Biografia Elton John

Biografia Elton John
A trajetória da carreira de Elton John em capitulos

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quinta-feira, 4 de novembro de 2010

New Kanye Song with Elton John, La Roux & 9 More

New Kanye Song with Elton John, La Roux & 9 More!


Kanye West
Kanye West

Leave it Kanye West to pack 11 guests stars, including Elton John, La Roux, John Legend, Kid Cudi, Fergie, Alicia Keys, Rihanna, and The-Dream, all on one song — and make it sound good. Maybe that ego of his isn't so bad after all, huh? Listen below.
On paper it sounds like a disaster, like one of those gather-all-the-celebs benefit songs that's more about unity and cause than quality. But 'Ye pulls it off. Over a frantic assault of horns (that sound like a swaggering State College's football band) and skittering beats, each guest sings or raps about "lights" — flashlights, spotlights, strobe lights, streetlights, et al. Remember Kanye's tune "Flashing Lights"? Yeah. Dude loves lights, huh?
"All of the Lights" is off 'Ye's November 22 release My Beautiful Dark Twisted Fantasy. Listen below, then tell us what you think in the comment section.

Kanye West Teams Up With Elton John, La Roux On 'All Of The Lights'

Hear it now... 
In a rant on his blog: “This is the most offended I’ve ever been…this is the maddest I ever will be. I’m typing so fucking hard I might break my fucking Mac book Air!!!!!!!!”
1 of 10
A new song from Kanye West's forthcoming album has leaked online ahead of its release later this month.

'All Of The Lights' features collaborations with eleven artists, including Sir Elton John, Rihanna and La Roux's Elly Jackson.

Black Eyed Peas' Fergie, John Legend, The-Dream, Ryan Leslie, Tony Williams, Charlie Wilson, Alicia Keys and KiD CuDi also star.

The song, which has been uploaded onto YouTube, is taken from West's new album 'My Beautiful Dark Twisted Fantasy', which is due out on November 22.

It also appeared during the rapper's recent movie 'Runaway', which accompanied his new single of the same name.
Kanye West - 'All Of The Lights':

REVIEW: Elton John and Leon Russell Live at the Palladium


Two piano greats make beautiful music together.

Elton John was feeling reflective on Wednesday night. Taking the stage at the Hollywood Palladium for the fifth date of his nearly sold-out tour with the revered Leon Russell, a longtime session man, arranger, powerful singer and skillful piano player who’s enjoying a long overdue resurgence, he made sure to thank some of those who’d helped him along the way: Like Neil Diamond, who gave John’s first record a spin long before anyone knew his name or reputation for creating perfect pop songs, and the Troubadour, where he played his first L.A. show 40 years ago, along with the man who booked that gig, Howard Rose, still his agent after more than four decades on the road.Â
That feeling of appreciation, at least as far as the crowd was concerned, was mutual. John and Russell, both seated at grand pianos (Russell requires a cane to stand or walk) and facing each other, performed songs from their new album, The Union, with gusto to a room packed to the gills not only with fans, but a handful of famous faces (among them: actors Benicio Del Toro, Kelly Lynch, Peter Gallagher and John Stamos) and plenty of music biz heavies including producer T-Bone Burnett, LiveNation CEO Mike Rapino, Verve Records president Bruce Resnikoff, Decca Records GM Paul Foley, former Warner Bros. head Mo Ostin and Grammy Awards producer Ken Ehrlich, along with those closest to Sir Elton, partner-in-life David Furnish and in song, Bernie Taupin.
John and Russell were backed by four fierce background singers and a killer band complete with a full horn section (at one point during the show, John marveled at having a “tuber” on the stage) which only accentuated the pair’s piano leads on songs like the moving “Never Too Old (To Hold Somebody)” and “In the Hands of Angels,” which Russell wrote and John described as “a gift,” both off the 18-track The Union
The last third of the nearly two-hour show was devoted to John’s solo work, which he doled out with the sort of humility and pride you rarely see from a superstar of that stature. Songs like “Tiny Dancer,” “I Guess That Why They Call It the Blues,” “Sad Songs (Say So Much)” and 1974’s “The Bitch is Back” had audience members twirling each other in the aisles. Pretty soon, it felt like one giant Bar Mitzvah fit for a king -- or, in John’s case, a knight.Â
Perhaps most touching for all, however, was a dedication John made just before playing his 1970 hit “Your Song.” “I’m touched,” he told the crowd. “Throughout the years, I couldn’t’ have done it without you guys. You bought records, you paid money for tickets, and you supported me through thick and thin.” To which a collective “we” would like to say, “you’re welcome!”

