Bottom Feeders: The Ass End of the ’80s, Part 20

I turned on the radio the other day for the first time in months and the first thing I heard was “more music, less talk,” so that’s what we’re going with this week. Well, okay, it’s the same amount of music but less talk. But you get my point.

NEW SOUNDS FOR THE COLLECTION:
Garland Jeffreys, Escape Artist
Krokus, Change of Address
Aleese Simmons, I Want It
Art in America, Art in America

We stroll on with our next-to-last week of artists whose names begin with the letter C, looking at songs that missed the first 40 slots on the Billboard Hot 100 chart in the ‘80s.

Rita Coolidge
“Fool That I Am” — 1980, #46 (download)

Many times it’s just so much more interesting to talk about everything but the music. What can I say about a boring track from some movie I’ve never heard of called Coast to Coast? Coolidge’s personal life is the story here — she dated Stephen Stills and then Graham Nash right after him, leading to the initial breakup of CSNY. But my favorite tidbit about Coolidge is that she starred in some television specials called The Christmas Raccoons and The Raccoons on Ice in the early ‘80s, which apparently led to the Canadian TV series The Raccoons. Here’s a clip from Raccoons on Ice, narrated by Rich Little and also starring … Leo Sayer!

Julian Cope
“World Shut Your Mouth” — 1987, #84 (download)

Here’s one of the better upbeat pop tunes this series has had in a while. It would be a great track if half the song wasn’t simply the chorus being repeated over and over. “World Shut Your Mouth,” strangely enough, isn’t from Cope’s debut solo record, World Shut Your Mouth, but rather from his third release, Saint Julian. Normally I’d hate that since it’s very misleading to the casual consumer who would naturally assume the song is on the record of the same name. But when you’re dealing with mostly out-of-print music I guess it’s not that bad. If you’re not familiar with Cope’s music and you like this track, I’d suggest locating “Charlotte Anne” from his 1988 album, My Nation Underground. That’s one of my favorite tunes of the decade.

Al Corley
“Square Rooms” — 1985, #80 (download)

Al Corley’s big claim to fame is that he was the first Steven Carrington on Dynasty – which makes it two weeks in a row that we’ve had a connection to that show. The song itself is kind of weird for me. I mean, the pieces don’t fit very well. And take a look at the guy — he’s not the type of dude you’d expect to be singing a semi-new-wave track. But in the grand scope of actors trying to sing, he’s not Scott Baio bad, but he’s not Rick Springfield good (or, as our editor-in-chief might say, Jack Wagner good). This was Corley’s only hit song, and he didn’t exactly hit it big in the acting world either, as some of his credits include “guy in line” and “man in park.”

Elvis Costello
“The Only Flame in Town” — 1984, #56 (download)

Welcome to Bottom Feeders, Mr. Costello sir — though you don’t deserve to be here at all. Every now and then an artist comes around that is a perfect example of how messed up radio was/is in the US. If you made me give an example of why radio programmers had their heads up their asses (even) back then, Elvis would be the artist I would use. Just a paragraph up, I mentioned Jack Wagner, who had four Hot 100 hits in the ‘80s. Elvis Costello had three. Seriously, how fucked up is that? Now, I’m not saying all his ‘80s records were masterpieces, but many were good enough to chart, and even his earlier tunes, like “Watching the Detectives” and “Pump It Up,” didn’t make a dent. And the guy is still making great music today that gets zero radio airplay. Momofuku is one of best albums of 2008, but you won’t hear it on commercial radio. Meanwhile he’s had 40+ charting songs in the UK. I’m getting all worked up here, so I think it’s just time to enjoy “The Only Flame in Town” and move on to something else.

Gene Cotton
“If I Could Get You” — 1982, #76 (download)

This is the last of seven hits for Gene Cotton, breaking his string of four in a row to hit the Top 40. Gene Cotton sounds like the name of an 80-year-old bluesman, but he was just in his late 30s when he recorded this basic pop tune.

Josie Cotton
“He Could Be the One” — 1982, #74 (download)
“Jimmy Loves Maryann” — 1984, #82 (download)

Josie Cotton performed “He Could Be the One” during the prom scene in Valley Girl. “Jimmy Loves Maryann” is a cover of one of two hits from the Looking Glass.

