I got some pretty positive responses from my list of bad cover songs, (Hopefully enough to make you all forget about the VG Protagonists that Suck list, I hope? Please? Put your torches and pitchforks away?) but there were people who thought there were a bunch of covers that I left out of my list that were bad enough to garner some negative recognition…That is just the thing, though. There are so many bad, awful, absolutely terrible covers of songs out there, that it’s a daunting feat to narrow them down to 20.

And so the prospect of a second list was presented to me.

Apparently I have struck a chord here, because bad music in general is a universal thing that everyone can relate to. (Hey, you hate that Laffy Taffy song? Me too!) America has spoken, and they want bad song covers.

All I can say is that you guys are just gluttons for punishment.

And so am I.

BUT WAIT!!! (Sorry, Benzaie) Before you read the rest of this, please have a look at the first article that inspired this sequel:

The ORIGINAL 20 Worst Cover Songs list.

Many of the songs (Not all, of course.) aren’t quite as bad as most of the songs on my first list, but that’s akin to saying one case of smallpox isn’t as bad as another case of smallpox. My descriptions for them may not be quite as in-depth, but look what I had to work with. I already dug up most of the truly disgusting ones on my first list, so it took some deep digging to find ones that were only slightly less awful.

Some of you may think that some of the songs listed here are worse than a few of the songs from my first list. If that’s the case, then let me know, and subtract 20 from the numbers I’ve assigned them, and think of this as a separate list entirely.

Whatever the case, I’ve dug them up from beneath the swampy dregs of the bog of eternal stench that is bad songs, and I give you…

This isn’t necessarily a bad cover, especially compared to some of the other stuff here on this list. This qualifies for my 2nd list all the same though, because of the sheer disappointment I have towards it. I’m a big fan of both Gnarls Barkley AND the Violent Femmes. Imagine my glee upon discovering upon picking up a copy of St. Elsewhere that Cee-Lo and Danger Mouse had covered my favorite song by Gordon Gano and company.

It seemed like a match made in heaven, both are extremely wild and quirky bands, so it should have worked…but it didn’t. The end result was a complete and utter letdown.

I have a niggling feeling deep down that neither Cee-Lo nor Danger Mouse truly cared about covering the song much. The production values of the cover are slipshod and sparse compared to some of the more layered and deep tunes that Danger Mouse has produced, and compared to the rest of the album, Cee-Lo’s singing is rather pathetic. He exhibited a powerful set of pipes on much of the rest of the album, but here he sounds like he’s falling asleep, gently murmuring the song instead of roaring and screaming like he does on the rest of St Elsewhere.

Effort of the artists aside, this just seems in hindsight like a song that shouldn’t be modernized anyway…at least not by Gnarls Barkley. The original Gone Daddy Gone was performed with an acoustic guitar, an acoustic bass, a stand-up drumset, and a xylophone. It was a charming and quirky little number, in contrast to Gnarls Barkley’s version, which sounds rushed, as though the deadline was approaching and they needed to cobble together one last song.

I still like Gnarls Barkley a lot, but this uninspiring cover is permanently etched in the musical lexicon overshadowing the original, and can’t be undone.

Watch The Video

Thank goodness noone has ever heard of these guys, otherwise more people would have been exposed to this flagrantly awful Black Sabbath cover. 3rd Strike was a nu-metal group that came into existence just as people began to realize that nu-metal was stupid and a waste of space, musically. Thank goodness.

Listening to this, one has to wonder just how a group (And what’s more, one that supposedly is influenced by the original group they’re covering) can have the gall to include so much superficial shit in their cover…like the truly cringe-worthy rap breakdown near the end of the tune. (Because if there’s two things that go together like String Beans and the Super Hadron Collider, it’s Black Sabbath and RAP MUSIC.)

One also gets a sense that they weren’t very confident about performing this song. Maybe it’s just me, but I judge that by the way they consistently shout “PARANOOOOOOID!” as if they’re trying to remind us what song their covering. (A word which never actually appeared in the original lyrics.)