Pop & Hiss

The L.A. Times music blog

Live Review: Elton John and Leon Russell at the Hollywood Palladium

November 4, 2010 |  1:16 pm

The Hollywood Palladium is bigger than the Troubadour, but it’s a living room compared to the Staples Center. Elton John settled into the relatively small venue on Sunset Boulevard on Wednesday and made it the grounds for a long-anticipated party — a fete for an old ally as well as a kind of reunion with himself.
The evening served as both a slightly overdue commemoration of the 63-year-old John’s career-shaping August 1970 Troubadour shows and a release party for “The Union,” his album with the 68-year-old Leon Russell, whom he introduced as “my friend and idol.”
Russell is one of those musical characters whose influence permeates many corners of the music world, and his boogie-woogie-infused 1970s albums were a major influence on the young John. Forty years later, the lovable Lion King is in a period of personal reassessment. Repaying his debt to Russell, John is getting in touch with the rawer roots of his own almost universally appealing sound. Their album “The Union,” produced by the golden-fingered T Bone Burnett, is a critical and commercial success that’s gotten John saying that from now on, he’ll be making “real music” instead of the Top 40 fodder that made him a household name.

Of course, that fodder is pretty great stuff, and at the Palladium he interlaced some of it into his rollicking performance. Russell too has written beloved hits, including the poignant “A Song for You,” which he performed during his brief opening set in a voice as gravelly and picturesque as an old Oklahoma road.
The material from “The Union,” which the pair performed in full during the middle of the show, has hooks too, along with spacious arrangements that allowed for much interplay among the members of the large band backing up the soloists. Outsanding numbers like Russell’s “If It Wasn’t for Bad” and “Hey Ahab,” a shaggy rocker by John and his longtime lyricist Bernie Taupin, satisfied fans looking for musicianly jamming — but they also boasted memorable choruses, not unlike the ones that brought John worldwide fame.
Russell might have reached that level of stardom, if not for his self-confessed prickliness and resistance to packaging. As a session musician and arranger for artists like George Harrison, the Rolling Stones and Joe Cocker, Russell was a key player in classic rock’s marriage of roots styles and modern sensibilities.
Like many outstanding artists who first peaked in the 1970s, however, Russell couldn’t rest within a marketable category. His reemergence now, despite the health problems that cause him to walk with a cane and wobble a bit when he sings, is just desserts and well timed, now that the insatiable Internet has led to renewed interest in eclectic artists like himself.
At the Palladium, Russell let John play the goodwill ambassador role to which he’s so suited; the elder artist didn’t speak a word and entered and exited without fanfare. John was more effusive, spending time reminiscing and thanking his many friends in the VIP section — including former Times critic Robert Hilburn. John credited Hilburn with kick-starting his stateside career with a review of his debut Troubadour show and dedicated “Ballad of a Well-Known Gun” from his 1970 album “Tumbleweed Connection” to the scribe.
Though he jumped up often to show off his sparkly jacket, wave to his fans and have a sip of water, John kept his theatrics to a minimum, preferring to seek out a groove with his fellow players, who included a full horn section and four backing vocalists. The great Memphis keyboard player Booker T. Jones joined in on a few songs, turning the evening into a fairly unmatchable keyboard summit; John noted that, remarkably, he’d never met the “Green Onions” maestro before he guested on “The Union.”
Early material like “Take Me to the Pilot” and “Levon” allowed John to amply demonstrate his ability to roll and rag like a vintage bawdy house pianist. Without needing to play to the back row of an arena, he could focus on the keyboard during his own closing set. The freer mood energized John, who made sure to bow to the horns (“We have a tuba onstage!” he noted, clearly tickled) and call out his longtime mates, the drummer Nigel Olsson and the flashy, fun guitarist Davey Johnstone, who anchored the band.
As heartwarming as it was to see John finding his way back to what made him love music in the first place, his pop sense couldn’t wholly be suppressed. Ballads like “Tiny Dancer” and “Your Song,” which had the crowd swooning, ran on characteristically warm, huggable melodies; his and Taupin’s 1983 smash “I Guess That’s Why They Call It the Blues” sounded more like a modern-day standard than ever. And when Johnstone ripped into the riff for John’s naughty 1974 glam rocker “The Bitch Is Back,” nobody in the crowd was worrying about integrity. They were too busy shimmying and shouting, and letting the song’s gaudy, delicious chorus roll over them.
-- Ann Powers
Photos: Elton John and Leon Russell. Credit: Luis Sinco / Los Angeles Times

