Elton John at Covelli Centre

"Elton John at Covelli Centre"

Sir Elton makes memories for a packed downtown house

http://www.vindy.com/news/2010/may/02/sir-elton-makes-memories-packed-downtown-house/

Published: Sun, May 2, 2010 @ 12:01 a.m.By ED RUNYAN
runyan@vindy.com
YOUNGSTOWN
Sir Elton John, the man who made so many memories during his 40-year career with his chart-topping music and showmanship, made unforgettable memories Saturday night for 7,000 area fans packed into the Covelli Centre downtown.
With hits like “Rocket Man,” “Bennie and the Jets,” “Levon,” and “Philadelphia Freedom,” the English performer lit up the stage with his five-member band for his Greatest Hits Live show.

John is one of the top-selling solo artists of all time, behind only Elvis and the Beatles, according to Billboard.
He drew fans from as far away as Atlanta at costs ranging from $39 to nearly $200 for a ticket purchased on eBay or from a broker.

In the hours leading up to the 8 p.m. show, downtown was brimming with couples, sisters and friends, many of them accompanied by a daughter or son who learned to appreciate John’s music second-hand.
The majority of concert-goers were in their 40s or 50s — old enough to remember his energetic early days.
Sixteen members of the Fackelman and Luther families of Girard prepared for the show at Buffalo Wild Wings on Wick Avenue several hours beforehand, explaining that John’s music has been passed from generation to generation.
“I’ve wanted to see Elton John for a long time — since I was young,” Michelle Luther said.
“My 16-year-old daughter Emily loves him. I think she was born in the wrong era,” she said. “She learned the words to “Tiny Dancer” when she was 2 years old — word for word.”
“I just love his songs,” Emily agreed. “I’ve been listening to them since I was born.”
Michelle Luther’s brother-in-law, Steve Fackelman, said he and his wife, Carol, were persistent the morning the tickets went on sale and worked their computers, succeeding in getting six tickets each. All the tickets were sold in 30 minutes, but after seven minutes, only single tickets were left, Fackelman said.
Ed and Nancy Baran of Boardman didn’t score any of the $39, $89 or $139 Ticketmaster tickets online, but got two tickets behind the stage from a broker for $111 apiece.
“We are so excited. It’s probably my fourth or fifth time,” Nancy said of John concerts, dating back to her high school days in the 1970s.

“He was just different — Liberace outfits — but his music was incredible. Everybody was listening to him,” Ed Baran said.

Dortheann Metzinger of suburban Atlanta came back to her hometown of Canfield this weekend with her boyfriend, Alex Hutchins, to stay with her parents, Robert and Ann Metzinger, and attend the concert.

Her friend from St. Charles School in Boardman, Cris McFerren, called her on the phone when she learned that Elton John was coming to Youngstown.
“I called her up and said ‘You won’t believe it,’” McFerren said. “Dorothe introduced me to Elton when we were kids” around 1976, McFerren said.

“I’ve been a fan since about age 10,” said Dortheann, a 1982 Youngstown Cardinal Mooney graduate. “It’s one of my lifetime list of people to see.”
One of her fondest memories of those days is a particular pair of Captain Fantastic socks she wore with her Catholic school uniform.
The socks showed John as Captain Fantastic from the 1975 album Captain Fantastic and the Dirt Brown Cowboy. They depicted John wearing big glasses and hat, and the socks showed a colorful keyboard.

“It was our only form of expression,” Metzinger said of being allowed to wear any kind of socks they wanted.
This is the first time Metzinger has attended an Elton John concert, even though John has a home in Atlanta and has played concerts there.
“I know I’d never get to see him in Atlanta,” she said, explaining that with 4 million people in the Atlanta area, tickets are hard to get.
John Klimko of Poland said the concert helps put Youngstown on the map.
“To have someone that well-known in our town. This is good for the town,” he said. “I think we need more of this kind of thing. People will come from Akron and Cleveland. People will come.”

Sandy Durbin of Willowick, a Cleveland suburb, said she has seen Bruce Springsteen, Fleetwood Mac and Pat Benatar in recent years.
“I think it’s important to see the music icons while we still have them, and we’re going to see them in a 7,000-seat arena. It’ll be intimate. It’ll be good,” she said.

“I saw the tickets come up on Ticketmaster for Youngstown, and I was thinking THE Elton John?”
Sheryl Carabbia of Struthers, who was with about five coworkers and friends, said, “There’s a few things you just want to go out and do, and this is one of them.”

Paul Handza, 22, of Pittsburgh, came to the show with several relatives, including his mother, Lynn Handza of Ridgway, Pa., which is near the Allegheny National Forest.

“I’m surprised. It’s really pretty here,” Lynn Handza said as she sat at a table on the sidewalk in front of Rosetta Stone on Federal Street before the concert.
“I’m very interested in architecture, and there is some really nice architecture here,” Paul Handza said.

How Covelli landed the Rocket Man

http://www.vindy.com/news/2010/apr/30/by-david-skolnick/

Published: Fri, April 30, 2010 @ 12:10 a.m.

By GUY D’ASTOLFO
dastolfo@vindy.com
YOUNGSTOWN

Covelli Centre Executive Director Eric Ryan

Sir Elton John

• Photogallery: Elton John at the Covelli Centre
• Vindy Story: Sir Elton makes memories for a packed downtown house
• Vindy Story: How Covelli landed the Rocket Man
• Map: Covelli Centre
• Website: eltonjohn.com
• AP Story: Elton John: Ryan White inspired me

How did little old Covelli Centre, with its 7,000-seat capacity, manage to land an Elton John concert?
It was a combination of business connections, the arena’s reputation ... and being in the right place at the right time.
Talk of bringing Elton to Youngstown actually began more than two years ago, said Eric Ryan, center director.
“I had been working on it since right about the time I got the job here [November 2007], or at least discussing it,” Ryan said. He first met with John’s representatives at a concert convention in California two years ago.
But it was only a few months ago that Saturday’s concert changed from a some-day goal to a distinct possibility.
“I was on a conference call with SMG and [representatives from] some other buildings and they were discussing the Elton John-Billy Joel tour that was then going on,” Ryan said. “They were saying Elton was going to take some dates on his own and play some secondary markets to leave the major markets still in play. Now that being said, we still didn’t meet the criteria. But I got on the horn and made some calls and we put together a plan with SMG and some other SMG buildings.” Covelli Centre is co-managed by SMG, an international arena-management company, and JAC Management, which is owned by Ryan. The city of Youngstown owns the facility.
Covelli Centre has the lowest capacity of the SMG-managed arenas that got Elton, but other factors worked in its favor.
“Thank goodness Elton loved the idea of playing a more intimate place,” Ryan said. “Elton doesn’t need to play Youngstown, but it was up to him and his management to say they’d play here. It went back and forth. I wanted it to happen, but I was afraid we didn’t have enough seats. But we worked out a deal and then [concert promoter] Live Nation got involved, and we finished it.”
In addition to the relationship with SMG, the arena’s history with major concerts played a role in landing the Elton John show. “[Covelli Centre] has a track record. We can say we put butts in the seats. We sold out Journey and Carrie Underwood and people are starting to notice.”
Ryan said he felt certain the Youngstown market would support an Elton John concert, even with its high ticket prices ($39, $89 and $139), and he was right.
When tickets went on sale March 12, ticket-selling Web sites got 13,000 hits in the first three minutes for the show — and each buyer could have bought up to six tickets. Buyers were mainly from the Northeast Ohio-Western Pennsylvania region, said Ryan.
“We are so fortunate; it’s unbelievable,” said Ryan. “I wake up every morning and ask my wife, ‘Is Elton still coming?’”

