That’s the way you do it, you play the guitar on the MTV

Peter Gabriel’s groundbreaking, award-winning music video for “Sledgehammer”

We LISTEN to music, right?

In the ’50s, ’60s and ’70s, we turned on the radio, and we played singles, albums, 8-tracks and cassettes. Now and then, we were treated to seeing our favorite artists perform on “American Bandstand,” “Hullabaloo,” “Shindig,” “The Ed Sullivan Show,” “Midnight Special” and “Soul Train.”

But on August 1, 1981, there was a major paradigm shift in the music universe. Thanks to the spread of Cable TV and the proliferation of a multitude of programming options, suddenly we could see and hear rock music 24 hours a day, 7 days a week.

We could watch MTV.

The notion that there would be an audience for music videos, sent out on some remote cable channel 24 hours a day, was ridiculed at first, just like other “narrowcasting” ideas of cooking channels, fishing channels, Christian channels, History channels, even 24-hour news channels.  “Who will watch this all day and night?” was the question the businessmen asked.

As usual, many of them were clueless to the changing times.  Even Bob Pittman, one of the executives who helped launch MTV, said, “Frankly, it sounded like an asinine idea.”  MTV was an outlet for a product that barely existed; there were maybe 100 music videos in existence, mostly by unknown British and Australian bands, and the quality was generally abysmal.  Who would care to watch this stuff?

Turns out, teenagers didn’t watch TV much, but they sure were eager to watch this.  They were a great untapped audience, an invisible power.  As my friend Holly put it, “We’d go to our friend’s basement and watch MTV all day long.  It was on in the background, and we didn’t watch it continuously, but whenever a great song came on, we were mesmerized.”

Mike Nesmith, the most intelligent and innovative of The Monkees, was among the first to recognize the wisdom of marrying music and video into a full-flung cable channel that offered 24/7 music videos.  But it was a tough sell.   “Back in 1979, we put together a pilot with a half-dozen clips — Paul McCartney’s “Mull of Kintyre” and the like — introduced by comedians like Howie Mandel.  And we were unable to sell it.  The TV guys were resistant.  They said, ‘Music doesn’t work on television.  Never has, and never will.’  And up until then, they were right.  But that was about to change, and in a big way.”


When The Buggles’ “Video Killed the Radio Star” debuted as the first-ever video shown on MTV, it ushered in a new age, when songs would be introduced not only aurally, but visually as well.  MTV started out pretty much offering films of bands performing their latest songs in a studio or concert setting.  But within six months, maybe a year, every song that was released as a single had a dramatic, eye-catching accompanying video that MTV could play in their ever-changing rotation.  Songs were no longer audio only.  Now they had a visual component too.

At first, the only videos available were a weird brew of questionable stuff by the likes of Rod Stewart, Devo, Pat Benatar, Men at Work, Andrew Gold and others.  And MTV played them in relentless rotation, because that’s all they had to show.  But it didn’t take long for the record companies and their artists to catch on to this new marketing opportunity.  “Hey, we need to shoot a video of our new song so they’ll play it on MTV!” they said.  And the juggernaut was off and running.

MTV’s original team of “VJs”

When MTV first arrived, they realized they needed video jockeys — disc jockeys, but on TV. They needed to have stage presence, well beyond what DJs needed on the radio.  And they needed to appeal to all facets of the potential audience.  As executive John Lack put it at the time, “We need a black person, we need a girl next door, we need a little sexy siren, we need a boy next door, we need some hunky Italian-looking guy with curly hair.”

Martha Quinn, the youngest and perhaps most well known of the VJ stars of MTV’s early years, remembers the hiring process.  “I was still involved with my high school boyfriend.  That’s how young I was.  I said, ‘What’s a VJ?’   They said, ‘It’s like being a DJ, but on TV.’  I said, ‘What do I do while the records are playing?’  I was thinking it’s like ‘WKRP in Cincinnati.'”

For quite a while, MTV had scant viewership, and little credibility.  But then, they went to Mick Jagger and got him to agree to go on air and say, with a tear running down his cheek, “I want my MTV.”  And once they got Jagger, they got Bowie, and Pat Benatar and countless others, and suddenly, every cable provider in the country was being pressured into offering MTV in their basic cable packages.

