The greatest cover songs achieve more than mere imitation; they redefine the essence of the original, sometimes so profoundly that they eclipse the initial recording. In curating our definitive list of the best cover songs, we’ve focused not on songs specifically crafted for artists (like much of Frank Sinatra’s repertoire), but rather on tracks that already existed as hits or notable recordings by other artists. Therefore, while songs like Mott The Hoople’s “All the Young Dudes” or Linda Ronstadt And The Stone Poneys’ “Different Drum” are exceptional, they are not included here because they were the debut recordings of songs penned by David Bowie and Michael Nesmith, respectively. Our criteria for the best cover songs emphasize a transformative reimagining, where artists transcend a faithful performance to genuinely make the song their own.
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60: Bruce Springsteen And The E Street Band: Trapped (Jimmy Cliff)
Bruce Springsteen’s extensive catalog of live covers could fill a box set, yet his rendition of Jimmy Cliff’s “Trapped” remains particularly iconic. The Boss transformed the song into an arena-ready anthem while preserving its inherent desperation. It stands out as the undeniable musical highlight from the star-studded We Are The World benefit album.
59: The White Stripes: Jolene (Dolly Parton)
Dolly Parton’s “Jolene” has seen countless interpretations, but few have garnered praise directly from Parton herself. She lauded Jack White’s version in a 2016 interview with The Guardian. The White Stripes deliver a distinctly rock-infused take on the country classic. For those seeking diverse renditions, consider exploring versions by Cake, Ray LaMontagne, Strawberry Switchblade, Olivia Newton-John, Me First and the Gimme Gimmes, Lingua Ignota, and many more.
58: Elvis Presley: Tomorrow Is A Long Time (Bob Dylan)
In a surprising turn, Elvis Presley delivered two gems on the otherwise unremarkable soundtrack for his 1966 film Spinout. First, a spirited rendition of The Coasters’ “Down In The Alley,” followed by this tender cover of Bob Dylan’s “Tomorrow Is A Long Time”. This Dylan cover raises a poignant question: What if post-army Elvis had consistently chosen songs that truly showcased his talent? For these brief five minutes, we glimpsed that potential.
57: Bonnie Raitt: Angel from Montgomery (John Prine)
“Angel from Montgomery” holds a special place in Bonnie Raitt’s repertoire. As Raitt herself admitted, “I think ‘Angel from Montgomery’ probably has meant more to my fans and my body of work than any other song.” Many artists, including Raitt, found greater commercial success covering John Prine’s songs than Prine did himself. However, this in no way diminishes Prine’s original recording of “Angel from Montgomery,” a composition widely considered among his finest.
56: Quiet Riot: Cum on Feel the Noize (Slade)
Slade were titans of glam rock in their native UK, yet transatlantic success proved elusive. It wasn’t until the mid-80s that they broke through in America, thanks to Quiet Riot’s faithful cover of “Cum on Feel the Noize”. Quiet Riot’s version, complete with the unconventional spelling, became an anthem of the burgeoning hair metal scene. A year later, they replicated this success with another Slade cover, “Mama Weer All Crazee Now.”
55: Aerosmith: Big Ten Inch Record (Bull Moose Jackson)
“Big Ten Inch Record,” released by Bull Moose Jackson in 1952, wasn’t a hit upon its initial release. Radio stations were hesitant to air its suggestive lyrics. However, its bluesy swing and risqué humor made it a perfect fit for Aerosmith. They included it on their seminal 1975 album Toys in the Attic. Interestingly, it was the energetic live performances of “Big Ten Inch Record” by a Pennsylvania bar band, the Flashcats, that inspired Jackson to return to music in the 80s after a two-decade hiatus.
Aerosmith – Big Ten Inch Record (Audio)
54: Muse: Feeling Good (Anthony Newley and Leslie Bricusse)
While Nina Simone’s rendition of “Feeling Good” is arguably the most famous, the song originated from Anthony Newley and Leslie Bricusse’s musical, predating Simone’s iconic version on her album I Put a Spell On You by a year. Muse, known for their keen ear for melody, took the song in 2001 on Origin of Symmetry and crafted a powerful, distinctive version that resonated with a new generation.