1 Avril 2010 -  Culture | Musique

Folie des grandeurs

http://www.lejdd.fr/Culture/Musique/Images/Avril-2010/Elton-John-concert-Chichen-Itza-Mexique-183876/


Elton John donnait un concert au Mexique, face aux pyramides Chichen Itza. L'événement a provoqué la colères des mayas.
Reuters

Elton John concert banned in Egypt for comments on gay

http://www.hindustantimes.com/Elton-John-concert-banned-in-Egypt/H1-Article1-538482.aspx
Egypt's musician's union on Sunday rejected plans for British singer Elton John to perform a private concert scheduled for May 18, because of his "controversial remarks attacking religions".
"How do we allow a gay, who wants to ban religions, claimed that the prophet Eissa (Jesus) was gay and calls for Middle Eastern countries to allow gays to have sexual freedom," head of the Egyptian Musician Union, Mounir al-Wasimi told DPA.
The pop superstar, 63, stirred controversy after his remarks to US celebrity news magazine Parade in February, where he said "Try being a gay woman in the Middle East - you're as good as dead", after saying he believed Jesus was "gay".
Al-Wasimi said that he has begun coordinating with security bodies to ban John's concert, saying that the union is the only body "authorised to allow performances by foreign singers in Egypt".
In 2008, Elton John performed in the United Arab Emirates to a crowd of more than 13,000 fans.
Although some human rights activists claim homosexuality is spreading in Egypt, the topic is a taboo in the country. In 2008, a lesbian scene in an Egyptian film set in Cairo's slums caused uproar.
In 2001, police raided a "gay" floating disco in Cairo. Around 20 of the 52 arrested were jailed for "habitual debauchery" and "obscene behaviour".

Elton John Jams for Thousands at Final US Tour Stop

http://www.spinner.com/2010/05/02/elton-john-jams-for-thousands-at-final-us-tour-stop/

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Sir Elton John has the energy to do more in a day than most people past the ripe age of 63. In fact, he does more than most touring musicians 40 years his junior: he plays a three-hour live show. At the final U.S. date of his 2010 Greatest Hits Live tour Saturday night in Youngstown, OH, the Rocket Man even had the energy to dance atop his piano.

Elton John's most recent string of tour dates focused primarily on arenas and stadiums in smaller American cities, such as Youngstown's Covelli Centre. The tour featured the famed English pianist with full band in tow, playing his biggest hits to crowds hovering around 7,000, a modest amount for a performer of John's notoriety. Not only were there no opening acts, but on Saturday, John and band kicked off their set one minute early, starting with the song 'Funeral For a Friend/Love Lies Bleeding,' the opener off 'Goodbye Yellow Brick Road,' before ripping into 24 others and a brief encore.

Despite Elton's initial punctuality, he and his band had no qualms about taking their time, transforming several hits into improvisational jam sessions, most notably 'Levon' and 'Rocket Man.' The performances were interspersed with Elton's generous thanking and gesturing to the crowd.

John also chose to play a new song, 'You're Never Too Old,' which he introduced it by asking his fans not to "run for the exits." The song premiered at a March 2010 show and will be featured on Elton's October release, which finds him working with legend Leon Russell, producer T-Bone Burnett, Neil Young and others.

John's new song was not the only surprise in store for Ohio fans Saturday night. After truly raucous renditions of 'Benny and the Jets,' 'The Bitch Is Back' -- with the word "Bitch" flashing on a jumbotron behind the stage -- and several other top hits, Elton and company left the stage. But the singer, clad in a black coat featuring jewels and an embroidery of his own likeness, returned several minutes later. He signed nearly 25 autographs for fans crowded around the stage before playing 'Your Song,' followed by 'Circle Of Life' from Disney's 'The Lion King.'

Elton let the crowd know that he does not often perform 'Circle Of Life' live. The pianist even seemed a bit emotional before playing the song, saying that working on 'The Lion King' soundtrack "changed the direction of [his] career" because he "got the opportunity to do more than just make records and tour." Fans certainly left the Covelli Centre feeling "the love tonight" rather than having any inkling Elton's so-called diva image.

Jerome Elias Saleeby, 50: Activist and board member for the Elton John AIDS Foundation

http://www.ajc.com/news/jerome-elias-saleeby-50-513571.html
By Rick Badie

The Atlanta Journal-Constitution
Eli Saleeby's  face flashed across the screen during the annual dinner of the Human Rights Campaign, held Saturday at the Hyatt Regency.

The dinner raises money to support the mission of  HRC, a civil rights organization that advocates on behalf of lesbians, gays, bisexual and transgendered citizens. It tries to secure equal rights at the local, state and federal levels.
Mr. Saleeby deemed its causes dear. Other activists say he was the first person from Atlanta to serve on the national board of  directors for  the Human Rights Campaign, based in Washington, D.C. He also sat on its board of governors.
The North Carolina native dedicated his life to organizations and events that promoted and advocated equal rights, "but it was not just for gays and lesbians," said Clara L.Fryer, a friend of Mr. Saleeby's since the late 1980s.
"I would say Eli was about fairness for the underdog," she continued. "He cared for the underdog and worked for folks who aren't as blessed as he was."
On April 23, Jerome Elias "Eli" Saleebydied at Grady Hospital from complications of non-Hodgkin's lymphoma. He was 50. A memorial service will be held at 6 p.m. May 11 at 701 Sherwood Rd., a private residence in Atlanta.
After high school, Mr. Saleeby attended East Carolina University, where he befriended Jim Bierma, also a Carolina native. They moved to Atlanta in the late 1970s to attend college. Mr. Saleeby earned a bachelor's degree in accounting from Georgia State University in 1982.
After working in banking, he became a real estate agent for RE/MAX Greater Atlanta and, later, specialized in high-end sales. Also, he and business partners would buy properties, then remodel and sell them.
In the 1980s,  the AIDS epidemic and HIV-related issues spread fear and death in the city. Mr. Saleeby and Mr. Bierma saw friends get sick and die. They got involved.
"Eli ended up taking a two-pronged approach," Mr. Bierma said. "He'd try to affect change on a political level and try to get grassroots funding. He was always consistent and always talked about having dialogue. He wanted to communicate, to talk, and make sure the agenda occurred."
Mr. Saleeby was a founding member of Georgia Equality. He was a board member for the Elton John AIDS Foundation from 1992 to 2005. John Scott of Cameron, N.C., served as the foundation's executive director during the movie buff's tenure.
"Not only did he help guide the governance of the organization, but he reminded all of us of the importance to leave a message of hope," Mr. Scott said. "He was a staunch believer in encouraging hope and awareness."
Years ago,  Mr. Saleeby had served as co-chair of the committee that plans the annual dinner for the local  chapter of the Human Rights Campaign. At Saturday's dinner, a moment of silence was held to honor the crusader.
"Several folks got tears in their eyes because they did not know," said Mr. Bierma,  his friend.  "He was healthy not too long ago."
Additional survivors include his father, Elias Saleeby of Raleigh, N.C.; and a brother, James Menefee of  Richmond, Va.



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Costumes for Elton John ballet put the emphasis on outrageous fun

 

 

Alberta Ballet dancer Kelley McKinlay at the Nat Christie Centre in Calgary. He's playing Elton John in the Alberta Ballet's upcoming production, "Love Lies Bleeding".

