Billy Joel followed up The Stranger with an album just as strong if not as iconic, 52nd Street. This jazzy collection boasts such hits as ‘Big Shot,’ ‘Honesty’ and ‘My Life’ but it’s the other, lesser-known tracks that make it one of Joel’s finest efforts. ‘Zanzibar,’ ‘Stiletto,’ ‘Rosalinda’s Eyes,’ ‘Half a Mile Away,’ ‘Until the Night’ and the title track, which (in order) finish off the album after the first three hit tracks, are among the best songs Joel has ever written.
My personal favorite is today’s track, ‘Stiletto,’ and for one primary reason: the piano-bass interlude that starts at 2:08 and launches into that unreal horn part at 2:27 before easing back into the staccato piano and drum bit that precedes the next verse. That’s just quality stuff.
Seeing the old Diana Ross makes me regret the caricature she became, but she’s got nothing on her pal Michael Jackson in that regard. Jackson has lived as a circus freak for so long now that it’s hard to remember the days when he was the biggest star in the world. And it’s even harder to see an early Jackson 5 clip like this one without feeling sad about what would happen to this adorable, mega-talented little boy.
[Note: The Billy Joel theme will resume on Monday]
In the words of Jack Horner (Burt Reynolds) in Paul Thomas Anderson’s Boogie Nights, “This is it. This is the one they’ll remember me for.” Of course he was talking about a porn film, but I imagine Billy Joel feels the same way about his 1977 classic The Stranger.
Turnstiles is Billy Joel’s first truly great album. Featuring such classics as ‘New York State of Mind,’ ‘I’ve Loved These Days,’ ‘Summer, Highland Falls,’ ‘Say Goodbye to Hollywood’ and ‘Miami 2017’ (which I 
