Skip to content
1981

The Cover–Version Spectrum: Reframing the Relationship between Imitation and Transformation in Pop-Punk Cover-Versions

image of The Cover–Version Spectrum: Reframing the Relationship between Imitation and Transformation in Pop-Punk Cover-Versions

‘Covering’ recorded tracks is a central aspect of popular music. Despite many examples, related discourse is limited and includes problematic application of dichotomizing terminology (‘cover’, ‘version’) that can cause obstacles for interpreting the genre and diminish the nuanced approaches taken by artists who produce cover-versions. Examining the Punk Goes… series reveals many examples that go beyond the dichotomy generally presented in musicology. As such, this chapter has three main aims: develop a new framework to investigate the ways in which Punk Goes… tracks innovatively move between the poles of cover and version; explore the connection between imitation and transformation to the ascription of cover and version; and move beyond prior scholarship that emphasizes formal elements and composer intention. Analyses challenge assumptions that equate musical phrases with fixed musical meanings, suggesting instead that the semiotic-framed interpreted manner of performance is more significant than syntactical concerns.

Keywords: Covers ; Gesture ; Musical Meaning ; Performance Analysis ; Pop-Punk ; Semiotics

Loading full text...

Full text loading...

/content/books/9781835951033.c12
Loading

Data & Media loading...

References

  1. A Day to Remember (2008), ‘Since U Been Gone’, For Those Who Have Heart, CD, USA: Victory Records.
    [Google Scholar]
  2. A Day to Remember (2009), ‘Over My Head (Cable Car)’, Punk Goes Pop, vol. 2, CD, USA: Hopeless Records.
    [Google Scholar]
  3. A Day to Remember (2013), ‘City of Ocala’, Common Courtesy, CD, USA: ADTR.
    [Google Scholar]
  4. Ableson, J. (2009), ‘Interview: A day to remember’, Alter The Press, 22 February, http://www.alterthepress.com/2009/02/interview-day-to-remember-220209.html. Accessed 30 April 2015 .
  5. Allstar Weekend (2011), ‘Yeah 3X’, Punk Goes Pop, Vol. 4, CD, USA: Hopeless Records.
    [Google Scholar]
  6. All Time Low (2007a), ‘Let It Roll’, So Wrong, It's Right, CD, USA: Hopeless Records.
    [Google Scholar]
  7. All Time Low (2007b), ‘Dear Maria, Count Me In’, So Wrong, It's Right, CD, USA: Hopeless Records.
    [Google Scholar]
  8. All Time Low (2008), ‘Umbrella’, Punk Goes Crunk, CD, USA: Hopeless Records.
    [Google Scholar]
  9. All Time Low (2009), ‘Hello Brooklyn’, Nothing Personal, CD, USA: Hopeless Records.
    [Google Scholar]
  10. August Burns Red (2009), ‘Baby, One More Time’, Punk Goes Pop, Vol. 2, CD, USA: Hopeless Records.
    [Google Scholar]
  11. Bielefeldt, Christian and Pendzich, Marc (2011), ‘Spot checks of pop history: The cover recordings of “Stand by Me” and “Tainted Love”’, Song and Popular Culture, 56:1, pp. 97111.
    [Google Scholar]
  12. Butler, Mark (2003), ‘Taking it seriously: Intertextuality and authenticity in two covers by the Pet Shop Boys’, Popular Music, 22:1, pp. 119.
    [Google Scholar]
  13. Clarke, Eric (2005), Ways of Listening: An Ecological Approach to the Perception of Musical Meaning, New York: Oxford University Press.
    [Google Scholar]
  14. Clarkson, Kelly (2004), ‘Since U Been Gone’, Breakaway, CD, USA: RCA.
    [Google Scholar]
  15. Covach, John (2006), What's That Sound: An Introduction to Rock and Its History, London: W.W. Norton.
    [Google Scholar]
  16. Cumming, Naomi (2001), The Sonic Self: Musical Subjectivity and Signification (Advances in Semiotics), Bloomington, IN: Indiana University Press.
