Кавер версия как пишется

Ка́вер-ве́рсия (cover version, от англ. cover — покрывать) — авторская музыкальная композиция (часто известная) в исполнении другого музыканта или коллектива. Исполнение кавер-версии может содержать элементы оригинальной музыкальной композиции, на которую накладываются элементы новой музыкальной аранжировки. Нередко кавер-версия может дать новую жизнь той или иной композиции, самой по себе уже устаревшей или непопулярной.

Все значения слова «кавер-версия»

• нойз
• фронтмен
• грамзапись
• фьюжн
• джаз-оркестр
• (ещё синонимы…)

This article is about the cover performance or recording of an original song. For the Steven Wilson album, see Cover Version.

Not to be confused with Remix.

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]

History[edit]

The term «cover» goes back decades when cover version originally described a rival version of a tune recorded to compete with the recently released (original) version.^[1] Examples of records covered include Paul Williams’ 1949 hit tune «The Hucklebuck» and Hank Williams’ 1952^[3] song «Jambalaya». Both crossed over to the popular hit parade and had numerous hit versions. Before the mid-20th century, the notion of an original version of a popular tune would have seemed slightly odd – the production of musical entertainment was seen as a live event, even if it was reproduced at home via a copy of the sheet music, learned by heart or captured on a gramophone record. In fact, one of the principal objects of publishing sheet music was to have a composition performed by as many artists as possible. This made the song more important than the performing artist and rival cover or ‘copycat’ versions would vie for success.^[1]

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]

Today three broad types of entertainers depend on cover versions for their principal repertoire:

Tribute acts or bands are performers who make a living by recreating the music of one particular artist or band. Bands such as Björn 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.

United States copyright law[edit]

Since the Copyright Act of 1909, United States musicians have had the right to record a version of someone else’s previously recorded and released tune, whether it is music alone or music with lyrics.^[6] A license can be negotiated between representatives of the interpreting artist and the copyright holder, or recording published tunes can fall under a mechanical license whereby the recording artist pays a standard royalty to the original author/copyright holder through an organization such as the Harry Fox Agency, and is safe under copyright law even if they do not have any permission from the original author. A similar service was provided by Limelight by RightsFlow, until January 2015, when they announced they will be closing their service. The U.S. Congress introduced the mechanical license to head off an attempt by the Aeolian Company to monopolize the piano roll market.^[7]

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.

Live performances of copyrighted songs are typically arranged through performing rights organizations such as ASCAP or BMI.

Early 20th century history[edit]

Multiple versions in various formats or locations[edit]

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]

Because little promotion or advertising was done in the early days of record production, other than at the local music hall or music store, the average buyer purchasing a new record usually asked for the tune, not the artist. Record distribution was highly localized, so a locally popular artist could quickly record a version of a hit song from another area and reach an audience before the version by the artist(s) who first introduced the tune in a particular format—the «original», «introductory» or «popularizing» artist—was widely available, and highly competitive record companies were quick to take advantage of these facts.^{[clarification needed]}

Rival outlets and popularized recordings[edit]

This began to change in the late 1930s, when the growing record-buying public began including a younger age group. During the swing era, when a bobby soxer went looking for a recorded tune, say «In the Mood», typically she wanted the version popularized by her favorite artist(s), e.g. the Glenn Miller version (on RCA Victor’s cheaper Bluebird label), not someone else’s (sometimes presented on a more expensive record company’s label). This trend was marked closely by the charting of record sales by the different artists, not just hit tunes, on the music industry’s Hit Parades. However, for sound commercial reasons, record companies still continued to record different versions of tunes that sold well. Most audiences until the mid-1950s still heard their favorite artists playing live music on stage or via the radio. And since radio shows were for the most part aimed at local audiences, it was still rare for an artist in one area to reach a mass audience. Also radio stations tended to cater to broad audience markets, so an artist in one vein might not get broadcast on other stations geared to a set audience. So popular versions of jazz, country and western or rhythm and blues tunes, and vice versa, were frequent. Consider «Mack the Knife» («Die Moritat vom Mackie Messer»): this was originally from Bertolt Brecht’s 1928 Die Dreigroschenoper. It was popularized by a 1956 Hit Parade instrumental tune, «Moritat», for the Dick Hyman Trio, also recorded by Richard Hayman & Jan August,^[9] but a hit also for Louis Armstrong 1956/1959, Bobby Darin, 1959,^[10] and Ella Fitzgerald, 1960,^[11] as vocal versions of «Mack the Knife».

Europe’s Radio Luxembourg, like many commercial stations, also sold «air time»; so record companies and others bought air time to promote their own artists or products, thus increasing the number of recorded versions of any tune then available. Add to this the fact that many radio stations were limited in their permitted «needle time» (the amount of recorded music they were allowed to play), or were regulated on the amount of local talent they had to promote in live broadcasts, as with most national stations like the BBC in the UK.

Incentives to make duplicate recorded versions of a song[edit]

In the US, unlike most countries, broadcasters pay royalties to authors and publishers. Artists are not paid royalties, so there is an incentive to record numerous versions of a song, particularly in different genres. For example, King Records frequently cut both rhythm and blues and country and western versions of novelty songs like «Good Morning, Judge» and «Don’t Roll those Bloodshot Eyes at Me». This tradition was expanded when rhythm and blues songs began appearing on pop music charts.^[1]

In the early days of rock and roll, many tunes originally recorded by R&B and country musicians were still being re-recorded in a more popular vein by other artists with a more toned-down style or professional polish.^[12] This was inevitable because radio stations were reluctant to play formats outside their target audience’s taste. By far the most popular style of music in the mid-1950s / mid-1960s was still the professional light orchestra, therefore popular recording artists sought that format.^[13]
For many purists these popular versions lacked the raw earthiness of the original introducing artists.

