Billy Joel 52ND Street CD

Personnel includes: Billy Joel (vocals, harmonica, piano, keyboards); Eric Gale, Hugh McCracken, David Spinozza, Russell Javors, Steve Khan, David Brown (guitar); George Marge (sopranino saxophone); Richie Cannata (saxophone, organ); Freddie Hubbard (trumpet); Robert Freedman (horns); Mike Manieri (vibraphone, percussion); Doug Stegmeyer (bass); Liberty DeVito, David Friedman, Ralph MacDonald (percussion); Peter Cetera, Donnie Dacus, Frank Floyd, Babi Floyd, Zachary Sanders, Ray Simpson, Milt Grayson (background vocals).
Recorded at A&R Recording, Inc., New York, New York.
This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.
Personnel: Billy Joel (vocals, piano); Steve Khan (acoustic guitar, electric guitar); David Spinozza (acoustic guitar); Hugh McCracken (nylon-string guitar); George Marge (soprano recorder); Richie Cannata (clarinet, saxophone, organ); Freddie Hubbard (trumpet); Mike Mainieri (vibraphone, marimba); Doug Stegmeyer (bass guitar, background vocals); Liberty DeVitto (drums); Ralph MacDonald (percussion); David Friedman (chimes); Donnie Dacus, Eric Gale, Milt Grayson, Peter Cetera, Ray Simpson, Babi Floyd, Zachary Sanders, Frank Floyd (background vocals).
Once The Stranger became a hit, Billy Joel quickly re-entered the studio with producer Phil Ramone to record the follow-up, 52nd Street. Instead of breaking from the sound of The Stranger, Joel chose to expand it, making it more sophisticated and somewhat jazzy. Often, his moves sounded as if they were responses to Steely Dan -- indeed, his phrasing and melody for "Zanzibar" is a direct homage to Donald Fagen circa The Royal Scam, and it also boasts a solo from jazz great Freddie Hubbard à la Steely Dan -- but since Joel is a working-class populist, not an elitist college boy, he never shies away from big gestures and melodies. Consequently, 52nd Street unintentionally embellishes the Broadway overtones of its predecessor, not only on a centerpiece like "Stiletto," but when he's rocking out on "Big Shot." That isn't necessarily bad, since Joel's strong suit turns out to be showmanship -- he dazzles with his melodic skills and his enthusiastic performances. He also knows how to make a record. Song for song, 52nd Street might not be as strong as The Stranger, but there are no weak songs -- indeed, "Honesty," "My Life," "Until the Night," and the three mentioned above are among his best -- and they all flow together smoothly, thanks to Ramone's seamless production and Joel's melodic craftsmanship. It's remarkable to think that in a matter of three records, Joel had hit upon a workable, marketable formula -- one that not only made him one of the biggest-selling artists of his era, but one of the most enjoyable mainstream hitmakers. 52nd Street is a testament to that achievement. ~ Stephen Thomas Erlewine
Every major artist has at least one record that is the consummate definition of their style. Billy Joel has several. 52ND STREET, however, may be at the top of the heap. Following the ridiculously successful THE STRANGER, Joel didn't rest on his laurels. Instead he kept his songwriting skills moving forward into even deeper areas of exploration. His uniquely personal tales of emotional defiance and blue collar struggles take different, and sometimes darker forms this time to reveal an even richer creative side to the tough kid from Levittown.
This collection finds the piano man in a very solitary mood as he struggles with the influence of those around him in the raucous "Big Shot" and the beautiful ballad "Honesty." One of Joel's many signature songs, "My Life," is among the best anthems of self reliance ever written. The very creative "Zanzibar" and "Rosalinda's Eyes" explore jazz and Latin influences, respectively. Finally, the lesser known gem "Until The Night" is a grandiose tale of longing that is the emotional apex of the entire album. The end result is a stellar work that effectively puts the cap