Customer Reviews

Nylon Curtain

5 star:		(55)
4 star:		(16)
3 star:		(7)
2 star:		(1)
1 star:		(0)

 

 

"The Nylon Curtain" might be Billy's most initially frustrating album. The songs are strange and sometimes inaccessable, and even the hit singles had a palpable feeling of dread. But no other Billy album holds up as well, or makes a more complete statement as "The Nylon Curtain."

"Allentown" and "Goodnight Saigon" are probably the easiest to digest (if only because the subject matter is fairly clear). But listen closely to both of them, and you'll hear complex variations on basic themes (unemployment and war, respectively). "Allentown" takes the industrial woes of it's titular town personally - check the line "I won't be getting up today" to see how the employment situation has affected the narrator. And "Goodnight Saigon" veers between the horrors of war and the sadness of the bond between soldiers, and finds a simple truth in between. There's empathy but not a trace of sentimentality, which helps keep the songs fresh.

Duplicity is a common theme in "Nylon Curtain." "Laura," a magnificent piece of Beatlesque pop, hints at the pressures caused by an ex-lover's obsessions...and for once the production is perfect, as Liberty's pounding drums and Billy's overdubbed background vocals create a driving, almost mocking tone. The wonderful "A Room of Your Own" and the elusive, almost coy confessional "Surprises" are great spins on Billy's themes of disenchantment with middle-American life.

The album closes with two strange, complex charts: the swirling dream-like psychedelia of "Scandinavian Skies" and the bittersweet coda "Where's the Orchestra?" Both pieces are hard to pin down, but the orchestral fury of "Skies" and the plaintive vocal of "Orchestra" represent some of his finest work.

I've left out "Pressure," which was a huge hit for Billy, and one of the strangest hit singles ever...the heavy drums, the strange keyboards, the mocking vocal...how did this song speak to so many people? I don't know, but "Nylon Curtain" continues to speak to me. Billy's made some great albums, but so far he hasn't topped this one.

Billy Joel entered the 1980s and began to expand his musical horizons. This was evident on his ninth studio album, 1982's "The Nylon Curtain". This album wouldn't be a return to the days of "The Stranger" or "52nd Street", but it would mark Billy's return more toward a piano style of music. Despite what may not have been his best selling album, the result would be that Billy would produce an album that would be the creative high point of his musical career.
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I look at Billy Joel's career as having three phases. The first phase is what I call "Old Billy Joel". This basically includes all of his material from "Cold Spring Harbor" through "Turnstiles". These are perhaps the strongest days as the piano sound, but they also contain most of Joel's least heard material. The next phase is what I call "Middle Billy Joel". This was his most successful period and covers from "The Stranger" to "Billy Joel Greatest Hits Volume 1 and 2". Joel would go through a transition during this phase - expanding his musical horizons and exploring different avenues. The final phase is the "Later Billy Joel" phase - this covers "The Bridge" to "River of Dreams". In this phase, Billy would start to incorporate some of his older styles of music while not abandoning his desire to continue to explore new avenues. "The Nylon Curtain" clearly falls into the heart of this "Middle Billy Joel" phase.

"The Nylon Curtain" is a very different album that Billy Joel did. Albums such as "The Stranger" and "52nd Street" had the strong lyrical themes of "New York" and "Melting Pot". "The Nylon Curtain" doesn't have a strong lyrical theme, but it does have a strong style theme. Billy creates a set of songs in which the instrumentation creates an image of the song. For example, as you listen to just the music of "Allentown", you can almost visualize the Allentown, Pennsylvania. On "Glass Houses", Billy moved away from his traditional style more toward a Rock Music style. On "The Nylon Curtain", there isn't one overall style, but you can see a variety of influences - including The Beatles. As mentioned, Billy Joel would return more toward his piano based music. The big difference with a couple of exceptions, there is going to be an absence of the trademark horns that have been such a part of Billy's music throughout the years.

The best way to look at each track on the collection:

"Allentown": This might not be New York, but Billy creates an image of the town of Allentown, Pa - about 100 miles west of NYC. This is done by a combination of some clever percussion and piano playing. Combine this with the lyrics and you clearly get an image of how a town must deal with the mines and factories that made up its economy closing down.

