A distinguished member of the Better Records Rock and Pop Hall of Fame.
A truly stunning copy of one of Billy Joel’s best-loved albums! We recently finished a massive shootout for Billy Joel’s hard-rockin 1980 release and most copies were pretty dreadful. Thankfully for us (and the Billy Joel fans out there) we managed to find a few copies that really work! This one absolutely nails it — they just don’t get much better than this, folks.
Most of the copies we’re played were pinched in the midrange, which gave a hard, unpleasant copy to the vocals. Many pressings lack the kind of top end extension that helps the music come out of the speakers and gives it the energy it needs to rock. And make no mistake — this album NEEDS to rock for these songs to work. This is probably the most pure rock and roll album Billy Joel ever put out, and it’s a shame to hear these songs fall flat when they run into the problems of the typical pressing. The copies that keep you engaged are the Hot Stampers, plain and simple. Unfortunately, most copies won’t get you there.
If you’ve enjoyed a 52nd Street Hot Stamper from us, or just happen to be a huge fan of this album (and I certainly know there are more than a few of those out there) I imagine you will be very happy with the sound here! Leave the grueling work of huge shootouts to your friends at Better Records, and spend your free time enjoying great sound… not searching for it.
You May Be Right
Sometimes a Fantasy
Don’t Ask Me Why
It’s Still Rock & Roll to Me
All for Leyna
I Don’t Want to Be Alone
Sleeping With the Television On
C’Etait Toi (You Were the One)
Close to the Borderline
Through the Long Night
AMG 4 1/2 Star Review
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.