Ten From the Beatles (+1): Best Cover Songs
Songs covered by the Beatles, with original artists listed.
11. One After 909 (The Beatles)
One of the best straight blues-rock numbers they recorded, this song did not surface publicly until 1970 with its inclusion on "Let it Be." John estimates he originally wrote the song as early as 1957, making it among the earliest of his compositions. The group originally recorded it way back in 1963 but felt it was not strong enough, an opinion shared by George Martin, so it was canned. Fast forward to January 1969 and "One After 909" was dusted off and rolled through with Billy Preston during the (in)famous Apple rooftop concert. Today, we have the good fortune of comparing the original recording, released on the Anthology project in the nineties, with the final product - the Beatles "covering" themselves. It is remarkable to hear how much they had grown musically - George's solo work and Paul's bass playing in particular. Originally a lazy shuffle, the version we know most commonly now is straightforward rock and roll. Never mind that John dismissed it later, as he did much of his own work - it's still great. Plus, it is fun to begin this list with the Beatles covering their own song.
11. One After 909 (The Beatles)
One of the best straight blues-rock numbers they recorded, this song did not surface publicly until 1970 with its inclusion on "Let it Be." John estimates he originally wrote the song as early as 1957, making it among the earliest of his compositions. The group originally recorded it way back in 1963 but felt it was not strong enough, an opinion shared by George Martin, so it was canned. Fast forward to January 1969 and "One After 909" was dusted off and rolled through with Billy Preston during the (in)famous Apple rooftop concert. Today, we have the good fortune of comparing the original recording, released on the Anthology project in the nineties, with the final product - the Beatles "covering" themselves. It is remarkable to hear how much they had grown musically - George's solo work and Paul's bass playing in particular. Originally a lazy shuffle, the version we know most commonly now is straightforward rock and roll. Never mind that John dismissed it later, as he did much of his own work - it's still great. Plus, it is fun to begin this list with the Beatles covering their own song.
10. Till There was You (Peggy Lee)
Those of you who are familiar with the Beatles catalog might be surprised to see this saccharine number from Paul on the list, but it is an important piece of music for the band. Brian Epstein emphasized from their beginnings the need to be able to play a little something for everyone. Placed on their second album, it shows their versatility much better than their first album's attempt at the same thing ("A Taste of Honey"). The result here is a little-too-syrupy ballad that is marked nonetheless by excellent playing, especially from George on the great classical-inspired solo on the album version. Take another listen to this one (video, right). |
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9. Baby It's You (The Shirelles)
The band's love of girl groups surfaces in many of their early covers (e.g. "Boys"), and this one is among the best. It is Lennon's vocal that that turns what should be a nice little love song into the story of a man tortured by his own feelings ("Don't want nobody, nobody!" and "Can't help myself!"). This kind of interpretation sets the precedent for moods and ideas that dominate the Lennon catalog even on into his solo career.
8. Honey Don't (Carl Perkins)
Of the three Perkins numbers the Beatles recorded, "Honey Don't" holds up the best by far. Ringo's "aw shucks" delivery is perfect for this rockabilly number from one of George's favorite influences (he sometimes referred to himself as Carl Harrison in the early days). Ringo still sings "Honey Don't" as his own to this day, and it is his humble charm ("Rock on George, one time for me!") that makes this one work so very well.
7. Words of Love (Buddy Holly)
One of the last few covers recorded by the group (in the sessions for "Beatles for Sale," the last LP to contain cover songs), this is a vastly underrated performance in the Beatles catalog. Taking a page from one of their major influences, the Fabs decided to avoid the obvious ("Peggy Sue" or "That'll Be the Day," etc.) and go for the more obscure with this tribute. The guitars are great and Ringo's percussion (playing the beat on what session notes call a "packing case") is unique, but it is John and Paul's singing that make this one so astounding. It is virtually impossible to tell who is singing what part - their voices blend better than any other singing duo in history. This is a lost Beatles cover classic.
The band's love of girl groups surfaces in many of their early covers (e.g. "Boys"), and this one is among the best. It is Lennon's vocal that that turns what should be a nice little love song into the story of a man tortured by his own feelings ("Don't want nobody, nobody!" and "Can't help myself!"). This kind of interpretation sets the precedent for moods and ideas that dominate the Lennon catalog even on into his solo career.
8. Honey Don't (Carl Perkins)
Of the three Perkins numbers the Beatles recorded, "Honey Don't" holds up the best by far. Ringo's "aw shucks" delivery is perfect for this rockabilly number from one of George's favorite influences (he sometimes referred to himself as Carl Harrison in the early days). Ringo still sings "Honey Don't" as his own to this day, and it is his humble charm ("Rock on George, one time for me!") that makes this one work so very well.
7. Words of Love (Buddy Holly)
One of the last few covers recorded by the group (in the sessions for "Beatles for Sale," the last LP to contain cover songs), this is a vastly underrated performance in the Beatles catalog. Taking a page from one of their major influences, the Fabs decided to avoid the obvious ("Peggy Sue" or "That'll Be the Day," etc.) and go for the more obscure with this tribute. The guitars are great and Ringo's percussion (playing the beat on what session notes call a "packing case") is unique, but it is John and Paul's singing that make this one so astounding. It is virtually impossible to tell who is singing what part - their voices blend better than any other singing duo in history. This is a lost Beatles cover classic.
