The Stranger is the fifth studio album by American singer-songwriter Billy Joel, released on September 29, 1977, by Columbia Records. It was the first of Joel's albums to be produced by Phil Ramone, with whom he would work for five subsequent albums.[4]
Joel's previous album, Turnstiles (1976), had sold modestly and peaked low on the US charts, prompting Columbia to consider dropping him if his next release sold poorly. Joel wanted the new album to feature his touring band, formed during the production of Turnstiles. The band consisted of drummer Liberty DeVitto, bassist Doug Stegmeyer, and multi-instrumentalist Richie Cannata, who played the saxophone and organ. Seeking out a new producer, he first turned to veteran Beatles producer George Martin before coming across and settling on Ramone, whose name he had seen on albums by other artists such as Paul Simon. Recording took place over three weeks, featuring DeVitto, Stegmeyer, and Cannata. Other studio musicians filled in as guitarists on various songs.
Before The Stranger, Billy Joel was on the verge of being dropped by his record label Columbia Records. After the unexpected success of Joel's second album, Piano Man (1973), his subsequent albums were commercially disappointing. Turnstiles, Joel's 1976 release, had peaked at only number 122 on the Billboard 200 chart.[1]
By 1976, Joel had formed a reliable touring band, consisting of Doug Stegmeyer on bass, Liberty DeVitto on drums and Richie Cannata on saxophone, flute, clarinet and organ. Joel grew to appreciate this group of musicians, finding that they had a high-energy, rough-around-the-edges feel that he hoped to capture in his studio recordings. Joel had mostly worked with session players for his first three studio albums, which contained only scattered contributions from his own backup musicians, and strongly disliked the polished sound of these albums. During the production of Turnstiles, his fourth album, Joel initially worked with veteran producer Jim Guercio, who had him work with members of Elton John's band; dissatisfied with the results, Joel instead opted to self-produce the album and record with his own touring band. Joel was likewise set on recording his fifth studio album with this band. Having written some new material for the record,[8] Joel sought a producer who could cultivate his desired style. Joel, a longtime fan of the Beatles, initially looked to famed Beatles producer George Martin. But after meeting with Joel, Martin expressed interest in producing the album, but did not want to use Joel's band, wishing instead to bring in session players. Joel, however, was adamant in his desire to record with his own band and declined Martin's offer. Ultimately, Joel turned to Phil Ramone, a veteran New York City sound engineer and record producer who had recently worked with Paul Simon, another singer-songwriter, on Simon's album Still Crazy After All These Years (1975). According to Joel, he and Ramone met with each other at Fontana di Trevi, an Italian restaurant near Carnegie Hall, where Joel had been playing at the time. The restaurant would go on to inspire the setting of "Scenes from an Italian Restaurant", a song on The Stranger. According to Joel, Ramone expressed an appreciation for Joel's band and their energy, and understood the reasoning behind Joel's attitude towards recording, which ultimately led Joel to choose Ramone as the producer for his next album.[8][9]
The recording sessions for The Stranger, described by Joel as "a blast" to be a part of,[10] took place across the span of three weeks in between July and August 1977.[11] The album contains nine songs, four of which were released as singles in North America. The songs were all recorded with Joel alongside his band, which he had formed while touring, in addition to various other musicians who were brought into the studio for specific songs.[9] Despite the formation of Joel's band, the songs on The Stranger didn't feature any consistent guitarists, with different players instead featuring in each song, and according to Joel, the reason for the initial lack of a constant guitarist was because it was hard to find the right one.[8] The photograph on the back cover of the album, featuring Joel, Ramone (donning a Yankees shirt at the time of the picture) and each of the band members, was taken at the Supreme Macaroni Company, one of several restaurants where the group would go to "have these crazy lunches and dinners".[9]
