ALBUM REVIEW: Billy Joel - Cold Spring Harbor

    Billy Joel, the incomparable Piano Man, is one of music's most accomplished stars, to the point where some of his music transcends success and becomes ubiquitous with public knowledge. Long before that Billy Joel, though, he was a nobody. Failed groups and albums, a shattered relationship, and eventually a suicide attempt all plagued Joel's life in 1970. Eventually, though, Joel signed himself to a small record label named Family Productions, with contract terms that were, may I say, fucking abusive - the contract stripped Joel of all rights to master tapes AND publishing rights to any songs. When Cold Spring Harbor came out in '71, the production job was even butchered by the label's owner, to the point where Joel's voice was strangely high-pitched. Joel was fuming, and it effectively ruined the two's friendship. With modern remixes, that issue is effectively gone, but what you're left with isn't necessarily a hidden gem.

    The biggest issue I have with this album is, admittedly, one with hindsight. Most of Cold Spring Harbor does not sound like Billy Joel as we know him now, which probably was not so much a problem when it was his only album. Much of the album plays more like fine, low energy piano rock that I'd sooner liken to a weaker Paul McCartney or Emitt Rhodes than I ever would to Billy Joel. He even sounds like Emitt on songs like "Falling of the Rain," which really plays like a song either of the two would write far more than any Joel song I've heard. I think it's worth noting that it's not inherently bad music - hell, the aforementioned "Falling of the Rain" is probably my favorite track here - but it lacks a whole lot of distinguishing factors. Songs like "Why Judy Why" sound like anyone in the 70s could've made them, really. It also doesn't help that some songs, like "Why Judy Why," aren't particularly strong in the first place. I especially hate to say this about the final three songs, as they are a reflection on Joel's suicide attempt, but they did very little for me outside of the beautiful instrumental "Nocturne."

    Even with all this, Joel still shows a clear talent. "She's Got a Way" continues to be the album's most enduring tune, and for good reason - it's a great love song that follows the pop mold of artists like The Beatles, but doesn't do it so much that it feels like parody or unoriginality. "Everybody Loves You Now" is a great rocker, and is probably the closest Billy Joel comes to sounding like Billy Joel on his own record. "You Can Make Me Free" is an excellent pop number, and a fitting follow-up to "She's Got a Way," and in many ways may be better. The previously mentioned instrumental "Nocturne" is hauntingly beautiful, and it showcases Joel's versatility as a piano player - there's an undeniable classical touch to the piece.

    With all this in mind, Joel's first album is not a catastrophic disaster, nor is it a hidden gem; it's just kind of fine. To this day, Billy Joel doesn't think very highly of the album or its material, and while I think there's some good stuff to be found here, I can't entirely blame him for feeling like that either, especially with the history discussed at the start of this review. Still, at least a bit of Cold Spring Harbor is worth seeking out - just make sure you find the remix, because I heard one part of the original mix and it is a fucking disaster.

RATING: ✯✯✯✯✯✯✯✯✯✯

Listen to Cold Spring Harbor.