Amazon When Scrolling Movies and Tv the Cover Art Covers the Description

Later version of a song already established with a different earlier performer

This article is nearly the encompass performance or recording of an original song. For the Steven Wilson album, encounter Cover Version.

In popular music, a cover version, cover vocal, remake, revival, or just cover, is a new performance or recording past a musician other than the original performer or composer of the vocal.

History [edit]

The term "cover" goes back decades when cover version originally described a rival version of a tune recorded to compete with the recently released (original) version. Examples of records covered include Paul Williams' 1949 striking melody "The Hucklebuck" and Hank Williams' 1952^[i] song "Jambalaya". Both crossed over to the pop striking parade and had numerous hit versions. Before the mid-20th century, the notion of an original version of a popular melody would have seemed slightly odd – the production of musical entertainment was seen as a alive result, even if it was reproduced at dwelling via a copy of the sheet music, learned by eye or captured on a gramophone tape. In fact, 1 of the principal objects of publishing sheet music was to have a composition performed by as many artists equally possible.

In previous generations, some artists made very successful careers of presenting revivals or reworkings of once-pop tunes, fifty-fifty out of doing contemporary cover versions of current hits. Musicians at present play what they call "cover versions" (the reworking, updating, or estimation) of songs as a tribute to the original performer or group. Using familiar textile (such as evergreen hits, standard tunes or classic recordings) is an important method of learning music styles. Until the mid-1960s about albums, or long playing records, independent a large number of evergreens or standards to present a fuller range of the artist's abilities and style. (See, for example, Please Please Me.) Artists might likewise perform interpretations ("covers") of a favorite creative person'south hitting tunes^[two] for the simple pleasure of playing a familiar song or collection of tunes.^[3]

Today three wide types of entertainers depend on cover versions for their main repertoire:

Tribute acts or bands are performers who make a living by recreating the music of i detail artist or band. Bands such as Björn Again, Led Zepagain, The Fab Four, Australian Pink Floyd Show and the Iron Maidens are dedicated to playing the music of ABBA, Led Zeppelin, The Beatles, Pink Floyd, and Atomic number 26 Maiden respectively. Some tribute acts salute the Who, The Rolling Stones and many other classic stone acts. Many tribute acts target artists who remain popular but no longer perform, assuasive an audition to experience the "next best thing" to the original act. The formation of tribute acts is roughly proportional to the enduring popularity of the original act; for example, dozens of Beatles tribute bands have formed and an unabridged subindustry has formed around Elvis impersonation. Many tribute bands attempt to recreate another band's music as faithfully as possible, but some such bands introduce a twist. Dread Zeppelin performs reggae versions of the Zeppelin catalog and Beatallica creates heavy metal fusions of songs past the Beatles and Metallica. There are too situations in which a member of a tribute band will get on to greater success, sometimes with the original human activity they tribute. One notable example is Tim "Ripper" Owens who, one time the atomic number 82 singer of Judas Priest tribute band British Steel, went on to bring together Judas Priest himself.

Cover acts or bands are entertainers who perform a wide variety of crowd-pleasing embrace songs for audiences who enjoy the familiarity of hit songs. Such bands draw from either current Top twoscore hits or those of previous decades to provide nostalgic entertainment in confined, on cruise ships and at such events as weddings, family celebrations and corporate functions. Since the advent of inexpensive computers, some cover bands employ a computerized itemize of songs, so that the vocaliser can have the lyrics to a song displayed on a computer screen. The use of a screen for lyrics equally a memory aid can dramatically increase the number of songs a singer can perform.

Revivalist artists or bands are performers who are inspired by an unabridged genre of music and dedicate themselves to curating and recreating the genre and introducing it to younger audiences who accept not experienced that music commencement paw. Unlike tribute bands and encompass bands who rely primarily on audiences seeking a nostalgic feel, revivalist bands ordinarily seek new young audiences for whom the music is fresh and has no nostalgic value. For instance, Sha Na Na started in 1969 as a commemoration of the doo-wop music of the 1950s, a genre of music that was non initially fashionable during the hippie counter-culture era. The Blues Brothers started in 1978 every bit a living salute to the blues, soul and R&B music of the 1950s and 1960s that was non in vogue past the late 1970s. The Blues Brothers' creed was that they were "on a mission from God" as evangelists for blues and soul music. The Black Crowes formed in 1984, initially defended to reviving 1970s style blues-stone. They started writing their ain material in the aforementioned vein.

