Maybe it was the tension?
Fifty years ago, Elton John was at the top of the music world. He was riding a wave of success that put him up in the same stratosphere as The Beatles and Elvis Presley. Beginning in 1972 with ‘Honky Chateau’ and ending with 1975’s ‘Captain Fantastic and the Brown Dirt Cowboy’ Elton John had a string of five consecutive #1 albums. In between, Elton had hits with ‘Don’t Shoot Me I’m Only the Piano Player’, ‘Goodbye Yellow Brick Road’ and the subject of today’s feature ‘Caribou’ which featured ‘Don’t Let the Sun Go Down on Me’ as the first single.
Due to the run of success, expectations were high, however there were nearly insurmountable challenges. Touring demands forced Elton John and his band to shoehorn studio time in during a small window of time that was available in January of 1974. The band and production team headed to the Caribou Ranch recording studio in Colorado and recorded most of the album that would carry the name of its origin. It was recorded in nine days. According to producer Gus Dudgeon the band was “under enormous pressure” and high in the mountains, things were reaching a boiling point.
By the time everything was done and the banded headed to Budokhan Theatre in Tokyo, Japan to resume the acclaimed ‘Goodbye Yellow Brick Road’ tour, Dudgeon was left with a whole lot of pieces to a puzzle that was thought by some to be a scrambled mess. The material lacked the cohesion of Elton John’s previous projects. The frazzled producer was able to gather the best of the material and blend in some quality backing vocals, add some horns and other studio treatments and present the music world with something that approached the Elton John standard.
It was accepted.
Maybe it was because he was so close to the process, but when it all was over Dudgeon proclaimed that it was;
…a piece of crap … the sound is the worst, the songs are nowhere, the sleeve came out wrong, the lyrics weren’t that good, the singing wasn’t all there, the playing wasn’t great and the production is just plain lousy”.
Of course, it rapidly ascended to #1 upon its release on this day in 1974. Maybe it was not Elton John’s best work, but under the circumstances they got the best they could out of him. Not only is ‘Don’t Let the Sun Go Down on Me’ one of Elton John’s most celebrated songs, but among fans at least, the record offered some interesting deep tracks.
One wonders what would have happened if they had a solid two months to perfect the creative process.
Everything here is hindsight, and what is considered mediocre Elton John is still high end in the grand scheme of the musical timeline.
Once again, the glue that allowed the Elton John train to continue to ramble down the line was lyricist Bernie Taupin.
Bernie is on record as saying he does not specifically recall sitting down to write ‘Don’t Let the Sun Go Down on Me’ but he is very clear on the fact that he would never allow his lyrics to be classified as mundane.
I like to be more interesting than a good old ‘I love you, you love me, my heart will break if you leave me. Throw in a curveball. ‘Don’t Let the Sun Go Down on Me.’ Put a dark twist on them.”
What if he and Elton John could create yet another musical statement that allowed listeners to recall the Phil Spector ‘Wall of Sound’. This became the goal.
My only recollections of this is that we wanted to write something big. I mean, big in that dramatic Spectory (as in Phil Spector) style, like ‘You’ve Lost That Lovin’ Feelin’. Hopefully being powerful without being pompous.”
With the help of Gus Dudgeon, everything came together in this very way. Years later, Taupin came clean on a few aspects of this song’s creation and his body of work in general. This is really quite funny.
I’m not sure that with this in mind it made me fashion the lyrics any differently. Although, in retrospect, they do seem to have a slightly more Brill Building flair to them, so it’s entirely possible that I did. Of course, I always seem to have to revert to a crib sheet to check these things, as I just seem to have a really bad memory of my own work. In fact, it makes me think of a situation that I found myself in a few years ago watching some TV with some friends of mine. There was a game show on where one of the categories happened to be my lyrics. And there were, I believe, five questions, and four of them I got wrong.”
As always, Bernie Taupin’s lyrics are right there in black and white. Available to us all. Delivered by Elton John as though the world depended on these words in this very moment. For over half a century this combination has helped millions of people take the magnitude of their personal experience and apply meaning to help them get through.
Just one more example of the power of music, even though, in the moment Elton John thought it was crap. Looking back, that is so hard to believe, but like always, the sun sets and we gather our thoughts and the dawn of a new day brings hope, even if you think you are losing everything.
