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Elton John: Peachtree Road

 A l b u m   D e t a i l s


Label: Universal Records
Released: 2004.11.04
Time:
 52:01
Category: Pop/Rock
Producer(s): Elton John
Rating:
Media type: CD
Web address: www.eltonjohn.com
Appears with:
Purchase date: 2012
Price in €: 1,00





 S o n g s ,   T r a c k s


[1] Weight of the World (E.John/B.Taupin) - 3:58
[2] Porch Swing in Tupelo (E.John/B.Taupin) - 4:38
[3] Answer in the Sky (E.John/B.Taupin) - 4:03
[4] Turn the Lights Out When You Leave (E.John/B.Taupin) - 5:02
[5] My Elusive Drug (E.John/B.Taupin) - 4:12
[6] They Call Her the Cat (E.John/B.Taupin) - 4:27
[7] Freaks in Love (E.John/B.Taupin) - 4:32
[8] All That I'm Allowed (E.John/B.Taupin) - 4:52
[9] I Stop and I Breathe (E.John/B.Taupin) - 3:39
[10] Too Many Tears (E.John/B.Taupin) - 4:14
[11] It's Getting Dark in Here (E.John/B.Taupin) - 3:50
[12] I Can't Keep This from You (E.John/B.Taupin) - 4:34

 A r t i s t s ,   P e r s o n n e l


Elton John - Piano, Rhodes, Lead & Backing Vocals, Producer

Davey Johnstone - Acoustic, Electric, Slide, Baritone, Leslie & Sitar Guitars, Dobro, Mandolin, Backing Vocals
Nigel Olsson - Drums, Backing Vocals
Guy Babylon - Hammond Organ, Rhodes, Programming, Orchestration
Bob Birch - Bass Guitar, Backing Vocals
John Mahon - Percussion, Backing Vocals, Programming
John Jorgenson - Pedal Steel Guitar

Adam Mcknight - Choir, Background Vocals, Choir Master
L'Tanya Shields - Choir, Background Vocals
Alecia Terry - Choir, Background Vocals
M. Dennis Sims - Choir, Background Vocals
Rosalind Mcknight - Choir, Background Vocals
Mark Ford - Choir, Background Vocals
Terrence Davis - Choir, Background Vocals
Todd Honeycutt - Choir, Background Vocals
Charles Bullock - Choir, Background Vocals

Jimmy Pankow - Trombone, Horn Arrangement
Lee Loughnane - Trumpet
Walter Parazaider - Tenor Saxophone
Larry Klimas - Baritone Saxophone

Sandy De Crescent - Orchestra Manager
Martin Tillman - Cello, Electric Cello
Charlie Bisharat - Violin
Brian Dembow - Viola
Joel Derouin - Violin
Stephen Erdody - Cello
Endre Granat - Violin
Timothy Landauer - Cello
Phillip Levy - Violin
Victoria Miskolczy - Viola
Robin Olson - Violin
Mark Robertson - Violin
Anatoly Rosinsky - Violin
James V. Ross - Viola
Simon Oswell - Viola
Sid Page - Violin

Matt Still - Engineer, Mixing
John Holmes - Second Engineer
Jason Carson - Assistant Engineer
John Holmes - Assistant Engineer
Josh McDonnell - Assistant Engineer
Rob Skipworth - Assistant Engineer
Tom Tapley - Assistant Engineer
Bob Ludwig - Mastering
Intro - Design
Sam Taylor-Wood - Photography
Adrian Collee - Studio Coordinator
Ricardo Salazar - Guitar Technician
Tony Smith - Keyboard Technician
Dale Sticha - Keyboard Technician

 C o m m e n t s ,   N o t e s


Elton John returned to the sound and aesthetic of his classic early-'70s work with 2001's Songs From the West Coast, finding critical acclaim, if not much commercial success. Not that the lack of sales greatly bothered Elton - in many interviews, including one with Entertainment Weekly the week before Peachtree Road was released in November 2004, he claimed he was "disappointed" that it just barely went gold, but he was tired of making "uneven" records. John wasn't merely doing publicity: Peachtree Road proves that he's back to making good, solid records focused on songs, not hits, the way he did at the outset of his career. Since this is an album by a veteran, not an artist on the rise, it doesn't have the sense of discovery, or the hunger, that the early records still retain, and the production - the first self-production by John with no collaborators - is a little cleaner and crisper than the rich, warm sound of the late Gus Dudgeon (to whom this record is dedicated), who helmed such masterworks as Tumbleweed Connection. This means Peachtree Road is about craft, both in the writing and recording, which also means that it's a grower, with each song sounding stronger, better with each spin. While the sound of the record is bright and polished, this album makes few concessions to radio: this is certainly adult pop, but it never panders to adult contemporary radio, and the music is a little too rugged and sturdy to fit alongside the stubbornly sweet sounds of 21st century MOR. Which is precisely the point, of course: Elton has consciously returned to the reflective singer/songwriter template of the early '70s, both in his writing and production. Not that this is as lush as Elton John or country-tinged as Tumbleweed Connection - "Answer in the Sky" recalls the high-flying disco of "Philadelphia Freedom" quite deliberately, and "They Call Her the Cat" finds a halfway point between "Honkey Cat" and "The Bitch Is Back" - but it fits alongside those albums quite nicely because the focus is on songs, not trying to have hits. These songs may not rival his standards, but they're in the same tradition, and there's not a bad song in the bunch, resulting in a sturdy, satisfying record that proves that the comeback on Songs From the West Coast was no fluke and, hopefully, this latter-day renaissance for Elton will not be short-lived either

