I don’t think today’s social media dominance would have any
influence on the writing or tone of Captain Fantastic And The Brown Dirt
Cowboy if it were written today. Bernie
Taupin is a storyteller, and that’s what this album is – a story. In this case, it’s autobiographical rather
than imagined or created, but Bernie has been expressing himself through the
written word to the entire world for more than 60 years. It’s only the last 10
years or so the rest of the world now has been doing it on a daily basis
through social media.
That said, I do believe the tone itself of the album most
likely would have been different if written today.
Captain Fantastic is a vivid, complex, complicated, emotionally driven, creative
work. Its tone certainly can be
described as a nostalgic, introspective, loss of innocence, and a dark take on
the “naïve notions” and a disdaining disillusionment about the music business,
and the pitfalls to succeed in it.
However, if written in 2025 rather than 1974, a 75-year-old,
more mature Bernie Taupin might have a different and varied view of the same
incidents. He might still look back at some of the moments and situations he
chronicled on the original album with similar scorn and others with sentimental
memories.
But with the added benefit of almost 50 years of reflection,
vast life experience, and thoughtful hindsight to guide him now, perhaps some
of the album’s spirited, spiteful condemnations might be a tad less stinging
and wounding.
Remember, Bernie Taupin was only about 24 years old when he
wrote the original lyrics, and the Elton and Bernie “origin story” was a mere
seven years old at the time. Taupin’s
memories – positive and negative -- of those “old” days (1967-1969) were still
fresh, hovering, being lived in, and filled with a youthful, exaggerated, raw reaction.
And remember, the supposed inspiration for writing the
songs and the fable that became this autobiographical suite known as Captain
Fantastic And The Brown Dirst Cowboy was Taupin’s infamous, unused lyric or
stand-alone poem, “Dogs In The Kitchen.”
This bitter, disparaging indictment on the unseemly
underbelly of the music business of the day was Taupin’s firsthand experience. Given how he describes the characters and the
motives of the industry, it’s obvious Taupin’s tone in 1974 was more built on “bitter
fingers” rather than floating on fairy tale-like “once upon a times.”
The album tells the story of Elton and Bernie’s early years
in London, but it’s also about struggle and perseverance. What do you think is
the most universal message it still conveys fifty years later?
I view Captain Fantastic as a classic, triumphant,
underdog story. As Taupin details in the title track, Elton was “hardly a hero”
and Bernie was “still green and growing.”
And yet this, this unlikely pair found each other, found fame, and found
legendary status.
The album also is a preamble to a lasting love story. Though not a romantic love per se, but rather
a deep, unconditional bond that bred an intense friendship, loyalty, and love
between them, and ultimately fueled their creative collaboration and
determined, combined ambitions.
You can feel the unbridled emotions conveyed through
Taupin’s telling tales and how Elton’s passionate musical passages perfectly
complement them. And Elton’s vocal
performances on each song are the most honest, ardent, and tender of his career.
At the heart of each song, there is a through line of
obvious and subtle shared underpinnings; the uniquely shared experiences
between Elton and Bernie imbue this album with emotions that are universal for
the audience, but intimately personal to “The Captain” and “The Kid.”
Fifty years later, this star-crossed duo is still a team –
personally and professionally. And you
can argue their relationship is stronger today, more than a half century later
– than it was decades ago.
The universal message of Captain Fantastic And The Brown
Dirt Cowboy is simple: friendship and love can entwine, endear, and endure.
Many see the album as a bridge between innocence and
maturity. What do you think “died,” and what “was born,” creatively speaking,
with “Captain Fantastic”?
Elton himself has described the album’s creation,
recording, and finished product as the end of one chapter and the beginning of
another. And in many ways this
perspective either played itself out naturally or was deliberately steered in
that direction. We know, despite the
phenomenal fame and success Elton and Bernie created and encountered from
1970-74, both were growingly enveloped by excess, disenchanted by their new
reality, and personally depressed by the isolation, expectations, and
de-humanizing aspects of their newfound global prominence.
Perhaps in 1974, while firmly planted at the center of this
whirlwind of success, both were beginning to yearn or search for a major change
in their lives and careers to calm the storm.
A year earlier, with the lyrics of the song, “Goodbye Yellow Brick Road”
Taupin conveyed a similarly disheartened assessment of celebrity. On Captain Fantastic, he lyrically goes
a step further, looking back at a time for both he and Elton that was simpler, hopeful,
and filled with dreams waiting and wanted to be fulfilled. He cherishes these former days of struggle and
the unknown as compared with his current chaotic existence.
This mere exercise of deeper self-reflection creatively
expressed is a hint that both Elton and Bernie craved change. And that indeed, by achieving their fanciful dreams,
some of their personal purity had died.
What most concretely “died” after Captain Fantastic was
Elton’s and the band’s musical collaboration and direction. The combined talents of Elton, Taupin,
producer, Gus Dudgeon, Nigel Olsson, Dee Murray, Davey Johnstone, and Ray
Cooper were responsible for the timeless, legendary, musical melding known as
“The Elton John sound” of the ‘70s.
Many have tried to copy it, even Elton himself attempted to
recreate it decades later. He’s come
close at times (Patrick Leonard’s excellently produced, “Songs From the West
Coast” in 2001 has come closest in the last few decades), However, the original,
immutable “Elton John sound” – especially created on record from 1973-75 –
remains frozen in time as Elton’s defining sonic personally.
This complete, creative team is undeniably responsible for the
meteoric rise of Elton and his music between 1972-1975. And yet, he infamously and impetuously broke
up his perfectly positioned band of musical stalwarts, with the unexplained
dismissal of the band’s key ingredient – its instinctual rhythm section of
Olsson and Murray.
Ironically, by reaching a performance pinnacle on Captain
Fantastic, rather than celebrating and leaning into the band’s heightened connection
and musicianship, and continuing to explore its true potential, Elton
regretfully tore it apart. Again, a clear expression of a “desperate desire for
change.”
