908. Billy Joel / An Innocent Man. 1983. 3.5/5

Billy Joel’s career had been on a steady rise throughout the 1970’s, bringing a string of hit albums and singles to match. His album prior to the release of this one, 1982’s “The Nylon Curtain”, featured songs of a more serious tone lyrically than he had written in recent times, focusing on the changing times that he was living in, and some of the more serious topics that surrounded him. When interviewed about the tone of that album, Joel had said that he wanted to speak about the fact that because of the political and economic changes it was unlikely that you would inherit the same life that your parents had.
The success of that album and of its slightly darker tones brought Joel to a different plane when it came to recording its follow up. He had divorced his first wife and had been in the process of literally dating super models, women such as Elle MacPherson and Christie Brinkley. In interviews about this album in later years, he confessed that this new stage of his life actually made him feels like a younger man, and he began to go back and remember the happy times of his youth, which then made him think about the music that he listened to in those days and how much enjoyment he had gotten from that. And so it was from this that he came to write and record an album that utilised that music from his youth, and compose an array of songs in the same style of those artists that he loved from his childhood.
This of course could have been seen to be a move that could have hurt his musically. As much as those of his generation were still reminiscing about the same style of music that Joel was contemplating on composing, 1983 was as far from that music-wise as it could have been. It was the age of new-wave, pop-rock, glam metal and hard rock, and in no way a world that appeared conducive to a bout of 50’s and 60’s revivalist do-wop, soul and rock and roll. But this is still the direction that Joel went in, and the end result may well have been as surprising to him as it was to music listeners everywhere.

Now that I am older, though not necessarily wiser, but certainly of different and more varied music tastes, the stark fallback in musical genre that this album is generated from is something that is more interesting to face than it was in those early teenage years. It's not that it wasn't obvious all those years ago that there was a certain vintage quality about the songs on this album, it’s just that because they were Billy Joel songs it didn’t seem to matter. The fact is that this is in places such a vast divergence from the sound of the albums that went before it that as a package it really has to be dissected with that in mind. This IS an album that could have come from the 1950's and 1960's, with Billy writing each song as a homage to a different band or genre to the music of his childhood.
In the album linear notes, Joel explains what period or band each song is written with in mind, each as a homage to that particular artist, and as a result written ‘in the sound of’ that particular artist. Not a copy, not a rip-off, but as a loving original creation to stand as a tribute to them and their music that had inspired him as a child.
Taking all of that into consideration, crafting the album in this way and having the songs run smoothly throughout without affecting the flow of the album then becomes a task in itself. And given those wide variety of style of songs I’m sure people have different reactions to this.
The change in tempo and mood doesn't always make the album cohesive either. "Easy Money" is upbeat and vibrant, sung and played with gusto, before moving straight into the slow moving and moody title track "An Innocent Man" which is a completely different style. Then to complete the triumvirate you have "The Longest Time" which removes most of the instruments and relies mainly on the voices of Billy and his do-wop back up singers. Albums don't have to follow the same course of music style to be accessible, but it helps if there is some sort of progression, and here it feels a bit congested. "This Night" then moves into the bright and breezy "Tell Her About It" which is still a mood lifter whenever it gets played.
"Uptown Girl" is the song that everyone of my generation still knows off by heart and can sing along to whenever it is played. No matter that it is one of a plethora of songs where future second wife Christie Brinkley is the subject matter, it is still one of those songs that brings up memories of that era. "Careless Talk" always reminds me of the kind of music my grandparents used to play whenever we were over at their house, while "Christie Lee" is a little self indulgent and very much in the style of the legends that he has attributed it to, Little Richard and Jerry Lee Lewis. "Leave a Tender Moment Alone" and "Keeping the Faith" were both released as singles late in the piece, and again their style mixes in within what has come before them.
In later years, what this album has reminded me most of its one of those K-Tel compilation albums of the era, when the ads proliferation our TV screens of the 1980’s, with a variety of songs from bands of the late 50’s and early 60’s, where they styles change from rock n roll and do-wop to soul and r and b. It’s just that all of the songs here are composed and performed by Billy Joel, and combine to make a unique sounding album for the mid-1980's.

When this album was first released, I loved it. I loved almost all of the songs on it, and especially those that were released as singles. I enjoyed the fact that it was not the usual new wave pop music that was dominating the radio at the time. The change of pace, the fun side and the soft side, it was all terrific. And that is how I remembered it, up until about a decade ago, when I started to go back and listen to all of Billy Joel’s discography in order, and break them all down for reviews for my music album review blog at the time. And that process was eminently enjoyable, until I reached “An Innocent Man”. Why? Well, what seems to have changed for me from the time of this album's release in 1983 through to that point in time is that while I enjoyed and loved the renditions of the songs back when they were released, at a time when I was beginning to discover music in a larger way, and enjoying everything that Billy Joel was releasing, now I find them... less interesting, bordering on boring in some cases. I believe most of that was because I had always remembered in my head how much I enjoyed that album, and that once I listened to all of Billy’s other material all together, I found the weakness – the kryptonite – of this album. That it now sounded like an album of the 1950’s and 60’s, and not an album of the 1980’s.
It's fair to say that I have mixed emotions over this album now. I still recall the love I had for it back in the mid-1980's and trying to come to terms with that in comparison to some of the doubts I harbour for it now makes it a juggling act. There's no doubt that I don't feel as positive about songs such as "Easy Money" and "Leave a Tender Moment Alone" and even "An Innocent Man" and "The Longest Time" as I did thirty years ago. That doesn't deny the fact that despite its change in style from other albums of his, this was still a big part of my early teenage years. And it doesn’t mean I think this is an average album, it just means that my thoughts on it have changed with the onset of time, for many reasons.
I have had this going for three weeks now in preparation for this episode, and while it still has good moments, for me it has become a little dated. It may sound like I am putting the album down, but more importantly I just think I have grown away from the music as it is written.

907. Billy Joel / The Nylon Curtain. 1982. 3.5/5

With multiple number one albums now under his belt, and hit singles that were being played around the world, and with a continued desire to experiment with his own style and diversify his own music, there is little doubt that this is exactly what Billy Joel does on The Nylon Curtain. The music again appears divided, with the style and setting of the songs showcasing different sides of his writing personality.

"Allentown" is a another of those Billy Joel best constructed songs that invokes the basic emotions that he is trying to convey by the course of a couple of tricks of the trade, here with the steam mill sound punctuating the track throughout and his own impersonation of that sound, while the piano and guitar make their own parts of the song their own.
"Laura" might want to be drawing in those Beatles references and influences within in the song, but what hurts it a little in my opinion is that it just goes too long. Five minutes for a Beatles song? Perhaps by the conclusion of their time, but their best songs were always the tightly constructed three and a half minute tracks where nothing dragged out to become boring. "Laura" for me does that. A shorter tighter version would have fitted better.
The distinctive keyboard riff that dominates "Pressure" has always been catchy and a major influence on the song and its popularity. The vocals and music come across as frantic and elevated, increasing and enhancing the lyrical content, and setting the scene of the song by creating an atmosphere of pressure within the music itself. This is followed by the emotionally charged "Goodnight Saigon", whose slower building influence through the music and vocals is carried by the chopper blades during the intro and outro.
When it comes to the second half of the album, it feels a bit the same way that the second half of Glass Houses comes across. None of the songs really seem to capture the imagination like those on the first half of the album. The fact that everything here has obviously been constructed with a theme in mind means that the listener will either accept it and enjoy it, or just be confused by it. It starts off with "She's Right On Time" and "A Room Of Our Own", and those influences are immediately obvious.
"Surprises" may as well be John Lennon's posthumous song, such is the writing of the song, and Billy's vocals which are without doubt mimicking Lennon's style inimitably. More of the same follows with "Scandinavian Skies". And the songs are good, there's no problem there. But do you need to hear Lennon singing a Joel song? Is the trouble you go to in order to create two songs such as these, with their distinct renditions of the style of one of your influential bands, worth the creative process to put on an album that is showcasing your material? the same question can be asked of the closing track, "Where's the Orchestra?" which while giving a more Paul McCartney impression on the song still has the same values attached. Should I be listening to a Billy Joel album and wondering why I am hearing songs that may just be modernised Beatles themes?