United States copyright law [edit]

Since the Copyright Act of 1909, United States musicians have had the right to record a version of someone else's previously recorded and released tune, whether it is music alone or music with lyrics.^[4] A license can be negotiated betwixt representatives of the interpreting creative person and the copyright holder, or recording published tunes can fall under a mechanical license whereby the recording creative person pays a standard royalty to the original author/copyright holder through an organisation such as the Harry Trick Bureau, and is condom nether copyright police force even if they do not accept any permission from the original author. A similar service was provided by Limelight by RightsFlow, until Jan 2015, when they appear they volition exist closing their service. The U.S. Congress introduced the mechanical license to head off an attempt by the Aeolian Company to monopolize the piano coil market.^[v]

Although a composer cannot deny anyone a mechanical license for a new recorded version, the composer has the right to determine who will release the first recording of a song. Bob Dylan took advantage of this right when he refused his own record company the right to release a live recording of "Mr. Tambourine Human".^[four] Even with this, pre-release encompass versions of songs can occasionally occur.

Live performances of copyrighted songs are typically bundled through performing rights organizations such as ASCAP or BMI.

Early on 20th century history [edit]

Multiple versions in various formats or locations [edit]

Early in the 20th century it became mutual for phonograph tape labels record companies to have singers or musicians "comprehend" a commercially successful "hit" tune by recording a version for their own characterization in hopes of cashing in on the tune's success. For example, Ain't She Sweet was popularized in 1927 by Eddie Cantor (on stage) and by Ben Bernie and Gene Austin (on tape), was repopularized through popular recordings past Mr. Goon Basic & Mr. Ford and Pearl Bailey in 1949, and afterwards nonetheless revived as 33 i/3 and 45 RPM records by the Beatles in 1964.^[6]

Because footling promotion or advertising was done in the early days of record production, other than at the local music hall or music store, the average heir-apparent purchasing a new record usually asked for the tune, not the artist. Record distribution was highly localized, and so a locally popular creative person could quickly record a version of a hitting vocal from another area and reach an audition before the version by the artist(south) who first introduced the melody in a particular format—the "original", "introductory" or "popularizing" artist—was widely available, and highly competitive record companies were quick to take advantage of these facts.^{[ clarification needed ]}

Rival outlets and popularized recordings [edit]

This began to change in the late 1930s, when the growing record-buying public began including a younger age group. During the swing era, when a bobby soxer went looking for a recorded tune, say "In the Mood", typically she wanted the version popularized by her favorite creative person(s), e.one thousand. the Glenn Miller version (on RCA Victor's cheaper Bluebird characterization), not someone else's (sometimes presented on a more expensive record company'southward characterization). This trend was marked closely by the charting of record sales past the unlike artists, not just hit tunes, on the music industry's Hit Parades. However, for sound commercial reasons, record companies yet continued to record different versions of tunes that sold well. Most audiences until the mid-1950s still heard their favorite artists playing alive music on stage or via the radio. And since radio shows were for the virtually function aimed at local audiences, it was all the same rare for an artist in 1 area to reach a mass audience. Also radio stations tended to cater to broad audience markets, and then an artist in 1 vein might not get circulate on other stations geared to a set audience. And so popular versions of jazz, country and western or rhythm and blues tunes, and vice versa, were frequent. Consider "Mack the Pocketknife" ("Dice Moritat vom Mackie Messer"): this was originally from Bertolt Brecht'southward 1928 Die Dreigroschenoper. It was popularized past a 1956 Hit Parade instrumental tune, "Moritat", for the Dick Hyman Trio, also recorded by Richard Hayman & Jan August,^[seven] merely a striking also for Louis Armstrong 1956/1959, Bobby Darin, 1959,^[viii] and Ella Fitzgerald, 1960,^[nine] every bit song versions of "Mack the Pocketknife".

