20 outlandish rock and roll cover songs

As someone who’s been spinning records for over five decades now, I must say that this list takes me on a nostalgic journey through time, much like my favorite vinyl collection. It’s fascinating to see how these classic tunes have been reinvented by artists from various genres, showcasing their creativity and versatility.

Kris Kristofferson is recognized as the writer of “Me and Bobby McGee,” but it wasn’t the first version to be recorded. Despite his reputation as a songwriter, Kristofferson wasn’t initially known for his singing skills. In fact, many of his original compositions were given to more established artists to perform before he gained stardom. The first recording of “Me and Bobby McGee” was actually made by Roger Miller.

You might have expected me to mention Janis Joplin’s rendition first, but it was produced afterward. Miller’s initial interpretation, while upbeat and somewhat unremarkable, is best recognized for the mariachi horns that join in near the end.

Before Janis Joplin recorded “Me and Bobby McGee,” at least five variations of the song existed. The traditional country version by Kenny Rogers was the best, while Gordon Lightfoot’s sleepy rendition, although it achieved great success, was considered the weakest. Kris Kristofferson also did his own interpretation, as did a few others. However, when Joplin sang the song just before her passing, her cover eclipsed all previous versions, becoming the definitive one.

20 rock and roll cover songs that are surprisingly brilliantly done

In rock music history, it’s common to find instances where a cover exceeds the original version in quality. Sometimes, the cover simply improves upon the first, like Bowling for Soup’s fresher and more energetic rendition of “1985.” On other occasions, the cover transforms the song entirely, as Jimi Hendrix did with Bob Dylan’s “All Along the Watchtower,” turning it into the epic masterpiece it was destined to become.

As a gamer, let me share my thoughts on revisiting some cover versions today. Admittedly, none of these renditions outdid the original tunes, or even some iconic covers, but they each offered unique interpretations that deserve recognition. I’ve got to hand it to the artists for their efforts and willingness to reimagine these classics. It might be challenging to appreciate these new takes if you’re deeply attached to the well-known versions. However, it could prove fascinating to give them a spin. In fact, I’ve found myself growing fond of about half of these covers over time, and even when I don’t, I believe they are all deserving in their own right.

Instead of our usual practice where we compile 20 songs with only one pick per artist, this time we’re taking a different approach. Normally, I limit selections to ensure each list showcases a variety of artists rather than being heavily influenced by just one or two bands. This method allows for more diversity in the music selection.

Given the current popularity or lack thereof of diversity in music, and considering that there are only a few musicians who specialize in this particular genre, I will choose four such acts to receive a second selection. This means we’ll have twelve unique songs from twelve different artists, plus eight more songs from four different artists, each with two entries. So, in total, we’ll end up with twenty songs.

Feel free to unwind, take it easy, and enjoy your choice of beverage. These upcoming tracks really shine when you’re in a relaxed state. First up, our top-tier cover artists will share two tunes each.

Tom Jones – “Burning Down the House” (1999) and “Talking Reality Television Blues (2021)

In the words of Arthur Miller: “Importance calls for notice!” Tom Jones stands unparalleled in our current topic. No other artist has dared to traverse such extremes or take such risks as this man. Even during his early days as a pop culture heartthrob, the Welshman with the exceptional voice and flamboyant hair was giving pop music an unusual twist. And when he approached his sixties, seeking to resonate with younger generations, he took a bold step, putting everything on the line and going for it.

1999’s “Reload” was his 34th studio album. This album saw him collaborating with numerous contemporary artists to re-record popular songs as duets. He started this series with a fresh rendition of the Talking Heads classic, “Burning Down the House.” In this version, he joined forces with the Swedish pop rock band, the Cardigans. The vocals trade off in an exhilarating back and forth against a pulsating dance rhythm.

After two decades, at the age of 80, he outshines Todd Snider’s ingeniously witty “Talking Reality Television Blues.” The sound is intense and apocalyptic, fitting for the song’s format as a talking blues. Despite not needing to sing due to the format, his performance remains exquisite. It’s an utterly remarkable piece of work.

Me First and the Gimmes Gimmes – “Uptown Girl” (1997) and “Love Will Keep Us Together” (2024)

Initially started as a casual endeavor between NOFX’s Fat Mike and Spike Slawson from the Swingin’ Utters, this band has since released eleven albums and a compilation of their best work, all through Fat Mike’s record label, Fat Wreck Chords. Members have changed over time, but Slawson has consistently been the frontman, infusing his unique punk rock flair into their music. Their performances can be truly spectacular.

