Legendary singer/songwriter Billy Joel, a five-time GRAMMY winner with 23 nominations, has always remained in the Recording Academy's spotlight, even during his lengthy hiatus from pop/rock music.

At the 2024 GRAMMYs, Joel marked his grand comeback with his new single, "Turn the Lights Back On" — and it was like he never turned them off at all.

Now, the era of Billy Joel rolls on. Tonight, April 14, viewers can witness his record-breaking 100th consecutive performance at Madison Square Garden, a streak that started when his franchise run began on March 28. Joel holds the amazing distinction of selling out Madison Square Garden more than any other artist.

This is Joel's first-ever concert to air on a broadcast network — so don't miss the Piano Man at work, whether you watch on the night of, or stream it after the broadcast.

Here's how and when to watch "The 100th: Billy Joel At Madison Square Garden – The Greatest Arena Run Of All Time."

When Did The Special Initially Air?

The special aired Sunday, April 14 from 9-11:00 PM, ET/PT on the CBS Television Network, and is available to stream live and on demand on Paramount+. (A “network programming timing error” had cut off the last song.)

When Will The Special Air Again?

Now, you’ll have a chance to watch it again, on Friday, April 19 at 9 p.m. ET/PT on the CBS Television Network. It will be rebroadcast in its entirety.

Where Else Will The Special Air?

Sling TV offers CBS in select regions. Paramount+ with Showtime is free for the first month and $11.99 per month after the trial period ends. Plus, you can access that platform via Prime Video.

Keep checking GRAMMY.com for more info on all things Billy Joel!

Freddy Wexler On Helping Billy Joel "Turn The Lights Back On" — At The 2024 GRAMMYs And Beyond

They say to not meet your heroes. But when Freddy Wexler — a lifelong Billy Joel fan — did just that, it was as if Joel walked straight out of his record collection.

"I think the truth is none of it is that surprising," the 37-year-old songwriter and producer tells GRAMMY.com. "That's the best part. From his music, I would've thought this is a humble, brilliant everyman who probably walks around with a very grounded perspective, and that's exactly who he is."

That groundedness made possible "Turn the Lights Back On" — the hit comeback single they co-wrote, and Wexler co-produced; Joel performed a resplendent version at the 2024 GRAMMYs with Laufey. Joel hadn't released a pop album since 1993's River of Dreams; for him to return to the throne would take an awfully demonstrative song, true to his life.

"I think it's a very raw, honest, real perspective that is true to Billy," Wexler explains. "I think it's the first time we've heard him acknowledge mistakes and regret in quite this way."

Specifically, Joel's return highlights his regret over spending three decades mostly on the bench, largely absent from the pop scene. As Joel wonders aloud in the stirring, arpeggiated chorus, "Is there still time for forgiveness?"

"Forgiveness" is a curious word. Why would the five-time GRAMMY winner and 23-time nominee possibly need to seek forgiveness? Regardless — as the song goes — he's "tryin' to find the magic/ That we lost somehow." The song's message — an attempt to recapture a lost essence — transcends Joel's personal headspace, connecting with a universal longing and nostalgia.

Read on for an interview with Wexler about the impact of "Turn the Lights Back On," why he thinks Joel took such an extended sabbatical, the prospect of more new music, and much more.

This interview has been edited for clarity.

**You did a great interview with Rolling Stone ahead of the 2024 GRAMMYs. Now, we're on the other side of it; you got to see how it went down on the telecast, and resonated with the audience and world. What was that like?**

It's why I make music — to hopefully make people feel something. This song has really resonated in such a big way. More than looking at its commercial success on the charts or on radio, which has been awesome to see, the comments on Instagram and YouTube have been the most rewarding part of it.

Why do you think it resonated? Beyond the king picking up his crown again?

I don't think the song is trying to be anything it's not. I think it's a very raw, honest, real perspective that is true to Billy. I think it's the first time we've heard him acknowledge mistakes and regret in quite this way. And to hear him do it in a hopeful way where he's asking, "Is it too late for forgiveness?" is just very moving, I think.

Forgiveness? That's interesting. What would any of us need to forgive him?

