To say that Glass Houses is different from anything Joel did beforehand would be like telling your friend that his first six albums had some piano-playing. This is actually one of the key changes that Joel's music saw which would hinder his music as a result: a significant lack of his piano talents on display. Even "All for Leyna," one of the few points that shows him retaining instrumental skill throughout, is far less elaborately played than say, "Streetlife Serenader." Almost all of the points which the keys do call out are as brief solos saved towards the later half of tracks. Likewise, strong lyrical points aren't on the frequent side (even if "Sleeping with the Television On" speaks to suckers such as myself). Though Joel's words still ring nicely thanks to the rhymes and his voice, those which are present here hardly match the standards he set before. As a result, Glass Houses loses a lot of what gave its predecessors such a strong personality.
Another (and arguably the most noticeable) change which Joel made with his first 80's effort is a far more rock-oriented sound. Stephen Thomas Erlewine put it best when he said that it's "the closest Joel ever got a pure rock album." Going from tracks on The Stranger and even 52nd Street to "You May Be Right" is certainly awkward, and left many feeling unfavorable towards the shift. Drums and guitars seem to be the most prominent instruments, only overshadowed when Joel blesses the microphone. And though his singing isn't done with nearly as much passion, this still proves to be one of the Glass Houses' best qualities.
For all of its inferiorities, Glass Houses really isn't a horrible album. In fact, to even call it "bad" might be a stretch since, despite lacking almost any compelling material, it's more than aware of what it's bringing us. Some albums are best experienced without comparisons to their clearly superior siblings. Glass Houses is among these. It might be tough for long-time listeners of Joel to accept this album, but there is an enjoyable collection of tracks to be found. If there's anything that this album can be argued as doing very well, it's having a fun time. Almost every song here can suffice for a party or friendly get-together. In other words, if you took Cold Spring Harbor and gave it a more rock-like vibe, faintly hinted at during points of Piano Man, you'd essentially have Glass Houses.
There's a lot to hold against what's come to be one of Joel's less genre-defining albums. And while much of this review has likely exhibited a very critical overtone, this is only because Glass Houses is faced with succeeding three excellent albums, released back-to-back. Taking Joel's first 80's outing strictly on its own will leave listeners with a short but sweet collection that gives no more than it has to. Being an incredibly basic, upbeat and completely unprogressive effort, nothing on the album really begs more than being in a good mood.
Tracklist for Glass Houses:
1. You May Be Right
2. Sometimes a Fantasy
3. Don't Ask Me Why
4. It's Still Rock & Roll to Me
5. All for Leyna
6. I Don't Want to Be Alone
7. Sleeping With the Television On
8. C'?tait Toi (You Were the One)
9. Close to the Borderline
10. Through the Long Night
Another (and arguably the most noticeable) change which Joel made with his first 80's effort is a far more rock-oriented sound. Stephen Thomas Erlewine put it best when he said that it's "the closest Joel ever got a pure rock album." Going from tracks on The Stranger and even 52nd Street to "You May Be Right" is certainly awkward, and left many feeling unfavorable towards the shift. Drums and guitars seem to be the most prominent instruments, only overshadowed when Joel blesses the microphone. And though his singing isn't done with nearly as much passion, this still proves to be one of the Glass Houses' best qualities.
For all of its inferiorities, Glass Houses really isn't a horrible album. In fact, to even call it "bad" might be a stretch since, despite lacking almost any compelling material, it's more than aware of what it's bringing us. Some albums are best experienced without comparisons to their clearly superior siblings. Glass Houses is among these. It might be tough for long-time listeners of Joel to accept this album, but there is an enjoyable collection of tracks to be found. If there's anything that this album can be argued as doing very well, it's having a fun time. Almost every song here can suffice for a party or friendly get-together. In other words, if you took Cold Spring Harbor and gave it a more rock-like vibe, faintly hinted at during points of Piano Man, you'd essentially have Glass Houses.
There's a lot to hold against what's come to be one of Joel's less genre-defining albums. And while much of this review has likely exhibited a very critical overtone, this is only because Glass Houses is faced with succeeding three excellent albums, released back-to-back. Taking Joel's first 80's outing strictly on its own will leave listeners with a short but sweet collection that gives no more than it has to. Being an incredibly basic, upbeat and completely unprogressive effort, nothing on the album really begs more than being in a good mood.
Tracklist for Glass Houses:
1. You May Be Right
2. Sometimes a Fantasy
3. Don't Ask Me Why
4. It's Still Rock & Roll to Me
5. All for Leyna
6. I Don't Want to Be Alone
7. Sleeping With the Television On
8. C'?tait Toi (You Were the One)
9. Close to the Borderline
10. Through the Long Night