Perspectives: Roger Waters and some of his fans, not all of them

Perspectives: Roger Waters and some of his fans - not all of them. 

By Matthew Anthony Allair

    Often there’s three sides to every story, and the truth is somewhere in the middle

    It’s no surprise in some ways, that Pink Floyd’s former bass player, singer, and co-founder, Roger Waters put himself into hot water over insensitive comments about Ozzy Osbourne’s passing, and his dismissal of Black Sabbath as a musical force. Old school Floyd fans have known about his antics since the early eighties. In the past, Roger was blessed with having segments of the public just ignore and dismiss his colorful comments - decades ago.

(To digress, frustratingly, I do have the Saucer Full Of Secrets and Inside Out books, but they are in storage, and so I had to make due at the time of this writing.)

Is There Anybody In There?

    I realize I will do myself no favors by jumping into the fray as this debate can be polarizing for many. All Roger had to do was make a bland public statement such as the following:

    “Ozzy Osbourne was a colorful character in life, and Black Sabbath was an interesting band. My sympathies go towards his family and fans at this moment.”

    There -  a very neutral statement – you don’t have to profess your love for the artist or the band, just show an equal level of respect. For myself, I never considered myself a rabid Sabbath fan, but I liked a number of their albums, and I recognized their massive, musical importance. I have seen for decades that Heavy Metal fans are some of the most fiercely loyal fans out there, and it is precarious to knock the artists and bands they love. In truth, I always leaned towards the first two Ozzy Osbourne solo albums with Randy Rhoads, as I found them musically amazing. Ozzy’s legacy can’t be denied. 

    In that video interview, Roger looked disheveled, -  and one could perceive he looked mentally ill, there’s no proof of that though - the optics looked bad when you compared that final farewell concert with Mr. Osbourne weeks prior to his death. Yet, as far back as the eighties, Roger has been dismissive of other musical acts and artists, that list is pretty far ranging.  

    Roger’s ongoing feud with composer Andrew Lloyd Webber went on for years. The gist of that feud had to do with Roger’s plagiarism accusations with Webber over his “Phantom of the Opera” piece, and a descending and ascending riff from “Echoes” from 1971’s Meddle album. While there’s a basis for the argument in their similarities, as of this writing, neither Gilmour, or Mason have considered, or agreed to legal action against Webber for copyright issues, and I find that odd if there’s a legitimate grievance. I am not going to dispute if there are similarities between the pieces, there are.

    These days, there’s a contingent of Waters fans who rabidly defend any action he takes, some are the next generation of hipster media writers who ignore the bands history, or a sliver are socialists who defend Roger for his noble causes surrounding Palestinians, Gaza, the West Bank, or his screeds against conservatives in British government and parliament.

    While there are writers who glaze over Waters work as a musician and person, not every writer is having it. Some recognize his disconnect with his privilege, a similar problem faced Lennon in the early seventies, and some have seen Roger’s penchant for playing the victim. Or even questions about his anger. I suspect that Roger is a narcissist, a term often misunderstood as Narcissism isn’t a mental illness, but a personality trait. One characteristic of a narcissist has is an unconditional demand for loyalty, even if the participate doesn’t often benefit from the narcissist. You can see this with musicians who, reportedly, played with both Waters and Gilmour. There’s an incessant need to ‘choose sides’; even when players have better experiences with one leader over another.

    As far as some music fans are concerned, Roger has been engaged in a revision of Pink Floyd for the last 15 years. In spite of Nick Mason’s pretty candid book about the history of the band, or David Gilmour’s remarks to clarify matters, Roger has been engaged in a form of gaslighting to appeal to the ignorant. I cannot forgive Roger’s character assassinations of keyboard player, and singer Richard Wright to justify his firing of Rick during The Wall sessions. Or his arrogance and hubris, circa 1986, from Waters to form the opinions about the A Momentary Lapse of Reason album with the public, and the legal fight to stop the band from touring under the PF banner. Those legal arguments lead to Richard Wright role in the recording sessions to be minimized, as well Richard being cropped out of the band photo in early pressings of Lapse to protect him from Roger’s continuing barrage of lawsuits – all of which failed I might add – and the band continued the tour under the Floyd banner. Richard’s picture was added in later pressings of Momentary Lapse.

Embryo

    Most bands are the sum of their parts, Syd Barrett started the band with Roger, Richard was a key contributor to the bands early years, both as a lead and background singer, Nick was a solid drummer, and once David Gilmour was broken in, his guitar work became vital and he developed a signature sound through the years, even if Roger isn’t always willing to admit it, David was invaluable to Pink Floyd. Unfortunately, Roger didn’t see much value with Rich and Nick. Even recently, there was an article about Barrett letters put up for auction and in them, Syd acknowledged in jest and love that Roger could be difficult, it's always been an issue, 

    The early years, post Syd were difficult, their early American tours in the late 60s were a disaster, there were reports of going broke mid tour, or having to rent out musical gear in American due to transportation issues. Plus, during their experimental album phases from 68-72, the soft sales must have affected the magnitude of venue appearances, and I could see how these struggles could weigh on Roger’s desire to see the band survive. I could see how that might explain his relentless drive.

    Back onto the issue: Jack Osbourne’s counter argument about Roger was completely justified, Ozzy’s passing is still very recent, and it just smacks of being tackey and snobbish for Roger to comment in this way, - and so soon. What would be fair game would have been for Roger to wait until next year before he made critical comments about Mr. Osbourne. Ozzy was a very flawed person and the general rule with rock musicians who use alcohol or drugs, they are going to do stupid things, and Ozzy did a lot of stupid things under the influence. Considering that members of Pink Floyd have their own past addiction issues, it did seem sanctimonious and hypocritical for Roger to be so dismissive. In the early years between 1968 to 1972, Roger was said to have smoked Hash, and it made him, some say, a more manageable personality before he went sober.

One Of The Few

    As much as I hate to diminish the role of Roger’s contributions, while he is indeed a great lyricist and idea man. His bass work is uneven. It’s been pretty well known that Gilmour did some of the bass work on The Wall sessions, and Roger is simply not a great singer in comparison to Gilmour and Wright who were. Roger didn’t sing the majority of the songs in Pink Floyd. If you do an actual breakdown, David sang lead on 61 tracks to Roger’s 55 tracks, and Richard sang lead on 15 tracks.

    Let’s look at Roger’s dismissiveness towards Richard in the late 70s, it’s true that Richard was having problems prior to The Wall sessions, a divorce and drug issues – but then again many of them were not innocent as far as drug use at the end of that decade. Roger claimed that Richard was coming up with no musical ideas, but Richard Wrigth’s 1978 solo album Wet Dream does demonstrate that Richard had a wealth of music ideas to offer. Also David Gilmour’s solo album from that year wasn’t too shabby. At least two Gilmour songs from his album, ‘There’s No Way Out Of Here’, and ‘I Can’t Breathe Anymore’ could be relationship songs, or slight digs at Roger, things weren’t well with the band at that time. Richard’s work on Wet Dream is often poignant.

    Here's a brief sampling from David Gilmour and Wet Dream and for you to decide for yourself.

    All video music samples are in compliance with "Fair Use" and are for educational reference.

    Roger simply didn’t seem to like Richard’s keyboard style at that point by 1978 and seemed to think his approach didn’t match what he envisioned for The Wall. Regarding the claim that Richard ‘played almost nothing on the album’, of the 26 tracks, Richard played on 20. It is almost true that Bob Ezrin played piano on the number of the more notable tracks, the Piano on ‘Nobody Home’ was Ezrin - as it’s a very different style from Richard - Bob had played on Kiss’s Beth’ and had played keyboards on various Alice Cooper records, so he was an adept Piano player – just different.

    Let’s address that claim that A Momentary Lapse of Reason was just populated by ‘session players’. You are aware that The Wall was populated by some session players as well? Aside from Bob Ezrin and Michael Kaman, other session players included Fred Mandel, Jeff Porcaro, Lee Ritenour, Joe di Blassi, Joe Porcaro, Bobbye Hall, and Travor Veitch. Never mind the session players that populate The Final Cut sessions from 1983. Roger’s arguments seem disingenuous.

