'Elton Tours Retrospective - Part I - The 70s'

This update is the first in what is going to be a series over the next few weeks. I'm going to try and tackle a monumental task...looking at each decade in terms of Elton's live performances.

I'm going to focus on Elton's performances in general terms, where he was at the time and how the tours compared. I'm going to focus very closely on the band lineups too. Very closely. Elton has had some great musicians over the years. And some not so great. In terms of ability or suitability. More about those as we progress.

I'm basing my views on the vast number of recordings that I've accumulated over the years. I know some people are going to say, ''oh you weren't there'' when it comes to the older shows, etc. Very true. But what I'm trying to guide everyone through is my assessment of Elton's live performances at the time merely based on those recordings. Being there is obviously a totally different world. I'm merely looking at them from an offstage position if you wish. It's only my opinion, not something hammered into stone. I'll add some recommended listening for those who aren't as familiar with the available live recordings that are out there.

I’m not going to go through the entire setlists of each tour as the blog would crumble under the pressure of such a vast amount of information trying to be crammed into a small space. Look on this as a gateway to a vast emporium of sound. I’ve dealt with some individual shows in the past and will do so in the future. I do think Elton’s live career has been woefully neglected over the years, both in terms of official releases and documentation. Setlists are sketchy to come by for instance. Hopefully someone in the future will catalogue all this information and give it the care and time it deserves. I don’t think we need another book about flowers in the house, do you?!

One way of defining a great actor is his ability to tread the boards. The live stage, at the mercy of the audience and at the mercy of his own abilities to carry him through his lines. It can be his pedestal of rock...or another type of rock. The one you perish on. Being able to get it right first time not only once but every night. Second takes are for hams. The same can be said for good live musicians. Getting up every night and getting your music across and sending the audience home having got their monies worth. I don't anyone can argue with the fact that Elton is a true master of that art. The stage is his hunting ground and he's had many kills over the years on that plain. For the first part of this series, I'm going to look at where it all started...the 70's.

Unfortunately we’re not blessed with that many great recordings from that era. What we do have is gold. I can say this without giving the game away at this time, everything from about 70-74 is absolutely amazing. Maybe not in terms of sound quality but most definitely in performance. As vital as the recorded material of the era. Let’s start where it all commenced…

1970/71

Onve upon a time there was a big bang. So the theory goes. Whether it was Elton hitting the keyboard with both hands fully recoiled then released as hard as he could or Nigel kicking his bass drum with ferocious kick back or Dee slapping his bass with one great slam down is open to query by the boffins. One thing is for sure when the trio went to the US in 1970 it turned the whole world on its head. When you look at the 3 piece concept I can only think of one other major similar lineup from that time, ELP. But they kinda cheated. Greg Lake would switch from bass to lead in order to give a fuller rock sound. As for Keith Emerson, one keyboard was never enough. So the simplicity of our trio was one of its tricks. Apart from the fact they could recreate incredibly diverse productions on disc live in a raw environment. With credibility and power. This was where the classic rhythm section would perfect their art of supporting Elton, Playing every night with him gave them the opportunity to feel his music more and hone their talents. And in turn used that bonding with the music to great advantage on disc. Elton at this stage of his live career was in full impression mode. His voice was smooth and aggressive in quick successive mood swings. His piano playing was thunderous, the impact of it genuinely took the critics by surprise. As did the extended jams. Had anyone tried this before? I doubt it. Elton was certainly the first piano player in rock that took the instrument to the next level live. Off the cuff and flowinf with ease from his fingers. The jams were always rabble rousing and joyous. Burn Down The Mission from this period is pure barnstorming showmanship. Nigel and Dee caught his grooves and played off them with ease, right from the off. Elton was on song all the time. Looking back now, the setlists seem like a wish list, but being before the days of the big hits anything was fair game to play. Even new songs. All of the recordings from the time are essential listens. The full and complete version of 17-11-70 is a must. Madman Shakes Tokyo catches the 3 piece right at the very end of that phase of development. The setlist is a coming together of all the major pieces from the 69-71 era. Sounds For Saturday is a terrific companion piece to Madman on disc, On an earlier blog post I focused in on two other very early shows which caught both sides of that early period. The early phase can only last a short span. Once established it’s up to the artist to develop and ultimately consolidate. Elton was about to consolidate at the peak.

1972-74

I always look on 1972 as the crossover point. I did an earlier post about the RFH '72 show being that stepping stone from the early establishing period to world dominance. Davey's arrival was pivotal. Right from the off he clicked with the rest of them. What he added in the studio goes without saying. Adding this versatility on stage was another masterstroke. Not just the obvious embellishments of electric and acoustic guitars, but with the roots instruments he gave Elton that fuller sound and diversity throughout the shows. Can I Put You On suddenly became an even more exciting affair. The transfer of the songs from disc to stage became a more slicker transfer. Elton could now play off Davey and further explore hidden areas. Mona Lisas And Mad Hatters at this time was in its purest form. The setlists were now beginning to display hits. But as with any new album release, there were some treats. Album tracks from Honky Chateau and latterly Don't Shoot Me appeared frequently. Susie and High Flying Bird from those albums are highlights for me. The band were beginning to gel in the studio and this was reflectd on stage. The four of them became incredibly tight, Elton being the apex whilst the others gave him the foundation to stay there. Seattle ’72 is probably the best band show from this period, sound quality wise. But as with any crossover, there has to be a destination. Where was Elton going...but to the top of course.

