hit singles

Come on in and cover me

Posted on by brucehhackett

When I was in my teens and early 20s, I had a peculiar aversion to cover songs. If I loved a tune, I had no interest in hearing someone else record the same song, whether it was a note-for-note copy or a radically different arrangement. I thought it was lazy of the artist to rip off a song already made famous when there were so many unknown songs waiting to be recorded and popularized.

Eventually, I saw how shortsighted this attitude was. I felt sheepish when I discovered that a song I loved — James Taylor’s “How Sweet It Is To Be Loved By You,” for instance — was in fact a cover version of Marvin Gaye’s original from a decade earlier.

A great song is a great song, and it will almost certainly stand up to multiple re-imaginings. This truth has been driven home to me hundreds of times in recent years as newer artists have been returning time and time again to songs from the ’60s, ’70s and ’80s. Some of these cover versions, of course, have been failed experiments, to my ears, but so many more have been resoundingly successful as valid art, regardless of whether they made any impact on the charts.

I have enjoyed combing through the releases of the past two decades, searching for the best cover renditions of classic rock tracks by current singers. Some I knew already but others were brand new to me, and I felt compelled to select 15 and present them here to my readers. As always, I have included a Spotify playlist so you can listen to these new versions of old favorites as you read along. If you have your own favorite cover songs, I’d be very interested to hear about them for a future blog post.

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“Someday We’ll Be Together,” Bruce Springsteen, 2022

Since his earliest days as a performer, Springsteen has often covered classic R&B and roots rock tunes in his concerts, most notably “Devil With the Blue Dress,” “Raise Your Hand,” “War,” “Quarter to Three,” “In the Midnight Hour” and “Twist and Shout.” In 2022, he finally got around to recording “Only the Strong Survive,” an entire studio album of soul covers like “Turn Back the Hands of Time,” “What Becomes of the Broken Hearted” and “Do I Love You (Indeed I Do).” My favorite from that collection is his version of The Supremes #1 hit from 1969, “Someday We’ll Be Together.” One critic praised the LP as “an ideal opportunity for a new audience to discover glorious classics as interpreted by a rock ‘n’ roll stalwart.”

“Back Stabbers,” Seal, 2011

“In my years in the music industry, two things have remained constants — the voice and the song,” noted Seal upon the release of “Soul 2,” his second collection of R&B covers. “I continue to make music because of the chance that today could be the day I write a memorable song or have the opportunity to sing an all-time classic.” The songs he chose — “What’s Going On,” “Let’s Stay Together,” “I’ll Be Around,” among others — are some of the finest soul tunes ever. His magnificent treatment of The O’Jays’ 1972 hit “Back Stabbers” is the cream of the crop.

“Happy Together,” Weezer, 2019

Since their debut in the mid-1990s, Weezer has been one of the most critically praised and commercially successful alt-rock bands in the country, churning out more than a dozen albums and 15 Top Ten singles on the alt-rock charts. Their fans wanted them to record a cover of Toto’s mid-’80s hit “Africa,” so instead, they released another Toto hit, “Rosanna,” which led to “The Teal Album,” an LP of covers that included not only “Africa” but other iconic tunes like “Billie Jean,” “Everybody Wants to Rule the World,” a-ha’s “Take On Me” and The Turtles’ 1967 hit “Happy Together.” They chose to remain faithful to the originals — “straight-ahead paint-by-numbers covers,” as one critic put it, “like something a wedding band might play.”

“Lean On Me,” Keb’ Mo’, 2022

Kevin Moore has been going by the Ebonic “Keb’ Mo'” version of his name since his debut in 1995, writing, recording and performing award-winning contemporary blues music. He has also dabbled in many convincing covers along the way, re-imagining traditional pieces like “America the Beautiful” and pop songs such as The Youngblood’s “Get Together,” Stevie Wonder’s “Isn’t She Lovely” and The Eagles’ “One Of These Nights.” In 2022, his 18th LP “Good To Be…” featured a compelling cover of the Bill Withers #1 hit “Lean On Me.”

