Enough header
Enough is Enough cover

Enough Is Enough © 1986 Capitol Records, Inc.
Produced by Peter Collins for Jill Music Limited

Billy Squier: vocals, electric & acoustic guitars, miscellaneous synthesizers
Bobby Chouinard: 
drums
Alan St. Jon: 
keyboards & synthesizers, backing vocals
Jeff Golub: 
guitars, slide

Additional musicians:
Andy Richards, David Frank, Jeff Bova: keyboards & synthesizers
Steve Ferrone: drums “Lonely One”
Jimmy Bralower: miscellaneous drum programming
Jody Linnscott: percussion
Brian Gulland: recorders & their arrangement “Til It’s Over”
Robin Jeffrey: english guitar “Til It’s Over”
Mitch Weissman: backing vocals
Freddy Mercury: additional vocal “Love is the Hero”… last minute arrangements “Love is the Hero” & “Lady with a Tenor Sax”
TM Stevens: bass

Drum Technician: Artie Smith
Studio Supervision: Roger R. Vitale
Photos: Peter Hince
Graphics: Reiner Design

Arranged by Billy Squier & Peter Collins
… additional arrangements by David Frank

Recorded by Jimbo “James” Barton at: Power Station / NYC… assisted by Steve Boyer
Sarm East / London… assisted by Paul Wright

Mixed by Billy Squier & David Thoener at The Hit Factory / NYC… assisted by Tim Leitner
Direct metal mastering at Sterling Sound by George Marino

All songs written by Billy Squier except:Shot O’ Love: Billy Squier & Danny Kortchmar
Come Home: Billy Squier & Bobby Chouinard
Lady with a Tenor Sax: Billy Squier & Freddy Mercury

Freddy Mercury appears courtesy of Columbia Records, Inc.


Enough Album Back
Have a Coke and a smile, 1986

This was a difficult record to make, but yielded some of my most memorable musical experiences as a sort of compensation. Producer Peter Collins was a risky choice—not for lack of talent, but rather his decidedly different approach to making records. He needed to know exactly what was going to happen every step of the way…down to the last note, if possible. 

After formulating some basic ideas at my mobile studio in Montauk during the summer of ’85, I journeyed to London, where I spent several weeks sequestered with “Big” (Peter was rather diminutive in stature, so this nickname was inevitable, coming from my merciless band of merry pranksters). This was tedious but quite productive, as we reworked and rewrote until we felt we’d wrung every bit out of each and every song. This process involved just the two of us, and my guitar. Things devolved from this point. 

Big came to New York, where he (I) hired a keyboard programmer to record each song as a complete band demo—in short, working up the arrangements without the involvement of the band. I was in on the process, but cut off from the input I’d normally expect from my boys. This was worrisome, but proved to be a mere foreshadowing of what was to come. 

When the time came to enter the studio—Power Station A, as had become my standard—Peter announced that he wanted to record the drums separately, using the demo’s we’d made in place of the band. This was a practice I frowned upon, as I felt that this steroidal “click track” would sorely limit the swing potential of the tracks. We’d only used a click once before, on one small section of a song which was proving elusive late one night during the recording of “Emotions.” I forced a compromise whereby Bobby played to “the click,” throwing in his customary arsenal of fills, while I accompanied him in the studio on air-guitar (that’s right, air guitar—I was there to give BC some emotional support without getting in the way sonically). When we’d completed this procedure on all the tracks, Peter brought in an electronic percussion specialist to sample our drum sounds and digitize every beat to insure that the tracks were in perfect time. This process took over a month to complete (BC and I had “cut” the tracks in three days). 

It was a complete nightmare! I’d sit outside the control room for hours each night while Peter, Jimbo Barton (the engineer), and Jimmy Bralower slaved over every nuance before inviting me in for a playback. I wouldn’t let them mess with the drum fills—this was the compromise I’d worked out: I felt that by keeping Bobby’s fills in tact, we’d have at least some chance of lending some personality to the tracks. 

