Released: September 1977
Chart Peak: #2
Weeks Charted: 137
Certified 6x Platinum: 10/19/84
This is the first Billy Joel album in some time that has significantly expanded his repertoire. While Streetlife Serenade and Turnstiles had occasional moments, the bulk of Joel's most memorable material was on Cold Spring Harbor -- despite its severe technical flaws -- and Piano Man, which gave him his only major success. This time, while such songs as "Movin' Out" and "Just the Way You Are" are forced and overly simplistic, the imagery and melodies of The Stranger more often than not work.
Together with producer Phil Ramone, Joel has achieved a fluid sound occasionally sparked by a light soul touch. It is a markedly different effect than his pound-it-out-to-the-back-rows concert flash, although the title song, "Only The Good Die Young" and "Get It Right the First Time" will adapt to that approach as readily as, say, such a Joel signature piece as "Captain Jack."
- Ira Mayer, Rolling Stone, 12-29-77.
Nine new tunes from the piano-playing, singing songwriter whose detailed descriptions of life, love and suburbia have won him a loyal following. Producer Phil Ramone hasn't taken him too far away from the basic Billy Joel style, which tends toward sameness. The compelling story lines carry the album, however, and his fans won't be disappointed, nor will curious newcomers. Backing Joel's piano is a rhythmic support unit. Best cuts: "Only The Good Die Young," "Vienna," "The Stranger," "Movin' Out," "Scenes From An Italian Restaurant."
- Billboard, 1977.
Having concealed his egotism in metaphor as a young songpoet, Joel achieved success when he uncloseted the spoiled brat behind those bulging eyes. But here the brat appears only once, in the nominally metaphorical guise of "the stranger." The rest of Billy has more or less grown up. He's 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. B-
- Robert Christgau, Christgau's Record Guide, 1981.
The major hit, "Just the Way You Are," has become a standard. Joel once told The Other Side of the Tracks that he wrote the song for his then-wife Elizabeth's birthday. "I had the idea a couple of months before but I forgot about it because I don't write music down," he recalled. "When I get an idea I'll sing it into a tape recorder. I didn't have a tape recorder at the time I thought of it. [Weeks later] I was in the middle of some meeting discussing bookings or something. I said 'I have to leave right now because the melody just came back in my head.' ...I went home and wrote the song and said, here, happy birthday."
Billy modestly credited the success of the song to several factors, not just its own merits. "We were doing a major tour where we were headlining big places... Phil [Ramone] had produced a really good album... everything was just clicking." Since the love song was Joel's first UK success it was not too surprising that Barry White, who had a dozen hits under his belt, achieved a higher chart placing in Britain with his version. Though amused by that fact, the composer was more tickled by Isaac Hayes' cover.
"Only the Good Die Young," another US hit from the package, was a controversial cut. Joel attributed its success to the publicity it received from being banned on what could be called Catholic stations, such as the radio at Seton Hall University. "The point of the song wasn't so much anti-Catholic as pro-lust," the artist explained. "Jewish guilt is in the guts. Catholic guilt is all Gothic, and a lot of people obviously were interested in hearing about this." In St. Louis, where Joel received a threat of assassination if he performed the song, he played it twice.
One track that received considerable airplay despite all odds was the lengthy "Scenes from an Italian Restaurant." This was an amalgam of three different songs Joel had worked on, one of which had actually been called "A Scene from an Italian Restaurant." Another was "The Ballad of Brenda and Eddie" and the third had no title.
Though obviously not of Italian ancestry himself, the writer felt an affinity for the culture. "If you're from New York you're Italian and Jewish by assimilation," he said. "You are just from the atmosphere, the food and the people you meet. 'Scenes from an Italian Restaurant' wasn't so much about an Italian restaurant as the Italian-American way of life. It's typically New York." So typically, as Billy pointed out, that when he names Brenda in the song he pronounces the name "Brender."
In 1987, The Stranger was chosen by a panel of rock critics and music broadcasters as the #55 rock album of all time.
- Paul Gambaccini, The Top 100 Rock 'n' Roll Albums of All Time, Harmony Books, 1987.
Billy Joel's big breakthrough came with The Stranger, a finely crafted album which finally ousted Bridge Over Troubled Water as the biggest selling album in America. The appeal lies in the fluidity and interchangeability of style and Joel's impeccable keyboard craft across this wide range of styles from boogie and rock to ballad. Some of Joel's finest hits are contained on this album including the subsequently heavily covered love song "Just the Way You Are" and the touching slow-moving ballad "She's Always a Woman."
The Stranger was one of the first Compact Discs available in 1983. The sound from those discs was not altogether ingratiating with a lisping treble character and a lack of real detail and dynamics. The end-result was a "twisted" sounding, hissy CD. Current pressings are much finer with a tighter sound and a slight pitch difference! The sound now is confidently relaxed with a neat bass and a new-found purity in plectrum-strummed acoustic guitar. The carefully polished production now gleams.
Early pressings show a 42.38s track timing as opposed to 42.49s. Sadly, discoveries like this serve to underline the impossibility of double guessing Compact Disc releases and the problems of parallel supply.
Recommended as Joel's lasting best.
- David Prakel, Rock 'n' Roll on Compact Disc, 1987.
The breakthrough to superstardom, containing the hits "Just the Way You Are," "Movin' Out (Anthony's Song)," "Only the Good Die Young," and "She's Always a Woman." All those are on Greatest Hits -- Vols. 1 & II, but "Scenes From an Italian Restaurant," one of Joel's most compelling story-songs, is not. * * * *
- William Ruhlmann, The All-Music Guide to Rock, 1995.
