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Billy Joel: MFSL Hybrid SACD Collection (1973-1982)

Posted By: v3122
Billy Joel: MFSL Hybrid SACD Collection (1973-1982)

Billy Joel: MFSL Hybrid SACD Collection (1973-1982)
EAC Rip | Flac(Image) + Cue + Log & iPod M4A(Tracks) & MP3 CBR 320Kbps
Rock | ~ 1000 or 1004 or 468 Mb | Scans(jpg) Included | Scans(png) -> 1130 Mb
2011, 2012 | Sony Music / Columbia Records / Mobile Fidelity Sound Lab

Including: Piano Man, Turnstiles, The Stranger, 52nd Street, Glass Houses, The Nylon Curtain

Although Billy Joel never was a critic's favorite, the pianist emerged as one of the most popular singer/songwriters of the latter half of the '70s. Joel's music consistently demonstrates an affection for Beatlesque hooks and a flair for Tin Pan Alley and Broadway melodies. His fusion of two distinct eras made him a superstar in the late '70s and '80s, as he racked an impressive string of multi-platinum albums and hit singles.
Born in the Bronx, Joel was raised in the Long Island suburb of Hicksville, where he learned to play piano as a child. As he approached his adolescence, Joel started to rebel, joining teenage street gangs and boxing as welterweight. He fought a total of 22 fights as a teenager, and during one of the fights, he broke his nose. For the early years of his adolescence, he divided his time between studying piano and fighting. Upon seeing the Beatles on The Ed Sullivan Show in 1964, Joel decided to pursue a full-time musical career and set about finding a local Long Island band to join. Eventually, he found the Echoes, a group that specialized in British Invasion covers. the Echoes became a popular New York attraction, convincing him to quit high school to become a professional musician.
While still a member of the Echoes, Joel began playing recording sessions in 1965, when he was just 16 years old. Joel played piano on several recordings George "Shadow" Morton produced – including the Shangri-Las' "Leader of the Pack" – as well as several records released through Kama Sutra Productions. During this time, the Echoes started to play numerous late-night shows.

Later in 1965, the Echoes changed their name twice – once to the Emeralds and finally to the Lost Souls. For two years, he played sessions and performed with the Lost Souls. In 1967, he left the band to join the Hassles, a local Long Island rock & roll band that had signed a contract with United Artists Records. Over the next year and a half, the Hassles released two albums and four singles, all of which failed commercially. In 1969, the Hassles broke up. Joel and the band's drummer, Jon Small, formed an organ-and-drums duo called Attila. In Attila, Joel played his organ through a variety of effects pedals, creating a heavy psychedelic hard rock album completely without guitars. On the cover of the band's eponymous album, both Joel and Small were dressed as barbarians; in an interview on the back of the album, Joel claimed to forget the name of his previous band and stated that he only "sweated" two things – perfecting his sound and the war in Southeast Asia. Epic released Attila early in 1970 and it was an immediate bomb and the duo broke up. While the group was still together, Joel began a romance with Small's wife, Elizabeth; she would eventually leave the drummer to marry the pianist.
After Attila's embarrassing failure, Joel wrote rock criticism for a magazine called Changes and played on commercial jingles, including a Chubby Checker spot for Bachman Pretzels. However, Joel entered a severe bout of depression, culminating with him drinking a bottle of furniture polish in an attempt to end his life. Following his failed suicide attempt, Joel checked himself into Meadowbrook Hospital, where he received psychiatric treatment for depression.

Joel returned to playing music in 1971, signing a deal with Family Productions. Under the terms of the contract, Joel signed to the label for life; the pianist was unaware of the clause at the time, but it would come back to haunt him – Family Productions received royalties from every album Joel sold until the late '80s. Joel refashioned himself as a sensitive singer/songwriter for his debut album, Cold Spring Harbor, which was released in November of 1971. Due to an error in the mastering of the album, Cold Spring Harbor was released a couple of tape speeds too fast; the album remained in that bastardized form until 1984. Following the release of the album, Joel went on a small live tour, during which he would frequently delve into standup comedy. The tour received good reviews but Joel remained unhappy with the quality of his performance and, especially, the quality of the album. Furthermore, he lost a manager during this time and Family Productions was experiencing legal and financial difficulties, which prevented him from recording an immediate follow-up.
Early in 1972, he moved out to Los Angeles with his girlfriend Elizabeth. Joel adopted the name Bill Martin and spent half a year playing lounge piano at the Executive Room. Toward the end of the year, he began touring, playing various nightclubs across the country. At the beginning of 1973, Joel married Elizabeth Weber and she enrolled at UCLA's Graduate School of Management. Around the same time, a radio station began playing a live version of "Captain Jack" that was recorded at a Philadelphia radio broadcast. Soon, record companies were eagerly seeking to sign the pianist, and he eventually signed with Columbia Records. In order for Joel to sign with Columbia, the major label had to agree to pay Family Productions 25 cents for each album sold, plus display the Family and Remus logos on each record Joel released.

