Eltonites About Superhuman

"The new album of the cellist Martin Tillman "Superhuman" it's a journey through meticulous musicals harmonies. A  experience provided by a talented musician who knows how to exploit all the possibilities of the cello. What a delight to discover that each time we hear the album,   there will always be a new and fantastic way to feel the songs. Our ears are thankful to hear  this wonderful work!" (Vera Piovezan, Rio de Janeiro, Brazil)

Some songs are a mixed between Tubular Bells and Jean Michel Jarre. The song I like most at first sight is "The Invisible Shield Of Strings And Bows". I think this is the essence of all the cd and maybe it's the most completed ,in melodically terms, with cello and piano. Also I would remark "Wonder" and "Involuntary Midnights". But as I said before, "Invisible" makes me feel very beautiful emotions. Not long time ago, I saw a film about one man who was waiting in the train station, because his promised girl had to go to Himalaya to recovering. He had hopes, while waiting, that she would not be at time and couldn't depart. When he saw her arriving, he started to cry because it was certain he would lost her for ever most. Hugs and kisses showing all their love. But music there hasn't filled with the scene. When I heard Tillman's song I certainly remember that should be the perfect track for the film. Thanks to Mr. Tillman for fullfilled with your music that scene that captivates me (Jon Jon, Vic, Spain)

The Music of Martin Tillman is, in an instant, reminiscent of the dance era. The offerings of the music easily accommodate the "Club Scene" as well as a solo introspective time upon the warm sands of beach. This music, and each track of "SUPERHUMAN" will evoke a different emotion, thought, image, and interpretation by each who listen. Moreover are the undoubted visual images of one's mind painted as the music progresses seamlessly through its rhythms. The music found within "SUPERHUMAN" lends itself first to the ear, and then deeper towards the heart and soul of mankind. Best played in a crowd, alone, for a reason specific or none at all...It Is Just Best PLAYED! (Tommy T. Baughman, Mississippi, USA)

"Tracks on Superhuman made me run an emotional gamut"

I was honored to be asked to review Martin Tillman's new album, Superhuman.  Not being familiar with his work, I decided to do a little research.  Not only is he a world-renowned cellist and composer, I discovered that he played with Elton John and the Band for Elton's 60th birthday celebration at Madison Square Garden.  What's more, Davey Johnstone plays on Superhuman.  Ok, so far so cool.

I went to SoundCloud and saw that the album was categorized as Dance/EDM (Electronic Dance Music).  Hmmmmm.  I'm not very familiar with that genre, but I put on my headphones and gave it a listen.

One word: Awestruck.

The 11 tracks on Superhuman made me run an emotional gamut. And any music that makes me feel something - whatever the emotion - has done its job. From relaxation to exhilaration...from uncertainty to uplifting…from swaying to bopping my head to even humming along at some point...I found the music very intriguing.  It was a somewhat similar experience to the first time I listened to Pnau - I thought I might not like it, but I actually liked it a lot.  Quelle surprise!

After first listen, I'd have to say my favorites right now are Future Dawns, Unlocking the Locks and Translated to Beauty.  Perhaps because (to me) they sounded more like the kind of music I normally listen to - with keyboard and guitar (was that Davey?!)  vs. only synth.

As Mr. Tillman himself said, "Music lets us dream a dream a different existence, and make it our own."  Your music certainly does that for me, sir.  Thank you.

Needless to say, I will be listening to Superhuman many times over again.  Sometimes discovering new music or a new musician is like finding a new friend, which is always a good thing.

My name is Kimberlee Kemble and I'm from Boca Raton, Florida. I've been an Eltonite since almost the very beginning. I had all the albums, the singles, EJ posters plastered on my bedroom wall (my favorites were from "Don't Shoot Me I'm Only the Piano Player"), an EJ candle, the Time Magazine cover, Tiger Beat magazines with EJ on the cover, EJ shirts, an EJ necklace, you name it. If you've seen the video for Original Sin, that's me!

"Differents paths sometimes blend into each other" by Andrea Grasso: "Superhuman" review

The new Martin Tillman album, Superhuman, is a collection of instrumental tracks all written and arranged by the master of cello, Martin himself; helping him in this adventure are renowned musicians like Michael Landau on electric guitars, Vinnie Colaiuta on drums, Toto founder David Paich on keyboard, Toto occasional bass player Leland Sklar and also his friend from the Elton John Band Davey Johnstone on electric and acoustic guitars.

As it can be read in the liner notes of the album, Superhuman is a reaffirmation of the power of the human spirit and is dedicated to Martin’s wife Eva, who 8 years ago was diagnosed ill but has found the courage and strength to battle against it, and this has inspired Martin to compose the songs for this album.

The record has basically two different paths, that sometimes blend into each other: the “rock” path and the “dance” (or EDM, “Electronic Dance Music”) path. I personally prefer the rock path, who is more akin to my musical tastes, but in this case I can also appreciate the EDM tracks. My favourite tracks are obviously the rock ones, with “Future Dawns” and “Celluloid Spaces” being my favourite; Dawns has a great organ, a spacey synth, a very good piano solo and reminds me very much about a progressive rock track that could have been recorded in the 1970s, and in fact Martin himself in the liner notes clains that bands like Led Zeppelin, Deep Purple and Rolling Stones were big influences on him and his musical growing. Celluloid is even more interesting since the composer declares it’s a sort of concept about the history of drugs, from the mid-60s to today, and that’s why is divided into different sections; it features once again a beautiful organ, electric guitars performed by both Johnstone and Landau, and the soul backing vocals of Dee Lewis-Clay, reminding very close something that Pink Floyd could have recorded for Dark Side of the Moon.

Another track that I like a lot is “Unlocking the Lock”, featuring again more rock guitars along with ethnic percussions, strings, and again Dee’s vocals; Tillman in the liner notes explain that he thought about this as his stadium rock piece with many musical rooms to unlock, and that’s why there are several themes and parts together.

Another favourite is “Translated to Beauty”, a very “sexy” track, with an esotic riff and an atmosphere that reminds me of the 60s; its composer in fact says that it’s something you could hear in a French or Italian movie… a quite peculiar track that demonstrates the versatility of Tillman as composer and arranger, apart the obvious one as cello player.

The final track of the album, “The Invisible Shield of Strings and Bows”, featuring the Prague Philharmonic Orchestra, could be easily used as a score for a huge Hollywood movie; Tillman in fact wrote it as a tribute to the scores he played on in Los Angeles, and wanted to end the album with something “extraterrestrial” to associate with the “superhuman” feeling of the whole album.

This album is a mixture of moods, atmospheres and listening experiences that can help you relax, or make you dance, or lift your spirits; but you can also use it to meditate and travel with your mind and find your inner “superhuman” powers; Martin Tillman is just showing you the right path.

"I'm a huge Elton fan and collector from Italy, having started to follow him in 1992. I run since 2012 "Elton John Italia", an Elton John fanclub on Facebook where I share with Italian fans current news and any kind of information about Elton and his discography, which I know in every small detail, including obscure collaborations and rarities..."

https://www.facebook.com/groups/eltonjohnitalia/

"Cyberpunk Meets Pop" by John Kwok: "Superhuman" review

Cyberpunk meets pop, rock and classical in cellist/composer Martin Tillman’s superb new album “Superhuman”. Tillman cleverly plays with and merges different musical genres, ranging from industrial techno-pop to what sounds like a futuristic homage to Byzantine or Medieval Roman Catholic sacred music on “Involuntary Midnights” sung by renowned contemporary music vocal ensemble Anonymous 4. It’s Karlheinz Stockhausen and Gyorgy Ligeti merged seamlessly together by a Brian Eno-like musical wizard familiar with William Gibson’s near future cyberspace landscape. Tillman has assembled a superb assortment of some of the finest studio musicians residing primarily in the Los Angeles area, ranging from long-time Elton John collaborator – now musical director of the Elton John Band - guitarist Davey Johnstone,  guitarist Graham Russell (“Air Supply”), David Paich (long-time “Toto” keyboardist), drummer Vinnie Colaiuta (best known for his work with Frank Zappa, Sting, and Joni Mitchell, also an in demand studio musician featured on most of the songs on Sara Bareilles’ “Kaleidoscope Heart” album), and bassist Leland Sklar, with orchestral arrangements performed by the City of Prague Symphony Orchestra. 

