The Not-Pop Jukebox

For today let's enjoy the pop-y Apples and Oranges from Suite 709, a nice song about opposites attracting. For contrast, add The Phoenix Foundation and their slightly more out-there pairing of Apples and Tangerines. This, my dears, is pop versus indie drawn starkly with just song titles. The music just makes the point more sharply.

Suite 709 is sweet and predictable, a "you and me against the world" song that could have come from any of the past four decades. It's a good song, it's just not great. The Phoenix Foundation takes the same concept and skews it, moving the point of comparison just far enough to take away that anticipated theme and make you pay a bit more attention. That doesn't make it a great song, by default, it just makes it more engaging.

But that's my own prejudice writing there. I ask you, my darlings, to listen to both songs and let me know who you think does a better job with the concept of incomparables coming together. In other words, you pick the winner.

Let us consider, today, the problem of being a narc. It’s an unhealthy and, essentially, untenable position. Thankfully, you can consider both perspectives by comparing Julie’s Been Working for the Drug Squad, in which The Clash tells you about a so-called friend who got a little too involved in her job, and Working Undercover for the Man. The latter comes from the ever-inventive They Might Be Giants and details what may have been Julie’s thoughts…though somehow I find that unlikely.

Whether you’re a fan of police dramas or just of great music, have a listen to Julie’s Been Working and Working Undercover. Let me know which you like better or if you think this would have made a better Perfect Pair post than letting You Pick the Winner.

First, please not that the exclamation point in the title of this post is not an expression of my excitement about this head-to-head match. It is, in fact, an part of the name of Frente! (The grammarian in me finds it hard to include that name anywhere but the end of a sentence.)

The point, however, is that Frente! and Emma Louise both feature exceedingly feminine singers in songs about jungles. Both, in fact, are titled Jungle. The two share a certain sensibility. I just want to know which of them you prefer. One lines out very particularly that the jungle exists inside her head (that would be Emma Louise) while Frente! leaves the particulars a bit more open.

Have a listen to the pair and let me know whose claim to her own jungle more compelling. Should you enjoy the two, you might listen to Cat Empire, who had a massive instrumental of the same name.

Partial as I've always been to the phrase "knee-deep in the hoopla", and as often as I danced my fool head off to We Built This City, I have a challenger to Jefferson Starship's ownership of city building songs. While Bright Lights Social Hour didn't specify in their song title, that's what Bare Hands, Bare Feet is about: building a city.

And so I ask you, my darlings, to listen to the song back-to-back (because, if you're like me, you'd forgotten how interesting the lyrics for We Built This City actually are) and tell me which you think more inspiring for the builders among us. Also, dance. Both songs are worthy and I won't tell anyone.

After all of the offensive references to gold-digging women in music, I thought it fitting that we hear from some money-hungry men looking to be kept. Thus I offer you six versions of First I Look at the Purse.

Now, you won't be surprised by Lil' Ed & The Blues Imperials or The Countours. You may, however, find yourself enjoyable taken with Rod Stewart's soulful take or the serious bluesy jam from the J. Geils Band. If you want an angry, growling take on it, try Nashville Pussy.

Have a listen to the whole set and let me know which you like best. I'm leaning toward J. Geils but there's so much jamming going on here that I can't quite decide.

Let's pit a legend against a relative newcomer, today, with two takes on the theme of Under My Skin. In one corner we've got Gin Wigmore: part Amy Winehouse, part Dusty, part Mae West. In the other corner is Frank Sinatra: he's Frank Sinatra. He needs no build-up on my part.

Though I've Got You Under My Skin has long been a favorite of mine, I have to say that Gin Wigmore really rocks this song. Of course, I tried to stack the deck with the version from my favorite Sinatra album--Sinatra at the Sands--where he's wailing it with Count Basie but...I don't know.

Thus I'm posting the both of them here, my darlings. Have a listen to both takes on Under My Skin and let me know which you like best or if you can't decide, either. Also, look for more Gin Wigmore in the relatively near future.

If there's one thing a punk group likes to do, it's sing about punk rock girls. For today, let's take two iconic bands and compare their takes on the women they know. First, The Ramones with Sheena Is a Punk Rocker, creatively names as so many of their songs are but still a seminal song. Then The Queers take their swing at it with Tamara Is a Punk.

One presumes The Queers stopped short of naming Tamara a punk rocker because of the Ramones song. If you listen to the chorus she is, indeed, one and you're now to knock her. The Ramones, however, do much less pining and more celebrating of the the fact that Sheena is, indeed, a punk rocker.

Have a listen to both and tell me which you prefer. Naturally, if I've missed a great song about a punk rock girl (except, of course, Punk Rock Girl, which is just too easy), drop me a note and I'll have a listen.