By the end of 1973, Billy Joel's first album for Columbia Records, Piano Man, had been released. The record slowly worked its way up the charts, peaking at number 27 in the spring of 1974. The title track – culled from experiences he had while singing at the Executive Room – became a Top 40 hit single. At the end of the summer, Joel assembled a touring band and undertook a national tour, opening for acts like the J. Geils Band and the Doobie Brothers. By the end of 1974, he had released his second album, Streetlife Serenade, which reached number 35 early in 1975. After its success, Joel signed a contract with James William Guercio and Larry Fitzgerald's management company, Caribou, and moved from California to New York. Through songs like "Say Goodbye to Hollywood" and "New York State of Mind," Joel celebrated the move on his 1976 album, Turnstiles. The sessions for Turnstiles were long and filled with tension, culminating with Joel firing the album's original producer, Guercio, and producing the album himself. Once he fired Guercio, Joel also left Caribou, and hired his wife as his new manager.

Billy Joel: MFSL Hybrid SACD Collection (1973-1982)

Turnstiles stalled on the charts, only reaching number 122. Joel's next album would prove to be the make-or-break point for his career, and the resulting album, The Stranger, catapulted him into superstardom. The Stranger was released in the fall of 1977. By the end of the year, it peaked at number two and had gone platinum, and within the course of a year, it would spawn the Top 40 singles "Just the Way You Are" (which would win the 1978 Grammy for Record of the Year and Song of the Year), "Movin' Out (Anthony's Song)," "She's Always a Woman," and "Only the Good Die Young." Over the next two decades, the album would sell over seven million copies. Joel followed The Stranger with 52nd Street, which was released in the fall of 1978. 52nd Street spent eight weeks at number one in the U.S., selling over two millions copies within the first month of its release. The album spawned the hit singles "My Life," "Big Shot," and "Honesty," and won the 1979 Grammy award for Album of the Year. Although he had become a genuine star, critics had not looked kindly upon Joel's music, and the pianist became a vocal opponent of rock criticism in the late '70s. In one incident, he denounced Los Angeles Herald Examiner critic Ken Tucker on-stage and then, as a form of protest, tore up the critic's reviews.

In the spring of 1980, Joel released Glass Houses, theoretically a harder-edged album that was a response to the punk and new wave movement. Glass Houses reached number one in America, where it stayed for six weeks; the album spawned the Top 40 singles "You May Be Right" (number seven), "It's Still Rock'n'Roll to Me" (number one), "Don't Ask Me Why" (number 19), and "Sometimes a Fantasy" (number 36) and won the 1980 Grammy for Best Rock Vocal Performance, Male. In the fall of 1981, Joel released Songs in the Attic, a live album that concentrated on material written and recorded before he became a star in 1977. The album's "Say Goodbye to Hollywood" and "She's Got a Way" became Top 40 hits.

Songs in the Attic bought Joel some time as he was completing an album he had designed as his bid to be taken seriously as a composer. Before the album was finished, he suffered a serious motorcycle accident in the spring of 1982. He broke his wrist in the accident – it would take major surgery to repair the wound. In July of 1982, Joel divorced his wife, Elizabeth. His new album, The Nylon Curtain, was finally released in the fall. A concept album about baby boomers and their experiences, the album was a commercial disappointment, only selling a million copies, but it did earn him some of his better reviews, as well as spawning the Top 20 hits "Pressure" and "Allentown." Joel quickly followed the album in 1983 with the oldies pastiche An Innocent Man.

An Innocent Man restored Joel to his multi-platinum status, eventually selling over seven million copies and spawning the hit singles "Uptown Girl" (number three), "Tell Her About It" (number one), "An Innocent Man" (number ten), and "Keeping the Faith" (number 18). Several of the songs on the album were about model Christie Brinkley, who was engaged to Joel by the time the album was released. During 1983 and 1984, Joel became one of the first '70s stars to embrace MTV and music videos, shooting a number of clips for the album that were aired frequently on the network. Brinkley and Joel were married in the spring of 1985.

