.  My thinking was, why record a song that’s already identified with another artist?  Why not attempt a hit with something never tried before?

Here’s why:  People LOVE them.  In the ’40s and ’50s, most singers covered the big hits of the times.  In 1955, there were three versions of “Unchained Melody” in the Top Ten simultaneously.  The Beatles and The Stones got their start doing renditions of Chuck Berry and Buddy Holly tunes.

In every decade since, the pop charts have been full of popular cover versions of hit Untitled-1songs:  “The Letter” (The Box Tops in 1967, Joe Cocker in 1971), “Sea of Love” (Phil Phillips in 1959, The Honeydrippers in 1984), “Proud Mary” (Creedence Clearwater Revival in 1969, Ike and Tina Turner in 1971), “Killing Me Softly With His Song” (Roberta Flack in 1973, The Fugees in 1996).

Today I’m exploring 20 cover versions of hit songs you may not have heard before.  I’ve selected renditions that usually differ significantly from the hit versions but still have a great deal of appeal on their own merits.  Please follow along with the Spotify playlist found at the end of the column.  No doubt my readers can name other great unknown cover versions worthy of our attention, and I’d love to hear about them!  Please scroll to the very bottom and look for the “comment” box…

And here we go:

b84f97aa5c8e566fda4e73479a8ec731“Imagine,” a hit single by John Lennon in 1971, and covered by Keb’ Mo’ in 2004

In 2004, using slide guitar, acoustic guitar and harmonium, blues stylist Keb’ Mo’ put together a superb cover of John Lennon’s anthem “Imagine” for his wonderful “Peace: Back By Popular Demand” collection of anti-war songs.  Lennon’s original, which had been a #3 hit in the US in 1971, went on to become a larger-than-life signature song following Lennon’s murder in 1980.  Of the many covers of this simple song, I’m partial to this one for its down-home instrumentation.

Fleetwood-Mac_Mystery-to-Me“For Your Love,” a hit single by The Yardbirds in 1965, and covered by Fleetwood Mac in 1973

Eric Clapton joined The Yardbirds because of the group members’ mutual love for the blues, so when their manager persuaded them to record the pop song “For Your Love,” Clapton bailed, despite the fact that it became the group’s first Top Ten single.  Almost ten years later, a struggling Fleetwood Mac (prior to Stevie Nicks and Lindsey Buckingham joining) did a fine cover version of “For Your Love,” featuring the late great Bob Welch on vocals and guitar.  It appears on the third of Welch’s four albums with the band, 1973’s “Mystery to Me.”

51QaQzuujBL._SX355_“Classical Gas,” a hit single by Mason Williams in 1968, and covered by Tommy Emmanuel in 2005

Mason Williams had gifts as both a songwriter and a comedy writer — he was head writer for “The Smothers Brothers Comedy Hour” and also worked at “Saturday Night Live.” He came up with the wondrous instrumental tour-de-force “Classical Gas” in 1968, and against all odds, it became a pop hit that year, peaking at #2.  It has been covered by more than two dozen other artists through the years, and the one that really floors me is this live recording by virtuoso Tommy Emmanuel from a 2005 live album recorded in Australia, complete with orchestra.  Wow!

Bayou-Country-cover“Good Golly Miss Molly,” a hit single by Little Richard in 1958, and covered by Creedence Clearwater Revival in 1969

Little Richard’s flamboyant appearance and performances were complemented by a repertoire laced with lyrics that offered sexually suggestive double-entendres.  (“Tutti Frutti, oh Rudy” was originally “Tutti frutti, good booty”…). “Good Golly Miss Molly,” written in 1956 by John Marascalco and Robert Blackwell, was spiced up by Little Richard to include “she sure likes to ball” (which somehow slipped past the censors).  It became a #4 hit in 1958.  In 1969, Creedence Clearwater Revival recorded a ferocious rock version on its breakthrough LP “Bayou Country” which, for me, is arguably better than the original.  John Fogerty’s vocal growl is perfect here.