    Now, there’s no argument that The Dark Side of the Moon, Wish You Were Here, Animals and The Wall are brilliant albums. But of the four, Animals is the most blunt lyrically, challenging and for some, less accessible, yet there are Water’s fans who find that bluntness appealing, to each their own. I find the albums between 1968-1972 fascinating for a number of reasons, A Saucerful of Secrets, More, Ummagumma, Atom Heart Mother, Meddle, and Obscured By Clouds may be wildly uneven, but they also felt democratic as a band unit.

    The ugly truth is that Roger destroyed the democracy of the band after 1975 to further his personal vision. He started to see his band mates as mere ‘session players’. What may have appeared to be an aberration with the Animals album in 1977, started to turn into a pattern of Roger being the dominant, tyrannical leader and writer – he just arrogantly presumed he should be the primary song writer – and of course when you take into account publishing royalties, it’s quite a clever racket and gaslight to steer in that direction. Roger’s projected wealth is at around 310 Million and higher than the others – he knew what he was doing. I can’t say he’s a victim by any means.

What Do You Want From Me?  

    While you could argue that Momentary Lapse acts as a Gilmour solo record, by the time of the Division Bell album, the band were truly a democratic band again. Richard had co-writing credit on four songs, and sings lead on ‘Wearing The Inside Out’. By extension, the mostly instrumental follow up and posthumous The Endless River. Richard is credited with co-writing 11 tracks. David also liked Richard enough and regarded him highly to have Richard appear on two songs from his On An Island solo release from 2006 and had him tour with him for the album prior to his passing. Yes, I am aware that you could argue that Endless River are just leftovers from the Division Bell album, in the same way you would argue that The Final Cut are just leftovers from The Wall sessions. But the intents were different, by 1983 Roger assumed the band was over, whereas by 2013, Endless River was released to wrap up unfinished business and honor Richard.

     Many of the above points are simply empirical fact.

    To go further, let’s look at the album chart success of the various Waters vs. Pink Floyd album. Starting in 1984, Roger’s The Pros and Cons of Hitchhiking reached the Billboard 100 at number 31 after its initial release in April 1984. That album did chart higher in the UK at 13. David Gilmour’s About Face was released in March, 1984 and charted in the US at 32. Both were about pretty even as far as sales. In the middle of the squabbles of their respective albums in 1987, Roger’s Radio K.A.O.S. charted in the UK at 25 and the US Billboard 100 at 50, when released in June 1987. The charts for Pink Floyd’s A Momentary Lapse Of Reason, released September 1987, hit number 3 in the UK, and number 3 in the Billboard 100. A significantly larger success. This will be important in a moment. 

    When Roger’s Amused To Death was released in September of 1992. It did significantly better than its prior releases. Charting at number 8 in the UK and at 21 in the US Billboard 100. When Pink Floyd’s The Division Bell was released in March, 1994, It peaked at number one in the UK and US album charts – and it is the most democratic sounding album in a long time. To be fair, if people don’t like the Gilmour era albums, that’s perfectly fine. But if you simply look at the gamble Roger took leaving Pink Floyd by 1984 – with him assuming it was a ‘spent force’ – he misread the room.

Eclipse 

    In contrast in 1975 when Peter Gabriel left Genesis, that gamble paid off and Peter had a more viable solo career, while Genesis continued on to their own fortunes as band, everyone benefited.  There’s the adage, “Pride goeth before the fall,” from Proverbs 16:18, and Roger’s hubris got in the way with reality. Part of me can’t blame him. The 1973 success of Dark Side of The Moon must have been a major adjustment for all concerned in the band, and people react differently to sudden changes in fortune. Once the follow up, Wish You Were Here in 1975 was an equal success, it had to have affected Roger’s confidence and he misread the room. Some of my points are verified by the above article.

    I wish more people would view Pink Floyd and Genesis in a similar light. The guys in Genesis have stated that they view the band as a ‘writers workshop’ to explore various ideas and types of music. In spite of Floyd’s really reputation as ‘space rock’ jam band, Floyd really evolved with an emphasis on song craft even before the mid-seventies. While both bands are very different, they ended up arriving at similar results by the mid eighties, for good or ill. 

    We haven’t even discussed Nick Mason’s thoughts on much of this post 2005. Nick has remained social friends with both David and Roger, and he had some thoughts about the tensions as sited from this article:

“It’s a really odd thing in my opinion. But I think the problem is that Roger doesn’t really respect David. He feels that writing is everything and that guitar playing and the signing are something that, I won’t say anyone can do, but that everything should be judged on the writing rather than the playing…I think it rankles with Roger that he made a sort of error in a way that he left the band assuming without him it would fold. It’s a constant irritation really, that he’s still going back to it. I’m hesitant to get too stuck into this one, just because it’s between the two of them rather than me. I actually get along with the both of them, and I think it’s really disappointing that these rather elderly gentlemen are still at loggerheads.”

    Some of his points make sense, David may have always been seen as the new kid in the band, even by the end of the seventies, so David’s control of the band in later years was a real test. Part of the issue is the differing perspectives between the basic writing of a piece and that arrangements. The core view is that the basic chords, lyrics and lead melody is the writing, but the process is complicated and the ideas of the players can shape the arrangement, David’s view seems to be that Roger is too dogmatic on the finer points.

    Early songs such as “If..” from Atom Heart Mother show there’s a real humanity in there with Roger – and self-awareness, but he seems so doused in this public façade of scorn, you can’t tell, half the time, who the real person is there. Perhaps the ego, hubris or narcissism has won out, and that’s a real shame if true. I can’t speak for that as I don’t know what’s in his heart or head. Only he could answer that.

    I remember that Live Aid performance in 2005 with the full band, as mentioned here. Roger seemed genuinely thrilled to be there, David came across as diplomatically muted, and the sad reality is that the damage had been done long before 1987. I don’t read it as just a jilted ego from David – he seems to truly not like how Roger treats others. 

   It is a shame that Roger could not have been involved with The Endless River as far as playing bass an co-writing several songs, it would have given the album a more final definitive stamp as the album was intended as a tribute to Richard, we will never know. I admit that a few more proper songs could have rounded out the album.

Paranoid Eyes

    There’s also the issue that David seems to treat his band mates better on his tours, and I could argument that ‘character matters’. Roger has a reputation for cultivating tension, he even fired his son keyboardist Harry Waters in 2016, after he had toured with his father for 14 years. Now, it’s common for band leaders to dismiss members at the end of tours, nothing new. But the reasonings seemed cryptic and callous. Perhaps so Roger could prove a point about Nepotism? I don’t know. This was first noted in the late eighties regarding Roger’s solo tours.

    I haven’t even tackled his politics - which I am indifferent to - but some recent choices are illustrative of his inability to read a room. Yes, Roger is a dedicated socialist, it is what it is. Regarding the events circa 2022, when he was fronting another revival of the Pink Floyd The Wall tour, and when certain references of the stage show was interpreted as being Antisemitic regarding criticism of Isreal, the second half of the narrative of the Pink character from the album falls into delusions and hallucinations as a fascist leader until Pink catches himself. Roger ramped up the fascist references due to the context of what was increasingly happening at the time. As much as I feel that the ADL and AiPAC overplays their hands in their rhetoric, I am not certain that Roger is an actual antisemite. But due to his father’s death in WWII, I think Roger has developed such a blind rage against any wars, he has lost his objectivity. It’s one thing for Roger to run concert revivals of The Wall album in 1990, when the political stakes seemed lesser. But the social climate had changed so much by 2022, the themes of The Wall were bound to be misinterpreted in the changing culture.  He doesn’t see that.  

    There’s also his back-and-forth stance on the Ukraine war, where he seemed to pivot against Vladmir Putin and then defend Putin. This lead to the fight between Gilmour’s wife Holly, against Roger, and then by extension David over the Ukraine war. Even David and Nick wrote a song in support of Ukraine, ‘Hey Hey, Rise Up’. I suspect Roger’s blind mistrust towards the West leads him to lose his objectivity. Again, Roger has an uncanny ability to misread situations, even if he stands by his connections, and even if he refuses to censor himself, - traits that many people admire and I am not saying I object to - for such an infinitely intelligent man, he seems to stumble a lot.

