Arena rock artist Billy Squier successfully danced along the genre lines of hard rock and catchy guitar pop, releasing some strongly memorable '80s rock along the way. Though never quite falling into the ranks of pop metal, Squier certainly influenced that form by creating muscular guitar rock songs with singularly high-pitched yet distinctive vocals. Even so, his work has never truly been judged on its own merit. Here's an attempt to do just that through a selection, in chronological order, of Squier's finest tracks from the '80s.
1. "Calley Oh"
Album Cover Image Courtesy of Capitol
Although the track "The Big Beat" from Squier's 1980 debut record, The Tale of the Tape, has received plenty of attention over the years through multiple hip-hop samples, it's not nearly as memorable as this mid-tempo selection from the same album. Featuring creative riffs, catchy melodies and subtle, rich vocals from Squier, this tune represents the best of the artist's particular brand of pop/rock fusion. Equally spiced with arena rock, hard rock and accessible mainstream pop/rock touches, this is an excellent place to start in exploring Squier's largely consistent if overly mid-tempo output.
2. "Rich Kid"
Squier flexes his blue-collar rock aesthetic here, and even if it's not entirely convincing given the hard rock posturing on display, the result is at least highly listenable. Many Squier fans believe that his debut record may just represent the best work of his entire career, and in many ways this is an accurate impression. The hits certainly didn't flow from this release, and on the Billboard album charts Squier failed even to make an initial dent. Nevertheless, the solid rock spirit and personality-laden nature of this song lend it a welcome sort of straightforward freshness.3. "In the Dark"
Single Cover Image Courtesy of Capitol
Probably one of the finest pop music eras for the combination of electronic keyboards and electric guitars, the early '80s allowed Squier to straddle genre lines nimbly and effortlessly. That may be why some mistook him as at least a partially new wave artist, even though his musical impulses drew practically nothing from punk rock or its immediate aftermath. Enter as evidence this rightfully famous lead-off track from Squier's smash 1981 LP Don't Say No. The singer's vocals here are undeniably AOR in both the good and bad connotations of that term. However, the songwriting does benefit from an ample power pop instinct.
4. "Lonely Is the Night"
Album Cover Image Courtesy of Capitol
Squier goes full-tilt into guitar-hero mode here, years before the video game of the same name (or its competitors) allowed for Vince Vaughn to pay this artist tribute on celluloid. The impossibly big sound of this track's drums and percussion employs layers of shameless bravado, and yet somehow Squier is able to pull things off without making himself too susceptible to all-out parody. Any of us classic rock radio listeners of old have certainly heard this one a few too many times, but it still rocks out quite satisfyingly, especially during the romping section at fade-out.
5. "My Kinda Lover"
If pressed, even Squier's most scoffing detractors would probably have to admit that he's something of a guitar riff master. The punchy introductory chords of this tune are nothing if not infectious, even if Squier's lyrics and somewhat heavy dependence on synthesizers sometimes cause him to come up way short of his lofty targets. Mainstream rock and stadium rock have never sported reputations of great sophistication, but the no-nonsense appeal of Squier's work here - and on much of his top-selling sophomore release - helped carve out a healthy, lasting niche for the singer.6. "Everybody Wants You"
Album Cover Image Courtesy of Capitol
1982's Emotions in Motion ended up selling a whole mess of copies, establishing Squier's first bona fide platinum record in America. This opening rocker from the LP genuinely struts its stuff with the apparent humility of a millionaire peacock, and yet the flashy production succeeds only because the songwriting is quite sound and free of typical filler. It's easy to reduce Squier's charms to a common denominator of tweener rock cliches, but that doesn't mean such a view is entirely accurate. And how can listeners not gleefully mime the spirited cymbal crashes that come early and often during this track?
7. "Rock Me Tonite"
Single Cover Image Courtesy of Capitol
Plenty enough has been said at this point about the horrific and outright appalling music video for this 1984 track from Signs of Life, so what do you say we just concentrate on the music this one time? Divorced from its ill-conceived promotional clip, this song again scores high marks for Squier as a quintessential, unabashedly pop/rock artist. That sweeping term often reveals little, but in this case it perfectly captures Squier's singular talents. While not the artist's finest effort by any means, the tune itself shines most brightly during the rich and textured verses rather than the less affecting chorus.
8. "Don't Let Me Go"
Album Cover Image Courtesy of Capitol
Squier's final two albums of the '80s - 1986's Enough Is Enough and 1989's Hear and Now - fared relatively poorly among record buyers and convinced most observers that his career was on the fade. Even so, there are some highly competent rock songs to be found among his later work. Despite never taking full commercial advantage of his resemblance to various hair metal acts, Squier never lost his ability to churn out memorable and accessible mid-tempo rock tunes. This one's a power ballad that probably should have been heard more often back in the day.