Once again a Billy Joel album leaves me feeling conflicted. I feel I should be rating this highly, because the music performance is once again top notch, with a perfect combination of all of the instruments which bring the perfect emotional level to each song. But again, the mixing of styles almost always leaves me feeling as though something is lacking, missing, or just not as I expected. It's probably the latter. Given that, this is still yet another all encompassing album that stretches the formwork of the talents within the band, and gives off more highlights that it holds back.

Rating:  "You have no scars on your face".   3.5/5

906. Billy Joel / Songs in the Attic. 1981. 3.5/5

Songs in the Attic indeed. Releasing a live album at this stage of his career was a no brainer, not only because it would give him and the band a break from writing new material, but it also gave them the opportunity to showcase their wares in the live environment. What it also did was to bring to light songs from the early albums of his career that for the most part would have been almost unknown for many of his fans who had only come to discover him through the success of The Stranger.

Perhaps the best part of this album is that almost all of the songs sound much better in their live setting here than they necessarily do from their studio versions on the albums they originate. Perhaps it could be argued that the production here, helmed by Phil Ramone once again, is part of that process. but it is hard to argue that the band sound great live on stage, and the larger and fuller piano sound along with Billy's vocals when singing to an audience rather than an empty studio are also major factors in this.
The songs that appear here are, for the most part, the best songs from his early work, though most were (and probably still are) relatively unknown to his fan base. And they sound better, fuller. "Miami 2017 (Seen the Lights Go Out on Broadway)" opens the album in style and sounds terrific here. "Summer, Highland Falls" and "Streetlife Serenader" are also upgraded here from their excellent studio versions, and given more life in the process without harming their initial fabric. "Los Angelenos" perhaps drags a little, but still sounds good. Two of Billy's early notable tracks, "She Got a Way" and "Everybody Loves You Now" are given a prominence here that they deserve. This live version of "She's Got a Way" made it into the charts upon its release, more so for the fact it was a "new" song to many who heard it.
The second side of the album is kicked off by the heavyweight duo of "Say Goodbye to Hollywood" and "Captain Jack", which both crackle on these live versions. Billy's vocal enthusiasm along with that of his band draw the best out of both these excellent songs, and the albums would have been worth it for these two songs alone. The final three songs are still hit and miss, and while the live renditions sound great, the trio of "You're My Home", "The Ballad of Billy the Kid" and "I've Loved These Days" aren't quite the dynamite finish you would prefer on an album of note.

When this was released it was an excellent way to get a taste of those early Billy Joel songs, and a feel for his writing in those days. Strangely enough, it is perhaps still the best way to experience his early work, as the majority of his best songs from that period are here, and performed wonderfully well.

Rating:  "Captain Jack will get you high at night, and take you to your special island".  3.5/5

905. Billy Joel / Glass Houses. 1980. 3.5/5

Flowing on from the revitalisation of his music, which was now successfully finding its way all around the globe, Glass Houses found itself fighting its way in a new world of music genres, having been through a disco stage and a punk stage. Many have reviewed this album as Billy Joel's answer to a full rock album. Whether or not that was the intention or even the thought behind it, there are more songs on this album that fit into the upbeat variety than the reflective piano dominating songs that were a feature of his early albums.

Side One of this album is excellent, and is where I concentrated on when I first got this album. "You May Be Right" opens the album on that rock 'n' roll note that does come out more strongly on this release. Billy's attitude in the vocals help to make this song as good as it is, as well as the forefront guitar and sax which dominate the middle section. "Sometimes A Fantasy" was probably the more difficult of those five songs to get into and enjoy, but after many rotations of the album it began to feel as though it fit into the order.
"Don't Ask Me Why" has that touch of Beatles, or at least George Harrison, which lightens up the album a touch from the opening two songs. Even now when I hear this song I can almost see the Beatles playing it, it has that gentle easy going construction with Billy's vocals also going into that register that also proliferated that band's music. This is followed by "It's Still Rock and Roll to Me", one of my favourite Billy Joel songs. Singing back and forth to himself in conversation, and with another great sax spot in the middle of the song, this is some of the best he can deliver. "All For Leyna" completes the first half of the album, and is full of enthusiasm in both vocals and music.
Side Two on the other hand doesn't have bad songs, but it has nothing that jumps out at you, or grabs your attention to make it stand out from the pack, or for the most part even get you tapping your foot or singing along with the lyrics. OK, "Sleeping With the Television On" has its moments I guess, but really there's not a lot there that above the average. And as I tend to say too often, that doesn't make them bad songs, it just means that you don't have any love invested in them such that you do with the better songs on Side One.

While there is plenty of potential here, and the usual Billy Joel classics that crops up on every album, Glass Houses just falls short of the mark in the end. Overall it is a better than average release with plenty to like, however it is let down by the second half of the album that just doesn't measure up to the first half.

Rating:  "What's the matter with the crowd I'm seeing? Don't you know that they're out of touch?"   3.5/5

904. Billy Joel / 52nd Street. 1978. 3.5/5

With the world at his feet, Billy Joel set about trying to come up with a follow up album to be compared with The Stranger. Given its success and the pressure on him to find a collection of songs that would instill the same amount of excitement from his fans would have been daunting. It went on to become his first number one selling album in his native U.S, but was that on the back of past performances?

The opening track is brilliant, and Billy's vocals drip with irony and attitude throughout "Big Shot". "Honesty" comes straight at you with its balladesque basis, but in a different way from those on the previous album, "Just the way You Are" and "She's Always a Woman". They felt positive and happy, whereas this is loaded with sadness and disappointment. The different feeling it provokes causes a conflict with that from the opening song. This is exacerbated by the next song, "My Life", which again mixes emotions through the song with an upbeat tempo in the music. All three songs are some of the better known in Billy Joel's discography, and while I love "Big Shot" and "My Life", "Honesty" seems out of place with its dip in vibe.
"Zanzibar" is one of those songs in Billy's career that shines in its place, even though it was not released as a single. The many references to being in a bar and sports personalities and events, along with the a very jazz-influenced style in the music, makes it a easy and rewarding track.
"Stiletto" has an unusual structure, mixing staccato lyrical passages with two different sax breaks, a piano medley in another part as well as finger clicks which change up the way the song breaks. I like the song, maybe because of maybe despite the unusualness of it. "Rosalinda's Eyes" was apparently written about his mother, though the song doesn't grab me so much. "Half a Mile Away" returns to a upbeat style of song to lift the mood along the way.
"Until the Night", while inspired by the Righteous Brothers and having a sound that emulates theirs quite convincingly, for me is just a little too repetitive and a little too long to get the most enjoyment out of. Bring it in at about four minutes and then perhaps I would be OK with it, but it does feel as though it is dragging out longer than necessary by the time you get to the end of the song. The album concludes with the short and sweet title track "52nd Street".