Cover Girls
“Show Me” — 1987, #44 (download)
“Spring Love” — 1987, #98 (download)
“Inside Outside” — 1988, #55 (download)

The Cover Girls are one of the first Latin freestyle groups to hit the Billboard Hot 100 charts, and “Show Me” is considered a classic of the genre. I’d bet if it had been given the re-release treatment after 1000 clones popped up, it would have been a much bigger hit the second time around. This despite the fact that their debut album, which featured all the tracks listed here, was released on Fever Records with cover art that looked like it was made in my basement. Overall, Show Me had five tracks hit the Billboard Hot 100 chart, the highest, “Because of You,” reaching #27. They moved to a major label after this, but you have to wonder how big the Cover Girls would have been if this had some firepower behind it.

Coyote Sisters
“Straight from the Heart (Into Your Life)” — 1984, #66 (download)

The Coyote Sisters are one of a small handful of failed bands on Morocco records, the rock subsidiary of Motown. The group was led by Leah Kunkel, the sister of Mama Cass. The song itself is pretty ho-hum, lacking any type of energy.

Robert Cray Band
“Right Next Door (Because of Me)” — 1987, #80 (download)
“Don’t Be Afraid of the Dark” — 1988, #74 (download)

It’s understandable why Robert Cray really didn’t have any big radio hits aside from “Smoking Gun,” which reached #22 in the spring of ‘87. It’s certainly not the quality of his songs that was the problem, but it was probably tough to find a lot of radio stations willing to play him after Def Leppard. “Right Next Door” is an awesomely groovy track, though.

Cretones
“Real Love” — 1980, #79 (download)

The Cretones were led by Mark Goldenberg, who ended up being the guitarist for Jackson Browne. This was their only hit off their album Thin Red Line. Isolate the chorus by itself, and I might have guessed this was a Fleetwood Mac tune.

Crosby, Stills & Nash
“Too Much Love to Hide” — 1983, #69 (download)
“War Games” — 1983, #45 (download)

I’m a huge fan of Neil Young, but for some reason I’ve never gotten into Crosby, Stills & Nash. However, both of these songs are excellent (though I’m going to assume that many of you will think “War Games” is shit thanks to its electronic nature). Both of these are Stephen Stills compositions, and “Too Much Love to Hide” comes from Daylight Again, which David Crosby barely had any participation in.

Crosby, Stills, Nash & Young
“Got It Made” — 1989, #69 (download)

Maybe this is the reason I never got into CSN. This was probably my first introduction to the group, and then I went backwards to hear some of their other tunes. This is another Stephen Stills track from their album American Dream, which is a total waste of good record-storing space. This piece of crap is sadly the best song on the album.

Christopher Cross
“A Chance for Heaven” — 1984, #76 (download)
“Charm the Snake” — 1985, #68 (download)

I’m a fan of Christopher Cross — there’s just nothing quite like “Arthur’s Theme (The Best That You Can Do).” There certainly wasn’t a whole lot of variety in his singles, though, at least up until 1985, when he released Every Turn of the World. It’s a bit more of a rock-oriented album than his others, but it didn’t spawn any real hits. “Charm the Snake” is the only Hot 100 track from it. Personally, I think it’s his best album, but the music world didn’t and that pretty much ended the run of Christopher Cross. It probably didn’t help that he has a face made for radio either. “A Chance for Heaven” can be found on the Official Music for the XXIIIrd Olympiad record, as it was deemed the “Swimming Theme.” Now I need to go and figure out what the swimming theme is for the current Olympics.

QUICK HITS:
Best song — Elvis Costello, “The Only Flame in Town”
Worst song — Crosby, Stills, Nash & Young, “Got It Made”

Next week we close out the letter C, with the group that sings my second-favorite song of the decade and a track from one of the best comedians of all time.

