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Pop - Released January 1, 2005 | Virgin EMI

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Rock - Released July 8, 2016 | Virgin EMI

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Rock - Released January 1, 2013 | Virgin EMI

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Pop - Released January 1, 1997 | Virgin EMI

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Pop - Released December 7, 2018 | UMC (Universal Music Catalogue)

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Pop - Released February 24, 2005 | Virgin EMI

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Pop - Released February 14, 2019 | All Evergreen Records

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Pop - Released May 2, 2019 | Black Barn Music

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Pop - Released January 1, 1989 | Virgin EMI

After dismissing his recently re-formed backing band and breaking off professional ties with longtime lyricist Bernie Taupin, Elton John sought Philly soul maestro Thom Bell in search of a fresh direction. However, John's brief foray into soul isn't as surprising or unusual as it might initially sound. In fact, two of John's biggest hits -- "Bennie and the Jets" as well the breezy four-on-the floor backbeat on "Philadelphia Freedom" -- also became crossover R&B smashes. Initially, John was not entirely pleased with the results and sat on the tapes for over a year before remixing the six completed songs in early 1979 for a summertime release. Ultimately, John chose half of the material that he and Bell had cut to be included on a three-song EP, which was led by the midtempo and ultimately danceable "Mama Can't Buy You Love." The two other sides -- "Are You Ready for Love" and "Three Way Love Affair" (which were issued on that June 1979 extended-play single) -- were likewise Bell creations and were augmented significantly by some of Philly's finest. Among them were Casey James (guitar), Leroy M. Bell (guitar), and Charles Collins (drums), strings and horns courtesy of none other than MFSB, and backing vocals from the one and only Spinners. When the CD version of that EP was issued, the other three previously unissued tunes documented during those sessions were released. Notable among them are a Taupin/John leftover titled "Nice and Slow" -- which Thom Bell also rearranged -- as well as a John ballad co-written with Gary Osborne titled "Shine On Through." This track would resurface as the leadoff track on John's A Single Man in a much more stark and moody musical setting. ~ Lindsay Planer
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Pop - Released October 5, 2018 | All Evergreen Records

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Pop - Released October 5, 2018 | All Evergreen Records

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Pop - Released October 5, 2018 | All Evergreen Records

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Pop - Released November 6, 1995 | Virgin EMI

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Pop - Released January 1, 1972 | Virgin EMI

Considerably lighter than Madman Across the Water, Honky Chateau is a rollicking collection of ballads, rockers, blues, country-rock, and soul songs. On paper, it reads like an eclectic mess, but it plays as the most focused and accomplished set of songs Elton John and Bernie Taupin ever wrote. The skittering boogie of "Honky Cat" and the light psychedelic pop of "Rocket Man" helped send Honky Chateau to the top of the charts, but what is truly impressive about the album is the depth of its material. From the surprisingly cynical and nasty "I Think I'm Going to Kill Myself" to the moving ballad "Mona Lisas and Mad Hatters," John is at the top of his form, crafting immaculate pop songs with memorable melodies and powerful hooks. While Taupin's lyrics aren't much more comprehensible than before, John delivers them with skill and passion, making them feel more substantial than they are. But what makes Honky Chateau a classic is the songcraft, and the way John ties disparate strands of roots music into distinctive and idiosyncratic pop -- it's one of the finest collections of mainstream singer/songwriter pop of the early '70s. ~ Stephen Thomas Erlewine
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Pop - Released January 1, 1970 | Virgin EMI

Instead of repeating the formula that made Elton John a success, John and Bernie Taupin attempted their most ambitious record to date for the follow-up to their breakthrough. A loose concept album about the American West, Tumbleweed Connection emphasized the pretensions that always lay beneath their songcraft. Half of the songs don't follow conventional pop song structures; instead, they flow between verses and vague choruses. These experiments are remarkably successful, primarily because Taupin's lyrics are evocative and John's melodic sense is at its best. As should be expected for a concept album about the Wild West, the music draws from country and blues in equal measures, ranging from the bluesy choruses of "Ballad of a Well-Known Gun" and the modified country of "Country Comfort" to the gospel-inflected "Burn Down the Mission" and the rolling, soulful "Amoreena." Paul Buckmaster manages to write dramatic but appropriate string arrangements that accentuate the cinematic feel of the album. ~ Stephen Thomas Erlewine
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Pop - Released January 1, 1973 | Virgin EMI