Joel released a double-album compilation, Greatest Hits, Vols. 1-2 in the summer of 1985. Two new songs – the Top Ten "You're Only Human (Second Wind)" and the Top 40 "The Night Is Still Young" – were added to the hits collection; the album itself peaked at number six and would eventually sell over ten million copies. In the summer of 1986, Joel returned with the Top Ten single "Modern Woman," which was taken from the soundtrack of Ruthless People. "Modern Woman" was also a teaser from his new album, The Bridge, which was released in August. The Bridge was another success for Joel, peaking at number seven, selling over two million copies, and spawning the Top 40 hits "A Matter of Trust" (number ten) and "This Is the Time" (number 18), as well as "Big Man on Mulberry Street," which was used as the basis for an episode of the popular Bruce Willis/Cybill Shepherd television series Moonlighting.

n the spring of 1987, Joel embarked on a major tour of the U.S.S.R., during which he had an on-stage temper tantrum and shoved a piano off the stage. His Leningrad concert was recorded and released in the fall of 1987 as the live double album Kohuept, which means concert in Russian. Joel was quiet for much of 1988, only appearing as the voice of Dodger in the Walt Disney animated feature Oliver and Company.

Billy Joel: MFSL Hybrid SACD Collection (1973-1982)

Joel fired his longtime manager and former brother-in-law Frank Weber in August of 1989, after an audit revealed that there were major discrepancies in Weber's accounting. Following Weber's dismissal, Joel sued Weber for 90 million dollars, claiming fraud and breach of fiduciary duty. Immediately after filing suit, Joel was hospitalized with kidney stones. All of this turmoil didn't prevent the release of his 12th studio album, Storm Front, in the fall of 1989. It was preceded by the single "We Didn't Start the Fire," whose lyrics were just a string of historical facts. The single became a huge hit, reaching number one and inspiring history students across America. Storm Front marked a significant change for Joel – he fired his band, keeping only Liberty DeVito, and ceased his relationship with producer Phil Ramone, hiring Mick Jones of Foreigner to produce the album. Storm Front was another hit for Joel, reaching number one in the U.S. and selling over three million albums.
During 1990, Joel undertook a major U.S. tour, which ran well into 1991. In January, the court awarded Joel two million dollars in a partial judgment against Frank Weber, and in April, the court dismissed a 30 million dollar countersuit. At the end of the year, the National Academy of Recording Arts and Sciences honored Joel with a Grammy Living Legend award; that same year, Quincy Jones, Johnny Cash, and Aretha Franklin were also given the honor.

Following the Storm Front world tour, Joel spent the next few years quietly. In 1991, he was awarded an honorary doctorate by Fairfield University in Connecticut. In the summer of 1992, Joel filed a 90 million dollar lawsuit charging his former lawyer Allen Grubman of fraud, breach of contract, and malpractice; in October of 1993, the two parties settled their differences out of court. Joel returned in the summer of 1993 with River of Dreams, which entered the charts at number one and spawned the Top Ten title track. Following the River of Dreams tour, Joel divorced Christie Brinkley. In 1996, he gave a series of lectures at a variety of American colleges. He performed at the 1999 New Year's Eve Party in Times Square, and 2000 Years: The Millennium Concert, a live album of this concert, was released early the following year.

His next studio record, Fantasies & Delusions, arrived in 2001 and was his first album of his own classical compositions. A year later, Twyla Tharp choreographed and directed Movin' Out, a Broadway musical based on Joel's music. A new venture as a children's author began in 2004 with the release of his first book, Goodnight, My Angel: A Lullaby. The 54-year-old Joel married the 23-year-old Katie Lee that same year and was making tabloid headlines again in March of 2005 when he checked into the Betty Ford Clinic for treatment of alcohol abuse. He checked out in April, and in November his four-CD/one-DVD career retrospective My Lives was released. Live in Madison Square Garden NYC and the accompanying 12 Gardens Live arrived in 2006.
In 2007, Joel released his first original composition since River of Dreams – a ballad called "All My Life." He quickly followed it with "Christmas in Fallujah," a tune he wrote but did not sing; it was performed by Cass Dillon. After this brief burst of activity Joel returned to touring regularly, his most notable performance being the closing shows at the legendary Shea Stadium in July 2008. These two concerts were recorded and released as DVDs and CDs in the spring of 2011. On the heels of this live album came word that Joel was penning a memoir, but the book was quickly scrapped after the announcement.

by Stephen Thomas Erlewine, AMG
Billy Joel: MFSL Hybrid SACD Collection (1973-1982):

Billy Joel: MFSL Hybrid SACD Collection (1973-1982)

Billy Joel - Piano Man (1973)
EAC Rip | Flac(Image) + Cue + Log & iPod M4A(Tracks) & MP3 CBR 320Kbps
Rock | ~ 269 or 270 or 122 Mb | Scans(jpg) Included | Scans(png) -> 153 Mb
2011 | Sony Music/Columbia Records/Mobile Fidelity Sound Lab, UDSACD 2062

