{"id":39733,"date":"2006-04-25T00:00:00","date_gmt":"2006-04-25T00:00:00","guid":{"rendered":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/reg-strikes-back\/"},"modified":"2006-04-25T00:00:00","modified_gmt":"2006-04-25T00:00:00","slug":"reg-strikes-back","status":"publish","type":"review","link":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/reg-strikes-back\/","title":{"rendered":"Reg Strikes Back"},"content":{"rendered":"

<\/p>\n

Reg Strikes Back<\/i> was undoubtedly one of the
\nmost important albums of Elton John’s career. The man had been
\nfaced with the possibility of never being able to sing again due to
\nsurgery that removed throat nodules. John’s commercial fortunes had
\nalso started to turn again, thanks to the massive sales of Live
\nIn Australia<\/i>. Ironically, while Reg Strikes Back<\/i> may
\nhave served as a marking point in John’s career, the music does not
\nlive up to the album’s significance.<\/p>\n

Elton John fans must have been relieved after a
\nlisten to Reg Strikes Back<\/i>, mostly due to the fact John
\ncould still sing. In fact, Elton’s vocals are his best since
\nBreaking Hearts<\/i>. While the falsetto may have taken a hit,
\nhis voice toughened up, allowing Captain Fantastic to really belt
\nout lines with gusto. Bluesy numbers like “Rope Around A Fool”
\nsound more genuine with this new Elton, more self-assured.<\/p>\n

The problem is that most of the songs on Reg Strikes
\nBack just are not that good. The ballads lack that Elton John
\ntouch, those hooks that stay with the listener for years. With the
\nexception of “Since God Invented Girls,” the other two slower paced
\nsongs like “A Word In Spanish” are uninspired. “Since God\u00e2\u20ac\u00a6”
\nplays out as an ode to the Beach Boys, from the gorgeous backing
\nharmonies, the Brian Wilson references, and the Pet Sounds<\/i>
\ninfluence on the music itself.<\/p>\n

The upbeat numbers from Reg Strikes Back<\/i> are
\nwhere the “fun” really begins. “I Don’t Wanna Go On (With You Like
\nThat)” rose to #2 on the pop charts, sporting a heavy, infectious
\ndance beat. There’s even room at the end for a keyboard solo.
\n“Goodbye Marlon Brando” has lyrics that throw out random 80s
\nimages, but to me the crisp guitar work from Davey Johnstone
\ncarries the song. These two tracks stand out as the best of the
\nrockers; the others fade into obscurity.<\/p>\n

Inciting controversy among Elton fans was the track
\n“Mona Lisas And Mad Hatters Pt. 2.” “Part One” was one of the stand
\nout tracks off Honky Chateau<\/i> and has become one of John’s
\nmost beloved tracks. “Part 2” takes a different approach and
\ntravels down an R&B road. Personally, I have no problem with
\nthe number. It reflects a change in opinion from youth to
\nadulthood…why can’t the man change his mind? Besides, the
\nrarely-seen trumpet solo in an Elton John song alone makes it a
\nfascinating addition to his catalog.<\/p>\n

This was supposed to be Elton John’s big “comeback”
\nalbum, and in a few ways it was. John proved his career was far
\nfrom over and could still carry a tune. Overall though, Reg
\nStrikes Back<\/i> is lacking in the things that made Elton John the
\nstar he was.<\/p>\n

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