220px-Eric_Carmen_(1975_Eric_Carmen_album_-_cover_art)“On Broadway,” a hit single by The Drifters in 1963, and covered by Eric Carmen in 1975

Brill Building songwriting duo Barry Mann and Cynthia Weil wrote this fabulous tune as a shuffle in 1963 for the girl group The Cookies.  Then they offered it to The Drifters, who changed it to a bluesier tempo and made it a huge #9 hit.  Fifteen years later, jazz guitarist/singer George Benson’s version (used to dramatic effect in the opening moments of the 1979 film “All That Jazz”) went to #7 on the pop charts.  In between those two versions, former Raspberries leader Eric Carmen included a potent rendition on his solo debut LP in 1975, and I’ve always enjoyed his treatment.

zaqhj4ujtqj5a_600“You Don’t Know How It Feels,” a hit single by Tom Petty in 1994, and covered by Liz Huett in 2018

The rock world was shaken by the sudden death of Tom Petty in 2017, one of the biggest American rock stars of the past 40 years.  I was recently turned on to the work of Liz Huett, a former backup singer for Taylor Swift now establishing her own credentials as an L.A.-based pop artist, who considers Petty one of her important early influences.  She wanted to record one of his tracks as a tribute, and selected “You Don’t Know How It Feels,” a #13 hit in 1994.  Huett’s version offers some alluring vocal nuances to Petty’s classic.

MI0000087322“All Along the Watchtower,” a hit single by Jimi Hendrix Experience in 1968, and covered by Dave Mason in 1974

Bob Dylan’s spare, brief, original version of “Watchtower” from his “John Wesley Harding” album (1967) was immediately and forever overshadowed the following year by Jimi Hendrix’s incendiary cover version from his “Electric Ladyland” double LP.  Many other renditions now exist, but the one I’ve always been very fond of is Dave Mason’s superb cover from his “Dave Mason” LP in 1974.  Such excellent guitar work and vocals!

220px-FateOfNations“If I Were a Carpenter,” a hit single by Bobby Darin in 1966, and covered by Robert Plant in 1993

Folk singer Tim Hardin wrote this gentle tune in 1965, and Bobby Darin made it a #8 hit in 1966.  Hardin himself performed it at Woodstock in 1969.  It’s also been recorded by The Four Tops, Johnny Cash and Bob Seger, among many others; the one that grabs me is this one by ex-Led Zeppelin singer Robert Plant, who recorded a lush version for his “Fate of Nations” LP in 1993.

Bryan_Ferry-These_Foolish_Things_(album_cover)“It’s My Party,” a hit single by Lesley Gore in 1963, and covered by Bryan Ferry in 1973

While still the lead singer of the new avant-garde British band Roxy Music, Ferry showed his love for the music of previous decades with his first solo LP, 1973’s “These Foolish Things.”  Among an eclectic song list that included “Sympathy for the Devil,” “Piece of My Heart,” “You Won’t See Me” and “A Hard Rain’s Gonna Fall,” you can find his loving tribute to Lesley Gore’s iconic tearjerker from 1963, “It’s My Party.”  Ferry’s voice is admittedly an acquired taste, but ultimately, his covers are great fun.

tiger“Eye of the Tiger,” a hit single by Survivor in 1982, and covered by The Rural Alberta Advantage in 2010

Sylvester Stallone was denied the use of Queen’s “Another One Bites the Dust” as the theme song to his “Rocky III” film, so he opted instead for “Eye of the Tiger,” which US rock group Survivor had written for “The Karate Kid” but was rejected.  The song held the #1 spot on the pop charts for six weeks and has sold more than eight million copies.  (Several Republican presidential campaigns have tried to co-opt the track for use at rallies but were forced to stop by court orders.)  A Canadian indie pop-rock band called The Rural Alberta Advantage, still struggling to make it after a dozen years in the business, recorded a much gentler cover version of “Eye of the Tiger” in 2010 that I find very appealing.

4151N2S26PL“Groovin’,” a hit single by The Rascals in 1967, and covered by Kenny Rankin in 1976

One of the best vibes from the 1967 “Summer of Love” playlist can be found on this serene track by The Rascals, the New York-based group known more for high-energy tunes like “Good Lovin’.”  Mid-’70s folk crooner Kenny Rankin, known for his low-key covers of Beatles standards as well as his own originals, did a nice job covering “Groovin'” on the 1976 LP “The Kenny Rankin Album,” which, although a bit over-arranged with strings by Don Costa, still soothes the ears without getting too saccharine.

black-tie-white-noise-cover“I Feel Free,” a hit single by Cream in 1966, and covered by David Bowie in 1993

Eric Clapton, Jack Bruce and Ginger Baker exploded on the British music scene in 1966 with their “Fresh Cream” LP, highlighted by the vibrant UK single “I Feel Free.”  Although it didn’t chart in the US, the record paved the way for future US hits like “Sunshine of Your Love” and “White Room,” which helped cement Cream’s place in the rock pantheon.  More than 25 years later, another British rock titan, David Bowie, couldn’t resist offering his own distinctive take on “I Feel Free” as an intriguing deep track on his overlooked 1993 LP “Black Tie White Noise.”

