Billy Joel Albums (17)
What The Critics Say
To promote his 2005 box set My Lives, Billy Joel held a series of concerts at Madison Square Garden at the end of the year -- highlights of which are collected on the 32-track, two-CD set 12 Gardens Live. If 2000's double-live 2000 Years: The Millennium Concert seemed bloated and aimless, the work of an old pro going through the motions, 12 Gardens Live is its polar opposite, showcasing a veteran who is thoroughly engaged with his music. Not that this album is all that different in form or sound than 2000 Years: he still works with a big nine-piece band, with many of the same musicians, and he doesn't reinterpret any of these tunes, so it doesn't offer any surprises -- at least on the surface. But there is one big surprise on the album: Billy Joel hasn't sounded this lively or committed in years, since at least his early-'80s heyday. He sounds as if he believes in these songs again, putting real energy into his performances; he's savvy enough to not reach for notes that he can no longer hit, and to know when to punch up choruses for maximum effect. It's not so much that he's having fun with these songs but that he's singing them with passion, which makes 12 Gardens Live an unexpectedly compelling and entertaining listen. It also helps that the song selection is excellent, downplaying anything released after An Innocent Man -- "The Night Is Still Young," "The Great Wall of China," "The Downeaster 'Alexa'," "The River of Dreams," "A Matter of Trust," "We Didn't Start the Fire," and "And So It Goes" are the only tunes from 1986-1993, leaving 24 songs from his classic period -- and emphasizing album tracks: for instance, over half of The Nylon Curtain is here, and the single "Pressure" is not one of the featured songs. Some of these are staples -- "Angry Young Man," "The Ballad of Billy the Kid," and "Miami 2017 (I've Seen the Lights Go Out on Broadway)" are often featured in his shows -- but it's a nice to have "Everybody Loves You Now," "Vienna," "Zanzibar," and "A Room of Our Own" (one of two unlisted bonus tracks) here, since they not only sound good, they illustrate the depth of his catalog. This strong song selection along with the strong performances turns 12 Gardens Live into a treat for long-time Billy Joel fans, particularly those who haven't enjoyed much of what he's done since An Innocent Man. Since it's not an album of new songs, it's hard to call this a comeback, but it certainly is his most enjoyable album in 20 years. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
It was pretty clear that Billy Joel had run out of steam by 1993's River of Dreams. He had shown signs of wearing on its predecessor, Storm Front, but his trademark melodic gift disappeared on River of Dreams and his words, even performances, were bone-tired -- he even called the last song "The Last Song (No More Words)." So, it was no great surprise that he did not rush to record a follow-up, and when he started murmuring toward the end of the decade that perhaps he wasn't interested in pop music anymore, nobody who paid attention could have been surprised. And it wasn't a surprise that he decided to turn toward classical music since, by that point, it had become a cliché for pop musicians who wanted to be taken seriously. What is a surprise is that the resulting project, Fantasies & Delusions, is pretty successful -- it's a nice collection of pleasingly modest, melodic solo piano pieces, mainly sonatas, written by Joel and performed by Richard Joos. Joel succeeds because he kept his ambitions reasonable and was smart about presentation. He didn't compose symphonies, he wrote piano pieces and passed them off to somebody who could play them dexterously in the way they were meant to be played. It's actually charming, since it's possible to hear Joel diligently working within the forms of classical music while retaining the recognizable melodic flair of his pop work. These are still not pieces that you'll wind up humming, but as pop/classical crossovers go, this is among the best in recent memory -- better than McCartney's operettas and symphonies, better than Joe Jackson's stilted work. And it's a hell of a lot more rewarding than River of Dreams. ~ Stephen Thomas Erlewine, All Music Guide
'2000 Years: The Millennium Concert'
Release Date 5/2/2000
Tracks 25
Label Columbia
See Album Tracklist and Review
What The Critics Say
