Elton John: The Fox CD Track Listing

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Elton John The Fox (1981)
The Fox (West German Pressing)\n1989 Rocket Record Company/Phonogram\n\nOriginally Released 1981\nUK Rocket/Phonogram CD Edition Released 1989 ??\nUS MCA CD Edition Released May 19, 1992\nRemastered Universal-UK CD Edition Released May 12, 2003\n\nAMG EXPERT REVIEW: The early '80s were not a particularly focused time in Elton John's career. The Fox (1981) is a reflection of the tentative regrouping that began on his previous effort, 21 at 33 (1979). In fact, a third of the material was left over from the same August 1979 sessions. This results in dithering musical styles and ultimately yields an uneven and at times somewhat dated sound. The reunion with Bernie Taupin (lyrics) that commenced on 21 at 33 is once again sparsely tapped. He contributes the tepid "Heels of the Wind" as well as "Just Like Belgium," which foreshadows the pair's future lightweight efforts such as "Nikita." Slightly more promising, however, is the midtempo rocker "Fascist Faces" -- which may well be a nod to David Bowie's infamous "Britain could benefit from a fascist leader" statement. The album's introspective title track instantly recalls the slightly bittersweet "Curtains" coda from Captain Fantastic and the Brown Dirt Cowboys (1975). Gary Osborne and Elton John's collaborations were beginning to yield some impressive results, including "Heart in the Right Place" -- which could easily have been a follow-up to the slinky Caribou (1974) track "Stinker." The tender "Chloe" conclusion to the "Carla/Etude/Fanfare" medley became one of two tracks extracted as singles. The other, "Nobody Wins," sports a Euro-beat flavor and was adapted from a French techno-pop hit by Osborne and Jean-Paul Dreau. According to John, the dark and noir "Elton's Song" remains a favorite, and he very occasionally revives it for live performances. Although The Fox isn't a grand slam, it isn't exactly a bunt either. However, the incremental momentum would continue on the subsequent long-player, Jump Up! (1982), before culminating on his '80s breakthrough, Too Low for Zero (1983). -- Lindsay Planer\n\n\nAMAZON.COM CUSTOMER REVIEW\nThe Lost 80s Elton Album, July 16, 2005 \nBy Quinn Miller "millerq72" (Columbus, OH United States)\n\nThe Fox is one of Elton's least known outputs in his entire catalouge. It justed missed the top 20 (in the US) upon its release in May, 1981. It also marked a transitional period in his career, coming off the sometimes successful but ultimately unfocused albums like 21 at 33 to the more straight ahead pop smarts of Too Low for Zero. Although The Fox leans much more toward the unfocusedness of 21 at 33, due to the mishmash of writing partners and use of outside musicians in places, it is a much more interesting and satisfying experience than anything he had turned out in years. \n\nI find The Fox to be an album that tries to stretch out a bit, prehaps begging to cover a little too much territory. As a few reviewers have noted previously, this was his first with Geffen Records and first with producer Chris Thomas (who would also produce his next 3 albums). Therefore undoubtedly the game plan was for this one to make a grand statement. This ambition shows up in songs like "Fascist Faces", the beautiful instrumental trio "Carla/Etude/Fanfare" and the more traditional love ballad "Chloe." The usage of the Rev James Cleveland choir, a full string orchestra, and new agey synthesizers drive home the point that this isn't meant to be a cohesive statement, but meant to try to satisfy trends and make "the cutting edge" for 1981. Most of the time, it acheives this due to Elton's tunefulness and ultra-competent instrumentation. \n\nHighlights of the album are many and scattered throughout. It would be easier to mention the few dead ends that are hit. While "Just Like Belgium" is fun and lively, it really doesn't stand out amongst the other more adventursome tracks, and "Heels of the Wind" seems unneccessary, almost like an afterthought. Big departures from his previous work are the tracks "Heart in the Right Place" with its forceful, blues-rock tone and "Fascist Faces" with the backing of the Rev James Cleveland Choir. Both tracks are propelled by the biting, metalish guitar play of Richie Zito, which make these two of the heaviest tracks in Elton's canon. \n\nIn the end, The Fox is far from a masterpiece along the lines of Honky Chateau or Yellow Brick Road, but it is one of the most interesting in Elton's now 35 + year solo career. I would recommend this to anyone who wants to experience the more arty side of what would become "I'm Still Standing" and "Sad Songs" just a few years down the road. \n\n\nAMAZON.COM CUSTOMER REVIEW\nSearching..., May 4, 2003 \nBy David Sigler (Baltimore, Maryland)\nThat one word tends to summarize the feeling I get when listening to this