Videodrone #25: Letter from an Occupant

Videodrone is a weekly(ish) feature looking at music videos from the last half century. 

Letter from an Occupant (2000)

What happens when you write a perfect pop song and nobody hears it? Did it actually happen? Well, in the case of "Letter from an Occupant" by the New Pornographers, yes, it did happen and we are all better for it.

Of course, I'm being hyperbolic to say nobody heard it. The song was on the band's debut album, Mass Romantic, which was released on Mint Records in Canada in November 2000. The album got good notices (indeed, the NPs won a Juno for Alternative Album of the Year for it), but it didn't chart and "Letter from Occupant," which was released as a single in April 2002, didn't make much of a splash on radio or MTV. (Although I just discovered it was included on the soundtrack to the movie Jay and Silent Bob Strike Back in 2001.)

But dammit, it sure deserved to. The group was referred to as a Canadian indie rock supergroup, more as a joke than anything else since none of its members had any real success prior to joining. Head songwriter Carl Newman was previously in Zumpano, Dan Bejar was in Destroyer, John Collins was in the Evaporators, Kurt Dahle came from Limblifter and Blaine Thurier later became a filmmaker. Honorary Canuck Neko Case was already an alt-country solo artist, but her career didn't take off until later.

Case sang lead on "Letter from an Occupant," which was an upbeat power pop gem that was very different from Case's usual repertoire. There was a lot going on in the song, Newman told Pitchfork: "I remember 'Letter from an Occupant' was a pretty belabored song. It ended up being almost minimal, but I remember there's so much shit we put on it. There's a psychedelic 12-string guitar solo, a backwards guitar, there's a really cool synth that's in there but buried. At some point, you have to choose. That was the hardest part about mixing the thing: just making that judgment call. I only feel at peace with the record now because people seem to like it."

Newman's lyrics are also excellent. "The time that your enemy gives you/Good times are not the ones you want/I've cried five rivers on the way here/Which one will you skate away on?/The tune you'll be humming forever/All the words are replaced and wrong/With a shower of 'yeahs' and 'whatevers'/You traded me away long gone."

The video was directed by Michael Dowse, who went on to direct feature films including the beloved cult comedy FUBAR, the hockey comedy Goon, and several others. The video features the NPs performing the song in different locations with a screen in the background that jumps to the next scene. It likely got plenty of play on MuchMusic in Canada; if it got any MTV airplay, it was on 120 Minutes. I certainly never saw the video until YouTube came along years later.

I never heard the NPs on the radio, but rather discovered the band the way I learned about a lot of music in the early 2000s, through MP3 blogs. It was around 2003 when the band's second album, Electric Version, came out, that some of the blogs I followed started hyping the New Pornographers. I went back and discovered the greatness of Mass Romantic. 

The early '00s was a great time for Canadian indie rock: The New Pornographers, Broken Social Scene, Metric, Wolf Parade, Stars, Arcade Fire, Death from Above 1979, The Dears, Joel Plaskett Emergency, Hot Hot Heat, Black Mountain, Land of Talk and on and on. 

The NPs just released their 10th album earlier this year. Newman remains the band's leader and Case continues to work with the group, even though her solo career has really blossomed. The rest of the lineup has fluctuated over the years, but the band's output remains strong. Still, Mass Romantic and "Letter from an Occupant" was a hell of a launching-off point.

Videodrone #24: Sexx Laws

Videodrone is a weekly(ish) feature looking at music videos from the last half century. 

Sexx Laws (1999)

There was a lot going on in 1999. We were on the cusp of the new millennium and there was plenty of hype around the Y2K bug, which had everyone convinced all computer systems would go haywire once the clocks hit midnight on New Year's Eve. Needless to say, nothing happened.

Musically, it was an interesting year. The emergence of Napster on college campuses introduced the world to downloading and MP3s, which would lead to a seismic shift in the music industry. 

Alternative rock was still a thing, but it was nu metal and hip hop that got more attention from music fans: Limp Bizkit, Korn, Eminem, Dr. Dre and Kid Rock were leading the charge. In the middle of all that, the mercurial Beck was in the midst of a terrific run of albums. The previous year saw the release of the subdued but excellent Mutations, but Beck went in a completely different direction with 1999's Midnite Vultures. This time around, he leaned into funk and dance music with strong results. While it didn't reach the heights of Odelay, Midnite Vultures was a lot of fun, highlighted by lead single "Sexx Laws."

The song is an uptempo, horn-driven funk romp about gender roles, which the out-there video pokes fun at. Directed by Beck, it begins with a men's group called the Vision Warrior Men's Circle. The group's members include a young Jack Black, author Neil Strauss and Beck's bandleader Justin Meldal-Johnsen. After a group hug, a bunch of football players in day-glo uniforms crash through the walls and mayhem ensues, including Black getting smashed over the head with a bunch of drywall. 

Cut to Beck and his band playing the song, albeit with fake instruments (Meldal-Johnsen's playing a broom), alongside a zebra mannequin playing a banjo. Told you it was out there. Kitchen appliances come to life, much to the dismay of the men's group members, with a refrigerator humping an oven, and then a shot of Kenny G (played by Meldal-Johnsen) playing the sax in the background of the mayhem.  

There were a few different versions of the video, including an 18-minute version with extended scenes of the men's group (see a 13-minute version below). Beck also filmed a 6-minute video of "Kenny G" playing a smooth jazz version of the song; a session sax player handled the Kenny G part while Beck's band played the rest.

Midnite Vultures wasn't a smash like Mellow Gold and Odelay, but it still was certified gold. Beck followed it up in 2002 with the acoustic and melancholy Sea Change, another excellent album. That Beck likes to keep people on their toes. I've been less enamored with his output the last 15 years or so, but Beck's '90s and '00s work is undeniably strong.

Videodrone #23: Space Lord

Videodrone is a weekly(ish) feature looking at music videos from the last half century. 

Space Lord (1998)

The music world was changing in 1998. The alt-rock revolution of the early to mid-'90s was fizzling out, replaced by one-hit wonders (Semisonic, New Radicals, Harvey Danger, etc.), teen pop (Britney Spears, Backstreet Boys, N*SYNC), and pop country (Garth Brooks, Shania Twain). Hip hop was also faring well, especially on MTV with flashy videos directed by the likes of Hype Williams showcasing the glamorous life of rappers with plenty of cash, dancers and bling.

