'Fucking Brilliant'

Without beating about the bush...as it were...John Jorgenson's guitar work is fucking brilliant. And of course I agree with Elton on that. I had the distinct pleasure of meeting John twice and seeing him play live on his own and he's something else. Luckily I also got to see him play live with Elton, a treat a very few lucky punters got earlier this year when he filled in for Davey. The guy is class and quality, he's a firm favourite of this blog.

I want to highlight one of his best contributions on the Peachtree Road sessions, the b-side So Sad The Renegade. Peachtree is one of my all time favourite Elton albums, if you want to hear American music in all it's rawest forms on disc as interpreted by Elton and the band, then this a must have. And when I say get it, I mean get all the tracks. Out takes and everything. Because the entire 80 minutes it takes to play the entire batch of songs is a rich collection of rusticness and edginess mixed with some smooth cuts. Elton's vocals on the album is sometimes critiqued over the years, but it's my view that in fact the rusticness I just mentioned earlier is enhanced by his voice having that bit of wear and tear. Much like the landscape the lyrics on the songs portray. On this cut, it's pure rawness. One of the most stripped down songs that doesn't lose any effect or appeal by adding tasteful layers. The most important being JJ on pedal steel. The line he puts down isn't a cliched one, he strikes the perfect feel and tone. Right from the intro, it's interplay with Davey's acoustic guitars is stylish and classy. In some way's it's hard to describe, it's unqiue on an Elton album for sure. The big drums are panoramic and loud. Mirroring the American dream.  The undercurrent of electric and acoustic guitar again hammers that sentiment home. Guy Babylon's strings are equally unobtrusive, they hang in the background enhancing the chorus sublimely. Elton's harmony vocals are a great ploy, not quite gruff but that rustic vibe comes through. 

But the key is JJ's pedal steel. Throughout the song it's the focal point. You take that away and you lose the hook, the key into the song. By introducing it straight from the off, the song is hinged on it. It's exceptional playing, melancholic and uplifting almost simultaneously. Fucking great indeed...

Unfortunately the great mandarins on Youtube have failed to upload a clip if this song. I'm sure you all have it though...

'Tonight, Tonight, Tonight'

On this blog I like to look at some rare live versions of songs, one-off hybrids if you wish. For this particular one I started with the first one I chose, but when I got thinking about it and started mapping out my thoughts I began to get visions in my mind of a couple of other favourite versions of mine of this song. So I stretched this post out to include another two...there are more of course...but I just wanted to try and link the three together.

James Newton Howard is a genius +1. To this day...and I mean only a couple of weeks ago...when he conducted a string section of student at the USC in Los Angeles backing Elton and the band, he is still the concert conductor of choice for Elton. His appearance at the Yamaha 125th show in January as described earlier on this blog is another testament to his abilities. The questions is, why is he the most suitable baton waver for Elton's music? The answer is simple. He learned his trade on the field so to speak...playing in the studio with Elton and of course touring with his band. By doing so he came in contact with a lot of Elton catalogue from the golden years, he 'got' the Buckmaster arrangements, Live In Australia documents that no end. So having that feel for the music from the band perspective he was in the unique and therefore ideal position to bring to life onstage those arrangements as orchestra conductor. Both Buckmaster's and his own. Tonight being one of his greatest.

The first example is from the retirement concert, Empire Pool November 1977. Wherever Elton's mind was at the time...most likely flitting in and out off the stage...he still delivered a strong performance. None more so here. His measured playing balanced without excessive urgency. His voice, high parts still intact and attained had now got the subtle hints, though not as strong as any of the few 1978 performances and certainly not near the 1979 edition of it, of his recent Seattle trip. Elton was changing. In appearance and sound. The Steinway sounding every much the concert grand...but in the background James appears on electric piano. Because the sound quality is so poor from the audio, it's impossible almost to recognise what type. I suspect it's a Fender Rhodes, the watery, fluid sound of it flowing over Elton's big sound seems right. The two of them over a year earlier in combination with the LSO had put to disc one of the landmark musical statements by both parties. Along with Bernie's plea. But now here are four hands, dishing out the sound of a hundred or so players. The strength of the song not lost in any transcription. The long drawn out outro with every emotion wrung from the moment. Some emotion onstage indeed.

