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Elton John Album Discussion Thread

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Offline Umbrella Sam

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Offline Umbrella Sam

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We move on to Elton’s second double album, BLUE MOVES. Unlike GOODBYE YELLOW BRICK ROAD, which is considered an undeniable classic, BLUE MOVES has much more mixed opinions. Some consider it one of the greatest albums he’s ever made, including Elton himself. Some consider it repetitive and overly moody; the album was made at a bad time in Elton and Bernie’s personal lives, with Elton struggling with overwork and Bernie dealing with his failing first marriage, and that’s reflected in a lot of the songs here. And then, of course, there are those who think this should have been cut down to a single album.

I used to be in this last category, but upon repeated listens, I’ve been finding it kind of has a WHITE ALBUM quality to it, where, though there are definitely some songs I’d have no problem cutting, there actually are more good songs than I used to give it credit for. I’ve never disliked the album; in fact, it actually contains a song that I consider to be one of the greatest songs Elton has ever recorded. But there is something about the sequencing, especially the second half, that does make the “blue” atmosphere a bit too much to handle, even though individually a lot of these songs are good.

It starts with “Your Starter For”, an instrumental written not by Elton, but by Caleb Quaye. Although additional writing credits had started appearing on ROCK OF THE WESTIES, it becomes more common here, with Caleb, Davey and James Newton Howard all receiving co-writing credits on multiple songs. It’s a cool song; the riff is catchy and the musicianship around it is strong, with some cool synth work and marimba playing supporting Caleb’s main guitar riff. Oddly enough, Elton is credited for playing piano here, but he’s either so far back in the mix that I can’t hear him or he’s not on it at all; the album also credits Elton and Bernie for writing the other two instrumentals, so they’re not exactly that accurate.

“Your Starter For” transitions into “Tonight”, the first of many sad ballads. This has a really awesome orchestral intro written by James Newton Howard and probably the most classical influenced piece on an Elton album since...well, ELTON JOHN. But unlike something like “Sixty Years On”, there feels like there’s a proper balance and interplay between the orchestra and Elton’s piano. The actual song itself is great too, keeping the focus on Elton, who’s in great vocal form throughout.

The next track is “One Horse Town”, which I consider to be one of the greatest tracks Elton has ever recorded. The moment I heard it, I just fell in love with it. It starts with a Newton Howard-influenced prelude, this time him playing keyboards, and I believe this is also the source for his co-writing credit on the song. Slowly some strings join the mix before...boom! The rest of the band hits you with this epic, guitar-heavy introduction that continues building and building. It’s supported by what I consider Paul Buckmaster’s best arrangement on an Elton song. It’s funny, writing about “Tonight” and the ELTON JOHN connection made me realize just how different Buckmaster’s style was by this time. Buckmaster gives this already epic song some appropriately epic orchestrations. I love the way they play off of the guitar during the solo and how they match it between verses. Elton’s voice is fantastic, the guitar solo is great, and there’s an amazing, “Wednesday Night”-style bridge section that features a really cool combination of synths, guitars and vocal harmonies; “they’ll pick all night” is one of my favorite Elton vocals. It’s such an awesome song, very much in the same epic way as “Funeral For a Friend/Love Lies Bleeding”.

We return to ballad territory with “Chameleon”, which is actually an older song that Elton intended for The Beach Boys to record, but they apparently rejected it. Beach Boy Bruce Johnston, who had also arranged the backing vocals for “Don’t Let the Sun Go Down on Me”, also came in to arrange the backing vocals for this one, and you can kind of hear a Beach Boys-influence here. Even Elton’s higher register vocals sound kind of unique here compared to most tracks. Not much to say here otherwise; it’s a good song with unique vocals that moves at a good pace.

What doesn’t move at such a good pace is the next song: “Boogie Pilgrim”. I don’t like this song. With a name like that you’d think it would be this upbeat, dance song, but there’s nothing remotely danceable about it. It’s this ridiculously slow number that goes on way too long. I don’t like the horn arrangement, the chorus is repetitive...nothing about this track works for me, it just feels way too much like it’s chasing trends that it can’t catch.

“Cage the Songbird” is definitely an improvement over “Boogie Pilgrim”, but feels a bit underwhelming. Co-written with Davey Johnstone, this actually originated during the ROCK OF THE WESTIES sessions; in fact, it was actually written during the same writing session as “Grow Some Funk of Your Own”. It’s a quiet acoustic number, a type of number I usually tend to really like. It’s fine, but for some reason it just doesn’t impress me as much as I feel it should; it might be the length, as this song is surprisingly short. I suppose it’s kind of like “Goodbye” in a way, in that it ends just when it feels like it’s really getting started. Again, I want to stress that I don’t dislike it, I do like the instrumentation here...it just doesn’t grab my attention the way I feel it should.

“Crazy Water” is another song I feel sounds too much like it’s trying to chase trends, although unlike “Boogie Pilgrim”, I don’t necessarily dislike it. It sounds a bit like “Writing” mixed with “Hard Luck Story”, but if they were way overproduced and with a backing vocal arrangement that’s not really that good. A lot of people really like this one and it’s shown up from time to time at concerts as a result, but...I don’t know, it just doesn’t scream “classic” to me.

The last song of side 2, thankfully, is a huge improvement. “Shoulder Holster” is interesting because it actually doesn’t have (non-bass) guitars on it at all. Instead, the rhythm is driven by Elton, Roger, Kenny, and the Brecker Brothers on horns. And unlike “Boogie Pilgrim”, the horn riff here is actually really fun and catchy. The harmonies are especially great here, too. I absolutely love the ending fadeout with Elton singing “you can never tell if the law’s about” in multiple different pitches. Such a fun song and easily the best song on side 2.

Side 3 opens with probably the most well-known song from the album, “Sorry Seems to Be the Hardest Word”. “Sorry” is a unique song in the Elton catalogue, as it’s a rare case of Elton writing the melody before the lyrics with Bernie; in fact, some sources state that most of the lyrics are Elton’s, which I can believe. That’s not meant to be derogatory in any way; the lyrics kind of have a simplistic quality to them that feels fitting for the theme. The vibraphone and accordion add to the atmosphere and James Newton Howard even throws in another nice string arrangement. A solid song overall, though considering its light tone and sad theme, it’s kind of surprising that it became a hit. At least “Someone Saved My Life Tonight” built up to something hopeful in the end; this is just consistently sad until the end, which isn’t a criticism. I just find it shocking that it became as big of a hit as it did.

Next is the album’s second and longest instrumental, “Out of the Blue”. This jazzy instrumental really shows off the great musicianship that this incarnation of the Elton John Band had. Lots of great interplay here between the guitars, drums, bass and Ray’s vibraphone. And, unlike “Your Starter For”, Elton is clearly playing piano on this track, as evidenced by the second half of the song which puts him more in the spotlight until that amazing pause where the vibraphone takes center stage. Really awesome song, definitely worth checking out.

We return to the sad tone with the next track, “Between Seventeen and Twenty”, which is a collaboration between Elton, Bernie, Davey and Caleb. This is also probably the most direct reference to Bernie’s marriage on the album. The title refers to the ages his wife and him were when they met and laments what went wrong in their marriage. This is one I used to not like mostly due to the repetitive sequencing it starts, but it has actually grown on me, mostly due to Elton’s voice, the backing vocals and James’s organ playing. Much like “Chameleon”, there’s just something about the higher register vocals here that are really unique and memorable. Bruce Johnston also directed the backing vocals here, so I have to wonder if he may have had some influence on Elton’s performance here as well.

That’s followed by “The Wide Eyed and the Laughing”, the only collaboration credited to Elton, Bernie, Caleb, Davey and James Newton Howard. There was one point where I considered this the worst song Elton had ever recorded. Looking back, I think there are a few that are worse, and this one does get points for ambition...but I still think it’s a terrible song. It’s a sitar-heavy song. Sitar-heavy songs are usually good at creating worldly effects and, to be fair, I feel like that’s what they were trying to go for here. But the sitar and Elton’s vocals just sound so out of tune with each other that it’s hard to listen to, and making it even worse are these awful synthesizer sounds from James which have the same, awkward flying saucer effect as in “First Episode at Hienton”. It almost sounds like they’re completely separate songs that were mashed up together in a bad way. The only tolerable parts are the few moments where it’s just the sitar playing.

