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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Air Supply – The One That You Love (Album Review)

Released in 1981, The One That You Love marked another successful chapter in the Australian soft rock duo's career. Building upon their signature sound of melodic ballads and heartfelt lyrics, this album continues to capture the hearts of listeners with its emotive tunes and strong vocal performances. The result is a record that is not only one of the best albums of their illustrious career, but is what I consider to be amongst the greatest albums released in 1981.

While the music may be exceptional, the album artwork is uninspiring. Seriously, the rear photo of the band, featured on the original releases, would have been far better to adorn the album cover for the hot air balloon on the initial releases, and the series of hot air balloons on the Australian reissue, is about as pointless as you can get. I really should add this album to The Worst (And Most Disturbing) Album Covers Of All Time ranked list, but it almost isn’t worthy of inclusion. Yes, dear reader, I’m extremely critical of this album artwork for it is an immediate deterrent and is unlikely to appeal to anyone, other than the most ardent fans. It certainly doesn’t showcase, or represent, just how outstanding the music is.

As for the sonics of the Apple Music stream, the lossless non-Apple Digital Master is derived from the CD counterpart and is sonically pleasing. Could it be better? Absolutely, but I wouldn’t want an overzealous remastering for the current dynamic range of the recording is already quite pleasant. It could do, however, with a slight boost to the mid and low end of the audio spectrum. Naturally, EQ settings can address this issue, but modern digital options can also be a little too aggressive and sometimes the minor adjustments of a skilled mastering engineer yields better results. 

Disappointingly, much of Air Supply’s back catalogue has remained untouched for decades with CD reissues only showing up within the Japanese music industry. Modern listeners who are not interested in picking up secondhand copies are, subsequently, left with few options outside of streaming and digital download stores. Yes, we need to be grateful that the music remains readily available, but the collector within would prefer that all music remains in print, both physically and digitally, for it gives music lovers a choice and further guarantees cultural heritage. 

Don't Turn Me Away gets the album started with a solid soft rock tune. I don’t, however, feel that it was the perfect opening track for it isn’t as strong as many of the other songs on the album and should have been repositioned in the album’s sequencing.

Here I Am is the song that should have been the lead track for it is much more in tune with Air Supply’s renowned and revered style. Here I Am, subsequently, sets the tone for the rest of the album; one that is filled with memorable ballads, melodies, and harmonies that will appeal to longtime fans and newcomers alike. 

Keeping The Love Alive has a beautiful flow for the verses are simply incredible. Yet, in classic Air Supply form, it’s the addictiveness of the sing-along choruses that are the ultimate highlight as the shift from verses to chorus, and back again, makes for a thoroughly engaging listen.

The One That You Love, the album's title track, is a timeless classic that remains one of Air Supply's most iconic songs and again, as the song reaches the chorus, you’ll feel compelled to sing along.  

This Heart Belongs To Me has an incredible rhythm. That piano entry is exquisite and is the backbone of the song as This Heart Belongs To Me turns into a soft rock masterpiece. It’s certainly reminiscent of the era, and some may suggest it sounds a little dated, but I adore it nonetheless.

Sweet Dreams, by comparison to This Heart Belongs To Me, is subdued, but that need not be a contentious issue for as the song slowly builds, the catchy chorus soars in a manner that only Air Supply can achieve for they are masters of the craft and Sweet Dreams quickly becomes one of the greatest songs of the 80s. 

I Want To Give It All slows the tempo considerably, but the vocal recording and intertwining of harmonies are thoroughly pleasing. While I Want To Give It All was never destined to be a standout tune, it’s songs such as this that make The One That You Love such an exceptional album experience. 

I'll Never Get Enough Of You is another standout that captures the sentiment of endless love. The sincerity of the vocals pairs extremely well with the song’s lyrics. As incredible as Air Supply performs this classic tune, I would love to hear Barbra Streisand cover it, for I feel she would take it to another level entirely.

Tonite is simply gorgeous. While not a standout, per se, as an album-only tune, Tonite is yet another reason why The One That You Love is one of the best albums ever released. 

I've Got Your Love is a brilliant closer that encompasses all elements of each song that came before it. The result is that you’ll feel compelled to play the record again for The One That You Love is one album that could be listened to on repeat indefinitely. 

Overall, The One That You Love is an exceptional album that showcases Air Supply's mastery of crafting emotionally charged soft rock ballads. With a combination of emotions through poignant lyrics, harmonious vocals, and well-orchestrated melodies, listeners will be captivated from the very first note to the last. While some songs stand out more than others, the album as a whole remains a testament to the duo's talent for creating music that is not only timeless but resonates deeply with listeners. If you're a fan of heartfelt ballads and timeless melodies, The One That You Love is a must-listen.

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Elton John – Don't Shoot Me I’m Only The Piano Player (Album Review)

Elton John's sixth studio album, Don't Shoot Me I'm Only The Piano Player, released in 1973, is another creative peak in John’s illustrious career. Combining his piano and vocal skills, with Bernie Taupin's vivid lyrics, results in a captivating musical journey full of eclectic rock, pop, and glam influences that longtime fans and newcomers alike will thoroughly enjoy.

