bernie taupin farm dogs

Bernie Taupin

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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.

Elton John Live in Des Moines, IA 16-4-2010[MP3]

Elton John Live in Des Moines, IA 16-4-2010[MP3]

218.84 MB

NEW
http://www.megaupload.com/?d=H9PRN2E6

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 - Sad Songs
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

Elton John ricorda Ryan White con una lettera

http://www.gaywave.it/articolo/elton-john-ricorda-ryan-white-con-una-lettera/11023/

Pubblicato da Gigio in Cultura Gay.

Lunedì, 26 Aprile 2010.

Elton John sempre attivo nella lotta contro il virus dell’HIV, ha scritto e pubblicato una lettera per Ryan White, il giovane ragazzo di 18 anni, diventato un’icona simbolo della lotta contro l’HIV dopo che la malattia gli era stata diagnosticata nel 1984, in onore del ventesimo anniversario della morte del ragazzo.
White era stato infettato in seguito ad una trasfusione di sangue contenente il virus dell’HIV. Nonostante gli avessero dato sei mesi di vita, è sopravvissuto per ben sei anni diventando un grande sostenitore della prevenzione, cura e tolleranza dell’AIDS.

” Venti anni fà in questo mese morivi di AIDS. Sarei stato onorato se fossi riuscito ad avere una conversazione in più con te, l’amico che ha cambiato la mia vita e quella di milioni di persone che vivono con l’HIV. Per questo ho deciso di scriverti.
Ricordo bene il nostro primo incontro. Un giovane ragazzo con una terribile malattia, eri un’epitome di grazia. Non hai mai incolpato nessuno per la malattia che distruggeva il tuo corpo resistendo fino alla fine.

Quando gli studenti, genitori e insegnanti nella tua comunità ti evitarono espellendoti dalla scuola hai reagito non con parole di odio ma cercando di capirli nonostante la tua giovane età. Così hai detto che erano semplicemente spaventati di qualcosa che non conoscevano.

Quando i media ti hanno chiamato la vittima innocente perché avevi contratto il virus attraverso una trasfusione di sangue, hai rifiutato quell’etichetta rimanendo solidale alle centinaia di uomini e donne sieropositive. Hai ricordato agli USA che tutte le vittime di AIDS sono innocenti.

Quando sei diventato una celebrità, hai approfittato della tua posizione per educare la nazione sull’epidemia dell’AIDS sebbene volessi soltanto vivere una vita normale.

Ryan, io spero tu possa sapere quanto il mondo sia cambiato dal 1990 e quanto tu abbia contribuito al suo cambiamento.

Ora i ragazzi e le ragazze affette da HIV frequentano la scuola e prendono medicine che permettono loro di mantenere una vita normale. Raramente i bambini in America nascono con il virus e non rischiano di contrarre il virus attraverso una trasfusione. Gli insulti e le ingiustizie che hai sofferto non sono tollerati dalla società.

La cosa più importante, Ryan, è che tu hai ispirato la consapevolezza che aiuta le persone a sopravvivere e a curarsi, con i trattamenti specifici.

Nel 1990, 4 mesi dopo la tua morte, il Congresso ha approvato il Ryan White Care Act, che ora offre oltre 2 miliardi di dollari ogni anno per le cure di AIDS a mezzo milione di Americani. Oggi innumerevoli persone sieropositive vivono una lunga vita.

Mi addolora molto sapere che tu non sia fra questi. Avevi solo 18 anni quando sei morto e ne avresti 38 oggi se solo le cure attuali sarebbero esistite quando eri malato. Penso a questo ogni giorno, perché l’America ha bisogno del tuo messaggio di compassione.

Ryan, quando eri vivo, la tua storia ha acceso diverse discussioni a livello nazionale sull’AIDS. Ma nonostante tutti i progressi negli ultimi 20 anni, il dialogo è diminuito. Io so che tu cercheresti di stimolarlo se fossi qui oggi, quando l’epidemia continua a decimare interi gruppi, con oltre 50,000 casi di contagio l’anno sono negli USA.

