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5 Aug 2025

The C-O-M-E-B-A-C-K

 

C-O-M-E-B-A-C-K. It’s not just a word, it’s a chain, a process, an ordered sequence of events and growth that brings me back here, to my passion for the
All Songs List blog. That’s why I write each letter separated, with hyphens: because every step has had its moment, its importance, and together they form this C-O-M-E-B-A-C-K I’m announcing today.

After five years of pause due to a personal lapse, I return with more strength and a fresh perspective, inspired also by the Elton John of today. We have witnessed the Farewell Tour, marking the end of a spectacular and emotional era for him and his Eltonites. But the Elton John I know now is more than an ending: he’s an artist who keeps growing, reinventing himself through a few but very meaningful collaborations, and preparing new projects that keep his legacy alive.

The blog www.eltonjohnallsongslist.blogspot.com.es is my space to follow this journey, to collect, analyze, and share his entire body of work—from the classics to these new stages—always with the same passion and rigor. At All Songs List, our Comitee d’Experts ensures depth and accuracy across diverse sections—interviews, curious research, and what I call Forth of a Kind: exclusive collaborations with renowned writers offering fresh, original insights.

And as part of this C-O-M-E-B-A-C-K, I’m thrilled to announce that soon I’ll be hosting the creators of the new Broadway musical This Is Not a Drill. A visit that symbolizes this chain of important moments and that I want to share exclusively with all of you.

Thank you for being here, for waiting, and for being part of this journey. This is just the beginning of a new chapter, full of music, stories, and emotions.

Stay tuned for exclusive interviews, deep dives into Elton’s timeless songs, and all the latest news about his ongoing projects and collaborations.

Welcome to my C-O-M-E-B-A-C-K. Let’s get started!

Picture: At Madison Square Garden, October 2018 – witnessing Elton's Farewell Yellow Brick Road Tour. A moment that stayed with me... and now leads me to this C-O-M-E-B-A-C-K.


3 Aug 2025

Elton John in the 21st Century: 25 Songs That Reinvent a Legend

Few artists have managed to remain as culturally and musically relevant across decades as Elton John. In the 21st century, he has not only released some of his most personal and inventive work, but has also amplified his influence through projects like the Rocket Hour radio show — a vibrant platform for emerging voices and sonic discoveries. His artistry continues to evolve, bridging generations with authenticity, curiosity, and boundless melody. This list reflects Elton John’s most innovative and emotionally resonant songs of the 21st century — highlighting his continued evolution as a storyteller and musical pioneer beyond commercial success.

  1. American Triangle
    A haunting ballad on the murder of Matthew Shepard, this stands as Elton John's most powerful narrative of the century. Stark, brave, and achingly beautiful. The lyric “God hates fags where we come from” is not an endorsement but a stark condemnation of the hatred and intolerance that led to the crime, brought to the forefront without compromise.

  2. Original Sin
    A mature exploration of regret and longing, this track melds soaring melodies with emotional vulnerability. One of his finest lyrical moments post-2000. “Oh it's carnival night, and they're stringing the lights around you” paints an image of nostalgia tinged with loss, evoking the haunting glow of memories that can't be reclaimed.

  3. Finish Line (feat. Stevie Wonder)
    This collaboration shines with gospel-infused soul and healing. A highlight from The Lockdown Sessions, both vocally and spiritually uplifting. “Been to the bottom where the angels cry / Thought it had all been, all for nothing” evokes a personal reckoning with pain and perseverance — a quiet testament to survival and redemption.

  4. Cold Heart (PNAU Remix) (feat. Dua Lipa)
    A pop triumph blending Elton’s classics into a fresh, modern hit. Its international success reintroduced his work to a new generation, bridging past and present with infectious style.

  5. The Rose of Laura Nyro
    An elegant tribute to one of Elton’s key inspirations. Lyrically lush, it captures Nyro’s essence with warmth and reverence. The line “A sign inside the times / It's a poison pen they're pushing” reflects on media pressure and the commodification of art, while defending the creative freedom and integrity Nyro embodied.

