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If I had to choose a music album to take with me to the afterlife, or maybe in the here and now, on one of those boring and sultry vacations, or even on one of the more fun and adventurous ones, I would choose an Elton album, because first love, even musical, is never forgotten. And which one among the many by the English baronet? One composed when the star of piano ballads and pop/rock pieces with glam influences was not yet a true star, let alone a baronet. I would take that blue jean-stitched cover and wear it out with infinite listens, increasingly inspired by an ever more inspiring musician. It was the year of Led's "Stairway to Heaven," the year Bowie discovered life on Mars, or at least suspected it, the year of Pink echoes, and the goddess of Los Angeles, "LA Woman," with the end of the Doors. But in this magic, the most irreverent jeans in music were also added, with little shame, five shameless rolling stones worked with the most famous pseudo-photographer in history, Andy Warhol. It's curious to note how, in 1971, more stars came together in a harmonious and incredibly precious constellation to gift another masterpiece, by Elton, in the world Reginald Dwight, with "Madman Across the Water" released in that cold November. Here too, jeans return, an undeniable passion of people for at least a decade, indeed since the perfect alchemy between style, comfort, and savings was discovered. The string of tributes to the USA, particularly California, continues, after passing through the hot and arid desert of Nevada, perhaps Arizona and, why not, even Utah. "Tumbleweed Connection" from the previous year was an unrepeatable masterpiece with little commercial appeal. Madman takes its name precisely from a track developed during those sessions, later added in an even more country version of eight and a half minutes (even more mystifying, if possible), ideal for the context. However, the arrival in California is narrated in a song to a muse, Bernie's girlfriend at the time, it seems. She will be the dancer/seamstress of a certain band, with blue jeans, LA lady. In the most beautiful and virtuous dedication that a composing duo like Elton/Bernie could write, we hold onto her, perhaps at dusk, illuminated by the lights of the streetlamps, of the boulevards, and the Cadillacs on the highway. The deeper soul of the '70s music capital, perfect. It continues with an intro by a true academic pianist, or even just a passionate fan of light music. A certain Levon is the protagonist of Madman's second story, here in a melancholic ballad where the somewhat redundant and, why not, also slightly boring chorus leaves in the listener a charm from past times, marked by nostalgia that scratches the clear voice of the star. However, heavily covering this and the piano are the strings and horns of Paul Buckmaster, already a collaborator on the previous two works. The orchestra, however, doesn’t ruin but rather enhances the pathos that is created for the next track, here reaching a fine compromise. Less intrusive, more considered and calibrated arrangements. The presentation of the madman through the water, that is, the title track, connects with mystical and dreamy tones to the subsequent work. The madman, after revealing himself between piano chords, sings of a certain Razor Face, of unknown identity. After all, Bernie liked being enigmatic, to confuse and leave even himself in doubt. But the great stretches of America become visible only from the next track, with the most poignant of stories about the Indians of the steppes and the vast prairies. A civilization at sunset, in extinction, narrated in a moving, varied, alternative song, and what to say, once again perfect. The artist with this work wants to make the grade, and succeeds, the first two tracks are enough to make it clear, the cover, Paul’s orchestra, his well-balanced but slightly dissonant piano, never quite like the honky piano of the next album. But as if all this weren't already great on its own, Elton continues to sing of America, does so in an autobiographical piece, "Holiday Inn," which with a never ill-intended sarcastic note, drags us on tour with him, and transforms us into roadies. Once the plane lands, the band disembarks, as does the staff, yet they find themselves lost, once again in a hot and dry area, almost sultry, not quite as those sung in Tumbleweed. In "Rotten Peaches" we have an anthem to life, to music, a pianist having fun, always though with that melodramatic tone that characterizes it. One of the musically highest moments. To close an eternal album "All the Nasties" and "Goodbye" are on hand, the two less famous, loved, and perhaps even less wanted tracks, yet they fit perfectly into the framework of the ballad pianist of emotional and personal songs. The first of the two is a flashback into the past, here too one sees the redemption of an agonized childhood, particularly close and known to the artist. The true conclusion is then a simple song, the end, like the fab four closed a couple of years earlier. "Goodbye" is the classic piano sonnet you would expect to be the closing piece of such a compact work, and then we are satisfied, with a piece of great quality, once again strong emotions and compactness, but also simplicity and humility, without too many excesses, not even one in fact, to coherently close a circle started about 45 minutes earlier. The singer apologizes for having stolen our time, does so in a few minutes, leaves the stage with his head bowed, he, who for this Madman would deserve a standing ovation from 1971 until today, and may it continue still. Goodbye Elton of the most authentic passion of America, of the blue-toned album, of the album with 9 cobalt pearls, you will make way for the pop star, or rather the glam star you will soon be, without however losing your musical genius, at least for a while longer.
