“Bad Monkey” original series soundtrack, celebrating the music of Tom Petty.

The gift and curse of a genius like William Shakespeare’s is that the bard’s work is always being reimagined. So you get “A Midsummer Night’s Dream” set amid a roller derby, a robotic Lady Macbeth or Hamlet delivering his “To be or not to be” speech in a Blockbuster. Turns out, America’s great troubadour Tom Petty has a similar literary legacy.

Apple TV series “Bad Monkey,” based on the Carl Hiaasen book and which takes place primarily in Petty’s Florida, has tasked some of today’s biggest musicians with reinterpreting Petty’s catalog of hits for its soundtrack.

The result is just over 20 of Petty’s hits covered by the likes of Eddie Vedder, Sharon Van Etten, Larkin Poe, Weezer and others. While some artists like Fitz and the Tantrums play songs like “You Wreck Me” with an almost reverential attention to recreating the vibe of the original, others like The Meridian Brothers from Bogota, Colombia, add their own Latin flavor to “Yer So Bad.” Everything about The War on Drugs’ version of “You Wreck Me” sounds like Petty’s original, including the vocals. But Larkin Poe turns up the energy and the distortion on “Runnin’ Down a Dream” and Flipturn speeds up the tempo on “Don’t Do Me Like That.”

Petty’s music, like his denim and T-shirt fashion sense, tends toward no-frills straight-ahead rock and roll without a lot of studio trickery or instrumental ornamentation. Several of the tracks on the album take precisely the opposite approach. Chiiild’s “Don’t Fade on Me” swims in a gauzy, reverb-drenched soundscape. Sharon Van Etten’s piano-heavy version of “Won’t Back Down” shimmers like sunlight on water (and it’s SO MUCH better than Lara Trump’s version).

The most radically transfigured song on the album is Jamie Jackson’s haunting synth-heavy reimagining of “Mary Jane’s Last Dance,” which is kinda like when they take a song like “Smells Like Teen Spirit” and make it slow and creepy and put it in a movie trailer. Another contender for most altered is Stephen Marley’s “You Don’t Know How it Feels.” Bob Marley’s son fully reggae-ifies the song’s heavy backbeat, but the song’s chorus, “So let me get to the point, let’s roll another joint” seems right at home in the song’s new feel.

Kurt Vile’s “Sins of My Youth” feels slightly more ornate, as does Charlotte Lawrence’s “Wildflowers.” Weezer plays it pretty straight on “Here Comes My Girl” aside from supersizing the wall of guitars during the chorus. Nathaniel Rateliff’s “Don’t Come Around Here Anymore” substitutes guitar for sitar but retains the original’s otherworldliness by way of droning synths and echoey percussion.

For my money, the musical high-water mark is L.A. singer-songwriter GoldFord’s “Supernatural Radio,” which captures the original version’s simmering groove but ratchets up the tension with an incredible vocal performance.

While Shakespeare may have been rolling in his grave over a version of “Romeo and Juliet” with gun violence, Tom Petty is likely smiling over these covers. After all, these loving tributes demonstrate the incredible plasticity of Petty’s music, as well as the continuing relevance of his lyrics. The good news is that Petty has so many hits, there are lots more songs still to be covered.