For a guy like Dave Wyndorf, frontman of the New Jersey space metal act Monster Magnet, things were getting a little lean. Heavily influenced by Black Sabbath, Hawkwind and Marvel Comics, Monster Magnet was formed in 1989 and signed with A&M Records in 1992 (they opened for Soundgarden and Swervedriver at Avalon in Boston in April 1992, but I got to the show too late to see them). They had a minor hit with "Negasonic Teenage Warhead" in 1995, getting some radio and video play, but like the band's previous album, it didn't sell well. 

So Wyndorf holed up in a hotel room off the Las Vegas strip and wrote a song a day for 21 days, mostly around the Vegas themes of desperation and despair. One of those songs was "Space Lord," about a Thanos-esque supervillain. The label had encouraged him to write simpler songs in the hopes of scoring an actual hit of the complex and often long epics the band was known for. 

For the video, Wyndorf asked director Joseph Kahn (who has directed videos for Taylor Swift, George Michael, Eminem, Snoop Dogg and many others) to make it look like a rap video, since rappers were becoming the real rock stars by this point. Kahn obliged and filmed scenes at many of the same Vegas strip locations used in Mase's "Feel So Good" video (see below). 

The video starts off with a slow-building intro that mimics Metallica's "Enter Sandman" clip, haunting and shadowy, before exploding into the bright colors, pyrotechnics and fisheye lens angles utilized by Williams in the Mase video and many others. Wyndorf is wearing a shiny blue suit in some scenes, a white suit emblazoned with light bulbs in others. The song is an all-out rocker and the video jumps off the screen, with Wyndorf and a group of dancers gyrating in front of a Vegas hotel while fireworks go off all around them.

For some reason, Wyndorf went with a sanitized version of the song's refrain "Space lord, motherfucker," changing it to "Space lord, mother mother" instead. It still works. The song ended up reaching #3 on the Billboard Mainstream Rock chart and #29 on the U.S. Alternative Airplay chart. The album Powertrip hit #97 on the Billboard 200 and was certified gold.

Monster Magnet's video was so similar to "Feel So Good" that once Wyndorf realized it, he was concerned that Mase would be upset but Mase was amused by the homage.

As it turned out, "Space Lord" was the first video ever aired on MTV's Total Request Live, which was an extremely popular show for several years.

Monster Magnet is still together, although they would never again reach the heights they did with "Space Lord." Still, Wyndorf's Vegas stay certainly stands the test of time, even if Monster Magnet was never able to top it.

Videodrone #22: Unreal is Here

Videodrone is a weekly(ish) feature looking at music videos from the last half century. 

Unreal is Here (1997)

In the mid- to late-80s glory days of MTV, hard rock acts found success with the power ballad: A slower song that builds into a powerful climax. These songs helped heavy bands like Motley Crue and Scorpions reach a wider audience (i.e., women) and usually translated into huge album sales. At the same time, the videos for these songs were usually what propelled them to popularity, featuring live footage, dramatic-seeming shots of the band backstage, and wistful shots of the group traveling on buses and planes. See "Home Sweet Home" by the Crue, "Wanted Dead or Alive" by Bon Jovi and "Every Rose Has Its Thorn" by Poison for three examples.

Fast forward to 1997. Bon Jovi managed to transcend its hard rock roots and remained successful throughout the 

90s and beyond, but many of the metal and hard rock acts that ruled the '80s saw their popularity diminish after 1991 thanks to the rise of alternative rock. One act that remained under the radar even in those giddy times for indie rock was Chavez, an NYC-based band formed in 1993 by guitarist-singer Matt Sweeney (previously of the bands Skunk and Wider), guitarist Clay Tarver (formerly of Boston's Bullet Lavolta), bassist Scott Marshall (son of director Garry Marshall) and drummer James Lo (who also played in Wider).

Signed to legendary indie label Matador, Chavez played an angular math-rock style and released its first album Gone Glimmering in 1995. Their video for "Break Up Your Band" was featured on Beavis and Butt-Head and they toured with Guided By Voices and Bardo Pond. The group released Ride the Fader in late 1996 and in 1997, unveiled the video for "Unreal is Here," directed by Tarver and Marshall (who both went on to become TV and film directors).

The video opens with the band's name in lights before a show at the Hollywood Bowl as fans wait in the packed venue and the group disembarks from a helicopter in rock star style. Chavez plays "Unreal is Here" at soundcheck and it indeed starts off slow like a power ballad. Cut to shots of the group presenting a big check to its "CHAVEZ KIDS" charity and receiving platinum and gold records from its label while adoring throngs of fans surround them. There are scenes of backstage antics, long bus rides, interviews and photo ops. 

What's so funny about all that? The joke is that as great as Chavez was--and they were great--they never achieved a fraction of the success that those big-name hair metal bands scored in the '80s. And that's okay. Especially since Chavez was in on the joke.

Ride the Fader was their last album. The band never officially split, but they didn't release any new material or play shows from 1999 to 2006, when Matador released the comp Better Days Will Haunt You. It featured a new song and Chavez played a few shows in support of it. In 2017, the band released the EP Cockfighters.

Sweeney ended up becoming a notable session guitarist and featured player. In 2001, he joined Billy Corgan and Slint's David Pajo to form Zwan, he's worked with Bonnie "Prince" Billy, Iggy Pop, Guided By Voices, Probot, Johnny Cash, El-P, Andrew W.K. and Run the Jewels, among others. He also formed The Hard Quartet with Stephen Malkmus, has produced albums for numerous artists and hosts the web series Guitar Moves.

Marshall has directed three movies and worked as second unit director on several of his father's films. Tarver has also worked as a writer and director, including serving as the co-showrunner and executive producer of HBO's Silicon Valley.

Chavez is probably known to about 2% of current music fans, but at least those of us who appreciate them have a glimpse of what might have been with the video for "Unreal is Here."

Videodrone #21: Pepper

Videodrone is a weekly(ish) feature looking at music videos from the last half century. 

Pepper (1996)

In 1986, the Butthole Surfers were the last band anyone would have expected to score a top 40 hit. They had just released their second album, Rembrandt Pussyhorse, on Touch and Go and the few mainstream publications that wrote about them referred to the band as the "BH Surfers." Led by frontman Gibby Haynes and guitarist Paul Leary, the San Antonio band's live shows were outrageous and anarchic, with generous helpings of fire, nudity and unpredictability. They made fans of young musicians like Kurt Cobain and Kim Thayil.

