Category: covers

JUICEBOXXX s a Milwaukee, WI-based emcee, who has developed a reputation within underground circles for a sound that draws from rock, punk rock, hip-hop and a disparate array of other influences that frequently finds him attempting to walk a difficult tightrope between appealing to the avant garde-leaning artist fringe and a pop sensibility.

Unsurprisingly, the Cleveland, OH-based punk band The Pagans were a major influence on the Milwaukee-based rapper’s work. “I rarely do covers, but The Pagans classic ‘Dead End America’ always seemed like a great fit, and a good b-side for my coming ‘Freaked Out American Loser’ single,” JUICEBOXXX explains in press notes. “It was recorded last summer in LA with my backing band (The Thunder Zone Band — Rocker Mike and Willy D) and Aaron Espinoza. I had a blast going crazy in the studio and trying to remember why I do this shit in the first place. ”

“I was saddened to hear about the passing of Pagans singer Mike Hudson,” JUICEBOXXX says in press notes “Coming from the Midwest, I can’t help but think of this thread of punk rock as heartland music, born in rustbelt basements and dive bars out of desperation and boredom. Freaking out to stay alive.” And although it’s a fairly straightforward and loving JUICEBOXXX’s cover manages to evoke the same sort of furious and desperate urgency of the original — while suggesting that throughout the years kids everywhere are practically the same.

 

New Audio: Meshell Ndegeocello Releases a Folksy Cover of Force MD’s “Tender Love”

Born Michelle Lynn Johnson to US Army Sergeant Major Jacques Johnson, a saxophonist and Helen Johnson, a health care work, the Berlin, Germany-born, American-based singer/songwriter, rapper and bassist Meshell Ndegeocello was raised in Washington, DC where she attended the Duke Ellington School of the Arts and Oxon Hill High School. When she turned 17, she adopted the name Meshell Ndegeocello, with the surname, as she has explained meaning “free like a bird in Swahili.”

In the late 80s, Ndedgeocello gigged around DC’s go-go circuit, playing with bands like Prophecy, Little Bennie and the Masters, and Rare Essence before unsuccessfully trying out for Living Colour’s bassist spot, after Muzz Skillings left the band. Deciding to go solo, Ndegeocello, has the distinction of being Madonna’s Maverick Records first signings and while achieving a fair amount of commercial success. Her collaborative cover of Van Morrison’s “Wild Night,” with John Mellencamp peaked at #3 on the Billboard Charts in 1994 and “If That’s Your Boyfriend (He Wasn’t Last Night)” peaked at #73 later that year. Adding to a rapidly rising profile, she collaborated with the legendary Herbie Hancock on a track for Red Hot Organization’s AIDS awareness, tribute compilation Stolen Moments: Red Hot + Cool, which was named Time Magazine’s “Album of the Year.”  Her cover of Bill Withers’ “Who Is He (And What Is He to You)” was a #1 Dance Hit in 1996 and was briefly featured in the major motion picture Jerry Maguire, and she landed Dance Top 20 hits with “Earth,” “Leviticus: Faggot,” and “Stay.” Along with that she collaborated with Madonna, playing bass on “I’d Rather Be Your Lover,” and contributing a verse at the last minute, after Tupac Shakur had criminal charges filed against him. Additionally, Ndegeocello has collaborated with Chaka Khan, rapping “Never Miss the Water,” a single that landed #1 on Billboard’s Dance Club Charts and peaked at #36 on the Hot R&B/Hip-Hop Singles Chart. Additionally, Ndegeocello has collaborated with the likes of Basement Jaxx, Indigo Girls, Scritti Politti, The Blind Boys of Alabama, The Rolling Stones, Alanis Morrissette and Zap Mama.
Ndeogecello has also had her music featured in the soundtracks of How Stella Got Her Groove Back, Lost & Delirious, Batman & Robin, Love Jones, Love & Basketball, Talk to Me, Tyler Perry’s Daddy’s Little Girls, The Best Man, Higher Learning, Down in the Delta, The Hurricane, Noah’s Arc: Jumping the Broom and Soul Men.

Interestingly, Ndegeocello has managed the rare feat of achieving commercial success while arguably being one of the most uncompromisingly, iconoclastic and unique artists of the past 25 years — and she’s been credited as being at the forefront of the neo-soul movement, thanks in part to a genre defying and difficult to pigeonhole sound that draws from hip-hop, classic soul, rock, reggae, jazz and singer/songwriter pop. Adding to that iconoclastic nature, Ndegeocello has written and composed a musical influenced by James Baldwin’s The Fire Next Time, titled Can I Get a Witness?: The Gospel of James Baldwin and she released a gorgeous tribute album to Nina Simone, which featured collaborations with JOVM mainstay Cody ChesnuTT and others.

