Latest Hindi Cover Songs Mp3 Download ((NEW))

This is only one example, but the paths to creating a great cover song are as wide-ranging as any artist's influences and imagination. In this playlist, we look at a small sampling of successful cover songs from the past six decades, and explore the many ways that artists have made something fresh and memorable from songs we might still remember.

Bob Dylan's original version of "All Along the Watchtower," simply arranged with a trotting acoustic trio behind him, presents a striking cast of characters: the jaded joker, the pragmatic thief, the princes who watch the vagrants approach from high above it all. Every scene in Dylan's rendition is like a silent, close-up shot in black and white. Jimi Hendrix's cover, recorded just a year later, is a panoramic, technicolor masterpiece to rival the original. Hendrix builds upon the cryptic spookiness at the song's core with lush studio overdubs, miles of reverb, and that unmistakable guitar, howling like the wind.

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Punk covers have a way of revealing a song's core. In Social Distortion's version of "Ring of Fire," Cash's version loses its mariachi trumpets in the flames of chugging distortion, but what emerges is a streamlined, snarling testament to the song's durability. Through every sonic transformation, in those chords, in those words, the same cynical romance burns, burns, burns.

"While a dance remix is not always a cover song, the tradition of remaking a popular song into something club-ready goes back decades," says Bryan Parys, a writer in Berklee's editorial office. "This is why I assumed that 'Heartbeats' by Swedish electronic duo the Knife was a danceable cover of the version by Jos Gonzlez, when in fact, it was the other way around. The simplicity of Gonzalez's cover somehow reveals the song's complexity, showing us that just because you can dance to it doesn't mean it's party music."

With covers of bands including Metallica and Led Zepplin, Mexican guitar duo Rodrigo y Gabriela made the rhythmic and emotive connections between flamenco-style guitar and hard rock seem downright obvious. But before the duo's eponymous 2006 breakout album, it was difficult to imagine two sets of nylon strings could make you want to headbang like it's 1971 and Jimmy Page just clicked on the overdrive.

Bartees Strange's debut statement was an EP of National covers, Say Goodbye to Pretty Boy. As a Black musician working in an indie scene dominated by white voices and white fans, he approached these reimagined versions as meditations on the band's influence, but also on why it was that he saw so few Black folks at National shows. Bartees covered the original version of "Lemonworld" out of admiration, but he also seems to have had an inkling that, given his own place on the stage, he could make something just as thrilling.

"All cover songs are in dialogue with their source material, and the best ones move the conversation into surprising places," Parys says. "For Lianne La Havas's version of 'Weird Fishes,' originally by Radiohead, that surprise happens immediately. The drums begin in lockstep with Radiohead's beat, but quickly move into half-time to find a looser groove for La Havas to roam through. Both versions end with the refrain 'hit the bottom and escape,' and where Radiohead's version teeters on the edge of chaos, La Havas's vocals soar, not just suggesting an escape, but giving us one."

Alumni act Goose, heirs to the American jam band throne, often use live covers to showcase their diverse influences. Earlier in this Radio City Music Hall release show for their album Dripfield, they brought folk-rock prankster Father John Misty onstage to cover his song, "I'm Writing a Novel," then invited Phish frontman Trey Anastasio to join them for a few originals before tying it all together for the closer: a cover of the Beatles song that launched a thousand pensive psychedelic jams, featuring Anastasio on colead guitar and Misty on drums. With all these influences on display, it doesn't take long to realize that reverse guitar part from Dripfield's title track actually rewinds all the way to this one from 1967.

For their 1980 self-titled debut album, Chrissie Hynde and producer Nick Lowe give a great Kinks obscurity the Spector-type treatment it deserved in the first place. Plenty of people fell in love with both the cover and Hynde herself, including Ray Davies.

some really good songs one this list, but nigths in white satin is not one of them, moody blues rocks that song! also 3 of the best covers ever are not on this list, sounds of silence by disturbed, strawberry wine chris stapelton, house of the rising sun white buffalo (SOA theme song), Simple man shinedown! now i forgot PJ did Last kiss, and wow what a great cover!

In popular music, a cover version, cover song, remake, revival, or simply cover, is a new performance or recording by a musician other than the original performer or composer of the song.[1] Originally, it referred to a version of a song released around the same time as the original in order to compete with it. Now, it refers to any subsequent version performed after the original.[2]

In previous generations, some artists made very successful careers of presenting revivals or reworkings of once-popular tunes, even out of doing contemporary cover versions of current hits.[1] Since the 1950s, musicians now play what they call "cover versions" (the reworking, updating, or interpretation) of songs as a tribute to the original performer or group.[1] Using familiar material (such as evergreen hits, standard tunes or classic recordings) is an important method of learning music styles. Until the mid-1960s most albums, or long playing records, contained 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 also perform interpretations ("covers") of a favorite artist's hit tunes[4] for the simple pleasure of playing a familiar song or collection of tunes.[5]

Tribute acts or bands are performers who make a living by recreating the music of one particular artist or band. Bands such as Bjrn 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 Iron Maiden respectively. Some tribute acts salute the Who, The Rolling Stones and many other classic rock acts. Many tribute acts target artists who remain popular but no longer perform, allowing an audience 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 entire 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 by the Beatles and Metallica. There are also situations in which a member of a tribute band will go on to greater success, sometimes with the original act they tribute. One notable example is Tim "Ripper" Owens who, once the lead singer of Judas Priest tribute band British Steel, went on to join Judas Priest himself.

Cover acts or bands are entertainers who perform a broad variety of crowd-pleasing cover songs for audiences who enjoy the familiarity of hit songs. Such bands draw from either current Top 40 hits or those of previous decades to provide nostalgic entertainment in bars, on cruise ships and at such events as weddings, family celebrations and corporate functions. Since the advent of inexpensive computers, some cover bands use a computerized catalog of songs, so that the singer can have the lyrics to a song displayed on a computer screen. The use of a screen for lyrics as 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 entire genre of music and dedicate themselves to curating and recreating the genre and introducing it to younger audiences who have not experienced that music first hand. Unlike tribute bands and cover bands who rely primarily on audiences seeking a nostalgic experience, revivalist bands usually seek new young audiences for whom the music is fresh and has no nostalgic value. For example, Sha Na Na started in 1969 as a celebration of the doo-wop music of the 1950s, a genre of music that was not initially fashionable during the hippie counter-culture era. The Blues Brothers started in 1978 as a living salute to the blues, soul and R&B music of the 1950s and 1960s that was not in vogue by 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 dedicated to reviving 1970s style blues-rock. They started writing their own material in the same vein.

Although a composer cannot deny anyone a mechanical license for a new recorded version, the composer has the right to decide 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 Man".[6] Even with this, pre-release cover versions of songs can occasionally occur.

Early in the 20th century it became common for phonograph record labels record companies to have singers or musicians "cover" a commercially successful "hit" tune by recording a version for their own label 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 record), was repopularized through popular recordings by Mr. Goon Bones & Mr. Ford and Pearl Bailey in 1949, and later still revived as 33 1/3 and 45 RPM records by the Beatles in 1964.[8] 006ab0faaa