Customer Reviews

Peachtree Road (Rpkg)

5 star:		(66)
4 star:		(41)
3 star:		(19)
2 star:		(10)
1 star:		(12)

 

 

Since 1992, if you bought a new Elton John recording your choices were: slow, slower, or a soundtrack. The quality was never lacking, but usually, energy and "life force" were; the music sometimes seemed paint-by-numbers. Having seen Elton live countless times, where nothing but energy and talent filled the room, I knew that the discs weren't giving Elton justice. I am happy to say that this disc finally lays that all to rest.

Peachtree Road effortly combines the two things we've come to expect from Elton over his 35 years in the industry: outstanding lyrics and incomparable musicianship. Here, you'll find songs that are simple yet deep, spiritual yet grounded. Touching on everything from being happy with one's lot in life ("All That I'm Allowed") to love's intoxication ("My Elusive Drug") to the character tale of a transsexual ("They Call Her The Cat"), Bernie Taupin has simultaneously done what he does best: paint scenes, and capture Elton's moods.

With so much on-the-spot material to work with, Elton's work is inspired. He still tends toward ballads, but the ballads here actually have depth and soul. "My Elusive Drug," self-acknolwedged autobiographical track, brings out richness in Elton's voice -- you can FEEL that Elton feels this song, and thhat, folks, is what music is all about.

Most refreshingly, we see the funky Elton of old raise his head with a vengeance. '60s-rock-tinged blues appears in "They Call Her The Cat," complete with a lively horn section. Nashville should aspire to create again such a pure country song as "Turn The Lights Out When You Leave," complete with steel guitar.

Some other items of note: This is the first CD that Elton himself has produced. The disc is dedicated fittingly to Gus Dudgeon and his wife Sheila. It's clear that Elton has learned how to produce an ear-pleasing record thanks to Dudgeon's masterful production of the '70s recordings. Beginning in the 80s, fans had to suffer through years of mind-numbing Chris Thomas productions where everything was flattened into nothingness. Elton's production is clean and crisp, much like Dudgeon's early work, with pianos and vocals returning to the front, their rightful place. This is a treat for the listener and a great tribute to Gus.

And, again, we see Elton working with the original band: Nigel and Dave. You get a sense that recording the CD was a flawless, joyful effort.

And that is the overriding tone here... Peachtree Road is a CD full of looking-back-on-life happiness. The lyrics, songs and production combine to make this a road that you're happy to relax and travel on for a long, long time.

This album picks up where Songs From The West Coast left off and builds on it even more. Peachtree Road prominently features Elton's piano and vocals. Davey's guitar is finally allowed to step out in front and stay there and is not buried in the mix and the results are stunning. The background vocals, with "Elton and the boys," definitely bring you back to the glory days.

Bernie's lyrics this time around are mostly on the happy and content side with Elton on the opening track professing he's happy where he is; "I'm wearying and I'm staying up late, and the rain hits my roof so hard, You know I'm no longer thirty these days, I'm happy to play one or two hands of cards....fortune and fame is so fleeting these days, I'm happy to say I'm amazed that I'm still around..."

Elton has crafted an album that reminds us of why we are fans with songs that are fresh and new but yet take us back to the days where Elton ruled the charts and the radio. This album will not get Elton back on the radio or at the top of the charts but that is in no way the music's fault but the state of the industry these days. Elton appears to be ok with that and we should be too.

When I first played this CD, I thought, "Oh, great. Another middle-of-the-road effort." But after listening to it over and over, I'm taken by the strength of all of the cuts. This album will grow on you. Elton still has an incredible gift of composition. Many of the melodies in these songs will stick with you. Just give it time.

Some of the songs have the classic 70's Davey/Dee/Nigel backing vocals sound (even though Dee isn't still with us); and the backing vocals on "My Elusive Drug" sounds like those on Partridge Family records. (But then again, this is nothing new. They were also there on "Blues For Baby and Me" from the "Don't Shoot Me..." album some 30+ years ago and they sound good. 1/8/05 note: When I mentioned the Partridge Family sound in this review, I should have said that it was the ORCHESTRATION on "Blues For Baby And Me," not the backing vocals on that song. There were none! -- Sorry.) -- Each song stands on its own and has its unique qualities, but in particular, music-wise, Elton has created another classic with with the closer, "I Can't Keep This From You" -- soaring and inspiring.

