One of the most insightful analyses of pop music in recent years is encapsulated not in an essay or a traditional review, but rather in a thought-provoking 2023 tweet by writer Matthew Perpetua. He cleverly categorized Billy Joel‘s songs into four distinct themes: “You Think You’re Better Than Me??,” “Look at This Asshole / These Assholes,” “Things Used to Be Better,” and “Here’s Some Advice, Moron.” Each of these themes resonates within our compilation of The Best Song From Every Billy Joel Album. This selection highlights 12 of his most remarkable tracks across various LPs—excluding his 2001 classical endeavor Fantasies & Delusions. These songs illustrate an artist who masterfully balances ambition with cynicism, critiquing former lovers and colleagues while exuding a deep sense of romance and an unyielding drive for success. They explore the lives of individuals who have faced unfulfilled expectations, all while Joel grapples with the complexities of his own fame. His unparalleled mastery of melody and fearless genre exploration solidifies his status as a true musical legend.

From the brisk tempo of Cold Spring Harbor to the deep emotional resonance of River of Dreams, discover The Best Song From Every Billy Joel Album.

Cold Spring Harbor (1971): “Everybody Loves You Now”

Despite an unfortunate mastering error that sped up Joel’s debut album—rendering much of it unlistenable to him—it still showcases glimpses of brilliance. “Everybody Loves You Now” represents the inception of a recurring theme in Joel’s work: the portrayal of successful and desirable women who disregard their admirers. This song features sharply critical lyrics paired with a lively and rhythmic piano arrangement, exemplifying the honey-and-vinegar duality that has become a hallmark of Joel’s songwriting. His ability to blend cynicism with infectious melodies set the stage for his legacy as one of rock’s most astute and sardonic hitmakers.

Piano Man (1973): “Piano Man”

While we aimed to consider alternatives, it would be disingenuous to overlook the title track of Piano Man as the album’s best song. Even though “Piano Man” has reached a level of cultural ubiquity that might overshadow its brilliance, stripping it of that context allows listeners to rediscover Joel’s semi-autobiographical narrative about his time as a lounge singer in Los Angeles. In 1973, Joel was still firmly in the singer-songwriter mold, weaving intricate and poignant details about the lives of his characters throughout each verse. The chorus invites communal participation and serves as a cathartic release for the characters, who find solace in the song as a remedy for their isolation and despair.

Streetlife Serenade (1974): “The Entertainer”

Billy Joel has never shied away from exploring bleak scenarios, and he boldly critiques the music industry in Streetlife Serenade‘s standout single, “The Entertainer.” The song’s protagonist acknowledges the precariousness of his career, admitting he “won’t be here in another year if I don’t stay on the charts.” This commentary on the fickle nature of fame and the industry’s relentless demands portrays a biting satire, as Joel navigates the expectations placed upon artists. Even decades later, “The Entertainer” remains a staple in live performances, a testament to the idea that achieving success can indeed be the most satisfying form of revenge.

Turnstiles (1976): “Prelude / Angry Young Man”

With its electrifying piano introduction, driving drums, and sharp guitar riffs, “Angry Young Man” stands out as one of Joel’s most technically impressive and hard-hitting tracks. The lyrics depict a quintessential “angry young man”: self-righteous and stubborn, more focused on being right than on being helpful. While Joel initially adopts a mocking tone, he shifts to a more empathetic perspective in the bridge, reflecting on the man he once was. Considering that Joel was only 27 when Turnstiles was released, this song demonstrates his remarkable insight and maturity, as he navigates the complexities of youth and disillusionment.