He has said in other interviews, "Sometimes people say they have no regrets at the end of their life." And he said, "I don't think that's possible. If you've lived a full life, of course you have regrets." He has said that he has many things he wishes he would've done differently. This is an opportunity to express that.

I think what's interesting about the song is it has found meaning in various ways with various people and listeners. Some people imagine Billy is singing to former lovers or friends. Other people imagine Billy is singing to his fans asking, "Did I wait too long to record again?" Other people wonder if Billy is singing to the songwriting Gods and muses. Did I wait too long to write again?

In Israel, where the song was number one — or is number one, I haven't checked today — I think the song's taken on the meaning of just wanting things to be normal, wanting hostages to come home and turn the lights back on. So, you never know where a song is going to resonate, but I think that Billy just found his own meaning with it.

You know the discography front to back. What lines can you draw from "Turn the Lights Back On" to past works?

I think it draws on various pieces of his catalog, right? "She's Always a Woman" has a sort of piano arpeggio in the chorus. To me, it feels like a natural progression. It feels like, on the one hand, it's a new song. On the other, it could have come out right after River of Dreams. To me, it just kind of feels natural.

**Back when you spoke with Rolling Stone, you said you couldn't wait to hear "Turn the Lights Back On" at Madison Square Garden. How'd it sound?**

Amazing. Billy is a consummate live performer. I think he's one of the few artists where everything is better live, and everything is always a little bit different each time it's played live.

It's been really cool to watch Billy and the band continue to change and improve the song and the song's dynamics for the show. He told me tonight that tomorrow night in Tampa, I think they're going to try to play with the key of the song, potentially — try it a half a step higher.

Those are the sort of things I think great artists do, right? It's different from being on a certain type of tour where every single song is the same, the set list is the same, the key is the same, the arrangements are the same.

With Billy, there's a lot of feeling and, "Hey, why don't we try it this way? Let's play it a little faster. Let's play it a little slower. Let's try it in a different key." I just think that's super cool. You have to be a really good musician to just do that on the fly.

What have you learned from him that applies to your music making, writ large?

I've learned so much from him. As Olivia Rodrigo said to us at GRAMMY rehearsals, "He's the blueprint when it comes to songwriting."

He has helped raise the bar for me when it comes to melodies and lyrics, but the thing I keep coming back to is he's reminded me that even the greatest artists and songwriters ever sometimes forget how great they are. I think we need to be careful not to give that inner voice and inner critic too much power.

Can you talk about how the music video came to be?

Well, I had a dream that Billy was singing the opening two lines of the song, but it was a 25-year-old version of Billy. It was arresting.

When I woke up, I sort of had the vision for the video, which was one set, an empty venue of some kind, and four Billy Joels. The Billy Joel that really exists today, but then three Billys from three iconic eras where each Billy would seamlessly pick up the song where the other left off.

The idea behind that was to sort of accentuate the question of the song — did I wait too long to turn the lights back on?

And so, to kind of take us through time and through all these years, I teamed up with an amazing co-director, Warren Fu, who's done everything from Dua Lipa to Daft Punk, and an artificial intelligence company called Deep Voodoo to make that vision possible.

What I'm driven by is the opportunity to create conversations, cultural moments, things that make people feel something. What was cool here is as scary as AI is — and I think it is scary in many ways — we were able to give an example of how you can use it in a positive way to execute a creative artistic vision that previously would've been impossible to execute.

Yeah, so I'm pleased with it and I'm thankful that Billy did a video. He didn't have to do one, but he liked the idea of it. He felt it was different, and I think he was moved by it as well.

What do you think is the next step here?

It's been a really rewarding process. And Billy is open-minded, which is really cool for an artist of that level, who's not a new artist by any stretch. To actually be described as being in a place in his life where he's open-minded, means anything is possible. I could tell you that I would love there to be more music.

I'd love to get your honest appraisal. And I know you're not him. But his last pop album was released 31 years ago. In that long interim, what do you think was going on with him, creatively?

Look, I'm not Billy Joel, but I think there were a number of factors going on with him. Somewhere along the way, I think he stopped having fun with music, which is the reason he got into it, or which is a big part of the reason he got into it. When it stopped being fun, I don't think he really wanted to do it anymore.