Michael Jackson’s iconic music video for “Beat It” broke the color barrier in 1983

MTV was a business, and like any business, they catered to their primary audience which, at first, was white suburban kids whose families could afford cable TV.  So the artists MTV featured were almost exclusively white — New Wave, heavy metal, and hard rock — but white.  It was rather extraordinary, really.  There were NO black artists on MTV in 1981-1982-1983, even though R&B and funk music were wildly popular at the time.  And then came Michael Jackson’s “Thriller” album, and, more specifically, “Beat It,” which was rock-oriented and featured the hard-rock guitar work of Eddie Van Halen.  That opened the door.

“I loved watching MTV for the dance videos,” said Audrey, who was 19 when MTV first showed up.  “We would tune in to see the newest ones everyone was talking about.  They were like short musicals, and they held our attention.”

To be frank, I’ve never been a fan of the music video revolution, and here’s why:  When I listen to a song, my imagination takes over, and I go to another place where the lyrics and music take me.  “Strawberry Fields Forever,” for example:  “Let me take you down, ’cause I’m going to Strawberry Fields, nothing is real, and nothing to get hung about…”  I don’t need, nor want, some director, some film person, to give me their idea of what that might look like.  I wanted to conjure up that image on my own.

Some bands who didn’t really have all that much to offer still became big because they were fun to look at — artists like A Flock of Seagulls, Men at Work, Billy Idol and Culture Club.  As producer Rick Rubin put it, “In some ways, MTV hurt music, in that it changed what was expected of an artist.  You started to see artists break who were stronger visually than they were musically.”

My friend Sean, who was 15 when MTV debuted, said, “I loved the diversity and randomness of it.  You never knew what you would see or hear next.  I remember hanging in with music I didn’t really like, not only because something I did like might come on next, but because I was absorbing all the creative imagery.  And there’s no question that MTV’s influence was massive.  Bands like Men Without Hats were suddenly selling CDs in places like Iowa, where the radio stations were never playing them.”

Metal bands like Motley Crue took the ball and ran with it in a different way, using women in a slutty, demeaning manner that turned on some people but alienated many others. “The videos were poppy, and silly, and we got a kick out of them,” said Holly.  “But then they got sexist and kind of gross, and we were turned off by that side of it.”

A scene from Dire Straits’ “Money For Nothing” video

The British band Dire Straits went so far as to use guest vocalist Sting singing the ad tag line “I want my MTV” on its #1 single, “Money For Nothing.”  The song’s lyrics featured two blue-collar guys glancing at MTV and enviously referring to the rock musician this way: “That ain’t workin’, that’s the way you do it, you get your money for nothin’ and your chicks for free…”

By 1984, the budget for videos went from $50,000 to well over $500,000, and eventually, $1 million.  Everyone wanted to emulate Jackson’s “Thriller,” even if their work didn’t deserve that kind of expenditure.  No one wanted to watch four guys singing into microphones anymore.  There had to be a grand concept, with half-naked women, flamboyant fashion, artsy lighting, or serious choreography, or all of the above.  The music was almost an afterthought.

Some artists saw the potential and went wild with it, most notably those that could include elements of dance and fashion to their presentation, like Jackson, Madonna and Prince.  They all freely admit that their mid ’80s superstardom owed a great deal to their omnipresence on MTV during those years.  Indeed, the debut of the 13-minute video for “Thriller” in 1983 attracted MTV’s widest audience.

Madonna’s “Material World” video

Eventually, up-and-coming film directors saw MTV as a potential entree and resume builder.  Oscar-winning directors like David Fincher, Martin Scorsese and Jonathan Demme saw the value in doing high-quality music videos for top name bands like the Rolling Stones and the Talking Heads in order to boost their reputation in rock music circles.

“The videos gained the artists followers as much for what they were wearing as what they were singing,” said Chris, a music industry insider from Cleveland.  “The videos gave life to some of the songs well beyond the meanings of the words.”

Artists that would’ve otherwise been ignored were suddenly a big deal, thanks to their video exposure on MTV.  Billy Idol’s “White Wedding” and Men at Work’s “Down Under” gave those bands the kind of attention agents would kill for.

