Published on Aug 31, 2005
Summer should be a time for floating in a pool, enjoying a game
of basketball with some friends and enjoying a book outside. It
should not force one to spend the entire day inside because it’s 95
freaking degrees out. Seeing as how that was the situation today
here in the lovely state of Wisconsin, I figured why not do
something productive and listen to Elton John?
By 1983, Elton John was nowhere near the giant he had been in
the early and mid ’70s. His records still sold reasonably well, and
John managed to get at least one single into the Top 40 every year
after his fall from the top. That is what made
Too Low For Zero such a surprising return to form. This is
not only Elton’s best album of the 1980s, but when speaking in
terms of his entire canon, it holds its own.
When one looks at an Elton John album with a critical eye, they
usually look at the singles. If they are inspired, the rest of the
album usually follows suit. This is most certainly the case with
Too Low for Zero, with the two big hits, “I’m Still
Standing,” and “I Guess That’s Why They Call It The Blues,” easily
topping anything Elton had put out in the preceding years.
The former track finds Elton in rare rocker form, as he spits
out rapid-fire lyrics to match the driving beat. If it’s ballads
you’re looking for, “…Blues” delivers handily. Elton really
shows off his keyboard skills, putting forth a fluid, bluesy
performance while the protagonist of the song mourns over his
separation from his love.
While I enjoy the singles from
Too Low For Zero, it is the album tracks that make the
difference between this being an average work, as opposed to a good
one. The delicate synthesizers and guitar licks of “Crystal” echo
the sentiment of the main character, who wishes his former lover
nothing but the best as she leaves him. The follow up track, “Kiss
The Bride,” seems to conflict with message of “Crystal,” and while
I enjoy the track as is, with its pulsating keyboards and a strong
performance from Nigel Olsen, the mood should be more subdued given
the subject material.
Special note should be made of Elton’s vocal performance on
Too Low For Zero. At this point in time, his range had
increased dramatically. It’s a pleasure to hear him slide
effortlessly from the baritone-tinged vocals on the tile track to
his gorgeous falsetto on “Saint.” However, that falsetto fails him
on “One More Arrow.” While the song is obviously supposed to be
“pretty,” the effect is that the vocals come off as wimpy and
saccharine. Elton’s falsetto was always more effective when used
sparingly, as opposed to being used on the entire song.
The three bonus tracks on the latest reissue of
Too Low For Zero are real treats and worthy of being
included on the disc. “Earn While You Learn,” is a fun
instrumental; it sounds like Elton and the band were just screwing
around in the studio and laid the track down. “Dreamboat” may be a
little too long at seven-plus minutes, but given the pleasant,
breezy nature of the track and some gospel-inspired backing vocals,
it’s an enjoyable listen. “The Retreat” is a song that could have
been taken straight off of
Tumbleweed Connection, in subject matter and musically
speaking as well. I love the use of the organ on this track, it
really adds to the quasi-spiritual nature of lyrics.
Too Low For Zero is one of the few albums in the ’80s that
would find Elton John and Bernie Taupin on the same page.
Melodically and lyrically, this is a reminder of how good the pair
could be when they got it together.