Billy Joel – The Stranger Review

Billy Joel finally catches a break with an incredible turn on The Stranger. From those first few notes of Movin’ Out (Anthony’s Song), his piano rock takes centre stage, moved by some sharp lyrics. This is what previous efforts lacked. His sound is still relatively tame in the genre but with The Stranger, it is a necessity. He hinders himself instrumentally to push forward as one of the finer lyricists of the time, and the powerful scope of an album like The Stranger proves the gamble was worth it. Joel sees himself moving up, moving out, as the opening song would suggest. Anthony is simply a placeholder name for anyone who finds themselves in the stopgap. In that place between a bad decision and a bold future. The Stranger tries to keep this momentum steady with its slower stylings on the title track and beyond.  

It does this with funk-laden beats and sharp, articulate lyrics. Joel had never quite found the balance on preceding efforts, bar a few sparks of life on Piano Man. His album projects were filler wrapped around a single or two, or manipulation of other artists like on the stressed-out Streetlife Serenade. Instead, Joel builds on a more guitar-laden selection with his title track, the showy power of The Stranger comes in its confidence, in its braggadocios qualities. There is no better word for it than cool. Joel made a cool album. The Stranger oozes the charm of its time and it lasts today. Joel is not, however, irresistible to schmaltz and brass, as Just the Way You Are finds. A lifeless love song of traditional, somewhat terrible qualities which is backed by percussion and angelic backing vocals fading in and out. Straight-shooting piano rock which veers towards pop at high speeds.  

It is not as though The Stranger cannot make the most of those moments – Scenes from an Italian Restaurant stands tall as an immediate example of this genre blur. Reminiscent, rebellious and revolutionary all in the span of a seven-and-a-half-minute track hoping for the kickbacks of romance and riotous times with loved ones, all backed by a brass band. Sensational writing, strong instrumental sense and, crucially, a personality. The Stranger is oozing with a charm which feels both genuine and specific to Joel, something he maintains for most of this album. It was not the first time he had done so, nor the last, but this is by far his best. A masterful medley from Scenes from an Italian Restaurant and the follow-up skill of Vienna cements The Stranger as a classic, what follows is consistent songwriting. 

Consistency is key to the latter end of this album, the loss of its instrumental and written partnership is staggering. She’s Always a Woman and Get It Right the First Time feel more like collections of possible encounters backed by some blunt lyrical moments while Only the Good Die Young has some touching recollections but feels relatively sparse and does not pop when compared with the rest of the album. Teething issues on his best album, and yet Joel comes across as a wonderful piano rock player. Joel finds some of his best works here, not as parts or moments to strip from the album, but in the project itself. As complete a creation as it gets, and one which still displays a thoroughly enjoyable core, a genuine beating heart in each song.