"Laura": A very underrated track. A piano based tune. Even by just listening to the music without the lyrics, you can still get an image of a woman manipulating Billy Joel. Listening to the music and background harmonies - you can hear The Beatles influence.

"Pressure": Once again terrific piano, synthesizer, and percussion create an image of a "high pressure environment". Listen to how the piano and drums practically say "PRESSURE". Of course Billy throws more clever lyrics to complete the picture.

"Goodnight Saigon": Another masterpiece. This time Billy paints a picture of the story of two comrades who go off to Vietnam together. Billy integrates some nice percussion - including a helicopter sound to help create a virtual picture of Vietnam. The piano is going to be the instrument that moves this song - Billy hits the chords in all the right places. Billy also uses his vocals by using a variety of ranges to add to the emotion of this song. The background vocals add to the theme of camaraderie.

"She's Right on Time": This song might be the closest thing to a Christmas song that Billy has done. Once again a terrific combination of piano and percussion. Of all of the tracks, this one has the most "Classic Piano Man" sound.

"A Room of Our Own": On this song, Billy once again brings the piano to the forefront. On this song, Billy creates a Honky Tonk Piano sound.

"Surprises": Many people have said this is one of the most Beatle-esque sounds on the collection. I would agree with that. I can also hear signs of the Electric Light Orchestra and Jeff Lynne - particularly when Billy sings "It shouldn't surprise you at all".

"Scandinavian Skies": This is another extremely underrated song, but it is also a masterpiece. Once again, the instrumentation - with piano and percussion in the forefront do an outstanding job at painting a picture. This time the picture is (from a plane) of Scandinavian Europe during World War II times. There is a "marching band" sound prevalent during this track that helps support it. There is almost a psychedelic sound to it - bringing back memories of The Beatles. It is also worth noting Billy makes use of some intricate String arrangements. However, I think Billy's vocals bring his own style to this song and it helps to give it its own unique flavor.

"Where's the Orchestra": This shows Billy's interest in Classical Music. The song literally paints the picture of being in an Orchestral Theater. Billy does a great job at integrating a full orchestral ensemble (Strings, Brass Horns - they are on this song, Woodwinds, and Percussion).

The lyrics to each of the songs are included on this collection - as well as the musician and production credits. I was surprised this wasn't the "Album of the Year" for 1982, but it did have some worthy competition in Donald Fagen's "The Nightfly" and Toto's "Toto IV". That being said, this is one incredible musical collection - a must for not just Billy Joel fans, but for music fans.

This is my favorite Billy Joel album, by far. Which is saying a lot, because I would rate my least favorite Billy Joel album at about 4.5 stars. This album seems to have a depressing theme running through it. Running through unemployment, unhealthy dependency on relationships, war, rock 'n roll lifestyles, and more war, the songs can be a bit of a downer if you're in the wrong mood. However, the mood is intriguing like a car wreck, and the bitterness in so many of the songs is possibly what makes this such a great CD.

It might be worth noting that the three hits on this CD (Allentown, Pressure, and Goodnight Saigon) are usually among the songs that fans call their least favorite (especially Pressure), but don't let that turn you off from hearing the rest of the CD. When in place with the other songs, the mood fits perfectly. This album basically needs to be broken down by songs, because there isn't any way to describe it as a whole.

Allentown starts with a work whistle and resonating drum and percussion sounds, really emphasizing the hard-working tone of the lyrics, and the gentle melody understates the bitterness of the words. "They threw an American Flag in our face" is a perfect way to sum up the song, it's like an American dream has been ruined for the families of the town.

Laura is very McCartney-ish, complete with "ahhh"-ing background vocals and familiar chord changes. The song starts with resistance to a relationship with a girl named Laura, but by the end it seems there's appreciation for her. "She always says I'm the best friend that she's ever had. How do you hang up on someone who needs you that bad?"

Pressure was a staple of MTV videos back in '82, and if you know any song from this album, this is it. The pulsing rhythm and frantic synthesizer definitely accomplishes a feeling of pressure.

Goodnight Saigon is an epic war song that takes a while to get going, and even longer to reach its powerful climax. The imagery and lyrics are the best part of the song, the line "We came in spastic like tameless horses, we left in plastic as numbered corpses" has to be one of the most perfect lines in rock history, and by the time the song is going full speed, you're lost in the imagery, feeling like you're with the troops.

