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By 1972, Elton John was already a star, although most casual
listeners still identified him as part of the singer/songwriter
explosion, thanks to the success of "Your Song" and "Levon".
Honky Château changed all that, beginning with the success of
"Honky Cat", a rousing New Orleans-ish R & B powerhouse that
kicks off this terrific collection of songs. This was the album
that first revealed John as a pure-pop craftsman, and he's all
over the musical on this set, moving from country-ish rock to
blues-based rockers. But the best things here still might be two
gorgeous ballads: "Mona Lisas & Mad Hatters" (displaying the
young vocalist at his best) and the hit single "Rocket Man"
(which had many rock fans debating which was the better space
odyssey of the day--this or Bowie's). And lyricist Bernie Taupin
was revealing a new, slightly darker side here with tunes like "I
Think I'm Gonna Kill Myself". --Bill Holdship
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Review
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The fifth Elton album, and the first since the debut Empty Sky
not to be drowned in strings, 72’s Honky Château stands up as one
of his most eclectic, durable collections. Best-known for the
hits Rocket Man and Honky Cat, it witnesses the singer finding
the balance between camp pop-rock and gushing ballads which would
subsequently serve his career so well. It was also the first on
which his finest touring band was allowed to gel in the studio,
and session musicians weren’t to the foreground.
Named after Château d’Herouville in France, where Elton was to
record his next two albums (and which subsequently hosted Pink
Floyd, T.Rex, David Bowie and Iggy Pop), it has a warm, relaxed
feel which complements both the sincere and the ironic songs.
Rocket Man somehow slots into both categories. A curious classic,
clearly indebted to Bowie’s Space Oddity, its melodic power and
sadness are undeniable, but its lyrics get in a right old tangle.
Chief among many clumsy clunkers has to be: "Mars ain’t the kind
of place to raise your kids / and there’s no-one there to raise
them if you did."
Honky Cat is a flippant piano boogie in the style of Dr. John,
but there are darker, deeper shades to come, with Bernie Taupin
minimising the private jokes. I Think I’m Going to Kill Myself is
a satire of teenage angst, but hits a few nerves on its way.
Susie (Dramas) is another song of inuation which beneath its
honky-tonk nuances locates grit. Salvation is white gospel,
taking a mild dig at religion, while Slave sees Taupin revisiting
his Americana obsessions and Amy is Elton mimicking Mick Jagger.
The outstanding Mona Lisas and Mad Hatters is a textbook showcase
of the writing pair’s talent: on paper, it’s maudlin and
hymn-like. In reality, it works. Only Elton John could follow
this with a silly, doo-wop finale, Hercules, which the most
ardent fan couldn’t defend. No matter: a number one in the US and
number two in the UK, Honky Château was where John laid down
solid foundations.
--Chris RobertsFind more music at the BBC
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