Customer Reviews

Too Low for Zero

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The transitional phase Elton John went through in the late '70s and early '80s was over. Too Low For Zero was not only the first record since Blue Moves that's all John/Taupin (except for one of the bonus tracks on this reissue, but I'll get to that in due time), it was also a full reunion with the original Elton John Band! This is the first record since Captain Fantastic in '75 to be recorded, from start to finish, with Davey Johnstone on guitar, Dee Murray on Bass and Nigel Olsson on the skins, and it shows. The title reflects neither the quality nor the chart positions of this fabulous record; it was Elton's best in years. The opener, 'Cold As Christmas,' may be a bit of a lyrical downer about a failing marriage, but it remains an excellent song with clever phrasing; it was quite a pleasure to hear this one again after something like fifteen years. 'I'm Still Standing' follows, an anthem of survival still without peer; the title track, a lament on boredom, misery and insomnia, comes next, with its irresistable beat and addictive chorus- lyrics notwithstanding, it's far from depressing. Next comes 'Religion,' as it so often does (ha-ha), a triple-tale of spiritual conversion in the most mundane of circumstances. While not a work of particular brilliance, it's a catchy little number that holds its own surrounded by the duo's signature hits of the decade. The album's best song comes next, 'I Guess That's Why They Call It The Blues.' Featuring a harmonica bit by Stevie Wonder and a co-writer's credit for Davey Johnstone, this song, one of John/Taupin's all-time great love songs, was a hit throughout most of Western Civilisation, as it well warranted. 'Crystal' follows, another clever, catchy hook around a story of a lover lost to a friend, then comes the record's last major hit, 'Kiss The Bride,' a good rocker about falling in love with a stranger as she walks down the asile. I'll tell ya; for songs about unrequited love, no one beats these two. You might even call it their particular specialty: Elton and Bernie have managed to write uncountable songs on this topic, without excessive repetition of the same specific themes or stories (although they will write another song about falling in love with a bride at a wedding, 'I Never Knew Her Name,' on Sleeping With The Past six years hence, the details and the music are sufficiently different that you can't call it self plagarism, exactly). The next song, 'Whipping Boy,' is perhaps a bit perverse; the story of a masochistic relationship with a mean piece of jailbait, it's funny and it has the kind of chorus that can bother you for days. Now, we come to the tracks that close the original album, moving into torch-song territory: 'Saint,' a worshipful love song about an all-too good lover, and 'One More Arrow,' about a dead one. Finally, we come to the reissue extras. 'Earn While You Learn' is a jaunty instrumental that served as the b-side of 'I'm Still Standing,' 'Dreamboat,' a jazzy, countrified number in the tradition of 'Dixie Lily,' and the only non-Taupin lyric on the record- is Gary Osbourne's sole appearance on this record. Last, but far from least, is 'The Retreat,' a lovely ballad reflecting Taupin's continuing Americana fixation. It's a poetic tale of the aftermath of a Civil War battle, and one of my favourite songs in their entire catalog. I'm glad to see it finally placed on an album, no longer relegated to B-side or boxed set obscurity.
In conclusion, Too Low For Zero brought the rough patch that was the Punk/Disco/New Wave era to a satisfying conclusion for our heroes, as they survived their first set of challenges from various next big things, up-and-comers, trend-setters, various voices of the new generation and nay-sayers who said that their hit-making days were behind them. When most of these had been cast back into the obscurity from whence they came, Elton John and Bernie Taupin were indeed still standing. And twenty-three years later, they still are.

The 80's weren't always kind to Elton John. Once he jumped from MCA to Geffen, the hits slowed down. He and Bernie Taupin had gone their separate ways, and his core band had been gone since "Rock of the Westies." "Too Low For Zero" changed all that. For the first time since "Blue Moves," Elton and Bernie co-wrote the songs. Nigel Olsson and Dee Murray were back, and so was the alchemy.

That was apparent from the first single, the defiant "I'm Still Standing." From the uptempo beat to the forceful lyric, it is the best Elton song since the glory days. "Kiss The Bride" follows in the same vein, about an ex who sees his dreamgirl slipping away as she walks down the aisle. But it was the ballad "I Guess That's Why They Call it The Blues" that blasted away the logjam. "Blues," with its great Stevie Wonder harmonica solo, became Elton's first top ten single in three years and the first since "Little Jeannie" from "21 at 33."

