Elton John: SHM-CD Collection (1969-2008) [20CD, 2008-2010, Universal Music Japan]

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Elton John: SHM-CD Collection (1969-2008) [20CD, 2008-2010, Universal Music Japan]

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Elton John has been one of the dominant forces in rock and popular music, especially during the 1970s. He has sold over 200 million records, making him one of the most successful artists of all time. He has more than 50 Top 40 hits including seven consecutive No. 1 U.S. albums, 59 Top 40 singles, 16 Top 10, four No. 2 hits, and nine No. 1 hits. He has won five Grammy awards and one Academy Award. His success has had a profound impact on popular music and has contributed to the continued popularity of the piano in rock and roll.

~ discogs

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Elton John: SHM-CD Collection (1969-2008) [20CD, 2008-2010, Universal Music Japan]

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Elton John: SHM-CD Collection (1969-2008) [20CD, 2008-2010, Universal Music Japan]

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Although he had made a number of re-recordings of popular songs for a budget record label in the late '60s, Empty Sky was the first true solo album Elton John recorded after leaving Bluesology; it also marked the beginning of his long and fruitful collaboration with lyricist Bernie Taupin. Empty Sky is quite indicative of the post-Sgt. Pepper's era. With its ambitious arrangements and lyrics, it's clear that John and Taupin intended the album to be a major statement. Though it shows some signs of John's R&B roots, most of the album alternates between vaguely psychedelic rock and burgeoning pop songcraft, capped off by a bizarre reprise of brief moments of all of the songs on the record. There aren't any forgotten gems on Empty Sky, but it does suggest John's potential.

by Stephen Thomas Erlewine, AMG

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Elton John: SHM-CD Collection (1969-2008) [20CD, 2008-2010, Universal Music Japan]

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Empty Sky was followed by Elton John, a more focused and realized record that deservedly became his first hit. John and Bernie Taupin's songwriting had become more immediate and successful; in particular, John's music had become sharper and more diverse, rescuing Taupin's frequently nebulous lyrics. "Take Me to the Pilot" might not make much sense lyrically, but John had the good sense to ground its willfully cryptic words with a catchy blues-based melody. Next to the increased sense of songcraft, the most noticeable change on Elton John is the addition of Paul Buckmaster's grandiose string arrangements. Buckmaster's orchestrations are never subtle, but they never overwhelm the vocalist, nor do they make the songs schmaltzy. Instead, they fit the ambitions of John and Taupin, as the instant standard "Your Song" illustrates. Even with the strings and choirs that dominate the sound of the album, John manages to rock out on a fair share of the record. Though there are a couple of underdeveloped songs, Elton John remains one of his best records.

by Stephen Thomas Erlewine, AMG

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Elton John: SHM-CD Collection (1969-2008) [20CD, 2008-2010, Universal Music Japan]

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Instead of repeating the formula that made Elton John a success, John and Bernie Taupin attempted their most ambitious record to date for the follow-up to their breakthrough. A loose concept album about the American West, Tumbleweed Connection emphasized the pretensions that always lay beneath their songcraft. Half of the songs don't follow conventional pop song structures; instead, they flow between verses and vague choruses. These experiments are remarkably successful, primarily because Taupin's lyrics are evocative and John's melodic sense is at its best. As should be expected for a concept album about the Wild West, the music draws from country and blues in equal measures, ranging from the bluesy choruses of "Ballad of a Well-Known Gun" and the modified country of "Country Comfort" to the gospel-inflected "Burn Down the Mission" and the rolling, soulful "Amoreena." Paul Buckmaster manages to write dramatic but appropriate string arrangements that accentuate the cinematic feel of the album.

by Stephen Thomas Erlewine, AMG

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Elton John: SHM-CD Collection (1969-2008) [20CD, 2008-2010, Universal Music Japan]

