Elton John [Original recording reissued, Original recording remastered]

Elton John | Format: Audio CD

Product Details

• Audio CD (February 20, 1996)
• Number of Discs: 1
• Format: Original recording reissued, Original recording remastered
• Label: Island
• ASIN: B000001EG6
• Average Customer Review: 4.5 out of 5 stars  See all reviews (59 customer reviews)
• Amazon Best Sellers Rank: #5,254 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

35 of 40 people found the following review helpful:

5.0 out of 5 stars For us Americans, this was our introduction to Elton John, October 9, 2002

By 

30-year old wallflower "Eric N Andrews" (West Lafayette, IN) - See all my reviews

This review is from: Elton John (Audio CD)

Because EMPTY SKY didn't see an American release, Elton John's self-titled second album was what first caused people to take notice of England's newest music sensation. This was probably not a bad idea because after the ambitious-as-hell EMPTY SKY, the follow-up gave us the bare essence of what Elton & lyricist Bernie Taupin were all about: insanely-catchy melodies & intelligent lyrics pop music hadn't seen the like of since the arrival of Bob Dylan (a huge influence on the duo, for sure). So if ELTON JOHN (1970) must be the beginning of Elton's legacy (although an inaccurate one), so be it.

Of course, this is the destination for "Your Song", which is probably still the #1 favorite song for Elton fans around the world (even non-fans, like my mom). Elton & Bernie's love songs were still rather direct around this time, so "Your Song" was a perfect choice for a first major hit single as any. Even as the duo's explorations into love songs became more complex (the coming-of-age "First Episode At Hienton" already shows the transformation starting), "Your Song" still dazzles with its heartfelt simplicity (not to mention its guaranteed appearance in any concert playlist).

While EMPTY SKY tried to jam too many genres onto one album (or often on one song), ELTON JOHN kind of continues that ethic, but it coalesces more this time around. The harpsichord that beautifully adorned "Skyline Pigeon" makes another appearance on "I Need You To Turn To", while "Sixty Years On" (both songs looking at the ravages of age from men who were still in their early 20s!), "The Greatest Discovery" (about the birth of Bernie's younger brother) & "The King Must Die" show the emerging influence of conductor Paul Buckmaster. The lyrics show Bernie making that leap into songwriting master, unlike on EMPTY SKY where he seemed too eager to impress. But "Border Song" is another song that amazes with its simple-but-valid call for peace & tolerance & was therefore a natural cover for Aretha Franklin, who took Elton into the American top 40 for the first time.

Those who know Elton as a slick purveyor of Adult Contemporary pop nowadays might be surprised to know he did a fair share of rocking early in his career & ELTON JOHN shows him not afraid to tear it up. "Take Me To The Pilot" is another surefire concert rouser (even with its indecipherable lyrics); "No Shoe Strings On Louise" is Elton's hats-off to the Stones with a country-rocker that might have been at home on STICKY FINGERS (which would come out the next year); "The Cage" is almost funky with its Santana-inspired congas & lyrics about wanting to break free from the conformity the outside world imposes upon us.

The inclusion of bonus tracks is indeed a pleasure this time around, but like those of EMPTY SKY, they're hit & miss at best. "Bad Side Of The Moon" is another one of those "what-the-heck-is-it-about" tunes that Bernie found coming from his pen back in the early days (but could Pink Floyd have found their inspiration for DARK SIDE OF THE MOON here?). "Grey Seal" would later be remade for GOODBYE YELLOW BRICK ROAD (1973) & it's a song that's still very much in demo form at this stage. Interesting only to hear how much better it would soon get. "Rock & Roll Madonna" on the other hand is a song that definitely should have made the album! Again, it's a tune that will quiet all carps that Elton couldn't really rock & he contributes some of his best piano playing ever (saying a whole lot), proving his debt to Jerry Lee Lewis & other piano pounders. The lyrics seem to be about a fast-living groupie, which in retrospect are a bit more ironic than they may have sounded at the time.

ELTON JOHN sure enough introduced America to the young man from Middlesex, England who would change the face of pop music. It was so successful, that Elton would soon be called on to produce two albums a year & also tour behind them (if that's not a busy schedule, tell me what is). Both albums of that year would go platinum virtually on release & help make Elton probably the most successful musician of the 1970s (exactly who that is is open to debate). It would be wrong to overlook EMPTY SKY, but still, ELTON JOHN was where his legend really began.

9 of 9 people found the following review helpful:

4.0 out of 5 stars EJ establishes an audience., September 4, 2000

By 

Gary Gardner "Your resident dillettante" (Ellsworth, ME United States) - See all my reviews
(REAL NAME)   

This review is from: Elton John (Audio CD)

Elton John's second album (released in 1970) finally established him in the pantheon of up-and-comers to watch. With Gus Dudgeon's gorgeous production and Paul Buckmaster's string arrangements, EJ now had a team worthy of his music. "Your Song" remains the haunting love song of the ages. "Border Song" is a lush string-and-piano paean to tolerance. "Sixty Years On" is a stirring narrative with frightening, sometimes unfathomable lyrics by Bernie Taupin. "First Episode on Hienton" is the only track that harkens back to EJ's first album, "Empty Sky." It is noteworthy for the eerie mellotron playing, and contains some of Bernie's most ambitious lyrics up to that time. Elton pulls some new tricks out of his hat with "No Shoe Strings on Louise", surprising listeners with an attempt at honky-tonk that only partially gels. "The King Must Die" is a comment on a monarch who is slowly but surely losing control of his reign, and frantically looks for a way to save his skin from those who are about to overthrow him. "Take Me to the Pilot" and "The Cage" are decent songs left very much to interpretation; however, they sound rather dated, particularly the latter track. Still, it is a very enjoyable listen; the re-released CD sounds much better than the original MCA releases, which were sonically inferior by a heck of a lot. Finally, the music sounds the way it was supposed to: The sonics are full and Buckmaster's strings never sounded better. Full liner notes and lyrics from the original LP are available in this package, making this a must-have for any Elton fan.

10 of 11 people found the following review helpful:

5.0 out of 5 stars Elton's Breakthough, August 17, 2000

By 

Thomas Magnum (NJ, USA) - See all my reviews
(VINE VOICE)    (HALL OF FAME REVIEWER)    (TOP 1000 REVIEWER)   

This review is from: Elton John (Audio CD)

This self-titled album was Elton John's second and breakthrough release in America. Mr. John and Bernie Taupin had been collaborating for a few years, but they really started to gel as a team on this release. The album has almost a baroque sound to it with alot of strings, harpsicords and airy syntheseisers. Of course everyone knows the megahit "Your Song", but the album contains others that would become Elton John classics. "Sixty Years On" is a stirring lament about growing old, "The Greatest Discovery" is a sweet ode to the birth of a brother, while "The King Must Die" ends the album in dark epic fashion. "I Need You To Turn To" & "First Episode At Hienton" carry on in the somber-like tone. The album is dominated by, but not regulated to classical stylings. "No Shoestrings On Louise" has a country twang, "The Cage" is a funky rocker, while both "Take Me To The Pilot" & "The Border Song" have gospel influences (Aretha Franklin had a big hit with "Border"). While not as radio-friendly as future Elton John releases, this album has an experimental feel and is worth repeat listenings.