album. Elton certainly was searching for the right mix of popular trends of the day and traditional hit making formulas that served him well in the beginning. \n\nThis album came at a very crucial time for Elton. He just bounced back with a solid offering with 1980's 21 @ 33 and it's huge hit "Little Jeannie". Fans like myself were very anxious to see what would come next. And while, I like a lot of this album, the parts are better than the whole. \n\nActually, the first half (before the instrumental, which started side two on LP in the old days) comes right out of the gate surprising strong. And to this day, the first couple of songs hold up pretty well: the rocker "Breaking Down Barriers", the blues/rock "Heart In The Right Place", the pop fun of "Just Like Belgium" and the FM-rocker "Fascist Faces". The only notable exception is the Euro-disco "Nobody Wins"). But side two, while contains some down right gems, can't seem to hold the album together. After the lush orchestral "Carla/Etude" we get a syn-new age "Fanfare" which serves as a bridge to the bluesy and wonderful ballad "Chloe". \n\nAt this point, the listener isn't sure whats going to happen - which can be a good thing but not from Elton John. Experimentation is not his strongest suit. The next three songs "Heels Of The Wind", "Elton's Song" and title track are very different from each other. "Heels" hints at a song much better to come, which was called "I'm Still Standing". "Elton's Song" is a tender and beautiful ballad that seems out of place, much like the songs story of a boy with a crush on another boy. And the title track ends on the album on a country/rock note which may be Bernie Taupin's finest bio of Elton written to date.\n\nOne of the issues working against this release was David Geffen's rejection of six of the original songs submitted. Afterall, Geffen lured Elton to his then new record label and wanted to make sure he would get his return on investment. Hot producer of the moment Chris Thomas produced half of the album but showed no signs of his brillance on albums just released by The Pretenders or INXS. It would take awhile for Chris to find the right ingredients to bring out the energy in Elton's music.\n\nDon't get me wrong, "The Fox" has some excellent songs and is recommended. But it tries too hard and seems to beg for attention. If the second half of the album wasn't a disjointed, "The Fox" may have been the powerhouse it was trying to be. \nBest tracks: Breaking Down Barriers, Chloe, Elton's Song, The Fox. \n\n\nAMAZON.COM CUSTOMER REVIEW\nPeriod of recovery..., October 28, 2001 \nBy Quinn Miller (Cleveland, OH)\nIn 1981, Elton was coming off a 3 year period of releasing bland, rather unimaginative music. The previous year's "21 at 33" showed a couple of signs of resurgence, but generally stalled. "The Fox" signified Elton's overall strongest work since the double-lp "Blue Moves" in '76. He was still collaborating with a mish-mash of song writers here, including Bernie Taupin who contributed to the strongest songs. For some reason, I find "The Fox" to be one of Elton's most intriguing releases, if far from his overall best. It shows a kind of transition from the awkward writing of "21 at 33" to the assured pop smarts of "Jump Up!" Some of my personal faves would be "Fascist Faces" with it's forceful beat and turned up guitar solos and includes a full backing choir featuring Rev. James Cleveland, the gorgeous instrumental "Carla/Etude/Fanfare," and the trademark Eltonian ballad "Chloe." Still, not everything works on "The Fox," including the empty yet fun sounding "Nobody Wins" (not written by Elton) and the rather clunky title track. But, for the most part, "The Fox" displays some pleasing signs from the legend and offers musical proof that he's getting back on track again. \n\n\nAMAZON.COM CUSTOMER REVIEW\nAn under-appreciated and worthwhile CD, July 25, 2001 \nReviewer: A music fan\n\nIt amazes me that many people rate this album as inferior to '21 AT 33' and 'JUMP UP!'. While it's a mixed bag (probably because Elton collaborates with 5 different writers), it's highs are certainly better than most of the material on his previous (21 AT 33) and next (JUMP UP!) albums. With the exceptions of 'EMPTY GARDEN' and possibly 'LITTLE JEANNIE'.\n\n'ELTON'S SONG' is one of my favourite Elton tracks of all time (he has said himself that it's one of his favourites too). Very simple & memorable, and the vocals are great too. 'JUST LIKE BELGIUM' (written with Bernie Taupin) is good, catchy fun ("see us face down on the floor of another cheap bar!"), as is 'HEELS OF THE WIND'. HEELS... reminds me of 'I'M STILL STANDING' in it's sentiment. 'BREAKING DOWN BARRIERS' is another enjoyable track, and a very respectable rocker, full of energy ("I'm breaking down the barriers, and loving what I find"). The final track, 'THE FOX', is quite interesting too (...'cause I am the Fox, like it or not, I'm always gonna be there..."). That sums Elton up quite well doesn't it?