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All 43 of Billy Joel’s Hot 100 hits, ranked from worst to best

BBG News

If a musician’s reputation is measured by the number of prominent peers who participate in a documentary about him, Billy Joel’s is highly respected: Notable artists such as Paul McCartney, Bruce Springsteen, Garth Brooks, Pink, Sting, Jackson Browne, and Nas are featured in HBO’s latest two-part production titled “And So It Goes”.

Under the guidance of directors Susan Lacy and Jessica Levin, the documentary delves into the life and career of Joel, a pop musician who has achieved nearly every accolade possible in his field, such as the Gershwin Prize for Popular Song, Kennedy Center Honors, induction into both the Rock & Roll Hall of Fame and the Songwriters Hall of Fame, and five Grammy Awards out of 23 nominations. Unfortunately, it is also released at a time when Joel has been compelled to retire from live performances due to a condition called normal pressure hydrocephalus that he was diagnosed with this year.

Despite being 76 years old, the popular singer-songwriter continues to be a topic of conversation in pop culture, particularly on TikTok where his classic “Zanzibar” often appears on feeds. As we approach the release of the second installment of the HBO documentary, I’ve compiled a list ranking all 43 of Joel’s singles that have charted on Billboard’s Hot 100, from least favorite to most favorite. Please note that some of his well-known songs like “Scenes From an Italian Restaurant” and “New York State of Mind” are not included due to certain factors related to Joel’s song choices or Billboard’s methodology. As you read through, feel free to pour yourself a glass of white wine, red wine, or perhaps a bottle of rosé.

43. ‘The River of Dreams’ (peaked at No. 3 in Oct. 1993)

In the middle of the night … I’m still haunted by this mawkish pileup of gospel signifiers.

42. ‘To Make You Feel My Love’ (peaked at No. 50 in Aug. 1997)

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This ballad, often open to various interpretations, resonates powerfully when sung exceptionally well (like Adele) or surprisingly poorly (such as Bob Dylan, the author). However, Joel’s rendition falls in the middle ground, giving off an impression of a tipsy family member.

41. ‘Turn the Lights Back On’ (peaked at No. 62 in Feb. 2024)

Since the release of his pop album “River of Dreams” in 1993, Billy Joel claimed he had run out of things to express as a songwriter. He stated in 2023 that inspiration is crucial for creating great new music, and if it’s absent, one should not try. Surprisingly, he rediscovered his creative fire with an incomplete tune given to him by a young musician named Freddy Wexler; together, they finished this potential OneRepublic song which Joel debuted live at the Grammy Awards last year. “Turn the Lights Back On” spent only one week on the Hot 100 before disappearing from the chart – the briefest tenure of any of Joel’s hits.

40. ‘All Shook Up’ (peaked at No. 92 in Aug. 1992)

It’s hardly unexpected that an artist often labeled as an impersonator would successfully emulate Elvis Presley’s vocal style in his rendition for the soundtrack of “Honeymoon in Vegas.

39. ‘All About Soul’ (peaked at No. 29 in Dec. 1993)

A moderately paced rock tune carrying lyrics that somewhat weakly describe emotions as “understanding another’s feelings.” It includes backup vocals by the seductive Color Me Badd members.

38. ‘The Entertainer’ (peaked at No. 34 in Jan. 1975)

Approximately six months following his breakthrough with “Piano Man,” Joel found himself wrestling against the harsh commercial realities of fame in the music industry: “If I lose my spark, I’ll be discarded / Pushed to the rear, on the clearance shelf, next to another forgotten item.” However, it is somewhat ironic that he complains about artistic limitations within pop songs, given his undeniable skill and mastery of the genre.

Music

Before taking the stage at the Hollywood Bowl this coming Sunday, the 80-year-old musician and composer reflects upon some of his iconic tunes associated with Creedence Clearwater Revival.

37. ‘Keeping the Faith’ (peaked at No. 18 in March 1985)

Perhaps his most strained vocal performance.

36. ‘The Downeaster “Alexa”’ (peaked at No. 57 in June 1990)

Among the numerous ballads about boats in the realm of rock music, this melancholic fisherman’s song is not as popular as “Sailing” or “Southern Cross,” and it doesn’t come close to classics like “Proud Mary” or “Sloop John B.

35. ‘Goodnight Saigon’ (peaked at No. 56 in April 1983)

The right idea; the wrong execution.

