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DiscDebate_EltonJohn.sTitle = "Disc Debate: Pick the best albums";
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DiscDebate_EltonJohn[i++] = new Array("","1. \"Madman Across the Water\" (1971)","","http://msnbcmedia.msn.com/i/msnbc/Components/Photos/051219/051219_disc04_madman.jpg","","", "", "Video", "14684b2e-2cb6-4edc-8210-ccf1eb7beda5|", "", "right", "", "Island", "197", "198", "#000000", "", "", "", "");
DiscDebate_EltonJohn[i-1].body = "This was the watershed album between Elton’s earlier raw, bluesy works and his burgeoning pop presence. Not universally embraced at the time of its release by critics who couldn’t accept the shift in direction from “Tumbleweed Connection,” it nevertheless has achieved cult status thanks to an even mix of rousing, lively singles such as “Tiny Dancer” and “Levon” and more somber cuts like “Indian Sunset,” “Goodbye” and the title track. But the entire disc is uniformly effective, because songs that got much less radio love such as “All The Nasties,” “Rotten Peaches” and especially “Holiday Inn” are sacred jewels in any Elton worshipper’s cache. This marks a maturation of the songwriting team of Elton and Bernie Taupin and the first Elton album to give orchestral strings a major role. This was also the first album by John-Taupin after coming to the U.S. from England. Incidentally, “Tiny Dancer” is about Taupin’s wife Maxine, who actually was a seamstress for the band.";

DiscDebate_EltonJohn[i++] = new Array("","2. \"Goodbye Yellow Brick Road\" (1973)","","http://msnbcmedia.msn.com/i/msnbc/Components/Photos/051219/051219_disc01_yellow.jpg","","", "", "", "", "", "left", "", "Island", "198", "198", "#000000", "", "", "", "");
DiscDebate_EltonJohn[i-1].body = "Elton was in full-blown pop mode, with chicken costume and massive sunglasses, after this took the charts by storm. Recorded at Strawberry Studios in France after an aborted session in Jamaica, it’s a double-album that featured a wide range of styles and influences and, not surprisingly, yielded twice as many memorable hits for the Elton catalog. Among the signature cuts are “Bennie and the Jets,” which climbed to No. 1 in the U.S.; “Funeral for a Friend”; “Saturday Night’s Alright for Fighting”; “Candle in the Wind” (a tribute to Marilyn Monroe, and later redone for Princess Diana) and the title track. But like most of Elton’s works, the songs that might be throwaways on a lesser artist’s album are near classics here, such as “All The Girls Love Alice,” “Social Disease,” “Harmony” and “Grey Seal.” Elton has said this album was to his career what the “White Album” was to the Beatles’. “Goodbye Yellow Brick Road” has sold more than seven million copies.";

DiscDebate_EltonJohn[i++] = new Array("","3. \"Honky Chateau\" (1972)","","http://msnbcmedia.msn.com/i/msnbc/Components/Photos/051219/051219_disc05_honky.jpg","","", "", "", "", "", "right", "", "Island", "198", "198", "", "", "", "", "");
DiscDebate_EltonJohn[i-1].body = "Best known for producing the single “Rocket Man” at a time when Bernie Taupin was fascinated by the space program, it also refers to a period when fame began to force a feeling of isolation upon the duo. (It also set up a rivalry with David “Space Oddity” Bowie over which artist created the more compelling astronaut.)  But it is a superb blend of bouncy pop confections like “Honky Cat,” “Mellow” and “Hercules” and more thoughtful creations such as “Mona Lisa and Mad Hatters,” “Salvation” and “Slave” (an ode to The Band, which was a favorite of John and Taupin). This marked the first time that Elton’s touring band worked together as a recording entity, featuring Dee Murray on guitar, Davey Johnstone on bass and Nigel Olsson on drums. This was Elton’s first No. 1 album in the U.S.";

DiscDebate_EltonJohn[i++] = new Array("","4. \"Don't Shoot Me I'm Only The Piano Player \" (1973)","","http://msnbcmedia.msn.com/i/msnbc/Components/Photos/051219/051219_disc02_piano.jpg","","", "", "", "", "", "left", "", "Island", "198", "198", "", "", "", "", "");
DiscDebate_EltonJohn[i-1].body = "Later in his career, pop would summon the death knell for Elton’s career, or at least deliver a debilitating blow. The more famous he became, the more lavish his lifestyle and the more he bought into his image. Consequently, the music suffered. However, “Don’t Shoot Me” is an example of how early Elton could satisfy the gods of pop while maintaining his musical integrity. Try to forget for a moment that songs like “Daniel,” “Crocodile Rock,” “Elderberry Wine” and “Teacher I Need You” have gotten air play ad nauseum; they’re still finely crafted tunes that meet all the requirements for entry into the pop pantheon. But this album is not exclusively lightweight. “Have Mercy On The Criminal” reaches back deep into Elton’s soulful roots. “Blues For Baby And Me” is a heart-wrenching expression of young love. And “Texan Love Song” is an indictment of American narrow-mindedness.";

DiscDebate_EltonJohn[i++] = new Array("","5. \"Tumbleweed Connection\" (1971)","","http://msnbcmedia.msn.com/i/msnbc/Components/Photos/051219/051219_disc03_tumbleweed.jpg","","", "", "", "", "", "right", "", "Island", "198", "198", "#000000", "", "", "", "");
DiscDebate_EltonJohn[i-1].body = "This was Elton’s third album and the one that allowed his fans to declare that someone special was on the musical horizon and moving fast across the landscape like a twister. “Tumbleweed” featured an American West theme throughout and is especially apparent on such numbers as “Country Comfort,” “Ballad of a Well-Known Gun” and “Burn Down The Mission.” Also, “Love Song” is terrific, even though it was written by Lesley Duncan and not the John-Taupin team.  That is not to be confused with the better known “Your Song” from his second album, which was not released as a single until after “Tumbleweed Connection” came out. But the juxtaposition of the two is important because the simultaneous success of “Your Song” the single and “Tumbleweed” the album sent Elton’s star into orbit.";

DiscDebate_EltonJohn[i++] = new Array("","THE DUD: \"Captain Fantastic and the Brown Dirt Cowboy\" (1975)","","http://msnbcmedia.msn.com/i/msnbc/Components/Photos/051219/051219_disc06_captain.jpg","","", "", "", "", "", "left", "", "Island", "198", "198", "", "", "", "", "");
DiscDebate_EltonJohn[i-1].body = "Just about anything after 1974 is eligible for this dubious distinction. Granted, Elton has had critical and commercial successes since his heyday of the early ‘70s, and the power of his talent remains unquestioned. But because he’ll always be measured by that incredibly prolific period, it’s probably fair to cite the album from that time with which he jumped the shark. That would have to be “Captain Fantastic and the Brown Dirt Cowboy.” While the title track works fine, the rest of the album – thematically a look at the difficulties John and Taupin dealt with in the music business – feels forced and manufactured. “Someone Saved My Life Tonight” and “Meal Ticket” are particularly annoying. For Elton, it was a slow slide down from here.";

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