Artist: Elvis Presley
Title: From Memphis To Vegas / From Vegas To Memphis
Genre: Rock
Release Date: 1969/2015
Label: RCA/Legacy
Duration: 01:08:55
Quality: FLAC 96kHz/24bit
Source: HDTracks

One-half of the imponderably titled From Memphis to Vegas/From Vegas to Memphis (later issued as a separate album, Elvis in Person at the International Hotel, Las Vegas, Nevada), captures Elvis from the summer of 1969, while the exhilaration of conquest was still evident. It’s a nice compromise between mere entertainment and the revelatory: The first few songs are old hits to pull you in; the second side opens with a roaring medley of “Mystery Train” and Rufus Thomas’s “Tiger Man” and leads to a staggering seven-minute “Suspicious Minds.” The studio album, ten tracks from the previous Memphis sessions, are a letdown and, even at the time of release, the two-fer concept seemed ill conceived.

Tracklist:
01 — Blue Suede Shoes (Live)
02 — Johnny B. Goode (Live)
03 — All Shook Up (Live)
04 — Are You Lonesome Tonight? (Live)
05 — Hound Dog (Live)
06 — I Can’t Stop Loving You (Live)
07 — My Babe (Live)
08 — Medley: Mystery Train / Tiger Man (Live)
09 — Words (Live)
10 — In The Ghetto (Live)
11 — Suspicious Minds (Live)
12 — Can’t Help Falling In Love (Live)
13 — Inherit The Wind
14 — This Is The Story
15 — Stranger In My Own Home Town
16 — A Little Bit Of Green
17 — And The Grass Won’t Pay No Mind
18 — Do You Know Who I Am?
19 — From A Jack To A King
20 — The Fair’s Moving On
21 — You’ll Think Of Me
22 — Without Love (There Is Nothing)

Download:

https://file.al/beaxqabeti6i/hires.link_ElvisPresleyFrmMemphisTVegasFrmVegasTMemphis19692015HDTracks2496.part1.rar.html
https://file.al/rtpfgq7t2qtj/hires.link_ElvisPresleyFrmMemphisTVegasFrmVegasTMemphis19692015HDTracks2496.part2.rar.html

Artist: Elvis Presley
Title: His Hand in Mine
Genre: Rock
Release Date: 1960/2015
Label: RCA Records
Duration: 28:12
Quality: FLAC 96kHz/24bit
Source: HDTracks
Recorded: October 30 and 31, 1960, at RCA Studio B in Nashville, Tennessee.

Recorded and released in 1960, His Hand in Mine is the first of three gospel albums that Elvis Presley recorded during his lifetime.

From rock & roll firebrand to pop crooner to gospel believer, Elvis’ career went in many directions that his earliest critics could hardly have believed. Was it heresy or conversion or commercialism that had caused Elvis the Pelvis to record a gospel EP in 1957, and then a full LP in 1960, just months after he returned from his Army stint? The answer was, of course, none of the above. What the critics didn’t understand was that Elvis wasn’t just a cultural phenomenon but a cultural chameleon, a vocalist who took in a range of influences — from Big Mama Thornton to Dean Martin to the Statesmen — without ever considering the possibility of a contradiction. The same teenager who couldn’t stop listening to black R&B was also in attendance at each one of the monthly gospel singing meetings held in Memphis during the early ’50s — and the teenage Presley was well-known to Jake Hess and the Statesmen for his exuberance and innumerable questions about the technical side of gospel quartet singing. Several years after his first rock success, during a single late-night-and-early-morning session in October, 1960, Presley recorded the material for his first full gospel LP, His Hand in Mine. Combining the spiritual force and the physical release he’d experienced from the best gospel singing, Elvis revealed himself as an all-time-great gospel singer, someone who had energy to spare (hardly a surprise) but also immense reserves of control and precision (a rarer commodity among rock & roll singers). Most of the songs were standards from the Statesmen, Blackwood Brothers, and other classic quartets Elvis loved, and represent some of the best ballad singing of his career — after all, it was recorded at the peak of his balladic powers, a time when “It’s Now or Never” and “Fame and Fortune” had not yet given way to “Can’t Help Falling in Love.” He’s fantastic serving as the lead voice in a group vocal — years of advice from the best had paid off — and he shows off his excellent high-tenor singing in a range of situations (tender on “Known Only to Him,” playful on “I Believe in the Man in the Sky”). His Hand in Mine isn’t just one of Elvis’ best LPs, it’s one of the best (and best-recorded) gospel sessions of all time. –John Bush

Tracklist:
1 His Hand In Mine 3:12
2 (I’m) Gonna Walk Dem Golden Stairs 1:49
3 In My Father’s House 2:00
4 Milky White Way 2:10
5 Known Only To Him 2:05
6 I Believe In The Man In The Sky 2:08
7 Joshua Fit The Battle 2:37
8 He Knows Just What I Need 2:08
9 Swing Down Sweet Chariot 2:29
10 Mansion Over The Hilltop 2:53
11 If I Never Meet Again 1:55
12 Working On The Building 1:49

Pesrsonal
Elvis Presley — vocals and acoustic guitar (on “Milky White Way”)
The Jordanaires — backing vocals
Boots Randolph — saxophone
Scotty Moore — electric guitar
Hank Garland — acoustic guitar
Floyd Cramer — piano
Bob Moore — double bass
D.J. Fontana, Buddy Harman — drums

Download:

https://file.al/6d4dr4uoco3k/hires.link_ElvisPresleyHisHandinMine19609624.rar.html

Artist: Elvis Presley
Title: Pot Luck with Elvis
Genre: Rock
Release Date: 1962/2015
Label: RCA Victor
Duration: 28:50
Quality: FLAC 96kHz/24bit
Source: Qobuz
Recorded: March 1961 – March 1962, RCA Studio, Nashville, Tennessee

Pot Luck with Elvis is the fifteenth studio album by Elvis Presley, released on RCA Victor in mono and stereo, LPM/LSP 2523, in June 1962. Recording sessions took place on March 22, 1961, at Radio Recorders in Hollywood, and on June 25 and October 15, 1961, and March 18 and March 19, 1962, at RCA Studio B in Nashville, Tennessee. It peaked at number four on the Billboard Top Pop Albums chart.

One of the great ironies about Pot Luck with Elvis is its title, from which one could reasonably infer that it was a collection of leftovers. In fact, Pot Luck was Elvis Presley’s last collection of new secular material recorded with a specific album release in mind until seven years later, and a lot less of a “pot luck” affair musically than any of the non-hits studio albums that were ever released of Elvis’ material. The album is still a bit uneven, continuing the decline begun with Something for Everybody. While there are several excellent, continually underrated tracks (“Donna Get Back Home Somehow,” “Night Rider,” “(Such An) Easy Question” and, of course, “Suspicion”), the quality of the songs is somewhat uneven, the ballads especially tending toward the lugubrious. The original release, which charted for 18 weeks and reached number four at its peak, never registered as strongly with the public as his soundtracks of the period did, and this relative failure (the Blue Hawaii soundtrack having charted for more than a year, with months spent at number one) may have forced Presley and his manager to concentrate on film work from this point on, as a commercial necessity. The sad part of that decision was that Pot Luck was a great vehicle for Presley’s voice as it was evolving — “She’s Not You” brilliantly showcased the softer, more intense singing style that had manifested itself just a few months earlier with “Can’t Help Falling in Love.” –Bruce Eder

Tracklist:
1 Kiss Me Quick 2:46
2 Just For Old Times Sake 2:07
3 Gonna Get Back Home Somehow 2:28
4 (Such An) Easy Question 2:19
5 Steppin’ Out Of Line 1:51
6 I’m Yours 2:20
7 Something Blue 2:56
8 Suspicion 2:35
9 I Feel That I’ve Known You Forever 1:38
10 Night Rider 2:07
11 Fountain Of Love 2:13
12 That’s Someone You Never Forget 2:48

Pesrsonal
Elvis Presley — vocals, guitar
Scotty Moore, Hank Garland, Tiny Timbrell, Harold Bradley — guitar
Grady Martin — guitar, vibes
Floyd Cramer — piano, organ
Dudley Brooks, Gordon Stoker — piano
Bob Moore — double bass
D. J. Fontana, Buddy Harman — drums
Millie Kirkham, The Jordanaires — backing vocals
Boots Randolph — saxophone

Download:

https://file.al/ppcqyl8maaea/hires.link_ElvisPresleyPtLuckwithElvis19629624.rar.html

Artist: Elvis Presley
Title: The Essential Elvis Presley
Genre: Rock
Release Date: 2007
Label: SBME Strategic Marketing Group
Duration: 1:52:01
Quality: FLAC 96kHz/24bit
Source: HDTracks

This special two-disc collection contains all of Elvis Presley’s greatest hits, and more! The Essential Elvis Presley contains 40 tracks from the entire spectrum of the King of Rock ‘n’ Roll’s career, and was certified Gold in 2010. Songs on this collection include “Heartbreak Hotel”, “It’s Now or Never”, “Burning Love”, and “Viva Las Vegas”.