Steve_Winwood_-_Junction_Seven“Family Affair,” a hit single by Sly and the Family Stone in 1971, and covered by Steve Winwood in 1997

Sly Stone wrote this piece — somewhat darker than the more celebratory material he’d been known for up to that point — in 1971, and he and his band topped the charts for the third and final time.  This funky, electric piano-based tune is the first hit to ever feature a “rhythm box” (precursor to the drum machine).  It has been covered by at least a dozen R&B artists, and I’m partial to the glitzy rendition by Steve Winwood on his underrated 1997 LP, “Junction Seven.”  Winwood’s vocals and full arrangement are arguably superior to Sly’s original.

711TxEhDwYL._SY355_“Wichita Lineman,” a hit single by Glen Campbell in 1968, and covered by James Taylor in 2008

The great songwriter Jimmy Webb came up with this gem on very short notice for a Glen Campbell recording session, and it became, to my mind, Campbell’s finest recorded moment, peaking on the singles chart at #3 in late 1968.  Many smooth-voiced vocalists in the country and pop idioms have given the song a try since then, but my favorite cover, hands down, is James Taylor’s fine version, recorded in 2008 for his “Covers” LP, released during his writer’s block period (2002-2012).

61xwPT6oxPL._SY355_“Need You Tonight,” a hit single by INXS in 1987, and covered by Bonnie Raitt in 2016

Australia’s INXS had a run of four Top 20 LPs in the US between 1985-1992, thanks to their seven Top Ten singles, most notably 1987’s #1 smash, “Need You Tonight.”  Singer/lyricist Michael Hutchence and composer/keyboarist Andrew Farriss were responsible for the bulk of the band’s MTV-friendly material.  You wouldn’t guess that blues/funk artist Bonnie Raitt would be much of an INXS fan, but wow, check out her dynamic cover of “Need You Tonight” from her fun 2016 CD, “Dig in Deep.”

2292658e6ce30dcc0ca6282f85e6ba70.600x600x1“The Boxer,” a hit single by Simon and Garfunkel in 1969, and covered by Mumford and Sons with Jerry Douglas and Paul Simon in 2012

I would rank “The Boxer” as not only in my top five Simon and Garfunkel songs, but in the top five of Paul Simon’s entire catalog.  The stunning melody, the story-song structure, the “lie-la-lie” chorus, the precision harmonies all combine to create a near-perfect track, and it peaked at #3 in the spring of 1969.  More than 40 years later, British group Mumford and Sons enlisted the great lap-steel guitar player Jerry Douglas to sit in on their studio recording of “The Boxer,” which appeared as a bonus track on the 2012 chart-topping album “Babel.”  Very sweet cover indeed.

220px-Annie_Lennox_-_Medusa_Album_Cover“I Can’t Get Next to You,” a hit single by The Temptations in 1969, and covered by Annie Lennox in 1995

Lennox, formerly with the British sensations The Eurythmics, has one of those phenomenal voices that sounds great singing any genre you name.  In 1995, she assembled a dozen tracks she had always loved and recorded loving cover versions of them for her “Medusa” album that year.  There’s nary a weak cut here, but my favorite is her take on the Motown classic, “I Can’t Get Next to You,” which The Temptations had made into a #1 hit in the fall of 1969.  If you play these two versions back to back, it’s hard to decide which one is superior.

62fdfba38ee3f31e3d09b3fdaf61b59b“How Deep is Your Love,” a hit single by The Bee Gees in 1977, and covered by The Bird and The Bee in 2007

This huge #1 hit ballad from the “Saturday Night Fever” soundtrack LP was written by Barry Gibb and keyboard player Blue Weaver, and was intended for The Bee Gees’ next studio LP.  But when film producer Robert Stigwood asked for songs for his upcoming movie about the world of disco, the group gladly contributed this one and four others, and the rest is multi-platinum history.  An LA-based duo called The Bird and The Bee did a thoroughly engaging cover version of the song on a 2007 EP entitled “Please Clap Your Hands” that’s worthy of your attention.

