tag:blogger.com,1999:blog-177809801981206072024-03-13T14:18:03.961-07:00Just Words And A TuneThe Musings of an Elton John Madman...ppdub73http://www.blogger.com/profile/02563809330498411646noreply@blogger.comBlogger128125tag:blogger.com,1999:blog-17780980198120607.post-63258615331577997832019-07-30T01:46:00.000-07:002019-07-30T01:46:49.013-07:00'Roughly Speaking, Not Ready' <div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">You know when you're
on Youtube and you get those endless suggestions ranging from 'reaction' videos
to 'influencers' waffling on about something as interesting as the inside of a
burst balloon? Who knew so many bedrooms had so many cameras in them. And
that's just the legitimate sites...<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">...anyway, once in a
while something interesting does come along. Beyond interesting in fact. It may
be one of the finds of the year, so far. Chase cutting as quickly as we can
it's a treasure trove of gems. We're all paleontologists of Eltonism so this
would be like the bone hunters finding a bone yard not only labeled but dated.
It's as we've walked in, put our ear to the door and heard people of the past
with tools of the day in hand and expertly creating. But it's at a specific
point in the evolutionary timeline. One which we don't get to hear very often.
Before we drill down in to some of these latter day (insert another word for fossil)
let's lay out what we're dealing with.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Somebody, somewhere
has unearthed intermittent basic unfinished tracks from the period 1973-1976.
Incomplete songs before final mixing and overdubs had taken place. A mixture of
original and/or guide vocals. Hearing these tracks gives great insight in to
the thought processes that went through Gus Dudgeon's mind as to what, and most
importantly, where he wanted certain dressings added. The most striking thing
on first listen that people will notice are the trademark harmony vocals of the
day in absentia. This blog always champions them but where they are absent on
these early drafts certain (often unheard) elements are dusted off and revealed
to the light.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I don't want to go
through every track, we do live in an era of spoiler alerts after all. Every
listener will find something new (either bad or good) to take away. But I'll
give some quick comment on the tracks that by saying something less can still
say something more. Be aware too the sound quality might not be up to the
standard the ears of the 'streamers' are accustomed to but if you're familiar
with medium wave radio reception (one there for the younger readers to check
out) then you'll be on familiar ground. Sadly.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Only one track so far
is available from GYBR. But it's the title track so we've not been dealt a bad
hand. Devoid of backing vocals we see how they work not only as a counterpoint
to the music but as a counterpoint to the lyrics. It's as if a reversal of
fortune takes place, something which I took from some of the later examples too.
There's an underlying sadness present, always has been of course, but without
the tempering of the harmonies it's laid bare. Returning may not be seen to be
a good thing nor to be celebrated. The absence of the fanned out melody line
the orchestral arrangement expands upon delivers the music in a far more
enclosed package.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The first large bulk
comes from Caribou and are mostly at the same stage of embryonic development.
Devoid of backing vocals with basic tracks (most of which are not in their
final stage of mixing either). The Bitch Is Back though bucks the trend as it
is purely a backing track with no lead vocal, but backing voices are still <i>in situ</i>. What jumps right out is Elton's
piano. As we know on the final version it certainly has little or no role to
play. Only in concert are we made aware of the fact that it should be there.
But on this rough mix it helps the natural flow of the song, playing off very
well with the harsh guitars and brass. Certain guitar parts and vocal lines are
also a tad higher. We all know Elton is one of the very few who wrote
consistently at that tempo on piano so not to highlight it does verge on the
neglectful. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Like GYBR, Pinky in
this pared back form flips the impression we have been used to. A lament rather
than a rejoice. All songs are open to any interpretation but the marriage of
music and words, like a fine chemical balance, when docked cleanly is the true
result. Like a lot of the material we hear on this bunch docking has not yet
been completed. In space nobody can hear you scream…or sing. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I've Seen The Saucers
in its more basic construction has surprisingly more depth to it, more focus on
the words and music is attained. Same goes for Cold Highway, the pared back approach
has the dirty guitars more to the forefront.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The recent movie,
‘Yesterday’ envisioned a world where The Beatles did not exist. Shudder. A same
world where Ed Sheeran did exist. Multiple violent shudders. Using that premise
imagine a world where Paul Buckmaster had never existed.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Looking at couple of
the songs he arranged on Blue Moves that are presented here we get a sneak
preview of that nightmarish dystopian world. Arrangements that are as much part
of the song as music and words. As One Horse Town slowly builds up the tension,
with clock ticking, the explosion of the orchestra detonating never materialises.
No propellant, no driving force. But still a massive crater of a gap. I know
people will say the space is deliberately left clear for the orchestra to be
inserted, And they are right. But any space on an Elton song is precious and
luckily it was filled with a reciprocal insert in quality terms. Buckmaster
could never be described as being lush but the strings and brass in the style
he created are sorely missed. They’re the real dominant motivating part of the
song.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Crazy Water is
criminally cut short. Buckmaster’s truly thunderous arrangement, full of power
, glory and a sheer force of nature has been blanked out. Up until the after
the first chorus on the original it’s held back for maximum impact in delivery
terms but in this case the basic track can still hold its own throughout. The
backing vocals, intricately arranged and executed when missing show the effectiveness
they provide. The brutal truncation was not a happy ending.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Chameleon, like Crazy
Water, has its motif vocals yet to be added. Yet again we know that when they
were added it evolved the song in to something really special. An addition both
required and to be approved of. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">However Bite Your Lip
is in a really rough state of unfinishedness. Some untouched parts should have
been left as found whilst others certainly needed some rethinking. The slide
and rhythm guitars are higher up in the mix, in the style of Rock Of The
Westies. Percussion is nonexistent that gives a more cleaner driving rock
sound. I was surprised that before it was added there was no variation either
in guitar or drums fills or solo’s from both. There’s enough opportunity to
have varied things up during the incessant repetitive fade out. It’s as if they
envisaged it as a straight ahead rocker but subsequent rethinks meant it swayed
towards a dancey disco vibe. The outro however cries out, nay has a tantrum for
the string arrangement. The synth line gives an early insight as to where
things would go. Thankfully James Newton Howard‘s arrangement was inventive and
full of fluctuating approaches. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I love this stuff. We
don’t have any demos from this period as they were simply never executed in the
same vein as earlier on in the decade. But to hear tracks broken down this way hovering
somewhere between waking and sleeping deceives the ear in the same way you hear
something when in that twilight state. There’s always some terrific layering on
an Elton track regardless of how many or how few are present. Comparing the ‘who’
though is another thought for another day…</span><span style="font-family: "arial" , sans-serif; font-size: 10pt;"><o:p></o:p></span></div>
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<br />
<span style="font-family: Arial, Helvetica, sans-serif;">I've created a Youtube playlist for all of the tracks I've mentioned plus those I haven't. You'll see on the Youtube channel of the uploader other rare tracks that have been widely available for many years.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><a href="https://www.youtube.com/playlist?list=PLXEUvN98uSCO7rjDgKIof4g7Dtes7EL83">Rough Mixes 73-76</a></span></div>
ppdub73http://www.blogger.com/profile/02563809330498411646noreply@blogger.com0tag:blogger.com,1999:blog-17780980198120607.post-55508484189659947942019-06-14T12:12:00.000-07:002019-06-14T12:12:29.931-07:00'Farewell Yellow Brick Road @ The 3Arena Dublin 12th & 13th June 2019 - Review'<div style="text-align: justify;">
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<span style="font-family: Arial, Helvetica, sans-serif;">Where to begin? Maybe at the start, possibly in the middle. But not at the end. As there is no end. To quote French, I'm more of ‘à bientôt’ rather than a ‘au revoir’ person. “Farewell' may have many connotations. If farewell means less regular views than before then so be it. An ending? Not here, not now, not ever.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">There's no doubt an Elton 'buzz' coarsing through the vein and arterial flows of many a person right now. Remember when tickets for these shows went on sale? It was like Willy Wonka without the choccy bars. To have bought a ticket was more than the right decision. It was a decision that was right. Did Elton need to do this? No, he owes us nothing at this stage. A lifetime of applause to last him for a million years to use his own words. Even though we did buy the 'dreaded cassettes'! To stage his most carefully coordinated show of flamboyance tailored with panoramic visuals on an uncluttered yet towering stage layout does what it says on the tin. His seriousness of purpose seeped through every part of the production. As it did with the performance of the music.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">A huge HD central screen with a grander modern scale version of the old cinema experience. An arrangement of the man playing piano just under the screen. We've come a long way in a 100 years. Films, visuals, montages and strategically interjected stage and crowd shots choreographed in complete sympathy with the music. A tremendous power punch.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">One show is not enough to take in or be taken in by the spectacle.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">No matter where you were placed in the venue your eyes are drawn in a myriad of directions. In all manner of ways and means whether it be simply making the big screen reflect on to those playing below no technique has been left unused. Over two nights I was able to soak up, nay immerse myself in as much as was thrown at me. To within tipping point of being sensually overwhelmed. Not an easy standpoint to hold to. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Rather than do a song by song synopsis I'll pluck some selected highlights. If you want to know the rest, buy a ticket and go to the show.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">It's very good.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Regarding Elton's singing and playing there is no quarter given, taken or asked for. I often wonder who will it most. Elton or us? When he walks around from stage right to left to acknowledge every sector of his public you can see how much of a gee up it gives him. Either way what we've all experienced over the years on both sides of the fourth wall can't be retracted. It is only fit and proper that we should pay our due respects to thank Elton for regularly pitching up in our towns or nearby. He has given himself and us one final chance to deliver a show that is in keeping with the style he has maintained over the decades. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The band. Loyal sherpa’s. As per usual they played their hearts out. The camaraderie between themselves and Elton is based on mutual love and trust. Which seeps down in to the very deep rooted parts of every pore of the music. It would be impossible to quantify what exactly they mean to myself and all the other fans for their individual and collective contributions.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Put it this way. They went far further than putting the ooomph in to try and then coming up with triumph.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Davey's absence has been and will be noted. Was I disappointed? Of course. But health is wealth and everybody wishes him well. But there's only one person to have true validity to stand in for him. John Jorgenson has the shoe size to take those guitar boots walking. He 'gets' the music. His instrument choice is classy beyond words, his style is unique but flexible at all times to maintain the 'Elton sound'. It was a great study in guitar styles to listen how he was still able to recall his own unique licks and grooves from back in the 90's when I had the great pleasure of seeing him and Davey perform together with Elton. When John is back in the band this blog is very happy. If he were to stay when Davey returns get your happyometer out and watch the happiness mercury rise up. Geyser style.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://2.bp.blogspot.com/-eVFYlcQjR4k/XQPuDVaH4ZI/AAAAAAAABGc/8R3zebr_XBkaSfO5WAusNbvAJyxGtR_-ACK4BGAYYCw/s1600/DSC04905G.JPG" imageanchor="1"><img border="0" height="391" src="https://2.bp.blogspot.com/-eVFYlcQjR4k/XQPuDVaH4ZI/AAAAAAAABGc/8R3zebr_XBkaSfO5WAusNbvAJyxGtR_-ACK4BGAYYCw/s400/DSC04905G.JPG" width="400" /></a></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Now on to the show itself. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">A quick scan of the setlist shows no dullness of any points which could become sluggish. It falls somewhere on the scale of energy sapping and flat out exhausted. Rate yourself on that imaginary scale. His entrance is sudden; already in place and seemingly already underway. The opening salvo of Bennie and All The Girls Love Alice, especially with the formers opening notes with hanging gaps between them sets out the early stall. Alice gives anybody in doubt as to what the agenda is tonight. Posteriors will be kicked. Ray's tubular bell addition on the two breaks again show that additions as late as now still show how the music is still evolving.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Tiny Dancer, the favourite of the fans in the auditorium, with the delightful pedal steel giving it some great sincerity. Proper American steel played properly. Who spotted the new vocal additions on Philadelphia Freedom? Keen ears will have spotted those.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Indian Sunset. Let's think for a few seconds. Would a mega hit like I Guess That’s Why…, or to use that dreaded cliché the 'deep cut' like Indian Sunset get fulsome applause during it and then a standing ovation at the end? I may have given some pointers here. A genius stroke was at this point of the show to insert an Elton/Ray classic combo exercise in 2 man musical supremacy. Combined ages of...areas of the arena not familiar with the show lulled in to a false sense of security to go for a pit stop. But they stopped in their tracks. Elton's solo, relentless, unforgiving, driven with intensity spurred on by Ray's incessant accompaniment. It seemed to last for ages, stopping suddenly which drew rapturous applause. Captivated attendees waited for the next turn. Bernie's words were seizing the attendees imaginations. Attendees maintained attentiveness. After piano and percussion had been subjected to enough GBH a standing ovation from floor to rafters perfectly sums up why WE know. The song, singer and performance combine with such symmetry that made us fans for life a lifetime ago. Even more were made after that, tonight.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">A remarkable achievement. I shouldn't be surprised but Elton can still do that to us in 2019.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Where, but only upwards can be next. Ethereal tuning of long dead transmitters with faulty receivers suddenly kick in to life with 'she'. In that exact moment a grand swell of approval trickled then swamped everyone. Kim's reworking of the synth line alongside his additional programming is a wonderful dreamy, trippy backdrop. Further inspection is required, but maybe later. But JJ did something simple that was unexpected. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">He sat down. Albeit briefly.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Let’s delve in here. As Elton explored his musings on the keyboard on the extended portion, JJ took seat on the high point of the stage near Nigel's drums. With a thoughtful look he engaged his acoustic guitar; engaging with Elton's investigative keyboard expressions. Stunning to see two artists using artistic tools as diverse as stone masonry and pottery finding common ground to create an audio piece that both find comfort and succor in. As their work developed percussionists and drummer (not rudely, not for the last time either) intervened and warped everyone back in to orbit.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The visuals for Someone Saved My Life Tonight. Damn. Nigel’s drumming. Double damn. JM's high note singing. Triple damn. Elton's playing...multitude of damns. Elton's brief, not new, but a gentle reminder of to us all that some songs are genuinely about him. JJ's outro solo along with Matt's wonderful snaring of the main melody riff teamed up in to the hard finale with all the percussive firepower that Ray could muster. How much powder does he keep dry throughout a show for all of this?</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">And then on to Levon. Before I go on I'm going to make an admission here. On both nights it was the musical highlight for me. The second night's version is the best I have ever heard on disc or in person live on stage. The main body of the song was curated admirably. Steady, assured, a calm before a storm of biblical proportions. I and I'm sure a great deal of others knew what was coming next. Imagine not knowing though! Imagine not having a Scobby Doo as to what would transpire when Nigel floored it. At times I feared (without foundation) for Elton's safety. It was if he was on an oil slick running on slicks. Trying to wrestle control of the piano as it went on and on and on and...with the folks of the band mentally daring each other to be the first to jump ship.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">And then JJ cut loose.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">A heavy chord struck, he marched to the fore of the floor, grabbed the lower neck of his double neck guitar and when off on one. I'm no musician but I've heard plenty. What he did on the solo or how he did it was truly unprecedented. But we do know why. Because he can. It was a sensational, rip roaring aggressive release of musical energy witnessed by all onlookers. Elton's equally executed jam was responded to, in the best possible way, with an almost superior riposte.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">A Night Tripper indeed.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">For the unexpected listener they've already being ruined. Spoiled almost to excess. But there's more as a man once said. If Hammond Organ played by Kim with long held notes and then speedy hand sweeps across the keys wasn't enough to further confirm the genius of keyboardists then a drummer and two percussionists gave their union something to cheer about. Again, not rudely, vying with each for some sort of stick and drum supremacy. Surely your parsnips are being well buttered. From top to bottom. The sight of Ray, waiting, like a recently released creature back in to the wild to pounce after teasing JM to join him in a duel of whatever weapons of battery they could lay their hands on. As the 'fight' continued the 'peacemaker' in the form of Nigel stepped in to clear the floor for Elton to regain supremacy of all who are beholding to him to close out the contest.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Who needs Game of Thrones when you can play this.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">In case you are wondering how this was all held together then Matt deserves our hats doffed to his, never lifting finger without just cause. His changes at times were constant and unforgiving; driven by a desire to keep piano and all and sundry behind him in reasonable check. More than reasonable, down right outstanding.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">FFF/LLB. Jeepers. The slow burning then gradual intensifying lead in with genuinely realistic thunder and lightning, vibrations at no extra cost, giving way to a more familiar intro expertly performed with all the correct pauses and increasing flourishes brought forth in a sea of foggy mist. To be quickly burned off by JJ's GYBR custom guitar. Davey may not be here but he was somewhere remotely projecting himself. His characteristic licks were present and true.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Burn Down The Mission rest assured was a triumph too. But the visuals on the outro drew gasps from us all as they appeared. It's an old cliche that Elton set the 'piano on fire' but this time it did happen. I saw the flashes of flame. I felt the heat of the flames. My face is not naturally this red. I love that smell in the night time...</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">If ever a section of spoken word required a place mat on the set list lineup it's this one before Believe. Unscripted, and off the cuff, to the point and spoken with honesty and heartfelt feeling. It summoned several interjections of applause. Nothing said would make anybody present feel uncomfortable. Those outside who need to hear it certainly need to hear it. When Elton thanked Ireland for our loyalty, our support all of the time he got a response that is only reserved in this country for winning and winners. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">We sung Olé Olé Olé to him.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">If that weren't enough he played it back on piano. Where do you go from here? Do Believe as if Elton's life, as if ours, and most certainly as if the lives of those of some who featured in the accompanying film clip depended on it. Close to the truth if truth be known.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">From Sad Songs onwards seats were not required at the venue. The beacon moment of the 'rock out' segment was Saturday Night on night two. The sound was loud and proud (as it was on both nights, all of the time). But at times on the chorus I had difficulty hearing Elton and the band. It was if the crowd were hypnotized and the voices unberchanted 'Saturday' as if it were a cure for something. A boom heralded a twofold attack from the air and ground. Firstly a ticker tape shower in tandem with JJ soloing with titanic gusto.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">And that seemed to be it. A final group bow and ships sailed off the stage. A final or false sunset? The long, almost inordinate duration of the gap seem to lure some people in to thinking the show was over.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">It will never end.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">If DLTS on night one was a faithful and trustworthy crowd participation, an audition possibly, then Your Song on night two was the award winner. Elton's brief pause during it was way better than buzzers pressed or seats swiveled. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">And now we must confront GYBR. Not the song but it's (re)placement and its context. As I said on the Rocketman review old songs can now have new meanings. The context as regards the songs future significance had been altered. We won't dwell too much on the 'Farewell' aspect of proceedings, there is no last nor no first. It's a continuous Circle Of Life of continuous rebirth and regrowth.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Elton may have gone up the Eltonvator and walked casually off along the ‘Road’ but he's merely going over there. Just out of sight but still in the area.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">His music hasn't gone away, you know.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">To acknowledge if this indeed my last show is to close a door that still has some Passengers to board. There's some while to go before we can truly say This Train Don't Stop There Anymore...</span></div>
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ppdub73http://www.blogger.com/profile/02563809330498411646noreply@blogger.com1tag:blogger.com,1999:blog-17780980198120607.post-68786948845448987682019-06-09T07:18:00.001-07:002019-06-09T09:38:21.622-07:00'Blonde On Blonde' - Part 3<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul January 1, 2013</i></b></span><span style="font-family: "arial" , sans-serif; font-size: 10pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, over the Christmas break I got the chance to<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">watch again some of the old concert videos from the<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">80′s. That Les Paul with the whammy bar was one serious<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">piece of kit, I’ve always loved it. Any chance of<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">dusting it off again for use on tour later in the year?!<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey January 5, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I still use it, but we had the Gibson Custom Shop remove the whammy and the Oberheim synth pick up, fill in all the holes and bring it back to it’s original Black Beauty good looks!<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Elton gave me that axe – I had picked it out for him in Manny’s Music store in ’72, and when I had several instruments stolen ( bastards!) EJ gave me that guitar to use…bless him.<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Paul January 5, 2013</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, they did a fine job on it. It sounded really great on I’m Still Standing during the 1984 and 1985/86 tours, especially on the extended intro and outro. From the recordings I’ve heard of those tours, you really wrung every note out of it during the outro before Elton’s vocals came back in. Brilliant!!<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey January 5, 2013</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">It’s easier to get in a jam situation with a smaller unit – Dee and I usually started things rolling and adapted our ideas through whole tours….<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Paul January 1, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, you’ve had some great backing vocalists on tour with you over the years. My personal favourite has to be The Atlanta Voice Choir. They had a lovely balanced harmony, just right to compliment your own voices in the band. They really showed how they suited Elton’s music perfect when they were involved in the Captain Fantastic 30th anniversary shows in 2005. They got the intricate vocal arrangements spot on, especially on Better Off Dead and We All Fall In Love Sometimes/Curtains. What was it like recording Peachtree Road and touring with them?<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey January 5, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">They were wonderful, love those guys….very moving, to hear some of their ideas and passion.<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Paul January 1, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, you appeared with Elton on Top Of The Pops many times over the years. The Christmas episodes were always the big ones. I only discovered the other day that the 1972 Christmas edition was wiped due the BBC’s criminal policy on videotape during that period. Only a small clip exists of Elton singing Rocket Man in the ‘ZOOM’ glasses from that edition. Any recollections of that particular show? Or any TOTP’s appearances for that matter.<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey January 5, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I do remember John Reid, EJs manager then, opening a bottle of champagne to celebrate Rocket Man hitting number 1, and cork exploded from the bottle and flew up John’s nose!!<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Paul January 1, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, not sure if this question has been asked already. so apologies if I’m repeating it. As you know, the lyrics for ‘Dogs In The Kitchen’ appears in the booklet with the Captain Fantastic album. There’s been allsorts of rumours over the years as to whether Elton put music to that Bernie lyric or not. I was wondering do you have any knowledge of whether the lyric ended up as a finished song or not?<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey January 5, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">No, but we all loved the title, kind of like Ducktail Jiver!<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Paul January 5, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, Philadelphia Freedom is in my top 10 Elton singles of all time. Everything about the sound on it is wonderful, most of all the orchestral arrangement. Can you tell us what was it like to work with Gene Page who did the arrangement for it and Tell Me When The Whistle<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Davey January 5, 2013</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">We cut the basic track at Caribou – Stevie Wonder was sitting around the studio digging it! After all the guitar overdubs and Elton’s soulful vocals and harmonies the track went to Gene Page. We didn’t get to meet him, Gus Dudgeon did when he was putting the orchestra on. We heard the finished thing along with the very original arrangement for Tell me when the whistle blows and after initially going, “what was that?” – the next time we heard it, we knew both charts were awesome.<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Paul January 9, 2013</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I know Pete Townshend is on record as saying that Elton’s version of Pinball Wizard is the only cover of a Who song worth bothering about. I have to say that you guy’s rocked it even harder than they did! Slipping in I Can’t Explain was a clever twist, I take it that was Elton’s idea to add it in?<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey January 18, 2013</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Not sure whose idea, but we were rocking on all cylinders at that time and ideas were flowing thick and fast….<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Always love working with Pete, a great man and fantastic, yet humble musician.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I’m going to see them in a couple of weeks.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul January 9, 2013</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, not only had you the great privilege of appearing with John Lennon onstage, but you had the honour of working in the studio with him. Can you tell us what he was like to work with at Caribou during the recording of Lucy In The Sky and One Day At A Time. Elton’s version of One Day At A Time is beautiful, your guitar motif on it is wonderful.<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey January 18, 2013</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Thanks, I was doing a sax take-off on the guitar part on that…..<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Working with John and having him hang out with us at Caribou and throughout 1974 was a huge gas, something I’ll never forget – he was so….Lennonish!<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul January 9, 2013</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I was listening the other night to the ‘Here’ disc of Here And There. The duet with Lesley Duncan on Love Song is miles ahead of the album version. Plus Bad Side Of The Moon is one of the greatest Elton live moments ever, the intro you guys do on it is mindblowing!<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey January 18, 2013</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">That “Bad side..” intro was mine, so glad you like it….<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Always loved the beautiful simplicity of “Love Song”<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Paul January 9, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, Screw You is another of those b-sides that deserves more attention. The sound effects you play at the start of it are cool. How did the Jean Genie reference come about in the backing vocals?<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey January 18, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Thanks, apart from the intro, it’s the only time I’ve ever tuned each string of the guitar to the same note!! Bizarre effect…..<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The Jean Genie thing came because our engineer, Ken Scott, was working with Bowie at the same time…..just a bit of fun!<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Paul January 21, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I was listening recently to a tribute to Ravi Shankar and by all accounts the sitar is one devilishly hard instrument to master. Thankfully you put your stamp on some great Elton songs with it from the early years right up to recent times. Can you tell us how you first came in contact with the instrument and any memories of playing it on those studio recordings.<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey January 23, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> I first heard the sitar live in Archie Fisher’s apartment in Scotland and was ‘sold’ on the spot! I ordered a sitar from Bombay – it took a year to build and ship to me in London. I remember opening the crate on London Docks and sitting by the water tuning it and playing it right there! It’s the one that’s on EJ albums and I still have it…..this was in 1969 when it was extremely cool to have a sitar and an Afghan coat!!<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Paul January 24, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I know The Big Picture is an album that divides opinions with Elton fans, for a number of reasons. I’m just curious as to what your thoughts are on it now a decade and a half since it came out.<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey January 24, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">It wasn’t one of my favorites – too many long ballads and slow songs.I love Something about the way you look tonight – was that on that record?<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Paul January 25, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, indeed it is! One of my favourite songs too…I get what you’re saying about too many ponderous songs on it. I thought If The River Can Bend worked great live, though. January and Wicked Dreams were great rockers too, if there was more of them then maybe the album would have had a better balance. I Can’t Steer My Heart Clear Of You is a great atmospheric track, Charlie Morgan put some great signatures on the chorus especially.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Davey January 28, 2013</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Charlie Spyder Sticky Buns Morgan is a fantastic musician.As John L once said, an album is really just like a postcard of where you are at any given time….<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Paul January 24, 2013</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, when you came back from your ‘gap year’ away from Elton after playing with Meat and Alice, what impact did playing with those acts have on what you brought to the Elton table? For starters I certainly think the ’82 tour shows rocked like no others!!<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey January 24, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I think we were so HAPPY to be back together, we just went crazy creatively….<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Paul January 25, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, Elton did a great version of Fleetwood Mac’s Don’t Stop on the Rumours tribute album around about 1997/98. Which you and Guy produced…that guitar solo you did was real hardcore stuff…love it!! I’m curious as to know how those projects work, do the people putting it together tell you what song to do or does Elton get to choose which one?<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey January 28, 2013</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Thanks, that was Mick Fleetwood and his manager Carl asking me could I get Elton to do the song….I love Fleetwood Mac ( all versions!) and Guy and myself built the entire track and then EJ did his vocal…like that….No two projects are the same, especially when the idea is for ‘various artists’ to cut new versions of older songs…..I think Glee have now cornered that particular market!!<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Paul January 30, 2013</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, Rock This House is a great uptempo number that you guys did with BB King a few years ago. The sort of track that I hope you guys get to do with Elton on a future album. It must have been some buzz doing that song with him, I believe it was recorded in Las Vegas on The Red Piano.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>DaveyJanuary 31, 2013</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Yeah, we did that one afternoon on the Vegas stage, I love BB – I had EJ and him sign the guitar I used – a copy of his “Lucille” axe….what a lovely man he is, bless him.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul January 30, 2013</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, can you tell us how important it is for you to read Bernie’s lyrics and get a feel of them before you put down your part. I’m thinking of the title track of Captain Fantastic when your parts reflected the lyrics perfectly. The nostalgic feel of the verses looking back on the late 60′s softly accompanied by you on acoustic guitar and mandolin giving way to electric guitar to reflect the hard change in attitude on the chorus where Elton and Bernie want to break free artisticallly.<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey January 31, 2013</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Bernie’s lyrics are SO important because they inspire you to create something special that reflects what he’s trying to say…..I remember reading all the lyrics to Too low 4 zero on a plane while we were delayed for 4 hours…..we just got more and more drunk as the plane got later and later! When we finally got to Montserrat 3 days later ( yes, 3!) I knew all the words by heart!!!<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul February 1, 2013</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, all this week on a radio station I listen to they’ve been focusing on material from Bert Jansch, someone you knew very well. Can you tell us how influential he was on your playing?<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey February 1, 2013</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I used to play his first EP over & over & over trying to work out how he could play the bass notes and pick out the syncopations which blew my mind. Incredible.Listening to Bert, John Renbourn, John Martyn, the Incredible String Band and Joni Mitchell shaped my playing – Barney Makenna guided my banjo pyrotechnics! With a lot of help from Arthur Guinness…….<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Paul February 1, 2013</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, the news that you guys are recording with Elton as a unit has got me excira and delira!! You all should have been on The Voyeur, but you know my thoughts on that one…I’m curious to know how Matt’s vocals fits in to the mix? I’ve listened to some recordings of the tour just finished and I have to say Matt is some player. Like his predecessors, he’s got a great sense of melody and seems really tight already with the rest of you guys right from the off.<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey February 1, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">We sound great – vocals natural and very Yellow Brick Road blend.Matt rocks.<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Paul February 2, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, the soundtrack to The Road To El Dorado is one of my favourites. It has a great organic sound on it which thankfully Pat Leonard carried on into SFTWC. You played with a lot of session musicians on that album as well as your colleagues from the band. What was it like to work on that project and any favourites from it?<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey February 3, 2013</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The original demos for ElDorado were done in Atlanta with only me, Guy, Bob and Elton – Matt Still was the engineer. That collection is my favorite part of that project.Pat Leonard came in and added a star-studded cast to our existing tracks, but in my opinion, the tracks were better before…..you can’t guild the Lilly too much!