Streetlife Serenade

4.3

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5,190

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フォーマット	CDアルバム
発売日	2015年04月21日
国内/輸入	輸入
レーベル	Audio Fidelity
構成数	1
パッケージ仕様	-
規格品番	AUDF2072
SKU	780014220723

構成数 : 1枚
合計収録時間 : 00:37:56
Also available with PIANO MAN on one cassette. The remastered edition of STREETLIFE SERENADE is an Enhanced CD containing both a full audio program as well as a video clip for the song "Souvenir." Personnel: Billy Joel (vocals, keyboards, Moog synthessizer); Gary Dalton, Richard Bennett, Mike Deasy, Roj Rathor, Al Hetzberg, Don Evans, Art Munson, Michael Stewart (guitar); Tom Whitehorse (pedal steel guitar, banjo); William Smith (organ); Emory Gordy, Larry Knetchel, Wilton Felder (bass); Ron Tutt (drums); Joe Clayton (congas). Recorded at Devonshire Sound, North Hollywood, California. Digitally remastered using 24-bit technology by Ted Jensen (Sterling Sound, New York, New York). Personnel: Billy Joel (keyboards); Art Munson, Don Evans, Gary Dalton, Al Hertzberg, Michael Stewart , Mike Deasy, Raj Rathor (guitar); Tom Whitehorse (banjo); William Smith (organ); Ron Tutt (drums); Joe Clayton (congas). Recording information: Devonshire Sound, North Hollywood. Arrangers: Martha Stewart; Billy Joel. STREETLIFE SERENADE may have been a disappointment to Joel's record company, featuring but one single, "The Entertainer," that barely scraped the Top 40, but it's loaded with songs that came to be signature pieces for the piano man. For years, Joel began his concerts with a piped-in version of the instrumental "The Mexican Connection" and closed them by playing the bittersweet ballad "Souvenir." Another instrumental, the fast and infectious "Root Beer Rag," served as a favorite piano showcase throughout Joel's career, while the snide and clever "The Entertainer" began a career-long obsession with the evils of the pop industry. Most of the album is about suburbia and its malcontents. While Englishman Elton John, to whom Joel was already being compared, devoted his second major-label album to a concept album about the mythological American West, Joel devoted his to the very real American frontier of strip malls and backyard barbecues in which he grew up. No romanticizing was intended. In case Joel's growing cynicism wasn't already evident, the album's one love song, "Roberta," is written to a hooker.

1.[CDアルバム]
1. 1.
  
  Streetlife Serenader
2. 2.
  
  Los Angelenos
3. 3.
  
  The Great Suburban Showdown
4. 4.
  
  Rootbeer Rag
5. 5.
  
  Roberta
6. 6.
  
  The Entertainer
7. 7.
  
  Last of the Big Time Spenders
8. 8.
  
  The Weekend Song
9. 9.
  
  Souvenir
10. 10.
  
  The Mexican Connection

作品の情報

メイン

アーティスト： Billy Joel

その他

エンジニア： Don Young

プロデューサー： Martha Stewart

商品の紹介

Billy Joel hit a bit of a slump with Streetlife Serenade, his third album. Stylistically, it was a reiteration of its predecessor's Tumbleweed Connection obsessions, spiked with, of all things, Rockford Files synthesizers and ragtimes pulled from The Sting. That isn't a facetious reference, either -- it's no coincidence that the record's single and best song, "The Entertainer," shares a title with the Scott Joplin rag that provided The Sting with a main theme. Joel is attempting a grand Americana lyrical vision, stretching from the Wild West through the Depression to "Los Angelenos" and "The Great Suburban Showdown." It doesn't work, not only because of his shortcomings as a writer, but because he didn't have the time to pull it all together. There are no less than two instrumentals, and even if "Root Beer Rag" (yet another sign of The Sting's influence) is admittedly enjoyable, they're undeniably fillers, as is much of the second side. Since he has skills, he's able to turn out a few winners -- "Roberta," a love song in the vein of Cold Spring Harbor, the mournful "Streetlife Serenader," and the stomping "Los Angelenos" -- but it was the astonishingly bitter "The Entertainer," where he not only disparages his own role but is filled with venom over "Piano Man" being released in a single edit, that made the subtext clear: he had enough with California, enough with the music industry, enough with being a sensitive singer-songwriter. It was time for Billy to say goodbye to Hollywood and head back home to New York. [Streetlife Serenade was released on SACD in 2015.] ~ Stephen Thomas Erlewine|

Rovi

Billy Joel hit a bit of a slump with Streetlife Serenade, his third album. Stylistically, it was a reiteration of its predecessor's Tumbleweed Connection obsessions, spiked with, of all things, Rockford Files synthesizers and ragtimes pulled from The Sting. That isn't a facetious reference, either -- it's no coincidence that the record's single and best song, "The Entertainer," shares a title with the Scott Joplin rag that provided The Sting with a main theme. Joel is attempting a grand Americana lyrical vision, stretching from the Wild West through the Depression to "Los Angelenos" and "The Great Suburban Showdown." It doesn't work, not only because of his shortcomings as a writer, but because he didn't have the time to pull it all together. There are no less than two instrumentals, and even if "Root Beer Rag" (yet another sign of The Sting's influence) is admittedly enjoyable, they're undeniably fillers, as is much of the second side. Since he has skills, he's able to turn out a few winners -- "Roberta," a love song in the vein of Cold Spring Harbor, the mournful "Streetlife Serenader," and the stomping "Los Angelenos" -- but it was the astonishingly bitter "The Entertainer," where he not only disparages his own role but is filled with venom over "Piano Man" being released in a single edit, that made the subtext clear: he'd had enough with California, enough with the music industry, enough with being a sensitive singer-songwriter. It was time for Billy to say goodbye to Hollywood and head back home to New York. ~ Stephen Thomas Erlewine

Rovi