Various Artists - P. F. Sloan & Steve Barri, Volume 2: 1967-2006

Here's the second and last volume celebrating the music of the songwriting team of P. F. Sloan and Steve Barri. However, as I discussed in my write-up for "Volume 1," it seemed a pretty lopsided partnership, with Sloan being the songwriting genius and Barri doing more of the arranging and production. So, in my write-up here, I'm going to mostly concentrate on the story of Sloan's life.

At the end of my write-up for "Volume 1," Sloan was facing an increasingly bad situation. He had been pressured by record company executives who behaved more like Mafia crime bosses - and the evidence suggests there actually was a connection there. By the end of 1967, he broke up his songwriting partnership with Barri, and fled his hometown of Los Angeles, fearing for his life.

Sloan settled in New York City. In 1968, he signed a record contract with a different label, and released his third solo album, "Measure of Pleasure." This was an interesting album that was keeping up with rapidly changing music trends. However, he didn't tour or otherwise promote it, so it attracted little notice. The problem was his life was coming apart. Falling into depression over losing his songwriting royalties (and even future royalties for the next ten years!) to his old record company, he discovered heroin and began using it. Also, he was beset by a series of medical troubles, both mental and physical. 

By 1969, his songwriting, and his music career in general, essentially came to a stop. He released another album in 1972, but his heart wasn't in it, and that one also quickly disappeared. Then, he simply disappeared for a long, long time, spending much of that in psychiatric hospitals. In a 2006 interview, he said, "I was ill I guess for a good 20, maybe 25 years. ... Catatonia for a long time." 

Even by 1968, practically all the people who had known him well in Los Angeles lost all contact with him. Once such person he'd known was another up-and-coming songwriter, Jimmy Webb, wrote a song about his mysterious disappearance, called "P. F. Sloan." It starts with these lyrics: 

"I have been seeking P. F. Sloan, but no one knows where he has gone
No one ever heard the song that boy set winging"

I haven't included it here, since neither Sloan nor Barri helped write it. But there are nice versions by Webb, the Association, Rumer, and others. Weirdly, for many years, Webb claimed it wasn't actually about Sloan, despite his name literally being the title! However, he eventually admitted that it was about him. 

Stranger still, Sloan totally disappeared for so many years, yet wasn't reported dead, that a person decided to falsely claim they were him. Eugene Landy was a very controversial psychologist who was in charge of the mental health of musical genius Brian Wilson of the Beach Boys. In the 1980s, Landy mysteriously began appearing as a co-writer of many new Wilson songs, despite apparently having no previously known songwriting or musical skills whatsoever. When people questioned him on this, Landy claimed that he actually was a talented songwriter because he used to be known as P. F. Sloan! In 1991, this caused the real Sloan to write a letter that debunked that outrageously false claim. (Shortly thereafter, in 1992, Landy lost his psychology license and was barred from further contact with Wilson.)

Anyway, in the late 1980s, Sloan went on a religious pilgrimage to India. This got him interested in Indian religion and philosophy, and started him on a path to getting his life back together. But still, it was a slow road to a full recovery. In 1993, he gave a well-received concert at the Troubadour in Los Angeles. The opening acts, Johnny Rivers, the Turtles, and Jan Berry of Jan and Dean, all benefited greatly from his songwriting. He released another album in 1994, but he was a relatively forgotten figure by this time, and it only came out in Japan. Then, he disappeared again, spending more time in psychiatric hospitals.

Finally, in 2006, he released an album that got at least some attention in the U.S. and Britain, "Sailover." It had some well known guest stars on it, like Lucinda Williams, Frank Black, Buddy Miller, and Felix Cavaliere. Here's an except from the AllMusic.com review: "P.F. Sloan is still writing worthwhile pop songs with smart, impressionistic, and somewhat off-kilter lyrics, and 'Sailover' confirms time has been quite kind to his muse since he last entered a recording studio." He finally did some touring to support it. Other stars like Susanna Hoffs and Rumer sang with him in concert. 

Then, in 2014, he released a well-received autobiography. He also released another new album, a concept album called "My Beethoven" about the life of the classical composer Beethoven. But he died of cancer in 2015, at the age of 70.

Meanwhile, what happened to Steve Barri? He went on to have a fairly successful career in music, but as a producer and then a record company executive. He produced many hits in the 1970s, including "Dizzy" by  Tommy Roe, "Don't Pull Your Love" by Hamilton, Joe Frank and Reynolds, "Theme from S.W.A.T." by Rhythm Heritage, and "Undercover Angel" by Alan O'Day. He also produced several albums for the Grass Roots, the Four Tops, and Bobby 'Blue' Bland. But as a songwriter, there's very little after he stopped writing with Sloan back around 1966. I've included three songs here that Barri co-wrote with others in the 1970s: "I Wouldn't Treat a Dog (The Way You Treated Me)" and "Who's Foolin' Who" by Bland and "Love Pains" by  the Pet Shop Boys & Liza Minnelli. If you look at his songwriting at secondhandsong.com, that's really about it for him without Sloan. That reaffirms the evidence that Sloan was the key partner in their songwriting partnership.

After that, Barri worked his way up the ranks in various record companies, eventually becoming a senior vice president for Gold Circle Entertainment/Samson Records. He is still alive and 84 years old as I write this in 2026. 

Now, fiiiiinally, let me discuss the music here. The first ten songs here were written by Sloan, probably around 1966 to 1969, and all released in those years. He continued to write some hits after ending his partnership with Barri in that era, though none of them were really big hits. "Turn on the Light" is from his 1972 album, and "Violence" is from his 2006, and both of those were performed by him. I would have liked to include more of his own recordings, to show his songwriting was still strong in his later years, but the point of these "Covered" albums is to collect covers. However, I couldn't resist bending my self-imposed rules to include at least those two.

As I mentioned in my write-up to "Volume 1," "Where Were You When I Needed You" is the only song here that's "out of order," meaning this came a lot later than when it was first released. The Grass Roots had a hit with it in 1966, but I prefer the version by the Bangles, which was done by them in 1984. 

One last thing. If you want to know more about Sloan's life, here's a good interview he did in 2014:

https://www.rebeatmag.com/whats-exactly-the-matter-with-p-f-sloan/ 

And here's another one from that same time period: 

https://www.goldminemag.com/articles/perception-reality-singer-songwriter-p-f-sloan/

This album is 53 minutes long.

01 Things I Should Have Said (Grass Roots)
02 On a Quiet Night (Association)
03 A Melody for You (Grass Roots)
04 Another Day, Another Heartache (5th Dimension)
05 Bella Linda (Grass Roots)
06 I Get Out of Breath (Turtles)
07 Look Out Girl (Tommy Roe)
08 Baby, You Do It Well (Grass Roots)
09 New Design (Kenny Rogers & the First Edition)
10 I Can't Help but Wonder, Elizabeth (Grass Roots)
11 Turn on the Light (P. F. Sloan)
12 Who's Foolin' Who (Bobby 'Blue' Bland)
13 Glory Bound (Grass Roots)
14 I Wouldn't Treat a Dog [The Way You Treated Me] (Bobby 'Blue' Bland)
15 Where Were You When I Needed You (Bangles)
16 Love Pains (Pet Shop Boys & Liza Minnelli)
17 Violence (P. F. Sloan)

https://pixeldrain.com/u/tDiLRAc3

alternate: 

https://bestfile.io/en/Abtx5RNkFo31Pri/file

The cover art was made from separate photos of Sloan and Barri. I don't know when either was taken, but I would guess (based on deleted backgrounds and such) the Sloan picture was taken in 1966 or 1967, while the Barri image was taken in the early 1970s. Both photos were originally in black and white. I colorized them, then put them together in Photoshop.

Various Artists - P. F. Sloan & Steve Barri, Volume 1: 1964-1967

Here's another songwriting team chosen for the seemingly neverending "Covered" series. This time, it's P.F. Sloan and Steve Barri. I've found enough music for two volumes.

First off, I want to point out that this seems to have been a lopsided partnership. I've read a bunch of articles and interviews about these guys, and I've come to the conclusion that Sloan did most of the songwriting and Barri mostly helped with production and fleshing things out. This can be seen in the way Sloan continued to write and release lots of songs after their partnership finished, while Barri moved into production and other record industry roles, only occasionally co-writing songs for musical acts he produced. Heck, even Barri later admitted that Sloan was the key to their success, saying of him, "He was a major, major talent. God, he was good."

So this write-up is mostly about Sloan, and what a weird life story he had. (He died in 2015 at the age of 70.) 

Sloan showed musical talent at a young age. He started playing guitar at the age of 13, but just one year later he released an obscure single. Two years after that, around 1961, he got a songwriting job in Los Angeles with Screen Gems, the largest music publishing company on the West Coast. Even though he was only 16 years old, with virtually no musical experience, apparently he was hired mainly because the publishing company wanted a teenager on staff to help them make money off teenagers buying rock and roll records. 

Soon, Sloan began working with Barri, who was three years older than him. They began writing songs together at a frantic pace. They also produced and played the instruments on their songs, and many more. But that wasn't all. They pretended to be entire bands, and released many singles and even albums under a variety of different names, such as the Rally-Packs, the Wildcats, the Street Cleaners, Themes Inc., the Fantastic Baggys, the Lifeguards, and many more. The first song here, "Meet Me Tonight Little Girl," was actually written and recorded by Sloan and Barri in 1964, though they used yet another different name based on their first names, "Philip and Stephan."

