Published on Apr 19, 2006
Let the record state that by my count, I can’t find
an arrangement of albums that gives credence to the title of 21
At 33. In theory, this record was the 21st of John’s career,
when he was 33. However, the most I can find is 18 (maybe I’m
missing out on a few Greatest Hits). In the end, none of
this really matters, as 21 At 33 is only a somewhat
enjoyable record.
Despite the surge of punk and disco, Elton managed to
weather the storm of popular music trends in the late 70s. While
his commercial clout had been greatly diminished for a variety of
reasons (his statement of bisexuality didn’t help), he had fended
off those musical beasts. By 1980 he was still standing and ready
to start another decade. Of course, it would take him two years to
actually deliver an outstanding album, but there were some good
moments along the way.
21 At 33 marked a return to collaboration
between Elton John and Bernie Taupin, for the first real time since
1976 and Blue Moves. For the most part, their reunion
yielded strong material. The opening track “Chasing The Crown” is a
rocker resembling earlier efforts such as “I Don’t Care,” but with
more energy. “White Lady White Powder” is a lightweight track,
bolstered by the appearance of Don Henley and Glenn Frey of the
Eagles on background vocals. The subject material is where I find a
problem; obviously they’re talking about cocaine, and in my view it
trivializes drug use far too much, especially considering Elton’s
proficient drug use.
Luckily, the third collaboration between the two
results in easily the best track off 21 At 33. “Two Rooms At
The End Of The World” easily culminates in one of John’s best
fusions of pop and disco, with the driving beat and tremendous use
of horns. Elton rarely used horns to this effect, and it makes the
track.
The non-Taupin tracks are rather hit and miss, though
there are a few nuggets. “Sartorial Eloquence” may cause fans to
scramble for a dictionary but is one of my favorite John ballads
from this time period. His piano playing is highlighted more
prominently than usual, supported by some lush synth arrangements.
The backing vocalists read like a list of who’s who in the music
industry, with Toni Tenille, Bruce Johnston, and the two previously
mentioned Eagles appearing. The album’s big hit, “Little Jeannie,”
is a rather delicate affair, sounding like “Daniel” part two. While
the former is nowhere near as good as the latter, it was catchy
enough to reach #3 on the Billboard Charts.
Problem with 21 At 33 is the lack of good
material after “White Lady White Powder.” “Dear God” is incredibly
saccharine, and coming right after a song about cocaine doesn’t
seem too genuine. “Never Fall In Love Again” plays like a revamped
“Return To Paradise,” and “Take Me Back” is a country effort that
does not play among Elton’s best. “Give Me The Love” almost
captures the quality of earlier tracks, with a decidedly more disco
approach, but drags on for too long.
Again, this effort is neither terrible nor
mind-blowing. It does show how good Elton was when he could crank
out a professional-sounding record with little inspiration, but
thankfully he would crank out one more album like this until
returning to that old 70s magic in 1983.