To put it simply: This is a crappy cover of a legendary song, which noone heard. Let’s keep it that way.

Watch The Video

I’ll be honest. I’ve never really liked Aerosmith. I think they’re uninteresting, and never really brought anything particularly new and original to the landscape of music. They’re really only famous for selling a lot of records, and for having a crappy Guitar Hero spinoff…The Run DMC cover on the other hand, I didn’t think was all that bad. It was an interesting little thing, but a painful omen of things yet to come. (IE: A slew of crappy rap-metal groups.)

I forget what the occasion was, but in 2002 the Run DMC version of the tune was covered for an MTV special. (It might have been an anniversary of some sort for Aerosmith?)

Who was it covered by? In the place of Run DMC, there was Nelly, Ja Rule, and an unidentifiable DJ nobody really gave a damn about, and in the place of Aerosmith there was Sum 41.

So to sum up, we have a rap version of a song made famous by an overrated arena rock group, covered by two pop-rappers whose spark burned out a LONG time ago, and a faux-punk group whose only real claim to fame was they once got shot at in the Congo.

Did this cover suck? Damn skippy. I wont go into too much detail, but I will say this…If you thought that Steven Tylers infernal shriek was grating to listen to, Sum 41s will make your ear lobes burst.

Watch The Video

Man, I shouldn’t even have to write anything in regards to this. Chances are if you follow internet fads and memes, you’re well aware of the song in question. Chances are even greater that you read the above and immediately became irritated, discovering that “Never Gonna Give You Up” by” was not followed by “Rick Astley.”

This song is far from being one of the greatest songs of all time, (Though many 4chan dwellers may argue otherwise.) it’s still a song that’s damn near impossible to cover, because Rick Astley has a very distinct voice. I’m willing to bet that those people would have been more open to a cover of “Never Gonna Give You Up” if it were by someone similar sounding to Astley.

But Ashley Tisdale? One of the High School Musical kids?

That’s not just a BAD choice, but it’s downright WEIRD.

Strange choices aside, we must get to the most important point: Is the song any good?

No. It’s not. Ashley Tisdale’s irritating bubblegum pop voice makes the song sound horrible, and it’s backed by a rather annoying pseudo-electronica beat that I guess was for the express purpose of being played in dance clubs. As an electronic musician, that kinda agitates me, and I don’t know why.

It took me a while even to find this song, because of the hilarious response to this unacceptable cover from denizens of YouTube; most of the videos I found were just rick-rolls masquerading as the Tisdale version, but actually play the Astley version. (Generally followed by a smattering of “omg why u haetnig on ahsley tsidlae?!1!” comments.)

Watch The Video

Part of what made the Elvis Costello original such a great song was that even if it wasn’t a nice protest song, it would still be a great song to listen to. It was catchy, very upbeat, and had the maniacal, and crazy singing style of early Elvis Costello.

The A Perfect Circle cover on the other hand, is a complete disappointment. The charm of Costellos original piece is non-existent, theres barely any semblance of tune, and the vocalist (The one who is NOT Maynard James Keenan) sounds nothing like Costello, instead opting to sing with a meek and powerless moan than in a maniacal frenzy.

I liked the rest of Emotive, the APC album which featured this cover and many others, (Hell, their cover of Freedom Of Choice by Devo ranks highly on my list of GOOD covers.) but this cover didn’t even sound like it should be a song, really. It sounds a lot more like disorganized ambience. (Which I guess would be fine if it was an ambient song they’re covering…but it wasn’t. It was ELVIS COSTELLO.)

http://www.youtube.com/watch?v=Sk0zmMN2J9M

For a while I was kind of confused about what to think about this monkees cover song. On the one hand I like Smashmouth. (Though All-Star can go die in a pit somewhere.) But on the other, this was yet another song (The Smashmouth version) that played endlessly on the radio throughout my youth, leaving me nowhere to escape to except deeper and deeper into the depths of bitter cynicism.