The opening song, "Movin' Out (Anthony's Song)", centers around Anthony, a grocery-store employee from Long Island who "dreams of making it big", receiving pressure from his family to move out and go his own way.[11] Joel stated in a Q&A session that he initially wrote the song's lyrics to the tune of the song "Laughter in the Rain" by Neil Sedaka, doing so without even realizing the similarity until it was brashly pointed out the next day by drummer Liberty DeVitto. Not wanting to waste all of the words he had come up with, Joel rewrote the song, coming up with a new melody that fit with the lyrics.[12] The album's title track, according to Joel, was written by him without any core themes in mind and could be open up to interpretation, though he stated that it could be seen as a song about a man with schizophrenia.[13][full citation needed] While composing the song, Joel whistled the track's signature theme for Ramone, claiming that he (Joel) needed to find an instrument to play it. Ramone told Joel that the whistling he did was perfect, and thus it was kept in the final recording.[11] According to Joel in an interview with Today, the percussive rhythm used in the song came about while he was toying around with an Ace Tone Rhythm Ace drum machine, which contained a drum beat that he heard while scrolling through the machine's library of rhythm tracks. After hearing the beat, he thought that the rhythm would be nice to fool around with, and wrote the song shortly afterwards.[13] "Just the Way You Are" was inspired by Joel's love for his wife at the time, Elizabeth Weber. He stated on a SiriusXM broadcast in 2016 that the melody came to him in a dream while he was working on The Stranger. He forgot about the melody shortly afterwards, but it came back to him while he was in a business meeting.[14] Joel originally considered keeping the song off the album, as he dismissed it as a "gloppy ballad" that was out-of-place compared to the rest of the album. Ramone disagreed, and brought Linda Ronstadt and Phoebe Snow into the studio to prove that it was worth including. Upon hearing the song, the two artists both praised it, thus convincing him to feature the song.[11] The 71⁄2minute epic "Scenes from an Italian Restaurant", which follows a pair of young lovers from Long Island named Brenda and Eddie who go through a failed marriage, is three different, shorter songs: "The Italian Restaurant Song", "Things Are OK in Oyster Bay" and "The Ballad of Brenda and Eddie".[11] Joel stitched the three songs together, inspired by the similar approach taken with side two of the Beatles' Abbey Road[15] and by Freddie Mercury and Queen with "Bohemian Rhapsody", while Ramone helped intertwine them with backing orchestration.[14]
The song "Vienna", which opens up the album's B-side, was inspired by a trip Joel took to Vienna, Austria, to visit his father a few years after starting his music career. While there, he found that Austrians had a vastly different outlook on life than the one he was familiar with in America. As he recalls, Joel had this realization after taking notice of an old woman sweeping out on the city streets, telling his father that he pitied the woman for having to do such a menial and unimportant task; Joel's father responded by explaining that the woman was giving herself a sense of worth by doing a service that helped everyone rather than "sitting at home wasting away".[11] Joel tried to make the song feel Viennese in nature and compared it to the work of Bertolt Brecht and Kurt Weill, specifically The Threepenny Opera.[14] "Only the Good Die Young", which is sung from the point-of-view of a boy trying to appeal to an abstinent Catholic woman, was inspired by a girl named Virginia Davis, on whom Joel had a crush in high school. According to Joel, he saw Davis looking at him while he was playing in his high school band, The Echoes, which was the event that had him "completely hooked" to the prospect of being a musician.[9] "Only the Good Die Young" was written by Joel while opening for the Beach Boys in Knoxville, Tennessee, at which point it sounded slower-pace and more akin to a reggae tune, with Joel even singing the song's lyrics in a Jamaican accent. The mood of the song was shifted at the insistence of drummer Liberty DeVitto, who reportedly said to Joel "Why are you singing like that? The closest you've been to Jamaica was the Long Island Rail Road!" Ramone suggested that the song be played as a straight-four piece while DeVitto played a shuffle beat, a proposition that Joel found he enjoyed the sound of despite the concept initially seeming "odd and clunky". The song featured guitar playing by Hugh McCracken, a famous session player who Ramone brought in.[9] "She's Always a Woman", like "Just the Way You Are", was written about Elizabeth Weber, described by Joel as "a commentary on women in business being persecuted and insulted".[11] Joel tried to stylize the song as one that would be sung by Gordon Lightfoot.[14] "Get It Right the First Time" is inspired by the challenge of first meeting and confronting a person, highlighting the importance of not flubbing such an encounter and "gett[ing] it right the first time".[16] The album's final song, "Everybody Has a Dream", a gospel-influenced piece, was also inspired by Joel's wife. The song closes the album out with a reprise of the whistled theme from "The Stranger".[11]
Commercial performance