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  • scrumble
    "The Only Flame in Town" holds up better than people thought it would at the time, although you have to remember the song was seen as a cynical attempt to give Costello another hit in the vein of "Everyday I Write the Book" (and for duet partner Daryl Hall to desperately regain some credibility which he's since regained) ... his career was basically written off by reviewers. So, he was deliberately trying to compete with Jack Wagners and failed, but after the mid-'80s it was insane to think anyone like Elvis would even try doing that.
  • JonCummings
    Pardon me, Scrumble? "[A cynical attempt] for duet partner Daryl Hall to desperately regain some credibility which he's since regained"?!?!?!?

    I can't believe my fellow Popdosers have let this comment stand unremarked-upon for 11 hours (this site is a den of H&O fandom), so I'll bite: What the hell are you talking about? In 1984 Daryl Hall was on top of the world! He and the mustachioed wonder were in the middle of becoming the single biggest act of the first half of the '80s--and most of their music was well-liked by critics as well. (Except for, perhaps, "Adult Education," which I will grant you was the last H&O single released before "The Only Flame in Town" was released.) "The Only Flame" shared the charts for awhile with "Out of Touch," which was H&O's 5th Number One single of the decade.

    Beyond that, Elvis (who was pretty much always "cynical," but no more on that song than others) would gladly get into a bar fight with you for even mentioning him and Jack Wagner in the same sentence. No, "Punch the Clock" and "Goodbye Cruel World" didn't represent Elvis at his peak, but he rebounded nicely with his next three albums starting with the excellent "Blood and Chocolate."
  • scrumble
    Wait, it wasn't me who mentioned Jack Wagner relative to EC. And, by 1986 it was the beginning of the post-MTV era where these kind of hit singles weren't pursued.

    Of course Hall wanted to be seen as more credible and artistically inclined than he was at the time. He still does, although things have leveled off a bit with time. Such was the trade-off in appealing to housewives and their kids. "The Only Flame" is OK kitsch now but it was definitely savaged at the time.
  • jerm
    Daryl Hall also sang background on INXS' "Original Sin (Dream On)" which pre-dated "The Only Flame In Town" by a few months. INXS and Elvis Costello were considered "alternative" back then. Artists only college radio and those rare "modern rock" stations (KROQ, for example) would touch. Apparently, Daryl's a huge Elvis C. fan. Not sure how the colloboration came about, though...

    That' s not the first time Hall has been paired up with a member of the rock underground. His first solo album, SACRED SONGS, was produced by the ultra-avant garde, Robert Fripp. It's a great record and highly recommended.

    H&O were never considered "cool" by snobby, rock press during their commerical heydey in the 80s. Nowadays, those same critics are realizing how truly great H&O were. Me thinks they are just trying to be ironic, like the rock press tends to do.

    I firmly believe that if H&O were black they would be deemed musical geniuses. But since they were goofy white guys doing "black" music, they got written off.

    And it's a shame because when it comes to extremely well-crafted pop/soul...no one comes close.
  • JonCummings
    You're right, Dave is the original culprit behind the Jack Wagner reference, so my apologies for that. (Though your reference was a bit meaner than Dave's, as I can't imagine Elvis ever saw himself as "competing" for chart positions with the Jack Wagners of the world. I would guess (hope?) he saw "Every Day I Write the Book" and "The Only Flame in Town" as genre exercises, not blatant single attempts.)

    Responding to both your "tradeoff" comment and jerm's comment about the press regarding H&O as "goofy white guys doing 'black' music": I will certainly grant that H&O were hardly considered "cool" by the music press, and I do think Hall always has carried something of a chip on his shoulder over not being hailed as a "major rock artist" so much as a "pop craftsman." But he wanted that recognition not only for "Sacred Songs" and his side projects but for his H&O work as well. I certainly don't think he believed himself to be writing songs for "housewives and their kids" (ouch!).

    All of that said, as I remember it there was a decent amount of rock-crit respect for H&O's (Hall's especially) ability to make a record like "I Can't Go for That" or "One on One" that could climb high up the R&B charts in a post-disco era when crossover in either direction was difficult. And while there was less of a tendency back then (as compared to now) for critics to hail an artist/album/song's quality as "pop," H&O usually got a decent amount of credit in the press for their success in honing the sound they'd been crafting since the '70s into the hitmaking machine it became in the early '80s.