The problem with compiling an essential best-of compilation covering the phenomenon that was (and is) Elvis Presley is the very man himself, who has passed from this mortal coil into the iconic pop culture stratosphere where even his own death is questioned and Elvis sightings are as frequent as fleas. Then there are the thousands of performers who daily dress up as Presley himself and sally forth into the world like perfectly gyrating replicas of either the early or later Elvis (body physics dictate that you can’t be both). Elvis may have left the building, but not really. His image is everywhere, and his fans are legion and devout. So how does one pick his essential sides when “Do the Clam” is a classic in the Kingdom of Presley simply because Elvis did it? He recorded Tony Joe White’s “Polk Salad Annie” in 1970. It was hardly the best version ever of “Polk Salad Annie” but it was Elvis’ version of “Polk Salad Annie,” which puts it in rarefied class of its own, and making it, like “Do the Clam,” absolutely essential in some quarters. When you’re larger than life, words like essential have to expand or be left wanting. The Essential Elvis Presley boils this imposing legacy down to two discs of 20 tracks each, and approaches the problem of what is truly essential by choosing to compile all of Elvis’ significant charting hits, beginning with his 1954 cover of Arthur Crudup’s “That’s All Right” from Sam Phillips’ Sun Records and continuing chronologically through Presley’s long association with RCA Records through the year 1976. That means, while there’s no version of “Do the Clam” (“Polk Salad Annie” is here, though), there are classic sides like 1956’s “Heartbreak Hotel,” “Don’t Be Cruel,” “Hound Dog,” and “Love Me Tender,” 1957’s “Jailhouse Rock,” 1961’s “Little Sister,” and 1969’s “In the Ghetto,” “Suspicious Minds,” and “Kentucky Rain.” There are 17 number one hits and a whole lot more. Elvis fanatics are going to complain about what isn’t here, of course. Elvis is the King, after all, and therefore by definition everything he recorded ought to be essential. And everything he recorded is indeed essential on some level. But these are the sides that broke through to the deepest level of the world pop culture that Elvis helped create. These are the songs that broke him and then sustained him on radio and television and at the movie theaters. Die-hard Elvis fans will undoubtedly already have everything collected here. This is a set instead for folks who want to have at least one Elvis anthology in their collections, and want the hits they remember and don’t much care if those hits are from the early Elvis or the later Elvis or the dear departed Elvis. Just the hits, bartender, shaken not stirred. That means no version of “Do the Clam,” singular as it is.

Tracklist:
CD1 #01 — That’s All Right
CD1 #02 — Baby, Let’s Play House
CD1 #03 — Mystery Train
CD1 #04 — Heartbreak Hotel
CD1 #05 — I Was the One
CD1 #06 — Blue Suede Shoes
CD1 #07 — Hound Dog
CD1 #08 — Don’t Be Cruel
CD1 #09 — Love Me Tender
CD1 #10 — All Shook Up
CD1 #11 — (There’ll Be) Peace in the Valley (For Me)
CD1 #12 — Jailhouse Rock
CD1 #13 — Trouble
CD1 #14 — Fever (Essential Elvis Version)
CD1 #15 — It’s Now or Never
CD1 #16 — Reconsider Baby (Elvis R&B Version)
CD1 #17 — Are You Lonesome Tonight?
CD1 #18 — Little Sister
CD1 #19 — Follow That Dream
CD1 #20 — Can’t Help Falling in Love

CD2 #01 — Return to Sender
CD2 #02 — (You’re The) Devil in Disguise
CD2 #03 — Bossa Nova Baby
CD2 #04 — Viva Las Vegas
CD2 #05 — Big Boss Man (Elvis R&B Version)
CD2 #06 — A Little Less Conversation
CD2 #07 — If I Can Dream (Stereo Mix)
CD2 #08 — Memories (Stereo Mix)
CD2 #09 — In the Ghetto
CD2 #10 — Suspicious Minds
CD2 #11 — Don’t Cry Daddy
CD2 #12 — Kentucky Rain
CD2 #13 — Polk Salad Annie (Elvis Live Version)
CD2 #14 — The Wonder of You
CD2 #15 — I Just Can’t Help Believin’
CD2 #16 — Burning Love
CD2 #17 — Always on My Mind
CD2 #18 — Steamroller Blues
CD2 #19 — Hurt (Essential Elvis Version)
CD2 #20 — Moody Blue

Download:

https://file.al/szg9cnloyxxw/hires.link_ElvisPresleyTheEssentialElvisPresley2007HDTracks2496.part1.rar.html
https://file.al/6k60e05qtwub/hires.link_ElvisPresleyTheEssentialElvisPresley2007HDTracks2496.part2.rar.html
https://file.al/h7iogz94881y/hires.link_ElvisPresleyTheEssentialElvisPresley2007HDTracks2496.part3.rar.html

Artist: Billy Joel
Title: 52nd Street
Genre: Rock
Release Date: 1978/2014
Label: Columbia Records
Duration: 40:42
Quality: FLAC 96kHz/24bit
Source: HDTracks

52nd Street was released on October 13, 1978 and is Billy Joel’s sixth studio album. It was recorded at A&R Recording, Inc. during July and August 1978, and was produced by Phil Ramone. Three songs on the album reached the Top 40 in the US. They were: “My Life” (#3), “Big Shot” (#14), and “Honesty” (#24). 52nd Street won the Album of the Year Grammy Award in 1979. The album peaked at #1 on the US Billboard 200 chart in 1979 and has been certified 7x Platinum by the RIAA.

Once The Stranger became a hit, Billy Joel quickly re-entered the studio with producer Phil Ramone to record the follow-up, 52nd Street. Instead of breaking from the sound of The Stranger, Joel chose to expand it, making it more sophisticated and somewhat jazzy. Often, his moves sounded as if they were responses to Steely Dan — indeed, his phrasing and melody for “Zanzibar” is a direct homage to Donald Fagen circa The Royal Scam, and it also boasts a solo from jazz great Freddie Hubbard la Steely Dan — but since Joel is a working-class populist, not an elitist college boy, he never shies away from big gestures and melodies. Consequently, 52nd Street unintentionally embellishes the Broadway overtones of its predecessor, not only on a centerpiece like “Stiletto,” but when he’s rocking out on “Big Shot.” That isn’t necessarily bad, since Joel’s strong suit turns out to be showmanship — he dazzles with his melodic skills and his enthusiastic performances. He also knows how to make a record. Song for song, 52nd Street might not be as strong as The Stranger, but there are no weak songs — indeed, “Honesty,” “My Life,” “Until the Night,” and the three mentioned above are among his best — and they all flow together smoothly, thanks to Ramone’s seamless production and Joel’s melodic craftsmanship. It’s remarkable to think that in a matter of three records, Joel had hit upon a workable, marketable formula — one that not only made him one of the biggest-selling artists of his era, but one of the most enjoyable mainstream hitmakers. 52nd Street is a testament to that achievement.