    [Google Scholar]
  17. Derulo, Jason (2009), ‘In My Head’, Jason Derulo, CD, USA: Warner Bros.
    [Google Scholar]
  18. Earth Wind and Fire (1975), ‘Shining Star’, That's the Way of the World, vinyl album, USA: CBS.216
    [Google Scholar]
  19. Fornäs, Johan (1995), ‘The future of rock: Discourses that struggle to define a genre’, Popular Music, 14:1, pp. 11125.
    [Google Scholar]
  20. Four Year Strong (2008), ‘Heroes Get Remembered, Legends Never Die’, Rise or Die Trying, CD, USA: Decaydance.
    [Google Scholar]
  21. Fox, Kathryn Joan (1987), ‘Real punks and pretenders: The social organization of a counterculture’, Journal of Contemporary Ethnography, 16:3, pp. 34470.
    [Google Scholar]
  22. Further Seems Forever (2009), ‘Toxic’, Punk Goes Pop, Vol. 2, CD, USA: Hopeless Records.
    [Google Scholar]
  23. Grande, Ariana (2014), ‘Problem’, My Everything, CD, USA: Republic.
    [Google Scholar]
  24. Hannerz, Erik (2015), Performing Punk, New York: Palgrave Macmillan.
    [Google Scholar]
  25. Hebdige, Dick (1979), Subculture: The Meaning of Style, London: Routledge.
    [Google Scholar]
  26. Henne, B. (2014), ‘We Came as Romans cover Swift's “Trouble”’, Metal Hammer, 15 October, https://www.loudersound.com/news/we-came-as-romans-cover-swift-s-trouble. Accessed 1 May 2015 .
  27. Hodge, Will (2017) ‘The 30 best punk cover songs’, Paste Magazine, 10 July, https://www.pastemagazine.com/music/best-songs/the-30-best-punk-cover-songs/. Accessed 11 June 2021 .
    [Google Scholar]
  28. Hot Rod Circuit (2008), ‘Gin and Juice’, Punk Goes Crunk, CD, USA: Hopeless Records.
    [Google Scholar]
  29. Issues (2012), ‘Boyfriend’, Punk Goes Pop, Vol. 5, CD, USA: Hopeless Records.
    [Google Scholar]
  30. Jett, Joan (1980), ‘Bad Reputation’, Bad Reputation, vinyl album, USA: Boardwalk Recordings.
    [Google Scholar]
  31. Kivy, Peter (1995), Authenticities: Philosophical Reflections on Musical Performance, Ithaca, NY: Cornell University Press.
    [Google Scholar]
  32. Knuckle Puck (2014), ‘Chocolate’, Punk Goes Pop, Vol. 6, CD, USA: Hopeless Records.
    [Google Scholar]
  33. Laing, Dave (1978), ‘Interpreting punk rock’, Marxism Today, 22:4, pp. 12328.
    [Google Scholar]
  34. Laing, Dave (2005), ‘Listening to punk’, in K. Gelder and S. Thornton (eds), The Subcultures Reader, 2nd ed., London: Routledge, pp. 44859.
    [Google Scholar]
  35. Levinson, Jerrold (2015), Musical Concerns: Essays in the Philosophy of Music, London: Oxford University Press.
    [Google Scholar]
  36. Lorde (2013), ‘Royals’, Pure Heroine, CD, USA: Republic.
    [Google Scholar]
  37. Lorene Drive (2008), ‘Hey Ya’, Punk Goes Crunk, CD, USA: Fearless Records.
    [Google Scholar]
  38. Mayday Parade (2010), ‘In My Head’, Punk Goes Pop, Vol. 3, CD, USA: Fearless Records.
    [Google Scholar]
  39. Memphis May Fire (2014), ‘Interstate Love Song’, Punk Goes … 90s, Vol. 2, CD, USA: Fearless Records.
    [Google Scholar]
  40. M.I.A. (2007), ‘Paper Planes’, Kala, CD, USA: Interscope.
    [Google Scholar]
  41. Miller, Remi (2010), ‘Artist intentions: A case for quality covers’, in G. Plasketes (ed.), Play It Again Sam: Cover Songs in Popular Music, Farnham, NY: Ashgate Publishing, pp. 23139.
