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Album Details  :  Elton John    46 Albums     Reviews: 

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Elton John
	Album: 1 of 46 Title:  Empty Sky Released:  1969-06-03 Tracks:  9 Duration:  40:53 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   TrackSamples   Allmusic    AlbumCover	1   Empty Sky  (08:28) 2   Val-Hala  (04:10) 3   Western Ford Gateway  (03:13) 4   Hymn 2000  (04:28) 5   Lady What’s Tomorrow  (03:08) 6   Sails  (03:40) 7   The Scaffold  (03:13) 8   Skyline Pigeon  (03:34) 9   Gulliver / It’s Hay Chewed / Reprise  (06:59)
Empty Sky : Allmusic album Review : Although he had made a number of re-recordings of popular songs for a budget record label in the late 60s, Empty Sky was the first true solo album Elton John recorded after leaving Bluesology; it also marked the beginning of his long and fruitful collaboration with lyricist Bernie Taupin. Empty Sky is quite indicative of the post-Sgt. Peppers era. With its ambitious arrangements and lyrics, its clear that John and Taupin intended the album to be a major statement. Though it shows some signs of Johns R&B; roots, most of the album alternates between vaguely psychedelic rock and Taupin and Johns burgeoning pop songcraft, capped off by a bizarre reprise of brief moments of all of the songs on the record. There arent any forgotten gems on Empty Sky, but it does suggest Johns potential.
	Album: 2 of 46 Title:  Elton John Released:  1970-07-22 Tracks:  13 Duration:  50:51 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   TrackSamples   Allmusic    AlbumCover	1   Your Song  (04:01) 2   I Need You to Turn To  (02:33) 3   Take Me to the Pilot  (03:46) 4   No Shoe Strings on Louise  (03:31) 5   First Episode at Hienton  (04:48) 6   Sixty Years On  (04:36) 7   Border Song  (03:22) 8   The Greatest Discovery  (04:12) 9   The Cage  (03:30) 10  The King Must Die  (05:21) 11  Bad Side of the Moon  (03:14) 12  Grey Seal  (03:35) 13  Rock and Roll Madonna  (04:18)
Elton John : Allmusic album Review : Empty Sky was followed by Elton John, a more focused and realized record that deservedly became his first hit. John and Bernie Taupins songwriting had become more immediate and successful; in particular, Johns music had become sharper and more diverse, rescuing Taupins frequently nebulous lyrics. "Take Me to the Pilot" might not make much sense lyrically, but John had the good sense to ground its willfully cryptic words with a catchy blues-based melody. Next to the increased sense of songcraft, the most noticeable change on Elton John is the addition of Paul Buckmasters grandiose string arrangements. Buckmasters orchestrations are never subtle, but they never overwhelm the vocalist, nor do they make the songs schmaltzy. Instead, they fit the ambitions of John and Taupin, as the instant standard "Your Song" illustrates. Even with the strings and choirs that dominate the sound of the album, John manages to rock out on a fair share of the record. Though there are a couple of underdeveloped songs, Elton John remains one of his best records.
	Album: 3 of 46 Title:  Tumbleweed Connection Released:  1970-10-30 Tracks:  12 Duration:  1:00:08 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   TrackSamples   Allmusic    AlbumCover	1   Ballad of a Well‐Known Gun  (04:57) 2   Come Down in Time  (03:25) 3   Country Comfort  (05:07) 4   Son of Your Father  (03:47) 5   My Father’s Gun  (06:20) 6   Where to Now St. Peter?  (04:11) 7   Love Song  (03:40) 8   Amoreena  (04:59) 9   Talking Old Soldiers  (04:07) 10  Burn Down the Mission  (06:35) 11  Into the Old Man’s Shoes  (04:03) 12  Madman Across the Water (original version)  (08:52)
Tumbleweed Connection : Allmusic album Review : Instead of repeating the formula that made Elton John a success, John and Bernie Taupin attempted their most ambitious record to date for the follow-up to their breakthrough. A loose concept album about the American West, Tumbleweed Connection emphasized the pretensions that always lay beneath their songcraft. Half of the songs dont follow conventional pop song structures; instead, they flow between verses and vague choruses. These experiments are remarkably successful, primarily because Taupins lyrics are evocative and Johns melodic sense is at its best. As should be expected for a concept album about the Wild West, the music draws from country and blues in equal measures, ranging from the bluesy choruses of "Ballad of a Well-Known Gun" and the modified country of "Country Comfort" to the gospel-inflected "Burn Down the Mission" and the rolling, soulful "Amoreena." Paul Buckmaster manages to write dramatic but appropriate string arrangements that accentuate the cinematic feel of the album.
	Album: 4 of 46 Title:  Madman Across the Water Released:  1971-11-05 Tracks:  9 Duration:  45:19 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   TrackSamples   Allmusic    AlbumCover	1   Tiny Dancer  (06:16) 2   Levon  (05:22) 3   Razor Face  (04:44) 4   Madman Across the Water  (05:57) 5   Indian Sunset  (06:46) 6   Holiday Inn  (04:17) 7   Rotten Peaches  (04:58) 8   All the Nasties  (05:09) 9   Goodbye  (01:48)
Madman Across the Water : Allmusic album Review : Trading the cinematic aspirations of Tumbleweed Connection for a tentative stab at prog rock, Elton John and Bernie Taupin delivered another excellent collection of songs with Madman Across the Water. Like its two predecessors, Madman Across the Water is driven by the sweeping string arrangements of Paul Buckmaster, who gives the songs here a richly dark and haunting edge. And these are songs that benefit from grandiose treatments. With most songs clocking in around five minutes, the record feels like a major work, and in many ways it is. While its not as adventurous as Tumbleweed Connection, the overall quality of the record is very high, particularly on character sketches "Levon" and "Razor Face," as well as the melodramatic "Tiny Dancer" and the paranoid title track. Madman Across the Water begins to fall apart toward the end, but the record remains an ambitious and rewarding work, and John never attained its darkly introspective atmosphere again.
	Album: 5 of 46 Title:  Don’t Shoot Me I’m Only the Piano Player Released:  1972 Tracks:  10 Duration:  42:49 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Allmusic    AlbumCover	1   Daniel  (03:53) 2   Teacher I Need You  (04:10) 3   Elderberry Wine  (03:33) 4   Blues for My Baby and Me  (05:42) 5   Midnight Creeper  (03:53) 6   Have Mercy on the Criminal  (05:57) 7   I’m Going to Be a Teenage Idol  (03:55) 8   Texan Love Song  (03:32) 9   Crocodile Rock  (03:56) 10  High Flying Bird  (04:12)
Don’t Shoot Me I’m Only the Piano Player : Allmusic album Review : Elton John became a true superstar with 1972s Honky Chateau. He followed that album with Dont Shoot Me Im Only the Piano Player, his most direct, pop-oriented album to date. Designed as a pastiche of classic and contemporary pop styles, the album almost sounds like an attempt to demonstrate the diversity of the John/Taupin team. Though the hits are remarkable -- "Daniel" is a moving ballad and "Crocodile Rock" is a sly take on 50s rock & roll -- the album is slightly uneven. Several of the album tracks, particularly the knowing "Im Going to Be a Teenage Idol" and the rocking "Elderberry Wine," are as strong as anything John had recorded, but there are too many melodies that simply dont catch hold. Nevertheless, the singles were strong enough to keep the album at the top of the charts, and at its best, it is a very enjoyable piece of well-crafted pop/rock.
	Album: 6 of 46 Title:  Honky Château Released:  1972-05-19 Tracks:  10 Duration:  45:11 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Allmusic    AlbumCover	1   Honky Cat  (05:13) 2   Mellow  (05:32) 3   I Think I’m Going to Kill Myself  (03:35) 4   Susie (Dramas)  (03:25) 5   Rocket Man  (04:42) 6   Salvation  (03:58) 7   Slave  (04:21) 8   Amy  (04:03) 9   Mona Lisas and Mad Hatters  (05:00) 10  Hercules  (05:21)
Honky Château : Allmusic album Review : Considerably lighter than Madman Across the Water, Honky Chateau is a rollicking collection of ballads, rockers, blues, country-rock, and soul songs. On paper, it reads like an eclectic mess, but it plays as the most focused and accomplished set of songs Elton John and Bernie Taupin ever wrote. The skittering boogie of "Honky Cat" and the light psychedelic pop of "Rocket Man" helped send Honky Chateau to the top of the charts, but what is truly impressive about the album is the depth of its material. From the surprisingly cynical and nasty "I Think Im Going to Kill Myself" to the moving ballad "Mona Lisas and Mad Hatters," John is at the top of his form, crafting immaculate pop songs with memorable melodies and powerful hooks. While Taupins lyrics arent much more comprehensible than before, John delivers them with skill and passion, making them feel more substantial than they are. But what makes Honky Chateau a classic is the songcraft, and the way John ties disparate strands of roots music into distinctive and idiosyncratic pop -- its one of the finest collections of mainstream singer/songwriter pop of the early 70s.
