Elton John – The One (Album Review)

Released in 1992, The One is Elton John’s twenty-third studio album and while his classic era was well behind him, and this release is not quite as polished as Sleeping With The Past, there’s something for fans to appreciate when listening to this album; if you give it time to grow on you, that is!

Arriving during a period of personal and professional rejuvenation, for John, The One was a return to form for the master musician. With his trademark piano-driven rock and pop sound that features heartfelt lyrics, the music contained within did, and continues to, resonate with listeners throughout the world. As eluded to earlier, The One isn’t an album that is likely to immediately connect with your soul. You feel as if something is missing, yet can’t quite put your finger on it. However, the more you listen to the album, the more the songs meld into a piece of audible art and The One subsequently becomes one of John’s greatest releases.

As with most of John’s reissues, the digital counterparts come with additional songs. I’m certainly not a fan of that approach and prefer to listen to and appreciate the music in its original sequencing. While I have listened to both bonus tracks, Suit Of Wolves and Fat Boys And Ugly Girls, I feel neither adds value to The One and as a result, I’ve chosen to share with you a playlist of The One that omits that bonus material.

Simple Life is a beautiful opener and while it may hark back to the sound signature of the era, it isn't dated and still sounds fresh. John’s vocals are, as is usually the case, filled with warmth and sincerity, but the entire composition of the song is nothing short of perfection; perhaps a tad long, but perfect nonetheless.

The One shifts the tonality somewhat, but as the title track, this is one of John’s most magical ballads. His vocals perfectly combine with the song’s lush orchestration to add depth and intensity. The One is, without a doubt, one of the standout tracks from not only this record, but John’s entire career.

Sweat It Out is a little more upbeat with a vibrant and captivating style. What’s more interesting, however, is the sonic elements placed within the mix. Such additions have the possibility of becoming too complex, but each musical aspect was included to enhance the music rather than detract from the song itself; a rarity, certainly!

Runaway Train (feat. Eric Clapton) is one of the greatest songs John and Clapton have ever recorded, in their respective careers. Yes, it is that good!

Whitewash Country shifts the style somewhat and initially, it’s as if John were recording another country music-inspired tune before the pop-rock elements kick in. Any song following Runaway Train was always going to be challenged, but as an album-only tune, Whitewash Country is solid. It was never destined to be a standout, but it flows well enough within the album’s linear structure.

The North is a beautiful song and a hidden gem that has never achieved the recognition it deserved.

When A Woman Doesn't Want You may be an album-only tune, but it’s stunning as John’s vocals are filled with raw emotion that combine with the song’s soulful and catchy melody.

Emily starts well, but John’s vocalising of the verses is a little off. It’s not the worst song he’s ever recorded, but I doubt anyone would seek Emily out on its own, outside of listening to the album as it just isn’t noteworthy.

On Dark Street has a rock-infused sound, with a catchy chorus, that will see you toe-tapping and head-bopping throughout.

Understanding Women has a killer synth introduction with witty lyrics and a bouncy melody that would have been a hit had it been released in the mid-80s.

The Last Song is one of the greatest closing tunes I’ve ever had the pleasure of hearing. It’s also one of John’s most beautiful vocal performances for it leaves you wanting more, thereby making it a fitting conclusion to a magnificent album.

The One is a remarkable addition to Elton John's extensive discography where he successfully balances introspective and emotional ballads with more upbeat and rock-oriented tunes. His signature piano-driven sound and heartfelt lyrics are on full display throughout, and his vocal performances are nothing short of outstanding. The One, ultimately, captures a mature and reflective John, making it a must-listen for both longtime fans and newcomers alike.

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Elton John – Sleeping With The Past (Album Review)

Elton John's career has been nothing short of legendary, with a discography that spans decades and genres. In 1989, he released Sleeping With The Past, an album that would be a departure from much of his 80s output and one that would ultimately see him return to the top of the charts. With a focus on the rhythm and blues sounds of the '60s and '70s, Sleeping With The Past is true to its namesake and John and Bernie Taupin didn’t disappoint for this release not only pays homage to a bygone era but embraces it and presents it to a new audience to reflect upon. 

