Soundtrack work truly was bread and butter living for some artists. Elton John would have his hits in the 1990s with additions to one Disney classic, but before he hit it big with Your Song and the albums to follow, he was plugging away at film work. Pink Floyd and Neil Young were, too. Any spare second was dedicated to creating, be it for a future project or a film that needed a name to stick on the soundtrack. Friends is just that for John and Bernie Taupin, an album about as well-known as the film it was written for. Paul Buckmaster is the name worth noting on this soundtrack. His work with John and Taupin on what would be one of their earliest projects together is a difference-maker, even though his inclusions may feel a tad subtle. His compositions are that extra step these songs needed, not just for the film but for listening to these tracks without the context of their use in the film, Friends.
Buckmaster clearly had some impact on John, the two had worked together a little before this project and there was clearly a reliable bond there. It worked for Your Song and Border Song, and so too that dynamic comes through on the title track. A little shoddy when it comes to the writing, but soundtracks are hardly a place for A-grade material from artists with still much to prove. Variations here, a few lyrical bits of solidity there, there’s a niceness within Friends that carries on for much of the album. It’s very light, and not at all close to the brilliance John would provide either side of this release, but then it doesn’t have to be. Friends is a soundtrack with solid efforts on it which are, more often than not, comfortable in giving over to the orchestral arrangements. Seasons is a very soft piece, the temptation to burst through with a louder, intensified sound is certainly there.
Credit to John, Taupin, and Buckmaster for pulling that back so often, though. They rein themselves in accordingly and as a result there is a nuance which survives. Friends has some more obvious commentaries and suggestions in its lyrics but they’re there to serve the film, rather than John and what he wants from this artistically. It’s hardly a hindrance for those listening now, either. Variation on Michelle’s Song is delightful and the follow-up, Can I Put You On, has a colloquial thrill to it. John works his way through the working-class towns and cities of the world with a solid bit of piano rock underscoring it. Quite the treat to listen to, especially when it highlights the instrumental prowess of John, the writing quality of Taupin, and the nice finishing touches Buckmaster offers.
Age feels like an inevitable part of Friends, with Michelle’s Song commenting on the young love and the suddenness of life rather well. It’s strong work from the trio here, and it’s a rather nice rarity from John. It’s hardly an all-time great but there are some wonderful reference points and solid work comes through. Instrumentally, it’s hardly perplexing material. A violin here, a bit of piano, and an acoustic guitar is all you need for a John song around this time. But it’s a model that truly suits his work, and there are elements of Friends that he would use across his career. Even his greatest hits follow this regimented but creative style. Friends has some moments worth hearing, other parts of it are the sort of song you bury on the soundtrack to a forgotten movie. I Meant to Do My Work Today is one of the most unintentionally hilarious songs you may ever hear, brace yourself for that.