    [Google Scholar]
  42. Moore, Allan (2001), ‘Categorical conventions in music discourse: Style and genre’, Music & Letters, 82:3, pp. 43242.
    [Google Scholar]
  43. Moore, Allan (2013), Song Means: Analysing and Interpreting Recorded Popular Song, Farnham, NY: Ashgate Publishing.
    [Google Scholar]
  44. Neely, Adam (2020), ‘Why are there so few rap cover songs?’, YouTube, 22 September, https://www.youtube.com/watch?v=D_mh1Rq35ZM. Accessed 11 June 2021 .
  45. Perry, Katy (2010), ‘Last Friday Night (T.G.I.F.)’, Teenage Dream, CD, USA: Capitol.
    [Google Scholar]
  46. Pierce the Veil (2011), ‘Just the Way You Are’, Punk Goes Pop, Vol. 4, CD, USA: Fearless Records.
    [Google Scholar]
  47. Plasketes, George (ed.) (2010), Play It Again Sam: Cover Songs in Popular Music, Farnham, NY: Ashgate Publishing.
    [Google Scholar]
  48. Prato, Paulo (2007), ‘Selling Italy by the sound: Cross-cultural interchanges through cover records’, Popular Music, 26:3, pp. 44162.
    [Google Scholar]
  49. Reising, Russell (2010), ‘Covering and (Un)covering the truth with “All Along The Watchtower”: From Dylan to Hendrix and Beyond’, in G. Plasketes (ed.), Play It Again Sam: Cover Songs in Popular Music, Farnham, NY: Ashgate Publishing, pp. 15375.
    [Google Scholar]
  50. Rihanna (2007), ‘Umbrella’, Good Girl Gone Bad, CD, USA: Def Jam.
    [Google Scholar]
  51. Robinson, Thomas (2014), ‘The singer and the song: Core components in Jimmy Webb's “Didn't We”’, Popular Music, 33:2, pp. 31536.
    [Google Scholar]
  52. Roche, Leigh (2012), ‘Authenticity: Keeping it real and then some’, Philosophy Now, 8 October, https://philosophynow.org/issues/92/Authenticity_Keeping_It_Real_And_Then_Some. Accessed 17 March 2015 .
    [Google Scholar]
  53. Say Anything (2008), ‘Got Your Money’, Punk Goes Crunk, CD, USA: Fearless Records.
    [Google Scholar]
  54. Schiffer, Sheldon (2010), ‘The cover song as historiography: Marker of ideological transformation’, in G. Plasketes (ed.), Play It Again Sam: Cover Songs in Popular Music, Farnham, NY: Ashgate Publishing, pp. 7797.
    [Google Scholar]
  55. Set It Off (2014), ‘Problem’, Punk Goes Pop, Vol. 6, CD, USA: Fearless Records.
    [Google Scholar]
  56. Shelter, Scott (2011), ‘All Time Low discuss Dirty Work album, covering Rihanna & dressing like Gaga’, Pop Crush, 1 December, http://popcrush.com/all-time-low-dirty-work-album-covering-rihanna-dressing-gaga. Accessed 28 August 2016 .
    [Google Scholar]
  57. Smashing Pumpkins (1993), ‘Today’, Siamese Dream, CD, USA: Virgin.
    [Google Scholar]
  58. Swift, Taylor (2012), ‘I Knew You Were Trouble’, Red, CD, USA: Big Machine.
    [Google Scholar]
  59. Tate, J. (2008), ‘Absolute punk: Interview with A Day to Remember’, Absolute Punk, 2 August, https://chorus.fm/news/jeremy-mckinnon-of-a-day-to-remember-2/. Accessed 30 April 2015 .217
    [Google Scholar]
  60. Taylor, Timothy (1997), Global Pop: World Music, World Markets, New York: Routledge.
    [Google Scholar]
