Cover songs can be a hot topic at just about any given time. We recently got to hear a somewhat underwhelming OneRepublic cover by Faith Hill, which Kevin recently reviewed. Other recent attempts include Sara Evans’ pop-country reworking of Rod Stewart’s “My Heart Can’t Tell You No,” as well as last year’s polarizing Beyoncé cover by Reba McEntire.
Since cover songs are so much fun to talk about, I thought I’d weigh in on a few well-known cover songs from the past few years – the good ones, as well as a few that we would rather forget. My criteria is simple: A good cover song should bring something new to the table, and the song should be treated in a way that is well-suited to the artist as well as the genre. This list focuses specifically on country covers of non-country songs.
Click the original artists’ names in parentheses to hear the original versions.
Rosanne Cash, “I Don’t Want to Spoil the Party” (The Beatles)
1989 | #1
Where it goes right: Rosanne’s last career hit was a cover from a Beatles tribute album, and it didn’t sound quite like one might expect. Though rarely one to use overt country instrumentation throughout most of her career, she delivers a brisk, upbeat take that’s layered in fiddling. I’ll take it!
Mark Chesnutt, “I Don’t Want to Miss a Thing” (Aerosmith)
1998 | #1
Where it goes wrong: It’s hard to imagine a worse pairing between song and performer. Mark Chesnutt, the revered neotraditionalist behind “Too Cold at Home” and “Going Through the Big D” covering a rock power ballad? It’s true – complete with apologetic steel guitar fills and a vocal smothered in autotune. The end result is so cheesy that you might as well slap it between two crackers. The fact that this is the top Mark Chesnutt iTunes download is very very sad.
Dixie Chicks, “Landslide” (Fleetwood Mac)
2002 | #2
Where it goes right: The Chicks give a well-known Fleetwood Mac favorite a stripped-down bluegrass treatment, which is a great fit for the nature-related imagery in the song’s lyrics. The Chicks elevate the song further with their gorgeous harmonies. As much as I love Fleetwood Mac, I have to say that this version tops the original. It’s one of the best cover songs I’ve ever heard, and one of the Dixie Chicks’ personal best moments, of which there have been many.
Sara Evans, “I Could Not Ask for More” (Edwin McCain)
2001 | #2
Where it goes right: Evans delivers a stunning and powerful vocal performance that holds nothing back whatsoever.
Where it goes wrong: The arrangement is a bit syrupy, and it’s essentially a pop cover of a pop song. Is a little fiddle or steel too much to ask for?
Where it goes right: The fact that Hill was unfamiliar with the Franklin and Joplin versions is telling. You can easily tell that she is making no attempt to emulate the style of another artist, instead giving a performance totally her own, while the songs’s melody fits well with the countrified arrangement.
Where it goes wrong: Again, the fact that Hill was unfamiliar with the previous versions is telling. Her performance lacks the fire and fury of Joplin’s version, which makes it easy to see why one might consider Hill’s performance to be a bit too sugary.
Alison Krauss, “Baby, Now That I’ve Found You” (The Foundations)
1995 | #49
Where it goes right: Krauss takes a forgettable Motown tune, and delivers a slowed-down mid-tempo version that much more deeply accentuates the emotions conveyed in the lyrics. In contrast, the original sounded like one big party, which is an ill-fitting treatment of a song about trying to stop one’s lover from leaving. The track is made all the more sweeter by Kruass’ angelic vocals, and by the expert instrumental backup of Union Station. The song went on to win Krauss a well-deserved Grammy for Best Female Country Vocal Performance.
Reba McEntire, “Cathy’s Clown” (Everly Brothers)
1989 | #1
Where it goes right: It’s extremely effective as a reinterpretation, as McEntire slows the song down to an emotional ballad, and tweaks the lyrics to fit her feminine perspective. Did I mention that she also gives a mighty fine vocal performance?
Where it goes wrong: The production is a bit watered-down, which was not unusual for Reba’s late eighties and early nineties output.
Pam Tillis, “When You Walk In the Room” (Jackie DeShannon)
1994 | #2
Where it goes right: Tillis could hardly have chosen a better song to countrify, as the lyric about a nervous encounter with an old flame fits right in with classic country music. She even tweaked the instrumental opening so as to be better suited for the steel guitar, which demonstrates her strong commitment to the country genre.
Travis Tritt, “Take It Easy” (The Eagles)
1994 | #21
Where it goes right: The Eagles were about the countriest rock band you’d ever meet, and did a great deal to influence the evolution of country sounds and styles, so they were a fitting candidate for an all-country tribute album. The centerpiece of the collection was honky-tonker Travis Tritt’s version of “Take It Easy” – an energetic performance that had even more body than the original, but that still felt reverent toward the legendary group’s classic version.
Conway Twitty, “The Rose” (Bette Midler)
1983 | #1
Where it goes right: Nowhere.
Where it goes wrong: Everywhere. (Can you say bad karaoke?)
Jimmy Wayne, “Sara Smile” (Hall and Oates)
2009 | #31
Where it goes wrong: To put it simply… reinterpreting a song does not mean simply “adding a banjo line.” The fact that Hall and Oates even sing background vocals on this track only adds to the overall feeling of pointlessness.
Mark Wills, “Back at One” (Brian McKnight)
1999 | #2
Where it goes wrong: If it made for an awfully cheesy pop song in the hands of Brian McKnight, it made a flat-out terrible country song when Mark Wills covered it a mere two months after the release of the McKnight version. It’s a record characterized by superfluous genre-pandering steel guitar fills, and a lead vocal that sounds more occupied with grooving to the beat than making any sort of emotional connection. The song peaked at #2, and then Wills tackled a Brandy song immediately afterwards. Seriously, dude?
Dwight Yoakam, “Suspicious Minds” (Elvis Presley)
1992 | #35
Where it goes right: Covering an Elvis song is a tall order, to say the least. The fact that Yoakam’s version rivals the original, with its contemporized arrangement and knockout lead vocal, is hardly a small feat.
What’s your take on these tunes? What are your favorite cover songs? What are your least favorite cover songs?