The Stranger (1977): “Scenes From an Italian Restaurant”

After establishing himself as a premier songwriter with Turnstiles, The Stranger catapulted Billy Joel to the status of a generation-defining icon. “Scenes From an Italian Restaurant” serves as a sweeping jazz-rock epic, narrating the tale of doomed lovers Brenda and Eddie. This song is a masterpiece, deserving a place among the greatest rock epics like “A Day in the Life,” “Good Vibrations,” and “Bohemian Rhapsody.” It showcases Joel’s ability to traverse musical styles, transitioning from elegant piano ballads to lively Dixieland jazz. “Scenes” encapsulates the journey from youthful dreams to the harsh realities of adulthood, reminding listeners that even amidst disappointment, life continues onward.

52nd Street (1978): “Zanzibar”

52nd Street follows in the jazz-rock tradition of The Stranger, yet it carries a grittier and more cynical undertone. “Zanzibar” portrays a disillusioned barfly attempting to win over a waitress amidst a backdrop of sleazy, shapeshifting sounds. Joel’s sardonic delivery and the song’s dynamic movements reveal a clear influence from Steely Dan. This track could also be interpreted as a darker, more surreal counterpart to “Piano Man,” where the musical entertainment of the past is replaced by mundane sports broadcasts, leaving the patrons to grapple with their unremarkable lives.

Glass Houses (1980): “You May Be Right”

As he entered the 1980s, Joel adopted a harder, more stripped-down sound, exemplified by the lead single from Glass Houses, “You May Be Right.” This song thrives on its catchy hooks and memorable melodies, amplified by Joel’s confident swagger and defiant attitude. Despite his numerous Grammy accolades and multi-platinum successes, “You May Be Right” captures a sense of vulnerability, revealing a man who feels misunderstood yet has much left to prove.

The Nylon Curtain (1982): “Where’s the Orchestra”

In what can be considered his most ambitious and Beatlesque album, Joel concludes with the haunting ballad “Where’s the Orchestra.” This poignant piano piece explores the man’s realization that he is watching a play instead of a musical, delving into the theme of unmet expectations. It serves as a reflection on life and how the realities of our accomplishments often differ from our romanticized visions. This sentiment resonates deeply with Joel, who, despite achieving extraordinary success, still grapples with feelings of solitude.

An Innocent Man (1983): “Uptown Girl”

If “Uptown Girl” has sparked debate among fans over the decades, it’s largely due to its overexposure. However, at its core, this track is a delightful homage to the sound of Frankie Valli and the Four Seasons, featuring Joel’s impressive lead vocals alongside exuberant backup harmonies. The lyrics tell the story of a young man from a less privileged background yearning for a girl far beyond his reach. This song also signifies a pivotal moment for Joel, as it was released shortly before his marriage to supermodel Christie Brinkley, further enhancing its authenticity.

The Bridge (1986): “A Matter of Trust”

In a departure from his signature piano sound, Joel employs a heavier mid-tempo groove for “A Matter of Trust,” the second single from The Bridge. The song, with its straightforward yet powerful riffs, emphasizes Joel’s exquisite melodies, showcasing one of his most passionate vocal deliveries. The simplicity of the track allows the emotional weight of the lyrics to shine through, making it a standout piece that resonates with listeners.

Storm Front (1989): “I Go to Extremes”

On Storm Front, Joel collaborated with producer Mick Jones, breaking away from his longtime collaborator Phil Ramone. The exhilarating Top 10 hit “I Go to Extremes” perfectly complements the album’s grand arena-rock production. The song features Joel’s energetic piano work, intertwined with powerful guitar riffs and driving drums, creating an anthem that could easily fit into Bon Jovi’s New Jersey era — and that is certainly high praise.

River of Dreams (1993): “All About Soul”

As Joel’s final album of original pop-rock material, River of Dreams carries an air of solemnity, even if it wasn’t explicitly crafted with retirement in mind. “All About Soul” is a profound, gospel-infused exploration of enduring love, contemplating what transpires once the initial thrill fades and reality sets in. Joel delivers one of his most powerful vocal performances in this late-career gem, with an extended fade-out that reaches emotional heights reminiscent of “Hey Jude.” Even as he approached the end of his recording journey, Joel performed with unwavering conviction and passion.