20 of the Most Surprisingly Awesome Genre-Crossing Covers

The difference between these two songs is so vast that you could listen to them back to back and probably not even notice that it was the same song. The Knife’s version of "Heartbeats" contains heavy synth production while Jose Gonzalez plays the entire song on his acoustic guitar in the simplest, most heartbreaking way.

At this point Solange is known for her vibrant, eccentric ways, and that’s also the same reason she’s loved. In 2009 she decided to put her own spin on the Dirty Projectors’ “Stillness is the Move." After listening to the original it’s clear to see why Solange would want to cover it. It’s a funky track with a left-field groove to it, and in true Solange fashion, she amped up the funk even more by singing over Dr. Dre’s “Xxplosive” beat. Boom. Since Solange is singing a bit slower than Amber Coffman of Dirty Projectors, the switch-up in the tempo makes this rendition feel a lot smoother, and those high notes are mind-blowing.

Gnarls Barkley’s "Crazy" is an undeniable hit, and on first listen it's easy to attribute that to Danger Mouse's simple-but-effective production or Cee-Lo's cartoonish, soulful voice. That explains a lot of it, but it doesn't explain why Ray Lamontagne’s rustic rendition works so well. This song is a hit not because of the production or because of the voice—it's because it's an extremely well-written song, and with a song like that, style, tempo, production, and all that other stuff doesn't really matter. But it doesn't hurt that Ray Lamontagne has an excellent voice.

In the last couple years, James Blake has proved his ability to transform a cover into an almost unrecognizable song. He’s done it twice before with Feist’s “Limit To Your Love” and his Dad James Litherland’s “Where To Turn” (which became “The Wilhelm Scream”). When he covered Joni Mitchell’s “A Case of You” the simple folk song evolved into a beautiful ballad.

There’s something about the way he plays the piano. Each deliberate strike of the keys compliment the emotion in his voice. Joni Mitchell sang the “Oh Canada” line beautifully, but when James Blake sings it, it cuts even deeper. And that’s how he continues on throughout his entire rendition. Because his delivery is a bit slower, each word in the song gets the proper chance to resonate, adding a depth to this cover that even Joni Mitchell fans can appreciate.

As the song starts to play, The Fugees’ Lauryn Hill singing “Killing Me Softly” doesn’t sound too different from Roberta Flack’s original version. But as it reaches a little past the 30 second mark, it completely switches gears. The bassline and drums are the real game-changers here, with Wyclef's classic “One time!” obviously playing an essential role. Lauryn’s voice is equally as striking as Roberta’s, but the difference in tone deliver almost opposite messages. Roberta’s hushed tone makes the song seem more like a diary entry while the conviction in Lauryn’s voice makes it feel more like a warning.

Michael Jackson's "Billie Jean" is so familiar that it's amazing how you can listen to the first line of Chris Cornell's cover and struggle to place your finger on what it is. You know those words, but this is not how you're used to hearing them. This was from Cornell's acoustic concert in Sweden in 2006, a show at a small venue that was never officially released but has become widely available and a fan favorite, for good reason.

The Zutons' "Valerie" featured horns, guitars, and hand-claps for some warm, accessible indie rock. Amy Winehouse took it into her own world, singing every word like she wrote it and flipping it into one of her signature songs, filled with retro soul and smooth accompaniment. It was recorded in 2007 with the help of Mark Ronson, and it ended up being one of the last critically acclaimed songs Winehouse would ever record.

"Get Lucky" is such a massive song and we heard so many covers that taking this one on is pointless unless you're going to really turn it inside out. Enter Daughter. Along with ominous bass and sparse, echoing guitar work, Elena Tonra's ghostly voice makes "Get Lucky" sound less like something you'd play at a party and more like something you'd play in a cemetery during the early hours of the morning. But it's still got just the right touch of bounce.

Sivu brings down the tempo of Nirvana’s “Dumb” to add an almost eerie touch to the original. The echoing of the instrumental makes it sound reminiscent of a church organ during a funeral procession. In the original, Kurt’s voice feels detached and euphoric, but not as painful as Sivu’s. It's a darkness that was already present in this song, and Sivu just chose to bring it to the surface.

When Drake made “Houstatlantavegas” in 2009, he was aiming to make a song strippers could dance to. Since that’s really the subject of the song anyway. But Sonnymoon put their own twist on it that makes it less for the strippers, but equally as sexy. Anna Wise’s voice effortlessly floats right over the production by Dane Orr and Joe Welch. The additional drums make the track a bit easier to bop along to than the original.