“Superhuman” sounds like a vast, epic-like, soundtrack for a yet to be made fast-paced Hollywood thriller science fiction film, like the forthcoming sequel to Ridley Scott’s “Blade Runner”, especially the album’s last track, “The Invisible Shield of Strings and Bows”. It’s an extremely memorable, compellingly listenable, album that should draw ample interest from a diverse range of musical audiences, not just those familiar with instrumental techno-pop music or long-time admirers of Tillman’s exceptional skills as a superb classically-trained cellist and composer. Among my favorite pieces are “Wonder”, a fast-paced ode to techno-pop music, the previously mentioned “Involuntary Midnights”, “Cracked Diamond”, a riveting musical dialogue between solo cello and an entire orchestra, “Celluloid Spaces”, noteworthy for its brilliant playing by Davey Johnstone on acoustic and electric guitars, “Zero Gravity”, which I regard as Tillman’s 21^st Century reimagining of Gustav Holst’s “Neptune, the Mystic” from “The Planets” suite, and last, but not least, the “The Invisible Shield of Strings and Bows”.

Long-time Elton John fan John Kwok is a freelance writer, speculative fiction writer and photographer, whose classical and contemporary musical tastes range from J. S. Bach, J. Haydn, W. A. Mozart, L. Beethoven, F.  Schubert and F. Chopin to J. Brahms, C. Debussy, G. Mahler, M. Ravel, R. Strauss, A. Schoenberg, I. Stravinsky, A. Copland, S. Barber, G. Ligeti, O. Neuwirth, D. Felsenfeld and M. V. Waller.

Superhuman aka superwoman

"Superhuman is a reaffirmation of the power of the human spirit" reads the liner notes of the cd. Soon it is explained what it consists: "Superhuman is dedicated to Martin’s wife Eva who 8 years ago was diagnosed with MS. Eva’s courage and strength to live with and battle against the degenerative disease inspired Martin to compose the album. And also in extension, those who everyday summon up the superhuman strength to battle physical and mental obstacles. Martin hopes his music will give audiences wings to rise above their challenges and open their mind’s eye." While he is adding: “Music lets us dream a different existence, and make it our own,” Tillman concludes. “It’s that spirit that’s now let me find a new, powerful way to express myself with ‘Superhuman.’”

His wife Eva’s diagnosis of multiple sclerosis in 2007 gradually changed Tillman’s career focus, at first in a bleak direction before he found new creative purpose in realizing his most ambitious work with “Superhuman.” “It was just super stressful and I came to a conclusion I couldn’t continue life as it was,” Tillman says. “I thought that the only way we’d survive was if I went into my studio and started writing music. Not music for other people, but music for us that would create a drive for survival and inspiration. Then in 2010, Eva told me that her birthday wish was for me to write her a happy melody, as opposed to the kind of melancholy us Europeans tend to have. That was basically the beginning of “Superhuman,” a title that was all about good energy, which is so powerful for Eva and me, while being able to touch other people in the same way.

Martin remarks the concept of the album: "We exist in a world contrary to our true nature, having to endure war, politics, technology and greed. Yet despite these by-products of civilization, our pure primal drive endures. The fear of extinction fueled our very existence and called upon everything within our power to hunt, eat and procreate. Then, somewhere along the evolutionary line, a power far greater than anything imaginable emerged: LOVE. Love gave us newfound purpose, taking us beyond our animal instincts into new, profound dimensions. A force that could only be described as magical. (...) More than any other form of art, music transports us from the physical plane to a realm of reflection, dreams and excitement. Yet at the same time, we find ourselves swaying to the melody, if not dancing wildly to its rhythms (...) It’s that spirit that’s now let me find a new, powerful way to express myself with ‘Superhuman."

About the recording process, Martin is joined with the most rellevant names of the music panorama, all together mixed with the splendorous job of one of bests mixers around: "My mixer Jeff Biggers created the album’s expansive sound. Because he had this tremendous experience recording and mixing big scores, his talent allowed me to treat ‘Superhuman’ as a soundtrack for the audience. So to just call this an EDM or a rock and roll project would be way to narrow a focus for this album" added Tillman.

11 tracks for one hour in extension album. Quite difficult to remark some in particular. "Involuntary midnights” paid my attention first: "It is a choral a cappella track I heard while driving and was immediately captured by its beauty, performed by the amazing vocal group Anonymous 4. It’s a part of a project called the Legends of St Nichlolas composed by an anonymous composer in the 16th century. Here is a bit of the legend: Long ago, in a far off land known today as Turkey, there was a boy named Nicholas. Nicholas was a person who created numerous miracles and accomplished many good deeds. As a teenager, Nicholas inherited a vast fortune, but he had no idea what to do with it. Wanting to help those less fortunate than himself, Nicholas set out to make the wishes of others come true. While Nicholas knew the townspeople needed his help, he was also aware that they were very proud people, so Nicholas decided to help his friends secretly". Then a more literal approximation of musical space travel lifts off in “Zero Gravity,” as sonar and solar wind-like effects introduce a gentle melody carried along with synths, strings and piano. It’s a lyrical theme, with a poignant sense of striving to touch a greater power, much like the experimentation that brought together the track. “I heard it at first as a ’love theme’ for the album, one that had no rhythm as such, but drifted in free time,” Tillman says. “But I felt that if strings could come in and out of it, growing each time, then it would infuse a strong life into the music. And when I heard those strings played live in Prague, I knew that this track had truly been born with a truly human feeling to it.”

“I’m happy that Martin discover this new happy side of himself in a way that also helped him escape from our own problems,” Eva Tillman says and concludes: “Superhuman’ was a way of dreaming a difference existence for Martin and myself. His music let me travel with my mind to the places I could no longer experience with my body. In that way, creativity can change anyone’s outlook. Music might not physically heal you, but it certainly can heal the relationships, and the soul. So it’s very gratifying to have people relate to Martin’s music in that way, because love is the driving force in making people rise above their challenges, and truly become superhuman. That transcendental spirit that music gives us is what this album is dedicated to.”

More info:

Read the excellent notes by Daniel Schweiger on:

http://www.martintillmanmusic.com/superhuman-2/#1456714009309-f009a7f5-99b4

Also: 

https://itunes.apple.com/us/album/superhuman/id1086781365

https://www.amazon.com/Superhuman-Martin-Tillman/dp/B01C1E8M7U 

http://stereoembersmagazine.com/cinematic-symphonic-electronic-journey-interview-martin-tillman/

Welcome to Martin Tillman's Weekend!!!

This is a very special weekend for the site. We have one of best cellist players of our time. He is one person related to Elton, because he collaborated with him live and in the studio, a very good friend of Davey Johnstone (Davey is so proud of this magician of cello) and seeing him playing live is just MAGICAL. The reason to dedicate a Weekend to him is to celebrate the release of his last album: "Superhuman". If you had "A Year in Zurich" album, you understand what I mean. But this album transcends everything. Eltonites, that is not only an album of music. Martin's first sentence it is an statement of his intentions: "Superhuman (is composed) to trigger the spirit’s quest to elevate our endeavors and realize our superhuman strengths". Too mysthical? But no, life itself. When you understand the reason behind this source of creation, this powerful creation, you understand everything. No one could write like him, no one could play like him (magnificients Two Cellos', Hauser and Sulik, are fans too), but no many had seen the hardest part of life to go through when a very close familiar is suffering. Eva is behind one of bests works of Tillman for being a source of inspiration. Eva is Martin's wife who is suffering an unjustice illness. Pain? Yes and no. Eva is LOVE, is MAGIC. No regrets. A lesson of life for the ones who don't appreciate life as the most precious thing we have. Eva is powerful, Eva is stronger, Eva is admiration. And Martin recollect all of this is his album. Every song is a masterpiece on its own. Along with his cello, with the piano, he delivers a touchful performance counting with best session players around, big names of the scene, playing with most top artists of our world. All together in one solid project well executed live. If you had the chance they were close to your town, just go. Prefer intimate sessions? then Solo (with a wonderful session of lights). Prefer a rock band? 5 musicians and, as Martin is a perfeccionist and multitalented artist, you have dancers and singers. A complete piece orchestra? You got it! To my loving eltonites who love soundtracks and cinema, in extension, count how many albums Martin has credits. An endless list growing. Well, could't explain you more for now, just join AllSongsList to celebrate the Weekend, dedicated to a greatest artist of our time, and to celebrate the magnificient team the Tillmans are. Martin and Eva, my love and respect for you. Hope you enjoy as much as me doing this. Eltonites, thanks for being there and a big thank you to the ones who kindly collaborate to focus this two days on this.

