Elton John - Elton John (1969)

Album Score: 11

This album is known for one of the most iconic love ballads ever to be released upon mankind. If you don't know it by its title, “Your Song,” you would know what I'm talking about when I say it starts out as “It's a little bit funny...” Some people seem to carry a sort of grudge against it, either saying the music is schmaltzy or dumping on Bernie Taupin's love lyrics. These people are nuts, of course. If anything, the song has a more bleak atmosphere. Sure, there's a full string section behind it, but it's done in such a delicate, tasteful way that it seems as though it was under-produced rather than overproduced. The lyrics do seem a little clumsy, but that's the whole point! They sound genuine, as though they're from someone who had become completely love-smitten. The mood of the song is certainly hope-filled, but you get the dark feeling that it might not work out in the end. It's a total masterpiece.

The instrumentation of this album shifted rather strongly compared to Empty Sky. I already mentioned the strings, which were brilliantly arranged by Paul Buckmaster. But we also see Elton John putting the piano in the forefront for the first time, which of course turned out to be the dude's trademark. Also, compared to the previous album, there's much more of a tendency toward ballads and not so many rock 'n' roll oriented tracks. There are only two, “Take Me to the Pilot” and “The Cage.” Certainly, they prove that Elton John could rock out when he wanted to... we just start to wish that he would want to more often since many of the other ballads are rather bleak and moody.

Bleakness and moodiness aren't a bad thing, of course, but it starts to become a burden since so many of these songs fit the bill. Elton John's melodies are usually formidable and contained some nice hooks, but he still had a little ways to go before he would begin consistently writing great tunes. What really saved these tunes was the orchestration. Buckmaster gives the same delicate treatment to all these songs just like he gave to “Your Song,” and sometimes it really brings out the beauty in these tracks. It'll probably take you a few listen to start appreciating those, but it's possible. (I'm a prime example of that. I bought this album, and would only replay “Your Song” over and over. But then I become self-conscious about that and stop listening to it for awhile.)

“First Episode At Heinton” is one of my favorite ballads here. The melody along with John's earnest delivery of it makes it such a fantastically endearing tune. The melody is quite strong at it begins, though the instrumentation just consists of Elton singing with minimalist piano. But sometime soon, the orchestra subtly builds up, and it takes my senses along with it. There's an interesting moog-synth that they use in there, too. That's a prime example of a song that's not easy at all to get into, but it's a really a rewarding experience if you're willing to open yourself up to it. “Sixty Years On” is much the same experience. It's terribly dark and moody, but you can sense the intense beauty that seems to be wanting to burst out from the background. I won't score these songs too high in my track reviews because I don't think the melodies are that great, but I really adore this added dimension that I don't hear that often in pop music. “The Border Song” is part piano ballad and part gospel... That's another success story considering I normally dislike pop/gospel hybrids. Elton John's soaring, powerful vocals are greatly suited for the genre, and Buckmaster once again succeeds mightily with the orchestrations.

I really enjoy listening to this album, and it seems as though it's greater than the sum of its parts. The whole samey bleakness of the album is the main reason it's not getting a higher score even though many of these songs have intense, subtle beauty to them. So, I can understand why some listeners would want to score it higher than this, and I could also see why others would want to rate it lower. I'm comfortable with this rating. At any rate, I don't enjoy Elton John nearly as much as his subsequent albums.

TRACKS

Your Song A+

Wow... It's just Elton John, a loudly mixed piano, a twinkly guitar and a stringed orchestra in the background. He's singing the sweetest, free-flowing melody that could possibly have ever been conceived. Bernie Taupin wrote some very interesting lyrics that reflect a sort of natural-sounding love proclamation. Usually, stuff like this is schmaltzy, but instead it turned out to be incredibly endearing. No surprise, this is the song that turned Elton John into a star in the U.S., and it was entirely deserved. This is nothing if it isn't a bona fide classic.

I Need You To Turn To B

He brings back the harpsichord, which was featured very prominently in a few of the tracks from his debut album. The full orchestra is back, and it's occasionally very breathtaking, especially as it starts and finishes. The melody is OK, but I don't think it was strong enough for this song to make quite the impact that they could have. Good arrangements, though! Fruity, yes, but you've got to expect that with Elton John.

