Elton John: The One - 1992

This is one of those Elton John albums which is regularly trotted out and quoted as being one of his low points. I would have to disagree slightly with that. It has hidden depths. Apparently, Elton said that it was the first one in a long time not to have been recorded under the influence of drugs or alcohol. To a certain extent you can tell. 

There is clarity and purpose to many of the tracks and a seemingly new-found strength of vocal delivery. It came three years after 1989's massively successful Sleeping With The Past and has suffered as a consequence, which has always been slightly unfortunate. There are not the catchy hit singles on the album that its predecessor had, and not as many instantly memorable tracks, so therein lies its problem. That said, it should certainly not be considered a bad album, there are certainly some good songs on here. 

Let's board that runaway train....

Simple Life is a slow burning beauty, full of addictive Springsteen-esque harmonica, catchy chorus refrains and a sumptuous, moving vocal from Elton. The One, probably the album's best-known track. is melodic, haughty and dramatic. It was a moderate hit single. Sweat It Out is a beguiling, slightly funky slow tempo number with a soulful, gruff Elton vocal. Tracks like this are great album tracks but they don't attract the "greatest hits" crowd, hence the album's comparative unpopularity. 

Runaway Train features Eric Clapton on searing guitar solo in the middle and is upbeat, strident and certainly one to remember, as far as I'm concerned. Great track. The same applies to Whitewash County, a country-ish, rhythmic rocker that has real echoes of Elton's mid-seventies material. I love this one too. 

The North is a stately, majestic ballad with real atmosphere and another of those instantly recognisable Elton vocals that are just so moving. This is a lovely song with a beautiful piano solo too. The slow, reflective material continues with When A Woman Doesn't Want You. Emily is melodic and catchy enough, but doesn't stick in the memory as much as some of the others. 

On Dark Street is a soulful, orchestrated number but you do feel that the best material on this album was to be found in its beginning to middle period. The drum-machine-dominated slowie Understanding Women and the mournful but totally beautiful The Last Song, while perfectly pleasant, would seem to probably back up that assessment.

In conclusion - a good first half, a so-so second one.

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The non-album tracks from the period were - Suit Of Wolves, a soulful, brooding, smoky synth ballad typical of the era and Fat Boys And Ugly Girls, a light piece of riffy, tuneful pop about a fat boy falling in love with an ugly girl. Strange.