Another piece to it is that Billy is a perfectionist, and that perfectionism is evident in the caliber of his songwriting. Having always written 100 percent of his songs, Billy at some point probably found that process to be painstaking, to try to hit that bar where he's probably wondering in his head, What would Beethoven think of this? What would Leonard Bernstein think of this?

I think part of what was different here was that, perhaps, there was something liberating about "Turn the Lights Back On" being a seed that was brought to Billy. In this way, he could be a little disconnected from it, where maybe he didn't have to have the self-imposed pressure that he would if it was an idea that he'd been trying to finish for a while.

Ironically, he still made it. Well, there's no "ironically," but I think that's it. There's something to that.

Billy Joel's Biggest Songs: 15 Tracks That Best Showcase The Piano Man's Storytelling And Pop Hooks

Just like that, another GRAMMYs has come and gone — but the 2024 telecast brought many moments that will be immortalized in pop culture history.

It was the evening of legends, as Billy Joel and Tracy Chapman returned to the stage for the first time in decades and Joni Mitchell made her debut with a performance of her 1966 classic, "Both Sides, Now." Stevie Wonder and Celine Dion honored greats, both those we've lost and those who are dominating today. And Meryl Streep had two memorable moments at the show, making a fashionably late entrance and getting a hilarious GRAMMY lesson from Mark Ronson.

But it was the younger generation of artists who ultimately dominated the show. Boygenius — the supergroup of Phoebe Bridgers, Lucy Dacus, and Julien Baker — won numerous awards in the Rock, Metal & Alternative Music Field. Billie Eilish and SZA scooped up a couple more golden gramophones, respectively, and Best New Artist winner Victoria Monét celebrated three wins in total, also winning Best R&B Album and Best Engineered Album, Non-Classical.

Taylor Swift built on the momentum of her colossal year with more GRAMMY records and an unexpected announcement of her next studio album.

Check out the full list of winners here, and take a look at our top 10 highlights from another show-stopping installment of the GRAMMYs below.

Boygenius Run To Accept Their First GRAMMY Award

Boygenius won the first trophy of their careers during the Premiere Ceremony, and they were so ecstatic they sprinted through the crowds to get to the stage.

"Oh my God, I want to throw up," Lucy Dacus said as the group accepted their Best Rock Performance trophy for "Not Strong Enough."

Even though the trio was over the moon, they weren't entirely shocked by their win: "We were delusional enough as kids to think this would happen to us one day," she continued. Phoebe Bridgers would sing at a local Guitar Center "in hopes of getting discovered," while Julien Baker dreamed of performing in stadiums as she played in multiple bands, and Dacus has been perfecting her acceptance speech for years.

Their hard work was manifested three times over, as the trio also won Best Rock Song for "Not Strong Enough" and Best Alternative Music Album for the record.

Killer Mike Makes A Clean Sweep

Killer Mike had the largest GRAMMY night of his career, winning all three of the Rap Categories for which he was nominated: Best Rap Performance and Best Rap Song for "SCIENTISTS & ENGINEERS," and Best Rap Album for MICHAEL.

"I'm from the Southeast, like DJ Paul, and I'm a Black man in America. As a kid, I had a dream to become a part of music, and that 9-year-old is very excited right now," he cheered. "I want to thank everyone who dares to believe art can change the world."

Minutes after his sweep, the LAPD detained the Run the Jewels rapper. However, he was released and still able to celebrate his achievements, Killer Mike's lawyer told Variety.

Miley Cyrus Finally Receives Her "Flowers"

Miley Cyrus entered the GRAMMYs with six nominations for her eighth studio album, Endless Summer Vacation. After she won Best Pop Solo Performance for "Flowers," she delivered a jubilant performance in celebration. "Started to cry, but then remembered, I just won my first GRAMMY!" she exclaimed at the song's bridge, throwing her hands in the air and joyfully jumping around the stage.

Cyrus' excitement brought a tangible energy to the performance, making for one of the night's most dynamic — and apparently one of Oprah Winfrey's favorites, as the camera caught the mogul dancing and singing along.

"Flowers" earned Cyrus a second GRAMMY later in the night, when the No. 1 hit was awarded Record Of The Year. 

