IT'S BETTER THAN DRINKIN' ALONE: The Official ILM Track-by-Track BILLY JOEL Listening Thread

Love the way his voice sounds so light & dreamy in this

I have a real soft spot for it. I do catch the admiration in the lyrics & delivery though over time it sounds condescending esp in light of his general tone in later years it's hard not to hear it as sarcastic

clearly this time of night i do away with most forms of punctuation so make of the above what you will :/

Maybe I've got too much "Just Like A Woman" on the mind, but this morning, this song is screaming Dylan at me.

Wonder if Henley heard this in the shadows and thought, "YES. 'HIDES LIKE A CHILD.' THIS BOY'S NAILED IT."

All that said, it is a pretty song. It's probably in the Top 20 songs of "Aren't You Listening To These Lyrics?", where prom dances end with "Wonderful Tonight" and fathers dance with their newly married daughters to "Just Like A Woman".

I think when Billy's trying to be sarcastic it's more obvious - this one to me feels like it belongs in the "singer comes off as a dick" thread. Beautiful music though, the melody is effortlessly pretty. the key change in the second part of the bridge (the higher "ohhhhh") gives me tingles sometimes

this is the official anthem of every long island wedding

I really have so little to say about this one! Some great melody stuff (mainly the move to the title line, the "she steals like a thief" bit - that's great), but the entire premise feels incredibly dated for obvious reasons surrounding the painful generalizations. Like whether or not it's misogynistic, it has the same problem as "She's A Woman" or "American Girl" where it's like the big payoff is that she, get this... is a woman. Well, the American adult female population in 1977 was around eighty million people so that really doesn't narrow things down very much. Anything we're supposed to infer based on this is essentialist baggage we're bringing in from outside the song - ah, yes, a woman, I sure know what THAT implies about this person and this relationship. Barf.

I do think Dylan's is way worse, but at least it has "Nobody feels any pain" opening things out with something so seemingly strange and off-topic that I'm always prepared to give it another chance, aha, this time it will turn out to be an interesting song. (It never is.)

i like how after the discrete chords of the first verse billy starts doing these very nice chromatic figures that kinda make the song feel centerless in a good way

Are they chromatic? I always thought they were just arpeggios. ("Just" very tasty ones.)

lmao i don't know anything about scales and briefly confused two concepts i learned 100 years ago when i was trying to learn the piano, yeah they're just arpeggios

They are great though. Didn't mean to turn this into Theory 101 class, sorry.

Anyway I think this is one of his most McCartneyan vocals. The "oh, and she never gives out" bit, with the oboe noodling in the background? That would have fit fine on Abbey Road or Let It Be (though Paul would never have been able to play a piano part like this).

Then, as if to provide an antidote to the sweetness, he thickens up the Lawn Guyland in the last verse - "suddenly cruel," "nobody's fool" sound like he's wearing a boxing mouthguard.

https://www.youtube.com/watch?v=ccdC_EPih2E

Get It Right The First Time leads us into the home stretch of the album. I always forget about this one.

she's always a woman - beautiful medley. the "she takes care of herself" part is one of his best paul mccartney/emitt rhodes moments. the tone of the lyric is confusing to me. i honestly can't tell if he's trying to be sweet, trying to be a dick, trying to remember what bob dylan said, or what.

get it right the first time - sounds like an early, lesser pass at "tell her about it." the la la la part is very stevie wonder. i, too, hardly remember this one. i can imagine it being a fun live jam.

*beautiful medley* is my way of saying *beautiful melody.*

I was dreading today's, but it wasn't that bad! Maybe my memories are colored by its proximity to... tomorrow's little ditty.

I like the rough voice he's got here. He's an excellent singer, with a few limited tricks in his bag, but this one just sounds like him sangin' away. Reminds me of "Josie", where Fagan slips down a little from his leather upholstered sidewing stool to exclaim "When Josie comes HOME! TONIGHT."

Nothing on Who Sampled Who for this one! I figured for sure someone would've used this. It's got that groove. The bass is in an odd signature. Maybe not a hip-hop artist, but surely some Daft Punk wannabe would've liked this one.

