It is so perfect that you would be forgiven for assuming the songs are not separate, but one exceptional masterpiece. We All Fall In Love Sometimes is beautiful!Ĭurtains follows on perfectly from We All Fall In Love Sometimes. As I listen to it, I can't help but hear the guitar sound that Mark Knopfler would adapt as the signature Dire Straits sound. Writing is a little too campy for me with that continuous twang. Needless to say, I love it!īetter Off Dead isn't a bad song and interestingly reminds me of The Who’s music. (Gotta Get A) Meal Ticket is Elton John meets The Rolling Stones. I certainly stand by that aforementioned statement. Someone Saved My Life Tonight is a lovely ballad with a perfect balance and overall composition. That said, the album wouldn’t be the same without it! See, this is why I said this album encompasses the musical styles of the decade? While it isn't a bad song, I don't feel it is well-suited to John. Tell Me When The Whistle Blows has a Marvin Gaye feel to it. My advice, turn the volume up when this song comes on. The chorus is off-the-charts and while it is not easy to sing-a-long to, I dare you to sit still while enjoying this song.
I do recall initially disliking it, but as the years have passed, I find it to be an exceptional song that is worthy of more fanfare than I feel it has received over the years.īitter Fingers takes a minute or so to get going, but once it does there is no stopping the addictive rhythm. Tower Of Babel is a song that grows on you the more you listen to it. It isn't necessarily bad, it just fails to live up to the Elton John hype and really shouldn’t have been used as the lead song. It is simply spectacular!Ĭaptain Fantastic And The Brown Dirt Cowboy may be an awesome name for an album, but sadly the song is lacklustre. The drum track, in particular on Curtains, comes alive to such an extent that you can visualise Nigel Olsson’s intensity as well as the tension on each drum. That isn’t to say the standard CD edition is inferior, but you do get a greater sense of transparency with the MQA edition. Trust me, I know how vague that sounds, but the soundstage is well presented and no musical elements are concealed, as they are with the 16/44.1kHz CD-quality FLAC edition from the mid-90's mastering sessions. It is exquisite, with a sonic signature that just sounds right. That said, I’ve never owned this album on vinyl and I have no doubt the artwork would become more immersive on the larger canvas.įor this review, I'm listening to the 24/96kHz MQA edition on TIDAL Hi-Fi. While I’ve always liked Alan Aldridge’s artwork, I do find the cover art to be a little too busy. Yes, that is a bold statement, but John and Taupin really blended all genres of music to create nothing less than an incredible body of work. I merely mention all this insofar as I feel Captain Fantastic And The Brown Dirt Cowboy defines the era. No, dear reader, I haven't forgotten about the Disco era or the impact of Motown's soul. No doubt someone will disagree with my elation of the 70's, but as much as I adore The Beatles, The Rolling Stones, and The Who with their 60's sound, Elton John, the Eagles, and Aerosmith would further evolve this raw rock sound, creating sonic signatures that were equally unique and progressive. While the quality of the output varied, I feel the shift in recording styles, during this decade has had a longer-lasting impact on the music industry than even the preceding decade. Most impressively, John would release 12 albums during this decade alone. Leading the charge, along with many others, was Elton John with his larger-than-life persona and signature sound. The mid-1970's was a tsunami of creativity within the music industry.
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