Elton john in Rock & Pop Music

"Peachtree Road" (11/09/2004) Rock & Pop John, Elton, Universal DistributionPersonnel: Elton John (vocals, piano, Fender Rhodes piano, background vocals); Elton John; John Jorgenson (pedal steel guitar); Anatoly Rosinsky, Robin Olson, Joel Derouin, Mark Robertson , Sid Page, Phillipe Levy, Charlie Bisharat, Endre Granat (violin); James V. Ross, Brian Dembow, Simon Oswell, Victoria Miskolszy (viola); Martin Tillman (cello, electric cello); Timothy Landauer, Stephen Erdody (cello); Guy Babylon (Fender Rhodes piano, Hammond b-3 organ, programming); Bob Birch (bass guitar, background vocals); Mark Ford , Adam McKnight, Charles Bullock, Terrence Davis, L'Tanya Sheilds, Alecia Terry, M. Denise Sims, Rosalind McKinght, Todd Honeycutt (background vocals); Davey Johnstone (acoustic guitar, electric guitar, slide guitar, baritone guitar, dobro, mandolin, sitar, background vocals); Walter Parazaider (tenor saxophone); Larry Klimas (baritone saxophone); Lee Loughnane (trumpet); Jimmy Pankow (trombone); Nigel Olsson (drums, background vocals); John Mahon (percussion, programming, background vocals). Audio Mixer: Matt Still. Recording information: Silent Sound, Atlanta, GA; The Record Plant, Los Angeles, CA; Tree Studios, Atlanta, GA. Photographer: Sam Taylor-Wood. In 2001, Elton John reconvened with longtime lyrical collaborator Bernie Taupin and recorded SONGS FROM THE WEST COAST, a collection that hearkened back to the duo's golden age in the 1970s and immediately drew comparisons to classic albums MADMAN ACROSS THE WATER and HONKY CHATEAU. Three years later, the duo went back into the studio and emerged with PEACHTREE ROAD, a record packed with the kind of rustic-sounding pop that brings to mind TUMBLEWEED CONNECTION (and whose title was inspired by John's adopted home in Georgia). Keeping it in the musical family, longtime band members Davey Johnstone and Nigel Olsson are aboard, with the former adding musical-director duties to his usual guitar-playing responsibilities. Showcasing a voice that's gotten deeper and richer with age, John wisely sticks to a set that is predominantly made up of ballads, ranging from the lush, "countrypolitan" stylings of "Turn the Lights Out When You Leave" to the more gospel-flavored "Answer in the Sky." John also includes "My Elusive Drug," an uplifting homage to his companion David Furnish. He takes it up a notch with "They Call Her the Cat," a sassy horn-and-harmony-driven stylistic sequel to "Honky Cat."

"Empty Sky [Remaster]" (02/20/1996) Rock & Pop John, Elton, Rocket Group Pty LTDThe 1996 reissue of EMPTY SKY includes four songs that were issued as two singles prior to the album's release: "Lady Samantha"/"All Across The Havens" and "It's Me That You Need"/"Just Like Strange Rain." The album has been digitally remastered by Gus Dudgeon, using original master tapes and digital processing equipment at 20-bit resolution. According to Dudgeon (ICE newsletter, January 1996), the results are "100% better" than the two previous American CD issues. Personnel: Elton John (vocals, piano, organ, electric piano, harpsichord); Caleb Quaye (electric & acoustic guitars, congas); Graham Vickery (harmonica); Don Fay (tenor saxophone, flute); Tony Murray (bass); Roger Pope (drums, percussion); Nigel Olsson (drums). Recorded at Dick James Studios and Olympic Studios, London, England. Includes liner notes by John Tobler and Gus Dudgeon. This is part of Rocket's Elton John: The Classic Years series. Not released in the U.S. until 1975, after he'd achieved superstardom, Elton John's first album is as much a part of late-'60s blues-rock and the burgeoning singer-songwriter movement as it is part of the grandiose pop catalog that would soon follow. The eight-minute-plus title song includes a long flute-harmonica-piano jam that wouldn't have been out of place on a Traffic album; the closing "Gulliver/It's Hay Chewed/Reprise" connects a waltz-time requiem with an acoustic-jazz instrumental and (rather audiciously for an unknown singer's debut) a reprise of bits from every song on the album. Elsewhere, one can find a Lennonesque melody on "Western Ford Gateway," a breezy Summer-Of-Love feel on "Hymn 2000," and recurring imagery of a caged bird dreaming of flying away--most notably in the title song and the harsichord-and-organ tune "Skyline Pigeon." It all bursts with pop-rock melodicism, even when John was adding music to some of collaborator Bernie Taupin's most opaque, image-heavy lyrics. John would later call EMPTY SKY a "naive" record, but it contains the seeds of almost everything he would eventually do.