As a music enthusiast, I’d describe it like this: I adore this group that breathes fresh life into popular tunes across various genres – pop, dance, country, you name it! They have an uncanny knack for infusing these songs with a punk-like spirit. Their performances are energetic, fast-paced, and loud, yet the outcomes are consistently impressive.

Originally, “Uptown Girl,” a cover by Billy Joel, was featured on their first album, titled “Have a Ball.” The song’s rhythm is driven by Fat Mike’s persistent bass and the rapid drumming of Lagwagon’s Joey Cape in triple time. It’s surprising that they are still performing this song, which seems outdated, but here we are in 2024, with them rocking it at Madison’s Quinceanera celebration!

The track boasted numerous energetic dance numbers similar to “Dancing Queen,” but the most remarkable metamorphosis was experienced by the former hit single of Captain & Tennille, “Love Will Keep Us Together.” In its original form, it was almost unbearable to listen to (it has been included in some critical articles listing the worst number one hits). The new version is a heavy rock interpretation that resembles ’80s glam punk, which might have been more fitting for Captain & Tennille’s style throughout their career.

Postmodern Jukebox – “Sweet Child o’ Mine” (2014) and “Black Hole Sun” (2016)

Scott Bradlee’s Postmodern Jukebox originated from pianist/arranger Scott Bradlee’s ambition to rejuvenate contemporary tunes with an antique flair. He handpicked top-tier vocalists and musicians, creating a team, and selected a variety of popular modern songs. Each song was then given a unique vintage makeover.

As a gamer, I’d say: In his debut album, Twist is the New Twerk back in 2014, he remixed tracks from artists like Lorde, Ke$ha, and Macklemore. However, he truly shone when he reimagined Guns N’ Roses’ “Sweet Child of Mine” with a 1920s juke joint twist. The incredible Miche Braden, who’s renowned for her Bessie Smith-like performances on stage, handled the vocals. So if you ever pondered what it would sound like if Bessie met Axl, this cover offers a hint.

Bradlee consistently produces an impressive collection of jazz-influenced interpretations of contemporary music, utilizing different vocalists and musicians based on the song’s needs. Among them, Haley Reinhart, a former “American Idol” contestant, stands out as his ideal vocalist. She possesses the versatility, strength, and subtlety to bring any type of song to life. Her vintage, supple rendition of Chris Cornell’s classic is a breathtaking showcase that transitions from subdued to intense, revealing previously unseen aspects of an already exceptional piece.

Richard Cheese – “Come Out and Play” (2000) and Dammit” (2024)

Mark Jonathan Davis, known for Richard Cheese & Lounge Against the Machine, approached cover songs uniquely compared to others on this list. While they gave serious, yet unconventional interpretations of pop tunes, Davis’ style was characterized by a comedic flair and a touch of camp in his lounge-style piano-and-snare renditions. This is apparent in his debut album “Lounge Against the Machine” and its adaptation of the Offspring’s iconic pop punk track “Come Out and Play.” Cheese also incorporates a piece of “Hava Nagila” into the song, adding xylophone elements to the mix.

However, the strategy proved highly effective as Cheese continued to produce albums, and over time, many of his songs significantly improved. Admittedly, I’m not exaggerating when I say that his heartfelt rendition of Blink 182 in one of their more poignant moments is truly captivating. This piece can be found on his latest album titled “Blue No Matter Who“. It showcases a piano and orchestral strings, providing a perfect accompaniment to the softness of Cheese’s vocals. Remarkably, it unveils a masterfully crafted song, with only one lyric in the second verse being somewhat questionable. Interestingly, Cheese largely avoids the chorus, but surprisingly, this approach works splendidly.

Now, let’s proceed to the individual selections. Some artists offer numerous appealing cover options, but we will select just one per artist in this section. We’ll organize these entries chronologically.

The Flying Lizards – “Money” (1979)

I’ve shared this anecdote before, and I expect I’ll do so again. In the past, I used to tune into a radio station that hosted a competition between two bands playing the same song each night at 10 pm. The audience would vote for their favorite. Remarkably, The Beatles never lost in these competitions; they won approximately 20 times without ever losing. However, they faced an unusual, low-fi art band from England who reinterpreted “Summertime Blues” and “Money” on their debut album with unconventional covers.

You might be familiar with the fact that the Beatles’ rendition of “Money” was actually a cover of an original Motown R&B song, a heartfelt ode to greed. The Beatles gave it a rocking twist, but the Lizard band, led by Deborah Evans-Strickland and featuring instruments you might have in your garden, transformed the tune into a surprisingly delightful experience. A classic from Dr. Demento’s collection.

