Sometimes, however, the formula contains just the right secret ingredient to turn that rule on its head. , turned into a sick breakdown with screamed vocals, albeit a short one. Check out 12 of Billboard’s favorite punk rock Christmas songs below. In fact, the song’s escalating groove threatens to hit the sonic stratosphere by the time Feldy hits the Germanic climax, leaving the band no choice but to use its smoothed out ska skills to mirror Nena’s contemplative ending. Some stronger instrumentals would’ve elevated the Maine’s cover of “Girls Just Wanna Have Fun” from good to great. The Punk Goes Pop series had already strayed from its first titular genre when the third volume was released in 2010. State Champs stayed true to the original in many ways, adding their own sound in all the right places. U2’s “Hold Me, Thrill Me, Kiss Me, Kill Me” scored a hit single and a memorable MTV video and Seal’s “Kiss From A Rose” hit No. Of course, covering a song by the King of Pop, and replicating that signature soulful groove, is hard to do, which might be why the song feels a little underwhelming. Cute Is What We Aim For conveyed the feeling of having been traveling on the same road for too long by slowing down the tempo, dropping the key and adding acoustic guitar to this dark T.I. Longview - Green Day 4. Then there have been some song selections and stylistic choices that have left us scratching our heads. ’s. A Skylit Drive struck a nice balance between screaming and clean vocals in their cover of Eminem’s “Love The Way You Lie.” Some of the notes, however, along with the change in rhythm, make the verses of this serious and emotional song feel a little too bright. They made the sound brighter, the chorus punchier and the guitar work tighter, all while holding on to the raw passion in the original. [Photos by: Andy Black/Josh Shultz, Tonight Alive, The Ready Set, New Years Day, The Cab] Fearless Records’ famous Punk Goes… franchise has certainly come a long way since its first installment in 2000. Ultimately, WCAR’s cover sounded a little too much like the original to be a standout Punk Goes… song. We also self-imposed a rule of only including one cover per band, just to keep this from being unequally overrun by prolific punk cover pros like the Ramones, Dropkick Murphys, MxPx and Me First and the Gimme Gimmes. The Ramones, “California Sun” It’s easy to see why the cover works so well in so many contexts: hearing such an iconic song filtered through such an iconic voice offers its own immediate accessibility, but having the extra gravitas of it being posthumously released adds an extra layer of celebratory remembrance to the whole experience. The blasting horns jettison the cheesy 90s Disney pap and transform this song into what should be a damn well-known pop punk cover. You can certainly try to listen and do your best to not sing along, but resistance is futile when the Mad Caddies meet mid-‘70s disco. “Apologize” – Silverstein (originally by OneRepublic) For example, their five-track EP The Holiday Has Been Cancelled contains elements of wah-wah horn lounge rock, ska-tinged hardcore, twangy alt-country cowpunk and an ABBA cover. In 2012, Patrick Moxey, president of the Ultra dance music label, discovered the song. And if you want to listen to the songs in question, I’ve done a lot of the work for you; just click on the YouTube link at the bottom of each song description. With its roots stretching as far back as a 1902 Broadway musical, Dropkick Murphys’ interpolation of “Tessie” earns the distinction of being the oldest original on this punk covers list (although it’s certainly not the oldest original in the Celtic punk band’s catalog of covers that’s rich with Irish folk traditionals). Sometimes, changing up the entire feel of a song—tempo and key included—totally works. Writing and performing the perfect cover song is a challenge. This song was ahead of its time. The Slits, “I Heard It Through The Grapevine”. Despite being composed of mostly screaming, the sung choruses make the song feel just as danceable. While The Doors aren’t exactly typical punk cover fodder, the fact that Doors’ keyboardist Ray Manzarek produced_ Los Angeles_ makes that choice a little more understandable. track. Over the years, there have been some serious masterpieces. Much like The Clash’s “I Fought The Law,” Social Distortion’s fiery cover of Johnny Cash’s “Ring of Fire” is emblematic of the perfect fusion between right band, right cover and right time. The misses, the hits and everything in between. However, Memphis May Fire did add an acceptable amount of screaming—and a brilliantly crafted breakdown—to make this more than just your average Punk Goes Pop cover. Basket Case - Green Day 2. ), but its soundtrack introduced a new generation to The Damned via The Offspring, so it’s a win overall. One of the more clever tributes of 2009 was Purplish Rain, a tribute album compiled by Spin magazine that featured track-by-track Purple Rain covers in the album’s original running order. 24. Their cover of the Beatles Dear Prudence is also excellent. However, as the bands who’ve made numerous appearances in the Punk Goes Pop series know, nailing a cross-genre cover is an art all its own. 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