  6. Weight of the World
    Contemplative and personal, this track explores emotional burden with grace. A deeply felt and underrated gem. “When we fell, we got up / And crawled out the cracks” symbolizes the human capacity to overcome adversity and find strength to keep going despite setbacks.

  7. Oscar Wilde Goes Out
    Literary, ironic, and theatrical, this song imagines Wilde on his last night in Paris. A queer, poetic highlight from The Diving Board. “Felt like the head of John the Baptist / In the arms of Salome” references the biblical story where John the Baptist was beheaded at Salome’s request, symbolizing Wilde’s vulnerability and cruel punishment in a world that rejected him. The line conveys the complex feeling of being a victim of seductive and destructive betrayal, reflecting Wilde’s life marked by persecution and ostracism.

  8. I Want Love
    A minimalist ballad of aching sincerity. Elton strips things back to bare essentials, revealing a raw and resonant core. The chorus line “I want love, but it’s impossible” pulses with bruised longing.

  9. (I’m Gonna) Love Me Again
    Written for Rocketman, this Oscar-winning anthem of self-love fuses retro soul with fresh joy. Infectious and affirming.  The line “A whispered word emergin' from a tale / My wake-up call to claim the cursed spell” suggests a subtle revelation arising from a past story or experience — an almost imperceptible yet crucial voice that awakens consciousness.

  10. This Train Don’t Stop There Anymore
    Autobiographical and elegiac, this track addresses fading fame and self-awareness. One of his most honest late-career moments. “I used to be the main express” confesses decline without bitterness, embracing humility.

  11. Voyeur
    Atmospheric and restrained, it peers into inner longings and distance. A slow burner that rewards attentive listening. The line “A whisper in the darkness / Holds more truth than a shout” highlights how the deepest truths often lie in silence and subtle revelations rather than loud declarations. 

  12. Electricity
    Originally from Billy Elliot the Musical, this track captures the magic of artistic passion. Brimming with theatrical energy. “I can’t really explain it, I haven’t got the words” expresses the unspeakable force of creativity.

  13. Gone to Shiloh (with Leon Russell & Neil Young)
    A civil war elegy told in three voices. Rich harmonies and solemn piano create a deeply historic and spiritual mood. The line “The old black rooster sang in death down that dirt road / His steps in bold, his man of fancy free” evokes a powerful image of dignity amid tragedy. The rooster symbolizes the end of an era and the relentless march of time, capturing the song’s bittersweet tension between freedom and mortality.

  14. Never Too Late
    Hopeful yet solemn, this ballad meditates on second chances and acceptance. Quiet, reflective, and full of heart. “It’s never too late to start again” becomes both invitation and absolution.

  15. The Bridge
    Lyrically spare and emotionally wise, this ballad finds Elton at his most Zen-like. A subtle but stunning piece. The line “And every one of us has to face that day / Do you cross the bridge or do you fade away” captures the universal dilemma: confronting challenges or quietly fading away. This metaphor of the bridge represents the opportunities and risks that shape our path and legacy.

  16. The New Fever Waltz
    A quirky and shadowy waltz that evokes cabaret mystery and lyrical play. A stylistic outlier with undeniable charm. “I was shaking with a fever / When the last good horse went down” evokes a moment of intense vulnerability and collapse — a metaphor for the last stand in a long-fought struggle. The lyric conveys both physical weakness and emotional exhaustion, as well as the dignity of those who keep dancing through devastation.

  17. Mansfield
    Intimate storytelling and understated arrangement mark this track. A gentle portrait of a place and its people. “Like a wild pony dancing / Along the wall” is a vivid, sensual image that encapsulates the unrestrained energy of youthful love, flickering in candlelight and shadow. The lyric evokes intimacy and the overwhelming beauty of moments that feel both fragile and eternal — a fleeting love burned into memory.

  18. Oceans Away
    A heartfelt remembrance of war veterans, sung with compassion and restraint. Simple, moving, and dignified. “Call 'em up, dust 'em off, let 'em shine” evokes a powerful emotional gesture—an appeal to remember and honour those long gone. It suggests that memory is not passive nostalgia, but an active responsibility: to bring the past forward, let it shine, and preserve its meaning in a world always looking ahead.