53: Lenny Kravitz: American Woman (The Guess Who)
“American Woman,” a major hit for the Canadian band The Guess Who, seemed to carry a warning against relationships with American women. However, songwriter Burton Cummings clarified in a 2013 interview that it was simply a playful preference for Canadian girls. Regardless of its intended meaning, Lenny Kravitz tapped into the song’s raw energy and guitar-driven potential in his 1999 cover. His rendition has since become a definitive version, standing shoulder-to-shoulder with the original.
52: Mark Ronson & Amy Winehouse: Valerie (The Zutons)
Mark Ronson and Amy Winehouse were searching for inspiration for Ronson’s album Version, a project centered on Motown-infused covers of contemporary pop and rock songs. Winehouse suggested “Valerie,” a recent single by the British indie rock band The Zutons that she admired. Their collaboration on “Valerie” is a masterpiece, blending Ronson’s dynamic production with Winehouse’s uniquely soulful and smoky vocals. While their version is widely celebrated, The Zutons’ original is a vibrant and infectious piece of guitar pop that deserves recognition in its own right.
Valerie (Live Jo Whiley, BBC Live Lounge Session / 2007)
51: Bananarama: Venus (Shocking Blue)
“Venus” is a rare song that has reached the top of the Billboard Hot 100 chart in versions by multiple artists. Bananarama’s sleek, dance-pop rendition from 1986 is widely recognized, but the song was initially a hit for the Dutch rock band Shocking Blue in 1969. Interestingly, Nirvana’s debut single was also a cover of a Shocking Blue song, “Love Buzz,” highlighting the band’s often-overlooked catalog.
50: Linda Ronstadt: You’re No Good (Dee Dee Warwick)
“You’re No Good” had been circulating for several years before Linda Ronstadt began featuring it in her live performances. Dee Dee Warwick first recorded it in 1963. While her version wasn’t a commercial success, the song gained traction, being covered by various artists. Ronstadt, renowned for her interpretive skills, incorporated it into her live shows and eventually recorded it in 1974. “You’re No Good” became the lead single from Heart Like a Wheel, the album that propelled her to rock icon status.
You’re No Good
49: Charles Bradley: Changes (Black Sabbath)
“Changes,” originally a power ballad by Black Sabbath, became a soul anthem in the hands of Charles Bradley. Bradley’s rendition transformed the Ozzy Osbourne-era ballad into a deeply moving eulogy for his mother, imbued with raw emotion and soul. The song later found another poignant context as the theme for the animated TV series Big Mouth, resonating with themes of personal transformation.
48: Pretenders: Stop Your Sobbing (The Kinks)
For their self-titled 1980 debut album, Chrissie Hynde and producer Nick Lowe reimagined The Kinks’ lesser-known track, “Stop Your Sobbing”. They infused it with a Spector-esque production, elevating its inherent pop sensibilities. The cover resonated widely, drawing listeners to both the song and Hynde herself, including Kinks frontman Ray Davies.
47: Gregg Allman: These Days (Jackson Browne)
Gregg Allman brought unparalleled soulfulness to Jackson Browne’s oft-covered “These Days” on his 1973 solo debut, Laid Back. Browne’s songwriting provided Allman with a lyrical vehicle to express profound weariness and introspection. Nico’s earlier cover is also noteworthy, famously featured in Wes Anderson’s films, adding another layer to the song’s rich history.
These Days
46: Harry Nilsson: Without You (Badfinger)
Harry Nilsson’s cover of Badfinger’s “Without You” stands as a vocal tour-de-force. Nilsson extracted every ounce of passion from the 1970 Badfinger track. It’s ironic that Nilsson, a master songwriter, achieved his two biggest hits with cover songs – this and “Everybody’s Talkin’.” Mariah Carey’s 90s diva-era rendition also achieved significant chart success, further demonstrating the song’s enduring appeal.