Tracklist:
01 — Big Shot
02 — Honesty
03 — My Life
04 — Zanzibar
05 — Stiletto
06 — Rosalinda’s Eyes
07 — Half a Mile Away
08 — Until the Night
09 — 52nd Street

Pesrsonal
Billy Joel — piano, vocals
Doug Stegmeyer — bass, backing vocals
Liberty DeVitto — drums
Richie Cannata — saxophones, organ, clarinet
Steve Khan — electric guitar, acoustic guitar, backing vocals
Freddie Hubbard — flugelhorn and trumpet on “Zanzibar”
Mike Mainieri — vibes and marimba on “Zanzibar” and “Rosalinda’s Eyes”
David Spinozza — acoustic guitar on “Honesty”
David Friedman — orchestral chimes and percussion on “Until the Night”
Ralph MacDonald — percussion on “Rosalinda’s Eyes” and “Half a Mile Away”
Eric Gale — electric guitar on “Half a Mile Away”
Hugh McCracken — nylon string guitar on “Until the Night” and “Rosalinda’s Eyes”
Robert Freedman — horn and string orchestration on “Until the Night” and “Honesty”
Dave Grusin — horn orchestration on “Half a Mile Away”
David Nadien — concertmaster

Download:

https://file.al/fnkxcvm0avmu/hires.link_BillyJoel52ndStreet19782014HDTracks2496.rar.html

Artist: Billy Joel
Title: An Innocent Man
Genre: Rock
Release Date: 1983/2013
Label: Columbia Records
Duration: 40:27
Quality: FLAC 96kHz/24bit
Source: HDTracks
Recorded: Spring, 1983, Chelsea Sound and A&R Recording, Inc., New York, New York.

Chart History/Awards
— Reached #4 on the Billboard 200.
— “Uptown Girl” reached #3 on the Billboard Hot 100.
— “Tell Her About It” reached #1 on the Billboard Hot 100.
— “An Innocent Man” reached #1 on Billboard’s Adult Contemporary Charts.

An Innocent Man is Billy Joel’s multi-GRAMMY nominated masterpiece. This instant classic finds Joel paying homage to the songs and styles that inspired him. An Innocent Man includes the Top Ten hits: “Tell Her About It,” “Uptown Girl” and the title-track. It would spend 111 weeks on the Billboard Pop charts, becoming Joel’s longest charting studio album behind The Stranger. It earned GRAMMY nominations for Album of the Year and Best Male Pop Vocal Performance. Absolutely vital.

Recording The Nylon Curtain exhausted Billy Joel, and even though it had a pair of major hits, it didn’t rival its predecessors in terms of sales. Since he labored so hard at the record, he decided it was time for a break — it was time to record an album just for fun. And that’s how his homage to pre-Beatles pop, An Innocent Man, was conceived: it was designed as a breezy romp through the music of his childhood. Joel’s grasp on history isn’t remarkably astute — the opener “Easy Money” is a slice of Stax/Volt pop-soul, via the Blues Brothers (quite possibly the inspiration for the album), and the label didn’t break the pop charts until well after the British Invasion — but he’s in top form as a craftsman throughout the record. Only once does he stumble on his own ambition (“This Night,” which appropriates its chorus from Beethoven). For the rest of the record, he’s effortlessly spinning out infectious, memorable melodies in a variety of styles, from the Four Seasons send-up “Uptown Girl” and the soulful “Tell Her About It” to a pair of doo wop tributes, “The Longest Time” and “Careless Talk.” Joel has rarely sounded so carefree either in performance or writing, possibly due to “Christie Lee” Brinkley, a supermodel who became his new love prior to An Innocent Man. He can’t stop writing about her throughout the album — only three songs, including the haunted title track, aren’t about her in some form or fashion. That giddiness is infectious, helping make An Innocent Man an innocent delight that unwittingly closes Joel’s classic period. –Stephen Thomas Erlewine

Tracklist:
1 Easy Money 4:05
2 An Innocent Man 5:18
3 The Longest Time 3:42
4 This Night 4:18
5 Tell Her About It 3:53
6 Uptown Girl 3:18
7 Careless Talk 3:48
8 Christie Lee 3:31
9 Leave A Tender Moment Alone 3:57
10 Keeping The Faith 4:41

Pesrsonal
Billy Joel — Baldwin acoustic piano (SF-10), Fender Rhodes, Hammond B3 organ, lead & background vocals
Liberty DeVitto — drums
Doug Stegmeyer — bass guitar
David Brown — lead electric & acoustic guitars
Russell Javors — rhythm electric & acoustic gutars
Mark Rivera — alto saxophone, tenor saxophone, percussion
Ralph MacDonald — percussion on “Leave a Tender Moment Alone” and “Careless Talk”
Leon Pendarvis — Hammond B3 organ on “Easy Money”
Richard Tee — acoustic piano on “Tell Her About It”
Eric Gale — electric guitar on “Easy Money”
“String Fever” — strings
Ronnie Cuber — baritone saxophone on “Easy Money”, “Careless Talk”, “Tell Her About It” and “Keeping the Faith”
Jon Faddis — trumpet on “Easy Money”
David Sanborn — alto saxophone on “Easy Money”
Joe Shepley — trumpet on “Easy Money”, “Careless Talk”, “Tell Her About It” and “Keeping the Faith”
Michael Brecker — tenor saxophone on “Careless Talk”, “Tell Her About It” and “Keeping the Faith”
John Gatchell — trumpet on “Careless Talk”, “Tell Her About It” and “Keeping the Faith”
Tom Bahler, Frank Floyd, Lani Groves, Ullanda McCullough, Ron Taylor, Terry Textor, Eric Troyer, Mike Alexander — background vocals
“Toots” Thielemans — harmonica on “Leave a Tender Moment Alone”
Mark Rivera — alto saxophone on “Keeping the Faith”, “This Night” and “Christie Lee”

Download:

https://file.al/2g0z6w5meep2/hires.link_BillyJoelAnInnocentMan19839624.rar.html

Artist: Billy Joel
Title: Cold Spring Harbor
Genre: Rock
Release Date: 1971/2014
Label: Columbia Records
Duration: 30:24
Quality: FLAC 96kHz/24bit
Source: HDTracks
Recorded: Recorded in July 1971 at Record Plant Studios, Los Angeles, CA and Ultrasonic Recording Studios, Hempstead, NY.

Cold Spring Harbor was Billy Joel’s first solo album, released on November 1, 1971. Joel had previously released three albums as a member of the bands The Hassles and Attila. Cold Spring Harbor was released by Family Productions, but after a production error by the owner of the label, Joel ended his relationship with them and would eventually sign with Columbia Records. The album contains several songs on later albums, including “She’s Got a Way” and “Everybody Loves You Now.”

A few short months after abandoning the heavy organ-and-drums duo Attila — partially because their sole record flopped, partially because he stole the drummer’s wife — Billy Joel reinvented himself as a sensitive singer/songwriter. He had shown signs of McCartney-esque songcraft on Hour of the Wolf, the last Hassles album, but his debut album, Cold Spring Harbor, is where these talents blossomed. The record was uneven but very charming, boasting two of his finest songs — the lovely “She’s Got a Way” and the bitterly cynical “Everybody Loves You Now” — and a score of flawed but nicely crafted songs that illustrated Joel’s gift for melody, as well as his pretensions (the mock-gospel in “Tomorrow Is Today,” a classical stab entitled “Nocturne”). In its own way, Cold Spring Harbor was a minor gem of the sensitive singer/songwriter era; Joel may have been in his formative stages as a craftsman, but his talents are apparent, and he never made an album as intimate and vulnerable ever again. Ironically, it didn’t sound right upon its original release. Through a bizarre mastering error, the tapes were sped up — legend has it that upon hearing the completed album, he ripped it off the turntable, ran out of the house, and threw it down the street. It wasn’t until 1983 that Columbia released a corrected reissue. The speed wasn’t the only thing changed — some songs were edited drastically (“You Can Make Me Free,” one of the standouts, was chopped by nearly five minutes) and instruments and backing vocals were stripped away from numerous tracks. It may be a bastardization of the original release, but it’s an acceptable one, since these changes only accentuate the intimacy and vulnerability of the recording. –Stephen Thomas Erlewine

Tracklist:
1 She’s Got A Way 2:55
2 You Can Make Me Free 2:58
3 Everybody Loves You Now 2:49
4 Why Judy Why 2:56
5 Falling Of The Rain 2:42
6 Turn Around 3:07
7 You Look So Good To Me 2:28
8 Tomorrow Is Today 4:40
9 Nocturne 2:52
10 Got To Begin Again 2:53

Pesrsonal
Billy Joel — organ, harmonica, piano, harpsichord, keyboards, Hammond organ, vocals
Richard Bennett — guitar
Rhys Clark — drums
Sal De Troia — guitar
Don Evans — guitar
Emory Gordy, Jr. — bass
Jimmie Haskell — arranger, conductor
Sneaky Pete Kleinow — steel guitar on “Turn Around”
Larry Knechtel — bass
Joe Osborn — bass
Artie Ripp — arranger, conductor
Denny Seiwell — drums on “You Can Make Me Free” and “You Look So Good to Me”

Download:

https://file.al/u96oticwogb9/hires.link_BillyJoelColdSpringHarbor19719624.rar.html

Artist: Billy Joel
Title: Glass Houses
Genre: Rock
Release Date: 1980/2013
Label: Columbia Records
Duration: 34:49
Quality: FLAC 96kHz/24bit
Source: HDTracks

Chart History/Awards
— Reached #1 on the Billboard 200.
— “It’s Still Rock And Roll To Me” reached #1 on Billboard’s Top Pop Singles.
— Won a GRAMMY for Best Male Rock Vocal Performance.
— One of the bestselling albums of the 1980s.