Most did not have the kudos that rebellious teenagers craved, the street credibility — of rock and roll music; most were performed, and some were written, by black artists not heard in popular mass entertainment markets.^[14] Most parents considered the bowdlerized popular cover versions more palatable for the mass audience of parents and their children. Artists targeting the white-majority family audience were more acceptable to programmers at most radio and TV stations. Singer-songwriter Don McLean called the cover version a «racist tool».^[15][1] Many parents in the 1950s — 60s, whether intentionally racist or not, felt deeply threatened by the rapid pace of social change. They had, for the most part, shared entertainment with their parents in ways their children had become reluctant to do. The jukebox and the personal record disc player were still relatively expensive pieces of machinery — and the portable radio a great novelty, allowing truculent teenagers to shut themselves off.

Tunes by introducing or «original» niche market artists that became successful on the mass audience Hit Parade charts are called crossovers as they «crossed over» from the targeted country, jazz or rhythm audience. Also, many songs originally recorded by male artists were rerecorded by female artists, and vice versa. Such a cover version is also sometimes called a cross cover version, male cover, or female cover. Incidentally, until the mid-1930s male vocalists often sang the female lyrics to popular songs, though this faded rapidly after it was deemed decadent in Nazi Germany. Some songs such as «If Only for One Night» were originally recorded by female artists but covered by mostly male artists.

Reworking non-English language tunes and lyrics for the Anglo-Saxon markets was once a popular part of the music business. For example, the 1954 worldwide hit The Happy Wanderer was originally Der fröhliche Wanderer, to this must be added Hymne a l’amour, Mutterlein, Volare, Seeman, «Quando, Quando, Quando,» L’amour est bleu, etc.

Modern cover versions of songs[edit]

Cover versions of many popular songs have been recorded, sometimes with a radically different style, sometimes virtually indistinguishable from the original. For example, Sir Mix-a-Lot’s 1992 rap «Baby Got Back» was covered by indie rock singer Jonathan Coulton in 2005, in an acoustic soft rock style. Coulton’s cover was then covered, without attribution, in 2013 by the show Glee, and was so similar that Coulton, among others, alleged plagiarism of his arrangement and melody.^[16] Some producers or recording artists may also enlist the services of a sample replay company such as Titan Tribute Media or Scorccio, in order to replicate an original recording with precision detail and accuracy.

A song may be covered into another language. For example, in the 1930s, a recording of Isle of Capri in Spanish, by Osvaldo Fresedo and singer Roberto Ray, is known. Falco’s 1982 German-language hit «Der Kommissar» was covered in English by After the Fire, although the German title was retained. The English version, which was not a direct translation of Falco’s original but retained much of its spirit, reached the Top 5 on the US charts. «The Lion Sleeps Tonight» evolved over several decades and versions from a 1939 Solomon Linda a cappella song. Many of singer Laura Branigan’s 1980s hits were English-language covers of songs already successful in Europe, for the American record market. Numerable English-language covers exist of «99 Luftballons» by German singer Nena (notably one by punk band Goldfinger), one having been recorded by Nena herself following the success of her original German version. «Popcorn», a song that was originally completely instrumental, has had lyrics added in at least six different languages in various covers. During the heyday of Cantopop in Hong Kong in the late 1970s to early 1990s, many hits were covers of English and Japanese titles that have gained international fame but with localized lyrics (sometimes multiple sets of lyrics sung to the same tune), and critics often chide the music industry of shorting the tune-composing process.

Although modern cover versions are often produced for artistic reasons, some aspects of the disingenuous spirit of early cover versions remain. In the album-buying heyday of the 1970s, albums of sound-alike covers were created, commonly released to fill bargain bins in the music section of supermarkets and even specialized music stores, where uninformed customers might easily confuse them with original recordings. The packaging of such discs was often intentionally confusing, combining the name of the original artist in large letters with a tiny disclaimer like as originally sung by or as made popular by. More recently, albums such as the Kidz Bop series of compact discs, featuring versions of contemporary songs sung by children, have sold successfully.

In 2009, the American musical comedy-drama television series Glee debuted, featuring several musical performances per episode. The series featured solely cover songs performed by the series’ titular glee club until near the end of its second season with the episode «Original Song». The series still primarily uses cover songs of both chart hits and show tunes, occasionally as mashups or distinct variations. The show’s musical performances have been a commercial success, with over twenty-one million copies of Glee cast single releases purchased digitally, and over nine million albums purchased worldwide.^[17]

Australian alternative/indie radio station Triple J presents a weekly segment called Like a Version in which a band or musician performs one of their own songs as well as a song they love by another artist.^[18] Originating in 2004, the popularity of the performances^[19] have resulted in the release of annual compilation albums of selected covers and, more recently, votes in the annual Triple J Hottest 100 poll (which has even sparked its own controversy^[20]).

Conjoined cover songs are collectively referred to as a cover medley.

Cover versions more popular than originals[edit]

On occasion, a cover can become more popular than the original, for instance Jimi Hendrix’s version of Bob Dylan’s «All Along the Watchtower» became the standard, and Dylan even adjusted his performance style closer to the Hendrix version.^[21] Johnny Cash’s 2002 cover of «Hurt» by Nine Inch Nails is another example of the cover version eclipsing the original.^[22] Besides these, Elvis Presley’s version of Carl Perkins’ original «Blue Suede Shoes», Santana’s 1970 version of Peter Green’s and Fleetwood Mac’s 1968 «Black Magic Woman», Jeff Buckley’s version of Leonard Cohen’s «Hallelujah», Michael Jackson’s version of Yellow Magic Orchestra’s «Behind the Mask», Whitney Houston’s versions of Dolly Parton’s «I Will Always Love You» and of George Benson’s «The Greatest Love of All», Gary Jules’s version of Tears for Fears’s «Mad World», Glenn Medeiros’s version of George Benson’s «Nothing’s Gonna Change My Love for You», Lenny Kravitz’s version of The Guess Who’s «American Woman», Soft Cell’s version of Gloria Jones’s «Tainted Love», They Might Be Giants’ version of «Istanbul (Not Constantinople)» by The Four Lads, and Sinéad O’Connor’s version of «Nothing Compares to You» by Prince, are songs where the cover was more successful than the original.^[1]