In 1963, producer Lou Adler recognized their talent and was able to get them to switch to working for his record company, Dunhill Records, by doubling their salaries. Once there, Sloan worked a lot with Jan Berry, the real musical force of the duo Jan and Dean. Sloan sang uncredited lead vocals on the Jan and Dean hit "The Little Old Lady from Pasadena," and most other Jan and Dean hits for the next couple of years. He also came up with the intro guitar riff for the massive hit "California Dreamin'" by the Mamas and the Papas. Sloan in particular had a knack for writing songs in the popular styles of the day. He wrote entire albums of surf music, songs in the style of the Beach Boys, the Beatles, Bob Dylan, and more.

Their first, and probably biggest hit, was "Eve of Destruction," in 1965. This was an extremely unlikely hit. Nowadays, it's hard to see how controversial its critical social commentary lyrics were. But the singer of the song, Barry McGuire, didn't like it, and only sang it to fill out an album. The record company certainly didn't like it, and had no intention of releasing it as a single. Even Barri didn't like it, and apparently had no role in writing or producing it (although he was given a co-write credit, since he and Sloan shared writing credits on all the songs either one of them wrote at this time). But someone (Sloan, perhaps?) leaked a copy of the song to a Los Angeles radio station. The public response was so overwhelming that the record company was forced to release it as a single. Once released, hundreds of radio stations banned it for its controversial lyrics. But despite such widespread banning, it made it all the way to Number One in the U.S. singles chart in 1965! 

After such a massive success, it would have been a no-brainer to let the key songwriter of the song - Sloan - to pursue a solo career. And indeed, Sloan released solo albums in 1965 and 1966. However, they went nowhere. It seems pretty obvious that his record company, Dunhill Records, sabotaged his solo career as much as possible. This is because Sloan was writing many, many songs for the other acts on that record label, AND producing, AND playing the instruments, while getting paid very little for it, relatively speaking. If Sloan became a big star and just focused on his own career, they probably would have lost a lot of money on all their other acts. 

Some of the Top Forty hits they wrote in 1964 to 1966 include "A Must to Avoid" by Herman's Hermits, "Let Me Be" by the Turtles, "You Baby" by the Turtles, "Where Were You When I Needed You" by the Grass Roots, and "Secret Agent Man" by Johnny Rivers. But they really should have had many more hits, except Dunhill Records didn't have much distribution or promotion muscle. This can be seen by the fact that they had several more Top Ten hits in Canada. For instance, "Unless You Care" was a Number Two hit in that country in 1964. 

In fact, speaking of the Grass Roots, for that band's first album, Sloan and Barri basically were the band. This was yet another in a long series of fake bands fronted by them. They wrote, produced, and performed nearly all of the songs on the band's first album, released in 1966. But the song "Where Were You When I Needed You" had such success that a real band was hired to tour. Then that band actually performed on their next album. That was a success in 1967, mainly due to "Let's Live for Today," a song that was chosen and produced by Sloan and Barri, although they didn't write it.

However, the good times didn't last. Around the end of 1966, Sloan and Barri had a falling out, and their songwriting partnership (lopsided though it was) came to an end. The heads of Dunhill Records, especially an executive named Jay Lasker, really, really screwed Sloan over. In the 1960s, organized crime had a role in many record companies. Consider what happened to Jackie Wilson, who at one point was hung upside down out a window of a tall building until he agreed to sign a terrible record contract for a Mafia-controlled record label. Or consider Roulette Records. Even their Wikipedia entry states they "had known ties to New York City mobsters." Members of their biggest act, Tommy James and the Shondells, have said the company was a front for the notorious Genovese crime family, and the record company stole millions from them.

A similar thing happened to Sloan. Lasker, a rough guy from the New York City Mafia, repeatedly threatened to hurt or even kill him if he didn't do exactly what Dunhill Records told him to do. At one point, he forced him to sign away all his royalties, including everything he would earn for the next ten years, in return for letting him live. This is what caused the split between Sloan and Barri, because Barri sided with Dunhill Records. He continued working for them, and made lots of money from his continued royalties. 

But Lasker pushed too hard, and essentially killed the golden goose that was the reason for most of the record company's success. At some point in late 1967, Sloan couldn't take it anymore. He fled Los Angeles for the East Coast. There, his life slowly spiraled down into even worse circumstances. But that will be explained in the second and last volume in this series, since this volume only goes until 1967. 

Normally, in the "Covered" albums, I try not to have the songwriters also appear as performers. But I made a couple of exceptions here, because there are a couple of excellent songs in this time period that were best performed by Sloan: "Here's Where You Belong" and "Karma (Study of Divinations)." Also keep in mind that's him singing on the first song, as mentioned above.

Although I mentioned "Where Were You When I Needed You" as a hit in this time period, I haven't included it here. That's because I've chosen a later version by the Bangles that will appear in Volume 2.

Here's the Wikipedia link for Sloan:

https://en.wikipedia.org/wiki/P._F._Sloan

And here's the one for Barri:

https://en.wikipedia.org/wiki/Steve_Barri 

This album is 55 minutes long.

01 Meet Me Tonight Little Girl (Philip & Stephan)
02 Unless You Care (Terry Black)
03 Eve of Destruction (Barry McGuire)
04 A Must to Avoid (Herman's Hermits)
05 Let Me Be (Turtles)
06 Sh-Down Down Song [You Better Leave Him Alone] (Ginger-Snaps with Dandee Dawson)
07 Little Liar (Terry Black)
08 You Never Had It So Good [Lollipop Train] (Barry McGuire)
09 Take Me for What I'm Worth (Searchers)
10 Here's Where You Belong (P. F. Sloan)
11 Sins of a Family (Ivans Meads)
12 What Am I Doing Here with You (Johnny Rivers)
13 You Baby (Turtles)
14 Tip of My Tongue (Grass Roots)
15 Bittersweet (Robbs)
16 From a Distance (Odin's People)
17 Can I Get to Know You Better (Turtles)
18 Secret Agent Man (Johnny Rivers)
19 Hold On (Herman's Hermits)
20 Is It Any Wonder (Turtles)
21 Karma [Study of Divinations] (P. F. Sloan)

https://pixeldrain.com/u/ckJi9NQv

alternate:

https://bestfile.io/en/xqtxOpGTnH6ML1P/file

The cover image is taken from an album by a band called "The Fantastic Baggys," supposedly consisting of four members. In fact, though, it was just Sloan and Barri, which is why there was a photo of just the two of them in the album art. The original was in black and white, but I colorized it. I also moved their heads closer together.

Covered: Kenny Gamble & Leon Huff, Volume 4: 1977-1992

Here is the fourth, and last, of "Covered" albums from the great songwriting duo of Kenny Gamble and Leon Huff, better known as "Gamble and Huff." 

Since about 1967 to 1977, these two had a seriously impressive run of hit singles, not only as songwriters (all the songs on the previous three volumes, and many more I didn't include), but also as producers and record company owners. But in the late 1970s, the hits started to trail off. Mind you, they still did have some big hits. For instance "Use to Be My Girl" and "Close the Door" both were Number One hits on the U.S. R&B chart in 1978. Many songwriters would have been overjoyed to have as much success as they during this time period. But compared to how they'd done earlier, it was a dramatic drop off.

The Wikipedia entry about the duo has this to say: " By the late 1970s, the popularity of the Philadelphia soul sound began to decline. Disco had suffered a backlash, R&B was going back toward the ballad, and rock had returned to the American charts." I don't know if that fully explains it, though. Gamble and Huff helped establish the disco sound, and disco ruled the charts all the way until 1980. Further, they were great with R&B ballads, so that trend shouldn't have been a problem either. 

I wonder if, instead, after so many dozens of hit songs, they simply started to run out of ideas and/or inspiration. I've noticed that for many professional songwriters I've profiled with "Covered" albums, having ten years of hit-making success is a pretty long time, and not many have managed to stay on top longer than that. Also, I found an article with a quote from music author John Jackson, who said, "There was a point where Kenny [Gamble] had some personal problems and was out of the studio for about a year." I don't know what that involved exactly, but it just goes to show that it's really hard to go full blast in the music business year after year after year.

Then, after about 1980, the hit singles they wrote became even rarer. Yet it's important to keep in mind that's in a relative sense, compared to most of the 1970s when it seemed like they were writing an endless stream of hits. As examples of late successes of new songs, "If Only You Knew" hit Number One on the U.S. R&B chart in 1983, and "Lovin' You" did the same in 1987. 

Still, their Wikipedia entry says this: "In 1982, Philadelphia International's biggest star, former Blue Notes singer Teddy Pendergrass, became paralyzed from the waist down in a car accident, and the future of the label came to be in doubt. That year, Philadelphia broke its ties with CBS and made a new deal with EMI. Although the hits had by now dried up, Gamble and Huff continued to write and produce for the label's artists."

What's nice to see is that I've noticed the golden era of many songwriting teams ended when the songwriting partnerships broke up, Gamble and Huff never had a falling out. I found an article from 2014 that says their business partnership never faltered, and they remain close friends with each other over fifty years after first meeting. They were still writing songs that made the charts into the early 1990s. After that, they had many more hits, sometimes massive hits, but those were new versions of songs originally written in the 1960s and 70s. In putting together these volumes, I almost always was able to use the original hit versions.

Also, here's an article from 2021 that shows they were still working together then. It contains many good quotes from the two of them, as well as musical collaborators like Patti LaBelle, John Oates (of Hall and Oates), and Thom Bell. I recommend you read it if you're interested in their career, especially since their Wikipedia isn't that great (as I write this in July 2026).

https://www.phillymag.com/news/2021/04/10/the-sound-of-philadelphia-history/

I wish I would have come across that article before writing the write-ups to the three previous volumes. Amongst other things, it revealed the exact nature of how they wrote songs together. Here's a quote from Huff: "I knew I could play piano. And I could write a song. And I could produce a record. But Gamble - Gamble could just spit out words spontaneously. He was a poet. I would throw in a word every now and then. But really, I was focused solely on the music, and Gamble was the lyric writer, the storyteller."