The more I think about it, this wasn’t a terribly good choice of song for the group to cover anyhow. The original is a classic mod song from the 1960s, and the singer of Smashmouth has a voice like his lungs went down a waterslide coated with sandpaper.

Besides that, this cover has a stigma hanging over it’s head of being nothing more than a song made to market a movie. (Seriously. Look at the music video for it and try telling me it was made for ANY other reason.)

I can think of no good reason why Smashmouth specifically would be called in to cover a Monkees tune, but the only one I can come up with is that they’re the only band that comes with their own Farfisa organs.

Watch The Video

Truth be told, I don’t think anyone can manage a good cover of this song. The only other person I can think of who did it off the top of my head was Dj Sammy, and his was an uninteresting mess of cheesetastic eurobeat. This cover by a pop-punk band whose candle burnt out almost immediately isn’t much worse, but it’s not much better either.

There are many wildly unappealing elements of this song, be it the standard, typically shrill, whiny emo vocals in place of Don Henleys voice, a surplus of chunky guitars, and there are some really insulting disingenuous moments too…such as their changing the lyric about “seeing a deadhead sticker on a Cadillac” with seeing a “Black Flag sticker on a Cadillac.”

The original lyric was meant to be a representation of how times change, since the Grateful Dead used to be considered a counter-cultural group. In this case however, it’s just trying to look cool, especially since the singer was probably too young to remember when Black Flag broke up. (1986) This doesn’t really have anything to do with the quality of the cover, I just thought I’d point that out, because I really hate that kind of pandering.

All in all, this is a grossly uninteresting cover with an extremely pretentious music video. And yet THIS is the version that gets the first hit on YouTube.

Watch The Video

I finally got around to listening to The Wallflowers version of Heroes after so many people suggested that their version was worse than Oasis’, which I included in my first list.

Boy. They weren’t kidding.

Jakob Dylan and company take David Bowie’s passionate tune about two lovers separated by the Berlin Wall, and like Oasis, pretty much goes through the motions of a Bowie cover band. Instead of drowning the tune in distortion like Oasis did however, Jakob sounds like he’s falling asleep for much of the time, and the rest of the time he drones like an atonal Gregorian Monk.

Aside from all that, can anyone explain to me the purpose of making a song about the Berlin Wall the centerpiece tune for the soundtrack to a remake of GODZILLA?

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As I’ve said before, Christians, (Or perhaps I should clarify…WHITE Christians.) especially the really serious Christians, are really BAD at entertainment. (We gave them their chance, and they hit back with Amy Grant, Creed, and P.O.D. 3 strikes and you’re out…at MINIMUM.)

How Pat Boone was ever considered a figure of popular music still escapes me to this day, but then again he did become famous back during the 1950s, when America was big into extremely tool-ey things. And during the 50s, somewhere along the line Pat Boone decided that he could take a ferocious, maniacal, and completely badass song by African-American musician Little Richard, and make it “better.”

Pat Boone.

This ball-less, soul-less, completely sterile version of a now-classic tune should serve as a textbook example of why white people shouldn’t attempt to co-opt black people. They end up looking like a bunch of corny screwballs. What’s even more distressing about this cover is there were some rather disturbing racist connotations surrounding the two songs. (People believe that the industry had Pat Boone cover the song as a way of whitewashing (So to speak) the image of Rock N’ Roll music.)

But of course what is most angering is that it worked. Pat Boone’s version manage to outdo Little Richard’s in terms of sales and Billboard positioning. (Perhaps it’s just as well, though. Which version do YOU remember, after all?)

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I’ll be honest, I don’t have anything to say about this one, because I never heard the original tune before remembering that this lone hit from the first name in Horrorcore rap music was actually a cover, and upon actually hearing the tune I thought it was nothing to speak of.

I still include it here, however, simply on basis that it’s a cover and it’s by Insane Clown Posse, a group who STILL have yet to foist anything listenable upon the world.

Is this a cop-out?

Who gives a damn?

