Elton John (1971) Razor Face - LOST 70s GEMS

 Madman Across the Water is best known for the astounding opening track Tiny Dancer with it's effortlessly rolling melody and piano driven pulse. Levon, the second track follows in a similar melody with a Daniel-esque character song, the mopey balladry continues on Indian Sunset, but Razor Face is just as strong as Tiny Dancer with it's double tracked vocals and more lonesome aching vocal wails and a strong downhome accent. The title track carries an overcooked acoustic arrangement and overdone vocals by Elton. The ending lala las of Rotten peaches elevate the dour track while the mandolin draped folk rock of Holdiay Inn is reveals a different prowess, the backing vocals are acrobatic and gospel stacked while the sparkling strings of Paul Buckmaster ride in like a fantasy adventure score while an Eastern rage tinge subtly enters with them. The spindly workings of the mandolin are gasping with the stacked string orchestrations and the reverbed drums punching through. All the Nasties is clearly from the same chords of Tiny Dancer and carries the same verse/chorus phrasings and tempo as well as licks though the Handel sounding choral voices are more progressive touch sounding like a choir of monks or druids. Occasionally Elton's juicy wail stands out with his unique mannerisms like an operatic cowboy playing a saloon bar. Final track Goodbye captures the record's issue, it's too one note and dour in Eltons' vocal while the flexible piano, drums and strings struggle to drag some of the songs into the crackling chemistry that Bernie Taupins' magical lyricism could galvanise, without the Taupin the package would really feel far too laidback and monotone to work, when it clicks he rivals Neil Young, when it doesn't he could put the Eagles to forget what they were listening too.