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'21 at 33'

Elton John moves into the 80s.

By Sean CallaghanPublished 5 years ago Updated 9 months ago 4 min read
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21 at 33, Elton John's first album of the 1980s, was released on May 13, 1980. The album title refers to the fact that this was Elton's 21st release at the age of 33—a pretty good pace for a 12-year period. (Had he kept up that pace, there'd be over 70 albums by now.) 21 was recorded at Super Bear Studios in Nice, France, which was home base for the currently hot album The Wall by Pink Floyd, with additional work done at Sunset Sound in Los Angeles, California. It was produced by Elton with Clive Franks.

The album opens with "Chasing the Crown" the first song Elton had written with Bernie Taupin since the Blue Moves album. Driven by electric guitar and keyboards, this one's a solid rocker with a cast of players mostly new to the Eltonverse. Steve Lukather plays the electric guitar; Carmen Twillie, Venette Gloud, and Stephanie Spruill provide backing vocals; while legendary percussionist Victor Feldman adds tambourine. It's a mostly solid start to the proceedings.

The second cut, and lead single off the album, "Little Jeannie" features lyrics by Gary Osborne, though the true rarity is that Elton reports that he penned much of the chorus lyrics himself. This track marked the return of Nigel Olsson on drums, appearing on an Elton record for the first time since 1975's Captain Fantastic and the Brown Dirt Cowboy. Bassist Dee Murray also appears on backing vocals, though bass duties on the song are taken by Reggie McBride. Jim Horn, a legendary saxophone player who played on such notable albums as Pet Sounds by the Beach Boys, provides the brass arrangements and memorable sax solo. This would become Elton's highest charting hit since "Don't Go Breaking My Heart," though in some quarters it is not held in the high esteem other Elton hits are accorded. Tellingly, it has long been a rare item in Elton setlists.

Next up is the ballad "Sartorial Eloquence," which features yet another lyricist, Tom Robinson. The song got a second life later in the 80s when the BBC used it for montages during the World Snooker Championships, but the song barely caused a ripple in the US when released as a single under its alternate title "Don't Ya Wanna Play This Game No More." It's a pretty standard Elton song, with the single being notable for having two songs on its B side, something Elton had done before on the "Saturday Night's Alright For Fighting" single. One song on the B-side, "Cartier," would find a home on To Be Continued... Elton's 1990 box set.

"Two Rooms At The End Of The World" is the second track on the album by the resuscitated John-Taupin team, and one that explains the circumstances of their reunion as well as the unique way they collaborate—working in separate rooms and collaborating by mail. Eventually, the "Two Rooms" motif later provided the title for an Elton tribute that featured numerous stars. A fairly effective rocker that holds up fairly well, Clive Franks is featured on the notable tambourine and cowbell parts while Elton plays a yamaha electric piano.

Side 2 commences with "White Lady, White Powder," another lyric by Taupin that is brought home with background vocals from Glenn Frey, Don Henley and Timothy B. Schmit, three fifths of the Eagles, a band that would break up later in that same year. Nigel Olsson once again mans the drums for this track, with percussionist Lenny Castro adding congas.

"Dear God," with lyrics by Gary Osborne, was released as the third single but failed to make much chart impact (though it did reach number 82 on the Australian chart.) The track features Beach Boy, Bruce Johnston and his crew of background vocalists including Toni Tenille, Joe Chemay, and Jon Joyce as a choir. Notably, it was engineered by late 60s/early 70s Beach Boys engineer, Steve Desper. It's not the strongest of Elton's collaborations with members of the Beach Boys.

"Never Gonna Fall In Love Again," another co-write with Tom Robinson, features Richie Cannata on Alto Saxophone. Canatta has played with acts such as Billy Joel and The Beach Boys.

"Take Me Back," co-written with Gary Osborne, is a solid, not spectacular, ballad, featuring string arrangements by Dave Foster

"Give Me the Love" puts yet another lyricist in play: Judy Tzuke. A spirited uptempo song, it features Bill Reichenbach Jr. on trombone. Twillie, Gloud and Spruill return on backing vocals.

At the time 21 at 33 seemed a confident first step into a new decade, but over the years it's never considered more than an average to below average Elton album, if it's considered at all. I think part of the problem, besides the natural backlash to Elton's 70s level of success, might have been the unspectacular album title, which was confusing and somewhat irrelevant given that the 21 albums included compilations and live albums. More likely, it was the unspectacular material. Interestingly, quite a few additional songs were worked on during the recording sessions that could have greatly improved the record. However, those songs would have to wait for the next record, which quality-wise proved a nice step forward.

80s music
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About the Creator

Sean Callaghan

Neurodivergent, Writer, Drummer, Singer, Percussionist, Star Wars and Disney Devotee.

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