OMD- Camden Roundhouse 03/05/2013

'English Electric'- the twelth studio album from OMD and two of the words that would most readily come to me to describe them- despite the pioneering, teutonic 'Kraftwerk' being OMD's earliest point of reference. They developed the sound beyond the avant-garde and experimental to create their own new-wave synth-pop, honing it to produce the unmistakeable body of work that fans fill the Roundhouse out to hear this evening.

First 'EE' single 'Metroland' is the opener, sounding grand and aspirational but lyrically it gently decries the idea of living in a utopia. Being 27, my introduction to the band came through my Dad's love for them and while it took a few years for the more esoteric tracks to be appreciated, I was always a fan of the more accessible matertial of the OMD catalogue. So I was well served with a setlist that included 'Messages', 'Tesla Girls' and to my particular joy, 'Forever Live And Die' and 'If You Leave' early on in proceedings. Paul Humphreys steps out to take centre stage for an earnest and joyous vocal on the former to rapturous delight. 'So In Love', 'Souvenir', 'Locomotion', 'Talking Loud And Clear' follow and it's credit to the band that there's no element of 'nostalgia show', they sound fresh and vital and stand on their own merits.

Such is the reputation Andy McCluskey's dancing has generated, he could be his own support act- the whirling dervish that is part 'Flashdance', part 'Riverdance', part 'Lee Mack's older brother, tipsy at a wedding disco' is present throughout but never more effective than during 'Maid Of Orleans'. Strobe lighting adds to the drama of the performance as he thrashes away to Malcolm Holmes's drums.

What seems a sparse stage set- a few strips of material hanging down/two stripey pillars matching the album artwork is transformed by some fantastic lighting work, genius in its simplicity. The strips of flag bringing to mind at times semaphore, or heraldic banners. The pillars pulse in neon red, blue, green. With Andy flanked by the twin totems of Martin Cooper and Paul Humphreys, it provides a striking stage presence that the band easily live up to musically. This being their second album and tour since returning in 2007 after a break of 10 years, it's a polished, well-rehersed and pitch perfect show. The new songs fit well alongside the OMD standards, Andy remarking that with six played from 'English Electric' and two from preceeding album 'History Of Modern' that it's impressive the whole crowd has remained to the end. (His stage-banter seems to have progressed to new heights during this evening too, since I saw them last at Hammersmith Apollo in 2010!). 'Our System' is introduced with the dry announcement that Voyager 1 is leaving our solar system, this is what it sounds like, and 'this is what we write songs about'. 'Night Café' and 'Dresden' are textbook OMD and can only grow on a listener with further exposure.

The last three tracks are 'Enola Gay', 'Walking On The Milky Way', and 'Electricity'. No less welcome for their inevitability and a powerful trio to end on, all can feel very satisfied with an impressive gig.

Meat Loaf: Last At Bat Tour, The O2 10/04/2013

The man. The mouth. The legend- Meat Loaf. This is how I billed it on Facebook before leaving for the O2 yesterday afternoon, and the man didn't disappoint. The mouth didn't let us down. And the legend lives on, even if as is surely the case, his 'farewell tour' really is the last one.

 

The lights dim, and 25,000 people hush as the band's intro tune strikes up... The Beatles' 'When I'm Sixty-Four'. 65 year old Meat Loaf has a sense of humour! It's a knowing nod to the fact that although he'd go on forever if he could, his body is not as willing as his heart. Ambling on for the first song, he still works the length of the stage as best he can- recent knee surgery curtails the dashes of his heyday. Runnin' For The Red Light from 1995's gem of an album 'Welcome To The Neighbourhood' is a perfect opener- up tempo and setting the stall out for the evening. 'Gonna have a good time tonight. Crazy from the heat and runnin' for the red light!'. Possibly another intentional gag in following it up with Life Is A Lemon (And I Want My Money Back), but tonight no-one will be asking for a refund. The highlights of the first set are 'Dead Ringer For Love', Patti Russo exceptional as Meat Loaf's female foil. The power and clarity in her voice is outstanding. And the emotional 'Objects In The Rear View Mirror' from 1993's Bat II. The huge screen is used to display the songs video, and it adds a 'this is your life' angle to the performance as flashes of Meat Loaf of 20 years ago are seen. Having bought the single on cassette at the time, it makes ME feel old! Meat Loaf ends the first half with 'Out Of The Frying Pan (And In To The Fire)' as the screen announces that following a 15 minute interval, he will return to perform Bat Out Of Hell in full...