Next up is “Someone’s Final Song”, a good song that, like “Between Seventeen and Twenty”, suffers from bad sequencing, being another sad ballad in a long line of sad ballads. This is a piano-focused song that once again has some of the most unique, high pitched vocals Elton has ever done...so it should come as no surprise that, once again, Bruce Johnston was involved. I especially love the backing vocal part that’s brought to center stage in the middle. It kind of has a later Beatles-like quality, giving me “Because” vibes specifically.

If you guys are wondering why “Where’s the Shoorah?” has so many views on streaming compared to most of the other tracks, here’s the reason: this song was sampled in the recent hit, “Cold Heart”. And to this day, I still have no idea what made them choose it because I actually really dislike this song. This song is BORING! It’s so slow, the chorus sings “Shoorah” in such an awkward way, I don’t like the depressing way the harmonium sounds on it...I just can’t find anything to like about it. I’m not even sure what a “Shoorah” is. I’ve tried looking it up and have found multiple answers. Apparently it has some sort of religious meaning. It still doesn’t make it a good song, but I will at least give Bernie credit for trying to tell something with such a deep meaning...it’s just not arranged well.

The monotonous sequencing finally ends with the next track, “If There’s a God in Heaven (What’s He Waiting a For?)”. Despite what the title may have you believing, this one’s actually fairly uptempo and contains much more instrumentation than the tracks immediately preceding it. It’s a welcome change of pace; the guitar has kind of a summer, beach vibe during the solo. My favorite part of it, though, is Buckmaster’s string orchestrations. I love the way they’re arranged. They’re performed in an epic way similar to “One Horse Town”, especially the sections after each chorus. They sound so cool and I also think it’s among Buckmaster’s best work with Elton, despite the fact that it’s actually quite light compared to most of his arrangements.

Next is “Idol”, another rare Elton-Bernie collaboration where the music came first. This is another jazz-influenced track, this time featuring Elton, Roger and Kenny as a trio with some support from the Brecker Brothers. It’s a type of song you would hear a lounge singer perform; I could totally imagine Frank Sinatra singing this song. This is another one that’s grown on me over the years.

“Theme From a Non-Existent TV Series” is the third and last instrumental on the album. The title is weird because it doesn’t sound anything like a TV theme; “Your Starter For” sounds more like a TV theme, and “Out of the Blue” actually was the closing theme for the British car show TOP GEAR for many years. It’s still a cool song, though. Very futuristic with its focus on synthesizers. It’s quick and fun, a nice way to lighten the mood.

And it all ends with “Bite Your Lip (Get Up and Dance!)”, an upbeat song that actually lacks a sad theme. I really like this song; unlike “Boogie Pilgrim”, this feels like a legitimate dance song with a hard rock edge to it. Some fans have criticized the second half where the choir keeps singing “Bite Your Lip” over and over again, but it actually works for me. I’ve been critical of songs in the past like “My Father’s Gun” and “All the Nasties” for doing stuff like this, but “Bite Your Lip” is a very dynamic song that keeps the energy moving at a good pace. The band is jamming out and having fun, and I find that I have fun listening to it. I love listening to Elton’s piano during the jam; it’s so full of life and makes for a nice contrast to all of the piano-focused slower songs that obviously couldn’t have that. Also, it builds up to an amazing ending where Roger just pounds away around the drum kit and leaves things with a bang. I love it; I think it’s a great closer.

BLUE MOVES marked the end of Elton’s reign at the top of the charts. Here in the U.S., it stalled at...gasp! Number 3! A great chart position, obviously, but not compared to the impossibly high standard Elton had set by this point. It’s not like I can’t entirely see why it stalled like this; it’s not really a commercial album and the sad theme can be kind of overwhelming, especially in the second half. Much like THE WHITE ALBUM, there are three tracks on here that I’d prefer to not hear again, but that doesn’t take away from the fact that there are still some really good tracks on here, both downbeat and upbeat. And you have to give him credit for doing something so brave and experimental at a point where that was very risky. So, yeah, it has problems, but the good stuff really is worth checking out and definitely among his classic tracks.

Alright, two more tracks to discuss from this period: the single-only “Don’t Go Breaking My Heart”/“Snow Queen”. The A-side...I don’t even have to really introduce it. Everybody knows this duet. The other singer, Kiki Dee, is someone who has popped up on occasion in the Elton story; she was one of the early acts signed to Elton’s label, Rocket Records, and appeared on some of his albums like GOODBYE YELLOW BRICK ROAD and ROCK OF THE WESTIES as a backing vocalist. She had one big hit by herself here in the U.S., “I’ve Got the Music in Me”, which is actually a really good song that I highly recommend checking out. “Don’t Go Breaking My Heart” is a homage to the classic Motown duet acts like Marvin Gaye and Tammi Terrell. Yeah, it’s silly, but I love it. It’s as catchy as you can get, and Kiki really did have a great voice too. The B-side, “Snow Queen”, also features Kiki and is more in line with the songs featured on BLUE MOVES. Elton experiments more with his lower range on this one, a hint at what was soon to come. Again, they sing well together on it and it certainly could have replaced one of the weaker BLUE MOVES tracks like “The Wide Eyed and Laughing”. It’s not a great song, though; it does feel like it overstays its welcome a bit near the end, but for what it is, it works fine.

And that concludes the classic 1970-1976 Elton John period. I’m up for continuing past this, as there are a lot of tracks I think are underrated and would enjoy sharing, so let me know if you guys are still up for it.
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Offline metaldams

If you think there’s enough quality music past this point and are willing to do so many albums, I’ll go along for the ride.  I know less of Elton’s music after this, yet I have a feeling I’m going to hear a few tracks and realise I’ve heard that song before.
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Offline metaldams

OK, BLUE MOVES.  Disappointingly, I say probably the worst Elton album since EMPTY SKY.  Disappointing because side one is so amazing that when I started listening to this, I thought I was hearing some underrated masterpiece.  When the album finished, I went back and listened to “Tonight” again just to make sure the song is as awesome a second listen and indeed it was.  This has got to be one of the best Elton songs ever.  The instrumental build up, the orchestration, Elton’s vocals - man was I moved.  Followed by “One Horse Town” which is easily the best rocker on the album.  Some driving eighth note bass throughout along with great guitar playing.  Love it.  “Chameleon,” while not as good as what proceeded, is indeed a good song and I can see it in mind for early 70’s style Beach Boys.  I can also see why it was rejected - 1976 was the year they became a nostalgia act.  But yeah, side one is brilliant.  Some 1976 Led Zeppelin syndrome in the sense the opening is far superior to the rest of the album.

After side one, “Sorry Seems to Be the Hardest Word” is another emotion packed ballad I love and to a lesser extent, “Someone Else’s Final Song” is also good.  I give “Bite Your Lip (Get Up and Dance)” credit for being a much needed uptempo song, but as the song progresses into its drawn out finale, it reminded me of disco.  A few other parts on the album had a slight disco feel, I wonder if that’s what’s meant by chasing trends.  But most of this?  Just very mid tempo, professionally played corporate rock that lacks any kind of personality.  Compare to GOODBYE YELLOW BRICK ROAD, where each song has its own distinct quirk or style or personality.  Here?  Just some stand out tracks thrown in with a lot of inoffensive music that fails to make an impression.

As an aside, I thought “Cage the Songbird” had a bit of a CSN feel to it.  Looked on Wikipedia and sure enough, Graham Nash does backing vocals!  There you go.

After a few more listens, who knows?  Maybe this will grow on me.  Maybe this is the kind of album you have to be a seasoned Elton listener to get.  What I do know is I love “Tonight,” “One Horse Town” and “Sorry Seems to Be the Hardest Word,” so at least I’ve gained a few new Elton favorites on my list.

