21 At 33 (1980)
Elton John’s 21 at 33 album unveils 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 listeners 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 launched the record with high energy hard rock guitar lines, dynamic piano, improved lyrics, and spectacular musicianship. The disco-like backing vocals elevate the overall experience, making it a strong start following the previous records.
Shifting to a softer pop-rock tone, Little Jeannie exudes a 70s feel with enjoyable synth accents and charming horn accompaniment. Its palatability grows with each listen. While carrying a touch of wimpy-ness, Sartorial Eloquence is surprisingly singable. The track’s musical components, including rich strings and harmonies, compensate for its perceived wimpy-ness.
Initially THE standout of the record upon my first listen awhile back, Two Rooms at the End of the World has fallen down the pecking order. But, it evolves into a solid rocker with disco elements that is quite enjoyable. Fun backing disco vocals, lively horns, and sing-along qualities add to its overall appeal to me. Despite Elton’s strong vocal performance, White Lady White Powder falls into forgettable territory. The track lacks distinct elements that would make it stand out, leaving it as a moment in the album that doesn’t linger long in your memory.
Attempting 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. However, the modern arrangement does not fully fire on all cylinders, making the track a tad 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 musical accompaniment, making it a notable track despite recent Elton heartbreak songs falling short. Featuring some twang and fantastic chord progressions, Take Me Back stands out as one of the most enjoyable and surprising tracks on the record. I can also totally hear this being a Beatles song if arranged differently. Its a unique country style that Elton hasn’t quite explored in this manor yet. The song is complete with fiddle solos that add a distinctive touch, making it playlist-worthy for many occasions.
Closing with the mid-tempo disco-light track Give Me the Love, 21 at 33 takes a middle-of-the-road approach. While not inherently flawed, 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 will make you play it over and over and over again.
21 at 33 still showcases Elton John’s versatility, with both highs and moments that might fade into the background. The album continues to reflect an evolution in Elton’s musical journey. We took a bit of a dip with A Single Man and definitely with Victim of Love, but 21 at 33 seemingly suggests an upwards 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 record. 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 it.
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Overall Rating:
4 Stars