Practically a 'greatest hits' set in itself, such is the love for these seven tracks it's a spine-tingling moment as the piano intro starts up and Meat Loaf teases the crowd... waiting and waiting before launching in to the first line. The crowd are all on their feet and he delivers a stronger vocal effort than I thought was possible anymore- for this song and the remainder of the set. The promise before tonight was that 'I will give you everything I got even if it kills me' and that he did. Taking to a stool between songs, the big screen displays soundbites from Jim Steinman, Meat himself, Ellen Foley, Karla DeVito (who provided the female vocals live and on record). Jim Steinman's love and enthusiasm for the songs is infectious and a nice touch to have him a part of the evening. 'You Took The Words Right Out Of My Mouth' is the O2's chance to shine and the 25,000 sell-out crowd sing along impeccably to the chorus. A beautiful 'Heaven Can Wait' acts as a breather for all as the audience sits and listens, enthralled before it picks back up again for 'All Revved Up With No Place To Go'. Credit again to Meat Loaf for the effort given- it is obvious how he is holding nothing in reserve. More laughs as 'Two Out Of Three Ain't Bad' is introduced with the story of its creation- Jim Steinman challenged to write a simple 'I want you, I need you, I love you' style song. He managed, sort of, with a twist...! Patti Russo comes to the fore again for 'Paradise By The Dashboard Light'. Returning to the stage in a 'Grease' style 1950's style high school outfit and playing off Meat Loaf perfectly, her 'Stop right there!' has everyone's attention and the track is taken up a notch as the tension escalates- Meat Loaf is exceptional as he responds to Patti's pleas and demands. The last song is 'For Crying Out Loud', rightfully described by Meat as 'Jim Steinman's masterpiece'. Much will be said about how this tour will take it out of him physically, but the emotional impact can't be overlooked- this album made him and it's a phenomenal body of work that has been his life for the last 35 years. Accompanied by a piano delicately playing the intro on loop, Meat Loaf's voice cracks as he addresses the audience- sincerely and genuinely thanking them for 'allowing a 65 year old man to come up here and sing to you'.

As the song ends it earns a tremendous standing ovation and the applause lasts until long after the last person leaves the stage. But he wouldn't leave without saying goodbye. (He'd do anything for love, but he won't do that). To no-one's surprise but everybody's delight, the band return for the mega-hit that was UK number one for 7 weeks (and the first single I ever bought!). Once again the epic, cinematic video plays on the huge screen and the encore begins with 'I'd Do Anything For Love (But I Won't Do That)'. As long as the song is, you wish it was longer as everyone is having such a good time. The night draws to its final close with the band taking their bows, and Meat Loaf shredding all over a Union Jack liveried guitar, in a massive stetson. 

His name was Marvin Lee Aday. His name IS Meat Loaf.

Sound & Vision

I don't tend to pay much attention to music videos, I think I missed the generation where they were a big deal and growing up I never had MTV or even Youtube (Top Of The Pops was as good as it got)- but for whatever reason I was thinking today about two that I find myself coming back to watch over and over. Beautiful in their simplicity, I don't need to say much about them as they really speak for themselves. Posting them here because they really deserve to be seen. Joyous, human, memorable. (And cheap!)

This Month, I've Mostly Been Listening To...

Ed Harcourt- Back Into The Woods             /        Giant Drag- Waking Up Is Hard To Do

Back Into The Woods

Released mere weeks after its existence was announced, Ed Harcourt's sixth studio album is the product of one day's work at Abbey Road studios. Recorded in its running order and using the first or second take each time, it's a testament to Ed's ability to draw the listener in- the minimal arrangements are utterly captivating. Now a family man with two young children, the lyrics are reflective and apparently past indiscretions and his legacy are on his mind. 'Hey Little Bruiser' is a parental ode offering words of wisdom to his offspring, 'Let no man be your keeper, they have secrets in their eyes. Where would we be without the dreamers, who pay no heed to good advice?'. 'The Pretty Girls' dances in with a dainty piano intro that's a touching tribute to the wife who's 'the circus tamer to my beast'. He's at his most Jeff Buckley-like on 'Murmur In My Heart'. For all its stripped-down intimacy, it doesn't feel like anything is lacking from the album- instead it's like being invited to a private concert in a tiny back room.