Really curious to see where he goes from here.
- Doug Sarnecky


Offline Umbrella Sam

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OK, BLUE MOVES.  Disappointingly, I say probably the worst Elton album since EMPTY SKY.  Disappointing because side one is so amazing that when I started listening to this, I thought I was hearing some underrated masterpiece.  When the album finished, I went back and listened to “Tonight” again just to make sure the song is as awesome a second listen and indeed it was.  This has got to be one of the best Elton songs ever.  The instrumental build up, the orchestration, Elton’s vocals - man was I moved.  Followed by “One Horse Town” which is easily the best rocker on the album.  Some driving eighth note bass throughout along with great guitar playing.  Love it.  “Chameleon,” while not as good as what proceeded, is indeed a good song and I can see it in mind for early 70’s style Beach Boys.  I can also see why it was rejected - 1976 was the year they became a nostalgia act.  But yeah, side one is brilliant.  Some 1976 Led Zeppelin syndrome in the sense the opening is far superior to the rest of the album.

After side one, “Sorry Seems to Be the Hardest Word” is another emotion packed ballad I love and to a lesser extent, “Someone Else’s Final Song” is also good.  I give “Bite Your Lip (Get Up and Dance)” credit for being a much needed uptempo song, but as the song progresses into its drawn out finale, it reminded me of disco.  A few other parts on the album had a slight disco feel, I wonder if that’s what’s meant by chasing trends.  But most of this?  Just very mid tempo, professionally played corporate rock that lacks any kind of personality.  Compare to GOODBYE YELLOW BRICK ROAD, where each song has its own distinct quirk or style or personality.  Here?  Just some stand out tracks thrown in with a lot of inoffensive music that fails to make an impression.

As an aside, I thought “Cage the Songbird” had a bit of a CSN feel to it.  Looked on Wikipedia and sure enough, Graham Nash does backing vocals!  There you go.

After a few more listens, who knows?  Maybe this will grow on me.  Maybe this is the kind of album you have to be a seasoned Elton listener to get.  What I do know is I love “Tonight,” “One Horse Town” and “Sorry Seems to Be the Hardest Word,” so at least I’ve gained a few new Elton favorites on my list.

Really curious to see where he goes from here.

Your opinion on this is quite similar to what mine was the very first time I heard this (although “Bite Your Lip” and “Shoulder Holster” always stuck out to me from the beginning). You’re right regarding side 1; even detractors of this album have been known to admit that side 1 is among the best album sides Elton has ever done. This is one that I think does take some time to get used to, although you’ll see no arguments from me regarding YELLOW BRICK ROAD being the superior double album.
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Offline HomokHarcos

I thought this was another very strong album, even past the first side, which seems to be getting most of the praise. Sure, it could have been a single LP, but I did like what I heard throughout.

"Your Starter For" and "Tonight" sounds like film scores, to me, and almost sound like they could be background music. "One Horse Town" is also a song I really liked, one of my favorites on the album. Good all the way through. I see you didn't like "Boogie Pilgrim", I liked the blues influenced song. "Crazy Water" was pretty good, too, I thought. "Shoulder Holster" sounds like a funk song from that time period. The fact that these songs all sound quite different from each other is another point towards Elton John, who had a lot of variety.

I was pleasantly surprised to hear Elton John perform jazz fusion! I loved "Out of the Blue" with the guitar and piano. Awesome, and I'm really glad I heard this album now for that song. It reminds me of when Stevie Wonder had a fusion track on Songs in the Key of Life. I also like "Idol" because of the jazz lounge influence. That's one of my favorite types of piano playing (which is why I was also a big fan of Black Sabbath's "Air Dance"). "Theme from A Non Existent TV Series" sounds more like video game music to me, like on a 16 bit console. Another instrumental song, another song I enjoyed. "Bite Your Lip (Get Up And Dance!)" is a fun song, like you'd hear at a party. Gives me an excited and good feeling.

The albums starting from around Tumbleweed Connection have all been very good, in my opinion. I'm certainly open to continuing.


Offline Umbrella Sam

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Well, most fans agree 1970-1976 is the classic era for Elton John, but what about after that? Well, Elton was definitely no longer the same size star that he was during that period, but he still was capable of producing Top 40 hits (he had one Top 40 hit every year up through 1999) and, in my opinion, still produced a good amount of quality albums. There are a few brief lulls, but even most of the weaker albums have at least one or even a few good songs to check out.

We last left Elton in 1976 with his double album BLUE MOVES. As I mentioned in that thread, Elton was suffering from overwork and retired before a tour to support it could happen. And he kept his word for a while. Elton spent much of 1977 focused on his duties as Watford Football Club chairman, only doing an occasional live show. As for recordings, in this period they amounted to a mediocre charity single called “The Goaldiggers Song” and an incomplete album with Spinners/Stylistics producer Thom Bell (out of which came the incredibly underrated “Three Way Love Affair” and “Country Love Song”). By 1978, Elton found himself ready to record a full album again. Circumstances would be very different, though.

A SINGLE MAN is probably the most fitting name for an Elton John album, as it perfectly describes the circumstances of the album. It’s the first full album since EMPTY SKY where Gus Dudgeon wasn’t producing, even though they used his studio. Instead, Elton’s long time live sound engineer Clive Franks shared production duties with Elton. The only members of the Elton John Band to appear on this album are Ray Cooper and Davey Johnstone, and Davey only appears on one track. Probably the most notable change, though, was a new lyricist, Gary Osborne. As metaldams probably knows, Bernie (and for that matter, Davey and Dee Murray) was working with Alice Cooper on his 1978 album, FROM THE INSIDE, and so Elton took the opportunity to try a different approach to songwriting. Generally, the Elton-Bernie approach was that the lyrics would come first and Elton would write a melody around them, and while they did try a few approaches the other way (especially on BLUE MOVES), with Osborne, it would be the rule rather than the exception. Elton would come up with melodies and even some lyrics himself, and Osborne would finish them off and tighten them.

Much like BLUE MOVES, reception on A SINGLE MAN is pretty split, some considering it one of his most underrated albums, some among his weakest. I’m more in the latter category here, which isn’t to say it’s a bad album overall, but I don’t think it’s up to the standard of most Elton John albums. OK, let’s dive into the tracks.

The album fittingly opens with the very first John-Osborne collaboration, “Shine On Through”. And, to its credit, it actually is a very promising opener. Mostly a piano-focused ballad with a subtle Buckmaster arrangement and no guitars, it does capture that kind of lonely atmosphere that the title and cover hint at, which undoubtedly could also be seen as a negative. Still, in that sense, it actually does make it one of the more interesting tracks on the album.

The next track, “Return to Paradise”, is not. To their credit, they do try throwing a lot at it, with a Spanish-inspired arrangement, lots of marimba, trumpet and acoustic guitar. But man, that melody is just so bland that nothing can bring it to life. What’s especially ironic is that the ending actually does kind of work; the last lines with just Elton and then the band returning...for some reason, it actually does leave a larger impression than the rest of the song. But, yeah, overall, this one is not one I’m really a fan of.

“I Don’t Care” is a big improvement. More upbeat, this one has some elements of disco in it. I don’t mind disco; there certainly are bad disco tracks out there, but like any genre, it can work if arranged right. “Bite Your Lip” fell in this category, and I think this one falls in that category too, because it’s not full-blown disco so much as a combo of rock with disco. The lyrics are simple, but the instrumentation behind it is so strong that it’s able to overcome it, and it has one of the more memorable bass parts on this album.

“Big Dipper”...I really don’t like this one. Lyrically, it’s probably one of the most blatant and racy songs Elton ever wrote, so it was probably very controversial at the time. Honestly, I don’t really care about the lyrics here; I just flat out think the melody and the arrangement are bad. It has these really awful brass parts that, combined with the background singers make this sound like a drunk part song, not exactly my kind of thing. The irony is that I actually do kind of think the first part with the backing vocals works, but then they throw in those awful horns and just sour the experience so much.

“It Ain’t Gonna Be Easy”...WAY too long. It’s a shame, because the orchestral arrangement does kind of call to mind “If There’s a God in Heaven”, and I think at about 3 or even 4 minutes, this could have been a highlight. But the melody and theme are not strong enough to support the ridiculous runtime; it doesn’t have the emotional weight of “Tonight” or the fascinating imagery of “Madman Across the Water”. It’s just another, regular song that should have been the same length as the others.