Charles Shaar Murray's famous review of the Edmonton Sundown show in London from early 1973 I suppose is where we can put another marker down. A marker as to where Elton landed on the next phase. In a nutshell the review declared that Elton had become a teenage sensation. With girls if you please. Innocent times indeed. The crowd makeup may have started to change but Elton hadn't changed. His piano playing was still as fast as ever and fulsome in it's presence. The '73 shows were now becoming a hits fest, giving the crowd what they wanted etc. Adding Ray Cooper at the end of that years shows at the Hammersmith as documented on the recent GYBR 40th adding another piece. A dimension that only through time became even more dynamic. When you look at an event like the Hollywood Bowl and the sheer scale of it, he still gives a kick ass performance. The sound quality of it isn’t spectacular but  listening to it you can still gauge the fact that he hasn’t been overawed nor become complacent.

As we go into 1974 we hear Elton at the peak of his powers. Here And There show Elton both sides now. The ‘Here’ disc is terrific, the intro to Bad Side Of The Moon is an oratorio in it’s own right. Davey had by now found his voice. He could be at the forefront and step back without anyone noticing it happen. His fluid bluesy sound on lead was blossoming. Nigel and Dee and had their parts nailed down so tightly the parts themselves were so well trained they could nearly do them on their own. Nigel in particular had established ‘his sound’ and he left no part of behind in the studio. His slow drumming on the ride cymbal, the big tom fills were all present and correct. All of them showed why they were the best. Incredible genre defining parts they all created in the studio were dispatched with great ease on stage. In other words, everything they did was natural. Elton was still clear of head at this stage, not always the case as we'll see later on, the piano was still the focus of his intent. However the extended jams of the early years had begun to wane. Madman Across The Water being the only real genuine one during ’73. Madman with gentle trips to summits and sudden drops off them. All The Girls Love Alice during '74 was the ‘time out’ piece. Alice in fact became a psychedelic ‘trip out’. Sound effects with dreamy visions coming from everyone on stage. The addition of the Muscle Shoals Horns on the US leg of the tour added that funk and soul to expand the rock. At the end of '74 Elton and the band were at the summit and holding it. The performances at this time were vibrant and energetic. The ‘There’ disc is positively oozing  those emotions. Putting the Lennon appearance to one side, on its own enough to fill a blog post, the performance is polish and rawness colliding off each other and ultimately coalescing. Christmas Eve at the Hammersmith Odeon being the final hurrah (temporarily) of the great band.

Elton was now giving the crowds the hits whilst at the same time not letting the moment overwhelm the music. He’d struck a taught line between the need for visuals and the desire for the music. During this period is when steady progression was achieved and where pre-empting and second guessing became a normal state of affairs. Elton and the band were at the height of their 70’s live incarnation. But the continuing journey would be halted when its momentum was reaching an unstoppable velocity. Elton had graduated from the eager artist to super artist in a few movements on the keyboard. He'd found the best band lineup ever. They were masters in the studio and on stage. They didn't just compliment Elton's music, they became it. But after the summer of 1975 it changed. But not for the good.

1975-77

Much has been said about the changes to band around this time. Whatever spin you put on it, it was not for the best. Period. You've got one of the most envied band lineups of the day and you get rid of. I can only suspect Elton may have been under the, eh, influence at the time. One of the lines put forward is the new band would be harder driven. Which implies the previous band wasn't. Without giving endless examples, I’ll give two. One in the studio and one live. Pinball Wizard was the last track they recorded with Elton in the summer of 1974. Hardly not hard I would say. Listen also to Saturday Night’s Alright from Hammersmith Odeon, 24th December 1974. One listen confirms the same assertion. If the jam on that isn’t hard enough whilst still retaining plenty of melodic fervor then I don’t know what is. The old band could rock as hard as anyone.

Roger Pope was great in the studio, but very poor live. He seemed to play the same groove either fast or slow. And for some reason never tried to reach for those great trademark parts that Nigel created on disc and could replicate on stage. I could go on for ages on how he totally and utterly left huge chunks of the songs unfulfilled. But we must move on. Passarelli on bass...well, if anyone can tell me in 50 words or less how or why he was as good as Dee Murray, I'll show you a fairy story. His bass playing was so flat and clichéd it did nothing to enhance the songs. Overall the rhythm section was one dimensional in comparison to the previous one and to the others that went after it. It wasn’t all bad though. Caleb Quaye's addition certainly brought the best out of Davey in terms of venturing into previously unchatered waters on the fret board. The weaving onstage was exciting and almost dangerous at times. Empty Sky and Grow Some Funk were terrific showcases for those aspects. They were real standout moments from these years. But the jousting could be over egged at times too. More on that later on. The addition of James Newton Howard is critical here. His addition was vital as far as I’m concerned. More so in the long term. We’ll see in the next parts later on just how important he became to Elton on stage. His use of the Mellotron and the Moog meant Buckmaster’s arrangements for instance could be realised live. The big sound he introduced worked perfectly with the big venues. His terrific electric piano harmonizing with Elton again hasn’t been fully acknowledged over the years. If you listen to it, it’s incredible.

The familiar backing vocals disappeared. The proper arrangements went out the window when the baby and bath water were hurled out the hotel bedroom window. Metaphorically speaking of course. Better Off Dead for instance in ’75 had the vocals done on the hoof. Someone Saved My Life Tonight was let down by their ineffectual delivery. As the lifetime of the band progressed the endless guitar and drum solo’s continued to take the focus away from Elton. Meal Ticket and Hercules being prime examples. On and on till evryone dropped. The off the wall idea to speed up Curtains on the outro utterly killed the point of that the  marvelous ending on disc stated. The very fact it of it fading out the way it did was the key it’s success. The culmination of what went before in terms of steady buildup that never gives way in terms of pacing. Turning it into jam destroyed the moment for quite a few minutes. Even the extended outros on Bennie and Rocket Man seemed directionless. These would be put in focus with later examples. A sharp focus in fact.

