'Rocketman - Tracking Its Sounds'

When I did the film review I acknowledged (too briefly) the soundtrack so we'll now acknowledge it properly (more than briefly).

There's a danger I think this album will be lost in the wake of the movie. Such displacement could capsize even the most robust vessel but there's plenty on this album to withstand even the broadest of vessels. If the film is majesty for the eyes then the soundtrack album is has regality on a parity for the ears.

If we work from the base upwards the production, engineering, arranging and performances are astonishing. More boxes ticked than an EU ballot paper. Let's be clear, Taron isn't Elton. He doesn't have to be Elton. He's only portraying Elton. In saying that he's deeply credible, beyond just being functional and far more than competent. In order to enjoy the album to its full potential you must suspend disbelief and park it. Otherwise what seems like a mildly confusing precept could develop in to a more disconcerting aura of bewilderment.

We'll not do any great autopsy of vocals but suffice to say they've been delivered in an incredibly diverse and moody style. I think they've tried, as best they can, to show Elton's vocal development through the time period covered. The film may not cover the issues and choices relating to those vocal alterations, but the man in charge of proceeding is well aware of them and took note.

Similarly with the piano playing. They’ve gathered up some really keen students of Elton’s playing style. The precision and workmanship they display at times makes you wonder is Elton playing on the album. Remember where you heard that first if you’re ever asked…

Giles Martin who produced the album did far more than cobble together the song choices, summon in some bang average session musicians, go through the motions and hoped nobody noticed. You can't really get away with that laissez-faire attitude in this social media universe.

We all know his pedigree and it is champ. He's achieved a triumph here. Think of those folks in the Notre Dame trying to rebuild it. To its former glory. It'll be similar, but not the same. And newer. I didn't think as we enter the third decade of the first century of the third millennium that sounds or tunings recorded half a century ago could be recreated as authentically as anyone could dare to dream. Not only recreate the studio sound but the live sound too.

I’ve seen much ado about the fact that the band or those who helped create Elton’s music aren’t given a shout out in the film. Anyone who has read this blog over the last several years will know I hashtaggedistandwiththeband long before the chattering classes got involved. Just because they weren’t named doesn’t mean they never existed. At the end of the day if you need, what is after all a Hollywood for film for goodness sake, that to be their final or ultimate recognition then the point may have been missed.

They all appear in the film. Throughout.

As you’ll see below all of their dutiful contributions have been wildly and vividly recreated. Motifs aplenty. The band or producers or engineers may not have speaking parts but they still play as big a part in the film as any on screen actor. Put it this way. If some minor actor played a band member would anybody remember who he or she is in the near future? I suspect the person they would have played and who has contributed to Elton’s career will have much further longevity of memory. And,more importantly, legacy.

The legacy of what they helped create has been dutifully recognized on this album as it is the film.

I'll do a brief summary of the album as it mirrors the same running order as they appear on film. A bit like a concert setlist, n'est pas as the woman who drove beer trucks used to say. On their own and listened to before seeing the film (which I did not) they can seem to be randomly thrown together. Like ripping a page from a book, its context has no meaning. The context of the performances must always be borne in mind with that notion.

I think it was important to open the film with something uptempo, done quickly with a biting message and then disposed of. The 'Bitch Is Back' presented here can consider its work done. 'I Want Love', as I remarked on the movie review, in the way it’s used in a multi facetted way was truly outstanding. A rephrased lyric here and there (which occurs throughout the film and is fully necessary) has forever changed the songs image. Robert who...

'Saturday Night's Alright' with its split lead, single character vocal acts as a bridging tool in regards time. The backing track could have been lifted off 'GYBR'. The sound of the drums, the guitars packed tight with the correct sound all delivered in that wide angle stereo effect. In direct contrast 'Thank You For All of Your Loving' is like a remastered DJM Demo's discovery. The narrow bandwidth of late 60's sound with slightly messy drumming swipes all the vital elements of the original era's recording.

'Border Song' may seem to be a carbon copy, which is essentially what it is. There's no hiding place from that accusation. From rhythm section outwards to the orchestra and choir it's as if Buckmaster's complete song arrangement has been dusted off and revived. Which occurs again later on. A coincidence...answers on a postcard from those who really know, please.

'Rock and Roll Madonna' captures the frenzied but well directed straight ahead clearly performed original. The form that 'Your Song' takes part in the film shows how the embryonic sitting room creation develops in to the final masterpiece with never a hint of compromise on the songs basic DNA.