Signs Of Life

    In contrast, David Gilmour has been more measured, diplomatic, he seems to be a better band leader, and one has to ask – who is the more intelligent person? Roger keeps having to recycle his Pink Floyd past, since his solo albums can’t sustain him as far as ticket sales. Gilmour retired the Pink Floyd enterprise as an actual unit, and released three solo albums, On an Island, Rattle That Lock and Luck and Strange, all three of those albums have gone number one or top ten in the US and UK album charts. As well as tours for each album that have done well. David has moved forward and is still writing music that resonates today, now that point might seem incredibly unfair to Waters fans. Again, who seems to be the more intelligent person? David has been quoted as saying:

“I have no interest in going on a tour to make money without making new product, new art.”

    People can dismiss chart success as having little to do with quality, and they would be correct, but when a player such as Gilmour has shown the ability to resonate better with an audience, then Waters thesis about having more depth may not be as important as he likes to believe or suggest. I am not saying people should dislike Roger’s solo output, if you do, more power to you, But I am suggesting there should a little more balance in the public perception. I can admire Roger’s musical legacy and input, but I can’t say I admire the man that much as I have gotten older. He just comes across as a bitter old codger these days.

    Criticizing other successful bands and musicians is often a sign of insecurity and weakness. What I mean is the kind of withering criticism that is designed to degrade others, that is my problem with much of the last fifteen years with Roger. Being able to objectively look at the pros and cons in a work is a different matter. A lot of Roger’s razor tongue may have been entertaining in the press in the past, but it has gotten tiring. The arguments about Water’s ‘Genius’ just don’t seem that important anymore.

    Roger seems incapable of moving on – the rest of the world have moved on. 

P.S. If Roger does see this - he will probably argue it's a hit piece from a 'nobody',-  it is what it is. No Roger, I am not a practicing Christian due to quoting a proverb for a point, and don't worry Roger, I don't plan to visit this issue again. 

Retro Reviews: Iggy Pop and the Stooges: Raw Power

 

    I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums. 

Iggy Pop and the Stooges: Raw Power (1973)

****

Producers: Iggy Pop, David Bowie

Musicians: Iggy Pop, James Wiliamson, Ron Asheton, Scott Asheton

Songs: Search and Destroy, Gimmie Danger, Your Pretty Face Is Going To Hell, Penetration, Raw Power, I Need Someone, Shake Appeal, Death Trip

Reviewed by Matthew Anthony Allair

    This album is about as liberating as one could expect, it is brash and fun within the darkness, New guitarist James Williamson who replaced Ron Asheton who takes over on bass, he brings a freshness and a different groove that their prior, James offers some incredible and firey lead guitar work throughout. The album opener, “Search and Destroy” is the mission statement, even if some could argue the lyrics seem nonsensical, this is glorious. The second track, “Gimmie Danger” is as close to a ballad as one can expect with some acoustic guitar and, Iggy playing a moody piano. “Your Pretty Face is Going to Hell” is another savage number and just demonstrates that the Stooges are one of those rare street bands, they always went against the grain of Hippie idealism. “Penetration” has a clever guitar hook, they aren’t just playing hard down strokes, and Iggy plays a celesta which manages to give it an additional menace.

    Side two’s “Raw Power” has some more moody piano by Iggy, one issue has to do with the mix where the drummer and bassist tend to get drowned out in the mix, and this is self-evident with certain numbers.  “I Need Somebody” is one of the more interesting cuts on the album, the other bluesy ballad with some menacing chords and a good vocal from Iggy. While new, “Shake Appeal” manages to have a retro fifties spirit in it’s vibe. “Death Trip” has a great groove for an album closer but probably runs a little long, which is my only complaint.

    David Bowie is listed as co producer, but it doesn’t feel like he had much interference here, whereas with ‘Transformer’ Bowie and Mick Ronson were very present, it sounds like Iggy and the band were given free reign here. I don’t know if this album could be considered ‘glam’ as it is heavier than what you’d expect, and the band has less restraint than would see with later period Velvet Underground. There are enough musical innovations within the writing and playing that this album feels a few years ahead of its time, but perhaps it is of its time and we just haven’t caught up yet. Recommended.

Retro Reviews; Miles Davis: Nefertiti

 I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. These albums are lesser-known titles.

Miles Davis: Nefertiti (1968)

**** ½

Producers: Teo Macero, Howard Roberts

Musicians: Miles Davis, Wayne Shorter, Herbie Hancock, Ron Carter, Tony Williams

Music: Nefertiti, Fall, Hand Jive, Madness, Riot, Pinocchio

Reviewed by Matthew Anthony Allair

    Nefertiti is an incredible jazz record, the fourth of Miles new quartet with Shorter, Hancock, Carter and Williams. The blend of Davis and Shorter as horn players compliment each other well, Hancock’s playing has a fresh harmonic complexity, and the Carter and Williams rhythm section has an astonishing inventiveness. While Davis did not compose any of these titles, his assured presence drives the tone throughout. Sorcerer went into some interesting directions, but this new record has an additional confidence. All of the players who composed for the album seem to have the talent to present to Davis the kind of material that reflects his introspective nature. The album is another example of his continued explorations into modal playing. 

    The title track, written by Wayne Shorter is a wonder, a mournful piece where Davis and Shorter states the melody on horn while the shifts come from Hancock and the rhythm section, a haunting piece. The next piece written by Shorter, “Fall” is another introspective piece and another wonder, Hancock’s piano soloing is beautiful on this. The next piece, “Hand Jive” is the one Williams composition and seems to connect back to Miles hard bop tradition. The piece allows Williams to stretch out as a player.

    “Madness” is another fast tempo piece written by Hancock, another fast tempo piece that allows Davis to shine as a soloist. Ironically, Hancock sits out during the Davis solo, and comes in during Shorter’s section. There’s an element of self-discovery as this progresses. The next piece, the all too brief “Riot” finds a fitting tone and the other Hancock composition. The final piece, written by Shorter, “Pinocchio” simply illustrates what an adept composer he is, the interplay between the three of them is so satisfying, but Hancock manages to bring it home with his solo before the resolve.

    Davis has managed to assemble such a blend of players with this quartet, that I hope it never ends but it probably will, it is indeed exciting, and he has managed to move forward from John Coltrane’s free jazz expressions and find his own way, his own sound, to explore that ideas that Coltrane was so bravely willing to examine. This album hints at the direction Davis may go in the next decade.  This moves forward from Davis’s past work in the fifties and it’s a wonder to behold. Recommended.

Retro Reviews: Supertramp: Famous Last Words

    I decided to launch a new series to imagine myself as a critic at the end of the 70s and start of the 80s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are classic albums. This is in tribute to Rick Davies, rest in peace.

Supertramp: “…Famous Last Words…” (1982)

***

Producers: Peter Henderson, Russell Pope, Supertramp

Musicians: Rick Davies, Roger Hodgson, John Helliwell, Dougie Thomson, Bob Siebenberg, Claire Diament, Ann & Nancy Wilson

Songs: Crazy, Put On Your Old Brown Shoes, It’s Raining Again, Bonnie, Know Who You Are, My Kind Of Lady, “C’est le Bon”, Waiting So Long, Don’t Leave Me Now

Reviewed by Matthew Anthony Allair

    To be honest, it was bound to happen that the follow up to Breakfast In America would face challenges. In part, the first issue with the album is the sequencing, the two strongest tracks, and likely singles, ‘It’s Raining Again’ and ‘My Kind Of Lady’, don’t open the album. ‘Last Words’ is evenly split between Rick and Roger songs, some of the stronger songs are placed often towards the middle of the album, this makes for a frustrating listen, in contrast considering how well paced “Breakfast In America’, and “Even in the Quieter Moments…” ended up being. Overall, Roger’s songs are stronger, yet many of Rick’s songs have a certain whimsy. There’s also a lot of introspection in the songs, and it feels like, at times, that the full band isn’t always utilized as well as you’d expect. 

