Tag Archives: piano

Storm Front (Billy Joel) – Album Review

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Storm Front

Storm Front Yielded Billy Joel's Final Number 1 Hit, "We Didn't Start The Fire".

Released in 1989, this was the album that gave Billy Joel his fourth and final number 1 single: “We Didn’t Start The Fire”. The song cast such a shadow on the album that people are mostly unaware of what is included besides that chart-topper. The truth is that there are a handful of songs that keep up with Joel’s standards and craftsmanship. These are mostly segregated on the first side, and they include “I Go To Extremes” and “The Downeaster Alexa”. The former is an energetic number about bipolarity, whereas the latter is a spot-on commentary on the plight of fishermen at around that time.

Besides, the album includes “Leningrad” along with the bittersweet “And So It Goes”, a song rendered by Billy playing solo. I can’t help but notice how Elton John and Billy Joel share the same approach in some of his ’80s albums, ending them on a solo note. Elton does exactly the same on the “Sleeping With The Past” record, in which the ending track has him playing unaccompanied for a long stretch, and even when other instruments do come in the focus never strays from Elton’s piano. Continue reading →

18 Original Sun Greatest Hits (Jerry Lee Lewis) – Compilation Album

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The Killer In Action

The Killer In Action

If we were to look for a bigger hellraiser in the annals of Rock & Roll than Jerry Lee Lewis the search would never end. And if we were to look for an exuberant instrumentalist in the decade of the ’50s, the search would start and end at the Killer’s fingers. Much like Keith Moon, his personality and temperament were what turned him into a matchless musician. This compilation gathers together the singles and noteworthy tracks he put under the Sun label at the beginning of his career. That was when he saw some serious chart action, too, so a case can definitely be made that if you were to have just a Jerry Lee album this is it.

The tracks on offer include “Great Balls Of Fire”, “Whola Lotta Shakin’ Going On”, “Wild One”, “Breathless” and the theme tune from the movie “High School Confidential”. Also featured is the song that was to be his final hit, a cover of Ray Charles “What I’d Say”. All these are good, enjoyable songs that provide us with a true blueprint for every rock and roller that was to make the piano his predominant instrument. Conversely, there are covers of “When The Saints Come Marchin’ In”, “Matchbox” and “Jambalaya” that are not very enticing on record. Whether they worked better live is besides the point – here, they don’t deliver. Continue reading →

Greatest Hits Volume I & Volume II (Billy Joel) – Compilation Album (Part 2)

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Only two Billy Joel compilations that span two CDs have been issued so far. I have reviewed the first one here – it is the one named “Greatest Hits Volume I & Volume II”. The second definitive compilation was issued in 2001, and it is the one entitled “The Essential Billy Joel”.

Essential Billy Joel

“Greatest Hits Volume I & Volume II” has 35 tracks. “The Essential Billy Joel” has 36. The latter covers every single album he released, the former reaches up to “An Innocent Man”. His three final albums are not covered.

There is a very glaring omission as far as the “Essential” compilation goes: “Scenes From An Italian Restaurant” has been neglected. The song is beloved by fans, and while it was never released as a single (the only justification the compilers have for the omission) its relevance within Joel’s catalog is something which can never be disputed. Continue reading →

Greatest Hits Volume I & Volume II (Billy Joel) – Compilation Album (Part 1)

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Billy Joel Hits

The Front Cover

At the time of its release (1985), “Greatest Hits Volume I & Volume II” was the definitive Billy Joel collection. All his major works are covered (no less than 6 compositions are culled from “The Stranger”), and two new tracks were included to appease long-time fans that already had all the hits.

The first disc opens with his by now standard “Piano Man”, and culminates with the highlights from “The Stranger”. Included is “Scenes From An Italian Restaurant”, a true favorite of Joel’s fans along with the title-track and a song that topped the charts and which Billy doesn’t particularly like: “Just The Way You Are”. Continue reading →

Billy Joel – General Introduction

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Sing Us A Song, You're The Piano Man

Sing Us A Song, You're The Piano Man

I discovered Billy Joel through his connection with Sir Elton John. Obviously, I had been on very good terms with songs like “Piano Man” and “Uptown Girl” long before I ever bought my fist Billy Joel record, and I recall that the one song of his that had me buying that album (a compilation) was “She’s Always A Woman”. I know the Elton/Billy comparison is a frequent one, but having listened to the output of both artists I can tell you it is a bit of a gratuitous comparison.

To begin with, Billy not only sings and plays the piano but actually writes the music and the words to his songs. Elton (as you probably know) writes only the music. That might be one of the reasons why Billy Joel only released about a dozen albums while Elton has released over 50 and counting.

