'Free To Fly'

What Is Life? It Isn't Everything or so the instrumental said.

Never in a million years did I think when I took time out earlier this year from the blog would I return in such circumstances. My dad who was also my best friend, rock, teacher and mentor passed away after a short illness. He seemed to be recovering initially but a cruel fate twist meant he would never achieve his greatest wish at the time and return home. To say it left me devastated would be an understatement, crushed beyond recognition would not overstate the emotion.

That happened roughly a month ago but time has gone quickly but has only dulled the pain minutely. A pinhead of light has appeared, faint but present. I know with my dad's guidance it will get stronger, he'll see to that for certain. It's up to me to pick up that torch and spread the light. Hopefully from this time on his light will shine on through me.

Since Christmas I haven't had a single minute to myself. Back and forth to the hospital and then dealing with the aftermath of his passing. Music was mostly nonexistent in that period, certainly Elton was even further behind on the back burner. Not done on purpose, things just happened that way. When I did get some time to indulge in the aural pleasures it was usually non Elton material of wildly varying flavours. Rachmaninov’s 3rd piano concerto played live by Yuju Wang took me into a deep place with its challenging sections, both in playing and listening terms. Dark avenues that had no walls yet had no way out. Occasional brief clips of light arcs only to be thrust into darkness again. Then I'd stray over to Pink Floyd live in Boston in 1977, Shine On You Crazy Diamond (Parts VI-IX) with Part IX being a particularly stirring moment of melancholy and reflection. A lament for a living person who was essentially emotionally dead, the sad bassline from Roger Waters one of the most ebb lowering musical eulogies ever delivered. If that wasn't damning enough in its doom, the twin wails and cries of Snowy White on the Les Paul and Dave Gilmour on the Fender not only knocking dead the Gibson v Fender debate (they both won on the earlier parts) but the harmonious intertwining at odds with the emotional message. Two guitars sounding like a thousand souls pleading for their salvation. The final play out on the synth from Rick Wright fading like a sunset...like life itself.

My dad said he enjoyed his life, he did everything he wanted to do. He was only a few weeks short of 83 when he passed so saw more changes in that space of time than anyone would have in the last thousand years. Being a teacher for most of his working life he helped shaped countless lives for the better. Both in terms of the topics he taught and the shaping of those young minds. Two of whom were myself and my brother. We can count ourselves eternally lucky to be part of that elite bunch.

My dad and I were alike in so many ways but different in many others. Whether it was subconsciously or not, he may have passed his love of keyboard music over to me. His music tastes were incredible diverse, why wouldn't they be when his first music contact would have been in the 1930's right up to the here and now. In amongst his vast vinyl collection stand out two landmark pieces of keyboard elegance. Green Onions by Booker T And The MG's (1962) and Switched-On Bach (1968). Both highly influential albums at the time of their release, both masterpieces of their genre's. Dad was a great organ aficionado, whether it be pipe or electric. The power in both instruments never fails to move the ears or stir the soul whatever the setting.

So what of Elton in the aftermath of this emotional rollercoaster? Last weekend when things had begun to ease off ever so slightly my mind began to drift back to that natural place of comfort. Whereas in other dark times before all of this the music had played a crucial part, this time it had been absent. So I needed a method to get back in. I knew if I could find some route in then maybe, or even certainly, I could begin the slow steps to rebuilding my life again. I gave it some thought as to how to start step one. But there was no choice really in the end, there was only one fitting place to start. I knew it would be the right place, the only place and so it proved to be.

Luckily my dad was never in pain right up to the end but his slow fade away was mentally and emotionally destructive. Whether he was aware of his own decline I'll never know nor need to. What I do know is the rest of us were aware of it. Fully and honestly. There was no hiding place from it. When you have that sort of scenario laid out in front of you, the inner strength reserve drains very quickly. But didn't run dry. There always seemed to be something holding us in there. Just like dad himself.

The Sunday before he passed was the last time we were all together with him as a family. The four of us in our proper places together. But the situation was far from proper. I knew at that stage time was being borrowed heavily and that payback was going to be the hardest thing ever. I was extremely emotionally upset that day, not wanting to acknowledge the inevitable but preferring to look forward to a positive future instead. Putting aside his own feelings which he kept hidden, he could still find time to comfort me even though he was need of it more than even before. '’Don't upset yourself, man. You'll be alright’', he said with a sense of knowing. The positivity came stronger from my dad even at the lowest point for us all. Even at the weakest point of his long life he could sill muster a sense of wanting to go and do more. "We had loads of great times together, didn't we,'' I said through the tears beside his bed as I held his frail hand. ''We did, man. And we'll have many more again,'' he promised me back with a sense of genuine belief. I believed it then and I believe it even greater with each passing day. I know dad did, even more so than I could have imagined at the time. But what reinforced that sense of belief was something familiar and something that made even more sense after this life changing experience.