45: Todd Rundgren: Happenings Ten Years Time Ago (The Yardbirds)
In contrast to the largely faithful covers on his 1976 album Faithful, Todd Rundgren delivered a blistering, original-voiced rendition of The Yardbirds’ proto-metal track, “Happenings Ten Years Time Ago”. Placed as the lead track, it served as a stylistic statement for the album, signaling the sonic journey ahead.
44: Humble Pie: I Don’t Need No Doctor (Ray Charles)
Humble Pie’s live rendition of Ray Charles’ “I Don’t Need No Doctor” from Performance: Rockin’ The Fillmore is a hard-rocking, high-energy cover. It’s a definitive example of a rock band transforming an R&B tune into something explosively fun. Steve Marriott’s vocal improvisations, like “I sho’ feel good… therefore, therefore, I don’t need no doctor!” add to its infectious energy.
43: Rod Stewart: I Don’t Want to Talk About It (Crazy Horse)
Rod Stewart’s signature raspy voice, one of rock’s most distinctive, imbues even simple material with gravity. However, even his take on “I Don’t Want to Talk About It” doesn’t quite capture the profound weariness Danny Whitten, Neil Young’s collaborator, brought to Crazy Horse’s original. Whitten’s original version rivals Young’s most emotionally resonant songs in its raw vulnerability.
42: The Tourists: I Only Want to Be With You (Dusty Springfield)
The Tourists’ 1979 cover of Dusty Springfield’s “I Only Want to Be With You” managed to amplify the original’s joyful exuberance. It was also the first glimpse of Annie Lennox’s extraordinary talent. Their version matched the No.4 chart peak of Springfield’s 1963 original, proving its enduring pop appeal.
41: The Continental Drifters: Some Of Shelly’s Blues (Linda Ronstadt And The Stone Poneys)
“Some Of Shelly’s Blues,” penned by Michael Nesmith, has been covered by numerous artists, from The Nitty Gritty Dirt Band to Linda Ronstadt. However, The Continental Drifters’ version, featuring Vicki Peterson of The Bangles, stands out. It’s a perfect blend of New Orleans and Laurel Canyon sounds, adding a unique flavor to this gem of roots-pop songwriting.
40: Van Halen: You Really Got Me (The Kinks)
The Kinks’ “You Really Got Me” is built around a killer guitar riff, making it ripe for Eddie Van Halen’s guitar virtuosity. Van Halen’s cover became a showcase for his groundbreaking guitar techniques. David Lee Roth’s dynamic vocals perfectly complemented the song’s raw energy, amplifying the emotions inherent in the original.
39: Crosby, Stills, Nash & Young: Woodstock (Joni Mitchell)
“Woodstock” takes on different emotional tones depending on the version. Crosby, Stills, Nash & Young released their version in March 1970, before Joni Mitchell’s own rendition, even though she wrote it. Mitchell’s version, released a month later, is slower and more melancholic, emphasizing a bittersweetness that is somewhat lost in CSNY’s more anthemic, rollicking interpretation.
38: Michael Andrews & Gary Jules: Mad World (Tears For Fears)
For the film Donnie Darko, director Richard Kelly enlisted Michael Andrews to score the film. Andrews collaborated with Gary Jules to create a stripped-down cover of Tears for Fears’ “Mad World.” Those primarily familiar with Andrews and Jules’ version might be surprised to learn it was originally by the same band that created “Everybody Wants to Rule the World.” Tears for Fears’ original, while synth-pop, carries a darker, almost goth-pop undercurrent, contrasting with the stark beauty of the cover.
37: Pearl Jam: Last Kiss (J Frank Wilson And The Cavaliers)
Pearl Jam’s cover of J Frank Wilson And The Cavaliers’ early-60s teen tragedy ballad “Last Kiss” began somewhat as a joke. However, they transformed it into a genuine rock ballad. Recorded quickly and inexpensively for their fan club as a Christmas gift, it ironically became the biggest chart hit of their career and one of the most recognized cover songs ever.