Despite Don't Shoot Me I'm Only The Piano Player being one of John’s greatest musically driven releases, the album artwork is simply exquisite and is a perfect example of evocative storytelling and how the artist need not be on the cover for it to be impactful. It’s also a perfect piece of cover art for the larger canvas of the vinyl record; a format that was at peak popularity when this album was released. 

One unfortunate aspect, as I’ve yet to pick up a copy on vinyl, is that the sonic quality of the digital stream on Apple Music is adequate but substandard for the hits and album-only tunes on this record. Presented as a non-Apple Digital Master, and replicating the 1995 remastered edition, the lossless Apple Music stream simply sounds a little too flat for my liking with restricted dynamics and a shallow soundstage. Purists would argue, and I’d likely agree with them, that a vinyl option would be preferable for this particular release, but I can’t help but feel that what is ultimately needed is a respectful remaster. For instance, if I were to listen to Elton John’s self-titled second album and then follow it up with Don't Shoot Me I'm Only The Piano Player, the sonic difference, from Apple Music alone, is so stark that this 1973 release simply can’t compete as it pertains to sonic pleasure. That said, an adjustment to your EQ settings may be all that is needed to reign in the sonic presentation; one closer to your liking. 

Daniel is a lovely introspective and melodic opener. Add in John's piano and vocal melodies with Taupin's evocative lyrics and you’ve got a memorable tune that has remained a highlight within John’s back catalogue for decades.

Teacher I Need You offers a somewhat familiar nostalgic reflection of a schoolboy’s crush on his teacher; we’ve all been there, haven’t we? Nevertheless, from the very first note, we’re met with energetic piano riffs and catchy melodies that result in it being a fun little tune. It’s that simplicity and merriment that is sometimes all that is required to thoroughly enjoy music.

Elderberry Wine offers a blend of pop and rock influences, with a compelling piano arrangement and vocal delivery that ensures Elderberry Wine is exceptional and will likely result in an earworm; a thoroughly enjoyable one that will compel you to spin the album, and this song, again and again.

Blues For My Baby And Me is a beautiful ballad. 

Midnight Creeper shifts the tone somewhat and while it’s initially a jolt to the senses, the groovy upbeat tune, driven by funky piano chords and a lively rhythm, is so appealing that you’ll slip right into the song and rock out. 

Have Mercy On The Criminal is a masterpiece and is without a doubt one of John’s greatest recordings.

I'm Gonna Be A Teenage Idol has a spirited energetic rhythm and catchy chorus. It may be an album-only tune, but it’s one of John’s many hidden gems.

Texan Love Song is a considerable shift in the sequencing of the album and feels as if it would have been more suited to being included on Tumbleweed Connection. Nevertheless, while Texan Love Song is unlikely to be anyone’s favourite tune, it grows on you the more you listen to the record and becomes a natural progression in the linear structure of the album.

Crocodile Rock, with its 50s feel, is one of the most memorable tunes John has ever recorded. If nothing else, the inclusion of John playing a Farfisa organ gives Crocodile Rock its unique sonic quality; one that is quite whimsical. 

High Flying Bird is a lovely closer that will compel you to play the album again. It may not be John’s most recognisable tune, but there’s just something about it, perhaps the harmonious vocals, that makes it thoroughly enjoyable. 

In Don't Shoot Me I'm Only The Piano Player, John's musical brilliance shines through with each carefully crafted note. This album stands as a further testament to his ability to captivate listeners with his virtuosic piano skills and emotive vocal storytelling. Ultimately, it is not only one of his greatest releases, but it is amongst the very best records released in the 70s.

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Elton John – Self-Titled (Album Review)

Elton John has no shortage of classic albums that can be seen as both revolutionary and standing the test of time, but this self-titled second album sees John return to the studio with an even more polished production than was heard on his debut Empty Sky. 

Released in 1970, Elton John marked the beginning of a legendary career that would not only change John’s life but would have a profound influence on the popular music landscape for decades to come. With his masterful piano playing, gorgeous lyrics, and melodic style, Elton John remains an album experience through and through. While popular songs such as Your Song and Border Song are worthy singles in their own right, the sequencing of Elton John is utterly perfect.

Interestingly, Elton John was never intended to be a career-launching album for it was merely supposed to present a polished overview of the music from John and (Bernie) Taupin for other musicians to select from and record for themselves. I think I can speak for all of us when I say that I’m glad that intent failed for it is unimaginable to consider the musical landscape sans Elton John’s contributions.

While John and Taupin, along with the band are to be revered for the music that comprises the Elton John album, Gus Dudgeon, the album’s producer, was arguably a visionary creative and was so influential in that role that he would go on to produce many of John’s most respected classic era albums including Goodbye Yellow Brick Road.

