Customer Reviews

Elton John

5 star:		(39)
4 star:		(15)
3 star:		(2)
2 star:		(2)
1 star:		(1)

 

 

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.

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.

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.

Unfortunately, what he left behind is to be found on this album and three or four more from a time when he was "only" a powerful songwriter (this album, "Tumbleweed Connection", "Madman Across the Water", "Honky Chateau" and "Don't Shoot Me"). Even allowing for AM tracks like "Your Song" being thought of as earpaper, what about "Sixty Years On", from a time when hardly anyone of his generation (myself included) could care less about senior citizens. Today most of us are AARP members. Go figure. "No Shoestrings On Louise" is a fun track in the style of the countrified side of the Rolling Stones. The bouncy "Take Me To the Pilot", which really shines in the version appearing on the live "11-17-70" in pared-down trio form (oops, forgot that album). If this arc of Elton's discography was presented to somone who had never heard him, they'd wonder why he later became became the Liberace of rock'n'roll. Know what? So do I.

"Elton John" is the first of the classic albums which Gus Dudgeon produced during the amazing period from 1970 to 1976 when Elton John was the world's most popular rock and roll musician. It was also the first to feature the great orchestral arrangements of Paul Buckmaster. It's also notable for featuring the talents of guitarist Caleb Quaye and drummer Roger Pope, who would be part of the Elton John band in 1975 and 1976, playing on "Rock Of The Westies" and "Blue Moves". Aside from the obvious "Your Song", my favorite tunes include "Sixty Years On", "Border Song", "Take Me To The Pilot", and "The King Must Die". Bernie Taupin wrote some of his finest introspective lyrics for this album. Without question, this is an essential Elton John recording. Once more Gus Dudgeon and his team have done a splendid job remastering the original analogue tapes using the latest digital technology.

As I began the task of reviewing the Elton albums that matter most to me, I had to ask myself, "What is it you want most from an Elton album?" The answer will likely be different for everyone, but my list reveals why I like this album so much, and consider it the second-best Elton album, behind Tumbelweed Connection.

#1. Piano--lots and lots o' piano.
#2. The serious, romantic, vulnerable Elton; leave the goofy side for someone else.
#3. A real band sound, or arrangements that sound like real instruments are being played (more acoustic ones than electronic). Sgt. Pepper doesn't have a mellotron, afterall!
#4. An album that features ballads, Elton's supreme contribution to music.

O.K.. If you agree with most of this list, my reviews of Elton are for you. This is Elton's second-best album because it satifies most of the above points on my list. The standouts (ballads, of course) are the great quartet of songs, "The Greatest Discovery", "Your Song", "First Episode at Hienton" and "I Need You To Turn To" in that order. I wonder if Paul McCartney has ever commented on "Greatest Discovery", as it evokes his song, "She's Leaving Home", and, I humbly submit, is just as lovely and masterful a song. I can only imagine that Paul wished he had written this song. Stylistically, Elton is not his own person yet, this being only his second album. It's a hodgepodge, but, interestingly, his ballads here will never sound the same on later albums, because he wrote them in an English folk manner, not in the later, Gospel-inflected tone of nearly all his future ballads. Likewise, his singing is also borrowed, if you will, from English folk--I hear the sound of Sandy Denny's voice being imitated here. Nevertheless, "Discovery" and "Hienton" are uncommonly beautiful fruits of innocence, uncommon even for Elton, the greatest balladeer after (or since) Sir Paul.

But, make no mistake, there's plenty of the gospel-tinged Elton here. "Border Song" is better than nearly any gospel-tinged song he wrote. Taupin pulled off a simple yet direct message this time. Musically, the detail of the piano part is astonishing, not a note was left to chance--this is the musicians' musician; all over this album fine touches abound.

The "band", such as it is for a pick-up group, is mostly good, just below that of Tumbelweed, which had Elton's best band. The arrangement/orchestration is mostly very tasteful--except that ridiculous intro to "Sixty Years On". Bernie Taupin's lyrics, which I've covered ad nauseum in other reviews, are, like Tumbleweed, mostly inoffensive here; he captures a mood of innocence that is almost beyond criticism. Yes, he overreaches with highfalutin poetry, but I think it's out of a real fervor for the subject matter. He would never again write so unself-consciously (rare for a green lyricist).

