Who Did a Cover of “Take On Me”? 13 Versions 🎤

Who did a cover of “Take On Me?” Many artists have reimagined a-ha’s 1985 hit, including MxPx, Reel Big Fish, A1, A.C. Newman, Weezer, and a-ha themselves. Their versions range from punk and ska to acoustic, indie-rock, and even bluegrass.

The original still sets the bar: that synth hook is hard to mistake, and Morten Harket’s famously high chorus is harder to sing than it sounds. But our favorite twist comes from a-ha’s own 2017 MTV Unpluged performance, which strips away the glossy production and lets the song’s wistful heart take center stage.

Key Takeaways

  • a-ha recorded the original hit in 1985, and it remains the best-known version.
  • Notable covers include versions by MxPx, Reel Big Fish, A1, A.C. Newman, and Weezer.
  • a-ha’s 2017 unpluged reworking is a standout for a softer, more emotional take.
  • Not every version is technically a cover: Kygo’s release is a remix using a-ha’s original vocal recording.
  • The song’s memorable melody is remarkably adaptable, whether it’s played with synths, guitars, acoustic strings, or chiptune tones.

Table of Contents

⚡️ Quick Tips and Facts

The short answer: lots of artists have covered a-ha’s “Take On Me,” from punk bands and ska groups to acoustic singers, electronic producers, and even a-ha themselves. The original remains the best-known version, but the most interesting covers don’t try to out-synth the synth-pop classic. They change the setting entirely.

Quick fact The useful answer
Original artist Norwegian synth-pop band a-ha
Breakthrough single The hit version was released in 1985
Famous cover artists MxPx, Reel Big Fish, A1, Weezer, and Kygo, among others
Most radical reinterpretations a-ha’s own MTV Unpluged version and bluegrass arrangements
Is every reworking a cover? No. Remixes, samples, and songs that borrow the riff are related, but they aren’t necessarily covers.
Why so many versions? The melody is instantly recognizable, while its chords and vocal line can survive wildly different arrangements.

One distinction matters straight away: a cover is a new performance of the song, while a remix rearranges an existing recording, and a sample uses part of a recording or composition in another track. That’s why Kygo’s “Take On Me” is better described as a remix of a-ha’s recording than a conventional cover.

If you enjoy tracing how one pop hook travels across genres, you might also like Synth Pop™’s guide to iconic synth-pop songs and our related piece on why Imagine Dragons named themselves that. A curious name can hide a good story; a three-note synth riff can hide a whole cover-version universe. 🎹

🎹 The Story Behind a-ha’s “Take On Me”


Video: ‘Take On Me’ (AHA) Cover by The HSCC.








From early versions to the 1985 hit

“Take On Me” began before the version most listeners know. a-ha recorded earlier versions in the early 1980s, and the song was reworked before its international breakthrough. The band’s 1985 recording paired its bright keyboard hook with a sharply defined drum sound, layered production, and Morten Harket’s famously high vocal.

The result sounds effortless, but the parts are doing different jobs: the synth riff supplies the instant recognition; the bass and drums keep the track moving; and Harket’s vocal turns the chorus into a high-wire act. For a-ha’s account of the band and its music, see the official a-ha website.

The song first reached the US Billboard Hot 100 No. 1 in October 1985, a fact documented in the Billboard chart archive. Its international success was reinforced by a groundbreaking video that mixed live action with pencil-sketch animation. The Rock & Roll Hall of Fame’s account of the video explains why it remains one of the defining visual moments of the MTV era.

Why the song became a pop-culture classic

Some hits are remembered for a chorus. “Take On Me” has a chorus, a keyboard hook you can identify in a crowded room, and a video people still recognize decades later. That gives covers a built-in challenge: listeners arrive knowing exactly what the song “should” sound like.

Our favorite covers understand that tension. They keep enough of the melody for the song to register, then change the musical costume. Punk makes it scrappier; ska makes it bouncier; acoustic arrangements expose the bittersweet melody hiding under all that chrome.

That’s also why the song fits so naturally beside other enduring 80s synth-pop favorites. It’s both a production landmark and a sturdy song underneath the production.

🎤 Who Has Covered “Take On Me”? Notable Versions Through the Years


Video: Jim Carrey Singing Take on me by A-ha.








