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….
The Stranger is the fifth studio album by American singer-songwriter Billy Joel, released on September 29, 1977, by Columbia Records. While his four previous albums had been moderately successful, The Stranger became Joel's true critical and commercial breakthrough, spending six weeks at #2 on the U.S. album charts. Considered his magnum opus, it remains his best-selling non-compilation album to date, and was ranked number 70 on Rolling Stone's list of the 500 greatest albums of all time.
This is a little-known and rather melancholy set, virtually Billy Strayhorn's only recording away from the world of Duke Ellington. The focus is totally on Strayhorn's piano throughout his interpretations of ten of his compositions (including "Lush Life," "Take the 'A' Train," and "Something to Live For"). Three selections have the Paris Blue Notes adding sparse wordless vocals, two other numbers add some quiet playing by the Paris String Quartet, and bassist Michel Goudret is on five of the ten selections (including one apiece with the strings and the voices). "Strange Feeling" and "Chelsea Bridge" are taken as unaccompanied piano solos. Of the ten songs, only "Just A-Sittin' and A-Rockin'" hints at happiness; otherwise, Strayhorn's melodic and concise playing is quite somber, peaceful in volume but filled with inner tension.
By 1990's aptly named Charmed Life, Billy Idol was seemingly more well-known for his excessive lifestyle than his creative zenith of a few years prior. This made his channeling of Jim Morrison on a rowdy cover of "LA Woman" even more apt. He had done so before, of course, most memorably on 1986's Whiplash Smile…
Although it was ultimately an unsatisfying album, failing to live up to the promise of its fabulous single, "To Be a Lover," Whiplash Smile still burned clean with an immediately recognizable 1980s energy…