13 Ear Catching Covers, Vol. 2 | Playlist

1. Chris Stapleton, “Last Thing I Needed, First Thing This Morning”

From a Room: Vol. 1 • Mercury • 2017

“Oh, the last thing I needed, the first thing this morning / Was to have you walk out on me.” Sigh. Grammy-winning country musician  Chris Stapleton remains consistent on his throwback, sophomore album,  From a Room: Volume 1. From A Room is a brief affair, but superbly executed – understatement. Stapleton shines on his rendition of “Last Thing I Needed, First Thing This Morning,” which arrives 35 years after the original by Willie Nelson.

“And I laid down beside you, and I wanted your loving
‘Cause your love makes my life complete.”

“Last Thing I Needed, First Thing This Morning” takes the vintage country sound to the next level. Compared to the country music released that year, it wouldn’t be far-fetched to characterize the record as sounding anachronistic. Anachronistic is meant as no disrespect, however. If anything, “Last Thing I Needed, First Thing This Morning” proved to be refreshing, hearkening back to the glory days of the genre. This record, in Stapleton’s hands, is chocked-full of character, led by his over, expressive vocals, which are clearly ‘grittier’ than Nelson’s take. What I love about this interpretation is that Stapleton makes it his own, not seeking to emulate Nelson.  That, folks, is the mark of a true artist.

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2. Kelly Price, “As We Lay”

Mirror Mirror • UMG Recordings, Inc. • 2002

“As we lay / We forgot about tomorrow / As we lay / As we lay / We didn’t think about the price we’d have to pay.” Kelly Price remade the beloved Shirley Murdock classic, “As We Lay” (1986), on her superb sophomore album, Mirror Mirror from 2002.  Notably, Murdock’s original six-minute song extends to nearly six-and-a-half minutes in Price’s hands.  Retained from the original are the potent lyrics and harmonic scheme, one of the defining features musically.  Beyond that, Price makes some distinct changes.

The biggest change, of course, is updated production work with producers Anthony “Schappell” Crawford and Shep Crawford capturing a sophisticated, sleek sound with the gorgeous, heavenly backdrop. Price’s newer take sounds pleasing and polished even two decades after being released.  She gives an awesome performance showing off expressive, nuanced vocals with some truly sublime runs.  Those commanding, gospel-tinged vocals are epic to the nth degree as Kelly sells the infidelity tackled within the song awesomely. She makes “As We Lay” feel and sound as if she were the original artist.

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3. Jessica Simpson, “These Boots Are Made for Walkin’”

The Dukes of Hazzard (Music from the Motion Picture) • Columbia • 2005

“Are you ready boots / Start walkin’!” Back in the day, Jessica Simpson had a run.  Was Simpson as impactful as Christina Aguilera, Britney Spears, or P!nk? I’d argue NO, but she has gold and platinum singles and albums.  Simpson, of course, cemented her place in pop culture with that questionable reality show with then hubby Nick Lachey ( Newlyweds), as well as her cover of “These Boots Are Made for Walkin’”.  What’s most notable regarding the cover of “Boots” is the music video, which is rowdy, titillating, and honestly, just must-see TV. I mean, Willie Nelson guests and hits a man over the head with a beer bottle! Now that’s bad ass!  

Of course, the music video isn’t what we’re examining but rather, the song itself.  In Jessica Simpson’s hands, “These Boots Are Made for Walkin’” gets more country-pop flavor ( Jimmy Jam and Terry Lewis produce).  Simpson is playful in her vocal performance – cutesy matching the novel nature of the record.  There’s no way you leave this take and feel like you’ve heard a vocal masterclass (no shade intended… well… not that much).  That said, given the fact that “Boots” is novel, Simpson’s exaggerated tongue-n-cheek take is successful.  Notably, Jessica’s version also changes some lyrics and adds some section including a post-chorus, bridge, and a cool breakdown section:

“Hey y’all
Wanna come and see something? (Uh-uh, uh-uh)
Can’t touch, can I get a hand clap? For the way I work my back
Tick-tock, all around the clock, drop it
Push ya tush, like that
Can I get a suueey? (Suueey)
Can I get a yee-haw? (Yee-haw).”

If nothing else, Simpson and the songwriting and production team ensure this remake adds some original touches.  That’s admirable.

