{"id":39740,"date":"2006-04-28T00:00:00","date_gmt":"2006-04-28T00:00:00","guid":{"rendered":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/peachtree-road-2\/"},"modified":"2006-04-28T00:00:00","modified_gmt":"2006-04-28T00:00:00","slug":"peachtree-road-2","status":"publish","type":"review","link":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/peachtree-road-2\/","title":{"rendered":"Peachtree Road"},"content":{"rendered":"

<\/p>\n

Though I’ve always appreciated Elton John’s music, I
\nonly own a few of his albums — one being a greatest hits
\ncompilation. Embarrassing, but on the bright side, it does allow me
\nto view his latest effort, Peachtree Road<\/i>, unbiased and
\nseparate from the rest of his expansive career.<\/p>\n

Peachtree<\/i> opens with the optimistic “Weight Of
\nThe World”; its chorus (“Happy today, happy to play \/ With the
\nweight of the world off of my back”) depicts Elton finally free and
\ncontent in his own life. It’s a strong beginning, and just as
\ncatchy and enjoyable as earlier Elton hits.<\/p>\n

Next up is the country flavored “Porch Swing In
\nTupelo,” featuring standout backing from long-standing sidemen,
\ndrummer Nigel Olsson and guitarist Davey Johnstone. My only qualm
\nwith this track is that though the music is fantastic, the lyrics
\nleave a lot to be desired. Lines like “And this place don’t change
\n\/ Some places move slow \/ I’m just rocking myself on this porch
\nswing in Tupelo” just don’t seem to ever go anywhere.<\/p>\n

Similar to “Porch Swing” is “Turn The Lights Out When
\nYou Leave,” and later, “They Call Her The Cat.” If you’re a fan of
\nloose, twangy country, the former will suit you, but both sound
\nlike filler to me. Though “They Call Her The Cat” features some
\ngreat brass, the too-goofy-to-be-a-rocker track seems out of place
\n(the meowing near the end doesn’t help matters either).<\/p>\n

“Answer In The Sky,” the U.S. single, continues in
\nthe earlier hopeful, optimistic vein, and knowing the struggles in
\nElton’s career, it’s particularly poignant. I find that it does toe
\na fine line between inspiring and cheesy, but it’s enjoyable
\nnonetheless. The single across the pond, “All That I’m Allowed,”
\nhits a comparable note; it’s a slightly unremarkable ode to a
\nhigher power. Listenable, but nothing in it that’s particularly
\ncaptivating.<\/p>\n

Next, “My Elusive Drug” is a highlight of the album
\nwith its highly personal lyrics and passionate delivery on Elton’s
\npart. It harkens back to “Mellow” from Honky Chateau<\/i>, and it
\nturns out to be a mature, introspective look back on years of
\n“cheap thrills,” as Bernie Taupin puts it; it results in being one
\nof the songs on Peachtree<\/i> that’s notably solid
\nthroughout.<\/p>\n

Another standout is “It’s Getting Dark In Here,” one
\nthat veers from the initial uplifting message to decidedly darker
\nlyrics like “Sometimes I feel I’m on fire \/ I’ve been handed a
\ncurse and a blessing.” It’s one of my favorites on
\nPeachtree<\/i>, especially because it seems more genuine than the
\npreachy tendencies of earlier tracks while retaining the signature
\ndetails that make Elton’s work brilliant.<\/p>\n

Peachtree Road<\/i> was hailed as a comeback for
\nElton John, and while I don’t know if it succeeds entirely, it
\nproves to be a satisfying release from one of music’s most enduring
\nfigures.<\/p>\n

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