So, what have you been listening to lately?

[uwe]

I can relate. Dio looked like some fantasy munchkin (which projected the sword & sorcery lyrics) and there comes James Dean lookalike Graham with his Hawaii shirt and a white blazer! When I (at the time: long-haired) saw him like that I folded my arms ... But then, when he started singing "Eyes of the World" (first song in the new set) at the gig, I immediately knew: "Wow, this guy is something different." Rainbow live with Blackmore and Powell were a sonic beast that made no allowances for the vocalist whatsoever, yet Bonnet hollered them down. Vocally subjugating Rainbow live is no mean feat. 

I also found it endearing that he showed up at the Rainbow audition in France (i) believing that Rainbow were a folk-pop band, (ii) not knowing who Ritchie Blackmore is and (iii) not knowing a single song by Rainbow OR Deep Purple. He had lived a musician's life completely out of the heavy rock bubble.

[Dave W]

[uwe]

The old man in the uniform shirt plays real nice fills. Listening to it, you get an idea where Garth Brooks came from.

[Dave W]

The old man in the uniform shirt plays real nice fills. Listening to it, you get an idea where Garth Brooks came from.

That's the legendary Jimmy Capps, who passed in 2020. Not too many session men rate a NY Times obit.

Michelle Voan, the backup singer about half his age, was his wife.

[uwe]

Ain't I good? Without having an idea who he was, I noticed that he is something special. Just by listening.

[uwe]

For some reason, the first Steppenwolf album I heard was their ambitious and rather-late-in-their-career work 'Monster'. Back then (1974?, it had already been out for a while when someone lent me the album together with Steppenwolf '7') I thought it musically and lyrically impressive. Listening to it now (a remastered boxed set of Steppenwollf's eight albums with Dunhill/ABC came out recently), I still am.



Now, why these guys aren't in the RRHOF is really beyond me!

And I've only learned now that Mars Bonfire (aka Dennis Edmonton) who wrote Born To Be Wild was not an outside songwriter but the original lead guitarist of a band that morphed into Steppenwolf and who had already left them for a solo career (which failed, but hopefully the royalties from Born To Be Wild alone stood him in good stead, the guy from Wham, Andrew Ridgeley, only lives from "Last Christmas" which George Michael gave to him as well) when they recorded his composition. His brother Jerry Edmonton continued to play drums with Steppenwolf. Mars/Dennis would continue to write for Steppenwolf.

[uwe]

The Purple Dinos roam the Earth again!




This is not Made in Japan and it never will be again, but for a bunch of senior citizens where the youngest one (Morse) is 68 and the others all in their mid-70ies or - like Glover and Gillan - already closer to 80 than 70 it is still pretty darn good.

They even do a little pop music - at 17:20, cute.

[Dave W]

Ain't I good? Without having an idea who he was, I noticed that he is something special. Just by listening.

Yes, you're very perceptive.

I admire artists like Jimmy more than guitar hotshots whose only goal seems to be showing off.

[Rob]

Yes, you're very perceptive.

I admire artists like Jimmy more than guitar hotshots whose only goal seems to be showing off.

[uwe]

[uwe]

Nothing much ever changes with these stalwarts of the NWOBHM, nor should it.



There's a TBird in there.



And now a Ric.

Simon & Biff Uncle:

[westen44]

You won't find many rockers over 70 who can sing like Biff Byford. 


https://www.loudersound.com/features/saxon-a-guide-to-their-best-albums

[uwe]

Look no further than Uncle Ted for subtle, nuanced messaging, that never ever rams things down your throat.



Has Billy Squier yet found legal representation for this?!

[westen44]

They've never even been able to post the actual video for Billy's song "She Goes Down," which in my opinion may be his most controversial song.  I just wonder what his career would have been like if he hadn't done the "Rock Me Tonite" video which many people (including myself) found pretty absurd.)