Updating older songs[edit]

Cover versions (as the term is now used) are often contemporary versions of familiar songs. For example, «Singin’ in the Rain» was originally introduced by Cliff Edwards in the film The Hollywood Revue of 1929. The famous Gene Kelly version was a revision that brought it up to date for a 1950s Hollywood musical, and was used in the 1952 film Singin’ in the Rain. In 1978, it was covered by French singer Sheila, accompanied by the B. Devotion group, as a disco song, once more updating it to suit the musical taste of the era. During the disco era there was a trend of taking well known songs and recording them in the disco style. More recently «Singin’ in the Rain» has been covered and remixed by British act Mint Royale for a television commercial for Volkswagen. Another example of this, from a different angle, is the tune «Blueberry Hill», many mistakenly believe the Fats Domino 1956 release to be the original recording and artist. In fact, it was originally introduced on film by Gene Autry and popularized on the record Hit Parade of 1940 by Glenn Miller. The Fats Domino rock and roll version is the only one that might currently get widespread airplay on most media. Similarly, «Unchained Melody» was originally performed by Todd Duncan, featured in the 1955 film Unchained (based on the non-fiction story Prisoners are People by Kenyon J. Scudder); Al Hibbler having the biggest number of worldwide record sales for the vocal version with Jimmy Young’s cover version rival outdoing this in the UK,^[23] Les Baxter’s Orchestra gaining the big instrumentalist sales, reaching the US Hit Parade number one spot in May 1955,^[24] but the Righteous Brothers’ later version (top five on the US Hit Parade of September 1965^[25] stalling at number 14 in the UK in August) is by far the wider known version, and especially so following its appearance in the 1990 film Ghost. «House of the Rising Sun» has hundreds of versions and in many genres such as folk, blues rock and punk as well as dance and dubstep.^[26]

Director Baz Luhrmann has contemporized and stylized older songs for use in his films. New or cover versions such as John Paul Young’s «Love Is in the Air» occur in Strictly Ballroom, Candi Staton’s «Young Hearts Run Free» appear in Romeo + Juliet, and adaptations of artists such as Nat King Cole, Nirvana, Kiss, Elton John, Thelma Houston, Marilyn Monroe, Madonna, T. Rex, David Bowie, Queen, and the Police are used in Moulin Rouge!. The covers are carefully designed to fit into the structure of each film and suit the taste of the intended audience.

Other artists release new versions of their own songs, like German singer Nena who recorded an entire album with great success, with new versions of older hits. Cover songs can be used to display creativity of a performers work through the talent of another artist’s previous production. Not to be confused with a remix, which is defined as altering or distorting the original sound electronically; cover versions give a performer the ability to adapt music to their own style, typically allowing them to change the genre of a song and recreating it to their own taste. For example, in 2008, Fall Out Boy covered Michael Jackson’s hit song «Beat It», changing the genre from pop rock to a more punk rock feel. Another example is when My Chemical Romance covered the Bob Dylan track «Desolation Row». This is more common with today’s covers, taking older popular music and revamping it to compare with modern popular music. Aretha Franklin’s cover of Otis Redding’s «Respect» was voted the greatest cover song of all-time, according to Forbes.com.^[27]

See also[edit]

References[edit]

External links[edit]

• COVER.INFO – Large database of cover versions, medleys, samples and other musical quotations
• Covers, Cover Songs, Cover Music Charts and Musical Talents Community
• SecondHandSongs
• Using cover song versions legally, US Music Copyright Laws from cleverjoe.com

This article is about the cover performance or recording of an original song. For the Steven Wilson album, see Cover Version.

Not to be confused with Remix.

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]

History[edit]

The term «cover» goes back decades when cover version originally described a rival version of a tune recorded to compete with the recently released (original) version.^[1] Examples of records covered include Paul Williams’ 1949 hit tune «The Hucklebuck» and Hank Williams’ 1952^[3] song «Jambalaya». Both crossed over to the popular hit parade and had numerous hit versions. Before the mid-20th century, the notion of an original version of a popular tune would have seemed slightly odd – the production of musical entertainment was seen as a live event, even if it was reproduced at home via a copy of the sheet music, learned by heart or captured on a gramophone record. In fact, one of the principal objects of publishing sheet music was to have a composition performed by as many artists as possible. This made the song more important than the performing artist and rival cover or ‘copycat’ versions would vie for success.^[1]

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]

Today three broad types of entertainers depend on cover versions for their principal repertoire:

Tribute acts or bands are performers who make a living by recreating the music of one particular artist or band. Bands such as Björn 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.

United States copyright law[edit]

Since the Copyright Act of 1909, United States musicians have had the right to record a version of someone else’s previously recorded and released tune, whether it is music alone or music with lyrics.^[6] A license can be negotiated between representatives of the interpreting artist and the copyright holder, or recording published tunes can fall under a mechanical license whereby the recording artist pays a standard royalty to the original author/copyright holder through an organization such as the Harry Fox Agency, and is safe under copyright law even if they do not have any permission from the original author. A similar service was provided by Limelight by RightsFlow, until January 2015, when they announced they will be closing their service. The U.S. Congress introduced the mechanical license to head off an attempt by the Aeolian Company to monopolize the piano roll market.^[7]

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.

Live performances of copyrighted songs are typically arranged through performing rights organizations such as ASCAP or BMI.