Robert Palmer’s “Addicted to Love”

Sure, sometimes the videos were wildly imaginative, well beyond whatever feeble effort our own minds could come up with.  Witness these award-winners:  “Sledgehammer,” Peter Gabriel, 1986;  “Take On Me,” a-ha, 1985;  “Like a Prayer,” Madonna, 1989;  “Girls Just Want to Have Fun,” Cyndi Lauper, 1984;  “You Might Think,” The Cars, 1984;  “Rhythm Nation,” Janet Jackson, 1989;  “Addicted to Love,” Robert Palmer, 1987;  “Hungry Like the Wolf,” Duran Duran, 1983;  “When Doves Cry,” Prince, 1984.

After four years on the air, MTV diversified, and came up with additional spinoff options like VH-1, which aimed toward an older demographic that enjoyed classic rock bands and vintage footage from “Ed Sullivan” and films like “Woodstock” and “Monterey Pop.”   This not only attracted another older audience but allowed MTV to become even more targeted toward current, younger bands.  As Holly explains, “Once VH-1 appeared, I probably never watched MTV again.”

Indeed, some bands rebelled as. best as they could against the video revolution. The Dead Kennedys, a major San Francisco punk band, released a song in 1985 that includes this lyrical diatribe against music videos: “How far will you go, how low will you stoop, to tranquilize our minds with your sugar-coated swill, /You’ve turned rock and roll rebellion into Pat Boone sedation, making sure nothing’s left to the imagination, /MTV get off the air!…

By the 1990s, even the MTV suits knew the bloom was off the rose.  They watched other cable channels enjoying huge profits from airing original programming, and decided they too should start reaching out to their demographic with something other than music videos.  “We knew we needed to move on, even if it alienated many of our core audience who had come to expect music videos all day and all night,” said Amy Finnerty, an MTV exec.  “We came up with a teen soap concept — ‘The Real World’ — and the numbers were through the roof.”   It started slowly, but within two or three years, Music TeleVision no longer showed music videos, except for maybe an hour a week at a predetermined time.

By then, there were other ways to see music videos, and by the mid-’90s, the Internet was in full bloom, with YouTube and other avenues for viewing music.

Today, many TV shows and most commercials use rock music and the quick-edit stylings that MTV pioneered in the early ’80s.  It’s not necessarily the best thing that ever happened to television, but it sure has had a major impact.

Old school: Classic rock concert films

This post today could fairly be described as quaint, or even obsolete.

With YouTube and other platforms in wide use, classic rock music fans today have the ability to watch their favorite artists — new or vintage — captured live in concert whenever they like. Whether it’s one song or an entire performance, it’s easy to watch rock musicians strut their stuff on stage from the comfort of your living room, or on your laptop anywhere.

Back in the ’60s and early ’70s, we didn’t have that luxury. The pickings were mighty slim, and the audio and/or video quality was usually not so great. Video clips from “The Ed Sullivan Show” or “Midnight Special” sometimes captured great performances by your favorite bands of the era, but too often we were subjected to “lip-sync’ed” moments taped on cheesy-looking sets, and it was usually the hit singles only.

By the mid-’70s, things started getting better, and by the ’80s, some of the major players in rock music spent the time and money to do it right, hiring respected directors and serious film crews to preserve live shows that showed the artists performing at their peak.

The best of these films were often premiered in theaters or on TV special broadcasts, and eventually they were issued on videotape and DVD. It was a brand-new experience to sit back and immerse myself in an intoxicating concert experience without leaving the house. Once high-definition and surround sound became available, that experience became even more mind-blowing.

I’ve singled out six of the best concert films from the classic rock era, the ones I strongly recommend that you try to see before you die. I’ve deliberately left out “Woodstock” and “Monterey Pop” because I’ve discussed them before, and because they offer multiple artists instead of focusing on the work of one major artist, as these choices do. I have DVDs of each, so feel free to stop by and we’ll watch them together!