“After the Gold Rush,” k.d. lang, 2004

Inspired by poet e.e. cummings and his use of lower-case letters, Kathryn Dawn Lang became k.d. lang upon her debut as a Canadian country singer in the late 1980s. She has won Grammy and Juno awards for her country, pop and folk music in the years since, especially for her 1992 LP “Ingenue” and its hits “Constant Craving” and “Miss Chatelaine.” She paid tribute to fellow Canadian musicians Leonard Cohen, Joni Mitchell and Neil Young on her 2004 LP “Hymns of the 49th Parallel” (the latitudinal line that comprises much of the border between Canada and the US). Feast your ears on her gorgeous cover of Young’s “After the Gold Rush.”

“Tougher Than the Rest,” Shawn Colvin, 2015

Colvin is best known for the 1997 Grammy Song of the Year “Sunny Came Home,” but there’s so much more in her rich catalog that’s well worth exploring. She typically records her own songs but has twice released albums of other composers’ work — 1994’s “Cover Girl,” on which she sang unknown songs, and 2015’s “Uncovered,” where she attempted familiar tracks like “Baker Street,” “American Tune,” Graham Nash’s “I Used to Be a King” and Creedence’s “Lodi.” From that LP, check out her credible arrangement of Bruce Springsteen’s “Tougher Than the Rest” from his 1987 album “Tunnel of Love.”

“Alone Again Naturally,” Diana Krall, 2014

Krall is an accomplished jazz singer and pianist, winning countless awards for her impressive albums on which she has favored time-honored standards by the likes of Hoagy Carmichael, Irving Berlin, Cole Porter and Sammy Cahn. In 2014, she chose to wrap her voice around some of the better pop ballads of the 1970s by artists as varied as Jim Croce, The Carpenters, 10cc and The Eagles for her album “Wallflower,” produced by David Foster. I was knocked out how she took an eye-roller like Gilbert O’Sullivan’s melancholy 1972 hit “Alone Again (Naturally)” and made it something rather extraordinary.

“Bluebird,” Corrine Bailey Rae, 2014

Since the mid-1990s, several albums have been released that gathered a range of popular artists to each record covers of songs by celebrated songwriters like Elton John and Bernie Taupin, Jackson Browne, Bob Dylan, Don Henley and Glenn Frey. On 2014’s “The Art of McCartney,” 42 different singers (Brian Wilson, Billy Joel, Smokey Robinson, Chrissie Hynde, B.B. King, Roger Daltrey, to name a few) paid tribute to the songs written by Sir Paul as a Beatle and a solo artist. Several of these tracks stood out to me, one being Corrine Bailey Rae’s version of “Bluebird,” the tender ballad from Wings’ 1973 LP “Band On the Run.”

“Can’t Find My Way Home,” Haley Reinhart, 2017

Reinhart came to the nation’s attention through the “American Idol” TV program, where contestants sing their versions of hit songs to show off their vocal chops. In Season 10 in 2012, Reinhart was a finalist, earning standing ovations for her renditions of songs by The Animals, Led Zeppelin and Adele. She won a record contract and has done well with superb covers of songs like Radiohead’s “Creep,” Elvis Presley’s “Can’t Help Falling in Love,” Janis Joplin’s “Piece of My Heart” and Buffalo Springfield’s “For What It’s Worth.” From her “What’s That Sound?” LP in 2017, I’ve been impressed by the way she nailed Steve Winwood’s classic “Can’t Find My Way Home” from the 1969 “Blind Faith” album.

“For Free,” David Crosby with Sarah Jarosz, 2021

Crosby played a pivotal role in getting Joni Mitchell discovered back in 1968, bringing her to L.A. and producing her debut LP. In the mid-’70s, he and Graham Nash sometimes performed Mitchell’s song “For Free” (from her 1970 “Ladies of the Canyon” LP), and a recording of one of their performances ended up on the Crosby, Stills and Nash live album “Allies” in 1983. In 2021, Crosby decided to collaborate with singer Sarah Jarosz for a proper studio recording of “For Free” and made it the title track of what turned out to be his final album before his death in 2023. What a song. What a voice.