'Someday We'll Live Like Horses'

My first step was Bernie's painful to write but ultimately joyful expression of a hope yet to be realised. Live Like Horses was just that, his own tribute to his own fading dad. Lyrically it would express that crossing over to better things, that sense of pain released. Whether it be physical or mental the relief is something we can only dream about at this stage. The title says it all and is well in tune with my dad and myself. Both of us being western fans buying into the imagery of free reining together and enjoying the good times together again. That hope which I ultimately pray will be realised is that we get to enjoy that emotion once more together after enjoying our lives together is something that will drive me on for the rest of my life. That vision when it's my turn makes everything here on in more worthwhile.

I took the version on The Big Picture as my first port call, the tolling bell effect at the start heralding Elton's sharply delivered vocal. A powerful orchestral backdrop, carefully timed by Guy Babylon, rises and falls with depth and height but always stays in view. Occasional drum reverb from Charlie Morgan resonates with a heavy ricochet. Sharp acoustic strums and picks from Davey add a balance of sadness, the pedal steel effect from John Jorgenson on the 'blues' lyric equally sympathetic. The Angel Voices are critical here, expertly chosen with an exquisite delivery. Their sound is neither here nor there. In other words is it on this side or the other side? Answer is, neither. It just exists. Here, there and all around us. Sending dad on his way and welcoming him home. All at the same time and at once. The final chorus is the ultimate evocation of how music can be emotional and an affirmation of the certain joy. Sadness in time will become a non entity.

I had to put on the Pavarotti version as my dad was a fan of his. I remember when they did the duet version live in 1996 my dad was impressed with the song. So this version is kind of even more momentous now. On a La Scala scale, Pavarotti adds a dynamic of drama that grabs emotion by the throat with a soft grip. What else would you expect from one of the defining voices of the 20th Century. His phrasing readjusts itself with a swagger to align itself with (which for him are) unusual changes and timings. So even though both voices never meet they still have a terrific relationship. Chris Thomas is often queried as to his production values at this time but each choice he made was essential and worthy additions. Understanding the lyric is key to a great producer so he finds the elements that are required to give a properly choreographed delivery. Hence Elton's vocal is clear and unaffected by too many outside influences; the backdrop has a great balance between the delicate and the might.

Which sums up the song perfectly. It was always a top class one in my opinion but like I keep saying on this blog over last couple of years, perspective is everything. From my current perspective the song has changed irrevocably. From a sad standpoint but one that ultimately brings something good. Hopefully.

'To Be Friends'

But I wasn't done yet. I still had an avenue or two to go down. One intentional, the other by pure chance. Another song in the back of my mind that I wanted to explore at this time was Keep Right On by Davey on his Smiling Face album. This song is another super favourite of mine for various reasons. The guitar solo shouldn't be a stranger to anyone with familiar with the live version of Rocket Man from 1982-86. Secondly the song features all of the 'Pillars' and 'Hercules' himself on harmonium. It's a terrific melody with some short but incredibly poignant lyrics.

Like Bernie's later tribute, Davey wrote this song too for his dad. As Davey sang, I too have been thinking of dad and all the good things he told me and indeed taught me. How else for instance would I have made the model of Starship 1 or the model of the Spitfire I sent to Nigel a few years back without him passing on his skills to me. Davey's gentle vocal delivery is the perfect light handed touch needed here. The opening nostalgic feel is swept up by trademark Nigel fills and breaks that could have been handpicked off Don't Shoot Me or GYBR. As could have Dee's bass with its full plectrum picking sound. The solo is a myriad of guitar colours, Leslie speakers swimming back and forth as Elton on the harmonium gives it that slightly reverential feel. Del Newman's strings are introduced on the solo, the repeat of the solo where they really kick in with the 'full' sound rounding out the package. The guitars dance a ballet, communicating with each other and to the audience before slowly retreating with bowed heads.

The lyrics here are a simple reminder that the basic things in life are to be cherished and valued. Once you get those priorities in line, then the complicated stuff will look after itself. To be able to write such a simple wish and put it too music is truly a gift. Again this song will have a greater more personal resonance as the lyrics say exactly what I feel and always felt. I was now setting out again but still needed that kick inside. Unexpectedly I got it.

'Fly Away, High Away, Bye Bye'

The next day there was nothing on the telly box so I popped in the DVD of the full Bonnaroo show from last June. I had heard the audio of it already but this was the first time viewing said extravaganza. Anyway I was watching it and was enjoying it but waiting or hoping for a spark to light up. And it did, I was saved! Not by Someone, but by Elton that night!

Someone Saved My Life Tonight is a thoroughly uplifting song at the best of times, even when you're on cloud nine. It still has that knack to push that cloud nearer the abode of the Blessed. So imagine when you're still on terra firma and it belts up. Ready to fly, high away. My dad was a great aviation fanatic, not a number cruncher but a true expert in all aspects of it right from the engineering and technical aspects outwards. So when Elton sang that line a vision came into my mind of dad flying somewhere. Suddenly I could feel an invisible switch go on somewhere. Elton banging out the chunky chords of the riff like a clarion call, then when Nigel's drum crashed in and the band's vocals came into formation with Elton it was as if life had been reaffirmed and had been declared winner alright. No matter how dark it is, no matter how dimly lit the light is, the pitch black atmosphere will be punctured. And that's what happened here, when Kim brought the string synth into play it was like the shrill of a distant jet engine. Matt's driving bassline before the outro is introduced and Davey blazing like an afterburner on his solo were perfect replies to Elton’s charged emotional vocal on the final chorus.

