If a musician’s legacy could be judged by which of his friends are keen to indicate up and sing his praises in a documentary about him, think about Billy Joel’s in good standing: Among the many A-listers in HBO’s new two-part “And So It Goes” are Paul McCartney, Bruce Springsteen, Garth Brooks, Pink, Sting, Jackson Browne and Nas.
Directed by Susan Lacy and Jessica Levin, the doc goes over Joel’s life and profession at a second when he’s obtained nearly each award a pop musician can obtain, together with the Gershwin Prize for Well-liked Music, the Kennedy Middle Honors, induction into the Rock & Roll Corridor of Fame and the Songwriters Corridor of Fame and 5 Grammy Awards on 23 nominations. Much less fortunately, it additionally comes as Joel has been compelled from the live performance stage after being identified this 12 months with a mind dysfunction referred to as regular strain hydrocephalus.
But the 76-year-old singer and songwriter stays a much-talked-about pop-culture fixture, not least on TikTok, the place his oldie “Zanzibar” by no means appears removed from cropping up on one’s scroll. Forward of Friday’s premiere of the HBO documentary’s second installment, I’ve ranked all 43 of Joel’s singles which have charted on Billboard’s Sizzling 100, beginning with the worst and ending with one of the best. (Attributable to Joel’s selections and/or Billboard’s methodology, that signifies that a few of his best-known tunes aren’t right here: “Scenes From an Italian Restaurant,” as an illustration, and “New York State of Mind.”) Be at liberty as you learn to open a bottle of white, a bottle of pink — or, maybe, a bottle of rosé as an alternative.
43. ‘The River of Dreams’ (peaked at No. 3 in Oct. 1993)
In the course of the evening … I’m nonetheless haunted by this mawkish pileup of gospel signifiers.
42. ‘To Make You Feel My Love’ (peaked at No. 50 in Aug. 1997)
This extensively interpreted ballad a few lover’s steadfast devotion solely works when it’s sung extraordinarily nicely (as within the case of Adele) or when it’s sung extraordinarily terribly (as with Bob Dylan, who wrote it). Joel’s take lands someplace in between, which suggests he simply feels like any person’s drunk uncle.
41. ‘Turn the Lights Back On’ (peaked at No. 62 in Feb. 2024)
For many years after 1993’s “River of Dreams” — nonetheless his most up-to-date pop album — Joel insisted he’d run out of issues to say as a songwriter. “You need inspiration to create good new music,” he advised me in 2023, “and if you don’t have it, don’t bother.” Inexplicably, he discovered a spark in an unfinished tune introduced to him by a youthful musician named Freddy Wexler; collectively, the 2 accomplished this would-be OneRepublic music, which Joel premiered stay on the Grammy Awards final 12 months. “Turn the Lights Back On” spent a single week on the Sizzling 100 earlier than dropping off the chart — the shortest keep of any of Joel’s hits.
40. ‘All Shook Up’ (peaked at No. 92 in Aug. 1992)
No shock {that a} man lengthy characterised as a mere imitation artist would nail Elvis Presley’s vocal supply in a canopy recorded for the soundtrack of “Honeymoon in Vegas.”
39. ‘All About Soul’ (peaked at No. 29 in Dec. 1993)
Turgid midtempo rock with a lyric that defines soul relatively pitifully as “knowing what someone is feeling.” Options backing vocals by the sex-you-uppers of Coloration Me Badd.
38. ‘The Entertainer’ (peaked at No. 34 in Jan. 1975)
Six months after “Piano Man” put him on the map, Joel was already straining in opposition to the brutal market economics of pop stardom: “If I go cold, I won’t get sold / I’ll get put in the back in the discount rack, like another can of beans.” But his kvetching in regards to the inventive constraints of the pop music are fairly wealthy coming from a grasp of the shape.
37. ‘Keeping the Faith’ (peaked at No. 18 in March 1985)
Maybe his most strained vocal efficiency.
36. ‘The Downeaster “Alexa”’ (peaked at No. 57 in June 1990)
Within the watery pantheon of rock songs about boats, this maudlin fisherman’s lament ranks nicely behind “Sailing” and “Southern Cross” (to say nothing of “Proud Mary” and “Sloop John B”).
35. ‘Goodnight Saigon’ (peaked at No. 56 in April 1983)
The appropriate thought; the unsuitable execution.
