Big honor for Billy Joel, set to become only the sixth recipient of the Library of Congress Gershwin Prize for Popular Song. Details:
“Billy Joel is a storyteller of the highest order,” Librarian of Congress James H. Billlington said in a statement.
“There is an intimacy to his song writing that bridges the gap between the listener and the worlds he shares through music.”
Joel, whose career has spanned 50 years, is one of the most popular recording artists and has had 33 top-40 hits. His multiple Grammy wins include song and album of the year in 1978 for “Just the Way You Are.”
I’m an unabashed fan of Joel’s, the overplayed (and overwritten) “Piano Man” aside. The five slick studio albums — and one intriguing concert album — he put out between 1977 and 1983 showed that video had not yet killed the radio star.
After ’83 things were… not so good.
An Innocent Man was an instant classic. But we had to wait two long years until ’85 for the inevitable Greatest Hits collection, and its pair of underwhelming new singles tacked on at the end like an embarrassing afterthought. He still generated a couple hits from 1986’s The Bridge, which was so godawful he fired longtime producer Phil Ramone, then teamed up with Foreigner’s Mick Jones for Storm Front in 1989 with mixed results. His last album of new popular music, River of Dreams, was released 21 years ago. I gave it a full listen for the first time in years, and while it’s far from his best material, it’s aged better than the previous two albums. Sadly, it’s been a long time since I even gave up waiting for a new album.
His pre-Stranger albums were all fine, but definitely the work of a talented singer-songwriter who was still finding his voice.
But the middle period from 1977 to 1983… wow.
While the album covers all read “Billy Joel,” they might as well have had “The Billy Joel Band” printed on them. The band’s lineup during this period, touring and studio, was remarkably static. Liberty DeVitto on drums (has there ever been a better name for a drummer? Other than the Muppets’ Animal, I mean), Doug Stegmeyer on bass guitar, Richie Cannata on sax, and a small rotation of acoustic and electric guitar players, including Steve Khan, Hugh McKracken, and Russell Javors. And of course Joel on piano and keys. The biggest change in the lineup came in 1983, when Cannata was unceremoniously replaced by Mark Rivera. I heard a rumor years ago that Cannata was fired due to a drug problem, but can’t confirm that.
The albums were all solid creations, each with a sound all its own.
The Stranger was just a fine collection of pop ballads and twisted love songs, with a little rock’n’roll on the side. It’s one of those you can still listen to front to back, even though it’s been decades since we had to flip any vinyl. His followup, 1978’s jazz-infused 52nd Street, is so slickly produced that it’s easy to forget it’s actually a concept album, written from the point of view of a struggling young New York City musician. In 1980 Joel went pure New Wave with Glass Houses, the title of which was a rebuke to critics who considered him to be just a balladeer. That was followed in ’81 by a very unusual concert album, Songs In The Attic — a collection of songs he loved to perform but which had never been hits. The next year we got The Nylon Curtain, combining Beatlesque sounds with Talking Heads-like Cold War neuroses. Then his magnum opus, An Innocent Man, a tribute to the rock’n’roll of the late ’50s and early ’60s, with a sound that was still pure Billy Joel.
That’s a fine body of work for any writer of popular music, and Joel deeply deserves this award.