<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul February 3, 2013</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I’m not sure what format you listen to your music on, but I’m curious as know what you think of this downloading lark. I don’t have an iPod…another Luddite, I’m afraid! I’m still using cd’s and probably always will. I think not having a physical copy of the music lessens the importance of connecting with it. I also think with all the downloading that goes on something is being lost in the conversation between the artist and the fan. The biggest drawback being the loss of the great artwork and packaging that came with the vinyl especially, the Captain Fanatstic album presentation being the greatest example in the Elton catalogue.<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey February 3, 2013</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">It’s the state of the business…I still like a handful of great CDs when I’m driving, but like you, I miss the wonderful album cover art that gave such life and color to any band’s projects.<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Paul February 3, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I’m not sure what format you listen to your music on, but I’m curious as know what you think of this downloading lark. I don’t have an iPod…another Luddite, I’m afraid! I’m still using cd’s and probably always will. I think not having a physical copy of the music lessens the importance of connecting with it. I also think with all the downloading that goes on something is being lost in the conversation between the artist and the fan. The biggest drawback being the loss of the great artwork and packaging that came with the vinyl especially, the Captain Fanatstic album presentation being the greatest example in the Elton catalogue.<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey February 3, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">It’s the state of the business…I still like a handful of great CDs when I’m driving, but like you, I miss the wonderful album cover art that gave such life and color to any band’s projects.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul February 8, 2013</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I didn’t know when I asked this question that BBC4 were running a tremendous series each night for the last week looking at the great era of vinyl and how albums shaped the world people lived in. And vice versa. It was chaired by Danny Baker and his guests each night picked three albums for a ‘wall of sound’ that said in music what they felt and the impact it had on them. If you had been a guest on the show, what 3 albums would you have picked?It was great to see Elton’s music being mentioned in the same context as the other greats. I know, you know and many others know where Elton’s place is on the musical pyramid…the apex and no lower. Thankfully in recent years the critics have re-evaluated his importance and legacy.Needless to say GYBR and Captain Fantastic featured quite prominently on the series. Those albums had their influences, but by golly they certainly influenced many more. I remember hearing years ago Joe Elliott of Def Lepard going into great detail how GYBR was a major shaping of his music education. Plus he does a killer version of FFF/LLB!!<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Davey February 8, 2013</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Don’t know about whole albums, except maybe ANY Beatles album…..but the Righteous Brothers, “You’ve lost that lovin feeling” Elvis Presley’s “Hound Dog” ( and about 6 others) and for me personally, The Incredible String Band “5,000 spirits or the layers of the onion”We are blessed indeed that so many great musicians have been inspired by our humble contribution….Love Danny Baker.<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Paul February 16, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, one of the landmark big outdoor shows for you guys was Dodger Stadium in 1975. Can you tell us about that moment when you walked out onstage for the first show, which I believe was in the afternoon. Also were the highland dancers your idea?!<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Davey February 16, 2013</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I don’t even remember any Highland dancers!! Definitely NOT my idea.Amazing ,incredible vibe. A wondrous experience. It was chilling and thrilling to see so many people going nuts.<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Paul February 23, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, you should have a look again at the Russell Harty documentary that he did for LWT. You’ll see them there!!Did you think at that moment in ’75, number 1 singles and albums and huge outdoor showS etc, that you’d reached the zenith so to speak? Or was the challenge to stay up there as great as the challenge to get there in the first place<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey February 24, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> We were just loving working together – there was never an intention of making ‘hit’ tunes, people all over the world just seemed to like what we were doing….when you get THAT kind of feedback it validates what you’re doing and makes it incredibly enjoyable.<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Paul February 23, 2013</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, unfortunately I don’t play a musical instrument…why we needed to learn algebra at school and not this great art is a mystery to me. Anyway, I’m curious to know about the transcripions and arrangements you would have done around Elton’s piano demos. I read somewhere ages ago that the chord structures Elton uses are very complex for a guitarist to play, yet another testimony to your abilities.<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey February 24, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Kind words, but again, I think I was just in the right place at the right time. And Elton recognized our amazing telepathic gift.<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Paul February 28, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I watched you guys on the live webcast of the Sao Paulo show. Top notch as per ususal…it was like being there even though it was well after midnight here! I see you played I’m Still Standing with the Les Paul, it certainly rocked it up a few notches! I thought Skyline Pigeon with the band was sublime, you’ll have to keep it in the set!<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey February 28, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Man, you don’t miss a thing!<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Paul June 25, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I gotta say that show on Sunday night at The Marquee in Cork was probably the best Elton show I’ve ever been too, on a par with the 2007 show at the same venue. It was a delight to see you back and you were on fire! Elton looked really relaxed and you lads and lasses in the band seemed to be having a right ball throughout. Can you send my best wishes to John for a speedy recovery and I hope to see you back at The Marquee in the not too distant future. Btw, thanks for the pick!!<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey June 25, 2013<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Unreal show, good to see you rocking out as always.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">What a venue, what a crowd, what a show…..we couldn’t have done it without you guys. That gig is in my top 5 on the planet.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">John will be fine – he must rest and get fit again and not try to come back too soon….like me! All the pain and discomfort from my surgery ( NOT hemmeroids, NOT amputation, NOT sex change…thank you very much Elton!) was totally worth it on Sunday – we played our arses off!</span><span style="font-family: "arial" , sans-serif; font-size: 10pt;"><o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul August 23, 2013</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, a little birdy from LA has been telling me that you and the rest of the band are in rehearsals for the showcasing of The Diving Board songs next month. Without having heard either the album or you guys play them yet I can be certain which ones will be surperior. I’ve heard Home Again a few times since it was released, while it’s a decent enough song for me it’s lacking that little something. Something that the producer unfortunately felt the need to ignore…that edge on an earlier question you referred to that you and the band bring to an Elton album. Anyway I believe that the BRIT awards show, the Leeds show and the iTunes festival are all going to be broadcast at some stage during September so I’ll be there in spirit along with the rest of the worldwide audience!<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey August 25, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">We are making the songs our own…..which can be a task if you didn’t actually play on the record, but it’s sounding rather excellent.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul September 4, 2013</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I was reading other day that Elton originally wrote a completely different version of Recover Your Soul and that you lads in the band recorded it but was later scrapped. You don’t happen to remember any details about it…or anything about another song that had a longer period of development, Live Like Horses. I know Paul Buckmaster wrote an arrangement for it during the Made In England sessions that was never used. Can you recall any differences in the way Elton tried to record it during the 1994 recording sessions compared to the way it finally ended up sounding on The Big Picture. If only to help you in your book research…<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Davey September 5, 2013</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Don’t remember that – Recover was pretty much the way we wrote/ recorded it.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Live like horses, was nicknamed, Eat like horses by me and Bob Birch…..<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Paul Buckmaster had written a stunning little guitar part that I used when we cut it….<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">That song seemed to be around forever, but never quite lived up to it’s expectations, even with the wonderful Pavarotti etc…..<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Paul September 7, 2013</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I know Paul Buckmaster also did the arranging of the rhythm sections, as well of course the tremendous orchestral scores, on the albums that were recorded at Trident Studios. I’m curious to know then, as you mentioned about that guitar part he did for LLH, any other instances of band parts he may have written on the later albums you worked with him on. Both for yourself and the other band members.<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey September 9, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">He wrote the guitar solo in Take me to the pilot.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">After I joined, he tended to follow my parts, like in Have Mercy on the Criminal, because we were a real band by then, and Paul would come in after the basic tracks were done.<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Paul September 12, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I’ve heard the new album. It is what it is, I gave it 3 stars in my review.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">You definitely picked the best songs to showcase it live. I just listened to the Radio 2 show last night, tremendous. Home Again live, wow. Nigel doing his slow drumming thing on it is incredible. And people wonder why we’re so ‘into’ this when those joys appear. Oscar Wilde Get’s Out, only you Davey could have the insight to put what you did on it. Oscar being from Dublin, the banjo being a great ‘Dubliners’ sound it was the natural next step to include on the song. Which doesn’t detract from the remit of having Elton to the forefront. It’s tricks like that are missing in the studio cuts…at least the live versions will remedy that anomaly!!<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey September 12, 2013</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Thanks for noticing. It’s an interesting conundrum – people will hear different versions than the album, but hopefully my arrangements won’t detract from the songs.<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Paul October 20, 2013</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I’ve just seen a video of the Q&A’s that you did at the EXPO. Fantastic stuff, I wish I could have been there. Also the video of the ‘Magic Johnstone’ performance was outrageous, I did a piece on my blog about it which Tam kindly posted a link to on your own website.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Getting back to the Q&A’s at the EXPO, one of the points raised that you elaborated on was how good sonically Captain Fantastic was in terms of how just Elton and yourselves in the band delivered such a great sound. I’m tired of hearing people talking about how the current producer suddenly discovered how to record Elton better than anyone else did in the past. To state that it would infer that all the band members, producers and engineers who went before either didn’t know or didn’t care about what they were doing. Which couldn’t be farther from the truth as far as I’m concerned. I think that point has been lost in all the recent caffufle about the new album.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Anyway, I did a blog piece weeks ago before the EXPO about Captain Fantastic which echoed what you said about the album being stripped down yet still having a full sound. Nearly 40 years later and it still has the power to deliver…<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey October 20, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">You’re right on…..and you get it.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul October 28, 2013</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I’ve been looking at some friends pics on Facebook that were at the recent MDP shows. The Flying ‘A’ that you’re using looks off the wall!! Could you fill us in on it please!<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey October 29, 2013</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">It’s actually a reverse Flying V – my tech Rick Salazar got me a black one and a cherry – they’re awesome. Looks f…ing awful but plays and sounds great!<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I saw Billy Joel here in Dublin on Friday night and he was incredible. He got 5 star reviews left right and centre. He was bang on form and did the hit’s, rarities and everything in between. The amount of people that flew in from abroad for the show was amazing. He still has some drawing power. The band was on fire too, your old sparring partners Tommy Byrnes, Dave Rosenthal and especially Crystal Taliefero all stood out. The Billy is indeed Back!!<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey November 8, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Great to hear that – I’ve been a Billy fan since 1977 – saw him at MSG and we had an instant connection.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">His band are also fantastic players and lovely people<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Paul November 19, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, Madman Across The Water is one of your all time great moments. I was just wondering what you thought of the earlier version that Mick Ronson played on? It’s quite a contrast to your version. Can you tell us your memories of Mick, I know he played on the Dead Ringer album also.<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey November 20, 2013</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Mick was such a lovely person. We had a blast working together. That was in the serious drinking days….Dangerous shit!<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul November 16, 2013</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I’d thought the fact that you were doing NINE tracks from GYBR (equivalent to the whole of Madman or Captain Fantastic for instance) would have been maybe just enough for some people. But I suppose the fact you didn’t jump through hoops onstage aswell may have annoyed some of them!!<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Tell me this and I’m dying to know, did you rehearse Dirty Little Girl at all? Because if you do that one at a future show, Christmas and birthday’s will coincide with jackpot day!!<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey November 16, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">If we do any more from GBYBR, then Dirty LG would for sure be on my list! It really IS filthy!<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Paul December 7, 2013</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I’ve been following the US tour through friends on FB that have attended the shows. Plus a few recordings have popped up that are nothing short of sensational!! It’s almost like being there. I’ve noticed in some pics that you’re using a lovely cherry sunburst Les Paul on Hey Ahab. The colour contrast is as striking as the new stage design!!<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey December 8, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Yes, it was a great tour – I hope we can bring the stage set to UK next year….and the band is RED hot – like my new Les Pauls…Noholes , Preacher and Amber.<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Paul December 14, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I was listening to CATK the other day. Proper Elton and band album…in my top 10 for life.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I Must Have Lost It On The Wind has that great harmonica part on it from you. Can you tell us how that part on the track came about and what was the inspiration for it?<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey December 15, 2013<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I just thought it would be cool to have a Dylan- esque harmonica part on there, and since I don’t play a lot of harp it was perfect!<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Paul December 16, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I’m wondering do guitar companies get in contact with you at all to try out their latest model on tour, even companies that you mightn’t have used before. Or offers to tie you down and only use a certain companies models exclusively for example?<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey December 17, 2013</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I use what I like to play – my tech Rick Salazar is the greatest.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">He knows what I like…..<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Paul December 17, 2013</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I think Lord Of The Flies from the b-side of Slow Rivers is another one of those forgotten gems. The trad jazz vibe with you on banjo is a very un-80′s sound from Elton. I love it!!<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey December 18, 2013</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">You’re right! I’ve forgotten it!</span><span style="font-family: "arial" , sans-serif; font-size: 10pt;"><o:p></o:p></span></div>
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<b><a href="http://ppdub73.blogspot.com/2019/06/blonde-on-blonde-part-1_9.html">Part 1</a></b></div>
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<a href="http://ppdub73.blogspot.com/2019/06/blonde-on-blonde-part-2_9.html"><b><span style="font-family: "arial" , "helvetica" , sans-serif;">Part 2</span></b></a></div>
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ppdub73http://www.blogger.com/profile/02563809330498411646noreply@blogger.com0tag:blogger.com,1999:blog-17780980198120607.post-34525524813823228162019-06-09T07:17:00.002-07:002019-06-09T09:35:26.067-07:00'Blonde On Blonde' - Part 2<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Paul June 8, 2012</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I’m just back from seeing you and himself rock Belfast! WOW!! What a night!!<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I’m not sure you may remember me, but at the stage rush I was the guy with the long blonde hair and glasses standing just in front of you wearing the retro Watford shirt. You gave me your pick after the solo on I’m Still Standing…I know the last thing it did its life is one of my all time favourite solo’s. Thanks so much for the kind gesture.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Grey Seal and Mona Lisa’s And Mad Hatters were the highlights, for me anyway. Can you pass on to Elton and the rest of the boys and girls in the band of all our appreciation of how wonderful they all were last night and hurry on back to Ireland ASAP!!<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey June 8, 2012</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">You’re welcome – yes, I remember you. I’ll tell the band.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I thought the crowd were quieter than usual – Belfast is usually raging! Maybe just my imagination….<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Paul June 11, 2012</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I’m still feeling the buzz from Belfast!! Here’s one of the many pics I took at the show:<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">https://www.facebook.com/photo.php?fbid=2878798827358&l=10210deeeb<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">As you know, Nigel signs all his drum skins with the location and date of every show he plays. I was just wondering what happens to them when he finishes a show? One would look good on my wall…<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Davey June 13, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Good shot – usually they go to charity, especially if the whole band signs them. At the Jubilee show, I was the ‘artist’ – it’s good to have memories like that…..who knows? Maybe he’ll wallpaper his very clean garage with a zillion signed drum heads….might look cool.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul June 13, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, my good friend Silvia from Italy asked you earlier about the time you did Have Mercy On The Criminal on tour in 2002. In case anyone doesn’t know, on that tour American Triangle segued straight into Have Mercy. That moment when the death knell piano note at the end of AT suddenly sped up and started that wonderful intro by yourself on guitar will always stick in my mind. One of the all time spine tingling moments at an Elton concert, for me anyway.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Can you tell us what was the thinking behind the welding of the two songs together, especially with their (not unrelated) emotive subject matter.<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey June 13, 2012</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">That idea came to me purely from a musical/dramatic perspective, as AT ends on ( one of the saddest of all keys ) C minor, and Mercy STARTS on C minor, and it seemed like a good idea….I remember us doing it in either Verona or Nimes ( some beautiful outdoor venue) and, yeah, my spine also tingled!<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul June 14, 2012 </i></b></span> </div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I was very lucky see you perform that combination in Killarney in 2002. Thanks for the information. You used a guitar with a reverse headstock on both songs that night, if memory serves. Can you tell us what the guitar was and how it differs in sound with a normal headstock model.<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey June 15, 2012</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Hmmm, can’t remember – may have been one of my old Jacksons or even the John Jorgenson signature Strat he gave me which has a reverse headstock and is gold and black?<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">There’s not much difference in sound quality re the headstock of an instrument – it’s usually the body mass, or lack thereof, or more usually the pickups – single coils, hum buckers, soap bars etc that make the real difference.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, the lights show on this tour is amazing. I’ll not ruin it for anyone who hasn’t seen the shows yet, but the lights on Rocket Man were stunning. Simple yet breathtaking. It’s a pity of lot of the shows in the UK this year had early kick offs in daylight…not sure they get the full benefit of the display unless you’re indoors like I was. Anyway, thanks again for the great show in Belfast, highlight of the year as always for me…I need something to cling to after Ireland’s disaster in Euro 2012!!<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey June 16, 2012</span></b></i></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I’ll be sure to tell Stick, our lighting director.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Yes, I can’t see Spain being beaten – although haven’t watched Germany yet, and Croatia are always interesting….hey, you guys did a LOT better than Scotland!!<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Paul June 16, 2012</span></i></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, we’re all agreed on Gus Dudgeon’s mastery at production. I remember seeing an interview with Elton some years ago saying how good an editor he was. Can you expand on that aspect of his contribution please, especially in respect to leaving out certain songs off albums and the determining of running orders on albums etc.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Davey June 16, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The courage to suggest to an artist that maybe this or that part of a song could be better is one of the main themes here – artists can be extremely defensive and downright pissy if someone dares to make those types of inroads….Gus was a master, and not being a musician himself was probably a good thing – just my opinion.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The enthusiasm and excitement necessary to get the atmosphere ‘happening’ is the other wonderful thing about Gus – and these gifts I mention are totally separate from his technical ability, which was phenomenal – he inspired trust, and that’s the thing that really makes it all work. I still get a shiver when Your sister can’t twist goes into Saturday Night on the GBYBR album….<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul June 17, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, that’s interesting what you say about Gus not being a musician. Do you think having that disconnect from you guys on that level and maybe hearing things more from a listener point of view put him in a unique position in the production world? Seeing things from the other side of the fence, so to speak.<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey June 17, 2012</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Absolutely, and being such a music fan didn’t hurt.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul June 21, 2012</i></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I was listening to the Wembley ’75 show the other night. Jeff ‘Skunk’ Baxter contributed some great pedal steel on the Captain Fantastic songs, a sound that was in perfect keeping with the songs. I remember reading ages ago that Elton wanted him to join the band at that time. How do you think he would have fitted into the lineup had he joined you guys at that time?<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey June 21, 2012</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Skunk is a dear friend, but it would not have worked in the long run, because me & Caleb were the tapestry section! It was only a one time deal. But Jeff Baxter is a wonderful player and very interesting character.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul June 21, 2012 </i></b></span> </div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I loved Hello, Hello from the Gnomeo and Juliet soundtrack. It was a real throwback to the Crocodile Rock, Don’t Go Breaking My Heart style single. That’s the great thing about Elton, in my opinion, is that he can mix it up in terms of the pop stuff and then the more serious stuff. With such consummate ease. I’m not sure why it wan’t released as a single…I’m not mad about Lady Gaga to be honest, but the duet version may have made more of an impact, certainly on the radio if no</span><span style="font-family: "arial" , "helvetica" , sans-serif;">thing else.</span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">DaveyJune 21, 2012 </span></i></b> </div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">There’s so many gems in the can from all the weird projects we’ve tackled over the years – there was a brilliant demo we did for the South Park movie – unfortunately, when the producer got hold of it, he missed ALL the good bits! I wonder if someone still has a copy of that? Probably our friend, guru and archivist Adrian Collee…..it’s always surprising to me when someone completely misses the boat….<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Paul June 23, 2012</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, can you tell us just how bad the studio in Jamaica was that you intended to record GYBR in?!<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Davey June 23, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">We sensed there may be some limitations when the head engineer yelled to his assistant, "Carlton, get de macropone"<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul June 24, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I have visions of egg trays on the walls…on a more serious note regarding that escapade.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I remember reading that as a result of that brief spell in Jamaica, Trident Studios had to be paid for Ken Scott’s time over there (because he was staff at Trident and he had no control over payment issues etc), Elton’s manager at the time decreed that he was too expensive and subsequently never worked with Elton again. Can you give us an insight into Ken’s contribution to the albums you worked on with him.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>DaveyJ une 25, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">How do you guys find this stuff out? Classic!<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Last time I saw Ken was around 5 years ago – he made some great records back in the day… I remember when we were doing "Don’t shoot me.." Ken was also working on Ziggy Stardust – Bowie and us would be ‘fighting’ over studio time at Trident. It was like a doctor’s waiting room – we would be doing a mix and David would keep coming in saying, "Aren’t you done yet?"<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Ken is a great engineer and turned us on to vary speed double tracking, which is featured on "Elderberry Wine" – we used it later on Better off dead and also Bitter Fingers – cool sound, like the piano is on the verge of being out of tune….<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Don’t ask me about politics – I was too busy dreaming up guitar parts!<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Paul June 29, 2012</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, forgive me if someone has posted this already, it’s hard to keep up with all the questions you’ve answered this year!!<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">http://imaginelovingart.com/portfolio.html<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">That looks fantastic!! What’s the story behind the creation of it?<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey July 1, 2012</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">My brilliant tech, Rick Salazar asked his girlfriend Tracy to customize one of my mandolins. Since we use it on Mona Lisas and Mad Hatters, Rick asked Tracy to paint an image on the mandolin to represent themes in the song. She did an amazing job, and I use that instrument on our MDP show in Vegas.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Also, her work is even more remarkable because this is quite a small instrument, so she did not have a large area to work with. We call the instrument Mandolisa.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul July 6, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I was just watching Queen in Kiev on the Youtube. I don’t know whether you caught any of their performance on the night when you were there, but I have to say Adam Lambert sounded pretty good with them. I’d never heard of him before this, but he seems to have a good stage presence about him, which is half the battle of being a great front man. Apart from being able to sing of course…<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey July 6, 2012</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Adam has a wonderful voice, he reminds me of Ken Stacey who used to work with us, and sang back- up for MJ before he passed on….poor Adam has some bib boots to fill, but maybe, if Queen write some new songs, Adam’s contribution will become more evident – he needs some songs that can belong to HIM, not just the late, great Freddie M……<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul July 12, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I was listening on the radio the other night to a doc about the making of Dark Side Of The Moon and Wish You Were Here. Just the opening the part of Shine On You Crazy Diamond had so much work put into it in technical terms, that I’d be here all day retelling it!!<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Is there any Elton track that was so time consuming in terms of putting so many effects on it that you were nearly at your wits end by the end of it?<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey July 13, 2012</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Not really – when you are in the middle of a creative drive, the energy carries you through.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Although, we did spend a full day doing background vocals for "Harmony" on the<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Yellow Brick Road album.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">For me, the most frustrating stuff is when you have studio breakdowns and you end up sitting around going nuts…..<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul July 14, 2012 </i></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, Elton is on record saying that he never thought Bennie And The Jets would be a hit and we all know how that ended up!<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Has there been any similar incidents with yourself over the years, where a song became a hit that you never thought had ‘hit’ written all over it, if you know what I mean. And are there any songs that didn’t become hits that you thought were nailed on certainties?<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey July 15, 2012</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">You never, ever really know what is going to capture the public’s imagination. When the Queen guys played me Bohemian Rhapsody and told me it was going to be a single, I told them I LOVED it, but was way too long to be a hit single! What a dork!<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Also, when a record company executive hears a song for the first time, they hear something entirely different…..although, if ANYBODY could say for certain what was going to be a hit, and what wasn’t, it would take all the mystique out of it……I must admit though, the first time I heard Let Love Rule by Lenny K, I not only was convinced it was going to be huge, I felt strongly that there was an aura around him that was going to make him a star…..with EJ stuff, I haven’t a clue, but I adore the P’NAU tracks and would love to see it doing well.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul July 17, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I’m sure you’ll agree the Ovation Adamas has a beautiful sound to it. One instance I remember in particular is you using it doing Harmony live around 2003. A lovely strong twang to it. Can you tell us what they are like to play and any notable appearances they’ve made on Elton recordings over the years.<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey July 18, 2012</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Blues for Baby and me, Step into Christmas, too low for Zero<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul September 7, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, the terrible news of Bob knocked me for six, I’m still in shock to be honest. I’m sure you know how much all you folks in the band mean to me and every other fan. You’ve been top class letting us into your world since the start of the year, so we all share your pain. I can’t begin to imagine what you wonderful people have been through in the last few weeks. Needless to say, Bob left us some wonderful memories. I’m sure you’ve been inundated with messages etc, but I just wanted to share with you and everyone else here something I wrote a few weeks ago. Just something from an ordinairy fan about the tremendous impact he had on me and many, many others in the Etlon world.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Best wishes to yourself and everyone else in the touring party.</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Davey September 8, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Thank you, take care and God bless you…<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul September 12, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I’ll not dwell on the sadness but on the joy of Bob’s legacy. The baton has been taken up by Matt, someone who can use his personal knowledge of Bob to keep him alive onstage.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">By the time you’ve read this, the first show will have come and gone. Can you give as insight into Matt’s musical persona and what we can expect from him in the upcoming shows.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Davey September 13, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Matt Bissonette is just a brilliant musician and person, which is why I hired him…<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">His brother Gregg is the drummer’s drummer who currently plays drums for Ringo – that should give you an indication of how amazing HE is! I think Ringo would forgive me when I say Gregg plays Ringo better than Ringo!<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">We will all be learning to play together and develop in another direction – so far it’s a wonderful trip, so I expect it’s going to get even more amazing.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul September 14, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, that’s certainly some recomendation! I see Matt is using a Stingray at the shows just like the one Bob used. Nice touch, that.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">It was Matt who suggested he use the same guitar and Bob’s bass rig in order to create a more ‘seamless’ transition for the band and our sound man. You gotta love this guy…<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul September 15, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I know Leather Jackets gets a poor going over from some Eltonites (not from me!). As far as I am concerned it has some great tracks, the title song and Heartache All Over The World (the 12” remix is outrageous!!) are as good as anything on any 80′s Elton album. But I have to say Gypsy Heart in particular is on my list of all time great Elton songs. The uplifting chorus gives the song it’s hook. Plus I love the guitar sound on it too!!<o:p></o:p></span></div>