APphoto_Music Review Eric Clapton“Call Me the Breeze,” an FM favorite by Lynyrd Skynyrd in 1974, and covered by Eric Clapton in 2014

J J Cale wrote and recorded the original as a slow shuffle on his 1972 debut “Naturally,” and while he never made much of a dent in the charts as a performing artist, he has been widely praised as a songwriter.  Lynyrd Skynyrd were big Cale fans, and recorded a seriously rockin’ rendition of “Call Me the Breeze” on their 1974 LP, “Second Helping.”  There was no bigger Cale devotee than Eric Clapton, who had hits with Cale’s songs “After Midnight” and “Cocaine.”  Upon Cale’s death in 2013, Clapton released a tribute album of Cale-penned tracks featuring collaborations with numerous artists, and he titled the collection “The Breeze:  An Appreciation of J J Cale.”

Santana2“While My Guitar Gently Weeps,” an FM classic by The Beatles in 1968, and covered by Carlos Santana with India.arie and Yo-Yo Ma in 2010

Many cover versions exist of George Harrison’s masterpiece from The Beatles “White Album,” but the one I’m currently crazy about is the collaboration recorded by Carlos Santana with help from singer India.arie and cellist Yo-Yo Ma for Santana’s 2010 concept LP, “Guitar Heaven,” on which he offers versions of 10 classic guitar tracks using 10 different vocalists.  The whole album is worth checking out, but this track in particular is extraordinary.


When I was 17, it was a very good year

Last weekend, I returned to my home town of Cleveland and participated in my 45th high school reunion.  It was so great to see old (in both senses of the word!) classmates and wander the grounds and the halls of my alma mater, which brought back fond memories of my formative years.

I was particularly pleased to hear a lot of great music playing in the background — songs from 1972 and 1973, when we were in our senior year.  My friend Chris, a former DJ and music lover like me, played a pivotal role in compiling the tunes we would be hearing, then activating the “shuffle” mode and letting the music wash over us.

It was an incredibly fertile year.  At that time, the 45-rpm single was no longer the 1973-featureddominant form of recorded music, although there was still a vibrant Top 40 Billboard chart that offered everything from romantic soul and glam rock to straight pop and syrupy ballads.  More people were buying albums by then instead, and the list of albums released that year is truly mind-boggling.

Let’s look at the hit singles first.

As the 1972-1973 school year started in September 1972, the singles charts were still dominated by some of the songs from the summer months:  “Brandy (You’re a Fine Girl)” by Looking Glass; “Long Cool Woman (in a Black Dress)” by The Hollies; “Lean on Me” by Bill Withers; “Alone Again (Naturally)” by maxresdefault-16Gilbert O’Sullivan; “Hold Your Head Up” by Argent; “Where Is The Love” by Roberta Flack and Donny Hathaway; “Goodbye to Love” by The Carpenters; “I’m Still in Love With You” by Al Green; “The Guitar Man” by Bread; “Saturday in the Park,” Chicago;  “Black and White” by Thee Dog Night.

A new batch of singles began their rise in October and November:  “Backstabbers” by The O’Jays; “Go All the Way” by The Raspberries; “Everybody Plays the Fool” by The 117397274Main Ingredient; “Garden Party” by Rick Nelson; “Listen to the Music” by The Doobie Brothers; “Tight Rope” by Leon Russell; “Summer Breeze” by Seals and Crofts; “Burning Love” by Elvis Presley; “Living in the Past” by Jethro Tull; “Nights in White Satin” by The Moody Blues; “I Can See Clearly Now” by Johnny Nash; “Elected” by Alice Cooper; “Ventura Highway” by America; “Papa Was a Rolling Stone” by The Temptations; “Operator” by Jim Croce; “My Ding-a-Ling” by Chuck Berry.