Among the major artists celebrating the end of the 20th century with a New Year's Eve blowout was Billy Joel, who set up shop at Madison Square Garden and played a marathon show lasting nearly three hours. It was quite a feat for a man who claimed that he had retired from pop music, but the last New Year's Eve gig of the 20th century offers an artist a chance to sum up either the past century or their career. Joel decided to do both, throwing in a few classic rock covers at the end of a show that offered a whirlwind spin through his lengthy back catalog. Several songs from the concert are absent on 2000 Years: The Millennium Concert, the audio record of the event, but that's because it's impossible to squeeze three hours onto two discs. That means such staples as "Piano Man" are absent, but they're not particularly missed, since such early classics as "Summer Highland Falls," "The Ballad of Billy the Kid," and "I've Loved These Days" take their place. These moments are what make the record worthwhile for serious Joel fans, since that's where he sounds relaxed and emotionally vested. The rest of the album is pure spectacle, as it builds to a midnight crescendo of "Auld Lang Syne," which gives way to oldies covers and hits. There are certain lapses in pacing that slow the momentum, and Joel's voice does stretch mighty thin at some points. These are the sort of things that are easy to ignore in concert, when the experience is all-important, but on record, it does diminish the overall effect, even for hardcore Joel fans. It's often enjoyable, but the end result is a bit underwhelming, which means that 2000 Years is more like a souvenir of a passed moment than it was intended to be. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Joel has reached middle age and he is still restless and angry. Fortunately, this results in some fine, adventurous music, making River of Dreams his strongest effort since The Nylon Curtain. Joel explores all of his favorite musical territory on this album, reaching back to doo wop, moving through Beatlesque pop, toward his trademark balladry. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Joel caused a stampede for high school social science classes with the patter song "We Didn't Start The Fire," a cross between Gilbert And Sullivan and rock 'n' roll that listed events in the news over the last 40 years, broken up by chants of the title. "I Go To Extremes" was a confession of emotional instability set to a strong melody and a rocking beat. There were also minor entries, such as "The Downeaster 'Alexa'," which was about Long Island fishermen, and "Shameless," which Garth Brooks turned into a country smash. And, as usual, there was about a side's worth of worthless filler. ~ William Ruhlmann, All Music Guide
'KOHUEPT (Live in Leningrad)'
Release Date 1/1/1987
Tracks 16
Label Columbia
See Album Tracklist and Review
What The Critics Say
Since Joel's concerts largely reproduce his studio recordings, and since he already has a greatest hits album out, a live record is inessential. The cachet of recording it in the old Soviet Union doesn't last over the years, and while the performances are fine, only completists need this record. Joel fans must have realized this, since the album was his first to miss the Top Ten in 11 years. ~ William Ruhlmann, All Music Guide
What The Critics Say
Riding high on the blockbuster An Innocent Man and with a new jet-setting bride at his side, Billy Joel took full advantage of the high life, as is clear from The Bridge, an album that unwittingly celebrates the excesses of the Reagan years. While he hasn't quite settled into middle age, Joel is ready to take advantage of his wealth and status, recruiting a hero (Ray Charles) and a new wave kid (Cyndi Lauper) for duets, turning to Sting for inspiration ("Running on Ice"), fronting a big band ("Big Man on Mulberry Street"), writing a song for a movie ("Modern Woman"), and picking up the guitar ("A Matter of Trust"), just for the hell of it. You could say that it's eclectic, but it's scattershot, because it's just Joel showing off his musical skills. He's done this before, to great effect on Turnstiles, but this is all about hubris and, as such, it sounds exactly like its time. From its processed, distorted guitars to its hollow synthesizers, The Bridge sounds dated and it's his most uneven since Streetlife Serenade. Even on the hits, he sounds as if he's stretching -- "This Is the Time" is labored compared to "Just the Way You Are" (not to mention considerably more vulgar); "A Matter of Trust" never hits upon a solid riff like "Sometimes a Fantasy"; "Modern Woman" is catchy but fluffy; "Baby Grand" is weighed down by Joel's vocal affectations. In context of the album, they're fairly enjoyable, but they hint at the dry spell that was just around the corner. Nevertheless, Joel still has enough panache and is riding on so much exuberance that The Bridge remains an entertaining listen, especially if it's viewed as a Reagan-era artifact. It just doesn't compare to what came before. