Cover Story: Musical Chairs: 5 Covers with Shifting Genres
Original interpretations get a seat on this list.
Written by Audrey Kendrick
Photo courtesy of Ingrid Pop
Genres are the fonts of music. Choosing one over the other can change the perceptions surrounding a piece and its written or instrumental components. Each person has a preference, their go-to. Likewise, listeners each hold an opinion on which genre is the one they love to hate, in other words, their Comic Sans. Parallel to the influence of a selected font on the reception of its content, a song’s message is directly related to its style, energy, and instrumentation. Thankfully, one singular vision doesn’t need to be kept — a song can try a new script. Pop, rap, alt, R&B, rock, funk, and the ever-evolving mixes of music create a unique space for expression and contradiction. Human intrigue welcomes and applauds opposites, such as the curiosity of remixing two different artists like Tyler the Creator and Gorillaz, or the out-of-place but oh-so-right medieval interpretations of chart-topping hits. So, when artists are inspired by songs uncharacteristic of their work, there is an opportunity to make something magical. The new creation of a song complementing two dimensions or developing a separate unique context is achieved by few artists, including these:
Stevie Wonder — “We Can Work It Out”
(The Beatles Cover)
Revamping the folk-rock nature of The Beatles’ “We Can Work It Out,” Stevie Wonder’s cover feels noticeably different within the first few seconds. Flittered with subtle electric guitar riffs and harmonica solos, Wonder’s interpretation is equally, if not more, expressive. A livelier take on the melodic and subdued original, this cover is a deep groove with constant exclamations that connect the major-minor duality of the song. Reinterpretations between British rock bands and American soul artists of the 60s and 70s was not uncommon, with Otis Redding making his mark on The Rolling Stones’ “(I Can’t Get No) Satisfaction,” and The Beatles themselves reinterpreting Ray Charles, Solomon Bradley, and The Isley Brothers. However, even alongside these many adaptations from some of rock and soul’s biggest names, Stevie’s cover stands out as a track that thoroughly rearranges the song’s structure and mood.
Arctic Monkeys — “Hold On We’re Going Home” (Drake cover)
With an interpretation of one of Drake’s biggest hits, the Arctic Monkeys bring their signature trailing bassline to help bridge their indie rock world with hip hop/R&B. The cover capitalizes on the laid-back yet engaging retro sound that makes the indie band popular. Emphasizing the extra beat in between each high hat but not changing the overall tempo, the song’s sense of time is pulled back by an old fashioned drum loop. The echoey, nostalgic vocal style of lead singer Alex Turner contributes to the differently dated feel. Whereas the first one is reminiscent of pulling up to home in 2010s Maserati Quattroporte, the Monkey’s take is more similar to parking a 1960s Lincoln Continental in the driveway. Keeping the sincerely catchy upbeat tempo, it’s a playful rework that gives a nod to how just a few instruments and a tone of voice can move a song into a different era and personality.
Toots and the Maytals — “Take Me Home Country Roads” (John Denver Cover)
Appreciation for the natural beauty of the world can be universal, from the ranges across the West Virginia Appalachia to West Jamaican blues. Both takes on this anthem perfectly capture a free spirit feeling in their own respect. The cover’s Jamaican blues style embraces an organic, comforting tone just as the original country folk version did. Instead of changing the message, The Toots and the Maytals alter the context, introducing a sound that aligns with their individual experiences. The band makes new harmonies of a sentimental song meant for anyone that feels a sense of home in the nature surrounding a winding rural road.
Roman GianArthur feat. Janelle Monae — “No Surprises” (Radiohead Cover)
Having stripped away some of the alt-rock harshness, Roman GianArthur’s intro builds off the original music box feel and turns the nightmare into a daydream. The uneasy mood reverses into comfort with the supporting additions of piano, violin, and singsong vocals. Roman GianArthur builds the lyrical story to exist in a different, almost more welcoming place. With R&B riffs moving alongside the somber, mellow guitar solo, the cover goes against its song’s name and is a surprise how well it fits together.
Superorganism — “Congratulations”
(Post Malone and MGMT Cover)
Covering another style is ambitious. Covering two differently styled songs at once while also adding in your own flair — even more so. Superorganism brings their characteristic fresh and youthful style to the 2017 rap summer hit featuring Quavo and the title track of an electronic indie band’s Sophomore experimental project. The British band has a weirdly specific vision for the two tracks. Their intro includes words spoken by Jack Black himself, taken from the movie “School of Rock.” The song is layered with sounds of synth, sampler, wooden flute, rolled suitcase, apple, and fitting items like champagne glasses and party poppers. These unexpected elements create a homemade energy that is also cohesive. Finding just the right level of niche, this cover earns respect for not just mashing but seamlessly melding two songs whose only thing in common is a title.
Honorable Mentions:
Lake Street Dive - “Rich Girl” (Hall and Oates Cover), Kali Uchis - “Creep” (Radiohead Cover), Ryan Adams - “Welcome to New York” (Taylor Swift Cover), Childish Gambino - “Lost In You” (Chris Gaines Cover), Matt Duncan - “Everlong” (Foo Fighters Cover),“ Talking Heads - “Take Me To the River” (Al Green Cover), The Marías - “...Baby One More Time” (Britney Spears Cover), Ritt Momney - “Put Your Records On” (Corinne Bailey Rae Cover), Cage the Elephant - “Whole Wide World” (The Monkees Cover), Glass Animals - “Heart-Shaped Box” (Nirvana Cover).
The way a song’s message is received is variable and partly influenced by its genre, similar to the effect of fonts on text. Unlike deciding whether to use Arial or Times New Roman, crossing genres is not meant to be a safe decision. It rewards experimentation and the creativity of the human spirit that is not only aware of but can relate to a different experience. Shifting genres takes both an understanding of the original song’s intention and a self-awareness to illustrate a personal perspective of what a track could become. Versions of the same song in different styles serve as examples of the universality of music and its ability to reflect certain personal experiences, entertaining unique concepts that result in more art.
This article was added to Cover Story after its publication, upon the creation of the Cover Story series.