IT'S BETTER THAN DRINKIN' ALONE: The Official ILM Track-by-Track BILLY JOEL Listening Thread

hmmm i can sort of hear that, but i don't think that's the one that i think i'm remembering that i can't quite put my finger on dammit.

lol the intro

"the new Ford F150 - a truck that's tough enough to handle the toughest jobs. Now with our industry leading 100,000 mile drivetrain warranty. Get behind the wheel and feel the power."

hahaha

yeah wow this is lame. when it gets to the middle eight you can almost hear him writing it as it goes, struggling to find a tune for it... i think it's better than the last one of these though. the mix is making it shittier and more truck-commercialy. i like the vocals and beatlesy backing vocals on the chorus. but basically it's a kind of weak bar-band workout that was rightly left off the album. i guess it could have fit on storm front but certainly not river of dreams. i wonder if cuts like this were part of how billy got warmed back up for an album or something.

"You Wrote A Real Bad Song"

If I heard this on the radio, I'd go, Hey, pretty good effort from Paul Rodgers!

By the way, Netflix has a documentary now called "Hired Gun" with a lot of interviews with DeVitto, Stegmeyer, and Javors. They describe their unceremonius departure feom Joeldom with some bitterness.

hey sorry been running around a bit / recovering from travel / grading papers - next track coming later today tho!

https://images-na.ssl-images-amazon.com/images/I/51TXpZDHiwL.jpg

http://www.freecovers.net/preview/1/3164427e08942e8f8b73ae16ad1ca0ae/big.jpg

A Voyage on the River of Dreams was an AUS/NZ/JP-exclusive three-CD box set containing River of Dreams plus a disc of Q&A and a six-track live album taken from the RoD tour. This might sound to you and me like a tremendous rip-off or at best a very lame stocking-stuffer, but like the unwieldy Souvenir from a few years earlier, it actually did okay, peaking at #33 on the Australian albums chart. I considered not bothering with it at all before discovering that one of the concert-exclusives, a Beatles cover, was actually issued as a single. Billy's Australian fans dutifully sent A Hard Day's Night (backed with a live "Piano Man") rocketing to #85. It sounds exactly like you'd expect, but the music video is kinda worth it for Billy's fashion sense and how into it the Frankfurt crowd seems to be.

The other cut that we haven't heard before, Billy's take on Goodbye Yellow Brick Road, remained an exclusive for die-hard fans with money to burn on the box. I actually can't confirm that I've found it on YouTube, which is saying something given the dedication of the fans. 1994 did see the first "Face to Face" tour of Billy and Elton, so maybe the version on this disc is actually an Elton duet such as the one I've linked below. If so, it's weird that they don't mention that on the back cover. Anyway, they would do eight more such tours between 1994 and 2010, so maybe this is a good time to just talk about the pros and cons of that whole (very profitable) enterprise...

https://img.discogs.com/27LkWZzZSoH4qD8vLDSDVf0Z-DM=/fit-in/600x593/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-7331890-1439100671-6904.jpeg.jpg

https://www.youtube.com/watch?v=CdpoASVph2A

https://www.youtube.com/watch?v=tN1PqJ2-vpQ

hard day's night - a more than passable bar-band version, but six points for deducted for not using a 12-string guitar and six more deducted for not even trying to get that opening chord. the sea of overhead clapping arms in the arena is a little frightening.

goodbye yellow brick road - billy should have changed "vodka and tonics" to "tonic and vodkas" obviously.

hahahah otm

haha

In the bio, there's a pretty lengthy passage about these shows and how Billy got soused with U2 and flew around Northern Europe before getting the worst hangover in the world. He cancelled his show at Wembley, and Elton, being the pro's pro he is, was aghast at such poor showmanship.

I didn't realize that the two had been covering each other's songs for awhile, but in the book, picturing Elton performing "Piano Man" and "Uptown Girl" in Billy's absence was hilarious. "OH WE'RE ALL IN THE MOOD FOR A MELODY, SO WHERE YOU AT, BILLY?"

Billy got soused with U2

Better than drinkin' alone?

Between those two options?

