Billy Joel – The Stranger (Album Review)

Billy Joel's 1977 studio album, The Stranger, is a true masterpiece of the singer-songwriter genre, showcasing Joel’s exceptional talent as both a lyricist and a musician. This iconic album is not only a significant milestone in Joel's career but is a timeless classic in the history of popular music and one of the best albums released in the 70s.

The Stranger is so impressive that it could be seen as Joel’s magnum opus; although, there are so many of his albums that could fall into that category that to categorically make that statement, without further reflection, would be obtuse. Nevertheless, as you listen to The Stranger, Joel’s fifth studio album with nine distinctive tracks, you’ll experience a multifaceted journey through a wide range of emotions and storytelling. It’s, subsequently, a difficult album to fault for every track is worthy of inclusion and the combination contributes to the album's overall brilliance. 

Also impressive is the sonic reproduction of the Hi-Res Lossless Apple Music stream; an Apple Digital Master. While there are countless releases of The Stranger, the Apple Music stream does offer a reproduction that I consider to be perfect. Having listened to these songs for decades, I can attest that while there may be a better mastering to be heard, the Apple Music stream is so good that I see no reason to explore over 200 editions to find the one that best suits my subjective tastes. It is one of those moments when I’m reminded that the greatest enjoyment in the appreciation of listening to music is the music itself. Hence, if this version excites you as much as it does me, then that is all we will ever really need. 

Movin' Out (Anthony's Song) launches the album with a bang, but it’s also a jolt if you’re not expecting the sudden introduction. Nevertheless, Movin' Out (Anthony's Song) is a catchy tune that is perfectly suited to Joel’s overall style and is a fantastic way to open The Stranger. 

The Stranger has an opening that would suggest it's a softer tune, but as enchanting as that introduction is, The Stranger melds into an incredible pop-rock number that is not only a standout but is also the perfect title track. Additionally, while some may dislike the shifting styles, I adore the reprise towards the end of the song for it is the perfect bookmark to an incredible tune. 

Just The Way You Are is a smooth ballad that has become a timeless classic. Yes, it is a little dated but the patina of another time is part of its appeal for as it continues to age, it becomes even more impressive.

Scenes From An Italian Restaurant is an epic tune and is one of Joel’s greatest hits. It really is a masterpiece and while I acknowledge that term is overused, I can’t think of a better way to describe this wondrous piece of music.

Vienna is a beautiful song that highlights Joel’s vocal and piano performance. If only all B-sides could be this impressive as it's one of Joel’s many hidden gems.

Only The Good Die Young picks up the tempo with an energetic rock ’n’ roll vibe. While one of the more popular tunes from The Stranger, it is far from Joel’s strongest song. Yes, I do enjoy it when playing this album, but I also don’t seek it out on its own. It isn’t the controversial aspect concerning the lyrical interpretation, for I rarely pay attention to lyrical meaning and depth, instead choosing to enjoy the human vocal as another instrument in the mix. It’s just that I consider it to be an album-only tune; a thoroughly enjoyable one, but not one worthy of its reputation. 

She's Always A Woman is the greatest song Joel has ever written and recorded. I could listen to this tune on repeat indefinitely for it is, arguably, the most tender and delicate love song in all of recorded music history. Music, truly, doesn’t get any better than this. 

Get It Right The First Time was always going to be overshadowed by She's Always A Woman and while I would have preferred a different sequencing, whereby this tune appeared before She’s Always A Woman, Get It Right The First Time is a solid album-only song that further enhances The Stranger and ensures that it’s my favourite album from 1977. 

Everybody Has A Dream is a beautiful gospel-inspired closer that leaves a lasting impression and further showcases Joel’s songwriting and musical abilities. While Everybody Has A Dream is largely lost to those who haven’t listened to the album in its entirety, it’s their loss because it not only encourages me to spin the album again but it allows me to sit and contemplate the music I’ve just heard; an aspect that all music lovers should be able to experience every time they play music. It’s even more paramount as Joel’s masterful whistling, from The Stranger, is once again reprised and closes the album out perfectly. 

The Stranger is an album that presents a wide range of musical styles and lyrical themes, showcasing Joel's versatility. Its diversity is a probable factor in The Stranger being an enduring classic that has not only stood the test of time but will remain relevant to music lovers for as long as humanity continues to exist. The Stranger is, subsequently, a must-listen for anyone interested in the singer-songwriter genre or the history of rock and pop music, for they really don’t make music like this anymore.

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Billy Joel – An Innocent Man (Album Review)

Released in 1983, Billy Joel's An Innocent Man stands as a shining example of music that is timeless. With its catchy melodies, impressive vocal performances, and evocative songwriting, An Innocent Man is a masterclass in nostalgia that continues to captivate listeners for it plays akin to a greatest hits release.