Early 20th century history[edit]

Multiple versions in various formats or locations[edit]

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]

Because little promotion or advertising was done in the early days of record production, other than at the local music hall or music store, the average buyer purchasing a new record usually asked for the tune, not the artist. Record distribution was highly localized, so a locally popular artist could quickly record a version of a hit song from another area and reach an audience before the version by the artist(s) who first introduced the tune in a particular format—the «original», «introductory» or «popularizing» artist—was widely available, and highly competitive record companies were quick to take advantage of these facts.^{[clarification needed]}

Rival outlets and popularized recordings[edit]

This began to change in the late 1930s, when the growing record-buying public began including a younger age group. During the swing era, when a bobby soxer went looking for a recorded tune, say «In the Mood», typically she wanted the version popularized by her favorite artist(s), e.g. the Glenn Miller version (on RCA Victor’s cheaper Bluebird label), not someone else’s (sometimes presented on a more expensive record company’s label). This trend was marked closely by the charting of record sales by the different artists, not just hit tunes, on the music industry’s Hit Parades. However, for sound commercial reasons, record companies still continued to record different versions of tunes that sold well. Most audiences until the mid-1950s still heard their favorite artists playing live music on stage or via the radio. And since radio shows were for the most part aimed at local audiences, it was still rare for an artist in one area to reach a mass audience. Also radio stations tended to cater to broad audience markets, so an artist in one vein might not get broadcast on other stations geared to a set audience. So popular versions of jazz, country and western or rhythm and blues tunes, and vice versa, were frequent. Consider «Mack the Knife» («Die Moritat vom Mackie Messer»): this was originally from Bertolt Brecht’s 1928 Die Dreigroschenoper. It was popularized by a 1956 Hit Parade instrumental tune, «Moritat», for the Dick Hyman Trio, also recorded by Richard Hayman & Jan August,^[9] but a hit also for Louis Armstrong 1956/1959, Bobby Darin, 1959,^[10] and Ella Fitzgerald, 1960,^[11] as vocal versions of «Mack the Knife».

Europe’s Radio Luxembourg, like many commercial stations, also sold «air time»; so record companies and others bought air time to promote their own artists or products, thus increasing the number of recorded versions of any tune then available. Add to this the fact that many radio stations were limited in their permitted «needle time» (the amount of recorded music they were allowed to play), or were regulated on the amount of local talent they had to promote in live broadcasts, as with most national stations like the BBC in the UK.

Incentives to make duplicate recorded versions of a song[edit]

In the US, unlike most countries, broadcasters pay royalties to authors and publishers. Artists are not paid royalties, so there is an incentive to record numerous versions of a song, particularly in different genres. For example, King Records frequently cut both rhythm and blues and country and western versions of novelty songs like «Good Morning, Judge» and «Don’t Roll those Bloodshot Eyes at Me». This tradition was expanded when rhythm and blues songs began appearing on pop music charts.^[1]

In the early days of rock and roll, many tunes originally recorded by R&B and country musicians were still being re-recorded in a more popular vein by other artists with a more toned-down style or professional polish.^[12] This was inevitable because radio stations were reluctant to play formats outside their target audience’s taste. By far the most popular style of music in the mid-1950s / mid-1960s was still the professional light orchestra, therefore popular recording artists sought that format.^[13]
For many purists these popular versions lacked the raw earthiness of the original introducing artists.

Most did not have the kudos that rebellious teenagers craved, the street credibility — of rock and roll music; most were performed, and some were written, by black artists not heard in popular mass entertainment markets.^[14] Most parents considered the bowdlerized popular cover versions more palatable for the mass audience of parents and their children. Artists targeting the white-majority family audience were more acceptable to programmers at most radio and TV stations. Singer-songwriter Don McLean called the cover version a «racist tool».^[15][1] Many parents in the 1950s — 60s, whether intentionally racist or not, felt deeply threatened by the rapid pace of social change. They had, for the most part, shared entertainment with their parents in ways their children had become reluctant to do. The jukebox and the personal record disc player were still relatively expensive pieces of machinery — and the portable radio a great novelty, allowing truculent teenagers to shut themselves off.

Tunes by introducing or «original» niche market artists that became successful on the mass audience Hit Parade charts are called crossovers as they «crossed over» from the targeted country, jazz or rhythm audience. Also, many songs originally recorded by male artists were rerecorded by female artists, and vice versa. Such a cover version is also sometimes called a cross cover version, male cover, or female cover. Incidentally, until the mid-1930s male vocalists often sang the female lyrics to popular songs, though this faded rapidly after it was deemed decadent in Nazi Germany. Some songs such as «If Only for One Night» were originally recorded by female artists but covered by mostly male artists.

Reworking non-English language tunes and lyrics for the Anglo-Saxon markets was once a popular part of the music business. For example, the 1954 worldwide hit The Happy Wanderer was originally Der fröhliche Wanderer, to this must be added Hymne a l’amour, Mutterlein, Volare, Seeman, «Quando, Quando, Quando,» L’amour est bleu, etc.

Modern cover versions of songs[edit]

Cover versions of many popular songs have been recorded, sometimes with a radically different style, sometimes virtually indistinguishable from the original. For example, Sir Mix-a-Lot’s 1992 rap «Baby Got Back» was covered by indie rock singer Jonathan Coulton in 2005, in an acoustic soft rock style. Coulton’s cover was then covered, without attribution, in 2013 by the show Glee, and was so similar that Coulton, among others, alleged plagiarism of his arrangement and melody.^[16] Some producers or recording artists may also enlist the services of a sample replay company such as Titan Tribute Media or Scorccio, in order to replicate an original recording with precision detail and accuracy.

A song may be covered into another language. For example, in the 1930s, a recording of Isle of Capri in Spanish, by Osvaldo Fresedo and singer Roberto Ray, is known. Falco’s 1982 German-language hit «Der Kommissar» was covered in English by After the Fire, although the German title was retained. The English version, which was not a direct translation of Falco’s original but retained much of its spirit, reached the Top 5 on the US charts. «The Lion Sleeps Tonight» evolved over several decades and versions from a 1939 Solomon Linda a cappella song. Many of singer Laura Branigan’s 1980s hits were English-language covers of songs already successful in Europe, for the American record market. Numerable English-language covers exist of «99 Luftballons» by German singer Nena (notably one by punk band Goldfinger), one having been recorded by Nena herself following the success of her original German version. «Popcorn», a song that was originally completely instrumental, has had lyrics added in at least six different languages in various covers. During the heyday of Cantopop in Hong Kong in the late 1970s to early 1990s, many hits were covers of English and Japanese titles that have gained international fame but with localized lyrics (sometimes multiple sets of lyrics sung to the same tune), and critics often chide the music industry of shorting the tune-composing process.

