RockPopandRoll

(Some more of) My Favorite Rock and Roll Cover Songs - Vol. 2 / Ep. 67

So many great cover songs.  My list is really long.  That's why we have part two. Find Waylon Jennings, Todd Snider, Tom Petty, Pat Green, Cheap Trick, and a bunch more.  Pretty simple, really.  Dive into the magic on Rock Pop and Roll. 

John Fogerty: Somehow Underrated? / Ep. 66

John Fogerty's influence in rock music is somehow underrated - he's a quiet titan of rock and roll. The rocket blast that was CCR was short (around 1968-72), and he took long breaks from his music. He was burned by a contract held by a man, according to Fogerty, who stole royalties and made bad investments with their money, and held all the rights to those CCR songs - rights taken when the band broke up and Fogerty needed to get out of the contract. 
And because of him stepping away from music on two different occasions, John Fogerty might not get the credit deserved for creating what's Americana music.
His original label, Fantasy Records, which owned the group's distribution and publishing rights, was sold to Concord Records in 2004. That company recently sold Fogerty back his catalog of CCR songs, though Concord retains the CCR master recordings already in its catalogue 
That’s where the story twists to 2025 and why Fogerty has pulled a Taylor Swift move, to re-record, for an album called Legacy, his CCR music to have those recordings as his to do as he wishes. And that album sounds damn good. We listen to some of his solo work, including his woeful 80's output, and his (pretty good) new records since 1997. 
John rocks.  Join us for the ride.
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My Favorite Rock and Roll Covers / Part 1 / Ep. 65

email: rockpoprollpodcast@gmail.com
website: www.rockpopandroll.com
(Some of) My Favorite Covers:
From the earliest days of rock and roll, cover songs have been a vital part of the music’s forward movement, drawing on its past.
Long before we knew about digital discovery, one of the fastest ways for new artists to connect with audiences was to reimagine an existing hit and put it on an album or 45—infusing it with their own style, energy, and attitude. A Chuck Berry riff might get filtered through the Beatles’ harmonies, or an old blues song could get a new spin in the hands of the Rolling Stones. Musicians have always looked back to reinterpret the songs that shaped them, essentially creating a conversation across decades of music.
Great rock and roll covers often redefine the song. Jimi Hendrix’s “All Along the Watchtower” transformed Bob Dylan’s stark folk ballad into a guitar-rock, psychedelic stomper. Aretha Franklin took Otis Redding’s “Respect” and made it a soul-rock anthem of empowerment. Nirvana’s raw take on David Bowie’s "The Man Who Sold the World" introduced the track to an entirely new audience. In each case, the cover didn’t just honor the original—it expanded its reach.
The best covers don’t just repeat the past—they rewrite it, proving that a great song can live many lives.
10 Iconic Rock and Roll Covers and How They Transformed the Original
Jimi Hendrix – All Along the Watchtower (1968)Originally by Bob Dylan, Hendrix electrified the song with guitars and redefined it as a rock classic. Dylan himself later performed it in Hendrix’s style.
The Beatles – Twist and Shout (1963)Originally recorded by The Top Notes and popularized by The Isley Brothers, the Beatles turned it into their own via John Lennon’s famously shredded vocal take.
Aretha Franklin – Respect (1967)Originally by Otis Redding, Aretha flipped the perspective, injecting it with feminist firepower, gospel-inspired vocals, and made it an anthem for empowerment and equality.
The Rolling Stones – Little Red Rooster (1964)Originally by Willie Dixon (recorded by Howlin’ Wolf), the Stones slowed it down, leaning into the deep Chicago blues feel, introducing American blues to a younger audience.
Nirvana – The Man Who Sold the World (1993)Originally by David Bowie, Nirvana’s MTV Unplugged version stripped it to a haunting acoustic vibe that resonated with ’90s alternative fans - and (re)introduced Bowie to them,
Joe Cocker – With a Little Help from My Friends (1968)Originally by The Beatles, Cocker turned the Sgt. Pepper and Ringo song into a soulful, slow-burning rocker.  Killer organ and gospel vocals.
Janis Joplin – Piece of My Heart (1968)Originally by Erma Franklin, Joplin’s version with Big Brother and the Holding Company was a raw and bluesy.
The Clash – I Fought the Law (1979)Written in 1958 and first released in 1960 by The Crickets (after Buddy Holly left) and popularized by The Bobby Fuller Four, The Clash injected punk. It was their first single in the United States.
Creedence Clearwater Revival – I Heard It Through the Grapevine (1970)Originally by Gladys Knight & The Pips and made famous by Marvin Gaye, CCR turned the Motown hit into an 11-minute swamp-rock jam.
Jeff Buckley – Hallelujah (1994)Originally by Leonard Cohen, Buckley’s haunting performance influenced artists in the decades that followed.
Further Listening: 4 Lesser-Known but Brilliant Beatles Covers
The Black Keys – She Said, She Said (2002)A gritty, stripped-down garage-rock take on The Beatles’ psychedelic classic from Revolver.
Siouxsie and the Banshees – Dear Prudence (1983)The Beatles’ ballad morphs in goth-tinged new wave..
Gov’t Mule – She Said, She Said / Tomorrow Never Knows (1998)A jam-band fusion of two Beatles tracks
Fiona Apple – Across the Universe (1998)Slowed to a languid pace, Apple leans into the cosmic melancholy