While An Innocent Man, Joel’s ninth studio album, is one of the greatest records from the 80s, the launch window couldn’t have been more disappointing for Joel as Michael Jackson’s Thriller would ultimately win the Grammy for Album Of The Year over An Innocent Man. While Jackson's Thriller is a landmark release, one I thoroughly enjoy, I'd argue that An Innocent Man is a stronger album that has stood the test of time far better than Thriller which is starting to sound a little dated to the era. An Innocent Man likely avoided being stuck in the past as Joel formulated the tunes with a touch of the, arguably timeless, 50s and 60s musical styles. The continuous lighthearted Be-bop, Soul, and R&B styling is addictive, well suited to Joel, and ensures that the album sounds as fresh today as when it was initially released.

Of course, great songs are for nil if the production, mix, and mastering qualities are substandard. Thankfully, An Innocent Man, via the Apple Music stream, is quite enjoyable. The soundstage is well-defined and each element within the mix is given room to breathe. That said, there’s a nagging aspect about the stream, that is coincidentally an Apple Digital Master, in that it could be fuller for it sounds a little anaemic in places. It isn’t a major issue and a slight adjustment to EQ settings can rectify that shortcoming, but it’s something you should be aware of. That said, if you’re like me and don’t have a physical edition of this classic record, it will provide you with hours of pleasure until you can attain a subjectively better release.   

Easy Money has a sensational beat – thank you, Liberty DeVito! It’s a fun little tune to start the album with, but the chorus isn't compelling as I find the downbeat shift to be a distractive element.

An Innocent Man slows the tempo, but the transition from Easy Money never sounds out-of-place. When listening to this song, you begin to comprehend what an incredible vocalist Joel is. His vocal control is simply amazing as he takes every note right to the edge of his capabilities and never falters. The result is that An Innocent Man is one of the album’s standout tunes and is, subsequently, the perfect title track.

The Longest Time is a beloved A cappella gem and is one of the greatest sing-a-long songs of all time with its harmonious melodies, doo-wop styling, and charming lyrics. 

This Night really opens up throughout the chorus. Yes, the whole song is wonderful, but as a Ludwig van Beethoven fan, I appreciate how Joel merged his vision, and a touch of the 1950s, with that of Beethoven’s. The result is a true masterpiece in every sense of the word.

Tell Her About It is a catchy and energetic track with an upbeat tempo that will have you toe-tapping and head-bopping from the very first note in much the same way as one would when listening to the music from Motown’s golden era.

Uptown Girl is, undoubtedly, one of the album’s greatest hits for it’s infectious upbeat pop-rock rhythm, catchy melody, and playful lyrics, ooze charisma.

Careless Talk is a little out-of-place following Uptown Girl but as a song on it’s own, outside of the album’s sequencing, Careless Talk is a solid track. It’s your classic album-only tune, and was never going to set the charts on fire, but that doesn’t prevent Joel from delivering another soulful performance. 

Christie Lee is a fantastic rock song that places Joel’s piano playing front and centre, along with a compelling saxophone element that ensures Christie Lee is not only dynamic but a fun addition to the record. While not necessarily the strongest song on the album, if you’re like me you’ll be reaching for the volume knob for this is one tune that sounds best at rock and roll levels. 

Leave A Tender Moment Alone is a beautiful ballad showcasing Joel’s songwriting prowess and ability to create tender melodies that tug at the heartstrings. 

Keeping The Faith is an extraordinary tune to close the album on for it blends elements of pop and rock with a touch of gospel, resulting in a truly memorable musical experience. 

An Innocent Man is a testament to Billy Joel's musical genius and his ability to pay homage to the past while creating something modern and enduring. The album's diverse range of styles and heartfelt performances make it a timeless classic, in Joel's illustrious career. and is a must-listen for anyone who appreciates the magic of '50s and '60s pop music with an 80s twist that only Billy Joel could deliver.

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Billy Joel – 52nd Street (Album Review)

Following The Stranger was always going to be an insurmountable task for once perfection is reached, it’s often difficult to replicate what made the previous work so successful. That isn’t to suggest that 52nd Street, Billy Joel’s sixth studio album, didn’t give it a good shot, for it’s an excellent album when listened to without contrast, it just falls a little short when directly compared to Joel’s 1977 opus.

While the songs on 52nd Street aren’t as strong and don’t present Joel’s vocals as eloquently as had been heard the year before, I find that the production quality is the element that causes 52nd Street to be viewed differently. If it were any other artist, 52nd Street would be a landmark release, but we all know how capable a vocalist Joel is and his prowess simply wasn’t captured, within each song, on this record. Despite that, it’s still one of my favourite albums from 1978, I just wish there was a little more spit and polish applied to the recording and mastering of this classic album.

