{"id":39723,"date":"2006-04-19T00:00:00","date_gmt":"2006-04-19T00:00:00","guid":{"rendered":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/21-at-33\/"},"modified":"2006-04-19T00:00:00","modified_gmt":"2006-04-19T00:00:00","slug":"21-at-33","status":"publish","type":"review","link":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/21-at-33\/","title":{"rendered":"21 At 33"},"content":{"rendered":"

<\/p>\n

Let the record state that by my count, I can’t find
\nan arrangement of albums that gives credence to the title of 21
\nAt 33<\/i>. In theory, this record was the 21st of John’s career,
\nwhen he was 33. However, the most I can find is 18 (maybe I’m
\nmissing out on a few Greatest Hits<\/i>). In the end, none of
\nthis really matters, as 21 At 33<\/i> is only a somewhat
\nenjoyable record.<\/p>\n

Despite the surge of punk and disco, Elton managed to
\nweather the storm of popular music trends in the late 70s. While
\nhis commercial clout had been greatly diminished for a variety of
\nreasons (his statement of bisexuality didn’t help), he had fended
\noff those musical beasts. By 1980 he was still standing and ready
\nto start another decade. Of course, it would take him two years to
\nactually deliver an outstanding album, but there were some good
\nmoments along the way.<\/p>\n

21 At 33<\/i> marked a return to collaboration
\nbetween Elton John and Bernie Taupin, for the first real time since
\n1976 and Blue Moves<\/i>. For the most part, their reunion
\nyielded strong material. The opening track “Chasing The Crown” is a
\nrocker resembling earlier efforts such as “I Don’t Care,” but with
\nmore energy. “White Lady White Powder” is a lightweight track,
\nbolstered by the appearance of Don Henley and Glenn Frey of the
\nEagles on background vocals. The subject material is where I find a
\nproblem; obviously they’re talking about cocaine, and in my view it
\ntrivializes drug use far too much, especially considering Elton’s
\nproficient drug use.<\/p>\n

Luckily, the third collaboration between the two
\nresults in easily the best track off 21 At 33<\/i>. “Two Rooms At
\nThe End Of The World” easily culminates in one of John’s best
\nfusions of pop and disco, with the driving beat and tremendous use
\nof horns. Elton rarely used horns to this effect, and it makes the
\ntrack.<\/p>\n

The non-Taupin tracks are rather hit and miss, though
\nthere are a few nuggets. “Sartorial Eloquence” may cause fans to
\nscramble for a dictionary but is one of my favorite John ballads
\nfrom this time period. His piano playing is highlighted more
\nprominently than usual, supported by some lush synth arrangements.
\nThe backing vocalists read like a list of who’s who in the music
\nindustry, with Toni Tenille, Bruce Johnston, and the two previously
\nmentioned Eagles appearing. The album’s big hit, “Little Jeannie,”
\nis a rather delicate affair, sounding like “Daniel” part two. While
\nthe former is nowhere near as good as the latter, it was catchy
\nenough to reach #3 on the Billboard Charts.<\/p>\n

Problem with 21 At 33<\/i> is the lack of good
\nmaterial after “White Lady White Powder.” “Dear God” is incredibly
\nsaccharine, and coming right after a song about cocaine doesn’t
\nseem too genuine. “Never Fall In Love Again” plays like a revamped
\n“Return To Paradise,” and “Take Me Back” is a country effort that
\ndoes not play among Elton’s best. “Give Me The Love” almost
\ncaptures the quality of earlier tracks, with a decidedly more disco
\napproach, but drags on for too long.<\/p>\n

Again, this effort is neither terrible nor
\nmind-blowing. It does show how good Elton was when he could crank
\nout a professional-sounding record with little inspiration, but
\nthankfully he would crank out one more album like this until
\nreturning to that old 70s magic in 1983.<\/p>\n

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