Sunday, June 9, 2019

'Blonde On Blonde' - Part 1

When the Spanish arrived in what we now know as South America some centuries back, the Incas were struck dumb with fear. Not just with the muskets and cannons that pelted them from fore and above. But by the mere sight of the Spanish cavalrymen on top of a horse.

Because the Incas had never seen a horse before.

They thought that horse and rider were one unit; one amazingly designed efficient creature of war. So much a fright and a shock to them their brains could not comprehend what they were actually seeing. Initially they could not see it as their brains could not compute what their eyes were seeing as it was such (to them) an alien vision.

Now, we're not saying that Elton and Davey have a similar interconnection but the closeness of hip may be startlingly similar to some degree. Whether it be on stage or on disc where one is seen the other is heard. And vice versa. Unfortunately on this leg of the tour Elton's most trusted Sherpa, like Tenzing to Hillary, has not been able to climb this summit at this time. But as we know an equally trusted musical porter has stepped up in the form of John Jorgenson. With no reduction of authenticity or talent.

Some people may remember a few years ago the website 'Musinq' held an open access forum for legendary musicians to take questions from netizens. Its remit was very clear. Similar to the entrance exam of the Chinese civil service, in fact. It has no time limit and only one question.

Tell us all you know.




Davey might not have told us exactly everything but I tried to ask damn near as much I could over a two year period from early 2012 to late 2013. As you can see from the highlights of the questions I asked him he was candid, funny and humble. As I'm sure some readers will remember too when there was an unfortunate incident on the troll farm.

One day somebody broke the internet code, similar to the country code in fact, and left a gate open down on the troll farm. A troll wandered off to wreak havoc in areas it had no business to be grazing in. Thankfully Davey's absence was brief and he returned after the unfortunate incident. I can't confirm if said troll was sent to the canner...

I felt after that though the general ambiance of the whole exercise was never really the same. I dread to think if it were still running today what class of clientele would pitch up. 

I've broken this 'conversation' up in three parts; it covers some tragic, some joyful musical and personal moments in the 'Elton' world. It's a great record of where we were back then earlier in the decade and what Davey has helped to contribute for nearly 50 years.


Paul January 24, 2012 
Davey, can you us what was it like to play the Steinberger guitar and why don’t you use it on tour now?
Davey January 24, 2012  
I love the way the Steinberger sounds, I love the way it plays, but I don’t like the way it looks – a bit like a vacuum cleaner! Not to be unfair, as it had a very 80′s look with no headstock etc, but it felt a bit like I was playing a cricket bat on stage – not very rock’n'roll! I still use it in the studio occasionally, it’s got a fabulous neck, very easy to play.

Paul January 24, 2012 
Davey, of all the great guitar solo’s you’ve done, which one is your favourite and why?
Davey January 24, 2012 
A very hard question. A good one is "A word in spanish" from the Reg Strikes Back album. It was quite a challenge as the chord sequence is pretty out there, and also because it’s like, a 24 bar solo, so obviously the trick is to hold the listener’s imagination. I remember sitting in an iso-booth screwing around with ideas while Elton was doing his vocals, so I had it pretty well mapped out by the time Chris Thomas said, "Guitar solo time?" I almost nailed it in one take, except for the penultimate phrase, which was a very fast flourish all the way across from the top E string ending on a low F, which I fluffed! We dropped in for the last 3 – 4 bars and there it was.

Paul January 23, 2012 
Davey, can you tell us how playing with Caleb Quaye in the 70's and John Jorgenson in the 90′s had an influence on your playing?
Davey January 23, 2012 
Both of those guys are master musicians and great to play with. Caleb and me used to love trading licks and putting wailing harmonies together. We called ourselves "The Tapestry Section" because of all the weaving and skirling we did! With John, it was like a dream come true, as he already was familiar with a lot of my guitar parts, so to hear the results in a live setting was almost orgasmic! When you play with great players, it forces you to raise your game.