The Surfers released albums and toured regularly through the late '80s and into the '90s until they surprised everyone and signed with Capitol Records in 1991. They also signed on to the first Lollapalooza tour with the likes of Jane's Addiction, Nine Inch Nails and Siouxsie and the Banshees, which introduced the Surfers to a whole new audience of impressionable alt-rock loving 20somethings. 

Gibby guested on Ministry's 1991 single "Jesus Built My Hotrod" and then Capitol teamed them up with producer John Paul Jones (yes, THAT John Paul Jones) for the recording of their 1993 album Independent Worm Saloon, which found the Surfers working in some conventional rock stylings into their weirdness. The first single, "Who Was in My Room Last Night?" got airplay on MTV and rock radio and even got a boost from MTV's new show "Beavis and Butt-head." As grunge and alt-culture caught fire, the Surfers were riding the wave as elder statesmen.

Fast forward to 1996. Grunge was on the wane, but alternative rock was still hanging around, led by the non-sequitur lyricism of Beck. In April, the Surfers released "Pepper," the first single from their forthcoming album Electriclarryland. The song clearly owed a debt to Beck's "Loser" in its spoken word delivery and tape loops, but the band also cited trip hop acts like Massive Attack and Tricky as influences. I wrote it off as derivative (lyrically, it was reminiscent of "People Who Died" by the Jim Carroll Band), but the song took off. It was played constantly on alt-rock radio and MTV and ended up going to #1 on the Billboard Modern Rock Tracks chart and #26 on the Billboard Hot 100 Airplay Chart. 

The video was directed by Gavin Bowden, who also directed several Red Hot Chili Pepper vids, as well as clips by Lit, Live, Dishwalla, Matchbox Twenty, Rollins Band and Buster Poindexter. It featured black-and-white footage of the band getting arrested after kidnapping a character played by Erik Estrada, while also featuring the band in color playing on a '60s variety show. Even at the band's most commercial, the video was appropriately weird.

As it turned out, the Surfers' biggest hit was also a curse: Their fans hated them for selling out and it became impossible to follow up. They spent two years working on their next album, After the Astronaut, but the label wouldn't release it (coincidentally, the band is releasing After the Astronaut this week, 25 years after their last album). As a result, the Surfers split with Capitol, all while in the midst of a lawsuit against Touch and Go for more royalties on their early albums. 

In 2001, the group signed with Disney and released Weird Revolution, an album that received a 0.4 rating from Pitchfork. The lead single from the album was "The Shame of Life," which featured Gibby rapping over another trip-hop beat and a chorus written by none other than Kid Rock. Strange days indeed. On the plus side, the Surfers were one of the bands featured in Michael Azerrad's seminal 2001 book Our Band Could Be Your Life.

Since then, the Surfers released a couple of compilations and reunited to tour a few times, but they've been on hiatus since 2016. They've remained in the zeitgeist, releasing a documentary and coffee table and placing the song "Human Cannonball" in the last season of Stranger Things.

The history of the Butthole Surfers remains proudly weird, but the weirdest thing they ever did was to release a hit song.

Videodrone #20: Tom Courtenay

Videodrone is a weekly(ish) feature looking at music videos from the last half century. 

Tom Courtenay (1995)

When you think of a band that is emblematic of the term "indie rock," you can't go wrong with Yo La Tengo. Formed in Hoboken, NJ, in 1984, the group (currently comprised of singer-guitarist Ira Kaplan, drummer-singer Georgia Hubley and bassist James McNew) remains an under-the-commercial-radar stalwart that is consistently releasing excellent albums. 

In 1995, Yo La Tengo released its seventh album, Electr-O-Pura, on Matador to positive critical reviews. The band's sound was varied, ranging from quiet pop numbers to raging noise-rock epics, with often obscure lyrical references. In the middle ground of that range was the first single from Electr-O-Pura, "Tom Courtenay." The song doesn't mention the British actor by name (who was the star of films like The Loneliness of the Long Distance Runner, Billy Liar and Doctor Zhivago), although it does mention Julie Christie, who co-starred in two movies with Courtenay. 

Filled with guitar squalls and catchy backing vocals, the song seems to be sung from the POV of a junkie obsessed with Courtenay and pop culture.

For the video of the song, director Phil Morrison (who directed videos for Superchunk and Juliana Hatfield before directing the movies Junebug, Perfect Partner and All is Bright) came up with the idea of focusing on an altogether different idea: YLT are offered the unenviable chance to open for the reunited Beatles, and Kaplan dreams of what it would be like. Morrison reached out to Courtenay, who was in NYC at the time performing in a play, to play a role in the video, but he turned it down (see the behind-the-scenes video from 2020 in which Morrison and the band talk about the making of the video).

Kaplan's reverie shifts to black-and-white as the band decides what to wear at the show, which was filmed at the Mercury Lounge in NYC. McNew decides to wear a cape and insists on bringing his cat Lovely Rita. The band shows up at the venue hoping to meet the Beatles but are told they're too busy, but brings in Marshall Crenshaw, who appeared in Beatlemania, instead. Crenshaw proceeds to dig into the band's food spread as they go out to the slaughter. A young Tom Scharpling (who went on to host The Best Show on WFMU in 2000 and is still doing it all these years later) plays DJ Big Andy Rigg from WHYP, 98.8, The Hype, and introduces "Yo La Tango" to the crowd as "a band that you're probably gonna like." Other members of the NYC indie rock scene make cameos in the video.

YLT launches into its originals, much to the dismay of the crowd as the guy at the merch table keeps knocking down the prices to their t-shirts. It's not working, until Ira has an idea and the group launches into "Twist and Shout" and the crowd gets into it. Cut back to the promoter asking Kaplan if he's accepting the offer, and Kaplan asks him to hold on while he continues to dream.

I first heard "Tom Courtenay" a few years later on the What's Up, Matador? compilation, which also came as a VHS tape that was a faux children's show hosted by NYC TV personality Bill Boggs in front of a live studio audience of children at a New Jersey elementary school (see below). It features appearances from Matador artists include Kaplan, Liz Phair and others as well as several videos from Matador bands (but not "Tom Courtenay").

"Tom Courtenay" is the lead track on the CD compilation and it still holds up. The Beatles never reunited and YLT is still doing their thing, which I suppose is the way it should be.

Videodrone #19: Hobo Humpin' Slobo Babe

Videodrone is a weekly feature looking at music videos from the last half century. 