Jack Rabbit

"Two Rooms": a celebration of the radio show and to the man who hosts this talented and impressive programme

Do you imagine a radio show where you could listen songs like “House Of Cards”, “Too Low For Zero” or “Mellow”? Could it be? Yes, like life itself. The clue: WOMR 92.1 fm (Provincetown), 91.3 fm Orleans, a radio show all about Elton. You eltonites know I am talking about “Two Rooms, Celebrating the songs of Elton John and Bernie Taupin” (Sunday’s at midnight). “Next to Lennon and Mc Cartney, Elton and Bernie are among the most talented, prolific and diverse songwriters in pop music” states, David Singler, a die-hard Eltonite who hosts the programme.  Sigler is an avid fan since 1974, when he heard “Bennie and the Jets” and decided to bring Elton’s songs on the radio with success four years ago. WOMR, a public broadcasting community radio based in Provincetown, Massachussetts, went on air on March 21^st 1982, precisely when “Empty Garden”, Elton and Bernie’s tribute to John Lennon, was released as a single. Sigler also hosts a show about the Top 40 charts called Pop life: Hits, Misses and Everything in Between compelling 3 decades of Pop Music (1970-2000).

To the occasion, I decided to ask some of the avid listeners about their feelings of the show. Also, ask them a song he/she would love to listen on the radio show. It’s your turn, eltonites: “I began listening to Two Rooms when the show first began and have been a dedicated listener ever since. Dave Sigler hosts the show and does a fantastic job every week” starts Sarah Johnson, while adding: “Dave does a great job of including an eclectic mix of songs which celebrate the incredible musical partnership of Elton John and Bernie Taupin over the history of their careers. Dave’s expert knowledge on Elton and Bernie and his enthusiasm and passion for the music is reflected in the show.” “First off, David is a fan with a great deal of knowledge and experience behind him. He brings those traits to his show to give the best possible showcase of Elton’s music” agreed Paul Purcell.  “David’s show has become my weekly addiction, I have listened to and downloaded the show since Nov 2012, in all these shows I don’t believe there is one show where I haven’t discovered something completely new to me” continues Mike O’Reilly.

So “Two Rooms” has unique features such as Taupin spotlight (a song he sings or wrote with other artists), cover spotlight (Elton’s) or Tribute time covers (other artists play tribute to a song written by Elton and Bernie), among the most underrated or successful tracks Elton and  / or Bernie has penned. “He focuses on the lesser known tracks so they are brought to a wider audience” thinks Paul Purcell. Andreas Moland Bendixen says: “Even for big-time fans like me there is always something to learn”. Sarah Johnson? “Dave also include EJBT songs covered by other artists along with songs that Elton or Bernie had covered  or been involved professionally. Dave always manages to pull gems of songs of the EJBT archive, which I have never heard before, which is such a pleasant surprise”.  Thank you Sarah. “All aspects of Elton’s career are catered for, so anyone tuning in for the first or umpteenth time will learn something new” adds Paul Purcell. “I don’t know if other music artist have a dedicated weekly program, but I am very grateful David provide this for us dedicated and new Elton & Bernie fans” completes Mike O’Reilly.

Several shows had been done.  My favourites?  “40^th Anniversary of Caribou” (TR424); “Nighttime”, a collection of songs with the word night on the title (TR422); “My Top 10 favourite EJ Albums” (TR221); “Taking flight”, songs about places and destinations (TR220), or “Remixed”, a collection of remixes all over the years (TR108), just to name a few. “Dave picks a theme for each show, some of which of my favourites include the album tribute shows and interview shows where his guest always has a knowledgeable and informative insight into the world of Elton John and Bernie Taupin” continued Sarah Johnson. “B-sides have also been given proper attention, which is of course a thrill for fans. Many of us feel they are as good, or better, as anything on the albums. I have to say that has been my favorite part of “Two Rooms” added Andreas Moland Bendixen. Me, I have the chance to go back to postcasts and realized how much interesting tracks it had been played: for example, I love when he played “Engine 19”, a song rejected by Elton in 2002 (“Engine House 19”) and written by Taupin with Richie Sambora in 2013, a tribute song for the families of the victims and heroes of 09/11 (23^rd September 2013). Sarah Johnson concludes: “As I said before, I am an avid listener of Two Rooms, and look forward to listening every week. It is so great that Two Rooms is on the airwaves paying tribute to and celebrating the timeless work of Elton and Bernie”.

David, here's a very important man in your project. He kindly agree to send me some words for you, so, John Braden, Executive Director of WOMR/WFMR, thanks very much for being here, this is your turn: "Our audience has enthusiastically embraced David’s weekly tribute to the legendary Elton John on his “Two Rooms” program according to listener feedback. Elton fans throughout our Cape Cod broadcast area, and worldwide at womr.org, seem to really enjoy David’s meticulously researched program, we are lucky to have David’s involvement with our listener supported community radio station for many years to come...  or as Elton would say “...a long, long time.”"Thanks so much then, I am agree with you 100%.

Finally, people, one song you would love to listen, or listen again, in a next Two Rooms show?

Paul Purcell: Believe

Sarah Johnson: Porch Swing On Tupelo  

Mike O’Reilly: The Retreat  

Andreas Moland Bendixen:  Live Like Horses live 1994 or 1995

Jack Rabbit: Into The Old Man’s Shoes

Thank you very very much to Sarah Johnson, Andreas Moland Bendixen, Paul Purcell and Mike O’Reilly for their appreciated collaboration. There are several eltonites who agreed to do the same, so updating versions of this article will be done.

I would like to conclude this, with a BIG THANK YOU to the man who week by week is doing something value for Elton and Bernie’s music. In these days that their songs are not played as they deserve in the majority of the radio airwaves, doesn’t matter which country, is so relevant that Dave Sigler dedicates his time and efforts to do. And he does it with the ability to make interesting shows to the community, and with what’s so much important: with his passion. Dave, you deserve my recognition on your job, please make this radio show as long as you can. I couldn’t wait to download next podcast of the show. Couldn’t imagine my days without your show. As I said before, THANK YOU.

I asked Andreas Moland Bendixen to send me his feelings about the show, and he sent me this wonderful article. Although I reproduced some of his thoughts in the article I posted before, I thought absolutely necessary to post the article in its enterity, because it’s a well done job. So, this is Andreas’ article about the radio show. Enjoy as much as I did. Thanks so much Andreas.

Songs from the East Coast, by Andreas Moland Bendixen

A standard musical radio program promotes current top 40 hits and does not normally seek to analyze or explain music in detail. A Rhianna song gives way to a One Direction song with unmerciful speed, only to be interrupted by loud and intense commercials. Should you, however, be lucky enough to find yourself on the east coast of the United States, between Provincetown and Orleans in Massachusetts to be exact, you should tune your radio to FM 92.1 or 91.3. Here you will find the exceptional musical radio program “Two Rooms” that does not only play the great music by Elton John and Bernie Taupin, but also discusses and analyzes the tracks.

Elton John has one of the vastest back catalogs there are. This radio show gives the songs the attention they need. It is a thrill for fans, and a source for will-become fans. David Sigler’s knowledge of Elton is impressive and it’s a treat to be able to hear songs, but also interviews and facts. True, great books like “Sir Elton” by Philip Norman, or the wonderful East End Light and Hercules Magazines are most informative, but they lack the obvious detail: being able to listen to Elton.

In a recent broadcast, the underrated 1993 “Duets” album was the topic. Sigler let Elton do most of the talking and I was happy to learn things I didn’t know before.  Even for big-time fans like me there is always something to learn. So “Love Letters” was the first song to be recorded during those sessions! “Duets” is a treasure for any music fan, and I’m glad it was given a chance to shine.