Paul January 23, 2012
Davey, you worked with two great producers on Elton’s albums, Gus Dudgeon and Chris Thomas. Can you tell me how they differed in their approach.
Davey January 23, 2012 
I still refer to the late Gus Dudgeon in the present tense as I can’t believe he’s gone and Chris Thomas was best man at my wedding to Kay in 1992, so both these guys mean so much to me. Both Chris and Gus have the amazing gift of being able to extract the very best out of the artists they are working with. It’s no mean feat to go toe to toe with Elton John and perhaps disagree with Him occasionally! Also, the undisguised love for music and insane passion to chase all the little parts and mix them together is the producers job, and I’ve rarely seen it done any better than these 2 men. How they may differ is a whole other chapter!

Paul January 22, 2012  
Davey, I’ve always thought it would be cool if on a tour you played a whole album complete, in running order, with a different album each night. Just like you did at Wembley in 1975 with CFATBDC. Have you ever considered such an idea?
Davey January 22, 2012 
Someone asked me that! It’s a pretty tall order and anyway, Elton’s answer would probably be, "I’d rather have open heart surgery with a greasy spoon"

Paul January 22, 2012 
Davey, I always loved how you integrated the guitar solo from Keep Right On into the extended part of Rocket Man live in the 1980′s. Can you tell me how you came about to use it as a bridge from the main song to the extended outro?
Davey January 22, 2012 
Dee always loved that guitar line from the album, so one night I just threw it in, and he jumped on it. As you noticed, it developed into a regular part of the "Rocket man" tag section, complete with harmonies and what have you.

Paul January 22, 2012  
Davey, can you give us an insight into the magical backing vocals that you, Nigel Olsson and the late great Dee Murray perfected and that became so much part of Elton’s sound.
Davey January 22, 2012 
The first time we sang together was on "Rocket man" – and you’re so right, the result was indeed magical. There is such a beautiful mixture of pride, enjoyment and excitement in recording, and we were totally in the zone during all these sessions. There is also the fact that we were a very tight knit band and we were just doing what came naturally and loving every minute of it. Thanks for the great question.

Paul January 21, 2012  
Davey, can you give us an insight on the reasoning behind the variation in guitars on the same songs during a tour. For example the Gibson Explorer some nights on The Bitch is Back, then the Flying V on other nights. I always notice that Crocodile Rock seems to have the most variations in guitar choice! I do like the American Showster you use some nights on it!
Davey January 21, 2012  
You’ve obviously checked out a few shows – thanks. It’s kind of a great problem to have, but because we tour so much, one night we may be in Rio, the next night in Vegas, EJ’s manager suggested we try to ‘duplicate’ whatever instruments I would use in a show, creating a second complete rig of gear. The Flying V and the Explorer have similar qualities, so between my "A" rig and my "B" rig, there will be differences – each guitar has it’s own distinctive qualities and this makes each gig a challenge for me and Rick my tech, as I’m never sure which guitar he’s going to hand me!

Paul January 21, 2012  
Davey, Can you tell me what Elton song was the hardest one that you’ve had to put a guitar line to?
Davey January 21, 2012  
Usually the first idea works best because it’s from the heart. The trick is to enrich the song, not showboat – but if it fits, do it. EJ is such a great musician and songwriter that it’s always a joy to come up with ideas.

Paul January 26, 2012 
Davey, all of the tours you’ve been on have been quite memorable for one reason or another. Which one above all others sticks in your mind?
Davey January 26, 2012  
When I’m done with all the touring I’ll be in a better position to answer that, but there is always a special place in my heart for the 1974 US tour when John Lennon was hanging out and even playing with us! Also, the whole Elton thing was at fever pitch then.

Paul January 26, 2012  
Davey, you’ve recorded with Elton in some exotic (and no so exotic maybe!) locations. What was the best studio you recorded in and why?
Davey January 26, 2012  
The best 2 studios for our particular method of working were Chateau D’Herouville near Paris, and Caribou Ranch, Colorado….also Air Studios in Montserrat which was wiped out in a cyclone I believe. We liked the residential vibe of these studios, because everyone’s in the same place, eating together etc and working more or less when we felt like it. We also recorded a lot at Trident Studios and the Townhouse, both in London. There Used to be so many great studios….

Paul January 25, 2012   
Davey, being Irish myself we both share a similar musical heritage and I’ve always appreciated your integration of that sound on the albums. How important was it to you over the years to include some of that musical background onto Elton’s albums?
Davey January 25, 2012  
Bringing my own style was always totally important to me, as there are hundreds of great players who can shred anything, but with my musical background, I have been able to introduce some elements that perhaps straight ahead guitar players would not have thought of. Barney Makenna of The Dubliners was a huge influence on my playing, as was Finbar Furey and The Incredible String Band. When the first Zepellin album came out, it was entirely obvious to me that Page had enormous respect for people like Bert Jansch as well as the old Delta bluesmen. It’s ALL relevant.

