After having a number of lackluster and uninspired releases through the 1980s, with perhaps the lowest point being the 1986 release of "Leather Jackets," Elton John started a turnaround in quality and artistry that was evident on this album, and would achieve albums such as "The One" and "Made in England" in the 90s. While this album had much less quality and artistry than Elton's 70s albums, loyal fans were gratified to see that Elton could still write and sing good songs.

Elton's rediscovered enthusiasm shows in "Town of Plenty." Admittedly this song is one of the lesser songs on this CD; the words are corny and simple, and the music is relatively simple. However, Elton's voice sounds refreshed and clear, and the production is much improved over "Leather Jackets." This simple song is little indication of the music that comes later on this CD.

The second song also has relatively simple words, though more complex and inspired than the words of the first song. However, Elton's music in "A Word in Spanish" contains a flavor of that sound that made Elton John great in years gone by. This song was also the longest song on the original CD at 4:39 long. This mellow love song peaked at #19 on the charts in 1988. With the improvement over the first song, this song promised that this CD held even better songs.

Elton and his band get bombastic on "Mona Lisas and Mad Hatters (Part Two)." The original song was a mellow and harmonious creation on "Honky Chateau." This version is funky and bouncy, and far from being mellow. While I am tempted to compare this song with some of the worst from "Leather Jackets," the comparison would be wrong. This song has fun with the overblown style, and keeps the enthusiasm evinced from the first song. This song also makes an excellent stylistic introduction to the next song.

The next song is the best indication that Elton had created a very listenable album. "I Don't Wanna Go on with You Like That" had a sharp musical production with a snappy beat that maintained the pace and power of the three previous songs. This #2 charting song had good lyrics and even better music to make this song one of the best created by the Elton John-Bernie Taupin team in a long time, and gave fans the opportunity to rejoice that the duo still had this kind of music to give the world.

Then comes a song that I think belongs in the portfolio of some of the best Elton John ballads. In "Japanese Hands" Bernie Taupin finally created lyrics to match some of his best from the era that yielded "Madman Across the Water" and "Don't Shoot Me I'm Only the Piano Player." Elton matched those words with lovely music and a singing style that was heard on Elton's "Live in Australia with the Melbourne Symphony Orchestra" and would be later heard on "Songs from the West Coast." This beautiful ballad is one of my personal favorites on this CD.

The next song is a change of pace. "Goodbye Marlon Brando" has a beat that is even faster than the first songs on the CD. This song reminds me of Billy Joel, especially "We Didn't Start the Fire." The song is less ambitious than the Billy Joel song, confining itself to summarizing the 80s, and perhaps the 70s to a certain degree. The song does say goodbye to a lot of things I remember from the 1980s. This song is interesting and fast, and perhaps slightly better than the average song on this CD.

The next three songs combined form a weak spot in this CD. "The Camera Never Lies" is the rock version of those country songs that deal with the bad things that happen in life. In this case the subject is infidelity. While the music and the words are less than inspired, the song is okay and is an average song for this CD. This CD goes from an average song to a less than average song. "Heavy Traffic" contains a few moments of interest, but otherwise the song is one of the weaker songs on this CD and sounds more like Elton on cruise control. The following song lyrically seems intended to be sympathetic to women who get stuck with too many children and a loser husband, but "Poor Cow" never fulfills the promise of the lyrics, and is another that is much less than average.

This CD originally finished with another lovely ballad, "Since God Invented Girls." This song contains a tribute to Brian Wilson of the Beach Boys. The backing vocals enhance the feeling of the tribute by adopting the harmonious style of the Beach Boys. This song joins "Japanese Hands" as being another of my favorite songs on this CD.

In addition to the original ten songs, this version contains four bonus tracks that add little to the original production, but do give a listener a bit more bang for the musical buck.

This album starts with a promising title. This CD was not quite the "strike back" that the title promised. However, there are enough good songs on this CD to make this CD a good improvement over the previous original album, and fans a few years later would recognize that this album marked a turn for the better for Elton John and Bernie Taupin, now going by the single name Taupin. In a few short years Elton John would receive more awards and nominations than he had received in his career to this point, and while the future Rock and Roll Hall of Fame member may have fallen short in striking back with this CD, perhaps this CD was just the beginning of a strike that is pushing its way into two decades.