As I write this in 2026, both Gamble and Huff are still alive. Both of them are over 80 years old. 

This album is 51 minutes long.

01 I Don't Love You Anymore (Teddy Pendergrass)
02 Goin' Places (Jackson 5 [Jacksons])
03 Now that We've Found Love (Third World)
04 Use ta Be My Girl (O'Jays)
05 Close the Door (Teddy Pendergrass)
06 You Gonna Make Me Love Somebody Else (Jones Girls)
07 Together (Tierra)
08 You're My Latest, My Greatest Inspiration (Teddy Pendergrass)
09 If Only You Knew (Patti LaBelle)
10 Living All Alone (Phyllis Hyman)
11 Lovin' You (O'Jays)
12 Don't Let It Go to Your Head (Brand New Heavies)

https://pixeldrain.com/u/bCpFTjqH 

alternate:

https://bestfile.io/en/xhLUohCELPvJfQy/file

I moved the two people closer using Photoshop. That's Huff on the left and Gamble on the right.

Covered: Kenny Gamble & Leon Huff, Volume 3: 1974-1977

Here's the third volume out of four celebrating the songs written by Kenny Gamble and Leon Huff - the songwriting duo better known just as "Gamble and Huff."

As the 1970s went on, the hits for their record company, Philadelphia International, just kept coming in a seemingly endless flood. Their Wikipedia entry says this: "By 1975, Philadelphia International and the Philadelphia soul genre it helped define had largely eclipsed Motown and the Motown Sound in popularity, and Gamble and Huff were the premier producers of soul." Keep in mind these volumes only include songs written by them. They produced many more hits too.

During this time period, their biggest hits were "When Will I See You Again" and "Don't Leave Me This Way," both of which hit Number One on the pop singles chart, and "You'll Never Find Another Love like Mine," which just missed at Number Two.

Note that while most of their songs were about romance in various forms, they sometimes had progressive political themes to their songs. For instance, "Love Train" is such a fun, dancable song that one can forget it carries a serious message as well. On this volume, "For the Love of Money," "Give the People What They Want," "Message in Our Music," and "Let's Clean Up the Ghetto" are examples of songs with serious messages.

By the way, speaking of "Let's Clean Up the Ghetto," that song featured most of the big acts on their Philadelphia International record label at the time, including Lou Rawls, Billy Paul, Teddy Pendergrass, Archie Bell, the O'Jays, and Dee Dee Sharp Gamble.

The songwriting partnership between Gamble and Huff stayed sharp throughout this time period. Nearly all the songs were written by the two of them and nobody else, though occasionally they were joined by a third songwriter. 

This album is 53 minutes long.

01 For the Love of Money (O'Jays)
02 When Will I See You Again (Three Degrees)
03 Satisfaction Guaranteed [Or Take Your Love Back] (Harold Melvin & the Blue Notes)
04 Give the People What They Want (O'Jays)
05 Do It Any Way You Wanna (People's Choice)
06 Wake Up Everybody, Part 1 (Harold Melvin & the Blue Notes)
07 Take Good Care of Yourself (Three Degrees)
08 I Love Music (O'Jays)
09 Bad Luck, Part 1 (Harold Melvin & the Blue Notes)
10 Enjoy Yourself (Jackson 5 [Jacksons])
11 Don't Leave Me This Way (Thelma Houston)
12 Message in Our Music (O'Jays)
13 You'll Never Find Another Love like Mine (Lou Rawls)
14 Show You the Way to Go (Jackson 5 [Jacksons])
15 Let's Clean Up the Ghetto (Philadelphia International All Stars)

https://pixeldrain.com/u/JKPq5xib

alternate:

https://bestfile.io/en/hcMsqhXFatvy99U/file

The cover is from 1978. I moved the two people closer using Photoshop. Also, the original picture was in black and white. But I colorized it with the use of the Kolorize program. That's Gamble on the right and Huff on the left.

Covered: Kenny Gamble & Leon Huff, Volume 2: 1970-1973

I haven't posted much at this blog in recent days, but for a very good reason: I've been fully focused on finishing the "Maximum Wall" version of Pink Floyd's "The Wall." It's still some days away from completion, but the end is very much in sight. Fabio from Rio has helped greatly in adding a visual aspect to an accompanying booklet that has now grown to over 150 pages! I'm hoping the final product will blow your socks off.

Luckily, I had a bunch of albums mostly ready to be posted in preparation for my vacation, and I still have some of those to post. So here's another one. Let's continue with the "Covered" albums by Kenny Gamble and Leon Huff, usually just called "Gamble and Huff." Here's the second volume out of four.

By 1970, Gamble and Huff had enough of a track record of writing and producing soul music hits that they were ready to start their own record company. So they created Philadelphia International. It was backed by CBS Records, and distributed by them. This new company was up and running by 1971. Soon, they were having even more hits, and bigger hits too.

At the same time Gamble and Huff and Philadelphia International were on the rise, Motown Records was self destructing. I've described this in other write-ups. But, in short, it seems label owner Berry Gordy grew tired of the music business and wanted to become a multimedia company, with much more focus on T.V. and movies. So he moved the company from Detroit to Los Angeles, and lost most of the musical talent along the way. (And yet, for all that, Motown only had a couple of movie successes.) Thus, Philadelphia was able to largely replace Detroit as the place to be for soul music in the early 1970s.

Furthermore, as time went on, Gamble and Huff began to develop an increasingly distinctive style.  Here's how it is described in their Wikipedia entry: "Gamble and Huff's Philadelphia soul sound evolved from the simpler arrangements of the late-1960s into a style featuring lush strings, thumping basslines, and sliding hi-hat rhythms - elements that soon became the distinguishing characteristics of a new style of music called disco."

Some hits here were massive. For instance, "Me and Mrs. Jones," "Love Train," and "TSOP [The Sound of Philadelphia]" weren't just Number Ones on the U.S. soul singles charts, they were Number Ones on the U.S pop charts as well! Furthermore, they had many more hits than this. I just selected the cream of the crop, so these albums would have wider appeal.

All through this time period, the Gamble and Huff songwriting partnership was going strong. The vast majority of the songs here were written by the two of them, and with nobody else. However, occasionally there were additional songwriters. For instance, "Drowning in the Sea of Love" was also written by Joe Simon, and a songwriter named Cary Gilbert helped write "Me and Mrs. Jones." 

This album is 54 minutes long.

01 Get Me Back on Time, Engine Number 9, Part 1 (Wilson Pickett)
02 Drowning in the Sea of Love (Joe Simon)
03 I'll Do Anything [He Wants Me To] (Doris Troy)
04 Back Stabbers (O'Jays)
05 Me and Mrs. Jones (Billy Paul)
06 One Night Affair (Jerry Butler)
07 When the World's at Peace (O'Jays)
08 If You Don't Know Me by Now (Harold Melvin & the Blue Notes)
09 Power of Love (Joe Simon)
10 Love Train (O'Jays)
11 Am I Black Enough for You (Billy Paul)
12 I'll Always Love My Mama (Intruders)
13 Break Up to Make Up (Stylistics)
14 The Love I Lost, Part 1 (Harold Melvin & the Blue Notes)
15 Put Your Hands Together (O'Jays)
16 TSOP [The Sound of Philadelphia] (MFSB with the Three Degrees)

https://pixeldrain.com/u/EjhUcS2T

alternate:

https://bestfile.io/en/qf93VFHAlUX1weE/file

The cover image is from 1973. I moved the two people closer using Photoshop. Also, the original picture was in black and white. But I colorized it with the use of the Kolorize program. That's Huff on the left and Gamble on the right.

Covered: Kenny Gamble & Leon Huff, Volume 1: 1964-1970

It's time for another songwriting team in the "Covered" series. Here, I'm looking at the soul music giants Kenny Gamble and Leon Huff. I have enough of the songs they wrote for four albums. Here's the first one.

You may not know Gamble and Huff by name, but I'll bet you know their songs. In the 1960s, soul music was dominated by the Motown sound coming out of Detroit. But in the 1970s, soul music was dominated by the Philly sound, which came out of Philadelphia. In 1991, the group Boyz II Men had a big hit with the song "Motownphilly." The title says it all, showing nostalgia for the two main soul music trends of earlier decades.

Motown Records had lots of great songwriters, with the Holland-Dozier-Holland team being the most prominent. It was a similar situation with the Philly sound, except the Gamble and Huff team was even more prominent. That's especially if you take into account all of their roles. They co-owned the main record label for the Philly sound, Philadelphia International. When they weren't writing hit songs, they were signing new acts and/or producing hits. Between writing and producing they were involved in a truly stunning 175 gold or platinum records!

So hopefully that's enough of an intro to entice you, if you weren't familiar with their names. Now, here's more about how the music on this first volume came to be.

Kenny Gamble was born in Philadelphia in 1943, and Leon Huff was born in Camden, New Jersey, in 1942. Gamble was discovered by Jerry Ross when he was 17 years old, in 1963. At that time, Ross was an established record company owner, producer, and songwriter. Gamble and Ross wrote some songs together before the Gamble and Huff collaboration really took off. Their biggest success was "I'm Gonna Make You Love Me," which was a hit for multiple artists. (I've included the original version, by Dee Dee Warwick in 1966, but it was a much bigger hit later for the Supremes and Temptations.) Through working with Ross, Gamble learned much about the music business, including how to run a record label.

