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DISCID=910aca0a
DTITLE=Elton John / The Captain & The Kid
DYEAR=2006
DGENRE=Rock
TTITLE0=Postcards From Richard Nixon
TTITLE1=Just Like Noah's Ark
TTITLE2=Wouldn't Have You Any Other Way (NYC)
TTITLE3=Tinderbox
TTITLE4=And The House Fell Down
TTITLE5=Blues Never Fade Away
TTITLE6=The Bridge
TTITLE7=I Must Have Lost It On The Wind
TTITLE8=Old 67
TTITLE9=The Captain And The Kid
EXTD= 2006 Interscope Records / Mercury Records, Inc.\n\nOriginally R
EXTD=eleased September 19, 2006\n\nAMG EXPERT REVIEW:  Ever since 2001
EXTD='s Songs from the West Coast, Elton John and his longtime collabo
EXTD=rator, Bernie Taupin, have been deliberately and unapologetically
EXTD= chasing their glory days of the early '70s, but nowhere have the
EXTD=y been as candid in evoking those memories as they are on 2006's 
EXTD=The Captain & the Kid, the explicitly stated sequel to 1975's mas
EXTD=terpiece Captain Fantastic and the Brown Dirt Cowboy. That record
EXTD= was an autobiographical fantasia of John and Taupin's early year
EXTD=s -- the days when they were struggling to make their mark, right
EXTD= up till their glorious success -- and the idea behind this album
EXTD= is to tell the story of those salad days, which not only isn't a
EXTD= bad idea at all -- it's clever and well suited for John, the mos
EXTD=t self-consciously unautobiographical of all major rock artists -
EXTD=- but fits right into Elton's desire to make records like he used
EXTD= to; after all, if he's trying to sound like the way things used 
EXTD=to be, he might as well sing about the way they used to be, too. 
EXTD=And The Captain & the Kid is nothing if not a proudly nostalgic p
EXTD=iece of work bearing no modern touches; even the synths that occa
EXTD=sionally color this country-ish rock are old fashioned analog syn
EXTD=ths. It sounds like an dream project on paper, but like a lot of 
EXTD=dream projects, The Captain & the Kid doesn't quite live up to it
EXTD=s lofty ideals. Part of the problem is that John has patterned th
EXTD=e music not after Captain Fantastic -- which lived up to its glam
EXTD=orama title through intense flights of camp and glitz that helped
EXTD= give its narrative a theatrical flair, not to mention a hell of 
EXTD=a lot of color -- but after the stripped-down, country-tinged pop
EXTD= and rock of Tumbleweed Connection and Honky Chateau. That is the
EXTD= sound at the core of most of his best music of the early '70s, b
EXTD=ut it's not necessarily the best choice for this album, since it 
EXTD=doesn't quite fit with the original Captain Fantastic or the gaud
EXTD=y story of their success; it's a tale that calls for bright neon 
EXTD=colors, and everything about this album is muted and tasteful. \n
EXTD=\nIt might not quite seem like what a Fantastic sequel should be 
EXTD=-- in fact, it seems more like a sequel to its direct predecessor
EXTD=, 2004's Peachtree Road -- but that's hardly a bad thing. Like th
EXTD=at album and Songs from the West Coast before it, The Captain & t
EXTD=he Kid is a sharp, professional piece of work by sharp profession
EXTD=als conscious of their past and no longer wishing to rest on thei
EXTD=r laurels, so they're consciously evoking their best work without
EXTD= quite recycling it. They might not hit their mark directly, but 
EXTD=they get close enough -- it may be a little self-conscious and th
EXTD=e production is a shade too clean, but the performances are warm 
