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Sujet du message: ELTON JOHN & LEON RUSSELL Posté: Lun 11 Oct 2010 06:46 |
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Elton John Thinks Modern Songwriters Are “Pretty Awful”
http://www.americansongwriter.com/2010/10/elton-john-thinks-modern-songwriters-are-pretty-awful/

Does Elton John read
American Songwriter? If he did, he’d know that when it comes to great songwriters, our talent pool is pretty stocked. But the usually shy and reserved Englishman had this to say about the current generation of tunesmiths –”Songwriters today are pretty awful, which is why everything sounds the same. Contemporary pop isn’t very inspiring.”
To be fair, he was probably talking more about John Mayer and Taylor Swift than say, Justin Townes Earle and Conor Oberst. John, in an interview with the
Radio Times, went on to say that he approved of artists like Lily Allen, Amy Winehouse and Lady Gaga. “It’s important they write their own songs, so they’re not at the mercy of anyone,” he opined.
Elton John and Leon Russell’s new album
The Union, which was produced by T Bone Burnett and features unimpeachable songwriters like Neil Young and Brian Wilson, hits stores today.
Postcard from the road: Elton John, Leon Russell hit the stage
http://www.usatoday.com/life/music/news/2010-10-20-eltonleonpost20_ST_N.htm
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Enlarge | By Jason DeCrow, AP |
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Musical legends: Leon Russell and Elton John kicked off their national tour Tuesday night at New York City's Beacon Theatre. |
A perfect Union: Veteran singer/songwriter/pianists Elton John and Leon Russell celebrate the release of their critically acclaimed new duets album, The Union, with a joint concert Tuesday night before a sold-out audience at New York's Beacon Theatre.
Behind the music: John and his longtime hero Russell, who met 40 years ago, reunited in 2009, after an emotional rediscovery of Russell's music prompted John to call him. For
Union, they also enlisted John's longtime collaborator, lyricist
Bernie Taupin, and uber-producer
T Bone Burnett.
The crowd: For veteran fan Richard Georgeou, 66, of Hudson, N.H., it's the 82nd time he's seen John in concert. "In Boston in 1970, they announced him as Elton James." Pal Claude Bernardin, 53, co-author of the encyclopedia
Rocket Man: Elton John From A-Z, loves the new album. "I will probably cry tonight."
The start: John, elegant in a long black coat, describes the night as the "culmination of a remarkable journey ... (Leon) was my idol, he was my mentor, he was everything I wanted to be as a singer/songwriter and piano player."
A grand greeting: Collaborator Russell enters to a standing ovation, goes to the piano and sings
Tight Rope,
Prince of Peace and
A Song for You (his modern standard that's been covered by
Ray Charles and Donny Hathaway), the early highlight. He switches on the boogie for
Delta Lady and
Stranger in a Strange Land. Pronounces John: "They love you, Leon."
Piano men: The two sit at facing pianos to play The Union more-or-less straight through, starting with If It Wasn't for Bad, featuring muscular piano and horns. They segue from Eight Hundred Dollar Shoes (a classic John-Taupin soaring ballad) into the fervid boogie stomp of Hey Ahab.
Elton's pick: John introduces the richly plaintive
Gone to Shiloh as one of his favorites, a song about the Civil War.
Neil Young appears on the album version, but "you're going to have to put up with me." Twangy
Jimmie Rodgers' Dream is followed by the darkly soulful
There's No Tomorrow.
Can you feel the love tonight: While John offers a few quips between tunes, both remain seated and express themselves through dynamic, passionate performances.
Old souls: "This is a song that might apply to Leon and myself," John jokes, introducing the stately, spirited Never Too Old (To Hold Somebody). Russell performs the gospel-flavored song that concludes the album, his In the Hands of Angels.
John's solo turn: It's just Elton and the band, singing and playing a glorious
Burn Down the Mission (the crowd goes wild),
Levon and
Tiny Dancer— just three of John's classics on which Russell's soulful influence is clearer. It's like he's paying homage to his idol through the music.
Happy anniversary: Noting that it's the 40th anniversary of his arrival in America, John launches into a string of songs from his eponymous 1970 album, starting with
Your Song and
Take Me to the Pilot.
The tribute plays on: John revisits post-'70s hits I Guess That's Why They Call It the Blues and Sad Songs (Say So Much), both with a little extra kick for the occasion, bringing the crowd to its feet.
New to you: Thanking the crowd for its "time and patience" in listening to 14 new songs, John performs an exuberant The Bitch Is Back. "We haven't rehearsed an encore," he says as Russell returns to the stage, "so we're going to have to play something we played before," Hey Ahab.
