Billy Joel's 1977 album, *The Stranger*, was a powerhouse of hit singles, each contributing to the album's monumental success and leaving a distinct mark on popular culture. From heartfelt ballads to more provocative rock anthems, the singles showcased Joel's versatility as a songwriter and performer. These tracks not only dominated the charts but also sparked conversations and, in one notable instance, generated significant controversy, further cementing
the album's place in music history. The strategic release and subsequent performance of these singles were crucial to *The Stranger*'s widespread acclaim and commercial triumph.
"Just The Way You Are": A Grammy-Winning Ballad
Among the most successful singles from *The Stranger* was "Just The Way You Are." This acoustic ballad quickly gained popularity, peaking at number 3 on the Billboard Hot 100 chart. Its success was significantly boosted by Joel's performance of the song on the February 18, 1978, telecast of *Saturday Night Live*. The song's tender lyrics and melodic charm resonated with a wide audience, leading to critical recognition as well. "Just The Way You Are" earned Billy Joel two Grammy Awards in 1979: one for Record of the Year and another for Song of the Year, solidifying its status as a timeless classic.
Interestingly, while "Movin' Out (Anthony's Song)" was the initial single released for the album, radio stations showed little interest in it, instead expressing a strong preference for "Just The Way You Are." Consequently, the latter was released just six weeks after the debut of "Movin' Out," quickly achieving far greater success. This shift in focus by radio programmers highlighted the immediate appeal and commercial potential of "Just The Way You Are," making it a cornerstone of the album's promotional efforts and a defining track of Joel's career.
"Only The Good Die Young": A Spark of Controversy
Another prominent single from *The Stranger* was "Only The Good Die Young." According to Joel, this song initially sold poorly upon its release. However, its fortunes dramatically changed following a wave of controversy. Christian groups and archdiocese areas across the nation began calling for the song to be banned from radio stations, citing its lyrics as objectionable. This backlash, ironically, served to significantly boost the song's popularity.
Joel noted that the controversy particularly resonated with rebellious youth, who were drawn to the song's defiant message. As a result, the single fared much better, ultimately peaking at number 24 on the U.S. singles chart. This episode demonstrated the power of public debate in shaping a song's trajectory, turning an initially slow-selling track into a hit and a cultural talking point. The song's enduring presence in Joel's catalog is a testament to its memorable melody and the impact of its controversial reception.
Other Notable Singles and Their Impact
Beyond these two prominent tracks, *The Stranger* yielded several other top 40 hits. "Movin' Out (Anthony's Song)" and "She's Always a Woman" both peaked at number 17 on the charts. While "Movin' Out" initially struggled, its later re-release led to higher success, ultimately becoming a hit. "She's Always a Woman," another acoustic ballad, showcased Joel's ability to craft sensitive and introspective songs, further diversifying the album's appeal.
The album's title track, "The Stranger," was also released as a single, though primarily in Japan, where it became very popular, peaking at number 2 on the Oricon chart and selling over 471,000 copies. It also charted in Australia, New Zealand, and France. This track, with its distinctive whistling melody, was a homage to Carl Jung's definition of the psychological archetype known as "The Shadow." The song's unique sound, which producer Phil Ramone convinced Joel to whistle himself rather than use a wind instrument, became an iconic element of the album. The success of these diverse singles collectively propelled *The Stranger* to its status as a landmark album in Billy Joel's discography.