He loves U2 just the way U2 are

We Can't Forget The Fire

https://www.youtube.com/watch?v=dX53Cy7lwZc

Light As The Breeze is Billy Joel's contribution to the Leonard Cohen tribute album Tower of Song: The Songs of Leonard Cohen, released in late 1995; which also features the likes of Don Henley, Tori Amos, Aaron Neville, Suzanne Vega, and Trisha Yearwood. Quoth Wiki:

The album received a negative review from critic Roch Parisien at AllMusic, who called the album "a total train wreck."[3] However, this view was not shared by Cohen himself who discussed his generally positive view of the album with Chris Douridas at KCRW Radio Station, citing his personal preference for Billy Joel's version of "Light As the Breeze" over his own version.[4]

Cohen's own version was in fact pretty recent, debuting on 1992's The Future. Not being a Cohen-head myself I keep second-guessing whether that's the real recording - was he known for these karaoke-type backing tracks? If that's indeed what it sounds like, I have to hand it to Joel's take just for choosing a tasteful (if safe or even bland) adult-pop arrangement. It would later appear on Greatest Hits III, together with two other covers which are our next entries.

(I was going to consolidate these into one entry, but their different provenances and the fact that one was actually issued as a single made me decide to treat them like the originals back on GHI&II. After this I'll start consolidating the various compilation contributions again though.)

Yep, doom-karaoke over synth demo patterns is pretty much the musical idiom of later Cohen albums. It takes discipline to hear the excellence of the songs around the iconoclasm of the arrangements!
Dreading the Joel cover of the Dylan lowlight "To Make You Feel My Love".

I could complain about this, but I just looked at the track listing for the tribute album and saw that Bono does "Hallelujah," so mostly I'm grateful to be listening to anything else.

"Hard Day's Night" and "Goodbye Yellow Brick Road": pretty unnoteworthy covers, didn't feel there was enough energy with the former

"Light as the Breeze": I've heard Billy's version on GHIII but this is the first time I'm hearing the original (first time I've heard any Cohen outside of "Hallelujah", actually) and it's not what I was expecting at all. yeah, very karaoke arrangement. but I'm also surprised how much Billy transformed it - a more muscular, melodic song. wouldn't say I like either version much though

I could complain about this, but I just looked at the track listing for the tribute album and saw that Bono does "Hallelujah," so mostly I'm grateful to be listening to anything else.

otm

billy's mannered vocal on this one is making me a little ill.

is he the token jew on this leonard cohen tribute album?

I lacked the patience to listen all the way through but arrangement- and vocal-wise this is a dead ringer for "Everybody Has a Dream", right?

this isn't great as an active listen but a whole album of it might be fine as nice evening music. cements my sense that a line of "american songbook" type albums might have been an okay direction for him to go in the late 90s. before doing this whole project i would have told you that would have been a disaster, but that was before RoD and the other 90s recordings convinced me hadn't lost his ear entirely. plus if he was picking odd things like 90s leonard cohen album tracks and the next couple of covers, that's way more interesting to me than hearing him run through "blowin' in the wind" or other covers that folk/rock/soul song-interpreters of the '60s and '70s would have on their records .

https://img.discogs.com/63a5y0xvpj3nw9wmD_XR1yEyJpc=/fit-in/600x600/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-641458-1282504489.jpeg.jpg

https://img.discogs.com/Ytzw_Z9mwqeQuKf5JSK13hPwSo0=/fit-in/600x474/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-641458-1282504499.jpeg.jpg

The somewhat anticlimactic Greatest Hits Volume III dropped in August of 1997, twelve years after the blockbuster I & II. Despite featuring a number of decent-sized hits, the set has only been certified single platinum; perhaps most of the target audience already owned Storm Front and/or An Innocent Man and therefore found most of the tracklist redundant, or perhaps Joel's 1983-1993 output simply wasn't the soundtrack of as many people's lives as the 1973-1983 period. In an apparent effort to sweeten the pot, it does contain three songs that would be "new" to most fans (counting the previously-issued "Light As The Breeze"): all covers, despite what I may have erroneously said somewhere upthread.