Photograph by: Dean Bicknell, Calgary Herald

Read more: http://www.calgaryherald.com/entertainment/Elton+John+ballet+costumes+emphasis+outrageous/2977107/story.html#ixzz0momVLUSX

 

By Bob Clark, Calgary HeraldMay 2, 2010

Read more: http://www.calgaryherald.com/entertainment/Elton+John+ballet+costumes+emphasis+outrageous/2977107/story.html#ixzz0momHjJVk

Once the curtain goes up on Alberta Ballet's Love Lies Bleeding on Thursday, don't be surprised if the imaginatively outrageous garb worn by the dancers to convey the look and feel of the world of pop icon Sir Elton John reminds you of something straight out of Lewis Carroll-meets-Barbarella-meets-A Clockwork Orange.
Add to that the influence both of Jean Cocteau-type surrealism and the brilliant unconventionality of that late enfant terrible of the fashionista set, Alexander McQueen, and you have an idea of what went into the concept dreamed up for the million-dollar show by costume designer Martine Bertrand.
The effervescent Bertrand recalls being in England for several months with her film production designer husband and thinking she saw the "Mad Hatter everywhere," when the Elton-inspired call came from Alberta Ballet artistic director Jean Grand-Maitre more than a year ago.
It couldn't have come at a better time, she says, "because I had a lot of things in my mind and I realized that in this ballet I could put everything -- my fantasy, my 'crazy thing' I have inside -- on the costumes. It's the first time I've had that (opportunity) with Jean," adds Bertrand, who has designed costumes for Grand-Maitre ballets for the past 16 years.
After developing her design concept by researching the music, life and times of Elton John for four months, mainly through photos of the pop star -- "My first inspiration was Elton in the 1970s, and a photo of him playing for the first time in Dodger Stadium in L.A. has inspired me a lot," she says -- Bertrand chose the Banff Centre as the facility to assemble the team of experts from Europe and across Canada to carry out the various cutting, sewing, dyeing and accessorizing procedures necessary to have her costume sketches turned into a reality. (Eighty per cent of the fabrication and costume-building took place at the Centre, while Alberta Ballet itself accounted for making the unitards worn by many of the dancers.)
With work on the costumes still in the very early stages, Bertrand recalls telling the Banff workshop crew, by way of a pep talk disguised as a credo, 'OK, I design the costumes, but in these costumes I want to have happiness and play. So go play.'
"And when I said that, they had fun -- and you see it in the costumes," says Bertrand, who lives in the Montreal-South Shore community of Longeue. "You see the happiness.
"And you see the happiness when the dancer wears those costumes."
Among those convened at the Centre to bring three-dimensional life to Bertrand's detailed sketches was Toronto milliner Leslie Norgate, who has spent 21 years in the business of making hats for use at the Stratford Festival, the Canadian Opera Company, the Metropolitan Opera and American Ballet Theatre, and several Lion King shows, among others.
Hats. Where would the whole Elton John stage persona be without . . . hats?
On paper, at least, Love Lies Bleeding calls for some of the most elaborately outlandish toppers and miscellaneous head coverings seen on the Canadian stage.
"The sketches show you everything," says Norgate.
But not how to make something like a "chandelier" hat.
That's where a taste for experimentation, a knowledge of unconventional materials, and a lot of experience came in.
"(The chandelier part) is made out of a material called 'Lexan' (used in motorcycle windshields and riot police shields)," Norgate says. "It looks like Plexiglas, but it's much stronger, much more flexible."
Adding another level of wonder to the elaborate headgear is the fact that it actually lights up, or at least appears to.
"Through illusion," Norgate says, adding that there are no lights on the hat only crystals or tiny mirrors, and big crystal "jewels" in the case of the chandelier "lights."
"Use the most powerful lights you have, the stage lights, and shine them on the hat -- and you create the illusion it's lit up."
Says Bertrand, "I wanted to give the lighting designer a place to play, too."
She laughs. "I designed that for everybody -- to have fun!"

Read more: http://www.calgaryherald.com/entertainment/Elton+John+ballet+costumes+emphasis+outrageous/2977107/story.html#ixzz0momTEdJD

--
Débora Aromatis Machado e Robson Vianna.
ELTON JOHN'S CORPORATION.

Elton John - 1989-04-26 - Verona, Italy

Elton John, Rob Thomas team up for Andre Agassi’s Grand Slam

http://www.lasvegassun.com/news/2010/apr/27/elton-john-rob-thomas-team-andre-agassis-grand-sla/

Leila Navidi

Elton John sings during his final performance of “The Red Piano” at The Colosseum at Caesars Palace on April 22, 2009.

By Robin Leach (contact)

Tuesday, April 27, 2010 | 11:26 a.m.

Andre Agassi Grand Slam Red Carpet Arrivals

Andre Agassi Grand Slam Concert

Superstar entertainer Sir Elton John and Matchbox 20 frontman Rob Thomas will headline Andre Agassi’s 15th Grand Slam for Children benefit concert Oct. 9 at the Wynn per an official announcement this morning from the tennis star’s Foundation for Education.
“Reaching our 15th Grand Slam is an incredible milestone, and the support we’ve gotten from both the artists and those involved with our foundation have made that possible,” Andre said in the press release. “We’re honored that Elton and Rob will headline this special anniversary night, ultimately helping us make a difference in the lives of Agassi Prep students.”
Since 1995, the Grand Slam has raised nearly $82 million, including $8 million from last year's 14th event, to support a movement that’s improving education. The event supports the foundation’s efforts to transform education and benefits the Andre Agassi College Preparatory Academy, a K-12 public charter school here in Las Vegas that strives to provide children with a first-class education. The tennis legend and philanthropist will host the 2010 Grand Slam for Children.
Now celebrating its 15th year, the Grand Slam brings together celebrities to build awareness and raise money for the foundation, which opened the Agassi Academy in 2001. Last year, the public charter school graduated its first senior class with 100 percent of graduates accepted into college.
Additional acts to be announced before Oct. 9 will join Elton and Rob under the musical direction of Grammy Award-winning producer, arranger and composer David Foster. The Grand Slam benefit includes a cocktail reception, a dinner, a live auction and a concert.

Elton John - 1989-04-26 - Verona, Italy

(FM broadcast mp3@192)


01. Sixty Years On
02. I Need You To Turn To
03. The King Must Die
04. Burn Down The Mission
05. Sorry Seems To Be The Hardest Word
06. Have Mercy On The Criminal
07. Funeral For a Friend Love Lies Bleeding (missing from download)
08. I Guess That's Why They Call It The Blues
09. Philadelphia Freedom
10. Sad Songs
11. Kiss The Bride
12. A Word In Spanish
13. Mona Lisa's And Mad Hatters Part1 & 2
14. Nikita
15. Daniel
16. I Don't Wanna Go On With You Like That
17. Candle In The Wind
18. Saturday Nights Alright For Fighting
19. Your Song
20. I'm Still Standing

http://www.megaupload.com/?d=VHUMNQDD

http://rapidshare.com/files/380712722/ElJo.1989-04-26.Verona.rar

http://hotfile.com/dl/40050372/1cb6609/ElJo.1989-04-26.Verona.rar.html

Frustration for Elton John fan

http://www.intelligencer.ca/ArticleDisplay.aspx?e=2551578

Posted By QMI AGENCY

Posted 11 hours ago

Mike Kennedy called it a must-see concert.

The problem for Kennedy, however, is that he won't see it.
The Harrowsmith resident drove into Kingston Friday and got in line at 3:45 a.m. to wait, in the wind and the cold, outside the K-Rock Centre to buy tickets for the Elton John concert on July 9.
Within minutes of the box office opening at 9 a.m., Kennedy, who was 37th in line, reached the window only to learn that the woman in front of him had purchased the last two of the 6,700 tickets.