I have always thought this rash decision (perhaps partly
influenced or validated by Dudgeon’s appraisal after the recording that the
band had reached its “absolute peak”) cheated Elton, his music, his band, and
the fans.
Captain Fantastic was and remains a singular triumph for all involved. And they all deserved to revel in this rare accomplishment. Elton and the original band should have been
able to launch an official “Captain Fantastic: From The End Of The World To
Your Town” tour in support of this historic album, thus showcasing the breadth
and excellence of its songs. It would have instilled a worthy and lasting legacy
for the entire album as the true classic it is and fully experiencing all the
praise and acceptance of attaining a rare and great creative conquest.
The original Elton John Band should have been on stage with
Elton during the two historic October 1975 Dodgers Stadium concerts because that
tight, talented group of musicians were all responsible for the music that made
all of Elton’s unparalleled success and fanatical frenzy of 1972-75 possible. That closeknit unit deserved to play those two
shows and that rich album on stage, and the fans deserved to hear them do it
and relay their communal adoration and appreciation for them and the album.
But The Elton John Band was unnecessarily put down before
it was allowed to reap the plaudits and spoils of its Fantastic efforts.
What was “born” after Captain Fantastic was both
immediate and forthcoming. Elton’s personal
and professional restlessness resulted in a new band, a new sound, and
ultimately, a new writing partner and a new look within the next three
years. A new chapter was indeed
born. More like a whole new book.
After dismissing Olsson and Murray, he quickly assembled a
larger, harder-edged, musically diverse, and expansive outfit. Perhaps Elton felt his sound was becoming too
predictable and middle of the road when compared to his hard rock peers of the
day, including Led Zeppelin, Pink Floyd, Aerosmith, Queen, Thin Lizzy, AC/DC
and Bad Company.
Guitarist Davey Johnstone and percussionist Ray Cooper were
retained and joined by early supporter and guitarist, Caleb Quaye, drummer Roger
Pope (who with Quaye were members of Elton’s previous backing band, Hookfoot), former
Joe Walsh bassist, Kenny Passerelli, and keyboardist and multi-instrumentalist,
James Newton Howard.
On stage and on their initial album together (the Captain
Fantastic follow-up, Rock Of The Westies) the new band
certainly delivered robust, powerful, pounding, pulsing rhythm section and a louder,
raucous, two guitar-slinging sound.
But this decided detour lasted a little more than a year,
and after the wild and crazy 1976 “Louder Than Concorde” tour and the somber, experimental,
Blue Moves album, this new group also was dissolved.
After making a controversial and headline making 1976 declaration
of his bisexuality in Rolling Stone magazine and a temporary
“retirement” for a few years, by 1978, Elton was re-born with a new look
(slimmer and abandoning his trademark eyeglasses) and a new writing partner,
Gary Osbourne.
What “died” and what was “born” with and after Captain
Fantastic, you ask? The “Elton John
sound” died and more importantly, a different “Elton John” born.
Gus Dudgeon achieved a
sound that feels both dense and intimate. What makes it stand out from Elton’s
other 1970s albums?
I agree with
your “dense” and ”intimate” description, but it is so much more. Gus Dudgeon complemented each song with the
correct, insightful, and instinctual musical decisions, additions, and most
crucial, eliminations -- leaving empty space and letting the songs breathe when
needed.
I know this will sound hyperbolic, biased, and an
exaggeration…but I believe Captain Fantastic And The Brown Dirt Cowboy is
flawless. Flawless! The lyrics, the music, the vocals, the band’s
performance, the harmonies, the production, the album cover, the album
packaging. It is of the highest quality
at every level. Every element of this entire creative project delivers
perfection.
Gus Dudgeon
offered his finest production performance on Captain Fantastic of any
complete Elton John album. Sure, Goodbye
Yellow Brick Road comes awfully close, but it’s such a large palette. Captain Fantastic is self-contained in
theme and scope, with nothing too limited or too excessive. Elton and Bernie gave Gus an extraordinary blueprint
– a dynamic collection of 10 songs, filled with many of Taupin’s phrases and
vivid word pictures, and Elton’s expressive, dramatic, multi-time signature
melodies that are the essential element of the “Elton John sound.”
It was Gus
Dudgeon’s challenge to somehow enhance these already perfectly matched
compositions of music and lyrics.
And he met
and exceeded the challenge. Gus’ genius was
building and layering the sounds and musical moments to bring both Elton’s
melodies and Taupin’s lyrics to life.
Elton’s
piano, often the dominant sound, on this album is simply a component of the
mix. This Dudgeon decision was responsible for highlighting just how interwoven
the Elton John Band had become by this time. The band was at its pinnacle and
Gus pushed the musical talents of each band member -- Davey Johnstone (guitar),
Nigel Olsson (drums), Dee Murray (bass), and Ray Cooper (percussion) -- to their
potential. And in the process the band
delivers career-defining performances on a song-for-song basis.
Each song has
its own distinct sound and personality, so that each is indeed a separate yet
contributing chapter within this musical novella.
For instance,
the title track alone is a masterpiece of composition and production. It begins with a quiet, simple guitar strum,
and like Elton and Bernie’s own humble story, it gradually builds in sound,
intensity, and emotion, until its powerful, exciting crescendo matches their stratospheric
rise. This song is a shining example of
all the key “Elton John sound” ingredients coming together, as Dudgeon folds
them into each other with care and confidence.
If someone
were to ask what song best exemplifies the classic “Elton John sound,” the
song, “Captain Fantastic And The Brown Dirt Cowboy” would immediately come to
mind -- along with “High Flying Bird,” which is Elton and Bernie’s most unsung
masterwork, thanks in great part to Dudgeon’s overall production.
No one could
produce an Elton John-Bernie Taupin song like Gus Dudgeon. Period. And Captain
Fantastic is Gus Dudgeon’s shining hour (actually 46:32!)