B-sides have also been given proper attention, which is of course a thrill for fans. Many of us feel they are as good, or better, as anything on the albums. I have to say that has been my favorite part of “Two Rooms”.

I would like to thank David Sigler and WOMR.org for this fantastic show. I’m sure I speak for everyone when I say how much we enjoy listening on the radio or online, and hope you have many musical years to come! 

Mansfield: The Magic Of Peter Pan!

Fantastico! Incredibile! Some people seems touched by God! He decided to pay homage to his idol singing his songs, playing the piano like him, dressing as close as him. A live tribute to Elton. "The magic of Bernie's and Elton's works takes place every time I get the stage whispering such words like "It's a little bit funny.." or "Hold me closer tiny dancer"", he likes to explain; "in that instant the magic explodes". The magic explodes today too. He is ready to deliver an extraordinary performance with a percussionist. So, Eltonites, first, welcome to 2012 AllSongsList year. Just I thought I had to invite someone very special for this ocasion. So please, a standing ovation for this talented boy: Giuseppe Franco, "Mansfield"!!!!

Thanks so much for the acceptation, really an honour to have you here. Which are your most beautiful memories of your childhood, Giuseppe? How it was growing up in Messina, Italy?

I was very shy. You wouldn’t believe but I was. I’d divide my childhood into two great periods. The first one, in which I did what every single child is supposed to do : playing soccer, tennis , studying, watching cartoons etc.. The second period, when I was 11 years old, was a very strange and melancholy time. Due to the loss of my grandfather I loved so much, I became more and more shy and hermetic. At that time my friends were cds. Music became my best friend. Although it might seem quiet depressive a childhood like that (lol) I miss the tenderness of that time. I feel like Peter Pan.

Great! And when did you become an Eltonite? Remember the first time you heard Elton's music and what moves you to buy his music?

It was in 1997. Candle in the wind and Lady Diana’s Funeral. Elton’s voice moved me. The first album I bought was “The Big picture”. Since then I tried to buy everything about Elton and now I have a huge collection.

And why Elton?

Well, I love piano and eccentricity and he’s the perfect mixture of both.

What was it like seeing Elton for the first time and how many concerts have you been?

The first time I saw Elton in concert was in 2000, “An evening with Elton John solo” in Brescia, June 20th. He wore a yellow suit and I remember perfectly the feelings of that evening. I cried during “The greatest discovery”. I couldn’t believe to be in front of my idol. And I got my first (of six) autographs after Crocodile Rock. As Elton sings in the “Union”, “A dream come true”.

As we said before, you’re a great collector, with a nice selection of items. But which is your Elton's item that you really appreciate, for being hard to get or for the happiness you´ve got to have it?

It’s very hard to say. I’m concentrating on the international vinyl versions of Empty sky. Probably this is the part of my collection I love much.

I am pretty sure you’re a die hard fan of music charts. Is that so? In your mansfield altervista website I learn Elton’s chart successes all over the world, in Hungary, Finland, Brazil. What surprised you most about Elton’s chart results?

Elton’s chart results are very strange. When he used to have success in America he didn’t have in the rest of the world and vice versa. Only in the time which goes from 1992 since 1997 he had success both in the USA and in the rest of the world. Nowadays it seems Elton’s come back to the origins. As you know “The Union” had a good success in America and not in the other countries.

Oh, why do you hate “Leather Jackets” song? It’s Elton’s worst song, almost for you?

I don’t like it so much but I don’t hate it. I think the worst songs are “I’m your robot” and “Li’l ‘frigerator”. I can’t stand them.

How did you decided to become an Elton tribute artist? I saw a video of you playing an awesome rendition of “Wonderful Tonight”, by Eric Clapton. Do you like to play other artists?

Yes I really like playing other artists like Clapton, Lou Reed, Beatles, Pink Floyd. I even played “Will you still love me tomorrow” in one of my latest concert (not tribute show). I obviously decided to become an Elton tribute artist just to pay homage to Elton and because I’m very good at this. All of my friends told me my voice sounds like Elton’s voice of the first 70s.

How do you choose the set list and which songs become a part of the set? Any obscure song, you play? Do you specialize in a particular Elton era?

Apart of a few friends, like Andrea Grasso (you probably know), who are fans of Elton, I have to play for a general audience who knows only the greatest hits.
But I always prepare a set list similar to Elton’s ones. And I always play some obscure and not well-known songs every time. Some examples ? “Lady what’s tomorrow”, “Where to now St. Peter”, “Roy Rogers”.

Andrea, a true eltonite too! Wow!!! And which song is harder to sing? Some you tried and finally dropped? Some you were surprised about audiences reaction?

Songs like “Sorry seems to be the hardest word” , “Your song” or “Rocket man” have always got beautiful audience reactions. The people remain silent when I play songs like “Sixty years on”, “Tiny dancer” or “Border song” because they don’t know them. But I enjoy playing them.

You are doing all different type of shows: "An evening with Mansfield", a solo piano show, "Mansfield & the Jets", playing with a band. But now you’re ready to debut a show with a percussionist. Explain us please, a little bit, what you are preparing. It will be a kinda live show as Elton and Ray Cooper did? You will sing first and then added the percussionist? Something you could share with us?

First of all I’m not Elton and Roberto is not Ray Cooper :) . I think it’s impossible to reproduce perfectly the “Elton & Ray” shows, which I consider the best shows in Elton’s career. They are two brilliant and incredible artists. But I will do my utmost. The show begins with three songs I play on my own “Your song”, “Sixty years on” and “Sorry seems to be..”. Then Roberto’s percussions will join me. The set list features “Roy Rogers”, Don’t let the sun go down on me”, “I don’t wanna go on with you like that”, “Border song”, “Sacrifice”, Where to now St. Peter” and many others. The audience will enjoy the show.

Sure!! Explain to us a bit about the Jets, the band you perform with.

One of the “jets” has moved for another city in the north of Italy so there’s just one “jet” left eheh. I have to search for a new one. But I have to say I had a great time with Roberto La Fauci (the missing one..) and Roberto Mento. They are excellent musicians.

You have your own songs too. Which is the sequence in your way of composition? Do you have a lyricist?

I had a lyricist, in London, who used to send me the lyrics by mail. I found it very easy to put music on the lyrics. But when I write my own song I don’t follow a sequence. I write the music and the lyric at the same time. I know it’s probably wrong and not professional but I follow my sensations.

That's it, then! I like “Rain”, but I am absolutely in love with “Deeply”. What’s the story behind this song?

I wrote both music and lyric of these songs. “Rain” talks about madness and I was inspired reading Emily Dickinson. “Deeply” is about one of my love stories which ended badly years ago. Now I consider “zero-nothing” the subject of that story but I like the song. I did a great job :)

Right! You put music into Bernie’s “Dogs in the kitchen” lyrics. It’s not quite difficult to imagine the responsability to wrote that, but you did a superb job. Doing that, was it as difficult as I suppose?

You think? Thanks ! I don’t how it sounded in the version I did, ahah. There are many things I’ve done in the past I can’t remember. And “Dogs in the kitchen” is one of them. Neither I do have my own version. lol

I highly recommend your website, that’s on http://www.eltonjohntribute.it/ What could we find there?

Photos, news, and the tube-channel with my performances. You can also find me on Facebook : EltonJohn Tribute.

Apart from music, which are your interests? What you like to do with your off time?

I read Stephen King and I really love Horror cinema. I study at University, English and Spanish languages and literatures.

What kind of place do you see for Elton John in the History of Rock Music?

The top-3 with Beatles and Evis.

Oh, finally, your favourite top 5 Elton John songs, in running order, please, for my all songs list?

Oh my God, what I difficult question! I will try !

Indian sunset
Tonight
One more arrow
Goodbye
Roy Rogers

Thanks! Would you want to add some observation or suggestion, or something you want to say to other eltonites?

We are a great family. God bless you all! Keep on loving this World which is falling down.. Let’s fight all together against homophobia and racism. None of us is God, so we can’t decide not even judge someone else’s life. I believe in a World in which people are called by name and not by sexual orientations.