Next stops: The pair's upcoming U.S. dates include Los Angeles (Nov. 3), Phoenix (Nov. 6) and Tulsa (Nov. 12).
The Union

Elton John and Leon Russell's 'Union' review: Twilight sweetness from one piano man to another
http://www.nydailynews.com/entertainment/music/2010/10/20/2010-10-20_elton_john_and_leon_russells_union_review_twilight_sweetness_from_one_piano_man_.html?r=entertainment
Elton John and Leon Russell's 'Union' album offers up old musical heroes in the twilight of their careers.
Nothing brings out the best in somebody like the will to impress his idol.
Ask
Elton John. As a young hopeful, the pianist worshiped
Leon Russell, a fellow czar of the 88s whose career preceded his. The criminally underrecognized Russell turns up on virtually every important pop recording from the early '60s to the mid-'70s, from
Phil Spector's grandest hits to the
Beach Boys' "Pet Sounds" to the Stones' "Let It Bleed." He led
Joe Cocker's brilliantly ragtag "Mad Dogs and Englishmen" and stole the show at
George Harrison's "
Bangladesh" concert.
As a solo star, Russell wrote and sang standards like "A Song for You," "Superstar" and "This Masquerade" -- all warbled in every airport lounge and bowling alley to this day. Russell continues to tour avidly, but he hasn't had a high-profile platform in far too long.
That's where Elton comes in. The pair played together on a brief tour in 1970, then lost touch. Four decades later, Elton tracked down his old hero to entice him into making a tandem CD. The result proves moving for more qualities than just its backstory.
The Elton/Leon tête-à-tête doesn't attempt to revive either star's days of spit and vigor. There's no hot piano-on-piano action here. Instead, "The Union" captures the men as they are now: older, wiser and full of grace. Ballads -- good ones -- dominate, showing their mutual honed craft. "If It Wasn't for Bad," the kickoff track, is classic Leon -- wry and rooted in American soul. It's the sole song he wrote alone, due to medical problems just before the recording, so it's no surprise that Elton/
Bernie Taupin compositions dominate, or that Elton seems to take more lead vocals.
Unfortunately, at this point Elton isn't as emotive a singer as his elder. Still, he and Taupin worked hard to make their songs sound like something Russell would've written way back when.
Cuts like "Gone to Shiloh" or "
Jimmie Rodgers' Dream" might have turned up on mid-period Russell albums. Other pieces have the feel of Elton's most country-leaning album, "Tumbleweed Connection."
The lyrics make sweet use of the stars' ages. A song like "There's No Tomorrow" takes on a more literal meaning in their hands, since they may be starting to run low on them.
It's far from the stars' athletic prime. But there's a twilight sweetness to this release, forming a likable gesture of gratitude from one piano man to one who paved the way.
The L.A. Times music blog
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October 19, 2010 | 12:47 pm

“The Union” is an unusual thing: a duet for four male voices. This might seem like an impossible equation but most art takes shape on at least two levels — the obvious one driven by star personalities and the crucial substratum where producers, songwriters or other key players assert themselves.
Stepping out of each other’s way, the best collaborators break their own patterns and surprise themselves. That happens for Elton John and Leon Russell, the stars of this rambling, charming album, and for producer T Bone Burnett and lyricist Bernie Taupin too.
The featured conversation here is between the superstar who smiles invitingly on the cover, eyebrow arched and fingers tinkling his grand piano, and the waylaid elder maverick who leans back defiantly against a battered old upright. In the liner notes John states that he’d approached Russell in hopes of returning his hero to the prominence he deserves, but from the sound of “The Union” it seems that his main motive was simply to play some fine boogie-woogie piano with him. The mood throughout is buoyant and mischievous. Hooks and polish matter less than the conversational exchange of rhythmic patterns and vocal lines.
John imports his soft-hearted way with big melodies and the brio that makes the world love his sweeping gestures. Russell contributes the slippery wisdom culled from years spent as an arranger and studio player as well as a frontman, especially during the early- to mid-1970s, when classic-rock stars like himself felt entitled to blur the lines between country, blues, soul and swing. Russell’s wryness, akin to Willie Nelson’s, tempers John’s lovable bluster. An elite crew recorded live in the studio, including cameo players Neil Young and Brian Wilson on vocals, Jim Keltner on drums and Marc Ribot on guitar, support the overwhelming mood of confidence.