So che insisteresti supportando la National HIV/AIDS Strategy che è stata promessa dal Presidente Obama ma che ancora non è stata approvata. So che lavoreresti duramente per aiutare chiunque soffra di HIV, inclusi tutti quelli che vivono ai margini della società.

Saresti triste nel sapere che in alcune zone degli Stati Uniti alcune persone povere affette dal virus stiano ancora aspettando di ricevere la cura.

Ti arrabbieresti se sapessi che il tuo governo non faccia abbastanza per aiutare le persone con HIV e quelle popolazioni che rischiano di contrarre il virus, inclusi ragazzi e ragazze giovani.

Ti sconvolgerebbe sapere che l’AIDS è la piaga che causa la morte di molti Afroamericani.

T’infastidirebbe sapere che sebbene ci siano centinaia e migliaia di Americani sieropositivi che stanno ricevendo le cure grazie a te, oltre 200 000 non sanno di essere sieropositivi.

Ti arrabbieresti nel sapere che molti adolescenti non possono informarsi sui programmi di prevenzione dall’HIV per le scuole oggi che quasi la metà dei contagi colpiscono ragazzi al di sotto dei 25 anni.

Mi manchi molto Ryan. Ero al tuo fianco quando sei morto al Riley Hospital. Eravamo rimasti assieme ogni giorno. Mi hai convinto a cambiare la mia vita e a preoccuparmi del tuo lavoro. Grazie a te sono ancora nella lotta contro l’AIDS, dopo 20 anni. Ti prometto che non rimarrò fermo ma porterò avanti ciò per cui hai combattuto così coraggiosamente.
Il tuo amico,
Elton.

Immagini tratte da: digitaljournalist.org;

Sunday, April 25, 2010

Elton John in Concert

http://mcmahonfive.blogspot.com/2010/04/elton-john-in-concert.html

Happy Sunday!  Saturday Night Was Alright for us!  My Mom gave us tickets to see Elton John in concert last night (for our 18th wedding anniversary in May).  Well, they weren't only tickets they were INCREDIBLE tickets!  6th Row, Center!!!!!  THANKS MOM!!!

He saw me!  He's pointing at ME!  I knew all those self adhesive crystals I wore would make me stand out in the crowd.  LOL! (just kidding...no bling was harmed!)

He was amazing.  He played 2.5 hours NON-STOP.  No breaks!  Then he came back out for an Encore and sang 2 more songs!  Almost 3 hours of Elton John Live.  He sounds just as good live as he does on the radio.  He even still has his original drummer that started with him back in 1969.  I'm happy to say...that was before I was born.  (...barely, LOL!)  

This is me watching Elton.  If you look over my shoulder you can see Elton on the Big Screen.  Hubby took this shot while sitting down.  He had a pretty serious ladder fall last weekend that required surgery.  He is recovering well but still very sore and tired.  He had to sit down after a couple hours of standing.  His legs just couldn't take anymore.  He had a great time even though he had to watch parts of the show over my shoulder.  

If you ever get the chance to see Elton John in concert....DO IT!! He is definitely worth EVERY PENNY!  We have been to a LOT of concerts over the years and he is awesome!  Just a singing machine!  We wanted to see him while he was in Vegas but that didn't happen.  Thankfully he came to our area!  What an opportunity!  Thanks Mom and Elton for a fantastic evening!