Well, thanks so much to our guest. Mansfield, it was so nice doing this interview with you, very interesting. The Weekend Of Mansfield just began. Eltonites, for those who can, don't miss the live performance of Mansfield with percussionist Roberto Mento. Where? The Room. Via I Settembre, 98123 Messina, Italy. When? Saturday, 28th January, 2012 at 9:30pm.

Thanks !

You're welcome, have a nice day, and let the magic explode! Don't miss that Eltonites, believe me, don't miss! Meanwhile, check out this. Ciao!!!


Mansfield And The Jets

Pictures and video courtesy of Mansfield

Some Other World, Featuring li'l'Elton

Some other's world is magical. Wayne Martin has been creating a wide range of puppets for his spectacles. So we have fairies, frogs, dogs, clowns, witches, traditional and seasonal stories... everything in its splendor. All available for seasonal promotions, festivals, schools, theatres, parties, etc. We will try to present here some of the characters, not all of them, because there are so many, but a brief selection. Also we could have a taste of "I Want Love", Wayne's twenty-four inch tall hand puppet, an extraordinary piece courtesy of Wayne and Marilyn Martin. So, this is Wayne's world, the magic world.

Frosty, Rudolph, Elmer Elf, Suzy Snowflake, Peter and Penelope Penguin, dancing candy canes and Martin's trademark juggling Christmas Tree who breathlessly lights up and illuminates the way for the jolly old elf himself, are the perfect choice for the Christmas holidays.

“Halloween Hijinks" is a fun and frightful puppet show with lot of surprises, and appearances by Frank & Drac, Boo-Boo the breakaway ghost, Punky Punkin, Felina Witch, with a compliment of scarecrows, skeletons, and monsters, all performing unique tricks for the screaming audiences.

The Easter Bunny himself is joined by a trumpet jazz playing bullfrog, a classical singing "Diva Chicken", Eggbert Easter Egg, The Little Bald Bunny, break dancing flowers and many others are all on parade in this fast paced, family oriented, musical spectacular.

The classic Brothers Grimm fairytale is magically presented utilizing gorgeous hand, rod, string and shadow puppetry in this colorful musical production. Hansel, Gretel and of course the wicked old witch are all "on hand" along with a few surprise guests.

A vibrant collection of characters include Derf the homeless street man, Ross the balloon blowing Pierrot, "Grand Turk" magician and the caricature of Frank Sinatra all complete with a cast of over thirty beautifully crafted and costumed 'large-scale' hand puppets and marionettes, vignettes of human emotions and fantasy, are set against a backdrop of dramatic lighting and theatrical effects with no age or language barrier: "I like to use music so, there is no language barriers" he likes to explain.

And don't forget Li'l'Elton. And ideal entertainment for both adults and children, and of course counting eltonites. Elton's music is universal, we know, and believe me when I say it's so fun to see Elton's alter ego, it's so magical. Wayne develops a great show with Elton, the piano is not missing, not even the tantrums, and li'l' Elton also sings, so we could ask no more.



More info, http://www.waynemartinpuppets.com/shows.htm
pictures and video courtesy of Wayne and Marylin Martin

Wayne Martin: An Exceptional Mastery Of Puppetry Skills (Part One)

Today it’s a very exciting day. I am sure that, when you were a child, you had a lot of dreams to fulfill. Almost me: I had mine. But it’s hard to follow your dreams, and not much people could say they reached their child purposes. But the man over here did. He has an amazing life, a kind of tale story. A tale with princess, frogs, witches, dragons... and Elton! He created his own Elton. All of them are part of his magic world. His professionalism and affable personality have made him a joy to watch. He recreates a spectacular and colourful performance, outstanding for all ages. Eltonites, welcome to the weekend of the illusion, the weekend of fantasy, the weekend of dreams!!! Everybody, please, get up, stand up to receive the magnificient and incredible: Wayne Martin!!!!!!!

Hi Wayne. I would like to thank you effusively for your acceptation to be here. It’s really an honour. We were talking about childhood, so the question is easy: Which are your most beautiful memories of your childhood, Wayne? And how it was growing up in Cincinatti?

My favorite childhood memory is Christmas Eve when I was 4 years old and my mother and grandmother made me a hand puppet witch as a gift from Santa! The puppet was based on a television puppet character named Hattie the Witch, who was created and performed by legendary Cincinnati, Ohio puppeteer Larry Smith (Who would become my mentor just a short time later). Thankfully the moment was all caught on film by my father that Christmas; me walking into our living room and finding her there. I was so excited to have my own Hattie puppet that I refused to remove her from my hand. Apart from eating and bathing I would keep her on my hand all the time, even sleeping with her still on my hand. Within several weeks my index finger became infected from being inside her rubber head and not getting any air. I had to be taken to the doctor several times to have the finger lanced and to receive antibiotics and as soon as it healed I put her right back on.

Hahahaha It’s nice!!! Well so it seems this was the way you get into Puppeteering, isn’t it? Were you already inspired by puppet shows or ventriloquism?

I saw Hattie the Witch on television when I was three years old and was fascinated not only by Hattie but also the many other puppet characters that Larry created. He had an early morning show televised at 8am weekdays and then he would also appear at 9am daily on the famous "Uncle Al Show" (which would go one to become the longest running children's series in the world, before Al's retirement in the mid 1980's) and a third daily program televised at 5pm. This was the late 1950's and early 1960's and the heyday of live TV! These programs were all produced out of Cincinnati, Ohio and at various times ran on the networks across the U.S.A. So I would sit in front of the TV just waiting for Larry's shows, watching the other programs in-between his and acting them all out using my puppets.

This was before receiving my Hattie and my puppets consisted of suckers that I had received "Trick-or-Treating" on Halloween the year before. People would cover suckers with white paper napkins and draw ghost faces on them and hand them out as treats. Instead of eating mine, I used them as "rod puppets" (i.e., Puppets on sticks) to act out all of the TV shows I'd watch. I also made some puppets of my own out of paper bags, socks and anything I could find around the house.

I also began to discover other puppets on television such as "Kukla, Fran and Ollie" created by puppeteer Burr Tillstrom, Bil Baird ("Snarky Parker Show" as well as "Charlemagne Lion" who co-hosted "The Today Show" for a while and who later created the famous puppet scene "The Lonely Goatherd" in the motion picture "The Sound of Music") the Paul Ashley Puppets and Jim Henson's Muppets "Rowf the Dog" on "The Jimmy Dean Show." All but Paul Ashley, who I never met, would become good friends of mine. Twenty some odd years later I would even work with Jim Henson on his "Muppets Take Manhattan" movie.

“(...) Being picked on, harassed, beat up and ostracized by classmates and my peer groups at various times for being “sissy” and “playing with dolls””. You said in an interview with Paul Eide. It’s terrible to see how some kids could be so unjustice. I guess that your parents and grandmother support meant everything for you. I admire the way you followed your dream with faith. No one could say that, maybe other could have turned it down.

Many children go through a "puppet stage" in their youth, but very few follow through with it. Peer pressure is terrible and whenever a child is interested in something that is outside of what is considered "the norm" it is very difficult. Gifted children interested in any of the arts (dance, theatre, music, etc.) are all faced with a very difficult road during their school career and only those that are truly passionate about their calling follow it through. I've known a couple of very talented individuals who possibly could have gone on and had successful careers as puppeteers, but they just couldn't handle the pressures and chose "to be like everyone else."

That’s a pity, really.

In the late 1970's I was hired by a man living in a very small midwest town to open for the Henry Mancini Orchestra whom he had also contracted to play. I didn't understand why he had hired me, let alone Henry Mancini to play this little town. Turns out he had spent twenty years of his life as a trumpet player touring the world with several of the leading great jazz bands of the era. He quit music at the urging of his friends and family to get married and raise a family. He went on to work for a large corporation and became a multi-millionaire. He told me this story after my performance and admitted that he viewed it as the biggest mistake of his life. He loved his family and the life they created, made more money and had more security than would ever have been possible as a musician but said he missed performing terribly and if he had it to do over, he'd never have quit. Hiring entertainers and paying for it out of his own pocket once a year, was the only way he could still be a part of the arts in this little town where culture was nonexistent and where he felt frustrated and unfulfilled. I have often thought of him during tough times and it's been all I needed to continue on.