[uwe]

Is that really more than an urban myth that this vid



did his career in? Squier seems to believe it himself:

"Music video

The video for the track was directed and choreographed by Kenny Ortega, who later directed the High School Musical films. It shows Squier waking up in a bed with satiny, pastel-colored sheets, then prancing around the bed as he gets dressed, ultimately putting on a pink tank top over a white shirt. At the conclusion he leaves the room with a pink guitar to join his band in performing the song.

For I Want My MTV, their 2011 oral history of the network's early years, authors Rob Tannenbaum and Craig Marks interviewed over 400 people, primarily artists, managers, filmmakers, record company executives and MTV employees. They said that none could agree on the best video, but all agreed that "Rock Me Tonite" was the worst. They devoted an entire chapter of the book to it.[4] Martha Quinn, an MTV VJ when "Rock Me Tonite" was released, called it "a super-fun video and a super-great song," and commented, "I don't remember that video being poorly received at the time."[5]

Squier himself, and other observers, believe its homoeroticism alienated a significant portion of his fan base (predominantly teenaged boys at the time) and ruined his career. "I liked Billy Squier very much," says Rudolf Schenker of Scorpions, "but then I saw him doing this video in a very terrible way. I couldn't take the music serious anymore."[2]

History
The original concept for the video was Squier's. "[It] was based on the ritual of going to a concert," Squier recalled in 2011. "If we admit it, when we're getting ready to go out, we're checking our clothes and our hair." His idea was to show him doing that, paralleled by younger fans doing the same and then sneaking out to the show. He took it to Bob Giraldi, a director at the time much sought after in the wake of his highly successful video for Michael Jackson's "Beat It".[2]

According to Squier, he played the song for Giraldi and shared the concept with him. The director was initially enthusiastic, but then a week later changed his mind, saying it was not "something he'd want his kids to see." Mick Kleber, an executive at Squier's label, Capitol Records, clarifies that Giraldi was interested but wanted a bigger budget to work with. However, Capitol was not as open as other labels at the time to spending large amounts of money on videos, so he declined because he did not expect the label to be forthcoming (the final video was still the most expensive Capitol had put out at the time). Giraldi has said that Squier's original intuitions were right and that the video would have worked out had he directed it.[2]

Squier and his management then approached David Mallet, another popular music-video director of the time, whose work included Billy Idol's "White Wedding". Mallet put together some storyboards, but they were quickly rejected. "The first thing he showed me was a scene of me riding into a diner on a white horse," says Squier. "I was like, 'Get rid of him.'" Kleber thinks that Mallet may not have believed the song would be a hit, especially compared with some of the other videos he had done for Capitol at the time, and was just being courteous.[2]

By this point, a date had already been set for the video's world premiere on MTV. "We're running out of time," Squier recalls. Capitol and his management said they had talked to MTV about pushing the date back, but the cable channel could not guarantee a later date (Arnold Stiefel, Rod Stewart's manager, suggests that had Squier's management been firmer on this point, they could have held MTV to its commitment no matter what date was ultimately set).[2]

At that point, Ortega, a friend of Squier's girlfriend, called up Squier's managers and offered to direct the video. He had done choreography in some of Mallet's videos, and directed the clip for the Pointer Sisters' "I'm So Excited". Neither manager was particularly enthusiastic about Ortega, and pressured Squier to get rid of him. Capitol was disturbed that Squier had talked directly to Ortega, in contravention of their preferred practice, but deferred to him. "By going around the label, he had thrown down the gauntlet," Kleber says.[2]

Ortega suggested to him that he do some of the same moves he did during his show, without his guitar. Squier's idea was that the resulting footage should be grainy and in darker, subdued colors, evoking the 1980 film American Gigolo. He rejected a suggestion by Ortega that it look instead like Tom Cruise's air guitar scene near the beginning of the 1983 film Risky Business.[2]

The shoot was held in Los Angeles within two weeks of the world premiere date. Squier showed up on the soundstage and saw the decorated set. It was not what he had envisioned, and he expressed his misgivings. Ortega reassured him that the finished version would look as he had wanted it to. "I didn't like the sheets but I trusted the guy." Tom Mohler, one of Squier's managers, asked Ortega to make sure there was footage of the band performing the entire song to use as coverage; he says Ortega promised to do so but did not.[2]