Although modern cover versions are often produced for artistic reasons, some aspects of the disingenuous spirit of early cover versions remain. In the album-buying heyday of the 1970s, albums of sound-alike covers were created, commonly released to fill bargain bins in the music section of supermarkets and even specialized music stores, where uninformed customers might easily confuse them with original recordings. The packaging of such discs was often intentionally confusing, combining the name of the original artist in large letters with a tiny disclaimer like as originally sung by or as made popular by. More recently, albums such as the Kidz Bop series of compact discs, featuring versions of contemporary songs sung by children, have sold successfully.

In 2009, the American musical comedy-drama television series Glee debuted, featuring several musical performances per episode. The series featured solely cover songs performed by the series’ titular glee club until near the end of its second season with the episode «Original Song». The series still primarily uses cover songs of both chart hits and show tunes, occasionally as mashups or distinct variations. The show’s musical performances have been a commercial success, with over twenty-one million copies of Glee cast single releases purchased digitally, and over nine million albums purchased worldwide.^[17]

Australian alternative/indie radio station Triple J presents a weekly segment called Like a Version in which a band or musician performs one of their own songs as well as a song they love by another artist.^[18] Originating in 2004, the popularity of the performances^[19] have resulted in the release of annual compilation albums of selected covers and, more recently, votes in the annual Triple J Hottest 100 poll (which has even sparked its own controversy^[20]).

Conjoined cover songs are collectively referred to as a cover medley.

Cover versions more popular than originals[edit]

On occasion, a cover can become more popular than the original, for instance Jimi Hendrix’s version of Bob Dylan’s «All Along the Watchtower» became the standard, and Dylan even adjusted his performance style closer to the Hendrix version.^[21] Johnny Cash’s 2002 cover of «Hurt» by Nine Inch Nails is another example of the cover version eclipsing the original.^[22] Besides these, Elvis Presley’s version of Carl Perkins’ original «Blue Suede Shoes», Santana’s 1970 version of Peter Green’s and Fleetwood Mac’s 1968 «Black Magic Woman», Jeff Buckley’s version of Leonard Cohen’s «Hallelujah», Michael Jackson’s version of Yellow Magic Orchestra’s «Behind the Mask», Whitney Houston’s versions of Dolly Parton’s «I Will Always Love You» and of George Benson’s «The Greatest Love of All», Gary Jules’s version of Tears for Fears’s «Mad World», Glenn Medeiros’s version of George Benson’s «Nothing’s Gonna Change My Love for You», Lenny Kravitz’s version of The Guess Who’s «American Woman», Soft Cell’s version of Gloria Jones’s «Tainted Love», They Might Be Giants’ version of «Istanbul (Not Constantinople)» by The Four Lads, and Sinéad O’Connor’s version of «Nothing Compares to You» by Prince, are songs where the cover was more successful than the original.^[1]

Updating older songs[edit]

Cover versions (as the term is now used) are often contemporary versions of familiar songs. For example, «Singin’ in the Rain» was originally introduced by Cliff Edwards in the film The Hollywood Revue of 1929. The famous Gene Kelly version was a revision that brought it up to date for a 1950s Hollywood musical, and was used in the 1952 film Singin’ in the Rain. In 1978, it was covered by French singer Sheila, accompanied by the B. Devotion group, as a disco song, once more updating it to suit the musical taste of the era. During the disco era there was a trend of taking well known songs and recording them in the disco style. More recently «Singin’ in the Rain» has been covered and remixed by British act Mint Royale for a television commercial for Volkswagen. Another example of this, from a different angle, is the tune «Blueberry Hill», many mistakenly believe the Fats Domino 1956 release to be the original recording and artist. In fact, it was originally introduced on film by Gene Autry and popularized on the record Hit Parade of 1940 by Glenn Miller. The Fats Domino rock and roll version is the only one that might currently get widespread airplay on most media. Similarly, «Unchained Melody» was originally performed by Todd Duncan, featured in the 1955 film Unchained (based on the non-fiction story Prisoners are People by Kenyon J. Scudder); Al Hibbler having the biggest number of worldwide record sales for the vocal version with Jimmy Young’s cover version rival outdoing this in the UK,^[23] Les Baxter’s Orchestra gaining the big instrumentalist sales, reaching the US Hit Parade number one spot in May 1955,^[24] but the Righteous Brothers’ later version (top five on the US Hit Parade of September 1965^[25] stalling at number 14 in the UK in August) is by far the wider known version, and especially so following its appearance in the 1990 film Ghost. «House of the Rising Sun» has hundreds of versions and in many genres such as folk, blues rock and punk as well as dance and dubstep.^[26]

Director Baz Luhrmann has contemporized and stylized older songs for use in his films. New or cover versions such as John Paul Young’s «Love Is in the Air» occur in Strictly Ballroom, Candi Staton’s «Young Hearts Run Free» appear in Romeo + Juliet, and adaptations of artists such as Nat King Cole, Nirvana, Kiss, Elton John, Thelma Houston, Marilyn Monroe, Madonna, T. Rex, David Bowie, Queen, and the Police are used in Moulin Rouge!. The covers are carefully designed to fit into the structure of each film and suit the taste of the intended audience.

