Elton John: A Single Man CD Track Listing

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Elton John A Single Man (1978)
A Single Man (West German Pressing)\n1989 Rocket Record Company/Phonogram\n\nOriginally Released October 1978\nUK Rocket/Phonogram CD Edition Released 1989 ??\nUS MCA CD Edition Released December 1987\nRemastered Universal-UK CD Edition Released March 20, 2001\n\nAMG EXPERT REVIEW: After a dozen albums with lyrical collaborator Bernie Taupin, A Single Man (1978) represents Elton John's first full-length release away from their decade-long partnership. John's initial intent was to complete work on a Taupin-era remnant that had been on the back burner, titled Ego. However, he found himself with some interesting melodies and eventually teamed up with former Vigrass & Osborne member Gary Osborne. Also contributing to this album's different approach is producer Gus Dudgeon -- who had worked with John as far back as his debut long-player, Empty Sky (1969). The infusion of new musical associates takes notable effect on songs such as the opener, "Shine on Through," which John had previously worked up during the Thom Bell Philly soul sessions that produced the hit "Mama Can't Buy You Love." (That version is available as one of three previously unissued sides on the Complete Thom Bell Sessions EP.) Among the other standouts are the gospel-tinged "Georgia," the lengthy blues-rocker "It Ain't Gonna Be Easy," and the ultra campy, if not lightweight, "Big Dipper." The single "Part-Time Love" only made a nominal chart impact despite its catchy and danceable melody. The 1998 CD remaster boasts five additional bonus tracks from a variety of 45s. These include the single-only cuts "Ego," "Flintstone Boy," "I Cry at Night," "Lovesick," and "Strangers." This final track would not be issued for almost a year as the B-side to the disco drivel "Victim of Love." -- Lindsay Planer\n\nAMG EXPERT REVIEW: It's not that Elton John was in need of a comeback in 1978, when he released A Single Man, because he was still one of pop's biggest stars. But he certainly had hit a creative drought with 1976's Blue Moves, a turgid double album that found Elton and his partner Bernie Taupin barely able to write a side's worth of memorable material. John took a couple of years off and reemerged with a new lyricist, name of Gary Osbourne, who was certainly more straightforward than Taupin, but not as inspired. Even if he lacked Bernie's endearing incomprehensibility, Osbourne kick-started John creatively, spurring him to write his strongest collection of songs since Captain Fantastic. Also, John left behind Gus Dudgeon, the other partner of his classic period, choosing to collaborate with Clive Franks. Now, this didn't result in a blockbuster of an album; even if it was a hit in both the U.K. and U.S., none of the songs, even hits like "Part-Time Love," are considered part of his basic canon, but this is easily one of his most underrated records, a tight collection of pop songs where the craft effortlessly shines. He does contemporary pop, elegant instrumentals like "Song for Guy," and even apes New Orleans R&B effectively on "Big Dipper." This, of course, is a testament to John's talents, especially because it didn't become a perennial in his catalog -- for most artists, a record this skilled and sophisticated would be a highpoint. Here, it's simply Elton doing his job as best he can. [The 1998 reissue -- which didn't appear in the U.S. until 2001 -- contains five bonus tracks, extensive liner notes, and restored artwork.] -- Stephen Thomas Erlewine\n\n\nAMAZON.COM CUSTOMER REVIEW\nPerhaps I am biased..., November 18, 2004 \nBy S. C. Spanoghe "Tandiwe" (California)\nI find it hard to accept some peoples reviews of 'Song for Guy'. A few people call it monotonous or boring, or say that they cringe when Elton John sings "Life isn't everything". I titled my review 'Perhaps I am biased' because Guy Burchett was my uncle. He was a motorcycle messenger who worked with Elton John, and at seventeen years old was killed in an accident while riding pillion on a motorcycle. Elton John's 'Song for Guy' is not only a very generous tribute to a young man who lost his life at a very young age, but also an emotional song that Elton John wrote from his heart. \n\n\nAMAZON.COM CUSTOMER REVIEW\nSolid Elton John album has its share of filler, June 3, 2006 \nBy My Science Fiction Twin "If at first the idea... (My Little Blue Window, USA)\nThis isn't Elton's worst album but it lacks the musical ambition, depth and sharp lyrics that his best work with Bernie Taupin had during his peak years (from "Elton John" through to "Captain Fantastic"). "A Single Man" still has moments that an Elton John fan will appreciate even if the album is a bit inconsistent. Prolific as ever Elton produced 16 tracks 11 of which ended up on this album. The best tracks "Part Time Love", the moving instrumental "Song for Guy" and "Georgia" (which sounds like a outtake from "Honky Chateau" or "Tumbleweed Connection")were catchy with solid melodies and lyrics that if they were somewhat uninspired at times also lacked the excess that dominated Bernie's lyrics towards the end of their collaborations in the late 70's and even early 80's.) \n\nElton severed his relationship with Taupin because of the distance between them (Taupin lived in the US, Elton the UK and while it was a physical distance it could also be seen as a metaphorical one for their relationship as well) after the failure of the single "Ego"/"Flintstone Boy" in the charts. That failure more had to do with the lack of merit of the songs themselves. While they aren't bad they are second tier Elton John songs and even Bernie's lyrics fall short. \n\nThe generic production of John and long time engineer Clive Franks along with the generic arrangements/orchestral backing make "A Single Man" less than a classic but still worthy of a listen for long time fans. In many respects EJ should have been given a fresh start as he was working with a brand new collaborator (lyricst Gary Osborne)who hadn't had the chance to develop the depth that Taupin's lyrics had at their best. Osborne's lyrics aren't horrible--they're just generic and uninspired for many of the tracks and reflect his work as a jingle writer (Osborne also was a member of the rock band Vigrass & Osborne and produced two fine albums during the early 70's before turning to jingle writing neither one of which is currently inprint). \n\nElton would further stumble with the dreadful "Victim of Love" (which he did not write and, in fact, was contractually obligatated to provide only lead vocals for)one of the worst albums recorded by a major rock act (along with John Lennon's "Two Virgins", "Life with the Lions" & "Sometime in New York City" and Mick Jagger's first two solo albums). "A Single Man" isn't a dreadful or horrible album and has some nice tracks that make pleasant listening. EJ was trying to reestablish himself after his star began falling in the late 70's. This was the first step and we'd see a nice return to form on some of the tracks for "21 at 33", "Jump Up","The Fox" (many of the tracks for this album were leftovers from "21 at 33") before a full return to form with "Too Low for Zero" in 1983. 2 1/2 stars. \n\n\nAMAZON.COM CUSTOMER REVIEW\nSome good moments, at least no awful ones, September 5, 2005 \nBy Chris Cormier "Wonderbar" (canada)\nAfter the crazy output of 1970-75, and the subsequent burnout, Elton was probably trying to get back to earth with this album. The emphasis is on the songs not inventive playing, and while it lacks the drive of his previous albums, it can be a good occasional listen. Sometimes it works and sometimes it doesn't. 'I Don't Care' and 'It Ain't Gonna Be Easy' come off as a bit forced, the former being a retread of some of his (more rocking) earlier songs, and the latter being an interminable slow tempo song with kind of silly vocals near the end. 'Part Time Love' sounds a bit more like he's hitting his stride with a moderately catchy keyboard and guitar hook (surprise surprise Davey Johnstone appears on that track). 'Big Dipper' probably has the most style of any song on this album, it probably achieves more by striving for less, with EJ's mocking vocal delivery and and arrangement that reminds me of 'Patricia the Stripper' by Chris DeBurgh. 'Shooting Star' is somewhat new jazzy territory for EJ, and of course 'Reverie' is simply a little intro to the track that follows,'Song For Guy', which starts out as a somewhat stiffly played piano riff and builds into a predictable late 70s instrumental with an admittedly haunting atmosphere (don't expect it to be rock and roll). 'Shine On Through' and 'Georgia' are simple ballads with nice melodies. 