Bender was Correct

 

"The worst video ever made" - the story of Billy Squier's 'Rock Me Tonite' (from Marks and Tannenbaum's 'I Want My MTV')

[Billy Squier was interviewed on MTV October 1986; at that point, he doesn't seem t have realized the damage done to his career by the two-year-old video. The oral history I Want My MTV gives an entire chapter to this one video..]

Chapter 21

“A WHOPPING, STEAMING TURD”

THE WORST VIDEO EVER MADE

BILLY SQUIER, artist: I came up with “Rock Me Tonite” on holiday in Greece, swimming off Santorini. I came out of the water and said to my girlfriend, “I’ve got a hit for the next record.” 

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Zombie Creep Mashup

This is not what I wanted. Not at all

Lemmy and Phil from Motorhead perform Chuck Berry's "Let it Rock" on the Letterman Show | 1991

 

Late-night talk shows in the 90s were usually polite, highly scripted affairs. But in 1991, David Letterman invited Motörhead onto his set, and Lemmy Kilmister completely threw out the rulebook. Right from the start, the segment was beautifully awkward. Letterman famously fumbled the introduction, mistakenly calling their brilliant new album 1916 just "Motörhead," while cracking jokes about the absolute wall of massive amplifiers dominating the studio stage. But the real twist came when the music started. Instead of plugging a radio-friendly single from the new record, Lemmy and guitarist Phil Campbell joined forces with Paul Shaffer’s house band for something completely unexpected: a blistering, high-octane cover of Chuck Berry’s "Let It Rock." What followed was an absolute masterclass in rock 'n' roll rebellion. They bridged the gap between old-school American rock and the deafening, distorted speed metal that Motörhead pioneered. What makes this performance an all-time classic is Lemmy’s utter refusal to play into typical late-night pleasantries. He stood there with his classic, uncompromising stage presence, staring up at his microphone, and reminding a mainstream television audience exactly what real, unpolished metal looks like.

The Song In My Head: Moonage Day Dream: David Bowie

Moonage Daydream" is a song by the English singer-songwriter David Bowie. It was originally recorded in February 1971 at Radio Luxembourg's studios in London and released as a single by his short-lived band Arnold Corns in May 1971 on B&C Records. Bowie subsequently re-recorded the song later that year with his backing band the Spiders from Mars—Mick Ronson, Trevor Bolder and Mick Woodmansey—for release on his 1972 album The Rise and Fall of Ziggy Stardust and the Spiders from Mars. The re-recording was co-produced by Ken Scott and recorded at Trident Studios in London in November 1971. The re-recording is a glam rock song that uses melodic and harmonic hooks, as well as percussion and guitar influenced by heavy metal. On the album, the song directly introduces the character Ziggy Stardust, who describes himself as a bisexual alien rock superstar who will save the Earth from the impending disaster described in the opening track "Five Years". It features saxophone played by Bowie and a guitar solo and string arrangement by Ronson.

Pulp Halloween MF's

Zakk Wylde 1993

If you happened to be running errands in Novi, Michigan, back in October 1993, you might have walked out of a store and been absolutely blasted by a wall of screaming guitar harmonics. Right there on the asphalt—specifically the parking lot at 10 Mile and Meadowbrook Road—a 26-year-old Zakk Wylde set up a massive wall of Marshall amplifiers for a completely impromptu outdoor set. This wasn't an official arena tour. It was just a raw, high-octane performance for a tiny crowd of local fans standing mere feet away. At this point in his career, Zakk was transitioning between his iconic work with Ozzy Osbourne and launching his side project, Pride & Glory. My favorite part of this legendary local moment? He ripped into a heavy-handed, blistering cover of Mountain’s classic track, "Mississippi Queen." He loaded the performance with his signature aggressive alternate picking and those piercing, squealing pinch harmonics that would later define Black Label Society. It’s small, unhinged pop-culture moments like this that remind you why early 90s rock was so special. It was entirely unpredictable, completely unpolished, and intensely loud.