Embittered by legal disputes with his label and an endless tour to support a debut that was dead in the water, Billy Joel hunkered down in his adopted hometown of Los Angeles, spending six months as a lounge singer at a club. He didn't abandon his dreams – he continued to write songs, including "Piano Man," a fictionalized account of his weeks as a lounge singer. Through a combination of touring and constant hustling, he landed a contract with Columbia and recorded his second album in 1973. Clearly inspired by Elton John's Tumbleweed Connection, not only musically but lyrically, as well as James Taylor, Joel expands the vision and sound of Cold Spring Harbor, abandoning introspective numbers (apart from "You're My Home," a love letter to his wife) for character sketches and epics. Even the title track, a breakthrough hit based on his weeks as a saloon singer, focuses on the colorful patrons, not the singer. If his narratives are occasionally awkward or incomplete, he compensates with music that gives the songs a sweeping sense of purpose – they feel complete, thanks to his indelible melodies and savvy stylistic repurposing. He may have borrowed his basic blueprint from Tumbleweed Connection, particularly with its Western imagery and bluesy gospel flourishes, but he makes it his own, largely due to his melodic flair, which is in greater evidence than on Cold Spring Harbor. Piano Man is where he suggests his potential as a musical craftsman. He may have weaknesses as a lyricist – such mishaps as the "instant pleasuredome" line in "You're My Home" illustrate that he doesn't have an ear for words – but Piano Man makes it clear that his skills as a melodicist can dazzle.

by Stephen Thomas Erlewine
Tracklist:

01. Travelin' Prayer 04:16
02. Piano Man 05:38
03. Ain't No Crime 03:18
04. You're My Hope 03:13
05. The Ballad Of Billy The Kid 05:47
06. Worse Comes To Worst 03:15
07. Stop In Nevada 03:55
08. If I Only Had The Words (To Tell You) 05:54
09. Somewhere Along The Line 03:19
10. Captain Jack 07:21

Exact Audio Copy V1.0 beta 3 from 29. August 2011

EAC extraction logfile from 20. March 2013, 19:24

Billy Joel / Piano Man MFSL

Used drive : PLEXTOR BD-R PX-B950SA Adapter: 6 ID: 0

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000

Used output format : Internal WAV Routines
Sample format : 44.100 Hz; 16 Bit; Stereo


TOC of the extracted CD

Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 4:16.69 | 0 | 19268
2 | 4:16.69 | 5:38.72 | 19269 | 44690
3 | 9:55.66 | 3:18.67 | 44691 | 59607
4 | 13:14.58 | 3:13.34 | 59608 | 74116
5 | 16:28.17 | 5:47.60 | 74117 | 100201
6 | 22:16.02 | 3:15.17 | 100202 | 114843
7 | 25:31.19 | 3:55.01 | 114844 | 132469
8 | 29:26.20 | 3:34.07 | 132470 | 148526
9 | 33:00.27 | 3:19.63 | 148527 | 163514
10 | 36:20.15 | 7:21.12 | 163515 | 196601


Range status and errors

Selected range

Filename C:\Users\Meijin\Desktop\Lossless Rip by ALLexxess\Billy Joel\1973 Piano Man (MFSL Hybrid SACD 2011)\Billy Joel - Piano Man MFSL.wav

Peak level 99.3 %
Extraction speed 3.5 X
Range quality 100.0 %
Test CRC 884084D8
Copy CRC 884084D8
Copy OK

No errors occurred


AccurateRip summary

Track 1 accurately ripped (confidence 9) [BD1EFF36] (AR v2)
Track 2 accurately ripped (confidence 10) [3BA2A6EC] (AR v2)
Track 3 accurately ripped (confidence 10) [85D53302] (AR v2)
Track 4 accurately ripped (confidence 10) [094B1FCB] (AR v2)
Track 5 accurately ripped (confidence 10) [DDCA948E] (AR v2)
Track 6 accurately ripped (confidence 10) [BC153190] (AR v2)
Track 7 accurately ripped (confidence 10) [55CCD304] (AR v2)
Track 8 accurately ripped (confidence 10) [88DFDD76] (AR v2)
Track 9 accurately ripped (confidence 10) [A4CC989E] (AR v2)
Track 10 accurately ripped (confidence 10) [CE1BAEFB] (AR v2)