  61. The 1975 (2013), ‘Chocolate’, The 1975, CD, USA: Interscope.
    [Google Scholar]
  62. The Clash (1977), ‘I Fought the Law’, The Clash, vinyl album, USA: CBS.
    [Google Scholar]
  63. The Monkees (1967), ‘I'm a Believer’, More of the Monkees, vinyl album, USA: RCA.
    [Google Scholar]
  64. The Stranglers (1978), ‘Walk On By’, Black and White, vinyl album, USA: United Artists.
    [Google Scholar]
  65. The Wonder Years (2011), ‘Summers in PA’, Suburbia, I've Given You All and Now I'm Nothing, CD, USA: Hopeless Records.
    [Google Scholar]
  66. This Century (2010), ‘Paper Planes’, Punk Goes Pop, Vol. 3, CD, USA: Fearless Records.
    [Google Scholar]
  67. Various Artists (2000), Punk Goes Metal, CD, USA: Fearless Records.
    [Google Scholar]
  68. Various Artists (2002), Punk Goes Pop, CD, USA: Fearless Records.
    [Google Scholar]
  69. Various Artists (2006), Punk Goes 90s, CD, USA: Fearless Records.
    [Google Scholar]
  70. Various Artists (2008), Punk Goes Crunk, CD, USA: Fearless Records.
    [Google Scholar]
  71. Various Artists (2009), Punk Goes Pop, Vol. 2, CD, USA: Fearless Records.
    [Google Scholar]
  72. Various Artists (2010), Punk Goes Pop, Vol. 3, CD, USA: Fearless Records.
    [Google Scholar]
  73. Various Artists (2011), Punk Goes Pop, Vol. 4, CD, USA: Fearless Records.
    [Google Scholar]
  74. Various Artists (2012), Punk Goes Pop, Vol. 5, CD, USA: Fearless Records.
    [Google Scholar]
  75. Various Artists (2014a), Punk Goes 90s, Vol. 2, CD, USA: Fearless Records.
    [Google Scholar]
  76. Various Artists (2014b), Punk Goes Pop, Vol. 6, CD, USA: Fearless Records.
    [Google Scholar]
  77. Vicious, Sid (1978), ‘My Way’, The Great Rock ‘n’ Roll Swindle, vinyl album, USA: Virgin.
    [Google Scholar]
  78. Walser, Robert (1993), Running with the Devil: Power, Gender and Madness in Heavy Metal Music, Middletown, CT: Wesleyan University Press.
    [Google Scholar]
  79. We Came as Romans (2012), ‘Glad You Came’, Punk Goes Pop, Vol. 5, CD, USA: Fearless Records.
    [Google Scholar]
  80. We Came as Romans (2014), ‘I Knew You Were Trouble’, Punk Goes Pop, Vol. 6, CD, USA: Fearless Records.
    [Google Scholar]
  81. Weinstein, Deena (1998), ‘The history of rock's pasts through rock covers’, in T. Swiss , J. Sloop and A. Herman (eds), Mapping the Beat, Oxford: Blackwell, pp. 13751.
    [Google Scholar]
  82. Weinstein, Deena (2010), ‘Appreciating cover songs: Stereophony’, in G. Plasketes (ed.), Play It Again Sam: Cover Songs in Popular Music, Farnham, NY: Ashgate Publishing, pp. 24151.
    [Google Scholar]
  83. Williams, Justin (2011), ‘Historicizing the breakbeat: Hip-hop's origins and authenticity’, Song and Popular Culture, 56:1, pp. 13367.
    [Google Scholar]
  84. Witmer, Robert and Marks, Anthony (2001), ‘Cover [Cover version, cover record]’, Grove Music Online, 20 January, http://www.oxfordmusiconline.com/subscriber/article/grove/music/49254. Accessed 5 October 2016 .
    [Google Scholar]
  85. Woe, Is Me (2011), ‘Last Friday Night (T.G.I.F.)’, Punk Goes Pop, Vol. 4, CD, USA: Fearless Records.
    [Google Scholar]
  86. Yano, Christine R. (2010), ‘Cover up: Emerging authenticity in a Japanese popular music genre’, in G. Plasketes (ed.), Play It Again Sam: Cover Songs in Popular Music, Farnham, NY: Ashgate Publishing, pp. 99107.
