20 Songs You Might Not Know Were Covers

When a song becomes popular, sometimes people forget (or are unaware) that the new hit actually originated with another artist. The popular cover might be ahead of its time or re-arranged with a fresher, more modern take, but somehow it managed to find a bigger audience than the original. 

1. “Torn” — Natalie Imbruglia (1997) // Ednaswap (1995)

The Cover

The Original

In 1997, pop star Natalie Imbruglia’s “Torn” was a No. 1 hit throughout Europe, the United States, and her native Australia. But the song was first performed and recorded by Los Angeles-based alternative band Ednaswap for their 1995 self-titled debut.

A number of recording artists throughout the years have covered the song, but Imbruglia’s version is the most successful and popular iteration of the hit single, and it earned her a Grammy nomination for Best Female Pop Vocal Performance.

2. “Don’t Turn Around” — Ace of Base (1994) // Tina Turner (1986)

The Cover

The Original

Swedish pop group Ace of Base released a hit single titled “Don’t Turn Around” in 1994. The song reached the #4 spot on the Billboard Hot 100 and was the pop group’s third hit song after “All That She Wants” and “The Sign.” Songwriters Diane Warren and Albert Hammond (of “It Never Rains in Southern California” fame) originally wrote “Don’t Turn Around” for Tina Turner and were disappointed when the record label relegated it to the B-side of the single “Typical Man” in 1986.

Neil Diamond also covered the song in 1992, but Ace of Base’s version is the most popular.

3. “Girls Just Want To Have Fun” — Cyndi Lauper (1983) // Robert Hazard (1979)

The Cover

The Original

Cyndi Lauper’s first hit single as a solo artist, “Girls Just Want To Have Fun,” reached the No. 2 spot on the Billboard Hot 100 in 1983. Lauper was nominated for two Grammys for the song, including Record of the Year and Best Female Pop Performance. Self-proclaimed Country-Western fan Robert Hazard originally wrote and recorded “Girls Just Want To Have Fun” as a demo for his band Robert Hazard and the Heroes in 1979. (Hazard never released his version, though.)

4. “Tainted Love" — Soft Cell (1981) // Gloria Jones (1965)

The Cover

The Original

In 1965, American singer Gloria Jones recorded the original version of “Tainted Love” as the B-side to the single “My Bad Boy’s Comin’ Home.” The song was a commercial failure, but gained a small cult following in underground British nightclubs in the late '70s. English synth-pop duo Soft Cell recorded a modern version of “Tainted Love” in 1981. Soft Cell’s version was a No. 1 hit in eight countries, while it reached the No. 8 spot in the United States in 1982.

5. “Respect” — Aretha Franklin (1967) // Otis Redding (1965)

The Cover

The Original

In 1965, Otis Redding wrote and recorded the song “Respect." Two years later, R&B singer Aretha Franklin popularized it, and the song became her signature. Both versions have the similar lyrics (though Franklin's added the "R-E-S-P-E-C-T" chorus to the song), but Franklin’s invokes female empowerment while Redding’s is a euphemism for sex. 

6. “I Love Rock 'n' Roll” — Joan Jett and the Blackhearts (1981) // Arrows (1975)

The Cover

The Original

Alan Merrill and Jake Hooker—the frontmen of the British rock band Arrows—wrote and recorded the anthem “I Love Rock ‘n’ Roll” in 1975. The song got the band a TV appearance on the show 45, which eventually led to the band getting its own TV show based on their performance of the song. In 1976, while she was on tour in England with her band The Runaways, Joan Jett watched Arrows perform the song on their show.

Then, in 1981, Joan Jett recorded a version of “I Love Rock ‘n’ Roll” with her new band The Blackhearts. It became a No. 1 hit single in the United States for seven weeks and was certified platinum when it sold over one million units.

7. “Nothing Compares 2 U" — Sinead O’Connor (1990) // The Family (1985)

The Cover

The Original

Music icon Prince wrote and originally recorded the song “Nothing Compares 2 U” for his side project The Family in 1985. While the song received little recognition, Irish singer Sinéad O'Connor popularized it in 1990. O'Connor won three Moonmen Awards at the 1990 MTV Video Music Awards for Video of the Year, Best Female Video, and Best Post-Modern Video.

8. “Hey Joe” — The Jimi Hendrix Experience (1966) // The Leaves (1965)

The Cover

The Original

While the authorship of the song “Hey Joe” is ambiguous and unclear, the earliest recording of the song dates to 1965, by the California-based garage band The Leaves.

