Collected from various articles online:

Fortunate Son: A rip-snorting take, the 1969 classic shakes off its bitterness with a fiery arrangement. It has a collar-grab punch and guitar slap that backs up its middle-finger-to-entitlement themes but reeks of garage-generated rock and roll joy.

Almost Saturday Night: Newly fueled by Urban's banjo and guitar. "It was a really dark time for me," he said, "and yet I wrote this really cheerful song right in the middle of it."

Hot Rod Heart: The new version features Paisley engaging in a climatic battle with Fogerty. "I wanna have a shootout, a guitar duel on Main Street." Fogerty humbly complied, and the two trade licks for several minutes. The resulting "Hot Rod Heart" undeniably improves on the original, which always threatened to be tougher than it was.

Who'll Stop the Rain: A heartfelt take, it features perhaps Seger's best vocal of the past 20 years, accompanied by a "Night Moves"-like acoustic guitar and flecked with piano licks. Seger put in a small lyric change, switching "Good men through the ages" to "Goodness through the ages," because he didn't want it to be sexist. The song feels like a mash-up of "Rain," "Night Moves," and Seger's cover of Rodney Crowell's "Shame on the Moon."

Long As I Can See the Light: Jim James delivers an inspired vocal on the track that sounds like CCR crossed with The Band.

Someday Never Comes: The most touching song on the album. Dawes' Taylor Goldsmith takes a tender approach to the vocals, with Fogerty as the older wiser voice. Then Taylor and his brother Griffin sing the last verse. A beautiful new rendition, the song is a folk-rock-flavored collaboration.

Lodi: One of the albums stand-out tracks, the boys were thinking in the vein of indie folk band Fleet Foxes, but Fogerty had something else in mind: blues-rock. They ended meeting in the middle.

Have You Ever Seen the Rain: Booming guest vocals by country great Alan Jackson. The sonorous country vocals of the great Jackson are unmistakable on this new reading.

Bad Moon Rising: A jubilant, fiddle-fueled outing with chicken-scratch guitar, muted harmonica, violin and keyboard fills, a clip-clop break that feed into a country breakdown -- all leading up to a complete spin on the final verse.

Train of Fools: An ominous blues-rock number Fogerty says he pushed himself to write over the course of one weekend as he was facing a recording session deadline.

Mystic Highway: Begins as a Pure Prairie League-meets-The Doobie Brothers mid-tempo country rocker that veers into an unexpected psychedelic interlude before going back to the country. It comes to life now with Fogerty's trademark swamp guitar sound and a swinging country rock beat.

Wrote a Song For Everyone: Lambert's smoky vocal is stirring, but the original's melancholy is shattered in a most unexpected way. Lambert suggested the left turn: "Face-melting guitar solo!" The resulting solo is wild -- sometimes recalling his knob-twisting Rage, sometimes not. The song is a gem, but that solo is likely to spook country radio.

Proud Mary: A complete reinvention featuring Jennifer Hudson on vocals. She planned to replicate Tina Turner's version, and she starts the tune that way, but then it kicks into a New Orleans-style, Zydeco-leaning re-imaging of the tune with horns and accordion. It flows like the Mississippi itself connecting rock, R&B, Cajun and zydeco styles into the album's mighty finale.