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Trading the cinematic aspirations of Tumbleweed Connection for a tentative stab at prog rock, Elton John and Bernie Taupin delivered another excellent collection of songs with Madman Across the Water. Like its two predecessors, Madman Across the Water is driven by the sweeping string arrangements of Paul Buckmaster, who gives the songs here a richly dark and haunting edge. And these are songs that benefit from grandiose treatments. With most songs clocking in around five minutes, the record feels like a major work, and in many ways it is. While it's not as adventurous as Tumbleweed Connection, the overall quality of the record is very high, particularly on character sketches "Levon" and "Razor Face," as well as the melodramatic "Tiny Dancer" and the paranoid title track. Madman Across the Water begins to fall apart toward the end, but the record remains an ambitious and rewarding work, and John never attained its darkly introspective atmosphere again.

by Stephen Thomas Erlewine, AMG

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Elton John: SHM-CD Collection (1969-2008) [20CD, 2008-2010, Universal Music Japan]

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Elton John became a true superstar with 1972's Honky Chateau. He followed that album with Don't Shoot Me I'm Only the Piano Player, his most direct, pop-oriented album to date. Designed as a pastiche of classic and contemporary pop styles, the album almost sounds like an attempt to demonstrate the diversity of the John/Taupin team. Though the hits are remarkable – "Daniel" is a moving ballad and "Crocodile Rock" is a sly take on '50s rock & roll – the album is slightly uneven. Several of the album tracks, particularly the knowing "I'm Gonna Be a Teenage Idol" and the rocking "Elderberry Wine," are as strong as anything John had recorded, but there are too many melodies that simply don't catch hold. Nevertheless, the singles were strong enough to keep the album at the top of the charts, and at its best, it is a very enjoyable piece of well-crafted pop/rock.

by Stephen Thomas Erlewine, AMG

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Elton John: SHM-CD Collection (1969-2008) [20CD, 2008-2010, Universal Music Japan]

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It was designed to be a blockbuster and it was. Prior to Goodbye Yellow Brick Road, Elton John had hits – his second album, Elton John, went Top 10 in the U.S. and U.K., and he had smash singles in "Crocodile Rock" and "Daniel" – but this 1973 album was a statement of purpose spilling over two LPs, which was all the better to showcase every element of John's spangled personality. Opening with the 11-minute melodramatic exercise "Funeral for a Friend/Love Lies Bleeding" – as prog as Elton ever got – Goodbye Yellow Brick Road immediately embraces excess but also tunefulness, as John immediately switches over to "Candle in the Wind" and "Bennie & the Jets," two songs that form the core of his canon and go a long way toward explaining the over-stuffed appeal of Goodbye Yellow Brick Road. This was truly the debut of Elton John the entertainer, the pro who knows how to satisfy every segment of his audience, and this eagerness to please means the record is giddy but also overwhelming, a rush of too much muchness. Still, taken a side at a time, or even a song a time, it is a thing of wonder, serving up such perfectly sculpted pop songs as "Grey Seal," full-bore rockers as "Saturday Night's Alright for Fighting" and "Your Sister Can't Twist (But She Can Rock & Roll)," cinematic ballads like "I've Seen That Movie Too," throwbacks to the dusty conceptual sweep of Tumbleweed Connection in the form of "The Ballad of Danny Bailey (1909-34)," and preposterous glam novelties, like "Jamaica Jerk-Off." This touched on everything John did before, and suggested ways he'd move in the near-future, and that sprawl is always messy but usually delightful, a testament to Elton's '70s power as a star and a musician.

by Stephen Thomas Erlewine, AMG

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Elton John: SHM-CD Collection (1969-2008) [20CD, 2008-2010, Universal Music Japan]

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Glitzy showmanship is what fuels Caribou, a less successful album than its early-'70s predecessors. Though the shiny surface of the album is alluring, only a few tracks rank among John's best work. "The Bitch Is Back" is one of his best hard rock cuts and "Don't Let the Sun Go Down on Me" is one of his classic ballads, but the album tracks tend to be ridiculous filler on the order of "Solar Prestige a Gammon" or competent genre exercises like "You're So Static." There are a couple of exceptions – "Pinky" is a fine ballad and "Dixie Lily" is an endearing stab at country – but on the whole, Caribou is a disappointment.

by Stephen Thomas Erlewine, AMG

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Elton John: SHM-CD Collection (1969-2008) [20CD, 2008-2010, Universal Music Japan]

