Not counting two soundtrack albums and a live release, 2001’s “Songs from the West Coast” is the first formal Elton John studio album of the 21st century.
A throwback to his 1970s’ sound, “Songs from the West Coast” boasts a warm, crisp and organic sound that had been sorely lacking on his 1980s’ and most of his 1990s’ works. Especially prominent is the return of an acoustic piano sound, which has always served Elton’s richly textured melodies much better than the hollow clinical electronic keyboard sound he began using in the early 1980s’. Elton also wisely invited back arranger Paul Buckmaster back into the fold, giving several songs the lush orchestral treatment he gave to classics such as “Levon” and “Tiny Dancer,” and reunited with peak era drummer Nigel Olsson, who along with Davey Johnstone and Dee Murray formed the backbone of Elton’s classic sound.
Of course, the most crucial component for Elton’s albums isn’t the sound, but the songs. Even with the impressive roster of musicians and collaborators, “Songs from the West Coast” could only succeed if the material matched the pedigree of those playing it. From the opening strains of “The Emperor’s New Clothes,” it’s clear that everyone involved is firing on all cylinders: Taupin’s lyrics are clever, introspective and evocative, Elton’s melody is gorgeously layered, his voice is in fine shape, and Johnstone and Olsson’s harmonies are reminiscent of their soaring accompaniment on songs such as “Someone Saved My Life Tonight.”
The rest of the record delivers admirably on its promise; the songs all range from good to outstanding, with even the weakest tracks having something enjoyable to offer, whether it be a clever or moving lyrical passage, a catchy melodic hook, or a robust vocal from Elton’s now fully ripened baritone. The best songs are the reflective ballads, such as the cinematic, elegant “Original Sin,” the Lennon esque confessional “I Want Love,” the nostalgic “Mansfield,” and the surprisingly cynical closer “This Train Don’t Stop There Anymore.” Lyrically and melodically, these are all first rate songs that hold their own against previous John-Taupin peaks. There are also two tracks inspired by current events, “American Triangle” and “The Ballad of the Boy in the Red Shoes.” “Ballad” is a quietly angry damnation sung from the perspective of a AIDS victim who suffered at the hand of Ronald Reagan’s ignorance, while “Triangle” is an absolutely chilling account of the murder of homosexual teen Matthew Shepherd, a critical moment in the fight for gay rights and the acknowledgement of hate crimes within the gay community. Both songs are successful, particularly for Taupin, whose lyrics handle the songs’ delicate subject matter with grace, empathy, and tastefulness.
With its excellent material and outstanding production, “Songs from the West Coast” is one of the watershed moments in the last 25 years of Sir Elton’s career, and can easily hang with his best records of the 1970s’. While his subsequent records have been very solid, none have the sense of purpose or consistent quality that “Songs” has from start to finish.
