I heard my first Billy Joel album at 12 or 13 and instantly became a fan—more than a fan really. I owned all his studio albums and listened to them countless times. I was fascinated that he played in recording bands as a teenager in the ‘60s and a short-lived acid rock duo in 1970 before becoming a lounge pianist.
What’s more amazing to me is that he simply stopped making albums in 1993 after River of Dreams. He hasn’t released an album of new material in 32 years, which is 10 years longer than his span of LP production. For someone as successful as he is, that’s almost unprecedented.
From 1971 to 1993, Joel had an amazing 22-year run making albums. He explored a variety of genres (e.g., folk, country, new wave, jazz-rock, classical, adult contemporary, straight-up rock, Beatle-esque pop). All his albums have merit but, of course, some are better than others.
Streetlife Serenade (1974)
On Streetlife Serenade, Joel’s second major label release, he falters a bit. The album isn’t as consistent or engaging as its predecessor, Piano Man, and it doesn’t have a timeless hit on it like the title track of its predecessor.
Nonetheless, the album is worth listening to, and it did produce a hit, “The Entertainer,” that peaked at #34 on the Billboard charts. That song, which seems to be forgotten by radio, takes a cynical look at the music industry and bitterly references how they chopped his first hit, “Piano Man,” down to 3:05 to make it more radio friendly.
Cold Spring Harbor (1971)
I knew the first time I heard this album that something was off about it. There was a certain chipmunk quality to Joel’s vocals, but I liked it anyway. Turns out the album, released by a small label in 1971, was defective. The tapes were slightly sped up when pressed to vinyl.
Regardless, Joel’s songwriting talents are evident on this record and every song on it has its merits. The beautiful opening track, “She’s Got a Way,” would become a hit 10 years later when it was released on Joel’s first live album, Songs in the Attic. Another fine cut, the cynical “Everybody Loves You Now”, will also find new life on that album.
The LP’s problems were fixed, so if you stream it now, it sounds fine. Songs like “You Look So Good to Me” and “Got to Begin Again” reflect Joel’s inner state of mind at the time. Cold Spring Harbor stands as Joel’s most intimate and genuine album.
Piano Man (1973)
Joel’s first major label release, Piano Man, spawned the beloved title track, an autobiographical take on his six months working as a piano player in an LA lounge that has garnered over a billion Spotify streams and has become his signature song. It also features the eerie cut, Captain Jack, a college radio hit at the time of its 1973 release.
All the other songs on the album are good, but not among his best work, although the sentimental ballad, “You’re My Home,” written for his first wife, Elizabeth, is a fan favorite that’s grown in stature over the decades.
The album demonstrates Joel’s great potential, particularly as a melody writer, but also shows that he wasn’t quite ready for the stardom that would follow in a few years’ time.
The Bridge (1986)
Joel embraces stardom on The Bridge, inviting one of his idols, Ray Charles, to duet with him on “Baby Grand” in addition to pop star Cyndi Lauper, who received a rare co-writing credit, on “Code of Silence.” He brought in another of his influences, Steve Winwood, to play on album closer, “Getting Closer.” He also plays electric guitar on the hit track, “A Matter of Trust.”
Joel channels Sting on the album opener, “Running on Ice,” stretching his vocal cords in a manner not heard previously or since. “Modern Woman” was a Top Ten hit that was featured on the soundtrack for Ruthless People while “This is the Time” reached #18.
Overall, The Bridge is a solid album and the best of his final three studio LPs.
The Nylon Curtain (1982)
The Nylon Curtain was Joel’s attempt to raise the maturity level of his music by providing social commentary and political perspectives. It’s also essentially a music tribute to The Beatles, as many of the songs on this album are reminiscent of McCartney’s melodicism and Lennon’s biting cynicism.
The album produced the hits “Allentown,” a poignant song detailing the collapse of the manufacturing industry, “Pressure,” an intense, keyboard-driven track, and “Goodnight, Saigon,” a song chronicling the atrocities of the Vietnam War and the camaraderie that soldiers felt as a result of being thrust together to fight in a war they didn’t believe in.
With its Beatle-esque vibe and socially conscious lyrics, The Nylon Curtain stands out as a different kind of Billy Joel record and definitely one worth hearing.
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