Where The Stranger was sonically lush, 52nd Street is hollower by comparison. As an Apple Digital Master, and Hi-Res Lossless version, it’s fair to say I expected more and can only put down the average sonic presentation to the recording style and processes. Granted, not every Apple Digital Master is a home run, but I find more often than not; they are. Yes, the style of music is slightly different with fewer rock and blues influences, replaced with a touch of jazz, but the problem is that you’ll be listening to your speakers rather than being enveloped in the soundstage. I liken it to Meat Loaf’s Bat Out Of Hell; another masterpiece that was poorly recorded. 

Some may even suggest this underproduced feel adds to its appeal, but I know how I like my Billy Joel albums to sound and this is one example whereby the version provided to Apple Music isn’t flawless. Even adding a touch of EQ doesn't completely address these issues for it amplifies the problems in a different direction. For instance, adding a little bass and reducing the treble slightly results in a muddier midrange but doesn’t correct the flatness of the recording.

Does a better edition exist, particularly on a physical medium? Perhaps, but as I don’t have another version to compare it to, at this point in time, that comparison will have to wait for a future update.

Lamenting the sonic quality, however, I find it interesting to note the music falls into line with the album’s artwork as the rawness of the sound is visually represented. It’s one of those moments where you can forgive recording elements and look compellingly into the artwork and see correlations with the music. Subsequently, when looking at 52nd Street as an entire package, it makes sense that it’s a little underproduced if we consider the music against the album artwork.  

Big Shot has never been my favourite tune as I feel it starts too abruptly and Joel’s nasally vocal can be grating on the senses. That said, if I have the album on in the background, and don’t pay particular attention to this aspect, it’s thoroughly enjoyable.

Honesty is an incredible ballad that has stood the test of time for it sounds as fresh with modern ears as it would have when initially released. It is Joel 101 and most certainly a highlight from 52nd Street; a beautiful song! 

My Life has a great toe-tapping head-bopping rhythm. The piano work, Joel’s vocal (particularly the echo applied), and the rock-solid backbeat ensure that My Life is an exceptional tune. While Joel has never needed backing vocalists, Chicago’s Peter Cetera and Donnie Dacus are valued additions to My Life as their backing harmonies are exquisite.

Zanzibar is one of the more obscure tracks on 52nd Street for its somewhat off-beat nature and stylistic shifts throughout shouldn’t work, yet they do. It may take a few listens to fully appreciate Zanzibar, but when you let the music flow, rather than analyse it, you’ll find it’s much more enjoyable. 

It should also be noted that the great Freddie Hubbard recorded the trumpet solos further linking the jazz influence to the overall style of the song and album. In fact, I think it would have been wonderful had Hubbard been included on other songs throughout as I feel the combination of styles would have taken 52nd Street to another level entirely. 

However, the fade-out on the second solo begins too early. Thankfully, an unfaded version of Zanzibar exists on My Lives, thereby allowing Hubbard’s brilliance to become even more prominent on this classic tune. 

Yes, sometimes less is more, but that is most certainly not the case here; although, I do understand why the second solo’s length was reduced as keeping it in would have not only detracted from the flow of the album but would have exceeded the ideal play length of the vinyl record.

Stiletto is one of the greatest songs of all time! That introduction, the beat, the rhythm, the jazziness. I love everything about Stiletto and the shifting styles, while risky from a fluidity perspective, is utterly perfect. A hidden gem if there ever was one. 

Rosalinda’s Eyes is a little underwhelming, particularly after Stiletto. It’s a solid tune, but you’re unlikely to seek it out on its own. 

Half A Mile Away picks up the tempo and brings us back to the brass-driven rhythm that works particularly well with Joel’s vocal recordings. Half A Mile Away may not have been a hit but it’s a great tune that should have achieved more recognition, if for no other reason than that incredible vocal performance. 

Until The Night is another beautiful ballad by Joel and it would have been the perfect final tune as I don’t feel 52nd Street closes the album out well. The shift in vocal pitch, throughout, is a highlight as it lifts the listener’s attention through the more sombre elements of the song, but in all aspects Until The Night is a perfect song and another hidden gem that deserves more recognition than it often receives. 

52nd Street, despite being the title track, is atrocious. It really should have been left off the album as it does nothing to encourage the listener to spin the record again and is one of the all-time worst closing tracks, on any record, by any artist, let alone one of such stature as Joel. 

Overall, while it can be suggested that 52nd Street is the most unique of all of Joel’s albums, in that it doesn’t conform to a natural progression from his previous releases, it simultaneously offers music lovers an album filled with infectious melodies, intricate arrangements, and insightful lyrics. Yes, I’m critical about certain elements and while it isn’t his greatest album, I’ll be damned if I don’t admit to thoroughly enjoying it every time I listen to it. Let’s put it this way, Joel’s catalogue of music is enhanced by the presence of 52nd Street and, sometimes, that is all that is needed. 

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