Though I wasn't old enough to know how all of these albums performed on their release during the 1970's, by listening to the first four albums in order of their recording, you could see a pattern emerging. A pattern where the talent of Billy Joel and his band in each recording was obvious, but that there was something that was just holding back each album from becoming a breakout, an album that everyone wanted and knew. Rather than an album where one or two songs stood out from the others around them, producing an album that had no weak points, only great songs one after the other. With The Stranger, Billy Joel hit the jackpot.
This is an album where everything comes together, a perfect storm of song writing and performing, of getting the right mix of moods and tempos so that they work together rather than standing alone in a stark environment, so that although each song is memorable, it doesn't feel as though it has drawn all of the spotlight of the album, leaving the rest to make up the numbers.From the beginning the album feels right and encourages you to sing along and enjoy the ride. "Movin' Out (Anthony's Song)" starts out in a jaunty story that combines Billy's wonderful story telling style in an easy going song that is immediately enjoyable. This segues nicely into the whistling tune that is "The Stranger", complemented by the piano and horns. Despite the somewhat sinister subtext of the lyrics, this is a terrific song, once again very easy to sing along with as the music and vocals roll along.
"Just the Way You Are" is another of Billy's easygoing, ballad love songs that he does so well. It was his first top ten single in the US, and by his own admission was a song that neither he nor the band liked very much. Must be tough writing a song you didn't like but became your biggest selling song to that point in time. This is followed by "Scenes from an Italian Restaurant", another lengthy story in song form, which has a wonderful mood about it, as well as three separate 'chapters' that have changes in the music through the song.
"Vienna" starts off the second side of the album with its basis of piano and drums with Billy crooning over the top. "Only the Good Die Young" changes tack again, back into upbeat sassy movement pushed along by the band at its best. "She's Always a Woman" should be a song that never appeals to me. It is in that genre that I steer clear of, that I don't want to be a part of. The love song, the crooning ballad, is the type of song that usually has been running screaming to the hills in every other style of music I listen to. Well, the story of the matter here is that this is sung and played so beautifully by Billy that you can't help but love it. The performance is spectacular and subtle, quiet and reflective and yet soaring when it needs to. It is a terrific song, and surprisingly enough one that I have never had a problem with admitting that I like, even with scorn and ridicule from others around me. Go figure.
"Get It Right the First Time" is a lightweight, upbeat song that utilises the flute to give it an airy feeling throughout. The album closes with "Everybody Has a Dream", which was written back around the time that Cold Spring Harbor was recorded. It has the easy feeling that many of the songs off that album have. This is followed by a reprise of "The Stranger", with the piano and whistle fading out to complete the album on a high note.
On all counts, this is Billy Joel's finest album. It was the moment that he found the magical component he was looking for that elevated him to that next level, and produced songs that could appeal to people of all ages. Despite the half a dozen songs that came on the first four albums that should be considered as essential Billy Joel classics, for the beginner, this would be the perfect place to start.
Rating: "Sinners are much more fun, cos only the good die young". 4.5/5
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