What The Hell Happened To...11.10.08: Elton John - Empty Sky Posted by Dan Marsicano on 11.10.2008
It's the one year anniversary of What The Hell Happened To... and Dan Marsicano is bringing a special guest to celebrate the anniversary, with Elton John's 1969 debut Empty Sky being the focus point this week.
The Introduction
The day is upon us, boys and girls. The one-year anniversary of What The Hell Happened To… is here and I'm your host, the guy who only missed one week in the past year, Dan Marsicano.
This is a huge day for me. Just a year ago, I was some snot-nosed kid who was looking to participate more in 411 Mania beyond the occasional review. With the help of editor Mitch Michaels, who actually came up with the title of the column, I found something that I could sink my teeth into. The first edition on Dream Theater's Falling Into Infinity is interesting to look at, just at the fact that in a year's time, not a whole lot has changed. I've refined it a whole lot, but the basic structure has remained the same.
Obviously, I have to thank each and every one of you who have stuck with the column for the past year. Not every edition has been a winner, I know, but I've tried to also not pigeon-hole myself into one genre. I'm proud of that, as being diverse and all over the place tended to make each edition something special; something to look forward to.
With a one-year anniversary usually comes an innovative feature or a whole new look or section. Well, anybody who reads this column regularly or knows me personally knows that I am lazy as hell. So you won't be seeing any mind-blowing graphics or crazy new titles. It may be a little plain and boring to some, but it gets the job done.
This week, I'm looking at Elton John's 1969 debut Empty Sky, which wouldn't hit American shores until 1975. To better analyze the album from all sides, I'm bringing in a guest writer: Matt Piela. You haven't heard of him, but he is a close friend of mine and a big Elton John fan. So, to change it up for at least one week, here is the two-man look at Empty Sky.
The Band
Elton John- Vocals, Piano, Organ, Harpsichord
Caleb Quaye- Acoustic and Electric Guitar
Tony Murray- Bass
Roger Pope- Percussion, Drums
Nigel Olsson- Drums
Don Fay- Flute, Saxophone
Graham Vickery- Harmonica
The Track Listing
1. Empty Sky-8:30
2. Val-Hala-4:12
3. Western Ford Gateway-3:15
4. Hymn 2000-4:30
5. Lady What's Tomorrow-3:09
6. Sails-3:45
7. The Scaffold-3:18
8. Skyline Pigeon-3:38
9. Gulliver/Hay-Chewed/Reprise-7:13
The History
Elton John, born Reginald Dwight, started his musical career at the age of 15. A pianist in his younger days, John started to play the pubs in Northwood Hills in London on the weekends. Before John met songwriter Bernie Taupin, he played in an R&B band called Bluesology and worked for a music publishing company.
Once John and Taupin began to collaborate in the mid-60s, the songs began to form. The first couple of years of the partnership between the two were mostly easy-listening material, but they both decided to go off and work on unique material. In 1969, John entered the studio to work on his debut album, Empty Sky, an album that would make less of an impact than John might have anticipated…
The Analysis
Dan Marsicano: So I am here today with Matt Piela talking about Elton John's first album, Empty Sky. Let's start off with the title track. Its one of John's longest songs to date and one that is quite different from anything he would do in the future. I have to ask though; what was up with those bongos?
Matt Piela: Exactly what I was thinking Dan. Definitely a different way to start an Elton John album. Once I heard them, I knew this was not your typical Elton John song.
Dan: Not at all Matt. I especially like the subtle flute and harmonica work in the instrumental break.
Matt: Agreed. Before he found his pop sound, Elton was definitely a lot more experimental with his music. Some people might hate it, but I for one enjoyed this style.
Dan: Well it did take six years for the album to even be released in America. I wonder what would have happened if it was released back in 1969 and not at the height of John's career in 1975.
Matt: Unfortunately, I think it would have been ignored by most people. The only track that may have been made into a single was "Skyline Pigeon," which was actually redone on his album Don't Shoot Me I'm Only the Piano Player as a bonus track.