There isn’t one universally agreed, complete count of every version. Covers appear on albums, soundtracks, live recordings, television, films, and fan performances, and databases do not always classify adaptations the same way. The versions below are not an exhaustive census; they’re a guided tour of notable releases and interpretations.

A useful cross-check is the song’s Wikipedia entry, which lists several notable covers and related versions. We’ve corrected obvious typos and date confusion found in some secondary summaries by using the artists’ discographies, soundtrack information, and established music references wherever available.

1. The original: a-ha (1985)

The 1985 hit recording is the measuring stick: crisp synthesizers, a punchy beat, and that soaring lead vocal. When someone says “a cover of ‘Take On Me,’” this is usually the arrangement they have in mind.

Why it still works: the instrumental hook is memorable without swallowing the melody, and the chorus rises naturally into Harket’s upper register. It’s energetic, but there’s a little yearning beneath the shine.

For more context on the band and the song, start with a-ha’s official site and the song’s chart history at Billboard.

2. MxPx’s punk-rock cover (1995)

Pop-punk band MxPx turned the sleek original into a fast, guitar-led performance. The melody stays recognizable, but the guitars and brisk rhythm replace the original’s glossy synth propulsion with a more direct, scrappy energy.

It’s a natural fit for a band comfortable with punchy tempos and sing-along choruses. Our listening tip: focus on how the original’s keyboard riff becomes a guitar-driven engine. The song doesn’t lose its identity; it just trades its dance shoes for a pair of battered skate shoes. 🛹

MxPx’s official discography and releases are available through the band’s official website.

3. Reel Big Fish’s ska-punk take (1998)

Rel Big Fish recorded “Take On Me” for the 1998 film BASEketball. Unlike a plain guitar-and-drums remake, the band’s ska-punk approach adds the genre’s offbeat rhythmic bounce and a more playful, full-band feel.

The recording is listed among the film’s soundtrack material and in the band’s release history; the film’s soundtrack details can be checked through AllMusic. Reel Big Fish’s official site is another useful stop for the band’s music and tour history.

What makes it work: ska gives the chorus a buoyant lift without having to imitate the synth sound. If you want a version that feels like a party band grabbed the song and ran with it, start here.

4. A1’s chart-topping cover (200)

British-Norwegian boy band A1 released its cover in 200. The single topped the charts in the UK and Norway, demonstrating that a song rooted in 1980s synth-pop could be repackaged for turn-of-the-millenium pop audiences.

Its approach is comparatively faithful: polished vocals, clean production, and a familiar arrangement. Some reviewers have described it as too close to the original, while fans may value precisely that familiarity. Both reactions make sense. A cover can be a thoughtful tribute without being a radical reinvention.

For chart verification, consult the Official Charts Company and search A1’s “Take On Me” entry.

5. Kygo’s tropical-house remix (2015)

Kygo’s 2015 release is often mentioned in lists of “Take On Me” covers, but it is more accurately a remix using a-ha’s original vocal recording. It keeps Harket’s voice while reshaping the backing into a tropical-house style and replacing the familiar keyboard treatment with a new production.

That difference isn’t pedantry. If you want a new band or singer performing the song, choose a cover. If you want the original vocal recast in a later electronic style, Kygo’s remix is the one to hear.

Listen through Kygo’s official YouTube channel and compare it with the original a-ha recording. The contrast shows how much of the song’s identity lives in Harket’s voice and the melody—not just the original synth patch.

6. A.C. Newman’s indie-rock version (2009)

A.C. Newman, frontman of The New Pornographers, gave the song a more measured indie-rock treatment. Acoustic guitar sits alongside softer production details, including keyboard textures, allowing the familiar tune to feel less like a sprint and more like a reflective stroll.

This is a strong choice if you want a cover that respects the melody without simply rebuilding the original arrangement. It preserves the song’s pop structure while letting the listener hear its wistful side.

Find Newman’s music and background through The New Pornographers’ official site. A.C. Newman’s version is particularly rewarding after the high-energy punk and ska takes; the change in pace makes the chorus feel freshly vulnerable.

7. Ani B Sweet’s gentle indie-pop cover (2009)

Spanish singer-songwriter Ani B Sweet turns the song toward delicate indie pop, using a softer vocal approach and a stripped-back arrangement. The effect is almost the opposite of the original’s glossy urgency: the melody feels intimate, like a confession rather than a dash across the dance floor.

