The ‘Reg’ That Roared
By the summer of 1988, Elton John was ready to reclaim his narrative. Recovering from throat surgery, navigating a difficult divorce, battling substance issues, and confronting relentless tabloid scrutiny – including a libel case against The Sun – he staged a dramatic reset. The album’s title, Reg Strikes Back, asserts a return to his roots – Reginald Kenneth Dwight – on his own terms.
The iconic album cover, styled by David Costa and photographer Gered Mankowitz, features a flamboyant heap of Elton’s past stage costumes, symbolizing the shedding of his former selves – complete with a Minnie Mouse chasing Donald Duck – as he stepped into a new era.
Production & Musical Shift
Teaming once again with producer Chris Thomas, Elton pivoted from traditional grand piano to an electric Roland RD‑1000 – a sonic choice that complemented the polished pop-rock aesthetic.
Recording sessions spanned legendary studios across the globe – London’s Air Studios and Westside, plus L.A.’s Circle Seven and The Record Plant – under engineers like Bill Price and Michael Mason. It was a tight, layered production, leaner without orchestration but rich with synths (Fred Mandel) and percussion (Ray Cooper).
Track-by-Track Breakdown
- Town of Plenty = A vibrant reintroduction featuring a guest guitar cameo by Pete Townshend. Its energetic groove set the stage for Elton’s resurgence.
- A Word in Spanish – A Rolling Stone-praised ballad infused with Spanish guitar warmth; it became a US hit, peaking at #19.
- Mona Lisas and Mad Hatters (Part Two) – A sequel to his earlier classic, this track leans into Latin-jazz and dance, featuring Freddie Hubbard’s trumpet. “My favourite track on the album,” Elton admitted, citing its ‘New York feel’.
- I Don’t Wanna Go On With You Like That – A pulsating dance-pop anthem that resonated deeply – #2 on Billboard Hot 100 and Elton’s biggest US single of the ’80s.
- Japanese Hands – Synth-heavy and dramatic, it was a bold sonic detour that showcased Elton’s willingness to experiment.
- Goodbye Marlon Brando – Charged with defiant energy, the song lashes out at sensationalist media—a pointed statement after his libel victory.
- The Camera Never Lies – Solid, radio-friendly pop-rock aimed squarely at adult contemporary audiences.
- Heavy Traffic – Co-written with Davey Johnstone, it’s a groove-laden rocker born in spontaneous studio urgency – Bernie Taupin even wrote verses over the phone that day.
- Poor Cow – A tender, lilting ballad offering a reflective calm amid the album’s broader narratives.
- Since God Invented Girls – A breezy, affectionate ode to romance, enriched by lush harmonies from Beach Boys alumni Adrian Baker, Bruce Johnston and Carl Wilson.
The CD reissue (1998) added bonus remixes – including a Shep Pettibone dance mix, a piano strip-back, and a Renaissance dance club cut.
Commercial & Critical Reception
- Released June 20, 1988 (internationally June 24), the album peaked at #16 on the US Billboard 200 (#18 UK) and earned Gold certification in the US by August.
- Chart highlights: #13 in Australia, Canada, various European markets; 2× Platinum in Canada and Gold in Australia, France, Switzerland.
- Reviews were mixed: Rolling Stone gave 3/5, while some European outlets criticised it as ‘mediocre’. Still, major outlets like Chicago Tribune applauded its ‘fan‑pleasing’ spirit.
Touring & Aftermath
Following a year off to heal and regroup, Elton debuted a refreshed band—including new R&B-driven rhythm section (Jonathan Moffett, Romeo Williams) and backing vocals by Marlena Jeter, Natalie Jackson, Alex Brown—at an AIDS benefit in L.A., featuring the then-unreleased “Love Is Worth Waiting For”.
The U.S. tour ran from September 9 to October 22, 1988 (Miami Arena → Madison Square Garden), followed by a Europe and Eastern Europe tour in Spring 1989 as they built momentum into Sleeping With The Past.
Legacy & Personal Revival
Elton’s memoir Me reflects on Leather Jackets as a low point—“an unmitigated disaster”—and frames Reg Strikes Back as a pivotal turning point. His voice, renewed post-surgery, sounded richer and more assured.
“By the time I came back, my life had changed even more than my home had,” he recalled—referring to a personal rebirth as transformative as his refurbished English property.
Why Reg Strikes Back Still Matters
- Reclaiming identity: Defiance against media pressure, addiction, and personal loss – all channeled into a bold musical statement.
- Modern yet nostalgic: Blends synth-driven ’80s production with classic Elton/Taupin storytelling and emotional resonance.
- Band transformation: Fresh collaborators reshaped his live sound, laying groundwork for what came next.
Recommended Listening Guide
- Start with: ‘I Don’t Wanna Go On With You Like That’ – danceable but deeply confessional.
- Then dive into: ‘Heavy Traffic’ and ‘Town of Plenty’ for studio spontaneity and vigor.
- Don’t miss: ‘Mona Lisas and Mad Hatters (Part Two)’ – Elton’s personal highlight.
- Wrap up with: ‘Goodbye Marlon Brando’ to feel the album’s emotional grit and personal resolve.
Conclusion
Reg Strikes Back is more than an album – it’s Elton’s statement of survival. Written under duress and delivered with conviction, it signifies a phoenix moment – a confident re-emergence from turbulence, rooted in personal identity and musical integrity.
If you’re exploring this era, Reg Strikes Back is essential: a snapshot of an artist who, at a crossroads, chose to rebuild, reclaim, and strike back.