In the middle of the glam-rock era, “Captain Fantastic” sounds
surprisingly restrained. Do you think that was a conscious choice to move away
from excess?
I must state at the outset, and I don’t mean to digress,
but the period Elton and the band recorded at the Caribou Ranch – where Captain
Fantastic was recorded -- was the best sustained recording period of his
career. Beginning with 1974’s Caribou,
a woefully misunderstood and underappreciated album that had the unfortunate fate
of following up Elton and Bernie’s opus, Goodbye Yellow Brick Road.
But taken on its own, without the unrealistic follow-up
expectations of the day, Caribou holds its own and holds up 50 years
later.
Not only does it include two of Elton’s greatest and
beloved hits – “The Bitch is Back” and “Don’t Let The Sun Go Down On Me” (those
two mega-hits alone would make the album a career highlight for most other
artists) its boasts many memorable John-Taupin deep cuts including the tender “Pinky” (which
should have been released as a single!), the bouncy and ironic, “Grimsby,” the
countrified “Dixie Lily,” the charging and boisterous “You’re So Static,” the
eerie “I’ve Seen Saucers,” and of course, the majestic, tragic, and prophetic, “Ticking.”
I was saddened to hear Elton comment in the “Never Too
Late” documentary that he felt that people didn’t like Caribou. That’s an unfair perception based on biased
critics of the day and disappointed record executives expecting to match or
exceed the sales of Goodbye Yellow Brick Road. But from the fans and public’s perspective,
it was yet another Number One album in the U.S. and yielded two of his greatest
hits. Not too shabby.
Based on any standard and expectations from any artist
other than Elton John at the time, Caribou was a major hit -- both
successful and popular. And it can
proudly stand tall among his album catalogue.
In addition, two of Elton’s biggest hit singles (consecutive
#1s in the U.S.) “Lucy In The Sky With Diamonds” and “Philadelphia Freedom”
were recorded at Caribou Ranch as was the worthy B-side of the “Lucy: single, a
charming cover version of John Lennon’s “One Day At A Time.” And of course, the FIRST two albums in history
to enter the Billboard charts at #1 were both recorded at Caribou – Captain Fantastic And The Brown Dirt
Cowboy and Rock
Of The Westies (which also included another #1, “Island Girl”).
The period of 1974-75 was Elton’s creative peak and the
apex of his ‘70s era fame, and it all happened at the legendary Caribou Ranch.
From its conception to its completion, I don’t think there
was anything conscious or deliberate about Captain Fantastic.
This was one of those projects that seems to have been pre-ordained. From Taupin’s original idea and the lyrics he
wrote to bring it to life; Elton’s impeccable music that made each lyric feel
real, feel lived in, feel a swirl of emotions, and feel ethereally eternal; his
expressive, sentimental, and passionate vocals, and the band’s unified,
focused, and committed performance to Dudgeon’s production, everything these
artists put forth thoroughly served each song and the album as a whole.
There isn’t a note wasted, overplayed, underplayed, or
misplaced. It feels and flows almost
effortlessly. The songs made the
decisions.
The album’s over-arching bittersweet and nostalgic theme
demanded what each song must sound like.
The were no choices. The title track naturally unfolds as its tale does.
Both “Tower Of Babel,” “Bitter Fingers” teeter on a fine line between ballad
and mid-tempo as their lyrics suggest split personalities and motives. On “Tell
Me When The Whistle Blows,” Gus Dudgeon and the band – mainly through the
string orchestration Johnstone’s bluesy/jazzy guitar riffs and solo -- somehow
made it actually feel like a deserted, cold, London train station from which
Bernie would depart back to his home Lincolnshire.
Obviously, “Someone Saved My Life Tonight” must be slower
and dramatic, as evidenced by Elton’s powerful opening chord progression. And
“(Gotta Get A) Meal Ticket” rightly rocks and rages.
Similarly, “Better
Off Dead” charges and pounds with all energy and vibe of the rough urban,
London streets, and the characters it encounters. While “Writing” floats on an uncluttered,
catchy, upbeat melody that concisely conveys the wonder and optimism of Elton
and Bernie’s “newfound craft.”
And the album’s final two, ingeniously interconnected
emotional highlights, “We All Fall In Love Sometimes/Curtains” fittingly close
the album with love, cherished memories, and a rousing, communal climax.
Captain Fantastic and the Brown Dirt Cowboy was meant to be what it
was and is. It was always “there,” it
just waiting to be revealed.
The very title sets up a duality: “Captain
Fantastic and the Brown Dirt Cowboy.” Do you think
those two archetypes still live within Elton and Bernie today?
YES!! Even more so today
than in 1975! When Bernie Taupin created
these monikers and these “characters” to tell the Elton John and Bernie Taupin
story, he did so with a clever wink and prophetic sense.
Elton John was in
1975 and heartily remains in 2025 “Captain Fantastic.” He lives a luxurious lifestyle with several
homes around the world – highlighted by an refined, elegant, and elaborate
English manor as his main residence; he has been one of the world’s most
recognizable successful, and respected entertainers for more than 50 years;
he’s wildly succeeded in various entertainment fields winning most of the available top
awards; he’s carved a distinctive public image and style with his flamboyant
and influential fashion sense and legendary eyeglass collection; he’s one of
the world’s tireless and committed philanthropists having created the Elton
John AIDS Foundations and contributing to a wide variety of charitable causes;
he was chairman of the Watford Hornets football club during its most successful
season and holds an honorary lifetime position; has a legion of loyal fans; he’s
been knighted and holds one of the highest titles in the United Kingdom, and he
lives a fulfilled life with his loving husband, David, and their sons, Zachary
and Elijah. And I’m leaving out so much
more!
Without question, since
1970, Elton John has led a “Captain Fantastic life.”
Similarly, Bernie Taupin
ultimately became “The Brown Dirt Cowboy.”
