21 At 33 (1980)
Elton John’s 21 at 33 opens a distinctive chapter in the artist’s extensive repertoire. From the exhilarating rock guitar of Chasing the Crown to the softer tones of Little Jeannie, and from the twang-flavored Take Me Back to the gospel-disco fusion of Give Me the Love, the record offers a lot of diversity. Elton reconnecting with his former writing partner, Bernie Taupin (albeit not full-time yet), was monumental for this record and helps make it one of Elton’s standout albums from his C*nt Era. If 21 at 33 has only one defender, it is I.
Chasing the Crown launches the record with high-energy hard rock guitar lines, dynamic piano, improved lyrics, and spectacular musicianship. The disco-like backing vocals lift the whole thing, making it a strong start after the previous couple of records.
Shifting to a softer pop-rock tone, Little Jeannie carries a 70s feel with enjoyable synth accents and charming horn accompaniment. Its palatability grows with each listen. While it carries a touch of wimpiness, Sartorial Eloquence is surprisingly singable. The track’s musical pieces, including rich strings and harmonies, make up for that perceived wimpiness.
Initially THE standout of the record on my first listen a while back, Two Rooms at the End of the World has fallen down the pecking order. Still, it’s a solid rocker with disco elements that are quite enjoyable. Fun backing disco vocals, lively horns, and sing-along qualities all add to its appeal for me. Despite Elton’s strong vocal performance, White Lady White Powder falls into forgettable territory. It lacks the distinct elements that would make it stand out, leaving it a moment on the album that doesn’t linger long in your memory.
Trying to channel Elton’s old gospel sound from his sophomore record, Dear God boasts strong lyrics and agreeable music. Some of the backing vocals even remind me of those on George Harrison’s debut record, All Things Must Pass. The modern arrangement doesn’t fully fire on all cylinders, though, making the track a bit less attention-grabbing than others of his in this style.
As the album’s sappy heartbreak love song, Never Gonna Fall in Love Again surprises with interesting chord progressions, especially in the chorus. The slow tempo is complemented by gorgeous accompaniment, making it a notable track even after recent Elton heartbreak songs fell short. Featuring some twang and fantastic chord progressions, Take Me Back stands out as one of the most enjoyable and surprising tracks here. I can totally hear this as a Beatles song if it were arranged differently. It’s a unique country style Elton hasn’t quite explored in this manner yet, complete with fiddle solos that add a distinctive touch and make it playlist-worthy for plenty of occasions.
Closing with the mid-tempo disco-light track Give Me the Love, 21 at 33 takes a middle-of-the-road approach. It isn’t inherently flawed, but the track doesn’t leave a lasting impression. It offers a steady mix of disco backing vocals, synth accents, and funky basslines, but nothing that’ll make you play it over and over and over again.
21 at 33 still proves Elton John’s versatility, with both highs and moments that fade into the background. The album keeps reflecting the evolution in Elton’s music. We took a bit of a dip with A Single Man and definitely with Victim of Love, but 21 at 33 seems to signal that an upward trajectory of increased quality is on the horizon. Not perfect, not without flaw, but an absolutely solid record.
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Highlight Songs:
Chasing the Crown
Take Me Back
Little Jeannie
Two Rooms at the End of the World
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Own It, Stream it, Forget about it
I firmly believe 21 at 33 is a massive step up in quality from the last two records. I say own it. Fun cover and more to love than not musically. Stream it if you must, but absolutely do not skip this record. There is so much to love on this.
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Overall Rating:
4 Stars