  

 Waking Up Is Hard To Do

 

Eight years after the debut full-length 'Hearts And Unicorns', Giant Drag followed it up this month with 'Waking Up Is Hard To Do', a $15 digital download only album, available from Bandcamp. While not aware of specifics, I know the band has had a difficult existence, as the long gap between releases would indicate. It seems to have been a labour of love for Hardy, who describes it thus...;

'Giant Drag has felt like one big lonely abscessed tooth that needed to be pulled to make way for a colony of new, better, whiter, faster, catchier teeth to take it’s place'

'Waking Up Is Hard To Do' opens with the surprising lightness of '90210' and a definite hint of 70's glam. 'We Like The Weather' continues in a similar vein. Given the grungey fuzz, distortion and lo-fi sensibilities of album one it seems a deliberate shift in style. 'Won't Come Around' goes so far as to tease at David Bowie's 'Sound And Vision' with the backing 'oooh's'. 'Firestorm' is a spirited 'riot grrl' indie rocker (You think I'm wrong? I think you're wrong about that... You think I'm strrrrrong, you weren't supposed to see that') until the half-way point where the drums slow and the vocals become a kittenish lament (But I know I bring you down... and I know you don't want me around'), before regaining its attitude. 'Garbage Heart' steals the melody of Andy Williams's 'Can't Take My Eyes Off You' and turns it on its head, audaciously using it to declare independance from a failed relationship 'there are no words left to say... you have been thrown away'. A few tracks on, 'Heart Carl' is another highlight a soulful, heartbroken ballad 'I never asked for this. Does anybody ask for this? We all want somebody... to reach out and kiss'. Album closer 'Seen The Light' is a playful, stomping track with gospel-style group vocals chiming in at the end. There's a sweetness and positivity that runs through the whole album and I enjoyed it as much as anything I've heard or could hope to hear all year.

I loved it, highly highly recommended. Please check it out.

 

In defence of... The Ordinary Boys

 

Whenever I get talking music with someone there's no band I have to justify more, or mention without adding a pre-emptive caveat for, than The Ordinary Boys. To the uninitiated, minds instantly leap to Big Brother, Preston being in girly gossip mags and their apparent 'selling out'- with 'I Luv U' getting mainstream airplay and the different sound of album 3 'How To Get Everything You Ever Wanted In Ten Easy Steps'. Even the band name is vaguely boy band-ish, if you're not aware of its origins as an album track title from Morrissey's 'Viva Hate'. (Although not nearly so much as 'Next In Line', as originally known as according to Wikipedia. Presumably after the Kinks song). With Preston writing again and the promise of some tour dates I will save myself the effort in future by referring them to this blog. So here's a brief rundown of my history with The Ordinary Boys.

Not to get ahead of myself, it was 2004 when The Ordinary Boys released the debut 'Over The Counter Culture'. The musical landscape of the early 2000's does not make inspiring reading, looking back. The top 10 albums in the UK in the first decade of the new millenium, by sales, include two by Dido and one each from James Blunt, David Gray, Leona Lewis, Coldplay. The top 20 contains two further Coldplay albums, Keane, Norah Jones, Snow Patrol... So 'Maybe Someday' with it's punky, shouted intro, choppy Jam guitars and sub 3 minute running time was an instant attention grabber. Championed by Steve Harris (@SteveXFM), then buried away in a late slot on Virgin Radio, here was a band that struck an instant chord with me. The look, the influences, the lyrics. I was 21 and in my first proper job and the likes of 'Week In Week Out', 'Maybe Someday', 'Talk Talk Talk' were anthems for such disaffected young office prisoners as I had become. Better yet, 'Weekend Revolution' railed against the 'living for the weekend' crowd-

'You loutish lads look not for love,

You grab your loins and hunt for blood,
You unleash the tension,
Do things i wouldn't mention...

Your weekday demons take their toll on you,
But your weekend revolution just won't do'

OTCC rattled along with urgency. Intelligent lyrics, a healthy dose of brass, lots of guitars. Harrington jackets and a 'Specials' cover. CD artwork designed to look like a 'Penguin' classic. Utterly incongruous with anything else around at the time yet perfect for me. 'Brassbound' followed a year later. Seemingly maligned by the band themselves these days, more than a dash of UK pop reggae was added to the mix. 'Boys Will Be Boys' recalled the hooligan ska of Bad Manners, while the likes of 'On An Island' and 'Call To Arms' were bouncy, sunny and deserving of a wider audience. All the while a decent cache of b-sides and covers had been amassed, displaying not only great taste (Ramones, Buzzcocks, Stevie Wonder, Kinks, Eddie Cochran...) but further evidence of intelligent, insightful songwriting and relateable lyrics. 'Quarter Life Crisis' and 'We Soldier On' stand out for me as particular praise-worthy. In another era 'This Could Be The Night' and 'Hand In Hand' could have been massive hits. I understand that name-checking these songs to people who won't have heard them means nothing in and of itself but the point is any preconception of who The Ordinary Boys are is way off the mark.

