Elton John - Captain Fantastic & The Brown Dirt Cowboy CD

Captain Fantastic & The Brown Dirt Cowboy songs The opening number was by J.J. Cale, whose "After Midnight" had been one of the real joys of the guitarist's first solo excursion, ERIC CLAPTON. "Cocaine," with its slow grinding beat, menacing melodic vamp and one-step from perdition lyrics, was the toughest, most rocking number on SLOWHAND, and a major radio hit from the outset. A couple of vocal duets with countryish harmonies set the tone for the rest of SLOWHAND. "Lay Down Sally" was a funky, chicken-fried bit of boogie with a taut, melodic aside from Clapton's twangy Stratocaster, while Don Williams' sweet, soulful "We're All The Way" provided a low-key vehicle for Clapton's tender vocal exchanges with Marcy Levy, as his understated arpeggios toll away in the background. SLOWHAND was the album which defined the new cool of Eric Clapton, a sultry, laid-back mix of rock and blues, with a heavy dose of country and southwestern regional sounds to leaven the blend. After LAYLA, SLOWHAND was probably Clapton's most popular, fully realized solo disc. Personnel: Eric Clapton (vocals, guitar); Marcy Levy, Yvonne Elliman (vocals); George Terry (guitar); Mel Collins (saxophone); Dick Sims (keyboards); Carl Radle (bass guitar); Jamie Oldaker (drums, percussion).

Captain Fantastic & The Brown Dirt Cowboy buy CD music MADMAN ACROSS THE WATER produced only a couple of minor hits, which may have something to do with the fact that its best songs are all five or six minutes long. But they're among the strongest songs in the entire Elton John catalog--especially the lovely opening track, "Tiny Dancer," which builds from a light, delicately melodic verse to a sweeping, dramatic chorus. Another highlight is the inscrutably biographic "Levon," whose title character was born "on a Christmas day when the New York Times said God is dead." John's luxurious piano melodies, Bernie Taupin's poetic lyrics, and Paul Buckmaster's lush string arrangements all stretch out on MADMAN, giving the record a grandiose, sweeping feel when it is not riding dark, surging currents, as on the memorably edgy title track. There is a painstaking, interior quality here that goes missing from John's early pop-song oriented albums and from the later excesses of GOODBYE YELLOW BRICK ROAD. For this reason, MADMAN ON THE WATER is a crucial, unique addition to the John catalogue. Personnel: Elton John (vocals, piano); Caleb Quaye (acoustic guitar, electric guitar); Davey Johnstone (acoustic guitar, mandolin, sitar); Les Thatcher (acoustic guitar); Chris Spedding (electric guitar, slide guitar); B.J. Cole (steel guitar); Jack Emblow (accordion); Brian Dee (harmonium); Rick Wakeman (organ); Diana Lewis (ARP synthesizer); Chris Laurence (acoustic bass guitar); Dee Murray (bass guitar, background vocals); Dave Glover , Herbie Flowers, Brian Odgers (bass guitar); Nigel Olsson (drums, background vocals); Roger Pope, Terry Cox, Barry Morgan (drums); Ray Cooper (tambourine, percussion); Lesley Duncan, Liza Strike, Roger Cook, Sunny Leslie, Terry Steele, Tony Burrows, Barry St. John, Sue Glover (background vocals). Liner Note Author: John Tobler.

Captain Fantastic & The Brown Dirt Cowboy album for sale By the time Elton John went to France to cut HONKY CHATEAU in 1972, he had already become the first act since the Beatles to land four albums in the American Top 10 simultaneously. Up to that point, John had performed in a trio rounded out by bassist Dee Murray and drummer Nigel Olsson. The addition of guitarist Davey Johnstone on HONKY CHATEAU added another dimension to the overall sound. The results were successful, as the nonsensical "Honky Cat" and the Bowie-inspired "Rocket Man" became John's first Top 10 hits since the release of "Your Song" two years prior. John and co. reined in the lengthy, moody excesses of MADMAN ACROSS THE WATER, turning in a highly focused collection of beautifully crafted pop. The rollicking "I Think I'm Gonna Kill Myself," the sassy "Susie (Dramas)," and the stirring "Mona Lisas And Mad Hatters" are all standouts. The John/Bernie Taupin partnership also yielded a number of songs with vivid imagery, including the Civil War-era American South of "Slave" and a front-row pew before a gospel choir in the inspirational "Salvation." Pound for pound, HONKY CHATEAU may be one the strongest, most consistent, and most pleasurable records in the mammoth John discography. Personnel: Elton John (vocals, piano, electric piano, organ); Davey Johnstone (guitar, banjo, mandolin, background vocals); Jean-Luc Ponty (electric violin); Gus Dudgeon (whistle, background vocals); Jean Louis Chautemps, Alain Hatot (saxophone); Ivan Julian (trumpet); Jacques Bolognesi (trombone); David Hentschel (ARP synthesizer); Dee Murray (bass guitar, background vocals); Nigel Olsson (drums, congas, tambourine, background vocals); Ray Cooper (congas); Legs Larry Smith (taps); Larry Steele, Liza Strike, Madeline Bell, Tony Hazzard (background vocals). Liner Note Author: John Tobler.

