Half a century later, it’s easy to forget a time before Elton John was embedded in popular culture and large pieces of his life were an open book. Lyricist Bernie Taupin in a promotional photo ![]() Flavorful and expansive, it contains the best hallmarks of his method. The misery and escalating drama packed into “Rotten Peaches,” on the other hand, is John’s wheelhouse, and he sells it with aplomb, ladling personality onto lyrics with persistent vocal accents that make his readings sound soulful-or at least personal. Johnstone’s fluttering mandolin adorns a robust, string-trimmed sway, and John’s effusive handling of the chorus is engaging in spite of itself, but the result is a mere bauble. ![]() “Holiday Inn” is a considerably less effective look at life on the road than “Tiny Dancer,” an odd lament of banality despite nice touches. Related: Elton’s 11-17-70 was a signpost of things to come Forged with blustery sincerity and a touch of clunky imagery, there is nevertheless richness to its theatrical contemplations, fueling a social consciousness exercise appropriate to its time. The set’s longest song, “Indian Sunset,” would be a more difficult sale today: a first-person narrative of a Native American staring down the end of his time. Almost too subtle to fit in, yet still decorative, is acoustic guitar gilding provided by Davey Johnstone, appearing on his first project with John in what would become a long and fruitful collaboration. Its synthesizer-fattened design is something of a sonic yard sale, but orderly-not so much cluttered as intentionally overloaded. The A-side closes with the title track, which nearly exceeds its boundaries. It’s an odd sort of sonic urgency, more like noodling than cohesive design. Toward its end, an unheralded accordion lands front and center for an extended solo, trading licks with an electric guitar through the playout. The earnest “Razor Face” seems straightforward enough, alloying electric guitar with a guest organ turn by Rick Wakeman to form a rock backbone, but it’s a restless piece. Any cover is more echo than interpretation everybody can tell that this is his song. Offbeat and more than a little peculiar, the story of a balloon salesman and the son who wants out of their shared life requires someone who can handle the surreal with conviction, a quality John possesses in spades. “Levon,” on the other hand, is signature work. Related: “Levon”… How the song came to beĪnyone can cover “Tiny Dancer”-the composition possesses a universal appeal any competent vocalist can wrangle with appropriate conviction.
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