Big Brother happened. Preston had often stated a fascination with celebrity culture, and reality tv (and troublesome debates solved in glossy magazines) so on a personal level his involvement was not much of a surprise. In his words, he went in as 'an interactive spectator'. To cut a long story short he aquitted himself well, charmed the nation, and came out with a public profile and new audience of teenage girls. Great news for the record label, but slightly disconcerting for the loud and loyal 'Ordinary Army'. I've recently re-evaluated the post-BB album and it's far from the disaster I'd written it off as- it's no OTCC but I've made my peace with it. Though at the time the departure in sound and influx of Preston fans ignorant of the band's existence pre-BB left a sour taste. A quick side-note on the 'other' thing Preston is known and judged for, the 'Never Mind The Buzzocks' walkout. I still fail to see how it reflects badly on him at all. If you go on that show you know what you're letting yourself in for and can be considered 'fair game' but having your (then) wife sneeringly mocked in front of you is not something anyone could be expected to laugh along with. Anyway. 'How To Get Everything You Ever Wanted In Ten Easy Steps' somewhat limped along and the band folded with a whimper.

For a long time I lamented the turn of events that saw MY band thrust into the spotlight only to burn up under it... In hindsight, 'How To Get Everything...' was an honest album- if they had just churned out another OTCC things could have turned out much the same but maybe there wouldn't be the same desire to recapture past glories that has led to a rejuvenated Preston being 'so happy and psyched' to be back in the studio now. In 2008, the year after the official 'split', Preston made available the unreleased track 'Busy Wasting Time'. Insult to injury as it was a breezy continuation of the Brassbound sound and a hint at what might have been. A further 3 years passed and the feeling of dissatisfaction remained that the band would be remembered for the wrong reasons, until July 2011. With the dust well and truly settled, completely out of the blue, something as exciting as it was welcome was quietly announced-

'B-Unique (my publishers and friends for the last eight years) suggested I do a few last Ordinary Boys shows while I was still in my twenties to give the band a proper burial...'

'I want to play mainly the first record and some b-sides and maybe some rougher, sweatier versions of some of the singles. I just need something loud and fast in my life and I want to do it before I turn 30 next year.' 

Music to my ears, a clean slate and a much more appropriate send-off. A new track 'Run This Town' emerged and it was like the return of an old friend, a weight was lifted, all resentments forgiven. The Islington Academy gig in December was the third and best time I'd seen them live. So for the public at large's opinion to be based on them for the brief  period in the middle, where things were messy and not representative of the band as a whole disappoints me. 

If it had ended there, I'd have been content. No unfinished business, demons laid to rest. But what that fortnight's worth of gigs proved was that there was still a taste for it on both sides. When the band packed up in 2007 I never could have hoped that six years later we'd be hearing new material, and for it to be as high a quality as 'Reluctantly Yours'. The waltzing organ, sardonic vocals and air of resignation bring to mind Terry Hall's 90's solo albums. It's a brilliantly written pop song in the purest sense of the word. Familiar enough for comfort but a very individual track, it's hard to place it's origins in the Ordinary Boys timeline so if it's an indicator of what's to come I couldn't be happier.

In Guards We Trust

 

What a pleasant surprise on a rainy Monday evening, to come home and find Pitchfork is streaming 'In Guards We Trust' ahead of release- http://pitchfork.com/advance/17-in-guards-we-trust/


The album kicks off with the hazy, hypnotic, 'Nightmare'- it sounds like that point in a night out where you've drunk enough to start dancing. 'Giving Out' and 'Ready To Go' continue the trend, woozily reminiscent of places you've never been with people you've never met. The former sounds like an end-of-the-night floorfiller 'Don't let the lights go out... you'll hear them scream and shout / I feel it giving out... your clock is running out'. The vocals end abruptly, giving centre stage to an organ, lending an anthemic feel. The latter is a gorgeous summer day of a song, Richie Follin sounding like a cross between happy Billy Corgan and Romeo Stodart of The Magic Numbers. Plenty of guitar, chiming bells, and a massive chorus. Definite highlight of the album on my first listen.