The most important part of this comeback is the rest of the album. "Too Low For Zero" was not just the home of three top 40 singles, but the remaining cuts had depth. The disintegrating family of "Cold as Christmas" is prime Elton, and the title track could have easily been a fourth single. The falsettoed ballad that closed the original album, "One More Arrow," is exquisite and a departure for Elton. "Too Low For Zero" marked the first time since "Blue Moves" that the entire album held together as a whole, and signalled the rebound for Elton that would continue through to "The One."

This album, which I bought in 1983, is still one of my favorite Elton John albums. I have almost all his albums, and I love them all, but this one is and remains a classic!!

After flirting with his fans for years, Elton John delivered his most consistent and solid collection of songs since 1975's Captain Fantastic.

At the insistence of long time lyricist, Bernie Taupin, Elton decided to go back to basics and work with Taupin full time since 1976's Blue Moves. And, just as important, Elton reunited with the core of his backing band of the early 70s: Dee Murray, Nigel Olsson and Davey Johnstone. This dynamic trio never sounded so good and they easily capture the romance and aura of the sound that made so many of Elton's early albums classics. Bernie Taupin also wrote lyrics with meaning and depth. He and Elton have always been better together than writing with other artists.

From the opening chords of the first track, Cold As Christmas, listeners are in for a treat. Elton's haunting vocal, coupled with the incredible backing vocals of the band, take the listener on a story of an elderly couple whose romantic flame as burned out. Then, as if on cue, Elton cuts right to the next song, I'm Still Standing and you can almost hear him saying: "Liked the first song? I knew you would. I'm back so take notice!" The transition is a bit jarring, but hey, he was feeling frisky and that's a great thing.

From there, the album slowly builds. The synthesizers are heavy (it's 1983 afterall) but they never intrude. They supplement the melody and reinforce Elton staying with the times. The title track should have been a single as it went over big on the tour that followed. I Guess That's Why They Call It The Blues remains an instant Elton classic with it's overtly sentimental lyric about pining for a love one. Stevie Wonder's express and sweet harmonic solo only add to the songs' nice touches. Elton and the band deliver a rock solid effort on this one. And speaking of rock, the "rock" songs on the album are also worthy of mentioning. Kiss The Bride and Whipping Boy are fun, yet throwaways that, taken in the context of the album, fit in just fine. Crystal relies on a drum machine and is clearly an experimental effort that again, would have made a great choice for a single. Saint and One More Arrow round out the ballads and are equally satisfying primarily on the strength of Elton's vocals. The only song here that feels out of place is Religion. An obvious attempt to mimic a country-rock feel and would have been better suited on a b-side. Though Taupin's lyric is full of great imagery and sly humor.

Too Low For Zero had three hits in the USA: I'm Still Standing amazingly just missed the Top 10; I Guess That's Why They Call It The Blues peaked at #4; and the third single, Kiss The Bride, made the Top 40. It's also no secret that the videos that accompanied the singles helped reshape Elton's image for the decade.

Longtime fans waited for this one. Elton and Bernie delivered and this one is remembered as a true return to form.

After spending the first three years of the 1980s' looking for a place to fit in, Elton finally found his niche and recaptured the magic of his 1970s' heyday with his 1983 release, "Too Low For Zero." By bringing back Bernie Taupin to pen all of the lyrics for the first time since 1976's "Blue Moves" and reuniting his original (and best) band of Davey Johnstone on guitar, Dee Murray on bass, Nigel Olsson on drums, and Ray Cooper providing occasional percussion. The result was his best release in almost 10 years.

"Too Low For Zero" is best remembered for the smash singles it generated. The first was the explosive rocker, "I'm Still Standing," an anthem of resilliance and self preservation that has long since become Elton's battle cry in the face of public adversity and private turmoil. With its bouncy lyrical cadence and singalong chorus, it's one of Elton's most infectious recordings and a beloved concert favorite to this day.

The other major hit was the gorgeous ballad "I Guess That's Why They Call It The Blues." This longing, romantic composition is one of Elton's best love songs, buoyued by Elton's rollicking piano chords and soulful vocals and Dee Murray's driving bass moving it along at locomotive rhythm, perfectly emulating the thunder rolling under the covers mentioned in the song's memorable chorus. Stevie Wonder's harmonica solo is the icing on the cake on this already perfect musical confection.