I bought this CD for "A Word in Spanish," which I really like. I listened to the CD in the car while driving and heard about half of it and thought it was average with a couple of good songs. Then I listened again on my computer with my Klipsch 4.1's. Wow, some of this stuff is pretty good! So I put it on the big system with the Klipsch towers and cranked up the bass and the volume. Incredible! The Shep Pettibone remix of "I don't wanna go on with you like that," is worth the price of the album and more. Everything else is "added value." "Heavy Traffic" is a great rock tune. Freddie Hubbard's flugelhorn in "Mad Hatters" is a thrill and a half! And then there's Carl Wilson singing background on "Since God Created Girls." Outstanding! If you only listened once, listen again! And more closely. This is rapidly becoming my favorite Elton John album. And yes, there are a few songs on it I don't care for, but that's true of most albums. Oh, and lest I forget, Elton John is pretty good too. (Just kidding, he is awesome as usual!)

"Reg Strikes Back" remains among my favorite CDs from Elton John's artistically fallow, but still commercially rich, 1980s period, with a number of songs from the John/Taupin songwriting team that rank with their finest from any decade in their three decade plus-long career. The album's title is a thinly veiled reference to Elton's real name (Reg Dwight), his successful recovery from surgery on his vocal chords, and his desire to return musically to some of his best songwriting during the early 1970s. But granted, "Reg Strikes Back" is an artistic achievement which seems rather inferior in quality to the albums which would follow it immediately: "Sleeping With the Past" and "The One", since there is a mixture of rather routine 1980s commerically-oriented songs along with a few genuine gems. Still, thanks to excellent production from 1980s producer Chris Thomas and his team, the sound quality remains among the best for a 1980s Elton John studio album. "Reg Strikes Back" includes most of the musicians who were members of the Elton John Band from the "Live in Australia" album and tour; most notably bassist David Paton, keyboard wizard and guitarist Fred Mandel, drummer Charlie Morgan, percussionist Ray Cooper, and of course, guitarist Davey Johnstone (It also includes as backup vocalists original Elton John Band members Dee Murray and Nigel Olsson.).

"Town of Plenty", the album's opening track, an uptempo rocker, sounds like it could be a 1980s update of "Bennie and the Jets", but lacks the latter's elegant lyrics and lush melodies. "A Word in Spanish", the second track (and second hit single) is a decent ballad featuring splendid mandolin playing from a long-time Elton John band member, guitarist Davey Johnstone. "Mona Lisas and Mad Hatters Part Two" remains one of my favorite songs from this album; a vibrant, jazzy tribute to my home town with a more thoughtful, mature lyrical homage penned by Bernie Taupin (It includes the line "Spanish Harlem still sounds good to me".) that's literally light years removed from the country folk rock song "Mona Lisas and Mad Hatters" from "Honky Chateau". "I Don't Wanna Go On With You Like That" is stylistically similar to "I'm Still Standing" from the album "Two Low for Zero", but here, Elton shows that he remains both a virtuoso singer and keyboard musician, pounding chords on keyboards with nearly wanton abandon; it quickly rose up the American Billboard charts to peak at number Two, becoming Elton's highest charting single in a decade. "In Japanese Hands" is one of two other songs which should have been issued as singles, replete with some of the finest Taupin lyrics and John melodies I have heard; some say that it is stylistically most reminiscent of Elton's early work, most notably on albums such as "Tumbleweed Connection" and "Madman Across the Water".

