Билли Джоэл: "Бөгет" альбомының тарихы

The Stranger is the fifth studio album by American singer songwriter Billy Joel, released on September 29, 1977, by Columbia Records. It was the first of Joel's albums to be produced by Phil Ramone, with whom he would work for five subsequent albums. Joel's previous studio effort, Turnstiles (1976), had sold modestly and peaked low on the US charts, prompting Columbia to consider dropping him if his next release sold poorly. Joel wanted the new album to feature his touring band, formed during the production of Turnstiles. The band consisted of drummer Liberty DeVitto, bassist Doug Stegmeyer, and multi instrumentalist Richie Cannata, who played the saxophone and organ. Seeking out a new producer, he first turned to veteran Beatles producer George Martin before coming across and settling on Ramone, whose name he had seen on albums by other artists such as Paul Simon. Recording took place over three weeks, featuring DeVitto, Stegmeyer and Cannata. Other studio musicians filled in as guitarists on various songs. Spending six weeks at on the US Billboard 200, The Stranger is considered Joel's critical and commercial breakthrough. Four singles were released in the US, all of which became Top 40 hits on the Billboard Hot 100 chart: "Just the Way You Are" , "Movin' Out (Anthony's Song)", "She's Always a Woman" (both ), and "Only the Good Die Young" Other songs, such as "Scenes from an Italian Restaurant" and "Vienna", have become staples of his career and are frequently performed in his live shows. The album won two awards at the 1978 Grammy Awards: Record of the Year and Song of the Year for "Just the Way You Are". It remains his best selling non compilation album to date, and surpassed Simon & Garfunkel's Bridge over Troubled Water to become Columbia's best selling album release, with more than 10 million units sold worldwide. Rolling Stone later named it one of the 500 greatest albums of all time. In 2008, The Stranger was inducted into the Grammy Hall of Fame.

Before The Stranger, Billy Joel was on the verge of being dropped by his record label Columbia Records. After the unexpected success of Joel's second album, Piano Man, his subsequent albums were commercially disappointing. Turnstiles, Joel's 1976 release, had peaked at only number 122 on the Billboard 200 chart. By 1976, Joel had formed a reliable touring band, consisting of Doug Stegmeyer on bass, Liberty DeVitto on drums and Richie Cannata on saxophone, flute, clarinet and organ. Joel grew to appreciate this group of musicians, finding that they had a high energy, rough around the edges feel that he hoped to capture in his studio recordings. Joel had mostly worked with session players for his first three studio albums, which contained only scattered contributions from his own backup musicians, and strongly disliked the polished sound of these albums. During the production of Turnstiles, his fourth album, Joel initially worked with veteran producer Jim Guercio, who had him work with members of Elton John's band; dissatisfied with the results, Joel instead opted to self produce the album and record with his own touring band. Joel was likewise set on recording his fifth studio album with this band. Having written some new material for the record, Joel sought a producer who could cultivate his desired style. Joel, a longtime fan of the Beatles, initially looked to famed Beatles producer George Martin. But after meeting with Joel, Martin expressed interest in producing the album, but did not want to use Joel's band, wishing instead to bring in session players. Joel, however, was adamant in his desire to record with his own band and declined Martin's offer. Ultimately, Joel turned to Phil Ramone, a veteran New York City sound engineer and record producer who had recently worked with Paul Simon, another singer songwriter, on Simon's album Still Crazy After All These Years. According to Joel, he and Ramone met with each other at Fontana di Trevi, an Italian restaurant near Carnegie Hall, where Joel had been playing at the time. The restaurant would go on to inspire the setting of "Scenes from an Italian Restaurant", a song on The Stranger. According to Joel, Ramone expressed an appreciation for Joel's band and their energy, and understood the reasoning behind Joel's attitude towards recording, which ultimately led Joel to choose Ramone as the producer for his next album.

The recording sessions for The Stranger, described by Joel as "a blast" to be a part of, took place across the short span of three weeks in between July and August 1977. The album contains nine songs, four of which were released as singles in North America. The songs were all recorded with Joel alongside his band which he had formed while touring, in addition to various other musicians who were brought into the studio for specific songs. The album's title track, according to Joel, was written by him without any core themes in mind and could be open up to interpretation, though he stated that it could be seen as a song about a man with schizophrenia. While composing the song, Joel whistled the track's signature theme for Ramone, claiming that he (Joel) needed to find an instrument to play it. Ramone told Joel that the whistling he did was perfect, and thus it was kept in the final recording. Joel originally considered keeping the song off the album, as he dismissed it as a "gloppy ballad" that was out of place compared to the rest of the album. Ramone disagreed, and brought Linda Ronstadt and Phoebe Snow into the studio to prove that it was worth including. Upon hearing the song, the two artists both praised it, thus convincing him to feature the song. and by Freddie Mercury and Queen with "Bohemian Rhapsody", while Ramone helped intertwine them with backing orchestration. The album's final song, "Everybody Has a Dream", a gospel influenced piece, was also inspired by Joel's wife. The song closes the album out with a reprise of the whistled theme from "The Stranger". The other three singles were all top 40 hits, with "Movin' Out (Anthony's Song)" and "She's Always a Woman" both peaking at number 17. While "Movin' Out (Anthony's Song)" was the first single released for the album, radio stations put little attention towards it, instead expressing interest in "Just the Way You Are"; thus, the latter song was released just six weeks following the debut of "Movin' Out", after which it achieved far larger success. The single for "Movin' Out" was later rereleased, after which it achieved higher success and ultimately became a hit. According to Joel, "Only the Good Die Young" sold poorly when it was first put out as a single; however, following the song's release, Christian groups and archdiocese areas began calling for the song to be banned on several radio stations across the nation. The controversy helped raise the song's popularity, particularly among rebellious youth according to Joel, and the single thus fared much better as a result, ultimately peaking at number 24 in the US singles chart. The Stranger remains one of Joel's best selling original studio albums to date, achieving a "Diamond" certification for surpassing sales of 10 million units. At the time, it had surpassed Simon & Garfunkel's Bridge over Troubled Water to become Columbia Records’ best selling album release. In Canada the album spent 72 weeks in the Top 100 Album charts between November 1977 and April 1979.