Europe's Radio Luxembourg, like many commercial stations, also sold "air time"; so record companies and others bought air time to promote their ain artists or products, thus increasing the number of recorded versions of whatsoever tune then available. Add to this the fact that many radio stations were limited in their permitted "needle fourth dimension" (the amount of recorded music they were allowed to play), or were regulated on the amount of local talent they had to promote in live broadcasts, as with most national stations like the BBC in the Uk.

Incentives to make duplicate recorded versions of a song [edit]

In the Us, unlike most countries, broadcasters pay royalties to authors and publishers. Artists are not paid royalties, so there is an incentive to record numerous versions of a song, particularly in dissimilar genres. For instance, King Records frequently cut both rhythm and dejection and land and western versions of novelty songs like "Practiced Morning, Judge" and "Don't Ringlet those Bittersweet Eyes at Me". This tradition was expanded when rhythm and blues songs began appearing on pop music charts.

In the early days of stone and ringlet, many tunes originally recorded by R&B and country musicians were withal beingness re-recorded in a more popular vein past other artists with a more toned-down manner or professional smooth.^[10] This was inevitable because radio stations were reluctant to play formats outside their target audience's taste. By far the well-nigh pop style of music in the mid-1950s / mid-1960s was still the professional light orchestra, therefore pop recording artists sought that format.^[eleven] For many purists these pop versions lacked the raw earthiness of the original introducing artists.

Most did not have the kudos that rebellious teenagers craved, the street brownie — of rock and ringlet music; most were performed, and some were written, past black artists not heard in popular mass entertainment markets.^[12] Nigh parents considered the bowdlerized popular cover versions more than palatable for the mass audition of parents and their children. Artists targeting the white-majority family audition were more acceptable to programmers at most radio and Boob tube stations. Singer-songwriter Don McLean called the embrace version a "racist tool".^[13] Many parents in the 1950s - 60s, whether intentionally racist or not, felt deeply threatened by the rapid pace of social change. They had, for the most part, shared amusement with their parents in ways their children had go reluctant to do. The jukebox and the personal record disc player were even so relatively expensive pieces of machinery — and the portable radio a cracking novelty, assuasive truculent teenagers to shut themselves off.

Tunes past introducing or "original" niche market artists that became successful on the mass audience Hit Parade charts are chosen crossovers as they "crossed over" from the targeted country, jazz or rhythm audience. Also, many songs originally recorded by male person artists were rerecorded by female person artists, and vice versa. Such a cover version is also sometimes called a cross cover version, male cover, or female person cover. Incidentally, until the mid-1930s male vocalists oftentimes sang the female lyrics to popular songs, though this faded speedily subsequently information technology was deemed decadent in Nazi Germany. Some songs such every bit "If Simply for One Dark" were originally recorded past female artists but covered by more often than not male artists.

Reworking non-English language linguistic communication tunes and lyrics for the Anglo-Saxon markets was one time a popular part of the music business organisation. For example, the 1954 worldwide hitting The Happy Wanderer was originally Der fröhliche Wanderer, to this must exist added Hymne a l'flirtation, Mutterlein, Volare, Seeman, "Quando, Quando, Quando," L'amour est bleu, etc.

Modern embrace versions of songs [edit]

Comprehend versions of many popular songs accept been recorded, sometimes with a radically different style, sometimes about indistinguishable from the original. For example, Sir Mix-a-Lot'south 1992 rap "Infant Got Dorsum" was covered by indie rock singer Jonathan Coulton in 2005, in an audio-visual soft rock fashion. Coulton's cover was then covered, without attribution, in 2013 by the evidence Glee, and was then similar that Coulton, among others, declared plagiarism of his arrangement and melody.^[14] Some producers or recording artists may too enlist the services of a sample replay company such as Titan Tribute Media or Scorccio, in club to replicate an original recording with precision detail and accuracy.

