While to claim it as one of Elton's all-time best would be a rush to judgement, it's still nonetheless astounding that with SONGS, Elton finally tried his hardest to create another masterpiece like his early '70s music, using the same intelligent songwriting that was reminiscent of TUMBLEWEED CONNECTION and CAPTAIN FANTASTIC, along with getting back behind his piano on a larger basis than before. The only thing that is different is that Elton's voice is now deeper than it was in the early days, owing perhaps to age or the long-lasting signs of his addictions. But it's a voice of experience nonetheless, and SONGS shows just how far Elton has come after 3 decades of celebrity.

The first single "I Want Love" was hailed as Elton's finest in almost 20 years, and this John Lennon-inspired ballad is certainly worthy of that honor. While the singer may want something a little akin to a one-night stand rather than truly lasting love, it still speaks to any listener who has wanted some kind of affection, no matter what. Not since the title track to 1992's THE ONE had Elton created such an affecting ballad.

Elton's ballads have always been the surefire winners in his career, and those on SONGS do not disappoint. "Original Sin", the heartfelt "Ballad Of The Boy In Red Shoes" & the anthemic closer "This Train Don't Stop There Anymore" (perhaps hinting at a final break with his decadent past) are further additions to that long list of great slow songs in Elton's catalog. The fact that producer Patrick Leonard decided to give the album a more roots-based production (he's Elton's most sympathetic producer since Gus Dudgeon) makes the strengths of these tunes even more crystal clear.

But of course, "American Triangle" is the reigning king of the album's ballads for its emotion alone. An intensely moving tribute to the late Matthew Shepard, you can tell Elton felt a kinship with Shepard, as an openly gay man himself. While the lyrics could be misinterpreted as homophobic, this is definitely not the case, and is just simply a case of not whitewashing its subject. Hopefully, one listen to this song will turn any hateful person around.

Because Elton's most recent big hits have been Adult Contemporary-leaning ballads, his status as a credible rocker back in his early days is often overlooked. Yet SONGS helps put paid to the fact that Elton still can rock, and perhaps even better than before. The opening "The Emperor's New Clothes" is the siren call that Elton the rocker has returned. "Dark Diamond" is a borderline funk experiment with the welcome help of Stevie Wonder on harmonica. The blues-based "The Wasteland" has been denounced as a sour apple, but it's not half-bad, even if it does warrant perhaps a finer-crafted experiment on the next album.

The other songs do indeed take a while to register, but once they do, you can't overlook their stellarness. "Look Ma No Hands", the countryish "Birds" (finally seeing Elton return to TUMBLEWEED CONNECTION days successfully), "Love Her Like Me" (which is a slight descension back into AC gloss) & "Mansfield" all work their ways into your subconscious eventually. Just give them time!

At Elton John's age (he just turned 57), a veteran like him would maybe be expected to lose the genius of their early years & just let the accolades from the product of that era keep rolling in. After constantly being accused of coasting along for the last two decades or so, re-energizing himself was probably the last thing Elton could be expected to do. But with SONGS FROM THE WEST COAST, he did that and then some. Hints of the album may point to being a certain valediction (Elton commented a year or two ago about it being his last album), but I don't think Elton is leaving us for good. He could just be weary from all the activity of the last few years, and is in need of a rest. When he does come back, we can best be sure that another modern masterpiece like SONGS FROM THE WEST COAST is definitely in the offing.


Captures the "spirit" of the west   October 4, 2001
Wayne Klein (My Little Blue Window, USA)
14 out of 14 found this review helpful

Inspired by songwriters Ben Folds and Rufus Wainwright, Elton returns to his songwriting roots with longtime collaborator Bernie Taupin. In terms of style Songs from the West Coast has little in common with past masterpieces like Tumbleweed Connection. Where Songs works best is recaptures the "spirit" of those early albums. John has come full circle and returned to the "singer/songwriter" era that brought him his earliest success.