34. ‘Modern Woman’ (peaked at No. 10 in July 1986)

The eclectic mix of music from “Ruthless People” includes artists such as Mick Jagger, Bruce Springsteen, and Luther Vandross.

33. ‘Worse Comes to Worst’ (peaked at No. 80 in July 1974)

Very stiff singing atop a very funky groove. Are those steel drums I hear?

32. ‘Lullabye (Goodnight, My Angel)’ (peaked at No. 77 in April 1994)

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As I shared my thoughts with Fred Schruers, my biographer, it felt akin to a dying man singing to his child – though perhaps that’s not exactly what my 9-year-old daughter Alexa was wishing for from me. Yet, the beautifully flowing harmonies showcased my lifelong passion for classical music, and seven years down the line, I’d be unveiled as a composer with the solo-piano ‘Fantasies & Delusions.’ Since then, many have sung ‘Lullabye’, including Celine Dion, Rufus Wainwright, and even John Stamos.

31. ‘Travelin’ Prayer’ (peaked at No. 77 in Aug. 1974)

One satisfying testament for this banjo-infused country shuffle: In 1999, Dolly Parton recorded a rendition of “Travelin’ Prayer” as the opener for the debut album in her celebrated three-part series of bluegrass records.

30. ‘That’s Not Her Style’ (peaked at No. 77 in Aug. 1990)

Following his separation from producer Phil Ramone post their collaboration on “The Bridge” album in 1986, Joel enlisted Mick Jones from Foreigner to supervise his subsequent album, “Storm Front.” This record began with an appealingly grungy tribute titled “Downtown Girl,” which sonically resembled the hard-rocking style of Robert Palmer’s “Addicted to Love,” characterized by sharp synths and robust drums. In the Village Voice, critic Robert Christgau remarked about Joel: “Even in arena mode, he remains a powerful force of nature and questionable taste.

29. ‘Leave a Tender Moment Alone’ (peaked at No. 27 in Aug. 1984)

A moderately good tune reached such a high position likely due to its striking resemblance or strong reminiscence of an exceptional one (specifically “Wedding Bell Blues” by the 5th Dimension).

28. ‘Sometimes a Fantasy’ (peaked at No. 36 in Nov. 1980)

Ponder the fact that this restless New Wave musician, known for his songs about the merits and demerits of phone conversations, released his composition on an album (“Glass Houses”) which also included “I Don’t Want to Be Alone” and “Sleeping With the Television On.” If he had Tinder, imagine the songs he might have created!

27. ‘A Matter of Trust’ (peaked at No. 10 in Oct. 1986)

Perhaps the most refined expression of Joel’s cynical romanticism – “Some love is merely a soul’s deception / An endless struggle for dominance” – could be rephrased as follows: “Contrary to what you might experience, my dear, this isn’t the love story you’ll live. The deceit and power struggles are not destined for you.” (It was his own experience.)

26. ‘Baby Grand’ (peaked at No. 75 in April 1987)

In this rephrased version, let’s call it a soulful R&B melody that doesn’t feature a female love interest, but instead a piano. Interestingly enough, the song is not about a real person but a legend – Ray Charles, who graciously joins in to harmonize with the passionate singer.

25. ‘The Night Is Still Young’ (peaked at No. 34 in Nov. 1985)

Among the two fresh tracks included in Joel’s blockbuster “Greatest Hits – Volume I & II” compilation, there’s an intriguing synth-rock number that could be the most unconventional one. Lyrics filled with longing and exasperation, lacking a traditional melody, instead offering a raw, tense atmosphere reminiscent of a tormented Willy Loman for over 5 minutes without direction. It’s fantastic! (It should be noted that at present, this track is the second least-streamed from the 43 tracks on Spotify, with less than 2 million plays.)

24. ‘Tell Her About It’ (peaked at No. 1 in Sept. 1983)

Among all of Joel’s solo songs, one stands out as being particularly reminiscent of Motown’s classic Holland-Dozier-Holland sound, even surpassing Phil Collins’ meticulous cover of “You Can’t Hurry Love” from the previous year. However, “Tell Her About It” is not a favorite of its composer. In his biography written by Schruers, Joel stated that the song is “too sweet and sugary,” possibly explaining why he hasn’t performed it live since the early 1990s.