Glass Houses is the seventh studio masterpiece by Billy Joel. It is certified seven-time Platinum and was widely acclaimed worldwide. It includes Joel’s first song to reach #1 on the Billboard Pop charts, “It’s Still Rock And Roll To Me.”The album reached #1 on the Billboard 200 and was one of the bestselling albums of the 1980s. Billy Joel also won a GRAMMY for Best Male Rock Vocal Performance.

The back-to-back success of The Stranger and 52nd Street may have brought Billy Joel fame and fortune, even a certain amount of self-satisfaction, but it didn’t bring him critical respect, and it didn’t dull his anger. If anything, being classified as a mainstream rocker — a soft rocker — infuriated him, especially since a generation of punks and new wave kids were getting the praise that eluded him. He didn’t take this lying down — he recorded Glass Houses. Comparatively a harder-rocking album than either of its predecessors, with a distinctly bitter edge, Glass Houses still displays the hallmarks of Billy Joel the pop craftsman and Phil Ramone the world-class hitmaker. Even its hardest songs — the terrifically paranoid “Sometimes a Fantasy,” “Sleepin’ With the Television On,” “Close to the Borderline,” the hit “You May Be Right” — have bold, direct melodies and clean arrangements, ideal for radio play. Instead of turning out to be a fiery rebuttal to his detractors, the album is a remarkable catalog of contemporary pop styles, from McCartney-esque whimsy (“Don’t Ask Me Why”) and arena rock (“All for Leyna”) to soft rock (“C’etait Toi [You Were the One]”) and stylish new wave pop (“It’s Still Rock and Roll to Me,” which ironically is closer to new wave pop than rock). That’s not a detriment; that’s the album’s strength. The Stranger and 52nd Street were fine albums in their own right, but it’s nice to hear Joel scale back his showman tendencies and deliver a solid pop/rock record. It may not be punk — then again, it may be his concept of punk — but Glass Houses is the closest Joel ever got to a pure rock album. –Stephen Thomas Erlewine

Tracklist:
1 You May Be Right 4:16
2 Sometimes A Fantasy 3:40
3 Don’t Ask Me Why 2:59
4 It’s Still Rock And Roll To Me 2:57
5 All For Leyna 4:16
6 I Don’t Want To Be Alone 3:57
7 Sleeping With The Television On 3:02
8 C’etait Toi (You Were The One) 3:25
9 Close To The Borderline 3:47
10 Through The Long Night 2:45

Pesrsonal
Billy Joel — synthesizers, harmonica, acoustic & electric pianos, accordion, vocals
Dave Brown — acoustic guitar, electric guitar
Richie Cannata — organ, flute, saxophone
Liberty DeVitto — drums & percussion
Russell Javors — acoustic guitar, electric guitar
Doug Stegmeyer — bass guitar

Download:

https://file.al/vharqgc4r564/hires.link_BillyJoelGlassHouses19809624.rar.html

Artist: Billy Joel
Title: Greatest Hits Vol. III
Genre: Rock
Release Date: 1997/2014
Label: Columbia Records
Duration: 01:16:12
Quality: FLAC 96kHz/24bit
Source: AcousticSounds

Perhaps it was inevitable that Billy Joel’s Greatest Hits, Vol. 3 would pale next to its double-disc predecessor. Greatest Hits, Vols. 1 & 2 covered nine albums (it ignored Cold Spring Harbor), a period during which Joel had 26 Top 100 hits. If it had picked up where the first collection left off, Vol. 3 would have covered three studio albums, which produced 11 hits. That alone would have made a respectable hits collection, and it would have made sense, since The Bridge marked the beginning of a new phase of Joel’s career. Instead, the 17-song Vol. 3 begins with a pair of songs from An Innocent Man (“Keeping the Faith,” “An Innocent Man”) that sound entirely different from the material that follows, which finds Joel delving into mechanized, slickly produced adult contemporary pop. The remaining songs don’t strictly adhere to his charting hits, substituting such album tracks as “Leningrad,” “Shameless” and “Lullabye (Goodnight, My Angel)” for hits like “Modern Woman,” “That’s Not Her Style” and his non-LP cover of Elvis’ “All Shook Up.” Even with those missing hits, Greatest Hits, Vol. 3 does summarize Joel’s latter career quite well, culling most of his best songs from the time. However, the album ends on a down note, as it adds three new songs, all covers, that are limply produced and colorlessly played. Bob Dylan’s “To Make You Feel My Love” — which Joel decided to perform as if it was a slow, sanitized Blonde on Blonde outtake — is the best of the trio, but none of them qualify as Joel classics, and they are an inauspicious way to end this chapter of his career. –Stephen Thomas Erlewine

Tracklist:
1 Keeping The Faith 4:38
2 An Innocent Man 5:19
3 A Matter Of Trust 4:12
4 Baby Grand 4:05
5 This Is The Time 5:00
6 Leningrad 4:04
7 We Didn’t Start The Fire 4:48
8 I Go To Extremes 4:24
9 And So It Goes 3:37
10 The Downeaster “Alexa” 3:44
11 Shameless 4:27
12 All About Soul (Remix) 6:01
13 Lullabye (Goodnight, My Angel) 3:35
14 The River Of Dreams 4:11
15 To Make You Feel My Love 3:53
16 Hey Girl 3:57
17 Light As The Breeze 6:12

Pesrsonal
Billy Joel: keyboards, acoustic piano, Hammond B-3, Fender Rhodes, synthesizers, clavinet, accordion, harpsichord, harmonica, lead and backing vocals
Bob Bailey, Kim Fleming, Yvonne Hodges, Donna McElroy, Chris Rodriguez, Trisha Yearwood, Alex Brown, Jackie Gouche, Monalisa Young, Wrecia Ford, Marion Saunders, B. David Whitworth, Frank and George Simms, Patty Darcy, Frank Floyd, Mick Jones, Joe Lynn Turner, Ian Lloyd, Chuck Arnold (and members of the Hicksville High School Chorus): background vocals
David Brown, Russell Javors, Dean Parks, Joey Hunting, Mike Tyler, Danny Kortchmar, Tommy Byrnes, Phillip Nowlam, Bob Mann, Dann Huff, Mac McAnally: guitars
Paul Franklin: pedal steel (“Light as the Breeze”)
Matt Rollings, Ray Charles: acoustic piano
Steve Nathan: organ
Robbie Kondor, Randy Waldman: keyboards
John Mahoney: keyboards, keyboard programming
Kevin Jones: keyboard programming
Jeff Jacobs, Jeff Bova: synthesizers
Doug Stegmeyer, Neil Stubenhaus, Schuyler Deale, T. M. Stevens, Chuck Treece, Jeff Lee Johnson, Will Lee, Willie Weeks, Randy D. Jackson: bass guitar
Liberty DeVitto, Vinnie Colaiuta, Zachary Alford, Shawn Pelton: drums
Crystal Taliefero: percussion, backing vocals
Mark Rivera: percussion, alto and tenor saxophones
Michael Brecker: tenor sax
Ronnie Cutler: baritone sax

Download:

https://file.al/wee6er6yv5k4/hires.link_BillyJoelGreatestHitsVol.III19979624.part1.rar.html
https://file.al/zsdjp62ak67y/hires.link_BillyJoelGreatestHitsVol.III19979624.part2.rar.html

Artist: Billy Joel
Title: Greatest Hits – Volume I & Volume II
Genre: Rock
Release Date: 1985/2007
Label: Columbia Records
Duration: 01:53:12
Quality: FLAC 96kHz/24bit
Source: AcousticSounds