I was also fortunate that my parents were always supportive of me. My parents worried about me being able to make a living and didn't understand show business at all, but they recognized my talent and saw my passion and thankfully they always encouraged me.

Did you have any special training or classes for this art?

I majored in art at college but I never had any formal training as a puppeteer, per se. My training came from watching puppets on TV and seeing as many live puppet performances as possible.

It was a few months after receiving my Hattie puppet that my dad took me to see Larry Smith perform live in person at a local department store. To see his TV puppets up close and in color for the first time (Remember, televisions were black and white at this time) just blew me away! I was very shy and only four, but I walked right up to Larry and introduced myself after his performance that afternoon, showing him my Hattie puppet and asked him dozens of questions. My father was in shock (as was Larry) but both saw my passion and when I was ten years old, Larry began recommending me for all of the smaller shows, that he didn't have time to do. I had gone professional when I was eight, but with Larry's recommendations, my career really took off. It became so big and so fast that in 1970 when President Richard Nixon's wife Pat came to Cincinnati on official business, I was the one hired as her entertainment. I was a few months shy of my 12th birthday and there I was on the front page of the mornings newspaper pictured alongside the presidents wife!

I'm also gifted with a photographic memory and I could see a puppet show live and take one look at the puppets up close back stage and be able to go home and figure out the stringing and animation on my own. I would also watch Larry build some of his puppets as well as the Muppets and others through the years. The person who taught me the most though was Judy Heiken of the "Heiken Puppets." Judy and her husband are now retired but I've known them since the mid 1970's. Judy is a wonderful puppet builder and sculptor and worked in many different mediums during her career. Watching her create was my true college. She has also made numerous molds for me over the years and continues to do so when I need her help, even in her retirement.

Fantastic! How do you make a puppet? Could you speak a little bit about the process of creating a puppet? And do you remember the first puppet you created?

I don't remember specifically the very first puppet I made. It would have been a paper bag or a sock. For the first several years I would come up with the ideas and my mother and grandmother would make them for me. After a few years though it started to become too involved and time consuming for them so somewhere around the age of ten or eleven my grandmother taught me how to use the sewing machine and I was off on my own.

I work with hand puppets, rod puppets and marionettes as well as humanettes (Large costume/body puppets) and most all are made out of Celastic.

It's a long process and each puppet takes anywhere from seven days up to a couple months to complete. I start with either a photograph or sketch a life-size drawing of the puppet I wish to create. From that I build a form using chicken wire, styrofoam, foam rubber or more times than not, sculpt it in clay. I then make a 2 or 3 piece plaster mold of this structure. When the plaster dries I take the pieces off the structure. The mold is then soaked in water over night. The following day the mold is lined with a release agent and it's ready for the Celastic.

Celastic is a discontinued heavy-felt like material that when soaked in Acetone becomes pliable and hardens into a very rigid plastic. Celastic and Acetone are both toxic and the German manufacturer that made Celastic discontinued its production in the mid 1980's. My American supplier let me know in advance and I bought all that he had and have managed to buy out the supplies of two other retiring puppeteers over the years. There are many new products on the market that younger puppeteers now use out of necessity, but none are as durable nor meet my needs as does Celastic. I've said time and again that whenever my supply runs out, I'm done building. And I'm serious.

I tear the sheets of Celastic into squares, dip them into the Acetone and then place them into the molds. Celastic dries within an hour or two and I remove the now hardened plastic pieces from the mold and place them together using additional Celastic squares. When these dry the head is ready to be animated (Eyes, eyebrows, mouth etc., made to move) Using a razor blade these are cut out and then put back in place with typewriter springs. (Animation is tedious, time consuming and hardest part to do correctly of the entire process) I then cover the entire head with wood putty and allow it to dry overnight. The following day this is sanded down to the desired smoothness required for the particular character and it is then ready for painting and wigging.

This entire process is repeated for making hands, feet and body and is then costumed.

Right! When you finally learned how the puppets actually worked, was there anything that most surprised you?

Just how time consuming and expensive it was.

Hahahaha sure, understandable! You worked as principal manipulator for Heiken Puppets and in feature films with Jim Henson's Muppets, for example. Over your time spent working with Henson, what are one or two of your more memorable moments?

I first met Jim Henson at a Puppeteers of America convention when I was around twelve years old. Like I had done with my mentor Larry Smith years before, I walked right up to Jim and introduced myself. He was one of the nicest people I have ever met and a true genius. He was also terribly shy and speaking with him one-on-one could sometimes be difficult due to this shyness. But he was always very kind to me and told me to call him if I needed anything and to keep him posted on my career. Now he was probably just being nice to this precocious 12 year old kid when he said to "call him" but I took him literally and did call him a number of times. He would always get on the phone and answer all of my questions and he even wrote me a lovely letter once in those early years thanking me for some remarks I had made regarding one of the early Muppets TV specials.

In 1982 I produced "The Magical Christmas Of Michael J. Peabody" my Emmy Award Nominated holiday television special that was syndicated around the U.S. in 1982 and again in 1983. Henson saw it and asked me to come to New York to work on a project. That project turned out to be "The Muppets Take Manhattan." This was at the height of Muppetmania and was great for my career. As it was one of the very few Muppet projects actually produced in America during those years, (Most were being produced in Canada and the UK) I did not have an opportunity to work with him again until 1990 when his company asked me to assist on a new TV series "The Little Mermaid." They had already shot a pilot episode based on the characters from the Disney movie and Disney had ordered an entire seasons worth of episodes. Two days later Jim died suddenly and that was one of the many projects that were dropped.

What kind of skills do you need to succeed? And what do you find most rewarding about your work?

Puppetry is the one art form that truly incorporates all of the other arts.

Language Arts
Storytelling
Visual Arts - (Puppet design and construction; Sculpting, painting, etc.)
Dance
Drama Theatre
Science – (Gravity, tension and balance are all key rolls in how puppets are used by the puppeteer)

It's also most importantly a business. Someone once said "Show business" is 10% show and 90% business. And if you expect to make a full-time living at it, you better be able to approach it as such. I have never had any other job apart from being a puppeteer. I formed my company in 1966 at the age of eight and went professional. By my mid teens I was working full-time and thanks to my dad who always made a point of reminding me that I had to make money at it if I was serious about this as a career, I always approached it as such.

What I have found most rewarding is the feedback I receive from performing to a live audience. I also love the lifestyle its allowed me and the people that its allowed me to meet, (Including Elton John) and to work with and become friends with. Its opened many, many doors for me and given me a lifetime of experiences and travels that I never would have had without.

“Each program features a cast of beautifully crafted and costumed hand puppets and marionettes”. Your shows are not only for kids but for all ages. Also you toured US, Canada, Europe and Australia. What type of shows are you programming? And what’s the difference between a show with puppet, or a marionette or hand puppets? Do you create your own stories?

My touring act is a one-man musical variety presentation that incorporates hand puppets, rod puppets, marionettes (Marionettes or "string puppets" are my favorite) and on occasion shadow puppets as well as humanettes. I prefer musical variety as opposed to stories because it allows me to utilize all of these different styles in one show and I'm personally bored by most "story" type shows I see and find them tedious to perform over and over again. Well-known stories are easier to market to theatres and schools so I do occasionally offer stories such as "Hansel and Gretel" or "The Sorcerer's Apprentice" when needed, but even with these I usually tag on a short variety show at the end. When audiences see my variety show they love it and by performing mostly to music I avoid language barriers and am able to entertain all ages. I want to entertain the parents every bit as much as the kids and thats what makes my act unique and successful.

I've also done educational videos and a lot of TV work and oftentimes these will be story related (Either familiar tales or specifically written original story-lines for the given project) and these are usually done using Hand puppets (i.e., Glove or mouth puppets) similar to the Muppets, as these work best on camera. On stage I prefer to work marionettes and they make up about two-thirds of my live touring act.

The term "Puppets" is all inclusive. Marionettes, Rod, Shadow, etc. are just names given to differentiate styles of puppetry, but they are all puppets.

And you created li’l’Elton. Why the reason of this character and what does the film “I Want Love” consists of?

