Subdivided We Stand Meets Marathon Man

Elton Gets Cookin'

Swamped today...

While I dig myself out, enjoy this:

Still Daring to be Different

I've waxed nostalgic enough times over the late, lamented WXXP (along with the other lost icons from my post-college pre-graduate school era, such as Graffiti, InPittsburgh, etc.) enough times that I won't bore you with it all again.

Instead, I'll just pass along word from Rod Schwartz that following the success of 2005's Double-X Reunion, the WXXP Reunion Part Deux will be held on October 12 and 13 at The Rex.  Julie and I only managed to attend one of the two shows last time -- hopefully we'll be able to match or exceed that total this time.  It was one of the most enjoyable evenings we've had in a long time, and I'm sure that this year's will be just as good if not better.  Rod tells me that they've learned 80 songs for the shows, and that over 80% of them will be different from the last go-round.

Here's a good write-up of the fun the last time around.

If you were around these parts during that era, you won't want to miss this.  Trust me.

Also, and on a completely unrelated note -- since I'm promoting artistic endeavors, now would be a good time to point you to these Abstract Expressionist-influenced works by Meghan Oare.

And The Rockin' Chair Will Rock

Hope everybody is as excited about the upcoming Van Halen tour as I am!

(Alex is the guy on the left in the lower left corner.  16-year-old Wolfgang Van Halen is at lower right, and he'll be taking Michael Anthony's place on bass.)

Saturday Night, and the Moon is Out...

With nothing else on my mind today, let's all just kick back and enjoy what is surely the favorite song of the Subdivided children.  They dance like maniacs to this one for some reason...

Rock of Ages

We've been teasing some upcoming changes to Subdivided Meets Marathon.  At long last, it appears that some of those changes are in the works -- and with any luck, they'll be implemented by August.

In the meantime, I'll be doing a bunch of work on the back-end of this site.  Which is my way of saying that my postings will be short and sweet for the next couple of weeks.  Fear not, however, as Marathon Man has pledged to twice-weekly updates of his serialized novel, Blacksmith's Girl.  Look for those on Tuesdays and Thursdays.  I'll fill in with some random crap on some of the off-days.

Random crap such as the following, which has been rolling around in my head for months...

What, do you suppose, is the most rock-and-roll moment in a rock-and-roll record?  (A brief explanation -- I'm not looking for "events," such as Woodstock, or Hendrix setting his guitar on fire, or Led Zeppelin and a groupie and a mudshark.  I'm looking strictly for a moment -- a lyric, a solo, a shriek) within a recording. 

I've thrown around a couple of possibilities.  Possibilities such as:

• "A-wop-bop-a-lu-bop-a-wop-bam-boom" from Little Richard's "Tutti Frutti."
• The opening chords of "I Wanna Hold Your Hand"
• The guitar riff from "Satisfaction"
• "Hi-ho-let's-go" from "Blitzkrieg Bop"
• "You put the boom-boom into my heart" from "Wake Me Up Before You Go-Go" by Wham

...but no matter what I come up with, I keep coming back to one moment, and one definitive statement.  As follows:

Roger Daltrey's scream near the end of "Won't Get Fooled Again" is the most rock-and-roll moment in rock-and-roll.

Discuss amongst yourselves.

UPDATE:  I was just kidding with Wham! 

Elton, Revisited

Oy, I've been a bad, bad blogger lately.  Sorry!  At least I can take solace in the fact that, as bad as I've been, Marathon Man has been even worse.

No fear, though.  We have a significant announcement coming up shortly, and with that announcement we both intend to renew our committment towards providing you, the Subdivided/Marathon reader, with more of the same kinds of crap quality entertainment you've come to expect but not receive.

I had a brief exchange with Mr. Marathon yesterday, in fact.  He tells me that he has now completed his course work (resulting in a second master's, I believe?  Hopefully this one will have more value than the one which we have in common....) and is now consumed with looking for gainful employment. 