So totally out of nowhere...well not really I expect, another song that was always special to me will now have a greater depth of emotional attachment. I would never have associated the lyric of the butterfly flying high with my dad flying at a similar altitude but someone...I wonder who...sowed that seed. I heard Elton and the band sing it and then I really HEARD it. Not for the first time of course but for the first time under a new relationship. My relationship with my dad was the best thing I ever had…and still have…wherever he is now he's making my relationship with the greatest music ever even more critical to my wellbeing.

Finally I’d like to thank everyone who messaged me over the last while, especially all the Elton Facebook fans, the EJ band and their alumni for their support. Top class people first and foremost, top class musicians with equal grace and style.

Pink Floyd - Shine On You Crazy Diamond (Parts VI-IX) Live In Boston 1977

Yuja Wang plays Rachmaninov's Piano Concerto No. 3 

Booker T & the M G 's - Green Onions

Switched-on Bach

Luciano Pavarotti & Elton John - Live Like Horses

Davey Johnstone - Keep Right On

Elton John - Someone Saved My Life Tonight (Live At Bonnaroo 2014)

'Time Out'

People have probably been wondering as to why there's been no updates so far in 2015. The answer is simple, my domestic responsibilities have overtaken events. Which in turn means there'll be no updates on 'Just Words And A Tune' for the foreseeable future. Thanks to everyone who has looked in during the last 18 month's.

If and when things settle down then I'll pick up the mighty pen again, but until then keep the music real, that's the most important thing...

'And The View From...'

You know that period between Christmas and New Year when the telly companies decide to fill up that important schedule gap between Indiana Jones And The Old Artifact Snatch and Morecombe And Wise sometime in the last century festive special with a review of the year. Unless you've been taking part in a Sleeping Beauty contest all year then it's a rehash even most recycling plants wouldn't find of any value. So rather than get lost in that dead zone and to look back on something that anyone reading here would find far more interesting than any of that let's pop the cork and spirit out the ghosts of 2014.

I had intended to do something similar last year but I'll be honest with you. My Elton mojo 12 month's ago had taken a right battering, storm force doesn't even go there. The final straw...a large bale of them dropped from a great height...was the vile, disgusting attempts to wreck Davey's blog on Musinq. Totally unforgivable and shameful. Like a Santa doesn't exist moment. Those responsible should have developed bad stoops at this stage due to their heads being in a permanent state of shame hanging. If not then their necks must be harder than a jockey's...anyway, we won't dwell on such characters at this time. I think this year has been fabulous for the Eltonites. There always seems to be so much going on, the touring ropes everyone into the mix. Sporadic hard copy releases keep things ticking over on that front. It's ended though on a terrific high, especially for me after last Tuesday night. But it was only the final act of some incredible scenes that began with some dramatic moments. On stage and on disc we've had a full year. Brimming with goodies...even the tastiest gum drops aren't up to this mark.

I'll start with Elton's touring arm. Or both arms of course. Starting in North America in February we began to see more and more GYBR tracks being added that at one point we had 10 different songs from the album being played live (though not all in the same setlist). For one glorious moment it looked as if we may have got the full...or as near as full as Elton would do...album being played. But alas we could see it on the horizon but the rainbow seemed well up the road. We bade a Goodbye to I've Seen That Movie after a brief cameo. Captured on film, it's power still intact after all the years in hiatus.  

Elton went back to South America for another tour, primarily in Brazil this time. The fans down there are unreal, I watch them on Facebook with packs of passion pitching up at the venues. Pretty special when he plays Skyline Pigeon down there, the band version is the one to savour. Summer time and the World Cup kind of dominated things for me during June and July. However one standout show was Elton's first festival appearance in the US at Bonnarroo. This is becoming a new thing for Elton in the last few years, taking the last slot at these multi act affairs. Broadcast live in sound and vision it also gives the people in the venue a chance to peer into Eltonworld and see what the fuss is all about. Doubters will have manners put on them. Waverers will be tipped over to the light side. As for the converted...another preaching to never did anyone any harm. This performance is highly recommended though Someone Saved My Life Tonight is a bit raggedy at times. A Glastonbury appearance is surely only a matter of time.

  

The Autumn leg of the tour continued the great work on stage, musically. One highlight from that lofty position he holds went beyond music. His speech from the stage in St. Petersburg on LGBT rights in Russia again was heard at first hand by the converted but those who need to hear I get the feeling had the mufflers on that day. I suspect though if they didn't hear the speech they felt the vibrations of it. And will continue to do so. And so the tour ended in my parish and the curtain came down on another 100 or so shows. In both hemisphere's and in all weathers. Indoors, outdoors, like the Wombles Elton and the band keep rolling around the globe. All the reviews took the same hymn sheet and whilst putting their local dialect stamp on it the same mantra was preached time and time again. 