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4. Smokey Robinson & The Miracles, “I Heard It Through the Grapevine”

Special Occasion • Motown • 1968

Smokey Robinson & The Miracles can rarely be considered the middle child, or maybe worse, the neglected stepchildren.  Smokey Robinson is an icon in his own right as a solo artist and one of the greatest songwriters of all time.  That said, their cover of “I Heard It Through the Grapevine” is rarely mentioned, period.  Released in 1968 on the album Special Occasion, a fine take on this beloved soul classic still to this day doesn’t get much buzz or much love.  Of course, it should be noted, that same album features their own beloved gem, “Much Better Off,” which is definitely beloved by producers for sampling and interpolation purposes ( “Just Right for Me” from Monica’s Code Red is a perfect example).  Anyways, let’s focus on the song at hand – not the essential record from Special Occasion!

Much like I drifted off on a tangent about a different song, the Smokey version of “I Heard It Through the Grapevine” just didn’t go anywhere.  It’s definitely closer to the Marvin Gaye version, yet quicker.  Robinson sings terrifically as always, crooning one of the most memorable, tuneful melodies of all time.  The backups by The Miracles play a similarly seminal role, much like The Pips to Knight’s lead.  Furthermore, the production is sweet, sounding very tried and true to the late 60s soul sound with a funky drum groove, robust bass line, rhythm guitar, and emphasis on the electric keyboard.  Listening to this take, there’s much to like, yet, I find myself puzzle why it ended up being a neglected stepchild of the Smokey Robinson & The Miracles catalog.

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5. Shelby Lynne, “Just a Little Lovin’”

Just a Little Lovin’ • UMG Recordings Inc. • 2008

Almost 40 years after Dusty Springfield recorded her iconic “Just a Little Lovin’”, Grammy-award winning artist Shelby Lynne covered it.  Awesome! She also took things a step further – she named her 2008 album Just a Little Lovin’. Furthermore, as critic Thom Jurek writes in his AllMusic review, Just a Little Lovin’ is Lynne’s “personal homage to the late, legendary Dusty Springfield.” Like on Dusty in Memphis, Lynne commences Just a Little Lovin’ with, well, “Just a Little Lovin’.”

The deal is, though, Lynne does things her own way. Where Springfield kept things shorter, Shelby opts for more than five minutes of song.  In her hands, the tempo is slower.  Furthermore, the orchestral instrumentation is stripped back to keys, guitar, bass, and drums – rhythm section essentially.  Even though it’s a stark contrast, it works quite well for Lynne.  She doesn’t need more than this chill, relaxed backdrop.  Her voice paints this canvas stunningly, like Springfield, benefitting from subtlety and restraint.  Also, worth noting musically, there are changes from the 1969 version, which help to further distinguish it.  Ultimately, Ms. Lynne is incredibly effectively.  

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6. Natalie Cole, “Leavin’”

Leavin’ • The Verve Music Group • 2006

How does one even hope to top Shelby Lynne?  That is the question, Shakespeare! I have a good idea how, believe it or not. It comes in two iconic words – names actually: Natalie Cole.  Cole (1950 – 2015) was one of the most gifted musicians ever.  The daughter of a legend ( Nat King Cole), she’s a legend herself.  She passed away in 2015 right before the new year at a relatively young 65. Despite exiting life, she left a rich catalog of music, including her cover of “Leavin’” on her 2006 album, also titled, Leavin’.

Clearly, Shelby Lynne provided the foundation for the iconic, Grammy winner.  That said, Natalie truly made “Leavin’” her own.  If you weren’t aware this awesome classic was written and originally performed by Lynne, well, you might assume this was a brilliant, new song by Cole.  What makes the Cole version contrast the Lynne version is kicking the soulful aesthetic to the next level.  The vocals – lead and background – pack a bit more punch thanks to the sheer power of Natalie, period.  But beyond the vocals, the backdrop (Cole and Dallas Austin) trades the strings of the original in favor or organ.  That sound, at least, is more reminiscent of gospel-tinged soul.  Honestly, there’s just so much to praise about this performance, with most of it being about the skilled artist who’s singing it.

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7. Queen Latifah, “I Know Where I’ve Been”

Hairspray (Soundtrack) • WaterTower Music / Warner Bros. Entertainment • 2007

Queen Latifah was originally renowned for her rhyming skills.  However, the Grammy-winner and Academy Award nominee went onto show just how potent and powerful she was as a vocalist.  In the Academy Award-winning film Chicago, she was totally awesome as Matron Mama Morton, particularly from a vocal standpoint.  She was equally superb as “Motormouth” Maybelle Stubbs in the 2007 film version of Hairspray.  Stubbs has two songs from in the film, with no moment being bigger than “I Know Where I’ve Been.” I’d go as far to say that “I Know Where I’ve Been” is one of the best songs to appear in any musical.  

