Bottom Feeders: The Ass End of the ’80s, Part 75

Dave Steed October 28, 2009 42

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Hi, this is Popdose senior editor Robert Cass, and you’re listening to Bottom Feeders, a countdown of every song that charted below #40 on the Billboard Hot 100 in the 1980s! And now, back to text jockey Dave Steed and the countdown … which isn’t really a countdown … but I’m not sure what else to call it except “a really long list” … and that’s not sexy at all, now is it? So let’s just stick with “countdown” and get right into the featured songs by artists whose names begin with the letter R.

Li’l bit o’ trivia for you: “My Computer’s Getting Personal,” the minor regional hit I recorded with my old funk group, Robertic Rhythm, juuuust missed the Hot 100 in ’87, and therefore missed out on being mentioned in last week’s installment of Bottom Feeders. (Remind me not to ask Robert to write an intro in my absence ever again. —DS)

Rodway
“Don’t Stop Trying” — 1982, #83 (download)

I’ve seen this labeled both disco and new wave. I’m not sure I hear the disco, but the new wave is in full force. “Don’t Stop Trying” is from Steve Rodway’s only record, Horizontal Hold. After this, he did very little for the next decade, at which point he really got into producing music under the moniker Motiv8. Apparently his claim to fame is cowriting and producing Gina G.’s “Ooh Ahh … Just a Little Bit” in 1996. Whatever works, I guess.

RogerRoger
“I Heard It Through the Grapevine” — 1981, #79 (download)

Ranking at a whopping #2 on my Bottom 80 Songs of the ’80s list, this fucker is mind-numbing. I know Roger Troutman made his living using the talk box, both on his solo work and with Zapp, but there’s only so much of this the human ear can take. I can’t listen to “Grapevine” at any volume, as my ears literally hurt from the piercing effects of the box. This version is only, like, seven minutes long — the album version tacks on five more repetitive minutes.

Dann Rogers
“Looks Like Love Again” — 1980, #41 (download)

Released in 1979, this crossed over for over a month into 1980. I never really paid much attention to it, or fancy Dann with two Ns, and quick Internet searches don’t yield any good info on him. So if you know something, bring it on.

kenny_rogersKenny Rogers
“Blaze of Glory” — 1981, #66 (download)
“A Love Song” — 1982, #47 (download)
“Scarlet Fever” — 1983, #94 (download)
“Eyes That See in the Dark” — 1984, #79 (download)
“Crazy” — 1985, #79 (download)
“Morning Desire” — 1985, #72 (download)

I do know Kenny Rogers, though. I mean, the man makes some excellent chicken (and, I guess, some good music too). I couldn’t care less if I ever heard another Kenny Rogers song, but the guy has a ton of talent and quite a voice. I prefer the more upbeat songs like “Blaze of Glory” rather than “A Love Song,” though I think I’d argue that the best track of the six here is “Morning Desire” (despite the fact that Kenny is essentially singing about having morning wood). “Eyes That See in the Dark” certainly gets honorable mention, since I love the Bee Gees so much. “Crazy” was cowritten by Richard Marx.

Rolling Stones
“She Was Hot” — 1984, #44 (download)

Only four years after she was so cold, “She Was Hot.” This was the second single from Undercover and the only one of 12 Stones charting singles to not hit the Top 40. This fell in between “Undercover of the Night,” which hit #9, and “Harlem Shuffle,” which went to #5. This is probably a better song than both of them.

Roman Holliday
“Stand By” — 1983, #54 (download)
“Don’t Try to Stop It” — 1983, #68 (download)
“One Foot Back in Your Door” — 1985, #76 (download)

Roman Holliday fascinate me. For one thing, their three charting singles sound so different from each other. “Stand By” is a little swingin’ ditty, “Don’t Try to Stop It” has some “Stray Cat Strut” in it, and “One Foot Back in Your Door” is just a rockin’ pop song. But of course the thing that fascinates me the most is that “One Foot” is totally the basis of “Get Outta My Dreams, Get Into My Car” by Billy Ocean, and unless I’m missing it, there was no writing credit or acknowledgement from Billy and his production team at all.

