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Rock - Publicado el 5 de octubre de 1973 | UMC (Universal Music Catalogue)

Hi-Res Premios Discoteca Ideal Qobuz - Hi-Res Audio
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. © Stephen Thomas Erlewine /TiVo
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Pop - Publicado el 1 de enero de 2010 | EMI

Premios 3F de Télérama
The Union deliberadamente evoca el espíritu de 1970, empalmando el LP epónimo de Leon Russell con el propio disco homónimo de Elton John y Tumbleweed Connection. Es pariente cercano de The Captain and the Kid de John, que fue diseñado como secuela a Captain Fantastic and the Brown Dirt Cowboy de 1975, pero gracias al productor T-Bone Burnett, The Union mitiga la pompa de Bernie Taupin y amplía las raíces. Si bien no hay temas que enganchen inmediatamente, las melodías cada vez van gustando más. Una vez que las canciones se arraigan, lo que permanece es cómo John y Russell conectan con su pasado sin recrearlo laboriosamente. Por supuesto, es un revival para Russell, pero revitaliza a John tanto como a su ídolo. No ha sonado tan lleno de soul en años. © Stephen Thomas Erlewine /TiVo
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Pop - Publicado el 10 de noviembre de 2017 | UMC (Universal Music Catalogue)

Diamonds es una excelente antología oficial de Elton John lanzada en 2017 en dos versiones, doble CD o caja edición limitada de tres discos. A estas alturas el repertorio clásico del icónico cantautor británico está prácticamente definido, por lo que nadie debería sorprenderse de que 26 de estas canciones ya estuvieran presentes en su anterior recopilación doble, Greatest Hits 1970-2002. Esta colección sin embargo añade algunas importantes omisiones como "Little Jeannie", "I Don't Wanna Go on with You Like That" o el dueto en vivo con George Michael en "Don't Let the Sun Go Down on Me", además de dejar constancia del leve renacimiento artístico de Elton John en el nuevo milenio con "Electricity", "Home Again" y "Looking Up". © TiVo
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Pop - Publicado el 10 de abril de 1970 | EMI

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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. © Stephen Thomas Erlewine /TiVo
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Pop - Publicado el 13 de noviembre de 2020 | UMC (Universal Music Catalogue)

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Pop - Publicado el 5 de noviembre de 1971 | EMI

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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. © Stephen Thomas Erlewine /TiVo
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Pop - Publicado el 19 de mayo de 1975 | EMI

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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. © Stephen Thomas Erlewine /TiVo
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Pop - Publicado el 1 de enero de 1972 | EMI

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Pop - Publicado el 6 de noviembre de 1995 | EMI

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Pop - Publicado el 1 de enero de 1974 | EMI

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Pop - Publicado el 1 de enero de 1998 | EMI

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Pop - Publicado el 1 de enero de 1970 | EMI

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Bandas sonoras de cine - Publicado el 24 de mayo de 2019 | EMI

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El productor Giles Martin, hijo del mítico George Martin, se encuentra al mando de la banda sonora de este film que narra la irrupción de Elton John en el mundo musical, por no decir su toma al asalto. Y la verdad es que el perfume retro de este biopic y de su BSO funciona muy bien; no podía ser de otro modo, porque Giles Martin había seguido de cerca el terremoto pop que sacudiera Gran Bretaña en las décadas de los 60 y los 70. Sus arreglos, elegantes y lustrosos, evocan desde luego muy bien las sonoridades de aquella época, pero proporcionando en muchas ocasiones al conjunto un aire fresco con mucho de «postmoderno».El disco no incluye ninguna de las piezas instrumentales que se escuchan en el film, sino únicamente los hits de la estrella interpretados por Taron Egerton, el actor que encarna a Elton en pantalla. Pero si Ergeton fascina con sus hazañas vocales, tampoco conviene olvidar las aportaciones de otros actores en canciones como I Want Love, a cargo de Kit Connor, Gemma Jones, Bryce Dallas Howard y Steven Mackintosh, mientras The Bitch is Back, Don’t Go Breaking My Heart y Goodbye Yellow Brickroad cuentan con dúos, respectivamente, de Sebastian Rich, Rachel Muldoon y Jamie Bell (a quien ha correspondido la difícil tarea de interpretar a Bernie Taupin, el letrista favorito de Elton John). Pero el momento álgido de esta banda sonora es, desde luego, el delirio esquizofrénico con que concluye, una versión de (I’m Gonna) love me again cantada por Taron Egerton junto… al mismísimo Elton John. © Nicolas Magenham/Qobuz
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Pop - Publicado el 1 de enero de 1973 | EMI

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Pop - Publicado el 1 de enero de 1998 | EMI

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Pop - Publicado el 1 de enero de 1998 | EMI

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Pop - Publicado el 1 de enero de 1998 | EMI

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Pop - Publicado el 1 de enero de 1990 | EMI

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Pop - Publicado el 1 de enero de 1975 | EMI

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Pop - Publicado el 22 de octubre de 1976 | EMI

By 1976, the immense creativity that had spurred Elton John to record 11 studio albums in under seven years was beginning to show signs of inevitable fatigue. Although initially Blue Moves 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 song cycle from 1973, 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), as well as long-time collaborator Caleb Quaye (guitar) and 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 songs, 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 is particularly noteworthy, recalling 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 the album's 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. Other standouts include the full-tilt gospel vibe of "Boogie Pilgrim," featuring 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," and the set's closing R&B vamp, "Bite Your Lip (Get Up and Dance!)." While Blue Moves is a far cry from essential entries in the Elton John catalogue, the bright moments prove that he could still offer up higher than average material. It's 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). © Lindsay Planer /TiVo