July 6, 2009
River Of Dreams was issued in August of 1993 and is the last pop album that Billy Joel has released to date. Sixteen years is a long time in the music world and whether he ever issues another pop/rock album remains to be seen.
Billy Joel’s life had taken a couple of turns for the worse by this point. He was embroiled with his ex-manager over the theft of large amounts of income plus his marriage to Christie Brinkley would end in divorce within a year’s time. The album came across as very serious which reflected his life situation at the time. What it all added up to was a work that may not have been as memorable as his earlier classics but it was solid throughout.
The first half dealt with the problems that were affecting his life. “The Great Wall Of China” has a nice bluesy feel to it as it deals with his financial situation and legal problems. “Blonde Over Blue” is an ode to the disintegration of a relationship. And “A Minor Variation” just has an overwhelming sense of sadness.
Joel’s psyche improves as the album nears its end. “Lullabye (Goodnight My Angel)”is a poignant song of acceptance as one relationship comes to an end but the one with his daughter Alexa will continue. “River Of Dreams” stands out from the rest of the tracks as it is just catchy pop reminiscent of his best work. It would become his last huge radio hit, reaching Number Three on the charts in the United States. “Two Thousand Years” finds him turning reflective as the line “time is relentless” probably sums up his thoughts at the time. This philosophical statement contains some nice piano work which revolves around some creative percussion.
The only song that rings hollow is “No Man’s Land” which rants against the ills of suburbia, a subject that he was by this time far removed from by virtue of money and status.
The album closes with the aptly named “Famous Last Words.” It is fittingly one last serenade from an artist who had created so many great tunes over the years.
Whether this will be Billy Joel’s final pop music statement remains to be seen. He has not ruled out releasing another album; so his millions of fans can only hope. In the meantime, they will have to be satisfied with one of the more enjoyable catalogues in music history.
July 6, 2009
The time between studio albums for Billy Joel was lengthening. He had settled into domestic bliss and so it was not until October of 1989 that Storm Front was released. His fans had not forgotten or deserted him, though, as the album quickly rose to the top of the charts in the United States. It was not a consistent release, but it did prove that he could still produce some meaningful and popular songs.
Storm Front also introduced two more classic hit songs. “We Didn’t Start The Fire” was one of the more clever and unique singles to reach Number One in rock history. A world history lesson in just under five minutes, it was frenetic rock ‘n’ roll that was equally creative and interesting, proving to be one of his most popular songs. Yet another Top Ten hit, “I Go To Extremes” can be considered manic rock at its best as Joel checks in with some of the best piano work of his career.
“And So It Goes” is another strong track. This ballad of love gone wrong is a gentle song stripped to the basics, his weary vocal projecting just the right tone of resignation.
There are several other tracks that are above average. “That’s Not Her Style” is a fine combination of rock and blues, featuring some excellent harmonica playing. “The Downeaster Alexa” is another of Joel’s story songs, this one telling of Long Island fishermen; plus his daughter’s name is incorporated into the title. And the title track is interesting for the use of horns to fill out the sound.
While the album contains a few failures as well, it is still a representative album. It’s not my favorite Billy Joel release but it does resonate in my comfort zone in so far as his music is concerned. Your time and money might be better invested in some of his earlier studio albums but in places Storm Front is very, very good.
July 5, 2009
It was a big deal when Billy Joel toured the Soviet Union in 1987. Very few American artists had been able to crack the Iron Curtain so his series of concerts were historic. And if you were going to play a series of concerts in Russia in the late eighties you might as well record a live album.
Kohuept (or Kohuepm) was a hastily assembled affair as basically they recorded his Leningrad concert. While it is not of the caliber of his first live release, Songs In The Attic, it does present an accurate picture of his concert style at the time. The album has also aged fairly well. Maybe many of the songs were too new or over played at the time but when I listened to the album earlier today it was better than I remembered.
I could have done without the Russian choir’s performance of “Odoya” leading off the album but you are in Russia. Other than that, the packaging, and one song, the concert could have been taken from anywhere in the world.
The real opening is a powerful “Prelude/Angry Young Man” which is a showcase for his piano expertise and vocal prowess. I also liked the simplicity of “Honesty” which is stripped to the basics of piano and vocal.”
