{"id":39712,"date":"2006-04-11T00:00:00","date_gmt":"2006-04-11T00:00:00","guid":{"rendered":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/tumbleweed-connection\/"},"modified":"2006-04-11T00:00:00","modified_gmt":"2006-04-11T00:00:00","slug":"tumbleweed-connection","status":"publish","type":"review","link":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/tumbleweed-connection\/","title":{"rendered":"Tumbleweed Connection"},"content":{"rendered":"

<\/p>\n

Elton John<\/i> had made its namesake a star,
\npropelling him to the “top of the pops.” Various tour dates had
\nfurther proven the showman and musician he was. However, there were
\nstill some detractors, most of who decried the over-production of
\nElton’s previous album. The people wanted to hear more of Elton
\nhimself, and Tumbleweed Connection<\/i> would grant their wishes.
\nIn the process, John crafted one his best albums, barely a notch
\nbehind Captain Fantastic<\/i>.<\/p>\n

It’s evident from the start of Tumbleweed<\/i> that
\nthings are going to be a little different from the Elton John many
\npeople knew and loved. There aren’t any strings, any synthesizers;
\nit’s just John and his band. Tumbleweed<\/i> emphasizes John’s
\npiano skills much more than his first two albums, and that is the
\nhighlight of the record.<\/p>\n

Bernie Taupin and Elton consciously craft a record
\nthat attempts to sound as Americana as can be. The Old West unifies
\nthe lyrics and the music, for the most part; whether it’s the
\ncountry twang and steel pedal guitar on “Country Comfort” or the
\nsaloon piano intro to “Burn Down The Mission,” the two try to paint
\na picture of the American West as they saw it. The result is an
\nexaggerated, yet romanticized picture of “old Clay” or the “color
\nof the grays.”<\/p>\n

There are traces of Elton John<\/i> throughout
\nTumbleweed Connection<\/i>; the best example being “Come Down In
\nMy Time,” which could have fit on the previous album. The track is
\none of John’s most unknown ballads yet ranks up there with his
\nbest. There isn’t necessarily a strong hook; the power of the song
\nis in its unusual melody and production.<\/p>\n

Tumbleweed Connection<\/i> is rare in that its best
\nsongs lay smack dab in the middle of the album. “Son Of Your
\nFather, “My Father’s Gun, and “Where To Now St. Peter,” are the
\ncream of the crop, along with “Burn Down The Mission.” “My Father’s
\nGun” was recently used to great effect in Cameron Crowe’s
\nElizabethtown<\/i>, and deservedly so. This song is an epic,
\ngaining speed like a runaway train as the track progresses. Dee
\nMurray’s bass-work grabs you immediately, and slowly but surely
\nmore and more is added. Horns, percussion and gospel-flavored
\nbacking vocals come into play, resulting in a virtual wall of
\nsound. Elton shows off his more soulful vocals as well, adlibbing
\nfor the last minute or so. To me, this song is in his top 5.<\/p>\n

“Where To Now St. Peter” benefits from some
\ntremendous Gus Dudgeon production. The song, which features a
\nsoldier killed in action as he faces St. Peter, revolves around an
\nethereal theme, so Dudgeon adds echo to John’s stunning falsetto
\nvocals and swirls them around the speakers as Caleb Quaye’s guitar
\nlicks flicker like the flames of hell itself.<\/p>\n

Tumbleweed Connection<\/i> did not feature a single
\nof any sort, but the track any Elton fan knows is the closer “Burn
\nDown The Mission.” The epitome of what Tumbleweed<\/i> is all
\nabout, “Burn Down The Mission,” has turned into a showstopper for
\nJohn’s live concerts. The song starts off simply enough, but
\naccelerates in between the main verses in a matter of seconds,
\ntransforming the number into a rave-up rocker. The closing minutes
\necho that sound of “My Father’s Gun” but to an extreme degree,
\nalmost reminiscent of “A Day In The Life,” in terms of an orgasm of
\nsound, but through it John’s pounding of the ivories is the
\nfocus.<\/p>\n

This is a record that should remove beyond any doubt
\nhow good Elton John was in his prime. Everything is clicking, and
\nthis at only his third album. John would not falter until
\nCaribou<\/i>, running off a brilliant streak of albums and music
\nfew have managed to match. This true explosion of quality began
\nhere, with Tumbleweed Connection<\/i>.<\/p>\n

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