Billy Joel hit back as hard as he could with
Glass Houses, his bid to prove that he could rock as hard as any of those
new wave punks. He might not have proven himself a punk -- for all of his claims of being a hard rocker, his work inevitably is
pop because of his fondness for melody -- but he proved to himself that he could still rock, even if the critics didn't give him any credit for it. It was now time to mature, to move
pop/rock into the middle age and, in the process, earn critical respect. In short,
The Nylon Curtain is where
Billy Joel went serious, consciously crafting a song cycle about Baby Boomers in the
Reagan era. Since this was an album about Baby Boomers, he chose to base his music almost entirely on
the Beatles, the pivotal
rock band for his generation.
Joel is naturally inclined to write big melodies like
McCartney, but he idolizes
Lennon, which makes
The Nylon Curtain a fascinating cross between ear candy and social commentary. His desire to record a grand concept album is admirable, but his ever-present lyrical shortcomings mean that the songs paint a picture without arriving at any insights. He occasionally gets lost in his own ambition, as on the waterlogged second side, but the first half of the song suite --
"Allentown," "Laura," "Pressure," "Goodnight Saigon," "She's Right on Time" -- is layered, successful, mature
pop that brings
Joel tantalizingly close to his ultimate goal of sophisticated
pop/rock for mature audiences. ~ Stephen Thomas Erlewine
![Frontiers [Bonus Tracks]](http://prodimage.images-bn.com/pimages/0888837144827_p0_v3_s90x140.jpg "Frontiers [Bonus Tracks]")
![Shake It Up [Expanded Edition]](http://prodimage.images-bn.com/pimages/0603497862719_p0_v2_s90x140.jpg "Shake It Up [Expanded Edition]")
