Almost one year ago, The Soul Rebels teamed up with Gov’t Mule for a special show in New Orleans’ Saenger Theatre. Today we’re premiering four videos from that performance, starting out with their version of The Who’s “Eminence Front.”

Soul Rebels drummer and founder Lumar LeBlanc tells Relix, “You’d be surprised to know that Soul Rebels is heavily influenced by bands like The Who, The Doors, The Beatles, Zeppelin and many of the great rock bands of the 60’s and 70’s. This was the first time we’ve performed this tune and we love The Who. And Govt Mule really brought that epic rocking context and feel. Warren’s voice is so raw. The repeating line you hear in Eminence Front lends well to the horns. At the end of the day, genre or song type doesn’t hold a candle to the importance of the soul breathed into the song. And Warren and the Mule guys bring so much soul and might to everything they play. We love playing rock music and have rocked out with lots of hard artists including Marilyn Manson and Metallica.

Next up is their version of James Brown’s “Pass The Peas.” LeBlanc offers, “One of the funkiest songs ever and a blast for the horns to solo and trade on. We love playing this tune with collaborators, we’ve done it once with Maceo Parker in New York. Warren’s soulful and funky raging feel on this performance took the energy up and really rocked the house. Nothings like a wailin guitar on a funky Maceo tune. A real rock funk moment.”

Here’s another James Brown cover, “Doin’ It To Death.” LeBlanc notes, “Another funky classic. Soul Rebels and Mule together channeled the spirit of James, Maceo, Fred and Pee Wee on this one. The real hero and champion of this performance was our trombone player Corey Peyton who took a truly funk nasty solo. That solo was insane. Fred Wesley would of busted out the mash potatoes if he was in the house. Corey was a fire ball of funk on that joint.”.

Finally, it’s  the Rolling Stones’ “Doo Doo Doo Doo Doo (Heartbreaker).” Lumar LeBlanc adds, “We laid low on this one and kind of just placed the horn lines where needed. The most involved horn contribution to this was actually at the end of the song.”