Elton John

Made In England (1995)

1.Believe
2.Made in England
3.House
4.Cold
5.Pain
6.Belfast
7.Latitude
8.Please
9.Man
10.Lies
11.Blessed

By 1995, Elton John had settled into a new phase of his career—clean, focused, and creatively reengaged. Made in England marked his most cohesive and confident studio release in years, and arguably stands as his strongest work of the decade. While The One had reintroduced the artist in recovery, Made in England was the sound of Elton fully back in control, surrounded by a tight new band, a sympathetic producer, and a clear artistic vision.

This was the first full-length album in over three years to feature an entire set of John/Taupin originals. The personnel was also fresh but quickly became familiar: Bob Birch on bass, Guy Babylon on keyboards, Charlie Morgan on drums, the ever-essential Ray Cooper on percussion, and longtime stalwart Davey Johnstone on guitar. Greg Penny took over as producer, and the result is a record that sounds crisp, assured, and—most notably—diverse, yet unified.

Much had changed in the Elton–Bernie dynamic as well. For years, Taupin would hand off lyrics and leave the rest to Elton. But as the partnership matured, so did the process. Bernie began suggesting tone and style alongside his words. One such moment opens the record: Believe, a soaring, Lennon-esque anthem Taupin envisioned as a spiritual descendant of John Lenonn's Imagine. Whether it reaches those heights is debatable, but the song’s sweeping production and emotional weight make it a powerful opener.

The title track—ironically, the only song on the album not bearing a one-word title—is a standout. Though written by Taupin, the lyric is autobiographical for Elton, much in the vein of Someone Saved My Life Tonight. The arrangement is tight, the delivery heartfelt, and the song sits near the emotional center of the album.

Ballads are handled with finesse. Blessed, a tender meditation on parenthood, was inspired by Bernie’s anticipation of fatherhood but became a universal lullaby of sorts. House is more inward-looking, its lyrics an elegant portrait of Elton’s drug-dependent years in isolation. Both are understated, well-structured, and moving. But Elton hadn’t lost his rock instincts. Pain is tailor-made for the stage, a crowd-pleaser with a singalong hook. Lies is brisk and punchy—an antidote to the album’s more contemplative moments. The mid-tempo Please strikes a solid balance, while Latitude plays it slightly safer, but still charms with its warm, familiar cadence.

The real gem, however, is Belfast, a classically arranged piece that calls back to the ambition of Tonight from Blue Moves. Sweeping orchestration meets restrained piano in a song that feels more cinematic than pop. It’s a reminder that when Elton reaches for something grander, he often lands it.

If there are weak links, they’re minor. Cold and Man don’t quite live up to the standard set by the rest of the album—respectable enough, but lacking distinction. Still, they’re far from derailments in what is otherwise a remarkably consistent and considered body of work.

Made in England may not have reinvented Elton’s sound, but it didn’t need to. Instead, it refined it. For longtime fans, it was a reassuring sign that Elton could still make albums—not just collections of songs—with clarity, craftsmanship, and emotional resonance. A memorable release by any measure.

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