“Stop Making Sense,” Talking Heads, 1984

David Byrne, songwriter/singer of the Talking Heads and one of rock’s most eccentric visionaries, had enough foresight to pick the right time in the band’s career arc to make a concert film, and to select the right person to take the helm. The band was operating at its peak in 1983 when Byrne conceived and executed “Stop Making Sense,” a highly visual presentation of the group in concert at Hollywood’s Pantages Theater, in collaboration with acclaimed film director Jonathan Demme, who had recently won praise for his 1980 slice-of-life comedy, “Melvin and Howard.”

Byrne drew on an array of influences, from New York’s avant garde theater world to the ritualistic traditions of the Pentacostal church, and Demme filmed the ensemble using 24-track digital sound recording, a new technology at the time. “Where analog recording loses a little something with each generation, digital maintains the sound integrity throughout the editing process, so the sound of the music is truly superb,” said Demme.

The show begins with Byrne alone on stage with guitar and a boom box playing the early classic “Psycho Killer,” is then joined by bassist Tina Weymouth, then drummer Chris Frantz on the third number, and then guitarist/keyboardist Jerry Harrison before additional singers and percussionists complete the assemblage for the sixth selection, the brutal Top Ten hit “Burning Down the House.” Byrne’s loner — alone on stage, alone in the world — has gradually become surrounded by a sympathetic community and joyously liberated from his angst and isolation. Imaginative lighting and idiosyncratic set design keep the viewer riveted as Byrne jumps around rhythmically yet spasmodically, at one point wearing his iconic six-sizes-too-big suit, recalling Japanese Kabuki costumes.

Critics were universal in their praise. Said Roger Ebert in a 1984 review, “The overwhelming impression throughout Stop Making Sense is of enormous energy, of life being lived at a joyous high. Byrne and the band seem so happy just to be alive and making music.” Elizabeth Nelson of the pop culture website The Ringer, revisiting the film for a 2019 article, called it “a masterfully executed and profoundly ambitious reimagining of the concert film genre, achieving something at once wildly theatrical but curiously unpretentious.”

The Last Waltz,” The Band, 1978

After eight years as “a” band backing Ronnie Hawkins and then Bob Dylan, they went out on their own in 1968 as “The” Band, virtually inventing the genre now known as Americana. Eight long years of albums and tours later, chief songwriter Robbie Robertson said the time had come to hang it up. “We had come to a point. We could tell something was going to happen. Something wrong. I’m not talking about the guys individually, I’m talking about The Band as a train itself. It was us, saying goodbye to the road.”

That was the impetus for staging “The Last Waltz,” The Band’s final show, on Thanksgiving Day 1976 at Winterland in San Francisco. They decided to invite key colleagues to participate — Hawkins and Dylan, for sure, but also Joni Mitchell, Neil Young, Van Morrison, Muddy Waters, Eric Clapton, Dr. John and Neil Diamond, among others. As the cast of supporting characters grew, so did Robertson’s original concept of a home movie, until he decided he had to enlist a real filmmaker. Rock music on film he had seen before, and it was all “Horrible….That’s another reason to do this. “I had watched music on television and in movies, and it was all pretty horrible. We needed someone who was professional and imaginative. Marty Scorsese was our first choice, and fortunately, he was not only willing and available, but he got us. He knew what The Band was about.”

They dressed the Winterland stage like an antebellum ballroom complete with chandeliers. Instead of the usual rock movie crew with hand-held sixteen-millimeter cameras, Scorsese called out Hollywood’s best technicians, a full complement of wide-screen professionals. They made the viewer feel like he was as tapped in to the onstage emotions as any musician there, with the cameras picking up all the looks and glances. The sound, laid down on a full studio twenty-four-track machine, set a new standard (at least until “Stop Making Sense” and its digital sound).

There is interview footage of band members reminiscing, giving the film a quasi-documentary feel, but the performances are the real deal, from The Band’s dozen songs (“Up On Cripple Creek,” “Don’t Do It,” “The Night They Drove Old Dixie Down”) to offerings from Mitchell (“Coyote”), Young (“Helpless”), Waters (“Mannish Boy”), Clapton (“Further On Up the Road”), Dr. John (“Such a Night”), Hawkins (“Who Do You Love”) and Dylan (“Forever Young”). Critics agreed that Scorsese brilliantly captured the sophistication and poignancy of the evening, and classic rock devotees will find the DVD two hours very well spent.

