It could be argued that Billy Currington is enjoying himself just a tad too much on his fourth album. Everything rolls just a little bit too easily, Currington letting his words crawl out in a slow drawl, the tempos never getting any quicker than a shuffle, although things almost get heated on the bluesy closer, “Lil’ Ol’ Lonesome Dixie Town.” It’s such a low-key, lazy record, so consistent in tone that the singsongy chorus of “Love Done Gone” positively blares…..
Although there's an undeniable soft center to A Little Bit of Everything, the title of Billy Currington's third album is accurate: Currington dabbles in a lot of styles here, cranking up some rocking country, singing sentimental schmaltz, getting a bit reflective but mostly spending a lot of time singing mellow country-pop…..
Billy Currington was helped enormously by his duet with Shania Twain on "Party for Two," a new track on her 2004 Greatest Hits album. She had two versions of the song on the record – one cut with Sugar Ray's Mark McGrath for the pop audience, the version with Currington for country fans, and it's not entirely a stretch to say that Currington is a country McGrath: good-looking, likeable, entirely comfortable with selling out so he can reach as big of an audience possible, yet kind of ingratiating because he's not only charming, he's good at it. And his second album, Doin' Something Right proves this….
There's a cool aggression to 1983's "Rebel Yell," Billy Idol's second album that is equal parts new-wave, metal, punk, and pop. Although his debut was a hit and remains a classic, it was "Rebel Yell" that is his masterpiece. The album reunited Billy with the hit-making team of producer, Keith Forsey and the atmospheric guitarwork of Stevie Stevens that can only be called rock & roll nirvana. The album reached #6 on Billboard's Top 200 propelled by four hit singles including, "Rebel Yell," the eloquently gorgeous "Eyes Without a Face" with the haunting female backup singing of Perri Lister, and "Flesh for Fantasy" all of which were hit music videos. With a permanently snarled upper lip and the perfect matinee-idol blond hair, Billy Idol made punk rock palatable for MTV and the masses.
It was pretty clear that Billy Joel had run out of steam by 1993's River of Dreams. He had shown signs of wearing on its predecessor, Storm Front, but his trademark melodic gift disappeared on River of Dreams and his words, even performances, were bone-tired – he even called the last song "The Last Song (No More Words)." So, it was no great surprise that he did not rush to record a follow-up, and when he started murmuring toward the end of the decade that perhaps he wasn't interested in pop music anymore, nobody who paid attention could have been surprised.
52nd Street (1978). 52nd Street is Billy Joel's sixth studio album and the first to reach #1 in Billboard. The 1978 release contains some essential American pop songs including the three Top 40 hits, "My Life," "Big Shot," and "Honesty."
The sophisticated and somewhat jazzy album is conceptualized like a musical, a showcase of masterful writing and musicianship. Joel interjects rock, soul and Latin rhythyms along with the jazz. The music flows together smoothly, thanks to Phil Ramone's seamless production and Joel's melodic craftsmanship. The jazz influences come through most strongly on "Zanzibar" - featuring Freddie Hubbard's trumpet solos - "Stiletto," and the title track. The album's standout is the gorgeously layered love song, "Until the Night"…