30 hit songs you didn't know were covers

Yes, the Queen of Soul will always be remembered for this feisty belter. But she actually ported it over from another soul and blues legend, Otis Redding. His original 1965 version of “Respect” was similar but focused more on trumpet accompaniment. Franklin added buoyant vocal harmonies and turned it into an upbeat anthem of empowerment. Redding’s original is solid, but you can see why hers became more widely embraced.

British metal icons Judas Priest have a few unusual covers in their repertoire— including tracks from Chuck Berry, Spooky Tooth, and Joan Baez. Then there’s this cover of Fleetwood Mac’s “The Green Manalishi.” The late Peter Green was responsible for penning this angsty tune about the corrupting power of money. The original was slower, more subdued in spots, and eerie, while Priest revved it up with more dramatic vocals and metal energy. This is a study in contrast, for sure.

This simultaneously retro and new wave anthem was a big hit for Basil, who had made her name as a dancer and choreographer working with the likes of Elvis, The Monkees, and Talking Heads. But two years before “Mickey” changed her life, a band called Racey recorded the energetic track “Kitty” for their debut album Smash And Grab. The song was never released as a single. Basil’s rendition added more thumping percussion and cheerleader chants and went to No. 1. The song’s writers, Mike Chapman and Nicky Chinn, also penned a string of hits for artists such as Sweet, Tina Turner, and Huey Lewis and the News.

The rousing “I Love Rock ‘N Roll” will always be associated with former Runaways member and female rock icon Joan Jett. But before she got a No. 1, multimillion-selling hit out of it, the song was written and recorded by the British band The Arrows back in 1975. The approach of both versions is similar—chugging guitar riffs, a short lead guitar break, and a big singalong chorus—but Jett’s snarling vocal delivery gave the song that extra oomph that transformed it into an early ’80s classic.

One of the most famous and enduring ’80s synth-pop numbers is this perky dance track featuring vocalist Marc Almond which has been played endlessly since 1981. “Tainted Love” was one of many classic ’60s tunes reinvented during the Decade of Decadence. However, it was written by Ed Cobb and first given a fiery northern soul rendition by Gloria Jones back in 1964. Another hit that Cobb wrote? “Dirty Water” by the Standells.

When the glorious “Gloria” became a chart-topper (No. 2 in the U.S.), Branigan set a record at the time for a solo female artist staying on the Hot 100 (36 weeks). This catchy yet melancholy single was a fantastic showcase for Branigan’s soaring vocals. Turns out it was a gender-swapped cover of Umberto Tozzi’s 1979 original. However, Tozzi’s Italian lyrics about the fantasy of an imaginary lover were changed for Branigan’s vision of a young woman pursuing love too fast.

Okay, we’re cheating a bit with this one. The original “China Girl” was recorded by punk progenitor Iggy Pop in 1977 but actually written in collaboration with Bowie. Whereas Bowie’s dance-friendly variation, produced by Nile Rodgers, has a sexy, romantic vibe despite of its intense lyrics, Pop’s noisier original feels more angst-ridden. The song is reportedly based on a relationship the latter had with a Vietnamese girlfriend. (It’s been argued it could also be a drug reference.) To his credit, Bowie used the video as a way to confront racial stereotypes of Asian women, and the song became a hit. Geeling Ng, the video’s female star, would briefly become Bowie’s lover afterward.

While UB40 released “Red Red Wine” on their Labour Of Love covers album, current listeners, and even casual ones from back in the day, might not know that this laid-back reggae-pop tune was originally from Neil Diamond’s second album in 1967. Whereas Diamond’s version was more sad and downbeat, UB40 made it feel chill and upbeat despite the lyrics which they amended slightly. (The Jewish Elvis did not sing about ganga.) Funnily enough, the British band was actually inspired by Tony Tribe’s reggae cover from 1969 and initially had no idea that Diamond wrote it.

“Girls Just Wanna Have Fun”—the zippy, bouncy dance track that turned the quirky, colorful Cyndi Lauper into an early-’80s MTV star—was actually written and demoed by Robert Hazard four years earlier. His rollicking, ’60s-styled rocker served as a springboard for Lauper to alter some lyrics to fit a female perspective, and it’s a sharp contrast to her cover, which has passed a billion views on YouTube. Lauper’s version topped charts in America, Europe, and Down Under.

“Venus” was a good harmony showcase for the U.K. vocal trio Bananarama, who reportedly performed it live for years before recording it. Producers Stock Aitken Waterman certainly unleashed a large wall of electro-pop sound to back them. But jump back in time to 1968—the original rock version from Dutch quartet Shocking Blue was an organically groovy tune with some country twang and funk underpinnings. If you like Bananarama’s cover, you need to check out the original. There’s also a fun live version from the mid-’80s with a huge ensemble that you can enjoy.