Tracy Chapman Makes A Rare Appearance

Luke Combs breathed a second life into Tracy Chapman's "Fast Car" when he released a cover of the track in April 2023. He quickly climbed to the top of the Billboard charts and received a nomination for Best Country Solo Performance at this year's show. Of course, it called for a special celebration — one that was meaningful for both Combs and GRAMMYs viewers.

Chapman joined the country star on stage for her first televised performance since 2015, trading off verses with Combs as he adoringly mouthed the words. The duet also marked Chapman's first appearance on the GRAMMY stage in 20 years, as she last performed "Give Me One Reason" at the 2004 GRAMMYs. (It also marked her second time singing "Fast Car" on the GRAMMYs stage; she performed it in 1989, the same year the song won Best Pop Vocal Performance, Female and Chapman took home three awards total, including Best New Artist.)

Naturally, Chapman's return earned a standing ovation from the crowd. As Combs fittingly put it in an Instagram post thanking the Recording Academy for the opportunity, it was a "truly remarkable moment."

Read More: 2024 GRAMMY Nominations: See The Full Winners & Nominees List

Joni Mitchell Takes The GRAMMY Stage For The First Time At 80

In one of the most emotional parts of the night, Joni Mitchell performed on the GRAMMYs stage for the first time in her nearly 60-year career.

Accompanied by Brandi Carlile — who referred to Mitchell as "the matriarch of imagination" before the performance — Lucius, SistaStrings, Allison Russell, Blake Mills, and Jacob Collier, Mitchell sang a touching rendition of "Both Sides Now."

"Joni is one of the most influential and emotionally generous creators in human history," Carlile  added in her introduction. "Joni just turned 80, my friends, but we all know she's timeless!"

Mitchell also won her 10th golden gramophone at the 2024 GRAMMYs, as her live album Joni Mitchell at Newport was awarded Best Folk Album at the Premiere Ceremony.

Stevie Wonder Salutes The Late Tony Bennett, Duetted By His Hologram

Another heartfelt moment came during this year's In Memoriam segment, when Stevie Wonder memorialized his friend, Tony Bennett, who passed away from Alzheimer's disease in 2023.

"Tony, I'm going to miss you forever. I love you always, and God bless that He allowed us to have you in this time and space in our lives," Wonder proclaimed. Thanks to a hologram of Bennett, the two singers could duet "For Once in My Life" one last time.

This year's tribute also saw Annie Lennox covering Sinéad O'Connor's "Nothing Compares 2 U," Jon Batiste's medley of Bill Withers' hits, and Fantasia's reimagining of Tina Turner's "Proud Mary."

Meryl Streep Gets Educated On Album Vs. Record And Single

Mark Ronson presents with his mother-in-law Meryl Streep at the 2024 #Grammys pic.twitter.com/mueXlmJarX

— The Hollywood Reporter (@THR) February 5, 2024

Meryl Streep joined Mark Ronson — who happens to be her son-in-law — to announce the Record Of The Year winner, which sparked a funny interaction between the two when Streep thought she was announcing Album Of The Year.

"A record is an album!" Streep confidently declared, only for Ronson to give a quick 101 on the difference between Record, Song, and Album Of The Year.

"It's a really important award, and it's an award that recognizes everything that goes into making a great record — the producers, the recording engineer, and the artist, and all their contributions," Ronson explained of Record Of The Year.

"It's the Everything Award! It's the best," Streep smiled.

Celine Dion Surprises The World With A Special Cameo

Before the GRAMMYs commenced, producer Ben Winston told viewers they would be in for a treat because of a surprise presenter for the final award of the night, Album Of The Year. "They are an absolute global icon. I think jaws will drop to the floor. People will be on their feet," he shared.

It was none other than Celine Dion, who has largely been out of the limelight after her stiff person syndrome diagnosis.

"When I say that I'm happy to be here, I really mean it with my heart," Dion said. "It gives me great joy to present a GRAMMY award that two legends, Diana Ross and Sting, presented to me 27 years ago."

Dion is referring to her Album Of The Year win at the 39th GRAMMY Awards in 1997, when her smash LP Falling Into You won the honor. 

Taylor Swift Breaks The Record For Most AOTY Wins

It was a historic night for Taylor Swift in more ways than one.

