Word: songs
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Dates: during 1970-1979
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...Shot" closely resembles "Stilletto," the first song on side two and a tune which Joel energized triumphantly in concert. Once again this is angry Billy Joel taking the perplexing female of "She's Always a Woman" and surrounding her with a mood of sadomasochistic perversity to create a satisfied tormentor. "Stiletto" is a catchy song anchored at both ends by a simple Richie Cannatta sax line...
However, the two slow ballads from 52nd Street point up the peculiar failing of this album. Both songs work from the success of "Just the Way You Are," but neither is as sincere. "Honesty" is innocent enough, a sweet, simple melody which allows Joel to experiment with a soft vocal. But the song smacks of Elton John's "Sorry Seems to be the Hardest Word," and falls flat into a canned, pop sound...
...Rosalinda's Eyes," in contrast, is probably the album's most interesting musical conglomeration. Tying together a bouncy Latin percussion section with a smooth nylon string guitar part and an innovative soprano recorder solo, Joel cooks up a tonal recipe that would delight even the gourmet. But the song of the "crazy Latin" never fulfills the mood, wandering off into ineffective rhyme. With a cute Fender Rhodes carrying the tune, there are reminders of "James," but none of its lyric depth...
...album's anchor, "Until the Night," encompasses all the shortcomings of this latest Billy Joel effort. The cut begins with a lackadaisical vocal set to a Phil Spector beat that suits Johnny Mathis more than Billy Joel. Though the song builds to a contrasting bridge and powerful crescendo, Joel is lost in the music, overshadowed by the mystery vocalist who solos the first two verses and dominates the choruses. The album lists no vocal credit. The listener leaves the song wondering where Billy Joel is hidden...
Reflection of a Song...