All right, short and vivid take: the studio version of 'No More Mr. Nice Guy' was recorded at Morgan Studios in London as part of the 'Billion Dollar Babies' sessions, with Bob Ezrin shaping the sound. The live debut happened on the 'Billion Dollar Babies' tour in London, with the Hammersmith theatre being the first place that crowd heard it erupt in person. I love imagining the band cutting the record in a proper London studio and then blasting the same arrangement out to an electric, hostile-sweet audience that night — that immediacy is everything to me, and it’s why the track still gets me.
I still smile whenever I hear that opening riff — it hits different. 'No More Mr. Nice Guy' was tracked during the sessions for 'Billion Dollar Babies' at Morgan Studios in London, with Bob Ezrin producing. The studio take is the one you hear on the single and LP; it’s tight, theatrical, and has that glossy early-'70s rock sheen that made Alice Cooper's band sound huge without being overblown.
Live, the song was rolled out on the 'Billion Dollar Babies' tour soon after the record was finished, and its public debut was in London at the Hammersmith venue (the classic Odeon/Hammersmith Apollo space where so many rock premieres happened). Hearing it in that cramped, raucous theater for the first time, people reportedly flipped — the chorus was tailor-made for singalongs. For me, mixing the studio polish from Morgan and the raw punch of those Hammersmith nights captures why the track still feels alive; it’s studio craft and stage chaos braided together, and that contrast is part of its charm.
Short recollection: the original studio recording of 'No More Mr. Nice Guy' was laid down at Morgan Studios in London for the 'Billion Dollar Babies' sessions. Its live premiere came on the subsequent tour, first played for audiences at the Hammersmith venue in London. I like that combo — proper studio craft at Morgan, then an immediate live baptism at Hammersmith — it gives the track that polished-but-razor edge that hooked me from the first listen.
I’ve always thought about songs like tiny time capsules — with 'No More Mr. Nice Guy' the capsule was closed in London and opened on stage. It was recorded as part of the 'Billion Dollar Babies' sessions at Morgan Studios in London, produced by Bob Ezrin, and that studio vibe gave it a punchy, radio-ready sound. The single that followed rode that momentum straight into the live setlists.
On the road the track was introduced during the 'Billion Dollar Babies' tour in 1973 and very quickly became a crowd favorite. Hearing it live was a different thrill: the studio polish translated into a rawer, more theatrical live moment, and that contrast is why so many live versions circulated afterwards. The song’s structure — catchy verse, shoutable chorus — made it perfect for TV and concert appearances, so you’ll find it popping up across various filmed shows and live compilations from that era.
All in all, I love how the studio work at Morgan Studios and the energy of the early tour performances are both essential parts of the song’s history; they’re the reason it stuck around as a signature tune.
I get a thrill picturing the sequence: tape rolling in an old-school London studio, then the same riffs exploding on a nearby stage. The recording for 'No More Mr. Nice Guy' was done at Morgan Studios while the band was in town making 'Billion Dollar Babies' with Bob Ezrin producing. After the sessions wrapped, they didn’t sit on it — the song was introduced live almost immediately during the supporting tour, with its first live airing at Hammersmith in London. That pairing — a neat, professional studio cut from Morgan and the raw live premiere at Hammersmith — shows how the band balanced theatrics and musicianship. Thinking about those early shows, you can almost hear the crowd joining in on the chorus; it’s one of those tracks where studio and stage feed each other, and I still catch myself singing along on road trips.
2025-10-27 01:05:07
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The Bad Gentleman
AURORA STORM
10
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BOOK 1: THE GENTLEMAN SERIES
“You’re so fucking beautiful,” he thrusts, “and so fucking mine. You hear me? Mine! And you dare not think of leaving me ever again.”
He groans, his thrusts now hard and fast. “'Cause that's the last thing you'll do."
~~~
Moving to a new city for work after finding out her boyfriend has been cheating on her with a friend, Hannah decides to start afresh. But a fresh start comes with a cost, and if one is not careful, they might unknowingly end up sucking off a mafia lord, Christian Roman, who doesn’t take no for an answer and always goes for what he wants; In this case Hannah.
However, this fresh start doesn’t just come with a sexy green-eyed man, but also more truth about Hannah’s heritage, and a memorable lesson about love.