Speaking of new audiences, while John may be somewhat winding down his career, particularly the touring aspect, he’s never been more popular. As such, his record label decided in recent years to reissue his legacy recordings, beyond just that of his classic 70s-era music, on vinyl. Subsequently, Sleeping With The Past was reissued in 2017, although I’ve yet to pick it up on vinyl; a shame considering it is also one of my all-time favourite Elton John albums. 

In the meantime, I will endure listening to this masterpiece via the lossless Apple Music stream that is derived from the 1998 remastered CD release. It’s adequate but is unlikely to fill your soul for you’ll hear the music, but you won’t necessarily feel it. Plus, the bonus tracks, Dancing In The End Zone and Love Is A Cannibal just aren’t great. As such, I’ll be sharing with you a playlist of the core album tunes, for I feel the album is stronger sans the bonus material. 

Durban Deep launches the album with an interesting 80s twang and as much as I adore Sleeping With The Past, I have to admit that Durban Deep isn’t the strongest opener. It isn’t fundamentally bad, but it does sound as if it were a song left over from one of John’s lackadaisical mid-80s releases. That said, the more you listen to Sleeping With The Past, the more you’ll find yourself enjoying Durban Deep as it signifies the exceptional music that you’re about to hear. 

Healing Hands is where Sleeping With The Past really starts, for me at least. It’s a highlight from the album with its catchy upbeat melody that melds perfectly with John’s compelling vocals. Yes, it has a very late 80s sound, especially with the addition of the backing vocals, but good music is good music and Healing Hands is a timeless classic.

Whispers is a beautiful, stripped-down ballad, that will draw you in from the very first notes. John’s emotive singing also captures your attention and while much of his 80s output, post The Fox in 1981, failed to impress, Whispers showcases that an artist with the skill of John can return at a later date, with an astonishing selection of songs, and once again leave the fans speechless.

Club At The End Of The Street shifts the tone of the album and takes a more upbeat approach compared to Whispers, yet the contrast isn’t nearly as jarring as you would think. It’s, therefore, an example of perfect track sequencing, for the senses thoroughly enjoy the placement of this catchy pop-rock tune.

Sleeping With The Past harks back to the Motown era of yesteryear; a core inspiration for the entire album. While it may not be a song that is immediately identifiable with John’s legacy, Sleeping With The Past is the perfect title track for it encompasses all intended musical influences.

Stone's Throw From Hurtin’ is blues meets country and further showcases the versatility that has been a cornerstone for John throughout his entire career. Stone's Throw From Hurtin’ was never going to set the charts on fire but is perfect as an album-only tune with some killer guitar licks. 

Sacrifice is, undoubtedly, a standout with poignant lyrics and a haunting melody that has become one of John’s signature tunes. 

I Never Knew Her Name is a fun, energetic, and upbeat song that returns us sonically to the underlying Motown vibe.

Amazes Me is a lovely mid-tempo tune with lyrics that are not only evocative but are emotionally charged, thereby allowing John to do what he does best; tell stories via songs. 

Blue Avenue is a beautiful closer. John’s soothing vocals, combined with his calming piano backing, ensure this track is a standout that will encourage you to spin the album again. 

Sleeping With The Past not only paid homage to the music of a bygone era, but it's simultaneously some of the very best music Elton John ever recorded. As a result, much of John’s 80s output can be overlooked as each song from Sleeping With The Past adds a layer of richness to the album, making it a memorable addition to Elton John’s illustrious career; one that is up there with his greatest legacy releases. 

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Elton John – A Single Man (Album Review)

Elton John's 1978 studio album, A Single Man, is a fascinating pivot in the legendary artist's career for it would be his first without lyricist, Bernie Taupin and longtime producer, Gus Dudgeon. Don’t let that deter you, however, as John is a consummate musician and A Single Man is a stunning release, from his back catalogue, that is severely underrated. While it may not boast the same chart-topping hits as some of his previous albums, A Single Man is a testament to Elton John's musical versatility and ability to adapt to the evolving musical landscape of the late ‘70s.

