Goodbye

"Goodbye" closes out Madman Across the Water in similar fashion to the way that Shakespeare has his Puck close out A Midsummer Night's Dream, beginning with

And now that it's all over
The birds can nest again
I'll only snow when the sun comes out
I'll shine only when it starts to rain

Pointing out his, and his mouthpiece's often contradictory nature.

He then works in some self-effacing, and just a bit smirky, pseudo-religious imagery:

And if you want a drink
Just squeeze my hand
And wine will flow into the land
And feed my lambs

And references, in self-deprecating fashion, the Tin Pan Alley-esque nature of his profession:

For I am a mirror
I can reflect the moon
I will write songs for you
I'll be your silver spoon

But then closes with more mock humility, again with a smirk:

I'm sorry I took your time
I am the poem that doesn't rhyme
Just turn back a page
I'll waste away, I'll waste away
I'll waste away, I'll waste away
I'll waste away, I'll waste away

(lyrics © 1971 Dick James Music Limited)

And thusly delivers a kind of calling card as well as a mission statement, ostensibly to close out the record but also serving notice that the John/Taupin team have arrived as songwriters, far advanced from their early efforts. And although their greatest successes were still ahead, this was very true.

This message is delivered by Elton on piano, with a measured, calm-after-the-storm feel and with the full Buckmaster Philharmonic Orchestra accompanying him; appropriate since Elton would never again make use of Buckmaster's talents as extensively as he did on this album. Desiring to streamline and simplify, he cut out the ponderous strings on his next album, Honky Chateau.

Listen to "Goodbye" on the streaming service of your choice.

And with this, the Solar Prestige a Gammon blog is concluded. I've pretty much made it through every Elton song that I consider of consequence in the 1969-1977 period; I have omitted some non-cover live tracks and a couple of Rare Masters demos that EJ recorded that were released by other people but not by Elton himself. I've had a small but steady readership, and a lot of great feedback and comments, and for that I'm thankful. It's been fun revisiting most of these songs (most of which I'd probably listen to fairly often anyway!) but listening harder, trying to glean some insight into them. It's a testament to the stylistic and lyric diversity of the John/Taupin team's body of work that it could provide enough grist for me to be able to write somewhat intelligently about it.

Anyway, thanks again to everyone who's been reading, even those who keep clicking on the link to the John Brown painting in the "Burn Down the Mission" entry, thus driving up my visitor stats. I don't know if I'll do any more dedicated music blogs, but you never know. If you like my writing, feel free to check out my still free-to-all Substack. And, by all means, continue to leave comments if you desire; I'll be notified and will respond when necessary.

From all of me to all of you, goodbye.

Rotten Peaches

Easily the most "country-rockish" track on the Madman LP, "Peaches" sounds like a throwback to Tumbleweed Connection in a lot of ways, most notably the influence of the Band yet again.

The lyrics deal with the tribulations of a chain-gang prisoner, on the run from the law and apparently still shackled to his mates. You could make a case for this being written from the point of view of a Civil War-era slave as well; that sort of story was on Taupin's mind at the time, leading to the next year's Honky Chateau track "Slave". Either way, the singer is going through a definite time of trial and tribulation. Another subsequent song, Don't Shoot Me, I'm Only the Piano Player's "Have Mercy on the Criminal", is evoked in the chorus, in which he sings:

Mercy I'm a criminal, Jesus I'm the one
Rotten peaches rotting in the sun

I've always heard this as "mercy on the criminal", but the former is the way most sources reproduce it, so it could be I was letting the Piano Player song title influence me. The reference towards the end to "cocaine and pills", of which the singer has "had me my fill", is a little curious, because it's something an escaped prisoner or slave wouldn't, you'd think, have access to. Perhaps he's repentant of the mistakes that led to him being jailed in the first place, or maybe this refers to some sort of illness (tooth-related?) and its treatment...little unclear on this. Also, after viewing O Brother, Where Art Thou? some thirty years later, I can't help but think of Clooney, Tuturro and Nelson in their prison stripes.

Anyway, this song benefits from an all-star lineup: session guitarist extraordinaire Chris Spedding on (very prominent) slide guitar, Strawbs/Yes man Rick Wakeman on organ, the Pentangle's Terry Cox on drums, and the Madman Across the Water Congregated Chorus Vocals are provided by Lesley Duncan, Sue & Sunny, Barry St. John, Liza Strike, Roger Cook, Tony Burrows, Terry Steele, Dee Murray, and Nigel Olsson. It's these backing vocals, as so often is the case with the tracks from Madman, that leave the strongest impression when regarding this particular song as they la-la-la-la over the fadeout and usher in Elton's impassioned lead vocal on the chorus with longer, sustained notes.

This isn't a cut that stands out compared to the other, more highly regarded Madman tracks, but it's always summed up the overall feel of the LP as well as any and in fact (again, to me) is very representative of the entire early, pre-Don't Shoot Me Elton period.