EXTD=and intimate, so this music feels right even if it doesn't necess
EXTD=arily feel exactly like Elton's '70s heyday. And the more familia
EXTD=r this song cycle becomes, the easier it is to admire the craft b
EXTD=ehind it, particularly in individual moments like the slow build 
EXTD=on "Wouldn't Have It Any Other Way (NYC)," or how "Tinderbox" hea
EXTD=rkens back to "Somebody Saved My Life Tonight," or the lightness 
EXTD=of "I Must Have Lost It on the Wind," or the lazy blues of "Old 6
EXTD=7," or how "The Captain and the Kid" brings to mind not Tumblewee
EXTD=d Connection but Billy Joel's approximation of that album on Pian
EXTD=o Man. So, no, The Captain & the Kid isn't quite the second comin
EXTD=g of Captain Fantastic, but it's hardly a cash grab by an aging d
EXTD=iva -- in other words, it's no Basic Instinct 2. John's intention
EXTD=s are pure and even if he doesn't quite make an album as good as 
EXTD=his '70s work, it does stand alongside that work nicely -- it's c
EXTD=lear that he and Taupin are really trying, and it's far better to
EXTD= have albums like this and Peachtree Road that fall short of the 
EXTD=mark but nevertheless get close than to have an endless series of
EXTD= well-produced but empty records like The One and Made in England
EXTD=.   -- Stephen Thomas Erlewine\n\nAmazon.com Editorial Review\nTh
EXTD=e degree to which you'll like The Captain & the Kid is going to d
EXTD=epend on your personal history with Sir Elton John. If you're a r
EXTD=esolute follower who was once reduced to a quivering mass of humi
EXTD=lity by "Someone Saved My Life Tonight" and then revived by the b
EXTD=last of pop liberation that was "Philadelphia Freedom" (a single 
EXTD=that later appeared on the CD version of Captain Fantastic and th
EXTD=e Brown Dirt Cowboy, the album to which this disc is a sequel) yo
EXTD=u'll have enough invested to appreciate the concept. If, on the o
EXTD=ther hand, you're a late arrival to the Rocket Man's repertoire, 
EXTD=you'll have to adjust your expectations. Kid, unlike more recent 
EXTD=efforts, isn't aiming itself at the lite-FM listening masses. Wha
EXTD=t it's asking instead is that you return yourself to your 1970s-e
EXTD=ra childhood bedroom, flop on the bed, and lock the door, or at l
EXTD=east fasten an elastic band around your MTV-addled attention span
EXTD=. This is total-immersion music, and it's got 30 years worth of s
EXTD=tories to tell. \nThe Captain and the Kid are John and Bernie Tau
EXTD=pin, his longtime songwriting partner. The music, a choir-enhance
EXTD=d swerve through genres including pop, rock, blues, folk, and cou
EXTD=ntry with signature piano riffs thrown in nearly everywhere, chro
EXTD=nicles their splintery relationship. Innocence and hope ("Postcar
EXTD=ds from Richard Nixon") give way to success and joy ("Just Like N
EXTD=oah's Ark"), which eventually leads to discontent ("Tinderbox") a
EXTD=nd disaster ("And the House Fell Down"). A shot at redemption ("T
EXTD=he Bridge") later finds the Captain; reflection ("Old 67") and a 
EXTD=joyous reunion (the title track) follow. \n\nTheirs is ultimately
EXTD= a simple story, but John and Taupin suffuse it with hypnotic sen
EXTD=timentality--along with the narrative, echoes of past hits wander
EXTD= into several classic-sounding tracks. "Tiny Dancer" darts throug
EXTD=h the cracked-voice beauty of "Blues Never Fade Away" and "The Br
EXTD=idge," for example, while "Wouldn't HaveYou Any Other Way (NYC)" 
EXTD=works in hints at both "Candle in the Wind" and "Where to Now St.