The biggest disappointment for me was that the lyrics were not enclosed. One of the biggest thrills of a new Elton John album was in being able to read and savor the poetry of Bernie Taupin. Long-time EJ fans can remember that being able to enjoy the album package was almost as good as hearing the music. And maybe one day Elton will get back to providing instantly recognizable piano intros to many of his songs. That was what made many of his early hits and album cuts loved so much. (Think "Your Song," "Tiny Dancer," "Levon.")

All in all, there really are no negatives. New and long-time fans, don't hesitate to buy this one. It's worth owning and enjoying.

"Peachtree Road" is unique. It's different, and it's definitely something you wouldn't expect to hear from this generations Elton John.. It's full of americana/country/gospel-tinged tracks that are very somber and musical. This is something that Elton hasn't done for quite some time

Following up the amazing (and one of his best albums) "Songs from the West Coast", this album is a complete departure. "Songs" had a dark/rock pop feel to it where "Peachtree" is a lot more laid back and melodic.. That is the one thing I love about Elton, you never know what you'll get! He keeps you guessing AND he doesn't sit comfortable in one genre for too long...

The reason I give this album 3 out of 5 stars is not because of the songwriting or the production, it's completely because of the fact that you are constantly waiting throughout for it to pick up a bit.. It's not a bad album by any standards, it simply stays in one even, slow tempo that tends to wear on you the longer it goes. But if actually you sit and listen to the powerful piano chords and the gospelish vocals on the tracks, it will sweep you away into a different world... Elton really searched for a spiritual sounding vocal on this album, to great effect...

The album starts wonderfully with the albums strongest tracks "Weight of the world" and "Porch Swing In Tupelo". They set the tone of the album completely.. One by one the tracks tend to flow into eachother, though there are a few more scattered highlights throughout like "Freaks In Love" and "My Elusive Drug"...

Check it out, it's very unique and there is a lot to be said for Eltons first crack at being the sole producer. My advice is to DEFINITELY buy "Songs from the West Coast" first, or even purchase them together.. nonetheless, I completely commend one of my hero's for sticking to his guns and trying something unique and different... Thank you Elton for always being unique!

All the best,
-The AndyMan-

I am a huge fan of Elton John, with dozens of his albums and CDs. I have seen the best and I have seen the worst. I was quite pleased with Elton's releases in the 90s, and "Songs from the West Coast" returned Elton to the style that made him famous in the early 70s. Unfortunately, the string of releases that culminated in "Songs from the West Coast" also raised my expectations for this release; expectations that were just a bit too high.

Taken as a whole, the lyrics are generally good. Bernie Taupin continues to churn out the words that Elton has always been so able to match with his music. Some of the lyrics are a bit cheesy ("They Call Her the Cat," as an example, which is goofy as well), and some are weird ("Freaks in Love"), but others are evocative and interesting ("Weight of the World"). As has always been typical of most Elton John albums, the lyrics are a mixed bag. However, it has always been Elton's music that turns Bernie Taupin's words into magic. Unfortunately, the magic has failed to turn Taupin's straw into gold on this CD.

There are good songs on this album; not great, but good. I enjoy "Weight of the World," which matches weary lyrics with weary music to give you the feeling that Elton has accepted his life and his age. This music compares favorably with Elton's early 70s music, when he was at his commercial peak (remember seven #1 albums in a row?). I think "All That I'm Allowed" has some nice pop riffs and good vocals.

"Porch Swing in Tupelo" has good music, but the lyrics are weak compared to similar early songs such as ""Border Song" and "Burn Down the Mission." "Answer in the Sky" is in the same category. The music is good and the lyrics are okay, but the songs are so bland and middle-of-the-road that I feel as though I am listening to another album. In the other direction is "I Stop and I Breathe." This song has good lyrics, but the music weak and the vocals sound strained.

Elton and Bernie have tried country-flavored songs several times in the past. "Turn Out the Lights When You Leave" is reasonably serviceable with acceptable lyrics and music. Most of Elton's albums have had at least one blues song. "My Elusive Song" is a good blues song that seems a lot like "Mellow" from "Honky Chateau." "Freaks in Love" is also bluesy, though the lyrics are a bit off-beat.