Hobo Humpin' Slobo Babe (1994)

In 1994, alternative rock ruled the roost. Even though it was dampened somewhat in April '94 by Kurt Cobain's suicide, the grungesplosion was in full effect. The major labels were scouring rock scenes in various cities looking for the next big thing. There was a lot of great music out from the likes of Beastie Boys, Sloan, Helmet, Frank Black, Pavement, Weezer, Beck, Jeff Buckley, Mazzy Star, Liz Phair. And there was a weirdo anthem out of Sweden that captured the attention of the world thanks to its crazy video.

In Stockholm, record producer Gordon Cyrus and radio host Henrik Schyffert were working on a TV ad when they decided to write some music together as a joke. They recruited Schyffert's girlfriend Cia Berg, who sang with the '80s new wave act Ubangi, to sing. The song they came up with, "Hobo Humpin' Slobo Babe," was a combination of Chili Peppers-esque funk metal, quirky Bjork-styled vocals and trip-hop beats. Berg sings about a well-off woman who sleeps with homeless people for kicks, while Schyffert and Cyrus chime in with shouted gang backing vocals. It's all quite insanely catchy.

The lyrics were actually a cultural mix-up by Schyffert. "It was a misunderstanding from me," he told Melody Maker when asked what a "slobo babe" was. "I heard 'Slobo' was a nickname for Chelsea girls. Hobo Humpin' Sloane Babe would have been right."

Calling themselves Whale, the trio decided to make a video for the song on the cheap and somehow were able to get director Mark Pellington, who was already well known for directing Pearl Jam's "Jeremy," R.E.M.'s "Drive" and U2's "One." He was agreeable and told Schyffert he was directing a commercial on a Thursday and Friday, but they could use the gear over the weekend to film the video before he had to return it.

It's a gloriously bizarre affair, with Berg singing the song while inspecting a group of shirtless men and boys. She's got braces and is licking a lollipop. Meanwhile, Cyrus and Schyffert are jumping around with guitars chanting the chorus: "You hobo humpin' slobo babe/Get it off, get off, get off of me!" Cyrus is just wearing shorts while Schyffert is wearing a flowery dress and the whole thing is supremely silly and fun.

The video became an instant hit on MTV Europe, so much so that it won Best Video at the first MTV Europe Music Awards in November 1994, beating out instant classics like the Beasties' "Sabotage." Over on this side of the pond, the song wasn't as big of a hit but it was played on MTV's 120 Minutes regularly and on stations like KROQ in Los Angeles. But the real mark of success for the video was getting the Beavis and Butt-head stamp of approval (see below). That's where I first saw the video and it made an immediate impression on me. That impression, of course, was "WTF?"

"Hobo" reached #24 on the Billboard Alternative Airplay chart and #102 on the Singles chart in the U.S., faring better on the European charts. It was re-released in 1995 when Whale's debut album We Care came out and hit #15 on the U.K. Singles chart. Trip-hop icon Tricky co-produced a few of the songs, but the album didn't fare well. A follow-up, All Disco Dance Must End in Broken Bones, came and went in 1998 and the band split up the next year. 

But 32 years later, "Hobo Humpin' Slobo Babe" remains a memorable one-hit wonder. 

Videodrone #18: I'd Do Anything for Love (But I Won't Do That)

Videodrone is a weekly feature looking at music videos from the last half century. 

I'd Do Anything for Love (But I Won't Do That) (1993)

By the time the 1993 rolled around, there was a lot going on. Grunge was omnipresent (you could get the whole look at K-mart for short money), alt-rock was on the charts, hip hop and new jack swing was all over MTV. It hardly seemed like the right time for a comeback from a sweaty, theatrical 300-pound singer who peaked 16 years earlier, but that's exactly what happened.

Meat Loaf (aka Marvin Lee Aday) started performing in the late '60s with his first band Meat Loaf Soul, opening for Them and Question Mark and the Mysterians and later (under the band name Floating Circus) opening for the Who, the Stooges, MC5 and the Grateful Dead. He joined the Los Angeles production of Hair, did some recording for Motown and also acted in plays, including the original cast of The Rocky Horror Show. 

In 1972, he started working with songwriter Jim Steinman on an album called Bat Out of Hell, but they didn't get serious about it until a few years later when Meat Loaf decided to focus on music exclusively. They struggled to find a record label, but talked Todd Rundgren into producing and playing guitar on the album, which was adapted from a rock musical based on Peter Pan that Steinman had written. They were finally signed by Cleveland International Records, a subsidiary of Epic, and was released in October 1977. 

The initial response to Bat Out of Hell was indifference. It was full of long, bombastic, wordy songs that didn't connect with label execs, but got a good response from radio programmers. A Toronto rock station, CHUM-FM, started playing songs from the album in January 1978 and listeners were enthusiastic. Similarly, videos made for some of the songs generated interest in the U.K. and Australia. Eventually, the U.S. caught on and "Paradise by the Dashboard Light" became a huge hit. I remember hearing it on the radio all the time in sixth grade, complete with the Phil Rizzuto baseball play-by-play and the sexual innuendo. 

Eventually, Bat Out of Hell sold over 43 million copies worldwide, certified 14x platinum in the U.S. alone. It's one of the biggest selling albums of all time. But Meat Loaf struggled to follow it up. He lost his voice after constant touring and drug use, so he turned to acting and cleaned up before recording 1981's Dead Ringer. The album was also written by Steinman, but it struggled in the U.S. (although it did hit #1 in the U.K.). Loaf had a falling out with Steinman and put together the next album without him, but it did even worse, failing to chart at all in the U.S. Adding to this, Meat Loaf had money struggles and faced 45 lawsuits totaling $80 million, which led to him filing for personal bankruptcy. 

After a few more album duds, Meat Loaf and Steinman made up and started working on Bat Out of Hell II: Back Into Hell, which was released in September 1993. They went back to worked on the first album, releasing operatic and over-the-top rock as exemplified by the first single, "I'd Do Anything for Love (But I Won't Do That)." Like "Paradise by the Dashboard Light," the new single featured Meat Loaf duetting with a female singer. And like that song, the singer from the recording did not appear in the video; on "Paradise," original singer Ellen Foley was replaced in the video by Karla DeVito. 

With "I'd Do Anything," the female vocals were done on the album by Lorraine Crosby, who was credited as "Mrs. Loud" in the liner notes. But in the video, the female protagonist was played by model Dana Patrick, who lip-synched Crosby's vocals. 

On the album, "I'd Do Anything" is 12 minutes long, but it's cut down for the video to a concise 7:48. Directed by Michael Bay, who replaced original director David Fincher after the latter's proposed $1.7 million budget was rejected, the video was filmed for $750,000. Apparently, Bay and Fincher had feuded in their music video directing days before becoming big-name movie directors; Fincher later worked with Meat Loaf in 1999's Fight Club.

