Posts Tagged ‘Willie Nelson’

Bottom Feeders: The Ass End of the ’80s, Part 63

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If you’re just joining us here, Bottom Feeders is a look at both the awesome and terrible songs that came out of the ‘80s — each week we cover about 20 songs that peaked no higher than #41 on the Billboard Hot 100 chart that decade. We’re moving alphabetically from A to Z, so we still have a long way to go. After many weeks stuck on M, we finally move to the letter N and more songs from the ass end of the ‘80s.

Graham Nash
“Innocent Eyes” — 1986, #84 (download)

Ooofah. When I first heard this, I was shocked that this was the same Graham Nash that I knew. I don’t blame the guy for trying to stay relevant, but his album that bears the same name as the single above is a crappy overdubbed jumbled mess. “Innocent Eyes” is definitely the best track on it and that may very well be because of the presence of Kenny Loggins on background vocals.

Nazareth
“Holiday” — 1980, #87 (download)

Nazareth released a ton of records with very little success on the Billboard singles charts in the US. And while this single isn’t the worst thing I’ve ever heard, it’s got no punch. Nice riff in the verses, but the chorus turning into light rock schlock just doesn’t do it for me.

Phyllis Nelson
“I Like You” — 1986, #61 (download)

This was a #1 dance hit for Nelson, her only song to cross over to the pop charts in the US. Her earlier ‘70s and ‘80s appearances in music were mostly with disco oriented tracks so it’s not a surprise she jumped on the mid-‘80s dance wagon for her 15 minutes of fame.

Willie Nelson
“My Heroes Have Always Been Cowboys” — 1980, #44 (download)

Pure country may not be my thing, but this is a really nice song off his soundtrack to Sydney Pollack’s The Electric Horseman. Gotta love it when Willie starts talking about picking up hookers in the middle of a track. I’ve never paid attention to the Willie Nelson story in full but what a crazy trip his life must be. Close to 100 albums, been on probably hundreds more, smoked hundreds of pounds of weed — I’m assuming this guy has had one crazy, eventful life.

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Bottom Feeders: The Ass End of the ’80s, Part 46

Let’s hop right into the music this week and stray all over the map within the borders of the letter J, looking at songs that charted no higher than #41 on the Billboard Hot 100 chart during the 1980s.

Garland Jeffreys
“96 Tears” — 1981, #66 (download)

Garland Jeffreys had been putting out music since 1969 with little success, though he had a non-charting yet popular song in 1973 called “Wild in the Streets.” His 1980 album Escape Artist yielded “96 Tears”, his only charting song.

Jellybean
“The Real Thing” — 1987, #82 (download)

John “Jellybean” Benitez had three songs on the Hot 100, the most well known being ’85s “Sidewalk Talk” written by and featuring Madonna on the chorus. Jellybean’s solo career consisted of using other artists as vocalists and apparently on quite a few occasions, “using” should be in quotes. On the cover of the “Sidewalk Talk” single he made prominent mention of Madonna writing it though didn’t bother to credit the main female singer, Catherine Buchannan. He’s also sold the rights to some of his songs without the knowledge of the singer on the track, most famously with his track “Love’s Gonna Get You” which featured Jocelyn Brown singing “It’s getting kind of heavy” which would be the prominent line in Snap’s song, “The Power” in 1990. “The Real Thing” is the most generic of his three solo hits, this one featuring singer Steven Dante.

Waylon Jennings and Willie Nelson
“Just to Satisfy You” — 1982, #52 (download)

Billed as Waylon & Willie on the single, this is a nice modern remake of a track Waylon released back in 1969 on his album of the same name. I’m no Willie Nelson fan, but I think this is one of his best in the decade.

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Popdose Gets ‘Faced: The Ultimate Drinking Mixtape

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A couple months ago, Jeff mentioned to me that he was thinking of putting together the Ultimate Drinking Mixtape in time for St. Patrick’s Day. I got so excited that I persuaded him to immediately open the floor to suggestions from the Popdose writers. And the song requests flowed in.

