Empty Sky

Elton John - Empty Sky

Empty Sky
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Music CD Cover

Artist: Elton John
Edition: Music CD
Format: Original recording reissued, Original recording remastered
CD Release Date: 1996-02-20
Music Label: Island
Product features:
  • JOHN ELTON EMPTY SKY
Soundtracks:
  1. Empty Sky
  2. Val-Hala
  3. Western Ford Gateway
  4. Hymn 2000
  5. Lady What's Tomorrow
  6. Sails
  7. The Scaffold
  8. Skyline Pigeon
  9. Medley
  10. Lady Samantha
  11. All Across the Havens
  12. It's Me That You Need
  13. Just Like Strange Rain

Free Music Notes for Empty Sky

Free Music Review: Empty Sky-- A Singular Record
Hit: 5 Stars

Empty Sky, Elton John's real first record, is truly one of a kind. While there is plenty of '70s Elton, also known as 'The Classic Years,' starting with his self-titled American debut (technically a transitional record, but one that later became very much identified with the '70s), and ending in 1976 with either Here and There or Blue Moves (depending on your perspective); transitional Elton, when he experimented with collaborators other than stalwart Bernie Taupin, beginning with A Single Man and ending with 1982's Jump Up!; true '80s Elton, from '83's Too Low For Zero through Sleeping With the Past in '89; and the current era of his work, following a nearly three-year lull in which Elton got his life in order and acquired his current full head of hair, beginning with The One in '92 and containing a string of successfull stage productions and excellent records (most notably '95's Made In England and '04's Peachtree Road). But Empty Sky stands alone in its category: it is the only '60s Elton John album.
And a product of the '60s it most certainly is. From the evocative, Olde English style of Elton's harpsichord (which dominates this record) to the literate, often Dylanesque, mythological psychedelia of the lyrics, to the experimental production by Steve Brown and the definite aura of Swinging London Hippidom that permeates the record, there can be no doubt as to when and where Empty Sky was made. It comes out of the gate proclaiming the finer ideals of the age, with the somewhat Stonesy title track about a fellow seeking freedom from imprisonment of some kind, as so many were then. 'Val-Hala' follows, a pretty, poetic number about going to Viking heaven with a very traditional, harpsichord-driven English melody. This is followed by the English blues tune 'Western Ford Gateway,' a great song about. . .well, I don't know what it's about, actually, but it makes the only kind of sense that music needs to: the kind that gets stuck in your head for days. The same can be said for most of this record, on which Bernie Taupin is at his most poetically obtuse. The next several tracks, 'Hymn 2000,' 'Lady What's Tomorrow,' 'Sails,' and 'The Scaffold,' continue in this obscure-in-a-meaningful-way fashion, but for the last two with lyrics: the legendary 'Skyline Pigeon,' in its original Harpsichord-based incarnation, is another tale of a gaoled soul seeking freedom, and 'Gulliver' is a probably autobiographical tale of the death of a farm-boy's beloved dog, phrased in Taupin's inimitable style. But for the most part, these are songs that speak the language of soul, of feelings, hunches and instincts rather than that of intellect, ideas and theories. They all tell good stories, linear or not, and they all stay with you when the music's over; this is even true of the instrumental that is the final new song on the original album, a blues jam punningly titled 'Hay Chewed,' and the summation of the whole thing, an odd collage of all the preceding tracks simply called 'Reprise.' The bonus tracks on the CD, while not exactly fitting the tone of the preceding album completely, do serve to show the transition from this style to that of the Elton John album, and they do tell their own tales in the same spiritual language. Much of the '60s best music worked this way, as did many of that decades best chemicals. Now, of course, the Golden Age of Better Living Through Chemistry is passed, but we still have the music, and it still works the same magic: it still takes the listener to a different and better world than the one we spend most of our waking hours in, either then or (most certainly!) now. And as much of a mess as that once great generation has made of the world since their idealistic youth, we need that magic, and the magicians who can still make it, more than ever.
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Empty Sky Poster

JOHN ELTON EMPTY SKY

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