Paul January 28, 2012  
Davey, Building A Bird is the best EJ/BT song that Elton never recorded. Nigel did a great job with his version and you and the rest of the band were great on it too. Any chance of you guys ever doing that one live with Nigel singing and Elton playing piano?
Davey January 28, 2012  
Elton recorded that during Made in England – it just didn’t make the album. I thought Nigel did a great job on it, and I also LOVE the version of 2 songs I wrote with Steve Trudell – Move the Universe and If I was Love. Guy and me had such a great time co producing that record. Unfortunately, the label who owned the masters didn’t seem to want to do any more with it, which is a shame.

Paul January 28, 2012 
Davey, you’ve played over 2000 band shows with Elton. The only time you would get an opportunity to see him live is when he does a solo show. I was wondering, have you seen Elton in concert and how did he come across to you from the different perspective?
Davey January 28, 2012 
I saw the solo show a few times when he started doing it, and I absolutely LOVED it. He did a version of "He’ll have to go" that was stunning. Seeing him in that format always reminds me of how amazing he is….not that I really ever forget.

Paul February 7, 2012 
Davey, the last time I saw you live was in Cork, Ireland, last June. When the piano broke down. Twice. I’ve never seen you pray in concert before, so you can add that to the list of the things you have done onstage with Elton!! Seriously though, thanks to the tech’s fantastic work the show went on. Was that closest you’ve ever come to the show not going on?
Davey February 7, 2012  
That was cool…..yes, our crew are amazing as so much CAN go wrong, especially as we travel so much and the stuff gets banged up obviously. I bellieve a much worse piano breakdown occurred during a solo show at the Greek some years ago – but again it was resolved, thanks very much to Clive Franks. I pray every night regardless of what is or is not happening – I’m extremely grateful for my life and my job.

Paul February 7, 2012  
Davey, can you answer me this little thing nagging in my mind. When Elton has performed Madman Across The Water in the last couple of years, he sticks a litlle bit into the solo. I think it’s Sign My Name Across My Heart by Terence Tent D’Arby. But some of my Eltonite friends say it’s The Girl From Ipanema. Please can you clear up this bone of contention!!
Davey February 7, 2012  
Wow, you guys get deep! We do throw a bit of samba in, but it’s nothing specific, just a groove. Things develop during an onstage jam and they either work or…..either way, that song highlights what a great player Elton is, and it’s also very dynamic as I’m playing acoustic. Love Terence T D though, we had a great jam years ago.

Paul February 7, 2012 
Davey, when you were out of the band for a little while in the late 70′s/early 80's, Richie Zito and Tim Renwick were the lead axemen for Elton. I believe you joined them both onstage with Elton at a show in Los Angeles on the 1980 tour to do Bite Your Lip. How did that feel to be back up there and do you think Tim and Richie subbed for you pretty good in filling in for you on the tour?!
Davey February 7, 2012 
Hazy memory – I played slide on my flying V and I got a great welcome from the crowd. Tim and Ritchie are great players, I see Zito here and there, he’s a sweetheart.

Paul February 19, 2012 
Davey, The Captain And The Kid is in my top 10 of all time Elton albums. A true classic right up there with the best. As the album cover the period that you have been associated with Elton, which songs on the album have a personal resonance for you and why?
Davey February 19, 2012  
Love that album, the title track is great – in fact I like the whole record – it’s a shame the record company didn’t get more behind it…..I saw a video of us doing it live in Basle which was killer, although EJ was in a dreadful mood for some reason I can’t recall…

Paul February 18, 2012 
Davey, is there any song that you when you’ve taken out on the road with Elton that the live version was superior to the recorded version and wish you could re-record it that way?
Davey February 19, 2012  I have to take the 5th on that – could get me in trouble….but no, I’m not rushing to re- record anything…..