Though he always referenced his humble, rural roots, early in his life
and career Taupin yearned for a more creative, urban existence, choosing to
pursue writing and poetry rather than a blue-collar, labor-intensive
occupation. In fact, his illustrated image included on the Captain Fantastic
album cover art portrays Bernie in a secluded, tranquil, pastoral hideaway with
pen and paper – far removed from the world’s pressures and chaos. With time and growing fame and fortune, by
the 1990s, he smashed his former “bubbled,” comfortable life of privilege and got
his hands dirty. Taupin eventually came
to own and live on a sprawling, working, California ranch, riding horses,
attending rodeos, and raising prize-winning bulls. Though he now lives a less rustic lifestyle
with his wife, Heather, and their daughters, Charley and Georgey, for more than
20 years, Bernie Taupin lived and loved “The Brown Dirt Cowboy” life.
Throughout Captain
Fantastic Taupin contrasts Elton and Bernie’s decided differences in
backgrounds and interests. “The Brown Dirt Cowboy” was “still green and
growing” while “Captain Fantastic” comparatively was “city slick.” Yet, he also elevated their friendship, bond,
and shared ambitions despite their “chalk and cheese” personalities.
Today, almost 60 years
later, the personal relationship and professional partnership between “The
Captain” and “The Kid” seems strong, vital, and unbreakable. Elton has
continually praised Taupin for his undisputable role in their success, and
Bernie has remained loyal and steadfast in his public and private support for
Elton in all aspects of his life and career.
From the get-go, Elton has
flamboyantly enjoyed, relished, and reveled in their success and prominence –
fully embracing the “Captain Fantastic” persona in all aspects. In his early 20s, he stated he’s always wanted
to be a legend, and he’s cemented that rank by every measure. He’s been
affectionately called the “Energizer Bunny” for his seemingly endless drive --
flying around the world at the drop of the hat to perform, attend a charity
event, or a glamourous event. And at age
78, Elton is still active and living the lifestyle with great aplomb,
enthusiasm, and gusto.
However, the more reserved
and reflective Taupin regularly downplayed their accomplishments of the past,
sometimes with an almost apathetic view – preferring to look ahead rather than
behind. Thankfully, during the last
several years, as Elton and Bernie’s career and prestige has grown into an
accepted legendary status (and even winning an Oscar together in 2020), Taupin
has finally shown a genuine acceptance and appreciation for his past work with
Elton and the legacy he’s created and will leave for the ages.
Elton and Bernie have both personified
these distinct characters and their combined “once upon a time.”
Alan Aldridge’s cover art is almost a universe of its own —
full of surreal, symbolic detail. What do you think is the most overlooked or
revealing element in that visual world?
“The big thing was the
cover, which was just a brilliant piece of animation by Alan Aldridge that
perfectly summed up the cartoon aspect of our lives at that time. I think it
was quite remarkable and unique for its time.
You can put that cover next to ‘Sgt. Pepper’ and get the same feeling.” – Bernie Taupin
Captain Fantastic, musically and visually, immediately
mesmerized me at our first “meeting.”
Seeing it displayed prominently in several stacked racks at my favorite
record store, even as an 11 year-old I felt its “heft.” I was hypnotized by its front and back cover,
and then immediately lost myself in its music and lyrics as soon as the needle
struck the vinyl. But I had no idea of
the lasting wonders, treasures, lessons, moments, and memories it would create
and sustain for me for a half century.
Captain Fantastic boasts the most elaborate and
celebrated album cover and packaging of any of his albums.
The cover art
is an artistic assault of the visual senses.
The surreal, disturbing, reality-bending, and at times grotesque images
nod to the influence of surrealists Dali and Bosch. And this bold, unapologetic tone remains a
key element in the album’s overall influence, respect, and reputation. The
ambitious and captivating cover design earned Aldridge a Grammy Award
nomination.
Drawn with
Aldridge’s creative pen, the famous gatefold album cover depicts the dark
excess of rock ‘n’ roll, while introducing the album’s two main “characters”
among the lunacy. Aldridge offers Elton
as the self-proclaimed “Captain” seemingly breaking out of his average,
suburban, middle class upbringing, and fragile inner shell to ride confidently
into the music world on his trusted piano. And the dream-weaving, wordsmith
Bernie Taupin is portrayed as the bucolic “Brown Dirt Cowboy.”
Aldridge was
one of the leading pop artists of the ‘60s and ’70s, with his surreal,
imaginative work that combined a bold use of color, clever and complex images,
and a mix of subtle and dark humor. His
work with The Beatles catapulted his name and reputation, and he also did work
with The Who, The Rolling Stones, Cream, and Andy Warhol. John Lennon once dubbed him “His Royal Master of Images to
Their Majesties The Beatles,” and published two volumes of the “Beatles
Illustrated Lyrics” in 1969 and 1970.
Fifty
years later, I still can’t get enough of Aldridge’s Captain Fantastic
images and the overall aura it created in connection with the album and its
music. My Elton collection includes
several original Captain Fantastic merchandise available at the time,
and through the years it has expanded to include, for example, both of the
celebrated Bally’s 1970s’ “Captain Fantastic” pinball machines (the arcade
version is signed by its artist, Dave Christensen and the “home” version
features Aldridge’s original, stunning “Captain Fantastic” animated images), an
original promotional T-shirt featuring the back glass art from the “Captain
Fantastic” arcade machine, and the original pinball machine promo poster with
Elton standing next to the Bally arcade machine wearing a red Team Canada
hockey jersey. The photo also appeared
in the “Louder Than A Concorde” tour program in 1976.