1. "Keeping the Faith"
2. "An Innocent Man"
3. "A Matter of Trust"
4. "Baby Grand"
5. "This Is the Time"
6. "Leningrad"
7. "We Didn't Start the Fire"
8. "I Go to Extremes"
9. "And So It Goes"
10. "The Downeaster 'Alexa'"
11. "Shameless"
12. "All About Soul" (Remix)
13. "Lullabye (Goodnight, My Angel)"
14. "The River of Dreams"
15. "To Make You Feel My Love" (Bob Dylan)
16. "Hey Girl" (Gerry Goffin, Carole King)
17. "Light as the Breeze" (Leonard Cohen)

Available but left off are "Modern Woman," "Leave A Tender Moment Alone," "That's Not Her Style," the non-US "No Man's Land," the soundtrack single "All Shook Up," and of course any of the items left off the first set... which might have added a "oldies but goodies" angle despite being sonically incongruous.

https://www.youtube.com/watch?v=bXRBuMpEOl0

Lead single To Make You Feel My Love is a slightly retitled cover of Bob Dylan's "Make You Feel My Love," which - in an odd twist - had not actually been released yet. Dylan's version debuted on Time Out of Mind (late September 1997). Billy's peaked at #50 on the Hot 100 (just above a rising "6 Underground" and beneath a sinking "Alone" by the Bee Gees); #9 on Adult Contemporary.

https://upload.wikimedia.org/wikipedia/en/5/54/B._Joel_-_ToMakeYouFeelMyLove.jpg

This could have been a passable movie soundtrack ballad, but Billy chooses to sing it in a strained Dylan-esque croak for reasons I can't fathom. No matter what you think of the song itself, Adele's later version captures the spirit of the thing much more effectively.

yeah it's not super exciting and the faux-90s-dylan arrangement just makes it sound like a Wallflowers track. i still think it's neat that he seemingly toyed with sliding into being an interpreter of contemporary material. the whole "covering super-recent album tracks" thing is such a throwback to another age in pop-rock. like now that billy's mostly done writing songs he's shifting into the other side of the role he originally thought he'd have, of being just another gigging 70s songwriter who puts out albums mainly in hope that someone more famous picks them up to cover.

this is another one of those songs where billy's vocal tone changes from line to line, moment to moment, and it's just kind of annoying. but listening to the first verse, before the band kicks in and the voice gets away from him, i can hear how he might have turned this into a pretty good billy joel ballad, if he could just accept that he is, in fact, billy joel. i mean, you're billy joel, bitch. you don't have to meet that song on its own terms, or on some weird '90s wallflowers terms. make the song come to you. (see: contemporaneous johnny cash.)

Never liked this version, the voice is too much. Sounds like Billy is trying to do Dylan, but in a really overdone way. Never had the desire to hear the Dylan original, but I'd imagine I prefer it. Adele's version is certainly better

My loathing for this inexplicably popular Dylan track iswell-documented -- is its anonymity its virtue? "To Make You Feel My Love" defeated Bryan Ferry, it defeats Billy Joel.

Another vote for Adele's version here. Not least because a song about romantic persistence sounds better coming from a woman right now for obv reasons.

I recently played guitar accompaniment for a young female singer in a casual party gig. We covered this, and she was definitely looking to Adele rather than Bob or Bill (though she knew its provenance).

https://www.youtube.com/watch?v=IPuaDF4Puvk

Hey Girl, the other new track here, is a vintage Goffin/King number. Oft-covered, it's appeared in at least two hit versions: Freddie Scott's 1963 rendition (#10 on the Hot 100, his biggest hit on that chart) and Donny Osmond's 1971 attempt (which got to #9). Billy's was not so lucky; denied a physical single release in the US, it was ineligible for the Hot 100, though it made it to #13 on Adult Contemporary airplay. The European maxi-single (which seems not to have charted anywhere at all) features live versions of some Joel classics followed by the alarmingly-titled "Hey Girl (With Lounge Rap)." I have not been able to track that one down, but I wish you luck.

For further listening, Wiki also points us to King's own 1980 rendition, a 1966 take by the Righteous Brothers, a 1969 version by the psych-era Temptations, and a 2004 duet by Ray Charles and Michael McDonald, among others.

https://img.discogs.com/DSFdnIkSmt-UUzjPcl-_OIXXc4Y=/fit-in/585x451/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-3544066-1334656145.jpeg.jpg

Hey Bill, just a tip, wearing dark glasses won't convince anyone you're blind, kthxbye

Don't want to listen to a million cover versions to compare but Billy's version is the best of the three covers on GHIII. He sounds way more comfortable on this. It's pretty slight and perfunctory though. I also have some embarrassing memories of a high school crush tied to this song, which makes me extra not want to listen to it

Wait -- how would you have heard this in high school??

tasteful.