34. ‘Modern Woman’ (peaked at No. 10 in July 1986)
From the weirdly stacked soundtrack of “Ruthless People,” which additionally featured Mick Jagger, Bruce Springsteen and Luther Vandross.
33. ‘Worse Comes to Worst’ (peaked at No. 80 in July 1974)
Very stiff singing atop a really funky groove. Are these metal drums I hear?
32. ‘Lullabye (Goodnight, My Angel)’ (peaked at No. 77 in April 1994) 
“It’s almost like a dying man singing to his child,” Joel advised his biographer Fred Schruers, which can or might not have been the method his then-9-year-old daughter Alexa hoped her dad would take. Nonetheless, the elegant harmonic motion demonstrates his lifelong devotion to classical music; seven years later, he’d make his debut as a composer with the solo-piano “Fantasies & Delusions.” Amongst those that’ve sung “Lullabye” since Joel launched it: Celine Dion, Rufus Wainwright — and John Stamos.
31. ‘Travelin’ Prayer’ (peaked at No. 77 in Aug. 1974)
One certainly gratifying endorsement for this banjo-driven nation shuffle: In 1999, Dolly Parton minimize a model of “Travelin’ Prayer” to open the primary quantity in her acclaimed trilogy of bluegrass albums.
30. ‘That’s Not Her Model’ (peaked at No. 77 in Aug. 1990)
Having break up with producer Phil Ramone after 1986’s “The Bridge” LP, Joel employed Mick Jones of Foreigner to supervise his subsequent album, “Storm Front,” which opened with this delightfully trashy ode to a lady with little curiosity in mink coats or satin sheets. (Name it “Downtown Girl.”) Jones’ manufacturing, with its stabbing synths and boxy drums, echoes the steroidal rock of Robert Palmer’s “Addicted to Love.” Wrote Robert Christgau of Joel within the Village Voice: “Even in arena mode he’s a force of nature and bad taste.”
29. ‘Leave a Tender Moment Alone’ (peaked at No. 27 in Aug. 1984)
An OK music ranked this excessive solely as a result of it so strongly evokes an ideal one (on this case, “Wedding Bell Blues” by the fifth Dimension).
28. ‘Sometimes a Fantasy’ (peaked at No. 36 in Nov. 1980)
Contemplate that this jittery New Wave rocker in regards to the professionals and cons of telephone intercourse arrived on an album (“Glass Houses”) that additionally featured “I Don’t Want to Be Alone” and “Sleeping With the Television On.” Think about if he’d had Tinder.
27. ‘A Matter of Trust’ (peaked at No. 10 in Oct. 1986)
Presumably the purest distillation of Joel’s romantic pessimism — “Some love is just a lie of the soul / A constant battle for the ultimate state of control” — with the twist that he’s assuring a lover that all the things that at all times occurs received’t occur to them. (It occurred to them.)
Billy Joel arrives on the 66th annual Grammy Awards on Sunday, Feb. 4, 2024, in Los Angeles.
(Jordan Strauss / invision / ap)
26. ‘Baby Grand’ (peaked at No. 75 in April 1987)
A slow-rolling R&B ditty the place the item of the dude’s affection isn’t a lady however a piano (besides it’s really Ray Charles, who reveals as much as duet together with his keen admirer).
25. ‘The Night Is Still Young’ (peaked at No. 34 in Nov. 1985)
Considered one of two new tracks added as shopper bait to Joel’s 23-times-platinum “Greatest Hits — Volume I & Volume II,” this deeply spooked synth-rock joint is likely to be the strangest entry on this record: horny-frustrated lyrics, no actual melody, simply straight burnt-to-a-crisp Willy Loman vibes for 5½ meandering minutes. It’s nice! (It’s additionally, as of this writing, the second-least-streamed of those 43 tracks on Spotify, with fewer than 2 million performs.)
24. ‘Tell Her About It’ (peaked at No. 1 in Sept. 1983)
The peppiest single Joel ever made would possibly get even nearer to Motown’s basic Holland-Dozier-Holland sound than Phil Collins did a 12 months earlier in his punctilious remake of the Supremes’ “You Can’t Hurry Love.” But “Tell Her About It” has no fan in its creator, who mentioned in Schruers’ biography that the music is “a little too bubblegum” — one cause Joel seems to not have performed it in live performance for the reason that early Nineteen Nineties.