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<b><span style="font-family: "georgia" , "times new roman" , serif;"><i>Davey September 15, 2012</i></span></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Holy Shit! You really know our stuff…..<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I actually had a blast doing Leather Jackets – it was just a difficult period in Elton’s life and perhaps reflected some negativity.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Angelyne really was fun to put together…<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul September 16, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I love Angeline too!! With half of Queen on it, how could it be bad!! It’s the only Elton album from that period that hasn’t been remastered. Shame that. Maybe because it’s considered very 80′s in it’s sound(a sound which I like), it’s been sort of sidelined. I still think it stands up today, a great melody or lyric will always shine through in any era, no matter what the sound is.<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey September 16, 2012</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I agree, but now I’m crashing as we’ve just worked 6 days out of 7 and traveled almost every day. And we still have to do one more show before flying to London for….1 show.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This is not easy, and although it’s going so well, there is still a big piece of sadness over Bob. Life can be so hard.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Say another prayer for Michelle & Jonathan Birch – this should never happen to anyone….<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul September 17, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I pray every day for them. And for Guy’s family too. You folks have always been there for us in our bad times to try and lighten the load on our minds. It’s now our turn to be there for all of you in the touring party and to try and help you all. And each other. No matter how far away from you we are, we are there in spirit. You can count on our love and support, always.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Davey September 17, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">God bless you, thanks.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul September 16, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I was listening the other day to the best Elton tribute ever, the 2003 NAMM concert in Anaheim. To have top artists like Brian Wilson, Ray Charles, Diana Krall and Randy Newman to name but a few honour Elton’s music with you guys in the band backing them must have been some experience and a great thrill. I thought Michael McDoanld’s version of Take Me To The Pilot was brilliant, his voice took the song to a different level.<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey September 16, 2012</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">It was a stunning week – also John Mayer, one of the best players around.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I’m grateful that these wonderful artists enjoy working with us<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Paul December 30, 2012</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, happy new year!! Both myself and Goodbye Yellow Brick Road will be 40 in 2013. One of those anniversaries I will be celebrating, the other will be my birthday…<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I was listening recently to a documentary on Blue Mink. Apart from the fact that members of the band played on all the albums recorded at Trident Studios and indeed also on Honky Chateau, they negelcted to mention the fact that they backed Elton (not as Blue Mink though) at your very first show with Elton at The Royal Festival Hall in February 1972 with The Royal Philharmonic Orchestra. Can you tell us any memories from that first show. It’s one of my favourite Elton concerts ever and needs a full dvd release ASAP!! I’m curious also to know why Blue Mink members were chosen to join with you to back Elton for the orchestra part of the show whilst Nigel and Dee had to join the singers for the remainder of the concert. Especially after the 3 of you had already done a set with Elton.<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey January 5, 2013</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Blue Mink were a band made up of the top British studio cats back then : Roger Cooke & Madeleine Bell were in the background section, Ray Cooper was the percussionist, Barry Morgan on Drums, Alan Parker on guitar and Herbie Flowers on bass! All these guys played and sang on EJ albums. I was also a part of the section playing guitar and mandolin.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Dee and Nigel didn’t play on the studio albums (apart from some backgrounds on Where to now St Peter on Tumbleweed)<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I was a session player on Madman and then myself, Dee & Nigel did the first EJ band album : Honky Chateau in January 1972, and we decided to debut the album on that show – one half with the Orchestra conducted by Paul Buckmaster, and the other half the band.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">It was a slightly strange atmosphere, as Dee & Nigel were kind of upset they weren’t part of the orchestral set.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">That was a long one………</span><span style="font-family: "arial" , sans-serif; font-size: 10pt;"><o:p></o:p></span></div>
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<b><a href="http://ppdub73.blogspot.com/2019/06/blonde-on-blonde-part-1_9.html">Part 1</a></b></div>
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<a href="http://ppdub73.blogspot.com/2019/06/blonde-on-blonde-part-3_9.html"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Part 3</b></span></a></div>
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ppdub73http://www.blogger.com/profile/02563809330498411646noreply@blogger.com0tag:blogger.com,1999:blog-17780980198120607.post-58106540546491313052019-06-09T07:16:00.001-07:002019-06-09T10:44:12.202-07:00'Blonde On Blonde' - Part 1<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">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.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Because the Incas had never seen a horse before.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Tell us all you know.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="http://1.bp.blogspot.com/-9VaubYOmF8c/XP0LKcKMhyI/AAAAAAAABEs/GuycOlqmldAX2gtPuxz2PfhXi3yum35CgCK4BGAYYCw/s1600/DSC02709.JPG" imageanchor="1"><img border="0" height="240" src="https://1.bp.blogspot.com/-9VaubYOmF8c/XP0LKcKMhyI/AAAAAAAABEs/GuycOlqmldAX2gtPuxz2PfhXi3yum35CgCK4BGAYYCw/s320/DSC02709.JPG" width="320" /></a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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...</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.</span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Paul January 24, 2012</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, can you us what was it like to play the Steinberger guitar and why don’t you use it on tour now?<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Davey January 24, 2012 </i></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul January 24, 2012 </i></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, of all the great guitar solo’s you’ve done, which one is your favourite and why?<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey January 24, 2012 </span></b></i></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul January 23, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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?<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey January 23, 2012</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul January 23, 2012</i></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Davey January 23, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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!<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Paul January 22, 2012 </span></i></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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?<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Davey January 22, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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"<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul January 22, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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?<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Davey January 22, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul January 22, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey January 22, 2012 </span></b></i><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul January 21, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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!<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Davey January 21, 2012 </i></b></span> </div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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!<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul January 21, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, Can you tell me what Elton song was the hardest one that you’ve had to put a guitar line to?<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey January 21, 2012</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Paul January 26, 2012</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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?<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Davey January 26, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul January 26, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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?</span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Davey January 26, 2012 </i></b></span> </div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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….<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Paul January 25, 2012 </span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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?<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Davey January 25, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul January 28, 2012 </i></b></span> </div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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?<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Davey January 28, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul January 28, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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?<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey January 28, 2012</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul February 7, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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?<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey February 7, 2012</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Paul February 7, 2012</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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!!<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey February 7, 2012</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul February 7, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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?!<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey February 7, 2012 </span></b></i></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul February 19, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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?<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey February 19, 2012</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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…<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Paul February 18, 2012 </span></b></i></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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?<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey February 19, 2012</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> I have to take the 5th on that – could get me in trouble….but no, I’m not rushing to re- record anything…..<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Paul February 18, 2012</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, on the current tour what is the oldest guitar you are using and what is the newest model?<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Davey February 18, 2012 </i></b></span> </div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Paul February 16, 2012</span></i></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> 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?<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Davey February 16, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Paul February 15, 2012</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, I love the Talk Box solo on Dan Dare. Any chance do you think of you using it again one day?!<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Davey February 15, 2012 </i></b></span> </div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Hmmmm, no I think it’s had it’s day!<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul February 17, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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?<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Davey February 17, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">T</span><span style="font-family: "arial" , "helvetica" , sans-serif;">here’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.</span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Paul February 14, 2012</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey February 14, 2012</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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…<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul February 14, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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?!<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey February 14, 2012</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul February 27, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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?<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Davey February 27, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul February 26, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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?<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Davey February 26, 2012 </i></b></span> <span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul February 24, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, you must be getting fatigued with all the setlist questions!! But here’s another suggestion.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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!!<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey February 24, 2012 </span></b></i> </div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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….<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul February 25, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">DaveyFebruary 25, 2012</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">It is, yes.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul February 23, 2012 </i></b></span> </div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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!!<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Davey February 23, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul March 1, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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?<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey March 1, 2012</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul February 22, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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?<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey February 22, 2012</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Paul February 21, 2012</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Oh I don’t even know if it’s Cleveland or Maine<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">With the buildings as big and rooms just the same<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">And the TV don’t work and the french fries are cold<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">And the room service closed about an hour ago<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Davey February 21, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul February 29, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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!<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey February 29, 2012</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I asked Ovation-Takamine to make it for me – and they did! It’s amazing and as you heard, sounds cool.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul February 28, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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?<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey February 28, 2012</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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!<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Paul March 14, 2012</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey March 14, 2012</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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!<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Paul March 13, 2012</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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?<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Davey March 13, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Paul March 17, 2012</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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?<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Davey March 17, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Wow, you have a keen eye man! I just felt like a change and it’s sounding pretty good. Great song too.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul March 15, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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?<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Davey March 15, 2012 </i></b></span> </div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Paul April 2, 2012</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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…<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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!!<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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?<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey April 3, 2012 </span></i></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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…..<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Paul April 13, 2012</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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?<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey April 13, 2012</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I adore Tommy. We always had fun working together. Hopefully we’ll get to do it again someday…<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul April 13, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey April 13, 2012</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Paul April 8, 2012</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> Davey, I’m not sure you’ve seen this, but can’t you just feel the energy pumping out of the clip?!<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">http://www.youtube.com/watch?v=E6khL_Jnt9U<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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!!<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey April 8, 2012</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Paul April 9, 2012</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Davey April 9, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> T</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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?<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Paul April 10, 2012 </span></b></i></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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!!<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey April 10, 2012</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Kiki is among THE most underrated singers of all time, but every single person who has heard her, has been touched by her brilliance.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul April 5, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Ar dheis Dé go raibh a anam<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">http://www.rte.ie/ten/2012/0405/mckennab.html<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey April 5, 2012</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul April 6, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Davey, that’s a wonderful story. Thanks for sharing it with us.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Davey April 7, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul April 4, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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!!<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey April 4, 2012 </span></i></b> </div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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!<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Paul May 6, 2012</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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!<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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?<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Davey May 6, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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….<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Paul May 6, 2012</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">BTW, happy birthday from Dublin!!!<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">DaveyMay 6, 2012</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Nice one, thanks – have a pint o’ stout for me…<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul May 8, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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?<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey May 9, 2012</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I</span><span style="font-family: "arial" , "helvetica" , sans-serif;">’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!</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">On Gus, I miss him terribly – for me one of the top 3 record producers of ALL time<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Paul April 25, 2012</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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?<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey April 28, 2012</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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…<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul April 21, 2012 </i></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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?!<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey April 22, 2012</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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!<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul May 21, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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!<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Davey May 21, 2012</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">That’s so cool, good to hear. Musicians should always honor each other, we are all special artists in a difficult business….<o:p></o:p></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Paul May 18, 2012</i></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">watch again some of the old concert videos from the</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">80′s. That Les Paul with the whammy bar was one serious</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">piece of kit, I’ve always loved it. Any chance of</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">dusting it off again for use on tour later in the year?!</span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey May 19, 2012</span></i></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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.<o:p></o:p></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">Paul May 19, 2012</span></b></i><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">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!!<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">Davey May 19, 2012</span></i></b><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Thanks man, you rock!</span><span style="font-family: "arial" , sans-serif; font-size: 10pt;"><o:p></o:p></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><b><a href="http://ppdub73.blogspot.com/2019/06/blonde-on-blonde-part-2_9.html">Part 2</a></b></span><br />
<a href="http://ppdub73.blogspot.com/2019/06/blonde-on-blonde-part-3_9.html"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Part 3</b></span></a></div>
ppdub73http://www.blogger.com/profile/02563809330498411646noreply@blogger.com0tag:blogger.com,1999:blog-17780980198120607.post-83949518497749437792019-06-02T09:19:00.001-07:002019-06-02T09:19:51.944-07:00'Rocketman - Tracking Its Sounds'<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
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<span style="font-family: Arial, Helvetica, sans-serif;">When I did the film
review I acknowledged (too briefly) the soundtrack so we'll now acknowledge it
properly (more than briefly).<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">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…<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">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 </span><span style="font-family: Arial, Helvetica, sans-serif;">attitude in this social media
universe.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">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. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">They all appear in
the film. Throughout.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The legacy of what
they helped create has been dutifully recognized on this album as it is the film.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">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.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I think it was important
to open the film with something uptempo, done quickly with a biting message and
then disposed of. The </span><b><i><span style="font-family: Georgia, Times New Roman, serif;">'Bitch Is Back'</span></i></b><span style="font-family: Arial, Helvetica, sans-serif;"> presented here can consider its work done. </span><i><b><span style="font-family: Georgia, Times New Roman, serif;">'I Want Love'</span></b></i><span style="font-family: Arial, Helvetica, sans-serif;">, 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...<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">'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 </span><b><i><span style="font-family: Georgia, Times New Roman, serif;">'GYBR'</span></i></b><span style="font-family: Arial, Helvetica, sans-serif;">. The sound of
the drums, the guitars packed tight with the correct sound all delivered in that
wide angle stereo effect. In direct contrast </span><span style="font-family: Georgia, Times New Roman, serif;"><b><i>'Thank You For All of Your Loving'</i></b></span><span style="font-family: Arial, Helvetica, sans-serif;"> 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.<o:p></o:p></span></div>
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<i><b><span style="font-family: Georgia, Times New Roman, serif;">'Border Song'</span></b></i><span style="font-family: Arial, Helvetica, sans-serif;"> 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.<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><b><i>'Rock and Roll Madonna'</i></b></span><span style="font-family: Arial, Helvetica, sans-serif;"> captures the frenzied but well directed straight ahead clearly performed
original. The form that </span><span style="font-family: Georgia, Times New Roman, serif;"><b><i>'Your Song'</i></b></span><span style="font-family: Arial, Helvetica, sans-serif;"> 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. <o:p></o:p></span></div>
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<b><i><span style="font-family: Georgia, Times New Roman, serif;">'Amoreena'</span></i></b><span style="font-family: Arial, Helvetica, sans-serif;"> 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? <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I know </span><span style="font-family: Georgia, Times New Roman, serif;"><b><i>'Crocodile Rock'</i></b></span><span style="font-family: Arial, Helvetica, sans-serif;"> 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.<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><b><i>'Tiny Dancer'</i></b></span><span style="font-family: Arial, Helvetica, sans-serif;"> has the required
elements of the original, pedal steel etc that help carry along a slightly
diverted melody line and lyrics with adapted comprehension. </span><b><i><span style="font-family: Georgia, Times New Roman, serif;">'Take Me To The
Pilot' </span></i></b><span style="font-family: Arial, Helvetica, sans-serif;">has the same remarks for </span><span style="font-family: Georgia, Times New Roman, serif;"><b><i>'Border Song'</i></b></span><span style="font-family: Arial, Helvetica, sans-serif;">, again they're making this sound easy.
Who knew producing an Elton was easy...some people seem to make it hard...<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I have a big problem
with </span><i><b><span style="font-family: Georgia, Times New Roman, serif;">'Don't Go Breaking My Heart'</span></b></i><span style="font-family: Arial, Helvetica, sans-serif;">. As it appears on the film and on the disc.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">It's too short.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">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.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif;"><b><i>'Honky Cat'</i></b></span><span style="font-family: Arial, Helvetica, sans-serif;">, whilst
plucking some original strains goes all a bit 'Strictly' but in combination
with its visual cousin the transformation undertaken is fully appropriate. </span><span style="font-family: Georgia, Times New Roman, serif;"><b><i>'Pinball Wizard'</i></b></span><span style="font-family: Arial, Helvetica, sans-serif;"> 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.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">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. </span><span style="font-family: Georgia, Times New Roman, serif;"><b><i>'Rocket Man</i></b></span><span style="font-family: Arial, Helvetica, sans-serif;">' 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.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">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 '</span><span style="font-family: Georgia, Times New Roman, serif;"><b><i>Day In The Life'</i></b></span><span style="font-family: Arial, Helvetica, sans-serif;"> of
not just anyone.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">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 </span><b><i><span style="font-family: Georgia, Times New Roman, serif;">'Bennie'</span></i></b><span style="font-family: Arial, Helvetica, sans-serif;">. 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.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<b><i><span style="font-family: Georgia, Times New Roman, serif;">'DLTS'/'Sorry'/'GYBR'</span></i></b><span style="font-family: Arial, Helvetica, sans-serif;"> 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. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">To close the dramatic
sequences of the film its right something anthemic was applied. </span><span style="font-family: Georgia, Times New Roman, serif;"><b><i>'I'm Still
Standing'</i></b></span><span style="font-family: Arial, Helvetica, sans-serif;">, 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 '</span><b><i><span style="font-family: Georgia, Times New Roman, serif;">2 Low 4 0'</span></i></b><span style="font-family: Arial, Helvetica, sans-serif;">
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. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">The end credits plays
out under </span><span style="font-family: Georgia, Times New Roman, serif;"><b><i>'I'm Gonna Love Me Again'</i></b></span><span style="font-family: Arial, Helvetica, sans-serif;">. 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!<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<img height="160" src="https://pbs.twimg.com/media/D7P-xt5WsAABq4u.jpg" width="320" /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">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.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">So, go get it. And
this album!</span><span style="font-family: Arial, sans-serif; font-size: 10pt;"> </span></div>
ppdub73http://www.blogger.com/profile/02563809330498411646noreply@blogger.com0tag:blogger.com,1999:blog-17780980198120607.post-49068414793194821332019-05-31T06:55:00.001-07:002019-05-31T07:01:58.163-07:00'Rocketman - In 1 Word Or 2'<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , sans-serif;">As they might say on
the shipping forecast, fair warning. This could be long. As you can see below
I've sub divided it up in to separate sections to closely examine various
strands of the movie. I think it's only right to do so seeing as the film
makers themselves have put great care in to realising their own detailed ideas.
<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , sans-serif;">First off we'll take
a look at the film itself, it's not going to be a complete retelling of it.
Then we'll strip back some key elements and expand on them whilst at all times
stressing their relevance to the film.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "arial" , sans-serif;"></span></div>
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</div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , sans-serif;"></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , sans-serif;"><img height="225" src="https://i.ytimg.com/vi/_4Ot8AJmaRg/maxresdefault.jpg" width="400" /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>I've Not Seen This
Movie Too</i></b></span><span style="font-family: "arial" , sans-serif;"><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , sans-serif;">The film opens with
the 1990 version of Elton like a beached whale struggling to find his way back
with a set of on onlookers just gaping at him as he wrestles with himself.
Suddenly we're whisked back to 1950's English suburbia, houses claustrophobically
paired together. Dotted with the finest cars of the day offered by BMC, Ford
and Standard. The way they've used 'The Bitch Is Back' as a duet of prodigy Reg
and podgy Elton really sets the standard and tone as to how they're going to
take us on the journey. The 'how' is important, very important, as we shall
see.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , sans-serif;">The pace of the film
even at this stage has been very well moderated. And will continue to be so.
The opening domestic situation of young Reg conveys humour, anger, sadness with
none of those emotions, or others, stealing the limelight. The 'kitchen sink'
scenario, particularly with each parent, are laid out honestly and will become a
recurring theme throughout. The use of the music and the way it's used does
capture the imagination. Taking songs and using them in historical situations,
almost retrofitting them, long before they were ever written on first look
sounds like a recipe for disaster. But it has to be seen to fully convey how
powerfully they are used in the way they've cooked them up. 'I Want Love' as a
multi person tool to express inner turmoils should knock one over. But don't
get up. You will be knocked over again. Briefly demonstrating in a few lyrics
what hours of dialogue may never achieve against a backdrop of the staid late
50's, early 60's period. Again in order to mix things up, not merely for the
sake of it (it's a critical point of the story transition) an 'Eastenders' meets 'Bollywood' collision occurs with a cast of
'Teds', 'Mods' and 'Rockers' all oddly out on a Saturday Night. Fighting. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , sans-serif;">At this stage in you
can really come to terms with the period detailing. It's beautifully filmed,
none of this blue/grey nonsense that has infected too many dramas in recent
times. As we see later they've set up simple contrast techniques for example
like Elton and Bernie driving around London in a Series 1 Landrover whereas
later on somebody else will drive them. But not in a Landy!<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , sans-serif;">The Dick James
interview (which garnered great laughs in the auditorium) and the meeting with
Bernie really gathers pace here. Developing new relationships and then burning
out the fuses of older ones is another key undertone of the narrative. Suddenly
writing hits, as you do, going to America with all of its colour, razzmatazz and sunshine, as you do. Swap a Cortina for a Camaro, as you do. </span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , sans-serif;">The Troubadour scene I'm
sure has stirred up much debate. We know it's wrong historically. But reference
what I said earlier. Using certain songs in specific places to hammer home a
point quickly and decisively </span><span style="font-family: "arial" , "helvetica" , sans-serif;">is why they've used ‘Crocodile Rock’ here. Suspend disbelief for a minute or
two. Or is that the floor dropping down or the ceiling getting closer...</span><o:p></o:p></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , sans-serif;">Sometimes you gotta
exaggerate a point to make a point.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , sans-serif;">John Reid appears
around this time and the 'gentlemen and gentlemen' scene is handled very
tastefully, dare I say Piloted with a steady joy stick. Elton's inner turmoil’s
however have no such careful hand and whilst playing them out either in front
of a mirror or on stage a hypnotic, almost gyroscopic 'Pinball Wizard' with more costume
changes than, eh, Elton spins your head to almost the point you require exorcising. A merry go round of endless attempts to better the last attempt.
Whether it be costumes, the next song or trying to end it all. A dreamlike underwater scene
and the ‘Hands of Angels’ segue in to The Dodger stadium cauldron whilst brief is
visually tumescent. An enormously reimagined, expansive ‘Rocket Man’ carries
Elton on a musical sedan chair propelled to be last seen zooming skywards where he lands in the
bosom of the Starship. But it's not a warm bosom, it's vacant with an empty stare.</span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , sans-serif;">An ongoing theme that we
see played out Coldly, like Christmas as the 80's appear, white piano and all.
The marriage to Renate can be best summed up like a Pinter play. Everyday
actions with long boring periods of pregnant pauses of silence. And everyone
unhappy. The discussions surrounding the downward spiral of the 80's is played
out in some upmarket restaurant where Elton disposes with those around him
whilst taking everything from the menu. ‘Bennie’ plays as hedoism is conveyed
as being weird but not wonderful.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , sans-serif;">The final scene is
like one from pen of a master playwright with this time Christie traits. It has
all the main characters assemble back in rehab to accuse and be accused. Unlike
Christie, nobody dies. Indeed Elton does Still Stand. And what they did with
the interpretation of the video, well you’ll have to stay to the end.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , sans-serif;">As we all have done.<o:p></o:p></span></div>
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<br /></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Verdict Of Love</i></b></span><span style="font-family: "arial" , sans-serif;"><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , sans-serif;">So what's the
verdict?! Can't you guess?! It's an incredible film. Honestly now, the buzz
after only a few minutes was palpable. The buzz was a buzzin'. Trying to
condense so much in to such a short space of time is like trying to put the
toothpaste back in to the tube. The use of the music is critical. As you would
expect. I didn't find the unorthodox chronology of the placing of the songs to
be anything to worry about. In fact it's clever, touching and funny (in the right way). I
must stress again that on paper it sounds bizzare but trust me, it works a
treat. Corralling so many songs, and there are some very diverse choices, from
the DJM era to right now and make them work to colour the narrative comes
across as the most natural thing in the world. They still have something
new and different to say. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , sans-serif;">When the film was
first announced I had visions of it lying on a hinterland, out there, over there, somewhere between a
lost episode of 'Stars In Their Eyes', an endless nightmare loop of that
appalling 'Carpool Karaoke' and a lost late entry Carry On film, possibly
between Carry On England and Carry On Emmanuelle. An amalgam of Armageddon
proportions. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , sans-serif;">Also you wondered if characterisations
would be tempered or altered to a great degree. We can only speculate having
met never any of them in real life. I will expand further on that later. We all
remember reading the Philip Norman book nearly 30 years ago which was a great
primer to further the exploration of Elton. Deciphering the art and the artist
never mind separating them can, and almost inevitably, be impossible. As
somebody asked Telly Savalas once what was the difference between him and Kojak
'Who loves ya baby' (one there for the kids) he replied 'apples and apple pie.'
If it's merely crust we can at least try to cut through it. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Sung and Spoken By
The Leading Man<o:p></o:p></i></b></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , sans-serif;">To be honest I'm not
really familiar with Taron’s work. I'm not sure I've seen him in anything.
Without going off on some great big spiel, he is extraordinary. Homework done
and marked by the teacher. Catching all of Elton's nuances is like catching
sunlight, but overstatement or understatement are two extremes or traps not seen.