Fans cheer for Elton & Leon at the Palladium


It’s certainly sweet and gracious how Elton John has lent his superstar clout lately to spotlight one of his primary influences, Leon Russell, partly in the hopes of resurrecting the once-mighty piano man’s reputation via their terrific first album together, The Union. The Decca Records release -- a simultaneously rousing and poignant return to early-’70s form for both legends, produced largely live in the studio by a rather hands-off T Bone Burnett -- is indeed, as David Fricke put it in his astute and uncommon five-star review for Rolling Stone, “a rare gesture in a dying business: an act of gratitude.”
Leon, 68, has clearly gleaned inspiration that hopefully won’t dissipate too soon: he hasn’t sounded so growlingly great in years, and his keys work, never less than sterling, has regained the sparkle that made his initial solo records (plus his work for Joe Cocker and Delaney & Bonnie) such infectiously soulful fun. Long marginalized, his fundamental role in rock history often overlooked or undervalued, the somewhat frail yet unstoppable Oklahoman with the ever-growing Santa beard has good reason to thank his hero-worshipping progeny in the disc’s liner notes, “for giving me new air for my lungs and a reason to use them a little longer.”
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Laguna Beach residents Brooke Barbee, left, and Molly Moorhead were very excited about seeing Elton John and Leon Russell's Hollywood Palladium show on Wednesday.


