And, from listening to the first two albums, I know that the John/Taupin songs I liked best were those I understood. And there were phrases that shone out even if the whole didn’t fall into place. In many of Dylan’s songs the meaning was far from clear, but you could sense there was something there. Leave Levon far behind … I’m no literal-minded dullard but when someone is being obscure, I like to get the feeling that they are grappling with something that’s hard to get to, not just playing with words. But, here we begin to encounter a knotty problem that worsens as the album continues. “Levon” stands out on the radio simply because any Elton John song would. But that’s OK it may be the same song, but it’s a good song. The record begins well with “Tiny Dancer.” It has the delicate melody, virtuoso singing, and innovative arranging that have marked Elton John since “Your Song.” In fact, it sounds like “Your Song,” with maybe some other familiar melody and a few new touches like a pedal steel. I still like this album, but it’s just that the qualities that illuminated Elton John and Tumbleweed Connection for me have worn thin, and I’m forced to look past the magic and see a singer and a lyricist who are quite fallible. These are sometimes powerful enough to make a song, but too often they’re not.
As impressions, it’s brought out the worst in Bernie Taupin and forced Elton back on his melodic devices. A record with a theme, it’s an account, sometimes photographic, sometimes emotional, all too often metaphorical, of Elton John in America - the madman across the water. Elton John’s music means a lot to me, and, as a result, I’m not overjoyed with this album.
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