  19. Home Again
    A melancholic return-to-roots ballad. With its reflective lyrics and soft piano lines, it resonates with quiet emotional power. The line “Just one more time for old time’s sake I'd like to go back home again” captures a universal longing — the hope of revisiting something lost, even if only for a moment. It speaks to the quiet ache of nostalgia and the human desire to find our way back to where things once made sense.

  20. Who Believes in Angels
    Spiritual and haunting, this recent track explores belief and transcendence. One of Elton’s most ethereal recordings. “What does it cost to buy your soul back when you die" This line raises a profound question about the price of redemption and the consequences of the choices we make in life. It reflects on the soul, guilt, and the possibility of reclaiming what’s lost, blending honesty with existential doubt.

  21. Wouldn’t Have You Any Other Way (NYC)
    An upbeat love letter to New York City. Romantic and nostalgic with a jazzy spark. "Turned up our collars to the chill of the wind" evokes a vivid and symbolic image of adversity and resilience. With a simple gesture, it expresses the will to protect oneself from the elements—not just the literal cold, but metaphorically from hardships and the harsh surroundings. This everyday detail captures the urban reality and the attitude of those who live it, adding authenticity and emotion to the narrative.

  22. Turn the Lights Out When You Leave
    Country-tinged and sorrowful, this breakup song is graceful and honest. Elton at his most human. “Turn the lights out when you leave” is a line filled with restrained heartbreak.

  23. Eight Hundred Dollar Shoes
    Witty and melodic, this is a satire of vanity wrapped in 70s-style pop. Smart and stylish. On the line "We both stepped off a frozen rock onto a burning bridge",The line “We both stepped off a frozen rock onto a burning bridge” captures a dramatic and risky transition, moving from a cold, stagnant place onto a dangerous path consumed by flames. This powerful metaphor reflects inevitable change and those critical moments when one must move forward despite the consequences, revealing deep internal tensions and personal conflicts.

  24. Deep Into the Ground
    A meditation on death and legacy. Its calmness conceals deep philosophical undercurrents. The line “But I’ll love these dark, dark hills forever / And I won’t leave them until I die” speaks of steadfast devotion and a profound bond to one’s homeland. It captures a spirit of resilience and acceptance, embracing both the beauty and hardship of a place that holds one’s memories, roots, and identity.

  25. Hello, Hello
    Charming and whimsical, this animated soundtrack tune sparkles with innocence. Light but delightful. “Hello, hello, my, my, my what have we here?” invites us back into wonder.

Elton John’s 21st-century work is a testament to his enduring artistry and fearless evolution. Through deeply personal narratives, rich metaphors, and genre-defying sounds, he continues to reinvent himself while honoring the timeless themes of love, loss, resilience, and hope. These 25 songs showcase not just a legend’s legacy, but a vibrant creative spirit still exploring new frontiers and connecting across generations. In a musical landscape always shifting, Elton remains a beacon of authenticity and melodic brilliance — a true icon who invites us to reflect, feel, and dream alongside him. And as he continues to create and inspire, there is no doubt that his remarkable legacy will endure for years to come.

24 Nov 2020

Jewel Box ***** (five out of five) by David Sigler

It’s been over two decades since Elton John has released a cd collection of this magnitude. In 1990, as was the trend then, he released To Be Continued…, a 4-cd collection of rarities, hits and album tracks. Fast forward to 2020, and well, he wasn’t kidding. To be fair, there was a 2-cd collection called Rare Masters in 1992, and countless greatest hits compilations along the way, but none of those compare to Jewel Box – a sprawling 8-cd collection of deep album tracks, early demos and lost b-sides that include extensive liner notes and details in a lavish hardback book.