While I'm still in blogging purgatory, I'll take a few seconds to do a re-wind that I've been meaning to get to.  Specifically, a while back I ranked my Top 40 Elton John tunes.  (This was my half-assed response to Marathon's stupendous ranking of every Beatles song, from worst to first -- a series that I've been enjoying all over again lately, and you should too.  My advice is to start at the bottom of that page and work your way to the top.)

Anyhoo, I did my Elton rankings ten-at-a-time.  I wanted to gather them all together, in one post, just because I'm anal that way.  So here they are:

40:  The Greatest Discovery
Elton John (1970)
During the next four days, we'll talk a lot about Elton's genius with melody (second only to McCartney's, in my humble opinion), as well as his vastly-underrated voice and his justifiably highly-regarded piano playing.

What we likely WON'T spend a lot of praise on is Bernie Taupin's lyrics.

It's not that they're bad.  In many cases, they're quite good.  But this was the seventies, after all, and a lot of the classic John/Taupin songs suffer from that decade's pretense and bloat.

If you had asked me about this song 10 years ago, I likely would have dismissed it as trite.  Now, age and parenthood have combined to -- well, make me a sappier person, I suppose.  Anyway, this one's here on the strength of the lyrics alone.  It's one of Elton's lesser melodies.  Here are the lyrics, if you'd like to check it out.

39:  Holiday Inn
Madman Across the Water
If the second side was as good as the first, Madman would be one of rock's monumental achievements.  But it's not.

I'd be amazed if I've listened to side two even half as many times as side one through the years.  And that's a shame, because I'm missing out a short, unimposing little pleasure -- this one, a peppy little "life on the road" number.  In his prime, Elton could toss off great little melodies like this one in his sleep.

38:  Grimsby
Caribou

Caribou is one of Elton's lesser works from the classic period.  I've probably listened to it fewer times than any other, except maybe Empty Sky.  Two big hits -- "The Bitch is Back" and "Don't Let the Sun Go Down on Me" -- only one of which is going to show up on this countdown, and fairly low, too.

Grimsby is another song like "Holiday Inn," in that it's a catchy, easily-overlooked piece that's nestled in between a couple of stinkers, so that you're tempted to just skip the whole lot of 'em.  This one rocks out a bit.  I've heard a live version that had about 20 times the energy of this studio version, and that may be skewing my perception of it a bit.  I doubt there are too many Elton fans out there who'd agree with me on this placement.  Bonus points for working in the word "sluice."

37:  Saturday Night's Alright for Fighting
Goodbye Yellow Brick Road
The first of Elton's big hits to land here.  One of his hardest-rockin' songs ever, and a great melody....

But I've always had a problem buying this one, frankly.  I mean, let's face it -- Elton's a guy who never leaves home without a tiara (seriously), and who has performed concerts dressed as Donald Duck.

Not exactly a guy you'd expect to use a little muscle to get what he needs, who'd sink a little drink and shout out, "She's with me."

But then, they're Taupin's lyrics, right? 

Yeah, they are.  Have you seen that little imp?  Picturing him throwing down is like trying to conjure up the image of a badass Keebler elf.  Ain't gonna happen.

Cool song nonetheless.

36:  Cage the Songbird
Blue Moves
By 1976, Elton was a hurtin' pup.  The combined strain of some pretty hard-core partying, coming out of the closet, and cranking out a boatload of records over the previous six years were taking their strain.

Blue Moves was billed as a more "adult" Elton.  I had hoped that my first listen to it in over 20 years would reveal a new appreciation for it.

No dice.  This double album is lifeless.  The one hit (Sorry Seems to be the Hardest Word) did portend a more adult sound, I suppose.  But mostly, it's just dull.

Cage the Songbird is an exception.  A strong melody, and most importantly, backing vocals by Crosby and Nash raise this one above its album-mates.

35:  I Need You To Turn To
Elton John

This one follows "Your Song" on what was to be Elton's debut album in the states.  ("Empty Sky," the first album he recorded, wouldn't be released stateside for another five years.)  The harpsichord is annoying, but a strong melody and straightforward Taupin lyrics make it worthwhile.