    [Google Scholar]
  87. Yellowcard (2014), ‘Today’, Punk Goes 90s, Vol. 2, CD, USA: Fearless Records.
    [Google Scholar]
  88. Youth in Revolt (2014), ‘Royals’, Punk Goes Pop, Vol. 6, CD, USA: Fearless Records.
    [Google Scholar]

References

  1. A Day to Remember (2008), ‘Since U Been Gone’, For Those Who Have Heart, CD, USA: Victory Records.
    [Google Scholar]
  2. A Day to Remember (2009), ‘Over My Head (Cable Car)’, Punk Goes Pop, vol. 2, CD, USA: Hopeless Records.
    [Google Scholar]
  3. A Day to Remember (2013), ‘City of Ocala’, Common Courtesy, CD, USA: ADTR.
    [Google Scholar]
  4. Ableson, J. (2009), ‘Interview: A day to remember’, Alter The Press, 22 February, http://www.alterthepress.com/2009/02/interview-day-to-remember-220209.html. Accessed 30 April 2015 .
  5. Allstar Weekend (2011), ‘Yeah 3X’, Punk Goes Pop, Vol. 4, CD, USA: Hopeless Records.
    [Google Scholar]
  6. All Time Low (2007a), ‘Let It Roll’, So Wrong, It's Right, CD, USA: Hopeless Records.
    [Google Scholar]
  7. All Time Low (2007b), ‘Dear Maria, Count Me In’, So Wrong, It's Right, CD, USA: Hopeless Records.
    [Google Scholar]
  8. All Time Low (2008), ‘Umbrella’, Punk Goes Crunk, CD, USA: Hopeless Records.
    [Google Scholar]
  9. All Time Low (2009), ‘Hello Brooklyn’, Nothing Personal, CD, USA: Hopeless Records.
    [Google Scholar]
  10. August Burns Red (2009), ‘Baby, One More Time’, Punk Goes Pop, Vol. 2, CD, USA: Hopeless Records.
    [Google Scholar]
  11. Bielefeldt, Christian and Pendzich, Marc (2011), ‘Spot checks of pop history: The cover recordings of “Stand by Me” and “Tainted Love”’, Song and Popular Culture, 56:1, pp. 97111.
    [Google Scholar]
  12. Butler, Mark (2003), ‘Taking it seriously: Intertextuality and authenticity in two covers by the Pet Shop Boys’, Popular Music, 22:1, pp. 119.
    [Google Scholar]
  13. Clarke, Eric (2005), Ways of Listening: An Ecological Approach to the Perception of Musical Meaning, New York: Oxford University Press.
    [Google Scholar]
  14. Clarkson, Kelly (2004), ‘Since U Been Gone’, Breakaway, CD, USA: RCA.
    [Google Scholar]
  15. Covach, John (2006), What's That Sound: An Introduction to Rock and Its History, London: W.W. Norton.
    [Google Scholar]
  16. Cumming, Naomi (2001), The Sonic Self: Musical Subjectivity and Signification (Advances in Semiotics), Bloomington, IN: Indiana University Press.
    [Google Scholar]
  17. Derulo, Jason (2009), ‘In My Head’, Jason Derulo, CD, USA: Warner Bros.
    [Google Scholar]
  18. Earth Wind and Fire (1975), ‘Shining Star’, That's the Way of the World, vinyl album, USA: CBS.216
    [Google Scholar]
  19. Fornäs, Johan (1995), ‘The future of rock: Discourses that struggle to define a genre’, Popular Music, 14:1, pp. 11125.
    [Google Scholar]
  20. Four Year Strong (2008), ‘Heroes Get Remembered, Legends Never Die’, Rise or Die Trying, CD, USA: Decaydance.
    [Google Scholar]
  21. Fox, Kathryn Joan (1987), ‘Real punks and pretenders: The social organization of a counterculture’, Journal of Contemporary Ethnography, 16:3, pp. 34470.