The third single, the less successful but well remembered "Kiss The Bride" is one of Elton's best rockers, with a singalong proclemation in the chorus that has Elton shouting with mock anger mixed in with triumphant glee.

The rest of the album is equally appealing to the listener, starting off with its haunting, atmospheric ballad detailing a marriage in peril, "Cold As Christmas (In The Middle Of The Year)," which boasts a great melody and a clever Taupin lyric.

The title track is a dramatic, fast paced number reflecting the hyper kenetic lifestyle of its disillusioned protagonist. Elton's vocal perfectly reflects the lyrics, depicting another sleepless night of someone far too ahead of themselves, as his voice has a raspy, crackly quality that lends itself well. The quirky keyboard effects are especially notweworthy, and Elton's piano solo is a spindly web of melodic nirvana.

"Religion" is a satircal jab at hypocrtical evangelists who rose to prominence in the 1980s', such as Robertson, Falwell, Swaggart, Anita Bryant, and others. Elton, never shy about his negative views on organized religion, creates a stingingly funny tale about a gambler and a hooker who find God in the most unlikely of places yet to continue their sinful lifestyles under the false vibe that it's okay because they now believe.

"Crystal" is a catchy, synth driven rocker about a friend who loses the love of his life gracefully to his best friend, and is one my favorite rockers that he's ever done. It's similar melodically to "I'm Still Standing," as Elton sings in the same fast pace, almost breathless cadence he uses on the aforementioned more popular number, and should've been just as big a hit.

"Whipping Boy" is a repetitive rocker and gets annoying but still boasts some clever lyrical touches and in the long run does nothing to diminish the rest of the album.

The gorgeous, ethereal "Saint" features great synth work by James Newton Howard, touching lyrics and a soaring Elton vocal. Aside from "I Guess That's Why They Call It The Blues," it's probably my favorite track on the album.

"Too Low For Zero" closes with the chilling "One More Arrow," a loving tribute by a son to a deceased father. Like "Skyline Pigeon" and "Candle In The Wind," as well as the lesser known "Cage The Songbird" from "Blue Moves," takes an almost hymnlike aura, bolstered by Elton's hauntingly beautiful, piercing falsetto, which soars to Heaven and brings a tear to even the most hardened heart. It helped me appreciate my father a little more than I already do, if that's any indication of how well Elton captures the song's sentiments.

"Too Low For Zero" is one of Elton's best album and is, along with "Reg Strikes Back" and "Sleeping With The Past," his finest studio output of the 1980s'. 26 years, it's still standing with the most essential of his recorded output.

"Too Low For Zero" marks John's long-awaited reunion with lyricist Bernie Taupin on a permanent basis. As John himself once described in 1990, this is one "fine, fine" album. I would have to agree with John.

Opening with the chilling (pun intended) "Cold as Christmas", the album strikes a new chord with listeners as this is the first Elton John LP to open with a slower to mid-tempo track in over five years. In addition, the pop classics such as "I'm Still Standing", "I Guess That's Why They Call It the Blues", "Kiss the Bride", and "Too Low For Zero" are nestled
snugly with album-only tracks such as "Religion" and the unbelievably beautiful "Saint"--which only show that the singles market leaves the best music for the long-players.

Produced by Chris Thomas, note how Elton thanks recording engineer Renate Blauel under the heading "Special Thanks" in the liner notes. Elton married her on Valentine's Day, the following spring in 1984, in Australia. This was a special album for everyone involved. We also hear the talents of Elton's original band from the 1970s--Dee Murray, Nigel Olsson and Davey Johnstone.

Again, digitally remastered with bonus tracks for collectors. The wacky but brilliant instrumental "Earn While You Learn" opens the bonus track appendices with an offbeat rhythm-guitar riff by Johnstone--a drum fill, then a whirlwind of ingenious improvisation. The track lasts well over five minutes, which explains why it was used only as the b-side for the hit single "I'm Still Standing" on the UK 12" version. After that, the bonus track appendix dusts off two interlopers: "Dreamboat", and "The Retreat". The latter had been recorded in 1981 during the sessions which spawned the LP "The Fox", and had been
released as a b-side in the UK the following year. It appears here on this version of "Too Low..." for it first appeared as the US b-side for "I Guess That's Why They Call It the Blues". It is worth acquiring--its legendary status as a b-side with 'hit' potential was confirmed in 1990 when Elton John included it on his retrospective box set "To BeContinued...".