“Hey Joe” was a modest hit for The Leaves, but it was The Jimi Hendrix Experience's first hit single overseas in 1966. It peaked at No. 6 on the U.K. Singles Chart in 1967, but it failed to gain any recognition in the United States. Over the years, the song became iconic; Rolling Stone placed it at #201 on their list of the 500 Greatest Songs of All Time.

9. “It’s Oh So Quiet”— Björk (1995) // Betty Hutton (1951)

The Cover The Original

In 1995, Icelandic solo artist Björk released a cover song titled “It’s Oh So Quiet,” which American actress/singer Betty Hutton first recorded in 1951. The song was a B-side to Hutton’s single “Murder, He Says.”

“It’s Oh So Quiet” remains Björk’s biggest hit, peaking at the No. 4 spot in the United Kingdom. The song’s popularity was partly due to director Spike Jonze’s infectious music video that included large dance numbers and sweeping camera movements.

10. “Manic Monday” — The Bangles (1986) // Apollonia 6 (1984)

The Cover

The Original

Prince wrote “Manic Monday” for his female trio band Apollonia 6 for their self-titled debut in 1984. Ultimately, he pulled the song from the album and later offered it to the band The Bangles under the pseudonym “Christopher,” a character he played in the 1986 film Under the Cherry Moon. “Manic Monday” was a huge hit for The Bangles, reaching No. 2 on the Billboard Hot 100 list—just behind Prince and the Revolution’s “Kiss.”

11. “Hound Dog” — Elvis Presley (1956) // Willie Mae "Big Mama" Thornton (1953)

The Cover

The Original

Songwriting duo Jerry Leiber and Mike Stoller wrote “Hound Dog” for Willie Mae “Big Mama” Thornton in 1953. While Thornton’s original version was a No. 1 hit on the R&B charts for seven weeks, Elvis Presley’s iteration immediately became the most popular after its 1956 release. Presley’s version was a crossover success that spent 11 weeks on the top of country, pop, and R&B charts simultaneously. “Hound Dog” was inducted into the Rock and Roll Hall of Fame as one of the “500 Songs That Shaped Rock and Roll.”

12. “Cum On Feel The Noize" — Quiet Riot (1983) // Slade (1973)

The Cover

The Original

In 1973, British glam rock band Slade released “Cum On Feel The Noize," which went straight to the top of the charts in the United Kingdom and Ireland and was a top 10 single throughout parts of Europe. Ten years later, American heavy metal band Quiet Riot recorded and popularized song in the United States. The single reached the No. 5 spot on the Billboard Hot 100.

13. “I Want Candy" — Bow Wow Wow (1982) // The Strangeloves (1965)

The Cover

The Original

American music producers Bert Berns, Bob Feldman, Jerry Goldstein, and Richard Gottehrer recorded a bubblegum pop tune titled “I Want Candy” in 1965. Donning shaggy wigs and zebra-print vests, Feldman, Goldstein, and Gottehrer took it upon themselves to perform the song as the faux Australian pop trio The Strangeloves. In 1982, British New Wave band Bow Wow Wow released “I Want Candy,” with its music video receiving heavy airplay and rotation during the early days of MTV. Although Bow Wow Wow would have many admirers throughout the years, including Red Hot Chili Peppers and No Doubt, this was the band’s only hit song in the U.S.

14. “I Think We’re Alone Now" — Tiffany (1987) // Tommy James and the Shondells (1967)

The Cover

The Original

In 1967, American songwriter Ritchie Cordell wrote the single “I Think We’re Alone Now” for the rock band Tommy James and the Shondells. The song was a hit, reaching the No. 4 spot on the Billboard Hot 100. Twenty year later, “I Think We’re Alone Now” was popularized by teen recording artist Tiffany, whose version reached the top spot on Billboard’s list for two weeks. Its music video launched the then-16-year-old into pop music stardom. Interestingly, Tiffany's song was replaced at No. 1 by Billy Idol’s “Mony Mony,” another cover of a Tommy James and the Shondells single.

15. “When The Levee Breaks" — Led Zeppelin (1971) // Kansas Joe McCoy and Memphis Minnie (1929)

The Cover

The Original

In 1971, British rock band Led Zeppelin re-arranged and popularized the song “When the Levee Breaks” for their fourth album, which is referred to as Led Zeppelin IV. Husband and wife singer-songwriters Kansas Joe McCoy & Memphis Minnie originally recorded “When the Levee Breaks” as a blues song in 1929 about the Great Mississippi Flood that took place a few years earlier. But Led Zeppelin’s arena rock anthem became an iconic piece of music from the '70s, and the song would go on to be highly influential among rock bands and hip-hop artists since its release.

