Tag: Bernie Taupin

First Impressions of the Class of 2023 for the Rock & Roll Hall of Fame

This morning, the Rock & Roll Hall of Fame announced the Class of 2023, and it was done rather quietly. The reason I say this is that the induction announcement is usually a big deal on SiriusXM, with a show that interviews the new inductees and generally celebrates the world of rock and roll. This year? Nothing…I was a bit surprised about that.

These are my general, hot of the press takes on the 2023 class. I’ll have some thoughts about some other issues (including John Sykes’ apparent preoccupation with “what the fans think”) at a later date.

1) Overall, a decent class that has taken care of a couple of oversights from the past. In the Performers category, the inductions of Bush and Rage Against the Machine were long overdue and the Voting Committee finally corrected this error (some would also add The Spinners into this category). If there was a guaranteed inductee for the 2023 class (like last year’s Dolly Parton induction), Willie Nelson was going to be going in.

For both Missy Elliott and George Michael to go in with the same class was a bit of a surprise. I figured that one would go in before the other would (and I thought that would be Elliott over Michael), but they both made it through the battle. Sheryl Crow has done it all in her stellar career and the Hall enjoys honoring those who have always been there for them, thus her induction isn’t a surprise.

2) Those who were spurned from the Performers category are…well, let’s just say that the carryover of the “populist” theme from last year is evident. Critical favorites like Joy Division/New Order, Warren Zevon, Soundgarden, The White Stripes, A Tribe Called Quest, and Cyndi Lauper (we’ll get to the other in a minute) were not inducted and they didn’t get a nod from the “non-voting” paths. This isn’t a case of “not enough support” – Zevon and Lauper (along with #3) were WAY up in the Fan Vote and it was believed this would be the year, especially in first-time nominee Zevon’s case. Alas, it was not to be.

3) Not that they were sitting around waiting for the phone to ring, but Iron Maiden is probably never being inducted into the Hall. I’ve heard the explanations regarding the bypassing of hard rock/metal bands, and Iron Maiden in particular, but they’re beginning to ring hollow. How you can have one act but not another – in this case Judas Priest (who FINALLY got in through the “non-voting” method last year) and Iron Maiden – is befuddling. If I am finding it hard to believe, then you can only imagine how the Average Joe is seeing it.

4) The Award for Musical Excellence is OUTSTANDING. They also took care of a few oversights here by inducting both Chaka Khan (but not Rufus, surprisingly) and Bernie Taupin (writing partner of Elton John), who needed to be in the Hall. The inclusion of Al Kooper was a bit of a surprise since there hadn’t been a huge drive for his induction, but it is a welcome addition; Kooper’s legacy of work and influence are worthy of induction.

5) Equally as excellent as the AME were the choices for the Early Influences and the Ahmet Ertegun Award. DJ Kool Herc was the originator of rap, way back in the early Seventies, but it is a bit odd to see him go in and not alongside his longtime performing partner Coke La Rock. Link Wray is another one of those “oversight” corrections that the Hall takes care of through this manner, but it is also a well-deserved induction (and, we must note, if you’re going to have Duane Eddy in the Hall, then why not Wray?).

While I would have liked to have seen the Ertegun go to Rick Rubin, the choice of the creator of Soul Train, Don Cornelius, is a BRILLIANT move. Many people point to American Bandstand and its influence on the culture. Soul Train was just as big, if not more influential, in its impact on R&B, soul, rap, and culture overall. It’s too bad that Cornelius is no longer with us – I am sure that he would have delivered a FIRE induction speech!

Overall, the Class of 2023 for the Rock & Roll Hall of Fame isn’t bad, but it’s not as great as it could have been. There are a few trends now, three years into the reign of Hall chairman John Sykes, that can be identified, but we’ll save that discussion for another time. For now, we can enjoy and congratulate those that were inducted and commiserate with those that were not.

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Elton John & Bernie Taupin Tribute CDs “Revamp” & “Restoration” Evoke Different Responses

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Earlier this year, the legendary pianist, vocalist and performer Elton John announced that, after 50 years on the road as a musician, he would be retiring. There’s plenty of reason to believe John when he says this – he’s never even mentioned the idea of quitting prior to 2018 and seems quite happy performing (his residency in Las Vegas was one of the hottest seats in town). The announcement of his retirement disappointed many of his longtime fans and made interest in his concert tour for the remainder of 2018 more special that simply being able to see the virtuoso.