"Reg Strikes Back [Bonus Track] [Remaster]" (05/15/2001) Rock & Pop John, Elton, Island Records (USA)Personnel: Elton John (vocals, keyboards); Pete Townshend, Davey Johnstone (guitar); Freddie Hubbard (trumpet, flugelhorn); Fred Mandel (synthesizer); David Paton (bass); Charlie Morgan (drums); Ray Cooper (percussion); Adrian Baker, Bruce Johnston, Carl Wilson (background vocals). Recorded at Air Studios, London, England. Digitally remastered by Gus Dudgeon. Personnel: Elton John (vocals, harmonium, keyboards, background vocals). Recording information: Air Studios, London, England. Shortly after his 41st birthday, Elton John (a.k.a. Reg Dwight), released REG STRIKES BACK. At this particular juncture in life, the decision was made to auction off all costumes and props collected and worn at shows over the years. Using the layout of these items as an album cover, the contents within proved to be EJ's most successful album of the late '80s. Driven by the elegantly wrought "A Word In Spanish" and the pounding piano of "I Don't Wanna Go On With You Like That," REG found Elton John sounding no worse for wear, surrounded by an assortment of guests. Along with old stalwarts Davey Johnstone, Dee Murray and Nigel Olsson, guests included Pete Townshend on "Town Of Plenty," jazz trumpeter Freddie Hubbard on "Mona Lisas And Mad Hatters (Part Two)" and Beach Boys Bruce Johnston and Carl Wilson, providing harmonies for "Since God Invented Girls." After a brief health scare resulting in surgery to remove nodules from his vocal chords, REG STRIKES BACK marked Elton John's robust return to good health and great music-making. As Elton John's first album for MCA Records, Reg Strikes Back received a considerable amount of hype upon its release, but the results were considerably less inspired than his early-'80s records for Geffen. It's always a bad sign when an artist re-records or reinterprets one of his classics, as John does here with "Mona Lisas and Mad Hatters, Pt. 2," but what really sinks Reg Strikes Back are the colorless tunes. Apart from the clenched dance-pop of "I Don't Wanna Go on With You Like That," and the simpy "A Word in Spanish," none of the melodies on the record are memorable, and even those aren't particularly strong. Instead of recharging his career, Reg Strikes Back began a dry spell that ran for nearly five years. [The German edition features a bonus track.] ~ Stephen Thomas Erlewine

"Caribou [Bonus Tracks] [Remaster]" (02/20/1996) Rock & Pop John, Elton, Rocket Group Pty LTDThe 1996 reissue of CARIBOU includes four extra tracks. "Sick City" and "Cold Highway" were the B-sides of "Don't Let The Sun Go Down On Me" and "The Bitch Is Back." John's cover of the Who's "Pinball Wizard" was recorded for the movie "Tommy." "Step Into Christmas" was a British single. The album has been digitally remastered by the original producer, Gus Dudgeon, using original master tapes and digital processing equipment at 20-bit resolution. According to Dudgeon (ICE newsletter, January 1996), the results are "100% better" than the two previous American CD issues. Personnel includes: Elton John (vocals, piano); Davey Johnstone (acoustic & electric guitars, mandolin, background vocals); Ray Cooper (whistle, vibraphone, snare drum, congas, tambourine, bells, castanets, watergong); Chester Thompson (organ); Dave Hentschel (Mellotron, ARP synthesizer); Dee Murray (bass, background vocals); Nigel Olsson (drums, background vocals); Gus Dudgeon (tambourine); Clydie King, Sherlie Matthews, Jessie Mae Smith, Dusty Springfield, Carl Wilson, Bruce Johnston, Toni Tenille, Billy Hinsche (background vocals). Tower Of Power Horn Section: Lenny Pickett (soprano & tenor saxophones, clarinet); Emilio Castillo (tenor saxophone); Stephen Kupka (baritone saxophone); Mic Gillette (trumpet, trombone); Greg Adams (trumpet). Principally recorded at Caribou Ranch, Colorado. Originally released on MCA. Includes liner notes by John Tobler and Gus