It is possible that something about "Too Many Tears" strikes an emotional chord with me. This music reminds me a lot of the music from "Jump Up" and "The Fox." The music is catchy and matches the mellow lyrics well. I count this song as another of the better songs on this CD. Just after this song is "It's Getting Dark in Here." It is possible that the proximity to "Too Many Tears" influences my feelings about this song, but I enjoy the harmonies, which feel so much like Elton's 70's music. I count "It's Getting Dark in Here" as another of the better songs on this CD. I love the strong piano bridge also.

After the previous two songs, I was hoping for a bang up finish to this album. I dislike the opening to "I Can't Keep this from You," but when the song hits its stride it is a decent song with reasonably good power. I also enjoy the harmonies on this song. This song is a bit better than the average song on this CD.

Now is the quandary; what is my recommendation? With about half a dozen reasonably good songs, this CD is a valuable addition to someone who considers themselves more than a typical Elton John fan. Unfortunately, the songs that are on cruise control distract from the better tracks, and prevent me from recommending this album to casual fans.

I am always encouraged when a musician I like releases a new CD, but I would have been even more encouraged had Elton built on "Songs from the West Coast." I have added this CD to my extensive collection of Elton John music, but I will be listening to many of Elton's other albums many times before this particular album makes it back into rotation again. Perhaps my opinion of this album will mellow with time; I hope it will because Elton John remains one of my all-time favorite singers.

- Several reviewers have lamented that Elton's new album doesn't rock out enough or is too "Adult Contemporary." They were perhaps expecting Goodbye Yellow Brick Road/Rock of the Westies, and got, instead, Honky Chateau/Tumbleweed Connection. I say, just be thankful you didn't get Victim of Love/Leather Jackets.
I suspect the disgruntled reviewers are younger than 40 or not comfortable with their age. Lack of a scientific poll prevents me from proclaiming that as fact, but I suspect it to be true. Let's face it, Elton is no spring queen and members of his core baby-boomer audience aren't so young either. The man is 57 years old, and no man is the same at 57 as he was at 27. What Elton is, based on a listen to this album, is a happier, more-comfortable-in-his-own skin Elton. He is more mature and reflective, and this is evident in his music.
While Songs From the West Coast was heralded as his "return to form," Peachtree Road is, in fact, that record. While very well done, SFTWC was pretty much a downer, even though EJ was back at the piano and in fine vocal form. Peachtree Road is more bouncy and uplifting, while paying homage to his adopted southland. The songs on this album each extract some different good from his 70's catalog, leaving the chaff on the grain house floor. His voice is deeper than 30 years ago, but, in many respects better. He interprets lyrics better and infuses them with emotions that he didn't dream about back them.
I've been an Elton John fan since 1972. He's never sounded better, and he and Bernie Taupin have rarely written better songs. Taupin's lyrics are grown-up and seem to nail precisely this period in Elton's life. In the early days, his lyrics were sometimes indecipherable, saved by Elton's hooks and vocals. Today they stand on their own and are merely enhanced by John's ability to craft superior tunes. They are more adult contemporary than rock n' roll, but, hey, aren't most of the rest of us these days? Be honest. You know it's true. Now to the songs:

1. Weight of the World- A "Hey, I realize I'm not a young man anymore, but I'm cool with it" song. Invoking memories of something from Captain Fantastic and the Brown Dirt Cowboy, very autobiographical. EJ leads off the album letting us know he's just happy to be here, thank you very much. Nice melody.

2. Porch Sing in Tupelo- This one starts Elton and Bernie on their southland journey, accurately describing a more laid back culture and not one mention of anyone being married to their cousin! And, I think, a nod to Elvis. One of my favorite tracks.

3. Answer in the Sky- First American single and very uplifting. Capt. Fantastic, in 1975, sang "All this talk of Jesus coming back to see us couldn't fool us." Fast forward 30 years to a slightly older and wiser Sir Elton, who acknowledges there is someone out there bigger than us. Great mid-tempo, radio-friendly song.

4. Turn the Lights Out When You Leave- Remember "Texan Love Song"? Just about as country as Elton can get and with lyrics to make George Jones proud. Hey, go ahead and leave and don't let the door hit you in the a** on the way out. Very cool.

5. My Elusive Drug-Jazzy and well-suited to John's "mature" voice, a song about love so true, it liberates. Maybe the best reviewed song on the album; seems jerky, but captivating at the same time. Just like some elusive drug.

