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"text": "Tom Tom Club covered Donna Summer’s disco anthem \"Love to Love You Baby\" for their 2012 anniversary album, Downtown Rockers. \n\nThe cover was a tribute to the \"Queen of Disco\" following her passing in May 2012. As a band rooted in the New York Post-Punk and New Wave scenes of the late 70s, Tina Weymouth and Chris Frantz viewed Summer as a foundational influence on the danceable, rhythmic music they created with both Talking Heads and Tom Tom Club."
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"text": "\"It's Nasty (Genius of Love)\" is a 1982 hip-hop classic by Grandmaster Flash & the Furious Five that served as one of the earliest and most successful uses of a \"loop\" in rap history. \n\nSampling Tom Tom Club's \"Genius of Love,\" Grandmaster Flash took the original's bright, bubbly synth line and the iconic \"James Brown\" shout-outs, stripping away the quirky vocals to create a perfect rhythmic bed for the Furious Five to rap over."
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"text": "Grandmaster Flash & the Furious Five released a hip-hop cover of Steppenwolf’s \"Magic Carpet Ride\" in 1988. It was featured on their reunion album, On the Strength, which marked the return of the group's original lineup. The track features actual contributions from John Kay & Steppenwolf, blending original rock elements with late-80s hip-hop production."
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"text": "Blue Öyster Cult’s cover of \"Born to Be Wild\" (originally by Steppenwolf) became a cornerstone of their live identity, famously appearing on their 1975 double-live album, On Your Feet or on Your Legs.\n\nThe cover was a calculated choice by Sandy Pearlman. Since he is often credited with being the first rock critic to use the term \"heavy metal\" in a musical context, having his band cover the song that famously contains the lyric \"heavy metal thunder\" served as a definitive branding move."
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"text": "Sandy Pearlman was the mastermind behind Blue Öyster Cult, serving as their manager, producer, and primary lyricist from their inception in 1967 until the mid-1990s."
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"text": "Sandy Pearlman, an American producer best known for his work with Blue Öyster Cult, was brought in by CBS Records to produce the Clash's second album, Give 'Em Enough Rope (1978), which included the single \"English Civil War\". \n\nPearlman was a massive fan of the band's new drummer, Topper Headon, whom he famously dubbed \"The Human Drum Machine\" for his precision. As a result, Pearlman ensured the drums were mixed significantly louder than the vocals throughout the album."
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"text": "The Clash’s cover of \"Time Is Tight\" is a rare, high-energy instrumental that bridges the gap between 1960s Memphis Soul and 1970s London Punk.\n\nThe Clash recorded the track during the legendary Marquee Studio sessions in 1978. It was a favorite \"warm-up\" song for the band, who were massive fans of Booker T. & the M.G.'s and the Stax Records sound."
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"text": "Booker T. & the M.G.'s released their cover of \"Eleanor Rigby\" in 1968 on the album Soul Limbo. It is widely considered one of the most inventive instrumental re-imaginings of a Beatles track, stripping away the iconic string octet of the original and replacing it with Stax Records' signature \"Memphis Soul\" grit.\n\nIn 1970, Booker T. & the M.G.'s recorded an entire album titled McLemore Avenue (named after the location of Stax Studios), which consisted entirely of covers from the Beatles' Abbey Road. The cover art even parodied the famous street-crossing photo."
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"text": "Released in 1967, Sgt. Pepper reached new heights of creativity and is often cited as the inspiration for other major pop stars of the era, including Stevie Wonder and Marvin Gaye, to push the boundaries of their own studio work."
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"text": "Stevie Wonder’s 1970 cover of \"We Can Work It Out\" is widely considered one of the greatest Beatles covers ever recorded. It appeared on his album Signed, Sealed & Delivered and transformed the acoustic folk-rock original into a high-energy funk-soul anthem.\n\nPaul McCartney has frequently cited Stevie's version as his favorite cover of the song. He loved how Stevie \"found a groove\" that the Beatles hadn't even considered."