Skip forward a decade or so to same place, different name. Wembley Arena 14th December 1985. This time we hear an energetic Elton. A new band on tour...one of the greatest EJ bands of all time I would say...some of whom giving a new twist to the song. His vibrant playing right from the off, determined and urgent. The MIDI hookup adding some versatile colour, Fred Mandel's synth whilst not recreating every element of the orchestral arrangement still reaches for the vital parts. When Ray Cooper chimes in...quite literally...the razor sharp chills of each strikes he makes fills the space left by Elton's sudden piano stop. Elton's vocal at this stage not showing (much) effects of troubles to come again emotes passion in abundance. But the key moment for me on this version of the song...one of the great inventive parts onstage parts ever dreamed up...is when Davey majestically appears. The fluid guitar line, it's weeping melody carefully and delicately tracking Elton is incredible. Both in terms of concept and delivery. How do we replicate the LSO onstage? Get Davey to put a line down and hey presto we've invented a whole new avenue of pleasure to travel down. FANTASTIC!! Elton's departure is just as fierce as his arrival, his chunky chords and Davey's shimmering fade out on the guitar segueing into a another mood shift. But there we leave this venue and skip forward 12,000 miles and exactly one year.

Sydney Entertainment Centre, 14th December 1986. One of the, if not THE tours with the most force. Of mind, body and soul. Anyone familiar with this tour...and I know plenty who are like me and they know who they are think this tour the is the bizz...will know what's it about. If you don't, check out the first Elton album I ever bought, Live In Australia. Plenty on that to keep you entertained. 

And here we are full circle, the arranger and conductor of the original score is now back in the fold. The Melbourne Symphony Orchestra primed and ready to be waved into battle with Elton. And what a battle it is for Elton...but he perseveres. His vocal, much maligned in some quarters on this tour, not here on this blog though, is a tour de force of passion and honesty which can't be faulted. His playing is back to a more balanced approach, less frenetic than a year earlier. The orchestra in support dictates his training is brought into play. James's original score now fleshed out with timpani, giving those dramatic swirls and crescendos. The romantic feel of his arrangement in tandem with the doomy gloomy lyrics are another of the classic EJ/BT ironic comments. The section after Ray chimes in again has the steady buildup of woodwinds, the strings with the low bass notes gradually build up and a wave of sound heralds Elton's vocal in. 

Out of adversity, triumph. Elton's full expressive playing, the glorious metallic sound of the Steinway vibrating through every ear until the orchestra whisperingly sweeps back in, each instrument wonderfully arranged to make full use if it's abilities and brilliantly recorded by Gus Dudgeon. Ray's cymbals begin the buildup to the huge ending, which is neither overblown nor overdue. The French horn's announcing Elton's final plea of Bernie's plight. The outro is calm restored, the strings and piano fading out as one...decaying naturally. Like the ending love story in the lyric...

'For The World To See'

How many people here reading this have seen Friends? If you have, then you'll know it's a load of cobblers. If not, well, you know now that it is. The things is, do you need to see the film for the soundtrack album to work. Eh, no. In fact not seeing it makes it work even better. I've only seen the film once, a few years ago thank God. I shan't be watching again. However the soundtrack album in one that I regular spin as it's one of the greatest undervalued Elton albums in the catalogue.

Simply put, I love this album. The mix of innocence, both in lyrics and melodies is offset by the edginess of the production by Gus and those who play on it. Neither is dominant nor tries to outshine the other. Much credit has to be given to Paul Buckmaster for his work. The guy is a genius, a favourite of this blog. I don't think, nay I'm certain, he hasn't done one wrong move in his work with Elton. Everything he touched was magic. And his magic is all over this one. The title song is one of the greatest EJ/BT songs ever. Pure simplicity, songwriting at it's finest. You can be damn sure this one was of no effort to write. The opening chords progress naturally and effortlessly. The wonderful arrangement is like the wide open fields we often see in the film. Lush and full. The bass played by Alan Weighill with the plectrum gives that slight edge to scare away any sappiness. Michelle's Song's is hypnotic in it's feel, just like looking at water with the ripples spreading out from the cast pebble. Lyric, melody...all as one. One of Buckmaster's devices, the harp and acoustic guitar in tandem are in evidence here. The perfect lilt to strum along. 

