Customer Reviews

Honky Chateau

5 star:		(11)
4 star:		(1)
3 star:		(2)
2 star:		(0)
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"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.

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!

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.

This SACD sounds great, it's hard to believe it's such an old album it sounds so good. I don't love the 5.1 mix though. I've bought 4 different EJ SACDs and they are all mixed similarly. The center channel has only vocals, no music, and the surrounds channels get discrete, but distractingly loud, audio. On 'Honky Cat' it's especially noticeable, with a very loud banjo only on the right surround channel, overwhelming the front channels unless the volumes are adjusted. Instead of creating great 'surroung ambience,' I think it becomes distracting and feels 'gimicky' and kind of detracts from the experience. You can't not imagine the banjo player right behind you to your right. A little more bleeding into the other channels would have been better. Wish it were more like the Dark Side of the Moon, Avalon, and Strange Beautiful Music 5.1 surround mixes. Those are nearly perfect surround mixes in my opinion. But overall, the album sounds great, with just a bit too aggressive a 5.1 mix.

I had not listened to Honky Chateau in 30 years before receiving the SACD version. I sat down and listened to it twice this weekend. What a feast.

So far, I've got two SACD versions of Elton John albums: Tumbleweed Connection and Honky Chateau. I plan on purchasing them all. Although the surround-sound mix is imperfect in places (vocals too far back in Hercules, too much banjo in Honky Cat), there are so many delightful surprises in the rear speakers that I'm able to overlook these minor imperfections. Listening to this CD was like sitting in a hot tub with the music enveloping you. With the instruments and vocals distributed through the 5.1 mix you hear things that excite and delight your senses.

The engineer who created the 5.1 mix did more than just put ambience in the rear speakers, he had some fun in putting substantive instrumentation there as well, and did some circular panning from time to time. Normally, I am a musical snob and would look at that type of engineering as unnecessary fluff. Not so here.

At least one previous reviewer has commented about the audio quality. This 1972 recording, obviously originally analog, translates beautifully to SACD. It is smooth and clear, without a hint of brittleness.

Bottom line: this SACD is yummy.

Loved the CD!! But have yet to receive the dvd I also ordered-The Life & TImes of Judge Roy Bean-starring Paul Newman-can you help me with that??

This review pertains to the SACD version of this very fine album. Having all available Elton John music on SACD, this particular work captures the essence of SACD from the first few notes of Honky Cat! What happens next is more "ear candy!" The saxophones literally step into your room from the rear speakers, placing you in the midst of this music seemingly as it was being recorded. I have never heard a piano sound so crisp and clear....how'd they do that? Wow! As if that weren't enough, get ready to take your own personal space journey with Rocket Man, mixed perfectly to sweep you into the far-away laments of one lonely, stellar traveler and presenting that incredible depth to the recording that SACD happily provides. Another of my Top Five SACD recordings. If you appreciate excellence in recorded sound, I would highly recommend you give this a listen and suggest you will not be disappointed.

If you know Elton John's music (and who doesn't), then you know this albumn, or at least the hits. And, you know that the songs contained on this album are great. What you might not know is the 5.1 surround arrangement done on this SACD. It is fantastic. Everyone needs to run out and get an SACD compatible player (preferably one which also plays DVD-A's as well) and then get this or any of the other Elton John's SACD's. They are all wonderfully produced, and really open up these songs to another level entirely. You will be amazed.

I bought this SACD when it came out and have listened to it repeatedly. It is one of the most beautiful sounding SACDs I have. The 5.1 mix is very entertaining with the instruments coming to life all around the room. Highly recommended.

Most paid critics have hailed this as Elton's finest album. They say it has more HOOKS, as if that were really all a great album needed. I can't place Honky Chateau in his pantheon of greats--and I'll explain why Tumbleweed Connection is a better choice. First, the good news: the best song here is "Rocket Man". Our ears may not hear it anymore, but this song shows how clever Elton was at infusing pop with classical elements (non-pop verse lengthening, chords you'll never hear from anyone else on the radio), but makes them sound totally organic. What a gift! "Honky Cat" is one of his most assured vocal/piano performances; after this and "Mellow", Elton would never again sing with such wild-yet-true abandon (maybe due to the ensuing production glitz). And, speaking of production, we gladly can't hear much of Paul Buckmaster's hand--he ruined many a great Elton song before and after with overreaching orchestrations.This may be the most tasteful Elton album as far as instrumentation/arrangements goes--wish they all had this as the model. It's a trade off with second-rate songs.

A word here about Mr. Taupin's words: those who revere "Honky Cat" and it's wry self-exposure need to hear about a dozen songs Mr. Ray Davies wrote on the subject (nearly all better than this lyric). The rustic/urban battle had been done before. I continue to smile and scratch the head at all the Taupin adulation out there. Elton was great IN SPITE OF HIM!

Critics also say that Elton's albums usually have a unifying "groove" to them. I agree, as Chateau has a Boogie-Woogie/Ragtime/Nawlins vibe. Soon he would add Bubblegum to that list for the Don't Shoot Me... album. So the critics like the wry wink of it all, I guess, but I much prefer the vibe of Tumbleweed Connection, which is Gospel/Delta Blues/Appalachian-American Roots. Tumbleweed also had a better band (even though they're a grab bag of sessionmen, but still better than Johnstone/Murray/Olsson). And, aside from the lovely "Mona Lisa...", much of the second half of Chateau is second-rate. "Hercules" was to become a better tune when heard as "Teacher I Need You" on Don't Shoot Me... And am I the only one who hears "Amy" as basically the same song as "Honky Cat?" Some of the piano licks are lifted note-for note. Written in 5 days, a reviewer here says--time to work longer on something new. Not a good sign when you repeat yourself on the same album. This just can't be the finest album of Elton's, but Tumbleweed just may be.