While this is a good album it doesn't live up to its predecessor, but that was always going to be a huge task. What 52nd Street offers is some more very good songs, some that use the same pedigree as what has come before, and others that have taken a chance on a slightly different direction. Taken on face value without any negativity, this album is an enjoyable and interesting listen.

Rating:  "I don't care what you say anymore..."   3.5/5

903. Billy Joel / The Stranger. 1977. 4.5/5

Though I wasn't old enough to know how all of these albums performed on their release during the 1970's, by listening to the first four albums in order of their recording, you could see a pattern emerging. A pattern where the talent of Billy Joel and his band in each recording was obvious, but that there was something that was just holding back each album from becoming a breakout, an album that everyone wanted and knew. Rather than an album where one or two songs stood out from the others around them, producing an album that had no weak points, only great songs one after the other. With The Stranger, Billy Joel hit the jackpot.

This is an album where everything comes together, a perfect storm of song writing and performing, of getting the right mix of moods and tempos so that they work together rather than standing alone in a stark environment, so that although each song is memorable, it doesn't feel as though it has drawn all of the spotlight of the album, leaving the rest to make up the numbers.
From the beginning the album feels right and encourages you to sing along and enjoy the ride. "Movin' Out (Anthony's Song)" starts out in a jaunty story that combines Billy's wonderful story telling style in an easy going song that is immediately enjoyable. This segues nicely into the whistling tune that is "The Stranger", complemented by the piano and horns. Despite the somewhat sinister subtext of the lyrics, this is a terrific song, once again very easy to sing along with as the music and vocals roll along.
"Just the Way You Are" is another of Billy's easygoing, ballad love songs that he does so well. It was his first top ten single in the US, and by his own admission was a song that neither he nor the band liked very much. Must be tough writing a song you didn't like but became your biggest selling song to that point in time. This is followed by "Scenes from an Italian Restaurant", another lengthy story in song form, which has a wonderful mood about it, as well as three separate 'chapters' that have changes in the music through the song.
"Vienna" starts off the second side of the album with its basis of piano and drums with Billy crooning over the top. "Only the Good Die Young" changes tack again, back into upbeat sassy movement pushed along by the band at its best. "She's Always a Woman" should be a song that never appeals to me. It is in that genre that I steer clear of, that I don't want to be a part of. The love song, the crooning ballad, is the type of song that usually has been running screaming to the hills in every other style of music I listen to. Well, the story of the matter here is that this is sung and played so beautifully by Billy that you can't help but love it. The performance is spectacular and subtle, quiet and reflective and yet soaring when it needs to. It is a terrific song, and surprisingly enough one that I have never had a problem with admitting that I like, even with scorn and ridicule from others around me. Go figure.
"Get It Right the First Time" is a lightweight, upbeat song that utilises the flute to give it an airy feeling throughout. The album closes with "Everybody Has a Dream", which was written back around the time that Cold Spring Harbor was recorded. It has the easy feeling that many of the songs off that album have. This is followed by a reprise of "The Stranger", with the piano and whistle fading out to complete the album on a high note.

On all counts, this is Billy Joel's finest album. It was the moment that he found the magical component he was looking for that elevated him to that next level, and produced songs that could appeal to people of all ages. Despite the half a dozen songs that came on the first four albums that should be considered as essential Billy Joel classics, for the beginner, this would be the perfect place to start.

Rating:   "Sinners are much more fun, cos only the good die young".  4.5/5

902. Billy Joel / Turnstiles. 1976. 3/5

Whether or not the album is written exclusively about Billy's own departure from the west coast of the US to return to his home back on the east coast and New York, the influence in the writing and the references to both are plentiful on this album. Everything seems positive in one direction and maybe not the other! As a device to produce a more enthusiastic follow up to the somewhat laid back effort that was Streetlife Serenade it has for the most part appeared to succeed.

The opening joyousness expressed in "Say Goodbye To Hollywood" kicks off the album on an uplifting note. Yes, Billy Joel's best music contains either positives overtones or an upbeat tempo in the song, and this does it best on both levels.
"Summer. Highland Falls" is characterised not only by a constant rolling piano playing that even sounds like a river gently flowing towards the falls, it has the clarinet in the middle of the songs that also brings up visions of that forest area that the river is flowing through. The reggae styling of "All You Wanna Do Is Dance" are probably what hinders the enjoyment of this song for me. Reggae is not my thing, and while the song itself is harmless it does detract from the album for me.
"New York State of Mind" is a brooding, moody song, one that finds its way forward in a stuttering way, mixed with sax and piano. It has become a favourite even though it was not released as a single. Personally I enjoy it enough to sing along to when I hear it, but it isn't a song I go out of my way to find. "James" then opens the second side of the album, and to be honest I feel the same way about it. It's a song that is well regarded within the Billy Joel community, but it doesn't strike a lot of chords with me.
Billy's story-telling songs are generally some of his best. In particular, those songs where he sings along at a speed where he seems to be trying to fit two lines in a space where there is only room for one are his most descriptive and most fun to learn and sing along with. "Angry Young Man" is such a song, and is one I enjoy for all of those reasons. Both sides of the story seem to come here, the description of the 'angry young man' and the reflective side from one who has seen (or been through) it all before. The frenzied piano keying of "Prelude" to start and then complete the song adds to the drama of the song. Terrific stuff.
"I've Loved These Days" brings the tempo and mood back a cog again, which is slightly disappointing on a personal level after the previous song, while "Miami 2017 (Seen the Lights Go Out on Broadway)" does build throughout the song, but in the end ends as so many songs of this era of Billy's music do, on a slow decline to a single tempo that is enhanced by his marvellous vocals and terrific piano, but as songs perhaps only just come in above the average.

This album has more than its predecessor to enjoy, both overall and in the choice of two or three excellent songs of their own accord. As a whole it does still sit within the range that all of his first four albums have done - great musicianship and some cracking tunes, though rounded out by many songs that eventually all have the same modus operandi, and thus not breaking them out of the average to the extraordinary.

Rating:   "And he's proud of his scars and the battles he's lost".  3/5.

901. Billy Joel / Streetlife Serenade. 1974. 2.5/5

After two albums that had had varying degrees of success and popularity, and a career that was beginning to head in the right direction, the story goes that Billy Joel was under some pressure from the record company to get out another album to build on the success of Piano Man. Writing time was at a premium, and one could safely say that that does seem to come through in the music on Streetlife Serenade.