The album may drag in a few places but the center of the concert is high energy pop/rock at its best. “An Innocent Man” is extended to over six minutes which allows for some improvisation. “Allentown” is Joel at his gritty vocal best. “A Matter Of Trust” and “Only The Good Die Young,” which are performed back to back, is what his music is all about.
He was touring in support of The Bridge at the time and his performance of “Big Man On Mulberry Street” brings the song alive. The studio version had a big band feel and was my favorite track on that album. While it does not have the full feel of the studio track it still is interesting and at over seven minutes there is room for more improvisation.
There are some misses. “Baby Grand” pales next to the studio version. “Uptown Girl” has some nice harmonies but just cannot match the layered vocals of the original. He seems to be going through the motions on “Big Shot.”
His version of “Back In The U.S.S.R.” is competent but he is not The Beatles but then again it was an obvious song choice. The pop version of “The Times They Are A-Changin’” show that he is really not Bob Dylan and his intent to make a statement about The Soviet Union of 1987 is very dated today.
Kohuept is enjoyable and presents his music live in a unique setting. It remains a somewhat ignored album in his catalogue but is decent enough to deserve a listen every now and then.
July 5, 2009
I have to admit up front that The Bridge is not one of my favorite Billy Joel albums. While it contains three strong tracks and one very good one, the rest of the material falls into the average range which means not terrible but rather just ordinary which is not what I expected from him at this point in his career.
This was his first studio release in three years but sandwiched in between was his Greatest Hits Volume I & Volume II album which sold 21 million copies in The United States and that was a hard act to follow. People had become used to hearing his very best material and so this album paled in comparison.
The Bridge is a far cry from his last studio effort, An Innocent Man. The simplicity of that album is left behind and now his music appears to be in transition which makes this release one of the least cohesive of his career.
Still when Billy Joel is good he is very good. “A Matter Of Trust” is as strong as anything in his catalogue. Now remarried with a daughter, this rocker is a joyful tune celebrating his new family situation. This hit single may have been over played at the time but now remains a song that has aged well. “Big Man On Mulberry Street” is my favorite song from this album. It has a jazzy, big band feel and is a musical direction I wish he could have explored a little more over the years. “Baby Grand” is a love song to a piano. What makes the track unique is the duet with Ray Charles. He was an idol of Joel’s and the song has an easy going feel to it.
“This Is The Time” is almost as good as the first three. It is a catchy piano and guitar song that contains an emotional vocal.
The other five tracks do not work as well. “Running On Ice” has a frenetic feel to it and never really gets into a groove. “Modern Woman”, which was also issued on the Ruthless People soundtrack was a top ten single but sounds very 80’s and dated today. “Code Of Silence” is interesting for the Cyndi Lauper involvement but not much else.
“Temptation” is a ballad that does not compare with his best work and “Getting Closer” finishes the album on a mundane note.
The Bridge has some high points that are worth savoring but overall is one of his weaker albums. There are a lot better places to visit when exploring the music of Billy Joel.
July 4, 2009
Vary few artists ever release an album that sells a million copies. Too sell more than that is extraordinary. Greatest Hits – Volume I & Volume II by Billy Joel has sold 21 million copies in The United States raking it at number 7 all time and that my friends are a lot of albums.
During a three year hiatus between studio releases The Columbia Label did what many labels have done in the past to fill the gap and that is to issue a greatest hits album but it is doubtful that even the most ardent Billy Joel fan expected this type of commercial success. He was already a star but this re-packaging of his best and most popular material from 1974-1985 would propel him into the upper echelon of music superstars.
This review is of the original release which was on vinyl and early CD. Subsequent reissues have added songs and changed some of the tracks substituting live for studio and lengthening and shortening some of the songs but the basic strengths of the album remain intact.
Joel’s studio albums during this time period ranged from very good to brilliant and always provide an interesting listen when explored as a whole. These songs may have been removed from their original context but they are so good that it does not matter. Also while Joel sold tens of millions of studio albums he was also known as a singles artist at a time when that mattered and had a large number of hits that received massive radio airplay.
The 21 tracks are, for the most part, presented in chronological order. This is always a good idea as it shows the development of the artist’s music and vision.
