On the opening track of Elton John's latest album, Peachtree Road, he muses, "I'm amazed I'm still around". Well, on the evidence of his work here, by the time you get through this album, you’ll share his sense of amazement. The opener, ‘Weight of The World’, pictures Elton reminiscing about his past from the cosy perspective of advancing years. "I'm happier to see a sunset / than a line," he warbles. The song is in praise of having less pressure to succeed these days, but it plays like a mawkish soundtrack to one of those cringe worthy career retrospectives they play before a lifetime achievement award is doled out.
Nor does it ring true: how are we meant to square Elton in his dotage playing cards at home when the waspish diva is so bitchy?
‘Porch Swing in Tupelo’ advances the gospel, Americana vibe featured throughout the album. The song is a well-constructed paean to the lazy, laidback porch culture of the Deep South, but it sounds mythologized - a theme park notion of a world rather than one Elton has any real knowledge of - if he were singing of the South of France it might ring truer.
Still more baffling is ‘Answer In the Sky’, which perhaps has an eye on the more conservative, but lucrative, American fan base. The song suggests that Elton has found religion - or taken up a career as a meteorologist – as he returns to the whole 'circle of life', Lion King pick'n'mix approach to a higher power. ‘Answer in the Sky’ will offend no one, but will add nothing to the sum of human knowledge on religion. Even more puzzling is why Elton opted to sing this song in the style of Vic Reeve's pub singer - perhaps the answer is in the sky!
Like the previous three tracks, ‘Turn The Lights Out When You Leave’ is another sluggish ballad with a tinge of bluegrass instrumentation laid over familiar Elton chords. Lyrically, Bernie Taupin couldn't get more pedestrian: "When everything's been said / I'm heading back to bed" - Clunk!
The allegedly autobiographical ‘My Elusive Drug’ piles cliché upon cliché. Apparently he's been searching for you all his life; whether he's referring to the waxy Mr Furnish or the unconventional key changes that wrong foot this song, remains uncertain.
Just when it appears this album could sink no lower, it plummets with the boogie-woogie ‘They Call Her The Cat’, a tune whose ancestry can be traced back to the novelty hit, ‘They Call Him The Streak’.
Back to the safety of the formula with ‘Freaks In Love’, this pinpoints exactly where this whole album goes awry. Melodically, there's plenty to appreciate here - but lyrically it is as convincing as Elton's sportswear range.
Elton has produced Peachtree Road himself - perhaps another producer might have noticed that the vocals display so little thought or connection to the meaning of the lyric. If he were playing live, then I'm sure he'd pull it off, but on disc he sounds as if he couldn't care less.
‘All That I'm Allowed’ and ‘I Stop and I Breathe’ are both tracks which might impress in the hands of another vocalist and another arrangement.
Elton is renowned for buying lots of CDs from all the latest bands but this album makes you wonder if he ever listens to them. There is no doubting Elton's way with a melody - it may be the same melody, but it’s a good one. However, if he could only invest a fraction of the effort or passion to his album that he commits to his vituperative public outbursts against his rivals, the press, anyone who looks at him the wrong way, this would be well worth listening to. As it is, Peachtree Road turns out to be a dull cul-de-sac.
Originally published 16th November 2004
This was my first one-star review if I remember rightly - my opinion has not changed
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