34:  Ticking
Caribou
The other overlooked gem from Caribou.  Overly long, and melodramatic to the extreme, but still a significant accomplishment.  A lesser artist wouldn't have been able to pull this one off.

33:  I Fell Like A Bullet (In The Gun of Robert Ford)
Rock of the Westies
Yeah, it probably shouldn't rank this high.  I had to put SOMETHING from Rock of the Westies here, didn't I?

Not a bad song, really.  A minor hit.  Interesting lyrics.  Kind of a "Sorry Seems to Be the Hardest Word" vibe to it, but I think it's better than that song.

32:  Tonight
Blue Moves
This is the last we're going to hear from Blue Moves.  Talk about overwrought -- hoo, boy.

Nonetheless, this one borders on greatness.  Opens with a several-minute orchestral piece.  I didn't care much for it as a kid, but came to appreciate it when it appeared on the 80's "Live in Australia" recording.  Turn it up WAY loud and it'll blow your speakers apart.

31:  Country Comfort
Tumbleweed Connection
Strange album.  It's almost "Workingman's Dead"-like in it's frontier Americana, right down to the sepia-toned cover.  Which is strange, considering that at the time of its release, I think Elton and Bernie had only been stateside once.  Deacon's are preparing their sermons, rockin' chairs are a-creakin' -- and in spite of it all, it works.

30:  Levon
Madman Across the Water
Here's one where I'm forced to take points off for the lyrics.  It's a great, classic Elton melody, to be sure -- but "he calls his child Jesus, because he likes the name" and the bit about blowing up balloons and watching them fly....yeesh.

Still, though, some of the lyrics work.  I always liked the way "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" sounds.

Great arrangement on this one.  Elton and Bernie hooked up with an arranger named Paul Buckmaster very early in their careers, and it paid dividends here.  Great use of strings on this one and the title track for this album. 

29:  Elderberry Wine
Don't Shoot Me I'm Only the Piano Player

"Don't Shoot Me..." is the dividing line between the early "serious" Elton and the, in his own words, "disposable pop" superstar.  "Daniel" and "Crocodile Rock" were the two big hits here.  We'll be discussing one of those tomorrow -- but for now, let's focus on this little number, which is a funky, horn-driven little rocker.  The lyrics are laughable -- intentionally, I've always assumed:

"You aimed to please me,
cook black-eyed peas me.
Made elderberry wine."

Still, though, it's fun.  I dare you to listen to it and not nod your head.  Personally, I also add a touch of "white man's overbite" while listening, too, but only in private.

28:  Amoreena
Tumbleweed Connection

"Tumbleweed" was my next-to-last purchase in completing my Elton collection.  There really were no hits from the album, although a few tracks still get a minimal amount of play on classic rock stations. 

This isn't one of those tunes, although maybe it should be.  Probably a little too countrified for rock radio.  The verses are nothing special -- the chorus is an outstanding example of Elton's ability to stretch a simple, meaningless lyric into something that sounds meaningful, even though it isn't.

27:  Bitter Fingers
Captain Fantastic and the Brown Dirt Cowboy

I was going to save this revelation for later, but I'll spit it out now -- "Captain Fantastic" is Elton's finest work, bar none.  Unlike every other album in the catalogue, there's not one single clinker in the bunch here.

It's a concept album, more or less, chronicling Elton and Bernie's rise from songwriters-for-hire, churning out crap for singers on Britain's pub circuit, all the way through the release of their first album.  "Bitter Fingers" is a recollection of those earliest of days, when our lads were cranking out music that they hated just to pay the bills.

But surprisingly, and in spite of the title, this isn't a particularly bitter song.  In fact, it feels like the duo are a little nostalgic for those early days, when they were first honing their craft.  The verses and choruses here almost feel like two different songs -- the gentle, nostalgic verses taking the voice of someone requesting that they pen a new song, and the crunchy, guitar-driven choruses spilling out Elton's reply. 

"It seems to me a change is really needed.
I'm sick of tra-la-la's and la-di-dahs.
No more long days hawking hunks of garbage,
bitter fingers never swung on swingin' stars."