Paul February 18, 2012 
Davey, on the current tour what is the oldest guitar you are using and what is the newest model?
Davey February 18, 2012  
Oldest is my Gibson Les Paul custom – Black Beuty with 3 pick ups. 1972 deluxe model. Newest? No idea, maybe my Eric Johnson White signature Stratocaster, don’t know the year.

Paul February 16, 2012
 Davey, I loved the orchestral suite that James Newton Howard did of Elton’s music on the soundtrack to Gnomeo and Juliet. As you know James so well, do you think he’ll ever do Elton:The Symphony, similar to the Queen project that Tolga Kashif did some years back?
Davey February 16, 2012  
Who knows? James is one of my dearest friends, and he is always working on some movie or other. We always talk about doing another project together – but we only see each other once or twice a year. The first Symphony James was involved in was in 1976 at Abbey Road, when he conducted tha London Symphony Orchestra on "Tonight" – Pure magic.

Paul February 15, 2012  
Davey, I love the Talk Box solo on Dan Dare. Any chance do you think of you using it again one day?!
Davey February 15, 2012  
Hmmmm, no I think it’s had it’s day!

Paul February 17, 2012  
Davey, I guess the Talk Box revival ends here!! I was listening the other day to The Wide Eyed And The Laughing from Blue Moves with incredible sitar work from yourself aswell as a songwriting credit. Crosby & Nash did some wonderfully arranged backing vocals on it too. For me it’s one of the most complex Elton songs in terms of writing and sound. Can you share with us any memories you have of recording it?
Davey February 17, 2012 
There’s an amazing old home video that Clive Franks shot of me and Caleb playing it just after we’d written it – in a smoke filled hotel room! Maybe one day Clive will let folks see it….it was very cosmic to record and wonderful to have Graham & David sing on it.

Paul February 14, 2012  
Davey, We All Fall In Love Sometimes/Curtains is one of the greatest album cuts ever put into vinyl, in my opinion. Can you give us some background on how the 2 songs came together as one combined piece and some details on your input, especially the wonderous guitar solo and the fabulous outro.
Davey February 14, 2012  
You’re so kind, thanks. We recorded both songs together, meaning, no edit, because we wanted to have the same romantic feel all the way through. It was the last piece on a very emotional album, and we were in the zone – when you get to sing a line like, "…and just like us you must have had a once upon a time" it doesn’t get any better than that. The solo was first take and then I put another guitar answering the first one – again first take. We invented ‘polite grunge’ on the outro, and it rocked…

Paul February 14, 2012  
Davey, I see from an earlier question you said Salvation was the first cut you put down at the Chateau. I take it then that was the first time you ever played electric guitar? I have to say it’s a fab line you play, a scrumptious part on the chorus and a lovely delicate part on the chorus. And it’s also a great song too!! Can you tell me what guitar you used on it and what was that moment like, The Day Davey Went Electric?!
Davey February 14, 2012  
No, I had played Electric many times through my young years. Like every guitar freak, I spent hours staring at a white Stratocaster in the window of a music shop thinking, " one day……" I also played electric with Magna Carta here and there – I just wasn’t a specialist – I liked acoustic and mandolin and sitar equally.
Anyway, Salvation was played on a black Strat which I retuned for the slide solo. It was cool because it was the first time Dee and me started trading lines and getting excited about playing together.


Paul February 27, 2012 
Davey, I’ve always thought your use of the Leslie speaker was another trademark that helped define Elton’s sound. Can you tell us any special memories you have of using in the studio?
Davey February 27, 2012  
I’ve always loved that sound – I turned Jean Luc Ponty the brilliant violinist onto it during the Honky Chateau sessions – we used it on his solo on Mellow – excellent! Glad you like that effect.

Paul February 26, 2012  
Davey, EJ.com recently asked fans for their memories of GYBR. Apart from the obvious favourites on the album, I think Dirty Little Girl is a killer cut. Can you tell us about your input into recording the song, please?
Davey February 26, 2012  Well, there was tons of guitars on that whole album, so I had a blast. On DLG, I retuned my low E string on the Les Paul, and then kept twisting the tuning keys throughout the whole track, which gives it that nasty, sleazy sound.

