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1. Fred Schruers, Billy Joel: The Definitive Biography (New York: Crown Archetype, 2014), 32.

2. Among critics, see Stephen Holden, “52nd Street,” Rolling Stone, December 14, 1978; Paul Nelson, “Glass Houses,” Rolling Stone, May 1, 1980; Crispin Cioe, “Billy Joel: The Nylon Curtain,” Musician 50 (1982): 101. Among scholars, see Walter Everett, “The Learned vs. The Vernacular in the Songs of Billy Joel,” Contemporary Music Review 18, no. 4 (2000): 105–29, and this author’s publications: “Disappointment, Frustration, and Resignation in Billy Joel’s The Nylon Curtain,” Rock Music Studies 2, no. 2 (2015): 168–87; “Billy Joel’s Songs about American Places,” American Music Research Center Journal 24 (2015): 37–54; “Depicting the Working Class in the Music of Billy Joel,” in The Cambridge Companion to the Singer-Songwriter, ed. Justin Williams and Katherine Williams (New York: Cambridge University Press, 2016), 137–43; and Billy Joel: America’s Piano Man (Lanham, MD: Rowman & Littlefield, 2017).

3. Ken Bielen, The Words and Music of Billy Joel (Santa Barbara, CA: Praeger, 2011), 21; Thomas MacFarlane, Experiencing Billy Joel: A Listener’s Companion (Lanham, MD: Rowman & Littlefield, 2016), 10–11.

4. Quoted Bill Smith, I Go to Extremes: The Billy Joel Story (London: Robson, 2007), 59.

5. Quoted in Duchan, Billy Joel, 128.

6. Personal interview, May 17, 2017.

7. Stephen Holden, “The Nylon Curtain,” Rolling Stone, October 14, 1982.

8. Anthony DeCurtis, “The Rolling Stone Interview: Billy Joel,” Rolling Stone, November 6, 1986, 78.

9. Quoted in Richard Scott, Billy Joel: All About Soul (New York: Vantage, 2000), 46.

10. Everett’s “The Learned vs. The Vernacular” is an exception.

11. The McCartney World Tour program booklet, 1989, 53, cited in Walter Everett, The Beatles as Musicians: Revolver through the Anthology (New York: Oxford University Press, 1999), 99.

12. Everett, The Beatles as Musicians, 107.

13. See Duchan, “Disappointment, Frustration, and Resignation,” 177–78, 181–82.

14. A rock music equivalent to the song cycle, the concept album is a collection of discrete songs with a connecting thread running through them, whether musical or nonmusical. Susan Youens writes that the song cycle exhibits “coherence” in musical features (including recurring motifs or passages), their text (including a central theme, topic, or mood), or both (“Song Cycle,” Grove Music Online/Oxford Music Online, Oxford University Press, accessed July 25, 2013). Ruth Bingham writes that the definition of “song cycle” “dictates only that the songs cohere, not that they cohere to any particular degree,” which yields “an unbroken continuum where carefully arranged collections neighbor loosely constructed cycles” (“The Early Nineteenth-Century Song Cycle,” in The Cambridge Companion to the Lied, ed. James Parsons [New York: Cambridge University Press, 2004], 104).

15. Personal interview, May 17, 2017.

16. Quoted in George Martin, exec. Prod., “The Making of Sgt. Pepper” (ITV/Disney, 1992), quoted in Everett, The Beatles as Musicians, 99.

17. Walter Everett and David Pichaske consider “A Day in the Life,” the last track, as distinct from the rest of the Sgt. Pepper album. See Everett, The Beatles as Musicians, 122; David Pichaske, “Sustained Performances (1972),” in The Beatles Reader, ed. Charles P. Neises (Ann Arbor: Popular Culture, 1984), 59.

18. Quoted in Schruers, Billy Joel, 75–76.

19. Personal interview, May 17, 2017.

20. Personal interview, May 17, 2017.

21. Personal interview, May 17, 2017.

22. Olivier Julien, “The Diverting of Musical Technology by Rock Musicians: The Example of Double-Tracking,” Popular Music 18, no. 3 (1999): 360–61, 364.

23. Julien, “The Diverting of Musical Technologies,” 361–62.

24. Duchan, “Disappointment, Frustration, and Resignation,” 180.

25. David Sheff and Victoria Sheff, “Playboy Interview: Billy Joel,” Playboy, May 1982, 96.

26. Holden, “The Nylon Curtain.”

27. Scott, Billy Joel, 48; Holden, “The Nylon Curtain.”

28. Bielen, The Words and Music of Billy Joel, 62.

29. Schruers, Billy Joel, 155.

30. Duchan, Billy Joel, 130–31.

31. See Mikhail M. Bakhtin, The Dialogic Imagination, ed. Michael Holquist, trans. Caryl Emerson and Michael Holquist (Austin: University of Texas Press, 1981); Julia Kristeva, Desire in Language: A Semiotic Approach to Literature and Art (New York: Columbia University Press, 1980); and Ingrid Monson, Saying Something: Jazz Improvisation and Interaction (Chicago: University of Chicago Press, 1996), 97.

32. Quoted in Chuck Klosterman, “The Stranger,” New York Times Magazine, September 15, 2002.

33. Joel’s interest in history is documented, among other places, in Tony Marcano, “Teachers Fire Up History Students with Billy Joel Hit,” Los Angeles Times, February 11, 1990; Schruers, Billy Joel, 73; and Smith, I Go to Extremes, 33.

34. King’s influence can be heard on Cold Spring Harbor, country and western on Piano Man, Spector on Turnstiles’ “Say Goodbye to Hollywood,” and Charles on Turnstiles’ “New York State of Mind” and The Bridge’s “Baby Grand.” Joel’s album, An Innocent Man, is also a tour through the styles of the 1960s, although Joel also borrows a Beethoven melody for the chorus of “This Night.” Indeed, throughout his career, Joel has been dogged by the seemingly constant charge of inauthenticity, that he relies on the musical styles of others. Yet one way to look at the proliferation of styles within Joel’s oeuvre is to view it as a skillful integration of influences rather than a lack of creativity (see Duchan, Billy Joel, 109–35).

35. Personal interview, May 17, 2017.