Beatles VS Stones

I've always thought the comparison of The Beatles and The Rolling Stones was ridiculous, they are two completely different entities.  For those of us who are old enough to remember, the real rivals of The Beatles during the early days of the second British Invasion were The Dave Clark Five, and time has certainly favored the former of the two in that battle of the bands.  The thing that really bothers me though, is the stereotype of the Stones as the rockin' bad boys and The Beatles as charming pansies.  So, let's test that theory with these performances from the 60's (and I promise I won't even bring up "Helter Skelter").  I think the Stones' performance is completely live, while the Beatles video has live vocals and the instruments on tape.

The Rolling Stones: "Lady Jane."



And now, "Revolution," from The Beatles:



So, that's that. There is even a new book by John McMillian called, Beatles vs. Stones, which I haven't yet read, but plan to.  By the way, I'm not trying to take anything away from the Stones.  I think their (Jagger and Richards')  observations on society and class were more acute than The Beatles' ("19th Nervous Breakdown," "Mother's Little Helper,"even "Satisfaction").  But after the firing and death of Brian Jones, the Stones sort of became their own tribute band, especially after Sticky Fingers.   

Oh, and here are the real contenders, Ladies and Gentlemen: The Dave Clark Five!!

Dum Dum Girls. Too True (2014).

Over the last couple of weeks I've bought every release by Dum Dum Girls.The lo-fi aspect of Dee Dee's earlier work sounds practically experimental in nature.  Without vocals or drums, some of those early tracks could almost be mistaken as something by Christian Fennesz.

The new album by Dum Dum Girls, Too True, is slick, glamorous, and lush, filled with reverberant magic spaces.  More glaze than daze.  

Dum Dum Girls evoke a few things at the same time: I hear Phil Spector, the Ronnettes, 70's punk, and some 80's Indie Pop. Dee Dee prefers the Stones from the Brian Jones era, which I am totally sympathetic with.  I love how Kristin Welchez decided to become a character, which she would call Dee Dee Penny, who plays in an imaginary band called Dum Dum Girls, before she even had a band. 

Anyone who's followed Dum Dum Girls from the beginning is aware of Dee Dee's development from bedroom 4-tracker, to signing to Sub Pop, to fronting a full touring band, to performing on major network TV (Letterman).  You've no doubt loved the dichotomous nature of her work: innocent/gritty, sunny/dark, tuneful/noisy, retro/au courant.  Too True is a major leap forwards, which might not please her oldest fans, but I appreciate her desire to create something as rich and sophisticated as she did with this album.

Here's a good example of Dum Dum Girls' love of opposing points of view, from the 2010 debut album, I Will Be.  They dance (kind of) on a summery, psychedelic beach.  The video is full of overexposed, pretty pastel colors; but they are dressed as if for a funereal, in black leather and lace:



Here is the title track from the new album.  It's so swoony and alluring (both the video and the song); almost sounding like Cocteau Twins meets The Cure, mixed with some late period Siouxie and the Banshees thrown in for extra enchantment, and there's nothing wrong with that.

Lesley Gore. California Nights (1967).

I've always loved Lesley Gore.  Not sure why, but it may be due to having seen this at age 11:



In this interview from 2009(?) she mentions a couple of my most favorite "girl singers," June Christy, and Anita O'Day, as big influences on her, so maybe that also explains why I love LG.

LCD Soundsystem. Disco Infiltrator

A friend of mine (Hi Jayne!) heard this on the radio and wanted to share it with me.  I'm not an expert on LCD Soundsystem, but I really appreciate James Murphy's work.  A lot of his music sounds like a parody of something you've already heard, a bit of post punk, a bit of New Wave, but it's so well put together that it's fresh and irresistible.  I find the humor and vulnerability in his work very endearing.  

Murphy speaks in this interview on how he experienced a life of failure before going into psychotherapy.  He forgets to mention how he turned down an invitation to write for Seinfeld just before it became a global phenomenon; that was a biggie.  But eventually he was able to play Madison Square Garden with his band, before he broke it up.  In typical fashion, he thought that was perhaps a big mistake, after the fact, of course.  

James Murphy on failure:



Here's the song that he refers to in the interview: "Losing My Edge":



Let's watch the band as they start their day when, later that night, they will be playing at what appears to be the Bowery Ballroom (I think this really captures the ambiance of downtown):

Disco Infiltrator:

Brian Wilson. "I Just Wasn't Made For These Times," 2001.

No comment, just love...

The Jazz Police

The Police started as a punk band in the 70's that incorporated some heavy reggae influence, before becoming the biggest Pop/Rock band in the world since The Beatles in 1983.  But both Sting and Andy Summers had had a strong background in jazz, which is evident from their sense of phrasing, timing, and interest in harmony.

Here, Sting and Andy play a bit of jazz with Jools Holland.  I would guess this is from 1981 while The Police were recording Ghost In The Machine in Montserrat. 

BMX Bandits. Listen To Some Music (2012).

Let's never overlook how wonderful BMX Bandits are.  Kurt Cobain said they were the only band he would ever join if he were not already in Nirvana.  And he was dead serious.

Still led by Duglas T. Stewart through various personnel changes, the Scottish band has been in business for over 25 years.  A documentary, Serious Drugs, was made about them a few years ago.  The title comes from one of their most famous songs (which actually refers to the antidepressant variety, not the recreational).