Covering a legendary song is a challenging endeavor, yet many artists attempt it despite the risks involved. While a select few remakes successfully honor the original while introducing a fresh perspective, a significant number of cover songs often miss the mark completely. It’s not that artists aim to ruin a beloved classic; typically, they have a personal connection to the song or the artist, which drives their desire to pay tribute. These motivations stem from the influence these tracks or musicians have had on their own careers, making the attempts sincere despite the outcome.

Unfortunately, good intentions alone do not guarantee a successful cover. Many incredibly talented musicians have faltered in their efforts to reinterpret songs, and the examples in this list showcase some of the most disappointing classic rock covers that failed to resonate with audiences.

Collaborative Disaster: Mick Jagger and David Bowie’s “Dancing in the Street”
When two rock legends like Mick Jagger and David Bowie join forces, expectations run high for a magnificent musical collaboration. However, their version of “Dancing in the Street” was met with ridicule for its overall absurdity, both in the recording and the overly campy music video. While the single did manage to raise funds for charity and climbed to No. 7 on the Billboard Hot 100, it remains an embarrassing chapter in the careers of both icons. Even their most passionate supporters would concede that this collaboration was ill-advised. As Peter Griffin humorously noted on Family Guy, “That happened and we all let it happen.”

Misguided Tribute: The Cure’s “Purple Haze”
In 1993, a collection of renowned artists paid homage to Jimi Hendrix with the tribute album Stone Free: A Tribute to Jimi Hendrix. The concept encouraged musicians to not only choose their favorite Hendrix track but also to infuse their unique style into it. Unfortunately, The Cure went a step too far with their rendition of “Purple Haze.” With an overwhelming mix of synthesizers, drum machines, samples, and ambient noise, their interpretation strayed far from the original, leaving listeners struggling to recognize the iconic song. Robert Smith, the lead singer, has openly cited Hendrix as a childhood hero who inspired him to create music. Sadly, this cover serves as a misfired tribute to their musical idol.

Ill-Fated Celebrity Ensemble: Gal Gadot and Friends’ “Imagine”
This cover became infamous as the cringe moment that resonated across the globe. During the early days of the COVID pandemic, actress Gal Gadot posted a rendition of John Lennon’s “Imagine” on social media, gathering an array of celebrity friends including Kristen Wiig, Sarah Silverman, Jimmy Fallon, Natalie Portman, Pedro Pascal, Will Ferrell, and Cara Delevingne to participate. Gadot maintained that the cover aimed to uplift spirits during tough times, but it instead drew widespread criticism. Many viewers felt the message was shallow, and the celebrities appeared disconnected from the realities faced by the general public at that moment.

Misaligned Intentions: U2’s “Fortunate Son”
From a conceptual standpoint, the idea of socially conscious band U2 covering Creedence Clearwater Revival’s classic anti-war anthem “Fortunate Son” seems fitting. However, the execution left much to be desired. Bono adjusted the vocal key, resulting in a monotonous version that lacked the original’s vigor. Additionally, The Edge’s signature soaring guitar sound, which works well for U2’s original songs, felt out of place when paired with this CCR classic.

Out of Touch: Cyndi Lauper’s “What’s Going On”
Marvin Gaye’s 1971 classic “What’s Going On” tackled pressing social issues like race riots, war, and poverty, posing the crucial question, “What’s going on?” When listening to Cyndi Lauper’s 1986 cover, one is left wondering the same thing: What’s going on here? The excessive use of synthesizers raises eyebrows, and Lauper’s unexpected jazz scat elements feel out of place. It’s hard to fathom how this rendition was ever deemed a good idea.

Environmental Disconnect: Counting Crows’ “Big Yellow Taxi”
Joni Mitchell’s 1970 song “Big Yellow Taxi” poignantly addressed humanity’s impact on the environment, famously declaring that industrialization “paved paradise and put up a parking lot.” However, the 2002 cover by Counting Crows echoed these themes in the most misguided way possible. They transformed a beautiful song into something cold, commercial, and lifeless. Despite the criticism and consistent placement on worst songs of the year lists, Counting Crows’ version achieved No. 42 on the Billboard Hot 100 and was certified gold in the U.S.