36: Johnny Cash: Solitary Man (Neil Diamond)
While Johnny Cash’s cover of Trent Reznor’s “Hurt” often receives more attention, his rendition of Neil Diamond’s “Solitary Man” is equally powerful. Diamond’s 1966 version explored youthful heartbreak, whereas Cash’s, recorded later in his life, speaks to lifelong loneliness and resilience. It remains a standout track from his American Recordings series and one of his finest cover song interpretations.
35: Bob Marley And the Wailers: Sugar Sugar (The Archies)
Bob Marley and The Wailers’ early Jamaican singles included a surprising cover of The Archies’ bubblegum pop hit, “Sugar Sugar.” The sheer unexpectedness of this pairing is part of its charm, but The Wailers transformed it into a genuinely compelling reggae groove.
Sugar Sugar
34: Glen Campbell: Hold On Hope (Guided By Voices)
Glen Campbell’s cover of indie rock band Guided By Voices’ “Hold On Hope” was a highlight of his 2011 album, Ghost On The Canvas. Intended as his “farewell album”, it showcased his enduring vocal power. Who better to sing “There rides the cowboy…” than the Rhinestone Cowboy himself, giving a poignant layer to the indie track.
33: The Dickies: Nights In White Satin (The Moody Blues)
The Dickies, known for their punk rock pranks, initially covered “Nights In White Satin” by The Moody Blues as a joke. Transforming the melodramatic ballad into a Buzzcocks-esque punk-pop anthem, they surprisingly made it work. Even Moody Blues’ frontman Justin Hayward approved of their humorous and energetic take.
32: James Taylor: You’ve Got a Friend (Carole King)
Carole King wrote “You’ve Got a Friend” as a direct response to James Taylor’s line “I’ve seen lonely times when I could not find a friend” from his song “Fire and Rain.” Although King intended to keep it for her landmark album Tapestry, she allowed Taylor to cover it. His version became his biggest hit, cementing the song’s status as an enduring classic about friendship.
31: Nirvana: The Man Who Sold the World (David Bowie)
Nirvana’s rendition of “The Man Who Sold the World” became so iconic that many younger listeners mistakenly believed it was originally a Nirvana song, complimenting David Bowie for “covering Nirvana.” Bowie’s original, while intriguing, felt like an outsider’s perspective. Kurt Cobain’s performance on MTV Unplugged, however, seemed to embody the song’s themes of alienation and identity, made even more haunting by his later трагический fate.
30: Bryan Ferry: The ‘In’ Crowd (Dobie Gray)
Bryan Ferry’s cover of “The ‘In’ Crowd,” whether solo or with Roxy Music, is a rare moment of overt joy in his discography. Originally recorded by soul singer Dobie Gray, the song often gets mistaken for a Motown track due to arranger Gene Page’s Motown-esque touch. Ramsey Lewis Trio had previously recorded a live instrumental version in 1964, and Cheap Trick later covered Ferry’s cover, highlighting the song’s versatile appeal.
The ‘In’ Crowd
29: The Brothers Johnson: Strawberry Letter 23 (Shuggie Otis)
Shuggie Otis’ “Strawberry Letter 23,” a showcase of his guitar prodigy and psychedelic arrangements, deserved to be a breakout hit. Despite praise from B.B. King and Sly Stone, mainstream success eluded Otis. It wasn’t until 1977, years after Otis’ last major-label album, that The Brothers Johnson covered “Strawberry Letter 23.” Their version reached No. 5 on the Billboard Hot 100, finally bringing the song to a wider audience.
28: Talking Heads: Take Me to the River (Al Green)
Al Green’s unique vocal style, characterized by a restrained yet seductive delivery, is key to his iconic songs like “Let’s Stay Together” and “Take Me to the River.” Talking Heads’ cover of “Take Me to the River” skillfully maintains this subtlety. David Byrne and the band stripped away any unnecessary elements, emphasizing the song’s slinky groove and understated sensuality.
27: The Mamas And The Papas: Dedicated To The One I Love (The Shirelles)
The Mamas And The Papas’ cover of The Shirelles’ “Dedicated To The One I Love” is arguably one of the most harmonically beautiful pop singles ever recorded. They transformed a fine Shirelles hit into an embodiment of romance. The line “… And it’s something that everybody needs,” delivered with their signature harmonies, remains deeply moving, making it a perfect wedding song.
