Published on Apr 25, 2006
In 1989, Elton decided it was time to pay tribute to
the sound he grew up with, the 50s and 60s rock that fueled so much
good music of the 70s. But Elton doesn’t pay tribute in a Billy
Joel An Innocent Man way — to me, it sounds like just
another Elton album, albeit one of his better 80s releases.
Belive it or not, Elton’s first number #1 UK single
appears on this album, the pretty “Sacrifice.” A gentle, flowing
ballad with a effective vocal, it’s not his strongest work but
catchy enough to have been a hit. “Whispers” is a stronger track,
establishing a clearer mood and containing a more natural
performance.
After the musical extravaganza that was Reg
Strikes Back, it was nice to see Elton get back down to basics
with Sleeping With The Past. This record sounds much less
80s than its predecessor; a real piano even appears on “I Never
Knew Her Name.” Portions of the album actually come off as rather
sparse; “Stone’s Throw From Hurtin'” is driven by strong bass work
and blues guitar, as opposed to Elton’s keyboards.
He does get around to having some fun, though. “Club
At The End Of The Street” captures that “Crocodile Rock” vibe,
essaying the 50s spirit. The title track must have caught Elton in
a good mood; the cheerful, upbeat vocals match the R&B nature
of the music. There’s even a touch of the falsetto to be heard,
something that from this point on gets rare in John’s catalog.
Elton’s new pipes serve him well on Sleeping With
The Past, and especially the blues/gospel/r&b numbers
benefit greatly. “Amazes Me” reminded me of Ray Charles, with the
scattering of gospel vocals thrown in. The pulsating “Durban Deep”
sets a groove that doesn’t let up, as does “Healing Hands.” The
latter has a knockout chorus that is not necessarily melodic but
very powerful.
I’m not sure who Elton was trying to imitate here,
but Sleeping With The Past is impressive and one of Elton’s
best “straight” albums. It’s worth checking out.