Levon

By 1971 Bernie had really come into his own as a lyricist, I do believe, and for proof one needs look no further than this memorable track, in which he uses names and words to maximize listener interest.

The subject matter of "Levon" has been a bit of a mystery over the years- on the surface, it seems to be a simple narrative about an immigrant family. But the nature of the lyrics themselves, with its precise people names and hot-button words such as "Jesus", would seem to suggest otherwise. However, according to the Straight Dope website, it is what it seems, and nothing more. But by placing the name "Jesus" prominently, which is automatically going to suggest the Christian Savior to most listeners rather than the son of Alvin Tostig (a name which led many others to wonder if he was an actual historical person or allegorical entity), Bernie ensures that ears perk up to hear what's being said. And I'm sure many were nonplussed by

And Jesus, he wants to go to Venus
Leaving Levon far behind
Take a balloon and go sailing
While Levon, Levon slowly dies.

But according to the StraightDope post that I linked to above, the story isn't quite so exotic. According to Bernie, Alvin Tostig is the grandfather, Levon his son, and Jesus is Levon's son. The whole "Levon" name was suggested by the Band's Levon Helm, as I've written many times an obvious influence on Elton's music, and Helm's name inspired the song. Simple as that.

Elton and Paul Buckmaster's arrangement certainly adds to the air of importance and significance; the dominant strings, as is the norm for the Madman album, are soaring and grandiose, almost Wagnerish, and Elton pounds the keys in rhythm right with them. Barry Morgan also makes a solid contribution on several drum fills just before the choruses.

"Levon" was the first single release from Madman Across the Water at the tail end of 1971; it wasn't released in England, but made it to #24 in the US. It was included on his second greatest hits album as well.

Razor Face

No, it's not a song about a horror-movie boogeyman- "Razor Face" is Bernie ruminating about a homeless person whom he (or the person narrating the song, as he may just be writing in character) seems to feel affection and sympathy for. Bernie doesn't judge or condescend, and that's refreshing.

It's set in a funky/bluesy sort of arrangement by Elton, and given somewhat of a rustic feel by Jack Engblom's accordion and Rick Wakeman's organ fills, which includes some frenetic soloing as the song concludes with Elton singing "I love your Razor Face". Actually, it sounds more like "love YOU" to me, and that makes more sense- but most lyric sources say "your", so that's what I go with here. This one really bears the Band influence due to the presence of the organ/accordion combo. And on the subject of influences, Elton does a nice job throughout on vocals, slurring and hitting high notes like Leon Russell in his prime.

It's a solid track, not one of the first you think of from the Madman album but one which sounds good when you hear it- it's a bit of a decompression after the surging "Levon" and a bit of a pick-me-up before the moody title track. It was the B-side of the "Tiny Dancer" 45 in the US, which only made it to the lower reaches of the Top 40.

Madman Across the Water

Originally intended for Tumbleweed Connection, this track became an FM radio staple in the 70's and beyond, most likely due to its ambitious arrangement and its length, which put it in the same playing field as such epic tracks as Traffic's "Low Spark of High Heeled Boys" and Led Zep's "Stairway to Heaven".

Actually, this is also an anomaly in Elton's "classic" catalog in that it boasts two versions- the one which appeared on the album that bears its name, and another, earlier try (recorded during the March 1970 Tumbleweed Connection sessions) which could only be heard via bootlegs until it finally saw release on 1992's Rare Masters compilation, and features the late Glam-rock legend Mick Ronson on guitar. Yes' Rick Wakeman, keeping busy playing sessions at the time, was also on hand to play organ on both versions. This version eschews the ominous Paul Buckmaster string arrangements for some low-key Ronson guitar pyrotechnics.

However, it's the more familiar album version we're concerned with here. At some point, it was decided to re-do the song with Buckmaster arrangements, and the ponderous strings add a definite mood of oppression and paranoia, especially during the long instrumental passages- they dart and collide with the stop-start rhythm (provided by Terry Cox of Pentangle fame) and help establish the mood of Bernie's ambiguous lyrics, which on the surface could be said to assay the ramblings of a deranged person. Since Taupin sometimes chose to express his inner feelings through his lyrics, one has to wonder to what degree that came into play here. A popular supposition at the time was that it was about Richard Nixon, but that's never been verified.

Of course, this was the sort of track which signaled a sort of creative dead-end for Elton, and determined to shed the somewhat lugubrious image of the collective sound of the Madman album, decided to lighten things up on his next LP, Honky Chateau.