Elton’s own piano playing slowed during this time, it had none of the expressions of feelings of just a few years earlier. He was tired. In all senses of the word. I think it’s well known that at this time he was well under the ‘influence’ of the recreational indulgences of the rock and roll lifestyle. So no help from that quarter. The size of the shows in the stadiums meant it became an event rather than a performance. The first big performance at Wembley Stadium stuck to the plan but after that the whole thing went off in tangents. In fact Wembley isn’t too bad, the endless rehearsals had meant the band stuck fairly close to the album arrangements. After that they kind of fell apart. Seattle ’75 (second night) though does catch where Elton was at this stage. During Someone Saved My Life Tonight something amusing happens onstage and the songs plunges into farce and comedy. Not the sort of song when an invasion of humour is welcome. The early part of the two Seattle shows are fine but after the interval when ‘refreshments’ were served they mostly dived headlong deep into the valley of chaos. The MSG shows, whilst capturing Elton at the top of the fame tree, highlights in the same terminal velocity dive that the first and foremost tools as a live performer…his voice and piano…were merely playing to support to the circus going on around him. Elton is no fool, he must have come to the same conclusion by throwing in the towel after those shows in August ’76. There was no future in it. Back to basics, regroup and launch another offensive with your best weapons available seemed to be in order. And that’s what Elton just did.

Edinburgh, September 1976. Not sure in science if you can have another big bang after one has exploded earlier. But this isn’t science but art, so anything is possible. I think it’s not hard to put into context the importance of this first solo show. It’s everything that went before turned on it’s head. Elton reconnected with the piano and the songs. Rather than endless engaging (in fact somebody else on stage actually doing the work outs whilst Elton spectating) in repeating the same riff over and over, he re introduced the audience to his back catalogue. But more importantly, to himself. From this moment on, no matter how bad things got in the future, he never let the songs suffer on stage except for a few occasions when the drain was appearing again at the end of the 80’s. This recording is essential, it’s no surprise clips are regularly taken from it on it official releases. The piano sound is brimming and it’s one of the last occasions we here the pre Thom Bell voice in its crystalline glory live. Because it is glorious. It had to be. It was one half of the other supports he had on the night so there was no hiding place for it. Elton showed after the madness of the last 18 months or so he could still pull it out and hold it steady. All it needed was the right environment and support.

In turn this lead another incredible creative live period. The most creative of the entire decade perhaps? Because for the next few years right up till the 80’s were almost upon him, himself and Ray Cooper invented the most unique combo in rock. The concept seems slightly leftfield on paper, but in practice it was anything but. Elton doing his thing on the piano and Ray adding some amazing scenes throughout his second half appearance. Rainbow Rock from May ’77 has the most amazing piano recording of the decade. The incredible stereo spectrum showcased Ray also to full extent. FFF/Tonight is just one of many moments on the disc that are truly incredible. The overall setlist is superb, Elton on his own on the piano can strike up amazing rhythms. This show is full of them.

But before full combat could be resumed, there were to be some retreats and phoney wars. The Empire Pool show from November ’77. The retirement show has Elton at about 50% power. A bit more than going through the motions but still nothing like he was capable of. We all know the background to the show. Historically it’s important but it still sounds like a fixture fulfillment. Which it was essentially. The couple of brief shows from 1978 to promote A Single Man are far more engaging performances. Both are solo but have Elton starting again with direction of purpose. The Paris show is almost like Elton busking in the way he rattles through everything such were his high spirits. The MCA promo show is conversational. The seeds were being sown for strong roots.

1979

The roots had flourished. A Single Man In Moscow and the Back In The USSA tour shows from Boston and Washington are vital. Moscow being soundboard gets the nod over the other two but the others are still tip top shows. Elton was on top form, vocally and playing. His voice was now in its prime range pre 1987 operation. He could still achieve any high parts he desired but the added colour of the deeper attitude gave it the same broad dynamic his piano had. The great thing about Ray was he never overshadowed Elton. Everything was timed and placed like a well laid out table. Elton was now at his easel and he was going to paint. And masterworks appeared each time. Bennie and Rocket Man (as mentioned earlier) now became fully developed works of art. Both went off in lines at all angles. They kept the base of the songs as their reference points whilst discovering new pathways. Elton was ending the decade like he started it. Full of energy and hungry with desire on stage. He rocked even harder on the piano. Crazy Water being the clincher for that point. When you listen to his speed and the way he flourishes on the keyboard compared to a few years earlier it’s breathtaking. The introduction of the Yamaha and Fender Rhodes electric pianos added another dimension to the show.  

I can safely say there is not one dud show during this period. He had rediscovered his craft and had taken it to another level. By putting the focus back on the instrument and the songs it left nobody in any doubt. From that he could feed off it with renewed confidence. One of the final shows of the tour from Sydney in November ’79 is another recommended listen. Even after a near year long worldwide tour he could still summon the energy to rock out on Your Song. Would the hunger pangs creep into the 80’s?! Tune in next time to find out…

The 80's
The 90's
The 00's
The 10's

'Did He Know And Were They All Wrong?'

There's been quite a few programmes on both radio and television recently not to mention articles in the printed media about the 20th anniversary of Britpop. The young scribes of today have pinpointed the date of the beginning of that phenomena also known as 'Cool Britannia' as the release date of Blur's Parklife, 20 years ago this month. It was quite an extraordinary time. It was the return of the 'proper band' and also the last era of the 'proper band'. There hasn't been such a plethora of guitar based new bands break through in such a short space of time since then. None any good that is. There was incredible diversity in there sounds and all seemed bright on the horizon. The charts were still relevant, unlike today of course. Thursday night appearances on Top Of The Pops still had that wow factor in terms of capturing the moment forever. Live. How long it lasted is up to the same scribes that have pronounced when the starting pistol was fired. Personally, when some of the main protagonists walked up Downing Street to Number 10 in July 1997, is where it ended for me. The apparent anti establishment undertones were merely that. An apparition. Once the two coalesced at that point it was impossible to separate them ever again as a result of the optics of that sight.