'Return To Paradise' is a nice Latin influenced ballad somewhat marred by a cheezy sounding Caribbean orchestra. No real standouts on this album. Should really get 2 3/4 stars. \n\n\nAMAZON.COM CUSTOMER REVIEW\nAnother good Elton John album, August 7, 2004 \nBy Dr Jeremy Buddle (Battery Point, Tasmania Australia)\nThis CD has the original 11-track 1978 album A Single Man and five bonus tracks from the same era added on. The songs are a mixture of styles, and represent a change of direction for Elton, who took a year off in 1977 to recover from the excesses of the non-stop ride to the top of the entertainment industry he had taken (along with his lyricist Bernie Taupin and his bandmates) from 1970 to 1976. The songs here are done mainly with a different lyricist (Gary Osborne), and there are two instrumentals - the brief Reverie and the classic Song For Guy. I remember this lovely tune very well from the radio (aged 8 or 9 at the time), but did not realise that Elton had performed it until several years later. At the end of the track - an elegiac piano piece written for a deceased friend - Elton breaks into a repeated line, which I could never quite tell what he was singing . Is it "Life... isn't everything" or "Life... is a temporary thing"? I still don't know!!!! Whatever, it was the highlight of the album, and a big hit over Christmas 1978. \n\nThe other hit was the catchy pop tune Part-Time Love, which did brisk business on the charts of 1978. Elton's magic touch had not deserted him, but his mantle as the king of the scene had somewhat slipped by this time, and the album did not top the charts. However other good songs included Shine On Through - a gentle ballad, Georgia - a countrified ode reminiscent of Tumbleweed Connection stylings, Madness - a full-tilt piano rocker and I Don't Care - which is a fun, rollicking,lightweight pop rocker . It Ain't Gonna Be Easy meanders along for 8 minutes and is a good slow bluesy tune but would've worked better as an edit. Big Dipper features some blokey backing vocals from the 1978 Watford football team - during his layoff millionaire Elton purchased his local boyhood football club (!!) and invited the lads round to the recording studio for a singalong! Not the best idea. Return To Paradise and Shooting Star are OK - hardly classic Elton songs but nice enough. \n\nThe bonus songs: Flintstone Boy is notable for being the only song Elton has recorded under his own name that he wrote the lyrics for himself. I Cry At Night is notable for being a Bernie Taupin lyric - a rather good piano lament. Lovesick could have strengthened the album if it had been included in place of maybe Big Dipper, as it's a good uptempo pop/rocker. Ego is a March 1978 single not from an album, but it's never been a favourite of mine, while Strangers is an uninspiring love song that anyone could have written or performed. It doesn't really suit Elton's style - he is capable of so much better than banal romance songs. \n\nAltogether, it is a solid 4-star package. Few Elton John fans would probably rate 1978 as his best year creatively, and commercially it was less stellar than previously, but it is Elton John, and there has never been a truly substandard Elton John album. Until 1979 and Victim Of Love, that is... \n\n\nAMAZON.COM CUSTOMER REVIEW\nElton-lite, May 8, 2004 \nBy David Sigler (Baltimore, Maryland)\nThis album has the distinction of being the only album with co-writing credits by Elton and lyricist Gary Osbourne. Osbourne mostly had commercial jingles to his credit before this, and these lyricis could have been perfect for a 30 second tv commercial. Yea, they're that basic and simplified. No dark sense of humor, no sly British references, no sense of irony. Where have you gone Bernie Taupin?\nWith that said, Elton's first and thankfully last album with Osbourne has its moments. Elton is just incapable of making a total disaster (aside from the disco attempt Victim of Love which followed this release). There are some decent tunes here such as the nicely done ballad Shine on Through. And It Ain't Gonna Be Easy is great for the first 5 minutes but just goes on and on for way too long. Shooting Star offers a nice jazzy sax solo and features a very whisper-like vocal.\n\nReturn to Paradise and Georgia are routine at best, though again it's Elton vocal that saves these songs from being just album filler. Song For Guy is the best song here. And when an instrumental is the best song on an Elton John album, it tells you something.\n\nA lot of the songs just don't hold up that well. I Don't Care is just boring and doesn't go anywhere and the lyrics are so pedestrian, well, it's a wonder it even made it on the album. Big Dipper is a very tongue-in-cheek fun song which doesn't seek repeated listenings. Madness wants to be serious and dramatic but comes off flat and safe. Part-time Love is a jumpy little song that tries really hard to make you like it.