Published on Nov 28, 2001
Elton John has had more hot and cold streaks than a Chicago
weather forecast. Anyone who has at least a working knowledge of
John’s discography can point out the peaks and valleys musically,
almost as if they were tracking the stock market.
Songs From The West Coast is supposed to be a return to the
more organic sound that John became known for, richer in piano than
in the heavy orchestration that has marked his last few studio
efforts. Yet the spottiness that has marked John’s career at times
is evident on this disc, though the fault is not purely John’s.
In fact, the lion’s share of the faults that this disc has have
to be laid at the feet of longtime lyricist Bernie Taupin, who
seems to try his hand at “stream of consciousness” writing from
time to time on
Songs From The West Coast. (Memo to Taupin: Who do you think
you are trying that – a music reviewer?) The album’s opening
number, “The Emperor’s New Clothes,” shows how unomfortable such an
arrangement sounds, as John seems to struggle to find any type of a
voice – lyrical and musical – with this one. It’s not the most
comforting way to open an album.
After a little bit of discomfort on “Dark Diamond” – another
weak lyrical effort supported by a strong rhythm track and helped
by John’s vocals – the upswing begins for John. “Look Ma, No Hands”
is an entertaining, yet bittersweet, tale of a man continually
seeking his mother’s approval for the life he’s chosen, even as he
enjoys the fruits of success. “American Triangle” is a damning
portrait of America and its view of homosexuality, making numerous
references to the murder of Matthew Shepard a few years back. I
mean absolutely no disrespect by the following comment: A straight
singer could never accurately capture the venom of this song as
John does, since it’s so politically and religiously charged right
out of the gate. It’s simply the most powerful song on this disc,
and the best that John offers up.
The bulk of
Songs From The West Coast rides the peaks and valleys,
though they don’t quite go to the extremes that the first half of
this disc does. “I Want Love” is making the rounds as the latest
single, though I always thought this was the Wallflowers every time
I heard it at my second job. (Osco
has to get a better sound system.) It’s not the best vehicle
for John’s talent, and he’s had other hit singles in recent years
which easily outclass this one. That said, it’s not a terrible
song, but it is a bit of a letdown, as are “Ballad Of The Boy In
The Red Shoes” and “Mansfield”. Others, such as “Original Sin,”
“Love Her Like Me” and “The Wasteland,” dhow that even after 30
years in the spotlight, John still knows how to craft a song which
has wide appeal.
It would be wrong to call
Songs From The West Coast a comeback album, since John
hasn’t really gone anywhere the past 10 years. But it would also be
wrong to rank this disc among John’s best works, as there are many
other efforts of John’s which shine brighter than this disc. Yet
John is successful overall in creating a disc worth checking out,
even if you have to tread carefully along one or two paths. In a
sense, that’s exactly how you could describe John’s career as
well.