INXS Rewind: Rock or Dance? And Why Not Both? / Ep. 64

INXS recorded their biggest album, Kick, in Sydney and Paris, produced by Chris Thomas. Atlantic Records didn't like the record offered them $1 million to go back to Australia and record another album. The band said no. Good call. Kick was released in October 1987 and peaked at No. 1 in Australia, No. 3 on the US Billboard 20, and had four top 10 singles
But they had more than Kick. INXS’ music filled a niche, on the radio and in your head 
They were a band that was electrifying live, had a charismatic frontman, and a mix of rock, pop, and funk.  And they were knocked around more than a little because they weren't simply a straight-ahead rock and roll band.
Seems unfair to be judged based on what others sounded like, because INXS was unique: A rock band that had grooves and thump and a full dance floor.  And Hutchence is one of the great frontmen of the rock era. I wanted to travel their album path and hear the before and after around Kick. I found some gems and underappreciated rockers.  I also explore why they were not always loved by critics.
Let's go. And let's rock, because INXS does. Turn it up

The Cuts of Billy Squier / Ep. 63

Billy Squier spent the ’70s in New York City, playing with the rock band Piper. They toured with Kiss. Squier released his first solo album in 1980, The Tale of the Tape.  “The Big Beat” got some radio airplay.
All of that changed with 1981’s Don’t Say No.
I count eight songs that were played, either on pop radio or, to a greater frequency and depth, on rock radio of the 80s.
Huge album.  Billy Squier had made it.  
One ill-conceived video stopped  - mostly - his career.  
But Squier hung around.  Made more music before eventually essentially retiring from the music business.
His legacy? Complicated.  We discuss.
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First Listen: New Doobie Brothers Album / Ep. 62

The Doobie Brothers have been a band for more than 50 years. Their first album was released in 1972. It's now 2025, and they have a new record, called Walk This Road.  And we're going to take our first listen to the album here on RockPopandRoll.  How did they do?  Would I listen again?  Does it rock?  Does it roll?  Do we hear the echoes of "China Grove" or "BlackWater"?  Dovwe want to?
Lots of questions that we answer together.  Let's go. 
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Not Just The Greatest Hits: Steve Miller Ep. 61

