Each month, The Spectator takes an in-depth look at a past song or album, whether it was released a few years ago or decades ago. This month, we revisit the 1977 critically-acclaimed fifth studio album from Billy Joel, The Stranger.
Billy Joel painted a journey of discovering authenticity through the release of his album, The Stranger, in 1977. After a few minor successes, Joel establishes his musical identity by orchestrating not only timeless hits but also filling the album with countless unique tracks. Especially after his major success with the single Piano Man, he suffered a sophomore slump and was pressured to produce an equally remarkable album. With The Stranger, he not only cemented his career as a musician but also established an identity that persists in his subsequent releases.
The tracks in The Stranger are uniquely influenced by different genres, ranging from classical melodies of “Vienna” to Latin jazz beats of “Get It Right the First Time.” Even though the album definitely has highs and lows for different listeners, the strong individual characteristics of the tracks captivate the listeners. This differentiates The Stranger from albums released in similar eras, where filler tracks are added to complement a few hits. Compared to modern masterpieces such as Kanye West’s My Beautiful Dark Twisted Fantasy, which highlights the curation of a chronological experience, the album feels more like a set of songs connected by a loose identity. This was enabled through Joel’s purposeful songwriting, which he describes as “plucking a tooth.”
Joel explores the duality of men, concealing their real identity and masking for social interactions. As the title, The Stranger, indicates, he believes that everyone has a hidden self they do not prefer revealing to others. This ambivalence involves different conflicting ideas such as ambition, love and authenticity.
The opening of the album, “Movin’ Out (Anthony’s Song),” discusses the conflict between materialistic success and self-satisfaction. Specifically, Joel criticizes the superficiality of the American dream and the death of individuality through the process. The song narrates by introducing several characters, such as Anthony, who sacrifices himself for a “house out in Hackensack,” ignoring his mom’s advice on “moving out to the country.” Eventually, he realizes the absurdity of the goal and describes it as “a waste of time.” The constant comparison between the superficial and authentic goals disvalues one over the other, as the protagonist gives up the American dream for self-satisfaction. Anthony resonates with the listeners through such actions, who once valued materialism over their own good. Thus, Joel questions the listeners whether the goal they are striving for is authentic for themselves or a fake representation of success.
While “Movin’ Out (Anthony’s Song)” criticizes society as a whole, one of the album’s hits, “Vienna,” discusses self-identity, criticizing many who are trying to become someone else. Joel describes how such conflicts originate from interpreting life as a race. The rushed ambition without self-recognition creates an irony that leads to nothing but burning off one’s life and potential. Thus, the repeated phrase “slow down” emphasizes the importance of self-reflection and accepting one’s limitations, rather than blindly pursuing unclear or undefined goals. The song is narrated by Joel’s father, who is speaking to his son. This way, Joel can communicate with the listeners more effectively, displaying the message as personal advice rather than distant observation. Vienna is used as a metaphor to describe the rest of one’s life. Stating that “Vienna waits for you” suggests the existence of life beyond work, and the need to watch oneself to appreciate “Vienna.”
After the release of the LP, Joel continued to produce music that builds off the themes of identity and authenticity. Rather than relying on the album’s success, he managed to continue to experiment with different styles and genres that, to this day, resonate with many listeners.