26:  Better Off Dead
Captain Fantastic and the Brown Dirt Cowboy

If you've ever spent even a few late nights/early mornings in a boozy haze, anchored to a vinyl booth in some greasy spoon in a less-than-respectable neighborhood, here's your song.

A little off-putting at first, with it's stacatto vocals and oddly-recorded drumwork, but it'll grow on you.  It might take 30 years to do so, like it did with me, but it will grow on you.

(Update:  I recently saw someone describe this song as "Elton writes a Queen song."  And that's a perfect description.  This song sounds so much like Queen that I'm surprised I never had that revelation myself.)

25:  Salvation
Honky Chateau

Another one that's grown on me over the years.  In my younger days, I much preferred Elton's rockers -- on this album, for example, my favorite was a goofy little number called "Hercules."  Today, I find myself gravitating towards the slower stuff -- that's where Elton really shines, after all.

Salvation has a gospel tinge to it, and some over the top production that nearly snuffs the life out of it.  Underneath it all is a pretty good song, though.

24:  Don't Let the Sun Go Down On Me
Caribou

Jeez -- speaking of over-the-top...

Who the hell cares, though?  Although you've probably heard this one to death, I'd ask that you listen to it again with an unbiased ear the next time it comes on the radio, which will likely be within the next 15 minutes.  This is the power ballad against which all power ballads are judged.

An amazing vocal performance.  And I've always loved the jazzy little piano riff that fills out the line "Don't discard me....just because you think I mean you harm...."

23:  Writing
Captain Fantastic and the Brown Dirt Cowboy

Are you getting the feeling that I love the Captain Fantastic record?  Really, if you're one of the last holdouts like me who prefers the album as an art form, rather than creating your own compilation of singles, Captain Fantastic is the one Elton to own if you're only going to own one.

Writing is another autobiographical song (I guess that's redundant -- they're ALL autobiographical on this album).  This one finds Elton and Bernie upbeat and starting to put the whole songwriting thing together. 

"Don't disturb us if you hear us trying
to instigate the structure of another line or two.
'Cause writing's lighting up,
and I like life enough
to see it through."

I would imagine that any of us who've ever tried to make a living via wordsmithying can identify with that. 

Really, really catchy and deceptively upbeat melody and tempo here.  This is a sunny-Sunday-morning-brunch-on-the-deck-with-the-newspaper-and-a-mimosa song.

22:  Harmony
Goodbye Yellow Brick Road

You know the ten-bazillion ballads that Elton has cranked out in the past two decades that have gone on to become hits of various magnitudes?  They all sound exactly like this one, but not as good.  Why it was never released as a single I'll never know.

21:  This Song Has No Title
Goodbye Yellow Brick Road

So close....so close to being one of the very, very best things Elton's ever done.  This one's tucked away on the quintessential Elton album, right after three of his biggest hits ever and right before a song that used to be a classic rock staple, back when classic rock had some taste.

What I'm trying to say is that I used to ignore this one entirely.  It wasn't until I picked up the cd a year or so ago, to replace my aging vinyl, that this one finally struck a chord with me.  Really, really beautiful versus -- plopped smack dab up against the most wretched chorus the guy ever wrote.  (If you listen to the sample on the Amazon link above, it pretty much dumps you off right at the worst part.)

That's what you usually get with an Elton album -- greatness rubbing elbows with dreck.  Here, that formula is encapsulated all within one song.  Just do what I do --listen to the verses, hit "seek" during the chorus.

20:  Skyline Pigeon
Empty Sky

Points off for the harpsichord, I guess -- but even that silliness doesn't obscure the brilliance of this, Elton and Bernie's first sniff at genius.  A little melodramatic, perhaps, but so what?  Who isn't chock-full of melodrama in their early twenties?

A beautiful melody here, one of Elton's finest. The vocal performance on the Empty Sky version of this song doesn't match up with some later versions, but still noteworthy.  I dare you to try to sing this song and not sound wretched.  That's one of my key points about Elton -- the guy can flat-out sing.  Great range, at least during the "classic" years, and he can bend that voice to get a great phrasing out of even a clinker of a lyric -- not that I consider the lyrics here to be clinkers.  Try the version from the live "Here and There" for a better example of the beauty of this song.  (Although don't bother listening to the Amazon sample -- the wizards over there decided that 20 seconds of clapping was the best way to let you experience this song.)