All tracks accurately ripped

End of status report

foobar2000 1.1.18 / Dynamic Range Meter 1.1.1
log date: 2013-03-26 01:00:08

––––––––––––––––––––––––––––––––––––––––
Analyzed: Billy Joel / Piano Man MFSL
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR12 -0.15 dB -15.49 dB 4:17 01-Travelin' Prayer
DR11 -0.08 dB -14.33 dB 5:39 02-Piano Man
DR11 -0.06 dB -13.31 dB 3:19 03-Ain't No Crime
DR12 -0.12 dB -14.59 dB 3:13 04-You're My Home
DR11 -0.08 dB -15.77 dB 5:48 05-The Ballad Of Billy The Kid
DR13 -0.16 dB -15.38 dB 3:15 06-Worse Comes To Worst
DR12 -0.07 dB -18.16 dB 3:55 07-Stop In Nevada
DR11 -0.12 dB -14.25 dB 3:34 08-If I Only Had The Words (To Tell You)
DR12 -0.06 dB -15.33 dB 3:20 09-Somewhere Along The Line
DR11 -0.15 dB -15.31 dB 7:21 10-Captain Jack
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 10
Official DR value: DR12

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 774 kbps
Codec: FLAC

===========================

Billy Joel: MFSL Hybrid SACD Collection (1973-1982)

Billy Joel - Turnstiles (1976)
EAC Rip | Flac(Image) + Cue + Log & iPod M4A(Tracks) & MP3 CBR 320Kbps
Rock | ~ 223 or 224 or 106 Mb | Scans(jpg) Included | Scans(png) -> 175 Mb
2012 | Sony Music/Columbia Records/Mobile Fidelity Sound Lab, UDSACD 2063

There's a reason Turnstiles begins with the Spector-esque epic "Say Goodbye to Hollywood." Shortly after Streetlife Serenade, Joel ditched California – and, by implication, sensitive Californian soft rock from sensitive singer/songwriters – for his hometown of New York. "Say Goodbye to Hollywood" was a celebration of his move, a repudiation of his past, a fanfare for a new beginning, which is exactly what Turnstiles was. He still was a singer/songwriter – indeed, "Summer, Highland Falls" was his best ballad to date, possibly his best ever – but he decided to run with his musical talents, turning the record into a whirlwind tour of pop styles, from Sinatra to Springsteen. There's little question that the cinematic sprawl of Born to Run had an effect on Turnstiles, since it has a similar widescreen feel, even if it clocks in at only eight songs. The key to the record's success is variety, the way the album whips from the bouncy, McCartney-esque "All You Wanna Do Is Dance" to the saloon song "New York State of Mind"; the way the bitterly cynical "Angry Young Man" gives way to the beautiful "I've Loved These Days" and the surrealistic apocalyptic fantasy "Miami 2017 (Seen the Lights Go Out on Broadway)." No matter how much stylistic ground Joel covers, he's kept on track by his backing group. He fought to have his touring band support him on Turnstiles, going to the lengths of firing his original producer, and it was clearly the right move, since they lend the album a cohesive feel. Turnstiles may not have been a hit, but it remains one of his most accomplished and satisfying records, clearly paving the way to his twin peaks of the late '70s, The Stranger and 52nd Street.

by Stephen Thomas Erlewine
Tracklist:

01. Say Goodbye To Hollywood 04:36
02. Summer, Highland Falls 03:19
03. All You Wanna Do Is Dance 03:45
04. New York State Of Mind 06:04
05. James 03:55
06. Prelude / Angry Young Man 05:15
07. I've Loved These Days 04:33
08. Miami 2017 (Seen The Lights Go Out On Broadway) 05:19

Exact Audio Copy V1.0 beta 3 from 29. August 2011

EAC extraction logfile from 19. March 2013, 19:34

Billy Joel / Turnstiles

Used drive : PLEXTOR BD-R PX-B950SA Adapter: 6 ID: 0

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000

Used output format : Internal WAV Routines
Sample format : 44.100 Hz; 16 Bit; Stereo


TOC of the extracted CD

Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 4:36.40 | 0 | 20739
2 | 4:36.40 | 3:19.38 | 20740 | 35702
3 | 7:56.03 | 3:45.27 | 35703 | 52604
4 | 11:41.30 | 6:04.38 | 52605 | 79942
5 | 17:45.68 | 3:55.53 | 79943 | 97620
6 | 21:41.46 | 5:15.70 | 97621 | 121315
7 | 26:57.41 | 4:33.48 | 121316 | 141838
8 | 31:31.14 | 5:18.25 | 141839 | 165713


Range status and errors

Selected range

Filename C:\Users\Meijin\Desktop\Lossless Rip by ALLexxess\Billy Joel\1976 Turnstiles (MFSL Hybrid SACD 2012)\Billy Joel - Turnstiles.wav