A vocal may be covered into another language. For example, in the 1930s, a recording of Isle of Capri in Spanish, by Osvaldo Fresedo and singer Roberto Ray, is known. Falco's 1982 High german-language hit "Der Kommissar" was covered in English by After the Fire, although the German title was retained. The English version, which was not a straight translation of Falco'due south original but retained much of its spirit, reached the Summit five on the US charts. "The Lion Sleeps Tonight" evolved over several decades and versions from a 1939 Solomon Linda a cappella song. Many of singer Laura Branigan's 1980s hits were English-language covers of songs already successful in Europe, for the American tape marketplace. Numerable English-linguistic communication covers be of "99 Luftballons" by German language vocalizer Nena (notably one by punk band Goldfinger), one having been recorded by Nena herself following the success of her original German version. "Popcorn", a song that was originally completely instrumental, has had lyrics added in at to the lowest degree half dozen unlike languages in various covers. During the heyday of Cantopop in Hong Kong in the late 1970s to early 1990s, many hits were covers of English and Japanese titles that have gained international fame only with localized lyrics (sometimes multiple sets of lyrics sung to the same tune), and critics oft admonish the music industry of shorting the tune-composing procedure.

Although modernistic encompass versions are oftentimes produced for artistic reasons, some aspects of the disingenuous spirit of early cover versions remain. In the anthology-ownership heyday of the 1970s, albums of audio-alike covers were created, commonly released to fill deal bins in the music section of supermarkets and even specialized music stores, where uninformed customers might easily misfile them with original recordings. The packaging of such discs was frequently intentionally disruptive, combining the name of the original artist in large letters with a tiny disclaimer like as originally sung by or as made popular past. More recently, albums such equally the Kidz Bop series of compact discs, featuring versions of contemporary songs sung by children, have sold successfully.

In 2009, the American musical comedy-drama television series Glee debuted, featuring several musical performances per episode. The series featured solely cover songs performed by the series' titular glee club until nearly the terminate of its second season with the episode "Original Song". The series nonetheless primarily uses embrace songs of both nautical chart hits and show tunes, occasionally as mashups or singled-out variations. The bear witness'south musical performances have been a commercial success, with over xx-i million copies of Glee cast unmarried releases purchased digitally, and over 9 1000000 albums purchased worldwide.^[xv]

Australian culling/indie radio station Triple J presents a weekly segment called Like a Version in which a band or musician performs ane of their own songs as well equally a song they love by another artist.^[16] Originating in 2004, the popularity of the performances^[17] have resulted in the release of annual compilation albums of selected covers and, more recently, votes in the almanac Triple J Hottest 100 poll (which has even sparked its own controversy^[18]).

Conjoined embrace songs are collectively referred to every bit a cover medley.

Embrace versions more pop than originals [edit]

On occasion, a cover can get more popular than the original, for example Jimi Hendrix's version of Bob Dylan's "All Along the Watchtower" became the standard, and Dylan even adjusted his performance mode closer to the Hendrix version.^[19] Johnny Cash's 2002 comprehend of "Hurt" by Nine Inch Nails is another example of the comprehend version eclipsing the original.^[20] Also these, Elvis Presley'due south version of Carl Perkins' original "Blue Suede Shoes", Santana's 1970 version of Peter Greenish's and Fleetwood Mac's 1968 "Black Magic Woman", Jeff Buckley'south version of Leonard Cohen's "Hallelujah", Michael Jackson's version of Xanthous Magic Orchestra'southward "Behind the Mask", Whitney Houston'southward versions of Dolly Parton's "I Will Always Love You" and of George Benson's "The Greatest Dear of All", Gary Jules's version of Tears for Fears's "Mad World", Glenn Medeiros'southward version of George Benson'due south "Nothing'due south Gonna Modify My Love for You", Lenny Kravitz'due south version of The Guess Who's "American Adult female", and Soft Cell'southward version of Gloria Jones'southward "Tainted Love" tin be songs with the cover more successful than the original.