Some great setlist moments during the year need to be mentioned here. Rocket Man in late 2013 featured one of the 'Dream' sections from TDB as an intro. That asepct has continued this year but has drifted away from that original idea (as did so many things from that album, more later). It's now developed into a multi coloured shop of swapping moods and shades. A great song now bookended by some great playing at the start and finish. Levon has progressed beyond anything we could (but Elton of course can!) imagine. The outro getting progressively longer over the last few years has now subtly had another avenue connected onto it. Expect an exciting journey down this route in 2015. Elton did well over 40 different songs this year, nearly two different setlists if you please. So the complaint Elton doesn't mix it up much kind of gets an Exocet through it's main doors. Elton's a crowd pleaser and a promoters dream. If he turns up and does what the paying public want then all is well. The demand is there...

We've had some great treats on the disc front...and the movie front. The showing of the Million Dollar Piano in the cinemas was a great idea though in practice the sound aspect of it was a joke. For the next presentation of this type that anomaly has to rectified or it's not worth bothering about. The dvd release is far better on that issue. The GYBR 40th could and should have had more. The de luxe box was nicely presented (looks even better signed!) but the covers disc didn't seem to make any friends. The Hammersmith Odeon show had minimal work done to it compared to the bootleg version. Still though, next year is the CF 40th. Is there anything left in that cannon to fire off?! The announcement of The Pillars Of Hercules documentary is another triumph. Simply put, fans have been crying out for this type of project for decades. The band in the early days along with those in the control room were at the coalface of finishing off the creations that are the terrific songs that Elton and Bernie had manufactured. An amoeba crawling out of a petri dish in a laboratory hearing Rocket Man on the radio for the first time would grasp that concept. So we're gonna to get to hear in greater detail than ever before about the magic that went down in getting down the magic on disc.

The year was in it's dying embers when it was given a large dose of accelerant. The news we've been waiting for...or should I say...we knew would arrive. A when, not an if. A new band album to be recorded in February. If that's not enough to get the juices at flood levels, then you must be experiencing a severe drought. Then again, I suppose we've been all to the desert and back since The Captain And The Kid in 2006. This camel doesn't need to be led to the water, I can smell it a year off. Never in a million years did I think we'd be getting to hear such a gift so soon or even for that matter ever again. The previous producer has got his P45. For that I am delighted.

As far back as September '13 I said the current producer's era was over. The proof is now before us. The band are back to their proper positions in life. Again, our friend the amoeba will be crawling in joy or whatever it is a one celled creatures do when ecstatic. The great thing about having this equilibrium restored is that all possibilities are on and all bets are off. Shackles broken, freedom fields to be explored. Every possible avenue of creativity is an option and readily available. To be plundered and paraded. Davey's remarks on his blog that the album will rock is telling. For a number of reasons.

Firstly, take Hey Ahab. It's one of the longest surviving new songs of the 21st Century. The slow, lethargic example on The Union was given the belting of it's life on stage and is now an essential part of the setlist. Again, there are so many why's as to the reason for this. The main one...it's rocks the be***** out of everyone. And that's what grabs attention in an arena, coliseum, stadium or field. So a new album that rocks will surely have commercial potential and should garner some sort of life on the live circuit for longer than the initial promo release period. Which takes us nicely back to this news which is truly a moment to savour. Hopefully the biggest asset of Elton's current live incarnation can be siphoned off in copious large chunks, an environment rich in natural resources of light, power and energy. Whereas darkness, lifelessness and lethargy prevailed on the couple of discs up to this point under the old regime. A genesis moment has occurred...not lambs lying down on Broadway...but the start of a whole new world.

Elton and the collective souls of the band have great musical spatial awareness of each other on stage. With this new world comes a chance to make history.The three older members of the band, Nigel, Davey and John have already done that on disc. It's now time for Kim and Matt to have their turn in the studio. They bring a whole new dynamic to proceedings, anyone who been to a concert since 2010 will know this. They'll bring something new, not borrowed and won't make us blue. And a marriage made in heaven. 2015 has so much potential it's like energy about to be created. Though scientifically that's impossible (though the previous producer accomplished the feat of destroying energy), Eltonifically it can be done. And it'll live and breath...

'Elton & The Band Live At The 3Arena Dublin 9th December 2014 - Review'

The 3Arena. Situated right beside the River Liffey, a name derived from the word 'life'. Fitting then that life should be celebrated by the greatest live act currently on the circuit and ably concelebrated by the ablest of able cohorts.

As wind entered the arena...it could well have been real considering the wonky weather pouring forth from the heavens, or worse still from down below...we were feeling the effects of ethereal forces for sure. If the dimmed lights at the start of Funeral For A Friend emitted the feeling that we were in the middle of some sort of seance attempting to make contact with the afterlife then that solemnity was quickly dulled as the lights found full power when real 'live' life became a certainty. The Fantastic Captain with the ultimate name tag on a jacket began an opening salvo that quickly developed into a barrage. 