Most of the songs need no introduction even for the most casual music fan. “Piano Man” (1973), “Just The Way You Are” (1977), “It’s Still Rock and Roll To Me” (1980), “Pressure” (1982), and “Uptown Girls” (1983) are only a sampling of his prodigious output. Throw in such classics as “Only The Good Die Young,” “Tell Her About It,” “My Life”, and “Don’t Ask Me Why” and you have an album with not only no weak tracks but of one highlight after another.
The original album concluded with two songs that were new in 1985. “You’re Only Human (Second Wind)” and the under the radar but beautiful “The Night Is Still Young” were fine additions and strong album closers.
Given its huge commercial appeal one can ask whether it is one of the top ten best albums of all time. The answer is no but it can be said it is one of the more enjoyable listens. 21 million people can attest to that fact.
July 4, 2009
An Innocent Man was everything his last release, The Nylon Curtain, was not. It was populated with catchy, upbeat songs with wonderful harmonies. It was and is a great listen from the first track to the last. It was also a huge commercial success selling ten million copies in North America along with spawning an amazing six hit singles.
While this album contains original material it was a tribute album. Billy Joel would honor the artists and styles of music that had influenced him since his childhood days.
My personal favorite is the Frankie Valli and The Four Seasons type song, “Uptown Girls.” The lyrics are about a working class Joe and the upper class girl which looked ahead to his marriage to model Christie Brinkley. It has a wonderful fifties doo-wop feel that is just pop music at its best.
“Tell Her About It” would be a number one hit single for Joel. The song is bright and catchy but the music video that accompanied it is one of the most amusing of all time complete with a parody of The Ed Sullivan show.
With a divorce in the past and another marriage on the horizon, “An Innocent Man” is a song about another try at love. It contains one of the purest vocals of his career and shows was a wonderful voice he possessed at this point in his life.
That voice was put to good use on “The Longest Time.” The style was another tribute to doo-wop as he recorded his vocals over and over again and then joined them together into a virtual choir. The song is almost a cappella as there is only a bass and some odd percussion.
“Leave A Tender Moment Alone” should resonate with males everywhere as it deals with the fear of approaching girls. Any guy who has screwed up the courage to ask for a date and been rejected can relate to this song.
“Keeping The Faith” is the perfect album closer as it sums up the musical thesis. He has indeed kept the faith in his musical roots alive.
An Innocent Man remains an album of pure fun and enjoyment. He would return to a more introspective style on subsequent releases. These songs are rarely played by Joel in concert which may be a combination of the production making the music and particularly the vocals difficult to replicate and the fact that his future wife played an important part in its inspiration and now is gone. It remains an album well worth seeking out for no other reason than just to hear some good music.
July 4, 2009
Billy Joel issued his first studio album in two years with the release of The Nylon Curtain in September of 1982. It would be a different type of album as it veered away from the enjoyable pop of The Stranger and 52nd Street toward a harder edge both musically and lyrically. While it would sell three million copies in North America it would be one of his least successful albums.
I have to give it to Billy Joel for not taking the safe road here but instead trying a little experimentation. It may not be his most enjoyable album but it remains one of his most creative and certainly most daring.
Three powerful songs form the core of this release. “Allentown” is a gritty rocker about blue collar unemployment. I grew up in an old mill town in New England and can relate to this song as all the textile mills left in the early sixties creating extreme hardship for the community. “Goodnight Saigon” is one of the more poignant and memorable songs to have been written about The Vietnam War. It deals not only with the horrors of war but also the sadness. “Pressure” may not be one of my favorite Billy Joel tunes but it certainly stands out in his body of work. It is frenetic, obsessive, and driven by a repetitive synthesizer sound. It literally creates an atmosphere of pressure just getting through the song. It may have been one of the oddest hit songs of the eighties but it was also memorable.
There would be a few songs that would travel in a different direction. “Laura” is just a pure pop song and may be the most listenable track. It is a piano driven song and the harmonies fit perfectly. “She’s Right On Time” is another piano based tune which intermingles with the percussion and finds him reaching back to his Piano Man days. “A Room Of Our Own” continues the exploration of his roots as it is driven by an almost New Orleans honky tonk sound. The six minute “Scandinavian Skies” travels in a different direct as it is a mixture of musical styles but the lyrical imagery is superb.
The Nylon Curtain may not be the place to start when exploring the music of Billy Joel but if you want a change of pace from his usual pop fare then this is the album for you.