16. “Hard To Handle” — The Black Crowes (1990) // Otis Redding (1968)

The Cover

The Original

Posthumously released on the aptly titled “The Immortal Otis Redding” in 1968, “Hard To Handle” was a fitting single for a legendary musician. While the single only reached No. 38 on the R&B charts, a cover by the Georgia-based band The Black Crowes was their breakthrough single—it reached the No. 1 spot on the Billboard Album Rock Tracks in 1990.

17. “I Swear” — All-4-One (April 1994) // John Michael Montgomery (1993)

The Cover

The Original

American songwriters Gary Baker and Frank J. Myers wrote the love ballad “I Swear” for country music recording artist John Michael Montgomery, who released it in December 1993. The single reached the No. 1 spot on the U.S. Hot Country Singles and Tracks chart, and crossed over to the Billboard Hot 100, hitting No. 42.

A few months later in April 1994, the R&B quartet All-4-One released their rendition of “I Swear,” which became a bigger hit than the original. Their version reached No. 1 on the Hot 100 and was certified Platinum by the end of 1994.

18. “Don’t Cha” — The Pussycat Dolls (April 2005) // Tori Alamaze (March 2005)

The Cover

The Original

In March 2005, recording artist Tori Alamaze released “Don’t Cha” as her debut single. When the song failed to gain mainstream attention, Universal Records dropped Alamaze from their label and the song’s producer CeeLo Green gave the song to the girl group The Pussycat Dolls.

Just one month later, The Pussycat Dolls released “Don’t Cha” as their debut single, and the song received positive reviews and reached No. 2 on Billboard. The Pussycat Dolls’ version went on to sell more than 6 million copies worldwide, while Alamaze was all but forgotten.

19. “The Tide Is High” — Blondie (1980) // The Paragons (1967)

The Cover

The Original

The Paragons were a Jamaican ska/rockstead band whose vocal harmonies were influenced by American soul and R&B groups. In 1967, they released a single called “The Tide is High,” written by band member John Holt. Thirteen years later, Blondie guitarist Chris Stein discovered the track on a reggae compilation album he’d bought in England. Blondie recorded it for their Autoamerican album, adding strings and a horn section (borrowed from Johnny Carson’s Tonight Show band). “The Tide is High” went on to become Blondie’s second No. 1 single.

20. “Black and White” — Three Dog Night (1972) // Greyhound (1971)

The Cover

The Original

“Black and White” was written in 1954 by David Arkin and Earl Robinson in response to the Brown vs The Topeka Board of Education Supreme Court decision that outlawed racial segregation in U.S. public schools. Several artists recorded the tune—Pete Seeger and Sammy Davis Jr. among them—but a British reggae group called Greyhound took it to the U.K. Top 10 in 1971. A year later, American band Three Dog Night recorded the song and topped both the Billboard pop and easy listening charts.

Shout! Factory
10 Surprising Facts About Mr. Mom
Shout! Factory
Shout! Factory

John Hughes penned the script for 1983's Mr. Mom, a comedy about a family man named Jack Butler (Micheal Keaton) who loses his job. To ensure their three kids are taken care of, his wife, Caroline (Teri Garr), goes back to work—leaving Jack to fight off a vacuum cleaner and learn why it's never a good idea to feed chili to a baby.

In 1982, Keaton turned in a star-making role in Ron Howard’s Night Shift, but Mr. Mom marked the first time he headlined a movie, and it launched his career. Hughes had written National Lampoon's Vacation, which—oddly enough—was released in theaters the weekend after Mr. Mom. But Hughes himself was still a relative unknown, as it would be another year before he entered the teen flick phase of his career, which would make him iconic.

In the meantime, Mr. Mom hit home for a lot of viewers, as the economy was on the downturn and more and more women were entering (or reentering) the workforce. But some people think that the movie's ending—which sees the couple revert to traditional gender roles—sidelined the movie's message. Still, on the 35th anniversary of its release, Mr. Mom remains an ahead-of-its-time comedy classic.


Mr. Mom producer Lauren Shuler Donner came across a funny article John Hughes had written for National Lampoon. Based on that, she contacted him and the two became friends. “One day, he was telling me that his wife had gone down to Arizona and he was in charge of the two boys and he didn’t know what he was doing,” Donner told IGN. “It was hilarious! I was on the floor laughing. He said, ‘Do you think this would make a good movie?’ And I said, ‘Yeah, this is really funny.’ So he said, ‘Well, I have about 80 pages in a drawer. Would you look at it?’ So I looked at it and I said, ‘This is great! Let’s do it!’ We kind of developed it ourselves.” In the book Movie Moguls Speak, Donner mentioned how Hughes “had never been to a grocery store, he had never operated a vacuum cleaner. John was so ignorant, that in his ignorance, he was hilarious.”