“Ode to Billie Joe,” Tom Scott with Patty Smyth, 1999

Saxophone great Tom Scott has appeared on more than 200 albums during his storied career, sometimes just contributing sax solos, sometimes as bandleader on his own albums. His work spans multiple genres — jazz fusion, rock, blues, country and pop — and in 1999, a new lineup of the L.A. Express accompanied him on his “Smokin’ Section” LP. It’s an all-instrumental album, with one exception: He invited the great Patty Smyth (formerly with ’80s band Scandal and a solo artist in the ’90s) to offer a potent vocal on a new arrangement of the 1967 hit by Bobbie Gentry, “Ode to Billie Joe.”

“Bell Bottom Blues,” Larkin Poe, 2020

Sisters Rebecca and Megan Lovell, based in Nashville, have built a following under the moniker Larkin Poe, the name of one of their ancestors. They have specialized in blues and Southern rock since their 2010 debut, releasing LPs and EPs and collaborations with other like-minded players. In 2020, they came up with “Kindred Spirits,” an album of covers of songs by Neil Young, The Allman Brothers, The Moody Blues, Elton John and Phil Collins. Not surprisingly, their most effective entry here is the Eric Clapton heartbreaker, “Bell Bottom Blues,” from the Derek and The Dominos’ “Layla” double album.

“Immigrant Song,” Trent Reznor and Atticus Ross with Karen O, 2011

In 2010, filmmaker David Fincher tapped Atticus Ross and Ten Inch Nails frontman Trent Reznor to provide the electro-industrial soundtrack for his movie “The Social Network,” and their work earned an Oscar for Best Soundtrack. They were an obvious choice the following year when Fincher needed an edgy soundtrack for his film version of “The Girl With the Dragon Tattoo.” The highlight of the soundtrack LP, featured in the popular trailer as well, was a spectacular take on Led Zeppelin’s chaotic “Immigrant Song” from “Led Zeppelin III,” with Karen O of Yeah Yeah Yeahs shredding the lead vocals.

“Space Oddity,” Brandi Carlile, 2022

Carlile has been everywhere lately, notably as cheerleader and collaborator for the return to the stage of Joni Mitchell, but her albums have been generating lavish praise since her 2005 debut. Each LP has performed better than the one before, and her two most recent works — “By the Way, I Forgive You” (2018) and “In These Silent Days” (2021) — have won awards, notably the anthemic ballad “The Joke” from 2017. She chose to re-release “In These Silent Days” in 2022 with acoustic treatments of the songs, and then added a startling cover version of David Bowie’s landmark “Space Oddity” as the closer.

“The Sound of Silence,” Disturbed, 2015

Surely one of the most unlikely covers recorded in recent years was this heavy metal band’s reinterpretation of Simon and Garfunkel’s 1965 classic. “I was surprised,” said Paul Simon in response to Disturbed’s performance of his song on “Late Night With Conan O’Brien” in 2016. “It was pretty moving.” Disturbed has released four #1 LPs since 2002, mostly original material, and had covered a few tunes from the ’80s like Tears for Fears’ “Shout” and U2’s “I Still Haven’t Found What I’m Looking For,” but this was a much bigger departure for them. “We’re aggressive, but also intensely melodic,” claimed lead singer David Draiman, “and the song is about isolation and darkness, so maybe it wasn’t all that strange for us to give it a shot.”

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If the wind is right, you can sail away

Posted on by brucehhackett

Some people, it seems, are born to be out on the water. They might be paddling down a river, rowing across a lake, sailing around a harbor or opening the throttle on a speedboat. Or they might be career sailors on a freighter, or staff members on a cruise ship. For them, navigating a vessel through a body of water is a joy, a pastime, a lifestyle.

Me? Can’t say I’ve ever been much of a boat person. I’m a decent swimmer, so it’s certainly not a fear of drowning, but it somehow makes me a little uneasy to be out on the water for very long. I prefer keeping my feet planted on terra firma, watching the boats and ships come and go, as in the harbor in Santa Barbara pictured below.