It would have been easy to inject clichés of campiness interjected with endless
tantrums for quick thrills. And cheap laughs. The thrills are authentic and the
laughs realistic. I didn't know Dick James had such a colourful vocabulary. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , sans-serif;">He may not sound
entirely 'like' Elton (though he has the look), but delivers an Elton 'like' performance.
Everything is left on stage. Guts. Sweat. Blood. Tears. And other bodily fluids not fit for mention
on a daytime blog. That reminds me, milk bottles were great, weren't they? He
draws you in emotionally; at times you want to hug Elton. Of which he gets.
Occasionally you want to give him a 'Glasgow kiss'. Of which he gets. A real
one in fact. The complexity of Elton's character does permeate through his
music, you can see how his brain is wired differently, approaching things at an
oblique angle.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , sans-serif;">I can safely say
there's no 'Tonight Matthew, I’m going to be…' moment... <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>Support From The Rest
Of The Friends</i></b></span><span style="font-family: "arial" , sans-serif;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , sans-serif;">As hinted at earlier
the supporting characters are depicted as Elton wants us to know them.
Interpretation again must be mentioned. It's part of an editorial device used
in the film to condense a gargantuan mountain of information and experiences. For
instance we weren’t at the dinner table in Pinner so we must go along with the
makers best judgment. By putting Bernie's character in such a fore frontal
position, a really strong character that Elton can play off on screen as in
real life, was only to be expected. And to be required. I'm sure the likes of
John Reid, those connected with Dick James and others will find areas of
dispute. But again it's a Hollywood device of longstanding. Usually those who
are dead are either softened or hardened depending on what direction the
narrative is to take overall or just for one separate scene. There's plenty of
sources for research if one wishes to put some gloss on the primer. Broad brush
strokes in to tight corners can lead to some messy overspills.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "arial" , sans-serif;">We see the characters
that are the glues of different kinds to Elton. They may not bond with each
other but find a natural matting surface with Elton. But in some ways the glue
never fully cures, inevitably leading to friction when they rub off each other.
Refer back to the closing scene in the rehab. It could have gone all a bit
'Jeremy Kyle', perish the thought, but rather than focusing on the what 'if' they
focus instead on the what 'is'. Which is far more beneficial for those all
round.<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">It's Easier To Have
Those Songs Around</span></i></b><span style="font-family: "arial" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif;">Taron's singing and
playing doesn't need to be of Elton's standard, after all it is only a film.
But through strength of conviction he's goes beyond making you believe he's
Elton. Because of the belief which he rightfully earns he gives credibility
without having to resort to an endless parade of outrageous costumes and no
substance behind it. The soundtrack album faithfully transposes the film's
entire musical content. And broadly expands it. Whether it be a composing, a demo or a recording or live performance they give a vibrant, reinvigorated authentic slant. Carefully and expertly reworked versions by Giles
Martin cut a fine balance between the originals and the need for them to fit
snugly as when they're called upon. The orchestral reworkings in particular are
manicured to a high degree. As my dad told me many years ago one of the reasons
he considered Lennon/McCartney to be one of the greatest modern day composers
was there songs could be played by the finest orchestras of the world without
any hint of artistic degradation. That whistle test is passed here.<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">They Spilt The Band</span></i></b><span style="font-family: "arial" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif;">For me anyway the omission
of any mention of the band or musical 'helpers' is a glaring hole. Even though
Kiki appears in it, via some convoluted time slip mind you, even brief
references would have added some nice dressing around the edges. I know 'why'
they did it but I also know 'why' it didn't have to be that way. But if you have a sharp ear, or even a blunt one, you will hear references in the soundtrack that are reverential nods to the right people. Though in
saying that a blonde guitarist, a double bass drum kit and a percussionist with
an endless ‘arRay’ of instruments appear periodically. I know, we know, they
know, you know.<o:p></o:p></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">And In The End</span></i></b><span style="font-family: "arial" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif;">We've read and seen
so many accounts of the landmark Elton moments. We sometimes think we've all
been there, at least in our minds eye. We have our own ideas of they played
out. Who knew the Troubadour was that big?! The film makers have taken that cue and presented people, places, events
and their causes and effects. I suppose they could have done a straight forward
story piece but that wouldn’t have been much fun, would it? <o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif;">Some dots may be
missing and some lines are at undignified angles. But the film still draws a recognizable
Picture. A Big one. And as a man of Steel(e) (no, not that one) once sang, 'oh what
a picture'.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif;">By the way, Rocket
Man will always be two words. Of two people. To me anyway...<o:p></o:p></span></div>
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ppdub73http://www.blogger.com/profile/02563809330498411646noreply@blogger.com2tag:blogger.com,1999:blog-17780980198120607.post-78812927535516350052018-04-17T07:58:00.000-07:002018-04-17T08:10:26.638-07:00'Vamping It Up To Restore'<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-3e-_EWFXMqc/WtX6_CTJzwI/AAAAAAAABCQ/u9dmOFEgmHYwLNpsJOy0UDeCYtEdEJPkgCLcBGAs/s1600/article-1388452-0C2265FB00000578-751_233x423.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="423" data-original-width="233" height="320" src="https://1.bp.blogspot.com/-3e-_EWFXMqc/WtX6_CTJzwI/AAAAAAAABCQ/u9dmOFEgmHYwLNpsJOy0UDeCYtEdEJPkgCLcBGAs/s320/article-1388452-0C2265FB00000578-751_233x423.jpg" width="176" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Benny shortly before he left for his hammer<br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Like Benny from Crossroads returning with his hammer (but longer than the six month's it took him) JW&AT is now again ready to hit things. And rather than just tap, we're going to thump.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I just want to lay out some groundwork before we examine these two releases. I'm sure most readers will have heard Elton's interview with Nihal last week on the radio. The main point to be extracted was the lamentation of the end of proper songwriting. And why should that be a surprise? The best stuff has already been done, Elton should know, he's contributed a large swathe of it. Look at the sheer volume of material released since the mid 50's till the turn of the century when a steady decline that already been in evidence for a few years before that became an almost vertical drop.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">If the base material is lacking then the conduits for it have also suffered a drastic reduction in quality. Singing, in terms of the forms that developed as we knew them in the 20th Century, is now a dying art. It's now a more speech based exercise. Rather than making lyrics expressive they've been reduced to something more akin to spoken prose with modest melodic effect. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I think we're at a '1962' moment in music history. 1962 was the year of the crooner, the first wave of rock and roll was dying out and desperately needed an new direction. An audition at EMI that year solved that issue. But I feel now we're going to end up in a continuous loop of being stuck in 1962. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">If the best stuff has already been written then the best people have already sang it. Or have they? Not exactly true, there are some hiding out in the suburbs that haven't quite got a full line through to downtown. And that's what we're going to find on these two discs. The tagline 'Reimagining' can carry many meanings but as we'll see not always the right one's come to the forefront, either through lack of thought or too much mind matter being put in to it. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I tried to steer clear of a number of things; first off comparing the originals to these 'covers'. But that's still a hard thing to do, unlistening to decades of Elton is like having your brain bleached from the inside out. Nor will I list out who I thought should have been on the discs. There's been some excellent students of Elton over the years that have done their bit, too many to mention, but George Michael, the Wilson sisters, Axl Rose to name just some I'd put right up their on the plinth reserved for worthy covers. I won't even go back as far Two Rooms, we're were all younger then. And maybe less wiser. We can only work with what we've been dealt, they stuck their necks out. We'll decide who needs chopping. Or tickling.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><u><b>'REVAMP'</b></u></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">1. Bennie and the Jets - Elton John, Pink and Logic</span></b></i></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">When I scanned down the artist list my blood ran backwards with some of them. Pink wasn't one of them that caused fluid reversal but I expected much more from her on this one. A diabolical computer production (a curse throughout the album at times) with some pointless rap section parachuted in at the last minute it seems kills the thing stone dead. The thought processes to conjure this one up is beyond me. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>1/10</i></b></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>2. We All Fall in Love Sometimes - Coldplay</i></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">If there's one thing and only one thing to be gleaned from this track it's the dirth of competent, never mind those influenced by Elton, keyboard players. Playing an Elton song on any keyboard will expose you to your peers. Again, how can a well known mega artist deliver such a pancake flat version. The main melody line goes off in several (unwarranted) tangents (another curse on this album, I'm afraid). A medieval sounding bridge to the chorus gives the impression somebody was at the mixing desk for a short period of time but then left, a temporary heartbeat revives things before the flat lining rings out again. Chris Martin's vocals would have been vastly improved if a keyboard player of note were in the house. Does Rick Wakeman still do Watchdog? </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><i><b>2/10</b></i></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>3. I Guess That's Why They Call It the Blues - Alessia Cara</i></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">With a mid tempo song there's only two ways to go (a third if you want to do nothing) if you want to spruce things up. I have no idea who this girl is but thank goodness she turned up when she did. So far this album was beginning to do a uber-Titanic and be vertical before anyone had even stood on it's bow, arms aloft and akimbo. Full of musical tonnage, she make a significant displacement. Heavy rhythm section (who remembers drums and bass guitars?) flows outwards. This is good. Wurlitzer played by Jeff Ross who I once saw playing with John Jorgenson and Charlie Morgan many, many years ago shows why proper keyboard players are needed in some shape or form on this project. Her vocals are mannered, measured with a nice nod at the end to the bands original backing vocals. </span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">7/10</span></i></b></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">4. Candle in the Wind - Ed Sheeran</span></b></i></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I like Ed Sheeran as a person. Anybody with odd hair and wears glasses who can get all those Instagram honey's swooning over him has to be respected in my book. However his music isn't for me, so I can't really say anything about this track as he does nothing that I can take from it, good or bad, to warrant further comment. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><i><b>UNRATED</b></i></span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">5. Tiny Dancer - Florence and the Machine</span></b></i></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The first thing that hits you a millisecond in is the piano. Maybe not played brilliantly but it's the first track so far that is brave and uses it front and centre to good effect. The sound of it is eerily like the original, either in model or tuning. As does the rhythm section evoke similar thoughts in the same vein. As is the want with the sound of Flo and her Machinists the harp does most of the carrying one would expect from an acoustic guitar for additional rhythm. Her distinctive vocals are multitracked ina manner to be as effectual as possible but never to an over bearing level. The orchestral arrangement steers clear of Buckmaster's take on it; it veers off the main melody and only on occasions moves from the background to stick its head in. The final chorus uses the vocal layers to maximum deliverance of increased natural volume; in fact the fullness of it reminds one of the brass James Newton Howard added to original arrangement, for the Tour De Force in 1986. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">So far the best thing on the album. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>8/10</i></b></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">6. Someone Saved My Life Tonight - Mumford & Sons</span></i></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Suffering cats, somebody put out an APB for the entire Mumford family. They've killed a song. This is truly woeful, not one element of the songs basis or it's signature statements are left alive. It's as if a 'MUMified' (see what I did there?) corpse, white of face and red of eye is propped up for one more rendition. It's a lazy execution, slow and painful. No song should suffer that indignation. </span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">1/10</span></i></b></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">7. Sorry Seems to Be the Hardest Word - Mary J. Blige</span></b></i></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Mary J. Blige has done Elton before, singing that is, so she should know better than deliver this trashy mechanically robotic dirge. Whether it be a deliberate or accidental diversion from any remnants of the original melody it can't be forgiven. Going out of your way to be intentionally obtuse might be a sense of achievement for those responsible but it's the listener who ends up confused at the start and raging by the end. Why couldn't she have got somebody like a David Foster to do herself and the song justice?</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Rewriting a song is not clever or not funny. We've had too many trying that so far. Stop. Now.</span></div>
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<b style="font-family: Georgia, 'Times New Roman', serif;"><i>1/10</i></b></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">8. Don't Go Breaking My Heart - Q-Tip and Demi Lovato</span></i></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Now we're starting to circle the drain. This is the third one in a row that needs rescuing by musical social services. Demi Lovato is a good pop singer (not that you would know it here), in another era her material legacy would be greater than some of the stuff she's appeared on. But Q-TIP (no, me neither) and her both sound like something recorded on an ancient mobile phone for a Youtube uploading at the the lowest DPI possible. Modern music folks it seems can neither be trusted to write new songs properly or worse still, as we can hear, be trusted with an old song. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I think names should start to be taken at this stage.</span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">1/10</span></i></b></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">9. Mona Lisas and Mad Hatters - The Killers</span></i></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">At least the rot has stopped for now, though I'd have preferred The Killers to have done an uptempo, slightly electronic/rock track from the back catalogue. Leather Jackets had plenty to offer them. A bit of work maybe but could have been more fulfilling. Its an ok attempt, they didn't make too much of a mess nor found something on it we've not envisaged before. </span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">6/10</span></i></b></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">10. Daniel - Sam Smith</span></b></i></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Like Ed I have no concept of his music, though his voice at times displeases me every time I have the misfortune to hear it. I only got as far as the part where he started singing, which is almost as soon as it starts. It's like a castrato. Mid procedure. Regretting it. I can do nothing nor will I try with this one either. </span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">UNRATED</span></b></i></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">11. Don't Let the Sun Go Down on Me - Miley Cyrus</span></b></i></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This one surprised me. A lot. We all know Miley has a reputation as being a bit of a...anyways, she does have singing talent, no doubt here. The lesser spotted piano player comes in to view. It's lavished with a country rock edge, human beings playing instruments. Who knew. A welcome relief of almost Mafeking proportions, after a seemingly endless slew of flicking through current music channel offerings. There's nods and bows to Nigel, Dee and Davey throughout that cannot and will not be ignored. It's a confident vocal delivery, timed and managed with care. </span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">8/10</span></i></b></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>12. Your Song</i></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I know a lot of Elton fans like Gaga so I'll have to pick my words carefully. I know there's a lot of hype around her but to me she's bit of a head the ball, 'original' to anyone born after 1990, not nearly as good a singer as the chattering classes would have you believe either. In examining this version I found her delivery to be harsh, no sense of panache or sense of the required fragility that is required at certain (though not all) times throughout the song to make it work as being something that is sincere. It's as if her words were recorded individually and then spliced together to give it a monotonal dictation. The arrangement, whilst trying to be a bit more understanding, doesn't make her case any more credible. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Elton fan's are now calling for my execution after I've slaughterd a sacred cow. But didn't she sing once about killing cows and making burgers...</span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">2/10</span></i></b></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">13. Goodbye Yellow Brick Road - Queens of the Stone Age</span></i></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I think the Foo Fighters would have been a better choice for the 'heavy rock' participant. Rock Of The Westies would have been a tasty menu for them to choose a rock out closer. Instead we get QTSA who make a passable attempt but a heavier go at it may have been more interesting. It's middling at best. </span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">5/10</span></i></b></div>
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<a href="https://2.bp.blogspot.com/-T6fR0ZL_Qvg/WtYBtHT3GwI/AAAAAAAABCo/dtP1J1pVvME1XmoQk4-gTwiCIVw1eKviwCLcBGAs/s1600/AlbumCover.Web_-768x768.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="768" height="320" src="https://2.bp.blogspot.com/-T6fR0ZL_Qvg/WtYBtHT3GwI/AAAAAAAABCo/dtP1J1pVvME1XmoQk4-gTwiCIVw1eKviwCLcBGAs/s320/AlbumCover.Web_-768x768.jpg" width="320" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: large;"><b><u>RESTORATION</u></b></span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>1. Rocket Man - Little Big Town</i></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">With a group known for their harmonies you'd have expected they would be front and centre. After all the original song is dripping with them. Incredibly though some of the production gimmicks present on the other disc have escaped and look as if they're going infect this one. It tries to be too clever for its own good and ends up being bit of a mess in places. Not until the outro do we hear what what we should have heard in the main body of the song. A shame this one, considering they showed in patches what could have been achieved. </span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">3/10</span></b></i></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">2. Mona Lisas And Mad Hatters - Maren Morris</span></b></i></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">So they're having another go at this one, this an artist I'm not familiar with. I said I wouldn't compare too much with the originals but comparing covers with other covers is beyond the remit of this blog at this time. This take is in more of a downstairs music club style, which suits all parties. Performer and song. The emotions are caught deftly, a thoughtful tempo with a restrained production all add up to something worthy. </span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">7/10</span></b></i></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">3. Sacrifice - Don Henley & Vince Gill</span></i></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I was never a fan of the original so my expectations were a bit low. However it does surprise at times, the tempo changes from verse to chorus were welcome to break up unwelcome monotony. The switches too in lead vocals also added some needed variation. They don't do any serious dents to the song and treated it with care. No complaints here so. </span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">6/10</span></i></b></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>4. Take Me To The Pilot - Brothers Osborne</i></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This is a functional effort, another act I'm not familiar with either. Whether that helps or not for me to judge those who I know or not is a moot point. I can only start and finish with the song. They did what they did with it apart from that there's no more to be said. </span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">6/10</span></b></i></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><b>5. My Father's Gun - Miranda Lambert</b></i></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">We've got a fine rendition here, a terrific gritty country rock edge encased by classic female country vocals are a perfect entwining. Hearing is believing, the concept of the album is fully realised on this track. </span></div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><b><i>8/10</i></b></span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">6. I Want Love - Chris Stapleton</span></i></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Unlike current songstress, Dua Lipa, I'm starting breaking my own rules. Elements of the original are plastered all over, Nigel's big drum sound for instance is present and correct. But what is the most unexpected, and most pleasing guest, is a 'new' Buckmaster arrangement. Was it an unused leftover from SFTWC or one of his final acts on this Earth? Whatever the case it puts an exquisite finishing touch, this version may not stray too far from the original (its very commercial in fact) but the added orchestral element by somebody who knew their way around an Elton song better than most, if not everyone, will mean it has a legacy. </span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">7/10</span></i></b></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">7. Honky Cat - Lee Ann Womack</span></b></i></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I think this was the right time for some light relief on the album, there were some (unintentional) laughs on the last one but this time they are well scripted. A stripped back style with some witty production values. Performer and musicians find slightly different places to go whilst still in sight of home. Done their way but still not too far away from what we know. </span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">7/10</span></i></b></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">8. Roy Rogers - Kacey Musgraves</span></i></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">We've had some good stuff so far on this album but if you don't respect the melody or maybe understand it then it's going to leave you scratching around for the hook line. The necessary peaks and troughs are obscured. It's like skimmed milk, too flat and thin. The slightly advanced tempo makes it feel rushed, the briskness gives an impression that they wanted to be in and out as quickly as possible either without making it obvious or fearful of hanging around any longer might cause more serious damage. </span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">2/10</span></b></i></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">9. Please - Rhonda Vincent & Dolly Parton</span></b></i></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">So far we've not had too much to complain about so can we keep it up till the end? So far the women have been keeping me up...if there was ever a contrast between the previous attempt and this one surely a chasm so big has not been measured yet. The song choice (like a lot on this disc) surprises and the delivery delights. As I mentioned earlier on a number of tracks, the tempo changes can kill it or revive it. A careful ear that has good judgement will win through. A steady natural backbeat, the only stick here is for some light percussion rather than of the USB kind. This is proper American trad style music, other producers take note. The two voices play off each other comfortably, its like a first take after one hearing. At the end of the day this Dolly was never a clone! </span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">8/10</span></b></i><br />
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">10. The Bitch Is Back - Miley Cyrus</span></i></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Miley's really been the one on these discs that has surprised me. I don't eat humble pie because I came in with a blank canvas and commented on what I've found. If an artist makes me change my mind, they've done it for me. For me anyway the litmus test of any great singer is whether they can do the ballads and rockers as if they're on a busman's holiday either way. There's no doubt she caught the flavour of the two Caribou tracks, her band and producer carefully navigated her and themselves through challenging waters. Knowing there wasn't to much wrong with the originals a simple updating and colouring in a bit deeper already vivid shades can work wonders. </span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">8/10</span></i></b></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">11. Sad Songs (Say So Much) - Dierks Bentley</span></b></i></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">A piano. Yep, you have to give some credit for at least adding that element to the mix but as he's an artist I have no clue of (yet again!) it's almost impossible for me to judge whether he's on form or not. </span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">5/10</span></i></b></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">12. This Train Don't Stop There Anymore - Rosanne Cash & Emmylou Harris</span></i></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">We've had some great song choices on this disc, that is for sure. Sometimes a minor adjustment is all you need. Referencing back to my tempo point the judgement on that matter here is bang on point. Two artists who are masters in their field deliver a noteworthy rendition, this reviewer can not nor will try and find fault. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">It makes you think if Linda Ronstadt still had her singing powers what she could have brought to this album.</span></div>
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<i><b><span style="font-family: "georgia" , "times new roman" , serif;">8/10</span></b></i></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">13. Border Song - Willie Nelson</span></i></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I wasn't sure that Willie was still with us but he's still on terra firma if this rendition is anything to go by. I'm not sure mediums record well. Sounding as he does though like Strother Martin at times it's by far and away the best male vocal on this album and the other one. Backed by musicians who take care and attention to detail as they swim to a fine closer on the album.</span></div>
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<b><i><span style="font-family: "georgia" , "times new roman" , serif;">8/10</span></i></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">If you skipped through the entirety of both albums and didn't read any of the above reportage then this should still make some sense. The Restoration disc is by far and away the best of the two. Bernie got the better end of the deal. Maybe one album of the best performances may have been a much tighter affair but with half a thousand songs to choose from we'd be here till doomsday. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The best performances covering the two discs are the female vocalists. They are head and shoulders above their male counterparts. I'm not talking either by a head, they were several lengths in front at the finishing post. My earlier point of being stuck in a '1962' moment has been born out, certainly as regards male vocalists. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">There's a fine line between 'reimagining' and 'rewriting' is too close to call really, at times though some of the acts went feet first over to the wrong side. The production on Revamp at times was so bad, or maybe I'm so old, that it's like listening to a new form of sound that I'm neither able to recognise nor respect. Restoration showed too that the back catalogue has life beyond the foothills of the hits. A lesson that hopefully will travel a long way back to hit hill top.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I know the aim of the Revamp effort is try and tune in the young people </span><span style="font-family: "arial" , "helvetica" , sans-serif;">towards Elton.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> I suppose the crowd that come after the millennials perhaps (whatever they're called) might be the target groups. But in translating Elton in to their 'language' so much is lost that the message is garbled and unintelligible</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> at times. Which leads to all sort of misunderstandings. My advice is simple. Learn the language of Elton. It sounds better when you hear it spoken by the teacher and when you speak it back. Like Linguaphone spoken by natives. I wonder if the juxtaposition of a young fan of these pop artists going back to the originals will meet with their approval. After all they'll be hearing things alien to their ears. Guitar solos. Strings and brass battling with keyboards. Vocal harmonies sung by people with no computer to make them sound good. Without any effects thrown in for bad measure. Or having 'featuring' in the titles.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">There was a chronic lack of any proper keyboard acts. They don't exist much (where was Alicia Keys for example?)in any mainstream form nowadays so we're at a point of no return as regards seeing such performers again in the future that will be groundbreaking and imaginative on a wide scale. These covers do tell us one important lesson for the uninitiated. And that goes back to the what I said in the last paragraph. By stopping here with these versions you're missing out on what the songs really were all about. The band elements, arrangers, production values, etc. are all missing and painfully so in most cases.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Covers can be wicked things to pin down. But as I head back with my hammer, here's a thought. The best artist to have covered Elton has been Elton himself. His live 'revamping' over the last 50 years had true sincerity and authenticity about it. When he throws out the prepared script and does it his way there was and still is no better person to it. Sometimes by design sometimes by circumstance, he's had to rework, if not rebuild in some cases, many a song for the stage environment. Look at Sixty Years On and the various treatments, hybrid and all, it's had. Tonight on the 1985/86 band tour was so left field of the original it still contained enough base matter that you were always on familiar ground; the reimagining of Davey's guitar replacing the London Symphony Orchestra on paper sounds ludicrous but worked as if it were the first idea. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">First ideas are always best. Elton and Bernie's first ideas were, are and always will be the best.</span></div>
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ppdub73http://www.blogger.com/profile/02563809330498411646noreply@blogger.com3tag:blogger.com,1999:blog-17780980198120607.post-47774337703026848802016-02-08T04:34:00.000-08:002016-02-08T06:11:57.704-08:00'Wonderful Crazy Night - Bonus Tracks' - Review<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Bonus tracks...or as the marketing people call them tricks used to get us fans to buy multiple editions. Of which I did, of course. As is the case the Far East market seems to get a track or two extra. By the wonders of modern technology and old fashioned generosity I now have them both.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://1.bp.blogspot.com/--zvMGJwCJdk/VriJ2NsK0CI/AAAAAAAAA-4/-Tr3CTmtz_c/s1600/WCN-litho.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/--zvMGJwCJdk/VriJ2NsK0CI/AAAAAAAAA-4/-Tr3CTmtz_c/s320/WCN-litho.jpg" width="320" /></a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><u>CHILDREN'S SONG</u></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">A real bright and breezy track here, the percussion is fluffy and feathery. Like something scrubbing. Piano led mostly, Kim's organ line has that hint of occasional accordion (which appears at times on the rest of the album, mixed low but more than detectable) creeping in. Bernie's imagery is very strong here, heartfelt without any hint of cliche.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><u><b>NO MONSTERS</b></u></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Lyrically slightly darker at times than the rest of the album, the mood of the lyric changes at the same time as the uplift on the chorus to take us back to the main theme of the project. Melodically very diverse, Elton's piano is more to the fore here. The occasional solo breaks that Elton does with that slow, loose drumming style from Nigel again are a treat as they aren't a common sound on the rest of the album. Another sound here that doesn't appear too often, if at all, is the almost Mellotron synth sound from Kim, orchestral in demeanor. The heavy bass sound of it conjures up visions of cello banks. This song would have sounded amazing with a real full string section. What does sound amazing is the traditional harmony sound to close out the final chorus with Elton's piano and Davey's guitar trading places. The final fade out is slow and lingering as the entire journey through the night has closed up shop.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Certainly No Monsters should have been on the main album for certain, it's a real candidate for the classic list of songs that never got to the main stage. In the old days of singles they would have been more widely available in 'hard copy'. But as well know there are ways and means around that now (not that I'm condoning that behaviour!)</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><u><b><br /></b></u></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><u><b>RELATED POSTS</b></u><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="http://ppdub73.blogspot.ie/2016/02/wonderful-crazy-night-review.html">WONDERFUL CRAZY NIGHT - REVIEW</a></span></div>
ppdub73http://www.blogger.com/profile/02563809330498411646noreply@blogger.com3tag:blogger.com,1999:blog-17780980198120607.post-17142571074062783202016-02-06T07:50:00.000-08:002016-02-08T14:43:33.035-08:00'Wonderful Crazy Night' - Review<div style="text-align: justify;">
