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Speaker 1: Let Me tell You a Story Now on Time Clearly

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Speaker 1: releases The Story behind the song.

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Speaker 2: Moving Out, also known as Anthony's Song by Billy Joel,

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Speaker 2: is from his nineteen seventy seven album The Stranger.

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Speaker 3: It's the opening track.

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Speaker 2: Billboard described Moving Out as an upbeat narrative that is

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Speaker 2: sort of a commentary on upward mobility. Cash Box said

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Speaker 2: that growling cellos and a pulsating rhythm section set the

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Speaker 2: mood for Joel's threatening indictment of middle class values, and

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Speaker 2: that it has one of the best choruses he's written,

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Speaker 2: combined with unusual echo effects. It is typically Joel, with

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Speaker 2: New York City references and an unusual piano dominated structure.

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Speaker 3: So what's the story behind the song?

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Speaker 1: Real? And like you said, the Stranger album, which we

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Speaker 1: both were talking about, had such a wonderful album.

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Speaker 3: I have to admit it is my favorite.

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Speaker 1: And Billy, after Turnstiles the previous album, was in a

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Speaker 1: bit of strife with his career because it wasn't selling

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Speaker 1: that well and he needed a hit, and this in

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Speaker 1: a way didn't sell as many copies. But this album

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Speaker 1: was Billy's rumors really if the fluid that kind of thing,

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Speaker 1: and this kicked him off on that incredible run lace

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Speaker 1: with fifty seconds straight glasshouses and not on the curtain,

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Speaker 1: the classic Billy Joel era. But this song started out

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Speaker 1: almost as well. It was almost like a little bit

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Speaker 1: of peril for Billy as well. Here explains with radio

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Speaker 1: manhnwick Stune what happened.

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Speaker 4: I wrote a different melody and different chords originally, and

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Speaker 4: so I always wrote the music first, Okay, right, So

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Speaker 4: the music was.

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Speaker 5: It sounded too much like Neil Sedaka.

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Speaker 6: Yeah, laughter in the Rain.

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Speaker 4: So I've come into the studio. The band is there,

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Speaker 4: and they and here he goes after.

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Speaker 3: He works in the grosser rista.

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Speaker 6: And they're looking at me like I got ten heads.

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Speaker 6: They said, that's laughter in the Rain by Neil Sedaka.

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Speaker 6: Oh crap. And I wrote all the lyrics. I wrote

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Speaker 6: all lyrics based on that original mel What did.

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Speaker 1: That sound like? Another word?

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Speaker 5: If you were singing the lyrics to the Neil Sadaka thing,

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Speaker 5: what would that sound like?

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Speaker 1: Didn't he work?

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Speaker 7: Send the grosser stop say in this penny say some

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Speaker 7: day Mama Leone left a note on the Dollney move

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Speaker 7: out to the country.

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Speaker 1: I don't think I went and do well.

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Speaker 6: I feel Laughter in the Ring.

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Speaker 5: So you're sitting in the studio, the band says to you, billy,

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Speaker 5: you've unconsciously, subconsciously taken the wrong song and this and that.

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Speaker 5: Do you sit there in the studio and say, wait,

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Speaker 5: they weren't that nice about it. They said, what do

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Speaker 5: you shithead? That's laughter in the Ring by Neil Sadd.

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Speaker 1: No, they don't talk to you like that. They do.

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Speaker 1: They do well, they're all Long Island guys.

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Speaker 5: But when they said it in all seriousness, do you

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Speaker 5: panic and say, oh, I've done something wrong here?

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Speaker 6: Yes?

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Speaker 5: And then where do you go back home and say,

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Speaker 5: I like these lyrics and now I'm going to rewrite it?

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Speaker 5: Or are you sitting in the studio and you go

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Speaker 5: right then and there? Okay, how's this?

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Speaker 4: I said, give me, give me a little time. I'm

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Speaker 4: going to rewrite the melody.

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Speaker 1: Niel Sadaka would not have been happy.

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Speaker 3: That is fantastic, Long Island guys.

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Speaker 1: We talked to each other. It's a term of endearment.

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Speaker 1: But how is that that he had? You know, he's

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Speaker 1: trying to write songs like My Sweet Lord and George

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Speaker 1: Harrison didn't realize at the time it was someone else's

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Speaker 1: tune when you write in the melody.

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Speaker 2: But it's an easy, easy miss you would be an

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Speaker 2: easy mistake to make. It's like when I wrote Gone

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Speaker 2: with the Wind. When you describe that, it's like this

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Speaker 2: sounds for men. It sounds before you know. They're talking

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Speaker 2: about the unusual echo effects and sound effects. And there was,

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Speaker 2: of course the famous Chevy sound effects.

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Speaker 1: It was the car near the end, yeahs was.

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Speaker 3: That That was just someone in the band, was one

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Speaker 3: of those Long Island guys.

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Speaker 1: It was one of those guys calling in his head.

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Speaker 1: It was his bass player.

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Speaker 4: That was Doug steg Meyer's corvette.

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Speaker 8: He actually we wanted some kind of the sound of

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Speaker 8: a car peeling out and Stegma the time had a corvette,

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Speaker 8: I don't know.

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Speaker 3: It was like a sixty zero corvette.

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Speaker 8: And he took his little tape machine in the car

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Speaker 8: with him and hung the microphone over the rear end

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Speaker 8: of the car. And that was burning rubber doing, you know,

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Speaker 8: screeching away from his house.

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Speaker 3: And that's where that sound came from. It's thugs that

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Speaker 3: doing that.

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Speaker 1: So we're going to be listening closely for the car

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Speaker 1: at the end now, and that was the bass players car.

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Speaker 3: He's Corvette screeching out of his own drive.

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Speaker 1: Well, there you go, the story behind the song. So

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Speaker 1: great songs. As we mentioned the Stranger album She's Always

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Speaker 1: a Woman, The Stranger itself titled track the story behind

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Speaker 1: the song that's the love for Today. That's awesome. And

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Speaker 1: he moved well and truly away because it didn't sound

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Speaker 1: like Neil Sadhaka.

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Speaker 3: But it certainly did when he first started.

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Speaker 2: I didn't I didn't know what song that was, Howard

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Speaker 2: Doney straight away.

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Speaker 3: He didn't meet Neil sa Dhaka, but I knew, I

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Speaker 3: knew was.

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Speaker 1: Yes, yeah, very familiar.

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Speaker 5: Yeah.

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Speaker 1: But he made it into his own, and he didn't.

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Speaker 1: You didn't want to throw those lyrics out because they's

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Speaker 1: so damn good