Elton John Album: “The Captain & the Kid”

I've been an Elton John fan since 1972 when I was 12 years old. Elton and Bernie were my introduction into the adult music of pop and rock and roll. I won his 1st Greatest Hits album from a local radio station and bought Goodbye Yellow Brick Road shortly thereafter. It was my 1st album. I remember buying Captain Fantastic the day it came out, the record cover seemed to be worth the price of admission alone. The songs on this album had a more unique and intricate structure than his usual pop hits and this soon became a very special and personal album for me. Its been my favorite. I love all of his classic work through Rock of the Westies and even though I followed all of his releases throughout the 80's, he kind of lost me along the way. While it was always a treat to see him perform live, his studio efforts just didn't reach me anymore.

While Songs from the West Coast was a return to form, it hasn't appeared in my CD player for a while. And now Elton and Bernie are releasing a follow up to Captain Fantastic? Why even try to attempt something so challenging? It seems that they are just setting themselves up for a big fall with this one. It would seem an impossible task to follow up that classic and it was certainly impossible to create anything 3 decades after Rock of the Westies that could hold a place in the pantheon of those classic early EJ albums. Yes, what they are trying to do here is totally IMPOSSIBLE!!!

Well ladies and gents, I have news for you. Elton and Bernie have done the impossible. You can read all the details about the songs and music in other reviews, but for this long time EJ and BT fan, a miracle has happened. This album is as tight as Tumbleweed, Honkey Chateau, and even Captain Fantastic. No filler, just that old magic that they must have sold their souls (once again?) to produce. And sentimental fools beware. When that final track begins, just try not to get all emotional when that familiar theme begins to play. Where Captain Fantastic ended with a melancholoy note, this new album ends with a uptempo ramble looking back on their success as they stayed true to themselves and ahead towards the promise of a bright future.

Captain Fantastic and the Brown Dirt Cowboy ride off into the sunset in grand style! Long may you run....

In 2001 "Songs From The West Coast" was definitely a return to form, albeit a somewhat contrived return. Yes the songs were brilliant and the album was met with critical acclaim. Yet to me it always sounded a bit like Elton trying to sound like the old Elton.

With "The Captain and The Kid" Elton has accomplished something that I did not believe possible. He has produced an album, figuratively and literally, that can proudly stand next to all of Elton's classic 70s albums. Nothing Elton does will ever match those 70s albums, call it the "curse of the classics" as someone recently coined the phrase on the forum. Even if some future album does equal or surpass any of those 70s album the critics and the fans would never admit it. "The Captain and The Kid" comes as close as Elton will ever come to accomplishing that feat.

From the 45 second opening piano intro on "Postcards From Richard Nixon" you immediately sense that this album is different. You get the feeling that Elton is on to something and that he knows it. The track, about Elton and Bernie's arrival in the USA, has a country feel to it similar to the title track from the original album. Next in line is "Just Like Noah's Ark" which also mirrors the original with similar subject matter. It is arguably one of the more enjoyable uptempo tracks that Elton has recorded lately taking some inspiration from the Rolling Stones' "Brown Sugar."

Elton's self-proclaimed love song to New York City is "Wouldn't Have You Any Other Way (NYC)" with its beautiful melody and vocal from Elton along with majestic and soaring background vocals. The line "no matter what might happen, you'll never sink this ship" makes you think of the way New York and New Yorkers came back so strong after 9/11 as well as referring to Elton and Bernie as survivors. "Tinderbox" chronicles Elton's fall from grace with lyrics like "but a wind of change blew across our sales." Easily this track could be the next single.

The gem of the set is "...And The House Fell Down" featuring some of the best funky piano playing from Elton on record in quite some time. The song is the most uptempo Elton has been in a long time and also contains what could be what an Elton hip-hop record may sound like with an Elton-rap on the bridge. This is a track that I did not think Elton still had in him and proves to any doubting Thomas's that the guy still can surprise even fans of 35 years.

The album doesn't disappoint the ballad lovers with one of the most emotional vocals ever from Elton on "Blues Never Fade Away." A song about the loss of friends and loved ones that asks the question "how did we get so lucky?" References to Ryan White and John Lennon only make the track more powerful.

Probably the weakest track on the album was chosen as the lead single. "The Bridge is a song about decisions, life altering ones. This song serves as a bridge to the final three songs that are about Elton and Bernie looking back at their careers and lives. "I Must Have Lost It On The Wind" and "Old '67" could both fit perfectly on Tumbleweed Connection or Honky Chateau.