Sir Elton John and Rob Thomas to Headline Andre Agassi Foundation for Education's 15th Grand Slam for Children Benefit Concert
http://www.prnewswire.com/news-releases/sir-elton-john-and-rob-thomas-to-headline-andre-agassi-foundation-for-educations-15th-grand-slam-for-children-benefit-concert-92084494.html

 

 

2010 CONCERT BENEFITS ANDRE AGASSI COLLEGE PREPARATORY ACADEMY AND SUPPORTS FOUNDATION'S WORK TO TRANSFORM EDUCATION

LAS VEGAS, April 26 /PRNewswire/ -- The Andre Agassi Foundation for Education (Foundation) today announced that Sir Elton John and Rob Thomas will headline its 15th Grand Slam for Children benefit concert. The annual event supports the Foundation's efforts to transform education and benefits the Andre Agassi College Preparatory Academy (Agassi Prep), a K-12 public charter school in Las Vegas that strives to provide children with a first-class education. Hosted by tennis legend and philanthropist Andre Agassi and presented by Genworth Financial, the 2010 Grand Slam for Children will take place Saturday, Oct. 9 at Wynn Las Vegas.
"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," said Andre Agassi. "We're honored that Elton & Rob will headline this special anniversary night, ultimately helping us make a difference in the lives of Agassi Prep students."
Celebrating its 15th year, the Grand Slam brings together international stars – from music to comedy – each year to build awareness and raise money for the Foundation. Dedicated to transforming education, the Foundation opened the Agassi Academy in 2001; in 2009, the public charter school graduated its first senior class with 100 percent of graduates accepted into college. The Foundation's work is directly impacting students in Las Vegas, Agassi's hometown community, but it has broader implications for education nationwide.
Since 1995, the Grand Slam has raised nearly $82 million, including $8 million from the 14th event, to support a movement that's improving education.
Additional top-name talent, who will be announced prior to the Oct. 9 event, will join Sir Elton John and Rob Thomas under the musical direction of Grammy Award-winning producer, arranger and composer David Foster.
The evening will include a cocktail reception, gourmet dinner, live auction and benefit concert. Sponsorships for the Grand Slam are still available at the following levels: Silver $10,000, Gold $17,500, Platinum $40,000, and Diamond $85,000.
About the Andre Agassi Foundation for Education
The Andre Agassi Foundation seeks to transform public education in two ways. Through its signature project, the Andre Agassi College Preparatory Academy, the Foundation works to provide underserved children in Las Vegas with a first-class K-12 education to prepare them for excellence in college and beyond. Through state and national advocacy, the Foundation strives to increase investment in, and accountability for, public schools. To support the Andre Agassi Foundation for Education or to obtain additional information, please visit www.agassifoundation.org.
About Genworth Financial
Genworth Financial, Inc. is a leading financial security company meeting the retirement, longevity and lifestyle protection, investment and mortgage insurance needs of more than 15 million customers. It has a presence in more than 25 countries. For more information, visit www.genworth.com.
SOURCE The Andre Agassi Foundation for Education
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http://www.agassifoundation.org
http://www.genworth.com



Photos from The Grand Rapids Press - mlive.com
http://photos.mlive.com/grandrapidspress/2010/04/elton_john_25.html

Review, photos, video: Elton John rocks Van Andel Arena

By John Sinkevics | The Grand Rapids Press

April 25, 2010, 6:39AM

http://www.mlive.com/multimedia/grand-rapids/index.ssf/2010/04/photos_elton_john_at_van_andel.html

With his stock still rising in 1976 as the planet's biggest rock star, the zanily bespectacled Elton John toured mammoth U.S. stadiums sporting a Statue of Liberty costume and other furry, flashy, flamboyant, over-the-top attire. The 29-year-old keyboard king churned out 19 songs as he scurried across the stage and repeatedly leapt off of his gargantuan piano, at least according to notes I scribbled on my wrinkled concert program from that "Louder than Concorde But Not Quite as Pretty" tour that stopped at the Pontiac Silverdome.
On Saturday night in Grand Rapids' Van Andel Arena, the now 63-year-old Elton didn't do much scurrying -- just the occasional stage-stalk, double fist-pump and awkward finger-pointing salute.
He never once sprang off of his black Yamaha grand piano, never attempted one of those trademark keyboard handstands he regularly pulled off during his glory days.

