This was John's first album in which he plays his piano and no other keyboards. The song was written for and recorded by one of John's long-time friends, Long John Baldry. One known track recorded at the time, "Rock Me when He's Gone," was released on Rare Masters a few years before. When it was released in 'The Classic Years' collection, it was the first album not to feature any bonus tracks. Previous versions of the song (from the Tumbleweed sessions with Mick Ronson on guitar) can still be found, specifically on the remastered Tumbleweed Connection CD. However, it was set aside and would eventually be re-recorded and serve as the title track of this album. If only I knew what rotten peaches had to do with the homesickness that seems to be the theme.The title song was set to be released on John's previous album Tumbleweed Connection. Then, alas, comes another piece of Americana called “Holiday Inn” and about the same: “And you ain’t see nothing/Until you’ve been in/A motel baby/Like the Holiday Inn.” I guess a banal subject deserves banal lyrics, but why bother? “Rotten Peaches” is good basic Elton with a good melody and a wall of sound that fills the room. The subject matter - the tragedy of the American Indian - almost overwhelms the song, but it manages to be moving. “Indian Sunset” is a story, with good evocative singing by Elton. The song is superficially about madness, but is filled with so many obscure images that it’s only a good song if you don’t listen too hard. “Madman Across The Water” pits Elton’s acrobatics against Paul Buck-master’s charging strings.
It’s got the same sort of far-ranging singing and pounding piano that were used so well on Tumbleweed Connection, somewhat like “Amoreena.” Unfortunately, this is followed by the title cut, which is to me, also the weakest. With “Razor Face,” the situation improves even if I haven’t an idea of what that means either. “Levon” sounds good, but I could listen to it for years and never know what it’s about. There was strength in those songs, even if they were elliptical. 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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