Like a lot of things on the night we were returning to old ground. One of these was the rightfully restored placing of FFF/LLB at the start of the set. The five piece band sound has also been restored to fasten shut the 'sound'. The monsterpiece has many facets but as would be another part of the show the fields of foreign lands...and worlds...would be visited, the Tibetan cymbals from John being incredibly ceremonial during the opening lines. Band version of Candle In The Wind...chocked full of those Nigel fills that harmoniously beat...the heavy bass line from Matt on the final chorus essential here too. All The Girls Love Alice with the heavy hammering from Elton on the verses is tempered on the chorus when his gradually ascending vocal is masterfully countered by Matt's opposing descending chords. The riff from Davey with it's karate like chops. And a sexy video backdrop. So much going on so far...and it's only four songs in. From just one album.

Levon...with the sharply angled Buckmaster arrangement skillfully negotiated by Kim...ends as we would have wanted it to. The way Elton's being doing it for the last number of years. Getting longer and longer it seems with no end in sight. Elton standing up, eyes not for the keys but the crowd...to challenge them and to be challenged. Matt's licks at this time, if isolated, would be a beginners guide (for the already very good) on why a bass player is not only needed but essential. But how could the extra stretch be elongated even more. Just as a natural end might have been arrived at he just takes it down a notch, not stopping but steadying things with a groove that is constant (Nigel & John are in the zone here as they say), Davey bubbling above the storm clouds as Elton dives once more back into the slip stream until a halt is called. Incredible version here...2015's edition I suspect is not to be missed.

We've seen the showman side of Elton..both in terms of playing and gesticulating. Step up the humanitarian. His dedication at the start of Tiny Dancer to little Lily Mae and to the fundraisers for the charity single in 2012 to help in her fight to 'eff cancer' was humbling for everyone there and most of all Elton I'd suspect. But his humility should go in tandem with pride for himself (in terms of allowing the song to be used for such a great cause and for helping to write it of course). It always gets a great reaction when played...great just became the greatest in this neck of the woods from this time on I suspect.

As a poster held up said, Believe In Elton. Yet again when he does (possibly) my favourite EJ/BT song it never fails to resonate. Timeless and timely. The added exotic feel of faraway places return with the Tablas from John. Kim again found the deep end of the Buckmaster arrangement and pumped it up for all it's worth. Goodbye Yellow Brick Road...one of the greatest '45s' of all time...is treated with precision here. Davey's essential Leslie guitar sound is to the forefront and Nigel's classic parts are also noted. As are the harmonies. Aficionados of this classic sound hearing GYBR for the first time are not disappointed. Nor was anybody with the luminous video tale of Elton's colourful career.

Rocket Man...so often a source of extended workouts at the end has now been bookended with something extraordinary at the start. This is another one for the newbies to see why he's the only one is his field that can attempt and succeed at this venture...Elton alone at the keyboard plundering his way through his extensive back knowledge of music. So no surprise he switches from Bach style Baroque to Bordelloish Boogie in one beat. Time and cultures all seamlessly mixed. Music across Centuries and Continents conjured up. But all that meant the outro had a lot to live up to. And it did. His progressive style and gradual attaining of higher moments was another example of faraway places being within his...and then ours...grasp. The big screen almost 3Dlike with it's vision of Earth from space like a genuine view from Mars. Something to note during this voyage of discovery, a voyage that Matt has been on since he joined the band. The discovery of Elton's handiwork and his genuine exploration of it. Not for the first time during the show but during this trail out part he stood behind Elton to marvel and to tap into his vibe. No wonder he's always bouncing around the stage for joy!

Hey Ahab has become such a rock beast that nobody unfamiliar with it dares ups and leaves for the 'pitstop'. It's aggressive, bolshie and hard. Elton's piano pounding percussive nature knocked lumps out of it. I Guess That's Why They Call It The Blues culminated in one of rocks most cohesive, knowing relationships. Elton with his big lung engorging finish responding to bluesy licks from Davey as both timed their responses accordingly with with each other's exclamations. Mid show a brief restbite is required. Energy to be reclaimed for the next part of the journey. The One is ideal here...Elton taking one of his most naturally flowing melodies, putting an equally natural strong vocal on top, and holding court for the transfixed crowd. Intensity all in One go. If people think Your Song has been flogged to death in concert, then chew on this one. The echo of the crowd singing it is enough to tell me it has another bit left to run in it. Quite a bit of bite. 

With that musical equivalent of the three Shredded Wheat on board it was time to rev it up again. Burn Down The Mission with it's multi switching movements of broken rhythms to all out banging rock leaves no time for inhalation of air. Nigel's batterdrum finish to Don't Let The Sun Go Down On Me in complete contrast to his melodious accompaniment during the preceding sections of the song. Octane at a high dose. Which some's up the period from The Bitch Is Back right through to Crocodile Rock. Thoughts of anything other than what's happening on stage are impossible. This is the moment. Elton still has the energy...so should we. Your Sister Can't Twist with it's faux Beach Boys backing vocals present and correct is supported by Davey's driving guitar and Kim's right side of cheesy organ. Saturday Night's Alright falls into the category of paradise restored. The opening is the first example of that...the proper drums and guitar intro, the stop start rhythm finding gear when Matt's shimmy on the bass and Elton ripples the keys to signal full on onslaught. But where Levon might have heralded a breakdown, we get it now at the end of this one. Looking for vocal reinforcements, he goads the crowd to chant, so they chant 'Saturday' in excelsis. Almost worshiplike...both for song and singer. As for Crocodile Rock...the song where everyone in the crowd can be a band member...just for one song. Are we done though? Not quite...

