Tunes Du Jour Presents The Original Versions

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Many of us grow up assuming the hit version of a song is the original. This playlist celebrates those surprising musical genealogies: well-known songs that were originally recorded by someone else, often with little fanfare. Here are the stories behind the transformations—where they started, and how they became iconic.

“Don’t Leave Me This Way” – Thelma Houston / Originally by Harold Melvin & the Blue Notes (1975)
Houston’s disco anthem actually began life as a Philly soul track sung by Teddy Pendergrass. Thelma took it to the dancefloor—and to #1.

“War” – Edwin Starr / Originally by The Temptations (1970)
This protest song started as an album cut by The Temptations. Starr’s rawer, angrier take made it a searing hit during the Vietnam era.

“Strawberry Letter 23” – The Brothers Johnson / Originally by Shuggie Otis (1971)
Otis’ dreamy, psychedelic original flew under the radar until producer Quincy Jones supercharged it with funk for The Brothers Johnson.

“I Feel for You” – Chaka Khan / Originally by Prince (1979)
Prince wrote it, recorded it, and released it on his 1979 self-titled album. Chaka Khan added Stevie Wonder’s harmonica and Melle Mel’s rap, creating a genre-blurring smash that gave the song a second life—and a much bigger audience.

“Louie Louie” – The Kingsmen / Originally by Richard Berry (1957)
Berry’s calypso-tinged rhythm & blues song became an unintelligible rock ‘n’ roll classic in the hands of teenage garage rockers.

“Pass The Koutchie” – Musical Youth as “Pass the Dutchie” / Originally by Mighty Diamonds (1981)
Musical Youth’s version cleaned up the ganja references but kept the groove. A British reggae hit born from a roots original.

“Tainted Love” – Soft Cell / Originally by Gloria Jones (1964)
This Northern Soul favorite was ignored in the U.S. until Soft Cell’s chilly synth-pop cover turned it into an international sensation.

“You Are So Beautiful” – Joe Cocker / Originally by Billy Preston (1974)
Preston’s gospel-inflected original was co-written with Dennis Wilson of the Beach Boys. Cocker slowed it down into a tearjerking ballad.

“The First Cut Is The Deepest” – Rod Stewart / Originally by P.P. Arnold (1967)
Before Cat Stevens, the song’s writer, sang it himself, P.P. Arnold delivered a powerful version. Stewart’s cover gave it global traction.

“Red, Red Wine” – UB40 / Originally by Neil Diamond (1967)
Diamond’s mournful original was a slow ballad. UB40’s reggae version confused even him—he didn’t recognize his own song on the radio.

“Brand New Cadillac” – The Clash / Originally by Vince Taylor and His Playboys (1959)
This rockabilly obscurity became a snarling punk track on London Calling. Vince Taylor later served as an inspiration for David Bowie’s Ziggy Stardust persona.

“Take Me To The River” – Talking Heads / Originally by Al Green (1974)
Green’s swampy soul gave way to Talking Heads’ jittery art-funk. An old-school spiritual reborn in new wave style.

“The Tide Is High” – Blondie / Originally by The Paragons (1967)
Jamaican rocksteady meets NYC cool. Blondie took this mellow gem and gave it a global pop sheen.

“Brandy” – Barry Manilow as “Mandy” / Originally by Scott English (1971)
English’s sad and simple original got a new name and new polish. Manilow’s grand version topped the charts.

“Don’t Let Me Be Misunderstood” – The Animals / Originally by Nina Simone (1964)
Simone’s pleading ballad became a snarling British Invasion hit. Her nuanced sorrow gave way to the raw edge of rock.

“Bette Davis Eyes” – Kim Carnes / Originally by Jackie DeShannon (1974)
The original was breezy and piano-driven. Carnes and her producer Val Garay turned it into new wave noir.

“Heaven Must Have Sent You” – Bonnie Pointer / Originally by The Elgins (1966)
Pointer’s disco version revived a Motown deep cut and put it back on the charts over a decade later.

“Love Buzz” – Nirvana / Originally by Shocking Blue (1969)
Nirvana turned this obscure Dutch psych-rock tune into a distorted grunge landmark. Their debut single.

“Piece Of My Heart” – Big Brother & The Holding Company / Originally by Erma Franklin (1967)
Aretha’s sister recorded it first, but Janis Joplin made it a fiery centerpiece of her legend.

“It’s Oh So Quiet” – Björk / Originally by Betty Hutton (1951)
A novelty big-band number revived by Björk into a theatrical showstopper. Old Hollywood meets Icelandic art-pop.

“China Girl” – David Bowie / Originally by Iggy Pop (1977)
Co-written with Bowie, Iggy’s version was skeletal and raw. Bowie’s version added synth gloss and MTV appeal.

“Good Lovin'” – The Young Rascals / Originally by The Olympics (1965)
The Olympics had the groove, but The Rascals turned it into a garage-rock rave-up and a #1 hit.

