'Hip Hoppin'

Elton interviews...when they're about the music and not 'other' topics are always interesting. Rolling Stone which now champions all things musical by Elton, something that wasn't always the case, has grabbed five minutes to put the burning questions to him. Some very enlightening and some downright bizarre stuff in it...let's see what moss we gather from it. The full text can be found here.

Hip-hop is something I have absolute no interest in. I'm aware of it...as I re tune the radio if I should land upon such a broadcast. So when I see headlines proclaiming Elton wants to make records in the genre the blood does tend to run a bit on the icy side. But if you actually read what he says it's merely a sidebar. We're not (thankfully) going to have foisted on us a whole album of such 'delights'. His collab with Timbaland a few years ago was very good, in a one off setting it's possible to find some gems. But a whole album...let's keep the wanting a bit more wanted. 

It wouldn't be a Rolling Stone interview if their favourite sunshine lad wasn't mentioned. They're obviously either unaware (deliberately or unintentionally) that a third album with this fella is something that has as much appeal as a wet weekend on the beach. In winter. Elton's answer is telling, I think. A one line affirmation, a quick diversion to another topic and a much longer explanation of his outside work. I do think (hopefully) we've seen the last of this chap masquerading as somebody competent in making an Elton album...

...which leads to a bizzare insight from Rolling Stone. Some of the younger scribes of today don't a have a Scooby Doo but plenty of Shaggy ideas. Comparing early 70's Elton with Kanye West is off the wall stuff. I wouldn't know one Kanye West song from another, the bits I have heard sound like something that would be best left under the dust bin lid. Scrappy indeed. So if someone can make that connection, then you gotta wonder if they've anything else useful to say. I doubt it. I suspect they're next hair brained idea following on from that would be 'At Home With The Furnishes'...the blood is getting even colder now.

The touring question has arose again. My guess is there'll be very few shows in 2015 and beyond. 2014 is full with tour dates so far, but early Autumn is still blank so any territories not on the list he may be coming your way!! His domestic setup means he will cut back. The Ray Cooper shows coming to America is a dangly carrot. Whether it happens or not, time will tell. The MDP shows only have a limited run this year. It's future does seem to be up in the air at the minute. From what I can gather, the cinema screenings this week seem to have been a major flop in the US. In some places attendances not even in double figures...sounds like a turnout in some recent referendums here. What went wrong will come out in time...more about that at a later date I suspect.

The next part of the interview does tell a great deal. It's no secret that Elton doesn't really like revisiting his older material much. The query as to full album shows demonstrates that. Though I still think with the blank dates in the Autumn he may still do a few special one off shows for the GYBR 40th. Whether he actually does the whole album is up for debate. I suspect he may do very close if not all of it. That would be truly a landmark event if it were to happen. The tour so far this year has seen a gradual expansion of the setlist with songs from it. He then mentions The Diving Board. I've been saying this since last September, Elton tried the songs in concert and they didn't work. He decided that, not anyone else. It's a pity those who bombarded Davey's blog during that bizarre period last year couldn't grasp that concept from the off. Not sure how long it takes a penny to drop in other places...hopefully it's scored a direct hit by now. Notwithstanding the fact that there was no special show to promote the album. As I said before, the Capitol Records preview show this time last year put paid to that. A future blog post on how inept and counter productive they were to follow in the future. As Elton says himself, the songs are only fit for small venues. So a 'Beacon' type show would have been the ideal showcase. But we've had to settle for just Elton and the band since then...tough isn't it not!! The GYBR 40th has lashed The Diving Board out of it...

The final part of the interview brings up Billy Joel. I love Billy Joel. I've seen him with Elton and on his own. So there'll be no Billy bashing here. Plenty of forums to indulge in that aspect of communication for those of that persuasion. When Billy announced his Madison Square Garden residency last year the amount of Billy vitriol that I seen dispensed by some Elton fans could have filled the venue in it's own right. As we know, they both had a falling out a few years ago. Over what, who knows and cares. But all that's in the past, they kissed and made up. I'd be ecstatic if they toured again. It got a bit old when they kept doing it in America exclusively. But it still sold out each time. If they took to the rest of the world again, it might never end. 

'Reaching Out'

A discussion that was raised on the one of the Elton forums the other day reminded me about this topic. Through many of the songs when Elton is singing, he singing about himself, or Bernie, both of them or in fact neither. I read an interview with Bernie a while back where he said that a lot of the sings that Elton thought were about him(Elton) actually weren't about him at all! What songs they are would be a real eye opener I suspect. I've always thought of this song as being about Elton first and foremost. In fact, as we'll see further in, it's more than that.