Dudgeon. This is part of Rocket's Elton John: The Classic Years series. Composers: Elton John; Bernie Taupin. Personnel: Elton John (vocals, piano, keyboards); Davey Johnstone (vocals, guitar, acoustic guitar, electric guitar, mandolin, synthesizer, background vocals); Clydie King, Sherlie Matthews, Dusty Springfield, Toni Tennille, Carl Wilson, Jessica Smith, Bruce Johnston, Billy Hinsche (vocals, background vocals); Ray Cooper (whistling, vibraphone, drums, snare drum, congas, castanets, tambourine, percussion, bells, gong, water gong, background vocals); Lenny Pickett (clarinet, soprano saxophone, tenor saxophone, wind); Emilio Castillo (saxophone, tenor saxophone); Stephen "Doc" Kupka (saxophone, baritone saxophone); Stephen Kupka (baritone saxophone); Mic Gillette (trumpet, trombone, horns); Greg Adams (trumpet, horns); Tower of Power (brass, horns); Chester Thompson (organ, keyboards); Chester Thompson (organ); David Hentschel (Mellotron, keyboards, synthesizer); Dee Murray (bass guitar, background vocals); Nigel Olsson (drums, background vocals); Gus Dudgeon (tambourine); Jessie Mae Smith (background vocals). Liner Note Author: John Tobler. Recording information: Caribou Ranch, CO. Unknown Contributor Role: Ray Cooper . Arrangers: Daryl Dragon; Davey Johnstone; Del Newman. To follow up an album that pretty much couldn't be followed--the flashy and brilliant GOODBYE YELLOW BRICK ROAD--Elton John hid away in the Caribou Ranch studio outside Denver, Colorado and recorded a certified pop mish-mash. CARIBOU contains bits of arena-rock corn ("Stinker") alongside period-pop pieces that could have passed for showtunes ("Dixie Lily"), complete goofs ("Solar Prestige A Gammon") and the usual magical ballads. It's easy to overlook CARIBOU when reviewing John's '70s catalog, but to do so is to miss a couple of his greatest singles. "Don't Let The Sun Go Down On Me," which features a chorus of two Beach Boys and Toni Tenille, is a gospelly ballad completely worthy of those contributions, and the strutting "The Bitch Is Back" is rock arrogance of the highest order--it became Tina Turner's signature concert opener. CARIBOU also contains some compelling filler. Among the lesser-known tracks are the lovely ballad "Pinky," which seems to be about some sort of secret liaison, "I've Seen The Saucers," an odd little number about UFOs that happens to feature one of John's most committed vocal performances, and "Ticking," an epic ballad about a mass-murderer. Glitzy showmanship fuels Caribou and the shiny surface of the album is alluring, although only a few tracks on the record rank among John's best work. "The Bitc

"The One [Germany Bonus Track] [Remaster]" (05/15/2001) Rock & Pop John, Elton, Island Records (USA)Personnel: Elton John (vocals, keyboards); Eric Clapton (vocals, guitar); Davey Johnstone, David Gilmour, Adam Seymour (guitar); Mark Taylor, Guy Babylon (keyboards); Pino Palladino (bass); Olle Romo (drums, percussion, programming); Jonice Jamison, Carole Fredericks, Beckie Bell, Kiki Dee, Nigel Olsson (background vocals). Recorded at Studio Guillaume Tell, Paris and Townhouse Studios, London. Digitally remastered by Gus Dudgeon. All songs written by Elton John & Bernie Taupin. Composer: Elton John. Personnel: Elton John (vocals, keyboards); Eric Clapton (vocals, guitar); Davey Johnstone (guitar, background vocals); David Gilmour, Adam Seymour (guitar); Guy Babylon (keyboards, programming); Mark Taylor (keyboards); Olle Romo (drums, percussion, programming); Beckie Bell, Janice Jamison, Kiki Dee, Nigel Olsson, Carole Fredericks (background vocals). Liner Note Author: Peter Manning Robinson. Recording information: Air Studios, London, England; Studio Guillaume Tell, Paris, France; Townhouse Studios, London, England. Photographer: Patrick Demarchelier. This is something of a reunion album; after working apart for some time, Elton John and lyricist Bernie Taupin, the wordsmith behind John's biggest '70s hits, come