.
http://assets-s3.rollingstone.com/assets/images/album_review/1cae1a8d97d35f0f29d592f4863f428f19d20887.jpeg Victim of Love

Elton John

Victim of Love

Rolling Stone: star rating
Community: star rating
5 0 0
December 13, 1979

Elton John's entry into the rock-disco sweepstakes comes a year too late to make much of an impact. Moreover, Victim of Love doesn't contain any John songs: producer Pete Bellotte, best known for his work with Donna Summer, did most of the writing here, except for a mummified version of "Johnny B. Goode" that's too slow for dancing. Only two of the new numbers, the title tune and "Thunder in the Night," have catchy melodies. Otherwise, the album is empty of ideas.

The style here is anonymous, derivative, Los Angeles-cum-Munich pop disco with no climaxes, no interesting instrumental breaks, no novel twists whatsoever. Either John and Bellotte couldn't think of anything better to do than echo the synthesizer hook of Rod Stewart's "Da Ya Think I'm Sexy?" or they just wanted to get the product out in a hurry. Doesn't matter. Victim of Love hasn't a breath of life.

prev
Album Review Main Next

ADD A COMMENT

Community Guidelines »
loading comments

loading comments...

COMMENTS

Sort by:
    Read More
    Around the Web
    Powered By ZergNet
    Daily Newsletter

    Get the latest RS news in your inbox.

    Sign up to receive the Rolling Stone newsletter and special offers from RS and its
    marketing partners.

    X

    We may use your e-mail address to send you the newsletter and offers that may interest you, on behalf of Rolling Stone and its partners. For more information please read our Privacy Policy.

    Song Stories

    “Try a Little Tenderness”

    Otis Redding | 1966

    This pop standard had been previously recorded by dozens of artists, including by Bing Crosby 33 years before Otis Redding, who usually wrote his own songs, cut it. It was actually Sam Cooke’s 1964 take, which Redding’s manager played for Otis, that inspired the initially reluctant singer to take on the song. Isaac Hayes, then working as Stax Records’ in-house producer, handled the arrangement, and Booker T. and the MG’s were the backing band. Redding’s soulful version begins quite slowly and tenderly itself before mounting into a rousing, almost religious “You’ve gotta hold her, squeeze her …” climax. “I did that damn song you told me to do,” Redding told his manager. “It’s a brand new song now.”

    More Song Stories entries »
    www.expandtheroom.com