As much as I appreciate the album artwork, I’ve yet to pick up a copy on vinyl. That said, from a mere sonic perspective, the Lossless Apple Music stream, derived from the 1998 remastered reissue, is flawless from start to finish. To say that it’s superb would be an apt assessment. Could it be better? Well, if John’s recent vinyl reissues are anything to go by then most certainly. Nevertheless, you’re unlikely to be disappointed with this digital counterpart. There’s plenty of headroom that allows for turning up the volume and the immersive and enveloping soundstage gives each instrumental element room to breathe while ensuring that you and I, dear reader, don’t miss a moment of John’s spectacular vocal delivery.

Shine On Through immediately sets the tone for the entire album with a simple, yet glorious composition. Whether it’s the piano, John’s vocals, or the musical and orchestral arrangements, Shine On Through is one of John’s greatest recordings.

Return To Paradise offers an interesting composition and while I thoroughly enjoy the opening, I don’t feel that the inclusion of Caribbean elements has ever really worked well for John’s style of music. Granted, Return To Paradise was never going to be anything more than an album-only tune, and I thoroughly enjoy it for that purpose, but I believe there’s a greater song to be heard if the musical arrangement was somewhat different. 

I Don't Care, with its bouncy rhythm and infectious chorus, will have you toe-tapping and head-bopping from the very first note. Containing a little rock and pop with a touch of disco, along with John’s signature piano and the gospel-style backing vocals, there’s something here for everyone to enjoy. 

Big Dipper is dripping with attitude and while it may start slowly, the New Orleans jazzy-blues sound, along with that addictive chorus, makes Big Dipper a standout on the album; even if it is one of John’s more experimental tunes. 

It Ain't Gonna Be Easy is a standout and is one of the best songs John has ever recorded. Additionally, the guitar work from Tim Renwick is simply incredible and blends seamlessly into the entire composition of the song. While the length of It Ain't Gonna Be Easy ensured it wouldn’t be heard over the airwaves, unless truncated to a radio edit, music lovers ultimately missed out on one of the very best songs of the 70s.

Part Time Love was one of the songs from A Single Man that received notoriety when released as a single. With its funky pop-infused rhythm and catchy melody, there’s little doubt as to why Part Time Love has endured as a fan favourite throughout the decades; an incredible tune!

Georgia is a beautiful stripped-down ballad with a captivating backing vocal harmony. It’s songs such as this that ensure A Single Man is an album experience first and foremost; a thoroughly enjoyable one at that. 

Shooting Star features a captivating melody and lyrical depth as John’s vocal is both soulful and moving. Yes, Shooting Star is another album-only tune, but when listened to in the linear album structure, the smoothness of Shooting Star makes perfect sense. 

Madness is a bluesy, rock-infused track that brings a gritty edge to the album. John’s vocal performance here is particularly strong, and the guitar work adds a nice texture. That said, I can’t help but feel that John’s vocal, in some places, is a little over-processed.

Reverie is a short musical interlude that serves as a palette cleanser before the album’s final track and pinnacle moments. 

Song for Guy is one of John’s greatest recordings and closes the album perfectly as it is both reflective and encourages the playing of the album again. As a mostly instrumental track, with only the very basic of lyrical elements, it’s fair to say that it’s amazing that it has become a fan favourite, but when a song is filled with so much emotion, it really shouldn’t be a surprise. 

While A Single Man may not have been as commercially successful as John’s other albums, particularly Goodbye Yellow Brick Road, that need not matter for sales success is generally a poor indication of quality and while the aforementioned classic release from John is an example of his most creative works, A Single Man is equal in that regard; it’s just that the music may or may not be to your subjective tastes. As for myself, I consider A Single Man to be not only exceptional but a must-own for all Elton John fans for it is criminally underrated and if given another chance, I’ve no doubt it will reach a broader audience. 

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Elton John – Blue Moves (Album Review)

Released in 1976, this double album is a hidden gem and showcases a departure from John’s more commercially-driven sound by delving into a more introspective and musically diverse style. While it may not have enjoyed the same level of commercial success as some of his earlier works, Blue Moves stands as a testament to Elton John's artistic growth and willingness to experiment with his music. It’s also a hidden gem in John’s extensive back catalogue and if you give it time, Blue Moves, John’s eleventh studio album, will grow on you like no other record will, for it is one of his greatest musical achievements. 