Punk Misfire: Motley Crue’s “Anarchy in the U.K.”
Nikki Sixx has long been a fan of the Sex Pistols, having praised their work and even collaborated with guitarist Steve Jones on his 1989 album Fire and Gasoline. Unfortunately, Motley Crue’s attempt to cover the Pistols’ classic “Anarchy in the U.K.” for the 1991 compilation album Decade of Decadence fell flat. Despite their rebellious image, the band’s style is not rooted in punk, and the differences in approach were glaringly obvious. Moreover, their attempts to alter the lyrics for a U.S. audience did not resonate well.

Nu-Metal Gone Wrong: Limp Bizkit’s “Faith”
The infamous red Yankees hat became a symbol for Limp Bizkit, a nu-metal band that briefly achieved mainstream success. Their cover of George Michael’s “Faith” marked a significant moment for the band, though it was born out of a lighthearted desire to create an aggressive version of a pop classic. Frontman Fred Durst recalled that the controversy surrounding Michael’s arrest in 1998 inadvertently boosted their cover’s popularity. However, the aggressive approach—complete with screaming and guitar scratching—led to backlash, with reports suggesting that George Michael himself despised the cover.

Second Offense: Limp Bizkit’s “Behind Blue Eyes”
In a surprising twist, Limp Bizkit found themselves in hot water again with their cover of “Behind Blue Eyes.” This attempt was even more egregious, as they altered the original by adding a new verse and an extra chorus, while bizarrely incorporating a Speak & Spell toy into the bridge. Despite receiving some radio airplay, the cover was met with widespread criticism upon its release.

Misunderstanding the Joke: Sugar Ray’s “Is She Really Going Out With Him?”
Sugar Ray has often been an easy target for criticism, especially as a product of early 2000s pop culture. Their cover of Joe Jackson’s “Is She Really Going Out With Him?” in 2003 came during a time when the band’s popularity was waning. The original, a satirical take on attractive women dating less-than-appealing men, seemed lost on Sugar Ray frontman Mark McGrath. His humorless delivery, combined with acoustic guitar backing and incessant scratching, missed the mark entirely.

Cringe-Worthy Attempt: Puddle of Mudd’s “About a Girl”
Known for going viral for all the wrong reasons, Puddle of Mudd performed an acoustic cover of Nirvana’s “About a Girl” in January 2020. Frontman Wes Scantlin struggled significantly, singing off-key and forcing emotion into his performance. Rather than stopping, he doubled down, leading to a painful experience for listeners. The resulting video circulated widely, with Scantlin later expressing regret for his performance, citing fatigue after a long day as a contributing factor.

Misguided Remake: Madonna’s “American Pie”
Although separated by generations, Madonna viewed Don McLean’s “American Pie” as a song for the new millennium. She claimed the song represented a shift in pop culture due to the Internet’s rise. However, her cover felt more like a forced fit than a genuine tribute.

Out of Place Performance: Celine Dion and Anastacia’s “You Shook Me All Night Long”
In May 2002, VH1 hosted a Divas concert series featuring an eclectic lineup, including Celine Dion, Dixie Chicks, Mary J. Blige, and Shakira. It was a surprising choice for Dion to cover AC/DC’s “You Shook Me All Night Long” at this event, and the performance, which included Anastacia, felt awkward and out of place. Dion’s powerful soprano voice struggled to convey the hard-rock essence of the original.

Odd Pairing: R.E.M.’s “Toys in the Attic”
It’s disheartening to include R.E.M. on this list, but their decision to cover Aerosmith’s “Toys in the Attic” was puzzling at best. The stylistic differences between the two bands made for an uncomfortable match. While R.E.M. had regularly performed the song live in the mid-1980s, its release on the 1987 rarities album Dead Letter Office felt unnecessary.

A Misguided Archival Release: Hilary Duff’s “My Generation”
The decision for Hilary Duff, known for her role in Lizzie McGuire, to cover The Who’s “My Generation” was baffling. This pop rendition was recorded during sessions for her 2004 album and was ultimately not included in the U.S. version but made its way onto the Japanese release and circulated online. The cover felt like an ill-fated attempt to connect with a classic rock anthem.

Pop Group Misfit: Take That’s “Smells Like Teen Spirit”
In 1995, Take That covered Nirvana’s grunge anthem “Smells Like Teen Spirit” during a performance at Earl’s Court in London. The mismatch was glaring, from their bubblegum pop vocals to frontman Mark Owen’s pre-song question, “Are you ready for some rock ‘n’ roll?” The cover epitomized everything Kurt Cobain stood against, as Nirvana’s success stemmed from their rebellion against boy bands.