The Romantics
“What I Like About You” — 1980, #49 (download)
“Test of Time” — 1985, #71 (download)

rpmantics3

God, even for me, Bottom Feeders is bringing back so many memories. I totally forgot that the Romantics’ biggest hit, “Talking in Your Sleep,” was yet another song my mom played all the time when I was growing up. “What I Like About You,” of course, is a total shocker in this series, but I guess it gets more play now than it did back in the ’80s. The big tragedy is that Michael Morales’s shitty 1989 cover of the song was the highest-charting version of the song. “Test of Time” was from their fifth and final record (before they reunited in 2003), Rhythm Romance. It’s not a terrible song, but it sounds a lot like a very low-budget version of their other Top 40 hit, “One in a Million.”

Romeo’s Daughter
“Don’t Break My Heart” — 1988, #73 (download)

I’m surprised Romeo’s Daughter didn’t have more hits. Their debut was a slick pop record with a rock edge, half of it produced by Mutt Lange and half by John Parr. While the album was pretty solid, if nothing else, this excellent track should have been much bigger.

Ron & the D.C. Crew
“Ronnie’s Rap” — 1987, #93 (download)

I remember picking this up in 1987, yet even after all these years I still know nothing about this superb novelty hit. All I’ve got are the credited names on the record (M. Moseley, A. Hott). It was one of quite a few songs in the ’80s that were either about Ronald Reagan or that featured “him” rapping; they were recorded by the likes of Rich Little, Harry Shearer, Air Force 1, and even Garry Trudeau, the creator of the comic strip Doonesbury.

Linda Ronstadt
“Easy for You to Say” — 1983, #54 (download)
“What’s New” — 1983, #53 (download)

Linda_Ronstadt_Whats_NewLinda Ronstadt’s career path took a weird turn in the ’80s. Her 1980 album Mad Love is a really solid rock record, 1982′s Get Closer is lighter pop, and then she inexplicably recorded not one, not two, but three records with Nelson Riddle and his Orchestra and then followed those up with an album with Aaron Neville and two Spanish mariachi discs. I know those three pop vocal albums — What’s New (1983), Lush Life (1984), and For Sentimental Reasons (1986) — sold like hotcakes, but they aren’t my thing. And since I just collect ’80s music, I don’t know a whole lot of her ’70s output, from the era when she was dubbed “the queen of rock.” I have to try to think back to songs like “How Do I Make You” or “Get Closer” to erase my memories of the orchestral songs.

QUICK HITS
Best song: Roman Holliday, “One Foot Back in Your Door”
Worst song: Roger, “I Heard It Through the Grapevine”

TOP 40 ONLY
Romeo Void (1)

Next week we’re banging the drum so it’ll play that funky music, white boy.

  • http://jackfear.blogspot.com Jack Feerick

    If loving Roger is wrong, then I don't want to be right, man. He's better than Creedence, at least.

  • John Anselmo

    Dann Rogers is Kenny Rogers' nephew.

  • http://harpandthistle.blogspot.com RLB

    “Tip O, Tip O'Neill.” This is why I love this series. I've been saying “Tip O, Tip O'Neill” for 20+ years anytime I've run across his name, but I'd completely forgotten from whence it came. Aw-aw-awesome.

  • http://www.popdose.com DwDunphy

    Would you rank Ronstadt's Riddle albums as better, worse or equal to Rod Stewart's American Songbook albums? And a big “Gee, thanks Linda” for possibly giving Rod the idea.

  • johnb

    Ronstadt. “Heart like a wheel”
    Doesn't get much better

  • http://www.jonathanrundman.com/ Jonathan Rundman

    Love that Stones song, but I think there's a flaw in the MP3 data…is it fixable?

  • JPH

    i'm assuming that you meant “how do i MAKE you” in the linda ronstadt bit. such a great song, and a regular on my ipod. shame that's the last rock we heard from LR.

  • http://mulberrypanda96.blogspot.com rwcass

    Thanks for that correction, JPH.

  • http://www.bullz-eye.com DavidMedsker

    “Ronnie's Rap”! All I can see when I hear this is Homer Simpson forcing the Flanders family to listen to this on a long car trip. A nifty in-joke, given that Shearer did one of these records. “Heh heh. He did say 'well' a lot, didn't he?”

