30. The Replacements — I Got You Babe (Live at CBGB 1984)
In 1984, The Replacements’ album Let it Be, on indie label Twin/Tone, was a critical darling, finishing at No. 4 in the Village Voice’s prestigious Pazz & Jop Critics’ poll (behind Born in the U.S.A., Purple Rain, and How Will The Wolf Survive? (!), and ahead of Private Dancer and Reckoning). They played a “secret” show at CBGB’s billed as “Gary & The Boners,” and despite knowing that many major label reps were in attendance (or precisely because they knew), they delivered a legendarily messy, drunken performance that included more covers than originals, many of which never really got going. Their take on “I Got You Babe,” is, mostly, Paul Westerberg slurring the lyrics (that he remembers) over a pretty mellow, sloppy (of course) instrumental backing, with some half-assed “doo doos.” And no, there’s no female vocalist. Despite their attempt at career suicide, the ‘Mats were signed by Sire Records. — Jordan Becker
29. Adam Lambert — Believe
Adam Lambert’s cover of “Believe” received the seal of approval from the diva herself during his 2018 performance in honor of Cher at the Kennedy Center Honors. Backed by an orchestra, the one-time American Idol runner-up turned pop superstar turned Queen frontman transformed Cher’s dance-pop classic into an emotionally charged power ballad. By the end of the performance, Cher herself could be seen wiping tears from her eyes. Lambert’s voice is so powerful that if you watch this clip, you’re likely to be moved too. — Curtis Zimmermann
28. Dusty Springfield — Let Me Down Easy
Dusty Springfield’s version of this 1972 Cher album cut is a little bit more laid-back, more winding. The lively saxophone, brass, and jazzy orchestra of the original is replaced by more swooping strings and a stand-alone, mournful horn. Springfield’s light vocals are responded to by that same deep horn, almost acting as a duet partner. The role of the vocals and instrumentals switch sides between this version and the original. Even with its slower pace, this cover doesn’t sound quite as pleading as the original vocals, which contrast the original’s more instrumental chipperness. — Sara Stoudt
27. Britney Spears — The Beat Goes On
The video for Britney Spears’ debut single “…Baby One More Time” holds the distinction of being one of the most requested and iconic videos in MTV history. Propelled by this as well as the other mega-singles “Crazy” and “Sometimes,” her debut album of the same name sold 25 million copies worldwide turning Spears into a global pop superstar. So it’s easy to overlook the album’s closing track, her cover of Sonny & Cher’s “The Beat Goes On.”
Spears performs it as a brilliant piece of trippy, techno-pop, staying true to its ‘60s origins but with enough electronic effects to make it sound like a ‘90s pop track. The track was produced by British electronic music group The All Seeing I a year after they recorded and released their own version (which—spoiler alert—we’ll be encountering again). She delivers all the “la-dee, da-dee, dees” and “la-dee, da-dee dahs” with the same sincerity as she sang “Oh baby baby” on her breakthrough hit. It’s a compelling deep cut that’s definitely worth revisiting. Oh, by the way, Britney is now eligible for the Rock N’ Roll Hall of Fame too! — Curtis Zimmermann
26. Ania — Bang Bang (My Baby Shot Me Down)
I hadn’t heard of Ania before I went hunting for good Cher covers. Even her winning eight Fryderyks escaped my notice. In my defense, she’s from Poland and sings most of her songs in Polish. But in 2010 she released Ania Movie, a collection of covers of some of her favorite themes to films, ranging from MASH to Deep Throat. Her retro sound and cool vocals are arresting as all get-out, and if her version of “Bang Bang” is any indication – and it is – I’m going to need to explore Ania Movie in greater depth. — Patrick Robbins
25. Me First And The Gimme Gimmes — Believe
I remember having a discussion about Cher’s “Believe” in 1999 when it was climbing up the charts, where someone dismissed the song, saying it was just a “dance club hit” and would fade quickly. Twenty-five years later it’s safe to classify “Believe” as a modern-day standard, with many great cross-genre covers to prove it. In 2014, the song received the punk-rock treatment when cover band Me First and the Gimme Gimmes recorded a version for their album Are We Not Men? We Are Diva!. The record contained reworkings of songs by multiple pop divas including Madonna, Celine Dion and Barbra Streisand. The band recorded “Believe” as a high-octane pop-punk track that could have broken onto the charts in the late ‘90s alongside Green Day or Blink-182. Underneath the distortion, the band pays homage to Cher by using vocal effects similar to those she employed on the track. It’s a great tribute to Cher and a testament to the song’s longevity (and infinite malleability). — Curtis Zimmermann
24. Marc Almond — A Woman’s Story
“A Woman’s Story” is deeper than just a plain deep cut. Prior to its inclusion on the 2024 Cher compilation Forever Fan, “A Woman’s Story” had only been available as part of a stand-alone single in 1974. Written by April Stevens, Nino Tempo and Phil Spector, who also produced it, “A Woman’s Story” is an epic recollection of romantic regret and delusion with a mammoth chorus (understatement). In other words, it is exactly as over-the-top as the title and Spector involvement suggest. It’s glorious (hear here).
Marc Almond’s cover appeared on his 1986 EP of the same name (which as a teenage “Alm-aniac” is how I first heard it and fell for it). Almond’s version is pure theater, less angsty than Cher’s, infinitely prouder, and his quirky, singular voice is in fine, fine fettle. — Hope Silverman
23. Barbaro — Believe
Newgrass group Barbaro are one of the numerous bands to attempt a country-tinged cover of “Believe.” They take it a step further by really leaning into the bluegrass in comparison to other country-ish versions. Traditional banjo, mandolin and fiddle power the track, with prominent solos interspersed with lead singer Rachel Calvert’s voice. Calvert’s vocal is not as traditional-sounding as the instrumental backing, but she keeps a nice balance between the poppiness of the original and just enough country soul. — Riley Haas
22. Dum Dum Girls — Baby Don’t Go
“Baby Don’t Go” was the first song Sonny and Cher released under that name (they had been gigging around Los Angeles as Caesar and Cleo). It was a regional hit in 1964, but, after “I Got You Babe” hit it big, Reprise Records re-released it and saw it go top ten nationwide. The Dum Dum Girls cover, closing their debut album I Will Be, is slower, woozier, just this side of diaphanous. Cher would have been happy to have sounded like this at any of her career phases. — Patrick Robbins
21. El Perro del Mar — I Got You Babe
El Perro del Mar is the nom de chanson of Susan Assbring, generally summed up as a purveyor of electronic indie melancholia. This version certainly fits that bill, yet manages to be a whole lot more than just the (by now) cliché of slowing and simplifying a famous song. It takes quite a time to recognize, possibly not until the chirrupy backdrop about the chorus, here sounding like sleigh bells. And, without any paired call and response duet, Assbring taking on both parts herself adds an extra eerie charm. Yes, it picks up into a closer facsimile as it builds, but that first half is inspirational. — Seuras Og
Thank you for the Cher Covers some wonderful renditions here Great work