Posts Tagged ‘Dr. John’

Soundtrack Saturday: “Bull Durham”

“I see great things in baseball. It’s our game — the American game. It will take our people out-of-doors, fill them with oxygen, give them a larger physical stoicism. Tend to relieve us from being a nervous, dyspeptic set. Repair these losses, and be a blessing to us.” —Walt Whitman

Bull Durham

With the All-Star Game right around the corner, I suggested to Kelly Stitzel that she feature Bull Durham for this week’s Soundtrack Saturday. I was shocked — shocked, I tell ya! — to find out she’s never seen writer-director Ron Shelton’s 1988 summer hit, one of the best sports movies of all time, if not the best movie about baseball. It’s also one of the finest romantic comedies of the past 25 years.

First-time director Shelton drew from his own experiences as a minor-league ball player for Bull Durham’s screenplay, and he was blessed with a stellar cast that brought his richly drawn characters to life. It’s a movie full of smart dialogue and character-based comedy that celebrates the lunacy, hijinks, and joy of America’s two favorite pastimes — baseball and sex.

Susan Sarandon, radiant as ever, flew on her own dime from Italy to audition and win the role of Annie Savoy, a part-time teacher in Durham, North Carolina. Annie dedicates each summer of her life to tutoring a player on the Durham Bulls, the local minor-league team, that she believes has the best potential to get a call up to the majors. However, Annie isn’t interested in improving the players’ reading and writing. And she isn’t a coach, although she knows as much about baseball as any manager. No, she’s more of a spiritual and sexual adviser: “You know how to make love, then you’ll know how to pitch.” She reads Walt Whitman to her lover-players and puts on Edith Piaf records in the hopes of making them well-rounded human beings and therefore better ball players. At the top of the film she chooses as her new student Ebby Calvin “Nuke” LaLoosh, the Bulls’ latest gifted pitcher, who has a million-dollar arm but a five-cent head on his shoulders.

The role of Nuke went to Tim Robbins in a career-breakthrough performance. Shelton had to fight to get Robbins cast in the part; up to that point he’d been in Howard the Duck, an infamous flop, and mostly blink-and-you-missed-him bit parts (raise your hand if you recall him in Top Gun). In addition to his lack of experience onscreen, executives at Orion Pictures felt that a woman as classy as Sarandon would never fall for a guy like Robbins. Luckily, Shelton prevailed, and the two actors not only worked wonderfully on the set but fell in love and remain a devoted couple to this day. Shows you how smart those movie execs can be.

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Versionality: “Stagger Lee”

About a month ago, while I was working on my Soundtrack Saturday post about Shag: The Movie, I tweeted that I never got sick of hearing Lloyd Price’s version of the blues folk song “Stagger Lee,” which is what Annabeth Gish and Scott Coffey’s characters dance to during the shag dancing contest at the end of the movie. In fact, I think I listened to it about 20 times just in the few hours it took me to write that post. The first time I’d ever heard any version of “Stagger Lee” was while watching Shag, and every time I hear Price sing it, I think of that scene and just want to put on my shaggin’ shoes and go to town. (Okay, so I don’t really know how to shag, but whatever.)

Seeing my tweet about my love for Mr. Price’s “Stagger Lee,” the lovely Jeff Giles asked if I’d ever heard the version by Chris Whitley & Jeff Lang. I replied that I hadn’t, and within the hour an MP3 was waiting in my in-box. After listening to it and telling Jeff how much I liked it, a discussion about some of the other versions of the song began, ultimately leading to the idea of this feature, which I hope continues with the thoughts of members of the talented Popdose staff on other oft-covered songs.

Now, much has been written about the Stagger Lee story and even about the many versions of the song; I’m certainly not going to try and rehash everything for you here. Instead I’d encourage you to read this and this, and if that’s not enough Stagger Lee history for you, there’s always Wikipedia. Rather, what I wanted to talk about here is what I love about the song and its many renditions.

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Death by Power Ballad: Robin Zander, “Time Will Let You Know”

Wouldn’t it be cool to be Cheap Trick’s Robin “The Voice” Zander?  I mean, the guy’s, like, 85 years old and looks the same as he did on the cover of Heaven Tonight; he can probably still woo any chick he wants from his nightly audience; and, even though he’s probably tired of singing “I Want You to Want Me” every night, he gets to sing “I Want You to Want Me” every night and hear the wildly appreciative applause of the dozens of people (or thousands, if he’s opening for Journey) who’ve come to hear him sing “I Want You to Want Me.”

But Robin Zander has a sensitive side, too. Exhibit A: “The Flame.” I absolutely love “The Flame.”  There is nobody else—and I mean nobody else—who could take a line as bad as “Whenever you need someone to lay your heart and head upon” and make it sound like a bolt from Zeus himself. Cheap Trick take a lot of shit for recording it, but if there is shit to be taken, it should be Bob Mitchell and Nick Graham, who wrote the thing, partaking of said excrement. Cheap Trick turned their slow dance-by-numbers ditty into a towering achievement in the power ballad arts.

In 1993, Zander released a guest-heavy solo album, which did about as well as Cheap Trick’s studio output of the era (Woke Up with a Montster, anyone?). Amid the poppy hooks and all star cameos (Maria McKee, Dr. John, Stevie Nicks, and most of Tom Petty’s Heartbreakers), Zander placed “Time Will Let You Know,” a Big Statement treatise on taking the great leap of faith and allowing oneself to fall in love. Composed by Zander and someone named Billy O. Who (gotta be a pseudonym, like Prince on those Apollonia 6 and Martika albums—put your guesses in the Comments section), “Time” bundles hope, longing, and resignation to the fates in one massive lighter-worthy package.

The track starts quietly—just Zander and a piano, addressing the object of his affection in hushed exasperation:

Look at you and look at me
Now what are we supposed to be
We’re so afraid of something new
You know it’s true

You turn around and then it’s gone
You can’t be sure if it’s the same old song
We’re so afraid of everyone
Afraid of the sun
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