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Sitting atop the charts in 1975, Elton John and Bernie Taupin recalled their rise to power in Captain Fantastic and the Brown Dirt Cowboy, their first explicitly conceptual effort since Tumbleweed Connection. It's no coincidence that it's their best album since then, showcasing each at the peak of his power, as John crafts supple, elastic, versatile pop and Taupin's inscrutable wordplay is evocative, even moving. What's best about the record is that it works best of a piece – although it entered the charts at number one, this only had one huge hit in "Someone Saved My Life Tonight," which sounds even better here, since it tidily fits into the musical and lyrical themes. And although the musical skill on display here is dazzling, as it bounces between country and hard rock within the same song, this is certainly a grower. The album needs time to reveal its treasures, but once it does, it rivals Tumbleweed in terms of sheer consistency and eclipses it in scope, capturing John and Taupin at a pinnacle. They collapsed in hubris and excess not long afterward – Rock of the Westies, which followed just months later is as scattered as this is focused – but this remains a testament to the strengths of their creative partnership.

by Stephen Thomas Erlewine, AMG

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Elton John: SHM-CD Collection (1969-2008) [20CD, 2008-2010, Universal Music Japan]

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Less than four months after issuing the landmark and autobiographical Captain Fantastic and the Brown Dirt Cowboy (1975), Elton John re-emerged with a new band and a slightly modified sound. However, the departure of Dee Murray (bass) and Nigel Olsson (drums) would ultimately begin a deceleration in terms of John's success, which rivalled only the Beatles' and Elvis Presley's in terms of global acclaim. The revamped band grew to include new associates James Newton Howard (keyboards) and Kenny Passarelli (bass) as well as Roger Pope (drums) and Caleb Quaye (guitar), who had both performed with John as far back as his first long-player, Empty Sky (1968). He also retained the services of Davey Johnstone (guitar) and Ray Cooper (percussion) from the most recent lineup. Musically, Rock of the Westies (1975) maintains the balance of harder-edged material and effective ballads. In fact, one of the album's strongest suits is the wide spectrum of strong material. The ballsy no-nonsense "Street Kids" and the aggressive gringo rock of the ZZ Top sound-alike "Grown Some Funk of Your Own" contrast the poignant power balladry of "I Feel Like a Bullet (In the Gun of Robert Ford)" or the dark and brooding tale of addiction on "Feed Me." Perhaps inspired by the crossover R&B appeal of "Philadelphia Freedom," the up-tempo "Island Girl" bears a distinct and danceable groove that lies somewhere between a slightly Jamaican vibe and disco. Perhaps more soulful in the traditional sense are the boogie-based "Hard Luck Story" or propulsive Bo Diddley beat that drives "Billy Bones and the White Bird." While the increasingly fickle public as well as lack of a strong follow-up to the chart-topping single "Island Girl" may have prevented Rock of the Westies from becoming the heir apparent to Captain Fantastic and the Brown Dirt Cowboy, in the wake of John's flawless predecessors it remains a strong and worthwhile entry that also sets the stage for its follow-up, Blue Moves (1976).

by Lindsay Planer, AMG

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Elton John: SHM-CD Collection (1969-2008) [20CD, 2008-2010, Universal Music Japan]

