3 Minutes, 49 Seconds

We started at the end, and now we finish at the beginning.  Billy Joel's first solo album has a reputation as a sort of curiousity in his catalog. For one, it was quite hard to find for a long while, as it was initually released on a small label called Family Productions and was very spottily distributed. Another bit of intrigue was that the album was initially mastered at the wrong speed, with the main effect being Billy's vocals - which were already much higher-pitched than what we'd become used to - being pitched up to near Alvin and the Chipmunks levels. In 1983, with Billy at the height of his commerical success, the album was remixed, and given some overdubs and edits. That stands today as the "offical" version, though neither the fans nor Billy himself are happy with it. So I suppose a caveat to this entire review is that Cold Spring Harbor is not the album it was intended to be. That said, I'm going to attempt to take it at face value, using the widel...

For the longest time, I mistook  Piano Man as being Billy Joel's third album instead of his second. When compared with Streetlife Serenade , it just seems so much more realized and complete. Each song lived-in and thought-through. While not a perfect album, it seems like a logical lead-in to his run of classic records that started with Turnstiles . I don't know if my confusion speaks more to the unevenness of Streetlife Serenade or to the quality of Piano Man , but for the purposes of this review, let's say it's the latter. As a whole, Piano Man feels like a collection of lost songs from Broadway productions. I say "productions" plural becasue this is not a concept album. The songs are all over the place thematically and musically, but what they share in common is a theatricality of presentation and a focus on storytelling. To my mind the album is anchored by three epics that come at the beginning, middle, and end. First is the semiautobigraphical "Piano...

Billy Joel's third album was created in a rush after the success of Piano Man , and it shows. Not that it's a bad album, it just suffers in comparison to its predecessor and its immediate successors. Two of its ten songs are instrumentals. A few of them feel, well, not so much half-baked as undercooked. And it's weird becuase Billy had three songs he'd already been playing live - "Rosalinda," "Long Long Time," and "Josephine" - that didn't make the album (you can listen to live versions on the Piano Man  Deluxe Edition). Anyway, let's look at what is there. One of the reasons Streetlife Serenade underwhelms is the dearth of hits, which is just not something you expect from Billy Joel. The album only had one single, "The Entertainer," which peaked at a respectable #34. It appears on most of his hits packages (though it wasn't on the vinyl version of Greatest Hits Vol I & II ). A lack of hits isn't a problem i...

Turnstiles is, along with An Innocent Man and The Stranger , in my top three Billy Joel albums. It has pretty much everything you might want from the Piano Man. It has two beloved classics: "Say Goodbye to Hollywood" and "New York State of Mind." And while I like that they respectively open and close side one, I think these two are the key moments to the album's story, and thus wish they'd been sequenced a bit differently (more on that in a bit). It has virtuosity. The opening to "Angry Young Man," called "Prelude," with its lightning fast hammered piano, is the most obvious display of Billy's growing talents. But it wasn't just him. Turnstiles is the first recorded appearance of the Billy Joel band - Richie Cannata, Liberty DeVitto, Russell Javors, Howie Emerson, and Doug Stegmeyer - and their performances show they were able to handle pretty much anything with aplomb. It has introspection and wisdom. Billy was only 27 years old ...