#357: Honky Chateau- Elton John

Listened to: MP3



So, the last time our little blog checked in on Elton John, he had just hit the scene, a fresh, young upstart singer songwriter. Now we get to see him make the transition into the Elton we know today on Honky Chateau, his first foray into what many consider a “rock” album, since John is finally accompanied by his back-up band, and decided to ditch the strings (for the most part). So let’s dive right in, shall we?

The album opens on an Elkton classic, the honky-tonk swing of “Honky Cat”, which is, according to wikipedia, “essentially about the illusion created by city life.” Now, I never picked up on that, but maybe I was distracted by the jangling piano hall feel, and the Elton-answer-to-rock, which on an autumn morning, rubbing your arms to fight off the chill, feels much better than Metallica-rock. Just saying. “Mellow” is one of the only two tracks to feature stings, and it’s just one violin, so Elton kept his idea of a rock album. The track’s feel is represented in it’s title, and it’s the type of ballad-ish track Elton often wrote in the 70’s. Laid back, but still possessing a bit of that Dr. John-esque pulse. From that we move on to the most cheerful suicide song ever (except maybe “Can’t stand Losing You”, but we’ll get into that later) “I Think I’m Going to Kill Myself”, Bernie and Elton’s mockery of teenage melodrama (and coming from a guy who works with teenagers, god bless ‘em for it). This is probably the only rock album I know that uses a tap dancer for an instrument, so even if you find the song and it’s subject distasteful, you’ve got to respect the use of “Legs” Larry Smith. I personally love the song, but I can see how it’s non-PC lack of sensibility could piss some folks off.

“Susie (Dramas)” is another honky-tonk Elton John song, a fun little track, but really just killing time before the true masterpiece of the album. “Rocket Man (I Think It’s Gonna Be A Long, Long Time)” is an undeniable classic. And I could say a million words about how great this song is, but whenever I here it, this is all I can picture:

Seriously, though, it’s a brilliant song, and Shatner does do his best to convey the meaning. While not everyone circles Mars in a huttle, everyone has had that feeling that some “job”, some minor thing they barely care for or understand, isolates them, pulls them away from their life. That cold, loveless feeling has hit us all at some time or other, and Elton and Bernie capture that perfectly on this track.

“Salvation” is a lightly orchestrated ballad that has all the elements of an Elton John hit, and had “Rocket Man”, “Honky Cat” and “Mona Lisas and Mad Hatters” not been on this album, this track probably would’ve been the lead single. However, it doesn’t hold a damn candle in the wind to any of those tracks (yeah, I know, Elton pun. Total win). Just sayin’. “Slave” starts off with an acoustic guitar intro (very uncommon for an Elton John song) and has the sound of an old Hank Williams country song. It’s a welcome departure from the typical style of Elton John, while still keeping enough of his distinct Elton-ness to make it fun. “Amy” is some more classic Elton rock that you can’t help but let it make you move a bit. “Mona Lisas and Mad Hatters” is undoubtedly one of Elton & Bernie’s most beautiful songs, and I don’t just say that because it’s about my city. No, it’s the way Elton seemed to know exactly the right note for each word of Bernie’s lament of a New York City where rose trees never grow. The harmonies, the piano, the stripped down sense of simplicity and sadness, this is one of the highlights of Elton’s career, and a song this perfect found a perfect place in film history, in one of the most moving scenes in Almost Famous. If you listen to only one track off of this album (though you really should listen to it all), make it “Mona Lisas and Mad Hatters”. The album ends on “Hercules”, another guitar-intro-ed song that’s horribly under-whelming after the last track, but I guess it’s necessary to end the album on a somewhat upbeat note.

Honky Chateau is a fantastic benchmark in Elton John’s career, and anybody who’s a fan of the most-popular sound of Elton John should give this album a spin, it’s the best of his pop-rock sound after Goodbye Yellow Brick Road. It’s worth a listen.

-Mike

Next up, an absolute classic, one some consider THE greatest album, #3: Revolver by the legends, the greatest band of all time (at least VH1 got that right), The Beatles.

#468: Elton John- Elton John

Nick Young has left the blog.

Listened to: CD

I got this album for Christmas one year on CD, because since a young age, I had worn down the grooves so bad on this record that it was unplayable. Every year I spend New Year’s Eve crying, taking swigs of my drink, and listening to Elton John. These personal confessions come out so I can once again where my bias on my sleeve before I declare this portrait of the artist as a young man to be truly a gift.

It opens with the legendary “Your Song”, which may in fact be the greatest love song ever committed to record. With it’s lyrical and musical simplicity, it’s gorgeous melody, and it’s heartfelt sentiment, I can’t think of too many sensible songwriters who don’t wish they’d written this track. Besides, if it wasn’t for this song, a lot fewer middle-school girls would have crushes on Ewan McGregor.

The Baroque feeling of “I Need You To Turn To”, which could as easily by a traditional track covered by Simon & Garfunkel, is so soft, so emotional, so smooth that it’s amazing this track never went further than I did.

“Take Me to The Pilot” seems to be the best indication of where John would go later in his career, and also the best demonstration of what makes him unique. Sure, he could be the soft-voiced balladeer, but it’s his ability to be a howling, piano-playing Johnny Rotten that really makes Elton a one of a kind talent.

“No Shoe Strings On Louise” decides to show Elton as not just balladeer and rocker, but country crooner…and doesn’t succeed quite as well as we’d hope. Meanwhile, the criminally ignored “First Episode At Hienton” is song so soft you almost can’t understand Elton for half of the song, and yet you can just feel the suffering pulling at your heart. You’re not sure what he’s lamenting, but god damn if it isn’t the saddest story you’ve half-heard.

“Sixty Years On”, with it’s instrumental majesty, sees a much better rendition on Elton’s “Live In Australia” album (an album omitted from Rolling Stone’s list…why? Oh, so they could fit another Otis Redding Anthology), but is still a beautiful example of 70’s Elton, before he got too caught up in the type of sad-ish rock tracks like the albums next track, “Border Song”, which is a real gospel track (which is apparent by the gospel backing choir). Border Song is fun, but for me is too easy. Gospel isn’t a challenging style to pull emotion from. It’s inherently sad. To manipulate emotion with a gospel song isn’t as impressive as to compose a real heart-wrenching ballad.

The rest of these tracks are just as beautiful, just as intricate, and just as masterful. But I was at this awesome joint last night and got to witness musicians much better than myself tear shit up till well into the night. So, you’ll forgive if I cut this short and say “Listen to this album”. You can thank me later.

-Mike

See you guys tomorrow for #216: The Queen Is Dead by The Smiths