Mohler pleaded with Capitol president Jim Mazza to just cancel the video, but the label stood firm. "I wish I had had the balls to say to the label, 'We're not putting it out,'" Mohler laments.[2]

Squier was aghast when he saw the video. Capitol told him not to worry since the single was so successful, but his girlfriend told him it would ruin him. He was touring at the time, and recalls that as soon as the video came out, he stopped selling out shows, in some cases playing to half-empty arenas. "I couldn't figure out why Capitol didn't pull that video and make another one," said Warren DeMartini of Ratt, who were opening for Squier at the time. Squier learned later that he could have done so himself, as Bruce Springsteen had been able to do with a video he disliked. "Everything I'd worked for my whole life was crumbling, and I couldn't stop it."[2]

As a result, he fired both his managers within a month. While they understood why, it was painful for Mohler in particular, since Squier had been best man at his wedding earlier in the year. He hired Stiefel to replace them, finished his tour and then took two years to release his next album, Enough Is Enough.[2] He has never matched his early chart success since then.

In 2011, Squier talked about the experience as "an MBA course in how a video can go totally wrong."

The video misrepresents who I am as an artist. I was a good-looking, sexy guy. That certainly didn't hurt in selling records. But in this video I'm sort of pretty boy. And I'm preening around a room. People said "He's gay." Or "He's on drugs." It was traumatizing to me. I mean, I had nothing against gays. I have a lot of gay friends. But like it or not, it was more of a sticky point then.

While he is still angry at Ortega, who he believes purposely misled and exploited him, he is philosophical about the video. "The scars aren't that deep ... It's a bad part of a good life."[2]

Ortega has refused to accept blame for the video, saying it was filmed as Squier had conceived. "If anything, I tried to toughen the image he was projecting," he told the author of a 1986 book about the record industry. He claims he and the video's editor had their names taken out of the credits when they got frustrated over their lack of creative input. "Let there be no doubt, 'Rock Me Tonite' was a Billy Squier video in every sense. If it has damaged his career he has no one to blame but himself."[6] In 2012, Tannenbaum said that while researching I Want My MTV, he attempted to contact Ortega to get his response to Squier's complaints. He said the director's representatives delayed him until after the book's deadline passed, so he never got an answer.[7]

Writing for Ultimate Classic Rock, Jeff Giles disagrees with the assessment that the video ended Squier's career: "Just a quick scan through the top rock hits of 1983 and 1984 is all you need to find evidence that Squier was hardly alone in filming cheesy, low-budget or gender-bending videos."[8]

But I kinda wonder. By 1984, gay or effeminate front men weren't that outlandish. You had Freddie Mercury and Elton John, you had Rob Halford who at the time looked like he was auditioning as the new Siegfried for Siegfried & Roy (who you knew might be sharing a bed with their white tigers, but certainly not with women)



- anybody caring to look knew these men were gay. And there had always been effeminate, pretty boy or androgynous front men like Jagger, Plant, Bowie, Marc Bolan, Alice Cooper, Peter Frampton, Michael Jackson or Paul Stanley. So what was - even in 1984 - so incredibly shocking about a guy (who had always looked and even sounded closer to Rick Springfield than a chest-beating macho like Paul Rodgers and had a considerable female audience) prancing about in Flashdance style and sleeping in pink satin sheets? I had seen Squier live only two years before and he hadn't struck me as either caveman'ish male or effeminate, he was just a good-looking skinny dude with tousled hair certainly aware of his appearance on the other sex, but not even particularly androgynous. He certainly had a good ear for tuneful hard rock though and an agile upper register voice plus a great band, I thought his live performance extremely impressive. His pipes remain impressive to this day, even when he performs just with his electric guitar.



The "prancing"-vid otoh always reminds of Kevin Kline's wonderful coming-out dance routine in In & Out,



but granted that film came 13 years later. Anyway, if that Rock Me Tonite-vid was really to blame for the demise of Squier's career, then I'm certainly glad that a similar reaction would be unthinkable today.

Not everything is turning for the worse.