Like I said earlier, it's the mixing up of mood that's key to the albums appeal. The transitions are superb. The wonderful variations Buckmaster does, the reworking of Elton's main themes to flesh out the soundtrack are stunning. If anyone...those who like walls with the padded feel...was in doubt to Elton's mastery of composing just listen to what they sound like played by an orchestra. Any gaps would be exposed in an instant in this medium. Buckmaster's use of the woodwinds, an often overlooked part of his repertoire, on the variations and reprise's are pure gold. Mixed with his overall arrangements, they are neither flashy or gung-ho. One of the most dramatic transitions on any Elton must be when we are almost lullabyed to a dream with the Variation On Michelle's Song to be suddenly snapped out of it with Caleb Quaye's effects laden Fender. It moves across the spectrum, with the many overdubs with unique accents. The lead line has a distinctive twang, the perfect break in the run of orchestral overtures. Nigel and Dee are simply superb on this...show me a moment where they weren't...probably the nearest we've ever had to their live 70-71 3-piece excitement with Elton cut in the studio. Raw, uncompromising and in your face. With Caleb's guitar wrapped around Elton piano so expertly, the result is fireworks with a box of matches let off under it. Not that anyone knew it then, but we even hear the rhythm riff off Bite Your Lip as it frequently appears during the outro. Wasn't that clever! Nigel's drumming is the perfect counterpoint to Barry Morgan's on the other two songs to require such a instrument. Morgan's playing is measured, precise and full. As the music requires it to be. Honey Roll may come across as a song written to order...which essentially it was...but there's no run of the mill stuff here. A funky piano line from Elton with funky vocals from those effervescent trio of Bell, Duncan and Strike. 

Buckmasters major piece, the 4 Moods sees him at varying stages being moody in his approach. The baroque influence, the harpsichord with it's regal overtones, all make major statements. The waves of the strings, soft one minute then aggressive the next with intermediate moments of sedateness. These quieter moments again incorporate cameo appearances from Elton's main melodies, Buckmaster's clever use of intertwining them with his own compositions shows that both Royal Academy men had been instilled with a common DNA. A triumph for all concerned.The spoken word segment...when it appears...sounds like another radio station has cut in. Obviously taken from the film, it was only when I saw it I got the context of it. So maybe you need to see the film after all!! 

'Live From Bestival 3CD Set - A Review'

ELTON JOHN LIVE FROM BESTIVAL 2013  ***** (5 stars)

A very nice way to start the week when this popped through the mail. Concert Live who recorded the European tour shows in the second half of 2009 have returned and captured Elton's headline set on the Sunday night on the Bestival main stage, Isle Of Wight. The package is a 3 CD set with printed discs and fits into a neat cardboard 'digipak'. Featuring 1930's style art deco designs, the packaging is flashy and bright. Much like the sound on the disc, the sound has a shine on it that is clear and sharp. Mixed well, the vocal crowd...and how vocal they are...are blended with the stage sound with perfect balance.

The show opens with the 2Cellos doing there 'thing', the crowd chorally accompanying them on Smells Like Teen Spirit. Then they cut straight into Highway To Hell with John Mahon sliding in and adding a pounding backbeat. Just before the close of the number to signal their sets end, Davey Johnstone emits a bolt of electric lightening to rock it out...and then rock into The Bitch is Back. No nonsense intro, take the crowd by the scruff and shake them to their vitals. Playing to a festival crowd is a challenge for any artist, spotted on the field are here tonight, gone later tonight type clientele. But if you get it right you got them for life. Did Elton get any lifers after this one? You're damn sure he did and none will want parole either.

The setlist was up tempo, attitudinal with no hint of over confidence. Grey Seal, the first of many non-hits that didn't have anyone spending a penny, mixed funky with spunky to give a hunky groove. The break on the outro featured a deep holding bassline from Matt Bissonnette, who is really putting his stamp on several of the songs. Not only staying true to the original parts, he's throwing in shapes and colours into the improv areas that are a great addition to the sound. On Philadelphia Freedom he has a very expressive touch and a nice tone on a song that requires such an input. Brilliant.

Interspersed with the album cuts are the hits. If you don't do hit's, there's no 'hit' for the crowd. So when Elton lashes them in the crowd go bombastic in their singalongs. Goodbye Yellow Brick Road showing why it's one of the most popular singles of the last 40 years. Even if you don't know it, you know it. Hey Ahab after 3 years in the setlist is still holding steady, but as per any song with Elton and the band, they always keeps developing during it's lifetime in concert. Davey throws in some new licks...where does he keep getting all these new parts to play with...one of the best riff's of the last few years fully developed to full growth, the jam on the outro with the 2Cello's and the percussion thumping is hardcore heaven. When Funeral For A Friend/Love Lies Bleeding starts up, you can feel the tremble in the crowd. Those who are virgins having such a thing thrust at them are at once apprehensive and giddy with excitement as the magnus opus unfolds before their ears. By songs end tremble has given way to all out uncontrollable vibration as the Elton and the band rock the Isle for many a mile. 

