‘Billy Joel: And So It Goes’ Review: The Tribeca Festival Opens with a Luscious Longform Documentary That Captures Just the Way He Is

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Upon learning that the 2023 Tribeca Festival would kick off with the debut of the HBO docudrama “Billy Joel: And So It Goes,” I anticipated, being a Billy Joel enthusiast and admirer of pop documentaries (often characterized by their positive and heroic portrayals), that we were in store for a vibrant, inspiring, cheerful introduction to the festival. “And So It Goes” undoubtedly lived up to its billing as an energizing ode to Joel’s pop genius – his lasting impact as a composer, vocalist, and rock star. Interestingly enough, the film served its purpose excellently, given that it showcased only Part 1 of a two-part HBO documentary series.

Part 1 of this 2 hour, 27 minute film spans up to the year 1980, where Billy Joel has already published his seventh album titled “Glass Houses.” This allows for a self-contained review of the content. What I found particularly striking is the movie’s profound emotional weight. Directed by Susan Lacy and Jessica Levin, “And So It Goes” presents a more in-depth look at Billy Joel, going beyond the surface to expose the struggles and complexities behind his life. Contrary to expectations, it doesn’t sugarcoat his story; instead, it reveals his flaws candidly. However, its most compelling aspect is how it illustrates how Billy Joel’s tumultuous and often unhappy life served as a catalyst for his brilliant and at times seemingly carefree pop music.

The song ‘Piano Man’ originated from Billy Joel’s struggles during his initial days as a solo artist, amidst the economic turmoil. To break free from the gritty music scene on Long Island, he managed to secure a deal with Artie Ripp, owner of Family Productions, who was the only one willing to sign him – having heard about Joel through Michael Lang, one of the co-creators of Woodstock. However, this contract turned out to be a Faustian bargain. Ripp produced Joel’s debut album, ‘Cold Spring Harbor’ (1971), which included the hit single ‘She’s Got a Way,’ but to ensure the songs conformed to radio standards, Ripp incorrectly mastered the album’s speed. Additionally, Joel did not receive any royalties. He then relocated to Los Angeles, caught the attention of Columbia Records, and chose to terminate his contract with Ripp by renouncing the stage name ‘Billy Joel.’

His temporary job at the Executive Room piano bar on Wilshire Boulevard for six months led him to write “Piano Man”, making the song exceptional as it captures the authenticity of Joel’s experiences, his observations of the patrons, and the everyman perspective of a piano man. The song’s triumphant melancholy reflects this reality, and listening to a stadium audience singing along with “Piano Man” evokes the strong emotional impact it had in Middle America. This reminded me of a Billy Joel concert in 1994 at the Meadowlands Stadium in New Jersey, where I witnessed 50,000 people unite in singing, “A bottle of white! A bottle of red…“. To me, “Scenes from an Italian Restaurant” is a grandiose song, but that moment was powerful.

The documentary portrays Billy Joel, initially recognized as a romantic pop artist with a feisty spirit. A fascinating tale is narrated that encapsulates this duality following the release of his fourth album, “Turnstiles,” in 1976. The album was moderately successful but uncertain, featuring one song (“New York State of Mind”) that would later become iconic, yet Joel’s career wasn’t taking off as expected. He had gathered a band of musicians from Long Island who felt like brothers to him, similar to his version of the E Street Band, but he recognized the need for a producer capable of propelling him further.

Joel admired the Beatles profoundly, and he knew full well the crucial role George Martin played in their triumph. So, Joel reached out to Martin, asking him to oversee his upcoming album. Impressed by Billy’s performance during a concert, Martin agreed to take on the project – but under one condition: Martin wanted to replace Billy’s band with session musicians. Although this wasn’t an entirely unheard-of proposal (session musicians had significantly contributed to the beauty of “Pet Sounds” and Steely Dan’s records), Joel flatly refused. He made it clear that he valued his band deeply, and if Martin wanted to work with him, he would have to accept them too. And so, the matter was settled.