Spending a total of 17 weeks in varying positions within the top 10 of the Billboard 200 chart, The Stranger first entered the bottom position on January 21, 1978, approximately four months after its initial release. A month later, on February 18, the album reached its peak position at number 2 on the chart and remained there for six more weeks. The second single from the album, "Just The Way You Are", peaked at number 3 on the Billboard Hot 100 chart,[11] having received a boost in popularity following Joel's performance of the song on an episode of Saturday Night Live.[17] The other three singles were all top 40 hits, with "Movin' Out (Anthony's Song)" and "She's Always a Woman" both peaking at number 17. While "Movin' Out (Anthony's Song)" was the first single released for the album, radio stations put little attention toward it, instead expressing interest in "Just the Way You Are"; thus, the latter song was released just six weeks following the debut of "Movin' Out", after which it achieved far larger success. The single for "Movin' Out" was later rereleased, after which it achieved higher success and ultimately became a hit.[18] According to Joel, "Only the Good Die Young" sold poorly when it was first put out as a single; however, following the song's release, Christian groups and archdiocese areas began calling for the song to be banned on several radio stations across the nation. The controversy helped raise the song's popularity, particularly among rebellious youth according to Joel, and the single thus fared much better as a result, ultimately peaking at number 24 in the US singles chart.[19][20]The Stranger remains one of Joel's best-selling original studio albums to date, receiving a Diamond certification from the Recording Industry Association of America (RIAA) for surpassing sales of 10 million units.[19] At the time, it had surpassed Simon & Garfunkel's Bridge over Troubled Water to become Columbia Records’ best-selling album release.[21] In Canada the album spent 72 weeks in the Top 100 Album charts between November 1977 and April 1979.
The Stranger was well received by critics, particularly in retrospect, with many considering it to contain some of Joel's best-written material. In a contemporary review of the album, Ira Mayer of Rolling Stone deemed it an improvement over Joel's previous studio efforts, praising its musical variety and Ramone's production.[32] In a less enthusiastic review, Village Voice critic Robert Christgau graded the album "B−" and held it slightly above Joel's previous works; speaking specifically of Joel himself, he wrote that the artist had "more or less grown up" with what he considered less egotistical songwriting, and that he is "now as likeable as your once-rebellious and still-tolerant uncle who has the quirk of believing that OPEC was designed to ruin his air-conditioning business".[33]
Retrospectively, Sal Cinquemani of Slant Magazine described The Stranger as "a concept album of sorts, an ode to the singer's native New York underscored by his paranoid obsession (and resistance) to change". He called the album "a rejection of the American Dream", highlighting the pessimism expressed in some of its songs' lyrics.[30]Stephen Thomas Erlewine of AllMusic praised The Stranger as a highlight of Joel's discography, noting that its lyrical shortcomings are outweighed by Joel's musical flair, and ultimately concluding that Joel "rarely wrote a set of songs better than those on The Stranger, nor did he often deliver an album as consistently listenable".[22]Rolling Stone ranked The Stranger at number 67 on its 2003 list of the 500 greatest albums of all time.[34] It also placed on the 2012 and 2020 editions of the list at numbers 70 and 169, respectively.[35][36] In 2000, The Stranger was voted number 246 in Colin Larkin's All Time Top 1000 Albums.[37]
As his breakthrough album, The Stranger kicked off a long string of successful albums for Joel, continuing up through 1993's River of Dreams. George Martin, who had initially declined to produce The Stranger using Joel's band, reportedly wrote Joel a letter following the album's massive success, in which he congratulated Joel and reflected that he was wrong about the band.[38] Phil Ramone would continue to serve as Joel's producer for a number of years, working with him on each of his albums up through 1986's The Bridge. "Movin' Out (Anthony's Song)" went on to lend its name to a 2002 jukebox musical, featuring several of Joel's songs alongside narrative choreography by Twyla Tharp. The play ran successfully on Broadway for three years, holding its final performance on December 15, 2005, after a total of 1,303 performances.[39] In 2017, to celebrate the album's 40th anniversary, a picture-disc vinyl rerelease of The Stranger with newly remastered audio was released by Brookville Records on October 20.[40]
Many of the songs from the album went on to become staples in Joel's repertoire. Though never released as a single, "Scenes from an Italian Restaurant" is a staple of his live set, named by Rolling Stone's Rob Sheffield as Joel's equivalent to Bruce Springsteen's "Jungleland".[11][41] Joel stated in an interview that "I don't think I could do a show without performing that song."[15] "Vienna" has also become a popular part of his live set; when Joel lets the audience choose between it and "Just the Way You Are", "Vienna" is most often the winning contender.[42] The song was featured in an episode of the TV series Taxi,[43] and was prominently showcased later on in the 2004 teenage comedy film 13 Going on 30. Joel has cited "Scenes from an Italian Restaurant" and "Vienna" as his favorite and 5th-favorite songs that he has written, respectively.[42]
On the LP and cassette release, track 5 includes a reprise of "The Stranger"; the 8-track does not.
