2025 YEAR IN REVIEW: Pickled Priest's 25 Favorite Cover Songs of the Year
- Pickled Priest
- Dec 23, 2025
- 13 min read
Our final year-end post was getting so long, we decided to split it up to make it less of a chore to get through (for us and you!). First up, here are our favorite cover songs of the year. We've ranked them in order of preference to add some suspense. Also, we limited the list to one cover per artist to allow for a broader spectrum of songs. When an artist has released numerous great covers, we will note that where applicable. We've also include a link to the original for comparison purposes. It's the least we could do.
Format:
Rank - ARTIST COVERING | "Song Covered" (Original Artist)
PICKLED PRIEST'S 25 FAVORITE COVER SONGS OF THE YEAR
25 FOOD FIGHT | “It’s Cold Outside” (The Choir)
You wouldn't expect a band from Rennes, France to be called Food Fight (which can get expensive over there), but as this song and the next prove, the French also have an affection for garage rock (aka rock de garage) despite their rep as a snobby, unwelcoming country. They gotta park somewhere! This band takes on a lesser known nugget from 1967 by short-lived band the Choir and get the bop-bop vocal pitter-patter just right throughout. A real charmer, if not a world-beater.
24 (tie) THE DENEUVES | “I Feel Fine” (The Beatles)
SNÕÕPER | "Come Together" (The Beatles)
Covering the Beatles. Many attempt, few succeed. French band the Deneuves take on "I Feel Fine" here and there's an intangible, slightly unhinged push to this take that makes it work for me even though it stays close to the original feel (which is far more than fine). Add in a strong ESL vocal and you've got yourself a charming stab at a rock and roll standard. Not easy to pull off. On the other side of the fence is Snooper's lickety-split race through "Come Together" and the speed (92-seconds front-to-back) at which this one bounces off the walls and comes to a conclusion will either enthrall you or leave you scratching your head. Both are worthy responses, but at least you responded.
23 GRACE COPE | “Don’t Let Me Be Misunderstood” (Nina Simone)
Some covers have a grander purpose than others and this is one of them. Grace Cope is an English artist with Tourette's Syndrome and this cover was released to benefit Tourette's Action, a charity in the UK. I was moved by the song, and the video, which depicts the day-to-day struggles of living with the syndrome, which Grace knows all too well. Well worth watching.
22 THE CHELSEA CURVE | “Hey Sah-Lo-Ney” (Mickey Lee Lane)
I very much like a cover that introduces me to an old song I didn't know before. This way I get two, two, two songs in one. Mickey Lee Lane's original version from 1965 didn't get much action on the charts, possibly because it was recorded in the red for pretty much the whole song (not a bad thing), but it remains a nasty lil stomper that would've killed at frat parties back in the day, at least in the US (UK wisely not into Greek living). The Chelsea Curve, sensing the song's potential for revival, have brought it back at full-throttle, bringing a little nastiness of their own along the way. The Boston band really amps the track up for modern audiences and Linda Pardee delivers a wicked performance behind the microphone. Anyone got a dance party coming up?
21 PERENNIAL | “All Day and All of the Night” (The Kinks)
The same band that gave us our #10 song of 2025 ("Baby, Are You Abstract?") also put out a killer EP in April titled Perennial '65 (modeled after the American release of Beatles '65, of course) and tucked inside was this relatively straight reading of this Kinks classic from 1964 (you expected Beatles songs like I did?). Their version sounds a bit like a mod rocker, though, without losing the requisite riffing mandated by the original. I bet it's their set closer for a while.
20 NEO-MAGICS | “Le Freak” (Chic)
I do appreciate a cover that takes none of the coolest parts from the original, but still manages to create an altogether viable new version nonetheless. Everything you think should be kept from the Chic original ("Freak out!" interjection included) is thrown out by Sydney, Australia, garage-rock band Neo-Magics on their way through this sub-2:00 take on the former disco-only classic. I'm pretty sure you can still dance to it at least.
19 PARLOR GREENS | "Jolene" (Dolly Parton)
Jolene, Jolene, Jolene, Jolene / Don't cover the song, just because you can. "Jolene" is one of those ubiquitous songs nowadays, with every man, woman, and band doing their own version. Enough already! Except, of course, this groovy, Hammond organ dominated version from Ohio's Parlor Greens. This one stays because it sounds cooler than ever in their hands. And without vocals, no less! You know what the song is about by now anyway. Now you can feel the song, too.