The video was based on Beauty and the Beast and The Phantom of the Opera, with Meat Loaf made up to look like a hulking deformed beast who is on the run from police and hiding out in a castle. He comes across a beautiful woman in the woods and drama ensues; meanwhile, the police are on his trail. And then (spoiler alert), they embrace and Meat Loaf transforms back into a human and they ride off into the distance on his motorcycle. 

The song never really specifies the one thing he wouldn't do for love, leaving that up to the listener's imagination.

It's not an exaggeration to say the video was in constant rotation on MTV at the time. Power ballads were big business, as Aerosmith and countless hard rock bands had discovered over the previous decade or so. The song was getting played to death on top 40 radio as well, becoming Meat Loaf's first and only #1 single on the Billboard Hot 100. It also topped the U.K. Singles Chart and was the best-selling single of 1993 in the U.K.; indeed, it went #1 in 28 countries. Meat Loaf won a Grammy award for the song as well. 

Bat Out of Hell II sold over 14 million copies worldwide and this time, Meat Loaf was able to sustain his success a little better. His 1995 release Welcome to the Neighborhood went platinum in the U.S. and had some top 40 singles. He continued to release new albums and tour over the next few decades, including Bat Out of Hell III in 2006. His last album was released in 2016. He died in 2022 at age 74.

If nothing else, Meat Loaf's career proved that doing your own thing comes back into style every 15 years or so. 

Videodrone #17: Everything's Ruined

Videodrone is a weekly feature looking at music videos from the last half century. 

Everything's Ruined (1992)

Last week, I wrote about one of the most expensive (and ridiculous) music videos ever made, MC Hammer's 14-minute magnum dopus, "2 Legit 2 Quit." But what happens when you don't have much of a budget to make a video?

In 1992, Faith No More was at an interesting spot. The Bay Area band had been around since 1983 (under that name; previously the group was called Sharp Young Men and Faith No Man). They scored a rock radio hit in 1987 with "We Care a Lot," but things blew up for FNM after the addition of new singer Mike Patton and the release of their 1989 album The Real Thing. Specifically, it was the single "Epic," a Chili Peppers-esque hybrid of funk and metal that took off, especially thanks to the video getting popular on MTV. 

The band rode that album for nearly two years, touring extensively, playing Saturday Night Live and the MTV Video Music Awards, and maintaining popularity in both the alternative and metal scenes. For their follow-up, Patton was more involved in the writing process and the results were unexpected, as the band completely moved away from the funk-metal sound of the previous albums and into weird and wonderful territory. Released in June 1992, Angel Dust sold well, but fans of The Real Thing weren't quite sure what to make of it.

The first two singles, "Midlife Crisis" and "A Small Victory," received expensive, high concept video treatments, and by the time the band wanted to release "Everything's Ruined" as the third single, their video budget from Warner Bros. didn't have much left. So FNM and director Kevin Kerslake, decided to make the cheapest video possible.

The song itself is pretty straightforward by Angel Dust standards, a catchy ripper of a song. But the video is something else. It features the band (and some kids) performing in front of random B-roll footage of a couple getting married, wildlife, explosions and some graphic surgery. The extras in the video were found through a competition on MTV's Most Wanted, an MTV Europe show. In one scene, the band pretends to run away from footage of a giant tortoise. It's simultaneously ridiculous and awesome.

"It was our idea to take this further and make a video as cheap as humanly possible, in one of those video booths like they had at county fairs, where you sing and dance in front of a blue screen," keyboardist Billy Gould wrote in response to a question on the FNM blog. "We didn't quite get to do that, but we got it as close as possible."

I never saw "Everything's Ruined" on MTV back when it came out, as it likely got played infrequently and late at night. But thanks to YouTube, you can now watch it for yourself and see how, like one commenter noted, it's both the worst and greatest rock video ever.

Videodrone #16: 2 Legit 2 Quit

Videodrone is a weekly feature looking at music videos from the last half century. 

2 Legit 2 Quit (1991)

The early '90s were a wild time. While rock audiences were starting to embrace more alternative sounds, hip hop was making a huge move for the mainstream. Sure, artists like Public Enemy, De La Soul, A Tribe Called Quest and N.W.A. were getting the critical praise, but it was performers like MC Hammer who were topping the charts.

As an 11-year-old in the early '70s, Stanley Burrell would set up in the Oakland Coliseum parking lot, selling stray baseballs and dancing along to a beatboxer. He was noticed by Oakland A's owner Charlie Finley, who hired Burrell as a batboy from 1973 to 1980, although Burrell later explained his brother was the actual batboy while he took calls and described game action to Finley, who lived in Chicago. He got the nickname Hammer because of his resemblance to baseball legend Hank "The Hammer" Aaron. 

After he graduated from high school, Burrell joined the Navy and served in Mountain View, California, as an aviation storekeeper for three years. He started a rap career in the mid-'80s, borrowing $20,000 each from former A's players Mike Davis and Dwayne Murphy to start his own independent record label, Bustin' Records. He sold records from his basement and car, with his first album Feel My Power released in 1986. 

Going by the handle MC Hammer, his songs started getting played in nightclubs in the San Francisco Bay area and then the radio. In 1988, he signed a deal with Capitol Records and then re-released his first album with additional songs and it sold over 2 million copies. He installed a mobile recording studio in the back of his tour bus and recorded much of his second album, Let's Get It Started, there. But it was his 1990 album Please Hammer Don't Hurt 'Em that made Hammer a household name. Relying on a sample from Rick James' "Super Freak," Hammer's "U Can't Touch This" was all over the radio and MTV, thanks to Hammer's dance moves and iconic "Hammer pants." The song hit #8 on the Billboard Hot 100 and the album reached #1 for 21 weeks. Follow-up hits included "Have You Seen Her" and "Pray," which sampled Prince's "When Doves Cry" and Faith No More's "We Care a Lot."

Please Hammer Don't Hurt 'Em was the first hip hop album to earn diamond status, selling more than 18 million units to date. Sponsored by Pepsi, Hammer toured in Europe extensively in 1991. 

MC Hammer took full advantage of his popularity, placing songs on the soundtracks of the Teenage Mutant Ninja Turtles movie and Rocky V, appearing on two songs on Earth, Wind and Fire's 1990 album and signing other artists to his label. There was a Saturday morning cartoon called Hammerman and he was featured on lunchboxes, Mattel dolls and other merchandise.