Peak level 99.2 %
Extraction speed 3.3 X
Range quality 100.0 %
Test CRC CCCF37AC
Copy CRC CCCF37AC
Copy OK

No errors occurred


AccurateRip summary

Track 1 accurately ripped (confidence 6) [A0648219] (AR v2)
Track 2 accurately ripped (confidence 6) [7A6987BD] (AR v2)
Track 3 accurately ripped (confidence 6) [48DF92DE] (AR v2)
Track 4 accurately ripped (confidence 6) [78227EFF] (AR v2)
Track 5 accurately ripped (confidence 6) [84267C00] (AR v2)
Track 6 accurately ripped (confidence 6) [FB9B1A52] (AR v2)
Track 7 accurately ripped (confidence 6) [D45E30D7] (AR v2)
Track 8 accurately ripped (confidence 6) [9C5FE7CD] (AR v2)

All tracks accurately ripped

End of status report

foobar2000 1.1.18 / Dynamic Range Meter 1.1.1
log date: 2013-03-26 01:00:31

––––––––––––––––––––––––––––––––––––––––
Analyzed: Billy Joel / Turnstiles
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR13 -0.21 dB -16.20 dB 4:37 01-Say Goodbye To Hollywood
DR13 -0.09 dB -16.61 dB 3:20 02-Summer, Highland Falls
DR14 -0.12 dB -16.45 dB 3:45 03-All You Wanna Do Is Dance
DR14 -0.20 dB -19.10 dB 6:05 04-New York State Of Mind
DR11 -0.06 dB -15.37 dB 3:56 05-James
DR15 -0.45 dB -17.74 dB 5:16 06-Angry Young Man
DR13 -0.13 dB -18.41 dB 4:34 07-I've Loved These Days
DR13 -0.08 dB -17.54 dB 5:18 08-Miami 2017 (Seen The Lights Go Out On Broadway)
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 8
Official DR value: DR13

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 750 kbps
Codec: FLAC

===========================

Billy Joel: MFSL Hybrid SACD Collection (1973-1982)

Billy Joel - The Stranger (1977)
EAC Rip | Flac(Image) + Cue + Log & iPod M4A(Tracks) & MP3 CBR 320Kbps
Rock | ~ 252 or 253 or 122 Mb | Scans(jpg) Included | Scans(png) -> 200 Mb
2012 | Sony Music/Columbia Records/Mobile Fidelity Sound Lab, UDSACD 2089

Billy Joel teamed with Phil Ramone, a famed engineer who had just scored his first producing hits with Art Garfunkel's Breakaway and Paul Simon's Still Crazy After All These Years for The Stranger, his follow-up to Turnstiles. Joel still favored big, sweeping melodies, but Ramone convinced him to streamline his arrangements and clean up the production. The results aren't necessarily revelatory, since he covered so much ground on Turnstiles, but the commercialism of The Stranger is a bit of a surprise. None of his ballads have been as sweet or slick as "Just the Way You Are"; he never had created a rocker as bouncy or infectious as "Only the Good Die Young"; and the glossy production of "She's Always a Woman" disguises its latent misogynist streak. Joel balanced such radio-ready material with a series of New York vignettes, seemingly inspired by Springsteen's working-class fables and clearly intended to be the artistic centerpieces of the album. They do provide The Stranger with the feel of a concept album, yet there is no true thematic connection between the pieces, and his lyrics are often vague or mean-spirited. His lyrical shortcomings are overshadowed by his musical strengths. Even if his melodies sound more Broadway than Beatles – the epic suite "Scenes From an Italian Restaurant" feels like a show-stopping closer – there's no denying that the melodies of each song on The Stranger are memorable, so much so that they strengthen the weaker portions of the album. Joel rarely wrote a set of songs better than those on The Stranger, nor did he often deliver an album as consistently listenable.

by Stephen Thomas Erlewine
Tracklist:

01. Movin' Out (Anthony's Song) 03:31
02. The Stranger 05:10
03. Just The Way You Are 04:50
04. Scenes From An Italian Restaurant 07:39
05. Vienna 03:34
06. Only The Good Die Young 03:55
07. She's Always A Woman 03:21
08. Get It Right The First Time 03:56
09. Everybody Has A Dream 06:38

Exact Audio Copy V1.0 beta 3 from 29. August 2011

EAC extraction logfile from 20. March 2013, 17:23

Billy Joel / The Stranger

Used drive : PLEXTOR BD-R PX-B950SA Adapter: 6 ID: 0

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000

Used output format : Internal WAV Routines
Sample format : 44.100 Hz; 16 Bit; Stereo


