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I grew up right off the Jersey Turnpike, halfway between Levittown and Allentown, during the years when he was on the radio every day.

People who write paeans to the suburbs, on topics that sit on the cusp between white-collar and blue-collar, are unfashionable these days.

But it’s a vivid, thoughtful song about guys he clearly knew well. Another Beatles tribute, too, this one a gesture to the Magical Mystery Tour era. “James,” Turnstiles Admittedly a little watery, but in the end, it’s a small, personal song about a mysterious broken friendship. The arrangement could, admittedly, be a little crisper. “Rosalinda’s Eyes,” 52nd Street Just about every male singer-songwriter records a mom song; this is a good one. “My Life,” 52nd Street Chipper, maybe a little defensive, impeccably bouncy pop song with dark undercurrent. It’s about an imaginary friend, and it’s much better than you’d ever guess. “Big Man on Mulberry Street,” The Bridge Is he a Good Fella, a restaurateur, just some shmo?

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Robert Christgau called his 1976 album Turnstiles “obnoxious,” which it is not.

Lately, though — like every artist from a generation back — he is undergoing a critical reassessment, I am in his camp.

Outrage can bring greatness to art; irritability, not so much. The shattering sound that opens Glass Houses, the helicopters in “Goodnight Saigon,” TV static and dial tones: All are gimmicky, and most are cliché. “Shades of Grey,” River of Dreams “Dad rock” is a cheap label, but this is pretty much it; sounds like a lot of session musicians without a center. “Getting Closer,” The Bridge Repetitive and plodding. “Running on Ice,” The Bridge Petulance on parade: “I could never understand why the urban attitude is so superior.” The piano-playing is virtuosic and showy, but the song’s ultimately a less interesting “Pressure.” 107. “Stop in Nevada,” Piano Man Why is a guy from Long Island writing a fake-Western song? A really solid performance of a not very interesting song. “Falling of the Rain,” Cold Spring Harbor Screams 1971 in a weird, Pippinish-hippie way that doesn’t seem to come from a natural place for Joel: “misty satin dreams” and “wooded glades”? Very typical big-’80s sound, with synths and echo that haven’t aged well. “Blonde Over Blue,” River of Dreams Nicely written first verse about being lonely at night, but it goes boring after that. “When in Rome,” Storm Front I’m surprised this didn’t click as a radio hit, because it hits every mainstream note of that era — leaving it sounding a little generic today. “This Night,” An Innocent Man A strong vocal performance on a mostly excellent album, but borrowing the Beethoven “Pathétique” for a melodic line was a terrible idea — it reads like a pointless play for respectability — and it weighs down the already-somewhat-leaden lyrics. "She's Right on Time," The Nylon Curtain Punchy performance, but the lyrics are thin, without much staying power. “Why Judy Why,” Cold Spring Harbor Another very early song that sounds like it was made by an entirely different person. Possibly saved by the “modren woman” throwaway at the end. “The Downeaster ‘Alexa’,” Storm Front One that people argue over. Better known, perhaps, for the Garth Brooks cover version, and if you don’t hate that Nashville sound, a good one. “Get It Right the First Time,” The Stranger Joel calls this the weak link on one of his best albums, and I’ll admit that it sounds like the theme to a funny-cops sitcom that never happened. “Even rode my motorcycle in the rain” is a pretty dumb line, which pulls it down on the list, and it loses a couple more points for the repeat-and-fade. "," Glass Houses He gets major points for trying to write a great phone sex song, but the result has a high ick factor, maybe because “make love long distance,” followed by pervy breathing, comes off gross rather than sexy.

I’ll admit that the brake screech in “Movin’ Out (Anthony’s Song)” is fun. “We Didn’t Start the Fire,” Storm Front The biggest problem song for the Billy Joel apologist, because it is highly popular and inescapably bad. “All You Wanna Do Is Dance,” Turnstiles One a few songs on this list with misplaced reggae inclinations. “You Picked a Real Bad Time,” B-side from 1993Very slick, not very good white-guy blues. A song that exemplifies a recurring problem on this list: memorable hook paired with dull verses. “State of Grace,” Storm Front After more than a few listenings in the past month, not a single lyric from this song stuck with me. “The Great Suburban Showdown,” Streetlife Serenade Not-terrible vision of suburban anomie, but the references — crabgrass, sitting around the kitchen — are just too unoriginal. Could be Steve Winwood; could be the Traveling Wilburys; could be almost anyone. “That’s Not Her Style,” Storm Front Another dated-sounding track, but the lyrics are actually pretty okay — this is (presumably) one of his Christie Brinkley songs, several of which are more charming. Recording is wavery and soft, and I’d be curious to hear a cover version that perhaps brings out whatever the song has in it. “Two Thousand Years,” River of Dreams He’s reaching for something philosophical and trying for a big idea, but it doesn’t quite get there, and the lyrics wander. “All About Soul,” River of Dreams Another from the Depression Series that had many of the ingredients to be a hit but didn’t have the snap to get there. “A Minor Variation,” River of Dreams Somewhat similar to “All About Soul.” More white-guy blues, decently sung, but ultimately, there are so many better blues singers that it’s hard to get excited about this one. “Storm Front,” Storm Front Surprising that this one didn’t end up in Twyla Tharp’s Movin’ Out, because it’s got a punchy, big sound that would translate well to a Broadway pit. It also has picked up an unfortunate association of late (Stormfront, to which we will not be linking here, is the premier white-supremacist site on the internet). “A Matter of Trust,” The Bridge Closest thing he’s ever made to a Queen-style stadium anthem to play at sporting events, with a chorus that benefits from a lot of people singing along. “Roberta,” Streetlife Serenade Lonely guy wants to save a stripper who won’t talk to him. Not terrible, but loses a lot of points for the awkward “no one ever has to feel like a refugee,” and the weird rolled-R delivery of “Mexican rrreefers.” 83. Comes from a good place — Long Island fishermen do indeed have it tough; he probably knows some of those guys, going way back; the whole scene feels honest — but the synths and production have aged terribly. “Tell Her About It,” An Innocent Man One of what I refer to as Joel’s Instructional Songs: records aimed directly at young people who need a boost in times of trouble. “Famous Last Words,” River of Dreams“These are the last words I have to say”: Joel’s last song on his final studio album, apart from some one-off releases. “Lullabye (Goodnight, My Angel),” River of Dreams Nicely sung, presumably for his daughter Alexa, who was about 7 when this was recorded. The unintentionally hilarious video may be affecting my judgment a little here. “I Go to Extremes,” Storm Front As catchy as a single ever was.

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Better than you may remember, mostly for the lyrics and the enthusiasm in the vocals. "," The Nylon Curtain Another argument about authenticity appears.

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