Ever wasted hours of your life watching barely audible live videos of your favourite bands mauling someone else's song on YouTube? Or maybe The Onion’s AV Undercover series, which often veers from the sublime to the outright car wreck in the space of a week? Perhaps you’ve just drunkenly mullered the odd track at karaoke? Us too. We love a good cover (and even the occasional shit one). Here, members of Team 405 share a few favourites…

Part one can be found here.

Karl Leitner

As the music industry searches for newer and more creative ways to obscure its terminal lack of originality, it is occasionally nice to take a break from the hyperbole of the Pitchfork marketing machine ("Amazing! Incredible! A veritable triumph!") and turn instead to those who choose to be unoriginal in original ways. From painstaking reconstruction to downright plagiarism, here are five of my favourite covers…

Ben Folds – 'Bitches Ain't Shit'
Originally by Dr Dre

Possibly the most prolific producer on the West Coast, NWA veteran Dr Dre has been hugely involved in the development of rap music over the past 20 years, and especially in bringing 'gangsta rap' to the masses. One of the most scrutinized popular cultures in living memory, critics have decried it for inciting misogyny and homophobia among America's apparently fragile youth, with some even trying to have it banned outright.

Singer-songwriter Ben Folds takes the opposite tack, and by resetting the swaggering 'Bitches Ain't Shit' as a poignant piano-led ballad, opens our eyes to the absurd insecurity of the lyrics. Who hurt you Dre? Who hurt you?

Isao Tomita – 'Pavane Pour une Infante Défunte'
Composed by Maurice Ravel

After Prometheus stole the synthesiser from Kraftwerk and delivered it to mere mortals in the 1970s, opinion was fiercely divided as to whether this was A) probably a good thing, or B) an augur of the impending cultural apocalypse. Somewhat confusingly, the answer would eventually prove to be arguably C) all of the above. But for the meantime, the citizens of spaceship Earth had to figure out what the hell to do with them.

Interestingly, the one contingent of people who were most eager to wield this terrifying new power were classically trained composers such as Isao Tomita, whose reimagining of Maurice Ravel's 'Pavane Pour une Infante Défunte' stands out as one of the better articles among a spate of synthed-up symphonies. The result is truly bizarre – falling somewhere in between the score to Reiner's Princess Bride and the Fire Temple from Zelda – and is the sort of thing that is likely to have 'serious' classical musicians reaching for their revolvers.

Daft Punk – 'Robot Rock'
Originally by Breakwater

I love Daft Punk. You love Daft Punk. In a comprehensive survey of the world's entire population it transpired that 6,999,999,998 out of 7,000,000,000 people love Daft Punk (with two respondents being disqualified on the basis that they were Daft Punk).

However, this universal acclaim doesn't alter the fact that Messrs Bangalter and Homem-Christo carve up as much as they create, and one of their choicest cuts – Human After All's pounding 'Robot Rock' – is for all intents and purposes a fairly blatant cover of funk band Breakwater's 'Release The Beast'. One hopes that the appropriate royalties were paid.

V/Vm – 'Lady In Red'
Originally by Chris de Burgh

"Simpering mawkish cack" was how the usually affable Bill Bailey once described 'Lady In Red', which was written by enduring crooner Chris de Burgh in honour of his wife Diane, and has since wormed its way into the nation's collective psyche like the memory of some horrific terrorist attack.

Although the original is undoubtedly enough to make your skin crawl, avant-gardist V/Vm turns the revulsion up to 11 with his Y2K butchering. Accompanied by a (now sadly defunct) nightmarish video featuring Chris de Burgh intercut with footage of Princess Di, V/Vm takes De Burgh's oeuvre to what one must assume is its logical conclusion.

José González – 'Smalltown Boy'
Originally by Bronski Beat

It was José González's cover of The Knife's 'Heartbeats' that brought him to the attention of advertising executives and indie-cindies alike, securing him royalties for everything from Scrubs to Sony.

Less well known, but just as affecting, is his cover of 'Smalltown Boy' by 80s synth-pop trio Bronski Beat. The original, about a teenager who runs away from his homophobic parents, gets an acoustic retooling here, and in a similar fashion to Johnny Cash's 'Hurt' the payoff is one of those rare covers which ends up sounding possibly more natural than the track it's based on.