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<span style="font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif; line-height: 16.8px;">***** (5 stars)</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I've had many messages enquiring as to the whereabouts of JW&AT. Battery recharging is essential for any piece of machinery, I'm still refilling my cells as I speak. But the release of the new album has to be attended to, otherwise the momentous moment will be lost. Looking back to the <a href="http://ppdub73.blogspot.ie/2013/09/the-diving-board-3-stars-here-we-are.html">review</a> of TDB when it came out from this standpoint is like looking into a different world. One full of gloom, dread and chronic melancholy. Thankfully all that darkness has had a bright light shone in it's face, the heat has melted it and the light swept away the shade. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">During my 'regeneration' period I've switched off from nearly all internet 'so shall meeja' activity. No bad thing at all...as a consequence I was immune to the steady flow of previews, insider reviews and cat call miaows from the sidelines. I heard the first three songs released officially, still called singles in this non-single day and age, but no more until I heard the album. No live tracks, no snippets. Like the old days...kids today don't have that opportunity unfortunately.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">So, how do we take this review. Rather than leaving the punchline till the end...because the sharp ones will have guessed early on (unless they scroll down of course) where I'm going on this one...the album is a masterpiece of modern day expressive rock. Can't put it any simple than that. Starting lyrically outwards, Bernie is often considered never to be firing on all cylinders when it comes to the brighter side of life. However he's had a dose of Redex to get his piston pumping more exuberantly. Whatever their origins by the time we join in we're arriving at a point on the album at where they've matured to a delight. If there is any depth lacking it's more than made up for in vibe and tenor. Sometimes it's how you say it rather than what you actually say.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">And this is where Elton sweeps in from across the plains. Because as Bernie's soapbox he is very much in 'This Way Up' position. Up being the operative word...if like me your head is done in with modern muses shifting supermarket trolleys of moany, drippy boring music then WCN is like said Redex being injected undiluted into your open vein. Prepare for billows of smoke coming out your exhaust as you put the pedal to the metal...</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><u><b>WONDERFUL CRAZY NIGHT</b></u></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">If there was ever a case of a standalone track being like a fish out of water it was this one. As an opener it has to be heard here and no where else. Placed at the vanguard of the album it's like a reportage of the album that's yet to be listened to. It's a preview and review all rolled in to one. The acoustic washboard style (skiffly in delivery, like England in America you could say as a later song title reflects). The jaunty out in the open riff has a swing to it that is tight and devoid and any loose swagger. Great opener here, Pink was right. The party has started.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><u><b>IN THE NAME OF YOU</b></u></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Phew. This is a classic already, the riff may sound familiar but the instrumental breaks are incredible when they kick in. A genuine hook, the chorus has the same accusation held against it. Glassy organ has a crystalline sound to it with no opaqueness. Electric and acoustic guitars switch and glide into one another throughout, classic Elton drops the bridge down a notch before a slightly distorted guitar solo with a hint of sleaze infects proceedings. Brilliant! One of the most original things Elton has done in yonks and yonks.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><u>CLAW HAMMER</u></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">And the originality keeps flowing. Like an invisble 'Chain', the acoustic licks at the start are underscored with a slight oriental technique. Small cymbals say big things, piano swims low but never disappears as they might say on the Orient. The solo has a Fab Four inclination to it, not the last input from that side of the world either on the album. The opening gambit is used to herald us out but not before a brassy escort speeds up our departure. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><u>BLUE WONDERFUL</u></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">When I heard this first the Drovers Ballad came into my mind instantly. Now I can't listen to either song without hearing the other. This isn't one of my favourites on the album at the moment, it goes a bit twee at times. In saying that it might be one of those 'growers', everything else on the album was almost instantly accessible for me. Oh well, moving swiftly along...</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><u>I'VE GOT TWO WINGS</u></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Remember I mentioned originality earlier? We're back on new ground again. The light brush work and Elton humming is a combo we've not heard before, have we? His vocal is dominant at the outset, carrying the entire song at this point as one of Bernie's genuine character's appears for the first time. Heavy drums manifest themselves on the chorus, the heaviest on the album so far, and contrast expertly with the verses. The production here is key, the different movements of the song are clearly demarcated. But behind all this intricacy is something simple. Evocative, slightly upsetting possibly, is the far off guitar lick from Davey. Sounding as if it's in another room or even another level of consciousness it's eeriness is at odds with the concept. Which is a good thing.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><u>A GOOD HEART</u></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The opening is intricate in the extreme, but Nigel's trademark slow drumming at last appearing is like seeing your favourite character in a film come into shot. Proper order for a 'big number', Nigel's moment has arrived. And so has Mr. Burnett's. Finally 'getting' what a big Elton song constitutes and requires he brings his own style to the meal table and it becomes a feast. His brass section of choice starts off understated but grows in stature as progress is made. In spite of the ever gathering weight, Davey's acoustic solo carries all that might four square on his back. But we're not done yet. The final chorus has the French horn prominent; remember the similar moment on DLTS? It's here again and hasn't lost any impact or power of delivery in the intervening years.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><u>LOOKING UP</u></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">See earlier <a href="http://ppdub73.blogspot.ie/2015/10/looking-up-new-single-review.html">review</a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><u>GUILTY PLEASURE</u></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Tubthumping handclaps batter the door down, there frantic pace once the door is open never lets up. Like the previous song the vocals are picked and placed like diamonds on an expensive ring. The guitar solo is raucous, brimming with frenzy and multiple layers of personality. The piano is ending is a style akin to Cold going into Pain...</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><u>TAMBOURINE</u></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">...except this song is unlike the destination of that earlier example from Made In England. If the title hasn't given the hint then you know Ray is all over this one like a rash. 'Rasher' Ray takes the lead on a style that has that West Coast feel, high up in the canyon perhaps. Heavy organ from Kim, really closely recorded here, you can feel and hear the keys depressing and rising up with that slightly clicky sound they make. Bluesy solo from Davey is the perfect foil for the 'strum around the camp fire' undercurrent.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><u><b>OPEN CHORD</b></u></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Pluck, you might say. Synth appears with a broad backdrop in a plucking sound, gentle percussion holds it all together. That is until the country infused solo when it beefs itself up. A restful way to end the 'regular' album, but that won't last forever if you're a de-luxer.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><u>FREE AND EASY</u></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">More Beatles hints here, the intro goes into a Lane that is styled and paved with Pennies. Harmonies dominate here too at times, the entire song in fact is one of the most Beatles influenced tracks Elton has ever done I think. Some really interesting piano lines appear.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><u>ENGLAND AND AMERICA</u></b></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Imagine Elton in the 80's that wasn't the real Elton in the 80's. Big hair (ooops) with an OTT sound. This is what we get here. Though popping his head in every so often is an organ lick that sounds remarkably like it fell off an Elvis Costello song, circa 1979. More than just an Attraction, the whole song is stadium rock brought into your room of choice at home. One of the heaviest sounds ever on an Elton album, driven by a relentless line from Matt, the backbeat is merciless in what it dishes out. Interspaced backing vocals stick their heads into the very few spaces that appear from start to finish. Slick changes abound but the appearance of tubular bells near the end is merely a cue to engage in more head shaking. Careful that big hair doesn't come loose folks...</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">That's the album, let's look at the main protagonists who appear on it. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Nigel's drum sound is as near to the 'live' sound as you're likely to get represented on disc. The power is to the forefront but complimenting that is his usual unfussy but distinctive sound. Not to mention the wide and diverse compliments he pays each song.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Matt's bass sound is one of the main constant's throughout; if it were isolated it would tell two stories. One would be of power and might, the heavy side of his hand really drives the rockers into a rarely ventured power zone. On the other hand, so to speak, he throws in licks and melodious lines in the spaces that Elton leaves. Not for show but to give the ear something extra to nibble on during the main courses.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I'm going to link John and Ray here as one, not out of convenience but for a deliberate reason. Anybody who knows there Elton onions will be well able to separate what each of them does on stage at the MDP for instance purely by ear. Same happens here on WCN. Part of the listening experience is picking out who does what and where.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Kim on keyboards shadowing Elton on paper doesn't sound easy but rather being in the shadow he creates his own light and shade. Being brought up in a home that appreciated the Hammond organ sound I am more than happy to hear in it liberally spread throughout the whole album. Boxes ticked, loads of them on that count.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Anybody seen the new Star Wars film? Or the X Files return? Of course you have...if not, why not. If so you'll know why they work. No spoilers here but the main reason is the original stars are back, theme music and opening titles remain present, correct and untouched. And the writing is strong. It's as if the gap of years doesn't exist. Same goes for Davey's return. It's not as if he's been away but over the last 10 years you can be damn sure he's had a myriad of idea swimming about just dying to be put down on tape. And now they're cutting loose. There's so many unique sidebars he's added to the album it would be impossible even to timestamp them. What he does do is what he was given free reign to do. Plenty of guitars and plenty more again. The balance between acoustic and electric is wonderfully divergent, as per usual on an Elton album he finds the right voice at the right time. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I mentioned Bernie at the start because as is the case with these things his bit always comes first. He delivers what he was asked to do, lyrics that when coupled with Elton's melodies really spring to life off the paper. They aren't for reading, they are for listening to. And of course singing along too!</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">One of the main problems (among many) was the songwriting on TDB. This time however Elton has delved into his magic bag and produced something special. Not just once, not just a few times but all the way through. New hooks and distinctive riffs abound aplenty; there's none of the old rehashing of old melodies. The previous mishaps on the last album are a distant memory, fading quickly thankfully. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">His vocals are finely balanced all the way through, in fact the best of this decade. There's none of the cod dramatics or forced phrasing. Plain and simple is the best policy and it proves a triumph throughout. I read one comment that the album wasn't 'piano pure' enough. I take the other viewpoint, it's 'piano and band pure.'</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Mr. Burnett, as long time readers of JW&AT will no doubt be well aware of, hasn't been a great favourite here. But I did say back in 2013, when we were younger...and funnier too as some might say...I would support him if he got the band back in and did a proper EJ/BT album. No faffing about, plain and simple rock and roll. Forget trying to be stylish for the sake of it, just do it naturally. And this is what we get. I'm almost certain, nay I am certain, he's never worked with an ensemble of this caliber. A group of supporting actors who are intrinsic to the end result. Here's why.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The remake of True Grit had Jeff Bridges and that was really it. A great actor but redoing a classic in the place of an icon is hard enough. But not having the same backup to make the main protagonist at ease and therefore free to express themselves is a handicap. John Wayne had Kim Darby, Glen Campbell, Jeff Corey, Robert Duvall, Jeremy Slate for instance on the payroll. Not to mention Dennis Hopper, if you please. Part of the attraction that brings you in falls at their feet, once in you realise why they are there.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">If proof were needed, not here anyways, but it proves yet again why the band should not have been ignored on the last two albums. Hindsight is a gift that we all possess, insight however is something that few can claim to have. The band have that about Elton's music, WCN delivers that from start to finish. The producer was cany enough to let the band get on with it and get on with it they did. The sound is as full and broad as you're ever likely to hear from any current artist for example. If somebody asks me what are Elton's best albums, I always go for the 'band' albums as a good starting point. WCN fits into that category seamlessly.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">So where does WCN fit in to the Elton cannon? It's been fired and the bang has traveled a distance. Is it up to the 70's standard? I'm not going down that silly route, it's not fair to the old albums or this one. Even the albums of the last decade are from another era and have their own place but a lot has changed since then too. What I can do is look at it in reference to the the T-Bone era. The Union is a side project in my book so we'll skip to The Diving Board. And then we'll skip again. When I started the blog one of the things I said was about perspective. From the standing position of now, the era of WCN, TDB looks even more disastrous. Is that possible, you better believe it. Listen to TDB and WCN back to back, its like seeing a Lada behind a Bentley Continental at the traffic lights. Embarrassing for the Lada driver being in such an old banger in such esteemed company, embarrassing for the Bentley driver sharing the same road as that rust bucket. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Wonderful Crazy Night is the album that the fans wanted, the fans have got, the fans love. Make no mistake about this. When the dust settles the legacy of this album will have established itself. The big question is, do you leave it at that or go back for more. I'll take the cue from little boy Twist, please Sir Elton, can we have some more?!</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="http://ppdub73.blogspot.ie/2013/09/the-diving-board-3-stars-here-we-are.html">The Diving Board Review</a></span></div>
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ppdub73http://www.blogger.com/profile/02563809330498411646noreply@blogger.com2tag:blogger.com,1999:blog-17780980198120607.post-11054885758481144282015-11-02T06:31:00.000-08:002015-11-02T06:32:47.831-08:00'From Tin Pan Alley To Yellow Brick Road by Keith Hayward' - Review<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "arial" , "helvetica" , sans-serif;">One thing you can certainly say is that Elton has had many a word scribed about him over the years. Or in the modern way of thinking, tapped out...there's too few have scratched the surface. This time the veneer is lifted and what lies underneath can be revealed. More tell than kiss, thankfully.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">When 'Tin Pan Alley - The Rise Of Elton John' by Keith Hayward came out JW&AT didn't exist so a review was not forthcoming. Here's a quick roundup of it though. Starting at the very beginning of Elton's musical education, both formal and informal, it charts that learning curve right through the Bluesology era deeply and stops just as fame began to come into view in 1970. Stopping off at points such as the recording of the DJM 'demos' and the first couple of albums (influence of Hookfoot on Tumbleweed for example) as you do. But that's only the basis on which the book was formed. Interspersed (as is the case with vol.2) was the background to the whole British music business; the characters who occupied it and the environment they existed in. The changes that took place from the early 60's onwards with the example of the whole in-house writing culture and how the singer/songwriter (for which Elton certainly accelerated the revolution) became the main focus is clearly documented. By those on the very inside, to name check the characters involved would be like a flick through a general musical who's who, never mind just those connected with Elton. If I say the names Paul Buckmaster, Stephen James, Steve Brown you get the idea. If you've not got the first book yet, get it. Though not reading it before volume two won't ruin the ending...there hasn't been an ending yet as far as I'm aware.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I remember the old England goalie Peter Shilton giving an interview a few years ago about his book. The interview was painful, it merely consisted of him avoiding answering any question so as not to reveal any snippets from the book. I'll not do a Shilts now...but what I can reveal is the bare rudiments of some of amazing insights that Keith has come up with. Just like the first book he gives some great information (again by those involved) for example to the side projects that Elton did especially in the early years, The Bread And Beer Band sessions in the first book is looked at and this time around the 'Saturday Sun Sessions' have more details revealed about them. They need a proper release at this time, any Nick Drake fan I've shared them with have been quite impressed with Elton's interpretation of his songs. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">But of course it's the that gargantuan march to the top and beyond in the early 70's that is vividly captured. There's a nice balance between the onstage and off stage antics. Both are key as they frequently influence each other as we'll see later. The narrative is broken up with contributions from direct and indirect Elton connections. Some of the direct names are speaking here for the first time in great depth; John Reid in particular comes across as been honest and with no ill will towards Elton. I still think on the whole he was a positive influence for Elton over the years. Annette Murray, widow of Dee, gives a terrific 'band' insight throughout as does Roger Pope who thankfully got his thoughts down before he left us so soon. Caleb Quaye, who has spoken many times open and candidly especially in his own book with Dale Berryhill, again tells it as he saw it. What did Crocodile Rock ever do to anyone?! Kiki Dee rounds out things from that angle, always associated with Elton but her own musical identity does shine through here. Tony King, being a friend and fixer to all people of the music business, regularly appears as a conduit to Elton getting in contact with the real music heavyweights, the Lennon collaborations in studio and on stage being documented accurately here.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">There's some great recollections from former colleagues of Elton's band, Davey in particular has some light shed on him from Noel Murphy of Draught Porridge fame. The folk influence as we all know stayed with Davey and seeped into Elton's music seamlessly and subconsciously. It's quite interesting to see how Davey had an almost instantaneous revolution in terms of the style he played to a style that came from influences he hadn't yet tapped into at that time, in other words rock. The discussion of his early electric playing is very insightful. It has been noted before about when Davey joined the band the dynamic changed in how they perceived themselves, though that wouldn't be the last upheaval as we'll see now. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Almost at the end of the book we finally get into a part of Elton's career that has always intrigued on one hand and baffled me on the other. The removal of Nigel and Dee. I've made no secret of the fact on JW&AT that I think it was terrible decision from a music point of view. That's not being disrespectful to those who replaced them, it wouldn't have mattered who came in.Anette Murray recounts Dee's lament on that very fact plus the comments by Kenny Passarelli about Gus Dudgeon and his attitude towards him tells its own story. They had all recorded GYBR together, untoppable in some eyes, and then a year later recorded Captain Fantastic. Which did top it in some eyes. That's some progression curve, isn't it. Where they were on that curve we can only imagine. What they could have done next is truly astonishing to comprehend if they had continued at that rate. It's interesting to note that large vats of vintage alcohol and lines of devils sherbert dip appear from this point on. One of the most startling revelations is the fact that, wait for this, even Davey was out for a while. That's right, the entire band were gone. That's quite some concept to sink in if it had been seen through. But what is recounted afterwards in terms of how the studio work and live work seem to go further away from each other is telling too. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Fleetwood Mac's Rumours came about as did the later ABBA classics from internal breakups. The Bernie/Maxine/Kenny Passarelli eternal triangle of the EJ band became an unforeseen muse. Kenny P. goes into detail about his relationship with Maxine and how it started, how her's ended with Bernie and how his relationship with Bernie was affected. It's not news to any longstanding Elton fan all this but when it's all laid out and put in context from the very people themselves in terms of how the music was shaped and affected that was born out of these complex relationships woes and ultimately perceived it adds depth. It's funny when you look at the post '76 era and how disjointed it all became. Gary Osborne appears sporadically throughout but at the end is in more detail and gives shape to that period in time where Elton seemed unsure of his musical footing. It was only when he started touring again with more definite purpose that his focus sharpened up.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">And that's what you get in this book, depth. There isn't any hearsay, it comes from the mouths of some thoroughbred horses. Nobody bad mouth's Elton, I suspect even if they tried it mightn't amount to much. Much appreciated background to already known facts further build the layers that is Elton's incredible ongoing merry go round journey. This volume taken in tandem with the first one are now essential Elton books. Why do I say that? Because all threads of Elton's career are linked together in an non-opinionated way so that on the surface what looks like a vast canvas has been neatly drawn together to give a clear and concise look at Elton up to and including 1979. I look forward to volume three...speaking of vast canvas's the limited edition comes with incredible poster designed by David Larkham. This isn't his only contribution, he recounts some tales into the design of the various albums covers he was involved with. It's similar in concept the cover of the first book, it would have great as the cover of this edition. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Any new fans of Elton should get this book as it doesn't stray into any salaciousness and gives a wide understanding of how Elton's music came together and those who helped put it together. Older fans like ourselves have been given some new insights into the projects that were on the periphery of the main events, some of which are quite surprising.</span></div>
ppdub73http://www.blogger.com/profile/02563809330498411646noreply@blogger.com0tag:blogger.com,1999:blog-17780980198120607.post-68873093040865844792015-10-22T08:36:00.000-07:002015-10-24T01:45:08.526-07:00'Looking Up - New Single Review'<div style="text-align: justify;">
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<span style="font-family: Arial, Helvetica, sans-serif;">How
odd can things be. For my next update I had planned to do a piece about a single
from long ago...but out of the blue (thanks Ed!) the Elton world tilted on its
axis a bit this week and the invisible fields of electricity above us have
shifted. It's not true to say a brave new world has been revealed...more like
an old world has been found under the ruins of the old one. Looking Up at
us...Back to the Future...one day late.<o:p></o:p></span></div>
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The Diving Board was released one of the many problems I had with it was the
fact the band weren't on it. If you don't know why I had that problem, read
back or row off. Not having the band involved was a major mistake. One that has
since proved to be folly. I was right and all that. So the powers that be
listened to the fans...and the response back is incredible. Not to put too fine
a point on it, after one listen I know that the axis is now back on its proper
level. Yep, that's right. All is now right again in the Elton world.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Elton's
latter day recorded material had been a bag of old curates’ eggs and sold pups.
I've not had that 'moment' with any new releases since Methuselah was almost a
nipper. Plus it's been nearly ten years since I last had the luxury of hearing
the band on a proper studio recording. A lot of water under the bridge since
then... a lot of folks no longer with us. But we've got new lads in place. Or
newish I suppose at this time. I'm taking a huge leap of faith here when I
imagine everybody reading this has seen Elton sometime in the last few years.
So you know what I'm talking about when I mention the energy, the verve and the
guile the band bring to proceedings. Capturing that is like dueling with
lightning, seizing it by the throat and bottling it. But that's what's happened
here. Lightning is full of heat, light and power. The new song has all that. </span><span style="font-family: Arial, sans-serif; font-size: 10pt;"><o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Starting with a flash and ending with bang is the ideal description of lightning. Looking Up has that all the way through. Electric (of course) piano, with a mean and dirty tuning to it, acts like a pre-emptive flash before the actual bright light of the acoustic piano announces itself. Listen to Nigel's drums as they kick in. Full wide sound, the toms spread out as far the ears can hear. Proper Nigel sound, and of course he can rock. The introduction to the riff is incredibly simple here; uncomplicated its effect hangs like the aftershock of a strike. When it does explode into something more intriguing its power further lights up with the layered guitars of Davey. More on those later. Authentic Hammond from Kim emerges from the dust of the explosion, like sirens calling out for listeners. I'm listening, so should you. The culmination of the bridge with its slight piano extension at the end steadies itself before nasty guttural guitars disrupt the ions and then set about destroying the remaining EMF. Davey's solo like a cross between his best work on Made In England, Dead Ringer and Rock of the Westies. The fade of the carefully managed piano chord at the end almost on a par with how we came in, rattly percussion from John full of electric tingle. Spiky hairs all round...</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">What have we learned? Where do I start? Imagine not having your favourite dinner...or favourite partner...for a while. In my case it's been a long time...for this type of Elton music. The last dinner was hot and so was she...I've been waiting for this day to come and was sort of anxious as to what it would sound like. Hence I avoided any speculation, some of the reports I've read emanating from the vaults have been off the mark; now I've had the luxury of hearing this wonderful single. As a first release this is as devastating a statement of intent Elton has had made in a generation. One of the reasons is the fact he's finally released an uptempo number. We know he's capable of delivering said style, Joe and Josephine Public are kind of oblivious to such a notion. So they'll be dusting the cobwebs for a while yet. We've seen Elton on stage, especially since 2010, really up the ante in terms of delivery and consistency. But more importantly take the hard edge and make it front and forward with everything else four square behind. Now it's on disc. The live sound of the band (point to be made here, there's no such thing as studio band or touring band, it is the EJ Band) has been crystallized in over 4 minutes. Bit like that warning we grew up with in the old days...its driving bass with subtle melodic hints by Matt regularly striking through isn't clichéd or recycled. Because Elton has strayed away for this style a lot in recent years he has plenty of room to play with in this field. It's a huge park and Elton and the band has knocked it right out with first pitch as they say over there. Over here I'm saying we have a whole album of belters to be batted!!</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">I know I've been hard on Mr. Bone but with good reason. He ignored the band on two occasions. It was too ludicrous for words, the absence on TDB made no sense when they had to be taught the songs to play live. So baffling a concept even a blind man could see it coming, even old Tom. This time that folly has been routed. He's let the band in, without much direction I suspect (old dogs, new tricks and all that) and just let them get on with it. No fool acting around with styles and moods, just plug and play. Plus he's opted out of his normal muddy style of mixing and production. It's as if an engineer with clarity of ear twiddled the faders and let the music be expressed cleanly and clearly through the mics. The drums sound like Nigel's as only his can. The snare is purposeful with minimum of delay. Elton's acoustic piano and Davey's guitar are routinely never at odds with each other, they step and dance around, occasionally meeting but never colliding. The rhythm guitar is strong too, the continual appearance all the way through makes it's an authentic 'rock' track. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Elton's vocals are clear and blow away the canard of Elton's uptempo vocals being a pig ears at times. He brought home bacon here...he gauges himself around Bernie's words (lyrically analysis another day) without any hint of them running nose into rear. Subtle uses of one of Elton's many tools in his box, his harmonising, interjects with fresh regularity</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Make no mistake here. Elton has made a latter career-redefining moment on disc. The stereotype and cliché which manifested itself from TDB has been crushed. Forever. Dullness is now light, slowness is now running and oil lamps binned with switches set to ON. If you read my reviews of TDB everything I said that Elton and the band could do on disc has been accomplished. In other words, the powerful energy and knowing ability that very few musicians walking this Earth have in terms of dealing with his music have been utilised. That's not some sort of brainwave from the boffins, that's common sense. It's a shame it's taken so long for the penny to drop but we're quids in with the amount that have fallen today. I think this may be, nay will be, the career-defining latter day Elton album. TDB may have had dreams of that but it's been put to bed. In a catacomb deep in a crypt. Like I said earlier, one listen and I was hooked. Not always a yardstick but look at it this way: when he does these songs live the unknowing crowd will be zapped in their seats. The songs will sound exactly as they did on disc. No loss of quality in delivery terms or authenticity. That's why the 'live' life of the new album will, I suspect, be a major focal point of the 2016 and beyond setlists. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">This song sounds fun, the live shows are fun. Elton is awake. The band is awake. And this fan is WIDE AWAKE!!</span></div>
ppdub73http://www.blogger.com/profile/02563809330498411646noreply@blogger.com7tag:blogger.com,1999:blog-17780980198120607.post-73434556477484547202015-10-07T06:21:00.000-07:002015-10-07T09:55:03.302-07:00'Do You Want A Piece Of Elton's Piano?'<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">You know when you're at Elton concert right up the front and your hands are flailing for whatever may be flung from the stage? Whether it be picks or sticks we're always grateful to get them. But the main man, due to the nature of his power plant, can't throw pieces of it willy nilly at the audience. The insurance wouldn't cover it for a start...but now there is a chance to own a piece of it. You want a piece it...here's how.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I've mentioned before on this blog about how Elton's piano's are subjected to the most severest of tests night after night on tour. They never flinch but once in a while an upper cut is opened or in more technical terms a string breaks. Not a regular occurrence due to excellent maintenance of quality machinery but when they do reach the end of their natural life they now have a good home to go to. Maybe even yours.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Traci Loving of </span><a href="https://www.facebook.com/imaginelovingart?fref=ts" style="font-family: Arial, Helvetica, sans-serif;">Imagine Loving Art</a><span style="font-family: Arial, Helvetica, sans-serif;">, friend of </span><a href="http://ppdub73.blogspot.ie/" style="font-family: Arial, Helvetica, sans-serif;">JW&AT</a><span style="font-family: Arial, Helvetica, sans-serif;"> and artist in residence for the EJ Band, has created something unique and a collectible that hasn't appeared before and is unlikely to appear regularly in the future. </span><span style="font-family: Arial, Helvetica, sans-serif;">Traci is an artist of exceptional taste, her range of Elton related items, not to mention items of other rock artists, is well known at this time. Whether it be hand crafted jewelry or drawing and paintings. How high up the appreciation ladder has she reached? Next time you're at or watch the Million Dollar Piano on DVD then check out Davey using the 'Mandolisa' on Mona Lisa's And Mad Hatters. Yep, she designed and painted that. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I'm pleased to say I own an item of Traci's and would recommend her work to anybody and have done so many times. Because of her connections to the main man she has been granted access to the old wires and rather than have them chucked into the bin marked 'to be melted down' she's put her skilled hands to work and come up with <a href="https://www.etsy.com/listing/245297158/elton-john-piano-wire-necklace-with?ref=related-5">this amazing piece of work</a>. High tensile metal that has been woven to create a necklace, the centre piece being one of Davey's many colourful guitar picks. Kind of appropriate that both musicians tools have been blended together to seamlessly create another tendril of art in a similar manner as their music relationship has existed for 45 years or so.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">This rescued string has been taken from one Elton's many tour pianos. This is from 'Kay', Traci has all the details about it on her listing in the links provided. So when you're wearing it around your neck and if you listen carefully then you may hear the faint trickle of a note long since died but like the stars in the night sky will keep on shining forever. Because it certainly has some tales to tell, if it could sing. Sing it didn't but play it did and because we don't get the chance to own something that has come from Elton's workbench too often, if ever, then the chance to own this may not come along any time soon. Yamaha's terrific expertise in keeping the show on the road testifies to that.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Traci has created a simple yet iconic looking design, the wire itself is the main facet of the design and speaks for itself. The red, white and blue guitar pick adds some tasteful colour, almost at the heart of the piece. The 'Elton, Davey' relationship characterised very dramatically ...so hurry up and get it while you can. It may be a while before before the hammer hits...too hard again!</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">But the good work doesn't stop here...and here's another exclusive for <a href="http://ppdub73.blogspot.ie/">JW&AT.</a> She's already raided one of Nigel's old cymbal's and chopped them up into baby cymbals. As you can see from the picture she has laser inscribed his 'Little Bloke' logo into it with incredible accuracy and detail. Some will have be done on one side whilst others will have a Nigel on both sides. Like his double kick drum...these will available very soon in her store as a pendant with a gold chain. </span><span style="font-family: Arial, Helvetica, sans-serif;">I suspect these will be highly sought after, Nigel does have large following. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Traci has conjured up some incredible original designs, who would have thought the band throwaways would be recycled in such a cool way. To rework the old phrase, reduce, recycle and rock on!!</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><u>Related links:</u></b></span></div>
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<span itemprop="name" style="margin: 0px; padding: 0px;"><a href="https://www.etsy.com/listing/245297158/elton-john-piano-wire-necklace-with?ref=related-5">https://www.etsy.com/listing/245297158/elton-john-piano-wire-necklace-with?ref=related-5</a></span></div>
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<a href="https://www.facebook.com/imaginelovingart?fref=ts">https://www.facebook.com/imaginelovingart?fref=ts</a></div>
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<a href="http://ppdub73.blogspot.com/2013/12/matt-bissonettes-new-bass-guitars.html">Matt Bissonettes New Bass Guitars</a></div>
ppdub73http://www.blogger.com/profile/02563809330498411646noreply@blogger.com3tag:blogger.com,1999:blog-17780980198120607.post-84172115458181073402015-10-03T08:33:00.000-07:002015-10-03T09:19:45.226-07:00'This Ain't No Disco, This Is EJ!'<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
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<a href="http://2.bp.blogspot.com/-kYSQGQt8Vmk/Vg_2UxP8IWI/AAAAAAAAA8A/MBJjjHDR32Q/s1600/disco-303352_640.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="248" src="http://2.bp.blogspot.com/-kYSQGQt8Vmk/Vg_2UxP8IWI/AAAAAAAAA8A/MBJjjHDR32Q/s320/disco-303352_640.png" width="320" /></a></div>
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<span style="font-family: Arial, sans-serif;">D.I.S.C.O. Five
letters that changed the music business forever. From the use of the hi-hat to
the redundancy of countless live musicians the world over. Beginning with it's origins in
the gay clubs of New York in the early 70's to the good people of Chicago quite
literally blowing it into smithereens at decades end there's a positive pot pourri
of characters, vibes and influences swirling around. Positively dancing they
were...and dancing in around the sidelines was Elton of course. Like anybody
who is unsure of foot then it's best to guide rather than throw all sorts of achievable shapes. Or at best just take some of the moves and use them to one's
capabilities. But if you go on the dance floor to throw said shapes and your
training has been of a more classical persuasion then the results will never be
satisfactory. As we'll see later on.<o:p></o:p></span></div>
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<span style="font-family: Arial, sans-serif;">Without going through
chapter and verse of how disco came to be, the basics are fairly simple steps
to follow. The funky, slick side of soul was used in the NY gay clubs of the
early 70's in order for the community to strike a degree of independence. The
clubs became a meeting point and ultimately the focal point of the movement.