EXTD= Peter." Other songs shake loose less likely influences ("I Must 
EXTD=Have Lost it on the Wind" sounds like something off a vintage Lin
EXTD=da Ronstadt album), but all are compellingly steeped in context; 
EXTD=if you don't get the late-disc reference to fine silk suits and s
EXTD=ix-inch heels, you'll wish you did. --Tammy La Gorce \n\n\nAMAZON
EXTD=.COM CUSTOMER REVIEW\nReflective Lyrics, Formula Music, September
EXTD= 21, 2006 \nBy  Christopher Fama (Chicago, IL USA)\nBernie Taupin
EXTD= clearly wrote a set of reflective lyrics for this outing. Unfort
EXTD=unately, Elton didn't follow the script. Though a few old piano l
EXTD=icks are revisited, the bulk of the material found here could hav
EXTD=e easily been on West Coast or Peach Tree. \n\nOne of the things 
EXTD=that differentiates Elton's early efforts from his newest release
EXTD=s was a willingness to explore new territory musically. Tunes lik
EXTD=e Bennie and the Jets and Dan Dare were really fresh rhythmically
EXTD=. Now almost every tune is a mid tempo piano tinkler where the ch
EXTD=ord structures follow the melody line. It's not that the tunes ar
EXTD=e bad, they are just too much alike -- something recordings like 
EXTD=Yellow Brick Road and Captain Fantastic effortlessly avoided. \n\n
EXTD=I really wish that Elton had taken every track off Captain Fantas
EXTD=tic and written a new tune in the same style. This simple exercis
EXTD=e would have yielded more of a sequel while forcing him to broade
EXTD=n his musical chops. I also wish Elton had tried recording his vo
EXTD=cals with the tape running slower, so that when played back at no
EXTD=rmal speed, he may have captured some of his early sound. People 
EXTD=didn't mind when the Beatles did it, I think Elton should give it
EXTD= a try - particularly on a 'flashback' outing. \n\nFinally, there
EXTD= are some unbearable lyrics here. Having Nixon's name repeated so
EXTD= much in the opening track is pretty annoying. Another tune makes
EXTD= use of the three little pig's fable which is just foolish. But t
EXTD=hese are the mistakes that make it to the shelves when artists st
EXTD=art to self produce - the silly stuff makes the cut. \n\n\nAMAZON
EXTD=.COM CUSTOMER REVIEW\nLet's be honest, folks..., September 22, 20
EXTD=06 \nBy  C. Davis (Shreveport, Louisiana United States)\nI'm a hu
EXTD=ge Elton John fan and have the deepest respect for the man and hi
EXTD=s lyricist Bernie Taupin. I think there's little doubt that Elton
EXTD= will be remembered as one of the GREAT songwriting talents of th
EXTD=e 20th (and 21st) century. But there's a lot of fawning over this
EXTD= latest release and, frankly, it's unwarranted. \n\nOver the last
EXTD= few years, Elton has opted for a "stripped down" approach to his
EXTD= albums, focusing more on the band and his piano. Fine. I'm all f
EXTD=or it. But two albums after the inspired "Songs of the West Coast
EXTD=," Elton has created what is less a sequel to "Captain Fantastic"
EXTD= than one to "Peachtree Road." The only thing that ties this albu
EXTD=m to "Capt." is the relentless self-applauding lyricism offering 
EXTD=reference after reference to Elton and Bernie somehow saving the 
EXTD=world as bright-eyed, pale-faced Brits back in the early 70's. Th
EXTD=e music - and God knows I hate to say this - is just banal. \n\nT
EXTD=he album's closer, the title song, simultaneously rips melodies f
EXTD=rom "Something About The Way You Look Tonight," "Birds" and "Turn
EXTD= the Light Out When You Leave." Bob Dylan once said you only writ
EXTD=e five songs in your life and you spend the rest of your time rec
EXTD=ycling those. I'd have never thought it of Elton. But here we are
EXTD=. Even being openly critical of Keith Richards, Elton writes a fa
EXTD=ux-Stones number, "Just Like Noah's Ark," of which, frankly, he s
EXTD=hould be ashamed. Talk about phoning it in. There are good moment
EXTD=s here and there. The solo piano intro that opens the album showe
EXTD=d great promise until the vocal started and ruined what might hav
EXTD=e been a clever and enjoyable instrumental tune otherwise. But ov
EXTD=erall, for all the praise this one gets at the moment, it will be
EXTD= one of Elton's forgotten albums. Does anyonoe remember "Jump Up?
EXTD=" \n\nI pains me to say it, but it's true. I'm ready for Elton's 
EXTD=next one. \n\n\nAMAZON.COM CUSTOMER REVIEW\nRemarkably average de
EXTD=spite the hype, October 15, 2006 \nBy  David R. Modny (Cleveland,
EXTD= OH)\nLet me state right off the bat, so as not to be accused of 
EXTD=being a troll, that I'm an Elton John fan. Like many, I eagerly a
EXTD=waited this sequel to Elton's 1975 album Captain Fantastic And Th
EXTD=e Brown Dirt Cowboy with fingers firmly crossed. I must say, afte
EXTD=r having a month to let the new record sink in, that The Captain 
EXTD=And The Kid, while definitely attempting to capture a little of t
EXTD=hat old genie in the bottle of Elton's classic period, is a fairl
EXTD=y pedestrian, average affair. \n\nOn a positive note, Elton has w
EXTD=isely found his way back to the creative side of the tracks (vs. 
EXTD=crass commercialism) - a trend that started with Songs From The W
EXTD=est Coast in 2001 and has continued on with 2004's Peachtree Road
EXTD= and this current album. While Songs was a triumphant return to f
EXTD=orm in my opinion, Peachtree, though well intended, was somewhat 
EXTD=less successful. While that same commitment is obvious on the new
EXTD= record, sadly it seems to fall closer to Peachtree in terms of o
EXTD=verall consistency. \n\nThe album starts out on a strong note. In
EXTD= fact, Postcards From Richard Nixon might be my favorite cut on t
EXTD=he record. With its infectious piano riff, memorable melody and B
EXTD=ernie's clever lyrics (coupled with those vintage Davey/Nigel har
EXTD=monies of days gone by), it starts the record off with a bang. If
EXTD= only the rest of the album could have maintained this level. Her
EXTD=e is where the biggest problem lies in my opinion - an overall la
EXTD=ck of melodic inventiveness. We've heard most of these melodies i
EXTD=n similar form on other Elton tunes over the years. In fact, at t
EXTD=imes I found myself predicting where the verse melody or bridge w
EXTD=as heading next - only to have it come to be. I'm sure a lot of t
EXTD=his stems from the fact that Elton's somewhat frozen, even shredd
EXTD=ed at times, voice is no longer the soaring and clear, falsetto-d
EXTD=riven instrument it once was. Thus, the melodies are tailored for
EXTD= this. Just Like Noah's Ark is virtually the same "rocker" we've 
EXTD=heard Elton do before - on the last album it was "called" They Ca
EXTD=ll Her The Cat. Conversely, the album's first single, The Bridge 
EXTD=is pretty much every middle-of-the-road, over-dramatic ballad tha
EXTD=t seemed to rule the 90's for Elton. Even Tinderbox, while defini
EXTD=tely one of the better songs on the album, seemed utterly predict
EXTD=able to me. Maybe not offensive...just not inspiring. \n\nThe one
EXTD= other album highlight for me was Wouldn't Have You Any Other Way
EXTD= (NYC). In this particular case, Elton was able to conjure up the
EXTD= spirits of his musical past in a satisfying way. Owing more than
EXTD= a lyrical nod to Mona Lisas And Mad Hatters and even a stylistic
EXTD= nod to something like Come Down In Time, this valentine to New Y
EXTD=ork City did manage to move me due to it's melodic freshness, lyr
EXTD=ical imagery and some really great production touches by Matt Sil
EXTD=l (a sweeping orchestra and what sounds like a moog synthesizer t
EXTD=hat would have respectively made Paul Buckmaster and David Hentsc
EXTD=hel proud...and probably the late Gus Dudgeon as well for that ma
EXTD=tter). \n\nOther than that: \n\nThe title song, a cop of the orig
EXTD=inal Capt. Fantastic And The Brown Dirt Cowboy riff (admittedly b
EXTD=y Elton) and meant to serve as a bookend to the entire concept, e
EXTD=nds up sounding like a Muzak-lite version of its predecessor. Aga
EXTD=in, not offensive, but one which will probably have you reaching 
EXTD=for the earlier tune afterward. I'm sure many will also say that 
EXTD=it's not valid to draw comparisons between this album and the rec
EXTD=ords of Elton's classic period, but the fact that this is a conce
EXTD=pt album that's tied to an earlier work makes it fair game in my 
EXTD=opinion. . \n\nIn conclusion, the rest of the album just left me 
EXTD=hollow. While certainly not atrocious, or even bad for that matte
EXTD=r, I didn't find myself remembering much of what I just listened 
EXTD=to. A month later, and after repeated listenings...I still don't.
EXTD= While this is definitely miles up from bottom-of-the-barrel Elto
EXTD=n (those honors can safely go to something like Victim Of Love or
EXTD= Leather Jackets), or even mediocre Elton (much of the 90's), thi
EXTD=s isn't really the monster return to form that many have been hyp
EXTD=ing it as. Songs From The West Coast can still proudly wear that 
EXTD=badge in my opinion. "Best album in 30 years?" Not quite. 3 out o
EXTD=f 5 stars. \n\n\nAMAZON.COM CUSTOMER REVIEW\nA Good Album but Ano
EXTD=ther Letdown, September 24, 2006 \nBy  Stephen Hanks "Tom Terrifi
EXTD=c" (Brooklyn, New York)\nIt always amazes me how some passionate 
EXTD=fans can be so uncritical of their heroes. As much as I love Elto
EXTD=n, it always takes a few listens for me to decide on a new album.
