Readers recommend their favorites. Submit your own—especially if the cover goes across genres—via email@example.com, and please include a short description of why you love it so much.
A reader flags a classic, inimitable cover:
When I first heard Devo’s version of the Rolling Stones’ “Satisfaction,” I couldn't believe it was the same song. Over the years I’ve come to see they’re both expressing frustration. The Stones do it almost languorously, while Devo give the song a frenetic, postmodern twist. Plus Scorcese used Devo’s version in Casino, if I’m not mistaken. Teen-tested, Scorsece-approved!
This cover series is starting to get meta:
While listening to Junip’s version of “The Ghost of Tom Joad” that you posted, I’m reminded of a song by José González (of both Junip and solo fame), “Down the Line,” covered by the Gutter Twins (Greg Dulli of the Afghan Whigs and Mark Lanegan of the cigarettes/whiskey combination). González’s original version is masterful and haunting; “Don’t let the darkness eat you up” lingers well after the song ends. But the Gutter Twins turn it into a full rock anthem—the perfect late night driving or running song. Dulli’s voice pairs well with the added violin and Lanegan’s deep background vocals.
This is a fun series!
Another day, another great cover—though this one’s closer to a remix:
Dr. Octagon, a.k.a. Kool Keith, put out one of the all-time great rap albums, 1996’s Dr. Octagonecologyst. “Blue Flowers” was a standout track then, but what’s remarkable is that today, 20 years later, it’s still living, breathing, and mutating, as artists of all stripes and levels of fame remix it. Prince Paul’s “So Beautiful” mix [embedded above] is the best known (and arguably the best). But there’s a lot to like in ADP3000’s “Blue Flowers in Brooklyn Zoo,” Worksounds’s “Work Springtime Remix,” Black Grass's eponymous mix, and a dozen others. Jury’s out on Team Teamwork’s Nintendo-based Yoshi’s Island version, though.
One of our regular TOTD contributors serves up another gem:
The Monkees were likely the first manufactured pop group. A response to the overwhelming popularity of The Beatles, The Monkees were the star of a weekly sitcom where they had “zany” adventures, in the style of “A Hard Day’s Night.” The group was savagely panned by critics at the time, but with the benefit of hindsight, their songs are pop gems with great hooks and catchy lyrics. “Last Train to Clarksville” was their first single, going to number 1.
Years later, Cassandra Wilson revisited the song, slowing it way down and turning it into a sultry jazz number. It’s a complete reimagining of the song, with off-the-beat drumming and scat singing added.
A spiritual song for Sunday:
I’m late to the TOTD party, but I can’t resist a good covers party. Here goes:
Nina Simone did a number of covers. I think the one that far surpasses all others is her live rendition of “My Sweet Lord.” Nina takes this rather hippie-dippie, kumbaya post-Beatles Harrison treacle and turns it into something urgent, confrontational, and subversive. Not to mention she does it as a medley with the David Nelson poem backed by a baptist choir from South Jamaica and performing before soldiers at Fort Dix.
A reader sends a classic cover ahead of Saturday night:
I don’t think anyone can argue that Saturday Night Fever isn’t one of the defining albums of the ’70s: Grammy Award for album of the year, 120 weeks on Billboard’s album chart (24 of those weeks at #1), seven #1 singles. It’s included in the Library of Congress’ National Recording Registry as being culturally significant. It’s the album that epitomizes disco for better or worse.
The majority of the songs were original compositions, but two different tracks took familiar classical compositions and “disco-fied” them. “Night on Disco Mountain” is a take on “Night on Bald Mountain” by Mussorgsky (that particular piece had previously undergone the Disney treatment in Fantasia). “A Fifth of Beethoven” took the well-known Beethoven’s Fifth symphony, sped it up, adding a thumping drum track and and turned into a #1 dance track. I kind of wonder what Ludwig would have thought of it all.
From reader Peter Schafer:
I’m old enough to barely remember the Beatles singing “Hey Jude” on television as a small child and it captivated me, the endless child-syllable repetition. But I came to dislike it intensely in later life (for the same reasons I liked it as a child?).