Along with his farewell tour, John has also been feted with not one but two new CDs from artists paying tribute to the songwriting of John and his studio partner, Bernie Taupin. This isn’t the first time that the duo has gotten this treatment; back in 1991, they were the subject of a tribute album called Two Rooms: Celebrating the Songs of Elton John & Bernie Taupin (the title of the CD reflected the fact that John and Taupin often worked separately on songs, with John coming up with the music and Taupin writing the lyrics in…two rooms). The record featured artists as diverse as The Who, Kate Bush, Oleta Adams, The Beach Boys, Wilson Phillips and Bruce Hornsby (his version of “Madman Across the Water” is nearly as good as the original) and their take on some of the classic music from John & Taupin.

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With John calling an end to his touring days, it seems natural for another trip down memory lane and instead of one CD, fans get two. There’s a reason for this:  one CD, called Revamp, is filled with the top artists from the pop world and their renditions of popular John/Taupin tunes, and the other CD, called Restoration, features the best in current country music taking their shots at saluting John/Taupin. Surprisingly, it is the country side that wins out the “reimaging” (why not just “tribute”) battle between the two CDs.

Revamp kicks off with a snippet of John performing “Bennie and the Jets” before segueing into rapper Logic and P!nk joining forces for a rap/pop version of the tune. The twosome takes the classic song and make it their own, entertaining the listener and offering hopes that the remainder of the CD will be as adventurous. Unfortunately, that doesn’t come to be as pretty much every other song on the disc holds close to the original renditions.

Coldplay’s “We All Fall in Love Sometimes” falls flat, never even coming close to inspiring the listener, but Alessia Cara attempts to redeem that performance with a well-done version of “I Guess That’s Why They Call it the Blues.” Ed Sheeran turns “Candle in the Wind (2018)” into a folksy tune and Florence + the Machine hold serve with “Tiny Dancer.” Mumford & Sons (“Someone Saved My Life Tonight”) shows up for a so-so rendition before the top two performances take the CD.

Mary J. Blige demonstrates some very powerful vocals in tearing into “Sorry Seems to Be the Hardest Word” and really does make the song hers. By far the top song on the album is the collaboration between rapper Q-Tip and Demi Lovato, who take the classic tune John performed with Kiki Dee, “Don’t Go Breaking My Heart” and stand it on its head. Where the original tune was a piece of pop pablum, Q and Lovato turn it into a reggae/R&B mixed effort that comes off fabulously. Their approach wouldn’t have worked on any other song from the John/Taupin catalog, so it was outstanding that the right performers and song were matched up. Although Miley Cyrus (“Don’t Let the Sun Go Down on Me”) and Lady Gaga (“Your Song”) cover their respective tunes admirably, the Killers (“Mona Lisas and Mad Hatters”), Sam Smith (“Daniel”) and Queens of the Stone Age (“Goodbye Yellow Brick Road,” possibly the worst effort on the CD), come up short on their work.

Revamp is devoid of the artists taking their chances at recreating John/Taupin classics. For the most part, they stuck to the material and, while enjoyable, I’d rather see them stretch a bit and attempt something new. This doesn’t make Revamp bad, it’s just it pales in comparison to its companion disc.

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Surprisingly, it is the country artists that take part in the tribute on Restoration that take the most chances in their interpretations of John & Taupin’s songs. From the start of the CD, with Little Big Town delivering a daring rendition of “Rocket Man,” the country artists seem to be more comfortable with deviating from the originals. The country artists also delve deeper into the John/Taupin catalog than the pop artists did.

Although there is a repeated song – Maren Morris’ OK version of “Mona Lisas and Mad Hatters” – and a repeated artist – Miley Cyrus shows up again to give a so-so performance of “The Bitch is Back” – the other artists take some chances with some deep cuts from the John/Taupin catalog. The Brothers Osborne deliver a stunning rocking version of “Take Me to the Pilot” and country legend Willie Nelson contributes a well-done version of “Border Song,” but other artists stretch their legs.

This isn’t to say they all hit the mark. Don Henley and Vince Gill give up an uninspired version of “Sacrifice” and Lee Ann Womack’s start slow/finish strong version of “Honky Cat” are a bit of a disappointment, but they are more than made up in such choices as Miranda Lambert (“My Father’s Gun”), Chris Stapleton (“I Want Love”) and Kacey Musgraves (“Roy Rogers”). Two duets bear special mention because of their uniqueness, the Rhonda Vincent/Dolly Parton collaboration on “Please” and Roseanne Cash and Emmylou Harris’ stirring rendition of “This Train Don’t Stop There Anymore.”

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For its sheer daring and stylistic changes, Restoration comes out as the better CD than Revamp. It could have been for the fact that the pop singers weren’t as well versed in Elton John’s music or that they didn’t feel comfortable taking such songs and making them their “style.” It really seemed that the country artists understood John and Taupin’s works much better, displayed in the chances they took in song choices and the way they were performed. While you can’t go wrong with either one (nor the original Two Rooms…in fact, ownership of all three is well worth having in the catalog), it is clear to see that one is better than the other.