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Entertainn Son k, ne\ An VII By JOHN BARTUS ? SUM Writer Ever since the release of The Stranger in 1977, Billy Joel has been a prominent figure in rock music. With very few exceptions, nowever, nis worK before The Stranger has remained relatively unknown to most people. Although he toured extensively with his band from 1971-76 nine months out I of the year, his first four albums failed to do as well as he thought they should have. But now that Joel has found some notoriety, he decided to go back and take another look at his older material. This has resulted in the new JMM| MS nent Joel igs c N POI uve live album entitled Songs In The Attic. Admitting that this is not the definitive live album of his recent tours, Joel explains, "...there was a gap between thp fnlHerl iwnrric and the live shows...the original studio recordings didn't have nearly as much energy and joy as the live renditions." So he taped fifteen shows from June and July of 1980 for the purpose of releasing the older material the way he had originally wanted it done. Phil Ramone, Billy's producer since The Stranger, had always ? 1 1 1 # wanieu 10 recora nis earner material with the band. ruinn|A^^B tain vpr Br w m /^AtvtwtrtMfinrf />rt 41% v/v/iiuiicuviug uii muse cany perfQrmances, Ramone said that the band "had much more than raw power; they had a certain joy in playing together, without ever losing sight of the meaning of the material." And Joel's band does sound great. One of the tightest live bands in rock, the members excel in bringing out the best in Joel's tunes. Consisting of Kicnie (Jannata: saxophones, flute, and organ; Liberty DeVitto: drums and percussion; Doug Stegmeyer: bass guitar; Russel Javors: rhythm guitars; and David Borwn: lead guitars, the band is a very fine example of how well rock can sound when performed at its best. THE ALBUM begins with Joel's pseudo-science fiction story of the fall of New York City, "Miami 2017 (Seen the Lights Go Out on Broadway)." The song relates the tale of the demise of the city, where its enemies "blew the Bronx away/And sank Manhattan out at sea." Joel sing about memories shared before everyone lived in Florida, before the Mafia took over Mexico, and pulls it off as an interesting opening selection. "Summer, Highland Falls" signifies Joel's boredom with relentless small town nothingness. One can only spend so long meaiiaung in ones own cathedrals before the futility of it all catches up. "Streetlife Serenader" is a wonderfully melodic piece, featuring "modern-classical" influenced chord progressions not normally found in rock music. With this elaborate backdrop, Joel illustrates the simplicity of an a capella street choir, which turns out as one of Billy Joel's best melodies. "Los Angelenos" is Billy's tribute to the L A. scene: New York cowboys, electric babies, and others flock to this "funky exile" where the streets have Spanish names. " She's Got a Way" is Billy pIab* alone at the piano, singing a love song to his wife. He knows that he can't live without her, and that the light around her inspires him without a sound. "Everybody Loves You Now" is a fast-moving number putting down a woman who's done him wrong, in a manner which Joel describes as the "macho rationale for being I rejected." Side two opens with the current single, "Say ] Goodbye to Hollywood." This song reflects some sort of homesickness in a way, 1 and as Joel explains, "I wasn't glad to leave, just anxious to return home." i Then, the monumental nier'e "Captain Jack" follows, i Done much better live than in the studio, Joel's energy, , anger, and frustration at the i deaths of his friends < (Vietnam, drugs, etc.) and I the emptiness of their lives is i translated by the band into a i Week FRIDAY, OCTOBER 9 Happy Hour from 4-7 } Golden Spur; Red Zack's, 736 F. St. Andr (nominal cover chare* Only and the X-F Greenstreets, 2009 Gre< cover charge). SATURDAY, OCTOBE1 Red Zone at Zack's, ' Andrew's Rd. (nomin charge); Dave Only ar Rays at Greenstree Green St. ($2 cover char TUESDAY, OCTOBER 4-Lane 41 at the Golde WEDNESDAY, OCTOB The Parrots at the Spur; Ladies night at 7a F. St. Andrew's Rd. < mtr ^ R?'' <r; * L \ musical time bomb, which explodes as the final chorus climax brings 20,000 people out of their seats. The most powerful song of the album, it will certainly go down as a Joel classic. "YOU'RE MY HOME" is another song Joel wrote for his wife (as a Valentine's Day gift because he was aroke). He says that no matter where they are, she is all he needs to feel at Home. "The Ballad of Billy the Kid," which comes next, is a fun song which highlights Joel's keyboard abilities. His piano work is [lawless, and the song is a ~eal crowd-pleaser. Fittingly, the song chosen o end the album is "I've Loved These Days." Written as a requiem to the ex .ravagant, spoiled brat days )f America, the song goes on :o say that although the good imes may be over, the old iays will always be end Entertaii mission an pm at the THURSD/ Zone at The Pa ew's Rd. Spur ($1.5( i); Dave Lays at UPCOM1 ;n St. ($2 CONCER1 journey 110 tober 18 m F. St. $9.50); Ell al cover 24 (ticket id the X- $5.50); Ec ts, 2009 October 2 ge). $9.50); 13 November n Spur. $12.50); T< EH 14 Stephanie Golden (tickets $1 ick's, 736 Stewart, I free ad- $12.50 and > ' i 1 celebrated: >A few more hours to be complete A few more nights on satin sheets A few more times that I can say I've loved these days. A 1 t hAiirrh n a ? IK vuv/ugli HVSl new material, this album rejuvenates some of Joel's older songs and spices them with vivacious arrangements and powerful renditions. The execution of the songs is energetic yet flawless (I still haven't found a musical mistake, bad note, etc.), and the audio quality is excellent as well (recorded using the 3-M digital system). These eleven songs may be old. but f Viatr o cfi II o *v? 1 /vf hivj ui v .-tiiu CAcllllJJICS Ul , Billy Joel at his finest. And it's much more musically exciting and satisfying than the mediocrity of Glass Houses. 1 iment id wine for ladies.). ; ^Y, OCTOBER 15 _ i 1L ^ 1 * nous a i me uoiaen ) cover charge). ! ING COLISEUM rs and Loverhoy, Oc(tickets $10.50 and la Fitzgerald, October ? ?19 ^0 $10 ^ unH ^ y a\/,i/v 14 A *V? irth, Wind and Fire, 8 (tickets $10.50 and Barry Manilow, 5 (tickets $15.00 and ^ddy Pendergrass and Mills, November 6 A f-r\ I Am rn\ - ' u.oti auu $i^.du;; nuu November 12 dockets $10.50). BBBHMHHHHHHI