“We Didn’t Start The Fire” was an accidental hit that captured craziness
In We’re No. 1, The A.V. Club examines a song or an album that went to No. 1 on the Billboard charts to get to the heart of what it means to be popular in pop music, and how that concept has changed over the years. In this installment, we cover Billy Joel’s “We Didn’t Start The Fire,” which went to No. 1 on December 9, 1989, where it stayed for two weeks.
As the end of the ’80s approached, Billy Joel was at a crossroads. Career-wise, he was branching out successfully, between his 1987 concerts in the U.S.S.R. and his leading-dog appearance as Dodger in Disney’s 1988 cartoon Oliver & Company. His marriage to Christie Brinkley was also on seemingly solid ground. However, Joel’s financial life was another story. The piano man was enmeshed in a massive multimillion-dollar lawsuit with his ex-manager (and, to complicate things, ex-brother-in-law) Frank Weber—a lawsuit that, when filed in 1989, sought “more than $90 million in damages for fraud and breach of fiduciary duty,” reported Rolling Stone. Plus, he had a painful kidney stones episode the day before the suit was filed, just one in a long line of high-profile brushes with the affliction.
In light of all this, it’s no surprise that Joel’s notoriously restless nature flared up as he geared up to write and release what would become his 11th studio LP, 1989’s Storm Front. “Billy’s the kind of guy that likes to change things,” says Liberty DeVitto, who drummed for Joel from the mid-’70s to the mid-’00s. “He doesn’t like to do the same thing. It doesn’t matter what it is—musicians, studios, wives, whatever. He doesn’t stick around with things too long. I think I was there the longest of anything he’s ever done.” In the case of Storm Front, Joel decided not to work with producer Phil Ramone—who had worked with him on every album from 1977’s The Stranger to 1986’s The Bridge—and instead chose Foreigner’s Mick Jones as producer. (Eddie Van Halen was also in the running, but the timing didn’t align.) “Billy was a formidable songwriter to start with, so going in and critiquing him, I had to summon up a bit of strength there to face doing that,” Jones recalled in 2013. “But it worked very well.”
Joel also shook up his touring band, replacing guitarist Russell Javors and bassist Doug Stegmeyer. “I remember we were in Australia,” DeVitto says, “and Billy got me in his dressing room at the Sydney Entertainment Centre, and said, ‘What do you think if I made an album with a whole new band and just you?’” The drummer was torn; Javors and Stegmeyer were long-time pals—in fact, he had known the former since he was 14 years old. “That statement threw me back, like, ‘Oh my God. These are my friends,” DeVitto recalls. “But you have kids to support—and his name’s on the cover—so what can I say, but, ‘Uh, yeah, okay.’ I thought hopefully he would tell them, but they found out on MTV, when MTV announced it.”
Despite this turbulence, Storm Front emerged rather seamlessly, hitting the top of the Billboard charts two months after its release—the same week the album’s lead single, “We Didn’t Start The Fire,” was also at No. 1. “We Didn’t Start The Fire” was uncharacteristically aggressive for Joel, de-emphasizing piano and playing up flashy electric guitar squeals and shouted, forceful vocals. Lyrically, it was also intriguing—not a character study, mini-story, or a love song, but a stream-of-consciousness tune that recited major historical events, personalities, and trends stretching over four decades.
For as complicated as the verses are, DeVitto took a relatively direct approach to his drumming on the song. “I just started playing straight ahead,” he says. “I laid down the basic drums that you hear during the verse—it’s just straight bass drum on the one and three, snare drum on the two and four and then in the chorus, I just go straight bass drums, straight fours. That’s the only thing that I do on that song.” Some of the song’s additional percussive sizzle comes courtesy of ex-John Cougar Mellencamp touring band member Crystal Taliefero; DeVitto says her audition for Joel’s band was actually playing the congas on the song. “When we recorded it, there was Crystal on congas, me on a snare drum and Billy on the timbales, and we did it all at once,” he says. “Billy said that he wanted that… world [music] sound. It’s purposefully not perfect. It’s not like if perfect studio musicians went in and recorded that part. It’s kind of sloppy.”
According to DeVitto, “We Didn’t Start The Fire” was a last-minute addition to Storm Front. “The song turned up when we thought we were done,” he says. “We had recorded ‘I Go To Extremes’; everything else was recorded. CBS Records came in to hear what Billy had, and when he played the album for CBS, they said, ‘Well, we hear the second single, but we don’t hear a first one yet.’” Thankfully, Joel happened to have a song called “Jolene” handy—“It went, ‘Jolene / Won’t you take me as I am / Jolene/ Just an ordinary man,’ something like that,” DeVitto says—that he was able to use as a starting point for ‘We Didn’t Start The Fire.’”
Interestingly, Mick Jones noted that this “Jolene” song wasn’t rock-leaning, but “kind of started out as a country song. I said to Billy, ‘This song sounds so familiar, it sounds like a Dolly Parton song,’ and he said, ‘What?’ He got really pissed and he locked himself away in a room with, like, a Time Life almanac of historical events since his date of birth, and that’s where he came up with the lyrics. He walked proudly back into the studio and said, ‘Well, take a look at this one.’ And I said, ‘Well, that’s more like it!’”
Over the years, Joel himself has shared slightly different accounts of the lyrical impetus for “We Didn’t Start The Fire.” In 2001, he told Performing Songwriter the gathering of chronological facts and events was a “mental exercise” and “kind of a mind game. That’s one of the few times I’ve written the lyrics first, which should make it obvious why I usually prefer to write the music first, because that melody is horrendous. It’s like a mosquito droning. It’s one of the worst melodies I’ve ever written.” In 2003, he was quoted in Fred Bronson’s The Billboard Book Of Number One Hits as saying the song arose out of a discussion with a younger person lamenting the state of the world and crises such as AIDS, pollution and “the situation in Red China.”