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Title: Billy Joel – Glass Houses (1980) [MFSL 2012]
Genre: Rock
Format: SACD ISO + Hi-Res FLAC

The back-to-back success of The Stranger and 52nd Street may have brought Billy Joel fame and fortune, even a certain amount of self-satisfaction, but it didn’t bring him critical respect, and it didn’t dull his anger. If anything, being classified as a mainstream rocker — a soft rocker — infuriated him, especially since a generation of punks and new wave kids were getting the praise that eluded him. He didn’t take this lying down — he recorded Glass Houses. Comparatively a harder-rocking album than either of its predecessors, with a distinctly bitter edge, Glass Houses still displays the hallmarks of Billy Joel the pop craftsman and Phil Ramone the world-class hitmaker. Even its hardest songs — the terrifically paranoid “Sometimes a Fantasy,” “Sleepin’ With the Television On,” “Close to the Borderline,” the hit “You May Be Right” — have bold, direct melodies and clean arrangements, ideal for radio play. Instead of turning out to be a fiery rebuttal to his detractors, the album is a remarkable catalog of contemporary pop styles, from McCartney-esque whimsy (“Don’t Ask Me Why”) and arena rock (“All for Leyna”) to soft rock (“C’etait Toi [You Were the One]”) and stylish new wave pop (“It’s Still Rock and Roll to Me,” which ironically is closer to new wave pop than rock). That’s not a detriment; that’s the album’s strength. The Stranger and 52nd Street were fine albums in their own right, but it’s nice to hear Joel scale back his showman tendencies and deliver a solid pop/rock record. It may not be punk — then again, it may be his concept of punk — but Glass Houses is the closest Joel ever got to a pure rock album.

hraudio | allmusic | discogs

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Title: Billy Joel – Turnstiles (1976) [MFSL 2010]
Genre: Rock
Format: MCH SACD ISO + Hi-Res FLAC

Turnstiles is Billy Joel’s fourth studio album, originally released in May of 1976. The platinum album was written for Joel’s return to New York City after residing in California. Originally recorded under producer James William Guercio with individuals playing from Elton John’s band, the record did not satisfy Joel and he took it upon himself to produce his own alternative version. He rerecorded the album in New York with his own touring band, marking the first time they appeared in one of his albums. Turnstiles features hits “New York State of Mind”, “Say Goodbye to Hollywood”, and “James”.
There’s a reason Turnstiles begins with the Spector-esque epic “Say Goodbye to Hollywood.” Shortly after Streetlife Serenade, Joel ditched California – and, by implication, sensitive Californian soft rock from sensitive singer/songwriters – for his hometown of New York. “Say Goodbye to Hollywood” was a celebration of his move, a repudiation of his past, a fanfare for a new beginning, which is exactly what Turnstiles was. He still was a singer/songwriter – indeed, “Summer, Highland Falls” was his best ballad to date, possibly his best ever – but he decided to run with his musical talents, turning the record into a whirlwind tour of pop styles, from Sinatra to Springsteen. There’s little question that the cinematic sprawl of Born to Run had an effect on Turnstiles, since it has a similar widescreen feel, even if it clocks in at only eight songs. The key to the record’s success is variety, the way the album whips from the bouncy, McCartney-esque “All You Wanna Do Is Dance” to the saloon song “New York State of Mind”; the way the bitterly cynical “Angry Young Man” gives way to the beautiful “I’ve Loved These Days” and the surrealistic apocalyptic fantasy “Miami 2017 (Seen the Lights Go Out on Broadway).” No matter how much stylistic ground Joel covers, he’s kept on track by his backing group. He fought to have his touring band support him on Turnstiles, going to the lengths of firing his original producer, and it was clearly the right move, since they lend the album a cohesive feel. Turnstiles may not have been a hit, but it remains one of his most accomplished and satisfying records, clearly paving the way to his twin peaks of the late ’70s, The Stranger and 52nd Street.

hraudio | allmusic | discogs

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Title: Billy Joel – The Stranger (1977) [Reissue 2017]
Genre: Rock
Format: MCH SACD ISO + Hi-Res FLAC

Billy Joel teamed with Phil Ramone, a famed engineer who had just scored his first producing hits with Art Garfunkel’s Breakaway and Paul Simon’s Still Crazy After All These Years for The Stranger, his follow-up to Turnstiles. Joel still favored big, sweeping melodies, but Ramone convinced him to streamline his arrangements and clean up the production. The results aren’t necessarily revelatory, since he covered so much ground on Turnstiles, but the commercialism of The Stranger is a bit of a surprise. None of his ballads have been as sweet or slick as “Just the Way You Are”; he never had created a rocker as bouncy or infectious as “Only the Good Die Young”; and the glossy production of “She’s Always a Woman” disguises its latent misogynist streak. Joel balanced such radio-ready material with a series of New York vignettes, seemingly inspired by Springsteen’s working-class fables and clearly intended to be the artistic centerpieces of the album. They do provide The Stranger with the feel of a concept album, yet there is no true thematic connection between the pieces, and his lyrics are often vague or mean-spirited. His lyrical shortcomings are overshadowed by his musical strengths. Even if his melodies sound more Broadway than Beatles – the epic suite “Scenes From an Italian Restaurant” feels like a show-stopping closer – there’s no denying that the melodies of each song on The Stranger are memorable, so much so that they strengthen the weaker portions of the album. Joel rarely wrote a set of songs better than those on The Stranger, nor did he often deliver an album as consistently listenable.

