Customer Reviews

Sleeping With the Past

5 star:		(15)
4 star:		(8)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

This is a terrific album. Quite simply, it is the first Elton album since Captain Fantastic in 1975 to have any sort of unifying theme, and the idea (let's do a set of new songs inspired by pop, rock and soul classics of yesteryear) was really good, even if , as Elton explained in a 1989 radio interview I have in my collection, it had been borrowed from Billy Joel and his An Innocent Man album (1983).

Elton had just started emerging from a horrendous sequence of personal traumas (unjustified press vilification, divorce, drug abuse, slumping record sales, and vocal cord surgery) during the 3 years 1986-88 when he went into the studios in Denmark to record this 10-song set in 1989. With each lyric, he and Bernie thought of a style of music that might be appropriate, then Elton would whip up the new tunes.

In August 1989, the first single Healing Hands was released . An uplifting, soulful song about the redemptive power of love, this missed overseas, but was a #14 hit here in Australia. A great song, it re-ignited my interest in Elton John's music, which had wavered during the late 80's - I remember spinning my new copy of the 7' vinyl single heaps of times in October 1989!! From then on I was keenly interested in the chart fortunes of Elton's new album and its subsequent singles.

The album cover showed a monochrome photo of a hatless Elton(!!!) sleeping in shadows, with wispy, now platinum-white dyed hair!!

Opening track Durban Deep is jaunty , but not actually that memorable, although it seems to be about miners in South Africa. Despite the potential for thus causing political trouble (this was still the 80's and the odious National Party government still ran that country), this innocuous track made few waves. Healing Hands came next and really sparked the album into life. It was followed by the sublime Whispers. I really like this song - it showed Elton was really back in form after treading water for several years creatively. This had lovely music, especially the tinkling piano flourishes in the coda, and subtle vocals from Elton, whose voice was also approaching its best again after his health scare.

Track 4 was the very enjoyable Club At The End Of The Street, which I recall Elton saying in an interview was "after the style of the Drifters" - i.e. soulful harmony pop complete with vocal "doo-wops" etc. This was accompanied by a really fun animated video, which is one Elton John collectible I hace never been able to track down, but which I remeber from pop TV back in 1990. Club... became a pop hit in July 1990 as the 3rd single from the album. "Me and you rendezvous / In the club at the end of the street..." The album's title track Sleeping With The Past has a conventional guitar hook and is not bad overall, just not the best song here.

Side 2 of the original LP began with Elton producing an unusual soft falsetto vocal on the catchy tune Stone's Throw From Hurtin'; this worked well in concert, I recall. Then comes Sacrifice, which is remembered as the key song of this album for several reasons. Firstly, it is a well-crafted, mature song about relationship difficulties and disappointments that avoids the obvious and over-used cliches inherent in this genre of songwriting (Bernie is too clever to fall into this trap). Secondly, it seemed to be one of those occasions where Elton was singing about something personal to his own life, and put lots of soul into his performance. Thirdly, it was a smash hit at a time when Elton was pushing 43 and could perhaps have been expecting to start a slow fade from popularity after 19 years already as an established pop star. Sacrifice missed in the UK on initial release in 1989, but hit #7 here in Australia in March 1990. Then in June, it was re-released as a double-A 7" single with Healing Hands and topped the UK chart for 5 weeks !!
An amazing comeback for Elton, who celebrated again soon after when Sleeping... hit Australia #2 and UK #1 (his first album chart-topper there in 15 years). This resurgence happily co-incided with Elton's success in reforming his obsessive lifestyle, and promised an optimistic decade ahead. The Sacrifice had been worth it.

The last three songs are slow to medium paced and really good too. I Never Knew Her Name revisits the bride and groom territory of Kiss the Bride (from Too Low For Zero), while Amazes Me is a slow track that's drenched in soul. Last track Blue Avenue occupies a similar place to Too Low For Zero's One More Arrow - it is a great piano-based song with a wonderful melody that deserves to be better known than it is. It stands up well against classic tuneful Elton ballads of any past era.