The Mamas & The Papas – Dedicated to the One I Love (The Ed Sullivan Show)
26: Metallica: Whiskey in a Jar (Thin Lizzy)
Thin Lizzy’s version of “Whiskey in a Jar” is itself a cover of a traditional Irish drinking song. However, Thin Lizzy’s hard-rocking take became so synonymous with the song that many are unaware of its origins. Metallica amplified the hard rock elements in their cover on Garage Inc.. It has become one of their most popular songs, particularly resonating with audiences in Ireland.
25: Stevie Wonder: We Can Work It Out (The Beatles)
Motown frequently covered The Beatles, with The Supremes even releasing an album titled A Bit Of Liverpool. Stevie Wonder’s 1970 cover of The Beatles’ “We Can Work It Out” was among the first to rival the original in impact. Coming off a string of masterpieces like “Signed, Sealed, Delivered (I’m Yours)” and “Heaven Help Us All,” Wonder had no need to cover The Beatles unless he could make it exceptional. He transformed it into a funky, optimistic anthem, highlighted by the then-novel clavinet sound in the intro, which he would later famously use on “Superstition.” While Paul McCartney’s original vocal conveyed a sense of pleading, Stevie’s version confidently declares, “Don’t worry, we got this.”
24: Roberta Flack: The First Time Ever I Saw Your Face (Peggy Seeger)
British folk singer Ewan MacColl wrote “The First Time Ever I Saw Your Face” for Peggy Seeger in 1957. Many folk artists covered it throughout the 60s, but Roberta Flack’s soulful, simmering rendition became the definitive version. Its inclusion in Clint Eastwood’s film Play Misty for Me propelled it to become the biggest-selling single of 1972.
23: Led Zeppelin: Babe I’m Gonna Leave You (Anne Bredon)
“Babe I’m Gonna Leave You” was written by Anne Bredon, but Led Zeppelin likely first encountered it through Joan Baez’s version. Jimmy Page was captivated by Baez’s impressive guitar work, and Robert Plant was equally drawn to the vocals. Their powerful transformation of the song on their 1969 debut album signaled the arrival of a major force in rock music.
22: Los Lobos: La Bamba (Ritchie Valens)
Los Lobos’ revival of Ritchie Valens’ hit “La Bamba” in the 80s for the biopic soundtrack was a cultural phenomenon. They personalized it by adding a traditional Mexican flourish at the end, paying homage to its roots. Today, they often perform an acoustic version in live settings, showcasing its enduring appeal across genres.
21: No Doubt: It’s My Life (Talk Talk)
Before their post-rock explorations, Talk Talk was a synth-pop band, achieving global success with “It’s My Life” in 1984. Nineteen years later, No Doubt revitalized the song for a new generation. Their cover, released to promote their greatest hits album, became a worldwide hit again, proving the song’s timeless quality and No Doubt’s ability to bridge genres.
20: Donna Summer: MacArthur Park (Richard Harris)
Jimmy Webb’s “MacArthur Park,” known for its complexity and camp, is one of his most enduring compositions. Donna Summer and producer Giorgio Moroder transformed it into a disco anthem that topped charts. However, actor Richard Harris first made “MacArthur Park” a hit a decade earlier, with Webb’s lush orchestration amplifying its inherent melodrama.
MacArthur Park
19: Joan Jett And The Blackhearts: I Love Rock And Roll (The Arrows)
Joan Jett has a history of impeccable cover song choices, ranging from Lesley Gore’s “You Don’t Own Me” to Eddie Cochran’s “Summertime Blues” and The Rolling Stones’ “Let It Bleed.” She took The Arrows’ minor UK hit, “I Love Rock And Roll,” largely unknown to her fanbase, and turned it into her signature anthem and lifelong manifesto.