There's more to the 1977 pop-rock masterpiece The Stranger than its four hit singles (the suite "Scenes From an Italian Restaurant," for one), making it a Billy Joel classic. * * * * *
- David Yonke, Musichound Rock: The Essential Album Guide, 1996.
"I love it just the way it is" fawn fans of this brilliantly produced guilty pleasure of smart, effective pop songs that tell stories of everyday life, love and Catholic girls with unabashed romanticism countered by New Yawk charm. The Long Island suburban poet created so many vivid, reliable characters on this sentimental favorite that there are no throwaway cuts -- but perhaps what's stranger is he never had an album this good again. * * * * *
- Zagat Survey Music Guide - 1,000 Top Albums of All Time, 2003.
Before The Stranger, Billy Joel's albums had always sounded a bit thin sonically -- which was part of the reason he had trouble establishing a reputation as a rocker. But this record marked the beginning of a fruitful decade-long collaboration with producer Phil Ramone, who put some much-needed muscle behind Joel's carefully crafted songs. "Just the Way You Are" became the wedding-band standard, but the real pleasure here is the specificity of the lyrics in the rock songs located in New York, such as "Mister Cacciatore's down on Sullivan Street," in "Movin' Out (Anthony's Song)," or the saga of Brenda and Eddie in "Scenes From an Italian Restaurant."
The Stranger was chosen as the 67th greatest album of all time by the editors of Rolling Stone magazine in Dec. 2003.
- Rolling Stone, 12/11/03.
The album's double Grammy-winning ballad "Just The Way You Are" gave Billy Joel his first million-selling, Top 10 single, even though he had to be convinced by Linda Ronstadt and Phoebe Snow that it was even worthy of inclusion on The Stranger. The song has since been covered by more than 200 artists. "Movin' Out" and "She's Always a Woman" from the album also became Top 40 hits in their own right, as did "Only The Good Die Young," despite a ban by Catholic radio stations which deemed it anti-Catholic. "Scences From An Italian Restaurant," a characteristic Joel observation on New York life, was the result of combining three different songs.
Penned entirely by its artist, The Stranger went on to become Columbia's all-time second biggest seller behind Simon and Garfunkel's Bridge Over Troubled Water, although was kept from ever reaching Number One by the success of the soundtrack to Saturday Night Fever.
As of 2004, The Stranger was the #12 best-selling album of the 70s.
- Hamish Champ, The 100 Best-Selling Albums of the 70s, 2004.
The Stranger was the third album from the 28-year-old Billy Joel, who had just begun making a living from his music, having played in piano bars throughout high school in New York to supplement the income of his single mother. Whilst he had already achieved headline status with 1974's Streetlife Serenade, The Stranger was Joel's first album to hit number one on the charts and remained Columbia Records' biggest selling album until 1985. It also prompted his biggest tour yet, playing 54 shows to the United States and Europe in the fall of 1977.
The nine-track-long album produced four singles; "Just The Way You Are" that provided his first two Grammy Awards in 1978, "Movin' Out (Anthony's Song)" with its teen rebellion message and car sounds included, the gentler "She's Always A Woman," and the infectious "Only The Good Die Young." Whilst the lyrics are poetic and clever, the album has a youthful appeal and Joel's gift for storytelling is particularly poignant on the astonishing "Scenes From An Italian Restaurant."
Musically diverse, Joel's dynamic songwriting is further dramatized in the title track's quiet piano introduction before rocking out in the middle section incorporating a barrage of electric guitars, concluding with the haunting sound of whistling. An amazing 24 people played various parts on the recording. The album is reasonably warm in tone, but slightly eerie in its execution, further exemplified by the stark black-and-white image of a bare-footed, suit-and-tie wearing Joel, sitting on a bed lookng at a mask with boxing gloves hanging in the background.
- Claire Stuchbery, 1001 Albums You Must Hear Before You Die, 2005.
(30th Anniversary Legacy Edition) In 1977, Joel's fifth and best album replaced Simon and Garfunkel's Bridge Over Troubled Water as Columbia Records' top seller to date, establishing Joel as a titan of adult contemporary -- America's answer to Elton John. The Stranger also marked the beginning of Joel's long-term collaboartion with producer Phil Ramone, who distilled the Piano Man's music to its essence: a hook-packed blend of AM-radio pop rock and glistening dollops of Broadway schmaltz. The hit single was the gooey "Just the Way You Are," but there's impressive variety here: contemplative ballads ("Vienna"), impressionistic epics ("Scenes From an Italian Restaurant") and pop's greatest paean to deflowering Catholic schoolgirls ("Only the Good Die Young"), written in a style that recalls Tin Pan Alley.
Joel's melodic genius invites comparisons to Paul McCartney, but Joel is a much nastier guy, always pissed off at someone, usually female: "She's Always a Woman" has a lovely, lulling tune, but listen to the words: "She'll carelessly cut you and laugh while you're bleeding."
This 30th-anniversary reissue is also available in a Limited Edition that includes a bonus DVD featuring two live promotional videos from The Stranger, as well as Joel's 1978 appearance on the BBC's Old Grey Whistle Test, which only aired once on the U.K.'s BBC2. But the real gem is the bonus live CD of a Carnegie Hall performance from 1977. It's a reminder that Joel was a distinctly regional artist: the poet of the Parkway Diner, who captured the pugnacious attitude and garish local colors of the New York suburbs.
- Jody Rosen, Rolling Stone, 8/7/08.
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