“Part Time Love” was the hit here in the U.S., managing to reach number 21. The lyrics on this one are pretty weak and predictable...but much like “I Don’t Care”, the melody and the arrangement are so good that they overcome that and it actually is a pretty catchy number. The backing vocals are great, the guitars are great, and the production feels just right. I can see why this one was a minor hit. I enjoy it.

I also like the next track, “Georgia”, a ballad with Elton on harmonium. Unlike “Where’s the Shoorah”, there’s not an overly-dark atmosphere; it actually reminds me a bit of “Salvation”, something that’s downbeat but still full of life due to the choir (well, not technically a choir since it was the Rocket Records staff and Watford Football Club, but...still, they’re better than expected). Another highlight is the pedal steel guitar part, played by B.J. Cole, the same guy who played it on “Tiny Dancer”.

“Shooting Star” is OK; it’s a lot like “Idol” in that it kind of sounds like the type of song a lounge singer would sing, but “Idol” feels a bit more atmospheric and dark, which works in its favor. This one’s shorter and a bit too full for it to truly work. Not bad, but not super special in my eyes.

Next is “Madness”. I love the fast piano part that starts the song, and the band is tight and keeps the song moving at a good pace. And while the lyrics still aren’t fantastic, it does feel like they are trying to say something relevant, and, much like “Ticking”, it’s probably more relevant today than it was back then, to the point it can be uncomfortable. Still, unlike the other lyrical themes throughout, it does feel like it is telling something unique and that gives it an edge. Again, I do like “Ticking”, but just find it a bit hard to sit through. This is kind of the same way, though its more full production and lack of a focus on one specific person makes it a lot easier to just turn off the lyrical theme and enjoy the music.

“Reverie” is a short instrumental with Elton on piano and Buckmaster on synthesizer. Not much to say, as it’s quite short and not super memorable. Fine enough, but kind of filler.

The last track is also an instrumental, “Song for Guy”. “Guy” in this case was Guy Burchett, a messenger boy for Rocket Records who was killed in a motorcycle accident the day Elton wrote this song. Elton didn’t write it specifically for him, but upon learning of his death named it for him in tribute. It’s a very nice instrumental that has an otherworldly feeling; lots of synthesizer backing the piano, and Ray’s wind chimes also contribute to the atmosphere. This is a fairly well known song in the Elton catalogue everywhere except here in the U.S. It was released as a single here, but flopped. A shame, because it is a very nice song, my favorite song on the album.

So, yeah, a pretty big step down for Elton and unfortunately the next album is an even bigger step down. But Osborne’s lyrics do improve as time goes along and Elton will branch out a bit more, including some reunions with certain past collaborators. As it stands, I see A SINGLE MAN as a low point in Elton’s career, not the lowest, but still a low point. But, again, there are people who really like this album and you do have to admire the dedication that went into it. After all, not only did Elton co-produce, but he also plays almost every keyboard on it, including the synthesizers on “Song for Guy”! There definitely is ambition here, it just doesn’t play out the way I feel he intended it to.

Alright, let’s talk about a few singles/B-sides, as I think the album could have benefited from most of them. First up is the single-only combo, “Ego”/“Flinstone Boy”. The A-side was a lyric written during BLUE MOVES that Elton finally decided to record and intended as a comeback single. I think this song is amazing, better than anything on the album. The production is solid, with slightly more focus on synthesizers yet also still keeping Elton’s piano high in the mix. My favorite part is actually near the end when Elton briefly does some call-and-response style vocals; a nice change of pace in a song that’s all about changing the pace. A very underrated song that deserved a better reception than it got. The B-side, “Flinstone Boy”, is an Elton-only composition, and you can tell. Very repetitive lyrics, but Elton has a certain charisma in the way he sings it that it actually is kind of enjoyable, though not nearly as much as the A-side.

The “Part Time Love” B-side was another Taupin lyric, “I Cry at Night”, and this one definitely would have fit in on BLUE MOVES. It’s very dark and bare in arrangement. I don’t dislike it; the harmonies are nice, but it also covers the same lyrical ground as many BLUE MOVES songs and just doesn’t have the same staying power as something like “Tonight” or “Someone’s Final Song”.

And finally, we have the “Song For Guy” B-side, “Lovesick”, once again another Taupin lyric. Overall, it’s a pretty solid song. It’s upbeat, its got a catchy piano riff, and just the right balance between the orchestra and all the other instruments. Not over-produced in the slightest, this is something that very easily could have livened up the main album.
“I’ll take a milkshake...with sour milk!” -Shemp (Punchy Cowpunchers, 1950)

My blog: https://talk-about-cinema.blogspot.com


Offline metaldams

I actually might agree the non album single track, “Ego,” might be better than the rest of the album, though there are a few songs that come close.  “Ego” has some fantastic piano playing, a good atmosphere and is quite rocking - I dig it.

Album wise, I think the last four songs on the album, played together, work best.  “Madness,” like “Ego” is another fantastic rocker with some angry and impassioned Elton vocals.  “Shooting Star” is another real excellent track, Elton’s vocals remind me of David Bowie a little here and I really love the (what sounds like) upright bass in the background.  The closing, mostly instrumental “Song For Guy” is also an excellent piece…and you know what?  I like “It Ain’t Gonna Be Easy.”  Great guitar work throughout.

As for the rest, it’s varied.  I like the opening track, “Shine On Through” a lot - Elton alone with piano works for me.  The single “Part Time Lover” is quite catchy.  As for the rest, it’s just OK.  “Return to Paradise” sounds too loungy for me - though some of the instruments sound good in headphones.  As for “I Don’t Care” and “Georgia,”.whenever I hear the hi-hat going and the female backing vocals go in, you know it’s disco time.  Well, that, or the Peter Criss solo album, which also came out in 1978.  Very much of the time, very little of worth came from 1978 (checks birth certificate, runs away).  [pie]

As for the epic “Big Dipper,” a true lost opportunity.  They needed to get Robert Plant in the studio to edit in some random “squeeze my lemon” lines.  Yes, “Big Dipper,” if nothing else, is a standout, though for all the wrong reasons. 

If this is Elton’s weaker period, at least we’re getting some standout cuts still, so that’s a good sign. 

- Doug Sarnecky


Offline HomokHarcos

Definitely not as strong as the Elton John Band period, though there are some songs I like on here. It's interesting to see how the music industry has changed since the 1970s, two years was seen as a long gap between albums! In later decades that would be almost nothing.

"I Don't Care" is a good upbeat song, and to literally use to song's title, I don't care if it's disco. Still a fun song. "Big Dipper" was a strong I liked quite a bit, precisely because of the backing instruments. It reminds me of 1920s hot jazz, and the type of song I actually probably would think of playing at a party. I agree about "It Ain't Gonna Be Easy". It's a nice song, but probably didn't need to be that long. I think Elton John was going for an epic here.

:Shooting Star" sounds like AOR territory, with the soothing music and the saxophone. "Madness" might be my favorite song this album, probably the best piano playing on the album, and I like that there is a guitar solo. "Song for Guy": I usually like instrumental songs, this may not be my favorite so far of his, but I think it works fine as it is. It sounds sort of heavenly.

"Ego" is a song that deserved to be on A Single Man. I was thinking it sounded like it was from earlier, and sure enough the lyrics were written earlier during Blue Moves. I was a big fan of "Flintstone Boy". I didn't notice how repetitive it was, because that wasn't really too much of a detriment for me.


Offline hiramhorwitz

A Single Man is the album that convinced me that Elton’s glory days of consistently creating rich, memorable music and solid albums were a thing of the past.  Yes, it has a couple of decent tunes on it, but the depth of the music is a far cry from that of the period extending from the black album through Captain Fantastic, at least in my opinion.  Rock of the Westies demonstrated that Elton was still creative, trying new things and producing catchy music with a different edge, but ultimately missing the mark of his previous classic albums.  Nothing wrong with Here and There, but nothing overly special or new about it either.  Blues Moves showed some promise, with a couple of standout songs keeping me believing there was hope that Elton was regaining some of his lost ground.  But A Single Man put those hopes to rest, suggesting that all of Elton’s future albums would be a cut below those of the 1970-1975 studio albums.  And I believe that time has proven that to be the case.  Not to say that Elton hasn’t produced multiple winning songs over the intervening years – just that the consistency and frequency of the later songs pale in comparison to those of the 1970-1975 period.
 
