For me it is the epic ambition of the song structures and the beautifully constructed arrangements, often employing the skills of Paul Buckmaster, that define Elton John from his UK mainstream contemporaries. There is a sumptuous fullness to the songs, which lies at the heart of people's response to his work during the seventies. People either love it or hate it. It is true that, as time went on, Elton would resort more to a generic formula dependent on his voice and piano to create a central focus to songs often extending well over 6 minutes in length. Combined with this, a playful, almost vaudeville, quality infused certain songs - sometimes successfully working as counterpoint to the rich symphonic epics, but at other times seeming just throwaway and pastiche. However, he was capable of producing some surprising and striking work which, I think, outweighs the more predictable output.
I'm not such a big fan of the 'classic' Goodbye Yellow Brick Road album. Too much a potpourri of sketched ideas, though it does contain the amazing Bennie and the Jets, which surely everyone shares a secret enjoyment. There are a couple of filler albums bookmarking that central work that I don't think make the grade - so perhaps don't bother seeking them out - Don't Shoot me, I'm only the Pianist (1972) and Caribou (1974). But he got back on track with three great albums demonstrating an increasing soulful and gospel-tinged flavour.
This selection tries to show that there was also a great musical mind at work during the early seventies period, and extending through to 1976's Blue Moves double LP, after which Elton and Taupin split as a creative team due to the ubiquitous 'musical and personal differences' (returning to work later in the 80s). It takes some perhaps less known and sometimes experimental tracks from LPs and B-sides, which I hope give an illustration of an artist who was first attacked by critics for various offences (too popular, too prolific, too frivolous) to music's high church, as early as 1972! Elton John was never cool. He was/is fun, glamorous, over the top and energetic - yes; But a serious proposition - no. Personally I don't care about the 'serious' in pop music - but I think the quality and diversity of his 70s output deserves a little (re)appraisal, and displays a natural flair and musical dexterity that has not been appreciated.
I don't think even I am quite ready to reappraise the two decades that followed (excepting the two excellent instrumental B-sides recorded as 'Lord Choc Ice' in 1983), but his last three albums released since 2001 certainly have their moments, reflecting and responding to his early seventies highlights.
This lot neatly fits on to a single CD - that was the limiting factor. Several tracks that didn't quite make the cut will follow would make a fine bonus EP. I don't expect many new converts to Elton John's cause, but hope that there is something to tickle most people's fancy.
Your Starter for....
Elton was not a big instrumental track fan, probably due to the fact that wordsmith Taupin would be somewhat redundant. It is interesting to note that it is their last collaboration (Blue Moves) before the acrimonious split, that includes three instrumentals. This is written with his long-time band guitarist Caleb Quaye, and sounds like a lost library track used for a forgotten breakfast TV talkshow. Upbeat and bouncy.
Sixties Years On
An amazing ominous string arrangement sweeps in this track, which manages to combine classical, folk and latin influences creating a unique aural experience. From his second album.
Just like strange rain
This B-side is as close to psychedelic pop that Elton reached. I think it works pretty well with distorted guitar opening, nice organ throughout, ending in a classic wig out. B-side to his third (flop) solo 45 'It's me that you need' from 1969.
Yell Help
Part of the opening medley to 1975's 'Rock of the Westies'. Reminds me a little of Paul McCartney's little experiments throughout his output. On the surface a simple little ditty, but it's those strange backing vocals that make it for me.
Bad side of the moon
This is the Elton John track you can safely play out at any eclectic music gathering. It's catchy, has a wee little break, and is generally funky, and has strings too! I love this track. B-side to Border Song (on which the backing choir is led by one Barbara Moore), single from his second self-titled album.
Billy Bones and the white bird
A pulsating epic, almost prog-glam, track from 1975, which breaks the standard EJ formula with an interesting orchestral beat, intricate and changing rhythms and fun keyboard work. Probably too much for most folk. (From Rock Of The Westies)
Flinstone Boy
After the Blue Moves LP Elton had to consider life after Taupin, his long-term writing partner. Before his first 80s LP came out (with a new collaborator), he released a 45 - two tracks - one with Taupin, one by just Elton. This is Elton's solo effort and is a lonely but defiant statement to going it alone. I'm sure it is a coded message to someone. I like the striped down simplicity.
House of cards
Another B-side (to 'Somebody saved my life'), an effortless example of the country-infected Elton John tune. I do like the tracks that don't overplay his piano playing. This one removes it entirely - just some laid back organ. Nothing amazing - but makes me happy.
Across the havens
An early folky outing, before his first album came out. Suggests something of what was to come, but also shows the choices that Elton was making - was he going to follow Donovan down the folk route, or look to America for inspiration? Although there are some folk tracks on the first couple of albums, they soon disappear from his repertoire.
Jack Rabbit
Throwaway country nonsense. Silly but fun. A B-side contemporary of the Goodbye Yellow Brick Road album.
Gulliver
Another great opening to a track. What follows is a chilled moving folk tale of death and memories. Part of a medley on the first album (hence the violent cut-off).
I think I'm going to kill myself
Strange honkey-tonk suicide note. An example of that hit and miss eclecticism that in this case hits. Found on the Honkey Chateau LP,1972.
Theme from a non-existent T.V. series
Another instrumental. The description describes it pretty well. So - did Elton do any library stuff? He certainly had a flair for it! (from Blue Moves)
Madman across the water
Probably the best-known track of the collection. Classic EJ - epic, long, strings, a groove. The title track to his forth album, which contains Tiny Dancer. Could that be Herbie Flowers on the bass?
The Cage
Another track you can play out, though you have to hold your breath through the moog solo in the middle. It reminds me of 'Werewolves of London' for obvious howling references. This sits on the self-titled second album.
Boogie Pilgrim
This is where we get funky. It's not all about the famous 'Are you ready for love' - there are several great soul, gospel, proto-disco numbers to be found. This funky blues number ends with the wonderful contribution of the The Cornerstone Institutional Baptist and Southern California Choir. (from Blue Moves)
Bite your lip (Get up and dance)
THE funky soul number. This is the business on the dancefloor (I imagine - will experiment soon). Great Conga action and fine strings from Gene Page. Again from Blue Moves - a hugely underrated (double) album.
Ego
The other side to the Flinstone Boy 45. Sign-posting the way to the 80s, but via Sparks. This is close to the edge, but I'm invariably drawn back to it. Am I wrong?
Curtains
The perfect ending. Starting with possibly one of the weirdest opening lines - "I used to know this scarecrow, he was my song". This ends the great Captain Fantastic and the Brown Dirt Cowboy concept album. I don't know what the concept is, but it is certainly concluded rather well with this rousing bombastic number.
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