	Album: 7 of 46 Title:  Goodbye Yellow Brick Road Released:  1973-10-05 Tracks:  17 Duration:  1:16:21 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Allmusic    AlbumCover	1   Funeral for a Friend / Love Lies Bleeding  (11:06) 2   Candle in the Wind  (03:49) 3   Bennie and the Jets  (05:22) 4   Goodbye Yellow Brick Road  (03:15) 5   This Song Has No Title  (02:23) 6   Grey Seal  (04:00) 7   Jamaica Jerk‐Off  (03:39) 8   I’ve Seen That Movie Too  (05:58) 1   Sweet Painted Lady  (03:55) 2   The Ballad of Danny Bailey (1909–34)  (04:24) 3   Dirty Little Girl  (05:02) 4   All the Girls Love Alice  (05:09) 5   Your Sister Can’t Twist (but She Can Rock ’n Roll)  (02:42) 6   Saturday Night’s Alright For Fighting  (04:54) 7   Roy Rogers  (04:08) 8   Social Disease  (03:44) 9   Harmony  (02:46)
Goodbye Yellow Brick Road : Allmusic album Review : It was designed to be a blockbuster and it was. Prior to Goodbye Yellow Brick Road, Elton John had hits -- his second album, Elton John, went Top 10 in the U.S. and U.K., and he had smash singles in "Crocodile Rock" and "Daniel" -- but this 1973 album was a statement of purpose spilling over two LPs, which was all the better to showcase every element of Johns spangled personality. Opening with the 11-minute melodramatic exercise "Funeral for a Friend/Love Lies Bleeding" -- as prog as Elton ever got -- Goodbye Yellow Brick Road immediately embraces excess but also tunefulness, as John immediately switches over to "Candle in the Wind" and "Bennie & the Jets," two songs that form the core of his canon and go a long way toward explaining the over-stuffed appeal of Goodbye Yellow Brick Road. This was truly the debut of Elton John the entertainer, the pro who knows how to satisfy every segment of his audience, and this eagerness to please means the record is giddy but also overwhelming, a rush of too much muchness. Still, taken a side at a time, or even a song a time, it is a thing of wonder, serving up such perfectly sculpted pop songs as "Grey Seal," full-bore rockers as "Saturday Nights Alright for Fighting" and "Your Sister Cant Twist (But She Can Rock & Roll)," cinematic ballads like "Ive Seen That Movie Too," throwbacks to the dusty conceptual sweep of Tumbleweed Connection in the form of "The Ballad of Danny Bailey (1909-34)," and preposterous glam novelties, like "Jamaica Jerk-Off." This touched on everything John did before, and suggested ways hed move in the near-future, and that sprawl is always messy but usually delightful, a testament to Eltons 70s power as a star and a musician.
	Album: 8 of 46 Title:  Caribou Released:  1974-06-24 Tracks:  14 Duration:  1:03:45 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   TrackSamples   Allmusic    AlbumCover	1   The Bitch Is Back  (03:44) 2   Pinky  (03:54) 3   Grimsby  (03:46) 4   Dixie Lily  (02:54) 5   Solar Prestige a Gammon  (02:52) 6   You’re So Static  (04:51) 7   I’ve Seen the Saucers  (04:47) 8   Stinker  (05:19) 9   Don’t Let the Sun Go Down on Me  (05:37) 10  Ticking  (07:28) 11  Pinball Wizard  (05:09) 12  Sick City  (05:23) 13  Cold Highway  (03:25) 14  Step Into Christmas  (04:30)
Caribou : Allmusic album Review : Glitzy showmanship is what fuels Caribou, a less successful album than its early-70s predecessors. Though the shiny surface of the album is alluring, only a few tracks rank among Johns best work. "The Bitch Is Back" is one of his best hard rock cuts and "Dont Let the Sun Go Down on Me" is one of his classic ballads, but the album tracks tend to be ridiculous filler on the order of "Solar Prestige a Gammon" or competent genre exercises like "Youre So Static." There are a couple of exceptions -- "Pinky" is a fine ballad and "Dixie Lily" is an endearing stab at country -- but on the whole, Caribou is a disappointment.
	Album: 9 of 46 Title:  Captain Fantastic and the Brown Dirt Cowboy Released:  1975-05-19 Tracks:  10 Duration:  46:46 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Allmusic    AlbumCover	1   Captain Fantastic and the Brown Dirt Cowboy  (05:46) 2   Tower of Babel  (04:28) 3   Bitter Fingers  (04:34) 4   Tell Me When the Whistle Blows  (04:20) 5   Someone Saved My Life Tonight  (06:46) 6   (Gotta Get a) Meal Ticket  (04:01) 7   Better Off Dead  (02:37) 8   Writing  (03:40) 9   We All Fall in Love Sometimes  (04:16) 10  Curtains  (06:16)
Captain Fantastic and the Brown Dirt Cowboy : Allmusic album Review : Sitting atop the charts in 1975, Elton John and Bernie Taupin recalled their rise to power in Captain Fantastic and the Brown Dirt Cowboy, their first explicitly conceptual effort since Tumbleweed Connection. Its no coincidence that its their best album since then, showcasing each at the peak of his power, as John crafts supple, elastic, versatile pop and Taupins inscrutable wordplay is evocative, even moving. Whats best about the record is that it works best of a piece -- although it entered the charts at number one, this only had one huge hit in "Someone Saved My Life Tonight," which sounds even better here, since it tidily fits into the musical and lyrical themes. And although the musical skill on display here is dazzling, as it bounces between country and hard rock within the same song, this is certainly a grower. The album needs time to reveal its treasures, but once it does, it rivals Tumbleweed in terms of sheer consistency and eclipses it in scope, capturing John and Taupin at a pinnacle. They collapsed in hubris and excess not long afterward -- Rock of the Westies, which followed just months later is as scattered as this is focused -- but this remains a testament to the strengths of their creative partnership.
	Album: 10 of 46 Title:  Rock of the Westies Released:  1975-10-04 Tracks:  9 Duration:  43:49 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   TrackSamples   Allmusic    AlbumCover	1   Medley: Yell Help / Wednesday Night / Ugly  (06:16) 2   Dan Dare (Pilot of the Future)  (03:30) 3   Island Girl  (03:44) 4   Grow Some Funk of Your Own  (04:45) 5   I Feel Like a Bullet (in the Gun of Robert Ford)  (05:29) 6   Street Kids  (06:23) 7   Hard Luck Story  (05:15) 8   Feed Me  (04:00) 9   Billy Bones and the White Bird  (04:25)
Rock of the Westies : Allmusic album Review : Less than four months after issuing the landmark and autobiographical Captain Fantastic and the Brown Dirt Cowboy, Elton John re-emerged with a new band and a slightly modified sound. However, the departure of bassist Dee Murray and drummer Nigel Olsson began a deceleration in terms of Johns success, which rivalled only the Beatles and Elvis Presleys in terms of global acclaim. The revamped band grew to include new associates James Newton Howard on keyboards and Kenny Passarelli on bass as well as drummer Roger Pope and guitarist Caleb Quaye, who had both performed with John as far back as his first long-player. (He also retained the services of guitarist Davey Johnstone and percussionist Ray Cooper from the most recent lineup.) Musically, Rock of the Westies maintains the balance of harder-edged material and effective ballads. In fact, one of the albums strongest suits is the wide spectrum of strong material. The ballsy no-nonsense "Street Kids" and the aggressive gringo rock of the ZZ Top sound-alike "Grown Some Funk of Your Own" contrast with the poignant power balladry of "I Feel Like a Bullet (In the Gun of Robert Ford)" or the dark and brooding tale of addiction on "Feed Me." Perhaps inspired by the crossover R&B; appeal of "Philadelphia Freedom," the up-tempo "Island Girl" bears a distinct and danceable groove that lies somewhere between a slightly Jamaican vibe and disco. Perhaps more soulful in the traditional sense are the boogie-based "Hard Luck Story" or propulsive Bo Diddley beat that drives "Billy Bones and the White Bird." While the increasingly fickle public as well as lack of a strong follow-up to the chart-topping single "Island Girl" may have prevented Rock of the Westies from becoming the heir apparent to Captain Fantastic and the Brown Dirt Cowboy, in the wake of Johns flawless predecessors it remains a strong and worthwhile entry that also set the stage for its follow-up, Blue Moves.
	Album: 11 of 46 Title:  Blue Moves Released:  1976-10-22 Tracks:  18 Duration:  1:24:49 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   TrackSamples   Allmusic    AlbumCover	1   Your Starter For  (01:23) 2   Tonight  (07:52) 3   One Horse Town  (05:56) 4   Chameleon  (05:27) 5   Boogie Pilgrim  (06:05) 6   Cage the Songbird  (03:25) 7   Crazy Water  (05:42) 8   Shoulder Holster  (05:09) 1   Sorry Seems to Be the Hardest Word  (03:48) 2   Out of the Blue  (06:15) 3   Between 17 and 20  (05:18) 4   The Wide-Eyed and Laughing  (03:28) 5   Someones Final Song  (04:11) 6   Wheres the Shoorah?  (04:09) 7   If There’s a God in Heaven (What’s He Waiting For?)  (04:25) 8   Idol  (04:09) 9   Theme From a Non-Existent TV Series  (01:19) 10  Bite Your Lip (Get Up and Dance!)  (06:44)
Blue Moves : Allmusic album Review : The immense creativity that had spurred Elton John to realize no less than 11 studio albums in under seven years was beginning to show signs of inevitable fatigue. The same can be said as well of the artists unfathomable physical stamina, which had included practically nonstop touring around the globe since the early 70s. Although initially Blue Moves (1976) was summarily dismissed by both critics as well as longtime enthusiasts, the double LP has since gained considerable stature within Johns voluminous catalog. While comparisons were inevitable to the landmark two-disc Goodbye Yellow Brick Road (1973) song cycle, most similarities in musical style and content end there. Johns band had expanded to include the talents of James Newton Howard (keyboards/orchestral arrangements), Kenny Passarelli (bass), Roger Pope (drums), and Caleb Quaye (guitar) -- the latter pairing had actually performed with John as far back as his first long-player, Empty Sky (1968) -- as well as Davey Johnstone (guitar) and Ray Cooper (percussion) from the "classic" early-to-mid-70s lineup. As the title suggests, Blue Moves is a departure from the heavier Rock of the Westies (1975). Instead, the album purposefully focuses on moodier and more introspective sides -- such as the single "Sorry Seems to Be the Hardest Word" (the efforts sole hit), the achingly poignant "Tonight," and "Cage the Songbird," the latter of which is particularly noteworthy as it recalls the life of Edith Piaf in much the same way that "Candle in the Wind" had immortalized Marilyn Monroe. "One Horse Town," which John briefly revived as a dramatic show opener during late-80s live performances, is one of Blue Moves most powerful and straight-ahead rockers. The lively string arrangement by Howard stands as one of the finest contributions to his short-lived tenure in this band, which for all intents and purposes dismantled after the album was recorded in March of 1976. Other standouts include the full-tilt gospel vibe of "Boogie Pilgrim" -- which features backing vocals from both the Cornerstone Institutional Baptist and the Southern California choirs under the direction of Rev. James Cleveland -- "Crazy Water," the haunting ballad "Idol," as well as the sets closing R&B; vamp, "Bite Your Lip (Get Up and Dance!)." While Blue Moves is a far cry from essential entries such as Tumbleweed Connection (1971) or Captain Fantastic and the Brown Dirt Cowboys (1975), the bright moments prove that John could still offer up more than average material. It is also worth mentioning that this effort marked the end of Johns initial collaboration with lyricist Bernie Taupin, who would resurface some three years later, albeit haphazardly on 21 at 33 (1979).