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The immense creativity that had spurred Elton John to realize no less than 11 studio albums in under seven years was beginning to show signs of inevitable fatigue. The same can be said as well of the artist's unfathomable physical stamina, which had included practically nonstop touring around the globe since the early '70s. Although initially Blue Moves (1976) was summarily dismissed by both critics as well as longtime enthusiasts, the double LP has since gained considerable stature within John's voluminous catalog. While comparisons were inevitable to the landmark two-disc Goodbye Yellow Brick Road (1973) song cycle, most similarities in musical style and content end there. John's band had expanded to include the talents of James Newton Howard (keyboards/orchestral arrangements), Kenny Passarelli (bass), Roger Pope (drums), and Caleb Quaye (guitar) – the latter pairing had actually performed with John as far back as his first long-player, Empty Sky (1968) – as well as Davey Johnstone (guitar) and Ray Cooper (percussion) from the "classic" early-to-mid-'70s lineup. As the title suggests, Blue Moves is a departure from the heavier Rock of the Westies (1975). Instead, the album purposefully focuses on moodier and more introspective sides – such as the single "Sorry Seems to Be the Hardest Word" (the effort's sole hit), the achingly poignant "Tonight," and "Cage the Songbird," the latter of which is particularly noteworthy as it recalls the life of Edith Piaf in much the same way that "Candle in the Wind" had immortalized Marilyn Monroe. "One Horse Town," which John briefly revived as a dramatic show opener during late-'80s live performances, is one of Blue Moves' most powerful and straight-ahead rockers. The lively string arrangement by Howard stands as one of the finest contributions to his short-lived tenure in this band, which for all intents and purposes dismantled after the album was recorded in March of 1976. Other standouts include the full-tilt gospel vibe of "Boogie Pilgrim" – which features backing vocals from both the Cornerstone Institutional Baptist and the Southern California choirs under the direction of Rev. James Cleveland – "Crazy Water," the haunting ballad "Idol," as well as the set's closing R&B vamp, "Bite Your Lip (Get Up and Dance!)." While Blue Moves is a far cry from essential entries such as Tumbleweed Connection (1971) or Captain Fantastic and the Brown Dirt Cowboys (1975), the bright moments prove that John could still offer up more than average material. It is also worth mentioning that this effort marked the end of John's initial collaboration with lyricist Bernie Taupin, who would resurface some three years later, albeit haphazardly on 21 at 33 (1979).

by Lindsay Planer, AMG

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Elton John: SHM-CD Collection (1969-2008) [20CD, 2008-2010, Universal Music Japan]

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After a dozen albums with lyrical collaborator Bernie Taupin, A Single Man (1978) represents Elton John's first full-length release away from their decade-long partnership. John's initial intent was to complete work on a Taupin-era remnant that had been on the back burner, titled Ego. However, he found himself with some interesting melodies and eventually teamed up with former Vigrass & Osborne member Gary Osborne. Also contributing to this album's different approach is producer Gus Dudgeon – who had worked with John as far back as his debut long-player, Empty Sky (1969). The infusion of new musical associates takes notable effect on songs such as the opener, "Shine on Through," which John had previously worked up during the Thom Bell Philly soul sessions that produced the hit "Mama Can't Buy You Love." (That version is available as one of three previously unissued sides on the Complete Thom Bell Sessions EP.) Among the other standouts are the gospel-tinged "Georgia," the lengthy blues-rocker "It Ain't Gonna Be Easy," and the ultra campy, if not lightweight, "Big Dipper." The single "Part-Time Love" only made a nominal chart impact despite its catchy and danceable melody. The 1998 CD remaster boasts five additional bonus tracks from a variety of 45s. These include the single-only cuts "Ego," "Flintstone Boy," "I Cry at Night," "Lovesick," and "Strangers." This final track would not be issued for almost a year as the B-side to the disco drivel "Victim of Love."

by Lindsay Planer, AMG

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Elton John: SHM-CD Collection (1969-2008) [20CD, 2008-2010, Universal Music Japan]

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Elton John began inching back into the mainstream with Jump Up, an uneven but strong record highlighted by "Empty Garden." Its success set the stage for Too Low for Zero, a full-fledged reunion with his best collaborator, Bernie Taupin, and his classic touring band. Happily, this is a reunion that works like gangbusters, capturing everybody at a near-peak of their form. That means there aren't just hit singles, but there are album tracks, like the opener, "Cold as Christmas (In the Middle of the Year)," that strongly (and favorably) recall Goodbye Yellow Brick Road. John hadn't been this engaging in years, not since Gerald Ford was in office. Why does this work so well? Well, the question isn't just consistency, since records like A Single Man were strong, but it's because each cut here showcases John at a peak. He's rocking with a vengeance on "I'm Still Standing" and "Kiss the Bride," crafting a gorgeous romantic standard with "I Guess That's Why They Call It the Blues," while knocking songs as immaculately crafted as "Religion" – songs that anchor this album, giving the hits context. While this may not be as rich as his classic early period, it's a terrific record, an exemplary illustration of what a veteran artist could achieve in the early '80s.

by Stephen Thomas Erlewine, AMG

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Elton John: SHM-CD Collection (1969-2008) [20CD, 2008-2010, Universal Music Japan]