\n\nWhile some of Elton's best 80s songs are here, some tracks are poor and prevent it from being a true classic. 'HEART IN THE RIGHT PLACE' and 'FASCIST FACES' are very forgetable, and the British minor-hit 'NOBODY WINS' (a song about divorce from a child's point-of-view) is quite original and unlike other Elton singles. Well worth a listen, but not one I ever actually play. The 3-tracks-in-1 (CARLA/ETUDE - FANFARE - CHLOE) is also a bit weak. It runs for 11 solid minutes, so it was probably intended mainly as a way of padding out the album. CARLA/ETUDE is a very classical style of instrumental, well made but seems out of place on a pop-album. Full credit to Elton for using some imagination, but it just doesn't work for me. Next up is a synthesizer instrumental (FANFARE) which sounds very odd in this context. I quite like 80s synths, but FANFARE is just a bit confusing to hear after several minutes of classical music. It comes a relief when it finally give way to the fairly likeable, innoffensive 'CHLOE', a love song. You can always go shopping while you're waiting for CHLOE to come on.\n\nThis album is by no means an all-out classic, but it's quite creative at times and is essential for all '80s Elton fans. The overall feel of this album is quite classy and sophisticated (As the inner-sleeve picture of Elton tipping his hat would indicate). Give LEATHER JACKETS & VICTIM OF LOVE a miss, and consider buying this before the patchier '21 AT 31' and 'JUMP UP!'. If you don't like this, it's quite unlikely you'd enjoy those 2 either! \n\n\nAMAZON.COM CUSTOMER REVIEW\nA Strange Album from the "Lost Years", May 22, 1999 \nBy QuBall8517@aol.com (New Hampshire, USA)\nI'd consider "The Fox" and "21 and 33" as being the two biggest departures from what would be considered your typical Elton John spin. A lot of outside influences probably was the main cause. Three different lyricists, a backing choir and string arrangements add up to make this a kinda weird one. I'm not overly enthused about any one particular song, and most of the music, arrangements and lyrics make for an overall who-cares effect save for the instumental "Carla/Etude/Fanfare." Elton's piano playing is mostly light and bouncy (ala Caribou) rather than forceful and moody (Blue Moves) which is not necessarily a bad attribute. \n\n\nAMAZON.COM CUSTOMER REVIEW\nSongs of Days Gone By...A Fogotten Gem, June 19, 2003 \nBy Keith T. Pells (Fort Myers, FL United States)\n\nIn 1981, when new wave and punk were the movement of the day, Elton John released his first album for Geffen Records, "The Fox". Having all of Elton's Cd's (including some out of print material), "The Fox" remains one of my very favorites in his catalog. Not a "party" album (think "Rock Of The Westies"), but a very stately, majestic album.\n\nI was 21 when this album was first released (I'm showing my age), and I was blown away by the first single, "Nobody Wins". It was a magnificent, soaring piece of electronic-pop that was sweeping and dramatic. It sounded like the title track to a James Bond film. It was also released in Europe, with EJ singing the vocals in French, under the name of "J'Veux De La Tendresse".\n\nThe highlight of the album, is the majestic instrumental "Carla/Etude", which is just his piano with the London Symphony Orchestra (you can find a "live" version of this track on his "To Be Continued" box set). It is just beautiful. And as a second single, "Chloe" is just breathtaking. \n\nOther highlights include "Breaking Down Barriers", with sweeping piano maneuvers; "Just Like Belgium", which is an ode to travel and adventure; and "Elton's Song", which touches on the uncomfortableness a young gay man feels while noticing a friend and developing feelings. \n\nThe one drawback to the remastering is that they did NOT include any bonus tracks (as they have with many of his other releases). They blew it here, because they could have included "Fools In Fashion" (B-side to "Nobody Wins"), "J'Veux De La Tendresse" ("Nobody Wins" performed in French) and even the promo-only club mix of "Nobody Wins"...which is extremely rare.\n\nBut in the final analysis, the remastering is superb and breathes new life into one of Elton John's most under-rated and under-appreciated albums of his long, wonderful career. \n\n\nHalf.com Details \nContributing artists: Bill Champlin, Jim Horn, Mickey Raphael, Reverend James Cleveland \nProducer: Chris Thomas \n\nAlbum Notes\nPersonnel: Elton John (vocals, piano); Ritchie Zito, Tim Renwick, Steve Lukather (guitar); Micky Raphael (harmonica); Jim Horn (alto saxophone); James Newton Howard (organ, Rhodes, vocoder, synthesizer, programming); David Paich (synthesizer); Dee Murray (bass, background vocals); Reggie McBride (bass); Nigel Olsson, Alvin Taylor (drums); Stephanie Spruill (tambourine, background vocals); Jeff Porcaro (percussion, drum programming); Roger Linn (drum programming); Vanette Gloud, Tamara Matoesian, Bill Champlin, Gary Osbourne, Max Gronenthal, James Gilstrap, John Lehman, Carl Carwell, Roy Galloway, Oren Waters, Ronald Baker, Chuck Cissel, Clarence Ford, Colette Bertrand, Rev. James Cleveland, Cornerstone Baptist Church Choir (background vocals).