	Album: 12 of 46 Title:  Elton John’s Greatest Hits, Volume II Released:  1977 Tracks:  10 Duration:  48:20 Scroll:  Up   Down   Top   Bottom   25%   50%   75% AlbumCover	1   The Bitch Is Back  (03:37) 2   Lucy in the Sky With Diamonds  (05:57) 3   Sorry Seems to Be the Hardest Word  (03:48) 4   Dont Go Breaking My Heart  (04:23) 5   Someone Saved My Life Tonight  (06:46) 6   Philadelphia Freedom  (05:22) 7   Island Girl  (03:44) 8   Grow Some Funk of Your Own  (04:18) 9   Bennie and the Jets  (05:13) 10  Pinball Wizard  (05:09)
	Album: 13 of 46 Title:  A Single Man Released:  1978-10-10 Tracks:  11 Duration:  48:45 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   TrackSamples   Allmusic    AlbumCover	1   Shine on Through  (03:44) 2   Return to Paradise  (04:14) 3   I Dont Care  (04:19) 4   Big Dipper  (04:03) 5   It Aint Gonna Be Easy  (08:16) 6   Part-Time Love  (03:15) 7   Georgia  (04:49) 8   Shooting Star  (02:43) 9   Madness  (05:49) 10  Reverie  (00:52) 11  Song for Guy  (06:38)
A Single Man : Allmusic album Review : After a dozen albums with lyrical collaborator Bernie Taupin, A Single Man (1978) represents Elton Johns first full-length release away from their decade-long partnership. Johns initial intent was to complete work on a Taupin-era remnant that had been on the back burner, titled Ego. However, he found himself with some interesting melodies and eventually teamed up with former Vigrass & Osborne member Gary Osborne. Also contributing to this albums different approach is producer Gus Dudgeon -- who had worked with John as far back as his debut long-player, Empty Sky (1969). The infusion of new musical associates takes notable effect on songs such as the opener, "Shine on Through," which John had previously worked up during the Thom Bell Philly soul sessions that produced the hit "Mama Cant Buy You Love." (That version is available as one of three previously unissued sides on the Complete Thom Bell Sessions EP.) Among the other standouts are the gospel-tinged "Georgia," the lengthy blues-rocker "It Aint Gonna Be Easy," and the ultra campy, if not lightweight, "Big Dipper." The single "Part-Time Love" only made a nominal chart impact despite its catchy and danceable melody.
	Album: 14 of 46 Title:  Victim of Love Released:  1979-10-13 Tracks:  7 Duration:  34:44 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Allmusic    AlbumCover	1   Johnny B. Goode  (08:04) 2   Warm Love in a Cold World  (04:30) 3   Born Bad  (05:16) 4   Thunder in the Night  (03:55) 5   Spotlight  (04:08) 6   Street Boogie  (03:56) 7   Victim of Love  (04:52)
Victim of Love : Allmusic album Review : This thoroughly dated affair is the result of a chance re-acquaintance between Elton John (vocals) and Pete Bellotte (producer). The artist was not fully satisfied with the initial results of the three-song "Mama Cant Buy You Love" EP, which became as much a product of Philly soul maverick Thom Bell as it did John. When Bellotte approached John to record a full-length disco album, he took him up on the offer. This was providing that Johns contributions would be limited to providing vocals only. The results can be heard on Victim of Love (1979), a dismissible platter of Teutonic 4/4 rhythms and extended (mostly) instrumental indulgence. None of the seven cuts offer very much in terms of what Elton John enthusiasts would not only have expected, but more importantly, enjoyed. Although the title track was extracted as a single in the U.S. and the disgraceful cover of Chuck Berrys "Johnny B. Goode" was issued as a 45 rpm in Europe, neither made much impact. In fact, with the exception of the Friends (1971) motion picture soundtrack -- consisting of mostly instrumental incidental scoring -- Victim of Love was Johns lowest charting album to date. Although on a temporary touring hiatus, once John returned to the road, he wisely chose not to incorporate any of the material from the project on-stage. In fact, contrasting the blatant sonic excess of this release, John was concurrently performing as a solo act, backed only by longtime percussionist Ray Cooper. This "unplugged" setting restored some of the good will between John and his audience that Victim of Love had disenfranchised. Thankfully, the artist (and the rest of the music world) abandoned disco as the 1970s turned into the 1980s. His next effort, 21 at 33 (1980), allowed him to begin a long re-ascension on the music charts as well a restoration of his pop/rock leanings.
	Album: 15 of 46 Title:  Lady Samantha Released:  1980 Tracks:  14 Duration:  48:34 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Allmusic    AlbumCover	1   Rock and Roll Madonna  (04:09) 2   Whenever Youre Ready (Well Go Steady Again)  (02:47) 3   Bad Side of the Moon  (03:14) 4   Jack Rabbit  (01:51) 5   Into the Old Man’s Shoes  (04:03) 6   Its Me That You Need  (04:03) 7   Ho, Ho, Ho... Who’d Be a Turkey for Christmas  (04:05) 8   Skyline Pigeon  (03:53) 9   Screw You  (04:41) 10  Just Like Strange Rain  (03:44) 11  Grey Seal  (03:35) 12  The Honey Roll  (02:57) 13  Lady Samantha  (03:03) 14  Friends  (02:24)
Lady Samantha : Allmusic album Review : When first issued in 1980, Lady Samantha was initially only available in the U.K. as either an eight track or cassette. For enthusiasts of Elton Johns early and often edgy pop/rock, the odds and sods compilation became known as a haven for the vast majority of Johns pre-Caribou (1974) non-LP sides. Although many of these tunes were initially relegated to mere B-side status, they retain the consistently high caliber inherent in early John (piano/vocals) and Bernie Taupin (lyrics) collaborations. Chronologically, this set commences with the slightly psychedelic title track. This rocker fits in with the sound of other late-60s progressive groups such as Traffic. It likewise sonically suggests the path that Johns debut long-player, Empty Sky (1969), would take. The song became a fairly substantial "turntable hit" thanks to spins by John Peel and other influential BBC hosts. That momentum continued on the follow-up 7", which contained the pensive ballad "Its Me That You Need" b/w another full-tilt acidic rave-up, "Just Like Strange Rain." The dichotomy that exists between the heartfelt introspection of "Its Me That You Need" and the alternately heavy flip side showcases the artists seemingly effortless knack for timeless classics that range the full spectrum of pop/rock. "Bad Side of the Moon" -- the reverse to "Border Song" -- is a sci-fi rocker that would have easily fit within the context of the orchestral "Take Me to the Pilot" or "The Cage" from the Elton John (1970) long-player. The full-tilt "Rock & Roll Madonna" was mocked up in the studio with canned crowd noise to simulate a live performance. This bit of trickery was revisited several years later on the smash hit "Benny and the Jets" from Goodbye Yellow Brick Road (1973). Speaking of which, "Grey Seal" -- included here in a slightly awkward primordial form -- would eventually be reworked into the decidedly more aggressive rendering heard on the aforementioned LP. "Into the Old Mans Shoes" takes on much of the Americana feel that is closely associated with Tumbleweed Connection (1970), and rightfully so as it was recorded during the sessions for the landmark album. Both the easygoing title track as well as the soulful rave-up "Honey Roll" were extracted from the soundtrack to the Lewis Gilbert film Friends (1971). The revisitation of "Skyline Pigeon" included here is a 1972 reworking which retains much of the pious and hymn-like feel of the original Empty Sky version. The three Goodbye Yellow Brick Road-era B-sides -- "Jack Rabbit," "Whenever Youre Ready (Well Go Steady Again," and "Screw You" -- musically allow John to hark back to his influences of country and western, 50s rockers, and bluesy R&B;, respectively. "(Ho! Ho! Ho!) Whod Be a Turkey at Christmas" is arguably the most lightweight offering on this compilation, consisting primarily of what sounds like nothing short of an inebriated singalong. These 14 cuts were also included as part of the two-disc Rare Masters (1992) box set, which contains a much more extensive examination of Johns non-LP material.
	Album: 16 of 46 Title:  21 at 33 Released:  1980-05-13 Tracks:  9 Duration:  42:53 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   TrackSamples   Allmusic    AlbumCover	1   Chasing the Crown  (05:33) 2   Little Jeannie  (05:11) 3   Sartorial Eloquence  (04:45) 4   Two Rooms at the End of the World  (05:41) 5   White Lady White Powder  (04:33) 6   Dear God  (03:45) 7   Never Gonna Fall in Love Again  (04:08) 8   Take Me Back  (03:52) 9   Give Me the Love  (05:22)
21 at 33 : Allmusic album Review : Elton John entered the second decade of his pop music career releasing his 21st long-player during the 33rd year of his life, hence the albums title. It also marked the tentative return of former writing partner Bernie Taupin after a four-year sabbatical. Although the reunion yielded a trio of tunes, "Chasing the Crown," "Two Rooms at the End of the World," and "White Lady White Powder," unfortunately they all suffer from the same nauseating disco vibe that made Johns previous effort, 1979s Victim of Love, so thoroughly dismissible. However, the following years 21 at 33 is far from a complete washout. Building on the strength of his relationship with Gary Osborne -- with whom John had created A Single Man (1978) -- the pair wrote the standouts "Dear God" and "Take Me Back" as well as the hit single "Little Jeannie." "Sartorial Eloquence" harks back to the classic "Dont Let the Sun Go Down on Me," thanks to the all-star backing vocals from Eagles Glenn Frey and Don Henley as well as Toni Tennille, Bruce Johnston, and Peter Noone (from Hermans Hermits). Interestingly, John briefly reassembled his 1970s core band of Davey Johnstone (guitar), Dee Murray (bass), and Nigel Olsson (drums), although their contributions sound more like an afterthought when compared to those of studio stalwarts Richie Zito (guitar), Steve Lukather (guitar), Lenny Castro (percussion), and an all-star horn section of Chuck Findley (trumpet), Jim Horn (sax), and Jerry Hey (trumpet). The scattered nature and lack of cohesion on 21 at 33 would translate onto Johns next few albums such as The Fox (1981) and Jump Up! (1982). Not until the full-fledged reunion with Taupin and backing quartet on Too Low for Zero (1983) would John begin to reestablish himself as a central pop music figure.