Watch The Video

Let’s get one thing perfectly straight, now irrelevant RnB girl group, All Saints…This is a song about heroin addiction. It’s a song about suicide. It’s a song that is SAD.

Got that? Need me to repeat this? It is a SAD song.

And yet here you are, sticking an upbeat hybrid funk/pop beat over a more-noisy-than-tuneful melody, and letting each member showboat their bubblegum vocal range as if noone was watching.

You ripped out all semblances of sincerity and emotion that came from the original tune, (Which I must remind you is about HEROIN AND SUICIDE.) and turned it into something that’d feel right at home in an inner-city club someplace where shorties can feel free to “drink Bacardi like it’s they birthday” or some crap like that. They don’t sound sad, they sound like they’re ready to “serve” someone.

And I’m sure we all REALLY appreciate your sampling the original iconic guitar riff that opened the song, right when we thought you’d added enough insult to this injury.

Watch The Video

Oh, look who’s back.

I mentioned in my previous list that Fred Durst and his collective of trained idiots are the least qualified people to cover songs by The Who, but upon further recollection I take that back. What I SHOULD have said was that they’re the least qualified people to cover anything at all, because every attempt of theirs isn’t worth beans.

This cover isn’t as bad, or for that matter as inexcusable as their take on “Behind Blue Eyes” but I’m including it here anyway to serve as an example of just how badly someone can miss a point entirely. I suppose technically I should also be including “Home Sweet Home” by Motley Crue in here too, because the cover in question is actually a medley that STARTS with a cover of “Home Sweet Home” and segues into “Bittersweet Symphony”, but I’m focusing strictly on the Verve song, because I fucking hate Motley Crue and could give a damn about what Limp Bizkit does with it.

For anyone here who is a fan of the original Verve song, picture it playing in your head right now. It’s glorious, isn’t it? Now try to picture it without that majestic string section everyone knows and loves. You can’t do it can you?

Limp Bizkit not only doesn’t have those magnificent strings, or even go the half-assed route of sampling them into the tune, (Effectively removing the “Symphony” portion of the tune.) but once again Fred Durst can’t help but be an officious prick, and weighs the song down with shallow angst (Just like in his “Behind Blue Eyes” cover.) and what seems to be the secret go-to weapon of crap cover songs: An elephantine mound of distorted guitars. (Hell, you could barely even HEAR guitars over the original version.)

Oh yeah, and that hope that we’ll suspend our disbelief and feel sorry for Fred Durst is present too. You can’t seriously ask anyone to do that. Asking people to sympathize with Fred Durst is like asking a defenseless saltwater guppy to take pity on a tiger shark because he’s soooo hungry.

I’ll be honest with you, the cover of “Bittersweet Symphony” doesn’t even last that long, in fact they only cover about 1:04 of the original tune, but it’s so god-awful and the fact that they thought it would seamlessly mesh with a Motley Crue song was such a cement-headed thought that it’s staying on the list anyway, it’s that bad.

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Egad. I can’t believe I missed this in writing my first list. If I had to say ANYTHING positive about this cover, I guess it’s fitting that of all the Rod Stewart songs to be covered, it makes sense that Paris would pick one that best matches her repetoire. (So to speak.)

Don’t get me wrong though: That does NOT make it any easier to listen to this disco nightmare. Everything about this song reeks of failure, from the overly produced background music, (It might as well have been coated in that plastic they use to keep people from getting at game controllers.) to Paris’s atrociously bad hybrid of singing(?) and shrill-whispering, to simply the subject matter itself.

It’s one thing to have to sit through more than a few seconds of one of her original songs, but after listening to this I felt like I needed to take a shower, because as the title suggests, this is one of Stewart’s raunchier tunes, which I guess there’s nothing wrong with…except that Paris Hilton is singing it, who is probably crawling with so many venereal diseases that she could be classified as a reincarnation of Typhoid Mary.

All in all a crappy cover, which is really nothing less than what can be expected of Ms. Hilton, since she really fails at most everything she does that doesn’t involve looking sultry and saying “Hot.”