8-track tape running order
"The Stranger" – "Just the Way You Are"
"Movin' Out (Anthony's Song)" – "Vienna" – "She's Always a Woman"
"Only the Good Die Young" – "Scenes from an Italian Restaurant (Part 1)"
"Scenes from an Italian Restaurant (Conclusion)" - "Get It Right the First Time" – "Everybody Has a Dream"
30th Anniversary Edition
In July 2008, a special 30th-anniversary edition of The Stranger was released. It contains two special editions: a two-CD Legacy Edition, and a Deluxe Limited Edition (which includes two CDs and a bonus DVD). The limited deluxe edition of The Stranger includes a CD of the original album in its entirety (remastered by producer Phil Ramone), and a second CD of a previously unreleased concert featuring Billy and his band, Live at Carnegie Hall 1977, recorded at the historic Manhattan venue on June 3, 1977, one month before the sessions for The Stranger album. The Deluxe Limited Edition included a DVD showcasing two live promotional videos from The Stranger; and Joel's performance on the BBC's Old Grey Whistle Test, a seldom-seen 60-minute set from 1978 that aired only once on the UK's BBC2. Also included in this boxed set is a facsimile poster from the 1977 Carnegie Hall concert, and a facsimile notebook that contains copies of rough draft lyrics for many of the songs that appeared on The Stranger.
* Sales figures based on certification alone. ^ Shipments figures based on certification alone. ‡ Sales+streaming figures based on certification alone.
The Nylon Curtain is the eighth studio album by American singer-songwriter Billy Joel, released on September 23, 1982, and produced by Phil Ramone.
Turnstiles is the fourth studio album by American singer-songwriter Billy Joel, released May 19, 1976, by Family Productions and Columbia Records.
Glass Houses is the seventh studio album by American singer-songwriter Billy Joel, released on March 12, 1980. The record was a commercial success, topping the Billboard 200 chart for six consecutive weeks. It features Joel's first single to peak at No. 1 on Billboard's Hot 100 chart, "It's Still Rock and Roll to Me". It was ranked No. 4 on Billboard's 1980 year-end chart. The album is the 41st best-selling album of the 1980s, with sales of 7.1 million copies in the US alone. In 1981, Joel won a Grammy Award for Best Male Rock Vocal Performance for his work on Glass Houses. According to music critic Stephen Thomas Erlewine, the album featured "a harder-edged sound" compared to Joel's other work, in response to the punk and new wave movements. This was also the final studio album to feature the original incarnation of the Billy Joel Band, augmented by new lead guitarist David Brown. Multi-instrumentalist Cannata left the band just before the sessions began for Joel's next studio album, 1982's The Nylon Curtain.
The Bridge is the tenth studio album by American singer-songwriter Billy Joel, released on July 25, 1986. It was Joel's last studio album produced by Phil Ramone as well as the last to feature Joel's long-time bassist Doug Stegmeyer and rhythm guitarist Russell Javors. The album yielded several successful singles, including "A Matter of Trust", "Modern Woman", and "This Is the Time".
52nd Street is the sixth studio album by American singer-songwriter Billy Joel, released on October 11, 1978, by Columbia Records. Presenting itself as the follow-up to his breakthrough studio album, The Stranger, Joel tried to give the new album a fresh sound, hiring various jazz musicians to differentiate it from his previous studio albums.
Songs in the Attic is the first live album by Billy Joel, released in 1981.
2000 Years: The Millennium Concert is a two-disc set and the third live album by Billy Joel, released in 2000. On May 31, 2000, it was certified Gold by the RIAA for sales of 250,000 copies.
"Movin' Out (Anthony's Song)" is a song written and recorded by Billy Joel, featured on his 1977 album The Stranger as the opening track.