    In fairness, both Supertramp and Rush have been the two bands from the 70s that carried the torch for Progressive Rock, and found ways to evolve it, keeping it fresh while accessible at the same time. On the other hand, for many, the cardinal sin of acts from the 70s was to go pop at the start of the decade – it’s a balance. 

    “Crazy” would have made a fine track for the middle of the album, but it almost feels like self-sabotage that this is the first statement you hear. It’s a fine instrumental, but it feels too much like a slow burn. Rick’s “Put On Your Old Brown Shoes” is playful with some nice interplay between the electric piano, piano, and a dab of harmonica, but it feels a little too understated for a second opener. Halliwell’s humor is allowed to come through on this though. There’s real life with Roger’s “It’s Raining Again, it’s catchy and direct. Halliwell is allowed to shine and there’s a fun little quote towards ‘It’s Raining, It’s Pouring’. Rick’s “Bonnie” is merely good. Aside from being more introspective, Roger’s “Know Who You Are” feels like a nod to mid-seventies acoustic Genesis.

    Rick’s “My Kind Of Lady” is his strongest track, a pastiche of 50s doo wop that is very appealing. Roger’s “C’est le Bon” as an acoustic number even feels stronger than “Know Who You Are”, Rick’s “Waiting So Long” is an improvement as a second to last track, but yet there feels an absence of the full band interplay on these tracks, when it is there. Roger’s “Don’t Leave Me Now” is a stronger album closer, and limited interplay I felt was missing on other tracks is more present on this track, and a number of players are allowed to shine. The band feels like there’s a conflict between their pop instincts and their progressive rock leanings. It’s all beautifully done as far as the musicianship, production and arrangements, it just feels like there’s a lack of focus now, and I really don’t know where the band goes from here, but “My Kind Of Lady, It’s Raining Again,” and “C’est le Bon” make this worth it.

Retro Reviews: Supertramp: Even In The Quietest Moments...

 

    I decided to launch a new series to imagine myself as a critic at the start of the 70s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are classic albums. This is in tribute to Rick Davies, rest in peace.

Supertramp: Even In The Quietest Moments… (1977)

****1/2

Producers: Supertramp

Musicians: Rick Davies, Roger Hodgson, John Helliwell, Dougie Thomson, Bob Siebenberg

Songs: Give A Little Bit, Lover Boy, Even In The Quietest Moments, Downstream, Babaji, From Now On, Fool’s Overture

Reviewed by Matthew Anthony Allair

    Supertramp’s first two albums were commendable but not distinctive enough for me. Crime Of The Century was a notable improvement, and Crisis? What Crisis? was somewhere in-between. But this album feels like a notable step forward. There’s a greater focus on the songs, the balance between their Progressive Rock and pop instincts is better. It’s just about no surprise that ‘Give A Little Bit’ is the perennial single. The band has been labeled as ‘art rock’ or ‘art pop’, and while that makes sense, I question if the label is too limiting. They are simply a good band that can write great songs. The bulk of the writing remains between Davies and Hodgson and there’s a simpatico between them that should remind people of Lennon and McCartney, or Elton John and Bernie Taupin.

    The informal feel of the opening from Roger with ‘Give A little Bit’ pulls the listener in, while acoustic, the introduction of Halliwell broadens the piece out. The full band drives the second half, and there’s some nice organ accents to give it a little color.  Rick’s “Lover Boy” has a playful yet dark under current, that especially builds when the full band and support vocals come in, it also has a nice false ending before the crescendo. Nature sounds and an Eastern drone set up Roger’s lovely “Even In The Quietest Moments”, an acoustic number with gradual build up from the band’s support, John’s horns really enhance the piece, Rick’s keyboard work really sympathizes with Roger’s efforts. Rick’s “Downstream” is a solo piano number, sincere and tasteful.

    Roger’s “Babaji” is a piano driven piece with some clever percussion from Siebenberg, and a nice dynamic range that has a compelling orchestral build up. The Thomson and Siebenberg rhythm section remains solid on the album. Rick’s “From Now On” opens with a playful stuttering barrelhouse feel before it shifts into in main core. While Roger’s lyrics tend to be more pensive, Rick’s lyrics often recognize the dark underside of a society that is just barely holding together and not listening to the outcast. Roger’s “Fool’s Overture” might very be the tour de force of the album, it opens as a morose piano ballad before a sound collage that harkens to the flavor of Pink Floyd’s better work, build into a lament about World War II, a good half of this acts as a concerto before the vocal. There’s some nice synth work in the final half that is both playful yet menacing.

    This remains a strong, consistent album that explores hope, humanity, despair and desire, and very likely one of the better albums of this year. Recommended. 

Retro Reviews: George Harrison: Living In The Material World

 

    I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums. 

George Harrison: Living In The Material World (1973)

*** ½

Producers: George Harrison, Phil Spector*

Musicians: George Harrison, Nicky Hopkins, Gary Wright, Klaus Voormann, Jim Keltner, Ringo Starr, Jim Horn, Zakir Hussain, John Barham, Leon Russell, Jim Gordon, Pete Ham

Songs: Give Me Love (Give Me Peace On Earth), Sue Me – Sue You Blues, The Light That Has Lighted The World, Don’t Let Me Wait Too Long, Who Can See It, Living In The Material World, The Lord Loves The One (Who Loves The Lord), Be Here Now, Try Some Buy Some*, The Day The World Gets ‘Round’, That Is All

Reviewed By Matthew Anthony Allair

    George’s new album is out and it was bound to be met with high expectations. From out of the gate of the end of 1970, George had put out the best of the first wave of post Beatles albums. “All Things Must Pass” was gargantuan accomplishment, an album with a cinema scope grandeur sonically, and he had amassed such a range of material that was rejected by the Beatles, that the album enjoyed few weak tracks. He then followed this up with the “Concert for Bangla Desh”, a megastar live event, multiple album set and concert film in 1971. How does this album measure up? Well, it all depends on your point of view and what may have been George’s intention. In truth, it is uneven, but not terrible. It has several great tracks, several good tracks and the rest average.

    It is no surprise that the opening track “Give Me Love (Give Me Peace On Earth)” was the single, it is outstanding, with some spry acoustic guitars, and clever slide guitar harmonies, and a very universal sentiment. The next track is the fun blues slide number, “Sue Me, Sue You Blues”, a serious issue that is taken lightly – and in light of numerous legals with the Beatles – it’s not surprising he is being open about them. “The Light That has Lighted The World” is a fairly earnest, spiritual ballad and demonstrates the major difference between “Must Pass” and this, that album’s focus on spirituality was broader, people could read into the Christian theme, but now George is being more specific about his Khrisna faith. The song has some great keyboard and slide guitar work that is notable.  “Don’t Let Me Wait Too Long” is a more upper tempo number. “Who Can See It” is a lovely, rich ballad, that reveals how George is developing as a writer. Quite emotive. The closing track on side one is the lively “Living In The Material World”, which includes Ringo’s playing and the line “We got Richie on the tour”, a tuneful bridge as well.

    “The Lord Loves The One (That Loves The Lord)” is another fun folk blues infused number, and some good guitar work, another tale about the relativity of karma. “Be Here Now” is an inauspicious guitar and organ number, with a nod to Indian scales in his vocal inflection. “Try Some, Buy Some” is the only actual track that Phil Spector was involved with, a little more dramatic and something that feels like Ronnie Spector could tackle. It also has a little of that grandeur I had mentioned previously, merely an interesting track. “The Day The World Gets ‘Round” seems to mirror the theme of the prior track “The Light” with some dynamic piano. The closer and lovely “That Is All” is another ballad, the album is less demanding on the listener, but should satisfy those in a often mellow mood.

