The Diving Board: Four Stars Out Of Five
By David Sigler
Long time Elton fans like myself, know the list of great songs from albums that have gotten overshadowed by the big hits. A lot of those songs aren’t necessarily radio friendly either, which is why they weren’t chosen as singles in the first place. So, in the case of The Diving Board, we have an album that presents itself with a “damn the radio singles” attitude and instead, are treated to songs that both Elton and lyricist Bernie Taupin simply want to write. Of course, after 40 some years and 30 plus albums of writing classic pop songs, Elton can’t help to still write catchy melodies but on this album, only a couple stand out to me as potential radio hits.
And that is
a very good thing. Because, now, with this album, we’re seeing a return to some
of the songwriting style that established Elton and Bernie in the very early
1970′s. The Diving Board shares a lot of history with those early Elton John
albums in style, mood and piano playing but also brings something very new and
unique to the Elton John catalog. For instance, the lead off song, Taupin’s lyric about World War Two
veterans, Ocean’s Away, reads like a poem set to music:
Call ‘em
up, dust ‘em off, let ‘em shine
The ones
who hold onto, the ones they had to leave behind
Those that
flew, those that fell, the ones that had to stay
Beneath a
little wooden cross oceans away
With only
Elton’s piano on Ocean’s Away, and his wonderful arrangement, from the start,
you know this album is going to be different. Oscar Wilde Gets Out, is yet
another fitting tribute song that Elton and Bernie have done so well. Taupin’s
tale of the literary giant’s fall from grace for committing a “love that dare
not speak it’s name”, is right up there with previous classics, such as the
1973 Marilyn Monroe ode Candle In The Wind, and the John Lennon dedication,
Empty Garden from 1982.
Other
highlights include the joyous A Town Called Jubilee, which has some fine slide
guitar work (of which the guitar reminds me a bit of 5th Avenue Heartache by
the Wallflowers) and could have easily been included on 2004′s Peachtree Road. On The
Ballad Of Blind Tom, for me, is Taupin at his best. The story about a slave who
can play piano, is worthy of anything Elton and Bernie have recorded. Elton has
delivered an incredibly haunting, edgy melody that has a real element of suspense.
Voyeur,
another stand out track, features Elton providing more interesting and
challenging chord changes that keeps you guessing. That’s not to say their
isn’t a chorus, but the way the song shifts and drops you back into the chorus
is quite entertaining. And the ending features some eerie piano riffs that
remind me of the Mike Oldfield classic, Tubular Bells from the film, The
Exorcist. While, Home Again, is a wonderfully touching song about leaving
something to only discover what you’d lost and subsequently, desire to have it
back.
Want a
little of that old school, bluesy piano playing by Elton? Well, you’ll get your
fill on Can’t Stay Alone Tonight, a cross between 1983′s hit, I Guess That’s Why
They Call It The Blues and a song from the 1989 album, Sleeping With The Past (I Never Knew Her
Name). Mexican Vacation (Kids In The Candlelight) and Take This Dirty Water
further that great tradition of blues and gospel influenced piano playing that
Elton does so well.
The Diving
Board isn’t perfect however. Some songs feel a little like outtakes from some
of Elton’s Broadway shows. My Quicksand for instance, reminds me of something
from 2005′s Lestat musical. My Quicksand is my least favorite track, but the song
has a very unexpected jazzy piano interlude, similar to 1976′s song Idol from Blue
Moves, minus the saxophone. New Fever Waltz, sways gently back and forward, as
the title would suggest and seems like it could be from the 2008 musical, Billy
Elliott. This isn’t necessary a bad thing either but it does sound very familiar. Melody wise, this
album is a blend of his most recent albums with a dash of theatrical staging
that sometimes seem over reaching (take the title track, a cabaret style song
that goes over the top with Elton straining over such lines as “the planets
ahhhh-light, thoooooose dizzy heiiiiiiights” -my emphasis).
Piano
interludes (Dream #1, #2 and #3), solely written by Elton, are unexpected as
they give Elton a chance to expand his piano playing finesse. Speaking of the
piano, this album is one of the best illustrations of showcasing Elton’s piano
playing upfront. You’ll hear every note!
The Diving
Board has a consistent sound about it and thanks must be given to producer T.
Bone Burnett. Burnett also produced the album, The Union from 2010 (in which
Elton teamed up with his idol, Leon Russell). Here, Burnett assembled just a
small trio of musicians (basically, drums, bass and piano), with the occasional
guitar or organ in the background, to great effect. For further proof of how in
sync everyone is on this album, be sure to check out the three outtakes,
available on some deluxe editions. 5th Avenue, Guaguin Goes Hollywood and
Candlelit Bedroom – all three are equally as strong as anything on the album
and should have been on the album.
The Diving
Board is determined to make you pay attention to the songwriting craft of Elton
and Bernie. Now, four decades in, it’s still great to have them and producing
quality work. Sure, Elton’s voice is deeper and sometimes his enunciations
aren’t as clear as they used to be, but he has delivered again. Along with
Taupin’s incredible short stories, masquerading as brilliant lyrics, The Diving
Board will earn it’s proper place in the canon of classic Elton John albums.
David Sigler, host
Two Rooms: Celebrating The Music Of Elton John and Bernie Taupin. Every Sunday at midnight on WOMR
A year
round Provincetown resident, David Sigler‘s passion and knowledge for Elton
John and Bernie Taupin’s music makes him a renowned fan in the Elton die-hard
circles. Ever since he heard Bennie and the Jets in 1974, a special bond was
formed. “Next to Lennon and McCartney, John and Taupin are among the most
talented, prolific, and diverse songwriters in pop music,” he proudly states. David is
thrilled to host, Two Rooms: Celebrating The Music of Elton John and Bernie
Taupin, to enlighten listeners of their respective work together and
independently. David originally hails from Maryland and is a lifelong Baltimore
Orioles and Baltimore Ravens fan (though he cheers on the Patriots too!) In
addition to Two Rooms, he enjoys hosting a show called Pop Life: Top 40 Hits
from 1970-2000, when the need arises.
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