I'm Still Standing before it's even a few seconds old already has Elton 'yeahing'...why is he in agreement with himself? Because he now knows he's in one of those 'moments'. Of which there's been plenty of in 2013. I should know, I saw one of those 'moments' earlier this year. Pulling a big one out of the bag, he nails every line of it with tremendous vocal and finger jabs. The crowd are delighted to take such hits, the expected ones and unforeseen ones. But something unforeseen, a hit with a great knockout win rate, suddenly lands a punch out of the blue that has the listener...me...reaching for the rewind button. As the outro drew to a close after Davey's blazing hot solo, Elton stopped the jam and bayed the crowd like the Gladiator he is...and the crowd like lions roared back at him 'SATURDAY!!' Rock and roll ain't dead yet...thank God the music is still alive!!! One of those simple inputs but nonetheless a spellbinding adrenaline inducing capture. 

But as unexpected as simple a turn on a familiar song was, an unfamiliar song was expected as the new album was to be promoted. Home Again with it's stripped down band arrangement...no brass, no choir...just the band and singers uniting as one to allow Elton the space and time to ready the crowd for departure. The cleaner arrangement allowed the beautiful piano solo on stage centre to flourish and bloom. But the crowd must depart and they took their cue form the opening notes of Your Song...'you can play it Elton and we're gonna sing it'. And sung it hard they did, when I listened to it I focused on the crowd as if they were the lead and Elton was merely the backing. A role he gladly took up with gusto as he brought proceedings to a mutually satisfactory end.

Elton bowled the crowd over. The performance was mythbusting, stereotype smashing and cliche crushing. He displayed supreme confidence to play to a 'non-Elton' crowd and with that strength of purpose to throw in so many album cuts and a new song. And every single one went down a storm. Mixed in to that already heady cocktail of Tales Of The Unexpected were the surprises and variation twists that can leave possibly even Elton surprised at how he can keep doing it. This Concert Live CD is a must have, it's an excursion through Elton at his playful, determined and energetic best. No MOR here, just R n' R...for life.

'The Diving Board - A Final Word'

Well done to Elton on getting  to #3 on the UK album charts and to #14 on the same chart here. This update is to coincide with the album being released in the US...all 5,673 versions of it. The reviews over there range from wildfire to wildly off the mark. Somebody needs to put sense back into consensus. This update is the final word on the album, an overview if you wish. Where we are now compared to where we were. One footnote before I make my remarks, this is to remind people who keep reminding me as if I have an information deficit. I know the why's, where's, who's, what's and when's of the album. Quoting me back the press release is not news to me, thanks all the same.

First off Elton's vocals and piano are excellent. As if they wouldn't be. Like I said on my original review, the album started good but in the middle started to sag and by the end had collapsed into a MOR nightmare. Voyeur has sort of improved for me but still lacks the finished article aspect. I wonder why. For me the better songs on it have stayed strong. The re-invention of the wheel was cited for this project. To me, round has always worked. But it seems not very desirable in 2013. I would have thought that when the band got hold of the songs they would have improved them. In the case of Home Again, Mexican Vacation and Oscar Wilde Gets Out this is proved to be true. However Can't Stay Alone Tonight is still bland, a poor DNA relative of Turn The Lights Out When You Leave. Which begs the question if the band had played on it would the album have been better. Moot point now, I think.

I still give the album 3 stars, only because of the strength of the better songs and for Elton's piano and vocal. But those great elements are let down by the poor songs, some of which are too awful for words at this stage. Dull, uninspired songwriting with some boring melodies. With elements of previous more successful adventures. Most unlike Elton I have to say, there's always one or two passengers on an album but I think a lot of stowaways hid on Board...and didn't Dive off. And in doing so threw some legitimate passengers over board. Candlelit Bedroom and 5th Avenue should have been on the album. See my post below on those songs for further details. Whoever made that decision, I suspect we can all guess who, didn't do the album any favours. The fans have been strong in their opinion that one or both of those songs should have been there. The view of this blog is that maybe Elton should have performed some songs live since January 2012 (when the initial batch were recorded) to gauge public mood and reaction. If a fan doesn't know, who does.

