Critical reception
Upon its release, the title track received general positive reviews from critics. J. D. Considine from The Baltimore Sun noted its "irrepressible uplift." [2] Chuck Campbell from Knoxville News Sentinel named it a highlight of the album, describing it as "a surprisingly catchy up-tempo pop/rock ditty." [3] In his weekly UK chart commentary, James Masterton stated that the second single from the album of same name "in so many ways is a much better single. Forget all these mushy ballads about divorce and middle-age he has been churning out recently, posterity will record that Elton John is the master of the out-and-out pop stormer – and this song, both a homage to this wonderful country and yet at the same time a protest against homophobia is possibly one of the best records he has made for several years." [4]
Pan-European magazine Music & Media wrote, "In the past the inscription was found on the back of a Matchbox or a Dinky Toy. Elton puts it differently by singing he was made in England like the Cortina. Who cares, all these cars roll. But what's more, the song rocks too!" That aspect also instantly struck Norwegian Radio 102/Haugesund head of music Egil Houeland. He said, "After a whole string of ballads it's interesting to see Elton return with a solid uptempo rocker. He can still do it." [5] Paul Moody from NME felt the "decidedly frisky title track has the same self-righteous fizz of 'I'm Still Standing' right down to the immortal line, I got a bloody nose/For rock'n'roll." [6] People Magazine described it as "a prototypical Elton rocker that should echo nicely off the concrete walls in the stadiums he’ll play in this summer." [7] Mark Sutherland from Smash Hits viewed it as "something jaunty". [8]
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