{"id":39721,"date":"2006-04-18T00:00:00","date_gmt":"2006-04-18T00:00:00","guid":{"rendered":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/a-single-man\/"},"modified":"2006-04-18T00:00:00","modified_gmt":"2006-04-18T00:00:00","slug":"a-single-man","status":"publish","type":"review","link":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/a-single-man\/","title":{"rendered":"A Single Man"},"content":{"rendered":"

<\/p>\n

My first thoughts on A Single Man<\/i> was how
\ntough it would be to review. On one hand, this is the first album
\nwithout any Bernie Taupin contributions. On the other hand, its
\nstripped-down sound is appealing after the sometimes pompous
\ngrandeur of Blue Moves<\/i>. I feel like Steve Zissou today, so
\nlet’s go exploring, shall we?<\/p>\n

The opening track “Shine On A Through” is a vastly
\nreworked version of the track that appeared on the Thom Bell
\nSessions<\/i>. Instead of a Philly soul\/disco number, you’ve got a
\nstandard Elton ballad. Nothing too fancy, but not a song to be
\nskipped over either. “Return To Paradise” foreshadows “Cold As
\nChristmas” but chooses to employ a Caribbean sound instead., while
\n“I Don’t Care” is the rave up rocker, at least in terms of the rest
\nof A Single Man<\/i>. However, I do appreciate letting John sit
\nback and play with very little accompaniment. If there is one thing
\nA Single Man<\/i> does well, it is show off John’s piano
\nproficiency.<\/p>\n

“Big Dipper’ is a honky tonk number that for the
\nfirst time featured a lyric that embraced John’s homosexuality. It
\ndoesn’t take a rocket scientist to figures out what “Big Dipper”
\nsymbolizes. Interesting note of trivia — the ending refrain
\nfeatures the entire Watford football team that John owned at the
\ntime.<\/p>\n

“It Ain’t Gonna Be Easy” tries its hand at a
\nblues\/rock blend but goes on for about 4 minutes too long. The song
\ndoes spotlight John’s new vocal styling, which more fully utilized
\nhis range. Things get back to the comfort zone with “Part Time
\nLover,” the epitome of an average Elton John pop song. It’s catchy
\nenough to be a single, but is utterly forgettable afterwards. Davey
\nJohnstone plays guitar on the track, one of the few instances of
\ncontinuity with his old lineup from previous albums.<\/p>\n

The two standout tracks occur within the last three
\nsongs. “Madness” and “Song For Guy” are underrated classics. The
\nformer boils over with intensity, totally belying its disco beat.
\nJohn’s vocals are the key here, totally capturing the feel and mood
\nof the lyrics. He snarls, rages, and even throws in some of that
\nclassic falsetto. “Song For Guy” is a rare instrumental, written as
\nan ode to a departed member of John’s Rocket Records staff. Built
\naround a recurring theme, Elton adds various flourishes that help
\nestablish this feeling of a dream.<\/p>\n

The version of A Single Man<\/i> that I bought
\ncontains a bevy of bonus tracks that have become part of the album
\nto me, with stronger hooks and performances. “Ego” in particular is
\na disjointed, jarring affair that does not sound like an Elton John
\nsingle, but it was just that. With a hint of madness in that voice,
\nJohn starts to freak you out towards the end. “Flinstone Boy” is
\nanother attempt at country, but it works quite well, mainly because
\nElton doesn’t countrify his voice and lets the music speak.
\nFinally, “Strangers” has always caught my ear for reasons I can’t
\ndefine, though the simple delivery and affecting lyrics\/vocals are
\na few reasons.<\/p>\n

As an Elton John fan, I see this as one of his most
\nunderrated albums, but as a critic it’s only decent and not
\nspectacular.<\/p>\n

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