Like Too Low For Zero six years before, this album enjoyed a year-and-a-half run on the charts, and spawned several hit singles, while bringing Elton's music right to the forefront of popular acclaim once again after aeveral fallow years. It is a very enjoyable set that still sounds good today.

The bonus tracks are the 1989 B-sides Dancing In The End Zone and Love Is A Cannibal, neither of which is a stand-out track, but which are OK rockers.

This album is 5-stars for sheer entertainment value and for its pivotal role in restoring Elton to his rightful place at the top of the pop music world.

There was a lot of hope for Elton John fans with the release of "Reg Strikes Back" in 1986. Elton's singing was more energetic and his music was more creative than in the previous few albums, particularly his musical low point, "Leather Jackets." The question was: would Elton's next release show even more improvement? The answer was an absolute yes. "Sleeping with the Past" had Elton and Bernie moving toward improved creativity and a renewal of their careers. Some of the songs on this CD are significantly more inspired than songs the duo had created in years, and fans could rejoice that Elton really was striking back.

The album kicks off with "Durban Deep." Durban Deep is the name of a mine in South Africa. I believe the mine is actually a gold mine, though the lyrics talk about breathing coal dust. Regardless, this bouncy tune has some interesting musical effects to back it up.

The second song is upbeat. "Healing Hands" reflects the powerful pop style of Elton's 70s hits. This song sets the tone for this album, rather than the first song. This song also reached #15 on the U.S. charts, backed by "Dancing in the End Zone," which did not appear on this album in its original release, but which is included on the remastered version.

The third song is one of the best songs on this CD, and surprises me in that the song was not released as a single by itself rather than being released backing "The Club at the End of the Street." This song is one of the most artistic on this CD, and is a beautiful love ballad as well. Elton excellently matched his music to Bernie Taupin's lyrics to create one of those songs that could easily have been included on Elton's "Love Songs" CD. This song is an overlooked gem. Fortunately it is one of the longest songs on this CD, and I enjoy every second.

"The Club at the End of the Street" is a nice pop song that is bouncy and upbeat and fits all the requirements for commercial success. However, of the songs released from this CD, this one was the weakest, reaching only #25 in the U.S. Since this song was backed by "Whispers," which I think is the better song of the two, perhaps this song should have charted higher.

The next song is the title track. Keeping with the tone of the album, this song is also peppy and upbeat, with a very enthusiastic refrain. While this song has a commercial flavor similar to the previous song, somehow this song comes across as more creative and interesting. By the time you reach this song you realize that this CD is much more consistent and musically interesting than any Elton John CD in a number of years, and yet, there are even more interesting songs to come on this CD.

I have little to say about "Stones Throw from Hurtin'." I know Elton was trying to affect a certain style, and perhaps he succeeds. I know I do not care for the style. The vocal sounds muddy and nearly monotone and the music is too repetitious. This song is the weakest and is stylistically very different from the other songs on this CD.

"Sacrifice" makes up for the last song by being one of the best songs on this CD. This song reached #18 on the U.S. charts, backed by "Love Is a Cannibal," which is a song from "Ghostbusters II." This song was chosen for Elton's "Love Songs" collection, and is one of Elton's greatest ballads. The music contains a lot of electronic effects, but they are so well done that they enhance the beautiful words and the excellence of Elton's vocals. This song is one that strikes an emotional chord every time you hear it.

Breaking out of the mellow mood is "I Never Knew Her Name." This jazzy song is about an observer at a wedding, seeing a beautiful woman that impresses him. This song is an above average song for this CD that contains a number of interesting musical moments, including an all too brief organ portion. Combined with Elton's powerful vocal performance, this song delivers.

Elton did powerful blues songs early in his career, but did so less frequently as his career progressed. "It Amazes Me" has a lot of soul and power, with even the words throwing in an element of blues and soul, making a number of obvious references. This song is poetically and musically interesting, and is yet another of the strong performances on this CD. The guitar on this song is very well done and takes a rare lead on the bridge of this song.

The last song on this CD is very mellow. I could easily see Dan Fogelberg singing "Blue Avenue." The music is very well done and matches Taupin's lyrics very nicely. There is a touch of jazz on this song, in keeping with some of the earlier songs. This song is yet another of the standout songs on this CD.