“Valerie” – Mark Ronson featuring Amy Winehouse / Originally by The Zutons (2006)
The Zutons wrote it as a bluesy rock song. Winehouse made it retro-soul perfection.

“Police On My Back” – The Clash / Originally by The Equals (1967)
A stomping, paranoid track from Eddy Grant’s first band. The Clash turned it into a punk fugitive anthem.

“After Midnight” – Eric Clapton / Originally by J.J. Cale (1966)
Cale’s laid-back shuffle was juiced up with guitar licks by Clapton, who kept the songwriter’s cool intact.

“On Broadway” – The Drifters / Originally by The Cookies (1962)
Songwriters Barry Mann & Cynthia Weil gave this to a girl group first, but The Drifters made it a city-slick R&B classic.

“Love Hurts” – Nazareth / Originally by The Everly Brothers (1960)
Gentle heartbreak became hard rock agony. Nazareth’s arena wail made the song a power ballad staple.

“I Love Rock ‘n’ Roll” – Joan Jett & the Blackhearts / Originally by The Arrows (1975)
Jett saw it on UK TV and recorded a fiercer, snarling version that girls (and boys) everywhere could scream along to.

“Without You” – Nilsson / Originally by Badfinger (1970)
Badfinger’s version was plaintive; Nilsson’s was operatic. He didn’t just sing it—he wailed it.

“Superman” – R.E.M. / Originally by The Clique (1969)
A psychedelic pop obscurity turned indie-rock cult classic. One of R.E.M.’s rare early tracks not written by the band.

These songs remind us that inspiration doesn’t always strike where the spotlight shines. Sometimes greatness is borrowed—and reinvented.

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Tunes Du Jour Presents Punk

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Ask ten people to define punk rock, and you’re likely to get at least fifteen answers. That’s part of its charm—and its challenge. Punk has always been more than a style of music; it’s a way of questioning the status quo, pushing back against complacency, and refusing to color inside the lines. The 30 songs in this playlist represent the genre’s many branches: from the snarling minimalism of the Sex Pistols’ “God Save the Queen” to the tightly coiled fury of Black Flag’s “Rise Above,” from Patti Smith’s poetic incantations to the danceable paranoia of Talking Heads’ “Psycho Killer.”

The roots of punk go deep, even before the term existed. “I’m Waiting for the Man” by The Velvet Underground and “Kick Out the Jams” by MC5 helped pave the way with their raw sound and confrontational lyrics. By the mid-1970s, punk had taken recognizable form in both New York and London. The Ramones stripped rock to its bare essentials with “Sheena Is a Punk Rocker,” while The Clash’s London Calling album pointed to punk’s potential to absorb and reflect broader influences—including reggae, ska, and politics.

Acts like Gang of Four and Television took the energy of punk and redirected it into jagged rhythms and angular guitars. The B-52’s “Rock Lobster” and Talking Heads introduced eccentricity and art-school sensibilities, while the Dead Kennedys and Sham 69 channeled punk into direct political protest. Meanwhile, bands like The Jam and Buzzcocks added a melodic urgency, and Iggy Pop and the New York Dolls injected glam and danger into the proceedings.

In the decades that followed, punk fragmented and flourished. Rancid’s “Time Bomb” leaned into ska-punk; Blink-182’s “Dammit” helped define a generation’s version of pop-punk adolescence. Bikini Kill’s “Rebel Girl” roared from the riot grrrl movement with feminist fire, and Billy Bragg brought punk’s commitment to social critique to a solo singer-songwriter context. Even grunge touchstones like Mudhoney carried punk’s DNA—loud, unpolished, and emotionally direct.

This playlist doesn’t claim to be definitive—if anything, it’s a conversation starter. It suggests that punk isn’t a sound so much as a stance. Whether it’s The Replacements thumbing their nose at success in “Bastards of Young,” or Green Day channeling disillusionment into “American Idiot,” punk continues to reinvent itself. It may shift forms, but it never goes quietly.

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Tunes Du Jour Presents 1981

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As the new decade dawned, 1981 emerged as a year of significant musical transformation. The eclectic mix of songs that defined this period reflected a music industry in flux, with established genres evolving and new sounds emerging to captivate listeners across the globe.

Rock music continued to hold its ground, adapting to the changing times. The Rolling Stones proved their enduring relevance with the gritty “Start Me Up,” while Journey’s “Don’t Stop Believin'” became an arena rock anthem that would stand the test of time. Bruce Springsteen’s “The River” showcased his storytelling prowess, and Phil Collins’ “In The Air Tonight” introduced a new dimension of atmospheric rock with its iconic drum break. George Harrison’s “All Those Years Ago,” a touching tribute to John Lennon, marked Harrison’s first U.S. top ten single in eight years, demonstrating the lasting appeal of the former Beatles.

