It’s the start of pride month, and there’s only one form of music most synonymous with the queer experience: disco! The genre’s resurgence in popularity has only been growing in recent years, likely helped by pride’s more mainstream acceptance (well, by form of rainbow capitalism or not) and the fact that so many of those original disco hits are just that good.
When making dance music inspired by the golden ages of disco and house music, it’s important to acknowledge the genre’s origins to show you’re respectful of its history and creators. This is something Amber Riley and Micah McLaurin hit the mark perfectly on in their new cover of “MacArthur Park”, originally by disco goddess Donna Summer in 1978.
…well, okay, technically not originally. It was first performed in a more baroque style by Richard Harris and written by Jimmy Webb in 1968, then covered by Summer ten years later on her Live and More album.
Their version is obviously indebted to Summer’s cover by its disco flavorings, but it also captures the melodrama of Harris’ original by way of the theatricality of Riley’s voice. If you don’t know, Amber Riley (of Glee and several screen/stage musical productions, including Dreamgirls) is a monstrously talented performer, and I went into the single expecting a quality performance. Yet she goes full broadway on the track and sings her heart out, creating a dramatic buildup to when the song transitions from a modest but soulful rendition of heartbreak into a breathtaking blast of disco excess.
If the opening captures the icy cabaret of Harris’ original, the rest of the song recreates the loose and free-spirited energy that the best of Donna Summer’s singles had. Micah McLaurin’s mixture of dance-pop and orchestral music (by way of members of The Royal Philharmonic Orchestra) is the perfect complement to Riley’s vocals. McLaurin provides a dreamy piano solo in the second half, and the other musicians provide a sweeping string and horn section and a thumping four-on-the-floor disco beat that never lets up.
It works really well as a great way to kick off pride month, successfully honoring queer history by way of a killer dance party. Amber Riley and Micah McLaurin’s cover is available now, in both a 3-minute radio edit and a 6-minute full version.
Genre-bending Americana artist Danielia Cotton is squaring up to release a tribute EP titled Charley’s Pride: Songs from a Black Cowboy Vol. I. In anticipation of that, she is sharing songs from the release in the lead-up. The first single came on Charley Pride’s birthday in March, and yesterday, the second hint of work was released with “Kiss an Angel Good Mornin'”.
Cotton’s spin on the song brings a bit of brightness to the classic, with her signature soulful crooning taking center stage.
Explains Cotton: “The lyric, ‘Kiss an Angel Good Mornin’, and love ‘em like the devil when you get back home,’ speaks to the dichotomy of a woman with respect to the parts of herself she displays within her relationship to keep things fresh and new. The playfulness of the track musically and vocally reflects this, while the hook is infectious as a summer hit you play to let your hair down.”
What a wild time to be exploring this dichotomy, and a beautiful time of year to release such an amazing cover.
The song in its original form is being recognized this month as it is inducted into the Grammy Hall of Fame at Grammy Museum’s inaugural Grammy Hall of Fame Gala and concert on May 21, 2024.
As someone with an acute appreciation for ABBA (thanks, Mom), my heart absolutely melts anytime I get a cover of one of their quintessential tracks in my inbox. And, honestly, if you’re looking for an injection of absolute MAGIC – I’m talking goosebump-inducing, light-as-a-feather instrumentals with an angelic voice taking the forefront witchcraft – then this is the song you want to melt into. Yes, it’s a cover. But it’s so much more than that. It’s a feeling we have all been craving, something comforting and pure.
Check it out below, and don’t forget to share your thoughts over on Facebook!
Up-and-coming musician Franchise has just released his first single, an upbeat cover of Alessia Cara’s “Here”. Weaving in more sound effects and including more notes boasting staccato, Franchise has found a sound that sets him apart, despite the fact that this particular track has been done before. With a jazzy, Justin Timberlake-leaning vibe, we’re super into the recreation of this work, and can’t wait to see what his catalog has to offer next!
Vanessa Carlton – whose career skyrocketed with the release of her debut single, “A Thousand Miles”, in 2002 – is well-versed in what makes a single work. With her latest series of releases, she shows the world a different side of her musicianship. Her cover of Neil Young’s “Only Love Can Break Your Heart” is the third in an installment of six that she has vowed to release over a timespan this year. Its reverb-soaked predecessors include Robyn’s “Call Your Girlfriend” and Fleetwood Mac’s “Dreams”, with three more surprises to come over the next three months.
Check out Carlton’s slightly twangy, modern take on a Neil Young classic, and keep up with the rest of her releases below.
If you’re looking for a video unlike anything you’ve ever seen before, we’ve got you covered: Tide Pods meet Britney Spears. For Elisabeth Donaldson’s directing debut, the multi-talented artist teamed up with indie piano rockers Molly Rocket to create a cover of Britney Spears’ legendary hit, “Toxic” while simultaneously creating satire that brings the current state of affairs in America to light. The video utilizes the infamous 2018 Tide Pods trend to show how crazy it is that, while there are much more important things to be worried about, America is focused on tiny balls of laundry detergent.
Exposing cultural decay while creating entertainment can be a tricky thing to pull off, but Donaldson achieves it. Visually, the video sticks to a Tide Pods themed color scheme, outfits, and locale (aka the laundromat). Who wouldn’t want to try some of the tasty meals shown in the video: Tide Pod cereal, eggs, pizza, etc?? Props to Donaldson for a directing debut worth noting, and Molly Rocket for a unique and unforgettable performance.
Today, Ashland, Oregon based indie collective Slow Corpse – comprised of Mitchell Winters (vocals, guitar), Brenton Clarke (guitar), Cole Zollinger (bass), Sean Siders (drums), and Dash Curtis (keys) – is bringing a tasty treat to your eyes, just in time for Halloween. Their crawling, darker recut of Kendrick Lamar’s intense “Bitch, Don’t Kill My Vibe” has its own music video, and we’ve got your first look.
Filmed and edited by Jordan Kourupes at with Novum Visuals, the video for “Bitch, Don’t Kill My Vibe” was written and directed by Slow Corpse’s own Brenton Clarke. Bathed in cool jewel tones, the video is the modern version of every turn of the century rapper music video, but created for hipsters. Slow motion dancing, covered in smoke, no personal space, people wearing all types of clothing and participating in cultish activities.
You know, that.
Check out the mesmerizing, smooth version of “Bitch, Don’t Kill My Vibe” and don’t let anyone kill your vibe, no matter what you’re into.