In addition to the original songs, the remaster includes the aforementioned B-sides "Dancing in the End Zone" and "Love Is a Cannibal," both nice additions to fill out the time available on this CD, in addition to being associated with singles released from this album.

If Elton had yet to really strike back with his previous album, he certainly did with this album. Following Elton John and Bernie Taupin's induction into the National Songwriter's Hall of Fame in 1988, this album generated Elton's first ever #1 single in the United Kingdom, "Sacrifice," and proved that Elton John was still an incredible singer and song writer. Elton and Bernie were poised to go into the 1990s refreshed, ready to climb back into the charts anew, and ready to break into territory that was new to both of them.

Every musical artist has their ups and downs. Their peaks and valleys. Elton John has certainly had his. The late 70's started to turn bad, but there was an upswing in the early 80's. It went mediocre again in the mid 80's. But, in 1989, Elton shined through again with this amazing album. Sleeping With The Past is easily Elton's best work of the entire 80's. "Too Low For Zero" would be second. The album is fashioned after a lot of soul and R&B music that had originally inspired Elton and Bernie. The three singles were all hits and the strongest set of singles Elton released in the 80's. "Healing Hands" is classic Elton. The melody is priceless. "Sacrifice" is one of the best, most hauntingly beautiful pieces of work he's ever recorded. "Club At The End Of The Street" is bouncy fun. Every track on this album is either good or great. There's no weak spot. That's something to be treasured. The title track is an uptempo rocker that'll make anybody a fan. "I Never Knew Her Name" is a fantastic song that deserved to be a single. Elton's voice sounds as good as ever. It's just a lovely, haunting album. You can tell by the somber looking front cover. Elton started back on a roll again with this album. He hasn't stopped since. This is an essential album for any EJ fan to have. A classic Elton John album.

I can't think of any other artist who has had so many "comebacks" in the general perception of the public. The fact is that Elton John has never really been away. There have been ups and downs (who hasn't had them?) along the way but he always comes through. If his late eighties finish was compared to a horse race, then this release, would be a near photo finish for first place - but he doesn't quite get there.

Sleeping With The Past is a mature and relatively low key entry in the big Elton catalog. With Bernie Taupin firmly back at the helm writing lyrics, the duo take a surprising turn into R&B old school style songwriting that is a big departure from the rock and roll sound of Reg Strikes Back, the album the proceeded this release. Who'd have thought this would have been next on the horizon for Elton?

As most fans agree, this album ranks up there with one of his best albums, if not his best of the 1980's decade. I would give Too Low For Zero the edge over this one for his best album of the 80s simply because it had more fun and energy. This is a low key affair and while most of it works, it never rises above a low boil.

Paying homage to the classics 60's and 70's R&B sound, Taupin writes lyrics that are in close relation to other hits from that era. Durban Deep, resembles Working In A Cold Mine and Amazes Me reflects any great Ray Charles classic. These aren't copy cat songs however.

The album was recorded in Denmark, where George Michael had made Faith. Apparently, the studio is state of the art and Elton was looking for a change. But I have to ask the question: How is Denmark the hot bed for R&B inspiration? Of course, Elton and Taupin recorded past soul records in various locations but I would have thought either Philly or Detriot may have been a better choice. Because, the production of this album is far to slick for my tastes. Chris Thomas, again, allows too my synthesizers to create horn sections (such as the title track) and yet, on Club At The End Of The Street, a real saxophone is played. Why not use real musicians on the whole album? What we get instead is a watered down effect. Yea, it has shadows of that great R&B sound but is way to polished.

The songs however are well written and some of Elton's best vocals are evident. Whatever was going on personally with him, it doesn't show. Healing Hands, a dynamite single which should have been a bigger hit, is full of wonderful piano playing and incredible backing vocals. The above mentioned Club At The Of The Street swings along nicely and echos the Drifters classics. Sacrifice is a open love letter which is one of the best John/Taupin songs to date. Blue Avenue ends the album on a slight jazzy note that is delivered effectively and sincerely. A gem.