Starting with Detroit soul and then with the sounds other US cities had to
offer it became a national, ultimately worldwide phenomena. The groove being
one, not the most, of the important ingredients. The development of the use of
the hi-hat became intrinsic; a far more expressive backbeat could now be
achieved. A relentless rhythm that was essential for any driving force on the
dance floor. But on top of that was the 'sound' and that was achieved by using
the very best musicians to be found on the continent. <o:p></o:p></span></div>
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<span style="font-family: Arial, sans-serif;">Motown had always
prided itself in using the very best in house vocal and rhythm sections. But as
many of the songs called for a lavish orchestral arrangements then session
players had to be called in to fulfill those requirements. As was the case in
Detroit and subsequently in Chicago, Philadelphia, New York, LA, Seattle and
the other major urban sound purveyors. The string and brass players from the
major orchestras in those cities were called upon to be scored by the best
arrangers in each of those cities. One day Boult or Solti would be swaying the
baton over them, the next Gene Page could be leading proceedings. Arrangements
that were smooth, confident and vital to the music. And unique to each urban centre
in order to provide a separate identity. Twenty years earlier Nelson Riddle had
established the blueprint of popular music arranging,, then Lieber and Stoller combined
string arrangements with r n’b and everything was set in train. A soul train
perhaps.<o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><b><i>'The Cause Was Right'</i></b></span></div>
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<a href="http://2.bp.blogspot.com/-JzYORnH97dk/Vg_y8lrvJzI/AAAAAAAAA7k/MI0Uhzt07cc/s1600/ELTON-JOHN_PHILADELPHIA-FREEDOM_061512.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://2.bp.blogspot.com/-JzYORnH97dk/Vg_y8lrvJzI/AAAAAAAAA7k/MI0Uhzt07cc/s320/ELTON-JOHN_PHILADELPHIA-FREEDOM_061512.JPG" width="320" /></a></div>
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<span style="font-family: Arial, sans-serif;">With that base
established we'll now look at how Elton fitted into this ongoing change.
Initially he was a participant who was well aware of its origins but wasn't
aware of just how big it was going to be. Certainly in the summer of 1974 the
fuse had been lit and running alongside was Elton recording a landmark stand
alone single that paved the way for the crossover. Certainly if you listen to Philadelphia
Freedom on its own it is indeed one of the classic 45's of the decade,
regardless of its style. The sound is truly unique for Elton; notwithstanding
the fact it was recorded in LA instead of Caribou. Hence the fact is more claustrophobic
on disc, a deliberate ploy by Gus maybe. Its sound seems to emanate from a dance
floor, you're almost hearing it at the door rather than at the DJ's desk. That
sound is impossible to replicate live, when expanded it loses that shrunken
intensity. The heavy backbeat from Nigel, with snare under tom and to cap it
all Ray battening it all down with tambourine. The intro by Nigel on hi-hat is
again interesting here, his clever use of it being the future disco motif ploy.
Elton's vocal is wildly imaginative. As I’ve mentioned before, his harmonising
with his own lead vocal is as good anybody in the field. Jumping from deep
expressions to almost feminine reposts behind the main lines, it's as if two different
people are singing. Funky electric keyboard also leading the charge. But the key of course to all of this is the arrangement by
Gene Page. Huge bright strings, at times all at one on the melody line then the
basses and cellos separating and leave a heavy undercurrent on the instrumental
breaks as the violins repeat the same strikes over and over. Between the spaces
of vocal lines they are incredibly vocal in their expressions, the rest of the
time they are bang on the rhythm. Loud brash brass (always a forte of American composers
and arrangers through the last century or so) again have a wild range of moods,
flute solo to French horn blast. But it's not pure disco, thankfully. Davey's
smothers it with his heavy rock guitar, his handling of the riff and the lead
lines are never compromised or shunted to one side. The marriage is indeed
unique, the sound is timeless but has enough of the groovy elements like the
rhythms of soul, the rich orchestral backing coupled with rock infusions. Next
step would be bigger and bolder but ultimately the dance would never be
completed.</span></div>
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<b style="font-family: Georgia, 'Times New Roman', serif;"><i>'W</i></b><span style="font-family: Georgia, Times New Roman, serif;"><b><i>ork On A Spell'</i></b></span></div>
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<a href="http://2.bp.blogspot.com/-SsGoeTv4Ln8/Vg_zVCEWoFI/AAAAAAAAA7s/80dtirDzPlY/s1600/Thombellsessions.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-SsGoeTv4Ln8/Vg_zVCEWoFI/AAAAAAAAA7s/80dtirDzPlY/s320/Thombellsessions.jpg" width="318" /></a></div>
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<span style="font-family: Arial, sans-serif;">By 1977 the disco was
ablaze in an inferno of popularity. Commercialisied and ultimately the soul
origins had been bastardised. Authenticity was getting harder to find but Elton
decided to nail his colours with a true originator of the genre, the results
that we have are mildly spectacular but ultimately the unfinishedness of the
project is clear to see. I've mentioned many times here before about Bell's
influence on Elton’s vocals, this time I want to look at how Elton fared when
he met up the MFSB and bought lock, stock and barrel into the Philly soul which
itself had been taken lock, stock and barrel to Seattle. <o:p></o:p></span></div>
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<span style="font-family: Arial, sans-serif;">This type of sound works
best when it's up tempo. That's when the magic is delivered, a constant
backbeat with a pacey melody on top. The opening track form the sessions, Nice
and Slow, has to be looked at, lyrically first. Taupin, almost certainly on
purpose, has presented a covert sexually explicit lyric which at the same time
can be interpreted in a more morally neutral viewpoint. The concept of sexually
explicit messages being delivered in such a 'cosy;' manner is a disco trademark
and it's all over this one here. So it seems the sound is not only
tumescent...the slick production at times threatens to stray into a sound that
is too soft (where's Davey when you need him) but in saying that the undeniable
charm of the melodies carries the day. Mama Can’t Buy You Love and Are You
Ready For Love being clear cases of that, both hits decades apart in different
regions for differing reasons. Are You Ready is probably the masterpiece here,
the simple but effective backbeat and lead vocal switches between Elton and the
Spinners interjected with jazzy style closed trumpet only tell half the story.
Three Way Love Affair’s opening riff having a nod back to where this style of
music began, one of Motown's biggest hits being sound checked. Certainly Elton
stayed on the right side of the disco line here, at times he did threaten to stray
into a more 'softer' sound but close guardianship on the production (his vocals
are excellent here) meant it maintained a large degree of credibility. But of
course rather than see out the project with Bell in early 1978 he waited...and
waited...until the timing was completely wrong. So wrong that by the time he
reset his watch across the Atlantic he short circuited it. And very nearly his
career. <o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><b><i>'Why Did I Have To'</i></b></span></div>
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<a href="http://2.bp.blogspot.com/-0vjOVe5Is8g/Vg_zc_ZtkuI/AAAAAAAAA70/Nl1rBHwcZlk/s1600/Elton-John-Victim-Of-Love-13588.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-0vjOVe5Is8g/Vg_zc_ZtkuI/AAAAAAAAA70/Nl1rBHwcZlk/s320/Elton-John-Victim-Of-Love-13588.jpg" width="320" /></a></div>
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<span style="font-family: Arial, sans-serif;">Timing is everything
in music. By the summer of 1979 Elton's timing was like a clock that fell under
the spell of a magnet. Quicker than you could say vorsprung durch technik he
popped over to West Germany for an afternoon's jaunt and put down some vocals.
If he done it for the speaking clock it would have been of more beneficial use,
seeing as his watch was out of commission. I'm not going to waste anybodies
time, let alone mine, to go through Victim of Love. It's fit for dumping, all
of it. A sink hole deep enough to bury every last copy hasn't been sunk low
enough as yet. By this time the aforementioned good folks of Chicago had taken
over the ball game and burnt disco down in its own inferno. But that’s only
giving the album an out for its dismal chart failings and its awful legacy. No
matter when or where it was released it would still be rubbish. Even the so
called champions of the European disco wing in Munich couldn’t do anything with
it. An endless uninterrupted backbeat that by the end of the album Bellote was name
checking one of his older hits in desperation such was the paucity of originality.
And even that couldn’t carry the day...the opening was a flop so it was
downhill after that. If you can make Johnny B Goode sound third rate then the
sessions should have been halted there and then. But studio time was paid for
so on they ploughed with the synth nightmare. The entire electronic landscape
sounding like something with as much as soul any life form would have several
hours after the four minute warning had been called Luckily we don't have to continue
with it. Elton must have realised his error pretty quickly and before the three
legged pup saw the light of day he had encamped to the south of France to write
and record with the other late 70s, and far more credible, influence ultimately
shining through on the proper recorded material, New Wave. <o:p></o:p></span></div>
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<span style="font-family: Arial, sans-serif;">If the 70's were
indeed the best decade for music then disco was the blight. Very quickly it's
roots were forgotten as the scramble to reduce to it to the lowest common denominator in the pursuit of cash. The term sold out is used like snuff at awake but it was indeed the ultimate prostitution in music. Record companies up and down the planet churned
the garbage out left right and center until the law of diminishing returns
kicked in. As I alluded to earlier, the era of the live band was severely curtailed. Rather than paying for a live band to pitch up, the cheap and cheerful alternative of a DJ and his back of vinyls to mix setting up became the norm. As it is the 21st century. </span></div>
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<span style="font-family: Arial, sans-serif;">Thankfully Elton really only flirted with it, and when he did spend
an afternoon delight it was such a bad experience for both parties it has ultimately
been forgotten. If it had been a success then it would hung around for all the wrong
reasons. But Elton is always at his best when he plucks elements of his fancy
from genres and turns them into his sound. Philadelphia Freedom being the case
in point. Thom Bell sessions stayed the right side of the line...Munich was
indeed another in a long line of disasters associated with that city.</span></div>
ppdub73http://www.blogger.com/profile/02563809330498411646noreply@blogger.com1tag:blogger.com,1999:blog-17780980198120607.post-13827423105062028702015-09-21T03:14:00.000-07:002015-09-21T03:14:38.747-07:00'Elton & Band @Rock In Rio 2015 - Review'<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">It was reported recently that Brazil was still in a state of mourning. Due to the recent incident where their football team left the stadium during the first half of an international match. The semi final defeat by Germany over a year ago my have punched a hole in the hearts, but Brazilians are quick healers. Full fitness restored, they're back in the game and samba(ing) to boot.</span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-Vm7XNSyygPo/Vf_Wqa15-OI/AAAAAAAAA7U/q_8cILcBD5s/s1600/noticia_835826_img1_eltonjonh2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="http://2.bp.blogspot.com/-Vm7XNSyygPo/Vf_Wqa15-OI/AAAAAAAAA7U/q_8cILcBD5s/s320/noticia_835826_img1_eltonjonh2.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Elton showing a clean pair of heels</td></tr>
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<span style="font-family: Arial, Helvetica, sans-serif;">Anybody who saw the recent festival shows in the US over the last year or two will not have failed to notice the inertia of large numbers of the crowd. Age demographics or just a plain dose of being 'quite blase into the bargain' as Fred Trueman might have said possible factors. None of that down Rio way. Take note further up the continent. I've mentioned before on this blog how the South American fans are a pretty unique bunch. The music, with no other baggage, is to the forefront. What an appropriate place to unofficially start the dropping of the curtain. Last time in Rio and all that jazz...the three 'Rock In Rio' sets he's done in 2011 & 2013 culminating here and now are classics. Clocking in at would you believe 90 minutes this final act in the treble has bookended the two earlier volumes.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Before anything happens we heard Davey kickstarting his Flying 'V', like a motorcycle with a sticky kick start. Once off and running, Elton power kicks with no mercy. The Bitch Is Back gets the Brazilians up and at 'em. Sound is from the proper 'mix' so the piano encoats everything. The jam on Bennie positively sheens here, Davey takes a more authoritative lead on guitar here also. Speaking as Elton often does with a 'local' accent, the band voices show no signs of any influence of the dialect. The backing vocals on Candle In The Wind aren't so much stitched together, more like weaved with no obvious stitching visible. Levon as it crosses the touchline from song to jam has a terrific waver of the arrangement from Kim, an up and down movement. The added dips and quips are a foretelling of the jolly riffs that Elton expounds just a moment or several later. John's Amazonian accompaniment on conga's unites all elements of the culture. Occasional distorted guitar from Davey criss crosses back and forth over Elton's piano lines until the eyes and ears...the unbroken tendrils of nearly 45 years...combine, twist around each other and get into the groove. Nigel, never one for the messy drumming style, shows that he can get down and dirty just as good as the filthiest of them until he clears up his own mess and slaps his trademark stamp blem all over proceedings.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Philadelphia Freedom tonight has a leap out moment. I've been eulogising (not sermoniing, I'll leave that to the more self righteous) about how good Matt is. But listening in the small hours as it was here, he gave a positively sublime performance here. The song has loads of space; its time and it's pace leave plenty of room for a musician of his calibre to be heard. But anybody can be heard. But not everybody can do what he does. Every time he spots a gap in the defence he dances in and weaves around avoiding all the tackles. His fingers fleet of foot. Some incredible bass playing here, it will need several listens back to garner exactly each and every move he accomplished.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">But then the hush descends, a kind that is normal down there when the striker steps up for the crucial penalty kick. Breath baited abounds, Elton's measured and deliberate step up to the keyboard and his progression through it. Like said runner, he gathers pace and as pacey as any winger he still has the technique in his armoury to throw in a shuffle to deceive the goalie. Back of the net! The outro is like a victory run around the stadium. The world is certainly the cup...but the cup has to be filled. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">If you want to intoxicate a Brazilian crowd anything with unlimited proof won't match Skyline Pigeon. If Elton didn't do it, then he'd be like Frank Sinatra in Australia in 1974. Locked in until he broke. And boy did it break. The band version of Skyline Pigeon I could listen to all day. Along with the massed ranks of Brazilian Eltonites. Hymnal in origins, the rhythm section with added tasteful twist as a later modification is a wonderfully weighted combo. It's an emotive moment; the empathy between crowd and performer as Elton announces it's the last time he'll play it in Brazil is more than tangible. It's audible as it's sung. The local dialect discarded in favour of the latter day Pinner phrasing. Is this moment important? Come back in ten years and you'll know how significant it was.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">With the game won, it's time for the mazy dribbles. Sad Songs is foot on the ball time, roll it around and then stroke back and forth. I'm Still Standing with Davey on Epiphone for a change...last seen on the song in the same parish...is indeed the victory chant for team and fans. Long after Elton had left the stage, the crowd were still pumped up by Saturday Night but left feeling nostalgic with Your Song. Two facets of the same face. Elton had left the Rio stage...but the Rio audience will never leave Elton.</span><br />
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ppdub73http://www.blogger.com/profile/02563809330498411646noreply@blogger.com4tag:blogger.com,1999:blog-17780980198120607.post-57493855460277981952015-09-19T07:56:00.002-07:002015-09-19T07:57:59.042-07:00'A Song Of Love Grows Up'<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-2qukJoOjdrM/Vf10hngOFoI/AAAAAAAAA68/5cEYcNVP6g0/s1600/JIMMY-ELLIS-Z-CARS.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="http://2.bp.blogspot.com/-2qukJoOjdrM/Vf10hngOFoI/AAAAAAAAA68/5cEYcNVP6g0/s320/JIMMY-ELLIS-Z-CARS.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">P.C. Lynch and P.C Steele, Z Cars January 1962</td></tr>
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<span style="font-family: Arial, Helvetica, sans-serif;">Remember that old BBC tv series Z Cars (1962-1978)? Well I do..barely. A long running police drama series it's early years have gone down in folklore because it was broadcast live. That's right, a whole hour of live drama with filmed exterior inserts in front of over 20 million viewers. The reason for this edge of your seat stuff was the live feel would add tension and urgency to what was (for it's time) a gritty and realistic drama. Mistakes were made, but those were to be expected. The biggest challenge of course getting away with those inaccuracies. It's later years when it was telerecorded and then went into colour are generally considered to be the weaker relation. But that's where the urban myth is incorrect. Instead of what in some cases were stiff performances, in their place came a more relaxed, natural style of acting. Taking time to rehearse, work on it and produce a piece of art worthy of the talents involved. Overall a balance was struck during the entire run. But what didn't diminish was the power of the writing. Wherever the location, whatever the method, good writing will always shine though. Irrespective of the constraints of the method of delivery. Some material works better in some places, sometimes by design or sometimes by chance the right pace is revealed.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Inspector Lynch and Sgt. Quilly, Z Cars September 1978</td></tr>
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<span style="font-family: Arial, Helvetica, sans-serif;">Another one of those commonly held opinions is that Elton live surpasses the studio edition. Which is a feat in itself. Most artists once outside the comforts of the egg boxes on the walls are all at sea. I had Tumbleweed Connection on the other day. Certainly in my top 10, it's a great album. But every time it gets to Love Song it's as if my ears have taken a skip. Because it sounds as if it fell off another album. Which in a way it did. It's mood and feel are out of step with the old west rustic vibe that flows right through the album. Oddly recorded, it has a slightly twee, almost virginal tone. Tepid at best, you get the sense there is something hotter bubbling under the surface. Magma hot possibly...it wants to say more, do more, express itself more. Cut loose and grow up.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Outside of the studio confines, it gains its freedom and matures. Quickly. In the space of four years it goes into adulthood without any of the pleasantness usually associated on the road to it. Royal Festival Hall 1974 is where it comes of age. Right in front of us. Becomes a fully paid up member of the adult club. Having to 'make do' with the tools on hand, the band at the height of their 70's power if you please, they do what and how they want. Taking Love Song to another level. A level not achieved on either TC or by Lesley on her own version. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Elton's piano intro gives a brighter, tenser approach than the acoustic guitar. Davey on Lesley (speaker not singer) guitar underscores the edge, his strokes and strums gushing like torrents of flowy hot liquid. The slow burning intro perfectly gauged, catching the mood in a bottle. The song is completely rejigged, the once steady unbroken rhythm has been pedaled back. But what really leaps out is the vocals. Totally re interpreting the lyric, both singers inject their delivery with a mature soulful passion. In order for that to happen the lyric is re examined. The simmering lust and desire is awoken. Words rephrased, the clever change of emphasis at certain times pile strength upon strength as the song progresses. When Elton sings 'But There's No Other Way' you can hear the deep seated passion come to the fore, his sharp intake of breath as clear and strong a message as any word can muster. Sometimes it's what you don't hear that says more than what you can hear.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The vocal delivery is sexy and sultry with no hint of sleaze required or exhibited. Modern singers take note. No need to strip off or ham it up to get the sentiment across. The belief of the words and the reworking of the songs delivery makes Love Song 'grown up'. No mistake is evident in this stunning live delivery, nor was any made in the studio or in the writing. It's just a case of finding the right balance; the same leads with different support can find the right method and then put it across in a way that was never envisaged in the first place. This version was only performed once but that's all we need. You can only grow up once. Being there is often better than getting there.</span></div>
ppdub73http://www.blogger.com/profile/02563809330498411646noreply@blogger.com0tag:blogger.com,1999:blog-17780980198120607.post-63485776891505813892015-09-02T02:10:00.000-07:002015-09-02T02:10:26.213-07:00'The Pain Never Goes Away' <div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">You know when you get the news that somebody has passed unexpectedly. That empty feeling with your innards suddenly becoming a huge vacuum. Soul and heart absent with leave. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Multiply that 10 times when I heard Guy Babylon had passed 6 years ago today. Only a few weeka earlier I'd seen him on stage in Limerick and as per usual gave a masterclass in perfection. Thankfully all the great moments in the studio and on stage have been preserved forever. Time may diminish the body but it can never destroy the legacy.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">A few weeks ago a discussion about Guy appeared and somebody asked about the working relationship between Elton and guy. How did they got along? Elton trusted Guy with everything. From the studio to the stage. People would be amazed if they knew the amount of after hours work Guy spent on all the albums he played on. The sheer volume of parts he added to each and every song that were sometimes used and mostly weren't is mind boggling. Whether they got lost in the mix was irrelevant to him. Like any perfectionist in any field, as long as he knew they were there that was all that mattered. By not having done so he'd have felt his job wasn't complete. That attention to detail only comes from someone who felt the music and that was to become clear in the live work. Nothing he ever put down was unnecessary, all the parts were carefully constructed layers that even when hidden still mattered. When he started out playing with Elton he was at the cutting edge of synth technology, he gave the albums a contemporary sound whilst at the same time never forgetting the basics of his keyboard heritage. So much so by the time of his last album appearance he got right back to the early days of synthesized keyboard sounds by adding Mellotron on CATK. The last sound we heard him play on an Elton album.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Right from '88 onwards you can hear him take Elton's live sound apart and rebuild it into something solid and with deep foundations. If you listen to the Elton live sound today that all stems from Guy. He reined in all the orchestral arrangements that appeared on disc, everyone from Buckmaster to Newton Howard to his own; created and arranged the programming in such a way that when he played them every night on tour it came across sympathetically and accurate. His synth work was given equal care, Funeral For A Friend sounded better live than it did on disc for example. Simple pauses and slight emphasis on certain lines gave it a bigger, more panoramic sound. The three dimensional sounding intro's he created for Bennie and Pinball Wizard were to become an integral part of The Red Piano show. The montage segments that he did for The One and Made In England tour's to open the sets each night again showed his flair in creativity and at the same time reinventing Elton's music for the extended crossover point of 20th into 21st centuries. He could be flashy when he wanted and be restrained as needs be. That sums up Elton's music also.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">By having somebody in the studio who was capable of taking the soundscapes that were created in that environment for disc and be able to take them out on the road and put them across with no deterioration in sound quality or means of delivery was truly blessing. He may have left us in 2009 but the fact that his same rig and setup is still used by Kim Bullard half way through the 2010's says it all. Time may diminish the body but it can never destroy the legacy.</span></div>
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ppdub73http://www.blogger.com/profile/02563809330498411646noreply@blogger.com0tag:blogger.com,1999:blog-17780980198120607.post-71903901793611673752015-08-29T12:43:00.000-07:002015-08-29T12:43:15.706-07:00'The Piano Makes Its Stand'<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial, Helvetica, sans-serif;">The Marquee, Cork. June 2011. A significant date in terms of Elton history. Why? Because we got to hear Funeral For A Friend played three times in succession. All because the piano broke down. Cue man with little screwdriver, twiddling the twiddly bits and Hey presto he was like Ahab off and running. Elton's current piano the Yamaha, is in Elton's own words that night, the Ferrari of pianos. And who can argue. If you're going for speed with good handling and a sweet sounding motor then he's riding the right horse. But it's not always been the case that the live piano has had such a high degree of engineering. Elton being the first and foremost of the piano players that reached vast live audiences he has (with the help of the men with the screwdrivers) really been to the forefront of developing a live piano sound that is truly the best. Ground was broke...before the piano broke.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">They say the first
taste of you food you make is with your eyes. Our meal of choice is Elton as
most of us who are Elton fans are first and foremost listeners. So when we head
out for a night at ‘his place’ our ears will be our eyes and taste buds all
rolled into one. Trying to describe to someone who has never heard Elton's live
piano would be like reading a review of an album that you've never heard and
making all sorts of deductions. Then again, that may be possible...even on this
blog...but one thing is for sure. The sound in the auditorium can never be
repeated at home. Putting aside the acoustics of the venue, the mixing and the
sheer volume it's the actual sound the piano makes that is impossible to replicate.
