25 cover songs that are better than the originals

This Rolling Stones deep cut can be found near the end of 1967's Between the Buttons album. However, for fans of popular 1980s teen romantic drama/comedies, it should be remembered for this cover used in 1987's Some Kind of Wonderful. Lea Thompson played the character of Amanda Jones, an attractive middle-class girl who is dating the most popular boy in school, while also serving as the object of an outcast classmate's affection. The March Violets were a post-punk British rock outfit that is essentially known for this cover, if at all. Notably, both versions of the song are featured in the movie, and we actually prefer the updated take.

Comedian Eddie Murphy's attempt at being a crossover star didn't really pan out, but "Party All the Time" somehow reached No. 2 on the Billboard Hot 100 in the United States during the mid-1980s. In the years that have followed, various versions and remixes of the tune have been recorded, but one of the more creative comes from this underrated, progressively alternative ska outfit Young Costello. The horns and calypso-vibe of this cover conjures up images of sitting in a smoky lounge and happening upon a hidden gem that we can't stop talking about. 

Word on the street was that Kevin Parker, of Tame Impala fame, was pleased with this version of the Grammy-nominated album Currents closer "New Person, Same Old Mistakes." In this case, Rihanna took a small liberty with the title, but made it her own as included on 2016's Anti. Though, when we listen to the two one after the other, she definitely keeps the general vibe of the tune, but we tend to like the way hers flows just a little bit better. There are times when a cover isn't much different from the original, but subtly delivers a stronger performance. That's the case here.

Adele won't be the first artist highlighted on this list for covering a Bob Dylan song, and she certainly wasn't the first notable musician to cover this particular Dylan track, which can be found on his 1997 album Time Out of Mind. It's the only cover found on her exceptional debut release 19. As legend has it, Adele didn't want a cover tune on the record, but was onboard once she heard this particular piece. She definitely delivers the goods on a track that has a more soulful and emotional feel than Dylan's original.

Consider Lana Del Rey's cover of this Sublime favorite an homage to the Southern California ska punks, and, as she told Rolling Stone, the "SoCal vibe" in general. Del Rey has long been a fan of Sublime, and released her cover of "Doin’ Time," from the group's self-titled third studio album, at the same time a documentary about the band was released. As is the case with many of the songs on this list, Del Rey's cover, which features her sultry, steaming tone, introduced the song and Sublime to a new generation of fans, even though it did not crack the Top 40.

Under the category of "Northern Soul," "Tainted Love" first earned a modest level of prominence during the 1960s, when American singer/songwriter Gloria Jones recorded the Ed Cobb-penned track. However, it was English synth duo Soft Cell that made it an international hit (which topped out at at No. 8 on the Billboard Hot 100 in the United States) in the early '80s. Various versions of the Soft Cell take were released, including the stellar near-nine-minute dance version, which also featured a cover of the Supremes' "Where Did Our Love Go."

The Zutons are an indie rock group from England that most casual rock fans might not be familiar with, and "Valerie" was included on its second studio album from 2006. A year later, Ronson, with Winehouse on vocals, put together a jazzier take on the song for his studio release Version. Winehouse also recorded a more blues-driven version of the song that can be found on the deluxe edition of her stellar Back to Black LP. Both covers featuring Winehouse were highly praised by critics, and proved she was a musical force to be reckoned with until her 2011 death. 

Originally written by Sonny Curtis of the Crickets, who recorded the original version of the song in 1960, and truly celebrated via the Bobby Fuller Four's 1965 cover, "I Fought the Law" is considered one of the greatest rock and roll songs of all time. It certainly helped The Clash gain attention in the U.S., when its version was included on the American version of its eponymous debut album from late 1979. Now, the Clash were so much more than this mainstream cover, but it essentially opened the door for the world to hear what would become punk rock greatness, and a legacy that's still strong as ever.

Johnny Cash's career revival during the 1990s was his take on popular songs over the recent past, thus widening his fan base, and even re-introducing himself to older supporters who might have abandoned him. "Rusty Cage" was a big part of Cash's late-career success. His version of this Soundgarden favorite is undeniably country, yet powerful, and classic Cash, in all his spoken-word best. Cash earned a Best Male Country Vocal Performance Grammy Award nomination for "Rusty Cage," and the album it's found on, Unchained, won the Grammy for Best Country Album.