The collaboration between Gamble and Huff began in the 1950s. They were members of a harmony group called the Romeos. That group didn't have much success. But another member of the Romeos was Thom Bell, who also would later have a key role in the Philly sound. (He'll be the subject of a separate "Covered" album.) They even occasionally wrote songs together as far back as the 1950s, such as "Lost," which was a minor hit for Jerry Butler in 1959.

The Gamble and Huff collaboration intensified with the very first song here, "The 81" by Candy and the Kisses, in 1964. Although the song was written by Gamble and Ross, Huff played keyboards on the song, and he helped produce it with Gamble. Huff also got to co-write the B-side. Bit by bit, they began writing more songs together. The first really big Gamble and Huff written song was "Expressway to Your Heart," which made the Top Five in both the pop and soul charts in the U.S. in 1967. Their songwriting grew more frequent and successful in 1968, with three big hits they wrote together: "Hey Western Union Man," "Cowboys to Girls," and "I Can't Stop Dancing." From that point on, they became a hit-making force, usually writing at least a handful of hits each year, for many years to come.

That takes us to the end of this volume. I'll continue with their story in the next one. But in the meantime, here's their Wikipedia link if you want to know more. And yes, I said "link," not "links" - the two of them are so closely associated with each other that there's only a "Gamble and Huff" Wikipedia page, not pages for each of them:

Gamble and Huff - Wikipedia 

This album is 54 minutes long.

01 The 81 (Candy & the Kisses)
02 Who Do You Love (Sapphires)
03 I Really Love You (Dee Dee Sharp)
04 I'm Gonna Make You Love Me (Dee Dee Warwick)
05 Girl Don't Make Me Wait (Bunny Sigler)
06 Expressway to Your Heart (Soul Survivors)
07 Together (Intruders)
08 I Can't Stop Dancing (Archie Bell & the Drells)
09 At the Top of the Stairs (Formations)
10 'Cause You're Mine (Vibrations)
11 Hey Western Union Man (Jerry Butler)
12 Cowboys to Girls (Intruders)
13 Love in Them There Hills (Vibrations)
14 [There's Gonna Be] A Showdown (Archie Bell & the Drells)
15 Moody Woman (Jerry Butler)
16 It's Been a Long Time (Betty Everett)
17 Only the Strong Survive (Jerry Butler)
18 A Brand New Me (Dusty Springfield)
19 What's the Use of Breaking Up (Jerry Butler)
20 Here I Go Again (Archie Bell & the Drells)
21 Don't Let the Green Grass Fool You (Wilson Pickett)

https://pixeldrain.com/u/T4D57AYn 

alternate: 

https://bestfile.io/en/LZ96W3r5vnKxxBk/file

The cover image is from 1968. I moved the two people closer using Photoshop. Also, the original picture was in black and white. But I colorized it with the use of the Kolorize program. That's Huff on the left (wearing a hat) and Gamble on the right.

Covered: Brian Wilson, Volume 5: 2017-2026 (A Fabio from Rio Guest Post)

Finally, we arrive at the last volume of this "Covered" project, bringing Fabio’s "Brian Wilson Week" to a close just in time to celebrate what would have been Brian’s 83rd birthday on June 20, 2026. (He died on June 11, 2025.)

This volume focuses on more recent performances, spanning the years 2017 through 2026. In fact, the final track was released only a few weeks before this post went online. Together, these recordings provide yet another illustration of Wilson’s enduring influence across multiple generations of musicians.

One track deserves a bit of additional explanation, as it touches on a subject that some readers may find controversial. Dae Lim’s version of "Let’s Put Our Hearts Together" is a hybrid creation that combines archival material, original recordings, and a degree of AI (Artificial Intelligence) assistance. Dae recorded new vocal parts and worked with existing Beach Boys-related material, using AI-based tools to help blend timbres and stylistic elements in a way that evokes the sound of a classic Beach Boys recording. The result is something akin to uncovering a previously unheard Beach Boys tape based on fragments and possibilities rather than a genuine lost master. Whether one embraces or rejects that approach, the results are certainly intriguing and worth hearing.

Note also, I have a policy of only including one version first song in these Covered projects. However, for Wilson, Fabio and I couldn't resist, including two versions of possibly two of his greatest creations, "Good Vibrations" and "God Only Knows." The second version of "Good Vibrations" is here, while all the other ones are included in earlier volumes.

If there are any Brian Wilson songs that you feel we should have included and we didn't include, please let us know. Sometimes we can make additions after the initial posting. But keep in mind there are some excellent Beach Boys songs that were not written or written by him. Perhaps at some future point we might make a covered album for the other Beach Boys.

Thanks again to Fabio from Rio for spearheading this project.

This album is 59 minutes long.

01 Kiss Me Baby (Kayla Williams)
02 Let Him Run Wild (Malibu Buckeroo)
03 That's Not Me (Suburb Smoking)
04 Busy Doing Nothing (Samantha Sidley)
05 Caroline, No (Chrissie Hynde)
06 'Til I Die (Tim Swisher & Cosmic Restoration Band)
07 All I Wanna Do (Mapache)
08 Dance, Dance, Dance (Johnathan Pushkar)
09 Good Vibrations (SAER)
10 Help Me Rhonda (Weeklings)
11 I'd Love Just Once to See You (Anderson Council)
12 Thank Him (Gracia Rother)
13 Meant for You (She & Him)
14 All Summer Long (Skelgro)
15 Melt Away (She & Him)
16 Let the Wind Blow (Royal Fuse)
17 And Your Dream Comes True (Harvard Krokodiloes)
18 Let's Put Our Hearts Together (Dae Lims with the Beach Boys)
19 Little Saint Nick (Moon Loungers)
20 Your Summer Dream (Gracia Rother)
21 Wendy (Adam Michel)

https://pixeldrain.com/u/gGPa3DBS

alternate:

https://bestfile.io/en/rBCDmQrldMV8o91/file

The cover image is from 2016. 

Covered: Brian Wilson, Volume 4: 2010-2016 (A Fabio from Rio Guest Post)

Here is more of the "Covered" series for Brian Wilson. This is the fourth out of five volumes.

This volume covers the first half of the 2010s, with yet another generation joining the ever-growing ranks of Brian Wilson admirers. By this point, his status as one of the most important songwriters of the second half of the twentieth century had long been firmly established.

You may notice several songs here performed by a relatively unknown artist named Kayla Williams. Fabio and I discovered her while searching for covers of some of Brian Wilson’s more obscure compositions. When we were unable to find suitable versions through the usual sources (tribute albums, cover-song databases, and fan recommendations) we turned to YouTube, which contains dozens, sometimes hundreds, of performances that are not documented elsewhere. This approach had already yielded excellent discoveries for previous "Covered" projects, such as those devoted to Neil Young and Tom Waits.

As it turned out, Kayla Williams is a remarkably talented singer who has recorded more than two dozen Brian Wilson songs. We were impressed enough that we are even considering assembling a future collection dedicated entirely to her interpretations of his songs. For the time being, however, we have limited ourselves to three of her finest performances.

Another highlight of this volume is Lana Del Rey’s version of "The Last Song". The recording emerged as part of the "Big Leak", a recent wave of unreleased Beach Boys and Brian Wilson material that surfaced online, and one that will likely inspire future posts here at this blog. Although the track is officially credited to both Lana Del Rey and Brian Wilson, it is essentially a Lana solo performance, with Brian’s contribution remaining quite subtle.

Note that while Wilson had most of his commercial success with the Beach Boys, especially in the 1960s and 70s, he continued to write songs nearly to the end of his life. While he had more of a mixed record with those songs, sometimes he would show his old magic. So Fabio and I made a particular effort to include songs from the later part of his career when they were worthy of inclusion. But on this volume, The vast majority of songs were originally recorded much earlier in his music career.

This album is 58 minutes long.

01 Girls on the Beach (Tribute Co.)
02 Little Deuce Coupe (Mc6)
03 Marcella (Michael Carpenter)
04 The Night Was So Young (Kayla Williams)
05 Do It Again (Wilson Phillips)
06 Good Vibrations (Cornshed Sisters)
07 I Get Around (Red Hot Chili Peppers)
08 Lonely Sea (Karina Denike, Lily Taylor & Melody Jeune Ferris)
09 Still I Dream of It (Carice van Houten)
10 That's Why God Made the Radio (B. Dubson)
11 Wind Chimes (Kayla Williams)
12 Wouldn't It Be Nice (Saint Etienne)
13 You Still Believe in Me (Magnetic North)
14 Anna Lee the Healer (Kayla Williams)
15 God Only Knows (Monalisa Twins)
16 When I Grow Up [To Be a Man] (Pen Friend Club)
17 The Last Song (Lana Del Rey with Brian Wilson)
18 Please Let Me Wonder (Pen Friend Blub)
19 Good Timin' (Brady Harris)
20 Our Prayer (Wild Honey Vocal Group with the Wild Honey Orchestra)

https://pixeldrain.com/u/z62DNerS

alternate: 

https://bestfile.io/en/8WOJ4KVm7f4Eyfh/file

The cover image is from 2005. 

Covered: Brian Wilson, Volume 3: 2001-2009 (A Fabio from Rio Guest Post)

Volume 3 of "Covered: Brian Wilson" focuses on the first decade of the new millennium, a period during which Brian Wilson experienced something of a creative renaissance after spending decades being regarded as a "lost genius". He surprised the music world by returning to the long-abandoned "Smile" project, choosing to record and release an entirely new version with the Wondermints, and then touring extensively while performing the album in its entirety. This approach was particularly noteworthy because, contrary to popular myth, the original 1960s recordings had not been destroyed by Brian during some psychotic outburst; they had remained safely stored in Capitol Records’ vaults, awaiting the archival release that would eventually arrive a few years later.

