Mint 400 Records has built a reputation for reimagining the work of music’s most influential artists. Their latest project, Sound & Vision (The Songs of David Bowie), arrives this Halloween and showcases the label’s roster alongside friends taking on Bowie’s catalog with bold reinterpretations. Known for past tributes to Tom Petty, Lou Reed, The Beach Boys, Nirvana, and decade-spanning compilations, Mint 400 turns its focus this time to Bowie, whose chameleon-like artistry transformed popular music across five decades. Among the compilation’s highlights are Tabitha Booth’s atmospheric live cut of “Rock ’n’ Roll Suicide” and Social Creatures’ kinetic take on “Fame.”
For Tabitha Booth, daughter of tattoo artist Paul Booth and a multi-talented performer in her own right, Bowie’s dramatic Ziggy Stardust closer offered the perfect opportunity to channel her vocal power and production instincts. “When Neil [Mint 400’s founder] put the word out, I immediately knew I would perform and produce this song,” Booth said. “It takes me back to my music school days at County College of Morris, first learning music theory… In the recording and production process, maintaining a live feel and infusing with sound design is super important, to both of us, for the overall listening journey.”
Recorded at The Cocoon Recording Studio in Jersey City Heights with engineer Corey Zack, the session brought together a cast of local musicians including Rafaella Delias and Sabrina Seidman on harmonies, Kevin Harms on guitar, a horn section led by Aint James, and a rhythm team of Wilhelmus Sapanaro and Angel Lozada. Filmed in VHS for a visual companion, Booth’s performance captures both the fragility and grandeur of one of Bowie’s most emotional songs.
Brooklyn’s Social Creatures approached Bowie from a different angle with their version of “Fame,” diving headfirst into the funk-infused grooves of his 1975 classic. “When we saw Mint 400 was doing a Bowie compilation album, it was really good timing for us,” the band shared. “We had just started writing our second album and were figuring out a new direction that mixed early 80s NYC dance grooves with the new wave energy of bands like Talking Heads.”
The track came together across multiple locations—Brooklyn, Montauk, and Toronto—reflecting the band’s fluid creative process. Dissecting Bowie’s complex vocal lines pushed them to new heights. “That bridge, we had to slow that down and figure out what Bowie was singing syllable by syllable,” they explained. The result is a fresh, pulsing rendition that connects Bowie’s experimentation with Social Creatures’ forward-looking indie dance sound.
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