If you feel safe in the area you’re working in, you’re not working in the right area. Always go a little further into the water than you feel you’re capable of being in. Go a little bit out of your depth. And when you don’t feel that your feet are quite touching the bottom, you’re just about in the right place to do something exciting. – David Bowie
In March 1975, David Bowie released Young Americans, the album that saw him move from glam rock to Philly soul. It was his first top ten album in America, featuring his first number one song in “Fame.” Fifty years later, that golden anniversary is enough of a hook to hang a Cover Me Best Covers Ever feature on. But the remarkable thing about David Bowie is, this was little more than a blip in his career. He had other personas to invent, other forms to master, other brilliancies to create. And he wouldn’t rest until (long after) he did.
Bowie’s influence on popular culture cannot be overstated, and not just in the music world – I’m convinced that roughly one-third of Tilda Swinton is David Bowie. For millions of misfits worldwide, he himself was the freak flag, the one who made it okay to be other than. I’ll help you with the pain, he sang. You’re not alone. Give me your hands. ‘Cause you’re wonderful. It’s a message that still sings out today, in Bowie’s songs and in the work of those he influenced.
Fifty years ago this month, John Lennon released his covers album Rock ‘n’ Roll, in which he tackled a bunch of pre-Beatles rock and roll classics by folks like Gene Vincent and Fats Domino. Admittedly, the album isn’t all that good. It was done under legal pressure, and sounds like it. But the anniversary is a good enough is excuse to celebrate Lennon covers our own way: Not covers by John, but covers of John.
We should our one rule state up front: No Beatles songs! We did a giant 75-song Beatles covers list last year, which, naturally, included a bunch of John songs. So, for this list, as we did with Paul McCartney a few years back, we’re focusing entirely on his solo output. “Solo” loosely defined as anything post-Beatles: co-billed with Yoko, officially backed by Plastic Ono Band, etc.
If you think the no-Beatles rule adds a pretty strict limitation, think again. There was no shortage of solo-Lennon song covers to choose from. And it’s not 50% “Imagine” covers either; in fact, on our list of 40 covers, only two “Imagine”s make the cut. Most “Imagine” covers are pretty damn saccharine, not a word often associated with the most caustic Beatle. But just about every other mood and sound appears below.
Click to the next page to get started. All we are saying is give these a chance.
This year, Billie Eilish is nominated for a bunch of Grammys. Then again, it feels like you could say that every year. (In fact, I just checked, and you could: She’s been nominated for multiple Grammys every year since 2019). The streak began for her very first album, where she became only the second artist ever to sweep every category in the so-called “Big Four” (after Christopher Cross in 1981) and has continued ever since. She is the ultimate Grammys Darling.
But being a Grammys Darling is perhaps a mixed blessing. Grammys voters are not known for their cool, cutting-edge musical taste (see, again, Christopher Cross). What’s remarkable about Billie Eilish is that her music is cool and cutting edge. She’s not just someone out-of-touch Recording Academy elders think of as a pop star; she is an actual, bonafide pop star! Grammy voters love her, and so do their (grand)kids.
So before this weekend’s awards ceremony, we’re celebrating Billie Eilish our own way: By sharing some great covers of her songs. For an artist with only three full-length albums so far, her songs get covered a lot. Not just the big singles either, though there’s no shortage of those. Album cuts, pre-album singles, loosies, and EP tracks – they’re all here.
And the Coverme goes to…
25. Participants — You Should See Me In A Crown
This cover delivers on the ominous tone of the original, with white noise fizzling in the beginning and firm electric guitar strums getting louder and louder as the song begins. Both the drums and guitar then further punctuate the “one by one by one” lines throughout. There are some subtle changes to the tune in the second verse, and singer Brittany Smith is joined by some haunting background vocals. Smith then goes on to take some vocal runs out for a spin in the ending chorus, fitting for the confidence of “you should see me in a crown.” — Sara Stoudt
24. Shamir — Ocean Eyes
Shamir is fully emergent as that most precious of sounds, the R&B-schooled countertenor. No matter whether the arrangement is lush and physical or lush and GarageBand-created, his voice radiates and shines. He may be looking down on the cover art, but he is soaring vocally. For his version of “Ocean Eyes,” he makes his case that he has fully emerged from his chrysalis by having a butterfly in the background. “I am here and I sound beautiful, and I should be heard.” It’s a wonderful show by a remarkable talent. — Mike Tobyn
23. Saoirse Daly — Bitches Broken Hearts
The original song’s heartfelt message is even more poignant in this cover which keeps things simple, removing the many production elements of the original: The noise interference, the R&B-style background murmurs, the syncopated high hat and drum pedal. Then, that all starts to fade away. The original closes with simple piano, and that could serve as a transition to this more sparse cover. Here it is just Daly and an acoustic guitar, with percussion elements rendered by tapping on the guitar itself. — Sara Stoudt
22. Phoebe Bridgers — When The Party’s Over
“When the Party’s Over” is one of 2018’s most iconic pop music videos. So what happens when an indie-folk artist takes it on? In the hands of Phoebe Bridgers, we are treated to a version with unexpected instrumentation and hard panning. The vocals are featured only on the left side of the track, while a piano with audible action gives the cover a quaint and close-up feel. Finally, ethereal and far-off backup vocals make a cameo. — Aleah Fitzwater
