The CoverUp

This week we walk with giants. The birth of psychedelic rock, and its perfect transformation into glam and hard rock. Shapes of Things, originally by The Yardbirds, covered by David Bowie and by Rush. Outro music is YYZ, also by Rush. And thank you, Neil Peart, for so many years of so much brilliant music.

Motown misses by failing to recognize the R&B potential of a song. I know, I don't get it either. Devil With A Blue Dress, originally by Shorty Long, covered by Mitch Ryder and The Detroit Wheels, and by The Cramps. Outro music is Good Golly Miss Molly by Little Richard.

A song with a complicated origin and non-collaborative collaboration that became a signature sound, unexpected country, and the Nashville machine. Wagon Wheel, originally by Old Crow Medicine Show, covered by Nathan Carter and by Darius Rucker. Outro music is I'm On My Way by Rhiannon Giddens with Francesco Turrisi.

It's not often that we get two versions of the same song that are so incredibly different, but still utterly delightful. It's a shame that it also comes with a big does of tragedy. A New England by Billy Bragg, covered by Kirsty MacColl. Outro music is the title theme from The Simpsons by Danny Elfman.

It was hard to be the kid that recorded one of the best songs ever. Covering that song is hard for much more benign reasons. We look at three attempts that each have very different motivation. I Want You Back, originally by The Jackson 5, covered by Sheryl Crow, Colbie Caillat, and Taylor Swift. Outro music is Crash Into You by Dave Matthews Band (and it totally belongs there).

A classic song and a brilliant example of song craft by an art/prog/pop triple threat, and some covers that show how hard and how satisfying it can be to tackle genius head-on. In The Air Tonight, originally by Phil Collins, covered by Barenaked Ladies and by Larkin Poe. Outro music is Annabel Lee by Stevie Nicks.

One of the greats delivers a brilliant example of how good a sad Christmas song can be. And A brilliant band takes that idea and runs with it to a beautifully intense conclusion. If We Make It Through December, Originally by Merle Haggard and the Strangers, covered by Over The Rhine. Outro music is All I Need Is Everything, also by Over The Rhine.

The final hit from a brilliant talent, a lovely interpretation from one of the biggest talents in popular music, and the fulfillment of the promise of an interesting song. It Doesn't Matter Anymore, originally by Buddy Holly, covered by Linda Ronstadt and by Flat Duo Jets. Outro Music is Fell in Love With a Girl by The White Stripes.

One of the best New Order songs that absolutely everyone knows, but nobody knows they know -- ya' know? Bizarre Love Triangle by New Order, covered by Frente!. Outro music is Pocket Calculator by Kraftwerk. Please listen to their Computer World album as soon as you finish this episode.

This turned into such a strange rabbit hole, and 1969 was clearly The Upside-down. We look at the biggest Saturday Morning Cartoon song ever, Sugar Sugar, originally by The Archies, covered by Wilson Pickett, and by Ike and Tina Turner. Outro music is the Spider-Man theme, by The Ramones (I swear to God I am not making that up).

We go big for episode 100. It's the Prince song everyone wants, but with so much more Prince than anyone expects. Nothing Compares 2 U, originally by The Family, covered by Sinead O'Connor, by Prince with Rosie Gaines, Chris Cornell, and Prince. And there's a lot of surprise Prince all over this one. Outro music is 777-9311, by The Time.

Two bands we absolutely love, both at the height of their powers, and a song that's caused more karaoke failures than any other. It's The End Of The World, originally by REM, covered by Great Big Sea. Outro music is Old Black Rum, also by Great Big Sea

The evolution of modern folk music in one song. Start with a good song built around a big message and end up with some of the greatest American vocal talents ever. If I Had A Hammer, originally by The Weavers, covered by Peter, Paul and Mary, and by Sam Cooke. Outro music is Tennessee Waltz, also by Sam Cooke (which he manages to sing as a non-waltz but it still works.)

