Review: Susanna Hoffs Swims in ‘The Deep End’ to Unearth Creative Covers

Susanna Hoffs
The Deep End
(Baroque Folk)
3 1/2 out of 5 stars

There has never been a question of Susanna Hoffs’ uncanny ability to choose compelling cover songs.

Many of the Bangles’ greatest hits, six out of 14 tracks on their first post-breakup collection, were composed by others. And even though she wasn’t the only one in the band, her lead voice on Prince’s “Manic Monday” and Liam Sternberg’s “Walk Like an Egyptian” was arguably the key ingredient pushing them onto the higher reaches of the charts.

That trend continued and was amplified when she and Matthew Sweet knocked out three terrific albums of material written by others on their Under the Covers ’60s, ’70s, and ’80s collections. That’s not to imply she isn’t a quality tunesmith, although her last album of originals was over a decade ago.

Hoffs returns with another batch of other writers’ work, cherry-picking popular ringers like the Stones’ “Under My Thumb” (rejiggering the once misogynist lyrics slightly with the man now under her thumb), and The Zombies/Colin Blunstone keeper “Say You Don’t Mind” (penned by Denny Laine). But this time she unearths more contemporary fare, digging deep to discover gems from Joy Oladokun (a soulful “If You’ve Got a Problem”), Billie Eilish (“When the Party’s Over”), Dodie (her chirpy “Would You Be So Kind” is perfect for Hoffs’ trilling voice) and Phantom Planet (the gauzy “Time Moves On”). Fans of these artists are likely familiar with these selections, but they weren’t huge crossover hits, let alone for an older audience familiar with Hoffs from her ’80s Bangles days.

Better still, renowned producer Peter Asher and a crack band of old Section veterans headed by guitarists Danny Kortchmar and Waddy Wachtel, bassist Leland Sklar and drummer Russ Kunkel are present to assist. They are legendary for their ’70s era backing of James Taylor, Linda Ronstadt, Carole King, Jackson Browne and dozens of others. These guys, once known as The Mellow Mafia and more recently as members of The Immediate Family, have their own followers, all of whom will want to hear them backing Hoffs, even if many of her choices are unfamiliar.

Not surprisingly, based on the players, producer and Hoffs (whose label is appropriately named Baroque Folk), the vibe is generally laid back. That fits the mood of most of these tunes, although her version of the female empowered “You Don’t Own Me” (Leslie Gore, holla!) sung as a string enriched torchy ballad, doesn’t quite capture the lyrical vitriol.  Her by-the-numbers take on Squeeze’s classic “Black Coffee in Bed” falls on the snoozy side too.

But mostly the album succeeds with more hits than misses. Hoffs applies her quivering, high-pitched voice to Holly Humberstone’s emotionally riveting title track. She’s perky on Jason Schwartzman’s obscurity “West Coast” and nails a lovely, string quartet enhanced run through of Yaz’s ’80s smash “Only You,” complete with a decorative, let’s call it baroque, trumpet solo. Hoffs goes singer/songwriter with a bittersweet rendition of Brandy Clarks’ melancholy “Pawn Shop” which connects beautifully with the cracks in her voice.

Between the (generally) savvy choices, Asher’s immaculate touch, the (also generally) sympathetic arrangements and of course Hoffs’ distinctive voice, this is another impressive collection that (again generally), clicks as well, if not better than, the initial versions which most listeners will now want to search out.        

Photo by Shervin Lainez / Kid Logic Media