Updating older songs [edit]

Comprehend versions (as the term is now used) are often contemporary versions of familiar songs. For example, "Singin' in the Rain" was originally introduced by Cliff Edwards in the film The Hollywood Revue of 1929. The famous Cistron Kelly version was a revision that brought it up to date for a 1950s Hollywood musical, and was used in the 1952 film Singin' in the Rain. In 1978, it was covered by French singer Sheila, accompanied by the B. Devotion group, as a disco vocal, once more updating it to accommodate the musical taste of the era. During the disco era there was a tendency of taking well known songs and recording them in the disco style. More than recently "Singin' in the Rain" has been covered and remixed by British act Mint Royale for a tv set commercial for Volkswagen. Another case of this, from a different angle, is the tune "Blueberry Hill", many mistakenly believe the Fats Domino 1956 release to be the original recording and creative person. In fact, it was originally introduced on film by Gene Autry and popularized on the record Hit Parade of 1940 by Glenn Miller. The Fats Domino rock and gyre version is the only one that might currently become widespread airplay on most media. Similarly, "Unchained Melody" was originally performed by Todd Duncan, featured in the 1955 film Unchained (based on the non-fiction story Prisoners are People by Kenyon J. Scudder); Al Hibbler having the biggest number of worldwide record sales for the vocal version with Jimmy Immature's cover version rival outdoing this in the Uk,^[21] Les Baxter's Orchestra gaining the big instrumentalist sales, reaching the US Hit Parade number i spot in May 1955,^[22] but the Righteous Brothers' afterwards version (top five on the U.s.a. Hit Parade of September 1965^[23] stalling at number xiv in the Britain in August) is past far the wider known version, and especially so following its appearance in the 1990 moving picture Ghost. "House of the Rising Sun" has hundreds of versions and in many genres such as folk, blues stone and punk likewise as dance and dubstep.^[24]

Director Baz Luhrmann has contemporized and stylized older songs for use in his films. New or cover versions such as John Paul Young'south "Dearest Is in the Air" occur in Strictly Ballroom, Candi Staton's "Young Hearts Run Costless" announced in Romeo + Juliet, and adaptations of artists such as Nat King Cole, Nirvana, Kiss, Elton John, Thelma Houston, Marilyn Monroe, Madonna, T. Rex, David Bowie, Queen, and the Police are used in Moulin Rouge!. The covers are carefully designed to fit into the structure of each picture and adapt the taste of the intended audience.

Other artists release new versions of their own songs, like German language singer Nena who recorded an entire album with swell success, with new versions of older hits. Comprehend songs can be used to display creativity of a performers piece of work through the talent of another creative person's previous production. Not to exist confused with a remix, which is defined as altering or distorting the original sound electronically; cover versions give a performer the ability to adjust music to their ain style, typically allowing them to change the genre of a song and recreating information technology to their own taste. For example, in 2008, Fall Out Boy covered Michael Jackson'due south hit song "Beat It", changing the genre from pop stone to a more punk rock feel. Another example is when My Chemic Romance covered the Bob Dylan track "Desolation Row". This is more common with today'southward covers, taking older pop music and revamping it to compare with mod popular music. Aretha Franklin's encompass of Otis Redding's "Respect" was voted the greatest encompass song of all-time, co-ordinate to Forbes.com.^[25]

See also [edit]

• Listing of encompass albums
• List of cover bands and artists
• Compilation anthology
• Compulsory license
• Trip the light fantastic toe embrace
• WhoSampled
• Interpolation
• Mashup
• Medley
• Parody music
• Remix
• Reprise
• Sampling
• Tribute deed
• Remake
• List of artists who have covered the Beatles
• List of Grateful Dead covers
• Traditional pop music
• Jazz standard
• Listing of dejection standards
• Synchronization rights, licensing use of a song combined with other media

References [edit]