In
addition, there is the original small boxed jigsaw puzzle, a “mirror” album
cover, the limited edition brown vinyl that was signed by Elton and Bernie, a
limited edition two-sided vinyl picture disc of both the front and back cover
of Captain Fantastic, a belt buckle
featuring the album cover art, the Captain Fantastic musical songbook: In order to market the songbook from the
album to a wider audience, the yellow promotional lapel pin MCA Records created
with a silhouette of the “Captain Fantastic top” hat and the signature lyric
“From The End Of The World To Your Town,” a rare record store “Captain
Fantastic” “Open/Closed” sign given to record stores to hang in their window to
show if they were open or closed AND promote the album, a promotional hanging mobile,
the 1975 album cover Iron-On Transfer
for T-shirts, and many more.
Aldridge’s
fascinating and stinging satirical illustration is painstakingly detailed,
cleverly designed, and expertly executed.
All of Alridge’s images are carefully
considered, connected to the songs and the album’s theme, and stunning in both
their individual and collective presentation.
Whether
it is a grotesque image of famous record company executive or various
exaggerated and shocking characters, the overall impact of the cover art must
be viewed and experienced as a whole. I
can’t choose any one image in particular, because although they each have
unique looks and meanings, they are meant to be viewed as elements within a
larger scope.
However,
one key element of Aldridge’s striking, dramatic, detailed work of art that
should be noted is the influence of renown Dutch master, Hieronymous Bosch and
his masterpiece, “The Garden Of Earthly Delights.” Created between 1490-1510, the three paneled
painting features various extreme and other-worldly creatures like “birdmen,”
naked bodies, giant fish and timepieces, and themes of lusts and a vision of a
paradise lost.
When
you look at Aldridge’s illustration, the similarities to Bosch are obvious, respectful,
and justified, because many of the songs on the album deal with the same themes
as Bosch’s painting.
In
2005, I was fortunate to have interviewed Alan Aldridge for the 30th
anniversary of Captain Fantastic, and I’d rather share the artist’s
impressions of his famous album cover than anything I might offer.
Alan
Aldridge passed away in 2017 at age 78.
“I initially
received a call in early 1975 from Dick James (Elton’s former music publisher),
who I knew from my days with The Beatles.
He set up a meeting with Elton, Bernie and myself to discuss the cover’s
design. I was living in the country, as
something of a recluse, and I remember Dick asking me to wear a tie to the meeting,”
Aldridge laughed.
“I remember
thinking ‘Captain Fantastic’ was a very cool title, and so I was looking
forward to hearing what they had in mind,” he said.
Aldridge
admits at the time, he was not a huge fan of Elton, but obviously was aware of
his music, and was interested in working with the biggest rock star in the
world. He later saw Elton perform and
then was forever a fan and friend.
“I’d met
Elton briefly a few times in the past, but I’d never met Bernie. Bernie and I got along very well from the
start. I liked him a lot. Our meeting
was in London, and it was very quick, as Elton was on his way to America. They explained the basic autobiographical
theme of the album, and Bernie gave me a cassette of the album. I remember them summing it up by saying it
was about the dark side of Tin Pan Alley,” Aldridge said. “That description helped inspire me. I knew
it should be dark and surreal.
“I was told I
had about three weeks to complete it and the meeting was over. Elton and Bernie gave me full creative
freedom, which was very trusting and generous.
I remember going back home on the train and feeling this could be a
special project. And I also thought this
might be an interesting idea for an animated movie, which I also pitched to
Elton after the cover was completed,” he explained.
“When I first listened to the album, I
thought, ‘Man, this is really depressing.
Many of the songs were about their struggles, about their early
insecurities and frustrations, and of course, the harsh realities of the record
business. So I wanted to convey that
darker feeling. While Elton and Bernie
look strong and confident on the cover, they are surrounded by dark, greedy,
twisted images, which is what the album does allude to,” Aldridge said.
He said he
began by designing the “Captain Fantastic” logo and then did about three or
four different incarnations of “The Captain,” which were shown to Elton for his
approval. “He liked the image of him flying in on his piano,” Aldridge
remembered. When told the one aspect
that really captures Elton is his famous gap-toothed smile, Aldridge laughed,
“Yes, that was in all the preliminary sketches, and they wanted that in there.
It’s him.”
Being on a
tight deadline, Aldridge said he was scurrying to finish, and though many have
attempted to “interpret” many of the cover’s clever and confusing images, most
were added by necessity rather than double meanings or “secret messages.”
“I knew I had
to fill the whole cover with images.
Sure, there are some images that directly relate to Elton and Bernie,
and some of the other “characters” in the album or in their lives and
careers. But most of the images are
there to create a complete feeling or mood.
They do make statements, but they aren’t so subtle. In fact, many of them are very literal in
their meanings. Again, the goal was to
create this dark, treacherous, stifling environment that Elton and Bernie were
rising above,” Aldridge asserted.
Some of the
more obvious images include the individual band members, and Elton’s former manager
John Reid, all floating their bubbles, Dick James (also depicted in the lyric
book as the lead Aldridge illustration for the song, “Bitter Fingers,” and
Bernie’s then-wife, Maxine. The rest, Aldridge allows, “Are up to the viewer.
They can interpret the cover anyway they want.”
Aldridge said
the cover was done using an airbrushing technique, and in reality, Aldridge’s
illustration is the size of the album’s accompanying poster. “The poster is what the original illustration
looks like. The entire illustration and
the images are actually very small. Many people are surprised by that. The
images on the cover are much bigger.
“I still have
people asking me questions about the cover, or others say it’s their favorite
Elton John album cover. That’s nice to
hear. I think that’s because it’s a bit
overwhelming, but it really does tell a story. It’s connected to the music and
the feeling of the album. It’s a part of
the entire album’s experience,” Aldridge related.
“The Captain and the Kid” picked up the story thirty
years later, with a deeper sense of reflection and melancholy. How do you think
the way they told their story changed between the two albums?
I must admit, at the outset of any discussion about The
Captain And The Kid, I have been conflicted about this album since it was
released in September 2006.
Let me explain.