Now for the controversial bit. Or as some would call it, a personal opinion. It's this blogs view that the producer has now served his remit. He delivered The Union and The Diving Board as per Elton's wishes. He has tried to turn Elton into something he's not, an artist who you can pigeon hole and bracket. Elton is Elton, you can't pin him down exactly what it is he does. In trying to recreate this 3 - piece idea, we kept getting referred back to Tumbleweed and Madman, not to to mention of course 17-11-70. But we were told of course it was supposed to be a different album. So whilst it tried sit on two stools, it has dived between the two. What Elton needs to do now is tell the current producer that the band must be on the next album, in order for the producer to have a challenge. The challenge being to get a proper sounding Elton album out of them all again. If the current producer wants to do it, I'll back him 100%. If not, then thanks for the memories and lets move on. And find a producer, like a Greg Penny or a Pat Leonard or a Matt Still that know their Elton onions and can pinpoint in the dark what and who goes where on an Elton album. I've exhausted my views on the current producer, unless he and Elton can get the band back into the studio, the albums are always going to fall short. That's the opinion of this blog and will remain so.

Elton's 'Englishness' in his music and Bernie's 'Americaness' in his lyrics was the first thing that the US heard and instantly wrecked their heads. Reviews at the time described at them as 'that weird hybrid of Brit blues rock groove-meets-American twang on Tumbleweed Connection' and Madman as the 'English strings meets American steel guitars'. But now due to time and geography, Elton has become to all intents and purposes an 'American' artist. But in doing so I feel his roots have been lost so some extent also. The album lacks the 'fun' factor. The Union, not one of my favourites, has that much needed wittiness to divert the mood and feel. Leon brought that to the mix and no mistake, Hearts Have Turned To Stone being the obvious example.

Whatever spin you put on Elton being 66 is up to you. 66 is not old today, look at poor Roger Pope. Gone too soon. Elton onstage sings and plays with the swashbuckling swagger of 26 year old, but on some of the songs on the album he sounds 106. Maybe some of the older fans like this, as it makes their own aging process run concurrent with Elton's. Not my cup of tea, I'm afraid. If you listen to any recent live show, the review of The Bestvial CD's on this blog will stand good testament to that, you'll know how full of rocking energy he still has. None of which is on this album. To me that's a great shame that his vitality onstage is not being channeled in the studio. The 17-11-70 analogy was a joke if truth be-known, listen to the full performance of that night and you'll hear slightly accentuated manic playing with softer moments mixed in. We got the softer parts, in droves, but the uptempo excitement bit got mislaid. I don't expect him to rock out the whole way through, the lyrics here wouldn't allow that in the first place, but surely the producer, if he's as good as we are told he is, surely must be able to come up with that little extra bite to give that edge. Elton albums have always had a good mix. When they didn't like on Peachtree Road, where there wasn't a whole tonne of rock out moments, but still had plenty of drive and verve to make the listen distinctly more enjoyable than this one. A whole lot better... 

Which leads to another controversial moment for some. So if you're one of those fans that has no interest in who appears on stage or on albums with Elton, them look away now. Because another personal opinion is coming this way. The album of course suffers from the band's non-appearance. Read my previous posts below on the matter, they explain this in greater detail. No apologies here for saying that. I mentioned the removal of certain songs from the album, the editing process. Someone to make the right decisions, the tough ones. Same can be said about the qualities and the creative elements that the band bring to the table. When I say band the meant the current band. Not the past, but now. The 2012/13 lineup. Stick to today, if you can. The creative spark they share and the ability to bring it to the studio environs was sadly lacking. But it's Elton's gig, he can do what he pleases. But remember, we buy into it so we are entitled to our tuppence worth. If you read Davey's blog, his words about not being on the album sound painful. I feel his pain. Again, if you're not interested who plays what on an Elton album then that point will go over you head where as it goes to my heart. The appalling labels of 'stage band's and 'studio band's, intentionally or otherwise, is both misleading and insulting. All members of the current band, both with Elton and with other acts, have proved their worth in both environments. So to infer that the current lineup is only fit for doing the same songs over and over, night after night,  is wide of the mark. As in you aimed for Earth and hit the moon. The question you have to ask yourself, would the 'studio band' (see, even I'm at it) be capable of doing a large arena tour a la EJ band. Bellerose on drums in a stadium...yeah, right. I'd pity those in the middle rows and further back. Because you wouldn't hear much. The 'stage band' (doing it again) in the studio, hmm, let me see...as Davey mentioned on his blog the other day, he (and Nigel) played on all the big hits. Case closed.

