Can the facsimile be better than the original? In most forms of art, this is a moot question -- the very idea of a facsimile of a book or painting generally implies a forgery and a criminal act. But the case is different with pop music, where a cover song is viewed as an homage and a baring of one's influences. In fact, they can be viewed in the same way that code writers view open source programs; as a template meant for others to expand upon and take in different directions. By changing the musical style, tempo or vocal phrasing, a cover version can create a new work, often with equal or better appeal than the original. Of course, the flip side to this are the innumerable cover versions that should never have been done (eg. the entire oeuvre of Manfred Mann's Earth Band), but usually the terrible ones are quickly forgotten without too much damage to the idea and memory of the original. Here are three rules to help you sort through the mess and mass of cover songs that are out there:
1) The Bob Dylan Rule: (Also with the J.J. Cale and Leonard Cohen corollaries) -- I am a huge fan of Bob Dylan. For a lot of people he is the greatest songwriter of the last 50 years. However, his vocal style makes many people want to do grievous harm to themselves rather than be subjected to listening to him wail (this includes all members of my household). This rule applies the tenet that because his voice is so bad, all cover versions are necessarily better. Examples -- Jimi Hendrix's "All Along The Watchtower," Them/Van Morrison's "It's All Over Now Baby Blue," The Byrd's "Mr. Tambourine Man." All of these cover versions are the songs most people relate to -- those of us that love Dylan, appreciate the originals, but none of us can deny that the cover versions add things to the originals that make them more powerful. Leonard Cohen falls into a similar place with a voice which verges on the painful. My wife will get out of the car and walk ten miles rather than have to listen to "First We Take Manhattan" or "Suzanne," but Jeff Buckley's "Hallelujah" is a classic to her.
2) The "Wonderwall" Rule -- this applies to songs where the original was the bigger hit, but the cover song is just better. Noel Gallagher has said in print that Ryan Adams' "Wonderwall" is the definitive version of the song. By removing some of the bombast and grandeur of Oasis' signature song, Adams' version is haunting and unforgettable. This rule also applies to The English Beat's "Save It For Later." They had the hit with it, but Pete Townshend's version is way more timeless. Pete's acoustic version feels more personal and has some attitude. I'm in a small minority on this, but I'm one who believes that Pete Townshend should sing way more -- I prefer his versions to Daltrey's on most Who songs, too.
3) The "Dusty" Rule -- what about a song where there are competing covers? Although Dusty Springfield's "Son Of A Preacher Man" is a signature song for her, even she has admitted that Aretha Franklin's version is the version that is definitive. No one can touch Aretha (even though Otis Redding's "Respect" comes very close!).
There are many other rules to be sure (let me know if you have any), but in any event let's pay our respects to the cover song in this season of giving thanks.