Because who doesn't like a nice breezy samba?

Quickly catching up...

"Only the Good Die Young" - If not a perfect song, than definitely a perfect Billy Joel song--witty and gently subversive lyrics (I love the fairy tale-ish detail of "they built you a temple and locked you away"), a muscular and diverse arrangement, hooks for days.

"She's Always a Woman" - Frequently kind and suddenly cruel, indeed. Billy's inability to contain his spite in some of these lyrics gives the song a weird tension, but I don't hear any attempt at democracy like I did with "Just the Way You Are" (where, as I said above, I hear the song as a kind of conversation that grants the subject some--though admittedly not much--agency as a character), so for me this is mostly just a kind of nice song that doused with a jarring sourness.

"Get It Right the First Time" - Spirited album filler.

kinda hate "She's Always a Woman" - piano part is too busy, the lyrics are (as noted) a shitty riff on a (mostly) shitty Dylan lyric, and while the melody is v pretty (def McCartney/Emmitt Rhodes school) the other crap gets in the way too much imo

"Get It Right The First Time" has some nice things going on in the arrangement, especially the flute, but man does it feel like album filler. No surprise it's the first thing we've hit on this record that's not either a single or a fan favorite or both. Probably fun to play on, but there's just not enough hooks and the whole concept is pretty lame. "Get it right the first time, that's the main thing ... Get it right the next time, that's not the same thing" --- zzzz, really, "not the same thing?" How so? Who cares? Why bother?

yeah it's fine. enjoyable but rote

lyrics should've ended with "I took five minutes to write this/and now this song is over/got it right the first time"

it's funny bc before this track i was ready to post something along the lines of "i've never heard the last two tracks of the stranger but i'm pretty sure this album 100 percent rules?"

i mean it's still really good imo

Feel like he has one of these on each album... midtempo workout with no compelling reason to exist, but like, decent enough... Worse Comes To Worse, Weekend Song, and All You Wanna Do Is Dance (if you squint)...

Finally caught up. Turnstiles was the best album up to that point, with two tracks I had heard of but never heard ("Summer, Highland Falls" and "Miami 2017"). Both earn their place as fan favorites pretty easily - perhaps predictably, they are my favorite new finds from this thread. "Prelude/Angry Young Man" is also cool, if a bit of a weaker version of "Brenda Rinetti" musically

Of course, the Stranger still blows that album away. Hard to deny most of the songs on it, despite having heard them countless times. Had heard and enjoyed "Vienna" a few times before, didn't realize it was one of the few non-single tracks from this album. Save something for the next few albums! Well, I guess "Get It Right the First Time" is a surprising dud, except the Stevie Wonder bit

And since no one mentioned it (maybe because it's so obvious), "James" seems like a near steal of "Daniel" by Elton John. Same instrumentation, same mood, lyrics about a friend.

https://www.youtube.com/watch?v=S129T9kav8I

Everybody Has a Dream closes The Stranger with a song Billy had apparently had kicking around since the Cold Spring Harbor era, though I don't know when it got set up with the Charles-influenced verses and gospel-borrowing choruses. The last two minutes are effectively "The Stranger (Reprise)," though not identified as such on the jacket. Love that whistle! Online sources indicate it began life as a James-Taylor inspired song in waltz time - he must have really been struggling to make that work or you figure it would have cropped up on Streetlife Serenade when he was really hard up for material. But anyway.

As before, I recommend to the devoted fans the Sirius XM clips of Billy Joel talking about the album, which have little in the way of deep insight but a lot of little treats. In this case you get him at the piano knocking through the pieces of the Abbey Road medley and some version of the "Oyster Bay" song-fragment when discussing "Scenes," and his attempt at a Gordon Lightfoot impression on "She's Always a Woman."

