Music has a funny way of playing tricks on us. You think you know a song inside and out – its story, its artist, its soul – and then someone drops the bombshell: it was written by someone else entirely. Whole generations have grown up claiming songs as their own cultural touchstones, completely unaware that another artist recorded them years, sometimes decades, earlier.
Sometimes an artist covers an already existing song and creates a version so iconic that it eclipses the original. Honestly, it happens more than most people realize. When it comes to music, we often assume that artists write all of their own lyrics and material. Sometimes that hit single you really love is actually a cover. It turns out that a lot of musicians – Beyoncé, David Bowie, and Metallica, to name a few – have had massive success with their own renditions of someone else’s songs.
So let’s dive in.
1. “Respect” – Aretha Franklin (Original: Otis Redding, 1965)
This one might just be the single greatest bait-and-switch in music history. Most people on the planet associate “Respect” with Aretha Franklin so completely that the idea of it belonging to someone else sounds almost offensive. Yet “Respect” is actually a song by American soul singer-songwriter Otis Redding, originally recorded and released by himself in 1965 as a single from his third album, Otis Blue. After becoming a crossover hit for Redding, in 1967 Aretha Franklin – the “Queen of Soul” – rearranged, rephrased, and covered it, resulting in her breakout hit and her signature song.
The track was actually a clever gender-bending of Otis Redding’s song, whose original reinforced the traditional family structure of the time: a man works all day, brings money home to his wife, and demands her respect in return. Aretha flipped that completely. The music in the two versions is significantly different, and a few changes in the lyrics resulted in different narratives around the theme of human dignity. Franklin’s interpretation became a feminist anthem for the second-wave feminism movement in the 1970s.
While Redding’s version went to number 35, Aretha’s went all the way to number 1. The song earned Franklin two Grammy Awards in 1968 for “Best Rhythm and Blues Recording” and “Best Rhythm and Blues Solo Vocal Performance, Female,” and was inducted into the Grammy Hall of Fame in 1987. Otis Redding himself reportedly acknowledged the cultural shift – when he heard Aretha Franklin’s version, he reportedly said, “Well, I guess it’s that girl’s song now.”
2. “I Will Always Love You” – Whitney Houston (Original: Dolly Parton, 1973)
Here’s the thing – most people today at least vaguely know this one. Yet a staggering number of younger listeners still assume Whitney Houston wrote it herself, which is understandable given the sheer force of her performance. The song was written and originally recorded in 1973 by Dolly Parton, written as a farewell to her business partner and mentor Porter Wagoner, expressing Parton’s decision to pursue a solo career.
Dolly Parton released her original rendition of the single in 1974, and following its release, the single peaked at number 1 on the Billboard Hot Country Songs chart – twice, both in 1974 and 1982. Then Whitney came along. Originally from The Bodyguard soundtrack, Whitney’s version spent 14 weeks at number 1 on the Hot 100 – a record at that time and her longest run atop the chart.
As of June 2025, Houston’s single received an 11x Platinum RIAA certification, meaning it has sold 11 million units. Overall, estimated sales for the single are roughly 20 million worldwide. With no surprise, it was the best-selling single of 1992. To this day, Whitney Houston holds the record for best-selling single by a woman in music history. Meanwhile, Dolly Parton owns the publishing rights to the song. Every time Houston’s version gets played, Parton earns royalties – and given the song’s immense popularity, it added up to approximately $10 million in the 1990s alone.
3. “Girls Just Want to Have Fun” – Cyndi Lauper (Original: Robert Hazard, 1979)
Few songs feel more synonymous with female empowerment and 1980s energy than this one. But I know it sounds crazy: the song was written by a man. Not only did Cyndi Lauper not write “Girls Just Want to Have Fun,” but the original was written by a man. Specifically, before Cyndi Lauper dropped this anthem for all women, new wave musician Robert Hazard – a hot name in the Philadelphia club scene during the 1980s – recorded the song’s demo.
Musically speaking, both Robert Hazard’s original version of “Girls Just Wanna Have Fun” and Cyndi Lauper’s cover are fairly similar. The key difference was tone and intent. Cyndi Lauper’s version of “Girls Just Want to Have Fun” became a feminist song in a way the male-written original never could have been on its own. Cyndi got permission to make the lyrical edits – though one might find it odd that this popular feminist song was written by a man.
4. “Torn” – Natalie Imbruglia (Original: Ednaswap, 1993)
This is one of the defining pop songs of the late 1990s. Natalie Imbruglia made it hers so completely that even now, people are genuinely shocked when told the truth. The history behind “Torn” is slightly complicated, as it was written in 1993 and first recorded in Danish by singer Lis Sorensen. Natalie Imbruglia’s “Torn” became a massive hit in 1997, topping the charts and becoming a defining song of the decade – but it was originally a rock song by the band Ednaswap.
Australian singer Natalie Imbruglia certainly made this song famous, but Scott Cutler, Anne Preven, and Phil Thornalley first wrote it in 1993. The version most people know bears only a passing resemblance in spirit to what Ednaswap produced. It is a fascinating example of how packaging, production, and the right voice can reframe a song entirely. Let’s be real – almost no one was listening to Ednaswap in 1997.
5. “Valerie” – Amy Winehouse ft. Mark Ronson (Original: The Zutons, 2006)
If there were ever a cover that made people forget the original existed, it is this one. Amy Winehouse’s version of The Zutons’ “Valerie,” with instrumental tracks reworked by Mark Ronson, made such an indelible impression on listeners that it became Winehouse’s song in a way. Many people don’t know that it was technically a cover.