As the holidays rolled in, these were the songs Top 40 radio was playing:  “Me and Mrs. Jcover-large_file-1ones” by Billy Paul; “You’re So Vain” by Carly Simon; “It Never Rains in Southern California” by Albert Hammond; “Your Mama Don’t Dance” by Loggins and Messina; “Do It Again” by Steely Dan; “I Am Woman” by Helen Reddy; “Dancing in the Moonlight” by King Harvest; “Crocodile Rock” by Elton John; “Superstition” by Stevie Wonder; “Don’t Let Me Be Lonely Tonight” by James Taylor; “Rockin’ Pneumonia and the Boogie Woogie Flu” by Johnny Rivers.

During the first three months of 1973, the airwaves were filled with tunes like:  “Rocky Mountain High” by John Denver; “Oh Babe What Would You Say” by Hurricane Smith; “The Cover of the Rolling Stone” by Dr. Hook; “Don’t Expect Me to Be Your Friend” by Lobo; “Killing Me Softly With His Song” by Roberta Flack; “Could It Be 131hook32973I’m Falling in Love” by The Spinners; “Danny’s Song” by Anne Murray; “Tie a Yellow Ribbon” by Tony Orlando and Dawn; “Right Place Wrong Time” by Dr. John; “Sing” by The Carpenters; “Witchy Woman” by The Eagles; “Duelin’ Banjos” by Eric Weisberg; “Ain’t No Woman (Like the One I Got)” by The Four Tops.

My senior year concluded with the radio playing hits like these in April, May and June:  “Cisco Kid” by War; “Space Oddity” by David Bowie; “Drift Away” by Dobie Gray; “Frankenstein” by Edgar Winter Group; “Peaceful” by Helen Reddy; “Hocus Pocus” by Focus; “Will It Go Round in Circles” by Billy Preston; “My Love” by Paul McCartney lou-reed-walk-on-the-wild-side-rca-5and Wings; “Kodachrome” by Paul Simon; “Love Train” by The O’Jays; “Smoke on the Water” by Deep Purple; “Stuck in the Middle With You” by Stealer’s Wheel; “Walk on the Wild Side” by Lou Reed; “Give Me Love” by George Harrison; “Long Train Runnin’” by The Doobie Brothers; “Reelin’ in the Years” by Steely Dan.

Talk about a mixed bag!  Like every year, there was garbage in there (I think my readers can identify which tunes I’m talking about) along with the stellar tracks that still hold up very well many decades later.

Meanwhile, over on the album charts, my senior year offered an almost unbelievable cornucopia of excellent stuff.  Some artists even found a way to release two solid LPs in one calendar year.  You never see THAT happen anymore…

Typically, albums do better on the charts when they include a hit single or two carney-frontsimultaneously climbing the Top 40 listings, and there were many examples of that:  Leon Russell’s “Carney,” Paul Simon’s “There Goes Rhymin’ Simon,” Rod Stewart’s “Never a Dull Moment,” Steely Dan’s “Can’t Buy a Thrill,” Marvin Gaye’s “Trouble Man,” Cat Stevens’ “Catch Bull at Four,” War’s “The World is a Ghetto,” Bill Withers’ “Still Bill,” The Doobie Brothers’ “Toulouse Street” AND “The Captain and Me,” Lou Reed’s “Transformer,” Carly Simon’s “No Secrets,” Jethro Tull’s “Living in the Past,” The Temptations’ “All Directions,” Elton John’s “Don’t Shoot Me, I’m Only the Piano Player” AND “Goodbye 16b47c4f5272ccc3becd0087f8f95961Yellow Brick Road,”  Curtis Mayfield’s “Superfly,” Jim Croce’s “Life and Times,” The Allman Brothers’ “Brothers and Sisters,” Paul McCartney & Wings’ “Red Rose Speedway,” Alice Cooper’s “Billion Dollar Babies,” America’s “Homecoming,” Stevie Wonder’s “Talking Book” AND “Innervisions,” Neil Diamond’s “Moods,” Chicago’s “Chicago V,” Joe Walsh’s “The Smoker You Drink, the Player You Get,” The Moody Blues’ “Seventh Sojourn,” Dr. John’s “In the Right Place,” Pink Floyd’s “Dark Side of the Moon,” Steve Miller’s “The Joker,” Edgar Winter Group’s “They Only Come Out at Night,” Grand Funk Railroad’s “Phoenix,” Pure Prairie League’s “Bustin’ Out.”