allmusic | discogs

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Title: Billy Joel – The Stranger (1977) [MFSL 2012]
Genre: Rock
Format: SACD ISO + Hi-Res FLAC

Billy Joel teamed with Phil Ramone, a famed engineer who had just scored his first producing hits with Art Garfunkel’s Breakaway and Paul Simon’s Still Crazy After All These Years for The Stranger, his follow-up to Turnstiles. Joel still favored big, sweeping melodies, but Ramone convinced him to streamline his arrangements and clean up the production. The results aren’t necessarily revelatory, since he covered so much ground on Turnstiles, but the commercialism of The Stranger is a bit of a surprise. None of his ballads have been as sweet or slick as “Just the Way You Are”; he never had created a rocker as bouncy or infectious as “Only the Good Die Young”; and the glossy production of “She’s Always a Woman” disguises its latent misogynist streak. Joel balanced such radio-ready material with a series of New York vignettes, seemingly inspired by Springsteen’s working-class fables and clearly intended to be the artistic centerpieces of the album. They do provide The Stranger with the feel of a concept album, yet there is no true thematic connection between the pieces, and his lyrics are often vague or mean-spirited. His lyrical shortcomings are overshadowed by his musical strengths. Even if his melodies sound more Broadway than Beatles — the epic suite “Scenes From an Italian Restaurant” feels like a show-stopping closer — there’s no denying that the melodies of each song on The Stranger are memorable, so much so that they strengthen the weaker portions of the album. Joel rarely wrote a set of songs better than those on The Stranger, nor did he often deliver an album as consistently listenable.

hraudio | allmusic | discogs

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Title: Billy Joel – Streetlife Serenade (1974) [Audio Fidelity 2015] 
Genre: Rock
Format: MCH SACD ISO + Hi-Res FLAC

Billy Joel hit a bit of a slump with Streetlife Serenade, his third album. Stylistically, it was a reiteration of its predecessor’s Tumbleweed Connection obsessions, spiked with, of all things, Rockford Files synthesizers and ragtimes pulled from The Sting. That isn’t a facetious reference, either – it’s no coincidence that the record’s single and best song, “The Entertainer,” shares a title with the Scott Joplin rag that provided The Sting with a main theme. Joel is attempting a grand Americana lyrical vision, stretching from the Wild West through the Depression to “Los Angelenos” and “The Great Suburban Showdown.” It doesn’t work, not only because of his shortcomings as a writer, but because he didn’t have the time to pull it all together. There are no less than two instrumentals, and even if “Root Beer Rag” (yet another sign of The Sting’s influence) is admittedly enjoyable, they’re undeniably fillers, as is much of the second side. Since he has skills, he’s able to turn out a few winners – “Roberta,” a love song in the vein of Cold Spring Harbor, the mournful “Streetlife Serenader,” and the stomping “Los Angelenos” – but it was the astonishingly bitter “The Entertainer,” where he not only disparages his own role but is filled with venom over “Piano Man” being released in a single edit, that made the subtext clear: he had enough with California, enough with the music industry, enough with being a sensitive singer-songwriter. It was time for Billy to say goodbye to Hollywood and head back home to New York.

hraudio | allmusic | discogs

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Title: Billy Joel – Songs In The Attic (1981) [MFSL 2013] [SACD / ]
Genre: Rock
Format: SACD ISO + Hi-Res FLAC

Songs in the Atticb is Billy Joel’s first live album, and was recorded during his Glass Houses Tour in June-July 1980. It introduced Billy Joel’s early work to fans who had come to know his work after The Stranger, and also showcased his touring band, with whom he had been playing for some time. Two singles from the album (“Say Goodbye to Hollywood” and “She’s Got a Way”) were released and made it into the top 25 on the charts.
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.

hraudio | allmusic | discogs

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Title: Billy Joel – Piano Man (50th Anniversary Deluxe Edition, Reissue, Remastered) (1973/2024) [SACD / ]
Genre: Folk Rock, Post Rock
Format: MCH SACD ISO

