After
the commercially disappointing, but critically successful release of
"Empty
Sky" in 1969, Dick James was persuaded by Steve Brown to commission a
follow-up
album on the strength of some demos Elton had submitted, one of which
bore
the quaint title "Your Song". This album would actually have a proper
budget,
unlike "Empty Sky", which was largely recorded during the middle of the
night on unused studio hours and funded more with donated time and
talent
than actual money. The album was to be recorded during January, 1970,
but
this time Steve Brown decided to step aside as the project's producer.
Feeling that if this was to be a "real" album, it would need a "real"
producer.
The search wasn't a long one, but several producers were approached,
including
famed Beatles producer George Martin, who agreed to do the gig
providing
he could also do the string arrangements. However, this was not to be
since
those chores had already been contracted to Paul Buckmaster who had
recently
done the arrangements for David Bowie's "Space Oddity". Brown asked
Buckmaster
if he had any suggestions and the arranger nominated Gus Dudgeon who
had
produced the Bowie smash hit disc. Dudgeon initially passed on the
project,
not wanting to commit himself to working with such an obscure artist.
However,
like Steve Brown, one listen to the demos changed his mind and soon the
team of musicians was assembled and recording commenced on the
self-titled
album that would become affectionately known as "the black album".
(Note:
The "Your Song" demo can be heard on "To Be Continued..." Disc 1.) This
album and its related singles put Elton on the map; though in only a
few
months he would dash all those images of the introspective balladeer
singer-songwriter
pictured on the cover when he caught the eyes and ears of the rock
press
during his now legendary stint at LA's Troubador. This caused his
American
record label, MCA, to upgrade his status from the smaller boutique
Congress
Records marquee to the much more prestigious Uni monicker. "Elton John"
is a fascinating disc and it presents the listener with some of Elton's
finest moments on record, though by NO means the ONLY ones! The
remastered
version on Rocket restores this landmark recording to a near perfect
image
of the mix tape that was made at Trident Studios thirty some odd years
ago. For starters, the dynamics and stereo spectrum are considerably
enhanced,
but under Gus Dudgeon's watchful ear, the recording stil retains the
"closeness"
and "intimacy" that made listeners fall in love with it. This album
shouldn't
"sparkle" and Gus makes sure that it doesn't, choosing instead to make
it "clearer", but not necessarily "brighter". Tape noise is
considerable
reduced and the songs, from the opening notes of "Your Song" to the
ominously
orchestral closing of "The King Must Die" (the album's last song, but
not
the CD's) all the way through the rollicking "Rock and Roll Madonna",
make
you feel as if you're sitting right next to Elton at the piano the
whole
way through. Album artwork is completely reproduced with all
photography,
lyrics and credits, except for the bonus tracks... and Tobler's essay
on
this disc is one of his best edited compositions. Elton and Bernie's
songwriting
took a quantum leap forward and I don't think I have to spend much time
on that when you can listen to "The Greatest Discovery" and "I Need You
To Turn To" and discover that for yourself. Three of the four
additional
songs finished during these sessions are included as bonus tracks. "Bad
Side of The Moon" (b-side of "Border Song"), "Rock and Roll Madonna"
and
"Grey Seal" (a & b sides respectively). "Into The Old Man's
Shoes"
was included as a bonus track on the CD remaster of "Tumbleweed
Connection".
"Rock and Roll Madonna" is interesting to note here, as its use of
added
"audience" makes it a sort-of "dress rehearsal" for "Bennie and the
Jets"
three years down the road! Four singles were spun off the album and
related
tracks: "Border Song", "Your Song", "Rock 'n Roll Madonna" and "Take Me
To The Pilot". Not bad for Elton's first full-fledged album! Aretha
Franklin
covered "Border Song" and Billy Paul covered "Your Song" as a b-side to
his #1 million-seller "Me and Mrs. Jones". "Elton John" gives us a
chance
to experience the first collaboration between Paul Buckmaster and Elton
and we can easily take notice of the artistic importance Buckmaster's
work
would play in augmenting the Elton John sound in years to come. Elton's
band included several notable session musicians, including Caleb Quaye
again on guitars, bassist Dave Richmond from an early version of
Manfred
Mann's Earth Band, drummer Terry Cox from Pentangle, session vet Barry
Morgan also on drums, Skaila Kanga on harp and Diana Lewis on
synthesizer.
Backing vocalists include Tony Burrows, singer for Edison Lighthouse's
"Love Grows (Where My Rosemary Goes)" and Lesley Duncan. The "Elton
John"
album peaked just outside the top 10 in the UK and at #5 in the US and
earned a gold record award for its merits, which are many. It also gave
us "Your Song", Elton's signature piece and the tune he's probably
played
at more concerts than any other. An exercise in simplistic perfection,
it stands out to this day as one of Elton and Bernie's best work. John
and Taupin have given us so many wonderfully memorable songs, but if
this
is the only one they must be remembered for, so be it! There's enough
magic
in that one song to make "Elton John" a lasting gift to music.
Thankfully
for all of us, Elton and Bernie would give us more... a LOT more.
Andy
Geisel - 22nd Row 2003
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