EXTD= It took a few before I realized that Peachtree Road contained so
EXTD=me great songs. I liked Songs From the West Coast a lot--Original
EXTD= Sin and Birds to me are Elton classics--but was very overrated. 
EXTD=I've given this a few listens so far and I don't think it measure
EXTD=s up to the last two CDs. You hear the pre release buzz and think
EXTD=, "okay, this is going to be the next Tumbleweed Connection, but 
EXTD=alas, those days are long gone. Now we just have to realize that 
EXTD=each CD will have two to four terrific songs and the rest will be
EXTD= rehashes of old stuff. On The Captain, as usual, a few cuts are 
EXTD=outstanding. Tinderbox is a typical Elton style classic, but even
EXTD= that has a weak bridge. The House Fell Down is very funky but so
EXTD=mething Elton can write in his sleep. Just Like Noah's Ark a terr
EXTD=ific uptempo piece and I love Old 67 (but again, that has a weak 
EXTD=bridge. Speaking of The Bridge...what's the big deal. While I lov
EXTD=ed the ballads on West Coast and Peachtree, I think they are run 
EXTD=of the mill here. Although I think Bernie's lyrics are as strong 
EXTD=as ever here, it drives me crazy when he gets redundant and lazy.
EXTD= How can you have two cuts in a row that use the phrase "fade awa
EXTD=y" as the lyrical key of the song. Immediately after Blues Never 
EXTD=Fade Away (which is an okay ballad, but not an Elton classic by a
EXTD=ny means) we have to hear about "crossing the bridge or fading aw
EXTD=ay?" Yeesh, Bernie, cmon. Postcards from Richard Nixon reminds me
EXTD= of the way West Coast started with Emperor's New Clothes. Not ve
EXTD=ry memorable. The other thing about Elton you know as a fan is th
EXTD=at after writing so many songs at this point, it's impossible for
EXTD= some song riffs not to sound as if they are recycled. Is it just
EXTD= me or does a long passage of I Wouldn't Have You Any Other Way (
EXTD=which is fine, by the way) sound like Mansfield from West Coast. 
EXTD=I Must Have Lost it On the Wind is a fine homage to Bob Dylan and
EXTD= a cool song, but not that memorable. Anyway, with a few more lis
EXTD=tens, some of these songs might grow on me more, but until then I
EXTD= wouldn't call it a consistently great piece of work. Like almost
EXTD= every other recent Elton CD, there are four or five songs I real
EXTD=ly like, a couple I enjoy and three or four I can do without and 
EXTD=that just sound like throwaways. \nStill, you have to admit, this
EXTD= CD is infinitely better than anything he's writing for Broadway,
EXTD= including Billy Eliot, which is also way overrated. \n\n\nHalf.c
EXTD=om Details \nProducer: Elton John, Matt Still \n\nAlbum Notes\nTh
EXTD=is 2006 sequel to Elton John's revered 1975 outing, CAPTAIN FANTA
EXTD=STIC & THE BROWN DIRT COWBOY, finds the erstwhile Reginald Dwight
EXTD= (the Captain) looking back on the decades between the two albums
EXTD= with his longtime writing partner, Bernie Taupin (the Kid). Cont
EXTD=inuing the earlier record's autobiographical themes, THE CAPTAIN 
EXTD=& THE KID is highly charged with emotion (see "Tinderbox" for a c
EXTD=lose examination of John and Taupin's up-and-down professional re
EXTD=lationship), and the British pop icon unveils some of his most po
EXTD=werfully moving and beautifully spare vocal and piano performance
EXTD=s in years, which can be sampled on the poignant, achingly minima
EXTD=l single "The Bridge." This introspective atmosphere stands in sh
EXTD=arp contrast to John's giddy turn on the Scissor Sisters' Bee-Gee
EXTD=s-like "I Don't Feel Like Dancin'," which topped the U.K. charts 
EXTD=shortly before THE CAPTAIN's release, and helped to prove that he
EXTD= remains a vital and dynamic musician more than 30 years into his
EXTD= incredibly accomplished career.
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