together again. Also on board after a long hiatus are original Elton John Band members Davey Johnstone and Nigel Olsson. Even "Don't Go Breaking My Heart" duet partner Kiki Dee shows up, singing backing vocals on "When a Woman Doesn't Want You" and "Understanding Women" (seems to be a theme there). Highlights include the hit title song and the anti-Thatcher anti-'80s nostalgia piece "Sweat It Out," which includes the memorable line "She-devils were ruling Britain" and gives Elton the opportunity to stretch out with one of his best (and longest) piano solos ever. Elton John once claimed that he could remember The One among his latter-day albums because it was the first he recorded without drugs or alcohol. If true -- and there's no reason to doubt him -- that could be the reason why this has more character than most of his albums since the early '80s, holding together well in its deliberately measured, mature songcraft by Elton and Bernie Taupin. There's less gloss than on many of his late-'80s records, and John gives a fairly convincing performance throughout this set of pretty good songs. If there's any real problem, it's that the album just doesn't have many memorable songs. Though they're all reasonably melodic and well-crafted, none of the them have memorable musical or lyrical hooks and, if anything, Chris Thomas' production is too evenhanded. Still, even if it isn't memorable, it does represent a meaningful move forward, just because it does sound warmer and more considered than the records that immediately preceded it. [The 2001 German reissue contains two bonus tracks, "Suit of Wolves" and "Fat Boys and Ugly Girls."] ~ Stephen Thomas Erlewine

"Tumbleweed Connection [Remaster]" (10/26/2004) Rock & Pop John, Elton, Universal DistributionThis is a hybrid Super Audio CD playable on both regular and Super Audio CD players. Personnel: Elton John (vocals, piano, organ, keyboards); Mick Ronson (guitar); Caleb Quaye (acoustic guitar, electric guitar); Lesley Duncan (acoustic guitar, background vocals); Mike Egan (acoustic guitar); Les Thatcher (6-string guitar, 12-string guitar); Gordon Huntley (steel guitar); Skaila Kanga (harp); Johnny Van Derek (violin); Ian Duck (harmonica); Karl Jenkins (oboe); Brian Dee (organ); Chris Laurence (acoustic bass guitar); Dee Murray (bass guitar, background vocals); Dave Glover , Herbie Flowers (bass guitar); Roger Pope (drums, percussion); Nigel Olsson (drums, background vocals); Barry Morgan (drums); Robin Jones (congas, tambourine); Dusty Springfield, Madeline Bell, Sunny Leslie, Tony Burrows, Tony Hazzard, Kay Garner, Sue Glover, Tammy Hunt (background vocals). Liner Note Authors: Gus Dudgeon; John Tobler. Recorded in the charmed period between the initial success of ELTON JOHN and superstar extravaganzas like GOODBYE YELLOW BRICK ROAD, TUMBLEWEED CONNECTION, a loose concept album about the American West, was a strange, sideways move for Elton John and songwriting partner Bernie Taupin. A album in the traditional sense, it is best heard as a piece, with songs that pick up and expand on each other's moods and settings. Notice, for example, the progression of characters from the young fighter waving "My Father's Gun," to the retired and forgotten "Talking Old Soldiers," to the protagonist of "Where To Now St. Peter?," shot down by "a sweet young foreign gun" and ready to be judged by his maker. The mood holds from the sepia-toned LP cover art to John's songwriting, influenced by folk and country music and by The Band's MUSIC FROM BIG PINK. Among the songs it introduced were "Country Comfort," which Rod Stewart covered on GASOLINE ALLEY, and "Come Down In Time," later done by both Judy Collins and Sting. Though the rollicking piano epic "Burn Down The Mission" and "Amoreena" became FM-radio and concert staples, TUMBLEWEED CONNECTION remains the only John studio album without a hit single, a fact that doesn't affect the impact of this excellent country-rock outing.