For more than 10 years before it was released, beginning in
1996, I had been suggesting and eventually begging for a sequel to Captain
Fantastic. As a writer for the
popular and respected Elton “fanzine,” East End Lights. I continued to frequently
make a case for it whenever appropriate. And later, as the first contributor to
eltonjohn.com, I again pushed for a sequel within a 2005 extended feature story
commemorating the Captain Fantastic 30th anniversary.
After
all, the original album covered just a two-year period from 1967-69, and its
story ended with the release of Elton and Bernie’s first album, Empty Sky. I firmly believed “The Captain” and “The
Kid’s” amazing story deserved an update
from 1970 to the present day to add new insights to their unparalleled success,
their late ‘70s-early ‘80s hiatus, their personal and professional highs and
lows and addictions and their victory over them, their coming back together,
and their hopes for the future.
 |
| Courtesy of Jim Turano |
I even
suggested the title, playing upon the lyrical reference to “The Captain” and
“The Kid” in the original title track as well as the captions listed under
their photos in the album’s original inner sleeve.
When,
incredibly, my longtime “wish” had finally come true in 2006, needless to say,
I was excited to hear this long-awaited sequel to what I believe was compelling
story and Elton and Bernie’s best album.
My expectations and anticipation were sky high.
After the
first couple of listens, I was impressed but somewhat underwhelmed. Impressed by the songs, impressed by the
sound, impressed by the band’s performance, impressed by Elton’s singing and
piano playing. But somewhat underwhelmed
by the lyrics – not specifically – but in terms of how the lyrics were now
describing the events and pushing forward Elton and Bernie’s story.
Whereas the
lyrics and songs on the original 1975 album were vivid and focused on events or
feelings during their struggle, many of the lyrics on The Captain And The
Kid seemed more general in terms of the overall subject matter.
For example,
the kick-off track, “Postcards From Richard Nixon” (the title and song that reportedly
was written first and gave Taupin the confidence and inspiration to write and
finish the lyrics for the rest of the album) immediately delivers a jolt with
Elton’s piano and bold vocal, and Taupin’s pointed lyrics. I was intrigued and excited
by what might follow as the story of the next 30 years would unfold.
I was hoping
for Taupin to spin some revealing yarns and sharing the excitement and
depression of some of the many unique life experiences they’d encountered since
1970, like attaining massive, global
success, Elton’s coming out in Rolling Stone, their brief parting, the
strains of broken marriages and relationships (both Elton and Bernie), alcohol
and drug addictions, Elton’s successful sobriety, their ensuing successful
personal relationships, and their continued creative collaboration.
However, with
the decision to include only 10 songs (rather than at least 12 or 13 that a CD
could contain) to cover three decades of personal and professional milestone –
positive or negative – the songs became less specific and more general. Don’t get me wrong, songs including “Just
Like Noah’s Ark,” “The House Fell Down” “Wouldn’t Have It Any Other Way,” and especially
,“I Must Have Lost It On The Wind,” are all excellent songs, but for me,
subject matter-wise, they sound as if they could have been on any Elton John
album.
I know many
fans consider The Captain And The Kid one of Elton and Bernie’s best, at
least in the last 25 years. Through the
years, as the initial anticipation has faded and I’ve been able to listen to
the entire record with a more objective view, I do enjoy and appreciate
it.
My hopes for
this sequel – and for like many sequels – perhaps were too high and unrealistic. I listen to the album today with a different,
more receptive ear, but I still think of what could have and should have been.
In 1975, they looked back with youthful optimism;
by 2006, they wrote from experience and survival. Which of the two albums do
you think feels more honest — or more emotionally exposed?
Captain Fantastic is bathed in honesty and raw emotion from beginning to
end.
It drips with
a soul-baring honesty lyrically, melodically, and vocally in each song.
Taupin
revealed and bared his and Elton’s souls emotionally throughout the album. Taupin writes with candor and care. While grounding the album reality, he also
allows his words to wander into some of the most revealing, best-turned phrases
he’s ever put on paper.
One of my
all-time favorite Bernie Taupin lyrical phrases, for example, is from the title
track, and in fact, the first line of the album. After I heard it and read along with the
lyric book, even as an 11-year old, I knew this album would be unlike anything
I’d ever heard up to that point.
“Captain
Fantastic, raised and regimented, hardly a hero.”
I got chills
then. I get chills now.
This
seemingly random collection of words sums up Reg Dwight, Elton John, and the
entire album with one well-crafted, written passage.
First of all,
from a writing structure standpoint, it is subtle and appealing alliteration. But
its layered meanings is what makes it eternally memorable.
He will
become Elton John and “Captain Fantastic.” But first he was given the ordinary,
“hardly a hero” name of “Reg” by his parents and was brought up in a “reg-imented”
parental style by his father. And just as
an Easter egg for the diehards, there was the unreleased album, “Regimental
Sgt. Zippo,” which alludes to their early career stops and starts and struggle
for success.
It’s all
there in one line. The personal
background, the professional pitfalls, the ultimate transition into “Captain
Fantastic” and fame. That’s the album’s
concept, theme, and storyline in a nutshell.
It’s genius
in eight words -- Bernie Taupin’s finest lyrical moment for its simplicity,
description, insight, meaning and power.
Elton sings with the most energy, intuitive passion of his
career, and offers some of his most poignant (“Someone Saved My Life Tonight”) and
precious (“We All Fall In Love Sometimes”) melodies ever recorded.
On Captain Fantastic, both Elton and Bernie happily
and willingly thoroughly exposed themselves, and that honesty is what made that
album an instant classic and treasured fan favorite in 1975. Fifty years later that sincerity has only deepened
and the album as a whole still feels more urgent and enveloping for the
listener.
In terms of
the writing style, as we know Taupin’s lyrics are the prime catalyst in the
John-Taupin partnership, and I’m not sure how initially sold he was on the
concept.
Merck
Mercuriadis, Elton’s manager at the time, reportedly mentioned the idea of a Captain
Fantastic sequel in 2005 (You’re welcome, Merck!) and though it seems Elton
was open to the idea, Taupin was a bit skeptical at first, feeling it was a
look back rather than a step forward in their writing and creativeness.
