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- Date Released: October 1, 1978
- Genre: Rock/Pop
- Style: Pop
- Label: Columbia
- Copyright: (P) 1978 SONY BMG MUSIC ENTERTAINMENT
One of Joel's best rock albums — with visits from some of jazz's top players
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We Say...
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 of sports imagery in the lyrics: Muhammad Ali, Pete Rose, the New York Yankees — your call, sports fans.
On the second half of the album, Joel and producer Phil Ramone move into genre exercises that are generally pleasing: a feint towards Latin pop in "Rosalinda's Eyes," Motown meets Blood, Sweat and Tears in "Half A Mile Away" and, most memorably, Joel singing mostly low in what may be his Righteous Brothers tribute, "Until the Night." -
They Say...
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.
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| 01. |  |
Big Shot |
4:04 |
|
| 02. | |
Honesty |
3:51 |
|
| 03. | |
My Life |
4:42 |
|
| 04. | |
Zanzibar |
5:13 |
|
| 05. | |
Stiletto |
4:44 |
|
| 06. | |
Rosalinda's Eyes |
4:42 |
|
| 07. | |
Half A Mile Away |
4:09 |
|
| 08. | |
Until The Night |
6:35 |
|
| 09. | |
52nd Street |
2:32 |
|
09 Total Tracks, 40:32 Total Length
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Credits
- Billy Joel - Harmonica // Billy Joel - Harmonica // Billy Joel - Piano // Billy Joel - Piano // Billy Joel - Composer // Billy Joel - Composer // Billy Joel - Keyboards // Billy Joel - Keyboards // Billy Joel - Vocals // Billy Joel - Vocals // Billy Joel - Producer // Billy Joel - Producer // Billy Joel - Main Performer // Billy Joel - Main Performer // Steve Khan - Guitar (Acoustic) // Steve Khan - Guitar (Acoustic) // Steve Khan - Guitar (Acoustic) // Steve Khan - Guitar // Steve Khan - Guitar // Steve Khan - Guitar // Steve Khan - Guitar (Electric) // Steve Khan - Guitar (Electric) // Steve Khan - Guitar (Electric) // David Friedman - Percussion // David Friedman - Percussion // David Friedman - Percussion // David Friedman - Chimes // David Friedman - Chimes // David Friedman - Chimes // David Friedman - Orchestral Chimes // David Friedman - Orchestral Chimes // David Friedman - Orchestral Chimes // Ralph MacDonald - Percussion // Ray Simpson - Vocals // Ray Simpson - Vocals (Background) // David Nadien - Concert Master // Jim Boyer - Engineer // Jim Boyer - Remixing // Richie Cannata - Organ // Richie Cannata - Clarinet // Richie Cannata - Keyboards // Richie Cannata - Saxophone // Richie Cannata - Wind // Peter Cetera - Vocals // Peter Cetera - Vocals (Background) // Dave Grusin - ? // Dave Grusin - ? // Dave Grusin - Orchestration // Dave Grusin - Orchestration // Dave Grusin - Horn Arrangements // Dave Grusin - Horn Arrangements // Donnie Dacus - Vocals // Donnie Dacus - Vocals (Background) // Don DeVito - Reissue Producer // Liberty DeVitto - Percussion // Liberty DeVitto - Drums // Babi Floyd - Vocals // Babi Floyd - Vocals (Background) // Robert Freedman - Horn // Robert Freedman - Orchestration // Robert Freedman - Horn Arrangements // Robert Freedman - String Arrangements // Eric Gale - Guitar // Eric Gale - Guitar (Electric) // Milt Grayson - Vocals // Milt Grayson - Vocals (Background) // Freddie Hubbard - Trumpet // Freddie Hubbard - Trumpet // Freddie Hubbard - Trumpet // Freddie Hubbard - Trumpet // Freddie Hubbard - Trumpet // Freddie Hubbard - Trumpet // Russell Javors - Guitar // Ted Jensen - Mastering // Ted Jensen - Remastering // Ted Jensen - Digital Remastering // Mike Mainieri - Percussion // Mike Mainieri - Marimba // Mike Mainieri - Vibraphone // George Marge - Recorder // George Marge - Sopranino // George Marge - Recorder (Soprano) // George Marge - Sopranino Recorder // Hugh McCracken - Guitar (Acoustic) // Hugh McCracken - Guitar // Hugh McCracken - Guitar (Nylon String) // Phil Ramone - Producer // Phil Ramone - Remixing // Zachary Sanders - Vocals // Zachary Sanders - Vocals (Background) // David Spinozza - Guitar (Acoustic) // David Spinozza - Guitar // David Spinozza - Guitar (Electric) // Doug Stegmeyer - Bass // Doug Stegmeyer - Guitar (Bass) // Doug Stegmeyer - Vocals (Background) // John Berg - Design // John Berg - Cover Design // Dave Brown - Guitar // Jim Houghton - Photography // Frank Floyd - Vocals // Frank Floyd - Vocals (Background) // Stephen Saper - Engineer // John Naatjes - Tape Research // Dave Martone - Assistant Engineer // Kathy Kurs - Associate Producer // Carol Peters - Associate Producer
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