The time, late 1988. The place, a very dark one. For Elton, certainly. On this blog I don't delve into anyone's personal lives as this is not what the blog is all about. If you want that type of thing, there's plenty of man hole covers on the web to lift up. But sometimes we do have peer in and see what's happening as and when it affects the music. No bigger example than this case. At that time Elton had just gotten divorced from Renate, he'd completed a 'comeback' tour after his voice op. The latest album, Reg Strikes Back was about to 'cardboard' as he remarked later on tour. There is no doubt that at this time his substance abuse was on the inevitable destination. If it weren't arrested in time. For the best part of two decades this on/off lifestyle was now mounting up in terms of problems. Which again are well documented elsewhere. So it was no surprise that those around him, especially Bernie, would be well aware the futility of it all.

What Bernie penned for Elton was in effect a message to him. Not coded, with very few metaphors laced through it. It's very simple in it's message...'reach out for her healing hands'. Bernie himself had gone down the same road in the past but by this stage had been on an even keel for a long time. So he knew better than anyone what it was to experience being like that, then to acknowledge it and finally to get something done about it. A few steps to the twelve steps. He worded what is one of his greatest pieces of support that anyone could give a friend. The first two verses recounting his lowest point, the third verse his determination to rise up and the chorus his championing over the darkness and letting the light back in. In other words, it's there, Elton. Salvation is at hand...but you gotta reach out first. Only Elton can make the first step, the hardest one of course, but when he does his vision of life will be clearer and brighter. 

I've said it before about Bernie, he has great honesty in his lyrics. Elton has great honesty too when it comes to singing about himself. Especially when it's somebody else who has 'spoken' for him. That's why the partnership works. I'm sure Elton at the time was well aware of the songs meaning, not just on a wider scale but for him in particular, As we know he didn't immediately take up Bernie's invite to reach out, it would be another 18 months before that road was travelled. But there's no doubt this was of many catalysts for that long road.

The song itself is superb, Sleeping With The Past is one of my favourite albums. It took me a while to get into but it is incredibly accessible now. Great polished production from Chris Thomas, using what was a contemporary sound (1980's) to recreate a retro (1960's & 70's) style. At the time it was normal procedure, but if it were done now the synth parts would be played by real instruments (strings and brass). In retrospect it's very much of it's time so that uniqueness may prove in the long term to be as just important as the songwriting on it, which is very strong. A great piano solo from Elton...from a time when he didn't play much piano, or so the old yarn goes...with a terrific intro to the song, The unusually clean sounding drum line from Moffatt...he not being a favourite of this blog I'm afraid...with those grinding guitar announcements from Davey. Elton's late 80's/early 90's voice has the right degree of soul without getting too heart wringing.

To sum up, we can all speculate what Bernie is on about and as we all know that is a never ending task. But I think here he's left the listener...and the performer...in no doubt about what the method is in the lyric. Thankfully it came to fruition is all I can say...

I never dreamed I could cry so hard

That ain't like a man

I could fly like a bird some days

Had a place where I could land

I could have sworn we were all locked in

Ain't that what you said

I never knew it could hurt so bad

When the power of love is dead

But giving into the nighttime

Ain't no cure for the pain

You gotta wade into the water

You gotta learn to live again

And reach out for her healing hands

Reach out for her healing hands

There's a light, where the darkness ends

Touch me now and let me see again

Rock me now in your gentle healing hands

I never knew love like poison

That burned like a fire

All I ever wanted was a reason

To drown in your eyes

I never knew sleep so restless

Empty arms so cold

That's not the way it's supposed to be

It ain't the spell that I was sold

'Let Me Fly To Distant Lands'

One of those questions that regularly pops up is where would you like to see Elton perform, if could choose one location. Madison Square Garden springs to mind first. Sydney Entertainment Centre, the scene of my first Elton album, is another. But If I had to choose one place to see Elton and the band, it would be Brazil. He's just finished his second tour in a row there. On the tour last year we were lucky to be able to watch a live stream of the Sao Paolo show which was incredible. This year from indoors in Rio to outdoors in the big football stadiums that will be used in the World Cup in the summer he's rocked like a samba. I've been lucky to be able to follow fans on Facebook from that part of the world travel around the country to attend the shows. The fans are mental (in a good way!) down there and don't have any cynicism that you see elsewhere. They couldn't give a flying fig if all or nothing from an album is played. 

But if Elton didn't play this one they'd dismantle the place brick by brick!! Skyline Pigeon speaks for itself...quality...he's done the solo version many times over the last number of years but the band version really injects power and strength. I was lucky enough to see him perform the band version for the first time ever in Thomond Park in 2009. Since that tour it's only appeared in that form in Brazil. The song is special enough down there as it is, but Elton saving it for them makes it a little bit more for keeps. This time Davey is playing acoustic guitar on it rather than the electric double neck he used up to this.

