He released a nadful of goofy singles with a prototypically '80s chunky sound.
No album pick as his albums are fun but utterly inessential.
Squier's now a tired victim of "The Stroke," and bitterness peppers the entire album: "I don't wanna be happy/if happy means I got to be like you/wake up in the morning/try to satisfy somebody new." He alters Joni Mitchell's "River": "I've made a ton of money but I can't buy out this scene." Give Squier credit for stripping down, but this release is only for the faithful, which doesn't seem to matter to the Bostonian.
He annotates the lyric booklet with wildly pretentious explanatory capsules: "Inferno," of course, sprang from Dante; this cut cascades with Zeppelin flourishes and "Long Way to Fall" drops Buckingham bits.
By the end of Happy Blue, one prays the artist finds the peace he seeks.
"An underrated and regrettably forgotten songwriter, Billy Squier personifies the best of hooky early '80s hard rock.
Big Feet.” “I’d always envisioned ‘The Big Beat’ leading off ‘The Tale of the Tape’ with the BIGGEST drumbeat the rock world had ever heard,” Squier wrote on his Web site last month. Exhibit A went on to become “My Kind of Lover,” Exhibit B, “The Stroke.” He told Mack the sound he wanted for the latter would be like a rowing crew plunging oars, funneling water. “I think I translated it pretty successfully.” Released in May 1981, “The Stroke” went to No.
3 on the charts and was the first single off “Don’t Say No,” which went triple-platinum.
Ask anyone under 25 if they’ve heard of Billy Squier, and the answer is likely no. Squier has one of the most unusual stories in all of pop culture: a one-time superstar who, in the ’80s, straddled glam, pop and hard rock.
Then, in 1984, after his unintentionally camp video for “Rock Me Tonite” hit MTV, featuring Squier prancing around in fluffy hair and satin sheets, his career was over, just like that.
“Everybody Wants You” was the record’s biggest hit, holding at No. “That first album we did was dead simple,” says Mack, who also produced “Emotions in Motion.” “Then, all of a sudden, it was big time. Things changed.” By the time Squier released his next album, 1984’s “Signs of Life,” he was a megastar.