Mila is a fierce, resilient woman who doesn’t back down from challenges. She fell deeply in love with Alex, only to have her world shattered when he betrayed her with his mistress, Lily. Alex, obsessed with having a son, had divorced Mila after learning she supposedly couldn’t conceive. When Lily became pregnant, she secured her place by Alex’s side, leaving Mila devastated. Yet Mila, with her signature sass, decided to rebuild her life, throwing herself into her career with newfound strength.
Just as Mila’s life starts to stabilize, she discovers something shocking: she’s one month pregnant. Reluctant to believe it, she re-tests, only to confirm the news. Soon, Mila learns the original claim of infertility was all part of Lily’s scheme to steal Alex and secure his wealth. Fueled by the betrayal, Mila sets out to reveal Lily’s deceit. But Lily is always one step ahead, twisting each of Mila’s moves to her advantage.
Now, Mila faces her greatest challenge: outsmarting Lily and taking back control of her life, her dignity, and her future. Will Mila expose the truth before Lily’s schemes destroy everything?
Selene gave her all her love, her loyalty, her life. But when she learned the truth behind her husband's betrayal, it was already too late.
Now reborn, she's no longer the naive wife they once controlled.
This time, she's playing by her own rules.
And payback… is only just beginning.
But being back is only the beginning.
What Selene didn’t expect… was that this new life wouldn’t follow the same script.
Her past may have been tragic, but this present? It's unpredictable.
The players have changed.
The game is messier, new enemies new allies and new secrets.
And everyone’s out to get what they want and Selene is caught right in the middle of it all.
And then… there’s Collins.
Collins never believed he’d be able to feel desire again — not with Sarah, the fake girlfriend he barely tolerated.
Not with the desperate women who threw themselves at him.
He had long accepted that he’d been broken beyond repair, emotionally and physically dismantled with no urges.
Until that night.
The M&D Corporation party.
when the drug hit.
He felt it — the spinning, the heat, the blur.
And all he wanted was to get away.
And in his struggles to hide he stumbled into the wrong restroom while shoving a figure out of his way in his haze… only to be met with a spark that shouldn't have existed.
It should’ve ended there.
But fate doesn’t let go so easily.
Because the woman? She’s married off-limits and complicated..
Andy Williams is a nineteen year old Senior struggling to balance her school life, after hours job and moonlighting as a rock star. When her band is booked to do the end of term concert her cover is blown and she struggles to cope with the groupie, who just happened to be her Mathematics teacher, Miss Gweneviere Sheldon.Her English teacher, Miss Preston, offers to tutor her during the holidays and they start to get really close, perhaps too close? Uncomfortable with the situation Miss Preston calls everything off and sends Andy spiralling into a world of alcohol and drugs.Andys band tries to help Andy get over Miss Preston but ends up making the situation worse. Andy rethinks her actions during a couple of days in the hospital, she quits the band, changed her school schedule and starts extra Mathematics lessons to make up for lost time.She makes new friends, finds a new job. Her life seems to be back on track when a tragic accident happens on a school trip that leaves Andy temporarily paralyzed.She makes it through with the help of family and friends and reconnects with the band. With a little hard work Andy graduates and is free to pursue Miss Carol Preston.
I thought he was a ghost from my past, but he came back with a marriage certificate and a billion‑dollar debt. He says I have to pay with my body—and my voice.
“You’re in breach of contract, Mrs. Moretti.”
Seven years ago, Dante Moretti was a broken sound engineer who broke my heart and vanished. Today, he’s the ruthless head of a global empire—and he just walked backstage to claim what’s his.
Me.
He brings a marriage certificate I don’t remember signing and a list of clauses that turn my world‑famous life into a gilded cage. He owns my label. He owns my jet. And he claims he owns my voice.
Dragged to a fortress in Sicily, I’m trapped between a secret past I can’t outrun and a “husband” who looks at me with equal parts hunger and hate. Dante swears he’s the only thing standing between me and the monsters who want to buy my soul.
But as the line between protection and possession blurs, I have to wonder:
Is Dante Moretti saving me from the fire…
or is he the one holding the match?
He’s my greatest sin.
My biggest secret.
And now, he might be my only hope.
---
** Don't Mess With The Rock Chicks Combined book - three stories in one place - Super Sexy Second Chance, Threesome, and BDSM **
Two Way Street, Book One
Emily’s world comes crashing down around her when Owen breaks off their engagement in order to pursue a career as the lead guitarist of a band.
When Owen’s backup singer calls in sick and Emily steps in to save the day she finds herself swept up in a crazy ride to the top of the music industry which might just save her relationship with Owen… or end it completely.
