12 Gardens Live

Performer: Billy Joel
Engineer: Carl Glanville
Producer: Steve Lillywhite
Distributor: Sony Music Distribution (

Notes: Personnel: Billy Joel (vocals, keyboards); Crystal Taliefero (vocals, guitar); Andy Cicon (vocals, bass guitar); Tommy Byrnes (guitar); Mark Rivera (saxophone, keyboards); Richie Cannata (saxophone); Carl Fischer (trumpet, trombone); David Rosenthal (piano, organ, keyboards). The title of this concert album by Billy Joel--12 GARDENS: LIVE--takes its name from the singer-songwriter's dozen consecutive sold-out shows at New York City's Madison Square Garden, from which these recordings were taken. Joel was no longer a spring chicken by 2006, and the wear and tear of the grueling, high-profile gig can sometimes be heard in his performances. Yet this is a small complaint; Joel is a pop icon, and his success can be measured by the audience's rapturous reception over the course of this double-disc set. But the meat of the set, naturally, is his songs, which include hits ("My Life" and "Piano Man") alongside lesser-known gems ("Laura" and "Don't Ask Me Why"), and newer material ("River of Dreams") alongside old ("New York State of Mind"). Joel's songcraft is evergreen, and his way with an infectious pop melody is undeniable--so much so that even reluctant listeners are likely to be singing along with disc 2's rousing version of "Only the Good Die Young." To promote his 2005 box set My Lives, Billy Joel held a series of concerts at Madison Square Garden at the end of the year -- highlights of which are collected on the 32-track, two-CD set 12 Gardens Live. If 2000's double-live 2000 Years: The Millennium Concert seemed bloated and aimless, the work of an old pro going through the motions, 12 Gardens Live is its polar opposite, showcasing a veteran who is thoroughly engaged with his music. Not that this album is all that different in form or sound than 2000 Years: he still works with a big nine-piece band, with many of the same musicians, and he doesn't reinterpret any of these tunes, so it doesn't offer any surprises -- at least on the surface. But there is one big surprise on the album: Billy Joel hasn't sounded this lively or committed in years, since at least his early-'80s heyday. He sounds as if he believes in these songs again, putting real energy into his performances; he's savvy enough to not reach for notes that he can no longer hit, and to know when to punch up choruses for maximum effect. It's not so much that he's having fun with these songs but that he's singing them with passion, which makes 12 Gardens Live an unexpectedly compelling and entertaining listen. It also helps that the song selection is excellent, downplaying anything released after An Innocent Man -- "The Night Is Still Young," "The Great Wall of China," "The Downeaster 'Alexa'," "The River of Dreams," "A Matter of Trust," "We Didn't Start the Fire," and "And So It Goes" are the only tunes from 1986-1993, leaving 24 songs from his classic period -- and emphasizing album tracks: for instance, over half of The Nylon Curtain is here, and the single "Pressure" is not one of the featured songs. Some of these are staples -- "Angry Young Man," "The Ballad of Billy the Kid," and "Miami 2017 (I've Seen the Lights Go Out on Broadway)" are often featured in his shows -- but it's a nice to have "Everybody Loves You Now," "Vienna," "Zanzibar," and "A Room of Our Own" (one of two unlisted bonus tracks) here, since they not only sound good, they illustrate the depth of his catalog. This strong song selection along with the strong performances turns 12 Gardens Live into a treat for long-time Billy Joel fans, particularly those who haven't enjoyed much of what he's done since An Innocent Man. Since it's not an album of new songs, it's hard to call this a comeback, but it certainly is his most enjoyable album in 20 years. ~ Stephen Thomas Erlewine

Part Jerry Lee Lewis, part George Gershwin, piano man Billy Joel combines Tin Pan Alley craftsmanship, rock-&-roll fervor, and a keen sense of vintage melodic balladry. He emerged in the 1970s as the definitive singer-songwriter for those who wanted something a little less introspective than James Taylor, and his way with a hook made him a superstar. His popularity waned in the '90s, and with it went his interest in pop music, which he eventually forsook to pursue an all-instrumental, classical-influenced direction.

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