Journey's "Separate Ways" is one of the great guilty pleasure songs of all time, not to mention one unlikely musical collaboration that worked. And, the cheesy, totally '80s music video only reinforces the fact. However, this menacing version churned out by Chris Daughtry and Co, featuring aggressively awesome pipes of Halestorm singer Lzzy Hale, is brilliant on many levels. It's heavier, darker and filled with the kind of bombast that makes us forget just how aggressive this song could be — minus all the pop polish that was a staple of mainstream '80s arena rock. Thankfully, Daughtry and Hale didn't mess with the track's trademark synthesizer work.

Neil Diamond's music catalog has consistently been ripe for cover material. The Monkees' had a hit with his "I'm Believer," and it can certainly be argued that UB40's most recognizable tune is its cover of this 1967 Diamond favorite. The veteran English group added some horns and its customary reggae flare to their version that went all the way to No. 1 on Billboard's Hot 100 and found some love on MTV during the early 1980s. Like other songs on this list, there are plenty of casual music fans who don't realize this is actually a cover version. 

Yes, "Proud Mary" was a certified hit for Creedence Clearwater Revival, reaching No. 2 on the Billboard Hot 100. However, one listen to the version by the Turners, which was all Tina, made even better live, is quite legendary. The then-husband-and-wife duo released theirs two years after the CCR original, and it peaked at No. 4 on the Hot 100, then won a Grammy Award for Best R&B Vocal Performance by a Group. An almost musical roller coaster of a version, and blues'ed to the hilt, starting slow, building up to steady. Then the horns and drums kicked in, and Tina got going for a rollicking good time.

It might be interesting for some to learn that it was the British rock group the Arrows who wrote and originally recorded "I Love Rock 'n' Roll" in 1975. According to legend, Jett saw the band perform the song not too long after, and began covering it during her live sets. When it came time for Jett to release her second studio in 1981, she not only included her version of the tune, but named the record after the track. It went on to be an anthem for Jett, reaching No. 1 on the Billboard Hot 100, and has been the song that defined her solo legacy.

No offense to the Arthur Louis/Eric Clapton reggae-laden take of this Bob Dylan classic (from 1973), but for fans who like their music loud and intense, then the G N' R version still stands the test of time quite well. Axl Rose and Co. were playing the song live well before it appeared in studio form on 1991's Use Your Illusion II. However, for a truly special take on the tune, check out Guns N' Roses' exceptional live performance of the song from the Freddie Mercury Tribute Concert in 1992. Regardless which Guns version one fancies, Slash's guitar work remains the highlight.

Yes, England's Slade had a No. 1 hit in the United Kingdom with "Cūm On Feel the Noize" in 1973. But, internationally, it can be argued that this amped-up, hard-rocking Quiet Riot effort, released 10 years later, remains the most recognizable version of the campy tune. Quiet Riot's cover reached No. 5 on Billboard's Hot 100, earned gold status, and the video was an MTV staple. It also helped the band's Metal Health release become the first heavy metal album to top the Billboard 200 in the United States. Now, for those who enjoy the Slade original, give a listen to Oasis' take, which is also quite good. 

So, how many people actually knew that Cyndi Lauper's breakout song, and feel-good anthem of female empowerment, from the 1980s was a cover? Probably not many. Lauper released her iconic version some four years after little-known American singer-songwriter Robert Hazard put out a more new-wave original. However, when it comes to special, mainstream musical movements of the 1980s, Lauper's "Girls Just Want to Have Fun" was everywhere, from radio to MTV to trendsetting fashion. Thankfully for Lauper, she proved to be more than a one-hit wonder, while Hazard's career remained in obscurity.

"Killing Me Softly with His Song" has quite the history. The team of American songwriters Charles Fox and Norman Gimbel wrote the piece that appeared on Lori Lieberman's 1972 album. Then, more notably, Roberta Flack had a No. 1 hit with her 1973 cover. Yet, the best of bunch still might be that of the Fugees, comprised of Lauryn Hill, Wyclef Jean and Pras. That version, titled "Killing Me Softly," offered a more contemporary feel. The innovative hip hop vibe, complete with Hill's dynamic vocals, the Fugees' take topped the charts in 20 countries and won the Grammy for Best R&B Performance by a Duo or Group with Vocal.

