These five songs were released in the 1990s, but did you know they were actually all covers? Some of which go back to the 1950s and 60s? You might be surprised to find out which ones have been around for multiple decades.
“Because the Night” by 10,000 Maniacs
In 1993, 10,000 Maniacs recorded a live album on MTV Unplugged featuring a cover of “Because the Night”. Released by the Patti Smith Group in 1978 and built off a chorus written by Bruce Springsteen, “Because the Night” originally reached No. 13 on the Billboard Hot 100. It was Patti Smith’s commercial breakthrough, and it would go on to serve Natalie Merchant & Co. equally well in the 90s. The 10,000 Maniacs cover hit No. 11 on the Hot 100. With Merchant’s rich, evocative vocals at the helm, this cover went on to become the band’s most popular song.
“The Man Who Sold the World” by Nirvana
Also recorded during an MTV Unplugged session, Nirvana’s cover of David Bowie’s “The Man Who Sold the World” transformed the 1970 track into something thoroughly modern and raw. Nirvana’s Unplugged live album was released in November 1994, several months after Kurt Cobain’s suicide. The album became tragically linked to his death, the performance taking on a new connotation. In 1996, David Bowie commented on Nirvana’s version of his song. He considered them almost like two different songs altogether, noting that, of all the covers that have been done of “The Man Who Sold the World”, only his and Kurt Cobain’s had been captured on a mystical and spiritual level.
“It’s All Coming Back to Me Now” by Celine Dion
“It’s All Coming Back to Me Now” is a power ballad to end all power ballads, becoming intrinsically linked to Celine Dion. She released her cover version on the 1996 album Falling Into You. But the original version was recorded by the girl group Pandora’s Box in 1989 for their concept album Original Sin. Additionally, Meat Loaf wanted a crack at it, but didn’t get it until 2006. Dion’s version, however, was a commercial smash hit, bolstered by her powerful vocals against a modified version of the original backing track. According to Elaine Caswell, vocalist for Pandora’s Box, when Dion’s version of the song blew up, she would often find herself in tears.
The Pandora’s Box record didn’t pan out as planned and never got a U.S. release. But Celine Dion was dominating the market with her song. Then, Caswell was asked to provide backing vocals on another track for Falling Into You. “I meet her, and she was very, very nice and said, ‘I’ve been listening to your vocals. I’ve been traveling through Europe and I’ve just been listening to it constantly, you did such an amazing job,’” Caswell recalled in 2016. “She was kind of like, you know, ‘Oh, I hope I can sing it as great as you.’”
“Can’t Get Enough of You Baby” by Smash Mouth
Smash Mouth’s 1999 single “Can’t Get Enough of You Baby” has some unexpected origins. It was first recorded by the Four Seasons in 1965, and again in 1967 by ? and the Mysterians. There was a 1985 version by The Colourfield used in the movie 10 Things I Hate About You. Then in 1998, Smash Mouth recorded their cover for the film Can’t Hardly Wait. This version has all the trappings of the late 90s. Immediately, it brings to mind big jorts, wraparound sunglasses, and maybe a wallet chain. The Smash Mouth aesthetic. But it’s that generational difference between the original and this version that makes it a singularly unique cover.
“Istanbul (Not Constantinople)” by They Might Be Giants
“Istanbul (Not Constantinople)” sounds like a song that was made by and for They Might Be Giants. There’s absolutely no way this song existed before this band came into being. Except that the original version goes all the way back to 1953. Also, the 500th anniversary of the fall of Constantinople to the Ottoman Empire. It was written as a novelty song and originally released by The Four Lads. While there have been numerous covers since then, the one that makes the most sense is really They Might Be Giants’ 1990 release. Not even The Muppets version tops this one. Part of its success could be attributed to its faster tempo, which gives it a sort of frantic energy that turns it into something adjacent to a polka.
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