{"id":39737,"date":"2006-04-26T00:00:00","date_gmt":"2006-04-26T00:00:00","guid":{"rendered":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/the-one\/"},"modified":"2006-04-26T00:00:00","modified_gmt":"2006-04-26T00:00:00","slug":"the-one","status":"publish","type":"review","link":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/the-one\/","title":{"rendered":"The One"},"content":{"rendered":"

<\/p>\n

This was Elton John’s first album recorded after he
\nbeat his addictions to alcohol and drugs, as well as his eating
\ndisorders. For the first time in a long time, Elton came to the
\nrecord-making process with a clear head and a clean outlook on
\nlife. Most of The One<\/i> plays out like the work of a man
\nfinally satisfied with his personal life. But while this was great
\nfor Elton John, his newfound sobriety did not necessarily translate
\ninto great music.<\/p>\n

Elton rarely records an album that lacks a few pop
\ngems. The One<\/i> is no different; there are moments that harken
\nback to John’s glory days. “Whitewash Country” falls in line with
\nthe countrified material he recorded in the 80s, like “Slow Down
\nGeorgie” and “The Fox.” I would not be surprised if a modern-day
\ncountry artist had success with the song. “The One” was the big hit
\noff the record, a straight-up power ballad with a hard-hitting
\nchorus and Bernie Taupin’s best lyrics in years. Elton compared
\nthis song to John Lennon’s material, and I can definitely the
\nsimilarity.<\/p>\n

“The Last Song” ranks up there with Elton’s most
\ntouching material. His first song revolving around AIDS, the song
\ndeals with a father and son resolving their differences after the
\nson is stricken with the disease. I’ll take a track like this over
\n“Candle In The Wind 1997” any day; despite its subject material, it
\nnever becomes cloying. It is sentimental and emotional in the best
\nway.<\/p>\n

Unfortunately, this is the best The One<\/i> has to
\noffer. “Runaway Train,” a “duet” between John and Eric Clapton, is
\nuninspired despite the nods to Clapton’s styles, such as the
\ngospel-tinged vocals and keyboards thrown in. “Sweat It Out” is
\nprobably the closest thing to rap as John has gotten, proving it is
\nnot a good mix. The problem that plagues this material is its
\nlength; the first six tracks hit at least five minutes. This is not
\na problem when the songs are good; here, it kills The One<\/i>‘s
\nmomentum.<\/p>\n

I was also disappointed with the sound of the record.
\nSleeping With The Past<\/i> was relatively stripped down and
\nbare-bones, but The One<\/i> is not, sounding like a mid 80s
\nrecord or his 1997 work The Big Picture<\/i>. With Elton, he
\ndoesn’t necessarily need to have all the fancy arrangements and
\nflourishes — he has enough skill on his own. His next album,
\nMade In England<\/i>, would get closer to that general idea.<\/p>\n

Again, all the power to Elton getting clean and
\nsober. But that does not mean The One<\/i> is a great work of
\nart, closer to The Fox<\/i> or Reg Strikes Back<\/i>. However,
\nthings would get better within the next few years, partly in thanks
\nto a certain animated film about lions, meerkats and warthogs.<\/p>\n

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