Top 50 Cover Songs That Surpassed the Original

Music fans will appreciate that sometimes the cover version ends up eclipsing the original record. Here is our list of 50 great cover versions (all English) from the past and from diverse styles that eclipsed original versions in terms of popularity, chart success, or cultural impact. Each lists first the track and cover artist followed by a short commentary as to how the cover left its mark. We’ll find rock classics, soul ballads, pop chart successes, and even modern viral successes – all covers that eclipsed original tracks.

We organized this list in no particular order, simply highlighting a variety of famous examples. Some of these covers hit number one on the charts, some introduced the song to a global audience, and others have become the definitive version in listeners’ minds. Let’s dive in and celebrate these 50 tunes where the cover artist truly made the song their own – often to the point that many people don’t even realize it’s a cover!

All Along the Watchtower by Jimi Hendrix

When Jimi Hendrix released his electrifying guitar-driven version of “All Along the Watchtower”, it left the original behind. Bob Dylan had written and recorded the song in 1967, but Hendrix’s 1968 cover became the definitive rendition. It gave the track a rock edge and reached the Top 20 on the charts. Even Dylan himself acknowledged the power of Hendrix’s take, and he later adopted Jimi’s fiery arrangement in his own live performances.

Hurt by Johnny Cash

Johnny Cash took the Nine Inch Nails song “Hurt” and turned it into a heartbreaking farewell. Trent Reznor’s 1994 industrial rock original was raw and dark, but Cash’s 2002 acoustic cover, recorded near the end of his life, brought a deeply personal, emotional weight to the lyrics. Accompanied by a poignant music video, Cash’s version moved listeners of all ages. It may not have topped pop charts, but critically and culturally, it overshadowed the original – with many listeners finding Cash’s vulnerable performance to be the most memorable version.

I Will Always Love You by Whitney Houston

Whitney Houston’s 1992 reinterpretation of Dolly Parton’s country ballad became an international phenomenon as part of The Bodyguard soundtrack. Commencing with an indelible a cappella intro, it reached #1 for 14 weeks at Billboard’s Hot 100 and became one of the biggest-selling singles of all time, propelling the song far beyond its original country hit success.

Respect by Aretha Franklin

Aretha Franklin’s 1967 cover of Otis Redding’s “Respect” turned it into a powerful soul anthem. With a new arrangement, the iconic “R-E-S-P-E-C-T” hook, and her fiery vocals, she took the song to #1 and made it a rallying cry for civil and women’s rights, cementing it as her signature hit over the original.

Nothing Compares 2 U by Sinéad O’Connor

Sinéad O’Connor’s 1990 cover of Prince’s “Nothing Compares 2 U” hit global stardom, eclipsing many times over its obsure 1985 original by The Family. Eerie vocals, alongside the iconic tear-stained video, catapulted it to #1 in many lands, and it ended up one of the year’s biggest hits and in most listeners’ minds, ultimate versions as well.

Hallelujah by Jeff Buckley

Jeff Buckley’s 1994 reinterpretation of Leonard Cohen’s “Hallelujah” turned the 1984 folk original into a sonic masterpiece of haunting beauty. With fragile guitar and otherworldly vocals, Buckley’s track slowly built up cache, particularly after his death at a young age, until it became commonplace in film, television, and competitions. Now, it’s generally accepted as the definitive version, dwarfing Cohen’s and sparking thousands of similar interpretations.

Tainted Love by Soft Cell

Soft Cell’s 1981 synth-pop re-recording of Gloria Jones’s underrated 1964 soul song “Tainted Love” reached millions around the world. Slowing it down and incorporating an otherworldly electronic beat, the British duo made it into a chart success in several countries. So massive were its sales that many people were unaware it was a cover, effectively making Soft Cell’s recording the ultimate one.

Girls Just Want to Have Fun by Cyndi Lauper

Cyndi Lauper’s 1983 chart-topper “Girls Just Want to Have Fun” reinterpreted Robert Hazard’s previously unknown 1979 song. Converting it from a masculine perspective to a female empowerment anthem, she combined cutesy vocals with bright new wave instrumentation. It reached #2 on Billboard’s Hot 100 chart and became a pop anthem for feminism, eclipsing Hazard’s original and forever identifying with Lauper.

Twist and Shout by The Beatles

Their 1963 version of “Twist and Shout” turned Isley Brothers’ mediocre 1962 hit into rock ‘n’ roll legend. On their initial U.S. album, John’s raw, dynamic vocals made it indelible. When it served as a U.S. single in 1964, it hit #2 and became the ultimate party tune, eclipsing even prior versions.