Paul February 24, 2012 
Davey, you must be getting fatigued with all the setlist questions!! But here’s another suggestion.
Too Low For Zero is one of my all time favourite Elton songs. Any chance on this tour of getting the drum macine powered up once more and sending Nigel down to the front and singing? If that happens, I don’t know what much else for me there is to see in life!!
Davey February 24, 2012  
I think perhaps you must set yourself some higher standards! I have suggested 2¥40 almost every year, as I think it’s a wonderful example of that 80′s time period. One of these days he might consider it, we’ll have to wait and see….
Paul February 25, 2012 
The Bridge certainly would be in my higher standard category!! I love the chorale synth that Guy perfected, it’s certainly a trademark sound of his and it’s wonderful that Kim continues to play it.
DaveyFebruary 25, 2012 
It is, yes.


Paul February 23, 2012  
Davey, for me Made In England was the first return to the more organic sound of a traditional Elton album. Believe is possibly my favourite all-time Elton song, Bernie says everything I gotta say and Elton sings it beautifully. I’d love to know any details of your input into the song and the album in general. And please bring it back into the setlist for the summer!!
Davey February 23, 2012  
Love MIE – one of my faces, great job by Greg Penny. Also, brilliant orchestral arrangements by my dear friend Paul Buckwaster – oops, sorry Nobby! – we were going for a very Beatlesque feel on much of the record, infact the delightful George Martin did the arrangement on Latitude. And, you’re in luck – Believe sounded great in rehearsal, it’s back in.

Paul March 1, 2012 
I’m delighted, Davey!! I can’t wait til the summer. Tell me this, Cold is another one of my Elton favourites from MIE. The outro has a wonderful climax, thanks in no small part to your work on it. What do you recall of recording that track?
Davey March 1, 2012  
Thanks man, yeah, Cold was extremely cool! I enjoyed the whole experience as it was a great song with great changes and not pretentious. Loved Buckmaster’s strings and always enjoy watching him conduct – he is a master of the buck.

Paul February 22, 2012 
Davey, the Captain Fantastic custom Les Paul is my favourite guitar of all time. A wonderful instrument to commemorate a wonderful album. Can you give us some background on how the idea for the guitar came to fruition?
Davey February 22, 2012  
That was the great idea of my tech Rick Salazar who found Pam, the artist. I’ll try to post a cool shot on the site sometime of the guitar.

Paul February 21, 2012 
Davey, on the demo for Holiday Inn and some live versions from late 1971, there is a verse that didn’t appear on the album cut. As you were on the recording, do you know if Elton recorded a version with the missing verse? Below are the missing lines.
Oh I don’t even know if it’s Cleveland or Maine
With the buildings as big and rooms just the same
And the TV don’t work and the french fries are cold
And the room service closed about an hour ago
Davey February 21, 2012 
No idea, Holiday Inn was the first thing I ever worked on with him and I never heard the demos. It’s a pretty cool verse though, thanks for sharing.

Paul February 29, 2012  
Davey, At the Captain Fantastic 30th anniversary shows in 2005, on the title track you used a double neck consisting of an electric 12 string and a mandolin. I’d love to know more about that unique instrument!
Davey February 29, 2012  
I asked Ovation-Takamine to make it for me – and they did! It’s amazing and as you heard, sounds cool.

Paul February 28, 2012  
Davey, I remember hearing a radio doc once about Caribou ranch and how the high altitude gave a unique sound. Which I believe could be difficult for sound engineers and producers to master. Can you give some insight into how yourselves when recording there dealt with those issues?
Davey February 28, 2012 
The altitude actually permits you to sing a little higher, but you also have to have the occasional hit of oxygen. John L became quite fond of the oxygen tank!

Paul March 14, 2012 
Davey, David Hentschel is someone, who in my opinion, doesn’t get enough recognition for his contribution to the Elton story. His work alone on Funeral For A Friend is truly amazing. Can you give us some details of how important you consider his input to be on the early albums.
Davey March 14, 2012  
David Hentschel is a brilliant engineer AND a phenomenal musician. He worked so well with Gus Dudgeon. Dave did some fine work on my Smiling Face album, enhancing the songs with highly imaginative and totally appropriate parts. I’m a bit of a perfectionist, but I loved just about all the ideas he came up with. His work on "Alice" is also killer. In those days, we were a 4 piece band and I did most of the overdubbing, but when it came to a synth idea, David not only delivered great work, but he enjoyed himself doing it!
Actually, Elton has played some wonderful mellotron and electric piano parts over the years – his solo on "Daniel" was a first take masterpiece in my opinion.

