10 must-hear Velvet Underground covers that deserve more love

How about this: What leads a devoted Velvet Underground admirer to scrutinize numerous renditions of the legendary band’s tunes, ultimately selecting ten that stand out as particularly intriguing? I owe it to one of my coworkers at Audiophix for inspiring me.

Recently, he shared a video featuring the Cowboy Junkies’ rendition of “Sweet Jane,” originally by The Velvet Underground. This cover is impressive, and even Lou Reed, who was notoriously critical, praised it. Generally speaking, Lou Reed disapproved of most things, so this is quite significant.

Thinking about it, I realized there have to be other bands like The Velvet Underground. This group, one of the pioneers from the early rock era, still inspires new generations of musicians even half a century after they disbanded.

Ten iconic covers of the Velvet Underground by artists you may not know

During Reed’s leadership, they put out four studio albums. One more album came out after he left, and various collections of lesser-known tracks were published later on. Despite being a productive songwriter, this is a relatively modest discography for such an influential band. However, I found that over 350 cover versions of Velvet Underground songs have been released since the 1970s.

A majority of the covers featured were tracks from their initial release, “The Velvet Underground & Nico” (1967). Over twenty interpretations exist for four songs off that album – “Venus in Furs,” “Femme Fatale,” “Sunday Morning,” and “All Tomorrow’s Parties” – demonstrating their enduring popularity.

The song ‘Venus in Furs,’ often seen as a tribute to sadomasochism, is the most frequently covered track from The Velvet Underground, with over 33 artists having recorded it.”

More than 33 different musicians have made their own versions of the song ‘Venus in Furs,’ which is known for its themes of sadomasochism. This makes it the most popular Velvet Underground tune to cover.

Leaving Cowboy Junkies’ interpretation of “Sweet Jane” aside, let’s explore ten less common but fantastic cover versions of Lou Reed and the Velvet Underground’s songs. I’m particularly interested in tracks that deviate from the usual choices. While Beck has covered many VU songs impressively, he won’t be featured on this list.

Instead of focusing on Cowboy Junkies’ version of “Sweet Jane,” let’s look at ten lesser-known yet impressive covers of Lou Reed and the Velvet Underground’s songs. I’m seeking tracks that aren’t often chosen, as Beck has already tackled many VU songs.

I’m simply seeking out items with a unique twist, as The Velvet Underground certainly stood apart from the rest.

“Waiting for the Man” by Bauhaus with Nico (1982)

I won’t feature any covers done by members of Velvet Underground (primarily Lou Reed and John Cale) during their individual careers post-Velvet. However, there’s a slight exception: Nico, the German beauty who joined the Velvets at Andy Warhol’s request to add some allure in their early years, didn’t quite gel artistically with Reed.

He fired her after the famous first album, on which she had sung three of the songs.

Instead of “Waiting for the Man,” one of Reed’s early long narrative songs, she didn’t perform it. This song portrays a “white boy” venturing uptown to procure drugs in the underworld of New York City. In the early ’80s, Goth rock band Bauhaus played this song live with Nico at Fagin’s nightclub in Manchester, delivering an energetic yet disheveled performance alongside Nico and Bauhaus lead vocalist Peter Murphy. Each sang their parts independently, at varying speeds, creating a captivating harmony.

“Sweet Jane” by the Jim Carroll Band (1983)

Instead of the Cowboy Junkies’ slower rendition from the fourth Velvet album “Loaded,” Margo Timmins’ powerful vocals take center stage with their tempo adjustment. Conversely, in their last studio album, Jim Carroll’s band offers a faster, minimalist version, featuring a standout guitar solo as its only embellishment in the middle.

In my perspective as a passionate admirer, Carroll could easily go toe-to-toe with Reed when it comes to their shared wealth of experience as rock singers. Just like Reed, he embodies the role of a writer in its purest form, and much like him, his understanding of the subject matter is profound. It’s not a revolutionary observation, but it certainly underscores the exceptional closeness between these two remarkable artists.

“Sunday Morning” by Strawberry Switchblade (1984)

In the ’80s, Rose McDowall and Jill Bryson, a Scottish duo, shone brilliantly but briefly. Their significant hit “Since Yesterday” came in 1984, followed by several catchy pop songs. Despite their talent, they never managed to expand beyond a devoted cult following. They officially parted ways in 1986.

The group was ideally equipped to execute the opening track from the Velvets’ debut album, one of Reed’s most melodious compositions. Their ethereal, reverberant vocals, accompanied by minimal instrumentation, evoke Sunday mornings just as effectively, if not more so, than the original version.

“Venus in Furs” by Melvins (1991)

Distancing themselves significantly from the pop-infused Strawberry Switchblade, pioneering Seattle grunge band Melvins offer a unique interpretation of “Venus in Furs.” This track was part of a shared single with Nirvana, whom Melvins greatly influenced. The A-side showcases a grungy, sweet rendition of “Here She Comes Now,” originally from the Velvet Underground’s second album by Nirvana.

Next comes Melvins’ performance, where they tear apart “Venus in Furs” with intensity. Following a deep, prolonged chord and eerie bass that mirrors the song’s introduction, Buzz Osborne commences singing, “Shiny, shiny, shiny boots of leather…” with passion.