'Amoreena' is stunning. Electrifying. Atmospheric. Blended with stock LA footage from the time period. I'm almost mindf***** as to how they are doing this. Nigel's very early drum style has really stood the test of time, hasn't it?

I know 'Crocodile Rock' has been scutinised as to the whys and wherefores of its position in the film. Maybe more than it should be. If you can't get past that then it's a stumbling block in order to see why from an artistic point of views of why it is in there. We've all la, la, la’d over the years but I think the way they've slowed that part down, given it more time to breath (and lie back and think you're not in England now, but LA) shows they correctly tried to tie song, location and emotion into a bottle.

'Tiny Dancer' has the required elements of the original, pedal steel etc that help carry along a slightly diverted melody line and lyrics with adapted comprehension. 'Take Me To The Pilot' has the same remarks for 'Border Song', again they're making this sound easy. Who knew producing an Elton was easy...some people seem to make it hard...

I have a big problem with 'Don't Go Breaking My Heart'. As it appears on the film and on the disc.

It's too short.

The electric piano intro, tambourine over snare, jangly guitar. and James Newton Howard original arrangement with its cello and bass heavy leanings is just too good to just be thrown as a snippet to us.

'Honky Cat', whilst plucking some original strains goes all a bit 'Strictly' but in combination with its visual cousin the transformation undertaken is fully appropriate. 'Pinball Wizard' with the originals' opening vocals multiplied and sent heavenly way waste no time in going headlong carrying some synth lines from the live version in the 70's ably assisted by flashy lead guitar. Its Matrix moment on screen when you see many Elton's all at once almost altogether plays really well.

For those who have seen the film a lot of the songs appear as transition points along the timeline. Not merely as time filler or an excuse to chuck in another hit because they felt like it. 'Rocket Man' is a case in point. From jumping in to the swimming pool to soaring above the Dodger crowds the execution the song from beginning to end is a masterpiece. Let's explain why.

All aspects of the original are present and correct. Backing vocals, synth line acoustic and slide guitars. Right down to the soft sound of the snare. The shimmery, ethereal intro with an undercurrent orchestral arrangement kept on a leash, deliberately and cunningly right till the end. Till it cuts loose and runs free with a chorus of millions of fans or the population of earth (same thing, really) that help self propel Elton upwards. Huge brass played loudly and proud. With an ending fit for the 'Day In The Life' of not just anyone.

If at this stage you don't think things can be topped then pull up your stool, yes the one thrown over there, and take this one in. We've reached the 80's and to do it justice the white Steinway appeared. But its discernible metallic sound also appears. The opening is as you would expect from an 80's version of 'Bennie'. Sharp, vigorous and on point. The essence of the live arena has been wonderfully cached, there's definitely an education lesson in there somewhere as to how they did all of this.

'DLTS'/'Sorry'/'GYBR' I've bunched together as they've undergone reworking not only to the fascia boards but also some plastering. All temporary but they do slap on some unexpected sidebars. Probably these bunch of songs have had the most work done to them, all in aid of the film’s narrative. The phrasing (and reordering) of the lyrics has shown care. Heavy orchestral moments that are dramatic and called for.

To close the dramatic sequences of the film its right something anthemic was applied. 'I'm Still Standing', slow burns. Then pauses. Then adds a layer a piece at a time which all help build up the anticipation to correctly arrive at the '2 Low 4 0' edition. Whether it be the 12 string strokes or backing vocals or solo they’ve worked themselves to a standstill by the time they've reached this point of creation.

The end credits plays out under 'I'm Gonna Love Me Again'. Catchy and maybe with a slight Twilight Zone slant of singer and singer's role player duetting is not something to go noticed in a hurry. But it does the job!

Mentioning job has got me to thinking. I read an interview with Bernie yesterday about a final album. Between me, you and the wall if it's produced by the producer of the last few albums I think we can pass on that and stick with what we already have. But if they find it necessary to try one last time then surely Giles Martin has to be the one to put it altogether. His own track record, working on restoring the blueprints for modern rock music, has no peers. He's gone through the back catalogue of Elton's with a forensic ear. He's spotted all the key elements and rather than lighten or soften them he dusted them down and said, ‘why change vital parts of the original when they worked so damn well back then’. He's got an Elton ear and seems to have surrounded himself with people who also get it.

So, go get it. And this album!