220px-DavisBowieAladdinSaneAnd yet, some of the classic LPs of the year sold well without benefit of a hit single:  David Bowie’s “Aladdin Sane,” Yes’s “Close to the Edge,” Todd Rundgren’s “A Wizard/A True Star,” J Geils Band’s “Bloodshot,” Emerson Lake & Palmer’s “Trilogy,” Humble Pie’s “Eat It,” Van Morrison’s “St. Dominic’s Preview,” Joe Walsh’s “Barnstorm,” Little Feat’s “Dixie Chicken,” Jethro Tull’s “A Passion Play,” Diana Ross’s “Lady Sings the Blues,”  Led Zeppelin’s Yes-closeHouses of the Holy,” Johnny Winter’s “Still Alive and Well,” The Who’s “Quadrophenia,” The Small Faces’ “Ooh La La,” Mahavishnu Orchestra’s “Birds of Fire,” Traffic’s “Shoot Out at the Fantasy Factory,” Joni Mitchell’s “For the Roses,” Santana’s “Caravanserai,” Mike Oldfield’s “Tubular Bells,” The Grateful Dead’s “Europe ’72,” The Eagles’ “Desperado.”

Also, in the same year came debut albums by artists who would soon be major stars:  Aerosmith, The Marshall Tucker Band, Bette Midler, Bachman-Turner Overdrive, Peter Frampton, Bob Marley, Lynyrd Skynyrd, KISS, Jackson Browne, 10cc.

And then there were the albums that flew under the radar that I was lucky enough to stumble upon at the right time.  Technically released in 1971 but discovered by me in the fall of ’72, Batdorf and Rodney’s “Off the Shelf” was on my turntable for untold hours in the winter and spring of 1973.  It’s interesting, almost creepy, to note that the lyrics to the leadoff song, “Oh My Surprise,” addresses the issue of reminiscing about the good old days:  “I thought I could never go back to those years I loved so well, oh my surprise, oh my surprise…”


517EgECnPrLThe year 1973 was a significant year for another big reason, according to Michael Walker, author of the revealing 2013 book, “What You Want is in the Limo.”  In his introduction, he maintains that 1973 was the year that the Sixties finally died and modern rock stardom was born, when bands like Led Zeppelin, The Who and Alice Cooper put together monumental, physically punishing concert tours that set new standards — for attendance, for the quality and quantity of recreational drugs, for the amount of equipment and lighting on stage, for backstage and hotel hijinx, for the sheer volume of sound coming from the speakers.

“The bands and music of the ’60s created an outsized hunger for rock culture but lacked the infrastructure to deliver it,” Walker writes.  “In 1973, supply finally catches up with demand.  As the ’60s bled into the ’70s, the naive counterculturalism that bound rock bands in generational solidarity to their audience began to fray.  A new generation of AliceCooperfans too young for Woodstock inherited the tropes of the ’60s, minus the boring poli-sci socio-overlay.  Thus do peace, love, and understanding devolve into sex, drugs, and rock and roll.  The sex was younger, the drugs harder, and the rock and roll louder, longer and infinitely more belligerent.”

Walker makes a valid case that, post-1973, the rock music got bigger but more indulgent, more of a business and less of a pleasure, more destructive and less creative.  “The template created in 1973 will, three years later, metastasize into mega-albums by Peter Frampton and Fleetwood Mac and, in the ’80s and ’90s, tours upsized from civic arenas to Jumbotronned stadia and records shipped in R-52_LedZeppelin1973_Gruenthe tens of millions, though by then the rituals, commodified by corporate patronage, will seem increasingly scripted.”

Of course, there were many exceptions to these statements, but there’s no question that rock stars became more distant from their fans by the mid-Seventies.  In 1970-1972, you could still go see a show by a big name group and not have to take out a loan to buy a ticket.  Walker sums it up this way:  “1973 distills a decade’s worth of decadence into twelve awesome months and resets the clock for the rest of the Seventies and all that they imply.  It’s a year that, by any measure, ought to be its own decade.”

For a guy who graduated from high school that year, I must say I wholeheartedly agree.  The singles and albums outlined above demonstrate that fact.


I’ve compiled two playlists on Spotify for this post.  The first includes some of the more commercial hit singles from ’72-’73, and the second offers a sampling of some of my favorite deeper tracks from the albums of that period.