"Streetlife Serenader" starts the album off calmly and, dare I say it, serenely. As it turns out, the opening song seems to set the standard for the majority of the album, as for the most part the songs here are set in a calming atmosphere that is rarely broken free of. "Los Angelenos" and "The Great Suburban Showdown" are songs that are fine but that don't quite break out of the mould that has been set here. "The Great Suburban Showdown" could have been an Eagles song without the harmonies that band would have brought to the table.
"Roberta" is a pretty song, featuring the best of Billy's 'sweet' vocals. "Last of the Big Time Spenders" is again kept afloat more by Billy's marvellous vocals than by the music itself. "Weekend Song" sounds like it should be being performed live in a blues club, while "Souvenir" is a short piano ballad which on its own is another that showcases the best of his ability on both the keys and his vocals.
The two piano instrumentals on the album are of differing styles, and both are excellent. "Root Beer Rag" is very much as the title suggests, a honky tonk ragtime musical piece "The Mexican Connection" closes the album in its beautiful style, upbeat in mood and writing, it has the other instruments firmly in the background while the piano takes centre stage. It is a clear, crisp musical interlude to finish off the album on a high note.
"The Entertainer" is the song that stands out from the crowd on this album. It is the one song that shows some urgency, some real passion and energy. The song builds throughout its 3 minutes and 41 seconds, with another instrument coming into the song with each verse, until by the end we have a cacophony all blended together to make the song sound like a musical production in itself. Billy's vocals also build through the song, starting off quietish as he explains his way through his career, until we get to the end where he is at his biggest point. It's a cleverly written and performed song, which is still one of my favourites of his, and really does tower over this album as its masterpiece.

I'm still not sure exactly how I feel about this album. You can't question the musicianship on the album, but it does feel as though there is something missing in the song writing. "The Entertainer" is the absolute stand out song on the album, but apart from that the others all have little to distinguish themselves from the ordinary. It is an easy listen to put this album on and let it run through, but even now when it is over, there's probably not a lot of encouragement to listen to it once again.

Rating:  "I'm not a serenader, and I'm not a long haired band".  2.5/5

900. Billy Joel / Piano Man. 1973. 3.5/5

After some tough personal issues, having his first album mixed incorrectly and thus terminating his relationship with that company and finding his way onto a major label, the release of Piano Man gave Billy Joel an international profile that may well have exceeded his expectations. It certainly gave him a chance to show that apart from his song writing he was able to incorporate much more into his music than just lyrics and piano.

The album immediately comes across as far more upbeat both lyrically and musically. "Travelin' Prayer" reminds me of that old favourite "The Devil Went Down to Georgia", with the obvious reason being the violin fiddling away at a furious pace at different sections of the song. Add to this the honky tonk piano and the banjo and the similarities in style are complete.
"Piano Man" is the obvious gold nugget of the album, the song that has defined the artist and his career. Based around his own experiences of playing at a bar over those early years, the almost autobiographical song is known by people of all ages all over the world, and is the one song everyone can identify with Billy Joel. It still sounds as marvellously fresh and vital as it must have done on its release.
"Ain't No Crime" is a good follow up, no doubt drawing on personal experiences to put together the lyrics. "You're My Home" was written by Billy as a gift for his wife on Valentine's Day, as he had no money at the time to buy her anything. It must be nice to be able to be talented enough to do such a thing.
"The Ballad of Billy the Kid" is lyrically, in Billy's own words, factually inaccurate, with many lines within the song having no part of the actual life of Billy the Kid. Despite this revelation, the song itself sounds great and is another sing-along hit. "Worse Comes to Worst" combines variations of themes such as country, rock and gospel in a mix that strangely works, mainly through Billy's heartfelt vocals and marvellous piano playing.
"Stop in Nevada", "If I Only Had the Words (To Tell You)" and "Somewhere Along the Line" all feel a bit monosyllabic in regards to the music, if not the song lyrics themselves. "If I Only Had the Words (To Tell You)" is the best of the three songs.
"Captain Jack" was the song that is credited with Columbia records wanting to and eventually signing Billy Joel to a record deal. On tour before this album was even thought of, Billy and his band played this at a live performance for a radio station, who then played that live version of this song for the next 12 months, not only gaining popularity from its listeners but gaining interest from record companies. It has been a favourite ever since, and one that I've always enjoyed because of the move from sublime to the raucous rendition of the chorus throughout. As a closing song, it is instrumental in wanting you to play the whole album over again because of the enjoyment you get from this finishing melody.

While the overall songs here are another step in the direction that Billy Joel eventually found as his middle ground, I would not class this as a better album overall than Cold Spring Harbor. The two standout songs aside, there is not much difference in the quality and enjoyment of the songs here and from his first album. And that is not meant in a negative way because they are all enjoyable and have wonderful musicianship, but there was better yet to come.

Rating:  "Sing us a song, you're the piano man".   3.5/5

899. Billy Joel / Cold Spring Harbor. 1971. 3.5/5

I have only recently gone backwards in time to partake in the earliest Billy Joel albums. Like many of my vintage I know the popular tracks, and I know the albums from the late 1970's and early 1980's, but the first albums are mostly a mystery to me. In order to be able to complete my Billy Joel collection, I wanted to be able to say that I had experienced all aspects of the journey.

For the most part this is a sombre, melancholy and reflective album. Whereas the Billy Joel that most music listeners know has songs that are at an upbeat tempo and come out of the speakers with an enthusiasm that bounds, the majority of songs here are set back in recording, happy to float out at you rather than jump out. What you will hear is that wonderful piano sound that dominated the 1970's by both himself and Elton John. When that piano takes centre stage, with the drums and bass playing as the background, and Billy's vocals crooning over the top, that is when his songs, and this album, sounds at its best. "Falling in the Rain" and "Turn Around" are particularly good examples of this. They are favourites of mine on this album simply because they are the perfect mix of Billy's strengths, vocally, lyrically and the piano.
"She's Got a Way" is the best known of these tracks, as it has continued to creep into live sets through the years. I don't mind the song, but I don't think it is the strength of this album at all. "You Can Make Me Free" is what first lights up this album for me, if only because Billy brings his vocals and piano out the front for the first time, igniting the album in a away the opening track does not.
"Everybody Loves You Now" is the one song that differs from the norm, driven along by Billy's piano and showing off a disposition that is slightly out of character with the majority of these songs, though only because the others tend to slip on the side of misery. There is more anger in the lyrics here than anywhere else on the album, but it creates an uplifting vibe rather than a downward one. The other side of the coin comes through in "Tomorrow is Today" and "Nocturne", both lovely sounding songs but at the heart of the lyrics is... well... the broken heart. Certainly this is the case from the former song, which then segues into the instrumental piece of "Nocturne", but there is really no need for lyrics in this song to convey its emotional impact. There's no doubt about Billy Joel's talent in these two songs, one those explains his emotions perfectly with lyrics in the first song, and then perfectly in music in the second.
One should also quickly make mention of the fact that this was mastered at the incorrect speed, and this the vocals in particular sound anything but like Billy Joel. The stories regarding this event are out there for those interested in reading about them. Suffice to say Billy was not happy, and changed producer and record company from the following album onwards.

Some may say that casual listeners of Billy Joel's music would not like this album. To be fair, casual listeners would not even go looking for this album. It wasn't recorded for them. It was recorded as the first step to what Billy Joel and his music became. That's not to say the biggest fans will necessarily enjoy this either, but they at least will appreciate the skill and diversity that exists on this album compared to what came after it. There may not be a lot of joy and happiness within the songs on this album, but there is little doubt as to the talent that still exudes from it even in this modern day. Embryonic perhaps, but there is a lot to gain from taking the time to listen to this again.