Discs 1 & 2: Deep Cuts, is a marvel of hand-picked songs by the Man of the Hour himself. If you ever wondered if Elton John’s biggest hits were the best thing about his studio albums, well think again. His classics will always be classics. But here, we get to appreciate songs like Blue For Baby and Me (which Elton in the notes refers to as Tiny Dancer’s half sister) from the 1973 album Don’t Shoot Me…I’m Only The Piano Player (which included the classics Crocodile Rock and Daniel). Big social commentary songs like Ticking, paint a disturbing take on a man who goes on a gun rampage, from 1974’s Caribou album, and reminds us that Elton and Taupin could take on big subjects with equal aplomb as the hits. Furthermore, the liner notes provide us with some interesting thoughts on Elton’s reasoning for certain styles and production techniques (the syn-laden Too Low For Zero, Understanding Women and Crystal to name a few). Even more surprising is that Deep Cuts delivers at least one track from nearly every album he's released – more proof of how his songwriting prowess has lasted the decades.
 
Discs 3, 4 & 5: Rarities, is what die-hard fans for years have been clamoring. These three discs offer the earliest recordings by the then budding songwriting duo of Elton John and Bernie Taupin. Hired initially as songwriters by Dick James Music, John and Taupin clearly had an amazing ability to produce a stunning array of storytelling lyrics and melodies that, well, seem bottomless. Included here are some of Elton’s earliest band recordings where he wrote both music and lyrics (Come Back Baby, Mr. Frantic). But once Taupin entered the scene, things changed drastically. For instance, take something like Tartan Coloured Lady, a dreamy, eerie ballad that feels like a precursor to any ballad from his first three proper albums. Or, Get Out Of This Town, could have easily been a sequel to The Animal’s We Gotta Get Out Of This Place. The Beatles, however, are clearly the most major influence here, and with over 60-plus songs to get through, look no further than Regimental Sgt. Zippo, a song that was once earmarked as the title track to a planned album that never materialized.
 
About two-thirds into these discs, we see an amazing transition from wanna-be songs for other artists, to John and Taupin true originals. By this time, we’re treated to early demos of songs that would be on John’s first three proper albums i.e. Madman Across The Water, Burn Down The Mission, I Need You To Turn To. Even more amazing is how far John developed as a singer, pianist and melody writer in such a short period of time. These songs take you on that glorious journey.
 
Discs 6 & 7
 start in 1976 and go through 2005, with long awaited B-sides that have (finally!) seen the digital age. Always one
to offer value for his singles back then, many of these songs originally could only be found on rare 45’s as the flip side to the hit. Another dizzying array of styles is offered here with varying degrees of success. But then, that’s the point. B-sides are B-sides for a reason but in many cases, there were many songs recorded that just didn’t fit on the album but still offered value. Songs like Billy And The Kids, an outtake from 1985’s Ice On Fire, could have easily fit on that album (and in some opinions, perhaps even better than what was actually on the proper release). Or the obscure country ballads like A Simple Man or I Can’t Get Over Getting Over You that, while may not be suited for Elton’s own albums, they still resonate as quality songs. Toss in a few instrumentals and duets, this disc explores Elton’s songwriting with other lyricists for a few songs, which adds further dimension to his deep catalog.
 
Lastly, Disc 8: And This Is Me… is a continuation of sorts to the Deep Cuts collection, as these songs are specifically referenced in Elton’s autobiography, Me. Only two hit singles make an appearance here (Border Song and Philadelphia Freedom), and the rest are more rescued deep tracks that, in this context, take on an even deeper meaning. Elton mentions in the liner notes that Taupin always has a ability to capture his mood at any given time and I Fall Apart, from 1986’s Leather Jackets fills that bill. But listening to it now and knowing what we know about that turbulent era, the song brings new perspective. It’s hardly Someone Saved My Life Tonight, but the sentiment is damn close.
 
Does Jewel Box go out of its way to try and prove something? I say yes, but not in the way you may think. Rather, it’s an honest portrait of an artist who developed his craft in a few short years to ultimately superstardom and was equally prolific outside of his properly released albums as well. It didn’t come easy per se, but the talent was there. And above all, that’s what Jewel Box illustrates.

21 Nov 2020

Jewel Box: Elton's bountiful baubles big deep, and make "Captain Fantastic" come alive (Part One) by James Turano

New comprehensive rarities compilation is a vital first step in revealing the primitive beginnings and eventual depth and breadth of Elton John’s masterful musical legacy

Simply, the new “Elton: Jewel Box” collection is an Elton John fan’s wet dream.

