The Stranger (1977)
1. Movin' Out (Anthony's Song)
2. The Stranger
3. Just the Way You Are
4. Scenes From an Italian Restaurant
5. Vienna
6. Only the Good Die Young
7. She's Always a Woman
8. Get it Right the First Time
9. Everybody Has a Dream
Bonus Songs from 30th Edition Release:
1. Miami 2017 (Seen the Lights Go Out on Broadway
2. Prelude/The Angry Young Man
3. New York State of Mind
4. Just the Way You Are
5. She's Got a Way
6. The Entertainer
7. Scenes From an Italian Restaurant
8. Band Introductions
9. Captain Jack
10.I've Loved These Days
11.Say Goodbye to Hollywood
12.Souvenir
By the time Billy Joel released The Stranger in 1977, he had already amassed a sizeable catalogue of promising but uneven work. With this album, however, he achieved what had previously eluded him: a cohesive, fully realized artistic statement. Much of the credit belongs to producer Phil Ramone, whose experience and subtlety brought a new level of refinement to Joel’s sound. Ramone, already known for his work with Paul Simon, James Taylor, and Chicago, proved to be the exact collaborator Joel required. Under his guidance, Joel’s strengths—melody, character-driven lyrics, and genre versatility—were unified for the first time without being diluted by excess or misdirection.
Joel’s performance on The Stranger is marked by newfound confidence. The songs are delivered with greater clarity of intention, and the vocals, in particular, show a heightened sense of phrasing and conviction. Movin’ Out (Anthony’s Song) and Only the Good Die Young capture Joel’s characteristic blend of social commentary and youthful restlessness, while Just the Way You Are, a tender ballad written for his then-wife, became his first major love song hit and won multiple Grammy Awards. These singles, which received heavy radio rotation, brought Joel sustained mainstream attention that Piano Man had only hinted at.
Among the album’s standout tracks is Scenes from an Italian Restaurant, often regarded as Joel’s finest achievement. Clocking in at over seven minutes, the song unfolds as a multi-part narrative suite, moving from gentle piano balladry to theatrical rock, encapsulating his flair for storytelling and musical progression. It remains a centerpiece of his live performances and a definitive statement of artistic identity.
Not all the tracks received equal recognition, though they are no less carefully crafted. Vienna, a reflective and poignant piece, was largely overlooked upon release but has grown steadily in stature. Conversely, She’s Always a Woman, despite being one of four hit singles from the album, is perhaps the least structurally compelling—though even its simplicity has earned enduring admiration. Get It Right the First Time sounds somewhat dated in its production, and Everybody Has a Dream, while thematically resonant, is often overshadowed by the album’s more immediate material.
The Stranger is frequently cited as Joel’s creative and commercial apex. While some debate whether his later work surpassed it in technical or thematic sophistication, there is little question that this album marks the beginning of his sustained success. From this point onward, Joel would no longer be an emerging voice, but a defining figure in American pop and rock.
A 30th anniversary edition released in 2007 included a live recording from a 1977 performance—an artifact that reinforces the album’s status not only as a studio triumph but as a cornerstone of Joel’s enduring appeal on stage. With The Stranger, the pieces finally aligned. What had once been flashes of potential now cohered into a landmark record that continues to resonate.
Back To Main Page
Go To Next Review