I can’t light no more of your darkness
All my pictures seem to fade to black and white
I’m growing tired, and time stands still before me
Frozen here on the ladder of my life
Too late to save myself from falling
I took a chance and changed your way of life
But you misread my meaning when I met you
Closed the door and left me blinded by the light
Don’t let the sun go down on me
Although I search myself, it’s always someone else I see
I’d just allow a fragment of your life to wander free
But losing everything is like the sun going down on me
I can’t find, oh, the right romantic line
But see me once and see the way I feel
Don’t discard me just because you think I mean you harm
But these cuts I have, oh, they need love to help them heal
Don’t let the sun go down on me
(Don’t let the sun)
Although I search myself, it’s always someone else I see
I’d just allow a fragment of your life to wander free
(Don’t let the sun)
But losing everything is like the sun going down on me
Don’t let the sun go down on me
(Don’t let the sun)
Although I search myself, it’s always someone else I see
I’d just allow a fragment of your life to wander free, yeah
(Don’t let the sun)
But losing everything is like the sun going down on me”
As stated earlier, much of what we recognize 50 years later as an Elton John masterpiece, can be attributed to the studio vision of Gus Dudgeon. After Elton John and his entourage headed off to Japan, he began to put the pieces together in what Bernie Taupin referred to as the ‘Spectory’ way. This included inviting a handful of backup singers to Brother Studios in Santa Monica to add their talents to the chorus. The list included, Dusty Springfield and members of America and Three Dog Night. This first collective didn’t fit with the recording but it gave Dudgeon a better idea of what the song did need. Here, he invited Del Newman to create a horn arrangement featuring Tower of Power. This creative touch added to the overall presentation. With the music complete, Dudgeon took another crack at the backing vocals. This time he brought in Carl Wilson and Bruce Johnston of the Beach Boys and Daryl Dragon and Toni Tennille of Captain and Tennille fame.
Music fans may recall that the Bruce Johnston/Toni Tennille combination appeared on another famous recording a half decade later. Let’s take a look behind ‘The Wall’ by Pink Floyd. They contributed backing vocals to the album’s ominous opening track and three songs to side four of this epic album.
Here is ‘In the Flesh Part 1’
This is ‘The Show Must Go On’ which depicts ‘Pink’ in a drug induced dream state.
As Pink perceives himself as a neo-Nazi fascist dictator his presence from the podium culminates in the track ‘In the Flesh Part 2’
His dictatorial vision gives way to inciting a riot in suburban London. Here is ‘Waiting for the Worms’
This is all an interesting aside which once again demonstrates how important the backing vocals are in delivering the tension behind the lyrics and a song.
Here is Toni Tennille recalling her contribution to the Pink Floyd classic. Note, her very candid admission that she was only vaguely familiar with Pink Floyd’s work. Tennille considers this as her claim to hipness as she recognizes Pink Floyd as more than just a rock group. For her it was another lovely Sunday morning in Los Angeles. Awesome.
Now, check this out. This is the Elton John vocal track and as the chorus hits, the backing vocals wash over you like a tidal wave. This is incredible. This will take you to a different level of appreciation.
Through all of this it is producer Gus Dudgeon who emerges as the MVP. Here is his honest assessment. Every time I read this quote, I chuckle despite myself as I imagine the scene. Elton John was in a state. This is a passage from Philip Norman’s biography, ‘Sir Elton: The Definitive Biography’.
When Elton recorded this track, he was in a filthy mood. On some takes, he’d scream it, on others he’d mumble it, or he’d just stand there, staring at the control room. Eventually, he flung off his headphones and said, ‘Okay, let’s hear what we got.’ When Gus played it for him, Elton said, ‘That’s a load of crap. You can send it to Engelbert Humperdinck, and if he doesn’t like it, you can give it to Lulu as a demo.'”
Ironically, these words brought to mind the scene that inspired ‘The Bitch is Back’ which of course was the second single from ‘Caribou’.
Wouldn’t it be amazing if even in our worst moments the people around us were able to translate our emotions and give them back to us in this kind of creativity?
Wouldn’t the world be a better place if we were all so in tune with each other?
We need love to help us heal, and as I so often state;
Music is Love! Music is Life!
Now, let’s take a look at several versions of ‘Don’t Let the Sun Go Down on Me’ through the years.
To begin, George Michael plays an integral part.
Once again, Live Aid becomes part of the story. Here is Elton John who graciously hands the vocals over to George in an emotionally wrought delivery of this stunning piece of music. George Michael introduces the song as one of his favourite Elton John tracks. Mutual admiration. How great was George Michael? This will answer the question.
For Elton John, the ladder of his life became a little unsteady and in order to prevent himself from falling he entered rehab. Much of 1991 saw him in recovery. At about the same time, George Michael released his album ‘Cover to Cover’ and went on tour. He regularly included the song, and famously, during the final show at Wembley Arena on March 23 1991, he brought out a surprise guest. Needless to say, Wembley erupted.
The live recording of this song was released as a single later that year, and was a number one hit in both the United Kingdom and the United States.
In 1993, Elton John included ‘Don’t Let the Sun Go Down on Me’ as part of his album ‘Duets’. Proceeds from this release went to several children’s charities with a primary focus on education and AIDS.
From here we can enjoy several interesting presentations of ‘Don’t Let the Sun Go Down on Me’. There are some industry legends coming your way.
Let’s begin with Roger Daltrey in 1987 from his album. This is from the soundtrack for ‘The Lost Boys’. This sounds like a continuation of ‘Love Reign O’er Me’. Few are better.
The best. Here is the extraordinary Joe Cocker. This is from his 1991 compilation album, ‘The Best of Joe Cocker’. The sheer emotion he delivers brings it forth like a Shakespearian soliloquy. Once again, the backing vocals turn it into something almost heavenly in its brilliance.