Written by Wayne Carson, Mark James, and Johnny Christopher, “Always On My Mind” first got a string-soaked country ballad treatment with singer Brenda Lee back in 1972. But other big artists loved it and found success with it: Elvis Presley (1972) and then Willie Nelson (1982), both with more piano-centric interpretations. When the Pet Shop Boys got a hold of it in 1987, they turned the song into a pumped up synth-pop banger and one of their biggest hits.

A number of fans back in the day likely knew that the Purple One penned this heartbroken ballad, but many didn’t. Written and demoed by Prince and then bequeathed to one of his Paisley Park acts, funk group The Family, it only gained traction when O’Connor’s impassioned take—featuring her heartfelt singing with just the right amount of musical accompaniment—broke big in 1990. Massively popular, hers is the definitive version. Prince was reportedly upset about her covering it, but in the same way that Johnny Cash turned Nine Inch Nail’s “Hurt” into his own, so did O’Connor with this tune.

When The Bodyguard became a blockbuster movie for Whitney Houston, her soaring interpretation of “I Will Always Love You” was inescapable. Even if you loved it then, you probably got sick of hearing it. But the 1974 original was written and recorded by country icon Dolly Parton, and she gave it a more low-key but arguably more heartbroken quality. Both renditions were multi-million singles sellers. Houston, however, scored two Grammys and No. 1 chart positions around the world with her cover.

This effervescent team-up between two huge ’90s groups, dulcet vocal quartet En Vogue and hip-hop duo Salt-N-Pepa, turned into a big hit for them both. But the original “What A Man,” penned by Dave Crawford, was recorded by Linda Lyndell in 1968 and hit No. 50 on the Billboard R&B chart. Lyndell had toured with icons like James Brown and Ike and Tina Turner. After the KKK threatened her for collaborating with black artists, she stepped away from music. Once this song became a hit 25 years later, Lyndell began performing again.

In the mid-1990s, Swedish pop quartet Ace Of Base scored a mega-selling album called Happy Nation in Europe and re-released it in a different form as The Sign in the U.S. The third single was a light dance-pop concoction with reggae and tropical vibes called “Don’t Turn Around.” Originally penned by hitmakers Albert Hammond and Diane Warren, Tina Turner first recorded it as a non-album B-side for her “Typical Male” single in 1986. Her version, of course, had that big ’80s sound and her soulful belting. But Ace Of Base got a bigger hit out of it.

“Dead Souls,” the closing credits track to The Crow, is a propulsive, drum-driven song injected with signature Trent Reznor angst. But before he turned in his slower cover, Joy Division unleashed it on the world with an even more tortured frontman, the late Ian Curtis, who committed suicide two months after this haunting track was released. While the original is still the best of the two versions, Reznor is probably the only artist who could pull off this equally brooding interpretation.

This hit traveled from a classic soul icon to a popular ’90s neo-soul artist. When Smokey Robinson co-wrote and recorded “Cruisin’” back in 1979, it became a Top Five single and one of his greatest hits. D’Angelo did not stray far from its silky smooth roots, complete with string section and female vocal harmonies, but he took a more subdued approach and sang it in a different key. Gwyneth Paltrow and Huey Lewis also kept the song’s flame alive when they performed it in their 2000 movie Duets.

Natalie Imbruglia’s breakthrough song and biggest pop hit, “Torn,” is actually a softer reinvention of an alt-rock tune by Ednaswap, a group that was around for six years in the ’90s. (Although they first gave this tune to Swedish singer Lis Sørensen.) Imbruglia went the gentle guitar route, while Ednaswap had grittier electric sounds. The latter may no longer be active, but the chord sequence and melody are so memorable that, intentionally or not, they were cribbed for “You Will Be Found,” the climactic number from the Dear Evan Hansen musical.

The evergreen metal icons have always worn their influences on their sleeve. (Literally, on James Hetfield’s patch-covered denim jacket.) True Metallica fans know about their myriad covers (there are a lot), but more casual listeners might not recognize that before the thrash kings took on “Whiskey In The Jar,” it was previously recorded by seminal Irish rockers Thin Lizzy (among others) in a more subdued rock version, which makes sense given that it was originally an Irish folk tune dating back to the 17th century.

Electro rockers Orgy scored a platinum album with their debut Candyass due mainly in part to this turbo-charged rock rendition of New Order’s classic hit “Blue Monday.” The glammy goth band shaved three minutes off the running time of the original and wisely distilled most of its best riffs and motifs into a harder-edged rock song. The original will still be many people’s favorites, but Orgy’s cover was pretty good, too.

Sometimes you don’t need to do a lot to a lesser-known cover, just tweak it a bit. The original “Waiting For Tonight” by 3rd Party came out two years prior and had more a European pop sound (albeit it with more varied vocal harmonies). When J-Lo’s team got a hold of it, the song took on a Latin-tinged house flavor. Even though 3rd Party disbanded in 1997, one presumes they got some nice royalties out of Lopez’s more popular rendition.