TOC of the extracted CD

Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 3:31.10 | 0 | 15834
2 | 3:31.10 | 5:10.36 | 15835 | 39120
3 | 8:41.46 | 4:50.51 | 39121 | 60921
4 | 13:32.22 | 7:39.45 | 60922 | 95391
5 | 21:11.67 | 3:34.11 | 95392 | 111452
6 | 24:46.03 | 3:55.41 | 111453 | 129118
7 | 28:41.44 | 3:21.35 | 129119 | 144228
8 | 32:03.04 | 3:56.71 | 144229 | 161999
9 | 36:00.00 | 6:38.58 | 162000 | 191907


Range status and errors

Selected range

Filename C:\Users\Meijin\Desktop\Lossless Rip by ALLexxess\Billy Joel\1977 The Stranger (MFSL Hybrid SACD 2012)\Billy Joel - The Stranger.wav

Peak level 94.9 %
Extraction speed 3.5 X
Range quality 100.0 %
Test CRC 25F3940C
Copy CRC 25F3940C
Copy OK

No errors occurred


AccurateRip summary

Track 1 accurately ripped (confidence 3) [171D8D84] (AR v1)
Track 2 accurately ripped (confidence 3) [1911AA52] (AR v1)
Track 3 accurately ripped (confidence 3) [C40C03AB] (AR v1)
Track 4 accurately ripped (confidence 3) [7D574CD5] (AR v1)
Track 5 accurately ripped (confidence 3) [D08F212E] (AR v1)
Track 6 accurately ripped (confidence 3) [C5BB6096] (AR v1)
Track 7 accurately ripped (confidence 3) [E6139E13] (AR v1)
Track 8 accurately ripped (confidence 2) [6F5B9749] (AR v1)
Track 9 accurately ripped (confidence 2) [C457111A] (AR v1)

All tracks accurately ripped

End of status report

foobar2000 1.1.18 / Dynamic Range Meter 1.1.1
log date: 2013-03-26 01:00:58

––––––––––––––––––––––––––––––––––––––––
Analyzed: Billy Joel / The Stranger
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR12 -1.67 dB -17.15 dB 3:31 01-Movin' Out (Anthony's Song)
DR13 -1.97 dB -18.61 dB 5:10 02-The Stranger
DR15 -0.45 dB -19.24 dB 4:51 03-Just The Way You Are
DR13 -2.08 dB -18.03 dB 7:40 04-Scenes From An Italian Restaurant
DR13 -1.88 dB -18.81 dB 3:34 05-Vienna
DR13 -1.08 dB -16.57 dB 3:56 06-Only The Good Die Young
DR11 -4.98 dB -18.60 dB 3:21 07-She's Always A Woman
DR13 -1.17 dB -15.59 dB 3:57 08-Get It Right The First Time
DR13 -2.11 dB -19.96 dB 6:39 09-Everybody Has A Dream
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 9
Official DR value: DR13

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 710 kbps
Codec: FLAC

===========================

Billy Joel: MFSL Hybrid SACD Collection (1973-1982)

Billy Joel - 52nd Street (1978)
EAC Rip | WavPack (image+.cue+log) - 300 MB | MP3 CBR 320 kbps (LAME 3.93) - 179 MB | Covers included
Genre: Rock | RAR 3% Rec. | Label: Mobile Fidelity Sound Lab (UDSACD 2090)

Go to original post ==> Billy Joel - 52nd Street (1978) [MFSL, 2012] by gribovar

+ Scans(png) -> 204 Mb


===========================

Billy Joel: MFSL Hybrid SACD Collection (1973-1982)

Billy Joel - Glass Houses (1980)
EAC Rip | WavPack (image+.cue+log) - 271 MB | MP3 CBR 320 kbps (LAME 3.93) - 158 MB | Covers included
Genre: Rock | RAR 3% Rec. | Label: Mobile Fidelity Sound Lab (UDSACD 2091)

Go to original post ==> Billy Joel - Glass Houses (1980) [MFSL, 2012] by gribovar

+ Scans(png) -> 200 Mb


===========================

Billy Joel: MFSL Hybrid SACD Collection (1973-1982)

Billy Joel - The Nylon Curtain (1982)
EAC Rip | Flac(Image) + Cue + Log & iPod M4A(Tracks) & MP3 CBR 320Kbps
Rock | ~ 256 or 257 or 118 Mb | Scans(jpg) Included | Scans(png) -> 198 Mb
2012 | Sony Music/Columbia Records/Mobile Fidelity Sound Lab, UDSACD 2093

