52nd Street

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Total Tracks: 9   Total Length: 40:32

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Wayne Robins

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Wayne Robins has been a journalist specializing in music for more than 40 years. Since his first paid assignment, reviewing the Rolling Stones 1969 Oakland show...more »

06.30.09
One of Joel's best rock albums — with visits from some of jazz's top players
1998 | Label: Columbia

The theme of 52nd Street, if you take its title literally, is the New York block famous for jazz in the 1940s and 1950s. In truth, this isn't so much a jazz album as it is an album inspired by the notion of jazz. Despite guest visits from some top jazz players, it's actually one of Joel's best rock albums. Joel attacks from the opening moments of the first tune, with "Big Shot"'s pumping piano chords and lines about a woman from a sophisticated address with "the Dom Perignon in your hand and the spoon up your nose."

There's plenty of anger here, including the fabulous "My Life" which, at the time, was Joel's biggest pop hit. "Go ahead with your own life and leave me alone," he sings; though he puts those words in the mouth of an "old friend," it could be his own proud epitaph. There are no pulled punches here, from the anger (similar to that of "Big Shot") of "Stiletto," to the almost too-direct-for-comfort ballad "Honesty." The title theme is picked up specifically by the song "Zanzibar," a bit of Steely Dan-ish pop-jazz featuring some outstanding soloing by Freddie Hubbard on trumpet and an impressionistic mèlange… read more »

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Cool Album

jerry.racioppi

I bought this one for 1 song Zanzibar - What a GREAT fusion of rock/pop and jazz! Heard him do it live once - Billy said that they were only doing the songs he liked at the concert - I agree with him "Big Shot" and others are great but Zanzibar is my fav too!

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Hits plus

aluap345

Love the hits. The rest is good too.

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Jazzier rock

whalle

Vocals and instrumentals are both great. A real pleasure to find this digitized. Thanks emusic!

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They Say All Media Guide

Once The Stranger became a hit, Billy Joel quickly re-entered the studio with producer Phil Ramone to record the follow-up, 52nd Street. Instead of breaking from the sound of The Stranger, Joel chose to expand it, making it more sophisticated and somewhat jazzy. Often, his moves sounded as if they were responses to Steely Dan — indeed, his phrasing and melody for “Zanzibar” is a direct homage to Donald Fagen circa The Royal Scam, and it also boasts a solo from jazz great Freddie Hubbard à la Steely Dan — but since Joel is a working-class populist, not an elitist college boy, he never shies away from big gestures and melodies. Consequently, 52nd Street unintentionally embellishes the Broadway overtones of its predecessor, not only on a centerpiece like “Stiletto,” but when he’s rocking out on “Big Shot.” That isn’t necessarily bad, since Joel’s strong suit turns out to be showmanship — he dazzles with his melodic skills and his enthusiastic performances. He also knows how to make a record. Song for song, 52nd Street might not be as strong as The Stranger, but there are no weak songs — indeed, “Honesty,” “My Life,” “Until the Night,” and the three mentioned above are among his best — and they all flow together smoothly, thanks to Ramone’s seamless production and Joel’s melodic craftsmanship. It’s remarkable to think that in a matter of three records, Joel had hit upon a workable, marketable formula — one that not only made him one of the biggest-selling artists of his era, but one of the most enjoyable mainstream hitmakers. 52nd Street is a testament to that achievement. – Stephen Thomas Erlewine

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