Musical Snobbery at it’s finest

I am hugely in debt to Elton John. It was listening to the piano pounding out the only colors that soothed my restless teenage soul. It was the sound that led me eventually into songwriting and teaching. So when I decided to do this album/artist part of the blog, it was natural for me to choose Elton as my first performer. But don’t be fooled into thinking that because of this, I am a fan beyond objective reasoning. Elton has as many clunkers (perhaps more) then successes, but again this happens to one who has been in the biz for over 40 years.  Many are fooled into thinking that Elton was a singles artist.  I would totally argue against that. He WAS a hit machine, but if you bought his albums (especially the first 6 years worth) one would find gem after gem buried in the grooves.

Empty Sky is a much underrated album. Of course, part of the issue was the musical landscape in which it came out. 1975 was the year of critical mass for Elton/Bernie. Radio was full of Elton, the good and the bad. Empty Sky was put out in an attempt to make some money in a period where he could seemingly do no wrong. In that environment, there was no way that it would be looked at objectively and suffered critically (although not with the fans, it rose to #6 on the album charts).  Over 30 years since, and following Elton through some pretty dark forests, Empty Sky can be looked at within the context of the man’s life’s work, and under that criteria, it looks a lot better.

Empty Sky–There is a lot of stuff going on in the eight minutes plus. One of the overarching things about his album is its experimental nature. This is both great when it works, and even when not can be charming. The title track puts a bunch of different styles into one song (straight ahead rock, blues, progressive). Part of it comes across as dated, but then again, that’s part of it’s (and the album’s) charms. I really like the quasi-progressives moves here (he toyed around with progressive music during his early years), and can kinda do without the ad libbing the last couple of minutes. This is one song that I would love to hear live.

Val-Hala: Some Elton fans really like this song. It’s ok, if you dig harpsichord songs about Norse mythology.

Western Ford Gateway: To me, this is the real hidden gem. I remember hearing once about the subject of the song, but that’s not really the point of it.  This is the first of MANY Elton/Bernie songs that the words don’t mean near as much as the feel musically. What does matter is that you are left humming this tune for days after hearing it. The first indication that this musical union had something going for it.  

Hymn 2000: There are more then a few songs here that strive for “the BIG statement”. This stands to reason, because if you are recording in the late 60’s, and if you’re not sure if there will BE a second album, you want to say things that you find important. There were songs that the lyrics AND music fall a bit flat…this is one of them. Like most any Elton song, listenable, but nothing to remember after it’s over.

Lady What’s Tomorrow: One of the things I really like on this album is the uses of different kinds of keys. Harpsichord, Electric piano, Organ. This has a very nice organ line. Not a great song, but easy on the ears.

Sails: Another nice little rocker. Maybe it’s because he was just a few years removed from Bluesology, but several of these songs have a nice blues groove to them. It will pop up in Elton’s recorded work all through the years, and is VERY prevalent in his live sound, but it’s great to hear it so fresh here.

The Scaffold: I’ll admit, this is one that didn’t do much for me for years, but has grown on me. The tune is good enough, but for once, Bernie’s lyric is what attracts me, and I can’t say that very often. Don’t get me wrong, Bernie has a very distinctive style, but what has always grabbed me about Elton/Bernie is not the lyrical content.

Skyline Pigeon: This is the star of the show as far as I am concerned.  Would put this song in the top 10 of Elton/Bernie songs where the lyrics meet the music in a perfect manner. There are many fans that prefer the piano version found in later albums, but there is a hymn like charm (especially with the harpsichord) of this song that fit wonderfully.

Gulliver/It’s Hay Chewed/Reprise: Am sure that Gulliver is an acquired taste, but I really like this song. Maybe I am a sucker for songs about childhood pets, but the musical hook is one of the best on the album. I wished that Elton would have gone on the jazzy journey that makes up It’s Hay Chewed a bit more often on his recorded material. His fans who have heard him live over the years know exactly how versatile of a pianist he is. This song (and really the whole album) shows him in genres that he only touches a bit here and there for the rest of his career. Reprise is unnecessary…..

On the remastered version there are four extra songs. None of them show up on a proper studio album, but represented two ‘A’ sides and two ‘B’ sides.

Lady Samantha: I really dig this song. The “A” side single. And I supposed it begs the question, why wasn’t it put on the original “Empty Sky” project? In fact, I could have taken all of these songs and replaced them on Empty Sky, added a bit more focused production, and it would have been almost as good as “Elton John”. Was covered by Three Dog Night.

All Across the Havens: This was the ‘b’ side to Lady Samantha, and a very nice groove to it. Would have been a worthy addition to “Empty Sky”

It’s Me that You Need: This was another “A” side single, (the “B” side to the US release of “Lady Samantha”. Very underrated ballad.

Looking back almost 40 years from its initial release, it has aged very gracefully, and while not to the level the albums of the early-middle 70’s, it’s by far not the worst that he would do. If you only like the hits, then this is probably not the album for you, but if you like Elton’s early stuff, you will love this.