The Man Who Sold the World by Nirvana

Nirvana’s 1993 MTV Unplugged performance of “The Man Who Sold the World” reinterpreted David Bowie’s 1970 glam rock song as an eerie folk-rock song. Kurt Cobain’s raw, emotional vocals imbued the song with dark depth, and following his death, it received heavy rotation. For young listeners, it became the ultimate version, at least for a time supplanting Bowie’s original in familiarity.

With a Little Help from My Friends by Joe Cocker

Joe Cocker’s 1968 cover of “With a Little Help from My Friends” transformed The Beatles’ lighthearted original into a soulful, slow-building anthem. Starting bluesy and gentle before soaring into a gritty climax, his version hit #1 in the UK and became iconic after Woodstock. Distinctive and powerful, it’s often remembered over the Beatles’ take, especially as The Wonder Years theme.

Me and Bobby McGee by Janis Joplin

anis Joplin’s 1971 “Me and Bobby McGee” transformed Roger Miller’s modest 1969 country hit into a rock standard. Recorded just before she died, Joplin’s emotional, bluesy vocals transformed the song’s yearning and release and sent it to #1 on the Billboard Hot 100. It became her most identifiable song, overshadowing previous versions by far in popular awareness.

Proud Mary by Ike & Tina Turner

Ike & Tina Turner’s 1971 cover of “Proud Mary” transformed Creedence Clearwater Revival’s 1969 rock hit into a dynamic showpiece. Beginning slow and soulful, it bursts into a high-energy funk-rock finale powered by Tina’s electrifying vocals and stage presence. Reaching the Top 5 and winning a Grammy, it became the most iconic version, overshadowing the original in pop culture.

Blinded by the Light by Manfred Mann’s Earth Band

Manfred Mann’s Earth Band made Bruce Springsteen’s 1973 folk-rock anthem “Blinded by the Light” into a 1976 prog-rock hit. With a catchy keyboard riff, high-gloss production, and famously incorrect lyrical recall, their version hit #1 on the Billboard Hot 100 in 1977. Upbeat and radio-acceptable, it’s the most popular version known to classic rock stalwarts, even outsampling Springsteen’s original.

Because the Night by Patti Smith

Patti Smith’s 1978 hit “Because the Night”, which she co-wrote with Bruce Springsteen, made an unreleased Springsteen song her signature tune. Recrafting the lyrics and giving it punk poetry and pop-rock hook, she hit #13 on Billboard’s Hot 100. By the time Springsteen’s version came out, his fervent version had become the definitive and most revered one.

Cum On Feel the Noize by Quiet Riot

With their 1983 cover of Slade’s 1973 British hit “Cum On Feel the Noize”, they introduced the track to American ears with a heavy metal sheen. With furious guitars and belted vocals from Kevin DuBrow, it reached #5 on the Billboard Hot 100, making it the first Top 5 U.S. pop single for a metal band and exceeding Slade’s original outside Britain.

Valerie by Mark Ronson feat. Amy Winehouse

Amy Winehouse and Mark Ronson’s 2007 cover of The Zutons’ 2006 track “Valerie” transformed the indie rock tune into a soulful Motown-inspired hit. With Winehouse’s rich vocals, lively horns, and a retro groove, it soared to #2 in the UK and gained heavy airplay. Today, her version is the one most listeners know, far outshining the original.

Torn by Natalie Imbruglia

Natalie Imbruglia’s 1997 hit single “Torn” made Ednaswap’s original from 1995 largely unknown. With its acoustic intro, emotional vocals, and bittersweet pop-rock sound, her recording became an international hit, at one time leading airplay charts in several countries. Dominating U.S. radio and MTV during 1998, it became a signature ’90s anthem and the ultimate version, directly supplanting the original.

I Fought the Law by The Clash

The Clash’s 1979 version of “I Fought the Law” gave the 1960 Sonny Curtis standard a punk sense of urgency. Refining the Bobby Fuller Four’s 1965 hit, they racheted up the speed, included screaming guitars, and provided defiant vocals from Joe Strummer. Although not a significant hit, it became an enduring punk standard, eclipsing other versions and establishing the song for future generations.

Mad World by Gary Jules

Gary Jules’ 2001 cover of Tears for Fears’ 1982 hit “Mad World” transformed it from upbeat new wave to a haunting piano ballad. Featured in Donnie Darko, his soft, mournful delivery gave the song new emotional depth. It reached #1 in the UK in 2003, and for many, this poignant version has become the definitive one, eclipsing the original.