To commemorate the 50th anniversary, Billy Joel’s “Piano Man” becomes available as SA-CD Multi Hybrid edition for the first time in the world. The 4-channel SACD layer is a high-quality surround mix of the quadraphonic LP analog 4-channel mix master source, mastered in DSD for the first time at Sony Music Studio in Japan. The 2-channel SACD layer is a high-quality stereo mix newly DSD-mastered from the analog 2-channel mix master source, and the CD layer is a newly mastered source converted from the SACD DSD master to PCM. In addition, DISC2 (high quality Blu-spec CD2) contains many unreleased demos and rare live recordings from the “Piano Man” period, including 7 songs that have never been released on CD before. DISC3 (DVD) contains rare live/music video footage, including eight songs that have never been released on DVD before. Plus, this set comes with a US press kit from 1973, a “Piano Man” Japanese 7inch single jacket, 4 types of reissued replicas of Japanese LP obis, and other rare memorabilia. 7inch cardboard sleeve packaging with lyrics and a description.

 allmusic | discogs

Tracklist:

SACD-1 – Travelin’ Prayer 4:17
SACD-2 – Piano Man 5:39
SACD-3 – Ain’t No Crime 3:19
SACD-4 – You’re My Home 3:14
SACD-5 – The Ballad Of Billy The Kid 5:44
SACD-6 – Worse Comes To Worst 3:16
SACD-7 – Stop In Nevada 3:56
SACD-8 – If I Only Had The Words (To Tell You) 3:35
SACD-9 – Somewhere Along The Line 3:20
SACD-10 – Captain Jack 7:18

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Title: Billy Joel – Greatest Hits: Volume I & Volume II (1985) [MFSL 2017] [SACD / ]
Genre: Rock
Format: SACD ISO + Hi-Res FLAC

Although it’s missing a few important (not to mention big) hits, Greatest Hits, Vols. 1 & 2 is an excellent retrospective of the first half of Billy Joel’s career. Beginning with “Piano Man,” the first disc runs through a number of early songs before arriving at the hit-making days of the late ’70s; some of these songs, including “Captain Jack” and “New York State of Mind,” weren’t strictly hits, but were popular numbers within his stage show and became radio hits. Once the songs from The Stranger arrive halfway through the first disc, there’s no stopping the hits (although “Scenes From an Italian Restaurant,” an album track from The Stranger, manages its way onto the collection). In fact, over the next disc and a half, there’s so many hits, it’s inevitable that some are left off – to be specific, “Honesty,” “Sometimes a Fantasy,” “An Innocent Man,” “Leave a Tender Moment,” and “Keeping the Faith” aren’t included. But all the other hits – including “Just the Way You Are,” “Only the Good Die Young,” “My Life,” “You May Be Right,” “It’s Still Rock and Roll to Me,” “Don’t Ask Me Why,” “Allentown,” “Tell Her About It” and “Uptown Girl,” among many others – are present and accounted for, as are two new songs (“You’re Only Human (Second Wind),” “The Night Is Still Young”) that became hits as well. In short, Greatest Hits, Vols. 1 & 2 does its job perfectly, encapsulating exactly why Billy Joel was one of the most popular singer/songwriters of the late ’70s and early ’80s.

hraudio | discogs

Tracklist:

Disc 1 – Volume I: 1973-1977
01. Piano Man
02. Captain Jack
03. The Entertainer
04. Say Goodbye To Hollywood
05. New York State Of Mind
06. The Stranger
07. Scenes From An Italian Restaurant
08. Just The Way You Are
09. Movin’ Out (Anthony’s Song)
10. Only The Good Die Young
11. She’s Always A Woman
Disc 2 – Volume II: 1978-1985
01. My Life
02. Big Shot
03. Honesty
04. You May Be Right
05. It’s Still Rock And Roll To Me
06. Don’t Ask Me Why
07. She’s Got A Way
08. Pressure
09. Allentown
10. Goodnight Saigon
11. Tell Her About It
12. Uptown Girl
13. The Longest Time
14. You’re Only Human (Second Wind)
15. The Night Is Still Young

Note:

Mastered by Shawn R. Britton, Assisted by Rob LoVerde at Mobile Fidelity Sound Lab, Sebastopol, CA.

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Title: Billy Joel – An Innocent Man (1983) [MFSL 2013] [SACD / ]
Genre: Rock
Format: SACD ISO + Hi-Res FLAC

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.

hraudio | allmusic | discogs

Tracklist:

01. Easy Money
02. An Innocent Man
03. The Longest Time
04. This Night
05. Tell Her About It
06. Uptown Girl
07. Careless Talk
08. Christie Lee
09. Leave A Tender Moment Alone
10. Keeping The Faith

Note:

Mastered by Rob LoVerde at Mobile Fidelity Sound Lab, Sebastopol, CA.

Download from ausfile.com:

Title: Billy Joel – An Innocent Man (1983) [Remastered Reissue 1998 (2001)] [SACD / ]
Genre: Rock
Format: SACD ISO + Hi-Res FLAC

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.

 allmusic | discogs

Tracklist:

01. Easy Money
02. An Innocent Man
03. The Longest Time
04. This Night
05. Tell Her About It
06. Uptown Girl
07. Careless Talk
08. Christie Lee
09. Leave A Tender Moment Alone
10. Keeping The Faith

Note:

Digitally remastered by Ted Jensen at Sterling Sound, NYC.

Download from ausfile.com: