As further proof that Elton John was undergoing some kind of identity crisis, the follow-up to his tepidly received
A Single Man was a maxi-single of three songs recorded two years earlier.
The Thom Bell Sessions were named for the producer in charge, famous for his popular “Philly soul” hits of the time; by the time Elton got to work with him, he’d moved to Seattle.
Elton was happy to merely be the singer on the sessions, letting the producer provide the songs as well as the backing. Indeed, “Three Way Love Affair” benefits from Elton’s warm voice, and while “Mama Can’t Buy You Love” was a catchy hit, it could well have been the Spinners, who actually sing on “Are You Ready For Love”, which runs for eight minutes. Those of us who were thoroughly sick of disco by the summer of ‘79 were dismissive, but today we can agree that the production is indeed impeccable.
A good ten years later, once Elton was slowly regaining commercial acceptance again, The Complete Thom Bell Sessions presented all six songs originally recorded for the project. While false advertising, “Nice And Slow” found Elton and Bernie Taupin collaborating with Bell, and “Country Love Song” wouldn’t be confused for a Tumbleweed Connection outtake. A superior re-recording of “Shine On Through” would open A Simple Man.
But he wasn’t done with disco, nor was he ready to take control in the studio. For his next trick, he hooked up with Pete Bellotte, whom he’d first met in the mid-‘60s and had since gone on to make a mint creating Eurodisco with Giorio Moroder and writing for Donna Summer. That hitmaking approach was applied to
Victim Of Love, to which Elton devoted exactly eight hours, which is what it took to apply his vocals to the generic backing tracks. Save the execrable opening cover of “Johnny B. Goode”, the songs were supplied by the producer and his team. Truly shocking are the credits, which include such musicians as Marcus Miller on bass, Keith Forsey on drums a few years before Billy Idol, the ubiquitous Paulinho da Costa on percussion, and even Michael McDonald and Pat Simmons hiding from the Doobie Brothers on the title track. Like most disco albums of the time, there is no break between songs, just the same four-to-the-bar kickdrum thump. The only respite comes with the silence at the end of each side. Even more so than
The Thom Bell Sessions,
Victim Of Love lacks any of Elton’s personality, and therefore any of his genius or talent.
Elton John The Thom Bell Sessions (1979)—2½
1989 The Complete Thom Bell Sessions: same as 1979, plus 3 extra tracks
Elton John Victim Of Love (1979)—1½
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well, you got to do elton in the 80's. hey, i like your reviews. the disco flop was so funny! it's funny how elton was a disco guy but in reality, he had a nasty coke addiction and the album bombed! john has hated the album for years and leather jackets sounds so mushy and banana cream for a digital album in the hellhole of music: 1986!! still, Long story short, john did great scoring a top 30 hit in little jeannie. sadly, on a more mournful note, herbie herbert passed away. i wish i'd be there for the journey reviews and whatever else one says about them, there is no one better than steve perry. still, about victim of love, if you see it used, don't.
ReplyDeleteI have been listening to Elton for decades and love his music. I have just finished to listening to his entire catalog... every studio album and have new perspective on his career. The 70's were obviously his best decade, he had great pop chops and could rock like any high adrenaline band of the time. Listen to Have Mercy on the Criminal from Don't Shoot Me, Stinker from Caribou, even It Ain't Gonna Be Easy from A Single Man, which wasn't well received in 1978, Elton was able to change from pop to rock to country on a whim. He lost his edge moving into the late part of the decade, culminating in the awful Victim of Love. I have a two word review of that album... audible sewage. Of course he regained his focus in the 80's with plenty of hits, but do any of them come close to Rocket Man, Honky Cat, Bennie and the Jets etc... etc...etc? Elton is without doubt a legend, and I would go to see him again in concert anytime, but just like all aging pop stars, they lose their touch. Billy Joel did it right, he got out when he was still pumping out great albums and hits.
ReplyDeleteWell, you really are a completist!
ReplyDeleteHaving lost/fired his band, producer and lyricist (who had issues of his own, first documented on “Blue Moves”), Elton, apparently, was artistically adrift. Settling on trying to make a Spinners album, however, was not a good idea. Admiring black music doesn’t mean one can actually do it. The fact that only six tracks were completed before artist and producer, apparently, fell out, is evidence enough.
Thom Bell’s production is impeccable, so that wasn’t the problem. However, it seems like that he was so intent in getting Elton to sing a perfect vocal that that he forgot to tell him to sing with, well, soul. Elton sounded more “black” and engaged on his own soul songs, like “Philadelphia Freedom,” than he does here.
The bottom line, however, is the mediocre material. The low point is “Country Love Song”, an atrocious contribution from some unknown hack, probably dug up by Bell. Two of the three songs by Leroy Bell and Casey James, the hit “Mama..” and its B-side “Three Way Love Affair”, are quite bland, not helped out by Elton’s vocals. (Bell & James would record their own, better version of the latter on their first album).
Elton doesn’t do much better on his own contributions. Bell altered “Nice and Slow” beyond recognition as an Elton composition, while “Shine on Through” is a good song, but not quite good enough to justify a version that’s almost eight minutes long. However, the opposite is true of “Are You Ready for Love?”. It opens with a piano riff that could be Elton, and the energy level never lets up. The key to this one is that the Spinners sing some of the lead vocals alongside Elton. The album’s highlight, it should have been an A-side. (The Spinners did release their own version as a single, but surprisingly, it’s more low key).
As for “Victim of Love” … when it came out, a DJ on a radio station that I listened to said on the air that they had it, but that it was so bad that they weren’t going to play it! (Granted, it was a rock station, but still..). Then I got it from the local library. Oh, my.
If the album came out today, it would be credited to “Pete Bellotte, featuring Elton John”. Pete is obviously in artistic control here, with EJ nothing but a session singer, really. Supposedly, he ran into Elton at a party and suggested recording together. Elton agreed (imagine the cocaine flying at THAT gathering). Part of the motivation was his deteriorating relationship with MCA Records. He figured that it was quick way to get one record closer to the end of his contract.
Elton’s voice sounds even more out of place here than on the Bell tracks. In his autobiography, he admits that his heart wasn’t totally into it. It’s obvious. The backing tracks aren’t even great disco. Combining his voice with the tacky arrangements and cliched disco songwriting, it’s hopeless. The only decent moments occur on the chorus of the title track, a minor hit single.
The timing of release sealed this thing’s fate. By then, the disco backlash had been going on for a few months. Elton didn’t 100 percent learn his lesson (see: “Duets”), but this is still a one-off anomaly in his discography, so we can just pretend it doesn’t exist.
I'm just glad I was able to bang these out in a single post. Hence the hashtag #welistensoyoudonthaveto.
DeleteThanks as always for your input!