This Zutons original only really came to life after Amy Winehouse put it to tape in the studio with producer Mark Ronson, instantly making the undeniable tune her own. It is hard to say for sure whether The Zutons ever fully received the credit they deserved outside of music circles. At times, a song can “belong” more to its cover artist when it takes on a new cultural significance. This is textbook proof of that.
6. “Mickey” – Toni Basil (Original: Racey’s “Kitty,” 1979)
The cheer-pop earworm that practically defined early 1980s novelty radio was not even called “Mickey” the first time around. It’s hard to believe that Toni Basil’s pop staple “Mickey” was a cover of an earlier song, but what’s even more remarkable is that “Mickey” wasn’t originally called “Mickey” at all. Recorded in the late 1970s by the UK group Racey, the song’s initial title was “Kitty.” Aside from their titular love object, Basil’s lyrics are pretty much identical to those in the Racey version.
Most people probably think Toni Basil penned this snappy pop hit, but Mike Chapman and Nicky Chinn actually wrote it about a girl named Kitty. Basil’s cover made it to number 1 on Billboard’s Hot 100 chart, selling 1 million singles in the U.S. Think about that for a second – a song about a girl named Kitty became a global hit about a boy named Mickey. Sometimes all it takes is a name change and a cheerleading squad.
7. “Red Red Wine” – UB40 (Original: Neil Diamond, 1967)
If you grew up in the 1980s, UB40’s reggae groove almost certainly soundtracked at least one family barbecue. And that’s what makes the origin of this song so mind-bending for most people. UB40’s reggae-flavored rendition of “Red Red Wine” might be a go-to track for vino indulgence, but the song first appeared on Neil Diamond’s sophomore record, Just For You, and it was far more somber.
Neil Diamond composed this mellow ballad in 1967, but UB40’s reggae-flavored cover really made a splash in 1983. Their cover version reached number 1 on the Billboard Hot 100 chart and sold 500,000 copies in the U.S. Here is a wild bonus fact: UB40 originally misattributed the song to Tony Tribe, who had also done a version, before realizing that Diamond wrote the song. So not only did they cover it – they initially credited the wrong person entirely.
8. “If I Were a Boy” – Beyoncé (Original: BC Jean, 2008)
Beyoncé’s vocal power is so overwhelming that it is genuinely easy to assume she writes everything she touches. This ballad, one of her most emotionally resonant moments, is a compelling example of how a cover can become something greater in the hands of the right artist. Beyoncé’s 2008 hit “If I Were a Boy” struck a chord with audiences worldwide, thanks to its poignant lyrics and powerful vocal delivery. Surprisingly, it was originally written and recorded by singer-songwriter BC Jean, but her version didn’t achieve commercial success. Beyoncé’s version, however, catapulted the song to global fame.
When singer-songwriter BC Jean’s record company rejected her recording of “If I Were A Boy,” she did the next logical thing: she gave the song to Beyoncé. Beyoncé’s rendition brought the song to the forefront of mainstream music, highlighting its emotional depth and lyrical narrative about femininity and relationships. The cover’s popularity far exceeded the original, establishing it as one of Beyoncé’s memorable ballads and leaving many unaware of its origins with BC Jean.
9. “Tainted Love” – Soft Cell (Original: Gloria Jones, 1964)
For an entire generation of fans who came of age in the early 1980s, “Tainted Love” is Soft Cell. Full stop. The haunting synth intro, Marc Almond’s voice – it feels completely original and of its era. But it is not. Not even close. We all know “Tainted Love” as the dark synthpop smash courtesy of Soft Cell, but it first entered the cosmos nearly 20 years earlier via Gloria Jones and writer Ed Cobb.
Gloria Jones recorded the original in 1964, but it never cracked the mainstream. Soft Cell’s version transformed it into something almost unrecognizable in genre, turning a soul number into a cold, minimalist electronic record. The song was actually written by a former member of The Four Preps named Ed Cobb. He originally offered it to another group named The Standells, but they said no. Sometimes rejection is the best thing that can happen to a song’s legacy.
10. “Jolene” – Covered by Beyoncé in 2024 (Original: Dolly Parton, 1973)
Dolly Parton wrote “Jolene” – that part is well known. What is far more recent and worth discussing is how the song took on a brand new life in 2024, sparking a whole new wave of listeners discovering covers they did not know existed. Beyoncé covered Dolly Parton’s iconic tune “Jolene” on her 2024 country album “Cowboy Carter,” rewriting the lyrics to make the song’s narrator more assertive.
She reimagined the chorus as a veiled threat to Jolene instead of a plea. Like with many covers, audiences were divided. Still, the moment reignited widespread conversation about what it means to cover a song and how radically an interpretation can alter a song’s message. In some instances, a cover can even surpass the original’s success. Whether Beyoncé’s version achieves that with Dolly’s beloved classic is genuinely hard to say – but the fact that the conversation is even happening says everything.
A Final Thought Worth Sitting With
Music ownership is a slippery, fascinating thing. Cover songs that became big hits – and in some cases became more popular than their original incarnation – can also lead to the discovery of the original track and more joy for the listener. That feels like the most generous way to look at all of this. Not as theft or erasure, but as a chain of creative inspiration stretching across decades.
A new interpretation by a different artist can give a song an entirely different feel, make it seem more relevant, or just intensify the vibe it already had. Sometimes, an updated version of a song can even turn a commercial flop into a chart-topping hit. The story of “Respect,” “I Will Always Love You,” and “Torn” all prove that point perfectly. These songs were not stolen – they were reborn.
So next time you hear a song that feels like it could only ever belong to one artist, maybe ask yourself: is this really where it started? You might be more surprised than you think. Which of these revelations hit you hardest – did you expect any of them? Drop your thoughts in the comments.