	Album: 17 of 46 Title:  The Fox Released:  1981 Tracks:  9 Duration:  45:36 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   TrackSamples   Allmusic    AlbumCover	1   Breaking Down Barriers  (04:42) 2   Heart in the Right Place  (05:12) 3   Just Like Belgium  (04:10) 4   Nobody Wins  (03:38) 5   Fascist Faces  (05:12) 6   Carla / Etude / Fanfare / Chloe  (10:54) 7   Heels of the Wind  (03:33) 8   Elton’s Song  (03:02) 9   The Fox  (05:10)
The Fox : Allmusic album Review : The early 80s were not a particularly focused time in Elton Johns career. The Fox (1981) is a reflection of the tentative regrouping that began on his previous effort, 21 at 33 (1979). In fact, a third of the material was left over from the same August 1979 sessions. This results in dithering musical styles and ultimately yields an uneven and at times somewhat dated sound. The reunion with Bernie Taupin (lyrics) that commenced on 21 at 33 is once again sparsely tapped. He contributes the tepid "Heels of the Wind" as well as "Just Like Belgium," which foreshadows the pairs future lightweight efforts such as "Nikita." Slightly more promising, however, is the midtempo rocker "Fascist Faces" -- which may well be a nod to David Bowies infamous "Britain could benefit from a fascist leader" statement. The albums introspective title track instantly recalls the slightly bittersweet "Curtains" coda from Captain Fantastic and the Brown Dirt Cowboys (1975). Gary Osborne and Elton Johns collaborations were beginning to yield some impressive results, including "Heart in the Right Place" -- which could easily have been a follow-up to the slinky Caribou (1974) track "Stinker." The tender "Chloe" conclusion to the "Carla/Etude/Fanfare" medley became one of two tracks extracted as singles. The other, "Nobody Wins," sports a Euro-beat flavor and was adapted from a French techno-pop hit by Osborne and Jean-Paul Dreau. According to John, the dark and noir "Eltons Song" remains a favorite, and he very occasionally revives it for live performances. Although The Fox isnt a grand slam, it isnt exactly a bunt either. However, the incremental momentum would continue on the subsequent long-player, Jump Up! (1982), before culminating on his 80s breakthrough, Too Low for Zero (1983).
	Album: 18 of 46 Title:  The Album Released:  1981 Tracks:  12 Duration:  52:16 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Allmusic    AlbumCover	1   Pinball Wizard  (05:14) 2   Burn Down the Mission  (06:20) 3   Rock and Roll Madonna  (04:18) 4   Sweet Painted Lady  (03:55) 5   Harmony  (02:46) 6   Crocodile Rock  (03:56) 7   Lucy in the Sky With Diamonds  (05:57) 8   Sixty Years On  (04:36) 9   Skyline Pigeon  (03:53) 10  Country Comfort  (05:07) 11  Lady Samantha  (03:03) 12  Goodbye Yellow Brick Road  (03:07)
	Album: 19 of 46 Title:  Love Songs Released:  1982 Tracks:  16 Duration:  1:03:34 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Allmusic    AlbumCover	1   Blue Eyes  (03:27) 2   Little Jeannie  (03:51) 3   Sartorial Eloquence  (04:45) 4   Shine on Through  (03:43) 5   Chloe  (03:26) 6   Eltons Song  (03:01) 7   Tonight  (03:58) 8   Song for Guy  (06:38) 9   Sorry Seems to Be the Hardest Word  (03:48) 10  Princess  (03:35) 11  Chameleon  (04:16) 12  Return to Paradise  (03:26) 13  Never Gonna Fall in Love Again  (04:08) 14  Strangers  (03:35) 15  Someones Final Song  (03:41) 16  All Quiet on the Western Front  (04:12)
Love Songs : Allmusic album Review : Not strictly a "greatest-hits" collection, Love Songs contains Elton Johns most famous ballads, from "Your Song" and "Dont Let the Sun Go Down on Me" to "Can You Feel the Love Tonight." Featuring two new songs, including the single "You Can Make History (Young Again)," Love Songs is designed for the casual John fan who is familiar with his songs through adult contemporary radio. If you dont fall into that category, the compilation is bound to fall short of expectations, but the record nevertheless works well as a collection of ballads and soft rock.
	Album: 20 of 46 Title:  Your Songs: Die große Edition seiner romantischen Welthits Released:  1982 Tracks:  15 Duration:  1:11:15 Scroll:  Up   Down   Top   Bottom   25%   50%   75% AlbumCover	1   Blue Eyes  (03:27) 2   Song for Guy  (05:00) 3   Dont Go Breaking My Heart  (04:25) 4   Daniel  (03:53) 5   Candle in the Wind  (03:49) 6   Part Time Love  (03:12) 7   Rocket Man  (04:42) 8   Goodbye Yellow Brick Road  (03:15) 9   Crocodile Rock  (03:56) 10  Funeral for a Friend / Love Lies Bleeding  (11:06) 11  Your Song  (04:01) 12  Tiny Dancer  (06:16) 13  Nobody Wins  (03:46) 14  Little Jeannie  (04:46) 15  Lucy in the Sky With Diamonds  (05:38)
	Album: 21 of 46 Title:  Jump Up! Released:  1982 Tracks:  10 Duration:  42:34 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   TrackSamples    AlbumCover	1   Dear John  (03:28) 2   Spiteful Child  (04:12) 3   Ball & Chain  (03:28) 4   Legal Boys  (03:08) 5   I Am Your Robot  (04:44) 6   Blue Eyes  (03:27) 7   Empty Garden (Hey Hey Johnny)  (05:08) 8   Princess  (04:56) 9   Where Have All the Good Times Gone?  (03:59) 10  All Quiet on the Western Front  (06:00)
	Album: 22 of 46 Title:  The New Collection Released:  1983 Tracks:  12 Duration:  03:49 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Allmusic    AlbumCover	1   Crocodile Rock  (?) 2   Don’t Let the Sun Go Down on Me  (?) 3   Saturday Night’s Alright (for Fighting)  (?) 4   It’s Me That You Need  (?) 5   Someone Saved My Life Tonight  (?) 6   Whatever Gets You Through the Night / Lucy in the Sky With Diamonds (live)  (?) 7   The Bitch Is Back  (?) 8   High Flying Bird  (?) 9   Elderberry Wine  (?) 10  Candle in the Wind  (03:49) 11  Your Sister Can’t Twist (but She Can Rock ’n’ Roll)  (?) 12  Daniel  (?)
	Album: 23 of 46 Title:  The Superior Sound of Elton John: 1970-1975 Released:  1983 Tracks:  11 Duration:  1:03:55 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Allmusic    AlbumCover	1   Your Song  (04:01) 2   Crocodile Rock  (03:57) 3   Rocket Man  (04:39) 4   Daniel  (03:55) 5   Saturday Nights Alright for Fighting  (04:44) 6   Goodbye Yellow Brick Road  (03:14) 7   Funeral for a Friend / Love Lies Bleeding  (11:01) 8   Dont Let the Sun Go Down on Me  (05:35) 9   Philadelphia Freedom  (05:27) 10  Someone Saved My Life Tonight  (06:51) 11  We All Fall in Love Sometimes / Curtains  (10:28)
The Superior Sound of Elton John: 1970-1975 : Allmusic album Review : As digital technology began to prevail in the recording industry in the early 80s, Elton Johns original record producer, Gus Dudgeon, was among the first to actively embrace the seemingly infinite possibilities in the medium. Although the promise of perfect sound may have been a bit of an exaggeration, the notable improvements to the subtleties as well as the expanded frequency response of recordings remastered in the digital domain were most certainly not. Dudgeons original idea for this 11-track compilation was to not only present some of Johns best-known works in this new realm, but also a few of the deeper album cuts that would most aptly demonstrate the awesome dimensions inherent in digital audio reproduction. In terms of sheer content, Superior Sound Of (1970-1975) bears a striking resemblance to Johns first Greatest Hits volume. Both contain the same number of tracks and cover practically the same era. However, one major difference between the two is likewise among the strongest arguments for the collection -- the inclusion of "Someone Saved My Life Tonight" and "We All Fall in Love Sometimes/Curtains" from Captain Fantastic & the Brown Dirt Cowboys. Regardless of the listeners familiarity with any one or all of the tracks included here, there are many surprises. Some of which are bold -- most notably the opening Farfisa organ introduction to "Crocodile Rock," the backing vocals on "Daniel," and Ray Coopers syncopated percussion on "Funeral for a Friend/Love Lies Bleeding," all of which had previously been buried deep in the mix. Other less-jarring, yet equally brilliant observations include the lush Beach Boys-driven backup vocals on "Dont Let the Sun Go Down on Me" and drummer Nigel Olssons delicate cymbal brushwork right before the coda on "Someone Saved My Life Tonight." While ever so slight, they undeniably alter the songs entire visage. Inevitably, some audiophile purists will label these remixes as blasphemous revisionist history. However, in doing so they also deny themselves the joy in rediscovering these classic pop/rock staples in an entirely fresh and wholly entertaining way. Sadly, legal wrangling has kept Superior Sound Of (1970-1975) out of print since the late 80s, although pirated copies do turn up from time to time.