Ladies and Gentlemen: The Rolling Stones,” The Rolling Stones, 1974

“Nobody really knows it yet, but this is the first really good rock-concert film,” said cinematographer Steve Gebhardt at the time of its theatrical release in 1974. “There’s no message to it. It’s just what it says it is: The Rolling Stones in concert. Period.”

Indeed. “Ladies and Gentlemen: The Rolling Stones,” filmed during four shows in Houston and Fort Worth during the group’s 1972 tour, was shot using 16mm film but blown up to 35mm using a “wet gate” process to “make it look like it was shot for the wide screen.” The concerts were recorded in 32-track audio and released in “Quadrasound” (a variation of the four-track magnetic sound format) for the US theatrical release. The objective was to transform the typical 650-seat movie theatre into the auditory phenomenon of a 10,000-seat arena. A black screen and quadraphonic audience noise fooled theatergoers into accepting the recorded ambience as coming from their own venue, intensifying the aural intimacy when the Stones began to play.

What we see here is Mick Jagger, Keith Richards, Charlie Watts, Bill Wyman and Mick Taylor in superb form, playing the best material they ever wrote: “Gimme Shelter,” “Jumpin’ Jack Flash,” “Brown Sugar,” “Midnight Rambler,” “You Can’t Always Get What You Want,” “Tumbling Dice,” and ten more, all from their 1968-1972 period. The filmmakers and a four-man camera crew worked mostly from the back of the halls, using a 600mm lens powerful enough to pull in phenomenal close-ups. As Rolling Stone said in its review at the time, “The shots get so close that Mick Taylor’s fingers sometimes look like three-foot-high fence posts.”  

Once its initial theatrical run was over, the film disappeared for decades and wasn’t made available commercially until 2010, when a re-mastered digital version was issued on DVD and Blu-ray, complete with a Jagger interview segment serving as an introduction. Watching this film today in 2022 is an eye-opening experience for younger generations who may be ambivalent about why The Rolling Stones were once known as “the world’s greatest rock and roll band.” Here’s your proof.

Shadows and Light,” Joni Mitchell, 1980

In the 10+ years since her entry into the music business, Mitchell and her music in 1980 had undergone enormous change from timid folkie to confident jazz bandleader. We heard the first big jump in that evolution on 1974’s “Miles of Aisles” LP, with Mitchell fronting a full band for the first time. Her next three or four albums showed her moving inexorably toward a not-always-welcome exploration into jazz arrangements that challenged those of us brought up on “Big Yellow Taxi” and “Both Sides Now.” In 1979, Mitchell assembled a truly all-star jazz ensemble to accompany her as she showcased her newer songs, offering incredible musicianship that we are fortunate to see and hear captured on “Shadows and Light,” an exceptional concert DVD.

Joni had a whole new look at this point, as well as a take-charge seriousness to her delivery that complemented the professional approach of the band, which included the wondrous Pet Metheny on guitar, the unparalleled Jaco Pastorius on bass, Michael Brecker on sax, Don Alias on drums and Lyle Mays on keyboards. Are you kidding me? Just watch these maestros strut their stuff alongside Mitchell and bathe in the alternating soothing/ambitious sounds they make on the Santa Barbara County Bowl stage.

The film throws in some curious, somewhat distracting film clips of various ’50s and ’60s iconic artists and images, but once the cameras settle on the live music at hand, it’s a real treat. We get stellar versions of three tracks from 1975’s “The Hissing of Summer Lawns,” five from her 1976 masterpiece “Hejira,” three from her then-new tribute to Charles Mingus, and just two from her earlier days (“Free Man in Paris” and “Woodstock”). The vocal group The Persuasions make an appearance near show’s end with a lively take on the ’50s nugget “Why Do Fools Fall in Love” and a stunning collaboration with Mitchell on the title track.

This concert film will delight and surprise you, regardless of where you are on the Joni spectrum. I’ve found it’s great to watch on a rainy, mellow Sunday when I’m in a reflective mood.