A few other comments about the Brazil tour. Elton changed the setlist around every night, Daniel (band version) appearing for the first time in a while and Nikita ventured out of Europe. It seems Elton is mixing it up a bit more than usual and bringing a surprise element to the set. It’s a pity I’ve Seen That Movie Too only lasted a few shows in Canada, but if Elton doesn’t feel it back from the audience he gets disheartened very quickly. Same thing goes for albums of a more recent nature, shall we say. No danger of him waiting for the day in Brazil when he doesn’t get it back…

'The Drover's Story' *(Updated Oct 2015)

Before I do my latest rambling...a big thanks to everyone who has checked the blog out over the last six month's.  The whole idea of it is to give Elton's music the due care and attention it deserves. The feedback I've been getting has been terrific, thanks for that also, the blog has a knowing audience. Plenty more to come over the next while.

For this latest update I've decided to highlight again one of those tracks that sort of went under the radar over the last few years. Elton has been well known for his soundtrack work and this song is one of his best contributions he's done. When I did a post on the Friends sound track album a while back I mentioned did it matter whether you'd seen the film or not and how it affected your view of the album. I have to confess I've never seen Australia...film or country...but this song's impact is no less for me.

Lyrics are by a combination of folk...Baz Luhrmann, Anton Monsted & Schuyler Weiss...with music by Elton of course. The lyrics being a briefish synopsis of the films concept. A ballad in the true sense of the word. Lurhmann, who also directed the film, being no stranger to Elton's music having used it in his earlier film Moulin Rouge. 

The song is as rustic as you get. More Honky Chateau than Tumbleweed I would say. Exquisite brush work from Nigel, a part of his style often overlooked (not here) gives it that organically produced feel. Not be outdone in that department, Davey's prickly picked banjo nails the point. Filled out by acoustic guitars. Ballad by name, ballad by nature. Elton's vocal is very strong here, the mid tempo ease of it suiting him well. The piano is strong with equal ease. Both these elements are clearly demonstrated in the version that played over the closing credits. The mid tempo beat never lets up until the bridge (with a classic Davey line on that part in the band version). The orchestral version is a shorter affair, but has a full sound that Elton's piano and voice is more than capable on their own of producing. 

I think what this song demonstrates is that...Elton who produced it by the way...is that those around him are quite capable of stepping up and creating a sound that is in keeping with the material provided. The sound is right, the delivery is right, the end result is classic Elton alright. 

* Now since I did that piece nearly two years ago I've been privileged to see the film in it's entirety. I'll not give any spoilers needless to say it's a terrific piece of work. The twin devices of the Australian outback and the actual WWII events that took place on the same soil is a narrative cinema has rarely bridged. A long film but well worth sticking with. Even though at the start Nicole Kidman hams it up so much the slices become as thick as slabs. Thankfully she settles down and thins out her performance.

Again not giving any spoilers away and going back to what I mentioned earlier about not having seen the film and does it matter as to what impact the song has. In some cases it doesn't but having now seen the film it certainly has a deeper context. The climatic scene where Elgar's Nimrod is stitched together with a brief musical interlude from another musical act into Elton's orchestral version of the song is emotive and for the almost seamless crossover made for each other. I don't think it's any coincidence that Nimrod is one of Elton's favourite pieces of music (as mentioned on Desert Island Discs) and the climax of the film is well served by it. Elton's main melody appears sporadically throughout the film, it's motif cuts through the dust of the desert and the carnage of falling bombs with decisive sweeps. 

Like I said earlier, this song has been completely ignored and forgotten.On it's own it stands head and shoulders above most others, in the context of the film it moves beyond the idea of it merely being the soundtrack of the audience getting up and going 'walkabout'.

'Keep Right On'

Once upon a time when you reached 65, you were entitled to many social payments on reaching that venerable milestone. Not any more...

Nigel has reached that number today. But it's only a number. This blog is a Nigel zone, so heaping praise on him today is the same as it every day. Nigel is for life, not just for other days...so I'll post what is for me anyway the best EJ/BT song that Elton never released himself. According to a question I asked Davey on his blog a good while back Elton did record a version of it during the Made In England sessions but obviously it never appeared. However this gem was handed to another diamond and he did a terrific job on it.

If anyone hasn't got Move The Universe, then why not. It's essentially the EJ band of the day (2000/01) with Fred Mandel and Kiki Dee putting in appearances too. So it's high on quality, personnel wise. Even higher on performance. Recorded around the time he came to the band (a time as we all remember was a moment to rejoice). Nigel is a terrific singer, he's a got a laid back style that oozes ease and sophistication. Kinda like his drumming. 

The song is classic Taupin lyrics, descriptive imagery with plenty of rhyme that seem to have no reason to them. What's it about...answers on a postcard to the usual address. Needless to say Nigel's delivery makes even the most cryptic of Taupin's visualizations seem real and tangible. The bridge is classic Elton, the sudden tempo change in tandem with the change in Nigel's vocal delivery. Beautiful!!

