Elton John

Honky Chateau (1972)

1.Honky Cat
2.Mellow
3.I Think I'm Going To Kill Myself
4.Susie (Dramas)
5.Rocket Man
6.Salvation
7.Slave
8.Amy
9.Mona Lisas and Mad Hatters
10.Hercules
Bonus Track:
11.Slave (Alternate Version)

With Honky Château, released in 1972, Elton John delivered his first undisputed masterpiece; at least in terms of commercialism. If his earlier albums were more subtle with their greatness—flashes of orchestral majesty, narrative ambition, and musical versatility—this was the moment it all cohered. It is an album of transition: from the reflective, piano-driven work of the early 1970s to the flamboyant showmanship that would define the next half-decade. But it is also an album of supreme confidence. By now, Elton knew exactly who he was—and more importantly, what he could do.

Crucially, Honky Château marks the first studio album to feature the full Elton John Band—Nigel Olsson (drums), Dee Murray (bass), and Davey Johnstone (guitars)—across all tracks. The chemistry is unmistakable, and the result is a leaner, more vibrant sound that no longer relies on sweeping string arrangements or studio orchestration. The energy is immediate, yet the finesse is never sacrificed.

The hits are well known. Rocket Man, a gently melancholic space ballad, is the standout—its restrained use of an ARP synthesizer lending it a celestial shimmer, while Taupin’s lyrics strike a perfect balance between science fiction and suburban yearning. Honky Cat, by contrast, is a joyous New Orleans shuffle driven by a jubilant horn section and an irreverent grin. Both tracks would enter the American Top Ten, and the album itself would become Elton’s first to top the U.S. charts.

But it is the lesser-known material that gives the album its lasting strength. Mona Lisas and Mad Hatters, inspired by a walk through New York City’s Spanish Harlem, is one of Elton’s most poignant performances. Its sense of awe and melancholy, paired with Taupin’s uncharacteristically direct lyrics, creates a mood of understated brilliance. I Think I’m Going to Kill Myself walks the tightrope between satire and sincerity, complete with tap dancing and finger-snaps, while Mellow and Amy introduce electric violin to surprising and charming effect—enhancing the album’s already eclectic palette. Salvation, a gospel-tinged affirmation, and Slave, a mock-western lament, both underscore the stylistic variety on display. This is an album unafraid to wander, but never at the expense of cohesion. Even the closing number, Hercules, a buoyant throwback to early rock and doo-wop sensibilities, ties the set together with effortless joy.

Recorded at Château d'Hérouville—hence the album's title—this was the first of several albums Elton would produce in France. The new setting seemed to unshackle him creatively; gone was the dense introspection of Madman Across the Water, replaced here by a looser, more organic vitality. It was a shift that would prove both timely and transformative.

In retrospect, Honky Château is not just a pivotal album in Elton John’s discography—it is a cornerstone of early 70s pop-rock. Versatile, daring, and immaculately crafted, it laid the groundwork for the imperial phase that was soon to follow. A classic in every sense.

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