	Album: 24 of 46 Title:  Too Low for Zero Released:  1983-05-23 Tracks:  10 Duration:  44:06 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   TrackSamples   Allmusic    AlbumCover	1   Cold as Christmas (in the Middle of the Year)  (04:20) 2   I’m Still Standing  (03:03) 3   Too Low for Zero  (05:47) 4   Religion  (04:06) 5   I Guess That’s Why They Call It the Blues  (04:43) 6   Crystal  (05:05) 7   Kiss the Bride  (04:23) 8   Whipping Boy  (03:43) 9   Saint  (05:19) 10  One More Arrow  (03:34)
Too Low for Zero : Allmusic album Review : Elton John began inching back into the mainstream with Jump Up, an uneven but strong record highlighted by "Empty Garden." Its success set the stage for Too Low for Zero, a full-fledged reunion with his best collaborator, Bernie Taupin, and his classic touring band. Happily, this is a reunion that works like gangbusters, capturing everybody at a near-peak of their form. That means there arent just hit singles, but there are album tracks, like the opener, "Cold as Christmas (In the Middle of the Year)," that strongly (and favorably) recall Goodbye Yellow Brick Road. John hadnt been this engaging in years, not since Gerald Ford was in office. Why does this work so well? Well, the question isnt just consistency, since records like A Single Man were strong, but its because each cut here showcases John at a peak. Hes rocking with a vengeance on "Im Still Standing" and "Kiss the Bride," crafting a gorgeous romantic standard with "I Guess Thats Why They Call It the Blues," while knocking songs as immaculately crafted as "Religion" -- songs that anchor this album, giving the hits context. While this may not be as rich as his classic early period, its a terrific record, an exemplary illustration of what a veteran artist could achieve in the early 80s.
	Album: 25 of 46 Title:  Breaking Hearts Released:  1984-07-09 Tracks:  10 Duration:  40:37 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   TrackSamples   Allmusic    AlbumCover	1   Restless  (05:16) 2   Slow Down Georgie (Shes Poison)  (04:10) 3   Who Wears These Shoes?  (04:03) 4   Breaking Hearts (Aint What It Used to Be)  (03:47) 5   Lil Frigerator  (03:25) 6   Passengers  (03:24) 7   In Neon  (04:21) 8   Burning Buildings  (04:02) 9   Did He Shoot Her?  (03:21) 10  Sad Songs (Say So Much)  (04:47)
Breaking Hearts : Allmusic album Review : Building off of the success of his previous long player Too Low For Zero (1983), Elton John (piano/vocals) retained his classic quartet for the follow-up Breaking Hearts (1984). After an eight year (75 -- 83) hiatus Dee Murray (bass/backing vocals), Davey Johnstone (guitar/backing vocals) and Nigel Olsson (drums/backing vocals) briefly reunited with John and Bernie Taupin (lyrics) to attempt a musical resurrection of their early-to-mid 70s sound. Without question this is one of Johns most consistent efforts during his half decade on Geffen Records (81 -- 86). However the shift in pop music styles since 1975 as well as lack of edgy material, seemed to stifle the bands return to full form circa Goodbye Yellow Brick Road (GYBR) (1973) or Captain Fantastic And The Brown Dirt Cowboy (1975). Breaking Hearts was not light on hits either, yielding "Who Wears These Shoes" as well as the Top 5 smash "Sad Songs (Say So Much)"." The oft over looked "Lil Frigerator" is a high octane rocker that could be considered a post script to "Your Sister Cant Twist (But She Can Rock n Roll)" from GYBR. The opening cut "Restless" is also one of the spunkier tracks and came off particularly well when John hit the road with his formidable sidemen to support the disc. The vast majority of Breaking Hearts however, is met with varying degrees of success. Both "In Neon" and the reggae-dub influenced "Passengers" were best suited to the lighter pop genre and Adult Contemporary radio format where John joined the ranks of Phil Collins, Lionel Ritchie and George Michael. This stylistic direction, while concurrently popular, also criminally under-utilised the synergy between the artist and band. With the exception of the noir unplugged title performance "Breaking Hearts (Aint What It Used To Be)" a majority of the LP is indistinguishable from much of the rest of his mid 80s and early 90s catalogue.
	Album: 26 of 46 Title:  Greatest Hits Released:  1985 Tracks:  14 Duration:  1:03:13 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Allmusic    AlbumCover	1   Your Song  (04:01) 2   Candle in the Wind  (03:49) 3   The Bitch Is Back  (03:37) 4   Crocodile Rock  (03:56) 5   Daniel  (03:53) 6   Don’t Let the Sun Go Down on Me  (05:37) 7   Someone Saved My Life Tonight  (06:46) 8   Goodbye Yellow Brick Road  (03:15) 9   Border Song  (03:22) 10  Pinball Wizard  (05:05) 11  Lucy in the Sky With Diamonds  (05:57) 12  Philadelphia Freedom  (05:22) 13  Rocket Man  (04:42) 14  Island Girl  (03:46)
Greatest Hits : Allmusic album Review : Rarely has a greatest-hits collection been as effective as Elton Johns first compilation of Greatest Hits. Released at the end of 1974, after Goodbye Yellow Brick Road and Caribou had effectively established him as a superstar, Greatest Hits is exactly what it says it is -- it features every one of his Top Ten singles ("Your Song," "Rocket Man," "Honky Cat," "Crocodile Rock," "Daniel," "Goodbye Yellow Brick Road," "Bennie and the Jets," "Dont Let the Sun Go Down on Me"), plus the number 12 "Saturday Nights Alright for Fighting" and radio and concert favorite "Border Song." Despite the exclusion of a couple of lesser hits from this era, most notably "Levon" and "Tiny Dancer," Greatest Hits is a nearly flawless collection, offering a perfect introduction to Elton John and providing casual fans with almost all the hits they need.
	Album: 27 of 46 Title:  Biggest Released:  1985 Tracks:  11 Duration:  53:52 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Allmusic    AlbumCover	1   Rocket Man  (04:42) 2   Goodbye Yellow Brick Road  (03:15) 3   Don’t Let the Sun Go Down on Me  (05:37) 4   Honky Cat  (05:13) 5   Your Song  (04:01) 6   Crocodile Rock  (03:56) 7   Saturday Night’s Alright For Fighting  (04:54) 8   Candle in the Wind  (03:49) 9   Border Song  (03:22) 10  Daniel  (03:53) 11  Funeral for a Friend / Love Lies Bleeding  (11:06)
	Album: 28 of 46 Title:  Your Songs Released:  1985 Tracks:  10 Duration:  42:32 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Allmusic    AlbumCover	1   Your Song  (04:01) 2   Country Comfort  (05:05) 3   Tiny Dancer  (06:16) 4   Burn Down the Mission  (06:20) 5   Friends  (02:24) 6   Take Me to the Pilot  (03:45) 7   Candle in the Wind  (03:49) 8   Elderberry Wine  (03:28) 9   Razor Face  (04:37) 10  Harmony  (02:42)
Your Songs : Allmusic album Review : A 10-song compilation of miscellaneous, previously released tracks from 1970-1973.
	Album: 29 of 46 Title:  Ice on Fire Released:  1985-11-04 Tracks:  11 Duration:  50:04 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   TrackSamples   Allmusic    AlbumCover	1   This Town  (03:55) 2   Cry to Heaven  (04:16) 3   Soul Glove  (03:31) 4   Nikita  (05:44) 5   Too Young  (05:13) 6   Wrap Her Up  (06:07) 7   Satellite  (03:57) 8   Tell Me What the Papers Say  (03:40) 9   Candy by the Pound  (03:56) 10  Shoot Down the Moon  (05:00) 11  Act of War  (04:42)
Ice on Fire : Allmusic album Review : Sandwiched between 1984s Top 20 hit Breaking Hearts and 1986s commercial disaster Leather Jackets, 1985s Ice on Fire is a forgotten Elton John effort. While it is hardly a masterpiece -- it isnt even up to the standard of such 80s efforts as Too Low for Zero -- its still an enjoyable record, living proof of the power of professionalism. John was riding high on his comeback of the early 80s and ready to turn out another record. And thats what Ice on Fire is -- another Elton John album, in the best possible sense. Sure, it does mark the reunion of John and lyricist Bernie Taupin with producer Gus Dudgeon, who helmed Johns greatest recordings, but youd never know it from the sound of the record. Ice on Fire is pure 1985, heavy on synthetic drums and keyboards -- the kind of record where Davy Johnstone is credited with guitar, but it never sounds as if theres a guitar on the record, or any other "real" instrument, for that matter. Thats not really a criticism, since John always made state-of-the-art records, so it should come as little surprise that this sounds like its time; its sort of fun, in a way, since it instantly brings back its era. The biggest complaint is that much of the record never rises to the level of memorable. The two singles, the cold-war ballad "Nikita" and the George Michael-featured "Wrap Her Up," are the strongest items here, but even those are rather disposable. The rest of the album shares the same sparkling, canned production, and a few songs could have held their own on the Top 40, but much of it is just average Elton.
	Album: 30 of 46 Title:  Leather Jackets Released:  1986 Tracks:  11 Duration:  46:14 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   TrackSamples   Allmusic    AlbumCover	1   Leather Jackets  (04:14) 2   Hoop of Fire  (04:15) 3   Don’t Trust That Woman  (04:59) 4   Go It Alone  (04:30) 5   Gypsy Heart  (04:45) 6   Slow Rivers  (03:07) 7   Heartache All Over the World  (04:16) 8   Angeline  (03:55) 9   Memory of Love  (04:08) 10  Paris  (04:00) 11  I Fall Apart  (04:00)
Leather Jackets : Allmusic album Review : Although he had re-formed his 1970s quartet and even reinstated both lyricist Bernie Taupin as well as seminal producer Gus Dudgeon earlier in the decade, Elton John failed to sustain the momentum that informed Too Low for Zero (1983), Breaking Hearts (1984), and to a lesser extent Ice on Fire (1985). Even the most ardent enthusiasts freely admit that Leather Jackets (1986) was nothing more or less than a final fulfillment of his six-album deal with Geffen Records. On top of the half-hearted material and less-than-inspired performances is increasing evidence that Johns voice -- which would require a potentially career-ending surgery less than a year later -- is beginning to show signs of extreme fatigue and strain. While these circumstances certainly dont aid this effort, they likewise do not lessen the few bright moments that exist, including the languid and soulful "Slow Rivers" featuring a duet with Cliff Richard, the hopelessly upbeat single "Heartache All Over the World," as well as the middle-of-the-road "Dont Trust That Woman" -- the latter of which is a co-composition between John (under the guise of Lady Choc Ice) and Cher and sports an opening line of "Shes a real ball-buster/Dont trust her." Perhaps the most telling track is the achingly poignant mid-tempo ballad "I Fall Apart." With an understated passion and an almost reserved delivery, it hearkens back to tracks such as "Cry to Heaven" from Ice on Fire or "One More Arrow" off of Too Low for Zero. While not really a highlight per se, Queen enthusiasts should note appearances from Roger Taylor (drums) and John Deacon (bass) on the lightweight "Angeline." Over the course of the ensuing months, John reinvented himself by once again embracing his past on the two-disc Live in Australia (1987) -- which spawned the international chart-topping version of "Candle in the Wind."