"I feel like 5,000 people butted ahead of me, that 5,000 jumped ahead of the line," said Kennedy of those who were able to buy tickets online or over the phone within minutes of them going on sale. "They didn't endure what I did. I talked to a friend this morning: he had a good night's sleep, called at 9 a.m. and got two floor seats."
Kennedy doesn't begrudge those who buy tickets by computer or by phone -- he's attended a couple of concerts at the K-Rock Centre, including the Gordon Lightfoot show two weeks ago, with tickets purchased online by a friend.
"I've had several good experiences at the K-Rock Centre," said Kennedy.
His beef is why the venue advertises tickets for sale at the box office.
"You're giving false hope to people lining up," he said. "There were at least 400 to 500 lined up around the block.
"Why have any ticket sales to people in line? If you're going to have box office sales, set aside a block for people in line.

Concert Review

Elton John reinvents greatest hits at Huntington Center

http://www.toledofreepress.com/2010/04/27/elton-john-reinvents-greatest-hits-at-huntington-center/

Written by Michael Miller | Editor in Chief | mmiller@toledofreepress.com If classic rock can be defined as songs you don’t like but know all the words to, Elton John’s catalog is overflowing with exceptions that debunk the rule: songs you may not realize you know but love as you find yourself singing along.
For nearly three hours during his April 25 “Rocket Man” concert at Huntington Center, John played extended jam versions of two dozen of his hits, from his 1970 debut “Your Song” to a new track set for release on a Leon Russel duet CD in October.
More than 8,000 fans screamed, applauded, sang and urged the 63-year-old Rock and Roll Hall of Fame member through a muscular set that showcased a violent workout on John’s Yamaha grand piano.

Elton John, photographed by Steve France

John’s vocal delivery is more staccato than during his glory days, with less elongation to stress lyrics, and, post-vocal chord surgery, he no longer reaches for the higher notes, but his performance was strong, clear and seemed to gain energy as the night wore on; his five band members took breaks at various points in the concert, but John never left the stage. John, dressed in a split-tail maestro jacket with an image of his white-suited self from “Greatest Hits” crawling out of a crocodile mouth, sang behind sunglasses bejeweled with “EJ” and a half-smile. He wasted little energy on between-song chatter, but he did walk the length of the stage several times, mouthing “thank you” to fans and acknowledging specific John-themed articles of clothing worn by those in the first few rows.
For $25, the company simfyLive provided a flash drive and Web link with the April 25 Toledo show in full. A post-concert listen to the sound board-quality mp3 files reveals a band in absolute perfect synch. Longtime John drummer Nigel Olsson and guitar virtuoso Davey Johnstone are not in the Rock Hall with John, but they deserve unquestioned consideration as two of rock’s most consistent and accomplished sidemen. Kim Bullard’s keyboards provided everything from synth effects on “Rocket Man” to harmonica for “I Guess That’s Why They Call It the Blues,” stoic bassist Bob Birch maintained a rock-steady foundation with John’s piano and percussionist John Mahon provided flourishes that represented the only musical indulgences of the night.
Highlights included intense runs through “Tiny Dancer,” “Madman Across the Water” and “Someone Saved My Life Tonight,” one of rock’s coldest break-up songs. A 14-minute version of “Rocket Man” brought the band together behind John in an alternatively baroque and rollicking jam that gave the radio staple new life.
John acknowledged the 14 years between his Toledo visits with an earnest end-of-show comment: “It’s not all about Chicago and L.A.; it’s about places like this, and coming here tonight was such a pleasure. You lifted us so high.”
Download the April 25 Toledo concert at the Web site http://simfylive.com.

Elton John Live in Grand Rapids, MI 24-4-2010 [MP3]

http://www.megaupload.com/?d=9PMUAEJU


01 - Funeral For A Friend - Love Lies Bleeding
02 - Saturday Nights Alright For Fighting
03 - Levon
04 - Madman Across The Water
05 - Tiny Dancer
06 - Philadelphia Freedom
07 - Goodbye Yellow Brick Road
08 - Daniel
09 - Rocket Man
10 - I Guess That's Why They Call It The Blues
11 - Someone Saved My Life Tonight
12 - Take Me To The Pilot
13 - Something About The Way You Look Tonight
14 - Don't Let The Sun Go Down On Me
15 - Sorry Seems To Be The Hardest Word
16 - Candle In The Wind
17 - You're Never To Old To Love Somebody
18 - Honky Cat
19 - Burn Down The Mission
20 - Benny And The Jets
21 - The Bitch Is Back
22 - I'm Still Standing
23 - Crocodile Rock
24 - Your Song
25-Circle of Life


RE-UPLOADED

Elton John Live in Seattle 31-8-1973 [MP3]

http://www.megaupload.com/?d=TPJG8LV5
01 - Intro
02 - Elderberry Wine
03 - Your Song
04 - High Flying Bird
05 - Honky Cat
06 - Goodbye Yellow Brick Road
07 - Hercules
08 - Rocket Man (I Think It's Going To Be A Long, Long Time)
09 - Madman Across The Water
10 - Teacher I Need You
11 - Have Mercy On The Criminal
12 - All The Young Girls Love Alice
13 - Daniel
14 - Funeral For A Friend-Love Lies Bleeding
15 - Band Introduction
16 - Crocodile Rock
17 - Saturday Night's Alright For Fighting
18 - Honky Tonk Women

Elton John, Rob Thomas headline Andre Agassi benefit

http://www.livedaily.com/news/elton-john-rob-thomas-headline-andre-agassi-benefit-22023.html

Published April 27, 2010 11:04 AM

Comments and 0 Reactions

By Suzanne Kayian / LiveDaily Contributor

Elton John [ tickets ] and Rob Tomas will headline Andre Agassi's 15th Grand Slam for Children benefit concert Oct. 9 at Wynn Las Vegas.
The annual concert, presented by The Andre Agassi Foundation for Education, supports efforts to transform education and benefits the Andre Agassi College Preparatory Academy, a K-12 public charter school in Las Vegas, according to a press release.

John and Thomas will be joined by additional yet-to-be-announced "top-name" talent under the musical direction of Grammy-winning producer, arranger and composer David Foster.
Since 1995, the Grand Slam has raised nearly $82 million to support Agassi's vision of providing children with a first-class education, organizers claim.
The evening will include a cocktail reception, gourmet dinner, live auction and the benefit concert.

bernie taupin farm dogs

Bernie Taupin

From Wikipedia, the free encyclopedia

Works as a performer

Solo albums

• 1971 Taupin
• 

http://www.megaupload.com/?d=GD91ZFWC
Taupin is lyricist Bernie Taupin's first solo album. It is a spoken word album of some of his poetry. Taupin was well known for writing the words to many Elton John songs, and he used many of the same people John used on his albums in order to create his own. For example, Gus Dudgeon and Steve Brown collaborated on the album.
Maxine Taupin, his wife at the time, took some of the photographs on the sleeve of the album.
All the poems were written by Bernie Taupin.