Visually striking, this self-titled debut is a perfect accompaniment for the larger vinyl canvas. What has always confused me, however, is the fact that the rear album artwork presents the names and standing photographs of the contributing musicians to this master recording. Yet, there isn’t a single song from the album listed on the rear sleeve. Instead, you’ve got to venture into the gatefold for such information, along with lyrics and additional liner notes. It’s a bit of an oddity as one naturally turns the album cover over when perusing them to see if a song stands out from the list thereby compelling the purchasing or playing of the album. The CD counterparts don’t replicate this aspect, thankfully, but the 2017 vinyl reissue that I’m fortunate to own, replicates the original artwork. Regardless of that aspect, it’s a beautiful reproduction with a slightly textured cover that ensures damage will be minimal for Elton John is one of those albums that you can’t help but to continually play. 

While some vinyl collectors don't play their records, or will place the album artwork on a Now Playing stand, I prefer to hold the artwork and when I drop the needle on the record, I’m blown away. The musical reproduction of this release is said to have been remastered from the original analogue tapes and based merely on the sonic presentation that emanates from my speakers, I don’t doubt it. The only problem is the inconvenience of the format, for when the digital counterparts sound as good as they do. In the modern convenience era, it certainly takes a determined mind to commit to a vinyl playback ritual. 

Recorded, mixed, and mastered with kid gloves best describes the sonic wonder that you’ll experience when listening to this album, regardless of format or delivery method. While the vinyl reissue is thoroughly engaging, so too are the Apple Digital Master stereo and Dolby Atmos streams from Apple Music. While I prefer the stereo mix, that is likely due to hearing this album in that way for decades. Nevertheless, the Atmos mix is additive in that it has been delicately crafted and offers a fuller, and more immersive, presentation than the stereo mix permits. Some instrumental elements are more noticeable, having been freed from the refines of two-channel audio, but the only downside I’ve noticed is that the width of the soundstage is a little shallower than the stereo mix. That may sound strange given the surrounding nature of the Dolby Atmos format, but the stereo panning in the two-channel original mix seems to have a greater distance to the left and right than the Atmos stream does. Regardless, both are thoroughly enjoyable I will say that the Atmos stream is one of the best implementations of this technology that I’ve had the pleasure of hearing.

While most of the digital reissues for Elton John, post-1995, have included three bonus tracks, they’re superfluous to the flow of the album. I have subsequently chosen to omit them from this review and as such you’ll find a shared Apple Music playlist below that presents the album with its original 10-song structure. Of course, while I may be less than enamoured with the bonus material, you may appreciate it. Hence, you can check out the 13-track edition by clicking here. If you’re interested in delving even further into this release and the Elton John era, the 2008 Deluxe Edition features additional demos as well as BBC session recordings.  

Your Song is one of John’s most enduring tunes. The love song theme will pull at the heartstrings while the musical aspects of the song continue to progressively build, eventually culminating in one of the most beautiful songs ever written and recorded. 

I Need You To Turn To is an incredible pop ballad. When I hear music this pure, I can’t help but wonder if John, Taupin, the musicians, and the production team were aware of just how incredible the music was at the time when they were creating it. 

Take Me To The Pilot is an upbeat, piano-driven tune that complements John’s vocal styling. With its infectious hooks and melodies, Take Me To The Pilot is a standout even if its only claim to fame is as a solid album tune for this is one song that is not easily forgotten. 

No Strings On Louise takes a bluesy Rolling Stones’ meets country music twist. One could be forgiven for thinking that The Rolling Stones made an impromptu appearance on this song but as a fan of The Stones, I think it’s wonderful and it’s one of my favourite songs from Elton John; despite its stylistic shift.

First Episode At Hienton is a sonically beautiful tune. Its haunting composition will envelop you in the immersive soundstage throughout, thereby making it one of the most captivating songs from the album.

Sixty Years On has a unique and somewhat pointless introduction. I class it as the sonic equivalent of 2001: A Space Odyssey in that it gets your attention due to the progression of sonic elements rather than the song itself. Nevertheless, once the song starts and the senses start to settle, Sixty Years On becomes a masterstroke in its own right.

Border Song is a gospel-inspired gem. John’s piano, lyrical delivery, and the symphonic backing elements all build to the moment when the choir comes into the mix. It’s a sonic experience that has to be heard firsthand for Border Song will touch your soul in a way that simply cannot be adequately described.  

The Greatest Discovery is one of John’s greatest recordings and as with many of his tunes, it should be heard firsthand for any commentary is going to do nothing more than butcher what can only be considered a musical masterpiece. 

The Cage is New Orleans Jazz meets Rock and Roll with a killer rhythm and groove. 

The King Must Die is grandiose and aligns with John’s persona. As the song builds in intensity, featuring dynamic shifts in tempo, the orchestral arrangements add further majesty, thereby resulting in it being a quintessential closer; one that permits reflection, as well as compelling the listener to play the album again. 

Elton John is a remarkable release that is up there as one of the greatest albums in music history. It laid the foundation for John’s illustrious career and remains a testament to his enduring musical legacy. Most importantly, however, it deserves greater recognition than it often receives. We frequently point to Goodbye Yellow Brick Road as John’s magnum opus, but this self-titled release is equally its peer. If you’ve never heard it, nor given it a chance, you’ll be shocked with regards to just how impressive this release is for it is Elton John to the core and is thoroughly captivating from the very first note to the last. 

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