Musical Snobbery at it’s finest

‘Elton John’ was his first release in the states in July of 1970. Two things leap out at first hearing. The production value is much greater and a greater emphesis on his voice. ‘Empty Sky’ sounded great musically, but it sounded as if all instruments were at the same level, which didn’t always put Elton’s voice up front. The second thing to notice was the focus of the songs. There is diversity among the songs, but there was a “sound” that was consistant throughout the disk, as opposed to the scattershot approach of the previous album. One of the greatest things about the first few albums of Elton’s, was that, upon hearing the album from beginning to end, there was a wonderful symmetry to them. In an age of “concept” albums, there was a feel to Elton/Bernie’s work that seemed to make every song work hand in hand with the one before and after, even though there wasn’t really anything to tie them together (although ‘Tumbleweed Connection was truly more in a ‘concept’ mode)

Your Song: This is probably Elton’s signature song, the one that most anyone regardless of age or interest in his music would recognize. I am trying my best to hear this with ‘fresh’ ears, since it has been so overplayed by oldies radio, that it’s hard (at least for me) to like the song anymore. Saying all of that, there are reasons that this has become such a pop standard. First of all are the lyrics. Bernie seems to have written this from the perspective of a young lover trying to find the words to say, but not always being able to articulate them. How many of us have been in that position a time or two?? Saying words from the heart that sound so poetic, then turning around and stumbling around. Elton’s delivery of the lyrics is a master stroke and gives a run for the money to all of the ’sensitive’ singer-songwriters around at the time. Elton has said that this is his favorite love song, listening to him sing it here, reminds us of that he was trying with all earnestness to get us to believe every word that he was singing and here he did it to perfection. Interestingly when this first came out, it was the ‘B’ side to ‘Take me to the Pilot’. Dj’s around the country preferred ‘Your Song’, so it was re-released with it as the ‘A’ side, reaching #8 on the Billboard charts.

I Need You to Turn to: We find the harpsichord again and to great effect. Two relationships are central to Elton’s rise as an artist. One is Gus Dudgeon who the producer for this album. The difference in his production is evident here. Where on ‘Empty Sky’, the harpsichord is not only equal in sound to the vocals which makes it kind of in your face, here it’s still the musical focus but it’s not only fits the lyrics, but sounds as a much smoother instrument. The wonderful strings here add to the mix in a way that only enhances. Hence we have  the second relationship and that is with Paul Buckmaster, whose string charts interplays with the band to give texture and a signature sound.

Take me to the Pilot: This is not only one of my favorite EJ songs; it’s one of my favorites period. The lyrics make no sense, but has never stopped me from singing it at the top of my lungs while flying down the highway.

No Shoe Strings on Louise: We hear a hint of the country vibe that will come to full flower on ‘Tumbleweed Connection’.  Doesn’t get as much play as a lot of the other songs on the album, just happens to be on an album full of classic songs.

First Episode at Hienton: Supposedly this was written early in the John/Taupin partnership, and already Bernie shows a talent for writing songs that almost play like mini-movies in your head. Not one of my favorites on the album.

Sixty Years On: Again another song that foreshadows “Tumbleweed Connection” in feel, if not substance. This song is driven by Elton’s delivery, and Paul Buckmaster’s strings. A great song here, but a real moving song in concert. I’ll expand on this later, but Elton was a master of being able to keeping songs fresh in concert, either by adding or taking away instruments, speeding up or slowing down. Listening to this song in 1971 was a totally different trip then in 1995, but just as gripping.

Border Song: This was the first single off of the album. It didn’t do anything at all on the charts (#92). Suppose to have been concerning Bernie’s loneliness being in London and away from home. Elton himself added the last verse turning it into more of a plea against bigotry. Musically, this is the hymn of the album. They never directly comment on their worldview very much, but they do here, and to great effect. One of his most beloved songs.

The Greatest Discovery: A song about relationship between a boy and his new baby brother. Maybe because I am the baby of my family, but never got into this song. Very pretty and a favorite of some of his fans, but am so-so about it. The video is a real treat in that you get to see a very young Bernie as well as Paul Buckmaster on cello.

The Cage: A nice little gem. Another song about isolation and estrangement (this seems to crop up in Bernie’s lyrics). A great rock beat, with an early example of one of the best falsetto’s in rock history.

The King Must Die: OK…am not crazy about this song although he sings it in an impassioned manner, and the arraignment is interesting. Elton has a way of making even songs that are not great, SOUND great. This I believe was one of the problems of later Elton, which I’ll explore later, and that is he has rarely sounded bad, just bored.

Bad Side of the Moon: Another fantastic rocker which was the “b” side of ‘Border Song’. The song starts with a drum cadence and Elton singing. Although this was not on the original album, it bookends ‘Take me to the Pilot’ perfectly.

Grey Seal: This was the ‘b’ side to the single ‘Rock and Roll Maddona”, which was only released as a single in the UK. The song was redone and is found on ‘Goodbye Yellow Brick Road’. Am not sure which version I like best, they both have their charms. When listening to both however, it gives a great insight into the Elton circa 69/70 and 73/74 Elton.

Rock and Roll Madonna: I remember hearing this one on a cassette with a lot of this 69/70 era Elton that had not been released on a proper album. Can also remember how cool this sounded and you thought the fake applause in ‘Bennie and the Jets’ was new to Elton…..