Killing Me Softly by Fugees

The Fugees’ 1996 remix of Roberta Flack’s 1973 hit “Killing Me Softly” provided the old standard with an R&B/hip-hop makeover. Laced with Lauryn Hill’s soulful singing, Wyclef Jean’s trade-mark chanting, and an effortless, relaxed beat, it turned into an international hit, reaching number one charts around the globe and #2 in America. With massive appeal, it introduced the song to young listeners at a whole new level, overshadowing even the original in many listeners’ opinions.

Hound Dog by Elvis Presley

Elvis Presley’s 1956 version of “Hound Dog” made Big Mama Thornton’s 1952 R&B hit a rock ’n’ roll monument. By stripping and rephrasing lyrics, he infused rockabilly fervor, driving guitars, and his own hip-shaking stage show. A #1 hit for 11 weeks, it sold millions and became one of his signature tunes, dwarfing the original in popular awareness.

House of the Rising Sun by The Animals

The Animals’ 1964 version of “House of the Rising Sun” turned the old folk ballad into a global rock classic. With Alan Price’s haunting organ and Eric Burdon’s powerful vocals, their four-minute rendition defied pop norms and hit #1 worldwide. Its moody, bluesy arrangement became the definitive take, overshadowing earlier versions and cementing its place as a folk-rock milestone.

Smooth Criminal by Alien Ant Farm

Alien Ant Farm’s 2001 version of Michael Jackson’s 1987 chart-topper “Smooth Criminal” made the groovy original into a snappy, guitar-oriented rock song. Maintaining the melody and memorable “Annie, are you okay?” hook, they infused pop-punk vitality and an MJ-tributes-packed video fun fest. It reached U.S. modern rock charts, made it to Top 10 in the UK, and became an ultimate early-2000s cover hit.

Somewhere Over the Rainbow by Israel Kamakawiwo’ole

Israel “IZ” Kamakawiwo’ole’s soothing ’90s ukulele pastiche of “Somewhere Over the Rainbow/What a Wonderful World” placed his own mellow, sentimental stamp on the classic. In contrast to Judy Garland’s show-stopping 1939 original, IZ’s soft singing and subtle arrangement resonated deeply with people, spreading from movies, television, to commercials. Ultimately, it sold millions and became regarded as a modern standard, used as often at weddings as at funerals, almost overshadowing the original’s cultural impact.

Live and Let Die by Guns N’ Roses

Guns N’ Roses’ 1991 cover of Wings’ 1973 Bond theme “Live and Let Die” amped up the drama with heavy metal power. Axl Rose’s piercing vocals, Slash’s searing guitar, and explosive production turned it into a rock spectacle, complete with a pyrotechnic-filled MTV video. Reaching the Top 40 and earning a Grammy nod, it became the definitive rock version for many fans.

Always on My Mind by Pet Shop Boys

Pet Shop Boys’ 1987 version of “Always on My Mind” reinterpreted the country ballad as a bright synth-pop anthem. First done as an Elvis tribute, with its jaunty production, driving beat, and Neil Tennant’s emotional vocals, it hit a nerve. It reached number one in Britain for Christmas and cracked the U.S. Top 10, as the most well-known version among late-’80s listeners, even eclipsing the original’s international pop success.

Without You by Harry Nilsson

Harry Nilsson’s 1971 release of Badfinger’s 1970 track cut “Without You” turned an obscurity into a pop classic. With lush orchestral background and his yodeling, tearful vocals, Nilsson’s release soared to Number One on both the US and British charts and became the definitive version. So powerful his singing had been that it overshadowed that of the original, going on to spawn Mariah Carey’s hit recording.

Black Magic Woman by Santana

Santana’s 1970 version of Fleetwood Mac’s 1968 “Black Magic Woman” turned the blues-rock song into a Latin rock anthem. Merging it with “Gypsy Queen,” Santana infused it with seductive guitar lines, sumptuous percussion, and a sensual groove. Reaching Top 5 in the U.S., it became one of the band’s signature tracks, eclipsing Fleetwood Mac’s original and solidifying itself as the ultimate version.

I Shot the Sheriff by Eric Clapton

Eric Clapton’s 1974 cover of Bob Marley’s 1973 reggae hit “I Shot the Sheriff” introduced the song to the rock mainstream. Mellowing the reggae beat with a relaxed, bluesy tone, Clapton’s recording reached number one on Billboard’s Hot 100 chart and became his biggest hit. Clapton’s arrangement introduced many American listeners to Marley’s composition, eclipsing temporarily the reach of the original.