18: George Harrison: Got My Mind Set On You (James Ray)
George Harrison’s “Got My Mind Set on You” was the last Beatles-related song to top the Billboard Hot 100, but it was originally written by Rudy Clark and first recorded by James Ray. Harrison encountered Ray’s jazzy version during a pre-Beatlemania US visit in 1963. Decades later, Gary Wright’s casual mention of the song reminded Harrison of it, leading him to record a cover for his comeback album Cloud Nine.
George Harrison – Got My Mind Set On You (Version II)
17: Elvis Costello: (What’s So Funny ’Bout) Peace, Love And Understanding (Nick Lowe)
Elvis Costello transformed Nick Lowe’s country-rock tune “(What’s So Funny ’Bout) Peace, Love And Understanding” by injecting righteous anger into it. Produced by Lowe himself, Costello’s version became a timeless anthem, resonating deeply with its message of peace and understanding in a turbulent world.
Elvis Costello & The Attractions – (What’s So Funny ‘Bout) Peace, Love And Understanding
16: Eric Clapton: I Shot The Sheriff (Bob Marley and the Wailers)
Eric Clapton, not initially a reggae enthusiast, was convinced by his guitarist George Terry to cover Bob Marley and the Wailers’ “I Shot the Sheriff.” Terry believed it would be a hit for Clapton, and he was right. It became Clapton’s first and only US chart-topper. Yet, Marley’s original retains its authenticity, with a looser, more organic, and skankier groove.
15: Cyndi Lauper: Girls Just Want To Have Fun (Robert Hazard)
Listening to Robert Hazard’s original “Girls Just Want To Have Fun” reveals why Cyndi Lauper found such success with it. The core elements were present, albeit in a rawer form. Lauper’s 80s pop makeover transformed it into a global mega-hit, evolving from a simple party song into a powerful female empowerment anthem.
14: Janis Joplin: Me and Bobby McGee (Roger Miller)
Kris Kristofferson wrote “Me and Bobby McGee” in 1969, but several artists recorded it before him, including Roger Miller and Kenny Rogers. However, it was Janis Joplin’s cover, completed just days before her death, that cemented its status as a standard. Joplin’s spirited, upbeat rendition contrasted with the more somber approaches of Kristofferson and other country artists, giving it a uniquely celebratory feel despite its bittersweet lyrics.
13: Run-DMC: Walk This Way (Aerosmith)
Run-DMC’s “Walk This Way” is a groundbreaking track. As the first major rap cover of an arena rock classic, featuring Aerosmith’s Steven Tyler and utilizing Joe Perry’s iconic guitar riff, it bridged the gap between rap and rock. At a time when radio and MTV were still largely segregated, Run-DMC broke down musical barriers and created an unforgettable party anthem.
12: Jeff Buckley: Hallelujah (Leonard Cohen)
Jeff Buckley’s emotionally charged rendition of Leonard Cohen’s “Hallelujah” rendered many subsequent covers almost superfluous. Buckley’s performance captured the dark beauty and sensuality inherent in Cohen’s songwriting, building upon John Cale’s earlier, less widely known version. Buckley’s version has become so ubiquitous that many mistake it for the original.
11: Joe Cocker: With A Little Help From My Friends (The Beatles)
The Beatles’ “With A Little Help From My Friends” is a lighthearted tune with underlying sadness. Joe Cocker’s cover transforms it into a searing, epic expression of despair. Beyond Cocker’s raw vocal performance, the arrangement is radically reimagined, creating almost entirely different emotional landscapes compared to the original.
10: Gladys Knight And The Pips, Marvin Gaye: I Heard It Through The Grapevine (Smokey Robinson)
The history of “I Heard It Through The Grapevine” is complex. Gladys Knight’s dynamic version topped charts a year before Marvin Gaye’s iconic slow-groove rendition, yet Gaye’s version was recorded first. Both were technically covers of Smokey Robinson and The Miracles’ original, an initially overlooked album track. Each version brought a distinct and powerful interpretation to the song.
09: The Beatles: Twist and Shout (The Top Notes)
Early in their career, The Beatles frequently performed covers, including “Twist and Shout.” Originally by The Top Notes and made famous by The Isley Brothers in 1962, The Isley Brothers’ version has a raw, live energy. The Beatles tightened the arrangement for their cover, and both versions became significant hits, showcasing the song’s inherent danceability and appeal.