"Goodbye Yellow Brick Road" (11/25/2003) Rock & Pop John, Elton, Island Records (USA)This is a hybrid Super Audio CD playable on both regular and Super Audio CD players. Generally regarded as Elton John's masterpiece, GOODBYE YELLOW BRICK ROAD is a double-album (on one CD) that includes several of his signature songs alongside a sprawling array of lesser-known (but by no means lesser) tunes. The hits included "Bennie And The Jets," a funky, falsetto stomper; the Rolling Stonesy rocker "Saturday Night's Alright For Fighting"; and the gorgeous title ballad. "Candle In The Wind," an elegy for Marilyn Monroe, which didn't become a certified hit until 14 years later, when John re-recorded it with the Melbourne Symphony. The fact that it wasn't released as a single at the time is testimony to the wealth of pop pleasures available here. The swelling, synth-fueled overture of "Funeral For A Friend" gives way to one of John's toughest guitar-rockers in an 11-minute medley. "Grey Seal" is a piano showcase with a perfect verse-chorus-verse construction. The rocking "All The Girls Love Alice" is one of the era's most overt references to lesbianism, and "Harmony," the soft ballad that closes the album, may be John's grandest melody. Willfully eclectic and packed with great music, GOODBYE YELLOW BRICK ROAD bursts with the bold energy and undeniable talent that made John a superstar.

"Legendary Covers as Sung by Elton John [Remaster]" (03/07/2006) Oldies John, Elton, DBK WorksPersonnel: Elton John (vocals, piano). Liner Note Author: Madison Brown. Recorded in the late 1960s and early '70s, this collection of cover songs presents Elton John in his formative years, just on the verge of major success, though clearly not there yet. (John, aka Reginald Dwight, is erroneously--and humorously--referred to as "Reg Bright" by a press clipping in the liner notes.) On these work-for-hire sessions, Captain Fantastic is still very much in the music-industry trenches, running through hits such as "In the Summertime" for release on budget-priced British LPs. Despite the unglamorous origins of these tracks, there are plenty of gems, as John can't help but let his charm seep through, even when trying for John Fogerty's vocal grit on Creedence's "Travelin' Band" and "Up Around the Bend." Not surprisingly, the most convincing covers are the ones that hew closest to the bold pop style that John would go on to perfect, namely a chiming take on Cat Stevens's "Lady D'Arbanville" and an energetic, spot-on rendition of the Paul McCartney-penned Badfinger hit "Come and Get It." Though LEGENDARY COVERS is primarily a novelty disc for devoted John fans, it also serves as a fascinating glimpse of the pop legend's beginnings.