She began the evening by winning her 13th GRAMMY for Best Pop Vocal Album for Midnights. To commemorate the milestone (13 is her lucky number), Swift announced her 11th studio album, The Tortured Poets Department, arriving on April 19.

She ended the evening with a coveted fourth Album Of The Year win, which made Swift the artist with the most AOTY nods in GRAMMY history.

"I would love to tell you this is the best moment of my life, but I feel this happy when I finish a song or crack the code to a bridge that I love or when I'm shot listing a music video or when I'm rehearsing with my dancers or my band or getting ready to go to Tokyo to play a show," she said. "The award is the work. All I want to do is keep being able to do this."

Billy Joel Serves Double GRAMMY Duty

After Swift's momentous win, Billy Joel ended the ceremony with a feel-good performance of his 1980 single, "You May Be Right." Along with being a rousing show closer, it was also his second performance of the night; Joel performed his newest offering, "Turn the Lights Back On," before Album Of The Year was announced.

Joel's performances included three firsts: It was the debut live rendition of "Turn the Lights Back On," his first release since 2007, and the performances marked his first time playing on the GRAMMYs stage in more than two decades. It was a fitting finale for a history-making show, one that beautifully celebrated icons of the past, present and future.

A Timeline Of Taylor Swift's GRAMMYs History, From Skipping Senior Prom To Setting A Record With 'Midnights'

GRAMMY Legend Award recipient Billy Joel — who’s won five GRAMMYs and has been nominated for a wildly impressive 23 GRAMMYs — will perform at the 2024 GRAMMYs, as announced today on social media. Joel’s been making the rounds lately: The one and only Piano Man recently announced the release of “Turn the Lights Back On,” his first new single in decades, due out Feb. 1.

Joel now joins previously announced performers Billie Eilish, Burna Boy, Dua Lipa, Luke Combs, Olivia Rodrigo, and Travis Scott as 2024 GRAMMYs perfomers. Additional performers will be announced in the coming days and weeks. See the full list of performers and host at the 2024 GRAMMYs to date.

Read More: 2024 GRAMMY Nominations: See The Full Nominees List

The 2024 GRAMMYs, officially known as the 66th GRAMMY Awards, will broadcast live from Crypto.com Arena in Los Angeles on Sunday, Feb. 4, at 8 p.m. ET/5 p.m. PT on the CBS Television Network and will be available to stream live and on demand on Paramount+.^ Prior to the Telecast, the GRAMMY Awards Premiere Ceremony will broadcast live from the Peacock Theater at 12:30 p.m. PT/3:30 p.m. ET and will be streamed live on live.GRAMMY.com. On GRAMMY Sunday, fans can access exclusive behind-the-scenes GRAMMY Awards content, including performances, acceptance speeches, interviews from the GRAMMY Live red-carpet special, and more via the Recording Academy's digital experience on live.GRAMMY.com.

Trevor Noah, the two-time GRAMMY-nominated comedian, actor, author, podcast host, and former "The Daily Show" host, returns to host the 2024 GRAMMYs for the fourth consecutive year; he is currently nominated at the 2024 GRAMMYs in the Best Comedy Album Category for his 2022 Netflix comedy special, I Wish You Would.

Learn More: How To Watch The 2024 GRAMMYs Live: GRAMMY Nominations Announcement, Air Date, Red Carpet, Streaming Channel & More

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The 66th GRAMMY Awards are produced by Fulwell 73 Productions for the Recording Academy for the fourth consecutive year. Ben Winston, Raj Kapoor and Jesse Collins are executive producers.

^Paramount+ with SHOWTIME subscribers will have access to stream live via the live feed of their local CBS affiliate on the service, as well as on demand in the United States. Paramount+ Essential subscribers will not have the option to stream live but will have access to on-demand the day after the special airs in the U.S. only.

2024 GRAMMYs Ticket Giveaway: Enter For A Chance To Attend The 66th GRAMMY Awards In Los Angeles

From 1973 to 1997, Billy Joel racked  up nearly three dozen self-penned Billboard hits, tackling everything from adult contemporary pop and classic rock to smooth jazz and Broadway-ready showtunes. And although he's largely avoided the studio since, the legendary singer/songwriter has still very much been a fixture of the music scene thanks to his tireless work on the road. 