Also, just to restate what a milestone this album was for him, we've really crossed a rubicon here. The album before this one peaked at #122. This one got to #2; of his seven remaining pop LPs, all would peak in the top ten, and four would hit #1. That's not counting live albums, and of course the juggernaut double-disc Greatest Hits. His singles would perform a bit more unevenly, but he still has twenty top-twenty hits ahead of him, including three number ones. I don't know if Billy Joel can be said to have an imperial phase... but if it weren't for this album, I doubt any of us would have ever heard of him. Maybe from alternate-timeline Sounds of the Seventies comps that dug up "Piano Man" to stuff as filler between bigger hits.

hmmm. a song on one of my all-time favorite artists' signature albums and i don't remember a thing about it. i don't even remember the title. i don't remember the "stranger" reprise outro. i'm aware there were songs after "she's always a woman," but my recollections end there. a billy black hole.

sounds like he's sort of going for '68 comeback era elvis presley, in addition to the usual ray charles reach. and failing miserably. while losing himself in palaces of sand. whatever that means.

also this doesn't sound like it would belong on the stranger even if it was good.

Yeah.... this one's never meant much to me. It's okay I guess but seems kinda obvious and uninspired for how long he'd had it around and how much you'd think the idea of dream-having might have meant to this scrappy underdog guy. The "Stranger" reprise just feels like filler to me - I mean I'm certainly not fooled into thinking this has all been some concept album, or a symphonic composition or something. Maybe the idea is that after all the dreams, what waits for you is not Vienna, but the cynical performances of so many strangers. More of a Plastic Ono Band ending than a Band on the Run ending, if you will - tho obviously, unearned reprises were a favored McCartney device.

Ugh -- imitating Leon Russell but writing for Joe Cocker.

Too Vegas-y. I do like the "Stranger" reprise, though.

I always forget about the reprise since I always stop this album before EHAD.

Always make it to the Band on the Run reprise though.

The intro of "The Stranger" is one of the best bits of the album, so I don't mind hearing it a third time. It's better than this merely ok closing song, at least. The reprise has some extra strings too I think

https://img.discogs.com/3yTdtKiUS-e9j88GSm4r7hJZA5k=/fit-in/600x603/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-7403788-1441301169-6695.jpeg.jpg https://img.discogs.com/qQFhrlXzWvGrI_-PC7ysFoON0ig=/fit-in/600x607/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-7403788-1441301178-2299.jpeg.jpg

https://img.discogs.com/fk3RHgU110t6Kzsl-Q3EovgiFig=/fit-in/600x599/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-7403788-1441301181-7806.jpeg.jpg https://img.discogs.com/jO3d20RswbhKAsHlp9Ia_QPEhNM=/fit-in/600x608/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-7403788-1441301172-6397.jpeg.jpg

52nd Street was recorded in the summer of 1978, a year after the Stranger sessions, and following, as before, a substantial Spring tour. This time, of course, Joel had a mega-hit under his belt. I haven't actually found a ton of "making of the album" stuff, just a lot of chatter about how the title, besides being an Abbey Road-like nod to the location of the recording studio, tipped the album's slightly jazzier hat to the incredible musical history of that part of Midtown. But overall it seems like Billy, the band, and Ramone just got back to work making another record.

The album, as already noted, was a massive seller. Released October 13th, 1978, it reached #1 a month later and held on through the end of the year, plus another week at the end of January. It would go on to be 1979's best-selling album; I suspect it would have held the title in '78, if not for a certain couple of Travolta-headed items. Its three US singles were all hits, and in 1980 it was awarded an Album of the Year Grammy. For a real glimpse into the moment, check out his nice long Rolling Stone profile by Dave Marsh. Cheech & Chong got the cover, this time.

https://www.superseventies.com/oaaa/oaaa_joelbilly3.jpg

https://www.youtube.com/watch?v=zhF8AgBR8hM

Big Shot opens the album with an appropriately scuzzy, mean-tempered rocker. Released as the second single in January 1979, it peaked at #14 and probably swung that second #1 stint for the LP. As well, unless I missed something along the way, this is our first encounter with a Billy Joel music video, though arguably it's Liberty DeVitto who gets the white-hot spot-light.

