Beatles vs. Stones

For all you septics that have got it a$$ about face, the Beatles were Scousers, means from Liverpool.

Mick and Keef are from Dartford in Kent and had Souf London accents, Mick later adopted a US southern drawl.

Brian was the brains of the operation until Mick and Keef outed him. He probably wrote a lot of the early stuff and was a musician, way ahead of the other Stones and the Beatles.

Gram Parsons, Ry Cooder and Mick Taylor gave the Stones massive inputs after Brian died and basically created a completely different Rolling Stones.

After listening to the Stones almost everyday for over 50 years I can say that my favourite album is Goat's Head Soup, my favourite track is Down Home Girl or maybe Backstreet Girl.

If you ever get a chance to buy the Stones bootleg Black Album, it's fantastic.

I think Sgt Pepper was great when it came out, and it still is; love every song on there. Can't say the same for every Beatles album. 

Rubber Soul and Revolver are my go-to Beatles albums. I haven’t played SPLHCB in over fifty years. Same for Abbey Road. Way over half of the white album is unlistenible.

Mick Jagger is a terrible singer, Keith Richards a mediocre guitarist (for verification, watch Chuck Berry trying to teach Richards how to play "Oh Carol" in Hail! Hail! Rock 'n' Roll. Keith can’t do it.). And they made a disco album. End of story.

You know why so many have covered Beatles songs, and so few those of The Stones? I do, but you are of course free to consider Jagger & Richards good songwriters if you wish. When was the last Jagger/Richards song you like written? Does fifty years ago seem about right?

@bdp24 Love The Kinks. Generally go for them over Stones, can’t say necessarily the same w/Beatles. Beatles are just…too good. I could certainly, however, produce a “short novella” on my love of The Kinks.  
I consider Sgt. Pepper’s long-held status as #1-all-time-worthy incommensurate with the actual songs. The studio innovation, sure. Songs, not so much. I consider “She’s Leaving Home” gorgeous, brilliant, haunting, indelible and impervious to overplayedness. “A Day in the Life” is just…incredible (I also enjoy the early takes on Anthology 2…Jesus…). 
Obviously this is all subjective but, “Way over half of the White Album is unlistenable”…boy… 
“Dear Prudence,” “Glass Onion,” “Bungalow Bill,” “While My Guitar Gently Weeps,” “Happiness is a Warm Gun,” “Martha My Dear,” “I’m So Tired,” “Blackbird,” “Piggies,” “I Will,” “Julia,” “Mother Nature’s Son,” “Everybody’s Got Something to Hide Except Me and My Monkey,” “Sexy Sadie,” “Helter Skelter,” “Long, Long, Long,” “Honey Pie,” “Savoy Truffle,” “Cry Baby Cry,” “Goodnight.”  
20 of the 30 tracks that are as sublime as pop music gets.
Legit avant-garde songs like “Wild Honey Pie,” “Revolution 9.” Super ballsy to put stuff like that on an LP by the biggest band in the world. Irrespective of artistic courage, I still consider those tracks sonically and artistically remarkable.

Rod Temperton (author of Heatwave, Brothers Johnson, Michael Jackson, Quincy Jones classics), Kenny Gamble and Leon Huff (authors of and producers of too many glorious records by way too many incredible artists to begin to mention), the brothers Gibb, Björn Ulvaeus and Benny Anderson, Giorgio Moroder, and Niles Rodgers (author of Chic, Sister Sledge, Diana Ross, David Bowie) may have something to say about someone using the word “disco” as merely a pejorative.

The primes of Michelangelo, Shakespeare, and Bach ended a lot more than fifty years ago. This has no bearing on whether their art was good.

@tylermunns thanks for mentioning Rod Temperton.