The players involved with the movie told Donner and Hughes they thought it should be a TV movie. Hughes had a TV deal with Aaron Spelling, who came aboard to executive produce. “Then the players involved were upset because John was writing out of Chicago instead of L.A.,” Donner said in Movie Moguls Speak. “They fired John and brought in a group of TV writers. In the end, John and I were muscled out. It was a good movie, but if you ever read John’s original script for Mr. Mom, it’s far better.”


Stan Dragoti ended up directing the film, but only after Hughes turned it down, because he preferred to make his movies in Chicago, not Hollywood. “I don’t like being around the people in the movie business,” Hughes told Roger Ebert. “In Hollywood, you spend all of your time having lunch and making deals. Everybody is trying to shoot you down. I like to get my actors out here where we can make our movies in privacy.” Hughes remained in Chicago and filmed his directorial debut, Sixteen Candles, there.


In 1982’s Night Shift, Keaton’s character works at a morgue and starts a prostitution ring with co-worker Henry Winkler. Donner had an agent friend, Laurie Perlman, who represented the not-yet-famous actor. She contacted Donner and pitched Keaton to her. “’Look, I represent this guy who is really funny. Would you meet with him?’" Donner recalled of the conversation. "So I met with him. Usually I don’t like to do this unless we’re casting, but I met with him because she was my friend. And then she said, ‘You have to see this movie Night Shift that he’s in.’ So I went to see Night Shift, and midway through I couldn’t wait to get out of that theater to give Mr. Mom to Michael Keaton. Fortunately, he liked it."

Keaton told Grantland that he turned down one of the main roles in Splash to play Jack Butler. “I just remember at the time thinking I wanted to get away from what I’d just done on Night Shift,” he said. “I thought if I do it again, I might get myself stuck. So then Mr. Mom came along. So I said no [to Splash] so I could set up this framework right away where I could do different things.”


Teri Garr, Michael Keaton, Taliesin Jaffe, Frederick Koehler, and Martin Mull in Mr. Mom (1983)
Shout! Factory

In 1983, more women stayed at home than worked, so it was a novelty for a man to be a stay-at-home dad. Today, an estimated 1.4 million men are stay-at-home dads, and 7 million men are their children's primary caregiver. “Mr. Mom became part of the vernacular,” Donner told Newsweek. “Mr. Mom represented a segment of men who were at home dealing with the kids who, up until then, really hadn’t been heard from. That’s what really told me about the power of film, because it spoke for a lot of men. It also helped women, because I think that women sometimes, if you’re a housewife, you’re not really appreciated for what you do. This sort of made women feel better about what they did because they knew that men were understanding it.”


More than 30 years after the film’s release, stay-at-home dads feel the term “Mr. Mom” should die. The National At-Home Dad Network launched a campaign to terminate the phrase and instead have people refer to men as “Dad.” In 2014 Lake Superior State University voted to banish “Mr. Mom” from the lexicon.

“At least, the pop-culture image of the inept dad who wouldn’t know a diaper genie from a garbage disposal has begun to fade,” wrote The Wall Street Journal, after declaring “Mr. Mom is dead.”


The movie redefined gender roles, but when the producers pitched the premise to Garr, they hid the plot reversal. “They just told me it was about a guy who does the work that a woman does, because it’s so easy,” she told The A.V. Club. “And I went, ‘Oh, yeah. Ha ha.’ It’s so easy. All the women I know who stay home and take care of their kids, they go, ‘Oh yeah, this is easy.’ Hmm.”


The quote everyone remembers from the movie comes from Jack, holding a chainsaw, standing next to Ron Richardson (Martin Mull) and discussing what kind of wiring Jack will use in renovating the house: “220, 221, whatever it takes,” Jack says.

“We’re doing the scene and it was okay,” Keaton told Esquire. “And I remember saying to the prop guy, ‘Go find me a chainsaw.’ When he comes back with it, he says, ‘You wanna wear these?’ And he holds up some goggles. I go, ‘Yeah.’ You know, they make me look crazy. And when Martin shows up, I know I should look under control, I’m not sweating it. I’m a dude. So we’re standing there, Martin pulls me aside and says, ‘You know what you ought to say? When I ask about the wiring, you oughta just deadpan: ‘220, 221.’ I died. It was perfect. I may have added ‘whatever it takes.’ But it was his.”

“That was a little ad-lib that we just threw in, but every carpenter or construction person I’ve ever worked with, they’re always quoting that line from Mr. Mom,” Mull told The A.V. Club.