Songwriters have been writing for centuries about traveling the high seas and the narrow waterways of the world. There’s something romantic about it (maybe that’s why they refer to boats as “she”), and boating offers an apt metaphor for negotiating the crests and troughs of life.

In perusing the songs of the ’60s, ’70s and ’80s, I’ve come up with a collection of 16 songs with boat or ship in the title, with another dozen that snuck on the list as honorable mentions. There’s a Spotify playlist at the end of the post, so you can listen as you read about these familiar and lesser-known songs about watercraft, and maybe provide a soundtrack for the next time you venture out across the water.  

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“If I Had a Boat,” Lyle Lovett, 1987

Houston-born Lovett has enjoyed a prolific career singing and writing folk, country, swing, rockabilly and Americana music over an award-winning career spanning four decades. From his highly praised second LP, “Pontiac,” which reached #12 on country charts in 1987, the opening track is this engaging tune on which the narrator fantasizes about owning a boat and a pony and living an easy life as a single man: “And if I had a boat, I’d go out on the ocean, /And if I had a pony, I’d ride him on my boat, /And we could all together go out on the ocean, Me upon my pony on my boat…”

“Ship of Fools,” Bob Seger and The Silver Bullet Band, 1976

After nearly a decade as a struggling solo artist out of Detroit, rocker Bob Seger formed The Silver Bullet Band in 1976 and immediately hit pay dirt with the seminal “Night Moves” LP. The title track, “Mainstreet” and “Rock and Roll Never Forgets” got most of the airplay, but I’ve always enjoyed the deep track “Ship of Fools,” about an ill-fated fictional voyage where warning signs were ignored: “The wind came building from the cold northwest, and soon the waves began to crest, /Crashing ‘cross the forward deck, all hands lost, /I alone survived the sinking, I alone possessed the tools on that ship of fools…“

“Come On Down to My Boat,” Every Mother’s Son, 1967

Wes Farrell was a songwriter/producer with a number of hit songs in the ’60s and ’70s, including The McCoys’ “Hang On Sloopy,” Jay & The Americans’ “Come a Little Bit Closer,” The Shirrelles’ “Boys” and The Partridge Family’s “Doesn’t Somebody Want to Be Wanted.” In 1967, he collaborated with Jerry Goldstein to write “Come On Down to My Boat,” a #6 hit for the New York pop group Every Mother’s Son. The narrator fancies a girl sitting on the dock who’s under the thumb of her father’s protective nature: “She smiled so nice like she wants to come with me uh, huh, /But she’s tied to the dock and she can’t get free, /Come on down to my boat, baby, come on down where we can play…”

“Boat Drinks,” Jimmy Buffett, 1979

Buffett wrote this party song on a cold February day in Boston when he was homesick for the warmer climate of Florida. He and his band figured they’d order boat drinks (mostly rum concoctions) to get their minds off how cold they were in New England: “Boat drinks, waitress, I need two more boat drinks, /Then I’m headin’ south ‘fore my dream shrinks, /I gotta go where it’s warm…” Although it was never released as a single, it was a popular track from his “Volcano” LP in 1979 and became a regular song in his concert set list. 

“River Boat Song,” J.J. Cale, 1989

Cale had a marvelously chill vocal delivery to match the easygoing blues shuffle that dominated his many songs in the 1970s, including hits like “After Midnight,” “Crazy Mama” and “Call Me the Breeze.” He sat out most of the 1980s, returning in 1989 with the more uptempo “Travel-Log” album, accompanied by the rock rhythm section of drummer Jim Keltner and bassist Tim Drummond. The LP includes songs of wanderlust like “River Boat Song,” about a lover who entertained on the Mississippi River: “I know she’s getting near, river captain, bring my baby home, /I get so lonesome since she’s been gone, /She’s been down in Tupelo, working the river boat song…”