    [Google Scholar]
  22. Further Seems Forever (2009), ‘Toxic’, Punk Goes Pop, Vol. 2, CD, USA: Hopeless Records.
    [Google Scholar]
  23. Grande, Ariana (2014), ‘Problem’, My Everything, CD, USA: Republic.
    [Google Scholar]
  24. Hannerz, Erik (2015), Performing Punk, New York: Palgrave Macmillan.
    [Google Scholar]
  25. Hebdige, Dick (1979), Subculture: The Meaning of Style, London: Routledge.
    [Google Scholar]
  26. Henne, B. (2014), ‘We Came as Romans cover Swift's “Trouble”’, Metal Hammer, 15 October, https://www.loudersound.com/news/we-came-as-romans-cover-swift-s-trouble. Accessed 1 May 2015 .
  27. Hodge, Will (2017) ‘The 30 best punk cover songs’, Paste Magazine, 10 July, https://www.pastemagazine.com/music/best-songs/the-30-best-punk-cover-songs/. Accessed 11 June 2021 .
    [Google Scholar]
  28. Hot Rod Circuit (2008), ‘Gin and Juice’, Punk Goes Crunk, CD, USA: Hopeless Records.
    [Google Scholar]
  29. Issues (2012), ‘Boyfriend’, Punk Goes Pop, Vol. 5, CD, USA: Hopeless Records.
    [Google Scholar]
  30. Jett, Joan (1980), ‘Bad Reputation’, Bad Reputation, vinyl album, USA: Boardwalk Recordings.
    [Google Scholar]
  31. Kivy, Peter (1995), Authenticities: Philosophical Reflections on Musical Performance, Ithaca, NY: Cornell University Press.
    [Google Scholar]
  32. Knuckle Puck (2014), ‘Chocolate’, Punk Goes Pop, Vol. 6, CD, USA: Hopeless Records.
    [Google Scholar]
  33. Laing, Dave (1978), ‘Interpreting punk rock’, Marxism Today, 22:4, pp. 12328.
    [Google Scholar]
  34. Laing, Dave (2005), ‘Listening to punk’, in K. Gelder and S. Thornton (eds), The Subcultures Reader, 2nd ed., London: Routledge, pp. 44859.
    [Google Scholar]
  35. Levinson, Jerrold (2015), Musical Concerns: Essays in the Philosophy of Music, London: Oxford University Press.
    [Google Scholar]
  36. Lorde (2013), ‘Royals’, Pure Heroine, CD, USA: Republic.
    [Google Scholar]
  37. Lorene Drive (2008), ‘Hey Ya’, Punk Goes Crunk, CD, USA: Fearless Records.
    [Google Scholar]
  38. Mayday Parade (2010), ‘In My Head’, Punk Goes Pop, Vol. 3, CD, USA: Fearless Records.
    [Google Scholar]
  39. Memphis May Fire (2014), ‘Interstate Love Song’, Punk Goes … 90s, Vol. 2, CD, USA: Fearless Records.
    [Google Scholar]
  40. M.I.A. (2007), ‘Paper Planes’, Kala, CD, USA: Interscope.
    [Google Scholar]
  41. Miller, Remi (2010), ‘Artist intentions: A case for quality covers’, in G. Plasketes (ed.), Play It Again Sam: Cover Songs in Popular Music, Farnham, NY: Ashgate Publishing, pp. 23139.
    [Google Scholar]
  42. Moore, Allan (2001), ‘Categorical conventions in music discourse: Style and genre’, Music & Letters, 82:3, pp. 43242.
    [Google Scholar]
  43. Moore, Allan (2013), Song Means: Analysing and Interpreting Recorded Popular Song, Farnham, NY: Ashgate Publishing.
    [Google Scholar]
  44. Neely, Adam (2020), ‘Why are there so few rap cover songs?’, YouTube, 22 September, https://www.youtube.com/watch?v=D_mh1Rq35ZM. Accessed 11 June 2021 .