This past March, for example, he launched a series of co-headlining dates across North America with another '70s icon, Fleetwood Mac's Stevie Nicks. Then there's the residency at Madison Square Garden he's staged every month (bar the pandemic-hit period, of course) since 2014, while his In Concert tour has been ongoing for a similarly impressive amount of time, too.

However, with the former now officially coming to an end ("My team tells me that we could continue to sell tickets, but 10 years, 150 shows — all right already," he remarked in a June 2023 press release) and a March 2024 show at Arlington's AT&T Stadium looking like the final date of the latter, the proud New Yorker now appears to be gearing up to give those famous piano-playing fingers a well-earned rest.

As he plays his final run of shows (at least for now), Joel also celebrates the 30th anniversary of his final mainstream album, 1993's River of Dreams. (His thirteenth and final album, 2001's Fantasies and Delusions, was a surprising detour into classical music, perhaps inspired by his musical hero Paul McCartney's orchestral works.)

In honor of his latest milestones, GRAMMY.com delves into the biggest and most impactful tracks from one of pop's all-time great storytellers.

"She's Got A Way," Cold Spring Harbor (1971)

With its heartfelt melodies, textured piano arrangement and unabashedly romantic lyrics, the opening track from Joel's 1971 debut Cold Spring Harbor effectively set the template for the classic Billy Joel ballad. The man himself went on to dismiss "She's Got A Way" (and the rest of the LP) for a mastering error which made him resemble a chipmunk. But he eventually began to appreciate its simple charms: a performance of the track for seminal 1981 live album Songs in the Attic even resulted in a belated but deserved entry on the Billboard Hot 100.

Joel had added strings to the track during his iconic 1977 show at Carnegie Hall, but it's the stripped-back original — a dedication to his manager, and first of four wives, Elizabeth Weber — that pulls at the heartstrings the hardest.

"Captain Jack," Piano Man (1973) 

"The song is sort of brutal, but sometimes it is good to be brutal and offend people," Joel once remarked about the song that ultimately launched his major label career. "It keeps them on their toes."

Listeners of Philadelphia station WMMR certainly seemed to appreciate such provocation. Following its debut at a competition winners' show, DJs were flooded with requests for its caustic tale of a suburban teen who develops a heroin addiction purely out of boredom.

Inspired by a real-life drug deal witnessed from Joel's Long Island apartment, "Captain Jack" subsequently attracted the attention of Columbia Records boss Clive Davis, too. The seven-minute epic — which boasts one of Joel's most rousing choruses and stinging lines ("Well, you're 21 and your mother still makes your bed") — later showed up on 1973's Piano Man, and in 2000 offended Rudy Giuliani after being accidentally played to celebrate rival Hillary Clinton's U.S. Senate campaign announcement.

"Piano Man," Piano Man (1973)

Although far from his biggest commercial hit — it peaked at a modest No.25 on the Hot 100 in the spring of 1974 — the title track from Joel's second album has undoubtedly become his defining.

Showcasing his remarkably concise ability to tell a story, "Piano Man" paints a vivid picture of the Los Angeles lounge he performed at while Columbia's lawyers were negotiating his freedom from first label Family Productions. Joel insists its parade of unfulfilled dreamers — Paul the real estate novelist, John the bartender/aspiring movie star — really were part of The Executive Room's Saturday night crowd; the waitress practising politics is definitely another reference to his then-other half Elizabeth.

But whether a genuine portrait of barroom demographics or work of pure fiction, this meeting point between folksy troubadour Harry Chapin and the theme to Cheers is always worthy of raising a glass to.

"New York State of Mind," Turnstiles (1976)

Following a three-year spell in the bright lights of Los Angeles, Joel gave the impression he needed to make amends with his beloved hometown. Not only did the six-time GRAMMY winner return to Long Island (a place he still owns a property at to this day, but he also dedicated much of his fourth album, Turnstiles, to the joys of New York.