The renowned bassist, singer/songwriter and rapper’s latest album Ventriloquism is slated for a March 16, 2018 release and the album will feature covers of songs by TLC, Janet Jackson, Tina Tuner, Prince and others, all of which have been influential to Ndeogeocello’s work — but with a unique take. The album’s first single, her cover of Force MD’s smash hit “Tender Love,” finds Ndegeocello turning the slow-burning 80s piano ballad classic into a folksy, Harvest-era Neil Young/Fleetwood Mac track, complete with shuffling drumming, twinkling Fender Rhodes and harmonica. In my mind, what makes Ndegeocello’s cover truly fascinating is that she manages to completely eschew the 80s pop ballad cheesiness of the song, which makes it endearing 30 years after its release but without doing away with the song’s earnestness — while pointing out that the song manages to possess something that listeners far removed from the song’s initial release can grasp and connect to on a very visceral level. That’s what separates the great, timeless songs from the countless songs that will be forgotten 6 months or more after they’ve been released.  And on another level, the song will continue the renowned and iconoclastic Ndegeocello’s commentary on society’s narrow expectations of what black music should sound and be like.

Rosie Carney is an up-and-coming, 20 year-old, Hampshire, UK-born, Downings, County Donegal, Ireland-based singer/songwriter, who has started to receive international attention for pairing mature beyond her years songwriting with vivid lyricism paired with minimalist arrangements and her effortlessly gorgeous vocals. Recently, the British-born, Irish-based singer/songwriter released a hauntingly spectral cover of Cigarettes After Sex‘s “K,” which features gently strummed guitar, swirling feedback and Carney’s gorgeous vocals singing an equally gorgeous melody — and although her cover is a bit more straightforward, sonically it bears a resemblance to Mazzy Star and Widowspeak.

As Carney explains of her decision to cover “K,” “I wanted to record a song that was released by one of my favorite artists this year. I chose ‘K’ by Cigarettes After Sex because, firstly I’m a huge fan of this band and their music and aesthetic, and secondly because this song definitely resonated with me the most from their new record. It’s such an honest song and I just love the message it carries. I love how relaxing and transcending the melody is. It’s one of those songs that I wish were mine.”

 

Perhaps best known as a member of James Arthur’s Manhunt, Sean Morales is a Norfolk, VA-born, Austin, TX-based singer/songwriter and multi-instrumentalist, who started working on his Stuart Sikes-produced solo debut effort, Call It In while he was living alone in Houston. When he returned to Austin, he enlisted several of the city’s most accomplished and renowned musicians to assist him in completing the album, including his wife Erica Barton, a drummer in Faceless Werewolves, who helped shape the songs; Jonathan Horne, a jazz guitarist, known for his work with The Young MothersIchi Ni San Shi and Knest; OBN III’s and Manhunt’s Orville Neely III; Golden Boys‘ Bryan Schmitz; and James Arthur.

Reportedly, Morales wrote and recorded the album with a particular mission in mind, more than an artistic vision —  or in other words, the record was written both as a way to celebrate the ease of life, and much like a comfort to those who feel as though records are like old friends, who provide a little bit of wisdom from time to time, and who you’d like to catch up with when you haven’t thought of them in a while. Slated for a January 12, 2018 release through Super Secret Records, the album’s first official single is a fairly straightforward cover of Chris Spedding‘s easy-going, jangling and twangy “Video Life” that possesses the same, loose, easy-going vibe of a bunch of friends jamming and bullshitting while passing around a bottle of bourbon.

 

 

 

 

 

 

Throwback: DMX Performs “Rudolph the Red-Nosed Reindeer”

Usually, the holiday season is a very difficult period for me. Many of the happy memories of Christmas were when I was much younger and those have been marred to some degree by bitterly unpleasant memories as a young man and as an adult. And while things are difficult, I try.  Now, as you may recall throughout the years, there have been some semi-regular traditions including DMX’s  rendition of “Rudolph the Red-Nosed Reindeer,” that he did while being interviewed at Power 105.1 back in 2012 and for years it was arguably one of the most absurd yet most endearing moments in hip-hop history. 

New Audio: Finnish Pop Trio Beverly Girl Returns with a Sleek and Sultry Cover of 80s Hit

Now, if you’ve been frequenting this site over the course of the past year or so, you may recall that with the release of “Contagious” the Helsinki, Finland-based trio  Beverly Girl received national and international attention for a 80s-inspired synth funk/electro pop/electro pop/R&B sound reminiscent of I Feel For You-era Chaka Khan, Cherrelle, The Gap Band, Cameo, Atlantic Starr and a lengthy list of others, but with a highly contemporary take that brings the likes of  Rush Midnight, St. Lucia, Dam-Funk and others to mind.