Footnote: Everyone knows Elton can rock; it's just that I don't see those songs as the supreme gifts Elton leaves to pop music. But Elton makes one of his best country-rock songs here with "No Shoe Strings On Louise", not just a dead-on Stones tribute, but one of his loosest, least self-conscious rockers ever!

This was an excellent album when first released and now that is remastered, which is superb, it is even more beautiful than ever. It's the kind of easy listen that lets your mind produce images and you find yourself falling into those thoughts. This is mostly an easy listening/soft rock/folky kind of album and if you get off on piano... your in heaven. Although Elton/Taupin have done some great work throughout the years IMHO they never surpassed this album.

Elton John - Elton John I (1970) (*****) 13 tracks (50:53)

Elton John's first official US release is one of the only Elton John albums that I can honestly say I really like every single song on it. There just are no weak tracks on it in my opinion. This is the album that really got me interested in exploring more of Elton's early work. After hearing this album enough to really get into it, I realized that there must be much more unknown music of his besides what I had previously only heard on the radio or off his greatest hits album.

This version was also the first of the Island records re-masters that I bought. The old original MCA version that I had was known to have excessive tape hiss on it, so I wanted to compare the two. Honestly, it's like night and day, literally. The background of the re-master is completely quiet, a much needed improvement! Now, as the bonus material goes, it is kind of hit and miss. It really doesn't add much to the original album. Bad Side of the Moon is a good song, but the two other tracks, an alternate version of Grey Seal and Rock and Roll Madonna are kind of mediocre. Still, over-all, this is a 5-star album.

Despite the passage of 34 years, and the release of zillions of other Elton John records since the release of this, Elton's second studio album, it still remains his best record in my opinion. By 1970, 23-year-old Elton and lyricist Bernie Taupin had been writing together for 3 years, and had created a large cache of very good original songs and of these, the 10 songs here were selected to be recorded in a really good studio by expert producer Gus Dudgeon with high-quality orchestration from arranger/conductor Paul Buckmaster and professional studio sidemen to augment the basic trio of Elton (voice, piano), Nigel Olsson (drums) and the late Dee Murray (bass). Elton really stepped up into the international league with the quality of his tunecraft and excellent vocals on this album, and the songs have a timeless, classic feel to them.

In particular, I love the tune The Greatest Discovery, which conjures up the magical world of a small child greeting his newborn sibling for the first time. Elton sings this so beautifully. The hit tune Your Song is very familiar now from countless radio and concert hearings, but it still has the ability to enchant with its sincerity and charm . It became Elton's first international hit single in February 1971, and his most enduring standard. The trio of innocently-delightful love songs is completed by I Need You To Turn To, which has another memorable melody, and an unusual harpsichord intro.

At the other end of the scale, we have the rockers Take Me To The Pilot,(with a famously-indecipherable meaning !!!), The Cage , and the country-styled No Shoestrings On Louise. These are good, but the Elton John Band still had a few years to go before hitting their peak as a full-on rock phenomenon in the mid-70's.

Another classic song is Border Song (Holy Moses), which has a gospel style and an impassioned plea of "Let us, let us live in peace..." The evocative poem First Episode At Hienton is about the shedding of youthful innocence and is also really good, while Sixty Years On looks even further ahead in the life cycle to the fears inherent in the onset of old age. It benefits from a strong orchestral backing and some lovely harp playing.

The dramatic, climactic piece The King Must Die brings the album to a resounding conclusion.

Newer CD re-releases have bonus songs taken from Elton's treasure trove of great recordings from the year 1970, namely the original version of Grey Seal, the non-hit single Rock And Roll Madonna, and its B-side Bad Side Of The Moon.

This is a definite 5-star recording, and one of my five all-time favourite albums. Essential .

Although it is self titled, "Elton John" was actually Elton's second album following "Empty Sky" which had been released the previous year. This was the first album that really put Elton on the map commercially and produced the hits "Border Song" and "Your Song" which remains his traditional live show closer to this day 40 years later. One thing that immediately sticks out on this disc is how heavily orchestrated it is. Almost every track features an orchestral accompaniment which is not necessarily a bad thing, but does tend to date the album a bit. The album contains several tracks that take an almost progressive rock direction especially "Take Me To The Pilot" and the album closer "The King Must Die", both of which are great tracks. It is kind of amusing listening to "60 Years On" today when Elton is indeed in his 60's when the song was written when he was in his 20's. Overall this is a good, but not great Elton John album. It made him a star and contains a lot of good material, but he would do better later.