Dan: Great point man. Let's actually talk about "Skyline Pigeon" for a second. The harpsichord is an instrument that most pop stars would have stayed away from, even in the late 60s, but John actually made a brilliant song out of it.
Matt: Yes he did. I think "Val-Hala" is also a great song that utilizes it, but it just is not as memorable. I actually prefer this version of "Skyline Pigeon" over the re-done version. The harpsichord gives it a unique sound that you just don't find in pop music; even including 60s and 70s pop music.
"Skyline Pigeon" Live 1976
Dan: John seemed to experiment with not only his sound, but his voice as well. The whispers on the title track and the R&B-ish vocals on "Sails," for example.
Matt: I was just about to bring that up Dan. You can tell he hadn't set on one style at this time. I also thought he sounded a little bit like John Lennon when I first heard "Western Ford Gateway".
Dan: I never though about that before. Interesting observation Matt. I think he wasn't confident enough in his vocals, judging by the different styles he used. A song that doesn't get mentioned much is "Hymn 2000." I was actually surprised by the flute and piano intro at first and the Bob Dylan-like lyrics.
Matt: Even casual listeners will think those lyrics stand out. Credit for that goes to Bernie Taupin, of course. "Hymn 2000" is another good example of just the numerous different styles Elton was experimenting with.
Dan: It was also the first Elton John song to have a whistling solo. I would give it a 6.5 out of 10.
Matt: Ha-ha; yea I've heard much better. I blame it on the production; if it was just a little stronger, it surely could have been an 8 out of 10.
Dan: Ha-ha good point. The production seemed to be all over the place. Some songs being way too soft and others loud as hell (the ending to "Empty Sky," the harpsichord on "Skyline Pigeon.")
Matt: Yes that harpsichord definitely makes its presence known. The production has its issues and is pretty noticeable. Let me throw in a question for you Dan. What did you think of that random jazz breakdown in "Gulliver/Hay-Chewed/Reprise"?
Dan: It really showed off John's skills for the first time. Loved the randomness of that and the "Reprise." If there was anything I would have liked to have heard in future releases from John, it would be a more jazzy sound like the one in "Hay-Chewed."
Matt: Yea I also loved it. Probably the highlight of the album for me actually. In live performances during 70-72, he would randomly go into jazzy sections.
Dan: Well, the only song he really played live from Empty Sky was the title track and John would usually go for about 20 minutes on that song, adding in an extended jam. He also pulled out "Skyline Pigeon" from time to time.
Matt: I was getting a little ahead of myself. I was thinking more of his 1970 album Tumbleweed Connection. But yea, those extended versions of "Empty Sky" are great to watch. He really knew how to perform, even before all the costumes.
Dan: I have to ask as a follow-up; what's your favorite Elton John costume?
Matt: Hmmmm...This is a tough one, since I was never a huge fan of them. I guess I'd have to go with when he dressed as Donald Duck.
Dan: Ha-ha. I have to say, my favorite is when Elton John shows off all his glasses in the "I'm Still Standing" video.
Matt: Ha-ha, I didn't know we were counting videos. What an amazing video that was. He truly showed off his Michael Jackson-type dance moves in that one...
Dan: He also showed off something else, but that's for another discussion. Looking back, what songs stand out for you off of John's debut album?
"The Scaffold" Studio Version
Matt: There are a few; "Empty Sky," "Skyline Pigeon," and "Gulliver/Hay-Chewed/Reprise." I was immediately drawn to "Empty Sky" when I first heard those bongo drums, and it's a solid album opener. "Skyline Pigeon" has great vocals and showed the first sign of hope as far has John being able to appeal to the mainstream. "Gulliver/Hay-Chewed/Reprise" is just a great closer. It's confusing, strange, and makes you think "what the hell is going on?" That's what I like about it, and you will never hear another song quite like this from Elton on his studio albums.