Yet it’s Elton, 63, for whom this teaming, nearly four decades since he and Leon last appeared together, has done a world of good. Not only is The Union a glowingly received hit, his highest-charting album since Blue Moves in 1976 -- something his ego badly needed after the sadly abysmal showing for his fine 2006 throwback The Captain & the Kid -- but it has fully re-energized him as a performer, both in the studio and, more importantly, on stage, as evidenced Wednesday night during a marvelous, nearly three-hour sprawl from he and his idol at the Hollywood Palladium, nearly 70 years to the day that Frank Sinatra and Tommy Dorsey opened the landmark. (Elton & Leon appear again Friday night at Citizens Business Bank Arena in Ontario. Be on time: the Palladium gig started at 8 sharp.)
Granted, in many ways this is merely the fruition of an Elton revival that has been gestating since right around 9/11, when he began to show signs of renewed vitality with the album Songs from the West Coast. At that time, ditching the gloss of his ’80s output and setting aside the Broadway balladry of his ’90s tunes, he set about satisfying two impulses: his aging audience’s need for nostalgia (placated via tours with Billy Joel and his Red Piano production in Las Vegas) and his own desire to forge ahead musically, ironically by treading over much the same ground that made him an international sensation in the first place.
Yet, though Peachtree Road (2004) and The Captain & the Kid greatly expanded the retro-fresh blueprint of West Coast, despite having almost no commercial impact, the high-profile attention garnered by The Union (with assists from Brian Wilson, Neil Young and Booker T. Jones, the latter of whom joined in for a few numbers at the Palladium) has led Elton to summon that fearless, peerless gusto he exhibited back in the days of his timeless works from 1970, his self-titled launch pad and the superior Tumbleweed Connection.
Mind you, the rejuvenating effect this pairing has had on Leon cannot be overstated; he may be stoic as ever behind those perpetual shades, his still-nasal and now-grizzled voice more like Willie Nelson's than ever before, but throughout Wednesday’s set you could sense a young man’s enthusiasm bursting out of his barrelhouse ivory-tickling and the dazzling filigree he added to the new material, which, performed in its sequential entirety, serves as the show’s centerpiece.
His six-song starter, focused strictly on staples from 1970-73 (“Tight Rope,” “Delta Lady,” “A Song for You,” “Stranger in a Strange Land”) kicked things off in grand style. But it was the gospel joy and high-end razzle-dazzle he displayed during the Union tunes -- from roof-raisers like “Hey Ahab” and “Monkey Suit” to portraiture like the Band-ish Civil War study “Gone to Shiloh” and evocative reminiscences like “There’s No Tomorrow” and the fitting “A Dream Come True” -- that more vibrantly indicated what a redeeming infusion of fresh life has taken place in his old soul.
Elton, in fancily embroidered tails, shined on the new stuff as well; he delivers “Eight Hundred Dollar Shoes,” another great one to add to his later canon, as if singing a salute to Leon, and he was noticeably electrified during “Monkey Suit,” a barnstorming stomper like he hasn't devised since Honky Chateau. Indeed, for all the well-meshed piano bluster between them during the new disc’s rowdier moments, the whole enterprise would collapse into hackneyed formula if it weren’t for Sir Reginald’s suddenly fired-up vocal passion. What really impressed, however, was how much his enthusiasm for this project has rubbed off on older go-to fare.
It isn’t just that this celebratory collision of New Orleans jubilation, country comfort and two-stepping Sunday-service uplift has reminded him to once again dig up gems like “Burn Down the Mission” and the even more neglected “Ballad of a Well-Known Gun,” for not everything he offered in his nine-song solo portion was from 1970. Those moments were robust, sure, but the effect that this current direction took on later material was positively remarkable: I’ve never heard such a rich rendition of “Levon,” I never imagined “Sad Songs Say So Much” could sound so souped-up and sexy, I never thought I’d get to hear horns so punchy on “The Bitch Is Back.”
Where this inspiration leads next is anyone’s guess -- this brief tour is ending almost as fast as it began, and come mid-December Leon is back to playing the Coach House. This Palladium gig was the sort fans never expect to see, like Keith Richards playing here with the X-pensive Winos in '88; even if it had been mediocre (far from it), the show still would have ranked high in these legends' lore. Here’s hoping, however, that the experience keeps a torch burning in both men. Neither has been so revelatory in decades.
Setlist: Elton John & Leon Russell at the Hollywood Palladium, Nov. 3, 2010
Leon: Tight Rope / Prince of Peace / A Song for You / Delta Lady / Roll in My Sweet Baby’s Arms > Stranger in a Strange Land Elton & Leon – The Union: If It Wasn’t for Bad / Eight Hundred Dollar Shoes / Hey Ahab / Gone to Shiloh / Jimmie Rodgers’ Dream / There’s No Tomorrow / Monkey Suit / The Best Part of the Day / A Dream Come True / When Love Is Dying / I Should Have Sent Roses / Hearts Have Turned to Stone / Never Too Old (To Hold Somebody) / In the Hands of Angels (Leon alone) Elton: Burn Down the Mission / Levon / Tiny Dancer / Ballad of a Well-Known Gun / I Guess That’s Why They Call It the Blues / piano vamp > Take Me to the Pilot / Sad Songs Say So Much / The Bitch Is Back / Your Song Elton John & Leon Russell perform again Friday night at 8 sharp at Citizens Business Bank Arena, 4000 E. Ontario Center Parkway, in Ontario. Tickets are $66-$167.
Photo by Armando Brown, for The Orange County Register.

Elton John Culpable!

Comments (7)Categories: John Roderick: Reverb Residency, Music on the Ferry, What I've Been Listening To

Elton's tune The Bitch is Back was a big hit in the seventies, (it went to #1 in Canada), but it hasn't really maintained that place in his canon. Tiny Dancer wasn't a hit at all when it came out, but you hear it a lot more these days. I can only speculate that this is due to the obvious fact that it spawned the entire genre of "Gansta" misogyny, making it acceptable to refer to women as "bitches" in the popular arena.

Still, I wonder if it might not be time for a reappraisal. Elton was living in a different time, and he was, after all, referring to himself as the "bitch" that was back. This adds a layer of meaning that his later acolytes in NWA failed to incorporate. Maybe we could all benefit from inviting our inner bitch to come back.