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Sandwiched between 1984's Top 20 hit Breaking Hearts and 1986's commercial disaster Leather Jackets, 1985's Ice on Fire is a forgotten Elton John effort. While it is hardly a masterpiece – it isn't even up to the standard of such '80s efforts as Too Low for Zero – it's still an enjoyable record, living proof of the power of professionalism. John was riding high on his comeback of the early '80s and ready to turn out another record. And that's what Ice on Fire is – another Elton John album, in the best possible sense. Sure, it does mark the reunion of John and lyricist Bernie Taupin with producer Gus Dudgeon, who helmed John's greatest recordings, but you'd never know it from the sound of the record. Ice on Fire is pure 1985, heavy on synthetic drums and keyboards – the kind of record where Davy Johnstone is credited with guitar, but it never sounds as if there's a guitar on the record, or any other "real" instrument, for that matter. That's not really a criticism, since John always made state-of-the-art records, so it should come as little surprise that this sounds like its time; it's sort of fun, in a way, since it instantly brings back its era. The biggest complaint is that much of the record never rises to the level of memorable. The two singles, the cold-war ballad "Nikita" and the George Michael-featured "Wrap Her Up," are the strongest items here, but even those are rather disposable. The rest of the album shares the same sparkling, canned production, and a few songs could have held their own on the Top 40, but much of it is just average Elton.

by Stephen Thomas Erlewine, AMG

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Elton John: SHM-CD Collection (1969-2008) [20CD, 2008-2010, Universal Music Japan]

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Hard to believe, but there's never been a good single-disc overview of Elton John's biggest hits available in America until 2007's 18-track Rocket Man: The Definitive Hits. (The American release subtracted one track and was titled Rocket Man: Number Ones.) He's had plenty of collections, including a good single-disc European set that circulated in the late '90s, but Rocket Man is the first to really offer a solid career-spanning overview as a single-disc set. Of course, even though this pulls number ones from various charts in the U.S. and U.K., there are big hits missing – whether it's classics like "Honky Cat," which never reached the pole position in the U.S., or latter-day number ones like "I Don't Want to Go on You Like That," which did top the adult contemporary chart – but it's hard to argue with what's here (with the possible exception of "Sacrifice," which does represent his late-'80s/early-'90s adult contemporary work but isn't one of his best hits). All the big songs – "Goodbye Yellow Brick Road," "Bennie and the Jets," "Daniel," "Crocodile Rock," "Philadelphia Freedom," "Can't You Feel the Love Tonight," "Your Song," "Candle in the Wind" – are here, which will satisfy the casual fan for whom this is designed. Those who would lament the absence of "Levon," "Someone Saved My Life Tonight," "Mama Can't Buy You Love," "I Guess That's Why They Call It the Blues," or "I'm Still Standing" should turn to another compilation: this is not the set for them. But for the fan who wants a good sampling of Elton throughout the years, this is ideal.

by Stephen Thomas Erlewine, AMG

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Elton John: SHM-CD Collection (1969-2008) [20CD, 2008-2010, Universal Music Japan]

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Considerably lighter than Madman Across the Water, Honky Chateau is a rollicking collection of ballads, rockers, blues, country-rock, and soul songs. On paper, it reads like an eclectic mess, but it plays as the most focused and accomplished set of songs Elton John and Bernie Taupin ever wrote. The skittering boogie of "Honky Cat" and the light psychedelic pop of "Rocket Man" helped send Honky Chateau to the top of the charts, but what is truly impressive about the album is the depth of its material. From the surprisingly cynical and nasty "I Think I'm Gonna Kill Myself" to the moving ballad "Mona Lisas and Mad Hatters," John is at the top of his form, crafting immaculate pop songs with memorable melodies and powerful hooks. While Taupin's lyrics aren't much more comprehensible than before, John delivers them with skill and passion, making them feel more substantial than they are. But what makes Honky Chateau a classic is the songcraft, and the way John ties disparate strands of roots music into distinctive and idiosyncratic pop – it's one of the finest collections of mainstream singer/songwriter pop of the early '70s.

by Stephen Thomas Erlewine, AMG