In these uncertain times, absent new music from Elton’s piano and Bernie Taupin’s pen, this enlightening, comprehensive collection of old and rare music from The Captain and The Kid (and others) is a most welcome surprise – a comforting gift to the fans.

And that is what it is: a most grateful gift.  The casual Elton John fans looking for just the best-known, radio favorites have been indulgently catered to for decades.  Finally, Elton’s diehards get their due.

Because for more than 45 years, longtime fans have been enduring an onslaught of frustratingly re-packaged and re-configured greatest hits compilations that basically recycle the same 25 songs.

Ironically, vinyl and CD compilations distributed by Pickwick Records in the ‘80s, may have been budget bin throw-offs, with titles like “The Album,” “The Collection,” “Song Book,” and “Love Songs,” but these stood out for their impressive mix of big hits and idiosyncratic deep cuts, and I admit I played them more than the “legitimate” hits collections.

The official, varying volumes have covered the years of 1970-74, 1976-1986, 1970-2002, and boasted grandiose titles including “Greatest,” “Definitive,” “Very Best,” “Number Ones” “One Night Only,” “Love Songs,” “Rare Masters,” “To Be Continued,” “Volume II,” and “Volume 3.”

The most recent and re-mastered, three-disc “Diamonds,” is the best of them all, so no need for more.  Despite decades of these redundancies, we fans have bought them.  All of them.  We have to.

Conversely, the new box set, “Elton: Jewel Box.” is a bulging, bursting, tastefully designed and carefully curated 148-song collection of revealing rarities that blends many never before heard demos from 1965-1971, sought-after B-sides, and long overlooked and deserving deep cuts personally chosen by Elton with input from Bernie.

It’s exacting presentation almost makes all those previously rehashed “greatest” groupings irrelevant.

“Elton: Jewel Box” is a marvel.  It’s aimed to celebrate Elton’s indisputable legacy.  And it’s about time. Elton’s full legacy must be exposed to the masses and established for the ages for its originality, innovation, heft, and high standard for quality.  During the last 50-plus years, Elton John has been ridiculously prolific and popular.  But it’s been a blessing and a curse. 

The blessing: the global embracing of Elton’s most beloved hits has made him one of the most successful musical artists of all time. 

The curse: those scores of timeless, crowd-pleasing classics have obscured the true expanse, diversity, depth, and breadth of his complete career output.

And though he is currently taking a prudent pandemic hiatus from -- as he describes it -- “being Elton,” to rest, get fit, and spend some unexpected and prolonged quality time with his family, he cannot lose sight of the endgame; he must proactively position his full legacy.

Unlike fellow classic rock peers like Bruce Springsteen, Neil Young, David Bowie, and Freddie Mercury, the music critics won’t do it for him.  They never have.

Dating back to his rousing U.S. debut in August 1970, Elton quickly went from favored critics’ darling to pop’s punching bag within a couple of years.  Literally overnight, Elton was “it,” thanks in large part to Robert Hilburn’s raving review in The Los Angeles Times declaring Elton would become “one of rock's biggest and most important stars.” 

He returned to England a supposed conquering hero, but the British music press that had previously given him little more than a passing glance was not prepared to pass Elton the pop crown. 

In 1970, the British press felt it had it had the right to ordain rock music’s next big thing” after The Beatles’ abrupt break up. Elton John was not their choice.

While the Brit press pushed their “preferred” heirs like David Bowie, Marc Bolan and T-Rex, Roxy Music, and The Faces, Elton began to steadily and  impressively climb the charts and sell-out bigger and bigger venues. 

Leading U.K. publications’ like the New Music Express covered Elton in the ‘70s more out of obligation than enthusiasm.  More gossip than deep musical analysis or genuine excitement. 

Even though they had first crack to recognize his talents and potential, the U.K. scribes seemingly punished Elton for leaving British shores and finding fame without their approval. And they have held the grudge ever since. 

The U.S. music press initially welcomed Elton’s sudden ascension because back then, anything imported from Britain carried cache.  Less than a year after his August 1970, arrival, Elton grabbed the coveted cover of Rolling Stone, on June 10, 1971.  Still, he was viewed more as a temporary, interesting oddity.  Hardly a hero.