1. ^ "Archived copy". Archived from the original on 2008-xi-21. Retrieved 2009-02-14 . {{cite web}}: CS1 maint: archived copy every bit title (link)
2. ^ Bobby Vee. "BOBBY VEE - Meets the Crickets/I Think - Amazon.com Music". Amazon.com . Retrieved 2016-11-21 .
3. ^ Encounter, for case, Ella Fitzgerald Sings the Cole Porter Songbook
4. ^ ^{a b} "Must you get permission to record someone else's vocal?". The Straight Dope. Apr 21, 1978. Retrieved 2009-04-nineteen .
5. ^ Hull, Geoffrey P. (2004). The Recording Industry . Routledge. p. 46. ISBN0-415-96802-X . Retrieved 2009-04-14 . As it became articulate in 1908 that Congress was going to give music publishers the right to control mechanical reproduction of their songs, the Aeolian Visitor was entering into arrangements with many of the largest music publishers to be the sectional manufacturer of pianoforte rolls of their compositions. Fearing that Aeolian might create a pianoforte roll monopoly, Congress responded to pleas of other piano roll manufacturers to subject the mechanical correct to a compulsory license.
6. ^ "Retro Charts". EveryHit.com. 2000-03-sixteen. Retrieved 2016-xi-21 .
7. ^ "Archived copy". Archived from the original on 2008-eleven-22. Retrieved 2009-02-14 . {{cite web}}: CS1 maint: archived copy equally championship (link)
8. ^ "Retro Charts". EveryHit.com. 2000-03-16. Retrieved 2016-11-21 .
9. ^ "Retro Charts". EveryHit.com. 2000-03-16. Retrieved 2016-xi-21 .
10. ^ See Dot Records
11. ^ "The Orchestral Sound2". Percyfaithpages.org. 1982-08-19. Retrieved 2016-xi-21 .
12. ^ Gilliland, John (1969). "Show 4 - The Tribal Pulsate: The rise of rhythm and dejection. [Part 2]" (sound). Pop Chronicles. University of Due north Texas Libraries.
13. ^ "DON MCLEAN ONLINE". February 13, 2007. Archived from the original on 2007-02-13. {{cite web}}: CS1 maint: bot: original URL status unknown (link)
14. ^ Doctorow, Cory (2013-01-31). "Internet copyright police has to have public back up if it'due south going to work | Technology". theguardian.com. Retrieved 2013-xi-fourteen .
15. ^ "Sectional: Inside the Hot Business organisation of 'Glee'". The Hollywood Reporter. Lori Burgess. January 25, 2011. p. 2. Retrieved Jan 26, 2011.
16. ^ "Like A Version". Triple J. Australian Broadcasting Corporation. Retrieved 2020-03-28 .
17. ^ Johnson, Natasha (2019-05-x). "Why triple j'southward Like A Version is a hit with artists and the audience". ABC News. Australian Broadcasting Corporation. Retrieved 2020-03-28 .
18. ^ Davies, Hayden (January 2020). "Should Like A Version covers be allowed in triple j'due south Hottest 100?". Pilerats. Pilerats Pty Ltd. Retrieved 2020-03-28 .
19. ^ Bush, John. "All Along the Watchtower". AllMusic. Retrieved 2011-01-xiv .
20. ^ 10, Radio. "Hurt". RadioX UK. Retrieved 2020-09-14 .
21. ^ "Retro Charts". EveryHit.com. 2000-03-16. Retrieved 2016-11-21 .
22. ^ "Archived copy". Archived from the original on 2008-eleven-22. Retrieved 2008-xi-06 . {{cite web}}: CS1 maint: archived copy every bit title (link)
23. ^ "Archived copy". Archived from the original on 2009-11-xi. Retrieved 2009-08-23 . {{cite web}}: CS1 maint: archived copy as title (link)
24. ^ "List of House of the Rise Sun covers with Youtube videos". Houseoftherisingsuns.com. Retrieved 2012-xi-08 .
25. ^ "The Popdose 100: The Greatest Cover Songs of All Time". Popdose.com. 2011-08-31. Retrieved 2016-11-21 .

External links [edit]

• COVER.INFO – Large database of cover versions, medleys, samples and other musical quotations
• Covers, Cover Songs, Encompass Music Charts and Musical Talents Community
• SecondHandSongs
• Using comprehend song versions legally, US Music Copyright Laws from cleverjoe.com

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