18 ELI WINTER | “Arabian Nightingale” (Don Cherry)
If you know the original, good for you. You're Cap'n Jazz for the day. Whether you know it or not, Eli Winter's epic 17-minute interpretation of the track is simply too amazing to not highlight it on this list. So I sneak it in here in hopes you'll listen. It's very much worth your time and attention.
17 CANDI STATON FT. WILLIAM BELL | “My God Has a Telephone” (Flying Stars of Brooklyn NY / Aaron Frazer)
This modern soul gem started out with Aaron Frazer's group, Flying Stars of Brooklyn NY, but he later recorded it as a solo single later on. Both are great. In the hands of two soul legends, it's still great. No major overhaul here, but with Candi Staton on lead and the great and underrated Stax legend William Bell in support, the song gets even closer to heaven. The only question remaining: iPhone? Samsung? Or is he still a land-line guy?
16 CHRISSIE HYNDE FT. K.D. LANG | “Me & Mrs. Jones” (Billy Paul)
Chrissie, accelerating when you'd expect her to ease off the gas, cranked out a covers record called Duets this year whilst in the middle of a full tour, and as you would expect for someone of her stature and respect in the music world, she's got the big-name hook ups. Surprisingly, not all the songs are inspired. The song that really had me salivating was a duet with Mark Lanegan (RIP) on "Can't Help Falling in Love," but it's was a letdown, sadly. Her duet with Dan Auerbach on "You're My Soul (And Inspiration)" also falls flat. But the good stuff is pretty cool. Chrissie and Lucinda Williams, a natural pairing, do well with the Stones' "Sway" of course, and the sultry gender reversal (half-reversal actually) in "Me & Mrs. Jones" is the album's overall highlight, with k.d. and Chrissie really bringing the songs betrayal to the fore in a new way.
15 CAT POWER | “Try Me” (James Brown)
A bit of a cheat since it was started 20 years ago during Cat Power's sessions for their masterpiece, The Greatest, but it was never released back then so it's new to all of us. Chan Marshall is a master song interpreter who has, over the years, released a ton of them, with three full covers albums to date, so it's no shock she nails "Try Me," not an easy song to pull off. Same with just about any James Brown groove. But pull it off she does, thank to that rich, soulful voice of hers. It can make almost anything sound great.
14 THE DOLLYROTS | “You Don’t Own Me” (Lesley Gore)
A ripping update on the feminist anthem originally released by Lesley "It's My Party" Gore in late-1963, the Dollyrots really throw themselves into "You Don't Own Me," proving the timeless song and its important message have lived on to inspire yet another generation of strong women. It's your standard punk-rock take on an old pop standard, but this band really knows their way around a cover and Kelly Ogden's vox would make Joan Jett smile, I'm sure.
13 THE ROLLING STONES FT. STEVE RILEY | “Zydeco Sont Pas Salés” (Clifton Chenier)
Another shout-out to one of their American influences, the Stones check in for a salute to New Orleans legend Clifton Chenier, from the new compilation, A Tribute to the King of Zydeco (Valcour Records). They team up with Louisiana accordion legend Steve Riley on this spirited romp through one of Chenier's classics, which translates as "Snapbeans and No Salt." Jagger in especially fine form here, clearly enjoying himself for the duration.
12 MARGARET GLASPY FT. MADISON CUNNINGHAM | “The Book of Love” (Magnetic Fields)
Pickled Priest favorite Margaret Glaspy took a little time out this year to drop a stellar EP of covers, some more obvious (CCR's "Have You Ever Seen the Rain" and Jackson Browne's "These Days") and some inspired takes on less ubiquitous gems ("Jesus, Etc." by Wilco, "Fruits of My Labor" by Lucinda Williams, et al), but all were pretty damn good. My clear favorite of the bunch is her version of the Magnetic Fields' "The Book of Love" from their epic 69 Love Songs record from 1999. The original is perfect in its dryness, Stephin Merritt's baritone supplying just the right amount of Droopy dog melancholy. This cover pretties up the song considerably, especially in the chorus, with a pleasing harmony vocal from Madison Cunningham. Real nice.
11 IRON & WINE AND BEN BRIDWELL | “Ketchum, ID” (boygenius)
Earlier this year, I highlighted a cool cover of Kendrick Lamar's "Luther" from this EP, but the song that has really stuck with me over time is the duo's gorgeous cover of boygenius's "Ketchum, ID" from that group's debut EP from 2018. It's not the revelation that "Luther" was, but it is a perfect song for Sam Beam (Iron & Wine) and Ben Bridwell (Band of Horses) to sing together. The original benefited from a lo-fi recording, which highlighted the natural talents of each member in an intimate setting. Here, the song retains the hushed, world-weary feel crucial to the song while tastefully fleshing it out at the same time. Brilliant.
