Tag Archives: Elton John

Record Store Day 2021, Part 1 [Vinyl]

I picked up nearly two handfuls of vinyl for Record Store Day 2021 (first drop) and decided to “review” them, in a pair of parts, based on my initial impressions. It’s a fact that many of the items we pick up for RSD get played once and then filed away, likely to never be pulled from the shelf again. That’ll be great for resale one day – maybe – but it’s certainly not the way you wanna tie up your record money if you can help it. On the other hand, some gems only come to reveal their beauty further on down the road, so… I don’t know… Ah, let’s just get going.

TOM PETTY & THE HEARTBREAKERS – Angel Dream (Warner Records 093624882312) – Sort of a companion to last year’s Wildflowers extravaganza, Angel Dream is a “reimagining” of the songs Petty and crew did for the movie, She’s the One. I don’t know if anyone remembers the movie (I don’t) but the songs are memorable. In some ways they share a lot of the vibe of Wildflowers, kind of laid back, but there’s a lightheartedness with these tunes that doesn’t surface in the others, quite likely due to the fact that they were written to accompany a film. I wouldn’t hold this one up to Petty’s greatest albums (Wildflowers is one), but it’s got a charm to it that’s hard to deny. Together with Wildflowers and Finding Wallflowers (a 2LP set of Disc 4 of last year’s heaping helping of Tom’s hospitality), Angel Dream is one purchase you would listen to again.

ELTON JOHN – Regimental Sgt. Zippo (Rocket/UMe RSDRSZ2021) – This one’s really out of left field! Yeah, if you’re trying to guess by the album cover, you’re right: it’s a psychedelic EJ album that was never released. Recorded in early 1968 at DJM Studio in London (home of Elton’s record label in the UK), it’s Elton and Bernie Taupin in their salad days, taking a break from trying to find their own voice and instead working up some groovy, of-the-moment (but now fairly aged) psych-pop. Surprisingly, the arrangements are much more fleshed out than I was expecting, sounding very much like a serious attempt to write an album’s worth of tunes good enough to release. And they are/were! Why this wasn’t put out until now is a good question, and probably even Sir Elton doesn’t quite remember. But at this point in his career – and after most of these songs made their debut on last year’s Jewel Box set – it makes sense to put out a vinyl relic of what Elton & Bernie were spending their time on while still wearing creative short pants. The songs are certainly on the derivative side but they’re fun to listen to, making Sgt. Zippo a nice one to reach for when you’re in the mood for something different. And I like the play on Elton’s given name, too.

TOOTS & THE MAYTALS – Funky Kingston (Get On Down/Island GET54103-LP) – This is one of the greatest reggae albums of the ’70s, even if this particular configuration isn’t the same as its original Jamaican counterpart. Funky Kingston, as it has been since its first international release, is mostly that original issue, with a few tracks brought over from another album and “Pressure Drop” ported over from a ’69 single. Whether or not you consider this a proper album or a compilation, you can’t dispute that this may have been Toots’ peak as an artist. I would’ve liked them to do a 2LP set containing the original Funky, with the extra tracks they swapped in from In the Dark, and whatever else would’ve made sense. But, I guess for that there’s always my Very Best Of… CD, not to mention a host of other compilations still available.

FLAMIN’ GROOVIES – I’ll Have A… Bucket of Brains (Parlophone 0190295104139) – It may have gotten its name from an obscure Welsh beer, but this record’s got the Groovies’ best known song on it, “Shake Some Action,” a stone cold klassic that you should crank anytime you get a chance. This little 10″ mini LP, “The Original 1972 Rockfield Recordings for U.A.,” contains seven songs the San Francisco band did with nascent producer Dave Edmunds for the UK wing of United Artists. UA released a couple of the band’s rock ’n’ roll singles at the time but they were (at least in hindsight) doomed to fail, being released during Britain’s glam rock craze. Yet “Shake Some Action” eventually became a touchstone of power pop and more bands have been influenced by it than probably even know it. Here, Bucket of Brains provides the single version and the original recording at its slightly slower speed (in a 1995 mix) that reveals more of what makes it so damn good. Plus, there’s a killer version of “Tallahassee Lassie” (crushes Freddy Cannon’s original like a grape!) and their other klassic cruncher, “Slow Death.” This was only available as a UK CD (and under a couple of other names in other countries) mostly in the mid ’90s. As a 10″ it is the perfect vinyl artefact. If this doesn’t help you bust out at full speed, then I don’t know what you need… to make it alright! – Marsh Gooch

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Elton John • Goodbye Yellow Brick Road (40th Anniversary) [2LP]

gybr-1We heard “Funeral for a Friend/Love Lies Bleeding” on the radio yesterday and so today I pulled out the album Goodbye Yellow Brick Road to give it a listen. The 1973 classic by ELTON JOHN still remains his greatest accomplishment, and in 2014 – a year late in celebrating the album’s 40th anniversary – the two-record set was reissued as both a deluxe CD box set and an amazingly great sounding 2LP set. I picked up both at the time but this vinyl edition is one you ought to hunt down. Issued on special yellow vinyl for the first 1700 copies (peculiar amount, don’t you think?), GYBR is pressed on 180-gram vinyl in the EU and benefits from a beautiful mastering job courtesy of legend Doug Sax and Robert Hadley at The Mastering Lab. The instruments come through nice and clear, without hiss and high-end sizzle (as you might hear on percussion such as shakers or high hats) and with solid bass (for the era – they didn’t mix it as loud back then as we do now). The album cover is as it was for the original US pressing, in a triple gatefold configuration with all the song lyrics, cool illustrations for each song and pictures of the band members. You can still find this pressing in stores or online, though I imagine the colored vinyl is out of stock, and if you’re as big a fan of this album as I am, you should pick it up.

gybr-2Now on to my big observation. Back in the ’70s, for double albums, they pressed the sets with sides one and four on the first record and sides two and three on the second, so if you had a record changer you could stack the records and have the sides play in the correct order. (For you younger folk, record one/side one plays first, then record two/side two drops and plays next; you then take the records off the spindle and flip them over together, put them back on and then record two/side three plays, followed by record one/side four. Brilliant, huh?) Sometime in the ’80s they started putting sides one/two and three/four together, as record changer use had fallen by the wayside and it wouldn’t make sense to split the sides the way they used to. Nowadays those old two record sets are novel because of their side pairings. But I got to thinking: I wonder if sides one and four are my favorites from GYBR because they were paired together on the same record and I was too lazy back then to shuttle the records to and fro to play them in the right order, meaning the songs on sides two and three were played less often because they were on the other record, or if I prefer sides one and four because they have the best songs on them. I mean, “Dirty Little Girl,” “Grey Seal,” “The Ballad of Danny Bailey” and the title track are all great songs and they all appear on sides two and three. But the aforementioned “Funeral for a Friend,” as well as “Bennie and the Jets,” “Saturday Night’s Alright for Fighting,” “Roy Rogers” and “Harmony” are all on sides one or four…

Perhaps you think I have too much time on my hands. And perhaps you’re right.

5/5 (Mercury/Universal Music [originally MCA])

Please enjoy Elton John lip syncing the title track on Top of the Pops from 1973:

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