This is one of those playlists that started with two songs I intended to post as a You Pick the Winner pair. Then I wondered how many other, similar songs I could find. Even deleting the worst from the pile I was left with nine songs asking, "Does your mother know?"

I've left my first two candidates at the top of the list: Jim Bianco's If Your Mama Knew and ABBA's Does Your Mother Know? Then move on to The Supremes, Creedence Clearwater Revival, Gary Glitter, Neil Diamond, and Nathan and the Zydeco Cha Chas. To round it out there are groups called Lordi and Termites. I'm pretty sure there are at least half a dozen genres represented here, if not a separate one for each song.

Whatever your lines of distinction, have a listen and let me know which of the nine "if mama knew" songs you like best. While I love the zydeco song, Your Mama Don't Know I still love Bianco and ABBA so I don't really have a stand-out favorite. I need your votes, my dears!

I call this edition of You Pick the Winner "I'm a MaWoman". Today we pit a bluesy rock classic from Bo Diddley, I'm a Man, against Koko Taylor's down-and-dirty I'm a Woman. Have a listen to both and tell me, my dears, who does a better job representing his or her gender? Which is the better song overall? I love 'em both so I'm looking to you for guidance.

I'm in a quandary, my dears, and I need your help. Much as I love the version of Hanuman on "11:11" (have you heard it?) the extended, brassified, drum-fueled take on "Area 52" fills me with joy.

So I come to you with a plea: listen to both and, after you've finally finished dancing your booty off, let me know which you like better. I simply can't decide.

For today, a musical battle of the sexes: I'm a Man versus I'm a Woman. That's a bluesy, Hammond-organ rocker versus a full-on blues shouter, The Spencer Davis Group from the late-mid sixties against Koko Taylor from a couple of years later.

Let me know, my dears, which you find to be a better take on the respective genders. Do you prefer the Spencer David Group admitting to a messy flat or Ms. Taylor claiming she can make love to a crocodile? Personally, I've never been a big fan of Hammond-heavy tunes, with the noted exception of Booker T and the MGs, but I'm not posting this to tell you what to think. I want you to pick the winner!

I've been listening to a fair amount of Antibalas lately and, as a Manu Dibango fan already, was excited to see them incorporating makossa into their numbers. It took about thirty seconds of Makossa #3, however, before I realized that it was not the ever-talented Mr. Dibango the needed a head-to-head match-up with the New Yorkers. It was Isaac Hayes and the iconic Theme from Shaft.

Normally I'd include both songs in a playlist below, but for some reason the recording of Makossa #3 on Grooveshark cuts off at 1:23. The video below gives you the full, five-minute treatment. And then I figured you'd need a video for Shaft, too, because, well, it's Shaft. Note that the version in the opening credits for the film are a little different, and a little faster, than this one (which is the one I have), but if you haven't seen the film and don't understand just what a BAMF he is, go see it. Now. I'll wait. Can you dig it?

I almost forgot to invite you to tell me which wah-wah pedal you like best. That is, after all, the entire point of You Pick the Winner. Do share, my dears. Do you have a nostalgic Richard Roundtree connection to Isaac Hayes or does Anibalas take that same funk-filtered sound, wrap it around makossa, and steal your love?

Few things make time together more romantic than playing hooky from your obligations. That goes double when it’s your partner’s idea and he or she surprises you. Today, let’s match up two songs that take different approaches to this idea and you can pick the winner.

Jack Johnson sound like just the guy you want to hang out with eating Banana Pancakes and, uh, whatever else you like of a lazy Wednesday morning. He’s got a slow groove going and I don’t know about you but he could convince me to call in sick with an argument like that.

Keb’ Mo’, on the other hand, is not relying on my weakness. He’s taken matters into his own hands and locked the world out for the night. He may be in a Dangerous Mood but the only thing threatened is your virtue. After a build-up like this I can’t help but think you’re going to give in so you might as well enjoy it.

I’m posting Banana Pancakes and Dangerous Mood because I love both songs. Give me some feedback: which song would sway you to drop your everyday cares for some quality time? Go on, pick the winner!

I'd intended only to post Goyte and the Somebody That I Used to Know duet with Kimbra but, when I went to get it for you, I uncovered Elliot Smith's song of the same name. The Isley Brothers had one without the "that" but it was dreadful so I'll spare you.

At any rate, I thought I'd share both with you: two different takes on rough break-ups and the pain of no longer being in love. I know, it's a little depressing for my usual style. Suck it up, princesses. If you get too down, stop listening to this Goyte fellow immediately. He'll only bring you down further.

For tomorrow I promise something more upbeat. In the meantime, have a listen and let me know whether you think Goyte or Elliot Smith do a better job capturing the subject.

