Bottom Feeders: The Ass End of the ’80s, Part 27

It’s week 27 of Bottom Feeders and you know what that means.

What? You don’t know what that means? Actually, neither do I. But what I do know is that we have only eight songs left to get through by artists whose names begin with the letter D, so I’m giving you a quickie this week and jumping right into it. Enjoy more songs from the ass end of the Billboard Hot 100 chart in the ’80s.

George Duke
“Shine On” — 1982, #41 (download)

George Duke has his jazz side and he has the funky side you hear on “Shine On.” Duke has an eclectic resumé: he’s worked with Jean-Luc Ponty, Frank Zappa, and George Clinton, and he did a few albums with jazz guitarist Stanley Clarke among countless other keyboard sessions with various artists.

Duke Jupiter
“I’ll Drink to You” — 1982, #58 (download)
“Little Lady” — 1984, #68 (download)

Why do I feel it’s been a while since we’ve had a really decent rock song in this series? Both of these could fit the bill since Duke Jupiter has a classic ZZ Top feel that’s helped along by “Little Lady,” which is about a girl and a car. The video didn’t hurt that notion one bit either. (It seemed to teach you how to handle tricky curves while drunk.) “Little Lady” is from Duke Jupiter’s album White Knuckle Ride, which has the distinction of being the first release on Morocco Records, the short-lived rock imprint of Motown.

Robbie Dupree
“Brooklyn Girls” — 1981, #54 (download)

I’ve heard on multiple occasions how Robbie Dupree’s style was a complete rip-off of the Michael McDonald-era Doobie Brothers. There are definite similarities, but Dupree handles himself well enough that he’s really a compliment to the Doobies’ sound. His first two records yielded three Hot 100 hits, but he didn’t make another album until 1989. The most startling piece of trivia about Robbie Dupree is that the WWF tag team Strike Force used his song “Girls in Cars” as their entrance music. Robbie Dupree isn’t the first person who’d come to mind if I wanted to commission a good song for wrestlers entering the ring.

Duran Duran
“Meet El Presidente” — 1987, #70 (download)
“Do You Believe in Shame?” — 1989, #72 (download)

It was around the time of 1986’s Notorious and 1988’s Big Thing that critics started to sour a bit on Duran Duran and sales started to dip thanks to a new, “more mature” sound. Of course in 1993 their self-titled album was the most mature thing they’d done and it was a massive hit, so maybe it just took a while to sink in for everyone. The three singles from Notorious — the title track, “Skin Trade,” and “Meet El Presidente” — were actually the only highlights from what is probably their weakest record of the decade. Big Thing brought forth a dance-ier sound but also featured some weird experimental interludes and ballads like “Do You Believe in Shame?” The album doesn’t flow well at all, but I still think it’s underappreciated.

Bob Dylan
“Sweetheart Like You” — 1983, #55 (download)

Who’s this dude with the incoherent vocals? I’ve never been a Dylan fan in the least, although I actually like this track and I think his 1985 box set, Biograph, is amazing. So maybe I just refuse to admit that I like him.

Either way, I want to know what you think about Dylan. I just don’t get what happened to him in the ‘80s. Of all the shitty music to hit the airwaves, here’s one of the most respected names in history, who releases 15 singles in those ten years and “Sweetheart Like You” is the only one to show up on the Hot 100. Coming from the perspective of a person that doesn’t like him to begin with, it’s hard to say his ’80s albums were X times as bad as his classic material. However, I clearly know that none of his seven discs in the ’80s compare to his best. But why the hell couldn’t he get any airplay? Everyone got airplay in the ‘80s! I’d love to hear what you have to say about it — maybe teach me a thing or two about Reagan-era Zimmerman. (Here’s a picture of me and Bob just chillin’. He was a little waxy that day.)

Dynasty
“I’ve Just Begun to Love You” — 1980, #87 (download)

Dynasty were one of many funk artists on Solar Records, a label that’s memorable to me thanks to the purple logo with the rainbow across the top. Artists like Dynasty, Midnight Star, and the Whispers all pretty much had the same groove going on — the bands on Solar sort of intermingled in the studio. Dynasty were one of the few Solar groups, however, that couldn’t muster any big hits: “I’ve Just Begun to Love You” was their only Hot 100 song.

QUICK HITS:
Best song — Duke Jupiter, “Little Lady”
Worst song — Duran Duran, “Do You Believe in Shame?”

Next week we move to the letter E and reveal the artist with the second-largest number of tracks in this entire series!