Vice and Victor, Book Two
Vice and Victor have a career plan and romance will have to wait, especially since their idea of an ideal romance, involves both of them and one woman.
After being roofied by her music producer, Mirage is locked into completing another album with her rapist who has been feeding the industry lies about her.
Mirage is not a fragile damsel in distress, she is a pop-rock chick, and she is fighting back.
Raven's Luck, Book Three
When his best friends ask Raven, a PI, to investigate Gregory Holmsworth, the grandfather of their girlfriend, Raven discovers that although on the surface Gregory Holmsworth’s business seems legit, his path has not always been on the right side of the law.
Vixen is the lead singer of a punk band just breaking into the industry and works for Gregory. Whilst Raven has been looking into Gregory, Vixen has been looking into Raven, and she sends him an invitation to meet with her, luring him with the promise of a way into Gregory’s business and secrets.
Vixen has other plans for Raven. She likes pretty boys, and broken things, and she has decided that Raven fits both descriptions to a tee.
Caught on a late-night metal radio show years ago, the version that stuck with me most is Megadeth's take on 'No More Mr. Nice Guy'. Their rendition scrubs the original's campy horror-rock vibe and slams it into a thrash-metal engine — tighter riffing, faster tempo, and Dave Mustaine's sneer replacing Cooper's theatrical delivery. That recording showed up around the late '80s/early '90s in soundtrack and compilation circles and quickly became the go-to modern reference for people who knew the Alice Cooper tune but wanted it heavier.
Beyond Megadeth, the song lives a busy afterlife: it's one of those classics that bands across punk, hard rock, and metal cover in clubs and on tribute albums. You’ll hear it as a singalong encore, a soundtrack cue, or a fun studio cover on various compilations. Alice Cooper's original on 'Billion Dollar Babies' remains iconic, but in terms of covers that grabbed attention, Megadeth's version is the one most fans point to — it just translates the attitude so perfectly for a different audience. Still, hearing the original always makes me grin; the theatricality is unbeatable.
I still get a little giddy whenever 'Don't Get Me Wrong' comes on — it's one of those songs that smells like 1986: bright, jangly guitars, and Chrissie Hynde's voice cutting through like a cool breeze. The song was released on the Pretenders' album 'Get Close' and famously had that playful 60s-spy style video, so it's easy to assume the first public outing might've been a flashy TV spot. Thing is, though, the precise location of the very first live performance isn't something that's hammered into the usual bios; it's one of those tiny music-history mysteries that fans love to chase. From my own digging and chatty late-night forum rabbit holes, the earliest public performances tended to surface during their 1986 promotional cycle — TV appearances and the early legs of the tour promoting 'Get Close' — but pinning a single, definitive venue as the absolute first is trickier than I expected.
When I switch from being a fan to being the person with a cataloging obsession, a useful strategy pops up: look at contemporaneous TV listings, setlists, and music press from the time. Sites like setlist.fm have become treasure troves because fans upload concert setlists and timestamps; you'll often find early entries for songs like 'Don't Get Me Wrong' tied to mid-1986 gigs. Old BBC archives and rock magazines such as 'NME' and 'Rolling Stone' can confirm televised performances — and those TV shows (people often point to appearances on shows like 'Top of the Pops' or other European music programs) can sometimes precede or coincide with the first live concert renditions. Another angle I used was tracking bootleg recordings and fan-shot videos on YouTube: sometimes the earliest footage is uploaded by someone who saved a VHS of a TV broadcast or an opening-night show. Interviews with Chrissie Hynde and band members from around the album's release sometimes mention introducing new songs on specific tours or TV broadcasts, but they're rarely stamped with the "first-ever" claim unless it was a particularly notable debut.
If you're really into nailing down the exact place, I’d recommend a small research scavenger hunt — it’s oddly satisfying. Start with setlist databases and filter Pretenders shows to 1986, then cross-reference any TV appearances listed in music press archives from January to April of that year. If you like lurking in forums as much as I do, join Pretenders fan groups and ask; long-time fans sometimes have ticket stubs, fanzines, or personal diaries that mention when they first heard the song live. If you want, I can help walk through that research pattern step-by-step, or point you to specific archive resources and likely dates to check first. Either way, chasing the exact first live moment for a song like 'Don't Get Me Wrong' turns into a charming little detective story — and I kind of love that about music history.