The sheer depth of it, the power that flashes out like an unseen shockwave each
time Elton hits a key. By the time it hits your gut, you’ve got a pretty deep
hole gouged out. But it's also the clarity of the whole procedure. Elton's
little nuances in how light and heavy his touch relayed from his finger tips to
our ears with zero lose of translation. And that’s the key. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">By the time we get to
hear a live show disc any imperfections can be rendered inaudible. Remixing can
push his sound up and down to the mixers to one’s own satisfaction. Not always
to the listener's of course. If Elton's people are doing a sound mix and the broadcast
host use it then all is well. If somebody else thinks they know best, then
disaster can strike. But that's something for a future blog post, this time
we'll focus on how Elton has developed with the aid of cutting edge technology
a piano sound that can hack it like the Martini girl. Anytime, anywhere etc.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Back in the 70's the
live piano sound in stadium shows was distant and indistinct in amongst the
band mix. On its own it had a 'sticky' sound, like as if the hammers had drying
glue on them. Wings and Pink Floyd outside of the Elton world are testament to
that. A sound that didn't really carry or last long wasn’t s true live representation
of what he was all about in terms of getting his sound across. When he played
indoor venues the sound was superior. Up to that period of time technicians
were well versed in setting up pianos for live music indoors. But Elton’s style
of music demanded new advances in micing and mixing, amplification was going to
be key to any future developments. But outdoors had never been really done
before and as Elton around 1975 was expanding into the stadium field then the boffins
were going to have to rewire the mother board. Running alongside all of this
was the advances on the mixing. The piano sound on the Edinburgh show (1976)
and the Rainbow Theatre (1977) are probably the zenith achieved during that
time period in terms of the ‘purest’ acoustic sound generated. They had the
‘base’ sound perfected and were now able to do exciting things with it .Going
as far as they probably could with that model, in to view comes a white charger
to lead a new offensive.<o:p></o:p></span></div>
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<a href="http://3.bp.blogspot.com/-KHWEYrmYfQ8/VeII5PPpR2I/AAAAAAAAA6A/6Rx6cGKKKYQ/s1600/white-steinway-grand-piano.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-KHWEYrmYfQ8/VeII5PPpR2I/AAAAAAAAA6A/6Rx6cGKKKYQ/s320/white-steinway-grand-piano.jpg" width="320" /></a><span style="font-family: Arial, Helvetica, sans-serif;">So when what is
commonly known as the ‘White Steinway' appeared on tour in 1980 it brought a whole new
dynamic to Elton's live piano style. No coincidence that the golden age of
solo's started around this time I suspect. No longer hampered by an
underpowered unit, Elton felt comfortable playing a device that responded to
his needs, desires and moods. If ever musician and instrument became one, then
this was certainly the eve of conception. Where was previously a piano sound
that muddy at best, lost altogether at worst, in its place stepped a sharper
more brighter sound. It's almost metallic sound, like aluminum reflecting
bright sunshine with heat, it cut through even the most aggressive (as all the
shows in the 80's were up to 1986) of band mixes that you never felt Elton was
overborne by those around him. In fact because he could 'mix it' (on all
senses) he could battle, be in tandem and in some cases outdo Davey on guitar
such was the verocity of his playing. Like I said earlier, he was finally at
ease with an instrument. He wasn't the sideshow sound to the sounds around him.
<o:p></o:p></span></div>
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<a href="http://1.bp.blogspot.com/-gs4WWhSa9sQ/VeIJ2zHJANI/AAAAAAAAA6Q/m-WrBiKrmQs/s1600/maxresdefault%2B%25282%2529.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="180" src="http://1.bp.blogspot.com/-gs4WWhSa9sQ/VeIJ2zHJANI/AAAAAAAAA6Q/m-WrBiKrmQs/s320/maxresdefault%2B%25282%2529.jpg" width="320" /></a><span style="font-family: Arial, Helvetica, sans-serif;">By the time of the
85/86 World tour which culminated in the terrific Tour De Force, he had succumbed
to modern technology and added the MIDI hookup to the old beast. Like a new set
of colours, a more flashier sound could be incorporated into the more
traditional sound. The integrity of the acoustic sound was never devalued, nor
was the added colour anything off a Klaus Wunderlich album. It was interwoven,
especially when Elton was solo at the piano, to flesh out parts that detailed
what could have been hidden otherwise. So the age of digital had finally
arrived for Elton onstage. How would he take it on to the step.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Roland. A name in the
80's that conjures up a wide variety of emotions. Whether it be rat's or past
pupils of Grange Hill, the piano that Elton used in the late 80's/early 90's
certainly has a great reputation among the piano playing public. But for the
piano listening public something didn't sound right. I've mentioned it's
failings as s standalone instrument elsewhere, so we'll move along. Because at
the request of Elton, a new piano was sought after he got fed of looking at
everyone straight ahead for those few years.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">In 1993 during the
short tour with Ray Cooper the white Steinway reappeared for the first few
shows. Then a black Yamaha at the subsequent shows. Essentially what was
happening here Elton was road testing both machines to see how he felt with
them, the first hurdle to be jumped. And how they sounded on the floor. In
other words, he desired to go back to a more truer sound, organic with added
technology that was kind to its roots. At the end of the tour he had settled on
what has become his ride of choice, the Yamaha with its various pieces of
technical aftermarket addon’s. These are done for two reasons. For Elton as the
artist to deliver exactly what he wants and for the audience to hear it exactly
as he intends it. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The Yamaha was ahead
of its time but is now not behind the times and I think that is best summed up every
time Elton takes to the stage. Because he’s still using it. As a direct result of the
unseen switches and gismo’s lurking in its underbelly Elton, especially for a
solo show, can deliver an incredibly rich and full sound. The string patches he
incorporates for example never distract nor detract. Inserted at the right time
just to neatly dress the songs. I did a piece on the <a href="http://ppdub73.blogspot.ie/2015/08/the-night-elton-set-ice-on-fire.html">Fairbanks</a> show in 2008 recently with all those
elements and more are present and correct. The acoustic sound of the Yamaha,
which sets itself as the basis of everything he does on stage, is luxuriatedly
mixed with the MIDI hookup and in turn they combine to create an almost unique
sound for every song. Each song in turn has its own identity. Everything is balanced
and mixed with measured textures. The treble is finely gauged; his light touch
is captured right down to the the slightest movement of the little finger. The
bass is sturdy and strong; Elton’s left is the heaviest in piano rock and every
night it withstands that (kind) abuse and the deep rooted power of it thunders
loud and proud. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">If the music and the
word are to be married, then the piano is indeed the matchmaker. For that marriage
to work there has to be peace and harmony with all participants. I think the
divorce courts won’t be contacted any time soon. I couldn’t possibly give
examples of the many facets of the piano sound. I think most folks reading this
will have their own. But I want to leave with one piece. No matter how often
you hear the same song and the countless times it’s been performed there’s
always one version that stands out. If the White Steinway was indeed the peak
of acoustic technology then what better way to showcase it than this incredible
version of Song For Guy. Some of the high notes he hits at the end, well, if
they don’t hit you ‘there’ then your armour must be pretty thick…</span><span style="font-family: Arial, sans-serif; font-size: 10pt;"><o:p></o:p></span></div>
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ppdub73http://www.blogger.com/profile/02563809330498411646noreply@blogger.com2tag:blogger.com,1999:blog-17780980198120607.post-18999244791243237602015-08-15T11:49:00.001-07:002015-08-16T00:55:10.891-07:00'The Night Elton Set Ice On Fire'<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">In the midst of the summer shenanigans of security and never ending newspaper headlines in various tongues, the news from the Madrid show that Elton is no longer going to do solo shows came like a hammer blow. Until he played a solo show a few miles up the road in the south of France a few days later. But not being a fully paid up member of the 'great and the good' club I would have been unable to attend. Shame of course, he's now closed off an avenue of pleasure to the masses that has taken a considerable amount of lead out of Elton's touring pencil.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Thankfully the audience tapers over the years have captured some great solo shows. One in particular stands out for me, both in terms of performance and responsiveness. That's right, a crowd at a solo show who if you didn't know the time or place, you'd have thought what you were hearing was those brief interludes when the band retreats to the shadows. This was no Keith Jarrett type recital were even the merest exhalation of breath above his accepted levels could cause a walkout. Of the artist if you please. What happened this night made the concept of the piano recital dangerous, adventurous and ultimately contagious. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The sound here is better than soundboard; the audience are like the '12th man'. You can hear the sound is self contained but has a panoramic dynamism to it. A crowd that is more than enthusiastic, it's exuberance at time threatens to spill over into something raging and fast spreading. Or maybe it did. And why not. Remember that dreadful old rubbish on telly many years ago, 'Father Dowling Investigates'. Too ludicrous for words to describe it's concept, one of the running gags in it was the threat of being sent to Alaska. Or just east of the USSR as it was then. So you get the idea of how the other 49'ers must perceive that last outpost. So when Elton pitched up for a mini tour in May 2008 it's no wonder they thawed out all that pent up emotion. Reports of Elton being up to his knees in defrosted joy may be wide of the mark but there's no doubt when Elton plays these out of the way places to deprived audiences rather than to the spoiled regular venues there's a spark that ignites between the two participants. Many sparks make ignition, ignition causes combustion and then BANG!</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Touching down in Fairbanks, this crowd banged from the off. 'This One's For You' line in Your Song whipped up a frenzied response only moments in to the show that was louder than some final curtain calls in other destinations. That set down the marker, Elton and the crowd 'felt' it so soon into the show and from that point onwards they had each others measure. Like two sparring partners who knew what the limits were. Unlimited...incredibly 60 Years On had wolf whistles during that long intro, the leaden bass notes vibrating the crowd off their feet (nobody was sitting I suspect). The bridge has calmer waters, this deep cut (lovely old phrase) has made a deep impact already. These folks know their Elton onions. I Need You To Turn To which is unfortunately cut has hints of music from the Middle Ages, no time limit on Elton's ability to delve back into music history. Border Song again summons up a holler of a roar right at the start, every passionate vocal and keyboard expression by Elton is returned by erupting torrents of spewing cheers. The opening suite of a selection from 'Elton John' (including The Greatest Discovery) has gone down a storm. Can Elton maintain the musical equivalent of all that energy of Alaskan bad weather being channeled into something more enjoyable?</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Honky Cat with it's accelerating final flourish at the end is more than a breeze; the crowd is literally torn up from their positions. Up to where Rocket Men soar...shrills and shrieks are illicited every now and then during each chorus. The din is maintained and sustained, the Midi waves like an airbrush sweeping across with various shades of darkness punctuated by tiny glimmers of bright light white. That's just the main body of Rocket Man, if that was the positioning of the trajectory then the workout at the end is the blast off. As Elton's vocal bricks are built upon, right at that highest point one of the loudest cheers is heard, Decibel meter please...they used to say a million gallons of water was pumped under the Space Shuttle when it lifted off in Cape Canaveral. To stop the state of Florida from sinking into the sea...lucky that Fairbanks has plenty of naturally occurring coolant, isn't it?! The slightly altered ending is Elton taking cue form this response to try something different, something as a payback for getting warm love in a cold climate. The response from the Fairbanks folks...cataclysmic.</span></div>
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<a href="http://1.bp.blogspot.com/-YGr8pa9RxbA/Vc-JkWyNjlI/AAAAAAAAA5w/NakklicIld0/s1600/ice-on-fire.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="262" src="http://1.bp.blogspot.com/-YGr8pa9RxbA/Vc-JkWyNjlI/AAAAAAAAA5w/NakklicIld0/s320/ice-on-fire.jpg" width="320" /></a><span style="font-family: Arial, Helvetica, sans-serif;">Moan Lisa's And Mad Hatters always deserves reverence and it gets it by the shovel load here. A rare moment of hushed tranquility, the crowd mesmerised for a brief moment as they probably for the first time since the show began realise the enormity of what thy're seeing. Elton in THEIR hometown! As I alluded to earlier, Nikita is now so far west it's almost east. And at home. But returning east Elton gives the unfamiliar crowd something that is radically unusual for them. The solo version of Philadelphia Freedom. Elton's vocal dominates here, it's as he quite pointedly lowers the keyboard register and lets his singing do the talking. His technique changes tact throughout, as if he's saying to his adoring audience 'look what I can really do when the mood really takes me'. Carefully chosen piano lines on the outro are truly spellbinding. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Someone Saved My Life Tonight have the high notes accessible, at any time he wants he just plucks them from above on some hidden hanger. It's an icy version, not icy cold but icy in terms of it's clarity and delivery. Not to mention his always icy mention of the 'princess'. Absolute zero in terms of any sympathy from Taupin about the electric chair occupier. Levon again cheerleads the crowd into a rousing passage to the final hurdles. 'Jesus Want To Go To Venus' being like some rallying call to actually get the aforementioned character on the first rocket out of town with the destination on the front. The outro is like a march of victory; the rapturous applause and hollering akin to crowds lining up either side for the homecoming. Helped in no small way by Elton's incessant changes in tempo and pace, it's apoplexy in the venue at this stage. He gets louder on the piano, they up the noise level within an instant of him doing so. The improvisation elements never suffer, at no time does he neglect them even when the speed is becoming breakneck and almost breakboard.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">If oxegen was becoming scare then the Carla/Etude/Tonight medley was indeed like a huge mask pumping fresh clean air back into all those overworked lungs. In and out they go as they relax in silence to the most thoughtful side of Elton's music, the intensity of Tonight in particular captivating the crowd to the point of absolute zero sound. Amazing the control Elton has over the crowd, one minute he has them baying the next they're like docile huskies. But there's not going to be too long to drift off, Bennie And The Jets has the hammers of hell rouse them once more. Elton is now assaulting his friendly weapon, how it doesn't go out of tune under such a viscous and prolonged attack is surely down the men with spanners having high a degree of expertise. Speaking of experts, Elton reaches back again into the musical past to make the old hat of In The Mood a new hat, it's worn with pure extravagance and at outrageous angles. Near shows end I'm Still Standing opens with an unknown theme from an unknown European film, the unseen credits flash by as quickly as Elton hands over the keyboard as he pounds out those heavy muscular chords. With just a slight degree of sinister undercurrent.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">In case you hadn't gathered already, I think this is the best solo Elton show ever. It's a power supply that that has a two way grid between performer and audience. Too often we can been critical of an artist not being up for it, but if the crowd are in the mood then the artist by his very nature is going to feed off that energy solely on pure instinct. This crowd are well up for it from the off, they don't care there's no band. They are going to be the rhythm and the lead. The power of the lyric and the impact of the music is never lost, in fact because of the 'purer' sound it springs out with a natural aplomb. Elton's various keyboard styles are all present and correct, too many to mention of course. One that jumps out though and isn't often mentioned is how he uses his left hand to create so many lead medleys rather than his right. That wonderful technique is littered throughout, no matter how often you listen to Elton live, even doing the same song year upon year, you'll still hear something new. Hearing it for the first time must have been intoxicating and exhilarating on so many levels for that westerly outpost. I suspect the people of Fairbanks seven years later are still itching from the scratch Elton gave them...</span></div>
ppdub73http://www.blogger.com/profile/02563809330498411646noreply@blogger.com1tag:blogger.com,1999:blog-17780980198120607.post-72985286775229877332015-08-05T12:05:00.001-07:002015-08-05T12:05:26.887-07:00'Born To Be A Guitar Star'<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">We're slap bang in the middle of the silly season and if that's not enough they're already running ads on the telly for this years X-Factor. The concept of it has manifested itself into a sense that is now a given, that training from the bottom up over a period of time to try and get anywhere in the music business has now been parked. Entering in to it's place is the new sense of wellbeing, where dreams are quickly created then crushed into smithereens. For laughs. Here tonight, gone later tonight type of talentless droids. No coincidence in the week that Cilla Black passed either. Anybody who saw the excellent Sheridan Smith (who is brilliant in everything she does) drama on ITV a few month's back will see how it used to be. For any artist that came out of that era, just change the name, their sex and the story follows a similar hard, long path. With added longevity thrown in for good measure. If you can survive the northern clubs in England, then anything is small fry compared to the nightly gauntlet of wheel tappers and shunters.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Luckily though during this down period SKY Arts ran a new talent search show, Guitar Star. Spread over four categories of classical, acoustic, jazz and rock they held open auditions all over the UK and Ireland. The full series is on Youtube, I advise you to check it out. It's a welcome relief to see proper musicians looking to get a chance to prove themselves. No doubting that they are all talented, part of the shows remit was to have them mentored by guitar greats to prepare them for playing in an ensemble and more importantly for the winner, in front of a huge crowd on the main stage at the Latitude festival. A type of environemnt where the also rans are weeded out very quickly. A bit like these football tricksters you see doing a milliom keepy uppies. Put them into a team in front of 40,000 at Anfield and most likely they'll fall flat. So the interaction between their team mates and the crowd is vital.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Luckily for us in the Elton world we've got somebody who fits everything I described above. From his journey to stardom, via the apprenticeship route, his ability to play with the best and in front of the biggest crowds imaginable. With staying power. Of course, Elton wears that hat very well but as this post is homing in like an over the speed limit pigeon towards the guitar you know it's only going to be about one man. Taking it as a given that all readers are huge Davey fans, I'll point this out to any waverers. The ones who dilly and dally over whether Davey is the real deal, then, now and in the future take this on board the good ship doubt. Stevie Nicks over a period of 30 years has chosen Davey to play on her solo albums. In her opinion, and who are we to argue, he's as good as the lead guitarist in the band she plays in for her day job. I'll leave that hanging in the air for the time it takes everyone to tune up and get those tones nice and smooth...</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">When I listen to Davey over the years I hear more than one guitarist, more than one musican. I'm not even going to go into his folk, roots or world repertoire. I'm going to stick roughly to trimmed guidelines of Guitar Star. He could have back in the day auditioned for all four categories and flew out with colours. His ability to play to the fore, aft and in tandem with Elton is incredible. If Elton is the heart, then Davey is one of the veins carrying the music to all parts of the body that are the fans. His harmonising through the various multi tracking techniques he's perfected whilst still allowing Elton to be the main man is truly unique. He found his own voice but never allowed it drown out those around him. Even when a second axe man was in the band rather than retreat to the standard rock star default setting of sulking he found new avenues (his electric playing post Caleb Quaye for instance had Alice in a wonderland and Bats in the belfry all agog to have him on their side) to develop and explore and when John Jorgenson came into the fold his rediscovery of the roots instruments helped bring Elton back full circle to his proper place. Even when an outsider entered the Elton recording world, Tom Moulton, he spotted instantly the hook that Davey's playing on record evokes and pumped it right back up to give the song that extra firepower. Like replacing machine guns with cannons, his sliding the fader up of Davey's guitar lines on Bite Your Lip for the 12'' remix in 1977 showcased his incredible slide playing. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Fingers and other long bodily parts crossed we'll luckily have a fifth decade in which we'll get to hear another classic guitar solo or several from Davey on disc. If not, there'll be a stewards inquiry. More than the starting pistol will be fired from this end in somebodies direction...to pick one or two or a dozen favourites would be impossible. Every album he played on has them. What I want to do is show off some of cleaner sounding examples, without any major effects. Just the melody mixed with the power of message. So with Leslie amp off and the wah wah pedal undepressed, lets go for a straight run through.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">This is one of the simplest yet fulfilling lines he's ever done. Emotionally riveting throughout, his solitary single notes are held tight. Almost dying off naturally, his timing is exemplary in bringing them back in. When he comes around again for the final part of it, he does the simple but nonetheless essential rock trick of just upping the notes and in doing so make the plea even more full of desperation. Why desperation? Read the lyrics, as Davey always does first, then you'll see why he does what he does. He's being used a conduit for the cries of Bernie, being the added voice (alongside Elton) of the words. If it come's from the heart then the authenticity of it can't be questioned or denied. Finishing off with a slight degree of hope, the continuous unbroken spell he weaved for that brief interlude lives on forever.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">A while back I asked Davey on his blog what was the hardest solo he ever had to put down and this was the one. One of the most stylish solo's he's ever laid down, unamplified or not. The rhythm in this one is abundant, he's feeding off the lyric again to bring a flamenco flourish that isn't a cliche nor a pastiche. Rodrigo would be proud. Breaking this down from a pure technical standpoint, something on Guitar Star that they banged on about as to whether was essential or not, it oozes a natural charisma. Every time you listen back to it something new pops out. His fingers working the bass notes, seamless changes that need several listens to really get a better understanding of. You can hear his fingers just floating over the strings. It's neither forced or fake, again the heart input makes it genuine.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The two I've mentioned are just randomly picked, I could go and on about many more. All of them in fact. But before we go I just want to revisit one more solo, this time in the environment that ultimately separates the Heinz beans from the has been's. If you have stage presence then you can work the audience like blu-tak. If you can't then you'll sink to the bottom of the blue yonder. </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><b><i>Have Mercy On The Criminal (live)</i></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Anybody familiar with the 'people's chord' knows that one down stroke of it can drown out the most potent of instruments. But thanks to clever engineering which solved the age old trick of balancing on the point of a needle or in other words getting the balance between orchestra and electric guitar into some sort of reasonable co-existence, Davey was able to deliver one of his all time live solo shots. Making that connection between the music and the audience as one solid bind. As a complete contradiction to what was playing behind him, he just goes for broke on this one. Created by Davey (as are all his solo's), he slices through with the killer axe, slowly. With each swing he digs deep into the very heart of the music, the cuts opening wider as he turns back in on the song. Pure hard rock, the sound is loud, brash and nose to nose. Like embers spreading slowly, the heat is full of intensity even at the start of it. Subtle effects are used to delay and emphasise the crucial lines, at the very end as everyone comes back in and rises up he finds a route out of there that drops down and then vanishes. A star born for the guitar...</span></div>
ppdub73http://www.blogger.com/profile/02563809330498411646noreply@blogger.com0tag:blogger.com,1999:blog-17780980198120607.post-65118171730821787602015-07-18T09:16:00.000-07:002015-07-24T10:54:59.961-07:00'Elton & Band Live At Lucca, Radio2 Rai Broadcast - Review'<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">I think it's been a long long time in coming...but finally I got to hear what went down in Lucca.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">There's been a strange old sideshow running alongside the summer European tour. On the boundaries of the main event a small three ring circus was parked up. At various times hopping in and out were discussions on modern work practices of security personnel, the rheumatology and orthopedict aspects of knees and the timekeeping and number count of the setlist. Reading reams and reams of rubbish on those matters on the various soapboxes bordered on the bizarre at times, downright maddening the rest of the time. If that's what the soapbox died for then, the suds coming out of it means it truly wept. Quite how we got to this is beyond even this blogger's comprehension...but what is in my control is that none of those pointless topics will be appearing here. I'll say this about the setlist; Elton has spent many years finding one that he is comfortable with and one that fans are equally at home with. The supposedly shortened set...I'd call it streamlined...has been refreshed and rejigged. The simple maneuvering of a few favourites caught a lot on the hop. The same people who demand change, if you please.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Anyway, enough of that boring old guff. On to the show...Lucca over the years has always been radio broadcast, 1999, 2003, 2007, and 2011 are all safely in the files. This year we got the same treatment, complete with malodian mouths talking over the start of each song. Like inebriated people at an Elton show, do they spoil it?! Not if you let them...Elton's piano playing cuts through them to reveal he has still plenty of fresh things to say, even within the confines of familiar surroundings. The power to surprise, the power to please, the power to reinforce the old values. If the curtain is coming and Elton is heading out, then it's at the top of the world, ma.</span></div>