Billy Joel hit back as hard as he could with Glass Houses, his bid to prove that he could rock as hard as any of those new wave punks. He might not have proven himself a punk – for all of his claims of being a hard rocker, his work inevitably is pop because of his fondness for melody – but he proved to himself that he could still rock, even if the critics didn't give him any credit for it. It was now time to mature, to move pop/rock into the middle age and, in the process, earn critical respect. In short, The Nylon Curtain is where Billy Joel went serious, consciously crafting a song cycle about Baby Boomers in the Reagan era. Since this was an album about Baby Boomers, he chose to base his music almost entirely on the Beatles, the pivotal rock band for his generation. Joel is naturally inclined to write big melodies like McCartney, but he idolizes Lennon, which makes The Nylon Curtain a fascinating cross between ear candy and social commentary. His desire to record a grand concept album is admirable, but his ever-present lyrical shortcomings mean that the songs paint a picture without arriving at any insights. He occasionally gets lost in his own ambition, as on the waterlogged second side, but the first half of the song suite – "Allentown," "Laura," "Pressure," "Goodnight Saigon," "She's Right on Time" – is layered, successful, mature pop that brings Joel tantalizingly close to his ultimate goal of sophisticated pop/rock for mature audiences.

by Stephen Thomas Erlewine
Tracklist:

01. Allentown 03:52
02. Laura 05:05
03. Pressure 04:40
04. Goodnight Saigon 07:08
05. She's Right On Time 04:14
06. A Room Of Our Own 04:04
07. Surprises 03:26
08. Scandanavian Skies 06:02
09. Where's The Orchestra? 03:19

Exact Audio Copy V1.0 beta 3 from 29. August 2011

EAC extraction logfile from 19. March 2013, 21:11

Billy Joel / The Nylon Curtain MFSL

Used drive : PLEXTOR BD-R PX-B950SA Adapter: 6 ID: 0

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000

Used output format : Internal WAV Routines
Sample format : 44.100 Hz; 16 Bit; Stereo


TOC of the extracted CD

Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 3:52.04 | 0 | 17403
2 | 3:52.04 | 5:05.66 | 17404 | 40344
3 | 8:57.70 | 4:40.71 | 40345 | 61415
4 | 13:38.66 | 7:08.25 | 61416 | 93540
5 | 20:47.16 | 4:14.47 | 93541 | 112637
6 | 25:01.63 | 4:04.02 | 112638 | 130939
7 | 29:05.65 | 3:26.16 | 130940 | 146405
8 | 32:32.06 | 6:02.06 | 146406 | 173561
9 | 38:34.12 | 3:19.23 | 173562 | 188509


Range status and errors

Selected range

Filename C:\Users\Meijin\Desktop\Lossless Rip by ALLexxess\Billy Joel\1982 The Nylon Curtain (MFSL Hybrid SACD 2012)\Billy Joel - The Nylon Curtain MFSL.wav

Peak level 95.7 %
Extraction speed 3.5 X
Range quality 100.0 %
Test CRC 447EBA8A
Copy CRC 447EBA8A
Copy OK

No errors occurred


AccurateRip summary

Track 1 accurately ripped (confidence 1) [62293B20] (AR v1)
Track 2 not present in database
Track 3 accurately ripped (confidence 1) [529A48A9] (AR v1)
Track 4 accurately ripped (confidence 1) [14F616FB] (AR v1)
Track 5 not present in database
Track 6 not present in database
Track 7 not present in database
Track 8 not present in database
Track 9 not present in database

3 track(s) accurately ripped
6 track(s) not present in the AccurateRip database

Some tracks could not be verified as accurate

End of status report

foobar2000 1.1.18 / Dynamic Range Meter 1.1.1
log date: 2013-03-26 01:01:26

––––––––––––––––––––––––––––––––––––––––
Analyzed: Billy Joel / The Nylon Curtain MFSL
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR13 -0.90 dB -16.07 dB 3:52 01-Allentown
DR13 -1.71 dB -17.56 dB 5:06 02-Laura
DR13 -1.16 dB -15.67 dB 4:41 03-Pressure
DR13 -2.49 dB -21.22 dB 7:08 04-Goodnight Saigon
DR12 -3.14 dB -17.05 dB 4:15 05-She's Right On Time
DR13 -0.89 dB -16.01 dB 4:04 06-A Room Of Our Own
DR12 -0.38 dB -15.73 dB 3:26 07-Surprises
DR12 -2.89 dB -19.69 dB 6:02 08-Scandinavian Skies
DR13 -4.85 dB -23.12 dB 3:19 09-Where's The Orchestra?
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 9
Official DR value: DR13

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 764 kbps
Codec: FLAC

All thanks go to ALLexxess and taurus66

Download Billy Joel: MFSL Hybrid SACD Collection (1973-1982):