Awkward Transformation: Ugly Kid Joe’s “Cat’s in the Cradle”
Emerging from the ‘90s music scene, Ugly Kid Joe was an act that couldn’t be easily categorized. Their cover of Harry Chapin’s “Cat’s in the Cradle” transformed a heartfelt folk-rock classic into an angst-filled alternative tune. The original’s emotional weight was stripped away, yet the cover became a hit, peaking at No. 6 on the Billboard Hot 100 and marking the band’s most successful single.

Charity Album Letdown: Avril Lavigne’s “Imagine”
In 2007, Amnesty International produced a charity album featuring an impressive lineup of artists covering John Lennon’s works to support those affected by the conflict in Darfur. The project had noble intentions, but when Avril Lavigne was chosen to cover “Imagine,” the result fell flat. While it’s important to support charitable causes, Lavigne’s rendition lacked the emotional depth that made the original so powerful.

Disappointing Industrial Cover: Orgy’s “Blue Monday”
For those yearning for a Nine Inch Nails-inspired take on New Order’s biggest hit, they should have consulted Trent Reznor. Instead, Orgy took it upon themselves to cover “Blue Monday” in 1998. The result is a product of a transitional period in music that is best forgotten.

Unfortunate Irony: Rockwell’s “Taxman”
Numerous artists, both acclaimed and obscure, have attempted to cover The Beatles over the years, but few manage to capture the essence of the originals. Rockwell, known for his 1984 hit “Somebody’s Watching Me,” is no exception. His cover of “Taxman” not only misses the mark but also carries an ironic weight, as Rockwell, the son of Motown mogul Berry Gordy, sings a song about financial struggles.

Lackluster Reimagining: Marilyn Manson’s “Sweet Dreams (Are Made of This)”
Marilyn Manson’s take on Eurythmics’ “Sweet Dreams (Are Made of This)” aims for shock value, transforming the song into a dark industrial track. While it gained significant radio play and caught the attention of MTV with its haunting music video, the reinterpretation ultimately lacks substance. Beneath Manson’s theatricality lies a cover that fails to capture the original’s emotional nuance.

Close but No Cigar: Cat Power’s “I Can’t Get No (Satisfaction)”
Cat Power attempted a unique reinterpretation of the Rolling Stones’ “(I Can’t Get No) Satisfaction” for her fifth album, opting for an all-covers concept. Her rendition displayed a fresh, engaging sound that combined indie rock with a hint of country. However, the decision to omit the iconic chorus left listeners puzzled. When the time comes for the famous hook, silence replaces what should have been a satisfying moment, raising questions about the artistic intent behind this choice.

Unfortunate Movie Tie-In: Judas Priest’s “Johnny B. Goode”
In 1988, the teen comedy Johnny Be Good sought to feature an updated version of Chuck Berry’s “Johnny B. Goode,” turning to Judas Priest for the task. The band, eager to make up for a missed opportunity to appear on the Top Gun soundtrack, agreed. Unfortunately, the pairing fell short, much like the film itself, which was a box office disappointment. Priest’s version did little to redeem the experience.

Green Ogre’s Influence: Smash Mouth’s “I’m a Believer”
The cover of “I’m a Believer,” featured on the soundtrack to Shrek, became synonymous with the film’s success. However, Smash Mouth’s rendition of The Monkees‘ classic comes off as both cheesy and cringeworthy. Frontman Steve Harwell’s vocals feel out of place, and the retro sound feels contrived, lacking authenticity. Despite this, the cover achieved commercial success, reaching No. 25 on the Billboard Hot 100, marking Smash Mouth’s last significant hit.

Cultural Clash: The Ataris’ “Boys of Summer”
The Ataris, a pop-punk band from Indiana, covered Don Henley’s “Boys of Summer” for their 2003 album So Long, Astoria. Initially intended as a mere album track, the cover gained traction after being played on influential radio station KROQ. The song became a major hit for the band, climbing to No. 20 on the Billboard Hot 100. However, Henley expressed dissatisfaction with a lyric change and criticized the band for their lack of songwriting skills, highlighting a contentious relationship between the original artist and the cover band.