\n\nProduced by Elton and sound engineer Clive Franks, the album features Elton's piano playing prominently. It is way up in the mix as well as Elton's voice. There is a clean, spacious sound to the album and each band member gets to shine (though it is mainly studio session musicians, not his faithful band). It's not over produced by any means; it just that the songs aren't the best material. Elton wanted to strip the sound down and simply his life (hence he's not even wearing glasses on the cover photo). \n\nSince this came out in 1978, some of the songs have a slight disco feel (I Don't Care) and Elton was offering a true departure from the excesses of his Captain Fantastic persona just 2 years prior. \n\nA handful of b-sides were added to this remastered edition of the album and some of them are quite good including three Taupin penned left overs from previous sessions: Ego, Lovesick and I Cry At Night.\nAnd Strangers, a great country song with a satisfying Osbourne lyric that isn't trite, is one of the best Elton and he has ever written. \n\nA Single Man is worthy of taking a listen. But there are many better Elton John albums to start with first. This album remains a curious piece of work that was produced by an artist unsure of where he fit in the new musical landscape. Though this sold well throughout much of the world when it came out, so much had changed within a few short years of when Elton John was on top. A Single Man found Elton taking a step back to refocus on his place in popular music. And sometimes, you have to take a step back to gain a few steps forward. \n\n\nAMAZON.COM CUSTOMER REVIEW\nSingle and Confused, October 13, 2002 \nBy Matthew Griffis (Peterborough, Ontario Canada)\n\nUpon playing this album for the first time, two things prove prominent: while Elton's voice is in arguably its finest form, the album's lyrics undergo a roller-coaster ride of quality from acceptable to plain embarrassing. Elton had, as of autumn 1976, endured a series of aborted sessions with R&B producer Thom Bell. Though these sessions would later spawn top 40 hit "Mama Can't Buy You Love" (in 1979), these sessions with Bell would only prove beneficial to Elton's voice. According to Elton in 1990, Bell taught him "how to breathe" properly. On "A Single Man", this softer vocal work is notable with its wide dynamic and tonic range, as well as what sounds like effortless vibratto. The Bell sessions would also yield an early, 9-minute version of a wonderful song entitled "Shine on Through". The version on "A Single Man", re-interpretted as a love ballad, is much more favourable (and tolerable at a duration under four minutes).\nAs for the lyrics, "A Single Man" lives up to its title with respect to the absence of Elon's long-famed lyricist Bernie Taupin. Taupin is replaced by Gary Osborne, an ex-jingle writer and an interesting albeit unexplained replacement for the superior Taupin. Osborne delivers catchy, predictable pop lyrics on such songs as "Part-Time Love" (a top 40 hit in the UK upon its release in 1978), but disappoints with superfluous efforts such as "I Don't Care" and "Shooting Star". Perhaps the greatest treat of the original eleven-track album is the playout track "Song For Guy"--an instrumental written by Elton for a Rocket Records (Elton's label) employee killed in a motorcycle crash. The song's success as a hit in England was a lnadmark for Elton--while it became his first hit instrumental, it was also the first of his recordings ever to use a "rhythm box" (drum machine). \nAnd now some thoughts on the bonus tracks. "Ego" and "Flintstone Boy" are a nice pair of tracks to have on file, given that the two--respectively--were A and B sides in March 1978. However, while "Ego" features Taupin as lyricist, neither track comes from the "Single Man" sessions. While the origin of "Ego" seems to be a one-off (its video would be the first in history to have a budget comparable to that of a feature film), "Flinstone Boy" has long since rumoured to be an outtake from 1976's deply moving double-album "Blue Moves"--though no documentation has been produced to prove this. "Flintstone Boy" is an Elton-only composition (words and music), making it a novelty. "I Cry At Night" is another bonus track with a questionnable origin: its lyric penned by Taupin, it was released as the b-side to "Part-Time Love". Likewise, "Lovesick" was a b-side on a short-lived US release of the single "Song For Guy", its lyric as well being creditted to Taupin. "Strangers", the only bonus track on this CD that appears to be a true non-LP track from "A Single Man", is actaully one of the John/Osborne team's better songs, and is finally at home on this collection. In conclusion, this is one of those reissues that makes collectors scratch