Wonderful Crazy Night is the thirty second studio album recorded and released by Elton John in February of 2016. It is John's first album since 2006's The Captain And The Kid to feature the Elton John Band. John's long-standing percussionist, Ray Cooper makes his first appearance on any of John's albums since Made In England in 1995. This is Kim Bullard's first appearance on keyboards replacing Guy Babylon, and Matt Bissonette replacing Bob Birch on bass.
If you tune in to this album expecting to hear the Elton John vocal range of the seventies and eighties, it's just not there. He is over 70 years old now. But the band, most of which I saw in a recent trip to his show in Las Vegas, is in excellent form. And the song-writing capabilites of John and Taupin continue to amaze. This is quite a good album.
In a recent article in the LA Times written by Randy Lewis, John says: "I don't have to go chasing the hit single anymore. I can just do what I like. It's freedom — freedom from having to be worrying about whether I have a chart single. I don't have to worry about that. And then you look at Adele, and you think, [Wow!] it's their time now — it's not my time.
A difference in the making of Wonderful Crazy Night was his request for Taupin to "write a lot of up-tempo lyrics". I said, 'I'm not very good at writing up-tempo songs, but we're going to make a joyous record. Even if the songs are slow, I want the lyrics to be joyous, I don't want any sadness on this record.' …
"I love a good, miserable song," he said with a laugh, "and Bernie and I can write one of those every five minutes."
Taupin, in a separate interview from his home in the mountains of Santa Ynez north of Santa Barbara, said the edict — and the timing — of the new album "threw me for a loop".
"I wasn't really expecting to be making another record so soon after 'The Diving Board,'" Taupin, 65, said. "His idea of making it upbeat, joyful and positive — that was also somewhat of a surprise, due to the fact that I usually set the tenor of the records.
"My direction is usually to be slightly oblique and write lyrics that are metaphor-riddled, to let people figure out some things for themselves. But once I got past that and put on my happy hat, it was kind of liberating," Taupin said. "I hadn't written anything like that in so long. I much prefer writing songs that are a little darker in nature, that deal with the underbelly of society. But when I actually thought about it, and look back at our body of work, I realized it's riddled with up-tempo, not necessarily positive, but certainly joyous subject matter. So it's not something totally new to me."
Added John, "I haven't really written an album this up-tempo since 'Rock of the Westies,' and I think this is a better album than that."
I would concur with that.
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