Interestingly, the Finnish trio’s latest single is a cover of Millie Scott’s “Automatic,”  and while their version is fairly straightforward, retaining the original’s swooning sultriness, it possesses a heftier bass line and sharper, arpeggiated synths, all of which will further the act’s growing reputation for crafting sleek, dance floor friendly tunes. 

Comprised of Jay Sillence (vocals), Max Watt (guitar, vocals), Dani Barge (bass) and Dom Smith (drums), the up-and-coming York, UK-based hardcore metal act SEEP AWAY cite Black Flag, Cancer Bats, Bongripper, Turnstile, God Damn, Soulfly and Marilyn Manson as influences on their sound and approach. And in a relatively short period of time, the York-based quartet have begun to develop a reputation for being one of the region’s hardest working bands — and for a sound that may remind many listeners to Follow the Leader-era Korn and others.

Building on a growing profile, the band’s debut effort, The Blackened Carnival of Societal Ineptitude is slated for an early 2018 release, and the album’s first single is an explosive and feral cover of what may arguably be one of the greatest songs in the history of hip-hop — Ol’ Dirty Bastard‘s “Shimmy Shimmy Ya.” And I suspect that it would make ODB very proud while being mosh pit worthy.

 

 

 

 

 

Live Footage: Check Out Brass Against the Machine’s Swaggering Cover of Rage Against the Machine’s “Killing in the Name Of”

Currently comprised of founding member Brad Hammonds (guitar, arrangement), Andrew Gutauskas (baritone sax, arrangement), Darius Christian (vocals, trombone), Sophia Urista (vocals), Mariel Bildsten (trombone), Wayne Tucker (trumpet), Oskar Stenmark (trumpet), Steven Duffy (sousaphone), the New York-based collective Brass Against the Machine specializes in covering protest music but with a unique sound and approach, as their sound meshes rock, alternative rock, hip-hop and New Orleans brass — and for repertoire that features covers of Rage Against the Machine, Living Colour, Gil Scott-Heron, Jane’s Addiction, A Tribe Called Quest, Led Zeppelin and a list of others; in fact, they recently released an attention grabbing mashup of Beyonce’s “Freedom” with Rage’s “Freedom,” which you can check out below.

However, what I wanted to call your attention is to Brass Against the Machine’s  cover of one of my favorite Rage track’s “Killing in the Name Of,” which retains the original’s forceful and righteous fury while adding a swaggering and bombastic horn line; and interestingly enough, having a woman fill Zack de al Rocha role should remind the listener — or in turn, the viewer — that women always have long been the heart, soul and moral backbone of any resistance against power. And just as important, let this cover also serve as a reminder that music is arguably one of the most powerful weapons we have. 

The band is current prepping for their live debut at Brooklyn Bowl on December 18. 

With the release of her self-titled, full-length debut earlier this year through Smalltown Supersound, the London-based electronic music artist and producer Kelly Lee Owens has quickly exploded into the international scene, as she’s received attention from the likes of Pitchfork, Rolling StoneEntertainment Weekly, Stereogum and other— and interestingly enough, she’s ending a breakthrough year with a sleek and retro-futuristic-leaning cover of Aaliyah’s “More Than A Woman,” (which you can check out below), reworks of Mount Kimbie‘s “You Look Certain” and Tegan and Sara‘s “Soil Soil,” and a deluxe edition of her full-length debut, which will include bonus tracks and is slated for release on Black Friday.  And to celebrate the release of the deluxe album, Owens and Smalltown Supersound released “Spaces,” a bonus track from the soon-to-be released deluxe album, and the single will further cement the British electronic music artist and producer’s growing reputation for crafting eerily spectral synth pop  — but interestingly enough, the single subtly reveals an artist and producer, whose sound also possesses elements of techno, and krautrock paired with deeply introspective lyrics.

 

New Audio: Here Lies Man Releases a Psych Rock Cover of Fela Kuti’s “Sorrow Tears and Blood”

With the release of their self-titled full-length debut earlier this year, the Los Angeles, CA-based act Here Lies Man founded by Marcos Garcia, who was a member of renowned Afrobeat act Antibalas and featuring fellow Antibalas bandmates Chico Mann (guitar, vocals) and Geoff Mann (drums), along with Rich Panta (percussion), JP Maramba (bass) and Kris Casto (organ), have developed a reputation for a sound that seamlessly bridges classic, Fela Kuti-era Afrobeat with classic, Black Sabbath and Led Zeppelin-era rock. 

Building upon a growing national profile, the band will be releasing a 12 inch EP Animal Noises, which is slated for release on Friday through RidingEasy Records, and the EP’s first single is a psych rock cover of Fela Kuti’s “Sorrow, Tears and Blood” that manages to retain the song’s melody and furious outrage while turning into an blistering, arena rock-friendly jam.