    So, to the extent that Hall was disappointed by his press treatment, he really should have sucked it up and resumed counting his money. Hopefully he's doing that now while waiting for the RnR Hall of Fame to call.
  • Hey, there's a period there. That's two different sentences. No need for Elvis to kick my ass.
  • JonCummings
    A technicality. I gave Elvis your address. He and Patrick Swayze (if he's healthy) will be over soon to open up a can of whoop-ass.
  • EricL
    You just pointed out why reviewers and hipsters of the day so often miss the boat on albums and songs that are great in hindsight. Instead of listening to the music and letting the album or song speak for itself they try to decide the motivations of the performer or, even worse, listening to what the artist has to say about the recording before hearing it. The only thing that matters is the music being worthwhile. Everything else is secondary.

    Thus, to make excuses for reviewers being wrong about a song due to the prevailing wisdom of the day is fallacy. When a reviewer listens with open ears they are be better (not always, but better) able to realize that the music is quality and will stand up.

    To sum up, if Elvis Costello chooses to make a great album of modern pop as it will still be a great album of pop no matter how shocking or what his motivation.
  • jbacardi
    American Dream was a CSN and Y album, so as a Young fan I'm a little surprised you didn't at least like the homespun-sounding "This Old House"...
  • I can understand where you're coming from. The album is so bad that I've just completely erased it from the record. And I'm more than happy to own a record for that one deep cut that's amazing, but this whole thing just sounds like a throw away to me.
  • WHarrisBullzEye
    Hallelujah! I've been looking for an MP3 of "War Games" for as long as I've had a computer, since "Allies" is cost-prohibitive to own. I still love this song, '80s synth sound and all. I'm also glad to have "Got It Made," too, since I have long since sold my copy of "American Dream." (Actually, I liked that album a lot better than some people did; it just didn't survive a purge several years back when I was in dire need of funds.)

    The Julian Cope and Elvis Costello songs are among my favorite of those artists' respective singles. Granted, Mr. Cope has a lot less to choose from, but the compliment remains the same nonetheless.
  • scrumble
    This seems an essential read in conjunction with this series (or this site):

    http://www.edisonresearch.com/home/archives/200...
  • JonCummings
    I just read that article--it's like an emotional roller coaster. Now I know why I've only heard "Buffalo Stance" on the radio once in 20 years...
  • Ted
    Are you sure you don't want to revise the "worst song" entry? I mean, I could easily sit down and listen to CSN&Y three times in a row than having to endure one listen of Al Corley.
  • You know - I don't hate the Al Corley track. It certainly isn't good - but "Got it Made" is so disappointing to me!
  • E
    Is it worth noting that per Wikipedia, Harold Faltermeyer was a co-writer?
  • gary lucy
    Quick Robert Cray fact that everybody probably already knows but I just found out and still find fascinating: you can see him in "Animal House" as one of Otis Day & the Knights.
  • el bandito
    Allies has some great things on it - "He Played Real Good" is awesome - especially considering the state Cros was in at the time. Also has a good version of "Blackbird". American Dreams really is bad - "Feel Your Love" is the only thing close to real on that album. The version of "Got it Made" on the box set is almost redeeming...but not enough for the pass. But let's remember CSN had some good 80's out put too - "Wasted On the Way", "Southern Cross" etc. so the decade wasn't a total wash.
  • agitatedstate
    I believe that CS&N's "Daylight Again" features none other than Art Garfunkel singing in place of David Crosby on a few tracks. That's right: Crosby, Stills, Nash and Garfunkel!
  • Malchus
    I strongly disagree about the CSNY song. There are two, Neil Young penned songs that are far superior to "Glad..." "This Old House" is a gentle, poignant song that was obviously influenced by Young's Farm Aid work, and "Feel Your Love" is one of the finest love songs Neil has written. The rest of the record is crap, but those two songs are worth seeking out and downloading from iTunes or Amazon.
  • flaregun
    Grabbed the third best song on your BF countdown, the Robt Cray tune “Don’t Be Afraid of the Dark”, as I already had the Elvis and Julian Cope songs. The rest are meh.
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