Rating:  "Maybe you will find a little time to think of me".  3.5/5

898. David Bowie / The Rise and Fall of Ziggy Stardust and the Spiders From Mars. 1972. 4/5

On any list of 'world's best albums' or 'albums you must listen to before you die' you will find the name David Bowie a number of times, and especially this album. Few people who have a love of music in general would not know the name of Ziggy Stardust, even if they are unaware of the full history of the name, the character or the album. As it turn out, I am not overly au fait with everything David Bowie myself. I know all of the singles he released, and I know the more famous of the other tracks that weren't, but when it comes to a detailed knowledge of all of his albums, I am as much the apprentice as others.

The Rise and Fall of Ziggy Stardust and the Spiders From Mars is one that I have a better knowledge of in his discography. It wasn't until ten years or so ago that I actually obtained it and listened to it in full, rather than the snatches of pieces I had heard through the ages. I had listened to the album plenty of times before I was informed that it is a concept album, loosely telling the story of Ziggy Stardust himself. OK, so I had sort of pieced together that it was a little like that, but I never really went looking for that in the lyric and the music. I approached it from the start as any album, and while the songs do tend to segue seamlessly into each other with a modicum of ease, the 'story' never really stuck with me.
I love the way that the opening track "Five Years" builds its way to a peak, letting the listener come into the album with the band, slowly but surely increasing the urgency of the message to everyone. "Soul Love" does a similar thing, building to a high point in the middle of the song before fading back out towards the end. "Moonage Daydream" delivers an unbelievable solo section at the back end of the song, combining guitar, synth and keyboards to give off that impression of being in space. This then moves into the excellent "Starman" which again combines that amazing "Bowie" sound of both acoustic and electric guitar with synth through the background that he uses so well, along with his perfect vocal. Awesome. "It Ain't Easy" is a cover of the Ron Davies song, and which is wonderfully "Bowiefied" from the country rock song it is to a glam rock hybrid to close out side one.
Side two starts off with "Lady Stardust" which to me is just an average run of the mill song, but this then moves into "Star", a more upbeat song, driven by the piano chords and background "oohs" and "aaaahs" as Bowie does his thing over the top. Wistfully wonderful. "Hang On to Yourself" has never really worked for me. It's just a bit off the beaten track, a bit too repetitive and has never grabbed me. "Ziggy Stardust" is similar but different, and quite possibly just for the way Bowie sings it. There is again nothing too special about the song, except it is Bowie's vocals that are absolute centre stage, and they make it what it is.
My favourite Bowie song of all time is still probably "Suffragette City", with that great opening riff, the sax through the song with the piano backing, with Bowie singing at himself. It is spectacular, just one of those songs that grabs you from the first time you hear it and it never leaves you. That is "Suffragette City" for me. The album concludes with "Rock 'n' Roll Suicide", which details the final demise of Ziggy Stardust, ending the album in much the way it started, as a musical show more than an album itself.
Even now this is an album that almost demands you are in a mellow frame of mind in order to listen to it and get the most out of it. The ebbs and flows of the music - but it's not the kind of album you put on at a rousing party, it's the kind of album you put on when everyone has left, and you just want to sit down and relax for a bit and enjoy the relative serenity. This is the atmosphere where you can derive the most from what the album delivers.

This is rightly held up as an all time classic. If I was a music historian over all genres of music I would give this full marks. On a personal preference level, I lean much more towards the heavier side of music, and as such rate it here in a way that distinguishes it from all of the other albums I love. So while I may not give it five stars here, you can be assured that I still think it is an album that everyone should experience, just for the genius of David Bowie.

Rating:  "Wham bam thank you ma'am!".   4/5

897. Anthrax / Persistence of Time. 1990. 5/5

Anthrax's back catalogue during the 1980's was pretty impressive, with great albums such as Among the Living, Spreading the Disease and State of Euphoria showcasing their brand of heavy metal to the world. Some felt it was a little uneven, but the real fans of the band won't see it that way at all. When it came time for their follow up to these, no one could have foreseen the intensity and deliberation that went into the song writing and the recording process, to produce what is in my opinion arguably their best album.

The ticking start to "Time", followed by the frantic guitars and timing-perfect drums is the perfect start to the album, combining all of the best parts of Anthrax's music along with lyrics that can be chanted at the top of your lungs. Check out Charlie's drumming here, it is superb. This segues straight into "Blood" and the hard hitting "Keep It in the Family", which both mix slower heavier riffs with the faster and louder aspects. There is no doubt that this is not an out-and-out thrash album, something that some people are unable to get past. But it is damn heavy and still thought-provoking lyrically, which I know for me grabbed my attention immediately.
"In My World" returns the album to the upbeat tempo at which it performs its best, rollicking along once again and being driven by Charlie's rolling drumbeat and the flailing of the guitars, while Joey wails over top in fine form. "Gridlock" is the most thrash-like song on the first half of the album, even if it could be described as a 'mature' form of thrash.
The start of Side Two is a pearler. The instrumental "Intro to Reality" starts with a spoken word segment lifted from the Twilight Zone episode "Deaths-Head Revisited". It builds beautifully in a crescendo before crashing into the killer riff that then kicks in to Joey's spitting vocals that set the scene brilliantly for "Belly of the Beast", which lyrically tells the story of that same episode. It is a winning double act, and is perhaps the highlight of the album for me, when there are so many highlights to be had. This is followed by the sensational cover of Joe Jackson's "Got the Time", which not only ties in nicely with the album title but rifles along at that thrash speed everyone can enjoy. This is a ripping song, pulled off perfectly by the entire band.
The remainder of the album continues on the angry side of angry. "H8 Red", "One Man Stands" and "Discharge" all use 'hate' and 'lie' as a major theme in the lyrics, and the anger inherent in the music and lyrics appealed greatly to the young man I was feeling my way into the post-school world. All these years later it hasn't lost its impact.
All combatants are at the top of their game here. Joey Belladonna's vocals are just perfect, especially in songs such as "Time" and "Belly of the Beast" where a bit of attitude is necessary. Frankie Bello's bass work is terrific again, especially in the bass players' handbook song of "Got the Time". Dan Spitz and Scott Ian's duel guitar riffing is tight and complete, revelling in the speed and heavy chunk that proliferates this album, while Charlie Benante's drumming is as superb as always, the masterful timing and precision of his playing is a joy to behold, and its pretty much the star turn on this album.

1990 was a pretty big year in music. Megadeth had found their masterpiece, Judas Priest has rediscovered their killer instinct, Slayer had maintained their rage while still finding a broader fan base. There's no doubt that in this metal landscape, Persistence of Time more than held its own, and kept Anthrax on the top shelf of metal bands heading into the new decade. 26 years later and it still sounds pretty bloody awesome.

Rating:   "You walk this earth without a heart, you tear the innocent souls apart".  5/5

896. Yngwie J. Malmsteen / Perpetual Flame. 2008. 4/5

When I first heard that Tim Owens was going to be the lead vocalist on the new Yngwie Malmsteen album, it was the most excited I had been about a new Yngwie album since the release of Odyssey way back in 1988. I mean, how could it miss? Yngwie's guitaring and Ripper's amazing vocals? It had to be a win-win situation.
Of course, in most circumstances when I think things like this I am dreadfully disappointed in the long run.