Stephen Thomas Erlewine - All Music Guide



"Cheap thrills can get pretty old," sings Sir Elton in one of many balm-cream ballads that revel in contentment, sobriety, and new-found love. His voice and ability to craft canny hooks remain intact. But some cheap thrills, like crass rock & roll, shouldn't be abandoned, and Peachtree Road's few attempts to rock out are tame and hokey. Even when he's not writing for family fare soundtracks or musicals, he still sounds like he is.

David Browne - Nov 12, 2004
© 2014 Entertainment Weekly



It's easy to rag on Elton John. A formerly great artist drifting aimlessly in a world content to pass him by, Britain's premier pantomime dame continues to gamely trot out the hits. He's gradually edging towards self-parody as the flamboyant knight of M.O.R. dinner-music, condemned to soundtracking occasional Disney movies and flouncing his way through Royal Mail ads. Indeed, amidst all the bitching and tales of diva-like behaviour, it's easy to forget that musically he's done little of note in the past 25 years - it's hardly a coincidence that the last decent tune he released (2003's rogue hit "Are You Ready For Love?") was a spruced-up 70s out-take.

However, as his occasionally scathing public outbursts suggest, there's still a bit of spunk in the old dog yet, albeit in somewhat diluted form on Peachtree Road. "Porch Swing In Tupelo", for example, is a likeable slice of Americana which hints at past glories, recalling his countrified excursions on Goodbye Yellow Brick Road. Unfortunately, the same can't be said of the hopelessly bland "Turn The Lights Out When You Leave", which quickly squanders its initial appeal ona forgettablechorus.

It's not that this is a particularly bad album - at its best, it offers the listener a harmless insight into the life of an artist comfortably coming to terms with his twilight years. At its worst, however, it is hideously self-indulgent both musically and lyrically (witness the egregious "Freaks In Love"), and prone to becoming mired in the kind of third-rate power ballads which soundtrack a dozen faceless Greatest Love of All-type compilations.

Too often here, Sir Elt coasts on past glories ("My Elusive Drug" harks back to "I've Seen That Movie Too", but his strained vocals at the songs conclusion reveal severe deficiencies), and too often it's all bluster and precious little substance: "Answer In The Sky" ladles on the power-chords, synthesised strings and gospel choir with gusto, but to limited impact.

'Fortune and fame are so fleeting these days / I'm happy to say: I'm amazed that I'm still around', he croons on weary album opener "Weight Of The World". Frankly, on this evidence, so am I.

Chris Carter - BBC Review 2004



Peachtree Road is the twenty-eighth studio album by British singer/songwriter Elton John, released in 2004. It was named after Peachtree Road, the northern part of Peachtree Street in Atlanta, where one of John's four homes is located. This is the only album during his long career on which John alone has sole credit as producer. On previous projects, he was listed as a co-producer, joined by Clive Franks or Greg Penny; Franks on A Single Man, 21 at 33 and parts of The Fox; Penny on Duets and Made in England.

The album art on the front cover is a photograph from a railroad crossing near the Atlanta suburb of Douglasville, taken by London photographer Sam Taylor-Wood. Taken in by the American South and given complete artistic freedom, she shot thousands of photos during her week-long trip. The trip included other towns like Unadilla and Forsyth in Georgia. While she also visited Peachtree Road in the Buckhead area of Atlanta, she thought it was too busy for the album's more mellow nature. She picked several photos to present to him, and John made the final selection. Other photos from the shoot appear on the back of the album cover and in the included CD and SACD booklet.

Songs from the album debuted at The Tabernacle in Atlanta in early November. John also performed at the November 2005 Country Music Association Awards, televised live from Madison Square Garden, duetting with Dolly Parton on "Turn the Light Out When You Leave".

Despite its generally positive reviews, Peachtree Road was one of John's leanest-selling contemporary efforts, reaching No. 17 in the US upon its release, yet only managing No. 21 in the UK, making it one of his rare albums to miss the top ten in his homeland. In the US, it was certified gold in December 2004 by the RIAA.

