After the release of 1995's "Made In England", a tidy album which Elton and Bernie bravely attempted to hone in on the songwriting craft, along with a major world tour and the subsequent "Tantrums" and "Audiences with..." tv shows, came the recording sessions for what became "The Big Picture" album.
In the midst of this came the shocking news that his friend, Gianni Versace had been murdered outside his home, which had obviously resonated onto this album. A short time later, as he was about to release the lead-off single "Something About The Way You Look Tonight", Princess Diana was killed. With arrangements being made for Elton to perform at the requiem, the single was withdrawn and reassembled with the addition of "Candle In the Wind" which became the biggest selling single in UK chart history. Such events caused a significant benchmark in Elton's career and one that's still,unfortunately, almost always drawn back to, for whenever there is need for an emotional musical touchstone, Elton seems to be at the top of the list. At least he now seems to realise that this could be his albatross which he's successfully escaping from.
The album is lush, dark, yet somewhat directionless and bland. The surprising choice for the opening track, a quiet introspective piece, represents the overall mood of the album.
The rather beautiful, though slightly overcooked "Live Like Horses", minus Pavarotti, is one of the highlights of the album and contains one of the best Taupin lyrics in recent years, which, with its allusions to mortality and spiritualism, lost all its emotional impact on the operatic single release.
"If The River Can Bend" is excellent rock-gospel, with plenty of key-changes and chord progressions to keep you interested.
One other highlight is the title track...strongly evocative of the songs on "Madman Across The Water" it prefigures Elton's creative shift into Ryan Adams-style alt.country that became "Songs From The West Coast" four years later.
"Something About The Way You Look Tonight" is worthy of its single release, though its representative of the standard Elton John love song he can easily churn out.
The rest lacks sparkle and sounds complacent and uninspired. Its interesting to note that during the subsequent tour to promote the album, he hardly touched on the album at all. To top it off the cover painting by the otherwise brilliant artist Julian Schnabel is dismal. Shame.