Additional Note: If you thought you could never listen to Foreigner's "I Want to Know What Love Is" again, you're in luck. There's a take on the same EP that may change your mind about the song. Or, if your mind didn't need changing, you'll still appreciate their valiant attempt.
10 FLYING VIPERS | “No One Wants an Alien” (The Wipers)
Bosoton's Flying Vipers have a laid-back sound that captures the spirit of classic reggae, but with a more restrained lover's rock groove. The band is finally making a name for itself thanks to a contract with Easy Star Records (a strong reputation within the genre) and they've also got some stylistic range, one minute going into outer space for a Sun Ra cover and the next giving their special treatment to this Wipers gem from the band's 1983 LP, Over the Edge. Reggae and punk have slept with each other many times before, so while this marriage isn't shocking, I bet it would still get a nod of approval from lead Wiper Greg Sage himself.
09 THE 5.6.7.8s FT. MISS LUDELLA BLACK | “Beat Girl” (The John Berry Seven)
The new 5.6.7.8s EP is more danceable retro-rock from this all-girl band from Tokyo made most famous for appearing in Quentin Tarantino's Kill Bill. So, covering a song by John Barry OBE, the writer of the James Bond theme and the scores for eleven Bond movies, is right in their creative wheelhouse. And, with the help of the UK's Miss Ludella Black, cult legend and fellow garage-rock devotee, they've released a new EP titled Beat Girls. The title track is a total thrill from start to finish, but don't skip out on their take on Ray Charles, "What'd I Say" either. It's equally fabulous and condensed to pop-song length. Also worth a couple spins is their version of the Pretenders "Kid," an interesting selection a little out of their usual scope, but any current female-fronted band could use a little Chrissie attitude in their influence pool (that goes for any band, for that matter). Oh, and under no circumstances are you allowed to abbreviate their band name to the 6-7s or I'll have to kill you.
08 SATAN TAKES A HOLIDAY FT. SHADY LADY & THE MALEFACTOR | “I Can’t Stop Thinking About It” (The Dirtbombs)
Ah my fellow Swedes and their strangely dark view of the world! Here, two Swedish bands combine to cover a killer garage-rock track from Detroit's Dirtbombs, who released their version back in 1998 on their Horndog Fest album. Based on that title, I'm going to fast forward under the assumption you know what the song is about without hearing a note. This new version spins its tires out of the blocks, adding a duet approach which gives the song a whole new context. A match made in heaven! I love the dirty, nasty original, but this is the one you'll put on your next mixtape because it just sounds alive. Likely the definitive version from now on, at least for me.
07 LANKUM | “Ghost Town” (Specials)
Leave it to Dublin's Lankum to take the Specials' reggae classic and turn it into a haunting folk dirge full of harrowing moments, cult-like chants, and ominous overtones. It's 8-minutes and change and worth every moment, from the opening walk through a nearly deserted town, to the end where it sounds like a helicopter is hovering, inspecting the skeletal remains of the decaying city. This is what a cover should do: reinvent the song and present it in a new, equally original way.
06 SPARKLE*JETS U.K. | “Make Something Happen!” (The Flashcubes)
Only in power-pop circles will you hear people waxing rhapsodic about Canada's Flashcubes, but they certainly deserve another look from those who love hit pop songs with big guitars and catchy melodies. The Cubes have already been inducted into the Power Pop Hall of Fame, in the inaugural class no less, a place I didn't know existed until this year. They are also the subject of a new tribute album, Make Something Happen! A Tribute to the Flashcubes, featuring artists as diverse as Sorrows, the Spongetones, Hamell on Trial, future PPHOFer Chris von Sneidern (I'm predicting), and even Graham Parker! UK power-poppers Sparkle*Jets (asterisk a part of their name unfortunately) take on the band's "shoulda been" hit, "Make Something Happen!" with gusto, a real piece of ear candy with more punch than the original (credit a low-budget for that). It'll sounds amazing blasting from a car window come summer. Check out the original, but I think this cover is at least its equal, which may get me barred from the Power Pop HOF for life, I realize that.
Additional Note: A book about the band is coming out soon. Perhaps a bit much, but boutique book shops don't stock themselves.