In the early ‘70s, Elton didn’t meet the music press’s expectations of a “new sensation.”  It wanted a Dylanesque artist to change music, the culture, and the social order.  Elton made music that entertained.  It wanted a guitar player. Elton played piano.  It wanted a rock god with Mick Jagger looks.  Elton’s physical frame didn’t fit into hipster hip huggers.  It wanted singer-songwriters who bared their own souls and emotions though their songs.  Elton didn’t write his own lyrics.

And later, even as Elton dominated the music scene from 1972-76, eventually the U.S. music press passed him off as a mainstream popster rather than a “serious” artist and treated his music as such. 

Looking back at Rolling Stone reviews of Elton’s classic ‘70s output – including the masterpieces, “Goodbye Yellow Brick Road,” “Captain Fantastic And The Brown Dirt Cowboy,” and “Blue Moves” -- they are lukewarm at best, begrudgingly complimentary in spots, and focus more on his flamboyant persona than the songs at hand. 

Rather than exalting Elton for his melodic diversity and seamless spanning of many genres with authenticity and passion, he often was dismissed as derivative or a shallow imitator.  And during this era, though Taupin often tackled tough and taboo topics including racism (“Texan Love Song”), homelessness (“Razor Face”), prostitution (“Sweet Painted Lady”), lesbianism (“All The Girls Love Alice”), mass murder (“Ticking”), drug use (“Feed Me”), and suicide (“Someone’s Final Song”), among others, he rarely was credited for bravely venturing into such non-pop subject matter.  

Almost 50 years later, these overtly biased Rolling Stone reviews read as dated and downright foolish.

Further, after gracing its cover in 1971, 1973, 1974, and 1976, Rolling Stone did not feature Elton on its cover for another 35 years – until February 17, 2011.  This inexcusable oversight despite Elton achieving “cover-worthy” milestones within those three decades including his groundbreaking Russian tour in 1979; his solid ’80s comeback; winning an Oscar in 1994; comforting a grieving the world in 1997 at Princess Diana’s funeral; conquering Broadway and The West End with original music that forged the hit stage shows “The Lion King,” “Aida,” and “Billy Elliot;” and making some of his best albums of his career (“Songs From The West Coast” and “Peachtree Road”) in the early 2000s.

No, it was not the music press on either shore that made Elton John a star.  It was the public.  The public bought the records.  The public sold-out the shows.  While the music press haughtily scoured for its next phenomenon, the public found theirs.

And despite the acclaim, the awards (none of Elton’s ‘70s albums or songs won a Grammy) and the many unrivaled accomplishments, Elton’s music still is judged by and mostly known for…the hits.  That’s the historical perception that must be changed or at least expanded.   

To assure Elton’s music is still being played and enjoyed in the coming centuries – yes, centuries – similar to the music of Mozart, Beethoven, Bach, Gershwin, Bernstein, and other timeless musical artists, the work and heavy lifting must be done now.

For instance, in addition to retrospective releases like “Jewel Box,” Elton also can help his cause and inject excitement into his older catalog on stage.  After his current “Farewell Tour” ends, the advantage of Elton finally staging an appetizing “Deep Cuts Concert” that’s he’s been teasing for many years, and featuring a wider variety and more “unknown” songs from all phases of his career can establish a much-needed appreciation for these older tunes.

While the world sings along to the massive hits such as “Your Song,” “Rocket Man,” “Tiny Dancer,” “Crocodile Rock,” and “I’m Still Standing,” the diehard Elton fans have been singing the praises of lesser-known album tracks including, “Harmony,” “High Flying Bird,” “Ticking,” “I Feel Like A Bullet (In The Gun Of Robert Ford,” “Burning Buildings,” “Blue Avenue,” and dozens of others.  More people need to hear and know these “other” songs.

Yes, Elton and Taupin undoubtedly will continue to look to the future with new projects and new music (in Rolling Stone magazine, Taupin recently revealed he has written more than 20 new lyrics that he describes as “special,” that are just waiting for new Elton melodies). 

And they both would rather not than dwell on their past – but it’s one helluva past.  It should be dwelled on for history’s sake.  The Elton John and Bernie Taupin team deserves it.