RELATED CONTENT

View photo gallery

OK, he did clamber up on his bench after an eye-popping, rollicking version of "Bennie and the Jets" and put one foot atop that piano before gingerly hopping back down to terra firma. But make no mistake, this now venerable, less gaudy superstar (who did wear a snazzy long black jacket adorned with an image of himself climbing out of the jaws of a crocodile) may be more on top of his live-concert game than at any time in his stunning career: He generated nearly non-stop musical sparks with his finger-acrobatics on piano and his razor-sharp five-piece rock band for nearly three hours, leaving the crowd of 12,000 fairly fatigued by his procession of hits.
He played 26 songs -- seven more than he did during that Michigan stop 34 years ago -- and demonstrated time and again with his lengthy blues- and boogie-drenched solos that he really has no equal in his mastery of the rock 'n' roll piano.

Clips of Elton John performing at Van Andel

http://www.youtube.com/watch?v=cjgK1oGAkHI

Rare songs to savor in Elton John's upcoming Grand Rapids show set list

http://www.mlive.com/entertainment/grand-rapids/index.ssf/2010/04/rare_songs_to_savor_in_elton_j.html

By John Sinkevics | The Grand Rapids Press

April 23, 2010, 7:52AM

AP File PhotoElton John will perform his third show in Grand Rapids on Saturday. He previously visited in 1997 and 1999.Sure, Saturday night's Elton John show at Van Andel Arena is dubbed, "Rocket Man: The Greatest Hits Live."
But guitarist Davey Johnstone also tells me the rock pianist will often slip an album-track gem or two into his set list because there are hundreds of classic tunes spanning more than four decades from which to choose.
For instance, at recent Texas show, the band dusted off "All the Girls Love Alice" (one of my all-time faves from 1973's "Goodbye Yellow Brick Road" album). Here's a video of the song from a 2007 show:

So, in addition to "Alice," here are 10 rarely heard songs I'd be tickled to hear Elton tickle the ivories with on Saturday. (And find out what songs he actually plays in my review online Sunday and in Monday's Press):
• "Talking Old Soldiers" (from 1970's "Tumbleed Connection")
• "Have Mercy on the Criminal" (from 1973's "Don't Shoot Me I'm only the Piano Player")
• "Grey Seal," "I've Seen that Movie Too" (from 1973's "Goodbye Yellow Brick Road")
• "(Gotta Get A) Meal Ticket" (from 1975's "Captain Fantastic and the Brown Dirt Cowboy")
• "Tonight" (from 1976's "Blue Moves")
• "Empty Garden (Hey Hey Johnny)" (tribute to John Lennon from 1982's "Jump Up!")
• "Pain" (from 1995's "Made in England")
• "The Wasteland" (from 2001's "Songs from the West Coast")
• "And the House Fell Down" (from 2006's "The Captain and the Kid")
E-mail John Sinkevics: jsinkevics@grpress.com

mp3
Elton John Funeral for a friend love lies bleeding performing at Van Andel.MP3
http://www.mediafire.com/?jkwumntv2nw

An evening with Elton John: 4/24/2010, Grand Rapids, Michigan

Video: Interviews with fans, guitarist Davey Johnstone and snippets of the concert's opening segment at Grand Rapids' Van Andel Arena.




