If you’re a band and looking to create a video for a B-side single, the least that you can do is hire a B-movie director to craft the thing. It just makes sense, you know?
Focusing on the golden era of music videos, I can’t help but imagine “Murder By Numbers” from the Police, set as a Larry Cohen short film, with the numbers in question bridging It’s Alive with a slightly more cerebral The Stuff. Better than that, a Troma Pictures-esque video for “How Soon is Now?” from the Smiths… Or even a super-low budget Robert Rodriguez-directed “Tainted Love” by Soft Cell, which, while not a true B-side in that form, it was originally a Gloria Jones tune (1964; re-released in ’76, and then covered by Soft Cell in 1981 should you be keeping score), which could be an utterly epic, if not campy sci-fi-thriller about imported love that is, well, tainted with a virus. Or a present-day Jerry Lewis in a Rob Zombie-directed remake of Michael Jackson’s Thriller short, but using the original cut, “Starlight.”
Or we can abandon the B-side thing in favor of an Adam Jones stop-motion epic for The Human League’s “Don’t You Want Me” (which was the A-side to the terrible “Seconds” – don’t get me wrong, that whole JFK thing could work as a John Waters send-up), set as a peek into the breaking mind of a jilted lover… So many ideas.
I know… Most cover bands opt for the hits; the better-known songs, and sprinkle a set with a few key B-sides. What makes this trio what they are is having three members.
Wait, no… That’s not where I was going.
These guys have managed to capture the decline of Guns N’Roses… The years of infighting, manic-depressive behavior, and drug addled ruin, and packaged it in one take.
Seeing it this way elevates it from mere “learning curve” stature, and boost it to something more, transcending the headache it inspires.
It’s not a jam session.
It is PURE performance art.
…at least through the eyes of a modern art critic, I’d imagine. Welcome to the Age of Entitlement. Grab a trophy on your way out.