Alongside Brian’s artistic rebirth came a fresh wave of tributes from both established and younger artists. Some approached his songs with a nostalgic or traditional sensibility, while others reimagined them through a more contemporary musical lens. Together, they demonstrated the remarkable adaptability of his compositions and their ability to resonate across generations and genres.

This volume contains many memorable performances, but one stands out as especially remarkable: Joss Stone’s rendition of "God Only Knows". It earned the distinction of becoming one of only two songs represented by more than a single performance in this collection.

The cover photograph comes from another period of renewal in Brian’s life: the late 1980s, around the release of his first solo album. At the time, "Doctor" Eugene Landy had assumed extraordinary control over both Brian’s personal and professional affairs, claiming to be guiding his recovery. As later documented in books, documentaries, and feature films, the results were far more complicated than they initially appeared.

This album is 57 minutes long.

01 You Need a Mess of Help to Stand Alone (Michael Carpenter)
02 A Day in the Life of a Tree (Matthew Sweet)
03 Add Some Music to Your Day (Kate Campbell)
04 God Only Knows (Joss Stone)
05 Heroes and Villains (Rubinoos)
06 I Just Wasn't Made for These Times (Sixpence None the Richer)
07 Lay Down Burden (Jane Kelly Williams)
08 Love and Mercy (Randy Stonehill)
09 Surf's Up (Rick Altizer)
10 This Whole World (Dolour)
11 Wild Honey (Robin Goldwasser)
12 Your Imagination (Amilia K. Spicer)
13 Surfin' U.S.A. (Jeffrey Foskett & Jeff Beck)
14 The Warmth of the Sun (Matthew Sweet & Susanna Hoffs)
15 Wake the World (Epicycle)
16 Surfin' Safari (Rockapella)
17 Catch a Wave (Ramouns)

https://pixeldrain.com/u/DTqSEwpg

alternate:

https://bestfile.io/en/STpOrAzZntMdQ4P/file

The cover image is from 1998.

Covered: Brian Wilson, Volume 2: 1980-2001 (A Fabio from Rio Guest Post)

For Volume 2 of this “Covered” collection, covering the years 1980 to 2001, we begin to move firmly into Brian Wilson’s "influential songwriter" era. During the early and mid-1990s, his work started to gain broader recognition as something far greater than simply a catalog of breezy pop songs. One important factor was the release of the excellent "Good Vibrations: Thirty Years of The Beach Boys" box set in 1993, which included several rare recordings from the legendary (and then still unreleased) "Smile" album, along with material from other overlooked chapters of the Beach Boys’ story. The set helped spark renewed interest in both Brian Wilson and the Beach Boys' musical legacy.

By the late 1990s, a wide range of tribute albums began appearing, recorded by younger generations of musicians eager to acknowledge Brian’s influence. Indie artists such as Sonic Youth, Yo La Tengo, and Adventures in Stereo demonstrated a genuine affection for his music, helping introduce it to new audiences. This volume also offers a first glimpse of the Wondermints, who would later become Brian Wilson’s backing band and play a crucial role in bringing a modern version of "Smile" to life in the early 2000s.

This album is 58 minutes long.

01 The Farmer's Daughter (Fleetwood Mac)
02 Go Away Boy (Honeys)
03 Dead Man's Curve (Eddie Meduza)
04 She Knows Me Too Well (Wondermints)
05 California Girls (David Lee Roth)
06 Fun, Fun, Fun (Joan Jett)
07 Be True to Your School (Cynics)
08 I Know There's an Answer (Sonic Youth)
09 Meet Me in My Dreams Tonight (Vacant Lot)
10 Surfin' (Dave Goelz & the Surf Rats)
11 Girl Don't Tell Me (Fuzzy)
12 Everything I Need (Wilsons with Brian Wilson)
13 In My Room (Marilyn Scott)
14 Little Honda (Yo La Tengo)
15 Wonderful (Adventures in Stereo)
16 Honkin' Down the Highway (Radio Sweethearts)
17 Rainbow Eyes (Kle)
18 Stevie - My Diane (Saint Etienne)
19 Surfer Girl (Paul Simon)

https://pixeldrain.com/u/qvGze9yR

alternate:

https://bestfile.io/en/Upv0FegAFyf6FTM/file

The cover image is from 1978. The original was in black and white, but I colorized it with the help of the Kolorize program.

Covered: Brian Wilson, Volume 1: 1963-1978 (A Fabio from Rio Guest Post)

June 11th marks the first anniversary of the passing of musical genius Brian Wilson (1942–2025), who would have turned 84 on June 20th had he still been with us. This seems like the perfect moment to post "Covered" albums devoted to this extraordinary songwriter. Since Brian is, of course, closely associated with the Beach Boys, the "Covered: Brian Wilson" collection also serves as an indirect tribute to the legendary vocal group, highlighting the enormous influence they have had on generations of musicians since the 1960s.

This collection is another collaboration with Fabio from Rio. He is a devoted Beach Boys fan and, in fact, his first guest post here was a tribute to Brian Wilson, written and published just days after Brian’s death one year ago. You can find it here:

https://albumsthatshouldexist.blogspot.com/2025/06/various-artists-songs-in-key-of-brian.html

It is therefore no surprise that he embraced this project wholeheartedly and came up with hundreds of potential covers, which were eventually trimmed down to exactly 100 tracks spread across five volumes. These 100 recordings represent 98 different compositions, since we made minor exceptions to my usual policy of avoiding duplicate songs by including two versions each of "God Only Knows" and "Good Vibrations", which will appear in later volumes.

Most of the songs here were not hits in their cover versions or at least were not big hits. But there is one important exception: “Surf City” was a Number One hit in the US in 1963 for Jan and Dean. The song was written by Wilson and Jan Berry of Jan and Dean fame. However, even though a lot of these were not the big hits, they were intended to be, it shows that Wilson’s songs were being widely covered practically from the very beginning of his career with The Beach Boys in 1962.

Note that during The time period of this album, 1963 to 1978, Wilson wrote or cowrote dozens of hit songs for the Beach Boys. Fabio and I were careful to never use the Beach Boys versions or solo Brian Wilson versions, but only covers by other musical acts. It just so happens that many of the best covers of those hits from this time come later. So if you don’t see some of your favorite songs, just wait to see what we come up with for the later volumes.

Out of these 23 tracks here, only 12 were recorded by the Beach Boys around the time of their first release. The remaining 11 tracks were originally recorded by other artists, demonstrating that Brian's talent was not limited to his own group.

These are the non-Beach Boys tracks: 

01 Drag City (Jan & Dean)

02 He's a Doll (Honeys)

03 Surf City (Jan & Dean)

04 The One You Can't Have (Honeys)

06 The New Girl in School (Jan & Dean)

08 Guess I'm Dumb (Glen Campbell)

13 Time to Get Alone (Redwood)

17 Good Time (American Spring)

19 Sweet Mountain (American Spring)

20 Had to Phone Ya (American Spring)

23 Almost Summer (Celebration)

A few of those songs - tracks 13, 17, and 20 - were later done by the Beach Boys. And Celebration was a side project for Beach Boys singer Mike Love.

Particularly noteworthy are the Honeys / American Spring (a.k.a. Spring), which together are represented here by five songs. The Honeys were a pop group formed by sisters Marilyn Rovell (later Marilyn Wilson), Diane Rovell, and Barbara Rovell (the latter eventually replaced by their cousin, Ginger Blake). In many ways, they were a female counterpart to the Beach Boys. They were discovered by Gary Usher at a talent show in 1961. Usher eventually introduced them to Brian, who renamed the group and began dating Marilyn. The couple married in December 1964.

The Honeys dissolved in 1970 when Ginger left the group to pursue a solo career. Marilyn and Diane then formed Spring, and later added "American" to the band's name after encountering trademark issues with a British group of the same name that threatened legal action. American Spring released a single album in 1972, produced by Brian Wilson, and recorded several additional tracks in 1977–1978 for a second album that was never released. Some of these recordings would later appear on compilations and anthologies. "Had to Phone Ya," recorded before the Beach Boys' own version, is one such example. 

This album is one hour long.

01 Drag City (Jan & Dean)
02 He's a Doll (Honeys)
03 Surf City (Jan & Dean)
04 The One You Can't Have (Honeys)
05 You're So Good to Me (Fireballs)
06 The New Girl in School (Jan & Dean)
07 Don't Worry Baby (Ivy League)
08 Guess I'm Dumb (Glen Campbell)
09 Here Today (Bobby Vee)
10 I'm Waiting for the Day (Peanut)
11 Don't Talk [Put Your Head on My Shoulder] (Carmen McRae)
12 The Little Girl I Once Knew (Bystanders)
13 Time to Get Alone (Redwood)
14 Aren't You Glad (Peggy March)
15 Darlin' (Paper Dolls)
16 Friends (Chicks)
17 Good Time (American Spring)
18 Vegetables (Jan & Dean)
19 Sweet Mountain (American Spring)
20 Had to Phone Ya (American Spring)
21 Sail On Sailor (KGB)
22 Breakaway (Wildfire)
23 Almost Summer (Celebration)

https://pixeldrain.com/u/ypFoz44W

alternate:

https://bestfile.io/en/DdA0Xae8n72zlKI/file

The cover image is from 1964.