Burnett brought the project to fruition, and what’s great is that he didn’t craft it to death — unlike the hushed sanctity of the Alison Krauss-Robert Plant award winner “Raising Sand,” this album is shaggy and full of fun. John’s longtime partner Taupin also does some of his best work in years, crafting snappy lines that add up to interesting tales, even when he’s indulging his dangerous passion for historical reenactment. The album might have been more sharply edited; around track 11 it starts to feel like the gathering has peaked. But it makes sense that everyone wanted to linger. Party talk is rarely this good.
— Ann Powers
Elton John and Leon Russell
“The Union”
Decca Records
Three stars (Out of four)
It looks like Dreamworks founder Jeffrey Katzenberg is going to have a lively lunch with Anderson Cooper.
Katzenberg spent $60,000 to dine with Cooper at Elton John’s annual AIDS Foundation dinner in New York.
Before the auction Cooper joked that the winner of the date wouldn’t get much “action” on a first date.
The crowd at Cipriani Wall Street–decked out in jewels and black tie–loved the joking around. They raised millions more for the charity. In the crowd were David Furnish, who puts the whole thing together and is quite amazing; Joanne Woodward; Tony Bennett; Hugh Jackman and wife Debra Lee Furness; Clive Davis; Nikki Haskell; “Gossip Girl” star Matthew Settle; Lorraine Bracco; Kevin Zegers; director Baz Luhrmann and costume designer wife Catherine Martin; Donna Karan; Bill and Tani Austin of the Starkey Hearing Foundation; and lots of well heeled fans who came to hear Elton put on a 45 minute solo acoustic set on piano with Leon Russell as a guest star.
And they got what they wanted: Elton dedicated “Don’t Let the Sun Go Down on Me” to the legendary Woodward, who he said he’d never met but always admired. The rest of the set was vintage Elton. He rocked the gigantic marble former bank with: “Sixty Years On” and “The Greatest Discovery” from his debut album–40th anniversary next month. “It feels like 40 minutes,” Elton said. And then: “Levon,” “Tiny Dancer,” “Philadelphia Freedom.” He played “When Love Is Dying,” an instant classic from the new album. All on piano, by himself, simply spectacular.
Then Sir Elton introduced Russell, calling him “my hero” and “my idol.” Russell sat down at the piano and played a little bit of “Amazing Grace,” and then a full version of the most celebrated song he’s written, “A Song For You.” Russell’s white hair is like spun silk or cotton candy. It seemed electrified and flew around a bit in the light. Leon Russell has never been so appreciated.
Last night, as tonight at the Beacon Theater, Cameron Crowe is filming for some kind of documentary. And tonight’s show, with Elton and Leon debuting their extraordinary album, “The Union,” is going to be the hottest ticket anywhere.
Tuesday, October 19, 2010

Not tired, boys? We crossed the Atlantic, we are in South America!!!! Brazil, ahhhh those so much passionate eltonites from Brazil. Hi there!!!!!!!!!! Hi girls, miss ya so much!!!
“Happy Birthday Ben.....Hope your day is great and I wish you many blessings in the years ahead!!!!!!!!!!”
Ahhhh that great Ana Sousa. “Living in South America is hard for an Elton fan, not only because he does not perform here regularly, but also because it’s very difficult to find items related to him, except for his albums. I would say to all of the Elton fans around the world to never lose an opportunity of attending one of his concerts. They are the best, you won’t regret. It’s the best experience you can ever live.” Right!!!! That’s true!!!!
Leila Santiago!!!!! So nice to see you too!!! Oh, that’s wonderful!! “It was marvellous when I was in Las Vegas to see "Red Piano" in 2008. I can see Elton. I sat in third row and vision angle was Elton and Guy Babylon. I laugh all the time because I fulfilled my dream”. “Song From America”: I love it, pretty beatiful. I didn't know anything about this song, but it's an incredible song, thanks Leila. Milton Nascimiento is a great artist for sure, I know about him "Nada sera como antes" or "Tudo che voce queria ser", great songs, classics, but not this one. “The translation is the message to Ben: Song of America”. Thanks!!!
Vera Rio!!!!!! “It's a simple message but "... it's the best I can do ...", with love for this wonderful boy!” Ahhhhhh wonderful!!!!!!! You’re so kind too!!! “I love going to the beach, enjoy the sun, walk in the sand. I also like reading (any literary genre) and being with friends to talk, listen to good music and relax from the stressful routine of work. At last but not at least, to contact with other Elton's fans (in Rio de Janeiro, in Brazil and around the world via the web). After all we just form a big family!”. Right, you’re a big family!!! Muito Grato, Brazil!!!!!
1 comments:
- LAS said...
- Happy Birthday, Ben. I hope you like my message. Because when I heard the song "Song of America" I remember my father. Who died in 1984. He had cancer. Leila from Brasil.