23. ‘The Longest Time’ (peaked at No. 14 in Could 1984)
For this almost a cappella doo-wop quantity, Joel sang each vocal half himself when a gaggle he and Ramone had introduced into the studio couldn’t keep in tune. 4 years after “The Longest Time” charted, Bobby McFerrin topped the Sizzling 100 with the instrument-less “Don’t Worry, Be Happy”; three years after that, Boyz II Males received to No. 2 with the a cappella “It’s So Hard to Say Goodbye to Yesterday.”
22. ‘Don’t Ask Me Why’ (peaked at No. 19 in Sept. 1980)
Billy at his breeziest.
21. ‘An Innocent Man’ (peaked at No. 10 in Feb. 1984)
With half a dozen High 30 singles, together with this homage to the Drifters, “An Innocent Man” turned Joel’s fourth consecutive LP to be nominated for album of the 12 months on the Grammys. (He misplaced, moderately, to “Thriller.”) The title monitor is a showcase of vocal flexibility as he strikes nimbly from a croon to a belt to a falsetto.
20. ‘This Is the Time’ (peaked at No. 18 in Jan. 1987)
Rooted, as he advised Schruers, in “the realization that Elle Macpherson and I were not meant for the ages,” this tense and brooding music is Joel’s most interesting contribution to the soulful-white-guy rock of the mid-Nineteen Eighties; it belongs up there with Don Henley’s “The Boys of Summer” and Steve Winwood’s “Higher Love,” thanks in no small half to a spidery guitar solo by David Brown (who died final 12 months). When Joel performed “This Is the Time” at New York’s Shea Stadium simply earlier than the Mets’ house was demolished in 2008, he introduced out John Mayer to do the solo — an expertise you’ll be able to guess Mayer channeled as he minimize 2021’s soulful-white-guy “Sob Rock.”
19. ‘You’re Solely Human (Second Wind)’ (peaked at No. 9 in Aug. 1985)
Image Huey Lewis doing Natalie Cole’s “This Will Be.”
18. ‘She’s Obtained a Method’ (peaked at No. 23 in Jan. 1982)
A decade after he launched the studio model, Joel charted with a live performance recording of the lead single from his 1971 debut — the LP notoriously mastered on the unsuitable velocity in order that his voice sounded larger and squeakier than it actually was. Right here, onstage on the Paradise membership in Boston, his singing has a courtly allure that makes “She’s Got a Way” really feel like Joel’s model of Paul McCartney’s “Maybe I’m Amazed.”
17. ‘She’s At all times a Lady’ (peaked at No. 17 in Oct. 1978)
Joel’s most Dylanesque lyric, in the meantime, comes throughout as his model of “Just Like a Woman.”
16. ‘Honesty’ (peaked at No. 24 in Could 1979) 
An unsparing ballad about how no one tells the reality anymore, “Honesty” earned a music of the 12 months nod on the Grammys however misplaced to the Doobie Brothers’ “What a Fool Believes,” which is narrated by a man who can’t settle for the reality he’s being advised. Lined later — and fairly convincingly — by Beyoncé.
15. ‘Say Goodbye to Hollywood’ (peaked at No. 17 in Nov. 1981)
Written as Joel returned to New York following his early-’70s sojourn in Los Angeles, this Ronettes-inspired confection first appeared on the “Turnstiles” LP in 1976. However “Say Goodbye to Hollywood” didn’t blow up till 5 years later, when he put a barely rowdier stay rendition on 1981’s “Songs in the Attic” LP — by which period Ronnie Spector herself had taken a crack on the music with assist from Bruce Springsteen’s E Road Band.
14. ‘Pressure’ (peaked at No. 20 in Nov. 1982)
A febrile Chilly Warfare freak-out with a hideous, Cronenberg-lite music video.
13. ‘And So It Goes’ (peaked at No. 37 in Dec. 1990)
Joel advised Schruers he might envision his survivors enjoying this very fairly ballad at his funeral, which is definitely one place for a music in regards to the inevitability of ache.
12. ‘You May Be Right’ (peaked at No. 7 in Could 1980)
Was “Glass Houses” really Joel’s punk album? Take it from no much less an authority than the Chipmunks, who carried out the LP’s driving opener on 1980’s “Chipmunk Punk.” To my ears, “You May Be Right” sits on the exact midpoint between the Beatles and the Rolling Stones — a testomony to Joel’s absorptive powers and his stylistic purpose.