Paul March 13, 2012  
Davey, just as a follow on to that question, if you are revisiting an old song for an upcoming tour, like Teenage Idol on this tour, would you listen back to the album to get a ‘feel’ of the song again or is just purely from memory?
Davey March 13, 2012 
At a sound check in Vegas a few months ago, Elton said "Maybe we could do Teenage Idol on the next tour" – I started playing it right then and there and said I’d write him a chart and rehearse the band and we’ll see what happens…..like that. Of course, prior to an actual rehearsal I would listen to the original and have the entire band do the same.

Paul March 17, 2012  
Davey, I see you’re using the Fender on Harmony in concert this time. In 2003 it was an acoustic guitar you used. Any reasons for the change this time?
Davey March 17, 2012 
Wow, you have a keen eye man! I just felt like a change and it’s sounding pretty good. Great song too.

Paul March 15, 2012 
Davey, you started out when multi track recording was only 8 or 16 track. Do you think this style of technology with musicians recording together rather than separately made the process more exciting, which in turn benefited the end result?
Davey March 15, 2012  
There is NOTHING that compares with guys all in a studio tracking at the same time – the human element that exists in that situation makes for beautiful ‘accidents’ and vibes that are just not possible otherwise. When you have that magic ‘take’ in the can, then you can subtly add parts if necessary. The feeling of elation when you’re all heading into the control room to hear what you’ve just recorded is indescribable, especially when you start off with a great song, as we were fortunate to have on many occasions.

Paul April 2, 2012  
Davey, thanks for answering so many of mine (and others) questions over the last couple of months. A Dream Come True as the song says…
One of my earlier questions was about re-recording songs. One which I was curious about that the boss did revisit is Where Have All The Good Times Gone? from Jump Up. You played on the 2nd version which was recorded during the Too Low For Zero sessions, which essentially used the live arrangement from the 1982 tour. And later turned up as b-side. What a stunning version it is too!!
Any reason why that particular song from Jump Up was chosen above the others from the same album that you had been doing on tour in ’82?
Davey April 3, 2012 
Thanks for the kind words and good question – unfortunately I can’t remember! At that time, when we reformed the original band right after they did Jump Up, it was obvious we were BACK with a Capitol B, so we were just doing whatever, and it all sounded good. There’s no way to explain that kind of magic, but between Dee, Nigel, Elton & myself, it was just there…..

Paul April 13, 2012  
Davey, I saw Billy Joel on his own in 2006 and had the distinct pleasure of chatting with Tommy Byrnes at the sound desk before the show. You don’t need me to tell you how hot he is with the axe!! What was it like jamming with him on the last part of the F2F shows over the years?
Davey April 13, 2012  
I adore Tommy. We always had fun working together. Hopefully we’ll get to do it again someday…

Paul April 13, 2012 
Davey, you referenced Gary Osborne in my Kiki question. I know some other Elton fans are a bit sniffy about his lyrics, compared to Bernie. For me though, Little Jeanie, Chloe and Blue Eyes are total Elton standards. And when you consider the non Elton material, like War Of The Worlds for instance, he certainly deserves due credit. Can you give your thoughts on his contribution to the Elton story.
Davey April 13, 2012 
Gary O is one of my dearest friends and a wonderful writer. We have enjoyed so many creative, hilarious times together and he is an absolute diamond.
He was certainly right there to help and bring mucho enthusiasm at a time in EJ’s career where things were a little random. There are not many people on this planet as delightful as my mate Harry Oblong.