http://www.youtube.com/watch?v=cjgK1oGAkHI







http://www.youtube.com/watch?v=cjgK1oGAkHI

And perhaps even more impressively, this veteran rocker seemed happier and more appreciative of his audience than on any previous tour I've seen, frequently acknowledging the raucous applause, shaking hands with fans and signing autographs for several minutes prior to his encore. "It's just so great to play a place like Grand Rapids," he gushed near the end of the show. "It's not all about places like New York City. It's about places like Grand Rapids, too."
Gregarious guitarist Davey Johnstone mirrored that sentiment backstage prior to the concert. He told me Elton and his band -- drummer Nigel Olsson (an original Elton John Band member along with Johnstone), bassist and Detroit native Bob Birch, percussionist John Mahon and keyboard player Kim Bullard (replacing Guy Babylon, who died of a heart attack last September) -- relish performing in smaller cities where they've rarely played before. He even praised the hospitality of the "nice people" of Grand Rapids.
So 11 years since Elton last performed a solo show here, and 13 years since his full band graced Van Andel Arena, the legendary rocker and his no-frills band unfurled a flawless set of familiar rock and pop songs. It started with the classical-meets-rock twofer "Funeral for a Friend/Love Lies Bleeding" from 1973's "Goodbye Yellow Brick Road" and ended with 1994's "Circle of Life" from "The Lion King" soundtrack, with plenty of electrifying hits in between.
With his once-distinctive tenor now a just-as-pleasing, more resonant baritone -- partly due to surgery on his throat in the late '80s -- Elton sang with power, emotion and more than a little bit of mugging and good-natured snarling, as he alternately pounded on the keys ("Saturday Night's Alright for Fighting," and swung into delightful improvisational solos ("Madman Across the Water," "I Guess That's Why They Call It the Blues").
And on classics such as "Goodbye Yellow Brick Road" and "Someone Saved My Life Tonight," the backing harmonies of Birch, Mahon, Olsson and Johnstone were spine-tinglingly spot-on.
It made for an unusually entertaining show that blended recording studio-quality voices and carefully planned instrumental precision with clever twists on familiar melodies and hyper-extended solos that mostly spotlighted Elton's dazzling piano creativity.
"Some numbers have evolved to a different animal," Johnstone had said in an earlier interview, joking that "Rocket Man" had morphed into a 20-minute beast in concert. "We do take that time to jam around and do what we want to do with that song a little bit."

4 OUT OF 4 STARS

Highlight No. 1: An epic, extended rendition of 1972's "Rocket Man," with rock piano crescendos, soulful vocals and a sweet guitar solo Highlight No. 2: The boogie-blues creativity on 1970's "Take Me to the Pilot," topped later by the jaw-dropping piano solos on another 1970 tune, "Burn Down the Mission" Time on stage: 2 hours, 50 minutes

Well, "Rocket Man" didn't last quite 20 minutes Saturday night, but the 14-minutes-plus version boasted all sorts of dynamic changes, musical drama, looped echoing vocals and enough goosebump moments to rev up baby boomers as well as the surprisingly large number of teens and 20-somethings in the house. Much like The Beatles, Pink Floyd and Led Zeppelin, it seems the enduring music of Elton John still resonates with younger audiences. And to think Elton played barely half of the 50 Top 40 hits he's scored over the past four decades.
There were subtle moments of brilliance to savor too: the tasteful piano flourishes on "Levon" and "Don't Let the Sun Go Down on Me," the tender delivery of a new song, "You're Never Too Old," that Elton wrote recently with his piano hero Leon Russell, the funky Russell-influenced riffs on "Honky Cat."

Elton John signals to the crowd at Van Andel Arena on Saturday. View photo gallery
Then there was the almost-casual, jaw-dropping piano work on a rousing "The Bitch is Back." That romp of a tune also had Elton slamming the piano lid down in time to the music while the word "Bitch" flashed on the video-screen curtain behind the band, thus proving that even at 63,
rock can still be a tad rebellious.
Yes, thankfully, Elton's "still standing," as he crooned proudly at one point. And to borrow a line from yet another Elton classic, this also meant Saturday night was all right ... even way better than all right.
Preconcert interviews with Davey Johnstone, Elton John fans

Photos, video: Elton John at Van Andel Arena

By The Grand Rapids Press

April 24, 2010, 10:25PM

Added by Octavian Cantilli | The Grand Rapids Press on April 24, 2010 at 10:25 PM

