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"Goodnight Saigon" is a song written by Billy Joel, originally appearing on his 1982 album The Nylon Curtain, about the Vietnam War. It depicts the situation and attitude of United States Marines beginning with their military training on Parris Island and then into different aspects of Vietnam combat.
The closing song to Side A, "Goodnight Saigon", is about American soldiers fighting in the Vietnam War, and was written by Joel at the request of his veteran peers who fought during the war. Joel wanted to avoid creating a political song that took sides, instead opting to describe things entirely from the soldiers' point-of-view in the midst of ...
Live at Shea Stadium: The Concert is the fifth live album as well as a CD and DVD music compilation of songs performed by American singer/songwriter Billy Joel during two concerts at Shea Stadium in New York City on July 16 and 18, 2008.
"Goodnight Saigon" Billy Joel: 1971 "The Grave" Don McLean: 1972 "The Great Compromise" John Prine: 1972 "Guns, Guns, Guns" The Guess Who: 1970 "Hand of Doom" Black Sabbath: 1973 "Hallelujah Day" Jackson 5: 1971 "Happy Xmas (War Is Over)" John Lennon & Yoko Ono/The Plastic Ono Band: 1965 "I Ain't Marching Anymore" Phil Ochs: 1968 "I Don't Wanna ...
The quote is printed on the single cover, but not on the cover of the 4-track CD, which instead features the titles of the extra songs: "Goodnight Saigon", "Vienna", and "Scandinavian Skies". In 2015, Razinov traveled to New York City to see Billy Joel's concert in Madison Square Garden .
W. Waist Deep in the Big Muddy; Walking on a Thin Line (song) War (The Temptations song) The War Is Over (Phil Ochs song) War Pigs; We Gotta Get Out of This Place
Allentown, Pennsylvania, for which the song is named. The song's theme centers around the resilience of Allentown, Pennsylvania and the surrounding Lehigh Valley region of eastern Pennsylvania in the 1980s as it coped with the decline of its historically strong manufacturing sector and its emergence as a part of the Rust Belt in the latter part of the 20th century, including the depressed ...
Robert Christgau of The Village Voice wrote that Joel's craft improves, but "he becomes more obnoxious: the anti-idealism of 'Angry Young Man' isn't any more appealing in tandem with the pseudoironic sybaritism of 'I've Loved These Days.'" [9] In a retrospective review, Stephen Thomas Erlewine of AllMusic wrote that "the key to the record's success is variety, the way the album whips from the ...