Once again the album is a mix of songs with vocals and straight instrumentals. The instrumentals on this album are on a par as in recent times for Yngwie. As has started to become a regular thing, Yngwie plays all of the lead and rhythm guitars as well as the bass guitar on all tracks, as well as additional keyboards, also wrote and composed all of the tracks on the album. So, in essence, with the instrumental tracks, it is all Yngwie. So judge the material on the back of one man's effort and ability. As is almost always the case with this man, these are just fantastic. "Caprici di Diablo" is followed on the album by "Lament", with both instrumentals clocking in at four and a half minutes. "Caprici di Diablo" is the faster paced of the two, while "Lament" has that extra emotion played into it with a melancholy pace. "Heavy Heart" is an almost epic finale to the album, featuring the best of the undercurrent rhythm while Yngwie layers his guitars over the top in a cavalcade of crushing riffs and runs.
The album opens with a fierce flurry on the guitars and the predictable and punishing Ripper scream to start the album off on the right foot. "Death Dealer" and "Damnation Game" both rip along at the best Yngwie speed, rifling guitar matched by the keyboards and hard hitting drums. Live to Fight (Another Day) slows the tempo back to a slower, heavier undertone, allowing Ripper to wax lyrical over the top of the grunging beat in duality. "Red Devil" is saved from the average by Yngwie's solo break which is the highlight of the song. "Four Horsemen (of the Apocalypse)", "Priest of the Unholy" and "Careful What You Wish For" are all excellent combinations of Ripper's vocals and Yngwie's amazing guitar sound.
Just to mix things up, "Magic City" has only Yngwie providing lead and backing vocals on a lengthy 7+ minute track. The change in vocals is absolute. Not that there is anything wrong with Yngwie's singing, but it is a stark difference form the powerhouse that is Tim "Ripper" Owens. "Eleventh Hour" sees the return of Ripper to the microphone, before the concluding "Heavy Heart" puts a close on the album.
Is there a down side? If I was to be nit-picking, Ripper's vocals all seem to be on the one wave length. There is not the variety that he is capable of in both pitch and depth of character. For the most part of the album he retains a similar disposition, which could well be because of the way the songs were written rather than his personal preference. Everything still sounds brilliant, but perhaps a bit of variety in the vocals would have improved things even more. Like I said, nit-picking.

Overall it is another terrific album from Yngwie and his dwindling support staff. His return to form after a lacklustre decade during the 1990's is a welcome one. While he has had a number of people performing vocals for him throughout his career, Ripper also bring back a power to this side of the material that is both welcome and challenging.

Rating:  "Now the demon is here again, vengeance is burning in my soul".  4/5

895. Five Finger Death Punch / The Wrong Side of Heaven and the Righteous Side of Hell Volume 1. 2013. 2.5/5

Prior to the Soundwave Festival in 2014 I started researching the bands of whom I had little to no knowledge, and checked out their music in an attempt to decide who I was going to see and who I could safely avoid. Five Finger Death Punch was one of those bands, and had conveniently released two albums during 2013, allowing me to get an up to date perspective on a band that I had heard nothing about to that point in time. This was the first of those, and the second was the following Volume 2. While I didn't have a lot of time before the Festival to digest the album, I found enough to make me interested enough to follow them up on the day, and their live show was excellent, and they continued to pique my interest without ever really grabbing it completely.

Fast forward two years, and my thoughts haven't changed a great deal since that time. The style of metal that Five Finger Death Punch play is not in the main region of my listening pleasure. At times they fall terrifyingly close to a Nickelback theme, which always makes me doubt what I see in any of their music. At times they sound like they are trying to do a Fozzy cover, but surely that would be just plain silly.

"Diary of a Deadman" is a really strange way to end an album that has completely mixed its style so much that its hard to find a point at which you can like the whole shebang. It feels as though it wants to be a ballad again, but between the quiet spoken vocal pieces and the loud drum and riffing sections that then lead us back to the hardcore vocals it just can't make up its mind, and thus I am left in a quandary as to whether I like it or not. I probably don't. The title track is in the same boat, a hardcore ballad that tries its hand at winning over those kind of fans. Like most of the songs here this isn't terrible, but it lacks something that can drag it above the average.

"M.I.N.E (End This Way)" is one of those songs here that delves into the Nickelback arena, a dangerous path for any band to cross given the polar opposites of most people's feelings about that band's music. There must be people out there who like this kind of stuff. I do not.

The obvious fan favourite is the opening track "Lift Me Up", which includes guest vocals from Rob Halford. Always a nice way to gain some promotion amongst the heavy metal community. It has the right energy and structure to be a flag bearer for the album. If the whole album was like this it would be closer to a winning situation, but that is not the case. "I.M.Sin" is perhaps the only other song that comes within cooee of standing on its own, "Dot Your Eyes" would probably be fine except it does sound as though Ivan Moody is trying a bit too hard on vocals.

When I saw the band live I enjoyed their show, I enjoyed their set and though it didn't reach out and grab me like other bands did on that day I felt as though there was something on offer. Repeated listenings to this album has left me more disappointed than disavowed. Perhaps in the long run they just aren't for me after all.
Rating: "I'm gonna change history". 2.5/5.

894. Yngwie J. Malmsteen / Trilogy. 1986. 4.5/5

Whether you love him or hate him, there is no denying the fact that Yngwie Malmsteen is an absolute freak on the guitar. While many who admire this fact are also vocal about the mainstream way Yngwie approached his career, citing that looked for a commercial bent in his song writing to reflect an ambition beyond just being a superb guitar player, I can only say that, for the first few albums of his career at least, I loved every single aspect of it.

Trilogy continues along the same path that was started with Marching Out. Instrumental pieces featuring Yngwie's amazing talent are mixed with fully fledged songs that combine lyrics with guitar and keyboard solos all structure within the fabric of the tracks. Some suggested they had a commercial bent. I prefer to describe them as catchy pieces with simplified lyrics. None of the songs here have the slightly more complicated story-telling tales that accompanied the tracks on the previous album. They are simple, and designed one would suggest for the sing-along aspect that they actually encourage.
For the most part this album isn't as furious as Marching Out, but it is no less enjoyable. New vocalist Mark Boals has an impressive set of pipes on him, and the music almost feels as though it has been put in that mid-tempo range to allow him to croon over the top and not feel rushed. The major tracks such as "You Don't Remember, I'll Never Forget" and "Queen in Love" use this to their advantage. They aren't fast, but Boals uses his range to deftly create the mood of the song, which is then replicated during Yngwie's guitar solo break. "Dark Ages" is a slower and darker mood than these songs, but uses similar techniques.
The faster tracks such as "Liar" and "Fury" enhance the upbeat tempo by being fuelled by the double kick drum of Anders Johansson throughout the length of the song, which again is replicated by a faster paced fretboard action from Yngwie during his break. His duelled solos with Jens Johansson's keyboards generate the highlight of these songs, a nice touch that is a hallmark of most of the best Yngwie Malmsteen songs. "Fire" is probably the heaviest song on the album, using conventional drumming but with a heavier emphasis on the guitars and vocals. "Magic Mirror" is a more power metal styled faster paced song again.
As will always be the case with Yngwie, he still has his instrumental pieces, where he can structure his guitar to maximise its exposure while the rest of the instruments are generally there to enhance rather than take centre stage. "Crying" is a good example of this, while the closing track "Trilogy Suite Op: 5" showcases the best that he has to offer.

Yngwie Malmsteen is a wonderful guitarist, and more than handy on just about every other instrument as well. He once again takes on all roles here apart from the Johansson brothers on keyboards and drums. Mark Boals brought a less frenetic style of vocals to the album, which is probably also reflected in the music itself. I still love this album, and think it is a great testament to Yngwie's talent and the growing European power metal sound that this was a forerunner to.

