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“Don’t Let the Sun Go Down on Me (Live)” – George Michael and Elton John
(Words/music: Elton John and Bernie Taupin, available on Duets, MCA 1992) 

Maybe it’s from a lifetime of waiting rooms filled with easy listening music, but given the right circumstances a sappy song hits the spot.  It’s not necessarily a specific mindset; it could just be a moment where a chord change captures my attention or a harmony makes me look up from what I’m doing.  This isn’t to say that every bit of muzak can stir a soul.  Rather, there are moments that deserve more than something to cover up the sound of magazine pages flipping.

“Don’t Let the Sun Go Down On Me” immediately comes to mind.  It’s not the smartest or deepest Elton John song.  I don’t even really have a deep personal attachment or association with this song the way I do with a song like “Mona Lisas and Mad Hatters.”  It’s just an extremely well written ballad with some stunning moments.  Particularly, the harmony at the beginning of the chorus melts my heart even on my grumpiest days.  When put into George Michael’s hands – (whose tabloid tales overshadow his pipes) – this approaches ballad perfection.  I don’t watch American Idol (mainly because I don’t watch a lot of TV) but I imagine this is similar to the show’s transcendent moments – where a gifted singer takes a beautiful song and rivals the original.  For me, at least, this is the definitive version, and the one that I’d actually listen to outside of a waiting room.

More on George Michael: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: george michael | elton john | 1992 | 1990s | MCA records |
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“Take Your Mama” – Scissor Sisters
(Words/music: Scott Hoffman and Jason Sellards, available on Scissor Sisters, Polydor 2004)

If we made a list of influential musicians from the 1970s, chances are Elton John appears relatively late in the list. Even if we specified it down to “glam” or “pop” influences, chances are he’s still in the second wave of answers. Simply put, Elton John isn’t particularly cool, and anyone who argues otherwise is foolish. Popularity aside, John knew his way around a song, whether during his earlier, grittier days or his more outlandishly dressed days. So it’s not surprising that the Scissor Sisters would look toward him as one of their songwriting muses – it’s only surprising because he’s not a particularly stylish musical influence.

While the Scissor Sisters’ share similarly campy indulgences as John, the comparisons lie deeper. “Take Your Mama” in particular draws heavier on John’s bouncy piano-pop than the dance influences in other places on the album. Yes, it has piano like an Elton John song, but the vocals draw the most telling comparison. Vocalist Jake Shears lets his voice bend as it travels up and down his register, occasionally darting upward briefly only to return to where it started. Even the quality of his voice – broad and sturdy down in the lower range and thinner near the top – makes Shears sound even more like John vocally. When Shears slips into his falsetto, it takes a page right out of “Bennie and the Jets,” a song where John uses all of the different parts of his vocal range for different aesthetic results. When Shears and John use their falsetto, it’s a way of shifting the song into the next gear at the end of a chorus. Like John, who would later contribute piano to the group’s second album, Shears dynamic vocals give the song versatility and make it feel like it’s gradually shifting into something different each phrase. It’s this malleability that makes John the perfect musical mentor for the Scissor Sisters, even if he’s not the most obvious choice for musical worship.

More on Scissor Sisters: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: scissor sisters | elton john | 2004 | 2000s | polydor |
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“Mona Lisas and Mad Hatters” – Elton John
(Words/music: Elton John and Bernie Taupin, available on Honky Chateau, Uni / MCA 1972)

“Mona Lisas and Mad Hatters” was always one of my favorite Elton John songs in part because it speaks to a very specific part of my personality.  Every so often – either when I have a deadline approaching and I’m woefully behind or just when I’m overloaded in general – I shutdown and ignore the outside world.  While this might be my body’s way of telling me to stay home and get caught up, I’m rarely productive when I’m in this mood.  Instead, I lose motivation for anything – getting work done, making plans, or doing anything generally active.  These are the moments that I feel very lonely, and because I’m stressed out, my brain shuts off the logical solution; I know that I need to get off the couch, but I lack any willpower to do it.  Eventually, I snap out of it and feel better and deal with whatever caused the stress in the first place, and often it’s spurred on by some innocuous act from someone else. I’m usually too tired to accept plans, so these are usually subtle, unintended acts or correspondences.  These are the moments where I simultaneously accept that I need these solitary moments, if for no other reason than to appreciate my friends.

Both musically and lyrically, “Mona Lisas and Mad Hatters” focuses on the necessary details.  John holds off on the sappy strings that make some of his other ballads a little too sentimental for my taste.  Instead, he relies on piano and electric bass for most of the song (and I’m surprised I haven’t heard more of this combination), only occasionally indulging in a couple excellent guitar fills and backing harmonies (and an amazing mandolin bit that Club Rob reminded me about and I was foolish to overlook).  With this minimal arrangement, Bernie Taupin’s lyrics seem scaled back as well, consisting of a few key descriptions of the protagonist’s experiences in the city, explicit thanks to his friends, and his description of the people he sees caught in the rat race.  We often think of John as a model of excess (specifically for his lavish stage costumes later in his career), but songs like “Mona Lisas and Mad Hatters” show how John achieves success with the bare essentials – relying on beautifully simple songs to connect with his audience.  Also, it’s a reminder of the balance many of us struggle with – we want to work hard and be successful, and sometimes it wears us down to exhaustion.  However, without our supporting core there to help bring perspective, we’re liable to lose entire days with our heads focused down.  Just as John and Taupin took a moment to step back and appreciate simplicity, we need to take time and appreciate those who keep us sane when the rest of the world feels like it’s moving too fast.

More on Elton John: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: elton john | 1972 | 1970s | track analysis | personal reflection | bernie taupin | MCA records |
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