Covered: George Harrison, Volume 6: 2015-2025

Here's the sixth and last "Covered" album for George Harrison.

Most people love the Beatles, and pretty much all their songs. So all of the songs Harrison wrote that were done by the Beatles have gotten good cover versions in this series. But, with the exception of his very popular album "All Things Must Pass," his solo career has gotten much less attention, and thus fewer covers. I've strived to include covers of all the songs I like from him. I couldn't always find even a decent cover, but I was successful most of the time.

In my opinion, Harrison was a very fascinating songwriter. On one hand, being in the Beatles, he learned from Paul McCartney and John Lennon how to write very catchy and poppy melodies. But on the other hand, he had a natural tendency to write songs with unusual and complicated chords. This led to Lennon repeatedly complaining how difficult it was to learn how to play Harrison's songs. On Harrison's best songs, he somehow managed to combine being catchy and poppy with unusual and complicated chords and other musical moves. That's not easy to pull off. 

But unfortunately, that has been another big reason many Harrison songs haven't been covered that much. He almost never wrote three or four chord songs. Out of the six volumes, this is the one where I have the most of his obscure and rarely covered songs, usually from his solo career. That's because, when looking for cover versions, my last resort is to find unreleased versions by lesser known musicians on YouTube. Most of those have taken place in the last ten years or so (as I write this in June 2026). Songs that fall into that category on this volume include "Nowhere to Go," "Cosmic Empire," "Poor Little Girl," "Miss O'Dell," "Beautiful Girl," and more. However, I always maintained quality control. There are a few more Harrison songs I wanted to include where none of the cover versions I found were good enough, in my opinion.

Two of the songs here have "[Edit]" in them. For "Circles" by Pete Zolli, there was some drumming on the song that I didn't like. Something about it seemed off. So I used the MVSEP program to remove the drumming. I thought the song was better that way. And for "Miss O'Dell" by Christopher Clause, this is a nice song, but little known, since it only ever came out as a B-side. So I didn't have many covers options. The version by Clause is very good. However, it was something he did live in the studio and then posted on YouTube. And in the live version, he kept making brief talking asides during the instrumental parts of the song. I thought all that talking was unnecessary and distracted from the song, so I used MVSEP to get rid of that, and just keep the singing.

It's very sad that Harrison died as young as he did. It's also a shame, from a musical point of view, That from 1982 until his death in 2001, he only put out two albums of new songs. We could have had so much more music from him. But at least what he did was usually of a high quality. His Beatles songs will never be forgotten. But I hope this series helps people better appreciate the songs he wrote in his solo career as well.

This album is an hour and two minutes long. 

01 Crackerbox Palace (Jonathan Di Renzo)
02 This Is Love (Suburban Skies)
03 You Know What to Do (Weeklings)
04 Only a Northern Song (Walker's Run)
05 Fish on the Sand (Allah-Las)
06 Nowhere to Go (Danny McEvoy)
07 Piggies (Morgan James)
08 You Like Me Too Much (Randy Bachman)
09 Cosmic Empire (Mac Randall)
10 Not Guilty (Jeffrey Detrick)
11 Run of the Mill (Deer Tick)
12 Rising Sun (Jeff Andrews)
13 Devil's Been Busy (Leeroy)
14 Poor Little Girl (Judge Timbers)
15 Circles [Edit] (Pete Zolli)
16 End of the Line (Dominique Cotten)
17 Miss O'Dell [Edit] (Christopher Clause)
18 Beautiful Girl (Rod Switzer)

https://pixeldrain.com/u/WPizpn7X 

alternate:

https://bestfile.io/en/NMFjWDMwTqQklwz/file

The cover image is from about 2000.

Covered: George Harrison, Volume 5: 2010-2014

Here's the fifth "Covered" album out of six for ex-Beatle George Harrison.

As I mentioned in my write-up to the previous album, since Harrison tragically died in 2001, the volumes that come after that are playing catch up, with covers from all points in his music career. In fact, most of the songs here are from his Beatles years or from his great "All Things Must Pass" album, making this a particularly strong volume of familiar songs.

However, there's one song here that very few people will recognize, probably not even die-hard fans: "Silence Is Its Own Reply." Admittedly, including it here is a bit of a stretch, but I decided to do so anyway because it's a good song, and it's unlikely you'll find it elsewhere.

There's an interesting story behind this song. Around 1967 or 1968, Harrison wrote about ten lines of song lyrics on a piece of paper, and gave it the title "Silence Is Its Own Reply." At the time, author Hunter Davies was writing an authorized biography about the Beatles. While writing that, he asked for writing samples from each of the Beatles. These lyrics were given to him to show Harrison's writing. Davies published his book, simply called "The Beatles," in 1968, but the lyrics weren't included or mentioned. Then, decades later, around 2009, Davies rediscovered the lyrics while combing through his archives of papers as he prepared to write an updated version of his Beatles book. He mentioned the lyrics in a BBC interview. The BBC DJ was intrigued, and got a copy of the lyrics. That DJ then passed the lyrics on to a singer-songwriter named Dean Johnson, and gave him the opportunity to finish the song. 

Johnson did, and I think the result is very good. Keep in mind that only the title and the first verse were written by Harrison. Johnson came up with the melody and the lyrics for a second verse and bridge. But I think that still counts as a legitimate co-write. Unfortunately though, it seems that the song was never officially released, probably due to legal complications arising from Harrison's contribution. But I found a version Johnson performed for the BBC, cleaned up the sound some, and I'm including it here.

Adding to the interest, at first glance, the lyrics appear to be about romance. But when Johnson was asked about the meaning of the song, he had this to say: "The lyrics are of a personal nature and were first thought to be a song of unrequited love but, in hindsight, they seem to allude to George's uneasy relationship with John Lennon. This is substantiated by first-hand observations by Hunter Davies and by people close to Harrison." He said he did his best to follow through with the original meaning Harrison gave to the song.

In case you're curious, here's the portion of the lyrics written by Harrison:

I'm happy to say that it's only a dream
When I come across people like you
It's only a dream and you make it obscene
With the things that you think and you do
You're so unaware of the pain that I bear
And jealous for what you can't do
There's times when I feel that you haven't a hope
But I also know that isn't true

And every time I ask you why
Silence is its own reply 

Here's a newspaper article about the song: 

https://www.wirralglobe.co.uk/news/4687467.wirrals-dean-finishes-lost-george-harrison-song/

The only other comment I have to make about this album is that two other songs here are also officially unreleased, "Any Road" by Phil Lesh and Friends, and "Heading for the Light" by Susan Cowsill. Both had sound quality issues. I think I was able to fix those problems for "Any Road." But "Heading for the Light" still sounds pretty rough. However, it's one of my favorite Harrison songs from later in his career, so I had to at least include a version. If anyone finds a better version that it's a virtual carbon copy of the original, please let me know and I'll use that instead. (And it definitely is mostly written by Harrison, despite being credited to all of the Traveling Wilburys.) 

This album is one hour long. 

01 All Those Years Ago (Emmy the Great)
02 Apple Scruffs (Billie Amit)
03 Think for Yourself (Christine Collester)
04 Your Love Is Forever (Trevor Moss & Hannah Lou)
05 I Need You (Webb Sisters)
06 Silence Is Its Own Reply (Dean Johnson)
07 Awaiting on You All (Michael Carpenter)
08 Ding Dong, Ding Dong (Popdudes)
09 Art of Dying (Black Rebel Motorcycle Club)
10 Any Road (Phil Lesh & Friends)
11 Beware of Darkness (Ann Wilson)
12 Heading for the Light (Susan Cowsill)
13 Ballad of Sir Frankie Crisp [Let It Roll] (Jonathan Bates & Dhani Harrison)
14 Behind That Locked Door (Norah Jones)
15 It's All Too Much (Flaming Lips)

https://pixeldrain.com/u/YkPbKTAT 

alternate:

https://bestfile.io/en/AT5KAwbiaqxUmKA/file

The cover image is from "circa 2000."

Covered: George Harrison, Volume 4: 2004-2010

Here is the fourth out of six "Covered" volumes for George Harrison.

Unfortunately, before the start of the time period of this volume, Harrison had already died. (He died in 2001 all too young, at the age of 58.) That means he wasn't putting out any more new music. So for this volume and the next two, we're basically playing catch up, with covers from earlier parts of his music career, including going back to his years with the Beatles.

The first song here is a special treat. It comes from the Rock and Roll Hall of Fame ceremony in 2004, because Harrison was posthumously inducted that year. This version of "While My Guitar Gently Weeps" has a lot of stars peforming on it, including some I didn't include in the song title, due to wanting to keep it short, like Steve Winwood and Dhani Harrison. But what really makes this version stand out is the wild guitar soloing by Prince. A lot of people were impressed, as you can see by the fact the YouTube video is up to 140 million views when I'm writing this in May 2026. But this version remains unreleased. 

Generally speaking, I try hard to only include one version of each song in a Covered series like this. But every now and then, there are cases where I can't resist adding more than one. For this series, I have two versions of "Something" (on Volumes 1 and 2, by Shirley Bassey and James Brown). I also have two versions of "If I Needed Someone." I included the Hollies version of that song on Volume 1, because they had a hit with it back in 1965. It made the Top Twenty in Britain. That was Harrison's first hit song, actually. 

However, I'm including a second version of that song here, even though it's not one of his most popular songs. That's because in 2004, Roger McGuinn did a version of it. McGuinn used to be the main singer for the Byrds, and Harrison wrote the song with a very obvious Byrds influence. It was one he openly acknowledged from the start. He even sent McGuinn an advanced copy of the song, along with a thank you note. So it's nice to finally hear what the Byrds might have done with this Byrdsy song.   