There was backlash, of course. Hammer relied heavily on sampling entire hooks from other songs for his hit singles, and other artists like 3rd Bass, Digital Underground, LL Cool J and Ice Cube mocked his family-friendly image and simplistic lyrics.

How to follow this success up? Burrell dropped the "MC" from his stage name and then unleashed a nearly 15-minute video for the title track of his new album 2 Legit 2 Quit. The video was one of the most expensive ever made, costing $2.5 million (adjusting for inflation, that's over $6 million in 2026 dollars). It was directed by Rupert Wainwright, who had previously directed Hammer videos from the last album.

The video is epically ridiculous. It starts off with the most 1991 of celebrities, Jim--excuse me, James--Belushi as a newscaster reporting that Hammer is quitting the music business, followed by reaction from celebrities including Danny Glover, Henry Winkler, Freedom Williams of C&C Music Factory, David "Bud Bundy" Faustino, Barry Sobel, Ralph Tresvant, Mark and Donnie Wahlberg, Eazy-E and the Cubeless N.W.A., Tony Danza, Queen Latifah and Milli Vanilli. 

The video shows an impatient crowd waiting for Hammer to show up before cutting to Hammer meeting with James Brown. The Godfather of Soul had been in prison serving a six-year sentence for aggravated assault after leading police on a high-speed chase while high on PCP in 1988 and indeed, he was released the day video production was scheduled to start in February 1991. Hammer hired a private jet to pick up Brown and bring him to Los Angeles. Brown filmed his scenes and was supposed to fly back commercial, but he asked if he could use the jet to stop in Vegas for a few days and then go home to Atlanta. The jet ended up waiting for Brown for two extra days in Vegas, adding to the expense.

Back to the video: Brown, who apparently has supernatural powers, asks Hammer to bring him Michael Jackson's glove and blasts Hammer with energy to give him power. About 8 minutes into the video, Hammer shows up at the concert and begins the song with a cadre of backup singers and dancers. 

In addition to all this action, the video includes a ton of cameos from pro athletes and celebs, doing the "2 Legit 2 Quit" hand gesture that was expected to become all the rage. Wainwright sent a production crew all over the country to film anyone who would agree to participate. This list includes: Jose Canseco, Isiah Thomas, Kirby Puckett, Jerry Rice, Rickey Henderson, Deion Sanders, Andre Rison, Chris Mullin, Roger Clemens, Roger Craig, Ronnie Lott, Lynette Woodard, the Dallas Cowboys and Atlanta Falcons cheerleaders, David Robinson and Falcons coach Jerry Glanville. Wayne Gretzky was reportedly filmed for this as well, but he's not in the videos that are posted on YouTube.

At the end of the performance, the video ends with "Michael Jackson" shown from behind after viewing Hammer's dancing and doing the "2 Legit 2 Quit" hand gesture.

The song hit #5 on the Hot 100 and the album went multi-platinum, but it only sold one third of Please Hammer Don't Hurt 'Em's sales. It was also featured in the Addams Family movie.

Things started going downhill for Hammer. He tried to adopt a more gangsta image on his next album, 1994's The Funky Headhunter, releasing a video for "Pumps and a Bump" that featured him in a Speedo (it was banned from MTV for, uh, revealing too much Hammer). But his overexposure, no pun intended, led to a drop in popularity and by 1996, he filed for bankruptcy. He has since released seven more albums, a reality show (because who hasn't by this point?) and still shows up in commercials. But in 1991, he was briefly on top of the world. 

 

Videodrone #15: Well, Did You Evah!

Videodrone is a weekly feature looking at music videos from the last half century. 

Well, Did You Evah! (1990)

There have always been tribute albums, where various artists pay homage to their favorite influences, but it wasn't until the late '80s/early '90s that tribute albums were also used as fundraisers. One of the early ones was Red Hot + Blue, the first compilation in the Red Hot Organization's Benefit Series, which raised nearly $1 million for AIDS activist group ACT UP.

The album featured contemporary artists covering the work of composer Cole Porter. Released in September 1990, the album was accompanied by an ABC special featuring videos for each of the song. In my alt-rock-centric world, U2's moody electronic cover of "Night and Day" got plenty of radio airplay but there were plenty of other interesting takes on the album.

One notable cover was "Well, Did You Evah!," a whimsical number originally written for the 1939 musical DuBarry Was a Lady and later performed by Frank Sinatra and Bing Crosby in the 1956 movie High Society. On Red Hot + Blue, it was performed by Deborah Harry and Iggy Pop. The video was directed by Alex Cox, who helmed '80s punk-influenced movies Repo Man and Sid and Nancy.

The video is a hoot, with Harry and Iggy clearly having a blast as they cavort through various NYC locales, bringing punk attitude to a petting zoo, shopping at a bodega, robbing a bank and hanging out around a garbage can fire. Both were in their early 40s and still fairly young at the time, although both artists still record and tour to this day. They're clearly enjoying each other's company and that attitude comes across on screen.

It was an interesting time for Iggy. He was riding a renewed wave of popularity due to his recently released album Brick by Brick, which featured another duet, this time on "Candy" with Kate Pierson of the B-52's. Normally long-haired and shirtless in videos and performance, Iggy sports shorter hair and suits in this video.

As great as "Well, Did You Evah!" was, it was only released as a single in the U.K., where it reached #42 on the U.K. singles chart. I don't recall ever seeing the video on MTV or hearing it on the radio, but damn, it's a great version.

Videodrone #14: Down In It

Videodrone is a weekly feature looking at music videos from the last half century. 

Down In It (1989)

It's not often when a young band's video shoot turns into a murder investigation, but that's exactly what happened when Nine Inch Nails filmed the 1989 clip for their first single, "Down In It."

Trent Reznor was (and is) the mastermind behind NIN, recording the majority of the instruments on the band's debut album Pretty Hate Machine. Based in Cleveland, the band's sound was electronic, featuring tons of synths but also incorporating heavy industrial and rock elements. It was angry, visceral and exciting. 

Reznor was recording a video for "Down In It" in the warehouse district of Chicago. It was low budget, but full of trippy effects, with Reznor being chased by band members Chris Vrenna and Richard Patrick through various locations. The climax features Reznor falling off the top of a building, with the final scene showing his lifeless body on the ground as Vrenna and Patrick stood over him. 