In addition to Nigel Olsson playing drums on all tracks, once again a permanent member of John's touring and recording band, the album features renown gospel vocalist Adam McKnight, as well as members of Chicago contributing horns and brass arrangements. Guy Babylon was credited with playing Hammond organ and Rhodes piano instead of keyboards, which was the case on earlier projects.
Other information

The album was re-released in 2005 with three bonus tracks from Billy Elliot the Musical, as well as a DVD featuring nine tracks from the album performed live in Atlanta. The song "Electricity" from the musical was also released as a single in June 2005. It rose to No. 4 in the UK.

It was dedicated to the memory of Gus and Sheila Dudgeon, the former being John's original producer.

Some editions of the album included bonus - two videos for the two first singles ("Answer in the Sky" and "All That I'm Allowed").

Wikipedia.org



Es ist schon erstaunlich, das ein Künstler auch auf seinem 43. Album keinerlei Verschleißerscheinungen zeigt. Reginald Kenneth Dwight alias Elton John ist immer noch hochmotiviert und das hört man auch seinem neuen Album bis ins kleinste Detail hinein an. Der 57-jährige Sänger und Songwriter arbeitet bei Peachtree Road ein weiteres Mal mit Bernie Taupin zusammen, der wie gewohnt die Texte besteuert. Unterstützt wird er zudem von Musikern wie dem Gitarristen Davey Johnstone, Schlagzeuger Nigel Olsson und Bassist Bob Brich. Gemeinsam ist ihnen ein wahrhaft makelloses Werk gelungen, das keinerlei Schwachstellen aufweist und mit einer handvoll absolut erstklassiger Kompositionen aufwartet. Bereits der Opener, das ganz im Sound der 70er Jahre gehaltene "Weight Of The World" überzeugt auf der ganzen Linie. Noch besser ist allerdings die wunderbare Midtempo-Ballade "Porch Swing In Tupelo", bei der Elton John einmal mehr seine Klasse als Sänger unter Beweis stellt. Ebenfalls weit über dem Durchschnitt rangiert das mit dezenten Streicher-Sounds unterlegte "Answer In The Sky" sowie "Turn The Lights Out When You Leave", bei dem John Jorgenson mit seiner Pedal-Steel-Gitarre für den richtigen zarten Schmelz sorgt. Elton John, der das Album komplett selbst produziert hat, verzichtet auf allen überflüssigen musikalischen Zierrat und setzt ganz auf das perfekte Zusammenspiel seiner Band. Und so steht Peachtree Road ganz in der Tradition jener klassischen Singer/Songwriter-Werke, mit denen der Musiker in den 70er Jahren seinen Weltruhm begründete. Mann hört Songs wie "I Stop And I Breathe" oder "It's Getting Dark In Here" förmlich an, wie viel Spaß Elton John und seine Band bei den Aufnahmen hatten.

Norbert Schiegl - Amazon.de



Guter, alter John Braucht man ein neues Elton-John-Album? Man hat doch schon fünf, sieben oder alle. Ein paar davon hätten nicht sein müssen - "Peachtree Road" (Universal) schon. Elton John in großer Form, Songs aus der Goldschmiede seiner Kunst, melancholisch, nachdenklich. Draußen ist Herbst, drinnen macht Elton John die Musik dazu.

stern



Muss man ihn noch vorstellen? Legende zu Lebzeiten, großer Humanist, zig-facher Grammy-Gewinner, flamboyanter Superstar und immer wieder und vor allem: der Singer/Songwriter, dessen Erfolg ihn so lang und weit trug wie bei keinem anderen seiner Generation. Im 34. Jahr seiner Solo-Karriere veröffentlicht Elton John nun sein 43. Album.

Doch die Qualität, die Leidenschaft, der Enthusiasmus, die er, sein Texter Bernie Taupin und seine neu belebte Band an den Tag legen, lassen "Peachtree Road" so frisch und ungeschminkt wie ein Debüt klingen. Wie schon der mit Mehrfach-Platin dekorierte Back-To-Basics-Vorgänger "Songs From The Westcoast" meidet auch dieses Album allen falschen Studio-Schmuck und lässt zwölf erstaunliche Songs ganz für sich sprechen. Und mal ehrlich: Wer hätte vor einigen Jahren schon vorauszusagen gewagt, dass Elton John in der vierten Dekade seiner Karriere mit die beste Musik eben dieser veröffentlichen wird? Und wie immer legt Bernie Taupin Elton John die besten Worte über sich in den Mund. Wie singt er im jetzt schon klassischen "The Weight Of The World"? "Fortune and fame are so fleeting these days, I'm glad to say that I'm still around." Und wie er das ist.

Universal Records
 

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