She's Right on Time has the best pop-hook on the CD, a great melody with a Christmas-y feel to it. It's actually the only song of the nine that isn't depressing or sinister, just a love song with more-complex-than-usual lyrics.

A Room of our Own is a comparison of lifestyles, "you're got love, darling, I've got sex" is one of the many good/bad statements that form a split between the two people in the song. But it's alright; cause we all need a room of our own.

Surprises is another very Beatles-influenced song, but the anger in the lyrics is closer to John Lennon's early solo material. What exactly shouldn't surprise the focus character is unclear to me, but all you need to know is that they did something wrong and something bad happened to them. "What has it cost you, what have you won? The sins of the fathers are the sins of the sons" is bitter enough to send a clear message.

Scandinavian Skies is the weirdest song on here, but it's possibly the best. This actually sounds like the psychedelia of George Harrison, with a voice to match. Billy seems to like playing the part of each individual Beatle rather than mimic the band as a whole. Just like Goodnight Saigon, the imagery is wonderful. "We climbed towards the sun, we turned and cursed as one, we pulled the shades and closed our eyes", along with the progressive and scary melody, is an ominous preview to the violent interludes.

Where's the Orchestra is a sad finish to the album, with beautiful piano and soft vocals. One of the best moments on the CD is at the end of this song, when the melody to Allentown is slowly played on an accordian as the piano fades out.

Overall, this album holds up better than any of Billy Joel's others, with perfect orchestration and instrumentation, clever and cynical lyrics, and the most innovation and vision Billy has ever shown. I highly recommend it to anyone who's willing to give the man a listen.

As a musician and a songwriter I have this to say to Billy Joel;
I often wonder if you have a team of writers to help with writing.
Because, one guy just CAN NOT be that brilliant!!!
There is only one force, if you will , in the universe with that kind of "perfection" as it pertains to his or her craft.
At the risk of sounding like a tin foil hat wearing moonbat, I pose this question;
Are you , in fact, that force??
Tongue in cheek diatribes aside, you can't go wrong with any of Billy Joels work. He hasn't made anything under a 5 star album.
His entire catalogue is top notch.
And that goes for "River of Dreams" as well.
If you're a songwriter that's constantly struggling to find that "perfect" formula then you know what I mean.
He is the essence of perfect formula because it's CONSTANTLY changing but never loses the "purist" approach.
Fantastic.
Just get an album, any album , from Billy Joel.
I promise it won't be your last.

The Nylon Curtain seems to be the most serious Billy Joel album that's out there. It hits themes like Vietnam, The stress of everyday life, and more. It's a somber sounding album. The three hits here are some of Billy's most strongest songs, lyrically and musically. "Pressure", "Allentown", and "Goodnight Saigon". The other songs are stand outs. "Surprises" is a beautiful song. "She's Right On Time" is a strong addition to the labum. "Laura" sounds like a very Beatlesque song. This album is very different from his previous, "Glass Houses". This is Billy at his strongest.

Billy Joel seems to be one of the few artists to grasp the post-World War II era hardships - the pain, happiness, the glory and the passions - from a child growing up to witness and relish in that sort of life. On "The Nylon Curtain" (relation to the "Iron Curtain" here?), Billy Joel addresses the baby boom townships that were in actuality Levittowns, but don't worry, "Allentown" will do. "Allentown" is also paying homage to the hardworking steel workers in Pennsylvania, meeting their mothers in the USO, and vacationing on the Jersey shore. This song, and many of Joel's others, paint such blue collar pictures so well, it's hard to not feel where he came from.

Being born the same year that this album came out, I guess I feel some sort of affinity towards it. In my opinion, the best song on this album is "Goodnight Saigon." It seemed like a timely song to produce when the Vietnam War Memorial was also unveiled in 1982. Having several family members in Vietnam, I can at least try to comprehend their agony when listening to this song. Again, the song not only reaches out through melody, but through it's vivid storytelling. Billy Joel may not be the best singer, but his songwriting can more than compensate for that.