I can’t help but shudder at the irony though, of Paris Hilton, committing aural rape.

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This is yet another cover I felt somewhat ambivalent about, looking at it initially. I like Peter Frampton, but not enough to mind if someone covers his works, and I’m just plain not a fan of Lynyrd Skynyrd. (I think they’re wildly overrated. Is that so hard to believe?) Pondering over whether or not to include this at all on what’s supposed to be MY list, I finally went with it, because I had a feeling that someone would track this down and point it out to me, wondering why I hadn’t included it, so I’m just cutting out a middleman.

Upon finally listening to it however, I have a good feeling that I made the right move putting it in, because I just KNOW you’re all going to hate this song, and it serves as a good example of the evil that can exist in this world.

Peter Frampton aside, it takes some real balls to cover Free Bird, a song that’s universally accepted as a classic of American culture. (To the rest of America. Not to me.) But more than that it takes some real GALL to turn it into a dance song.

This medley of tunes is insultingly 80s sounding. If you hate the sound of Korg synthesizers and heavily reverberated snare drums, that vein on your forehead should be pulsating as I speak, but it doesn’t even end there. The song is a downtempo ballad-ey type song, more akin to something that Michael Bolton would produce instead of Frampton OR Skynyrd, and both vocalists (There’s a male and a female) sound sappy and full of cheese. (Particularly the male one, who sounds like Bob Ross, but in a bad way.)

But probably the worst offense for both Frampton and Skynyrd fans is the fact that there’s no guitars in the song, and as such there are no guitar solos.

Like I said, I’m not nearly the biggest fan of either, but even I know that a Frampton or Skynyrd song with no guitar solos is like a Frank Miller comic book without prostitutes.

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Remember what I said earlier about how white people shouldn’t co-opt the musical achievements of black people? Fortunately for soul legend Otis Redding, his original version was at any point never overshadowed, by a clean, safe-for-consumption, ball-less, “singer” like Little Richard’s song was.

Unfortunately his classic song faced a fate worse than that…being covered by Michael Bolton.

Generally the first thing people notice when comparing the two songs is the singing style each employs. Otis Redding had a timeless voice that helped to shape the song into the classic that it is today. Michael Bolton on the other hand, has a voice like a mouth full of marbles. Not particularly soulful material.

Then there’s the difference in tone. The original was quiet, sounded beautiful, and had a very isolated melancholic feel to it. It was emotionally sincere, and there was no reason to perform the song any other way.

Oh, but I forgot. It was the 1980s when this cover was recorded, when there was an unwritten rule in place that all songs, no matter the genre, have to sound as epic and over-the-top as possible. (Which generally translates into unnecessary rock guitars, and a malignant amount of reverb on your snare drum.)

In the original tune, I’d argue the loudest part of it was the horn section, but in Bolton’s take EVERYTHING is loud, and yet STILL manages to get overshadowed by Bolton’s terrible sponge-in-mouth singing voice.

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As much as people tended to agree with my last list, reader TheDramaticMonarch thought that there was one thing notably absent from my original list: Jessica Simpson.

Well no mas. Here she is in all her song-ruining glory, and boy does she ever deserve her position for cranking out this putridity.

Right from the start when she creepily whispers: “Are you ready, boots?” you can tell you’re in for a world of trash. Between the piss-poor pop beat, the overabundance of cornball elements to fit in with it being part of the Dukes of Hazzard soundtrack, (Heck, the original sounded more like a spy movie song. What kind of Cliff’s Notes was Simpson reading?) and the completely idiotic removal of the “g” in the title “walking”, turning it into “walkin”, that promise is fulfilled in spades.

Most disturbing however (To me) is the accompanying music video, where Simpson effectively dumps all over Nancy Sinatra’s charming original piece, by piling on the faux-sexiness, and at one point stopping a bar brawl to get into a choreographed dance sequence with similarly dressed…uh…waitresses?

