With the first single "Little Jeannie" becoming one of his biggest hits of the decade, the album got off to a great start, backed with a solid tour as well. What one notices right from the start on this record is how clean sounding the production and the arrangements are. The bell-tree in "Little Jeannie" is crisp and crystal clear. The horn arrangement in the autobiographical "Two Rooms At The End Of The World" (Elton in London and Bernie in Los Angeles) is pointed and the staccatos have punch to them.

The second single, "Sartorial Eloquence" was a decent, building-ballad (although I've never understood why MCA released it as the key line from the song "Don't You Wanna Play This Game No More"). EJ & Taupin even (blushingly) take on (of all things) cocaine in "White Powder White Lady". All with the Eagles provided ample backing vocals (and perhaps, noses???). But the next two tracks could have been stronger. "Never Gonna Fall In Love Again", written with England Gay New-Waver Tom Robinson, was OK, but "Take Me Back", a country-esque number complete with "fiddle" was in retrospect too obvious of a "filler".

Much more interesting was the album's closing number "Give Me The Love" written with label-mate Judy Tzuke (think elements of Joni Mitchell and Kate Bush), who had a gorgeous hit the previous year with "Stay With Me Till Dawn". The song takes on a fluid, crisp jazz quality, one which was a head-turner for the hard-core Elton fan. It was so well written and executed, that I couldn't help but wonder if Elton was listening to Boz Scagg's "Middle Man" album while writing the music. It's always been my belief that Elton should do more exploration into Jazz, as well as compose and release an album of instrumentals. "Give Me The Love" seems to support both.

As with the other newly-released, import remasterings, they could have included some really great bonus tracks like "Conquor The Sun" (B-side to "Little Jeannie"), and "Cartier", "White Man Danger" (which should have been on the album instead of "Take Me Back"), as well as other european B-sides like "Love So Cold" and "Tactics". They really blew it...especially with most of the "Classic Year" remasterings containing bonus tracks.

Overall, "21 At 33" gets 3-Stars. It was a sprightly, Summery album, which would have gotton 4-stars if there would not have been the "filler" track mentioned above, as well as providing the bonus tracks mentioned. It should be noted that the remastering is superb and definetely enhances the clean, crisp arrangements.


A Good Hand   February 13, 2005
David Sigler (Baltimore, Maryland)
3 out of 3 found this review helpful

That title for this review plays off the cover artwork for this 1980 release. With his recording career in a unexpected and doubtful place, Elton John re-emerged once again with a collection of songs that let's his fans know that he can deliver when he needs to. After the stark and moody "A Single Man" and the disco disaster of "Victim of Love", "21 at 33" rightfully puts Elton back in the pop-rock category. It may not hold together all the way through but at least his diversions are minimal and do not way down the entire effort.

Starting with the highly charged rocker, "Chasing The Crown", you know right away he mean business. Effective backing vocals and a great guitar by Richie Zito start the album off with a bang. "Little Jeannie" follows and is simply one of those enduring and memorable ballads Elton has built a successful career upon. It has one of his most unique lyrical hooks ("I want you to be my acrobat"), courtesy of Gary Osbourne, in years. Further, this may be the best John/Taupin song without a Taupin lyric. The way the melody flows and marriage of the lyric to the melody are very reminiscent of anything Elton and Taupin did back in '73.

And speaking of Taupin, this was his much herald return to an Elton John album since 1976's "Blue Moves". Here, he contributes three lyrics: the mentioned above "Chasing the Crown", a cocaine laced "White Lady/White Powder" and "Two Rooms At The End Of The World", which tells the tale of their reunion. Elton, with tongue clearly in cheek, give "White Lady" a melody that is so full of cheery piano fills and backing vocals, that it almost appears to be a parody when contrasted with the lyric about cocaine addiciton. And on "Two Rooms", an overproduced uptempo song that has too strong of a horn arrangement, misses some of the drama and insight into Taupin's story about how they write songs. "Two Rooms" isn't bad, it's just very busy with horns, piano solos, and many backing vocals that keep the listener very busy.

Elsewhere, lyrics are shared with Gary Osbourne, with the exception of "Little Jeannie," turns in more mundane, b-side worthy material (the ill-advised "Dear God", which follows the cocaine song - go figure, and "Take Me Back", a routine country song that feels way out of place among the others). These songs sound like leftovers from "A Single Man". But Tom Robinson provides Elton with lyrics for two pretty ballads:"Sartorial Eloquence" and "Never Gonna Fall In Love Again". This is a relationship that seemed to work nicely and a shame they didn't explore more opportunities in the future (though Robinson did make one last appearance on the next release, "The Fox").

Rounding out the last of the lyrical contributors is "Give Me The Love," which is written by Elton and Judie Ztuke. A jazzy, disco style upbeat number that certainly sounded very 1980 and contemporary when it came out. Not a bad song but again, a little out of place.

Elton produced this release with sound engineer Clive Franks and the results are overwhelming at times. However, this remastered version is very well done and the sound is crisp, clear and solid. It also helped that Elton brought back some of the original band members (drummer Nigel Olsson and bassist Dee Murray) for a few songs - notably the huge hit "Little Jeannie."

"21 At 33" is not his best album but certainly a signal that Elton John was getting serious about his music again. And at that time in his career, it proved he had a ace or two up his sleeve.

Best Tracks: Chasing The Crown, Little Jeannie, Sartorial Eloquence.


a testament to the superior songcraft of Elton John   January 12, 2006
Dave (United States)
2 out of 2 found this review helpful

"21 at 33", originally released in 1980, is not usually considered to be one of Elton John's best albums. More precisely, it seems to be viewed as something of a transitional record for Elton following his notorious and commercially disastrous disco album "Victim of Love".

