5 Genre-Bending Covers

Cover songs are a time-honored and easy way to get an audience on your side. It’s no wonder then that up-and-coming bands will use them early in their careers to energize a crowd, and tribute bands continue to make their living producing faithful (if a little gauche) reproductions of classic musical canon. When done properly, though, a cover can breathe new life into an old tune and give a new meaning you might never have considered.

1. “Don’t Stop the Music” Jamie Cullum

Jamie Cullum is undoubtedly a jazz master judging by his faithful interpretations of the old standards. In this cover of Rihanna’s iconic hit, Cullum trades in the dance club for a jazz club, replacing the electronic backbeat with the classic piano, bass, and drum trio. The sensual core of the song is kept intact despite an overhauled arrangement, proving that a cover can keep the spirit of a song without doing a one-for-one recreation.

2. “Seven Nation Army” Ben l’Oncle Soul

This French soul artist does a lighthearted take on the White Stripes’ alt-rock anthem. The lyrics, originally accompanied by a sparse drumline and heavy guitar, sound right at home between a bright piano and playful horns. The vocals make a 180° flip from the high whine of Jack White to a more soulful delivery from Mr. l’Oncle Soul.

3. “Happy Together” Slothrust

It’s a horrible cliche, but ‘opposites attract’ does have some merit to it. Here, the modern basement-punk group, Slothrust, bangs and shreds through the gentle bandstand classic from 1967. Ambivalent vocals and angry instrumentals make the originally romantic theme sound sarcastic and insincere. To see Ed Sullivan’s face if this version of the song had been performed on his show — especially the final gravel-throated roaring from frontwoman Leah Wellbaum — would be amazing.

 4. “Reckoner” Gnarls Barkley

While it’s true this cover isn’t ‘genre-bending’ in terms of the arrangement of the song, it still has to be included. Most music listeners would never put Gnarls Barkely and Radiohead in the same musical camp, but after hearing Cee Lo Green’s performance, it seems as if the song could have been written for him. Whether it was Green himself or someone else, they deserve a trophy for making the connection. 

5. “No Diggity” Chet Faker

Chet Faker’s interpretation of Blackstreet’s pop R&B masterwork keeps only the lyrics and sense of style and makes the rest his own. What’s most striking about the difference is his approach to the vocals, as that’s one of the only things these songs have in common. When describing this woman, Blackstreet is self-assured in its description, whereas Faker sounds wistful as if the person in question is out of reach. The production from Nick Murphy, the man behind the stage name, is where he shows his confidence, with every kick of the bass and stroke of the key intentional and necessary.