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 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 is an exceptional comeback record proudly displaying Elton’s musical creativity and personal resilience. I am a massive defender of this album.
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 that signature Elton John band backing vocals adding depth and familiarity. Reflecting on Elton's return to form, Word in Spanish showcases his creative collaboration with longtime lyricist Bernie Taupin. The track's composition and hints of Billy Joel-esque flair scratch that musical itch that we have been waiting for. Lyrically and structurally reminiscent to classic Elton, Word in Spanish features wonderful light Spanish guitar accents and an excellent keyboard outro.
Mona Lisas and Mad Hatters Pt. 2 is a grand stylistic departure from its predecessor on Honky Chateau, as this track embodies Elton's willingness to evolve musically. It is a fun song filled with layers upon layers, but 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 piece. Got to shout out the lyrical call back to Drive My Car by The Beatles on this one too. Beep Beep, Beep Beep Yeah!
I Don't Wanna Go On Without You builds upon the disco dance elements introduced in the previous track allowing this one to really emerge as a serious disco rocker. Elton's powerful vocals and gritty delivery, coupled with infectious piano hooks, make it a sure fire dancefloor anthem.
Japanese Hands experiments with Eastern Asian synths and that classic Elton John melodrama. Japanese Hands offers a unique sonic experience for sure and will sound like nothing you’ve ever heard from him up until 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 of the potential to be a hit single, but this track falls slightly short in terms of the instant sing-ability that 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, as not only physically in the middle of the record, it’s a middle-of-the-road song on the record. It showcases 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, though, not every song has to have that pull and that feel to it and maybe I am being a bit too harsh on it as it is quite catchy and appealing sonically.
Heavy Traffic is a very 70s feeling track. While perhaps sounding a bit wimpy or silly at times, this track offers great vibes when played at the pool or beach, embodying that carefree spirit you’d be looking for. Poor Cow almost feels like it’s got this action video game rock aesthetic. It presents 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 track avoids falling into obscurity. Also, thank goodness God invited girls. Am I right?
Rope Around A Fool emerges as a standout, and a personal favorite within the record with its bouncy and poppy nature inviting repeated listens. And right after that we are treated to not one, not two, but three remixes! The remixes offer a high-energy interpretation of Mona Lisas and Mad Hatters and I Don’t Wanna Go On Without You, providing new dimensions to some of the more fun tracks of the record. You get some Blue Monday by New Order type kick drums on I Don’t Wanna Go On Without You and then you get 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 Pt. 2 remix, which is very welcome.
Reg Strikes Back ultimately stands as evidence to Elton John's enduring creativity and resilience. It revitalized his career, solidifying his status as a pop music icon and setting the stage for a string of successful releases and memorable performances. The album's success not only reflected Elton's musical evolution but also his personal journey towards redemption and 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