Probably the most popular and MTV aware song on this album is "Pressure," supposedly one of MTV's biggest played videos of that year (1982). "Pressure" seemed to be a precurser for the way the rest of the 80's was to turn out - overachieving yuppie-dom prevailing throughout the decade.

The rest of the songs left little impression on me, but with a few listenings more, they may become more meaningful. Sad, but true, it's the popular ones which win on this album.

Supposedly this album was made while Joel was doing alot of cocaine. I guess this shows on some of the music and lyrics. Obviously there is a heavy Lennon influence on alot of songs. Laura is a total Lennon song with the Plastic Ono Band drum beat and John sounding vocal. Scandinavian Skies has the string section right off a Beatles song and that vocal sounds exactly like Lennons on Good Moring Good Morning. Even after Innocent Man came out Joel said this was still his favorite album. Other great tracks are Surprises, Alllentown,Goodnight saigon, and shes right on time. This album really was the pinnacle of growth for Billy Joel and he never topped it.

This is my favorite Billy Joel album and one of my Top 20 of all-time. If you get only one Billy Joel album, though, get his "Greatest Hits 1 & 2" (single album set). Next, get "Greatest Hits 3" and then this album.

The song "Allentown" is probably recognized by anyone -- a Top 40 classic that got a lot of radio time, as did "Pressure".

I like songs like "Laura", "She's Right on Time" and "Room of our Own" because it has a slower emotional side (I am big into emotion, not weepy stuff, but things where it is obvious that an artist put heart and soul into the effort).

Songs like "Goodnight Saigon" put you right in Saigon and get you in the soldier's head, unlike many guts-and-gore movies of that period. On the other hand "Scandinavian Skies" seems lost and a little out of touch with the rest of the album (which already has at least two strong themes).

When I first heard the album, I was convinced it was one of his best efforts. I also thought at the time that I bet Billy Joel thought that himself, as well. It was not graded highly by the critics (except for the recording quality) and was not a superseller like some others. However, I felt vindicated when many years later, Billy Joel basically said in an interview that it was probably his proudest effort. I agree -- Billy Joel is great when his emotional intensity is in gear (even when it is not, he still does an excellent job as a performer).

Phil Ramone was the producer and he is well-known for clean, accurate recordings. This is one of those albums that make his name proud. If you have a high-end system, you will really like it (if you have a high-end LP system, you will love that LP!).

Definitely a best-buy album.

"The Nylon Curtain" was Billy Joel's attempt to challenge Bruce Springsteen for the hearts and minds of heartland rockers. His catchy unemployment anthem "Allentown" may have been the most misunderstood ode to the down and out this side of the Boss's "Born in the U.S.A." For good measure, Joel also throws in a Vietnam Veterans tribute in "Goodnight Saigon." The more lightheartead "Pressure" was also a big hit. Coupled with another decent single in "She's Right on Time," this album could have been Joel's best if it didn't peter out with less successful filler material in the second half. As a result, it confirms Joel's status as an artist more adept at producing singles than fully realized albums.

In all of Billy Joel's talents, some of his work seemed a product of its time, for better or worse. Even fans have to admit to cringing after hearing "Just the Way You Are" for the millionth time. Joel was good at churning out a lot of single-friendly pop fair. While the public ate it up, little of his work screamed to be heard like "The Nylon Curtain," where Joel finds himself at a creative peak, while paying homage to his heroes the Beatles.

Much of the production on Nylon Curtain sounds like Sgt. Pepper era Beatles. It's vast, melodic, and full of hooks. But the Piano Man isn't just here to pay tribute. This is a well crafted piece that shows off some of Joel's best songwriting. "Allentown," and "Goodnight Saigon" are sincere political remarks, while the stress driven "Pressure" is a synthesizer laden track that remarkably doesn't sound dated.

The Beatles influence comes in on the very ambitious "Scandinavian Skies," where Joel's vocal even emulates Lennon. But I was always replaying another Beatles homage "Where's the Orchestra," the album's melancholic closer. Joel's quiet vocal comes through on only one speaker channel while Joel remarks 'Wasn't this supposed to be a musical?' Well, the Nylon Curtain sounds like one. Musically, it's Joel's best crafted album, and like the Beatles' work, it transcends time and is worthy of repeat listens.