{"id":39728,"date":"2006-04-21T00:00:00","date_gmt":"2006-04-21T00:00:00","guid":{"rendered":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/breaking-hearts\/"},"modified":"2006-04-21T00:00:00","modified_gmt":"2006-04-21T00:00:00","slug":"breaking-hearts","status":"publish","type":"review","link":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/breaking-hearts\/","title":{"rendered":"Breaking Hearts"},"content":{"rendered":"

<\/p>\n

Too Low For Zero<\/i> had officially brought Elton
\nJohn back into the limelight in the mid-80s. The question was if
\ncould he continue that momentum into the next album. Breaking
\nHearts<\/i> may have continued the chart success, but creatively
\nspeaking it started a downward spiral that would plague John until
\n1987.<\/p>\n

Breaking Hearts<\/i> hit #20 on Billboard, and spun
\noff three top forty hits. One of those, “Sad Songs (Say So Much),”
\nreached number 5. While not a brilliant Elton single by any means,
\n“Sad Songs” is certainly catchy enough to have warranted its
\nsuccess. Lyrically, the number is a contrast; John sings about how
\nsad songs can help people out, yet the music for the track
\ncertainly isn’t weepy . The best part of the song to me has always
\nbeen the reunited trio of Davey Johnstone, Dee Murray, and Nigel
\nOlsen, whose harmonies are as good as ever.<\/p>\n

The other two hits, “Who Wears These Shoes” and “In
\nNeon,” differ in terms of quality. “Shoes” is one of John’s
\nunderrated 80s singles, throwing out a R&B vibe with Elton
\ndelivering a unique vocal, pretty much smack dab in the middle of
\nhis 70s and 90′ vocal styles (by that, I mean his higher and lower
\nranges). “In Neon” sounds like a prototype for “Love’s Got A lot To
\nAnswer For” from The Big Picture<\/i>. As far as Elton ballads
\ngo, this track doesn’t do its job, lacking a strong hook though
\nonce again the backing vocals from the trio are excellent.<\/p>\n

The rest of Breaking Hearts<\/i> is remarkably hit
\nor miss. “Passengers” definitely fits into the former category;
\nthis could have been an outtake from Paul Simon’s Graceland<\/i>.
\nIt stands out as one of John’s most unique songs, apparently
\ndiscussing apartheid in South Africa. “Lil Frigerator” attempts to
\ncut it loose “Dear John” style, but the definite 80s sounds
\ndetracts from the hard-edged sound lurking beneath the flourishes.
\n“Restless” falls victim to the same fate; but it fails even more so
\nbecause of the turgid pace.<\/p>\n

“Breaking Hearts” is a welcome change in sound,
\nstripped down and lacking the glossy feel most of Breaking
\nHearts<\/i> contains. I just wish it had a stronger melody, though
\nJohn’s vocals are some of his best of the album. “Burning
\nBuildings” rectifies the situation, taking the core elements of
\nJohn and the trio and letting them play it out. At times, I was
\nreminded of the brilliant build up that “Someone Saved My Life
\nTonight” had. While “Burning Buildings” isn’t in the same league as
\n“Someone…” it follows a similar pattern. Johnstone’s electric and
\nacoustic work are welcome instead of a soulless synth riff.<\/p>\n

Breaking Hearts<\/i> marked the end of John’s
\nsecond comeback. It would not be until Live In Australia<\/i> his
\ncareer righted itself. But as far as average Elton John albums go,
\nBreaking Hearts<\/i> is a perfect example.<\/p>\n

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