Rock of the Westies

Product Information

The legendary duo gets a songwriting hand from Johnstone, who received the first of many writing credits with “Grow Some Funk of Your Own.” Classifiche". Musica e Dischi (in Italian) . Retrieved 23 February 2022. Set "Tipo" on "Album". Then, in the "Artista" field, search "Elton John". Prostitution is the theme in the light-hearted “Island Girl,” which was released as a single before the album hit record store shelves. It was the work’s only No. 1 hit.

The ensuing “Dan Dare (Pilot Of The Future)” had been Elton’s preference as a single instead of “Island Girl.” It featured detail from Johnstone on “voice bag,” the device that found fame as a vocoder the following year on Peter Frampton’s “Show Me The Way.” Your computer may be infected with malware or spyware that makes automated requests to our server and causes problems. James Newton Howard – harpsichord (1), Elka Rhapsody string synthesizer (1), ARP synthesizer (1, 3), Hohner clavinet (1, 2), mellotron (3), electric piano (4, 5, 7, 8, 9), synthesizers (4, 5, 9)a b c Kent, David (1993). Australian Chart Book 1970–1992 (illustrateded.). St Ives, N.S.W.: Australian Chart Book. ISBN 0-646-11917-6. John was experimental on this album and that’s obvious with the new band, which brings a fresh sound. Elton had noticeably re-tooled the band before making this album. The rhythm section of Dee Murray and Nigel Olsson were out, replaced by Roger Pope (who had played with Elton during the Madman Across the Water sessions) and Kenny Passarelli (ex-Barnstorm), plus second guitarist Caleb Quaye (another Madman alumnus) and future film composer James Newton-Howard on electronic keyboards and synthesizers. The extra players have an immediate impact on the group’s sound. Music comes at you from every direction in a playful way that must have created a lot of extra work for the post-production team. The disc also had a funky moment on the incoherent “Dan Dare (Pilot Of The Future)”, a song that made absolute no sense, even if you were well-acquainted with the comic book character the song dealt with. So forget John Lydon. Were he and Elton John Elton to meet face to face, the latter would merely laugh before pushing Lydon into the closest gutter, tearing the safety-pin from his shirt in the process. Because Elton John is the nastiest piece of work you’ll ever run across. Don’t let the outrageous eyeglasses or that “I was best friendsies with Lady Di” bullshit fool you. Reginald Dwight is a regular droog and always up for a bit of ultraviolence. And if you’re smart, you’ll stay out of his way.

Art direction by David Larkham. Photography by Terry O’Neill. Design by David Larkham & Friends. The Plastic Ray Cooper – tambourine (1, 3, 5, 6, 9), cowbell (1, 9), congas (1, 3, 6, 7, 8), jawbone (1), marimba (3), castanets (4), bell tree (4), vibraphone (4, 5, 8), shaker (8), wind chimes (8), maracas (9), kettle drums (9) More than anything, it proved that Elton had a Midas Touch in 1970s and he was truly the artist of the decade (like Elvis in the 1950s and the Beatles and Stones a decade later). Oricon Album Chart Book: Complete Edition 1970–2005 (in Japanese). Roppongi, Tokyo: Oricon Entertainment. 2006. ISBN 4-87131-077-9.

Recommendations

All songs written by Elton John and Bernie Taupin unless noted. (*Pseudonyms for Elton and Bernie, respectively.) Overall, it’s more of a guitar-driven effort than a piano one, with John’s keys providing accent and flourish while Johnstone’s axe takes the lead, as on “Street Kids” and “Billy Bones and the White Bird.” Salaverri, Fernando (September 2005). Sólo éxitos: año a año, 1959–2002 (1sted.). Spain: Fundación Autor-SGAE. ISBN 84-8048-639-2.