Some write-ups spell her name “Ani B Sweet,” but the artist’s professional styling is Ani B Sweet. Her official music and biography are available from her official website.

A gentle arrangement can expose details that speed tends to blur. Here, the song’s central melody carries more weight because the production leaves it room to breathe.

8. Seven Handle Circus’s bluegrass transformation (2014)

Seven Handle Circus reimagined “Take On Me” as bluegrass, using acoustic string-band colors such as banjo, mandolin, fiddle, upright bass, and guitar. It’s a striking genre switch: the keyboard hook becomes a nimble acoustic melody, while the song’s rhythmic drive takes on a roots-music bounce.

This is the kind of cover that answers a useful question: can a synth-pop song survive without a synthesizer? In this case, the answer is yes—provided the musicians understand the tune’s momentum. The instruments change; the forward motion stays.

9. 8-Bit Arcade’s chiptune cover (2016)

8-Bit Arcade gives the song a retro game-console treatment. Rather than aiming for a realistic band performance, the arrangement embraces electronic tones associated with classic video-game soundtracks.

It’s a playful pick for listeners who like chiptune, retro gaming, and synth-pop’s electronic roots. The trade-off is that the sound can feel more like a novelty or soundtrack cue than an emotionally detailed vocal cover. Still, as a reminder that the original’s melody works in a completely different electronic palette, it earns its place on the playlist.

10. a-ha’s unpluged reworking (2017)

In 2017, a-ha performed a radically reworked acoustic version for MTV Unpluged – Summer Solstice. Rather than recreate the 1985 production, the band slows the song down and draws attention to its emotional core.

This is one of the most compelling versions because it comes from the artists who made the hit. The band knows exactly which details listeners expect, then quietly removes most of them. Harket’s voice, the chord movement, and the song’s longing do the heavy lifting.

The performance is documented in the official release information for a-ha’s MTV Unpluged – Summer Solstice. If you’ve only heard the bright radio single, this version may make the familiar chorus feel like a different song.

11. Weezer’s guitar-led cover (2019)

Wezer recorded “Take On Me” for The Teal Album in 2019. The version keeps the pop structure but shifts the sound toward the band’s guitar-driven style, while still noding to the original’s electronic character.

The cover also appeared in The SpongeBob Movie: Sponge on the Run. Its promotional video features Calpurnia, the band fronted by Finn Wolfhard, in a playful homage to a-ha’s iconic visual world. That does not mean Wolfhard sings lead on Weezer’s studio recording: Rivers Cuomo is Weezer’s lead vocalist.

See Wezer’s official website for band releases and Paramount’s film information for the movie connection. For a deeper look at the broader 1980s revival in modern releases, browse Synth Pop™’s modern synth-pop coverage.

12. “Take On Me” in films, television, games, and live performances

The song’s story doesn’t stop at studio covers. It has appeared in film and television performances, video games, and live settings—sometimes as a full cover and sometimes as a story-specific rendition.

  • D. A. Wallach performs an ’80s-style cover in the film La Land.
  • Jeffster, the fictional band in Chuck, perform the song in the series finale.
  • Ashley Johnson sings an acoustic version in The Last of Us Part II.
  • Bella Ramsey performs the song in HBO’s The Last of Us season two.
  • Busking and street performances show how well the song works with just a guitar and a voice.

The distinction between a soundtrack cover and a studio single is worth keeping in mind: some performances are recorded as part of a character or scene, not released as conventional artist singles. The official PlayStation page for The Last of Us Part II and HBO’s The Last of Us site provide official context for those adaptations.

In the featured street-performance video, a young singer plays acoustic guitar and sings into a microphone while passersby move through a busy urban street. A small amplifier, a few listeners slowing down, and that unmistakable chorus make a simple point: this song doesn’t need a wall of keyboards to get recognized.

13. Songs that sample or borrow from “Take On Me”

Not every track connected to “Take On Me” is a cover.

  • “Feel This Moment” by Pitbull featuring Christina Aguilera uses elements associated with the “Take On Me” melody and recording.
  • “In Bloom” by ZEROBASEONE references the song’s recognizable melodic material.
  • “Perfect” by Lucas & Steve featuring Haris has been described as drawing on the music of “Take On Me.”
  • “Blinding Lights” by The Weeknd is often compared to 1980s synth-pop, but it is not a direct cover of “Take On Me.”