New Wave and post-punk sounds flourished in 1981, pushing boundaries and incorporating electronic elements. Talking Heads’ “Once in a Lifetime” demonstrated the genre’s art-rock leanings, while The Go-Go’s brought a pop sensibility to new wave with “Our Lips Are Sealed.” Duran Duran’s “Girls on Film” hinted at the new romantic movement that was gaining traction. The Psychedelic Furs’ “Pretty in Pink,” with its blend of post-punk edge and pop accessibility, showcased Richard Butler’s distinctive vocals and would later inspire and lend its name to a defining film of the ’80s.

The year also saw the emergence of hip-hop as a force in popular music. Blondie’s “Rapture” became the first song featuring rap vocals to reach number one on the U.S. Billboard Hot 100, fusing new wave with hip-hop influences. Meanwhile, Grandmaster Flash’s innovative “The Adventures of Grandmaster Flash on the Wheels of Steel” was one of the first records to extensively use sampling, laying the groundwork for hip-hop’s future.

Dance music was evolving beyond disco into new, exciting forms. Grace Jones’ “Pull Up to the Bumper” blended funk, new wave, and reggae influences, pointing towards a more eclectic and experimental future for club music. Taana Gardner’s “Heartbeat” helped define the emerging genre of garage house with its stripped-down beat and soulful vocals. Kool & the Gang’s “Celebration” remains a party staple, bridging the gap between disco and contemporary R&B.

In the realm of R&B and funk, Luther Vandross’ “Never Too Much” marked the acclaimed background vocalist’s first hit under his own name, showcasing his smooth, sophisticated style. Rick James pushed funk to new heights with “Super Freak,” incorporating rock elements and a memorable synth line that would be sampled for years to come. The Pointer Sisters’ “Slow Hand” kept R&B smooth and soulful.

1981 also witnessed the continued rise of synth-pop and electronic music. Heaven 17’s politically charged “(We Don’t Need This) Fascist Groove Thang” and New Order’s “Ceremony” showcased the genre’s range from danceable pop to moody post-punk.

As some artists embraced new sounds, others used music to comment on social issues. The Specials’ “Ghost Town” reflected the urban decay and racial tensions in Britain, while Black Flag’s hardcore punk anthem “Rise Above” railed against societal norms. Prince’s “Controversy” challenged listeners both musically and lyrically, blending funk, rock, and new wave while tackling taboo subjects and questioning social norms, hinting at the boundary-pushing artist he would become.

From the chart-topping pop of Kim Carnes’ “Bette Davis Eyes” and Olivia Newton-John’s “Physical” to ABBA’s emotionally charged ballad “The Winner Takes It All,” 1981 was a year of contrasts and transitions. It was a time when established stars adapted to new trends, emerging artists made their mark, and genres blended in exciting ways. This rich musical landscape set the stage for the diverse and innovative sounds that would define the rest of the decade, making 1981 a pivotal year in the evolution of popular music.

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Tunes Du Jour Presents Talking Heads

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In the vast and ever-evolving landscape of popular music, few bands have left an indelible mark quite like Talking Heads. Hailing from the vibrant streets of New York City, this innovative quartet carved out a unique sonic identity that defied conventions and pushed the boundaries of what rock music could be.

Led by the charismatic and visionary David Byrne, Talking Heads burst onto the scene with a raw, eclectic sound that seamlessly blended elements of punk, funk, and global music. Their debut album, Talking Heads: 77, introduced listeners to a refreshingly different approach, with tracks like “Psycho Killer” showcasing their penchant for unconventional rhythms and lyrics.

As their popularity grew, Talking Heads continued to evolve, exploring new sonic territories and challenging traditional songwriting structures. Their collaborations with producer Brian Eno yielded groundbreaking albums like Remain in Light and Fear of Music, which incorporated African rhythms, experimental textures, and avant-garde sensibilities into their sound. The 1983 album Speaking in Tongues further cemented their status as musical innovators, with the hit single “Burning Down the House” becoming an instant classic.

But Talking Heads’ influence extended far beyond their musical output. Their live performances were nothing short of captivating, with Byrne’s iconic jerky dance moves and the band’s infectious energy captivating audiences worldwide. Their music videos, directed by acclaimed filmmakers including Jonathan Demme, Jim Jarmusch, and Wim Wenders, plus Toni Basil and David Byrne himself, were visual masterpieces that redefined the art form. Additionally, the band members’ creative pursuits outside of Talking Heads, such as Tom Tom Club’s funky explorations, showcased their versatility and dedication to pushing artistic boundaries.

Moreover, Talking Heads’ impact can be felt across genres and generations. Their unique blend of art-rock, funk, and world music paved the way for countless artists who followed, inspiring a new wave of musical experimentation and genre-blending. From alternative rock to electronic music, the band’s influence can be traced in the works of countless contemporary artists.

In a world where trends come and go, Talking Heads’ enduring legacy remains a testament to their artistic vision and unwavering dedication to pushing the boundaries of popular music. Their melodies and rhythms continue to resonate with listeners, serving as a reminder that true art transcends time and never grows old.

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