Regarding the associated singles that were released as 45s at the time, Ego and Flintstone Boy do have something alluring about them.  But I still place them a notch below the majority of Elton’s 1970-1975 songs.

I remember the uneasy feeling in my stomach upon first listening to A Single Man.  I was a senior in college at the time, and immediately realized that one more of the reliable delights from my high school years had gone by the wayside. 


Offline Umbrella Sam

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Aiming to get the next review out later this week, but right now my mind is firmly back in MADMAN ACROSS THE WATER territory thanks to the new 50th anniversary box set. Those first 6 tracks are still so fantastic and I’ve even gained more of an appreciation for “Goodbye” when viewing it as a coda instead of a definitive closer. Honestly, if they had included “Honey Roll” and “Can I Put You On” instead of “Rotten Peaches” and “All The Nasties”, this would probably be my favorite Elton John album.
“I’ll take a milkshake...with sour milk!” -Shemp (Punchy Cowpunchers, 1950)

My blog: https://talk-about-cinema.blogspot.com


Offline metaldams

Aiming to get the next review out later this week, but right now my mind is firmly back in MADMAN ACROSS THE WATER territory thanks to the new 50th anniversary box set. Those first 6 tracks are still so fantastic and I’ve even gained more of an appreciation for “Goodbye” when viewing it as a coda instead of a definitive closer. Honestly, if they had included “Honey Roll” and “Can I Put You On” instead of “Rotten Peaches” and “All The Nasties”, this would probably be my favorite Elton John album.

Looks like it’s a 3CD set.  Cool.  It seems like every demo and alternate version is getting a release while the iron is hot for everyone these days.  I have those first 5 Metallica album box sets, which would probably take close to a week to go through - no exaggeration. 
- Doug Sarnecky


Offline Umbrella Sam

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Alright, we move on to the next Elton John album, 21 AT 33. Fun fact, the name of this album is based off of the claim that it was Elton’s 21st album...



(Sigh). OK, fine, I’ll talk about it. But, really, I don’t think it should actually count as an Elton John album, and I’ll explain why in a minute.

Yes, this is VICTIM OF LOVE, the album almost universally considered Elton’s worst. Released in 1979, this was Elton’s attempt to catch on to the disco craze. Yeah, he’d tried some attempts in the past, but to an extent, they all had some sort of disco-rock combination; here, we have flat out disco, and by no means good disco. The album was produced by Pete Bellotte, who was a successful disco producer, having produced some of Donna Summer’s records, and he apparently knew Elton at some point back in the Bluesology days. At face value, this doesn’t seem like it should be that bad; a guy who had success in this field and knew Elton should have made this seem promising. The problem is Elton himself wasn’t really involved in it.

I’ve seen multiple people argue that this shouldn’t really count as an Elton John album, and I agree with that viewpoint. Elton had nothing to do with the production, didn’t write any of the songs...he doesn’t even play piano on it. No other Elton John album is like this; the closest I can think of is THE THOM BELL SESSIONS, and outside of the fact that that isn’t a complete album, at least Elton contributed to the writing of a couple songs. Here, though...nothing. All he did was add some vocals, they slapped his name on it, and...boom! New Elton John record! Alright, let’s get this over with.

First up is “Johnny B. Goode”. A disco version of “Johnny B. Goode”. Yes, it sounds like a terrible idea and, yes, it’s just as terrible in execution. It’s way too slow, lasting over 8 minutes, and Elton wastes a good deal of that time just repeating “Go, Johnny Go!” over and over again in the same, monotonous way. Elton’s vocals are really off, I don’t like the saxophone solo...everything about this song is just a colossal failure! I’m not even that huge a fan of the original version (for me, the BACK TO THE FUTURE version is the definitive one), but they just screwed this one up so bad. I still find it so hard to believe that this exists; it does so many things wrong it just feels like it can’t possibly be real!

OK, so after that train wreck of an opener, we get the next track, “Warm Love in a Cold World”. I’m going to preface this by saying that I don’t think any other track on this album is as bad as that first one, but most of them are still bad, including this one. What’s especially odd about this one is the chorus at times is reminiscent of the BELL SESSIONS track, “Three Way Love Affair”. It’s strange because Elton wasn’t involved in the writing of either track, so I have no idea how they sound as similar as they do. That’s not a compliment to “Warm Love in a Cold World”. “Three Way Love Affair” is a fantastic track, but it also has very natural production. “Warm Love in a Cold World” is as technical as it gets, with very cold production, standard drumming...it just lacks any sort of emotion to it. Another bad song.

Next is “Born Bad”. And, wow, is this song boring! At least “Warm Love in a Cold World” reminds me of a song that I like. “Born Bad” is just bland and forgettable; a big issue with this album in general is that the songs tend to sound very similar and very rarely branch away from that.

The fourth track, “Thunder In the Night”, does branch away a little bit, and to its credit, I do actually like that synth riff near the beginning that recurs through the song. But it’s still not a good song. The lyrics are terrible and the instrumentation is very formulaic, as it is on the other tracks.

“Spotlight”...what can I say? It’s just as lifeless as the tracks that preceded it. Elton does sound a bit more engaged here vocally, but it’s still not enough to save this from being another forgettable, formulaic travesty.

Elton’s vocals on “Street Boogie” are actually better as well...but once again, it’s just another formulaic song with bland instrumentation and cold production. I know I’m kind of repeating myself here, but with an album like this, you can’t really say much more about it. It’s such a repetitive album.

It all ends with the title track, which is easily the best song on the album. It’s still not really a good song, but I don’t hate it, which is more than I can say for any of the other songs on the album. Strangely, this has the opposite problem of the two tracks that immediately preceded it. I think Elton’s vocal performance here is actually one of the weaker ones on the album, but the chorus is actually kind of catchy and it feels like they’re trying to capture a dark atmosphere as each chorus begins, not just follow every disco trend. I could actually see this being a disco hit...but, still, it doesn’t really take advantage of Elton John’s talents specifically and could very well have been given to any other artist with no effect on the finished product.

So, yeah, VICTIM OF LOVE is indeed a very bad album, the type of disco that I can understand people hating. Forgettable songs, very standard musicianship (no member of the Elton John Band appears on this record) and the overall repetition of the track styles pretty much defines this record, the exact opposite of what Elton John did so well. Bellotte clearly had skills as a producer; I can see this more technical style working for more mainstream artists of the time...just not Elton. Definitely his worst album if we count it as an Elton album...which, again, I really don’t.

Well, to ends things on a somewhat more positive note, let’s talk about the one B-side from this era, “Strangers”. I say positive because this was actually an outtake from the SINGLE MAN sessions, so unlike the album tracks, it actually is an Elton John song and, as such, it’s superior to anything on VICTIM OF LOVE. It’s still not a great song, but there is an undeniable charm to the chorus, and the production is quite natural and even feels a bit more smooth compared to some of the songs on A SINGLE MAN. A nice song, something I needed after listening to this disaster again. Luckily things do improve again from here and we’ll soon be getting into what I consider to be some of his more underrated albums.
“I’ll take a milkshake...with sour milk!” -Shemp (Punchy Cowpunchers, 1950)

My blog: https://talk-about-cinema.blogspot.com


Offline HomokHarcos

This sounds a lot like the disco/AOR type of music that was popular in the late 1970s/early 1980s. I actually can enjoy music like this in small doses, I don't exactly love it, and it doesn't come close to the previous Elton John albums. The main reason, as you pointed out in your review, is that all of the songs are basically in the same style. Previous releases had great variety, here it's basically all one in the same style. That makes the songs all blend together. I think if I heard all these songs in individual listens instead of together I might enjoy them more. "Johnny B. Goode" was the most memorable because I knew the original song and wanted to hear the cover, but yeah... no way that should have been over 8 minutes long.

If I could give praise to something on this album, it would be the bass. I really liked the slap technique being used throughout, and hearing the solos were the highlights of this album. The same could be said about disco in general.