To sum up, does TDB have it's place? Of course it does. It's not a bad album, but it's certainly not the wondermint that some people talk about. It's probably the start of a new era of albums in this vein, for me the last proper EJ album was CATK. I've taken what I can from The Union and from this one. The mantra I keep getting hurled at me like some press release from TASS is that this is something Elton wants to do. Like I explained earlier, I got that t-shirt (not quite, I'm still looking for a TDB tee). More power to his left foot and both hands I say. Long may he continue to go into the studio and whip up some more classics. Because there are a couple on this disc, it's just a pity we had wade through the other stuff to find them. Like wading through Quicksand you could say...but to me in 2013, Elton onstage is still a far better bet now. He's still has that power to enthrall, excite and surprise. Elements that are not on this album I'm afraid to report. 

One issue pertaining to my initial review was acceptance of peoples rights to express an opinion of the album. Which I did so here. I consult many Elton fans worldwide, through Facebook, email and in person. All views, all the time. But what some people fail to acknowledge, again whether it be on purpose or neglect of thought, is that they must accept we like something they don't and vice versa. Over the last couple of weeks, my review was frequently misquoted, misrepresented or most likely misunderstood. What motivated those actions, they only know. I had a view about the album before it came out, but another canard that frequently rears it's ugly head is the charge that I stated the album would no use because the band weren't on it. Not the case!! I stated, and you can check back if you wish, that the songs on the disc would not be as good as their live counterparts. Get your facts right!! I stand over that claim now, in fact vindication is mine. A straw poll of live versions over studio versions will kill that argument stone dead. 

Last words now, I enjoyed the process of listening to the new album as I always do, a new Elton album is always a treat, though this techno age had kind of sullied the buildup. I've put it to one side now, I will return to it later myself and see what's happening with it. Before I go, I want to alert you to the best 'fan' review I read about the album. If I say the name Jim Turano, that introduction will be enough. His honest, frank and forthright piece is a tale of how many fans (including yours truly) felt when we first heard it. When you read his insight, be warned it's long but well worth the trip, you'll find that even the great and the good in the Elton world have different opinions to the next man or woman. Thanks to my friend Jack Rabbit too for providing Jim with the platform to express his standpoint. As for me, I've said all I'm going to say about the album, Elton likes it so...

http://eltonjohnallsongslist.blogspot.com.es/2013/09/master-expertises-iv-jim-turano.html

'Supersonic King'

Like all us Elton fans, I'm a very sonic reactive person. The sound, without stating the bleedin' obvious, is the main food and drink of our addiction. So no surprise then we all react with varying degree of emotions when we hear either a new Elton sound, as we have recently, or the old sounds for the umpteenth time. Each time is different, but still has that familiarity. Because Elton's albums over the years were recorded with such precision and care that Rolls Royce and their glass of water on the engine philosophy would be jealous of, we've always had the very best sonic experience. Well, 99% of the time. On the odd occasions that the sonic boom didn't quite travel, they didn't quite hang in the air as the best examples did. A topic for a future post.

As will be all topics on this album. A multitude of them, because there are a multitude of avenues to go down with this one. But today I'm going to focus on the listening experience. What I hear and how I hear it are important. Clarity and forthright expression are the key traits of the album. The lyrics evokes it, the music describes it. But focus for a minute...or the length it takes to play the album...on what we are hearing. I had this on again for the gods know how many times, and the first thing that struck me when I first heard it is how clear and precise the sound is. Incredibly fresh even today, in 1975 it was at the cutting edge of sound delivery and presentation. Helped by the best recording equipment of the day, but that only being the conduit to channel through Elton and the band at the height of their combined powers. Years of recording and touring together had culminated in the second guessing of each being the correct option, the only option. Each element knowing what the other wanted and being able to intertwine it with their own choices. It was wrote...and they then they played it.

The album is loud, Gus said so at the launch of it in 1975. The loudest at that point in the catalogue. Not loud noisy, but loud with triumphant and joy. Bernie's lyrics, some of if not the best he's ever written, need that empathetic sonic delivery to match their straightforward, no nonsense message. Wonderfully mixed, without any flashiness or effects laden tricks. Elton's voice is described as being like chocolate now, but here's its like caramel with some added nuts. Smooth layers with an underpinned crispiness. And the layers are the ingredients that make the sonic treat full of flavour, bite and luxurious after taste. There's plenty of space on the record, plenty of space after all the toppings have been added. Because each one is a vital ingredient. 