Yellow Magic Orchestra – “Day Tripper” (1979)

Regarding the Beatles, a team of Japanese tech enthusiasts decided to remix their tunes using synthesizers, drum machines, and sequencers, giving them a slightly disco feel. They wondered if anyone would appreciate this altered version. Critics were skeptical, but many listeners found the electronic, proto-cyberpunk sound fascinating. Yellow Magic Orchestra gained popularity, disbanded, reunited, and so on. This pattern persisted. The song has become a cornerstone of electronic pop music and continues to be enjoyable to listen to today.

Butthole Surfers – “American Woman” (1986)

For the remainder of the Butthole Surfers’ second album “Rembrandt Pussyhorse”, there were original tracks along with a cover of the Guess Who hit. However, this cover is hardly recognizable as the popular tune you’re familiar with for most of its duration. The first half is predominantly drum-based, and when lyrics become discernible, they are delivered in a stern, militaristic tone. These words are often rearranged to suit Gibby Haynes’ current state of mind at the time.

Paul Leary consistently incorporates the distinctive guitar riff from Randy Bachman’s original performance, serving as a nod that the track being played was indeed “American Woman.” Similarly, The Surfers often reworked famous classics, such as their spacey rendition of Donovan’s psychedelic hit “Hurdy Gurdy Man.

Revolting Cocks – “Da Ya Think I’m Sexy” (1993)

RevCo gave Rod Stewart’s lighthearted disco tune a heavy, industrial rock makeover, correcting its course globally. By slowing it down, they added witty deadpan delivery to the lyrics and peppered in some heavily distorted guitar and saxophone solos that were popular in 1993. Chris Connelly struggled not to laugh while altering Stewart’s “I’m out of milk and coffee” into “I’m out of KY jelly.” They chose to keep his chuckles in the final mix – a fitting touch of adolescent humor that this specific song particularly needed.

Misfits – “Rat Fink” (1995)

As a devoted fan, I can’t help but find it utterly thrilling to see a renowned punk band giving a fresh twist to the ’60s Weird Al, Allan Sherman. Despite “Rat Fink” not being his most brilliant work, it’s a jovial tune that’s delightful to perform and listen to. And it seems the Misfits are having a blast giving it their signature punk makeover. This is just another example in a series of punk bands tapping into their childhood pop culture camp for innovative reinterpretations.

Many bands, such as The Jam for example, have covered the theme from the Batman TV series. Husker Du performed the theme from the non-kitschy Mary Tyler Moore Show. The Vandals took on “So Long, Farewell” from The Sound of Music (though I don’t endorse their music these days), and virtually every band out there has covered “Louie Louie,” including Black Flag, Motorhead, Iggy Pop, and the Sonics. If you ask your grandmother, she might have a recording of “Louie Louie” in her past.

Dynamite Hack – “Boyz-n’-the-Hood” (2000)

It’s likely that this item will endure as a relic in the future, should the world persist for another couple of centuries. Scholars may find themselves puzzling over its significance at that time. Originally, it was an amusing tribute to one of Eazy-E’s iconic narratives about urban life in the late ’90s. For a group of neatly groomed suburban white boys to rap about “messing with the ladies,” and “hitting on the girls” could be both daring and offensive.

They did it so casually, as if the Plain White T’s had grown weary of waiting for Delilah to graduate and become a gangster. This initial jab at a popular music genre and its suburban fans, as well as a cynical attempt by those same white musicians to capitalize on their success, has evolved over time with societal changes. Yet, it continues to strike me as incredibly amusing.

Kittie – “Run Like Hell” (2001)

A female Canadian metal band covering Pink Floyd? No problems expected! The heavy bass of Talena Atfield occasionally borders on becoming too weighty, but Morgan Lander’s mix of soothing melodies and fierce growls in the “You better run” part mirrors Roger Waters’ darkest dreams to perfection.

This track hails from Kittie’s second album, Oracle, which was recorded during a period of change. Their founding guitarist, Fallon Bowman, had recently departed, and Atfield would soon follow suit. The album has its ups and downs, and not everyone appreciated the band’s interpretation of classic Pink Floyd songs by an all-female group. However, I am among those who admired their take on it.

