Elton John entered the second decade of his pop music career releasing his 21st long-player during the 33rd year of his life, hence the album's title. It also marked the tentative return of former writing partner
Bernie Taupin after a four-year sabbatical. Although the reunion yielded a trio of tunes, "Chasing the Crown," "Two Rooms at the End of the World," and "White Lady White Powder," unfortunately they all suffer from the same nauseating disco vibe that made
John's previous effort, 1979's Victim of Love, so thoroughly dismissible. However, the following year's
21 at 33 is far from a complete washout. Building on the strength of his relationship with
Gary Osborne -- with whom
John had created
A Single Man (1978) -- the pair wrote the standouts "Dear God" and "Take Me Back" as well as the hit single "Little Jeannie." "Sartorial Eloquence" harks back to the classic "Don't Let the Sun Go Down on Me," thanks to the all-star backing vocals from
Eagles Glenn Frey and
Don Henley as well as
Toni Tennille,
Bruce Johnston, and
Peter Noone (from
Herman's Hermits). Interestingly,
John briefly reassembled his 1970s core band of
Davey Johnstone (guitar),
Dee Murray (bass), and
Nigel Olsson (drums), although their contributions sound more like an afterthought when compared to those of studio stalwarts
Richie Zito (guitar),
Steve Lukather (guitar),
Lenny Castro (percussion), and an all-star horn section of
Chuck Findley (trumpet),
Jim Horn (sax), and
Jerry Hey (trumpet). The scattered nature and lack of cohesion on
21 at 33 would translate onto
John's next few albums such as
The Fox (1981) and
Jump Up! (1982). Not until the full-fledged reunion with
Taupin and backing quartet on
Too Low for Zero (1983) would
John begin to reestablish himself as a central pop music figure. ~ Lindsay Planer