6. They Call Her The Cat- The closest thing to rock and/or roll on the album and not too shabby thank you very much. I dare you not to move to this one. Elton seems to be having a very good time singing it.

7. Freaks In Love- How did he find out about my love life? "Love for Dummies" a Torch song for the rest of us. All of us in relationships can identify with this one.

8. All That I'm Allowed- The "rest of the planet" first single and my favorite song on the album. Very pop and a feel good tune to boot. Easy to sing along to and a positive message about being content with what we have.

9. I Stop and I Breathe- The album's obligatory Elton heartfelt ballad about a relationship surviving the hard times. Proof Peachtree Road is an EJ classic because, as the least of the songs on the CD, it's still better than most.

10. Too Many Tears- The second best song on the album flashes back to early 80's Elton with a message not to dwell on the bad things in the world but look at the beauty in the world and dwell on that.

11. It's Getting Dark In Here- And turn the last song on it's ear for a completely opposite point of view. This is a haunting song of depression and a longing for hope in a cruel world.

12. I Can't Keep This From You- Ahh, the sound of 70's AM radio classics. If you've ever been in love, yet afraid to confess to the object of your desire for fear of rejection, this song's for you.

I listened to Peachtree Road for yet the fourth time as I wrote this review. You know how some albums' quality seem to decline with repeated listening? Not this one. Nope, Sir Elton John may be getting older, but, bless his heart, he's actually getting better.

This is a solid good EJ album. If you are an EJ fan, I recommend it without reservation. If you are not, or if you are hesitating, I have the following to say: I think Elton lacks ambition. He is at the danger of repeating himself. The songs are ok, some are good, but as a whole, predictable. Yes, it is back to the roots, country-style, and I love for example "Porch swing in Tupelo", but the mood is different from, say, Honky Chateau or Tumbleweed Connection. A bit too much autobiography (Elton had enough autobiographical albums in the past!), very autumnal and nostalgic. Ok, he is 57, but come on, this is supposed to be rock music! Where are the surprises? Where is a "Funeral for a Friend", a "Song for Guy", where is an "I'm Still Standing"? Most importantly, where is a "Boy in the Red Shoes", the masterpiece and culmination point of his 2001 album "Songs from the West Coast"? Where is the anger, where is the adrenalin from that song? Some of the songs and some lyrics on this CD are simply flat (Notable exception, especially for the lyrics: Freaks in Love shows Bernie bitter and sharp as ever!) Elton and Bernie can do better!

In summary, yes, Elton should stay Elton, but I feel on this album he lacks innovation. Three stars, and they hurt me a bit, since I am an EJ fan, and I was hesitating between three and four. Anyway, it is not bad, a mediocre EJ album. "West coast" was better; he needs some more fire, ingenuity and intelligent risk taking on the next album, or I will fall asleep.

By the way: Whether you agree with my review or not, I don't think this album will make it in the US. Why? Because the album notes do not depict America how it wants to be depicted. Instead, it depicts America how it really is: Crumbling houses, Town of Gay(!), empty roads... Be as it may, Elton seems more courageous with his album layout than with his songs these days...

A music critic in the mid-80s once stated that the current release (let's say 1984's Breaking Hearts for example) was "a typical mix of ballads and rock songs...just like the albums before it and certainly to be like his future albums to come." This statement (I don't recall who) could now be easily applied to the Elton John of the 1990s and 2000s, minus the rock part. For some reason, Elton John and maybe even Bernie Taupin these days, seem to shy away from their rock sensibilities. Sure, once in a while an uptempo song will surface, but those type of songs seem far and few between these days. With that said, Elton's Peachtree Road is a more soulful and country-ish effort which, unfortunately for this listener, keeps things at a low boil once again.

His last studio release, Songs From The West Coast in 2001, was a welcome return to the sound and style of his mid-70s heyday. Peachtree Road fails to build on that success mainly because the songs just aren't that strong. Opening with a whisper of a song called "Weight Of The World", the tone is set for a reflective and soul searching experience (albeit, Taupin's sentiments courtesy of John's voice). The song is one of the better tracks here with it's wonderful backing vocals and great piano solo. Things speed up a little bit with the next song, Porch Swing in Tupelo, a tribute to Elvis complete with a back and forth choir on the chorus.