    Wow, you can actually hear the cocaine on that Roger track.

  • http://www.bastardradio.com steed

    I'd pick up the Rod Stewart discs before I would the three Ronstadt albums. Doesn't necessarily make them better I guess.

  • kingofgrief

    Whenever I see an O'Neill biography at work, I start singing “Tip-Tip-Tip-Tip-Tip” etc. to the tune of “Stars and Stripes Forever”. And Sousa twitches in his grave every time.

  • paulzas

    Via my mom, the Linda/Riddle albums were my first introduction to a lot of those standards. It wasn't until I went much deeper into jazz and big band (thanks, in part, to those albums) that I realized how devoid of soul they were. But they were my gateway drug, so they still hold a place in my heart. I won't listen to them, but still, a little, tiny place.

  • http://myspace.com/DJChrisXmusic Chris X

    I've never heard Rodway before, but I'm really diggin this. Hmm.

    The Romantics are the only band in this week's offering that I care to comment on (Kenny Rogers? Linda Ronstadt? Really? We're going from my grandmothers to my mom's record collections – literally, not even joking here haha) I really can't believe “What I like About You” did as poorly as it did. This week's Meltie, for sure. I especially can't believe it did worse than “One In a Million.”(which I like, I'm just sayin') It's weird how songs that did ok in the charts don't get any play these days, while songs that failed to do much chart climbing get daily radio airplay. How does that work? “Test of Time” isnt really that great. “Talking In Your Sleep” IS really that great.

    Next week- I fucking hate Todd Rundgren. I went to the Hall and Oates/Hooters show at the Spectrum last Friday, and he played in between them. I spent his set out in the lobby. Awful music, awful hairdo.

  • JonCummings

    Here's the thing. La Ronstadt was actually the perfect person to launch the “standards” trend, with Nelson Riddle behind her, because she had a pure, malleable voice and had a fan base across a few genres (rock, pop, country). I have to say that, while I didn't much care for those albums of hers — and neither did my dad, and he was an aficionado of that stuff — they did send me on a search for BETTER versions of that music, which led me to finally pull out my dad's Sinatra and Ella albums. So I suppose Linda deserves thanks for that.

    She also deserves thanks for “Heart Like a Wheel” and a bunch of her more country-flavored stuff from the '70s–a lot of which I didn't hear at the time because her versions of “Single Girl, Married Girl” and other old country hits didn't cross over to pop. Ronstadt may have gotten her hits with a lot of lame covers that wasted her voice, but she did some great stuff too.

  • JT

    Shocked about the the Romantics “What I Like About You”
    It is such a good song, with tons and tons of radio play (and im sure licensing rights for commercials)

  • JohnHughes

    “One Foot Back In Your Door” and “Get Outta My Dreams, Blah, Blah” were both written by – wait for it – the former Mister Shania Twain himself, Robert John “Mutt” “Pyromania” Lange.

    Billy got a co-writing credit on his version – he must have contributed a “yeah” or something.

  • pete12

    I'm the big gipper don;t mess with me I'm the baddest rapper this side of DC with my best girl Nancy as my spouse rapping to you from that big white house Push Push into George Bush Yeah! Tip Tip Tip.

  • JonCummings

    Yeah, Chris, but how were the Hooters? That's what we all want to know.

    As for “What I Like About You”–1980 wasn't a good year for that sort of song to become a big hit, but the video was all over MTV in its first year, which is how the song came to be ubiquitous. My hometown didn't get MTV until after I'd graduated high school and gone off to college–literally, until 1984 my only experience of music videos was from “Friday Night Videos” and “Nite Flite”–so I was initially baffled by the squealing reaction the song always got from the geeks at the dorm parties I DJ'd. It was pretty much the only song they'd be sure to dance to, so at first I would make sure to play it–but then, after a few of these parties, I decided to make sure NOT to play it, because I didn't so much like watching them dance anyway.