This may be why many of the songs on The Captain And The
Kid don’t have the same “lived in,” first person perspective as the
original. “I Must Have Lost It On The
Wind” is one of my favorite songs on the album, but I don’t think it is
intimately connected to their story as songs on this collection should or are
expected to be.
For sure, Taupin delivered an excellent batch lyrics for
Elton on The Captain And The Kid, however, Captain Fantastic was
Bernie’s idea, it developed organically, and was a self-motivated, personal
project. And it feels like it.
For me, Captain Fantastic is a loving, bonding
gesture from Bernie to Elton, aimed to highlight and appreciate what they’d
been through together. The Captain
and The Kid concept came from another source other than Elton or Bernie,
and thus it may have felt more like an assignment rather than an inspired
notion to Bernie. Thus the more
personal, sentimental, intimately reflective overall tone and writing of Captain
Fantastic is less evident on The Captain And The Kid.
The Captain And The Kid is a particularly good album, but not
enough of a true sequel to Captain Fantastic And The Brown Dirt Cowboy.
The original Captain, on the other hand, has aged
exquisitely well.
This new anniversary release offers a chance to
recontextualize the album. What part of its story would you most like to see
rediscovered or appreciated anew?
I’d like to see the entire album rediscovered and appreciated anew!
Captain Fantastic And The Brown Dirt
Cowboy remains my
favorite Elton John album because it’s real.
It mixes dreams and reality, and it reminds me of my own innocence when
I first experienced it. But 50 years
later, its influence, its music, its messages and its aura, remains as fresh
and emotive as ever.
Goodbye
Yellow Brick Road may
be Elton’s “masterpiece,” but Captain Fantastic And The Brown Dirt Cowboy” is
Elton’s “essence.” It still stands as
the most complete, charismatic album of Elton John’s career.
For me, this
album is still green and growing. And its special gifts keep on giving.
Elton’s
melodies embrace the power of Taupin’s storytelling. One can sense Elton’s inner connection and
genuine understanding to what Taupin is relating. He lived it.
They both did.
For the first
time in their partnership, Elton was writing his music from a first-person
perspective. Not interpreting Taupin’s
lyrics or applying his own meaning to them but writing to them as if they were
his own, because they were. These songs
were moments of Elton’s life that Taupin crystalized for him and inspired
him.
The lyrics to
Captain Fantastic may be the greatest gift Bernie ever gave to Elton.
And yet,
while Captain Fantastic And The Brown Dirt Cowboy may be Elton’s best album
and is historic for its unprecedented entering the U.S. charts at Number One, ironically,
it may also be his most underappreciated album.
During
the last several decades, as Elton’s career has attained mythic status due to
his overwhelming, sustained success and longevity, prolific and innate musical
talents, exhilarating live performances, abundance of the world’s most
prestigious awards and honors, and a hallowed respect and enthusiasm from fans
and peers alike, many of his previous work has been discovered by new
generations and re-evaluated by critics.
Goodbye
Yellow Brick Road has
always been considered Elton’s tour de force and most popular album, but in
recent years his earlier works including Madman Across The Water, Tumbleweed
Connection, and Honky Chateau have risen in reverence. And even his ‘80s output, once considered
inferior to his ‘70s peak, also has gained a new and growing appreciation,
especially with younger fans more attuned to that era’s electronic sound and
production.
But Captain
Fantastic, while regularly listed among his best, still doesn’t rate as
high in terms of instant recognition or prominence with casual or general
listeners. It may be due to having just
one single released from it, “Someone Saved My Life Tonight.” But it runs deeper.
1975
was the height of Elton’s popularity and powers during the decade. Few performers of any category of
entertainment had a year like Elton did in 1975 – two consecutive #1 songs
(plus another later in the year), two consecutive #1 albums that made chart-entering
history, a dazzling, bejeweled film debut, and two momentous concerts at
Dodgers Stadium. And I could list more!
The
truth is, as big and successful Elton John’s career had been in the 1970s,
incredibly, it could have been BIGGER!
Both
music publisher, Dick James, and longtime manager, John Reid, both played vital
roles in Elton’s career and his rise to worldwide fame. James was an early supporter who funded
Elton’s early career and game-changing 1970 trek to America and The Troubadour,
and Reid -- though decades later accused of financial discretions and in the
‘70s an Elton romantic partner -- was a passionately loyal defender and
promoter of Elton as a client.
However,
I believe both James and Reid failed to fully grasp the special entity that
Elton John was, and how to properly oversee him from a career and personal
standpoint.
James originally
signed Elton and Bernie to a recording contract that was standard at the time,
which required at least two albums a year.
For a “normal” performer or songwriter who was lucky to write even one
potential hit song on a 10-song album, this was not necessarily a demanding
request for a return on investment.
But
Elton and Bernie were not “normal” songwriters.
They are
one of the most prolific songwriting teams in history, and by 1973, they showed
proof of it. Not just in terms of the number
of songs they’ve written, but the number of hit and high quality songs each
album. The average performer may have
one hit or potential hit on a 10-song album, but from 1970-1976, Elton and
Bernie regularly packed an album with at least three-five likely hit singles. There were few, if any, throwaway songs or
“fillers.”
For
example, songs now relegated to deep cuts or fan favorites between 1972-74, including
“Mona Lisas And Mad Hatters,” “Hercules,” “Mellow,” “High Flying Bird,”
“Teacher I Need You,” Blue For Baby And Me,” “Harmony” (which would have been a
#1 hit), “Grey Seal,” “All The Girls Love Alice, “Sweet Painted Lady,” “Pinky,”
“Grimsby” and “Dixie Lily” all could have been released and been well-known, successful,
hit singles in addition to the ones that were released from Honky Chateau,
Don’t Shoot Me, I’m Only The Piano Player, Goodbye Yellow Brick Road and Caribou.
