Covers Versions that are outrageously creative/inventive.

Use the "film" icon on the toolbar and just paste the youtube URL (not the iframe code) into that popup.

 

I got it working now. But thanks!

 

This version of ELO always comes to mind when I think about a cover outrageously creative.

 

Don't mention it. I like the song and forgot the sound effect was even there.

 

Talking Heads 'Take Me to the River'; '78 cover of Al Green's '74 original

 

deodato's cover of 'also sprach zarathustra' (2001 theme)

 

interesting what film is this?

 

An animated film called Kubo and the Two Strings...an interesting work that certainly looks nothing like a typical Disney/Pixar product....

 

Eleki band, Munutaka Inoue and His Sharp 5 with their surf interpretation of the classic koto and flute composition "Haru no Umi".



Here's a more traditional performance for comparison:

HaruNo Umi

 

A few of my favorite r&b female covers, slowing down the pace to heighten the drama compared to the original versions. I'll start with Margie Joseph's "Stop! In The Name Of Love." It's very difficult to remake a Motown classic and improve on it, but depending on the day I prefer this over the Supremes' version. I am sharing an edited version here. The original album version with the preceding rap is about three minutes longer.

 

A very humorous cover of what was originally "Go Away Little Girl," penned by Goffin-King and a top 20 hit three times in the '60s and '70s, reaching the top spot by both Donny Osmond and Steve Lawrence. In the hands of Marlena Shaw, who precedes the song with a rap called "Yu-Ma" and flips the gender to "Go Away Little Boy," the song transforms into something else entirely.

 

Maybe not as inventive compared to the original in terms of arrangement, but Nancy Wilson's vocals on "I've Never Been To Me" certainly make it something quite different than Charlene's original version.

 

Many people, including myself, are having trouble reconsiling the evolution of music over the past several decades, but I doubt few of us could imagine how older folks felt about the development of music in the late 50s and 60s. The love ballad "Blue Moon" was written in 1934 by Richard Rodgers and Lorenz Hart, and has been recorded by many performers throughout the years. It was in 1960 that it was adapted to the rock 'n' roll style by the doo-wop group called "The Marcels" that really set the pop world on its ear! It was radical for the time, and such that Rodgers personally took out ads in major news and entertainment publications urging people not to buy the record. He obviously hated the new rendition. You can't stop progress though and it topped the pop chart!

 

Regarding Rodgers, it was not a case of getting older: he had already expressed his "concern" in 1939 - aged 37 - in "I Like To Recognize The Tune" (lyrics by Hart).
I wonder if he ever commented on Elvis' version by the way (no mention in his autobiography IIRC).

 

The Beatles' Here Comes The Sun by Nina Simone
The Bellamy Brothers' Let Your Love Flow by Petra Haden
Bob Dylan's If You Gotta Go, Go Now by Lyme & Cybelle (Warren Zevon & Violet Santangelo)

 

Here's one that is truly dreadful!

 

I was pleasantly surprised by this:

 

Sometimes the original artist does that to the song, especially if they are just plain sick of the original:



... they'll play it on a ukulele as a mash-up with Wimoweh.

 

Pretty awesome and along with George one of the first to get a Moog....

 

The Gregory Brothers did a number of covers where they changed songs from major keys to minor (and vis versa):

 

It was mentioned on the first page, but it really needs to be linked to to convey it's full awesomeness. It's like Kate took a bet that she couldn't cover this song in a reggae beat, and she decided to not only do it but to use every most hated instrument - ukulele, Steinberger bass, Simmons drums, accordion, bagpipes - all on the same track.

 

TNK from 801 live

the segue is killer

Bill MacCormick takes over with the most funky bass improv
Simon Phillips goes lock set with him
Phil Manzanera in the buildup brings in guitar counterpoint

then a incredible nonchalant Eno vocal

Phil rips into a worthy solo

a whole different feel