On the heels of his 1987 Live In Austrailia album and 1988's Reg Strikes Back, this release was bascially the triple crown for Elton John. With three solid releases to end the decade, he was ready for the 1990's.

Sleeping With The Past is the most understanding album I've ever heard from Elton John. It reveals struggles with demons, and trying to move on with life. Sacrifice, Healing Hands and Blue Avenue deal with problems and painful roads in life that we all have. Elton revealed his demons in the way his music always stands, with passion and the story. This album is wonderful and enduring to the reflection of the 80's happenings.

Without a doubt, this is Elton John's finest concept album since "Captain Fantastic" and it is a sterling homage to the Motown sound. However, the remastered version offers two duds at the end, which I think detract from this otherwise exceptional album. Virtually all the tracks could have been released as singles. Along with "Sacrifice", "Healing Hands", "Club at the Edge of the Street" are the equally exceptional title track, "Whispers", and "Blue Avenue". Bernie Taupin has penned some of his finest lyrics, period. This is a brilliant end to one of the finest periods in Elton's career, foreshadowing his great work on "The One", and especially, "Made in England".

This late 1980's album from Elton John marked the start of his rejuvenation after years of drugs and alcohol problems. Inside the sleeve notes you will find the following quote:

"These songs were inspired by the Soul pioneers of the Sixties and Seventies, whose music meant so much to us"

That pretty much sums up what this album is about and in some instances the influences are quite clear. For example "I never knew her name" is clearly inspired by Aretha Franklin, and is one of my favourite tracks on the album. Another favourite track of mine is "Club at the end of the street". This is a really catchy track, with some great backing vocal arrangements and a fabulous Sax solo. The track that seems to most represent a normal Elton John track is the last - "Blue Avenue" which is a great way to finish the album.

The album isn't perfect though. Overall the quality of the songs on this is as good as anything he produced in the 80's with the exception of "Too Low For Zero". However it is over-produced (as were nearly all records in the 80's). Still this was the start of Elton rebuilding his career and its a good album, that ultimately has lead back to "Songs from the West Coast" and "The Captain and the Kid"

This should be reguarded as one of Elton John's classic albums. He is in top form here. His voice and his piano playing beautifully mesh together to create beautiful music to Bernie Taupin's lovely lyrics.

In late 1988, Elton and Bernie went to Denmark to begin writing and recording for Elton's next album. The album was a tribute to the great R&B artists from the 1960s' and '70s', such as The Temptations, The Four Tops, The Miracles, Marvin Gaye, Otis Redding, and Ray Charles. The album also includes some personal tunes reflecting Elton's disastrous personal life at the time.

The cd's R&B/Gospel influence is evident on the uplifting and hopeful "Healing Hands", in which Elton proclaims that there's a light where the darkness ends and tells you to reach out for your companion. "Club At The End Of The Street" is a Drifters-inspired summertime ode to a place where people at the end of a long day of work. The song became a top 40 hit in early 1990. When you first listen to "Stone's Throw From Hurtin'", you wonder who's singing, but you soon find out that it's Elton. "Sacrifice" is the only song to shy out of the concept, but it's a classic Elton song dealing with his personal problems at the time. "I Never Knew Her Name" is the song that best fits in with the album's concept, with an uptempo, soul beat sounding like it comes straight from motown. The Ray Charles-inspired
"Amazes Me" is a gospel-tinged ballad evoking the feel of the deep south. Elton is at his best here. The tearjerker "Blue Avenue" is another song that deals with Elton's personal life, and this songs is one of his best with metaphors of lost love. This album is a must-have

oh,i've been searching & searching for this bang of a record by elton john!finally found it,thanks to the amazon wish list people i now have it.but to my surprise,it also has my other fav elton john hits like sacrifice & healing hands!!he really displays his fab mellowdrama (blue eyed soul )talent on these great, great tunes!!while the jukebox plays the hits,of otis & marvin gaye,at the "CLUB AT THE END OF THE STREET"j.h.

When I bought this album I asked the remastered edition with bonus tracks and what I got was the album I already had.
As I noticed the people from amazon the money was sent back to my account and I kept the CD.
I was really amazed by the honesty of this team.