We Speak Music

Carole Fredericks Reimagines James Brown Classic “Sex Machine” in Powerful Live Performance

Published

2 months ago

May 19, 2026

A bold and electrifying reinterpretation of a funk classic arrives as the legendary Carole Fredericks delivers her own dynamic version of Get Up (I Feel Like Being a) Sex Machine, originally made famous by James Brown. Recorded live at the Auditorium Saint-Germain-des-Prés in Paris, this release captures Fredericks at the height of her vocal power, blending raw soul, blues depth, and rhythmic intensity into an unforgettable performance.

With musical direction by Jacques Veneruso, the track honors the original composition by James Brown, Bobby Byrd, and Ron Lenhoff, while infusing it with Fredericks’ signature emotional force and cross-cultural artistry.

Backed by an exceptional ensemble of musicians—Pierre-Jean Scavino (keyboards), Jean-Marc Haroutiounian (bass), Cyril Tarquiny (guitar), and Laurent Coppola (drums)—the performance is elevated further by the rich harmonies of backing vocalists Yvonne Jones and Maria Pӧpkiewicz. Together, they create a vibrant, groove-driven soundscape that bridges American funk roots with European musical sophistication.

This live recording is drawn from Fredericks’ celebrated “Couleurs et parfums Tour” (December 2–11, 1999), a period that showcased her extraordinary ability to blend languages, cultures, and genres into a cohesive artistic vision. Known for her commanding stage presence and deeply expressive voice, Fredericks transforms “Sex Machine” into a soulful, high-energy statement that is both a tribute and a reinvention.

Born in Springfield, Massachusetts, Fredericks rose to international acclaim after relocating to Paris in 1979, where she became one of the most sought-after vocalists in Europe. The younger sister of GRAMMY-winning blues artist Taj Mahal, she honed her craft performing alongside him before forging her own remarkable path. Over the course of her career, she collaborated with global icons including Eric Clapton, Elton John, and Celine Dion, while also achieving massive success as part of the trio Fredericks Goldman Jones alongside Jean-Jacques Goldman and Michael Jones.

Fredericks’ artistry was rooted in a deep love of blues, gospel, and R&B traditions, inspired by legends such as Aretha Franklin, Otis Redding, and Mahalia Jackson. Her ability to seamlessly blend these influences with French chanson and global sounds made her a singular voice in international music.

Carole Fredericks’ legacy continues to resonate with audiences worldwide. This powerful live rendition of “Sex Machine” stands as a testament to her enduring impact—reviving a timeless anthem through the voice of an artist who transcended borders, genres, and generations.

About Carole Fredericks
Carole Fredericks (1952–2001) was an American-born singer who achieved extraordinary success in France and across the francophone world. Renowned for her powerful voice and genre-blending style, she built a career spanning solo work, high-profile collaborations, and global touring. Her music continues to reach new audiences, preserving the legacy of a truly international artist.

We Speak Music

The Songs of Butler & Cupples Prioritise Craft on Intimate New Single ‘Better off Lost’

Published

4 days ago

July 3, 2026

Brett Wylie

Following the momentum of their first three breakout releases earlier this year, genre-fluid project The Songs of Butler & Cupples have returned with ‘Better off Lost’. A stripped-back, intimate offering that further sharpens their songcraft-first ethos, the release reinforces the duo’s position as one of the most forward-thinking, emerging songwriting projects operating outside the traditional band framework.

Conceived entirely as a vehicle where pure songcraft remains the central focus, The Songs of Butler & Cupples was formed in direct response to a contemporary music landscape increasingly shaped by image, algorithms, and visual perception rather than musical composition.

Led by two highly experienced industry songwriters, the project is intentionally fluid. It allows musical ideas to dictate their own final form without being restricted by rigid genre conventions or commercial chart expectations. With ‘Better off Lost’, the pair turn inward, embracing an acoustic-led direction underpinned by Americana-leaning textures and delicate, emotive vocal arrangements.

Sonically, the track marks a further evolution in their rapidly expanding creative palette. Built around a gentle acoustic guitar foundation, ‘Better off Lost’ foregrounds vulnerability and vocal performance above all else. The raw emotional delivery is elevated by subtle, layered harmonies and understated pop sensibilities that give the track its modern, polished edge.

The duo’s stylistic range has already drawn comparisons to boundary-pushing artists such as Miley Cyrus and Kacey Musgraves, whose recent celebrated works have helped reframe contemporary Americana within the broader pop landscape. Like those icons, Butler & Cupples demonstrate a versatile range that fiercely resists easy categorization.

Across their 2026 discography, they have proven comfortable shifting between entirely different sonic worlds, including: Electronic-Leaning Production: Utilising sleek, modern digital textures. Experimental & Rock Influence: Embracing grittier, guitar-driven edge and unpredictable structures. Acoustic Minimalism: As heard on the new single, proving that a strong emotional through-line remains intact regardless of the instrumentation.

Rather than chasing viral TikTok trends or tailoring their masters for playlist algorithms, the project remains deeply rooted in strong structural songwriting, genuine emotional resonance, and absolute creative freedom.

At its core, The Songs of Butler & Cupples functions as an open creative framework without built-in limitations or outside expectations. ‘Better off Lost’ stands as another clear statement of intent from the duo: that well-crafted songs, when given proper breathing room and unfiltered honesty, still possess the power to cut through the modern noise.