  • kingofgrief

    And we kick off with a winner! “Don't Stop Trying” was a discovery from my personal Bottom Feeders YouTube odyssey of a year ago (before I discovered the 'dose). I've since acquired the 12″ single (whoever wants an mp3 of the 5:56 extended mix need only ask) and the Horizontal Hold album (I can see why there was no followup hit). I'd wager the disco tag came from label association; it was released on Millennium, best remembered for Meco's initial foray into boogified Star Wars themes (later cresting with the majestic “Ewok Celebration”). Heck, the all-purpose die-cut sleeve for the 12″ bears the phrase “Millennium Disco”. (Either that or the sax.)

    I hear elements of past and future Human League hits in “Don't Stop Trying”: the phrase “two years later on” echoes “five years later on” from “Don't You Want Me”, and the chord progression in the verse hints at the following year's “(Keep Feeling) Fascination”. Talk about a mirror man…

    On the subject of don't, stop and try: What's your source for “Don't Try to Stop It”? I have this version on a Richard Blade comp, and it's listed as an extended mix.

    “What I Like About You” = this week's Meltie, one I'm sure that goes unchallenged. “Test of Time” (and “One Foot Back in Your Door”) were constant spins on Houston's low-power video channel, TV5.

    Speaking of videos, the TV show produced by our big album-rock station used to air the uncut “She Was Hot” that had to be amended for the Nervous Nellies at MTV. I'd still like to know why a whole chunk of the first verse was used in the video but snipped for the album.

    I was hoping to leave you with a link to Benny Hill's awesome Kenny Rogers impression, but it appears to have been blocked for American YouTubers. So I'll substitute a link to the collection you can find it on.

  • brettalan

    I adore Roman Holliday–at least until Mutt Lange got hold of them. Their first album, Cookin' On The Roof, from which “Stand By” and “Don't Try To Stop It” hail, is one of my favorite albums of the 80s, deftly mixing New Wave and classic swing. The second album was produced by Mutt Lange, who buried everything that was special and interesting about the band under all of his usual production tricks and such. I found the second album at a flea market on a dreadful rainy day, and I was so excited and then quite disappointed when I heard it. I hate Mutt Lange.

    To me “Don't Try To Stop It” is too upbeat to resemble “Stray Cat Strut”, but I guess I see where you're going with the comparison. But listen to it back to back with “Wake Me Up Before You Go-Go” and try to tell me that George Michael wasn't feeling a little inspiration from RH.

  • http://myspace.com/DJChrisXmusic Chris X

    The Hooters were fantastic as always. They are one of, if not my absolute, favorite live bands. In fact, I'm listening to Live In Germany as I type this, haha.

  • brettalan

    Yes, that's an extended mix of “Don't Try To Stop It”. The album version is a shade under three minutes.

  • kingofgrief

    Thanks! I'll have to pick up Cookin' on the Roof when I can find it for far less than $30.

  • http://www.popdose.com DwDunphy

    I actually picked up Sinatra & Strings today. So stinking good.

    And I am a fan of that '70s wild-child Ronstadt… By the time she got “mature” I had checked out.

  • Eric S.

    Mutt sure had a formula. I don't really remember “Don't Break My Heart”, but you can sure hear the influence it had when Mutt moved on to the next Mrs. Lange. It's like he took this song and singer, added a little country twang and told Shania, “Here, do this”. Even the vocal tics are similar.

  • http://www.bastardradio.com steed

    Oh, I hear that now. It's not on my version so I'll try to upload again later tonight.

  • http://www.bastardradio.com steed

    Yep, it's an extended mix. Ran into some issues earlier in the week and couldn't locate the album version – though it's on disc somewhere in my collection. My bad for not mentioning it – I expected it to just be a placeholder.

  • http://www.bastardradio.com steed

    “Wake Me Up” didn't occur to me at the time, but I definitely see the similarities.

    And see, I'm the opposite with Roman Holliday and I definitely know I'm in the minority here. I have never been a fan of swing or rockabilly at all so Cookin' really doesn't do anything for me. I went back to listen to it just to make sure I didn't just glance over it – but I still didn't like it. I definitely understand why you hate the second album if you love the first though. Way different.

  • http://www.bastardradio.com steed

    You have to admit – for a novelty song it's really well written.

  • http://www.bastardradio.com steed

    $10 total (that's with shipping) on ebay right now if you really want it. I'm sure you can find it cheaper at some point though as I don't recall it being that tough for me to locate and I spent $10 on nothing.

