B-Side Guys

Kim Carnes’ 1981 version of “Bette Davis Eyes” was all rasp and synth, a synthesized portrait of dangerous femininity that topped charts for nine weeks. Elderbrook’s cover, recorded in a hotel room as part of his YouTube series, strips away the machinery and exposes something more vulnerable underneath. His dusky vocals open over barely-there organic instrumentation, turning what was once a new wave monument into something that feels like a confession overheard through thin walls.

The Grammy-nominated British producer has been recording these Hotel Room Sessions for years—killing time between tour dates by transforming downtime into productivity. He says “Bette Davis Eyes” stood out to him, and you can hear why: the original’s mystique relied on distance and production sheen, but Elderbrook collapses that space entirely. As the arrangement subtly blooms, euphonious instrumentals wrap around his voice without ever overwhelming it, creating what he calls a “feelsy, sing-along-ready interpretation” where the lyrics finally get room to breathe.

This matters because “Bette Davis Eyes” was always more interesting lyrically than its synthpop packaging suggested—lines about precocious knowing and Greta Garbo stands deserved better than to be buried under drum machines. Elderbrook, whose collaborative work spans everyone from CamelPhat to Diplo, understands that sometimes the most radical production choice is restraint. He’s amassed over 2 billion streams and played Coachella’s Sahara Stage by knowing when to let a song speak for itself.

The hotel room isn’t just a location, it’s a recording philosophy. Take something iconic, remove everything that made it sound like its era, and see what remains when all you have is a voice and enough instrumentation to keep it company.