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  • The key to understanding the industry reaction to Dylan in the 80s is actually in his output from the late 70s - when he announced his conversion to born-again Evangelical Christianity. SLOW TRAIN COMING introduced the religious themes, and it was a damned fine record - but the follow-up SAVED was hectoring and obnoxious.

    A lot of people, frankly, thought Bob had lost his mind. Many old fans of young, iconoclastic Dylan took his conversion as some kind of personal insult - and it was that feeling of betrayal, I think, that made him toxic to radio. The conversion was as effective a piece of career suicide as I've ever seen.

    INFIDELS and EMPIRE BURLESQUE got some good reviews, but they were ambivalent - "a partial return to form," that kind of thing. Dylan's commercial and critical rehabilitation didn't really begin until the Traveling Wilburys record and his association with Daniel Lanois, respectively.
  • MichaelFortes
    Actually, I'd say that 'Slow Train Coming' probably turned people off to Dylan way more than 'Saved' ever could have. Remember, 'Slow Train' benefited from all the publicity surrounding his conversion and naturally people were curious. But then, listening to those tunes, it was all too easy to hear Dylan *talking down* to anyone in his audience who didn't believe. "Do you ever wonder just what God requires? / You think He's just an errand boy to satisfy your wandering desires / When you gonna wake up?" That was a prime example. And then, ever read about all the people who *walked out* of his concerts on the supporting tour because he refused to play any of his secular material? So many people were turned off by that point, that 'Saved' and 'Shot of Love' were barely noticed, and 'Saved' was a far less condescending record. It was way more celebratory in an old-fashioned gospel sort of way, something that a non-believer could at least respect for its enthusiasm. By the time Dylan decided to shed that image, it was too late for 'Infidels' to be any sort of 'return to form' -- the videos for 'Sweetheart Like You' and 'Jokerman' had little in them for young people to relate to, and the polished production didn't flatter his voice well at all.

    I remember hearing "Everything is Broken" on my local rock station in '89 back when 'Oh Mercy' came out. By then, yes, the Traveling Wilburys and the 'Oh Mercy' album were restoring his rep. But then he pissed it down the well again a year later was slow to bounce back. But he's pretty much been in a good, solid groove critically and commercially since '97.

    Steed, if you find any of this at all fascinating, pick up a copy of Clinton Heylin's 'Behind the Shades Revisited.' Dylan's career is endlessly fascinating, even at the times when his music is not. Heylin goes to great lengths to explain his take on what happened to Dylan in the '80s and why he sucked so bad during that decade.
  • Thanks for the comments guys. I've never read a Dylan book - and it's probably about time I did. I'll dig this one up somewhere and give it a shot.
  • SKip I
    Regarding Bob Dylan, I also am not a fan, but like some of his 80's output. He had 9 songs chart on the Rock charts that decade including 'Tight Connection To My Heart" which is very soulful and cool...."Band Of The Hand" which was done with the Heartbreakers and has a bluesy swing to it, "The Usual" with Clapton on guitar and the rocking 'Got My Mind Made Up". I'll take these songs over the whiny nasaly folk songs of the 60's.
  • Jeff
    Nothing much to say regarding the music this week, but I did want to say thanks for putting this out every Wednesday. It is truly one of the highlights of my week, and something I eagerly look forward to!

    Keep up the great work!
  • Steed for president!
  • Awesome! Thank you. Glad I can give you something to look forward to.
  • You're right about Big Thing having no flow, but I'm quite fond of "Land" and "Too Late Marlene." I was expecting them to get sued over "Do You Believe in Shame" for its striking similarity to "Suzie Q."
  • JonCummings
    I'm a big fan of "Infidels" and a HUGE fan of "Oh Mercy," which is just brilliant--and made even more so if you read the chapter in "Chronicles" about Dylan's experiences in New Orleans while recording it. "Jokerman" hits me practically as hard as "Idiot Wind" and "Tangled Up in Blue" do, while "Oh Mercy" is solid all the way through.

    Otherwise, I'd pretty much agree with other comments here. "Slow Train Coming" just exemplifies every bad thing that can happen to somebody who's "born again," and Dylan wandered kinda aimlessly through much of the '80s and the first half of the '90s before getting his groove back for good with "Time Out of Mind."
  • Amram
    "Dynasty were one of the few Solar groups, however, that couldn’t muster any big hits"

    Not true - they had six songs in Billboard's soul Top 40 between 1979-83, and "I've Just Begun To Love You" was the biggest (#6).



    : “I’ve Just Begun to Love You” was their only Hot 100 song.
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