• Ron Chesterman: Double Bass
• Richard Coff: Violin, Viola
• Davey Johnstone: Sitar, Acoustic Guitar, Banjo, Mandolin, Lute
• Chris Karan: Tabla, Finger cymbals
• Diana Lewis: Piano
• Shawn Phillips: Sitar, Electric Guitar, 6 and 12 String Acoustic Guitars, Koto, Voice
• Caleb Quaye: Piano, Acoustic Guitar, Organ

1971

US LP - Bernie Taupin - Bernie Taupin
Elektra EKS 75020

1. Child
   • Birth (1:20) (Bernie Taupin, Caleb Quaye, Davey Johnstone)
   • The Greatest Discovery (2:47) (Elton John and Bernie Taupin)
   • Flatters (A Beginning) (1:16) (Bernie Taupin, Caleb Quaye, Davey Johnstone)
   • Brothers Together (1:45) (Bernie Taupin, Caleb Quaye, Davey Johnstone)
   • Rowston Manor (2:20) (Bernie Taupin, Caleb Quaye, Davey Johnstone)
   • End Of A Day (2:00) (Bernie Taupin, Caleb Quaye, Davey Johnstone)
   • To A Grandfather (1:42) (Bernie Taupin, Caleb Quaye, Davey Johnstone, Shawn Phillips)
   • Solitude (1:43) (Bernie Taupin, Caleb Quaye, Davey Johnstone)
   • Conclusion (1:22) (Bernie Taupin, Caleb Quaye, Davey Johnstone)
2. When The Heron Wakes (2:40) (Bernie Taupin, Caleb Quaye, Davey Johnstone)
3. Like Summer Tempests (1:49) (Bernie Taupin, Caleb Quaye, Davey Johnstone)
4. Today's Hero (2:12) (Bernie Taupin, Caleb Quaye, Davey Johnstone, Shawn Phillips)
5. Sisters Of The Cross (2:39) (Bernie Taupin, Richard Coff, Diana Lewis)
6. Brothers Together Again (2:33) (Bernie Taupin, Caleb Quaye, Davey Johnstone)
7. Verses After Dark
   • La Petite Marionette (1:33) (Bernie Taupin, Richard Coff)
   • Ratcatcher (2:17) (Bernie Taupin, Shawn Phillips)
   • The Visitor (2:27) (Bernie Taupin, Shawn Phillips)

Produced by Gus Dudgeon.

• String arrangements by Robert Kirby, co-ordination by Steve Brown
• Caleb Quaye: piano, acoustic guitar & organ
• Davey Johnstone: sitar, acoustic guitar, banjo, mandolin & lute
• Shawn Phillips: sitar, electric guitar, 6 & 12 string acoustic guitars, koto & voice
• Richard Coff: violin & viola
• Diana Lewis: piano
• Chris Karan: tabla, finger cymbals
• Ron Chesterman: double bass

All poems by Bernie Taupin

• Engineering: Clive Franks. Tape Operators: Barry Sherlock and Tony Lord
• Recorded at DJM Studio, London and Remixed at Trident Studio, London
• Remix Engineer: Robin Geoffrey Cable
• Keepers of the Keys: Nigel Olsson & Stuart Epps
• Illustrations: Peter Schaumann. Photography: Ed Caraeff
• Art Direction & Design: Robert L. Heimall

Review by Joe Viglione:

Elton John's lyricist could have come up with a more interesting project given the enormous talent involved. Many of the Elton John mafia from the early seventies participate - producer Gus Dudgeon, Davey Johnstone, Caleb Quaye, Clive Franks, and others accompany Bernie Taupin on this lyrical excursion. Side 1 contains the poem Child which has nine separate elements listed "a" through "i". 
The second portion of Child which is sub-titled The Greatest Discovery, is the only Elton contribution, credited to John/Taupin. It is also one of the more musical pieces. For the most part Caleb Quaye and Davey Johnstone provide backing for the relentless recitation.
Former Velvet Underground keyboardist Willie Alexander has earned a good reputation for his spoken word discs, and if Bob Dylan and Lou Reed pursued this avenue there's no contest if compared to Kongos, the brilliant musical work by John Kongos, produced by Dudgeon with Caleb Quaye on guitar; this album, released around the same time on Elektra as well, conveys John Kongos message unmistakably.
Bernie Taupin, on the other hand, needs to deliver lines like "...for as the days feed time command. I thank all those within whose arms I learnt to live and love..." with a little more enthusiasm. This bit, entitled Conclusion, has the same energy as a priest during a weekday Mass. saying some obscure prayer for the six thousandth time.
Given the bevy of albums released around 1971 by Davey Johnstone, Caleb Quaye's Hookfoot, James Newton Howard and the aforementioned Kongos, all with musicians from the Elton John/Bernie Taupin stable, one would think When The Heron Wakes or Like Summer Tempests from this methodical essay would have more compelling lines than "not I to wear the gospel. When I only wrote my own, your chapters shall go unwritten."
Taupin has a unique voice which fails to command the respect he has earned with his work with Elton. However all is not lost, a double CD "best of" featuring material from all of the musicians who recorded with Elton in the early 70's and who released records such as this one, would be of interest to the legion of fans out there.
Bernie Taupin reciting the lyrics to some of his more fascinating songs with Elton John might really be something. It's not that this is a bad recording; with all the talent converging here, they could have come up with something better than just average.

 

• 1980 He Who Rides The Tiger
• 

Ficha técnica:

Joey Carbone: Keyboards
Kenny Passarelli: Bass Guitar, Vocals
Dennis Tufano: Rhythm Guitar, Vocals
Carlos Vega: Drums
Richie Zito: Electric Guitar, Acoustic Guitar


Faixas:
Monkey On My Back
Born on the Fourth of JulyVenezuela
Approaching Armageddon
Lover's Cross
Blitz Babies
Valley Nights
Love (The Barren Desert)
The Whores of Paris
Studio album by Bernie Taupin
Lançamento 1980
Genero: Rock/Pop
tempo total: 43:58 minutos
Produtor:  Humberto Gatica

http://www.mediafire.com/download.php?4zzwzknmd0y




http://www.associatedcontent.com/article/57844/bernie_taupins_he_who_rides_the_tiger.html

Bernie Taupin's He Who Rides the Tiger: A Lyricist Stands on His Own

For many music fans, Bernie Taupin is known, or possibly not known, as Elton John's lyricist. But for those of us who are ardent Elton followers, we know Bernie is much more. It is true he has written himself and John

 into music history but Taupin is also an accomplished actor, writer and singer on his own. His latest projects have included the band Farm Dogs.

This release "He Who Rides The Tiger" received very little critical or audience acclaim. Mainly because not many know if it's existence. This is Taupin's second solo project. His first was a spoken word album that came out in the early 1970's. Essentially it was his poetry set to music. The third solo CD is titled "Tribe." Out of the three releases "Tiger," is far superior in regards to its material and overall performance.

The CD is a good representation of Taupin as a writer. The songs do not have the commercial flair of his work with Elton but they are interesting and introspective all the same. "Lover's Cross" brings many issues of relationships to bare. "The Whores Of Paris" takes on a more somber tone and opens itself up on a different level. "Blitz Babies," is a good solid rocking song, while "Approaching Armageddon," seems to try a bit too hard.

I really did enjoy "Valley Nights." It provides the good solid imagery Bernie is known for. Taupin's voice is strong but doesn't stand out as John's. The ideas here are interesting and not the norm for pop songs.

As much as I like this CD it is evident Taupin's work with John is his strongest by far. It has catapulted him into the history books and brought him the fame he deserves. Essentially the CD can be found as a Japanese import. However copies are available on Amazon.com and possibly EBay. Look around, you may also find it at an independent mom-and-pop record store.

Dennis Tufano this time around provides the music. This withstanding, "He Who Rides The Tiger" is an interesting release with worthwhile songs and ideas. Elton joins him as a background singer on this effort. So, if

 you're an Elton and Bernie fan, this CD is worth adding to your collection. It would have been interesting to note what John would have done with these tunes had he been presented with them from Bernie.