Afterward, Karma grinned because the subsequent album, “The Stranger” (1977), was crafted by Phil Ramone, who found a balance between richness and immediacy that mirrored, in its own fashion, what Gus Dudgeon was achieving with Elton John. However, the Columbia Records executives didn’t believe there was a single track on it capable of being a hit single.

The Stranger” is one of those extraordinary albums, similar to “Thriller” or “Rumors,” where every track has become an enduring classic. However, the radio stations initially required persuasion. Here’s an interesting twist: Joel’s wife, Elizabeth Weber, who was now his manager, pushed for “Just the Way You Are” to be released as the second single (the song that catapulted the album to success), and this was a song that Joel, upon writing it, didn’t want on the record at all. He considered it too sentimental. He had to be convinced to include it. Such tales shed light on the enigmatic nature of pop music.

In “And So It Goes,” Part I offers a captivating account of Billy Joel’s journey to stardom and the creation of his iconic tunes, but it delves deeper by providing a meticulous, almost novel-like exploration of his first marriage. The relationship between Billy and Elizabeth has an air reminiscent of a counterculture romance penned by John Updike with a dash of Led Zeppelin hair. At the time, Elizabeth was married to Billy’s bandmate and confidant, Jon Small. They had a child together, whom Billy eventually adopted. During this period, Elizabeth left both men, leaving Joel on the brink of suicide. He resorted to pills and even drank a full container of Lemon Pledge. However, they later reconciled and stayed together for a decade. During their relationship, Elizabeth served as his muse and close business partner, influencing many of his songs. Their bond was both loving and tumultuous, and while the documentary doesn’t reveal a multitude of scandals, co-directors Lacy and Levin skillfully use archival footage to portray their marital saga through subtle expressions on their faces. In “And So It Goes,” these images speak volumes.

In the movie, Weber, characterized by a stylish tuft of white hair, is frequently interviewed – the same goes for Joel, who willingly collaborated with the filmmakers to share his life story candidly. Born into poverty and feeling like an outsider in his Long Island neighborhood (being the only Jewish kid and the only kid with divorced parents), Joel never imagined he would reach the level of rock stardom he eventually did. However, he had a distinctive appearance, reminiscent of a friendly Sylvester Stallone, and fame of that magnitude can’t help but go to one’s head (that’s essentially the theme of “Big Shot”). The film tackles Joel’s struggles with addiction openly, suggesting that his fixation on his songwriting may have been the factor that ultimately saved him.

The film “And So It Goes” highlights Billy Joel’s unique blend of the intimate storytelling style popular in early ’70s singer-songwriters and the structured songwriting of Tin Pan Alley, as described by Bruce Springsteen who notes that Joel’s songs are as sturdy as the Rock of Gibraltar. However, the movie could have emphasized more a significant influence. Although Paul McCartney appears and praises Joel for “Just the Way You Are” being the song he didn’t write but wishes he had, it is crucial to acknowledge that Billy Joel’s talent for combining melody with thought, creating a musical sentence that sounds spontaneous, was significantly shaped by McCartney. This quality, which John Cougar Mellencamp and Nas also admire in Joel, struck me particularly when I witnessed an average karaoke singer in Key West emotionally butchering “I Go to Extremes.” Despite his poor singing, the passion he invested into the song made me appreciate for the first time how truly transcendent it is. Since that day, it has been one of my favorite Billy Joel songs.

As someone who hasn’t had the chance to watch Part 2 of “Billy Joel: And So It Goes,” I can’t fully pass judgment on the series. However, there are instances in Part 1 where I found the linear approach a bit monotonous; a more dynamic structure might have been refreshing. Nevertheless, despite these minor reservations, the documentary left a lasting impression on me a day after watching it.

Martin Scorsese’s four-hour documentary on Bob Dylan’s life was a testament to one year in the life of a musical legend. While Billy Joel may not be Bob Dylan, he is undeniably a significant artist with a 55-year career under his belt. Watching this extensive film allowed me to immerse myself in the captivating power of his music and the intricate contradictions that drove it, leaving me feeling nourished and inspired.

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2025-06-06 06:47