6. Roll Over Beethoven (Chuck Berry)
George stepped up to the mike on the Beatles second album and announced his presence directly - the quiet one can rock too. He doesn't do anything too flashy, copying Berry's intro verbatim, but he cuts loose just enough on the solo to let everyone know he has chops. "Dig to these rhythm and blues," indeed. This one only loses points for the phony guitar chord tacked on the end of the album version - it's out of place and out of tune. But overall, George does himself proud.
5. Money (Barrett Strong)
A great ensemble piece, but it is John's belting out of the key lines (such as "I wanna be free!" and "What it don't get, I can't use!") that take this one over the top. A fairly tame piano intro, a rare instrument on an early Beatles record, lulls the listener in - completely unprepared are we for what will follow. Paul wants us to remember later that "money can't buy me love," but John's take on this classic makes an altogether different statement. "What will you do when it [the Beatles career] is over?" a journalist once asked a young John Lennon. "Sit back and count my money," he said. This one is rip-roaring.
George stepped up to the mike on the Beatles second album and announced his presence directly - the quiet one can rock too. He doesn't do anything too flashy, copying Berry's intro verbatim, but he cuts loose just enough on the solo to let everyone know he has chops. "Dig to these rhythm and blues," indeed. This one only loses points for the phony guitar chord tacked on the end of the album version - it's out of place and out of tune. But overall, George does himself proud.
5. Money (Barrett Strong)
A great ensemble piece, but it is John's belting out of the key lines (such as "I wanna be free!" and "What it don't get, I can't use!") that take this one over the top. A fairly tame piano intro, a rare instrument on an early Beatles record, lulls the listener in - completely unprepared are we for what will follow. Paul wants us to remember later that "money can't buy me love," but John's take on this classic makes an altogether different statement. "What will you do when it [the Beatles career] is over?" a journalist once asked a young John Lennon. "Sit back and count my money," he said. This one is rip-roaring.
4. Long Tall Sally (Little Richard)
Paul's best cover is an amusing one - it's a great tribute to oldies rock that completely glosses over the racial overtones (and much of the irony) of the original. In McCartney's hands, the lyrics actually don't even matter. It is the band's playing the really makes this work, removing the campiness of Little Richard's performance and replacing it with searing rock and roll. Ringo and George in particularturn in dynamite performances (love those ascending chords in the second instrumental bridge, not to mention the tom rolls over the outtro), while Paul's vocal reminds the listener that there was more than one rock and roller in the band. |
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3. Please Mr. Postman (The Marvelettes)
John Lennon's covers appear most frequently on the list, and with good reason. He was the truest rocker in the band, and one of the finest rock singers in history. A sweet plea to a postman when sung by the Marvelettes turns into a cry of desperation with John's tortured vocals. His ad-libbing takes the track to astronomical heights. One author said this was certainly a song Lennon wished he'd written, and you can hear how much he believed in it when he sings it.
2. You've Really Got a Hold on Me (Smokey Robinson & The Miracles)
What a great early example of the pain and self-uncertainty that marked Lennon's music. In interpreting the smooth Robinson, John makes the song more personal and betters the original. "I don't like you, but I love you..." (when Smokey sings that it sounds like a playful irony - in John's hands it sounds resentful). When John breaks loose following Paul and George's "Hold Me" with "Pleeeee-ee-eeese" and "Squeee-eee-eeze," his desperation is apparent and gut wrenching. And that all fails to even mention the band's all-around excellence in backing him. No one ever improved on Smokey. Except John Lennon this one time.
John Lennon's covers appear most frequently on the list, and with good reason. He was the truest rocker in the band, and one of the finest rock singers in history. A sweet plea to a postman when sung by the Marvelettes turns into a cry of desperation with John's tortured vocals. His ad-libbing takes the track to astronomical heights. One author said this was certainly a song Lennon wished he'd written, and you can hear how much he believed in it when he sings it.
2. You've Really Got a Hold on Me (Smokey Robinson & The Miracles)
What a great early example of the pain and self-uncertainty that marked Lennon's music. In interpreting the smooth Robinson, John makes the song more personal and betters the original. "I don't like you, but I love you..." (when Smokey sings that it sounds like a playful irony - in John's hands it sounds resentful). When John breaks loose following Paul and George's "Hold Me" with "Pleeeee-ee-eeese" and "Squeee-eee-eeze," his desperation is apparent and gut wrenching. And that all fails to even mention the band's all-around excellence in backing him. No one ever improved on Smokey. Except John Lennon this one time.
1. Twist and Shout (The Isley Brothers)
No question the most famous cover the Beatles ever did, this song remains the clearest example of the group setting out to pay homage to the music they loved and making a better record than the original. The story is well documented - their one day recording session where they polished off their entire first studio album ("Please Please Me"), the need for a final number, and the single take version that is this classic. John tried to do it a second time, but his voice was shot - you can hear him straining on the released take, but it is pure, raw energy - rock singing perfection, and a testimony to what a great singer Lennon was. The energy is non-stop, and this one stands as a fantastic tribute to what the early Beatles were all about. #beatles #fabfour |
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“After silence, that which comes nearest to expressing the inexpressible is music.”
Aldous Huxley
Aldous Huxley
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