1987 Tribe

Tribe
1987
RCA

Tracks:
Friend of the Flag (B-Side Backbone)
Corrugated Iron
Citizen Jane (B-Side White Men in Chains)
Hold Back the Night
She Sends Shivers
Billy Fury
I Still Can't Believe that You're Gone
Conquistador
The New Lone Ranger
Desperation Train

 

album credits :

Fred Mandel Keyboards
Gordon Neville Vocals
Hammer Smith Harmonica
Hamish Stuart Vocals
Bernie Taupin Vocals, Main Performer
Margaret Taylor Vocals
Ed Thacker Engineer
Larry Williams Saxophone
Stevie Bensusen Vocals
John Cannon Vocals
Martha Davis Vocals
Sylvia Saint James Vocals
Shirley Lewis Vocals
Martin Page Synthesizer, Bass, Percussion, Arranger, Bass (Electric), Drums, Programming, Fretless Bass, Producer, Vocals, Keyboards
Bill Bottrell Engineer
Alan Carvell Vocals
Paul Delph Keyboards, Vocals
Brian Fairweather Guitar, Vocals
Paul Fox Keyboards
Tommy Funderburk Vocals
Craig Krampf Drums, Vocals, Drum Programming
Bruce Hornsby Piano, Accordion
Elton John Vocals

Bernie Taupin named his band and 1987 RCA album Tribe, displaying even more of his affinity for the Native American culture he gave listeners on Elton John's Tumbleweed Connection over a decade before. If you think "Friend of the Flag" sounds like "Country Comforts" from those Tumbleweed days crossed with Starship, it does. Collaborator Martin Page co-wrote "We Built This City" with Taupin and though this episode is pleasant enough, it would have been more fun to hear the songwriters take on their hits for Starship and Heart. "These Dreams" would have done much to introduce these behind-the-scenes fellows to the masses. The album has some fascinating moments, but nothing big enough to lift it over the top. "Corrugated Iron" is strong; dedicated to Nelson Mandela, it owes much to John Stewart's 1979 Top Five hit "Gold" and John Kongos' sublime minor hit "Tokoloshe Man." Taupin cohorts, including Gus Dudgeon, were involved with the Kongos effort, and it is nice to hear them resurrect "Tokoloshe Man" somewhat. It is also nice to hear what sounds like Elton John's voice on "Citizen Jane" and "Billy Fury." Tribe is one of the more derivative albums you'll ever hear, melodies and production ideas lifted from all sorts of material that shot out over the Top 40 airwaves. What's missing is identity. Bernie Taupin's debut effort, Taupin, suffered the same dilemma and it is distressing that 16 or so years later the brilliant lyricist who was involved with so many hit recordings couldn't sprinkle the magic on this effort to help himself. Of course, if "Citizen Jane" had been pushed into the consciousness through incessant radio play, it might have stuck. The other problem could have been RCA Records. Sure, they propelled Taupin's Starship work to the top -- but the label had no clue that the Dirty Dancing soundtrack, released around the same time as this, would fly. A decent and interesting enough project, it just needed a little bit more from the lyricist turned singer as well as the record label. Now, had Elton John performed a duet as Martha Davis does on "She Sends Shivers".... The music here begs the almost rhetorical question -- has Procol Harum lyricist Keith Reid put his voice on record yet? Tribe might be part of the answer to that query. ~ Joe Viglione, All Music Guide

http://www.mediafire.com/?bxydhd0xm2x

With Farm Dogs

• 1996 Last Stand in Open Country
• 

Jim Cregan: Guitar, Vocals
Robin Le Mesurier: Guitar , Dobro
Bernie Taupin: Vocals
Dennis Tufano: Vocals, Harp
 

Faixas:

"Me and My Friends" – 4:26
"Cinderella '67" – 4:30
"Beautiful (I Don't Want to Be)" – 4:05
"Shameless" – 4:14
"Burn This Bed" – 4:27
"Color Bar" – 4:08
"Pretty Bombs" – 4:08
"Barstool" – 4:21
"The Ballad of Dennis Hopper and Harry Dean" – 5:47
"Bone of Contention" – 4:52
"In Paradise" – 3:51
"Last Stand in Open Country" – 5:34
http://www.mediafire.com/?2he3xgmjmse

• 1998 Immigrant Sons
• 

Foreign Windows
Distance to the Mountain
Daria
Lightning on the Hill
This Face
Whiskey in the Bathtub
Bird of Prey
Leaving Buffalo
Working in the Fields
America on Trial
Nothin' Gonna Kill the Kid
Aimless Driving
Deep Dark Secret
Stars & Seeds
http://www.mediafire.com/download.php?1z2iow2ryzs In 1971, Taupin recorded a spoken-word album entitled Taupin, in which he recites some of his early poems against a background of impromptu, sitar-heavy music created by some members of Elton's band, including Davey Johnstone and Caleb Quaye. Side One is entitled "Child" and contains poems about his early childhood in southern Lincolnshire. The first poem, "The Greatest Discovery," which looks at his birth from the perspective of his older brother Tony, was also set to music by Elton John and included on Elton's eponymous second album, Elton John. There are poems about Taupin's first two childhood homes, Flatters and Rowston Manor, and others about his relationship with his brother and grandfather. Side Two includes a variety of poems of varying obscurity, from a marionette telling her own story to a rat catcher who falls victim to his prey.^[7] While the lyrics to Side One provide interesting insights into Taupin's childhood, the album makes for a tedious listening experience, and Taupin stated in interviews that he wasn't pleased with the results.^[8]
In 1980, Taupin recorded his first album as a singer, He Who Rides the Tiger. Although he demonstrated a more-than-adequate vocal ability, the album failed to make a dent in the charts. Taupin later suggested in interviews that he didn't have the creative control he would have liked over the album.
In 1987, he recorded another album entitled Tribe. The songs were co-written with Martin Page. "Citizen Jane" and "Friend of the Flag" were released as singles. Videos of both singles featured Rene Russo, the sister of Toni, his wife at that time.
In 1996, Taupin pulled together a band called Farm Dogs,^[9] whose two albums were conscious (and successful) throwbacks to the grittier, earthier sound of Tumbleweed Connection. While Taupin wrote the lyrics, the music was a collaborative effort among the band members. Their first album, 1996's Last Stand in Open Country, received critical praise but little airplay. As mentioned above, the title track was later recorded by Willie Nelson and Kid Rock for Nelson's 2002 album The Great Divide.
In 1998, Farm Dogs released its second and final album, Immigrant Sons. The album was unsuccessful despite a tour of small clubs across America.

It's a Little Bit Funny : Rolling Stone

19 Feb 1998

http://64.233.163.132/search?q=cache:8Z3iHw3xO3UJ:www.rollingstone.com/news/story/5919946/its_a_little_bit_funny/print+farm+dogs+site:www.rollingstone.com&cd=10&hl=pt-BR&ct=clnk&gl=br

Bernie Taupin has been telling stories for nearly 30 years. He is, of course, best known for his collaborations with Elton John, contributing lyrics to a partnership that's spanned three decades and produced some of pop music's most enduring moments: "Rocket Man," "Goodbye Yellow Brick Road," "Bennie and the Jets," and both the original "Candle In The Wind" and the mildly rewritten version honoring Princess Diana, which has usurped Bing Crosby's "White Christmas" as the best-selling single of all-time.



At the moment, however, the story Taupin is telling has nothing -- and everything -- to do with his creative partner. It's the story of a lyricist who, after living life largely in the long shadows of his friend, finally acts on a long-standing desire to form a band of his own whose sound harkens back to the American roots music he's always loved. It's a sound that can be heard on Elton John's classic early albums as well as Last Stand in Open Country, the 1996 debut by Taupin's band, the Farm Dogs.

On this particular morning, the 48-year-old Taupin is seated in a spare room inside Boston's Omni Parker Hotel, sipping a late-morning coffee with several fellow Farm Dogs. He's expansively charming and wears an expression of mischievous amusement on a face topped with a close-cropped shock of platinum blonde hair. In short, he looks like a man who's having fun. The Farm Dogs -- which includes ex-Rod Stewart sidemen Jim Cregan, Robin LeMesurier, Tony Brock and newcomer Tad Wadhams from Sheryl Crow's touring band -- have just released their sophomore effort, Immigrant Sons (Discovery/Sire), and the band is currently at work promoting the new album. At the time of our interview, he and his mates are discussing the perils of tuning guitars at 8 a.m. and performing live on the early-morning talk show circuit.