The final track "The Captain and The Kid" serves as a love letter to the fans by lifting the intro from the original title track and using it in the album closer creating a 30 year old bookend.

Yes Elton has done the impossible, created an album that comes as close as possible to the 70s classics without being one.

Or did he?

Let me state right off the bat, so as not to be accused of being a troll, that I'm an Elton John fan. Like many, I eagerly awaited this sequel to Elton's 1975 album Captain Fantastic And The Brown Dirt Cowboy with fingers firmly crossed. I must say, after having a month to let the new record sink in, that The Captain And The Kid, while definitely attempting to capture a little of that old genie in the bottle of Elton's classic period, is a fairly pedestrian, average affair.

On a positive note, Elton has wisely found his way back to the creative side of the tracks (vs. crass commercialism) - a trend that started with Songs From The West Coast in 2001 and has continued on with 2004's Peachtree Road and this current album. While Songs was a triumphant return to form in my opinion, Peachtree, though well intended, was somewhat less successful. While that same commitment is obvious on the new record, sadly it seems to fall closer to Peachtree in terms of overall consistency.

The album starts out on a strong note. In fact, Postcards From Richard Nixon might be my favorite cut on the record. With its infectious piano riff, memorable melody and Bernie's clever lyrics (coupled with those vintage Davey/Nigel harmonies of days gone by), it starts the record off with a bang. If only the rest of the album could have maintained this level. Here is where the biggest problem lies in my opinion - an overall lack of melodic inventiveness. We've heard most of these melodies in similar form on other Elton tunes over the years. In fact, at times I found myself predicting where the verse melody or bridge was heading next - only to have it come to be. I'm sure a lot of this stems from the fact that Elton's somewhat frozen, even shredded at times, voice is no longer the soaring and clear, falsetto-driven instrument it once was. Thus, the melodies are tailored for this. Just Like Noah's Ark is virtually the same "rocker" we've heard Elton do before - on the last album it was "called" They Call Her The Cat. Conversely, the album's first single, The Bridge is pretty much every middle-of-the-road, over-dramatic ballad that seemed to rule the 90's for Elton. Even Tinderbox, while definitely one of the better songs on the album, seemed utterly predictable to me. Maybe not offensive...just not inspiring.

The one other album highlight for me was Wouldn't Have You Any Other Way (NYC). In this particular case, Elton was able to conjure up the spirits of his musical past in a satisfying way. Owing more than a lyrical nod to Mona Lisas And Mad Hatters and even a stylistic nod to something like Come Down In Time, this valentine to New York City did manage to move me due to it's melodic freshness, lyrical imagery and some really great production touches by Matt Sill (a sweeping orchestra and what sounds like a moog synthesizer that would have respectively made Paul Buckmaster and David Hentschel proud...and probably the late Gus Dudgeon as well for that matter).

Other than that:

The title song, a cop of the original Capt. Fantastic And The Brown Dirt Cowboy riff (admittedly by Elton) and meant to serve as a bookend to the entire concept, ends up sounding like a Muzak-lite version of its predecessor. Again, not offensive, but one which will probably have you reaching for the earlier tune afterward. I'm sure many will also say that it's not valid to draw comparisons between this album and the records of Elton's classic period, but the fact that this is a concept album that's tied to an earlier work makes it fair game in my opinion. .

In conclusion, the rest of the album just left me hollow. While certainly not atrocious, or even bad for that matter, I didn't find myself remembering much of what I just listened to. A month later, and after repeated listenings...I still don't. While this is definitely miles up from bottom-of-the-barrel Elton (those honors can safely go to something like Victim Of Love or Leather Jackets), or even mediocre Elton (much of the 90's), this isn't really the monster return to form that many have been hyping it as. Songs From The West Coast can still proudly wear that badge in my opinion. "Best album in 30 years?" Not quite. 3 out of 5 stars.

This limited edition imported version of "Captain and the Kid" contains an additional DVD that includes an interview of Elton John and Bernie Taupin discussing the creation of their latest album and looking back at their stellar career in music. It is also rumored to contain live versions of some of the songs from "Captain Fantastic and the Brown Dirt Cowboy" which were recorded during Elton's concerts at Madison Square Garden here in New York City approximately a year ago. As for this new CD, I regard it as an essential Elton John album. I've lost count how many times I have played the entire album or selected songs - at least nearly half of it - constantly.