	Album: 31 of 46 Title:  Greatest Hits, Volume III: 1979–1987 Released:  1987-09 Tracks:  12 Duration:  56:38 Scroll:  Up   Down   Top   Bottom   25%   50%   75% AlbumCover	1   I Guess That’s Why They Call It the Blues  (04:43) 2   Mama Can’t Buy You Love  (04:04) 3   Little Jeannie  (05:18) 4   Sad Songs (Say So Much)  (04:47) 5   I’m Still Standing  (03:03) 6   Empty Garden (Hey Hey Johnny)  (05:08) 7   Heartache All Over the World  (04:03) 8   Too Low for Zero  (05:47) 9   Kiss the Bride  (04:23) 10  Blue Eyes  (03:27) 11  Nikita  (05:44) 12  Wrap Her Up  (06:08)
	Album: 32 of 46 Title:  Reg Strikes Back Released:  1988 Tracks:  10 Duration:  41:51 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   TrackSamples   Allmusic    AlbumCover	1   Town of Plenty  (03:40) 2   A Word in Spanish  (04:39) 3   Mona Lisas and Mad Hatters, Part 2  (04:13) 4   I Don’t Wanna Go On With You Like That  (04:33) 5   Japanese Hands  (04:40) 6   Goodbye Marlon Brando  (03:30) 7   The Camera Never Lies  (04:36) 8   Heavy Traffic  (03:30) 9   Poor Cow  (03:51) 10  Since God Invented Girls  (04:39)
Reg Strikes Back : Allmusic album Review : As Elton Johns first album for MCA Records, Reg Strikes Back received a considerable amount of hype upon its release, but the results were considerably less inspired than his early-80s records for Geffen. Its always a bad sign when an artist re-records or reinterprets one of his classics, as John does here with "Mona Lisas and Mad Hatters, Pt. 2," but what really sinks Reg Strikes Back are the colorless tunes. Apart from the clenched dance-pop of "I Dont Wanna Go on With You Like That" and the simpy "A Word in Spanish," none of the melodies on the record are memorable, and even those arent particularly strong. Instead of recharging his career, Reg Strikes Back began a dry spell that ran for nearly five years.
	Album: 33 of 46 Title:  The Collection Released:  1989 Tracks:  14 Duration:  1:03:49 Scroll:  Up   Down   Top   Bottom   25%   50%   75% AlbumCover	1   Funeral for a Friend / Love Lies Bleeding  (11:06) 2   Sweet Painted Lady  (03:55) 3   Elderberry Wine  (03:33) 4   Come Down in Time  (03:25) 5   I Need You to Turn To  (02:33) 6   Border Song  (03:22) 7   Crocodile Rock  (03:56) 8   Mona Lisas and Mad Hatters  (05:00) 9   The Greatest Discovery  (04:12) 10  Country Comfort  (05:07) 11  Blues for My Baby and Me  (05:42) 12  Harmony  (02:46) 13  Teacher I Need You  (04:10) 14  Ballad of a Well‐Known Gun  (04:57)
	Album: 34 of 46 Title:  The Complete Thom Bell Sessions Released:  1989 Tracks:  6 Duration:  34:49 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Allmusic    AlbumCover	1   Nice and Slow  (04:40) 2   Country Love Song  (05:02) 3   Shine on Through  (07:45) 4   Mama Can’t Buy You Love  (04:04) 5   Are You Ready for Love  (08:17) 6   Three Way Love Affair  (04:59)
The Complete Thom Bell Sessions : Allmusic album Review : After dismissing his recently re-formed backing band and breaking off professional ties with longtime lyricist Bernie Taupin, Elton John sought Philly soul maestro Thom Bell in search of a fresh direction. However, Johns brief foray into soul isnt as surprising or unusual as it might initially sound. In fact, two of Johns biggest hits -- "Bennie and the Jets" as well the breezy four-on-the floor backbeat on "Philadelphia Freedom" -- also became crossover R&B smashes. Initially, John was not entirely pleased with the results and sat on the tapes for over a year before remixing the six completed songs in early 1979 for a summertime release. Ultimately, John chose half of the material that he and Bell had cut to be included on a three-song EP, which was led by the midtempo and ultimately danceable "Mama Cant Buy You Love." The two other sides -- "Are You Ready for Love" and "Three Way Love Affair" (which were issued on that June 1979 extended-play single) -- were likewise Bell creations and were augmented significantly by some of Phillys finest. Among them were Casey James (guitar), Leroy M. Bell (guitar), and Charles Collins (drums), strings and horns courtesy of none other than MFSB, and backing vocals from the one and only Spinners. When the CD version of that EP was issued, the other three previously unissued tunes documented during those sessions were released. Notable among them are a Taupin/John leftover titled "Nice and Slow" -- which Thom Bell also rearranged -- as well as a John ballad co-written with Gary Osborne titled "Shine On Through." This track would resurface as the leadoff track on Johns A Single Man in a much more stark and moody musical setting.
	Album: 35 of 46 Title:  Sleeping With the Past Released:  1989-08-07 Tracks:  10 Duration:  47:53 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   TrackSamples   Allmusic    AlbumCover	1   Durban Deep  (05:31) 2   Healing Hands  (04:23) 3   Whispers  (05:30) 4   Club at the End of the Street  (04:50) 5   Sleeping With the Past  (04:59) 6   Stones Throw From Hurtin’  (04:56) 7   Sacrifice  (05:06) 8   I Never Knew Her Name  (03:32) 9   Amazes Me  (04:40) 10  Blue Avenue  (04:22)
Sleeping With the Past : Allmusic album Review : The past Elton John has in mind is the era of soul music of the mid-1960s to the mid-1970s, and although all the songs are new, he recreates it well here. The albums most notable selection is the ballad "Sacrifice," which amazingly became his first-ever number one hit in the U.K.
	Album: 36 of 46 Title:  The Very Best of Elton John Released:  1990-10-29 Tracks:  30 Duration:  2:17:43 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Allmusic    AlbumCover	1   Your Song  (04:01) 2   Rocket Man (I Think It’s Going to Be a Long, Long Time)  (04:42) 3   Honky Cat  (05:13) 4   Crocodile Rock  (03:56) 5   Daniel  (03:54) 6   Goodbye Yellow Brick Road  (03:15) 7   Saturday Night’s Alright for Fighting  (04:54) 8   Candle in the Wind  (03:49) 9   Don’t Let the Sun Go Down on Me  (05:37) 10  Lucy in the Sky With Diamonds  (06:16) 11  Philadelphia Freedom  (05:42) 12  Someone Saved My Life Tonight  (06:46) 13  Pinball Wizard  (05:14) 14  The Bitch Is Back  (03:44) 1   Don’t Go Breaking My Heart  (04:32) 2   Bennie and the Jets  (05:22) 3   Sorry Seems to Be the Hardest Word  (03:48) 4   Song for Guy  (06:38) 5   Part Time Love  (03:15) 6   Blue Eyes  (03:27) 7   I Guess That’s Why They Call It the Blues  (04:43) 8   I’m Still Standing  (03:03) 9   Kiss the Bride  (03:55) 10  Sad Songs (Say So Much)  (04:10) 11  Passengers  (03:24) 12  Nikita  (05:44) 13  I Don’t Wanna Go On With You Like That  (03:59) 14  Sacrifice  (05:06) 15  Easier to Walk Away  (04:24) 16  You Gotta Love Someone  (04:59)
	Album: 37 of 46 Title:  The One Released:  1992-02-22 Tracks:  11 Duration:  58:06 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Allmusic    AlbumCover	1   Simple Life  (06:26) 2   The One  (05:53) 3   Sweat It Out  (06:38) 4   Runaway Train  (05:23) 5   Whitewash County  (05:30) 6   The North  (05:15) 7   When a Woman Doesnt Want You  (04:55) 8   Emily  (04:58) 9   On Dark Street  (04:43) 10  Understanding Women  (05:03) 11  The Last Song  (03:19)
The One : Allmusic album Review : Elton John once claimed that he could remember The One among his latter-day albums because it was the first he recorded without drugs or alcohol. If true -- and theres no reason to doubt him -- that could be the reason why this has more character than most of his albums since the early 80s, holding together well in its deliberately measured, mature songcraft by Elton and Bernie Taupin. Theres less gloss than on many of his late-80s records, and John gives a fairly convincing performance throughout this set of pretty good songs. If theres any real problem, its that the album just doesnt have many memorable songs. Though theyre all reasonably melodic and well-crafted, none of the them have memorable musical or lyrical hooks and, if anything, Chris Thomas production is too evenhanded. Still, even if it isnt memorable, it does represent a meaningful move forward, just because it does sound warmer and more considered than the records that immediately preceded it.