No one should have to tune a guitar at eight in the morning.


It's times like these that try a man's soul. Although we're a little older than most, this is a fledgling band and we're starting at the bottom, so we have to do these things. But we've all been lucky in our lives to have lived quite well with private jets and big hotel suites and that sort of thing. So there's actually something fun about all this, as long as you've got the camaraderie and a sense of humor -- and believe me, you need a sense of humor to get up at 5:30 in the morning and do these TV shows for the cooking set.




You've released solo albums over the years, but you've said having your own band, being part of a band, is a kind of a lifelong dream for you. Why now?


I think at 15 or 16 everybody gets into music and has dreams of being in a band. Now, these guys (in the Farm Dogs) all did that, but the thing is, I got into another side of music. I got kind of sidetracked for 30 years (laughs) and within that time frame, I would get to certain points where I'd make a solo record. But more often than not, it was slightly disappointing. As I've gotten older and Elton's music has gone in a much more mainstream direction -- which I'm happy to go along with because I can write that stuff and I enjoy writing it, too -- I realized I was missing something by not being able to express myself with the kind of music that I was still listening to ... that I loved back when I was a kid. I wanted to make some really good roots rock & roll, and in order to do it, I felt I needed a band situation. But I didn't want the focal point to be totally on me.



What's the secret to a good song? As a lyricist, is there an element you feel *has* to be there for a song to fly?


If you have the ability to write a really interesting lyric that tells a good story and you have the ability to write a great melody, then that's it -- the ability to mesh the two together. But there aren't that many people out there who can consistently combine those elements. So there's no secret, really. I think it's about ability. I happen to think that Elton is an extraordinary writer of melodies and luckily, I think I can tell a good story. And one of the things I do with the Farm Dogs is that, after I've written a lyric, we figure out what mood a song should take -- unlike Elton, who never pays any attention at all to what the lyric is (laughs).



"Candle In The Wind '97" is now the biggest-selling single of all-time, and it's generated a lot of money for charity. Still, was it difficult for you to revisit that song given the circumstances?



(Long pause) I'm constantly trying to find new ways of talking about it. I don't want to sound generic because then it becomes a bit cold. But actually, the hardest thing about talking about it is that there really isn't that much to it. Because I basically just went in and did my job -- although obviously it was far more emotionally motivated because it was just two days after the event. I suppose it's a kick in the pants to know that you've got the biggest-selling single of all-time, but to be really honest with you, I don't think the enormity of it has sunk in yet. I don't really remember much about doing it.


On some level, it must have been a surreal experience.


It *is* very surreal. But don't get me wrong. I'm very proud of the outcome and think it was a great piece of work, and I think that people connected with it.


What's the reaction you most want people to have from seeing or hearing the Farm Dogs?


A big smile on their face. This is definitely *not* an angst-driven band. I mean, we're starting at the bottom of the ladder, but there's a lot of fun to be had at the bottom of the ladder. It's all part of the Farm Dogs' plan for world domination.





Razor Face's Bernie Taupin Page
Bernie Taupin & FarmDogs

Bernie Taupin is, without a doubt one of the most talented and prolific lyricists of the 70's, 80's and 90's and an integral part of the Elton John phenomenon. Outside of his involvement with Elton John Bernie Taupin has established a solid carreer of his own. From writing books to producing records and recording his own he has done it all. Having #1 hits with Heart on "These Dreams" and Starship on "We Built This City" both co-written with Martin Page.
In the book "A Cradle Of Halos" Bernie tells his story up until the time he met Elton John. For an insight on thee man, this book is a must to read. But here we will just concentrate on the music. In 1971 Bernie released his first solo album entitled "Taupin". A collections of poems set to music this is a good album. The accoustic guitar work is excellent and the reading paints the picture. "Child" amd "Verses After Dark" highlight this album. Following this album Bernie's producing debut came with David Ackles "American Gothic". In 1974 when the Hudson Brothers signed with Rocket Records Bernie took on the producing duties and scored a hit in 1975 with "Rendezvous". In 1977 Bernie 's singing debut came with an album recorded in Canada with the help of alot of stars including Ringo Starr. This album was never released and remains in a vault somewhere. In 1980 Bernie released "He Who Rides The Tiger". The following is a review of the album taken from Billboard magazine:
The man who supplied all those marvelous lyrics for Elton John moves into the limelight with his first album. Taupin isn't a bad vocalist, in fact, with the aid of Elton and other supporting singers, Taupin comes across as a self-assured singer in control of the situation. As expected, his biggest strength lies in his lyrics, which are among the strongest he's written, especially "The Whores Of Paris". With music and some impressive guest musicians, the album moves along at a consistent pace. However, after a while, Taupin's vocals become a bit too stagnant, resulting in periods of tediousness.
It will be seven years until Taupin releases his next solo album. In 1987 "Tribe" was released. Highlighting this album are "Billy Fury" sung with Elton John and the first single "Friend Of The Flag" and the second single "Citizen Jane" with Elton doing the backing. "Citizen Jane" did chart on Billboards Adult Contempery chart. The videos got extensive air play on VH1 and MTV.
In 1996 Bernie formed the band Farmdogs and released the album "Last Stand In Open Country".
Below is a discography of Bernie's solo efforts. Follow is a list of links that will fill in all the blanks left on this web page. Be sure to check them out for all the info on Bernie Taupin and Farmdogs!

Albums

1971
Taupin-DJM (UK) with deluxe fold open cover!
1972
Bernie Taupin-Elektra
American Gothic (David Ackles)-Elektra [Bernie Taupin producing]
1974
Totally Out Of Control (Hudson Brothers)-Rocket [Bernie Taupin producing and co-writter]
1975
Ba-Fa (Hudson Brothers)-Rocket [Bernie Taupin producing and co-writter]
1976
A Personal Interview-Rocket [Interview on the book "The One Who Writes The Word..."]
1980
He Who Rides The Tiger-Asylum
1987
Tribe-RCA
An Interview With...-RCA [double album interview on "Tribe"]
Friend Of The Flag-RCA [12" promo single]
Citizen Jane-RCA [12" promo single]
1996
Last Stand In Open Country (Farm Dogs)-Discovery
1998
Immigrant Sons (Farm Dogs)-Sire

Singles

1987
Friend Of The Flag-RCA
Citizen Jane-RCA
http://www.traguardo.com/tonyfarmdog.html

Bernie's Got A Brand New Bag ...
Or Maybe A New Bone To Pick?
Either Way ... It's THE FARMDOGS!

This just in ... FARMDOGS AT THE BOTTOM LINE, NY!