Spotify had "Strangers" on the A Single Man release, it definitely is better than any of the songs on Victim of Love.


Offline metaldams

      K-Tel presents Elton John.  My God, what a cynical album.  I read Elton literally did all his vocals in a one day, eight hour session.  When Rod Stewart, The Rolling Stones and KISS did their disco thing, at least they incorporated elements of themselves into it and made albums that had a bit of variety.  This?  Straight disco.  It is true that all the songs bleed together and that’s the point.  It’s all 126 beats per minute with the same repetitive beat.  This was meant to played for a bunch of coked up dancing hedonists at Studio 54.  That is the spirit of this album.  This is a you had to be there album.

      I will say the cover of “Johnny B. Goode” works as a novelty.  Partially because it’s the first song on the album and the repetitiveness had yet to have worn out it’s welcome.  Seriously, by “Street Boogie” I was getting a little stir crazy there.  Like it better than the Judas Priest version, if not the original.  I will also add the bass was done by a very young Marcus Miller.  He went on to play for Miles Davis and also has a solo career jazz bass players worship.  Back in the nineties, my bass instructor worshipped the guy.

      But yeah, overall, a cheap and lazy way for Elton to try to score a hit.  Hearing “Strangers,” a good Elton track after this was like a breath of fresh air and I’m looking forward to hearing 21 AT 33.*. Elton playing piano and writing songs - what he’s put in this Earth to do.

- Doug Sarnecky


Offline metaldams



Looks like Elton John and Tony Iommi shared a stage.  I watched this event in 1992 but not much of it since then.
- Doug Sarnecky


Offline Umbrella Sam

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21 AT 33 review coming probably either tomorrow night or Saturday, but before then, here’s a little preview of what’s to come:

“I’ll take a milkshake...with sour milk!” -Shemp (Punchy Cowpunchers, 1950)

My blog: https://talk-about-cinema.blogspot.com


Offline Umbrella Sam

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We now enter the ‘80s with this next album, 21 AT 33. As I hinted at in my previous review, the title of this album was meant to reflect that it was Elton John’s 21st album that he’d made, and it was released when he was 33 years old. Seems like a lot of albums we went through, right? Well...not exactly. In reality, 21 AT 33 is Elton’s 14th studio album (15 if you include ZIPPO). I’ve seen multiple different explanations for this unusual count over the years, which often include the live albums and FRIENDS, some compilations, and in certain scenarios, counting the two double albums as two albums each. But, hey, does the title really matter that much? Let’s discuss the album itself.

21 AT 33 finds Elton involved in the music again. As with A SINGLE MAN, he co-produced the album with Clive Franks and co-wrote some of the songs with Gary Osborne. The keyword being “some”, as this album features no less than 4 collaborators, including a certain Bernie Taupin. Yes, even though it’s not a full reunion, Bernie did contribute some of the lyrics to this album. Also bringing some nostalgic vibes are the return of Dee Murray and Nigel Olsson on a couple of songs. At the same time, though, Elton was trying to catch up with the times somewhat, especially after VICTIM OF LOVE, which was already dated by the time of its release.

It starts with “Chasing the Crown”, a collaboration with Bernie, fittingly enough. If the guitar tone on this sounds like Toto, well, that’s because Toto’s lead guitarist, Steve Lukather, plays on this as well as many other tracks on the album (he actually appeared on “Warm Love in a Cold World” from the previous album too, but my ears were hurting so much from that that it was much harder to notice). There’s a lot of energy in this track; I especially like the bass playing. It’s not a super catchy song, but it’s enjoyable enough.

Next up is “Little Jeannie”, a John-Osborne collaboration. People seem to forget how popular this song was, possibly because Elton has rarely performed it live outside of the 1980 tour and the ONE NIGHT ONLY shows in 2000. But this was actually Elton’s second highest charting (solo) single of the ‘80s here in the U.S., peaking at number 3, which was higher than the more remembered singles like “I’m Still Standing”. It’s a pretty unusual sounding song in the Elton catalog too; maybe it’s because of the saxophone, but this has always sounded to me like a song Billy Joel would sing. It’s really good; I like the use of Elton’s lower vocal range, the saxophone and electric piano combination is really cool, and I especially love that fadeout at the end with the backing singers. It’s so catchy, and having Dee Murray there gives it a real authenticity that makes it even more charming.

The third track is another (less successful) single, “Sartorial Eloquence”, also known as “Don’t You Wanna Play This Game No More?” here in the U.S. This is one I remember not being a fan of the first time I heard it; the chorus is just a constant repeat of the U.S. title phrase over and over again. That being said, I think it’s produced pretty well; there’s a dramatic build up in the verses that I like, and there’s a certain charisma Elton and the backing singers have that does actually make me enjoy it. It’s kind of hard to explain, but it’s kind of like in FLINSTONE BOY, where the repetition is made up for by the performance. I like this one a lot more now.

“Two Rooms at the End of the World” refers to Elton and Bernie’s unusual writing partnership, in that they don’t usually tend to write in the same room at the same time. Generally, Bernie hands Elton the lyrics and Elton goes off and sets them to music. A nice idea for a song...not a good result. I think this song’s really bland, which is strange because every time I listen to it, I feel like I should like it; it’s upbeat and it has a good lineup. But it doesn’t have any particularly good hooks in it, and at over 5 minutes, it overstays its welcome pretty quickly. Nothing really stands out in the instrumentation outside of little bits of Elton’s piano playing near the end, and even then it’s not that much in the forefront. Not a fan of this one.

Side 2’s opener is “White Lady White Powder”, which may be one of the strangest songs in the Elton catalog. It’s a song about drug addiction, which isn’t necessarily a new topic for Elton. But unlike “Feed Me” where it was clearly matched with a lonely and desperate atmosphere matching the lyrical theme, Elton instead matches it with this very cheerful melody. And it’s super catchy too; it has the Eagles on backing vocals and it’s just really fun to hear them singing back and forth with Elton, not to mention the classic rhythm section of Dee and Nigel is also backing here with a strong emphasis on Elton’s acoustic piano. People have criticized it for its lyrics, and I get it, but I actually really like this song. I guess it’s kind of a guilty pleasure for me; obviously I know it’s about a bad thing, but the way it’s produced, sang and played is just so fun to listen to.

The next track is “Dear God”, which I consider one of the weaker tracks on the album. In its defense, the backing vocal arrangement is really good...and, sure enough, it is again arranged by Bruce Johnston. Man, that guy really knows what he’s doing with vocal arrangements. Outside of that, though, it’s just kind of a bland, mid-tempo song that doesn’t really stick with me.

That’s followed by “Never Gonna Fall in Love Again”, a collaboration with Tom Robinson (who also co-wrote “Sartorial Eloquence”). I like this song; it has a very memorable chorus, and I like the focus on the electric piano and acoustic guitar, which captures the sad atmosphere of it. Not a lot else to say; it’s a good ballad.

“Take Me Back” is a country song, but it’s far removed from the days of TUMBLEWEED CONNECTION. No real imagery; just kind of a standard country arrangement with some fiddle thrown in. Very forgettable.

Thankfully, the album ends on a high note with “Give Me the Love”. This song was co-written with Judie Tzuke, a singer signed to Rocket Records. I really like it; it’s got a kind of soul/funk feel to it that’s just so nice to hear given Elton’s clear love for those genres in past tributes like “Philadelphia Freedom”. They also went all out on the production, including horns and strings. The vocals are great, the chorus is super catchy, and it moves at a good pace. Great closer.

So, yeah, still not a great album overall, but 21 AT 33 clearly shows Elton going in the right direction. Obviously it’s better than VICTIM OF LOVE, and I also think it’s better than A SINGLE MAN (I feel that the better tracks from this album, like LITTLE JEANNIE and WHITE LADY WHITE POWDER are superior to the better tracks on A SINGLE MAN). I still do consider it in the lower tier of Elton John albums, but that’s not to say it’s a bad album. There still are a lot of tracks I do like; if anything, it’s slightly more disappointing because of the fact that they included weaker tracks like “Two Rooms at the End of the World” or “Take Me Back” over other tracks that were recorded during this period.

