Honky Chateau [Hybrid SACD - DSD, Original recording remastered]

Elton John | Format: Audio CD

Product Details

• Audio CD (November 9, 2004)
• Number of Discs: 1
• Format: Hybrid SACD - DSD, Original recording remastered
• Label: Island
• ASIN: B00064X3EU
• Average Customer Review: 4.6 out of 5 stars  See all reviews (14 customer reviews)
• Amazon Best Sellers Rank: #26,171 in Music (See Top 100 in Music)

Track Listings

1. Honky Cat

2. Mellow

3. I Think I'm Going to Kill Myself

4. Susie (Dramas)

5. Rocket Man (I Think It's Going to Be a Long, Long Time)

6. Salvation

7. Slave

8. Amy

9. Mona Lisas and Mad Hatters

10. Hercules

11. Slave [Demo]

Customer Reviews

Most Helpful Customer Reviews

6 of 6 people found the following review helpful:

5.0 out of 5 stars Elton John's Classic 1972 album sounds better in SACD format, October 27, 2006

By 

John Kwok (New York, NY USA) - See all my reviews
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This review is from: Honky Chateau (Audio CD)

"Honky Chateau" is yet another essential Elton John album whose sound quality has been enhanced via the 5.1 mix SACD format used by long-time Elton John associate Greg Penny - who co-produced the album "Made in England" with Elton - working directly from the digital masters compiled by the late Gus Dudgeon, this album's original producer. In the new SACD format, Penny has truly produced a genuine "wall of sound" with each of the instruments heard distinctly, though - and I think correctly - the balance is emphasized for Elton and his piano. From a historical perspective, "Honky Chateau" is memorable for four reasons. First, it gave Elton his first major hit with the song "Rocket Man". Second, this is the album in which the original lineup of the Elton John Band was established finally, with drummer Nigel Olsson and bassist Dee Murray joined by guitarist Davey Johnstone, and, on "Amy", percussionist Ray Cooper. It's also the first Elton John album that doesn't have orchestral arrangements composed by Paul Buckmaster. Finally it would be the first of several Elton John albums to be recorded at Strawberry Studios, located in a medieval chateau outside Paris, of which the most memorable was of course "Goodbye Yellow Brick Road".

I regard "Honky Chateau" as a brilliant classic Elton John album merely because it was his - and Bernie Taupin's - most refined exploration of country and folk-influenced rock and roll music in the early 1970s; a trend that had started with their earlier album "Tumbleweed Connection". Both the melodies and lyrics sound as vividly fresh as when I had heard them originally back in the early to mid 1970s; the songs are some of Elton's most carefully crafted melodies wedded to some of Bernie's best lyrics during this early stage in Elton John's career, covering gospel and blues influences in addition to the aforementioned ties to country and folk music.

"Honky Cat" is a rollicking bluesy bluegrass/country rock and roll song which still remains among the more popular hits in Elton John's oeuvre, at least amongst his devout fans such as yours truly. "Mellow" is a splendid country ballad about a young woman wooed and loved by Elton, accompanied by spirited violin playing by legendary French jazz violinist Jean-Luc Ponty (I suppose that if Elton had recorded "Honky Chateau" today, he might have opted for a more acoustic sound, relying on such magnificient musicians as the great Irish-American Celtic violinist Eileen Ivers, the notable bluegrass/country folk violinist Jay Ungar, or the relatively unknown, but still quite brilliant, bluegrass/country violinist Dotty Moore, an old friend of mine and a fellow Brunonian too; however, I think that Jean-Luc Ponty's spirited, fiery playing on "Mellow" and "Amy" is most appropriate with the slightly hard-edged folk rock melodies of both songs.). "I Think I'm Going To Kill Myself" is another classic Elton John folk rock ballad devoted to teenage angst, with a memorable lyric about a suicidal teenager's wish to have Bridget Bardot visiting him every night, featuring a tap dance solo by Larry "Legs" Smith. "Susie (Dramas)" is another funky folk rock song with some memorable guitar solos from Davey Johnstone. "Rocket Man (I Think It's Going To Be A Long, Long Time)" is the John/Taupin songwriting team's memorable ballad devoted to space travel and middle age loneliness; it was truly the first of the many great hits which Elton John had in the early to mid 1970s, featuring some splendid synthesizer solos from David Hentschel and superb melodic drumming from Nigel Olsson.

