Hearing “Penny Lane” in French is interesting. The arrangement with symphonic instrumentation and fairly standard Beatles-like sounds works well enough. The recording isn’t perfect, though – feeling a little muddy at times. Still, this is pretty cool.

I really like this rocking rendition of the tune. Richie Havens’ voice works well, bringing his unmistakable sound to it. The arrangement isn’t a big surprise, but it is all very effective. I particularly the like the jazzy guitar fills that show up.

Now, this is intriguing. Tuned percussion bring something special to this. The instrumental track is a jazz exploration with cool piano along with that vibes like sound.

This whole thing is bizarre. We get a real 1960s pop styled arrangement. Shatner’s spoken over dramatic performance really sends into the vein of surreal absurdity. I wouldn’t say I like this. I will say it has some odd charms. He has done some great music in recent decades, but this era of his stuff was pretty bad.

Not a huge change from the Beatles version, the vocals on this almost sound like The Monkees. My main complain on this track is that those voices are definitely too far up in the mix. They are just too out-front. Plus the backing vocals are not very good.

Jazz, psychedelia and more merge on this tune. It’s an intriguing twist on the original song. The instrumental parts make me think of The Doors to a good degree. There are some weird sound-effects later, and the whole cut shifts out to some strangeness late. The vocals on this are a bit too 60s pop for my tastes, but as a whole it works well.

Now, this is very cool. The vocal arrangement is great. The whole tune really captures the magic of the original while bringing more symphonic angles to bear.

I really dig the cool, jazz meets psychedelia vibe of this instrumental version of the classic tune. The sitar really gets a lot of opportunity to shine.

I have always liked Claudine Longet. I’m not crazy about the sort of child-like vibe on the delivery here, though. The musical arrangement, with lots of strings works well.

You can’t miss Fats Domino when you hear the vocals. The musical arrangement rocks pretty well and is much closer to the original. I’m not completely sold on the backing vocals.

This instrumental take on the track definitely has a lot of jazz in the mix. It’s a nice twist for the familiar melodies. Auger’s organ work is up-front a lot of the time, but everyone playing on this really does a great job.

There is a real 1960s pop vibe to this cut – mostly from the vocals. The musical arrangement has some meaty textures with rock and jazz merging on it.

This instrumental arrangement lens on the pop side of symphonic. It’s not bad, but a little precious for my tastes.

Bouncy and fun, this has a lot of rag-time like sound built into it. I wouldn’t call this “odd,” but I would call it “unusual.” It also works so well. This is one of my favorites of the set, really. I love how it turns the tune on its head, while still respecting it. It also love the flavor of the whole thing.

More of a psychedelic rock arrangement is on the menu here. When the artist is “Lord Sitar,” I guess you should expect that instrument to show up. It certainly does. This instrumental jam is classy stuff.

This has a real jazzy contemporary pop sound to it. Lena Horne’s vocals are great. I actually love some of the soaring jazz vibes on this a lot, too. It has some things that don’t work that well for me, but a lot of it really gels nicely.

I really dig the trippy mellow jazz vibe of this. It has a real psychedelic magic to its slow moving groove. It turns toward almost spooky territory near the end. It’s a cool instrumental exploration.

An understated jazz arrangement gets things going here. This instrumental jam grows out from there. It has a lot of jazz built into it, and is another particularly strong point in the set.

More in line with the original material, this still has some changes. It gets into more garage band meets psychedelia zones.

More of a contemporary pop arrangement is on the menu here. This isn’t bad, but it’s also not great. It’s a little too vanilla for my tastes. It does have some decent jazzy things at play at times, though.

A live recording, this is a jazz arrangement on the Beatles tune. It’s an instrumental that features some smoking hot organ work.

I dig this sitar heavy performance a lot. It’s classy and a bit folk-oriented. It’s a short one at just over a minute and a half.

I’m not all that crazy about this one. It’s sort of an R&B meets rock and roll rendition. It just doesn’t feel all that interesting.

I have always liked Wilson Pickett. This soulful rendition of the Beatles classic works really well. It’s sort of exactly what you’d expect.

Fuzz-laden, this is a little too much of a noise thing. I don’t really care for this one.

This is a fun rocking groove. It’s more R&B based than the Beatles version, but it is also very classy. The horns lend something special, too.

I kind of like this version of the tune. It’s a bit stripped down, but it also captures a lot of that Beatles sound. It works well, too.

This instrumental take works so well. It has a great psychedelic rock groove with hints of psychedelia. The piano solo section is classy as is the short excursion into pure space that ends it.

A bouncy little tune, this is a lot of fun. It reminds me a little of the “No No Song” from Ringo Starr. It’s a good time.

This arrangement feels more stripped back than the Beatles one, but it’s definitely not bare bones. I really think this works well. It’s almost like that little extra amount of openness lets it breathe. The guitar soloing here is not as impactful as on the original, though.

Now, this track just oozes cool. It has a lot of jazz and pure class built into it. It’s an instrumental number that really works well.

This bouncy tune is cool. The Beatles vibes are definitely present. So are some folk rock things and more.

I really love the more stripped back vibe of the first part of this track. It’s slow and pretty psychedelic. It does rise up nicely after the first movement, though. It turns funky and soulful when it does. We get a reprise of the mellower part at the end before a burst of power ends it. This is just such a killer tune. It’s another standout here.

Symphonic music is the order of business here. This is basically chamber music. It gets more powered up further down the road, though. It’s still built mostly on symphonic instrumentation, but it has more bombast.

This bouncy groove is a lot of fun. It’s more of a soulful, roots arrangement than the original recording. It has healthy helpings of folk rock and jazz in the mix.