That said, "21 at 33" is an incredibly impressive achievement. Despite the personal problems Elton was going through during this period, including his increasing drug dependency, absolutely none of the songs here fail to display Elton's superior knack for songcraft. In other words, there's simply not a weak song on the disc. And the production, by Elton and Clive Franks, is mostly very tasteful, and the performances are spirited.

Granted, Elton's reliance on other people to write the lyrics for his songs does give him a certain advantage in that he can focus solely on writing the music, and he can also use the lyrics he's been provided with as a vantage point for the type of song he's going to concoct. Bernie Taupin, following his songwriting absence on the previous two albums, returned here, co-writing three of the songs. Gary Osborne was also continuing to co-write songs with Elton, and there are additionally two co-writes from Tom Robinson, and one co-write from Judie Tzuke. The liner notes inform us that all of the songs here were written at the Cote d'Azur in Grasse, France in August of 1979, which inescapably brings to mind the thought that Elton can turn out great song after great song in his sleep--even if these tunes were all written quickly, they all seem carefully thought out musically, and none of them feel merely like album filler.

"Chasing The Crown" is a great, energetic album opener that rocks out quite nicely with super-cool guitar and piano licks. "Little Jeannie" is a supremely melodic ballad with a soaring chorus and an irresistible fade that's based on the instrumental intro. "Sartorial Eloquence" starts off with a lovely sequence of piano chords and again is splendidly melodic with an irresistibly catchy chorus. "Two Rooms At The End Of The World" is a toe-tappingly catchy horn-laden pop-rocker with neatly placed harmony vocals. The neatly-unpredictable "White Lady White Powder" is an extremely well-crafted and catchy uptempo pop-rocker. The 6/8 time "Dear God" is a gently-swaying, arrestingly tuneful ballad. "Never Gonna Fall In Love Again" is also a solid ballad with a nice sighing quality to it. "Take Me Back" is a fun, musically upbeat song that shows just how comfortable Elton is a country-western setting. The album ends with the absolutely infectious grooving soft-rocker "Give Me The Love": unbelievably catchy vocal melody; irresistible syncopation; great horn and string arrangements; a really fun, spirited Elton vocal delivery; and great Elton piano fills.

"21 at 33" is an album that you can absolutely play straight through. On the other hand, you might have a hard time doing that due to a temptation to play certain tracks two or three times in a row. With a nice variety to the songs, and so much catchiness, this is a really great and underrated album from Elton, and I really can't fathom how any fan wouldn't love it.

(P.S. Further demonstrating what a roll Elton was on at this time, there are at least a couple songs from the "21 at 33" sessions that didn't make the album. One is the fine ballad "Conquer the Sun" which appeared as a b-side for the "Little Jeannie" single. Another is the irresistibly funky "Lonely Boy" which appeared as a b-side to the single for "Who Wears These Shoes?" in 1984. It would have made this album even sweeter had these two songs been added here as bonus tracks--fans won't regret tracking them down.)


Underrated, and worth picking up for Elton fans....   December 29, 2008
Grigory's Girl (NYC)
1 out of 1 found this review helpful

This is one of Elton's most underrated albums. It has at least 3 tracks that are classic Elton. The single, Little Jeannie, is a beautiful ballad, and one of Elton's best songs from the 1980's. But two of the three colloborations with Bernie Taupin are the best songs on the album. Chasing the Crown and White Lady White Powder (yes, about cocaine) are fantastic songs, energetically performed by Elton John and his band. Satorial Eloquence is an excellent number as well, but doesn't have the biting wit that Chasing and White Lady have. Not surprisingly, Satorial was not co-written by Bernie Taupin. While the other songs pass from passable to forgettable, the four I mentioned make this album worth seeking out for Elton devotees.


An Underrated Elton John Album From 1980....   December 30, 2006
John Kwok (New York, NY USA)
1 out of 1 found this review helpful

"21 At 33" is often overlooked by fans and critics; if it is remembered at all, it is best known as the album which yielded Elton's American Billboard Top 3 Hit "Little Jeannie", which ranks along with "Blue Eyes" as the best song he co-wrote with lyricist Gary Osborne. However, I think this fine album deserves recognition as yet another example of his splendid songwriting craft, having written all of the songs on this album in August, 1979 in France's Cote d'Azur (The album was co-produced by Elton and long-time associate sound - and concert stage - engineer Clive Franks.). Musically it is also noteworthy for being a partial reunion of the John/Taupin songwriting team, yielding such memorable rockers as the opening track, "Chasing The Crown", "Two Rooms At The End Of The World" (A post-"Captain Fantastic" sequel reminding listeners that the team had been separated only by distance - since Bernie had moved to California - and that they were still musically at - or at the very least close to - the stratospheric artistic heights they had achieved from the early to mid 1970s.), and "White Lady, White Powder". While these were among this album's best songs, along with "Little Jeannie", the most memorable ones also included the minor hit "Sartorial Eloquence" (co-written with Tom Robinson) and the bluesy hymn "Dear God" and the country-western ballad "Take Me Back" with lyrics from Robinson and a young English songwriter, Judie Tzuke, who was signed to Elton's Rocket Records. "21 At 33" should also be remembered as the first partial reunion of Elton with his original rhythm section of bassist Dee Murray and drummer Nigel Olsson (Olsson has a memorable drum solo on "Little Jeannie".), who would be featured - either together or separately - on every Elton John album in the early 1980s, and with both officially rejoining his touring band by 1980.