Thirty-one years after "Captain Fantastic", Elton John and his long-time partner, lyricist Bernie Taupin, have quite literally returned to their roots in "The Captain and the Kid", yielding an album that sounds as fresh and poignant as their great mid 1970s album. And yet, it sounds much more like a return to their earlier musical roots, most notably such classic early albums as "Tumbleweed Connection" and "Honky Chateau", than a full-fledged sequel that is also a satisfying conclusion to "Captain Fantastic and the Brown Dirt Cowboy". All the praise that this album is acquiring so far is quite well earned; demonstrating that Elton's 21st Century musical revival - beginning with "Songs From The West Coast" - hasn't been a fluke. I doubt I have heard as consistently fine a collection of songs as those on this album from Elton lately; indeed, I have to search as far back as his early 1990s hit "The One" to find among his recent albums, one that is both a great body of work, as well as yielding quite a few Elton John/Bernie Taupin hit singles; it is definitely Elton's best album since "The One". Without a doubt, "The Captain and the Kid" should be regarded more as an album with a consistently great set of songs - than a collection of memorable hit singles and other songs - due in no small measure to the introspective nature of Taupin's lyrics chronicling their history - both together and apart - since Elton's triumphant American debut back in 1970, a memorable performance at Los Angeles' Troubadour Club. Moreover, Elton hasn't sung as well as in a long, long time, even if his youthful falsetto has given rise to a deeper, often richer, sound. And here on this album, he's often backed with classic harmonies from Davey Johnstone and Nigel Olsson - as well as the rest of the current Elton John Band - bringing back fond memories of Elton singing with Davey, Nigel, and the late Dee Murray on his classic 1970s albums.

"The Captain and the Kid" ranges all over the map musically, paying homage to country, bluegrass, blues, folk, rhythm and blues, as well as pop and rock and roll. Stylistically, Elton and Bernie cover musical terrain that may remind some listeners of Tucson's late great Irish Celtic/Mexican/Country/Bluegrass band, The Mollys, or some of Mary Chapin Carpenter's early work. I almost expected hearing Jean-Luc Ponty playing his electric violin - which he did memorably on two songs from "Honky Chateau" - or the great Irish-American Celtic violinist Eileen Ivers, or another, younger New York City-based bluegrass/country violinist, the still unknown, but quite brilliant, Dotty Moore, on a few of the songs (Indeed, these songs are so good, that I hope bluegrass and country musicians from Nashville and Austin to Tucson, and yes, even those here in New York City, will consider covering them.).

My favorite songs from "The Captain and the Kid" include its potential hit singles. "Just Like Noah's Ark" is a rollicking honky tonk tune which has an opening piano riff that's reminiscent of fellow Brunonian Mary Chapin Carpenter's "I Feel Lucky", but actually owes more musically to "Honky Cat" and "Bennie and the Jets" (I can easily imagine both fellow Brunonians Mary Chapin Carpenter and Dotty Moore lending their considerable musical talents to this very song; indeed I think that both talented ladies would be splendid guest soloists on the next studio-recorded Elton John album.); it's a joyous ode recounting Elton's early success here in the United States, and all the youthful indulgences associated with it. "..And The House Fell Down" is a somber, yet funky sounding, rhythm and blues/country tune in which Elton recalls his severe drug and alcohol addiction from the 1980s (Melodically the song sounds similar to "I'm Still Standing", but there's a brief section where Elton raps - I still can't believe it - Bernie's lyrics.). "Blues Never Fade Away" is a classic Elton John/Bernie Taupin bluesy country ballad that's in the same mode as "Candle in the Wind", mourning the tragic loss of lives cut too short, especially in the veiled - and not so veiled - references to Gianni Versace and John Lennon. "The Bridge", the current single, is yet another classic John/Taupin ballad, featuring only Elton and his piano, with background harmonies from Davey, Nigel, Bob, John and Matt (album co-producer and recording engineer Matt Still) that sound so much like the classic 1970s harmonies from Davey, Nigel and Dee; it is unquestionably one of my three favorite songs from this album, reminding me most, both stylistically and thematically, of "The Last Song". "Old '67" is yet another fine John/Taupin ballad, but with more than a bit of a country twist, in which the two remember well the year they met (1967), and reflect upon a solid musical partnership that has endured for nearly forty years (It's another personal favorite, and definitely one of the best songs on this album.). "The Captain and The Kid" opens and closes with the same musical chords (It's Elton on the piano accompanied by Davey's mandolin and Nigel's drum kit and John's percussion, with Bob's bass in the background.) from the title song of the "Captain Fantastic" album, and like that song, it is a country/pop/rock and roll ballad, in which Elton sings wistfully of the life-long paths that led him and Bernie Taupin to become "Captain Fantastic" and the "Brown Dirt Cowboy", looking back with ample amazement at what he and Bernie have wrought artistically these past four decades (This is yet another favorite song from the album, vying for top honors with the others.).

