Reg Strikes Back (1988)
Reg Strikes Back stands as a pivotal moment in Elton John’s career, both musically and personally. Released in 1988, the record marked a significant turning point for Elton, who had faced personal and professional challenges in the mid-1980s, including struggles with substance abuse and a decline in commercial success. This record, much like Too Low for Zero, is Elton’s next comeback record, his second one in fact. Does it reach the heights of Elton of old? Of course not, it’s 1988 and Elton is a completely different person now. But taking this record for what it is, it’s an exceptional comeback that proudly shows off Elton’s musical creativity and personal resilience. I am a massive defender of this record.
Reg Strikes Back opens with a burst of energy in Town of Plenty, reflecting Elton’s determination to make a comeback. The upbeat, poppy nature of the track loudly sets the tone for what’s to come, with those signature Elton John band backing vocals adding depth and familiarity. Reflecting on Elton’s return to form, A Word in Spanish highlights his creative collaboration with longtime lyricist Bernie Taupin. The composition and hints of Billy Joel-esque flair scratch that musical itch we’ve been waiting for. Lyrically and structurally reminiscent of classic Elton, A Word in Spanish features wonderful light Spanish guitar accents and an excellent keyboard outro.
Mona Lisas and Mad Hatters (Part Two) is a grand stylistic departure from its predecessor on Honky Château, embodying Elton’s willingness to evolve musically. It’s a fun song filled with layers upon layers that still manages not to feel overstuffed. Despite its divergence from Elton’s usual sound with its bouncy, funky, disco-like nature, its infectious rhythm and memorable lyrics make it a standout. Got to shout out the lyrical callback to Drive My Car by The Beatles on this one too. Beep Beep, Beep Beep Yeah!
I Don’t Wanna Go On with You Like That builds on the disco-dance elements of the previous track, letting this one emerge as a serious disco rocker. Elton’s powerful vocals and gritty delivery, coupled with infectious piano hooks, make it a sure-fire dance-floor anthem.
Japanese Hands experiments with East Asian synths and that classic Elton John melodrama. It offers a unique sonic experience and sounds like nothing you’d heard from him up to this point in his career. While it may not demand immediate replays, its pleasant composition adds a much-welcome variety to the album.
Goodbye Marlon Brando has all the potential to be a hit single, but it falls slightly short on the instant sing-ability you’re left wanting from it. Nevertheless, it delivers agreeable music that contributes to the album’s overall cohesion. The Camera Never Lies is positioned strategically within the album, not only physically in the middle of the record but as a middle-of-the-road song too. It shows off Elton’s prowess on the piano and delivers a catchy melody, but it won’t be one of the songs you come away thinking, “wow, now that was a standout.” Having said that, not every song has to have that pull, and maybe I’m being a bit too harsh, because it’s quite catchy and appealing sonically.
Heavy Traffic is a very 70s-feeling track. While it perhaps sounds a bit wimpy or silly at times, it plays great at the pool or beach, embodying that carefree spirit you’d be looking for. Poor Cow almost feels like it’s got an action-video-game rock aesthetic. It’s a refreshing departure for Elton with its unique synth and basslines.
Since God Invented Girls features deeply strong backing harmonies as this mid-tempo melodrama avoids falling into obscurity. Also, thank goodness God invented girls. Am I right?
Rope Around a Fool emerges as a standout and a personal favorite, its bouncy, poppy nature inviting repeated listens. And right after that, we’re treated to not one, not two, but three remixes! They offer high-energy takes on Mona Lisas and Mad Hatters and I Don’t Wanna Go On with You Like That, giving new dimensions to some of the record’s more fun tracks. You get some Blue Monday by New Order type kick drums on I Don’t Wanna Go On with You Like That, and then just Elton and his piano on the second remix of the same song, which is really interesting to hear stripped back without all the bells and whistles. Lastly, we get a pretty standard Mona Lisas and Mad Hatters (Part Two) remix, which is very welcome.
Reg Strikes Back ultimately stands as evidence of Elton John’s enduring creativity and resilience. It revitalized his career, solidified his status as a pop icon, and set the stage for a string of successful releases and memorable performances. The album’s success reflected not only Elton’s musical evolution but also his personal path toward redemption and a renewed life.
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Highlight Songs:
Town of Plenty
Word in Spanish
Rope Around a Fool
Mona Lisas and Mad Hatters (Pt. 2)
I Don’t Wanna Go On Without You
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Own It, Stream it, Forget about it
I think this record is getting unnecessarily lumped in with the group of Elton’s “underwhelming” 80s run of records. Second comeback? Absolutely, and you’d be a fool to pass up on it as there is quite a lot to enjoy in this one. Own it. Great cover. Great record.
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Overall Rating:
4 Stars
