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.