https://img.discogs.com/V2jtk7fnM7lGhEdVyAfnElR7E8g=/fit-in/600x606/filters:strip_icc():format(jpeg):mode_rgb():quality(90)/discogs-images/R-3332642-1326192231.jpeg.jpg

i love the opening of Big Shot, like a real punch inthe face musically

the circus-style drums/cymbals for the slow tempo part of the chorus is a great touch

or at least it sounds like a circus to me

i remember being VERY excited as a kid when he said "dont come bitchin to me"

HAHA HEY MUM BILLY SWORE

Mum *narrows eyes* yep

yeah that seemed very transgressive and shocking to me too!

in general of course this is another key "adult"-sounding joel song to me. i've said this before on ILX but like, i had no idea what a Halston dress signified, if i even understood what he was saying. it was ages before i could parse 'people that you knew at Elaine's' versus 'people that you knew out in Leans,' presumably short for New Orleans. a 'spoon up your nose' would not have meant cocaine to me, maybe at best i parsed it as some kind of drunken antic, like the party attendees wearing lampshades on their heads in the corny old anonymous cartoons in this big newsprint omnibus of 1950s/60s humor that my sister had. but it all certainly sounded seedy. and someone strutting around like a beeeg shot, now this was comprehensible to me.

yeah, love that opening guitar salvo. love the whole thing really, especially now that i'm old enough to register that it's as much a hungover "song to yourself in the mirror" as it is a sneering takedown of the day's hipster elite. maybe his best rock number?

definitely!

and yeah, adult content agogo in this thing. this song (& the entire Grease movie) did not fully reveal its meaning to me until I was MUCH older

That comically affected "nohnohnohnoh you had to be a beeeg shot, deeenja" bit ruins this song for me. Otherwise, it's fine, if a little lyrically underfed. It sounds like he was very deliberately going for another "Movin' Out"-style album opener.

Also, some serious ACT-ING! in that video.

"deeenja" for me is redeemed by the later "Mmmm, big shot!" BRAAAOOOWOWOWOWOWoowowowo....

or maybe ACT-ING! BRAAAOOOWOWOWOWOWoowowowo....

If this song has any big sin, for me, it's staying on its lyrical mark too doggedly; I won't call it one-dimensional cause I do think the "guy is singing it to himself" angle is interesting, but essentially each verse recapitulates the same point, the story doesn't go anywhere, and this other angle would be clearer if we had a "Stranger"-like admission that Billy's been there, or even some discussion of what's going to happen tonight after all this (though that would risk a 'punchline' type ending I guess). I think in my unconscious desire for a plot I've always read "but you went over the line!" in the third verse as carrying more weight than it does, indicating a situation beyond this pain-in-the-neck character that's really getting worse... glasses were smashed, guns were drawn, someone was killed - - - you just can't carry on and on like that with these mafiosos, big shot!

Interesting that "Who Are You" was released around the time this was recorded. As we've seen, Billy was no stranger to hangover songs, but it's fun to think of them as some kind of pair: our singer is actually talking to Daltrey, still so wasted from the night before that he doesn't even register any of the rant, thinks Billy is a policeman, and just keeps slurredly asking him "who are you???"

Liberty is incredibly, hilariously distracting in that video

wow i've never seen that video. liberty being liberty. billy being the worst mick jagger i've seen in a long time.

just wait til the "you may be right" video

lol otm

ha.

there's a lot i love about "big shot" -- the stop-start rhythms, the use of "front-page bold-type" as a putdown (he really *did* love the new york times, the daily news) -- but mostly i can't get over how much he sounds like michael j. fox fronting a rock band. was this song mjf's primary source for how to rock? not fair to blame billy for what came later. but i do.

"this is your cousin marvin! MARVIN JAGGER!"

haha

I wish he'd written lyrics for at least one go-round of the "oh oh wo, oh woooooah" part. No idea what they should be about but it does feel a bit like "My Love" with so much obvious "I've got writer's block but it's time to record the album" placeholder stuff.

And just for trivia fun, this album was the first ever commercially released CD y'all.
http://ultimateclassicrock.com/the-first-compact-disc-released/