40. Sea Girls — A Bar Song (Tipsy) (Shaboozey cover)
You can have a huge American hit, and that can be different from a worldwide hit. Less work to promote but less reward overall. However, bar/pub/tavern culture is central to the social fabric in lots of countries, and so Shaboozey is being lauded around the world. Is it a surprise that “A Bar Song” was a number one in Ireland and Australia? Or the Flandrian part of Belgium, where beer and conversation are revered?
In the UK, the pub is a central hub for many. Midlands band Sea Girls gives a very UK reading. Less polished but just as authentic. They acknowledge that “Closing Time,” usually at 11pm in the UK, is a hindrance to uninterrupted entertainment, but they are looking for a reason to continue the evening, perhaps by convincing the landlord to “forget” the licensing rules, and start a “lock in” for the favored few. — Mike Tobyn
39. Yuele — Anthems For A Seventeen Year-Old Girl (Broken Social Scene cover)
Broken Social Scene’s 2002 track has the aesthetics of an EDM song played with acoustic instruments. Yeule, the pseudonym of Nat Cmiel, takes the song into modernity with this heavily glitchy cover that puts their, at times, heavily filtered voice way up front in the mix. Cmiel’s vocals become the focus of the song and the most prominent instrument with the exception of a lone violin that slides in, playing in a minor key. The nostalgia of the lyrics isn’t lost among all the new elements; there’s a noticeable sadness in the repetition, like the feeling of being 17, driving in a car on a cool summer night, knowing life is soon to change. Yeule captures all this feeling in vocals that become less and less organic as the song progresses. — Mike Misch
38. San Fermin — Don’t Speak (No Doubt cover)
No Doubt’s breakthrough hit “Don’t Speak” caused the type of pop culture war that only could have happened in the ’90s. The Orange County, CA ska band broke away from its roots with this track, a scorching power ballad. The song and video turned frontwoman Gwen Stefani into an MTV megastar. Problem was those darn ska kids. Before social media was even a thing, ska fans slammed the band on blogs for the almighty sin of having a hit song. Thankfully, all these inane debates are long in the past, so this new cover from San Fermin can exist in its own space. A solid acoustic cover, heavy with strings and emotion, this version showcases what everyone knew back in the ’90s: “Don’t Speak” is an exceptional ballad of love and heartbreak. Hopefully, even the most ardent of ’90s ska enthusiasts can admit that now. — Curtis Zimmermann
37. The Raveonettes — Goo Goo Muck (The Cramps cover)
“Goo Goo Muck” was a standout track from the Raveonettes’ homage to the songs, mainly, of the 1960s. The trick is to remind you of the version you know best (the Cramps, natch) and then strip it back even further in time. Imagine if the Cramps were a psychedelic band, on L.A.’s strip in ’67, velour and velvet rather than their leather and leopard spots, this is how the Danish duo’s version would sound. But, by retaining the lyrical stance that wasn’t in Ronnie Cook’s original, little doubt is left as to the source of the subject matter, even if the teen beat vocal tries to sanitise that truth. — Seuras Og
36. Loose Cattle ft. Lucinda Williams — Joanne (Lady Gaga cover)
The chorus of this cover of Lady Gaga’s “Joanne” is a masterclass in cover songs. The fullness of the band, the clear, soaring voice of Loose Cattle’s Kimberly Kaye, and the weathered backing vocals of Lucinda Williams combine for an unforgettable sound. While the original melody remains, the cover slows the tempo and adds layers of depth that bring a seriousness and sense of melancholy to the sound. The repetition of the word “girl” is plaintive and longing, becoming the song’s mantra. This version also has swing thanks to the prominent fiddle part throughout. It’s a stunning alt-country cover that adds perfectly to the original elements. — Mike Misch
35. The Surfrajettes — Spice Up Your Life (Spice Girls cover)
Movement infuses every aspect of this version of the song. Swaying is necessitated, foot movement may follow. It was something that the Spice Girls original had intended, but did not quite carry off. The clarity of the message, and the élan with which it is delivered by The Surfrajettes serves the message much better. It is like when your favorite burger joint has a hot sauce promotion, which fuels you for an evening of Dancing At The Hop. — Mike Tobyn
34. Al Green — Everybody Hurts (R.E.M. cover)
Brilliant a song as “Everybody Hurts” is, ubiquity has often made it one that hardcore R.E.M. fans skip. And, even with the Reverend Al Green at the helm, fear and trepidation must have been present, lest he exacerbate the schmalz that lurks beneath the surface of the song’s exquisite poignancy. Fear not, and slap those wrists for daring to naysay the now 78-year-old singer and pastor. For he not only nails it, he glues it, binds it, straps it and wraps it in ribbons. Piano takes second billing to a wheezy gospel organ, sending fumes of the chapel through proceedings, even before Green lets rip. And when he does, it is that primordial mix of shaman and preacher, his old black magic, but where the Lord has the best tunes. — Seuras Og
33. Orcas — Under the Milky Way (The Church cover)
It’s been a decade since Orcas added a new entry to their discography, so it’s a treat that the duo broke the silence in 2024. Their latest single applies their richly textured soundscape to The Church’s underground hit from the ’80s. However, the drum and percussion tracks were produced, it works, and works well enough to support the other layers on top. Vocalist Benoît Pioulard and composer/instrumentalist/engineer Rafael Anton Irisarri don’t get together often, but when they do, the combination is magic. — Tom McDonald
32. Chris Keating — Straight Up (Paula Abdul cover)
This cover starts out in a dream pop soundscape (fitting for “lost in a dream”) and then blends towards a more jazzy approach with a high hat. Yeasayer’s Chris Keating plays with the enunciation tempo of the bridge and goes low on the “please.” From there, the song continues to change. We hear songs from a way-back video game to an ancient pagoda to classic spy film soundtrack. This ever-changing sonic landscape maintains the drama of the song’s storyline. — Sara Stoudt
31. Fight Like Apes — Black Boys on Mopeds (Sinead O’Connor cover)
Irish indie pop/synthpop quartet Fight Like Apes add atmosphere and muscle to O’Connor’s classic introspective protest song about police abuse of power in the UK. Whereas the original is just Sinead strumming her acoustic guitar singing, the cover begins with some gentle synths and lead singer MayKay singing the song perhaps just a touch slower. But soon an electronic pulse comes in with some backing vocals. As the song progresses, the sound builds and shifts, quieting for the last verse before it explodes for the final chorus. — Riley Haas
Wow so many great versions Terrific work
Thanks for a fascinating year, gang!
Thanks for this incredible collection.
I would put Ethel Cain’s cover near the top of the list but otherwise great work! This is a wonderful site with fantastic writers. Thank you!