Elton John

21 at 33 (1980)

1.Chasing the Crown
2.Little Jeannie
3.Sartorial Eloquence
4.Two Rooms at the End of the World
5.White Lady White Powder
6.Dear God
7.Never Gonna Fall in Love Again
8.Take Me Back
9.Give Me the Love

After the critical detour that was Victim of Love, Elton John returned in 1980 with 21 at 33—a title referencing both his age when he started recording and the number of albums he'd been involved in to date (if you count live releases and compilations). A mildly convoluted numerical boast, perhaps, but not entirely unwarranted. For the first time in several years, there was at least a flicker of creative energy returning to the frame.

21 at 33 is not a particularly good album, but it is, mercifully, a better one. The disco fog had begun to lift, and Elton, newly unretired, seemed ready to re-engage—if not fully, then at least tentatively. The record has the unmistakable sound of an artist testing the waters, trying to rediscover a voice that once came effortlessly.

Key to this tentative revival is the return of some familiar faces. Longtime collaborators Dee Murray and Nigel Olsson are back in the mix (albeit sparingly), as is arranger James Newton Howard, who would go on to play a significant role in shaping Elton’s 1980s sound. Even members of The Eagles drop in—lending harmonies and California polish to White Lady White Powder, a cautionary tale that’s as much about lifestyle as lyricism.

Bernie Taupin returns as well—though in a limited capacity, contributing lyrics to just three tracks. Ironically, it’s the non-Taupin songs that fare better. Gary Osborne’s Little Jeannie became Elton’s first major hit in years, a pleasant soft-pop number that, while hardly daring, delivered the kind of melodic craftsmanship Elton could summon in his sleep. Also worthy of note is Sartorial Eloquence, co-written with Tom Robinson, which strikes an effective balance between flair and melancholy. Never Gonna Fall in Love Again stands out for its quiet charm.

Taupin’s contributions are more uneven. Chasing the Crown opens the album with a burst of energy and a promise of revitalization. But Two Rooms at the End of the World, a quasi-autobiographical reflection on the Elton–Bernie partnership, never quite lands—it’s ambitious in scope but oddly lifeless in execution. Osborne’s Dear God, on the other hand, is a genuine standout: a gentle, heartfelt plea that ranks among the more emotionally honest tracks of the period. Less memorable is Take Me Back, which retreats into generic territory.

Overall, the album is patchy—but intriguingly so. It’s a record that tries multiple directions at once, sometimes stumbling, occasionally succeeding, and rarely staying in one place long enough to make a definitive statement. It doesn’t restore Elton John to his former heights, but it does indicate a willingness to climb. 21 at 33 is not the comeback—but it is the precursor. A transitional effort, and a reminder that melody, more than anything else, remains Elton’s lifeline. And if the album doesn’t fully deliver on its promise, it at least makes one look forward again—for the first time in a while—with cautious optimism.

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