This forlorn ballad, which surfaced near the end of the cult movie Donnie Darko, was a great way to encapsulate many of the feelings imbued within that surreal cinematic tale. Unlike Gary Jules’ beautifully bare piano and vocal version, the original “Mad World” by Tears For Fears, is a dark, driving synth-pop song replete with jangly guitar and exotic, ominous keyboard sounds. Funnily enough, Donnie Darko director Richard Kelly used another Tears For Fears track, “Head Over Heels,” in the same movie.

Before they became arena rock gods, Muse boldly took on Nina Simone’s “Feeling Good” which was written by Anthony Newley and Leslie Bricusse and recorded in 1965. Simone’s original take, with its soulful singing and bluesy swagger, was a moderate hit back then, and she inspired many others to cover it (including John Coltrane, George Michael, and Michael Bublé). The Muse version alternates between channeling Simone’s vibe and pumping in some of their trademark bombast. Respect for the respect, but Simone’s cut is simply superior.

While any Gen Xer or Boomer worth their salt will know that “I’m A Believer” from the Shrek soundtrack was not a Smash Mouth original, some might not know who wrote it. The Monkees popularized it in the mid-1960s with a perky pop rendition on their hit TV show, and it became a monster hit, reportedly selling 10 million copies worldwide. What’s more interesting is the fact that the original song was actually written by Neil Diamond but recorded first by the Monkees, then a country-ish twist by The Fifth Estate a year later. Diamond’s own recording emerged in 1967, then he rerecorded it in 1979.

Gwen Stefani and company got a big hit out of this energetic, guitar-laden track, which was an unexpected addition to their singles collection. The original synth-heavy “It’s My Life” by Talk Talk, a band that went on some interesting musical adventures, is actually more dreamy sounding but with an equal helping of pathos. This was Talk Talk’s only Top 40 hit in the U.S. No Doubt landed a Grammy nomination with their version.

Leave it up to Robert Smith to take a positive romantic sentiment and still imbue it with a sense of longing and melancholia. That’s what The Cure did with the original “Lovesong” from the highly intense Disintegration album in 1989. But when ’90s rockers 311 gave it a whirl for the 50 First Dates soundtrack, they slowed the tempo and injected it with more of their reggae-influenced sound. The videos certainly contrast sharply: The Cure’s is set in a cave with just the band members, whereas 311 are surrounded by hot babes in a tiki bar.

There are at least three versions of The Source’s original “You Got The Love” featuring Candi Stanton: The funkier, synthier ’80s take, the electro-ish 1991 reinvention (taking some electronic sounds from the 1987 Frankie Knuckles single “Your Love”), and 1997’s Now Voyager remix which was featured in the series finale of Sex And The City. That latter cut let Stanton’s soulful vocals flow over ’90s dance grooves. In their remake, Florence + The Machine simplified the drumming and brought in some different background vocals. Florence’s version was a way bigger hit, but hers and the Now Voyager remix are equally engaging.

Like Judas Priest and Metallica, Disturbed have a fondness for covers outside of their genre. Having metallized Tears For Fears previously, the Chicago quartet decided to rock up the Genesis anthem “Land Of Confusion,” which emerged during the Ronald Reagan/Margaret Thatcher ’80s. The original Genesis video featured the puppetry of Spitting Image, while Disturbed’s spotlighted the apocalyptic animation of Todd McFarlane. The song’s powerful message about corrupt authority figures continues to resonate today.

“Don’t Cha,” the breakthrough song for the Pussycat Dolls and Nicole Scherzinger, was originally written by Sir Mix-A-Lot and CeeLo Green and first recorded in 2004 by Tori Alamaze, a former backing vocalist for Outkast who briefly struck out on her own. After she left her label over a soured solo deal, this sexy funky jam was bequeathed to the Pussycat Dolls. While Scherzinger and Green were both allegedly dubious about it at first, the re-recorded song—utilizing similar rhythm tracks, but adding in brass sounds and Busta Rhymes raps—sold millions. It shot to No. 2 in the U.S. and went No. 1 in over a dozen countries.

Queen Bey got a smash single covering Brittany Jean Carlson’s “If I Were A Boy”—a ballad about trading gender places to help better understand your lover—in this case, certain men really needing to understand how women feel about intimacy and infidelity. Reba McEntire later covered the song in 2011. Beyonce’s performance is passionate for sure, although the way Carlson’s voice breaks during her raw studio rendition adds to the heartbreak. She never released the song commercially after her label, J Records, folded before her full debut came out. But hey, she’s presumably getting some nice co-songwriting royalties with Toby Gad.