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<a href="http://2.bp.blogspot.com/-A0o_f4-GVDc/Vap5XwEohCI/AAAAAAAAA4Y/uiEkxFe_668/s1600/080518068-e8751f4c-dd58-457f-bf0e-a60e671b2543.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="213" src="http://2.bp.blogspot.com/-A0o_f4-GVDc/Vap5XwEohCI/AAAAAAAAA4Y/uiEkxFe_668/s320/080518068-e8751f4c-dd58-457f-bf0e-a60e671b2543.jpg" width="320" /></a><span style="font-family: Arial, Helvetica, sans-serif;">Confident with the brash opening of The Bitch Is Back, his voice warms up with vigorous jabs and jerks. No ceremony standing here, the sound mix is impeccable. Crucial of course when the new pearls of wisdom that Elton deploys throughout are clear to be heard. Matt on bass, just by doing some simple yet distinctive licks has now entered my top echelons of bass players of all time, alongside Dee, David Paton and Bob Birch. And he's going to get even better! Davey 'windmilling' at the end generating it's own energy reservoir, which will be needed later. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Bennie </span><span style="font-family: Arial, Helvetica, sans-serif;">And The Jets throws us one the those early pearls, Kim with layers usually underneath suddenly finds them to the forefront on the chorus. Nigel and John combine tightly here; John with ruffled hi-hat caught in the down draft of Elton. Davey's counter melodies on the jam playing of Elton slip away quickly as he slips in some licks before the rhythm section weaves in and out every so often before it boots everyone back into play. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The sudden appearance of Davey at the start of Alice on guitar is always startling, like someone screaming at your opening front door. Whilst recovering from that shock, he delays the riff entry in order to prolong the 'agony!' The piano is really up for it here, barging to the front you hear the fully pumped lines throughout. PSI heavy...the chorus breaks with Kim cracking the whip on the synth, the after stings of those slash's slow to calm down. Levon starts with an eerie solo vocal, Elton's voice with a dozen or more unseen Elton's heralding Jesus. Kim with razor sharp swipes, taking his cue from the absent 2Cello's to underscore the orchestral arrangement with greater ferocity than normal. The outro again sets a scene of rock and roll carnage on a grand scale. We're going full circle here as Elton goes back to the time when the piano was the premiere instrument of rock, it's brutal and unforgiving pounding come complete with jabs and stabs that are thick and fast. Then space opens up, the bass stops and a struggle between Elton and Davey begins. Who has the stamina to wrestle control, we'll never know as Davey retreats to safer ground. Then Nigel challenges him, his incessant beating of the snare like something out of the Middle Ages using percussion to drive the unclean and unwanted from the village. Elton responds by re engaging gear and heading out of town under his own steam. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Rocket Man with it's thoughtful intro, open eyes and silent mouth. A raft of emotions are explored here, going further than any Dream could ever dream to do. If the Dreams on TDB were the Moon, we're orbiting Pluto here. His left hand is leading, the right hand co-piloting and navigating through this new atmosphere. For unsuspecting listener's the song with the the most sudden of vocal arrivals now has the most delayed on tour. Great to see that part of Elton's live repertoire beginning to find's it's voice again. The ending is just as delayed, the last vestige of emotion and feeling is slowly expunged for maximum effect and for longer lasting impressions. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Rush forward to the final chorus of Burn Down The Mission, and then take a deep breath. Because a shiny pearl will appear. Elton digs deep vocally (as he always does here) but deep down in the bowels of the Elton mine shaft he reveals something super shiny. On the line <i>'Oh if we're gonna stay alive'</i> his rephrasing of it one of the best jewels he's shown us lately. Incredible texture to it. Sorry Seems To Be...has John with a cast of characters ranging from cymbals, triangle and chimes ably supported by other fully paid up members of the percussion union. The union boss, Comrade Cooper, would surely approve. The final playout with Kim tenderly bringing the accordion to the fore with the strings aft. I'm Still Standing starts hurriedly and speeds up after that. Tom rolls in abundance, Davey's solo is surefire quick and a surefire direct hit. Your Sister Can't Twist may be a post ironic statement of late 50's fluff, but the fluff is blown away when Davey bulldozes in with the nasty sounding guitar, like a Teddy boy determined to have a good time. On his terms and nobody else's...especially on a...</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">...Saturday Night which shows us why 70's rock was the real deal, even when 50's rock found itself in itself in the clothing of flares and big collars it still sounded hot. Chuck Berry live at the BBC in 1972 confirms that but back in 2015 we hear Elton doing exactly what Chuck did and hammer out a word on every note. He's still clear, concise and fully in control of his vocals here. If a court was summoned to judge such matters, then this example of Saturday Night will be the first and only exhibit. On the second chorus another pearl is polished off. Suddenly he slips into a simplistic rhyming of the words. Monotonal with more than a slight hint of leg pulling. And pulled it off he did. The solo ends with a flourish from Kim, a simple device that stands out above other examples. The outro jam again surprise and teases. Davey, like that Teddy Boy of earlier, takes centre stage again, bending strings and wrenching every angry response out of the Les Paul. Elton with heavy left hand and gentle right, teases the riff until the rhythm section peels back. Matt's heavy bass holds it all together, Nigel's hi-hat snuffles in the background, then a cameo from Song For Guy makes a guest appearance. Matt spots him, seizes him and has pounced on him. All in one movement. Until Elton decides to sweep them all aside and heads off again. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">On a whim The One slowly comes into focus. Elton's whim is indeed just that, throw something unexpected in an unexpected place. Unexpectedly of course! But this isn't a whimsical version, the empty stage allows for the words to breath with open passage ways. Which in turn allows Elton to express them with greater depth and control. His pauses and expressiveness is really on another level here. Less pacey than of recent times, the more considered approach pays huge dividends. For Elton primarly...and for us.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">This was a terrific broadcast, the yapping announcers had a much as effect as yapping dogs. Ignore them and they'll go away. The concert was a powerhouse first class display from Elton and band throughout, all we need now is for Stray Arc Records to wave their big wand in their little hand and make it into a 'hard copy'...</span></div>
ppdub73http://www.blogger.com/profile/02563809330498411646noreply@blogger.com0tag:blogger.com,1999:blog-17780980198120607.post-71055055356261504882015-07-14T03:48:00.000-07:002015-07-14T04:00:50.044-07:00'It's A Long Walk On A Street Of Right And Wrong'<div class="separator" style="clear: both; text-align: left;">
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<span style="font-family: Arial, Helvetica, sans-serif;">Ray Mears recent series about the landscapes of the Wild West on BBC4 finished up the other night with a quite extraordinary tale. Just one of many in fact throughout the three episodes, both settlers and natives encountering all sorts of trials and tribulations t</span><span style="font-family: Arial, Helvetica, sans-serif;">hrown at them by the diverse nature of the America's. The Donner Party for instance encountering untold problems and dealing with them in totally unforeseen ways. The story in the last episode however ties in nicely with something I had been planning to do.</span></div>
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<a href="http://3.bp.blogspot.com/-Kb_SIPAaAHQ/VaTnHOsU8MI/AAAAAAAAA3s/ydZfzNXJtLQ/s1600/171-0804060817-ADD-1864-Bosque-redondo-Navajo-long-walk.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="183" src="http://3.bp.blogspot.com/-Kb_SIPAaAHQ/VaTnHOsU8MI/AAAAAAAAA3s/ydZfzNXJtLQ/s320/171-0804060817-ADD-1864-Bosque-redondo-Navajo-long-walk.jpg" width="320" /></a><span style="font-family: Arial, Helvetica, sans-serif;">The Long Walk Of The Navajo as described in the Ray Mears programme has to be one of the longest death marches in history. If the men of Jarrow had their caps at a dignified angle by the end of their march, empty of stomach but still upright, the Navajo certainly kept their heads in an equally proud position by the time the trek ended for them. Which for a lot of them was at all points during the trek. Permanently. Spirit can be hard to crush though.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Yet again, Bernie's essential reference's of US history have to be taken into consideration. Relative to this, <a href="http://ppdub73.blogspot.ie/2013/08/i-should-watchthese-to-hear.html">Indian Sunset</a> is the most well known both inside and outside the Elton world. But that's only one scene, one tale in a far larger series of events chains. A decade or so later and he would revisit that theme, with a greater sense of anger, a damning testimony and the only verdict to be arrived at.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Before I go on we have to look at how Bernie's chastising unfortunately got lost due to people's Ego's and humours. Like another classic American song from the same era, White Man Danger ended up following <a href="http://ppdub73.blogspot.com/2013/08/came-message-from-front.html">The Retreat</a>; consigned to the underbelly of an underselling single. Ignominious at best, a disgrace at worst. J'accuse David Geffen yet again. One day he will have to be brought to book (especially to explain this period) for his machinations that nearly dealt a fatal blow to Elton's recording career. Without going into all the details of it again, this <a href="http://ppdub73.blogspot.com/2013/10/two-became-one.html">piece</a> here explains it nicely. To recap, the 1980 album by Elton with the correct tracklisting, especially if it had been a single disc could, nay would have propelled Elton back to the top of the album charts. Instead the harder edged songs, both lyrically and soundwise were ditched for a more sweeter flavour. Bad for teeth and ears. Alas, the chance was lost and the quality material that emanated out of the south of France was left to wither on the vine. Not a good recommendation coming from that part of the world.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Anyway, back to now. Bernie is always at his best when rugby tackling the serious issues head on. Unflinching here, he takes out both legs of his opponent. The team in the white shirts. If American Triangle was non partisan, there's no doubting about the colours being nailed here and to what. Bernie's opinionated and justly offered view is atypical of his output over the last 50 years. His early detached, latterly deeply involved insights on many related issues hopefully will be evident on the new album. Whenever that will that be...I must check my piece of string.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Clocking in at over five minutes, it's not lyrically abundant like Indian Sunset but it's short and direct like an arrow flying through the air. And like said arrow it's impact when it hits the target dead on is brutal. Inflammatory in concept, incendiary in description and condemning of his own white race. Just let that idea sink in. The pure uniqueness of it. The setup of the tome is simple, two protagonists in each corner. In the white corner the 'White Man' shadow boxing with certainty of victory. Might is right being his motto, 'he feels no pain'. In the red corner, the 'Red Man' with 'slim chance and none' being equally certain of victory. The victory of the spirit. In one movement Bernie executes a trial and judgement with the sentence being shame. Unlike some of his other explorations of that vast landscape, this time he employs no use of visual imagery. Lakes, canyons, rivers, plains, mountains or oceans are not needed as extras. Just the representation of two sides, one just, the other powerful. No contest. His taut words sum up the simple premise, extermination may be an exaggeration but to others it may be an undervaluation. The 'White Man' is here and not going away. The 'Red Man' was here but he can stay. But only where and when he's told.</span></div>
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<a href="http://2.bp.blogspot.com/-DS1qBEd25iY/VaTlPJe8zaI/AAAAAAAAA3Q/HFvCxhuB2XI/s1600/hqdefault%2B%25284%2529.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="214" src="http://2.bp.blogspot.com/-DS1qBEd25iY/VaTlPJe8zaI/AAAAAAAAA3Q/HFvCxhuB2XI/s320/hqdefault%2B%25284%2529.jpg" width="320" /></a><span style="font-family: Arial, Helvetica, sans-serif;">Elton does an incredible job here, from his production outwards. He crafts the music perfect to the lyric with sharpness and directness. The melody is unrelenting once proceedings get underway. His vocal is totally unaffected (the best way) throughout, phrasing precise and decisive. The harmony vocals from the girls adding an extra sense of importance to the chorus. Putting aside the acoustic piano, and leading with one of his trademark sounds of the era, the electric piano, is the correct choice here. It's sharp, glary sound ideal to cut through the heavy sound. The rhythm section of Alvin Taylor and Reggie McBride being one the best studio drum and bass combos he's ever used outside of the best. The drums in particular are huge, the heaviest sound he's used up to that point. In front of that is Steve Lukather's guitar sound; initially like a spaceship coming into land in the desert at the start, circa 1947. Bang on the beat throughout after it lands, it's throbbing, darting sound coupled with that powerful backbeat has slight undertones of new wave. The best influence of 1979 to have been soaked in...the thought's of disco creeping in beyond Victim Of Love too scary to contemplate. The Hammond solo by James Newton Howard with his speedy hand sweeps across the keys adding an almost swinging break in the middle. It's a welcome intervention, musically more interesting at this time in the song than a guitar solo would have been. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Again another gem from the arsenal of Elton and Bernie that for too long has been filed under the b-sides category to gather dust. There has to be a revisionist look at the back catalogue one day as too much of the really vital material has been left dormant and devoid of the lavish praise it's entitled to. Incredible to think this song has never been released in a digital format officially for instance. I've said it before and I'll say it again, Elton has probably the best catalogue of any late 20th/early 21st Century artist but the worst treatment of it. In terms of what has been released, the structure of it, the final makeup of compilations and formats. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><u><b>Related Posts:</b></u></span><br />
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ppdub73http://www.blogger.com/profile/02563809330498411646noreply@blogger.com0tag:blogger.com,1999:blog-17780980198120607.post-33524441118064086722015-07-03T06:20:00.000-07:002015-07-03T09:01:00.803-07:00'8 Lives A Day'<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">10 years and 1 day ago an 8 month wait ended...but not without a few challenging final hurdles that had to be negotiated. Oh, the nerves!</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">November 2004. Aiken Promotions announced Elton was to play outdoors at the RDS for the first time since 1984. Taking my Old Moore's Almanac, I looked at the long range weather forecast for the 2nd of July 2005. Plenty of time to do the anti-rain dance by showtime...don't wish it away but time flew (and still does unfortunately) and it was almost time to take our seats.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The buildup to the week of an Elton should be as stress free as possible, if it's outdoors you want blue skies and light winds. And Elton to be fighting fit. And of course available to turn up. Who'd have thought the latter would possibly become the main issue.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">In the week or so before the show Bob Geldof announced a 20th anniversary multi act, multi venue concert to move the Live Aid agenda of 1985 further on, to Make Poverty History. Not to raise money but to raise awareness. So in 8 cities around the world from the same 8 countries taking part in the G8 summit concerts were to be staged on the same day. Hyde Park in London was the UK location, a massive plethora of acts to be assembled. As is always the case, Elton was one of the first acts on Sir Bob's speed dial and it was announced he was to play in London. The date of the concert. 2nd of July 2005.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Uh-oh. How was Live8 going to work? Elton has mastered most things in life but bi-location I don't think has appeared on the setlist. At least not yet. In a moment of gross uncertainty I contacted Aiken and asked them what's the story. They assured me Elton would be there at the RDS on the 2nd. Then in the days leading up the big night the schedule for Hyde Park was set out. Elton was to be an early afternoon slot so playing later that night would be no trouble. Then the threat, sorry, idea was floated of special guests from Hyde Park joining Elton on the plane over from Biggin Hill. Thankfully that payload was never dropped on us.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Aiken realising a huge event was about to unfold and wanting folks to be part of it, they opened the gates at lunchtime in order for the Elton fans to view the Hyde Park show on the big screens at the RDS. With 'perfect' timing, I was on route to D4 when Elton hit the stage. I bet he had an inclination to hit somebody by the time it was over. A spectacular performance from Elton was gatecrashed by the most shambolic live duets of all time he's ever had the misfortune to be intertwined with.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">First the good bit. When the DVD of the show was released, Bob Geldof was discussing in an interview to promote it the merits of Elton choice the first two songs he sang. And the wisdom of it for an early afternoon atmosphere. But when he saw the performance and how it established the feelgood factor of the vast crowd early on, setting the tone and precedent for every other act that followed he realised, not for the first time in his own words, just why Elton was still at the top of his game. An uptempo, rollicking set that was ideally gauged and delivered with maximum impact. The lessons of 2001 had been learned. In the space of The Bitch Is Back and Saturday Night's Alright he cranked up the energy, found the locking valve and shut it tight. The last song in the set was to be one of those old hand, new dog coming together type of enterprise. But the dog was doped and it's bark had more than a slight tinge of distemper.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Sometime's I've been accused of going on a bit too long about Elton things. At the other end of the scale my friend Mr. B. delivered a one word review of Pete Doherty's performance over the phone to me whilst sitting in the sun in the RDS that summed it up perfectly. Dire. And that indeed said it all. Looking like a downed Luftwaffe pilot from some years ago, Doherty took part in a duet of Children of the Revolution by Marc Bolan. Looking and sounding like a right Hun (or a word that sounds like it) in the sun he gave a first class display of performing roadkill. The aural aroma was similarly vile. Elton had given over one of his allotted songs to help him out and the hand that had fed him was severely bitten. In between slurring and rambling his way through the song, he cut a pathetic sight with his BIC lighter in one hand and a Union Jack waving over his head like some trophy of war, hat at an undignified angle. If somebody has said ten years later he would be getting 5 star reviews at Glastonbury it would have just confirmed my suspicion of most music scribes. Singing from the same hymn/rap sheet...</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">'We're off to Dublin' declared Elton and not a moment too soon. If patience were to be milked dry over 8 month's then the last few drops were being squeezed with excruciating vigour. Because before Elton took to the stage we had the 'pleasure' of a couple of support acts. Nothing much to report here, Rufus with his truly awful singing voice and James Blunt with his truly awful bland material took the Michael indeed. Elton and circumstances were keeping us waiting...but it would be worth it.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The 3 dimensional sound that was the Guy Babylon creation otherwise knows as the Pinball Wizard intro was bright, loud and full of strong colours. Bit like the sun that shone earlier but had now clouded over. Those intros he did over the years are truly terrific and need to be released in some compilation form. It's slow burning buildup giving way to a multi explosive chain reaction that was Elton's piano, Davey's aggressive chords on the Flying 'V' and finally Nigel heavy pounds. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Perspective is always an ongoing feature of this blog, 30% of the set that night is no longer played. Plus we had something going on that is very unlikely to happen in the future. Two recorded projects almost existing simultaneously. Peachtree Road (brilliant album) had 4 songs in the setlist, whether it was a chart success or not was irrelevant to Elton and the audience. He felt it, the band felt it and the crowd appreciated it. Winners all round. Even though it was only out 8 month's it was already being superseded by a current hit single from another Elton project. Younger readers might not be familiar with the notion of hit singles for Elton but Electricity was indeed a proper chart hit. Lifted from the stage version of Billy Elliot, Elton's take on it (the best, of course) was a classic case study of why he had so many chart hits over the years. An uncomplicated production, the airy verses with Nigel on harmony vocal soared even higher on the chorus as it swept out into the darkening night sky. Davey's licks on the slide guitar leaving a slowly dissipating glow in the dusk. No wonder it was hit in the charts and the stars. And if that's not enough chart Elton for you, his 1971 voice could be heard on a certain rap hit of the day too...what a time we've lost.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">It goes without saying the show was a triumph, Elton dedicating Sacrifice to Bob Geldof in the Rat's hometown. Classic Elton moments that are no longer with us are peppered throughout, the long and varying from night to night that was the excursion otherwise known as the intro to Take Me To The Pilot for instance. The recently introduced switch over by Davey from acoustic to electric on the extended Rocket Man was to become a byword over the next several years of multi tasking by a multi instrumentalist. Indeed Davey is more than just one guitarist...as was that band lineup more than just a group. The much missed Guy Babylon as mentioned earlier did his usual intricate work all the way through. As did his also much missed colleague and friend, Bob Birch. The sight of him standing behind Elton at the piano as both their heavy hands beat a march towards the final crescendo of Love Lies Bleeding was something we took for granted. Another one of life's pleasures taken from us. Too soon.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">It was only the next day when I looked back at the DVD recording of the show (no Youtube of any consequence back then, of course) that you realised the enormity of it. Is poverty history? No, but the first trickle of making it happen had appeared and once it started can't be returned. It also showed how important Elton is the grand scheme of these things. When you want the A-listers, the really big stars, then Elton is no brainer to have on your bill. Glastonbury, can you hear me?! On the day he masterfully navigated his way through getting the crowd in Hyde Park wound up early on, an escaped POW on a bender and of course bi-location. But even more remarkable he played for the first, and so far only and last time, two shows in one day in two different countries. Luckily for me I was on the right side of the Irish Sea that day!</span></div>
ppdub73http://www.blogger.com/profile/02563809330498411646noreply@blogger.com0tag:blogger.com,1999:blog-17780980198120607.post-57092570274278640152015-06-29T03:55:00.000-07:002015-07-14T04:03:00.866-07:00A Dandelion(el) Held Them Tight!<div style="text-align: justify;">
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<span style="font-family: Arial, Helvetica, sans-serif;">I did this <a href="http://ppdub73.blogspot.ie/2014/06/look-at-dolly-she-did-it-right.html">related piece</a> exactly one year ago basically setting out why Elton should be a dead cert for Glastonbury. Another year has come and went and the urgency for Elton appear at it is now as frantic as Euro's flying out of an Athens ATM. If the act with no musical portfolio, otherwise known as Mr. Kim Kardashian, is indeed the biggest then all we have to work out next is the biggest what. Though hasn’t the wife won that accolade several years in a row…anyway, the thing is we're running out of the 'classic' acts to fill up the schedule, especially the marquee slots. Some horrendous characters are waiting in the wings and more likely than not will run on to the rocks. The wrong sort. If Pete Doherty can still get 5 star reviews in 2015 then the game is indeed almost up. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Further down the menu is where the real attractions lie. I was looking forward to seeing Burt Bacharach opening his songbook but unfortunately despite his best efforts (87 and still oozing charm and a classy touch) even he was dragged down by three singers who were a combination of X Factor rejects and part time cabaret support acts. If you're going to do justice to the songs which span a couple of generations then you have to have a real star vocalist. Not just the ability to sing the song but to connect with the audience. Kind of important when you're stepping into the shoes of Dionne, Sandie, Dusty, Cilla, Petula, Aretha, Karen and Gladys to name but a few. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">As I pointed out last year, the ‘legends’ slot is now fast becoming ‘the’ slot to be inserted into. Sunday evening teatime and basically you can grip the crowd (and a sizeable telly audience) and do with them whatever you wish once you’ve seized power. Lionel Richie did exactly that yesterday (even getting security to join in...I bet some folks think a parallel universe now exists) and like Dolly last year is getting all the plaudits. The Who closing out the entire weekend with a tight, no nonsense set are being equally showered with similar platitudes. All rightly well deserved. If both of them hadn’t appeared then the viewing figures would have been down by more than just me. </span><span style="font-family: Arial, Helvetica, sans-serif;">If I were a betting man...which I'm not...I'd lay good money Billy Joel will be doing that exact same slot within the next year or two. </span><span style="font-family: Arial, Helvetica, sans-serif;">If you put the really big acts on, they never fail to deliver. By the way, that FFS hookup has to be one pop’s great latter day masterstrokes…</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">So what of Elton. Looking down the guest list over the years his glaring absence is now becoming more evident. Filed under the legend that never won an Oscar category. All his contemporaries, not to mention those that came before him and since, have all played there. I’m not sure what the situation is at the moment, whether the organisers aren’t keen or what. If not, get keen I say. If they are, get on the phone and book Elton for Sunday of next year. They can work out the fine details of whether he’ll do the legends slot or the headline slot in due course. Either way as the slow drop of the curtain is now underway it’s critical that he finally take his rightful place on the roll of honour that is the guest list at the festival. In 50 years time when kids of tomorrow ask why everybody from a self proclaimed God right down to the Wombles pitched up but Elton didn’t what are they to be told? For somebody who has done it all, it would be indeed be the final as yet unrealised achievement. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">One thing I’ve noticed is that the crowds at the US festivals seem to be more reserved than at Glastonbury. Lionel Richie did Bonnaroo a few weeks ago but even he was unprepared for the reaction he got on the English farm. He’s put down a marker as to what is expected. If an old pro like him has indeed felt the force then just imagine Elton going there and by the time FFF/LLB has finished the crowd has given him an injection of a boostful additive into his adrenaline. Which logically could or would possibly mean Elton may deliver a defining late career live performance that would be talked about for years. The crowd connecting back with the artist can indeed be the ‘twelfth man’. A setlist that would keep the ballads to a minimum (Your Song of course!) and push the uptempo aspect of the repertoire to the front would be truly magnificent. Like the hammers of hell he would beat them into submission. Hopefully this time next year we’ll be waking up to headlines of musical celebration rather than confrontation…</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><b><u>RELATED POST:</u></b></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://ppdub73.blogspot.ie/2014/06/look-at-dolly-she-did-it-right.html">'Look At Dolly, She Did It Right'</a></span></div>
ppdub73http://www.blogger.com/profile/02563809330498411646noreply@blogger.com0tag:blogger.com,1999:blog-17780980198120607.post-62023982626085174742015-06-28T07:12:00.000-07:002015-06-28T07:12:43.496-07:00'Sincere Flattery'<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">One of the most common phrases to describe Elton is that he's the ultimate musical magpie. Taking bits and bobs from here and there and making it his own. But he's also a bit of a stork, delivering influences far and wide. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">To highlight this I'm looking at some classical pieces that undoubtedly have possibly lent themselves (at least to this untrained ear!) in terms of influence on Elton and then I'll look at another piece that has an (possibly) unmistakable influence taken from Elton. When he studied at the Royal Academy of Music in London he unconsciously (as do most reluctant students!) took on board more than he thought during his time there. If the building blocks of basic structure were indeed just that, he soaked up how those blocks could be built into a super structure. Like a sponge he took on board the multiple facets of his art. But like a real sponge he works both ways. When you squeeze him a mix of musical juices that were a combination of what he learned and what was his own personality spilled out. The depth, breadth and width of what makes 'Elton John' the composer is truly epic.</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;"><b><u>Schubert - Impromptu No. 3 in G flat major Op. 90 (D899)</u></b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">This piece played by the 'go to' interpreter</span><span style="font-family: Arial, Helvetica, sans-serif;"> of solo piano pieces, Alfred Brendel, is a fairly clear example of Elton delving into a timeless melody and subconsciously giving it a new twist. A well known piece in the piano repertoire of any student or teacher, the obvious traits of this piece are clear to hear on FFF/LLB, especially on the solo live version with Ray Cooper. The carefully paced steady progression</span><span style="font-family: Arial, Helvetica, sans-serif;"> treads a path we know very well. Slower here, Elton's brisker adaption is carefully judged. The contrast of intense and contemplative passages is also trawling familiar ground, never at odds with each other but merely jostling lightly for equal attention.</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;"><u><b>Mendelssohn Violin Concerto in E minor, Op. 64</b></u></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The buildup to the climatic conclusion of Carla/Etude has certainly been influenced in no small part here. And what makes this even more special is the fact that's its a non piano work so again Elton's classical studies were broad and engaging. The second movement is what we're interested in here, but only a small part of it. It's great piece but if you don't have time to listen to it in full, then listen from 18:53 to 19:04 to hear a fragment of the theme or motif that appears throughout the movement that has more than hint of familiarity; the progressive nature of the melody is highlighted by the more urgent woodwind arrangement of James Newton Howard replacing the violin interpretation for a subtle yet crucial transfer to the final overture of what is without question one of Elton's (and by default because of it's arrangement, James Newton Howard) finest moments.</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;"><u><b>Arvo Pärt Cantus in memoriam Benjamin Britten </b></u></span></div>
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This piece is highly unusual but the most striking part of it, the sudden stop, should be familiar to Elton listeners. But that's not the only element of familiarity at play here. The original version of Sixty Years On with the device of it's bare naked strings coming to life is very much in evidence here. Buckmaster's arrangement starts slowly and broods steadily but has possibly been taken one step further here. With the added tolling bell, the individual elements are with a greater sense of foreboding and a quite deliberate corralling of the elements into forming one body mass. At the same time the sound becomes heavier and darker full of self generating power. Almost overwhelming us in grief (as it's intention is) the sudden stop into bleak nothingness is only broken by the fade of the bell toll.</div>
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The composer in all likelihood may not have ever heard the original version of Sixty Years On whilst living under the cloud of the USSR, but then again we do know they were resourceful in hearing Western music during those times. So it's not beyond the realms of possibility Pärt may have stumbled upon it, accidentally or otherwise.</div>
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<span style="font-family: Arial, Helvetica, sans-serif;">What have we deduced? Elton never went down the Eric Carmen route thankfully but as we can see he slipped in tiny, tasteful elements of his vast music knowledge (probably more vast than even the most wildest imaginations can imagine) and making his own material even more fulfilling. Plus we can only speculate on how his own influence has spread far and wide. Maybe further than even he imagines... </span></div>
ppdub73http://www.blogger.com/profile/02563809330498411646noreply@blogger.com0