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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The Jacksons – Goin’ Places (Album Review)

Released in 1977, The Jacksons' Goin' Places is a vibrant and groove-filled album that showcases the group's evolving musical style through a significant transitional period for the Jackson brothers, as they continued to distance themselves from their Motown roots and explore new musical horizons. Featuring nine tracks that blend elements of disco, funk, and soul, Goin’ Places may not have achieved the iconic status of some of their earlier, or later works, but remains a testament to the Jacksons' versatility and growth as artists.

As with most of The Jacksons’ album artwork, Goin’ Places is iconic but as much as one can appreciate it on the smaller canvas of a digital screen, holding the album artwork, as I’m fortunate to, draws you deeper into the album from both a visual and audible perspective. 

Speaking of the latest vinyl reissue, from 2018, it is immaculate in every aspect imaginable. Yes, the Lossless Apple Music stream, an Apple Digital Master, is exquisite, but the additional smoothness of the vinyl counterpart makes it, along with the artwork, a value-added proposition for fans of The Jacksons. Regardless of this aspect, if you’re an avid streamer, you’ll be thoroughly pleased with the streaming counterpart as this is one album that was not only recorded and mixed well but has been mastered with kid gloves, thereby ensuring that it’s a fun listen from start to finish. 

Music's Takin' Over kicks the album off with an infectious disco groove and while indicative of The Jacksons’ overall vibe, if you listen to Michael's lead vocal on this opening track, you’ll hear the germination of his future solo recordings; particularly those heard on Off The Wall. 

Goin' Places is a funky upbeat number that is not only a catchy tune but has a memorable chorus that will connect with your soul and encourage you to move your body. 

Different Kind Of Lady is another disco-vibed standout from Goin’ Places. If you can sit still while Different Kind Of Lady is playing, you’ve got more self-control than I do for it’s an incredibly addictive tune; one written by the Jackson brothers themselves. 

Even Though You're Gone slows the tempo and is a poignant and heartfelt ballad. While Michael was always front and centre, as it pertains to the Jackson 5 and The Jacksons, this is another example from Goin’ Places that showcases just how proficient he had become as a vocalist for his vocals and associated harmonies are beautifully executed. While it isn’t the first song you’ll likely think of when reflecting on The Jacksons, it is one of their very best recordings. 

Jump For Joy returns us to the upbeat tempo with a touch of funk mixed into the dance rhythm that’s simply impossible to resist. It’s, subsequently, a pure feel-good tune that captures the spirit of the disco era. 

Heaven Knows I Love You is another slower track, yet it doesn’t feel out of place for it’s simply beautiful and Michael’s vocals are particularly moving on this classic tune. 

Man Of War is a lovely song that flows seamlessly within the sequencing of the album. While it was never destined to be more than an album-only track, Man Of War is one of those songs that is memorable and I don’t know about you, dear reader, but I often find that listening to it leads to an earworm; a thoroughly enjoyable one I might add. 

Do What You Wanna returns the album to a funkier groove that will encourage you to get on your feet, let loose, and dance along to this catchy tune. 

Find Me A Girl is a little corny. It isn’t that it’s fundamentally bad, as the smooth and melodic elements are sonically pleasing, but it’s the weakest song on an otherwise perfect album. Yes, it still encourages me to play the album again, but it is one of The Jacksons’ songs that I don’t look for outside of playing the record in its linear structure.

While Goin' Places may not be as groundbreaking or iconic as some of The Jacksons' earlier work, or as polished as their follow-up Destiny, there’s just something to appreciate about Goin’ Places for it captures the spirit of the time with a mix of danceable hits and heartfelt ballads. Whether you're a fan of their earlier Motown classics, or enjoy their disco-era sound, there's something on this album for everyone and is a reminder of the Jacksons' enduring talent and their ability to invoke emotion through music.

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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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Detective – Detective (Self-Titled Album Review)

Released in 1977, the self-titled debut album by Detective is a hidden gem from the era. With their blend of bluesy hard rock, soulful vocals, and tight musicianship, Detective showcased their raw talent and distinctive sound on this record; one of only two released, the other being It Takes One To Know One. Neither album charted well, yet the inability of Detective to become a household name has, upon reflection, resulted in them attracting a cult-like status. 

When you take the time to listen to their music, particularly this debut, you’ll be left bewildered as to how such an incredible band came and went seemingly unnoticed by the majority of music lovers the world over. Yes, the album artwork may be a little nondescript, but the music is anything but. In the absence of a physical copy, I find that the lossless Apple Music stream is sonically superb with a bold hard rock soundstage that has plenty of headroom and separation between all musical elements while simultaneously creating an immersive and impressive soundstage. If nothing else, it’s wonderful that modern music lovers have access to such incredible recordings; especially considering Detective isn’t, necessarily, at the top of everybody's list of the best albums from the 70s and such releases are often forgotten in the annals of the music industry. 

Recognition sets the tone for the entire album with its energetic guitar riffs, driving rhythm section, and powerful and emotive vocals from Michael Des Barres. Even if you’ve never heard Detective before, you’ve likely heard this classic tune as it's one of the best ever recorded and has likely been featured on numerous classic rock playlists and radio stations. 

Got Enough Love is a great tune with a fluid transition from Recognition that maintains the core energy, catchy hooks, memorable chorus, and blues-influences. 

Grim Reaper is a hard-hitting rocker with a memorable chorus and infectious energy. By this stage, if you’re not as amazed as I am as to how underrated Detective is (the band and the album), that’s a shame for the band’s tight musicianship and powerful vocals puts them on par with Led Zeppelin. Additionally, there’s little doubt in my mind that they were a perfect match for being signed to Zepplin’s own Swan Song Records, but I dare say some music lovers would still class them as imitators. 

Nightingale is a gorgeous ballad, that shifts styles throughout, and is perfectly positioned in the sequencing of the album. Des Barres’ vocal delivery is utterly perfect and further showcases just how underrated he was as a vocalist. 

Detective Man, with its swaggering groove and infectious chorus, is a standout tune on the album. Blues with a gritty edge perhaps best describes this late 70s hidden gem and when listening to Detective Man I can’t help but think that music doesn’t get much better than this.

Ain't None Of Your Business brings back the high-energy rock sound with its blistering guitar licks and a driving rhythm that showcases the band’s chemistry and overall tightness. As with much of Detective, Des Barres’ vocal delivery is as memorable as the music itself and that is certainly the case with this song. Ain't None Of Your Business is another incredible late 70s hard rock tune that should have been a landmark release for the entire genre. It just goes to show how easily greatness can be overlooked. 

Deep Down really leans into the blues and, initially, it may seem a little disjointed, but your mind quickly adapts and while Deep Down is an album-only tune, and possibly even filler, there’s some incredible playing, especially with regard to Michael Monarch's guitar performance, to be heard on this instrumental tune.

Wild Hot Summer Nights is a spirited performance with a touch of funk and soul added to Detective’s hard rock style. The result is a catchy tune that is an instant toe-tapper. 

One More Heartache is the quintessential closer that encompasses the very best elements of the entire album into a single song. With an incredible guitar riff, vocal delivery, and an electrically charged musical atmosphere, there’s little doubt that One More Heartache will compel you to listen to the album again for once you find Detective, you’ll likely put them at the very top of the greatest hard rock bands of not only the 70s, but of all time. 

Overall, Detective's self-titled debut album is a testament to their musical prowess and versatility. From high-energy rockers to introspective ballads, the band effortlessly navigates different styles while maintaining a cohesive sound. The raw and passionate performances, combined with well-crafted songwriting, make this album a must-listen for fans of classic hard rock with a touch of blues. 

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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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