Piece of My Heart by Janis Joplin (Big Brother & The Holding Company)

Janis Joplin’s 1968 performance of “Piece of My Heart” with Big Brother & The Holding Company turned Erma Franklin’s 1967 R&B single into a rock classic. Her raspy, impassioned vocals and the band’s psychedelic blues edge made it an FM staple, reaching #12 on the Billboard charts. Joplin’s fiery rendition became her signature, eclipsing the original in lasting recognition.

Louie Louie by The Kingsmen

The Kingsmen’s 1963 cover of Richard Berry’s 1957 “Louie Louie” made a regional R&B hit into a garage rock classic. Recorded in one crude, mumbly session, it reached #2 on Billboard’s Hot 100 chart in 1964 and became infamous from an FBI investigation into obscenity. With their dirty energy and cultural significance, they supplanted Berry’s original, and they remain the definitive version.

Gloria by Laura Branigan

Laura Branigan’s 1982 recording of Umberto Tozzi’s 1979 Italian chart-topper “Gloria” made it an American power-pop anthem in the English language. With pulsing synths, frenetic beat, and her belt-it-out vocals, it climbed to #2 on the Billboard Hot 100 and became an international hit. Branigan’s recording became so legendary that many non-Italian listeners were unaware it was even a cover, overshadowing Tozzi’s original.

Bette Davis Eyes by Kim Carnes

Kim Carnes’ 1981 re-recording of Jackie DeShannon’s 1974 “Bette Davis Eyes” redefined the track with sleek synth-rock arrangements and her signature raspy singing. The reworking paid off, lasting nine weeks at #1 at the top of the Billboard Hot 100, winning two Grammys, and becoming an ’80s staple. Success eclipsed the original, forever locking Carnes’ version into pop legend.

The Tide Is High by Blondie

When Blondie reinterpreted Paragons’ 1967 rocksteady song “The Tide Is High” in 1980, they made an international Jamaican hit into an international pop hit. Maintaining its laid-back groove but supplementing it with brass and strings and commanding vocals from Debbie Harry, they made it #1 in the U.S. and U.K. Their bright, slick version made it the ultimate one, taking precedence even over the original globally.

Blue Suede Shoes by Elvis Presley

Elvis Presley’s dynamic 1956 recording of Carl Perkins’ “Blue Suede Shoes” further secured it as a rock ’n’ roll standard. Though Perkins’ original had been a pioneering success, reaching top slots on country, R&B, and pop charts, Elvis’s charisma, live performances, and network television broadcasts made it known to an even broader segment of the population. With time, many would come to link the anthem almost solely with Elvis.

Got My Mind Set on You by George Harrison

George Harrison’s 1987 re-recording of James Ray’s 1962 “I’ve Got My Mind Set on You” refashioned the song with slick ’80s rock arrangement, gentle vocals, and characteristic licks from his guitar. A track from Cloud Nine, it reached #1 on Billboard’s Hot 100 chart in 1988, one of Harrison’s biggest solo successes and one that surpassed even the original in mainstream awareness.

Mickey by Toni Basil

Toni Basil’s 1981 chart-topper “Mickey,” reinterpreted from Racey’s 1979 “Kitty,” transformed the bubblegum pop tune into an ’80s new wave phenomenon. Recasting it, giving it a catchy cheerleader chant, and pairing it with an indelible video, Basil made it #1 on Billboard’s Hot 100. Her remake became a global phenomenon, overtaking the original.

Beggin’ by Måneskin

Måneskin’s raw rock reinterpretation of Four Seasons’ 1967 hit “Beggin'” blew up worldwide in 2021, long after they had first sung it on X Factor Italia. With raw vocals, pulsing drums, and swaggering bass, it went viral on TikTok, reaching the Top 10 in several countries and entering the U.S. Hot 100, far eclipsing the original for today’s young people.

Last Kiss by Pearl Jam

Pearl Jam’s 1999 cover of J. Frank Wilson’s 1964 hit “Last Kiss” turned a ’60s teen tragedy ballad into their highest-charting single. Recorded as a charity release, the stripped-down version, led by Eddie Vedder’s heartfelt vocals, reached #2 on the Billboard Hot 100. Its success reintroduced the song to a new generation, overshadowing the original in modern pop culture.