But it was still good fun while it laste. The era of the rock star is no more though in 2014. How many chat show/entertainment shows do you see current acts of that vein on now. Yet TFI Friday on Channel 4 was able to have several each week...in one show. It was the last time I took any interest in the 'current' music scene. Since then it's gone down the drain. The charts are totally and utterly irrelevant now. You only have to sell about half a dozen copies and you've a number one. The endless TV talent shows have totally sucked the life and soul out of the art and turned it completely into a product. They can keep it now.

So I suppose you're wondering how is all this relevant to Elton. Very much so I would suggest. We all know Elton is a lightning rod for what's going on around him. Some good, some bad. Around this time 20 years ago he was recording the album 'Believe'. Which became Made In England later on. As an album it's in my top 10. No doubt whatsoever. Davey said on his blog recently it was probably the last great pop/rock album he made. Hard not to argue with that. What Elton has done since has been a right curates egg. Whether it be Easter or not. Bernie's lyric are as per usual dynamically descriptive and personal on the album. Elton has great variation in his styles and pacing. Up-tempo was not a stranger in those days. It was produced by someone, Greg Penny, who knew his Elton onions. And the band lineup was one of the greatest ever. And if all that wasn't enough, they even found space to add Paul Buckmaster in. All in all it's for me the first return to the organic 'Elton' sound, long before Songs From The West Coast (another favourite of mine). I'm not going to delve into it anymore at this stage, I had it on the other day and it's still hitting the spot.

Britpop was essentially a return to guitar based bands with toppings of contemporary flavours. The viewpoint was incredibly retro, the late 60's and the early 70's being a reference point that was frequently quoted. And here we have Elton at that very moment, he like everyone else not quite aware of what was actually beginning, harping back in a similar vein. Was there something flowing through the water in London at the time...if there was they may have been drinking gallons of it. Because at the time, and probably even now, it wouldn't have been cool to bracket Elton into the same category as the current younger acts. He would still be seen with some of them at various awards ceremonies but to the current generation he was old hat. But the new hat Elton was wearing...metaphorically speaking...was an old hat. He ditched the awful Roland piano in concert in 1993 and returned to a proper grand piano. He had stripped the band back to make a more tighter, cohesive sound. And he had sat down to make an album in which he added time and energy. None of this doing it in five minutes lark that doesn't work now and hope to high heavens it works. He sat down at the piano and wrote the strongest melodies to the strongest set of Bernie lyrics for a long time. He and the band weren't afraid to work things out, if it didn't work once then they tried again. But it was the whole organic feel that makes MIE what it is. Plus in no small measure to Davey's guitars, electric and acoustic along with his roots instruments being very much to the forefront. This was no computerized effort, it was lively and it was real. And incredibly contemporary.

When I first heard Believe in 1995...possibly my favourite Elton song ever...it was on the radio. On medium wave in fact, the old Virgin Radio on 1215MW. As soon as I heard it I knew instantly it was a Buckmaster arrangement. The knack was still there. It was a tremendous moment. Younger readers are probably amazed today to hear a current Elton on the radio. As I am too. Because I've never heard many current songs from Elton the radio recently. I wonder why. Anyway, the point being it sat comfortably along the rest of the stations airplay of the day. The name may have been old, but the outlook was young. Not hip as in trying to outgun the young turks, but Elton doing his own thing which wasn't a million miles away from what the current crop were trying and succeeding in doing. Not that they would care to admit at the time. Subsequently though, they would tip their cap in Elton's direction.

But the even more amazing thing is when you look at the timeline. Elton was recording the album just as this explosion was detonated. But nobody heard the actual moment of detonation. It was one of those one thing led to another type reactions. But was part of that chain. The early 90's pop had become full of synthesized rubbish, rave music it seems was about to swamp everything. Nothing seemed to be holding it at bay. But there was a yearning around that time for a more simpler and back to basics type of music. Elton had bought into the over processed sound on The One. I love The One, it's very much of its time but has dated very quickly. So MIE was required. And fulfilled its remit. The backdrop of newer acts also reclaiming the retro sound and giving it new life gave Elton a renewed position in contemporary circles. He may have got the lifetime achievement award at the BRITS in 1995 but he could still do a current song. A chart hit if you please.

Elton captured the moment, probably more by coincidence than by design, that in hindsight as we're looking back on that period now seems a more key moment than first realised. If he had recorded the album in say 1995 or 1996 he may have been accused of crashing in, not to mention cashing in, on the current vibe. But he was ahead of the posy. The album is still a powerful statement by all involved. But I think its position in regards to when it was released and moreso it's timing is incredible. Along the lines of The Beatles Anthology in late 1995. Suddenly a band that always had relevance was now defining a generation again. A project that had been in the works for years had spectacularly coincided with a renaissance in the very sound they created. The masters of old had influenced the new and at the same time created something new with an old twist. Kinda confusing on paper maybe, but in practice worked perfectly.

Britpop had seized power and was not for turning, in its own mind at least. So what did Elton do next? He released The Big Picture in September 1997. Weeks after the Number 10 soiree. See where this is going?. But it wasn't the only thing that happened that month that was to prove critical in Elton's career. No need for me to say anymore on that matter. Irrespective of the fact that NME expressed complete derision for CITW '97 as it kept The Verve's 'The Drugs Don't Work' off the number 1 slot, Britpop had reached it's peak and the view was downward at that stage. But as I keep saying here, perspective is always crucial in these matters. I'm not suggesting for one minute that Elton either created, nor rode on the coat tails or joined as a last minute straggler to the cultural phenomena. But he was there. And active. Look at the video for the title track and if that's not 'Cool Britannia' encapsulated visually then I don't know what is. Elton's return to a proper sound (ditching the Roland, backing singers from the previous tours), assembling a terrific band that included Davey returning to his roots instruments which in turn led him to being able to express himself more on disc than he had for a long while. Plus adding loads of electric guitars. The final part of the jigsaw being the addition of John Jorgenson the band in 1995 for the MIE tour which was a further ramping up of the hard edge that was missing for so long up that point.

