Tag Archives: Bernie Taupin

11-17-70 (Elton John) – Album Review

Posted on by
The Front Cover

The Front Cover

This live album is incredible. Not because the performance sets a standard to judge all future live records in the history of music by, but because what you listen to here is so divorced from the concept of Elton most people have that it is all frankly startling.

11-17-70 was recorded before a small audience. It has roughly 45 minutes of music, 20 which are taken up by a long “Burn Down The Mission” jam that has interpolations of “My Baby Left Me” and “Get Back” thrown in for good measure.

Elton plays backed by Dee and Nigel only (that is, bass and drums). The energy they display in general, and the stamina Elton has in particular is admirable. His piano skills are highlighted so markedly that any fan of the diminutive British pianist can be but hypnotized. And there was something which I found quite funny: Elton even sounds a bit nervous when he addresses the public! Continue reading →

Don’t Shoot Me I’m Only The Piano Player (Elton John) – Album Review

Posted on by
The Album Is Named After A Remark Elton Made To Comedian Groucho Marx During A Show.

The Album Is Named After A Remark Elton Made To Comedian Groucho Marx During A Show.

This was my first Elton John album. I bought it on the strength of “Daniel”, a song I had always been moved by. I admit that even back then, when I had no other albums of his, I had certain a feeling when I listened to it… a sort of hunch that told me “this guy can do better”. And now, having listened to Elton’s output both sides of it, I am sad to say that the record is not only average at best, but it is also the point where his work became saccharine for all the wrong reasons.

To me, “Don’t Shoot Me…” marks the instance where singles began having priority over albums within Elton’s career. The problem was somehow more evident in forthcoming ’70s albums like “Goodbye Yellow Brick Road”, and the ’80s were characterized by such an issue, of course.

Of course, the two A-sides here are so monumental that everything is forgiven for a minute. In addition to “Daniel” (a top 5 hit) we have “Crocodile Rock”, Elton’s first chart topper and a song where the farcical element that many saddle Elton with is put to the best possible use. Continue reading →

Tumbleweed Connection (Elton John) – Album Review

Posted on by
The Original Cover

The Original Cover

Released the same year as the superb “Madman Across The Water”, “Tumbleweed Connection” stands as one of Elton’s best-loved albums. No singles were drawn from it, and as a result it is never represented when it comes to “Best Of” packages. This makes listening to it all the more refreshing and novel, especially as more than a handful of compositions are as good (or better) than the albums both sides of it.

This time, there is a concept unifying the songs – they all revolve around the Far West. Bernie always loved the topic, and he concocts together stories of gunslingers, confederates, American natives and furtive love adequately enough. As I said before, it took Bernie some time to get places. But Elton was up to the challenge from day one, and he always managed to give his lyrics the right accompaniment. Leaving aside the lyrically accuracy or lack thereof, “Where To Now, St. Peter”, “Amoreena” and “Country Comfort” are A-side material, and so is “My Father’s Gun”, the song that would be featured 30 years down the line as the key tune to Cameron Crowe’s “Elizabethtown”. Continue reading →

Elton John In His Own Words (Susan Black) – Book Review

Posted on by
Elton John IHOW

The Front Cover Of The Book

Compiled by Susan Black, this book was released by Omnibus Press in England in the year 1993. As in other “In Their Own Words” titles it gathers assorted quotes from all through the years and mashes them together by theme. I used the verb “mash” deliberately, as the book could use some editing – there are quotes that appear multiple times under different headings, and such a thing can turn out to be certainly annoying.

Some of the featured chapters include “Songwriting”, “”Money & Possessions” and (of course) “Clothes & Accessories”. The most comprehensive section is thankfully the one named “The Records”, and we can see facets of Elton that are not necessarily palpable through his music in the chapters “Sports” and “Politics”. Continue reading →

Elton John – Album Review (Part 2)

Posted on by

(This is part 2 of the review. It discusses the remastered version. The original LP is dealt with in Part 1.)

All the “classic” Elton John albums were re-released in the mid 90s, remastered and with some bonus tracks to offer fans an incentive that would justify the purchase, as well as giving both fans and newcomers a sort of parallel overview of the songs that were released concomitantly yet left off each particular album.

The “Elton John” album is considered one of the best bonus-tracked releases along with the “Captain Fantastic” reissue. It includes three additional tracks: the b-side to “Border Song”, and a single of its own (Rock & Roll Madonna/Grey Seal). Of course, the name Grey Seal rings an immediate bell as the song was to be recorded anew with Elton’s classic band for the successful “Goodbye Yellow Brick Road” album in 1973. The consensus is that the later-day version is more cohesive, yet this early take has historic value since it stands as Elton’s recorded debut on electric piano. Continue reading →

Elton John – Album Review (Part 1)

Posted on by

A Somehow Enigmatic Cover, Don't You Think?

A Somehow Enigmatic Cover, Don't You Think?

Elton’s rise to fame was not that immediate as many often think. He had been covering other people’s songs for some time, not to mention being a paid songwriter along with Bernie for longer than was fulfilling. His first solo album went unheeded, despite oozing enthusiasm from every fiber.

If anything, his career was a matter of different pieces falling into position – his lyricist, his producer, his arranger and finally his classic band. On this, his second album (and the one that broke the commercial apathy) we see the addition of two of these figures, namely producer Gus Dudgeon and orchestral arranger Paul Buckmaster. They all had some heavy names on their resumes such as David Bowie and Eric Clapton, and the moment they agreed to work with Elton anything he would put out was to be digested differently, because their experience was to be felt in the final product . Continue reading →

Empty Sky (Elton John) – Album Review

Posted on by
Empty Sky's Front Cover

Empty Sky's Front Cover

This album is surprising to many people, if only because they believe Elton’s first release was the eponymous record that surfaced the following year. And it is all the more surprising because it is a considerably good album for a first attempt, or at least one whose ambition can’t be vetoed. It also has the distinct advantage of never having been overplayed like his other records, and that makes listening to it a refreshing task.

The whole album was composed by Elton and Bernie. It was produced by Steve Brown, the man who to a certain extent “discovered” them and suggested they began recording songs for themselves instead of being just hired hands for other Dick James Music artists.

Continue reading →

Elton John – General Introduction

Posted on by
Remember When Rock Was Young?

Remember When Rock Was Young?

It is very, very difficult to generalize about Sir Elton John. As much as I admire the man and his music, I am the first to admit that selectiveness is mandatory when you approach his catalog – and that applies even to his heyday way back in the 70’s.

His heyday way back in the 70’s. Elton achieved a degree of success and resonance no artist could even dare to imagine. And one thing that must be mentioned and remembered is that he fought for every inch of it. He captivated the public with standout records and mesmerizing performances, and he worked relentlessly hard from day one. Continue reading →