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Recording The Nylon Curtain exhausted Billy Joel, and even though it had a pair of major hits, it didn't rival its predecessors in terms of sales. Since he labored so hard at the record, he decided it was time for a break -- it was time to record an album just for fun. And that's how his homage to pre-Beatles pop, An Innocent Man, was conceived: it was designed as a breezy romp through the music of his childhood. Joel's grasp on history isn't remarkably astute -- the opener "Easy Money" is a slice of Stax/Volt pop-soul, via the Blues Brothers (quite possibly the inspiration for the album), and the label didn't break the pop charts until well after the British Invasion -- but he's in top form as a craftsman throughout the record. Only once does he stumble on his own ambition ("This Night," which appropriates its chorus from Beethoven). For the rest of the record, he's effortlessly spinning out infectious, memorable melodies in a variety of styles, from the Four Seasons send-up "Uptown Girl" and the soulful "Tell Her About It" to a pair of doo wop tributes, "The Longest Time" and "Careless Talk." Joel has rarely sounded so carefree either in performance or writing, possibly due to "Christie Lee" Brinkley, a supermodel who became his new love prior to An Innocent Man. He can't stop writing about her throughout the album -- only three songs, including the haunted title track, aren't about her in some form or fashion. That giddiness is infectious, helping make An Innocent Man an innocent delight that unwittingly closes Joel's classic period. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Billy Joel hit back as hard as he could with Glass Houses, his bid to prove that he could rock as hard as any of those new wave punks. He might not have proven himself a punk -- for all of his claims of being a hard rocker, his work inevitably is pop because of his fondness for melody -- but he proved to himself that he could still rock, even if the critics didn't give him any credit for it. It was now time to mature, to move pop/rock into the middle age and, in the process, earn critical respect. In short, The Nylon Curtain is where Billy Joel went serious, consciously crafting a song cycle about Baby Boomers in the Reagan era. Since this was an album about Baby Boomers, he chose to base his music almost entirely on the Beatles, the pivotal rock band for his generation. Joel is naturally inclined to write big melodies like McCartney, but he idolizes Lennon, which makes The Nylon Curtain a fascinating cross between ear candy and social commentary. His desire to record a grand concept album is admirable, but his ever-present lyrical shortcomings mean that the songs paint a picture without arriving at any insights. He occasionally gets lost in his own ambition, as on the waterlogged second side, but the first half of the song suite -- "Allentown," "Laura," "Pressure," "Goodnight Saigon," "She's Right on Time" -- is layered, successful, mature pop that brings Joel tantalizingly close to his ultimate goal of sophisticated pop/rock for mature audiences. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Having scored three multi-platinum hits in a row, Billy Joel took a breather, releasing his first live album, Songs in the Attic, as he worked on his ambitious follow-up to Glass Houses. Joel wisely decided to use the live album as an opportunity to draw attention to songs from his first four albums. Apart from "Piano Man," none of those songs had been heard by the large audience he had won with The Stranger. Furthermore, he now had a seasoned backing band that helped give his music a specific identity -- in short, it was an opportunity to reclaim these songs, now that he had a signature sound. And Joel didn't botch the opportunity -- Songs in the Attic is an excellent album, ranking among his very best work. With the possible exception of the Turnstiles material, every song is given a fuller, better arrangement that makes it all spring to life. "Los Angelenos" and "Everybody Loves You Now" hit harder in the live setting, while ballads like "She's Got a Way," "Summer, Highland Falls," and "I've Loved These Days" are richer and warmer in these versions. A few personal favorites from these albums may be missing, but what is here is impeccable, proving that even if Joel wasn't a celebrity in the early '70s, his best songs of the era rivaled his biggest hits. ~ Stephen Thomas Erlewine, All Music Guide
