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Album Thoughts

In 1976, Billy Joel released his third album produced by the renowned record label Colombia Records. This label was home to legendary artists like Bob Dylan, Barbara Streisand and Simon & Garfunkel. However, this album didn’t achieve the same chart success as some of his other work with Colombia.  Despite this, it eventually became some of his most beloved songs performed at future concerts. 

It’s easy to recognise that his follow-up album, The Stranger, was a much more mature and refined work. However, I believe this album serves as the perfect stepping stone to his later success on The Stranger. I’ll be discussing and reviewing this album with the perspective of how it might have felt in 1976. 

The album begins with a massive pop song, setting the tone for what I believe is a very theatrical album to come. If this album is anything, it’s theatre in an album, and I think it might have been a bit ahead of its time when it was released in 1976. While many artists were exploring the storytelling aspect of music, they were still largely confined to the “Yacht Rock” era, with bands like Eagles and Boston dominating the scene.  Therefore, a fresh-faced jazzy pop piano man singing and writing stories was quite a departure. 

Summer, Highland Falls is a truly beautiful song that solidifies the notion that this album will be remarkably different and lyrically impactful.  Its simple yet provocative lyrics, such as the opening line “They say these are not the best of times / They’re the only times I’ve ever known” and the recurring end-of-verse line “It’s either sadness or euphoria,” demonstrate his willingness to push boundaries and make listeners truly feel his words.

My only song I never quite understood was All You Wanna Do Is Dance. It has a very Caribbean feel and is catchy, but it’s certainly confusing, especially after Summer, Highland Falls.

Now, let’s delve into one of my all-time favourite songs: New York State of Mind! Where do I even begin? From the opening note, he lets the key ring out just enough to grab your attention before launching into one of the most captivating piano openings. Then, he slows it down again and presses into that iconic piano part, creating a calming and comforting feeling, like a warm embrace of home.

This song showcases one of his most mature and soulful vocal performances. I’m not sure if he was singing sick or simply lowered his vocal range for this track, but the tonality he achieves is truly beautiful. The orchestra and saxophone complement the song perfectly, creating a theatrical masterpiece reminiscent of New York City, bathed in lights and stars.

The band’s control in this song is remarkable. They stay in the background, allowing the piano, orchestra, and saxophone to shine as the true stars. The bass and drums are kept simple and effective, ensuring the song remains cohesive and balanced. The only time the band truly takes the lead is towards the end, with the crashing drums during the final chorus reminiscent of a Cabrera song. This moment really highlights the punch in his vocals and his expressive delivery.

Every element of this song is meticulously crafted. Each solo has its place, and every lyric is thoughtfully written and described. The song’s dynamic range is so carefully balanced, making it one of the best songs ever. I remember the moment I first heard it; I couldn’t get enough of it and wanted to re-listen repeatedly!

James’s organ work is stunning and serves as a beautiful bridge between New York State Of Mind, a theatrical song about escape, and the energetic piano rock of Prelude / Angry Young Man. This fast-paced track is reminiscent of his song The Ballad of Billy the Kid, where the music flows continuously and the dynamics shift with each verse, keeping you hooked and anticipating what’s to come. 

I’ve Loved These Days is melodically so pleasing to the ear. It again has that theatrical overtone of the album.  It would be a fitting song for someone to sing towards the end of the opening act of a play before the intermission to pique the audience’s interest in what happens next. It also serves as a fitting prequel to the final song on the album. 

As soon as Miami 2017 (Seen the Lights Go Out In Broadway) begins with the emergency siren blaring and the sound of fire engines, your anticipation skyrockets. Then the juxtaposition hits: he’s singing to a heavily played piano, leaving you confused and wondering if you’ve been pranked. However, about a minute in, the rock guitar and drum beat kick in, reassuring you this is a grand finale. It’s a fitting song to end on, heavily influenced by Elton John and challenging much of his work on Goodbye Yellow Brick Road.

Despite this, these songs became some of his most beloved and frequently performed tracks for years. As I mentioned earlier, I believe the album was too confusing and musically inconsistent for his audience in 1976. Consequently, none of the singles charted. It’s a real shame.

Track List

1. Say Goodbye To Hollywood
2. Summer, Highland Falls
3. All You Wanna Do Is Dance
4. New York State Of Mind
5. James
6. Prelude / Angry Young Man
7. I’ve Loved These Days
8. Miami 2017 (Seen The Lights Go Out On Broadway)