For sample and composition credits, check reliable rights and credits databases such as ASCAP’s repertory search and BMI’s repertoire search. A resemblance is not proof of a sample: musical inspiration, a licensed interpolation, and use of an original sound recording are different things.

🎧 How the Covers Compare: Which Versions Work Best?


Video: A-ha’s “Take On Me” gets a swinging tribute courtesy of Lake Street Dive.








Here’s our practical listening map. The “best” version depends on whether you want faithful nostalgia, a genre switch, or a slower emotional reading.

Version Main sound What it does well Possible drawback
a-ha (1985) Synth-pop The definitive hook and vocal performance The benchmark can make later versions feel less surprising
MxPx Punk rock Fast, direct, and high-energy Less of the original’s shimmering atmosphere
Reel Big Fish Ska-punk Playful bounce and strong live-band feel The comic energy may not suit every mood
A1 Polished pop Familiar arrangement and pop vocals Less radical reinterpretation
A.C. Newman Indie rock/acoustic pop Brings out the song’s reflective side Less immediate dance-floor momentum
Ani B Sweet Gentle indie pop Intimate vocal and softened mood Trades some of the original’s urgency
Seven Handle Circus Bluegrass Unexpected acoustic transformation A very different stylistic flavor
8-Bit Arcade Chiptune Retro-game charm More novelty-driven than vocal-led
a-ha (2017) Acoustic Deepens the emotional reading Not the bright, high-energy radio arrangement
Weezer Guitar-led rock Big chorus with a familiar pop frame Less synth-forward than the original

Best punk and ska-punk versions

Choose MxPx when you want the song fast and guitar-heavy. Choose Rel Big Fish when you want a more playful, horn-friendly ska-punk feel. Both versions preserve the tune’s urgency, but the rhythmic character changes completely.

A useful two-step comparison:

  1. Listen to the original’s opening keyboard figure and note its steady, clean pulse.
  2. Play the punk or ska version and notice how guitars—or the offbeat ska rhythm—take over the same job.

That swap is the trick: the arrangement changes its engine, but the song still moves forward.

Best acoustic and unpluged versions

For acoustic listening, start with a-ha’s 2017 unpluged version. It has the special advantage of being a reinterpretation by the original band, and Harket’s vocal makes the melody feel more exposed.

Then try A.C. Newman for an indie-rock approach and Ani B Sweet for a softer, more intimate reading. The first leans into restrained band texture; the second makes the song feel smaller and more personal.

Our experience listening across the versions: acoustic arrangements often reveal that the chorus is not simply triumphant. The melody has a tender, slightly anxious quality that gets masked by the original’s bright production.

Best for fans of indie rock, pop, and chiptune

  • Indie rock: A.C. Newman offers the most measured, guitar-led interpretation.
  • Polished pop: A1 keeps the song close to a familiar radio-pop framework.
  • Guitar rock: Weezer adds its own band character while respecting the chorus.
  • Chiptune: 8-Bit Arcade turns the melody into an arcade-style electronic miniature.
  • Bluegrass: Seven Handle Circus makes the biggest acoustic genre leap.

If your listening queue already includes artists from our female synth-pop artists collection, Ani B Sweet’s version is a good reminder that a female vocal can shift the song’s perspective without changing its basic melodic identity.

Which “Take On Me” covers work—and which miss the mark?

There’s no objective scoreboard, but we can make a useful distinction: a successful cover reveals something new; a weaker one may only reproduce the surface.

A reviewer at AudioPerfecta called A.C. Newman’s take “the best of both worlds,” praising its mix of acoustic and electronic colors. The same review praised a-ha’s unpluged rendition for its emotional force. Those are personal critical judgments, not settled facts, but the reasoning is persuasive: the arrangements change enough to offer a new perspective, while the melody remains unmistakable. Read the comparison at AudioPerfecta.

Our recommendations, depending on your mood:

  • ✅ For the strongest emotional reframe: a-ha’s 2017 unpluged version.
  • ✅ For energetic genre play: Reel Big Fish or MxPx.
  • ✅ For a thoughtful indie arrangement: A.C. Newman.
  • ✅ For a faithful pop update: A1.
  • ❌ If you want a completely new vocal performance: Kygo’s remix won’t meet that brief, because it uses a-ha’s original vocal recording.

📺 The “Take On Me” Music Video and Its Influence on Later Covers


Video: “Take On Me” – a-ha (Cover by First to Eleven).