We're transported under the drums skins. Each thud is a bulls eye. Each strike of a cymbal with wood is the double top. Minimal used effects on the drums sounds only broken up when a sound like a production line at a factory marches in. The toms at times vary from full sounding fills to barrel lids being hammered tight. We're transported into the guitar amps. Each strum, pick and lick is clearly stated and felt. Rootsy one minute to bluesy the next. Aggressive Les Paul's to friendly Fenders with a chirpy, almost cheeky chatter. The bass not only linking the drums and lead like a sonic rope, but leading with as much vitality and validity as it's up front counterparts. When you hear a bass note delivered, it's a lump that hits you in the throat. One that hangs around. We're transported into a percussion ensemble that is not a wallflower, but a flowery surround on the wall of sonicness. It finds its space, holds it and owns it. The instrument choices are key to the lyrically shifts on expression. The words speak and the instruments back them up.

But most of all we're transported under the piano lid. And into the amp of it's electric companion. Because both instruments are key on the record. They're both rich. Have a classically sounding delivery. And have a powerful up front statement. The key to this success is the mixing, the breakup of sound that the two instruments provide. Both on their own and together. You listen through the album and you know you've heard the two sounds. But for a moment you have to think exactly where you heard them. The precise moments. Because the thought through of the album concept is one long story with each chapter, the thought through of the piano reflects that idea. 

The switching of the sounds, either during the transitions between tracks or during tracks where both appear, gives a consistent yet vital breakup in sound. They appear, take the reins or sit back as and when. Which is crucial when dealing with Bernie's lyrics. Their mood and feelings change, again not only from song to song but during songs, so that tone has to be reflected. Helping them to be heard. All the elements on the album have a home and a role in that house. Each element appears and disappears as and when, some like the strings and brass are only called upon for a special visit. But the sound has a general consistency throughout while having an inconsistent flow. That sounds like a contradiction, but it's a device that's used to transport us through the album with familiarity but never losing the surprise element. The sounds both uplift and steady us. The vocals are key again, especially the backing vocals. They rise up in formation, with wing tip to wing tip closeness. And fly a tight display. Glorious.

To sum up, I've not discussed the lyrics. Or the musical influences. Or even the production techniques to a great deal. What I've described the aural impact, how the various ingredients sound to me. Everyone has their own vision in their minds ear. What I hear is the zenith of delivery of the band and most importantly Elton. The very best went into the writing and recording of it. The final journey is its delivery and the ultimate cornerstone of the building up of the layers. And that is where the impact is felt most. You can be certain no half measures were employed for the final everlasting journey. Piece by piece each tier is built upon for a tower of power of song. Even now as we speak, the final fade out is still being sung out in the cosmos...

RIP Roger Pope 1947 - 2013

Roger stamps his foot purposely and waves his hands majestically right from the start. His tight, straight ahead patterns tempered with his broken rhythms are as required as the song switches from an even keel if calm waters to storm lashed frenzy. He has a tremendous feel of the changes in the song, the instrumental breaks are steady with a breezy flourish. His footwork is a major feature, right up in the mix for maximum impact. There's nothing messy on this track, his driving finish on the outro is straight ahead rock and roll. His huge sweeping fill at the end on the concert toms a trademark of his style. 

Roger has left a tremendous legacy, his work on Empty Sky, Tumbleweed Connection, Madman Across The Water, Rock Of The Westies and Blue Moves as important on those albums as the rest of the contributions. All diverse albums, all diverse sounds and all diverse drumming required. Whether it be written out or just a groove that he tapped into, Roger always put down a suitable line. His effortless switches from powerhouse to laid back essential for Elton's music. He could rock like bad 'un, but still had light of hand to layer a ballad with choicey subtle moments. Never overplayed, always clean and direct. 

He had a great rapport with the fans long after he'd left the Elton building. Always a good trait in my book. I send my sympathies to his widow, the newly announced Mrs. Sue Pope.

Top 10 essential Roger tracks

Empty Sky

Rock And Roll Madonna

Ballad Of A Well Known Gun

My Fathers Gun

Tiny Dancer

Holiday Inn

Grow Some Funk Of Your Own

I Feel Like A Bullet

One Horse Town

Crazy Water