"Ice on Fire [Germany Bonus Track] [Remaster]" (03/20/2001) Rock & Pop John, Elton, MCA Records (USA)Personnel: Elton John (vocals, piano, synthesizer); George Michael (vocals); Fred Mandel (guitar, keyboards, synthesizers, sequencers, percussion); Davey Johnstone (guitar, synthesizer, background vocals); Nik Kershaw (guitar); Frank Ricotti (vibraphone, percussion); Paul Westwood, Deon Estus, David Paton, John Deacon, Pino Palladino (bass); Charlie Morgan, Mel Gaynor, Dave Mattacks, Roger Taylor (drums); Gus Dudgeon (percussion); Kiki Dee, Katie Kissoon, Pete Wingfield, Alan Carvell (background vocals). Sister Sledge: Kathy Sledge, Joni Sledge, Debra Sledge, Kim Sledge (background vocals). Onward International Horns: Phil Todd (alto saxophone); David Bitelli (tenor & baritone saxophones); Bob Sydor, Pete Thomas, Nick Pentelow (tenor saxophone); Paul Spong, Raul D'Oliveira (trumpet); Rick Taylor (trombone & bass trombones); Chris Pyne (trombone). Recorded at The Sol Studio, Cookham, Berkshire, England. Originally released on Rocket (26). Includes liner notes by John Tobler. Digitally remastered by Gus Dudgeon (Abbey Road Studios). Personnel: Elton John (vocals, piano, keyboards, synthesizer); Nik Kershaw (electric guitar); Davey Johnstone (baritone guitar, synthesizer); James Newton Howard (strings, congas, shaker, tambourine); David Bitelli (tenor saxophone, baritone saxophone); Raul d'Oliveira, Paul Spong (trumpet); Rick Taylor (trombone); Fred Mandel (keyboards, synthesizer); Dave Mattacks, Charlie Morgan , Mel Gaynor (snare drum); George Michael, Alan Carvell, Katie Kissoon, Kiki Dee, Pete Wingfield, Sister Sledge (background vocals). Audio Mixers: Gus Dudgeon; Graham Dickson. Recording information: The Sol Studio, Cookham Berkshi. Editors: Gus Dudgeon; Graham Dickson. Photographer: Terry O'Neill. Arrangers: David Bitelli; James Newton Howard. It seems as if Elton John was still settling on a discernable style on 1985's ICE ON FIRE. He brought in Gus Dudgeon, the architect of such elaborate, wide-screen productions as GOODBYE YELLOWBRICK ROAD, and his touch can be felt in the lush synthesized sound that dominates this record. Even the song credits, full of Simmons drums, synth-guitar, and Yamaha TX81C, attest to the slick production values. "Nikita" was the record's Top 10 single. The sweeping melody of this gentle ode to a Russian girl rides atop a percolating rhythm track. The synthesizer-drenched sound tends to place it firmly within its era, but the pull of "Nikita"'s melody is fairly irresistible. It features backing vocals by George Michael, who was at his peak of superstardom at the time. Elsewhere on the record, Elton joins forces with the rhythm section of Queen for "Too Young." The fade of "Wrap Her Up," in which Elton sings out the names of women he'd like to wrap up and take home--ranging from Princess Caroline of Monaco to Nancy Reagan--is the record's strangest moment. Sandwiched between 1984's Top 20 hit Breaking Hearts and 1986's commercial disaster Leather Jackets, 1985's Ice on Fire is a forgotten Elton John effort. While it is hardly a masterpiece -- it isn't even up to the standard of such '80s efforts as Too Low for Zero -- it's still an enjoyable record, living proof of the power of professionalism. John was riding high on his comeback of the early '80s and ready to turn out another record. And that's what Ice on Fire is -- another Elton John album, in the best possible sense. Sure, it does mark the reunion of John and lyricist Bernie Taupin with producer Gus Dudgeon, who helmed John's greatest recordings, but you'd never know it from the sound of the record. Ice on Fire is pure 1985, heavy on synthetic drums and keyboards -- the kind of record where Davey Johnstone is credited with guitar, but it never sounds as if there's a guitar on the record, or any other "real" instrument, for that matter. That's not really a criticism, since John always made state-of-the-art records, so it should come as little surprise that this sounds like its time; it's sort of fun, in a way, since it instantly brings back its era. The biggest complaint is that much of the record never rises to the level of memorable.