Then in my late teens I came across the Duane Allman Anthology album, an incredible body of studio work with artists such as Aretha Franklin, King Curtis, Boz Scaggs, and Wilson Pickett. Pickett’s cover of “Hey Jude” liberates it from its origin story so that its greatness freely emerges, rising.
And then skyrocketing at the 2:40 mark. From another reader who recommends it, Alyson Vaughan:
Now, I’m a big fan of The Beatles. So much that it I feel guilty for loving a cover of such an iconic song. From what I understand (my source being the music documentary Muscle Shoals), there was initially some hesitancy to produce this cover due to the fact that in 1969 The Beatles’ original was still soaring in the charts. They did it anyway, transforming the song with Wilson Pickett’s soulful vocals, and the Muscle Shoals Rhythm Section (aka “The Swampers”) featuring a young Duane Allman on guitar. Just wait for his solo. You can’t miss it.
Todd Litton emails a “haunting and hypnotic” cover song from Cowboy Junkies:
The Junkies’ quiet, rhythmic guitar stands in real contrast to the Velvet Underground’s amped up speed. And Margo Timmins’ ethereal, otherworldly voice transports the listener to another place.
Thanks for doing this series; I wouldn’t be hoping to see Sturgill Simpson in Houston in a couple of months if you hadn’t.
From reader Jody H.:
I submit the “Romeo and Juliet” cover by the Indigo Girls. I love the Dire Straits original, don’t get me wrong, but the song becomes something else when the Indigo Girls (well, really Amy Ray) are done with it. It’s much more longing and raw when compared to the original.
Love the series!
From reader Amit Routh:
As someone who loves both Springsteen and song covers, I was delighted to see you post Town Mountain’s cover of “I'm On Fire.” That submission, combined with all the conversation this election cycle about the millions of Americans left broken by decades of economic inequality, inspired me to submit Junip’s cover of “The Ghost of Tom Joad.”
As I read more about the profound disenchantment and anger expressed by so many voters, particularly from Trump’s supporters, I keep returning to lines like “No home, no job, no peace, no rest” and “You got a hole in your belly and gun in your hand.” Over 20 years later, these lines have lost none of their resonance in describing the experiences of many Americans.
José González, co-founder of Junip, is actually best known for his ethereal cover of The Knife’s “Heartbeats”, but it’s Tom Joad’s ghost who haunts me most these days.
Update from another reader:
Your reader Amit is indeed onto something: “The Ghost of Tom Joad” is a great song and as relevant as ever. But, for my money, if you want to really FEEL it— and feel like somebody might actually do something about it—you have to listen to the cover by Rage Against the Machine. Makes me want to hit the streets every time.
A reader, John McKie, writes:
Have you considered Stevie Wonder’s “For Once In My Life”? One definition of a great cover version is when it’s so good, it doesn’t just surpass previous incarnations but eviscerates them to a degree that you forget they even existed. (Donald Trump’s current wife is presumably mapping out that pathway as we speak.)
For an artist who would go on to become a master song-writer, Stevie took a slow ballad, got The Funk Brothers and Henry Cosby in the studio, and whipped up something even Berry Gordy couldn’t turn down—he wasn’t keen, but eventually relented. The song reached number two in the Billboard Hot 100 behind Marvin Gaye’s “I Heard It Through the Grapevine,” another song Gordy had initially vetoed as a single. Now everyone is keen on “For Once In My Life,” even Ari Gold.
As far as the original:
There are differing accounts of its earliest versions, although it seems that it was first recorded by Barbara McNair, but first released in 1966 by Jean DuShon. Other early versions of the ballad were issued by The Four Tops, The Temptations, Diana Ross and Tony Bennett whose recording was the first to reach the pop charts.
Here’s Bennett’s version. Update from another reader, Allan Moyes:
Now, as fine as Stevie Wonder and Tony Bennett’s versions are, neither come close to Judy Garland’s version on the Mike Douglas Show in August, 1968.