Rating:   "I now will tell you all a story, that no one ever heard before".  4.5/5

893. Iron Maiden / Virus [Single]. 1996. 5/5

I understand why people had a natural aversion to Blaze Bayley and by association Iron Maiden when he replaced Bruce Dickinson as lead vocalist of the band in the 1990's. But really, if those same people had given the two albums that were released during this period the time of day, they would have discovered some pretty good material.

This single came out when Maiden released their first (but somewhat sadly not last) greatest hits package, Best of the Beast. The double disc version took two songs from each album released to that time, and a couple of other songs. As a sweetener, a new song was also produced, which led off the greatest hits package and was released as this single.
"Virus" would be one of the best Maiden songs ever, if only they had abandoned the first two minutes and twenty seconds of the song, and even the last 30 seconds. The "short" version of the song that can be found on certain versions is actually the best version of the song, as it does exactly that, removing the useless first part of the track. I love this song, and I love Blaze's vocals on it.
The other two songs are the original tracks that were found on the Metal for Muthas album from 1979. These versions of "Sanctuary" and "Wrathchild" both feature Tony Parsons on guitar, a treat for the die hard fans, but perhaps not so exciting for those that just want to listen to the band and not care about its history.

Rating: "Without a conscience they destroy, and that's thing that they enjoy". 5/5

892. Judas Priest / Turbo. 1986. 3.5/5

It is somewhat remarkable just how maligned this album is in the core of the Judas Priest discography. Trying to follow up the mostly brilliant Defenders of the Faith is no mean feat, let alone mentioning those albums that came before that. It was also a changing time in metal, with the 1980's staple, the keyboard synthesiser, beginning to drift into many band's curricular as a progression in their music. Any change was often confused for being a sell out. In these instances, surely a case by case basis should be used to determine whether the defendant is guilty or not guilty.

While on the surface there may appear to be a change in the style of the metal played here, the usual Judas Priest elements are all to the for - the solid rhythm section, the twin guitar attack of Downing and Tipton, and the vocal talents of Rob Halford. You can successfully argue that the immediate heaviness of the music is not as prevalent, that the songs have a more mainstream feel, and that the synth has progressed in its influence that began on the previous album. All of those things can be held to be accurate. The qualities of a song such as, for instance, "Parental Guidance" can be debated, that it's simplicity in both structure musically and lyrically is a come down from what truly sets Judas Priest apart from the pack. Perhaps, and perhaps not. Without trying to suggest which song is better, surely "Breaking the Law" is similarly structured, and similar arguments could be raised against it? Diehard fans of course would never accede to such arguments, and like most I agree that "Breaking the Law" is a classic whereas "Parental Guidance" is more of an average Priest track.
There are a few tracks on Turbo that fall into this category. "Private Property", "Rock You All Around the World" and "Wild Nights, Hot & Crazy Days" are also simplistic and straight forward tracks, which doesn't mean they are bad songs, it just means they are... easy listening...
"Hot For Love" sounds great, the underlying guitar riff itself drives the song along nicely, but just tends to get a bit repetitive in the chorus line to fully enjoy it more than the average. Still has a great dual guitar solo section though. "Locked In" too is a good song, keeping the drive of the album going following on from the opening song. The closing song "Reckless" settles within this framework as well.
The obvious killer track here is the title track and lead off song, "Turbo Lover". It has been a classic since its release, along with its music video which was played to death on music video shows on its release. It is the stand out on this album. Personally I also really enjoy "Out in the Cold", though this may well have more to do with the live version of the song that leads off the Priest... Live! album which was released after this. Either way, I love to moody pace of the song and Rob's mournful vocals, and is a great way to start of side two of the album.

The fact that this album and the follow up are thought of so negatively in many parts is probably more to do with the band looking to blend other influences into their music, and the fact that the younger bands who had looked up to Priest and been heavily influenced them were beginning to rise and take on the world with their own sound. Eventually it was they who influenced Priest to revitalise and record what is arguably their finest album after that.
Putting that aside however, there is still more than enough here to love. It may not be a classic, and it may not have many songs that could be categorised as their most brilliant, but the Judas Priest sound is still there, and it still holds the flame high.

Rating:  "We hold each other closer as we shift to overdrive". 3.5/5

891. Mötley Crüe / Too Fast for Love. 1981. 3.5/5

Sometimes it's hard to believe Mötley Crüe have been around for as long as they have. It was not until the mid-1980's that I started to be introduced to heavy metal music, and thus began listening to the Crüe as well. Their debut album, Too Fast for Love however was released way back in 1981, when I was but a boy in 6th class and oblivious to this kind of music. Only five years passed between the time this was released and the time I first heard it, but it still seems hard to comprehend that it was released so long ago.

It may not be their best album - well, let me clarify that, I don't believe it is their best album - but it shows all of the ingredients that were to help make them such a force throughout the remainder of the decade. My favourite songs from the album are those that have had the majority of the limelight - the killer opening track "Live Wire" which remains one of my favourite Mötley Crüe songs, the side one closer "Piece of Your Action" which has the best of that Crüe attitude, both musically and with Vince's spitting vocals, and the title track "Too Fast For Love" which apart from the endless repeating of the title track words through the middle and then the end of the song still comes across as one of the better songs.
The other songs are all middle of the road rockers that Mötley Crüe made their own over the course of the next three decades. Songs that had the requisite Vince Neil nasal vocal line, Nikki Sixx's rumbling bass, Mick Mars and his solid riff and short sharp flailing solo break and Tommy Lee's marvellous timekeeping and solid use of the cowbell. Songs such as "Come On and Dance" and "Public Enemy #1" and "Merry-Go-Round" are harmless songs that hold their ground but don't do anything that would break new ground. "Starry Eyes" probably sits in this category also, "On With the Show" ends the album somewhat limply.

I came to this album having already bought the three preceding albums, and so I guess I was always a tad disappointed with Too Fast for Love because of that, because of how far they progressed in a short space of time on those albums. This is still an enjoyable outing when you put it on, but it is the highlight songs that keep this album above the average.

Rating:  "If you're looking for satisfaction, I'm satisfaction guaranteed". 3.5/5

890. Black Sabbath / Technical Ecstasy. 1976. 2.5/5

Every band is entitled to an album where they go outside of their comfort zone, play outside of the box, experiment with their sound, and generally mess with the minds of their diehard fans to the point where they question what the hell was going on when the album was written and recorded. Think Megadeth's Risk, think Helloween's Chameleon, think Metallica's career after 1991. Even for a band that began it's life in the flower power era of the late 1960's and early 1970's, Black Sabbath's Technical Ecstasy is a greatly diversified effort from the catalogue that precedes this, and as a result takes a great deal of effort to get used to.

