Who Did It Best? 4 Versions of Eddie Floyd and Steve Cropper’s “Knock on Wood”

If you grew up hearing one of the two most popular versions of “Knock on Wood,” discovering the other of those versions was a disorienting experience. Those who were around in 1966 to hear Eddie Floyd’s original may have barely recognized the song when Amii Stewart topped the Billboard Hot 100 with a remake in 1979. Similarly, those who heard Stewart’s disco hit first were likely mystified by Floyd’s more subdued R&B version.

These two interpretations of the song co-written by Floyd and legendary Stax Records guitarist Steve Cropper couldn’t be much different. Both were big hits in their day. Floyd took “Knock on Wood” to the top of Billboard’s Hot Rhythm & Blues Singles chart and to No. 28 on the Hot 100. In addition to reaching No. 1 on the Hot 100, Stewart’s version placed in the Top 10 on the Hot Disco and Hot Soul Singles charts. Both versions have remained popular in recent years, with each exceeding 50 million streams on Spotify.

Two other renditions of “Knock on Wood” had some chart success, though neither is as well-remembered today. Otis Redding and Carla Thomas turned the tune into a duet, and David Bowie released a version of “Knock on Wood” as a single (though not in the U.S.) from his first live album, David Live. These versions weren’t as commercially successful as Floyd’s or Stewart’s, but do they stack up against them favorably in terms of quality? And while Stewart outdid Floyd on the Hot 100, does her version stand taller five decades after the disco era? Let’s compare and contrast these four takes on “Knock on Wood,” ranking them from least good to best.

4. David Bowie

Bowie prefaces his rendition of “Knock on Wood” by saying, “We’re playing some extras tonight. Some silly ones.” It’s not clear what would make “Knock on Wood” a “silly one,” but the performance from Bowie and his band is fun and energetic. It begins with some heavy guitar chords from Earl Slick, and the song’s rock edge is mostly what differentiates it from Floyd’s and Redding and Thomas’ earlier versions. Critics did not respond kindly to David Live, and specifically to Bowie’s overwrought vocal performance, and that critique is a fair one for “Knock on Wood.” It’s not a bad listen overall, but Bowie’s take on the song definitely pales in comparison to the others in this foursome.

3. Otis Redding and Carla Thomas

This cover was released on Redding and Thomas’ album King & Queen in 1967, just six months after Floyd put out his version as a single. It, too, was released by Stax Records and bears the hallmarks of Memphis soul. In fact, this version features several key Stax musicians—namely, Isaac Hayes and several members of Booker T. and the M.G.’s (including Cropper), just like Floyd’s original did. Still, Redding and Thomas’ more playful approach to the vocals makes their version distinct. So does the tempo, which is about 20 beats per minute faster. Its chart performance wasn’t that much worse than the original, as it went to No. 30 on the Hot 100 and No. 8 on Billboard’s Hot Rhythm & Blues Singles chart. It feels like nitpicking to rank it below Floyd’s rendition, but someone has to win. And Floyd’s version—which we’re getting to—feels more polished in a good way.

2. Amii Stewart

If you like the restraint of Floyd’s version, then chances are good that you’ll disagree strongly with this ranking. With its layers of synths, electronic drums, and thunder and lightning sound effects, restraint is not a word that applies to Stewart’s chart-topping version. The end result, though, is an extremely danceable song. Stewart’s soaring vocal performance brings “Knock on Wood” to life in a way that even Floyd’s version doesn’t do. She sells the song and sells it hard. To be sure, the synth tones sound dated and tinny, but if you’re willing to put yourself in a late ‘70s state of mind, listening to Stewart’s version is a sublime, transportive experience.

1. Eddie Floyd

The beauty of Floyd’s “Knock on Wood” is its spaciousness. It takes its time and every part has acres of room to breathe. As the beat chugs along, the guitar, bass and vocal lines all have gaps that make it easy for the listener to take everything in while enjoying the steady groove. Even in the chorus, the restrained playing makes everything feel bigger. Whereas Redding sings over the “knock-knock-knock” of the snare, Floyd sits back and lets the drums do the talking. As is often the case with songs that are frequently covered, the perfection of the original “Knock on Wood” was inspiring to other musicians, who wanted to try their hand at it.

Those who love disco may want to push Stewart’s version ahead of Floyd’s, while those who despise the genre would probably rank her version a distant last. That’s certainly fair, but for listeners who are eager to disparage disco, just take a look at Floyd’s discography. He continued to release albums into the 2010s, but his last single as of this writing was “Disco Summer,” which hit the shelves in 1978.

(Photo by David Redfern/Redferns)