When this arduous task was ended, we brought in the other band members to play their respective parts…again, one player at a time. As Peter couldn’t quantize guitar parts, he seemed to have a greater respect for me and Jeff and backed off to let us pretty much do our thing. When the instruments were laid down, Peter, Jimbo and I embarked for London to begin work on my vocals. Should have been easy, right…WRONG. Peter insisted that every note be exactly in pitch to his ear. He would interpret my stylized inflections as being out of key (funny, no on else ever complained, before or since), and make me do take after take until he got every word to his liking. 

The sessions were agonizing. At the end of each week’s recording, I’d go back to my house in Holland Park and do everything I could to obliterate the strain and tension that was building up. Fortunately, I was about to receive an unexpected reward for my travails. 

Freddie Mercury invited me to visit him in his new home near Earl’s Court, and wanted to hear what I was working on. Long story short, after an initial all night “session” at Garden Lodge, Fred was on the project. He capped the festivities by composing the piano introduction for “Love Is The Hero” off the top of his head at 5 in the morning. He continued on through the recording of this song and “Lady With A Tenor Sax.” The latter was his title, again picked out of thin air after several listens to the band tracks, for which I then had to try to compose a suitable lyric. 

These encounters were among the most memorable of my entire musical life. Freddie was beyond just plain brilliant—he was generous and supportive, and consistently pushed me on to greater heights. One night, after listening to his spontaneous guide vocal for “Tenor Sax,” he told me to go on in and sing it for real. I said, “No way I’m gonna match up to what you’ve done, there, pal.” He replied that I could sing it much better than he, and literally pushed me out into the studio. When the evening was over, Freddie had proved himself right. I never would have believed it. 

Fred’s presence brought out a different side of Big. He was completely in awe of this bona fide super-star and did nothing other than sit in a corner of the control room, saying, “Great Freddie” in response to the latter’s every move. These sessions proved to be the one bright spot in what otherwise proved to be a year in recording hell. 

By the time we’d struggled through the first few mixes, I declared “Enough is enough” (hence the origin of the album title): I fired Big and took the tapes back to New York, where Dave Thoener and I put them as right as we could (Dave had performed similar heroics on “Emotions” several years prior). 

In listening back years later, much of my angst has dissipated. The early work that Peter and I did on my initial song offerings was certainly fruitful, and the band managed to shine despite the aforementioned handicaps. I’ve often wondered what the album might have been like if we’d been able to record it in our usual footloose style…we’ll never know. In the end, it was a very different experience for me, with the collaboration with Freddie making it all worthwhile. 

A few additional notes: Freddie’s piano intro to “Love Is The Hero” was omitted at Capitol’s insistence. They felt that, inasmuch as Queen was having a bad run in The States, it would have a dilutive effect on my record sales. Can you believe that? What about the effects on other world markets, where Queen remained at the top of their game? Opportunity lost…big time! (The intro appears in its entirety on my “Reach For The Sky” anthology, on PolyGram.) 

Also, I suffered the loss of my cherished 1958 Les Paul Sunburst, which was stolen out of Power Station A during our stay. This guitar has never surfaced, though I still hope that one day it’ll turn up. Serial # 8 5394 for any sleuths out there wanting to help set this right—you’ll have my ever-lasting gratitude…and then some!

signature

Lyrics

Shot O’ Love
Billy Squier – Danny Kortchmar, © 1985 by Songs Of The Knight/Kortchmar Music (BMI)

Ah satisfaction… when you gonna show
Dyin’ for some action… don’tcha wanna go
Down to the main-line… betcha gonna crawl
Dance across the table… drink ’til you fall

When you feel it you gotta move
When you steal it you found the groove
Take me higher still it’s not enough
One more desire to get me off

Shot o’ love…

Steppin’ out from undercover… we’ll be oilin’ up the fire
Gonna blow up your street… we go down to the wire
The scent is gonna lead you blind
Never know what you’re sure to find
Gets you higher still it’s not enough
One more desire to get me off