their heads with good reason--but try finding these bonus tracks anywhere else without having to paw through boxes of old dusty 45s at your local thrift store. \n\nAdding this landmark release to your Elton John section is a must, no matter how uneven the original tracks prove to be. This import version features the original UK artwork (with a BLUE sky, whereas the US version featured a grey sky). When I was only ten years old, I had the rare privilege of being within yards of where this album cover photo was taken. With its simplicity and its strikingly faced Elton (no flashy spectacles),it remains my favourite album cover of all time. \n\n\nAMAZON.COM CUSTOMER REVIEW\nSome great music - pity about the lyrics, April 17, 2002 \nBy Kevin O'Conner\nA Single Man was the last Elton John album I bought as a matter of course; though the previous album, Blue Moves, had a few head-shakingly dull moments (such as "Where's the shoorah?"), it was good enough overall to keep me interested. But, for me, A Single Man represented the end of the line.\nMusically, the album was never all that bad. The music and performances often harkened back to the gospel-inflected sounds of the first three or four albums, Tumbleweed Connection in particular. (Even Paul Buckmaster was back!) The soulfulness of those early years had been in danger of being polished away until Blue Moves, and was back in full force here.\n\nWhat ultimately made this album so disastrously uneven were Gary Osborne's lyrics. After the high standard set by long-time lyricist Bernie Taupin, Osborne's lyrics were simplistic, banal, and cliched in comparison, rendering "Return to paradise", "Big dipper", and "Shooting star" more or less unlistenable. Even the album's lone U.S. chart success, "Part-time love", hasn't aged well, lyrically. It's a testament to Elton John's talent that any of the album works at all.\n\nThe highlights of the album, then and now, are "It ain't gonna be easy", "Madness", and the album-closing "Reverie/Song for Guy" (probably one of the first recordings by a major artist to use a rhythm box in place of a drum track), with "I don't care", "Part-time love", and "Shine on through" (which comes across slightly better now than then) not far behind.\n\nThe best things about this reissue are the vastly improved sound quality (though even the earliest CD versions of Elton John albums graphically revealed how poor the pressing quality of the original MCA LPs was) - thanks to the involvement of Elton's long-time producer, Gus Dudgeon - and the inclusion of the 1977 non-album single "Ego" (along with its flip side, "Flinstone boy"). The only real complaint I would have about this edition is that it lacks bona-fide credits for the extra tracks.\n\nNow then, where's that remastered Thom Bell Sessions? \n\n\nAMAZON.COM CUSTOMER REVIEW\nElton John's New Era Begins, July 18, 2001 \nBy Ren (Knoxville, TN United States)\nWell, this album certainly surprised me when I bought it. I didn't think it would be very good because Gary Osborne is no Bernie Taupin, but I thought Elton John would be able to pull something off, plus the price on it was as low as I was gonna see. \nI enjoyed this album very much. "Shine On Through" is a nice way to open the album, where Elton and his piano carry it through the first few minutes, then the drums and orchestra joins in. "Return to Paradise" is optimistic and pleasant... you almost have a view of a beach in your mind. "I Don't Care" is old-school rock and roll; the piano and orchestras are not, but the vocals sure are. They sound somewhat like Little Richard's stylings. "Big Dipper" is a very funny song where Gary Osborne uses ambigious and risky references to what the title actually is, somewhat. It's a funny song, Elton sets the words to music brilliantly, too. "It Ain't Gonna Be Easy" is a great song... for the first 6 minutes, then he starts doing ridiculous things with his voice and the last few minutes are painful. "Part Time Love" picks up the pace, and that is a very catchy song with an unforgettable hook line. The only biggest hit single from the album in the US, making the top 10. but Top 20 in the UK, too. "Georgia" is a rather annoying song, where I really don't listen to it much... too country for me. "Shooting Star" is a good song, but lacks Elton's piano. It'd be better with that, but Elton sings well on it... very jazzy.. reminds me kinda of "Idol" from the Blue Moves album. "Madness" is an okay song... I don't listen to it much, but it's good lyrically. "Reverie" is short, but a nice segueway into the best track on the album, "Song For Guy". It's a 6:30 