Still in 1991, this is Oleta Adams. Admittedly, I was not familiar with her work but after listening to this I wanted to dig deeper. This is from here album ‘The Very Best of Oleta Adams’ which was produced by Roland Orzabal of Tears for Fears fame. The connection was real because Adams collaborated with Tears for Fears on their 1985 album ‘The Seeds of Love’. This is fantastic. Consider it a must listen.
Three years later in 1994, Gloria Estefan released her album ‘Hold Me Thrill Me Kiss Me’ which included this cover of ‘Don’t Let the Sun Go Down on Me’. Mostly forgettable.
Still in 1994 here is Elton John and Billy Joel working together during their ‘Face to Face’ tour. This is a live version from Veterans Stadium in Philadelphia. Just listen to the delivery. Legendary! It is hard to believe that thirty years has passed since this tour.
Now we jump all the way ahead to 2016 when Elton John shared the stage with Lady Gaga. This was during Elton’s 2016 show on the Sunset Strip. This special event was presented to promote his album ‘Wonderful Crazy Night’. Watch as she enters the stage and before delivering her part, she takes time to give Elton John a kiss. Then they offer a flawless duet that effectively connects three generations of music fans.
Let’s continue with another artist who comes up often in Ted Tocks Covers. In 2018 Miley Cyrus added her talent to the Elton John tribute ‘Revamp’. I just love this. Miley has a value system that s closely aligned with Elton John’s which only adds to the importance of this cover.
As much as I was lukewarm on the bio pic ‘Rocket Man’, Taron Egerton did a great job portraying Elton John. I don’t like it when the directors play fast and loose with the timelines and present it to the masses as fact. Do it right or don’t do it at all. Having said that, I stand by my sentiment that ‘Rocket Man’ would make a fantastic musical if they addressed the chronology issue.
Remember Elton John’s vitriol related to his assessment of the original take of ‘Don’t Let the Sun Go Down on Me’? Well, here is Engelbert Humperdinck and his cover version from 2020. Undaunted by his 2020 tour being canceled due to COVID-19, Humperdinck hit the studio and recorded a six-song album of covers called ‘Sentiments’. It included ‘Don’t Let the Sun Go Down on Me’ and ironically, also ‘You’ve Lost that Lovin’ Feelin’’ which partially inspired Elton John and Bernie Taupin.
Ted Tocks Covers has featured Marc Martel on a handful of occasions mostly as a result of his quality covers of Queen and Freddie Mercury. Here is his interpretation of ‘Don’t Let the Sun Go Down on Me’. Always top notch.
Yet another important collaboration is Elton John with the incredibly talented Brandi Carlile. So good. She just exudes the spirit of any song she delivers. Side by side with Elton John, it becomes essential. The fact that this is from Dodger Stadium, adds to the importance of this performance.
Continuing with the theme of quality collaborations and connections to greatness here is Dolly Parton with Elton John. Her album ‘Rockstar’ was released to lend credence to her induction into the Rock and Roll Hall of Fame’. This duet represents about a century of musical brilliance.
Earlier this year Elton John and Bernie Taupin were presented with the Gershwin Prize for Popular Song. During the presentation Charlie Puth honoured Elton John and Bernie Taupin with this tribute. He puts a stamp on it with his close.
We love you Elton and Bernie. Thank you”
Amen!
Elton and Bernie respond in kind, rising in unison to give Puth a standing ovation. A very special moment.
The trials and tribulations of Elton John’ career are well documented. Through it all there was a constant presence that served Elton John well in terms of his creative output and as an emotional outlet. That beacon has been his lyricist and respected companion, Bernie Taupin. Here is Elton John reflecting on their unprecedented partnership.
We’ve never ever had an argument professionally or personally, which is extraordinary because most songwriters sometimes split up because they get jealous of each other. And it’s exciting because it’s never changed from the first day we wrote songs. I still write the song when he’s not there and then I go and play it to him. So, the excitement is still the same as it was from day one and that’s kept it fresh and it’s kept it exciting.”
Through the years, Taupin’s words managed to reflect Elton John’s mindset in a way that borders on spooky. For two people to channel each other’s creative expression so consistently is extraordinary. They continue to stand side by side and when the accolades rain down, they look at each other and acknowledge their role in what has been one of music’s most enduring partnerships.
To think, there have been several periods when Elton John thought he was done. One of those times was in the mid ‘80s when he was diagnosed with non-cancerous polyps on his vocal chords. He was deeply concerned that his career was done.
Here is Elton John and his famous recording with the Melbourne Symphony Orchestra. This live performance from Sydney in December of 1986 has long been heralded as a triumph. To add to the endless fascination with Elton John as a performer take note of the fact that this series of Australian shows saw Elton don a costume that had him perform as Mozart for a portion of each show.
Not only has Elton John connected the generations with his music since the late ‘60s, he has transcended the centuries.
On many occasions he stumbled, but through his music, he saved himself from falling and we all benefited.
When the sun sets on Elton John’s career, not only will we remember the music, but we will honour the resilience.
Ted Tocks Covers 