When he went for a masterpiece on
The Nylon Curtain,
Billy Joel worked with his band and producer
Phil Ramone, crafting a
Beatlesque song suite that was perfectly in step with
Turnstiles. For
Storm Front, he decided it was time to change things. He fired
Ramone. He fired everyone in his band, save longtime drummer
Liberty DeVito. He hired
Mick Jones, the architect behind
Foreigner's big AOR sound, to man the boards. He wrote a set of sober, somber songs, save
"That's Not Her Style," a weirdly defensive song about his model wife,
Christie Brinkley. He was left with an album that is singularly joyless.
Joel makes no bones about his ambitions for
Storm Front -- when you lead with a history lesson as your first single (the monotonous chant
"We Didn't Start the Fire"), it's clear that you're not interested in fun. That wouldn't have been a problem if his melodic skills weren't in decline.
Joel packed all the strongest numbers into the first half of
Storm Front, from the rocking
"That's Not Her Style" and
"I Go to Extremes" to the fisherman's plight
"The Downeaster 'Alexa'" and the power
ballad "Shameless," which
Garth Brooks later made a
standard. Compared to the murky second side, which perks up only mildly with
"Leningrad" and
"And So It Goes," it's upbeat, varied, melodic, and effective, but when it's compared to his catalog -- not only such high-water marks as
The Stranger or
Glass Houses, but with a record as uneven as
The Bridge -- it pales musically and lyrically. The five singles (
"Fire," "Style," "Extremes," "'Alexa'," "Goes") were catchy enough on the radio to propel the album to multi-platinum status, but in retrospect,
Storm Front sounds like the beginning of the end. ~ Stephen Thomas Erlewine