And
this reality could have allowed Elton and Bernie to make just one album a year
rather than two, giving each album to have a longer shelf-life and commercial
viability, and giving Elton and Bernie less creative stress of regularly
writing new material within a two or three month stretch. Most importantly, it would have taken less of
a physical and mental toll on Elton personally by having to busily tour in
between each of these twice a year recording sessions.
By
1973, James and Reid should have identified this rare musical force they were representing
and altered their agreements and demands to better match Elton and Bernie’s constant
and impressive high quality of material on each album.
In the
case of Captain Fantastic, if this were the only required album for
1975, it could have been released in September rather than May of 1975. With two Number One, non-album singles in the
first four months of 1975 (“Lucy In The Sky With Diamonds” and “Philadelphia
Freedom”), the later album release date would have given the public a break
from “everything Elton” and not flooded the market with product within a six
month period.
Captain
Fantastic would have
then had a chance to be better appreciated on its own merits (without “Island
Girl” and Rock Of The Westies pushing up against it), had a tour of its
own, and possibly have at least one or two more hit singles released from it (“(Gotta
Get A) Meal Ticket,” “Writing,” “Better Off Dead,” and “We All Fall In Love
Sometimes” all would have been contenders).
Sadly,
the best complete, song-for-song album of Elton and Bernie’s career got lost in
the shuffle of short-sighted management, product and artist over-saturation,
and plain greed to capitalize on Elton’s unfathomable fame.
Captain
Fantastic And The Brown Dirt Cowboy
is a special, singular musical achievement.
It deserved better treatment and appreciation in 1975, and it deserves
more acknowledgement, awareness, respect, and popularity in 2025 and beyond.
If you could add one unreleased piece or document
to this edition to help us understand that creative moment better, what would
it be?
Well, the most obvious answer centers around the 50-year
mystery and intrigue surrounding the Taupin lyric, “Dogs In The Kitchen.” Or was it a poem? Or was intended for the album but Elton
couldn’t write a melody for and just moved on? Or was it written but never
recorded? “Or was it…?” The 50-year
questions about “Dogs” abound and remain sufficiently unanswered.
Based on the content of “Dogs In The Kitchen” it clearly aligns
with Taupin’s jaded jabs at the music business, which were also pointedly pronounced
throughout Captain Fantastic. At
the time, Elton and Bernie were being pushed and pulled in several directions,
overwhelmed by all the fame they created by was now out their control.
“Dogs In The Kitchen” reflects this aversion to all the
greed that engulfed their work, rather than genuine celebration for their
art. Elton and Bernie were looking to
get off this runaway train, and Captain Fantastic was their creative
plea for sanity.
Though not completed, Elton and Bernie must have felt the
song deserved to be included in the album’s lyric book because of the creative stimulus
it provided for the eventual album concept.
However, the biggest disappointments associated with the
entire Captain Fantastic project was the scrapping of the proposed
animated feature film “starring” the two principles as they make their way to
fame and fortune. This ambitious project
went into pre-production but never came to fruition.
In my 2005
interview, Aldridge lamented that the animated Captain Fantastic film
never became a reality.
“A lot of
work was done on that project, and it’s a real shame and disappointment it
never was completed and released. It
never got to the filming stage. We did do a 30-second TV commercial for the
album using the images that were being prepared for the film, but that has
rarely been seen. And some of the images
were also used in the home version of the Bally “Captain Fantastic” pinball
machine. I still have all the original storyboards, illustrations and sketches
for the film and other related products.
It was meant to be a very elaborate, long-term project,” Aldridge said.
Taupin and Aldridge were teamed to write and produce the
animated adventure, which would follow “The Captain” and “The Kid.” They would encounter
and be forced to overcome various parasitic characters and stifling obstacles
as they trudged forward on a quixotic quest to their OZ-like destination of musical
fame.
In Taupin’s memoir, “Scattershot: Life, Music, Elton, and
Me,” he describes the project as being over before it began, a victim of
excess. He and Aldridge were given a
budget and a house in Barbados to write the script, but instead, the time and
money was spent on extreme partying and indulging rather than real work. As a result. the film faded away.
In addition, there also were reports at the time that
Elton’s 1976 admission of bisexuality scared off movie executives and studios
because they feared public perception of Elton had shifted and would scare off
mainstream audiences for this planned “family-friendly” animated film.
What a shame.
Immature behavior and close-minded societal thought deprived us of what
could have been a unique, ground-breaking, entertaining, Elton-related film of
this great album and its charismatic characters. We lost a potentially precious gift for its
time, for today, and the future.
However, we did see Captain Fantastic animated
images used during the live performance of “Someone Saved My Life Tonight” on
the “Farewell Yellow Brick Road” tour. And it regularly received the loudest
and sustained ovation of the entire show.
Hopefully, David Furnish and his Rocket Film team will
resurrect this worthy 50 year-old idea. And with today’s enhanced animation technology
and audience’s appetite for big screen animation, we’ll finally see Captain
Fantastic on the big screen in all his animated glory.
Or how about a Captain Fantastic stage musical? Just a thought…
In a world where people mostly listen to
individual tracks, how can we encourage listeners to experience Captain
Fantastic as a complete journey again?
After
all I have stated and described in great detail in this interview, all I could
add to encourage people to listen to the album from beginning to end in one
sitting is, like a book,
this album must be “read” chapter by chapter.
Captain
Fantastic has
cohesion unlike any other Elton John album.
The melodies and production immediately engrosses, and song for song, it
takes us on a varied, magical, musical journey.
Similarly, the lyrics lead the listener from page to page on this
enlightening tome, en route to a great climax – from the end of your world to
your town.
It's an Elton
John-Bernie Taupin listening experience like no other.
When it comes
to Captain Fantastic And The Brown Dirt
Cowboy, yes, we really do fall in love sometimes.