05 GALACTIC AND IRMA THOMAS | “How Glad I Am” (Nancy Wilson)
A love song to life. Irma's natural spirit positively radiates throughout on this song, aided by New Orleans mainstays, Galactic. Here, she counts her many blessings and wants to live every moment she has left to the fullest. May you still feel this way when you're into your 80s. If you listen to Nancy Wilson's (not the Heart guitarist) version, it's pretty tame and orchestrated, as you might expect from a song issued back in 1964, but Galactic and Irma bring the song into a Southern church where it belongs. This is the definitive version from this point forward. Even Nancy (also in her 80s and going strong) would agree, I'm sure.
04 BRIAN JACKSON FT. BLACK THOUGHT | “The Revolution Will Not Be Televised” (Gil Scott-Heron)
Gil Scott-Heron was ahead of his time with this legendary song from his classic 1971 LP, Pieces of a Man. The gist is that your TV will not show you what is really going on in the world, which sadly applies as much today as ever. Granted, the original is admittedly dated in its references, but the song's enduring message still remains powerful despite mentioning Xerox, Nixon, Steve McQueen, Tom Jones, Green Acres, and Bullwinkle J. Moose. Well, I don't think I could come up with a better choice to update the song's lyrics for the modern era than the Roots' Black Thought and one-time Scott-Heron collaborator Brian Jackson. If you're going to update an old building, you've got to first get the inner workings up to modern code, so picking qualified contractors is paramount. I am pleased to report, the overhaul went remarkably well. This time, if you're still looking for a revolution "You won't find a discount QR code to it in your junk email along with coupons for the Presidents Day sale at Overstock.com, eBay, or Amazon." The original will never lose its status, but this is an amazing tribute.
03 ROBERT PLANT | “It’s a Beautiful Day Today” (Moby Grape)
Robert Plant's new covers album is an earthy affair, restrained and atmospheric like his two stylistically similar releases with Alison Krauss. This time he's paired up with relatively unknown folk singer Suzi Dian and the results are captivating once again. He has a way of settling into a mystical mood like almost no other person, just like he did back in his heyday. I really like the consistency of Saving Grace, too, despite the variety of source material. It just floats by like a blast of summer wind on a hot, muggy day. "It's a Beautiful Day Today," a Moby Grape cover, is one of those songs that's welcome anytime you hear it, better than the original, but in these times it also acts as a reminder that there's promise in every day if you go out and find it.
Also, credit to Robert for taking on the Low Anthem's beautiful "Ticket Taker," a real diamond in the rough that shows his source material pool is deep. Everything else is also wonderful, especially the wise "I Will Never Marry" (Traditional), Low's "Everybody's Song," and a strong take on "Gospel Plough" an old spiritual that ends the album with a powerful message that something better is coming if you hold on.
02 BIG MESS | “Terry” (Kirsty MacColl)
This Kirsty MacColl single from her second run on Stiff Records in 1983 was overlooked then and this cover may be overlooked now, but it's not for lack of delivering a killer take on the song. Credit these Danes for bringing this one back into the 21st century. The spirit if Kirsty is still with us!
01 MAVIS STAPLES | “Sad and Beautiful World” (Sparklehorse)
What I wrote when I put this song at #6 on our Favorite Songs of 2025 Mixtape:
The song selection for Mavis's new record is impeccable, much like the tracks Rick Rubin presented to Johnny Cash during his late career resurgence; some old songs, some new songs, each fitting perfectly with her worldview. She's spent her whole life acknowledging the tough roads some have, but not without finding a light from within those realities and a push to rise above them. Which explains why her take on Mark Linkous's Sparklehorse gem, "Sad and Beautiful World" is so powerful. She's been there and she knows where she's going. You can hear it in every word she sings and it's as soothing as it is inspiring. Consider the song hers from now on.
Addendum
I probably shouldn't have made an arbitrary rule about "one song per artist" because Mavis deserves the top four of five spots on this list and that's not exaggeration. Allison Russell's "Human Mind" seems as if it were written for the eternally positive Staples. It's an already great song made timeless by Mavis's interpretation; a song that can move you in the deepest parts of your soul. Same with Kevin Morby's "Beautiful Stranger," absolutely timeless now in her hands. I can't imagine how it feels as a songwriter to hear something from your own pen sound this gorgeous and from such an iconic voice. After that, Tom Waits' "Chicago"—could there be a more fitting song for her to cover? It's her town, we all just live in it. There's something great in every other track on the record, too. That's what made it such a special record from one of this world's most special people (and the next, if there is one).
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That about covers it. Next post coming soon. 2025 ain't over yet, baby!
Cheers,
The Priest