'Silver Lining' is an all-out indie pop song- 'I wanna live for ever in a boat out on the sea'- it rips along making you want the same thing. It'll be soundtracking an advert for holidays in 5 months time. 'Heard The News' is a wonderful noise, something about it sounding vaguely Brit-Popish to me. Early 90's, Suede-esque, grungy... 'Not Supposed To' is one of the more understated tracks, not to say it should go unnoticed. Lyrically it's one of my favourite songs on the album- 'Holding on to something that you never had, well holding on just makes you sad. Looking out for something that you never seen, just close your eyes it comes with peace'. 'I Know It's You' soars on the back of some fantastic guitar and drum work. It hits its stride two minutes in, halting for a dreamy, swirling, organ interlude before picking up where it left off, Follin's vocals even more ardent than before. 'Coming True' is a bit of everything that's come before- a well crafted bit of indie rock, layers of sound, bursts of noise, a strong vocal. It builds and fades and comes back bigger again. Really enjoyable and... honest, for want of a better description. Another of my favourites is 'Your Man', sounding like a cross between 'The XX', 'The Shangri-La's' and Ennio Morricone. No further description required.    

'Can't Repair' has a massive motown feel to it, from the drums to the singalong refrain- 'oh no oh no, this one you just don't share... oh no oh no, this love you can't repair'. Put on a suit and your dancing shoes. 'Home Free' sounds like it's about to suddenly break in to one of two songs, 'Cannonball' by The Breeders or... 'More Than A Feeling' by Boston. Either way, another song that even before it's halfway through has seeped into your conciousness and can expect to hear the chorus coming back to you for days to come. 'Oh did you lie... to me? When you said... you and me?' (More than a feeeeeling!)

Final track is '1&1', a shimmering slow-dance. And another lyrically gorgeous track- 'If one and one... can really come to two. Then why on earth... would I not be with you?'. A brilliant closer, that sweeps you up in a collision of sound and echo and majestic organ. Can't put my thoughts on this track to words well enough to do it justice- but it's the only track that really bought to mind Richie Follin's sister's band, Cults- whose debut album I adored.

Looking forward to the physical release in the UK (I think we get it a while after the US, who get it next week). Definitely lived up to my hopes for it. And will be well up there as one of my favourites at the end of the year.

Billy Joel- An Innocent Man (1983)

Call it a 'guilty pleasure' if you like, but I love Billy Joel's 'Uptown Girl'. It's one of a couple of songs I very clearly remember hearing and enjoying when I was still much too young to be properly 'in to' music. My Dad would have Capital Gold on in the mornings and alongside 'Lola' by The Kinks, it was a song that I would instantly recognise. Years later it's one of maybe 4 songs of Joel's that I consider to be absolutely outstanding pop tracks, but I never thought to investigate his work further. For whatever reason, one day last year I found myself on his Wikipedia page and discovered that 3 of those 4 songs were from the same album- 'An Innocent Man' (the 4th being 1980's 'It's Still Rock & Roll To Me'). I kicked myself for not reading up on it sooner, as the album is a tribute to the music of his teenage years and his memories of the time- American pop, motown, doo-wop, soul of the late 50's to mid 60's. With 'Uptown Girl', 'The Longest Time' and 'Tell Her About It' being tracks I had admired for years as great tributes to the likes of The Drifters, Sam Cooke, Smokey Robinson etc as well as great pieces in their own right, I was very keen to hear the rest of it.

 

Easy Money

The album starts with a blast of James Brown-esque funk/soul- a gambler's anthem of a night that's young, and full of possibility for someone with cash in their pocket looking to try their luck.

'Take me to the action, take me to the track
Take me to a party if they're bettin' in the back
I've been working all my life, can't afford to wait
Let me call my wife so I can tell her I'll be late'

An Innocent Man

Track 2 is the title song, a dramatic change of pace and tone. I'm surprised at its position on the album and would have thought it better placed as the penultimate track. I was blown away by this on first listen- a stripped back, soul-bearingly honest, human, cathartic ballad. I doubt very much that it was not an autobiographical song. Dealing with the same subject matter as The Beach Boys' 'I'm Waiting For The Day', he sings about what it's like to be the one who picks up the pieces of a broken relationship. Paying penance for another man's misdeeds he bears the emotional brunt and misdirected anger, refusing to give up on someone who after a setback, is ready to give up on themselves.