"Goodbye Marlon Brando" is a frantic Elton John critique to the fast-paced 1980s, that comes across as a second-rate version of "I Don't Wanna Go On With You Like That", and lacks the lofty artistic and critical success of Billy Joel's "We Didn't Start the Fire". "The Camera Never Lies" is another anti-love song in a manner reminiscent of this album's greatest hit; a ballad that sounds like an ode to voyeuristic stalking. "Heavy Traffic" is a bit of cute fluff, that sounds more like the songs from some of Elton's worst 1980s albums. Ditto can be said too for "Poor Cow", which tries to come across as yet another anti-love song, sung as a fast-paced ballad. Last, but not least, "Since God Invented Girls" is the John/Taupin songwriting team's homage to Brian Wilson and the Beach Boys, invoking some of the Beach Boys' melodic riffs and lush harmonies; it probably should have been released as a single, though I don't think it is nearly as memorable a song as the great Beach Boys tribute "Don't Let The Sun Go Down On Me" from Elton's 1974 album "Caribou". This remastered version of "Reg Strikes Back", done by original Elton John producer Gus Dudgeon, also includes several dance-mix versions of two of the songs from this album, most notably, "I Don't Wanna Go On With You Like That".

Good "comeback" album/cd. Homage to Honky Chateau's ML&MH & some other songs revisit his better period, although it would be a while before he did a good song end-to-end. This is seen by most as hist first true step back up.

With 1988's Reg Strikes Back, Elton John returned to making a serious effort to abandon his excesses of the past few years that plagued his recordings since 1984's Breaking Hearts. There aren't a lot of gimmicks here - just straight forward rock and roll. Sure, it has some of the technology trappings of the late 80s, but this time, they don't over power the songs.

At the height of personal problems, Elton, once again, has risen to the occassion. If he had continued to put out poor product like 1985's Ice on Fire and it's follow-up, Leather Jackets, it could have been dooms day for the English piano player. Instead, what he delivers here isn't necessarily his best album, but certainly a turn in the right direction.

The album cover explains it all: in the midst of the crazy and tackiest 70s and 80s stage costumes, stand little Elton, or in this case Reg, his real name. It seems as if an awakening of sorts had dawned on him - get rid of the excess baggage and get down to business and make a fun rock album. And that's what he and lyricist Bernie Taupin do. So, does the music live up to all of the expectations?

Starting with Town of Plenty, Elton sings with utmost conviction on a song about the media and the constant struggle fame brings. The music is pretty shallow however and ultimately goes no where. Plus, Taupin's lyric is very difficult to sing along with. But the band and particularly the backing vocals, try hard to make you enjoy it. The next song, A Word In Spanish, is a beautiful ballad that has a terrific guitar solo by Davey Johnstone. This was the second single from the release and though it peaked in the Top 20, it deserved a place in the Top 10. Mona Lisas and Mad Hatters (Part II) resembles nothing close to its 1972 companion, but how could Elton try to mirror the original melody without ripping it off? The music here is jubliant, upbeat and fun. This second look at New York City is more celebratory instead of downbeat. Whether or not it should have been associated with the former version is up for someone else to decide. Standing firmly on its own, Part II is a welcome addition to this album. The big hit, I Don't Wanna Go On With You Like That follows and is everything an Elton single should be: catchy, fun and memorable.

The rest of the release follows pretty much the same formula. Goodbye Marlon Brando is one of Elton's best rockers, Heavy Traffic laments the drug war albeit with a very progressive melody line, and Since God Invented Girls is a homage to the Beach Boys and is a pleasant enough ballad. Some of the misses on this album include: Japanese Hands, which isn't over done but is just way too long; Poow Cow, a very obnoxious song that should have been left for a b-side somewhere with its tale of a poor girl who gets abused by her husband; and lastly, The Camera Never Lies, seems to be filling in space.

Producer Chris Thomas give a fresh polish to these songs and for once, doesn't bury the album in wall of sound foolishness. Also, the backing vocals by the original band give this album a very reminiscent feel even though except for Davey, they don't play on the release. My only quibble would be that Elton's piano is made part of the mix, not the sole focal point. Vocally, Elton sounds charged up and determined win us over.

Lyrically, the album is all over the place but Taupin still delivers his well branded style of pop lyrics. They may not be as moving or introspective as previous efforts but at least he keeps it interested in his own way.

Reg Strikes Back was a new beginning (how many times has he renewed himself musically?) for Elton John. His best album? No. But it showed the pop world that he still had plenty of life in him.