Shot o’ love…

When you step into the engine-room
Feel the system when it’s all in tune
You push the power still it’s not enough
Hands on a vision – gotta hang tough baby
The music gonna set you free
Roll it over when you turn the key
Come on baby – shoot me blind
Gimme everything… everything… lemme know you’re mine

Shot o’ love


Love Is The Hero
Billy Squier, © 1985 by Songs Of The Knight (BMI)

There is a course in life… so all the teachers say
It calls you day and night… it takes your thoughts away
Under a frozen light you face a long crusade
When there’s a cause you fight… where there’s a cost you pay

Find an empty heart… you feel the passion play
It’s when reactions start that you can’t look away
There is no wrong or right – there’s just your point of view
But when you face the light then it will come to you

Love is the hero… soldier forever
Life below zero… Never say never

There is no sacrifice… there is no dead-end street
There is no sound advice… only the watch you keep
With every step you take through every room of fear
With every move you make the song will pull you near

Turn your world around and it will come your way
Through your cold-chill nights and in your hard-earned days
When you face the light it may be hard to do
But when it’s all too right then it will come to you

Love is the hero… soldier forever
Life below zero… you live to remember

No path is too steep… no distance too wide
No question too deep… no force can divide
Your fortune you seek… the road will unwind
You’re comin’ to me… to search is to find

And when you start to fall into that frozen space
And when you reach the wall and there’s no sunny place
And when it all comes down you make it anyhow… anyway

Love is the hero…


Lady With A Tenor Sax
Billy Squier – Freddie Mercury, © 1986 by Songs Of The Knight (BMI)

I been fakin’ my past…
But now I know my connection is comin’ through
I put my ass on the line when you walk by…
Hey – so what’s new…

Don’t look now she’s inchin’ up behind
Don’t look now in the creases of your mind
Don’t stop now… we’re movin’ much too fast
Gonna find out where you draw the line
Here she comes now… she tunes so fine

There’s a lady with a tenor sax
Cool baby drives a mean Cadillac
Lady with a tenor sax
You gotta meet her on her own level – don’t look back
Don’t look back… don’t look back
Cause she’s right behind you with a tenor sax

She jives, she’s so bad
She’s a tango with a big, big business sense
She wind you up – could I know her better…
But if you wanna buy – get off the fence

Don’t walk now… you’ll slip into the past
Don’t walk now… can nothin’ ever last
Don’t look now… the chips are gonna fall
Sooner or later you’re gonna be mine
Here she comes now, oh yeah yeah

She’s a lady with a tenor sax
She call your number, put your face on the map
Lady with a tenor sax
She make the cool walk
She’s a lady with a tenor sax
When you find what you’re after there’ll be no turnin’ back
Lady with a tenor sax
They say she know why – I think she know, think she know, yeah

Don’t walk now… you’ll slip into the past
Don’t walk now… can nothin’ ever last
Don’t look now… the chips are gonna fall
Sooner or later you’re gonna be mine
Here she comes now, oh yeah yeah

She’s a lady with a tenor sax
In a room full of precedent she’s leader of the pack
Lady with a tenor sax
She know why… she know why… she know
She’s a lady with a tenor sax
Soul baby cuts a groove on her back
Lady with a tenor sax…


All We Have To Give
Billy Squier, © 1985 by Songs Of The Knight (BMI)

I see the world around me… I feel the joy and pain
I hear the sound of silence… and laughter in the rain
Now some things may control us… but some things we can do
Wherever there’s a heart that’s beatin’ there’s a place for me and you

When we give a little… we give all we have to give
Give a little

Now we all got our problems… and some you can’t ignore
But if we stand together we stand for somethin’ more
With all we have to hope for… and all we have to give
Whenever it’s your heart that’s beatin’ there’s a chance for us to live

