'The Stranger' (1977) – Billy Joel’s coming-of-age fever dream

There are few guarantees in life: the sun will rise; the sun will set; and everyone’s dad loves Billy Joel. When you get past the hits of “Piano Man,” “Uptown Girl,” and “We Didn’t Start the Fire,” what is left is a decade of perfection between 1971-1980. The latter two appeared in the twilight of his career, when, like with all musicians, everything becomes a pop ballad or a one-up contest of who can make a whackier electronic beat. However, there is so much more to Joel then shouty harmonics and historical namedrops. The Stranger embodies the peak of Joel’s songwriting and musical composition and will only leave you wanting to listen to anything and everything in his discography. Believe me, it took me 24 hours to listen to 7 albums back to front. So slow down, you’re doing fine, you can’t be everything you wanna be before your time – to quote Billy Joel – and he will make you feel as though growing up is actually something to enjoy. 

1. Movin’ Out (Anthony’s Song) – 

Have you ever felt the work you do and the reward you get don’t quite line up? Kicking off the album, an immediate injection of energy is fired into you by a jolty piano/guitar combination. Imagine you’re taking it easy, playing fifa with a friend and suddenly you concede. The infamous switch from laid back to lean forward, locking in position is what this song is. The ever so relatable feeling of grinding away at a dead-end job saving your money for something, someday is exactly what Joel conveys. For someone who is only at best familiar with the previously mentioned hits, the sound of such a different kind of instrumentation and punchiness hooks you in. 

“And if that’s what you have in mind

Yeah, if that’s what you’re all about

Good luck movin’ up

‘Cause I’m moving out” 

Joel has a clear message: don’t settle for what you don’t like. I described this as a coming-of-age album because as a third-year student about to be let loose in the actual world, this album offers comfort about what to expect. A progression from the jazz club piano man of previous projects to more experimental vocals and music. This peaks with a brain itching “ack-ack-ack” harmony that leads into the bridge. Perfect to drunkenly attempt at karaoke. 

2. Scenes from an Italian Restaurant

I mean this with the greatest sincerity: this is the greatest song of all time. What makes Billy Joel so good? His incredible talent on the piano? His wide vocal range? His meaningful lyrics? Whatever it is that is so addictive, every ingredient in this song is ear candy. There are three distinct phases in the piece. Opening with a piano ballad reminiscing a previous relationship, you are immediately dropped into a New York Italian restaurant with the hustle and bustle of an alfresco dinner on a busy street. Suddenly Joel decides to turn a beautifully delicate piece into a pop jazz head bang. Already in musical dreamland it then drifts into a Mark Knopfler-style love story that will get the blood pumping and the arms flailing. The bass is almost disco, with layers of jazz piano and rock drums. Oh, and did I mention the saxophone solo? Everything you can imagine is there. It is no wonder Joel himself called it his greatest song – pipping out two of his other self-proclaimed greatest hits that also feature on the album.

“Do you remember those days hanging out at the village green

Engineer boots, leather jackets and tight blue jeans

You drop a dime in the box play a song about New Orleans

Cold beer, hot lights

My sweet romantic teenage nights”

There are too many quotable lines however this one in particular fills me with a great nostalgia for something I did not experience. The urban teenage scene summed up in one verse. What makes this song even more impressive is the switch in perspective from someone reminiscing with their former lover in the first person to their love story told in the third person as if Billy Joel is a spectating commentator. It is delightful, clever and a “chef’s kiss” masterpiece. 

3. Vienna

“Vienna” was the song that made me fall in love with Billy Joel. From the haunting piano opening, the chords then drift into an epic, hand on the shoulder, you’ll be okay, comfort song. For any film people out there, it brings out similar feelings that Before Sunrise (Richard Linklater) does. The film is the perfect wine, and the song is the perfect cheese. They just mix so well. With the Viennese waltz beat, the orchestral buildup only to move into a jazz crescendo, like many songs on the album, every element to the track feels meticulously constructed. There even is a wonderful accordion solo that transports you into a European city, Paris, Prague…Vienna. 

“You’ve got your passion, you’ve got your pride

But don’t you know only fools are satisfied

Dream on but don’t imagine they’ll all come true

Ooh

When will you realise, Vienna waits for you”

The big theme in this song is not to rush through life. Everything is out there for you, seize it one thing at a time. For me, it is what encapsulates the mood of the album – ownership of yourself and who you are. It almost feels like Joel reaching out to his younger self and encouraging himself to keep going. In this way, the song is deeply moving, and it is there where Joel flourishes. Tugging at your heart, making you feel things. Nostalgia, hope, encouragement... “Vienna” will always be that for me. A true masterpiece from beginning to end. 

4. Only the Good Die Young 

Although starkly different from the previous track, there is something infectious about “Only the Good Die Young” that just gets your blood pumping. It isn’t subtle what the song is about (let’s just say flirtatious) but it captures the same vibe of Grease and Danny Zuko. It really would not feel out of place in a 50s set musical. Catchy, vibrant and rocking, the drums power the song and all you can do is shake your shoulders and nod your head to it. Now we have “Hot to Go” and “Pink Pony Club,” but back in the 70s, “Only the Good Die Young” was that cheeky, youthful zeitgeist and I can certainly see me in a pinball arcade with the jukebox cracking out this pop hit and everyone boogying. 

“And they say there's a heaven for those who will waitSome say it's better, but I say it ain'tI'd rather laugh with the sinners than cry with the saintsThe sinners are much more fun

You know that only the good die young”

By no means Joel’s best lyrics, the song can come across a bit of a throwaway. It is upbeat and bouncy but not clever and heartfelt. When you have songs like “Vienna,” and “Scenes from an Italian Restaurant” directly before, it feels like that quick breather to break the album up. But for what it is, and meant to be, there is great enjoyment to be had. 

5.  She’s Always a Woman 

Just like that we’re back to Billy being beautiful with music. I feel as though you’re either a “She’s Always a Woman,” or “Vienna” person. You’ll love both, but one certainly will stand above the other. The romantic readers will weep and writers among us may see comparisons to Sonnet 130. However this is not a LOVE song, but rather a rundown on everything negative about the love – yet you DO still love them regardless. What stands out to me is the fact that Joel has written the most realistic depiction of romance but behind a beautifully crafted acoustic guitar Spanish-style melody.

“And she'll promise you more than the garden of EdenThen she'll carelessly cut you and laugh while you're bleedingBut she'll bring out the best and the worst you can beBlame it all on yourself 'cause she's always a woman to me”

Joel adds a beautiful vocal melody over the piano after these lines and it always makes my heart jump and down with satisfactory delight. You understand people are not perfect and this validation acts again as comforting words that you can still love imperfection. It is not one for your wedding, but when you feel you want a bit of melancholy in your morning, “She’s Always a Woman” will deliver over and over. 

Overall, The Stranger is Billy Joel’s best record in many people’s eyes and for good reason however it doesn’t feature the same three songs most people associate with him. Therefore, if you don’t hate “Piano Man,” you love the upbeat “Uptown Girl,” or your history lecturer has infected you with “We Didn’t Start the Fire,” give The Stranger a go. When will YOU realise, “Vienna” waits (on Spotify) for you.

Album Rating 5/5

Image courtesy of Biography.