The second greatest song of all time, the queen of soul, the kings of nerd-rock, singer/songwriter brilliance -- There's a lot to process this week. Satisfaction, originally by The Rolling Stones, covered by Aretha Franklin, by Devo, and by Cat Power. Outro Music is Bob Dylan's Like a Rolling Stone -- Rolling Stone Magazine's greatest song ever (remember that, as it'll be on the test)

It's almost impossible how much ground we cover in this one. The pinnacle of Disco, a figurative horror show suitable for a literal horror show, metal redemption with a pair of purple socks as subtext. Stayin' Alive, originally by the Bee Gees, covered by Tiny Tim, and by Dweezil Zappa with Ozzy Osbourne. Outro music is I Can See Clearly Now, by Donny Osmond, and it totally fits.

One of the most broadly beloved rap songs ever, a nerd with a banjo, and a feminist critique of societies pressures and beauty standards. Has to be Baby Got Back by Sir Mix-a-Lot, covered by Jonathan Coulton. Outro music is Still Alive (from Portal's closing credits), also by Jonathan Coulton, featuring Sara Quin.

A happy song that's pretty sad, a lot of vocal excellence, mid-baritones, and accents. OK, just one accent, but it's a doozie. We look at 5 O'Clock World, originally by The Vogues, covered by Hal Ketchum, and by The Proclaimers. Outro music is King Of The Road, also by The Proclaimers. Which we may get to on a future episode.

Paul McCartney was granted a license to kill ... this song. We look at Live and Let Die, originally by Wings, covered by Guns n Roses and by Duffy. Outro music is a live version of Chicken Pot Pie, by Weird Al.

Punk perfection bookending a questionable origin story and some ... interesting performances. This week is Because The Night by the Patti Smith Group, covered by 10,000 Maniacs, by Bruce Springsteen, and jointly by Garbage and Screaming Females. Outro Music is The Warrior by Patty Smyth, because we're brats.

The best of the rest of the British Invasion, the birth of modern metal guitar, and The Pit of Disco Despair. This week we look at Glad All Over, originally by The Dave Clark Five, covered by Quiet Riot and by Pet Shop Boys. Outro music is Cum On Feel The Noize, by a post-Rhoads Quiet Riot.

We say this a lot, but this episode has everything: The formative moment of modern country music, the improbably invention of jazz-country, an utterly avant garde take on a classic, and frog-related childhood trauma. Your Cheatin Heart, originally by Hank Williams, covered by Leon Redbone and by Beck. Outro music is the theme from Mr. Belvedere, also by Leon Redbone, who did more with that song th...

A classic song created by a bunch of crypto-non-Australians, popularized in the evolution of punk rock, and brought to heel by the quintessential Spice Girl. I Want Candy, originally by The Strangeloves, covered by Bow Wow Wow, and by Melanie C. Outro Music is Punk Rock Girl by The Dead Milkmen.

It shouldn't be a surprise that a song with such a universal sentiment was picked up by other musicians. This one stayed universal in an entirely different musical universe. Take This Job and Shove It, originally by Johnny Paycheck, covered by The Dead Kennedys and by the supergroup of Bobby Bare Sr., Radney Foster, Buck Owens, and Jeff Tweedy. Outro music is Just Call Me Lonesome by Radney Foster...

The 80s-est song that ever 80s-ed didn't do so well when it tried to 64 . This week we look at Tainted Love, originally by Gloria Jones, covered by Soft Cell and by Marilyn Manson. The 80s-est song that ever 80s-ed didn't do so well when it tried to 64 . This week we look at Tainted Love, originally by Gloria Jones, covered by Soft Cell and by Marilyn Manson. Outro music is Toxic by Britney Spears...

Nobody ever doubted this week's song was incredibly successful. But it's also a lot more substantial than we expected. Don't judge a book by the bandaid on its cover. Hot in Herre, originally by Nelly, covered by Jenny Owen Youngs. Outro Music is Welcome to the Hellmouth by Jenny Owen Youngs and Kristin Russo.