The original video helped turn “Take On Me” into more than a successful single. Its combination of live action and pencil-sketch animation became part of the song’s identity, so later visual tributes often echo its comic-book world.

Wezer’s 2019 video associated with the cover features Calpurnia and nods to the original’s visual concept. The homage works because the band doesn’t have to explain the reference: the sketchbook imagery is instantly recognizable to fans of the original.

The original video also raises an interesting listening question: would the song feel as iconic without its visual story? We can’t measure that, but its musical life beyond the video—covers, soundtrack appearances, and stripped-down performances—shows that the tune has plenty of strength on its own. Learn more about its visual legacy through the Rock & Roll Hall of Fame.

🎼 What Makes “Take On Me” So Challenging to Cover?


Video: Reel Big Fish – Take On Me.








The famous high notes and vocal range

The chorus is the obvious vocal hurdle. Harket’s performance climbs into a high register with a smooth, controlled quality that can be difficult to reproduce. Singers who try to copy the original note for note may strain; singers who change the key or arrangement can make the song their own.

A practical approach for a singer:

  1. Find a comfortable key. A cover doesn’t need to match the original recording’s key.
  2. Sing the melody slowly first. The quick phrasing can hide where the difficult leaps occur.
  3. Mark the highest phrases. Use a piano, keyboard, or a trusted vocal-range tool to identify them.
  4. Choose a new arrangement if needed. Acoustic or lower-key versions can keep the song expressive without forcing the high notes.
  5. Build gradually. Warm up before belting; don’t test your range by shouting the chorus cold.

For background on the recording and a-ha’s vocal performance, see the official band site. The key is not to treat Harket’s range as a dare. You can honor the melody without turning karaoke into an emergency.

Synth-pop production, tempo, and arrangement

The original’s arrangement is more than a keyboard riff. Its sound comes from the interaction of synthesizers, drums, bass, vocal layers, and tightly controlled dynamics. Covers have to decide which features to preserve and which to replace.

  • Preserve the hook: listeners recognize the melody almost immediately.
  • Change the rhythm section: punk, ska, and bluegrass all replace the original’s rhythmic feel.
  • Reconsider the tempo: slowing the song can uncover its emotional side; speeding it up can make it feel even more exuberant.
  • Choose the right vocal delivery: the melody works with high-energy pop vocals, gentle indie singing, or a more restrained acoustic style.
  • Avoid copying every production detail: a cover that simply imitates the original may sound less convincing than one with a clear point of view.

That’s the formula behind the strongest versions: keep the song’s identity, but let the new arrangement answer, “What else can this melody be?”

🔎 Where to Listen to “Take On Me” Covers


Video: Norwegian Prog Metal Band Leprous Cover “Take On Me” On The Spot.








Availability varies by country and can change as streaming and licensing catalogues shift. For the most reliable route, search the artist and track title directly on the service you use, then confirm the recording credit.

What you’re looking for Best place to start
Original a-ha recording a-ha’s official YouTube search results or major streaming services
a-ha’s unpluged version Search MTV Unpluged – Summer Solstice on the artist’s official channels or streaming service
Weezer’s cover Search The Teal Album through Wezer’s official site or your preferred streaming service
Reel Big Fish’s cover Look for the BASEketball soundtrack and the band’s discography
Kygo’s remix Search Kygo’s official video and streaming catalogue; remember it uses a-ha’s original vocals
Live and film performances Check the relevant film, game, or TV soundtrack listing, as some versions are scene-specific

For the street-performance angle, return to the featured video: it shows how the song can connect with passersby using little more than a guitar, a microphone, and a familiar chorus.

Jacob
Jacob

Jacob is a music producer and award-winning sound designer leading the editorial vision at Synth Pop™, the destination for news, insights, and recommendations across synth-pop and electronic music. He oversees artist features, concert and tour coverage, deep-dive histories, and playlist-ready song spotlights—bringing a studio-honed ear to every story and championing the next wave alongside the icons.

In the studio, Jacob crafts records and immersive soundscapes for film, games, and interactive experiences; in the magazine, he translates that same precision into clear, gear-savvy writing that helps listeners hear what makes a track tick—arrangement, synthesis, and mix decisions included. When he’s not editing or producing, you’ll find him digging for rare drum machines, designing chorus-soaked patches, or scouting emerging scenes for tomorrow’s headliners.

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