Although it’s missing a few important (not to mention big) hits, Greatest Hits, Vols. 1 & 2 is an excellent retrospective of the first half of Billy Joel’s career. Beginning with “Piano Man,” the first disc runs through a number of early songs before arriving at the hit-making days of the late ’70s; some of these songs, including “Captain Jack” and “New York State of Mind,” weren’t strictly hits, but were popular numbers within his stage show and became radio hits. Once the songs from The Stranger arrive halfway through the first disc, there’s no stopping the hits (although “Scenes From an Italian Restaurant,” an album track from The Stranger, manages its way onto the collection). In fact, over the next disc and a half, there’s so many hits, it’s inevitable that some are left off — to be specific, “Honesty,” “Sometimes a Fantasy,” “An Innocent Man,” “Leave a Tender Moment,” and “Keeping the Faith” aren’t included. But all the other hits — including “Just the Way You Are,” “Only the Good Die Young,” “My Life,” “You May Be Right,” “It’s Still Rock and Roll to Me,” “Don’t Ask Me Why,” “Allentown,” “Tell Her About It” and “Uptown Girl,” among many others — are present and accounted for, as are two new songs (“You’re Only Human (Second Wind),” “The Night Is Still Young”) that became hits as well. In short, Greatest Hits, Vols. 1 & 2 does its job perfectly, encapsulating exactly why Billy Joel was one of the most popular singer/songwriters of the late ’70s and early ’80s. –Stephen Thomas Erlewine

Tracklist:
1-01 Piano Man 5:36
1-02 Captain Jack 7:15
1-03 The Entertainer 3:39
1-04 Say Goodbye To Hollywood 3:54
1-05 New York State Of Mind 5:58
1-06 The Stranger 5:07
1-07 Scenes From An Italian Restaurant 7:33
1-08 Just The Way You Are 3:37
1-09 Movin’ Out (Anthony’s Song) 3:28
1-10 Only The Good Die Young 3:53
1-11 She’s Always A Woman 3:18
2-01 My Life 3:51
2-02 Big Shot 3:43
2-03 Honesty 3:51
2-04 You May Be Right 4:10
2-05 It’s Still Rock And Roll To Me 2:55
2-06 She’s Got A Way 3:00
2-07 Pressure 3:16
2-08 Allentown 3:49
2-09 Goodnight Saigon 7:00
2-10 Tell Her About It 3:35
2-11 Uptown Girl 3:16
2-12 The Longest Time 3:36
2-13 You’re Only Human (Second Wind) 4:48
2-14 The Night Is Still Young 5:28

Download:

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Artist: Billy Joel
Title: Piano Man
Genre: Rock
Release Date: 1973/2013
Label: Columbia/Legacy
Duration: 43:15
Quality: FLAC 96kHz/24bit
Source: HDTracks

Chart History/Awards
— “Piano Man” reached #4 on the Adult Contemporary singles charts.

Piano Man, Billy Joel’s debut on Columbia Records, is his sensational breakthrough masterpiece. An important album in his illustrious career, Piano Man saw Joel rise to singer-songwriter stardom. Reaching the Top Thirty on the Billboard charts, the work features signature Joel tunes including “Travelin’ Prayer,” “Worse Comes To Worst” and the title-track. “Piano Man” reached #4 on the Adult Contemporary singles chart and remains one of Joel’s biggest hits.

Embittered by legal disputes with his label and an endless tour to support a debut that was dead in the water, Billy Joel hunkered down in his adopted hometown of Los Angeles, spending six months as a lounge singer at a club. He didn’t abandon his dreams — he continued to write songs, including “Piano Man,” a fictionalized account of his weeks as a lounge singer. Through a combination of touring and constant hustling, he landed a contract with Columbia and recorded his second album in 1973. Clearly inspired by Elton John’s Tumbleweed Connection, not only musically but lyrically, as well as James Taylor, Joel expands the vision and sound of Cold Spring Harbor, abandoning introspective numbers (apart from “You’re My Home,” a love letter to his wife) for character sketches and epics. Even the title track, a breakthrough hit based on his weeks as a saloon singer, focuses on the colorful patrons, not the singer. If his narratives are occasionally awkward or incomplete, he compensates with music that gives the songs a sweeping sense of purpose — they feel complete, thanks to his indelible melodies and savvy stylistic repurposing. He may have borrowed his basic blueprint from Tumbleweed Connection, particularly with its Western imagery and bluesy gospel flourishes, but he makes it his own, largely due to his melodic flair, which is in greater evidence than on Cold Spring Harbor. Piano Man is where he suggests his potential as a musical craftsman. He may have weaknesses as a lyricist — such mishaps as the “instant pleasuredome” line in “You’re My Home” illustrate that he doesn’t have an ear for words — but Piano Man makes it clear that his skills as a melodicist can dazzle.

Tracklist:
01 — Travelin’ Prayer
02 — Piano Man
03 — Ain’t No Crime
04 — You’re My Home
05 — The Ballad Of Billy The Kid
06 — Worse Comes To Worst
07 — Stop In Nevada
08 — If I Only Had The Words (To Tell You)
09 — Somewhere Along The Line
10 — Captain Jack

Download:

https://file.al/0a96owyhmv5p/hires.link_BillyJoelPianoMan19732013HDTracks2496.part1.rar.html
https://file.al/m2pyy5l23b3a/hires.link_BillyJoelPianoMan19732013HDTracks2496.part2.rar.html

Artist: Billy Joel
Title: River Of Dreams
Genre: Rock
Release Date: 1993/2013
Label: Columbia Records
Duration: 49:12
Quality: FLAC 96kHz/24bit
Source: Qobuz
Recorded: 1993, The Boathouse at the Island Boatyard, Shelter Island, NY; Cove City Sound Studios, Glen Cove, NY; The Hit Factory, New York, NY.

Billy Joel had never taken as much time to record an album as he did with River of Dreams, and its troubled birth is clear upon the first listen. Never before had he recorded an album that sounded so labored, as if it was a struggle for him to write and record the songs. With River of Dreams, he’s surrounded himself with ace studio musicians and star producer Danny Kortchmar, all of whom have the effect of deadening an already self-consciously serious set of songs. There are no light moments on the album, either lyrically or musically — all the songs are filled with middle-age dread, even the two best moments, the gospel-inflected title track and his song to his daughter, “Lullabye (Goodnight, My Angel).” Those two songs have the strongest melodies, but they’re not as natural as his best material. Everywhere he tries too hard — the metaphors of “The Great Wall of China,” the bizarre vocal intro to “Shades of Grey,” minor-key melodies all over the place. He may be trying different things, but he doesn’t sound comfortable with his detours, and by the end of the record, he sounds as exhausted as the listener feels. By that point, the closing track, “Famous Last Words,” seems prophetic — River of Dreams feels like a sad close to an otherwise strong career, and from all indications he’s given in the press, Joel claims it is indeed the last pop album he’ll ever make. It’s an unworthy way to depart. –Stephen Thomas Erlewine

Tracklist:
1 No Man’s Land 4:48
2 The Great Wall Of China 5:47
3 Blonde Over Blue 4:55
4 A Minor Variation 5:36
5 Shades Of Grey 4:11
6 All About Soul 6:01
7 Lullabye (Goodnight, My Angel) 3:34
8 The River Of Dreams 4:07
9 Two Thousand Years 5:20
10 Famous Last Words 4:59

Pesrsonal
Billy Joel: Vocals, Piano, Clavinet, Organs, Keyboards, Synthesizer, Background Vocals
Zachary Alford: Drums
Phillip Ballou, Katreese Barnes, Dennis Collins, Will Downing, Diane Garisto, Stephanie James, Devora Johnson, Brenda White-King: Choir, Chorus
Tommy Byrnes, Mike Tyler, Leslie West, Danny Kortchmar: Guitar
Richie Cannata: Tenor Sax
Schuyler Deale, Lonnie Hillyer, T.M. Stevens, Chuck Treece, Jef Lee Johnson: Bass
Lew Del Gatto: Orchestra Manager
Liberty DeVitto, Steve Jordan: Drums
Laurence Etkin: Trumpet
Wrecia Ford: Vocals
Arno Hecht: Baritone Sax
Jeff Jacobs: Synthesizer
Color Me Badd: Backing Vocals on ‘All About Soul’
Curtis Rance King, Jr.: Choir Conductor, Choir Contractor
Doug Kleeger Technical Support
Andy Kravitz: Percussion
Osvaldo Melindez: Trombone
Ira Newborn: Orchestration
Jim Saporito: Percussion
Marlon Saunders: Choir, Chorus, Vocals
Frank Simms, George Simms: Background Vocals
Crystal Taliefero: Vocal Arrangement, Vocals
B. David Witworth: Vocals

Download:

https://file.al/kyh6z6hs1nkf/hires.link_BillyJoelRiverOfDreams19939624.part1.rar.html
https://file.al/xt2zvbrmfzpy/hires.link_BillyJoelRiverOfDreams19939624.part2.rar.html

Artist: Billy Joel
Title: Shes Got A Way: Love Songs
Genre: Rock
Release Date: 2010/2013
Label: Columbia Records
Duration: 01:19:20
Quality: FLAC 96kHz/24bit
Source: HDTracks

Columbia Records and Legacy Recordings announce the release of She’s Got A Way: Love Songs, a new collection of 18 essential love songs drawn from three decades of recordings by music legend and composer/singer songwriter, Billy Joel.

