5 Music Covers That Redefined Genres and 5 That Didn't Quite Hit the Mark

5 Music Covers That Redefined Genres & 5 That Didn't Quite Hit the Mark

Welcome to MsMojo, and today we’re counting down our picks for the covers that helped songs shine in an entirely new light, and those that didn’t quite have that same effect.

Didn’t Hit the Mark: “American Pie” (2000)
Madonna

There’s no doubt that she’s a stellar pop star and one of the industry’s biggest hitmakers. Unfortunately, that doesn’t mean her attempts outside her comfort zone have all been successful. When she covered Don McLean’s classic “American Pie,” she wasn’t quite able to recreate the magic of the original. His version is nostalgic and wistful, remembering stars that had lost their lives. Madonna’s dance rendition lacked that sentimentality. It was also missing several of the verses, practically butchering it in an effort to make it more radio friendly. Had she recorded it in its entirety, then it might’ve gone over better— but as it is, you’re left wondering why she decided to take it on.

Redefined Genres: “Respect” (1967)
Aretha Franklin

Considering how iconic her reinterpretation is, it’s shocking to learn that this song didn’t originally belong to the Queen of Soul. Otis Redding was the first to sing this number about demanding respect from those who refused to give it to him. Franklin took on the song a couple of years later, transforming it into a representation of second-wave feminism and equality. Aretha’s passionate vocals demanded respect from the listener, and she was given it in spades. While she kept the structure the same, she made small additions— such as spelling out the word respect— that helped it leave a new mark on listeners for generations. It quickly became her signature song, and helped her jumpstart a long lasting career.

Didn’t Hit the Mark: “Faith” (1998)
Limp Bizkit

George Michael’s voice was perfect for this upbeat tune, creating a bop that would remain beloved for generations to follow. But when Limp Bizkit covered it, they did so not because they respected it but as a way to grow their fanbase before the release of their debut album. Their adaptation starts out inoffensively enough, following the dynamic set by Michael. However, once the chorus hits, chaos strikes. It devolves into a nu metal massacre, with singer Fred Durst screaming the words at the top of his lungs. While it was certainly a new take, it was also abundantly clear that the combination didn’t work, demonstrating a mockery of a pop classic, rather than appreciation.

Redefined Genres: “Proud Mary” (1971)
Ike & Tina Turner

Creedence Clearwater Revival's take was great, but it’s undoubtedly more relaxed and groovy compared to the raw power of the cover. The Turners added a bit of soul that elevates the song to a whole new level. Tina found the sweet spot between subtle caressing and dynamic belting, creating the perfect balance between softness and pure power. Ike’s deep voice added the perfect amount of contrast in the beginning, keeping things soft before she kicked it into high gear. The result was an energetic and passionate record that roused crowds across the nation. Their interpretation has outlived the original at this point and became a pop culture phenomenon.

Didn’t Hit the Mark: “Spleen/Lucy in the Sky with Diamonds” (1968)
William Shatner

While this crossover already seems like one you’d see in a weird parody movie of life, it in fact happened in real life. Shatner decided to combine two things he enjoyed – theater and popular tunes – by releasing an album consisting of songs meshed with soliloquies mostly taken from classic literature. The most egregious misfire on this pretentious album is his take on the Beatles’ psychedelic classic, “Lucy in the Sky with Diamonds,” which takes self-indulgence to new heights. His theatrical retelling is beyond melodramatic, and ends up unintentionally hilarious. This album demonstrates why he found his success in television rather than music.

Redefined Genres: “Fast Car” (2023)
Luke Combs

Tracy Chapman managed to capture the anxieties of people across the nation with her hit about trying to hold on to hope for a better life while trapped in the cycle of poverty. The folk rock number was simple musically, with lyrics that cut straight to the heart. The simplicity was intentional, though – any changes to the melody would’ve taken from the message. Luke Combs knew this, and so he crafted his cover with just a few minor tweaks to give it a slight infusion of country twang. He left the words untouched, reintroducing the song to a new generation and audience, without changing what had made it so beloved in the first place.

Didn’t Hit the Mark: “Smells Like Teen Spirit” (1995)
Take That

Nirvana’s hit, one of the most beloved singles of the 1990s, is known for its effortless coolness. It seems like it would make it easy to remake — but some groups proved it was more challenging than it let on. Take That, a British band, tried their hand at the piece during a concert. They started off with cocky attitudes, and it was all downhill from there. The drums were completely off rhythm, the singer couldn’t find the notes, and the vibes were abysmal. It was the ultimate proof that just because someone can cover a song, doesn’t mean they should. Their rendition was the antithesis of grunge, and didn’t do much in helping them gain a new audience.

Redefined Genres: “I Will Always Love You” (1992)
Whitney Houston

Given how iconic the R&B version has become, it’s hard to believe this started out as a country ballad. Written and initially recorded by Dolly Parton, it was popular on the country charts, but didn’t crossover to pop audiences. That is, until it was taken on by the incomparable Whitney Houston, who recorded it for the soundtrack of her film, “The Bodyguard.” Houston conveyed the meaning beautifully, with the emotion coming through in each run. The final chorus alone has become a cultural moment of its own, showcasing Houston’s stellar vocals and unmatched presence. It revitalized the song, sending it straight to the top of the charts where it always belonged.

Didn’t Hit the Mark: “911 Is a Joke” (1995)
Duran Duran

We’re not sure what Duran Duran was thinking when they took on this track. In the original, Public Enemy focused on race relations in the United States, sarcastically pointing out how first responders seem to take longer to reach certain neighborhoods. It was an honest portrayal of the system at the time, pointing out the shared reality of countless citizens. So, who better to take on a reinterpretation than Duran Duran? Their attempt at rapping was valiant, but they couldn’t come close to Flavor Flav’s flow. They also played it straight, causing them to lose the nuance found in “911 Is a Joke.” It came across like them simply wanting to cover a hip-hop track without first looking into why it was so popular.

Redefined Genres: “Hurt” (2003)
Johnny Cash

The original was already despondent enough, chronicling the self-loathing thoughts of an addict at the end of his proverbial rope. The discordant tones and Reznor’s pained vocals were bleak yet entrancing. With all of that in mind, it’s incredible that Johnny Cash somehow made it darker. He interpreted the piece through his own lens, of a man who lived a full life and was coming to terms with everything he’d done. He transformed the alternative song into a country dirge, making it sound even more melancholy and more gut-wrenchingly poignant than its predecessor. Even Reznor himself has conceded that “Hurt” was no longer his — and it’s easy to see why.

Which cover do you think had the biggest impact on pop culture? Let us know in the comments below.