Yet, it wouldn’t be far-fetched to declare Blue Moves as one of John’s most disliked albums, but while the music is divisive it is also a pivotal moment in that it doesn’t just deliver hit after hit but asks the listener for their full attention to fully appreciate it. Other than, perhaps, Sorry Seems to Be the Hardest Word, Blue Moves is an album experience first and foremost. As it was released in the vinyl era, logic would subsequently suggest that one should sit down and listen to the album, taking in all its nuances. Of course, the speed of modern society rarely seems to permit sitting and doing nothing, thereby delegating music to be nothing more than the background soundtrack to our lives. However, if you have the time, sit down, relax, and enjoy Blue Moves as a cohesive piece of musical art; I’m certain you won’t regret it. 

Your Starter For… is a short, but pleasant, musical introduction to the album. It has a fantastic rhythm and it’s just a shame the song isn’t longer. That said, it’s the perfect length for an atmospheric introduction that will put you into a reflective and contemplative mood.

Tonight is one of John’s greatest recordings. His piano playing is exceptional and the lush orchestration takes Tonight to the next level. Add to that, John’s beautiful emotive vocal delivery and you’ve got nothing short of a perfect song; one that has been recorded, mixed, and mastered with kid gloves, thereby ensuring that you’ll be captivated from the very first note to the last. 

One Horse Town features a strong piano-driven melody but you’ll have to wait before the blues-based rhythm comes into the mix as there’s a considerably long intro to contend with; one that arguably could have been culled. Nevertheless, I thoroughly enjoy the upbeat pace of One Horse Town and John’s vocal performance on this tune is of particular note as he takes the notes right to the edge before backing off at the last minute, resulting in vocal perfection. 

Chameleon showcases John’s versatility and skill in blending rock and pop elements to create what can only be called a gorgeous song. 

Boogie Pilgrim is infused with a lively, rhythmically addictive energy, but it’s ultimately an album-only track that is largely forgettable as a song on its own. 

Cage The Songbird is a beautifully orchestrated ballad with John’s vocals ultimately driving the tune. While Cage The Songbird was never going to be a standout, it’s a lovely tune in the sequencing of Blue Moves. 

Crazy Water is dynamically funky with an upbeat tempo that initially won’t wow you, but as the song builds and the chorus comes into the mix, it's so catchy that you can’t help but be drawn into what will quickly become a favourite song from Blue Moves. 

Shoulder Holster is a solid album-only tune. While it isn’t the strongest song on the record, the brass instrumentation makes it far more enjoyable and I dare say without it, Shoulder Holster would be rather bland.

Sorry Seems To Be The Hardest Word is one of the most extraordinarily beautiful songs John and Bernie Taupin ever wrote. To say it is a masterpiece is an understatement for it’s not only a standout on the album, and within John’s back catalogue, but it’s one of the greatest songs ever recorded in all of music history. Magnificent!

Out Of The Blue is a musical jolt following the sonic brilliance of Sorry Seems To Be The Hardest Word, but once the senses adjust to the shift, Out Of The Blue isn’t a bad song at all; it just wasn’t well positioned in the sequencing of the album. That said, after all these years, Blue Moves wouldn’t be the same if this instrumental tune was placed elsewhere. Subsequently, as with so many classic albums, you grow to love even the slightest missteps. 

Between Seventeen And Twenty presents us with another sonic shift and while Between Seventeen and Twenty was never destined to be a standout tune, something is compelling about it. Perhaps it’s the offbeat vocal presentation or the continuous edge-of-your-seat sense that the song is going to reach its peak, yet it is neither. Let’s just say that it is one of John’s most interesting songs, from a compositional standpoint. 

The Wide-Eyed And Laughing is quite a different style of song than we are used to hearing from John. I can, subsequently, understand why some would dislike it, but I find it captivating and feel it’s one of his greatest recordings.

Someone's Final Song is a hauntingly beautiful ballad. 