Tiny Dancer

Its clever appearance in Cameron Crowe's film Almost Famous merely served as proof of what we know: that "Tiny Dancer" is certainly one of Elton's most beloved songs, and a highlight of not only his early albums but his career as well. It's a heartfelt valentine to Maxine Fiebelman, who was a dancer on one of Elton's tours and who Bernie married later that year. The sentiment is warm, except for one troubling line, Tiny dancer, in my hand which inspired Christgau to ask, derisively, "Just how small is she, anyway?" but to me suggests that Bernie felt like he wanted her "in hand", i.e., under his thumb, which adds a note of disquiet in an otherwise benign song. Tellingly, five years later they would divorce.

Prominent in the musical arrangement is the usual Madman mix of piano, Buckmaster strings, and massed choir vocals...but one notable addition is the pedal steel guitar of B.J. Cole, whose twangy licks accompany John's vocal on the verses and adds a warm, down-homey touch. I believe that this particular tonal color makes this song as memorable and as affection-inspiring as it is. Here's another EJ song which was not a hit single, stalling at the lower reaches of the top 40 in the US and not charting at all in the UK, but has gone on to achieve favorited status among Elton aficionados everywhere.

15 years later, I'm updating this entry to post this video- Elton apparently was interviewed at the time he was composing this song, and does a brief run through on video. Bernie and Maxine are interviewed as well.  Fascinating stuff! 

Indian Sunset

Since so many of Bernie's songs early on dealt with the American Old West of legend, it's only natural that at least one would deal with the Native American point of view. "Indian Sunset" is that attempt- in fact, I wouldn't be surprised if it was actually a leftover Tumbleweed Connection effort that was left off that album for some reason.

A young Indian brave, probably a renegade on the run from the Army, laments the loss of his lands, loved ones and way of life in the face of the encroachment of the white man- ultimately deciding he has no recourse but to stop and make his stand, which will most likely end in his death. Taupin delivers a set of excellent lyrics, deftly expressing the range of emotions his subject is going through.

Musically, this is as much the Paul Buckmaster show as any on the Madman album; it's a big, bold, cinematic orchestral arrangement that successfully evokes all the pathos inherent in the track. Elton on piano (of course) delivers another strongly sung melody.

Now, I'm as WASP as they come, so I can't presume to speak for the Native American perception of this song; to me, it seems like a sensitive and sympathetic portrayal- and other than the opening stanza, perhaps, avoids the easy Hollywood cliche about Native Americans. Others may disagree. One way or the other, I've always regarded it as a highlight of the record.

All the Nasties

A plea for tolerance, directed towards critics both of a print-based and personal nature.

Apparently Bernie and Elton were feeling that they were receiving a lot of unsolicited advice about the direction their career should be going in, and were feeling somewhat embattled, as is borne out by verses like this:

But I know the way they want me
In the way they publicize
If they could turn their focus off
To the image in their eyes

I must admit, though, that I'm a little nonplussed as to how Taupin's summing statement about all this unwanted input turning a "full-blooded city boy into a full-blooded city man" is supposed to silence the detractors...

It's given a lush musical accompaniment, though; Buckmaster's enormous strings, the ever-present Madman Across the Water group choir, and of course Elton's piano are all that are used... the song has a big sound, especially when the choir does its thing. Reminiscent of Elton John's "Border Song", it's got a strong melody, one which stays with the listener. Well, at least THIS listener.

Holiday Inn

Songs about life on the road have always been a big part of the rock music lexicon, but never more in the 1970's, when everyone seemed to have at least one- from the Kinks ("Sitting in My Hotel", to name just one) to Paul McCartney ("Helen Wheels") to David Bowie ("Aladdin Sane")...many more than I can name. This Madman Across the Water track is Elton's contribution.

Taupin paints a pithy account of arriving in the town, checking in to the ubiquitous titular lodging establishment, and waiting around to do what they came to do:

Boredom's a pastime that one soon acquired
Where you get to the stage where you're not even tired
Kicking your heels till the time comes around
To pick up your bags and head out of town

I'm not so sure about the grammatical correctness of those first two lines, but he gets his point across and evokes the mood well, since by 1971 and at least two US tours and who knows how many others, his was certainly an informed experience. I'm also fairly certain that naming the song after the US based, budget-priced Holiday Inn hotel chain was perhaps a tip of the hat, since I'm sure that by 1971 they most likely weren't staying in Holiday Inns anymore, or wouldn't be soon.

But it's not the lyrics that make this song as good as it is; it's the musical accompaniment. It's dominated by Davey Johnstone on mandolin, and Paul Buckmaster's strings (as much of Madman was), and provides two really nice instrumental breaks in between verses- in fact, the high point of "Inn", for me, is the extended outro, after the final choir-sung chorus, after which we only hear John's piano for a couple of seconds, then each musician joins in in turn, and Davey Johnstone's mandolin solos furiously against the backdrop of John's piano and Buckmaster's symphony orchestra, all playing for all they're worth.

"Holiday Inn" is another really overlooked album track that has always been one of my absolute favorites.