To let us go home with some semblance of calm...not possible I think...he treats us to one of his favourites. Circle Of Life/Can You Feel The Love Tonight? is a combination of restorative emotions and positive messages. Simple as that, to hear it is to know it.

After 100 shows this year, the tour ends. Not by happenstance in Dublin, but more out of design. Energy levels were incredibly high throughout with no lessening of delivery. Elton is in tip top live form at the moment and the band are so tapped into what's happening on stage that when...not if of course...they go back into the studio and put in there what they give out on stage then all bets are off as to what can be achieved. As 2014 suggests...2015 promises anything and everything.

SETLIST
Funeral for a Friend/Love Lies Bleeding 
Bennie and the Jets 
Candle in the Wind 
All the Girls Love Alice 
Levon 
Tiny Dancer 
Believe 
Daniel 
Philadelphia Freedom 
Goodbye Yellow Brick Road 
Rocket Man 
Hey Ahab 
I Guess That's Why They Call It the Blues 
The One 
Your Song 
Burn Down the Mission 
Sad Songs (Say So Much) 
Sorry Seems to Be the Hardest Word 
Don't Let the Sun Go Down on Me 
The Bitch Is Back 
I'm Still Standing 
Your Sister Can't Twist (But She Can Rock 'n Roll) 
Saturday Night's Alright for Fighting 
Crocodile Rock
Circle Of Life/Can You Feel The Love Tonight?

'Cause Lennon's On Sale Again'

Last week was the 40th anniversary of Lennon not only being on sale again but up on stage for possibly the last time. I say possibly because those present at the Tribute to Lord Lew Grade (he of ATV and Sinking The Atlantic fame) in April 1975 might protest that their thunder was bushwhacked. Whichever or whatever the definitive moment was, there's no doubt it was still a triumph. Lennon is for every day, not just for Thanksgiving. 

But I'm not going to look at the moment at this time. EJ.com have done some great articles on that moment from those who were there so the eyewitness reports are quite sufficient. What I want to zoom in on is Lennon's studio collaborations with Elton.

I had Sgt Pepper on the other day and it's impact still seeps through the speakers. No wonder Brian Wilson nearly crashed his car on first hearing of it on the radio which led in some small part to his retreat from the world following his failure to bring his 'Smile' project to fruition. He knew at that very moment his task of topping the Lonely Hearts Club band effort would be futile. The 1967 version of Lucy was recorded pretty quickly, one night for the rhythm track and another night for the overdubs. Recorded on cutting edge (at the time) equipment that rapidly became out dated at decades ends. But that still doesn't temper it's influence. The surreal imagery...too 'out there man' even for this blogger to decipher! But the catchy chorus needs no explanation. Lennon's vocal is quite tinny at times, the half here, half there spirit he evokes from it is another example of its detachedness from our reality. McCartney's bass at the end is his usual style of rhythmic punch.

Jump forward seven years...in fact we've headed at Warp 7 into the future. Because recording techniques at this time had taken the same leap of light speed. Elton's version is bolder, brighter, bigger and beautiful. The longer intro with bells on...quite literally from Ray... immediately grabs a vital tribute from the original version. Davey on Leslie guitar is centrally located to spread some familiar soundscapes. The 'Caribou' sound of the drums, all points focused and lively are in evidence. Nigel's big fills could only be dreamed about in 1967. Elton's vocal is more adventurous than Lennon's was. His lively harmonies are terrific. Lennon's vocal is heard on the chorus but his distinctive (at times) snarl is clearly heard. Elton's great skill at arranging is sometimes overlooked, but his interweaving of Mellotron especially with other keyboards is carefully and tastefully done. A massive sound is generated, again the Old '67ers would be jealous. 

One Day (At A Time) was another that got the 'Elton' treatment and was all the better for it. Lennon's 'Mind Games' version suffers from a lack of proper production input. Produced by himself it shows what a great song it is but nothing more. Country tinged due to Sneaky Pete's involvement and the reverby drums being stroked by light brushes. However when Gus got his able producing hands on it, a greater event came to fruition.

Elton's electric piano work...always a great favourite here...bounces like a ping pong from left to right in the spectrum. Davey takes the motif that flowed through the original to another level. Takes it to the front in fact. His gorgeous guitar work, sassy and sultry, is ably backed up by bright acoustic piano. String synth adds some glorious washes of sound, the solo part is like a workout of symmetry and harmony. Nigel's delicate yet definite drumming is bristling full of bounce.

Elton took two masterclass works of songwriting and turned one on it's head and accentuated the positive in the other. They say you shouldn't do covers but in these cases, for differing reasons, these both work...even better than the real thing. Miley take note...it was already done and done...better.