21. Lauren Babic — What Was I Made For?
This cover of the Academy Award-winning theme from Barbie “What Was I Made For” is not technically funny. But when it hits the 1:39 mark, it’s hard not to laugh. That’s the moment when Lauren Babic turns from daydreamy sweetheart to metallic freakin’ monster, unleashes her booming typhoon of a voice and proceeds to knock all and sundry on their asses. This is no endearing novelty, as many metal covers of pop songs tend to be; what Babic is doing here is serious business. Get out of the way or be steamrolled to oblivion. — Hope Silverman
When the Rock and Roll Hall of Fame class of 2024 was announced, we polled our Patreon supporters and asked, Who should get the big Best Covers Ever countdown treatment: Foreigner, Tribe, Frampton, Kool (with Gang), Mary J., Cher, Dave (with Band), or Ozzy? And the winner… well, you can probably guess from the photo an inch above this paragraph. Cher!
(We also did different covers features on the other seven though—find them all here.)
There’s big, there’s Big, and then there’s Cher Big. At the time of her ‘70s run of smashes—already a decade after she first scored all-time-classic hits with Sonny & Cher—she was the female solo artist with the most number-one singles in US history. She is currently is the only solo artist to have a number-one single on a Billboard chart in seven consecutive decades, from the 1960s to the 2020s. Her most-covered song, “Believe,” came out a full 33 years into her professional career. That’s one hell of a run. What other pop star has released their biggest song in their 50s?
So today, we’re celebrating Cher with covers of all her hits, both with and without Sonny, and a few deep cuts. Though, let’s be honest, Cher is a hits machine, and not many artists cover her deep cuts. We easily could have done this whole 30-song list with just “Believe” covers (and, even paring them down, there’s still plenty of life after love here). Welcome to the Rock Hall, Cher!
One of the things everyone enjoys about the Beatles is the band’s equality. Take John, Paul, George, or Ringo out of the equation, they say, and the magic is over. Well, the same is true for the Who (something they proved, sadly, after Keith Moon’s death). Only the Who were bigger. Louder. More proficient at their instruments of choice. They could be more powerful, but they could be more vulnerable too. They were one of the best studio bands of their time, and one of the best live bands of all time. And when they were at their peak, they could be the best band in the world.
Pete Townshend, Roger Daltrey, John Entwistle, and Keith Moon combined to form a force of nature. Starting as one of the great singles bands, they segued into being masters of the LP. Townshend led the way with pioneer guitar playing – both slashing power chords and controlled feedback were part of his palette before any other Guitar God – and a pen that produced not one but two full-length operas for the band (three, if you count the belatedly released Lifehouse), as well as three-minute expressions of defiant angst. Daltrey gave voice to that angst, developing a roar that could surf the wave of noise or blow through it. Entwistle may have looked stoic, but they called him Thunderfingers for a reason. His bass lines were nimble yet forceful, and his sense of the macabre in his songs gave the band even more colors. And what can be said about Moon and his drumming that hasn’t already been said?
The Who’s songs will remain long after they’re gone. Not just for the performances the Who gave them, but for the songs themselves. They conveyed anger, regret, humor, and more, searching low and high within their psyches. The stories they told were both theirs and ours. Here are thirty-five of those stories, telling those stories in ways that approach and occasionally surpass the band that created them.
This spring, Vampire Weekend released their fifth album, Only God Was Above Us. Like all their albums, it was extremely well-received (“Universal acclaim,” says Metacritic), and they’re currently in the middle of a year-long tour supporting it. They take so long between albums that we wanted to strike while the iron was hot and celebrate some of the great covers of their work.
To state the obvious, five albums is not a huge discography. Last month we did The Kinks, and they’ve got 26 studio albums to cover songs from, and that’s not even counting all the non-album singles that include many of their biggest hits. But Vampire Weekend are beloved in a way few modern indie-rock bands are. So even though they don’t have that many songs, and even though they’re hardly in the game of making inescapable pop hits, they get covered a fair amount. And often in unexpected, inventive ways. Fitting for one of the most unexpected, inventive bands in the game.
