Album Articulation #5: Glass Houses by Billy Joel
How throwing stones at a glass house can show defiant (and almost flirty?) swagger.
You may be right, I may be crazy
But it just may be a lunatic you're looking for
It's too late to fight, it's too late to change me
You may be wrong for all I know but you may be right
You May Be Right - Billy Joel
Articulation #5
Artist: Billy Joel
Album: Glass Houses
Released: March 12, 1980
Genre: Rock
Notable Songs
You May Be Right
Who knew insanity could be a flirting technique?Don’t Ask Me Why
Latin-rhythm-esque eloquent insults proving modern life has its flaws.It’s Still Rock and Roll to Me
Sassy critiquing of the shift in music and a firm adherence to “classic” rock.
Personal Note
I grew up on Billy Joel and the pictures in this newsletter are of my own personal copy of Glass Houses that I inherited from my dad. His music, drenched in classical influence and compelling lyricism, had more depth than many of the sounds on the radio at the time. I’ve had the pleasure to see him perform once solo and once dueling pianos with Elton John, exploding his songs into amplified-to-heck concert performances. Although my deep love for his music came from the more sentimental pieces, Glass Houses always stood out as having the kind of defiant and rocking tunes to scream along with when anger and frustration bubbled up in me.
Vibes
The entire album is full of defiance, confidence, and a hard edge.
Vocal tones are more gritty and raunchy giving a sense of pressing need to get words communicated powerfully, especially heard in the upper range.
"Mess around and find out" vibes in the lyrics and driving chords.
Syncopated, swinging rhythms represent literal ‘swagger’ heard in his voice.
Most songs push forward with consistent rhythm showing total control over the situation showing his conviction.
Lots of power electric guitar chords contrasted with smooth synth interludes illuminates the contrast between the desire and the knowledge that things may not always go his way.
“You May Be Right” opens with the sound of glass breaking; we get confirmation he did throw the stone from the image on the cover.
Many lyrics regarding trying to cut down or insult a person. “It’s Still Rock and Roll to Me” directly shows this conversation with two different vocal styles, representing himself (smoother, matter of fact) and a producer/the entire music industry (with extra filters and a bit more biting) arguing about the shift in music.
Album Cover Connections
Fun Fact: The house was Joel’s real-life waterfront house in Long Island.
His poise is threatening and dynamic as he is in the motion to commit a crime.
Does seeing his reflection in the glass make him pause?
But his reflection is an illusion, “it’s just a fantasy, it’s not the real thing”.
An interesting observation is that his reflection almost looks like him rocking out on a guitar.
There is a threat to shatter a glass ‘ceiling’ or ‘box’ he feels trapped in as the music tastes around him changed from the 70’s to the 80’s. He desperately and threateningly was trying to be true to himself and his music.
The windows show barren trees, no leaves or sign of life perhaps mirrors the barren and unfortunate love life illustrated in the songs.
His leather jacket and jeans are a classic rock ensemble, contrasting the “pink sidewinders and a bright orange pair of pants” suggested in “It’s Still Rock and Roll to Me”.
Some album back covers show him looking out (or in) through broken glass.
He did throw the stone (just as we get confirmation from “You May Be Right”).
He is looking at us, the audience, observers, and judgers, with a challenging cocked eyebrow like, "What are you going to do about it?"
A master of lyrical storytelling, the album cheekiness of flipping from the front to the back cover echoes the tales he is able to conjure from his music.
