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
,
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
a la
-- but since
is a working-class populist, not an elitist college boy, he never shies away from big gestures and melodies. Consequently,
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
'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,
might not be as strong as
, 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
's melodic craftsmanship. It's remarkable to think that in a matter of three records,
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.
is a testament to that achievement. ~ Stephen Thomas Erlewine