Published on Apr 11, 2006
Elton John had made its namesake a star,
propelling him to the “top of the pops.” Various tour dates had
further proven the showman and musician he was. However, there were
still some detractors, most of who decried the over-production of
Elton’s previous album. The people wanted to hear more of Elton
himself, and Tumbleweed Connection would grant their wishes.
In the process, John crafted one his best albums, barely a notch
behind Captain Fantastic.
It’s evident from the start of Tumbleweed that
things are going to be a little different from the Elton John many
people knew and loved. There aren’t any strings, any synthesizers;
it’s just John and his band. Tumbleweed emphasizes John’s
piano skills much more than his first two albums, and that is the
highlight of the record.
Bernie Taupin and Elton consciously craft a record
that attempts to sound as Americana as can be. The Old West unifies
the lyrics and the music, for the most part; whether it’s the
country twang and steel pedal guitar on “Country Comfort” or the
saloon piano intro to “Burn Down The Mission,” the two try to paint
a picture of the American West as they saw it. The result is an
exaggerated, yet romanticized picture of “old Clay” or the “color
of the grays.”
There are traces of Elton John throughout
Tumbleweed Connection; the best example being “Come Down In
My Time,” which could have fit on the previous album. The track is
one of John’s most unknown ballads yet ranks up there with his
best. There isn’t necessarily a strong hook; the power of the song
is in its unusual melody and production.
Tumbleweed Connection is rare in that its best
songs lay smack dab in the middle of the album. “Son Of Your
Father, “My Father’s Gun, and “Where To Now St. Peter,” are the
cream of the crop, along with “Burn Down The Mission.” “My Father’s
Gun” was recently used to great effect in Cameron Crowe’s
Elizabethtown, and deservedly so. This song is an epic,
gaining speed like a runaway train as the track progresses. Dee
Murray’s bass-work grabs you immediately, and slowly but surely
more and more is added. Horns, percussion and gospel-flavored
backing vocals come into play, resulting in a virtual wall of
sound. Elton shows off his more soulful vocals as well, adlibbing
for the last minute or so. To me, this song is in his top 5.
“Where To Now St. Peter” benefits from some
tremendous Gus Dudgeon production. The song, which features a
soldier killed in action as he faces St. Peter, revolves around an
ethereal theme, so Dudgeon adds echo to John’s stunning falsetto
vocals and swirls them around the speakers as Caleb Quaye’s guitar
licks flicker like the flames of hell itself.
Tumbleweed Connection did not feature a single
of any sort, but the track any Elton fan knows is the closer “Burn
Down The Mission.” The epitome of what Tumbleweed is all
about, “Burn Down The Mission,” has turned into a showstopper for
John’s live concerts. The song starts off simply enough, but
accelerates in between the main verses in a matter of seconds,
transforming the number into a rave-up rocker. The closing minutes
echo that sound of “My Father’s Gun” but to an extreme degree,
almost reminiscent of “A Day In The Life,” in terms of an orgasm of
sound, but through it John’s pounding of the ivories is the
focus.
This is a record that should remove beyond any doubt
how good Elton John was in his prime. Everything is clicking, and
this at only his third album. John would not falter until
Caribou, running off a brilliant streak of albums and music
few have managed to match. This true explosion of quality began
here, with Tumbleweed Connection.