Elton John: Songs From The West Coast - 2001
Was Elton John coming back to us, at last? It had been a long time, in many ways.
One listen to the opener, The Emperor's New Clothes, and one is certainly convinced of that - a moving vocal, an autobiographical, nostalgic lyric (always a strength from Bernie Taupin), no layers of synthesiser, a crystal clear, well-utilised piano and generally a great sound to it altogether. It is a great start to the album, and one of Elton's best tracks for over twenty years. This album signalled the beginning of a run of excellent ones that put the previous twenty years' output to shame. To be honest, you could survive on Elton's pre-1978 and post 2001 material and not miss the in-betweens at all.
Dark Diamond is a rhythmic, mid paced rock-ish ballad with hints of the Captain Fantastic album to it and an excellent "proper" drum sound, thank goodness. It also features Stevie Wonder's instantly recognisable harmonica too. You hear stuff like this and think just how the heck did he tolerate some of the material he released in the eighties and nineties.
Look Ma, No Hands starts with a Billy Joel-esque piano intro and a has a trademark, strong Elton vocal and those Americana lyrics. American Triangle continues in the same vein, with another excellent vocal from an Elton who seems to have got his clear diction back. Original Sin is another quality ballad. These songs sound so much better without those awful eighties and nineties backings, it has to be said. Maybe some of those earlier albums would have sounded so much better if they had been produced like this.
Birds is a country-ish lively number that harks back to the Tumbleweed Connection days, although I refute the popularly expressed opinion that this album is similar to that one. Nearly thirty years, for a start. It is difficult to explain how, but they are just different. I Want Love is a stark but catchy ballad, with an addictive bass line and is well known by most as it was a hit single. The Wasteland evokes some Elvis Presley in its opening riff, and utilises a classic blues progression in its basic backing and name-checks Robert Johnson and Muddy Waters. It is good to hear Elton singing the blues again.
Ballad Of The Boy In The Red Shoes has echoes of Danny Bailey from Goodbye Yellow Brick Road. There are lot of links to the past on this album, but they are just that, links, not attempts to copy. Love Her Like Me is a lively number, with a Springsteen-esque guitar riff. Mansfield is another of those nostalgic, autobiographical songs looking back at Elton and Bernie's crazy, wild times, of which they have done many, but they are always evocative. Indian Summer from the Madman Across The Water album is quoted in the lyrics.
This Train Don't Stop Here Anymore is a beautiful, typical Elton slow and emotional song to close what has been a most enjoyable album, not only lyrically, musically but also production-wise.
There is a clarity of sound here that had been lacking for a while and a more basic rock approach. Nice album.