When we give a little… we give all we have to give
Give a little

They say the days are gettin’ short and the nights are gettin’ longer
The weak are gettin’ weaker and the strong keep gettin’ stronger
On a street with no connections everyone can use protection

They’re stirrin’ up the lies, they spin ’em round between me and you
They say there’s nothin’ you and I can ever really hope to do
But every man in every nation can hear the call of soul salvation

A hundred million faces… a hundred billion tears
No one can come between us to isolate our fears
With all we have to hope for… and all we have to give
Whenever it’s your heart that’s beatin’… there’s a chance for us to live

For every day your heart beats… for every day the sun shines
With every breath our hearts meet… with every step our hopes fly
For every day your heart beats… whichever way your soul flies
With every breath our hearts meet… with every step our thoughts cry


Come Home
Billy Squier – Bobby Chouinard, © 1985 by Songs Of The Knight (BMI)

Poundin’ on the pavement, soundin’ the alarm
Strangulation mama, why you do me harm
Graduation lover, turn me on a dime
Come around and see me when you find the time
I can’t be certain, you can’t deny
Who can be certain, when these things you hide

Come home… come home
Come home little woman wontcha leave me alone
Come home… come home
Come home now baby keep me off the phone
I don’t want your lie-de-lies
Don’t care what you say girl
Come home… come home
Come home little woman get your back on the lawn

How you wanna play it – whatcha gotta say
Are you gonna keep me up all night for days
Tell me ’bout your lovers, tell me how ya do
Tell me now baby what’s it done to you
I could be bitter, who could deny
You should know better but these things you try

Come home… come home
Come home little woman dontcha leave me alone
Come home… come home
Come home now baby keep me off the phone
I don’t want to fight the fight
Where you gonna stay the night… stay the night… stay the night
Come home… come home
Come home little woman dontcha leave me alone
Come home… come home
Come home now baby, don’t leave me all alone

I could be tempted, who could deny
Love over logic runs true every time

Come home… come home
Come home little woman dontcha leave me alone
Come home… come home
Come home now baby wontcha stay
Come home… come home
Come home little woman dontcha leave me alone
Come home… come home
Come home now baby get your ass on the lawn


Break The Silence
Billy Squier, © 1985 by Songs Of The Knight (BMI)

Turn through the pages back in your life
The world in changes got you under the knife
It don’t turn easy… no matter what you say
You go ’round crazy… you throw it all away
Lost in action… torn and tired
Cool talkin’ when your face is on fire
Scarred romances… cast away
Rollin’ stoned… don’t turn away

Break the silence
Send a message… a message of love

Lost through the ages back in your mind
You know what’s yours… can you tell me what’s mine
Old man trouble comes knockin’ at your door
He run you in circles… throw you down on the floor

Crimes of passion… paranoid
Showdown… now it’s search and destroy
Close relations… bound and gagged
Share the news… don’t turn away

Break the silence
Send a message… a message of love

Heads and shoulders… ball and chain
Don’t charge me when I try to explain
Reputations… modern jivers
Gentle souls… all break the silence

Break the silence
Send a message… a message of love


Powerhouse
Billy Squier, © 1985 by Songs Of The Knight (BMI)

Tough day on the firin’ line, dontcha wanna make some time
Come down take a chance or two, I’ll be lookin’ out for you
Run all night, slip all day
Make me crazy baby, don’t you wait

I got the key to the powerhouse
I got the key to the powerhouse
I got the key, you can’t lock me out
C’mon baby we can work out – work out – work

Cold steel rollin’ down the track – big wheel gonna break your back
Love’s not an easy thing – love’ll show ya everything
Drive all night – slum all day
Take me closer baby – don’t you wait

I got the key to the powerhouse
I got the key to the powerhouse
C’mon down you can knock me out
C’mon baby we can work out – work out – work

Run all night, slip all day
Make me crazy baby, don’t you wait
Drive all night, slum all day
Pull me closer baby, steal away