Other artists release new versions of their own songs, like German singer Nena who recorded an entire album with great success, with new versions of older hits. Cover songs can be used to display creativity of a performers work through the talent of another artist’s previous production. Not to be confused with a remix, which is defined as altering or distorting the original sound electronically; cover versions give a performer the ability to adapt music to their own style, typically allowing them to change the genre of a song and recreating it to their own taste. For example, in 2008, Fall Out Boy covered Michael Jackson’s hit song «Beat It», changing the genre from pop rock to a more punk rock feel. Another example is when My Chemical Romance covered the Bob Dylan track «Desolation Row». This is more common with today’s covers, taking older popular music and revamping it to compare with modern popular music. Aretha Franklin’s cover of Otis Redding’s «Respect» was voted the greatest cover song of all-time, according to Forbes.com.^[27]

See also[edit]

References[edit]

External links[edit]

• COVER.INFO – Large database of cover versions, medleys, samples and other musical quotations
• Covers, Cover Songs, Cover Music Charts and Musical Talents Community
• SecondHandSongs
• Using cover song versions legally, US Music Copyright Laws from cleverjoe.com

Кавер или ковер — как правильно писать слово?

Иногда простые истины «вылетают» из головы. В такие моменты забываешь элементарное: кавер или ковер – как правильно писать. Оба варианта являются верными: в зависимости от значения в начале пишется «ко» или «ка».

Чтобы проверить правописание, произношение и обозначение фраз, нужно открыть словарь.

Ковер или кавер — как писать правильно?

Чтобы понять, как пишется название, необходимо узнать, что оно обозначает. Ковровое изделие присутствует в каждом доме, это преимущественно напольное покрытие, но иногда его вешают на стены. Коврик может быть изготовлен из натуральных или синтетических материалов, иметь различные рисунки и расцветки. Иногда изделие сравнивают с природными явлениями, которые похожи на ковровое покрытие, к примеру, листья, снег, цветы, трава.

Если открыть любое печатное издание со словарем, то в разделе на букву К обязательно найдешь слово «ковёр» — оно является словарным. В нем две гласных — о и ё. Второй слог ударный, то есть при произношении ударение следует ставить на него. Во время произношения, мы слышим звук «а», что сбивает во время письма.

В толковом словаре можно найти обозначение:

1. По толковому словарю Ушакова — это тяжеловесная ткань с узором, иногда с ворсом. Может быть выполнена машинной или ручной вязкой. Используется в качестве напольного покрытия или украшения на стену.
2. Есть переносное значение, которое понятно на примере предложения: «Цветники разрастаются пышными коврами».

Чтобы легко запомнить ковер или кавер, как писать правильно, можно выучить образы:

• узор;
• пол;
• коврик.

Коврик можно использовать в качестве проверочного слова.

С помощью образного сопоставления интуитивных значений можно быстро запомнить правописание фраз или любые другие факты. Выучить правописание поможет заученное предложение: «Кот пролил молоко на коврик». В предложении стоят только буквы о, поэтому на письме следует употреблять слог «ко».

Версия-кавер или ковер: как правильно?

Существует другое значение, которое кардинально отличается от первого. Разница заключается в одной букве. При написании тоже возникает сомнение: ковер или кавер, как писать правильно?

Кавер – исполнение существующей песни в новом стиле другим исполнителем с измененной аранжировкой. Кавер-версией принято называть перепев оригинальной аудиозаписи или ее обработку. Артист, который занимается перепевкой, называется кавер-исполнителем или кавер-группой, если это несколько человек.

При написании этого термина на русском языке, путает тот факт, что на английском пишется cover. Понятие не является словарным, поэтому проверять правописание следует по правилам английского языка, где после первой «с» идет звук «а». В русском языке есть правило заимствования слов, которое позволяет употреблять иноязычное название или заменить русским вариантом, к примеру, перепевка.

Многие исполнители занимаются написанием cover-версий на популярные хиты. Создаются целые альбомы, которые содержат только перепевки. Такие сборники называются трибьютом.

Делать перепевки стало популярным среди молодежи, поэтому заниматься этим музыкальным направлением могут непрофессиональные артисты. Обычные исполнители, любящие музыку и умеющие красиво петь, выкладывают видео- и аудиозаписи в соцсети.

Чтобы определить написание этих слов, необходимо выяснить, какое из понятий имеется в виду. В первом варианте – с ковриком, следует употреблять «о», во втором правильно ставить «а».

Если с правописанием больше вопросов нет, то переходите в наш каталог ковров и выбирайте любой понравившийся, с доставкой по Москве и России.

Кавер-версией (англ. cover version) или просто «кавером» называется ремейк музыкального плана — исполненная певцом и/или музыкантом песня другого исполнителя. Явление популярно по сей день, и существуют целые кавер- и трибьют-группы. Разница между ними состоит в том, что каверщики перепевают песни разных исполнителей, а трибьютщики — кого-то одного. А бывает так, что один музыкант выпускает альбом, состоящий из песен какого-то одного или многих исполнителей.

Посмотрим правде в глаза: часто это применяется как способ без плагиата^[2] подзаработать на чужом творчестве (куда ж без этого). Тем не менее, не реже исполнение кавера представляет собой оммаж, выражение уважения тому, чью песню перепевают (нередко посмертное). Таким образом можно привлечь внимание к давно забытому хорошему исполнителю, а в старые времена авторы и сами публиковали ноты с целью добиться того, чтобы их песню исполнило как можно больше других исполнителей — песня всё известнее, да и денежка с роялти-выплат «капает», так что сплошная выгода.

Тропы[править]

С каверами связаны некоторые явления, подходящие под тропы нашего сайта.