Today I have for you two utterly different songs with the same name: Dr. Feelgood. One you likely know by heart, whether you hate it or not, unless you're under 30 years old. The other has quite possibly flown under your musical radar all your life.

The former is, of course, that hairband anthem from the 80s, Motley Crue's Dr. Feelgood from the album of the same name. The latter has been around much longer, from way back in the 60s. The version I own was performed by Irma Tomas bu I can't seem to find any reference to which was the original. I actually like this Aretha Franklin version a little better so I'll have to pick up a copy to add to my collection of song versions.

But this post is for you, my darlings. Listen to both songs (unless you already know them) and drop a comment to vote for which you like better. For me the Crue spells cheese-flavored nostalgia but, gee, how do you best Aretha?

I know these two songs have nothing to do with one another, but whenever I listen to Bobby "Blue" Bland's Turn on Your Love Light I end up with Neil Diamond in my head, imploring me to Turn on Your Heart Light. I just can't help it.

Now, Mr. Diamond doesn't make horrible music. He was my first concert at the age of seven so he has a special place of nostalgia in my heart, if not on my playlist. But he's not Bobby Bland. Of course, I'm not posting a round of You Pick the Winner to tell you which song is better.

Have a listen to the two and cast your vote: would you rather turn on your love light or your heart light? I've love to hear why, as well.

When it comes to songs about destroying a major chain franchise, Farm Accident wrote the book but Mike Doughty penned the sequel. There's something almost universal about the desire to rebel against the forced conformity of Starbucks and the predictable, wannabe decor of your basic Hard Rock Cafe. And so why not songs about Burning Down the Hard Rock Cafe and Busting Up a Starbucks?

Mike Doughty and Farm Accident approach their subjects in different ways, however. I want to know which one you like better. Both have a place in my heart, Burning Down the Hard Rock Cafe because I saw them perform it live twenty years ago and Busting Up a Starbucks because, well, it's Mike Doughty. I don't know that I could pick the winner in this one.

I'm turning to you, my darling readers, with a plea for your votes. Let me know if you've heard either of these, which one you like better, and whether you have another "take down the chain stores" sort of song to add to the contest.

This edition of You Pick the Winner will be a little different. It's a pair of versions of the same son, Chinese Rock by two different punk bands recording at the same time: The Ramones and Johnny Thunders & the Heartbreakers. There's a method to my madness.

You see, DeeDee Ramone wrote the music, the chorus, and a verse (and, yes, the rocks in questions are heroin) but couldn't get the band on-board with it so he took it to Richard Hell who was, at the time, with The Heartbreakers. He said, "Yeah, let's do it," and the two finished the song together. (That was a paraphrase, by the way.) Then The Heartbreakers recorded it in 1977, Hell left to join The Ramones, and Johnny Thunders ended up credited with writing the song for years.

The Ramones recorded the song as well and released their version in 1980. That's the one I know better and so when I bumped into the "original" I was very confused. I knew the song and it sounded almost right but one I realized what it was the credits and the release dates threw me for a loop, partly because it's an autobiographical song about DeeDee Ramone's life at the time.

At any rate, that's not the point of You Pick the Winner. I want to know which version you like better: The Ramones with Chinese Rock or the more-plural Johnny Thunders take on Chinese Rocks.

Today let's take two songs with the same title, Headlock, that looks at the opposite ends of a relationship. Imogen Heap seems to be seeking a way into someone's heart (one kept inaccessible in a headlock, hence the title) and to convince that person to let go. Esser, on the other hand, is fighting to get out of a crappy relationship and yet can't quite escape the emotional headlock in which the other party holds him (them?). In truth, the former always makes me want to point Ms. Heap to the latter as a cautionary tale of love going bad.

But as this is a round of You Pick the Winner the flavor of the songs is as important as how they relate to each other in my head, if not more so. So tell me, dear readers, which song do you like better? I don't have a favorite in this pair: I quite like them both but for very different reasons.

Edit: Apparently I've posted Esser's Headlock before. Oh, well, enjoy it again!

Let’s take two songs that sound nothing alike but share a titular similarity and background vocals: Sam Cooke’s Chain Gang, long a song that I have loved, and The Pretenders’ Back on the Chain Gang. The former is a great Motown song and the latter a New Wave 80s hit. Sam Cooke literally sings about working on a prison chain gang. The Pretenders were a bit more esoteric in singing of broken hearts. But both songs include that great “ooh...aah” behind the lead singer.

So I ask you, my dears, which of these do you find more evocative? I confess to debating the inclusion of more chain songs like Chain of Fools from Aretha Franklin and BB King’s Chains and Things but I thought we should keep this a little more tightly focused on how well the individual songs work. I do have other chain songs and someday I’ll post a nice list but for today I want your feedback. Who does a better job making you think of a chain gang?