    Let me address the prior point about expectations, it does feel like George is trying to scale down the expectations, and it reminds me of what happened to Dylan after his motorcycle accident circa 1967, his approach and priorities changed, he simply could not keep writing the same material he wrote from 65 and 66. The reality is The Beatles in their 20s had lived five lifetimes in the scale of less than a decade, they had seen it all and done it all, they were in their 30s now and George seems to want to offer his insights. George already may already know he can never repeat the accomplishments of the last record, and he may have proved everything he needed to say with it. Nevertheless, one has to move forward and he seems to be in a different place now. These changing expectations may be a cardinal sin for some music fans. This album doesn’t have such blazing numbers as “The Art Of Dying”, so you will have to take it on its own terms. As far as if that makes for a good listening experience – for some – that is debatable. But the positives outweigh the negatives on this, and I will be curious to see what he comes up with next – if anything. Time will tell. Recommended.

Retro Reviews: Frank Sinatra: Strangers In The Night

 

I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums. 

Frank Sinatra: Strangers In The Night (1966)

****

Producer: Jimmy Bowen

Musicians: Frank Sinatra, Arranger: Nelson Riddle, Ernie Freeman, Band: Artie Kane, Bill Miller, Michael Rubini, Chuck Berghofer, Ralph Pina, Al Viola, Al Casey, Bill Pitman, Glen Campbell, Tommy Tedesco, Hal Blane, Irvin Cottier

Songs: Strangers In The Night, Summer Wind, All Or Nothing At All, Call Me, You’re Driving Me Crazy, On A Clear Day (You Can See Forever), My Baby Just Cares For Me, Downtown, Yes Sir That’s My Baby, The Most Beautiful Girl In The World.

Reviewed by Matthew Anthony Allair

Frank Sinatra’s new single, the title song, is doing very well, you can take that for what it is the only track arranged by Ernie Freeman. But it bodes well for an album when it has three potential singles, along with “Summer Wind” and “All Or Nothing At All”. This is a solid album and Sinatra sounds assured here, he is managing to contemporize his sound, while keeping the big band swing elements he is known for. His most notable album with Gorgon Jenkins, September of My Years had another memorable hit with “It Was A Very Good Year” in 65 and hinted at the possibility he could still compete with the likes of The Beatles. In a lot of respects Frank Sinatra and Miles Davis embody cool, and while their styles are very different, they also embody the rock n roll spirit that others have carried forward. Never forget that in the 50s, during the rise of Elvis Presley, Little Richard and Chuck Berry, Sinatra was holding his own with a group of albums from Capitol that defined quality, and he set up the blueprint for the ‘concept album’ before it was an idea.

“Strangers” is a lush sweeping, following ballad and he does it well. The B-3 Organ, probably played by Artie Kane on “Summer Wind” adds to the relaxed swing of the tune, and Sinatra owns the piece. ‘All Or Nothing At All” is a perennial standard, and the swing setting is quite apt, he had recorded it before, and the organ makes another appearance in the horn breakdown, nicely done. “Call Me” is a more contemporary number, but Frank puts a nice swing accent to it. The interplay between the Organ and horn section on “You’re Driving Me Crazy!” is quite fun, and Frank sounds playful.

While a somewhat known musical, Frank’s arrangement of “On A Clear Day (You Can See Forever)” is quite good, this selection fits Frank well. “My Baby Just Cares For Me” is another Gus Khan standard. Something should be said about the bulk of Nelson Riddle’s arrangements, he has not lost his simpatico with Sinatra as a creative partner. “Downtown” is another more contemporary pop number, originally done by Petula Clark, a very self-conscious attempt at a pop number, and Sinatra’s read is, to say the least, quirky. Frank’s read on “Yes Sir, That’s My Baby” is back to more comfortable territory. The album closer, “The Most Beautiful Girl In The World” is a very brisk arrangement and not something you’d expect for a track that could have been given the lush ballad treatment. The album manages to find a covert way to stay true to Sinatra’s swing inclinations. The title track has already managed to keep Sinatra relevant in the singles market, I will be curious to see where he goes next with these new opportunities on the charts. A Very satisfying edition to the Sinatra cannon.

Retro Reviews: Bruce Springsteen: Born To Run

 

I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. All the albums reviewed are indeed classic albums. 

Bruce Springsteen and the E Street Band – Born To Run (1975)

*****

Producers: Bruce Springsteen, Mike Appel, Jon Landau

Musicians: Bruce Springsteen, Roy Bitten, Clerance Clemmons, Garry Tallent, Max Weinberg, Earnest Carter, Danny Federici, David Sancious, Mike Appel, Steven Van Zandt, Randy Brecker, Michael Brecker, David Sanborn, Wayne Andre, Richard Davis, Suki Lahav, Arranger: Charles Calello

Songs: Thunder Road, Tenth Avenue Freeze-Out, Night, Backstreets, Born To Run, She’s The One, Meeting Across The River, Jungleland

Reviewed by Matthew Anthony Allair

    The first two Springsteen and E Street band albums were good, but this feels like a watermark, and a significant step forward. Bruce has reconnected with the sonic wall of sound from Phil Spector, as well as the song craft of Roy Orbison, with guitars that often capture the feeling of Duane Eddy or Link Wray, while also still taking a nod at the legacy of Bob Dylan and Woody Guthery. Yet in spite of all of the above points, he still manages to sound fresh and finding his own voice – he acknowledges the past, while looking at where we are right now. It’s all quite a feat. Regardless of my strong feelings and disagreements with Jon Landau’s critical work, his support of Springsteen intuitively may have been the right choice – Time will tell.

    This album feels like a loose concept album, in theme, about younger couples or others breaking out of life in small backwater towns where the best they can offer is a factory job. “Thunder Road” sets up this nearly optimistic defiance of a young troubadour asking the woman he pines for to break away with him. Bruce’s lyrical imagery is set up from the start, this sets the tone. The phenomenal backing of his band enhances the experience at first listen. “Ten Avenue Freeze-Out” plays along with the camaraderie of band mates or friends, and captures the playful feeling heard on the prior album. “Night” is probably the least memorable and weakest track on the album. Yet, “Backstreets” progression, with it’s strong keyboard work and evocative feeling rounds out side one. Aside from the core of the E Street Band, you have some phenomenal jazz based players on the album whom add extra coloring to the proceedings. This album is also the debut of drummer Max Weinberg, and Pianist Garry Tallent.  

    Now we must contend with the side two opener and title track, “Born To Run”, which feels like a sprawling cinemascope piece that elaborates on the spirit of “Thunder Road”, The protagonist has triumphantly broken away with his lover by the closing moments. Yet, there’s some lingering questions unanswered. Initially, “She’s The One” brings things down after the high points of the prior track, with scaled back guitar and spry keyboards before shifting into a Bo Didley beat. “Meeting Across The River” is the most deceptively intimate track on the album, but also probably the darkest. It’s jazz bar opening with the horn solo and piano is the greatest departure after the bombast of other tracks. We are left with doubts these characters will make it, and like any good novel or film, the resolution “Jungleland” closes the album with some unexpected answers. The closer is sprawling, and meditative, the younger heroes may not make, either through the death of their romantic relationships, or actual physical death. Are these characters running away from something or running towards something? There's a difference. 

    It all very much feels like a question about working class people in America or around the world, will they be allowed to realize their dreams or live the kind of fuller lives their parents had been granted in the forties and fifties? These questions are very relevant to the mid-seventies, and Springsteen has presented a piece of high drama that will leave you exhilarated yet pondering at the same time. Are working class people going to make it? No one knows.    

Reviews Roundup - Billy Joel

This was originally written May 20th, 2016 and it sat in the cue, but I wanted to add a new feature now. I decided to mix things up on this blog with a new, and semi recurring feature, as the regular reviews have been so time consuming, and the spirit of this blog was to be thoughtful and fun. Therefore, here we go:

By Matthew Anthony Allair

    Billy Joel is probably one of the most significant American singer / songwriters to come up from the 70s and 80s. He was able to blend Tin Pan Alley song craft, with a romantic classical sensibility, and a penchant for hard rock into an accessible and unique blend, regardless of what some might feel about him, he is hard to ignore or dismiss.