This album is an hour and one minute long.

01 While My Guitar Gently Weeps (Tom Petty, Jeff Lynne & Prince)
02 All Things Must Pass (Paul McCartney)
03 If I Needed Someone (Roger McGuinn)
04 Love Comes to Everyone (Eric Clapton)
05 Handle with Care (Jenny Lewis with the Watson Twins)
06 Stuck Inside a Cloud (Herb Eimerman)
07 Dark Sweet Lady (Nelson Bragg)
08 I Want to Tell You (Thea Gilmore)
09 Blue Jay Way (Secret Machines)
10 Within You, Without You (Patti Smith)
11 That's the Way It Goes (Joe Brown)
12 I Live for You (Tift Merritt)
13 Blow Away (Den Fiori)
14 Hear Me Lord (Chip Mergott)
15 Deep Blue (Carolina Lima)
16 Be Here Now (Robyn Hitchcock)

https://pixeldrain.com/u/61Dy14BG

alternate: 

https://bestfile.io/esiuW1bolSkXUjR/file

The cover image is from 1991.  

Covered: George Harrison, Volume 3: 1990-2003

This is the third out of six "Covered" volumes for George Harrison.

I had a lot to say about the development of Harrison's songwriting in Volumes 1 and 2. But after a flurry of activity in the late 1980s with his very successful "Cloud Nine" album and two albums with the Traveling Wilburys, his music career slowed waaaay down for the rest of his life. In fact, after a short tour of Japan with Eric Clapton in 1992, he pretty much retired from the music business for the rest of his life. He made slow progress on another studio album, "Brainwashed," but it wasn't released until 2002, a year after his death. 

Yet even though he spent many years away from music (with 15 years between his last two solo albums!), he did enough to get inducted into the Rock and Roll Hall of Fame in 2004 for his solo career, in addition to already being inducted in 1987 for being a member of the Beatles.

That brings us to his unfortunate death. He died on November 29, 2001, at the age of 58. On December 30, 1999, Harrison was attacked in his home by an insane man. He was stabbed over 40 times, and barely survived. He died in 2001 of lung cancer, probably a result of a life of smoking. But friends and family say he was physically strong until the knife attack on him in 1999, and quite weak after that. So they blamed the attack for putting him in a condition where he was unable to fight off the cancer.

At any rate, Harrison's songs weren't covered much in most of the time frame here. Only the first four songs in this volume were recorded prior to his death in 2001. But after he died, there was a flood of tribute concerts and cover versions to celebrate his great musical career.

One thing I want to address here is his role in the Traveling Wilburys, the short-lived supergroup consisting of Harrison, Bob Dylan, Tom Petty, Jeff Lynne, and Roy Orbison. I've tried to include covers of all the good songs Harrison wrote or co-wrote from his Beatles career and his solo career, at least when there are worthy cover versions of them. But with the Traveling Wilburys, I wanted to be more selective. Technically, all the songs on both of that band's albums were co-written by all the members. But in reality, most of them were primarily, or sometimes entirely, written by one member. So it doesn't make sense for me to include a cover of a song like "Tweeter and the Monkey Man" here, when that one clearly sounds like a Bob Dylan song. 

Thus, I did a little digging to figure out which Traveling Wilburys songs could be considered written or co-written by Harrison. Luckily, the band members gave some interviews where they talked about the songwriting process and who did what. I may well have missed some information though, so if anyone thinks I missed some songs by this band that are worthy of inclusion, please let me know.

Another problem I ran into with the Traveling Wilburys is that a few of their songs have been covered a lot, but many of them have very few covers. I had particular trouble with the song "Wilbury Twist." I found a Tom Petty interview where he explained that he co-wrote that one with Harrison, so that meant it merited inclusion. But I didn't find any cover versions I liked. So in the end, I just included the Traveling Wilburys version. I have a rule not to include songs by the songwriter highlighted by the "Covered" series unless there's some special reason. But in this case, a majority of the lead vocals are sung by other members in the band, so it's not exactly a cover of Harrison being the main singer anyway. 

This album is one hour long.

01 Wilbury Twist (Traveling Wilburys)
02 That Kind of Woman (Gary Moore)
03 Cheer Down (Rainer, Joey Burns & John Convertino)
04 I Me Mine (Elliott Smith)
05 Horse to the Water (Jools Holland, Sam Brown & Jim Capaldi)
06 For You Blue (Paul McCartney)
07 Isn't It a Pity (Eric Clapton & Billy Preston)
08 You (Lisa Mychols)
09 When We Was Fab (Wendy Ip)
10 Love You To (Marshall Crenshaw)
11 Wah-Wah (Jeff Lynne & Eric Clapton)
12 Savoy Truffle (They Might Be Giants)
13 Old Brown Shoe (Leslie West)
14 Devil's Radio (Masters of Reality)
15 Give Me Love [Give Me Peace on Earth] (Dave Davies)
16 Long, Long, Long (Elliott Smith)

https://pixeldrain.com/u/TKHomhYi 

alternate:

https://bestfile.io/en/2USkcxm1qimgtCf/file

The cover image is from 1986. 

Covered: George Harrison, Volume 2: 1972-1989

Here's the second volume out of six "Covered" albums celebrating the songwriting of George Harrison.

When this album starts, in 1972, Harrison was seemingly on top of the world. His 1970 solo album "All Things Must Pass" was a huge critical and commercial success, hitting Number One in the U.S., Britain, and many countries. It surprised many by outselling the solo albums of John Lennon and Paul McCartney. 

For the first half of the 1970s, Harrison maintained a very active musical career. In addition to putting out his own solo albums, he produced and/or played on albums by other musical acts. We can see that here, especially with his help for fellow ex-Beatle Ringo Starr. There are no less than five songs here performed by Starr. 

"Back Off Boogaloo" follows the pattern of "Octopus's Garden" and "It Don't Come Easy" on the previous volume, in that it was solely credited to Starr when in fact it was co-written by Harrison. It was a big hit in 1972, especially in Britain, where it made it all the way to Number Two in the singles chart. But while those two songs I just mentioned are still credited only to Starr, in 2017, the official credits for "Back Off Boogaloo" changed to be a co-write with Harrison.

The same pattern continued for Starr's next big hit, "Photograph," which went all the way to Number One in 1973 in the U.S., Canada, and other countries. But this one was the first one to be officially credited to Starr and Harrison from the very beginning. Like all the other Starr songs mentioned above, it seems Starr started it, but needed a lot of help from Harrison to finish it off. Starr later said he was good at writing a verse or two, and a chorus, but then he often would get stuck. He also said of Harrison helping his songwriting in this era, "I only know three chords and he'd stick four more in, and they'd all think I was a genius."

But Harrison also wrote or co-wrote songs for others during this time period: "The Holdup" by David Bromberg, "So Sad (No Love of His Own)" by Alvin Lee and Mylon Lefevre, "Far East Man" by Ron Wood, and "I'll Still Love You (When Every Song Is Sung)" by Cilla Black. In all those cases, the cover versions included here came first. For "So Sad" and "Far East Man," Harrison released his own versions a year or two later.

Here's a fun fact about the version of "Something" by James Brown. That great song has been covered around 1,000 times, making it one of the most covered songs of all time. But Harrison said that Brown's version was his favorite out of all the covers he'd heard. In an interview many years later, he said, "There are a lot of really good versions of 'Something.' But the one that is just a killer, and nobody even knows about it except for a few friends of mine, is the James Brown version of it. He put it out as the flip side to a revamped version of 'Think.' And you gotta play it, it's just unbelievable." He even sent Brown a postcard complimenting him on it and suggesting that it should be released as an A-side instead.

Unfortunately, in the mid-1970s, Harrison lost a lot of the passion he'd had for his music career up until then. Here's a quote taken from a Wikipedia article: "Writing for Rolling Stone in 2002, Mikal Gilmore commented that 'the crises [Harrison] faced in the mid-1970s changed him,' and that depression was a key factor. Depression permeated many of the songs that Harrison wrote during this period, an issue that was not helped by his continued heavy drinking and cocaine use." As a result, he mostly stopped writing songs for others, and put out fewer albums himself. This trend deepened in the 1980s, when he only put out three studio albums, compared to six in the 1970s (with one of them being a double album).

As a result, Harrison's music didn't get the same attention in the 1980s, so there weren't as many covers. That's especially the case since he did very little to promote his career. The only concert tour he took in the 1970s and 1980s was in 1974. Only the last three songs here are from the 1980s. One of those, by the way, "Run So Far," was written for a 1989 album by Eric Clapton. However, Harrison's own version would be released in 2002.

This album is one hour long. 

01 Back Off Boogaloo (Ringo Starr)
02 What Is Life (Olivia Newton-John)
03 The Holdup (David Bromberg)
04 Photograph (Ringo Starr)
05 Something (James Brown)
06 Don't Let Me Wait Too Long (Rotten to the Core)
07 You and Me [Babe] (Ringo Starr)
08 I'd Have You Anytime (Ralfi Pagan)
09 So Sad [No Love of His Own] (Alvin Lee & Mylon Lefevre)
10 Sunshine Life for Me [Sail Away Raymond] (Ringo Starr)
11 Far East Man (Ron Wood)
12 I'll Still Love You [When Every Song Is Sung] (Cilla Black)
13 Dark Horse (Thomas Harris)
14 Wrack My Brain (Ringo Starr)
15 Cloud Nine (Gary B.B. Coleman)
16 Run So Far (Eric Clapton)

https://pixeldrain.com/u/PETt92E9 

alternate: 

https://bestfile.io/en/dkyCmpiTQNxZADj/file

The cover image is from the 1970s, but I don't know the exact year. 