"Salvation" is one of my personal favorites on this album; it is a bluegrass-flavored religious ode featuring memorable background vocals from Nigel, Davey and Dee, featuring Elton at the piano and Dee and Davey playing their string instruments. "Slave" is a bluegrass-tinged folk rock ballad about a black slave in the pre-Civil War South seeking deliverance from his harsh treatment by his white masters, which is replete with elegant banjo playing by Davey Johnstone. "Amy" is the album's tune that is closest to hard rock and roll, sounding reminiscent of some early Rolling Stones, with yet again a memorable electric violin solo from Jean-Luc Ponty, and with Ray Cooper making his first appearance with the Elton John Band playing congas. "Mona Lisas And Mad Hatters" is a bluegrass/country ballad in praise of dirty, grimy New York City, featuring great mandolin playing from Davey Johnstone (Many may recognize it from the soundtrack of Cameron Crowe's film "Almost Famous", which also includes "Tiny Dancer" from the "Madman Across the Water" album.). "Hercules" is a rollicking folk rock and roll tune from Elton John and Bernie Taupin that includes a memorable rhino whistle solo from producer Gus Dudgeon. "Slave (Alternate Version)", which is the bonus track not on the original album, is a hard rocking honky tonk version of the song at a faster beat with Nigel Olsson drumming vigorously; clearly both Elton John and Gus Dudgeon were quite wise to use instead the much slower, almost laconic, bluegrass/country folk version of "Slave" in the original album.

4 of 4 people found the following review helpful:

5.0 out of 5 stars Exceptional Sounding!, February 24, 2005

By 

Mike Brown - See all my reviews

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This review is from: Honky Chateau (Audio CD)

I've read on the internet that this is one of the best sounding SACD's available, and I tend to believe it. The sound quality is incredible. The opening piano will knock your socks off -- it sounds so pristine and full.

Like all the other Elton John SACD's, the 5.1 mix here is very true to the original album mix in regard to relative channel levels and timbre. So you'll feel right at home. But the audio quality is on another level entirely. And of course, Honky Chateau is a great album anyway, so I highly recommend this.

After giving Elton's albums so much wear over the past 30 years, it's really nice to enjoy them again as if hearing them for the first time!

2 of 2 people found the following review helpful:

5.0 out of 5 stars Elton evolves..., August 20, 2005

By 

WTDK "If at first the idea is not absurd, the... (My Little Blue Window, USA) - See all my reviews
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This review is from: Honky Chateau (Audio CD)

Although not his finest album, "Honky Chateau" ranks among Sir Elton's best. Before glitter rock turned his music into useless taffy, John and lyricist Bernie Taupin turned out a series of clever, classic albums full of rich melodies. There are those that have damned Taupin's lyrics as being too facile. While Taupin's lyrics might not be as wry or witty as Ray Davies (one of my favorite songwriters)but his narratives more than hold their own. Taupin that this time as a lyricist was still learning and trying a variety of different voices as a songwriter. More importantly, they provided a perfect vehicle for John's songs. More importantly, it's among the most focused, diverse and accomplished material that John and Taupin wrote. They certainly tackled more ambitious material later but this album is where is perfectly jelled for the first time. "Honky Chateau" along with "Tumbleweed Connection", "Captain Fantastic", "Elton John" and the sprawling "Goodbye Yellow Brick Road" ranks as some of John's most artistically successful and powerful albums. John's performance, arranging skills and the support of his tight knit backing band (including electric violinist Jean Luc-Ponty as a guest performer)are top notch.

While I appreciate Paul Buckmaster's orchestral arrangements, they could sometimes smother some of the more delicate melodies on some of John's other albums. Here Buckmaster seems in perfect synch with John adding just the right level of orchestral coloriation. Although constant airplay may have diluted the impact of many of the best songs here, the big hit "Rocket Man" continues to work perfectly as a metaphor for the alienation of middle age,isolation and the dissaffection of the middle class lost in the black, bleak ocean of the work world. It provides a nice bookend with "Mona Lisas and Mad Hatters" another one of the duo's most affecting songs.

"Salvation" and "Mellow" have always been two favorites of mine that I've felt have been overlooked by most folks looking only for the hits. John manages to nicely and effortlessly integrate gospel into his sound. "Salvation" also features one of Bernie Taupin's most affecting and direct lyrics. Clearly its heartfelt and John's music compliments the lyrics perfectly. The funky "Amy" demonstrates that John could do the Stones better than the Stones and still have his own distinctive style.

The CD/SACD hybrid has the advantage of the late producer Gus Dudgeon's original mixes and a 5.1 remix by long time John collaborator Greg Penny. Both sound terrific but for purists the original stereo mix is essential to have as it represents the way John and Dudgeon meant the album to be heard. Penny does a terrific job with the 5.1 mix placing various instruments around the system. Most importantly, though, Penny recognizes that John's piano and voice are the vital elements that made this album (pardon the pun) sing. The SACD version has 1 bonus track like the 1995 reissue. The rollicking version of "Slave" included here is interesting but demonstrates that John's later slower tempo version was the keeper.

Should you pick this up if you have the 1995 reissue? Both sound very good but the real treat here is Greg Penny's remix of the album. I can only hope that The Beatles catalog gets half as much care as this terrific reissue does.