Cold Spring Harbor (1971)
    Billy Joel’s first album, technically, came about when managers advised him that the best way to sell his songs was to record an album as a showcase. Joel set up a management and publishing deal with producer Artie Ripp which enabled the album to get made, but it also would allow for impending problems, a contract that Joel would soon have to get out of.  The album was a mixed bag, in part due to Joel not really finding his voice. The two best songs and the ones he’d continue to include on his set list was the plaintive ballad “She’s Got A Way”, and the up tempo piano rocker “Everybody Loves You Now”, which included some impressive dexterity on the keys. The third track that sounds the most like Joel is “You Can Make Me Free”. The better cuts on the rest on the album are the few plaintive piano tracks that feel introspective, the gospel flavored “Tomorrow is Today” and “Got To Begin Again” or the Beethoven / Debussy flavored instrumental “Nocturne”. As far as the rest, cuts like “Turn Around” and “Falling Of The Rain” feel like Elton John B-Side knock offs, “You Look So Good To Me” feels like the advertisement jingle for body soap or cosmetics, or a Paul Williams take, and “Why Judy Why” feels like his attempt at a “Yesterday” rewrite, pleasant, not bad, but also a little too self conscious. Soon, Joel would begin to have sure footing. The other problem with the original printing was the mastering which sped his voice up, something that was fixed in a 1983 printing.

Piano Man (1973)
    For most fans, Joel’s second album feels like his official debut. The origin of the title track has been told endlessly, but Billy Joel spent six months playing a bar in L.A. and built the song out of that experience. While also entangled in legal disputes to break his ties with Ripp, he continued writing songs, and quite good ones at that. While still a little bogged down working with session musicians, and inspired by the flavor of Elton John, James Taylor, and Harry Chapin, the production sheen of Michael Stewart gave him a ‘California sound’, but surprises abounded. “Travelin’ Player” is a brisk, bluegrass number, “Ain’t No Crime” is a mid tempo gospel / R&B number with a real lift. “You’re My Home” is a country number, a ballad for his wife that was later recorded poorly by Helen Reddy.  His first epic suite came about with “The Ballad of Billy The Kid”, it would not be the last. “Worse Comes To Worst” is an odd Latin flavored number.  “Stop In Nevada” is a plaintive ballad with an effective emotional build that demonstrates gifts we would see again and again. But the last three songs are his best, and builds the album to a great final. The ballad “If I Only Had The Words (To tell You)” reveals a real confidence in his writing. “Somewhere Along The Line” reveals a hint into his insight and cynicism, and the proto metal “Captain Jack” with some provocative lyrics and comments on the futility of habitual drug addiction was unusual at the height of Rock N’ Roll indulgences. But this worked and put Billy Joel on the map, and also consigned some critics to view him as the next Harry Chapin, when Billy was probably thinking otherwise – “To hell I am.” But that would only be clear in the near future.

Streetlife Serenade (1974)
    It was pretty evident in Billy Joel’s career that the wanted to bridge the gap between his classical influences and his pop instincts. The title track, “Streetlife Serenader” was the one ambitious number on the album, crossing Debussy influences with his folk rock instincts. The orchestration from the Piano Man album is replaced with synthesizers . Michael Stewarts production delivers an even sounding record, but there are already clear differences. Most critics characterize the album as Joel’s ‘Sophomore slump’, but the quality of the material remains high enough, in spite of the inclusion of two instrumentals, the Scott Joplin  flavored “Root Beer Rag”, and a tune tailored for an imaginary western, the Sergio Lenoe / Ennio Morricone flavored “The Mexican Connection”. The second cut, the rocker “Los Angelenos” was written with Rod Stewart in mind. Several of the cuts seem like fairly standard country ballads, “The Great Suburban Showdown” and “The Last of The Big Time Spenders”. The track “Roberta” at least has a sweeping romanticism to it. The Lead single, “The Entertainer” has a real cynical bite to it. The rocker “Weekend Song” reinforces that he wasn’t going to be one type of writer, the plaintive “Souvenir” marks his Debussy influence, and remains one of the most poignant on the album and a favorite. This album also represented the end of his Southern California phase of his career, he would move back to New York, retool his band, and find his real voice.

Turnstiles (1976)
    This is considered the album where Billy Joel was really taking control of his career, he Produced the album himself, which allowed him to bring in more members of his touring band, and stay clear of the session musicians that left his previous albums feeling a little flat. He also had moved back to New York and the album is a comment about that change, but it also allowed him to find his real voice as a writer. It opens with the Phil Spector flavored “Say Goodbye To Hollywood”, a song tailored to arenas, but much of the album manages to be eclectic and idiosyncratic. There’s the introspective “Summer, Highland Falls”, with its rolling piano figure, and the odd reggae of “All You Wanna Do Is Dance”.  No know knew at the time, but Joel’s first real classic debuts here, “New York State of Mind”, and it would take Barbra Streisand recording her version to draw attention to its greatness.  “James” is an electric piano ballad with a classical sense of harmony. “Prelude / Angry Young Man” is the ambitious rocker, with some dexterous piano and bright guitars. “I’ve Loved These Days” is nostalgic in the sense that it realized the indulgences of the seventies were about the end, an important cut that is incisive. The epic closer “Miami 2017 (See The Lights Go Out On Broadway)” may have been apocalyptic fiction, but resonates in this day and age, built around some fine piano and biting guitars. This was the beginning of Joel being on a roll that wouldn’t stop for a decade and a half.

The Stranger (1977)
    There’s little argument that The Stranger is Joel’s breakthrough, but the story of how he got there is interesting.  Prior to the recording Joel hired his wife Elizabeth Webber to take over as manager, and at least one song is a reflection of her experiences in a chauvinist business.  At one point, Beatles producer, George Martin expressed an interest in producing him, but Martin wanted to use session musicians. When Phil Ramone agreed to come on board, he was savvy enough to agree to use Joel’s touring band, the core of which was drummer Liberty DeVitto, Bassist Doug Stegmeyer, and multi-instrumentalist woodwind and horn player Richie Cannata, and guest guitarist Steve Khan. This breathed a little more life into each song, and basically a fighting unit was established that would last for a decade. Four of the songs would be a mainstay on FM radio. “Just The Way You Are, Only The Good Die Young, She’s Always A Woman,” and “Movin’ Out (Anthony’s Song)” and “The Stranger” along with “Scenes From An Italian Restaurant”  would also get frequent play. The album became a template for the type of multi megahit release that would be prevalent in the 1980s. The song “She’s Always A Woman” has been branded unfairly misogynistic, but most people fail to realize it was about his wife, and the treatment she received as his manager for being tough. “Only The Good Die Young” has been accused of being anti-Catholic, but the song is really simply about rationalizational lust and one of the liveliest cuts of his career. “The Stranger” opens with a midnight jazz flavored motif before it’s segway into a bright syncopated tempo.  “Scenes from an Italian Restaurant” lived up to its epic suite. But songs like “Vienna” held its own charm, offering up insight to the young to slow down, and not lose sight in living in the moment as a trade off to their ambition. The pop flavored “Get It Right The First Time” is the closest thing to filler on the album, and the sprawling Gospel flavored “Everybody Has A Dream” rounds it out to satisfaction.

52nd Street (1978)
    Billy Joel reassembled his team for the follow up, and while it share’s a similar production sound, there are differences. There’s a slight focus on jazz influenced numbers, but the material still remains eclectic. The three singles remained FM radio staples once again, the hard rock pop of “Big Shot”, the mid tempo pop of “My Life”, which was licensed to be used on the Bosom Buddies TV show, and the ballad “Honesty”.  But there’s almost a basis for some critics that complain about Joel’s self conscious imitation of other artists. “Zanzibar” sounds like a Steely Dan outtake, but it does feature some great jazz soloing from Freddie Hubbard. “Half A Mile Away” does feel like a Chicago imitation to a degree, but the stellar “Rosalinda’s Eyes” with its Latin, Bossa-Nova Jazz rounds out the Jazz influences on the album. The longest track is the Phil Spector influenced and Righteous Brothers inspired “Until The Night”, which incidentally, Bill Medley record on a 1980 solo record. “Stiletto” is probably the most filler track on the album, although enormously enjoyable. The title track, “52nd Street” warps up the jazz flavor of the album with a touch of humor.  But Joel would start breaking down assumptions with his eighties work.