• Затмение адаптацией. Исполнив песню малоизвестного или забытого исполнителя, нередко можно стать с ней куда более известным, чем автор. Песню «I Will Always Love You» первой исполняла вовсе не Уитни Хьюстон, а Долли Партон. Бывает так, что автор вообще известен на уровне дворового гитариста и не обладает должными навыками, но кто-то другой делает его песню суперхитом. Пример — «О любви» в исполнении Чижа (у которого, кстати, вообще много каверов на песни разных его приятелей).
• Знают именно за это. Примерно как предыдущее, но в обратную сторону — кавер становится единственным, что интересно публике из творчества того, кто его исполнил. Например, потому, что автор кавернутой песни просто куда талантливее. В постсоветском мире группу Status Quo знают только за их хит «In the Army Now», который именно что кавер. Хотя у себя на родине эти дядьки и без этой песни популярны.
• На тебе! Способ постебаться над исполнителем, по сути почти пародия. Например, Макс Раабе эпично продрал Бритни Спирс, исполнив кавер её песни «Oops, I did it again» (сиречь «Ой, я снова облажалась»).
• Проблема противоположных оценок — поклонники оригинала по-разному относятся к кавер-версиям. Кому-то интересен свежий взгляд на любимую песню (иногда и вовсе получается лучше оригинала), кто-то же недовольно фыркает, считая, что это и близко не валялось рядом с оригиналом и вообще, что за попытки примазаться к чужой славе. Впрочем, тут немаловажную роль играет то, что англичане называют first exposure — т.е. кто первый встал, того и тапки в чьём исполнении вы впервые услышали песню, то исполнение и становится точкой отсчёта.
• Сделано ради ностальгии. О некоторых старых музыкантах вспоминают благодаря каверам на них. Иногда таким образом воскрешают забытый жанр, превращая его в модное ретро. Все эти новогодние телепрограммы типа «Старых песен о главном», в которых современные музыканты поют советские суперхиты для ностальгирующих по старому доброму СССР — тоже сюда.
• Смена жанра. Существуют целые группы, практикующие исполнение чужих песен в совершенно другом стиле — как правило, шутки ради. Например, вышеупомянутые Iron Horse исполняют песни знаменитых металл-групп в стиле блюграсс (наподобие кантри), а Dread Zeppelin — регги-версии Led Zeppelin. Сюда же и метал-каверы Джонатана Янга на опенинги диснеевских мультиков и аниме. Нередко от такого получается самодиссонирующая песня, когда музыка не вяжется с текстом: например, джазовые каверы Ричарда Чиза на «People = Shit» (Slipknot) и «Die Motherfucker Die» (Dope) — по названиям сами видите.
• Сменить имя в адаптации. Иногда песне по тем или иным причинам меняют и название. «My Way» Синатры — перепетая французская «Comme d’habitude»; «Les Champs-Élysées» и «L’Amérique» Джо Дассена — напротив, исходно англоязычные «Waterloo Road» и «Yellow River». «You don’t die from love» певицы Стефании (той самой) в исполнении Белинды Карлайл превратилось в «The air you breathe». А ещё иногда просто переименовывают кого-то из персонажей, название города и тому подобное.
• Сменить пол в адаптации — бывает, если новый исполнитель не того пола, что оригинальный. Как правило, текст немного корректируют: «You are the king/queen of my heart», «Why she/he had to go», «Этот танец для вас танцуют все девочки/мальчики моего роста» и тому подобное. Такое называется кросс-кавером или мужским/женским кавером.
• Темнее и острее / Светлее и мягче — такое можно получить даже без смены жанра на более мрачный/лёгкий.
• Теперь банановый! — теперь хит X артиста Y в исполнении группы ЙZ! Опционально ещё и в другом стиле.
• Теперь в современности! — собственно, обновлённые версии старых хитов, делающие их слушабельнее для современного уха.
• Только оболочка. Это касается т. н. «переводов» иноязычной музыки, которые на самом деле являются не переводом, а чем-то сродни филку. Такой текст может быть похожим на слух на слова оригинала («Oynama Şıkıdım» Таркана и «Ой мама, шика дам» Киркорова) или вообще притянутым за уши (публика — дура, поди ещё и за настоящий перевод примет). Хотя бывает, конечно и честный перевод песни, чтобы в другой стране тоже могли её оценить те, кто не знает языка — например, тот же «Пробил час» — это почти точный перевод мановаровской песни «Return of the Warlord».
• Упростили и опошлили / Воскресить труп — от мастерства исполнителя много чего зависит.
• Фанат пришёл к успеху. Бывает и такое! Например, Тим Оуэнс, солист трибьют-группы British Steel, игравшей каверы на Judas Priest, в 1996 году стал вокалистом самих Judas Priest, заменив покинувшего группу Роба Хэлфорда, и записал с ними два альбома (потом, правда, Хэлфорд вернулся).
• Эффект Реквиема по мечте — когда несведущие слушатели считают исполнителя кавера автором песни.

Примеры[править]

Поскольку каверы — штука популярная, при подробном перечислении эта статья превратится в чёрную дыру и поглотит наш сайт вместе с сервером. Поэтому давайте-ка сделаем вот как: перечислим здесь только тех исполнителей, о которых уже есть статьи на Posmotre.li. И примеров будет много, и гравитационной сингулярности избежим.

