Billy Joel hit a bit of a slump with
Streetlife Serenade, his third album. Stylistically, it was a reiteration of its predecessor's
Tumbleweed Connection obsessions, spiked with, of all things, Rockford Files synthesizers and
ragtimes pulled from
The Sting. That isn't a facetious reference, either -- it's no coincidence that the record's single and best song,
"The Entertainer," shares a title with the
Scott Joplin rag that provided
The Sting with a main theme.
Joel is attempting a grand
Americana lyrical vision, stretching from the Wild West through the Depression to
"Los Angelenos" and
"The Great Suburban Showdown." It doesn't work, not only because of his shortcomings as a writer, but because he didn't have the time to pull it all together. There are no less than two instrumentals, and even if
"Root Beer Rag" (yet another sign of
The Sting's influence) is admittedly enjoyable, they're undeniably fillers, as is much of the second side. Since he has skills, he's able to turn out a few winners --
"Roberta," a love song in the vein of
Cold Spring Harbor, the mournful
"Streetlife Serenader," and the stomping
"Los Angelenos" -- but it was the astonishingly bitter
"The Entertainer," where he not only disparages his own role but is filled with venom over
"Piano Man" being released in a single edit, that made the subtext clear: he'd had enough with California, enough with the music industry, enough with being a sensitive singer-songwriter. It was time for
Billy to say goodbye to Hollywood and head back home to New York. ~ Stephen Thomas Erlewine