Other than the ability to buy its newspapers fresh off the press, this slice of sophisticated jazz-pop doesn't pinpoint exactly why he feels such an affinity to the place. But genuinely conceived while "taking a Greyhound on the Hudson River Line," "A New York State Of Mind" still evokes a palpable sense of pride, placing it alongside Jay-Z and Alicia Keys' "Empire State of Mind" and Frank Sinatra's "New York, New York" in the holy trinity of Big Apple classics.

"Scenes from an Italian Restaurant," The Stranger (1977)

Clocking in at nearly 8 minutes, Joel's longest studio cut is also his most audacious: a mini operetta that segues from traditional piano ballad, to jaunty Dixieland jazz, to good old-fashioned rock and roll and back again.

Inspired by the second half of The Beatles' Abbey Road, the lyrical themes of "Scenes from an Italian Restaurant" are similarly multi-dimensional. Joel starts out reminiscing with an old school friend at said Italian restaurant (reportedly Fontana di Trevi, a regular haunt during his Carnegie Hall residency), but the small talk and nostalgia later gives way to the poignant story of Brenda and Eddie, two high school sweethearts whose seemingly idyllic romance came unstuck by the pressures of adult life ("They started to fight when the money got tight/ And they just didn't count on the tears").

Although never released as a single, the standout from fifth LP The Stranger has become a firm favorite among both fans and Joel himself — only "Piano Man" has been played more frequently live on stage

"Just the Way You Are," The Stranger (1977)

Joel very nearly dropped "Just the Way You Are" from The Stranger tracklist, believing it may be just one sentimental spousal tribute too far. But thanks to some wise interference from studio neighbors Phoebe Snow and Linda Ronstadt, the wedding favorite made the cut and the rest is history.

Indeed, the Phil Ramone-produced track became Joel's first top 10 hit on both sides of the Atlantic, picked up Record and Song Of The Year at the 1979 GRAMMYs, and propelled its parent album to worldwide sales of more than 10 million. Joel once again gave the smooth soft rock standard the heave-ho in the wake of his 1982 divorce to Weber — but after returning to his setlists at the turn of the century, it's remained a much-loved ever-present.

"She's Always a Woman," The Stranger (1977)

"She's Always a Woman" initially sounds like your typical Joel love song, but lines such as "She is frequently kind and she's suddenly cruel" prove it's no rose-tinted deification. You can certainly hear its echoes in the earlier work of Ed Sheeran, a man who, at times, seemed determined to point out his lover's flaws in order to chivalrously claim he can look beyond them.

Thankfully, the fourth Top 40 single from sales juggernaut The Stranger isn't as graceless. Joel isn't referencing any physical attributes, but simply the complex mix of personality traits most of us possess. It's the most emotionally raw of the many tributes he penned for Weber, and perhaps the most obvious foreshadowing of the split that was to come.

"My Life," 52nd Street (1978) 

"I don't care what you say anymore, this is my life/Go ahead with your own life, leave me alone." "My Life" may have been adopted as the theme tune to pre-fame Tom Hanks sitcom Bosom Buddies, but amid its jaunty piano melodies and peppy harmonies (courtesy of Chicago's Donnie Dacus and Peter Cetera), Joel instead appears to be taking his cues from All in the Family's grumpy old man Archie Bunker. Audiences still embraced this more irascible side of the singer/songwriter's personality, however, with the lead single from sixth LP 52nd Street equaling his then-highest Hot 100 peak of No. 3.

"It's Still Rock and Roll to Me," Glass Houses (1980)

Fans once again lapped up Joel in defensive mode on "It's Still Rock and Roll to Me," the first of his three U.S. No. 1s. Taken from his seventh studio effort, Glass Houses, the rockabilly throwback was a direct response to those detractors who dismissed his adult contemporary sound as old hat.

Released in the same year Michael Jackson's "Rock With You," Lipps Inc.'s "Funkytown" and Blondie's "Call Me"also hit the top spot, the song's industry satire argued that the newly popular hot funk, cool punk, new wave and latest dance crazes were simply retreading what had gone before. You could argue it was a needless display of petulance, but you also can't deny it's one of his biggest earworms.