23. ‘The Longest Time’ (peaked at No. 14 in May 1984)

In this almost solo doo-wop track, Joel performed all the vocal parts himself as the group he and Ramone had assembled in the studio struggled to stay in key. Four years later, Bobby McFerrin reached No. 1 on the Hot 100 with the instrument-free “Don’t Worry, Be Happy”; three years after that, Boyz II Men climbed to No. 2 with their a cappella hit “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)

Using a handful of Top 30 hits, such as his tribute to the Drifters titled “An Innocent Man”, Joel earned his fourth consecutive Grammy nomination for Album of the Year. Unfortunately, he didn’t win that year, as Michael Jackson’s “Thriller” was deemed more deserving. The title track showcases Joel’s vocal agility, seamlessly transitioning between a croon, a powerful belt, and a falsetto.

Music

The Boss has arranged his latest collection, comprising 83 previously unreleased tracks, across seven separate vinyl albums. Each album boasts its unique sound and theme.

20. ‘This Is the Time’ (peaked at No. 18 in Jan. 1987)

Based on what Joel told Schruers, this melancholic and introspective song was born from the understanding that Elle Macpherson and he were not destined for eternity. This is arguably Joel’s most remarkable piece in the genre of soulful rock by white artists during the mid-1980s; it stands alongside Don Henley’s “The Boys of Summer” and Steve Winwood’s “Higher Love.” The haunting guitar solo, skillfully played by David Brown (who recently passed away), contributes significantly to its appeal. When Joel performed “This Is the Time” at New York’s Shea Stadium before it was demolished in 2008, he invited John Mayer to play the solo – an experience that undoubtedly inspired Mayer while he was creating his 2021 soulful rock album, “Sob Rock.

19. ‘You’re Only Human (Second Wind)’ (peaked at No. 9 in Aug. 1985)

Picture Huey Lewis doing Natalie Cole’s “This Will Be.”

18. ‘She’s Got a Way’ (peaked at No. 23 in Jan. 1982)

Over a decade later, Joel achieved success with a live recording of the main track from his 1971 first studio album. Interestingly, this album was infamously mastered at an incorrect speed, which made Joel’s voice sound more high-pitched and squeaky than it actually was. At the Paradise club in Boston, however, Joel’s performance of “She’s Got a Way” exudes a refined elegance, giving the song a vibe reminiscent of Paul McCartney’s “Maybe I’m Amazed.

17. ‘She’s Always a Woman’ (peaked at No. 17 in Oct. 1978)

Joel’s most Dylanesque lyric, meanwhile, comes across as his version of “Just Like a Woman.”

16. ‘Honesty’ (peaked at No. 24 in May 1979)

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A bluntly honest song titled ‘Honesty,’ received a nomination for Song of the Year at the Grammys, but it lost to ‘What a Fool Believes’ by the Doobie Brothers. This tune tells the story of a man who finds it hard to accept the truth being presented to him.” Later on, Beyoncé performed a compelling cover of ‘Honesty.’

15. ‘Say Goodbye to Hollywood’ (peaked at No. 17 in Nov. 1981)

After Joel came back to New York after living in Los Angeles during the early ’70s, this Ronettes-inspired creation was initially released on the “Turnstiles” album in 1976. However, it wasn’t until five years later that “Say Goodbye to Hollywood” gained popularity when he included a more energetic live version on the “Songs in the Attic” album from 1981. By this point, Ronnie Spector herself had attempted the song with assistance from Bruce Springsteen’s E Street Band.

14. ‘Pressure’ (peaked at No. 20 in Nov. 1982)

A febrile Cold War freak-out with a hideous, Cronenberg-lite music video.

13. ‘And So It Goes’ (peaked at No. 37 in Dec. 1990)

Joel expressed to Schruers that he could imagine his mourners performing this beautiful ballad during his funeral, undoubtedly a fitting venue for a tune about the unavoidable nature of suffering.

12. ‘You May Be Right’ (peaked at No. 7 in May 1980)

Was “Glass Houses” indeed Joel’s punk album? The Chipmunks, who covered the LP’s energetic opener on their 1980 release “Chipmunk Punk,” would certainly agree. To me, “You May Be Right” seems to perfectly straddle the line between the Beatles and the Rolling Stones, demonstrating Joel’s remarkable ability to absorb various styles and his artistic goal.

11. ‘My Life’ (peaked at No. 3 in Jan. 1979)

Though Joel’s collection doesn’t include the most scathing put-down, using Peter Cetera to croon softly while he smirks is a brilliant touch in song production.

