LogFAQs > #967462554

I've been a bit tardy with my own listens, so I decided it was inadvisable to get dramatic with my post's presentation in the way of Elton John himself. Anyways, I do finally feel ready to answer this:

Seanchan posted...

My question, is this considered his best album or is it more of a Beatles situation where theres multiple contenders?

To quote Elton's official site,

The determination of any musician's "best" album could be debated forever, but it can certainly be said that Goodbye Yellow Brick Road is Elton John's most identifiable work, most popular studio recording and the anchor of his four-decade deep catalogue.

To me, Goodbye Yellow Brick Road is probably Elton's most impressive album. Im not exactly breaking any new ground in saying that the way it ebbs and flows, both narratively and instrumentally, its filmic production process, and that certain ineffable yet palpable spark of greatness all involved felt along the way all together contribute a phenomenally cinematic quality. It's a testament to the caliber of creativity and commitment heard here that this record feels like a concept album, however unintentional that is.

Goodbye Yellow Brick Road also has the most songs I love among Elton John's discography. Its first six songs in particular make for maybe the most on-point half hour of an album ever, and then the way it steers off-track for a while in a series of sometimes meandering musical stories before summing it all up at the end is sure fitting. There are a couple interruptions in its consistency, I'll grant, but there's more of the singles that helped make me an Elton fan in the first place.

1. Bennie and the Jets - An ageless classic that has always subconsciously spoken to me, I think 'Bennie' will forever be my favorite Elton song. And sure, it's the perfect bridge between 'Candle' and 'Goodbye', and actually successful satire to boot, but the key to me is its beating heart drawn perhaps from Elton's own stage presence and place in the music milieu of the time. Indeed, Elton and Bernie's grandiose aural and lyrical goals never get in the way of their genuine celebration of music as a means of self-expression.
2. Goodbye Yellow Brick Road - Whereas 'Candle' sees Elton's concerns come to the fore, this track is moreso Bernie's show, and he runs with it in a knowing yet lovingly penned ode to The Wizard of Oz's cinematic magic. As the title track of such a titanic album, of course it's a class act in all the usual ways to boot, juxtaposing Elton's expressive vocals against his comparatively subtle piano chords.
3. Candle in the Wind - Bernies intent here was a broader look at the intersection of fame, youth, and death through the metaphor of Marilyn, which Elton illuminated with a clear personal connection drawn partly from his own fear of burning bright and quick. It's a choice of subject and contemplative, reflective approach that's ideal to chase 'Funeral/Love'.
4. Saturday Nights Alright (For Fighting) - I find it immensely catchy and enjoyable, but not really any better in context than out of it, unlike Goodbye Yellow Brick Road's remaining singles.
5. This Song Has No Title - To me, this short yet effectively epic paean to young adulthood writ large encapsulates its entire album in barely two minutes. Elton's in peak performance mode here alongside his accentuating organ (an instrument I seem to have a weakness for) in a pitch-perfect contrast.
6. Funeral for a Friend/Love Lies Bleeding - 'Funeral' is unconventionally monolithic yet intimately accessible, while 'Love' is a snug, straightforward Elton & Bernie classic, and the two are tied in twain. As an album intro, it's altogether as emotionally essential as 'Harmony' at the end.
7. Grey Seal - There's perhaps not a ton to this track, but it's a great deal of fun, which Elton's flair for showmanship enlivens into an essential piece of the Goodbye Yellow Brick Road puzzle.
8. All the Girls Love Alice - The sort of theremin-style keyboard reverberation on the second line of the chorus takes my breath away, and the song really pulls off its seesaws between a contemplative chorus and energetic verses and post-instrumentals.
9. Harmony - And here Goodbye Yellow Brick Road draws to a close, on spot-on notes of reunion, growth, and measured emotions matched by a bit of typical instrumental flair. I do prefer 'I've' out of context, but Elton, Bernie, and their crew simply never left harmony on this album.
10. Ive Seen That Movie Too - Its dramatic sound, and Elton's equally dramatic delivery, fit this would-be siren song like a glove. Also note how the sonorous instrumentals resemble a literal siren at times.
11. Sweet Painted Lady - A simply, comfortingly pretty piece that confirms the return of Elton, Bernie, and all the rest on their marks as artists.
12. Your Sister Cant Twist (But She Can RocknRoll) - A fun little high-energy number that stands apart from its immediate follow-up surprisingly nicely.
13. Roy Rogers - It's suffused with gentle nostalgia, and even if that's all really, it's just enough.
14. The Ballad of Danny Bailey (1909-1934) - For me, this struggles to stand out or stick in my head amidst overwhelming competition.
15. Social Disease - Still good, but songs with vocals that start quietly for no real reason are a pet peeve of mine.
16. Jamaica Jerk-Off - Really great albums can be a bit like Rube Goldberg machines, with even their lowlights contributing to something special in context. For me, however, that slipstream fails to justify this disposable pastiche.
17. Dirty Little Girl - An audibly dated stab at overt satire, it habitually drags and sometimes literally groans. I'm not as certain that simply cutting it would have strengthened Goodbye Yellow Brick Road as an album, but at least 'Jamaica' has a tune to it.