Released in 1989, Storm Front marks a significant moment in Billy Joel’s career, one which brought about a transformation in both musical style and thematic exploration. As his eleventh studio album, Storm Front arrived at a period where Joel was keen to experiment and evolve from his earlier, more piano-driven compositions. Co-produced by Mick Jones of Foreigner, Storm Front integrates more rock elements than ever before with Joel's signature storytelling. The result is an album that feels both familiar and refreshingly new.
One of the most notable aspects of Storm Front is its robust production. The influence of Jones is palpable, with a heavier emphasis on electric guitars, synthesisers, and a polished, radio-friendly sound. Granted, it isn’t as though Joel hadn’t ventured into these techniques, and similar ones, in prior releases, but the tightness of Storm Front, as an album-focused experience, knows few peers. Its linear structure and song selection are amongst the greatest in Joel’s illustrious career, even if the style of the album has its detractors who may have preferred Joel’s more subdued, piano-centric, compositions. Don’t worry, they’re there, but songs such as the lead single, We Didn’t Start The Fire, were always going to be divisive amongst fans.
While I’m generally not a music lover focused on lyrical meaning and subsequent interpretation, instead appreciating the human vocal as another instrument in the mix, one can’t ignore the themes Storm Front brought to the social consciousness upon release. We Didn't Start the Fire, for instance, is a rapid-fire chronicle of historical events from 1949 (the year of Joel's birth) to 1989. Whereas, Leningrad offers a poignant narrative contrasting Joel's life with that of a Russian man, Viktor. It reflects on the Cold War and humanises political tensions through personal stories. This song, like much of the album, demonstrates Joel's knack for blending personal and political narratives and remains just as important today as when the album was released.
With worldwide sales exceeding 5,000,000, one would assume that Storm Front was not only extremely successful but was one of Joel’s most popular releases. Yet, statistics indicate that it sits somewhere in the middle of Joel’s discography with his 1993 follow-up, River Of Dreams, exceeding Storm Front’s sales by over 1.5 million units; a surprise considering it’s more of a hodgepodge album experience. Nevertheless, Storm Front remains, upon reflection, one of Joel’s greatest works and if you’re anything like me, this may be one of your most treasured records.
As alluded to earlier, the production of the album is top-notch with a thoroughly pleasing mix and overall sonic quality that presents itself via a well-developed soundstage accompanied by a punchy bass and drum rhythm. However, depending on which platform you choose to listen to the album on, you may find the experience to be a little underwhelming. While I can’t confirm the provenance of the Hi-Res Lossless Apple Music stream, there are numerous cases where the album sounds concealed and congested. Subsequently, when listening to the stream, I can’t help but notice a lack of dynamics for it simply fails to come alive, unlike the experience that I get from listening to the 1998 CD reissue.
While the stream may be labelled as an Apple Digital Master, the CD has a bolder presentation, one filled with energy and pizzazz. The stream, by comparison, sounds more akin to a high-quality radio broadcast of the album than it does a spectacular mastering direct from the studio. I’ve even downloaded the stream, to no avail, in the hope that the download would yield a different sonic presentation; one not reliant on variations due to network conditions. Granted, the CD is a little louder, but even when the volume is matched (by ear) the CD compels me to move my body to the rhythm whereas the stream leaves me wondering where the emotive element has gone.
While I’m a strong proponent of letting you decide how to best listen to and enjoy music, this is one example where I implore you to consider another option as the version submitted to music streaming platforms doesn’t offer the best sonic presentation for this exceptional release. Coincidentally, while I was unable to ascertain the provenance of the Apple Music stream, the edition available via Qobuz is shown to have quashed the album’s dynamic range to an average 7 out of 14 whereas the 1998 CD remaster is a 9 out of 14. This variance could account for the difference in presentation and, for those interested, both perform significantly worse than the album’s original release in 1989 when its average dynamic range was recorded as 13. As with many things, dear reader, more is not always a guarantee that it's better but it gives us a data point, that could be a contributing factor, when various releases of the same album sound different. Yes, it’s a mastering issue, but unless I’m mistaken, Ted Jensen is the sole mastering engineer for this album, including its various reissues. There should be little differences, certainly, but not substantial ones like that which I have experienced. Of course, your own experience may be different to my own and that is where music is ultimately subjective. With that in mind, join me as I take a look at the songs that make up this landmark release.