As well, "Dreamboat" appears on "Too Low..." as a bonus for it was the US and UK b-side to the enormously successful single "Kiss the Bride". However, collectors scratch their heads: "Dreamboat"--clocking in at over seven minutes--is an outtake from the sessions that yielded "A Single Man" in 1978. Not included on "Single Man" for the reason of duration, it remained in the vaults until label execs working on the singles for "Too Low..." needed a b-side. Enthusiasts of the 1978 album will want to purchase this disc to acquire the track--its mixing is among the clearest and most clever mixes I've heard from the Elton John body of work.

Conclusively, the original album tracks made for an incredible listen, and this new version enhances the original experience by providing b-sides that owners of the original singles may have grown to love as well. "Too Low For Zero" remains Elton's finest
album of his 1980s "pop" years--hands up those who remember the straw boater hat!!

This is without doubt Elton's best album from 80'es. It's the best Elton's album since 1973 and it's just great. "I guess that's why they call it the blues" is probably the best song on the album and one of the best Elton's songs. Other songs are also great especially I'm still standing, Crystal and Kiss the bride. If you like Elton, you must have this album then. Great pop/rock masterpiece.

On "Too Low For Zero", Elton John reunited with Bernie Taupin for the first John/Taupin album since "Blue Moves", not counting their occasional collaborations between, most notably on "Jump Up". And it is the first of a brief three album reunion of the original Elton John Band (Davey Johnstone on Guitar, Dee Murray on Bass and Nigel Olsson on drums), though all three had been performing on Elton John's albums since "21 At 33". Admitedly the album is a far cry from Elton's classic years, moving more into synthesizers and trendy 80's pop. Yet there are several great tunes, such as the hits "I Guess Why They Call It The Blues", and "I'm Still Standing", and the minor classics "Cold As Christmas" (featuring the beautiful harp playing of Skaila Kanga, who performed on one of Elton's earliest albums),"Two Low For Zero", "Crystal", "Saint", and the minor hit "Kiss the Bride". And then there's "One More Arrow", which has some of Taupin's finest lyrics written in the 1980's. Alas, the rest is filler, including the bonus tracks, with the notable exception of the last track, "The Retreat", one of the best B-side Elton John songs I've heard. Producer Gus Dudgeon and his team have done an exceptional job remastering this CD.

Elton John in the 1980's was no doubt worse than the lton John of the early 70's, but that doesn't mean that his material in the 80's was not very good in its own right. He released several albums in the 80's that are classics, and Too Low For Zero is one of the standouts on that list.

This album is very different from anything he did in the 70's because it has much more of a pop aura to it. It's hard to think of the Elton John of the 70's singing songs like "I'm Still Standing" and "Saint" and "Crystal". I think the songs from "Cold As Christmas" through "Crystal" are the best ones on that album. Basically the only song on the album I dislike is "Whipping Boy", which is very cheesy and corny, but songs like the slow ballad "One More Arrow" (not sure who it's about), the upbeat and optimistic "I'm Still Standing", the old-school Elton slow rocker "Religion", the title track that is catchy and sedative, the slow rocke "I Guess That's Why They Call It the Blues", and upbeat rock song "Kiss the Bride" more than compensate for that. A must-have for Elton fans because it's a classic and yielded four hits in the UK, and three in the US.

Having owned everything E.J. has put out at one point or another, there are some great songs on this album. I'm Still Standing, Cold As Christmas, I Guess That's Why They Call It The Blues.... This was the time of E.J., king of the radio singles.

That said, for every I'm Still Standing, there's a One More Arrow or Religion, which I see as pure filler. Yes, if you like the early 80's Elton John, this is a great choice for you. While Elton John always has great songs on his albums, overall this isn't his best period of work. Compared with true masterpieces like Goodbye Yellow Brick Road, Madman Across The Water, Rock of the Westies, or even his latest, Captain & The Kid, Too Low For Zero seems pale as a whole. That said, there are some great singles on this album and it's a much more solid work than the three that followed.