19:  Crocodile Rock
Don't Shoot Me I'm Only the Piano Player
Elton has referred to his music as "disposable pop," and this one is one of the disposable-est.  But man, what a fun piece of fluff.  If you automatically flip the dial whenever this one comes on because you've heard it so damn many times, resist the temptation to flip the next time, and really give this one a listen.

It's easy to dismiss fluffy pop music as overly simplistic and derivative, and perhaps it is -- but if it was so easy to write something as catchy as Crocodile Rock, everybody would be doing it. 

I guess by definition, since Elton's going for an "oldie" feel here, this is derivative -- but derivative of what?  I can't really think of any 50's or 60's oldies that this sounds like, and yet, it has that feel.  Great bass playing here, too, by Elton's longtime bassist Dee Murray.

Points off, though, for the synthesizers.  The song says 60's, but the synths date it squarely in the mid-70's.  A bouncy B-3 organ would've served this song much better.

18:  Madman Across the Water
Madman Across the Water
Here comes the melodrama again, this time from the point of view of a partially-deranged fellow who lives in a van, down by the river.  Or something like that.  We never really find out much about the fellow singing the song -- instead, we learn a lot more about the locals who shun him but seemingly can't look away.

It's more Taupin melodramatic nonsense, but Elton's tortured vocal performance and a great arrangement by Paul Buckmaster pull this one into the top 20.

As a side note, there's an acoustic version of this tacked on as a bonus to the remastered Tumbleweed Connection cd.  I like both versions equally well.

17:  Bennie and the Jets
Goodbye Yellow Brick Road
Elton himself was always surprised that this one became a hit at all, let alone the chart-topper that it was.  Here's a storyline that would NEVER happen in today's highly-formatted, researched-to-the-point-of-lifelessness radio market, but it could and did in 1975....

A dj on an r&b station in Detroit heard the Goodbye Yellow Brick Road album, and took a liking to Bennie.  He gave it a couple of spins on his show, and the audience ate it up.  Next thing you know, demand for the song leads to Elton's label releasing the song as a single, against some misgivings from Elton himself.

Next thing you know, "Bennie and the Jets" is a number-one single -- ON THE R&B CHARTS.  That's a singular distinction of which Elton is justifiably proud -- he was the very first white artist to top the r&b charts. 

It's hard to describe the appeal of this song, but it all works -- even the goofball lyrics about electric boots and mohair suits.  If it gets into your head, I promise you it'll be there all day.

16:  (Gotta Get A) Meal Ticket
Captain Fantastic and the Brown Dirt Cowboy
One of the three rockin'-est songs in this countdown.  If you think Elton can't rock, try this one. 

15:  Honky Cat
Honky Chateau
I hate to keep coming back to this same point, but man, can Elton write a catchy song or what?  Who else can combine an almost asian-sounding piano riff with New Orleans style jazzy horns and a down-home bumpkin-esque lyric about boppin' in the country and fishin' in the stream and make it work?

Avoid, if you can, the live version from "Here and There."  It contains what feels like a 17-hour solo on, if you can believe it, the duck call.  Painful.

14.  High Flying Bird
Don't Shoot Me I'm Only the Piano Player
This one is purely an indulgence on my part.  Ranked higher than it deserves (although it surely is deserving of a top-40 ranking) mainly on my own nostalgia for it.

I took this album with me on a family vacation to Florida, and played it over and over again while in the midst of what I'm pretty sure was my first-ever crush -- which ended, not-so-surprisingly, the same way my next dozen or so crushes would also end, with me too gutless to do anything about it.  I did wave out the window as we drove back home, though.

13.  Blues for Baby and Me
Don't Shoot Me I'm Only the Piano Player
Everything works here.  Great lyric, fabulous melody, strong arrangement.  One of the most atmospheric songs in the Elton catalogue.

