Review: Various Artists ‘Bad Monkey Soundtrack’

Review: Various Artists ‘Bad Monkey Soundtrack’

By Hal Horowitz

Tom Petty’s influence across many genres was so prevalent that his music has generated dozens of cover versions. There have been a handful of albums solely featuring Petty’s songs done by others. Recently we saw ‘Petty Country,’ a collection of high-profile country artists such as Dolly Parton and Chris Stapleton paying tribute to a smattering of hits and rarities from Petty’s rich catalog, many enhanced with Americana twang.

The newest is this soundtrack from the TV series Bad Monkey. The show is situated in Petty’s home state of Florida, which seems to be enough of a reason to use his music as the background for some scenes. This is nothing new for executive producer Bill Lawrence who named every episode of ‘Cougar Town,’ a series he also produced, with a Petty song.

This features 21 original, previously unreleased, versions of Petty songs, all officially sanctioned by the Petty estate, so you know it has a seal of approval.

As usual for these collections, it’s a mixed bag. Headlining names like Jason Isbell, Nathaniel Rateliff, Weezer, Larkin Poe and others share space with more obscure musicians such as Chiiild, GoldFord, Briston Mahoney and flipturn.

Trying to interpret a Petty composition and bring a unique flavor without losing the original’s magic is a tough balancing act. Play it too close to Petty’s recorded take and it’s unlikely to make much of an impression (why not listen to the original?). Alternatively, running a well-known classic through an arrangement that loses the archetype’s spark, is just as problematic.

The best inclusions find that sweet spot.

Eddie Vedder applies his booming, emotional baritone to find the core of the bittersweet ballad “Room at the Top of the World” with effortless grace. Larkin Poe rocks out through “Runnin’ Down a Dream” with propulsive, even explosive energy that doesn’t deviate substantially from Petty’s definitive performance, but powers it with extra adrenaline. “You’re Gonna Get It” allows Jason Isbell to lighten the anger inherent in the lyrics while maintaining its spirit.

And Marcus King brings touching, soul-infused sentiment to a largely piano and pedal steel based “The Waiting,” excellently rejiggering it for his gruff, soaring voice. Nathaniel Rateliff injects fuse-burning percussion to “Don’t Come Around Here No More” to bring a more soulful vibe to the psychedelic angle Petty took.

Stephen Marley strips “You Don’t Know How It Feels” down to a reggae beat for an imaginative, at times ghostly, reading maintaining the song’s flowing melody while approaching it from a unique groove you sense Petty would approve of.

Thankfully some of the deeper tracks in the Floridian’s treasure trove also get exposure. That includes “Sins of My Youth” (initially on ‘Hypnotic Eye’) which Kurt Vile delivers with restrained beauty. “Don’t Fade on Me,” tucked away on ‘Wildflowers,’ is another ethereal entry, this one from the obscure Chiiild. A band named GoldFord excavates “Supernatural Radio” from the ‘She’s the One’ soundtrack, stretching it out to five minutes while maintaining its tension with subtle Crazy Horse grit.

Other offerings are less impressive either because they stick too closely to, or diverge radically from, Petty’s recordings. Regardless, there is enough of substance, imagination and sheer quality for the millions of Tom Petty fans to appreciate.

They may even discover a lost gem or two.

“You’re Gonna Get It” Jason Isbell and the 400 Unit