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album I album secondari

Elton John - The One  (1992)
Album di grande successo, soprattutto in Europa, dove è stato ai vertici delle classifiche per parecchio tempo.  La produzione di Chris Thomas influenza pesantemente tutte le canzoni contenute, ma il pubblico e i fans hanno dimostrato di apprezzare senza troppi problemi



1) Simple Life
2) The One
3) Sweat It Out
4) Runaway Train [con Eric Clapton]
5) Whitewash County
6) The North
7) When A Woman Doesn't Want You
8) Emily
9) On Dark Street
10) Understanding Women
11) The Last Song


Stati Uniti:   8° posto
Inghilterra:   2° posto
Italia:    1° posto

da Rolling Stone

Buying an Elton John album these days is like investing in a mutual fund: You won't get a huge payoff, but you probably won't get burned either. As with recent portfolios offered by bankable rockers Rod Stewart and Eric Clapton, audiences buy into John's work at this point for a familiar sense of craft, not for stinging creativity. Which means that at the very least The One stands as the musical equivalent of comfort food.
John's thirty-third release, The One finds him reasonably spry despite having received the music biz's approximation of a gold watch: last year's useless tribute album, Two Rooms, plus a terrific box set. The new album boasts some hooks sharp enough to pierce our memory banks, from the amiable "Simple Life" to the Philly-soul-inspired "On Dark Street."
And yet there's not a one that couldn't have been helped out by more pointed production. As with John's releases for more than a decade, there's so much echo on The One that emotion dissolves into oblivion. Even a promising country honk like "Whitewash County" loses its very real shot at recalling Tumbleweed Connection.
Not that anything else on The One has a chance to scale such heights. "Runaway Train," (a duet with – guess who? – Eric Clapton) from the Lethal Weapon 3 soundtrack, isn't the only number that could run during the closing credits of some hack Hollywood film. Which is why, for all its small joys, The One will ultimately be best remembered not for its music but for the first-ever cover shot of Elton's hair weave.


da All Music Guide

Elton John once claimed that he could remember The One among his latter-day albums because it was the first he recorded without drugs or alcohol. If true -- and there's no reason to doubt him -- that could be the reason why this has more character than most of his albums since the early '80s, holding together well in its deliberately measured, mature songcraft by Elton and Bernie Taupin. There's less gloss than there has been on many of his late-'80s records, and John gives a fairly convincing performance throughout this set of pretty good songs. If there's any real problem it's that the album just doesn't have many memorable songs. Though they're all reasonably melodic and well-crafted, none of the them have memorable musical or lyrical hooks and, if anything, Chris Thomas' production is too even-handed. Still, even if it isn't memorable, it does represent a meaningful move forward, just because it does sound warmer and considered than the records that immediately preceded it. [The 2001 reissue contains two bonus tracks, "Suit of Wolves" and "Fat Boys and Ugly Girls."]

Stephen Thomas Erlewine

anno/label 1992 /Rocket Records
produzione Chris Thomas
arrangiamenti orchestrali --
studio Guillame Tell, Parigi/Townhouse Studio, Londra/Air Studios, Londra
musicisti Olle Romo: batteria; Pino Palladino: basso; Davey Johnstone: chitarre; Adam Seymour: chitarre; Guy Babylon: tastiere; Mark Taylor: tastiere; Eric Clapton: chitarra e voce; Jonice Jamison, Carole Fredericks, Beckie Bell, Nigel Olsson, Kiki Dee: cori; 
note album di grande successo commerciale, soprattutto in Europa.
le canzoni sono discrete, ma il punto debole è la produzione di Chris Thomas, votata all'uso di un'elettronica di basso livello, in linea con i suoni dell'epoca, il lavoro del batterista è da dimenticare