The transitional phase Elton John went through in the late '70s and early '80s was over. Too Low For Zero was not only the first record since Blue Moves that's all John/Taupin (except for one of the bonus tracks on this reissue, but I'll get to that in due time), it was also a full reunion with the original Elton John Band! This is the first record since Captain Fantastic in '75 to be recorded, from start to finish, with Davey Johnstone on guitar, Dee Murray on Bass and Nigel Olsson on the skins, and it shows. The title reflects neither the quality nor the chart positions of this fabulous record; it was Elton's best in years. The opener, 'Cold As Christmas,' may be a bit of a lyrical downer about a failing marriage, but it remains an excellent song with clever phrasing; it was quite a pleasure to hear this one again after something like fifteen years. 'I'm Still Standing' follows, an anthem of survival still without peer; the title track, a lament on boredom, misery and insomnia, comes next, with its irresistable beat and addictive chorus- lyrics notwithstanding, it's far from depressing. Next comes 'Religion,' as it so often does (ha-ha), a triple-tale of spiritual conversion in the most mundane of circumstances. While not a work of particular brilliance, it's a catchy little number that holds its own surrounded by the duo's signature hits of the decade. The album's best song comes next, 'I Guess That's Why They Call It The Blues.' Featuring a harmonica bit by Stevie Wonder and a co-writer's credit for Davey Johnstone, this song, one of John/Taupin's all-time great love songs, was a hit throughout most of Western Civilisation, as it well warranted. 'Crystal' follows, another clever, catchy hook around a story of a lover lost to a friend, then comes the record's last major hit, 'Kiss The Bride,' a good rocker about falling in love with a stranger as she walks down the asile. I'll tell ya; for songs about unrequited love, no one beats these two. You might even call it their particular specialty: Elton and Bernie have managed to write uncountable songs on this topic, without excessive repetition of the same specific themes or stories (although they will write another song about falling in love with a bride at a wedding, 'I Never Knew Her Name,' on Sleeping With The Past six years hence, the details and the music are sufficiently different that you can't call it self plagarism, exactly). The next song, 'Whipping Boy,' is perhaps a bit perverse; the story of a masochistic relationship with a mean piece of jailbait, it's funny and it has the kind of chorus that can bother you for days. Now, we come to the tracks that close the original album, moving into torch-song territory: 'Saint,' a worshipful love song about an all-too good lover, and 'One More Arrow,' about a dead one. Finally, we come to the reissue extras. 'Earn While You Learn' is a jaunty instrumental that served as the b-side of 'I'm Still Standing,' 'Dreamboat,' a jazzy, countrified number in the tradition of 'Dixie Lily,' and the only non-Taupin lyric on the record- is Gary Osbourne's sole appearance on this record. Last, but far from least, is 'The Retreat,' a lovely ballad reflecting Taupin's continuing Americana fixation. It's a poetic tale of the aftermath of a Civil War battle, and one of my favourite songs in their entire catalog. I'm glad to see it finally placed on an album, no longer relegated to B-side or boxed set obscurity.

In conclusion, Too Low For Zero brought the rough patch that was the Punk/Disco/New Wave era to a satisfying conclusion for our heroes, as they survived their first set of challenges from various next big things, up-and-comers, trend-setters, various voices of the new generation and nay-sayers who said that their hit-making days were behind them. When most of these had been cast back into the obscurity from whence they came, Elton John and Bernie Taupin were indeed still standing. And twenty-three years later, they still are.

This album, which I bought in 1983, is still one of my favorite Elton John albums. I have almost all his albums, and I love them all, but this one is and remains a classic!!

I have to judge how good an artist is by how many good albums and good songs they have. By that standard I have to say Elton John is the greatest artist out of anyone. This album is included in my earliest childhood memories. Every song could have been released as a single. 'Cold as Christmas' is the standout track in my opinion. It's moody, melancholy, melodic, and just a great song. Elton's voice sounds amazing on the album too. Still had full use of his range at this time. Even the casual Elton John fan should have this album in their collection.

"Too Low For Zero" marks John's long-awaited reunion with lyricist Bernie Taupin on a permanent basis. As John himself once described in 1990, this is one "fine, fine" album. I would have to agree with John.

Opening with the chilling (pun intended) "Cold as Christmas", the album strikes a new chord with listeners as this is the first Elton John LP to open with a slower to mid-tempo track in over five years. In addition, the pop classics such as "I'm Still Standing", "I Guess That's Why They Call It the Blues", "Kiss the Bride", and "Too Low For Zero" are nestled

Produced by Chris Thomas, note how Elton thanks recording engineer Renate Blauel under the heading "Special Thanks" in the liner notes. Elton married her on Valentine's Day, the following spring in 1984, in Australia. This was a special album for everyone involved. We also hear the talents of Elton's original band from the 1970s--Dee Murray, Nigel Olsson and Davey Johnstone.

Again, digitally remastered with bonus tracks for collectors. The wacky but brilliant instrumental "Earn While You Learn" opens the bonus track appendices with an offbeat rhythm-guitar riff by Johnstone--a drum fill, then a whirlwind of ingenious improvisation. The track lasts well over five minutes, which explains why it was used only as the b-side for the hit single "I'm Still Standing" on the UK 12" version. After that, the bonus track appendix dusts off two interlopers: "Dreamboat", and "The Retreat". The latter had been recorded in 1981 during the sessions which spawned the LP "The Fox", and had been

As well, "Dreamboat" appears on "Too Low..." as a bonus for it was the US and UK b-side to the enormously successful single "Kiss the Bride". However, collectors scratch their heads: "Dreamboat"--clocking in at over seven minutes--is an outtake from the sessions that yielded "A Single Man" in 1978. Not included on "Single Man" for the reason of duration, it remained in the vaults until label execs working on the singles for "Too Low..." needed a b-side. Enthusiasts of the 1978 album will want to purchase this disc to acquire the track--its mixing is among the clearest and most clever mixes I've heard from the Elton John body of work.

Conclusively, the original album tracks made for an incredible listen, and this new version enhances the original experience by providing b-sides that owners of the original singles may have grown to love as well. "Too Low For Zero" remains Elton's finest

On "Too Low For Zero", Elton John reunited with Bernie Taupin for the first John/Taupin album since "Blue Moves", not counting their occasional collaborations between, most notably on "Jump Up". And it is the first of a brief three album reunion of the original Elton John Band (Davey Johnstone on Guitar, Dee Murray on Bass and Nigel Olsson on drums), though all three had been performing on Elton John's albums since "21 At 33". Admitedly the album is a far cry from Elton's classic years, moving more into synthesizers and trendy 80's pop. Yet there are several great tunes, such as the hits "I Guess Why They Call It The Blues", and "I'm Still Standing", and the minor classics "Cold As Christmas" (featuring the beautiful harp playing of Skaila Kanga, who performed on one of Elton's earliest albums),"Two Low For Zero", "Crystal", "Saint", and the minor hit "Kiss the Bride". And then there's "One More Arrow", which has some of Taupin's finest lyrics written in the 1980's. Alas, the rest is filler, including the bonus tracks, with the notable exception of the last track, "The Retreat", one of the best B-side Elton John songs I've heard. Producer Gus Dudgeon and his team have done an exceptional job remastering this CD.