She’s Got A Way: Love Songs is a perfect distillation of the artist’s expressions of love and romance over the course of his life and career. The album brings together some of Billy’s finest and most heartfelt performances, iconic hits playing alongside under-appreciated deep catalog selections.

She’s Got A Way: Love Songs are the love songs, ballads and sentimental favorites comprising a dream Billy Joel playlist for old and new romantics alike, bringing new context to classics like “Just the Way You Are,” “Honesty” and “She’s Always a Woman” while rediscovering forgotten masterpieces like “Travelin’ Prayer” (the b-side of the “Piano Man” single), Billy’s version of “Shameless” (a #1 country smash for Garth Brooks), and the haunting instrumental “Nocturne” (from 1971’sCold Spring Harbor).

Tracklist:
Travelin’ Prayer (single from Piano Man — 1973 — #77 pop single)
The Night Is Still Young (single from Greatest Hits — Volume I and II — 1985 — #34 Hot 100)
This Is The Time (single from The Bridge — 1986 — #18 Hot 100, #1 AC)
She’s Got A Way (Live) (single from Songs in the Attic — 1981 — #23 Hot 100, #4 AC)
Temptation (track from The Bridge — 1986)
Nocturne (track from Cold Spring Harbor — 1971)
Until The Night (from 52nd Street — 1978)
She’s Right On Time (from The Nylon Curtain — 1982)
You’re My Home (b-side of single from Piano Man — 1973)
Just The Way You Are (single from The Stranger — 1977 — #3 Hot 100 — Grammy Record of the Year and Song of the Year)
She’s Always A Woman (single from The Stranger — 1977 — #17 Hot 100, #2 AC)
State Of Grace (from Storm Front — 1989)
Honesty (single from 52nd Street — 1978 — #24 Hot 100)
This Night (b-side of single from An Innocent Man — 1984)
Shameless (from Storm Front — 1989 — #1 country song for Garth Brooks)
An Innocent Man (single from An Innocent Man — 1983 — #10 Hot 100, #1 AC)
All About Soul (Remix) (single from River of Dreams — 1993 — #29 Hot 100)
And So It Goes (single from Storm Front — 1989 — #37 Hot 100)

Download:

https://file.al/km4ywpv31u3e/hires.link_BillyJoelShesGotAWayLoveSongs20109624.part1.rar.html
https://file.al/35b13yx6e7c7/hires.link_BillyJoelShesGotAWayLoveSongs20109624.part2.rar.html

Artist: Billy Joel
Title: Songs In The Attic
Genre: Rock
Release Date: 1981/2014
Label: Columbia Records
Duration: 48:29
Quality: FLAC 96kHz/24bit
Source: HDTracks

Songs in the Atticb is Billy Joel’s first live album, and was recorded during his Glass Houses Tour in June-July 1980. It introduced Billy Joel’s early work to fans who had come to know his work after The Stranger, and also showcased his touring band, with whom he had been playing for some time. Two singles from the album (“Say Goodbye to Hollywood” and “She’s Got a Way”) were released and made it into the top 25 on the charts.

Having scored three multi-platinum hits in a row, Billy Joel took a breather, releasing his first live album, Songs in the Attic, as he worked on his ambitious follow-up to Glass Houses. Joel wisely decided to use the live album as an opportunity to draw attention to songs from his first four albums. Apart from “Piano Man,” none of those songs had been heard by the large audience he had won with The Stranger. Furthermore, he now had a seasoned backing band that helped give his music a specific identity — in short, it was an opportunity to reclaim these songs, now that he had a signature sound. And Joel didn’t botch the opportunity — Songs in the Attic is an excellent album, ranking among his very best work. With the possible exception of the Turnstiles material, every song is given a fuller, better arrangement that makes it all spring to life. “Los Angelenos” and “Everybody Loves You Now” hit harder in the live setting, while ballads like “She’s Got a Way,” “Summer, Highland Falls,” and “I’ve Loved These Days” are richer and warmer in these versions. A few personal favorites from these albums may be missing, but what is here is impeccable, proving that even if Joel wasn’t a celebrity in the early ’70s, his best songs of the era rivaled his biggest hits.

Tracklist:
01 — Miami 2017 (Seen The Lights Go Out On Broadway)
02 — Summer, Highland Falls
03 — Streetlife Serenader
04 — Los Angelenos
05 — She’s Got A Way
06 — Everybody Loves You Now
07 — Say Goodbye To Hollywood
08 — Captain Jack
09 — You’re My Home
10 — The Ballad Of Billy Kid
11 — I’ve Loved These Days

Pesrsonal
Billy Joel — vocals, piano, synthesizer, harmonica
David Brown — electric guitar (lead), acoustic guitar (lead)
Richie Cannata — saxophones, flute, organ
Liberty DeVitto — drums, percussion
Russell Javors — electric guitar (rhythm), acoustic guitar (rhythm)
Doug Stegmeyer — bass guitar

Download:

https://file.al/g6z03excui1y/hires.link_BillyJoelSongsInTheAttic19812014HDTracks2496.part1.rar.html
https://file.al/7tfttyzf1jam/hires.link_BillyJoelSongsInTheAttic19812014HDTracks2496.part2.rar.html

Artist: Billy Joel
Title: Storm Front
Genre: Rock
Release Date: 1989/2014
Label: Columbia Records
Duration: 45:00
Quality: FLAC 96kHz/24bit
Source: HDTracks
Recorded: 1988-1989 at The Hit Factory Times Square Studio, The Power Studio, and Right Track Recording in New York, NY; and The Warehouse Studio in Vancouver, Canada.

Storm Front is the product of a collaboration between singer-songwriter Billy Joel and producer Mick Jones. The first single “We Didn’t Start The Fire” reached number one on Billboard charts in 1989 after its release. The album itself received numerous Grammy nominations including: Best Pop Vocal Performance, Male and Producer of the Year, Record of the Year, Song of the Year for “We Didn’t Start The Fire”, and Best Male Pop Vocal Performance.

When he went for a masterpiece on The Nylon Curtain, Billy Joel worked with his band and producer Phil Ramone, crafting a Beatlesque song suite that was perfectly in step with Turnstiles. For Storm Front, he decided it was time to change things. He fired Ramone. He fired everyone in his band, save longtime drummer Liberty DeVito. He hired Mick Jones, the architect behind Foreigner’s big AOR sound, to man the boards. He wrote a set of sober, somber songs, save “That’s Not Her Style,” a weirdly defensive song about his model wife, Christie Brinkley. He was left with an album that is singularly joyless. Joel makes no bones about his ambitions for Storm Front — when you lead with a history lesson as your first single (the monotonous chant “We Didn’t Start the Fire”), it’s clear that you’re not interested in fun. That wouldn’t have been a problem if his melodic skills weren’t in decline. Joel packed all the strongest numbers into the first half of Storm Front, from the rocking “That’s Not Her Style” and “I Go to Extremes” to the fisherman’s plight “The Downeaster ‘Alexa'” and the power ballad “Shameless,” which Garth Brooks later made a standard. Compared to the murky second side, which perks up only mildly with “Leningrad” and “And So It Goes,” it’s upbeat, varied, melodic, and effective, but when it’s compared to his catalog — not only such high-water marks as The Stranger or Glass Houses, but with a record as uneven as The Bridge — it pales musically and lyrically. The five singles (“Fire,” “Style,” “Extremes,” “‘Alexa’,” “Goes”) were catchy enough on the radio to propel the album to multi-platinum status, but in retrospect, Storm Front sounds like the beginning of the end. –Stephen Thomas Erlewine