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With such a sweet voice, Yuna transforms Nirvana’s classic “Come As You Are” into something that sounds quite welcoming. Her voice is so delicate that at times it almost sounds like a cute but cool updated lullaby that you could play for your future kids. When she says, “And I swear that I don’t have a gun,” of course you believe her. Why wouldn’t you believe her? As far as this is from the original, even a dedicated Nirvana fan can appreciate the twist Yuna put on this song.

Although The White Stripes’ “Seven Nation Army” isn’t really the same without Meg White’s signature drumming and the unhinged vocals of Jack, this soulful version is too fun to pass up. French singer Ben l’Oncle Soul toned down the drums and the rock edge, added some piano and some horns, and created something a little more funky than the anthemic original.

One quick glance at that long name and you may be thinking that you don’t know this song. You definitely do. It’s almost in every movie or commercial. The original Judy Garland version that was featured in The Wizard of Oz got a sweet update when it was transformed by the simple help of a ukulele and a beautiful voice from the late Israel Kamakawiwo'ole, a Hawaiian legend.

The simplicity of the instrumentation matches the softness of Israel’s voice, creating a magically hopeful tone. If you close your eyes for a moment, you really might feel like you’re floating. And no worries, it’s acceptable to admit you like a cover of a show tune when it sounds as gorgeous as this.

It’s not uncommon for an artist to change the “he’s” to “she’s” or vice versa in their cover of a song. Of course it’s not necessary, but it’s expected. Interestingly enough, Jack White didn’t choose to switch the lyrics of “Jolene” around. He left everything in the point of view it was written in. The only change was the actual sound of the song. Instead of the country twang that goes hand in hand with any Dolly Parton song, The White Stripes played it with their own raw, bluesy style. Jack can’t quite hit the notes the way Dolly Parton does, but the raspy tone in his voice makes up for that fact, adding a different charm to the song.

Very rarely does a cover feel like it should have been the original version. This might be one of those times. Given the title of the song and the content of the lyrics, it makes sense for the record to be downtempo and a bit melancholy. The original record was recorded by The Shirelles in 1960 and invites lovers to dance rather than cry. But Lykke Li’s version is definitely one you can cry to. The echo of her voice and the slow piano create a bit of an eerie feeling, and they certainly enhance the emotional impact.

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Toro y Moi has successfully found the best way to bridge the gap between two different generations when he released his Freaking Out EP in 2011. For some, “Saturday Love” is probably one of the many songs that your parents say is “their jam” every single time it comes on. Thanks to this updated cover, you can share that exact sentiment. Toro y Moi’s Chaz Bundick speeds the track up a bit and adds modern elements that take it away from the two-stepping R&B record it originally was.

In 1993, Nirvana performed a cover of David Bowie’s “The Man Who Sold The World” during their MTV Unplugged set. Unlike Bowie’s version, there aren’t as many additional background instruments being used. Nirvana’s rendition is also slightly slower than the original. But the main difference is really in the sound of Kurt Cobain’s voice in comparison to David Bowie’s voice. Bowie has a very showy element to his performances, and Cobain delivered his vocals with the kind of raw emotion that could deliver chills.

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If you had never heard the original version, it would be very easy to be fooled into thinking that this was Lianne La Havas’ own song. Even though the lyrical content is a little different from what she would usually sing about, her delivery is so natural that you don’t even notice that. The most captivating part of this Everything Everything cover is La Havas’ vocal range. Her powerful notes take this chorus to a new level.

Only six short months after Bob Dylan released “All Along The Watchtower,” Jimi Hendrix recorded his own version. Although in the last four decades there have been many covers, Hendrix’s version is still the most popular to this day. Dylan’s version featured his signature harmonica alongside the guitar, which stuck to his folk roots. When Hendrix reinterpreted the record, within the first few seconds you notice the energy shift. Jimi Hendrix adds electricity, both literally and figuratively, to the record in a way that makes it unforgettable.

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The beauty of cover songs is hearing how two artists can interpret the same song in completely different ways. One of the best examples of that is in Johnny Cash’s rendition of “Hurt” by Nine Inch Nails. The song was originally written from a place of loneliness and desperation, which is clear throughout the song. But when Johnny Cash sang it, the emotional level of the song reached new levels.

Trent Reznor of Nine Inch Nails sang it to express the hardships of a certain point in his life, but Cash’s version becomes more of a look back on his entire life. With the pain in his voice, the physical weakness he shows in the video, and the respect he'd already earned by this point, Johnny Cash’s version cuts a hole in your heart in a way that the original could never do. Even Reznor readily admits now: "Hurt" is a Johnny Cash song.

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