Reality TV Fame: Kelly Osbourne’s “Papa Don’t Preach”
The Osbourne family is synonymous with heavy metal legacy, but Kelly Osbourne’s cover of Madonna’s “Papa Don’t Preach” failed to impress critics. Released in 2002 during the peak of the family’s reality TV fame, the cover seemed more like a marketing move to capitalize on Kelly’s newfound celebrity. Though it gained significant exposure and charted in the Top 5 in several countries, the performance felt forced and overly promoted, diminishing its artistic value.

Disjointed Tribute: Godsmack’s “Rocky Mountain Way”
In 2012, Godsmack included a cover of Joe Walsh’s “Rocky Mountain Way” as a bonus track on their live album Live & Inspired. The result was jarring, as the band’s heavy sound clashed with Walsh’s classic rock style. The heavy drums and growling vocals did not mesh with the original’s essence, making for a disappointing tribute.

Heavy Metal Interpretation: Disturbed’s “The Sound of Silence”
The iconic folk rock duo Simon & Garfunkel is celebrated for their deeply personal songwriting, while Disturbed is known for their heavy metal sound. Their cover of “The Sound of Silence” took many by surprise, especially during live performances. While it garnered a mixed response from audiences, some praised it for introducing a new generation to the original’s brilliance, reaching No. 1 on the Mainstream Rock Chart. However, the dramatic arrangement often overshadowed the subtle genius of the original.

Pop Group Covering Rock: One Direction’s “One Way or Another”
This list illustrates that when pop groups cover rock songs, the results often disappoint. While One Direction can’t be entirely blamed for covering Blondie’s “One Way or Another”—originally recorded to support Comic Relief—their sugary pop version stripped the sultry charm of the 1979 classic. Additionally, their interpolation of “Teenage Kicks” by The Undertones further muddied the cover’s authenticity.

Karaoke Performance: Britney Spears’ “I Love Rock ’N Roll”
In the movie Crossroads, Britney Spears was asked to perform “I Love Rock ’N Roll,” and it shows. Her version of Joan Jett’s classic comes across as a karaoke performance, lacking the passionate energy of the original. Jett herself refused to listen to the track, expressing skepticism about the idea of Spears covering a song that embodies rock and roll spirit.

Generic Rock Interpretation: Nickelback featuring Kid Rock’s “Saturday Night’s Alright for Fighting”
The original version of “Saturday Night’s Alright for Fighting” by Elton John is a lively, piano-driven rock tune that pays homage to early rock pioneers. However, Nickelback’s cover, which was released on the soundtrack for the 2003 film Charlie’s Angels: Full Throttle, completely omits the piano and instead offers a bland rock iteration. With Kid Rock’s appearance and altered lyrics, the cover lacks the vitality of the original, even though it features a stellar guitar solo from Dimebag Darrell.

Misguided Emo-Punk Cover: The Used’s “Burning Down the House”
The multifaceted nature of Talking Heads’ “Burning Down the House” is what makes it appealing, blending funk, new wave, and art rock elements. When The Used released their 2009 cover for the soundtrack of Transformers: Revenge of the Fallen, they stripped away the subtlety, presenting a version that lacks the original’s charm and complexity.

Forgettable Pop Cover: Paris Hilton’s “Do Ya Think I’m Sexy”
Despite the disconnect between her public persona and the music industry, Paris Hilton released a full-length album in 2006 titled Paris. Among its many missteps was her cover of Rod Stewart’s “Do Ya Think I’m Sexy,” which was poorly received. Stewart’s original single marked a significant point in his career, transitioning from blues-rock to disco, but Hilton’s rendition pales in comparison, characterized by subpar vocal performance and uninspired production.

Pop-Punk Band’s Take: 5 Seconds of Summer’s “American Idiot”
Green Day’s “American Idiot” emerged as a powerful protest anthem in the post-2000 era, critiquing societal norms and politics. However, when boy band 5 Seconds of Summer covered the track on their 2014 EP Amnesia, the result fell short of expectations. While the band demonstrated their musicianship, their version lacked the raw energy and passion of the original, making it a tepid interpretation of a fierce protest song.

Underwhelming Tribute: Rob Zombie’s “Blitzkrieg Bop”
In 2003, Johnny Ramone enlisted Rob Zombie to help produce a tribute album for the Ramones. Zombie contributed a cover of “Blitzkrieg Bop,” but his slowed-down industrial version stripped the song of its original frenetic energy. While Zombie’s involvement in the project was commendable, the lack of vitality in his cover left fans wanting more.

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