Turnstiles

Lore & Background

Musically, Turnstiles is defined by its aggressive drumming and driving piano lines, showcasing a band that was finally clicking into place. It addresses themes of disillusionment with celebrity culture and the harsh realities of urban life in New York. The production stripped away some of the earlier jazz influences to focus on raw energy, setting the stage for the massive commercial success that would follow immediately after.

In Their Own Story

The air inside the studio was thick with cigarette smoke and the hum of amplifiers warming up. Billy sat at the grand piano, his fingers striking a chord that echoed off the concrete walls, sharper and louder than anything he had played before. He wasn't writing for the dinner crowd anymore; he was writing for the streets outside, for the people waiting in line to get in or trying desperately to get out. As the drummer counted in, the rhythm section kicked into a relentless groove, signaling that the old days were officially over.

Reader's Guide

Released in January 1976, Turnstiles was the first album produced by Phil Ramone for Billy Joel, marking a shift toward a tighter, more polished rock sound. The tracklist features the cynical title track and the hit single "Say Goodbye to Hollywood," which became a staple of his live sets. While it did not immediately top the charts, it peaked within the Top 40 on the Billboard 200, proving that Joel was gaining serious traction with a rock audience. Critics praised the album for its thematic depth and musical maturity, noting the departure from novelty songs to serious social commentary. It represents the "New York Rock" era of his career, characterized by gritty urban narratives and hard-driving instrumentation. This record is often cited as the essential precursor to his massive 1977 breakthrough, establishing the sonic identity that would define his greatest hits.

Did You Know?

• The album was co-produced by Billy Joel and his band, with engineering by Brian Ruggles.
• "Say Goodbye to Hollywood" remains one of his most enduring rock anthems about the fleeting nature of fame.
• This record helped solidify Joel's image as a serious rock artist rather than just a piano pop performer.
• The title track serves as a metaphor for the revolving door of the entertainment industry in New York City.

A Return to New York and a Production Pivot

Turnstiles stands as Billy Joel's fourth studio album, released in May 1976 by Family Productions and Columbia Records. The project was conceived partly as a celebration of Joel's return to his native New York City, with three tracks explicitly referencing the city: "Summer, Highland Falls," "New York State of Mind," and the apocalyptic fantasy "Miami 2017 (Seen the Lights Go Out on Broadway)." The album opens with "Say Goodbye to Hollywood," a track inspired by the Ronettes' "Be My Baby," while "I've Loved These Days" offers a tongue-in-cheek regret for leaving Hollywood decadence. Initially recorded at Caribou Ranch in Colorado with members of Elton John's band and produced by James William Guercio, Joel was dissatisfied with the results. He subsequently took over production duties, returning to New York to re-record the entire album from scratch using his own touring band. This marked a significant milestone, as it was the first time Joel's regular backing group, featuring Long Island musicians Richie Cannata and members of Topper, played on one of his studio records.

Thematic Depth and Musical Experimentation

The album showcases a wide range of lyrical themes and musical styles. The song "James" features lyrics referring to various real-life acquaintances, with the title character serving as a composite of these individuals. In "Prelude/Angry Young Man," Joel rapidly hammers the piano at the beginning and end to simulate the drum part from the Surfaris' instrumental hit "Wipe Out." The album cover, photographed on the uptown platform of the Astor Place subway station in New York City, was designed with specific intent; each character depicted represents a particular song. For instance, a girl wearing headphones symbolizes "All You Wanna Do Is Dance," while a wealthy couple illustrates "I've Loved These Days." This visual storytelling complements the audio journey, which moves from bouncy, McCartney-esque pop to saloon-style ballads and surrealistic fantasies, all held together by the tight performance of Joel's backing group.

Critical Reception and Stylistic Variety

Upon release, Turnstiles received varied critical attention. Robert Christgau of The Village Voice noted an improvement in Joel's craft but criticized his increasing obnoxiousness, specifically citing the anti-idealism of "Angry Young Man" alongside the pseudoironic sybaritism of "I've Loved These Days." Conversely, Stephen Thomas Erlewine of AllMusic highlighted the album's success as stemming from its variety, praising how it transitions seamlessly between disparate styles. Trade publications also weighed in; Cash Box described "James" as a beautiful tune dedicated to an old friend that builds gradually from sensitive Fender Rhodes playing and bass to full instrumentation. They also noted that "I've Loved These Days" creates a mood of grand cinema romance with elegant strings and crashing piano, while Record World suggested the powerful ballad's melody and lyrics could propel Joel to new heights.

Legacy, Personnel, and Chart Impact

The album's legacy was significantly bolstered when Barbra Streisand covered "New York State of Mind" on her 1977 album Superman. This exposure introduced Joel's music to a broader mainstream audience, prompting him to thank Streisand and note that his New York relatives were impressed by the "Queen of Brooklyn" covering his work. Musically, the Quadrophonic LP release featured exclusive alternate mixes for several tracks, including "New York State of Mind." Contrary to some claims, the saxophone solo on this track was never re-recorded by Phil Woods for later greatest hits compilations; Woods only performed on Joel's 1977 hit "Just the Way You Are." The recording featured a robust lineup, with Joel handling vocals and various keyboards, supported by Howie Emerson and Russell Javors on guitars, Doug Stegmeyer on bass, Liberty DeVitto on drums, Richie Cannata on saxophones, and Ken Ascher providing orchestral arrangements.