A folk country tune, I don’t really care for this one at all. The lead vocal is very low register.

I dig the bluesy rocking sound on this thing. It’s a classy tune that works really well.

Bouncy and playful in nature, there is a lot of pop rock along with folk vibes on this number.

The piano on this jazz arrangement is so cool. The whole thing has a great groove to it. The string section is a little over the top for my tastes, but not enough to really detract from this instrumental interpretation of the piece.

This instrumental romp is a lot of fun. It has a bit of a surf-guitar vibe while horns bring some hints of jazz.

Folk music, prog and more merge on this number. It has a lot of charm and style and also some medieval style elements. It’s a great change, and a classy piece of music.

This romp has some great R&B vibes and cool grooves. It’s one of the more effective things here.

A classy instrumental number, this has quite a bit of jazz and lounge music in the mix. It also works well.

Driving hard rocking sound is on the menu here. This has a psychedelic vibe with a lot of garage rock sound, too. It might be sacrilege, but I think I like this better than the original. It has a little bit of a Steppenwolf vibe in some ways. This is definitely a highlight of the set.

This has an old time music groove to it. It’s an oddity. I don’t really care for it that much, but it is entertaining and bouncy. The jazzy instrumental break is a lot of fun, though.

Jazz and rock merge on this killer tune. This has a definite prog rock vibe to it. I’d consider it another highlight of the set.

Closer to the kind of sound on the original, this is a classy pop rocker. It has a lot of style and charm.

Piano and old-fashioned vocals are on the menu here. I’m not a fan of this track at all. It feels like dancehall music with operatic flair.

There is smoking hot R&B sound built into this thing. It’s a great tune.

I dig the rocking groove on this. The tune has a lot of style and charm. This isn’t all that far removed from Beatles territory, but it does turn more toward jam band stuff late and has some hints of R&B in the mix.

Don’t expect the mega-hit style of Journey here. The band when it formed consisted of former members of Santana and The Steve Miller Band. This has vibes of both of those groups. It’s a strong rocker that features a killer guitar soloing and some mildly psychedelic things. I like it a lot. In fact, it’s one of the highlights of the set. There is back-tracked reprise.

Organ is prominent on this bouncy little instrumental. It has the familiar melodies, but delivered in more of a jazz meets contemporary pop arrangement.

Another instrumental piece, this is more of a classical pop styled tune. It’s strings heavy, but you probably already figured that out, right? It’s fun, but not what I’d consider a highlight.

This is unmistakable as Ike and Tina Turner. It works really well capturing a lot of the original tune but bringing some trademark R&B to it at the same time.

Retro music is on the menu here. The vocals are like old barbershop quartet stuff. The music is in a similar vein. This is odd, but somehow still rather effective in a weird way.

Bouncy and rather odd, this works pretty well. There is an inherent absurd nature to the lyrics of the song. I think this manages to capture that with some silliness. It makes good use of male and female vocals.

On the one hand, this rocking arrangement is pretty close to the original. The thing is, the lyrics here are in German, lending a completely different flavor to it. I really love the guitar presence on this thing.

A bouncy contemporary pop arrangement is on display here. This is bouncy and fun. This seems to fit the track in a lot of ways. The jazzy break is a nice touch.

The first part of this two-fer is done as a ballad. With piano accompaniment at first, strings take over after a while. Both elements work together later. Once it shifts into the second part, we get guitar oriented jazz leaning sounds like you would expect from Benson. Horns lend something special to the track as it drives forward. The extended instrumental section later includes both killer guitar soloing and some smoking horn work beyond. Approaching ten-minutes long, this an epic piece. It also includes a slower, mellower guitar solo jam after the horn soloing is done. A quick blast of jazz bombast ends it.

This is bouncy, more contemporary pop oriented stuff. I’m not a big fan of this. It just seems too lightweight. It’s not bad. It’s just too mainstream vanilla.

Acoustic guitar and vocals are the elements of this track. I like this rendition of the track quite a bit. It just has a certain quiet dignity to it. It’s understated brilliance.

Exactly the type of guitar oriented mellow jazz you expect from Benson, this is a mostly instrumental version. It includes some classical strings that are a little over the top for my tastes, but you just can’t argue with Benson’s guitar playing. We get vocals as it approaches the end of the track.

I really dig the classical vibe of this instrumental tune. The track has a lot of charm and style and a good dynamic range. It’s a big change from the original, but it’s also magical. 

I love the acoustic guitar work on this thing. This has a classy groove. It’s a big change, feeling like trademark Jose Feliciano. I’m not completely sold on the strings here, but the tune works extremely well otherwise.

R&B, rock and contemporary pop music all seem to merge on this. It’s a classy cut. It walks the fence between similar to the original and largely different. It has a lot of style and charm.

Fast paced acoustic guitar jamming gets underway here. The vocals are run through some kind of processing making them sound a little distant and weird. The tune almost feels like a cross between jazz, folk and bluegrass music. It has some tasty jamming, and it’s fun.

Pretty basic late 60s early 70s rock is on the menu here. This is a fun tune.

Jazz and contemporary pop music seem to merge on this instrumental number. It’s another effective variant on the main track.

I really dig this soulful cover of the tune. It really has a lot of style and charm. It’s a big change from the original, but it works so well.

This is a soulful, bluesy take on the track. It has some killer guitar work, but everything about this fierce jam works so well. This is another highlight of the set.

Built on a string heavy arrangement, the vocal performance is the main feature of this track. The cut is powerful. I like this rendition a lot.

Acoustic guitar jamming gets things going here. This doesn’t feel all that different from the original in some ways. That said the roots music things are prominent here. I dig the slide guitar on it.

This is a full on R&B styled version of the track. It’s got some great energy and vibes.