The album is far from flawless but there are many jewels to be found on the road to the west coast. Lyrically Bernie Taupin returns to one of his favorite topics the American West. This time, though, Taupin focuses on the contemporary "wild west" that surrounds him. He focuses on both real life topics (Matthew Shepard's murder in American Triangle) and his own loss of faith in humanity (This Train Don't Stop There Anymore). While some of the selections are lyrically obtuse, that doesn't dilute the power of the best songs.

Songs is a rare example of a third act in the music field. At this stage in John's career one could expect him to continue to churn out formulaic songs in the same vein as his late 80's early 90's work. Songs provides us with a snapshot of a performer that is interested in returning to what he's done best in the past--create narrative songs that say something about who we were, who we are and where were going.


Album of The Year   October 4, 2001
J. Thng (Singapore)
10 out of 10 found this review helpful

The songwriter team of Elton and Taupin is synonymous for excellent lyrical and moving music. Many of the tracks here rank up there with Elton's best, echoing many of his 70s best writing - Sorry Seem to the Hardest Words, Empty Garden, Blue Eyes etc... The songs here are wonderfully produced by Madonna's long-time producer/songwriter, Patrick Leonard (Like A Prayer, True Blue). The entire album is produced in an almost acoustical setting - mostly with drum, bass, acoustic guitar, percussion and Elton's piano, bringing out both the music, vocal and excellent lyrics. The appearance of Elton's 70s backing vocals, Nigel Olsson and Davey Johnstone, and guests musicians, Stevie Wonder, Billy Preston make this one of Elton's best albums in recent years. Every track is excellent, esp. The Emperor's New Clothes, I Want Love, Dark Diamond, Original Sin and This Train Don't Stop There Anymore (I can't stop playing this song!). Definitely Grammy material and Album of the Year.


Brand New Same Old Elton   October 11, 2001
13 out of 14 found this review helpful

With more than 30yrs in the business, more than 25 albums with total album sales of over 200million to his name, Elton John has nothing left to prove. He has won every award and received every accolade the music industry has to offer. Despite never having released a "bad" album, there have been some disappointments - The One had some real killer tracks, but never quite added up to the sum of it's parts, and Made In England had some sublime moments, but again lacked the spark that made the early-1970's albums so special. The Big Picture was a definite improvement, with some fine songs, some of Taupin's finest lyrics and slick grit/polish production, but is still didn't fully satisfy. The only glimmer of greatness in the last 15 years has been 1989's vastly-underrated keyboard-rock odyssey Sleeping With The Past - until now.

Songs From The West Coast is a return to the music that we've not heard EJ make for 25 years. It's a return to the music that made him one of the greatest singer-songwriters ever (if not the greatest...). Listen to this album, and you're instantly reminded of those early albums - echoes Tumbleweed, Don't Shoot Me, Honky Chateau and Madman ring through the piano intros, the arrangements and the vocal harmonies. Even the original band is mostly present - Nigel Olsson is back on the drums for some of the tracks, and the ever-present Davey Johnstone is on guitar. Paul Buckmaster is even back with the orchestra.

The grand piano is dominant, as it should be, and there's barely a synth in earshot. The arrangements are simple, but simply superb. EJ delivers some of the finest Taupin lyrics for decades with a subtlety and warmth that only he can. The voice is the same as that on the Madman album, but the passing years have added a depth, and emotional dexterity that is magnificent, especially on the beautiful, poignant album closer This Train Don't Stop There Anymore, strong contender for best track here. This album bristles with stand-out tracks - there is a weight to American Triangle, a gravitas to The Boy With The Red Shoes and a power to I Want Love that makes them demand repeated listening.

I'm always skeptical when people say "the best thing he's done in X years" - well I'm delighted to say it is true in this case. EJ has not produced anything this good since Blue Moves - and Songs From The West Coast pushes some of his even earlier stuff... Despite having nothing left to prove, it sounds like EJ is out to prove it all, all over again.