Less than four months after issuing the landmark and autobiographical
Captain Fantastic and the Brown Dirt Cowboy (1975),
Elton John re-emerged with a new band and a slightly modified sound. However, the departure of
Dee Murray (bass) and
Nigel Olsson (drums) would ultimately begin a deceleration in terms of
John's success, which rivalled only
the Beatles' and
Elvis Presley's in terms of global acclaim. The revamped band grew to include new associates
James Newton Howard (keyboards) and
Kenny Passarelli (bass) as well as
Roger Pope (drums) and
Caleb Quaye (guitar), who had both performed with
John as far back as his first long-player,
Empty Sky (1968). He also retained the services of
Davey Johnstone (guitar) and
Ray Cooper (percussion) from the most recent lineup. Musically,
Rock of the Westies (1975) maintains the balance of harder-edged material and effective
ballads. In fact, one of the album's strongest suits is the wide spectrum of strong material. The ballsy no-nonsense
"Street Kids" and the aggressive gringo
rock of the
ZZ Top sound-alike
"Grown Some Funk of Your Own" contrast the poignant power balladry of
"I Feel Like a Bullet (In the Gun of Robert Ford)" or the dark and brooding tale of addiction on
"Feed Me." Perhaps inspired by the crossover
R&B appeal of
"Philadelphia Freedom," the up-tempo
"Island Girl" bears a distinct and danceable groove that lies somewhere between a slightly Jamaican vibe and
disco. Perhaps more soulful in the traditional sense are the boogie-based
"Hard Luck Story" or propulsive
Bo Diddley beat that drives
"Billy Bones and the White Bird." While the increasingly fickle public as well as lack of a strong follow-up to the chart-topping single
"Island Girl" may have prevented
Rock of the Westies from becoming the heir apparent to
Captain Fantastic and the Brown Dirt Cowboy, in the wake of
John's flawless predecessors it remains a strong and worthwhile entry that also sets the stage for its follow-up,
Blue Moves (1976). [The mid-'90s CD remaster of
Rock of the Westies also includes two supplementary cuts -- the outtake
"Planes" and the
Kiki Dee-penned
"Sugar on the Floor" -- which were issued as B-sides to
"Island Girl."] ~ Lindsay Planer
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