But like most of these songs, a formula becomes evident that each song, for good or bad, follows virtually the some format: same lyric sentiments just repackaged, choir on every song, instrumental break and, worst of all, most of these melodies start and stop too often breaking any momentum the song may have. The best example of this is "Answer In The Sky", just when the song shifts into high gear, Elton and the band bring it right back down losing all energy and spirit the song inspires. "They Call Her The Cat" is the only real uptempo song here and comes across better live than on the the cd. While "All That I'm Allowed", is not so much a lyric as a testament to being thankful for what you have in life but the word "thankful" just goes on and on until you have to hit the skip button on the cd player to make it stop.

The old school country effort "Turn The Lights Out When You Leave" is one of the better crafted songs here and could easily have been a hit for Ray Price in 1974. And on "Too Many Tears", Elton's piano intro is inspired and had an element of surprise in the melody. But most of this is just too slow and tame, when compared to his vast majority of songs in the 1970s or heck, even the 80s for that matter.

Produced by Elton himself, it's obvious that this is the album he wanted to make and good for him. However, it is another mild, mid-tempo release that manages for the most part to bring out the worst elements of previous releases such as "The One" and "The Big Picture". The much heralded return of Nigel Olsson on drums is another disappointment not because of his style however. It's just that the drums are so buried in the mix, that his trademark style is virtually lost.

If you can pick up the UK cd single for "All That I'm Allowed", and "Turn The Lights Out", they have a combined five songs that didn't make the album. Those songs, were surprisingly upbeat and much stronger that half of what made the album. It's just too bad they weren't included on the official release.

After 30 some years in the business, it's fair to give Elton John and Bernie Taupin some slack.

This is not their worst album and it is listenable. However, after many repeated listenings, it's obvious that no chances were going to be taken. Taupin delivers basically the same lyric sentiment and Elton's tries hard to pull as much out of them as he can. Furthermore, Elton is sounding more and more weary as well and all of the touring now seems to be taking it's toll on his voice.

Peachtree Road, has grown on me since my initial first review. It's a more reflective compilation of songs and you'll have to be in the mood for it.

It is probably more suited to a three star rating than two...but I just wish Elton would interpret Taupin's lyrics with a sense of adventure the next time out.

Best Tracks: Weight of the World, Answer In The Sky, Too Many Tears, It's Getting Dark In Here.

It's ironic that on the 30th anniversary of the ground-breaking "Captain Fantastic and the Brown Dirt Cowboy" Elton John and Bernie Taupin teamed to write "Peachtree Road." It's another theme disc with this musical journey taking place in the South. It's complete with Gospel (Answer In the Sky), Country (Turn the Lights Out When You Leave), Rock (They Call Her the Cat) and Elvis (Porch Swing In Tupelo).
In addition to Elton's playing, he's supported by mainstay Davey Johnstone on guitar and Nigel Olsson on drums, each who also played on Captain Fantastic. Joining in are now regular bandmates Bob Birch on bass, Guy Babylon on keyboards and John Mahon on percussion. But this CD gets and added boost from the "Voice of Atlanta," a group of background singers who performed so well in the recording session that Elton also brought them on tour.
Peachtree Road stands strong on its own -- but this collector's edition also includes three bonus tracks from the hit musical "Billy Elliott." A second disc is a nine-track DVD of a live performance of nine songs from Peachtree Road performed at the Tabernacle in Atlanta.
For Elton fans, this is a must have. For those on the fence, it's a difference maker.

Elton John's second 21st Century CD, "Peachtree Road", is a slightly more satisfying, extremely soulful, collection of songs than his "Songs from the West Coast". Better yet, the tone of Elton's music and Bernie Taupin's lyrics, is far more upbeat and spiritual in tone than most of the songs from "Songs from the West Coast" (The latter's "Wasteland", a bluesy, rocking ode to blues pioneer Robert Johnson, is a song which could have appeared on "Peachtree Road".). Indeed, as a concept album, it comes closest in spirit to "Sleeping with the Past", Elton's and Bernie's splendid late 1980's tribute to Motown. And yet musically, "Peachtree Road" sounds more like an updated version of "Honky Chateau", with elements thrown in from "Tumbleweed Connection", "Goodbye Yellow Brick Road" and "Caribou" for good measure, than any of his recent CDs with new songs, with the notable exception of "Songs from the West Coast". In "Peachtree Road", Elton John and Bernie Taupin have wrought a compelling elegy to Southern rock and roll, blues and country, which long-time Elton John fans and popular music critics alike will compare favorably with "Tumbleweed Connection", their early 1970's tribute to the Western Americana.