• «АлисА» на каждом концерте исполняет одну-две песни Цоя.
  • Песня «Театр теней» с альбома «Шестой лесничий» является перепевкой песни «Kyoto Song» группы The Cure, чего сам Кинчев особо и не скрывает.
• «Ария».
  • Один из самых известных хитов, «Беспечный ангел» — кавер на песню «Going to the Run» группы Golden Earring. Перевод Пушкиной близок к тексту оригинала, правда в русской версии герой песни был переименован, а если точнее — лишился имени (в оригинале его звали Эд). В том же сборнике «Штиль», где опубликована эта песня, присутствуют «Пробил час» («Return of the Warlord» от Manowar) и «Свобода» («Cry for Freedom» от White Lion) в переводе той же Пушкиной.
  • Саму «Арию» тоже регулярно каверят и выпускают трибьюты, начиная с «A Tribute to Ария» 2001 года. Даже Rammstein однажды выразили своё почтение, исполнив песню «Штиль» почти на русском языке. А первый альбом группы «Symfomania» представлял собой инструментальные каверы на «арийцев» со струнным квартетом вместо гитар — этакий русский вариант «Апокалиптики», ещё и с полностью женским составом.
• «Воплі Відоплясова» любят каверы ещё и как-нибудь переводить. Так, «Солнечные дни» и «Пачка сигарет» из трибьюта Цоя в их исполнении существуют на русском и украинском, «Попс» из трибьюта Летову — на украинском, а «Взгляд с экрана» из «Нау Бума» — на французском.
• «Гражданская оборона».
  • Наверное, Летова на постсоветском пространстве исполнял каждый, кто умеет хоть как-то играть на гитаре, так что в 2002-03 вышел трибьют ГрОба в двух частях. Сам Летов к этому отнёсся со скептичной усмешкой. В трибьют вошли песни не только ГО, но и других проектов Егора, а также два раза затесался «Красный смех», который и в исполнении самого Летова представлял собой кавер на «Инструкцию по выживанию» (ага, кавер на кавер получается). Каверить маэстро продолжили и после его смерти, постепенно скатываясь в цирк — в одном из сборников поучаствовала славная певица Гречка, и кто-то из участвовавших там же панков не побрезговал в свой кавер вставить «на тебе!» в её адрес — мол, ты-то на кой сюда полезла?
  • Сам Летов также любил каверить — альбом «Инструкция по выживанию» 1990 г. с песнями одноимённой группы, «Звездопад» 2002 года с перепевками советских песен и тому подобное.
• «Кино». Ещё один русский рокер, песни которого звучат из каждой подворотни, поэтому не удивительно, что на него пишут каверы и целые трибьют-альбомы. Первый, довольно нашумевший сборник «КИНОпробы» вышел в 2000 г., многие вошедшие в него цоевские песни в новом исполнении стали радиохитами. После этого вышло ещё много чего — от сборников симфонических инструменталок до… рэп-трибьюта. Впрочем, последнее сложно назвать трибьютом: рэпер бормочет под цоевский рифф тонны собственного текста, а в припеве запись настоящего Цоя поёт пару строчек из чего-то своего. Получается, по сути, «зацените как я читаю свой рэп на фоне Цоя, йоу».
• «Машина времени», трибьют-альбом «Машинопись» аж в трёх частях (2009—10). Особенно повеселила «Агата Кристи», исполнившая «Он был старше её» под музыку «Stairway to Heaven».
• «Мельница» вообще и Хелависа в частности в последние годы взяли привычку перепевать Высоцкого. И как минимум «Баллада о книжных детях» (в оригинале «…о борьбе») получилась достойной первоисточника.
  • Соткать кавер на саму «Мельницу» считается хорошим тоном чуть менее чем у всех фолк-рок-групп схожей направленности — взять хоть «Сны Саламандры».
• «Наутилус Помпилиус». Ещё в 1994 году к десятилетию Нау вышел сборник «Отчёт» с участием друзей группы (именно концертную версию этого проекта смотрят Данила со Светой в фильме «Брат»). В 2008 же, через десять с гаком лет после распада группы, был выпущен «Нау Бум», в первой части которого песни «Наутилусов» пели всякие другие музыканты, а во второй Бутусов во главе «Ю-Питера» глумился над старыми песнями каверил сам себя. Кроме того, Бутусов выпустил саундтрек к так и не снятому фильму «Модель для сборки», где исполнил песни малоизвестных молодых групп.
• Оргия Праведников оскоромилась ещё одним кавером на «In The Army Now». Причём на русском языке и именно с тем словом, которое больше всего похоже по звучанию на «нау».
• «Чайф» — в сборнике «Симпатии» поют песни как всем известных музыкантов, так и не известных никому.
• Чиж это дело очень любит, многие его хиты на самом деле каверы, от «Руссо матроссо» довольно-таки известного Захара Мая до вышеупомянутой «О любви».
• Целый трибьют-альбом на творчество исполнителей группы 25/17 под названием «ВСПОМНИТЬ ВСЁ. Часть 4». Среди известных каверщиков отметились Anacondaz, Гарик Сукачёв и Аффинаж.
• The Beatles. Их «Yesterday» занесена в Книгу рекордов Гиннесса как самая каверимая… каверяемая…^[3] в общем, как песня, на которую сделано наибольшее количество каверов — на 2003 г. их было аж 2500. Да и в целом группу каверят все, кому не лень. Есть у них и множество трибьют-групп, из которых наиболее известны калифорнийцы The Fab Four. А Beatallica делают гибридные каверы, в разных пропорциях смешивая песни «Битлз» и «Металлики». При этом у самих Битлов в ранних альбомов было полно каверов на других исполнителей.
  • По данным базы WhoSampled, в которую вносятся все изданные каверы, на 2020 г. каверов на The Beatles насчитывается более 10 000 — больше, чем на любого из других исполнителей. На втором месте из исполнителей Фрэнк Синатра с результатом в 1700 каверов — в 6 (!) раз меньше^[4].
• Rammstein — каверят чужие песни не очень охотно. В их репертуаре можно найти перепевки «Das Modell» Kraftwerk, «Stripped» Depeche Mode, «Pet Sematary» Ramones (переигранную, кстати, в аутентичном панковском стиле без элементов индастриала).
  • Тиль Линдеманн — каверил «Любимый город» композитора Никиты Богословского на стихи поэта Евгения Долматовского. Кавер скорее всего на версию Марка Бернеса.
  • А еще на концертах светились «Песня о тревожной молодости» Льва Ошанина.
• Sabaton — в 2019 г. русскоязычный кавер RADIO TAPOK на «Attack of the Dead Men» вышел на день РАНЬШЕ оригинального альбома.
  • Сами они тоже каверометания не стесняются; в частности, перепели вышеупомянутую «In The Army Now». С их-то фирменной тематикой, да с брутальным рыком вокалиста — сочетается идеально.
  • А в 2021 Тапок сам получил кавер на свою песню в стиле группы.
• «L’estaca» с версиями на многих языках.

Примечания[править]