In this pre-drone era, the band used a camera attached by a rope to helium balloons to fil the final scene, but the rope snapped and the camera floated away. The camera eventually ended up in a cornfield in eastern Michigan, where a farmer found it and handed it over to local police. They turned it over to Chicago police after noticing the city's distinctive L trains in the background. Chicago authorities couldn't find any evidence of a murder matching that location and turned the case over to the FBI. After watching the footage, FBI agents began investigating whether it was evidence of a cult killing or a snuff film, noting that the "body" appeared to be rotting in the video.

Flyers were distributed looking for leads and an art student who worked for H-Gun Productions, the company that filmed the video, recognized the "victim" as Reznor and informed the FBI that he was very much alive. This was in September 1990, a year after the video was filmed. 

Chicago police announced that there was no body, after all, and in March 1991, the tabloid "news" show Hard Copy aired a sensationalistic report about the whole thing (see below). It's really a classic of the era, with reporter Rafael Abramovitz editorializing about Reznor's nose rings, interviewing the Michigan cop who initially investigated the footage, and talking to Reznor and the production crew about it. Reznor found the whole thing amusing, which seemed to annoy Abramovitz, who chided him for wasting a year's worth of police work that could have gone into solving real crimes. The band's label, TVT Records, took full advantage of the publicity, including clips from the Hard Copy report in the press kit for the UK release of the album. Some British journalists wondered if the whole thing was a publicity stunt, but Reznor insisted it was a just a stupid accident.

As it turned out, when the video was aired on MTV, the network refused to air the final shot of Reznor's body, which was covered in corn starch to give it that "freshly dead" look. 

Pretty Hate Machine was eventually a huge success, going triple platinum, but it had a slow build. Released in October 1989, it entered the Billboard 200 in February 1990 but continued to gain momentum over the next few years. NIN was part of the first Lollapalooza lineup in 1991, which is when I started seeing quick late-night TV ads for it. 

The band's rise coincided with the alternative rock explosion of the early '90s. NIN's videos for songs like "Closer," "Hurt" and "The Perfect Drug" were in constant rotation and often pushed the boundaries of what censors would allow. But it was that first video that put NIN on the map in more ways than one.

Videodrone #13: Reach

Videodrone is a weekly feature looking at music videos from the last half century. 

Reach (1988)

I watched a lot of videos on MTV (and elsewhere) in the '80s and '90s, but there were plenty more that I never saw. But one of the fun things about doing this feature is tripping over previously unseen weirdness, like this video from a synth-pop act called Martini Ranch.

I actually had heard of the band because one of the members was none other than Bill Paxton, who was much more well-known for his acting work in movies like Aliens, Weird Science, True Lies and countless others. And I knew that before he became famous as an actor, he directed and starred in the 1980 video for "Fish Heads" by Barnes and Barnes, a truly weird and wonderful novelty song that ended up getting played on Saturday Night Live and the following year on MTV. 

Paxton was already a known commodity as an actor when he joined Martini Ranch and released two EPs and an album on Sire Records. For their 1988 album Holy Cow, Paxton and bandmate Andrew Rosenthal enlisted director James Cameron (who had made Terminator in 1984 and Aliens in 1986 with Paxton) to helm the video for their song "Reach." The song itself is cowboy-themed and not too dissimilar from "I Wanna Be a Cowboy," the 1985 novelty hit by British new wave act Boys Don't Cry.

For the Martini Ranch video, Cameron made a 7-minute Western opus featuring Paxton in the lead role, but also plenty of cameos from the likes of Kathyrn Bigelow (Cameron's future wife and director of Near Dark, which also starred Paxton), Lance Henriksen, Paul Reiser, Jenette Goldstein, Judge Reinhold, Adrian Pasdar and Bud Cort. 

Paxton plays a cowboy who rides into a Western town on a motorcycle to pick up a prostitute at a brothel when a gang of women led by Bigelow captures him. The other guys in Martini Ranch (who are dressed as a mariachi band) are also there and captured, eventually getting dragged to their deaths while playing their instruments.

Paxton tries to escape but the gang catches him and drag him out of town as well. The video looks like it cost a pretty penny, but it was hardly ever played on MTV and the song certainly wasn't a hit. The album Holy Cow also features appearances by Devo's Bob Casale, Alan Myers and Mark Mothersbaugh, Cindy Wilson of the B-52's, film composer Mark Isham and actors Reinhold and Cort.

Martini Ranch did get a song on the soundtrack of the 1988 movie You Can't Hurry Love as well as 1989's Brain Dead, which starred both Paxton and Bill Pullman, who were often confused for each other. That appears to be the end of Paxton and Rosenthal's musical collaboration; Rosenthal later changed the band name to Swifty's Bazaar and released an album. Last year, Rosenthal (as ANDY) released the album Androgyne & Transformation.

Paxton, of course, went on to a successful career on the big and small screen before he died in 2017. After his death, the out-of-print Holy Cow was released on vinyl, along with a DVD featuring the videos for "Reach" and "How Can the Labouring Man Find Time for Self-Culture?" directed by Rocky Schenk. I'm guessing more people have seen the video since Paxton died than when it was released in '88, but that's just how the music business goes.

Videodrone #12: Let's Work

Videodrone is a weekly feature looking at music videos from the last half century. 

Let's Work (1987)

Although artists have been going solo ever since bands were formed, it seemed like the 1980s brought on a plethora of solo albums. Many of these artists were successful, including Phil Collins, George Michael, Lionel Richie, Ozzy Osbourne and Don Henley. But there were some big names who never quite matched the success they had with their original bands. One of the most notable was Mick Jagger, who kept trying but just wasn't able to surpass the massive achievements of the Rolling Stones.

By 1987, the Stones had been together for about 25 years, which was an eternity for a rock band at that point. Jagger was a huge celebrity and had done some acting, but most of his work was with the Stones. He released his first solo album, She's the Boss, in 1985; it performed decently, hitting #13 on the Billboard 200 and scoring two top 40 hits. Jagger worked with director Julien Temple to create Running Out of Luck, a longform music video for the album. All said, it was a decent album, if not up to the level of the Stones.

Jagger also performed solo at Live Aid and teamed with David Bowie to release a terrible cover of "Dancing in the Street," which got a lot of play on MTV. One person who was not pleased by all this activity was Jagger's bandmate Keith Richards, who was annoyed at Jagger's non-Stones work and began regularly trashing Jagger in the press.

The Stones released Dirty Work in 1986, but the recording sessions were fraught with tension between the band's two leading men, and Jagger was less involved than on previous albums. It sold well but was savaged by the critics and the Stones never toured to support it, with Jagger instead recording a second solo album called Primitive Cool that was released in 1987. 