Music

For six consecutive weeks, the somber and moody ballad has been number one on Billboard’s Hot 100. Warren’s first studio album will be released this coming Friday.

10. ‘Piano Man’ (peaked at No. 25 in April 1974)

Mr. New York’s famous song narrates the six months he spent performing for the regular customers – such as the real estate writer, Davy in the Navy, and the elderly man drinking tonic and gin – of the Executive Room, a bar in Los Angeles that has been closed for years, located at the intersection of Wilshire Boulevard and Western Avenue. In 2017, he shared with me that his earnings were good: “I received tips and was paid union scale.”

Joel’s debut single to make the Hot 100, “Piano Man,” might not sound like a work of intricate storytelling today due to decades of casual covers. However, it’s clear that Joel can’t blame anyone but himself for this transformation.

9. ‘I Go to Extremes’ (peaked at No. 6 in March 1990)

Tell me you’re not a wimp without telling me you’re not a wimp.

8. ‘Allentown’ (peaked at No. 17 in Feb. 1983)

Joel expresses deep pride in that particular album, referring to it as a masterpiece of sound, in the HBO documentary “The Nylon Curtain.” In this work, he and Ramone creatively used the sounds of a steel mill – the whoosh and crunch – to intensify the rhythm of this elegy from the Rust Belt. However, “Allentown” also offers a complex critique of the intersecting social and political issues that left a generation of Americans, who were promised prosperity, feeling deceived and betrayed, symbolized by a flag being thrown in their faces.

7. ‘Big Shot’ (peaked at No. 14 in March 1979)

In his account to Howard Stern, Joel described a hypothetical argument between Mick and Bianca Jagger the morning after, picturing them in the chaotic atmosphere of Studio 54 during its drug-fueled disco era as depicted distastefully in Schruers’ book. However, he cautioned that his portrayal might not be accurate since he wasn’t deeply familiar with those times.

6. ‘Uptown Girl’ (peaked at No. 3 in Nov. 1983)

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Joel’s most popular song on Spotify, which has amassed over 1.2 billion plays, is an ouroboros of nostalgia for simpler times, a flawless tribute to The Four Seasons that reminisces about the early ’60s from the perspective of the early ’80s. This song later served as the symbolic centerpiece in Olivia Rodrigo’s “Deja Vu.

5. ‘We Didn’t Start the Fire’ (peaked at No. 1 in Dec. 1989)

In 2017, Joel stated that “This is the only song where I wrote the lyrics first,” which might explain its unique sound, despite some people finding the music less than appealing. However, the rapid succession of historical references in “We Didn’t Start the Fire” makes it a significant artifact from pre-internet America, earning our respect as a crucial piece of history that even the most comprehensive Wikipedia cannot match.

4. ‘Just the Way You Are’ (peaked at No. 3 in Feb. 1978)

The individual seems to have high expectations: he wants specific actions, yet not an excessive amount; he desires amusement, but not overwhelmingly so; instead of observing his actions, he wants you to focus on his words (which he might occasionally forget to express). However, there’s a soft and persistent rhythm, a cushioned electric piano, and the singing! It’s flamboyant yet personal, conversational yet flexible. It’s whispering reassurances to counterbalance the very doubts he’s expressing.

3. ‘It’s Still Rock and Roll to Me’ (peaked at No. 1 in July 1980)

Joel’s first No. 1 offered him early proof that sometimes haters win.

2. ‘Only the Good Die Young’ (peaked at No. 24 in July 1978)

Consider how Joel initiates this song: “Come out, Virginia, don’t make me wait / Catholic girls seem to start too late / Yet it’s all predestined, can’t avoid our fate / I may as well be the one.” Here, two contrasting perspectives clash in just four lines, set against music that resonates with the shared feeling of expectation linking both the narrator and Virginia. Such depth in pop music is hard to surpass.

1. ‘Movin’ Out (Anthony’s Song)’ (peaked at No. 17 in May 1978)

Among Billy Joel’s songs, which one could surpass another might be “Movin’ Out.” This song seems to convey the idea that success is an illusion, a message he has consistently presented and we have continued to embrace as he rose through the ranks of pop culture. Nowadays, Joel isn’t Anthony or Mama Leone or even Mr. Cacciatore; he’s the owner of the medical center, with holdings on Sullivan Street too. However, his timeless music – marked by pride, wounds, defense, and ambition – continues to question: Is this all I get for my investment?

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2025-07-24 13:32

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