12.  Rocket Man
Honky Chateau
What's that I said about atmosphere?  This one has it in spades, and not just because it deals with...well...the atmosphere. 

11.  Mona Lisas and Mad Hatters
Honky Chateau
The best song on what I would guess is Elton's most critically-acclaimed album.  Still gets some airplay, late at night on classic rock stations. 

10:  Take Me To the Pilot
Elton John 
To this day, Elton and Bernie swear they have no idea what it's about.  Doesn't matter.  A total boogie-woogie rave-up, one of the bopping-est songs in the catalogue. 

9:  Captain Fantastic and the Brown Dirt Cowboy
Captain Fantastic and the Brown Dirt Cowboy
The title track to the first record I ever bought.  That alone might get it into the Top 40, just for nostalgia's sake -- but no, this one's here on merit.  Starts out with a deep, rich acoustic guitar, and builds to a fairly rockin' climax.  Along the way, it tells the story of Elton and Bernie's rise from "just someone his mother might know" to international superstardom.

8:  Tiny Dancer
Madman Across the Water
What can I say -- either you love or hate this one.  Count me in the "love it" camp.  One of Elton's most memorable melodies.  Great piano.

7:  Burn Down the Mission
Tumbleweed Connection
Another fairly opaque lyric from Taupin, combined with a great vocal from Elton. 

Behind four walls of stone the rich man sleeps
It's time we put the flame torch to their keep

I've never been quite sure what's going on in this song, but it seems the villagers are pissed, and the rich dude's gonna get his.  Or something.  Whatever it is, it's pretty close to perfect.

6:  Grey Seal
Goodbye Yellow Brick Road
It's just SOOOO 70's, what with the extensive use of the wah-wah pedal, the piano sound...just...everything. 

Strange thing is, it's one of the oldest songs in the catalogue.  An earlier version is included on the remastered Elton John cd, and the stripped-down production reveals just how strong the melody actually is.  An overlooked gem from the very pinnacle of Elton's commercial success.

5:  Philadelphia Freedom
(no album, although it appears as a bonus track on the remastered "Captain Fantastic" disc, as well as about a dozen greatest hits compilations)
Is there a better pop song from the 70's?  Listen sometime to how much is going on in this record -- strings, horns, about a dozen different guitars -- and somehow, it keeps from being a mushy mess.

I think I've run out of ways to say "great melody," so I'll just say "great melody."  It was the first song that I ever heard on the radio that made me say "I have to go buy that record."  Bought the 45 at the GC Murphy's in Punxsutawney, PA, and wore out the grooves within a week, although I continued to play it for years. 

The flip side, by the way, is great too -- a duet on "I Saw Her Standing There" with none other than John Lennon. 

Ok, so there are some oddball lyrics here..."whipporwill of freedom zapped me, right between the eyes" and "Philadelphia Freedom took me knee-high to a man" chief among them.  Who cares?  Just enjoy the single most disposable pop pleasure from the master of disposable pop.

4.  Where To Now St. Peter?
Tumbleweed Connection
Here's where we finally talk about how good Elton's voice was -- especially in the early days.  Chances are that you've never heard this song -- but if you have, I dare you to try to sing it.  Elton shows off great range here, and even better style.  The way he bends the melody around the words -- listen to the lines "insane they took the paddles, my arms they paralyzed" and "something for nothing always ending with a bad report" -- amazing.

I'm not even sure why I like this song so much.  It builds nicely, like so many of the songs on "Tumbleweed."  If I had to recommend one song to the non-Elton listener to use as an intro to understanding why he's more than just a balder Hall and Oates, or a British Billy Joel, this is the one. 

3:  Your Song
Elton John 
I'm going to let valued reader "Mountain Mama" start things off here..."Your Song" is one of the loveliest pop songs of all time and should be #1. It always wants to make me cry and I don't know why.

Indeed.  Elton's first big hit will be his most lasting.  It's perfect -- from the shy boy lyrics (I know it's not much but it's the best I can do.  My gift is my song and this one's for you.) to the simple, understated melody.  It's the total opposite of the way a love song is done in 2005, where every note must be belted out with as much wavering emotion as can be humanly mustered.  Whatever the opposite of "over the top" is, that's what this song is.  And it's simply beautiful.