Jagger called in some heavy hitters to work on the record, including a backing band of Jeff Beck, G.E. Smith, Doug Wimbish and Simon Phillips and guest appearances from Greg Phillinganes, Vernon Reid, Dave Stewart and Omar Hakim. The lead single was "Let's Work," which was Mick's attempt at an upbeat, danceable hit about motivating people to work, I guess. 

"No sitting down on your butt/The world don't owe you/No sitting down in a rut/I wanna show you/Don't waste your energy/On making enemies/Just take a deep breath/And work your way up/Let's work, be proud/Stand tall, touch the clouds/Man and woman, be free/Let's work, kill poverty."

Setting aside the questionable optics of a multimillionaire encouraging the masses to get to work, the song is, well, kinda cheesy. And the video lines up with that. It was directed by Oscar-winner Zbigniew Rybczynski, who also directed many music videos, including Rush's "Time Stand Still" the same year. He used new HDTV technology to make the video, which featured Jagger jogging, dancing and gesticulating in front of a green screen along with people from different walks of life (a newly married couple, firefighters, waiters, construction workers, kids, etc.) as traffic raced past them. 

Mick's using those exaggerated moves and faces that he's previously displayed on stage and in videos, but it all just looks silly. I don't remember seeing it much on MTV, either.

The song didn't do much on the charts, only reaching #39 on the Hot 100. The album hit #41 on the Billboard 200 and didn't even go gold, which at the time wasn't a huge accomplishment. 

Meanwhile, Richards released his first solo album, the excellent Talk is Cheap, in 1988 and did a solo tour. Jagger and Richards reunited and made peace later that year and began working on music for the next Stones album, 1989's Steel Wheels. The band then mounted its first tour in seven years.

Although his feud with Richards was over, Jagger still pursued solo success (after the Stones tour ended). He worked with Rick Rubin and released Wandering Spirit in 1993; it performed better than its predecessor, reaching #11 on the Billboard 200. Jagger rejoined the Stones for two more albums and tours in the '90s and then released Goddess in the Doorway in 2001, his most recent solo album. The Stones have released two albums of original material and toured several times since then. In addition, Jagger joined the supergroup SuperHeavy in 2009 with Dave Stewart, Damian Marley, Joss Stone and A.R. Rahman; the group released an album in 2011, but has done nothing since.

Nobody can accuse Mick Jagger of being lazy. In the case of "Let's Work," maybe he was a little too busy.

Videodrone #11: Heartbeat

Videodrone is a weekly feature looking at music videos from the last half century. 

Heartbeat (1986)

There have always been performers who have tried to have crossover success. Actors who attempted singing careers and vice versa, with varying degrees of success. 

In 1986, Miami Vice was the hottest show on TV and its two lead actors both took their shots at music stardom. Philip Michael Thomas, who played Det. Tubbs on the show, self-released an album in 1985 that didn't do much. His co-star Don Johnson, who was at his sex symbol peak, had grander ambitions and the support of Epic Records behind him when he released the album Heartbeat in 1986.

Not only did Johnson record an album, but he also made a one-hour longform "concept movie" to promote it. The short film was dialogue-free, basically an interconnected series of Miami Vice-esque music videos that told the story of a Johnson as a documentary filmmaker who gets involved with gang warfare, family drama and other hijinks, including trippy dream sequences. The label spent over $1 million to make the film, which includes appearances from Paul Shaffer, Lori Singer, David Carradine, Sandahl Bergman and a young Luis Guzman and Giancarlo Esposito. It was released direct-to-video on VHS and pay cable channels. 

Epic put a lot of money into marketing the release of Heartbeat. I remember seeing the world premiere on Friday Night Videos and MTV gave him a little advance pub with a behind-the-scenes clip (see below).

But it was the title track that people still sort of remember. The video for "Heartbeat" was released in September 1986 and featured scenes from the film (which wasn't released until May 1987) intercut with Johnson singing the track with a backing band that included Dweezil Zappa on guitar (the album also featured guest spots from Willie Nelson, Stevie Ray Vaughan, Ronnie Wood, Dickey Betts and Bonnie Raitt). Johnson certainly thought he had something special.

"I wanted the record to be modern, tough rock and I think I achieved that on some level," he told the LA Times in 1987. "I didn't want it to sound like something that other people designed and I just stopped by for a few minutes to do the vocals. And I made it clear to Walter [Yetnikoff, who was president and CEO of CBs Records at the time] that I would walk away from it if I didn't think it was credible. I was prepared every step of the way to throw it away and walk away."

That said, it's fairly generic mid-'80s AOR that would fit right in on a Michelob Light commercial in 1986, but hey, that's what the kids were into, right? Or maybe the housewives that swooned over Johnson every Friday night when a new Miami Vice episode aired. "Heartbeat" also fit into the mold of the atmospheric, moody rock that Vice liked to feature, but it never was used on the show (although two songs by Philip Michael Thomas were used in a 1985 Miami Vice ep). The song has the same vibe as the "rock music" released by actor Jeremy Renner in the last decade or so. Nobody asked or wanted it, but there it is nonetheless.

"Heartbeat" was a hit, going all the way to #5 on the Billboard Hot 100 and the album hit #17 on the Billboard 200 and went gold. The song had actually been around for a few years. It was written by Eric Kaz and Wendy Waldman and originally released by Waldman in 1982 with Peter Frampton playing the guitar solo, and then by Helen Reddy in 1983. Both those versions are little more uptempo than Johnson's, but their versions came and went long before Johnson's made a splash.

Johnson would release one more album, 1989's Let It Roll, which featured plenty of studio help from the likes of then-girlfriend Barbra Streisand, Steve Jones, Omar Hakim, Joe Lynn Turner and Bruce Kulick. It didn't chart in the U.S. But he did have some success with "Till I Loved You," a duet with Streisand that was a top 40 hit from her 1988 album of the same name.

He hasn't recorded any more music since then, instead working steadily in movies and TV. But there have been plenty of performers who have had success in acting and movies, although most of them are musicians who became actors: Will Smith, Ice Cube, Ice-T, to name a few. There are also actors who have released music and toured, including Kevin Bacon, Kevin Costner, Bill Murray (touring, anyway), Renner, Bruce Willis, Jared Leto, Ryan Gosling, Jack Black, Zooey Deschanel and Keanu Reeves. 

But 40 years ago, Don Johnson took a big swing. Wisely, he eventually stuck to what he was really good at.