Where's The Shoorah? has a lovely vocal delivery and the harmonious choral backing is superb. The result is that Where's The Shoorah? is  perfectly suited to the album and could be seen as a precursor to You Gotta Love Someone.

If There's A God In Heaven (What's He Waiting For?) is a witty title, no doubt, but it’s not a standout. Still, as an album-only tune, it isn’t bad and helps to form the backbone that Blue Moves is built upon; an album with few hits but many memorable moments.

Idol is one of the most beautiful songs John and Taupin ever wrote, but if you want to hear the very best recording of Idol, look no further than George Michael’s rendition from Symphonica; nobody will ever do it better! 

Theme From A Non-Existent TV Series is another musical interlude and while the rhythmic shift from Idol is a jolt to the senses, this tune does lead perfectly into the final track. 

Bite Your Lip (Get Up And Dance!) is dance meets gospel, meets rock and roll, with a touch of pop. It’s a solid closer, although I feel Idol would have been a stronger song to conclude the album on as it would permit greater reflection. Still, the upbeat tempo of Bite Your Lip (Get Up and Dance!) is fun and sometimes that is the perfect way to close an album.

Blue Moves is an album that requires listeners to engage with its deeper emotions and intricate musical arrangements for this isn’t background music; until you get to know the album, that is! While it may not have generated the same commercial success as John's earlier works, it remains a testament to his artistic growth and is a worthy addition to his discography; even if it is one of the most overlooked, and underrated, albums of all time. 

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Elton John – Captain Fantastic And The Brown Dirt Cowboy (Album Review)

Elton John's 1975 release, his ninth studio album, Captain Fantastic And The Brown Dirt Cowboy stands as a masterpiece in his discography and a significant milestone in the realm of classic rock and pop music. The album not only showcases Elton John's unparalleled musicality and storytelling capabilities but also offers a personal journey that will resonate deeply with listeners who appreciate concept albums and literal lyrical meaning. From the intricate songwriting to the diverse musical arrangements, this record further solidifies Elton John's position as a true musical icon.

Visually striking and busier than the exceptional cover art for Goodbye Yellow Brick Road, Captain Fantastic And The Brown Dirt Cowboy is another of John’s albums that really needs to be experienced via the larger vinyl canvas for the detail Alan Aldridge put into the artwork is exquisite. While I’ve yet to own a copy on vinyl, displaying the artwork on the television, while the music plays, gets me part of the way there but this album is deserving of ownership and is, subsequently, on my wish list.

Sonically, while I hope that the vinyl counterpart will be exceptional, the Apple Music stream is another convoluted mess; not dissimilar to John’s Madman Across The Water, in that the Apple Digital Master is sonically compromised while the Deluxe Edition offers a far more pleasing presentation of the album that doesn’t sound lifeless, concealed, and has incredible separation and detail across the stereo spectrum. Subsequently, as is usual for these reviews, I’ve compiled a playlist of the core sequencing, taken from the Deluxe Edition, for you to enjoy as you peruse the rest of the review. 

Captain Fantastic And The Brown Dirt Cowboy is a solid title track but it takes a little too long to get to the heart of the song. Nevertheless, once it’s up and running, the upbeat melody, combined with poignant lyrics, introduces listeners to the duo’s (John and Bernie Taupin’s) struggles and aspirations. The result is a perfect opening chapter for those of you who appreciate narrative-driven music. For the rest of us, it remains musically enjoyable, particularly in the second half of the song when the rest of the band joins John in the mix and you get the percussion elements and killer guitar licks.

Tower Of Babel is exceptional with its shifting dynamics and powerful chorus that makes it a standout on the album and is one of John’s many hidden gems as his piano and vocal performance will leave you speechless. While the entire band is on fire, and Tower Of Babel is nothing short of pure perfection, I absolutely adore Nigel Olsson's drum performance (here and on the closing track Curtains) and I, subsequently, feel that his playing has often been underrated. 

Bitter Fingers is delivered via a slow build and like the album’s title track, it takes the first minute or so for the song to build to its exceptional climax. When it does, that chorus is off-the-charts good; even though it isn’t easy to sing along to. 

