4 More Unexpected Bob Dylan Covers That Take on a Life of Their Own

Covering Bob Dylan is almost like a rite of passage for artists. He’s been so prolific in the folk scene, rock and roll, and the music industry in general that his catalog is bursting at the seams with covers waiting to happen. Many artists cover the same Dylan songs over and over, which can get repetitive. Here are a handful of covers that were definitely unexpected. Additionally, here are four more that subverted the originals and made them something altogether new.

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“Like A Rolling Stone” — Green Day

For their 2009 album 21st Century Breakdown, Green Day covered Bob Dylan’s “Like A Rolling Stone.” Covering Dylan’s most well-known song was a bold move by the band, as fans are ready and willing to eviscerate anyone for getting it wrong. However, while Green Day’s version is certainly overproduced and lacking the scrappiness of the original, the fact that they did it at all is a testament to the confidence in their staying power.

“It’s All Over Now, Baby Blue” — Hole

In 2000, Hole covered Bob Dylan’s hit song “It’s All Over Now, Baby Blue” for the film The Crow: Salvation. Considering the soundtrack for the first Crow film, which was heavily goth and industrial, a Dylan cover seems out of place. However, with Hole at the helm, taking inspiration from the band Them’s 1966 cover, this version is transformed into a fittingly grunge offering.

“Don’t Think Twice, It’s Alright” — Kesha

For the 2011 Bob Dylan tribute album Chimes of Freedom, Kesha contributed a cover of “Don’t Think Twice, It’s Alright.” At the time, fans knew Kesha for her hypersexual party anthems. Admittedly, hearing her cover Bob Dylan is a bit unexpected. However, Kesha is great at evoking strong emotions with her voice. This cover is stripped down to its bare bones and vulnerably exposed to the elements.

“One More Cup of Coffee” — The White Stripes

For their debut album, The White Stripes covered Dylan’s “One More Cup of Coffee.” It takes on more of a shuddering bluesy feel with Jack White’s guitar style and Meg White’s rudimentary drumming. It’s haunting eeriness makes it stand out, but it also blends perfectly with the rest of the album.

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