"A Single Man [Bonus Tracks] [Remaster]" (03/20/2001) Rock & Pop John, Elton, MCA Records (USA)Personnel: Elton John (vocals, piano, harmonium, Clavinet, church organ, keyboards); Davey Johnstone (guitar, synthesizer, background vocals); Tim Renwick (guitar); B.J. Cole (steel guitar); Paul Buckmaster (cello); John Crocker (winds); Patrick Halcox, Henry Lowther (trumpet); Jim Shepherd (trombone); Herbie Flowers (bass); Steve Holly (drums); Ray Cooper (marimba, congas, tympani, tambourine, percussion); Clive Franks (percussion, background vocals); Vicki Brown, Stevie Lang, Joanne Stone, Watford Football Team, South Audley Street Girl's Choir, Gary Osborne (background vocals). Engineers: Phil Dunne, Stuart Epps, Clive Franks. Recorded at the Mill At Cookham, Berks, England between January & September 1978. Originally released on MCA (3065). Includes liner notes by Chris White. Digitally remastered by Gus Dudgeon (Abbey Road Studios). Personnel: Elton John (vocals, piano, harmonium, Clavinet, organ, Mellotron, keyboards, string synthesizer, background vocals); Davey Johnstone (vocals, guitar, synthesizer, background vocals); Clive Franks (vocals, percussion); Chris Thompson, Stevie Lange, Joanne Stone (vocals, background vocals); Vicki Brown, Gary Osborne (vocals); Tim Renwick (guitar, acoustic guitar, electric guitar, mandolin); B.J. Cole (guitar, steel guitar); Paul Buckmaster (cello); John Crocker (clarinet, tenor saxophone, electric piano, Fender Rhodes piano, wind); Patrick Halcox, Henry Lowther (trumpet); Jim Shepherd (trombone); Steve Holly (horns, drums); Ray Cooper (vibraphone, congas, shaker, tambourine, timpani, percussion, wind chime); Herbie Flowers (acoustic bass). Audio Mixers: Clive Franks; Phil Dunne; Stuart Epps. Liner Note Author: Chris White. Recording information: England. Arranger: Joanne Stone. The aptly titled A SINGLE MAN finds Elton John working without legendary partner Bernie Taupin, his usual lyricist, during a much-needed break from each other, following their turbulent, albeit wildly successful mid '70s collaborations. Joining forces instead with Gary Osborne, Elton takes the opportunity to present an album of pure craft--with its scaled down production, A SINGLE MAN is an almost live-sounding album, one of his most straightforward. This approach places in even greater relief John's gift for combining widely varying musical atmosphere with beautiful melodies and honest emotional performance. If A SINGLE MAN didn't produce any legendary hits for Elton John, it provided a welcome chance for him to cool off and just write songs. As is his wont, John takes on a wide variety of styles: the Spanish-sounding melancholia of "Return To Paradise" moves handily into the upbeat strut of "I Don't Care" in a stylistic segue which few could pull off. The swaggering honky-tonk of "Big Dipper" finds itself juxtaposed with the soft rock of "It Ain't Gonna Be Easy." Stripped down though it may be, the album isn't without its epic--in this case it's the heavily orchestrated, under-sung "Song For Guy." It's not that Elton John was in need of a comeback in 1978, when he released A Single Man, because he was still one of pop's biggest stars. But he certainly had hit a creative drought with 1976's Blue Moves, a turgid double album that found Elton and his partner Bernie Taupin barely able to write a side's worth of memorable material. John took a couple of years off and reemerged with a new lyricist, name of Gary Osbourne, who was certainly more straightforward than Taupin, but not as inspired. Even if he lacked Bernie's endearing incomprehensibility, Osbourne kick-started John creatively, spurring him to write his strongest collection of songs since Captain Fantastic. Also, John left behind Gus Dudgeon, the other partner of his classic period, choosing to collaborate with Clive Franks. Now, this didn't result in a blockbuster of an album; even if it was a hit in both the U.K. and U.S., none of the songs, even hits like "Part-Time Love," are considered part of his basic canon, but this is easily one of his most underrated records, a tight collection of pop songs where the craft effortlessly shines. He does cont