and "My Kinda Lover" were successful follow-ups. The album also includes "Lonely Is the Night", which became a radio favorite and one of his signature songs, despite not being released as a single (however, in Britain, it was the B-side for "In the Dark"). Squier was also popular on the new MTV cable channel, where his straightforward performance-based videos received heavy rotation. Don't Say No peaked at #5 on the Billboard 200 and lasted well over two years on the chart, eventually selling over 4 million copies in the US alone, making it Squier's most commercially successful album. Squier was known for being a perfectionist and short-tempered at producers sometimes. He ended his partnership with Mack after disagreements between the two escalated because of artistic differences. Despite the problems, Squier's third album Emotions In Motion was released in 1982 and became very successful, although in the long run, it didn't catch its predecessor in sales. Nevertheless, the album hit #5 in both US and Canada, sold approximately 3 million copies, and spawned the successful radio and video hits "Emotions in Motion" and "Everybody Wants You". The latter is notable for being Squier's first #1 on the Mainstream Rock chart and holding the place for six weeks straight, more than any other number one in 1982. During the tour for Emotions in Motion, Squier and his band served as openers for the North American leg of Queen's 1982 Hot Space Tour and later, he finally became a headliner act for the first time. British newcomer Def Leppard supported him and he helped the band break through in the US, in conjunction with the release of their breakthrough album Pyromania. Career pinnacle: Signs of Life (1984) Squier began writing songs for his fourth album Signs of Life in late 1983 after finishing his first headlining arena tour. He planned to have Robert John "Mutt" Lange as producer. However, Lange was already reserved by The Cars and suffered a breakdown afterward. Squier brought in Jim Steinman, whom he admired for Meat Loaf's Bat Out of Hell, which he described as "the most passionate and exciting rock record of our time". Steinman showed enthusiasm for the project and he got along well with Squier and his band, despite his role in the studio being significantly smaller than usual. The resulting album was a departure from Squier's typical guitar-heavy hard rock into a more keyboard-oriented