Glass Houses (1980)
    As soon as critics wanted to brand Billy Joel with a certain identity, he started to buck the trend. What is so funny, in my mind, about the surprise of some critics that Billy Joel wanted to play more rock material, is that Billy Joel always included heavy rock numbers with each prior release, and he had played in the brief, ill fated heavy metal duo Attila from 1969 / 1970, but Joel stripped down his writing to focus on clearly guitar driven material, lead guitarist Dave Brown made his proper entry here, and Joel offered his own take on new wave, punk, and the Rolling Stones.  After the crash of glass, the Stones imitation , “You May Be Right” opens the album, I could very easily see Jagger and Richards performing this song. The new wave flavored “Sometimes A Fantasy” has the right range of paranoia and euphoria. The Spanish flavored “Don’t Ask Me Why” offers up the insight about past events happening for no grand reason, and you have to just move on.  “It Still Rock N’ Roll To Me” offers the mission statement of the album, and Joel has observed that much of the new wave and some of the punk he heard at the end of the seventies, really just sounded like the power pop of the late 60s and 70s. “All For Leyna” has some robust piano work and clever time shifts, and was only released in the UK. Of course, the first four cuts became FM staples. The second half of the album only deepened the new wave motif, but it wasn’t all cut and dried. “I Don’t Want To Be Alone” sounds like a Joe Jackson cut from the late 70s, and “Sleeping With The Television On” follows the formula of countless early new wave acts. Things take a shift with “C’Etait Toi (You Were The One)”, a French flavored ballad the follows in the tradition of The Beatles “Michele”. “Close To The Borderline” is the closest thing to punk on the album, but it also sounds like something the Rolling Stones would have done, if they tackled the same approach. The closer “Through The Long Night” nods toward Paul McCartney. Overall sound of the album is very dry in most places and contrasts with the polish of the previous two albums, and credit must go to Phil Ramone for being adaptable to the change.

Songs In The Attic (1981)
    It has been pretty common for most record labels to contractually expect recording artists to put out live records, and Billy Joel was no different, but he did something fairly clever, capitalizing on the momentum of three massive hit albums, he complied recordings of songs from the first four albums, but using his current band, and now with an established signature, the earlier songs took on a new life. But what probably surprised fans at the time were “She’s Got A Way” and “Everybody Loves You Now”, the two tracks from Cold Spring Harbor, which had gone out of print by the time of its release.  The live “She’s Got A Way” was released as a single and did surprising well. The track listing for the rest of the album followed as thus:  “Miami 2017, Summer, Highland Falls, Streetlife Serenader, Los Angelenos, Say Goodbye To Hollywood, Captain Jack, You’re My Home, The Ballad of Billy The Kid, I’ve Loved These Days.”

The Nylon Curtain (1982)
    It’s difficult to say what impact the death of John Lennon had on Billy Joel, but  a lot of stars at the time were unnerved by Lennon’s murder, and they reacted by pushing themselves to put out better material. The Nylon Curtain acts as a loose concept record, using the contemporary sound of John Lennon’s 1980 solo record, with a few Paul McCartney songs for good measure, and the spirit of Bob Dylan. Billy Joel put out what I consider to be his contemporary masterpiece, the album took about a year to record, with its layer or synthesizers, and live orchestrations, but more importantly, it was the biting social commentary that differed from previous records. Billy Joel has admitted himself to not being a fan of political records, and disliking County Joe & The Fish. But he focused on a range of topics, and recorded some of his most experimental material ever.  “Allentown” is a comment about the displaced working class in small towns, and the decline of unions to strengthen them. “Laura” is a pretty scathing, mid tempo number about an manipulative and passively abusive woman that captures a little of Lennon’s sound. “Pressure” is self explanatory, but it blends with his classical instincts once again with some edgy instrumentation. The somber “Goodnight Saigon” was written about Viet Nam veterans. But side two remains just as interesting; “She’s Right On Time” is a Paul McCartney flavored number with a rich arrangement. “A Room Of Our Own” is a brisk pop blues number that channels the flavor of Lennon. “Surprises” is an expansive, and experimental ballad, that seems to be about himself stepping outside of himself to view his past. “Scandinavian Skies” clearly channels the ambition of The Beatles “I Am The Walrus”, and is about his brief experimentation with Heroin. But the last track is a real gem, “Where’s The Orchestra?” is another McCartney flavored track that uses the metaphor of life’s expectation’s with fame and the business not bringing all of the answers, as well as loneliness. His marriage to Elizabeth Webber was on the verge of ending during this period. Some critics were skeptical or reluctant to admit that Billy Joel had broken new ground, but there’s a good case to be made that this album represented a pinnacle of his career.

An Innocent Man (1983)
    After Billy Joel’s divorce, he started dating several women and he’s admitted this was the impudence behind writing many songs that had a fun and retro aspect. But it was also a huge gamble at a time where the grounds of pop music was always shifting. In 1982, The Stray Cats managed to have great success with a retro rockabilly sound, and that might have given Joel some confidence to move forward.  But indeed, Joel recorded an album that became his second juggernaut with An Innocent Man, I remember in 1983 and 84 that the album became so over saturated on the radio, it did become tiring, but the fresh novelty of the record paid off with another group of spades for the singer. It’s mix of R’n B and early Rock N Roll harkens back to the music of his childhood, but there was more than met the eye with the release. “Easy Money” held the flavor of James Brown and Wilson Picket, and was used in a Rodney Dangerfield movie.  The title track really demonstrated the grown of his lyric writing, and was flavored by Ben E. King or The Drifters. “The Longest Night” was classic doo-wop and a nod to The Spinners. “This Night” borrowed its chorus from Beethoven’s Pathetique Sonata, 2nd movement, and the tune was inspired by Little Anthony and the Imperials. The lead off single was Motown inspired, “Tell Her About It” held the flavor of The Temptations. “Uptown Girl” was a clear nod to Frankie Valli & The Four Seasons. “Careless Talk” was again a nod to Sam Cooke, The old school rocker “Christie Lee” has been compared to Little Richard, but really had more the flavor of Jerry Lee Lewis.  “Leave A Tender Moment Alone” has been compared to Smokey Robinson, but has such a contemporary feel as a composition, it transcends it’s period feel. But “Keeping The faith”, a light funk, Wilson Picket number, is the albums key statement of purpose and explains his intent was less about nostalgia, but about looking backward before moving ahead:

You can get just so much
From a good thing
You can linger too long
In your dreams
Say goodbye to the
Oldies but goodies
'Cause the good ole days weren't
Always good
And tomorrow ain't as bad as it seems,
I told you my reasons
For the whole revival
Now I'm going outside to have
An ice cold beer in the shade
Oh, I'm going to listen to my 45's
Ain't it wonderful to be alive
When the rock 'n' roll plays, yeah
When the memory stays, yeah
I'm keeping the faith.



Perhaps Billy sensed he was at his height, for the priorities of courting Christie Brinkley would change his focus.  Six of the tracks would become FM staples, and he could never duplicate its success the same way again.

Greatest Hits Volume I & II (1985)
    Joel would take some time off to get married for a second time and have a child, and put out a comprehensive overview of his output from 1973 to 1985. The only two new tracks hinted at the heavy synth and electronic pop that he would explore further a year later. This trend could also have been influenced by the popularity of figures like Thomas Dolby,  and Depeche Mode, the two new tracks were a synth pop number “You’re Only Human (Second Wind)”, an anti suicide song that was inspired by personal experience, at the start of the seventies Joel did have a failed suicide attempt, and he continued to have depression issues he would keep from the public. The other track “The Night Is Still Young” seemed to reflect on his desire to settle down, he married Christie Brinkley and they had a child, hinting at something that the public had little suspicion of – that he would retire from recording within a decade.