Steve Miller music has a depth greater than his career-defiining Greatest Hits 1974-1978 album.  That's what I think.  In 1966, he formed the Steve Miller Blues Band. They backed Chuck Berry on his Live at Fillmore Auditorium album, released that year. In 1968, Miller released the psychedelic blues album, Children of the Future.
The Joker, from 1973, found him getting radio airplay, and the title song reached number one on the Billboard Hot 100 chart. Miller followed up with Fly Like an Eagle in 1976 and Book of Dreams in 1977 (The songs were recorded at the same time) with a ton of hit singles, including "Fly Like an Eagle", "Rock'n Me", "Take the Money and Run", "Jet Airliner", and "Jungle Love". 
In 1978, Greatest Hits 1974–78 was released, featuring the big hits from those two albums. It has sold 15 million copies as of 2025. 
Huge.
What was Steve Miller before those albums?  And after?  Classic rock radio plays nearly everything off the Greatest Hits record, but most play little else, and that's not good stewardship of Miller's catalog. Let's see what else the Gangster of Love has recorded, released, and even gotten some radio play with that we love. 

First Listen: New Album from John Cafferty / Ep. 60

As the frontman of John Cafferty & the Beaver Brown Band, Cafferty rose to prominence with the soundtrack to the 1983 failed studio movie turned HBO cult classic "Eddie and the Cruisers". 
“On the Dark Side” became a hit, topping the rock charts.  It went top ten on the Hot 100. His music, eerily close to the sound of Bruce Springsteen, helped define a genre - heartland rock with an East Coast rock and roll, let's-cruise-the-beach-roads, sweaty, smoky rock bar vibe.  
While not a massive star, Cafferty maintained a long touring career, especially in the Northeastern U.S., where he and his band have a devoted fan base.
He has released the band's first new album since 1988. What did he bring?  We listen together. I hadn't heard the album until I recorded this podcast. Join me on the ride. 
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Friday Bonus: Rusty Bladen and Neil Young / Ep. 59

I've had a bit of a Neil Young obsession lately, \ intrigued by his long career, and how he continues to release new music, regardless of who might hear it. The beauty and genius of Neil Young. I also love to dig into his catalog and find songs I've missed, for whatever reason.  He has a lot of music.  There are some gems in the NY library. Indiana musician Rusty Bladen put together a band and found some of those gems as he debuts a "Tribute to Neil Young" the weekend this podcast drops.  
Rusty has nine albums with a new EP on the way later in 2025.  Before that happens, he's in love with what he and the band are doing for tribute, and how he puts his spin on paying honor to the great ones.
Let's talk some Neil. It won't be the last time.
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Thanks for listening.  We appreciate you.  Tell and friend about us if you get a chance. Stay safe.
R
 
 

The Rock of Marty Stuart / Ep. 58

Marty Stuart rocked the country radio in the early 90s and albums that blended Steve Earle-esque country rock with badass guitar playing and a nod to traditional country.
In this episode, we take a listen to the trajectory of Marty's music. Traditional country to modern country to where his music lives now: as rock music.  
Did that really happen?
Stuart has more than 20 studio albums, has charted more than 30 times on the Billboard Hot Country Songs charts, won five Grammy Awards, and is an engaged member of the Grand Ole Opry and Country Music Hall of Fame. 
It is a fascinating truckload of music.  Let's go.
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NOTES:
The Fabulous Superlatives, Marty Stuart's band since 2002, includes Stuart on guitar and mandolin, Kenny Vaughan on guitar, and Harry Stinson on drums, and from 2002 until 2008, Brian Glenn on bass. From 2008 until 2015, Paul Martin was on bass. In 2015, Chris Scruggs replaced Paul Martin on bass, and also played steel guitar. Every member sings.
Stuart's guitars also include "Clarence", a two-tone Fender Telecaster, once owned by Clarence White. This instrument is the original B-Bender guitar, built and designed by White and Gene Parsons (Byrds) in 1967, to allow the guitarist to manually raise the guitar's 'B' string one whole step to play in a style similar to a pedal steel guitar.
Stuart bought the guitar in 1980 from White's widow.  
Mavis Staples of the Staple Singers gave one of her father "Pops" Staples' guitars to Marty Stuart after Pop's death. "My father was Marty's godfather. My sisters and I took him in as our brother. He's the only one that I've heard who -- when he's playing guitar, sounds like Pop. He can play just like him."