The other songs in "The Captain and the Kid" are just as memorable as the potential hit singles I've mentioned. "Postcards from Richard Nixon" is an uptempo, slightly honky tonk-inflected, pop/rock and roll song recounting Elton's muscial conquest of the United States in the early 1970s. "Wouldn't Have You Any Other Way (NYC)" is yet another splendid valentine to New York City from Elton John and Bernie Taupin, with musical reminders of "Tiny Dancer" and "Mona Lisas and Mad Hatters", but sounding more like Elton's early to mid 1980s period, resembling songs such as "I'm Still Standing" and "Sad Songs (Say So Much)". "Tinderbox" is a caustic, bluesy country ballad from John and Taupin recounting their bitter breakup and separation, which lasted from the mid 1970s into the early 1980s (I'm starting to like this song so much that I could regard it as yet another potential single from this album.). "I Must Have Lost it On the Wind" is a country-tinged ballad in which John sings of lost loves and their poignant, and often bittersweet, memories; with Davey's harmonica and mandolin solos, the song sounds almost like something crafted by Bob Dylan back in the early to mid 1960s, before he discovered rock and roll.

Elton John and Matt Still have co-produced yet another classic Elton John album, with Elton and his piano once more at the center of attention (I have no doubt that the late Gus Dudgeon, Elton's original producer, would be proud of their accomplishment.). Davey Johnstone offers a multitude of superb banjo and mandolin solos, and Nigel Olsson provides once more his elegant melodic drumming, which, unfortunately, does sound slightly muted in several songs. Keyboard wizard Guy Babylon, who also orchestrated the arrangements on this album, can be heard in several memorable organ solos, most notably on "Just Like Noah's Ark" and "Old '67". And of course, there's excellent playing too from bassist Bob Birch and percussionist John Mahon. Long-time fans of Elton's music will also appreciate the collection of photographs of him, Bernie and his bands, stretching from 1967 until now, and the Ryan McGinley photographs of him playing the piano and Bernie Taupin riding a horse - the first time they've appeared together on an album cover since "Captain Fantastic" - at Bernie's California ranch. Those unfamiliar with Elton's work should nonetheless enjoy "Captain and the Kid" as yet another of his recent musical triumphs; diehard, long-time fans of Elton's music will surely want to add this fine album to their collections. In the album's final song, "The Captain and The Kid", Elton sings, "And you can't go back and if you try it fails..."; well, I'm sorry, Elton, but you have gone back, by making one of the finest albums in your glorious musical career; may it endure for a long, long time, always delighting the hearts and minds of countless fans like yours truly.

The Captain And The Kid is billed as the sequel to Elton's seminal Captain Fantastic And The Brown Dirt Cowboy album and that alone lends the project a ridiculous amount of expectation. And, while the record isn't as sonically diverse as Captain Fantastic, lyrically it follows nicely. Most importantly, The Captain And The Kid is Elton's best record since the seventies.

A nostalgic tone lingers over the record, which in itself could be dangerous. But, the classic Elton melodies are here and they suit the material well. In addition to the expected ballads (the heartbreaking Blues Never Fade Away and The Bridge), The Captain finds Elton genuinely rocking out again. Maybe his newfound friendship with the Scissor Sisters has rejuvenated his much-loved seventies persona. Catchy rockers like And The House Fell Down and Just Like Noah's Ark successfully achieve what the album is about: bringing music back to a time when it mattered. There isn't anything especially glossy or produced about the songs, but they're addictive because they're passionate. Best of all is Tinderbox, a gorgeous sing-along nearly worthy of Tiny Dancer status.

Towards the end of the album, the songs begin to show their country and blues roots a little more clearly, culminating in the closing title track, a soft country shuffle which is perhaps the most transparently nostalgic song, where Elton is painted as "an urban soul in a fine silk suit," and Bernie "a heart out west in a Wrangler shirt." It's a partnership to be celebrated, for sure, and The Captain And The Kid does so in amazing form.

Key Tracks: Tinderbox, And The House Fell Down, Blues Never Fade Away