Where Did You Sleep Last Night by Nirvana

Nirvana’s 1993 MTV Unplugged performance of “Where Did You Sleep Last Night” made the centuries-old folk-blues tune into a chilling cultural event. Bringing the set to a close, Kurt Cobain’s subdued begin built towards an unsettling ending howl that had a lasting effect. Released after his passing, it first introduced millions to the track, and Nirvana’s powerful performance became for many fans the definitive take.

Can’t Help Falling in Love by UB40

UB40’s 1993 pop-reggae re-recording of Elvis Presley’s 1961 hit “Can’t Help Falling in Love” provided the ballad with a sunny, island-style rehaul. Featured on the Sliver soundtrack, it hit number one on Billboard’s Hot 100 and charts globally, becoming a wedding and party staple of the ’90s. Due to its laid-back nature and universal appeal, it introduced the eternal tune to whole new generations, eclipsing even the original in terms of popularity.

A Hazy Shade of Winter by The Bangles

The Bangles’ 1987 cover of Simon & Garfunkel’s 1966 “A Hazy Shade of Winter” transformed the folk-rock tune into a hard-driving rock hit. With pounding drums, sharp guitar riffs, and tight harmonies, their version reached #2 on the Billboard Hot 100 in 1988. Its urgent energy introduced the song to a new generation and is often considered the definitive version.

Georgia on My Mind by Ray Charles

Ray Charles’s 1960 recording of the 1930 standard “Georgia on My Mind” made it a soul classic. Accompanied by piano with a bluesy essence and rich orchestration, his emotional performance sent it to #1 on Billboard’s Hot 100 and, in 1979, prompted Georgia to make it an official state song. His recording so overshadowed earlier versions that it became—and still is—the standard.

Mambo No. 5 by Lou Bega

Lou Bega’s 1999 hit “Mambo No. 5 (A Little Bit of…)” reimagined Dámaso Pérez Prado’s 1949 instrumental with cheeky lyrics and modern pop flair. Sampling the original’s infectious brass riff, Bega’s version became a global sensation, topping charts worldwide and hitting #3 in the U.S. Its massive popularity completely eclipsed the original, cementing this playful remake in pop culture history.

The Twist by Chubby Checker

Chubby Checker’s 1960 recording of Hank Ballard’s 1959 “The Twist” instigated a national dance mania. With neater production and catchy rock ’n’ roll vocals, it hit number one twice on Billboard’s Hot 100 chart—once in 1960 and again in 1962, to date an isolated feat.Checker’s track overshadowed the original by a considerable margin and became the identity of the dance as well as entering pop culture lore.

Mr. Tambourine Man by The Byrds

The Byrds’ 1965 cover of Bob Dylan’s “Mr. Tambourine Man” condensed the folk original into a tight, radio-friendly single. With jangly 12-string guitar, rich harmonies, and a polished folk-rock sound, it soared to #1 and helped launch the genre. Its popularity eclipsed Dylan’s version in airplay and public recognition, becoming the definitive take for many listeners.

I Love Rock ’n’ Roll by Joan Jett & The Blackhearts

Joan Jett & The Blackhearts’ 1981 cover of The Arrows’ 1975 “I Love Rock ’n’ Roll” turned a little-known glam rock track into an enduring anthem. With crunchy guitars, husky vocals, and pure attitude, it hit #1 on the Billboard Hot 100 for seven weeks in 1982. Its massive success and cultural impact completely eclipsed the original, making Jett’s version definitive.

La Bamba by Los Lobos

Los Lobos’ 1987 cover of Ritchie Valens’ 1958 rock ’n’ roll “La Bamba” brought the traditional Mexican folk song to unprecedented global fame. Recorded for the Valens biopic La Bamba, their version stayed true to his energetic style but added modern production and tight musicianship, reaching #1 on the Billboard Hot 100 and topping charts worldwide. While Valens introduced “La Bamba” to rock history, Los Lobos’ rendition became the definitive, most widely recognized version.

I Heard It Through the Grapevine by Marvin Gaye

Marvin Gaye’s 1968 version of “I Heard It Through the Grapevine” made an already successful Motown track into a perennial classic. Whilst Gladys Knight & The Pips first issued their energetic, gospel-influenced track in 1967, it was Gaye’s slower, moodier, and soulful reading that shot to #1 on Billboard’s Hot 100 for seven consecutive weeks, becoming Motown’s biggest hit during the period. His moodier delivery and somber arrangement made it the ultimate version, overshadowing the rest.