  45. Perry, Katy (2010), ‘Last Friday Night (T.G.I.F.)’, Teenage Dream, CD, USA: Capitol.
    [Google Scholar]
  46. Pierce the Veil (2011), ‘Just the Way You Are’, Punk Goes Pop, Vol. 4, CD, USA: Fearless Records.
    [Google Scholar]
  47. Plasketes, George (ed.) (2010), Play It Again Sam: Cover Songs in Popular Music, Farnham, NY: Ashgate Publishing.
    [Google Scholar]
  48. Prato, Paulo (2007), ‘Selling Italy by the sound: Cross-cultural interchanges through cover records’, Popular Music, 26:3, pp. 44162.
    [Google Scholar]
  49. Reising, Russell (2010), ‘Covering and (Un)covering the truth with “All Along The Watchtower”: From Dylan to Hendrix and Beyond’, in G. Plasketes (ed.), Play It Again Sam: Cover Songs in Popular Music, Farnham, NY: Ashgate Publishing, pp. 15375.
    [Google Scholar]
  50. Rihanna (2007), ‘Umbrella’, Good Girl Gone Bad, CD, USA: Def Jam.
    [Google Scholar]
  51. Robinson, Thomas (2014), ‘The singer and the song: Core components in Jimmy Webb's “Didn't We”’, Popular Music, 33:2, pp. 31536.
    [Google Scholar]
  52. Roche, Leigh (2012), ‘Authenticity: Keeping it real and then some’, Philosophy Now, 8 October, https://philosophynow.org/issues/92/Authenticity_Keeping_It_Real_And_Then_Some. Accessed 17 March 2015 .
    [Google Scholar]
  53. Say Anything (2008), ‘Got Your Money’, Punk Goes Crunk, CD, USA: Fearless Records.
    [Google Scholar]
  54. Schiffer, Sheldon (2010), ‘The cover song as historiography: Marker of ideological transformation’, in G. Plasketes (ed.), Play It Again Sam: Cover Songs in Popular Music, Farnham, NY: Ashgate Publishing, pp. 7797.
    [Google Scholar]
  55. Set It Off (2014), ‘Problem’, Punk Goes Pop, Vol. 6, CD, USA: Fearless Records.
    [Google Scholar]
  56. Shelter, Scott (2011), ‘All Time Low discuss Dirty Work album, covering Rihanna & dressing like Gaga’, Pop Crush, 1 December, http://popcrush.com/all-time-low-dirty-work-album-covering-rihanna-dressing-gaga. Accessed 28 August 2016 .
    [Google Scholar]
  57. Smashing Pumpkins (1993), ‘Today’, Siamese Dream, CD, USA: Virgin.
    [Google Scholar]
  58. Swift, Taylor (2012), ‘I Knew You Were Trouble’, Red, CD, USA: Big Machine.
    [Google Scholar]
  59. Tate, J. (2008), ‘Absolute punk: Interview with A Day to Remember’, Absolute Punk, 2 August, https://chorus.fm/news/jeremy-mckinnon-of-a-day-to-remember-2/. Accessed 30 April 2015 .217
    [Google Scholar]
  60. Taylor, Timothy (1997), Global Pop: World Music, World Markets, New York: Routledge.
    [Google Scholar]
  61. The 1975 (2013), ‘Chocolate’, The 1975, CD, USA: Interscope.
    [Google Scholar]
  62. The Clash (1977), ‘I Fought the Law’, The Clash, vinyl album, USA: CBS.
    [Google Scholar]
  63. The Monkees (1967), ‘I'm a Believer’, More of the Monkees, vinyl album, USA: RCA.
    [Google Scholar]
  64. The Stranglers (1978), ‘Walk On By’, Black and White, vinyl album, USA: United Artists.
    [Google Scholar]
  65. The Wonder Years (2011), ‘Summers in PA’, Suburbia, I've Given You All and Now I'm Nothing, CD, USA: Hopeless Records.