This deluxe version of "Peachtree Road", released last year, should be regarded as the definitive version since it includes finally, at long last, the lyrics to the original songs on the album which weren't included in the album's initial release. There are also three additional songs from the hit London musical "Billy Elliot" for which Elton composed the music. There's also the additional DVD featuring live concert performances of most of the songs from the original version of "Peachtree Road" which were recorded during the 2004 "Peachtree Road" tour. Without question, the DVD is a splendid visual historical record of that tour, emphasizing the excellent background vocal singing of the "Voices of Atlanta" choir and the splendid musicianship shown by Elton and his long-time bandmates in the current version of the Elton John Band, most notably from guitarist Davey Johnstone and drummer Nigel Olsson.

At least a half dozen - probably more like nine - songs on "Peachtree Road" are potential singles, and all of these compare favorably with those from "Honky Chateau", "Goodbye Yellow Brick Road", "Sleeping with the Past", "Made in England", and of course, "Songs from the West Coast", to name but a few. My personal favorites are "Weight of the World", "Turn the Lights Out When You Leave", "My Elusive Drug", and "Too Many Tears", all of which are compelling ballads steeped in blues and country, which Elton sings and plays the piano with great conviction. Another favorite is the CD's first North American single, "Answer in the Sky", which is a powerful ballad on personal redemption and salvation (I am quite impressed with Guy Babylon's string arrangement, which seems reminiscent of Paul Backmaster's, and featuring a studio session string ensemble with lyrical bluegrass/country violin playing of the kind I've appreciated from the likes of Jay Ungar and my friend Dotty Moore.). "All That I'm Allowed" - released as the CD's first single elsewhere around the globe - is a joyful anthem of thanksgiving which has more in common with George Michael's songs, than any earlier Elton John hit. The second North American single should be "Turn the Lights Out When You Leave", which is a compelling country/western ballard, featuring former band member John Jorgenson's pedal steel guitar playing. "Freaks in Love" is a doo wopish elegy to misfits in love, while "They Call Her the Cat" is a beautiful, uptempo rocker harkening back to "Honky Cat". "It's Getting Dark in Here" features some of Elton's finest singing and elegant solo piano playing. "Porch Swing in Tupelo" is a musical travelogue from Bernie Taupin's visit there which pays homage to the young Elvis Presley. "I Stop and I Breathe" may be the weakest song on this CD, but it is still an effective rhythm and blues ballad which may cause listeners to remember fondly "On Dark Street" from "The One". And last but not least, "I Can't Keep This from You" is a bluesy, elegant little song quite reminiscent of "Harmony" from "Goodbye Yellow Brick Road".

This is the first CD since "Made in England" which Elton has produced (However, he co-produced "Made in England" with Greg Penny, so this is indeed his first solo effort.), and it is a fitting musical tribute to original Elton John producer Gus Dudgeon (The album is dedicated to him and his wife, both killed tragically in an automobile accident a couple of years ago.), featuring Dudgeon's prominent positioning of the piano, guitars and vocals (Though I wish Davey Johnstone's solo guitar work would shine through a bit more than it does on this CD.). Unlike "Songs from the West Coast", this CD features the entire Elton John band on every song, and marks the first time since "Breaking Hearts" that Davey Johnstone and Nigel Olsson have appeared on an entire CD (Speaking of Nigel, his drumming is absolutely impeccable, showing why he is one of rock and roll's greatest drummers.). Elton may be getting older, but neither he nor Bernie Taupin have lost their brilliant talents in writing compelling melodies and lyrics. Along with "Songs from the West Coast", I regard "Peachtree Road" as Elton's best CD since "Made in England", and truly one which compares well with his best from the 1970's (Editorial Note: Since writing this comment originally back in 2004 in my Amazon.com customer review of this album's original version, I believe that "Peachtree Road" isn't nearly as satisfying an artistic creation from the John/Taupin songwriting team as "Captain and the Kid", which is their best album from this decade; "Peachtree Road" now ranks third, behind "Songs from the West Coast".). I have no doubt that this splendid CD will be regarded eventually as one of Elton John's essential CDs.