08: Harry Nilsson: Everybody’s Talkin’ (Fred Neil)
Harry Nilsson won a Grammy for his cover of Fred Neil’s “Everybody’s Talkin’,” used as the theme for the film Midnight Cowboy. Nilsson’s version popularized the song, making it a standard. However, Fred Neil’s original retains a definitive quality, partly because Neil himself, much like the song’s narrator, eventually retreated from the limelight to a quieter life.
07: Jimi Hendrix Experience: All Along the Watchtower (Bob Dylan)
Bob Dylan was so impressed by Jimi Hendrix’s reimagining of “All Along the Watchtower” that he adopted Hendrix’s arrangement in his own subsequent performances. Dylan’s late-60s work, sometimes overshadowed by his earlier trilogy of albums, benefited greatly from Hendrix’s explosive cover. Hendrix’s version not only brought “All Along the Watchtower” to a wider audience but also highlighted its unsettling and powerful lyrics.
06: Ike & Tina Turner: Proud Mary (Creedence Clearwater Revival)
Tina Turner’s opening line on her cover of Creedence Clearwater Revival’s “Proud Mary”— “We never, ever do nothing nice and easy. We always do it nice and rough”—perfectly encapsulates her transformative approach. Tina Turner’s rendition has become far more iconic than John Fogerty’s original. “Proud Mary” became one of her signature songs and a staple of her electrifying live performances throughout her career.
05: Johnny Cash – Hurt (Nine Inch Nails)
Johnny Cash’s cover of Nine Inch Nails’ “Hurt” initially seemed an unlikely match. Trent Reznor wrote the bleak song in his twenties, while Cash recorded it near the end of his life. Cash’s version, imbued with his life experience and gravitas, took on profound new meaning, becoming a powerful meditation on mortality and regret. It stands as one of the greatest cover songs of the 21st century.
04: Soft Cell: Tainted Love (Gloria Jones)
“Tainted Love” was a minor UK hit for Gloria Jones, a T. Rex member and Marc Bolan’s girlfriend. Soft Cell’s synth-pop cover transformed it into a darker, sexier, and more unsettling track. Marc Almond’s obsessive vocals and the minimalist synth arrangement created a definitive 80s synth-pop classic, overshadowing the original in popular memory.
Soft Cell – Tainted Love (Official Music Video)
03: Aretha Franklin: Respect (Otis Redding)
Aretha Franklin’s “Respect” is so definitive that it’s easy to assume Otis Redding wrote it specifically for her. Franklin’s addition of the iconic “R-E-S-P-E-C-T/ Find out what it means to me” lines was transformative. Redding’s original was a man’s plea for respect from his partner. Franklin flipped the perspective, turning it into a powerful feminist anthem, demanding respect on a broader social and gender level.
02: Sinead O’Connor: Nothing Compares 2 U (The Family)
Prince wrote “Nothing Compares 2 U” but initially didn’t keep it for himself. It was recorded by The Family, a band on his Paisley Park label, but remained relatively obscure. Sinead O’Connor’s cover became an unexpected global smash hit, briefly making her one of the most captivating singers in the world. Her raw emotional delivery and iconic music video made her version deeply resonant, overshadowing Prince’s original studio recording until its posthumous release.
Sinéad O’Connor – Nothing Compares 2 U (Official Music Video) [HD]
01: Whitney Houston: I Will Always Love You (Dolly Parton)
Whitney Houston’s cover of “I Will Always Love You” transcends being just one of the best covers; it’s an emotional catharsis. It’s a song of profound heartbreak and enduring love, capable of evoking deep emotion. Houston’s show-stopping vocal performance is a radical departure from Dolly Parton’s intimate and plaintive original. While Houston’s version is grand and universal, Parton’s feels personal and direct. Both versions, in their own way, are perfect masterpieces of emotional expression.
Seeking more? Explore the best Beatles covers with 20 essential versions of Fab Four classics.