Before he finishes his thought, the song suddenly transforms into a chaotic avant-garde soundscape that persists for the next 90 seconds. The melody bears no resemblance to the original VU song, yet it masterfully conveys the sense of disorder and loss of control hinted at in Reed’s lyrics.

“Black Angel’s Death Song” by Bettie Serveert (1998)

The unique blend of Cale playing his viola wildly and Reed reciting nearly incomprehensible poetry made this song significant for early fans of The Velvet Underground. If you could connect with its emotion despite not fully understanding its meaning, then you were in tune with the Velvet Underground’s essence.

This particular tune isn’t simple to perform, as there aren’t many covers out there that I’m aware of. Fontaines D.C. delivers an exceptional rendition from the Velvet Underground tribute album – “I’ll Be Your Mirror” released in 2021. Back in 1998, the Dutch band Bettie Serveert put out a live album featuring songs by Lou Reed and The Velvet Underground.

Carol van Dijk’s straight-faced performance is ideal for many Velvet songs, and this one might be their best. They manage to convey that feeling of disorder but with a certain level of restraint compared to the original version. And just as expected, everything falls apart in the last minute, much like it does in the original.

“Sister Ray” by the Skunks (2001)

Among the Velvet Underground’s most renowned tracks is ‘Sister Ray.’ Clocking in at over 18 minutes, this song with its distorted sound is said to have driven the recording engineer to quit. It tells a vivid story involving transvestites, drugs, and murder, but what stands out is an unusual sense of calmness amidst the turmoil.

In the late ’70s, a hard-rocking trio from Austin, known as The Skunks, recorded a shorter version of their music, but it wasn’t officially released until their album “Earthquake Shake” was published in 2001. On the second half of this album, you’ll find live recordings that truly represent the band’s unbridled energy. Their seven-minute rendition of “Sister Ray” strips away some of the Velvets’ grandeur but keeps the original’s raw power intact.

“All Tomorrow’s Parties” by Siouxsie and the Banshees (2004)

It is possible that this song by the Velvet Underground is their finest recording. Without a doubt, Nico’s performance on this track from their debut album stands as her greatest accomplishment. The rendition Siouxsie performed in 1991 for KROQ’s acoustic Christmas concert was later included in the band’s compilation of rare tracks and B-sides titled “Downside Up“, which was released in 2004.

Neither performer has fully replicated the chilling Gothic essence of John Cale’s electric viola from the original, but The Banshees come remarkably close. Additionally, Siouxsie demonstrates a higher level of vocal prowess compared to Nico, enabling her to convey that strange, otherworldly quality with a more melodious timbre.

Or:

The eerie Gothicism of John Cale’s electric viola in the original has never truly been re-created by anyone else, but The Banshees come very close. Furthermore, Siouxsie is a far more skilled singer than Nico, which allows her to express that peculiar, ethereal quality with a sweeter sound.

“Run Run Run” by Hunt Sales Memorial (2010)

Instead of “Run Run Run” being considered one of The Velvet Underground’s greatest hits, it’s a lighter, upbeat tune with a catchy beat and largely meaningless words. While enjoyable, it doesn’t carry the depth or emotional impact of their more significant works.

Instead, Hunt Sales and his band paid homage to the Velvet Underground on the tribute album “American Velvet“. This record boasts several excellent tracks. Initially, I was inclined towards Jane Wiedlin’s rendition of “Foggy Notion” from this album, but ultimately chose a drummer who has been keeping the beat for over five decades with some of the most influential acts in rock music.

As the frontman of my band, I breathe new life into “Run Run Run,” infusing it with a soulful, bluesy vibe that sets it apart from its original version. Among the Velvet Underground’s covers, this one stands out as a clear improvement on the original.

“Pale Blue Eyes” by the Kills (2012)

Ever since the turn of the millennium, Alison Mosshart and Jamie Hince have been indie music’s beloved sweethearts. In 2012, when they dropped their single “The Last Goodbye,” they opted to include one of Reed’s most evocative love songs as its B-side – a move that truly showcased their affinity for timeless tunes.

The Kills add a rough edge to Reed’s softer original, with Hince’s guitar and Mosshart’s vocals contributing significantly. This works particularly well for a song that might otherwise lean too much towards being overly delicate. In the second half, the music becomes increasingly raw and boisterous, which one might expect not to work. However, it surprisingly does.

“Jesus” by Glen Campbell (2021)

Three years after Glen Campbell’s demise, a live recording of his 2008 performance at the Troubadour in West Hollywood was unveiled. Among two of his most popular songs, “Galveston” and “Gentle on My Mind”, Campbell surprised everyone by performing a Lou Reed song. Introducing the tune, he had to ask his band who originally performed it.

Later on, he offers a heartfelt rendition of one of Reed’s most profound songs. Reed, being a lapsed Jew and an atheist, had written this song with deep questioning in mind. At that stage in his life, Campbell was deeply religious, but he understood the questions Reed was asking through the lyrics. And he performs it sincerely and straightforwardly.

In simpler terms, Melvin’s passionate song about BDSM and Campbell’s heartfelt prayer to their savior have given rise to various interpretations of The Velvet Underground. It seems this trend will carry on, persisting for some time.

2025-07-03 13:01