As the resident souse of the Popdose staff, I felt it was my responsibility to filter through the ideas that emerged and weave them together into something slightly more coherent than the drunken rantings I’d occasionally find typed out on my computer during the extensive beta-testing process. Later, during gamma-testing, the songs started to find their ways into groups. Finally, when I reached the delta-testing phase, things had been organized into chapters that celebrate the many different aspects of that delightful elixir that can lift or lower our spirits, make us in turn beautiful or ugly, and loosen or tangle our tongues with equal abandon.

Here’s the full tape – 116 minutes of pure malt goodness, with some wonderful words of wisdom sprinkled in.  Just add liquor.

The Ultimate Drinking Mixtape

A playlist follows the jump, but I feel I must warn you – it goes down a lot smoother if you drink straight from the bottle.

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DVD Review: “Surfer, Dude”

The tagline for Matthew McConaughey’s latest film is “Love and waves, that’s what we need in these dark days.” Finally, a movie star who isn’t afraid to tackle the worst financial crisis since the Great Depression! Well, not exactly — Surfer, Dude quietly made its way into theaters in early September, after Hollywood’s tidal wave of summer blockbusters had receded but before the events of September 14 wiped out all hope that the current economic recession would ebb anytime soon. (By the by, how come it’s called a recession if it hits average Americans like a hurricane?) After three weeks in a grand total of 69 theaters, Surfer, Dude’s total box-office gross was $52,132, which probably didn’t leave McConaughey or his filmmaker bros feeling too stoked.

A limited release in 69 theaters for a foreign film or a documentary is one thing, but a microscopic release like that for a Matthew McConaughey stoner comedy is something else. Speaking of documentaries, Surfer, Dude was directed by S.R. Bindler, who helmed the documentary Hands on a Hard Body in 1997 but has no other directing credits listed on IMDB between then and 2008. McConaughey’s production company, j.k. livin, helped produce Hands on a Hard Body and has its hands all over Surfer, Dude, and according to McConaughey in the behind-the-scenes featurette included on the DVD, he’s known Bindler since they were 15. Bindler, why didn’t you just let Matthew cheat off you in high school? Now you’re going to be under his thumb for the rest of your life.

McConaughey says in the featurette that making Surfer, Dude was “the most fulfilling, creative experience I’ve ever had.” Shooting a movie in Malibu with your friends does sound like a nice way to spend 28 days in the spring, but whatever fulfillment McConaughey got out of the experience doesn’t translate to the screen. Surfer, Dude is a comedy, but it isn’t funny. Unless you’re high, I guess. Since the film was shot for only $6 million, I wouldn’t be surprised if pro-hemp costars Woody Harrelson and Willie Nelson were paid in weed. (In lieu of weed or cash, Scott Glenn accepted teeth. Judging by his smile, you can never have too many.)

For the most part Surfer, Dude just sits there on the screen for 85 minutes waiting for a wave of laughter or excitement to arrive, much like its hero, Steve Addington (McConaughey), a superstar “soul surfer” who returns to his Malibu home for the summer only to find that the waves have suddenly disappeared. (To qualify as a soul surfer, you must renounce all cell phones, you can only watch your old surfing highlights on Super-8 film, and your hair-restoration medicine must be totally organic. Oh, and it helps if you have a surfing double for your surfing scenes, of which Surfer, Dude has precious few.) He gives up pot and sex, hoping to appease the gods of surfing, but nothing works. Without waves, Addington is adrift.

Meanwhile, a former surfer named Eddie Zarno (Jeffrey Nordling), who’s now a reality TV and video game producer, has taken over Addington’s sponsorship contracts and wants him to be part of his Real World-type reality show starring the world’s top surfers. He also wants Addington to lend his longboard skills to a virtual-reality game called Free Surfer. (You know he’s a jerk from the get-go because his name starts with a Z. Kneel before Zarno …) Addington just wants to surf and refuses to be a part of Zarno’s projects, but once the sleazebag cuts off his credit flow, Addington becomes desperate, especially with no waves in sight.

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