Captain Fantastic & The Brown Dirt Cowboy CD music After playing the 1973 Rainbow Concerts that were arranged by good friend Pete Townshend, Eric Clapton returned to Florida's Criteria Recording Studio to cut 461 OCEAN BOULEVARD. Because of a stint of personal turmoil, Clapton had not played guitar for two years preceeding the Rainbow Concerts, but with the help of a core group of musicians including George Terry, former Derek & the Dominos bassist Carl Radle, Jamie Oldaker, and Yvonne Elliman, Slowhand put together an album that many consider to be his best. Focusing more on his singing than his guitar pyrotechnics of the past, the new, improved Clapton used a laid-back, J.J. Cale-type vocal style to great effect on a mellow version of "Willie And The Hand Jive" and Elmore James's "I Can't Hold Out." Far from being a kinder, gentler guitar hero, Clapton also showed considerable spark on a slide-drenched "Motherless Children" and the driving "Mainline Florida," which closes out the album. Of course, his cover of Bob Marley's "I Shot The Sheriff" was the musical statement that took him to the top of the charts and let the general public know he was back. 461 OCEAN BOULEVARD is still one of the highest points of Clapton's solo career. Recording information: Criteria Recording Studios, Miami, FL (04/1974-05/1974). Photographer: David Gahr. Arrangers: Eric Clapton; Carl Radle. Personnel: Eric Clapton (vocals, guitar, dobro); Eric Clapton; Carl Radle (bass guitar); Jamie Oldaker (drums, percussion); Al Jackson, Jr. , Ali Muhammed Jackson , Jim Fox (drums); Thomas Bernfeld, Tom Bernfield (background vocals); George Terry , Yvonne Elliman (vocals, guitar, background vocals); Albhy Galuten (piano, electric piano, clavichord, synthesizer); Dick Sims (organ). Audio Remasterer: Joseph M. Palmaccio.

Captain Fantastic & The Brown Dirt Cowboy buy CD music 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. 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.

Captain Fantastic & The Brown Dirt Cowboy songs Elton John's second album was his first to be released in the U.S., and the difference between it and its predecessor, EMPTY SKY, is palpable and immediate. ELTON JOHN opens with "Your Song," a halting ballad that is one of the most moving love songs in the modern pop canon. The album also marks John's fruitful association with Gus Dudgeon and arranger Paul Buckmaster (who'd previously collaborated on David Bowie's "Space Oddity"). The team came up with a spare orchestral sound that surrounds the singer and his piano with dashes of both classical and rock guitar, synthesizers, carefully arranged drums, and searing strings. This wasn't all-out pop yet, but rather a striking and singular brand of folk-rock. "Take Me To The Pilot" shows flashes of John's rocking future ("Bennie And The Jets" descended from it), "No Shoe Strings On Louise" is Rolling Stonesy country-rock, and "Sixty Years On" is haunting and memorable. More typical for this session is "I Need You To Turn To," another love song that finds lyricist Bernie Taupin in an unusually direct mode, and features a beautiful harpsichord melody from John. ELTON JOHN cast the mold for the singer's future superstardom. Personnel: Elton John (vocals, piano, harpsichord); Clive Hicks (guitar, acoustic guitar, 12-string guitar); Colin Green (guitar, Spanish guitar); Alan Parker , Roland Harker, Caleb Quaye (guitar); Frank Clark (acoustic guitar, acoustic bass guitar); Skaila Kanga (harp); Paul Buckmaster (cello); Brian Dee (organ); Diana Lewis (Moog synthesizer); Dave Richmond, Alan Weighall, Les Hurdle (bass guitar); Terry Cox, Barry Morgan (drums); Dennis Lopez, Tex Navarra (percussion); Lesley Duncan, Madeline Bell, Roger Cook, Tony Burrows, Tony Hazzard, Barbara Moore, Kay Garner (background vocals). Liner Note Authors: John Tobler; Gus Dudgeon.