    [Google Scholar]
  66. This Century (2010), ‘Paper Planes’, Punk Goes Pop, Vol. 3, CD, USA: Fearless Records.
    [Google Scholar]
  67. Various Artists (2000), Punk Goes Metal, CD, USA: Fearless Records.
    [Google Scholar]
  68. Various Artists (2002), Punk Goes Pop, CD, USA: Fearless Records.
    [Google Scholar]
  69. Various Artists (2006), Punk Goes 90s, CD, USA: Fearless Records.
    [Google Scholar]
  70. Various Artists (2008), Punk Goes Crunk, CD, USA: Fearless Records.
    [Google Scholar]
  71. Various Artists (2009), Punk Goes Pop, Vol. 2, CD, USA: Fearless Records.
    [Google Scholar]
  72. Various Artists (2010), Punk Goes Pop, Vol. 3, CD, USA: Fearless Records.
    [Google Scholar]
  73. Various Artists (2011), Punk Goes Pop, Vol. 4, CD, USA: Fearless Records.
    [Google Scholar]
  74. Various Artists (2012), Punk Goes Pop, Vol. 5, CD, USA: Fearless Records.
    [Google Scholar]
  75. Various Artists (2014a), Punk Goes 90s, Vol. 2, CD, USA: Fearless Records.
    [Google Scholar]
  76. Various Artists (2014b), Punk Goes Pop, Vol. 6, CD, USA: Fearless Records.
    [Google Scholar]
  77. Vicious, Sid (1978), ‘My Way’, The Great Rock ‘n’ Roll Swindle, vinyl album, USA: Virgin.
    [Google Scholar]
  78. Walser, Robert (1993), Running with the Devil: Power, Gender and Madness in Heavy Metal Music, Middletown, CT: Wesleyan University Press.
    [Google Scholar]
  79. We Came as Romans (2012), ‘Glad You Came’, Punk Goes Pop, Vol. 5, CD, USA: Fearless Records.
    [Google Scholar]
  80. We Came as Romans (2014), ‘I Knew You Were Trouble’, Punk Goes Pop, Vol. 6, CD, USA: Fearless Records.
    [Google Scholar]
  81. Weinstein, Deena (1998), ‘The history of rock's pasts through rock covers’, in T. Swiss , J. Sloop and A. Herman (eds), Mapping the Beat, Oxford: Blackwell, pp. 13751.
    [Google Scholar]
  82. Weinstein, Deena (2010), ‘Appreciating cover songs: Stereophony’, in G. Plasketes (ed.), Play It Again Sam: Cover Songs in Popular Music, Farnham, NY: Ashgate Publishing, pp. 24151.
    [Google Scholar]
  83. Williams, Justin (2011), ‘Historicizing the breakbeat: Hip-hop's origins and authenticity’, Song and Popular Culture, 56:1, pp. 13367.
    [Google Scholar]
  84. Witmer, Robert and Marks, Anthony (2001), ‘Cover [Cover version, cover record]’, Grove Music Online, 20 January, http://www.oxfordmusiconline.com/subscriber/article/grove/music/49254. Accessed 5 October 2016 .
    [Google Scholar]
  85. Woe, Is Me (2011), ‘Last Friday Night (T.G.I.F.)’, Punk Goes Pop, Vol. 4, CD, USA: Fearless Records.
    [Google Scholar]
  86. Yano, Christine R. (2010), ‘Cover up: Emerging authenticity in a Japanese popular music genre’, in G. Plasketes (ed.), Play It Again Sam: Cover Songs in Popular Music, Farnham, NY: Ashgate Publishing, pp. 99107.
    [Google Scholar]
  87. Yellowcard (2014), ‘Today’, Punk Goes 90s, Vol. 2, CD, USA: Fearless Records.
    [Google Scholar]
  88. Youth in Revolt (2014), ‘Royals’, Punk Goes Pop, Vol. 6, CD, USA: Fearless Records.
    [Google Scholar]
/content/books/9781835951033.c12
dcterms_title,dcterms_subject,pub_keyword
-contentType:Contributor -contentType:Concept -contentType:Institution
10
5
Chapter
content/books/9781835951033
Book
false
en
Loading
This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error
Please enter a valid_number test