Reporter's Notebook

The Most Transformative Cover Songs
Show Description +

Readers recommend their favorites. Submit your own—especially if the cover goes across genres—via, and please include a short description of why you love it so much.

Show 80 Newer Notes

A reader with the initials B.H. flags one of the great and truly transformative cover songs: The Gourds’s version of Snoop Dogg’s ‘Gin and Juice’.” From the Wiki page for the Austin alt-country band:

Despite a sizable amount of original material, The Gourds are probably best known for a song they did not write. In fact, for most of the 16 years following their first live performance of Snoop Dogg’s “Gin and Juice,” fans could regularly be heard calling out for the band’s cover version of the song, sometimes before the show had even started. This led some to consider it an albatross, but the band continued to play the crowd pleaser, often adding a medley of impromptu cover songs to its midsection.

Update from our reader:

Glad you used it. The quote you included was quite apt. I saw The Gourds do a show here in Albuquerque once, and there were drunk frat boys howling “Gin and Juice!!!” after practically every song. They finally played it as an encore and it brought the freakin’ place down.

(Track of the Day archive here. Submit via hello@.)

Reader Jason adds a few hardcore covers to the series:

So I’m thinking this one may be a little too “much” for your average reader of The Atlantic (but who knows!), but any time someone brings up crazy cover songs, I have to give an honorable mention to a couple tracks from seminal mathcore/hardcore/whatever-the-hellcore band Botch.

I’m sure most people are at least passingly familiar with “Rock Lobster” by the B-52s, and “O Fortuna,” from the opera Carmina Burana by Carl Orff. Botch gave them both their own special treatment, and I honestly think they both work extremely well as metal songs. “O Fortuna” especially lends itself well to the genre, and I would totally be down to see a full conversion of the opera done in this style (then again, I may just be nuts).

Botch’s “O Fortune” is here, but their “Rock Lobster” feels like more of a genre-bender, so it’s embedded above.

(Track of the Day archive here. Submit via hello@)

From Tim Baer in Oregon:

I’d like to submit Birdy’s cover of Passenger’s “Let Her Go.” Passenger’s song never really hit me; their flurry of analogies always seemed too cliche. However, Birdy delivers the lines with heartbreak on her lips; every word she utters her voices quakes; she seems on the verge of tears. The piano arrangement itself is okay, I guess, but there’s something in her delivery that yearns for lost love. Put your headphones on and close your eyes. This version is totally superior to Passenger’s hit in every conceivable way.

Couldn’t agree more, which makes it baffling that the Passenger original has nearly a billion views on YouTube, more than I can recall for any video on the site ever. And it’s not just me; the Wiki list for all-time most viewed videos puts Passenger’s at #25. Help Birdy catch up.

(Track of the Day archive here. Submit via hello@)

Jonathan comes across our reader series:

You’re doing cross-genre covers?!  Be still my heart. Many favorites, but I’ll narrow it to two entries in the grin-worthy category of “Brits with acoustic guitars covering Britney Spears”:

2. Richard Thompson, “Oops, I Did It Again” [previously Tracked here]

1. Travis, “Baby One More Time” [embedded above]

Watch for Thompson’s Renaissance-style deconstruction at 3:23, and Travis’s ability to play the whole song completely straight. In interviews, the band professes a deep respect for what they call “the perfect pop song.”

P.S. No, I’m really serious. That Travis song was revelatory.

(Track of the Day archive here. Submit via hello@)

Reader Ryan offers up a truly transformative pick for the cover series: Cat Empire’s version of “Hotel California.” As he describes it, “The Eagles sung in French by an Australian Latin jazz/ska band. Good times!”

Update from another reader named Ryan, in Denton, Texas:

Look, if you’re going to talk about covers of “Hotel California,” you may as well merge this discussion with your series of songs used in movies. The use of The Gypsy’s Kings cover of “Hotel California” is absolutely essential in introducing the character of Jesus Quinta:

That creep can roll, man.

The Atlantic abides.