Billy Elliot, The Musical - Simply Perfection

Thursday, November 4, 2010; Posted: 07:11 PM - by Shane Hudson

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Billy Elliot, The Musical which opened last night at the Durham Performing Arts Center, is an absolute must-see production. The musical, based on the hit film and featuring dynamic music by Elton John with book and lyrics by Lee Hall, is a big, bold, and beautiful production. This uplifting story about a boy from a blue-collar-family who steps out of a boxing ring and into ballet shoes, plays the Durham Performing Arts Center through November 14, 2010. Do not miss your opportunity to see this truly world-class offering.

The original production, still running on Broadway, garnered 10 TONY Awards including the 2009 award for Best Musical. It’s easy to see why this musical has received so much praise. The story is touching and transformative. The music is beautiful, though not overly catchy. The characters are incredibly realistic, charming, intense, and funny. The musical numbers develop elegantly out of the dialogue and are so well integrated into the story that you feel as if singing and dancing about a 1984 miner’s strike in England is the most natural thing in the world.

Director Stephen Daldry, who won the 2009 TONY Award for Best Direction of a Musical for Billy Elliot and was the director of the feature film version, has achieved great beauty with his superb directorial skills. This musical was directed with a keen eye towards keeping the action moving forward quickly without sacrificing the emotion of the story. In fact, it’s often during the periods of silence and stillness that this musical is most powerful. There are many touching moments when Billy, played last night with charm, grace and incredible stamina by Giuseppe Bausilio, carefully and thoughtfully shifts through the confusing hodgepodge of adolescent emotions. Billy’s angst is palpable. If not for great talent and a genius director, these moments could have been rushed, or worse, drawn out into melodramatic lessons in overacting. But no, Stephen Daldry knows his Billy. He is well aware that the power and joy of this story is watching Billy’s journey of discovery.

One cannot talk about Billy Elliot without discussing the brilliant choreography by Peter Darling. Rarely is anger and frustration so effectively and beautifully portrayed through dance on stage. Billy’s “Angry Dance” at the end of the first act is remarkable. Billy, unable to control his anger, tears his room apart and dances with intensity and aggression while police and protesters clash violently. Billy’s later dance with his future self is as dramatic and moving as any dance I’ve seen on stage, but it is “Electricity” that makes Billy Elliot a masterpiece. During this number, Billy, who has been on stage virtually non-stop for over two hours, is asked how dancing makes him feel. It is in this moment that we see Billy as a true artist. He sings:  “I can't really explain it, I haven't got the words; It's a feeling that you can't control; I suppose it's like forgetting, losing who you are; And at the same time something makes you whole.” He then performs a dance so masterful, so full of life and energy that the entire audience is completely and utterly under Billy’s spell. We have witnessed greatness. Giuseppe Basuilio’s Billy seemed especially up to the challenge last night, delivering a superb performance both singing and dancing with perfection.

While Billy is without doubt the star of the show, he is surrounded by a fantastic cast including the incomparable, TONY-Award winning actress Faith Prince. Ms. Prince plays Mrs. Wilkinson, Billy’s dance instructor and mentor, with compassion and pluck. The rest of the major players include Rich Herbert, who plays Billy’s beleaguered dad with a vast range of emotions; Patti Perkins, who gets all the laughs as Grandma; Jeff Kready, who plays Billy’s rage-filled brother Tony with terrific anger, and Jacob Zelonky, who plays Billy’s sweet and funny best friend Michael. Mr. Zelonky has one of the biggest and funniest numbers, “Express Yourself”, in the first act and is thoroughly impressive in his role.

It should be mentioned that this production relies on an exceptionally talented ensemble whose members play many roles quite well. The strength of the ensemble is possibly what makes this production so exceptional. Without the support of this family, both within the contest of the production and the story, Billy could not succeed. The sets by Ian MacNeil, costumes by Nicky Gillibrand, lighting by Rick Fisher and sound by Paul Arditti are expertly executed and add to the production without being overly fussy.

Last night’s performance was the official launch of the second national tour. The first national tour began in Chicago almost a year ago. The cast and crew have been living in Durham for the past two months building the show from the ground up. What an honor it is to have a massive Broadway production like Billy Elliot come to Durham to launch a tour! Hopefully, Triangle area residents will take full advantage of this unique opportunity and see Billy Elliot while they can. Billy Elliot is simply perfection. Now, go get your tickets before they sell out!

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