Lonely One
Billy Squier, © 1985 by Songs Of The Knight (BMI)

Light in the window but out in the night it’s a cold world
Locked on collision – wrong over right between boy and girl
Call it the fashion – but can you deny your vices are one up on you
Caught in the patterns – longin’ to fly… sayin’ it’s all you can do
When you’re the only one… you see the lonely one

Ashes to ashes, dust into night and a trail of blue
Split screens and sidewalks… six strings and nighthawks and someone new
You got your answers and you got some time… but sometimes they run out on you
You got your reasons and you got your lies… but sometimes they leave you
Lonely, so lonely… lonely so lie

When you’re the only one… you feel the lonely one
Now you’re the only one… you see the lonely one

You try to be certain… you’re certain to try
Chasin’ your shadows… changin’ your mind
Facin’ those faces again and again and again…

Turn from the window and walk through the shadows of love gone by
Searchin’ your manner way down inside, still you don’t know why
Lost in the mirror you’re hopin’ to find the fountain that’s run out on you
You got your rhythm and you got your lines, but sometimes they leave you
Lonely, so lonely… lonely so lie

When you’re the only one… you feel the lonely one
Now you’re the only one… you see the lonely one
And you go on and on and on
You see the lonely one
And you go on and on and on
You see the lonely one

Lonely, so lonely… lonely so lie
Lonely, so lonely… lonely so lie

Now you’re the only, only one


Til It’s Over
Billy Squier, © 1985 by Songs Of The Knight (BMI)

It’s not over til it’s over… it’s not over til the end
It’s not over til it’s over… so we struggle to pretend
Hesitation makes you over… we all walk in our own way
Shadows deepen when its’s over… through the summer of longer days

Cast in the call of a million smiles blown away
Every time you fall it’s a thousand times torn away
Castles built to fall with the sands of time wash away

No escapin’ til it’s over… friends will say it’s not same
Memories falter when it’s over… some are lost and some remain
Someone take me when it’s over… set a lantern by the door
Can’t forget you… but I can’t hold on… toss the anchor from off the shore

Cast in the call of a million smiles blown away
Every time you fall it’s a thousand times torn away
Castles built to fall with the sands of time wash away
Castles built to fall with the sands of time wash away

Will the moment come again
I still love you when it’s over… I still want you to come again


Wink Of An Eye
Billy Squier, © 1985 by Songs Of The Knight (BMI)

I see you walkin’ down the street… you could be walkin’ in a dream
I see you goin’ through the motions of a life where nothin’s ever really what it seems
Chaste by a vision of love… how it’s come down to you
Somethin’ down inside is gonna make you wanna – gonna make you break through

It’s your life… it goes down in the wink of an eye
It’s your life… there you sit as the moments flash by
Chargin’ day for night… chargin’ grey for white
Chase the firelight… circular reason will leave you behind

Now you go walkin’ down the street… you hear that someone call your name
Say you know, you gotta learn to live and learn to love and learn to lose and learn to live again
Run from the angel of night… now she’s waitin’ for you

It’s your life… it goes down in the wink of an eye
It’s your life… still you sit as it’s passin’ you by
Chargin’ day for night… chargin’ grey for white
Chase the firelight… wait for tomorrow will leave you behind

Run to your angel tonight… now she’s waitin’ for you
All you want… all you want

It’s your life… it goes down in the wink of an eye
It’s your life… don’t you wait for the ashes to fly
Change your life… don’t sit as the moments flash by
Save your life… she’ll be yours for the wink of an eye

Trade your day for night… turn your grey to white
Fight with fire, fight… wait for tomorrow and kiss me goodbye

It’s your life… it goes down in the wink of an eye
It’s your life… don’t wait for the ashes to fly

Don’t you break down
Don’t you break down
Don’t you get down
Don’t you get down

Don’t say there’s no reason
Say there’s no reason
Say there’s no reason
No reason, no why

Don’t get down
Don’t let down