	Album: 38 of 46 Title:  Duets Released:  1993-11 Tracks:  16 Duration:  1:14:14 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Allmusic    AlbumCover	1   Teardrops  (04:52) 2   When I Think About Love (I Think About You)  (04:34) 3   The Power  (06:24) 4   Shakey Ground  (03:50) 5   True Love  (03:32) 6   If You Were Me  (04:23) 7   A Womans Needs  (05:17) 8   Old Friend  (04:14) 9   Go On and On  (05:50) 10  Dont Go Breaking My Heart  (04:59) 11  Aint Nothing Like The Real Thing  (03:33) 12  Im Your Puppet  (03:35) 13  Love Letters  (04:00) 14  Born to Lose  (04:32) 15  Don’t Let the Sun Go Down on Me  (05:47) 16  Duets for One  (04:51)
Duets : Allmusic album Review : Unlike Frank Sinatras album, John actually recorded in the studio with his duet partners, adding a spark to his album missing on Sinatras Duets, even if his choices are nearly as bewildering. Some of the material doesnt work in the duet format, and his partners occasionally dont mesh with his current adult contemporary style. All of this makes Duets an ultimately disappointing record, even with the occasional successful track, like the kitschy number with drag queen RuPaul.
	Album: 39 of 46 Title:  Made in England Released:  1995-03-17 Tracks:  11 Duration:  53:02 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Allmusic    AlbumCover	1   Believe  (04:56) 2   Made in England  (05:10) 3   House  (04:28) 4   Cold  (05:39) 5   Pain  (03:52) 6   Belfast  (06:32) 7   Latitude  (03:37) 8   Please  (03:53) 9   Man  (05:17) 10  Lies  (04:30) 11  Blessed  (05:03)
Made in England : Allmusic album Review : Made in England could as easily be the follow-up to Elton Johns self-titled 1970 album as his first recording since the success of his songs for the Lion King soundtrack. John has brought back some of his old associates, including percussionist Ray Cooper, guitarist Davey Johnstone, and, particularly, orchestrator Paul Buckmaster, who gave the Elton John album its distinctive sound 25 years ago and contributes four string charts here. John remains a musical jukebox: "Please" has a twangy guitar riff that sounds like the Searchers, circa 1965, while guest organist Paul Carrack brings a soulful Booker T.-like feel to "Man." As usual, though, Johns main vocal influence remains John Lennon, especially on the albums first single, "Believe," the lyrics to which also echo the tone of several of Lennons solo ballads. Lyricist Bernie Taupin is unusually personal, writing mostly in short, simple, declarative sentences and giving his songs one-word titles ("House," "Cold," "Pain," etc.). His overall theme posits a positive conclusion ("Blessed") eventually triumphing over adversity ("Lies"). John never works up much feeling for this concept, though he does come off alternately angry and solemn as the lyrics seem to require, though without ever upsetting the melodic flow. It sounds, in other words, as if Taupin had a lot to get off his chest this time around, but his mouthpiece, as usual, was more interested in the sound of the words than in their meaning. Which, given the predictability of the message, seems to have been just as well.
	Album: 40 of 46 Title:  The Big Picture Released:  1997-09-22 Tracks:  11 Duration:  52:33 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Allmusic    AlbumCover	1   Long Way From Happiness  (04:49) 2   Live Like Horses  (05:04) 3   The End Will Come  (04:54) 4   If the River Can Bend  (05:25) 5   Loves Got a Lot to Answer For  (05:04) 6   Something About the Way You Look Tonight  (05:10) 7   The Big Picture  (03:47) 8   Recover Your Soul  (05:20) 9   January  (04:04) 10  I Cant Steer My Heart Clear Of You  (04:12) 11  Wicked Dreams  (04:39)
The Big Picture : Allmusic album Review : The Big Picture finds Elton John in strong form, turning in a by-now-predictable collection of ballads and pop songs designed to appeal to the adult contemporary audience. The difference is inspiration. With Made in England, John and his collaborator Bernie Taupin showed signs of life, and they continue that winning streak here. There may be nothing new on The Big Picture, but its well-crafted professional pop, demonstrating Johns knack for catchy pop hooks and his way with a ballad. As with any latter-day John album, hits like "Something About the Way You Look Tonight" are balanced out by some filler, but the key to the album is how album tracks like "Recover Your Soul," "If the River Can Bend," and "The Big Picture" carry emotional and melodic weight. Its a solid effort from one of pops most reliable artists.
	Album: 41 of 46 Title:  Songs From the West Coast Released:  2001-10-02 Tracks:  12 Duration:  54:12 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Allmusic    AlbumCover	1   The Emperor’s New Clothes  (04:28) 2   Dark Diamond  (04:26) 3   Look Ma, No Hands  (04:22) 4   American Triangle  (04:49) 5   Original Sin  (04:49) 6   Birds  (03:52) 7   I Want Love  (04:37) 8   The Wasteland  (04:21) 9   Ballad of the Boy in the Red Shoes  (04:52) 10  Love Her Like Me  (03:58) 11  Mansfield  (04:56) 12  This Train Don’t Stop There Anymore  (04:40)
Songs From the West Coast : Allmusic album Review : Throughout his songs for The Road to El Dorado, Elton John hinted at his classic sound of the early 70s, but its still a refreshing surprise to find him largely returning to that sound on his 2001 album, Songs From the West Coast. It was easy to think that John wasnt interested in writing like this anymore, given not just his continued success, but the ease with which he was crafting pleasant adult contemporary records. There are still elements of that on Songs From the West Coast -- a few of the ballads are a little too even-handed, and since this is a modern recording, it lacks the resonant warmth of such classics as Honky Chateau and Tumbleweed Connection. Still, this is the richest, best record hes released in a long time, an album where it feels like a hit single is secondary to the sheer pleasure of craft, whether its crafting a song or an album. And this is an album that flows easily and naturally, setting the mood with the story sketch "The Emperors New Clothes" and then heading in a number of scenic directions. Of these, "American Triangle," his elegy for Matthew Shepard, will likely receive the most attention, but the most interesting are songs like the bluesy "The Wasteland," "Ballad of the Boy in the Red Shoes," which recalls the Tumbleweed epics, the neo-Captain Fantastic tune "Dark Diamond," the soulful closer "This Train Dont Stop There Anymore," and "Birds," a terrific, spare, rolling country-rocker. His songwriting hasnt been this diverse or consistent since the early 80s, and he hasnt made a record better than this in years. No, Songs From the West Coast wont make you forget Tumbleweed Connection, but it often recalls those peaks, which, frankly, is enough.
	Album: 42 of 46 Title:  Peachtree Road Released:  2004-11-09 Tracks:  15 Duration:  1:01:44 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Allmusic    AlbumCover	1   Weight of the World  (03:58) 2   Porch Swing in Tupelo  (04:38) 3   Answer in the Sky  (04:03) 4   Turn the Lights Out When You Leave  (05:02) 5   My Elusive Drug  (04:12) 6   They Call Her the Cat  (04:27) 7   Freaks in Love  (04:32) 8   All That I’m Allowed (I’m Thankful)  (04:52) 9   I Stop and I Breathe  (03:39) 10  Too Many Tears  (04:14) 11  It’s Getting Dark in Here  (03:50) 12  I Can’t Keep This From You  (04:35) 13  The Letter  (02:33) 14  Merry Christmas Maggie Thatcher  (03:38) 15  Electricity  (03:29)
Peachtree Road : Allmusic album Review : Elton John returned to the sound and aesthetic of his classic early-70s work with 2001s Songs From the West Coast, finding critical acclaim, if not much commercial success. Not that the lack of sales greatly bothered Elton -- in many interviews, including one with Entertainment Weekly the week before Peachtree Road was released in November 2004, he claimed he was "disappointed" that it just barely went gold, but he was tired of making "uneven" records. John wasnt merely doing publicity: Peachtree Road proves that hes back to making good, solid records focused on songs, not hits, the way he did at the outset of his career. Since this is an album by a veteran, not an artist on the rise, it doesnt have the sense of discovery, or the hunger, that the early records still retain, and the production -- the first self-production by John with no collaborators -- is a little cleaner and crisper than the rich, warm sound of the late Gus Dudgeon (to whom this record is dedicated), who helmed such masterworks as Tumbleweed Connection. This means Peachtree Road is about craft, both in the writing and recording, which also means that its a grower, with each song sounding stronger, better with each spin. While the sound of the record is bright and polished, this album makes few concessions to radio: this is certainly adult pop, but it never panders to adult contemporary radio, and the music is a little too rugged and sturdy to fit alongside the stubbornly sweet sounds of 21st century MOR. Which is precisely the point, of course: Elton has consciously returned to the reflective singer/songwriter template of the early 70s, both in his writing and production. Not that this is as lush as Elton John or country-tinged as Tumbleweed Connection -- "Answer in the Sky" recalls the high-flying disco of "Philadelphia Freedom" quite deliberately, and "They Call Her the Cat" finds a halfway point between "Honkey Cat" and "The Bitch Is Back" -- but it fits alongside those albums quite nicely because the focus is on songs, not trying to have hits. These songs may not rival his standards, but theyre in the same tradition, and theres not a bad song in the bunch, resulting in a sturdy, satisfying record that proves that the comeback on Songs From the West Coast was no fluke and, hopefully, this latter-day renaissance for Elton will not be short-lived either.