'I know you don't want to hear what I say
I know you're gonna keep turning away
But I've been there and if I can survive
I can keep you alive
I'm not above going through it again
I'm not above being cool for a while
If you're cruel to me I'll understand

I am an innocent man
Oh yes I am
An innocent man'

The use of the phrase 'innocent man' I thought was a clever analogy for the subject matter- he's asking not to be held accountable for the pain inflicted by someone else. I'm sure it's a situation a lot of people have experienced or can relate to on either side of the coin. Like the hungover student who swears never to drink again, the heartbroken who can't bear to risk it happening again shut out any potential suitor. 

'Some people say they will never believe
Another promise they hear in the dark
Because they only remember too well
They heard somebody tell them before'

I hope anyone reading this will be encouraged to play the album but if not, at least give this one a listen or read the lyrics.

'The Longest Time'

This one raises the spirits again with 3 and a half minutes of catchy, feel-good, mostly acapella harmonising. The video echoes the album's theme, with an 'older' Joel sitting lonely in the aftermath of a high-school reunion, before his old buddies file in and the clock is turned back. (Look out for the worst double-take in the history of moving pictures). Billy Joel is actually the only singer on the song, the recording being 14 layered tracks of his own lead and backing vocals. A simple love song of a man renewed. As the track before describes, a relationship ending can feel like the end of the world but if you pick yourself up things can be good again.

'Once I thought my innocence was gone
Now I know that happiness goes on
That's where you found me
When you put your arms around me
I haven't been there for the longest time'

This Night

If this album was an American teen movie this is the 'prom night slow-dance' scene, where the two lovable losers who have been given the run around by the wrong partner finally get it together.

 

'Didn't I say
I needed time to forget her?
Aren't you running from someone
Who's not over you?'

Very 1950's, with its 'shoowap's and 'woooah's, and a bit of sax for good measure.

Tell Her About It

An unmistakably 'Supremes'-sounding track, could hardly be more motown if Diana Ross was singing it. Rather than singing about his own experiences this time, the song is directed to a thrid party, giving some great advice we all should heed more often.

'Listen boy I don't want to see you
Let a good thing slip away
You know I don't like watching anybody
Make the same mistakes I made

Listen boy I'm sure that you think

You got it all under control
You don't want somebody telling you 

The way to stay in someone's soul
You're a big boy now and you'll never let her go
But that's just the kind of thing she ought to know'

I can't help but imagine all the poor souls listening to this in 1983, getting thoroughly carried away and dancing off to make a well-intentioned but ultimately doomed declaration of love off the back of it... I'm sure it would have been responsible for more than a few happy endings too, though.

Uptown Girl

Everyone will know this one already. Very 'Frankie Valli and The Four Seasons'. A driving drum beat,  irresistably 'sing along', and that bit where the harmony builds and the motorcycle revs... Love it.

Careless Talk

Taking on a Sam Cooke vocal style for a song that, considering the theme of the album could be about the whispers and behind-the-back gossip that goes on in your teenage years, jealousy and spite from spurned lovers... or considering his growing profile as a celebrity and his high-profile partners (models Elle MacPherson and Christie Brinkley)

'Careless talk...

That's what you heard about me 

Jealous talk...
That's what I heard about you 

Everybody's telling lies,

I don't even know why 

Why can't people Find something better to do?'

Christie Lee

A 'Little Richard' rocker, one of the weaker tracks. Plods along nicely enough but... every album has its 'filler'.

Leave A Tender Moment Alone

The 5th single (of 7!) released from the 10 track album. The quiet, reflective 'Leave A Tender Moment Alone' is, lyrically, an inner monologue- the explanation he can never offer face to face as to why he's quiet or awkward in the company of a girl.

'Yes I know I'm in love
But just when I ought to relax
I put my foot in my mouth
Cause I'm just avoiding the facts'

Keeping the Faith 

'Keeping The Faith' is a full stop to the nostalgia, explaining that 'the good ol' days weren't always good, and tomorrow ain't as bad as it seems'. He recounts his routine for a night out- the clothes, the hair and paints a vivid picture. Rather than reminiscing and lamenting the loss of days gone by, he approaches it as you would looking back at old photographs- happy to have had the time and appreciative of chance to look back, but none-the-less able to put it away and live in the now.

'I'm going to listen to my 45's
Ain't it wonderful to be alive
When the rock 'n' roll plays

When the memory stays
Yeah
I'm keeping the faith'

Whole album can be played in full here;

Billy Joel- An Innocent Man (Full Album)