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"text": "\"I Feel for You\" is a rare \"triple threat\" of musical genius: written by Prince, performed by Chaka Khan, and featuring a signature harmonica solo by Stevie Wonder.\n\nProducer Arif Mardin felt the song needed a \"human\" element amidst the heavy synthesizers. He called Stevie Wonder, who recorded the chromatic harmonica solo in one take. The solo is often cited as one of the most recognizable harmonica parts in pop history."
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"text": "In one of the most famous examples of his \"secret\" songwriting, Prince gifted the track \"Manic Monday\" to The Bangles in 1984 under the pseudonym Christopher.\n\nIn early 1986, \"Manic Monday\" reached #2 on the Billboard Hot 100. It was famously kept out of the #1 spot by Prince’s own song, \"Kiss.\""
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"text": "Susanna Hoffs’ cover of \"Dreaming\" is a full-circle moment for two of the most iconic women in New Wave and Power Pop. The connection between Susanna Hoffs and Debbie Harry goes back to the mid-80s \"rivalry\" manufactured by the press between The Bangles and Blondie.\n\nHoffs has always cited Harry as a primary influence. Over the years, the two have shared stages and mutual admiration. Hoffs has described Harry as the \"ultimate cool girl\" who paved the way for women like her to lead bands rather than just being \"frontwomen.\""
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"name": "I Want That Man"
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"name": "Sire Records"
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"text": "In a classic 1980s pop crossover, Alannah Currie (of the Thompson Twins) and her partner Tom Bailey wrote and produced \"I Want That Man\" for Debbie Harry’s 1989 solo album, Def, Dumb & Blonde.\n\nWhile Currie co-wrote the lyrics and concept, Tom Bailey handled the production. He brought in a polished, radio-ready sound that helped revitalize Harry’s solo career."
}
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"name": "Air break"
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"name": "Media play"
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"name": "The Greatest Hits",
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"name": "Roll Over"
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"name": "Camden"
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"comments": [
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"text": "Steve Stevens collaborated with the Thompson Twins during a pivotal shift in their sound, contributing his signature rock guitar style to their 1985 album Here's to Future Days.\n\nStevens played lead guitar on the Nile Rodgers-produced version of \"Roll Over\". This version was notably punchier and more rock-oriented than the band's previous synth-pop material.\n\nStevens performed with the band at Live Aid in July 1985 at JFK Stadium. Watch their star-studded performance here: https://www.youtube.com/watch?v=c_KNArtcc9k"
}
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"name": "Media play"
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"name": "Eyes Without a Face"
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"name": "Chrysalis"
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"text": "Billy Idol co-wrote \"Eyes Without a Face\" with guitarist Steve Stevens. \n\n\"Eyes Without a Face\" (1984) was the creative peak of the Billy Idol and Steve Stevens partnership, marking a shift from Idol's punk-rock roots to a more sophisticated, moody New Wave sound.\n\nStevens was responsible for the song's textural depth. He used a Lexicon Prime Time digital delay to create the ethereal, shimmering guitar sounds in the verses."
}
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"name": "Media play"
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"name": "The Very Best of Billy Idol: Idolize Yourself",
"largeimageuri": "https://dn710604.ca.archive.org/0/items/mbid-00afba30-e707-41d4-8788-303a714dfb4f/mbid-00afba30-e707-41d4-8788-303a714dfb4f-14753957201_thumb500.jpg",
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"track": {
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"name": "Mony, Mony (live)"
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"name": "Capitol Records"
},
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{
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"text": "Billy Idol covers Tommy James and the Shondells' \"Mony Mony.\"\n\nBilly Idol's cover of \"Mony Mony\" is one of the rare instances where a live remake of a song became a bigger chart success than both its own studio version and the original 1960s hit.\n\nReleased in March 1968, Tommy James and the Shondells' \"Mony Mony\" was a deliberate attempt to create a \"throwback\" party anthem."
}
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}