'Pillars Of Hercules'

Davey can never be accused of standing in the shadows and the spotlight frequently hit him over the years as he weathered all changes in music styles, fads and retroisms. But the spotlight is about to shine the light a bit brighter...and the temperature will soar well above ninety five.

Davey...Fantastic Captain of the EJ Band.

Anybody who has been following Davey's 'official' Facebook page (not the doppelganger one) will have been kept up to speed on one of the most exciting projects to emanate from the Elton world is recent times. If not here's a quick recap.

Davey's son Tam has taken on the labour...10 rolled into one you could say...to make a documentary about the rise of Elton at the start of the 70's. Not for the first time that's been attempted of course but the first from the angle he's approaching it from. This time it's from the band outwards. In particular the troika of Davey, Dee and Nigel. An inside look that will undoubtedly finally confirm on them the due recognition they deserve.*

'The Pillars'

And like another well known film series that recently got the title of it's next installment this project has also been name stamped. 'Pillars Of Hercules' will feature new interviews and previously unseen footage and photographs. If the anticipation is too much then this video teaser will sooth your torment. I did an item a while back on Sick City and Davey gives some great insights into it that only he can recant. The force is strong with this one.

Side by side...somewhere in Europe, November 2014.

And what a raconteur he is. He speaks in such a way that even non musicians like ourselves will never be mystified. His good humour and general insight-fullness makes him the ideal 'spokesperson' for Elton's music. I've said this before but he's a tremendous ambassador for both Elton and his music. Read his blog of the last three years and it's nothing but positivism.

The appetite for this documentary is ravenous. Not just in the Elton world but outside it too. The recent Oscar winning film '20 Feet From Stardom' which featured another Elton cohort the wonderful Tata Vega is testament enough. A lofty template but it's success dispels any notion that there is no market for these films. In fact as I speak another project called 'Hired Gun - Music's Unsung Heroes' featuring Billy Joel's drummer Liberty Devitto is currently in the pipeline. We all know the great artists are exactly that, great. But at the same time they too recognise that without the great pillars of talent behind them the labour is a ten thousand times harder.

*Since going to upload I've been informed by Tam that the project has been expanded to include the design team, crew and management from that time period. So it's going to be a pretty full on experience.

'This Could Be Anywhere Or Rotterdam'

This a treat. Anybody not familiar with my gateway into this Madness well here's a gentle reminder. Live In Australia was my first Elton album so that whole era/tour is kind of special. Those that have the album may not be familiar with the whole story of it, this doc gives great insight into it. Something else that may have become swamped with time passing is how the culmination of a year's touring was generated and developed. The Tour De Force didn't appear under a rock, Ayers or otherwise nor under a bush...not including tucker man either. The World Tour 85/86 began in late 1985 and wormed it's way through the UK, Ireland and eventually Europe before Leather Jackets was put to disc. Resuming in North America during summer 1986 it encountered some challenging moments. Elton's much discussed vocal problems that dogged him till the last night in Australia. However on the European leg of the tour no such troubles were encountered and it's this point of the tour we're going to look at here.

Whatever his state of the mind at the time...mental, medicated or otherwise...there's no doubt these were marquee shows. Both from the diversity of mood swings and the tremendous unrelenting energy. And the fact he had one of the best band lineups ever. I've this said this before on the blog but it's worth repeating. The Morgan/Paton combo is the best rhythm section outside any that contained Olsson and Murray together or both separately. How do I know? Because I can hear it. I hear melodic descriptiveness and thub thumping rocking at any given moment. With that great building block, the empire of Elton at that time had a grand palace built upon it. The Tour De Force had Elton resurrecting some old numbers at the time, Burn Down The Mission and Tonight appearing in the band setlist early on to begin a gestation period that lasted a year. Other songs had similar period of incubation in front of audiences. 

I'm going to look at some of the outstanding movements from the Rotterdam show on the 24th April 1986. This 'enhanced' recording only came to light recently due to the work of little beavers behind the scene's. These little trojans belong to one of the best groups on Facebook, a group of young enthusiastic fans that have only one goal in life. Assemble as many live recordings of Elton in one place. So expect a man from Guinness and a clipboard to be standing next to them any time soon. Seriously though, they've realised the value of the music rather than the price of it and taken the appreciation of Elton's live work to another dimension. As we've had 3D already I suppose the best way to describe it is 4D. Anyway thanks to those involved...they know who they are...so lets cut through and weed out the best bits.

Highlander is it's usual expectant self. Slowly dilating then cries of joy as the synth parties like an excited child let out into the world. Segueing into Tonight as if attached with an invisible cord and chord. This piece here gives some detail as to what Tonight sounded like at this time. That invisible lively cord/chord appears again as One Horse Town creeps in. Oriental sounding synths from Fred being lambasted by marching warrior drums (Jody on timpani). Brass on the ramparts echoes Charlie's fills on the toms, firepower of might and glory. David on the bass crosses over (frequently) into various lands of lead, rhythm and most importantly of all, bass. Tubular bells are a call to pause, but it's only for a couple of brief periods. Davey's solo is frantic, fiery and fulfilling on all levels. Elton's vocal is strong, phrasing is familiar. The barometer of his vocal condition has been measured and the reading is exemplary.