Paul April 8, 2012 Davey, I’m not sure you’ve seen this, but can’t you just feel the energy pumping out of the clip?!
http://www.youtube.com/watch?v=E6khL_Jnt9U
I think Kiki is one all the all-time great British female vocalists that came out of the 60′s. Can you share with us any memories of recording and touring with her…and anything else you may think relevent!!
Davey April 8, 2012 
I’ll check it out when I’m in Vegas….Kiki is without doubt one of THE finest singers of all time. we once went to Muscle Shoals, Alabama and just arrived unannounced to jam with some of the amazing players down there. She blew everyone’s mind with her creativity. She also happens to be one of the loveliest souls on the planet.
Paul April 9, 2012 
Davey, Sugar On The Floor is one of my all time favourite Elton songs. Probably the closest somebody else ever came to writing a typical EJ/BT song for Elton. Do you know if Elton recorded the vocal and piano together? And any memories of your input would be appreciated too.
Davey April 9, 2012 T
he song was written for Kiki originally and then I guess EJ wanted to do his own version. Elton almost never did his vocal & piano at the same time – Gus always liked to have as much separation as possible when recording. I haven’t heard it in so long I’ve no recollection what I played on it! I guess Bias Boshell wrote it …is that right?
Paul April 10, 2012 
Davey, Kiki wrote it!! That’s why I think it’s a very EJ/BT type ballad, I’m just guessing here but I’m think she must have had Elton in mind when she wrote it. Her version of it is fantastic, but when you hear Elton’s take it just shows what a great song it is. As regards what you do it, you do some lovely double tracked guitar on the chorus. Beautiful!!
Davey April 10, 2012 
Of course she did! And it’s a great song. Loving & Free is another beautiful song. I really enjoyed playing on Amoureuse, the Veronique Sanson composition that Gary Osborne translated as only a songwriting genius like Gary could have done.
Kiki is among THE most underrated singers of all time, but every single person who has heard her, has been touched by her brilliance.

Paul April 5, 2012 
Davey, I hate to be the bearer of bad news, but I thought you would want to know about the sad passing of Barney McKenna from The Dubliners.
For those who don’t know who he was, he popularised the use of the tenor banjo in Irish folk music, an influence which Davey has spoken about earlier on this website.
Ar dheis Dé go raibh a anam
http://www.rte.ie/ten/2012/0405/mckennab.html
Davey April 5, 2012 
Thank you, I loved Barney, he made a gigantic impression on me as a player, and he was also such a sweet person. I had a life changing experience jamming with him in someone’s kitchen in Edinburgh, Scotland after one of the Dubliners concerts in 1966. You could barely see anything for smoke and there was beer and whisky being consumed in true Celtic fashion! We played a version of the Masons Apron, which I recorded a few years later with Magna Carta on a live album. Quite honestly, Barney inspired me so much, he is probably my #1 musical influence, as he combined beautiful playing, with moments of subtle brilliance and a good helping of flash. God bless him and keep him.
Paul April 6, 2012 
Davey, that’s a wonderful story. Thanks for sharing it with us.
Davey April 7, 2012  
You’re welcome. My dear friend Billy Connolly just contacted me from NZ where he’s filming The Hobbit – he’s sad, but he said, " At least we still have you" – that’s a compliment coming from a great banjo player and someone who is responsible for severely hurting my jaws from laughing on many occasions – god bless Barney, God Bless Billy and of course, God bless Earl Scruggs.

Paul April 4, 2012 
Davey, you’ve performed with Elton at many multi act shows over the years. For me the two standout events of the last 30 years has to be Live Aid and Live8. Can you share any memories you have of both events.
Incidentally I saw you in Dublin with Elton on the same day as Live8, the only time Elton has done two shows in the one day in two different countries!! What troopers you are!!
Davey April 4, 2012  
I love Dublin, and enjoyed our show a lot more than Live8 as we had to do that song with the not very charming and extremely out of it Pete Docherty. The prat then blamed HIS shitty performance on our band! If you listen to that track, we were rocking! He was simply staggering around with a bic lighter – wonderful!
The first Live Aid show was absolutely amazing, being part of that was such an honor. Backstage was just ridiculous with the Who, Queen, ( who I thought were great that day ) U2, Paul McCartney, Elton, George Michael etc etc. I was hanging out with my lifelong mate Billy Connolly and the whole thing was beautiful.