2:  Funeral for a Friend/Love Lies Bleeding
Goodbye Yellow Brick Road
Exhibit A in proving that yes, Elton CAN rock.  But that's the "Love Lies Bleeding" half -- let's take on "Funeral" first.

I first heard "Funeral for a Friend" in my buddy's basement in fifth grade.  It was late, and I had to walk home later.  In the dark.

I can't tell you how much that first listening creeped me out.  I was already kinda creeped out at that age by death and coffins and stuff (as witnessed by my fear of Dwight D. Eisenhower's flag-draped coffin, which I have detailed elsewhere.)

So walking home, the strains of Elton's creepy synthesizers ringing in my ears, was not a promising prospect.  And yet, I survived -- long enough to come to appreciate and then love "Funeral for a Friend," although it's an oddball in the Elton catalogue.  Entirely instrumental -- but what a great instumental!  Everyone in the band is showcased here, and it builds and builds to a pretty spectacular climax, and then...those little piano notes come creeping through, signalling the transition to "Love Lies Bleeding."

What to say about "Love Lies Bleeding?"  It's my favorite song in the Elton canon -- one that never fails to get me going.  Davey Johnstone's guitars are the real stars here, and he cuts loose with a classic solo. 

If there's a better kick off to a rock album than Funeral/Love, I don't know what it is.

1.  Someone Saved My Life Tonight
Captain Fantastic and the Brown Dirt Cowboy
I was pretty surprised when, about a month after "Captain Fantastic" was released, the Top 40 stations began playing this tune.  To my mind, it was the weakest track on the album -- and it didn't help that the song made several references to "Sugar Bear," who to my mind was the jazz-hipster bear who served as the mascot for Post Super Sugar Crisp.  You might as well be singing a love song to Toucan Sam.

It wasn't until years later that I came to appreciate this one for the work of genius that it actually is.  Bernie wrote the lyrics, but the story is Elton's -- the true story of how a friend talked him out of an obviously ill-advised marriage. 

Next time it's on the radio, listen closely -- especially during these lyrics

It's four o'clock in the morning, dammit
Listen to me good.
I'm sleeping with myself tonight.
Saved in time, thank God my music's still alive.

If there's a colder dis in rock history, I'm not sure I know what it is.  The lyrics are rough, but the passion in Elton's voice drives it home.

It's the passion in the vocals here that place this one at the top of the list.  It's Lennon-esque in intensity.  Combine that with a melody that's worthy of McCartney, and to my mind you have a song that stands up to all but the very toppermost of the poppermost of the Beatles' catalogue.

One other Beatles reference here -- Nigel's Olsson's drumming is very Ringo-esque here, and I mean that in the best possible sense.  You know the way Ringo's drums color "A Day in the Life?"  Same sort of thing here.  Not a whole LOT of drumming -- but when it kicks in, it's what lifts the song over the top.  (Listen to the CRACK of the snare when Elton sings "DAMMIT" in the lines quoted above.  It's awesome.)

So there you have it.  "Someone Saved" isn't necessarily my FAVORITE Elton song (that'd be "Funeral for a Friend/Love Lies Bleeding), but it's his best.

I did a bit of revisionism part-way through the list, after I noticed that I'd slighted a couple of his biggest hits, probably because they were big hits.  So here are a couple of tunes to slide into that top 40 somewhere or other:

Daniel
Don't Shoot Me I'm Only the Piano Player
Obviously, this one's here on the strength of the melody.  Plus the groovy little banjo-esque guitar strums that pop up from time to time.

To be honest, I've never quite been able to figure out what the heck this song's about.  And while that's not a problem for a couple of other songs that we'll be getting to tomorrow, with "Daniel," it feels like Elton's trying to tell a story -- but I'll be damned if I can figure out what it is.  As best I can tell, here's what it's about:  Elton's brother, who he likes and may or may not be blind, is boarding an airplane headed for Spain.