Elton John became a true superstar with 1972's Honky Chateau. He followed that album with Don't Shoot Me I'm Only the Piano Player, his most direct, pop-oriented album to date. Designed as a pastiche of classic and contemporary pop styles, the album almost sounds like an attempt to demonstrate the diversity of the John/Taupin team. Though the hits are remarkable -- "Daniel" is a moving ballad and "Crocodile Rock" is a sly take on '50s rock & roll -- the album is slightly uneven. Several of the album tracks, particularly the knowing "I'm Going to Be a Teenage Idol" and the rocking "Elderberry Wine," are as strong as anything John had recorded, but there are too many melodies that simply don't catch hold. Nevertheless, the singles were strong enough to keep the album at the top of the charts, and at its best, it is a very enjoyable piece of well-crafted pop/rock. ~ Stephen Thomas Erlewine
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Pop - Released January 1, 1969 | Virgin EMI

Although he had made a number of re-recordings of popular songs for a budget record label in the late '60s, Empty Sky was the first true solo album Elton John recorded after leaving Bluesology; it also marked the beginning of his long and fruitful collaboration with lyricist Bernie Taupin. Empty Sky is quite indicative of the post-Sgt. Pepper's era. With its ambitious arrangements and lyrics, it's clear that John and Taupin intended the album to be a major statement. Though it shows some signs of John's R&B roots, most of the album alternates between vaguely psychedelic rock and Taupin and John's burgeoning pop songcraft, capped off by a bizarre reprise of brief moments of all of the songs on the record. There aren't any forgotten gems on Empty Sky, but it does suggest John's potential. ~ Stephen Thomas Erlewine
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Pop - Released January 1, 1998 | Virgin EMI

Sandwiched between 1984's Top 20 hit Breaking Hearts and 1986's commercial disaster Leather Jackets, 1985's Ice on Fire is a forgotten Elton John effort. While it is hardly a masterpiece -- it isn't even up to the standard of such '80s efforts as Too Low for Zero -- it's still an enjoyable record, living proof of the power of professionalism. John was riding high on his comeback of the early '80s and ready to turn out another record. And that's what Ice on Fire is -- another Elton John album, in the best possible sense. Sure, it does mark the reunion of John and lyricist Bernie Taupin with producer Gus Dudgeon, who helmed John's greatest recordings, but you'd never know it from the sound of the record. Ice on Fire is pure 1985, heavy on synthetic drums and keyboards -- the kind of record where Davy Johnstone is credited with guitar, but it never sounds as if there's a guitar on the record, or any other "real" instrument, for that matter. That's not really a criticism, since John always made state-of-the-art records, so it should come as little surprise that this sounds like its time; it's sort of fun, in a way, since it instantly brings back its era. The biggest complaint is that much of the record never rises to the level of memorable. The two singles, the cold-war ballad "Nikita" and the George Michael-featured "Wrap Her Up," are the strongest items here, but even those are rather disposable. The rest of the album shares the same sparkling, canned production, and a few songs could have held their own on the Top 40, but much of it is just average Elton. ~ Stephen Thomas Erlewine
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Pop - Released January 1, 1975 | Virgin EMI

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Pop - Released January 1, 1998 | Virgin EMI

The past Elton John has in mind is the era of soul music of the mid-1960s to the mid-1970s, and although all the songs are new, he recreates it well here. The album's most notable selection is the ballad "Sacrifice," which amazingly became his first-ever number one hit in the U.K. ~ William Ruhlmann

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Elton John in the magazine