Elton John's 1981 studio album, The Fox, arrived during a transitional period in the singer-songwriter's career. By this point, John had already established himself as one of the most iconic figures in popular music, with a string of hits and critically acclaimed albums under his belt. However, The Fox continued the sonic departure from his classic era, embracing a more experimental and electronic direction that reflected the evolving music landscape of the early 80s.
Naturally, the shifting styles mean that The Fox will not appeal to all Elton John fans, but it’s an album that grows on your the more you listen to it. It, subsequently, stands as a testament to his versatility as an artist and his willingness to embrace new musical styles; a core reason why he remains relevant within the music industry to this day.
The Fox may be considered a unique album on its own, but several songs were originally recorded, during the same sessions, for John’s incredible, and severely underrated, 21 At 33. Subsequently, you may find it interesting to listen to that album first before reaching for The Fox as correlations are most certainly present. No, The Fox, is not merely a collection of previously discarded songs, but it is understandable as to why some may consider this to be the case.
Given the lacklustre commercial success, one can understand why the album has received no attention since the 2003 remastering that remains the gold standard for this release on Apple Music et al. That, however, shouldn’t be seen as a negative aspect for the 2003 remaster is stunning. The dynamic range presented will enthral as every musical element is clearly presented in the soundstage and turning the volume up, or even listening at lower levels, results in an exceptional sonic presentation that is more than anyone could ask for. Is there room for improvement? Perhaps, but there are no glaring issues to note and sometimes it is best to leave well enough alone; a trait the music industry often fails to understand.
Breaking Down The Barriers opens the album with a catchy and energetic melody. The modern 80s sound signature of included synthesizers and electronic elements set the tone for the entire album but as much as they’re present, they don’t detract from the song itself or John’s vocal delivery. Would Breaking Down The Barriers have been a far better song had it been recorded in his classic era style, probably, but it’s enjoyable just the way it is.
Heart In The Right Place features a tight moody rhythm section with some absolutely killer lead guitar licks. John's soulful vocals will also captivate you for it’s a hidden gem from his extensive catalogue. It’s without a doubt one of his best songs from the 80s and the incorporation of blues-based rock, with a touch of funk and some R&B, ensure that Heart In The Right Place is a memorable track.
Just Like Belgium is a solid pop-rock tune that initially makes me think of Bruce Springsteen; due to the musical style presented during the introduction to the song. Nevertheless, it isn’t a standout track, despite being lively and playfully energetic, but it is very 80s so if 80s music is your thing; you’ll love it!
Nobody Wins is one of the album's standout tracks for that tempo will instantly grab you. As with Just Like Belgium, Nobody Wins offers listeners a much-appreciated nostalgic trip down memory lane.
Fascist Faces has a driving soft rock sound signature and while there’s nothing wrong with that, John's processed vocal on this song can be a little off-putting. Additionally, the chorus isn’t overly compelling and all-in-all Fascist Faces just isn’t a great song. It works within the album structure, but it isn’t a song that you’d seek out, outside of the album format. A shame considering this was a songwriting collaboration with the one and only Bernie Taupin.
Carla / Etude / Fanfare / Chloe is a lovely song, or collection of songs, that is truly worthy of being a part of John's back catalogue and reminds me somewhat of Alan Parsons’ recordings. When the 2003 remaster was released, the four songs were combined into a single song and it works for it’s absolutely beautiful from start to finish. It really is one of the greatest pieces of music John has ever recorded.
Heels Of The Wind shifts the tone of the album as it’s an energetic track that showcases John's ability to blend rock and pop elements seamlessly.
Elton’s Song is lovely. While rather controversial at the time of release and while I don’t normally delve too deeply into lyrical meaning, this heartfelt tune, if released today, would be celebrated rather than receiving the same level of pushback and negative press it did in 1981. A lovely song!
The Fox follows Elton's Song nicely and is the quintessential closing tune for it ensures I’ll spin the album again and stay within John’s extensive catalogue of exceptional music. As divisive as his 80s output may have been, The Fox, both the song and the album, are thoroughly enjoyable and are Elton John recordings to the core; albeit with a modern 80s twist.
While it may not be as accessible as his classic era recordings, The Fox, John’s fifteenth studio album, offers a unique listening experience for fans willing to venture into the uncharted territories of Elton John's discography. It's an album that rewards repeat listens for The Fox can be seen as a notable chapter in Elton John's illustrious career, capturing a moment of artistic exploration and evolution while staying true to his artistic vision.