’68 Comeback Special,” Elvis Presley, 1968

In 1968, it had been seven long years since Presley performed live, a period during which his manager, the controlling “Colonel” Tom Parker, had him focused on Hollywood, starring in more than 20 slapdash, average movies with even worse soundtrack LPs. The rock music world had exploded in the meantime, as The Beatles and the British Invasion, then garage bands and psychedelia took rock listeners on ever-expanding journeys into uncharted territory. Presley was frustrated that he seemed left behind, a relic of an earlier era.

Parker had originally envisioned Presley’s next move to be a mostly traditional Christmas special, broadcast on NBC, but producer Bob Finkel and director Steve Binder had other ideas. With Presley’s encouragement, the program was transformed into something else, a more current version of Elvis doing vintage rock and roll in fully staged fashion as well as in a sit-down, intimate setting in the round. A bluesy treatment of “Blue Christmas” near show’s end would be the only remnant left of Parker’s initial concept.

Elvis” (commonly referred to as the “’68 Comeback Special“) was a huge success in every way. Partly because people of all kinds tuned in to see what he would say and sing and do, the show earned huge TV ratings, and the press was mostly complimentary (The Chicago Tribune called it “dynamic, compelling, incredibly sensual”). Most important, the public’s perception of The King as a has-been joke went through a major correction. They now seemed to re-appreciate him as a vital performer and respected icon of the rock and roll oeuvre.

Filming had taken place six months earlier in NBC’s Burbank studios after numerous rehearsals, and the show made use of the best of the various takes. Most eye-opening is the sit-down setting where Presley, dressed head to toe in black leather, gave strong renditions of rockers and ballads alike surrounded by a small audience in what amounts to a precursor of the “MTV Unplugged” format.

The DVD package I own, released in 2004, is a 3-disc deluxe edition that includes all available footage and outtake, but there’s also a 1-disc version that shows the original broadcast with a few extra numbers added for good measure. If you want a delicious slice of rock history, look no further.

Led Zeppelin DVD,” Led Zeppelin, 2003

It wasn’t until 2001, more than 20 years after Led Zeppelin disbanded following John Bonham’s death, that Jimmy Page began compiling, editing and remixing video and audio materials with an eye toward a definitive DVD of the band in concert at different phases of their career. “There was nothing out there except dreadful quality bootleg stuff,” said Page, “We built our career on live shows, so top-flight video of us in concert was something I felt had to be done.”

Much of the available footage had to be painstakingly restored from tape that had partially decayed and decomposed. Videotape from shows at Royal Albert Hall in 1970 needed considerable work, although footage from 1975 at Earls Court and 1979 at Knebworth Festival were in better shape. Video from Madison Square Garden in 1973 had been used in the lackluster 1976 film “The Song Remains the Same” but was repurposed for this larger project.

The result, titled simply “Led Zeppelin DVD,” is a 2-disc treasure trove released in 2003 that shows the foursome on stage at those four different times in the band’s relatively short lifespan in the Seventies. As a huge fan in the band’s early days, I was most thrilled to see the 1970 footage, as it approximates what they looked like when I had seen them a few months earlier doing the blues rock classics from their first two LPs. The stuff from 1975 is great because it includes a section when they gathered on stools at the edge of the stage with acoustic instruments to do a few ballads (“Going to California,” “That’s the Way”).

But this is Led friggin’ Zeppelin we’re talking about, so the footage showing them really cranking it up (“Dazed and Confused,” “Black Dog,” “Rock and Roll,” “Kashmir,” for example) is the meatiest part of it. Critics like Michael Azerrad of Rolling Stone called it “the Holy Grail of heavy metal” and gave it four of four stars. The band’s fan base, still avid 25 years after the fact, made this package the best selling DVD in the US for three consecutive years.


I would have loved for this Spotify playlist to include songs from each of the films featured here, but there was no corresponding album to accompany “Ladies and Gentlemen: The Rolling Stones” nor “Led Zeppelin DVD,” and Joni Mitchell has removed her entire catalog from Spotify, so tracks from “Shadows and Light” aren’t available. But I do have music from “Stop Making Sense,” “The Last Waltz” and “’68 Comeback Special.”