"Goodnight Saigon," The Nylon Curtain (1982)

Bookended by the Apocalypse Now-esque sound of chirping crickets and whirring helicopters, "Goodnight Saigon" finds Joel stepping into the military boots of a 19-year-old called up to fight in the Vietnam War. The Piano Man had been a conscientious objector himself, but on this occasion decided against politicizing the conflict ("And who was wrong? And who was right? It didn't matter in the thick of the fight").

Instead, drawing upon the tales of friends who did see battle, he offers an intimate portrait of the soldier experience, from the distractions of Playboy magazine and Bob Hope to the hardships of losing a comrade. The standout from his most serious-minded LP The Nylon Curtain, this is Joel at his most affecting.

"Tell Her About It," An Innocent Man (1983)

Joel loosened things up a little for his ninth LP, An Innocent Man, paying homage to the soul and doo-wop sounds he grew up with on this toe-tapping throwback. Buoyed by an equally playful promo in which the pianist lives out his The Ed Sullivan Show fantasy — pulling out some unexpected dance moves in the process — "Tell Her About It" became his second U.S. No. 1 in the summer of 1983.

Joel went on to disown his slightly wordy wingman anthem ("It's not automatically a certain guarantee/ To insure yourself/ You've got to provide communication constantly"), acknowledging it sounded more like bubblegum pop crooner Tony Orlando than the Motown tribute he intended. In fact, he hasn't played it live for 36 years!

"Uptown Girl," An Innocent Man (1983)

Joel's affectionate nod to the falsetto pop of Frankie Valli and the Four Seasons has endured a little better: proving its cross-generational appeal, he invited Olivia Rodrigo to perform the track with him at Madison Square Garden in August 2022.  (The pop superstar referenced "Uptown Girl" in her own monster hit "déjà vu.")

As with much of Joel's oeuvre, the tale of a working-class guy trying his luck with a woman way out of his league has autobiographical roots. It was inspired by the time Joel found himself in the company of Whitney Houston, Christie Brinkley and Elle Macpherson. And while he was dating the latter at the time, it was her fellow supermodel that ended up gracing the memorable "Uptown Girl" promo, and indeed, becoming the second Mrs. Joel.

"A Matter of Trust," The Bridge (1986)

Often his own biggest critic, Joel has been largely dismissive of tenth LP The Bridge, claiming it was hampered by both impatient record execs and the distraction of becoming a first-time father. You can briefly see baby daughter Alexa and then-wife Brinkley in the video for one of its saving graces.

Second single "A Matter of Trust" is a rare but convincing foray into Bruce Springsteen-esque arena rock in which the Piano Man becomes the Electric Guitar Man. It was also a highlight of Konsert, the following year's live album recorded during his historic tour of the Soviet Union.

"We Didn't Start the Fire," Storm Front (1989)

The hostile reaction to Fall Out Boy's recent update proves how hard it can be to namecheck 40 years of newsworthy events in just 4 minutes of anthemic pop-rock. From post-war president Harry Truman to the cola wars of the 1980s, the original "We Didn't Start the Fire" manages to throw in 118 references — and in mostly chronological order, too, without barely pausing for breath.

Inspired by a "my generation had it worse than you" conversation with a friend of Sean Lennon, Joel's rapid-fire alternative history lesson became his third and final No. 1, and picked up Record Of The Year, Song Of The Year and Best Male Pop Vocal Performance nominations at the 1990 GRAMMYs. The lead single from 11th LP Storm Front didn't gain the seal of approval from its creator, however, with Joel comparing it to the sound of a dentist's drill.

"The River of Dreams," River of Dreams (1993)

Joel earned two more Record Of The Year and Song Of The Year nominations for River of Dreams' title track at the 1994 GRAMMYs. But despite an additional nod for Album of the Year, he still went home empty handed. (He also made headlines for pausing his live performance of the song in protest of producers' curtailing Frank Sinatra's Lifetime Achievement Award speech.)

In contrast to all the awards drama and soul-searching lyrics, "The River of Dreams" is one of Joel's most jovial hits, an uplifting blend of doo-wop and gospel vocals arranged by regular band member Crystal Taliefero. The last time the once-prolific hitmaker would grace the U.S. Top 20, it's a fine commercial swansong.

ReImagined At Home: Sammy Rae Scats Through A Bouncy Rendition Of Billy Joel's "The River Of Dreams"