This song is 20 years old now, so certainly lots of people could have heard this in high school (or earlier). If you're surprised that a high school student WOULD listen to an unpopular, past-peak Billy Joel cover... well I was that uncool kid who grew up solely listening to 80's pop rather than the grunge music my friends were listening to, and I bought GHIII as soon as it was released

https://img.discogs.com/CuB3ZLHVV5IWEhCuODflgUU9Slo=/fit-in/475x468/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-1973496-1256013970.jpeg.jpg

https://img.discogs.com/hb7u02EBHXX2_XGzQJ_R1CRsY78=/fit-in/533x461/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-1973496-1256178748.jpeg.jpg

For our last post for a few days, the chronology has worked out eerily well, wishing us all A Rosie Christmas. Released in 1999, at the height of The Rosie O'Donnell Show's popularity, it featured the eponymous comedian performing duets of familiar Christmas classics with a range of musical guests (including the ticklish muppet Elmo, also at the peak of his fame, and fading star Angelica Pickles, from The Rugrats). The 2000 sequel, Another Rosie Christmas, punts the daytime kids' TV characters but somehow ends up with Smash Mouth doing "Nuttin' For Christmas," and country child act Billy Gilman doing a timely new composition called "I'm Gonna Email Santa" - surely a bad trade.

https://www.youtube.com/watch?v=bKAZGSPkcKo

Billy joins Rosie on "Have Yourself A Merry Little Christmas," one of those seemingly eternal classics I was recently startled to realize had an actual origin when I watched Meet Me In St. Louis the other night; along with "The Trolley Song," it was written for the 1944 film by Hugh Martin and Ralph Blane. (See Judy Garland's film performance of it here - wowie.) While I will always be partial to the Percy Faith rendition highlighted on our family Christmas album of choice, Billy seems to make a go of it. Recalling that he approached "She's Right On Time" as some version of a Christmas song, it's interesting to note that he's kept this seeming one-off in his repertoire; YouTube features a number of recent live cuts, typically from December-time Madison Square Garden shows.

As a St. Louisan, I saw the movie at least once a year growing up. And I fucking cry at this scene! Every. fucking. time.

Still among my top two or three Christmas songs. I've even recorded a version of it myself.

Billy sounds like he's trying to croon in an unBillyish manner here; not quite sure whether he's trying for Bennett or Crosby or Mathis or what. Anyway, not Billy. Like with the Dylan cover, he's not at his best when aping another singer's stylez. Except Ray Charles. I don't mind as much when he's trying to sound like Ray.

Jumping around here, but related to that ^^, part of what makes "Light as the Breeze" one of the better Cohen covers I've heard is that he isn't aping Leonard but putting his own SNL-band-outro butter on it.

Given his pastichey instincts, it might have been fun to put all these artists' names in a hat and force him to do the covers in random styles, to get away from any "obvious" ways of doing the song. But by this point his range of choices is much smaller than it was on Glass Houses or Innocent Man - he can do whatever style he feels like, so long as it's something that he doesn't feel embarrassed to be attempting at 47, which means we're going to generally be in AC/lounge act territory.

http://www.youtube.com/results?search_query=wheel+of+musical+impressions

Pressure just came on the mix. Can we just end this thread so the humans can survive

When “only the good die young” comes on in the bar, only the schmalziest of motherfuckers order their drinks. The rest wait for fucking bad company

https://www.youtube.com/watch?v=ZCEtxMUFIzY

Where Were You On Our Wedding Day? is another cover turning our ear back to the early days of rock. The 1959 original is by Lloyd Price, best known for "Lawdy Miss Clawdy" and a hit version of "Stagger Lee." In an unprecedented development, Billy's rendition is actually shorter than Price's. It was his contribution to the soundtrack album for the 1999 Roberts-Gere comedy Runaway Bride. The lineup is somewhat odd for a compilation like this; Hall & Oates and the Dixie Chicks get two songs each (including an established hit and a new song), and current stars mix with old fuddy-duddies and Miles Davis. I'm going to guess that the liner notes assert some kind of "something old, something new" theme, since it would have been easy enough to cobble together a list of wedding-oriented songs for a slate of covers by artists hitting the right demographics. Maybe "Maneater" is used for a comical beat in the film?