Tell Me When the Whistle Blows has a Marvin Gaye feel to it and it doesn't quite suit John’s style. Nevertheless, John’s emotive vocals are supported by gentle instrumentation that creates a delicate atmosphere throughout the verses. The chorus, however, falls flat and while the song is more than adequate as an album-only track, it is the low point in an otherwise exceptional record.

Someone Saved My Life Tonight is one of the most spectacular songs on the album and one of John’s greatest recordings. To think that it may never have been part of the social consciousness had John been successful in his suicide attempt in 1968, is just unimaginable. Aside from that aspect, John’s incredible vocal performance, mixed with the engaging melody and piano playing, ensures this is a timeless masterpiece.

(Gotta Get A) Meal Ticket has a rock-oriented arrangement that is not unlike a Rolling Stones recording. Subsequently, I love it! 

Better Off Dead is musically quirky, yet it works remarkably well. While Better Off Dead is unlikely to appeal to you on the first listen, the more you listen to the album, the more you come to appreciate it and John’s versatility. 

Writing is campy, but as with the varying styles heard throughout Captain Fantastic And The Brown Dirt Cowboy, you’ll find that songs such as Writing are a little lacklustre to begin with, but given time they grow on you and become thoroughly pleasing tunes that you look forward to listening to each time you play the album. 

We All Fall in Love Sometimes is a poignant ballad that transitions from contemplative verses to sweeping choruses. The orchestral arrangement adds grandeur to a simply beautiful song that needs to be heard to be fully appreciated for some music defies adequate explanation.

Curtains flows seamlessly from We All Fall in Love Sometimes and that was intentional, as it also was with Funeral for a Friend / Love Lies Bleeding, for originally the two were one. Regardless, it is a perfect way to close out the album for music doesn’t get much better than this and John, Taupin, and the band should all be congratulated for laying down such incredible music that is amongst the very best recorded in all of music history. 

As a complete body of work, John and Taupin masterfully crafted a sonic journey that spans the highs and lows of their careers and personal lives. Each track contributes to the album's overarching narrative, showcasing the duo's ability to seamlessly blend rock, pop, and introspective ballads. The result is, without a doubt, one of the best albums released in 1975. 

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Elton John – Caribou (Album Review)

Following an album like Goodbye Yellow Brick Road was always going to be a monumental challenge, yet John and the band created an impressively captivating and eclectic musical journey that showcases Elton John's distinct blend of pop, rock, and balladry.

Released in 1974, John’s eighth studio album, Caribou built on the success of his previous releases and continues to highlight the extraordinary writing skills of John and Bernie Taupin; for their ability to craft memorable songs and melodies knew few limits. Yes, it could be said that Caribou isn’t as strong as Goodbye Yellow Brick Road, but if we look at it on its own, Caribou is a masterpiece in its own right; provided, of course, that you ignore the bonus tracks from the 1995 CD remaster. Thankfully, I can choose not to include those songs in my digital library and I’m fortunate to own the 2017 vinyl reissue that is void of bonus material. It's a lovely reissue, particularly sonically as it sounds significantly better than the aforementioned digital remaster with a fuller and more immersive presentation. The album artwork, however, has been reproduced from a scanned source as you get the banding across the cover art that is common with such reproduction processes. The inner sleeve is better produced but could have been a little sharper as the text is easily readable, but the associated photographs are a tad soft. Nevertheless, when a record sounds this good, I’m not going to complain too much about the shortcuts taken with the sleeve designs.

As is common with these reviews, I like to share a version of the stream so that you can listen along while perusing the review. In this case, I’ve created a playlist of the core ten tracks from the album as I feel that’s the best way to experience it. However, if you’re interested in listening to all the bonus tracks, you can check out the complete version here. 

The Bitch Is Back is one of the greatest rock songs ever recorded. While John only ever dipped his toe into the hard rock musical spectrum, he could have gone even further for his rockers are just as memorable as his pop tunes and ballads. The song's infectious chorus and driving rhythm make it an instant attention-grabber and is, therefore, the perfect opener for Caribou.

Pinky is tonally beautiful and offers a slight change of pace, moving towards a more introspective and reflective sonic presentation that incorporates John’s signature piano-driven rock sound.