Okay, truth be told, at this point the band itself is not so new. Their first album ... er, CD (pardon me, I'm showing my age) ... came out back in 1996.It's entitled Last Stand In Open Country, and was released on Discovery, distributed by Warner Music. Your local fine music emporium should have a copy of it ... if it's worth it's weight in round metallic-looking objects, that is.
That first album slipped past me more efficiently than I ever would have imagined it could have. I think the label just didn't push it the way they should've. I mean, here I was, a fan of Bernie's work for such a long time (not to mention a fan of Rod Stewart's work as well), and a friend had to inform me of the album's release a few months after the fact. A few years ago I wasn't quite the web-surfer that I am now, so I missed out on seeing any info on-line as well. But thankfully, now that I was armed with a little knowledge, I was able to find a copy just down the street at The Music Arcade. (Y'know, I just love the name of that store - goofy, but fitting!)
I knew that this was going to be a blast when I spotted the words File Under "Great Music", a play on the old marketing strategy of the sixties, in the upper corner of the back cover. The band's careful combination of humor, warmth and ... well, the word "balls" probably sums it up best ... was instantly evident from the start. The front cover showed a storm out on an open plain. Brown. Earthy. The band's name, "FARM DOGS" appeared across the top, and the disc's title was in small type centered on the bottom. I opened it up and found a photo of the band on the back cover of the booklet. This was promising. An acoustic guitar, an electric guitar, and four faces and pairs of eyes that had obviously seen their share of the road, and of life in general.
Now, let me say that I like all types of music. Alright, maybe "Rap" can only be handled in minimal doses, but I believe that everything deserves a fair listen. Unfortunately, however, I haven't found a lot of music that's really thrilled me in recent years. I've found myself alternately digging the newer "folky" bands and checking out the latest "power pop" groups. The "bands de-jour", as I politely refer to group's like Oasis, often seem to pass me by.
I've also, since childhood, been a fan of Elton John's music. (Makes sense, I guess, seeing as how I've been following Bernie Taupin's work?!) While I thought that Elton's Made In England was somewhat of a return to form for him, I find that his music has been catering a bit more towards the 'middle of the road' in recent years. Too many drum machines. A bit too heavy on the synthesizers. Sure, The One had featured some beautiful songs, but the production just wasn't my bag. I needed more chops. I wanted some ... wood. Maybe Bernie would do another album with Alice Cooper? I dunno, somehow that didn't seem bloody likely.
Enter onto my unsuspecting CD player ... The Farm Dogs!
WOOF!, indeed.
Wood. Lots of it. Guitars in harmony. A harmonica. Voices in harmony. And, son-of-a-gun ... I'd know that lead vocalist anywhere. It was Taupin himself! A new adventure was beginning. As the album progressed, I got very "psyched" for Bernie. From the sounds of things, he had found a new alliance. While his partnership with Elton had provided him with a one-on-one co-author who matched music to his lyrics with hand-in-glove efficiency, he seemed to have now become part of a "team". The noise that this band was making provided perfect accompaniment to Bernie's unique, expressive vocals. The proof of the comraderie was in the fact that the notes gave songwriting credit to the entire band, as a unit. These fellas weren't foolin' around. But then again, they seemed to be having a great time, didn't they?
I heard shades of Elton John's earlier works; pieces like Tumbleweed Connection or some of his classic B-sides. Elements reminiscent of The Grateful Dead, another one of my favorite bands, cropped up as well. I was getting that same kind of feeling that I had the first time I'd heard John Cougar's albums Scarecrow and Lonesome Jubilee. When the second track (Cinderella '67) introduced a new vocalist into the equation, I was reminded of both Rod Stewart and the late Ronnie Laine - in particular the latter's work with Pete Townshend on the album Rough Mix. There was passion in this music; not just in obviously "passionate" cuts like Burn This Bed, but in the more delicate songs, like Shameless, as well.
Taupin himself was at his best. I shook my head in disbelief at the fact that so many years down the road, the man can still toss out a phrase like:

"Just the child of a cartoon bride
That got caught in a Disney twister
Wound up human on the other side."
- from Beautiful (I Don't Want To Be)
Copyright 1996, The Farm Dogs
Damn. I'm a lyricist myself, but this man still amazes me.
As I listened on, images leapt from the lyric booklet. Here was pure Americana. I am a thirty-something year old guy who is questioning, with intense regularity, where we - as a country and as a "people" - are really at, and where we are going. I am also "stuck", by that strange force that only a city like New York can exert on someone's soul; here in a suburb (Long Island) which is becoming increasingly more turbulent as the years go by. The line between urban and suburban grows shorter than the three letter suffix that differentiates the two words. Ironically, the one place where I have found solace in recent years is during my visits to the suburbs of England. Sometimes, quite simply, I really need to simplify. Music has always been the most effective (and probably the least expensive) way to stir that feeling in my soul well enough to tide me over for a while.
That album stayed in the car's CD changer for a long time. I was driving around convinced that I needed to find Dennis Hopper and Harry Dean Stanton and buy them both a drink someday. Oh, and by the way, I agree with you, Bernie ... DeNiro IS too fuckin' weird.

And then ...
A second album!
IMMIGRANT SONS

Congratulations, guys.
Let's see ... you crushed the concept of the "sophomore slump" that everyone speaks of in the music business to the ground. But hey, you guys have been in this game for a while ... so did anyone really expect any less?!?
This time around, I was there the day it came out of the box. I'll admit, I wasn't expecting it at all, but the manager of the local store saw my hand flash by as a quick blur when I snatched it out of his Tuesday "new release" shipment. I took it home, and was trying not to let expectations get too high. While I doubted that this would be the case, what if lightning was only going to strike once? Nah. Not with these guys.
And I was bowled over once again ... only harder. There is more amperage behind the passion, the power, the guitars and the harmonies this time around. The opening track, Foreign Windows screams for AIRPLAY! It hooked me right in, and the album maintains that level of quality throughout. I marvel at the fact that there can be so many damn hooks on this record, while it manages to not sound the least bit contrived or formulaic. It's from the heart .. and it's real good.
More Americana. A careful balance. There is hope and beauty ( Distance to the Mountain and Stars and Seeds ), interspersed with darkness ( Deep Dark Secret ) and grit ( Whiskey In The Bathtub ). Welcome to the U.S. of A., eh.
If I was still doing a radio show out here in the suburbs I wouldn't know what track to play first! Daria makes for a great choice as the lead single ... and friends of the Farmdogs have to get together and rally their local rock stations to add it to their playlists. I've got to say, though, that I've had America On Trial hopelessly stuck in my head on more than one day since the album's been out. Lightning on the Hill is another stand-out "rocker" in my opinion.
The delicate, heartfelt vocal on This Face makes this another highlight of the new disc. Maybe this one can grab the attention of those "soft/light rock" stations out there?

Ahhh, radio ...
Which gets me off on another tangent. What IS with radio these days? Is it really as far down in the crapper in the rest of the country as it seems to be here in New York. Image. That's all it's about these days ... image. If it looks like a duck and acts like a duck, then it must be a duck, right? The only problem is that nobody ever listens to hear whether or not it SOUNDS like a duck before they pigeon-hole it into where they think it belongs, or doesn't belong, on the dial. Oh, and it's actually image AND demographics. What audience does this music sell products to? I know ... it's always been a business, but things have really gotten out of hand, haven't they.
I hate to say this, but it's probably a good idea that the photo of the guys doesn't grace the front cover of the new disc. If the band doesn't have pins sticking out of various orifices, they can't be making anything close to "vital" noise, can they? If they look like older, "worn and lived in" rockers, are station directors going to lump them in with the tired sounding MOR pseudo-rockers that are constantly sliding up the charts when I, for one, mustn't be looking?
Scary stuff. When I was a kid, I remember hearing R&B, pop, light fluff, and hard rock all on the same station - the Top 40 - all day long. Nowadays, the folks who quickly dole out all of the labels and subdivisions don't take one simple point into account - some people simply want to hear good music ... and in a variety of styles at that. Good God ... I'm soundin' old.

OK, sorry ... back to the Farm Dogs!
Let me close by saying "thanks" for the albums, guys. You've given me some great Aimless Driving music over the past couple of years.

And as life goes on, my relationships shift and change, and tranquility and frustration try to strike an even balance in my restless thirty-something heart, I find it incredible that words from a certain Mr. Taupin's pen still manage to nail my feelings down in their completely inimitable fashion. Amazing.


P.S. Finally, as my collaborator, John Keating, and I plow ahead with our own music, we look at The Farm Dogs as a reminder that there is still a place out there for music that comes from the heart - which is where the two of us are trying hard to shoot from. Sure, there are bound to be some shots that come from the hip now and then, but that'll just keep folks on their toes, won't it.