Article published April 26, 2010

ELTON JOHN DAZZLES HUNTINGTON CENTER

http://www.toledoblade.com/article/20100426/NEWS16/304269998/-1/rss10

After 17 years away, rocker Elton John triumphs in Toledo return

While Elton John seems a little thicker around the middle and his voice an octave deeper, the star proved he could rock the house with enthusiasm at Huntington Center downtown. ( THE BLADE/JETTA FRASER ) Zoom | Photo Reprints

By KIRK BAIRD
BLADE STAFF WRITER
The air pianos were out Sunday night at Huntington Center. Elton John made his triumphant return to Toledo for the first time since a 1993 performance at the University of Toledo's then-Savage Hall. At that time, Bill Clinton was in his first year in the Oval Office, David Letterman took his late-night show to CBS from NBC, and Le-Bron James was only 8.

AUDIO LISTEN: to Elton John's first song at the Huntington Arena in Toledo

Times may have changed, but as a performer, John has not.

At 63, he's a bit thicker around the waist and his vocals an octave deeper, but his youthful energy and enthusiasm onstage last night were affirmation that rock-and-roll never dies - or grows old. With no opening act, John performed 25 songs during a two-hour and 45-minute concert with no intermission and only the occasional chitchat to a sold-out crowd of about 8,100. His vocals were up to the task, and his piano playing was inspiring throughout - and all sounded equally good in the medium-sized Huntington Center, which seemed tailor-made for John and his backing band.

Dressed in a long black coat with an array of sequins, a brilliant blue shirt and shoes, and black pants with a blue stripe, John treated concertgoers to a greatest-hits show from his four-decade career: "Tiny Dancer," "Rocket Man," "Daniel," "Honky Cat," "I Guess That's Why They Call It the Blues," "Something About the Way You Look Tonight," and "Candle in the Wind," to name only a few.

Elton John ends the show by telling his audience that ‘You guys lift me so high.’ The feeling is mutual. ( THE BLADE/JETTA FRASER ) Zoom | Photo Reprints

John rummaged through his own record collection and pulled out a few deep cuts as well, "Burn Down the Mission," and "Madman Across the Water," which featured a playful piano flourish on the backside of the song, including a brief jump into "The Girl From Ipanema." And yes, what would an Elton John concert be without the piano-fueled warhorse "Take Me to the Pilot." The evening's tone - mostly up-tempo, nostalgic - was set at the opening, with the epic tandem of "Funeral for a Friend" and "Love Lies Bleeding," followed by "Saturday Night's Alright for Fighting," the former punctuated by a crushing solo from John's guitarist Davey Johnstone.The quintet of musicians accompanying John, also including his longtime drummer, Nigel Olsson, provided musical muscle to the classics, as the band shifted effortlessly from arena rocker ("The Bitch Is Back") to couples slow dance ("Someone Saved My Life Tonight") with ease.
The night's setlist successfully seesawed between the moody music swings, and the crowd fist-pumped and swayed along to it all. Even the performance of the new song "You're Never Too Old to Hold Somebody," which John jokingly acknowledged as "risky," was greeted warmly, with nary a mass exodus by fans to the bathroom to be seen, though the rest of the band took a quick breather. (It should be noted that John did not leave the stage except for a 90-second break prior to the encore and then spent five minutes signing autographs for fans in the front row before launching into "Your Song.")

Elton John ends the show by telling his audience that ‘You guys lift me so high.’ The feeling is mutual. ( THE BLADE/JETTA FRASER ) Zoom | Photo Reprints

It's been 17 years since John played Toledo, which he acknowledged more than once. "It's not all about playing Chicago, New York, and L.A." he said before playing the final song of the night, "Circle of Life." "Coming here tonight and playing for you guys was such a pleasure. You guys lift me so high," he said. After last night's show, John, know that the feeling's mutual. Contact Kirk Baird at:
kbaird@theblade.com
or 419-724-6734.