A song requiring some big vocal chops, Latifah exceeds expectations.  She exhibits great control early on, never forcing things.  Sounding effortless, it’s as if the Queen simply allows the song to come to her.  Of course, “I Know Where I’ve Been” being a gospel-tinged number, soon enough, the bar is raised – dynamic level too!  Queen Latifah begins to dig in, giving a more assertive, rousing vocals, truly impressing with her vocal nuances.  Even as she shows us how accomplished and soulful that she is, she never oversteps or overshoots.  Honestly, a hard performance to follow, though Academy/Grammy-award winner Jennifer Hudson shined on her own version seven years later (highlighted on 15 Ear Catching Covers).

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8. The Brothers Johnson, “Strawberry Letter 23”

Right On Time • A&M • 1977

I tried to make it crystal clear that “Strawberry Letter 23” was written and originally performed by a 17-year-old named Shuggie Otis.  However, often, this R&B classic is attributed to the funk/soul group, The Brothers Johnson.  Why? Sometimes, when it comes to covers, they just arrive at the right place at the right time.  Honestly, it’s much like the title of their 1977 album – Right On Time.  The biggest hit from that album, as well as The Brother Johnson’s career is *drum roll please* “STRAWBERRY LETTER 23”!

Shuggie Otis ‘put in work’ on the original in 1971, but you could say it took an iconic producer ( Quincy Jones) and another soul act to make the record a hit. Naturally, there are differences between both versions; they’re distinct despite being the same song, which is cool.  In the case of The Brothers Johnson take, it runs longer, by one minute. Furthermore, it features more robust bass, and generally, more polished, sleeker sounds.  Compared to the original, you can hear the advancements in production, even in six short years.  Then again, keep in mind WHO is behind the boards – a L-E-G-E-N-D.  As for the vocals, they are buttery smooth, idiomatic of the late 70s soul sound.  Smoother than Shuggie? Yes, but that doesn’t necessarily dictate a better-rounded performance – just an observation.

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9. Yolanda Adams with Gerald Levert, “I Believe I Can Fly”

Voices • Elektra • 2005

A number of covers of “I Believe I Can Fly” have been released, including worthwhile efforts by James Ingram and Ronan Keating.  In the hands of Grammy-winning gospel singer Yolanda Adams, assisted by the late, great R&B Grammy winner, Gerald Levert, “I Believe I Can Fly” took on more of a gospel identity.  Sure, the original is a gospel R&B/pop record, but Adams and Levert transform the tune into a full-fledged church song.  Why can they fly? Clearly, with the help of GOD ! Notably, this rendition appears on Levert’s 2005 duets compilation, Voices.

“I Believe I Can Fly” was already a lengthy record, running north of five minutes in the hands of Kells.  Adams and Levert draw things out even longer, just missing the six-minute mark.  Regardless, it’s a total musical blessing.  It starts with the soulful pipes of Gerald Levert, who kills it on the first verse.  The late, great singer always ‘brought the house down,’ and the work he puts in here is no different with that God-given tone. With a key change signaling a change of pace, Yolanda Adams gets to work on the second verse, tweaking the melody though showing poise for the most part up until the pre-chorus.  By then, we get more color, expressiveness, and firepower.  Of course, where the duo truly ramps things up is the final pre-chorus, showing undeniable chemistry and awesome ad-libs and riffing.  Adding to the excellence is the support of the choir, urging the two leads to give their best, clearly, praising G-O-D.  One of the cool wrinkles Yolanda and Gerald add is an outro that’s idiomatic of the call and response of black gospel.  The results are heavenly .

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10. Ricky Dillard, “He’s My Roof Top (Live)”

Ft. Keith Wonderboy Johnson

Choirmaster • Motown Gospel • 2020

Gospel music speaks most to believers, but even the most unapologetic religious skeptic would be hard-pressed to deny the spirit cultivated on “He’s My Roof Top (Live).” The fifth song on Choirmaster, the 2020 album by Grammy-nominated gospel standout Ricky Dillard isn’t brand-new. It’s an enhanced cover of The Mighty Clouds of Joy staple, “He’s My Rooftop”, from the 1983 album, Sing and Shout.  The Mighty Clouds of Joy version was funky in its own right – a progressive sound for contemporary black gospel music at the time. Here, we focus on the awesome take by Dillard, who enlists the awesome Keith Wonderboy Johnson for the vocal assist.   