I didn't hear this album until ten years after it was released, and so came into it from a different direction and amongst a lot of other bands I was discovering at the time. I don't know if I would have a different feeling about it if I had been older and gotten each album as it was recorded, rather than grabbing the whole Sabbath catalogue almost in one hit at second hand record stores in the late 1980's. This resulted in the most appealing albums getting the lion share of listening time, and the ones that didn't immediately grab me getting far less playtime.
The changing landscape of music at the time - with punk beginning to take hold in the UK and bands like Foreigner, Eagles and ELO starting to dominate the US - obviously made a big impression on Sabbath when writing this album. It is slower, almost brighter and creates much less impact as a whole. The increase in piano, keys and synth, along with a less dramatic lyrical aspect, makes this an album that would seem to try and cover all musical genres but sit within none of them. While the opening track "Back Street Kids", the closing track "Dirty Women", and to a lesser extent the long winded "You Won't Change Me" have elements of the Black Sabbath everyone knows, the remainder of the album is a mishmash of experimentalising that is uncomfortable to listen to. The Bill Ward penned "It's Alright", which he also sings on, contains acoustic guitar and piano, while Bill croons along in a ballad that doesn't sit well. Bill can sing, and the band can play, but really this song just doesn't sound like a Black Sabbath song at all. The same for "She's Gone", it is a real departure from the norm. It's not as if they haven't done this before, but whereas a song such as "Changes" sounds powerful and uses the change in direction well, these two songs here don't have the same impact.
The other three songs on the album aren't overly bad songs, but they are average, something that remarkably few songs before this album could be accused of being. "Rock 'n' Roll Doctor" is a repetitive riff and lyric combination but Ozzy's enthusiasm helps to ease the pain. "Gypsy" and "All Moving Parts (Stand Still)" contain the right elements to make them solid Sabbath tracks, but perhaps it is just the surrounding tracks that wipe a bit of the gloss off them.

I'm sure there are people out there who love this album, who will defend it to the end as a wonderful piece of the Black Sabbath history. For them I am very pleased. You could even use the terminology that an average Black Sabbath album is better than most other bands best albums. That too could be argued. While I don't have any problem listening to Technical Ecstasy if anyone should happen to put it on for a spin, I cannot say that I ever have the desire to pull this out of the sleeve and listen to it. I did so again for this review, but given that there are so many other brilliant Black Sabbath albums to choose from, the question will always be why would I deprive myself of those to listen to this once again?

Rating: "I walk the lonely streets in search of a friend". 2.5/5

889. Alice Cooper / School's Out. 1972. 2.5/5

It's a given fact that you cannot judge an Alice Cooper album by the singles that are released from it. Oh, you'll know those songs, and you will love those songs. But you cannot judge the album they come off by those singles, because in most instances they will be of a completely different style from the rest of the album. One of the best instances of this is the album School's Out, an album that is mostly ignored in the discography of Alice Cooper because the only song anyone knows or has probably heard from it, is the single of the same name. And this couldn't be further away from the style of the rest of the album if it tried.

Everyone knows "School's Out". I may have started school a few years after this album was released, but one of my endearing memories of primary school was the consistent scene on the last day of school term, when the school bus was decorated with toilet paper flowing out the windows and the chorus of voices all singing "No more pencils, no more books, no more teachers, dirty looks" all the way to my drop off stop. Everyone who has been to school knows this song. It is a classic, it is a schoolkids anthem. Its popularity is what possibly detract from the remainder of the album.
Both "Luney Tune" and "Gutter Cat vs the Jets" are the kind of up tempo acid rock songs that fans of Alice Cooper can get into. Sure, the second half of "Gutter Cat vs the Jets" is a little too much West Side Story for anyone's liking, but overall both songs are catchy and likeable. "Street Fight" is an extension of the West Side Story theme following on from that song.
For most of the rest of the album however, there is a definite slide into stage musical theme (albeit a messed up Alice Cooper version of such a theme) about the songs. "Blue Turk", "My Stars" and "Public Animal #9" as songs are all tolerable the more you are familiar with them, but I know that it took more than a few listens for me to appreciate their uniqueness. "Alma Mater" and the unusual "Grande Finale" continue the path which we have found ourselves on, and as with the other songs on the album it feels as though they have been composed in an altered state, such is the mix in musical style and emphasis within the recording of the album.
It was pretty much twenty years after its release before I actually heard the entire album, mostly due to my age on its release and the plethora of other albums of other bands I was delving into before finally catching up with this. I fell into the same trap that I have tried to help others avoid here, by thinking that the entire album was going to be short, sharp repartee songs much like the title track, rather than a lengthy, drawn out drama played out over the course of the album. So while I have come to appreciate these songs in time, and accept their place within the album and the discography of the band, that still doesn't make any easier to love on a scale that I do other Cooper albums.

In the long run, School's Out follows a familiar path with other Alice Cooper albums that have a running theme throughout, or are concept albums in their entirety. You can take the story aspect and enjoy it for what it is and be satisfied with the direction the music takes you. In most circumstances with Alice's music, I find this to be a hindrance, and I certainly find that to be the case here. As clever as it may be to have this album with the storyline attached and the musical pieces written to suit, the fact that it appears unable to stand up to the famed title track means it will forever be trapped between a rock and a hard place.

Rating: "Just a little insane a couple of shots I can't feel no pain". 2.5/5

888. KISS / Rock and Roll Over. 1976. 2.5/5

Looking back retrospectively, given this album came after Destroyer made it a difficult task to keep the energy levels up. Destroyer was, and is, a classic, and following up any album of such note is a tough ask.

Perhaps the major problem with Rock and Roll Over is that the best songs on the album just aren't really that great. They are generally upbeat rock songs that, when played within the context of an average KISS album, are recognisable and foot tapping at their best. The lyrics are repetitive and for the most part inane. The opening tracks "I Want You" and "Take Me" are the best examples of those songs here. They aren't terrible, they just aren't particularly exciting either.
It is somewhat of a surprise that a track like "Calling Dr. Love" makes the grade. In the end it is one of Gene's best tracks in that he derives enough attitude in his vocals to drive the song when the guitars fail to do their job. It should have been a much more pro-active song with the dual guitars, but in the long run it survives in popularity on the back of Gene's vocals. Who ever thought that would happen?
"Ladies Room" is one of the dud tracks available. The vocals can't hold this song. It is just an average track. "Baby Driver" sounds great, with the band doing everything right, but the repetitive vocals kill the mood about halfway through the song, which is a shame.
The second half of the album doesn't do a lot to redeem the first half. "Love 'Em and Leave 'Em" again over indulges in the repetitive chorus line, which will work in a sing-along environment if the song is strong enough to hold it. Again, I think the first half of the song works well, before it just fades out to a whimper. "Mr. Speed" has some very Rolling Stones sounding riffs and melodies running through it, so much so that I almost expect to hear Mick Jagger singing the vocals. Sadly I think the Stones could have done more with the song also. The short and sharp "See You in Your Dreams" tries to up the tempo, though the basic lyrics again seem to halt the efforts of the musical side of the song.
Just for good measure, the band then throws us another curve ball, as Peter Criss serves up his Rod Stewart impersonation with "Hard Luck Woman". For a band that often tried to claim it was ground breaking and cutting edge, the number of songs on this album that sound like replicas of other 1970's-era rock songs is amusing. Again though, Rod Stewart would have done this better. The album is completed by "Makin' Love", which while again implementing a similar repeating theme lyrically does at least provide more energy than most of the songs that precede it, closing the album on an upbeat note that decries those levels for the majority of the record.

Lyrically we all know where Kiss spent most of its headspace. In the cases where their collective tongues are stuck firmly in their cheek, then they can get away with a certain level of mediocrity. Here on Rock and Roll Overthere is little that stands out from the collective as outstanding material, leaving the album to wade in the waves of averageness.

Rating: "So if you please get on your knees, there are no bills, there are no fees". 2.5/5