The Gospel of Joel
Chapter 1: Everybody Has a Dream - The Stranger (1977)
On March 9th, 2014, I had the pleasure of seeing Billy Joel perform at the Air Canada Centre in Toronto. Besides being my first rock concert, it was the only time I've been in the same building as another Music Banter member--both
Burning Down and
zombie kid were at the show. My discography reviews kick off just in time to celebrate the anniversary of that event.
In 1974, Billy Joel had released a single titled "The Entertainer". In it, he sang,
I am the entertainer,
The idol of my age.
I make all kinds of money when I go on the stage.
You see me in the papers, I been in the magazines,
But if I go cold, I won't get sold,
I get put in the back in the discount rack
Like another can of beans.
It seemed his prophecy was coming true. After minor success with the single "Piano Man" and its accompanying album, Billy had released two commercial flops. His self-produced, piano-centred sound desperately needed a change. That's when Phil Ramone entered the picture.
Ramone brought a new sound to Billy's music--backing vocalists, horn sections, and a smooth pop rock punch.
The Stranger was a smash hit, reaching #2 on the charts for six weeks.
The album begins with the fuzzy guitar lick of "Movin' Out (Anthony's Song)". Ramone's production is evident here. It's an upbeat, catchy tune and a promising start. "He's trading in his Chevy for a Cadillac-
ack-ack-ack-ack-ack!"
"The Stranger" introduces a change of pace, with its jazzy whistled intro. It fades into the meat of the song, a pop rock reflection on our dual personalities. The intro is also used as an outro, which provides a rather haunting contrast.
"Just the Way You Are" continues with the jazzy sound. It's a very cheesy piece and overplayed to the point of annoyance, but there's still a beautiful melody and some smooth saxophone.
With the next four, the album really takes off. "Scenes From an Italian Restaurant" is an epic. It begins as a piano ballad and touches on Dixieland before morphing into a straightforward piano rock tune, which then returns to the original theme. Billy displays his incredible skill on the keys for the first time here with an incredible solo.
Side two kicks off with "Vienna", a song I never appreciated until I heard it performed live. It's now my favourite Joel tune. Interestingly enough, it's also his. Lovely piano intro and accordion solo. I have recorded a cover, in fact, but I'm a little too ashamed to post it. I had a sore throat at the time.
"Only the Good Die Young" is about a guy who tries to convince a Catholic girl (named Virginia!) to "come out". Its lyrical content caused some radio stations to ban it. Despite that, Billy closes all his concerts with it, and its infectious shuffle beat makes it one of his catchiest tunes.
When I saw Billy, he performed everybody's upbeat favourites--"Uptown Girl", "You May Be Right", and of course "Piano Man", to name a few--but it was the quietest song that stole the show. "She's Always a Woman" is his most beautiful ballad, featuring piano arpeggios and an understated flute line.
"Get It Right the First Time" returns to the upbeat sound of "Movin' Out". This is the album's weakest track, in my opinion. Mind you, there isn't a single bad song.
The Stranger closes on an introspective note with "Everybody Has a Dream", which sounds like an early (and superior) version of "Honesty". Its soulful chorus fades into a reprise of the title track's whistled theme--the perfect way to end a fantastic listening experience.
Phil Ramone's production might have been the key factor in
The Stranger's commercial success, but it merely served as a vehicle for what Billy Joel already had--evocative, story-telling lyrics; catchy melodies, whether upbeat or downtempo; and above all, an unisputed talent for playing the 88 keys of a Steinway grand piano.