\n\nRecorded at Superbear Studios, Nice, France and Sunset Lounge, Los Angeles, California between August 1979 & March 1980.\n\nLike David Bowie, Elton John made himself over in the 1980s from his over-the-top glam-rocker image to one that was less theatrical, more refined, even slick. The music was affected as well, as the '80s saw Elton flirting with disco, new wave, and several lyricists. He also flirted with danger, dropping some of the more obvious trappings of the Me Decade (the big glasses, for example) but remaining perilously close to its hedonistic excesses.\n\nHis principal songwriting partners on THE FOX were the sometimes-estranged Bernie Taupin, and Gary Osborne. Production duties fell to Chris Thomas, who produced successful records for cutting-edge bands of the moment like the Pretenders. There's a bit more piano on this record than on some previous releases, such as on the opener, "Breaking Down the Barriers," which barrels forward on the strength of Elton's propulsive keyboard, and "Heart in the Right Place," which has the bite of some of Elton's early angry songs. The disco-tinged "Nobody Wins" did moderately well as a single, but "Chloe" is the stand-out track, a classic Elton ballad which should have been a big hit.\n\n\nROLLING STONE REVIEW\nWith The Fox, the king of Seventies mass-market pop-rock has finally found a comfortable balance between the churchy turgidity of "serious" efforts like Blue Moves and the irresistible thrust of his finest singles. For a change, there's no glaringly obvious filler, and Elton John's lusty pop gospel singing eschews the earlier extremes of oratorical histrionics and rock & roll brattiness. Tune for tune, these eleven songs make up John's most consistently listenable collection in years.\n\nJohn also seems determined to regain the grip on the pop mainstream he lost after Rock of the Westies. Six cuts were produced by Chris Thomas, whose success with the Pretenders has made him one of today's hottest aural alchemists. In "Nobody Wins" (the album's only number not cowritten by John). Thomas seals the star's mournful vocal in a metallic casement of flashy sound effects propelled by synthesized percussion. With its brilliant artificiality and jerkily mechanical propulsion, this is high-gloss popular music squarely in the mold of "Bette Davis Eyes" and Blondie's hits.\n\nBecause Elton John worked with four collaborators on The Fox (Bernie Taupin penned the lyrics to four tunes. Gary Osborne four, Tom Robinson one, and keyboard virtuoso James Newton Howard cowrote the "Eanfare" instrumental), the LP takes him in several complementary emotional directions. "Heels of the Wind," the best of the John-Taupin compositions, is a hard-kicking anthem about the freedom of the road, in which Taupin refrains from his customary literary heaviness. But "Fascist Faces." "Just like Belgium" and "The Fox" find John's streamlined melodies burdened with pretentious similes, purple imagery and words like "turtlesque."\n\nJohn's collaboration with Gary Osborne has grown much more assured since the duo debuted with the stiffly portentous lyrics of A Single Man. "Breaking Down Barriers," a frothy love song in the R&B-inflected style of "Philadelphia Freedom," is the pair's most spirited achievement to date, while "Heart in the Right Place," a sour diatribe against rock journalists, evokes rock-star petulance with an amusingly light-handed bitchiness. Lyrically. The Fox high point is a first-person remembrance of a homoerotic boyhood crush. "Elton's Song," which John wrote with Tom Robinson. Unfortunately, the tune is too fragmented to nail down the poignantly direct sentiments.\n\nWill The Fox reestablish John as a triple-platinum powerhouse? Not likely, since the lights are still going out all over the pop circus world this artist helped create and then celebrated with such voracious glee. In his mad dash through the Seventies, Elton John exalted and sent up every major commercial trend, from Philadelphia soul to glitter rock. If the new album doesn't exude the pure, zany adrenalin of his most memorable singles, it's because this dash not only devoured much of what it embraced but was self-consuming as well. In the end, The Fox sounds less like a comeback than a graceful, mature coda to pop's banquet years, when Captain Fantastic ruled the airwaves and the champagne never stopped flowing. (RS 349 -- Aug 6, 1981) -- \nSTEPHEN HOLDEN
This rock cd contains 9 tracks and runs 45min 38sec.
Freedb: 7a0ab009
Buy: from Amazon.com

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