I've made a number of Elton John puppets over the years. Most all have been marionettes for my touring act. The little film I made of "I Want Love" came about by happenstance. I was working on an educational television project and had built a series of "Anything Puppets." These are hand/mouth puppets that you can temporarily apply different eyes, hair, noses, etc., holding them in place by double-faced tape, velcro or pins, creating different characters as needed. It's the way I approach most of my film work. Unlike my live touring act where each puppet will go through a thousand or more performances and everything must be sewn or glued permanently in place and be made to last, TV and film you only need the puppets for the shoot. So I make these to use over as different characters as needed.

One of the characters for this project was a little over-weight boy. One night my wife walked into the studio and upon seeing him observed he looked like Elton. Several days later there was a lull in filming and I just started fulling around with the character. By simply removing his eyes and replacing them with a pair of my own eyewear I had on that day and slapping a Versace logo on and old dancers jacket and then adding an actual Elton John earring that came with a Bob Mackie designed costume I own from Elton's 1986 tour, he truly became, as you call him, lil' Elton. I quickly spliced together a 60 second soundtrack from two different EJ recordings and we shot the film in one take! It was just a lark, but it turned out well and became a hit with members of Elton's organization as they became aware of its existence.

(To Be Continued)

Wayne Martin: An Exceptional Mastery Of Puppetry Skills (& Part Two)

So great!!!!! When did you became an Eltonite? Remember the first time you heard Elton's music and what moves you to buy his music?

Music has always been my first love. From my earliest memories, I always had a radio playing and just loved all types and styles of music. If I could have chosen my talent it would have been a piano player, singer songwriter. The piano has always been my favorite instrument and I always looked forward to visiting one of my aunts who owned a piano so I could bang away on it as a young child. Unfortunately, I have no musical talent whatsoever!

I fell in love with Elton's music in the spring of 1970. One of my cousins was on leave from the Army, just back from a tour of duty in Vietnam and was staying with us. I was a very square and shy 12 year old and my cousin was this wild hippy listening to music that I was unfamiliar with at the time. (Mostly underground FM Rock while I was still listening to AM top 40 Pop). One day I walked into the living room as he was listening to a progressive FM Rock station when on came "Border Song." I stopped dead in my tracks and my cousin laughed at me and said, "You like that one don't you?" and he was right. I did!

That fall I would leave for school at 8am each morning and for weeks on end, every morning at 8am as I was turning off my radio, "Your Song" was played. I loved it and as that was the last song I would hear, I would be singing it to myself in my head all day long.

The following year I started Jr. High School and had an incredible choir teacher. One day early in the school year I walked into his classroom and he had a record playing on his stereo that I can only describe as having been a religious experience for me. I asked him who was singing and what was the song. He said the song was "Levon" by Elton John. I asked him who Elton John was and he explained Elton was the singer I liked so much. I didn't know what he meant and he explained that most of my favorite songs that he had been teaching us in class were by Elton John. Your Song, Border Song, Love Song, Holiday Inn, Goodbye... all of these songs that he had been teaching us were all by the same person, Elton John! I'd had no idea! I only knew that I loved these particular songs.

Walking home from school that day I stopped off at the local record store and bought "Madman Across The Water" and like seeing Hattie the Witch on TV when I was three, here I was a decade later having another life-changing experience. With a little research I learned that Elton had released five albums at this point and because my parents frowned upon us kids spending money on records ("That's what the radio is for... you don't need to buy music") I spent the next 4 Fridays buying one EJ record at a time, playing it constantly over the next week until Friday came round and I could buy the next. Remember I was working and had my own spending money, so I could afford to buy them, but to avoid a run-in with my parents, I bought one at a time so they wouldn't notice as much.

From "Honkey Chateau" onwards I've gotten every album on the day of it's release and for the last twenty years or so I've obtained most even before their official release, through contacts I've developed.

What was it like seeing Elton for the first time and how many concerts have you been? Once you said: "Elton's concert in 1976 is considered to be one of the greatest shows in Cincinnati's history”. Why is it that so?

I've seen Elton in concert nearing 150 times at this writing, the first time being in July of 1976. I recently wrote a piece that ran on eltonjohn.com that I will include here;

"The summer of 1976, and I finally got to see Elton live in concert...not once but twice. First on July 20th in Louisville, Kentucky, and then again in my hometown of Cincinnati, Ohio, at Riverfront Coliseum on August 3rd.

"I say finally because I became a huge overnight fan of Elton upon hearing Border Song in late summer, 1970. Elton and his original three piece band (with drummer Nigel Olsson and bassist Dee Murray) would first play Cincinnati's Music Hall on their second tour of America in the winter of 1971, but I was only 13 at the time and as neither parent was available on that night, they would not permit me to go unattended to a rock concert at this tender age! Elton's next scheduled appearance in Cincinnati would come in the fall of 1974 at Cincinnati Garden's, only to be cancelled just before tickets were scheduled to go on sale.

"1975 of course had Elton playing dates only west of the Rockies...so in the spring of 1976 when tour dates were announced (and I now had my driver's license and the independence that came with it) I was taking no chances and bought tickets to both the Louisville and Cincinnati shows.

"I had seen quite a few concerts by this time, including The Who, Pink Floyd, Rolling Stones, Frank Sinatra and Tom Jones, but on July 20 Elton did not disappoint and, for me, put all of the others in the shade. He sounded even better live than on record (even though he was suffering from a cold) and I never dreamed he could top that night. Imagine my surprise when just of couple weeks later, he did! Not only was he recovered from the aforementioned cold, but I was to learn how even though venues can be similar sizes and layouts, acoustics, ambience and the ever elusive "X factor" can make an artist's performance go from great to truly "magic," which is what happened on August 3rd.

"In 1975 through 1976, you of course could not turn on a radio, pick up a newspaper or magazine or turn on a TV without seeing or hearing Elton. Cincinnati's number-one pop radio station of the day was WKRQ-FM and each night, Monday through Friday from 10-11, the station would play that day's top ten most requested songs. Night after night for the better part of a year, Elton's songs would claim anywhere from seven to nine of the top spots. (I don't recall if he ever scored a perfect ten, but no other artist ever came close to reaching his number in the five years that the station devoted this nightly hour to requests.) Night after night it was essentially the 'Elton John Hour' with the songs Philadelphia Freedom, Someone Saved My Life Tonight, Pinball Wizard, Lucy In The Sky With Diamonds, Island Girl, Don't Let The Sun Go Down On Me, The Bitch Is Back, Your Song and of course in the summer and fall of 1976, Don't Go Breaking My Heart leading the charge. On any given night, Elton's guest appearances on songs like Neil Sedaka's Bad Blood or John Lennon's Whatever Get's You Thru The Night might also be heard, thus adding to his dominance of the hour.

"To say Cincinnati was ready for Elton is an understatement. The media was camped out at the airport for his arrival late that hot summer afternoon and even though they couldn't get close, telephoto shots showed him getting into a limo with Kiki Dee... with the local evening news reports immediately speculating that the two were to announce their engagement at that night's show!

WOW!!!

"For those too young to have experienced a major rock concert in the 1970s, it was a very different experience than it is today. First of all, everything was festival seating (no assigned seats) – at least in Louisville and Cincinnati. The first fans to arrive filled the main floor (standing) until the legal fire code numbers were met and then the rest began filling the seats. The smell of marijuana and alcohol was everywhere. Before and after the opening act's set, large beach balls would be batted about the arenas, and local radio stations would drop enormous balloons with their call letters from high above to be tossed around all evening long. Also, seemingly everyone brought flash cameras in with them; when Elton first came on stage to a 'dark' room, there would be 20,000 flash bulbs going off for the first few minutes, which made the absence of stage lighting obsolete and generated excitement like you can't imagine. The closest I believe you can experience this excitement today is at Madison Square Garden, but even there, cell phones just don't have the same punch as our old flash bulbs.