“Wooden Ships,” Jefferson Airplane, 1969

In early 1969, David Crosby wrote the music for this classic song, and compatriots Stephen Stills and Paul Kantner collaborated on the lyrics, which explain how survivors of nuclear war might escape radioactive fallout by sailing away on wooden ships. Crosby, Stills and Nash recorded it for their eponymous debut LP, and then Kantner’s band Jefferson Airplane recorded their version for their “Volunteers” LP a few months later. Both groups performed the song in their Woodstock sets that summer. While the CSN version is more familiar, I decided to feature the Airplane’s rendition here instead: “Wooden ships on the water very free and easy, /Easy, you know the way it’s supposed to be, /Silver people on the shoreline, let us be, /Talkin’ ’bout very free and easy…”

“Longer Boats,” Cat Stevens, 1970

In the wake of the 1969 moon landing, Stevens remembers a lot of talk about the possibility of UFOs visiting Earth, and that was on his mind when he wrote “Longer Boats,” one of the songs for “Tea For the Tillerman,” his 1970 LP. ”I was making a plea for human unity in the face of external threats, either extraterrestrial or hostile forces, like when the Vikings in their long boats invaded Britain,” he said: “They’re coming to win us, they’re coming to win us, /Longer boats are coming to win us, hold on to the shore, /They’ll be taking the key from the door…”

“The Crystal Ship,” The Doors, 1967

From The Doors’ phenomenal debut LP comes this rather dark song of mystery Jim Morrison wrote to his then-girlfriend, with whom he had just broken up. The “crystal ship,” according to most interpretations, is not a seagoing vessel but a metaphor for sleep or a drug-induced haze. Critics called it one of the band’s most underrated tracks, building from a gentle intro to a more full-bodied arrangement by the end, and one of Morrison’s finest vocal performances. The lyrics clearly reflect the pain of a breakup, yet with hope of reconciliation: “The days are bright and filled with pain, enclose me in your gentle rain, the time you ran was too insane, we’ll meet again, we’ll meet again…”

“Boats Against the Current,” Eric Carmen, 1977

Carmen was the spark plug behind Cleveland’s favorite sons The Raspberries in the early ’70s, after which he went solo and had two bigs hits in 1975-76 with the treacly “All By Myself” and The Beach Boys knockoff “Never Gonna Fall in Love Again.” His sophomore LP in 1977 was problematic, taking four recording sessions to get the songs up to snuff, and still yielded only one minor hit, “She Did It.” The dramatic title track is a real standout, with philosophical lyrics about a changing relationship: “Tomorrow, we’re going to find what we’re after at last, feelings that we left in the past, /There’s romance in the sunset, we’re boats against the current to the end…” It was covered by the likes of Olivia Newton-John, Frankie Valli and Patti LaBelle, but as a single, Carmen’s original flopped at #88.

“Don’t Rock My Boat,” Bob Marley & The Wailers, 1970

Back in the late ’60s, when Marley was known only to fans of the then-new Jamaican reggae genre, The Wailers recorded several records that didn’t chart, including 1970’s “Soul Revolution Part II.” One track, “Don’t Rock My Boat,” was repackaged a few years later on their “African Herbsman” album in 1973, and then again in 1979 under a new title, “Satisfy My Soul,” when it reached #21 on UK charts as a single. The lyrics remind us that Marley prefers the calm, chill approach to life: “Oh, please don’t you rock my boat, /Because I don’t want my boat to be rocking, /I’m telling you that, oh woh, /I like it, I like it this, /So keep it steady, like this…”

“Slow Boat to China,” John Prine, 1984

“Guys and Dolls” composer Frank Loesser wrote the pop standard “(I’d Like to Get You on a) Slow Boat to China” in 1948, which was covered by many artists in the years since. Perhaps inspired by that tune, Prine wrote his own wry song called “Slow Boat to China” in 1984, which shared the idea of enjoying the romantically leisurely pace of a very long boat ride halfway around the world: “Let’s take a slow boat to China, leave from South Carolina, /Let’s take our time and go the long way, /On a junk boat to Thailand with your hand in my hand, /I sure hope we got something to say, /Well, this old boat’s got no sail, so won’t you please hold our mail…”