I'm Going to be a Teenage Idol
Don't Shoot Me I'm Only the Piano Player
And he was, too.  Another horn-driven mid-tempo rocker, with a few high points and no low points. 

Goodbye Yellow Brick Road
Goodbye Yellow Brick Road
I know this was a huge hit, and it's the title track to his biggest album -- but I'm just not that crazy about it.  Nice vocal performance, particulary in the line "Oh I've finally decided my future lies...beyond the yellow brick ROOOOO-ooooo-ooooaaad-aaah-ah-ah-ah-ahhhhh.....AAAHHHH, ah, ahhhhh....ahhhh!"

Feelin' Kinda Cavalier

Mrs. Subdivided is in Texas for a couple of days -- meaning that it's Daddy time around Casa di Subdivided.  All daddy, all the time.

Which is fine.  In fact, I kind of enjoy being the go-to guy for the kids for a couple of days.  Because let's face it -- when Mommy's around, I'm a distant #2.

So I'm handling things just fine, for the most part.  And when I need a break, there's always our crutch -- Pingu.

I bring all this up mainly to point out that I'm a little pressed for time this week.  Therefore, look for more of the following cheap, pointless sorts of content throughout the week.  Content such as out-of-context links to random YouTube videos, such as...

The Pingu Rap, as performed by, believe it or not, David Hasselhoff

And for absolutely no reason other than it crossed my mind the other day, Ebn-Ozn's cult 1983 hit, AEIOU sometimes Y:

UPDATE:  Shaved Cat

P-G columnist extraordinaire Cat (in)Specter takes on the issue that's dividing the nation -- is it proper to force "urban renewal" on "downtown regions?"

And Please Don't Say "Peaches and Herb"

Stealing Leveraging Other People's Content Week continues, with an idea borrowed directly from Fark.com....

You have just been granted the power to force any band to reunite.  So who do you pick?  If you want, pick one from each of two categories -- bands that actually COULD reunite (i.e. all of the members are alive and have functioning brains and body parts), or go hog-wild and re-animate the corpses of John Lennon and George Harrison, or whoever.

Pink Floyd seemed to be a runaway winner over at Fark, and I can't argue with that choice -- although in the "still alive" category, I think I'd have to go with these guys, with this exact lineup:

(Wait, when I say that exact lineup -- that IS Steve Hackett over there on the left, correct?  Anybody know?)

And for my raising-from-the-dead -- well, c'mon, gotta be The Beatles.  Zep might be a distant second.

I will personally seek out and exterminate the first person who says "Wham!".

Prove To Me That You're Divine

Bob says:

If you were to draw a Venn Diagram, with all of the fans of The Young Ones in the first circle, and then all of the fans of Jesus Christ Superstar in the second, you'd probably get an overlap of about 100 people.

And then, if you draw a third circle, and include all of the readers of this blog in it, you're now down to a pretty exclusive club.  In fact, I think I'm probably the only member.

Nonetheless, for the benefit of those readers who happen to be me, I present the following -- Rik Mayall of The Young Ones as King Herod.  With apologies to T&A, I must insist that THIS is the worst cover song of the week.

And while we're presenting YouTube videos in lieu of actual content...

I've often discussed my love of power pop from the mid- to late-70's.  One of, if not my first, venture into the genre was an overlooked little gem from a long-forgotten band named "Starz."  (Not to be confused with "Stars on 45".)  I actually bought the record because I thought the yellow vinyl that it was pressed on was cool -- fortunately, I ended up loving the song, as well.

Here's a clip for "Cherry Baby" from Starz.  Ignore what a bunch of doofi the guys in the band are and enjoy the sweet sweet sound of classic 70's power pop.  Plus -- cowbell!

I'm Not Here, To Feathers Ruffle

Bob says:

As the magician in Frosty the Snowman says (ad nauseum), I've been busy busy busy.

Sorry about the lack of new entries.  Until I get a chance to make some updates (one of which will include a report on the latest and greatest Brighton Hot Dog Shop collector's cup of all time), let me just plant this earworm and be on my way....