Paul May 6, 2012 
Davey, the weather man said the other day it’s colder now than it was at Christmas! And it is almost the middle of the year…thank God we’re indoors in June!
On the Tour De Force, Elton mentioned that James Newton Howard did an arrangement for Cold As Christmas which was subsequently dropped from the final cut. Do you know if a studio version exists with the arrangement intact?
Davey May 6, 2012  
Unfortunately no, but it was a superb version – JNH is a brilliant musician and remains one of my dearest friends to this day. I must ask our archivist Adrian if I could have a copy. It’s also in my opinion one of Elton & Bernie’s best songs….
Paul May 6, 2012 
BTW, happy birthday from Dublin!!!
DaveyMay 6, 2012 
Nice one, thanks – have a pint o’ stout for me…

Paul May 8, 2012 
Davey, a query on the early 80′s project when Gus Dudgeon remixed some of Elton’s early 70's classic at the DJM studios which resulted in The Superior Sound Of Elton John.
On the remixed Don’t Let The Sun Go Down On Me there is an acoustic guitar part during the verse before the first chorus. I was wondering was that guitar part a leftover from the sessions at Caribou or did you add it during the remixs that Gus did?
Davey May 9, 2012  
I’m afraid I don’t listen to much of our own recorded stuff, can’t remember – however, there is some stunning Elton re- mix music coming out with the very charming and brilliant Australian musicians P’NAU – DO NOT MISS THIS!
On Gus, I miss him terribly – for me one of the top 3 record producers of ALL time

Paul April 25, 2012 
Davey, one of the best things about following Elton over the years has been the fact that he has always had great musicians in his bands, each bringing something different to the mix. While at the same time keeping the core sound of yourself. What were the challenges in trying to adapt to the constant changes in personnel, especially during the 80′s (84, 85/86 and 89/90 tours all with different lineups for example) both in terms of recording and playing live?
Davey April 28, 2012  
Well…after ’84, when Dee & Nigel were out again, it was quite a challenge, although rewarding in other ways, working with people like Roger Taylor & John Deacon of Queen, Nik Kershaw, George Michael, Cliff Richard, etc etc, – I became the go-to guy to find new musicians like Jonothan ( Sugarfoot) Moffatt, Romeo Williams, David Paton, Charlie Morgan and many more. But by far my biggest ‘discovery’ was Guy Babylon, who became my best friend and confidant and led me to Bob Birch and then John Mahon……it’s been difficult, but being the most consistent member of Elton’s musical circle it just kind of worked out that way…

Paul April 21, 2012 
Davey. at the risk of turning this whole wonderful experience into one long obituary column, I’m sure you’ll have heard by now of the sad passing of Bert Weedon. Did he help you learn to play in a day all those years ago?!
Davey April 22, 2012  
I had "Play in a day" along with probably every other kid who wanted to learn guitar. God bless Bert, he did SO much for the instrument and all of us maniacs who were trying to master it, or at least play a few licks!

Paul May 21, 2012 
Davey, a very good friend of mine went to see Guns N Roses last week here in Dublin. At the start of November Rain, Axl played snippets of Goodbye Yellow Brick Road, Rocket Man and Someone Saved My Life Tonight on the piano. Isn’t it great he still pays tribute to one of his greatest heroes!
Davey May 21, 2012 
That’s so cool, good to hear. Musicians should always honor each other, we are all special artists in a difficult business….

Paul May 18, 2012 
Davey, I remember reading an interview with you about 10 years ago regarding the recording of Songs From The West Coast. You were saying at the time that in early 2001 you were on the F2F toDavey, over the Christmas break I got the chance to
watch again some of the old concert videos from the
80′s. That Les Paul with the whammy bar was one serious
piece of kit, I’ve always loved it. Any chance of
dusting it off again for use on tour later in the year?!

Davey May 19, 2012
It was exciting because it was the first time in many years that the three of us had recorded together – it was magic from the first take. I’m a little surprised EJ is not using his most trusted players ( me & Nigel) on his stuff with T- Bone Burnett……it’s the producer’s decision, but I think it’s kind of weird to ignore one of the most historic collaborators in rock and roll history?? I guess I should keep my mouth shut, and I have throughout "The Union" and the new stuff, but it doesn’t mean I have to like it.
Paul May 19, 2012 
Davey, I’ve been banging the drum to anyone who will listen for the last couple of years about the fact that you and ALL the others in the band should have been on The Union. But I won’t labour the point as anyone who knows me will know my postition…and I don’t want to put you on the spot. Great songs in terms of songwriting which the live performances put the recorded versions to shame. In my opinion, you guys are the Brazil ’70 of band lineups and if anyone wants a yardstick of what a great Elton album sounds like, just listen to the ones that the band play on. I rest my case, m’lud…can’t wait to hear you guys rock the house in Belfast in June!!

Davey May 19, 2012  
Thanks man, you rock!


Part 2
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