Elton John: Elton John
April 1970 continues the early seventies trend of providing strong rock/folk/pop singer songwriter albums with one of the most polished releases of early 1970, and arguably the one of most important, historically: Elton John’s second album, artfully arranged by Paul Buckmaster and produced by Gus Dudgeon. Originally intended to be a demo of current Elton John and Bernie Taupin songs to be circulated among industry recording artists, bands, producers and execs as a means of promoting the quality and variety of John/Taupin songs available for those looking for songs to add to an album, but due to the recently increased commercial appetite for solo singer songwriter albums, the album was released commercially under Elton’s name — or Reggie Dwight’s assumed name of “Elton John” based on an inspirational combining of the names of Bluesology bandmates Elton Dean and Long John Baldry.
Released on April 10, 1970, Elton John was relatively ignored until the single “Your Song”, the first track on the album, started getting significant airplay as a single in December 1970. Like many others, I first bought the third album, Tumbleweed Connection in late 1970 and then purchased the Elton John album, later getting the first album (Empty Sky) as an import as it had not been released in the U.S. Interesting it was within a few days of purchasing the Elton John album, that I first starting hearing “Your Song” on the radio, wondering how such success would impact the next album’s quality or direction.
“Your Song’ is by far my favorite song on the album (which due to my teenage stubbornness and anti-establishment stance, might not be the case if I had been exposed to it on AM first) but this is an impressively strong album, with even my least favorite song, a tribute to the Rolling Stones country-rock style tucked away on track four of the first side (“No Shoe Strings on Louise”), being a song of some merit. It is astonishing to consider that had this album not been released except in limited distribution as a promotional vehicle for their songwriting skills, that Elton and Bernie may have been content to have been behind-the-scene songwriters. However, due to the quality of the arrangements, songs like “Your Song”, “Sixty Years On”, “Border Song”, “Take Me to the Pilot” and more, its hard to imagine any alternate universe where this album could have been kept under wraps for any length of time. Today I still consider Tumbleweed Connection to be the best Elton John album, however that may be more influenced by it being the first Elton John album I bought — if I was to recommend just one Elton John album, it would be this one — especially if the tastes of the listener favored intimate or introspective singer-songwriter albums.
Cat Stevens: Mona Bona Jakon
After a successful first album and a commercially and critically disappointing second album was followed with a near-fatal case of tuberculosis, Cat Stevens ensuing recuperation was filled with time to reflect on life and stockpile thirty to forty songs, some of which were used as material for his third album, Mona Bona Jakon. One suspects that the realization of the merits of a simpler life is also manifested in the simplicity of the music and the arrangements on this acoustic-based album, with its transparently clear and focused guitar work, double bass, and suitable and appropriate use of strings.
Randy Newman: 12 Songs
Also in April 1970, Randy Newman releases his second album, 12 Songs. Replacing the interesting orchestration and sometimes sympathetic characters in the songs with skilled studio musicians (including Clarence White, Ry Cooder and jazz bassist Al McKibbon) and an array of generally unpleasant and sometimes repulsive characters, Newman has refined his approach to be an all out assault of social commentary. The music is also simpler — blatantly based on standard, cookie–cutter harmonic progressions borrowing generously from blues and country musical components. Due to its readily accessible music consistency of character portrayal, and twisted, ironic lyrics, the album was embraced by critics and helped further establish Randy Newman as a significant artist.
Al Stewart: Zero She Flies
Another artist establishing a signature sound and style was Al Stewart with his release of his third album, Zero She Flies. Each song is distinct and original with “Manuscript” providing the type of historical reflection that would become more common in later Al Stewart albums. Not included in the original album, but on CD releases as a bonus track, is the personal and reflective “News from Spain”, as good as any of the tracks on the original album.
Paul McCartney: McCartney
Joining the list of solo singer songwriters is Paul McCartney, releasing his first solo album on the Apple label, McCartney. Released before Let it Be, the album was accompanied with the news of the Beatles break-up and many fans incorrectly assigned the blame of the break-up to Paul or his desire to be on his own releasing solo albums of which this was the first.
Commercially successful (what Beatles fan didn’t want to get that first solo album after their break up), the album was overall disappointing for anyone who had previously purchased Abbey Road: many critics and fans saw this album as concrete proof of how important (okay, instrumental) George Martin was to the overall quality of all the Beatles’ catalog. The good part was that if one came to the album expecting little (that is one of your friends let you borrow the album after telling you how bad it was), there were some worthwhile moments. Composed of fragments, not fully-realized tunes, and the properly arranged and realized, “Maybe I’m Amazed”, one can embrace the album for the informality and glimpses of genius. It seems clear the album had some padding to bring it up to almost 35 minutes, including two versions of one the best tunes on the album, “Junk” — both an instrumental version of “Junk” and the vocal version which seems to have lyrics added after the fact and somewhat haphazardly. I would be fine with just the instrumental version, but one has to give credit to Paul’s vocals which are always a treat to hear. Overall, not an essential album, but it is an album that is fun to revisit every few years.
Jethro Tull: Benefit
Jethro Tull released their third album, continuing to refine their sound adding keyboardist John Evan (though uncredited), and creating more intriguing and colorful music than ever. Many critics were unimpressed with the often off-the-mark Rolling Stone labeling this exciting and engaging album “lame and dumb”, yet fortunately the album did well in both the UK and the States providing Jethro Tull the necessary commercial momentum. Retrospective reviews would be much more embracing of this remarkable set of vibrant and distinctive songs.
Be sure to check out the Steven Wilson remix of Benefit, a true aural delight that includes “Alive and Well and Living In”, which was replaced on the US version of the album with the single “Teacher.”
Comments on: "Fifty Year Friday: April 1970" (2)
‘Benefit’ was a wonderful album, displaying delightful musical and lyrical intricacy throughout. A clear indication that Tull was on a singular genre-bending rock path, and that Ian Anderson wasa creative force of rare power.
Thanks for reminding me about Al Stewart. Zero She Flies is a fabulous album.