Grimsby has an addictively good rhythm. You’ll be toe-tapping and head-bopping from the very first note. Additionally, the unique tuning of the guitar riff, found throughout, is what can only be described as sonic perfection. I love it!

Dixie Lily is a classic album-only tune, with a touch of country, that would have been better suited for inclusion on Tumbleweed Connection as it feels a little out-of-place on Caribou. That said, after all these years, I can’t imagine Caribou without Dixie Lily. 

Solar Prestige A Gammon is a quirky experimental piece that showcases John’s willingness to explore different musical avenues. While it is unlikely to appeal to all music lovers, Solar Prestige A Gammon grows on you the more you listen to it. I, subsequently, consider it a hidden gem. 

You're So Static returns us to a more rock-oriented sound. With its energetic instrumentation and catchy chorus, You’re So Static is impossible to resist.

I've Seen The Saucers starts beautifully with a gorgeous beat and atmospheric sound. John’s vocal is somewhat Jazz-inspired and as the song continues its linear flow, it builds into a solid pop/rock tune that is worthy of inclusion on the album. That said, if this song had a little more spit and polish applied, it could have been a massive hit. The result is that there is a masterpiece hidden, just below the surface, that will forever remain concealed. Although, I will say that some of the concealed elements become more apparent on the masterful vinyl reissue. 

Stinker leans into a bluesy rock vibe, delivering a gritty and raw musical experience. It’s a fantastic album-only tune and another of John’s many hidden gems.

Don't Let The Sun Go Down On Me is simply fantastic and is, arguably, the standout song from Caribou. It’s an emotionally charged ballad and one of John’s greatest vocal recordings. The result is that Don't Let The Sun Go Down On Me is an unforgettable masterpiece.

Ticking is another of those hidden gems I’m so fond of. There’s nothing wrong with the core fan-favourite tunes, of course, but John has such diversity in his back catalogue, with so many memorable recordings, that every time I listen to his classic albums, there’s a level of musical freshness to be experienced. That aside, Ticking is a beautiful song that allows for contemplation of the album you’ve just heard while simultaneously compelling you to play Caribou again. 

Overall, Caribou showcases John's versatility as the music effortlessly shifts between various styles while maintaining his distinctive flair. The album's diverse range of tracks ensures that there's something for everyone; whether it's energetic rock anthems or heartfelt ballads. While some tracks may stand out more than others, the album as a whole is one of the greatest releases of the 70s and is another snapshot of brilliance from John’s impressive classic era.

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Elton John – Goodbye Yellow Brick Road (Album Review)

Goodbye Yellow Brick Road needs no introduction as it is arguably Elton John's greatest commercial achievement and is seen by many as his most iconic release. There’s certainly no doubt that it is one of the greatest albums ever written and recorded, but I remain hesitant to call it his greatest recording as I feel that undermines the other incredible music he has made throughout his career.

Released in 1973, Goodbye Yellow Brick Road, John’s seventh studio album, is a blend of rock, pop, and ballads, combined with Bernie Taupin's poignant lyrics, resulting in a timeless masterpiece that continues to captivate listeners. Aside from the music, the album artwork, created by Ian Beck, is amongst John’s greatest. Yes, it’s corny and cliché but in a good way. Some album covers just set the imagination running and if you want to stand out from the crowd and offer music lovers another reason to purchase an album, this incredible cover art is the first step in achieving that goal; especially during an era that was focused on the larger vinyl format.

Sonically, while I’ve been fortunate to have owned the 2014 vinyl reissue and the associated High Fidelity Pure Audio (HFPA) Blu-ray audio release, these days I find the lossless Apple Music stream, an Apple Digital Master, to be exquisite and in every way that matters, a true musical peer to the physical counterpart. Plus, while I always enjoyed the Blu-ray release, I found the vinyl reissue sounded too flat for my liking. The result was a reproduction that was less dynamic than would be ideal. Granted, the Blu-ray release contained the exceptional 5.1 mixes from Greg Penny, along with the same stereo remastering delivered via Apple Music, but I can’t listen to it everywhere and anywhere, hence the stream is more than adequate for the needs of this modern listener. Yes, dear reader, convenience can be a wonderful thing. That said, it would be nice if the surround mix was released on Apple Music et al.  