21 AT 33 was actually meant to be a double album, and enough tracks were recorded for that purpose. For whatever reason, the final product didn’t end up that way, but the remaining tracks turned up either on the next album or as B-sides throughout the next few years. I’m going to cover them with the corresponding albums they appear as B-sides to, but even with that taken into account, I still have quite a few more tracks to cover, so I’ll try to be quick.

First up is the “Little Jeannie” B-side, “Conquer the Sun”, which was actually a SINGLE MAN holdover. And, yeah, A SINGLE MAN could have definitely benefited from its inclusion. Very beautiful ballad with fantastic vocals from Elton and a very fitting, weeping guitar solo. A real hidden gem in the Elton catalog; if there’s one B-side from this year to check out, it’s this one.

“Sartorial Eloquence” had two B-sides. The first was “Cartier”, which is kind of just this short, almost commercial type song; Elton actually wrote most of the lyrics to it. The second was “White Man Danger”, which is kind of similar to “Two Rooms at the End of the World”, but with much better instrumentation. The guitar stands out more and there’s a cool organ part in the middle. Not crazy about the lyrics, though, which are pretty bad, and I can see why it was left off of the album.

Then there’s the “Dear God” single, which actually came with three B-sides! First is “Tactics”, a synth-driven instrumental. Not much to say other than that I like it; the synths are cool and it has a pretty memorable theme. “Steal Away Child” is a very pleasant, electric piano-centric ballad. I think this should have been included on the album in place of “Dear God”, as it has a really nice simplicity to it that the album could have benefited from. “Love So Cold” is probably most interesting for the fact that it starts with Elton doing a Ricky Ricardo impression! I actually like this one too; some great guitar work and I really like the backing vocals on it as well.

And, finally, we have what might be one of the most fascinating collaborations Elton has ever done, “Les Aveux”/“Donner Pour Donner”, a single-only release he recorded with singer France Gall...in French. The A-side is a French adaptation of an unreleased John-Robinson collaboration, “Reach Out to Me”. It’s a nice ballad; Gall had a very good voice and they really put a lot into the production on it, even including a string section. The B-side is a rarity in that Elton sings some Bernie lyrics for a song he didn’t write the music to. I think people tend to prefer it to the A-side, which is understandable as it feels like it has its own completely unique identity, whereas the A-side does kind of feel like it’s aiming to get radio play. Regardless, I still like both songs.
“I’ll take a milkshake...with sour milk!” -Shemp (Punchy Cowpunchers, 1950)

My blog: https://talk-about-cinema.blogspot.com


Offline metaldams

If you include Friends, all the studio albums - counting the two doubles as two albums, the two live albums and the two greatest hits albums - you get 21 albums.

I’ve heard interviews with KISS and Alice Cooper in the early eighties refer to how many albums they have, and they use the same formula.
- Doug Sarnecky


Offline metaldams

      21 AT 33 (I’m working on my album 0 AT 43, be patient), is the best Elton album since ROCK OF THE WESTIES.  Much, much, much better than VICTIM OF LOVE!  Actually, I would say side one is especially good and really has a great mix of rockers and ballads.  The opening track, “Chasing the Crown” is my favorite on the album and probably one of my favorite Elton songs going by first listen.  A killer track, with a great vocal, bass and guitars throughout.  Absolutely love it.  After that comes the two hit ballads which are both fine songs.  I dig the less commercially successful “Sartorial Eloquence” a tad more but both enjoyable.  “Two Rooms at the End of the World” is another great rocker to end side one.  Sequencing and mood is so important and I think Elton did a fine job on this first side.

      Side two starts out with another rocker in ‘White Lady White Powder.”  Looks like all the rockers are co-written with Bernie and this one has some drug laced subject matter.  Play this with “Snowblind.”  The gospel tinged “Dear God” and “Never Gonna Fall in Love Again” are beautiful tunes but after that, I think another rocker would have sufficed instead of the country tinged ‘Take Me Back,” easily the weakest on the album.  “Give Me the Love” is a fairly solid closer.

     A good album overall.  I really like the mix and production and again, really loved “Chasing the Crown.”  If I’d make an Elton playlist, that would be included.
- Doug Sarnecky


Offline Umbrella Sam

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      21 AT 33 (I’m working on my album 0 AT 43, be patient), is the best Elton album since ROCK OF THE WESTIES.

“Zero The Hero” better be on this. [pie]

Glad you liked this, and interesting choice with “Chasing the Crown”. It does feel like a lot was put into it and it makes for a good opener as a result.
“I’ll take a milkshake...with sour milk!” -Shemp (Punchy Cowpunchers, 1950)

My blog: https://talk-about-cinema.blogspot.com


Offline Umbrella Sam

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A preview of what’s to come with the next album, THE FOX. This album actually had a corresponding VHS/laserdisc called VISIONS. It was Elton’s one attempt at a video album, released about a year after the album it was associated with. I especially love this first video I’m linking to and overall, it’s a pretty interesting collection of videos if you get a chance to check it out.

“I’ll take a milkshake...with sour milk!” -Shemp (Punchy Cowpunchers, 1950)

My blog: https://talk-about-cinema.blogspot.com


Offline HomokHarcos

A return to form after Victim of Love. That albums seemed like such an outlier, and now we are back to to good Elton John music.

"Chasing the Crown" is already much better than anything that appeared on Victim of Love. Toto is a band I like the hits of but haven't explored much more of. Really good opening track, and I'm glad you mentioned who was on guitar because I liked it in the song. "Little Jeanie" actually reminds of his earlier song "Daniel", aside from the saxophone. It's a nice change of pace after the first track. I also liked the backing vocal group. I wasn't as big of a fan of "Sartorial Eloquence". I agree with metaldams on "Two Room at the End of the World". It was a pretty solid rocker, I especially like the instrumental sections with the piano solos.

I like the music in "White Lady White Powder" but can understand the criticism towards the lyrics. I don' think I've heard the term white lady used to refer to cocaine before. "Dear God" sounds like a cheesy gospel song. On my first listen it sounds like it's supposed to be straight. "Never Gonna Fall in Love with You Again" is a better ballad.  I loved the saxophone solo, gives me some AOR vibes and I mean that in a good way. "Take Me Back" is also my least favorite track on the album. I liked the more upbeat "Give Me the Love" that ended the album. I like that Elton John can go from rocking tunes to ballads to this.

I wouldn't say it's up to the standards of his mid 1970s albums, but it was definitely better than Victim of Love.


Offline HomokHarcos

The singles have a more low key feeling to them than the album singles. I liked “Conquer the Sun”. Im surprised it took this long to get a release if it was recorded for the A Single Man sessions. “Cartier” is a beautiful piece. “White Man Danger” I think could have been included on the album. I think it’s funny that there was a song with white man and also a song with white lady in the title.

“Tactics” being instrumental and synth based sounds like a perfect song to go along with a video montage or slideshow. “Love Do Cold” is my favorite of these bunch of tracks, there’s a section with the guitar that reminds me of “Here Comes the Sun” by The Beatles.

It was nice to hear Elton song in French. I admittedly don’t understand the lyrics, but the vocals meshed well together, especially in “Donner Pour Donner”.

There were enough tracks here for a whole separate release, if they wanted to they could have released another album.


Offline Umbrella Sam

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After HERE AND THERE completed his DJM contract in 1976, all of Elton’s albums and singles were released on his own record label, Rocket...in the U.K. Elton’s label history in the United States was a different story. Initially signed to MCA’s subsidiary, Uni Records, his records became so successful that they were released through the parent company. Although a successful collaboration for the most part, Elton became dissatisfied with them after the “Song for Guy” single flopped in the U.S., and after 21 AT 33 was released, he moved over to the newly established Geffen Records, the same company that had signed John Lennon just before his death. Elton still had enough leftover tracks from the 21 AT 33 sessions for a full album, and some did end up on the new album, but David Geffen wanted some new songs, so Elton returned to the studio, this time with a new producer.