All these things sit comfortably with the Britpop ethos. The critics may not like to admit it, but Elton was a participant. Britpop may have been a fad in some people eyes, but who can argue with how Elton dealt with it. And all the better he was for it too.

'Goodbye Yellow Brick Road (40th Anniversary Super Deluxe Edition) - Review'

First off, sorry for the delay in this latest post. I had some horrendous internet connection issues over the last while that I ran out of men with spanners to send in to fix it. Thankfully though, one of them must have got to the root of the problem and twiddled the right nut so all is now well.

Not only was this update delayed, but so was the release of this 40th anniversary release. So I'm in good company! Pushed back no doubt to due to The Diving Board having it's own delays. Was it worth it...I'll leave that for you to decide. One of my first posts here detailed a wish list for what should have been on this one off version. If you read what I wrote back then and in tandem with what was done on EJ.com in terms of interviews, etc then I wasn't far off the mark. Or the powers that be weren't either. I'm going to review the super de-luxe edition, I don't collect vinyl due to cost and space issues. The Palace is heaving enough as it is...

PACKAGING

The discs come in those digipak style cardboard sleeves. They are as near to possible in this digital age to a vinyl type cover but due to their small size they can be a bit fragile. The covers are bold in colour with strong vivid imagery of Elton from that period. The outer box is what you'd expect, the album cover in it's full glory. 

GOODBYE YELLOW BRICK ROAD (Remastered)

No need for me to review this...it's been done to death. With the same conclusion. Apart from the fact it's obviously one of Elton's finest works, it's one of rock's finest moments too. So much written at the time, since then and recently about it. When you consider the turn around in time in terms of writing it and then putting it onto tape it's mind boggling. With no discernible deviation in quality on both counts. Elton and Bernie were sucking diesel as they say, the corridor between the two rooms must have been like a strip under a drag race. Smokin'! 

But not only that, the band and of course Gus gave the music the full range of their talents. I've said this elsewhere, sonically GYBR is unlike any other album of 1973. Pick any of the top sellers of that era and compare the 'sound' of them and there's no comparison. Nigel's drums have an incredible huge sound that retains tightness and precision. Dee's bass is mixed so tactifully all of it's amazing melodic elements are to the fore. Davey, well what can we say, the master of layers. His harmonizing of instruments have a wonderful opposing effect when you listen to the way they play off the various accents he adds. As per usual he balances the acoustic and electric elements like the scales of justice. Del Newman's arrangements have a terrifically widescreen delivery. David Hentschel on the ARP synth gives in that contemporary sound that stands the test. The way Gus recorded the entire effort is again way ahead of the competition. It was trendsetting and ground breaking. Again contrary to recent belief, the piano is clear and audible. And up front. He spared nothing in terms of adding something to the album if it needed it. No shackles of restraint for creativity.

As regards the latest remastering, I can't detect any change from the original from normal listening. I've played both it and the Gus remaster several times and they both sound great. I'm sure the tech people will have some more info on that, but that's a bit out of my area of expertise. If anyone has more details on the remastering, please add it to the comments section under this post.

So much more to say about this album but time is precious so I gotta move on to the rest of the package. One final thing I will say, the impact of this album in 2014 can't be underestimated. If you want a barometer for that fact, look at the setlists for the recent tour. That says it all.

ELTON JOHN SAYS GOODBYE NORMA JEAN AND OTHER THINGS

The original film by Bryan Forbes was one of the most traded DVD's in the unofficial market over the last 15 years or so. It's been on YouTube for a while too so it's doubtful if nobody has seen all of it or at least some clips from it. The Classic Albums episode of GYBR from 2001 used extensive footage from it. It mixed Elton from the era in all the arena's that showcase his talents. At the piano composing, in the studio recording and on stage performing. Interwoven with interviews from himself and those around him who helped keep the juggernaut rolling. However, all is not well with this DVD.

The picture hasn't been cleaned up, it still has the dirt marks of the broadcast version. But more alarming is the removal of interview segments with certain individuals, the disappearance of footage where another person is featured prominently has also been deleted. We can speculate as to why the John Reid, Maxine Taupin, Elton's mum and the Dick James' parts have been removed. I'm sure those reading this can draw their own conclusions. But I will say this, The Beatles Anthology featured references to Allan Klein. The Eagles History documentary recently featured Don Felder. So to omit these parts from the DVD release doesn't do the documentary any service. It's an amazing insight of Elton at the time, it's not about what has since transpired. It's still great to have it 'officially', but we need all of it.

GOODBYE YELLOW BRICK ROAD (Revisited And Beyond)

Anyone reading this may remember the 35th anniversary tribute show Broadway did for the album in 2008. Not to dwell too much on it, it is the worst tribute by any group of alleged artists ever to try an Elton creation. It was lazy, amateurish, embarrassing and ultimately downright offensive. How on earth such a concept ever left the depths of someones awful imagination is beyond comprehension. Nothing that has gone before or since can match it for crimes against Elton's music. If there was a courtroom in The Hague for such matters, all they would be doing is deciding the length of sentence.

The initial idea of the covers disc gave me flashbacks of hearing a similar massacre unfold. But I had to step back and see what transpired from spinning the disc. Some surprised...some didn't. I'm not familiar with the vast majority of the artists featured. Most are today's hip young things, I'm afraid this blog isn't the place to keep up with such happenings. Might be a good thing, might not be. They avoided established acts in order for Elton to indulge in his passion from promoting new talent. So with that guilt trip hanging over us, how could we disagree. But disagree I do. 