Better Off Dead live has caught out many a musician in the past. Both vocally and musically. No such failings here. The timpani and drums are angular with pumped up muscle. The backing vocals refer to the original arrangement with no loss of style. The gradual build up of 'oohhs' march out as 'lalalas' with 'aahhs' finally triumphing. Rocket Man is another one in the growing stage. But no pains here. Or ceremony standing as Elton goes straight in for the kill. The bassline has all of it's sharpness and varying tones. Davey on the flying 'V', a pleasure cruelly denied to us to a great extent after this tour, on this song is perfectly poised to step in when gaps appear. When Elton's vocal is silent it pops in and sings with equal emotion. When Elton does sing he throws in some alternate phrasing...just for the heck of it. The coolest coda ever in rock means we're not done yet. The brass herald up another phase of piano pounding. Elton's vocal and Davey's guitar have always been key ingredients on stage for a satisfying banquet. Again during the jam they play off each other like seasoned sparring partners. One calls, the other responds. Simmering slow burning attitude starts to win over, the rhythm section kicks back in to tell us Elton is indeed back home. 

Burn Down The Mission like it's aforementioned relative is also discovering new life. Before it grew up and gained an orchestra, it had a life as a rowdy youth. Rustling cymbals at the start, the two drummers bang on the beat. Davey fires off his guitar like a chain gun with an unlimited clip. Extraordinary bass playing here from David. If it were isloated it would be exhibit number one in bass playing court. Fullsome licks that are vital to the transition from verse to chorus. Someone Saved My Life Tonight has an 80's style influence; Fred on the keyboards at the start with it's glassy waves. Slow drumming is present and correct (good) backing vocals are at full power and full arrangement (good, good). David's heavy bassline is a terrific counterpoint to the low guitar from Davey for much of the time. That is until the solo boots in. The whammy bar is never strangled, Davey just handles it to maximum effect. Elton's piano playing never shirks the heavy parts nor does his vocal. His range still able to summon up high. 

The Bitch Is Back has a witty vocal from Elton, the deep sax (I said sax!) equally as fun. Fred's guitar solo is a case study of twisted and tormented vibes being wrung out of six strings. The ride cymbals hunt in clusters, Shirley Lewis's end interjection is interrupted by chainsaws being switched off. The ultimate rock massacre. Restless...or Relentless....has zany keyboard work from Fred. It's aggressive, opinionated rock throughout. The shouting brass being more opinionated than most. Davey's solo is sleazy, egged on to even more depraved twist and twirl throwing by equally mean drums.

What of the piano I hear some cry? The white Steinway was never underused on this tour. Ask Bennie And The Jets for instance. She'll tell you how hard she got banged every night...anyway, a funky boogie woogie line is omnipresent. And I Mean This Most Sincerely Folks...Opportunity Knocks for Elton when he's let loose here. Borderline comedy threatens to spill over into farce as the solo progresses Straight (not New Faces) faces are restored. But then all hell breaks loose. As it always did on the outro to this manic jam. This is what I'm talkin' 'bout...sudden accelerations with the riff freezing everyone on stage with its hard notes repeatedly hammering over and over. Expressive keyboards playing alongside pummeling piano playing. Never too much...and not too soon.

Polarising Bennie is Cry To Heaven. No faces of clowns here, they've been wiped clean to lay bare emotions of the lyric to the maximum. A wall of synth, solid yet opaque enough to let through majestic tubular bells from Jody. Davey's wailing guitar is simplicity in itself, the perfect response to the earlier craziness. When Elton says 'tease' Fred teases us with an equally unexpected line. A fulfilling climax with ghostly echoes fades from earshot...that later awakens with a brisk I'm Still Standing. Lyrically heavy but vocally light. A no nonsense solo with mood calming piano to beckon an extended finish. Dangling bass with guitar always poised to take over. Which it does, a heady mix of evolution and revolution. A rockasm has been achieved by the end of this one.

That's what we're going to close with. A revolutionary yet evolving version of a classic. When Elton does the 'hybrid' song...a mix of the original and then other newer elements it's usually a triumph. Tonight on this tour being a case in point, Sixty Years On at the birthday show in 2007 another. Song For Guy is one of the highlights of the show and Elton's live repertoire. Encapsulating perfection, all contributors are to be congratulated. Crucial original elements like the drum machine and backing synth are retained. But with added nutrition. Conga's and tambourine are more than organic, they are vital to the songs diet. Piano lines are critically unaltered, the sweeping synth is like an unseen wind shaking the chimes. As the buildup to the end is commenced, Elton hits some high notes that summons up those chills without corny spills. A closing payoff with added encouragement from Davey on guitar. Mimicking the lead line with a sense of pathos. When Eton's vocals come in we stay on the edge yet tip over into something mesmeric, spellbinding and stretching out into oblivion. For life...and everything.