Song of the Day #3,321: ‘Rosalinda’s Eyes’ – Billy Joel vs. Paul Simon

Welcome to Round Four of Montauk Madness! The Elite Eight! Four contests that, if everything has worked out according to plan, will have you pulling your hair out trying to pick winners.

Our first battle faces off a couple of legendary New Yorkers: Billy Joel and Paul Simon. Joel defeated Michael Penn in Round One, Frank Sinatra in Round Two and Van Morrison in Round Three. Simon took out Elton John, Sting and Lucinda Williams. I voted for both of them every step of the way. Continue reading

Song of the Day #2,876: ’52nd Street’ – Billy Joel

52ndstreetIt’s nice to see the title track of Billy Joel’s 1978 album 52nd Street pop up on a Random Weekend so soon after my trip to New York City to see Hamilton.

I’ve always considered this jazzy rock classic one of the quintessential New York City albums, from its cover photo of Joel leaning against a wall on 52nd Street and Seventh Avenue to city settings like Zanzibar and the Herald Square of ‘Rosalinda’s Eyes.’

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Song of the Day #1,411: ‘Zanzibar’ – Billy Joel

Best Albums of the 70s – #18
52nd Street – Billy Joel (1978)

I’ve never understood why Billy Joel gets such a bad rap. Just the other day I happened upon a Slate article titled ‘The Worst Pop Singer Ever: Why, Exactly is Bill Joel So Bad?’

That’s the sort of garbage that only gets written about artists who are beloved by “the masses” and therefore un-hip.

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Song of the Day #319: ‘Stiletto’ – Billy Joel

52ndstreetBilly Joel followed up The Stranger with an album just as strong if not as iconic, 52nd Street. This jazzy collection boasts such hits as ‘Big Shot,’ ‘Honesty’ and ‘My Life’ but it’s the other, lesser-known tracks that make it one of Joel’s finest efforts. ‘Zanzibar,’ ‘Stiletto,’ ‘Rosalinda’s Eyes,’ ‘Half a Mile Away,’ ‘Until the Night’ and the title track, which (in order) finish off the album after the first three hit tracks, are among the best songs Joel has ever written.

My personal favorite is today’s track, ‘Stiletto,’ and for one primary reason: the piano-bass interlude that starts at 2:08 and launches into that unreal horn part at 2:27 before easing back into the staccato piano and drum bit that precedes the next verse. That’s just quality stuff.

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