Here is a list of five covers we think everyone should listen to.
Our first pick is not necessarily a cover, but a reworking of Miley Cyrus’ “Midnight Sky” to include the chorus and second verse of Stevie Nicks’ 1981 hit, “Edge of Seventeen.”
What is undeniable is that this song is a banger and it would be a crime not to include it here.
The driving beat of “Midnight Sky” combines with the iconic, triumphant chorus of “Edge of Seventeen” in such a natural way, as if these songs are related.
Combining it with “Midnight Sky” makes the themes of “Edge of Seventeen” more accessible by recontextualizing Nicks’s more obscure lyrics.
Both songs describe the explosion of energy that comes when one phase of life ends and another begins, “just like the white-winged dove” flying “up in the clouds.”
“The dove became exciting and sad and tragic and incredibly dramatic,” Nicks said in a video commentary about “Edge of Seventeen.”
Cyrus is no stranger to a cover, but we think “Edge of Midnight” showcases her artistry the best.
Fiona Apple covered the Beatles’ “Across the Universe” for the 1998 film “Pleasantville.” We have not seen the movie, but this has become our favorite version of the song.
Apple floats through the lyrics at a slower tempo than the Beatles’, making the lyrics more digestible. Her soft vocals also bring a more chill vibe compared to the acid-rock original.
The instrumentals are clearer in Apple’s cover. In the Beatles’ version, there are more synth sounds that drone on at the end of the song. The acoustic guitar in Apple’s version reflects the riffs of the original but is a fresh, romantic take on the Beatles’ version.
Apple’s voice fits the song’s lyrics and cadence exceedingly well in comparison to John Lennon’s voice.
Beyoncé’s “COWBOY CARTER” effortlessly cemented itself as a 2024 album of the year, and one of its most iconic tracks is her cover of Dolly Parton’s “Jolene.”
Like “Edge of Midnight,” “JOLENE” is not a true cover. Beyoncé reworked the lyrics to fit her own narrative, but we think that constitutes musical genius.
In the original, Parton is pleading with Jolene not to steal her husband from her. In the cover, Beyoncé is on the offensive — “I’m warning you, don’t come for my man.”
“Beyoncé’s rendition sees the protagonist know her worth and warn the other woman that the bond between Beyoncé and her man is too strong to be broken,” the song’s Genius page reads.
This theme hits hard if you are familiar with the lore of Jay-Z cheating on Beyoncé. In that light, this song feels multidimensional, a retrospective of what Beyoncé felt in the worst moments of this situation as well as a prideful anthem of her resilience.
“JOLENE” and “COWBOY CARTER” as a whole make cultural waves through their reclamation of country as a Black music genre. The bouncing guitar melody is a natural fit with Beyoncé’s twangy, soulful voice and the call-and-response outro, showcasing the very best of Black music (of which Beyoncé is a vanguard).
Phoebe Bridgers took dad rock and made it sad-girl music reminiscent of a Billie Eilish song in this cover of “Nothing Else Matters.”
“I feel like my version almost sounds Baroque,” Bridgers said in an interview with Zane Lowe on Apple Music. Bridgers’ cover is artful and somber.
Bridgers’ delicate approach, with piano and sad vocals, brings more attention to the lyrics of the Metallica song. The new clarity of the lyrics helps the audience hear the song in a different light.
Bridgers covering a mournful version of a song about staying true to yourself mirrors her discography almost perfectly. If you are a fan of sad-girl music, you will definitely like this cover.
All-female punk rock band The Butchies reimagine the baseball stadium 80’s anthem “Your Love” by The Outfield in this slow, tender, gay love ballad rife with yearning.
Lead singer Kaia Wilson’s whispering vocals hint at the illicit nature of this affair as if she is singing to a secret lover while her one-foot-out-the-door partner of who knows how long is away. Where the original lacks, this cover adds heat and sensuality to the song.
The original, on the other hand, is a power-pop anthem that clashes with vocalist Tony Lewis’ wish to “keep it undercover.”
That is not to say the original is bad — it would not be a hit if it was. We will even admit that The Butchies’ version made us want to crank the original. Still, The Butchies spun it in such a unique, beautifully gay way that cements it as a cover worth listening to.
Honorable mentions
Miley Cyrus is the queen of covers. It would be a crime not to mention a few more of her many great cover versions.
A few more notable covers from Cyrus are “Psycho Killer”, “Zombie”, “Heart of Glass” and “Wrecking Ball x Nothing Compares 2 U.” Cyrus lifts every cover with an impeccable amount of energy and a rock n’ roll voice rasp.
Hayley Williams’ voice in Paramore’s cover of “Burning Down The House” for the Talking Heads tribute album “Stop Making Sense” adds power and singability to the original song.
Finally, we need to mention “Crimson & Clover” by Joan Jett. This is a well-known cover, but Jett’s rock twist to the song is epic and worth a listen if you have not heard it already.