Obviously, it's nothing strange for an artist's debut single to be a major hit. In certain cases, it might be a truly special musical moment. That's certainly how things seemed to play out for Jones, who earned a Top 40 hit and three Grammy Awards (Record of the Year, Song of the Year, and Best Female Pop Vocal) with her crooning cover of this Jesse Harris tune that was originally released in 1999. Jones' jazzy-pop rendition of the song showcased what was truly a singer ready to break out, even before most knew anything about her. While Jones has long been a critical favorite, she's never enjoyed the level of success with any other song released.

It's hard to keep track of just how many musical artists have covered or performed this legendary Leonard Cohen piece from 1984. However, Buckley's version from 1994's Grace album, arguably is the most renowned. A critical success, Buckley's haunting presence, both with his guitar and vocals, is mesmerizing to the ears. It's like listening to musical greatness being born in real time. Running nearly seven minutes, Buckley's performance of "Hallelujah" was one of those moments where music and lyrics had feel. It's also a subtle reminder of what could have been when revisiting an artist gone well before his time. 

More from the Bob Dylan catalog, and perhaps the tune most associated with the Byrds. Dylan's original acoustic version can be found on Bringing It All Back Home, released in March 1965, in acoustic form. A month later as the title track of its debut album, the Byrds delivered this electric, pop-folk version, which made it all the way to the top of the Billboard Hot 100. This version obviously enjoyed more mainstream success than Dylan's original, and proved highly influential in terms of blending folk music, with an element of pop, that reached many more widespread ears.

Dolly Parton earned country success with her original recording from the first half of the 1970s, and there's no denying how special that version is to many. However, Houston's cover for 1992's The Bodyguard, which she starred in as her film debut, was a mainstream juggernaut. In addition to being an example of pop perfection, it introduced a new generation of fans to Parton's music. Houston's version won Grammys for Record of the Year and Best Pop Vocal Performance, Female and six Billboard Music Awards. It went No. 1 in roughly 25 countries and just might be the definitive recorded moment of Houston's legacy.

Cocker's soulful take on the Beatles' “With a Little Help from My Friends," essentially made the raspy-voiced howler a household name. It was the title of his debut album, and Cocker's version of the song was a No. 1 single in the United Kingdom. Though he would go on to earn consistent success (like winning a Grammy with Jennifer Warnes for their duet on "Up Where We Belong"), this cover still remains the defining moment on Cocker's musical legacy. And, who can forget his afternoon performance of the tune at Woodstock? It helped make Cocker a star, and the song seem like something of his own. 

O'Connor became a household name on the mainstream pop scene with her performance of this Prince-penned heartbreak ballad about a jilted lover unsuccessfully trying to move on from being dumped. The poignantly powerful music video, where the crew-cutted O'Connor sheds some tears, only added to the song's emotional impact. Prince wrote the song for a side project known as The Family, and it can be found on that group's first project from 1985. Yet, "Nothing Compares 2 U" will always be associated with O'Connor, and remains the high point of her career. For those who can't get enough of the tune, in general, experience Chris Cornell's brilliant take. 

Professional music critics and die-hard Bob Dylan fans often regard Hendrix's version of this rock classic as arguably the best cover of any track in the folk legend's vast and legendary catalog. Even within Hendrix's stable of memorable and beloved tunes, his take on "All Along the Watchtower" is widely regarded as some of his best work, perhaps because Hendrix was quite enamored with Dylan's music and delved into its brilliance. Found on 1968's Electric Ladyland and released six month after Dylan put out his original, this take features another expectational guitar performance for the legendary entertainer. 

While Otis Redding enjoyed success with this song that he wrote and first recorded in 1965, it was Franklin who made "Respect" an anthem — not just for herself, but women everywhere — when she souled it up with a reworked version two years later. When comparing the two, there are noticeable differences, though both are up-tempo. Each is told from different gender points of view. However, Franklin's is empowering, with her background singers adding to the bombast and overall vocal aggressiveness that made men — and women — absolutely listen to what the "Queen of Soul" was preaching. It was a defining moment, not just for Franklin, but the pop music world, that still resonates today.