Posts Tagged ‘Joe Cocker’

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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DVD Review: “Woodstock: 3 Days of Peace and Music Director’s Cut”

Woodstock - The Director's CutThere’s a well-known saying that if you think Woodstock was great, you weren’t there. The point is that the mud, drugs, lack of food and water, and often bad music made the whole thing a disaster for those who were there. I don’t know about where you live, but where I’m from in New Jersey, everyone of a certain age claims to have been there. I’ve even made that claim a couple of times. At least I was at the great, but now forgotten, Atlantic City Pop Festival two weeks earlier. If everyone who says they were there was actually there, there would have been millions of people rolling around in the mud, instead of the hundreds of thousands who were actually there.

Jeff Giles reviewed the Blu-ray version of the new 40th Anniversary Edition Director’s Cut of the Woodstock film a couple of weeks ago. I haven’t read Jeff’s review because I make it a point not to read any reviews of something that I’m working on until after I’ve finished my review. So this may end up being a point-counterpoint, or maybe we’ll agree on everything.

I first saw Michael Wadleigh’s film in a theater in New York City when it was released in 1970. It was the same night as the Knicks seventh game victory over the Lakers (the game where a hobbled Willis Reed provided one of the most inspirational performances in sports history), and since there were no vcr’s, and certainly no dvr’s yet, I missed the game. The things we do for love. I may have seen the film once in the years since then. The biggest surprise for me after all these years is that the film, so fondly remembered for the bands, is not about the music at all. It’s about people. The people who organized the whole thing. The people who went and lived to tell the tale. The townspeople who were massively inconvenienced that weekend. The man who cleaned the Port-O-Sans. (more…)

Popdose Flashback: Michael Bolton, “Soul Provider”

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In Bull Durham, Kevin Costner’s character Crash Davis chides Nuke LaLoosh (Tim Robbins) for his laziness and lack of focus on the game of baseball. “You got a gift,” he says. “When you were a baby, the gods reached down and turned your right arm into a thunderbolt. You got a Hall-of-Fame arm, but you’re pissing it away.”

Likewise, when Michael Bolotin (later, Bolton) was born, the gods reached down and gave him lungs of reech Coreenthian leather—a multi-octave range, filtered through a gruff, almost sandpaper-like delivery. But saying Bolton can sing is like saying George Bush can speak English: big deal, what’s he done with it? The issue is context. His early solo work in the 70s was crap—miscast as a Joe Cocker wannabe, he tried his hand crooning stuff like “These Eyes” and “Time is on My Side,” with no particular distinction. His two-album stint as the lead singer of Blackjack was similarly underwhelming—muddy production and faceless instrumentation (by Bruce Kulick, Sandy Gennaro, and Jimmy Haslip, all of whom would go on to more distinctive work elsewhere) left the listener feeling damaged in some significant way.

No, it was shortly after Blackjack, 1983 and ‘84 to be exact, when Bolton found a niche that worked—that of the arena rock god. On both his self-titled ‘83 album and Everybody’s Crazy, which followed the next year, he was backed by flashy, hairsprayed sidemen, who provided the echoed drums and WEE-diddly-diddly gee-tar that helped put Bolton on the road, opening for Ozzy, Loverboy, and their corporate rawk brethren. In arena rock, he found a musical backdrop where his tendency toward histrionics fit, where it was even encouraged. Had he stayed with that style, who knows what might have become of him? He could be co-headlining with Poison this summer, or releasing a Journey-like comeback record through Wal-Mart. (more…)

Nine Hills in Seven Short Days: Joe Cocker @ The Nokia Theatre

Joe Cocker

For the least two years, the area in front of the Staples Center has been the site of a massive construction project, the behemoth “LA Live” complex. Costing approximately $2.5 billion, the complex is home to the Nokia Theatre, a venue that is described as “mid-size” (though it seats 7,100 people) and is scheduled to host the Emmy awards for at least the next ten years.

Although I’ve got nothing against the music of Joe Cocker, aside from his seeming lack of original material, I wouldn’t consider myself a fan. Even so, I leapt at the chance to see him play at the Nokia; it’s been open for less than a year and I was very curious to see what it was like. I was suitably impressed. The design of the entire theater is very slick and modern, with translucent lobby walls that change color and concession menus that are featured on LCD television screens. On one hand, everything feels a bit corporate and seems like it will be dated in just a few short years, but on the other hand, it’s hard to inhale that new-car smell that permeates the theater and not feel a little bit intoxicated.

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Bottom Feeders: The Ass End of the ’80s, Part 19

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You know, there are times when even I’ve had enough of ’80s music. It’s hard to believe that since I’m still acquiring “new” music all the time, but sometimes I need something more.

One of those times occurred this past Saturday as I was sitting at a poker table in Atlantic City, New Jersey. My iPod contains every Hot 100 hit from the ’80s plus many more ’80s tunes, some random great albums from the past two decades, and a ton of metal. I rarely ever choose a single artist or a full album and listen to the whole thing since I love the randomness of the shuffle option. There’s just something about hearing a 17-minute track from doom metal masters Electric Wizard followed by a Flock of Seagulls tune that does it for me. But as I was sitting at the table, I actually started to see a trend — when Tiffany came on, I was playing passively and poorly, but when it shuffled to Slayer I was nice and aggressive and winning hands. So, there came a point when I got tired of losing money and just chose to listen to Exodus albums for the rest of the night. I never thought there would be a point where the ’80s just didn’t work for me, but I guess I’ve found it.

NEW SOUNDS FOR THE COLLECTION:
Isaac Hayes, Lifetime Thing
Captain Sky, Concerned Party No. 1
Tease, Remember
The Flirts, Made in America
Gayle Adams, Gayle Adams
Kano, Kano

Back to a full post this week as I invade your speakers with more Billboard Hot 100 Bottom Feeders from artists whose names start with the letter C.

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