Candle In The Wind/Ed Sheeran - An inoffensive sort of effort, the faux country style doesn't really add anything, nor does the tempo increase. Bland in the extreme.

Bennie And The Jets/Miguel - This is as bad as the aforementioned 2008 tribute. I'm not into rap or any style of music like that, the song is totally and utterly destroyed. If they tried to make it any more of a disaster that it is, then dousing it in petrol might have helped. Avoid...like the plague.

Goodbye Yellow Brick Road/Hunter Hayes - Again, an unremarkable effort. Don't know what else to say.

Grey Seal/The Band Perry - Finally, something on this disc that deserves some attention. None of this overproduced, trying to be clever type of reworking. It's a terrific blend of country and rock...country rock I believe it used to be called...mixed with Americana to give an edge that Americana always lacks. Banjo's, Dobro's and electric guitars in abundance. They even do a nice nod to Nigel on the drum fills at the end of the final chorus. The lead singer, Kimberly Perry, has a terrific gutsy voice. All round, it's great treatment of the song. Full of lively energy.

Sweet Painted Lady/John Grant - I'm really struggling with some of these songs, this is another dull reworking. Nothing more to say. 

All The Girls Love Alice/Emeli Sande - A few years ago I was stuck on hold to a call centre for a while...quite a while...and this girl sang the same song over and over. You know the one I'm talking about. A big hit I believe. So I kind of got my life's dose of her by then...next to me, I thought she'd become a part of me. So starting from rock bottom, this could only go one way. Or could it? No it couldn't...Ellie Goulding a few years ago thought it was alright to re-arrange the verses on Your Song. That method is again deployed here. So the 'run' of the song has been disrupted. In other words, my ears were sent in the wrong direction. A confusing feeling that was uncalled for. The song takes a more sinister tone too. The arrangement is darkly and foreboding. Which in turn removes the glorious contrast between the verses and the chorus. Uptempo and then the sudden slow down to more contemplative moments. One of the key (among many) elements of the original. This a total failure. In trying to be clever...too clever..they've fallen over themselves in trying establish moods and feelings that have nothing to do with this song (or some of the others).

Your Sister Can't Twist (But She Can Rock And Roll)/Imelda May - The best song on the covers disc. End of. Anyone not familiar with Imelda's style, think Brian Setzer in a tight dress with a quiff. Notwithstanding the fact that she's from inside the Pale of Dublin like myself, her style is tailor made for the song. She gauges it perfectly. The 50's vibe is well and truly realised, her vocal has plenty of attitude and the band rock out with equal tenacity. They didn't release a single from this collection, but if they did this surely would have been a great contender. Terrific stuff. If she does live it would bring the house down.

Saturday Night's Alright For Fighting/Fall Out Boy - As great as the previous song is, this is as dumb as you can get. And I mean dumb. It's juvenile delinquency on disc. Unbelievable. It's like a load of kids (no offense kids, in your garage playing) got together and decided to give it a lash. Whatever talent they lack is highlighted in spades here, the number of changes Davey did on the original has caught out many masters in the past, but these guys are well and truly caught in the headlights. Like Jack Rabbit and his mates...it's moronic. 

Harmony/Zac Brown Band - Nothing much to hear here...

To sum up, the covers disc only has two songs on it worth bothering about. The rest are either so unremarkable you'd forget them...as I have...or so bad they stick in your mind and you can't forget them. Which some have done, unfortunately. If they had released this album as a standalone piece, it would have been lost forever. Apart from the 2 songs on it I like, that might not have been a bad thing. If some of these versions are meant to be a gateway to Elton's music, then the gate might be swinging back the other way as they retreat with haste.

LIVE AT THE HAMMERSMITH ODEON LONDON DECEMBER 1973

The was some debate beforehand about whether this show or the Hollywood Bowl show should have been included. But his has more GYBR than the other one, so they added this in by default you could say. The bootleg of it has been around for years, the original BBC Radio broadcast has been rebroadcast in recent years in the US so a very good version already existed. The remastered version from last year is excellent. Is this an improvement? Clear away the smoke and we'll see...

First off, the stereo spectrum is now the right way around.The remaining tape hiss has been cleared away so Elton's minor vocal parts are now more audible. Apart from that, not much else done to it. The sound is brighter and vibrant in fairness. The recent remastered bootleg is very close to this version. This is isn't a Wembley '75 style upgrade, from ark to space shuttle in comparative terms. Royal Festival Hall '72 and Wembley '75 are far better recordings. Not to mention Here And There. The piano is too low key here. Because the concert was broadcast on BBC Radio 1, I suspect they recorded it and that's why it's not as good as the recordings that Elton's people made on those other ones I mentioned.

In saying all that, it's still a terrific show. Elton may have a cold, but his voice still shines through. The airiness of that era's vocal style just a bit more cloudy than usual. The band are on fire, they were really getting into the groove by this stage. As a precursor to the 1974 shows, which had them at the height of Elton's band shows during the 70's, it is another on their long journey together. The raw nakedness of the tracks stripped of the orchestral, synth and other embellishments on disc is a terrific contrast to the recorded piece. But still doesn't leave any holes or spaces. They are expertly filled by everyone stage to give an overflowing performance. If only they had camera's tucked away in the corner..

BOOK

One complaint about the book. It's too small!! In saying that, due to size constraints it was never going to be any bigger. Good things come in small packages it's been said sometimes. And this is good. There are some great cut away pictures of the costumes of the era with a corresponding picture of Elton wearing said costume onstage. More of this stuff please. Elton's costumes in the 70's and 80's were an essential part of his stage persona. It would be great to have a greater visual document of them all. His glasses are also detailed, various vinyl covers from international markets are highlighted along with other memorabilia. It's a nice little package with everything nicely presented.