	Album: 43 of 46 Title:  The Captain & the Kid Released:  2006-09-15 Tracks:  10 Duration:  46:02 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Allmusic    AlbumCover	1   Postcards From Richard Nixon  (05:15) 2   Just Like Noah’s Ark  (05:33) 3   Wouldn’t Have You Any Other Way (NYC)  (04:38) 4   Tinderbox  (04:25) 5   And the House Fell Down  (04:48) 6   Blues Never Fade Away  (04:45) 7   The Bridge  (03:38) 8   I Must Have Lost It on the Wind  (03:53) 9   Old ’67  (04:01) 10  The Captain and the Kid  (05:01)
The Captain & the Kid : Allmusic album Review : Ever since 2001s Songs from the West Coast, Elton John and his longtime collaborator, Bernie Taupin, have been deliberately and unapologetically chasing their glory days of the early 70s, but nowhere have they been as candid in evoking those memories as they are on 2006s The Captain & the Kid, the explicitly stated sequel to 1975s masterpiece Captain Fantastic and the Brown Dirt Cowboy. That record was an autobiographical fantasia of John and Taupins early years -- the days when they were struggling to make their mark, right up till their glorious success -- and the idea behind this album is to tell the story of those salad days, which not only isnt a bad idea at all -- its clever and well-suited for John, the most self-consciously unautobiographical of all major rock artists -- but fits right into Eltons desire to make records like he used to; after all, if hes trying to sound like the way things used to be, he might as well sing about the way they used to be, too. And The Captain & the Kid is nothing if not a proudly nostalgic piece of work bearing no modern touches; even the synths that occasionally color this country-ish rock are old fashioned analog synths. It sounds like an dream project on paper, but like a lot of dream projects, The Captain & the Kid doesnt quite live up to its lofty ideals. Part of the problem is that John has patterned the music not after Captain Fantastic -- which lived up to its glamorama title through intense flights of camp and glitz that helped give its narrative a theatrical flair, not to mention a hell of a lot of color -- but after the stripped-down, country-tinged pop and rock of Tumbleweed Connection and Honky Chateau. That is the sound at the core of most of his best music of the early 70s, but its not necessarily the best choice for this album, since it doesnt quite fit with the original Captain Fantastic or the gaudy story of their success; its a tale that calls for bright neon colors, and everything about this album is muted and tasteful. It might not quite seem like what a Fantastic sequel should be -- in fact, it seems more like a sequel to its direct predecessor, 2004s Peachtree Road -- but thats hardly a bad thing. Like that album and Songs from the West Coast before it, The Captain & the Kid is a sharp, professional piece of work by sharp professionals conscious of their past and no longer wishing to rest on their laurels, so theyre consciously evoking their best work without quite recycling it. They might not hit their mark directly, but they get close enough -- it may be a little self-conscious and the production is a shade too clean, but the performances are warm and intimate, so this music feels right even if it doesnt necessarily feel exactly like Eltons 70s heyday. And the more familiar this song cycle becomes, the easier it is to admire the craft behind it, particularly in individual moments like the slow build on "Wouldnt Have It Any Other Way (NYC)," or how "Tinderbox" hearkens back to "Somebody Saved My Life Tonight," or the lightness of "I Must Have Lost It on the Wind," or the lazy blues of "Old 67," or how "The Captain and the Kid" brings to mind not Tumbleweed Connection but Billy Joels approximation of that album on Piano Man. So, no, The Captain & the Kid isnt quite the second coming of Captain Fantastic, but its hardly a cash grab by an aging diva -- in other words, its no Basic Instinct 2. Johns intentions are pure and even if he doesnt quite make an album as good as his 70s work, it does stand alongside that work nicely -- its clear that he and Taupin are really trying, and its far better to have albums like this and Peachtree Road that fall short of the mark but nevertheless get close than to have an endless series of well-produced but empty records like The One and Made in England.
	Album: 44 of 46 Title:  The Union Released:  2010-10-11 Tracks:  14 Duration:  1:03:10 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Allmusic    AlbumCover	1   If It Wasn’t for Bad  (03:42) 2   Eight Hundred Dollar Shoes  (03:22) 3   Hey Ahab  (05:39) 4   Gone to Shiloh  (04:50) 5   Jimmie Rodgers’ Dream  (03:42) 6   There’s No Tomorrow  (03:45) 7   Monkey Suit  (04:45) 8   The Best Part of the Day  (04:45) 9   A Dream Come True  (05:05) 10  When Love Is Dying  (04:50) 11  I Should Have Sent Roses  (05:18) 12  Hearts Have Turned to Stone  (03:47) 13  Never Too Old (to Hold Somebody)  (04:57) 14  In The Hands of Angels  (04:43)
The Union : Allmusic album Review : On the inaugural episode of Elvis Costello’s talk show Spectacle in 2008, Elton John -- who just happened to be a producer on the show -- rhapsodized at length about Leon Russell, hauling out a note-perfect impression of Russell’s piano style and Oklahoma drawl. It was enough of a tease to whet the appetite for more but nothing suggested something like The Union, a full-fledged duet album with Russell designed to raise the profile of the rock & roll maverick. Like all lifers, Russell never disappeared -- he just faded, playing small clubs throughout the U.S., spitting out bewildering self-released albums of MIDI-synth boogie, never quite connecting with the spirit of his wonderful early-‘70s albums for his Shelter label. The Union quite deliberately evokes the spirit of 1970, splicing Russell’s terrific eponymous LP with Elton’s own self-titled record and Tumbleweed Connection. In that sense, it’s a kissing cousin to John’s last album, 2006’s The Captain and the Kid, which was designed as an explicit sequel to 1975’s golden era-capping Captain Fantastic and the Brown Dirt Cowboy, but thanks to producer T-Bone Burnett, The Union dials down Bernie Taupin’s inherent pomp and ratchets up the roots. Burnett had John and Russell record live in the studio, trading verses and solos, letting the supporting band breathe and follow their loping lead. This relaxed, natural interplay cuts through the soft haze of Burnett’s analog impressionism, giving the record a foundation of true grit. If there are no immediate knockouts among this collection of 14 original songs, the tunes are slow, steady growers, taking root with repeated spins, with the sound of John and Russell’s piano-and-voice duets providing ample reason to return to The Union after its first play. And even once the songs take hold, what lingers with The Union is that natural interplay, how John and Russell easily connect with their past without painstakingly re-creating it. Surely, it’s a revival for Leon Russell, who has spent decades in the wilderness, but it’s not a stretch to say The Union revitalizes Elton John just as much as it does his idol: he hasn’t sounded this soulful in years.
	Album: 45 of 46 Title:  The Diving Board Released:  2013-09-13 Tracks:  15 Duration:  57:40 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Allmusic    AlbumCover	1   Oceans Away  (03:57) 2   Oscar Wilde Gets Out  (04:35) 3   A Town Called Jubilee  (04:29) 4   The Ballad of Blind Tom  (04:12) 5   Dream #1  (00:39) 6   My Quicksand  (04:46) 7   Cant Stay Alone Tonight  (04:48) 8   Voyeur  (04:16) 9   Home Again  (05:01) 10  Take This Dirty Water  (04:24) 11  Dream #2  (00:43) 12  The New Fever Waltz  (04:38) 13  Mexican Vacation (Kids in the Candlelight)  (03:33) 14  Dream #3  (01:36) 15  The Diving Board  (05:55)
The Diving Board : Allmusic album Review : So the story goes like this. Inspired by their work on the Leon Russell duet album The Union, producer T-Bone Burnett encouraged Elton John to return to making albums like he used to in the old days for 2013s The Diving Board, harking back to the days when he wrote quickly and recorded with little more than a rhythm section. This all sounds like a major shift in aesthetic for John, but Elton has been on a decade-long quest to tap into that old magic, beginning his voyage into the past with 2001s Songs from the West Coast and getting progressively elliptical with each subsequent release. The Diving Board does indeed evoke ghosts of Elton past but it never suggests the hits. Its an album consisting almost entirely of songs that riff on "Sixty Years On" and "Rotten Peaches" -- long, languid ballads or open-ended blues-rockers where atmosphere trumps hooks. Occasionally, Elton musters up elongated melodies that eventually catch hold, but The Diving Board isnt a collection of finely sculpted pop; its a set of song poems and ballads, all placing emphasis on mood, not immediacy. This is an exceptional idea in theory; in practice it is ever so slightly formless, floating whenever it should be taking root. There are moments where the tempo gets ever so slightly sprightly -- "Take This Dirty Water" has a dirty gospel shuffle reminiscent of a toned-down "Take Me to the Pilot," "The Ballad of Blind Tom" is faithful to the spirit of Tumbleweed Connection, "Mexican Vacation (Kids in the Candlelight)" not only rocks but has a welcome gust of tastelessness -- but that only emphasizes just how ponderous the rest of the record is. There is much that is admirable about The Diving Board -- the feel is spacious and haunting, the ambition is commendable -- but the emphasis on tone over song means it leaves only wistful wisps of melancholia behind with the actual songs seeming like faded, distant memories.
	Album: 46 of 46 Title:  Wonderful Crazy Night Released:  2016-02-05 Tracks:  14 Duration:  55:40 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Allmusic    AlbumCover	1   Wonderful Crazy Night  (03:13) 2   In the Name of You  (04:33) 3   Claw Hammer  (04:22) 4   Blue Wonderful  (03:37) 5   I’ve Got 2 Wings  (04:35) 6   A Good Heart  (04:50) 7   Looking Up  (04:06) 8   Guilty Pleasure  (03:38) 9   Tambourine  (04:17) 10  The Open Chord  (04:04) 11  Free and Easy  (03:55) 12  England and America  (03:51) 13  Looking Up (live)  (03:21) 14  Wonderful Crazy Night (live)  (03:14)
Wonderful Crazy Night : Allmusic album Review : Elton John gives away his game with not just the title of Wonderful Crazy Night but its artwork. Our hero stands against a garish, colorful backdrop, sporting a grin a mile wide, signaling that hes once again ready to have fun. The measured melancholy of The Diving Board aside, Elton hasnt precisely avoided fun since returning to making records for himself, not the charts, with 2001s Songs from the West Coast, but a certain sobriety crept into the proceedings, particularly when he joined forces with producer T-Bone Burnett for The Union, the 2010 duet album with Leon Russell. Burnett is back for Wonderful Crazy Night and so is Johns touring band, making their first studio appearance since 2006s The Captain & the Kid. Its possible to feel the presence of all of Eltons collaborators: the band brings a bit of a kick to the proceedings and the ever-tasteful Burnett reins things in, keeping things from being too crazy, while lyricist Bernie Taupin schemes with John to keep things from being too wonderful. To be sure, theres a fair amount of joy and swagger here, particularly on the ebullient opening pair of "Wonderful Crazy Night" and "In the Name of You," two songs perched between a canny, knowing nostalgia and casual craft. As the record rolls on, seams start to appear, not in the performances or production -- this is an album that sounds as comforting as a long candlelit bath -- but in the compositions. Often, the tunes appear to be handsome constructions -- grand, stately, and well appointed -- but their foundations are shaky, constructed from threadbare melodies and words that dissipate not long after they land. Its an odd mix of lazy and laborious; the songs feeling tossed together in an afternoon and then recorded meticulously. As such, Wonderful Crazy Night never lingers in the imagination -- there are no hooks to pull a listener back in for another spin -- but it sounds just fine as it plays.