Take Me to the Pilot A-

Did you forget that Elton John knew how to rock out when he wanted to? Never!! If you need proof, here it is. It's an R&B oriented track with furiously sung vocals from Elton, and driving rhythm. Even those dramatic string arrangements come in for some of the action, and surprisingly turn into an asset. Really, this is a wonderful song.

No Shoe Strings on Louise B-

Elton John tries on the underpants of country-western music, and he's definitely better off writing fruity love ballads. One of the problems with this song is that he uses a generic, sort of cookie-cutter melody. His singing voice adopts a few of the country-western stylings, and it's just not working. He comes off as sounding a little embarrassed. ... The slide guitar is mediocre, but at least it sounds genuine.

First Episode at Hienton A-

Yeah, so Elton John writes great piano ballads. This is incredibly dark and moody. Not much happens, and the melody isn't nearly as instantly lovable as “Your Song.” The full orchestra comes in after the first minutes, which helps the song flower quite beautifully. Despite its rather intense seriousness, I find myself becoming engaged in it. I was terribly bored with it when I first started listening to this album... It grows on you.

Sixty Years On B+

Very strange strings! The beginning of the track just features droning strings sounding like bees coming at you. That suddenly stops, and a delicate harp starts plucking away. The strings come back to play something more conventional. This is even more dark and haunting than the previous song. It wasn't that long ago when he actually turned 60. He put on a rock concert, so luckily it was a little more exciting than this! Once again, the melody is so haunting that it has that tendency to stick with you.

Border Song B+

Even though the melody isn't among the most memorable that he came up with, this gospel-inspired tune has such a presence that it still manages to make quite an impact. His soaring vocals are very suited for this sort of bombastic music, and thus I actually enjoy listening to it! (I'm somewhat biased against gospel songs.) The production is amazing. Again, there are the prominent string orchestrations ... this time even bringing in a very subtle gospel choir. But wow, they managed to make the song sound rightly pompous without even getting close to overproducing it. That's a rare, rare talent, my friends. I know---I listened to Mariah Carey albums.

The Greatest Discovery B

Boy, I'm surprised that I'm finding so much beauty out of these songs considering how utterly bleak they are. While the hook-writing force was strong with Elton John, he still had a ways to go before he'd begin composing really notable songs. This song is fairly barren with the exception of some key moments when this thing briefly blooms, and catches you a bit by surprise. This song is more than the sum of its parts, that's for sure.

The Cage A

A pop-rock version of the Star Trek pilot? ... Nah. But this is another moment when Elton John finally decided to rock out again. It's a funky, heavy rocking song seemingly inspired by James Brown, though the melody sounds like nothing but pure Elton John. A swinging horn section keeps the pace going, and somewhat busy guitars play around, keeping the pace jumping. There's a bit in the middle when he turns on a pure synthesizer... that's a sound that'll become an intricate part of his sound in a few years.

The King Must Die B

Well, it's back to the bleak piano ballads. I think I have to knock this album down a few points for having too many of these bleak songs (as lovely as they are). There was some variety, but just a few upbeat songs and a misfired country ballad aren't going to cut it! But just like the other songs, I am fully aware that it shouldn't have turned out this well. The melody is basically forgettable and most of the song isn't to engaging most of the time... except for a few moments when it seems to magically come alive. That chorus absolutely soars, once again providing perfect orchestration to his impressive chops.

BONUS TRACKS:

Bad Side of the Moon A-

A rock 'n' roll song with good use of the stringed orchestra! So, this bonus track is much appreciated considering the overall mood of the general album. It's a really good one, too. It rocks, the female back-up female singers rock, and the melody rocks. Do you need anything else?

Grey Seal A

This is an earlier version of the song that would eventually appear on Goodbye Yellow Brick Road. He apparently wrote it in 1969, and I wonder why it took him so long to finally release it ...... and why he didn't put it in this album or the previous one. The melody is beautiful, and it manages to bring in perfectly convincing rock 'n' roll instrumentation. Oh well... it sounds great on Goodbye Yellow Brick Road, so I won't complain too much!

Rock n' Roll Madonna A-

This song also rocks! He probably should have put some of these awesome songs in the regular albums in place of some of those bleak old ballads! This is a bit R&B oriented, though it's incredibly fun to listen to. Elton John knew how to rock out with the best of 'em, and here's the evidence. This was apparently recorded live, and all that audience noise gets very annoying sometimes.