But the main difference to me seems to lie in the actual subject matter. Simply put, Elton’s career has a somehow farcical value attached to it by many. Personally, I don’t like to use that expression when talking about Elton but it is the one that best defines a significant part of his career, and (most tellingly) the one that made him a star. And a fact is a fact: there is not an album within Elton’s discography that has the cultural significance of something like “The Nylon Curtain”, nor a song like “We Didn’t Start The Fire”.

Since Billy’s career has been shorter than Elton’s (he quitted recording rock and roll after releasing the “River Of Dreams” album in 1993), it is easier to get acquainted with his work and the filler is less abundant. Continue reading →

Tumbleweed Connection (Elton John) – Album Review

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The Original Cover

The Original Cover

Released the same year as the superb “Madman Across The Water”, “Tumbleweed Connection” stands as one of Elton’s best-loved albums. No singles were drawn from it, and as a result it is never represented when it comes to “Best Of” packages. This makes listening to it all the more refreshing and novel, especially as more than a handful of compositions are as good (or better) than the albums both sides of it.

This time, there is a concept unifying the songs – they all revolve around the Far West. Bernie always loved the topic, and he concocts together stories of gunslingers, confederates, American natives and furtive love adequately enough. As I said before, it took Bernie some time to get places. But Elton was up to the challenge from day one, and he always managed to give his lyrics the right accompaniment. Leaving aside the lyrically accuracy or lack thereof, “Where To Now, St. Peter”, “Amoreena” and “Country Comfort” are A-side material, and so is “My Father’s Gun”, the song that would be featured 30 years down the line as the key tune to Cameron Crowe’s “Elizabethtown”. Continue reading →

Elton John In His Own Words (Susan Black) – Book Review

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Elton John IHOW

The Front Cover Of The Book

Compiled by Susan Black, this book was released by Omnibus Press in England in the year 1993. As in other “In Their Own Words” titles it gathers assorted quotes from all through the years and mashes them together by theme. I used the verb “mash” deliberately, as the book could use some editing – there are quotes that appear multiple times under different headings, and such a thing can turn out to be certainly annoying.

Some of the featured chapters include “Songwriting”, “”Money & Possessions” and (of course) “Clothes & Accessories”. The most comprehensive section is thankfully the one named “The Records”, and we can see facets of Elton that are not necessarily palpable through his music in the chapters “Sports” and “Politics”. Continue reading →

Elton John – Album Review (Part 2)

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(This is part 2 of the review. It discusses the remastered version. The original LP is dealt with in Part 1.)

All the “classic” Elton John albums were re-released in the mid 90s, remastered and with some bonus tracks to offer fans an incentive that would justify the purchase, as well as giving both fans and newcomers a sort of parallel overview of the songs that were released concomitantly yet left off each particular album.

The “Elton John” album is considered one of the best bonus-tracked releases along with the “Captain Fantastic” reissue. It includes three additional tracks: the b-side to “Border Song”, and a single of its own (Rock & Roll Madonna/Grey Seal). Of course, the name Grey Seal rings an immediate bell as the song was to be recorded anew with Elton’s classic band for the successful “Goodbye Yellow Brick Road” album in 1973. The consensus is that the later-day version is more cohesive, yet this early take has historic value since it stands as Elton’s recorded debut on electric piano. Continue reading →

Elton John – Album Review (Part 1)

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A Somehow Enigmatic Cover, Don't You Think?

A Somehow Enigmatic Cover, Don't You Think?

Elton’s rise to fame was not that immediate as many often think. He had been covering other people’s songs for some time, not to mention being a paid songwriter along with Bernie for longer than was fulfilling. His first solo album went unheeded, despite oozing enthusiasm from every fiber.

If anything, his career was a matter of different pieces falling into position – his lyricist, his producer, his arranger and finally his classic band. On this, his second album (and the one that broke the commercial apathy) we see the addition of two of these figures, namely producer Gus Dudgeon and orchestral arranger Paul Buckmaster. They all had some heavy names on their resumes such as David Bowie and Eric Clapton, and the moment they agreed to work with Elton anything he would put out was to be digested differently, because their experience was to be felt in the final product . Continue reading →

Empty Sky (Elton John) – Album Review

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Empty Sky's Front Cover

Empty Sky's Front Cover

This album is surprising to many people, if only because they believe Elton’s first release was the eponymous record that surfaced the following year. And it is all the more surprising because it is a considerably good album for a first attempt, or at least one whose ambition can’t be vetoed. It also has the distinct advantage of never having been overplayed like his other records, and that makes listening to it a refreshing task.

The whole album was composed by Elton and Bernie. It was produced by Steve Brown, the man who to a certain extent “discovered” them and suggested they began recording songs for themselves instead of being just hired hands for other Dick James Music artists.

Continue reading →