Chris Thomas may be a familiar name, as he has worked with a large number of acts over the years including Pink Floyd and the Beatles. This wasn’t the first time he and Elton worked together; they were apparently both students at the Royal Academy of Music around the same time, and Elton had previously been a member of a Thomas-produced band in the late 1960s called the Bread and Beer Band. Thomas is often criticized by Elton fans for his production work being overly technical, and I think that reputation is very much undeserved...for the most part. Towards the end of their collaboration, I can see some of their complaints, but in my opinion, he did a lot of good work for Elton in the 1980s, steering him in a much clearer direction. THE FOX was the start of this, and...it’s a great album.

It starts with a John-Osborne collaboration, the fantastic “Breaking Down Barriers”. I’m going to be bold with this next statement: not only is this my favorite Elton song of the ‘80s, but it’s one of my favorite Elton favorite songs period, which gives Thomas a point in my book. I love everything about this song. Based around a melody he created on the spot during a TV interview in 1980, Elton added this really fast, ascending piano part that recurs throughout the song, and it sounds so amazing, some of the most impressive piano playing I’ve heard from Elton. The song revolves around the piano specifically, so it actually feels just like something out of the ‘70s, supported by the fact that Elton sings in falsetto for a little bit, something that had been lacking for quite some time. I also like how the guitar is kind of low in the mix for the majority of it. That’s not meant to be a criticism of the guitar playing; on the contrary, I think Richie Zito does a great job. The reason I like that the mix underplays it is because it makes the few moments where the guitar is high in the mix, like the solo in the middle or near the end, actually sound a lot cooler as a result. It’s a very atmospheric effect that’s even cooler in the video I linked to, where the guitar solo plays along to the barriers starting to be torn down. The rhythm section is fantastic; Dee and Nigel are back once again, and Dee does this really cool descending bass part near the end that contrasts with Elton’s ascending piano part quite nicely. Wonderful opening.

The second track is a 21 AT 33 holdover, “Heart in the Right Place”, which you can tell based off of the guitar tones, which scream Lukather. I also really like this track; it’s a blues-inspired song, but updated to sound like an ‘80s song. There’s a stronger emphasis on keyboards as it goes along, to the point where there are these synthetic vocal effects building up as Elton keeps singing “Heart’s in the right place!” I could see people make the argument that this is a bit too technical and out of Elton’s comfort zone, but I actually enjoy it. Elton’s always been about taking risks, and he does sound really invested in it. It’s also helped, of course, by that fantastic Lukather guitar work throughout and some really awesome drumming.

Next is “Just Like Belgium”, the first John-Taupin collaboration on the album. Once again, it’s another good song. Obviously European-inspired in both lyrics and musical style, this song manages to succeed at capturing a fun party style in the way that “Big Dipper” attempted but failed to do. The saxophone actually sounds good, there’s another strong emphasis on Elton’s piano, and Elton gives a really strong vocal performance, making great use out of his lower vocal range. This is one of those songs that really sounds like it was specifically tailored for that, his voice sounds so clear and smooth on it.

“Nobody Wins” is also a very European-inspired track...in fact, it was originally written by a French artist named Jean-Paul Dreau as a song called “J’Veux d’la Tendresse”, which Elton heard on the radio and was so moved by, he asked Osborne to translate it to English for him to record. Rather than do a literal translation, Osborne decided to apply Elton’s troubled family life as a child to the lyrics, thus making it one of the most personal songs Elton has sung as well as some of Osborne’s best lyrics. This is a very technically-produced track, with lots of keyboard programming, but much like “Heart in the Right Place”, I’m willing to defend it for the atmosphere it creates. It makes it sound like he is in this very lonely, distant place far removed from the rest of the world, which makes sense because the lyrics refer to a broken situation he’s trying to get out of. Don’t get me wrong, there are definitely cases where this style of production/programming doesn’t work, as we’ll see eventually, but I think in this context it actually makes sense and is used in a way that it properly supports the lyrical theme. Also worth noting that Elton recorded the original French version as well, using the same backing track.

The next John-Taupin track is “Fascist Faces”, my least favorite track on the album, though, much like my least favorite tracks on his best albums, I don’t necessarily dislike it. I just don’t think the melody is really that interesting or memorable, but the guitar work on it is still pretty cool and at least it gives us another rock track right before we go to major ballad territory with the side 2 opener.

Opening side 2 is the epic ballad combination, “Carla/Etude-Fanfare-Chloe”, separate tracks that were recorded during the 21 AT 33 sessions. The first part, “Carla/Etude”, brings us back to “Tonight” territory, with Elton being supported by the London Symphony Orchestra. Named after Clive Franks’s wife, Carla, it’s obviously a classically influenced piece from the very beginning, and James Newton Howard matches that appropriately; he makes great use of the flute especially throughout this track, and once again, much like “Tonight”, they feel like they’re properly playing off of what Elton is doing on his piano, rather than just completely overtaking the music. “Fanfare” is a synthesizer-driven instrumental piece meant to act as a bridge between “Carla/Etude” and “Chloe”. It’s kind of cool, and I like how it actually incorporates aspects of the melody to “Chloe” in it. As for “Chloe” itself...a really fantastic ballad; I love the chorus to this track, it makes great use of the orchestrations, the guitar solo is fantastic. Overall, it’s a very well-produced track with some really emotional vocals from Elton and the backing singers, which of course begs the question of why did it and “Carla/Etude” get cut from 21 AT 33 in the first place but, hey, it least it ended up finding its way on to an album eventually.

After that emotional powerhouse, it was very smart of them to sequence the upbeat “Heels of the Wind” as the next track. And, once again, it’s another really good song. The vocals are fantastic, it’s got a great hook, the guitar solo is really fun...all the right ingredients for a great, upbeat song. Not a lot else to say; it’s another underrated, really fun track in the same way as “Just Like Belgium”.

Next is “Elton’s Song”, the last 21 AT 33 holdover and also the last John-Tom Robinson collaboration to appear on an Elton album. And, wow, what a way to go out. Lyrically, it’s the tale of a gay boy with an unrequited crush on his straight friend, and Elton keeps the arrangement simple, mostly piano-based with some synthesizer thrown in to replicate an orchestra. It’s the kind of tune that can really put you in a sad mood, but that’s what it’s supposed to do. Another really good, underrated song.

The closing track is the title track, a rare Bernie-written song that was actually written at the request of Elton, Elton having already decided on the title of the album before the track was written. It’s a nice, low-tempo closer to offset the deep sadness of the track that preceded it (following that with an uptempo song definitely would not have worked). There’s some nice harmonica work on it and Elton gives another good vocal performance. A good song to end the album with.

Commercially, THE FOX is one of Elton’s least successful albums. None of the singles were really hits (somehow, “Chloe” only managed to get to number 34) and it apparently hasn’t even been ranked Gold by the RIAA, one of the few Elton albums from the ‘70s/‘80s to not achieve at least that. It’s a shame because I really like this album. I’ve mentioned before that I consider the three albums immediately preceding this to be in the lower tier of Elton albums, but this is far from it. In fact, there are a few albums that I actually put among the ranks of the classic era albums, and this is one of them. The songwriting is great and the production is varied and experimental. This is actually the album I was initially expecting BLUE MOVES to be the first time I heard it. Wonderful album, one I highly recommend.

Alright, just a few B-sides this time. First is the “Nobody Wins” B-side, “Fools In Fashion”. I really like this song too; it has a nice electric piano focus, it’s catchy and the vocals are great once again. I can kind of see why it was cut as the addition of harmonica throughout probably made it seem too similar to the title track, but it’s still a really good song regardless.

The “Just Like Belgium” B-side was “Can’t Get Over Getting Over Losing You”, not to be confused with “I Can’t Go On Living Without You”, a late 1960s Elton track. “Can’t Get Over Getting Over Losing You” is a track cut from 21 AT 33, and, yes, I’m aware the title is ridiculously repetitive. But it actually is kind of a fun song; I really like the bridge, the musicianship is solid, and the vocals are really good. It’s a country song and I think it definitely should have replaced “Take Me Back” on the previous album.

Finally, we have the B-side to “Chloe”, another 21 AT 33 era track called “Tortured”. It’s fine, the chorus is decent, but it doesn’t really stand out much in my opinion.
“I’ll take a milkshake...with sour milk!” -Shemp (Punchy Cowpunchers, 1950)

My blog: https://talk-about-cinema.blogspot.com