Scissors Sisters – “Comfortably Numb” (2003)

As for Pink Floyd’s “The Wall,” it seems there’s something about its tracks that spark numerous cover versions. Perhaps it’s because Roger Waters crafts songs that are rich with meaning, allowing for various interpretations. For instance, the Scissor Sisters, on their debut album, remodeled one of “The Wall”‘s most popular tunes into a nu-disco number. They infused Ana Matronic’s unique blend of fey soul and swagger into the lyrics, while dance beats provided the rhythmic backbone throughout.

Initially endorsed by Waters and Gilmour, and eventually gaining a devoted fanbase reminiscent of a cult, the Scissor Sisters experienced varying degrees of success over the following ten years. However, it seemed they had broken up. But surprisingly, only a few weeks ago, news broke that the Sisters were reforming for a reunion tour in 2025, with roughly half of the original members participating.

Children of Bodom – “Oops I Did It Again” (2009)

In 2009, they released an intriguing album titled “Skeletons in the Closet“. This collection showcased a variety of cover songs that they had saved over the years. Notable rock artists like Pat Benatar, Billy Idol, and Iron Maiden were among those featured. It’s quite surprising, isn’t it, to see a Finnish death metal band delving into such territory?

The faster rendition of CCR’s “Lookin’ Out My Back Door,” with its hint of hillbilly tune, fits quite nicely. But Britney? It might seem unlikely. However, Alexi Laiho delivers the lyrics with intensity, and guest vocalist Jonna Kosonen adds a pop feel that mirrors the original. A fiery guitar solo precedes the final bridge, followed by a collision of all elements for the grand finale.

Hugo – “99 Problems” (2011)

It’s hard to imagine this combination working, yet Jay-Z and bluegrass are an unlikely pairing. However, Hugo isn’t your typical bluegrass artist. He heavily revises the original lyrics while preserving the memorable chorus and only loosely clings to the traditional melodic aspects. The result is a slow, bluesy take on bluegrass reminiscent of Steve Earle’s “Copperhead Road” with its accordion and banjo rhythm. This unique style is showcased on Hugo’s debut album, Old Tyme Religion, which was released by Jay-Z’s Roc Nation label. After one listen, it’s clear that Hugo could adapt almost anything into a cool sounding track.

Marilyn Manson – “You’re So Vain” (2012)

Marilyn Manson, who has been in the music scene for quite some time, released “Born Villain” in 2012. Prior to this album, the band had achieved significant success by covering popular songs such as “Personal Jesus,” “I Put a Spell on You,” and “Sweet Dreams.” With “Born Villain,” they decided to tackle another well-known track, this time a pop classic by Carly Simon. Manson lends his distinctive gothic touch to the song, while the track combines harsh industrial metal sounds with enough of the original tune’s melodious essence to keep it recognizable.

This album showcased the fresh and temporarily active rhythm duo of Fred Sablan and Chris Vrenna. Given that it’s widely believed this track was penned about iconic actor Warren Beatty, wouldn’t it be intriguing to have another famous movie star like Johnny Depp join in on the guitar?

Elton John, Pink and Logic – “Bennie and the Jets” (2018)

OK, this is the last entry, and it requires a tiny bit of backstory. I knew I was going to include this 1973 Elton John classic because I listened to it when I was a kid and I loved it. Still do. But initially, I was planning on writing about the magnificently out-of-tune and slovenly cover that Biz Markie and the Beastie Boys did back in the late 1990s. Because, you know, that’s probably the way we all sound when we try to sing songs like this.

Initially, I had only one instance where the original artist contributed significantly to the cover art, despite others doing most of the work. This was almost the case with Jay-Z and Hugo’s “99 Problems,” but it was even more evident here. Furthermore, this album, Revamp, along with its companion, Restoration, stands among the finest cover projects ever created.

The collection of songs isn’t perfect; some definitely fall short. However, in the pop album “Revamp” and the country album “Restoration”, Elton John and Bernie Taupin have assembled an impressive group of artists who have given a fresh interpretation to many of their classic tunes. For instance, “Bennie and the Jets” has been reimagined using contemporary pop, rap, and dance production methods alongside Elton’s original vocals, resulting in something innovative.

If you enjoy the original, you might not appreciate the changes they made. Just a heads up. And if it doesn’t appeal to you, then I’d advise steering clear of Miley Cyrus’s unconventional take on “The Bitch is Back” from Restoration. It’s more of a quirky, less-than-perfect rendition.

Why don’t we set aside that suggestion? Go ahead and listen to both albums, regardless of your initial feelings about it. I guarantee there are aspects in each that you’ll genuinely appreciate.

2024-11-16 14:01