Ever since 2001's　Songs from the West Coast, Elton John and his longtime collaborator,Bernie Taupin, have been deliberately and unapologetically chasing their glory days of the early '70s, but nowhere have they been as candid in evoking those memories as they are on 2006's The Captain & the Kid, the explicitly stated sequel to 1975's masterpiece Captain Fantastic and the Brown Dirt Cowboy. That record was an autobiographical fantasia of John and Taupin's early years -- the days when they were struggling to make their mark, right up till their glorious success -- and the idea behind this album is to tell the story of those salad days, which not only isn't a bad idea at all -- it's clever and well suited for John, the most self-consciously unautobiographical of all major rock artists -- but fits right into Elton's desire to make records like he used to; after all, if he's trying to sound like the way things used to be, he might as well sing about the way they used to be, too. And The Captain & the Kid is nothing if not a proudly nostalgic piece of work bearing no modern touches; even the synths that occasionally color this country-ish rock are old fashioned analog synths. It sounds like an dream project on paper, but like a lot of dream projects, The Captain & the Kid doesn't quite live up to its lofty ideals. Part of the problem is that John has patterned the music not after Captain Fantastic　-- which lived up to its glamorama title through intense flights of camp and glitz that helped give its narrative a theatrical flair, not to mention a hell of a lot of color -- but after the stripped-down, country-tinged pop and rock of Tumbleweed ConnectionandHonky Chateau. That is the sound at the core of most of his best music of the early '70s, but it's not necessarily the best choice for this album, since it doesn't quite fit with the original Captain Fantastic or the gaudy story of their success; it's a tale that calls for bright neon colors, and everything about this album is muted and tasteful. ...