11. ‘My Life’ (peaked at No. 3 in Jan. 1979)
“You can speak your mind but not on my time” in all probability isn’t the sickest burn in Joel’s catalog. However enlisting Peter Cetera to trill sweetly behind him as he sneers is A+ record-making.
10. ‘Piano Man’ (peaked at No. 25 in April 1974)
Mr. New York’s signature music paperwork the six months he spent entertaining the patrons — the true property novelist, Davy within the Navy, the outdated man sipping tonic and gin — of L.A.’s long-shuttered Government Room close to the nook of Wilshire Boulevard and Western Avenue. (His good-looking pay, as he advised me in 2017: “I got tips and made union scale.”) Joel’s first single to chart on the Sizzling 100, “Piano Man” could be arduous to listen to right this moment as a piece of detailed storytelling; that’s what half a century of sloppy sing-alongs will do to a story. However then, after all, Joel has nobody guilty for that however himself.
9. ‘I Go to Extremes’ (peaked at No. 6 in March 1990)
Inform me you’re not a wimp with out telling me you’re not a wimp.
8. ‘Allentown’ (peaked at No. 17 in Feb. 1983)
“I’m probably the most proud of that album as a sonic work of art,” Joel says within the HBO doc of “The Nylon Curtain,” on which he and Ramone deployed the whoosh and crunch of a metal mill to juice the beat of this Rust Belt threnody. But “Allentown” additionally poses a reasonably refined critique of the social and political forces converging on a era of People promised prosperity solely to discover a flag thrown of their face.
7. ‘Big Shot’ (peaked at No. 14 in March 1979)
With its head on fireplace and its eyes too bloody to see, “Big Shot” imagines a morning-after quarrel between Mick and Bianca Jagger, Joel advised Howard Stern, amid the excesses of what he described with disgust in Schruers’ e-book because the “coked-out, disco-drenched New York club scene” of the Studio 54 period. “I shouldn’t put it down, because I don’t really know much about it,” he added. OK, Invoice.
6. ‘Uptown Girl’ (peaked at No. 3 in Nov. 1983) 
Joel’s most-streamed music on Spotify (with greater than 1.2 billion performs) is an ouroboros of simpler-times nostalgia: a pitch-perfect 4 Seasons rip that appears again on the early ’60s from the early ’80s — then turned the longed-for totem on the coronary heart of Olivia Rodrigo’s “Deja Vu.”
5. ‘We Didn’t Begin the Hearth’ (peaked at No. 1 in Dec. 1989)
“It’s the only song where I wrote the words first,” Joel mentioned in 2017, “which it sounds like, because the music sucks.” Demonstrably unfaithful — these timbales! Even when he have been proper, although, the rapid-fire historic roll name of “We Didn’t Start the Fire” deserves our respect as an important artifact of a pre-internet America. Your Wikipedia might by no means.
4. ‘Just the Way You Are’ (peaked at No. 3 in Feb. 1978)
The man’s asking for lots: do that, don’t try this; amuse me however not an excessive amount of; hearken to what I say as an alternative of what I do (though typically I’ll overlook to say it too). However then there’s that lightly insistent groove and that pillowy electrical piano. And that singing! Showy however intimate, talky but supple, it’s murmuring assurances to rebut the very doubts he’s elevating.
3. ‘It’s Nonetheless Rock and Roll to Me’ (peaked at No. 1 in July 1980)
Joel’s first No. 1 supplied him early proof that typically haters win.
2. ‘Only the Good Die Young’ (peaked at No. 24 in July 1978)
Take into consideration the way in which Joel begins this music: “Come out, Virginia, don’t let me wait / You Catholic girls start much too late / But sooner or later it comes down to fate / I might as well be the one.” Two opposing worldviews colliding in 4 little strains in opposition to music trembling with the shared sense of anticipation that unites each the narrator and Virginia. Pop will get no richer.
1. ‘Movin’ Out (Anthony’s Music)’ (peaked at No. 17 in Could 1978)
What different Billy Joel music might high an inventory of Billy Joel songs? “Movin’ Out” needs us to consider that success is for suckers, which is in some way a credo he’s continued to promote — and we’ve continued to purchase — by way of his ascent to the uppermost reaches of popular culture. Lately Joel isn’t Anthony or Mama Leone and even Mr. Cacciatore — he’s the massive shot who owns the medical heart, to not point out no matter else is accessible on Sullivan Road. But his superb bridge-and-tunnel music — proud, wounded, defensive, bold — retains asking: Is that this all I get for my cash?