Overall, the super de-luxe package is value for money. The covers disc though is really a passenger. The supplementing of that disc with some odd choices (Philadelphia Freedom) does feel like filler. The DVD for those new to it will be a treat, pity it's not all there. The live show for those who aren't into bootlegs will be a welcome addition. Folks like me who had all those elements before, irrespective of quality, will have had no surprises. Oh well, I suppose I'll have to wait to Step Into Christmas for that experience...

'Silent Movies, Talking Pictures'

To paraphrase one of the most famous tag lines in movie history...is it a concert or is it a film...the answer would still be the same. Superman...thankfully Elton kept his underwear right side in and his super powers right side out. Whilst wearing a cape. What did this unique experience have to offer...lets dim the lights and get comfy.

The idea of the concert film is nothing new...as far back as the late 60's, Monterrey Pop, Woodstock and probably the greatest of them all Let It Be(1970) established the genre. Elton himself got in on the act with To Russia With Elton in 1979. Whereas they all mixed offstage footage and interviews with the stage element, the idea of a full concert film is a relatively recent idea. For Elton's first venture into this territory there was only really one show that could fit the task. 

I'm sure everyone reading this knows the background to the Million Dollar Piano show. Without going over the why's and where's, I'm merely going to do a review of the actual film. Which on paper (and ultimately in practice) sets out to showcase Elton's music. The Good, the Better and the Greatest. There's no song in the set list that is alien to any Elton fan. Not even the casual fan would go home with their monies worth not realised. Because when they hear the non-hits they've been sucked into a world that up to that point they weren't aware of. You can be certain they left the venue yearning for more.

The film opens with one of the most well known cinematic pieces. Also sprach Zarathustra, Op. 30...or more commonly known as being from 2001:A Space Odyssey...or known commonly as Elvis's intro to his own Vegas soiree in the 70's...is perfectly timed and makes as grand a statement as Elton does in his cape as he sweeps into shot. The Bitch Is Back is bombastic in nature and delivery. As is the song. The tone is set. Levon is a terrific highlight of the opening act. Ray Cooper appears...as if he was walking by and spotted his rig set up...and switches back and forth from cymbal, tambourine and conga's. The various soundscapes he brings to the version he plays with Elton are all present and correct. Adding that heightened tension as we (the diehards) wait for what's coming. The gear change on the outro as Elton lead a good old chase through every key on the piano is no surprise (except to the casuals). When Elton stands up he's like a leading man, goading himself as much as the crowd...he can out maneuver everyone that dares try to catch him. The band are closely keeping him boxed in...he reaches the Vanishing Point as quick as he set out from it. A Getaway as cool as Steve McQueen. Somebody said music is always coming from somewhere and going to somewhere. Got that right...

Elton then gets all technical on us...washer/dryer with unlimited spin!! The price tag of the piano is a million big ones, but in truth it still sounds the same as his regular Yamaha. That sound is priceless...the cool lighting and effects coupled with it's shape and design is where the money has been sunk. As deep as an aquarium I'd imagine...

The version of Mona Lisa's And Mad Hatters that developed from the show and went on tour is one of the all time greats. Davey's mandolin, the Mandolisa it's called and designed by friend of this blog Traci at Imagine Loving Art...when it could be heard (more on that later) is beautifully uplifting that works perfectly against the The 2Cello's plaintive, melancholic sound. The harmonies of the girls are measured superbly. A solo Your Song with Elton explaining how it came about might sound borderline repetitive (to the diehards) but he still makes it sound (especially for the casuals) an essential part of the show.  

All of which leads us to the middle act. Where the real scene stealers happen. The band (and their gear) retreat to the shadows in a holding pattern to allow Elton and Ray renew combat. Both against other and with each other. A right pair of Gladiators! The brief snapshot of them both in the middle of the show is more than a cameo. Better Off Dead is full of percussive force. In the shadows the wonderful harmonies on the middle eight creep through to add that uniqueness to the version. Indian Sunset...I'm not sure you can say much more about it at this stage. But let's try...Elton's vocal on it's own at the start has the crowds attentions and emotions grasped with it's strength and gusto. If you watch him when he's playing the solo parts, the look of concentration on Elton's face is incredible. He's not coasting through it, he's putting his full back and more into it. Hence the result, an expansive fast moving passage that's sharp and diverse. Ray's accompaniment is often brutal at times, sad with flashes of joy but never dull. He's got Bernie's lyrics perfectly showcased. This (too) brief two hander...well four actually...rightly deserves all the praise lavished on it. To hear and see one of the most unique type of twosomes ever to come out or rock and roll is a privilege. The pleasure is both the performers and audiences.

The final act see's all the players take centre stage, individually and collectively. Blue Eyes, which is no longer performed on the current run, is an Elizabeth Taylor tribute. The band version is a rare sight so it was great to hear it. Exquisite brush work from John Mahon gave it an easy go-long rhythm. The 2Cello's and Kim intertwined immaculately to bring James Newton Howard's brilliant orchestral arrangement back to life. Don't Let The Sun Go Down On Me was another pivotal movement. The big numbers are all Elton's, he certainly didn't fluff any lines. It was huge and it shuddered. Like Titanic being launched. The rock out part as per usual left no room for breath catching. It was one climatic scene after another. But not the climax...

...so what better way to bring down the curtain on a movie than with a movie song. Movie in terms of where it can from and moving in terms it's delivery. Circle Of Life with it's elongated intro on it's own would possibly be statue awarding. To hear Nigel, John and Ray adding their own each unique percussive beat simultaneously was incredible. It was thunderous, the repeating of it over and over built the tension up steadily that at no point did you expect to burst. The rhythm was relentless. The backing singers chanting and bubbling under this current of celebratory beating of hearts and minds merely focused the moment with even tighter intensity. Until that is Elton returned and his ''uh-oh's'' heralded his final scene. Bit this merely wasn't a reenactment of something on disc. This version took it to another place. A greater place. All boxes ticked were ticked, the driving chorus with the hammering riff from Davey. The final verse even had that trademark guitar lick from him that the original has. The final chorus was like the ride off into the sunset. Tremendous harmonies lifted the emotions up and held them tightly. In any other instance that would have been enough for any mortal. But what gave it life everlasting is when Ray Cooper chimed in on the tubular bells. That simple addition in films was always used to herald a heavenly theme...and there we were. Up above and looking down. The hero's had saved the day again. Easily the best version ever of the song.