Covered: George Harrison, Volume 1: 1964-1971

It's time that I tackle a truly great songwriter for the "Covered" series: George Harrison. I hope and assume that anyone reading the blog already knows that he was a member of the Beatles. This series includes songs he wrote while in the Beatles with songs from his long solo career afterwards. I found enough for six volumes.

Harrison is such a famous musician that I'm not going to try to sum up his life or even just his music career. But I do want to write some about the early evolution of his songwriting.

When it came to writing songs, he was a late bloomer. In the Beatles, John Lennon and Paul McCartney wrote about 100 songs separately or together before the Beatles released their first album in 1963. (A lot of them were discarded.) Harrison was watching and learning from one of the greatest songwriting teams of all time. But apparently it wasn't until 1963 when he wrote his first complete song, or at least one he considered good enough to show to the other Beatles. His "Don't Bother Me" would appear on the band's second album, "With The Beatles." He wrote it while sick in bed during the summer of 1963. He later said that it was as an exercise to see if he could write a song, and "at least it showed me that all I needed to do was keep on writing, and then maybe eventually I would write something good."

But despite this early success (which, in fact, was a good song), the next two Beatles albums went by without any original Harrison songs on them. (He occasionally sang cover versions on Beatles recordings instead.) He later said that he lacked confidence and found it hard to compete with what he called the many "wondrous hits" written by the Lennon-McCartney team. But then the 1965 Beatles album "Help!" contained two of his songs. From that point on, every Beatles album contained at least one of his songs, usually two, and once three. (There were four on 1968's "The White Album," but that can be seen as two albums with two of his songs each.) He also had the occasional song come out on a B-side or archival release. Ultimately, 22 of his songs were released while the Beatles were together, out of 188 original songs by the band in total. But a few more of his songs trickled out in archival releases, such as "You Know What to Do," "Not Guilty," and "All Things Must Pass." There are still more of his songs the Beatles tried in the studio but remain unreleased. Most of those eventually appeared on his solo albums.

Unfortunately, for many years, Lennon and McCartney underestimated Harrison's songwriting, and didn't do much to encourage him. The two of them were writing so many excellent songs that they weren't keen to find room for many of Harrison's songs as well. But by 1969, that changed. Harrison's two songs for the "Abbey Road" album that year, "Something" and "Here Comes the Sun," aren't just great Beatles songs, they're some of the best and most acclaimed songs of all time. "Something" is one of the most frequently covered songs ever, and as I write this in 2026, "Here Comes the Sun" is the most listened Beatles song on Spotify. 

As a result, Lennon and McCartney could no longer downplay Harrison's songwriting talent. Lennon called "Something" the best song on "Abbey Road." And, in 1969, McCartney said, "I think that until now, until this year, our songs have been better than George's. Now this year his songs are at least as good as ours." Also, decades later, McCartney had this to say: "It was easy to underestimate George because me and John... had always written most of the stuff... and George was a late bloomer as far as writing was concerned. He wasn't that interested in the beginning but then he started to get interested and, boy, did he bloom, you know? He wrote some of the greatest songs ever."

On September 8, 1969, the Beatles had an important meeting about their future plans. Ringo Starr couldn't attend, so the other Beatles made a tape recording of the meeting. That means a recording of exactly what was said has survived. In the meeting, due to the undeniable success of Harrison's songs on "Abbey Road," Harrison was treated as a songwriting equal to Lennon and McCartney, perhaps for the first time within the band. 

Lennon had been drifting away from the Beatles for some time, distracted by his relationship with Yoko Ono and hobbled by a heroin addiction. But in the meeting, he suggested the Beatles record a new album and a new single before the end of 1969, which would have been an ambitious schedule. He also suggested that he, McCartney, and Harrison get four songs each on every Beatles album moving forward, with Starr getting one or two if he wanted. (At this point, Starr had only written two songs on Beatles albums credited solely to him.)

Here's an entire article about that meeting. It's fascinating reading if you're a Beatles fan, with a lot of discussion about Harrison's songwriting and his role in the band: 

https://www.guitarplayer.com/guitarists/john-lennon-plan-to-keep-the-beatles-together

Unfortunately though, later that month, Lennon took part in a rock festival in Toronto, Canada, as a solo artist. That experience went so well for him that it gave him the confidence to want to leave the Beatles and have a solo career instead. About a month after that, he told the other Beatles he was leaving the band, although they kept that a secret for another six months due to wanting to present a united front in a legal dispute they were having with their record company.

However, even after Lennon's announcement he was leaving, there was still a chance the Beatles would continue, releasing more solo albums mixed with Beatles albums where Lennon, McCartney, and Harrison would get four albums each. Here's the audio of a radio interview Harrison did in March 1970 where he talked about the Beatles getting back together later in 1970 to record another album after all four of them did solo albums:

https://www.youtube.com/watch?v=F-fNA3Ee5eM 

Unfortunately, growing problems prevented that from happening, most especially due to financial conflicts between the band members as they fought over management and ended up suing each other. But that meant that by 1970, Harrison had a big backlog of excellent songs he'd been writing. Many of them came out on his classic and very successful solo album "All Things Must Pass" later in 1970. (Technically, it was a triple album, but it's basically a double album of songs because the third album just contains some long jam sessions.) A lot of those were written much earlier, but had been ignored by the other Beatles. For instance, "Isn't It a Pity" was written back in 1966, and had been rejected by the others for both the "Revolver" and "Sgt. Pepper's" albums!

Anyway, let me steer this more to discussing the songs on this volume. Across the six volumes in this series, I have included ALL the songs Harrison wrote for the Beatles, but most of them don't show up until later volumes, just because what I considered the best cover versions didn't happen until years later. Instead, this volume has many songs that Harrison was writing with and/or for other musical acts at the time, since usually the best (and often the only) versions were the first ones. So, for instance, "Sour Milk Sea" was a song he wrote for Jackie Lomax, though Lomax's 1968 single of it didn't make the charts. He co-wrote "Badge" with Eric Clapton, and it was released by the band Clapton was in at the time, Cream. 

"Hurdy Gurdy Man" is an interesting case. Donovan wrote it when he was vacationing in India with the Beatles and others in 1968. It was a big hit, making the Top Five in both the U.S. and Britain that year. But it turns out Harrison helped him out, writing a verse of the song by himself. But when the song came out as a single, the Harrison verse was missing. It was cut by the producer, due to the pressure of keeping a single under three minutes. Donovan later regretted this, saying it was the best verse in the song. He has often performed the Harrison verse in concert ever since. Apparently, Harrison was also very disappointed the verse wasn't included. I've used a live solo acoustic version from 1973 that includes that verse. But I put it in 1968 chronologically, since that's when Donovan's version of the song first came out (and when the Harrison verse should have come out as well).

"Octopus's Garden" is another tricky case. Technically, and legally, that song was written solely by Ringo Starr, and was included on the Beatles' "Abbey Road" album. But, in fact, it's pretty obvious to me that while the original idea was Starr's, Harrison played a key role finishing the song. At the time, Starr had barely done any songwriting, and he needed help. Harrison did Starr a favor by not asking for a songwriting credit. In both the "Let It Be" and "The Beatles: Get Back" films, one can actually see footage of Harrison helping him write the song while also teaching songwriting techniques.

Basically, the exact same thing happened with "It Don't Come Easy." The song was released as a solo single by Starr in 1971, and it made the Top Five in both the U.S. and Britain. Here's an except from the Wikipedia entry about the song: "Although Starr received sole writing credit for 'It Don't Come Easy,' Beatles historian Bruce Spizer writes that he had 'substantial, but uncredited, assistance' from his bandmate George Harrison. In author Robert Rodriguez's description, the official songwriting credit was long thought to be 'bogus' and, notwithstanding Starr's involvement, a sign of Harrison's 'great generosity' in wanting to help the drummer establish himself independently of the Beatles." Starr started writing it in 1968 by himself, but he had trouble finishing songs. I would guess Harrison wrote half or more of it.

A couple of songs here you might not recognize, even if you're a big fan of Harrison's music, because he never released his own versions of them: "Ain't That Cute" by Doris Troy, "Sing One for the Lord" by Billy Preston, and "I'm Your Spiritual Breadman" by Ashton, Gardner and Dyke. In each case, he was involved in the production and/or recording of albums by those artists, and got involved enough to write or co-write some songs. "Try Some, Buy Some" by Ronnie Spector was another case of that, but he eventually did release his own version of that one.

This album is 59 minutes long.

01 Don't Bother Me (Gregory Phillips)
02 If I Needed Someone (Hollies)
03 Sour Milk Sea (Jackie Lomax)
04 Hurdy Gurdy Man (Donovan)
05 Badge (Cream)
06 Octopus's Garden (Ringo Starr)
07 My Sweet Lord (Billy Preston)
08 Something (Shirley Bassey)
09 Ain't That Cute (Doris Troy)
10 Sing One for the Lord (Billy Preston)
11 Here Comes the Sun (Richie Havens)
12 Taxman (Junior Parker)
13 It Don't Come Easy (Ringo Starr)
14 I'm Your Spiritual Breadman (Ashton, Gardner & Dyke)
15 Try Some, Buy Some (Ronnie Spector)
16 Let It Down (Stone the Crows)
17 The Inner Light (Jimmy McGriff & Junior Parker)

https://pixeldrain.com/u/MtrvVGxu

alternate:

https://bestfile.io/en/IIi6h8Vu3ZIF8Yh/file

The cover image is from 1965.