“Ship of Fools,” Robert Plant, 1988

Critics raved about this subtle track from Plant’s fourth solo LP, 1988’s “Now and Zen.” For the former lead singer of the biggest blues-rock band of them all, “Ship of Fools” was quite a departure, a lovely ballad in which the narrator questioned his desire to set sail away from the safe harbor where his lover lives: “Beneath a lover’s moon I’m waiting, I am the pilot of the storm, /Adrift in pleasure I may drown, I built this ship, it is my making, /And furthermore, my self control I can’t rely on anymore, /Turn this boat around, back to my loving ground, /Crazy on a ship of fools…”

“River Boat,” Allen Toussaint, 2017

Best known as a New Orleans songwriter, arranger, producer and pianist, Toussaint’s songs reached their widest audience when performed by others, most notably Glen Campbell’s #1 version of “Southern Nights.” Toussaint didn’t consider himself a performer and recorded on his own only sporadically. The swampy groove of “River Boat,” which didn’t surface until it was included on a posthumous compilation album in 2017, drew on the images of the paddlewheelers near his New Orleans home: “Rain just keeps on pouring, love just keeps on growing, /Opportunity knocking, big boat just keeps a-rocking…. River boat keeps on chugging and we just keep right on hugging, /We’ve got love…”

“There’s a Boat Dat’s Leavin’ Soon For New York,” Louis Armstrong, 1957

George and Ira Gershwin wrote the music and lyrics for the 1935 opera “Porgy and Bess,” which also became a Broadway musical and feature film. Armstrong joined forces with Ella Fitzgerald on several projects, including the jazzy material from “Porgy and Bess” in 1957, and Armstrong did a solo performance of “There’s a Boat Dat’s Leavin’ Soon For New York,” the number in which Bess is wooed by her drug dealer to join her in sailing from Charleston to The Big Apple while Porgy is in jail: “Come along with me, dat’s de place, /Don’t be a fool, come along, come along, /There’s a boat dat’s leavin’ soon for New York, /Come with me, dat’s where we belong, sister…”

“Ships in the Night,” Be-Bop Deluxe, 1976

Combining elements of progressive rock, glam rock and traditional hard rock, England’s Be-Bop Deluxe never made much a splash in the US, but their five LPs between 1974 and 1978 were well received in the UK. Most notably, their 1976 album “Sunburst Finish” reached #17 there, thanks to the attention given to the single “Ships in the Night,” which peaked at #23. Its lyrics speak of the absence of love being like ships passing each other by: “Without love, I have no pleasures, /Without love, my light is dim, /Without love, I have no treasures, /Without love, my chance is slim, /Without love, we are like ships in the night, /Without love, selling our souls down the river…”

“Rock the Boat,” The Hues Corporation, 1974

Songwriter Waldo Holmes came up with this tune full of metaphors about how loving arms can provide shelter from the stormy ocean waves. It didn’t get much attention until New York discos started playing the original Hues Corporation track, sparking its remix to boost the bass and drums, which helped make “Rock the Boat” one of the first disco songs to reach #1 on the US pop charts in the summer of 1974: “Our love is like a ship on the ocean, we’ve been sailing with a cargo full of love and devotion, /So I’d like to know where you got the notion, I said I’d like to know where you got the notion
to rock the boat (don’t rock the boat, baby), rock the boat (don’t tip the boat over)…”

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Honorable mentions:

“Sit Down, You’re Rockin’ the Boat,” James Taylor, 2020; ”Michael Row the Boat Ashore,” Peter, Paul & Mary, 1961; ”Boat on the Charles,” Told Rundgren, 1971; ”Ships,” Big Country, 1991; ”Last Boat Leaving,” Elvis Costello, 1989; ”On a Slow Boat to China,” Willie Nelson, 2009; ”Boat on the River,” Styx, 1979; ”The Boat That I Row,” Neil Diamond, 1966; ”Ships,” Ian Hunter, 1979; ”Six Months on a Leaky Boat,” Split Enz, 1982; ”Ships Passing Through the Night,” Jimi Hendrix, 2010.

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