Once the song was over, one thought circulated through my brain: “They must have given Willie Nelson some PRIMO reefer to get him to appear on this shitfest.”

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Dammit, why weren’t we paying more attention during the 1990s?? How the hell did we let Puff Daddy get away with stealing so many songs and turning them into manufactured rap with a capital C? (Rap. Capital C. Crap? Get it? …Where’s everybody going?)

I don’t care if this is supposed to be a tribute to his pal Biggie’s death, hell I don’t even care if it was supposed to be a tribute to the oppressed people in Darfur, this song rips away a classic Police tune, and weighs it down with rhymes that manage to both be sappy and maudlin, and extremely uninventive. (I take that back, because anyone who rhymes “Pray for you” with “Pray for you” is clearly a poetic genius.)

I can hear some fans of rap music going: “There’s nothing wrong with sampling, rappers and electronic artists do it all the time.” Yes, but they still add changes to their tunes so if the lyrics were removed it would seem visibly different to the original. Just how much of a song can one sample before it becomes outright theft? We strung up Vanilla Ice for doing it with “Under Pressure”, why does P. Diddy Doody Dingy Dangy Dingle Dongle Dooby Dooby Doo get a free pass?

Whatever the case, if Puff TRULY cared about anyone was paying so-called tribute to, don’t you think he’d write some of his own damn music for once?

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Surely record companies have people who have to approve a project before an artist can undertake it, right? Where the hell was that guy when British boy-band 5ive, (Pronounced “Five” apparently, and not “Fiveive” as I had thought.) decided it’d be a great idea to cover this Queen classic, and for that matter WITH the remaining Queen members backing them?

Let’s look at the formula we had to work with here. A classic rock song…as done by a boy-band…who has been known to incorporate rap-rock elements into their music. Surely we’re looking at a recipe for success that everyone will love, right?

WRONG. It was crap.

Such crap.

Holy crap was it ever crap.

What’s particularly gut-wrenching is the knowledge that Queen was sitting no more than a few feet away playing backup, unable to do anything when that brain tumor-inducing rap section started to play. (Is there some kind of unwritten rule that states that every modernized cover of a classic rock song has to have a piss-poor rap section in it? That’s happened an AWFUL LOT.)

Watching the video for this, I just kept hoping and hoping and hoping that a freak accident would cause the long-dead corpse of Freddy Mercury to rise out of the ground, and commit a world of zombie pain upon these talentless 5ruits.

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As long as we’re on the subject of dead hip hop artists, I think we can all agree that the loss of Ol’ Dirty Bastard was of little consequence to the music community. I point to this inexcusable Elton John cover as evidence. Listening to it, I’m beginning to wonder if ODB was ever a legitimate rapper to begin with, because he sounds more like he got into the Wu-Tang Clan as part of a community service program that lets mentally deficient people be rappers for a day, and he forgot to leave when it was over.

The original version by John and singer Kiki Dee was already a fairly silly song in and of itself, and I guess it makes sense that someone wouldn’t go into covering this too seriously, but it’s one thing to be silly, and it’s a completely different thing to be completely annoying beyond human measure, which is what Ol’ Dirty Bastard is, who doesn’t necessarily “sing”, so much as “yammer like a hobo on free soup day.”

And Macy Gray? Well what really can be said about her? She sings like she always has, like her lungs are coated with sandpaper. The only difference is here she sounds like she’s kicked back a full bottle of Buckfast, and decided to record it with a karaoke machine.

The rendition is bad in every sense of the term, but it’s Ol’ Dirty Bastard’s vocal pissings that truly move this cover into abominable territory. It marks the first time in a long time I’ve ever shouted at my computer at the top of my lungs. Halfway into it I became so fed up with having to listen to it I screamed for it to shut the fuck up.

As bad as the song is, what’s truly RIDICULOUS however, is the YouTube comments that DEFEND this tripe. Most of them are along the lines of “This was ODB’s style.” Is that so? I didn’t know that sounding like shit was a musical style.