If you're keeping track, wedding-wise Joel was at this point in between his divorce from Christie Brinkley and his 2004 marriage to the then-23-year-old Katie Lee Joel, best known as the uncompelling host of the first season of Bravo's Top Chef. On their wedding day, they were at Billy's house in Oyster Bay, with Alexa Ray (five years the bride's junior) as maid-of-honor. Wikipedia does not make clear where they were in 2009 when they announced their separation, but Billy's 2015 marriage to Alexis Roderick (then 33) also took place at his Long Island home, with Andrew Cuomo officiating. They have two children; the youngest arrived this October 22nd, when we were discussing... "An Innocent Man."

https://img.discogs.com/0wy2HVU-j-EQVP8ZRBdc3Hb29Lw=/fit-in/600x592/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-2386389-1409074280-9377.jpeg.jpg

billy has an obvious love for, and feel for, this era. and yet his vocal on this is pretty much replacement-level wedding band singer (which maybe is fitting for the movie?). the sax solo is a note-for-note copy of the original, which is great.

excellent wedding reporting, doctor c!

Decent enough pastiche.

Lloyd Price rules, btw. "Stagger Lee" obvs, but check out "Just Because" if you dig this kind of thing (in its non-ersatz form).

yeah the vocal here is a real shame. reinforces my sense that he should have done more of this when he was younger, and that a medley of covers in a new-wave take on 50s rock style would have been a great finisher to Glass Houses.

tune-yards is having a heart attack-ack-ack!

https://www.youtube.com/watch?v=3-7je-jsuC4

... and clearly, I've been working too hard to get this thread back on track-ack-ack-ack-ack-ack! next entry coming monday.

My pick for worst.

I can't really argue - though I still find "Modern Woman" more interesting than anybody else itt. Maybe having been oblivious to that era of pop at the time, it sounds fresher and more interesting to me than it actually is.

Meantime... I got sort of bogged down contemplating how to tackle the 2001 classical album, Fantasies and Delusions, afraid that a track-by-track treatment of instrumental music would leave us with little to discuss. In hindsight if I'd just done it like that we'd be well past it by now. I'll double back and do it in a bit but given my energy level and to-do list today, let's skip past for a moment and admire two duets with the legendary Tony Bennett:

https://img.discogs.com/Fs7UWqyTAFU3gYTTLJeVqDwd1Cc=/fit-in/450x450/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-3944465-1350075606-8888.jpeg.jpg

https://img.discogs.com/_ul4VcIQWiGQYMLE06M-TTz4lc0=/fit-in/600x600/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-10906281-1506293624-3730.jpeg.jpg

Playin' With My Friends: Bennett Sings The Blues was a 2001 release featuring Bennett, as you'd expect, teaming up with a range of contemporary and slightly-less-contemporary artists including Sheryl Crow, Stevie Wonder, Ray Charles, etc. Produced by none other than Phil Ramone, it includes Joel and Tony turning in a rendition of one of Billy's theme tunes, New York State of Mind. Supposedly, it was released as a single (maybe promo-only); it did not chart. To my ears, it ain't bad.

https://www.youtube.com/watch?v=ji2EDTCXHBM

https://img.discogs.com/nuD2H6etZijo7PP5KbP3rj-ChU8=/fit-in/600x600/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-6523602-1421185053-9807.jpeg.jpg

Duets: An American Classic, again helmed by Ramone, carried on a similar idea while reaching for the "great American songbook" format of Rod Stewart's unexpected hit series of such albums. If it didn't match Rod's numbers, it still did well, debuting at #3 on the Billboard album chart and ultimately going platinum. This time around, partners included Paul McCartney, John Legend, Stevie again, the Dixie Chicks, etc. In a cute reversal, Billy joins for one of Tony's signature tunes, The Good Life, originally written by Sacha Distel and James Reardon for the forgotten French-Italian anthology film The Seven Deadly Sins, and a hit for Tony first in 1963.

https://www.youtube.com/watch?v=KCOqn6fpF9o