Where the original clocked in at five minutes, Ricky Dillard and company go eight-and-a-half minutes and man, oh, man, is it energetic, funky, and high-flying to the nth degree.  The backing band kills it, particularly the bassist! Characterizing it as spirited is an understatement – it’s that potent.  Lyrically, the themes are familiar and idiomatic of black gospel: God is my all, and “I’m gonna serve him.” Again, regardless of whether you’re particularly pious or not religious at all, it’s hard to deny the power of this song, not to mention the rooftop metaphor (“For he’s my rooftop in the rage of the storm / He’s my protector, there will never be no harm”).

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11. Charles Bradley, “Changes”

Changes • Daptone • 2016

In the hands of the late, great “Screaming Eagle of Soul,” Charles Bradley, “Changes” sounds like an original.  Sometimes, covers sound merely interpretive, lacking a degree of distinctness relative to the more innovative original.  That’s not the case with this Bradley take, which graces his 2016 album, also titled Changes. Can you say TRANSFORMATION???

The fact that the gritty soul vocalist makes “Changes” sound like a classic soul cut, particularly in the 2010s, is a testament to his artistry.  The Black Sabbath original – classic in its own right – didn’t sound like this…  Bradley got a late start pursuing his dream. Even so, he was able to bless the world with his artistry, which is awesome. If you’ve ever experienced a Bradley performance, you understand that it’s not subtle – it’s EPIC. Bradley always gave his all, which means a vocal performance characterized by expressive ad-libs, screams, and generally, colorful to the nth degree.  You buy what he sells. As with everything on Changes, “Changes” finds Bradley ‘milking it for all its worth,’ particularly the beloved chorus.  His voice is tailor made for the heartbreak and pain of the lyrics.

Just to make it clear, it’s not just Charles Bradley that transforms “Changes.” As aforementioned, the sound of this record is a stark contrast to the original.  The background hearkens back to 60s/ early 70s soul, characterized by biting horns. The instrumentation on Bradley’s “Changes,” backed by The Budos Band, is fuller and richer.  “Changes” is truly an ear catching listening experience, sigh.

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12. Marvin Gaye, “I Heard It Through the Grapevine”

In the Groove • Motown • 1968

Sometimes, I wonder if artists get jealous after another artist or band has recorded ‘their’ song and undoubtedly claimed it for their own?  In the history of music, this has happened numerous times.  Sure, the original is great – maybe even timeless in its own right – but the cover truly ‘takes the cake.’  I would argue that after Marvin Gaye took “I Heard It Through the Grapevine” into his own hands, well, it was #GAME OVER for everyone else.  Maybe that’s not fair to Gladys Knight & The Pips, who totally ‘knocked it out of the park’ with the ‘original,’ but honestly, Gaye just absolutely slaughters.

“I Heard It Through the Grapevine” appears on Gaye’s 1968 album, In The Groove, though most of us these days consume early Gaye classics via greatest hits compilations.  Anyways, if we examine In The Groove, the biggest song, with little competition (opener “You” being the biggest) is “I Heard It Through the Grapevine.”  It is the perfect record with its moderate pace, colorful palette of sounds – backing vocals, horns – and most importantly, those transcendent, once-in-a-lifetime pipes of Marvin Gaye.

The minute that THIS version kicks off, you feel moved – it just feels right, man! There aren’t really words sufficient to describe how Marvin transformed a great song into a truly game changing, unforgettable one.  Question: If there were a soul god, would he be Marvin Gaye? Totally not being sacrilegious… at least not intentionally…

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13. Aretha Franklin, “The Long and Winding Road”

Young, Gifted and Black • Atlantic • 1972

Aretha Franklin is one of the greatest musicians of all-time. Her voice is nothing short of amazing, angelic, anointed, heaven-sent. ‘The Queen of Soul’ possesses a rich catalog of music, interestingly, with some of her best songs being covers.  Franklin could sing any- and everything, so, that’s not surprising when you consider her vocal gifts.

She made The Beatles’ classic, “The Long and Winding Road,” truly her own. While The Beatles own the definitive version, Franklin adds deep, southern soul, completely transforming it on her 1972 remake.  It’s one of many gems on an album filled with awesome covers, Young, Gifted and Black (1972), any of which would be at home on 13 Ear Catching Covers, Vol. 2.   

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