Although Billy Joel’s fifth album, “The Stranger” was his commercial breakthrough, it was “52nd Street”, his 1978 follow-up to it, that made him a star. The album topped the Billboard charts shortly after its release, had three top 40 singles, and brought home two Grammys, including Record of the Year in 1979.
In addition to being recorded at a studio on New York’s 52nd street, the album’s title also alludes to New York City’s jazz district, which the street runs through the heart of. The album has notable jazz leanings in many of its songs and is considered by most critics to be one of Billy Joel’s finest records.
Four time Grammy nominee Steven Wilson is one of the most creatively talented recording artists around today. Yet so many people have not really heard of him. If you happen to fall into that category, the album “Transience” is a great place to start.
Consisting of three sides of music recorded between 2003 and 2015 (the fourth album side is etched with lyrics to one of the songs) “Transience” is a collection of songs taken mostly from Steven Wilson’s previous solo albums. Three of them are reworked exclusively for this album and differ noticeably from their original incarnations. There is also a new re-recording of the song “Lazarus” which was previously recorded by Wilson’s former band Porcupine Tree.
If you haven’t given any of Steven Wilson’s music a listen, you owe it to yourself to do so. He has received praise from critics, numerous other musical artists, and most importantly, those who have bought his records. He writes and records some of the most adventurous music being produced today. Sometimes intricate and complex, it quite often falls outside of the mainstream, but in no way does that mean his music is extreme or excessive.
The songs on “Transience” are selections that fall more in line with modern contemporary music. This is music that departs from the commonplace and defies being a mere musical backdrop. This is an album that is enticing and unique. It demands to be listened to; not just once but over and over. Because, as with all of Steven Wilson’s albums, there always seems to be something new to hear.
Wishbone Ash is a British rock band that formed in the early ’70s and used dual lead guitars that many would bands would try to emulate, but few could equal. Wishbone Ash’s seventh album, “New England” saw them move somewhat away from the strong progressive rock sound they had in their beginning towards a more blues and contemporary sound. But that doesn’t mean there isn’t any impressive musicianship on “New England”. By this time Wishbone Ash had become more concise with their songwriting. They were able to fuse a wider array of styles together in the span of one album than they ever did before while still including some impressive dual lead jamming. This helped make “New England” one of Wishbone Ash’s most diversified albums ever and my favorite by them.
Wishbone Ash chose the name “New England” for their seventh album because they had recently moved to that area of the United States to avoid the high tax rates in Great Britain. The tax rate could go as high as 95 percent if you grossed enough income in a year. Many bands simply could not afford to pay their taxes and relocated themselves and their assets to other countries they had lower tax rates. most didn’t advertise that they were tax exiles. Apparently, Wishbone Ash wasn’t one of them.