Billy Joel- The Nylon Curtain

It's fair to say that Billy Joel's music is very important to me. As a pianist (and occasional singer) myself I feel very drawn to his music. It's earthy, real and very American. He writes for the working class- reflecting his own upbringing on the hard streets of New York and the Bronx- and he makes no apologies for it.

In 1982 Joel was cruising with two successful albums in a row plus a live album of his earlier works recorded with his main band. So Billy decided to experiment (musically) by putting out an album of material that stretched his writing to the limit. It was his homage to The Beatles. Almost every song has an echo with the fab 4.

Opening with "Allentown"- a Joel classic- it tells the story of a town whos workforce is being put out of business by big business. It has a percussive feel all the way through (including hammer blows to portray the metal workers) and features some wonderful piano playing. "Laura"- about a girl that won't leave him alone- is sung with an almost Lennon-esque vocal line as well as bitterness. Then comes "Pressure"- another Billy smash. The clever use of synths as well as some powerful drumming heighten the tension really well. It also came with an amazing video. The anti-war song "Goodnight Saigon" brings side one to a close. Billy spoke to many vietnam vets about their time and used a number of their sentences as lyrics. It's an incredible song that starts from nothing and then builds up to a great climax.

Side two opens with "She's Right On Time"- one of my favourites on this album. The whole song is about the anticipation of seeing a love for the first time in a while at christmas. "A Room Of Our Own" echoes the early stuff of the Beatles and "Surprises" sees Billy mimicking George Harrison vocally. The whole album then goes avant-garde for the psychedelic "Scandinavian Skies"- again, echoing some of The Beatles weirder numbers from "Magical Mystery Tour" and beyond. All about an airline flight and the thoughts upon arriving in Scandanavia it captures, through the clever use of keyboards and a military drum pattern, this sense of awe and wonder at seeing a new country for the first time. Then Billy rounds off the album with "Where's The Orchestra?". Just him at the piano duetting with a solo saxophone and a very simple orchestral backing (in the style of George Martin) and then as he finishes singing he starts the play-out and in a final nod to his favourite band a clarinet plays the melody to "Allentown". A beautiful end to a wonderful album.