Fabled songwriting team
Bernie Taupin reflects on 50 years of working with Elton John.
TWO new star-studded albums saluting the music of longtime collaborators Elton John and Bernie Taupin were crafted with a couple of main goals in mind.
The albums coincide roughly with the 50th anniversary of when the composer and lyricist met in London through an ad posted in the New Musical Express weekly music magazine. They are designed to reconnect veteran musicians and longtime fans with one of the richest bodies of work in all of pop music, as well as introduce that music to younger performers and listeners.
They encompass more than two dozen John-Taupin songs – hits as well as deep cuts – from Bennie And The Jets, Your Song and Goodbye Yellow Brick Road to Sorry Seems To Be The Hardest Word, Candle In The Wind, I Guess That’s Why They Call It The Blues and Border Song.
They have been newly reinterpreted by a raft of pop, rock, R&B, urban, country and Americana artistes, including Lady Gaga, Miley Cyrus, Don Henley and Vince Gill, Willie Nelson, Mary J. Blige, Mumford & Sons, Chris Stapleton, Coldplay, Pink, Demi Lovato and Q-Tip, among others.
Released early this month, the albums are Revamp and Restoration, both subtitled Reimagining The Songs Of Elton John And Bernie Taupin.
The former is a pop-oriented collection curated by John, the pop star who has prided himself over the years on keeping current on the latest trends in music. Restoration was assembled by Taupin and skews toward country and Americana, reflecting his lifelong interest in music and artistes from the American South.
One unintended ripple effect of the project, however, is the impact it has had on the two artistes whose music is being celebrated.
“I think in the past I’ve possibly been very cavalier about the songs, and just accepted them as they are,” Taupin said, relaxing in the Garden Bar at Le Montage Hotel in Beverly Hills on a recent jaunt to Los Angeles from his longtime home in the Santa Ynez Valley north of Santa Barbara.
“I accepted the kudos and whatever anybody had to say about them – good, bad or indifferent,” said Taupin, 67. “But when you hear all of those songs, back to back on both albums, you do kind of pat yourself on the back a bit and say, ‘Wow.’
“I actually feel myself with them going around in my head when I go to bed, or I walk around singing them in my head during the day, and I’ve never done that in my life,” he added.
It took John and Taupin a couple of years to find their groove after they met randomly in 1967 – both men now look back on it as “kismet” – when a publisher handed the budding pianist born Reginald Kenneth Dwight an envelope with some lyrics submitted by aspiring wordsmith Taupin.
Unique collaboration
But beginning with their 1970 hit single, Your Song, a ballad that eloquently channeled the notion of someone being tongue-tied in love, John and Taupin soon joined fabled songwriting teams – including John Lennon-Paul McCartney and Mick Jagger-Keith Richards – that were among the most successful and continually inspired in rock history.
Over the next 45 years, John charted 71 singles on the Billboard Hot 100 singles chart (a smattering written with other lyricists or by other songwriters).
Twenty-six of those singles made the Top 10, and eight went all the way to No. 1.
John’s studio albums have reached the Top 10 of Billboard 200 albums ranking 17 times, seven of those climbing to the top of the chart. It all contributed to John’s ranking as the bestselling recording artiste of the 1970s, according to chart historian Joel Whitburn.
“We have so many great artistes doing our songs, it’s quite incredible,” John, 71, said in a filmed interview for the project’s electronic press kit.
“As soon as we started off as songwriters ... it meant a great deal when other people chose to sing one of our songs, and reinterpret it in their own particular way,” he said.
Among the earliest examples of others who noticed the unique character of the John-Taupin collaboration were Three Dog Night, who recorded two songs, Lady Samantha and Your Song.
Aretha Franklin interpreted Border Song (Holy Moses).
“When Aretha recorded that, I thought I’d died and gone to heaven,” John said in the taped promotional interview. “To have Aretha Franklin record one of our earlier songs, right at the beginning of our career, was pretty special. Since then we’ve been so lucky with other people recording our songs.”
Leaving a legacy behind
One key difference between those earlier recordings and the new ones, Taupin noted, is generational.
“A lot of the artistes on these records weren’t even born when most of those tracks were originally released,” Taupin said.
“Not that they don’t like the songs – obviously they wouldn’t do them if they don’t like them – but they weren’t as reverential of them. They hadn’t grown up with them. They hadn’t lived them.
“The artistes who were on (the earlier tributes) were either contemporaries of ours, or people who had been around maybe slightly longer,” he said. “I think those people were more familiar with the material, and I think they tended to stick to the original blueprint and not get too adventurous with the material.”
The new renditions, however, “totally seem to be retelling them in a different age and time, which they are,” Taupin said, contrasting John’s original recording of the Civil Warthemed ballad My Father’s Gun from Tumbleweed Connection with Miranda Lambert’s new take on it.
“We were like two kids from England who were sort of playing Civil War,” Taupin said. “She plays with guns. She’s a Texas girl, man, she’s no-nonsense. That’s her.”
In a separate interview, Lambert told The Times that she jumped at the chance to take part.
“It was incredible,” she said. “I got to meet Elton and drink martinis with Bernie, who is one of the greatest songwriters of all time. It was such a cool experience. When you meet people who are such geniuses, so iconic and they are so nice and normal, it is so inspiring.”
Perhaps more so than a quarter-century ago, a theme of legacy is in the air now (particularly because John recently announced he would retire from touring – after a threeyear tour).
“I have two sons now, and I want them to have a legacy of great songs,” John said in his recorded remarks. “I want my songs to continue long after I’m gone. That’s why I wrote them – to give people pleasure, to touch them.
“I have so many songs that have touched me during my life, written by other people. I just hope that our songs do the same thing.”