They were a rap/rock hybrid years before that kinda thing was mainstream and a staple of many of the best shows of the early 90's.
This is a bio from allmusic.com
by Jason Anderson
The unfortunate thing about Son of Eve is that most
of the activity surrounding their career happened before the Staten
Island hip-hop crew released their one and only full-length disc for
A&M imprint Dv8 Records. Musicians/MC's Finster Baby Jones and Gus
both grew up in Brooklyn and Staten Island New York and both worked in
bands and other musical projects separately without much success. But
when the two began exchanging musical ideas and working their demos in
the local underground hip-hop scene during the late '80s, things began
to take shape for the talented poets. By 1991, a serious buzz was
building around the duo as they performed at all the right clubs and got
to know all the right people in New York's vibrant music circles. After
Mickey Marchello of the Good Rats caught a Son of Eve performance at a
nightclub in Long Island, he got Jones and Gus in touch with David
Sonenberg, and the duo were well on their way. Sonenberg negotiated a
contract with Dv8, and Son of Eve finally had a major label deal and
with it the means to create the music they had been imagining together
for years. This overnight sensation still needed to take a bit of time
to develop in their new situation, so it wasn't until 1998 that Son of
Eve finally got to release their national debut, Dollar Shots. This
self-produced disc shows off Son of Eve in all their dynamic exuberance,
and brilliance. The beats are strong and Jones and Gus display a
pleasant flow that relies on attitude and cleverness more than
histrionics and posturing. The relatively sparse use of samples is well
done just as the musical performances (by the group, not studio players)
is more than respectable. Son of Eve were blessed with an easy-going
positive nature that is evident throughout Dollar Shots, but the street
still lives inside of them, and it's easy to notice that while they
aren't overly concerned with a hard self-portrayal, their eyes are open,
and they know how to deal with a reality that might not always present
them with sunshine and happiness. These guys are as hard as they need to
be, which is exactly how hard everyone really should be anyway. There
have not been any full-length offerings from the group since Dollar
Shots, which must be due in part to the corporate shuffling and
resulting roster cuts at Polygram when it was absorbed into Universal
shortly after the now-defunct A&M released the Son of Eve debut.
This specific sad ending is the unfortunate finish to many stories of
fine young Polygram artists of the time: once promising upstarts
transformed almost instantly into damaged goods, tainted by
circumstances which they had no control over.
Here is a link to 2 of their early demos, courtesy of Joe DeVito:
After C.R. broke up I had a cache of songs and nothing to do with them. Over time I wound up playing in a couple of short lived bands with some great people. Ben Knight sang for both of these bands.
KETHER was a chaotic Hardcore band. We only played one show in PA. I played guitar, Ben Knight was on Vocals, and the best rhythm section in Hardcore, Arron and Jeff formerly of The Judas Iscariot (now in Two Man Advantage) on Drums and Bass respectively. Some of the parts of these songs became Celebrity Murders songs years later. I don't remember the song titles .. I think one was Super Buffet and another was Emulate Concrete...but don't hold me to that.
PROM KING was a project I started with Ben Knight and Brian Meehan both on vocals, Dan Crowell on Drums and Chris Russo on Bass. It was sort of a more chaotic Drive Like Jehu vibe. We did a bunch of shows and played on WNYU .. I would love a copy of that tape...This rehearsal is sans Brian, as he was on tour with Milhouse at the time. Again, I don't remember most of the song titles.. There was one called Pipe Bomb Pin Prick and another called How's The Pink Noodle...