Tracklist Lyrics Samples and Videos
01 Tiny Dancer (06:17)
Blue jean baby, L.A. lady
Seamstress for the band
Pretty eyes, pirate smile
You're marrying music man
Ballerina, you must've seen her
Dancing in the sand
And now she's in me, always with me
Tiny dancer in my hand
Jesus freaks, out in the street
Handing tickets out for God
Turning back she just laughs
The boulevard is not that bad
Piano man, he makes his stand
In the auditorium
Looking on she sings the song
The words she knows
The tune she hums
But oh how it feels so real
Lying here, with no one near
Only you, and you can hear me
When I say softly, slowly
Hold me closer, tiny dancer
Count the headlights on the highway
Lay me down in sheets of linen
You had a busy day today
(repeat)
Blue jean baby, L.A. lady
Seamstress for the band
Pretty eyed, pirate smile
You're marrying a music man
Ballerina, you must've seen her,
Dancing in the sand
And now she's in me, always with me
Tiny dancer in my hand
But oh how it feels so real
Lying here with no one near
Only you and you can hear me
When I say softly, slowly
repeat chorus 2x
02 Levon (05:22)
Levon wears his war wound like a crown
He calls his child Jesus
'Cause he likes the name
And he sends him to the finest school in town
Levon, Levon likes his money
He makes a lot, they say
Spends his days counting
In the garage by the motorway
He was born a pauper to a pawn on a Christmas Day
When the New York Times said God is dead
And the war's begun
Alvin Tostig has a son today
And he shall be Levon
And he shall be a good man
And he shall be Levon
In tradition with the family plan
And he shall be Levon
And he shall be a good man
He shall be Levon
Levon sells cartoon balloons in town
His family business thrives
Jesus blows up balloons all day
Sits on the porch swing watching them fly
And Jesus, he wants to go to Venus
Leaving Levon far behind
Take a balloon and go sailing
While Levon, Levon slowly dies
He was born a pauper to a pawn on a Christmas Day
When the New York Times said God is dead
And the war's begun
Alvin Tostig has a son today
And he shall be Levon
And he shall be a good man
And he shall be Levon
In tradition with the family plan, whoo
And he shall be Levon
And he shall be a good man
He shall be Levon
And he shall be Levon
And he shall be a good man
And he shall be Levon
In tradition with the family plan, whoo
And he shall be Levon
And he shall be a good man
He shall be Levon
04 Madman Across the Water (05:57)
I can see very well.
There's a boat on the reef with a broken back
And I can see it very well.
There's a joke and I know it very well,
It's one of those that I told you long ago.
Take my word I'm a madman don't you know.
Once a fool had a good part in the play,
If it's so would I still be here today?
It's quite peculiar in a funny sort of way,
They think it's very funny everything I say.
Get a load of him, he's so insane
You'd better get your coat dear
It looks like rain.
We'll come again next Thursday afternoon.
The inlaws hope they'll see you very soon.
But is it in your conscience that you're after
Another glimpse of the Madman across the Water.
I can see very well.
There's a boat on the reef with a broken back
And I can see it very well.
There's a joke and I know it very well,
It's one of those that I told you long ago.
Take my word I'm a madman don't you know.
We'll come again next Thursday afternoon.
The inlaws hope they'll see you very soon.
But is it in your conscience that you're after
Another glimpse of the Madman across the Water.
The ground's a long way down but I need more.
Is the nightmare black
Or are the windows painted?
Will they come again next week,
Can my mind really take it?
06 Holiday Inn (04:16)
Boston at last and the plane's touching down
Our hostess is handing the hot towels around
From a terminal gate to a black limousine
It's a ten minute ride to the Holiday Inn
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
Slow down Joe, I'm a rock and roll man
I've twiddled my thumbs in a dozen odd bands
And you ain't seen nothing till you've been
In a motel baby like the Holiday Inn
Oh I don't even know if it's Cleveland or Maine
With the buildings as big and rooms just the same
And the TV don't work and the French fries are cold
And the room service closed about an hour ago
07 Rotten Peaches (04:58)
We've moved on six miles from where we were yesterday
And yesterday is but a long long ways away
So we'll camp out tonight beneath the bright starlight
And forget rotten peaches and the places we've stayed
I left from the dockland two years ago now
Made my way over on the S.S. Marie
And I've always had trouble wherever I've settled
Rotten peaches are all that I see
Rotten peaches rotting in the sun
Seems I've seen that devil fruit since the world begun
Mercy I'm a criminal, Jesus I'm the one
Rotten peaches rotting in the sun
There ain't no green grass in a U.S. state prison
There is no one to hold when you're sick for your wife
And each day out you'll pick, you'll pick rotten peaches
You'll pick rotten peaches for the rest of your life
Oh I've had me my fill of cocaine and pills
For I lie in the light of the Lord
And my home is ten thousand, ten thousand miles away
And I guess I won't see it no more
08 All the Nasties (05:09)
If it came to pass that they should ask
What could I tell them
Would they criticize behind my back
Maybe I should let them
Oh if only then and only then
They would understand
They'd turn a full-blooded city boy
Into a full-blooded city man
If they could face it
I could take it in their eyes
Oh I know I'd make it
Their tiny minds
And sacred cows just fake it
If only then and only then
They would understand
They'd turn a full-blooded city boy
Into a full-blooded city man
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
Maybe it would help them, help them understand
Maybe it would help them, help them understand
Maybe it would help them, help them understand
That a full-blooded city boy
Is now a full-blooded city man
Oh my soul
Oh my soul
Oh my soul
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Other reviews
By DBalavoine
What makes it all so interesting and magical in this album is that the color and intensity with which the nine scenes that compose it are painted really manage to enchant the listener.
Only Taupin writes the lyrics, but it is then the English pianist who transforms every text written on paper into a completely independent creature.