instrumental and it is a beautiful song, reaching number 4 on the UK charts, though (sadly) not released in the US. When I think of "A Single Man", I think "Song For Guy"... it is lovely. The bonus tracks aren't really worth much, though. \n\nThe album is enjoyable, and although Gary Osborne is no Bernie Taupin, I did enjoy the different lyrical approach Elton took. It was somewhat risky, but it's nice to get a different taste of things. Gary is a great lyricist, I'll give him credit. Nice work on this one. And it began a new phase for Elton where he would not write every song on an album of his with Taupin until "Too Low For Zero" in 1983. \n\nThis was Elton's second album for his label, Rocket Records (the first was Blue Moves in 1976), and it went platinum and Top 20 in the US, though it went Top 10 in the UK (probably on the strength of "Song For Guy"). Most this inforamtion comes from the liner notes, which are always enjoyable in the Classic Years edition. \n\n\nAMAZON.COM CUSTOMER REVIEW\nOne of the great Elton John Albums, March 20, 2001 \nBy Michael Latterell (Minneapolis, Minnesota)\n\nWith his career taking a fast downward spiral, this album shows Elton focused, quieter, and less consumed by the mega-hit status of his other albums. This album is probably most like his first two releases, Empty Sky and Elton John. Beautiful songs here, especially tracks like "Song for Guy" and "Shine on Through". Great bonus tracks on this release as well. \n\n\nHalf.com Details \nContributing artists: B.J. Cole, Ray Cooper \nProducer: Clive Franks, Elton John \n\nAlbum Notes\nPersonnel: Elton John (vocals, piano, harmonium, Clavinet, church organ, keyboards); Davey Johnstone (guitar, synthesizer, background vocals); Tim Renwick (guitar); B.J. Cole (steel guitar); Paul Buckmaster (cello); John Crocker (winds); Patrick Halcox, Henry Lowther (trumpet); Jim Shepherd (trombone); Herbie Flowers (bass); Steve Holly (drums); Ray Cooper (marimba, congas, tympani, tambourine, percussion); Clive Franks (percussion, background vocals); Vicki Brown, Stevie Lang, Joanne Stone, Watford Football Team, South Audley Street Girl's Choir, Gary Osborne (background vocals).\n\nEngineers: Phil Dunne, Stuart Epps, Clive Franks.\n\nRecorded at the Mill At Cookham, Berks, England between January & September 1978. \n\nOriginally released on MCA (3065). Includes liner notes by Chris White.\nDigitally remastered by Gus Dudgeon (Abbey Road Studios).\n\nThe aptly titled A SINGLE MAN finds Elton John working without legendary partner Bernie Taupin, his usual lyricist, during a much-needed break from each other, following their turbulent, albeit wildly successful mid '70s collaborations. Joining forces instead with Gary Osborne, Elton takes the opportunity to present an album of pure craft--with its scaled down production, A SINGLE MAN is an almost live-sounding album, one of his most straightforward. This approach places in even greater relief John's gift for combining widely varying musical atmosphere with beautiful melodies and honest emotional performance.\nIf A SINGLE MAN didn't produce any legendary hits for Elton John, it provided a welcome chance for him to cool off and just write songs. As is his wont, John takes on a wide variety of styles: the Spanish-sounding melancholia of "Return To Paradise" moves handily into the upbeat strut of "I Don't Care" in a stylistic segue which few could pull off. The swaggering honky-tonk of "Big Dipper" finds itself juxtaposed with the soft rock of "It Ain't Gonna Be Easy." Stripped down though it may be, the album isn't without its epic--in this case it's the heavily orchestrated, under-sung "Song For Guy."\n\n\nROLLING STONE REVIEW\nFor his first album in two years, Elton John's wiped the slate clean and exchanged longtime collaborator Bernie Taupin for War of the Worlds lyricist Gary Osborne. Instead of recording with a set band and producer Gus Dudgeon, John's coproduced himself and used studio musicians to turn out his sparest LP since Honky Chateau. But this move toward simplicity is a step into emptiness, since A Single Man is nothing more than a collection of trivial hooks performed about as perfunctorily as possible.\n\nIf John and Taupin's final collaboration. Blue Moves, was a disastrous exercise in inflated pop rhetoric, A Single Man is an equally disastrous exercise in smug vapidity. The songs here are barely songs at all, but childish Neil Sedaka-style ditties with characterless little nursery rhymes for lyrics. Whereas Bernie Taupin may have been Elton John's Bob Dylan manqu

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