Some called him an 80s "Pop" rock icon, others viewed him as a singing fashion plate, others still, The Bach of Rock, because of his ear pleasing, musical complex simplicities.  Billy Squier could now be termed "the Cezanne of contemporary music" with his latest release, Happy Blue (Sept. 1998 J-Bird Records).  Seeming to forge a new path in the "wake" of the famous painter, Paul Cezanne (1839-1906), Squier has taken up the master's vision, of a sort.

Among other things, a "two-hundred dollar art history course" turned Squier back to music after a five-year hiatus.  Having read Cezanne's letters to family and friends--in which the humble painter's emotions ranged from being "young and full of life" during his Impressionist beginnings, to near his end, when he felt he had not fulfilled his dream of bringing nature to life on canvas--Squier discovered a lesson in the artist's regret.

Happy Blue is a pure acoustic guitar and voice performance, straight from his soul, balancing rather solidly on the mainstream fence.  Still the same dualistic-toned voice with unique mannerisms, the identical heartfelt cries of love and loneliness which can strum one's soul, the eloquent, lyrical double-entendres.  But foremost, this CD showcases Squier's immeasurable guitar talent.

She Will and Happy Blues flaunt this proficiency, the former seeming to embrace a guitar flirtation between "she" and "he," while the latter slides one's ears back to the roots of Blues along with the chords.  Stroke Me Blues, a cover of his own The Stroke, exhibits Squier's versatility and allows him to bring a freshness to what he terms, "a friendly albatross."

Another cover, Joni Mitchell's River may remind a longtime fan of Sail Away from Billy's Piper days.  Now his voice conveys a pain so deep it's a physical agony, while the guitar rhythmically lulls us from the first note to the last.

Long Way to Fall is a deceiving contrast of lively music pitted against lyrical lament.  At times, the ear can almost taste a distant, medieval flute in the performance.

In Grasping for Oblivion, where we are introduced to Cezanne and Pablo Picasso (1881-1973), Squier seems to be trying to grasp a more sophisticated audience.  A contemplative piece, it may actually hand us the meaning of life: history holds torches to be relit.  The folksy tune displays Squier's propensity for reaching a wide range of people with his music for the masses.

Though the wordplay in If You Would Hate Me Less, I'd Love You More may be familiar, the music springs from a new place with a different potency.

Along the lines of the aforementioned "higher learning," Inferno (Everybody Cries Sometimes) is based on one-third of The Divine Comedy--Dante's Inferno, the classic epic poem of a man's journey through hell (Dante Alighieri--1265-1321).  Though there is definitely more to this song than meets the ear, Inferno (Everybody Cries Sometimes) also conveys a clear message to which "everybody" human can relate.

The simplest, most sentimental of ballads, More Than Words Can Say effortlessly tweaks one's heartstrings, strolling us through the mystique of unconditional love.  This is the first song on Happy Blue where an absence of vocal harmonies may be noticed, in that the guitar fails to substitute.  Yet, if added, the uncomplicated integrity might be lost.

At first, The Pursuit of Happiness seems to contain only disjointed thoughts, but eventually they meet at a central point, like spokes on a revolving wheel.

In Two, Squier sings Happy Birthday to the best kind of friend: a child, experiencing life in wide-eyed wonder, who holds the world on a string.

During his 40 (or so) city Happy Blue tour, which began October of '98, Billy seems to be enjoying himself . . . even while signing autographs, chatting with fans, and posing for pictures.  He holds an audience transfixed with his stage presence, spending a swiftly moving hour in close eye contact, while singing and yarning with a dry wit and sly grin.  To those watching, it feels as though Billy's swinging on a summer porch, whiling away an evening, shooting the breeze.  During that time, the audience learns much about the artist and how he came to be where he is now . . . but not necessarily where he's going.

When asked about further CD releases, in an AOL chat interview, Squier replied simply, "The future is full of possibilities at this point."  He wishes to allow Happy Blue to "find its own way . . . " just as Cezanne wished for his paintings . . . and so they have.  Cezanne is now thought of as one of the great forerunners of modern art, acclaimed as the finest still-life painter of the modern era.  Pablo Picasso glimpsed something other than superb color usage in the Master's landscapes, later transforming the square-like brushstrokes into Cubism.

Billy Squier's return to music in a most down-to-earth fashion could not be more apropos . . .   Listening to a Squier song--most ANY of his songs--is like absorbing a great painting.  There is always something new to discover in the music, in the lyrics, in the man, and also in oneself.  He is a sincere, multifaceted, true "artist."

The author, Dawna, lives in Brooklyn, NY, and is an artist.
Her classical music upbringing was "wonderfully corrupted" by rock 'n' roll.

For the most comprehensive listing of Billy Squier links on the Internet, go to The Billy Squier Web Companion Squier graphic by Dawna Click here to visit a super fan review site: Classic Rock albums reviewed from the 60s, 70s, 80s, and 90s	More Billy Squier @billysquier.com Squier graphic by M. Marosy
Art Angel Productions: Dawna's fine art + articles	Dawna's Impressions . . . Poetry, Quotes, & Literature: including some originals