The Bridge (1986)
    The Bridge would be notable for several reasons and on several levels, it was the last record produced by stalwald Phil Ramone, and the last record with his core band of a decade. It managed to feature another four durable hits, ‘Modern Woman, A Matter Of Trust, Baby Grand” and “This Is The Time” and it was a showcase for a number of iconic musicians, namely Ray Charles, Jazz Bass legend Ron Carter, Steve Winwood, and Cyndi Lauper. The opening cut ‘Running on Ice” was inspired by the Police. Billy’s collaboration with Ray Charles, “Baby Grand” was a fitting ode to the Piano, and seemed apt considering that “New York State of Mind’ in 1976 was inspired by Charles, other session legends like Vinny Calaiuta, Neil  Stubenhaus, and Dean Parks rounded out the session. The Pop synth heavy “Modern Woman” was used in the film, Ruthless People. The pop rocker “A Matter of Trust” was written on the guitar. The big Band flavored “Big Man On Mulberry Street” featured the jazz bass of Ron Carter, and swing horn work from Eddie Daniels and Michael Brecker. The two true filler tracks feel the most forced are the ballad, “Temptation” , and “Code Of Silence”. A track that Joel admits he had writers block working on and Cyndi Lauper stepped in to help finish, she also sang harmonies. Both tracks hint that the cracks were showing, that the writing wasn’t as effortless as it had been. The closing track, with Steve Winwood on B-3 is the strongest, “Getting Closer” was a pointed comment on his feelings on the music business. The Bridge managed to be an eclectic album that looked back while moving forward, and closing a book on a major part of his career.  The Bridge is also notable for helping to end Joel’s contractual obligations to Artie Ripp in terms of royalties.

KOHUEPT (1987)
    The Bridge tour was globally extensive enough to where when an opportunity to tour in Russia, namely Leningrad, and Tbilisi, Billy ran with it at the height of social changes that were being brought about due to glasnost and perestroika.  The tour made history as Joel was one of the first American artists to have a live Radio broadcast in Soviet history. The tour had a profound impact on Joel, but he wasn’t really happy with the live album, it was released by Columbia without his input, and to meet a contractual obligation. The bulk of the material covered contemporary songs from Turnstiles, The Stranger, 52nd Street, Glass Houses, The Nylon Curtain, An Innocent Man, and The Bridge, and featured a live version of The Beatles ‘Back In The U.S.S.R.” and a more intimate acoustic cover of Bob Dylan’s “The Times They Are-A Changing”. Peter Hewlett was brought on the tour to cover some of the higher vocal notes, and his core band appeared on the tour sans David Brown. While not a definitive recording, it would be the final document of his core band, indeed changes were afoot.

Storm Front (1989)
    Storm Front was the byproduct of a number of shake ups. Namely, the firing of brother-in-law Frank Weber (Elizabeth has ended her role as manager years before), and a law suit after an audit revealed major discrepancies in Weber’s accounting. Billy Joel didn’t bring back Phil Ramone, but brought in Mick Jones from Foreigner to co-produce. By his own account, Joel has started to feel that certain players had become complacent and he wanted a fresher sound. Liberty DeVitto and David Brown were kept on, as well as Mark Rivera who otherwise had no role on the album, but Russell Javors and Doug Stegmeyer were let go, and replaced with Schuyer Deale, Joey Hunting, and synth player Jeff Jacobs. As well as other players like Don Brooks, Mick Jones, Itzhalk Perlman, Lenny Pickett and the Memphis Horns. The album opens with the bluesy groove of “That’s Not Her Style”, a comment on the perception of his model  / wife Brinkley. The musically simplistic “We Didn’t Start The Fire”, a relativist historical roundup, works due to the production sheen, it was a big hit. The rest of side one continues with strong material, ‘The Downeaster ‘Alexa’” deals with the plight of American coastal fisherman with a little help from Perlman, and then there’s the confessional “I Go To Extremes”, Billy has been candid about his depression issues. Followed by  the unexpected country flavored “Shameless”, a track that manages to have the structure of something you’d expect from Jimi Hendrix. The title track has an R&B Stax feel with some surprising Jazz voicings. “Leningrad” is the most moving ballad on the album, taking a nod to Russian classical composers, it address his experiences from the Russian tour.  “State of Grace” is the power pop number on the album, and has the strongest vocal melody I would say, it also illustrates that Joel could still craft a melody effortlessly. “When In Rome” is a more standard R&B Stax flavored number, I have to admit that “When In Rome” and “Storm Front” remain the weakest tracks. The plaintive “And So It Goes”, with just Piano and Synth is the most introspective, and will remind listeners of material from Cold Spring Harbor. One more surprise was on the way.

River of Dreams (1993)
    The musical climate had changed drastically by the time Billy Joel released his final album of pop songs. The alternative rock scene had changed out the bulk of the old guard, and newer artists at the beginning of the 90s adapted to the changes. Perhaps Joel has been astute enough to recognize the shift, as there was another shake up with the album, Producer Danny Kortchmar was brought in to deliver a more stripped down and dryer sounding album, with some additional production help from David Thoener and Joe Nicolo. Most significantly his core band mates were replaced, Liberty Devitto only plays on one track, replaced by Zackary Alford or Steve Jordan, Danny Kortchmar handled much of the guitar duties along with guitar icon Leslie West, T.M. Stevens handled most of the Bass duties, with Jeff Jacobs being retained for extra keyboard work. The gamble may not have paid off as well as the previous album, but it did deliver an hit album. The turmoil of the legal suits with Frank Webber had taken their toll, and Billy Joel had a crisis of faith over his judgment. The album has been described by Joel as a song cycle, which deals with this crisis, and evolves into a more optimistic group of songs. “No Man’s Land” is scathing in its criticism of urban development, the rise of Box stores, and  the track seems prophetic when considering the current crisis with entertainment retail.  “The Great Wall of China” is pretty obvious vent about his former manager. “Blond Over Blue” has interesting contrasts between the verses and the lifting chorus. “A Minor Variation” is an R&B number that interestingly features Richie Cannata in the horn section. “Shades of Grey” deals with the ambivalence of getting older and not seeing things as clear cut. The second half has a stronger group of material, with the first three being the singles. “All About Soul” builds into a gospel flavored ending in the mould of “Everybody’s Got A Dream”.  The simple ballad, “Lullaby (Goodnight, My Angel) is a hymn to his daughter about mortality. “The River Of Dreams” has an African flavor that harkens back to “The Lion Sleeps Tonight”. There’s an increasing theme of spirituality to be found in the last half of the album, “Two Thousand Years” is basically an appeal for peace and reason. The closing track also closes out this phase of his career, “Famous Last Words” sums up his mission statement to not write anymore songs.  Not everyone was pleased with the album, Liberty DeVitto was pretty scathing in his thoughts about the album. But Joel might have felt the need for the changes to stay vibrant, yet once his legal issues, and contractual obligations had been met, he might not have felt the need to continue.

Greatest Hits Vol III (1997)
    Billy Joel made good on his vow to not write and record any new songs. His second compilation closes with three covers, the fairly new Bob Dylan ballad, “To Make You Feel My Love”, which remains the best cut. The Carol King / Gerry Goffin ballad “Hey Girl”, and Leonard Cohen’s “Light As A Breeze”. Good numbers, but not very distinctive in a way. The rest of the collection is round out by a few tracks from An Innocent Man, then cuts from The Bridge, Storm Front, and River of Dreams, basically for casual completists of his hits.

    In fairness, I haven’t really listened in depth to his classical excursions, or the My Lives box set, or his live album compilations from 2000 onward, so I feel I can’t really access the material. But Billy Joel, regardless how you may feel about his work, or his cool factor, or lack thereof in certain circles, has produced a body of work that should be considered on par with Lennon / McCartney, George & Ira Gershwin, Cole Porter, or Irvin Berlin. He was able to retain some rock authenticity while blending classical sensibility with Tin Pan Alley song craft. The 70s and early 80s catalog should speak for itself. As far as why he retired from recording? As far back as the late 80s, he started to use sports analogies about knowing when to quit. Perhaps, once he had met his contractual obligations, the urgency to write pop tunes wasn’t as great a need. He was part of a handful of working class musicians with the ability to craft intelligent songs, while being relatable. The other writer that shared the same ability was Bruce Springsteen, these points are important to consider once you realize what a prodigious writer Joel is – few can duplicate him.