"Budweiser You've created a Monster..." slurs Sylvester Stallone in his nasal mealy-mouthed singing debut and cinematic product-placement endorsement which sounds like it was done prior to his penis-enlargement operation which he contractually stipulated must be visible in the establishing shot depicting his character bodily ensconced in a (real dumb) cryogenic iceblock in the beginning of "Demolition Man", the movie poster of which depicted Stallone and Snipes profile-to-profile in a daring proximity that was discomforting to all but the most homosexual of the Hollywood velvet mafia. But I Digress.1984's "Rhinestone" would be of the 'so-bad-it's-good' variety except for the presence of the irrefutably talented and just plain likeable Dolly Parton who should be universally acknowledged as a gifted singer-songwriter by even the most jaded urbanite know-it-all. It is Parton's irresistable affability and beautiful singing voice in oil-and-water combination with Stallone's tone-deaf cold-calzone Baritone that makes this Soundtrack Album a little bit more than the mere curiosity it would be otherwise. What would be an empty appeal-to-two-disparate-demographic-markets cinematic vehicular exercise in another decade or guise is miraculously Fair --maybe even Good (?!)-- in this incarnation. Of course the lazily-concocted events that script these unlikely bedfellows into various forms of duet are implausable and idiotic but where we expect color-by-numbers Soundtrack Songwriting intended to ressurect the Radio Rotation of "9 to 5", we get passable songs from the buxom pen of Parton whose ability is more than adequate for the "Job".What is most unexpected and anomolous, however, is Sly's own addition to the hoary canon of latterday C&W (if Hollywood's famously-dubious and usually ghostwritten credits are to be believed), his composition "Drinkin' Stein", so solemnly quoted in the beginning of this analysis, was most likely written by committee at Anheuser-Busch who contractually required that it be blamed on the Italian Stallion, but no matter, rejoice in the knowing that it is also his last in this genre or any. I stipulate this release qualifies as 'Trucker Music' in its greasy American mix of professional transport thematics and unprofessional vocals.