The film clips that were used, whilst not visible at all times, were in better keeping with the songs than The Red Piano film clips were. Tiny Dancer's was a simple affair that was filmed in such a manner that seemed 3D. The Goodbye Yellow Brick Road clip is one of the best, again simply done but says so much. As I mentioned above, Circle Of Life is a terrific show closer. If the ears are bent into shape by it then the eyes will certainly have their lashes waxed. From the heat of the African skies that light up and swathe all over the stage and the personnel like fire. Not just any old fire, but a Towering Inferno that the heat from nearly moves from imaginary to real. I did get a bit hot in the cinema near the end...who knew!!

Overall it was a tremendous showcase of Elton the live performer. It's not the same as being there in Las Vegas or seeing Elton live anywhere for that matter. That's a special moment, celluloid and now digital can't recreate that. But what they have done is shown a concert that is all things to all people. His music, Bernie's words, Gary Osborne's words, Tim Rice's words are all introduced to the newer fan and renewed for us. The band were without fault...they always are...the 2Cello's added support at the right times. They took their cues well. The singers were polished as per usual, they picked all their moments carefully. 

The picture quality was excellent, sharp and clear. The colours of the staging and lighting were delicately captured. The picture mix however at time bordered on comedy. Facial and head hair seem to grow,  be cut and grow back again with amazing regularity during the space of one song. They obviously went for optimum over all performance for a song by splicing multiple performances together, but they could have done a bit better with that aspect of it. I suspect Robert Webb to have a whole episode of his Movie Mistakes programme on BBC3 put aside for it. The good aspects of the picture mix were the infrequent (thankfully) snaps of the audience. I know what people look like...though during Saturday Night's Alright it did catch some great shots of a charming young lady and her charms on stage. Elton certainly caught an eyeful...lucky man!! The view from above was a clever device, hopefully in the DVD releases multi angle viewing might be an option.

Now to the sound quality. Something that can make or break a music presentation. Overall the sound was clear but wasn't without it's faults, unfortunately. The mix in a lot, though not all places, was wrong. Very wrong. Elton's sound people are the best. I've never had any complaints with the shows I've been to, whether they be in a tent, an indoor arena, an outdoor stadium or the garden of a stately home. When soundboard recordings in their purest form surface they are perfectly balanced. If you want a recent excellent example, the WALMART show is a prime one. Maybe I was expecting too much, but I've never seen any of these music presentations in the cinema before. So I wasn't quite sure what to expect. I'd have thought they'd have made more use of the surround aspect of the cinema sound system for example. Elton's piano and vocal was up front, music to some people's ears but I got issues with that. Somebody somewhere has taken a decision to go against best practice, in other words Elton's own sound engineers, and distorted the overall delivery. For example on Mona Lisa's and Mad Hatters the mandolin and the cellos were too quiet. It's not as if they were drowning out Elton in the first place. Kim's keyboard and Davey's guitars again seemed washed out on occasions. Not too often thankfully, hopefully it'll be rectified for the DVD release. The percussion too at times wasn't as up front as it would be in real life. With Ray Cooper doing his thing, not a good idea. The bass too wasn't as punchy as you'd hear at a real concert, which was a great shame. It didn't have that in 'your gut feel' that runs through your body. Bob Birch, who I'll speak more of later, was a master of his 5 string and those lines deserved their usual prominent place. I suspect this music concert in the cinema lark is in it's infancy and they'll get the sound thing resolved. But at the moment I don't think it's matching the visual delivery by any stretch of the imagination. Overall it didn't detract fom the show...my keen ear does get a bit touchy if things just ain't right!!

The omission of Hey Ahab was a bit odd. It works great live, the weaving of Davey and the 2Cellos on the outro is the ultimate payoff. Plus Lisa Stone owning it too. If they'd have left out I Guess That's Why...I doubt there'd be too many furrowed brows. But the balance of the setlist was still weighted perfectly.

The show is dedicated to Mark Fisher and of course Bob Birch. Mark designed the stage and brought a touch of class to it. Quite a bit in fact. It wasn't tacky or plasticy, it brought the cavernous stage into a more humble and intimate looking setting. Bob in the film did what he always did best. He played and sang his parts with with the freshness as if he were playing them for the first time but with the benefit of 20 years doing it under his belt. It was by good grace, God's grace maybe, that he's been captured for evermore. Bob was taken from us but those performances can never be taken. The film had immortalised them.

The cinema had somewhere between 50 and a 100 maybe. It was hard to judge in the dark...they say you meet a better class of person in the dark sometimes so I guess they were all great!! Thankfully there were no loud singers that were under some illusion that we'd come along to hear their untuned warbling. I'd have watched that on The Voice at home if I had such a masochistic tendency. Singing at a concert is a given, but we were at a film. Not quite the same thing, though we did find a La La La in us...the whole purpose of the event was to see and hear Elton doing something unique (the MDP show) in a unique environment (the cinema). 

Overall I thoroughly enjoyed the whole event. They picked a great show to show as visually is immense and aurally it's epic. Unfortunately they only did one viewing, but at least I caught the 'moment'... the last time I was at the cinema a man played piano at it and we read the words. This time one man did both...hopefully we won't have to wait another minute to see and hear something just as good. Or groundbreaking.

'Million Dollar Piano - DVD Review'

'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