There are two albums and three years between this album and Piano Man. I know nothing about those records, but if the contents of The Stranger are taken in consideration, they must have shown the transition between Billy Joel the Barroom Pianist and Billy Joel the Pop Star. The latter made The Stranger, a record that showcases more simply played, more thoughtfully produced, and more listenable and toe-tappable songs. Joel’s maturation as a songwriter, as well as his growing distance from the lounge scene, helps to create an album much more listenable than his first commercial breakthrough.

And while his MTV days were still yet to come, they are heavily foreshadowed here, from the bouncing acoustic guitars and horn melody of Only The Good Die Young to the cheeky “heart attack-ack-ack-ack-ack!” delivery of Movin’ Out (Anthony’s Song). Even Scenes From An Italian Restaurant, a return to his earlier song-story ballads is rife with section changes, saxophone solos, heavily mixed drums, and radio-ready bass guitar, rather than the post-production orchestra so prevalent on Piano Man. The ballads also benefit from the newfound pop sensibilities, keep Joel away from the self-indulgent piano solos of Piano Man. Those pop sensibilities also get Billy Joel to set aside the piano as a crutch, resulting in a much more even mix, and even offering some tracks that are all but piano-less.

All in all, this is a true pop album by a man who had decided to be a true pop artist. The piano is still a central player, but it’s no longer standing in the way of pop greatness the way it did on his earlier record, which, I don’t regret to say, has been moved to the “sell” pile. The Stranger, on the other hand, will remain neatly filed in my collection.