Hopefully, “Jewel Box” is the beginning of a regular record release effort to rectify, unify, and deliver the full scope of Elton’s massive musical canon, and elevate it to a higher level in the ears of the public  the critics, and the rock historians.

Because Elton John rightfully belongs among the most respected, talented, popular, and successful musical artists and songwriters of all time.

“Elton: Jewel Box” is impressive first step toward that goal. 

Technically, it’s a second step.  In 1992, the excellent “Rare Masters” collection was the “first step” and the best of Elton’s past compilations.  It astutely amassed some of his best music up to that point that fell through the cracks since Reg Dwight became Elton John. 

The well-chosen collection of early music, ‘70s B-sides, and the misunderstood and under-appreciated  “Friends” soundtrack from 1971 – which still has never been released as a standalone CD –  offered a refreshing and deeper level of Elton’s musical history.  It gathered laudable, scattered early material into one, detailed, convenient package and historical listening experience.

Unfortunately, “Rare Masters” was never followed up with additional collections through the years that could have continually shed more light on Elton’s old material.  Finally, almost 30 years after “Rare Masters," “Jewel Box” and its clear commitment to Elton’s legacy has arrived.  The new set is not flowery, stunting nostalgia, but rather, necessary, and legacy building.

Young and Springsteen, for example, regularly swing their vaults wide open to release long-rumored, fully completed “lost albums,” unheard demos, decades-old outtakes, and memorable live performances to build and cement their legacies.

“Jewel Box” is proof Elton’s vaults are lined with plenty of dusty, musical gems waiting to be unearthed.  He may claim after this collection there is “nothing left in the tank,” but based on remaining demos and desirable outtakes from the last several decades floating around on YouTube and on bootleg vinyl and CDs, yes, there are more unpolished “jewels” to be mined. 

These notable nuggets from the past – like the recent “discovery” of the exquisite and ear-delicious “jazz version” of “Come Down In Time” (it’s a shame this was found too late to be included in “Jewel Box”) -- also deserve to be re-mastered, historically annotated, and given their time in the spotlight.  

“Elton: Jewel Box” offers revelations for all audiences.  Newer fans now have a wealth of “new” material to digest, process, and add to their overall knowledge.  Though most longtime fans have heard much of this material on bootlegs, as CD re-issue bonus tracks, or on the original vinyl, there are still many startling moments for even the most avid “Eltonographer.”  Thankfully, “Jewel Box” organizes it and presents it in excellent sound quality. 

As a pure listening experience, “Elton: Jewel Box” is unequaled for providing a dynamic, sonic portrait of Elton’s music, from fledging upstart to rock phenomenon.

From a historical perspective, it is detailed and inclusive, but still not definitive.  There are more songs and eras that demand attention. Granted, this may be nitpicking when you consider all the material that is on these eight discs, but nonetheless, it’s true.

Could any collection truly please every Elton superfan?  Of course not.  No fan is ever completely satisfied when any new material is issued.  This intense scrutiny is at the core of every diehard fan.  It’s what makes fans endlessly endearing…and probably, in all honesty,  a bit irritatingly irrational.

But it is all offered from a devoted, positive place of admiration, deep feeling, and intangible connection.  We just can’t get enough of “our” Elton.

When viewed and listened as a whole, “Elton: Jewel Box” unfolds like a musical scrapbook – literally and figuratively.  It’s compelling packaging and painstaking attention to detail all compiled in book form is eye-catching and user-friendly. 

Sprinkled with vintage and iconic images, photos, album covers, backstage passes, and vinyl picture sleeves, founded on a sprawling narrative, extensive credits and recording information, and boasting track-by-track, insightful, misty water-colored memories and comments from Elton, the book presentation alone is a fan treasure trove.

Ultimately, for the diehard fans “Elton: Jewel Box” is a joyous validation of our seemingly life-long devotion, obsession, and admiration for Elton John, his talent, and his music. 

“Jewel Box” and its riches enables Elton John fans of all levels to proudly proclaim, “I told you so.” 

(To be continued)


(Picture of Jim Turano courtesy by himself)