"To add to this environment, only minutes before Elton took to the stage August 3rd, there was a huge explosive sound, causing the building to shake and rumble. We would later learn that the glass wall lining one whole side of the building had been knocked in when hundreds of fans unable to buy scalped tickets to the sold-out event had lifted the concrete benches lining the greenway and hurled them through the glass wall and then rushed into the building. No one was injured, but a year later the Coliseum would be the site of the infamous Who concert tragedy where numerous people were trampled to death as the Coliseum, in an effort to avoid another Elton wall-smashing incident, had bricked over the windowed wall, tightened security and opened fewer doors. The concert-going experience in this town, and many others, would never again be the same.

"When Elton took to the stage that night the roar of the crowd was deafening, the 20,000 flash bulbs blinding, and there were even small 'cherry bomb' firecrackers ignited by some of the people in the audience. Elton swung from the light and sound cables that night, throwing plastic cups of water at audience members and any crew member within range. He wore multiple baseball caps and would taunt the audience by putting on a cap of another city's team, at which point the audience would boo, only to remove it revealing another team's cap hidden under the first (to another round of boos) before removing it to reveal the beloved Cincinnati Reds cap to thunderous applause! (This was the height of the 'Big Red Machine' with the dream-team players Pete Rose, Johnny Bench, Joe Morgan, etc., many of whom were said to be in the audience. He did this throughout the two and a half hour show, and came out for one of the encores wearing over six caps at once. It was great fun.

"I honestly thought the roof was going to collapse when he introduced Kiki Dee to duet on Don't Go Breaking My Heart and sing her own hit, I've Got The Music In Me. Kiki was a surprise, unannounced guest at this and a couple of other dates leading up to Elton's record-breaking week-long stand at New York's Madison Square Garden a short time later. Following Kiki's departure, one wondered how he could possibly sustain the momentum, but he did by playing Philadelphia Freedom but with a twist: instead of singing 'Philadelphia', it became 'Cincinnati Freedom, with Elton of course wearing a Cincinnati Reds cap once again. This is still talked about to this day and is mentioned in every local review whenever he returns to Cincinnati to perform.

"Elton's concert in 1976 is considered to be one of the greatest shows in Cincinnati's history. Since that night I've been to hundreds of Elton's concerts around the globe, and while it took me six years to see him live those first times in '76, boy was it worth the wait!"

East End Lights brings me some nice memories. It was the pre-Internet Era and it was so difficult to find information about Elton, fanzines like this fill that gap. I still remember waiting for my issues. Great names, like Tom Stanton, Claude Bernardin, You, Mary Anne Cassata, John F. Higgins, Liz Rosenthal or the incredible Jim Turano, taught us about Elton’s World. How do you value that experience?

East End Lights was one of the best and exciting things that has ever happened to me as far as Elton John fandom goes. Thanks to Tom Stanton, he brought us all together before there was an internet and the friends I made in those first years of the publication are my best friends to this day. It took twenty years, but I found the friends I'd always hoped to have, thanks to Tom and EEL.

What kind of place do you see for Elton John in the history of rock music?

He will be remembered as one of the greatest singer/songwriters and "Rock and Roll" pianists the world has known.

Name one other artist that has remained relevant and as productive as Elton has for as long as he has. You can't. He's arguably in a league unto himself. He may never be the critics darling, but numbers don't lie and his record sales alone secure his standing in the history of rock music right alongside Sinatra, Elvis and The Beatles. He's also unique in that he crosses all age and economical barriers with his record sales and concerts.

Historians will show that along with creating a huge catalogue of timeless music, he also brought fun and "showbiz" back onto the world stage at a time when most popular artists were wearing jeans onstage and taking themselves and their music a bit too seriously. While Elton was a truly soulful artist and took his music seriously, he stood out from all others through his outrageous stage wear and his acrobatic approach to and percussive playing of his piano; His humor and need to share fun. And again, his music was and is timeless. No one other artist from the last 50 years has produced as much music that still holds up and is played on as many different radio station formats worldwide as Elton's. And none of his tunes sound dated. Even the oldest remain fresh sounding and relevant today. No other artist that broke in the seventies can say that.

I use some of his lesser known music in my touring act; a lot of his instrumentals and pieces the general public are unfamiliar with. Audience members are always coming up after a performance complimenting me on my choice of music and asking who's music it is. Nine out of ten times it will be Elton's music they unknowingly are asking about and when I tell them they can't believe it. It just proves how universal his melodies are and how they move and touch people in ways they aren't even aware.

On the down side, time is a cruel editor and when you are as prolific as Elton, so much great music that he has created will unfortunately be forgotten and lost to the masses. Lesser known albums and songs will occasionally be rediscovered, as "Are You Ready For Love" was a few years back and older tracks will find new life when you least expect, like "Candle In The Wind" and "Tiny Dancer" have. But the big hits are so big, numerous and ingrained in the publics consciousness that its a given that many of his other equally great works will get lost.

But that said, his position at the very top is secure.

Looking back on Elton’s catalogue, which of his songs are arguably the greatest he has ever written? And the worst? Finally, could you tell me your five favourite EJ songs in running order, for my AllSongsList, in which I try to discover the best Elton songs ever?

This is impossible for me to answer. There are so many songs that I believe are truly great that I just can't comfortably do it.

I will list my favorites by decade though.

1970's:

Favorite Albums: "Captain Fantastic And The Brown Dirt Cowboy" & "Blue Moves"
Favorite Songs: "Someone Saved My Life Tonight" & "Tonight"

1980's

Favorite Albums: "Two Low For Zero" & "Sleeping With The Past"
Favorite Songs: "I Don't Wanna Go On With You Like That" & "Sacrifice"

1990's

Favorite Albums: "The One" & "Aida Demos" (Though not an official release I love it!)
Favorite Songs: "A Woman's Needs" & "Live Like Horses" (I feel the official release of this song is over-produced, but remains one of the most beautiful songs Elton & Bernie have ever conceived and is breathtakingly performed solo by Elton in concert)

2000's

Favorite Albums: "Songs From The West Coast" & "The Captain And The Kid"
Favorite Songs: "This Train Don't Stop Here Any More" & "The Bridge"

2010's (So far!)

Favorite Album: "The Union"
Favorite Songs: "Hey Ahab" & "Mandalay Again"

Favorite Elton John Tour: 1979's "A Single Man In Concert With Ray Cooper"
Favorite Song Live In-Concert: "Don't Let The Sun Go Down On Me"

Least favorite albums: "Leather Jackets" & "The Big Picture" (Although both these still include songs that I love, it's just the albums as a whole I'm not fond of)

Least favorite song: "The Wide-Eyed And Laughing"

Thank you! I really like your official website, specially the “special promotion” section. Could you explain us, please, what we fans could find there? That’s on http://www.waynemartinpuppets.com

My website gives visitors a brief background of my career and an idea of the types of productions that I offer. It also includes numerous photos of my puppets as well as some promotions I've done over the years.

I hope to update the site in 2013 and plans are to add video clips among other new and enhanced features.

What are your plans for the future?

My plans are to continue doing what I do. I love my work and the life my wife Marilyn and I have created. We also plan to continue to travel and of course to see as many Elton John concerts as we can!

Would you want to add some observation or suggestion, or something you want to say to other eltonites?

Just that I hope they are as appreciative, grateful and respectful as I am to follow an artist and humanitarian as gifted, talented and productive as Elton John is.

And to enjoy the music! Because in the end, it's all about the music!

Well, I couldn't say it best. That's a wonderful epilogue to this sensational interview. First, I would like to thank our guest for being here, for collaborating and for sharing his time with us. It was a great honour to do this interview with you, Wayne, thanks so much by heart. But, before you go, I have someone here that would like to say something about you, he's a good friend, and accepted to be here today:

Tom Stanton, editor, teacher, writer: "Of the more than one thousand people I came to know through Elton John and East End Lights, Wayne Martin rates among my favorites. He is a fascinating, incredibly talented, humble, kind-hearted man who just happens to be one of Elton's most knowledgeable fans. I associate Wayne (and Marilyn) with some of my fondest Elton moments. But even if we didn't have Elton fandom in common, I would still treasure him. Our personalities click. When I think of all the wonderful gifts that East End Lights provided me, I count Wayne Martin among them".

Thank so much for being here, Tom, and you Wayne, I wish you all the best and keep go doing your great work, bringing fantasy to this world.

Pictures courtesy by Wayne Martin
Special thanks to Marylin Martin