That's Not Her Style is a slick opening track driven by a strong rock arrangement, yet I consider it to be one of Joel’s weakest recordings, from a vocal perspective, as it sounds as though he didn't find the correct vocal style for the song. The musical elements, however, are incredible and while it may not be my favourite song from the album, having heard it so many times over the years, I can appreciate it as part of the album experience.
We Didn't Start The Fire is a rapid-fire anthemic number and while it divides many of Joel’s fans, it’s a song I’ve thoroughly appreciated ever since I was first exposed to it upon release. The arrangement is straightforward, allowing the lyrics to take centre stage, and as a historical retrospective, detailing significant milestones between 1949 and 1989, it’s superb.
The Downeaster “Alexa” shifts the tempo somewhat to that reminiscent of a haunting folk-rock tune. While one would expect the sonic shift between We Didn't Start The Fire and The Downeaster “Alexa” to cause a jolt to the senses, the truth is that The Downeaster “Alexa” has such a bold composition that it flows seamlessly. Joel sings from the perspective of a Long Island fisherman, detailing the hardships and economic difficulties faced by those in the fishing industry. It's a poignant narrative about survival and resilience and while focused on one industry, during a very specific period, songs such as this could easily be applied to anyone’s profession and any era. Even if you don’t follow the song for its lyrical context, the layers of masterful musical composition make this one of Joel’s greatest recordings.
I Go To Extremes returns the album to an upbeat tempo with this high-energy rocker that has a catchy hook and driving rhythm. While the piano is more prominent on this tune, and it blends well with the guitar-driven arrangement, the stream is so congested that the cymbals crunch horribly and the piano elements are effectively lost in the mix. It's as if Joel is playing in another studio entirely. It isn’t that way on the CD, I assure you, but it’s disappointing to note that core elements are missing from the stream. I honestly don’t know what they’ve done in the mastering of this Apple Digital Master, as they’re normally quite respectable, but this is one example of where relying on new technologies just doesn’t compare to decades-old technology.
Shameless is a lush soulful bluesy ballad that will captivate you from the very first note with its rich and vibrant arrangement. The guitar solo is what air guitar dreams are made of and when combined with Joel’s passionate lyrical delivery, there’s little doubt as to why this is one of my favourite songs from the album.
Storm Front is another tune that features a strong rock arrangement but despite the prominent guitar riffs and powerful rhythm, the style of the song could have perfectly suited 52nd Street, for it instantly fits alongside a song such as Stiletto. Nevertheless, it’s an ideal title track, one that is not only memorable but one that also suits Joel’s style perfectly.
Leningrad is simply magnificent. It isn’t difficult to suggest that it’s one of Joel’s greatest musical accomplishments for despite the sombre tone, this ballad is reflective with a lush orchestral arrangement that will touch your soul from both interpretive and musical perspectives.
State Of Grace shifts the tone to that of a smooth, melodic rock feel. The mix is superb, ensuring that the driving rhythm, killer guitar riff, and Joel’s explosive vocal, as well as his impeccable piano solo, are delivered perfectly (on the CD, that is). It may not have been released as a single, but when album-only tunes are this good, there is little wonder as to why Storm Front is so compelling.
When In Rome features a jazzy, upbeat arrangement, that stands out for its swing influences and playful energy. It’s another song that could have been well-suited for inclusion on 52nd Street as Joel has a knack for these types of lively numbers that are directly influenced by the sounds of the 50s.
And So It Goes closes the album with a stripped-down, piano-driven ballad. Its simplicity and emotional depth make it a powerful and intimate finale to the album that permits reflection and also compels one to play the record again.
Storm Front stands as a pivotal release in Billy Joel's illustrious career, reaffirming his prowess as a songwriter and storyteller. Each track on the album offers a unique blend of musical innovation and lyrical depth, reflecting Joel's ability to tackle both personal and universal themes with equal finesse. From the historical sweep of We Didn't Start The Fire to the intimate reflections of And So It Goes, the album captures the complexities of the human experience against a backdrop of social and political change. Storm Front is, subsequently, an album that solidifies Joel’s legacy as one of the most compelling artists in music history.