  • davidjburton

    Not surprised Billy Ocean didn't acknowledge Roman Holiday, given that “Carribbean Queen”=”Billie Jean” and “Suddenly”=Lionel Richie's “Hello.”

    Linda Ronstadt also did “The Pirates of Penzance” on Broadway in 1981, and a country trio album with Dolly Parton and Emmylou Harris in 1986. And her biggest hit wasn't on any of her studio albums, it was “Somewhere Out There” with James Ingram.

  • http://www.bastardradio.com steed

    strange thing really is that I don't actually mind the Trio record – and that shocks even me. I'm never going to pull it out unless someone forces me, but it's better than the Nelson Riddle records.

  • Don Karnage

    I remember reading that “How Do I Make You” was the only Top Ten single Linda ever had that wasn't a remake. I'd go back and verify that bit of trivia, but it's so much easier to just state it as fact and hope nobody calls you on it…

  • kingofgrief

    As Shirley Q. Liquor once said, “99 cents is not a bargain if you do not have 99 cents.”

    Actually, I could swing .99, but not $10 at the moment. I'm sure a cheap copy will manifest when I'm flush with cash again.

  • http://home.comcast.net/~rsbrandt rsbrandt

    Considering that, for starters, it was from an album of covers, I call shenanigans.

  • http://www.bastardradio.com steed

    The Stones song has been re-uped and doesn't include the blip in the middle this time.

  • Russ

    Hence the reason I always said Billy OH Shit when any of his stuff came on the radio.

  • kingofgrief

    Here's your answer, from writer Billy Steinberg's Wikipedia entry:

    “In his mid-20s [he] formed the group Billy Thermal which was eventually signed to Richard Perry's Planet Records label. Their breakthrough occurred in 1980 when Linda Ronstadt heard their album and decided to record their song 'How Do I Make You?' for her 1980 Mad Love album. The album hit the top three of the charts and went platinum. Ronstadt's version of their song reached the American top ten.”

    The entry doesn't cite any sources, but apparently Mr. Steinberg himself verifies it here:

    http://voicesandvisions.skybleedsscorpio.com/html/billy.html

    I'll have to keep an eye out for that album.

  • kingofgrief

    Here's your answer, from writer Billy Steinberg's Wikipedia entry:

    “In his mid-20s [he] formed the group Billy Thermal which was eventually signed to Richard Perry's Planet Records label. Their breakthrough occurred in 1980 when Linda Ronstadt heard their album and decided to record their song 'How Do I Make You?' for her 1980 Mad Love album. The album hit the top three of the charts and went platinum. Ronstadt's version of their song reached the American top ten.”

    The entry doesn't cite any sources, but apparently Mr. Steinberg himself verifies it here:

    http://voicesandvisions.skybleedsscorpio.com/html/billy.html

    I'll have to keep an eye out for that album.

  • musicmanatl

    Well, I'm not exactly as unbiased commentator, considering how much I love Linda, but the two series are really pretty different. Linda's goal was to create albums like Sinatra did – classic songs with classic arrangements that work as mood pieces. Rod's goal was probably more to record classic songs with more modern arrangements strictly for commercial sales – after all, evil overlord Clive Davis was behind those albums. Just compare Linda's version of “Bewitched, Bothered, and Bewildered” with Rod's duet version of the same song with Cher (!) to hear the differences.

    I've read some criticism of Linda's standards albums as being sort of lifeless, but I never felt that way. They are very careful interpretations but they show off the beauty of her voice much better than rock material did. I learned so much about traditional pop from these albums.

    By the way, Linda said at the time that she wanted to record standards because current pop songs just didn't interest her as they had before. She took a big risk to record “What's New” and I'm sure Asylum was overjoyed when the album took off like it did.

    The fact that Linda could record a credible new wave-ish rock album and an album of pop standards in three years' time shows why she is one of the talented and versatile vocalists of the rock era.

    Does my love show a little? ;)

  • musicmanatl

    Does anyone else remember the hilarious video for “She Was Hot”, starring Broadway actress Anita Morris? She really WAS hot. I loved that video and this song.

  • musicmanatl

    Hey – I own it on vinyl if I can help. :)