"Just the Way You Are" is a song by Billy Joel from his fifth studio album The Stranger (1977), released as the album's second single in early November 1977. It became both Joel's first US Top 10 and UK Top 20 single, as well as Joel's first Gold single in the US. The song also topped the Billboard Easy Listening Chart for the entire month of January 1978.
"New York State of Mind" is a song written by Billy Joel that is featured on his fourth studio album, Turnstiles (1976). Although it was never released as a single, it has become a fan favorite and a song that Joel plays regularly in concert. Joel famously played the song at The Concert for New York City, the October 2001 benefit concert for the New York City Fire and Police Departments, as well as the loved ones and families of first responders lost during 9/11. He reprised the song and theme, playing it during his set at 12-12-12: The Concert for Sandy Relief at Madison Square Garden in New York City on December 12, 2012, where he changed lyrics to include the likes of "Breezy Point".
"Scenes from an Italian Restaurant" is a song from Billy Joel's 1977 album The Stranger.
"The Stranger" is a song by rock artist Billy Joel and the title track from his 1977 album of the same name. The song was released as a single in Japan where it became very popular and peaked at #2 on the Oricon chart, selling more than 471,000 copies, charting as well in Australia, New Zealand and France. It was the last single from the album in Japan, while the US and UK saw "She's Always a Woman", released the previous year, as the last single from the album. The single is featured on Joel's greatest hits album, Greatest Hits - Volume I & II.
Richie Cannata is an American music producer, saxophonist, keyboardist and studio owner. He is most notable for playing saxophone in Billy Joel's band alongside Liberty DeVitto, Russell Javors, and Doug Stegmeyer. After leaving the band in 1981, he opened Cove City Sound Studios in Glen Cove, New York. Artists including Celine Dion, Billy Joel, Jennifer Lopez and Marc Anthony have recorded in Cannata's studio. Cannata also worked with The Beach Boys for most of the 1990s, touring and occasionally recording with them during this period.
"It's Still Rock and Roll to Me" is a song written and performed by Billy Joel, from the hit album Glass Houses. Released in 1980, the song peaked at number 1 on the Billboard Hot 100 for two weeks, from July 19 through August 1, 1980, making it Joel's first number 1 hit single in the United States. The song spent 11 weeks in the top 10 and was the 7th biggest hit of 1980 according to American Top 40.
"You May Be Right" is a song written and performed by rock singer Billy Joel, released as a single and the opening track from his 1980 album Glass Houses. The single reached No. 7 on the US charts and No. 6 in Canada. It failed to chart, however, in the UK, unlike his preceding and succeeding singles "All for Leyna" and "It's Still Rock and Roll to Me". The Japanese single features "Close to the Borderline" as a B-side.
"Until the Night" is a song written by Billy Joel for his 1978 album, 52nd Street. Although passed over for single release in the US, "Until the Night" was issued as the second single from 52nd Street in the UK - following "My Life" - in March 1979 and reached #50 on the UK Singles Chart.
Russell Javors is an American rock guitarist. He is best known as a rhythm guitarist for Billy Joel from 1976 to 1989.
Douglas Alan Stegmeyer was an American musician who was best known as a bassist and back-up vocalist for Billy Joel. Stegmeyer also performed as bassist for Debbie Gibson and Hall & Oates.
The Lords of 52nd Street is an American rock band that primarily comprises members of the line-up which backed singer-songwriter Billy Joel from 1976 to 1981, the period during which Joel initiated a run of albums that reached the top ten on the Billboard charts.
↑ "Classifiche". Musica e dischi (in Italian). Retrieved May 31, 2022. Set "Tipo" on "Album". Then, in the "Artista" field, search "Billy Joel".
↑ "東方神起がビリー・ジョエル以来31年ぶり快挙、シングル・アルバム同時TOP3入り"[Tohoshinki Set the Record For The First Time in 31 Years: Reaching the Top-3 on Both of the Singles and Albums Chart Since Billy Joel] (in Japanese). Retrieved September 8, 2013.
Zimbabwe. Kimberley, C. Zimbabwe: albums chart book. Harare: C. Kimberley, 2000
↑ "ビリー・ジョエル-リリース-ORICON STYLE-ミュージック"[Highest position and charting weeks for The Stranger (30th Anniversary Edition) by Billy Joel]. oricon.co.jp (in Japanese). Oricon Style. Archived from the original on May 2, 2014. Retrieved September 7, 2013.
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