Tracklist:
1 That’s Not Her Style 5:10
2 We Didn’t Start the Fire 4:51
3 The Downeaster “Alexa” 3:45
4 I Go to Extremes 4:23
5 Shameless 4:30
6 Storm Front 5:13
7 Leningrad 4:07
8 State of Grace 4:30
9 When In Rome 4:50
10 And So It Goes 3:41

Pesrsonal
Billy Joel — vocals, piano, clavinet, accordion, organ, harpsichord, synthesizers, percussion
Liberty DeVitto — drums, percussion
David Brown — lead guitar, MIDI guitar
Joey Hunting — rhythm guitar
Mick Jones — guitar
Schuyler Deale — bass
Jeff Jacobs — synthesizers
Don Brooks — harmonica
John Mahoney — keyboards
Crystal Taliefero — percussion
Sammy Merendino — electronic percussion
Dominic Cortese — accordion
Itzhak Perlman — fiddle
Lenny Pickett — saxophone
Andrew Love, Wayne Jackson — horns
Billy Joel, Mick Jones, Richard Marx, Crystal Taliefero, Jeff Jacobs, Patricia Darcy-Jones, Frank Floyd, Brian Ruggles, Joe Lynn Turner, Ian Lloyd, Brenda White King, Curtis King — backing vocals
Chuck Arnold — choral leader

Download:

https://file.al/powxmeztbzr2/hires.link_BillyJoelStormFront19899624.part1.rar.html
https://file.al/ya9z8pp7yiq8/hires.link_BillyJoelStormFront19899624.part2.rar.html

Artist: Billy Joel
Title: Streetlife Serenade
Genre: Rock
Release Date: 1974/2014
Label: Legacy/CBS/Sony
Duration: 37:55
Quality: FLAC 96kHz/24bit
Source: HDTracks

Streetlife Serenade is Billy Joel’s third studio album and was originally released on October 11, 1974. Recorded during the spring and summer of 1974 at Devonshire Sound in North Hollywood, CA, the album was produced by Michael Stewart and was Joel’s second album to be released with Columbia Records. Streetlife Serenade was Joel’s follow-up to 1973’s massively successful Piano Man, and peaked at #35 on the US Billboard 200 and would eventually be certified Platinum by the RIAA.

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.

Tracklist:
01 — Streetlife Serenader
02 — Los Angelenos
03 — The Great Suburban Showdown
04 — Root Beer Rag
05 — Roberta
06 — The Entertainer
07 — Last Of The Big Time Spenders
08 — Weekend Song
09 — Souvenir
10 — The Mexican Connection

Pesrsonal
Billy Joel — harmonica, keyboards, Vocals, Moog synthesizer
Richard Bennett — guitar
Joe Clayton — conductor, conga
Gary Dalton — guitar
Mike Deasey — guitar
Don Evans — guitar
Wilton Felder — bass, keyboards
Emory Gordy, Jr. — bass
Al Hertzberg — guitar
Larry Knechtel — bass
Art Munson — guitar
Raj Rathor — guitar
William Smith — organ
Michael Stewart– guitar
Ron Tutt — drums
Tom Whitehorse — banjo, pedal steel

Production:
Producer: Michael Stewart
Engineer: Ron Malo
Digital remastering: Joseph M. Palmaccio. Erroneously credited to Ted Jensen
Arrangers: Michael Stewart, Billy Joel
Tape research: John Naatjes
Art direction: Ron Coro
Design: Ron Coro
Photography: Peter Cunningham, Jim Marshall

Download:

https://file.al/tfd7xfvba8oe/hires.link_BillyJoelStreetlifeSerenade19742014HDTracks2496.rar.html

Artist: Billy Joel
Title: The Bridge
Genre: Rock
Release Date: 1986/2014
Label: Columbia Records
Duration: 40:13
Quality: FLAC 96kHz/24bit
Source: Qobuz
Recorded: 1985-86, The Power Station, Chelsea Sound (North), RCA Studios, New York City and Evergreen Studios, Burbank, California.

Riding high on the blockbuster An Innocent Man and with a new jet-setting bride at his side, Billy Joel took full advantage of the high life, as is clear from The Bridge, an album that unwittingly celebrates the excesses of the Reagan years. While he hasn’t quite settled into middle age, Joel is ready to take advantage of his wealth and status, recruiting a hero (Ray Charles) and a new wave kid (Cyndi Lauper) for duets, turning to Sting for inspiration (“Running on Ice”), fronting a big band (“Big Man on Mulberry Street”), writing a song for a movie (“Modern Woman”), and picking up the guitar (“A Matter of Trust”), just for the hell of it. You could say that it’s eclectic, but it’s scattershot, because it’s just Joel showing off his musical skills. He’s done this before, to great effect on Turnstiles, but this is all about hubris and, as such, it sounds exactly like its time. From its processed, distorted guitars to its hollow synthesizers, The Bridge sounds dated and it’s his most uneven since Streetlife Serenade. Even on the hits, he sounds as if he’s stretching — “This Is the Time” is labored compared to “Just the Way You Are” (not to mention considerably more vulgar); “A Matter of Trust” never hits upon a solid riff like “Sometimes a Fantasy”; “Modern Woman” is catchy but fluffy; “Baby Grand” is weighed down by Joel’s vocal affectations. In context of the album, they’re fairly enjoyable, but they hint at the dry spell that was just around the corner. Nevertheless, Joel still has enough panache and is riding on so much exuberance that The Bridge remains an entertaining listen, especially if it’s viewed as a Reagan-era artifact. It just doesn’t compare to what came before. –Stephen Thomas Erlewine

Tracklist:
1 Running On Ice 3:15
2 This Is The Time 4:59
3 A Matter Of Trust 4:09
4 Modern Woman 3:48
5 Baby Grand (duet with Ray Charles) 4:02
6 Big Man On Mulberry Street 5:26
7 Temptation 4:12
8 Code Of Silence (feat. Cyndi Lauper) 5:15
9 Getting Closer 5:00

Pesrsonal
Billy Joel — piano, synthesizers, vocals, Fender Rhodes on “Getting Closer”
Liberty DeVitto — drums, percussion
Doug Stegmeyer — bass guitar
David Brown — guitars, acoustic 12-string and electric guitars on “Code of Silence”, guitar on “Getting Closer”
Russell Javors — guitars
Peter Hewlett — background vocals on “Running on Ice”
Rob Mounsey — synthesizers on “Running on Ice”; orchestration on “This Is the Time”, “Modern Woman” and “Big Man on Mulberry Street”
Jeff Bova — synthesizers on “A Matter of Trust” and “Code of Silence”; orchestration on “Temptation”
Jimmy Bralower — percussion on “Modern Woman”
Mark Rivera — tenor saxophone on “Modern Woman”, alto saxophone on “Temptation”
Ray Charles — vocals and piano on “Baby Grand”
Vinnie Colaiuta — drums on “Baby Grand”
Dean Parks — guitar on “Baby Grand”
Patrick Williams — arrangements on “Baby Grand”
Ron Carter — acoustic bass on “Big Man on Mulberry Street”
Eddie Daniels — alto saxophone]] on “Big Man on Mulberry Street”
Michael Brecker — tenor saxophone on “Big Man on Mulberry Street”
Ronnie Cuber — baritone saxophone on “Big Man on Mulberry Street”
Mark Stamm — trumpet on “Big Man on Mulberry Street”
Alan Rubin — trumpet on “Big Man on Mulberry Street”
Dave Bargeron — trombone on “Big Man on Mulberry Street”
Philippe Saisse — orchestration on “Temptation”
Cyndi Lauper — vocals on “Code of Silence”
Steve Winwood — Hammond B3 organ on'”Getting Closer”
Neil Jason — bass guitar on “Getting Closer”
John McCurry — guitar on “Getting Closer”

Download:

https://file.al/fq8jfdlwkwgy/hires.link_BillyJoelTheBridge19869624.rar.html

Artist: Billy Joel
Title: The Essential Billy Joel
Genre: Rock
Release Date: 2001/2013
Label: Columbia Records
Duration: 02:35:00
Quality: FLAC 96kHz/24bit
Source: Qobuz

A full 34 of his hits plus two newly recorded tunes! Every favorite’s here- Piano Man; Just the Way You Are; My Life; You May Be Right; Tell Her About It; Uptown Girl; We Didn’t Start the Fire; Only the Good Die Young; It’s Still Rock and Roll to Me; The River of Dreams; Honesty; Allentown, and more.