Dan: Agreed on all of these, and add in Hymn 2000 and Val-Hala for me. I like the folk-ish sound of these two.
Matt: Agreed, I personally like all the tracks. The only ones that don't add a whole lot to the album would be "Sails" and "The Scaffold". I was thinking of this while listening to it last night, but do you think "Gulliver/Hay-Chewed Reprise" is some sort of tribute to "Hey Jude"? I mean "Hay-Chewed"…"Hey Jude"…Elton being a Beatles fan and all...
Dan: Hmm...never thought about that. I think it's just a coincidence, as both of them don't sound too similar, but yeah; on title alone, it could be a knock on Hey Jude.
Matt: Most likely, but who knows. Well apparently, not us, so lets just move on.
Dan: Ha-ha. Okay, what significance does Empty Sky have in John's career? I think it was him still trying to find his trademark sound.
Matt: Yea, it didn't do a whole lot for him as far as popularity. I think it was a good start though. This is definitely his most experimental, but in his next three albums, he only changed a few things. They were just more focused on one vocal style, but still were not what most fans know him for today. So I think this one just got his foot in the door.
Dan: Finally, what would have happened if Empty Sky actually did well?
Matt: That's a really good question because that could have changed Elton's career. It's really hard to say because everyone's got to change their style at some point. So I think he would still end up going to gimmicky Elton at some point, maybe just a little later in his career.
Dan: I think John wouldn't have had as long of a career as he has had. There wouldn't have been a Goodbye Yellow Brick Road or Elton John.
Matt: You could be right Dan. I just think that his next few albums would do fine, but fans always want more. It wasn't a planned change for him. I think he was somewhat tired of making more somber music and wanted something a little more light-hearted. Madman Across the Water is a great album, but the ending is a bit of a downer. That marked the end of early Elton and I think that's when he wanted it to end.
Dan: Alright, well, that's a better place than any to stop. Thanks a lot Matt.
The Reasoning is a band you probably haven't heard of. It's understandable; the UK band is relatively new and hasn't officially released any of their material over here in the States. Sure, you can get it on ITunes, but true music fans want the full package; for that, you need to import it for a high price.
For those unaware, The Reasoning is a rock band with progressive tendencies that has the unique benefit of having three vocalists in their group. Dylan Thompson (guitar and vocals), Gareth Jones (keyboards and vocals), and Rachel Cohen co-exist on vocals, with Owain Roberts (guitar), Vinden Wylde (drums), and Matthew Cohen (bassist) rounding out the group.
Their songs range from six to eight minutes, with some shorter interludes built in. The three vocalists work well together, and not one stands out, giving each of their breathing room to work with the songs. Their first album, 2007's Awakening, was a calmer affair, but their recently-released sophomore album, Dark Angel, cranks the volume up and provides a heavier and more driving sound.
So, go to their MySpace, check out the untold greatness that is The Reasoning, and enjoy these videos…
"Fallen Angels" Live 2008 (Credit: streetvulture)
"Dark Angel" Live 2008 (Credit: streetvulture)
The Conclusion
Well, that was the big one year anniversary edition of What The Hell Happened To…I hope it exceeded your expectation, and if so, its thanks to my good friend Matt Piela. You'll see more of him in future editions, trust me.
Lastly, I want to thank all the great writers here at 411 Music, who have not only provided you guys with hours of entertainment, but have a passion for music that is uncanny. Ben, Hags, Michaels (aka "The Brain Trust"), Ashish, Jesse, Scott, Mike, Patrick, Samuels, MiGo (and anybody else I missed); all you guys are the reason 411 Music is at the top of its game.
Next week, it's back to normal with a look at another underrated album, to be determined. Trust me; the fun has only begun. Even after one year, I haven't run out of steam yet! Oh, and don't forget to check out my rock/metal blog, updated three times a week with new reviews, interviews, etc. that you won't get at 411 Music.