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Man, I am stupid.

In making my first list, I left this out, and I got a lot of people wondering (Well, chastising really.) why I didn’t put it in. Well here it is now, in all of it’s lifeless adult contempo majesty.

Noone can argue that Layla was one of the most rocking songs of the 70s, (Those people weren’t writing “Clapton is God” on walls because of his teachings.) but when Clapton REMADE the song in the 1990s as a somber love ballad, everyone simultaneously went: “What’s all this malarkey?!” (Though probably with more colorful language.)

This cover shouldn’t be considered music. It should be considered an argument in favor of the “live fast and leave a beautiful corpse” philosophy, because that’s what happens to our rock stars when they get old and tired. They slow down, they lose their spirit, and they stop rocking.

Denis Leary once put forth the idea that after a rock star gets big and has a huge timeless hit, they ought to be shot on sight. (So you could remember them in a GOOD way.) Frankly after listening to this a couple of times, this hollow shell, this mere shadow of greatness, I’m beginning to see the credence in that.

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Is there yet another song you think I forgot to include, or think one doesn't belong there? Leave me a comment.

Next time: 20 GOOD Cover Songs. 

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written by TheDramaticMonarch , October 25, 2008

Y'know, I was feeling a little masochistic and I decided to listen to the All Saints cover of "Under the Bridge". I couldn't get through the first minute of the song. Your description of it was so accurate; it turns an iconic, melancholic track into a fourteen-year-old wannabe rap videho wannabe anthem. Ugh.

There were quite a few on there that made me gag just by reading their descriptions and yes, out of all the shitastic Jessucka Simpson maulings masquearded as covers, "These Boots Were Made For Walking" is indeed the worst one. God, just thinking about it now makes me want to vomit violently.

Another great list! I'm really enjoying your work so far and I can't wait to see your Good Cover Song List.

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Dude!
written by Wandering_Swordsman , October 25, 2008

HOW did you forget to put Layla on the Top 20?!

Haha, seriously though, I don't think I was ever so disappointed by a cover. I loved the original version of Layla, it jsut simply kicked ass. So I decided to give the Unplugged version a whirl... *snores* What the hell was THAT?! Way to completely ruin a classic... that YOU made YOURSELF Clapton!

Well, great job on these lists.

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written by mrsandwich , October 26, 2008

how about the songs from american idol rejact William Hung?

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Well, mrsandwich...
written by Mr. Vorhias , October 26, 2008

I refuse to include any William Hung butcherings on either lists for two reason:

1. Like William Shatner, it's too damn easy.
2. I don't want to recognize their existence.

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written by ScottishInsomnia , October 26, 2008

I think I can remedy the "These Boots" and "Paranoid" situations. listen to Megadeth's versions! Megadeth have done some pretty kickass covers like No More Mr Nice Guy by Alice Cooper, Problems and Anarchy In The UK by the Sex Pistols.

http://uk.youtube.com/watch?v=gv6W5pvdZ7o - Megadeth's Paranoid
http://uk.youtube.com/watch?v=HKYYiYcr21Q - Megadeth's uncensored version of These Boots

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written by LinksBrotherInLaw , October 31, 2008

The Jonas Brothers cover of Take On Me is terrible! Reel Big Fish's was way better than this. That cover was ace!

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written by Dweeb , November 01, 2008

And now some honourable mentions;

The Tide is High-Atomic Kitten
Sweet Child of Mine-Sherryl Crowe
Take My Breath Away-Jessica Simpson
Angels-Jessica Simpson
Our Lips are Sealed-Hilary and Haylie Duff
Smooth Criminal-Alien Ant Farm
Locomotion-Kylie Minoque
Freedom-Robbie Williams
I Don't Like Mondays-Tori Amos

There are probably more to come though, but there are some attrocities there. And to Paris Hilton covering Do You Think I'm Sexy, now that is so shudder-worthy that Rod Stewart's version sounds like Sinead O'Conor and that is me when I have not heard it yet.

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