(Track of the Day archive here. Submit via hello@)

Reader Simeon serves up a great song for the cinema series (a song that’s also on the superb Rushmore soundtrack, featured in an earlier note):

My nomination comes from Almost Famous, one of my favorite movies ever. While many may choose the use of “Tiny Dancer,” I’ll instead point to a little scene that’s my favorite in the movie, set to Cat Stevens “The Wind”:

You never know if it’s happening in reality or inside William Miller’s head, but it is perfectly representative of soul of a film, which is about people dreaming and not wanting to wake up. It is an imagining and depiction of the beautiful futility of holding on to a moment and its afterglow, the sustain after a guitar solo or, if you will, an empty auditorium.

(Track of the Day archive here. Submit via hello@)

If a multinational company based in Belgium can rename its beer “America,” then a Swedish folk group can cover an iconic song with the same name.

With news that Budweiser will change its label to say “America” up until Election Day, I was reminded of one of my favorite Simon & Garfunkel songs, one that inevitably makes it on every road trip playlist of mine. It’s hard for me to fully harness Simon & Garfunkel covers—see, for example, this one of “The Sound of Silence” by heavy metal group Disturbed that is inexplicably heard on rock stations nationwide right now—but the First Aid Kit cover of “America” is a beautiful exception:

The sister duo, whose Old West feel might make you want to ride a horse through the desert at dusk, released the cover in 2014. Two years earlier, the duo performed the song in front of Paul Simon at the Polar Music Prize, and he rewarded them with a standing ovation. For their version of the song, the sisters dropped the saxophone and pipe organ of the original and paired their lofty vocals with an acoustic guitar, piano, and string orchestra—a gorgeous mix for the 1968 protest song (which, fittingly to Budweiser’s framing for the election, was used in a Bernie Sanders campaign ad).

Indeed, at bars across the country this summer, Americans will be singing, “I’ve come to look for America.”

Update from reader Jim, who begins, “Greetings (as my draft board put it to me)”:

Holy shit, that version of “America” is gorgeous! I rarely like cover versions as well as originals, but First Aid Kit’s cover was better than the original. Now for the follow-up: Have they recorded “For Emily, Whenever I May Find Her?”  I can’t think of any group I’ve heard that could cover that more perfectly.  

(Track of the Day archive here. Submit via hello@)

Reader Jenni Wiltz flags an acoustic rendition of a high-octane pop song:

I just discovered your cover collection today. It saved my workday from total PMS destruction, so thank you! Here’s my nomination: Brian Fallon from Gaslight Anthem covering Kelly Clarkson’s “I Do Not Hook Up” for BBC Radio 1’s Live Lounge. The BBC program host is a little overwhelmed at the end—understandably so, once you pass the 2:53 mark.

Thanks for sharing such a wonderful collection of songs!

(Track of the Day archive here. Submit via hello@)

It’s an icon of the MTV era: Sinéad O’Connor staring at the viewer, her shaved head piercing an otherwise black frame, as mournful synths crescendo and she wails that nothing compares to you:

But as many people discovered or rediscovered this weekend, the most iconic of O’Connor songs wasn’t really hers; it was a cover of Prince’s more MIDI-fied 1986 original. “Nothing Compares 2 U” was actually one of many Prince songs that weren’t popularized by Prince. The Bangles, Stevie Nicks, TLC, and others also greatly benefited from his talents as a songwriter.

So it made sense this weekend that, as the country and bluegrass star Chris Stapleton looked for a way to honor the Artist, he’d choose “Nothing Compares.” Before Stapleton was a star, he was a Nashville songwriter, scribbling hits for other artists up and down the charts. In Berkley, California, on Saturday night, he delivered a bluesy and soulful tribute performance of “Nothing Compares” with an orchestration not that far from the kind that Prince chose later in his life. It’s a stirring, transformative cover—and very much worth a listen:

If you’re interested in more on Stapleton, Spencer wrote about his runaway success at the Country Music Awards last fall.

(Track of the Day archive here. Submit via hello@)