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Hound Dog – Elvis Presley vs. Big Mama Thornton
When most people hear “Hound Dog,” they picture Elvis Presley shaking his hips and setting the world on fire in the 1950s. But what if I told you the King was actually borrowing from the Queen? The original “Hound Dog” was recorded by Big Mama Thornton in 1952, three years before Elvis made it a rock and roll standard. Thornton’s version is raw, bluesy, and bursting with attitude, driven by her powerful, growling vocals. Her voice practically bites through the speakers, giving the song a grit that Elvis’s version, while iconic, smooths over for mainstream audiences. The lyrics hit differently, too—Thornton sounds like she’s lived every word. When Elvis got his hands on it, he sped it up, added a rockabilly twist, and made it a sensation, but the soul of “Hound Dog” started with Big Mama.
I Will Always Love You – Whitney Houston vs. Dolly Parton
Whitney Houston’s soaring version of “I Will Always Love You” is probably one of the most recognizable ballads in history. Yet, many don’t realize that this emotional powerhouse was first written and performed by country legend Dolly Parton in 1973. Dolly penned the song as a heartfelt farewell to her mentor, Porter Wagoner, and her original take is gentle, understated, and deeply moving. While Whitney’s version showcases vocal acrobatics and dramatic production, Dolly’s is stripped back, letting the lyrics and her sincerity shine through. The contrast between the two is striking—Dolly’s version feels like a personal letter, while Whitney’s is a grand declaration. Both are beautiful, but it’s Dolly’s pen that gave birth to this timeless song.
Girls Just Want to Have Fun – Cyndi Lauper vs. Robert Hazard
Cyndi Lauper’s “Girls Just Want to Have Fun” is the ultimate feel-good anthem, but shockingly, it started its life as a male-driven rock song. Robert Hazard wrote and recorded the original demo in 1979, and the lyrics told a completely different story. Hazard’s version was from a guy’s point of view, almost bragging about girls wanting to have fun with him. When Cyndi got her hands on it in 1983, she flipped the script. She transformed it into an empowering, joyful celebration of female independence and freedom. Her colorful personality and quirky style made it a global hit, but the roots of the song are hidden in a rock demo that few have ever heard.
Tainted Love – Soft Cell vs. Gloria Jones
“Tainted Love” by Soft Cell is a synth-driven, moody classic that defined the early 80s, but its origins are much older. The song was first recorded by soul singer Gloria Jones in 1964. Her take was fast, energetic, and full of Motown flair, but it failed to chart at the time. It wasn’t until British duo Soft Cell slowed it down, amped up the electronic sound, and added a sense of longing that the song found massive success. Their version became a staple of new wave music, but its heart still beats with the original’s catchy melody and emotional punch. Gloria’s “Tainted Love” is like a secret treasure for soul fans who want to hear where it all began.
Respect – Aretha Franklin vs. Otis Redding
When Aretha Franklin belts out “Respect,” it’s impossible not to feel the power. But surprisingly, this anthem of empowerment was first recorded by Otis Redding in 1965. Otis’s version is gritty and masculine, with a driving horn section and a plea for respect from his woman. Aretha took the song in 1967 and flipped it completely, adding her own lyrics and turning it into a demand for dignity and equality. She infused it with gospel fire, spelling out R-E-S-P-E-C-T and making it a rallying cry for civil rights and feminism. While Otis’s original is a classic in its own right, Aretha’s version is the one that changed the world.
Nothing Compares 2 U – Sinéad O’Connor vs. The Family (Prince)
Sinéad O’Connor’s haunting, tear-streaked “Nothing Compares 2 U” dominated the charts in 1990, leaving listeners everywhere reaching for tissues. Yet, many are shocked to discover that Prince wrote the song years earlier for his side project, The Family. Their 1985 version is more subdued, with a funkier arrangement and less emphasis on heartbreak. Sinéad’s emotional delivery and the stark, simple production turned it into a worldwide sensation. Her performance in the music video, with tears streaming down her face, became iconic. But behind her sorrow is Prince’s songwriting genius, proving that some songs just need the right voice to unlock their full potential.
Black Magic Woman – Santana vs. Fleetwood Mac
Santana’s “Black Magic Woman” is a swirling blend of Latin rock and blues, but its roots are in British blues. The song was originally written and recorded by Fleetwood Mac in 1968, with Peter Green at the helm. Fleetwood Mac’s version is slower, more melancholic, and steeped in blues tradition. When Santana covered it in 1970, he injected it with fiery guitar solos and a rhythmic Latin groove, transforming it into a completely new experience. Santana’s version became so popular that many listeners don’t even realize it’s a cover. The magic behind the song, though, started with Fleetwood Mac’s moody, mysterious original.
Valerie – Mark Ronson & Amy Winehouse vs. The Zutons
“Valerie” by Mark Ronson featuring Amy Winehouse is a soul-pop gem that feels tailor-made for Amy’s smoky voice. But before it was a staple at every party, it was a rock track by British band The Zutons. The Zutons released their version in 2006, and it has a raw, indie-rock energy with a rough-around-the-edges charm. Amy’s take, produced by Mark Ronson in 2007, is a complete reinvention. The song gets a Motown makeover, and Amy’s playful, heartfelt vocals elevate it to new heights. The difference between the two is like night and day, but both capture a unique spirit that makes “Valerie” unforgettable.
Christian Wiedeck, all the way from Germany, loves music festivals, especially in the USA. His articles bring the excitement of these events to readers worldwide.
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