Funeral For A Friend / Love Lies Bleeding has to be one of the greatest lead-off songs in all of recorded music history. Admittedly, this opening tune could be considered as two unique songs but the combining of them, into an epic 11-minute medley, was the work of pure genius as the song seamlessly transitions from a sombre piano-led funeral dirge into a vibrant rock anthem.

Candle In The Wind is a beautiful melancholic ballad that honours the life of Marilyn Monroe and displays John's emotive vocals as well as Bernie Taupin's touching lyrics. Even the 1997 version, altered lyrically for Princess Diana's funeral, is beyond reproach. 

Bennie And The Jets is a funk-infused glam rock track with a catchy chorus, but I’ve never appreciated the faux concert element as I feel it is extraneous to the song. That aside, Bennie And The Jets has a distinct style and sing-along nature that has made it a fan favourite over the years.

Goodbye Yellow Brick Road is nothing short of pure perfection. From the first piano bars to John’s emotive vocals and Taupin’s poignant lyrics, to the backing band’s extraordinary playing, Goodbye Yellow Brick Road is a quintessential timeless ballad.  

This Song Has No Title follows Goodbye Yellow Brick Road beautifully. It’s a rather simplified composition, but when you have a vocalist like John, sometimes you don't need much more than a piano and a minor musical accompaniment.

Grey Seal has a fantastic introduction, but I must confess that I’ve never really jelled with the song as I find it to be a little all over the place from a compositional standpoint. That said, Goodbye Yellow Brick Road wouldn’t be the same without it. 

Jamaica Jerk-Off sounds as though it was left over from another recording session, rather than being part of the Goodbye Yellow Brick Road sessions. It’s an acquired taste and I just don’t feel that reggae and John go well together. Nevertheless, it has a unique style that adds to the variety of recordings found on the album.

I've Seen That Movie Too returns the album to a manner more in line with John’s overall style. It’s a beautiful ballad, a hidden gem, and is one of the greatest tunes John ever recorded. Magnificent!

Sweet Painted Lady is a lovely song with a playful arrangement and vivid imagery that creates an engaging listening experience. It’s musical storytelling at its very best. 

The Ballad Of Danny Bailey (1909-1934) is a solid album-only tune and while it continues the narrative style commonly associated with John’s recordings, with some exceptional musical compositions and elements, it is unlikely to be anyone’s favourite tune. It isn’t that it’s bad, it’s just not exceptional.

Dirty Little Girl is a solid rocker with John straining his lyrical pronunciation to great effect. My only criticism is that I feel the song is too long and an increase in tempo would have likely addressed that issue.

All The Girls Love Alice is a killer rock and roll tune. It’s one of John’s many hidden gems with its infectious melody and strong vocal performance contributing to its allure. There really isn’t anything not to like about All The Girls Love Alice, although the ending could have been truncated.

Your Sister Can't Twist (But She Can Rock 'N Roll) is a brief and upbeat track that adds a touch of rockabilly to the album's sonic palette; it’s a fun little tune!

Saturday Night's Alright for Fighting is one of the greatest songs in rock and roll history. 

Roy Rogers slows the album down somewhat and sounds as though it would have been better suited to Tumbleweed Connection. That said, it doesn't sound out-of-place on Goodbye Yellow Brick Road as it’s a lovely reflective ballad that relaxes the senses following the intense pace of Saturday Night’s Alright For Fighting.

Social Disease is a lively track with a country-rock vibe. I love it!

Harmony closes the album beautifully with a heartfelt ballad that reflects on love, friendship, and finding inner peace. The poignant lyrics, and John's emotive performance, leave a lasting impression and will compel you to spin the album again.

Whichever way you look at it, there is no denying that Goodbye Yellow Brick Road remains an essential record that not only defined John's career but also left an indelible mark on the entire music industry. Its diverse range of musical styles, emotionally resonant lyrics, and John's charismatic delivery make it a timeless masterpiece that continues to enchant listeners across generations.

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