Mr. Mom only opened on 126 screens on July 22, 1983, but managed to gross $947,197 during its opening weekend. Once the film went wide a month later to 1235 screens, it hit number one at the box office and spent five weeks at the top. By the end of its run, the film had grossed just shy of $65 million, making it the ninth highest-grossing film of 1983 (just between Staying Alive and Risky Business). National Lampoon’s Vacation, Hughes’s other film that summer, came out July 29 and ended its theatrical run with $61,399,552 (at its height, it showed on 1248 screens). Vacation finished the year in 11th place.


During a 1986 interview with Seventeen magazine, Molly Ringwald asked the writer-director why he never showed teen sex in Sixteen Candles or The Breakfast Club. “In Sixteen Candles, I figured it would only be gratuitous to show Samantha and Jake in anything more than a kiss,” he said. “The kiss is the most beautiful moment. I was really amused when someone once called me a ‘purveyor of horny sex comedies.’ He listed The Breakfast Club and Mr. Mom in parentheses. I thought, ‘What kind of sex?’ Yes, in Mr. Mom there’s a baby in a bathtub and you see its bare butt.”


In the beginning, producers wanted Mr. Mom to be a TV movie, not a feature film. But a year after the film came out in theaters, ABC produced a TV movie called Mr. Mom, with the same characters and premise. Barry Van Dyke played Jack and Rebecca York played Caroline. A People magazine review of the movie stated: “They and their three kids are immediately likable … But it goes downhill from there as the script lobotomizes all its characters. Here’s a textbook case in how TV takes a cute idea—and a script that does have some good lines—and leeches the wit out of it.”

Central Press/Getty Images
Ernest Hemingway’s Guide to Life, In 20 Quotes
Central Press/Getty Images
Central Press/Getty Images

Though he made his living as a writer, Ernest Hemingway was just as famous for his lust for adventure. Whether he was running with the bulls in Pamplona, fishing for marlin in Bimini, throwing back rum cocktails in Havana, or hanging out with his six-toed cats in Key West, the Nobel and Pulitzer Prize-winning author never did anything halfway. And he used his adventures as fodder for the unparalleled collection of novels, short stories, and nonfiction books he left behind, The Sun Also Rises, A Farewell to Arms, Death in the Afternoon, For Whom the Bell Tolls, and The Old Man and the Sea among them.

On what would be his 119th birthday—he was born in Oak Park, Illinois on July 21, 1899—here are 20 memorable quotes that offer a keen perspective into Hemingway’s way of life.


"I like to listen. I have learned a great deal from listening carefully. Most people never listen."


"The best way to find out if you can trust somebody is to trust them."


"I never had to choose a subject—my subject rather chose me."


"Never go on trips with anyone you do not love."

Ernest Hemingway Photograph Collection, John F. Kennedy Presidential Library and Museum, Boston. [1], Public Domain, Wikimedia Commons


"Happiness in intelligent people is the rarest thing I know."


"There's no one thing that is true. They're all true."


"The only thing that could spoil a day was people. People were always the limiters of happiness, except for the very few that were as good as spring itself."


"There is nothing to writing. All you do is sit down at a typewriter and bleed."


"Never mistake motion for action."


"I wake up in the morning and my mind starts making sentences, and I have to get rid of them fast—talk them or write them down."

Photograph by Mary Hemingway, in the Ernest Hemingway Photograph Collection, John F. Kennedy Presidential Library and Museum, Boston., Public Domain, Wikimedia Commons


"I love sleep. My life has the tendency to fall apart when I'm awake, you know?"


"The world breaks everyone, and afterward, some are strong at the broken places."


"All things truly wicked start from innocence."


"If a writer knows enough about what he is writing about, he may omit things that he knows. The dignity of movement of an iceberg is due to only one ninth of it being above water."


"Courage is grace under pressure."


"A man's got to take a lot of punishment to write a really funny book."

By Ernest Hemingway Photograph Collection, John F. Kennedy Presidential Library and Museum, Boston. - JFK Library, Public Domain, Wikimedia Commons


"Always do sober what you said you'd do drunk. That will teach you to keep your mouth shut."


"About morals, I know only that what is moral is what you feel good after and what is immoral is what you feel bad after."


"For a true writer, each book should be a new beginning where he tries again for something that is beyond attainment. He should always try for something that has never been done or that others have tried and failed. Then sometimes, with great luck, he will succeed."


"There is no lonelier man in death, except the suicide, than that man who has lived many years with a good wife and then outlived her. If two people love each other there can be no happy end to it."


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