I've always had a couple of dreams about Nigel...no, not those kind...but about something I'd love to see in concert one day. Firstly him singing this during an Elton show. It's been done before, Nigel doing his bit so to speak, so who would object. Nobody here I suspect. Secondly for him to jump down from the kit and stand at the mike and sing Too Low For Zero just like on the 1984 tour. If that happened, I suspect I may not want to see much more after that. Or Davey to sing Keep Right On which Nigel (and Elton) played on...or maybe...just for Nigel to keep the beat going on and on and on...

'Now We've Seen It Too'

Every so often...in other words every show...Elton pulls something special out of his bag of tricks. But once and a while he delves real deep and produces more than a rabbit. In this case one of the quietly burning, slowly but surely climbs to the summit. And what a peak it is...

Whatever way you look at it, the GYBR 40th is currently grabbing some big headlines. The various formats it's being released on in March has got the web shops all in a fluster. But what is even more fluster inducing is the inclusion of a sizeable chunk of the album live on the current tour. Putting to bed the canard that Elton can't sing the old songs in his current vocal incarnation. All the songs he's done so far have been flawless. This one being the exception to the rule. Because it's positively beyond reproach. Or equal!!

The most recent addition from GYBR to the setlist has been I've Seen That Movie Too. Thanks to my friend Richard who was at the show, we can now see it here. The heavy piano, doomy with emotionally wrought lyrics. Elton's vocal...the 21st Century edition...gives it more depth of feeling. With an angrier tone than before. His life experiences adding that bit of method to the delivery. The piano playing is spot on with the recorded version but as per usual live it, it's wider. With nothing screened off. The mindset of the song is laid bare in CinemaScope quality.

The band aren't supporting actors here. Their names are in big letters (slightly smaller than Elton's of course!) but sill appearing prominently on the poster. The song is painstakingly reproduced. It has to be. So many parts in it are key to it's attraction. Nigel's trademark slow drumming at the start is a soundtrack in it's own right. His gig wide fills hammering in their contribution. Kim playing the mountainous string arrangement by Del Newman has every line nailed. No ad libbing here, it's sticks to the perfect script. Angular movements with sweeping and graceful poise. Davey throwing licks in when Elton's vocal leaves the scene free. The instrumental breaks are terrific, it's as if the camera pans over the scene to survey the damage that the drama being played out is wreaking on the characters. 

But then Davey gets his big moment. Scene stealing...possibly. The solo on the album version is one of rocks greatest appearances. The backwards effects giving it a demented sensation. A mind all muddled up and confused. On stage he delivers the big lines. With no flinches. The desperation of the lyrics seep through the solo, the guitar wails in sympathy with the songs attitude. On the second part of the solo, the strings return. Weighty and foreboding. Davey is pushing it to the limit. Overwrought without hamming it. The final chorus has Elton with chest pushed out repeating his position...defiant right to the end.

Elton continues to wow the crowds. Diehards and the floating voters. Who could ask for more...just the rest of the album maybe...

'It's A Whiz Of A Whiz'

We should be grateful that they've at least recognised the fact the album has reached a milestone. Even it is a year late!! I'm not sure what benefit another remastering will bring to this. The dvd of the Bryan Forbes doc is definitely a must have. Hopefully they've remstered the picture and sound on it. The book looks great too, the artwork of the album both inside and out is pretty iconic. As iconic almost as the material on the disc. The covers disc...why?!?! Though in saying that, Imelda May from This Town of mine appears doing Your Sister Can't Twist. Anyone familiar with her will know that song is well suited to her style. If not, check her out.

The Hammersmith Odeon concert was probably picked due to the fact that it has the most songs performed from the album in one location during that tour. Hollywood Bowl might have been a better choice due to Elton not being as congested as he is at Hammersmith. Another odd thing about the Hammersmith show is how 'twangy' Davey's guitar is on that show. I'm sure the guitar people would know more about that. It'll be interesting to see if they tweak it like the did with the 60th birthday show. Otherwise it's a great snapshot of Elton at that moment. 

As far as I know there are no demo's for the album. Everything was written and then recorded pretty much in the same movement. Again out takes are seemingly non-existent, everything that was recorded in those sessions ended up being used in one form or another. Depending of course on how many takes they took to record each track, any variations would be minimal. So the vaults didn't really have much to throw out.

As a sidebar to all this Elton has brought back in I've Seen That Movie Too to the current setlist. Coupled with the songs he's already doing from the album it's possible he could maybe do as near to possible the whole thing sometime this year. He has already done Harmony, Roy Rogers, Sweet Painted Lady in recent years so adding Danny Bailey and Dirty Little Girl for example should be no problem. I've a feeling he could be on a gradual walk down the Yellow Brick Road to that rainbow...