Released in conjunction with Billy Joel’s grand experiment with classical music, The Essential Billy Joel was a welcome reminder of Billy Joel’s way with a pop song, improving on the previous Greatest Hits, Vol. 1 & 2 by extending into the ’90s and delving deeper into his catalog. There were some casualties along the way — it’s easy for a fan to carp about the absence of personal favorites like “She’s Right on Time” or “Travelin’ Prayer,” and it may even make some sense that “You’re Only Human (Second Wind)” or “Shameless” didn’t make the cut, but it’s mind-boggling that “Scenes From an Italian Restaurant” isn’t here (we won’t mention that the classical pieces that end the record, no matter how surprisingly good they are, are as out of place as Attila would have been) — but for the most part, this has every one of Joel’s heavy-hitters, and his craftsmanship, both as a songsmith and record maker, has never shone brighter. The biggest fault is that there is a notable drop-off in quality after 1986’s The Bridge (which ends midway through disc two), but even so, this is as good a distillation of Joel’s talents imaginable. In fact, as the first disc unfurls, even cynics may wonder why he’s been dogged by the critics, since singer/songwriter pop doesn’t come better than “Say Goodbye to Hollywood,” “New York State of Mind,” “Only the Good Die Young,” “My Life,” “It’s Still Rock and Roll to Me,” “Don’t Ask Me Why,” “Allentown,” and their seven companions. ~ Stephen Thomas Erlewine

Tracklist:
01 — Piano Man
02 — You’re My Home
03 — Captain Jack
04 — The Entertainer
05 — Say Goodbye to Hollywood
06 — Miami 2017 (I’ve Seen the Lights Go Out on Broadway)
07 — New York State of Mind
08 — She’s Always a Woman
09 — Movin’ Out (Anthony’s Song)
10 — Only the Good Die Young
11 — Just the Way You Are
12 — Honesty
13 — My Life
14 — It’s Still Rock and Roll to Me
15 — You May Be Right
16 — Don’t Ask Me Why
17 — She’s Got a Way (Live)
18 — Allentown
19 — Goodnight Saigon
20 — An Innocent Man
21 — Uptown Girl
22 — The Longest Time
23 — Tell Her About It
24 — Leave a Tender Moment Alone
25 — A Matter of Trust
26 — Baby Grand
27 — I Go to Extremes
28 — We Didn’t Start the Fire
29 — Leningrad
30 — The Downeaster “Alexa”
31 — And so It Goes
32 — The River of Dreams
33 — All About Soul (Remix)
34 — Lullabye (Goodnight, My Angel)
35 — Waltz No. 1 (Nunley’s Carousel)
36 — Invention In C minor

Note
Tracks “8-11” are 24bit/88,2kHz.

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Artist: Billy Joel
Title: The Nylon Curtain
Genre: Rock
Release Date: 1982/2014
Label: Columbia Records
Duration: 41:51
Quality: FLAC 96kHz/24bit
Source: HDTracks
Recorded: Spring of 1982 at A & R Recording and Media Sound Studios, New York City.

The Nylon Curtain is Billy Joel’s eighth studio album and was released on September 23, 1982. Produced by Phil Ramone, the album is considered to be one of Joel’s most ambitious albums and was a personal favorite of his. The song “Allentown” was a huge hit and spent six weeks at #17 on the Billboard Hot 100.

Billy Joel hit back as hard as he could with Glass Houses, his bid to prove that he could rock as hard as any of those new wave punks. He might not have proven himself a punk — for all of his claims of being a hard rocker, his work inevitably is pop because of his fondness for melody — but he proved to himself that he could still rock, even if the critics didn’t give him any credit for it. It was now time to mature, to move pop/rock into the middle age and, in the process, earn critical respect. In short, The Nylon Curtain is where Billy Joel went serious, consciously crafting a song cycle about Baby Boomers in the Reagan era. Since this was an album about Baby Boomers, he chose to base his music almost entirely on the Beatles, the pivotal rock band for his generation. Joel is naturally inclined to write big melodies like McCartney, but he idolizes Lennon, which makes The Nylon Curtain a fascinating cross between ear candy and social commentary. His desire to record a grand concept album is admirable, but his ever-present lyrical shortcomings mean that the songs paint a picture without arriving at any insights. He occasionally gets lost in his own ambition, as on the waterlogged second side, but the first half of the song suite — “Allentown,” “Laura,” “Pressure,” “Goodnight Saigon,” “She’s Right on Time” — is layered, successful, mature pop that brings Joel tantalizingly close to his ultimate goal of sophisticated pop/rock for mature audiences. –Stephen Thomas Erlewine

Tracklist:
1 Allentown 3:50
2 Laura 5:02
3 Pressure 4:38
4 Goodnight Saigon 6:58
5 She’s Right On Time 4:11
6 A Room Of Our Own 4:00
7 Surprises 3:28
8 Scandinavian Skies 5:59
9 Where’s The Orchestra? 3:16

Pesrsonal
Billy Joel — Vocals, piano, synthesizer, hammond organ, melodica, Prophet V Synthesizer, Synclavier II On “Pressure”
David Brown — electric guitar (lead), acoustic guitar (lead)
Dominic Cortese — accordion on “Where’s the Orchestra?”
Liberty DeVitto — drums, percussion
Eddie Daniels — saxophone and clarinet on “Where’s the Orchestra?”
Russell Javors — electric guitar (rhythm), acoustic guitar (rhythm)
Dave Grusin — string and horn arrangement
Charles McCracken — cello on “Where’s the Orchestra?”
Rob Mounsey — synthesizer on “Scandinavian Skies”
David Nadien — concertmaster on all except “Laura” and “Scandinavian Skies”
Doug Stegmeyer — bass
“String Fever” — strings on “Laura” and “Scandinavian Skies”
Bill Zampino — field snare on “Goodnight Saigon”

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https://file.al/y2pt8bbh83ku/hires.link_BillyJoelTheNylonCurtain19829624.rar.html

Artist: Billy Joel
Title: The Stranger
Genre: Rock
Release Date: 1977/2012
Label: Columbia/Legacy
Duration: 42:32
Quality: FLAC 88.2kHz/24bit
Source: HDTracks

The Stranger is the seminal classic from multiple GRAMMY Award winner, Billy Joel. Joel is one of music’s bestselling artists and his fifth studio recording spent six weeks at #2 on the Billboard 200. The Stranger is on Rolling Stone’s “500 Greatest Albums of All Time” and includes the massive hit singles “Just The Way You Are,” “She’s Always A woman” and “Movin’ Out (Anthony’s Song).” “Just The Way You Are” won two GRAMMY Awards, one for Record of the Year and one for Song of the Year.

Billy Joel teamed with Phil Ramone, a famed engineer who had just scored his first producing hits with Art Garfunkel’s Breakaway and Paul Simon’s Still Crazy After All These Years for The Stranger, his follow-up to Turnstiles. Joel still favored big, sweeping melodies, but Ramone convinced him to streamline his arrangements and clean up the production. The results aren’t necessarily revelatory, since he covered so much ground on Turnstiles, but the commercialism of The Stranger is a bit of a surprise. None of his ballads have been as sweet or slick as “Just the Way You Are”; he never had created a rocker as bouncy or infectious as “Only the Good Die Young”; and the glossy production of “She’s Always a Woman” disguises its latent misogynist streak. Joel balanced such radio-ready material with a series of New York vignettes, seemingly inspired by Springsteen’s working-class fables and clearly intended to be the artistic centerpieces of the album. They do provide The Stranger with the feel of a concept album, yet there is no true thematic connection between the pieces, and his lyrics are often vague or mean-spirited. His lyrical shortcomings are overshadowed by his musical strengths. Even if his melodies sound more Broadway than Beatles — the epic suite “Scenes From an Italian Restaurant” feels like a show-stopping closer — there’s no denying that the melodies of each song on The Stranger are memorable, so much so that they strengthen the weaker portions of the album. Joel rarely wrote a set of songs better than those on The Stranger, nor did he often deliver an album as consistently listenable.

Tracklist:
01 — Movin’ Out (Anthony’s Song)
02 — The Stranger
03 — Just The Way You Are
04 — Scenes From An Italian Restaurant
05 — Vienna
06 — Only The Good Die Young
07 — She’s Always A Woman
08 — Get It Right The First Time
09 — Everybody Has A Dream

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